A:
BIOGRAPHICAL HISTORY
OF
THE FINE ARTS
BEING MEMOIRS OF
THE LIVES AND WORKS OF EMINENT
PAINTERS, ENGRAVERS, SCULPTORS
AND
ARCHITECTS,
FROM THE EARLIEST AGES TO THE PRESENT TIM:.
Alphabetically arranged, and condensedfrom the best Authorities. Including the woias of
VASARI, LANZI, KUGLER, DR. WAAGEN, BRYAN, PILKINGTN
WALPOLE, SIR C. EASTLAKE, AND MRS. JAMESON.
With Chronological Tables of Artists and their Schools, Plates of Monograms, etc.
BY
S. SPOONER, M.D.
FOURTH EDITION.
VoL. I. A  TO L.
NEW YORK:
LEYP-OLDT & HOLT.
1867.




Entered, according to Act of Congress, in tile year 1865,
BY J. W. BOUTON,
In the'Clerk's Office of the District Court of the United States folr the Southern District of New York.




PREFACE.
AMoNG the means that tend to heighten and illustrate the civilization of a country,
the Fine Arts have always held preeminent rank. When material prosperity is once
secured, the intellectual faculties of man crave for nutriment; his sense of the beau~tiful is developed, and the Fine Arts assume promptly an importance as instruments of
the highest culture, that can be supplied from no other source.
The United States of America afford, unconsciously, an exemplification of this fact.
At a time little removed from the present only a quarter of a century ago, the arts
and their products were regarded as pertaining to foreign and imported luxuries.
Our professors of them were few and but indifferently remunerated, and the entire
country scarcely furnished the materials for a thorough education in any one branch
of art.
The contrast to this, now observable, must be obvious to all. Our artists, patronized and cherished at home and abroad, are unable to supply the demand that exists
for their works, while a steady current of importation daily familiarizes us with the
choicest treasures of foreign art. Our private residences demand the cultured taste
of the Architect, and the skill of the Sculptor, the Painter, and the Engraver must
decorate the structure he has raised before it is fitted for our luxurious occupancy.
Alike in their ennobling purposes the sister arts pursue the same end under various
means. The monumental character of Architecture and Sculpture marks their fitness
for public uses; the chefs-d'oeuvre of Painting can only be in the possession of a
few, but by the art of Engraving their benign influences are diffused through a
whole community.
As the Fine Arts are thus brought into contact with our current life, ignorance of
them is no longer permissible to those who would associate on equal terms with the
society of the day.  The voluminousness of the literature of art has heretofore
limited its study, but a growing interest is felt in the subject that will not be
repressed.
The scope of the present work, in which is contained the History of the Arts of
Design related in the lives of the principal Painters, Sculptors, Architects, and
Engravers of all nations, is novel; and no pains have been spared that could tend to
assure its accuracy. It contains over two thousand names more than the largest




iv                                PREFACE.
English Dictionary of Painters and Engravers (Bryan's), and the completeness given
to the Review of the Fine Arts by the introduction in the same work of Sculptors
and Architects is a feature entirely new, that gives it an advantage over every existing
body of art biography.
The list of authorities will show the extent of the ground it is sought to occupy.
The collection of monograms and artists' devices is the most copious ever inserted
in any biographical work. The Tables have been constructed with great care, and
will be found to contain much important information never before displayed and
made accessible in that form.
NEW YORK, January, 1865.




INTRODUCTION.
PAINTING.
THE benign influence which the cultivation of  historian, a poet, the faithful imitator, or rather
the Fine Arts has produced on the civilization  the rival of nature; and by the magic operaof society through the different ages of the  tion of his art, the enchanted vision is carried
world, is so universally admitted, that any  up into the mansions of celestial being, or defurther disquisition on their excellence may be  scends into the regions of the unblest.
deemed superfluous; but, in presenting to the    Cicero, in his oration in favour of the poet
public a work of this nature, it may be ex- Archias speaking of the Belles Lettres, obpected that something should be said respect-  serves, that " they nourish us in our youth, and
ing the attributes of painting, as well as of its  invigorate old age; they embellish the most
origin, and of its progress among the ancients.  fortunate situation, and console us under disasPainting, which is deservedly ranked as one  ter and persecution; they accompany us night
of the most important and interesting of the  and day in our journeys, and in our retreats
liberal arts, has been too frequently considered  from the world; and even when our minds are
as merely calculated to charm the eye, and to  not disposed to profit by their instruction, we
gratify the senses; but a more deliberate re-  ought still to hold them  in a just admiration,
flection will convince us that it has a nobler  finding that, to those who possess them, they
claim to our estimation, and that its powers are  afford the most delicious gratifications." These
capable of contributing to our instruction not  sentiments, expressed by one of the finest geless than to our delight.                      niuses of antiquity, appear to be strikingly
The painter's art, in the exercise of its more  applicable to painting, as, whether the art is
elevated faculties, inspires the mind with a taste  practised as a profession, or exercised as an
for whatever is good, as well as what is beauti- amusement and curiosity, it is productive of
ful; fills the heart with the most salutary sen- all these advantages.
sations, and promotes the love of virtue and    Historic painting, from the sublime style by
the abhorrence of vice. Every agreeable im- which it ought to be characterized, the choice
pression of which our ideas are susceptible from   of objects which concur in its arrangements,
the contemplation of the rich and varied scenes  and the expansive stretch of imagination of
displayed by nature, living or inanimate, paint- which it is susceptible, deservedly occupies the
ing has the power of producing.  In minds  most exalted rank in the various departments
endowed with the most exquisite sensibility, it  of the art.  Though the historical painter may
can augment the faculty of feeling, and soften  be supposed to limit the exercise of his art to
the obduracy of the most infexible.  Its pro- such pictures as represent the events of history,
ductions instil into mankind a love of order, of  yet we usually comprehend, under that denoharmony of parts, and of general beauty.       mination, whatever relates to mythology or
By an admirable effort of human genius, ancient fable.  This licence is also extended to
painting offers to our regard every feature of  such subjects as are found in the epic and trauniversal nature; its empire extends through  gic poets, and even to the most interesting
every age, and over every country: it presents  fictions of romance.  This extensive range
us with the events of the most remote anti- offers to the painter of history an almost unquity, as well as those of which we are the  bounded dominion, and confers on him  the
witnesses; and places in our view  the most pre-eminence to which he is so justly entitled.
distant objects, not less than those by which    In allotting to historic painting this honourawe are immediately surrounded. In this re- ble distinction, we would by no means be susspect, this admirable art may be said to sur- pected of a disposition to degrade any other
pass even nature herself, which can only set branch of this interesting art.  Unquestionbefore us such objects as are actually present.  ably, the painter who can successfully imitate a
The accomplished painter may be affirmed  visible object, is an estimable artist; but it canto possess a universality of talent.  He is an  not reasonably be denied, that he who succeeds




7i                                   INTRODUCTION.
in the higher walkof art, by the representation  Without regarding the precise term  of ten
of objects the most difficult to be accomplish- thousand years as seriously deserving of our
ed, may be presumed  to  possess superior credit, we cannot refuse our belief that the art
endowments,                                  had been practised in Egypt during the revolution of an indefinite series of time, which
ON THE ORIGIN OF PAINTING.           ascended to an indeterminable antiquity. The
IN the rudest periods of existence, the love testimony of the disciple of Socrates therefore
of imitation seems to have been inherent in the proves that the practice of painting was exnature of man; and the variety of colours and  tremely ancient in Egypt; that thei works
of forms appears to have been amongst the  wre infinitely durable; but that, through a
primitive sources of his enjoyments    is de- long succession of ages, the Egyptians had
sire of imitating naturally led him to trace made little or no progress in the art.
coarsely the objects which most interested his   In that superstitious country, the artist wa
observation.  Hence, instead of attemtingto  prohibited from attempting any innovation or
attribute the origin of design to any precise improvement in the oldestablished style of his
period or particr nation, it ma e mo predecessor.  The disciple implicitly pursued
reasonably  presumed to have been indigenous the beaten path of his instructor, who had himreasonably presumed to have been indienous                                o
self been the servile follower of the rules estain every country, where human reason has in
in every country, where human reason has in  blished in the most barbarous periods of the
any degree developed itself, and may be saidm                             op          of te
to have been coeval with our existence.       art, adeviation fromwhich would  ave ben
The most untutored among the savages, who  punished as a heresy in religion.  Hence the
scarcely attempt to cover teir savagenudity, have artist was bereft of thQ stimulus of emulation;
been fou tee            to the n,       n   ne endeavoured to surpa sensible to theher; attraction  nd if,
colour, even independent of design.  They se- in the torpor to which the laws of his country
lect the most beautiful plumage of their birds, subjectedhimthe artist sometimes experienced
to embellish their vestments, and make choice the impulse of genis, or fel the ispirationof
of such stones or shells as are the most brilliant a creative faculty, he was deterredfrom yieldand varied in their colour, for their principal ing to their mpression by afrightful fanaticism,
ornaments..                 which suspended over his head the punishment
It may naturally be supposed that a great of impiety.
length of time must have elapsed before it was      The Egypian painters and  sculptors dediscovered that the union of design with coloursigned their figures in a stle peculiarly stiff
contributed to increase and to vary this grati-    formal, wth the legs invariablyloed, and
the arms stuck to their sides, as if they had
fication; as it is certain that the progress of  the  r    t     to their  des as i the  had
consulted no other models than their bandaged
the human mind, in the acquisition of first   nsulted no  ther m es tn their adae
principles, is usually languid and slow. But     mummis  Aen           d ct      idead
this discovery was no sooner made, than the they must have been totally unacquainted with
h fis d   o s   m  * tn te the construction and articulation of the bones
germ of painting took root in the soil of human
ing,                                         and muscles: and though it has been preingenuity.                                   tended that the Egyptians were not ignorant
The art had long been confined to a simple        t      t                 t      tt   ore
of anatomy, it may be said to be little more
outline, before it was attempted to render the  t      o       o  t             it   
object represented more interesting by filling  tha      oe    of that science was cin
upttha enra  E   tg  of co-     that their knowledge of that science was conup the contour with a general staining of coup the contour with a general staining of co- fined to what they could learn from preparing
lour, resembling what is called illumint g; their dead bodies for embalment.
andit appears to have remained in the sambe
and it appears to have remainedEin'the same    The artists of Egypt were chiefly employed
uncultivated state even among nations to whoms                   t  e             e
on works devoted to the purposes of religious
we cannot justly deny the merit of industry;   worsh   devoin whi    the purses   f renotonl
suc  as th  Inias th  Ci, an           worship, in which the figures were not only
such as the Indians, the Chinese, and the   
Egyptians; among whom  the arts  seem  to  confined to particular and consecrated postures,
haebeen doomed to an eternal mediocrity.   from which they were not permitted to deviate,
but were in themselves generally monstrous in
their form; sometimes representing the bodies
PAINTING AMONQG THE EGYPTIANS.         of animals with human heads, sometimes huPLATO, who flourished about four hundred  man bodies with the heads of brutes, which
years before the Christian era, assures us, that at were often anomalous and imaginary, and which
the period at which he lived, the art of painting  had no prototype in nature.
had been practised by the Egyptians upwards    According to Winckelmann, the vestiges of
of ten thousand years, and that there remain- Egyptian painting, with which we are best
ed, in his time, productions of that high  acquainted, are the bandages of their mumantiquity, which were neither inferior to, nor mies. These productions have resisted the
very different from, the paintings of the Egyp- ravages of time, and are still submitted to the
tian artists at the time at which he wrote. examination of the curious.  In these the out



INTRODUCTON.                                   vi
iine of the figures is traced with black; the    The origin of painting in Greece was uncolours they used were confined to four, blue, known to Pliny, who is the only writer to
red, yellow, and green, which were not broken  whom we are materially indebted for the few
or blended, the red and blue being the predo- fragments which have been preserved to us of
minant colours,                            the biography of their artists. He could only
Norden, Pococke, Bruce, and other modern obtain them from the Greek authors; and on
travellers, make mention of several colossal this occasion he complains that they have not
paintings, found on the walls of the temples, been very attentive to their accustomed accuand in the tombs at Thebes, Denderah, and racy.
other places in Upper Egypt. And Winckel-   In Greece, as in Egypt, it was to be appremann justly regrets that those curious remains hended, that, as their first efforts were rude
had not been visited by artists, or by persons and barbarous, the arts might have fallen into
conversant in works of art, by whose testimony  the trammels with which they had been shackwe might have been correctly informed of their led in that country from which they were imcharacter, style, and manoeuvre. In the de- ported, and have continued to languish under
scription given of them by Norden, the colours an hereditary mediocrity. But the rudiments
are said to be entire and unblended, like the they received, though their approach towards
paintings on the bandages of their mummies, improvement was slow, were, by progressive
which proves that the art, even in these gigantic cultivation, gradually carried to that summit
productions, was confined to the manner of perfection in which the Greeks may indispractised in its infancy.                   ptably be said:to have remained without rivals.
We have now, however, the evidence of an Their finest works have ever since been made
ingenious and enlightened artist who has lately the models of our imitation; and it has been
visited these venerable relics. M. Denon, in found that nothing beautiful, grand, or gracehis Voyage dans la Basse et Haute Egypte, ful, can be accomplished without contemplathas given a curious and interesting account of ing the monuments they have left us.
the paintings at'Thebes, which he reports to    Convinced that man is the noblest producbe as fresh in colour as when they were first tion of nature, by the harmony of his construcpainted. The design in general is stiff and tion, and the admirable proportion of his memincorrect; and whatever attitude is given to the bers, they applied themselves to an attentive
figure, the head is always represented in pro- study of anatomy, and the structure and movefile. The colours are entire, without blending ment of the body. Their manners and customs
or degradation, as in our playing cards, the were of infinite advantage to the artist in the
whole exhibiting the art as it was practised in prosecution of these studies, by the frequent
its rudest state.                           opportunities they afforded him of viewing the
We may therefore conclude, that though the athlete, or wrestlers, in their exhibitions in
Egyptians were among the earliest practisers of the gymnastic exercises. Hence we may infer,
the art, yet, during a long series of ages, if it that the Grecian artists did not entirely deduce,
did not remain entirely stationary, there was from the resources of their minds, that perfeclittle progress towards improvement; and that tion and beauty of form by whibh their works
in Egypt the arts constantly retained their are so characteristically distinguished.  The
aueaut style, until it passed under the do- ardent imagination of the Greeks did not perminion of the Ptolemies.                   mit them to confine themselves to the representation of man, they soon aspired to that of
their divinities.
PAINTING AMONG  THE GREEKS.
In a country, rich in natural productions,
ALTHOUGH the history of paiting among the and blessed with a happy temperature, in point
Greeks is better known than that ofthenations of limate; inhabited by a brave and polished
by whom  the art was pratid at a more people, whose religious worship was as magniremote period, it is still ivolved in conside- ficent in its forms as it was ingenious and elerable obscurity.                           gant in its allegories; where victory and liberty
It is generally admitted that the arts were. were placed upon the altar, and where, impasprtctised in Asia and in Egypt for many ages sioned with the love of glory, they bestowed
before any traces of them  are to be found on their heroes and philosophers the honours
among that people, by whom they were des- of deification; the arts may be presumed to
tined to be carried to the highest pitch of have found a genial soil  Such was ancient
perfection. And painting, as well as her sister Greece, where it was believed, with reason,
arts, sculpture and architecture, is believed to that the representation of their gods and heroes
have been introduced into Greece by the com- in their public temples was of the greatest effimunioation that nation held with Egypt and cacy in the support of religion, and in promotAsia, through the channel of the Phoenician ing the love of their country.
traders.                                      At Athens, the portico of the Poecile was




viii                                  INTRODUCTION.
devoted to the reception of such paintings and brated painters, we may conclude that as the
sculpture as recorded the brilliant achievements Greeks carried sculpture to such acknowledged
of their warriors, or the annals of the most dis- perfection, it will not be denied that their
tinguished and virtuous of their citizens. In- painters, as well as their statuaries, must have
spired with such sentiments, their artists felt been perfect masters of design, so essential to
an enthusiasm  which animated them  to the the successful exercise of either art. In cornmost fervid exertions.                       paring the paintings of the moderns with those
Although it has never been attempted to be  of the ancients, it may be fairly inferred that
denied that the ancients carried sculpture to a the latter surpassed the former in expression,
perfection which all the succeeding efforts of in the purity of design, the attitudes of their
the art have been unable to equal, it has been  figures, and in what is called ideal beauty.
alleged that they were less successful in paint- With respect to colouring, the discovery of
ing, in which they have been said to be greatly  oil-painting has given to the moderns a powerinferior to the moderns.  In the inquiry into  ful advantage, which the ancients had no means
what degree of perfection the art of painting  of attaining. The ancient paintings will also
was carried by the Greeks, the different parties be found to be inferior to those of the moderns
who have entered into the discussion have in that illusion, which results from  a perfect
shown an unusual contrariety of opinion.  On  acquaintance with the principles of the chiaroone side, a bigoted admiration of whatever has scuro.  The modern painters have also surdescended to us from  antiquity, has decided  passed the ancients in the arrangement of their
their unqualified superiority over every thing  groups, and in their knowledge of perspective.
modern; whilst, on the other, by a determined    The Grecian painters will be found in alphaopposition, it has as roundly been pretended  betical order in the body of the work.
that the paintings of the ancients were only
worthy of exciting our contempt.
In this, as in most other disputes, it may       PAINTING AMONG THE ETRUSCANS.
reasonably be presumed that the just estimation of both will be found between the two    THE arts in general, and painting in particuextremes. It is deserving of remark that none lar, appear to have been practised in Etruria at
of the works of the celebrated Greek painters a very remote period; and Winckelmann thinks
have reached us, by which we might have been  it probable that the Etruscans had made conenabled to form a competent judgment of their siderable progress in the arts dependent on
talents. We are consequently under the neces- design, before their communication with Greece.
sity of regulating our ideas by the descriptions The same inference may be drawn from some
given us of them in the ancient writers. The passages in the Roman authors, though the
paintings of antiquity, with which we are ac- evidence of no Etruscan writer on art has been
quainted, are almost entirely confined to some handed down to us. It is probably not withornaments of apartments, baths, and tombs, out foundation that the Romans have been
which were discovered in the ruins of Pompeii accused of having endeavoured  to  destroy
and Herculaneum, and which are very ration- every vestige or monument which they found
ally believed to have been executed by very  in the countries they overran, that no traces
subordinate artists, who may be regarded as might be left of the antiquity of the neighbourthe ordinary painters of mansional decoration. ing nations. This jealousy is in some degree
The paintings found in the remains of Pompeii corroborated by the silence of their writers,
and Herculaneum  cannot, therefore, serve us who appear only to have preserved the names
correctly, in forming our ideas of the state of  of the vanquished people as triumphal trophies,
painting even at the period at which they were and not for the purpose of making posterity
executed. Painted, for the most part, on walls, acquainted with the state of their civilization,
and exposed for a great length of time to the  or the arts which they had cultivated, long
air, and after the disaster buried for near two before Romulus and his associates came to
thousand years under heaps of lava and ashes, establish themselves on the banks of the Tiber.
it is even surprising that they have been so    Pliny, indeed, admits that at Caere, in Etruwell preserved. Besides, Pompeii and Hercu- ria, and at Ardea and Lanuvium, in Latium,
laneum were not places of the first rank, and  there existed in his time some paintings which
as the paintings found there seem to have only  attracted the admiration of the curious, and
served as the decorations of their villas, or which were more ancient than the foundation
country-houses, we may fairly conclude that of Rome. In the third chapter of the 35th
they were generally either copies, or the pro- book of his Natural History, he thus exductions of very subordinate artists.        presses himself: " I cannot contemplate withFrom  a candid consideration of these, and  out astonishment those paintings at Caere,
the scanty information afforded us by the wri- which appear recent and fresh, after so many
ters of antiquity of the works of their most cele- ages. The same may be said of the Atalanta




INTRODUCTION.                                      ix
and the Helen, which are seen in a ruined  the conquest of distant countries, as well as
temple at Lanuvium.  The artist has repre- those of the neighbouring nations, the triumph
sented Atalanta naked, and both the figures of the Roman eagle were to them more worthy
are of exquisite beauty."                      objects of pursuit than the most successful culIt had long been regretted that the ravages tivation of the arts. When, indeed, their domiof time, and the devastation of Italy, had de- nion had extended itself by a continued succesprived us of every vestige of the paintings of  sion of conquests, and the ambitious pride of
the Etruscans, when the Padre Paciaudi, a their consuls gratified itself, in their triumphs,
Theatine monk, discovered, near the ancient by an ostentatious display of the spoils of subTarquinia, formerly belonging to Etruria, seve- jugated nations, the productions of art of the
ral tombs decorated with paintings.  He corn- different countries they had vanquished, parmunicated this interesting discovery to the  ticularly the Greeks, became the trophies which
Count de Caylus, in a letter from  Rome in  the vain-glory of the conqueror presented to a
1760, in which he informed him  that in the  ferocious people, who had neither "an eye to
environs of Tarquinia are found a great number see, nor a taste to feel their perfection."  Even
of small grots, which had served as tombs, the conquerors themselves regulated their value
which were decorated with paintings on the  of these productions of genius and taste rather
pilasters and friezes.  An exact description of  by the estimation in which they were held by
some of them, with plates, has been published  the people who had been plundered of them,
by Mr. Byres.                                  than the discriminating judgment of the spoliWinekelmann also speaks of the paintings ator. The glory of their arms, and the aggranfound in the tombs near Tarquinia; many of  dizement of their dominion, were the great
the friezes represent combats and assassinations, objects of Roman ambition, and this picture of
others appear to relate to the doctrine of the  their policy is even corroborated by the most
Etruscans on the state of the soul after death.  distinguished of their poets:
From  the few remains of Etruscan painting    Tu regere imperio populos, Romane, memento:
which have escaped destruction, it may be in-   Hse tibi erunt artes; pacique imponere morem,
ferred that in Etruria, as in every other coun-   Parcere subjectis, et debellare superbos.-VIRGIL.
try, the art was nearly in the same state of    Impressed with such ideas, it is not to be
rudeness in its infancy; and that at a more  wondered at that no painter of celebrity apadvanced epoch, when it began to assume a peared at any epoch among the Romans, whose
national feature, it was marked with a similar artists were few, and those of decided infecharacter to that which was preserved in Tus- riority.
cany after the revival of the art; that it was    Previous to the four hundred and fiftieth
more distinguished by grandeur than beauty, year after the founding of Rome, we have no
and by energy rather than grace.               tradition of Roman painting. About that period, FABIUS, a noble patrician, executed some
PAINTING AMONG THE ROMANS.             paintings in the Temple of Health, on the Quirinal Mount, by which he acquired the denomiFROM what has been said in the account of  nation of Pictor, which descended to his family.
the Greek painters, it will be seen that many  These pictures existed until the reign of Clau
of their most celebrated works were transported  dius, when that temple was destroyed by fire.
to Rome, for the embellishment of their tem- They were probably held in little estimation,
ples and public edifices; and we might from  as Pliny, to whom they must have been known,
thence be naturally led to conclude that paint- neither acquaints us with the subjects, nor
ing was successfully practised and patronized  commends the execution. That painting was
among the Romans at an early period of the then little respected by the Romans, and that
republic.   On inquiry, however, it will be the title of pictor was not considered as an
found that for upwards of four centuries after honourable distinction, may be inferred from a
the foundation of Rome, the Romans were oc- passage of Cicero, in the first book of his Tuscupied in pursuits very different from the cul- culanes. An censemus si Fabio nobilissimo homini
tivation of the elegant arts; and it is certain  laudatum esset quod pingeret, non multos etiam
that Rome was indebted to the Etruscans for apud nos Polycletos et Parrhasios fuisse.  It
whatever she possessed in the first ages of the  therefore appears that the art was held in little
republic, either of sculpture, painting, or archi- estimation, and that the title of pictor was
tecture.                                       rather intended to stigmatize the illustrious
Declared enemies of repose, they considered  character who had degraded his dignity, by
peace among the greatest of public calamities; the practice of an art which was held in no
and so far from contributing to the progress of  consideration.  Thus we find that the art of
science, or the perfection of any liberal art, they  painting was neither esteemed nor patronized
conceived glory to consist solely in amassing  in the four hundred and fiftieth year of Rome.
spoils amidst carnage and desolation. Bent on    The example of Fabius does not appear to




X                                    INTRODUCTION.
have been followed by any of his contempora-    LUDIUS. He distinguished himself in the
ries; for we find a chasm of nearly a hundred  reign of Augustus as a painter of views, landand fifty years before any mention is made of  scapes, marines, &c., which he embellished with
another Roman painter, when                  figures. He was the first Roman artist who
PACUVIUS, the poet, showed his talent in the painted in fresco, and he was chiefly employed
sister art in some paintings he executed in the in decorating  the walls of the villas and
Temple of Hercules, in the Forum.Boarium. country-houses, in which he is said to have
It is probable that the celebrity he had justly  excelled.
acquired as a tragic writer, gave a greater de-   AMULIUS. This painter flourished -in the
gree of interest to his paintings than their merit reign of Nero, who is reported by Suetonius to
would otherwise have excited. Yet his pro- have himself studied the art. He was princiductions do not appear to have placed the art pally employed by that emperor in the embelon a more honourable footing: as Pliny in- lishment of his house of gold. His works,
forms us, that after Pacuvius the pencil was no with the palace, became a prey to the flames.
longer to be found in respectable hands. His Pliny represents him as a painter of low, comexpression is remarkably significant, in honesti  mon subjects, humili rei pictor; yet he menmanibus. It must be allowed that the works tions, as one of his principal works, a picture
of Fabius Piotor, and Pacuvius, could not rea- of Minerva, which cannot be considered as a
sonably be expected to excite a national enthu- humble or ordinary subject.
siasm in favour of an art which they only exer-   TURPILIUS, a Roman knight, painted some
cised as an amusement.  The paintings of pictures, which were formerly at Verona. The
Fabius were the recreations of his youth; those  only information Pliny affords us respecting
of Pacuvius, the diversions of his old age. But this artist is, that he painted with the left hand.
painting is a difficult and arduous art, which    ANTISTUS LABEO, who had been praetor, and
requires the undivided exercise of all the pow- even proconsul of the province of Narbonne, is
ers of man, and to excel in which, the most said to have amused himself with painting
protracted period of human existence is hardly  smallpictures, which, instead of exciting pubfound to be adequate.                        lie admiration, only brought on him the ridiAfter the dissolution of the Roman republic  cule and contempt of his contemporaries.  He
had terminated in the establishment of the  died at an advanced age, in the reign of
empire, and when the stern ferocity which  Vespasian.
characterized the commonwealth had yielded    CORNELIUS PINUS and AccIus PRISCUS flouto softer and more polished manners, together rished under Vespasian, and were employed
with the cultivation of literature, it might have by him in the Temple of Virtue and Honour,
been expected that a more prevalent taste for which that emperor caused to be repaired.
painting would have discovered itself, particu- The latter is said to have approached nearer to
larly as sculpture and architecture excited a the manner of the ancients than his competitor.
considerable degree of patronage and admira-   Such is the scanty catalogue of the painters
tion. We find, however, from the testimony  of Imperial Rome, and such the miserable ebb
of Pliny, who certainly was not backward in  to which the art of painting had sunk, previous
giving to Rome her full share of credit in every  to the establishment of the Eastern empire.
thing relative to the arts, that from the time Nor could the magnificence and taste of the
of Augustus to that of Vespasian, a space of  founder of Constantinople re-elevate the art
about eighty years, the number of painters from the wretched state into which it'had dementioned by that writer does not exceed sven  lined. The successors of Constantine had
or eight, and the majority of those of very  little leisure to attend to the cultivation of the
subordinate consideration.                   arts. Disastrous events were hastening, which
ARELLIUS. This artist was of some celebrity  threatened the existence of their dominion, and
at Rome a short time before the reign of Au- which terminated in the downfall of the empire.
gustus. From the manner in which he is men-   If the art of painting can be said to have
tioned by Pliny, he must have possessed con- existed during the dark ages which succeeded,
siderable ability. That writer reproaches him  it will be found to have slumbered in a state of
severely for having selected, as the models for degradation in the cells of the Greek monks,
his goddesses, the most celebrated courtesans until its revival in Italy, in the thirteenth
of his time; a reproach which he never thought century.
of making to some of the greatest artists of    From this date the painters of modern EuGreece, who constantly availed themselves of rope will be found faithfully characterized in
the same practice.                          the following Dictionary.




ENGRAVING.
THE author esteems the art of engraving of so  with repetition. As with a masterly painting, sc
much importance, especially in our extended coun-  with the engraving, more beauties will constantly
try, where we have few public Galleries of paint-  be discovered; so that a portfolio of fine prints is
ings, and where the great mass of the community   a source of endless instruction, amusement, and
must therefore form  their taste for the fine arts  gratification, not only to the possessor, but to his
mostly from this branch, that he deems a some-  friends and acquaintance
what extended notice proper and profitable in this    The following observations on the utility of
work.                                            engraving, from the pen of William Rosco, a genEngraving is not only a valuable assistant to  tleman well known to the literary world from his
painting by perpetuating the works of the great  excellent taste, love of the arts, and scientific acmasters, but it also satisfies, to a great extent, that  quirements, are so admirable and just, that the
love for the arts possessed by many who have not  author cannot forbear quoting them in this place.
the means of otherwise obtaining this gratification.    " Of all the imitative arts, painting itself not exIt requires the possession of a large fortune to form   cepted, engraving is the most applicable to general
even a respectable cabinet of pictures; and it is  use, and the most resorted to from the necessities of
further necessary that the purchaser should pos-  mankind. From  its earliest infncy, it has been
sess a cultivated taste and discriminating judg-  called in as an assistant in every branch of knowment, and an intimate acquaintance with works of  ledge, and has, in a very high degree, facilitated the
art, which are not easily acquired, in order to avoid  means of communicating our ideas, by representing
the danger of imposition. But a knowledge of  to the sight whatever is capable of visible imitation,
prints is obtained with far greater facility, and a  and thereby preventing that circumlocution which
taste for them may be gratified in almost every  would ill explain, in the end, what is immediately
condition of life. Moreover, by means of this art,  conceived from  the actual representation of the
the conceptions of the great masters are diffused  object.
through every part of the world, and thousands    " From  the facility of being multiplied, prints
who can never see the original work, may experi-  have derived an advantage over paintings, by no
ence refinement and exaltation of intellect from the  means inconsiderable. They are found to be more
contemplation of the engraving. Thus a love for  durable, which may, however, in some degree, be
the beau'iful, the true, and the sublime, is widely  attributed to the dierent methods in which they
disseminated, and the general taste of the people  are preserved. Many of the best paintings of the
elevated; art approaches nearer to its proper esti-  early masters have generally had the misfortune to
mation, and artists, who, in this money-getting age,  be either painted on walls, or deposited in large and
have at least no extravagant encouragement to  unfrequented, and consequently damp and destruchope for, gradually rise to their true position.  tive buildings; whilst a print, passing at distant
Prints are known to be exceedingly useful in  intervals from the porte-feuille of one collector to
the instruction of youth, whose vivid imagination  that of another, is preserved without any great
will catch with delight the depicted story at a  exertion of its owner. Hence it happens, that whilst
glance, and rivet it in the memory; whereas a writ-  the pictures of Raffaelle have mouldered from their
ten description will produce little effect. The pa-  walls, or deserted their canvass, the prints of his
thetic stories of the Bible are rendered far more  friend and contemporary, Marc' Antonio Raimondi,
impressive by the delineations of those scenes by   continue in full perfection to this day, and give us a
the Old Masters. Description gives but little idea  lively idea of the beauties of those paintings, which,
of an animal, or a landscape, but a picture gives at  without their assistance, had been lost to us foronce a correct one. Prints make a lively impres-  ever, or at least, could have only been known to us,
sion on the imagination, and afford a means of re-  like those of Zeuxis and Apelles, by the descripcreation highly entertaining and instructive-qual-  tion which former writers on these subjects have
ities rarely combined. They also afford an inter-  left us.
esting amusement for every stage in life; and next    " Perhaps there are no representations which into the study of a fine painting or piece of statuary,  terest so strongly the curiosity of mankind as porthere is no greater pleasure to a person of refined  traits. A high degree of pleasure, of which almost
taste, than the contemplation of the beauties of a  every person is susceptible, is experienced. from
masterly engraving; nor does this pleasure pall  contemplating the looks and countenances of those
xi




Xli                                         ENGRAVING.
men, who, by their genius or their virtues, have en-  shadow, they become in a manner their rivals; and,
titled themselves to the admiration and esteem of  in the general acceptation of the world, the prints
future ages. It is only in consequence of the facility  of some of these artists have been as highly valued
with which prints are multiplied from the same en-  as their paintings.
graving, that this laudable appetite is so frequently  " Independent of the advantages prints afford
gratified. Whilst the original portrait is limited   us, when considered as accurate representations of
to the wall of a private chamber, or adorns some  paintings, and imitations of superior productions,
distant part of the world, a correct transcript of it,  they are no less valuable for their positive merit, as
exhibiting the same features, and the same charac-  immediate representations of nature. For it must
ter, gives to the public at large the full representa-  be recollected that the art of engraving has not
tion of the object of their veneration or esteem.  always been confined to the copying other produc" As the genuine paintings of the ancient masters  tions, but has frequently itself aspired to originalhave become extremely scarce, we are much indebted  ity, and has in this light produced more instances
to prints for the truth of our ideas respecting the  of excellence than in the other. Albert Durer,
merits of such masters; and this is no bad criterion,  Goltzius, and Rembrandt, amongst the Dutch and
especially when the painter, as is frequently the   Germans; Parmiggiano and Della Bella, amongst
case, has left engravings or etchings of his own.  the Italians; and Callot amongst the French; have
With respect to the principal excellencies of a pic-  published many prints, the subjects of which were
ture, a print is equally estimable with a painting.  never painted.  These prints may therefore be
We have there every perfection of design, composi-  considered as original pictures of those masters, detion, and drawing; and the outline is frequently  ficient only in those particulars in which a print
marked with a precision which excels the picture;  must necessarily be inferior to a painting.
so that where the merit of the master consists more  " The invention of printing, in the fifteenth cenparticularly in the knowledge of those primary  tury, was undoubtedly the greatest acquisition
branches of the art, his prints may be better than   which mankind ever made towards the advancehis paintings, as was notoriously the case with   ment of general science. Before that event, the acPietro Testa, who, possessed of every excellence of a  cumulated wisdom  of ages was confined to the
painter, except a knowledge of the art of coloring,  leaves of a few mouldering manuscripts, too expenacquired that reputation by his etchings which his  sive to be generally obtained, and too highly valued
paintings never could have procured him.           to be often trusted out of the hands of the owner.
"A knowledge of the style and manner of the   History affords many instances of the difficulty
different masters is only to be obtained by a frequent  with which even the loan of a book was procured,
inspection and comparison of their works. If we  and of sureties being required to be answerable for
were to judge of Raffaelle himself from some of his  its return; but the discovery of printing broke,
pictures, we should be disposed to refuse our assent  down the barriers which had so long obstructed
to that praise which he has now for some centuries  the diffusion of learning; and the rapid progress in
enjoyed. Every master has at times painted below   civilization, which immediately took place, is itself
his usual standard, and consequentlis  s not to be  the happiest testimony of the great utility of the
judged of by a single picture. And where is the  invention. What printing has been, with respect
collection that affords sufficient specimens of any   to general science, engraving has been to the arts;
of the elder masters, to enable a person to become  and the works of the old Italian artists will be ina complete judge of their merits?  Can we, from   debted to engraving for that perpetuity which the
a few pictures, form an adequate idea of the inven-  invention of printing has secured to the Jerusalem
tion and imagination of a painter, of the inexhausti-  of Tasso, and the tragedies of Shakspeage and Corble variety of form and features, which is the true   neille."
characteristic of superior excellence? But let us
look into a collection of prints after any eminent             HISTORY OF ENGRAVING.
artist, engraved either by himself or others, and    The history of engraving is not only very interwe shall then have an opportunity of judging of  esting to the connoisseur, but is of the first importhis merits in the first and indispensable qualifica-  ance to the collector of rare works of art, for which
tions of a painter. If we find grandeur of design   reason the author deems it necessary to give some
united with elegant composition and accurate draw-  account of its rise and progress. It is the art of
ing, we have the strongest testimony of superior  producing designs upon blocks of wood, plates of
abilities, and from a general comparison and accu-  metal, or other substances, by incision or coTrosion,
rate observation of a number of such prints, we  from which impressions on paper or other soft submay venture to form to ourselves a decisive opin-  stances are obtained. Priority of invention has
ion respecting the merit of such masters. On ex-  been claimed by the Dutch, Germans, and'Italians.
amining the prints after Raffaelle, we find that his  According to Du Halde (Description, 4c.. de 1'
first manner was harsh and Gothic; in short, a  Empire de la Chine), the Chinese knew the intranscript from Perugino, but that he afterwards  vention 1120 years before Christ; but as they were'
adopted that sublime and graceful manner, which   not acquainted with the art of making paper till
he ever retained.                                  94 B. c., it was doubtless a much later discovery
"Wherever a painter has himself handled the  with them. It has been stated that this art was
graver, his prints are most generally impressed  first introduced into Europe from China, through
with the same character as his paintings, and are  the intercourse of the Venetian merchants; for it
therefore likely to give us a very accurate idea of  has been proved that wood engraving, which has
his style.. The prints of Albert Durer, Rembrandt,  priority over copper-plate engraving, was practised
and Salvator Rosa, are all such exact counterparts  at Venice as early as the thirteenth century.  The
of their paintings. that at this time, when the col-  first wood engravings in Europe of which anyoring of their pictures is often so far changed as to  thing is known, were executed in 1285 by a brother
answer little further purpose than that of light and   and sister of a noble family, named Cunio. These




ENGRAVING.                                        Xiii
prints represent the actions of Alexander the  tory is continued (the title-page is missing), and it
Great, and though Heineken doubts their authen-  must have been several years in execution. But
ticity, yet Mr. William Young Ottley, the author  many illustrated books were published before this
of a very elegant and learned history of engraving,  time. At Rome, in 1467, a book was issued from
thinks otherwise, and gives good reasons in sup-  the press of Hans Ulric, entitled Meditationes Joport of his opinion. In Germany, wood cuts were  hannis de Turrecremata, embellished with wood
first employed by the card manufacturers to give  engravings, in which great improvements in design
the outline of the figures, to save the trouble of  and execution by Italian artists is evident. The
making a separate drawing for each card, which  illustrations of the works of Vitruvius, by Matteo
were afterwards colored by the hand. The Ger-  Pasti of Verona published in 1472, evince considman antiquarians have shown that these printed  erable spirit and accuracy. Before the end of the
cards were in use as early as 1300. These card  fifteenth century, the art had been carried to great
printers not only made and sold every variety of  perfection, as is proved by the delicacy and purity
playing cards, but they stamped and illuminated  of the designs engraved to illustrate the celebrated
various images of saints; and it is the opinion of  Hypnerotomachia of Colonna. Before this period,
Breitkopf, in his Treatise of Engraving on Wood,  however, the discovery of copper-plate engraving
that the impressions of these images preceded that  had been made, and the priority of invention has
of the playing cards. Heineken says that many  been equally claimed by the Germans and the Italof these illuminated wooden cuts of Saints are still  ians. The former rest their pretensions on the expreserved in several of the celebrated libraries of  istence of plates by their artists dated before those
Germany, particularly in that of Wolfenbattel. In  of the Italians. Sandrart mentions one dated 1455.
the convent of the Carthusians at Buxheim, in Su-  Zani and Ottley have, however, fully established the
abia, is a wooden cut representing St. Christopher  claim of Maso Finiguerra, a Florentine, to priority of
carrying the infant Jesus across an arm of the sea.  invention; and Bartsch admits its validity. Ottley
It is of folio size, inscribed with Gothic letters, illu-  describes a print by this artist, in his possession,
minated in the same manner as playing cards, dated  dated 1445; and Zani notices a Coronation of the
1423. The Venetians also claim to have practised  Virgin, dated 1452. From this period, wood and
all these things at a very early period; and a Ve-  copper-plate engraving rapidly spread over every
netian architect, named Temanza, accidentally dis-  part of Europe.
covered a decree in the archives of Venice, dated  The Italian School.-Finiguerra was followed
October 11, 1441, which sets forth that the art and  by Baccio Baldini, a goldsmith of Florence, who,
mystery of making cards and printed figures had  according to Vasari, employed Sandro Botticelli to
fallen into decay, owing to their extensive impor-  design for him. His works were numerous, and
tation, and in order that the native artists might  are much sought after by collectors. Botticelli, a
find encouragement rather than foreigners, it was  native of Florence, was an eminent painter of his
ordained that no work of the said art, printed or  time, and from the success of Baccio, turned his
painted on cloth or paper, viz.: altar-pieces or im-  attention to engraving. He engraved from his
ages, and playing cards, and whatever other work  own designs a number of prints of prophets and
of said art is done with a brush and printed, should  sybils, and subjects illustrative of Dante. He died
be allowed to be brought into that city on penalty  in 1515. Contemporary with him flourished Anof confiscation, besides a pecuniary fine. This de-  tonio del Palla Juolo; and a little later, Gherado
cree plainly shows that, whatever may be the  and Robetta, all of whom advanced the art, though
claims of the Venetians, the Germans had made  it was still dry in execution, and more to be adsuch improvements, and obtained such facilities as  mired for correctness of design and drawing than
to drive their competitors from the field.      for any attempt at relief or effect. There can be
To these rude beginnings succeeded wood cuts of  no doubt that the art was practised at this period
sacred history, accompanied with explanations in  at Rome, though the Venetian States and the north
letters engraved on blocks.  These carved blocks  of Italy furnished a more abundant supply of arseem to have existed in Germany and the Low   tists; among whom Francesco Squarcione, Andrea
Countries as early as 1429; and it is clearly proved  Mantegna, Girolamo Mocetto Marcello Fogolino,
that they gave to John Guttenburg, the first idea  Bramante the architect, Altobello, Giovanni Batof making moveable metallic printing types. Soon  tista della Porta, Giovanni Maria, and Giovanni
after the invention of printing, wooden cuts were  and Antonio di Brescia, were the most eminent.
used for illustrating books. The first wood engra-    The appearance of Marc' Antonio forms the most
vers of whom we have any account were George  important epoch in Italian engraving. He was
Schapff, who practised the art as early as 1448,  born at Bologna in 1488, and became the pupil of
and Jacob Walch, the supposed instructor of Mi-  Raibolini. We first hear of him at Venice, whither
chael Walgemut, who flourished about the same  Albert Durer went to institute proceedings against
time. From this time the art was rapidly intro-  him for pirating his prints, which he had copied
duced into every part of Germany and the Low   with such wonderful accuracy that they were sold
Countries; and many of the books published were  for the originals. Marc' Antonio soon went to
illustrated with wooden cuts. The earliest book  Rome, where his merit obtained the friendship of
published is Guttenburg's Latin Bible, called the  Raffaelle, then in the plenitude of his fame, by
Forty-two-lined Bible, because each page had forty-  whom he was employed to engrave after his detwo lines, finished about 1455. The author has a  signs. His engravings after Raffaelle are very nucopy of the celebrated Nuremberg Chronicle, or  merous, and though wanting the blandishments
History of the World. It is a large, heavy folio in  of style, chiaro-scuro, and local color, which the art
Latin, printed in black-letter, illuminated and em-  has received since his time; yet such was his knowbellished with about two thousand wood cuts, some  ledge of drawing, and such the beautiful charcter
of which are remarkably well executed. The book  that pervaded his works, that he is esteemed one
dates 1492 on the last page, to which time the his-  of the greatest engravers that ever lived. The
2




Xiv                                       ENGRAVINO.
fame of his school attracted artists from all parts  are enveloped. Vandyck has left a few specimens
of Italy, and some from Germany and France re-  of etchings worthy of his name. Jegher, Lutma.
sorted to Rome for the benefit of his instructions.  and above all, theVisschers, exhibited great excelHis last print, the Battle of the Lapithe, is dated  lence in the art, which continued to advance under
1539. From  his time, engraving may be said to  the hands of Waterloo, Jacob Ruysdael, and Paul
have been practised in Italy in the highest perfec-  Potter; the last of whom, in his etchings of anition, and a host of bright names follow on down to  mals, displays a scientific acquaintance with anatthe present time. [See Marc'Antonio Raimondi.]  omy before his time unknown.
The Dutch and German Schools.-In Germany         The French School commenced about the midand the Low Countries, the art of engraving had  die of the sixteenth century, with Noel Garnier,
made extraordinary progress during the fifteenth  who was followed by many excellent artists; but
century. Marthi Schoen, or Schoengauer, is con-  till the time of Louis XIV., it cannot be said to
sidered the father of the German school of engra-  have been highly distinguished. At this period
ving. He was a native of Culmbach, in Franco-  appeared Gerard Edelinck, and Gerard Audran.
nia, and born about 1420. He began to practise  The former of these worked entirely with the grathe art in its infancy, and succeeded in carrying it  ver, and carried what is called color in engraving,
to a great degree of perfection. He died at Col-  on which effect greatly depends, to a much greater
mar in 1486. Vasari states that Michael Angelo,  degree of perfection than had ever before been pracwhen young, was so much pleased with a print by  tised. His facility was amazing, and portraits and
Schoengauer, representing St. Anthony tormented   history were equally the subjects of his burin.
by the Devils, that he copied it in colors. Albert  The name of Audran is illustrious in the history
Durer, the most celebrated of the early engravers  of engraving, not less from the circumstance that
of Germany, was born at Nuremberg in 1471.  the family has produced six famous engravers, than
Skilled in many arts, and a painter of no ordinary  from the works of Gerard Audran, whose name
powers, it is astonishing that in a life not exceeding  will descend to posterity with great lustre for his
fifty-eight years, he should have succeeded in car-  engravings of the Battles of Alexander, after Le
rying the art of engraving to such perfection as has  Brun, as well as many exquisite specimens of the
hardlybeen surpassed. He engraved both on wood  art after the Italian masters, particularly Nicolo
and copper. Of. his numerous works, his wooden  Poussin., Gerard Audran was born at Lyons in
cuts are the most free and masterly. The inven-  1640, and died at Paris in 1703. John Audran,
tion of etching is also attributed to him. Follow-  the last of the family who exercised the art, war a
ing Durer were Aldegrever, his pupil, Hans and  nephew of Gerard, and died at Paris in 1756.
Bartholomew Beham, Altdorfer, Binck, Goerting,  Nanteuil, the three Drevets, of whom Peter was
Penz, Solis, and Hans Holbein, who, besides his  the most eminent, Le Clerc, Chereau, Cochin,
celebrity as a painter, acquired great reputation  Beauvais, Simoneau, Dupuis, and many other emby his numerous engravings; the best of which  inent masters appeared about this period. Baleare the series of fifty-two prints, called the Dance  chon and Wille, about the middle of this century,
of Death, published in 1530.                    surpassed all their predecessors.  Wille was a
Of the Dutch and Flemish School.-Lucas van   German, but his residence having been at Paris,
Leyden must be considered at the head of this  he is always ranked with the French engravers.
school. He was born in 1494 at Leyden, whence  His extraordinary power of imitating particular
he takes his name. He was a contemporary and  objects, especially satins, the smoothness of the
friend of Albert Durer, to whom, though inferior  effect he produced, and his remarkable cleanness in
in design, he was superior in composition. He en-  the use of the graver, entitle him to a place in the
graved both on wood and copper. The Low Coun-  first rank of the French School, which since the
tries furnished a host of engravers, among whom   time of Louis XII., has been more distinguished
it is unnecessary to mention more than the Sad-  for its great mechanical skill than for perfection in
elers, Abraham Bloemaert, who laid the founda-  the higher departments of the art.
tion of the principles upon which lines become     The English School.-Till the middle of the
capable of expessin  quality, color, and chiaro-  eighteenth  century, England was principally inscuro, and whica was subeqiuntly improved by   debted to'foreign artists for the embellishments
the Flemish engravers, Goltzius, Muller, and Lu-  bestowed upon her typographical works, as well as
cas Kilian. The three last, though they handled  for such engravings as the taste of the nation rethe graver with great dexterity, fell into many ex-  quired. Most of the former were executed abroad,
travagances and absurdities, which, however, were  and brought to England to be printed; the latter
tempered andcorrected by Mathieu and Sadnredam.  were imported in such quantities as to satisfy the
In the beginning of the seventeenth century, the two  demand. Some foreign artists came over to EngBolswerts appeared, whose style was much im-  land, and found sufficient encouragement to induce
proved by the instructions of Rubens. Voster-  them to take up their abode there. Payne, who
mans, Pontius, and Peter de Jode the younger,  died about 1649, and Faithorne, who executed many
were all of this school, which is distinguished for  historical pieces and portraits in a reputable manthe success and correctness with which it transfer-  ner, are the first deserving of notice. William
red the picture to the copper. Rembrandt, not-  Faithorne, son of the latter, was the first who prao
withstanding all his faults and absurdities, claims  tised mezzotint engraving in England, a species of
a high place as an engraver. The Descent from   engraving which the English attribute to Prince
the Cross, and the " Hundred Guilder Print," are  Rupert but which Heineken claims for Lieutenant
extraordinary efforts of the art. His portraits and  Colonel Siegen, a Hessian officer, from whom, he
landscapes are full of nature, expression, and char-  says, Prince Rupert learned the secret, which he
acter, and it is difficult to say whether he is more  carried to England on the return of Charles II.
successful ih his sunshine efforts, or in the sober,  After the two Whites, father and son, appeared
solemn twilight, with which his varied subjects  Vertue, who was born in 1684. He executed a




EN URAVING.                                       X
great number of portraits and landscapes, in a poor  terwards completed with the graver and the bur
style, and died in 1757, leaving behind him his  nisher.
" IIistory of Painters and Painting in England,"    Some of the old masters designed and etched on
which was afterwards published by Horace Wal-  the ground at the same time, without any previous
pole, in four quarto volumes. The works of Pond  transfer of the design; but this can only be done
and Knapton can only be mentioned as continuing  by a perfect master of design and drawing. Etchthe history, and none are worthy of particular no-  ing with a soft ground is used to imitate chalk and
tice till the timeofWoollett, when the liberal en-  black-lead drawings.  For this purpose, a soft
couragement afforded by Alderman Boydell, who  ground is prepared with wax and tallow, or lard,
has justly been termed the father of engraving in  according to the temperature. The design is seEngland, suddenly brought to notice a number of  cured to the edge or corners of the plate. A point
artists who did honor to the art. Among the  then traces the lines, and the soft ground underbright names which grace this period of the Eng-  neath, adhering to the paper, is removed with it.
lish School,are Woollett, Sir William Sharpe, Sir    The characteristic of a masterly etching is the
Robert Strange, John Brown, Raphael Smith, Earl-  unrestrained liberty of execution in which the
om, Bartolozzi, Thew, Middiman, Basire, Rooker,  point runs playfully over the plate as in ornaHeath, Byrne, Bromley, Lowry, &c.; till at length,  mental writing. Etching is admirably adapted for
the liberal encouragement which the English ex-  the imitation of drawings, and especially for the
tended to their artists, has brought the art of engra-  delineations of scenes from nature, as landscapes,
ving, in every department, to the highest degree of  in which the foliage, sky, ruins, distances, &c., reperfection in that country.                      quire the utmost lightness and freedom of hand.
In this enumeration of masters, the name of  The slight inequalities of the lines, caused by the
Hogarth has been omitted, because his engravings  corrosion of the acid, add to the beauty of the
partake more of the nature of pictures transferred  effect.
at once to copper, often without proceeding through  Etching is a very simple operation, and any one
the intermediate stages, and that, as specimens of  who can draw well, can etch. It is suprising that
the art, separate from the invention of the master,  so few modern painters etch, as very many of the
they have little merit. It is the invention of Ho-  old masters did, and whose etchings are now so
garth, in which he is unrivalled, that gives the  highly esteemed. It is true the necessities and
charm and value to his works.                   -incentives are somewhat done away by the faciliIn Spain no particular school of engraving has  ties of modern engraving, and the great number of
been established for want of encouragement. They  engravers; but a poor engraving is not to be comi
import all the fine works which the taste of the  pared with a masterly etching, and a masterly encountry requires.                                graving costs so much that it will only pay to enAmerican School.-In the United States, bank-  grave the best works of the best masters. Had
note engraving has been carried to the highest per-  the late Thomas Cole etched some of his exquisite
fection! Little more can be said. We have not  landscapes, doubtless the sale would have been improduced a work worthy as a model for an engra-  mense and the profits large, for thousands would
ver, yet our engravers have evinced a talent equal  have sought to possess such works by so great a
to the task of executing works in the highest style  master, who could not afford to purchase his paintof the art; but as long as the taste is for the  ings. It is also a pleasant pastime to those who
cheapest works, we shall have machine-made prints  have the taste. Some noble amateurs have thus
in abundance; and when we publish prints by lib-  amused themselves in practising the art. It is
eral subscriptions, or feel willing to pay liberal  worthy of notice that the Queen of England and her
prices, we shall have a school of our own worthy  royal Consort sometimes amuse themselves with
of the country. Till then, we must import all fine  etching, and thus set an illustrious example that
works, and pay as high prices for them as would  cannot fail to have a beneficial influence on the
sustain a school of our own.                    fine arts in England.
Line Engraving.-In this method of engraving,
ENGRAVING ON COPPER AND STEEL.            the design is transferred as before described in
Etching.-The plates used in engraving are pre-  etching, and the outlines only etched in. Then, the
pared by the manufacturer fit for use. In etch-  ground is removed, and the lines laid in, and cut in
ing, the ground is first laid, i.e., covered with a  with the graver. This is the most difficult and tecoating of wax or a kind of varnish capable of re-  dious, and the most expensive kind of engraving, resisting the action of nitric acid. Next, the usual  quiring the greatest juagment, skill, and care. Enmethod is to lay the design, previously drawn on  gravers have frequently wrought five or more years
paper with a black-lead pencil upon the plate, (the  on a single plate, and some instances are recorded
paper being previously dampened and the design  where they have spent ten or more years. Thus
acing the ground); it is then passed through a  it will be perceived, that engraving is one of the
rolling press, which transfers the design from the  most tedious and difficult of the arts, for if any acpaper to the ground. The lines of the design are  cident happens to the work, the part injured must
then scratched down to the metal with a sharp in-  be scraped out, the plate leveled by beating up on
strument called an etching needle. A border of  the back, and the parts re-engraved.
wax is run round the edge of the plate, diluted ni-    Stipple Engraving.-The plate is first treated
trie acid poured on and allowed to remain a suffi-  as before described in line, engraving. It differs
cient time to bite in, or corrode the lines made with  from line engraving in this respect, that the work
the etching needle. When the lighter parts are  is produced by minute punctures or dots. These
sufficiently bitten, the acid is poured off; such parts  punctures, when made with the dry point, are c'>
Stopped out with varnish and the acid again ap-  cuar, and with the graver, triangular. The vaiaplied. This process is repeated till all the parts  tions and progressive magnitude of these dots give
pave a sufficient depth of color  The work is af-  the whole effect of light and shade in stipple en



XVI                                        ENGRAVING.
graving. This method, next to line engraving, is  quired with ink-balls or dabbers, and the impresthe most tedious. Both methods have their ad-  sion taken in the ordinary way. The prints are
vantages, and are frequently combined, in modern  then colored with the brush, by hand; which pro
prints. Large plates generally require a force and  cess, the printing in colors greatly facilitates.
power of execution, to which the line is best adapt-    Engraving in dots, called opus mallei. This is
ed. On the contrary, for carnations, and those  an antiquated mode of engraving, supposed to have
delicate transitions of light and shadow, for satins,  been first practised by Janus Lutma. The design
laces and silks, the stipple is preferable.      is first etched, then the plate is harmonized by the
In modern times, ingenious machines, especially  dry point, struck with a small hammer, whence
the ruling machine, have been invented to facili-  its name.  It possesses no advantages to recomtate the process of engraving. With the ruling  mend its use.
machine, the skies, back-grounds, and even some    Etching on Glass. —This is done by covering the
parts of the figures are ruled in, saving thereby   glass with a thin ground of wax, tracing the deimmense labor and expense. But such prints are  sign with the point, and scraping away the wax so
not esteemed by connoisseurs as worthy a place in  as to expose the glass to the action of hydro-fluotheir portfolios. The old engravers used none of  ric acid. This is done by covering the part with
these things, and most modern engravers who work  pulverized Derbyshire spar mixed with sulphuric
for reputation, seldom employ them. Delicate ru-  acid, which sets free the hydro-fluoric acid existling has recently been introduced into the figures  ing in the spar, which acid will corrode glass.
in mezzotint plates, which is an improvement.       Zincography.-This is a method of engraving
Mezzotint Engraving.-This style of engraving   on zinc plates recently invented in Germany. It
is executed by raising a barb on the surface of the  has not yet been introduced into this country. It
plate with an instrument called a rocker, so as to  is done by etching and the use of acids, and the
give a black ground. In Europe, this is now done  prints vary very little in appearance from  lithowith machinery, and the plates, thus prepared, are  graphs.
sold to the engraver by the square inch.  The       Pentography.-This method is done by means
engraver traces his outline upon the plates, and  of a ruling machine, so constructed that the lines
the light parts are scraped out, then the middle  are made to diverge and converge at the pleasure
tints, so as to leave a portion of the ground. This  of the operator. The lights are produced by the
branch of the art has been brought to the highest  widening or diverging of the lines, and the darks
perfection in England, France and Germany. It  by approximating or converging them. This style
is also practised in a vergy creditable manner by  is very well adapted to statuary or busts, when
our.own artists. The advantages of mezzotint en-  cheapness is ap object.
graving are, the facility of execution, and the deli-    Engraving on Steel. —The same methods are
cate softness of the prints. It is admirably adapt-  now pursued in engraving on steel plates as on coped to represent the softness of the carnations, the  per. The advantage of engraving on steel plates
light floating of the hair, the folds of the draperies,  consists in their hardness by which they are made
the lustrous brilliancy of armor, and the imitation  to yield an almost indefinite number of impresof the delicate coloring of a picture. This style of  sions, whereas copper plates will WSo out, espeengraving will yield 500 or 600 good impressions  cially in fine work, in taking 1500 or 2000. Steel
from copper plates, and 1500 to 2500 from steel  plates were first employed by our ingenious counplates, but the latter by the frequent use of the  tryman, Joseph Perkins of Boston, who took his inrocker and burnisher, may be made to give a vast  vention to London, where he established himself and
number of poor impressions.                      introduced it with such eminent success, that it
Aquatint. —In this mode of engraving the out-  has superseded copper in all cases where a large
line is first etched, as before described. A solu-  number of impressions are required. Formerly,
tion of Burgundy pitch or mastic, made in alcohol  the plates were partially decarbonized, so as to
or spirits of wine, is then applied to the plate,  render them soft, before engraving, and when the
which, by its rapid evaporation, forms a ground  work was finished, the carbon was restored, but this
of a granular texture. The acid is then poured on  method is so liable to accident, from the scaling
as in etching, and when the lights are sufficiently  and blistering of the steel, that it has been abanbitten they are stopped out, the acid again applied,  doned, except in engraving dies for the vignettes of
and so on till all the parts have a sufficient depth  bank notes. These dies are so hardened that all
of color. The method of laying the ground varies  the embellishments of bank notes are transferred
somewhat, as practised by different engravers, but  from them to copper or steel plates by pressure.
the above is considered the best.  This method  An engraving on a steel plate, hardened, may be
was invented by St. Non, a Frenchman, about  transferred in relief to a softened steel cylinder by
1662. Paul Sandby introduced it into England  pressure: this cylinder after being hardened may be
about 1780, where the art has been brought to the  made to again transfer the design to steel plates;
highest perfection.  By this mode of engraving  thus the work may be multiplied at pleasure.
drawings in India ink, blister, and other washes,    Printing Engravings.-This is an interesting
are very successfully imitated. It is chiefly used  process, and one of great importance, as muci of
for sporting pieces, horse-races, plans of cities and  the beauty of the prints depends upon the printer;
the like. When colored they have a pleasing effect.  for if the ink be too thin, or the plate too full, it
Aquatints are sometimes printed in colors, i. e.,  will overrun, and devil or blur the print in taking
two or three different colored inks are employed  the impression. In printing heavy work, the greatat the same time on the plate, as a blue for the  est care is required, or half the impression will be
skies, a neutral tint, as brown, for the rocks, hills  spoiled.  A careless printer will also grind the
and distances, and a green for the foreground when  plates, or wear them out much faster than an exthere is much foliage. The colors are carefully put  perienced and careful workman.
on those parts of the plate, where they are re-    A plate printing press cannot well be described




ENGRAVING.                                        xvii
without a diagram. Suffice it to say that the bed-  cut. After the stones are thus turned or cut into
piece on which the plate is laid, is a heavy cast-iron  the proper shape, the engraving of the devices, as
plate two inches thick, the surface planed perfectly  figures and armorial bearings, &c., is performed by
flat, which, by means of gearing, is made to run   means of small iron or copper wheels having a perunder a heavy cast-iron cylinder, six or eight in-  pendicular axis, which revolve in a lathe turned
ches in diameter, also turned perfectly smooth.  by the foot, with diamond dust or other hard
This cylinder is placed above the bed-piece, is  substances. Tools of iron or copper are also emgraduated by screws, and is turned by hand by  ployed; these are of different and convenient
means of levers. The cylinder, graduated accord-  shapes, as small chisels, gouges, points, rounding to the thickness of the plate to be printed, is  heads, &c., worked with diamond dust, &c., for the
covered next to the plate, with several thi&cnesses  figures and delicate work. After the work is finof heavy drab broadcloth, which move with the  ished the polishing is performed with wheel brushcylinder, and are kept in their place by means of  es, fixed in a lathe, with polishing powders, mixed
pullies. The bed-plate being run out, the press is  with olive oil. In this way cameos and intaglios
now ready for use. The plate, having been pre-  are cut, which see in Explanation of Terms in this
viously warmed over a stove or steam-bed so as to  work.
soften the ink, is carefully filled with the ink roller;    Engraving on Stone, or Lithography.-This is
the ink is next removed from the surface of the  a modern invention, the merits of which belong
plate by rubbing with a kind of soft crash manu-  to Alois Senefelder, a musical performer of the
factured for the purpose, called rags; and the palm  theatre of Munich, about 1800. The following
of the hand, rubbed on French whiting, is passed  are the principles on which the art of Lithography
over the whole surface, so as to remove the whole of  depends: First, the facility with which calcarethe ink except that contained in the engraved work;  ous stones imbibe water; second, the great dispo(a thousand experiments have been tried without  sition oily and resinous substances have to adhere
success to obviate this labor,) the plate is laid  to them; third, the affinity between oily an-d resupon the bed-plate of the press, the paper, pre-  inous substances and the power they possess of
viously softened by being wet down over night, is  repelling water, or bodies moistened with water.
laid over the plate and passed under the cylinder,  Hence where drawings are made on the polished
which subjects it to a pressure of many tons; and  surface of a calcareous stone with resinous or oily
this pressure does not come upon the whole plate  substances, they are so adhesive that nothing short
at once, but progressively, in one straight line  of mechanical means will remove them  from it;
across the plate, as it passes under the cylinder; and  and whilst the other parts of the stone take up
the elasticity of the cloth cushion forces the soft  water poured upon it, the resinous parts repel it.
paper down into the engraved work, which takes  Lastly, when an oily ink is rolled over a stone thus
up the ink. Forty or fifty impressions from  a  prepared, it will adhere to the drawings made as
heavy plate is a good day's work, and the price for  above, and not to the other parts of the stone.
printing is about $15 per hundred. After the day's  The stone employed is a kind of white lias which
work is finished, the prints are laid upon racks to  is found abundantly in France, Germany, and Engdry, where they remain several days, when they  land. The ink and chalk of which the crayons are
are pressed. Plate printing is a very laborious  made are of an oily or suponaceous quality. Aftel
kind of work.                                    the drawing has been made upon the stone, and it is
Engraving on Precious Stones.-This is ac-  perfectly dry, a weak solution of sulphuric or other
complished with the diamond or emery. The dia-  acid is put upon it, which slightly depresses the
mond possesses the peculiar property of resisting   surface of those parts where there is no drawing,
every body in nature, and though the hardest of  and prepares it for absorbing the water more
all substances, ft may be cut by a part of itself, and  freely. Weak gum water is then applied to the
polished by its own particles. In order to render  stone to close the pores and keep it moist. In
the diamond fit to perform the operation of a tool,  taking the impression, the stone is first gently
two rough diamonds are cemented to the ends of  washed with a sponge and pure water, the ink
handles,-and rubbed together till that form is ob-  rolled over, the paper applied, and run through the
taiued for which they are intended; the powder  press; this process is repeated for every print.
thus produced is preserved, mixed with olive oil,    Besides the method above described, the designs
and used for polishing them in a kind of lathe with  are sometimes drawn with the brush or pen. They
an iron wheel. Other stones, as rubies, topazes,  are also occasionally engraved on the stone. Enand sapphires, are cut into various angles with  gravings may also be transferred directly to the
diamond dust on a copper wheel, and then pol-  stone by dampening them and subjecting them to
ished with tripoli. A leaden wheel covered with  pressure, by which the ink is made to leave the
emery wet with water, is preferred for cutting em-  print and adhere to the stone. This last method
eralds, amethysts, hyacinths, agates, garnets &c.,  is principally used for maps, blank drafts and bills
and they are polished on a pewter wheel with tri-  of exchange. The advantages of Lithography are
poli.  Opal, lapis-lazuli, &c., are polished on a  the facility with which the drawings are made and
wooden wheel covered with buck-skin, with tripoli  the impression taken, and the extraordinary numand rouge.                                       ber of prints that may be taken. This last deContrary to the method employed in turning  pends altogether on the delicateness or strength of
metals, in which the substances wrought are fast-  the drawing and the manner in which it is done.
ened in the lathe, and the tools applied, the en-  The works of some lithographers will wear much
graver of gems fixes his tools in the lathe and  better thah others. Fine ink drawings will yield
holds the precious stone to them; thus forming   1.000 to 2,000; strong ones generally 3,000 to 5,000.
them to any shape he pleases by the interposition  (14,000 is the highest number taken in the United
of diamond dust mixed with oil, or any other pow-  States, which is considered an extraordinary numdered material that is harder than the stone being  ber.)  Upwards of 80,000 are said to have been




ivili                                    PHOTOGRAPHY.
taken at Munich from one writing of a form for  success; but as yet, the process is too expensive
a regimental order. An engraved stone will wear  for illustrating books. In most foreign illustrated
longer than any other. Transfers will yield 500  works re-published in this country, the engravings
to 1000 impressions. Lithography has been car-  are transfers, i.e., the engraver, to save the trouble
ried to very high perfection in France, Germany,  and expense of making a drawing after the original,
and England.  Lithography may be made to  transfers the engraving at once to his block by
produce prints having the appearance of highly   means of a solution of potash, which softens the
colored engravings.  For this purpose a series  ink so that it will give an exact impression of the
of stones is employed, as many as the number  print. The lights are then cut as before. Transof tints required, and each print is subjected to  fers are always the reverse of the originals. Wood
a separate impression from each stone with its  cuts are printed with a common printing-press.
appropriate tint or colored ink.  As many as
eight stones have been employed. This method                      PHOTOGRAPHY.
is practised to a considerable extent in Europe, but    Photography is the art and science of taking
the finishing is generally done with  the brush   pictures of objects, by the action of solar light, on
and hand. It has recently been greatly improved   paper, metals, or other substances, prepared with
by Mr. Duval of Philadelphia, who, by employing  metallic salts-usually one of the salts of silver, as
eight stones, has produced an exquisite specimen  theNitrate, Chloride, Phosphate, Iodide, Bromide,
of the work, which may be seen in the Patent  &c., all of which are readily decomposed, or acted
Office Reports for 1850. He has given the name  upon by light. The materials thus prepared, are
of Chromolithography to his method.              first submitted to the action of light through the
Lithocromics, is the art of printing in oil colors  camera-obscura, and when they are sufficiently
upon stone, and taking impressions on canvass,  acted upon in this instrument to produce the imThis process, designed to multiply the master-  pression, or picture, it isfixed, or rendered permapieces of painting, was invented about 1815, by   nent, by the application of alkaline salts, or other
M. Malapeau of Paris, who obtained a patent  substances, which cannot be detailed in this work
from  the French government for his invention,  further than to give a general idea of the principles
The art has not been brought to such perfection as  of the science.
to realize the expectations of the patentee, or to  Photography is a very interesting and imporproduce any thing valuable. A similar, but much  tant science, yet in its infancy. Great improvesuperior method, was invented by Senefelder, the  ments have been made since its first promulgation,
original inventor of Lithography, which he calls  are still being made; and many scientific men beMosaic impression.  [See Senefelder.]            lieve that the grealt desideratum of making colored
Wood Engraving, or Xylography.-This, the  photographs, i. e., pictures having all the colors of
easiest mode of engraving, is performed on blocks  natural objects, will be discovered. Indeed, such
of wood, cut across the tibres, of the same thick-  results have recently been announced as having
ness as the length of types for printing, usually  been obtained by one of our own artists, though
of the box-wood, but sometimes the pear, apple,  not yet made public. Photography is a science so
and mahogany are employed for cheapness.  The  interesting and instructive that the author deems
subject is drawn on the block with a black-lead   a short notice of its discovery, and application to
pencil, or with a pen and Indian ink. The whole  art, not out of place in this work.
of the wood is then cut away, except where the      The action of light in producing pictorial effects
lines are drawn, which are left as raised parts.  on paper and metals, prepared with saline or other
These raised lines give the darks, and the removed  substances, had long been known and experimented
parts the lights, which are nothing more than the  upon by the scientific world, with the belief that valnatural color of the paper. The impressions are  uable results might be obtained. For this purpose,
taken on a common printing press. This art is of  experiments were instituted by philosophers in
great importance for embellishing books and illus-  their researches on light; especially by Count
trating scientific works, from its cheapness.    Rumford, M. Seebeck, Dr. Herschel, Dr. Wollaston,
Some of the wooden cuts of the old engravers,  Sir Humphrey Davy, and other eminent men. In
as Albert Durer, Rembrandt, Aldegrever, &c.,  1802, Mr. Wedgewood, the celebrated porcelain
which are now so highly esteemed, were printed  manufacturer, published " An Account of a Mein chiaroscuro, in imitation of chalk drawings-   thod of copying Paintings upon Glass, and of
(see Chalk in Explanation of Terms)-the most  making Profiles by the agency of light upon Nitrate
esteemed, being original designs, partake of the  of Silver; with observations by H. Davy."  They
nature of paintings. For this purpose, two, three,  did not succeed in fixing the colors so that they
or more blocks are employed with inks of different  retained any permanence. The pictures vanished
shades or intensity; the first has the outline only  as soon as they were exposed to the light, and the
cut upon it, the second is reserved for the dark  paper turned to a uniform  dark color,; yet they
shadows, the third for the shadows which termi-  employed the various salts of silver and the camenate on the lights, &c. The blocks are substituted  ra-obscura-the main things now employed.
in turn, so that each print receives a separate im-    In 1814, M. Niepce, of Chalons on the Soane,
pression from each block. Sometimes the outline is  commenced a series of experiments, with a view to
engraved in a bold style on copper; then the  render these pictorial effects permanent; and in
blocks are used to produce the darker and lighter  1824, M. Daguerre, of Paris, engaged in the same.
shades. A few years ago, Mr. Brewster of London  In 1829, M. Niepce communicated to M. Daguerre
invented and patented a process to produie fine col-  the particulars of the process employed by him,
ored prints from wood cuts. For this purpose he  and they entered into an agreement to pursue, for
employed as many as eight blocks, each with a dif-  their mutual benefit, the researches which they had
ferent colored tint or ink, in imitating scenes from   respectively commenced. In 1833, M. Niepce died,
nature, or water colored drawings, with very great  and a new arrangement was entered into between




A KEY TO MARKS FOUND ON ENGRAVINGS AND PAINTINGS.                         XIX
his son, MI. Isidore Niepce, and M. Daguerre. It  had been investigating the subject since 1834, and
is very doubtful if either of these gentlemen would  had made a series of experiments with a view of
have accomplished the desired result alone. At all  rendering the images of the camera-obscura perevents, AI. Niepce has the priority of experimen-  manent. which resulted in complete success; and
tal investigation, and had succeeded in accomplish-  in the most disinterested manner, he communicaing all except the facility and certainty of fixing  ted the result of his researches to the Royal Socithe colors, which was chiefly effected through the  ety on the 31st of January, six months prior to the
skill and perseverance of M. Daguerre, to whom   publication of M. Daguerre's process. It is but
the invention is mainly attributed.               just to observe, that similar investigations had
In January, 1839, the discovery of M. Daguerre  been made by some philosophers in the United
was reported, and specimens exhibited to the sci-  States, particularly by Professors Hare and Ure,
entific world of Paris. The extreme fidelity, the  and immediately after the publication of these disbeautiful gradations of light and shadow, the mi-  coveries abroad, the Americans availed themselves
nuteness, and the extraordinary character of these  of them; and it is acknowledged that they have
pictured tablets, took all by surprise, and the whole  brought the art to a higher degree of perfection
world was astonished that light could be made to  than any other people. We will close this article
delineate, on solid bodies, delicately beautiful pie-  with a brief explanation of the different names
tures, geometrically true, of those objects which it  given to the art.
illuminated. The French Government bought the    It was first called Photography, from two Greek
secrets of the invention by conferring on M. Da-  words signifying writing by light; also, photoguerre a pension for life of 6000f., and on M. Isidore  genic drawing, or drawing occasioned or produced
Niepce one of 4000f., with one-half in reversion to  by light.  I. Daguerre gave it the name of Helitheir widows, and the process was published to the  ography, or writing by tho sun; and the French
world; France declaring that she purchased the  Government named it after its discoverer, Daguersecret of the process of the Daguerreotype, for the  reotype. Talbot called his process Calotype; and
glory of endowing the world of science and of art,  as his experiments were made on prepared paper
with one of the most surprising discoveries that  pictures taken on paper by his process are called
honor her country.                                Calotypes, or after him, Talbctypes.  Pictures
The great philosopher, M. Arago, who was at  taken on metallic plates are now usually called
the head of the commission appointed by the Gov-  Daguerreotypes, and on paper Photographs.
ernment to report on the propriety of granting a
pension to the inventors, thus speaks of the im-  A KEY TO MARKS FOUND ON ENGRAVINGS AND
portance of the discovery:                                         PAINTINGS' To copy the millions upon millions of hieroglyphics which cover even the exterior of the great    Monograms and Ciphers.-Monograms and cimonuments of Thebes and Memphis, of Carnac,  phers are the private marks used by painters and
&c., would require scores of years, and legions of  engravers to distinguish their works. A mono
designers. By the assistance of the Daguerreo-  gram is formed by combining two or more letters
type, a single man could finish that immense work.  usually the initials to a master's name. A ciphei
Supply the Institute of Egypt with two or three of  is any other mark, as a cross, a house, a tree, a
the apparatus of M. Daguerre, and upon most of  bird, an implement, etc. Some of the old engrathe great plates in that celebrated work (the fruit  vers combined both in the same plate. The pracof our immortal expedition) of the vast extent of  tice of using monograms was more common in
real hieroglyphics, these instruments would re-  former times than at the present, and it equally
place these fictitious or invented representations;  obtained both among painters and engravers.
and the designs would surpass, above all concep-   MIany of the old painters signed their names in
tion, in fidelity, and peculiari  of tint, the works  full, as is the general practice at the present day;
of our most able painters. Thejiphotographic ima-  others employed only their initials. Many great
ges, being subject in their formation to the rules  masters seldom  or never signed their works, as
of geometry, would, through the aid of a small  Michael Angelo and Raffaelle.  The latter was
number of data, admit of coming at the exact di-  never known to attach his name but to three of his
mensions of the most elevated and inaccessible parts  works.
of those edifices.                                 A monogram is no certain sign of authenticity in' These reminiscences, in which the savans and  a painting, as every great master has his imitators;
artists, so zealous and celebrated, who were at-  but it is generally a very certain one in an engratached to the army of the east, could not, without  ving. The monograms and ciphers used by the
strange mistake, find the shadow of blame, will  most distinguished Old Masters, both painters and
without doubt recall the thoughts to the works  engravers, will be found in the plates and scattered
which are at present executed in our own coun-  throughout this work.
try, under the control of the commission of His-    In engraving, the common custom is to write the
torical Monuments. At one glance any one will  painter's name in the left hand corner of the plate,
perceive the immense and important influence  and the engraver's in the right hand; sometimes
which the photographic processes are destined  the name of the draughtsman appears in the centre,
one day to exercise upon that great national en-  and occasionally that of the publisher.  Thus.
terprise; each will comprehend how much these   Carlo Cignani, Pinx.; J. B. Michel, Sculp.; G.
novel modes of proceeding are distinguished by   Farrington, Delt; J. Boydell, Excu.  signifies
economy, a species of merit which rarely advances  that Cignani was the painter, Michel the engraver.
with the arts, in the perfecting of their products."  Farrington the draughtsman, and Boydell the pubIn the meantime, the learned English philoso-  lisher.
pher, Henry Fox Talbot, F.R.S., without any know-    The following marks are copied from old engraledle of the discoveries of Niepce and Daguerre,  vings, and for this reason are given, though some




XX                 A KEY TO MARKS FOUND ON ENGRAVINGS AND PAINTINGS.
of them are incorrect.  P., Pin., Pinx., Pinxt.,  self only understood; and such prifits, if the mas
Pinxit., Painted; all of which mean the same  ter is not positively known, are adjudged by conthing-that the artist to whose name they are at-  noisseurs to such a master, by the exact resemtached, painted the picture.                     blance of the style.
Dl., Delt., Delt., Delin.. Delint., Delineavit,    Some of the old masters employed singular or
Drew; signifies the draughtsman who made the  fanciful marks, as birds, animals, houses, etc., usumodel or drawing for the engraver, after the orig-  ally having some reference or allusion to the name
inal painting.                                   of the artist. Thus, Jerome Cock marked his
Sc., Sct., Scul., Sculp., Sculpt., Sculpsit, En-  plates with two cocks fighting; H. le Bles, with an
graved; signifies the engraver.                  owl on a branch, or in a cage; Hans Adam, with a
Ex., Exc., Excu.. Excud., Excudit, signifies  naked figure unrder a tree, with his initials; Martin
the publisher.                                   de Vos, with a monkey and a fox, separated by a
Sometimes Depinxit and its contractions are  stream; Hans Schaufflin with a small shovel,
used for Pinxit; also Exculpsit and Incidit, for  sometimes two, crossed, with his initials-his name
Sculpsit.                                        signifying in German small shovel; Martin, with a
I., In., Inv., Invt., Inven., Invenit, Invented; sig-  little bird of that name; Leech, with a bottle connifies designed, and is frequently used to signify  taining a leech. Zuccarelii's mark is always a
the painter,                                     pumpkin or squash of large size, growing on a vine
F., Fe., Ft., Ft., Fe, Fec. Fecit, Made; should  upon a shepherd's cot or fence, or stuck with a
signify the print was designed, drawn, and engra-  stick on a rustic's shoulder; his name signifying in
ved by the same artist; but it is frequently used  Italian, little pumpkin.
to signify the painter; and sometimes the engraver    A monogram  is not always a certain mark of
incorrectly attaches it to his name for Sculpsit.    authenticity, though it is with the few rare excepA sculptor is signified by Inv. et Sculp., i. e., In-  tions where the works of renowned engravers have
ventor et Sculptor.                              been counterfeited. Thus, Marc' Antonio copied
Inv. et Delin. signify designed and drawn.     the thirty-six prints representing the Life and
Inv. et Sculp. designed, drawn and engraved.    Passion of our Saviour, by Albert Durer, so accuAd viv., or aa vivum., signifies drawn or painted  rately that he sold them  for the original prints,
from the living model.                           which induced Durer to go to Venice to prosecute
Some of the old masters etched or engraved their  him for the piracy.
own pictures, in which case they usually added to   The value of a print depends upon its beauty
their names or initialspinx. et sculp., or fec., or inv.  and rarity. Many prints (fine impressions) by the
Some of the old painters and engravers varied   Old Masters command enormous prices. Some by
their signatures or monograms at different times  Albert Durer, Marc' Antonio, and others, are worth
or periods of their lives. Thus A.C.P., or A. C., or  five to fifteen guineas in London. Sometimes prints
Agos. C., or A. G. Bononie, all signify Agostino   are published by subscription, with the underCaracci of Bologna. Salvator Rosa signed his name  standing that the plate is to be destroyed after a
in full to his earlier works; afterwards he used  certain number of impressions have been taken.
a monogram of his initials, an R entwined with   Such prints are very high. Thus the Transfiguraan S.                                            tion, by Raffaelle Morghen after Raffaelle, is worth
There is no verb in the Latin language signifying   even in the United States, $250. Many prints were
to etch which is rendered, aqua forti notas me-  formerly published in England and other countallo factas corrodendas dare, Therefore some  tries in this manner. The first impressions from a
of the aforementioned terms are employed for the  plate always command the highest price. Thus,
purpose.                                         some of the old engravers designated the number
Sometimes engravings are marked with the ini-  of the impression by figures, letters, or other
tials, or a monogram  composed of the initials of  marks; thus, 1 might designate the first hundred,
both the painter and engraver; sometimes with the  2 the second, and 3 the third; and these marks are
initials or two first letters of the master's name,  carefully noted by the connoisseur.
with P.,., or F. frequently added to signify      Engravings are usually divided into prints, proofs,
pinxit, tnvenit, or fecit.  Thus, F. P. M. A. sig-  and proofs before the letter; or first comes the
nify that Francesco Primaticcio was the painter,  proof before the letter, next the proof with tha
and Marc' Antonio the engraver; L. C., F. B.,  skeleton letter, and last the print. The price of
or Lod. C. I., Fr. Bri., signify that Lodovico  the proof before the letter is usually three times
Caracci was the painter, and Francesco Baccio  that of the print, and the skeleton or second
the engraver. A. L. P., I., signifies that Antonio  proof twice as much. Modern English prints are
Licinio Pordenone designed the subject, B. F.  very high. The finest prints after the best masV., F., Battista Francesco Veneti,fecit.         ters, as Wilkie, Landseer, and Martin, range from
Sometimes the place of nativity or residence is  $20 to $60. The reason for this is that the first
designated, as lI. AG., FLO., Michael Angelo,  engravers are employed to execute such works,
of Florence; IO. AN., BX., Giovanni Antonio,  and the copy-right is very high. Sir David Wilkie
of Brescia; F. B.V., I. or F., Federigo Baroccio  would never sell his copy-rights, which were a
of Urbino, invenit orfecit.                      source of great revenue to him. Sir Edwin LandMonograms are sometimes so composed as not  seer is said to have received ~5,000 for the privionly to designate the master's name, but his nick-  lege of engraving one of his finest pictures. The
name, or acquired name; or his place of birth or  English are willing to pay liberal prices for works
nativity; or of his instructor or publisher; and  of merit, and this is the way to make the Fine
occasionally marks are found which the artist him-  Arts flourish in any country.




CRITICISM ON WORKS OF ART.                                    XXI
IMPORTANCE OF CORRECT WRITING AND CRITICISM   accounted; nor are all those who can plausibly desON WORKS OF ART.                    cant on the perfections and defects of a piece of
painting to be considered as solid or profound
An author who presumes to write on any sub-  judges of the intrinsic merits of a performance.
ject without possessing the requisite qualifications,  " As painting is the representation of nature,
justly lays himself open to severe criticism; be-  every spectator, whether judicious or otherwise,
cause, instead of rendering a benefit, he inflicts  will derive a certain degree of pleasure from seeing
positive injury on the community; but the critic,  nature happily and beautifully imitated; but,
in justice to the public, as well as the author,  where taste and judgment are combined in a specshould speak with candor and knowledge. It is a  tator, who examines a design conceived by the
matter of the first importance to the advancement  genius of a Raffaelle, and touched into life by his
of the Fine Arts in our country, where the press is  hand; such a person feels a superior, an enthua mighty engine that thinks for the great mass of  siastic, a sublime pleasure while he minutely traces
the people, that critics on works of art should not  the merits of the work; and the eye of such a cononly write with candor, but with that knowledge  noisseur wanders from  beauty to beauty, till he
and judgment which constitutes the true connois-  feels himself rising gradually from admiration to
seur; otherwise they will often lacerate the heart of  ecstacy.
a young and promising artist, if they do not for-    "To acquire a well-founded taste for painting,
ever crush his hopes.  The following observa-  there are many essential requisites, without which
tions, on this subject, by the learned and judicious  it is scarcely possible to discern the real perfections
Pilkington, in the preface to his Dictionary of   of a performance.
Painters, are worthy of attentive perusal and con-    "On( requisite is, to be familiarly conversant with
sideration:                                        history, particularly the sacred, from which many
"The notion, advanced by some foreign critics,  of the subjects that animated the pencil of Rafand which for a considerable time obtained too  faelle and the best artists were composed. * * *
much credence, that either the atmosphere of Brit-    "Another requisite is the study of profane hisain, or the genius of its inhabitants, was unfavor-  tory, particularly that of Greece and Rome: and
able to the formation of a School of Painting, has  of Italy also3 from the declension of the Roman
received a decisive refutation in the Royal Aeademy   empire. By such a course of study, an admirer of
established by one monarch, and in the foundation   painting may qualify himself to fix on the partiof the National Gallery by his august and accom-  cular action represented by any artist, even at the
plished successor. This triumph is not epheme-  first view (supposing that action to be described
ral, but the result of energies properly directed,  in a suitable and masterly manner,) and be enand of a patronage liberally conducted upon pat-  abled to judge whether the passion and expression
riotic principles, for the public benefit, and not for  be just; whether the costume be properly. obthe indulgence of a particular humor, or the acqi-  served; whether the characters are marked agreesition of individual glory. Yet, gratifying as this  ably to historical truth, and the incidents judispectacle is, we may reasonably hope that it is but  ciously introduced.
the prelude to one still more brilliant, and that the  " Another requisite is, to have a competent skill
time is not far distant, when the British School of  in drawing, and a knowledge of anatomy, that the
Art will be as much the object of admiration as  connoisseur may form a steady judgment of the
that of Rome was under Leo X. To accomplish  swell or depression of the muscles in different acthis object, however, emulation must be continual-  tions and attitudes; of the true proportions of the
ly excited, and rising genius liberally encouraged;  limbs and extremities of the figures; of the elejust principles must prevail, and these cannot be  gance of the contours; and whether the figures apattained without much study, and an habitual ac-  pear justly balanced, in whatever attitude they are
quaintance with the sublimest models.  It were  placed; so that he will readily discern where the
therefore to be wished, that our artists, as well as  artist has happily succeeded in his imitation of
our nobility and gentry, who either travel abroad  nature, and in what respect his execution is de
for the improvement of their taste; or inspect the  fective.
capital collections of paintings in England, could     "Another requisite is, to have studied nature, so
prevail upon themselves to be more accurate in the  as to have impressed on the memory beautiful and
observations they make, while they entertain them-  exact images of every object that can enter into a
selves by contemplating the works of the celebra-  composition; and to have accustomed the eye to
ted masters; so as not only to be struck with ad-  distinguish what is gracefully natural, not only in
miration while they behold them, but also to pen-  the human form, but in trees, rocks, rivers, anietrate the cause of so powerful an effect on the  mals, as well as those momentary incidents of
passions of their minds.                           light, which agreeably diversify the face of nature.
"To see and to admire a painting is not suffi-    "Another requisite (and that not the least difcient; for even those of the meanest capacity, the  ficult) is, the study of the works of the most failliterate and the unskillful, can readily arrive at  mous masters; to observe them with so piercing
such a degree of taste. But a refined taste can on-  an attention as to discover their manner of penly be formed by studiously examining the whole  cilling, the force and delicacy of their touch, as
and every part of a composition; by exploring the  well as their style of invention or composition; for
grandeur of the ideas; the sublimity in the expres-  every eminent artist has his peculiarities in comsion; the truth and elegance of the design; the  position, expression, and design, as well as colorgrace diffused through the objects; the resem-  ing; which, when critically noticed, will distinblance of nature in the coloring; and the magic  guish him from others, whether they be his equals
touch of the pencil.                               or his superiors in merit.
" The true knowledge of the art of painting is     " It is only by a frequent and studious inspec.
not so easy an acquisition as too frequently it is  tion into the excellencies of the artists of the first




Xxii                                  RESTORING PAINTINGS.
rank, that a true taste can toe established; for, by   servation of these particulars, confirmed by a conm
being attentively conversant with the elevated ideas  petent skill in the style of each master's composiof others, our own ideas imperceptibly become re-  tion, a judicious person will, without much diffifined.  We gradually feel a disgust at what is  culty, qualify himself to judge with accuracy of
mean and vulgar; and learn to admire what only  the hands, as well as of the merits. of the different
is justly entitled to our commendation.  It is  masters."
scarcely possible that a judicious reader, who has
improvingly studied the beauties of Milton, Shaks-              RESTORING PAINTINGS.
peare, and the best writers, can descend to be delighted with compositions that are comparatively     In repairing ancient paintings which have susindifferent, although such compositions may have,  tained injury from time or ill-usage, they should
in particular parts, a certain degree of merit. A   be carefully lined and stretched by a man whose
polished pebble may be esteemed as a diamond by  trade it is, and who perfectly understands his
one who has never sufficiently attended to the na-  business.  The artist then cleans the painting
tive lustre of that gem; but a critical eye will  by removing the old coats of varnish, and carereadily determine between the glitter of the one,  fully restores the injured parts. This is a nice
and the lovely vivid beam of the other.  Till,  operation, and requires great skill and a thortherefore, a lover of the art of painting arrives at  ough knowledge of the palette, so as exactly to
such a degree of judgment and taste, as renders  imitate the touch and colors of the original painthim incapable of being pleased with what is indif-  ing. The great merit in restoring a painting, conferent, he may conclude that his taste and judg-  sists in its being so skillfully done as not to be
ment are still but imperfect.                      apparent. Many artists proceed to paint the pic" Besides, by being familiarly conversant with  ture all over, which deprives it of originality, and
the works of the best masters, not only the taste  effectually destroys it in the estimation of the conof an admirer of the art will be effectually estab-  noisseur. Hence a good judge will give more for
lished, but his judgment will proportionably be   a fine picture in its pure state, than after it has
enlarged and confirmed. He will learn steadily  been restored in this manner. Many years ago,
to distinguish the ideas peculiar to each master,  old paintings were imported in their pure state, but
whether in respect of the invention or the disposi-  now, hardly a picture comes from the old country,
tion; he will be instructed to know one master by   especially from Holland,whichhas not been skinned,
the airs of the head, or the attitudes; another, by   as the trade term it; which means that the fine
the dignity or grace of his figure; another, by a re-  finish of the original painting has been removed
markable muscular strength; and others, by their  with the varnish in the application of spirits, by
elegance, simplicity, or astonishing management  unskillful persons.
of the chiaro-scuro.                                 The author knows no man more competent to
"By examining the coloring and penciiling of  judge of the authenticity of paintings, by what
different artists who were excellent, he will dis-  masters they were executed, and to restore them
cover what constitutes the manner peculiar to each,  when injured than his friend, Signor NICOLINO
and qualify himself to judge with precision. He  CALYO, of New York. Signor CALYO is an acwill perceive that almost every artist is remarkable  complished scholar, a skillful artist, bred up in the
for some one predominant tint of coloring; he will  Academy of Naples; a man who has travelled
observe that in some the yellow predominates, in   much, an acute observer and a true connoisseur;
others the brown, the violet, and the green. In   and last, but not least in such matters," an honest
some the black, as in Caravaggio, Spagnoletto,  man."   The author, from an intimacy of many
Manfredi, and Valentino; in some a paleness, as in  years, takes pleasure in testifying to the virtues of
Vouet. and Nicolo Poussin; the purple in theBas-  his friend, and acknowledging his indebtedness to
sans; and in T-eniers the grey. And by a nice ob-  him for much valuable information in this work.




A
BRIEF EXPLANATION
OF THE
PRINCIPAL TERMS USED BY WRITERS ON THE FINE ARTS.
ACCIDENTS [Accidenti di luce, Italian] are those    ATTITUDE is the disposition of a figure or fig.
happy hits, or effects, which artists sometimes get  ures, so as to portray the passions or sentiments
by chance, or inspiration of the moment.  The  supposed to be passing in the mind of the person or
term is also applied to those effects which result  persons represented. It comprehends not only the
from chance (intentional or otherwise on the part  position of the body, but the movements of the
of the artist), as the sun's rays passing through  limbs. When Achilles is menaced with the loss
an opening or a window, and causing a strong re-  of Briseis, it is not enough that rage darts from his
flected light; or, in a landscape, a partial shade or  eyes; the action of the whole body, and of every
shadow, caused by a passing cloud.               limb, should participate in the feelings of the moACCESSORIES are the objects which an artist in-  ment. Attitude is a very difficult but essential
troduces into his works, independent of the princi-  part of the painter's art; for it requires a perfect
pal figures, and which,without being absolutely nec-  knowledge of ponderation, and whatever refers to
essary to the subject, essentially contribute to the  the centre of gravity, a knowledge of the human
perfection, beauty, and energy of the picture. They  heart, and the manner in which its feelings and
supply the place of poetic detail. Thus, in a por-  passions are exhibited in the motions of the body;
trait, when a painter introduces the furniture of a  at the same time he must be careful not to violate
room, library, books, vases of flowers, domestic  propriety, and to choose those positions which dis
animals, etc., these, in the language of   are         as fat as circumstances will permit, the most
called accessories.                              beautiful delineations of the figure. It is allowed
accessothat the choice of fine attitudes constitutes the
ACHROIC, ACHROMATIC.  Wanting in color,  greatest part of the beauties of grouping.
whether naturally or by deprivation.
A BIRD'S-EYE VIEw is a scenographi projection  ALLEGORY, as a term  applied to the arts, is a
i           or view taken from an elevated point in the air,  mode of communicating certain abstract ideas by the
or vie ch takefrom an elevated point l i the air,  aid of symbolical figures. It is chiefly employed in
from which  e eye is supposedto look down up fabulous and mythological representations. It is
~~~~on the objects.      ^also successfully used in subjects taken from the
AERIAL PERSPECTIVE. See Perspective.           poets, who have themselves made use of similar
ANTIQUE. The term antique is applied to those  illusions. Allegory requires to be treated with
precious works and relics of ancient times (especi-   ret address, for if the meaning is not perfectly
ally those executed in Greece, when the arts flour-  apparent, the artist has failed in his object.
ished in their greatest perfection), which have    AIR as applied to the human figure, has nearly
come down to us, such as statues, basso-relievos,  the same meaning as look or carriage, as an air of
and intaglios, or engraved gems. It has been  dignity. In a literal sense, it is synonymous with
doubted whether the finest works of antiquity have  the atmosphere which should surround the figures
come down to us, but the principal of those which  in a painting, so that the canvass is forgotten, and
have been the admiration of modern connoisseurs  the figures appear as in actual space, and not as
and the guide of the most distinguished artists, are  pasted on a flat ground.
the Apollo Belvedere, the Laocoon, the Antinous,
the Torso, the Gladiator, and the Venus de Medi-    AIRINESS is that thin and delicate vapor which
cis.  The Elgin marbles, in the British Museum,  judicious artists throw over their works, and which
form  a treasury of knowledge of the Antique        agreeably deceives the eye.
School. A profound study of the antique was the    ATMOSPHERE is the column of air supposed to
source from which the greatest artists of modern  exist between the spectator and the objects depicted.
times, as Michael Angelo and Raffaelle, drew the  This will be explained under the head of Perspecperfection which has immortalized their names.    tive.' The works of the late Thomas Cole ray be
xxiii




XXiv,                                  EXPLANATION OF TERMS.
cited as instances in which atmosphere, or aerial  and general effect: whereas, if they were broken
perspective is carried to high perfection.         and scattered, the effect would be spotty and disALTO-REIEIVO. See Relievo.                       cordant.
ANACHRONISM, in painting, is the draping of an-    BISCUIT [Bisquit French], a term  applied to a
cient personages in modern costume, as practised   recently invehted species of Ectypes or images,
by some of the old Dutch masters, or vice versa;  made of feldspar and porcelain clay, and then
or the grouping of Popes, Saints, and Cardinals,  baked like porcelain.  The most beautiful are of
with the Savior and his Apostles, as occasionally   a cream color, but they may be made of any color.
practised by some of the first Italian masters to   These ornaments are as beautiful as alabaster,
flatter vanity; also the introduction of modern   much less fragile, and can be afforded at a tithe
buildings, ships, or inventions into ancient subjects,  of the expense.
or vice versa.                                       BUST, or BUSTO, is a term formerly applied in
AQUAREL [Aquarelle, Fr.; Acquarella, Ital.], a  sculpture to a head with the shoulders and breast.
Some modern artists apply the term bust-portrait
term  applied to painting in water colors.  This  Some modern artists apply the term bust-portrait
mode of painting on paper is performed with colors  to a portrait of the same.
so thin and delicate that they are generally little  CAMEO, or rather CAMMEO, in its original sigmore than tinctures. Aquarel, or water painting,  nification, is a gem or device cut out of a hard, lais carried to much greater perfection in England,  minated stone, of a different color above from that
where it is highly prized, than in any other country.  beneath. so that in cutting a figure upon it, enough
It is admirably adapted for sketching landscapes,  is removed to leave the ground of one color, while
and woodland scenery, and many eminent artists  the figures, in a different oe, stand out in relief.
make this branch of the art their exclusive busi-  The term is now applied improperly to the same
ness.                                              kind of work in shells.
BACK-GROUND is a term  applied to the field or     CARNATIONS are the flesh tints in a picture.
space which surrounds the figures in a picture.    CARTOON [from  the Italian, Cartone, a stout
The importance of an appropriate back-ground is  piece of paper.]  Hence, the word came to be apnot always considered, even by artists themselves,  plied by the Italians to the drawings or colored
for much of the effect of a picture depends upon it.  designs on paper, intended to be transferred to the
It is of the greatest consequence that back-grounds  walls in fresco painting, or wrought in tapestry
should be in unison with the figures, and that the   The word is scarcely used in English except when
objects introduced should be conformable to the   speaking of the Cartoons of Raffaelle, which were
time, history, and characteristics of the persons  designs for tapestry, executed for Pope Leo X.,
represented.  Sometimes rich  and  embellished   and which are now in Hampton Court. The Italback-grounds are required, as in the display of ori-  ians generally make a cartoon of the same size of
ental pomp, or of ancient temples and festivals; at  the painting to be executed, whether in oil or
others, the solemnity of the subject demands an  fresco.
austere and unobtrusive simplicity, as in the gen-    CH       or CARGED, is a term  used in art to
erality of subjects of devotion, or those descriptive   signify exaggeration, or something that exceeds naof any pathetic or affecting scene, in which nothing  ture.  Some  artists charge or exaggerate their outshould appear that can diminish the interest in-  lines in order to show a superior degree of skill, or
~spired by the event~, to heighten the effect. De Piles advises artists to
BOLDNESS, in art, is directly opposed to timidity,  avoid charging, and says that the antique statues
or labored execution. Very high finishing is apt  never have this pedantry or affectation; that there
to injure boldness, as well in drawing as in paint-  is nothing of the kind in the works of those great
ing, and this is the reason why the sketches of  masters who always imitated them, as Raffaelle,
some masters please us better than their more la-  Caracci, Domenichino, Nicol6 Poussin, and others.
bored pieces.  But, both boldness of execution and  Yet, he observes again, " there are oharged outlines
finishing should be regulated by the nature of the  that please, because they are above the lowliness
composition, and its proposed situation.           of ordinary nature, and carry with them  an air
BREADTH. This important term is applied both   of freedom, with an idea of great taste, which deto design and coloring. Breadth is usually indica-  ceives most painters who call such excesses the
tive of a master, as the want of it almost always ac-  grand manner. And, although to such persons
companies the performance of an indifferent artist.  who have a true idea of correctness, simplicity, and
When the lights in a picture are so arranged that  elegance of nature, these excesses may seem superthey seem to be in masses, and thb darks are massed   fuous, as they only adulterate the truth, yet one
to support them, so that the attention of the specta-  cannot forbear to commend some things that are
tor is powerfully arrested, we have what is called   overcharged in works, when the distance from
breadth of effect, or breadth of light and shade.  whence they are to be viewed softens them to the
Breadth conveys the idea ofgreatness,which is in di-  eye; or when they are used with such discretion
rect opposition to the frivolous and mean. Breadth,  as makes the character of truth more apparent."
therefore, partakes of the simple and the grand, and   Again: " If you would have the work produce a
is admirably illustrated in the great works of Cor-  good effect when it is elevated, both the colors and
reggio. Grandeur is his characteristic, and breadth  the lights must be a little loaded, but learnedly
his means. In the works of this great master, we  and with discretion."
discover breadth, because he has condensed his sub-    CHIARO-SCURO, [Italian], light and shade. This
jects as a whole, without interrupting the general  term refers to the general distribution of lights and
simplicity by a minute attention to the details or  shadows in a picture, and their just degradation as
subordinate parts. His masses of light and shadow   they recede from the focus of light.  " It compreare therefore broad and grand, producing one great  hends," says Professor Phillips in his lectures, "not




EXPLANATION OF TERMS.                                      XXT:nly light and shade, without which the form of no  cellence, he would have been the Apelles of modobject can be perfectly represented, but also all ar-  ern art.
rangements of light and dark colors in every de-    COMPOSITION, is the general arrangement of ingree; in short, in accordance with the compound  dividual objects, which the imagination has conword composing its name, which we have adopted  ceived, so as to form an appropriate whole. This
irom the Italian, the light and dark of a picture."  is considered one of the greatest difficulties the
Chiaro-scuro particularly refers to the great  artist has to encounter. In the composition of a
masses of lights and shadows in a painting, when   picture, it is essential that nothing should be inthe objects are so disposed by artful management,  troduced which is not appropriate and analogous
that their lights are together on one side, and their  to the subject. Profusion has even been esteemed
darks on the other.  The best examples among  a vice, even in the most extensive subjects, for inthe Italians are to be found in the works of Cor-  stead of adding to the beauty and expression of the
reggio, Leonardo da Vinci, and Giorgione; among  work, it diminishes the effect of both. A compothe Dutch, in those of Rembrandt, Adrian Ostade,  sition is said to be confused when it is loaded with
and De Hooge.                                      objects which interfere with each other by their
A composition, however perfect in other respects,  disposition or multiplicity. A composition is said
becomes a picture only by means of the chiaro-  to be great, not from the number of figures introscuro, which gives faithfulness to the representa-  duced into it, but from the skill with which the artions, and therefore is of the highest importance  tist has disposed enough to illustrate his story and
to the painter; at the same time, it is one of the  leave no vacancy in the space which the eye remost difficult branches of the artist's study, because  quires to be occupied. A grand composition difno precise rules can be given for its execution. fers from that which is usually designated rich,
Every art has a point where rules fail; and this  inasmuch as the former is characterised by simplipoint, in the art of painting, is the chiaro-scuro.  city, and the latter by abundance. The compoThe drawing of a picture may be correct, the col-  sitions of Raffaelle are said to be grand, those of
oring may be brilliant and true, and yet the whole  Veronese rich, those of Poussin, classical, and those
picture remain dry and hard; as we find is the   of Teniers natural.
case in the works of painters who preceded Raffaelle; and it was one of the great merits of this    CONNOISSEUR is a term  applied to one who not
sublime genius, that he left his masters fai behind   only loves but has a profound knowledge of art;
him in chiaro-scuro, though since his time many   whilst amateur is applied to one who loves the
great artists have surpassed him  in this respect.   a   without being sure of bestowing his admiraChiaro-scuro requires great judgment and skdll in       wisely, and who generaly practises it for his
execution; and excellence in this branch of the art  amusement only. They both love art, but the foris only to be attained by a study of nature, and t  er is the  noer, the latter the lover, as the
works of the best masters.                         names imply. The Germans, who attach no vulgarity to their indigenous phrases, use indeed the
CLAIR-oBSCURE [French,J has the same signifi-  very terms for distinction, kenner, (knower) for
cation as chiaro-scuro.                            connoisseur, and liebhaber (lover) for amateur.
CHALKY, in painting, is that cold or unpleasant    CONTOUR, or OUTLINE, is the line which termineffect which arises from an injudicious combinx.ion   ates and defines the figure or object. It requires
of colors that do not agree well together; thus,  great science and skill in an artist to get his conwhite mixed with vermillion, without being tem-  tours correct; for in a classic composition, he must
pered with the och-res or burnt siena, will appear  not represent them as he finds them in nature, but
crude and chalky.          -in nature's ideal, or perfect form. A Dutch VeThe word chalk and its derivatives are frequent-  nus is the laughing-stock of the world, except to
ly used by writers on the fine arts.  Chalk draw-  themselves, and perhaps the Turks. A fat man
ings are any kind of drawings made with white or  may make a very good model for a Falstaff; might
colored crayons. Chalk engraving is the old name  do for a Bacchus, but not for an Apollo. The
for stipple, in imitation of the delicate shadings of  Judgment of Paris by Rubens is a horrid viola
crayon drawings.                                   tion of this precept.
COLORIST is a painter whose peculiar excellence    CONTRAST. By contrast is meant the variety in
is his coloring-but not therefore his only excel-  the position and motion of the different figures or
lence. An eye for coloris a faculty, or a gift of na-  objects in a composition. There are several kinds
ture, which is nAt acquirable by a painter who has  of contrasts, distinct from each other. Thus, there
not this natural gift, though study and practice may  is a contrast of figures; a contrast of the moveimprove it. It is quite common for designers, who   ments or action of the different figures, and even
are deficient in this rarest excellence of the art, to  in the different parts of the same figure; others,
speak of the deficiencies of the colorist with depre-  in the age, sex, or positions, of the different perciation or contempt. When Michael Angelo was  sonages, so that each figure is frequently in conshown one of Titian's finest works, and his opin-  trast with others in the same group, and the sevion asked of its merits, he only said, "what a pity  eral groups are also contrasted with each other;
this painter is so deficient in design "-a mere col-  there is also a contrast in the different qualities,
orist. Yet nature, were she appealed to, doubtless  and colors of the draperies; and another of light.
would reply that Titian was more true to her than   and shadow, which constitutes chiaro-scuro. The
Michael Angelo. Titian had all the design that he  judicious arrangement of this contrast or oppoconsidered essential to his purposes, and had he   sition, forms one of the great requisites of a fine
chosen the same range of subjects that Raffaelle  picture; because it is found in nature, and any
did, and had he been able to express them with the   other arrangement would appear stiff, and forced
same felicity, adding thereto his own peculiar ex-  and excite our pity or disgust.




xxvi                                  EXPLANATION OF TERMS.
CORRECTNESS. Correctness of design, as it re-    DESIGN. This term is used invarious senses.
lates to the beautiful in art, consists in the exact  but its proper signification is a plan of a picture.
observance of the just proportions of the figure as  or a representation of any thing, in outline. The
established by the antique models, or statues, or by   term is often applied to a finished study, for a picthe most beautiful models selected from  nature.  ture; but it is more commonly applied to a finIt is further exemplified. by giving more or less  ished drawing, made to be engraved, and the artist
beauty, dignity, or grandeur to the figure, accord-  is called a designer, to distinguish him  from a
ing to the age, sex, or condition of the personage  painter. It is also applied to a sketch of one oI
represented.  Correctness does not always require   more figures, and to sketches of inanimate objects,
that the design should be beautiful, which will de-  as plants, flowers, draperies, &c., intended to be
pend on the nature of the subject. It is sometimes  introduced into a picture, in which sense it is
sufficient that nature is perfectly delineated, even  termed a study.
in her less perfect form, as in historical composi-    DEAD COLORING. A familiar term used by artions, where portraits are introduced.             tists to signify the ground coloring, or laying in,
COSTUME. In historical compositions, the laws  of the first coat of color on the canvass. See First
of costume require that the subject should be treat-  Painting.
ed in accordance with history, with a strict regard  DECISION. Decision of form or outline, means
to the scene and time of action, the customs, cha-  that bold freedom of outline, which is only obracter, and habits of the people, or the country,  tained by a skillful and practised hand.
where the event occurred. The same correct at-    DEGRADATION. [See Gradation.]
tention is also requisite to the buildings, animals,   EMITNTS are tin  that are neither lights nor
plants, &c. The works of NicolO Poussin form an
shadows, but hold the middle place between them.
admirable illustration of the propriety of costume.         bu     t ho  ld the middle place between them.
Many of the Dutch masters have made their sacred      ice, they are someties called middle titsand historical subjects ridiculous by laying the  which is the best term.
scene in their own country, and draping the fig-    DETAILS, are the minutiae of a picture; when
ures in their own costume.                         carried to excess, they degenerate into mannerism;
Copy. "The central group of Lystra, (one of  and when they are not carried so far, they injure
the effect, by diverting attention from the princithe Cartoons) is taken and adopted from an an-  pl objects or figures.
tique bas-relief in the Admiranda, and suggests the                          of painting with 
question whether it is justifiable to plunder in this  DITEMER, i amod f paintin  with colors
way. Surely if you find any thing in the ancients  mixed with size, white of eggs, or any other glusuitable to your invention, it is justifiable.  But  tinous substance.  All ancient paintings were xthere the praise must stop, the utmost praise that  ecuted in this manner, and modern paintings too,
can be given is that you have shown your skill in  before the year 1460, when oil painting was first
the adoption; and what struck me with discour-  discovered. The celebrated Cartoons of Raffaelle,
agement, in the Louvre (in the imperial collection)  were painted in distemper.
was the little original invention in the world.    DRAPERY. The art of casting, or disposing of
Even Rubens pilfered  wholesale from  the old  the foldings of the drapery in the most effective
Germans. *  *  *  Reynolds was what Fuseli  and judicious manner, requires no inconsiderable
terms a modern painter-a bold adopter."            part of the painter's skill and attention, as great
"Remember adoption, and copying, are differ-  judgment and taste are necessary to arrange it in
ent things. To adopt and modify a figure requires  such a manner as to display the form to the greatskill and taste; but the merest dolt can copy."  est advantage, and that the folds may correspond
-Haydon.                                           to the movements of the figure. In great historThe human figure has been drawn and painted  ical and sacred paintings, the folds should be large
in almost every possible position, and Reynolds  and few, because the grandeur of the forms prothought it not robbery to adopt from " the accu-  duce broad and simple masses of light and shadow,
mulated wisdom of ages," whatever was excellent,  which adds greatly to the effect. Draperies should
into his own compositions.  Doubtless Raffaelle  be suited to the age, character, and rank, of the
and Shakspeare were of the same opinion. The  figure. Stuffs of a light texture, and of gay colors,
Italian artists have this proverb, "II saper rubbar.  may be proper for females and youth; those of a
non 8 peccato;" (knowing how to steal well, is not  more sober hue and heavier substance for persons
wicked;) i. e., an artist is justified in judicious  advanced in years. A person of a grave character
adoption.                                          should be habited different from a gay voluptuary,'Coup  i    au pre r cp F;          aind a Roman matron should not be attired like a
Coup [Peindre au prem~ier coup, Fr.; Alla p     courtezan. Drapery should always be drawn from
ma, Ital., is to paint and finish a picture at once,  natureand the artist who neglects it will be sure
without returning to retouch it, a facility which   t fall ito mannerism.
many great masters have possessed, as Rubens, 
Salvator Rosa, Vandyck, and Luca Giordano, and       DRAWINGS. There are several kinds of drawwhich they practised on some occasions.           ings, which it is necessary to understand, or many
CRUDE. Cr        or a w t of  passages in authors on the fine arts will appear obCRDE. Crudeness,  a rawness, or a want o   scure or unintelligible. In a general serse, draw.
knowledge, judgment and skill, which may ap-  ing is applied to any kind of study or design made
pear manifest in the coloring, design, or effect of  wth blacklead pencils. The drawings by the Old
a picture.                                         Masters, so highly prized, were often executed with
CRUST. A name given in ridicule by artists to  black and white or colored crayons, as well as with
a sorry picture. Crust is also used by some  black lead pencils. Chalk drawings are executed
writers for an excessive, or clumsy impasting of  with crayons. Printing in chiaro-scuro, as praccolors.                                            tised by the old wood engravers, was done in im



EXPLANATION OF TERMS.                                    Xxvi
itation of these chalk drawings. For this purpose   This term has been applied exclusively to a mlethod
three or more blocks were employed; the first for  of painting practised by the ancient Greek artists
the outline, the second for the dark shadows, and  in which wax, in various ways, was combined with
the third for the shadows that border on the lights.  the colors, and the whole fused together by the appliThe process varied according to the number of  cation of heat. Pliny mentions three methods, but
blocks employed, and an effect was obtained that  in such vague terms, that there is great uncertaincould not be produced by a single engraved block.  ty as to the precise practice of the ancients. The
The ink, also, used, was of different shades or in-  object aimed at was durability, as in mosaic painttensity.                                           ing. Various processes have been published by
When a picture is to be engraved, the engraver,  the moderns, for the revival of the ancient art, one
or draughtsman, reduces the picture, or makes an   of which may be found in Hayter's Introduction to
exact drawing of the same size as the plate to be  Perspective, invented by Mrs. Hooker, an English
engraved.  This is called the design.  [See En-  lady, for which she was presented with a gold palgraving.]  For water colored drawings, see  A-  lette by the Society for the Encouragement of the
quarel.                                            Arts.' Her account is printed in the tenth volume
DRYNESS. This term is used by artists to ex-  of the Society's Transactions, for 1792. The subpress the common defect of the early painters in  juct has been deeply investigated by the Chevalier
oil, who had but little knowledge of the flowing   Lorgna, in a valuable work entitled Un Discorso
contours, which so elegantly show  the delicate   Sulla Cera Punica.
forms of the limbs and the insertions of the mus-    ELEGANCE, in design, is a manner which emcles; their coloring was also hard and formal, with-  bellishes objects, either as to their form or color,
out mellowness or softness; and their draperies  or both, without destroying or perverting truth.
concealed the limbs of the figures, without truth   It appears most eminently in the antiques, and
or elegance of choice. This defect is not always  next, in those masters who have imitated them
the result of a want of talent, for the early works  best, as in the works of Raffaelle. De Piles obof Raffaelle partake of the dry Gothic hardness of  serves, that elegance is not always founded on corthe masters who preceded him, though he after-  rectness, as may be evident from the works of
wards acquired the grand and graceful style, by   Raffaelle and Correggio, the latter of whom, notwhich his later and best performances are distin-  withstanding his frequent incorrectness of design,
guished. Thus we find that the defect of dryness  must needs be admired, for the elegance of his taste,
may be corrected by study and practise.            and the turn which he gives to his actions.
DRY TOUCHING, is the going over a picture when     EXPRESSION, principally consists in representing
it is dry, with light delicate finishing touches, to  the human figure in all its parts, in action, suitable
improve the character, or to give relief to those  to the occasion; and exhibiting in the face, the
objects requiring it.                              several feelings or passions proper to be expressed.
ECTYPES, impressions derived  from  moulds  Frequently the term Expression is confounded with
made on the originals, or types, (De Montabert,)  that of Passion; but the proper distinction befrom the Greek word ectypos-a form  or impres-  tween them is, that the former implies a represension moulded from  the asche-type.  Pliny Latin-  tation of an object agreeably to its nature and charizes the word, and uses ectypum, for the copy or  acter, and the use or office it is intended to have
image moulded after the pattern, or cast, in the  in the work; while the latter denotes a motion of
mould of what he calls the pro-typum, i. e., the  the body accompanied with certain airs of the face,
first type, mould or pattern-the prototype. This  which make an agitated soul. So that every pasis an elegant and classical word that may be used   sion is an expression, but not every expression a
instead of cast.                                   passion.
EFFECT. "By effect, in painting, is understood     EXECUTION, is a term applied to the mechanical
the energy and beauty of the optical results of the   part of the arts, or mode of performance. It is
combinations, either accidental, or arising from cal-  also used to designate the management of the penculations well understood, whether of the lines, of  cil, whether it be bold, free, rapid, delicate, soft, or
the tones, bright or dark, or again of the colors or  timid.
the tints. But it is especially applied to the com-    FINISH. " Very great care to. finish some parts
binations of the clair-obscure, that the effect owes  of a picture is apt to injure the effect of others. It
its energy, its suavity, and its charm; and what  is apt, also, to weary the mind of the artist, and
proves it, is the appearance of engravings, which  thereby injure the liberty of his hand. But, when
offer color without much effect. Coloring indeed,  finishing is united to freedom, when it is delicate
does produce its particular effect, but it is op-  and light, its effects, especially for cabinet pieces, cantioally subordinate to that which is obtained by   not be too much appreciated."-Art. Repository.
the bright and dark, semi-bright and semi-dark       The Dutch and Flemish pictures are familiar il:
masses, and we thus distinguish the effect of Rubens,  lustrations of minute, and often exquisite finish.
and the coloring of Titian. The pictures of Pous-  Gerard Douw spent five days in finishing a single
sin, Duval, and Raffaelle, have but little effect;  hand.
those of Vandyck, Velasquez, Gerard Douw, Rey-    FIRST PAINTING, is the ground coloring, or first
nolds, and Prudhon, have a great deal of effect." —  coat of color, which some of the old Italian mas)e Montabert.                                      ters were in the habit of laying on very thick, and
ENAMEL. Painting in enamel is done by mix-  putting the canvass aside till well seasoned, before
mg mineral colors with a flux or vitreous base, and   the application of the fine coats of coloring, to obsubjecting the work to the action of heat.         tain a better effect and greater permanence.
ENCAUSTIC, from the Greek Enkaustikon, a kind      FoxY, a term of ridicule applied by artists to
of painting executed by the application of fire.  a vicious and excessive warmth, or gaudiness of




XXViii.                            EXPLANATION OF TERMS.
color in a painting. The tints and tones of an ar-  dation, is always gradation, but gradation is not
tist, who, without judgment or skill, attempts to  necessarily degradation, for the former may be a
imitate the glow of Titian, are very apt to befoxy.  step upwards, while the latter is always a step
FRFsc, is a kind of painting performed on fresh  downward. This is a true distinction, but one
plastered walls and ceilings. The mason covers rarely observed by writers.
no more space than the painter can execute in a    GRACE, principally consists in the turn an artist
day. The artist first traces the design,prepared  gives to his objects, to render them  agreeable,
on his cartoon, and then proceeds to lay on his  even to those that are inanimate. It is more seicolors, mixed with water, which strike into the  dom found in the face, than in the manner; for
plaster and become incorporated with it, so as to  our manner is produced every moment, and can
be as durable as the wall itself, and can only be  create surprise. A woman can only be beautiful
effaced by its destruction. Those mineral colors  in one way, while she may be graceful in many.
only are employed which are not chemically act-  Grace can neither be described, nor measured,
ed upon by the lime.                            nor established by any conventional rules. Each
Fresco painting is, before all others, best adapt-  motion may have its rules of beauty, but grace is
ed to those great works which form the embellish-  the same in every country.  It is not found in a
ment of public edifices, from the promptitude with  constrained, or unaffected manner, but in a cerwhich it is performed, as well as from its extraor-  tain freedom and ease between the two extremes.
dinary durability. The sublime productions which    Those compositions in which angels, females
have immortalized the name of Michael Angelo, children, and cupids, are introduced, may bo
Raffaelle, Correggio, and Giulio Romano, were  termed graceful. The term cannot well be appainted in fresco. In this country, the termfres-  plied to battle pieces, or grand historical works
co is improperly applied to distempered walls.    The Charity of Correggio, may be cited as a model
FORESHORTENING, is the art of representing  of grace in composition and execution. Also,
figures and objects, as they appear to the eye, some of the works of Albano.
viewed inpositionsvaryingfromthe perpendicular.    GRANDEUR. Grand is applied in art to those
This art is one of the most difficult in painting, great compositions, which are invested with a
and though absurdly claimed as a modern inyen-  dignity above the generality of mankind-in
tion, was well known to the ancients.  Pliny  which there appears an elevation of mien, air, and
speaks particularly of its having been practised  deportment, that indicates a corresponding elevaby Parrhasius and Pausias; besides, it is impos-  tion of thought, feeling, and sentiment. It is
sible to execute any work of excellence without  especially applied to the antique, and to the grand
its employment. In painting domes and ceilings, sacred subjects executed in fresco, by the most
foreshortening is particularly important.  The  renowned Italian masters; instance, the Last
meaning of the term is exemplified in the celebra-  Judgment by Michael Angelo.
ted Ascension, in the Pieta de Tarchini, at Na-    GROTESQUE. This term was given by the Italples, by Luca Giordano, in which the body of  ians to those whimsical or fanciful ornaments, with
Christ is so much foreshortened, and the toes  which the ancient Romans sometimes decorated
seem to touch the knees, and the knees the chin. the ceiling and friezes of their small apartments.
GLAZING, is the passing of extremely thin coats  It is said to have derived its origin from the disof transparent colors, largely diluted with ma-  covery of those ornaments in somegrottos, (grotte,
guilp, or other mediums, over certain portions of  hence grotesco, in Ital.,) by Raffaelle, (while the
the picture, so as to allow the work beneath to  workmen were making some excavations under his
appear distinctly through them, but tinged with  direction,) who adopted them in decorating the
their color. The uses of glazing are to strengthen  Loggie. These ornaments differ little from arasuch shadows as require it, or to give warmth or  besque, except that the imagination, in all the
coldness to the hues; and to subdue those lights  wildness of inventive fancy, is exerted without any
that are too glaring, or to give additional force  strict adherence to nature, truth or probability
and richness to those that are too tame.        They were originally composed of stalks and leaves
When opaque colors are employed in the same  with comical, ugly, or distorted human faces, or
manner, the process is called scumbling. The uses  masks interspersed or connected with the foliage,
of scumbling are to weaken the force of colors  as if they grew out of it, just as we see them nowthat are too strong, or to give force to those that  a-days, though infinitely improved in every point
are too weak; to give air and distance to objects  of grace by the elegant invention of Raffaelle.
that are too near, and to soften down and unite    GROUND COLORING. [See First Painting.]
such tints on the surface of objects as may be too                                    
violent for harmony, and breadth of effect.ROUP.  Grouping isthe arrangementoffigure
or objects in natural and pleasing positions. It
GLORY, is the luminous ring, whether broad or  is observable in nature, that in a concourse of
narrow, radiated or open, or a circular disk, which  people, they form themselves into different corncrowns the head of a saint or a divine personage. panies according to their ages, conditions or inThis glory, in very old paintings, is done in gild-  clinations; and these divisions are called groups.
ing. It also means the bright radiance that sur-  The best rules of art require, that when subordirounds celestial beings when introduced into a  nate groups are introduced into a picture, they
picture. Nimbus, is the classical name for a glory.  shouldnever interfere with the principal one, which
GRADATION, is the progression of tints by de-  should predominate, and all of them tend to unity.
grees, whether up or down the scale of light and    HARMONY, is that congenial, accordant, and pleashade. Degradation, is the proper term for the  sing effect in a picture, resulting from an intelliscale downwards, or the gradual enfeeblement of  gent distribution of light and shade, a judicious
the clair-obscure, in aerial-perspective.  Degra-  arrangement of color, and a consistency and pro



EXPLANATION 37 TERIMJ                                     xxiX
priety in composition. Mengs defines harmony to  both the style of design ana execution wnen he is a
be " the art of preserving a just medium between   mere copyist.
two extremes, as well in design as in the chiaro-    But when artists or writers speak of imitating
scuro and the coloring."  Thus writers speak of  the antique, or the great modern masters, they do
different harmonies, as a harmony of composition,  not mean that we should copy line for line what
of design, of expression, of execution, of chiaro-  they painted, designed or sculptured, but that we
scuro, of coloring, &c.; but all these must be com-  are to form for ourselves a IhKe idea of greatness
bined in a perfect picture.                        and perfection, and work upon the same principles
and in the same taste.
HANDrLING is the manner in which an artist uses             same taste.
his pencil, as seen m the execution of his works.    Some artists have the faculty of imitating other
See lM1anner.]                                     eminent masters so exactly, that their imitations
L       *    aple,either,. dsgorc-will readily pass for originals by the masters imiHARD, is a term applied either to design or co-tated.  The French call such pictures pastiches.
oring. Thus, when an outline cuts too sharp on   De Piles advises "all persons who do not wish to
the ground of the object, it is said to be hard;  be deceived by pastiches, to compare the taste of
when applied to the whole of a painting, it denotes  design, the coloring, and the character of the pen
a want of tenderness and truth in coloring. [See  cil with the originals, for there is always a perDry and Decided.]  Hardness is often the result  ceptibledifferenceon closecomparison"  SeePasof a laborious effort to display high finishing.   ticcio.]
HATCHING, is laying on the strokes of the crayon   IMPASTO [Italian]. This word literally means a
or graver in parallel lines. When these lines are  mixing, or impasting of colors. The Italians use
crossed in the shadow parts, at angles more or less  it to designate the transitions of shades or colors.
acute, it is called counter-hatching or cross-hatch-  which should blend together like the colors of the
ing.                                               rain-bow, so that the tints are distinct, though not
HIGH ART has been defined "the epic of paint-  harsh, producing a harmonious and pleasing effect.
ing," a very indefinite and partial explanation, as  Writers say a good or bad, rich or poor impasto.
it might as well be termed the epic of sculpture.    INTAGLIOS, are engraved gems or precious stones,
It simply means the most perfect works of art;  often representing mythological subjects.  The.e., the grandest and the most beautiful, or perfect.  word is now generally applied in English to anHISTORY. Nothing can be more indefinite, even  tique gems cut hollow, intended to give impresin the indefinite phraseology of painting, than this  sions in wax. Thus, intaglio is the reverse of
term. All the degrees of high art fall properly  cammeo. The Italians apply this name to works
under this comprehensive term. It embraces the  cut in wood, stone, or metals.
wide range of subjects, not only historical, but my-    LABORED  is a term applied disparagingly to a
thological and poetical, as well as sacred or scrip-  work in which the pains taken in the execution is
tural subjects. It is called the highest branch  too perceptible.
of the art because it requires in the artist a per-    L     is aterm applied t  a figure or work in
feet knowledge of every branch of the art, as well  w     t   harmony of proporion  a   een neg
as a mind well stored with general information.which the harmony of proportion has been negas a mind well stored with general information.  lcted,
[See Introduction-page xxi.                          LARGE. SeeBreadh.
HORIZONTAL LINE, in perspective, is a line that    L                           
LINEAR PERSPECTIVE. See Perspective.
marks the horizon, or the place of the supposed
horizon, and which is always on a level with the     LOADING, is a term applied to laying colors in
eye.                                              thick masses on the lights, so as to make them proIDEAL BEAUTY, is generally understood to ex-  ject from the surface with a view to make them
press that perfection which is never found in one  strongly illuminated by the light that falls on the
person in nature, and can only be attained by a  picture, and thus mechanically to aid in producing
union of the various beauties selected from different  roundness and relief, or to give a sparkling effect to
forms. It is that perfection of beauty and form   polished or glittering objects.
which we may suppose to have existed at the crea-    LOCAL COLORs, are thosewhich faithfully imitate
tion of man, and to which the antique most nearly   a particular object, or such as are natural and proper
approaches, as in the Torso, the Apollo Belvidere,  for each particular object in a picture. Color is
and the Venus de Medicis. Ideal beauty in painting   also distinguished by the term local, because the
may be illustrated by the Juno of Protogenes, in  place it fills requires that particular color, in order
which he combined the perfections of seven of the  to give a greater effect, or character of truth to the
most beautiful damsels of Rhodes.                  several colors around it.
Impressed with such ideas, the Greek artists       A Contrast of Colors, is used in draperies, esstrove to represent their gods and heroes by the  peciallyin sacred subjects; and the different personmost faultless semblance of the human form, in-  ages are draped in different and appropriately colspired with those noble sentiments which they re-  ored garments; or the dress of the same person
garded as divine. " It is this intellectual dignity,"  is composed of different colors for harmony, and to
says Reynolds, " that ennobles the painter's art-   heighten the effect.
that lays the lines between him  and the mere me-    MANNER, is that habitude which painters acchanic, and produces those great effects in an in-  quire, not only in the management of the penstant, which eloquence and poetry are scarcely able  cil, but also in the principal parts of painting, as into attain."                                        vention, design, coloring, &c. It is by the manner
IMITATION. An imitator is an artist who makes  in painting, that connoisseurs decide to what
his own designs, but adopts the style of his master,  school it belongs, and by what particular master
or of another, in his execution; or he may adopt  of that school it was executed. Some masters




XXX                                  EXPLANATION OF TERMS.
have had different manners at different periods of  painting by one of the Greek numerals, as Mlono
their lives. Thus, Raffaelle acquired a much more  chrome, Dichrome, Trichrome, Tetrachrome, &c.
elevated manner after he had left the school Qf  Thus, Pliny says that Apelles was the first artist
Perugino and talen up his residence at Rome.  who painted Tetrachromes, or pictures with four
Others have adopted and adhered to one manner all  simple colors. [See Apelles.]
their lives, which is so marked, that a person who  MosAIcs  are ornamented works made in anhas seen a few of their works will at once decide the   varios   oored stones
master without any risk or mistake. The variety  nt times, of cubes of variously colored stones
master without any risk or mistake. The variety  and in modern, more frequently of glass of differ
observable in the works of different artists arises    ent colors. The art originated in the East, and
from  the manners of the schools in which they  seems firs t he at orintoduced among the
have received instruction, or of the artists under  Romans in th time of Sylla. It was an ornament
whom they have studied; yet many men of genius  in  eat reest   the luxurious R ans, especi
have divested themselves of partiality, struck out     in t retime of the  merors, or      ecora
into a manner of their own and arrived at excel-  ally in the time of the Emperors, for the decora
into a manner of their own, and arrived at excel-  tion of every species of edifice, and to this day, they
~~~~~~~~lence.                      ~continue to discover, in the ruins of the Imperial
MANNERISM, is an affected style, contracted by   Baths, and elsewhere, many magnificent specimens
an imitation of the peculiarities of some particular  in the finest preservation. In Pompeii, mosaic
master, instead of a general contemplation of na-  floors and pavements may be said to have been
ture. The term mannerist is applied to an artist  universal among the wealthy.
who, not having sufficient genius and skill to ac-    In modern times, great attention has been bequire distinction by the excellence of his perform-  stowed to revive and improve the art, with a view
ances, vainly thinks to obtain it by an odd, labored,  to perpetuate the works of the great masters. In
or affected manner. The Italians apply the term   this way, Guercino's Martyrdom of St. Petronilla.
mannerist to any artist who deviates from  the  and Domenichino's Communion of the dying St.
established or classic manner, yet whose merits  Jerome, in St. Peter's Church, which were falling
may be great.                                    into decay, have been rendered eternal. Also, the
MASSES. Massing is the condensation of the  Transfiguration of Raffaelle, and other great works.
principal lights and shadows in a picture, and so  Pope Clement VIII. had the whole interior dome
arranging them as to produce the greatest effect.  of St. Peter's ornamented with this work. A
To mass a part is to reject those minutiae which  grand Mosaic, covering the whole side of a wall,
cut it up into little pieces. [See Breadth.]  For  representing, as some suppose, the Battle of Platea;
a skillful application of this great principle of gran-  as others, with more probability, one of the Victodeur, practice and enlightened observation must be  ries of Alexander, was discovered in Pompeii. This
added to diligent study.                         work, now in the Academy of Naples, is the admiMETOPE. The Doric frieze is divided at equal  ration of connoisseurs and tle learned, not only
intervals by ornaments called triglyhs, consist-  from its antiquity, but from the beauty of its exeing of two vertical channels, or glyp s, with two  cutionThe most probable supposition is, that it is
half channels at the sides, separated from  each  a copy of the celebrated victory of Arbela, by Phiother and the half channels, by three planesurfaces.  oxenes. [See Philoxenes.]
The square spaces between each two of these tri-    MORBIDEZZA. The Italians call whatever is delglyphs is called a metope, and is variously orna-  icate and soft morbido, and in painting they use
mented with figures. The metopes of the Parthe-  the term morbidezza to express that richness and
non represent the contests of the Centaurs with  softness of color which appears in the best imita.
the Lapithae, or companions of Theseus, and are  tions of beautiful nature, as in the carnations of
supposed by connoisseurs to have been touched, in  women and children. The French use the bormany instances, by the hand of Phidias himself,  rowed word, morbidesse; and Bouvier thus exunder whose superintendence all the reliefs of the  plains its meaning: " The carnations of a young
temple are known to have been chiseled. These  woman of very fine and fresh complexion, and
form part of the famous Elgin marbles, now in the  those of a fine child, have a great deal of morbiBritish Museum, and hence their frequent mention  desse. They seem to the eye as though they would
by writers on the fine arts.                     be soft and velvety if touched."  Rosy, or velvety,
expresses the same meaning best in English. The
MODEL, is a study. It is important not to em-  expresses the same meaning best in English. The
ploy indifferently the word model. When we say  French also say veloute, velvet-like.  Correggio
ploy indifferently the word model. When we say         ^   ^  ^  eminent degree this admirtlle
the great models, we are readily understood to  possessed in an eminent degree this admirable
mean the antique; but when we say the model, it  quality.
remains to be shown whether we mean the living      OLYMPIAD, a period of four years connected with
model, a marble statue, or a plaster cast.  In  the celebration of the Olympic Games, by which
sculpture, the term is applied to a small study, as  the Greeks computed time. Most of the moderns
well as to a finished work in clay ready to be cut in  reckon 304 Olympiads; and place the first celemarble; sometimes also, in painting, to any study.  bration of the Olympic Games B. c. 776, and the
M'ONOCHROMATIC,               in ancient times  last A. D. 440, a space of 1216 years. By recollecting the date of the first Olympiad, the reader
to paintings executed with only one color; in mod-  lting te  date of the  t ime when aiet artists flr
will readily fix the time when ancient artists flourern times, to a species of crayon drawings. Engra-  ishedif mentioned by Olympiads in this work
vings and drawings may be termed moiochromatic
which the author has endeavored to avoid.
pictures. In contradistinction, painting with a plurality of colors has been termed polychromatic.    ORDONNANCE, is the arrangement of the figures
If there were any advantage to be derived from the  in respect to the whole composition; or the particadoption of such phraseology, we might always de-  ular disposition of the figures as to the different
signate the exact number of colors employed in  groups, masses, contrast, decorum, situation, &c.




EXPLANATION OF TERMS.                                      xxX
OUTLINE. See Contour.                            color and light which belongs to its distance from
PASSION, in painting, is the representation of  the eye. 2. The various local tones are made to
those actions of the body, and expressions of the  unite in one chief tone, which last is nothing else
face, which agitations of the mind naturally exhibit  than the common color of the atmosphere, and the
in tem                                             light which penetrates it. The charm  and harPASTEL PAINTING [Pstello, Ital; Pastele Fr.]  mony of a picture, particularly of a landscape, de
is a style of painting with colored crayons, which   pend greatly on a proper application of the laws ot
perspective.
the French have brought to high perfection. Greuzeperspecve.
and Boucher were particularly eminent in this    PENTIMENTO, Repentance.  The Italians apply
branch of the art.                                 this term to those alterations which artists somePASTICCIO [Ital.; Pastiche, Fr.], a word of con-  times make in their works when they do not please
tempt, meaning pasty, or pye, which the Italians  them. Such alterations are frequently found in picapply to those patched-up compositions, where the  tures which have been rapidly executed, and are cerartist steals or adopts one object or figure from      marksof originality in the work.  Ot   signs
ne master, another from  another, and so on   of originality, are the composition, freedom, decision,
mt hrough  his whole compositio he  French ap-and manner of the penciling, which in copies are
through his whole composition.  The French ap-  more timid and labored. In this country, an enply this term to paintings which are imitations or    r                              con    an  n
counterfeits (not copies-see Inmitation,) of emi-  graving of the same subject, if it is an old paintnent masters. Any quantity of pastiches, beauti-  ing, will always show it to be a copy.
fully executed on old worm-eaten panels, can be      REFLECTED LIGHTS, are the borrowed lights, or
had in Paris, painted to order of the speculator, and   lights reflected from  one object to another; and
well calculated to deceive the unwary.  You can  those reflected lights always partake of the tint of
thus get any quantity of paintings by the best  the object from which the light is reflected. Not
masters, even originals by Rubens, Douw, and Te-  only the atmosphere, but every object in nature
riers. Some late English writers have adopted the  reflects light. It is well illustrated by a conflaFrench term with the French meaning.               gration in a cloudy night, when not only the heavens, but the earth is illuminated.
PERSPECTIVE, is a science, the perfect under- 
standing of which requires a knowledge of mathe-       EL[EVO, or RELIEF, is a sculptured work raised
matics, geometry, and optics. It is the art of copy-  above the surface with which it is connected. It
matics, geometry, and optics. It is thdart of copy-a
ing the appearance of objects as seen from a certain   ha  everal radations, which are thus distinguished
point of view. It is divided into mathematic   or  in Itali, French, and English:
Linear Perspective, and the perspective of color,     ITALIAN.         FRENCH.          ENGLISH.
or Aerial Perspective. Both are of the greatest  Basso-Relievo,      Bas-Relief,    Low-Relief,
Mezzo-Relievo,    Demi-Relief,    Half-Relief,
importance to painters, engravers, sculptors, and   Alto-Relievo,    Haut-Relief,    High-Relief,
architects. Without a correct observance of the   Di Tutto-Relievo,  En Tout-Relief,  In Full-Relief,
rules of perspective, no picture can have truth or  Di Pleno-Relievo,  En Plein-Relief. Complete-Relief.
life, for it is required in delineating even the sim-  Altissimo-Rilievo.
plest positions of objects.                          These terms sufficiently explain their meaning,
Linear perspective is that which describes or  except the last, which refers to a later style of relief.
represents the position, form, and magnitude of ob-  introduced by Algardi, in which the figures were
jects, and their gradual diminution in proportion   so raised as to stand almost entirely out from the
to their distance from the eye, according to fixed   ground, which was covered with figures in lowlaws or rules.                                     relief. Relief is also applied, in painting, as when
ABrial perspective is the degradation of the tones  a figure appears to stand out from the canvass. as
of colors, which throws off the distances of grounds  it were in relief, by the judicious application of the
and objects, and which judicious artists practise by   principles of chiaro-scuro.
diffusing a kind of thin vapor over them, that de-    SKETCH, is sometimes used forfirst color which
ceives the eye agreeably. It shows the diminution   see; again, to-denote the small preparatory paintof the colors of objects in proportion as they recede  ing which is to serve as a model in the execution
from the eye by the interposition of the atmos-  of a proposed work, in which sense it is a study.
phere between the eye and the objects. The pro-  It is more commonly and properly applied to drawportion of this degradation is regulated by the  ings in pencil, oil, or water colors, from nature or
purity of the atmosphere. Hence, in a fog, it will  life, which are intended for studies.
be greater at the distance of a few feet, than in a    S'     c', wh
clear sky, at as many miles. Distant objects in a  the Frenh cl te ler. The Italians apply this
clear southern air, appear to an eye accustomed to  the French call ateler. The Italians apply this
term to any study from nature.
a thick northern atmosphere, much nearer than        T
they really are.  Thus, as the air changes, the      STUDY, is a model which  an artist hs prepared
aerial perspective must change. Morning, noon,  to enable him  to judge of the merits or effect of the
evening, moonshine. winter, summer, the sea, &c.,  work he proposes to execute. The term i applied
all have their different aerial perspective. In a6-  to a single object, or to a whole composition.
rial perspective, the weakening of the tints corres-  STYLE, in the language of writers on the fine arts,
ponds to the foreshortening of the receding lines in  signifies the manner peculiar to a school or a maslinear perspective.  In the illuminated parts of  ter, in design, composition, coloring, expression, and
objects, the tints are represented more broken and   execution. In art, it refers to the treatment oi
fluctuating, and the shaded parts are often aided   manner of the subject, whether grand and dignified.
by reflection.                                     florid and ornate, simple and natural. It also reBy aerial perspective, two results are obtained:  fers to the peculiarities of any master.
1. Each object in a picture receives that degree of  STILL-LIFE. The representations of inanimate




Kxxii                               EXPLANATION OF TERMS.
objects, as dead game, fish, vegetables, fruits and  they are called accidental points. [See Perspecflowers, domestic animals' of every description, mu-  tive.]
sical and sporting instruments, &c., when forming  VEHICLE, is any liquid used to dilute colors, to
compositions by themselves, are called still-life.  render them of a proper consistence to spread on
When living persons are principals, the introduc-  the canvass.
tion of such things are called accessories.        There are many other terms recently introduced
TONE is the harmony of coloring in a painting,  by German and French writers on the fine arts
or the harmonious effect produced by the proper  some of which have been adopted by English
degradation of light and shade, so as to cause all  writers, as well as others invented by themselves
harshness and crudeness to disappear.            which, no doubt, are very learned and recondite
O [n It n word sify   t  tru      i   bht as this Dictionary is intended for popular use
TORSO [a~n Ttalian word signifying the trunkJl is  and as the explanations given are sufficiently full
a statue mutilated of its members, and with or  such terms have been carefully avoided in this
without a head. There are several torsos of great   r  ad ther explanation must be left to those
artistic value, but by the torso so often mentioned  wo       the                        
as the study of Michael Angelo is meant the torso      employ  em.
of Hercules in the Vatican, called Belvidere.
VANISHING-POINTS, a term of perspective. There    NOTE TO TABLE OF NAMES-PAGE XXXIII.
are several important terms of perspective, which  The Germans and Dutch use Derick or DirB
may thus be briefly explained. The horizontal  for Theodore, and Hans for John; the French
line is the line that marks the horizon, or the  Franc for Francois, G6raud for G6rard, Jeannot
place of the supposed horizon, and is always on a  for Jean, Jacot or Jaquet for Jacques; the Itallevel with the eye. The point in the horizontal  ians, Jacopo for Giacomo, Peppe Peproo or Peppino
line directly opposite the eye, is the point of sight;  for Giuseppe; and the Spanish, Beppo for Jacob.
and the ray issuing from this point, which forms  The I'ilians also often use the diminutive, as Nico.
a right angle with the horizontal line, is called the  lino ir Nicola or Niccol6, Carlino for Carlo. Emiprincipal visual ray. The point of distance, is  nent rtists are frequently known by other than
the actual distance of the eye from the plane of the  their real names, given them from the place of their
picture, as measured on the horizontal line, from   nativity, perfection or defects of person, remarkathe point of sight. Vanishing-points are the points  ble peculiarity of composition or coloring, or singuin which  parallel lihes converge perspectively,  larity of character. Thus, the name of Perugino
which points, in level planes, are in the horizontal  is given to Pietro Vannucci, Correggio to Antonio
line, viz.: either in the point of sight itself, or more  Allegri, Caravaggio to Michael Angelo Amerigi,
or less distant from  it, according to the position   and Veronese to Paolo Caliari, from the places of
of the observer. When, owing to the obliquity of  their nativity; Bamboccio or Bombast tc Peter de
the surface, these converging points do not meet in   Laer, Giorglone, the giant, to Barbarelli, Tintothe horizontal line, but strike above or below it,  retto, son of a dyer, to Jacopo Robusti, &



*TABLE OF CHRISTIAN NAMES.
THE following table will explain many apparent  their native tongue, he has preferred to give a table
contradictions to be found in works on the fine  of the most common names, having the greatest vaarts, from the custom of writing indiscriminately  riation, in the languages of the six great schools of
the christian name of artists in the native or foreign   painting, viz: English, French, German, Dutch,
tongue, thus: John, Jean, Johann, Johannes, Gio-  Italian, and Spanish. It is to be observed also,
vanni, Juan, all which names signify John in Eng-  that names are often Latinized, as Anthony, Antolish. The author designed to have rendered every   nius; George, Georgius; Goltz Goltzius; John,
foreign name into English; but, on reflecting that  Johannes; Jerome, ieronymus; William, Gulielthis course might rather add to the confusion, from   mus, &c. In deciphering monograms, also, regard
the custom before mentioned, and that foreign en-  must be had as to whether the initials represent
gravings generally bear the names of artists in  the name in the native or Latin tongue.
ENGLISH.        FRENCH.        GERMAN.          DUTCH.         ITALIAN.       SPANISH.
Alexander,     Alexandre,      Alexander,       Alexander,     Alessandro,    Alexandro.
Andrew.        Andre,          Andreas,         Andries,       Andrea.         Andr6s.
Anselm,        Anselme,        Anselm,          Anselm,        Anselmo,        Anselmo.
Anthony,       Antoine,        Anton,           Anthonie,      Antonio,        Antonio.
Archibald,     Archambaud,   Archibald,         Archibald,     Archibaldo,    Archibalds,
Arnold,        Arnaud,         Arnold           Arnldus        Arnoldo,        Arnaldo.
aldwin         BaBaldwin,  Badwin, Bald             win,       Baldovino,      Baldovin.
Baptist,       Baptiste,       Baptist          Doop,          Battista,       Baptista.
Bartholomew,  Barth6lemy,    Bartholomaus,  Barthalomus,   Bartolomeo,    Bartoloma
Benedict,      Benoit,         Benedict,        Benedictus,    Benedetto,     Benito.
Bertram,       Bertrand,       Bertram,         Berthram,      Bertrando,     Beltran.
Charles,       Charles,        Carl,            Karel,         Carlo,         Carlos,
Cornelius,     Corneille,      Cornelius,       Cornelus,      Cornelio,      Cornelio.
Daniel,        Daniel,         Daniel,          Daaiel,        Danielo,       Daniel.
Dominick,      Dominique,      Dominick,        Dominick,      Domenico,      Domingo.
Dionysius,     Denis,          Dionysius,       Dionysius,     Dionigio,      Dionisio.
Edward,        Edouard,        Eduard,          EduwEdard,                    Eduardo, Eduardo.
Edwin,         Edouin,         Edwin,           Edwin,         Eduino,        Eduino,
Elijah, Elias,   Elie,         Elias,           Eli      E      liaEa,        Elias.
Elisha,        EliseEliElis              a       lisa,         Eleazzaro,     Eleazaro.
Eugene,        Eugene,         Eugenius,        Eugal,         Eugenio,       Eugenio.
Ezekiel,       Ez6chiel,       Ezeckel,         Ezeckel,       Ezechiel,      Ezequlel.
Francis,        rannois,       Franz,           Frans,         Francesco,     Francisco.
Frederick,     Fr6deric,       Friedrich,       Frederick,     Federigo,      Frederico.
Geoffrey,      Geoffroi,       Gotfried,        Gotfried,      Goffredo,      Godefredo.
George,        George,         Georg,           George,        Giorgio,       Jorge.
Gerard,        G6rard,         Gerhard,         Gerrit,        Gerardo,       Gerardo.
Hannibal,      Hannibal        Hannibal,        Hannibal,      Annibale,      Anibal.
Henry,         Henri,          Heinrich,        Hein,          Enrico,        Henrique.
Hezekiah,      Ez6ehias,       Hezechiah,       Hezechiah,     Ezechia,       Ezequias.
James,         Jacques,        Jacob,           Jan            Giacomo,       Jacob.
Jasper,        Gaspar',        Kaspar,          Kaspar,        Gaspare,       Gaspar.
Jeremiah.      J6r6mie,        Jeremias,        Jeremia,       Geremia,       Jemerias.
Jerome,        J6r6ie,          er J erome,     Jerome,        Girolamo,      Genorimo.
John,          Jean,           Johann,          Johannes,      Giovanni,      Juan.
Joseph,        Joseph,         Joseph,         Josef,          Giuseppe,      Jose.
Lawrence,      Laurent,        Lorenz,          Laurence,      Lorenzo,       Lorenzo.
Leo,           L6on,           Leo,             Leo,           Leone,         Leon.
Lewis,         Louis,          Ludwig,'Levie,         Luigi,         Luis.
Luke,          Luc,            Lucas,          Lukas,          Luca,          Lucas.
Magdalen,      Madeleine,      Magdalenaagd alena,   l         Maddalena,    Maddalena,
Matthew,       Mathieu,        MathAus,         Mattus.        Matteo,        Mateo.
Michael,       Michel,         Michael,         Machiei,       Michele,       Miguel.
Moses,         Moise,          Moses,           Mozes,         Mos6,          Moyses.
Nicholas,      Nicoas         Nicollaus,        Klass,         Nicola,        Nicolas.
Peter,         Pierre,         Peter,           Pieter,        Pietro.        Pedro.
Phili          Philippe,       Philipp,         Philip,        Filippo,       Felipe.
Pius,          Pie,            Pius,            Pius,          Pio,           Pie.
Sebastian,  S, bastien,    Sebastian            Sebastian, Sebastiano,    Sebastian.
Stephen,       Etienne,        Stephan,         Stephan,       Stefano,       Esteban.
Walter,        Gautier,        Walter,          Walter,        Gualtiero,     Gualtexio.
William,       Guillaume,      Wilhelm,         Wilhelm,       Guglielmo,     Guillermo.
* See note on page xxxii By this Table names may be rendered from one language into either of the others.




AN
ALPHABETICAL LIST
OF THE MOST RENOWNED
PAINTERS, ENGRAVERS, SCULPTORS, AND ARCHITECTS
NATION.                                NAME AND PROFESSION.                                  BORN.   DIED
Italian.  Abati, Nicol6 dell........................           Painter............... 1512      1571
Danish.  Abildgaard, Nikolai............. Painter...... 1744      1809
Ger.      Achen, John van.............. Painter................. 1552     1615
Ger.      AElzheimer, Adam..................                  Painter.............   1574      1620
Greek.   AEtion.....................................Painter.............  C. 320  flour'd.
Greek.   Agamedes,................................. Architect............        450  flour'd.
Greek.   Agaptos...................................Architect........                  B. C.       flour'd
Greek.   Agatharcus, (Inv. of Perspective)..............Painter.............B. c. 480  flour'd.
Greek.   Agasias, (Sc. of Fighting Gladiator in Louvre)... Sculptor..............  c. 450  flour'd
Greek.   Agelidas,..................................Sculptor.......... C  450  flour'd
Greek.   Agesander, (Sc. of Laocoon,)...............           Sculptor........... C. 450  flour'd
Greek.   Aglaophon,............................. Painter............... 420  flour'd'
Italian.  Albano, Francesco (Pa. of' The Graces')........Painter.................. 1578              1666
Italian.  Alberti, Aristotle..................Architect................. 1398     1472
Italian.  Alberti. Leone Battista.................... Pa., Sculp., and Arch.... 1398                  1472
Italian.  Albertinelli Mariotto................ Painter...........        1475      1520
Greek.   Alcamenes, (pupil of Phidias).............. Sculptor.............B. C. 450  flour'd.
Ger.      Aldegrever, Henry.......................... Painter...............  1502                     1562
Italian.  Alessi, Galeazzo.............................Architect................. 1500                  1572
Italian.  Algardi, Alessandro.......................... Sculptor and Architect..... 1598               1654
Italian.  Alegri, Antonio (Correggio).................. Panter........... 1494      1534
Amer.   Allston, Washington.........................Painter................. 1779                      1843
Span.    Alvarez, Don Jos........................Scultor.............                           1768  1826
Italian.  Ammanati, Bartolomeo.......................Scuptor and Architect.... 1511                   1589
Italian.  Andrea, da Pisa.............................Sculptor and Architect.... 1270                 1345
Italian.  Andreani, Andrea............................Painter and Engraver.... 1560                   1623
Italian.  Angelo, (Michael Buonarotti).................Pa., Sculp., and Arch..... 1474                 1563
Italian.  Angelo, Michael Amerigi da Caravaggio..Painter..............   1569    1609
Italian.  Angosciola, Sofonisba.......................Paintress.............. 1530                    1626
Greek.   Antistates.......................Architect............B.. 555  flour'd.
Greek.   Apelles, (the most celebrated of ancient painters). Painter.............         C. 330  flour'd.
Greek.   Apollodorus, (the Athenian).................. Painter..........  C. 440  flourd.
Greek.   Apollodorus, (Arch. to Trajan)................Architect.........100  flourd.
Greek.   Apollonius, (Sc. of the Torso Belvidere)........Sculptor............. 100  flour'd.
Italian.  Appiani, Andrea.........................Painter................. 1754                       1818
Greek.   Arcesilaus,..................................Sculptor.............B. C.  75  flour'd.
Greek.   Aristides, of Thebes........................Painter.............B. c. 340  flour'd.
French.  Audran, Gerard (six of this name).............Engraver...1640                                1703
Amer.   Audubon, John J. (Pa. of birds, animals, &c.).... Painter..........  1775      1851
French.  Aviler, Augustin Charles....................Architect...............1653                   1700
Flem.    Baptist, John M. (flowers, &c.)..............Painter.......... 1633       1694
Italian.  Baccio, Della Porta (di San Marco)............Painter................ 1469       1517
Eng.      Bacon, John.............................. Sculptor.............. 1740                      1799
Flem.    Balen, Henry van............................ Painter..................1560                   1632
Italian.  Bandinelli, Baccio.......................... Sculptor................ 1487                 1559




ALPHABETICAL LIST OF PAINTERS, ETo.                                    XXXV
NATI ON.                                NAME AND PROFESSION.                                   BORN.   DIED.
Eng.      Banks, Thomas............................. Sculptor                                  1745     1805
Italian.  Baroccio, Federigo...........................Painter.... 1528      1612
Italian.  Barozzi, Giacomo (da Vignola)................ Architect......1507                            1573
Eng.      Barry, James............................... Painter.........1741                             1806
Italian.  Bartoli, Pietro Santo......................... Engraver.....1635
Italian.  Bartolomeo, Fra. (di San Marco)..............Painter... 1469     1517
Italian.  ]Bartolozzi, Francesco (resided in England,)......Engraver... 1730                1813
Italian.  Bassano, Giacomo (six of this name)........... Painter... 1510     1592
Italian.  Batoni, Pompeo............................... Painter..................1708                  1787
Italian.  Beccafumi, Domenico.......................Painter and Engraver.    1484                       1549
Eng.      Beechey, Sir William.........................Painter...          1753      1839
Italian.  Bella, Stefano della.......................... Engraver..1610                   1664
Ger.      Beham, Hans or John........................Engraver.....1500
Italian.  Bellini, Gentile.............................Painter... 1421     1501
Dutch.   Berghem, Nicholas........................... Painter and Engraver.. 1624                       1683
Italian.  Bernini, Giovanni Lorenzo................... Sculptor and Architect.... 1589                 1680
Italian.  Berrettini, (Pietro da Cortona)................Painter... 1596     1669
Eng.      Blake, William.............................. Painter and Engraver..... 1757                   1828
Dutch.   Bloemaert, Abraham.........................Painter... 1564     1647
Dutch.  Bloemaert, Cornelius........................ Engraver..1603               1680
French.  Boffrand, Germain..........................Architect......1667                               1754
DQutch.  J1looteling, Abraham......................... Engraver...... 1634
Flem.    Bolswert, Scheltius A....................... Engraver.....1586
Italian.  Bordone, Paris..............                         Painter... 1500      1570
French.  Borgognone, II (see Cortese)..................Painter... 1621                                  1676
Dutch.   Both, John................................ Painter1610                                         1650
Dutch.  Both, Andries.............................. Painter... 1612     1645
French.  Bourdon, Sebastien..........................Painter and Engraver.... 1616                      1671
Italian.  Borromini, Francesco......................... Architect................ 1599
Eng.      Boydell, John......................... Engraver..1719                   1804
Italian.  Bramante, di Urbino (1st of St. Peter's)......... Architect.......1444                       1514
Dutch.   Breemberg, Bartholomaus..................... Painter... 1620     1660
Flem.    Breughel, Velvet (several of this name)......... Painter... 1560     1625
Flem.    Brill, Paul........................................1554                  1626
Dutch.   Brower, Adrian........... Painter.................1608  1640
Flem.    Bruges, John of (John van Eyck)..............Painter................. 1370                     1441
French.  Brun, Charles Le...........Painter..................                        1619      1690
Italian.  Brunelleschi, Filippo..........................Architect................ 1                      444
Italian.  Buontalenti, Bernardo....................... Architect................ 1536                   1606
Italian.  Buonarotti, Michael Angelo................. Pa. Sc. and Arch....... 1474                   1563
Eng.      Burnet, James............................. Painter................. 1788                     1816
Italian.  Cagliari, Paolo (Paul Veronese)...............Painter................. 1532                 1588
Italian.  Cairo, Cavaliere Francesco................... Painter...             1598      1674
Eng.      Calcott, Sir A. W............................Painter.................. 1779                   1844
Greek.   Callicrates, (built Parthenon)..................Architect............. C. 450  flour'd.
Greek.   Callimachus................................Sculptor and Architect B. c. 540  flour'd.
French.  Callot, James.............................. Engraver............... 1593                      1635
Italian.  Canal, Antonio (Canaletti)...................Painter................. 1697                   1768
Italian.  Canova, Antonio............................. Sculptor................ 1757                    1822
Italian.  Caracci, Lodovico.......................... Painter and Engraver.... 1555                  1619
Italian.  Caracci, Agostino.......................... Painter and Engraver.... 1558                     1601
Italian.  Caracci, Annibale............................ Painter. and Engraver.... 1560                  1609
Italian.  Caravaggio, Michael Angelo Amerigi da......... Painter............... 1569                    1609
Italian.  Caravaggio, Polidoro Caldara da............... Painter................. 1495                  1543
Italian.  Carpi, Ugo da (Inv. of printing in chiaro-scuro)..Painter and Engraver.... 1486  floured.
French.  Casas, Louis Francois......................  Painter and Architect.... 1756                    1827
Italian.  Castiglione, Giovanni Battista................. Painter................ 1616                  1670
Span.    Castello, Y Saavedra Antonio del............... Painter................ 1603                   1667
Italian.  Cavedone, Jacopo............................ Painter................. 1577                    1660
Italian.  Cellini, Benvenuto............................ Painter and Engraver..... 1500                 1570
Span.    Cespedes, Pablo de..........................Painter................ 1538                      1608
Flem.    Champagne, Philip de....................... Painter................. 1602                      1674
Eng.      Chantrey, Sir Francis...................... Sculptor..........    1781                      1841
Greek.   Chares, (Sc. of Colossus of Rhodes).............Sculptor............B. c. 300  fiour'd
Italian. Cignani, Carlo.Painter..1628  1719
Italian.  Cimabue, Giovanni (restorer of painting in Italy) - Painter................. 1240             1300
French.  Claude GeIe (Claude Lorraine).............. Painter................. 1600                      1682
Greek.   Cleomenes, (Sc. of Venus d  Medicis)........... Sculptor............B. 180  floured.
French.  Cochin, Charles............................ Engraver................ 1688                      1754
Amer.   Cole, Thomas............................... Painter................. 1802                      1848
Amer.   Copley, J  Singleton......................... Painter... 1737      1815




XXXVi                              ALPHABETICAL LIST OF PAINTERS, ETC.
NATION.                                    NAME AND PROFESSION.                                      BORN.   DIE
Eng.       Constable, John............................ Painter..............                         1776       1837
French.  Cotte Robert de..............................Architect..............                       1657       1735
Italian.  Correggio, Antonio Allegri da................. Painter................  1493                        1534
Italian.  Cortona  Pietro da...........................Painter................ 1596                           1669
Roman.  Cossutius................................... Architect............B.C. 200  flourd.
Eng.       Cosway, Richard.............................Painter...............1740                             1821
Greek.   Ctesitas, (Sc. of Dying Gladiator).............. Sculptor.B..C. 370  flourd.
Greek.   Ctesiphon, (Temple of Diana).................. Sculptor and Architect.  460  flourd.
Dutch.   Cuyp, Albert.............................                    ainter..................  1606       167
Greek.   Deadalus, (built Cretan Labyrinth)............ Sculptor and Architect B. C. 1250  floured.
Greek.   Daphnis, (Temple of Apollo)................. Architect..........  500  flourd.
French.  David, Jacques Louis........................ Painter...............   1748                           1825
French.  Denon, Baron Dominic Vincent................Designer and Engraver.. 1747                              1825
Flem.    Diepenbeck, Abraham....................... Painter.. 1607      1675
Ger.       Dietrich, Christian William.................. Painter...............   172                         1774
Greek.   Detrianus, (Arch. to Adrian)................. Architect..............                       120  flourd.
Greek.   Dinocrates, (builder of Alexandria)............ Architect............ B       330  flourd.
Italian.  Doci, Car................................. Painter................. 1616                          1686,or Domenico Zampieri............Painter...............
Italian.  Donotello or Donato......................... Sculptor...............1383                            1466
French.  Dorigny, Sir Nicholas........................Engraver............... 1657                            1746
Dutch.   Douwv Gxerard,............................... Painter................ 1613                            1674
Greek.   Dionysius, of Argos.........................Sculptor.............                          484
Eng.       Earlom, Richard..............................Engraver..............1742                            1822
Flem.    Edelinck, Gerhard...........................Engraver.............    1627                            1707
Greek.   Epeus, (Trojan Horse).......................Sculptor............ B.
Greek.   Eupompus (founder of the school of Sicyon).....Painter............                 B.     500  lourd.
Dutch.   Everdingen, Albert van...................... Painter................1621                             1675
Flem.  Eyck John van (John of Bruges)..............Painter.....1370   1441
En.g.      Flaxman, John.............................Sculptor..............                         1755       182
Flem.    Flemael, Berth-olet...........................Painter...............                       1614       1675
Italian.  Finiguerra, Maso (inventor of copper-plate eng.).. Engraver..............15th century
Dutch.   Flink, Govaert.............................               Painter................ 1614              166C
Ger.       Fischers, Johann Bernard...................Architect............... 1650                            1738
Italian.  Fontana, Domenico...........................Architect................ 1543                          1607
Italian.  Fontana, Carlo.............................. Architect................ 1634                          1714
Italian.  Franceschini, Baldassare......................Painter................. 1611                         1689
Italian.  Franceschini, Marc' Antonio.................. Painter.. 1648                                         1739
Swiss.   Fuseli, Henry (resided in England)............. Painter..................1741                         1825
Flem.    Fyt, John................................. Painter.. 1625                                              1671
Italian.  Fuga, Ferdinando.......Architect................ 1699
Eng.       Gainsborough, Thomas....................... Painter................. 1727                           1788
Flem.    Genoels, Abraham.......Painter................. 1640                                                  1703
Italian.  Ghisi, Giovanni Battista.....................Painter and Engraver.... 1500
Italian.   Ghisi, Giorgio.............................. Engraver................ 1524
Italian.   Giordano, Luca..............................Painter.. 1632                                          1705
Italian.  Giorgione, or Giorgio Barbarelli....        Painter................. 1477              1511
Italian.   Giotto, di Bondone..........................Painter................. 1276                          1336
Span.    Giovanbattista, di Toledo..................... Architect.................                              1567
Italian.   Ghiberti, Lorenzo............................ Sculptor................ 1378                         1456
French.  Giraldon, Francois........................... Sculptor................ 1630                           1715
Dutch.   Goltz, or Gotizius, Henry.................... Painter and Engraver.... 1558                          1617
French.  Goujon, Jean (the French Phidias)............. Sculptor................                              1572
Dutch.   Goyen, Jan van............................. Painter................ 1596                               1656
French.  Greuze, Jean Baptiste........................Painter.................. 1726                          1805
Italian.  Grimaldi, Giovanni Francesco.................Painter..              1606      1680
Italian.  Guercino, (Gio. Franc. Barbieri)............... Painter.................. 1590                       1666
Italian.  Guido Reni,................................. Painter................. 1575                          1642
Flem.    Hals, Francis................................ Painter................. 1584                          1666
Eng.       Haydon, Benjamin Robert..................... Painter.....1786                                       1846
Eng.       Heath, Charles.............................. Engraver.............-                                 1849
Dutch.   Heem, John David de........................Painter................ 1600                             1674
Dutch.   Hemling, John............................ Painter and Engraver..... 1450
Dutch.   Hobbema, Mynderhout........................ Painter................. 1611
Eng.       Hogarth, William............................Painter and Engraver..... 1697                          1764
Swiss.   Holbein, Hans..............................Painter and Engraver..... 1498                            1554
Ger.       Hollar, Winceslaus............................ ngraver............... 1607                        1667
Greek.   Heraclides, (painter of marines)................ Painter.............B. C. 160  floured.
Span.    Herrera, Giovanni d'........................ Architect................                              1597
Dutch.   Hondecoeter, Melchior (painter of fowls)........ Painter................ 1636                       1695
Dutch.   Honthorst, (Gherard delle Notti).............-.Painter................. 1592                        166C




ALPHABETICAL LIST OF PAINTERS, ETC.                                   XXXVi3
NATION.                                 NAME AND PROFESSION.                                   BORN.   DIED.
Dutch.  Hughtenberg, Johannes van..................Painter.................1646                         1733
Amer.   Inman, Henry............................ Painter...            1801     1846
Span.    Ivara, Felipe................................Architect................. 1684    1735
Greek.   Ictinus, (architect of Parthenon)...............Architect............B. C. 450  flour'd.
Flem.    Janssens, Abraham.......................... Painter.................. 1569
Dutch.  Jardin, Carl du...............................Painter.................. 1640
Flem.    Jordaens, Jacob............................. Painter................. 1594     1678
French.  Jouvenet, Jean............................. Painter................. 1644                      1717
Swiss.   Kauffman, Maria Angelica.....................Painter..                                1742      1807
Ger.      Kneller, Sir Godfrey.......................... Painter................. 1648                  1723
Ger.      Kilian, Lucas.....................Painter............. 1579           1637
Dutch.  Kobell, Jan............................   Painter.................. 1782            1814
Dutch.  Koning, Philip de........................... Painter....                               1619      1689
Dutch.  Laer, Peter de (Bamboccio)................... Painter................. 1613        1673
Dutch.  Lairesse, Gerhard.......................... Painter............. 1640      1711
Italian.  Lanfranco, Cav. Gio....................... Painter.................. 1581                    1647
Eng.      Lawrence, Sir Thomas................     Painter................. 1769          1830
Ger.      Lely, Sir Peter.............................Painter........ 1617                             1680
French.  Lethiere, Guillaume Guillon.................. Painter................. 1760                    1832
Dutch.  Leyden, Lucas van........ Painter and Engraver.... 1494                                         1533
Italian.  Licinio, Gio. Anto. il Pordenone...............Painter................. 1484                 1540
Flem.    Lievens, Jan................. Painter and Engraver.... 1607                            1663
Ger.      Lingelback, John........................... Painter................. 1625                    1687
Flem.    Lombard, Lambert...........................Painter................. 1500                       1560
Italian.  Longhi, Giuseppe..........................'..Painter................. 1766                    1831
Ger.      Loutherbourg, Philip James de.........                Painter.           1734      1812
Greek.   Lysippus.................................. Painter.............B. c. 334  flour'd.
Dutch.   Maes, Nicholas.............................. Painter................. 1632         1693
Ger.      Mabuse, John de............................ Painter................. 1492                    1532
Italian.  Mantegna, Andrea.................Painter and Engraver.... 1431        1506
Italian.  Maderno, Carlo.............................. Architect........... 1556          1629
French.  Mansard, Francois............................Architect.............   1598      1666
French.  Mansard, Jules Hardouin.....................Architect............    1645       1708
Italian.  Maratti, Carlo.............................  Painter..1625                              1713
Italian.  Masaccio, Maso..............................Painter................. 1401                     1443
French.  Masson Antoine.........................                  Engraver...........   1636       1700
Flem.    Metsys, Quintin............................. Painter................. 1450                     1529
Italian.  Mazzuoli Franceso (I1 Parmiggiano)...........Painter................. 1504                    1540
Ger.      Mengs, Anthony Raffaelle..................... Painter................. 1728                  1779,
Dutch.   Metzu, Gabriel............................. Painter................. 1615                      1658
Dutch.   Meulen, Anthony Francis vander............... Painter.................. 1634                  1690
Swiss.   Meyer Felix.................................Painter................. 1653                      1713
Eng.      Middiman, Samuel..                                    Engraver............... 1746             1818
Flem.    Miel, Jan................................... Painter.. 1599                                   1664
Dutch.  Mieris, Francis the elder......................Painter................. 1635                   1681
Dutch.   Mieris, William...........................Painter................. 1662                       1747
French.  Mignard, Nicholas...........................  Painter.................. 1608                   1668
French.  Mignard, Pierre............................ Painter................. 1610                     1695
Italian.  Modena, Pellegrino da......................Painter................. 1485                      1523
French.  Moine, Francois le...........................Painter................. 1688                    1737
Italian.  Mola, Pietro Francesco......................Painter.................. 1609                   1665
Dutch.   Molyn, Peter (Tempesta).....................Painter....... 1637                               1701
Flem.    Monnoyer, Jean Baptiste (Baptiste)............Painter................. 1635                    1699
Dutch.   More, Sir Anthony................Pa inter.................1519                               1588
Italian.  Morghen, Raphael (preeminent)...............        Engraver..........          1758      1833
Eng.      Morland, George..............................Painter................. 1764                   1804
Dutch.  Moucheron, Frederick........................Painter... 1633                                     1686
Dutch.  Muller, John......Engraver...........   1570
Span.    Murillo, Bartholomew E..................... Painter................. 1618                     1685
Greek.   Mycon, (Temple of Theseus).................. Pa., Sc., and Arch....B. c. 500  flour'd.
Greek.   Myron, (Sc. of the Discobolus)................. Sculptor............B. C. 500  flour'd.
French   Nanteuil, Robert.............................Engraver................ 1630   1678
Flem.    Neef, Peter.................................. Painter and Architect..... 1570                 1651
Dutch.   Neer, Ardold vander..........................Painter................. 1619                    1683
Greek.   Nicias......................................Painter..............B. c. 450  flour'd.
Dutch.   Netscher, Kaspar...........................Painter................. 1636                      1684
Greek.   Nichomachus............................... Painter.............B.c. 330  flour'd.
Eng.      Nollekens, Joseph........................            Sculptor.. 1737                           1823
Eng.      Northcote, James............................Painter...1746                                   1831
Flem.    Ommeganck, Bal. Paul........................ Painter................. 1755     1826




XXXViii                            ALPHABETICAL LIST OF PAINTERS, ETC.
NATION.                                  NAME AND PROFESSION.                                     BORN.   DIED
Eng.       Opie, John..................................Painter......                             1761      1807
Dutch.   Ostade, Adrian van...........................Painter................. 1610                        1.685
Dutch.   Ostade, Isaac van...........................Painter................. 1617                        1654
French.  Pajou, Augustine.........................           Sculptor................ 1730            1809
Italian.  Palladio, Andrea............................... Architect................ 1518                    1580
Italian.  Palma, Jacopo (il Vecchio)...................Painter....   16th cent.
Italian.  Palma, Jacopo (il Giovine)....................Painter................. 1541           1628
Greek.   Pamphilus, (founder of school of Sicyon)........ Painter.............. B. c. 350  flour'd.
Greek.   Pantsenus, (Battle of Marathon)............... Painter.............B. c. 450  flour'd.
Greek.   Parrhasius................................. Painter.............B. c. 420
Greek.   Pausias.................................... Painter.............. B. C. 352  flour'd
Amer.   Peale, Charles W..........................Painter.................. 1741                         1827
Span.    Pereda, Antonio............................. Painter.................. 1599                       1669
French.  Perrault, Claudius (Sc. front of Louvre)......... Architect................. 1613                 1688
Italian.  Perugino, Pietro (Master of Raffaelle)...........Painter......                1446      1524
Italian.  Peruzzi, Baldassare..................                   Painter.................. 1481           1536
Flem.    Peters, Bonaventura....................... Painter...............                        1614      1671
Swiss.   Petitot, John (inv. of painting in enamel)....... Painter.....                           1607      1691
Eng.       Phillips, Thomas............................. Painter................. 1770                     1845
Greek.   Phidias, (preeminent)....................... Sculptor............         c. 49.8   432
Italian.  Picart, Bernard...................                      Engraver............... 1663             1733
French.  Pigalle, Jean Baptiste................. Sculptor.................1714                1783
Italian.  Piombo, Fra. Sebast. del................ Painter................. 1485              1547
Greek.   Philesius, (Sc. Nine Muses).................... Sculptor................
Italian.  Piranesi, Giov. Battista...................... Engraver................ 1707                     1778
Dutch.   Poelemburg, Cornelius...................   Painter.................. 1586          1660
Greek.   Polycletus.................................. Sculptor............B. c. 430  flour'd.
French.  Poilly, Francois................... Engraver.....                                       1622      1693
Italian.  Ponte, Giacomo da (il Bassano)................ Painter................  1510                     1592
Flem.    Pontius, Paul..............................Engraver..........                         1596
Dutch.   Potter, Paul.................................Painter................. 1625                        1654
Italian.  Porta, Baccio della (Fra Bartolo. di S. Marco)...Painter................. 1469                   1517
French.  Poussin, Nicholas.........................Painter.............                         1594      1665
Italian.  Poussin, Gaspar.............................. Painter................. 1613                      1675
Greek.   Praxiteles................................. Sculptor.............B. C. 324  flour'd.
Italian.  Primaticcio, Francesco........................Painter................. 1490                      1570
Italian.   Procaccini, Ercole............................ Painter................. 1520                    1591
Greek.   Protogenes.................................. Painter............. cB.C. 300  flour'd.
French.  Puget, Peter Paul........................... Pa., Sc., and Arch........1623                       1695
Greek.   Pythagoras, of Rhegium..........................Sculptor................
Greek.   Polygnotus................................ Painter.................. 424
Greek.   Polycletus, (rival of Phidias)............... Sculptor..........    C. 432  flour'd.
Greek.   Polydorus of Rhodes (one of Sc. of Laocoon).... Scutptor.
Scotch.   Raeburn, Sir Henry..........................Painter................. 1756                        1822
Italian.  Raffaelle Sanzio di Urbino................... Painter................. 1483                      1520
Eng.       Raimback, Abraham........................ Engraver............... 1776          1843
Italian.  Raimondi, Marc' Antonio..................... Engraver............... 1487          1546
Italian.  Ravenna, Marco da.................. Engraver............... 1496
Dutch.   Rembrandt van Ryn.................. Painter and Engraver.... 1606                                  1674
Italian.  Reni, Guido.................................Painter......                              1575      1642
Eng.       Reynolds, Sir Joshua........................ Painter................. 1723                      1792
French.  Rigaud, Hyacinth............................Painter......                               1659      1745
French.  Roland, Philip L........................... Sculptor................ 1746                        1816
Eng.       Romney, George...........................Painter................. 1734                          1802
Italian.  Rosa, Salvator.........................       Painter................... 1615          1673
Italian.  Romano, Giulio............................ Painter................. 1492                         1546
Dutch.   Roos, John Henry.......................... Painter...... 1631                                     1685
Italian.  Rosso, il.................................... Painter................. 1496                      1541
Italian.  Rota, Martino............................... Engraver............... 1540
Italian.  Robusti, Giacomo (Tintoretto)..          Painter.......        1512      1594
Italian.  Roncalli, Cristoforo (Pomerancio)............. Painter......                          1552      1626
Ger.       Roos, Philip (Rosa da Tivoli)................. Painter.................. 1655                   1705
Swiss.   Roubilliac, Francis..................                    Sculptor................ 1703            1762
Flem.    Rubens, Peter Paul..................                       Painter................. 1577          1640
Dutch.   Ruysdael, Jacob............................ Painter................. 1636                         1681
Italian.  Sabbatini, Andrea (da Salerno).........    Painter........1485         1550
Italian.  Sacchi, Andrea....................                      Painter...                      1594      1661
Dutch.   Sadeler, John............................... Engraver............... 1550                         1600
Dutch.   Sadeler, Raphael...................      Engraver............... 1555              1616
Dutch.   Sadeler, Egedius (Giles)..................   Engraver................1570             1629




ALPHABETICAL LIST OF.PAINTERS, ETC.                                       XxiX
NATION.                                  NAME AND PROFESSION.                                     BORN.   DIED
Dutch.   Saenredam, John........................... Engraver................ 1565                           1607
Italian.  Sammachini, Orazio..........................Painter..................1532                         1577
Italian.  San Michelli, Michele.........................Architect.................1484                      1559
Italian.  Sarto, Andrea Vannuchi del...................Painter................. 1488                       1530
Italian.  Scamozzi, Vincenzio.......................... Architect.................1552                     1616
Italian.  Schedone, Bartolomeo........................Architect................1560                        1616
Roman.  Severus, (architect to Nero)...................Architect................ 50  flourd.
G-er.     Senefelder, Alois (inventor of lithography)......Painter and Engraver.... 1771                1834
Dutch.   Schaicken, Godfry...........................Painter................. 1643                         1706
Greek.   Scopas.................................... Sculptor............ B.. 460  flourd.
Eng.       Sharpe, William.............................Engraver...............1749                         1824
Eng.       Smirke, Robert.............................. Painter.
JFlem.    Snyders, Francis............................Painter................. 1579                        1657
Italian.  Solimena, Francesco..........................Painter................. 1657                       1747
Egypt.   Sostratus, (built Pharos).....................Architect.................
Italian.  Spada, Lionello..............................Painter................. 1576                       1622
Dutch.   Spaendonck, Gerard van (fruit and flowers).....Painter................. 1746                     1822
Span.    Spagnoletto, il (Josef Ribera)...................Painter................. 1589                    1656
Flem.    Spranger, Bartholomew....................                       1546      1623
Italian.  Stanzioni, Cav. Massimo...................... Painter.1585                                        1656
Dutch.   Steen Jan (very noted)....................... Painter.................1636                        1689
French.  Stella, James................................ Painter................. 1596                       1647
Dutch.   Stoop, Dirk or Theodore...................... Painter.................1612                        1686
Dutch.   Stork, Abraham, (views, sea-pieces)............ Painter.................1650                      1708
Eng.       Stothard, Thomas (historical and portrait)...... Painter..................1755                  1834
Scotch.  Strange, Sir Robert...........................Painter................1721                          1792
Eng.       Stuart, James............................... Architect................1713                      1787
Amer.   Stuart, Gilbert (portrait).....................Painter.................1754                        1828
French.  Sueur, Eustachius le..........................Painter.................. 1617                       1655
Ger.       Swanevelt, Herman Ladd......................Painter.................1620          1690
Italian.  Tatti, Jacopo (called Sansovino)............... Painter.. 179                                     1570
Italian.  Tempesta, Antonio.......................... Painter and Engraver..... 1555                        1630
Flem.    Teniers, David, the elder...................... Painter...1582                                     1649
Flem.    Teniers, David, the younger................... Painter.................1610                       1694
Dutch.   Terburg, Gerard............................. Painter.1608                                           1681
Italian.  Testa, Pietro...............................Painter and Engraver.... 1611                         1650
Danish.  Thorwaldsen, Albert......................... Sculptor....          1772      1849
Greek.   Temanthes.................................. Painter............B. C. 420  floured.
Greek.   Timanthes, (painter of Jupiter in Council).......Painter..............B. c. 400
Italian.  Tibaldi, Pellegrino........................... Painter................. 1527                      1600
Greek.   Timomarches...............................Painter..................
Italian.  Tintoretto, Giacomo Robusti.................. Painter.................. 1512                     1594
Italian.   Titian, (preeminent)....................../.. Painter................. 1477                      1576
Amer.   Trumbull, John............................. Painter................. 1756                           1804
Flem.    Vandyck, Sir Anthony....................... Painter................. 1599                         1641
Dutch.   Vandervelde, William, the elder..            Painter................. 1610             1693
Dutch.   Vandervelde, William, the younger............. Painter................. 1633                       1707
Dutch.   Vandervelde, Adrian......................... Painter.... 1639                                       1672
French.  Vanloo, Carl................:.............. Painter................. 1705                         1765
Dutch.   Vanderwerf, Adrian......................... Painter:.. 1659                1722
Span.    Velasquez de Silva, Don Diego................ Painter................. 1594                        1660
Flem.    Venius, or Van Veen, Otho.................... Painter................. 1556                        1634
French.  Vernet, Joseph (marine)...................... Painter................. 1714                        1789
French.  Vernet, Horace.............................Painter.. 1758                                          1836
Italian.  Vannucci, Pietro Perugino.................... Painter.................. 1446                       1524
Italian.  Vanuncchi, Andrea Del Sarto..................Painter................. 1488                        1530
Italian.  Vanvitelli, Luigi............................ Architect................. 1700                      1773
Italian.  Vinci, Leonardo da...........................Painter................ 1445                         1519
Italian.  Veronese, Paolo (Cagliari)....................Painter................. 1528*   1588
Dutch.   Visscher Cornelius........................... Engraver............... 1610                         1670
Flem.    Vorstermans, Lucas the elder.................. Engraver............... 1580
Italian.  Vignola, James.............................. Architect................ 1507                       1573
Greek.   Vitruvius..........Architect.........                                               C.   30  floured.
Italian.  Volpato, Giovanni............................ Engraver............... 1733                        1802
Amer.   West, Benjamin............................Painter....          1738      1820
Scotch.  Wilkie, Sir David.............. Painter................. 1785                                      1841
French.  Wille, John George..........................Engraver............... 1717                           1807
Eng.       Wilson Richard............................                                             1714      1782
Eng.       WoolletttWilliam............................ Engraver................ 1735                        1785
Dutch.   Wouwerman, Phil............................ Painter.................. 1620                          1668




Xi                               ALPHABETICAL LIST. OF PAINTERS, ETC.
NATION.                                 NAME AND PROFESSION.                                   BORN.   DIED
Eng.      Wren, Sir Christopher (St. Paul's)............Architect.............. 1632                   1723
Dutch.   Waterloo, Anthony..........................Painter and Engraver... 1618                       1691
French.  Watteau, Antoine..........................Painter.................. 1684                     1727
Dutch.  Weenix, John Baptist........................Painter.................. 1621                     1660
Dutch.   Weenix, John...............................Painter......                1644      1719
Dutch.   Werf, Adrian Vander....................... Painter..............1659        1722
Dutch.   Wynants, John............................ Painter.......... 160C                              1670
Italian.,  Zablia, Nicholas.............................Architect.. 1674                                1750
Grees.  Zeuxis.................................. Painter..............B. c. 490                        400
Italian.  Zuccaro, or Zuccheri, Taddeo.............. Painter.................1529           1566
Italian.  Zuccaro, or Zuccheri, Federigo................. Painter.................1539                 1619
Italian.  Zuscarelli, Francesco........................ Painter.................. 1702                  1788
Spun.    Zurbaran, Francisco......................... Painter.................. 1598                   1662




AN
ALPHABETICAL LIST
OF THE
NAMES ACQUIRED BY DISTINGUISHED ARTISTS
WITH THEIR SURNAMES.
THIS List is important, because, in the history of art, eminent artists are frequently known only by
their acquired names, given to them  by their cotemporaries, from the place of their nativity, perfection or defects of person, remarkable poculiarity of composition or coloring, or singularity of
character.
ACQUIRED NAME.         SURNAME.                       ACQUIRED NAME.         SURNAME.
Abeyk,............... John van Eyck.                 Baptist, J.,........... J. B. Gaspars.
Agubbio, d\',.........Oderigi da Gubbio.              Baptiste,............John Baptist Monnoyer.
Aiguilles,Marquis d..J. B. Boyer.                   Barbalunga,.......... Antonio RiccL
Ains,...............Giuseppe Ens.                   Barbato, Barbudo, ). Vermeyen.
Albara, Giodi,.......Bernardo Carboni.                Barbalonga,    t.  Joo   n  a. v
Albe, Baron d'. L. A. G. Bacler.  Barbiere, del,........ Alessandro Fei.
Alemagna, Giusto di,.. Justus of Ghent.              Bartolet,........... Bart. Flemael.
Alesio, Perez d',.... Matteo da Lecce.               Bartolomeo,.........B. Breemberg.
Aliense,..............Antonio Vassilacchi.           Bartolomeo, Fra,.... F. Bart. della Ports.
Ambrogiotto,......... Giotto.                       Basilicata, della,.......Matteo Paccelli.
Amico,........         Maestro Aspertini.                                      Antonio Scaiario.
Ancinelli, dagli,......Flaminio Torre.                Bassano, II,..........  Jacopo daPonte.
Andrea Lilio.                                       (David Teniers.
Girolamo Bonini.            Bastaro, del.........Giuseppe Puglia.
Angelico,'.G........... iovanni da Fiesole.          Bastaruolo, h,........Filippo Mazzuoli.
Angelo, d',........... Gio. Bat. del Moro.           Bastianino, I1,........Bastiano Filippi.
Annunzio,........... Nonzio.                         Batistiello,.......... Gio. Bat. Caracciolo.
Ans,................ Ausse.                          Battaglie, dalle....... M. A. Oerquozzi.
Antoni, degli,........Antonello da Messina.        Battaglie, Brescianino
Antoniano,Ferrarese,.. &ntonio Alberto.                    dalle,.......... Francesco Monti.
Antonio, Marc',...... M. A. Raimondi.                Bazzacco,..........Gio. Bat. Ponchino.
Aretusi,............. Pellegrino Munari.             BeardHans with the,.. John C. Vermeyen.
Ariminensis,.        B.......Bartolomeo Coda.      Belladonna,........ Lucilio G~etiloni.
Aristotile,........... Bastiano da Sangallo.         Belvidere,..........Andrea Abate.
Arpino, d,........... Giuseppe Cesari.              Benedetto, Gio.,..... Gio. B. Castiglione.
Arrigoni............ Giovanni Laurentini.           Benvenuto,..........Gio. Bat. Ortolano.
Arsenio,............. Donato Mascagni.               Brgamasco, II,....... Gio. Bat. Castelli, and Cas.
Asti, d',....  Gio. Carlo Aliberti.                                         tello.
Athanasio Pedro,.....Pedro Bocanegra.               Bernard of Brussels,..Bernard van Orley.
Attavante,...........Vante.                         Bertholet,.........B. Flemael.
Ausse,.............. John van Eyck.                 Betti,.............. Bernardino Pinturicchio.
Aviano,............ Girolamo da Trevigi.           Bevilacqua, II,.......Ventura Salimbeni.
Baccio,...........F...Era Bart. della Porta.        Biagio, Maestro,......Biagio Pupini.
Bachiacca,........... Francesco Ubertino.           Bibiena,..........  Galli.
Baciccio,............. Gio. Bat. Gaulli.            Bicker........... Cav. John Miel.
Baeza, da............. Gaspar di Becerra.            Bigio,.rancia,........Marc' Antonio Francia.
Bagnacavallo, II,...... Bartolomeo Ramenghi.            "  II............. Gio. Bat. Brazze.
Ballerino,............ Gio. Bittonte.               Bigolaro, II........... Francesco Bernardi.
Balvay, J. G.C,........Charles C. Bervic.            Bles, Henry de,...... Enrico Civetta.
BamboccioP,.........Peter de Laer.                  Bogaert, Martin vander,Desjardins.




xlii                        AN ALPHABETICAL LIST OF ACQUIRED NAMES.
ACQUIRED NAME.          SURNAME.                      ACQUIRED NAME.           SURNAME.
f Gio. Fran. Grimaldi.       Castoldi,............ Gio. Pietro Crespi.
Jacopo Avanzi.              Cavagnuolo, II,........ Francesco Cavagna.
Cristoforo Ferrari.         Cavalori,...........Mirabello da Salincorno.
I Lattanzio Mainardi.        Cavprozzi,........... Bartolomeo del Crescenzi
Bologna, or Bologiiese,  Ercolino Ruggieri.           Cavazzoni,...........Gio. Pietro Zanotti.
a,..'~**~*~-'~Lorenzo Sabbatini.      Cecchino,.Francesco de Salviati.
Pellegrino Tibaldi.         Cecco Bravo,........ Francesco Montelatici.
B. Caterina da Vigri.       Cedaspe,........... Paolo Cespedes..Lorenzino di Fermo.         Celano, Guelfo dal,... Leonardo da Pistoia.
Bologna. I1.......... Bart. Ramenghi.                Centino, II,.......... Francesco Nagli.
Bonaccorsi,.......... Pierino del Vaga.              Cerano, I,..........- Gio. Bat. Crespi.
Bondone, di,......... Giotto.                        Ceri, de',........... Pierino del Vaga.
Borghese,....     Pietro della Francesca.       Certosino, II........P. Stefano Cassiani.
Borgognone, II,.           Jacopo Cortese.            Cesare, Padre,......C..esare Pronti.
Guglielmo Cortese.          Cesio, da,..........Pellegrino da Cesena.
Bosschaert,..........Thomas Willeborts.              Chafrion, Lorenzo,.I. F. Matias de Valencia.
Bozzato,........... Gio. Battista Ponchino.          Chenda, II,..........Alfonso Rivarola.
Bramante,........... Donato di Lazzari.              Chiaveghino, II,.....  Andrea Mainardi.
Brandi, Felichetto,.. Felice Ottini.                Chighi,..............Gio. Bat. Ghisi.
Bravo,.............Francesco Montelatici.            Chiozzotto, I........ Antonio Marinetti.
Brazzaco,......... Gio. Bat. Ponchino.               Chisolfi,............ Giovanni Ghisolfi.
Brescia, Luca di,......Seb. Aragonese.               Ciccio, L' Abate,......Francesco Solimena.
(Francesco Monti.             Cigoli,............. Lodovico Cardi.
Brescianino 11........  Giovita.                     Cimatore di Urbino,...Andrea Visacci
(Vincenzio Foppa.            Clementone, II.......Clemnente Bocciardo.
Bresciano,...........Pietro Avogadro.                Colonna,.........Girolamo Mengozzi.
Bresciano, Morone,... Pietro Moroni.                 Conchillos,........  Juan Falco.
Brixiensis,...........Brescia.                       ConeglianoIl,........Gio. Bat. Cima.
Briziano... Gio. Bat. Montovano.                     Consolano,.......... Cristoforo Casolani.
Brizio, Menichino del,.Domenico Ambrogi.              Conte, del,.......     Guido Fassi.
Bronzino,;........ Alessandro Allori.              Conway,........... Anne Darner.
Bruggia, Gianes da,...John van Eyck.                Cook, The,..........Lucas Cornelisz.
Bruno,........... Buoni.                           Coppa, Cav.,......... Ant. Giarola.
Bruno, II,........... Silvestro Morvillo.            Coriario,............ Arto Leone.
Brusasorci, I,........ Riccio.                       Cornelisz,........... Cornelius van Haerlem.
Budrio, da,..........Giacomo Lippi.                  Cornorano.,                 li.... CaI.
Buonaccorsi,.........Pierino del Vaga.               Cornato,,                       alv.
Buonamici,.......... Agostino Tassi.                 Corradini,.....-.....F. Bartolomeo Carnevale
Bustini.............Benedetto Crespi.                 Corr ioda,..               Antonio Allegri.
tPietro Bianchi.                 eg.    a.            Antonio Bernieri.
Caccianemici,........Francesco Cappelli.             Corticellis, I,........ Gio. Ant. Licinio.
CMattia.Preti.                Cortona, da,.........Pietro Berrettini.
Calabrese, I1,........Marco Cardisco.                Cosci,...............Gio. Balducci.
( Nicoluccio.                Cosimo, Padre,......Paolo Piazza.
Caliavari,...........Luca Carlevariis.              Cosm6 da Ferrara,.... Cosimo Tura.
Caligarino, I1....... Gabriele Cappellini.           Cousinet,............Catherine E. Lempereur,
Camaldolese,........ Don Lorenzo.                    Crabbetjie,..........John Asselyn.
Campidoglio, I1,.....Michael Angelo.               Cremonese  11.            Francesco Bassi.
Canaletto, I1,........Antonio Canal.                                            Giuseppe Caletti.
Candido, I1,........ Peter de Wit.                   Crescenzi,........... Bart. Cavarazzi.
Canozio,.............Lorenzo Lendinara.              Crisolfi,............. Gio. Ghisolfi.
Capanigo, da........Martino Simazoto.               Crivellone, II........ Ant. Maria Crivelli.
Capella, II.......     Francesco Dagiu.              Crocifissaio,.......... Girolamo Macchietti.
11pi *i..           S Gabriele Caligarino.        Crocifissi, da,........Simone da Bologna.
Capeli^ni...  -* }Gio. Bat. Zuppelli.                Croma, I..      Giulio Cromer.
Capodoro,.........Guglielmo Paganini.             Cronaca, I1,........Simone del Pollajuolo.
Cappuc ino       S Bernardo Strozzi.            Cugini.............. Cungi.
- appucco,...... ppolito Galantini.  Cuticello, II......... Gio. Ant. Licinio.
Caraccino, II,.........Gio. Ant. Mulinari.           Cutigliano,.......... Biagio da Carigliano.
(Michael Ang. Amerighi.  -Dalmazia, di.........Federigo Bencovich.
Caravaggio, da,.......  Gio. Bat. Secchi.            Danet, or Daris,......Leon Daven.
(Polidoro Caldara.           Danet, John,....... John D.uvet.
C(arbone,.............Camillo Scacciani.             Daniello, II Cav.,.....Daniel Snyder.
Carnia, della,......... Nicola Grassi.                Davanzo,............ Jacopo Avanzi.
Carpense,............Bernardino Loschi.             Dente,..............Marco Ravignano.
Carpi, Pellegrino da,..Pellegrino Ascani.            Dentone, II,.........Girolamo Curti.
Carriera,.......... Rosalba.                        Diatelevi,............Tiberio di Assisi.
Casa della,.......... Pietro Ant. Bernabei.          Dielai, or Diolai...... Gio. Francesco Surchi.
Casailni,............. Lucia Torelli.                Diethmar............Thiemon.
Casanobrio......... Luca Carlevariis.                Guccio, del Sero,...... Aghinetti.




AN ALPHABETICAL LIST OF ACQUIRED NAMES.                               xliii
&CQUIRED NAME.         SURNAME.                       ACQUIRED NAME.          SURNAME.
Divino, El............ Luis Morales.                 Freschi, de',.........Paolo Franceschi.
Doceno, II,......... Cristofano Gherardi.            Friano, Maso di San,. Maso Manzuoli.
Domen'ichino,........ Domenico Zampieri.             Frieslander, The Noble, Wybrand van Gheest
Donato,.............Donatello.                      Frisius,.............  John Vredeman de VrieL
Donelli,..............Carlo Vimercati.              Friso, dal,........... Luigi Benfatto.
Donnabella,..........Lucilio Gentiloni.             Friuli, forcia da,....Francesco Apollodoro.
Droll1 The,..........Peter Breughel.                 Fumaccini,........... Orazio Samacchini.
Duchino, II,......... Paolo Camillo Landriani.    Gaeta, da,............Scipione da Pulzone.
Dulichio, da.......... Buschetto.           Galanino,............Baldassare Alloisi.
Empoli, da........... Jacopo da Chimenti,           Gallicus, Jo.,......... John van Eyck.
Engs................ Giuseppe Ens.                   Gallo, Giovanni, or )
Ercole da Ferrara,.... Erccole Grandi.                 Johannes, -        Jean Salomon.
Ercolino di Guido,....Ercole de Maria.             Gallo, L' Infante,    )
Eremita di Monte Se- G. B. Stefaneschi.               Garofolo, da,.....Benvenuto Tisio.
nario,............                              Genova, Luchetto da,.. Luca Cambiasi.
Escalante, Rpmero Y.,. -Juan Ide Sevilla.             Genovese 11  Prete-          Bernardo Strozzi.
Espagnoletto,........ Giuseppe RiberaGenovese, 11 Prete,...  Ippolito Galantino.
Essen, Hans von,...Johann Ladenspelder.             Geoeio. I,              I Luigi Miradoro.
Facciate, delle,........Bernardino Poccetti.          Genovesino, IJ,......   Giuseppe Calcia.
FerraiA Fanzone.           Gentile,............ Luigi Primo.
Faenza, da,...........  Giacomo Brtucci.             Gentileschi,......... Orazio Lomi.
( Marco Marchetti.          Gerard of St. John,.... Gerard of Haerlem.
Faenza, Figurino da,..M. A. Rocchetti.              Gerupino,..........Luigi Scaramuccia.
Faes, vander,........ -      -Peter Lely.           Gessi, G. B. del,...... Gio. Battista Ruggieri.
Fattore, II........... Gio. Francesco Penni.         Gessi, Ercolino del,... Ercole Ruggieri.
Federighetto......... Fede'igo Bencovich.            Gherardo, di Ser,.....Giacomo di Guglielmo.
Ferrara, Cosm6 da,... Cosimo Tura.                   Ghirlandaio del            Michele di Ridolfo.
Ferraresino,.Il.,......  Camillo Berlinghieridel, -   Domenico Corradi.
Fiamxninghi^^^no, T. I  i;. Angelo Everardi.         Giacomone,.......... Giacomo Bertucci.
Fia ingi. Gio. Mauro Rovere.  Giancarli,...........Poliphilos Zancarli.
Lodovico Pozzoserrato.    Gianella,.Giorgio and Glovanni da
Fiammingo, II........  Uberto la Longe.                                         Siena.
amigo...Paolo Franceschi.  Giles of Antwerp,....Giles Coignet.
Dionisio or Denis Calvart.  Gino, di............ Stoldo Lorenzi.
Figurino........... Marc' Antonio Rocchetti.    Giorgio, II Maestro,... Ingles.
Filattrano,.......... -Lucilio Gentiloni.             Giorgione,.            Giorgio Barbarelli.
Filippi, or Filipepi,.... Sandro Botticelli.         Giottino............ Tommaso di Stefano.
Fiore, Fed. d Urbino,. Federigo Baroccio.            Giovanni, di San,.....Giovanni Mannozzi.
r Giuliano Bugiardini.       Girandole, dalle,......Bernardo Buontalenti.
Fiorentino, 11            Michele Alberti.            Gismondi,...........Paolo Perugino.
Orazio Vaiani.              Giuda Dottor,.         J. J. Cossiau.
Stefano.                    Giugni,.               Francesco Zugni.
(Mario Nuzzi.                 Giunta,............ Pisano.
Fiori, da............  Gaspero Lopez.               Gobbino, II........... Gio. Bat. RossL
( Carlo Voglar.               Gobbo, II, de' Caracci Paolo Bonzi.
Folignate........... Niccolo Deliberatore.               and da' Frutti,
Fontaines,........... James Swebabh.                                           Antonio Caracci.'Francesco Melozzo.          Gobbo, II or del.         Antonio Solari.
Forli, da,.............  Marco Palmegiani.           Gonzales.......... Coques.
(Livio Agresti.              Gotfried, Christian,... Johann Schuman.
Fornaceriis,.          Isaye Fournier.                Grano, del,......... Giorgio Gandini.
Fornaretto, II..    Francesco Comi.                  Gratella,........Sebastiano Filippi.
Forner, El.......... Vincenzio Civerchio.             Gratiadei, da,........ Mariano da Pescia.
Fossombrone,da,.        Gio. or Giuseppe Diaman-   Grazia, da.                Lionardo da Pistoia.
tini.                    Graziani, da........ Gio. Bat. Ballanti.
Franceschiello,....... Francesco de Mura.            Greche, delle, or El
Franceschino,........Francesco Caracci.                   Greco              Domenico TheotocopulL
Francia, Francis,.... Francesco Raibolini.           Grechetto II.           Gio. Benedetto Castiglione.
Francisque,..........Francis Mile.                   G         El,.           Pedro Serafin.'
Franco Bolognese,.. Franco da Bologna.                 riego, El.Do... Theotocopuli.
Frank, Hans,.........John Lutzelburger.               Grillandaio, del,.    Domenico Corradi.
Frankfort, von,...... Jerome Greff.                   Grimani,........... Hubert Jacobsz.
Frankfort, Adamo di,.. Adam AElzheimer.               Groningen, Gio. di..Johann Schwartz.
Frari, Francesco II,   Ferrari Bianchi.               Grotesche, delle,....Bernardino Poccetti.
Frate, I..               F. Bartolomeo Domenico   Gruembroech,........II Solfarolo.
della Porta.             Guardolino,..........Carlo Natali.
Frate, Paolotto Il,.... Fra Vittore Ghislandi.       Guargena, Domenico,.. P. Feliciano da Messina.
Fratina,......Giovanni di Mio.                  G        da               Giorgio Andreoli.
Fredeman, John,..:..John de Vries..Francesco Allegrini.




Xliv                         AN ALPHABETICAt LIST OF ACQUIRED NAMES.
ACQUIRED NAME.         SURNAME.                     ACQUIRED NAME.         SURNAME.
Guercino,............Gio. Francesco Barbieri.    Mabilde,............ J. 0. Cogels.
Guillaume, Fra,...... Guglielmo da Marcilla.       Maccerius,........... esare Maggieri.
Haeften, N. van,...... Nicholas Walraven.          Macedone........... Gialio G. Clovio.
Hanskin, Kleyn,......Hans Vereycke.                Macrino d' Alba,...... Gio. Giacomo Fava.
Harlingen, van,....... Peter Feddes.                                         Lippo Dalmasio.
Hartcamp,......         Ludolf Smits.               Madonne. dalle......  Carlo Maratti.
Hawken, van........Francois du Verdier.                                     Vitale Bologna.
Heins, or Heinsius,... Giuseppe Ens.               Magatta,............ Domenico SimonettL
Hidalgo. Don Jos,...Jose Garcia.                   Maire, le,............ Poussin.
Holland,............ Nathaniel Dance.              Majo, Hans,......... John C. Vermeyen.
Hontanon, de,........ Juan Gil.                    Malatesta,...........Lionardo da Pistoia.
Ibi,.................Sinibaldo da Perugia.         Malinis, Henricus,.... Arrigo Fiammingo.
Imola, da  G             dio. Domenico Ferretti.   Malosso, I1,........Gio. Battista Trotti.
*  Innocenzio Francucci.    Manchino, II,........Antonio dal Sole.
Imperiali, d',......... Francesco Fernandi.        Manco, El............ Garcia de Miranda.
Impiccati, dagl',...... Andrea del Castagno.       Mankenhein,......... H. Andriessen.
Ingegno,,.......... Andrea d' Assisi.                                      Giorgio Ghisi.
Jacobs, Lucas,....... Lucas van Leyden.            Mantovano,..........  Andrea Andreani.
Jacopo, Nicola di..... Gera.                                                 Marcello Venusti.
Jan, Langen......... John van Bockhorst.           Marc' Antonio,...... Raimondi.
Joachim, Fra,........Juncosa.                       Marchesi,............Francesco da Cotignola.
Johnson, C.,.........Cornelius Janssen.            Marchigiano,......... Matteo Piccione.
Jordano,........... Luca Giordano.                 Marci,.............. Gio. di Berto.
Jorge, El Maestro,....Ingles.                      Marescalco, II,.......Gio. Buonconsigli.
Klaaszoon, Aart,.....Arnold Claessoon.             Marinas, Henriquede
Kleynhansken,....... Jan van Elbrucht.                  las,              Henry de Vroom.
Koerten,............ Joanna Block.                 Marine, Enrico delle,
Kraus,                Jane Sibyl Kusell.           Martini, Simone da,.. Simone Memmi.
Lame, or Lamme, dalle,Biagio Pupini.                Masolino,............Da Panicale.
Lapiccola,........... Niccola Piccola.             Mastelletta...........Gio. Andrea Donducci.
Lapo, di,............Arnolfo.                      Mayo, Hans,......... John C. Vermeyen.
Laurati,............. Pietro Lorenzetti.           Mazzi, Ventura,...... Ventura Marzi.
Leal,..............Don Juan de Valdes.             Mazzolino, I,........ Francesco Mazzuoli.
Legnano,............Gio. Francesco Barbieri.       Mazzoni.
Leismann.....                                        a      eiJohn A. Eismann......  Morazzucheon..
Leyden, Aartgen van,.. Arnold Claessoon.            Mazzuoli, Mecherino,.. Domenico Beccafumi.
Licenciado Juan, El,. Juan de las Roelas.          Medola, or Medula,... Andrea Schiavone.
Liefrinck,........... Hans Lencker.                Meer, vander, of Delft,. Jan Vermeer.
Liege, di............Egidius Ali.                  Meglio, di,...........Jacopo Coppi.
Lieto,.............. Antonio Allegri.             Melozzo,............Francesco da Forli.
Lilio, A.,......... Andrea Ancona.                 Menabuoi,........... Giusto Padovano.
Lissandrino,.. Alessandro Magnasco.         Meneses,............Francisco Osorio.
Llanos,............. Valdes.                       Mengazzino, I1...... Domenico Santo.
Lodi, di,...........Giuliano Capitani.             Menichino del irizio,.Domenico Ambrogi.
Lodi,......... Callisto Piazza.            Messina, da, or Messi-  J Onofrio Gabriello.
Lodole, dalle,........Giuseppe Franco.                  nese, 1,..........  Giulio Avellino.
Lombardelli,.........Gio. Bat. della Marca.        Metensis,...........Cornelius Matsys.
Lombardo,.........  Lamberto.                      Micarino,...........Dom. Dom. eccafumi.
Lonardino,.......... Leonardo Ferrari.             Micheli,............. Andrea Vicentino.
Longo, Pietro,........Peter Aertsen.                                         Gaudenzio Ferrari.
Lorenese, Claudio,....Claude Gell6e.                                       Carlo Valli.
Lorenzetto,......... Lorenzo Campanaio.            Milanese,.........   Cesare da Sesto.
Lorenzino di Guido,...Lorenzo Loli.                                          Pier Fr. Cittadini.
Lorenzo, Fra,....... Bernardo Parentino.                                   tGuglielmo della Porta.
Louvain, Dirk of.....Dirk van Haerlem.             Milano, Andrea,...... Andrea Solari.
Loves, Giovanni...... Giovanni Lys.                Milano Agostino,.....Agostino di Bramantino.
Lovini,............. Bernardino Luini.             Mille, or Millet...... Francis Mile.
Luca Fa Presto,...... Luca Giordano.                Miller.............. John S. Muller.
Lucca, da............ Michael Angelo Anselmi.    Mirandolese......... Giuseppe Peraccini.
Lucchese, II......... Pietro Ricchi.               Modanino II.......... Guido Mazzoni.
Lucchesino, II,...... Pietro Testa.                                           Antonio - Begarelli.
Luchetto, II.........Luca Cambiasi.                                         Cristoforo Ferrara.
Luciano,.....C........  Seb. del Piombo.          Modena, da,....P.....  pellegrino Munari.
Lugano, Zoppo di,....Gio, Bat. Discepoli.                                   (.Giovanni Guerra.
Luini,............... Pietro Gnocchi.              Molduch, da,......... John Soens or Sons.
Lunghi, de'.           Pietro Longo.                Molinaretto, II.       Gio. Maria dalle Piane.
Luzzo, Pietro da FeltroMorto da Feltro.            Moncalvo,........... Guglielmo Caccia.
Maat................ J. T. Blankhof.               Monchino, I..          Antonio dal Sole.




AN ALPHABETICAL LIST OF ACQUIRED NAMES.                                  x1T
ACQUIRED NAME.         SURNAME.                       ACQUIRED NAME.          SURNAME.
Mondino, II,......... Sigismondo Scarsella.          Panfilo,............. Nuvolone.
Mon  da Pisa,........ Gio. del Sordo.                 Panico, Conte Ugo da,. Ugo da Carpi.
Monrealese II,......Pietro Novelli.                  Papiensis, Laurentius,. Lorenzo di Pavia.
Montagne,........Matthew Plattenberg.               Paradiso, dal,........ Orazio da Castelfranoo.
Montalto,........... Gio. Stefano Danedi.            Paradosso, II........ Giulio Trogli.
Montano of Montenovo,Gio. Battista della Marca.   Paria,.......... Francisco Perrier.
Montepulciano, II,.... Francesco Morosini.           Paris, di,"..... Domenico Alfani.
Montfort de.......Anthony Blocklandt..                                          Fabrizio Parmiggiano.
Monti, de',.......   Giuseppe Franco.                Parma, i,...........  Cristoforo Caselli.
Moresini............. Simone Fornari.                Parma, Rosa di,...... Sisto Badalocchio.
Moretto, II........... Girolamo Mireti.              Parmensis,......... Battista Pensieri.
Moretto da Brescia, II,. Alessandro Bonvicino.                         Francesco Mazzuoli.
Morigi,............  M. A. Amerighi.                 Parmiggianino, 11,....  Girolamo Sagl
Moro, II.........  Francesco Torbido.                                       ( Michele Rocca.
Morvillo,'..........Silvestro il Bruno.              Pasqualino,.........Pasquale Rossi.
Morzoni, 1......... P. Francesco Morazzone.    Pasqualotto,....... Pasquale Ottini.
Moe,........ M. Uytenbroeck.              Passignano,........Domenico Cresti............ Juan Fernandez Navarette.  Patavinus,........ G. aspar ab Avibus.
Mulato de Murillo,.... Seb. Gomez.            Pavese,.............. Pier Francesco Sachi.
Pietro,.......Peter Molyn.                  Pellegrino da Modena, Pellegrino Munari.
Murano, da.......... Antonio Vivarini.                Pellegrino de' PellegriMurenos........... Sebastiano Munoz.                  ni,............. Pellegrino Tibaldi.
ustacchi, II....... Gio. Battista Revello.         Perino, or Pierino,....Pierino del Vaga.
Muto di Verona, I1,... Francesco Comi.                Perugia, Perino da,... Pietro Cesarei.
Muto di Ficarole, II,..Ercole Sarti.                Perugino,............Pietro SanteBartoli.
Muttoni,......... Pietro Vecchia.                    Perugino, Petruccio,.. Pietro Montanini.
Nanni,..............     Giovanni da Udine.          Perugino, II. Gav.,....Gio. Domenico Cerrini
Napolitano, 11,..... Filippo di Angeli.              Pesaro, da,........... Simone da Cantarini........... Henry Naiwinck.                 Pescia, da........... Valerio Baldassari.
Nesiotes,.......... Critias.                         Pianoro, I,.......... Bartolomeo Morelli.
Nicoletto..............Niccolo Pisano.               Piazza,......C.....Callisto da Lodi.
ino, Don Juan,.....Don Juan Guevara.               Picchetti......   Francesco Piochiani.
Nipote, II............ Lorenzo Garbieri.         Pierino del Guido,.... Pietro Gallinari...............Lionardo Parasole.        Pietro, Lorenzo ci,....Pietro di Veechietta.
Nosadella, II,......Gio. Francesco Bezzi.         Pilgrim........... John Ulric.
Notte, dalle,.......... Gherardo Honthorst.           Pineda, de......... Francisco Perez.
Novara, da...........Gio. Bat. Ricci.                Pino, da,........... Pino da Messina.
Novellara, Il.....,...Lelio Orsi.                    Pio, Giovannino del,.. Giovanni Bonati.
Nunez, Matteo,....... Matteo Sepulveda.             Piquot,..........Robert Picou.
Nutini II........... Buoninsegna Duccio.             Pnell.GVincenzio Spisano.
Occhiali, dalle.      Gaspare Vanvitelli.         Psanelli,............  Gioanigtorali.
cchiali,dalle,G........    abiele Ferrantini.        Pisani,.Vittore Pisanelli.
Oderigi,............. Oderigi da Gubbio.             Pittor Bello II... Felice Pellegrini.
Oggione, da.......... Marco Uggione.                 Pittor da' Libri.....Giuseppe Caletti.
Olandese............. Montagna of Holland.           Pittor Santo, ii.... Gio. Bernardino Roderigo.
Omino, 1'...........Gio. Dom. Lombardi.             Pittor Villano, II....-Tommaso Misciroli.
Orbetto, 1',........... Alessandro Turchi.           Pizzica, I.......... Giovanni Zanna.
Organi, degli........Guglielmo Forli.               Poccetti,.............Bern. Barbatelli.
Orizzonte,.......... Gio. Francesco van Bloe-  Poco e Buono, II,..... Girolamo Nanni.
men.                     Polidore,............ John Glauber.
Orta, Lo Spisanello di,. Vincenzio Spisano.          Polidorino, II.........Francesco Ruviale.
Ortolano,............Gio. Bat. Benvenuto.                                       Niccolo and Antonio Cir
Pacecco, or Pacicco,,..Francesco Rosa.              Pomerance, dalle,......       cignani.
Padova, dal,..... Girolamo dal Santo                                          Cristofano Roncalli.
r Giovanni Cavino.          Pommelaer,...... David Coninck.
Padovano, or Padova-   Gaspar ab Avibus.             Ponte, da,......... Antonio Scaiario.
nino.............  Alessandro Varotari.          Pontormo, da.........Jacopo Carrucci..Ottavio Leoni.             Pool,............... Rachel Ruysch.
(Francesco Bassi.            Poppi da,............ Francesco Morandini.
Paesi, da.Girolamo Vernigo.                          Por, de,............. Daniello da Parma.
(Girolamo Muziano.           Porcia, da........... Francesco Apollodoro.
Paesi, II Monchino da,. Antonio dal Sole.            Pordenone, l........Gio. Ant. Licinio.
Pagani, Lattanzio,.-...Lattanzio Marca.              Porta, della,......... Guglielmo Milanese.
Paganini,.             Guido Mazzoni.                 Portelli,............. Carlo da Loro.
Paggio, II............Francesco Merano.               Posn  Ti Cay            3 Gaspar Dughet.
Palamedes..........Anthony Staevaerts.                o.                       Stefano de la Val6e.
Palmasanus or Palmez-                                 Prete, II Genovese,...Bernardo Strozzi.
zano...........Marco Palmegiani.                Prospettive, II MiranPasomino,.Don Antonio Velasco.                           dolese dalle,.... Pietro Paltronieri.
Pan of Oldenburgh,.. Giovanni Lys.                   Raeven.. Peter van Serwouter.




xlvi                          AN ALPHABETICAL LIST OF ACQUIRED NAMES.
ACQUIRED NAME.         SURNAME.                       ACQUIRED NAME.          SURNAME.
(Gio. Maria Bottala.          Sciameroni Lo...... Filippo Furini.
Raffaellino,..........  R. dal Colle.                Sciarpelloni,......... Lorenzo di Credi.
(R. del Garbo.                Semolei or Sermolei II Battista Frai.co.
Rambrock, Lord of....J. van Campen.                  Semplice, Fra.          Semplice Verfna.
Raphael des Fleurs,..-P. J. Redout                   Senario, Epemita di,. G. B. Stefaneschi.
Ravenna, da,......... P. Cesare da Pronti.           Senis, Simone de.       Simone di Martini.
Reggio, da,.......... Luca de Ferrari.               Sermoneta, da...Girolamo Siciolnte.
Reggio, Raffaellino da.. Raffaello Motta.             Servatius               Peter van Serwouter.
Regillo, II,...........Gio. Ant. Licinio.            Sepolcro, da Borgo S.,.P. della France 4.
Ricamatore,........ Gio. da Udine.                   Sestri, II Sordo di,    Antonio Travi.
Ricci,............... Antonio Barbalunga.            Sevouter.. Peter van Serwouter.
Andrea Briosco.             Siciliano,......... Tommaso Lauretti.........~~    $.... Bartolomeo Neroni.                                Baldassare Peruzzi.
Rimino,^ da.  Lattanzio Marca.                                                  Marco da Pino.
Rimin,......   Bartolomeo da Coda.                 da.M  A  Anselmi.
Rios, de los,..........Pedro Alonso.                                           Simone Memmi.
Riposo,............ Felice Ficherelli.               Simonetti.Domenico Magatta.
Ritratti, da',.........Sante Vandi.                  Smargiasso, Lo.. Pietro Ciafferi.
Rivello,.............Cristoforo Moretti.             Smith, Magdalen... aspar Smits.
R5, Giovanni,....... John Rottenhamer.               Sobleo.Michele Desubleo.
Roccadirame,....... Angiolillo.                    Sodoma,.......... Gio. Ant. Razzi.
Rodriuez di Messina,.  Luigi Roderigo.             Soiaro, II........... Bernardo and Gervasio
Rodriguez di Messinac.  Vincenzio Animola                                       Gatti.
Romano, II  Antonio Catalani.                         Soius............. Philip Sericcus.'mano,,.......  Pierre Mignard.            Somachino.Orazio Samacchini.
Romano, Giulio,...... Giulio Pippi.                   Sordillo de Pereda...  Alonso dell' Area.
Romolo,........ Cincinnato.                   SAntonio Viviani.
Rondolino II,........Terenzio Terenzi. Rokes.
Roos, Phiiip,.......... Rosa da Tivoli.              Sozzo........         Giuseppe Albini.
Rose, The,........... Nicholas Liemaeker              Spadarino.. Gio. Ant. Galli.
Rossetti,............Gio. Mauro Rovere.              Spadaro, Micco.         Dom. Gargioli.
Rossi, Francesco,....Francesco deV Salviati.         Spagna,di.Henry Vroom.
Rossi, II...........Domenico Bianchini.            Spagnoletto, Lo.        Giuseppe Ribera.
Rotamer, Gio.,....... John Rottenhamer               Spanuolo, Lo....... Ca. Giuseppe Crespi.
Rottermondt and Ro-                                   Stendardo, or StandardPeter van Bloemen.
termans,.......Rodermont.                       Stomme van Campen,.Henry van Avercam.
Roux, Maitre........II Rosso.                        Studio, M............. Henry van Lint.
Roverio,..  Bartolomeo Genovesini.                    Stuerbout, Theodore,.. Dirk van Haerlem.
Rubeis, de,..........Girol. and Ant. Rossi.          Suardi,............ Bart. Bramantino.
Ruggieri da Bruggia,,.Roger of Bruges.               Suavius,............Lambert Suterman.
Rumano,............Girolamo Romanino.                Surchi,............. Gio. Fran. Dielai.
Rustichino, Il,....... Francesco Rustici.            Talpino, II........... Andrea Salmeggia.
Sabbionetta, II,...... Galeazzo Pesenti.             Tedesco, Gio. Paolo,... G. P. Scor.
Sabinese, II..........Andrea Generoli.                Temperello, II.....C.. Gristoforo Caselli.
Sacchiense.......... Gio. Ant. Licinio, the          Tempesta, II......... Pietro Molyn.
Younger.                 Tempestino,......... Antonio Tempesta.
Saint Andre......... Simone Renard.                  Teodoro, Mon....... Theodore Heimbrecker.
Salerno, da......... Andrea Sabbatini               Teoscopoli,.Dom. Theotocopuli.
Salviati, del,.........Giuseppe Porta.               Tersan, Comte de,....Charles Campion.
Salvolini........ Giustino Episcopio.                Teste, II Borgognone
San Bernardo.......Francesco Minzocchi.                   dalle,.       J. G. Gonzalez.
San Daniello........Daniello di Pellegrini.          Tintoretto 1,.           Jacopo Robusti.
San Giovanni,.......Ercole da Maria.                                           Domenico Robusti.
San Marchi,.........Marco Sammartino.                Tio, Francesco.. Fran. da Fabriano.
Sansone, II........... Gioseffo Marchesi.             Tisio,.............. Benvenuto da Garofolo.
Sansovino,...........Jacopo Tatti.                   Tiziano and Tizianello.. Titian and Vecellio.
Sansovino, Da Monte,. Andrea Contuccio.               Tiziano, di,.. Girolamo Dante.
Santo, da,........... Girolamo da Padova.            Todi, di,.....          M. A. Ricciolini.
Sarto, del......... Andrea Vannucchi.               Toledo, di............ Giovanni Battista.
Sarzanal,i...... Domenico Fiasella.            Tolosano,........... Jean Baron.
Sassoferrato, II,...... Gio. Bat. Salvi.              Tommaso di  Stefano,.. Giottino.
Savigliano, da........Gio. Ant. Mulinari.             Torricelli,........... Antonio Buonfanti.
Savona, II Prete di,...Bart. Guidobono.             Torrigli............Pietro Ant. Torri.
Scamozzi,........... Ottavio Bertotti.               Tournesol,........... Peter vander Hulst.
Scannabeechi.     5 Lippo Dalmasio.              Traino, Fr..........Francesco Traini..cana..ni.  Teresa Muratori.         Trevigi, da...........Lodovico Pozzoserrato.
Scarsellino,..........Ippolito Scaramuccia.          Trevigiano,........... Giacomo Lauro.
Schioppi,...         Giuseppe Alabardi.             Tromba, II........... Santi Rinaldi.
Schivenoglia, Lo,.....Francesco Rainieri.            Trompetta......... Niccola da Pesaro.




AN ALPHABETICAL LIST OF ACQUIRED NAMES.                                 Xlvii
ACQUIRED NAME.         SURNAME.                      ACQUIRED NAME.          SURNAME.
Turk, The,........... John S. Liotard.              Visacci, II,.......... Antonio Cimatore.
lUberti, degli,........Paolo Farinato.              Vite, Giovanni del,....Cav, John Miel.
Uccello,.     ~ ^..........Paolo Mazzocohi.         Viviano, II........V..Viviano Codagora.
Udine, M   tino d',....Daniello Pellegrini.        Votrra or Votrrano ^ Daniele Ricciarelli.
Volterra, or Volterrano,  Daniele   arelli.
Ugubio, Giorgio da,... Giorgio da Gubbio.                                       Baldassare FranceschinLi
Uil, or Lyij, I. Den,...J. den Vyl.                  Volterrano,Diana Civis,Diana Montovano.
TUrbinaf,............ Baccio Pintelli.             Vosmeer,...........James Wouters.
Urbino, IILPrete,......   T imoteo della Vite.       Vuormace,........... Anthony von Worms.
UrbinoS~anzio d',....Raffaello.                     Wallint, Francesco,..Henry van Lint.
Urbino" Bramante d',..Donato Lazzari.               Wandevert, Enrico,.. Vandevert.
TUrbino, Timoteo d',...T. Della Vite.               Westfalia, Gio. di,.... John Veldener.
Vaccellini,...........Vascellini.                    Wilborn,...........Nicholas Welbronner.
Vannucchi,.......... Andrea del Sarto.               Wilhelm, Meister,..
William  of Cologne,  Wilhelm von Coeln.
Vannucci,.......... Pietro Perugino.                 William  of Cologne,
Varignana,..........Domenico Aimo.                   Ximenes, J. F.,....... Juan Fernandez Navarette
Vasanzio,............ Giovanni Fiammingo.            Zaganelli,...........Francesco da Cotignola.
Veen, Martin van,.....Hemskerk.                     Zanobrio...........Luca Carlevariis.
OVeen, tho and Gilbert                          Zappi,.............. Livia Fontana.
van............Venius.                          Zarato, or Zaratto,... Pietro Luzzo da Feltro.
Veit, Hans,..........Johann Schnorr.                  Zasinger, or Zatzinger, Matthias Zagel.
(Agostino de Musis.          Zeeman,.............Remy Nooms.
Veneziano,...........  Sebastiano del Piombo.    Zenale,.............. Bernardo da Trevilio.
(Carlo Saracino.             Zenobrio,............Luca Carlevariis.
Venice, de,.            Roland be Fevre.              Zvio                      Alticerio.
Verchio,............ Vincenzio Civerchio.,.Stefano da Verona.
Vercruys...........Kruger.                           Zimenes, J. F.. Juan Fernandez Navarette
Veronaa, a.......... Battista Zelotti.                Zinck,............. Matthias Zagel.
Veroneso.         Paolo Caliari or Cagliari.  Zingaro, II Giovane lo, Pietro Negrone.
Claudio Ridolfi.           Zingaro, Lo.......... Antonio Solario.
Vetraro, II,..     Gio. Francesco Bembo.          Zoagli, di,...-......Teramo Piaggia.
Vicaro,..............Francesco Vaccaro.               Zoane, or Zohan,.....Giovanni di Alemagna.
Vicenza, Antonio da,..Ant. Tognone.                  Zoppo, Lo,..........Niccolo Micone.
Vicenza, Magagno di,. Gio. Bat. Maganza.             Zorg,............... Henry M. Rokes.
Vicenza, Zoppo da,....Ant. de' Pieri.                Zotto, Lo........... Antonio de' Pieri.
Vignola, da..........Giacomo Barocci.                Zuane,..............Giovanni Alemagna.
Villano II Pittor,..... Tommaso Misciroli.            Zuanluisi da Murano,. Luigi Vivarini.
Vinci, del,........... Niccolo Appiano.              Zuannino,........... Gio. da Capugnano.








AN
ALPHABETICAL LIST
OF THE
COPYISTS AND IMITATORS OF THE GREAT MASTERS.
ABBREVIATIONS:-c, signifies conjectured;  COPYISTS AND  IMITATORS OF SINGLE  MASTERK
p, probable or probably; s, scholar; 1, copyist or
copied; 2, imitator or imitated; 3, that the artist  ZELZHEIMER, ADAM.
copied or imitated the master so closely as to de-        Jacob Ernest Thomann, s, 1, 2, 3*, 4.
ceive common observers; 3*, do. connoisseurs; 4,          Nicholas Moyaert, 1, 2, 3*, p4, 6.
that more or less of his works are now  attribu-          Paul Juvenel, 2, 3, p4.
ted to the master; 5, that though the works of the   ALBANO, FRANCESCO.
imitator are far inferior to those of the master, yet     Giovanni Battista Albano, s, 1, 2, 3*, 4.
they are often passed upon the unlearned in art           Cav. Giacinto Bellini, s, 2, 3, p4.
for the genuine productions of the latter; 6, that        Francesco Boccaccino, 2, 3, 6.
though the artist's style was founded on that of          Paolo Emilio Besenzi, 2, 3, 6.
the master, and more or less resembles it, yet he         Girolamo Bonini, 1, 2, 3*, 4.
was not a servile copyist, and often, or generally,       Antonio Catalani, called II Romano. 2, 3, p4.
painted in an original style.  The name of the mas-       Virgilio Ducci, 1, 2, 3, p4.
ter is first given in capitals; then follow his imita-    Giovanni Maria Galli, called Bibiena, s, 1, 2, 3, p4.
tors in text type; thus, AELZIIEIMER, ADAM;
Jacob Ernest Thomnann, s, 12, 3*, 4,signifies, that
ThJacob Ernest Thomann,  o, A, 2,3*,hesimnifier, that he  their masters, and thus produce pictures that deceive the
Thomann was the scholar of AElzheimer, that he   most experienced."  See Lanzi, Storia Pittorica, vol. ii.,
copied and imitated his works so closely as to de-  p. 49. Some painters have imitated others so perfectly
ceive connoisseurs, and that more or less of his  as not only to deceive connoisseurs, but even masters; thus
works are now attributed to that master.  Note,  Ercole Maria deceived Guido, and Andrea del Sarto, Giulio
that p4, and p5, are conjectured on the part of the   Romano.
author; he does not mean that more or less of   or Scholars generally copy the works of their masters, more
author; he does not mean that more or less of   or less, during their pupilage; hence the numerous copies of
the works of the imitator are to be found in the   the works of the Old Masters. Some masters retouched the
public galleries of Europe, attributed  to the mas-  best of these, adding, perhaps, some variations, and sold
ter, but in private collections; these marks serve  them for their own productions. This was the case with
to convey a more accurate idea, how near the imi-  Titian, Guido, Andrea del Sarto, and even Raffaelle himtator approached the master.*             self. There are no less than eight portraits of Julius II.,tator approached the master.*                           attributed to Raffaelle. See note, p. 758.
The authenticated works of the great masters command
* This table has been prepared with great labor and   enormous prices, as may be seen by referring to Raffaelle,
care.  In the body of the work, copyists and imitators  Rubens, Titian, Guido, Rembrandt, Murillo, and others.
have generally been treated as briefly as possible, to save  Successful imitations are also very valuable. In many
space, the reader being referred to the master. Its value  cases, it is utterly impossible to distinguish the works of
will at once be perceived. It shows in a brief, but com-  the master, from those of some of his imitators. See Carlo
prehensive manner, how liable are the unlearned in art,  Dolci, David Teniers, and even Rubens. There are about
and even connoisseurs, to be deceived.  An immense  1800 works, many of them grand historical compositions,
amount cf valuable information on this subject may be  considered genuine by the latter, in the different collections
found in Smith's Catalogue raisonn6, 9 vols., London,  of Europe! The number of works also attributed to Carlo
1829-1842.                                              Dolci, David Teniers, and others, is incredible. Besides
Every eminent and popular master had numerous scholars,  these successful copies and imitations, there are hosts of
some of whom  servilely copied and imitated him, while  others, of inferior merit, about the spuriousness of which,
others struck out into a new style, founded on that of the  there can be no doubt, except perhaps, in the minds of the
master, but variously modified by their own genius. They   possessors, who, for the most part, are unlearned in art, and
also often had imitators, the names of many of whom are  therefore liable to imposition. See Introduction, page
now nearly or quite sunk in oblivion.  See Abshoven,  viii. See also Pasticcio, p. xxxi. For marks of authenKoene, the Da Ponte, and Romain de la Rue. "It of-  ticity in old paintings, see Introduction, p. viii., Monoten happens that those masters who are mannerists, form   grams and Ciphers, p. xix., and Copy, Imitation, Manner,
scholars who confine their powers to the sole imitation of  Pasticcio, Pentimento, Style, &c., in Explanation of Terms.




1                   AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C.
Filippo Menzani, s, 1, 2, 3, p4.                BARTOLOMEO, FRA, DI SAN MARCO.
Giovanni Battista Mola, s, 2, 3*, 4.              Mariotto Albertinelli, s, 2, 3, p4.
Bartolomeo Morelli, s, 2, 3* p4.                  Giovanni Francesco Bembo, 2, 3.
Giacomo Parolini, 2, 3, 6.                        Benedetto Cianfanini, s, 2, 3*, 4.
Antonio dal Sole, s, 2, 3, 6.                     Plautella Nelli, 1, 2.
Fra Paolo da Pistoja, inherited and painted from
ALLORI, CRISTOFORO.                                   the designs of Fra B., 1, 2, 3*, 4.
Lorenzo Cerrini, s, 1, 3, p4.                     Gabriele Rustici, 1, 2, 3.
F. Bruno Certpsino, s, 1, 3*, 4.
Zanobi Rosi, s, 1, 2 3*, 4                      BASSANO, JACOPO, was the head of a celebrated
Valerio Tanteri, s, L 2, 3, 4.                    school. Hie taught many pupils, and had a host
Giovanni Battista   anni, s, 1, 2, 3. 6.          of imitators. The works attributed to him are
~,'  ~     ten times more numerous than he could ever
ANGELO, MICHAEL, BUONAROTTI, never painted          have executed.  See Lanzi, vol. ii., p. 197.
in oil, in the opinion of Mengs, Lanzi, and the    Jacopo Apollonio, 2, 3*, 4.
best authorities, though there  are many oil    Maderno da Como, 2, 3, p4.
paintings attributed to him in the collections at    Peter Cornelius Deryck, 2, 3*, 4.
Florence, Rome, Bologna, in the Imperial Gal-    Jacopo Guadagnini, 1, 3, 5.
lery at Vienna, and elsewhere. These, they sup-    Giovanni Antonio Lazzari, 1, 2, 3*, 4.
pose to have been executed by his scholars and    Luca Martinelli, s, 2, 3, p4.
immediate followers, several of whom are known    Giulio Martinelli, s. 2, 3, p4.
to have painted from his designs, under his super-    Francesco da Ponte, the Younger, s, 2, 3, p4,,6.
vision, as Sebastiano del Piombo, Daniele da Vol-    Cav. Leandro da Ponte, s, 1, 2, 3, 4, 6.
terra, Jacopo Pontormo, Francesco Salviati, Giu-    Giovanni Battista da Ponte. s, 1, 2, 3*, 4.
liano Bugiardini, Lorenzo Sabbatini, and Mar-    Girolamo da Ponte, s, 1, 2, 3*, 4.
cello Venusti.  He also had several copyists,    Antonio Scaiario, s, 1, 2, 3*, 4.
and a host of followers and imitators, from the   David Teniers, the Elder, 2, 3*, 6.
time of Pellegrino Tibaldi to that of Henry Fu-   Giovanni Battista Zampezzo, 1, 2, 3*, 4.
seli. See Lanzi, vol. i., p. 142.               BEAUMONT, CAV. CLAUDIO, established a school
BACKHUYSEN, LUDOLPH.                                at Turin, and educated many pupils, several of
Peter Coopse, 2, 3*, 4.                           whom followed his style very closely.
Jan Dubbels, s, 2, 3*, 4.                         Vittorio Blanseri, s, 2, 3, 6.
Michael Maddersteg, s, 2, 3*, 4.                  Mattia Franceschini, s, 2, 3.
John Klaasz Rietschoof, s, 2, 3* 4.               Antonio Milocco, s, 2, 3.
Henry Rietschoof, 1, 3*, 4.                       Giovanni Molinari, s, 2, 3, 6.
Arnold Smit, 2, 3, p4.                            Pietro Lorenzo Spoletti, s, 2, 3.
Wigerius Vitringa, cs, 2, 3.                    BELLINI, GIOVANNI, was the first Venetian paintBAGLIONE, CESARE.                                   er in oil, and had many disciples and imitators.
Lorenzo Pisanelli, s. 1, 2, 3.                    Marco Bello, s, 2, 3, p4.
Giovanni Storali,,s,2, 3.                         Bellin Bellini, 2, 3*, 4.
Giovanni Battista Cima, 2, 3, p4.
BALESTRA, ANTONIO.                                  Carlo Cima, 2,3, p4.
Giovanni Battista Mariotti, s, 2, 3, p4.          Marco Marziale,  s, 2, 3.
Giuseppe Nogari, s, 2, 3, 6.                      Girolamo Mocetto, s, 1, 2, 3, p4.
Carlo Salis, s, 1, 2, 3, 4.                       Benedetto Montagna, 2, 3.
BARBALUNGA, ANTONIO RIcci, called IL.               Pellegrino di San Daniello, s, 2, 3, 6.
Antonio Bova, s, 2, 3, p4.                        Niccolo Rondinelli, s, 2, 3, p6.
Onofrio Gabriello, s, 2, 3, 6.                    Antonio Rossi, de Rubeis, 2, 3.
Agostino Scilla, s, 2, 3, 6.                    BERGHEM, NICHOLAS.
Domenico Marolli, s, 2, 3, 6.                     Abraham Begyn, 2, 3* 4.
BAROCCIO, FEDERIGO, established  a school,    John vander Bent,2, 3, p4.
John Bernard, 2,           p4.
taught many pupils, and had many imitators.        JanB ernard, 1 3* 
Benedetto Bandiera, os 2 3                        M. Blinkvleit, 2, 3*, most of his works attribuFilippo Bellini, 2, 3, p4.                          ted to B.
Cav. Giuseppe Maria Crespi, 1, 3*, 4, 6.          Charlesodde,, 2,p5.
Domenico Malpiedi, s, 2, 3, 6.                    Adam Coloni, s,   3, p4.
Cristoforo Lanconello, 2, 3*, p4.                 Theodore Maes, s, 2, 3, 6.
Ventura Marzi, s, 2, 3.                           John vander Meer, the Younger, s, 2, 3*, 4.
Giorgio Picchi, cs, 2, 3.                         J. F. Solemacker, 1, 2, 3, 6.
Ercole Ramazzani, 2, 3.                           John Sybrecht, 2, 3, p4.
Marc' Antonio Rocchetti 2, 3 6.                   Augustine Tyssens, 2, 3, p4.
Oav. Ventura Salimbeni, 2, 3, 6. 
Cav. Ventura Salimbeni 2: 3, 6.                   Theodore Visscher, s, 2, 3. p4.
Cav. Francesco Vanni, 2, 3, 6.                    John Wils, 2, many of his works attributed to B.
Antonio Visacci, s, 1, 2, 3, p4.               BILIVERT, GIOVANNI, taught several pupils, and
Alessandro Vitali, s, 1, 2, 3*, 4                 Lanzi says his works were greatly imitated and
Antonio Viviani, s, 2, 3.                         copied.
Lodovico Viviani, 2, 6.                           Francesco Bonavita Bianchi, 1, 2, 3, p4.
Felice Pellegrini, s, 2, 3, p4.                   Orazio Fidani, s, 2, 3, p4.
Vincenzio Pellegrini, s, 2.                       Bartolomeo Salvestriani, s,  2, 3, p4.




AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS) &C..
BLOEMEN, JOHN FRANCIS VAN, called Orizzonte.    Gaspare Vanvitelli, 2, 3*.
V. Giacciuoli, s, 2, 3, p4.                       Antonio Vicentini, 2, 3*, 4.
Henry van Lint, ps, 2, 3, p4.                  CANO, ALONSO.
Andrea Lucatelli, ps, 2, 3, p4.                   Felipe Gomez, 2, 3, p4.
Gabriele Ricciardelli, s, 2, 3.                  Pablo Leg6te, 2, 3*, 4.
BORGOGNONE, JACOPO CORTESE, called IL.              Jose Risueno,, 2 3.
Girolamo Bruni, s, 1, 2, 3*, 4.                CARDI, LODOVICo, called CIGOL.
Antonio Calza, s, 2, 3*, 4.                       Giovanni Bilivert, s, 2, 3, 6.
Angelo Everardi, 2, 3.                            Andrea Comodi, s, 1, 2, 3*, 4.
Graziano, s, 1, 2, 3, p4.                         Aurelio Lomi, s, 2, 3, 6.
Giannizzero, s, 1, 2, 3, p4.                      Gregorio Pagani, s, 2, 3*, 4.
John Philip Lembke, 2, 3.                         Pellegrino Piola, 2, 3*, 6.
Francesco Monti, called II Bresciano delle Bat-  CARACCI, LODOVICO.
tagl ie,, 2, 3*, 4.                           Francesco Brizzio, s, 2, 3*, p4.
Guglielmo Capodoro Paganini, 2, 3, p4.            Lorenzo Garbieris, 2, 3, p4, 6.
Joseph Parrocel, 2, 3, 6.                         Giacomo Lippi, s, 2 3 6.
rgnace Parrocel, 2, 3.                            Giaomo Lippi, s, 2 3, p4.
Ignace Parrocel, 2, 3.
Augustus Querfurt, 2.                             Florio Macchi, s, 2, 3*, p4.
Augustus Querfurt, 2.
Pandolfo Reschi, s, 2, 3, p4.                   CARACCI, ANNIBALE.
George Philip Rugendas, 2, 6.                     Giovanni Battista Caracciuolo, 2, 3.
Francesco Simonini, 2, 3.                         Giacomo Cavedone, s, 2, 3*, 6.
Ilario Spolverini, 2, 3.                          Michel Corneille, the Younger, 2, 6.
Peter Tillemans, 1, 3, p4.                        Giovanni Francesco Grimaldi, s. 2, 3, 6.
Giovanni Andrea Donducci, s, 2, 3*, 6.
I'OTH, JOHN.                                        Lucio Massari, s, 1, 2, 3.
Charles Codde, 1, 2, p5.                          Antonio Maria Panico, s, 2, 3, 6.
William van Drillenbuig, s, 2, 3*, 4.             Carlo Sellitto, s, 2.
John Francis Ermels, 2, 3. 6.                     Innocenzio Tacconi, s, 1, 2; painted from  the
William de Heusch, s, 2, 3*, 4.                       designs of Annibale.
John Lap, 2.                                      Giovanni Battista Viola, s, 2, 3*, in landscape.
Nicholas Piemont, 2, 3, p4. 
Peter Portengen, 2, 3, 5.                       CARACCI, SCHOOL OF THE.
Romain de la Rue, 1 2, 3  4.                      Cesare Baglioni, 2, 3, 6.
Roi d e, 1I, 2, 3,       Pietro Maria Crevalcore, 2, 3.
BREUGHEL, JOHN, called VELVET BREUGHEL.             Ferraft Fanzone, cs, 2, 3, 6.
Bartholomew vander Ast, 2, 3.                     Lorenzo Franchi, 1, 2, 3*, 4.
Peter van Bredael, 2, 3.                          Giuseppino da Macerata, s, 2, 3, p4.
Peter Gysen, s, 2, 3, p4.                         Pier Maria Porettano, s, 2, 3, p4.
John van Kessel the Elder, 2, 3*, 6.              Aureliano Milani, 1, 2, 3* p4.
John van Oosten, 2, 3*, 4.                        Francesco Naselli, 1, 3, p4, 6.
Adrian van Stalbent, 2, 3, p4.                    MatteoRosselli,2, 3, 6.
John Jacob Schalch, 2.                            Orazio Talami, 2, 3 p4.
David Vinckenbooms, 2, 5.                         Gio. Battista Secchi, s, 2, 3, p4.
Lucas de Wael, s, 2. 3, p4, 5.,, 3, p4 5.            CARAVAGGIO, MICHAEL ANGELO DA.
BRILL, PAUL.                                        Giovanni Campino, 2, 3, 6.
M. Giron, 2, 3, p4..Angiolo Caroselli, s. 1, 2, 3, p4.
N. Knipbergen, 2, 3*, 4.                          Luciano Foti, 1, 2, 3*.
Baldassare Lauri, s, 2, 3, p4..                   Giovanni Francesco Guerrieri, 2, 3.
William van Nieulant, s, 2, 3, 6.                 Gerard Honthorst, 2, 3, 6.
Cesare Piemontese, 2, 3.                          Adrian van Linschooten, 2, 3.
Agostino Tassi, s, 2, 6.                          Tommaso Luini, 1, 2, 3.
BROWER, ADRIAN....                                 Rutilio Manetti, 2, 3, 6.
Josse Craesbecke, s, 2, 3, p4.                    Bartolomeo Manfredi, s, 2, 3*, 4.
Abraham Diepraam, s, 2, 3, p4.                    Juan de Montero, 1, 2, 3.
Joseph Dora, 2, 3*.                               Cav. Jose Ribera, s, 2,3*, 6.
Bertram de Fouchier,2, 3. p4, 6.                  Francesco Ruschi, s. 2, 3, 4.
Egbert vander Poel, cs, 2. 3, 6.                  Carlo Saracino, 2, 3, 6.
Cornelius Saftleven, 2, 3, 6.                     Gerard Seghers, 2, 6.
*~CAMPI, BERNARDINO.~                  Giovanni Serodine, s 2, 3, p5.
CAMPI, BERNARDINO.                                  Lionello Spada, s, 2, i, 6.
Sofonisba Angosciola, s, 2, 3, 6.                 Andrea Vaccaro, 2 3*, 6.
Giulio de' Capitani, s, 1, 2, 3, p4.              Moses Valentin,   2, 3. p5.
Cristoforo Magnani, s, 2, 3, 6.                   Claude Vignon, 2, 3.
Andrea Mainardi, s, 2, 3, 6.                      Simon Vouet 2 6.
Marc' Antonio Mainardi. s, 1 2, 3, p4             Francisco Zurbaran 2 6
Coriolano Malagavazzo5,s, 1 2, 3, p4.                             PLDO,, 
CARAVAGGIO, POLIDORO CALDARA DA.
CANALETTI, ANTONIO.                                 Aurelio Buso, s, 1, 2, p4.
Bernardo Bellotti, s, 2, 3*, 4.                   Marco Cardisco, cs, 2, 6.
Francesco Guardi, s, 2, 3*, 4.                    Deodato Guinaccia, s, 2, 3, p4.
Giacomo Marieschi, 2, 3, p4.                      Giovanni Bernardo Lama, s,2, 3*, p4.




11                   AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C
Francesco Pagani, 1, 2, 3*, p4.                 CORREGGIO, ANTONIO ALLEGRI DA.
Antonio Paticchi, 1, 2, 3*, 4.                    Pomponeo Allegri, s, 2, 3*, 4.
Tommaso Pelegret, s. 2, 3.                        Pietro Antonio Bernabei, 2, 3, p4.
Mariano Riccio, s, 2, 3*, 4.                      Antonio Bernieri da Correggio, s, 2, 3*, 4.
Antonello Riccio, s, 1, 2, 3, p4.                 Domenico Bologna, 2, 3.
Francesco Ruviale, s, 2, 3*, p4.                  Antonio Bruno, 2, 3, p4.
Andrea Comodi, 1, 3*, 4, 6.
CARPACCIO, VITTORE, had several scholars and        Carlo Cornara, 1, 2, 3, p4.
imitators.                                        Cav. Giuseppe Maria Crespi, 1, 3*, 4, 6.
Giovanni Mansueti, 2, 3.                          Gregorio di Ferrari, 1, 2, 3, p4.
Francesco Rizzo, s, 2, 3, p4.                     Abate Lorenzo Ferrari, 2, 3.
Lazzaro Sebastiani, s, 2, 3.                      Giorgio Gandini, s, 2, 3, p4.
Marco Veglia, 2, 3.                               Bernardo Gatti, s, 2, 3, p4. Lanzi says a great
Pietro Veglia, 2, 3.                              number of his works were taken to foreign counLanzi says that Mansueti and Veglia werQ fol-    tries, where doubtless they are now mostly attrilowers of Carpaccio, and not the Bellini.         buted to his master.
CASTIGLIONE, GIOVANNI BENEDETTO.                    Gervasio Gatti, 1, 2,3, p4.
Francesco Castiglione, s, 2, 3, p4.               Girolamo Mazzuoli, 2, 3, p4.
Salvatore Castiglione, s, 2, 3, p4.               Ferdinando Porta, 1, 2, 3, p5.
Abate Gio. Agostino Cassana, 2, 3.                Ercole Procaccini the Elder, 2, 3, 6.
Giovanni Battista Cassana, 2, 3.                  Giulio Cesare Procaccini, 2, 3*, p4.
Domenico Piola, 2, 3, 6.                          Sebastiano Ricci, 2, 3*, 6.
Francesco Maria Rondani, s, 2, 3*, 4; he was
CESART, CAV. GIUSEPPE, called CAV. D'ARPINO.        Correggio's ablest scholar, and imitated him  so
Francesco Allegrini, s, 2, 3 6.                   closely that Lanzi says his works are extremely
Bernardino Cesari, s, 1, 2, *.                    rare, being attributed to his instructor.
Horace Leblanc, 2, 6.                             Orazio Samacchini, 2, 3, 6.
Luigi Roderigo, 2, 3, 6.                          Bartolomeo Schidone, 2, 3*, 6.
Giovanni Bernardino Roderigo, 2, 3, p4.           Maestro Torelli, s, 1, 2, 3, p4.
Bernardino Parasole, s, 2, 3.
Bernardino Parasole, s, 2, 3.              CORTONA, PIETRO BERRETINI DA. Lanzi says,
CIGNANI, CAy. CARLO.                                " the number of his scholars and imitators exFilippo Bondi, s. 2, 3, p5.                       ceeds belief." The works attributed to Cortona
Andrea Bondi, s, 2, 3, p5.                        are " Legion."
Federigo Bencovich, 2, 3, 6.                      Giovanni Raffaelle Badaracco, 2, 3, p4.
Giovanni Girolamo Bonesi, 2, 3, 6.                Lazzaro Baldi,, 2, 3, p4.
Matteo Bonechi, 2, 3.                             Pietro Paolo Baldini, s, 2, 3.
Giacomo Boni, cs, 2, 3.                           Giovanni Ventura Borghesi, s, 1, 2, 3, p4.
Pietro Donzelli, s, 2, 3.                         Giovanni Maria Bottala,, 2, 3.
Antonio Fratacci, s, 2, 3, p4.                    Francesco Bruno, s, 2, 3, p4.
Bonaventura Lamberti, s, 2, 3, 6.                 Giovanni Andrea Casella, s, 2, 3, p4.
Alessandro Marchesini, s, 2, 3, p5.               Padre Stefano Cassiani, 2, 3.
Giovanni Camillo Sagrestani, s, 2, 3.             Salvi Castellucci, s, 2 3*, 4.
Sebastiano Savorelli, s, 2, 3.                    Pietro Castellucci, 2, 3.
Maurelio Scannavini, s, 2, 3*, p4.                Vincenzio Dandini, s, 2, 3, p4.
Guido Signorini, s, 2, 3..                        Pietro Dandini, 1, 2,3, p4.
Emilio Taruffi, 2, 3*, p4.                        NicolasDuval,s,2, 3.
Matteo Zamboni, s, 2, 3.                          Ciro Ferri,, 1, 2, 3*, 4.
CLAUDE, GELEE, or LORRAINE.                         Camillo Gabrielli, 2, 3.
Angeluccio, s, 2, 3, p4.                          Giuseppe Ghezzi, 2, 3.
John Asselyn, 2, 3, in landscape; figures in the  Tommaso Lanci st, 2, p5.
style of Berghem.                            Gio. Battista Lenardi, s, 2. p5.
Francesco Maria Borzone, 2, 5.                    Giovanni Marracci, s, 2, 3*, p4.
John Both, 2, 3, 6.                               Giovanni Battista Mercati, cs, 2 3, 6.
Jean Domenique, s, 2, 3, p4.                      Gioseffo Maria Milani, 1, 2, 3, p4.
Henry van Lint, 2, 3, 6. See Wallint.             Giovanni Battista Natali, s, 2, 3, p4.
Pierre Patel, 2, 3, p4.                           Adriano Palladino, s, 2, 3, p4.
Bernard Patel, 2, 3.                              Bartolomeo Palombo, s, 2, 3, p4
Hermann Swaneveit, cs, 2, 3, p4; approached       Pio Fabio Paolini, s,2, 3, p4.
him nearer than any other master.            Nicolas Pinson, 2, 3.
Francesco Wallint the Elder, 2, 3, p4.            Domenico Piola, 2, 6.
Francesco Wallint the Younger, 2 3.               Giovanni Francesco Romanelli, s, 2, 3*. 6.
Bartolomeo Santi, 2, 3.
CONCA, CAV. SEBASTIANO.                              ietro  Sigismondi, s, 2, 3.
Giovanni Conca,, 2, 3, p4.                       Cav. Raffaelle Vanni, 2, 3, p4.
Corrado Giaquinto, s, 2, 3.
Gregorio Guglielmi, s, 2, 6.                    CUYP, ALBERT.
Gaetano Lapis, s, 2, 6.                           Gautier van Dam, 2, 3.
Salvatore Monosilio, s, 2, 3*, p4.                Bernard van Kalraat, s, 2, S.
Don Francisco Preciado, s, 2, 3, p4.              Jacob van Stry, 2, 3*, 4.




AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C.                    lm
DOLCI, CARLO. The works of few artists have    these pastiches have been bro-ight to the Unibeen so much copied and imitated, as those of    ted States, and sold for originals
Carlo Dolci, and with a precision, too, in very  Gainsborough Dupont, s, 2, 3, p4.
many instances, that bids defiance to discrimina-    George Frost, s, 1, 2, 3, p4.
tion.
GIORDANO, LUCA.
Agnes Dolci, s, 1 3*, 4                       GIORDANO, LUCA.
Alessandro Lomi, 1, 2, 3* 4                     Ferrante Amendola, s, 2, 3.
Alessandro Lomi, s,  1, 2, 3*, 4.          Don Juan Antonio Boujas, s, 2, 3.
Bartolomeo Mancini, s, 1, 2,3,.                Pedrode Cabria,, 2, 3, 4.
Onorio Marinari, s, 1, 2, 3*, 4.                Paolo de Matteis,  2, 3, 6.
DOMENICHINO, or DOMENICO ZAMPIERI.                Andrea Miglionico, s, 2, 3.
Abel, 2, 3*, 4.                                 Matteo Paccelli, s, 2, 3*, p4.
Barbalunga, s, 2, 3* 4.                         Aniello Rossi, s, 2, 3*, p4.
Francesco Cozza, s, 2, 3*.                      Niccolo Maria Rossi, s, 1, 2, 3*, p4, 6.
Andrea Camassei, s, 2, 3.                       Giuseppe Simonelli, s, 1, 2, 3, p4.
Agnolo Canini, s, 2, 3.                         Francisco Tramulles, 2,3.
Francesco di Maria, s, 2, 3, 4.
Francesco di Maria, s, 2, 3, 4.               GIORGIONE, or GIORGIO BARBARELLI.
Vincenzio Manenti, s, 2, 3.                     Giovanni Cariani, 2, 3, p4.
Pietro del Po, s, 2, 3.                         Vincenzio Catena, 2, 3
Vincenzio Catena, 2,3.
Giovanni Battista Passeri, cs, 2, 3, p4.        Lorenzo Lotto,  3, 6
DOUW, GERARD.                                     Marco Marconi, 2, 3.
Louis Bernard Coclers, 2, 3.                    Rocco Marconi, 2, 3*, p4.
G. van Heckel, cs, 2, 3.                        Fra Sebastiano del Piombo, s, 2, 3*, 6.
B. Maton, 1, 2, 3, 4.                           Pordenone, cs, 2, 3*, 6.
Francis Mieris the Elder, s, 2, 3*, 6.          Titian, 2, 3*, in his second style.
Louis de Moni, 2, 3, p5.                        Pietro Vecchia, 2, 3*, p4.
Adrian de Passe, s, 2, 3, p4.                 GREUZE, JEAN BAPTISTE. The works of this
Henry Potuil, 2, 3, p4.                         artist have been copied and imitated, ad infini.
Peter van Slingelandt, s, 2, 3*.               tum, but they lack the spirit of the originals.
John Adrian van Staveren, cs, 2, 3, p4.
Paul and E. van Staveren, s, 2.               GUERCINO. or Gio. FRANCESCO BARBIERI.
Dominick van Tol, s, 1, 2, 3*, 4.               Francesco Bassi, 1, 2, 3*, p4.
Robert Tournier, 2, 3.    -Stefano Ficatelli, 1, 2, 3*, p4.
Elizabeth Gertrude Wassemberg, 2, 3.            Ercole Gennari, s, 2,3*, p4.
13~DUREI,1? ALBER*~T.                Bartolomeo Gennari, s, 2, 3*, p4.
ens Baldung, 2, BE.                            Benedetto Gennari, s, 1, 2, 3*, p4.
FHerandos Baldung, 2, 3 ).                      Cesare Gennari, s, 1, 2, 3, p4.
Fernando Gallegos, 2, 23,                       Lorenzo Gennari, s, 1, 2, 3.
Gherardo, 2.
hPaul Juvene, 12.    3  4                       Simone Gionima, 1, 2, 3.
Paul JuAeneld, 1,  23, p4.                      Lodovico Lana, 2, 3, p4, 6.
Albert Altdorfer, cs 2, 3.          Gio. Domenico Lombardi, 1, 2, 3, 6.
FALCONE, ANIELLO.                                 Uberto la Longe, 2, 6.
Carlo Coppola, s, 2, 3*, 4.                     Giovanni Mutii or Mucci s, 2, 3, p4.
Domenico Gargiuoli, s. 2, 3*, 6.                Francesco Nagli, s, 1, 2, 3, p4.
Andrea di Lione. s, 2, 3.                       Francesco Naselli, 1, 3*, p4.
FERRARI, GAUDENZIO.                               Paolo Antonio Paderna, s, 2, 3*, p4.
FERRARI, GAUDENZIO.                              Francesco Paglia, s, 2, 3.
Gio. Battista Cerva, s,2, 3, p4.                Gio. Battista Piazzetta 2, 3, 6,
Bernardo Ferrari, s, 2, 3, p4.                  Padre Cesare Pronti, s, 2, 3
Padre Cesare Pronti, s, 2, 3.
Bernardo Lanini, s, 2, 3*, p4, 6.               Cristoforo Serra, s, 2, 3, p4.
Cristoforo Serra, s, 2, 3, p4.
Antonio Lanetti, s, 2, 3.                       Francesco Stringa, cs, 2 3, 6.
Giulio Cesare Luini, s, 2, 3.                   Cristoforo Savolini 2, 
FRANCIA, FRANCESCO. The works attributed to  GUIDO, RENI, established one of the most popuFrancia are exceedingly numerous. Malvasia    lar schools in Italy. Crespi says his " school at
says the names of 220 pupils are to be found in  Bologna was frequented by more than 200 puhis journals.                                   pils."  Probably the works of no artist have
Francesco Caprioli, s, 2, 3*, 4.                been more copied and imitated than those of
Simone Fornari, s, 2, 3*, 4.                    Guido.
Giacomo Francia, s, 2, 3*, 4.                   Domenico de Benedettis, s, 2, 3*, p4.
Girolamo Marchesi, s, 2, 3.                     Paolo Biancucci, s, 2, 3, p4.
Lodovico da Parma, s, 2, 3, p4.                 Giovanni Battista Bolognini, s, 2, 3, p4.
Antonio Buonfanti, cs, 2, 3.
GABBIANI, ANTONIO DOMENICO.                       Ao    Buonfanties, 3.
GABBIANI, ANTONIO GDOMENICO.                      Guido Cagnacci, s, 2, 3.
Giuseppe Baldini2,3.                            Tomaso Campana, s, 2, 3.
Gaetano Gabbiani, s, 2, 3, p4..Simone Cantarini, s, 1, 2. 3*, p4.
Ranieri Paci, s, 2, 3, p5.                      Francesco Carboni, 2, 3.
Tommaso Redi, s, 2, 6.                          Cav. Giovanni Domenico Cerrini, s, 2, 3*, p4.
Francesco Salvetti, s, 2, 3, p4.                  Lanzi says that Guido retouched some of hiF
GAINSBOROUGH, THOMAS. The works of this             pictures, and sold them for his own.
artist have been largely imitated, and many of  Lorenzo Cerrini, 1, 3.




S.~~V         ~ AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C.
Michele Desubleo, s. 2, 3*, p4.                   Roland van Laer, s, 2, 3, p4.
Luca de Ferrari, 1,2, 3.                          Cav. John Miel, 2, 3, 6.
Lavinia Fontana, 2, 3.                            Domenico Olivieri, 2, 3, p4.
Pietro Gallinari, called Pietro del Signor Gui-    John or Josse Ossenbeck, 2, 3, p4.
do, s, 1, 2, 3, p4. Guido retouched some of     Peter Stoop, 2, 3, p4.
his pictures, and sold them for his own.     LANFRANCO, CA. GOVANNI.
Francesco Gessi, s, 2, 3*, p4, in his best works.
Francesco Gessi, s, 2, 3, p4 in his best works.   Cav. Gio. Battista Benaschi, 2, 3.
Antonio Giarola, s, 2, 3p4.                       Giacinto Brandi, 3 2, 8, p4.
Giorgio Giuliani, cs, l, 3                        Giacomo Giorgetti, s, 2, 3.
) j o^li s,\\^4                                Andrea Lanzani, 2 3.
Uberto la Longe, 2, 6..
Giovanni Francesco Mengucci, s, 2, 3.
Cav. Ercole Maria, s, 1, 2, 3*, 4; deceived Guido   ovanniFrancescoMengucs,2,
himself.                                     LIBERT, CAV. PIETRO. Lanzi says his works
Padre Feliciana da Messina, s, 2, 3.              have been largely copied and imitated by his
Giovanni Battista Michelini, s, 2, 3.             son and scholars.
Carlo Francesco Nuvolone, called the Guido of  LICINIO, Gio. ANTONIO, called L PORDENONE.
Lombardy, 2,3*, p4.                            Pomponeo Amalteo, s, 2, 3*, p4.
Giovanni Battista Pesari, cs, 2, 3, p4.           Francesco Beccaruzzi,, 2, 3...
Marc' Antonio Riverditi, 2, 3, 6.                 Gio. Maria Calderari, s, 2, 3* 4.
Rollo, 2, 3*.                                   Bernardino Licinio da Pordenone, s, 2. 3*, 4.
Francesco di Rosa, 1, 2, 3.                       Giulio Licinio da Pordenone, s, 2, 3*, 4.
Giovanni Battista Ruggieri, 2, 3* p4.             Gio. Antonio Licinio da Pordenone, called Sac.
Luigi Scaramuccia, a, 2, 3, p4.
uigoi  GScaramuccia, se, 2,   p4.                   chiense, s, 2, 3*, 4. All his works are attriGiovanni Giacomo Sementi, s, 2, 3, p4.buted to the Elder Pordenone.
Guido Signorini, s, 1 2, p4.
Giovanni Andrea Sirani,, 2, 3.                 MANTEGNA, ANDREA. Scholars and imitators
Elizabetta Sirani, 2, 3.                          very numerous; Lanzi says a multitude of picGiovanni Maria Tamburini, s, 2, 3.                tures, in the style of the Quattrocentisti (artists
Sebastiano Taricco, 2, 6.                         of the 14th century), are falsely attributed to
Flaminio Torre, s, 1, 2, 3, p4.                   him.
Andrea Vaccaro, 1 2, 3, 6.                        Giovanni Carotto, 2, 3.
Gio. Francesco Carotto. s, 1, 2, 3*. 4.
HEEM, JOHN DAVID DE.                                Francesco Mantegna, s, 2, 3* 4.
Cornelius de Heem, s, 2, 3, p5.                   Carlo del Mantegna, s, 2, 3*, 4.
John de Heem, 2, 3, p5.                           Francesco Monsignori,, 2, 3.
Guillaume Klaasz Heda, 2, 3.                      Maestro Angelo Padova, 2, 3.
Cornelius Kick, 2, 3, 6.                          Lauro Padovano, s, 2, 3*, 4.
John Moortel, 1, 3* 6.                            Bernardo Parentino, s, 2, 3, p4.
Maria van Oosterwyck, s, 2 3, 6.                  NiccoloPizzolo,2, 3.
Peter de Ring, 2, 3.                              Gio. Speranza, s, 2, 3, p4
Jacob Roodtseus, s, 2, 3.
Stomme, cs, 2, 3.                                 MARATTI, CAV. CARLO, established cue of the
Jacob Walscapelle, cs, 2, 3, 6.                   most popular schools of his time.
JaEYDENob JWOHN vANE, R *.                    Giacinto Calandrucci, s, 2 3.
HEYDEN, JOHN VANDER.                               Domenico Calandrucci, s, 2, 3.
Jan Tn Compe, 2, 3.                               Paolo Albertoni, s, 2, 3...
Isaac Ouwater 2, 3.                               Antonio Balestra, s, 2, 3, 6.
John Peter Schoenmacker, 2, 3.                    Giuseppe Chiari, s, 2, 3*, p4,6.
HONDEKOOTER, MELCHIOR.                              Tommaso Chiari, s, 1, 2.
John van Alen or Olen, 1, 2, 3.                   Francesco Conti, 2, 3, p4.
Francis Peter Verheyden, 2, 3.                    Placido Celi, s, 2, 3.
C. Vonck, 2, 3.                                   Miguel Danus, s, 2, 3.
HUYSUM, JOHN VAN.                                   Agostino Masucci, s, 2, 3, 6.
P. Faes,2, 3.                                     Gio. Paolo Meichiori, s, 2, 3, p4.
Jacob van Huysum, s, 1, 3*, 4.                    Girolamo Odam, s, 2, 3.
Margaret Haverman, s, 1, 2, 3, p4.                Giuseppe Oddi s,,,
Jan Evert Morel, 2, 3*, p4.                       D. Tommaso Nardini, s, 2, 3.
John van Os, 2, 3, p4.
John van Osr, 2, 3, p4.                           Giuseppe Passeri, s, 2, 3, p4.
Robart, cs, 2, 3.                                 Pietro de' Petri, s, 2, 3, 6.
Robart, cs, 2, 3.                 
Stefano Pozzi, s, 2, 3, 6.
JARDIN, KAREL DU.                                   Theodore van Loon, 2, 6.
John van Nikkelen, 2.                             Natale Ricci, s, 1, 2, 3.
William van Romeyn. 2, 3.                         Ubaldo Ricci, s, 1,2, 3.
John Sybrecht, 2, 3.                              D. Angelo Rossi, 2, 3.
Walter John Troostwyck, 1, 2, 3.                  Michele Semini, 1, 2, 3.
LAER, PETER DE, called BAMBOCCIO.                   Lodovico Trasi, s, 2, 3,6.
Michael Angelo Cerquozzi, 2, 3, 6.                Cav. Girolamo Troppa, s, 2,3*
Andrew Both, 2, 3, 6.                          MASSEUS, or MARCELLIS, OTHO.
Jacob vander Does the Elder, 2, 3, 6.             Mair, 2, 3*, 4.
Bernard Graat, 2, 3, 6.                           Peter Verhulst, 2, 3.
Theodore Helmbrecker, 2, 3, 6.                    Matthew Withoos, 2, 3*.




AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C.                    1I
METZU, GABRIEL; style founded on that of Ter-    Daniel Haring, 2, 3, p4.
burg.                                           Matthew Wytman, 2, 3, p4.
Jacob Achterveldt, s, 2,3, p4.                OMMEGANCK, BALTHASAR PAUL. His works
John van Geel, s, 2, 3* 4.                      have been largely copied and imitated.
W. Odekehraken, 1, 3*,.                        Jean Carol Carpentero, 2, 3, 4.
Renier de la Haye, 2, 3.                        J. F. Lenzen, 1 3*, p4.
Engel Sam, 2, 3.                                Jacob Kouwenhoven, s, 2, 3, p4.
MIERIS, WILLIAM.                                Henry Arnold Myin, s, 2, 3.
Abraham vander Eyk, 2, 3.                     OSTADE, ADRIAN VAN.
Francis Mieris the Younger, s, 2, 3, p5         Jean Jacques Boissieu, 2, 3.
William Muys, 2.                                John Molinaer, 2, 3.
Jerome vander My, s, 2, 3, p4.                  Nicholas Miense Ajolinaer, 2, 3.
Philip Vandyck, 2, 6.                           Bertram de Fouchier, 2, 3.
MIGNON, ABRAHAM.                                  Anthony Goebouw, 2, 3, p4.
John Moortel, 1, 3*.                            Giles van Schagen, 1, 2, 3, p4.
ErVst Stdven2,, 23, p4.                       PALMA, JACOPO, the Younger.
N. Verendael, 2, 3, p4.        Giacomo Alberelli, s, 1, 2, 3, p4; was his pupil and
MIREVELT, MICHAEL JANSEN.                            coadjutor for 34 years.
Paul Moreelze, s, 2, 3, p4.                     Marco Boschini, s, 2, 3.
Peter Thierry Kluyt, s, 2, 3, p4.               Girolamo Gamberati, s, 2, 3*.
John van Nes, s, 2, 3, p4.                      Pietro Malombra, 2, 3, 6.
Peter Mirevelt, s, 2, 3*, 4.                    Gio. Battista Novelli, s, 2, 3, p4.
Santo Peranda, s, 2, 3, 6.
MOLYN, PETER, the YOUNGER, called IL TEMPES-    Glirolamo Pilotto, s, 2,3, p4.
TA, CAV. TEMPESTA, and PIETRO MULIER.           Camillo Rama, s, 2, 3.
Scipione Cignaroli, s, 2, 3; p4.                Ascanio Spineda, s, 1, 2. 3*, p4.
II Montagna, cs, 2, 3*, 4.                       Gio. Battista Tortiroli, 2, 6.
II Tempestino, s, 1, 2, 3*, 4.                  Andrea Vicentino, 2, 3, 6.
MONNOYER, JEAN BAPTISTE, called BAPTISTE.         Boschini, who was Palma's pupil, enumerates
Jean Baptiste Blain, s, 2, 3, p4.                 six artists, viz.: Corona, Vicentino, Peranda,
Anthony Monnoyer, s, 2, 3, p4.                    Aliense, Malombra, and Pilotto," whose manner so extremely resembles that of Palma, as
MORLAND, GEORGE. His works have been im-            to impose upon those who have not tact
mensely copied and imitated; Stanley says         enough to detect the peculiar characteristics
"his brother Henry (Morland) kept a regular       of each."
manufactory of them."                         PARMIGGIANO, or FRANCESCO MAZZUOLI.
MURILLO, BARTOLOME ESTEBAN.                       Pomponeo Amidano, cs, 2,3*, 4.
Miguel del Aguila, 1, 2, 3, p4.                 Giacomo Bertoja, 1, 2, 3, p4.
Francisco Antolinez, s, 2, 3, p4.               Francesco Borgani, 2, 3.
Sebastiano Gomez, called El Mulato de Murillo,    Girolamo Mazzuoli, s, 2, 3, p4.
s, 2, 3.                                      Alessandro Mazzuoli, 2, p5.
Juan Garzon, s, 2, 3.                         PERUGINO, PIETRO, instructed many pupils, and
Felipe de Leon, 1, 2, 3, p4.                    Lanzi says a multitude of pictures are falsely
Don Bernardo German Llorente, 1, 2, 3, p4.      attributed to him, which were executed by his
Juan Simone Guttierez, s, 2, 3.                 scholars
Jose Lopez, s,  2, 3, p4.                       Domenico Alfani, s, 2, 3, p4.
Est6ban Marquez, 1, 2, 3, p4.                   Gio. Antonio d'Amato, 2, 3.
Gio. Antonio d'Amato 2, 3.
Joya Fernando Marquez, 2, 3.                    Pietro Cesarei, 2, 3, 4
Tommaso Martinez, 2,3, p4.                      Calo  rivelli,   3  p4
Don Pedro Villavicencio Nunez, s, 2, 3*, p4.        bo di   liogis, 2, 3.
Francisco Ochoa, s, 1, 2,3*, 4. ) 2             Eusebio di San Giorgio, s, 2, 3.
Francisco Ochoa   s,,     2,   3* 4.         Jacopo Pacchiarotti, 2, 3 6.
Francisco Me nesesor,, 2, 3, 4.              Gio. Niccolo da Perugia, s, 2, 3.
Francisco de Pineda Perez, s, 2, 3, p4.         Lorenzo Pittoris 2, 3.
4 ) 3 p4.            Lorenzo Pittori, s, 2, 3.
Lorenzo Quiros, 1, 2, 3, 4; was a famous copy-    Antonio Semini,  3, p4.
ist, and sold his pictures for originals.     Niccolo Soggi,   s 2 3, p4.
Jos6 Rubira, 1, 2, 3*, p4.
JosB Ru   ) a, i, 2, 3", p4.       Giovanni Spagnuolo, s, 2, 3, p4.
Don Alonso de Tobar, 1, 2, 3*, 4; was a famous    G3,
copyist and imitator, and sold his pictures for  POELEMBURG, CORNELIUS.
originals.                                    Hattigh Jan Baak, cs, 2, 3.
nNEEFSPETER, the Elder.                          Abraham van Cuylenburg, 2,3, 5.
NEEFS, PETER, the Elder.                          John van Haansbergen, s, 2, 3.
Theodore Babeur s, 2, 3.                        Jan vander Lys, s, 2, 3*, 4.
Pierre la Fontaine, 2, 3*, p4.                  Wernard Rys, s, 2, 3.
Peter Neefs, the Younger, s, 2, 3, p5.          G. Stenree, s, 2, 3,p4.
NETSCHER, GASPAR.                                 Gysbrecht Thys, 2,3, p4.
I. Blyhooft, 2, 3, p4.                          Daniel Vertangen, s, 2, 3, 5.
N Brant, s, 2,3, p4.                            Francis Verwilt, s, 2, 3, 5.




Ivi                 AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C.
POTTER, PAUL.                                      Heyman Dullaert, 1, 2, 3*, 4.
Jan Bernard, 1, 2, 3, p4.                       Gerbrant vander Eeckhout, s, 2, 3.
Adam van Borsum, 1, 2, 3.                       Govaert Flink, s, 2, 3.
Camphuysen, 2, 3* p4.                           Arnold de Gelder, s, 1, 2, 3*, 4.
John le Duc, s, 2, 3, 6.                        Peter de Gelder, cs, 2, 3.
John van Gool, 2, p5.                           Samuel Hoogstraeten, s, 2, 3, 6.
Jacob Janson, 1, 2,,3, p4.                      Philip de Koningh, s, 2, 6.
Jan Kobell, 1, 2. 3, p4.                        Nicholas Maes, s, 2, 3, 4.
W. J. L. Spoor, 1, 2, 3, p4.                    Jan Baptist van Mol, 1, 2, 3, p4.
Seghers or Zehers, 2, 3, 6.                     Horatius Paulyn, 2, 6.
Walter John Troostwyck, 1, 2, 3, p4.            Adrian Verdoel, s, 2, 3.
POTSSIN, N~i~cH~o~LA~S~. Jan Victor or Fictoor, cs, 2, 3*, 4.
P      JUSSIN, NIcHoLas.                        Gerard de Wet, s, 2, 3.
Giuseppe Bottani, 2, 6.
Giuseppe Bottani, 2, 6.                        eFrancis Wulfhagen, s, 2, 3.
Bernardo Cavallino, 2, 3.
Gerard Lairesse, 2, 3, 6.                     ROSA, SALVATORE, had many scholars and imita.
Carlo Lodi, 2, 3.                               tors. Lanzi says, "the applause which Salvator
Nicolas Loir, 2, 3.                             Rosa received during his seven years' residence
Francis Mil6, 2, 3, p4.                         at Florence, induced many young men to copy
Le Maire Poussin, s, 2, 3.                      and imitate him."
Jacques Rousseau, 2, 3, 6.                      Giulio Avellino, cs, 2, 3.
Peter Rysbraeck, 2, 6.                          Taddeo Baldini, s, 2, 3*, p4.
POUSSIN, GASPAR..               3.
POUSSIN, GASPAR.                                   Jacob de Heusch, 2, 3.
Francis Joachim Beisch, 2, 6.                   Alessio de Marchis 2 3.
John Francis van Bloemen, 2. 3, 6.vang                     Martinti,,     3.
Gio. Domenico Ferracuti, 2, 6.                  Evangelista Martinotti, s, 2, 3, p4.
Gio. Domenico Ferracuti, 2, 6.
John Anthony vander Leepe, 2, 6.                  aetano Martoriello, 2, 3.
Crescenzio di Onofrio, s, 2, 3*, p4.            Niccolo Massaro,, 2, 3.
RAFFAELLE, the great head and model of the        MBarzo Masturzo, s, 2, 3.
Roman school, had many pupils, some of whom     Pietro Montanini, s, 2, 3, p4.
imitated him very closely. Some of his works    Pandolfo Reschi, 2, 3, 6.
were copied by his scholars, retouched by him-    N. Spierings, 2, 3*, p4.
self, and now pass for originals or duplicates.    Bartolomeo Torregiani, s, 2.
See note, p. 758.
Orazio Alfani; some of his best works have  ROMANO, GIUIO. 
been mistaken for the early productions of     eio. Battis, s,,   p.
Pedro Campana,  2, 3.                           Bernardino India, 2, 3.
Polidoro da Caravaggio, s, 2,3.                 Rinaldo Mantovano, s, 2, 3.
A A^~ n^^^i i ~9           Benedetto Pagni, s, 2, 3.
Andrea Comodi, 1, 2, 3.                         Benedetto Tonduzzi, s, 2, 3.
Gaudenzio Ferrari, s, 2, 3.                     Giulio Tonduzi,, 2, 3.
Vincenzio da San Gimignano, s, 2, 3.          RUBENS, PETER PAUL. " The works attributed
Salvo da Messina, 2, 3.                         to him are almost innumerable."  Smith, in his
Maturino, s, 2, 3.                              Catalogue raisonn6, describes about 1800, con
Pellegrino da Modena, s, 2, 3*                  sidered genuine; 1200 engraved!
Gio. Francesco Penni, s, 2, 3.                  Giles Backereel, 2, 3, 6.
Baldassare Peruzzi, s, 2, 3.                    Giuseppe Bazzani, 2, 3.
Raffaellino del Colle, s, 2, 3.                 Matthias vander Berg, s, 1, 3.
Bartolomeo Ramenghi, called I1 Bagnacavallo,    Theodore Boyermans, s, 2, 3, p4.
s, 2, 3.                                      Deodato Delmont, s, 2, 3, 6.
Giulio Romano, 1, 2, 3*, 4.                     Abraham van Diepenbeck, s, 2, 3, p4, 6.
Andrea Sabbatini, s, 1, 2, 3.                   Justus van Egmont, s, 2, 3, p4.
Lorenzo Sabbatini, 1, 2, 3.                     Gerard van Harp, s, 1, 2, 3*, p4,
Enea Salmeggia, 2, 3.                           John van Hoeck, s, 2, 3*, p4.
Andrea Semini, 2, 3.                            Jacob Jordaens, s, 2, 3*, p4.
Ottavio Semini, 2, 3,* 4.                       Godfrey Maes, 2,3, p4.
Girolamo Siciolante, 2, 3.                      Miguel Manrique, s, 2, 3.
Pietro Martire Stresi, 1, 3.                    A. Marienhof, 1, 2, 3.
Benvenuto Tisio, s, 2, 3.                       Peter van Mol, s, 2, 3, 5.
Giovanni da Udine, s, 2, 3.                     Daniel Mytens the Elder, cs, 2, 3.
Pierino del Vaga, s, 2, 3.                       Gaspar James van Opstal, 1, 2, 3, 6.
~REMBRANDT, VAN RHYN~.   ~Erasmus Quellinus, s, 2, 3, 6.
REMBRANDT, VAN RHYN.                              Cornelius Schut, s, 2, 3, p4.
Nicholas van Bergen, 2, 3.                      Gerard Seghers, 2, 3, 6.
Ferdinand Bol, s,   3.                         Peter Soutman, s, 2, 3.
Philip Jerome Brinckman, 2, 6.                  John Thomas, s, 2 3.
Solomon Coninck, 2, 3, 6.                       Theodore van Thulden, s, 2, 3* p4.
Benjamin Cuylp 2, 3                             Lucas Vanuden, 2, 3*, 6, in landscape.
Jan Domer, 2, 3*, 6.                            Simon de Vos, s, 2, 3* p4, 6.
N Drost, s, 2, 3, 6.                            John Wildens, 2, 3*, 6, in landscape.




AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C.                   lvil
Jacob de Wit, 2, 3, 6.                          Carlo Corrado, s, 2, 3, 6.
Francis Wouters, s, 2, 3, p4.                   Francesco de Mura, s, 2, 3*, p4, 6.
DTTV~RUYSDAEL, JACOB. TCav. Giuseppe Petrini, 2, 3, 6.
RUYSDAEL, JAC.OB.                                 Giovanni Porcello, s, 2, 3.
Francis Decker, cs, 2, 3, 6.                    FiannPoel, s, 2.
Cornelius Dubois, cs, 2, 3, p4.                 FerdinandoSanfelice s 2.
Jan van Kessel, 2, 3.                         SPAGNOLETTO, JosE (or GIUSEPPE) RIBERA
Isaac Koene, s, 2, 3, 5.                        style founded on that of M. A. Caravaggio,
J. Rontbout, 2, 3, p5                           works exceedingly numerous. Lanzi says his
Henry vander Straeten, 2, 3.                    works have been largely imitated.  "We may
John Renier de Vries,  2, 3, 5                 rest assured that a great part of those in the
SARTO, ANDREA DEL; works largely copied and    collections (in Italy) attributed to him, are not
imitated..                                      justly entitled to his name, and ought to be asGiuseppe Badaracco, 2, 3.                       cribed to his scholars."
Simone Balli, 2, 3, p4.                         Giovanni Do, s, 2, 3*, p4.
Lodovico Buti, 2, 3.                            Francesco Fracanzani, s, 2, 3, 6.
Jacopo Carrucci, s, 2, 3, 6.                    Cav. Pietro Novelli, 2, 6.
Domenico Conti, s, 1, 2.                        Bartolomeo Passante, s, 2, 3*, p4.
Felice Ficherelli, 1, 2, 3*, p4.              STANZIONI, CAV. MASSIMO.
Jacone, s, 2, 3.
JNannocco,, 2s, 2    4.                       Agostino Beltrano, s, 2. 3.
Pellegrino Piola, 2, l* 6.                      Paolo Domenico Finoglia, s, 2, 3.
Domenico Puligo, 1, 2, 3, p4.
Andrea Malinconico, s, 2, 3, 6.
Andrea Sguazzella, s, 1, 2, 3* 4.               Giuseppe Marullo. s, 2, 3*, p4.
Andrea Sguazzella, s,,                                            1 2, 4.
Aniella di Rosa, s, 1, 2, 3.
SCHALCKEN, GODFREY.
Justus van Bentum, s, 2, 3*, 4; all his works are  TENIERS, DAVID, the Younger; his works have
attributed to S.                              been immensely copied and imitated.
Arnold Boonen, s, 2, 3, p4, 6.                  Theodore van Abshoven, s, 2, 3*, 4; most of his
R. Moris, s, 2, 3.                                works are attributed to Teniers.
Gerard Jan Palthe, 2, 3, p4.                    Francis du Chatel, s, 2,3.
Robert Tournier, 2, 3, p4, 6.                    Anthony Goebouw, 2, 3.
Anselm Weeling, 2, 3*, p4.                      Matthew van Helmont, s, 2, 3, 6.
H. van Hont, s, 2, 3.
SEGERS, DANIEL.                                    Nicholas van Kessel, 2, 3*, p4,
John Philip van Thielen, and his three daugh-    Arnold Maes, s, 2, 3.
ters, imitated Segers very closely.           Theodore Michau, 2, 3, p5.
SLINGELANDT, PETER VAN; imitator of Douw.    John Andreas Nothnagel, 2,3.
John Filicus, s, 2, 3.                          Martin Henry Rokes, s, 2, 3, p4.
Jacob vander Sluys, s, 12, 3, p4.               Jacob de Roore, 2, 3* p4; imitated the works
Ary de Voys, s, 2, 3*, p4.                        of T. with immense success.
SNYDERS F~rt&Ncis~  ^Cornelius Saftleven, 2, 3, p4, 6.
SNYDERS, FRANCIS.                                 Matthew Scheitz, 2, 3.
Nicaise Bernaerts,, 2, 3*, 4.                  M. Schoevaerdts, 2,3.
Van Boekel, s, 2, 3, p4.                        Abraham Teniers, s, 2,3, 5.
Juriaen Jacobsz, s, 2, 3*, p4.                  John Thielens, 2 3, p4.
Francis van Cuyck de Mierhop, 2,3*, p4.           iles Tilburg the Younger,, 2, 3, 6.
Bernard Nicasius, s, 2, 3*, 4; most of his    PeterTillemans,, p4,6.
works are attributed to S.
Adrian van Utrecht, 2,3, 6.                   TERBURG, GERARD.
Francis Peter Verheyden, 1, 2, 3, p4.           Renier de la Haye, 2, 3.
C. Vonck, 2, 3, p4, 6.                          Gabriel Metzu, 2, 6.
Paul de Vos, cs, 2, 3*.                         Eglon Hendrick vander Neer, 2, 3, p4, 6.
John Ochterveldt, cs, 2, 3', p4.
SOLE, GIOVANNI GIUSEPPE DAL, instructed many      John cTlius,,    2, 
pupils.
Lucia Casalini, s, 1, 2, 3.                   TINTORETTO, JACOPO ROBUSTI, called.
Francesco Comi, s, 1, 2, 3.                     Marc' Antonio Bassetti, 2, 3, 6.
Gio. Domenico Ferretti, s, 2, 3, p4.            Melchiore Colonna, cs, 2. 3.
Gio. Battista Grati, s, 2, 3.                   Juan Antonio Escalante 2, 3.
Girolamo Gregori, s, 2,3.                       Flaminio Floriano, 1, 2, 3* 4.
Antonio Lunghi, s, 2. 3.                        Cesare dalle Ninfe, 2, 3*, 4; works mostly at.
Cesare Mazzoni, s, 2,3.                           tributed to T.
Francesco Monti Bolognese, s, 2, 3, 6.          Domenico Tintoretto, s, 1, 2, 3*, 4.
Teresa Maria Scannabecchi, s, 1, 2, 3.          Marietta Tintoretto, s, 2, 3.
Mauro Soderini, s, 2, 3, p4.                    Antonio Vassilacchi, 2, 3, 6.
Felice Torelli, s, 2, 6.                      TITIAN, the great head of the Venetian school,
SOLIMENA, CAV. FRANCESCO, had many scholars    like Raffaelle, had a host of imitators and copyand imitators.                                  ists. His works are very numerous; above 600
Giuseppe Bonito, s, 2, 3*, p4.                  have been engraved.
Scipione Cappella, s, 2,3.                      Gio. Battista Averara, 2, 3.




.Vii.               AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C.
Alessandro Bonvicino, called Il Moretto, s, 1, 2,    Gerard Peter van Zyl, called the second Pan
3*, p4.                                         dyck, s, 2, 3, p4.
John van Calcar, s, 1, 2, 3*, p4.             VELDE, WILLIAM VAN DE, the Younger.
Giuseppe Caletti, called II Cremonese, 1, 2,3*, 4.    Bellevois    2 3
Domenico Campagnola, s, 2, 3, p4.               Jan vander Cappelle 2,3,p4.
Cav. Giovanni Contarini, 2, 3, p4.
Lionardo Corona, 1, 2, 3*, p4.                VELDE, ADRIAN VAN DE.
M. Cusin, 2, 3,in landscape                     Dirk van Bergen, s, 2, 3*, 4.
Girolamo Danti, s, 1, 2, 3*, p4.                James Koning, s, 2, 3, p4.
Alexis Domenique, s, 2, 3*, p4.                 Peter vander Leeuw, 2, 3*, p4.
Lodovico Fumicelli, ps, 2, 3,                   Adrian Oudendyck, 1, 2, 3, p4.
Gio. Battista Grassi, ps, 2, 3.                 W. J. Troostwyck, 1, 2, 3, p4.
Francesco Imparato, s, 2, 3.
Gio, Battista Maganza the Elder, s, 2, 3, p4.  VELDE, ISAAC VAN DE.
Damiano Mazza, s, 1, 2, 3                       Peter Denen, 2, 3
El Mudo, Juan Fernandez Navarette, called the    Palamedes Staevaerts, 2,3, p4.
Spanish Titian, s, 2, 3*, p4.                 J. V. D. Stoffe, 2,3, p4..
Natalino da Murano, s, 1, 2, 3, p4.
Gaspare Nervesa, s, 2, 3.                     VELASQUEZ, DON DIEGO RODRIGUEZ DE SILVA
Simone Peterzano, s, 2, 3                       Y., the great head of the Spanish school.
Callisto Piazza, p, 2, 3*, p4.              Don Juan Y Gamon de Alfaro, s, 2, 3.
-CaGlisto Piaeza, ps, 2, 3*, p4.
Gregorio Porideo, cs, 2, 3.                     Salvador Jordan, ps, 2, 3*, 4, in portraits.
Domenico Riccio, called Brusasorci, imitated Ti-    Don Diego de Lucena, s, 2, 3, p4.
tian very closely in Venuses, Nymphs, &c.     JuDon deJua  Baptista s azo,,, 2, 3, p4portraits.
Pietro Rosa, s, 2, 3, p4.                       Juan de Pareja, s, 2, 3*. in portraits.
Girolarno Salvado 2, 3.                         Antonio Puga, s, 2, 3*, p4.
Giovanni Silvio, cs, 2, 3.                    VERONESE, PAOLO CALIARI, or CAGLIARI, called;
Niccolo di Stefano, ps, 2, 3.                   instructed many pupils, and his works have been
Louis de Vadder, 2, 3, in landscape.            immensely copied ad imitated
Alessandro Varotari, 2, 3*, p4.                  mmensely coped and mtated.
Franessandro Vecellarotari, 2, 3*, 4.           Michael Angelo Aliprandi, s, 2, 3.
Oranio Vecelli, s, 2, 3*, 4.                    Ottavio Amiconi, or Amigoni, 2, 3.
Orazio Vecelli, s, 2, 3*, 4.
2Gi. Battista Amigazzi, 1, 3.
Marco Vecelli, called Marco di Tiziano, s, 2, 3*, 4.    Gio. Battia Amigazzi, p4.
Polidoro Veneziano, s, 1, 2, 3, p5.               ii enao, s, 2,  p4.
Santo Zago, s, 2, 3.                            Sestiano Bombelli, i, 2 3, p4.
Sebastiano Bombelli, 1, 2. 3*, p4.
TROTTI, CAV. GIOVANNI BATTISTA, called IL MA-    Agostino Bonisoli, 2, 3
LOSSO.                                          Carlo Bononi, 2, 3, 6.
Giulio Calvi, s, 2, 3.                          Gio. Antonio Burrini, 2, 3, 6.
Stefano Lambri, s, 2, 3.                        Anselmo Canneri, s, 2, 3.
Ermenigildo Lodi, s, 1, 2, 3*, p4.              Giulio Carpioni, 2, 3, 6.
Manfredo Lodi, s, 2, 3.                         Gio. Paolo Cavagna, 2, 3, 6.
Pier Martire Negri, s, 2, 3, 6.                 Bartolomeo Cittadella, 2, 3.
Panfilo Nuvolone, s, 2, 3 p4, 6.                Ciro da Conegliano, s, 2, 3*, p4.
Euclide Trotti, s, 2, 3, p4.                    Antonio Foler, s, 2, 3, p4.
Antonio Gandini, s, 2, 3, 6.
VANDYCK, SIR ANTHONY.                             Francesco Maffei, 2; 3, 6.
John de Baan, 2, 3, p4, in portraits.           Alessandro Maganza, 2, 3 6.
David Beek, s, 2, 3, p4.                        Parrasio Michele, s, 1,2, *, p4.
John van Bockhorst, called Langen Jan, 2, 3,    Francesco Montemezzano, s, 2, 3, p4.
p4.                                           Angelo Nardi, s, 2.3, p4.
Joseph Bokshoorn, 1, 3.                         John Erasmus Quellinus, 2, 3, 6.
Thomas Willeborts Bosschaert. 2, 3.             Romani da Reggio, 2, 3.
Bernardo Carbone, 2, 3, in portraits.           Sebastiano Ricci, 2, 3*, 6.
Adrian Hanneman, 2, 3.                          Gio. Battista Riccio, s, 2, 3.
John Hayls, 1, 2, 3.                            Carlo Sacchi, 2, 3, p4.
John van Kessel the Younger, 2, 3, in portraits.  Sigismondo Scarsella, s, 2,3.
Jansens van Keulen, 2, 3*, 4.                   Ippolito Scarsella, 2, 3, 6.
Johannes Remigius Lange, s, 2, 3* 4; most of    Gio. Battista Tiepolo, 2, 3, 6.
his works attributed to V.                    Antonio Vassilacchi, s, 2, 3,6.
Peter Meert, 2, 3, in portraits.                Battista Zelotti, 2, 3*.
John de Reyn, s, 2, 3*, 4.                      Franoesco Zucco, 2,3*.
Hyacinth Rigaud, called the French Vandyck,
2, 3, 6.                                    VINCI, LIONARDO DA.
Taco Scheltema, 1, 2 3, p4.                     Cesare Arbasia, 2, 3.
Gysbrecht Thys, 2, 3*, p4, in portraits.        Gio. Antonio Beltraffo, s, 2, 3, p4.
Peter Tyssens, 2, 3, p4.                        Giuliano Bugiardini, 2, 3*, 4.
Cornelius de Vos, s, 2. 3.                      Lorenzo di Credi, 2, 3*, p4.
Robert Walker, 2, 3, in portraits.              John van Hemmessen, 1, 2, 3*, 4.
Weesop, 2. 3*. 4.                               Bernardino Luini, cs, 2, 3*, p4.




AN ALPHABETICAL LIST OF COPYISTS AND IMITArORS, &C.                      lix
Conte Francesco Melzi, s, 1, 2, 3*, 4; painted   BOULLONGNE, BON, 2, 3*, 6, of the old Italfrom his designs.                           ian masters.
Andrea Salai, s, 1, 2, 3, 4; painted from Vinci's    CADES, GIUSEPPE, 2, 3*, 6, of the designs of
designs.                                    the great Italian masters.
Cesare da Sesto, s, 1, 2, 3, p5.
Gio Antoni Sogl an,  2,3, 6,                     CAPPELLE, JAN VAN DER, 2,3, p4, of W. Van de
iarco Uggione, s 2, 23, p4.                    Velde, de Vlieger, Ostade, vander Neer, and others
WATTEAU, ANTHONY; works immensely copied           CAROSELLI, ANGIOLO, 1, 2, 3, p4, of M. A. Ca
and imitated.                                 ravaggio, and other great Italian masters.
N. Anchilus, 1, 2, 3, p5.                        CARRY, ABRAHAM, 1, 3, 5, of the Dutch mas.
Nicolas Lancret, s, 2, 3*, p4.                 ters.
George vander Myn, 2, 3, p4.                     CERRINI, LORENZO, 2, of Cristoforo Allori.
Jean Baptiste Pater, s, 2, 3, p4.              Guido, and others.
WEENIX, JOHN.                                      CHIMENTI, JACOPO, 1, 3*: p4, of the Italian
B. Admiraal, 2, 3 p5.                          masters.
Wybrand Hendriks, 2, 3, 6.                       COCLERS, Louis BERNARD, 2, 3, p4, of Gerard
Lelienberg, 2, 3.                              Douw, and other eminent Dutch masters.
John Joseph Ignatius van Straaten, 2,3.          COMODI ANDREA  1, 2, 3, 4, of Correggio,
Theodore Valckenburg, s, 2, 3, p4.
Raffaelle, and others.
WERF, ADRIAN VANDER.                               CORRADI, OTTAVIO, 1, 3*, 4, of Cavedone,
N. van Heems, 1, 3, p4.                        the Caracci, Titian. Veronese, and others.
Nicholas Juweel, 2, 3.
Henry van Limborfh, s, 2, 3, p4.                 CORTE, DAVIDE, 1, 3*, p4, of the Italian masters.
Gerard Melder, 1,, 3.                           CREDI, LORENZO DI, 1, 3, p4, 6, of Lionardo
William Muys, 2.                               da Vinci, and others.
Engel Sam, 2, 3.                                 CRESPI, CAV. GIUSEPfE MARIA, 1, 3* 4, 6, of
John Christian Sperling, s, 2, 3, p4.          Correggio, Baroccio, the Caracci and others.
John Abel Wassemberg, s, 2, 3*, p4.                      
Elizabeth Gertrude Wssem berg3, 243.             DANDINI, PIETRO, 1, 2, 3*, p4, of Titian, TinPete  aerander Werf, s, 2, 3*, p4.             toretto, Veronese, and others..  DORA, JOSEPH, 1, 3*, 4, of Gerard Douw, TerWIT, or WITTE, EMANVEL DE.                       burg, Francis Mieris, vander Werf, Teniers, and
Daniel de Bliek, 2, 3.                         other Dutch and Flemish masters.
enry van Streek, s,2, 3, p4.                     FOTI, LUCIANO, 1, 3, p4, of M. A. CaravagHenry van Vliet, s, 2, 3*, 4, 6                giO, Guercino, and others.
Jacob Xavery, s, 2, 3, p4.                       FOUCHIER, BERTRAM DE, 2, 3, p4, of Ostade,
Brower, and others.
WOUWERMAN, PHILIP.                                 GAREMYN, JOHN, 2. 3, of Rembrandt, Teniers,
John van Breda, 1, 2, 3, p5.                   and others.
John van Doornick, 2. 3, p4.                     GIORDANO, LUCA, 1, 2, 3*, 6, of Rubens, TenCharles^van Falens,2,3.                        iers, Bassano, and others; could imitate exactly
Barent Gaal, s, 2, 3, p4.                      every master.
William Kobel, 2, 3.
Matthew Scheitz. s, 2, 3.                        GOEBOUW, ANTHONY, 2, 3, p4, of Teniers,
Govaert Sinjeur, 2, 3, p4.                     Ostade, and Lgelbach.
Dirk Stoop, 2, 3, p4.                            INDIA, TULLIO, 1, 3, p4, of the Italian masters.
Peter-Wouwerman, s, 2, 3*, p5.                   JUVENEL, PAUL, 2, 3. p4, of Adam  iElzheiJohn Wouwerman, s, 2, 3, p5.                   mer Albert Durer, and oters.
John Wyck 2- 3 6                               mer, Albert Durer, and others.
John Wyk,236.  *LAZZARI, GIOVANNI ANTONIO, 2, 3*, 4, of
GENERAL COPYISTS AND IMITATORS, OR ARTISTS   Bassano, and others.
WHO  DID, OR  COULD  COPY  SEVERAL             MAZO, DON JUAN BAPTISTA, 2, 3* of Titian.
MASTERS SO SUCCESSFULLY  AS              Tintoretto, Veronese, Velasquez, and others.
FREQUENTLY TO DECEIVE THE                MELDER, GERARD, 1, 2, 3, p4, of vander Werf,
BEST JUDGES.                    Mieris, Rottenhamer, Rosalba, and others.
AMIGAZZI, GIOVANNI BATTISTA, 1, 3, p4, of        MOYAERT, NICHOLAS, 1, 2, 3'* p4, 6, of Adam
Veronese, and others.                            AElzheimer, Rembrandt, Lievens, and others.
ARETUSI, CESARE, 1, 3* p4, of Correggio and      ORIENT, JOSEPH, 2, 3, 6, of Breughel, Savery,
others.                                          Saftleven, and Griffier.
BESSCHEY, J. F. 1, 3, in small, of Rubens,    PATICCHI, ANTONIO, 2, 3*, 4, 6, of Polidoro
Vandyck, Rembrandt, Teniers, Gerard Douw, Ter-  da Caravaggio, and others.
burg, Wynants, Pynacker, Moucheron, and others.    PIOLA, DOMENICO, 2, 3, 6, )f Castiglione, PieBISI, FRA BONAVENTURA, 1, 3, in small of  tro da Cortona, and Guercino.
Correggio, Titian, Guido, Parmiggiano, and others.    PIOLA, PELLEGRINO, 2, 3*, p4, 6, of Lodovico
BOSELLI, FELICE, 1, 3*, 4, of the old Italian   Caracci, and Andrea del Sarto.
masters.                                           RICCI, SEBASTIANO, 2, 3*, 6, of Correggio, VeBOULLONGNE, Louis, the Elder, 1, 3*. 6, of  ronese, Guercino, and others; could imitate sucthe old Italian masters.                         cessfully every master.




lx                   AN ALPHABETICAL LIST OF COPYISTS AND IMITATORS, &C.
RIVALZ, ANTOINE, 2, 3, 6, of the great Italian   TARUFFI, EMILIO, 1, 3, p4, of the great Italmasters.                                         ian masters, particularly of Carlo Cignani, and AlRUE, ROMAIN DE LA, 2, 3*, 4, of John Both,  bano.
Hermann Swaneveldt, and John Asselyn; all his      TENIERS, DAVID, the Elder, 1, 2, 3*, 6, of
works are now attributed to those masters.       AElzheimer, and Bassano.
TENIERS, DAVID, the Younger, 1, 2, 3*, 6,
ROSELLI, NccOLO, 2, 3, of the Dossi, Garo-           TENIERS, DAVID, the Younger, 1, 2, 3* 6,
fo, Bagnacaallo, and, oters                of all the great masters of the Italian, Dutch, and
folo, Bagnacavallo, and others.                  Flemish Schools.
Flemish Schools.
RYCKAERT, DAVID, 2, 3, p4, 6, of Teniers,    TERENZI, TERENZIO, 1, 2, 3*, of Raffaelle,
Brewer, Ostade, Peter Breughel, and Schalcken.    Baroccio, and others.
SABBATINI, LORENZO, 2, 3, 6, of Michael An-    TONI, MICHAEL ANGELO, 1, 2, 3, in small, of
gelo, Raffaelle, and Parmiggiano.                the great Italian masters.
SARTO, ANDREA DEL, 2, 3*, 6, of Raffaelle,    TORRE, FLAMINIO, 1, 3, p4, of the great ItalCorreggio, Vinci, and others.                    ian masters.
SCHAGEN, GILES VAN, 1, 3, p4, 6, of Rubens,    TREVISANI, CAv. FRANCESCO, 1, 2, 3*, 6,
Rembrandt, Ostade and others.                    of the great Italian masters, particularly of CorRembrandt, O, ad      reggio, Parmiggiano, Veronese, Guido, and Cignani.
SCRETA, CHARLES, 2, 3*, p4, of the Italian,    TROOSTWYCK  WALTER JOHN 1 2 3, p4,
Spanish, and Flemish masters, particularly of  of Paul Potter, Arian         deVelde, Karel du
Raffaelle, Titian, Veronese, the Caracci, Guide,  Tar in an oter
Domenichino, Lanfranco, Murillo, and Rubens.      arn, an  oers.
VANNI, GIOVANNI BATTISTA, 1, 3, p4, of CorSPOOR, W. J. L., 1, 3, p4, of Paul Potter,  reggio, Titian, Veronese, and other great masters.
Cuyp, and other Dutch masters.                     VERHELST, PETER, 1, 2,3, p4, of Gerard Douw,
STEFANESCHI, GIOVANNI BATTISTA, 1, 3, in   Mieris, SMngelandt, and others.
small, of Raffaelle, Correggio, Titian, Parmiggiano,    VECCHIA, PIETRO, 1, 2, 3* 4, of Giorgione,
Andrea del Sarto, Pietro da Cortona, and others.    Titian, Pordenone, and others.




AN ALPHABETICAL
LIST OF AUTHORITIES.
I1 Parmigiano Servitore di)                       Memorie della Vita di Gio. Bet-ino Cignaron. —
Piazza.                - P. Ireneo Affb.          Ippolito Bevilacqua.
Vita di Francesco Mazzuoli. )                     Guida di Milano.-Carlo Bianconi.
Trattato della nobilit& della Pittura.-Alberti.   Direzioni per giovani Studenti in Architettura
Saggio sopra Pittura.-Co. Francesco Algarotti.        Civile.-Ferdinando Galli da Bibiena
Opusculi Eruditi.-Giuseppe Allegranza.            Het Gulden Cabinet.-Cornelius de Bie.
Memorie della vita di Pomponeo Amalteo.-Co.  Biographie Universelle, 82 tomes.
Federigo Altan.                              Della nobilissima Pittura.-Biondi.
Memorie storiche su la vita di Lionardo da Vinci.-  Bellezze della citta di Firenze.-Francesco Bocchi.
Carlo Amoretti.                             I1 Riposo.-Raffaello Borghini.
Anecdotes des Beaux Arts.                         Carta del Navegar Pittoresco. )
Guida di Pescia.-Innocenzio Ansaldi.             Le Ricche Miniere della Pit- — Marco Boschini.
The Greek Anthology.                                  tura.
Abreg6 de la Vies des plus fameux Peintres.-An-  Notizie alla Vite di Vasari.-Gio. Bottari.
toine Dezallier D'Argenville.                Dictionnaire des Monogrammes.-Brulliot.
Guida di Brescia.-Gio. Ant. Averoldi.             Galerie des Peintres Flamands, Hollandais et AlLe pompe Senesi.-P. Isidoro Azzolini.                 lemands.-Le Brun.
Vite de' Pittori, Scultori, e Architetti.-Cav. Gio.  Guida di Mantova. —Giovanni Cadioli.
vanni Baglione.                              Le Cronache di Cremona.-Antonio Campi.
Notizie de' Professori del Disegno, &c. —Pilippo  Le pubbliche pitture di Piacenza.-Carlo Carasi.
Baldinucci.                                  Dialogos de la Pintura. — Vincenzio Carducho.
Biographie des Peintres Flamands et Hollandais.-   Nuovo Dizionario istorico, Bassano, 1796.-Ab
Balkema.                                          Francesco Carrara.
Trait6 de Peinture, &c.-Dandre Bardon.            Vita di Benvenuto Cellini.-Benvenuto Cellini.
Pitture e Sculture di Ferrara.-Cesare Barotti.    Trattato della Pittura.-Andrea Cennini.
Viaggio Pittoresco.-Giacomo Barri.                The Works of Cicero.
Guida di Rovigo.-Francesco Bartoli.               Storiadella Scultura.-Count Leopold Cicognara.
Le Peintre Graveur, 21 tomes.-Adam Bartsch.    Dictionnaire des Monogrammes.-Prof. J. F.
Le Vite de' piu insigni Pittori e Scultori di Fer-    Christ.
rara.-Girol. Baruffaldi.                     Serie de' Pittori di Verona, inserted in vol. iii. of
Dictionnaire des Graveurs.-Francois Basan.            the Cronaca dello Zagata.-Giambettino CigGuida di Pesaro.-Antonio Becci.                       naroli.
Vite dZ' moderni Pittori, Scul- ).G p'r,.Catalogo istorico de' Pittori e Scultori di Ferrara.tori, e Architetti.        -G lamptro           Cesare Cittadella.
Vita di Cav. Carlo Maratti.         eo.           Voyage d' Italie, &c. —Charles Nicolas Cochin.
Guida di Ravenna.-Ab. Francesco Beltrami.         Antichita Picene.-Ab. Giuseppe Colucci.
Pitture e Sculture di Perrara.-Cesare Benotti.    Dictionnaire portatif des Beaux Arts.-Jacques la
Diccionario Historico de los mas illustres Profes-    Combe.
sores de las bellas Artes en Espana.-Cean   Vita di Raffaello di Urbino.-Ab. Comolli.
Bermudez.                                    Cabinet des Singularites.-Florent le Comte.
Antichita di Aquileia. —Can. Gian Domenico Ber-  Descrizione Odeporica della Spagna, &c.-D. An.
toli.                                             tonio Conca.
Risorgimento d' Italia negli studii, nelle arti, &c.-   Vita di Michangiolo Buonarotti.-Ascanio Con
Ab, Saverio Bettinelli.                           divi.




lxii                          AN ALPHABETICAL LIST OF AUTHORITIES
Ristretto della Storia Bresciana.-Liozardo Coz-  Storia Pittorica della Italia; last edition, with corzando.                                             rections and additions by the author, pubVite de' Pittori Bolognesi, &c.-Luigi Crespi.          lished in 1809.-Ab. Luigi Lanzi.
Anecdotes of eminent painters in Spain. —Rich,  L'Etruria Pittrice.-Ab. Lastri.
Cumberland.                                   Descrizione di Milano.-Serviliano Latuada.
Lives of the most eminent British Painters, Sculp-  Dizionario istorico di illustri professori delle belle
tors, and Architects.-Allan Cunningham.            Arti in la citta di Urbino.-Arcip. D. Andrea
Guida di Cento.-Orazio C. R. Dandini.                  Lazzari.
Vite de' Pittori Antichi. — Carlo Dati.            Sketches of the History of Christian Art.-Lord,
Guida di Torino.-Onorato Derossi.                      Lindsay.
Vies des Peintres Flamands, Allenands, et Hol-  Vite de' piu celebri pittori, &c. —Ottavio Lione.
landois.-J. B. Descamps.                      Trattato dell' arte della
Manuel d'Iconographie Chretienne.-Didron.              Pittura.             - G    P      
Dialogo della Pittura.-Lodovico Dolce.             Idea del Tempio della t-Gio Pol Lomazzo
Vite de' Pittori Napolitani.-Bernardo Dominici.        Pittura.           J
Essai sur les Nielles.-Duchesne.                   The Works of Lucian.
Le Peintre Graveur Franqais.-Robert Dumesnil.  Verona Illustrata. —Scipione Maffei.
History of the Arts of Design in the United   Felsina Pittrice.-Cesare Malvasia.
States.- William Dunlap.                      Het Schilder Boek. —-Karel van Mander.
Anecdotes of Painters.-E. Edwards.                 Guida di Rimino. —-C. F. Marcheselli.
Sculptura, or the History of Engraving on Cop-  Guida di Lucca. —- Vincenzio Marchio.
per.-J. Evelyn.                               Deliciae Batavicee variae elegantisque Picture. —.
Ravenna ricercata. —- Girolamo Fabri.                  Jac. Marcus.
Museum Lapid. Vicentinum. —-Padre Faccioli.        Lettere Pittoriche Perugine. —-Annibale Mariotti.
De Viris Illustribus. —-Barthol. Facius.           Bologna perlustrata. —-A. Paolo Mlasini.
Monumenti Ravennati. —-Co. Marco Fantuzzi.         Le Reali Grandezze dell' Escuriale di Spagna. —-D.
Memorie Trevigiane. —-D. M. Federici.                  Ilario Mazzolari.
Entretiens sur les Vies des Peintres. —-J. F. Fe-  Origines Typographicre. —-Gerard Meermcn.
libien.                                       Vite de' Pittori Veneziani, MS.-Natale Melchiori.
Le Classiche Stampe. —-Giulio Ferrario.            Memorie per le belle Arti, 4 vols., published at
Handbook for Travelers in Spain. —-Ford..            Rome from 1785 to 1788.
La Teorica della Pittura. —-Antonio Franchi.       Opere Diverse.-Cav. Antonio Raffaelle Mengs.
L'Art de Peinture.-Du Fresnoy.                     Etudes sur l'Allemagne.
Guida di Ferrara.-Dott. Antonio Frizzi.            Histoire de la Peinture Fla- -Alfred Michiels.
Histoire des meilleurs Artistes de la Suisse. —-J. C.  mande et Hollandaise.
Fuessli.                                      Vite dei piu celebri Architetti antichi et moderni.
Lectures at the Royal Academy. —-Henry Fuseli.         -Francesco Milizia.
Dictionnaire des Artistes de 1' Ecole Francaise.-    Vite de' Pittori Pesaresi.-Gioseffo Montani.
Gabet.                                        Pitture e Sculture di Perugia.-G F. Morelli.
Inscriptiones Romanse.-A. Galletti.                Notizie istoriche, &c.-Ab. Domenico Moreni.
Life and Studies of Sir Benjamin West.-John   Pisa illustrata nelle Arti del Disegno.-Alessan.
Galt.                                              dro da Morrona.
Guida di Volterra.-Ab. Antonfilippo Giachi.        Guida di Vicenza. —Franceaco V. Mosca.
Vita Lamberti Lombardi.- Ubertus Goltzius.         Museum Florentinum.
Lives of the Dutch Painters.-Johann van Gool.   Neues Allgemeines Kunstler-Lexicon.-Nagler.
Thesaurus Veterum Dypticorum, &c.-Ant. Fran-   Thaumaturgus Opticus perfectissima  Prospeccesco Gori.                                       tivae.-J. F. NViceronus.
Memorie de' Pittori Messinesi.-Filippo Hackert.  Voyage pittoresque de Naples et de Sicile.-Abbc
Tables historiques et chronologiques. —-A. F.          de St. Non.
Harms.                                        Life of Sir Joshua Reynolds.-James Northcote.
Handbook of the History of the Spanish and   Oretti Carteggio....
French schools of Painting.-Sir Edmund   Oretti Memorie.   3 IS. vols. —-MarcelloOretti.
Head.                                         Abecedario Pittorico. —-P. Antonio Orlandi.
Idee generale d'une collection d'estampes.-Baron   Histoire de la Peinture en Italie. —-Comte Orlof.
Heineken.                                     Descrizione delle pitture d' Ascoli. —-Bald. Orszni.
De Groote Schouburgh den Konst Schilders.-Ar-  Inquiry into the Origin and 
nold Houbraken.                                    early  History of En- 
Manuel des Amateurs de l'Art.-Huber and Rost.          graving.                 --   Y. Ottley.
DeLevensenWerkenderHollandscheenVlaamsche  Notices of Engravers and
Kunstschilders.-Immerzeel.                        their Works.            J
Treatise on Wood Engraving.-John Jackson.          Trattato della Pittura e Scultura, &c. —-P. GianManuel de l'Amateur d'Estampes.-Joubert.               domenico Ottonelli and P. da Cortona.
De Pictura Veterum. —Franciscus Junius.           Arte de la Pintura. —-Francisco Pacheco.
Handbook of the History of Painting, Parts 1 and   Las Vidas de los Pintores e Statuarios elninentes
2.-Dr. Kugler.                                     Espanoles. —-D. Antonio Palomino Velasco.
Histoire de la Gravure en maniere noire.-La-  Guida di Cremona. —-Anton. Maria Panni.
borde.                                        Annales Typographici ab Artis inventae Origine ad
Vies et (Euvres des Peintres                           annum M. D. —-G. W. Panzer.
les plus celebres, 21 vols. -Chas. P. Landon.  Trait6 historique de la gravure en bois.-J. B
Annales du Mus6e, 33 vols.                             Papillon.




AN ALPHABETICAL LIST OF AUTHORITIES.                             lxiWi
Vite de' Pittori, Scultori, eAr-                   Vite de' Pittori Genovesi.-Raffaello Soprani.
chitetti moderni.         -Le.    Annals of the Artists of.Spain.  W. Stirling
Vite de' Pittori, Scultori, e Ar-                   The Geography of Strabo.
chitetti di Perugia.                           Biographical Dictionary of Engravers.-Joseph
Vite de' Pittori, Scultori, e Architetti, &c.-Gio.      Strutt.
Battista Passeri.                              Apparato degli uomini illustri di Ferrara.-Agosti.
Guida di Bergamo.-Dott. Andrea Pasta.                   no Superbi.
Description  or  Itinerary  of Greece.-Pausa-  Descrizione del Vaticano.-Agostino Taia.
nias.                                          Vite de' Pittori Bergamaschi.-Co. F. M. Tassi.
Guida di Siena.-Gio. Antonio Pecci.                De omni scienti& artis pingendi.-Theophilus,Teo.
Cabinet des Beaux Arts.-Charles Perrault.               filo, or Ruggiero.
Cours de Peinture.           )Dizionario degli Architetti, Scultori, Pittori.-Ste.
Abrege de la Vies des Pein-  - R. de Piles.            fano Ticozzi.
tres.                                          Notizie degli artefici Modenesi.-Cav. Tiraboschi.
Dialogo della Pittura Veneziana.-Paolo Pino.       Guida di Roma.-Ab. Filippo Titi.
Lettere Pittoriche.                                Lettere Senese.-~Guglielmo della Valle.
The Natural History of Pliny, Book xxxv.           Vite de' piu eccelenti Pittori, Scultori, e ArcElitetti.
The Parallel Lives of Plutarch.                         -Giorgio Vasari.
Vitede' Pittori, Scultori, e Architetti di Verona.-   Vite de' Pittori, Scultori, e Architetti iModonesi.Bartolomeo dal Pozzo.                              Lodovico Vedriani.
Memorie istoriche di Antonio Allegri.-Pungile.  Verona Illustrata.
oni.                                           Notices sur les principaux Peintres de l'Espagne.
The Jnstitutes of Quintilian.                           -Viardot.
Histoire de l'Art modern                           Trattato della Pittura.-Lionardo da Vinci.
en Allemagne.        — Comte A. Raczynski.  De ArchitecturA.- Vitruvius.
Les Arts en Portugal.                               Anecdotes of Painting in England.- Walpole.
Dissertation on Oil Painting.-Rodolph E Raspe.  Dictionnaire des Arts de Peinture, Sculpture, et
Vite de' Pittori Genovesi.    av. C o G.                Gravure.-Claude Henry Watelet.
Vita di Cav. Raffaello    Ca. Carlo Giuseppe   Supplement au Peintre Graveur de Adam Bartsch.
Mengs.                        t —Rudolph Weigel.
Della Pittura Friuliana.-Girolamo Renaldis          De Levens-Beschrivingen de Konst Schilders.-J.
Indice del Parnasso de' Pittori.-Seb. Resta.            Campo Weyerman.
The Works of Sir Joshua Reynolds.                   Storia delle Arti, &c.-Giovanni Winckelmann.
Le Maraviglie dell' artc, &c. —Carlo Ridolfi.      Enciclopedia Metodica delle Belle Arti.-Zani.
Guida da Trevigi.-D. Ambrogio Rigamonti.           Notizie istoriche de' Pittori Cremonesi.-Gio. Bat.
Storia della Pittura Italiana.-Rosini.                  Zaist.
Guida di Padua.-Gio. Battista Rossetti.            Memorie della citta di Brescia. —-Bald. Zamboni.
Guida di Parma.-Clemente Ruta.                     Della Pittura Veneziana.-Ant. Maria Zanetti.
Academia Artis Pictoriae.-Joachim Sandrart.         Storia dell' Academia Clementina di Bologna.Venezia descritta.-Francesco Sansovino.                 Giampietro Zanotti.
L' Immortality e gloria del pennello.-Agostino   Idea de' Pittori, Scultori, e Architetti.-Fed. Zuc.
Santagostino.                                      caro.
Guida da Napoli.-Ab. Pompeo Sanmelli.
Il Microcosmo della Pittura.-Francesco Scan-          Also, Rees' Cyclopedia, the Encyclopedias Britnelli.                                          annica and Metropolitana, the Penny Cyclopedia,
Le Finezze de' pennelli Italiani.-Luigi Scara-  and the American Encyclopedia; Chalmers' and
muccia.                                        Rose's Biographical Dictionaries; the London Art
Serie dei piu celebri Pittori, Scultori, e Architetti.  Journal, and other periodical works relating to the
Florence, 12 vols.                             Fine Arts, published more recently; besides much
Regole Generali di Architettura.-Seb. Serlio.      important information concerning American Art
Nollekens and his Times.-John T. Smith.            and  Artists, which has transpired within  the
Smith's Catalogue raisonn6 of the Works of the   knowledge of the author, during the past twenty
Dutch, Flemish, and French painters.           years.








MONOGRAMS.                                 Plate I
I SorBs |[F CiFi1677.0b{ orA                                                     I
P. Aartsen.                    H. Abb.                     L. Abents.       Adamo.,   ~A~,  |    M    A  ~r V            o         or7   or 11
Adam.lzheimer.         John van Aken.herubio Alberti.
I e    I R~~ or IG              6Lorj   1   4or  
F. van Aken.       H. Aldegrever.      Alessandro Algardi.         Huych Allard.
aor  or                           or'..~r~orl   orX. ~    or.JorJ A. 
Albert Altdorfer.                             Justus Amman.
I Ior EorA^f. orjor  or..,  or,
Andrea Andreani                     Silv. Antonianus. Peter John van Asch.
IfflrA,    Ji-LorI or  1                                      or
Hans or John Asper.           John Asselyn.                 John Walter van Assen.. g  Ar |,or   or'          r   or'~,                  or Tin orH
W. v. Assen.              Audenaerd, or Oudennerd.             Henry van Avercam.
- or (;orGASF.orG.A.P.F.                                 V A.for.A 
orGASPAR,P. F., orGASPAR,f, orGASPf.,orGAS. f                    Peter van Avont.
Gaspar Avibus, or Patavius.
IA  DB  2M. %                                                           BorE 
Francis de   Babylone,  Alessandro Badiali.   Antonio Badile.   William Baillie.    Hans Baldung,
or Jacob da Barbary.
]Bor/BJ.  IDB))or^orD  F.      or A. F.  F.B. V.F.
Antonio Balestra,    Domenico del Barbiere.   -    A, F, Bargas,   Federigo Baroceio diUrbino,
DTorB)    ~,worB. D.    I. B. Hor.B. fec.                           BorI
or Barriere Gallus, in. et del.           Heinrich BaryJohn William
Dominique rarriere,








MONOGRAMS.                                        Plate n.
P. B. F. or P S. B  F. or Pjtr.S. Bart.Sc Rom.    l3orhBL
Pietro Sante Bartoli, called II Perugino.                 Niccolo Beatrici,of Lorraine.
orN. B. L. F. or N. B. L. or N. B. F. or N.B. Rome, or B. Rom.
Niceolo Beatrici, of Lorraine,
4or Micarino, fee.                 B  r              B B                13 ~orJ5~or M 3|
Domenico Beccafumi, called
Micarino.                    Bartholomew Beham.                    Hans Sebald Beham..L1                       or                     M.B.pinxit.                   9-, or
Mathew Beitler.           Stefano Della Bella.           Marco Bello.              J. Vander Bent.
IoLr    or  oCls,,/or                            fec".,orN.B.fec.               orI. G. B. 1730.
Class, or Nicholas Berghem.                              J. G. Bergmuller.
B1,     IBM"~iv>or                   or          I C. B, inv. etsc.    1' 566:olomon Bernard.     J. B. Bertani, Britano, or Ghisi.       Charles Bertram.     Joachim Beuckelaer.
I. B.                                                or,                1B,orI. B.
James Beutler.-James Binck and       Bibiena, or Galli.     Adrian de Bie.          James Binck.
Hans Burgkmair used these initials
I. B.1529 or 15I.B27       BB. 1656.                             7f            FF.BB.FF. 1631.
James Binck.                Bartolomeo Biscaino.    John de Bisehop.        Fra. Bona Bisi.
JB 747' (rp. V.B.I.f. 1751.| C.P. pi    I.G. B. 1638.   i...o
Peter van Bleek.                          J. G. Blecker.                Henry de Bles.
L                           1 7jo             F.B. or F.B. fec. or F.Bsfiiujfec. et exc.
or AB        in., or A. BL., in. or A. BLOEM., in.        or A. BLOEM., inv., F. B.filius fecit.
Abraham Bloemaert.                                  Frederick Bloemaert.
C. B,   C. B lo Co. o.  r. sc. Romae.                                      3       7orPV02B
\1I~ cmCornelius Bloemaert.                                             Peter van Bloemen.








MONOGRAMS.                                   Plate III.
r,orr                                                                      ). or  j.
I    rlL1610.                     ^        ^r               |o;
Michael Blond.                  Lansloot Blondel                Abraham Bloteling.
F. V. B.   ] J f                        )T1770. orD. B.777. 1777.    orRenatu  ecit.
F. van Bocholt;   Geo. Bockman.         Jean Jacques de Boissieu.            Ren6 Bovin.
F. B.f. or F. Bol,f. 1644. or Bolfec., 1643.                        Bol, or H. B. inv.
Ferdinand Bol                                   John or Hans Bol.
b1^ ^ 1560.                      or      or t i, dam    olovert, or Jlioiuerd. 
Niccolo Boldrini.                            or B. a. Bolswert, Sc.
Boetius Adam Bolswert, or Bolsuerd..or          rji31'    |i'or   orB-I.  B. orB. For I. F. B.
or S. A. Bolswert, sc.
Scheltius A. Bolswert, or Bolsuerd.                      Giulio Bonasoni
Julio B. F. or I. V. Bonaso, or Julio Bonaso. or Julio Bolognese, fec., 1546.
Giulio Bonasoni.
B)r D. Bona.,fec.                        3A                                     p13 
Domenieo Bonavera.           Peter vander Borcht.  Henry vander Borcht.     P. Bordone.
or IDor( B.eori J                 oriT.                                   or
Orazio Borgiani.
Jerome Bosehe, or Bos.
B. B. or B. B. F. or Jac. bb. or Jac. Bos.,f. or Jacobus Bossius, Belgia, incid.
Jacob Bossius, or Bos.
J       ~,Pr  )oth.     J. B. f. or J. Both, fee.           P. D. B. inv. et incidit, 1631.
Andrew Both.                  John Both.                           P. de Brauwere.
^J.b1j634.or^   lfJor o           Br B. B. F. or B. 
Jacob de Bray.    Pierre Brebiettie.           Bartholomew Breemberg.            D.V. Bremden.
S, S 1.                     I








MONOGRAMS.                               Plate IV.
IBt~or IBr1 B                  Fr. Jo. Ma. Brix. o F. Jo. Mar  Brixenss.
Hans Bresang.                        Fra, Giovanni Maria da Brescia.
or Jo. An. Br., or Jo. An. BX., or Jo. An. BX., or I. A. Brix., or Jo. Anton. Brixian.
Giovanni Antonio da Brescia.
I.  Ph. Brinck. del etfec.                C     B.r \B            r,.,
Abraham Breughel.      Philip Jerome Brinckman.            Crispin vanden Broeck.
Crispn, inv., B.,fecit.,;   C                                          l
or Barbara filia Crispini, sc., or B.filia, sc., or B. ji., sc. |. /7heS a3  <wot Ce 
Barbara vanden Broeck.                      John van Bronkhorst.
oi I         $r H. B. 1540. or l5H, B45. 1o rI. 
IIans Brosamer.                            John vander Bruggen.
\B.C.PR rJo~r LV, B. F. or WBR,.FE. or V Brug,.
John vander Bruggen.
^              or f     Br'orAB iA AEQ  A PINx. or, or or 
or Ab. Brtn., or Brumynus.                       Nicholas de Bruyn.
Abraham de Bruyn.
IA&R),JB,orM^'             i,~rF  fIB.~rITBBorI TBFE. or
Nicholas de Bruyn.                       John Theodore de Bry, or Brie.
or^,        Theore fec., or    T. de Bry, inv. etfec.          or de.  B..
John. Theodore de Bry, or Brie.              Theodore d Bry, or Brie.
orm                            B-orlgortf ^or H, B. or I B.
Michael Burghers.                        Hans or John Burgkmair.
(CB    co.o  or  *.or CBor v Br    or-C. B
Cornelius vander Bus, Bos, or Bosch.








MONOGRAMS.                                     Plate V.
J Be or John Busse.                        V or3By ror  Bfc.c
John Busse.
~Job~h~n Busso~e.              William de Buytenweg.
MI. AG. FLO.                           V.C.53. 1530.                                   or
Michael Angelo Buonarotti.           Vincenzio Caccianemici,          DO. CAMP. 1517.
Domenico Campagnola.
4nvent, fec., or Jac. Callot, inv. etfec.  C. C. or. C. fecit, or C. P. C. deT.fec.
Jacques Callot,                         Charles Campion, Comte de Tersan.
ASCS^~ ~ior T ~S. C. da Pesare, fec., or
CA^~ 1~^IJ ~~  Tor' ^                     G. Renus, inv. etfec.
Alonso Cano,              Remigio Cantagallina,        Simone Cantavino, or Simone da Pesaro,
Dom. Ma. Can. fec.,  Je~ oroL. C. or L C. G. or LO. C. orL. C.   1584.
or Canutus, Sc.. orfec..
or Lod. Car., inv. or fec..
Domenico Maria Canuti,..
Lodovico Caracci,
A. 0.(,rC   A.~rAUG. F. orAgs. C. 1587.    A.C.orA. C.inv. etfec. 1606.
Agostino Caracei,                                   Annibale Caracci.
JorF   0. in. 1621.   or 1553. or J. J. Caraglia Veronese, 1553,
or Jacobus Veronensis, or R. J. Jacobus, Ver.fec.
Franoesoo Caracci.       |iGiovanni Giacomo Caraglio, or Caralius.
^or CIV.F.INV.                                              cT 
Lodovico Cardi, or Cigoli.                           Bernardo Castelli.'or~or.~or Gio. Bene. Cast. Gen.,fec., 1658,                                 CBor(C
or Castiglione,fec.                             Giovanni Battista Cavalleris.
Giovanni Benedetto Castiglione, called Benedotto.
ih^      | (LjorLUC. Ciam. Uri., I: V  Doctr. del. et sculp. 1609.
Frangois Chaveau.                             or Lucas Ciamberlanus.
Luca Ciamberlano..or A                             |18oM.V. CLE. INUENT.
or Henricus Clivensis, fecit, or Henri a Cleve.                     or an Ape.
lHenry van Cleef.                                   Mtrtin van Cleef.








MONOGRAMS.                                     Plate Vl.
F  10. o'o C15.  oo  Fr    orF.K.
or Johann  Clein.                          or  F.  Cleyn, fecit,  1645.
Francis de Cleyn, or Kleyn.
Herman Coblent.      Nichols Cochin.    or Hieronymus Coccius, invent. or H. Cock,fecit, or inv. etfec.
Jerome or Hieronymus Cock.
Il._,,'i-UCI                                                     IC  ororAC Qr
Thomas Cockson.          or S. Colbenius, fecit.                    Hadria. Coll. sculp.
Stephen Colbenschlag.                       Adrian Collaert.
orJ lF  rlH..C. 1 F,~or                          Hieronymus Colleo. 1555.
Hans Collaert,fecit, or Johann"s Collaert, sc. Romcv.                  Girolamo Colleoni.
Hans or John Collaert.
JIW |                                                            (|CorCC.F.
Jan de Cologne.                Cosimo Colombini                   Cammillo Congio.
C. Koning,fec. et exc.  S. Koninck, 1628. A. Conradus,fec.
or C. Koninck, scul. et exc.         or Sal. Koning, invent.                  or sculp.
Cornelius Coninck or Koninck.       Solomon Coninok or Koninck.           Abraham Conrad.
B. C. Sc. Roma, or                        J. B. C. Sc. or I7 Coriolanofec.
G. R.; B. C. Sc. Romne. 1647.                          or J. B. Coriolanus, sc.
Bartolomeo Coriolano.                           Giovanni Battista Coriolano.
C Cf 1568.                               J. C.fec. 
or In. Venetia, Coln. Cort. fec. 1571.          or Giac. Cortese, fec.              Peter Cottart.
Cornelius Cort.                 Jacopo Cortese, or I1 Borgognone.
-              MICHEL FLA-.~       MINGO  IN-    lI orI.V.C.B.
Jean Vouvay                   V  E   N   T  V  R.                           Josse Craesbecke.
Michael Coxcie.
I tst worteor-eorLaMT  1 or
Lucas Cranach, or Kranach.                            Johann Creutzfelder,
DK rDK Jetor''l J. o  CROOCK ~
or T. Crnger, sc. 1618.             or Mat Citger. sc.                  Hubert de Croock.
Dirk or Theo lore Crnier or Krie'o r.  Mntthii:v Cruger or Kruger. 








MONOGRAMS.                                       Plate VI.
^"    rtuyl, del. et scul. 1665.  |                     DCIfor I            or tor 
Levinus Cruyl.                                Dirk or Theodore van Cuenhert.
I 1   CrH..C.                              or B  C. SC. 1645.                orD. C. sc. 1954
Hans or John Culmback or Kulmback.            Benardino Curti.              or D. Custodis, inv. etfec.
Dominick Custos.
C. D. C. or C. van Dalen, sc.                   ) r'E               L. D... or scul. or fec.
Cornelius van Dalen.                  Pierre Darct.                   Leon Daven.
C. D. BF.orC.   D                            oFr   oroHIorlD. F. or I.D.F.
or C. D. sc. or C. David, sc.                             or H. David, St.
Charles David.                                  Jerome (Hieronymus) David.
Jort                        JEor04                              4)
Louis David.                  Jerome Davilloo.             Cornelius Decker.     Charles Decker.
or                                                               or)
or G. J. Delphius, sc. or fec.                           Nicholas Manuel Deutsch.
William (Guillaume) James Delft.
o~rHH.o |l                                                       ororl 
Rodolphus Manuel Deutsch.                           or B. Dolendo, inv. etfec.
Bartholomew Dolendo.
)orZa. Do. scul. orZ;aZJ'.                  1581.   |
Zachary Dolendo.                                        Dosso Dossi.
Aj 1or   or   Oror                                      [or                 DoQ r  orI. D. 1530.
Albert Durer.                                     Jean Duvet or Danet.
Sir Ant. Vandyck.               Gerb. vanden Eeckhout.                 Renold Elstra-e 
Peter vander Elst.                C. Engelbrechstein.                     John Evelyn.








MONOGRAMS.                                   Plate VIII.
""  _'-                             _     _- ~.
A.V.E. or!         E1652..
Albert van Everdingen.           Caesar van Everdingen.               William Faithone.
A LorJ^t  FoV.F.                                                    A' or/P
Domenico Falcini.              F. V. F. Sc. 1613.                  Antonio Fantuzzi.
Frederick van Falckenbourg.
P. F  orp. V. F.              P. F. in., Ho. F. V.fec.           Capriccifatti per F.F.
or Paul Farinat,f.          or Ho. F. F. f. Paul Fa. V..            Paul Francis Ferg.
Paolo Farinato, of Verona.           Orazio Farinato.
i  Jf                   |           |                Jaconmmetto de Flor. 1409.
Odoardo Fialetti                 Maso Finiguerra.            or Jacobello de Flore. 1432.
Jacobello del Fiore.
2T i        gVincentius Brixiensis,fecit.  1455.
Albert Flamen.            Francis Floris.                  Vincenzio Foppa of Brescia.
In the Museo Fiorentino,
II)                     plates markd V. F., are by           Hn    F. F.  1617.
David Antonio Fossato.            Vincenzio Franceschini.              Jerome Franck
| ~. ~.  |                       B. F. V. F                  J. Franco Romc, sc.
Francis Frederick Franck.             Battista Franco., Giacomo Franco.
S. F. fecit,                        S Ftucarus,      OP?FE.P P                         F.
or S. Frisius,fec.                 or S. Furck.f                       Peter Furnius
Simon Frisius.              Sebastian Furck or Fuloarus.
j39-.          I..         I          f.G.or
Barent GaaL                   Gio. Bat. Galestruzzi.                Philip Galle.
l heodomr, Galleus, M.D..                        1 G.                 V         V  G  1507. 
Theodore                                Galle.  Bernardo Gallo.       Gamperlin.
o< (I|  o r  TEas ^         Ilo. Jacobi Gavitii opus,
~i~     o I^ or Jacobus Gavatius de Bernamo P.
Antoine Gamier.  1               Noel Gamier.                       Giovanni Giacomo Gavasio.
r_._








MONOGRAMS.                                   Plate IX.
Augustinus de Gavazzis,                         nor     or
Civ. Berg., pinxit anno 1527.               Leonar. Galter.,fecit, 1581, or L. Gaultier, sc.
Agostino Gavaaio.                                  Leonard Gaultier.!  R1:    GIS.orA.G.
Arnold de Gelder.                8igismund Gelenius.           or A. Genoels, fec.  1684.
Abraham Genoels.
_._            _'1   1617.;fJ.
Andrew Gentash.                or J. de Ghein, inv. etfec.             Jacob de Gheyn.
James de Gheyn, or Ghein.
(or                ~r I,i  C  F-orMT.
William de Gheyn.                  Gio. Bat. Ghisi.                    Giorgio Ghisi.
|'4. I       1or. L. V I. Diana Mantuana.
Adamo Ghisd.                                       Diana Ghisi.
Joan. Georgius Patavii. l                               6or'
Giacinto Gimignani.                 Giovanni iorgio.                       Albert Glookenton.
or x;or/. Goltz, fec... Goyrand, Gall! sc. Ron&e.
Van Goar.        or Henricus Goltziusfec. or s.                 Claude Goyrand
Henry Golts.
or(JI Tr
James Grandhomme.           or Jerome von Franckfort.                    M. Greisoher.
Jerome Greff.
AA|                             (J|                        Joan. Fr. Cent.,
Matthew Greuter.                Hans Grnewald.                 or Joan. F. Barbier,f.
Giovanni Francosco Guercino.
I!C'~r                                       P  nor  or  4[ 1619. or
Hans Guldenmundt.                                Cornelius van Haerlem.
(H614.or  or                    or
(/                         Count Hagedorn.
Cornelius van Haerlem.








MONOGRAMS.                                        Plate X.
John van Hagen.           John v. Halbeck.             Francis Hals.            A. B. du Hamel.
d ^  I       ^ p          |  JOHANIS. HEMLING or'orH.
John Haver.      Niccolo Francesco Haym.                      John Hemmelinck.
Martin van Hemskerk.               Augustine Hirschfogel.              Nicholas Hirschfogel.
A                           (:i|orGi                          lo. Hogenfecit.
George Hoefnagel.                    G. Hoekgeest.                       John Hogen.
Hogenbergius, sculpsit.                      Franciscus  Hogenbergius, sculpsit.
Remigius Hogenberg.                                   Francis Hogenberg.
F-3Borj   |    Bor B                                                        A'
or HANS. HOLB.                        Sigismund Holbein.                     Elias Holl.
Hans Holbein.
/iW7 or W625WorIW
~Wen~esla~Holr.               Me~iMelchior Hondecootet.
Wenceslas Hollar.
orfor jjfl 1or lorI9                                                            r
or Jodocus Hondiu.              or H. Hondius, or H. H. fec., 1598.    or W. Hondius, fcit.
Jost de Hondt or Hondius.             Henry de Hondt the Elder.           William de Hendt.
Por PDH.   SHor8   DDlr2
Peter de Hooge.                Samuel van Hoogstraeten.                 David Hopfer
I JHor IXor tH.                             L. H.                      h                          Ii
Jerome Hopfer.                    Lambert Hopfer.             John Hoskins the Elder.
I. I.                            Wl -B. orI VB
John Heskins the Younger.            William Howard.                       John van Hugtenburg.
)      1 _~~~~~~~~~~~~~~~~~Jh van, H u                                tnbr.-       _ —--








MONOGRAMS.                                  Plate XI.
I.. W'                              R                |  A.D.I.F.
Simon Huter.                     Peter Isselburg.             Antoine de Jaquart
odr                                                   K |   |D.LorKD. V. fec.
Christopher Jamitzer.            H. Jansens.                      Karal du Jardin
CI               Pd. de Jode, sculp. orfec. 1606.              P. de Jode,fec. 1659.
Christopher Jegher.           Peter de Jode, the Elder.              Peter de Jode, the Younger. -
I. D,. I.   l  _
J. M. de Jonge.                A. vander Kabel, or Cabel.       or M. Kager,fecit.
Matthew Kager.
R                     j  Ang. Kfec. 1764.                     iorC
or Mariuw Kartarius Rome. 1567.          Maria Angelica Kaffman.            George KeUer.
Mariiu Kartaru, or Kartarius.
~^o.r.Kr[3Kor                                            4C  or T. V. K.
James Kerver.                                   Theodore van Kessel.
Jlor.7W ore (or
or Adrianus Thol e Keii, fecit. 1575.         j, J_, |                           L t
Adrian Thomas Key.                Theodore de Keyser.         James Kierings or Cierincx......... d o    e                                                   {  Ki.Rormer.,
Ki   %                 T/  >/                         \k             oIWolfgan  i  Or I, orJ. Ch. Kenge, f. 1771.
James Kierings or Cierincx.                                 JohnChristan  lenghel.
[1I2Kor1                    I. K. or0li'I15 20.                     A. K.1609.
Hans Klim.                     James Kobel.                      Andrew Kohl.
SI |K'or-DKOrDK^XC
John Ulrich Kraus.       Luas Krug or Krugen.                 or T. Cruger, sc.
Theodore or Dirk, Kruger or Cruger.
oru.                            J.S.K.  J.L.V.E.S.
Matthias Kruger.              Jane Sibyl Kusell.                Johann von Ladenspelder.  _,,,... X. -....~~~~~~ 








MONOGRAMS.                                  Plate XII.
P. v. Laer,f:                         6b  t  6or ^iortor |
or P. D. Laer,f. Rom; or P. de Lae;r Rome. 1636.                Gerard de Lairesse.
Peter de Laer, called Bamboocio.
|  m~.jq  or,J or,o or ( (A LorC Lor                           or              ce or
Gerard de Lairesse.
JrJGLr Lor2|,   G, Lor 
Gerard de Lairesse.                 Ahasuerus Landfield.      Cav. Gio. Lanfranco.
Toinette Larcher.    JLJNj                         L.             NLor I
Antoinette Laroher.           Nicholas de Larmeasin.             Marcellus Laroon.
INL                          1P. Li.                 Nicola Petri, sc. 1648.
Michel Lasne.                Peter Lastmann.                or Nicol. Lastmann.
Nicholas Lastmann.
or S.cit,                            or Stephanu fecit. 
or S. ftcit, or Stephanus fecit.          Henry Lautensack.            Hans Sebald Lautensack.
Stephen Laulne.
ILHor. r.                              IL
EI^or H. L.      I L                            |7v G. Leone,fec.
Hans Lederer.                   James Lederlin.              or G. v. Leeuwfec.
Gabriel vander Leeuw.
D. Leeuw, fec..orvPf.
or J. de Leeuw, sc.                William de Leeuw.               Godfrey Leigel.
John de Leeuw.
or HJoh.  Antonius Corticellis, P. 1520.
or Hans Lencker Nurem-             L'\or Joh. Antonius Regillus, P. 1535,
bergensis.              Lucas van Leyden.                  or lycinizs P.
Hans Lencker.                                     Giovanni Antonio Licino, called 1 Pordenone.
I.L.                           H.V.L.                               bE1
or Joannes Lyvyns, fecit.                 Hans van Lin.                   I ans Linck.
Johann Lievons.
11E ororrPvL    SL                                                           W 
Peter van Lint.!       ena Lochon.            William Lodge.:~Sl~~~~~~~~~~~ -— |~~~~~~~~~~~~~~~~~~ -~;;~,








MONOGRAMS.                       Plate XII
~LLL.F.                      B EP                 I XXorA 
or Lo. F. or Laur. Lol.     Pierre Lombard.        Ahasuerus van LonderselL 
Lorenzo Lorli. _! t            ]or F |  juorjI F
or J. Lond. or J. Londer. fec.  Melohior Lorih.       Michele Lucchese, or
John Londersell._______ ______                 Michele Lucensis of Lucca.
LjLF.LF.  1                                  1   J.
Anto. Fran. Luoini.       Gerrit Lundens.          Jan vandor Lys.. A.
Peter Maes.      or Johannes Melbogius, or Jodes Malbogius, or Johannes Malbodius,
or Joaes Malbogi,pingebat, or JoanMabsius.
_____________ __________________. John do Mabuse, or Malbeugius.
Jos. Ma.faciebat. 1630.    J. Maius, in. etfec.    Jor. or Jorma, sculp.
~  Giuseppino da Macerata.  or Joh. Maius,fec. 1600.    Thomas Major.
Giovanni Maggi.
AX{XR 1499.                        1660.    ]. M.  1626.
Mair.                Alexander Mair.          Daniel Manasar.
NlY           ^Jli   0. Masseusudt. pii1'4rMor M13J
Andrea Mantegna.        Otho Mareellis.          Peter Marchand.
I/  G1 e     or            2 Th. Mllfecit or sculpit, or Th. Matham, fec.
Jacob Matham.                       Theodore Matham.
or A      or        or                         or 
iifor    or               or           4               I
or Corn. Me. or Cornelius MetenMs.          Christopher Maurer.
I. V. M.               |  J v. derMeer de Jnghe,feit. 1683.?J   or Israhel V. M. or Israhel M.          John vander Meer the Younger.
Israel yon Meoheln or Meckenen. 
or Meldolle, or Andrea Meldolla.
Andrea Meldolla.








MONOGRAMS.                               Plate XIV.
C, ]M.                   I            pus  Meloii Foroliviensis.
or C. Mel. or Cl. Mell.                           Melozzo da Forli.
Claude Mellan.
Siron de Senis.  Jo or  0or/                        or              or A/XI6/ 
Simone Memmi.                             Matthew Merian the Elder.
3 l.or 4,.          |        Antonellus  Messaneus, fecit.  1494.
Matthew Merian the Elder.                    or Antonius Messinensis.
Antonello da Messina.
or or.    Dlor  j99o  Aor                                                             1
Andrew Meyer.                                 Dietrich Meyer.
IME.:  1P1R   IltF~Mr MorD\
Rodolph Meyer.            Francis Mieris.                  Daniel Mignot.
Francisqueinv. orF.M. M.F r jr r                                      Gin.  A/. I
Francis MilU or Millet.                       Giuseppe Maria Mitelli.
IR OMor W:ROM or Jo M" or TEM
Girolamo or Hieronymus Mocetto.
J11OJ],M   EAor J, or    or NM.l or  orI
Girolamo or Hieronymus Mocetto.                    Nicoletto da Modena.
or.                    M.. inv. orfec.                     or L5
or Nicoletti de Mutina.      Martin von Molitor.       or P. de Molynfec., or P. Molyn fecit.
Nicoletto da Modena.                                        Peter Molyn the Elder.
iH.M.                      iorfofec.   BM.~rl BM
Hendrick Mommers.                 J.' Moni.                or Benedetto Montagna.
Benedetto Montagna.
Jacopus Montagnana. 1495. j4L   or  Vox
Giacomo or Jacopo Montagnana.                        Paul Moreelze. 
~s' — -   ~ —.-..~-..- __-_-_-._.....         __ —-,," —--------  ------  I-L —~, —..~ — ~~.~.*.!








MONOGRAMS.                             Plate XV.
B. A. del Moro, fec..               WM    or. A( or                      Or l 
Gio. Bat. d'Angeli Moro.    C. L. Moyart.            Hermann Muller.
I 1 orArA  V. 1521.
Agostino do Musis, called Veneziano.  or Pet. Merecinus, 8C.     Nadat.
Peter Myriginus.
or               I
[FNJ             j       o Mo                      T. N.; Paris, 1657.
or P. N.fec. or P. Na. fee.    or Mich. Natalisfec.              Thos. Neale.
Peter Nagel.               Michael Natalis.
|~,or J~iI)t[                         JV colo  Velli Venezianof.  1568.
Arnold vander Neer.                           Niccolo Nelli.
Yor A. E. Neyts.  \X )D. Nicole.                   G. or Guil. liaeulant,fecit.
Giles Neyta.             D. Nicole.          or Guilielmus van Nieulant,fecit.
William van Nieulant.
A    or B. M. NIf.ecit.                  J    N rf Rj
Balthasar Meneius Nimecius.                      Peter Nolpe.
p~v~or l O  /UlJAor M'.Hieronymus Olgiatus 1572.
Mauro Oddi.            Matthew Oestereieh.             Girolamo Olgiati.
P.G. KO. f.or P. G. van Os, fec. et exc.  /PO         r,    P oA        or
Peter Gerard van Os.                        Adrian van Ostade.
Pasq. Otti'. Ver. inv.            Ozanne, fec.  1724.         J. F. Ozanne.
Pasquale Ottini                 Nicholas Ozanne.        Jane Frances Ozanne.
lM J Ozanne.                                             L.  L.P.
Mary Jane Ozanne.          H. L. Padtbrugge.               Leo.Pallavicii.
Leo. Pallaoicii._
~or l |                         Palma Ldovicus Lusitanus,  f
Jaeopo Palma, or il Giovino.                   Lodovico Palma... =~~~~~~~~~~~~~~~~~~~~~~~~








MONOGRAMS.                                 Plate XVI.
Palmezzano, or Palmasanus, or Palmisanus,                               J. P.
or Palmezanus Pinsebat.                            John and Julius Parcellea
Marco Palmegiani da Forli.
or.    or i    L*   Jacobus Parmensis.                               J. B. Centensis.
Augustinus Parisinus.            Jacopo da Parma.               Gio. Battista Pasqualini.
Crisp. Passeus, Jun., or C. de Passe fiius fec.,
or C. van Pass, inv. 1589.         or Crispinus Passeus, or C. de Pas, inv. et fc., or sculp.
Crispin de Passe, the Elder.                    Crispin de Passe, the Younger.
or W. Pass.f, or Will. Passe,fecit.                       or Simon de Pas.
William de Passe.                                 Simon de Passe.
j / ~ ~,or 4              orj                  p )    EPoroB.P.orPF.
Magdalene de Passe.           Bernardino Passeri.   or B. Pasarot, or B. Passaroto.
Bartolomeo Passerotti.
C.P. Pin.   1665.                              I.P. orI.  P. 184.
Christopher Paudits.                               Jean le Pautre.
G. P. or Georges Peham  Monachi.,fec., or Palais,fec.
George Peham.                                     Michel Pelais.
lP                    NP    Efor5Jor (                               B Cfor-J3
Nich. Francois Pellier.  Hispel Pen or Penn.                   Luca Penni.
Baptista Parmensis, fec., del., orformis, or Battista da Parma, or
Battista Pensieri Parmensis,fecit, or Baptista pensierparmensis, formis,
or Baptista panzera,formis.
Battista Pensieri da Parma, or Parmensis.
or  i  or GregoriPeins,                                  PorO  P. D. C.
or Georgius Pentz.                           or Opus Peregrini de Ces.
Gregory Pentz.                                 Peregrini da Cesena.
SrPeI   Bor. i. 
Stephen Perac.           J. Perjecouter.        or J. Perrissim, or J. Persinus fecit.
___.             Jacques Perisin.
e =._ _....                                                                                    _








MONOGRAMS.                                Plate XVIl.
F   or Paria,fecit,                     R. a Persyn, sculp. orfec.   1642.
or Franciscus Perrier, Burgundus,                       or Regnerus a Persyn.
pinx. et sculp.                                 Regnier de Persyn.
Frangois Perrier.
B.B.                            D.P. orD.P.D.F.orD.P.P. F.
or Bal. Sen.                    or Dom. P. k, or D. P.f., or D..P. f Ancone, or
Baldassare Peruzzi.                          Domus   Prc""- Anconc.
Domenico Peruzzini.
Opus, Eq. Jo. P.          Calixtus Laudensis. 1524.  P. Picault, Blesensis, sculp.
Car. Gio. Peruzsini.             Callisto Piazza.                    Pierre Picault.
R. P.fec,                        Jp
or R. Picoufe. Rom.               Thomas Pioquot.                   John Ulrie Pilgrim.
Robert Picon or Piquot.
N. P. In.f..                   Leonardus Gratia Pistoriensis.
Nicolas Pinson.       Alexis Pirnraum.                     Leonardo da Pistoja.
G. B. P. V.   Montagne, in. etf.
orJohannes BaptistaPitonus Vicentinumfecit.           or M. Montaigne or Montagnefecit.
Giovanni Battista Pittoni.                        Matthew van Plattenberg.
Nicholas der Platte Moagne.  NP.   IP:F                                    AND. P.
Nicholas van Plattenberg.              Martin Pleginck.         or And. P. in etfec.
Andrea Podesta.
| 4  or/    |     E. V. P.               Opus Antonii Pollajoli Florentini.
Martin Poeham.        Egbert vander Poel.                   Antonio Pollajuolo.
S. P. F.                Franciscus Bassanus, Pinxit.
Sylvius Pomarede.               Francesco da Ponte, the Elder.               Francis Porbus.
IL D or p               Pr      P                        Giuseppe Salviati,
|| *    or 1p      1 p or       p 1     or Joseph Poeta Garfagninus, or Joseph Gaifagninus,
Anno 1542.
Peter Porbus.                               Giuseppe Porta, called Salviati.
JBg.                                     ord.;a  BirdE,    P'P.f
J-B. and a Bird,                          oror Paulus Potterf or in etfec.
or Gio. Bat. del Porto.                EliasPorzel.                     Paul Potter.
Giovanni Battista del Porto.








MONOGRAMS.                             Plate XVIII.
ANDREAS. BER. PIN.,
or An ree   egomensis, pinxit.                         Peter Quast.
Andrea PrevitaTe. 
A.Q.                        H.Q.                           (  
Artus Quellinus.           Hubert Quellinus.               I. Qtare Pomme.
G. D. L. Q. 1680.                 Rabel Bellonacus.               S. V. R.
Guillaume de la Quewellerie.        Jean Rabel.                  Servatius Raben.
Bernardino  Radi  Cortonese.                 R. R.              R. S. V. P.
Bernardino Radi.               or P. Raefus.            Raffaelle Sanzio.
P. Raefe.
or,~Fvo             J 06or    or   rl  or,    08 o,or 
Maro' Antonio Raimondi.
Ml.rtor'.R.                               F.R.             K 
Marco da Ravenna.              Franz Rechberger.            Valerian Regnard.
W            B. R. orB.R. F. 
Wendell Reich.  |r B. Bart. Barthome, or Ba.tholome Reiter,
Reitter, Reuter, or Reyter.              Rembrandt.
Bartholomew Reiter.
O~.Rg~.    |   c d*,or                            or           eor
C. R.                 ( )-OR                                               (R^ -
Charles Remshard.              Guido Reni.                       C. Reverdinus.
F. de la Mare,fec. 1650. or F. J D. L. Mare, inv. sculp. 1655. 
F. J. de la Mare Richart.                        Gothard Ringgli
R'B'T*A or R- BTA. or RBTA. or 
ROBTA. or ROBETA. or ROBETTA. W;
Robetta.                                  William Rogers.
P. ROL. F.                     Hieronimi Rumani, or Hier. Roman.
Peter Rollos.                          or Hieronimus Rumanus.
Girolamo Romano.








MONOGRAMS.                                  Plate XIX.
W2             orM.
Christian Romstedt.        Salvator Rosa.                 or Martinw   Rota, 1569.
Martino Rota.
J. MR.. F.  (oror(L                                          C   or Gsparo, f
Giovanni Mauro Rovere.            Guido Ruggeri.                         Gasparo Ruina.
Eor J ~oroP.F  R.f. o C Rf.or F C R. _or J66/
~r]R F  ~   or Rupprecht,fec.
Prince Rupert.                 Freidrich Carl Rupprecht.           Jacob Ruysdael.
CII~or    orC &
$  I or$                 1673  C 7'            6 6S 
John Sadeler            John Saenredam.                        Cornelius Saftleven.
Hermann Saftleven.                    Anthony Salaert.                  Andrea Salmincio.
P. Saltzburger.                   Hugues Sambin.               John Jacob von Sandrart.
Jul. Sanutus or Sannutus, Venet. fec. 
or JULIUS SANNUTUS F.                                                  D. S. S.
Oiulio Sanuto.                      Lawrence Sauberlich.     Daniel Savoye.
Scalabrinus Pistoriensis.                                     S
Lo Scalabrino.  
or Raphael Schiamonossi, Schiaminossi, or Schaminossius.
Raffaelle Scaminossi.
fSfmorJg eo                           % or L{forT   I   X                            s           I
H. L. Schaerer.              Hans Schaeuflein the Elder.         Hans Sehaeuflein the Younger.
Mattheus Schaffnaburgensis. TITIANO V. Andrea Schiaon f.
Matthew Grunewald.                      Andrea Schiavone.             Gabriel Schnellboltz.
S S-,orM.Nt ~., ~                      rM Soorn,                             |~ boexS|
Martin Schoen.                                  Bartholomew Schoen.








MONOGRAMS.                                     Plate XX.
Erhard Sohoen.                    J. H. Sohoenfeld.                    J. F. Schorer.
P.S.eE.                     or                                 SForC. N S. 
Peter Sohubart.                  H. van Schuppen.                      C. N. Sohurts.
Ph.  Soye, or  de  Soye, fee.                                           or
or P., Ph., or Philippus Sericcs, ericeus, Sericus, Syticus,
or Sytiusfecit.                                       Peter Serwouter.
Philip Serineos, or Soye.
Ccesar Magnus, f. 1533.                   Hercules Septimus,                        V. S.
Cesare Sesto.                        or H. S. 1?570.                   Valentine Sezenius.
Ercole Setti.
d5<s46u       1              vorLor  J
or Ch. v. Sichemfecit, or C. van Sichem,.                              ichem.    ichem.
Christopher van Sichem.                      Corn. and Charles van Sichem.
Lucas  Coritius, or
Lucas Aegidii Signorelli Cortonensi. 1502            C    I, G. A. S. fec. or I. A. S.f.
Luoa Signorelli.                 Anthony Silvius.           Gio. Andrea Sirani.
E. S. F. or Jlbta. Sirani, f.,
or Elisabetta, or Elisabetha Sirani, F.,f. or fec.                      anlingelandt
Elizabeth Sirani.
AntoniusdaSolario Venetusf,                                                  o V  \$or;'I)
Antonio Solario.                J. F. Solemacker.               Virgil Solis.
M.V.S.                                 B
John van Somer.                          Lionello Spada.
Mathias van Somer.
Giuseppe Ribera, oalled Ii Spagnoletto.
H. (Hieronymus) Sperling.
Jerome Sperling.                       Hans Springinklee.       Palamedes Staevaerts.
__








MONOGRAMS.                                Plate XXI,A  STALBEMT.                              D   vor                   or                 I
or Adrianus van Stalbant.
Adrian van Stalbent.                               Dirk van Staren..orJfori7                                 P.S.F.                            P.S.
Jan Steen.                    Pietro Stefanoni.                  Peter Stent.
pI                          T or(
Henry Stoenwyok.                  Tobias Stimmer.                  J.. Stimmer.
V. S. F., or V. S. I. F., or VES. ST. I. FE., or
 _  I  P     ~ $       ~ |VESP. STRA. I. F., or VESPASIANO ST. 1. F.
LawrenoeStoer.      Franois Stoss.                       Vespasiano Strada.
Lorentrach                    Jurian van trek              Peter le Sueur the Elde
Loren Sttrauoh.                Jurian van Mtreek.            Peter le Sneur the Elder.
P. L. S.                           L. S   1544. 
Peter le Sueur the Younger.         Lambert Suterman.               Hermann Swauevelt.
orF                   A                    or                        or  r
TAF-ntoni Tempests.                                                    ~orB or
Antonio Tempesta.               David Teniers.              Gerard Terburg.
IH.uor    or                                                     orM.T.
Pietro Testa.                     Moses Thim.                  John James Thourneysor.
I. T. F. 156.                     B                        F.T.F. or G. R.T.
John Thufel.               Giles Tilburg.                     Flaminio Torre.
HIERONIMUS TREVISIUS P. or
V\4 or7jforjI M. T. 1543.   f ier. Tarvis. Pict. Faciebat. 1533
Martin Treu.                                  Girolamo da Trevigi.
I -T                            P. T.   I.T.F.
Han Trosehel.                  Peter Trochel.                    JaesTroschel.
Peter Troschel.                  Jaiaes Troschel.








MONOGRAMS.                                   Plate XXII.,   ~.,..  *,-' 
x   I BU    I inoriorinor   a
Andrew Trost.         Bernard Vaillant.                       Wallerant Vaillant.
Sebastiano D' VL.,                  |         T  or T|    M
or D' Val. Ut.                          /V.
Sebastiano D' Val, or Valentini              Gio, Luigi Valesio.       Martin van Valkenberg.
D. V. Dyck, L or in. e fec. 
Daniel vanden Dyok.               Sir Anthony Vandyck,             Esais van de Velde.
A. V. V. or A. V. V. F. or A. V. V.f or A. v. V.                     Alex. Ferat., pinx.
orA. V  Velde,f                                   Darius filius,  sculp.
Adrian van do Velde.                                 Dario  Varotari.
Joan.   enantius Pisaurensis, F.   1687.                      1            P
Giovanni Venansi.                                Giulio Cesare Venenti.
V- Boom 
ooror                  or A. | Verboom, Pinx, l
X  "1                  "^                      ^Abraham Verboom.
Vdrian vandner AVenne.                         Vrboo          John Cornelius Vermeyen.
A~or.  Vfr |t  BaptistaP. V. F.                            Joseph licolaus Vicentini,
Hen  Versohuring.       Baptista Vioentino, orPittoni.         or Nic. S. Vicentino, I.
Gioseffo Niccolo Vicentino.
A. orivi    ior.orFVF                                                              R3
ID&          I^Vo VsVo-F.~.F.
or AENEA VICO. PARMENSE.                   Francesco Villamena.                David Vinokenbooms.
Enea Vico or Vighl.
1 M.V. F. or M. Vsellet, F.                                   Dominicus V. F
Nioholas John Vissoher.             M. Vissellet.                      or Dom. Vitus, fec.
Domenioo Vitus.
f  or-  Giovanni Renard.
John George van Vliet.            Henry Voghter.                    Giovanni Volpato.
NJ or J                         Monkey and Fox.                             V
Lucas Vostermans the Elder.             Martin de Vos.                  Sebastian Vonillemont.








MONOGRAMS.                            Plate XXIII
^^/".~ ^^I~ v           |              Remi. Vuibert, 
J'/.2 /T *                        or Remigiue Vuibert Gallus Scupsit Ki. An. 1663. [
o/                /6'2i/                      Remi Vuibert, or Wibert.
Ary de Voys.       S. Vranx, or Franks.                           W
1. den  Uil,            Mo. V. Vyt, f  or'Mo. V. Vy, f  or M. V. B. 1620,
or I. den Uyl.  or M. v. Brouck, or M  V. B      k Mo,    V M. v., or M. Uytenbroeck,
J. den Vyl.                          Vtenbrouck, Wtenbrouck, fc.
Moses Uytenbroeck, called Little Moses.
EvorrnM                                                   Jof]W\~rt9E
John Ulric.          or LUCAS DE URBINO, F.               Hans Erhard Wagner.    i
Luca di Urbino.
J: Wa.,f ec.                   Jh. WamirorJh. W1636.
James Wagner.                  Jacob Walch.                    John Warnir.
A       -JorJor.,Qr/frorAW fL,                                  H IW. H   1545. 
Anthony Waterloo.                  Henry Watman.          Hans Weigel.
JIJ7                        S. W. ~           i WENCESLAVS DE OLOMVOZ.
Hans Weinher.               Samuel Weishun.             Wenceslaus of Olmutz. 
T. W.orT. M. W.                            (ior k(                 N. 1567 W
Telman van Wesel.                 Gabriel Weyer.               Nicholas Weyer.
W  F. or I H. W. F.   IWorE or Hi.W.orHi.W.F.
John Wierix, or Wierinx.                or J. HIERONIMUS, W. FE.
Jerome Wierix or Wierinx.
J W. fect,                                                  J, w 
or Joan. Wild., or J. Wild. invent.  J                                         w
John Wildens.                   Vander Wilt.                 J. W. Windter.
itoL,,^o  or&                Johannis Wirzii Roma,'c. |. 34
]    3 ot r1 ~3.. o                       John Wirz.                  Peter Withooe.
Josse van Winghen.
WoW                                               A yo- orms
Michael Wolgemut.              Peter Woeiriot.       or Anthonium de Vormauia.
Anthony von Worms.
_______._____ ___.








MONOGRAMS.                                 Plate XXIV.
or W.fec.  1643.                                                              1546.
Philip Wouwerman.
Philip JVouwerman.               John Wynants.                 Gio. Franceseo Zabello.
B. Z. 1581. 
Bernard Zaeeh.                     Matthias Zagel.                  Theodore Zagel.
B. Z.  1571.             |                                   J  -orp. D. Z.fec.
Bernard Zan.             Antonio Mria Zanetti.                 Paul de Zetter
Z. A.   
Andrea Zoan.                   Jacob Zuberlein.                     J. Anker de Zwoll.
N. B.-For an explanation of these Plates, see Key to Marks found on Engravings
and Paintings, in Introduction, page xix.








A
BIOGRAPHICAL AND CRITICAL DICTIONARY
OF
PAINTERS, ENGRAVERS, SCULPTORS, AND.RCHITECTS.
AA, H. VANDER, a Dutch engraver of little note.    ABARCA, MARIA DE, a Spanish paintress, who
He was related to Peter Vander Aa, the celebra-  flourished at Madrid in the middle of the sevented publisher of Leyden, for whom he executed, in  teenth century, and executed portraits in a style of
line, some frontispieces, portraits, and other book  such peculiar excellence as won the approbation
plates, in a coarse, heavy style. In the collection  of those great masters, Rubens and Velasquez,
or portraits entitled Principumn.et illustrium   who honored her with their friendship.
Virorurn Imagines, there are two or more by this    ABATE, ANDREA [called Belvedere], a Neapoartist, signed H. V. der Aa. del. et sculpsit. He  l,   o eclled in paintg ft  owengraved the title-page of the Index Batavicus, by  ers, vases, and other inanimate objects. His penAdrian Pars, published at Leyden 1701  ers, vases, and other inanimate objects. HispeAdrian Pars, published at Leyden, 1701.  ciling was free, and his coloring bold, which, with
AA, THIERRY VANDER, a Dutch painter, born at  his admirable chiaro-scuro, gave a noble relief to
the Hague, in 1731. He was a pupil of I. H.  the vases and other ornaments with which he
Keller; after quitting this master, he painted in  enriched his designs. He was one of the artists
concert with G. Metzu. His works corsist chiefly  employed by Charles II., of Spain, at the recomof genii, flowers, fruit, birds, and other ornamental  mendation of Luca Giordano, to assist him  in
decorations, in which he exhibits much skill.    painting the Escurial. He died in 1732. Fuseli
AALST. See AELST.                             says there was another artist of this name, and,2E      "0   AARTSEN, P. often mis-spelled  that there is a fine picture of a Carith, executed by
_b.,or 42t - Aartgens, or Aertgens], a Dutch  him, in the Palazzo Zambecari, at Bologna; but
historical painter of eminence, born at Leyden, in  doubtless it was painted by one of the Abati.
1498.  He was bred by his father to his own        ABATI, NICCOL6 [or Niccolo dell'l, an eminent
trade, that of wool-carder; but disliking this busi-  historical painter, born at Modena, in 1512. He
ness, he turned his attention to painting, and  was a scholar of Antonio Begarelli, an old deplaced himself under the instruction of Cornelius  signer and sculptor, from whom  he learned the
Engelbrechts. He acquired so great a reputation  first principles of the art. It is supposed, also,
that the most distinguished artists honored him  that he had the advantage of instruction from
with their friendship; and Francis Floris, who had  Correggio, which is supported by his superior
carefully studied the works of Michael Angelo,  knowledge of foreshortening, and the boldness of
attracted by his fame, went on purpose to Leyden  his relief. At the age of thirty-five he painted his
to see him, and finding him  living in poverty,  celebrated work, the Martyrdom of St. Peter, for
offered him a handsome maintenance if he would  the Church of the Benedictines, now in the Dressettle at Amsterdam, which he refused, not liking  den Gallery, which brought him  into immediate
to leave his pot companions. He was accidentally  notice. He afterwards painted, in the Candiano
drowned, in 1564, as he was returning home late  palace, twelve pictures illustrating scenes from the
one night, in a state of intoxication,           twelve books of the Eneid, of which Lanzi says,
ABACCO, ANTONIO, a scholar of Antonio da  that "in the correctness of the figures, the beauty
San Gallo, an eminent architect of Rome, where  of the landscapes, the architecture, and the animals,
he followed the same profession with reputation.  they merit every praise that can be bestowed on
In 1558, he published a valuable work on archi-  a distinguished follower of the style of Raffaelle."
tecture, entitled Libro d'Antonio d'Abacco, appar-  These pictures are now in the Florentine Gallery.
tenente all'architettura, nel quale si figurano  In the prime of life he went to Bologna, where he
alcune nobili antichita di Roma, with fine prints  executed, in the Palazzo Leoni, in fresco, a Nativity,
engraved by himself. He also executed the prints  an admirable performance; and  at the Institute.
of the plans of St. Peter's from the designs of his  four subjects in a feze, reprsenting musical
master.                                          assemblies and conversations, designed and corn




ABAT.                      2                     ABBI.
posed with such taste and elegance, that they   painted with great rapidity, andwith equal beauty
became the admiration and the models of the  in fresco and in oil. In competition with  FedeCaracci-in proof of which, it is only necessary to  rigo Bianchi, he painted the great vault of S. Alesmention that Agostino C. wrote a sonnet in his  sandro Martre at Milan. One of his works, St.
praise, in which, in the flowery language of a poet,  John preaching in the Wilderness, was painted in
he attributes to him the symmetry of Raffaelle,  fresco at Sarono. He died at Milan, in 1715.
the sublimity of Michael Angelo, the truth of    ABBIATI GUIsEPPE, a Milanese designer and
Titian, the greatness of Correggio, and the grace of  engraver of little note, who lived about the beginParmiggiano. Such was the excellence of his prac- ng of it    t eighteenth century. He etched some
tice in fresco painting, that it is said he never had  small pints of battles, and allegorical subjects
occasion to retouch his work when dry, which  after his own designs.
gave an uncommon purity and splendor to his col-his 
oring. When Primaticcio was invited to the court    ABBIATI, P. M. The name of this engraver is
of France, by Francis I., to decorate the royal gal-  affixed to a fine portrait of Girolamo Cornaro
leries and apartments at Fontainbleau with fresco  procurator of St. Mark, without date or name of
paintings, he selected Abati. as the most efficient  the painter.
coadjutor he could find, to assist him in the execu-    ABBOTT, LEMUEL, a distinguished English portion of the great works he was commissioned to  trait painter, born in Leicestershire. He was a
perform.  He was, in fact, the great operator,  pupil of Francis Hayman. His merit consists in
while Primaticcio designed. He died at Paris, in  faithful likenesses.  His portraits of the poet
1571. Of his numerous fresco paintings, but four  Cowper, and Lord Nelson, are esteemed the best
have escaped the ravages of time, and his oil pain-  ever executed of those great men. He died in 1803,
tings are extremely rare. His great works at  aged 40.
Modena and Bologna have been engraved by Do-n p, b    a 
menico Cunego. [See PRIMATICCIO.]                        I
menico Cunego. [See PRIMATIcCIo.] |ABEL, HANS, a German painter, born at Frankfort. He is supposed to have painted some of the
ABATI, PIETRO PAOLO, born at Modena, was a  beautiful windows which adorn the Cathedral and
brother of Niccolo A. He excelled in painting  other churches in that city. He flourished about
battle pieces, which he executed with a spirit and  1494.
energy unequalled in his time. Some of his works    ABEL, JOSEPH, a German painter of great merit,
are placed with distinction in the Gallery at Flor-  who died at Vienna, in 1818. He was instructed
ence. Vidriani says he flourished about 1550, and  in the school of Fiiger, at Vienna, and distinguished
Zani places his death in 1555.                   himself at an early age. He went to Rome, in
1802, where he resided for six years, and painted
ABATI, ERCOLE, grandson of Niccolo A., was  several pictures from ancient history and the Greek
born at Modena, in 1563. He possessed an extra-  poets, which gained him much applause. On his
ordinary genius, which he disgraced by the deprav-   eturn to Vienna in 1808, he painted portraits a
ity and instemperance of his conduct.  Like most  history with great success till the time of his death,
artists of this character, he dashed off his works
with negligence and haste, but with such ingenuity  ABEL, ERNST AUGUST, a German painter in oil
of composition, and spirit of execution, as to make  and crayons, born at Zerbst; flourished about
us lament his idleness and dissipation. There is  1780; studied under Rudolph la Fontaine. He
a fine picture by this artist, the Marriage at Cana,  practiced sbme years in London, Paris, and Hamin the Gallery at Florence. In connection with  burg, where he finally settled.  He painted porSchidone, he painted some pictures in the Council-  traits and miniatures, chiefly the latter, being more
Hall at Florence. He died in 1613. He had a son  successful in that branch.
named Pietro Paolo, who painted several pictures    ABEL,. In Malvasia this name occurs as
at Modena, which have been highly commended.  a French artist, who in 1650, so successfully copied
This artist died in 1630, aged 38.              the Communion of St. Jerome, by Domenichino,
that he sold it for the original.
ABATINI, GUIDO UBALDO, a distinguished painter of history in fresco. He was born, according      ABENTS, LEONARD an engraver a native
to Passeri, at Citta di Castello, and flourishefd.0 of Passau, in Bavaria, who flourished about
about 1650, in which year he was admitted into the  1580. He engraved some book plates; also the
Academy at Rome. He was a disciple of Cavaliere  plan of the city of Passau, for Braun's TypograGiuseppe Cesari. One of his principal works is  phy. He marked his plates with a monogram of
on the ceiling of the chapel of St. Theresa, in S.  his initials, A. and L.
Maria della Vittoria, at Rome. He died in 1656,    ABEREGNO, GIACOMO, a Venetian painter of
aged 56.                                        little note, who lived about 1400.
1 p;   ABBE, H., an engraver, who, accord-    ABERLI, JoHN Louis, a German painter and
LLr' ing to M. Christ, was born at Antwerp,  engraver, born at Winterthur, in 1723.   e was a
where some prints by him were published in 1670.  pupil of Henry Meyer, and painted portraits and
Heineken also states that he executed some designs  landscapes with success. He published a series
for the Metamorphoses of Ovid, published by Bar-  of colored prints-views in Switzerland-which
rier, marked as above.                           were so much admired that a great number of imiABBATI. FILIPPo, a historical painter, born at  tatorssprang up. Hediedin 186.
Milan in 1640. He was a scholar of Gioseffo        ABESCH, ANNABARBARA, aSwiss paintress on
Nuvolone, and rose to great eminence in his pro-  glass, daughter of Peter Anton Abesch, also a painfLssion. His invention was ready and fertile, his  ter on glass. The celebrated Benedictine Monasdrawing correct, and his execution.remarkable for  tery of Muri, in the canton of Aargau, contains
an uncommon boldness and freedom of touch. He  many specimens of her ability. She died in 1750




ABIL.                     3                     ACEV.
ABILDGAARD, NIKOLAI, a Danish historical  range the marbles of the celebrated chapel de.
painter of great merit, born at Copenhagen, in 1744.  Sagrario, in the cathedral of that city. He was
lie is esteemed the best painter Denmark has pro-  employed, also, with others, in the monastery of
duced. His principal subjects were taken from the  Gaudaloupe, in 1618. See Bernudez.
ancient poets and historians. Some of his best    ABRUZZI, -, a Roman landscape painter,
works were destroyed in the fire that consumed  lived towards the end of the last century. Sonw,
the palace of Christianburg, in 1794. Fuseli states  of his earlier works, according to Winckelmanl
that this calamity had such an effect on his mind  were much admired.
that he scarcely painted afterwards. He was an
excellent scholar. Five years study in Italy com-  ABRIL. JUAN ALFONSO, a Spanish painter, who
excellent scholar. Five years study in Italy com- 
pleted the education which he had received in the  lived at Valladolid about the middle of the seveuAcademy at Copenhagen. The creations of his  teenth century  Little is known of him. He
productiveimaginationwere sometimes of agloomy,  painted for the convent of the Dominicas, in that
yet always of a grand and solemn character. A   city, the Conversion of Saul, said to have been an
considerable number of his works still exist in  admirable performance.
Denmark. Nearly all his works are those of an      ABSHOVEN, THEODORE VAN, a Flemish painartist favored by the study of the ancients and the  ter, born at Antwerp, was the favorite disciple of
remains of antiquity. Nothing escaped his obser-  David Teniers, the younger, and the most successvation. He was likewise a distinguished lecturer  ful follower of his style-so much so, that his
on art, of which he-was director and professor in  works have often been mistaken, by good judges
the Royal Academy in his native city, and has left  for those of his master; and unprincipled dealers
several disciples, painters as well as sculptors, who  have been in the habit of obliterating his name for
do honor to their master, as well as to their coun-  this purpose. Balkema calls his name Theodore
try. He wrote some excellent essays, the object  Van Abshoven, and states that he was born at
of which was to correct a false taste in regard to  Antwerp, in 1648, and died in 1690; by other
the arts. He died at Copenhagen, in 1809.        authors he is named F. Van A. His pictures, like
those of his master, represent scenes in low lifeABONDIO, ANTONIO, an Italian sculptor, who  village festivals; interiors of taverns and ale-houlived about the beginning of the sixteenth century.  ses. with peasants dancing, regaling, and amusing
He was called L'Ascona, from the place of his birth  themselves; corps-de-gardes; chemists' laboratoon the Lago Maggiore. Torri says he executed a  ries, &c  The work        s of this painter are frequently
group of Venus and Apollo for Francis I., of France;  met with in Flanders, where they are esteemed
also  the  eight colossal statutes that adorn the  worthy of being placed in the best collections.
fagade of the house at Milan that formerly be-  His touch is uncommonly light and spirited, and.
longed to tlrcelebrated sculptor Leone Leoni, the  his coloring clear andsilvery.
favorite of the Emperor Charles V. Fuseli men-      c i    e          
tions a basso-relievo, in wax, of Cupid kissing    ACCAMABERNARD adistinguishedDutchporVenus, who is recliinng on a couch, which is  trait painter, born at Leuwarde, in 1697, where
attributed to this artist. He was probably thehe died in 1756. His works were greatly esteemed
father of the elder Alessandro Abondio.          by his own countrymen
ABONDIO, ALESSANDRO, a Florentine painter;  ACCMA, IATTHEW, was also a native of Leu-.ived about 1650; was the son of a painter of the  warde, born in 1702, and died in 1783. He w nt
same name, who was a pupil of Michael Angelo,  to Italy to study the old masters, where he resided
and excelled in representations in wax. They  several years, and made some fine copies. On hia
were both contemporary  with  Sandrart, who  return to his native place, he painted historical,
speaks of them  with praise. The  younger lived  allegorical, and emblematical subjects with reputain Munich, where Sandrart made his acquaintance.    n.
He had been with hit: father in the service of the    ACCERI, CESARE ANTONIO, an Italian landEmperor -Rudolph I., at Prague, but after the  scape painter, who lived about 1609, and was esdeath of his father in that city, had entered into  teemed an artist of talent.  His works are not
the employment of the Elector Maximilian, of Ba-  kown out of Italy.
varia, at Munich.. Sandrart acknowledges himself    ACCIUS, CAEsAR A., a Flemish engraver of little
indebted to "the celebrated Alessandro Abondio"  note. Heineken is the only author who notices
for valuable aid in compiling his great work on  him, and describes a print of a landscape and figthe arts and artists of Germany.                ures by him, inscribed, Cesar Ant. Accius, fecit et
ABRAMSON, ABRAHAM, a German medal en-        A.D. 1609.
graver, born at Potsdam in 1754. Nagler says he    ACEVEDO, CRISTOBAL DE, a Spanish painter
acquired very great reputation as one of the ablest  born at Murcia, about 1560. He studied under
medalists of modern times, both from the superior  Bartolomeo Carducci, then in the employment of
style of his execution, and the  poetical imagina-  the king of Spain. He rose to eminence, and paintion and classic taste displayed in his designs. His  ted many pictures for the convents in Madrid.
works are very numerous: Mensel gives a cata-  His subjects were chiefly scriptural or religious, of
logue of the principal, of which the series of por-  large size, and executed with a nobleness and cortrait medals of the eminent literati of Germany,  rectness of design that placed him among the best
have probably mostly contributed to his fame. He  professors of his time. The time of his death is
was appointed Royal Prussian Medalist, and was  not recorded.
elected member of various academies. He died in    ACEVEDO, D. MANUEL, born in Madrid, in
1811.                                            1744. He began by diligently copying the works
ABRIL, BARTOLOME, a Spanish sculptor of  of the best masters, and rose to considerable emiValencia, who lived at Toledo about 1600. He  nence. He painted historical and religious subwas employed by Juan Battista Monegro to ar-  jects in the grand style, and was much employe




ACHE.                      4                    ACHT.
in decorating the churches and convents of his  sels, are three large landscapes by this author
native city.                                     admirably executed.
ACHEN, or ACH, JOHN VAN, an eminent his-    ACHTERVELDT, JACOB, a Dutch painter;
torical and portrait painter, born at Cologne, in  flourished in the last half of the seventeenth cen1552, and died at Prague, in 1615, aged 63. Wri-  tury; studied under Metzu, and acquired considters variously state the times of his birth and  erable reputation, according to Nagler, by some
death, but the above are copied from the monument  of his pieces in the style of that master. He died
erected to his memory at Prague. His father,  in 1704.
being in easy circumstances, was desirous of edu-    ACIER, MICHEL VICTOR, a French sculptor, born
eating him for one of the learned professions, but  at Versailles in 1736; studied in the Academy at
the bent of his genius exhibited itself so strong in  Paris, and early distinguished himself. He resiearly life, that he was induced to comply with the  ded chiefly at Burgundy, where he built a chapel
wishes of his son, and he placed him under the tui-  and adorned it with some great statues.  Fuseli
tion of Jerrigh, a reputable portrait painter of  says he was subsequently appointed master of the
Cologne, with whom he studied six years. He  China manufactory at Meissen, in Saxony, for
next applied himself to study the works of Bar-  which he made many beautiful groups. His mastholomew Spranger. When he was twenty-two  ter-piece was the Death of General Schwerin, in
years of age he went to Italy, and first stopped at  alto-relievo. He died in 1799.
Venice, where he passed a sufficient time to get a    ACK, JHANN, a Flemish painter on glass;
thorough knowledge of the great works of art in  lived at Brussels about 1546, at which time he exethat famous school. He next went to Rome, where  cuted the celebrated paintings of the windows of
his first performance was an altar-piece of the  th  chapel of the Sacrament, in the Collegiate
Nativity, for one of the chapels of the Jesuits.  Church of St. Gudula at Brussels, which have been
Here he also painted a picture, into which he in-  attributed to Rogier Van Brussel. He painted also
troduced the portraits of the celebrated musician,  some windows in the church. The designs consist
erMadonna Venusta, playing on a lute, and of h-  of portraits of Charles V. and his family and relaself, holding a goblet of wine, which has been con-  tes who presented the windows to the church.
sidered one of his best performances. From Rome  Reiffnberg says the effect of the compositions is
he went to Florence, where he painted the portrait  very rich; the folds of the draperies are cast in a
of the famous poetess, Madonna Laura. The Elec-  bold and grand manner; the coloring is brilliant,
toi of Bavaria now invited him to Munich, where  and the architectural ornaments designed and dishe executed his most capital work, the Resurrec-  posed with great taste.
tion, which has been admirably engraved by Raffa-    ACKR 
elle Sadeler; also the Finding of the True Cross,    A ER, PET     aningenouspainter on gass;
by the Empress Helena.  He painted the por-  was employed at Nordlingen about 1450. Some
traits of the Electoral family with so much satis-      his works are still preserved in the St. George's
faction to his employer, that he liberally rewarded  Church of that city.
him, and presented him  with a gold chain and    ACKERMANN, RUDOLPH, now the most famedal, in token of his esteem. By the invitation  mous publisher of prints in the world, was born at
of the Emperor Rodolphus, he went to Prague,  Schneeberg, Saxony, in 1764. His father was a
where he executed several compositions, particu-  saddler, and brought his son up to the same trade,
larly a picture of Venus and Adonis, designed and  but by his assiduity he contrived to obtain a good
executed with a taste then unknown in Germany,  education at the Latin School in his native city.
so much to the satisfaction of that monarch that he  When he attained his majority, he travelled about
retained him in his service as long as he lived.  Germany as a journeyman saddler, carefully layJohn Van Ach captivated Germany by the intro-  ing by his earnings, and looking out for some higher
duction of a new style, compounded of the princi-  and more profitable employment. In the meanples of the Venetian and Florentine schools. It is  time, he devoted his leisure in cultivating and immuch to his credit that he was one of the first Ger-  proving his natural taste for the fine arts, and beman artists who attempted to reform the stiff and  came a very good painter and lithographer. After
gothic taste of his country, and although he did  residing several years in Paris and Brussels, he
not entirely divest himself of it, yet he went as far  went to London, where he became acquainted with
as he judged prudent.                            one Faius, a German, who had undertaken to conACHEN, ARNOLD VAN, a German engraver,  duct a periodical of fashions (Journal des Modes),
which met with considerable success. Ackermann
who lived about 1700, and is only noticed as the  which met with considerable success. Ackermann
etcher of some small plates and frontispieces for  soon after began to publish, in the  same manner
publishers. He had a brother, a painter, called  drawings of coaches, currices, and other vehicles
Tailor Van Achen, from his expeditious manner  invented, drawn and painted byhimself. The novof draping the figures of various portrait painters  elty and excellence of his works excited universal
of the day, who employed him for this purpose.   attention, and he received orders for drawings
from all quarters. This was the beginning of a
ACHTSCHELLING. LucAs, a landscape pain-  trade in works of art, which gradually increased
ter, born at Brussels, about 1571, and died 1631.  by his talents, attention and precision in business,
He studied with Lewis de Vadder, under whose  to its present form and prosperity. He soon after
instruction he became one of the ablest artists of  married an English woman, became a citizen of
his time. His manner is broad and bold, the foli-  London, and founded the establishment now known
age of his trees lightly touched and apparently in  as the Repository of Arts, at 90 Strand, in the cenmotion, his scenery delightfully grand and diversi-  tre of London, which is one of the curiosities of the
fled, his distances recede with a pleasing grada-  British capital. Some idea of the amazing busition, and his coloring is remarkably transparent.  ness now carried on by the house of Ackermann &
[n the Collegiate Church of St. Gudule, at Brus-  Co., may be drawn from the fact that they con



ACQU.                      5                    ADAM.
stantly employ more than 600 men in London   where he remained several years. On his return
alone. They publish illustrated works and engra-  he was appointed architect to the King, which office
vings, the former frequently in the different mod-  he resigned on being elected a Member of Parliaern languages, as English, French, German, and  ment for the county of Kinross, m 1778.  He did
Spanish, which they send to every part of the  much to reform and improve the architecture of his
world, and thus not only enrich themselves, but  country. He was a man of science and great.taste,
bestow honor and wealth on the country. They  but his style was too diffuse and ornamented for
also exert a powerful influence in promoting and  exterior grandeur. In 1764, he published a valuaencouraging the fine arts, by the ample employ-  ble work, entitled " Ruins of the Palace of Dioclement they give to many artists, and by introducing  tian, at Salpatro, in Dalmatia," with seventy-one
them to the public through their works, and by   well engraved plates from his own drawings. The
diffusing a love of art.                         new University buildings in Edinburgh, and other
IACQUA, CRISTOFANO DELLS, an Italian engra-  public works, were erected after his designs. He
died in 1792, and was interred among the worthies
ver, who lived at Vicenza, near the close of the   ie in      n    s intee  mn te    t
last century. Heineken says he executed a por-        Westminster Abbey.
trait of Frederick the Great; also a larger print    ADAM, JAMES, brother to Robert, was also an
from the picture of "Merit Crowned by Apollo,"  architect of eminence, and elected architect to the
by Andrea Sacchi; a portrait by the same artist  King on the resignation of that office by his brother.
of Antonio Resqualini; and some plates for the  The Adelphi buildings and Portland Place, in Lonedition of the works of Metastasio, published at  don, are favorable specimens of his taste and abiliVenice in 1781. He worked chiefly with the graver,  ties.
in a feeble manner.                               ADAM, LAMBERT SIGISBERT, a celebrated French
ACQUISTI, LuIGI, an Italian sculptor, born at  sculptor, bor at Nancy in 1700, the eldest son of
Forli in 1744. He early visited Bologna, where he  Jacob Sigisbert Adam, also a sculptor, from whom
was much employed on bassi-rilievi; some of  he acquired the elements of the art. He went
which he executed for the steps of the Brachi Pal-  young to Paris and entered the Academy, where, in
ace, which gained him  considerable credit. He  1723, he obtained the first prize, and was accordace, which gained him  considerable credit. He
Iingly sent as royal pensioner to Rome, where he
also executed the sybils of the cupola of the church  remained tent as royal pensioner to Rome, where he
Della Vita. From  Bologna he went to Rome   remained ten years, applied himself constantly to
Delia Vita. From Bologna he went to Rom  e
where he executed many works, among whicm  the study of the antique, and gained great reputawhich  tion. His design for the fountain of Trevi was
were several Venuses. In the early part of this    epted by Clemnt XI, in preference to those of
century he was employed at Milan, where, in 1806,  eted b      lee nt X., in preerence to those of
he prepared some of the statues and bassi-rilievi  siteen other sculptors    ardinal  olinac p
for the cathedral arch of the Simplon. His mas- chased, and employed Adam to restore, the mutifor the cathedral arch of the Simplon. His mas-       s
ter-piece is considered his group of Venus pacify-  lated statues which were dug up from the supposed
ing Mars, in the Villa Sominariva, on the lake of  Villa of Marius, about five miles from  Rome.
Como, 1805. In 1816 he returned to:B ologna,  Adam also restored many other ancient statues,
rhe died in 1824.                              and executed several original works while at Rome.
where he died in 1824.              In 1732 he was elected a member of the Academy
ACQUARELLI, G., a Neapolitan painter of  of St. Luke, In 1733 he set out for Paris by the
merit, who excelled in architectural pieces. His  King's desire, and, visiting Bologna on the way,
compositions are said to be grand and imposing, but  was elected a member of the Academy of St Clemthey are not known out of his own country. He  ent. His first great work at Paris was the colosflourished about the middle of the seventeenth  sal group, in stone, over the cascade of St. Cloud.
century.                                         He made at Versailles, in concert with his brother
ACQUISTABENE, MAESTRO, a painter and de-  Nicolas, the Triumph of Neptune and Amphitrite;
signer of architecture, born at Brescia.  He flour-  also several other works for the Royal Gardens,
ished about the middle of the seventeenth century.  which were remarkable for their extreme finish,
and gained for Adam a popular reputation surpassDAM, JACOB, an engraer born at Venna,  ing all the sculptors of his time. The figure of St.
1748. He was brought up in the Imperial Acad-  Jerome, in the Invalides, is considered also one of
emy in that city. He executed the plates for the                         excelled in working in
Vienna Pictorial Bible, called the Bilder Bible,     l but devoted more attention to the execuwhi.h gained him much credit.  In conjunction  marble, but devoted more attention to the execuwhich gained him much credit. In conjunction  tion than to the conception of his works. In 1744
with John Ernest Mansfield, he engraved a series  he was appointed Professor in the Royal Academy
of portraits of the eminent personages of Austria,  at Paris; and in 1754 he published at Paris a folio
which are executed with great neatness and finish  work entitled,  Recuei de Sculptures Antiques,
-that of the Empress Maria Louisa is accounted   Grecques et Romaines," engraved after his own
the best.                                       designs. He died in 1759.
L,b ADAM, HANS, or JAN VAN, a German         ADAM, NIcoLAS SEBASTIEN, an eminent French
iL.. engraver, who lived about 1730.  Heine-  sculptor, born at Nancy in 1705; was the younger
ken describes six landscapes engraved by this  brother of Lambert Adam, whom he greatly surartist, marked with a monogram of his initials, and  passed in all the higher qualities of art. He visa naked figure under a tree. He also supposes  ited Paris when very young, and soon evinced
that some paintings, having the same monogram,  great talents. In his nineteenth year he was emwere executed by him.                            pployed to adorn the four fagades of a mansion at
ADAM, ROBERT, a British architect of consid-  Montpellier, at the conclusion of which undertakerable eminence, born at Kirkaldy, in Fifeshire,  ing he set out for Rome where he joined his broScotland, in 1728. His father, also an architect,  ther Lambert in 1726. In 1728 he obtained the
gave him a thorough education at the University  first prize of the Academy of St. Luke, and atof Edinburgh and then sent him to Italy to study,  tracted the notice of Benedict XIII.  He also




ADAM.                       6                    ADLE.
restored some mutilated statues. After a nine    ADLER, PHILIP, a painter, and some say, engrayears stay at Rome, he returned to Paris with the  ver, born at Nuremberg, in 1484. His fame is not
reputation of one of the best sculptors of the age.  worth much disquisition.  Two prints, St. ChrisOne of the first and best works he executed at  topher carrying the infant Jesus, and an altarParis, was a basso-relievo in bronze, for the Royal  piece representing the Virgin Mary crowned, with
Chapel of Versailles, representing the Martyrdom   a female saint holding the infant Christ, attributed
of St. Victoria. He assisted his brother Lambert  to him by Florent Le Comte and Mr. Strutt, are
in the Triumph of Neptune and Amphitrite, and  now ascertained to have been engraved by David
executed other works for the Royal Gardens; also  Hopfer (whose mark the perfect impressions bear),
various pieces for religious orders and for public  after this artist.
edifices.  His Prometheus chained, executed in
1763, is accounted his best statue; but his greatest  flourished  a, a D    tch p inter o meit who
work is the monument of the Queen of Poland,  flourished about 1662, and whose style is someeework is  te onument of te Queen of Poland,   what analagous to Weenix, but witha less free and
executed by the orders of King Stanislaus Lec-  delicate pencil
zinski, her husband, and placed in the church of        
Bonsecours, nearNancy. Nicolas Adam was also       ADOLFFS,. All that is known of this
appointed professor of sculpture in the Academy at  artist is, that he engraved a beautiful portrait of
Paris. He occasionally occupied himself with paint-  the'Duke de Biron, Marshal of France, on horseing.  Frederick the Great sent an emissary to  back, which is now very scarce.
invite this great artist to his court, but his brother  ADOLFI, four Italian painters, father and three
Lambert, to whom the King's agent applied, intro-  sons born at Bergamo, where they lived and died.
duced (as is said, out of jealousy,) his brother Gas-   known of Benedetto Adol, the father, save
pard (a sculptor of some merit, according to D'Ar- that he instructed his sons in his own profession.
genville,) as the younger Adam, who thus unknown   According to Tassi, Giacomo A. was born in 1682,
to Nicolas, received the appointment and salary  and died in 1741. He painted history with repuintended for his brother. Nicolas, however, is said  tation. He also painted sacred subjects for the
to have treated the imposition with perfect indiffer-  churches, convents and monasteries of Bergamo.
ence. He died in 1778, aged 73. See D'Argenville.  The Crownin  of the Virgin, in the Church of the
En\   ADAMO, -, an Italian engraver, who  Monastery del Paradiso, and the Adoration of the
r flourished at Mantua, about the middle of  Magi, in the Church of S. Alessandro della Croce,
the sixteenth century. He engraved a series of  are considered his best productions. Ciro A. was
seventy-six plates after the works of Michael An-  born in 1683. He possessed a more fertile genius,
gelo; also some plates after other masters not  and greater facility and freedom of execution than
mentioned. He usually marked his plates with  his brothers, and distinguished himself by some
this monogram, which means, Adamo sculpsit.      excellent fresco paintings in the public edifices at
ADAMS, PETERH an English engraver, who lived  Bergamo and in the state. His principal works
about 1700. He engraved some plates for books,  are, the Four Evanglistsin theChrchofS. Alesand etched some landscapes, which have little artis-  sandro della  roce; the Deposition from the ross
tic merit, and are only worthy of being noticed asa dele Grazi   a   the Delation of
iS.  John in the parochiale Cnurch of Colonola.
earlyspecimens ofthe artin England. He marked St John in the parochial Church of Colognola.
He died in 1758. Nicola A. was born in 1688.
his plates with a monogram of his initials, P. A.  e  ed in 1.        Nicola A. was bon in 
IIe excelled in painting battle pieces —time of his
ADAMS, ROBERT, an eminent English architect  death not recorded.
of the time of Queen Elizabeth, who appointed him
Surveyor of the Board of Works, and Architect to   ADRIANO,, a Spanish monk of the order of
the Queen. His works are not mentioned, but there  the Barefooted Carmelites,who lived at Cordova, and
are two plans of his extant which he published: the  died in 1650. He possessed an extraordinary talone is a large print of Middleburgh; the other is  ent for painting, which he practised only for amuseentitled, "Tamesis Descripto," showing by lines  ment. Ie took lessons from Pablo de Cespedes.
across the river, how far, and from whence, cannon  He   s     diffdent of his performances that he
balls may obstruct navigation, in case of an inva-  used to destroy or deface them  as soon as they
sion. from Tilbury to London, with proper distan-    ere finished, in consequence of which practice, his
ces marked for placing the guns. He died in 1595,  paintings are extremely scarce and valuable. Some
and was buried in the church at Greenwich, with  of his best works were preserved  by  the itercesthis inscription: "Egregio viro Roberto Adams, ion of his friends, through theholyfraud of re
operum regiorum supervisori, architecture, peri- cuing souls from purgatory. His chief work is a
ttssimo, ob. 1595.                               Crucifixion, now in the Convent of the Carmelites
ADAMSo, ROBERT, an English engrave, who  at Cordova. Pacheco, who knew him well, speaks
ADAMS, ROBERT, an English engraver, who
JDAMS, J' BER1 3 ^    4-^'is   tof him as a great artist; and Palomino says that a
drew and engraved representations of the several  of him as a great artist; and Palomino says that a
ractions that took place wile the Spanish Armada  Magdalen of his in the Convent, was considered by
actions that took place while the Spanish Armada  many as a genuine work of Titian.
was on the British coast. These prints were pub-                    w     o  ii
lished by Augustine Ryther, in 1589. The archi-    ADRIANSEN, ALEXANDER, a Flemish painter
tect and the engraver of this name are doubtless the  born at Antwerp, about 1625. He painted fruit,
same person.                                    flowers, vases, &c., in an admirable manner. He
ADDA, CONTE FRANCESCO D', a Milanese noble-  was particularly excellent in painting fish, to which
man, and amateur painter, who studied under Leo-  he gave such a surprising appearance of truth and
nardo da Vinci. He painted small cabinet pictures  nature, as to produce perfect illusion. His works
in the style of his master. There is an altar-piece  in this way are esteemed worthy of a place in the
in the Church of the Dominicans at Milan, attribu-  choicest collections. His works are designed with
ted to him. He died in 1550.                    great taste, highly finished, and extremely well




AELS.                      7                     AENE.
colored, with a judicious management of chiaro-  failing fountain of truth. Houbraken says that
scuro, which gives them a remarkable transparency.  he exceeded all the artists of his time in the corAELST, or AALST, EVERT VAN, a Dutch pain-  rectness and neatness of his designs, the draw.
ter of still-life, born at Delft, in 1602. He excelled  ing of his Rgures. the admirable management of
in painting dead game, birds, armor, vases of silver  his lights and shadows, the airiness, spirit, and
and gold, and other inanimate objects, which he  delicacy of his touch, and the excellence of his
represented with such delicacy and truth as gained  coloring. His works are so carefully finished
him great reputation. His works are carefully fin-  that the remotest parts will bear the most critiished, his pencil is clear and flowing, and all his  cal inspection, and the whole taken together,
objects are disposed in a very pleasing and pictu-appear exqute   bautiful  And  et this artist
resque manner. He was very particular in copying  passed his days in poverty andt neglect. He refrom  nature. He sometimes painted on a clear  ceived but a comparatively trifling compensation
white ground in a manner that produced a singu-      
white ground in a manner that produced a singu-  for Works that have since been sold for their
larly natural effect. He died in 1658.            weight in gold. He could scarcely support his
family, became embarrassed and was thrown into
AELST, PAUL VAN, was a natural son of Peter  prison, which, together with a want of appreciaKoeck, who adopted the name of Aelst. He was  tion of his works, had such an effect on his sensia good painter f fruit and flowers. He practised  tive mind, that he died soon after his release in
at Middleberg and Antwerp.                        the prime of life, in 1620.
AELST, or AALST, WILLIAM VAN [called in           Allzheimer designed entirely from nature, and
Italy Gulielmo], was the son of a notary, bprn   possessed such a retentive memory that he could
at Delft, in 1620. He was instructed in painting   copy from it, with perfect accuracy, any view he
by his uncle, Evert Van Aelst, whose style and  had seen. It was thus that he painted the Villa
subjects he adopted, though he greatly excelled  Madonna from memory alone, in which nothing
him.  His penciling is light, his touch deli-  was omitted. The trees and buildings were accucate in a wonderful degree, and he wrought up his  rately drawn, and even.the shadows of the differpictures to an extraordinary finish. He spent  ent objects were represented according to the prefour years in France, and seven in Italy, where  cise hour he meant to describe. He bestowed so
the exquisite polish and finish of his works gained  much labor on his works that they are not nuhim great reputation. The Grand Duke of Tus-  merous, and command  enormous prices.  His
cany invited him to Florence, gave him commis-  most capital works are, the Flight into Egypt;
sions, rewarded him liberally, and presented him   a Night Scene, in which he has introduced the
with a gold medal and chain as a mark of his es-  moon and stars with wonderful effect, now in
teem. He returned to Delft in 1656, but soon  the Louvre; the Angel with Tobit, drawing the
settled in Amsterdam, where his works were so  fish out of the water; the Beheading of St. John
much admired that he could with difficulty exe-  inPrison; the Angel with Tobit, crossing a brook;
cute all the orders he received, at any price he  Baucis and Philemon entertaining Jupiter and
pleased to charge for them. He died at Amster-  Mercury; Ceres Drinking out of a Pitcher; Latona
dam, in 1679.                                     and her Sons, and the Death of Procris. There
AELTS, NICHOLAS VAN, an engraver born at  are several of his pictures in-the Gallery at FlorAELTS, NICHOLAS VAN, an engraver, born at  ence. The Earl of Egremont has a collection of
Brussels.  At an early age he established him-   e   ain        of        e b  ths artitt
self at Rome, in 1550, where he carried on a con-  ten pantngs of small size by this artist, the subsiderable commerce in 5 pints for fifty years. Hc   jects of which are, St. Peter; St. Paul; St. John
siderable commerce in prints for fifty years. He  t  B i    Tb  a  t  Angel; an Old Woman
frequently omitted the names of the painter and  the Bapti;    obit  and the Ang; a      n Od Wman
and a Girl; an Old Man and a Boy; a Capuchin
engraver in the prints he published, inserting his  Friar, with a model of a convent in his hand
own with the word formis, to denote that he with a              model of a convent in his hand;
own with the word form^i, to denote that he was  Visit of Nicodemus to Christ; and the Interior of
the publisher.  Some of them, however, have   ithelby ire andcandle-light. The best defecit, or sculpsit, instead of forris.  Heineken  a Brothel by fire and candle-light. The best de
scription of his pictures will be found in the works
notices a set of twelve plates of birds by this    Hrationof hispictureswill befoundintheworks
artist.                                       -   of Houbraken, and Sandrart.  Alzheimer is sup^~~Artist.^^~~~   A Z M A[ e E      posed to have etched some plates of similar subA 5LZIEIMER, ADAM [Elsheimer, Elz-  jects,but this is not authenticated. His monoV     heimer]. This eminent painter, called  gram is composed of A. and A. dipthong, or of A.
by the Italians, il Tedesco, was born at Frank-  A. F. i. e. Adam  Elzheimer fecit. Some of his
fort, in 1574. His father, a tailor, finding an un-  best works have been engraved by his friend and
conquerable predilection for painting in his son,  patron, Count Goudt, which see.
placed him under the tuition of Philip Offenbach,    AE
AENEAS, P., an obscure German engraver of
a reputable painter of that city. His extraordi-,, an ose  era  eraer
nary talents soon enabled him  to surpass his  portraits in mezzotint, some of whose works are
master, and thirsting for knowledge in his pro-  described by Heineken.
fession, he set out for Italy, where he took up his    AERTS, RICHARD, a Dutch painter, born at
abode, studying the best masters with great assi-  Wyck, North Holland, in 1482. When a boy he
duity. At length he struck out into a style of  lost one of his legs, and during a long and tedious
painting peculiar to himself, which won him   confinement, he amused himself in sketching whatlasting reputation. His pictures are usually of  ever objects presented themselves to his view, in
cabinet size, some of them very small; the sub-  which he exhibited such an extraordinary talent,
jects landscapes, decorated with  figures from   that his father was persuaded to send him  to
mythology or ancient history;  sun-setting or  Haerlem, and place him under the tuition of John
sun-rising; night-pieces by candle-light, torch-  Moestaert, the elder, a painter of note. Here he
light, or moonlight. He was a close observer of  made surprising progress, soon surpassed his
nature, and drew all his designs from that never-  master, and became one of the ablest artists of his




AERT.                      8                    AGAR.
time. IHe afterwards settled at Amsterdam, was  preserved in many of the churches and convents
received into the Academy in 1520, and continued  at Naples. In the chapel of the monastery at Marto practise his profession with distinguished sue-  sico Nuovo, is an altar-piece-the Assumption of
cess to an advanced age. He died in that city, in  the Virgin Mary, which is highly esteemed. He
1577, at the great age of 95.                  flourished about 1650.
AERTSEN, PETER, mis-spelled AERTGEN, or    AGAR, JACQUES D, a French painter, born at
AERTGENS, [called by the Italians, PIETRO  Paris, in 1640. He was a pupil of Simon Vouet,
LONGO, from  his tall figure], an eminent his-  but on leaving this master, he applied himself
torical painter, was born at Amsterdam, about  solely to portrait painting, in which he became
1519. His father was a stocking weaver, and first  eminent. He went to England in the reign of
placed his son under Alaert Claessen, a reputable  Queen Anne, and was much patronized by the
portrait painter of that place; but he did not re-  nobility. From  thence he went to Copenhagen,
main longer with him than was necessary to obtain  where he met with still greater success, being
the rudiments of the art; for, at the age of eighteen,  greatly patronized by the King and Court. He
he had greatly improved himself by copying some  died at Copenhagen, in 1716.
capital pictures in the cabinet of Bossu, in Hainault, and about this time he painted some pictures    AGAMEDES, a Grecian architect, who lived
of interiors of kitchens with culinary utensils, and   C 1400, and brother to Trophonus, who assisted
the like subjects, executed with great taste and  him in erecting a temple to Apollo, on a mountain
spirit and extremely wellcolored. Notwithstand-  near Lebadea; also the temple to Neptune, near
ing these successful efforts, which gained him   Mantinea, and the renowned one of Apollo, at
much credit, he aspired to a higher branch of the  Delphos.
art-historical painting-in which he gained much   AGAPTOS, a Grecian architect, who, according
celebrity. It is no slight proof of his ability, that  to Pausanias, invented the porticos around the
when Michael Coxcie, of Mechlin, was applied to  square attached to the Greek stadii, for which he
for an altar-piece for the new church at Amster-  gained so much honor, that in every stadium they
dam, he declined the commission; observing that  were called the porticos of Agaptos.
they had no occasion for his services, when they  AGASIAS, a sculptor of Ephesus, the son of
possessed such a painter as Aertsen. His greatest  Dositheus, probably flourished about 450 B. C.
work, the Crucifixion, at Alkmaer, was destroyed  He was the author of the well-known marble statue
by a mob in 1566.                         X     called the Fighting Gladiator, now in the Louvre,
At Delft are two pictures by this artist, a Na-   alled     the  adiator, now in the Louvre
Offering of the Wise Men  and at  which was found among the ruins of a palace of
tivity, and the Offering of the Wise nlen; and atthe Roman Emperors, at Capo d'Anzo, the ancient
Amsterdam, in the Church of Our Lady, are three,    tium  where alsothe Apollo Belvedere was
viz: the Death of the Virgin Mary, a Nativity,  found.
and the Adoration of the Magi, all of which are
esteemed excellent performances. Aersten com-    AGELADAS, an ancient sculptor in bronze, of
posed his subjects ingeniously, his drawing was  Argos; lived about 500 B. c.; was especially celecorrect, and his coloring warm and harmonious.  brated as the master of Myron, Polycletus, and
He was skilled in perspective and architecture,  Phidias. He was the author of a  statue of Jupiand he enriched his grounds with animals and ele-  ter, in the citadel of Ithome; also the statue of
gant ornaments; his figures were well disposed,  Herules, which was placed in the great Temple at
his attitudes had grace and variety, and his dra-  Melite, in Attica, after the great plague. Pausanias
peries judiciously chosen and properly cast. He  mentions a number of other works by him, which
died at Amsterdam, in 1573. He had three sons,  appear to have been highly esteemed.
Peter, Arnold, and Theodore, whom he instructed    AGELLIO, GIUSEPPE, an Italian painter, born
in his own profession.                          at Sorento. He was a pupil of Cav. Cristoforo
AESTHERIUS, an architect of Constantinople,.Roncalli, called Pomerancio. He excelled inlandduring the reign of Anastasius.  He erected a  scape and architecture, and was much employed
great saloon, called Calci, in the Imperial Palace.  by painters of his time, to paint the landscapes
It is supposed that he built the wall erected for  and backgrounds of their pictures.
the defence of Constantinople, extending from Se-    AGESANDERofRhodes a sculptorwho,accorlimbria to the sea.
ding to Pliny, executed in concert with Polydo
AETION, a Grecian painter, who, according to  rus  and Athenodorus, a much admired group
Pliny, having exhibited his picture, representing  of Laocoon and his Sons, which was in the Palace
the nuptials of Alexander and Roxana, at the  of Titus, at Rome. There is scarcely a doubt
Olympic games, gained so much applause that  that this group is the identical one now in the
Proxenidas, the President, rewarded him by giv-  museum of the Vatican, discovered near the ruins
ing him his daughter in marriage. This picture  of the baths of Titus, in 1506.
was taken to Rome after the conquest of Greece,    A   AS RLPH an English engraver of maps
where it was seen by Lucian, who gave an accurate      A    AL,   Engsh eaver
and plans of London, Oxford, Cambridge, Dulwich,
description of it; from which, it is said, Raffaelle  and published about 1578 
sketched one of his finest compositions.                        an Eglish landscape painte
AFESA, PIETRO, an Italian painter, called    A AS, R, a      sl cpe p e
Della Basilicata, from his being a native of a prov-  Charles I., and ded at  ondon, in 1
ince of that name in the kingdom of Naples. His
works are wholly religious subjects. Dominici,    AGHINETTI, called GuccIO DEL SERO, a Florin his Lives of Neapolitan Painters, speaks of this  entine painter who lived about 1331, and is ranked
artist in very favorable terms. His works are  by Italian writers among the best artists of his




AGLA.                      9                     AGOR.
time. He had a nephew, called Maestro Guccio,  prophets at Orvieto, which occasioned Giotto to dewho was also eminent, and died in 1409.          dare them the most accomplished sculptors of their
AGLAOPHON.  There were two Greek pain-  time.  Vasari describes a number of their works,
ters of this name; one of little note, who lived  and among oers, the tomb the  executed for
about 50) B. c., and was the father of Polygnotus  Guido lord and bishop of Arezzo, in the Church
and Aristophon; the other of such merit as occa-  of S. Sacramento, in that city. As architects, they
sioned Cicero to say that Aglaophon, Zeuxis, and  erected a number of public edifices, mentioned by
Apelles, though totally different, were yet all per-  Vasari, the most important of which was the
feet in their several styles. The latter lived about  PalazzodiNovi, at Sienawhichgaiedthemthe
420 B. c., and executed two allegorical pictures of  appointment of State Architects.
Alcibiades, which he dedicated at Athens on return-    AGORACRITUS, a celebrated Greek sculptor, a
ing as a victor from Olympia.                    native of Paros; flourished in the fifth century
AGLIO, ANDREA SALVATORE DELL', an Italian   B. c.; studied under Phidias, and was the favorite
painter, born at Lugano, in 1736. He is said to  pupl of that great artist.  is most celebrated
have been the first artist who discovered the me-  work was the statue of Nemesis, at Rhamnus,
thod of fixing colors on marble. He died in 1786.  which was considered one of the first productions
of the art, and obtained him great celebrity.
AGLIO, CLAUDIO, an Italian engraver, who 
practised at Rome in the middle of the seventeenth  AGRATE, MARCO FERRERIO an Italian scu
tor; ived near the close of the fifteenth century.
century.                                       He executed several works in the cathedral at
AGNOLO, ANIELLO FIORE, a Neapolitan sculp-  Milan, among which is the celebrated statue of St.
tor of the fifteenth century; executed two works  Bartholomew flayed. It is worked in marble with
in San Domenico Maggiore, at Naples, which, accor-  extreme care and anatomical precision, but is devoid
ding to Cicognara, possess considerable merit in  of taste.
design; one a basso-relievo, dated 1470; the other,                    a  I           r   r 
a Virgin and Infant, with two Angels, on the    AGRESTI, an Italian painter, born at
monument of Mariano Alaneo.                      Forli, a town in the Roman territory. He studied
under Pierino del Vaga at Rome, where there are
AGNOLO, BACCIO D', a Florentine carver and  many of his works in fresco and in oil. He rose to
architect of some merit, born in 1460. According  great eminence, and was employed by Pope Gregto Vasari, he erected a part of the great Hall of  ory XIII., in the great works that were executed by
Florence, also a palace for Giovanni Bartolini, in  his order in the Vatican. In the great staircase is a
the Piazza of the Santa Trinita; and the lantern  grand fresco painting by him, representing Philip of
of the cupola of Santa Maria del Fiore. He also   Arragon submitting his kingdom to the dominion
designed a garden at Gualfondo, the Villa Borghe-  of Pope Eugenius III. There are also several of
sini on the Poggio, the Campanile of Santo Spirito,  his works in the churches and public places at
and that of San Majano. He died in 1543.         Rome. In S. Catarina di Funari, he painted St.
AGNOLO, GABRIELLO D', a Neapolitan archi-  Peter, St. Paul, and the Annunciation; and in the
chapel of S. Spirito in Sassia, a fine picture of the
tect, who lived about 1470, and built the church
of S. Giuseppe, and that of Santa Maria Egiziaca,  Assumption of the Virgin Mary. His best works
which gained him so much fame that D. Ferdinando  are in his native city, Forli, where he painted in the
Orsini, Duke of Gravina, chose him, in preference   hapel of the cathedral, the Last Supper and some
to San Severino, to construct his palace; which,    mirale figures of the prophets. He died at
though built in bad taste, is, nevertheless, one of  Rome about 1580.
the best edifices in Naples.                       AGRICOLA, CHRISTOPHER LUDWIG, a German
AGNOLO, FRANCESCO, a Florentineainter of  painter and engraver, born at Ratisbon in 1667.
history, who flourished about 1550. No particu-  He excelled in portraits and landscapes, but is
lar account is given of his works.               chiefly known by his prints, particularly one of
lar acontiivnofhswDiana and Acteon, signed Agricolafecit.
AGOSTINO, DI MILANO, called DELLE PROS-, signed Agicoafecit.
PETTIVE, a native of Milan, and flourished about    AGROTE, ANTONIO, a Milanese painter of the
1525. He was a scholar of the celebrated Bra-  last century. He painted one of the chapels of the
mante. He was a very skilful painter, and excelled  Carmine at Milan; also the decorations of the
in serial and linear perspective, and imitated doors   church of Santa Maria, at Brescia, while Carloni
steps, and windows, so perfectly as to deceive men  paintedthefigures. Hewas livingin 1750.
and animals. He painted a piece in the Carmine,    AGUCCHIA, GIOVANNI, an old engraver, born
at Bologna, which for the foreshortening, Lomazzo  at Milan. He engraved several plates representing
instances, with the cupolaof Correggio at Parma, as  the dome of the cathedral of that city, to which he
models of excellence.                            affixed his name in full; also some other plates of
AGOSTINO, DI SAN AGOSTINO, an Italian en-  public buildings, signed with his name, or initials,
graver, who is merely known by a few  prints.  G A.,fecit.
There is a fine print by him after the Zingara of    AGUERO, BENOIT MANUEL, a Spanish battle
Correggio, representing the Virgin Maryin the dress  and landscape painter, born at Madrid. He was a
of a Bohemian, sitting with the infant Jesus, in a  scholar of Mazo Martinez, whose style he followed.
landscape, and St. Joseph writing.               He also endeavored to imitate Titian in some hisAGOSTINO, and AGNOLO, of Sien, two bro-  torical compositions, but without gaining much repthers, distinguished as sculptors and architects,   ttion.   e diedatMadridin  670.
were born about the middle of the thirteenth cen-    AGNELLI, FEDERIGO, an Italian engraver of
tury. They both studied under Giov. da Pisa, a  portraits, medals, and emblematical subjects. He
sculptor of Siena, and executed several statues of  also engraved a set of plates representing the dome




AGUI.                      10                    AIMO.
of the Cathedral at Milan, to which he affixed his  with Sir Godfrey Kneller, whose tastes and studies
own name, and that of the architect, Carolus  were congenial with his own, and whose style he
Butius.                                          largely copied. He possessed considerable literary
AGUIAR, TOMMASO DE, a Spanish painter, and  acquirements, and was intimate with Allan Ramsay,
disciple of Velasquez, who flourished about the  Thomson, and Mallet. He died at London in 1731.
middle of the seventeenth century. He chiefly   Mallet wrote his epitaph, and Thompson his elegy.
painted portraits, which were remarkable for free-    AIMO, DOMENICO, calledVARIGNANA, an Italian
dom of style and striking resemblance. He painted  sculptor, lived in the early part of the sixteenth
the portraits of many distinguished persons at  century; executed several of the statues over the
Madrid, among which was one of De Solis, the  principal gate of San Petronio at Bologna.
poet, who tuned his lyre in praise of the artist.    A   LA                               an IdHe also painted small figure pieces in a style of     AIRLA, DONNA ANGELA VERONICA, n    -
excellen^e.               -                      lan paintress, born at Genoa. According to Soexcellence.
prani, she was instructed in the art by Domenico
AGUILA,  FRANCISCO DEL, a Spanish fresco   iasella, called Sarezana. She acquired a considpainter, who lived at Murcia in the latter part of  erable reputation, and painted some pictures for the
the sixteenth century. He painted the beautiful  churches at Genoa. She became a religious, and
mausoleum of Alfonso the Wise, in that city, in  died in a convent in that city in 1670.
1570.
AGUILAT   MIGUEL DEL a Spanish historical             AKEN, F. VAN, a Dutch painter of fruit,
AGUILA, MIGUEL DEL, a Spanish historical   V'flowers, and still-life. There is no pubpainter, whose pictures are valued for their near  lished account of him,but his pictures have a  onoapproach to the style of Murillo. He died at
aSppe ch tthe style of Murillo. He died at  gram of his initials, F.V.A., or his signature, F. v.
Seville in 1736. 
AGUIhERA, IAGO, or DIEGO DE, a Spanish pain-    AKEN, JOHN VAN, a Dutch painter and engrater of sacred subjects, who practised at Toledo about  ver, who lived in the first part of the seventeenth
1580 with reputation. He was a man of concilia-  century. He is principally known by his prints,
ting manners. and a good judge of works of art. He  which are executed ina very mastery nannerwas frequently consultedby the nobility and others,  particularly his landscapes. He was a contempoas to the prices demanded by artists, and did jus-  rary and friend of Peter de Laer. He marked his
tice to both. Most of his paintings were destroyed   plates with J.  A., or a monogram of his initials
by fire. Time of his death not recorded.
AGUIRRE, FRANCISCO DE, a Spanish painter,  thus:               W   or         It maybe prper
and pupil of Caxes. He resided at Toledo, and devoted himself to portraiture and the restoration of  to caution the reader not to confound this artist
paintings. He was employed to restore the paint-  with John Van Achen born in 1556.
ings in the cathedral, and gave abundant proofs of  AKEN  JOSEPH VAN  a Dutch painter, who
his ignorance and presumption, by altering them   passed the greater part o his life in England. He
according to his own notions; a practise that has  was employed by some eminent landscape painters
been pursued by others since his time, to the ruin   was employed by soe eminent andscape painters
eeen pursued by others since  tis time, to the ruin  to introduce the figures into their pictures, at which
of many fine pictures by the best Spanish masters.
he was very skilful. He also painted on satin and
AGUIRRE, JUANES, a Spanish sculptor, born at  velvet so well as to attract considerable attention.
Legovia; was the scholar and son-in-law of Matteo   He died at London in 1749.
Inverts; executed the Tabernacle of the Church of    AKERBOOM,         a Dutch painter who lived
Villacastin, with the statues of the Evangelists'and    he middle of the seventee ntury. He
six other Saints, in 1594 which, according to Ber-  about the middle of the seventeenth century. He
six other Saints,   1594, which, according toBer-  painted interiors of cities and villages, comical
mudez, possess considerable merit.               scenes such as the exhibitions of mountebanks,
AICARDO, GIOVANNI, an architect of Cuneo, in  fairs, &c., which he executed in a spirited manner.
Piedmont, who lived about 1600. Soprani says he  with a high finish.
built the public granaries of Genoa; carried the   The author has seen several paintings by this
aqueduct of Calzolo a length of eighteen miles,  artist bearing his signature. There area multitude
over hills and vallies; and built the choir of San   of paintings and engravings by the old Flemish.
Dominico and the Serra Palace.                   Dutch, and German artists in the United States.
AIGEN, KARL, a German historical painter,  They frequently bear the signature or monogram of
born at Olmutz in 1694.. He excelled in figures of  the painter. One Dutch house, still doing business
a small size, executed with great care, among which  in New York, has imported in past years over fortyFuseli mentions a picture of St. Leopold, considered  three thousand paintings from  the old country.
one of his best works. He died at Vienna in 1762.  The number of paintings which have been brought
to the United States is incredible to persons not
AIKMAN, WILLIAM, a Scotch painter of consid-                 States is  crble to persons not
erable eminence, born in Aberdeenshire in 1682.      iliar with the subject. About eighteen years
His father educated him for the law, but his predi-  ago, a dealer brought with him  from  Florence,
lection for painting was so strong, that on his leav-  twenty thousand whh he has een selling ever
ing the University of Edinburgh he sent him to  since, at auction as well as at private sale, and he
Italy, where he resided some years. On his return   ha stacks of them yet unsold.
to his native country he was greatly patronised as    AKERMAN, ANDREAS, a Swedish engraver,
a portrait painter. At length the Duke of Argyle  born 171*; executed principally maps and porinduced him to remove with his family to London;  traits; also some plates for the works of Linnaeus.
where, under his protection and influence, he ob-  He died in 1778.
tained the patronage of some of the first families in  AKERSLOOT, WILLIAM, a Dutch engraver
the kingdom. In London he formed an intimacy   born at Haerlem, about 1600. He engraved some




AKRE.                       11                     ALBA.
portraits and other subjects, among which the fol-  sequently executed several important works in the
lowing are the principal: Frederick Henry, Prince  Verospi Palace at Rome, where he represented
of Orange; and Amelia, Princess of Orange, with  subjects from Ovid in a manner characterized by
her two Daughters, after A. Vander Venne; Christ  great science and ingenuity. These works estabtaken in the Garden, after H. Hondius; Christ  lished the fame of Albano throughout Italy. The
bound; and Peter denying Christ, after P. Molyn.  Duke of Mantua invited him to his court, where
AKREL, FREDERICK, a Swedish engraver, born   he executed some pictures representing the story
in the province of Sundermania, in 1748. He was  of Diana and Acteon, and Venus and Cupid.
instru;ted in the art of engraving by Ackerman at    Returning to Rome, he executed the large works
to be seen in the Tribune of the Madonna dellh
Upsal. In 1771 he settled at StoPace.  In the Church of San  Sebastiano is an
is a set of ten well engraved portraits of Swedish
personages by him, numbered from one to ten.       altar-piece representing the martyrdom  of that
saint, entirely in the style of the Caracci; and a pieALABARDI, GIUSEPPE, a Venetian  painter,  ture of the Assumption, painted in conjunction with
who lived about 1600. He is highly complimented   Guido Reni. Many others of his works are in the
in an epigram, by F. Ruggerius, for a picture repre-  most eligible localities of Rome. Among his best
senting the amours of Mars and Venus.              works at Bologna are the Baptism of Christ, in S.
ALAMANNI, GAETANO, a Bolognese painter,  Giorgio; the Annunciation, in S. Bartolomeo; and
who distinguished himself in architectural and  the Resurrection in S. Maria de Galeria. His cornornamental painting. He died in 1782.              positions are ingenious and abundant, his figures
ALAMANNI, PIETRO, an Italian painter, born   are both elegant and graceful; but he must be reat Ascoli. He was a pupil of Carlo Crivelli, anAd  garded rather as an agreeable than a great painter,
painted historyand portraits with reputation.ao ofor his style is more beautiful than grand, and the
painted history and portraits with reputation. He  soft and delicate forms of women and hildrenwe
soft and delicate forms of women and children were
lived about 1489.                                  more suited to his powers than the delineation of
ALBACINI, CARLO, a Roman sculptor, who  the muscular movements of men. He generally
lived near the close of the last century. He was  chose the pleasing subjects of the fable, that admit
much employed in the restoration of ancient sculp-  of the graceful and amiable, rather than the heroture, and Winckelmann praises him as one of the  ism of history, that call for nobler exertions of the
most successful in the restoration of the human   sublime and terrific. The landscapes in the backfigure. Albacini made a valuable collection of   ground of his pictures are exceedingly pleasing,
casts from the antique; and, in 1780, executed two  touched with exquisite taste, and his fresh and
monuments for the Empress Catherile II., of Rus-  delicate coloring charms the beholder. Lanzi calls
sia. He was living in 1807.                        him the Anacreon of painting: the fame the poet
ALBANO, FRANCESCO, an Italian painter, born   acquired from the charming fancy of his odes, the
at Bologna, in 1578, the son of Agostino Albano, a  painter reached by the fascination of his cabinet
respectable silk merchant in that city.  When   pictures —as the one sung of Venus and the Loves,
very young, he showed a strong inclination for  so the other chose the most tender and seductive
painting, and though his parents were extremely  subjects. He married at Rome, and intended setdesirous that he should follow his fatherbs profes-  tling there for life; but losing his wife, he returned
sion, yet through the influence of an uncle, who  to Bologna and married again. His second wife
had a strong predilection for the art, they were  was of good descent and very handsome. Albano
induced to allow Francesco to follow his natural  cherished for her the fondest affection, and mado
inclination; and at the death of his father, which   her the model of his graces, nymphs, and other
happened when he was twelve years old, he was  female forms. She brought him several very beauplaced under the tuition of Denis Calvart, whose  tiful boys, whom he made the models of his cupids;
school then held a high reputation. Guido Reni,  and it was from them that the sculptors Flamand
who was then studying under Calvart, and the  and Argandi modeled some of their cherubic statues.
most proficient and ablest of his scholars, became a  At Burghley House, the seat of the Marquis of
firm friend of the youthful Albano, and, in fact,  Exeter, are some fine tapestries from his designs.
his preceptor; for Calvart drew only one profile  Among his best works are the pictures of the four
for him, leaving him entirely to the management  elements, painted for the Cardinal Maurice, and
of Guido, under whose instruction he made rapid  nowin the gallery at Turin. They have been often
advances. Guido, having learned all that he could  copied, some so successfully as to pass for the origacquire from Calvart, entered the school of Lodo-  inals. Albano died at Bologna, in 1666, at the
vice Ckracci, at that time the. most famouas in  great age of 88.
Lombardy; whither his friend Albano soon fol-    ALBANO, GIOVANNI BATTISTA, the brother and
lowed him. They studied there with great assidu-  scholar of Francesco Albano.  He followed ther
ity, accompanied by a spirit of emulation condu-  manner of that master, and imitated him successcive to the advantage of both. Guido, on leaving  fully in historical subjects as well as landscapes,
the Caracci, went to Rome, whither Albano soon  thereby gaining some reputation. He died in 1668.
followed him. His genius soon gained him repu-    ALBANSI A                an Italian engraver, who is
tation at Rome, and Annibale Caracci, who fell                             I
sick while painting the chapel of St. Diego, in the only known by some beautiful and spirited etchnational church of the Spaniards, designated Albano whings of architectural ruinrs in and abouwhich it appRomears
his successor in the work; and the greater partof  which bear his name; and from which it appears
it was completed by him in a manner that gained   heenteenth century.
him  much reputation. The Marquis Giustiniani  enteenthcentury.
employed him to adorn the gallery of his villa at    ALBERELLI, GIACOMO, an Italian painter, born
Bassano, where he represented the story of Nep-  at Venice, and lived about 1600. He studied under
tune and Galatea, and the fall of Phaeton. He sub-  Jacopo Palma, the younger, and remained with that




ALBE.                        12                       ALBE.
master as a coadjutor for thirty-four years.  He   amounting to about 180, of which 75 are from his
was a reputable painter of history, and there are   own designs; the others are from  M. Angelo
some of his works in the public edifices at Venice,  Raffaelle, Polidore  da Caravaggio, Andrea  del
the best of which is a picture of the Baptism of   Sarto, and other great masters.  He died at Rome
Christ, in the Church of the Ognissanti, or All  in 1615.  He generally marked his prints with one
Saints.  He died about 1650.                          of these ciphers:
ALBERICI, ENRICO, an Italian painter, was born                C            C            C
at Vilminore, in the territory of Bergamo, in 1714,                    or            or
and studied three years'under Ferdinando Cairo of              J 3., or LU /.
Brescia.  Tassi, in his account of the Bergamese              flwingarehis         ipal
painters, gives a particular description of some
of his works, and says he was an artist of dis-                 SUBJECTS FROM HIS OWN DESIGNS.
tinction.  Among many others, he painted for the        Portrait of Pope Gregory XIII., oval with ornaments
Church delle Miracoli at Brescia. the Woman of  do. of Pope Urban VI., the same; do. of Henry IV., ot
Samaria, the Parable of the Pharisee and the Pub-  France, oval, dated 1595; do. of Pietro Angelo Bargeo;
lican, the Raising of Lazarus, the Prodigal Son, and   Judith with the Head of Holofernes; the Nativity, inscribed
the Good Shepherd.  He died in 1775.                  Deus omnipotens, &c.; the Flight into Egypt, dated 1574;
the Holy Family, with St. Elizabeth, dated 1571; another
ALBERT, SIMON, a noted Dutch historical pain-  Holy Family, St. Joseph seated with a book; the Body of
ter, born at Haerlem in 1523, studied under Jean   Christ supported in the clouds by Angels, inscribed MagMostaert.  He lived to a great age, but the year of  num pietatis opus, 4c.; the Virgin Mary and Infant in
his death is unknown.                                the clouds, inscribed Regina coeli; Mary Magdalen penhis death is unknown.                                 itent, dated  1582; St. Catharine receiving the StigALBERTI, ANTONIO, an Italian  painter, of   mata, dated 1574; St. Christian drawn out of the Sea; St.
Ferrara, who lived about 1450; was a painter of   Francis receiving the Stigmata, dated 1599; St. Charles of
a   li   bt s a painter    Borromeo, kneeling before the Virgin and Infant, dated
portraits and biblical subjects, and gained much   1612; Six plates of Children or Cupids, for ceilings, dedicareputation.  He had a son of the same name, who   ted to Cardinal Visconti, dated 1607.
was also an eminent artist, living about 1550.
There are many painters mentioned of this name,    SUBJECTS FRO  THE DESIGNS OF VARIOUS MASTERS.
but their genuine works it would be difficult to        After Michael Angelo.-The Crucifixion; St. Andrew
ascertain,                                            bearing the Cross, dated 1580; two other Figures, from the
Last Judgment, dated 1591; St. Susanna, with a Sword,
ALBERTI, ARISTOTILE, an eminent Bolognese  leaning against a pedestal; Prometheus devoured by the
architect of the fifteenth century.  He removed the   Vulture, dated 1580; Charon, with two other Figures, dated
bell-tower of S. Maria del Tempio, at Bologna, with   1775; and the famous Statue of Pieta.
all the bells, to a place thirty-five feet distant.  At    After Polidore da Caravaggio.-The Creation; Adam
Cento, in the Church of Biagio, he set the bell-  and Eve subjected to Labor; the Death of Niobe and her
tower upright, which  inclined  five and  a half   Children, in five sheets, for a frieze; the Rape of the Satower upright, which inclined  five and a half
bines, do.; the Triumph of Camillus, in the style of the
feet; and in Hungary he rebuilt the bridge over  antique; Pluto holding a Torch, do.; Fortune standing on
the Danube, and performed other great works, so   a Shell, do.
that the King knighted him, and allowed him  to         After Rafaelle.-The Resurrection, a grand composicoin money and stamp it with his own name.  tion; the Presentation; the Holy Family, dated 1582; the
John Basilide, the great Duke of lMoscovy, sent for  Graces and Venus leaving Juno and Ceres, dated 1582;
Jupiter and Ganymede, dated 1580.
Alberti, and commissioned him  to build several    After I Rosso.-The Transfiguration; the Adoration
churches.                                             of the Magi, dated 1574; Christ praying on the Mount,
ALBERTI,  CHERUBINO, a distinguished Ital-  dated 1514; the Stoning of St. Stephen; a piece of ArchiALBERTI,  ~~tecture in two sheets, dated Roma, 1575.
an painter and engraver, born at Borgo S. Sepol-    After Andrea del Sarto.-The Baptism of our Saviour,
Jro, in 1552.   The  family of Alberti is very   dated 1579; the Miracle of St. Philip Benizzio, very finely
eminent in  art.   His father, Michele Alberti,  executed.
instructed him  in the art, and he became distin-    After TaddeoZucchero.-The Adoration of the Shepguished as a painter of history.  At Rome he exe-  herds, in two sheets, dated 1775; the Holy Family; the
cuted some important works. both in oil and in   Scourging of Christ; the Conversion of St. Paul; the Ascuted some important works, both in oil and in  sumption of the Virgin.
sumption of the Virgin.
fresco; the principal of which are in the church of     After Federigo Zucchero.-The Assumption of the
S. Maria in Via.  As an engraver, however, he   Virgin; the Coronation of the Virgin.
was far more distinguished, and his works in this art    After Pierino del Vaga.-Christ Praying in the Garare very extraordinary productions of uncommon   den.
genius, at a time whenthe art was far from its sub-  15ter Pietro Tibaldi.-Tobit and the Angel, dated
sequent perfection. It is not known from whom
he learned it; but from his manner, especially in his.ALBERTI. DURANTE, an Italian painter, born
earlier works, it is probable he was a scholar of   at Borgo S. Sepolcro, in 1538.  Baglioni says he
Cornelius Cort, and subsequently to have acquired   visited Rome when young, during the pontificate
a more correct and freer style by studying the   of Gregory XIII.  He soon gained eminence by
works of Francesco Villamena, and Agostino Car-  several works he executed for the churches and
acci.   His plates  are  executed  entirely  with   other public edifices.  In the Church of S. Girolathe graver.  His outlines, especially in the nude,  mo della Carita, one of the chapels is entirely painare generally correct, and his heads have a pleasing   ted by him  in fresco; and the altar-piece, in oil,
expression; but his draperies are clumsy and stiff.  representing the Virgin and Infant, with St. BarHIe has preserved in his prints some of the beauti-  tolomeo and St. Alessandro. In S. Maria de Monti,
ful friezes by Polidore da Caravaggio, painted on   he painted the Annunciation; and there are some
the fagades of the public edifices, which have been   of his works in several other Roman churches.
destroyed by time.                                    His portrait is in the Academy of St. Luke.  He
Alberti executed a large number of prints,  died in 1613, and was buried with great honors, in




ALBE.                      13                    ALBE.
the Chiesa del Popolo, attended by all the princi-  Parma, and had the advantage of attending the leo
pal artists of Rome.                              tures delivered at the Academy of Fine Arts in that
ALBERTI, GIOVANNI, brother of Cherubino A.,  city. In 1770 he was employed by the Grand
an Italian painter, born at Borgo S. Sepolcro, in  Duke of Tuscany, to design the embellishments of
1558, and was instructed in the art by his father,  one of his villas near Florence. He also visited
Michele Alberti. Baglioni says he visited Rome  Rome and Naples for improvement. At Milan he
during the pontificate of Gregory XIII., and was  gained great reputation by the interior decorations
employed by that pontiff in the Vatican. He was  of the Palazzo Reale. He also executed many other
most distinguished in landscapes and perspective,  works, and wrote several valuable treatises, which
Cherubino usually painting the figures. He was  contributed not a little to diffuse the author's repemployed by Clement VIII. to paint the Sacristy  utation through Germany and France.  By hif
of St. John of Lateran.  His portrait is in the  own countrymen he was considered as high author
Academy of St. Luke. He died in 1601.             ity in all matters of ornamental architecture. He
ALBERTI, LEON BATTISTA, an eminent Flor-  was employed to design and execute the embellishentine architect, was born in 1398. According to   ments of the Imperial Villa at Monza, and wa"
Vasari, he was of noble descent and highly educa-  appointed Professor of Decorative Architecture il
ted.  Hle repaired the conduit of the Acqua Vir-  the Academy of Fine Arts at Milan. He died in
gine and made the fountain of Trevi, at the request  1840, at the advanced age of 98.
of Nicolas V. He also designed a cover for the    ALBERTOLLI, RAFFAELLO, son of the precedbridge of Sant' Angelo; probably erected the prin-  ing, distinguished himself as an engraver both in
cipal fagade of Santa Maria Novella at Florence;  mezzotint and etching, and executed many porbuilt the Tribune della Nunziata at Florence, the  traits of individuals of note. IIe died in 1812.
church of St. Andrea, and many other buildings at    An                          Iin   in       n
Mantua. He also commenced a beautiful addition      ALBERTNI, an Italian painter, an
imitator of Carlo Maratti, who lived about 1680.
to the old Temple of Rimini, and to rebuild the     tator of Carlo Maratti, who lived about 1680.
tBasilca  Vaticanam   but did  not complete either   There are some pictures by him in the Church of
Basilica Vaticana, but did not complete either.  San Carlo in Santa Maria and other churches of
Alberti deserves to be considered as one of the prin-, in Santa Maria, and other churches of
cipal restorers of ancient architecture, though his  Ro
taste gives evidence of the obscure times from      ALBERTUS, H. C., a German painter and enwhence he emerged. He died in 1472.              graver; born in Saxony; lived about 1660. He
ALBERTI, MICHELE, an Italian painter, proba-  painted a portrait of John Seckendorff, rector and
bly the brother of Durante, born at Borgo S.  professor at Zwickau, considered a fine work of
Sepolcro, about 1527.  He studied under Daniello  art, which he afterwards engraved.  He died in
Ricciarelli, called da Vollena. The name of Alberti  1680
is illustrious in art. He was the father of Cheru-    ALBINI, ALESSANDRO, an Italian painter, born
bino and Giovanni A., and painted history with  in 1586 according to Zani, though others place his
reputation. His chief work is a picture in the  birth in 1575. Malvasia says he was a native of
Church of the Trinita dell' Monti, representing the  Bologna, and a talented scholar of the Caracci. He
Murder of the Innocents.                         executed some designs for the funeral ceremony of
ALBERTI PIETRO FRANCESC, an Italian pain-  Agostino Caracci, which gained him great distinctrALBERT e, PIETRO FRANC,5O, and thlian pao-  tion. There is a painting by Albini in the Church
ter and engraver, born in 1584, and the son of  of S. Michele in Bosco, at Bologna, of the Sepulture
Durante Alberti, in whose style he painted histor-  S.  lein and St Tiburtius and in S.Pietro
ical subjects. He engraved a plate called Academia  oartyri, St. Peter, St. Catherine and St. Cecilia.
it' ha many ^     Martyri, St. Peter, St. Catherine, and St. Cecilia.
delle Pittori, a large print lengthways; it has many ni says he died in 1646.
figures, is etched with great spirit, and evidently
done by a painter. It is marked, Petrus Francis-    ALBINI, GIUSEPPE, called Sozzo, a painter
cus Albertus, inv. etfec. He died in 1638.       sculptor, and architect, of Palermo; lived about
ALBERTINELLI, MARITTo, an Italian pain-  1590; studied under Giuseppe Spatafora; executed
ABERTIEI,   MARIToan Itin a        two statues placed on each side of one of the gates
ter, born at Florence in 1475. He was the disci-  of Palermo, which gained him considerable reputaple and friend of Fra. Bartolomeo di S. Marco,   o       e alo e     ed other works in his diferwhose style he followed, and whose merit he nearly  tion. He also executed other works in his differ~capproached.  According to Vasari, t he wras of so  ent capacities, for the Viceroy Colonna, and several
approached.  According to Vasari, he was of so
jealous and unhappy a disposition, that on hearing. He       in 1
some unfavorable criticisms on his works, he    ALBONI, PAOLO  [called Paolo Antonio by
became so disgusted as to abandon the art for some  Oretti], a Bolognese landscape painter of the last
time, and it was only upon the earnest persuasions  century. After practising some time in Italy, he
of his friends that he returned to it. His works  went to Vienna in 1710, where he remained about
are almost wholly upon sacred subjects, and are  thirteen years; but losing the use of his right side
considerably esteemed. Several of them are in the  by paralysis, he returned to Bologna and comchurches and convents at Rome, Florence, and  menced painting with his left hand. Alboni folViterbo. In the Church of S. Silvestro a Monte  lowed the style of Ruysdael and other Dutch masCavallo, is a picture by him of the Virgin and  ters. His later pictures are inferior to his earlier
Infant on a throne, with S. Domenico, and S. Cat-  productions. He died in 1734.  His daughter,
erina da Siena; and at Florence, one of his first  Luigia Maria Rosa was also a distinguished landproductions, representing the Visitation, painted  scape paintress.
for the Congregaizione de Preti, but subsequently  ALBORESI, GIACOMO, a Bolognese painter,
removed to the Tribune in the Florentine Gallery.  born in 1632, and a scholar of Agostino Metelli.
He died in 1520.                                 He painted history, but was more distinguished for
ALBERTOLLI, G1OCONDO, a distinguishedItal-  views of architecture. He worked chiefly in fresco.
ian architect, born at Bedano in 1742; studied at  and in conjunction with Fulgenzio Mondini, painted




ALBR.                        14                      ALDE.
for the Church of S. Petronio at Padua. the Death      ALDE, H. VAN, a Dutch painter and engraver.
and Canonization of St. Anthony.   He painted   who lived about 1650. He painted a portrait of
some perspective pieces in the Church of S. Gia-   Gaspar de Charpentier, an ecclesiastic of Amstercomo Maggiore, in which the figures were execu-  dam, which he subsequently engraved.
ted by Bartolomeo Passarotti.  He died in 1667.                     ALDEGREVER   HENRY  incor
ALBRION, DOMENIGO DE, a Spanish sculptor;   7            or  A  rectly called ALBERT ALDEGRAEF,
lived near the close of the sixteenth century; exe-                 a German painter and engraver,
cuted, in concert with Nicolas Larraut, the statues   born at Zoust, in Westphalia, in 1502.  Sandrart
of Aaron and Melchisedeck in the Cathedral of   has called him  Albert, misinterpreting his monoTarrajona, which are extolled by Pliny for their  gram.  Charmed with the works of Albert Durer,
correctness of design, and the tasteful simplicity of  he visited Nuremberg to study under that master.
their draperies.                                     He followed Durer's style in both arts, and became
ALBRIZZI, or ALBERICI, ENRICO, an Italian  Yvery distinguished.  Returning to Westphalia, he
historical painter, born near Bergamo in 1714;  at first devoted himself to painting and, according
to Mr. Fuseli, executed some pictures for the
studied under Ferdinando Cairo, at Brescia, where                    executed some pictures for the
many of his best works are preserved; the Church   churches and convents, which approach the merit
delle Miracoli contains several.  He died in 1775.    f Durer.  M. de Piles speaks very highly of a
picture of the Nativity by Aldegrever.  Some picALCAMENES, one of the most eminent of the   tures by him  are to be seen in the Galleries of
ancient Greek sculptors, was born at Athens, and   Munich and Schleissheim, and at Berlin a remarka scholar of Phidias. He lived in the fifth century   able one of the Last Judgment. After a few years
B. C. This eminent sculptor is distinguished for  he applied himself entirely to engraving, and behis works in marble, in bronze, and in the mixed   came very distinguished among that class called
materials so much in use at that time.  His most  the little masters from  the small size of their
celebrated production was the Venus of the Gar-  plates.  He worked entirely with the graver in a
dens; a work of such extraordinary excellence that  style evidently founded on that of Albert Durer;
style evidently founded on that of Albert Durer;
even Phidias himself assisted in finishing it. Alca- his execution is uncommonly neat, and his plates
menes and Agoracritus executed two statues of  are finished with great correctness and delicacy.
Venus, which were submitted to the judgment of   His design, though not incorrect, is evidently
the Athenians.  That by Alcamenes obtained the   Gothic, though not more so than the artists of his
prize; not, we are told, from the superiority ofthe   country at that time.  He usually marked his
work, but because he was anAthenian, Agoracritus   plates with a monogram.  He executed a large
being a native of Paros.  It has been a question   number of plates, the principal of which are the
whether this was the celebrated Venus of the   following.  Full descriptions may be found in
Gardens, but a strong argument against this sup-  Heineken and Bartsch's "Peintre Graveur."
position is, that that work is always mentioned
PO R T R A I T S.
with unqualified commendation, while the other isit of himsel w                                 
Portrait of himself, without a beard, marked Aldegreadmitted to have gained the preference merely for    P                   io  a b        m       Aldegreadmitted to have gained ~tehe preference merely for    rt, ratatis 27, 1530; another of himself with a thick
the reason above stated.  One of his statues of   beard, marked Aldegrever, Anno 1538, XEtatis sue 35;
Minerva is said to have been executed in competi-  Bust of Martin Luther, dated 1540; dop. of Philip Melanotion with his master Phidias, and on a near view   thon, same date; Portrait of Albert vander Helle, 1538;
that of Alcamenes was pronounced greatly supe-. of John van Leyden, leader of the Anabaptists; do of
ior; but when the statues were raised to the height  Bernard   pperdoll thefanatic; do. ofWilliam, Duk
ior which they were intended, the work of Phidias
far surpassed in beauty and grandeur that of                            OUS SUBJECTS.
Alcamenes.  Cicero and Valerius Maximus speak           criptural.-Six plates illustrating the Fall and Expulsion of Adam and Eve from Paradise, dated 1540; four
in very high terms of a statue by this artist of Vul-  plates do. of the History of Lot, 1555; four do. of the Hiscan, at Athens.  The sculptor indicated the lame-  tory of Joseph and his Brethren, 1528-32; seven do. of the
ness of the god, but in so masterly a manner, that  History of Thamar and Absalom, 1540; four do. of the
no positive deformity was discernible by which   History of Susanna, 1555; four do. of the Parable of the
the general excellence of the work was impaired.  Good Samaritan, 1554; five do. of th Rich Man and LazPausanias says that Alcamenes enjoyed a reputa-  arus 1554; David and Bathsheba; the Judgment of Holo
omen, 1555; Judith with the Head of Holofernes, 1528;
tion second only to Phidias.  He mentions a num-  the Four Evangelists, 1539; the Adoration of the Shep.
ber. of his works, among which are a statue of   herds, 1553; the Virgin and Infant reposing under a tree,
Dionysius, in ivory and gold, at Athens; a statue   1527; the Virgin carrying the Infant Jesus, with a stanof Mars, in the Temple of that god; two of Mi-  dard, 1552.
Historical aMd Mythological.-Marcus Curtius about to
nerva; a colossal statue of Hercules; a statue of  leap itothe Gulf, dad   12l; Tit-Macus Ca rtius about to
2Esculapius, at Mantinea; and the sculptures in the  Son to be decapitated; Mutius Scmevola before Porsenna
posterior pediment of the Temple of the Olympian   1530; Tarquin and Lucretia, 1539; Sophonisba taking the
Jupiter, illustrating the fable of the Lapithse and   Poison, 1553; the Count d'Archambaud destroying his Son
-Centaurs.                                          before his Death, inscribedPater ne post suam mortem, 4-c.,
1553; the Battle between Hannibal and Scipio; the CormALCIMACHUS, a Greek painter who probably   bat of Hector, a small frieze, inscribed Hector Trojanus,
flourished about thgtime of Alexander the Great.  1552; Romulus and Remus exposed on the banks of the
He was celebrated for a picture of the victory of   Tiber; Medea and Jason; seven plates of the Divinities
the famous Athenian pancratiast, Dioxippus, who,  that preside over the Planets; thirteen plates of the Labors
Gamesontende  nakd ws  of Hercules, very fine and scarce; Orpheus and Euridice,
at the Olympic Games, contended naked with a  an etching, and the only one known by this master, which
Macedonian completely armed, and vanquished him.  is very scarce.
ALCON, a sculptor who probably lived about    Allegorical and OtherSubjects.-Fourteen plates of allegorical subjects, dated 1549 and 1550; seven do. of The Vir800 B. c. Pliny says he executed an iron statue  tues, 1552; seven do. of The Vices, 1552; eight do. of the
of Hercules, at Thebes.                              Empire of Death over Humanity; six do. of Death drag



ALDE.                     15                     ALEM.
ging away Persons of all ages and both Sexes, 1562; twelve  tures are inscribed Johannes de Alemania et Antodo. of the Procession of a Westphalian Wedding, 1538; eight  nius de Muriano piit, and Antonio de  uran e
do. of a similar subject, 1551; a Woman holding an Hour-  Zohan  Alemans pinxit and  was a painter of
glass, with a Skull and a Globe, inscribed Respice finem, n   eman    pe was a painter o
1529; a Woman with wings, hovering over a Globe, hold-  merit.
ing the symbols of Temperance and Prudence, 1555; an    ALEMAGNO, GIUSTO DI, a German painter,
Officer carrying a Flag, 1540; a Man with a Sword, surpri-  who practised at Genoa in the fifteenth century.
sing a Monk and a Nun, 1530 —very rare; the Society of  In 1451 he executed an Annunciation in fresco, i
Anabaptists, with a number of Figures in the Water.co
a cloister of S. Maria di Castello; which Zani
The year of Aldegrever's death is not known,
The year of Aldegrever's death is not known,  says is a valuable picture. It is finished in the
but there are prints by him dated as late as 1562.  ma r of  e miniturit seemingly the precu
manner of the miniaturists, seemingly the preculALDEGUELA, JOSEF MARTIN D' a Spanish  sor of the style of Albert Durer.
architect, according to Bermudez, of considerable  ALEMAN RODRIGO a sculptor, says Bermudez
eminence; born at Manzaneda in 1730; died at                                 ptor, says Bermudez,
eminence; born at Mas ana     17     died au r J f C, of  of much celebrity in his time, about the beginning
Malaga in 1802; studied under Josef Corbinos, of of the sixteenth century; he was probably a GerValencia. Soon after quitting that master he was  ma   He executed the fiures and arabesque ornaappointed to superintend the erection of the church  ments ofe  stallsof the choir of the catbedral of
and college of the Jesuits at Teruel, which was so  ments of the stalls of the choir of the cathedral of
and college of the Jesuits at Teruel, which was so Placenzia-an extraordinary work, rich in every
creditably done, that he was soon after engaged by   kind      grotesue device;, also the stalls of the
the bishop of Cuenca to finish the Church of San  kind of grotesque device; also the stalls of the
the bishop of Cuenca to finish the Church of San Church of Ciudad Rodrigo.
Felipe Neri in that city. From this time his repu-     h  o C       
tation was established. He subsequently erected    ALEMANS, N., a Flemish painter who generally
a number of public edifices at Cuenca and else-  lived at Brussels. He painted animals and minis
where; constructed the new aqueduct at Malaga,  ture portraits.
and completed the noted bridge at Ronda.           ALEN or OLEN, JOHN VAN, a Dutch painter
ALDRICH, REV. HENRY, an English author  born at Amsterdam in 1651. He generally repre
and architect, born at Westminster in 1647. He  sented fowls, landscapes, and still-life.  Thougl
designed Peekwater Square, at Oxford; the chapel  inferior to Hondekoeter he treated those subjects
of Trinity College, and the Church of All Saints of  with great ability. Copies of Hondekoeter and
the same University.  He died at Oxford in 1710.  other masters of the period, easily pass for original
productions.  He died in 1698.
ALDROVANDINI, MAURO, an Italian painter, 
the uncle of Tommaso, whom he instructed in the    ALENI, TOMMASO, an Italian historical painter
art; born in 1649; died in 1680; acquired a great  born at Cremona in 1500, and, according to Orreputation as an architectural and scene painter,  landi, a scholar of Galeazzo Campi, whose style he
and although he died in his thirty-second year, he  followed. He executed some works in competiexecuted many excellent works in various Italian  tion with Galeazzo, in the Church of S. Domenico,
cities. He decorated the town-hall of Forli in con-  at Cremona, which are difficult to distinguish from
cert with Carlo Cignani.                         those of that master. He died in 1560.
ALDROVANDINI, POMPEO AGOSTINO, a cele-    ALEOTTI, GIAMBATTISTA, an architect and aubrated Italian painter, born in 1677. He executed  thor of Ferrara, who lived about 1615, and erected
many works for the palaces, theatres, and churches  the citadel placed by Clement VIII. at Ferrara, also
of Vienna, Prague, and Dresden; besides many  various public edifices at Mantua, Modena, Parma,
admirable works in oil, fresco, and distemper. He  and Venice. He was employed also in levelling
died in 1739.                                    land, and draining marshes.
ALDROVANDINI, TOMMASO, an Italian pain-    ALESIO, MATTEO PEREZ DI, a Roman painter,
ter, born at Bologna in 1653. His uncle, Mauro  who lived about 1585. The patronage Philip II.
Aldrovandini, an eminent architect, taught him the  bestowed on the arts, induced him to remove to
elements of the art. Ile excelled in representing  Spain, where he executed many fresco paintings
views of perspective and architecture, in which the  for the churches of Seville, the principal of which
figures were painted by Marc' Antonio Frances-  is a colossal picture forty feet high, in the cathedral,
chini, and Carlo Cignani. The principal work of  representing St. Christopher carrying the infant
this artist was the Council Chamber at Genoa,  Saviour on his shoulder. It is highly praised by
which he painted in conjunction with Franceschini.  Palomino Velasco. His design is characterized by
He died in 1736.                                 the style of Michael Angelo. After a few years
ALl, EGIDIUS, a Flemish painter, born at Liege;  he departed for Italy, declaring that a country posflfourished in the latter part of the seventeenth  sessing so great a master as Luis de Vargas, stood
flourished in the latter part of the seventeenth  in no need of his assistance.  He died at Rome in
century. He went to Rome, adopted the grand                                   He died at Rome in
style, and painted in conjunction with Morandi. 
Romanelli, and Bonatti. He executed an altar-    ALESSANDRO and JULIO, two Italian paintpiece in oil, and the ceilings of the chapels in fresco,  ers of whom little is known, but they are always
for the church of S. Maria dell' Anima at Rome.  mentioned together. They are said to have studied
He followed the principles of the Roman school,  under Raffaelle or Giovanni da Udine. They visand was noted for his purity of style. He died  ited Spain at the invitation of Charles V., and
in 1689.                                         decorated the Alhambra with paintings in the style
ALEMAGNA, GIOVANNI called ZOHAN, ZOANE   of the Loggia of Raffaelle in the Vatican. Pacheco
ZUANE, a German painter, who practised at Venice   as the  executed  the paintings inthe house of
from 1441 to 1451, in conjunction with Antonio  Cabos, the emperor's secretary; and Velasco menVivarini, called da Murano; from which some have  tions several other works of their execution.
supposed that Zuane stood for Giovanni, a brother    ALESSANDRO, INNOCENZIO, an Italian engraof Antonio; but this cannot be true, as other pic-  ver, born at Venice about 1740, and studied under




ALES.                     16                    ALEX.
F. Bartolozzi, before that master left Venice for  British Museum, where he executed the drawings
England. He engraved several plates in aquatinta,  of the marbles and terra-cottas for Taylor Combe's
andin the crayon manner, of which the following   work in 3 vols. He died in 1816.
are the principal:                                 ALEXANDER, an Athenian painter who probThe Annunciation; The Flight into Egypt; after F. Le  ably executed the paintings on the four marble
Moine.                                           tablets which were found in 1746 at Herculaneum
The Virgin Mary, with a Glory of Angels; after Piaz-  and are now in the Museum  at Naples.  They
zetta..             and are now in the Museum  at Naples. They
The Virgin Mary, with Guardian Angels, releasing the  evince considerable merit, and from their style are
Souls in Purgatory; after Sebastian Ricci.       apparently of a late date.
Two Landscapes, and a set of twelve Landscapes; after    ALFANI, DOMENICO DI PARIS, an Italian paint
Marco Ricci.
Four prints, representing Painting, Music, Astronomy,   Perugia, according toPasoli, in 1483.
and Geometry; -after Domenico Majotto.           He was a scholar of Perugino, whose style he surALESSI, GALEAZZO, a very celebrated Italian  passed; and his works are so much in the manner
I          I SI,  GALEBZZO~  a very celebrated Italianof Raffaelle, that were it not for the delicacy and
architect, was born at Perugia in 1500, and studied      aelle, that  ere it not
under Giambattista Caporali, of Perugia, but after-  sweetness o his coloring, they might be assigned
to Rome, where he became the friend  to the school of that master. His reputation has
ofwards went tneo R,Hee mhe became fthe friend  suffered from that of his son Orazio, and even in
of Michael Angelo. He completed the fortress of
Perugia and erected several of the finest palaces  Perugia some fine works were long ascribed to the
Peruia, and erected several of the finest places  latter which are now restored to Domenico. They
in that city. He resided some years in Genoa,
mn that city. He resided some years in ~enoa, painte  d together some fine altar-pieces, which
where he erected the splendid church of the Ma-  painted together some fine altar-pienes,  thich
donna; extended the mole more than six hundred  increases the difficulty of distinguishing  their
donna; extended the mole more than six hundred works; especially one in the Church of the Conpaces into the sea; built the gate of the old mole,  works; especially one in the Church of the Conpand     a number of palaces fo the gtenobity. He left  ventionals at Perugia, mentioned by Mariotti. The
and a number of palaces for the nobility. He left   ame writer says e was living in 1536  but Zani
same writer says he was living in 1536; but Zani
many designs and models which have been execu-        e  ite  s  e as 1553.
ted by the nobles, and have gained for Genoa the  sas    paind as late as 15
title of La Superba. He executed many magnifi-    ALFANI, ORAZIO DI PARIS, an Italian painter,
cent works at Ferrara, Bologna and Milan, and  the son of Domenico, a native of Perugia, and born,
various designs for buildings, lakes, fountains and  according to Zani, about 1510. He studied under
baths in Naples, Sicily, France, Germany, and  Pietro Perugino, and followed the graceful style of
Flanders. Alessi became so famous that the King   Raffaelle so successfully that some of his best picof Portugal declared him a cavalier, and the King  tures have been mistaken for the early works of
of Spain sent for him  to execute some buildings,  that master. He died about 1583.
and loaded him with riches and honor. On return-    ALFARO, DON JUAN Y GAMON DE, a Spanish
ing to Perugia he was honored with a membership  painter, born at Cordova, in 1640. He first studied
in the Commercial College, and sent to Paul V. on  under Antonio de Castillo, but afterwards under
an important commission. He sent a design for  Velasquez, whose style he imitated, especially in
the monastery and Church of the Escurial, in Spain,  his portraits. In the Church of the Carmelites
which was preferred to those of all the architects  is a fine picture of the Incarnation by Alfaro; and
of Europe, and he was requested by the King of  in the Church of the Imperial College at Madrid, is
Spain to execute it, but his age and indisposition  his famous picture of the Guardian Angel. He
pervented. Alessi was learned and agreeable, and  also painted the portrait of Calderon de la Barca,
of great ability. His family has produced several  which was placed on the tomb of the poet in the
illustrious men. He died in 1572.                Church of San Salvador at Madrid. He knew
ALEWYN, W., a Dutch amateur painter of the  little of design, but became a good colorist from
present century, who made many designs after the  copying the works of Titian, Rubens, and Vandyck,
works of the old masters. He lived at Amster-  while in the school of Velasquez. He died in 1680.
dam and at Utrecht, where he died in 1839.         ALFEN, EUSEBIUS JOHANN, a Danish painter
ALEXANDER, JOHN, a Scotch engraver, who  of the last century, who acquired a great reputapractised at Rome, according to Heineken, about  tion in his own country, and in Germany, for his
1718. His plates are chiefly after Raffaelle, slightly  works in miniature, in enamel, and in crayons.
etched, incorrectly drawn, and indifferently execu-  His portraits, according to Nagler, are very spirited
ted. He engraved a set of six middle-sized plates,  and brilliant in coloring. IIe resided some time at
lengthways, dedicated to Cosmo III., grand duke of  Vienna, where he died in 1770.
Tuscany, as follows:                               ALFIERI, CONTE BENEDETTO, a Roman archiThe Benediction of Abraham, dated 1717.        tect, born in 1700; died in 1767; studied drawThe Sacrifice of Abraham. 1718.               ing at the Jesuit College of Rome; designed the
The Angel appearing to Abraham.                facade of a palace in the square at Alessandria, for
The Departure of Lot from Sodom.               the Marquis Ghilieri, which gained him so much
JaMoses Land de Burnig Bh. 1717                reputation that Charles Emanuel III., of Sardinia,
commissioned him  to rebuild the Royal OperaALEXANDER, WILLIAM, an English designer,  House at Turin, after the former structure had
born at Maidstone in 1768. He accompanied Lord  been burnt down; and for this purpose sent Alfieri
Macartney to China as draughtsman, and his drhw-  to examine the principal European theatres. The
ings of the scenery and customs of the Celestial  new edifice was greatly admired, and has generally
Empire, served to illustrate Sir George Staunton's  been considered one of the noblest and most conNarrative of the Embassy. IHe published a work  venient structures of the kind in Italy. He also
of the Costumes of China -was teacher of drawing  erected a theatre and several palaces in Turin, and
at the Royal Military College at Great Marlow,  at his death left many noble architectural designs
and afterwards Keeper of the Antiques in the  which, says Vittorio, he would have been enabled




ALFO.                       17                     ALIA.
to execute, had his royal patron been possessed      After Le Moine.-The Annunciation; St. Ignatiax
of a deeper purse.                                 Kneeling.
After Le Sueur.-The Stoning of St. Stephen.
ALFON, JUAN, a Spanish painter, born at To-    After A. Sacchi.-The Sacrifice of Pan.
ledo, executed some reliquaires for the cathedral in  After Watteau.-Two plates: The Bathers.
1418 which are still preserved.                      AfterPine.-Canute reproving his Flatterers; the Reduction of Calais; Mrs. Pritchard in the character of Hermione;
ALFORAE, NICCOLO GUGLIELMI, a French en-  Portrait of Dr. Sharp.
graver, little known, was born in Lorraine, but      ALIAMET, JAcQUEs, atalented French engralived at Rome. He engraved a set of twelve small        born at Abbeville in 1728. He studied  ith
upright prints of flowers, which are executed in a   J. le Bas, and at first was employed on vignettes
very spirited and masterly manner.                 J. P. le Bas, and at first was employed on vignettes
very spted and masterly manner.        or the booksellers; but he soon made higher
or  T,ALG. ARDI ALESSANDRO, an   attempts, and acquired  eminence from  several
LmJirt   E-L, eminent Italian sculptor and   plates he engraved after pictures of Vernet.  He
architect, born at Bologna, in 1598.  He first  excelled especially in landscapes and sea-views.
studied under Giulio Cesare Consenti, but after-  His style was extremely neat; he used the graver
wards in the Academy of Lodovico Caracci. In   and dry point; expressed the various shades of
1625 he went to Venice, and from thence to Rome,  color with correctness, and carefully avoided any
where the Duke of Mantua recommended him to  exaggeration of shadow. He died at Paris in 1788.
Cardinal Ludovici, nephew of Pope Gregory XV.,  The following is a list of his best prints:
who was intent on renewing the magnificence of the    After Vernet.-A Fire in a Sea-port by night; The
Gardens of Sallust.  Here he was employed in  Storm; The Fog; two Sea-pieces-the Fisherman going to
restoring mutilated antiquities, and in preparing   Sea, and the Return to Port; four plates of the Four Times
original works of sculpture. Here he also became  of Day-Morning, Evening. Noon and Night.
acquainted with several eminent artists, his count —   After Berghem.-A Landscape with Figures and Cattle;
acquainted with  several eminent artists, his cou-  a Landscape with a Stag-hunt; the Port of Genoa; the
tryman Domenichino in particular. His first great  Female Villagers; the Pleasures of the Villagers.
work was the statue of St. Magdelen, for the Church  After Wouwerman.-The Spanish Halt; a Guard of
of S. Silvestro, on the Quirinal, which gained him   Houlans.
such celebrity that cardinals and princes now availed    After A. Vander Neer.-A Night-sene, with the Moon
themselves of his talents. The French Court solic-  justriing; a Viw of Boom,by Moonlight.
After A. Vander Velde.-A Wintex-piece, styled Tbr.
ited him to come to Paris, but the Prince Pamfili  Amusements of Winter.
succeeded in retaining him  at Rome. Here he    After Jeurat.-The Birth of Venus.
erected the famous villa Pamfili, and other great    After Teniers.-Two plates of the Sabbath.
works, for which he was presented with a golden      ALIBERTI, GIOVANNI CARLO, an Italian paintcollar, and the title of Cav. di Critos by Innocent   r born at Asti in Piedmont, in 1680. It is not
X. His Fight o Attla, a bsso-relzo, with fig-  known who instructed him. Lanzi says he exeures of the size of life, in marble, over the altar of  cuted some important works in fresco in the
St. Leo in St. Peter's church, is his most renowned   churches of Asti; as in the Church of S. Agoswork. His God of Sleep of Nevo-antico, a rare  tino representing that saint taken up to heaven
kind of marble, in the villa Borghese, has often  surrounded by angels; and also anther of St
been taken for an antique. But with all his excel-  Agostino baptising a number of children, and other
lencies, he has been censured for an inclination to  figures  It i ingeniously composed, with a fine
give to sculpture the effect of painting, attributed   expression in the hads, and embellished with
to the influence of the school of the Caracci over  architecture.  His style generally  istingished
hiu. He died at Rome in 1654, aged 52.    ~      architecture. His style generally is distinguished
hi. He died at ome, in 1654, aged 52.             by heads and feet like those of Guido or DomeniThere are a few prints extant, executed with the  chino, drapery of Veronese, colors of Guercino, and
graver, in the bold, free style of Agostino Caracci,  forms of the Caracci.  He died in 1740
marked with one of the above monograms, which
have been attributed to Algardi, as follows:         ALIBRANDI, GIROLAMO, a Sicilian painter, born
The Crucifixioa le u e.              at Messina in 1470. He studied under Gio. BelThe Crncifixion-a large upright plate.           l   at
The Souls delivered from Purgatory-oval; and            Venice, and was th  friend of Giorgione.
The Blind Beggar and his Dog; after Caracci.     He subsequently visited Milan, where he became
Also, a set of eighty plates, of the Cries of Bologna, after  a scholar of Leonardo da Vinci. Most of his works
Caracci, engraved in conjunction with Simon Guilian.  are at Messina, the principal of which is a large
ALGTAROTTI, CONTE FRANCESCO, an Italian   painting in the Chiesa della Candelora, representALGAROTTI, CONTE FRANCESCO, an Italian''    f    4.4. 3                 ing the Purification. He died of the plague in
author and connoiseur of great note, and an ama-      the  Purificaion.  He died of the plague in
teur engraver, born at Venice in 1712. Heineken   1524.
says he designed and engraved forhis own amuse-    ALENSE.  See VASSILACCHI.
ment several plates of heads, in groups; among       ALIPRANDI, MICHAEL ANGELO, a Veronese
which is one in the antique style, containing thir-  painter of some merit, who lived in the sixteenth
teen heads, dated 1744. He died at Pisa, in 1764.  century, studied under Paolo Veronese, and painted
ALIAMET, FRANCOIS  GERMAIN, a French  in the style of that master.  He executed several
portrait and historical engraver, younger brother  works of merit in Verona, among which are the
of Jacques, born at Abbeville in 1734. He studied  fagades of several edifices painted in fresco, with
in Paris, but afterwards went to London, and was  subjects from sacred and profane history.
for some time under Sir Robert Strange.  His line    ALIX, JOHN, a French painter and engraver of
is neat and firm, but his works do not equal  the seventeenth century, and a scholar of Philip de
those of his brother. The following are the prin-  Champagne. There are none of his paintings recipal:                                             corded, but he practised the art for amusement.
After Caracci.-The Adoration of the Shepherds.   There is an etching by this artist of a Holy FamAfter Guido.-The Circumcision; oval.             ily, after Raffaelle, executed in a very light, ]lea



ALIX                      18                    ALLE.
sing style. It is marked R. V. P., for Raffaelle  per;" adducing this in proof of his humble origin.
Urbino pinxit.                                  This story is totally unworthy the attention of
ALIX  P. M., a French engraver, born at Hon-  an  reasonable man. The numerous public and
fleur in 1752 and a scholar of Le Bas. Heexecu-  private works he executed, and the liberal remuted with the roulette a set of portraits of eminent  neration he received for them, are strong arguments
men, which were printed in colors. In 1804 he  against this supposition; and his virtuous course
published in the same style a large portrait of  of life forbids the thought that he became poor
Napoleon, in his coronation robes. He died in  through extravagance. Moreover, the researches
1809.                                           and discoveries of the learned Tiraboschi, the inALLAN, DAVID, a Scotch painter, born at Alloa  domitable Dr. Michele Antonioli, and the zealous
in 1744. He was instructed in the principles of  and impartial PadreLuigi Pungileoni,fully disprove
the art in the Academy at Glasgow, founded by  the probability that his death happened in this
Robert and Andrew Foulis, the printner. His father, Pelligrini Allegri, was a genited Italy to pursue his studies, and ained the  eral merchant in Correggio, and held a respectable
prize medal given by the Academy of St. Luke for  station among his fellow citizens. His mother's
the best historical composition. It is said that he  maiden name was Bernardina Piazoli degli Aroresided there for some years, and painted land-  mani. His father's circumstances were easy, and
scapes in the manner of Gaspar Poussin; but his  he intended his son for a learned profession; but
etchings, and the engravings made by Paul Sandby  whether from natural vivacity of disposition, or
of Allan's Sports of the Carnival, are poor affairs.  that while very young he felt an impulse for the
His illustrations of Allan Ramsay's " Gentle Shep-arts he did not so far pply himself asto make
herd" are much better. He died in 1796.         much advancement in the study of Latin. It is
ALLARD  AB M  an e  r ad p -  not certain with whom he studied. Some Italian
sALLARD, ABRAHAM,  an engraver and print-   writers state that he was instructed by Francesgo
seller of Leyden.  Heineken mentions twelve  Bianchi and Giovanni Murani called I  Frari.
plates of views of towns, engraved by this artist;  Ohs say that he  a        Leonardo da Vinci
and among the miscellaneous prints of the British    thers sa   tat  e as   il to eonar of which
and others still to AndreaMantegna; of which
Museum, is a large print, lengthways, representing  there is no tangible proof. He may possibly have
Musthe,re                 i no                 there imay possibly have
the Garden of Love.                             received some instruction from Bianchi in his fifALLARD, CHARLES, an engraver and print-  teenth or sixteenth year; but it is most probable
seller. Heineken says he executed some mezzo-  that he learned the rudiments from  his uncle,
tintos. In the loose prints of the British Mu-  Lorenzo Allegri, a painter who was very fond of
seum there are four engravings by this artist, rep-  him, and at his death left him half his property.
resenting the seasons, in half-length figures, execu-  Antonio Bartolotti, called Tognino, probably taught
ted in a coarse, heavy style, with bad taste.   him the more erudite parts of design. In other
I^ lay          ALLARD, HUYCH, a Duteh  matters of learning, it appears that he studied the
Lportrait engraver. The prin-  elements under Giovanni Berni; eloquence and
cipal of his works is the portrait of David Glaxin,  poetry under B. Marastoni; and anatomy and phiI.V.D.; and that of Adrianus Paw, Legate to Hol-  losophy under    battista Lombadi, pubic proland; both signed with his name.                fessor at Bologna, and subsequently at Ferrara.
lad  bth sgned wth his name.       But, however that may be, Correggio was little
ALLEGRAIN, ETIENNE, a French painter, born  indebted to his teachers for the fame he afterwards
at Paris in 1655, painted landscapes of considera-  acquired, and it does not appear that he ever visble merit. He died in 1736.                     ited Rome. His wonderful genius created such an
ALLEGRAIN, GABRIEL, a French painter, son  admirable system of harmony, grace and grandeur,
and scholar of Etienne, painted landscapes in his  as his successors have never equalled. To his talfather's style. He died in 1748.                ents the art owes one of its most effective illusions
ALLEGRI, ANTONIO DA CORREGGIO, or, as he  -the facultyofforeshortening-and he has carried
sometimes signed it, ANTONIO LIETO* DA CORREG-  the chiaro-scuro to its highest perfection. His
GIO, an illustrious Italian painter, born at Correg-  forms are exquisitely soft and beautiful, and his
gio, a small town in the duchy of Modena, in 1494.  heads are expressed with a graceful tenderness that
The Padre Orlandi and Sandrart, assert that his  is truly inimitable. His coloring is fully as pure
family, named Allegri, was wealthy and noble;  and delicate as that of Titian, with more of the
that he received a liberal education, and lived and  impasto; and in grandeur of effect, he undoubtedly
died in opulence. On the contrary Vasari says he  surpasses him.
was the son of a laborer, and lived and died in pov-    The principal work of Correggio is the great
erty. Bryan asserts it as an "established fact,"  fresco painting in the cupola of the cathedral at
that "he died of a fever, brought on by his anxiey  Parma, completed in 1530; and it has ever been
to bring home to his family, in hot weather, on  considered a most wonderful production. The cufoot, a small sum paid to hzm at Parma, in cop-  pola is octangular, and the subject, the Assump________  tion of the Virgin. In the lower part he has rep* ALLEGRI and LIETO are synonymous, both signifying  resented the Apostles admiring the event. In the
the same as LATUS in Latin. He used both signatures,  upper part is the Virgin, surrounded by immense
but the latter evidently when writing to an intimate friend  numbers of Saints and Angels, some throwing
in a cheerful and jocund mood. His signature to contracts,  incense oth
Inachee fdlatnhdJipmtonwmlt incense, others chanting, rejoicing, and triumphreceipts and other important documents, was simply Anto-  antly applauding;  in teir eads, the most angelic
nio, or Antonius manu propria, or Antonio manu pro-  antly applauding; in their heads, the most angelic
pria, his other name, da Correggio, being inserted in the  expression conceivable, whilst a magnificent efulistrument. It is true that he occasionally put LIETO on  gence of light is spread over the whole, forming a
small pictures, perhaps to indicate that they were painted  spectacle truly celestial. Notwithstanding the ununder the influence of pleasant feelings, and to oblige a  favorable light and the dusky hue this work has
friend; but it is not known that any of h's family used it a   assumed frm  the smoke of candles continually
a name.                                         assumed from  the smoke of candles continually




ALLE.                      19                     ALLE.
burning in the church, yet the grandeur of the  from the expression of a writer concerning him.
forms, the inimitable design, and the magnificent  "La vivacitd e dal brio del nostro Antonio;" yet
effect of light and shadow in this amazing work,  affectionate and gentle, as is evident from his being
continue to excite the wonder and admiration of  sponsor on three occasions to infants of his friends
every judicious beholder. The dome of the Church  (in 1511, 1516, and 1518), before he had reached his
of S. Giovanni, of the Benedictines, at Parma, is  22d year. In 1520 he was admitted by diploanother of his wonderful works. It represents the  ma, as a brother of the Congregation Cassinensi,
Ascension of our Saviour, with the twelve Apostles  in the monastery of St. John the Evangelist, at
and doctors of the church; which, from its copious  Parma-the fraternity to which the illustrious
and masterly execution, and its correctness and   Tasso belonged. In the same year he married
grandeur of design, may indeed be considered a  Girolama Merlini, a lady of good family, amiable
model of perfection. Among his oil paintings, one  disposition, and great beauty, who was his model
of the most celebrated is the St. Jerome of Correg-  for the Zingara, probably after the birth of his first
gio, representing the Virgin seated, with the Infant  child. By this lady he had one son and three
on her knee; Mary Magdalene kneeling, embraces  daughters. In 1529, to his great affliction, she
the feet of the Saviour, while St. Jerome presents  died, and was buried, by her own request, in the
a scroll to an Angel.  For the Church of S. Gio-  Church of St. John at Parma. Correggio did not
vanni he painted two altar-pieces-one represent-  marry again. He died suddenly on the 5th day of
ing the Descent from the Cross, and the other the  March, 1534, aged 40 years, and was buried with
Martyrdom of St. Placido. These three great paint-  solemnities worthy of his great endowments, in the
ings were torn from  their venerable situations   Church of San Francesco, at the foot of the altar
during the French revolution, and placed in the  in the chapel of the Arrivabene.
Museum  of the Louvre.   The French artists    ALLEGRI, LORENZO, an Italian painter, who
then residing at Rome, presented a memorial  lived about 1500; uncle to the famous Coreggio,
to the National Convention, characterized by ele-  and his first instructor in the rules of art  A
gance of composition as well as liberal senti-  Madonna, painted in 1511, is supposed to have
ment, in which they stated the inJury the cultivar  been done by Lorenzo, though ascribed to Antonio 
tion of the art would receive from the removal of  and although the style is but mediocre, it is softer
these grand works. Their memorial was disre-  in tone than many of its cotemporaries, and nearer
garded, but the works were restored while the  to the modern manner. He died in 1527, leaving
allies had possession of Paris. Correggio's famous  hiseffectstohisbrothPellrino, andhis nephe
work called La Notte, representing the Nativity,  Antonio, tby whom he was greatly beloved.
may be seen in the Gallery at Dresden; and a        ALLEGRI                  
beautiful little picture of the Magdalen reading.   ALLEGRI,  OMPONEO, an Italian painter, the
Writers differ widely as to whether Correggio  son of Correggio, was born in 1522, and learned the
engraved any plates. Pungilione  mentions an  rudiments of the art from his illustrious father,
extraordinary awood-print of St. Thomas, one of  but was deprived of this advantage by the death of
the figures in the cupola at Parma, which measured  the latter when Pomponeo was only twelve years
four feet seven inches in height, and three feet four f age. It is said that he subsequently continued
inches in breadth, French measure. This print, he  his studies under Francesco Maria Rondani, the
says, was in the possession of Sig. Alfonso Fran-  most talented of Correggio's scholars. Pomponeo
ceschi, a painter, and it is said to have all the char-  executed a fresco painting in the cathedral at Paracteristics of originality; but he adds, it is unknown   ma, representing Moses showing the Israelites the
who engraved it, though it was certainly done in   Tables of the Law, which is finely colored, with
the sixteenth century. Signor Franceschi obtained   beautiful parts, and heads expressed entirely in
it, with sketches by Correggio for the two cupolas,  the style of Correggio.
and cartoons by Rondani, which were lying unob-    ALLEGRINI, FRANCESCO, an Italian designer
served and decaying in the corner of a chamber of  and engraver. born at Florence about 1729.  In
the cathedral of Parma. Zani and Brulliot men-  1762 he published, in conjunction with his brother,
tion two prints, each representing the Virgin and  one hundre& portraits of the family of the Medici,
Infant, one of which has the figure of a heart with   with a frontispiece engraved by himself. He exethe word Regio over it as a rebus for Correggio;  cuted a print of the image of St. Francis d'Assisi,
the other a heart with a ducal coronet, and the  which is highly prized in Florence; also fourteen
word Invent over it. These marks are evidently  portraits of eminent Florentine poets, painters, and
fancies of the engravers, for he never signed his  statesmen.
works in this manner. The same writers also         ALLEGRINI, FRANCESCO, called DA GUBBIO,
mention some other prints ascribed to Correggio,  a Roman historical painter, was born in 1587, and
but which they think are from his pictures or de-  a scholar of Arpino. He executed some works for
signs by engravers of a subsequent period.        the churches and palaces at Rome, both in oil and
This great artist passed some time in Mantua,  fresco. He had a large number of scholars at
on two occasions, with the Marchese Manfredo, and  Rome, among whom were his two sons, Flaminio
the celebrated patroness of arts and letters, Vero-  and Angelo. who also painted history. He died
nica Gambara, relict of Gilberto, lord of Correggio.  in 1663.
Here he had the advantage of examining the works
of Andrea Mantegna; the frescos of Cosso, Lion-  who lid a          GIUSEPPE, a Florentine engraver
Bruno, and Dosso; also the grand collection of  cial works 
pictures, medals, cameos and antiquities of Isabella     
da Este. The authentic documents revealed by    The Virgin Mary with the Infant, hal figures, inscribed
the three savThans beor  mentioned, show that he  Egreditur virgo de radice, c4c.; the Circumcision, inthe three savans before mentioned, show that he  scribed Gius. Allegrini sculp. 4-c; the Stoning of St. Stewas most highly esteemed by his cotemporaries.  phen; asmall print of Rinaldo and.Armida; a large ArchiThat he was cheerful and lively, may be inferred  tectural piece lengthways; after Chaimont.




ALLE.                       20                     ALLO.
ALLEGRETTI, CARLO, an Italian painter of   elegant pilasters which  are highly praised by
Monte Prandone, of the early part of the seven-  Cicognara. In the chapel of the Dominican Church
teenth century. Lanzi praises a picture of the  at Padua, there is a statue of St. Lorenzo GiustiEpiphany, in the cathedral of Ascoli, by this artist.   niano by Matteo, which being inferior to one of
ALLEMAND, JEAN BAPTISTE, a French paint-  St. Antonio, by Brunelli, placed by the side of it
er, and a pupil of Vernet, was living at Rome about  in 1667, is said to have caused the artist's death
1750, in which year he painted four splendid land-  through the serious way in which he took the matscapes in fresco, in the Corsini Palace. He de-  ter to hea.          Tommaso Allo there ae aso, n
Costumes ofcapetwo statues one of Faith and
signed the background to Greuze's Costumes of          s                     u       esone of  ath a
Italy.                                             the other of Hope; in San Antonio also, one of
ALLEMAND. See LyALLEMAND.                       Hope and one of Charity; and some statues in a
ALLEBMAND. See L'ALLEMAND.                       chapel of the Church of San Benedetto.
ALLEMANNI, GIUSEPPE, an Italian painter,    ALLOISI. See GALANINO.
of.Correggio, and a scholar of Cignani, executed at    ALLORI ALE             called BRONZINO  an
Rimini, in the Church of the Minorites, a copy of  Italia, ALES        O,  Florence in 155. Hewas
Italian painter, born at Florence in 1535. He was
the Conception by Maratti. A. Pietro Allemanni  the son of a painter, but losing his father when he
is said to be the earliest painter of Ascoli. There  was five years old, he was reared and instructed by
is a picture by him in Santa Maria della Carit, at  his uncle Agnolo Bronzino, who treated him with
Ascoli, dated 1489. Marolles mentions an old                          Under Bronzis able instruewood-engrave namd    orAasparental affection. Under Bronzino's able instrucwood-engraver named Allemanni or Allemanna, as  tion he advanced so rapidly, that when seventeen
the author of some very excellent prints.          tion he advanced so rapidly, that when seventeen
the author of some very excellent printsyears old he designed and painted an altar-piece
ALLEN, FLOPPART VAN, a German designer  representing the Crucifixion, a composition of sevand engraver, who lived about 1686. He executed   eral figures, ingeniously arranged and finely col
in that year a drawing of Vienna, which Muller  ored.  When he was nineteen he visited Rome
engraved; and he has himself engraved a large  where he remained two years.  The principal
print of the city of Prague, with several figures,  objects of his study in that city were the works
marked with his name, Van Allen.                   of Michael Angelo, whose style is discernible in
ALLET, JEAN CHARLES, a French designer and   his pictures.  He executed there some admirable
engraver of portraits and sacred history, born at pictures of horses. On returning to Florence, he
Paris about 1668.  He sometimes marked his  had many commissions for the churches and pubplates Charles, and sometimes Jean Charles, from   li edifices, but occasionally painted th  portrait
which the collectors have thought there were two   of some of the most eminent men of his time, which
artists named Allet; but the style is so similar,  are executed in a masterly style. His Sacrfice of
that it is now believed those plates are by the same  Isaac, in the British Museum, is colored much in
hand. He seems to have imitated, though unsuc-  the Flemish style. In 1590 he published a book
cessfully, the style of F. Spierre and Corn. Bloem-  on the Art of Drawing the Human Figure, illusaert. He lived many years in Italy, and probably  trated with anatomical prints from  his own dedied at Rome, in 1732. The following are his prin-  signs. He had a fault, not uncommon to the age,
cipal works:                                       that of introducing modern costumes in ancient
PORTRAITS.                     histories. Lanzi says his talent appears to have
lPORTRAfIT.       Ji been equal to every branch of the art; but it was
Pope Alexander VIII.; afterH. Calendrucci.  J. C.  unequally exercised, and therefore unequally exAllet, sc. Roma, 1695.
Two, St. Ignatius, and St. Aloyse Gonzaga; after P.  panded. He died in 1607.
Lucatelli; oval.                                     ALLORI, CRISTOFANO, called BRONZINO, an
Cardinal Aloisio Amodei; after J. M. Morandi. 1698.  Italian painter, the son of Alessandro, born at FlorFerdinand Charles de Gonzaga, Duke of Mantua; after       1        He studied some time with his
Antonio Leama.''        ence in 1577. He studied some time with his
Andrea Po o painter and architect, dated 1712.    father, but subsequently under Santo di Titi. He
*X  ~. ~became a good colorist by imitating the works of
SCRIPTURAL SUBJECTS.                  Lodovico Cardi, called Cigoli. He executed sevThe Crucifixion; after Andrea Pozzo. Oval.       eral reputable works for the churches and convents
The Adoration of the Shepherds; the Virgin Mary and  of Florence, and for the Palace of the Medici; also
St. Joseph adoring the Infant Jesus; after S. de Pesaro.irable portraits of the most eminent men
The Saviour brought before Pilate, after P. de Petris.    many admirable portralts of the most eminent men
Annias restoring sight to St. Paul; and the Vision of  of his time. The St. Julian of the Pitti Palace is
St. Paul; after Pietro de Cortona. [The two last are con-  the grandest of his productions, though his picture
sidered his best works on historical subjects.]    of Judith with the Head of Holofernes is better
St. Augustine, with a Child, getting water from the Sea;  known. Judith, so splendidly attired, is a portrait
after J. B. Leonardi.tress, the attendant is that of her mother
St. Rosa, crowned by Angels; a small plate signed Car-  and   the head of Holoferned is that of her mothar
olus Allet, del et sculp.; St. Andronicus, and St. Athana-                  es      at    te artist.
sius; after F. B. Zucchelli.                       Many copies of this, and his other most famous
St. Gaetan, accompanied with a figure of Religion and  works, are to be found throughout Italy, the proChrist, holding a Cross; after Laz. Baldi.         ductions of his scholars, Tanteri, Bruno, Certosini,
The death of St. Stanislaus Kostka; after P. le Gros,  and others.  Owing to vicious indulgences that
The death of a Saint in the presence of the Virgin; St.    te n edued him  rom his labors  is  orks are
Joseph and St. Francis Xavier; twelve plates illustrating  extremely rare, and he himself comparatively little
the Life of Christ, executed in conjunction with A. V.  known. He died in 1621.
Westerhout.                                          ALLSTON WASHINGTON. This eminent painterALLIO, MATTEO and TOMMABO, two brothers,  was born in South Carolina, in 1779. In his early
Milanese sculptors of the seventeenth century.  boyhood he was sent to Newport, Rhode Island.
They executed some good bas-reliefs in the Church  that the healthful breezes of that place might invig
of San Antonio, at Padua, in 1653, and some very   orate his naturally feeble constitution. Here he




ALLS.                     21                     ALLb.
resided till 1796, when he was entered at Harvard   multitude of figures in this picture, which he con
University, and graduated in 1800  He then re-  sidered his happiest effort; Elijah in the Desert;
turned to Charleston and the scenes of his infancy,  [this he brought with him to the United States,
sold out his little patrimony, (Dunlap says, "sac-  but it was afterwards bought by Mr. Labouchere
rificed to his love of the arts,") and in the follow-  M. P., and taken back;  the Angel Uriel in the
ing year embarked for London. In his infancy he  Sun, in the possession of the Marquis of Stafford.
exhibited a natural passion for the fine arts which  [This is a colossal foreshortened figure, that if
showed itself in his sketching everything that  standing upright would be fourteen feet high, but
struck his fancy; and in after years he sought  by the foreshortening it is only nine. The Directevery opportunity, both at Newport and Cam-  ors of the British Institution presented the artist
bridge, then extremely meagre, to obtain know-  one hundred and fifty guineas as a token of their
ledge of the art which he had resolved to make his  approbation of Uriel.]  All these paintings are of
future profession. On his arrival in London, he  colossal size. He also executed many smaller picsays he was received with the greatest kindness  tures, as the Mother and Child; Rosalie; Rebecca
by Mr. West, then in the zenith of his fame, who  at the Well; Miriam; Lucretia; Catherine and
took him cordially by the hand, and gave him free  Petruchio; Anna Page; Beatrice; Amy Robsart
admission to his Gallery. He presented his draw-  &c. Before he left London he had made great proings, was admitted a student at the Royal Acad-  gress with Belshazzar's Feast, and intimated in a
emy, and the following year exhibited three paint-  letter to a friend that he could finish it in a few
ings in its Galleries, for one of which he received  months, which was never done. He executed but
two applications, sold it, and obtained an order to  few large pictures after his return home; the prinpaint a match piece.  After remaining three years  cipal of them  are, the Prophecy of Barach the
in England, he set out, with his friend Vanderlyn,  Scribe; the Witch of Endor raising the Spirit of
for Paris. Here he was enchanted with the glori-  Samuel before Saul; and Spalatro's Vision of the
ous works of the old masters which Napoleon had  Bloody Hand. But he painted many beautiful
collected in the Louvre. He stopped but a few   portraits and fancy pieces, both at home and abroad,
months in Paris, and then went to Rome, where  so that it is evident that the accusation of indolence
he entered a private academy with Vanderlyn and  made against him is not well founded, and cerThorwaldsen. He remained in Italy, chiefly at  tainly it is not in accordance with his active temRome, about five years, studying the works of the  perament. In the Catalogue of the Boston Athebest masters with assiduity. Here he also became  naem for 1850, is a list of forty-eight of his works
acquainted with Coleridge, formed with hini a  then on exhibition. Nor is the charge of lack of
strict friendship, and was his constant companion   appreciation and patronage true. The author has
in his daily walks among the ruins that environ  before him a letter of his to the late Wm. Hayward,
Rome. He returned to the United States in 1809,  dated Cambridge Port, 10th June, 1835, declining a
married a sister of the lamented Channing, but  commission in the following language: " It would
finding little encouragement for art or artists in  give me great pleasure to accept a commission from
his own land, he again went to London, with his  you at some fiuire time; but at present (and I sinwife, in 1811, accompanied by his pupil, S. F. B.  cerely re gret it). I do not feel myself at liberty to
Morse, who has since made his name illustrious  enter into any new engagements, having commisby his invention of the magnetic telegraph.      sions on hand that will occupy me full two years,
His first great work was the Dead Man Revived  if not more. I have, indeed, of late been obliged to
by the Bones of Elisha. This painting drew the  decline several applications for this reason."
prize of the British Institution of two hundred     The citizens of Boston were ever proud of Allsguineas, and was afterwards purchased by the Penn-  ton, and when a fitting occasion calls for their libsylvania Academy for $3,500. During the pro-  erality and generosity, they enter into it with
gress of this work he was attacked by a danger-  spirit. They got up an exhibition of his works
ous illness, and after some months of great suffer-  while living, for his benefit (in 1835), and after his
ing, he went to Clifton, near Bristol, at the recom-  death, for his family. They also formed a jointmendation of his physician, in hopes that a change  stock company and bought his Belshazzar's Feast,
of air would hasten his convalescence. Here he  which he was to complete, for $10,000, which sum
painted the portraits of his friend Coleridge, and of  was paid him in advance. He was engaged on this
Dr. King, his medical adviser; also some fancy   picture, when death summoned him away. There
pictures. Soon after his return to London from   has been needless' disquisition and speculation on
Clifton, he was visited with another calamity-   this subject. The truth is, the artist could never
the death of his wife-which again prostrated his  satisfy himself with his composition; for in a letweak and sensitive frame like a thunderbolt. He  ter to a friend, speaking of the work, he says: "I
had just taken a house and collected about him   could long ago have finished this and other picsome congenial spirits, as Coleridge, Southey, Les-  tures as large, had my mind been free; for, indeed,
lie, and other eminent persons.                  I have already bestowed upon it as much mental
Allston remained in England till 1818, when,  and manual labor as, under another state of mind,
getting home-sick, to use his own expressive lan-  would have completed several such pictures."
guage, he returned to the United States. married a  Allston had been embarrassed in his circumstarsecond wife-a sister of Dana the poet-settled  ces, and when this was known, the Bostonians
himself first at Boston, and subsequently at Cam-  came generously forward, and put the means into
bridge.                                          his hands to enable him to complete the work.
The principal pictures which he executed in      Allston was a perfect gentleman, of finished eduEngland are, the Dead Man, before mentioned; the  cation, and a poet as well as a painter. He has been
Angel Liberating St. Peter from Prison, painted  called the poet-painter, not only from his having
for Sir George Beaumont; Jacob's Dream, in the  contributed some of the best pieces to American
possession of the Earl of Egremont; [there are a I poetic literature, but from the highly imaginative




ALMO.                     22                     ALON.
qualities of his paintings. He was sm enthusiastic  ALOISIUS, an Italian architect who lived about
admirer of nature, as all true poets are. As he  495, and, according to Cassiodorus, was commiswas crossing the Alps by the pass of St. Gothard,  sioned by Theodoric to restore several edifices at
he says: " I passed a night and saw the sun rise  Rome and elsewhere, particularly the sumptuous
on Lake Maggiore. Such a sunrise! The giant  Basilica of Ravenna.
Alps seemed literally to rise from their purple    ALONSO, GIOVANNI a Spanish architect, who
beds, and putting on their crowns of gold, to send  erected the superb sanctuary of Guadaloupe
up hallelujahs almost audible."  As a prose writer
he is chiefly known as the author of "Monaldi," a  ALONSO, PEDRO DE Los Rios, a Spanish sculpbook written in the true vein of poetic feeling. An  tor, born at Valladolid in 1650; died in 1700; studedition of his lectures on art, with his poems, was  led with his father, Francesco Alonso, at Valladolid.
published in Boston, in 1843. He was exceedingly   He afterwards established himself at Madrid, where
affable in his deportment, and kind and generous  he acquired considerable reputation, and executed
to a fault. Like most intellectual men of nervous  a number of works; several of which, according to
temperament, his spirits freshened at night; when,  Bermudez, are in various churches of that city.
all cares being banished, his conversation was sin-    ALS, PETER, a Danish painter of history and
gularly attractive, and in the society of cherished  portraits, born at Copenhagen in 1725. He gained
friends, they "took no note of time."  His personal  the first great prize awarded by the Copenhaappearance was remarkable. His figure was tall  gen Academy in 1755. Directly after, he went to
and slender, his countenance pale and serrated, his  Rome, and entered the school of Mengs, where he
forehead lofty, his features regular and pleasing,  occupied himself chiefly in copying the productions
his eyes large and of a hazel color, and his hair  of Raffaelle and Andrea del Sarto, which he did
long and silvery, falling gracefully down to his  with great success. On returning to Denmark he
shoulders.  He died very suddenly, without a  painted some good portraits, but his coloring was
struggle, as he was sitting conversing in his chair,  too tame to give a pleasing effect in his pictures of
in 1843, in the 68th year of his age.            females; and he also labored his works so much as
Many of his compositions are highly poetic and  frequently to deprive them of all animation. His
imaginative. He was considered one of the best  want of success is an instance of the evil consecolorists of his age. The Italians called him the   quences that result from copying instead of studyAmerican Titian, and his coloring is said to more  ing the works of great artists. He died in 1775.
closely approach that master than has been done    ALSLOOT, DANIEL VAN, a Flemish landscape
by any other modern artist. But he was not a  and portrait painter of merit; born at Brussels in
great designer. He never would have won immor-1550; and died in 1608. Little is known of him.
tality in grand historical painting, when put in   Another artist of this name is mentioned, called
competition with the great masters. His great  Denis Van A., probably one and the same person,
forte, like Reynolds, lay in what the latter terms  or else brothers. Several pictures bearing the sigfancy pictures, and many of these are exquisite.  nature of Van Alsloot were brought to this counHad he confined himself more closely to this class  t  many years ago.  The touch was light and
of paintings, his fame and success would have been  spirited and the coloring good.
greater.
rFor more extended information of American                          ALTAMNT MARTIN
artists than space will allow in this work, readers  a Neapolitan historical and architectural painter of
are referred to Dunlap's " History of Art and De- considerable merit; was born in 1657, and died in
sign in the United States;" " The Artists of Amer-  1745.
ica," by C. Edwards Lester; " A General View of    ALTDORFER, ALBERT, a German painter and
the Fine Arts," by D. Huntingdon; and the "Arts  engraver; born at Altdorff, in Bavaria, in 1488, as
and Artists of America," by A. C. Tuckerman.]    proved by Heineken, though others assert that he
ALMELOVEN, JOHN, a Duth painter and  was a native of Switzerland. From  the resemALMELOVEN,  JOHN, a Dutch painter and
blance of his style to that of Albert Durer, both
engraver, born about 1614. He is more known by  in their pictures and engravings, and especially in
several etchings of landscapes, executed with great    their pictures and engravings, and especially in
lightness and intelligence, than by any thing he has  their wooden cuts, it is thought he studied under
left us a painter. He engraved quite a number of  that eminent master, though he did not equal him
landscapes and other subjects, after his own designs  in anything.  There are several of his paintings at
and others, the principal of which are the fol- Ratisbon, which are much esteemed; and in the
town-house is a complete collection of his engralowing:                                          vings. He was quite distinguished among that
A set of twelve landscapes, signed J. Almeloven, inv. et  vs   engravers called th   little masters; and
fee.; six Mountainous Landscapes, with figures, Joan abclas oeng s call  the litt     le maters; an
Almeloven inv. etfec.; ten Landscapes of the Four Sea-  his wooden cuts approach the merit of Holbein.
sons, after H. Saftleeven; a portrait of Gisbert Voetius,  He executed over one hundred and seventy prints,
signed J. Almeloven inv. etfec.                  of which the following are the principal. He gen
ALMONACID, SEBASTIAN DE, an early Spanish   erally marked his prints with one of these monoALMONACID, SEBASTIAN DE, an early Spanish
sculptor, who executed in 1500, together with a    ams:            i     or
Dutch artist named Copin, the statues of the great  grams: j    or I        1' r 
altar of the cathedral of Toledo. In 1509 and               PRINTS ENGRAVED ON COPPER.
1510, according to Bermudez, he made several    Scriptural and Religious Subjects.-The Virgin and
statues for the cathedral at Seville.            Infant, with two Children, oae holding a pot, dated 1507,
ALMOR. D ON JUAN, a Spanish historical painter  the Virgin and Child in the nzhe of an Altar; the Virgin
of the last century, who executed many pictures  with the Child standing on her knee with a Glory round
the head; the Virgin and Child dlessed in the costume of
for the Carthusian Convent of the Conception, near  Rstisbon; the Repose in Egypt, the Virgin sitting with thq
Saragossa.                                       Child on her knee, and St. Joseph standing by, with a staff




ALTH.                       23                      ALTO.
in his hand-both have hats on; our Saviour on the Cross,  the style of their master.  Bv Oh are mentioned as
with several figures standing by; St. Jerome in a Grotto,  talented, correct in drawing, of ready invention,
with an Altar, and a Book, and on a tablet over it the   and skilful composition.
artist's monogram; St. Jerome with the Lion-one of his
best prints; St. George and the Dragon.                ALTOBELLO, of Cremona, an Italian painter
Historical and Mythological Subjects.-The Death of   of the early part of the sixteenth century.  Resta
Dido; the Death of Lucretia, an etching; Mutius Scsevola;  says hestudiedunder Bramante, and Vasriextols
Venus going into the Bath with Cupid, and Venus coming     
out of the Bath, both after Marc Antonio; Hercules and   him as superior to most of the Lombard painters
a Muse, sometimes called Apollo and Venus; Cupid riding   of his time.  He painted frescos in the cathedral
on a Sea-horse, attended by three Nymphs; Amphion esca-  of Cremona, and in a chapel of the Church of S.
ping from shipwreck on a Dolphin; Pyramus and Thisbo;  Agostino in that city.  He painted also at Milan.
a Woman holding a Sceptre, sitting on an Altar, surrounded
by several Persons holding lanterns; a naked Woman with  ALTOMONTE, ANDREA, an Italian engrWings seated on a Star, with a Torch in one hand and an   ver, lived at Vienna about 1728.  In concert with
Escutcheon in the other, inscribed Lascivia; a Man in   A. J. de Prenner he engraved the plates from the
Armour leaping into the Sea, with a Camp in the distance,  paintings in the Imperial Glery, published in th
and several Persons observing him; a Man and Woman   paintings in the Imperial Gallery, published in that
and several Persons observing him; a Man and Woman
dancing; six Children dancing, whilst three others are pip-  year.
ing to them; two Landscapes; the Synagogue, inscribed  ALTZENBACK, WILLIAM, a German engraSinagogce JudaicsB; two ornamental plates.           ver, who, according to Heineken, lived at StrasWOODEN CUTS.                      burg about 1650.  In concert with his son, he
Scriptural Subjects.-Forty prints of the Fall and Re- executed twenty plates of sacred history.
demption of Man, very fine and scarce; the Sacrifice of  ALUNNO. NICCOLO, an Italian painter, born at
Abraham; the Annunciation, 1513; the Purification; the   Foligno about 1450.  He paintedindistemper after
Murder of the Innocents, 1511; the Decollation of St.  the manner of artists before Perugino, and his colJohn, 1512; the Resurrection, 1512; the beautiful Virgin
of Ratisbon, after the picture in the cathedral-this is one  oring still retains, its original lustre.   In the
of his best works, printed in chiaro-scuro; Interior of a   Church of S. Niccolo, at Foligno, is an altar-piece
Churchwith the Virgin, a Pilgrim, and Angels; St. Jerome  by this artist, of the Virgin and Infant, with
kneeling before a Crucifix, in a Grotto; St. Christopher in   Saints; and also his picture of the Pieta so-highly
the Water, stooping to take up the Infant, 1513; St. George  praised by Vasari.  He executed many works, and
and the Dragninaandca.praised by Vasari. He executed many works, and
and the Dragon, in a landscape, 1511.
Mythological and Other Subjects.-Paris dying on   ginedmuch reputation.  He died about 1510.
Mount Ida, with Venus, Juno, and Minerva, 1511; a      ALVAREZ, DON JOSE, one of the most eminent
Knight sitting with a young Woman; an Officer with a sculptors of recent times was born in 1768 at
Flag, in a Landscape; a Mountainous Landscape, with       o   n            ie i 1            f     
Buildings; the Fagade of a Portico.                  Priego, in Cordova; died in 1826. His father was
a poor stone-mason, and bred his son to the same
ALTHAM, -, a German painter, who lived   business; but Jose early evinced a great ability for
about 1660. He painted landscapes and sea views  design, and assiduously devoted his leisure mowith considerable ability.                           ments to the study of drawing. In his twentieth
ALTICHERIO, or ALDIGIERI, DA ZEVIO, an   year he entered the Academy at Granada, where
old Veronese painter of the fourteenth century.  he soon became distinguished for his skill in modHe was living in 1382.  He seems to have been the   ling.  He executed a Lion destroying a Serpent,
first Veronese painter of any note.  Vasari says he   for the public garden of his native place, which
executed, with great judgment and skill, a single  attracted the notice of Don Antonio de Gongora,
picture of the Hlstory of the Jewish wars, accord-  bishop of Cordova, who from that time became the
ing to the account of Flavius Josephus, on the   patron of Alvarez, and caused him to be made a
four walls of the great hall of the Palazzo de'  member of the Cordovan Academy, which he himScaligeri.  Above this picture, he painted a series   self had founded. Alvarez renained at Cordova
of medallions, among which he introduced the por-  till his twenty-sixth year, when he visited Madrid
traits of many eminent men of the time.  He   and entered the Academy of San Fernando, where,
painted also, at Padua, in the old church of San   as "the Andalusian," as he was called, he soon
Giorgio, the history of St. Jacopo, which is still  became distinguished above all his fellow students.
extant, painted in the style of Giotto.              He gained the first prize of the Academy for a
ALTISSIO,'  DL   a Flor       e   bas-relief, representing Ferdinand I. and his sons,
ALTISSIMIO, CRISTOFANO DELL', a Florentine   carrying upon their shoulders the miraculously
portrait painter of great merit, who lived about  discovered body of St. Isidore, into the Church of
1568, and studied under Bronzino.  His fam-  San Juan de Leon. In 1799 Alvarez was granted
ily name was Papi.  He copied a series of portraits   a pension of 12,000 reals, by Charles IV., to enaof eminent men, in the possession of the Conte  ble him  to prosecute his studies in Paris and
Giovio, for Cosmo I., of Florence.  He paid more   Rome. In Paris he applied himself to the practiattention to the features than to the rest of the pic-   al study of anatomy, and made careful studies
ture, and they are very faithfully represented.  from the sculptures of the Parthenon, which ChoiHis works generally are highly finished without a   seul Gouffier had brought from  Constantinople.
laborious appearance.                                Soon after his arrival he obtained the second great
ALTOBELLO, FRANCESCO ANTONIO, a Neapo-  prize in sculpture awarded by the Institute; and
litan painter of the seventeenth century.   He   in 1804 he made a statue of Ganymede for the
studied under Stanzioni, and is probably the same  Marquess of Almenara, which gained him the repas Antonio de Bellis, a talented artist who was a  utation of one of the first living sculptors. David
scholar of the same master, and died young in  the celebrated painter, is said to have pronounced
1656. Altobello is mentioned as using ultrama-  this statue equal to the antique. It is now in the
rine excessively in his pictures; de Bellis as fol-  Academy of San Fernando at Madrid. Napoleon
lowing the manner of Guercino, in whose works  visited the studio of Alvarez twice, and presented
the same color abounds.  Neither of them followed   him with a gold medal valued at 500f. Alvarei




ALVA.                     24                   AMAD.
modeled also, at Paris, a colossal statue of Achilles    AMADEI, STEFANO, an Italian painter, born at
receiving the fatal arrow in his heel, which was  Perugia in 1589; died in 1644; studied under
greatly admired by competent judges, but was so  Ginlio Cesare Angeli. After painting several hislarge that it soon fell to pieces, and for some rea-  torical pieces, which are in the churches and palason was never restored. He soon received an addi-  ces in and near Perugia, he commenced portrait
tion of 16,000 reals to his pension, and left Paris  painting in crayons, and acquired so much reputafor Rome.                                      tion as to be invited to practise at Rome. He visIn Rome Alvarez added to his already high  ited that city and opened a school of design, which
reputation by four bas-reliefs, which he modeled  was well attended. He was well versed in mathfor a hall in the Quirinal Palace; but owing to  ematics and perspective, and gave lectures on those
political events, they were never executed in mar-  subjects.
ble. He made many other fine works at Rome,    AMADEO, or AMADEI, GIOVANNI ANTONIO,
the best of which is the group of Antilochus and  an excellent old Italian sculptor; born at Pavia
Memnon, modeled in 1818, and executed afterwards  about 1400. His chief works are the monuments
in marble for Ferdinand VII.; it is now at Mad-  of the Venetian General, Bartolomeo Colleoni, in
rid.   In 1818, Alvarez was appointed court  a church at Bergamo; and of his daughter, Medea
sculptor; and in 1825, principal sculptor to the  Colleoni, at Basella, near Bergamo; which are
King of Spain, when he was presented with the  highly praised by Cicognara. The. same author
Cross of the Order of Civil Merit. In 1826 he  mentions a number of the works of Amadeo,
visited Spain, and received the honorable commis-  among which is a bas-relief of the Deposition from
sion to select from all the royal collections in  th Cross, which, he says, might be taken for a
Spain, what he considered the finest works of art,  composition of Perugino or Francia.
for the purpose of having them placed in the splen-    A       G         t  b           
did Museum of the Prado at Madrid. For a full    AMALTEO, IROLAMO the brother and scholar
list of his works see Bermudez.                 of Pomponio, was highly gifted by nature, as appears from his designs in small pictures, and in
ALVAREZ, DON MANUEL, a reputable Spanish  several mythological subjects, executed in fresco;
sculptor of the eighteenth century, born at Sala-  and in altar-pieces which he painted for the Church
manca in 1727; died in 1797; studied in his na-  of S. Vito. Ridolfi praises him greatly for his spirtive city under Tome Gavilan, and subsequently  ited manner; and another old writer is of the opin-*
under Alessandro Garnicero.  He then visited  ion, that had he not died young, he would have
Madrid, and entered the school of the King's  equalled the great Pordenone. He is styled by
Sculptor, Don Felipe de Castro, whom he assisted  Graziano, in his poem of Orlando, " Girolamno Amalin executing in marble his statues of the Kings  teo de' vita santo."
of Spain for the new Palace; those of Witerico    AMALTEO  POMPONEO an Italian historical
and Walia were executed by Alvarez. Hie made                                t
and Walia were executed b  Aaeze  painter, born at S. Vito, a town in the Friuli, about
also, in stucco, three of the four Cherubim in thei, was a relative and
Royal Chapel, on account of the illness of Castro;  scholar of Pordenone. He executed some works a
manner in which he  scholar of Pordenone. He executed some works
and, through the successful manner in which he  in the churches and public places in the vicinity of
executed these figures, he was appointed one of the  Friuli; also several pieces oRoman history in one
sculptors to complete the works of the chapel. In                                    latter are
1753 he obtained the second prize of the Academy  poably the Three Judgments, in a loga at Cenof San Fernando, and in 1754 he obtained the first    supe Thr        ee Judgments, in a loggia at Cen
prize, and was entitled to a pension to enable him   eda, supposed by Ridolfi to have been painted by
to prosecute his studies at Rome, but was pre-   o denoe    t in      real ity th e work of Amalteo,
vented by ill-health. In 1757 he was elected an  completed in 1536. There is a picture signed with
vented by ill-health. In 1757 he was elected an                 d                     
Academician, and in 1762 Vice-Director of the  h  ne  n d           5       n           
1588.
Academy. He executed a model for an equestrian      A
statue of Philip V., which was preferred before    AMAMA,        angenios German painter in
that of his competitors, but in consequence of the  water-colors, who lived near the close of the sevenwars of Spain it was never executed. In 1786,  teenth century. Hepainted landscapes,birds,and
Alvarez was elected Director of the Academy, and  especially flowers, which he executed in miniature
in 1794 was appointed sculptor to the King. His  with remarkable delicacy.  He lived at Altona or
works are numerous in the palaces and public edi-Hamburg, and was the first master of the celefices of Spain. Many of them are at Toledo, Mad-  brated Balthasar Denner.
rid, Salamanca, etc., for a full list of which, see    AMANN, JOHANN, a Dutch engraver, who exeBerzudez.                                       cuted, according to Fuseli, a history of the Passion
ALVAREZ, LORENZO, a Spanish painter, who  of Christ, in sixty-four plates, published at Amsterstudied at Valladolid and Madrid under B. Car-  dam, in 1623.
ducci. He settled at Murcia in 1638, and executed    AMANN, JOHANN, called the Younger, a Gersome reputable works for the convents of that  man engraver of Schafhausen, who lived in the
city.                                           early part of the last century. Fuseli says he exALYPIUS, a learned architect who held many  ecuted principally portraits; among others, many
important offices under the Emperor Julian, called  of the clergy and other people of station of the
the Apostate. He was commanded by that mon-  cities of Berne and Zurich; also a series of all the
arch to rebuild the Temple at Jerusalem, with the  known ministers of the churches ofBerne, Basle and
avowed object of falsifying the prophecies of our  Schafhausen, from the Reformation to the year
Saviour with regard to that structure. It is said  1718.
that while the workmen were excavating for the    AMASTINI, ANGELO ANTONIO, an ingenious
foundations, balls of fire issued from the earth and  Italian gem-engraver of the last century; born at
destroyed them. He lived about 363.             Fosombrone. He resided chiefly at Rome. where




AMAT.                      25                    AMBR.
he was much occupied in copying and imitating  painted in concert with Jean de Bcklrgogne and
ancient gems, which he did with so much skill  Villoldo, the arabesque chapel; which still retains
that his works were often sold at prices as high as  its attractions.
ancient gems; a fact which may aid in accounting   AMBERES, MIGUEL DE, a Spanish painter. origfor the great abundance of ancient gems at the pres-  inally of Antwerp, who lived about 1640. His
ent time.                                        portraits are said to be in the style of Vandyck.
AMATO, FRANCESCO, an Italian painter and  Some of his pictures are to be found in the churches
engraver. Little is known of him as a painter;  and convents of Spain.
but there are a few slight etchings extant, which  AMBROGI, DOMENICO, called MENICHINO DEL
are executed with spirit, in the style of Biscaino,  BRIZIo, a Bolognese painter, who lived about 1650.
among which are: St. Joseph seated, reading a  Malvasia says he acquired that name from his
book, with the Infant Jesus near him; St. Je-  being the scholar of Francesco Brizio. He painted
rome; and the Prodigal Son.  These are upright  in oil and in fresco, and excelled in historical pieces,
prints, inscribed Francescus Amatus inv.         landscapes, perspective, and architectural views.
AMATO, A GIOVANNI ANTONIO   called Ii Vec-  He executed many works for the churches and palAMATO, GIOVANNI ANTONIO D, called II Vec-  aces at Bologna. In S. Giacomo Maggiore is a
chio, a Neapolitan oil and fresco painter of consid-aces at Bolona. In S.  iaomo  Maggiore, is a
erable eminence, born about 1475. He studied  picture by him of the Guardian Angel; and in the
erable eminence, born about 1475. He studied
under Slvetro Bruno, or Buono, an old  Neapol-  Nunziata, another of St. Francesco, with a glory of
under Silvestro Bruno, or Buono an old Neapoli-     published some wooden uts
tan painter then in repute; but his master dvingAngels. In 1653, he published some wooden cuts
tah paiter then in repute; but his mastuer d te  from his own designs, printed in chiaro-scuro, one
works of Perugon, and imitated his style.  In S.  of which represented a woman in a triumphal car,
rksoferuginoandimiitedhiy.n        holding two flambeaux and a serpent, conducted
Dominico Maggiore, in the chapel of the family of       t        be             e     
Carrafa, is a picture by Amato of the Holy Family.  by Neptune.
There are several of his works in the churches of    AMBROZY, WENZEL BERNARD, a German hisNaples; and he had a large number of scholars.  torical painter, born at Gottenburg, in Bohemia,
His favorite study was theology, and he was noted  in 1723; died in 1806; studied under his elder
for his exposition of many obscure parts of the  brother, Joseph Ambrozy, a miniature painter at
Bible. He died in 1555.                         Prague; and afterwards acquired a knowledge of
AMATO  GIOVANNI ANTONO D te y,     fresco painting from P. Sierdus. HIe executed at
AMAO, GIOVANNI ANTNIO    th  younger,  an early period some ordinary works in Prague
a Neapolitan painter, born in 1535, and nephew of  and its vicinity, but changed his style on becomthe preceding.  His coloring was magnificent,  ing acquainted with Reiner, whose gay and elesome of his works being equal in this respect to  gant coloring resembling that of the Venetian
those of Titian. His finest performance is thhe  at once adopted, and executed many
large altar-piece of the Infant Christ in the Church   masescos, and several good altarpieces in his
of the Banco de' Poveri, at Naples. He died in  good frescos, and several good altar-pieces in his
of the Banco de' Poveri, at Naples. He died in    tle.  His compositions are spirited and well
that city in 1598.                      ityle. His compositions are spirited and well
~that city ~in 1598.                arranged, and his heads have a good expression;
AMATRICE, COLA DELL', an Italian painter,  but his design is in very ordinary taste. Amwho flourished in 1533. He lived in Ascoli di  brozy was also skilled in restoring pictures. Maria
Picino, and had a high reputation throughout all  Theresa appointed him  one of her court painters,
that province. His manner was hard in his first  and he was honored with the notice of the Empeproductions, but his subsequent works showed a  ror Joseph II.
fullness of design, and an accomplished modern     AMELSFOORT, QUIRINUS VAN, a Dutch painter
style. He is praised in the Guida di Ascoli for his  of allegories, history, and remarkably truthful porpicture in the oratory of the Corpus Domini, which  traits, was born at Bois-le-duc in 1760, and died
represents the Saviour in the act of dispensing  there in 1820.
the Eucharist to his Apostles.                     AMENDOLA, FERRANTE, a Neapolitan historAMAYA, -, an historical painter; scholar  ical painter, born in 1664; died in 1724; studied
of Vincenzio Carducci; executed at Segovia, in  under the celebrated Solimena, in whose style he
1682, several paintings, correctly designed and  painted for some time, but afterwards imitated
well colored.                                   that of Luca Giordano. He painted many works
AMBERGER, CHRISTOPHER, a German painter,  at Naples, the best of which are two altar-pieces
born at Nuremberg, according to Michel, in 1490;  in the Church of the Madonna di Monte Virgine.
studied under Hans Holbein the elder. Fiorillo  Nagler mentions an ingenious picture, by this
says he imitated and copied the portraits of the  artist, of a Quack Doctor's Shop, in the Royal
younger Holbein so well, that many of them are  Gallery at Munich. Dominici says that Amenconsidered originals. He executed a set of twelve  dola's chief merit consisted in a practical facility
pictures, representing the history of Joseph and  of coloring, and that he completely failed in his
his brethren, which gained him great celebrity;  attempt to imitate the masterly style of Giordano,
though he succeeded better in portraits than in  especially in the draperies.
history. In 1530, he painted the Emperor Charles   AMICI, FRANCESCO, a modern Italian engraV., who honored him with a gold medal and chain;  ver.  Heineken says he executed some small
and, according to Sandrart, considered this portrait  plates of sacred history, among which the best are,
as equal to any painted of him by Titian. Zani  Christ praying in the Garden; Christ before
says he died at Augsburg in 1563; others say in  Pilate; and the Entombment of Christ.
1550.                                              AMICONI, or AMIGONI. OTTAVIO, a distinAMBERES, FRANCISCO DE, a painter and sculp-  guished Italian fresco painter, who followed the
tor of Toledo, the cathedral of which he adorned  style of P. Veronese, was born at Brescia in 1605,
with his pictures in 1502. From 1508 to 1510, he  and a scholar of Antonio Gandini. He executed in




AMIC.                        26                      AMMA.
the Carmelite Church of Brescia, an important  Sormanus-in a medallion, large plate. Don Livio C deswork in fresco, in concert with Bernardino Gan-  chalchi-in a medallion. Marcus ab Aviano-oval, 1680. A'din  the son of his master, which is highly praised   young Prince conducted to the Throne by Hercules and
dini the son of his master, which is highly praised      J                          e      ariaNestor; on the Throne is inscribed, Ungaria-Amling,
by Averoldi.  The subjects were from  the life of  scul. Two plates of Statues, engraved for Sandrart's AcadSt. Alberto.  He died in 1661.                        emy.
AMICONI, or AMIGONI, JACoPo, a Venetian                      SACRED AND HISTORICAL SUBJECTS.
portrait and historical painter, born in 1675.  His    The Virgin and Child, with two Portraits, after J. A'
first works at Venice were two altar-pieces in the   Wolf, engraved by C. G. ab Amling-a very large plate.
church of the fathers of the Oratorio, and a picture   The Image of the Virgin of Consolation; C. G. Amling,
of St. Catherine and St. Andrew, for the Church   sc., 1682-large plate, oval. Vero Ritratto di S. Francesco
of S. Eustachio.  He subsequently went to Rome,  d'Assisi da Carlo Gustavo ab Amling-small folio  Image
and thence to Munich where he remained some   of St. Nicholas Toletin, 1691, large plate; Vrai Portrait de
an~d thence to Munich, where he remained some  St. J'bhn de S. Facundo-large oval; J.A. Wolf, pin. St.
time; but his principal works are in England,  Godard kneeling before the Virgin; J. Dreutwet, del.where he went in 1729, and resided many years.  folio. Ten plates in folio, of a Triumphal Arch in honor of
His works were for some time in great celebrity,  the Elector Maximilian Emanuel; C. G. Amlin, Mu
and several of the nobility employed him to adorn   nich. Grand Thesis, dedicated to the Emperor Leopold,
their houses.  After leaving England he visited   and his son Joseph; R. P. Antonius Lumlinsky, del.;
C. G. Amling,fec. Another large plate, representing the
Spain, and died at Madrid in 1758.  He etched   Virgin Mary treading on the Serpent, accompaniedby the
several prints in a spirited style, of which the   Four Doctors of the Church; Amling,fec.
following are the principal: Salvator Mundi, half 
length; Jupiter and'Calisto; Zephyrus and Flora;        AMMAN  JUSTUS, a Swiss painter and engrathe Four Elements, in the style of Watteau.          ver, born at Zurich in 1539. Of his paintings we
have no further account, except that his works in
AMIDANO, POMPONEO, an Italian painter, born   stained glass were richly and brilliantly colored.
at Parma, and flourished, accordng to Lanzi, about  His pen-sketches are neat and spirited, and are
1595.  IIe is supposed to have studied under Par-  highly prized.  He has executed an immense nummiggiano.  His heads have a noble and graceful  ber of prints, upwards of five hundred and fifty,
mien; and he has imitated so successfully the style   many of which being of small size, he is classed
of that master, that good judges have mistaken the   with the little masters.  He engraved both on
picture he executed in the Church della Madonna   copper and wood, the latter of which are by far the
del&Quartiere, for the work of Parmiggiano.  Or-  best.  His manner is neat and decided; his drawlandi relates that many of the pictures of Amidano   ing is tolerably correct; and his execution, espewere purchased by foreigners; and as his name is  cially in his animals, is spirited.  His copper
not mentioned in any catalogue of foreign collec-  plates generally bear his name, but his wood cuts
tions, it is probable that many pictures ascribed to   are marked with one of the following monograms,
Parmiggiano are by this artist.                      usually composed of his initials.  He died at NuAMIGAZZI, Gio. BATTISTA, aVenetian painter,  remberg, 1591.
and a scholar of C. Ridolfi. He excelled in copy-              l                 A        T    /
ing the works of other masters.  In San Carlo              A     A J                  yy \
there is one from  a Supper by P. Veronese, finely
drawn, and with colors fresh and vivid even at the                      COPPER PLATES.
present day.                                           Twelve small plates arched, of illustrious Women, beginAMLING, CARL GUSTAVUS, a German designer   ning with Eve; title Eva die Gebeverinn. Jost. Amman,
and engraver, born at Nuremberg in 1651.  The   fec.; Stef Herman, exc. Eight figures of Warriors, small
Elector of Bavaria took him under his patronage,  upght plates, marked Jst. Amman, Inentor;   efan.
huHerman,. 1590.  Eight plates, of Persons fighting with
and sent him to Paris, where he studied under F.  swords and sticks; small plates, lengthways, marked with
de Poilly.  He followed the style of that master,  his cipher. Six very small plates of friezes, lengthways,
and gained much celebrity, though he never attained   Huntings. Eight small plates, lengthways, the Four Seahis merit.  He executed a large number of plates  sons, and the Four elements, 1569. Twelve small upright
of historical subjects and portraits, the latter of  plates arched, of the Months of the Year, represented in
full-length figures; Jo. Amman, fec. A set of plates for a
which were most successful, many of them  having   Bible published at Frankfort, 1571. The Bombardment of
great merit. In all of his prints, except the por-  a Town; Jo. Amman, fec., 1570-large plate, lengthways.
traits, there is a want of effect, and his drawing is   Effigies Casparis de Colignon; fecit Norimbergc, Jost.
incorrect, especially in the nude.  The following is  Amman, Tigurinis, 1573.
a list of all his prints, except some private plates                    WOODEN CUTS.
after tapestry, in the possession of the Elector of    The Creation, large print, marked J. A. An oval print,
Bavaria, and the prints he executed for the Acad-  the Diet of the Empire-large, lengthways. The Marriage
emy of Sandrart.  He died in 1701.                   of Cana —middle-sized print, lengthways, J. A. A set of
one hundred and fifteen prints of Arts and Trades, first
PORTRAITS.                  printed under the title, HavyoTrXa, omnium  liberalium
Maximilian Emanuel, Elector of Bavaria, J. C. Cham-  mechanicarum, 4c-., printed at Frankfort in 1564. This
pagne-a large upright plate, said to be one of his best.  edition is very scarce; the book was reprinted in 1574, and
Maximilian Emanuel, Electoral Prince; after Thomas  again in 1588. A set of one hundred and three prints of
Masculinus, dated 1670-an oval, very scarce. Eques-  subjects from the Roman History, published at Frankfort in
trian Statue of Maximilian Emanuel, Elector of Bavaria;  1572-73, with a portrait of S. Feyerabendt, the celebrated
Amling,.fec. Monachii-large plate. Ferdinand Maria,  bookseller. A book of Huntings, entitled Neue Figuren
Elector of Bavaria, 1676-large plate, oval.  Henrietta  aller hand Iagd,.fc. Frankfort, 1582. A set of prints for
Maria Adelaide, Duchess of Bavaria; after Delamonce,  a book, entitled Caii Plinii Secundi, 4.c. Frankfort, 1584.
1675-oval, large plate. John Count de Berlo de Bruss,  A set of one hundred and three prints of a work, entitled
General, 1680-large oval. Alexander Sigismund, Count  Cleri totius Romance Ecclesice subjecti, 4c. Frankfort:
Palatine, &c.; Hamilton, pin.  Remain Liberiet, Abbot  Sig. Feyerabendii, 1564. A set of one hundred and twenty
of St. Ulrich; C. C. ab Amling, ad vivum del. et scul.  prints for a book, entitled Gyrneceum, 9ive Theatrum
Monachii-a fine portrait, large plate. Petrus Marinus  Mulierum, (fc. Frankfort, 1586.




AMMA.                       27                     AMMO.
AMMAN, JOHN, a German engraver, who lived   nent engraver. His principal work was the conat Hanau about 1640. He engraved a set of small  tinuation of the collection of portraits entitled.
wooden cuts, representing the Passion of our Sa-   Bibliotheca Calcographica, in six quarto volviour, published at Amsterdam in 1623, with Latin   umes, published by Theodore de Bry, to which he
verses. They are executed in a neat and spirited   added two volumes, the first dated Frankfort, A.D.
style, and possess considterable merit.            1650, with his name, Sculptore Clemen. Ammon,
AMMANATI, BARTOLOMEO, an  illustrious   juWnior, Calcograp., and the second published in
Florentine sculptor and architect; born in 1511;   652, Sculptore Clemente Ammonm o calcograp..F 1ranc.
was the son of Antonio da Settignano, who died   fanc.
when Bartolomeo was twelve years old. As his         AMMON, JOHANN, a German artist, born at
father left but a small estate, he chose sculpture  Schaffhausen, and lived about 1700. He executed
for his profession, and studied first under the   several portraits, among which is one of the celecelebrated Baccio Bandinelli, and afterwards at  brated John Locke.
Venice under the distinguished Jacopo Tatti,bet-      AMOROSI, ANTONIO, an Italian painter, born
ter known as Sansovino.  Ammanati executed  in the Communanza near Ascoli, and flourished
a colossal statue of Hercules at Padua, by order  about 1736. He executed several works for the
of Marco di Mantova, a rich physician, and a  churches at Rome, one of which is in S. Rocco;
great patron of the arts, who was residing in that  but he is principally known as a painter of drolls,
city. He was also the author of the gigantic stat-  and fancy subjects, in which he became quite emiue of Mount Appenine, placed at the edge of a  nent; so that Lanzi says, if his coloring had been
small lake at Pratolino, near Florence. At Ur-  a little more brilliant, his pictures would have
bino he was employed to make the monument of   equalled the similar productions of the Flemish
Duke Francesco Maria, in the Church of Santa  school.
Chiara. At Naples he executed three statues for      AMOUREUX, ABRAHAM CESAR L a reputable
the monument of the poet Sannazaro, but owing   French sculptor; born at Lyons in 1644; studied
to some disappointment he quitted Naples and   under N. Coustou the elder; executed several exreturned to Venice, where he occupied himself on   cellent bas-reliefs and  other works in various
a colossal statue of Neptune for the Piazza di S.  churches at Lyons, distinguished for their fine comMarco. For Cardinal di Monte, afterwards Julius  position and expression.  He was invited to CoIII., he made a handsome monument, which still  penhagen in 1682, where he executed the gilded
exists in the Church of S. Pietro, at Montorio.  leaden statue of Christian V., King of Denmark,
He subsequently left Rome and visited his native   which was placed before the Royal Palace in 1688.
city; but afterwards was extensively employed at
Rome by Gregory XIII., and Sixtus V. Many            AMPHISTRATUS, a Greek sculptor, who is
other of his works as a sculptor are mentioned b    mentioned by Pliny as the author of an admired
Vasari.                                            statue of Callisthenes, which was in the Servilian
As an architect, he designed and erected the new   Gardens at Rome. Tatian says he made a bronze
bridge of the Trinity over the Arno, at Florence,  statue of Clitus. This artist probably livedbout
which is still remaining, and is admitted by com-             Alexander.
petent judges to be one of the most elegantly de-    AMSTEL, CORNELIUS PLOOS VAN, an eminent
signed and ingeniously constructed specimens of  Dutch engraver, born at Amsterdam in 1732. He
which the art can boast. Ammanati was also  executed a very interesting set of plates in imitaemployed to complete the Pitti Palace at Florence;  tion of the drawings of the most noted Dutch masand at Rome he designed the Palazzo Rucellai, and   ters. The following is a list of his principal
the fagade of the Collegio Romano. He also com-  works:
posed a large work entitled "La Citt4," containing    Frontispiece, a Monument bearing a Latin inscription, on
designs for all the edifices belonging to a well  which stands a Genius holding an Escutcheon, in the middle
ordered city. When Michael Angelo died, two   a Fleur de luce; Inventor Cornelius Ploos van Amstel,
D.  I Febr., 1765. Two small Landscapes; H. Zaftpainters, Agnolo Bronzino and Giorgio Vasari, and  lee, d.; v. Amstel,fecit, 1766. A Landscape, with a
two sculptors, Benevenuto Cellini and Bartolo-  Shepherd and Shepherdess with Cattle on the Banks of a
meo Ammanati, were chosen for thb honorable  Canal; Ad. van de Velde, del.; P. van Amstel, fecit. A
office of superintending the magnificent obsequies  Woman looking out of a Door; Rembrandt, del.: P. van
of that great man. In recording this fact, Vasari  AAmstelfecit, 1764. A young Man with a Hat on, looking
out of a Door; same inscription. These two are fine imitaobserves that they were " all bright names, and  tins of Rembrandt. An Interior of a Dutch Cottage, with
illustrious in their respective arts."             Peasants, one reading the Gazette; Ad. v. Ostade, del.,
The high reputation of Ammanati contributed to  1673; P. van Amstel, fecit, 1766. A Frost Piece with six
gain him for his wife, the celebrated Laura Battiferri  Spanish Figures, one a woman with a Mask; IHendrick
of Urbiiio. She was a poetess and a highly accom-  Avercamp, del., 1621; P. van Amstel, fecit. Portrait of
plishUed lady, and her merit procured her election   Jan Josephzoon van G oyen; Ant. van Dyck, del., 1638;
plished lady, and her merit procured her election
P. van Amstel, fecit, 1769. A Landscape, with a Market
into the Society of the Intronati at Siena. A col-  at the Entrance of a Town; Jan Josephzoon Goyen, del.,
lection of her works was published in 1560, under  1653; P. van Amstel,fecit, 1767. A similar subject with
the title of 0Opere Toscane."                      a Beast Market; same inscription. A Lady seated at a
Ammanati died in 1589, aged 78 years, and was  Harpsichord; Ger. Douw, del., 1660; P. v. Amstel, fecit,
buried near his wife, in a chapel he had entirely  1767. A Sea-piece,with Shipping; Ludolf Bakkuysen,
del., 1694; P. v. Amstel,fecit, 1769. Landscape, with a
ornamented and dedicated to the patron saint S.  Woman riding on an Ass, with Cattle, by the side of a CaBartolomeo, in the Jesuits' church of S. Giovan-  nal; N. Berghem,fecit, 1764; P. van Amstel,fecit, 1769.
nino, to which society he bequeathed all his prop-  A circular of the Virgin Mary, with the Infant Jesus; Abr
erty.                                              Bloemaert, del.; P. v. Amstel, fecit, 1769. An assem
AMMON, CLEMENT, a very inferior' Germn   blage of Peasants before an Alehouse, with a Man playing
AMMON, CLEMENT, a very inferior German   on the Violin, and another dancing; Ad. v. Ostade, del.,
engraver, son-in-law of Theodore de Bry, the emi-  1612; P. v. Amstel, fecit, 1769-an imitation of the pie




AIST.                        28                      ANCH.
ture. Portrait of a Young Lady, with a Book on a Table;  sixteenth century; born at Pam;pelura; studied
H. Goltzius, del., 1612; P. v. Amstel, fecit, 1770. Por-  in Florence, and soon after returning to his native
trait of a Young Man, sitting on a Chair; C. Visscher, del.,   he ac
1651; P. v. Amstel,fecit, 1771. Landscape, with a Man   place, i     qu, accordig to Berud, th
leading a Horse, and in the foreground some Women wash-  reputtion of one of the best sculptors of his
ing; Ph. Wouwerman, del., 1660; P.v. Amstel, fecit,  time. Ancheta made the beautiful stalls of the
1772. The Inside of a Church, with a Man drawing; E.  choir of the cathedral at Pampeluna, which are
Saenredam, del., 1630; E. v. A:mstcl, fecit, 1774-very  considered the finest in Spain.  There are one hunneatly finished. A Spanish Concert; Karel va  Man der,dred of them; they are made of English oak. He
del, f603; P. V. Amstel, fecit, 1772.  A Man seated,  also executed an Assumptio, for the principal altar
holding a Flute, with a Bonnet in the manner of Rembrandt; G. Flinck, 1643; P1. van Amstel, fecit, 1773.  of the parish church of Santa Maria at Tafalla; the
A Sea-piece with Shipping; P. Coops, del.; P. v. Amstel,  equestrian statue in alabaster, of St. George killing
fecit, 1773. An assembly of Peasants, one sleeping; Ad.  the Dragon, at Saragossa; and in 1578, an AssumpBrower, del., 1635; P. v. Amstel, fecit, 1775. A Man  tion for the great altar of the cathedral at Burgos
sitting at a Table, with Cards in his hand; F. Mieris,  i  which he surpassed Rodrigo del Haya, who,
del., 1663; P. v. Amstel, fecit, 1777. Two Dogs, small    w      he                                 w,
prints; similar inscription. Three Peasants, one with a   with his brother Martin, executed the other sculpBottle; C. Dusart, del.; Pl. van Amstel,fecit. A Young  tures of the altar.
Lady taking a Beverage presented by a Boy, and a Physi-  ANHILUS,          a Flemish painter, born at
cian standing near her; Ger.'ereberg, del.; Pl. v. Am- 
stel, fecit, 1779. A Young Lady, with a Musical Instru-  Antwerp in 1688; executed conversations and
ment; G. N; tscher, del., 1664; P. van Amstel,fecit, 1781,  other subjects of some merit, in the style of Teoval. Two Sea-pieces; Ludolf Bakhuysen, del.; Pi. v.  niers and Watteau.  He went to London, and
Amstel, fecit, 1781. The Judgment of Solomon; Lucas  copied pictures by Snyders for Sir R. Walpole.
van Leyden, del., 1515; P.v. Amstel,fecit, 1782. A   He died at Lyonsin 173.
Landscape, with Ruins, and a Man with an Ass; Th. Wyk,
del.; P. v. Amstel, fecit, 1782. A View in Norway, with  ANCHINI, LUIGI, a renowned seal engraver, in
Figures; Ald. van Everdingen, del.; P. v. Amstel, fecit,  the time of Michael Angelo, born at Ferrara.  He
1782. Five Dutch Magistrates, sitting round a Table; J.  was largely patronized by cardinals and princes.
de Bray, del., 1663; Pi. v. Amstel,fecit. The Attorney   His Interview  of Alexander the Great with the
and his Clerk; J. Steen, del., 1672; P. v. Amstel, fecit.  Hig   Priest of esalem,  was pronounced by
hHig    Priest of Jerusalem, was pronounced by
A Landscape, with Ruins, and a Shepherd with Sheep and
Goats; J. vander Does, del., 1699; P. van Amstel, fecit.  Michael Angelo to be the perfection of his art.
A Mountainous Landscape, with Cattle; J. v. der Meer,    ANCKER, JOHANN, an old copper-plate engrade Jonge, del;, 1704; P1. v. Amstel,fecit. The Carpenterfifteenth century; supposed to have reand his Wife; J. Saenredam, del., 1610; P. v. Amstel,    e       i   n    Hn                     m  i
fecit.  The Inside of a Cottage, with Peasants; Corn.  sided at Zwoll, in Holland.  Bartsch mentions
Bega, del., 1684; P. v. Amstel,fecit. The Botanist, with  eighteen of his plates, the two largest of which are
Figures bringing him Plants; G. v. den Eeckhout del.; P.  Christ on the Mount of Olives, and a Gothic Altar.
v. Amstel, fecit. A Landscape, with four Sheep; K. du   The rest are all from the New Testament, or from
Jardin, del.; P. v. Amstel,fecit. The Chymist; J. Lang-   subjects connectedwith the Romish Church.,ans, del., 1711; P. v. Amstel, fecit. A Sea-piece with
Shipping; J. Esselens, del., 1708; P. van Amstel, fecit.  ANCONA, ANDREA LILIO, an Italian painter of
AMSTEL, JAN VAN, a painter who is said to  some eminence, born at Nella Marca; flourished
have excelled in landscapes, which he enriched   about 1595.  He painted allegorical subjects, some
with numerous figures in the manner of Van   of which have been engraved.  Baglioni says he
Eyck; but when or where he lived is not recorded.  was employed by Sixtus V. on the ornaments of the
Guarienti, in his edition of Orlandi, mentions a   Library of the Vatican; also in St. John of Latepicture by Amstel at Genoa, though it is conjec-ran, where he painted in fresco in the Scala Santa
tured that some more distinguished painter is dis-  Moses striking the Rock-a grand composition;
guised under this name.  The painting represents  and Moses with the brazen Serpent.  In a chapel
the Crucifixion, and contains over two hundred   of the Chiesa Nuova, he represented Michael driving
figures admirably painted.                           the evil Spirits from  Heaven; also a fine fresco
AMRULIUS a Roman painter who flourished in   painting in S. Maria' Maggiore, representing our
AMULITS,   Roma painateSr whov fl o        uris  washing the Feet of his Disciples.  After
the reign of Nero, and was principally employed   the death of hi patron, he was empoyed in the
by that emperor in decorating his golden palace.  Roman churches and convents by Clement VIII.
His best works, with the palace, were destroyed by                                  an Itan 
fire.                                                  ANDERLONT, FASTINO  an Italian engraver
ANASTAS, G   an Iian hisic    of some merit, was born at Brescia, and executed
ANASTASI  GovANNi, an Italian historical                                                i
I           I TASI,  IOVANNI~  n Italian  istoricalin 1786 and ]794, portraits of the distinguished
painter, born at Sinigaglia in 1654; died in 1704.  i  1786 and   794, portraits of the distinguished
^painter, bornateSinigaglia in 1654; dieo  in 1704.   Herder, Carlo Porta, and Schiller; also illustrations
Lanzi says there are many of his works in that                                    Afterwards 
place; the two from  sacred history, in the church   to several works of science   Afterwards he exendella Croce, are reckoned among his best. In Santa    d a    a  b    eautiful plate  rom  the Dying
Lucia of Monte Alboddo, there are three of his  Magdalene, by Correggio; the Repose in Egypt, by
Luciworks; and Monte Alboddo tarc hesei mentionsre  are tree of  is ait by   N. Poussin; and Mater Amabilis, by Sasso Ferrato.
works; and Marcheselli mentions a portrait by
him of one of the Malatesta family, in the church      ANDERLONI, PIETRO, a distinguished Italian
of San Francesco at Rimini.  His manner was  engraver, brother of the preceding, was born in
easy and spirited, though not refined.               1784, and manifested an early inclination for art.
ANAXAGORAS, a Greek sculptor of A          gina,  He first studied under F. Palazzi, but afterwards
I  under his brother Faustino, who, perceiving he
who flourished about B. c. 475.  Herodotus men-  vacillated between painting and engraving, induced
tions a bronze statue of Jupiter by this artist,  himtoadoptthe latntig  and engraing uchf
which was fifteen Grecian feet in height.  It was   his brother he  latter.  After learninguch froat the
dedicated at Olympia by the States of Greece that
fought at Plata agate Persians.         age of twenty, and remained there nine years.  He
fought at Platsea against the Persians.  ter in the productio  of man
assisted that master in the production of  a-ny
ANCHETA, MIGUEL, a Spanish sculptor of the   admirable works, among which was Ezekiel's Via



ANDE.                     29                    ANDR.
ion, after Ranflalle.  Longhi allowed his pupil to  the superior beauty of Grecian sculpture, they
place his lanme to some of these, in acknawledg-  stopped far short of the real advantages they
ment of tho share he had in their execution. In  might have derived from it; and it was left for
1824 he visited Rome for the second time, to make  Andrea to make that most important use of them
drawings of the Heliodorus and Attila of Raffa-  which his masters (and it may be said even more
elle; and in 1831 succeeded Longhi in the superin-  modern artists) too often lost sight of. This was,
tendence of the Academy of Engravers at Milan.  to combine their excellencies with his own original
Anderloni usually succeeds in embodying the style  ideas; not servilely to represent Greek subjects in
of the master whose picture he engraves; but he  Greek forms, nor to recur to ancient fable and mysometimes works his plates too far, and produces  thology because he found them  set forth in the
glossiness. lie was a member of several acade-  superior beauty of ancient sculpture; but to adapt
mies, and perhaps is now, for it is uncertain whether  the finer forms of that more finished and perfect
he is still living. His principal works are, Moses  school of art, to illustrate and give effect to his own
defending the Daughters of Midian, after N. Pou-  conceptions. His works are doubtless far from
sin; the Adoration of the Shepherds, after Titian;  perfection, but his merit, to be fairly judged, should
a Holy Fainily,Heliodorus, Flight of Attila, and In-  be considered in relation to what had been done by
cendio di Borgio, after Raffaelle; St. John, after  his immediate predecessors. He was the first
Luini; a Magdalene, after Correggio; Portraits of  artist who truly appreciated the value of the fine
Canova, Longhi, Appiani, and other eminent Ital-  models of antiquity to modern art, and who made
ians.                                            them subservient to the illustration of subjects of
ANDERTON, HENRY, an English painter of  present interest. In this respect he is justly entihistory and portraits, who lived about 1650. He  ted to rank as one of the great improvers of de
studied under Streater, but afterwards visited  sign.
Italy. Ho executed a portrait of  Mris. Stuart,    Andrea was employed at the Duomo of Pisa, as
afterwards Duchess of Richmond, which gained  one of the assistants, or workmen, under Giovanni.
him the patronage of Charles II. He died about  Soon after, he was associated with his master in
1665.                                            the execution of the bronzes at Perugia; both their
ANDRATTA, JOAQN, an old Spanish painter, A'names appear together as the artiste. After this,
ANDRATTA, Jo~aulN, an old Spanish painter.  he was employed alone to execute some small figKunstblatt mentions two pictures by him on wood,  he was employed alone to execute some small figin the E-scurial-the Miracle of the Loaves and  ures in marble for S. Maria al Ponte, at Pisa.  His
in the  scu  rthe Mirale of the L s ad  success in these works led to his being invited to
ishes, sad St. Jerome with the d Lion in the Wil-  Florence to assist in completing the facade of the
derne drawingthe draperiesand theland-  cathedral of S. Maria del Fiore.. Andrea here
scape in thoese pictures are much in the style of the  a  ed. Ma ria del Fiore.  Andrea here
old Germsr! masters; but the coloring is cold, and  ford to   Bondonea the latterois sada tohav farmuch less brilliant than the old Germans.        Giotto di Bondone; the latter is said to have furmuct tn te od       nished some of his designs. He executed a marble
ANDRE, or ANI)REA, DIETRICH ERNST, an  statue of Boniface VIII., and two other statues of
able German historical and portrait painter; born  St. Peter and St. Paul, which were placed in the
at Mietau, in Kurland, and lived about 1700. He  fagade, and gained so much admiration that he was
studied for twelve years under Gustav. Von Ben-  commissioned to execute all the works required for
tum, at Konigsberg, and, according to Heineken,  the decoration of that edifice. Vasari says he viswas much superior to that master while still his  ited Venice, where he remained about one year, and
pupil. That author speaks in high terms of sev-  executed several small statues for the front of
eral of his works at Brunswick. The Duke of  St. Mark's. He afterwards returned to Florence,
Brunswick, perceiving his great ability, advanced  where he executed the bronze relievi for the
him the funds necessary to enable him  to visit  gates of the baptistery at Florence, which CicogRome. The artist obtained permission to visit  nara correctly states to have been commenced in
Holland first, and while there, was induced to go  1331, and finished in 1339; though Vasari asserts
to England, where he forgot his engagement with  they took 22 years for their completion. The subthe Duke. He married, gave himself up to a life  ject is the life of St. John, and the incidents are
of pleasure, and forsook the careful and elegant  represented in  twenty-two compartments.  In
style of his early works for a gaudy and super-  other panels are smaller figures of the Virtues.
ficial manner. His habits involved him in difficul-  The work deserves a high degree of praise for its
ties that compelled him to quit England, and in  simplicity, dignity, and sentiment, and it gained for
1724 he went to Paris, where he died.           the sculptor an immense reputation. The chief
ANDRE, JEAN, a French painter of history and  authorities, with the foreign ambassadors, went to
portraits, born at Paris in 1062. He studied the  visit it; and the republic elected him a citizen of
works of M. Angelo and Raffaelle at Rome, under  Florence. Andrea also executed many other works,
Carlo Maratti, and was a good designer and color-  of which the relievi in marble, for the Campanile
ist. He died at Paris in 1753.                   of S. Maria del Fiore, at Florence, have considerable merit.
ANDREA, ALESSANDRO, an Italian engraver.    As an architect, he designed the castle of ScarHeineken says he executed in 1578 the portrait of  fera the arsenal at Venice, and the Church of San
Giles de Noailles Abbe de St. Amand, French   Giovanni, begun at Pistoja in 1337. At Florence,
Ambassador to the Sublime Porte.                 b by order of Guattieri, Duke of Athens, he fortified
ANDREA  PISANO, a distinguished Italian  and enlarged the ducal palace, surrounded the city
sculptor and architect, was born at Pisa in 1270,  with towers and magnificent gates, and designed a
and studied under Nicola and Giovanni Pisano.  small citadel. He died in 1345.
These artists, who may be justly termed the    ANDREA, ZOAN, [GIOVANNI,] an Italian engrafathers of modern sculpture, had already effected a  ver of the beginning of the sixteenth century, co
great revolution in taste; but, though sensible of  temporary with Mantegna; first noticed by Zani




ANDR.                         30                      ANDR.
who explains the initials Z. A. by this name.  IIe  the cipher of Andreani, 1605. Circe giving Drink to the
copied and imitated the prints of Mantegna, and of   Companions of Ulysses, oval print, afterParmiggiano, with
Durer; also apparently engraved from  his own   his name, 1602. A Woman warming herself before a Fire,
marked Bernard Malpitiuse, inv.,with his cipher. The Scene
designs.  His works are scarce.  Some of them    of a Comedy represented before the Grand Duke Cosmo I.,
have great merit, and are sold at high prices.  after a design of Bart. Neroni; large piece, 1579. A SepPartsch enumerates thirty-three, but Brulliot says   ulchral Monument, representing a kind of Rock, on which
there are more. The largest and most remarka-   are the three Fates, after Fortuna Fortunius. with the
ble of them is an allegory of Mercury and Igno-  cipher of the engraver, 1588.
rance, after Mantegna.                                  ANDREASI, IPPOLITO, an Italian painter of
r   ort at H    ANDREANI, AND-   assisted hina in his cartoons, and executed picR REA, aMantuanpatin-  tures in S. Barbara and elsewhere.
ter and very eminent engraver, born, according
to Brulliot, in 1560; though others say in 1540.        ANDREOLA, FILIPPO, a Neapolitan painterand
He is little known as a painter, and seems to have   scholar of Solimena; painted arabesques and archidevoted his talents to engraving early in life, when   teture, in distemper and in fresco, in various
he settled at Rome, some time after Hugo da Carpi  churches of Naples. He died, according to Dominfirst commenced wood engraving.  His works are  ici in 1724.
confined to this branch.  His drawing is very cor-      ANDREOLI, GIORGIO, called GIORGIo  DA GuBrect; his execution neat and spirited, and done in a   BIO, or MAESTRO GIORGIO, an Italian sculptor, and
masterly style.  His cuts are printed in the chiaro-  maiolica or delft painter, who settled, says Fiorillo,
scuro, and he carried this department of the art to   at Gubbio, in 1498. Passeri says he established a
a much higher degree than he found it.  His works   maiolica manufactoryat Gubbio, about 1519, which
have often been confounded with those of Altdor-  he continued till 1538. During this time he painted
fer, from his using a similar monogram. The fol-  many beautiful designs upon table service, and exelowing are his principal works:                       cuted in this material two beautiful bas reliefs for
The Portrait of Albert Durer, dated Siena, 1658. Eight  altar-pieces; one for the Churh of San Domenico
prints of the Pavement of Siena, from a drawing by   and the other for the house-chapel of the BentiFranco Vanni, after the Design of Domenico Beccafumi,  vogli family.  He was living in 1552. His son,
-very scarce, dated 1587. The, Deluge, large print in four  Vincenzo, according to Lanzi, practised the same
sheets, after Titian, with his cipher. Pharaoh's Host de-  arts as his father.
stroyed m the Red Sea, a large print in four sheets, after the
same, 1685, with his cipher. The Adoration of the Magi,  ANDRIESSEN, ANTONY, a Dutch painter of
afterPa.rniggiano, 1585, with his cipher. The Purification,  landscapes and figures, which he executed in conafter Saiati, with his cipher, 1608. The Virgin and Child,  cert with his brother Jurriaan; born at Amsterwith a Bistp) kneeling; after A. Casolani, with his cipher,  dam in 1746; died in 1813.
and the woris, Andrea Mantuano, Pittore Sanese, 1591.
The Virgin and Child, with St. John presenting a Bird, and  ANDRIESSEN, or ADRIENSES, HENDRICKS,
a Female init holding a Lily; after Giac. Ligozzi, with  surnamed Mankenhein, a Flemish painter. born at
his name. Ohrist curing the Leper, after Parmiggiano,   Antwp n 1600.  He painted subjects from stillAntwerp in 1600. He painted subjects from stillwith cipher. Christ curing the Paralytic, after Franco de  life   
Nauto d4 Sabaudia. The Miraculous Draught of Fishes,                         composition and finishing.
after Rffaelle, 1609, with his cipher. Christ departing   He died at Zealand in 1655.
from Pilate, who is washing his hands; after a basso-re-  ANDRIESSEN   JURRIAAN, a Dutch paiter,
iwo of Gio. Bologna, with the name of the engraver, in   n, a            ner J
two sheets.-[This is one of his most finished prints.] Christ  at Amsterdam i 1742 and studied under J.
bearing his Cross, after A. Casolani, with his cipher, and   M. Quinkhart and A. Elliger.  He executed in coninscribed Andreani in Siena, 1591. The Entombing of  cert with Numan, the decorations of the new theaChrist, after Gius. Scolari, pittore eccellente, with his cipher.  tre at Amsterdam, in which branch of the art he
Another Entombing, half figures, after Raffaello da Reggio excelled. He instructed several eminent living
and the name of the engraver. St. Peter preaching, marked   Dutchpainters.  He died in 1819.
with the namePolidoro, and his cipher, 1608. St. Sebas-s
tian, marked Fridericu  Barotius Urbinas, with his      ANDERIOT, or HANDERIOT, FRANZ. or
cipher, 1608. The lower part of the picture of St. Nichola,   FRANeOIS, a Parisian engraver, was born about
by Titian, with the cipher of Andreani, Intagliat. Mantu-  1655 and practised both in France and Itly, espeano. The Triumph of the Church; Christi Triumphu   ^1655, and practised both in France and Italy, espeano. The Triumph of the Church; Christi Triumphus,
large frieze, in eight sheets, after Titian, dedicated to the  cially at Rome.  He imitated the style of Poilly,
Duke of Mantua in 1599, and published by Calisto Ferranti  but is not to be classed with that master, though
at Rome in 1608. An emblematical print, of a Christian after  his works are much in demand in consequence of
Life received into Heaven, and crowned by Jesus Christ;  their subjects, and the masters after whom he enmarked B. F. for Baptista Franco, and the cipher of the  graved.  T        im,   Ma 
engraver. An. MDCX. Mantoua. The Picture of Human                          mportan  ae
Life, represented by a Woman at the Foot of a Rock, as-  a Madonna and a Bambino afterGuido; the Holy
sailed by the Passions, marked Jac. Ligotius, inv. et Andre-  Family with a Rose, after Raffaelle; two Annunci
ani, 1585. Firenze. Three prints, after a marble group   ations, after Albano; the Good Samaritan, after
by Gio. da Bologna, seen on three sides, representing the   Poussin; the Crowning with Thorns, afterDomen.
Rape of the Sabines, inscribed Rapta Sabinum a Jo. Bolog.  ichino; and the same aer A. Cara.
marm. 4-c. MIDLXXXIIII. Another Rape of the Sa- 
bines, after Gio. da Bologna, in three sheets, inscribed An-  ANDRIOLI, GIROLAMO, a Veronese painter,
~reas Andreanus Mantuanus aeri incidit, -.c., MD   whose name and the date 1606 are inscribed on an
LXXXV. 1orentice. Celia on Horseback, with one of her  altar-piece of San Domenico, and other saints, in
Attendants, going to cross the Tiber, marked with the name
of Maturino andhis cipher, 1608. Mutius Savoli, olding  the Church of Santa Caterina di Siena, at Verona.
his hand over a Brazier, marked with the name of Bald.  ANDROCYDES, a painter of Cyzicus, is menPeruzzi, and his  ipher, 1608. The Triumph of Julius  tioned by Pliny as a rival of Zeuxis; he therefore
Caesar, with theo title, in ten sheets, after And. Mantefna,  lived about n. c. 400.  Plutarch mentions a picMDXCVII. —[Tt iE difficult to meet with all these pieces
MDXCVII.It se difficult to  met with all these pece lived about B. C. 400. Plutarch mentions a picof the same color, or equally good impressions.] Venus  ture he executed for the Thebans, representing the
and Cupid, with Nymphs bathing, after Parmiggiano, with  victory of Pelopidas and Epaminondas; and another




ANDR.                     31                    ANGE.
of Scylla surrounded by fishes, in whien the fish  and studied under Piazetta, whose style he imitawere so admirably painted as to be the principal  ted. His extremities are well drawn, and his
objects in the picture, to the great detriment of the  heads have considerable expression. He was living
figure of Scylla.                               in 1793.
ANDRONICUS, an ancient Grecian architect,    ANGELI, NICCOLO, an Italian engraver, who
who, according to Vitruvius, erected the celebrated  lived about 1635, and studied under Remigio CanTower of the Winds, which still remains entire  tagallina. In concert with his master he engraved
among the ruins of Athens.                      a set of plates from the designs of Giulio Parigi.
ANDROSTHENES, an Athenian sculptor, and  representing the festivals at Florence on the occa:
a pupil of Encadrntis. He was employed to com-  sion of the marriage of the Prince of Tuscany.
plete the statues of Latona, Diana Apollo, the    ANGELICO, FRA. GIOVANNI DA FIESOLI. See
Muses, the Sotting of the Sun, and a group of  FIESOLI.
Bacchantes, in front of the temple of Apollo at    ANGELINI, SCIPIONE, an admirable Italian
Delphi, which had been begun by Praxias, but were  flower painter, was born in 1661 at Perugia accorleft incomplete at the death of that artist.  Pau-  ding to Pascoli, though others say at Ascoli. He
sanias supposes he lived about B. c. 420.       practised at Rome, and executed a large number
ANDROUET Du CERCEAU, JACQUES, a French  of paintings which he sold to dealers who exported
architect, who erected at Paris the palaces of Sully,  them to England, Holland and France. He died iN
Mayenne, and the Fermes Generales. He built the  1729.
Pont-Neuf by order of Henry III.; and designed    ANGELIS, DOMENICO D', a fresco painter, of
the great Gallery of the Louvre, built by Henry  considerable ability and reputation, living at Rome
IV. He also wrote several architectural works.    at the commencement of this century. He was one
ANEDA, JUAN DE, a painter of Burgos, who  of the best scholars of M. Benefiale; was a memlived about 1565, and painted in concert with Juan  ber of the Academy of St. Luke, and executed sevde Oea, some fine pictures which still remain in the  eral public works at Rome. He is praised in the
cathedral.                                      work by Goethe.
ANESI, PAOLO, a Florentine painter, who flour-    ANELIS, PETE}, a Dutch painter, was born
ished about 1720. His landscapes gained him con-   t Dunkirk in 1685, and studied the elements of
siderable reputation, and he painted ancient ruins  the art in his native place; after which he visited
in the style of P. Panini. Some of his works are  Flanders and Germany, remaining some time at
to be found in the palaces and private collections  Dseldorf, where he gained some advantage from
at Florence and Rome. Francesco Zuccherelli stud-  te Elecoral Gallery. Hissubjects weregenerlly
ied for some time under this master.            conversations, and landscapes with small figures,
ANFOSSO JAco a c d gm e       r  into which he often introduced fruit and fish. He
ANFOSSO, JACOPO, a celebrated gem engraver  visited England about 1712, where he was so
of Pavia, who lived in the sixteenth century.  much employed that he remained sixteen years.
Though little known, he seems to have been an  In 1728 he visited Italy, and passed three years at
artist of great ability, and was in favor with Pius  Rome, where his pictures were admired. On leavV. and Gregory XIII., as appears from an epitaph  ing Italy he intended returning to England, but
in the Lettere Pittoriche.                      staying a while at Rennes, in Bretagne, he met
ANGARANO, OTTAVIANO, a Venetian histori-  with so much encouragement that he settled in
cal painter of noble birth, who lived about 1650.  that city for life. His pencil is free, bright, and
Zanetti says he acquired much reputation by a pie-  flowing, though his coloring is sometimes weak.
ture he executed for the Church of S. Danielo, at  His style is a mingling of Teniers and Watteau,
Venice, representing the Nativity.              with more grace than the former, and more nature
ANGEFRAN   AN,an lianpinter  than the latter. He was unostentatious and reserved, and exhibited his works with reluctance,
of small pieces of sacred. history, which are cor      and exhibited his works with reluctance,
fmend ed by  Lanzi; born i 167hs   studied uder c-  his inclination being rather to the pursuit of his
mended by Lanzi; born in 1675; studied under  art than the advancement of his fortune. He died
art than the advancement of his fortune. He died
Crespi; became a Phillippinemonk atBologna, and  at Rennes in 1734, aged 49.
died in 1756.
ANGELI, FILIPPO D, called IL NAPOLITANO, a    ANGELO, and AGOSTINO, of Siena, Italian
Roman painter, born in 1600, was the son of an  architects, were brothers, and the most illustriartist who was employed by Sixtus V. He often  ous disciples of the school of Giovanni of Pisa.
painted architectural views, with a number of fig-  Sansoni says that the latter, in 1308, designed a
ures arranged and composed with great ingenuity.  palace for the magistrates of Siena, and thereby
He excelled in representing battles and landscapes,  acquired so much reputation that he and his brother
and, according to Baglioni, was much employed in  were chosen to superintend the public edifices of
ornamenting the palaces and villas at Rome. He  the city. They erected the northern facade of the
died at Rome in 1640.                           cathedral; made two new gates to the city; began
the Church and convent of San Francesco, and the
ANGELI, GIOVANNEI BATTISTA D'. See MORO.  Church of Santa Maria; and 6nished the tower of
ANGELT, GIULIO CESARE, an Italian painter,  the Public Palace. They also erected the great
was born about 15I.and studied under the Car-  fountain in the square before the Hotel de Ville;
acci. Ile executed an immense work in the Church  the Hall of the Grand Council; and various other
of S. Agostino at Perugia. His coloring was bct-  works in Assisi, Orvietto, Arezzo, and Bologna.
ter than his design, and he excelled rather in the    ANGELOLORENTINO DI a pinter of Arezzo;
draped than in the naked figure. He died in 1630.  live          w   thescholarof Piero del
ANGELI, GIUSEPPE, a Venetian painter of cab-  Francesca, and followed his style. He executed
inet pictures and altar-pieces. was born about 1715,  many original works in fresco at Arezzo and its




ANGE.                      32                    ANGE.
vicinity, and completed several works in that city  ANGELO, MICHAEL COLONNA, an Italian paintwhich his master had left unfinished at his death.  er. was born at Ravenna in 1600, and first studied
ANGELO, MICHAEL. See BUONAROTTI.              under Gabriello Ferrantino, but subsequently unA'NGELO,~~  M  DCRV IO der Girolamo Curti, called Ii Dentone. In concert
ANGELO, MICHAEL AMERIGI, DA CARAVAGGIO,  with the latter, he executed some important works
an Italian painter; born at Caravaggio, a village in  in fresco, in the churches and palaces at Bologna,
the Milanese, in 1569; was the son of a mason, and  in which Colonna painted the figures, and Dentone
while a lad, was employed to prepare plaster for  the architecture and perspective. Their most celthe fresco painters of Milan. From seeing them   ebrated works were a saloon in the Palazzo Gri
often at work, he became inspired with the ambi-  maldi, and the grand perspective painted in S
tion to become an artist; and without instruction  Michael Bosco. Colonna was invited to Madrid by
from any particular master, he became an excel-  Philip IV., where he executed some works in fresco,
lent imitator of nature, and adopted a singular  and was well rewarded by the king. He died in
style, characterized by daring lights and shadows,  1687.
which became highly popular. For some years he
painted fruit, flowers, and portraits, which were    ANGELO, called ANGELUCCIO  a talented
remarkably faithful; and so exact an imitator was  Italian painter and a scholar of Claude Lorraine,
this artist, that he copied nature even when de-whose style he followed, but died young.
formed, and followed the same slavish practise in  ANGELO, MICHAEL, called IL CAMPIDOGLIO,
historical painting. While young he lived at Ven-  from an office he held in the Campidoglio or Capice, where he greatly improved his coloring by  itol of Rome, a Roman painter of fruit and flowers,
studying the works of Giorgione. His early pic-  was born in 1610, and a scholar of Fioravanti.
tures are far better colored than his later works.  There are many of his works in England, especially
He subsequently went to Rome, and executed his  a fine one in the collection of the Duke of Marlfirst productions in that city in concert with Cav.  borough at Blenheim. His coloring was full of
Giuseppe Cesari.  The novelty of his style soon  harmony and richness, and his touch was light and
became so popular that even Guido and Domeni-  spirited. He died in 1670.
chino were unwillingly induced to imitate it, to    ANGERMANN, D ID, an  able miniature
gratify the public paion fr the vulgar but at-  painter established at Berlin, where, according to
tractive manner of Caravaggio.  This did not,  Nagler, he was living in 1810. He was born at
however, continue long; the popular taste soon- Eger in 1763, and was the pupil of A. Graff.
returned to its true channel. His chief works at                   l                      
Rome are the Crucifixion of St. Peter, in the Church  ANGIOLILLO, called ROCCADIRAME, a Neapoof S. Maria del Popolo, and the Entombing of our  litan painter, who lived about 1450. He studied
Saviour, in the Chiesa Nuova. At Naples there is  under Antonio Solario; and Dominici says he
a fine picture by him of the Scourging of Christ;  painted some works for the churches at Naples,
and in S. Martino is another, representing Peter  one of the best of which was a picture in the
denying Christ-one of his most famous works.  Church of S.  enzo, representing the Virgi and
The merit of this artist consists in a fine coloring,  Infant, with Saints. He died about 1458.
and an astonishing effect produced by a strong    ANGOSCIOLA, or ANGUISCIOLA, SOFocontrast of light and shadow, which only belongs to  NISBA, a celebrated Italian portrait and historical
nature in abstracted situations. To give it verac-  paintress, of an ancient family, born at Cremona
ity, we must suppose the light to fall from a par-  about 150. She studied first under Bernardino
tial and prescribed aperture, which alone can sus-  Campobat subsequently under Bernardo Gatti,
tain the illusion. He seldom ventured on grand  called Sojaro. Her first work was a portrait of her
compositions, to which his want of academic study  father and two of his children, which gained her
rendered him  totally inadequate. His works are  great reputation, and she was soon considered one
characterized by wonderful vigor, and admirable  of the most eminent portrait painters of her time.
distribution of light and shadow. He died at Rome  She also executed several admirable historical
in 1609.                                        pieces. That great patron of art, Philip II., inviANGELO, MICHAEL CERQUOZZI, called DELLE   ted her to Madrid, where she arrived in 1561, with
BATTAGLIE, a Roman painter, born in 1600. When  her three sisters. She executed a portrait of Queen
quite young he evinced an inclination for the  Isabella, which was presented by the King to Pope
art, and was placed under Pietro Paolo Bonzi.  Pius IV., a near relative of Sofonisba, accompanied
Like his preceptor, he first painted fruit and flow-  with a letter from the artist, to which the pontiff
ers; but he soon left these for battle-pieces, the  replied, highly praising her talents, and assuring
excellence of which gave him his surname. The  her that he had placed her work among his most
productions of Peter de Laer, called Bamboceio,  valuable paintings. She executed a picture of the
being at this time much in vogue at Rome, Angelo  Marriage of St. Catherine, which is now in the
represented similar subjects, as fairs, and scenes of  Pembroke collection at Wilton; also her own porcountry festivity, in which he succeeded admira-  trait, playing on a harpsichord, which is at Althorp,
bly,'so that these are esteemed his best works.  in Northamptonshire. A portrait of one of her
Bamboccio surpassed him in landscapes and chiaro-  sisters, painted on a panel, was sold in 1801 at the
scuro, but he surpassed the Fleming in the charac-  sale of Sir William Hamilton'a pictures; and Mr.
ter and taste of his design. He worked with   Gough had a miniature of Sofonisba, inscribed:
amazing facility, never making any design for his  "Sophonisba Angussola, virgo, ipsius mann  ex
pictures; and he often painted a picture repre-  speculo depicta, Cremone."   There was also a
senting some circumstance he had heard. His best  picture of her sisters playing chess, in the collecworks were the Four Seasons, painted for the Sal-  tion of Lucien Bonaparte, which is now in England.
viati Palace at Rome. He died in 1660.           Her sisters Lucia, Europa, and Anna Maria, also




ANGO.                     33                    ANGU
painted, but they were far inferior to Sofonisba.  were the statues and bas-reliefs of the Porte St.
She was married twice; first to Don Fabrizzio di  Denis; the statues of Holland and of the Rhine
Moncada, a Sicilian nobleman, after whose death   were after the designs of Le Brun. This artist
she returned to Italy via Genoa, where she mar-  was professor of the Academy of Arts at Paris,
ried Orazio Lomellino, the captain of the vessel in  and wrote fourteen discourses on sculpture. He
which she made the voyage. She subsequently  died at Paris in 1686, aged 76.
became blind from strenuous application to the art,    ANG  LA              AN A           i
and in this state was frequently visited by the    A UILL, FRA SCO AND                an Italian
great Vandyck, who used to say that he had  painter of Lucca, of the fifteenth century; studlearned more of the practical principles of the art  ied under Giotto. Nagler says that his coloring
from a blind woman, than by studying all the  was lively, his drawing correct, and the folds of
works of the best Italian masters. Her country-      draperies ast    good taste.
men assert that she died in 1626, aged 93; though  ANGUS, WILLIAM, an English designer and enLanzi and Zani say, in 1620.                    graver of landscapes and edifices, who lived at the
ANGOULAME, JACQUES D, a French sculptor  commencement of the present century. He exewho lived at Rome about 1550. His works, ac-  cuted from his own designs, and those of Sandby,
Dayes, Samuels and others, many country views:
cording to Fuseli, were highly valued at Rome.  Dayes, Samuels and others, many country views
h       ere are, or were, weree fighyures in black   ome.  which were issued in the publications of the day.
There are, or were, three figures in black wax by  He also engraved and published many views of
him in the Papal Library; and in the grotto at                    and published many  ews of
Meudon, near Paris, there was a fine statue of  country-seats, in a very delicate and pleasing style.
Autumn, in marble, by this artist.                ANICHINI, LUIGI, a celebrated cameo and gem
ANGUIER, FRAN9OIS, and MICHEL, two cele-  engraver of the sixteenth century; born at Ferbrated French sculptors; born at the town of Eu.  rara, but resided in Venice. According to Vasari,
in Normandy, Francois in 1604, and Michel in  he surpassed all his cotemporaries, except Ales.
1612. Their father was a carpenter, and taught  sandro Cesari, called Il Greco. The praise that
them to carve in wood when very young. Some  Vasari bestows on Cesari for his medal of Paul III.,
of their productions having attracted the notice of  which Michael Angelo pronounced perfect, Fuseli
a respectable citizen of Eu, he sent them to Paris,  has given to Anichini, and he appears to have led
and placed them under Simon Guillain, a good  Dr. Nagler into the same error.
sculptor of that metropolis.  They soon gave    ANICHINI, PIETRO, an Italian engraver of the
proofs of their ability, and were in a few years  seventeenth century, of whose works the following
enabled, by the fruit of their own, exertions, to  are the principal: A Holy Family, dated 1655; the
visit Rome.  Francois practised some time in   Good Samaritan, two small plates, lengthways;
England, and then went to Rome, where he re-  the Portrait of Cosmos Etruriwe, P. Anichinus, fec.
mained two years. He acquired the reputation of
one of the first sculptors of his age in France; his    ANIMOLA, VINCENZO, called VINCENZO ROfigures are remarkable for their truth and beauty   MANO, an Italian painter, born at Palermo. He
studied under Raffaelle, and went to Messina after
of expression. His best works are, a marble cru- tudied under Rafaelle, and went to Messin after
cifix in the church of the Sorbonne; the mauso-  the sacking of Roe, where he executed some
leum  of Cardinal de Berulle, in the church de  paintings for the churches and convents.
l'Oratoire, Rue St. Honore; that of M. de Thou,    ANJOU, RENE OF, King of the Sicilies, Duke
in the church St. Andre-des-Arcs; and that of the  of Lorraine, and Count of Provence, was-a painter
last Duke of Montmorency, at Moulins, his great-  of some merit. He executed miniatures in missals
est work; also four figures at the tomb of the  and on glass; painted a portrait of himself, which
Duke de Longueville; and the tomb of the Duke  still remains in the Carmelite Chapel at Aix; and
of Rohan, in the church of the Celestines at Paris.  is supposed to have painted that of Charles VII.,
He made also some copies after the antique. Louis  of France.
XIII. gave him  apartments in the Louvre, and    ANNA, BALDASSARE D', born in Flanders, but
appointed him keeper of his cabinet of antiquities.  of the Venetian school, who flourished about 1610.
Ho died at Paris in 1669, aged 65 years.        He studied under Corona da Murano, some of
Michael Anguier visited Rome in 1641, where  whose pictures he finished after the death of that
he became the pupil of Algardi, some of whose  master. He also executed several originals for the
models he worked in marble; he also executed  Servi and other churches, which surpass those of
works for this sculptor, for St. Peter's, and for the  Corona in the softness of the chiaroscuro, and
palaces of several cardinals. This employment  occasionally in its force, though inferior to his works
enabled him to follow his pursuits at leisure, and  in the selection of forms.
he spent ten years in Rome, living on terms of    AN       T 
friendship with Poussin, Algardi, and Du Quesnoy.VAN, a Dutch hstoal paint
In 1651 he returned to Paris, and assisted his  er, born at Amsterdam in 16. Balkema says
brother in his works for the mausoleum of the  he was a painter of portraits, animals, and converDuke de Montmorency. He made in the same  sation-pieces. Houbraken says he was an artist
year a statue of Louis XIII., which was cast in  of great merit, and highly praises one of his works,
bronze at Narbonne. In 1653 he adorned the  representing the Last Judgment, which was well
apartment of Queen Anne of Austria, in the Lou-  designed, contained a multitude of figures, correct
vre, with several admirable works. He made also,  in the outline, and  executed with a free and bold
for the same queen, the principal sculptures in the  pencil. Notwithsanding his talents, little is known
church of Val de Grace, of which the Nativity, in  of his works or of the events of his life.
marble, placed over the altar, is considered his    ANSALDI, GIOVANNI ANDREA, a very distin
master-piece; also the sculptures of the great  guished Italian oiland fresco painter, born, accord
altar of St. Denis de la Chartre. His last works  ing to Soprani, at Voltri, a small town near Genoa




ANSA.                      34                    ANTE.
in 1584. lie was a scholar of Orazio Cambiasi, but    ANTENOR, an Athenian sculptor, who lived
studied with great attention the splendid works of  about B. c. 500, and executed the bronze statues
P. Veronese, and became an admirable colorist,  that were erected in honor of Ilarmodius and Arisespecially in fresco. His principal work was the  togiton, who delivered Athens from the rule of the
cupola in the Church of the Santissima Anunziata,  Pisistratidae. These statues were carried away
at Genoa. There are many of his works in the  by Xerxes, B. c. 480; and were afterwards found
churches and palaces of that city. His invention  at Susa by Alexander, who sent them  back to
was fertile, andhis compositions ingeniously adorned  Athens. They were erected in the Ceramicus,
with architecture and landscape. He died in 1638.  near those that had been made by Critias to replace
ANSALONI, VINCENZIO, a Bolognese historical  them, and were seen by Arrian and Pausanias.
painter of considerable reputation, who, according    ANTHEMIUS, an architect, was born at Tralles,
to Lanzi lived about 1615, and studied under Lo-  a city of Lydia, in Asia Minor. Procop6 says he
dovico Caracci. Malvasia extols an altar-piece by   erected, in conjunction with Isidorus of Miletus, the
him, in the chapel of the family of Fioravanti, in the  famous Temple of St. Sophia, at Constantinople,
Church of S. Stefano at Bologna, representing the  by order of the Emperor Justinian. The Emperor
Martyrdom of St. Sebastian; and in the church of  was desirous of making it the most superb edifice
the Celestine monks is an admirable work repre-  in the world, and on its completion exclaimed with
senting the Virgin and Infant in the Clouds, and  joy: "I have surpassed thee, O Solomon!"
St. Roch and St. Sebastian beneath. Zani says      ANTHERMUS and BUPALUS, two ancient
he died young                                    Greek sculptors, who lived about B. c. 570, were
ANSELIN, JEAN LOUIs, a Parisian engraver;  the sons of Micciades, who was also a sculptor.
born in 1754; studied under Augustin de St. Au-  There were many of the works of these artists
bin, and executed several good plates. The best  in Delos and other Grecian isles, most of which
are Adam  and Eve, after Lebarbiez, the elder,  were taken to Rome by Augustus, who placed
1808; the Siege of Calais, after Barthelemi;  them in various temples. Pliny mentions a statMadame de Pompadour, after Boucher; several  ue of Diana, which he saw in the Island of Chios,
Scenes of Bachanals, after Careme; Moliere read-  of such ingenious execution, that to those entering
ing his "Tartuffe" before Ninon l'Enclos and  the temple, the goddess appeared of a serious counothers, after Monsian, 1814; Portrait of Lally-  tenance, while she seemed to smile on those going
TolAidal, after Verhulot; Sabinus discovered in  out.  They introduced great improvements in
his Retreat, after Taillasson, 1819; Anacreon, after  marble sculpture.  Greece and Asia strove to posRestout. He died in 1823.                       sess their works.  On some of their statues were
ANSELMI, GIORGIO, a Veronese painter, born  inscribed the following verse:  The sons oficin 1722; studied under Balestra; painted the  ciades wil render thee, 0 Chios, more renowned
cupola of San Andrea, at Mantua, and other repu-  than thy vnes have done."
table works in fresco. He died in 1797.            ANTICHIO, PIETRO, a Venetian painter of the
ANSELMI, MICHAEL ANGELO, an Italian paint-  eighteenth century. His pictures are remarkable
for their high coloring. In the church of San Saler, was born at Siena in 1491, and studied under
er, was born at Siena in 1491, and studied under vatore there are two of his works-the Pool of
Gio. Antonio Vercelli, called Sodoma. He lived  vatorethere are two ofhisworks-thePoolof
principally at Parma, where one of his first works                         the sersd        e
was a large painting, after a design by Giulio Ro-  ch ersfrom the Temple. Antichio visited  ermano, representing the Crowning of the Virgin  many, and met with considerable success in differMary. He also executed some pictures from his  ent parts of that country.
own designs for the churches of Parma, some of    ANTIDOTUS, a Greek painter, probably of
which resemble the style of Correggio. Lanzi says  Athens; was the scholar of Euphranor, and is
he died at Parma in 1554; but Zani, in 1560.     principally noted for having been the master of
ANSAUX, JEAN Jo H E     AN,  Nicias. He was more severe in coloring than Euan ei JnFenAhs    alid portrait painter I phranor, and more distinguished for the care with
an eminent French historical and portrait painter  which he finished his works, than for their numof the present century, was born at Liege in 1764,  ber. Pliny mentions three of his paintings-a
andstudied underVincent. Heexecuted portraits  Warrior with a Shield, fighting; a Wrestler; and
of several eminent statesmen and generals of Na:  a t Flute-player
poleon, besides many works in sacred and pro-    Aa   -l
fane history, and poetical subjects.  There are    ANTIPHILUS, a celebrated Egyptian painter,
three pictures by him in the Church of St. Paul,  who is commonly supposed to have lived in the
at Liege. He ranks among the first artists of the  time of Alexander, and to have been the cotemmodern French school. He died in 1840.           porary of the great Apelles. But the story of
Lucian, in his treatise against Calumny, places him
ANTELAMI, BENEDETTO DEGLI, an old Italian   a century later, about 1. c. 230; for the Apelles
sculptor, who practised at Parma from 1178 to  and Antiphilus there mentioned, were cotempoand Antiphilus there mentioned, were cotempo1196. There is in the cathedral of that city a  rary with Ptolemy Philopator, the fourth of the
bas-relief by him, representing the Deposition   Ptolemies, who lived about a century after Alexfrom the Cross, which, though rather a rough per-  ander. The time of Antiphilus cannot be inferred
formance, is, according to Lanzi and Nagler, per-  from his paintings of Philip and Alexander, which
haps unequalled by any of the Italian sculptors  do not appear to have been portraits, and might
previous to Giovanni Pisano. It contains many  have been painted at any period. Besides, he is
figures, but is simple in composition. It is marked  noticed by Pliny after the scholars of Apelles.
with his name and date, 1178. Antelami was like-  See ApellesofEphesus
wise an architect, and is said to have built the   According to Quintiian, Antiphilus excelled in
baptistery at Parma.                             facility of execution, and he distinguished himself




ANTI.                     35                     ANTI.
apparently in various styles. Pliny mentions sev-  many temples this was the only one worthy of
eral of his works which were preserved at Rome:  a god. Pausanius says the Emperor Adrian enHesione; Alexander; Philip; Minerva; Bacchus;  closed it with a wall, as was usual with the Grecian
Alexander as a boy; Cadmus and Europa; and Hip-  temples, of half a mile in circumference, which the
polytus and his horses startled at the sight of the  cities of Greece adorned with statues erected in
Sea-monster sent against them by Neptune. He  honor of that monarch.  The Athenians distinalso mentions Ptolemy hunting; a Boy blowing   guished themselves by the elevation of a colosa Fire, with the reflected light on his face; a  sal one behind the temple. This enclosure was
Work-room in which women were employed in  also ornamented with a peristyle one hundred
knitting and weaving; and a very celebrated pic-  rods in length, supported by superb marble Corture of a Satyr with a panther's skin hanging on his  inthian columns, and to this facade were three
shoulder, holding his hands over his eyes, and look-  grand vestibules which led to the temple. Adrian
ing into the distance. He excelled in paintings of a  dedicated it a second time. In this temple was
grotesque character, as is evident from the fact that  placed a splendid statue of Jupiter Olympius, of
such subjects were called Grylli, after a painting  gold and ivory; and the courtiers added four statof his representing the clown Gryllus, with cap and  ues of the Emperor. This wonderful structure,
bells. He also executed fire-light pieces admirably,  which is said to have cost five millions ofscudi, is
and one such is especially commended; that of the  now in ruins.  Sixteen Corinthian columns are
Boy blowing the Fire with his mouth, which was  standing, six feet four inches, and some six feet six
greatly admired for the fine effect of the reflected  inches, in diameter. The length of the temple,
lights.                                         according to Stuart, upon the upper step, was
ANTIMACHIDES. See ANTISTATES.                  three hundred and fifty-four feet, and its breadth
ANTIQUUS, JOHN, a Dutch painter, born at  one hundred and seventy-one feet; the entire
Groningen in 1702. He acquired the art of glass-  length of the walls of the peribolous is six hunstaining from  Gerard Vander Veen, which he fol- red and eighty-eight feet, and the width four unlowed for several years, but subsequently studied  dred and sity-three feet.
for some time under John Abel Wassenberg, a his-    ANTISTIUS, LABEO, who had been a praetor
torical and portrait painter of some merit. He  and even pro-consul of the province of Narbonne
afterwards visited Paris, where he obtained a  is said to have amused himself in painting small
plenty of employment; but being desirous of vis-  pictures. He died at an advanced age, in the reign
iting Italy, he went to Florence, where he was em-  of Vespasian. His works do not appear to have
ployed six years by the Grand Duke of Tuscany,  gained him any reputation, but rather the ridicule
and executed a large composition, called the Fall  of his cotemporaries.
of the Giants, which was so much esteemed that    ANTOINE, JACQUES DENIS a reputable Parisa sketch of it was placed in the Florentine Acad-    architect, born in 1733.   ne of his earliest
emy. He afterwards returned to Holland, where  works was the completion of the alterations of the
he was received with much honor, and was engaged  Palais de Justice in Paris, on which Desmaisons
by the Prince of Orange to execute several paint-  had been employed. He also executed the portal
ings for the Palace of Loo, among which is a large  in the court of the Hospice de la Charite. In 1771
picture of Mars disarmed by the Graces.  He  h  commenced the mint, and finished it in 1776.
painted with great facility, and was a good designer  The principal fagade towards the Quai Conti and
and colorist. In all his pictures may be seen the  Pont Neuf, presents a fine unbroken mass 400 feet
fine taste he acquired from the study of the old  i     extent. The edifice is characterized by a unity
masters in Itly.   e died    1750.  and simplicity that contrast very strongly with the
ANTISTATES, ANTIMACHIDES, CALLES-  false taste which then prevailed in the French meCHROS, and PORINUS, four Grecian architects,  tropolis. Antoine also designed the mint at Berne,
who lived B. c. 555, and, according to Vitruvius,  and a mansion for the Duke de Bervicq at Madrid.
were employed by Pisistratus to erect a temple  He died in 1801.
to Jupiter Olympius, in the place of the one
ereto Jupiter Oly in t he timplace oDeucalion which   the one    ANTOINE, SEBASTIEN  a French engraver of
erected in the time of Deucalion, which the storms  little note, born at Nancy, in Lorraine. He execuof a thousand years had entirely destroyed. They  ted a representation of the jewelled crown used in
proceeded so far with it that Pisistratus was ena-  the coronation of Louis XV., dated 1722; the Enbled to dedicate it, but after his death the work  terprise of Prometheus, from the ceiling at Verceased; and the completion of this temple,      slles, painted by Migard; also a portrait of R.
magnificent and grand in its design that it im-  P. Austin Calmet, a large oval pla  1729. His
pressed the beholder with wonder and awe became  P.      stn Calet, a large oal plate, 172. His
style was slight and feeble, and he worked usually
the work of after ages. Perseus, King of Mace-  with the graver.
donia, and Antiochus Epiphanes, nearly four hundred years after Pisistratus, finished the grand   ANTOLINEZ, DON JOSEF, a Spanish historinave, and placed the columns of the portico; Cos-  cal and portrait painter, was born at Seville in
sutius, aRoman, being the architect.  It was con-  1639. ITe studied, while young, at Madrid, under
sidered, and with good reason, one of the four cel-  Dn Francisco Rizi, one of the painters of Philip
ebrated marble temples of Greece; the other three  IV. Palomino commends two pictures by this,ere that of Diana, at Ephesus; Apollo, at Mile-  master in the Church of La Magdalena, at Madrid,
tus; and Ceres, at Eleusis. The Corinthian order  representing the Miraculous Conception, and the
prevailed in its design.  In the siege that Sylla  Good Shepherd. The landscapes he introduced
laid to Athens, this temple was greatly injured,  into his pictures were much admired. He died
but the allied kings afterwards restored it at their  at Madrid in 1676.
common expense, intending to dedicate it to the   ANTOLINEZ, DE SARABIA, FRANCISCO, a talrenius of Augustus. Livy says that among so  ented Spanish historical and landscape painter of the




ANTO.                      36                    ANTO,
seventeenth century, was a nephew of Joseph An-  at Florence with Angelo Gaddi, and followed his
tolinez, and was educated at Seville for the law,  style. He painted several frescoes at Venice for
but afterwards studied painting under Murillo,  the Signory, but was so ill-rewarded that he left
whose style he imitated. He went to his uncle at  that city in disgust. His chief works, now nearly
Madrid in 1672; but although he had acquired  all destroyed, were painted in Florence and Pisa,
some reputation as a painter, he threw up the pen-  where he executed many works of extraordinary
cil and returned to his original profession for the  merit for the period, according to Vasari, who praipurpose of obtaining a lucrative station at the bar;  ses the force of his coloring, and the truth and hara change which was greatly deprecated by the  mony of his chiaro-scuro, in which he was scarcely
friends of art. Not succeeding, he was compelled  equalled by any painter of his time. His design
again to return to painting as a means of support,  also was correct and graceful, and he was distinand subsequently executed a number of small  guished for the choice of his attitudes, the elegance
pictures from the Bible, and the life of the Virgin,  of his draperies, and the variety of his expression.
which are highly esteemed for their invention, fa-  One of his most celebrated works was the Miracle
cility of execution, and admirable color. He died  of the Loaves and Fishes, in the convent of S.
in 1700.                                         Spirito, at Florence. In the Campo Santo, he comANTONELLA, DA MESSINA. See MESSINA.    pleted the series commenced by Simone Memmi, of
ANTONIANO, FERRARESE, or ANTONIO  AL-  the Life of San Ranieri, in which his own portrait
is inserted. These works are still extant. He
BERTO, of Ferrara; studied under Angiolo Gaddi,        in                                    
and was the most eminent painter of Ferrara in his  dd in 
time. About 1438, he executed several great works    ANTONISSEN, HENRY, a Flemish painter of
in the palace of Alberto d'Este; he painted also,  landscapes and cattle, was born at Antwerp in
according to Vasari, many beautiful works at San   1737. His manner was feeble, and his works are
Francesco d'Urbino, and at Citta di Castello. He  not in demand except in his own country. Omdied about 1450.                                 meganck, and several popular artists of the present
ie   ANTONIANUS, S TLvANus, aFlemish wo       century, received instructions from this master.
/P ANTONIANUS, SILVANUS, a Flemish wood  He died in 1794..1,.     He died in 1 794.
/e   tengraver, who, according to Papillon, lived
about 1567, and executed a set of cuts for a Book  ANTONISZE, CORNELIUS, a reputable Dutch
of Fables, published at Antwerp in tLat year.    painter and engraver of perspective and architectural views, was born at Amsterdam  about 1500.
ANTONIASSO, e Roman painter of the begin-  There is a picture by him in the Treasury Chamning of the sixteenth century. Vasari, in his life  ber at Amsterdam, representing that city as it
of Filippino Lippi, states that Antoniasso, and  appeared in 1536. He subsequently painted twelve
Miaestro Lanzilago of Padua, two of the best Ro-  views of Amsterdam, with its principal public ediman painters of that time, were required to esti-  fices, which he engraved on twelve blocks of wood.
mate the value of the frescos of Filippino, painted   The prints from these are very scarce.
for the Cardinal Caraffa, in his chapel in the church                       aFlemish pai. 
of the Minerva. Nothing further appears to be    ANVERSA,, a Flemih piner. In
recorded of these artists.                       an Italian work, published in 18002 by J. Morelli,
recorded of these artists....                           p
this artist is said to have painted, mnConcert with
ANTONINUS, an ancient Roman architect, who,  Hans Hemling and Gerard of Ghent, one hundred
according to Pausanius, erected several temples in  and twenty-five miniatures in a beautiful MS. now
Epidaurus, an ancient city of Peloponnesus. He  i the Library of St. Mark, at Venice.
also built the bath of AEsculapius, and restored a
portico called Coryos, constructed originally of    ANWANDER, JOHANN, a Bavarian oil and
unburnt bricks.                                  fresco painter, born at Landsberg about 1700. He
lived several years at Bamberg, and executed many
ANTONIO, DI FEDERIGO, a reputable Italian  works there, both in oil and fresco; the latter are
sculptor, who lived, according to Vasari, about  superior to the former.
1450. He executed three statues in the cathedral    AAR             a S i                     i
of Siena, which Della Valle has assigned to Jacopo   A   IC, a Snsh scutor,   o 
della Quercia. He made also some of the works  aout A. D. 1. He onstruted, for Don Sanfor the external embellishment of the cathedral., Castile and ArraAbout 1457, he executed a statue of St. Peter.   gon, a costly and elaborately ornamented tomb, to'NTNIO.J*, i.a  ~ ~contain the remains of St. Millan. This tomb was
ANTONIO, 4FIORENTINO, an Italian architect,  seen by Bermudez, who describes it, in the monaswho lived about 1560. He was born at Cava, near  tery de Yuso, where it was placed in the year
Naples; studied at Rome; established himself at  1053.
Naples, and built there the Church of Santa Cata~~rina AB Formello.'APELLES, the most renowned painter of aslrina NTONI F O MRormello.          tiquity, was a native of Cos, according to Ovid and
ANTONIO, MARC. See RAIMONDI.                   Pliny, but Suidas states that he was a native of
ANTONIO, PEDRO, a Spanish painter, was  Colophon, and was made a citizen of Ephesus,
born at Cordova in 1614, studied under Antonio  which may account for his being called an Ephesian
del Castillo, and painted some pictures for the  byStrabo. He lived in the latter half of the fourth
convent of St. Paul, at Cordova, which are finely  century before Christ. He had, apparently, seveexecuted, with excellent coloring. He died in 1675.  ral masters, and he studied under Ephorus ef
AN O DA TRNTO. Se TRNTO.          Ephesus before he entered the school of Pamphilus
at Sicyon, where Melanthius, or Melanthus was his
ANTONIO, VENEZIANO, one of the most emi-  fellow-student, in which famous school the routine
nent fresco painters of his time, was born, accord-  of study is said to have occupied ten years; but
ing to Vasari, in 1310. at Venice; though Baldi-  Plutarch says he entered this school, and paid the
nucci concludes he was a Florentine. He studied  fee of a talent (about $1000), not so much for the




APEL.                     37                    APEL.
improvement he might derive therefrom, as for the  of all his works was the Venus Anadyomene, which
mere reputation of having studied in the school of  was painted for the people of Cos, and was placed in
Sicyon.                                         the temple of AEsculapius on that island, where it
Apelles appears, according to the general testimo-  remained until it was removed by Augustus, who
ny of the ancients, to have not only had the most  took it in lieu of 100 talents tribute, and dedicated
brilliant success during his life time, but also after  it in the temple of Julius Caesar. It was unfortudeath to have eclipsed all other painters in reputa-  nately damaged on the voyage, and was in such
tion. Painting is termed by some of the Romans,  a decayed state in the time of Nero, that the Emthe Apellean art; and Pliny affirms that he alone  peror replaced it with a copy by a painter named
contributed more towards perfecting the art than  Dorotheus. This happened about 350 years after
all other painters. He seems to have claimed the  it was executed, and what then became of it is not
palm in elegance and grace, or beauty, the charis  known.  This celebrated painting, upon which
of the Greeks, and the venustas of the Romans; a  every writer who has noticed it, has bestowed unquality for which, among the moderns, perhaps  qualified praise, represented Venus naked, rising
Correggio is the most distinguished; but in the  out of the ocean, squeezing the water from  her
works of Apelles, it was unquestionably connected  hair with her fingers, while her only veil was the
with a proportionably perfect design; a combina-  silver shower that fell from her shining locks.
tion not found among the moderns. Pliny remarks  This picture is said to have been painted from
that Apelles allowed that he was equalled by Pro-  Campaspe, a beautiful slave of Apelles, formerly
togenes in all respects save one, namely, in know-  the favorite of Alexander. The King had ordered
ing when to take his hand from the picture. From   Apelles to paint her naked portrait, and perceiving
this we may infer that the deficiency in grace  that the painter was smitten with the charms of
which he remarked in the works of Protogenes, was  his beautiful model, he gave her to him, contentowing to the excessive finish for which that painter  ing himself with the painting. He commenced a
was celebrated. Lucian speaks of Apelles as one  second Venus for the people of Cos, which, acof the best colorists among the ancient painters.    cording to Pliny, would have surpassed the first,
Apelles was famed for his industry; he is said  had not its completion been interrupted by the
never to have allowed a day to pass without exer-  death of the painter: the only parts finished were
cising his pencil. " Nulla dies sine linea," is a  the head and bust. Two portraits of Alexandel
saying that arose from one of his maxims. His  painted by Apelles, were dedicated by Augustus in
principal works appear to have been generally sin-  the most conspicuous part of the forum bearing
gle figures, and rarely of more than a single group.  his name; in one was Alexander with Castor and
The only large compositions his execution that  Pollux, and a figure of Victory; in the other was
are mentioned by the ancient writers are, Diana  Alexander in a triumphal car, accompanied by a
surrounded by her Nymphs, in which he was al-  figure of War, with her hands pinioned behind
lowed to have surpassed the lines of Homer from   her. The Emperor Claudius took out the heads
which he took the subject; and the Procession of  of Alexander, and substituted those of Augustus 
the High Priest of Diana at Ephesus.            The following portraits are also mentioned among
In portraits Apelles was unrivalled.  He is  the most famous works of this great artist: Clisaid to have enjoyed the exclusive privilege of  tus preparing for Battle; Antigonus in armor,
painting Philip and Alexander the Great, both  walking by the side of his Iorse; and Archelaus
of whom he painted many times. In one of his  the General, with his wife and daughter. Pausaportraits of Alexander, which was preserved in  nias mentions a draped figure of one of the Graces
the temple of Diana at Ephesus, he represented  by him, which he saw in the Odeon at Smyrna. A
him wielding the thunderbolts of Jupiter: Pliny  famous back view of a Hercules, in the temple of
says the hand and lightning appeared to start  Antonius at Rome, was said to have been by Apelfrom the picture; and, judging from an observa-  les. He painted many other famous works: Pliny
tion in Plutarch, the figure of the king was lighted  notices a naked figure by him, which he says, chalsolely by the radiance of the lightning. Apelles  lenged Nature herself. The same author says he
received for this picture, termed the Alexander  covered his pictures with a dark transparent liquid
Ceraunophorus, twenty talents of gold (about  or varnish, which had the effect of harmonising
$200,000). The criticism of Lysippus, upon this  the colors, and also of preserving the work from
picture, which has been approved by ancients and  injury.
moderns, that a lance, as he had himself given the    The celebrated contest of lines between Apelles
king, would have been a more appropriate weapon  and Protogenes, is a subject which has generally
in the hands of Alexander, than the lightnings  perplexed painters and critics; and in fact, Carof Jupiter; is the criticism of a sculptor who over-  ducci asserts that Michael Angelo and other great
looked-the pictorial value of the color, and of light  artists treated the idea with contempt. Accordand shade. The lightning would certainly have  ing to Pliny, Apelles visited Rhodes expressly to
had little effect in a work of sculpture, but had a  see the works of Protogenes, whose studio he
lance been substituted in its place in the picture of  sought immediately on his arrival. The Rhodian
Apelles, a totally different production would have  painter was not at home, but there was an old
been the result. This picture gave rise to a say-  woman taking charge of a large panel, which was
ing, that there were two Alexanders, the one of  standing on the easel, prepared for painting; who
Philip, the invincible, the other of Apelles, the  asked the stranger what name she should give to
inimitable.                                      her master upon his return. " This," said ApelCompetent judges, says Pliny, decided the por-  les, at the same moment drawing upon the panel
trait of Antigonus (king of Asia Minor) on horse-  a line (linea) of great delicacy.  When Protoback, the master-piece of Apelles. He excelled  genes returned, he immediately exclaimed, "Apelgreatly in painting horses, which he frequently  les has been here, for that was done by no other
introduced into his pictures. The most celebrated  hand," and immediately drew upon the same line




APEL.                      38                    APEL.
or panel (in illa ipsa) (linea or tabula?) a still  and, if they did not possess all tnose now known,
finer line in another color, and going away, left  they had others unknown to us. It is certain that
orders that if Apelles should return, to show him   they employed canvass for paintings of a tempo-'That," and tell him'twas the one whom  he  rary character, as decorations; and that they treatsought. Apelles returned, and blushing to see  ed every subject, both such as required those
himself surpassed. drew a line between or upon   colors suitable to represent the solemnity and
these two, (secuit'lineas) in a third color, and at-  dignity of the gpds, as well as others of the most
tained the summit of subtility, leaving no possibili-  delicate tints, with which to depict flowers; for
ty of being surpassed. When Protogenes returned  the Venus of Apelles and the Flower Girl of Paua second time, he acknowledged himself van-  sias must have glowed with Titian tints to have
quished, and immediately sought out Apelles.  attracted such admiration. Colonel Leake, in his
This panel, continues Pliny, was handed down, a  Topography of Athens, speaking of the Temple
wonder for posterity, but especially for artists,  of Theseus, says that the stucco still bears the
and notwithstanding it contained only those three  marks or stains of the ancient paintings, in which
scarcely visible lines (tres lineas) still it was the  he distinctly recognized the blue sky, vestiges of
most noble work in the Gallery, though surround-  bronze and gold colored armor, and blue, green,
ed by many finished paintings of renowned mas-  and red draptries.  What then becomes of the
ters. It was preserved in the Gallery of the Im-  tetrachromes of Apelles and the monochromes of
perial Palace on the Palatine, and was destroyed  previous artists, for Mycon painted the Theseum
by the first fire that consumed that palace, in, the  near 200 years before the time of Apelles.
time of Augustus; it was therefore not seen by      APELLES an Ephesian painter, who fourished
Pliny, and the account must be related by him   about B. c. 230.  This artist stood high in the
from some other work. In regard to the vague-  favor of Ptolemy Philopator, whose reign began
ness of Pliny's account, one of the principal causes  B. C., 222, and according to Lucian, was falseis undoubtedly the mutilation of the text; but the  ly accused by Antiphilus, a celebrated Egyptian
whole thing is told with obscurity, and this great  painter, of having participated in the conspiracy
panel could not have contained only three simple  of Theodotus of Tyre. But upon his innocence
lines, as it appears to have done, else how could it  being established, Ptolemy, who had listened to
have been termed the most noble work in the  the accusation, presented Apelles with 100 talents,
Gallery, and the wonder of posterity q.
Gallery, and the wonder of posterity   i a n     and condemned Antiphilus to be his slave. ApelThe character of Apelles shos    itself in a noble  les, however, was not satisfied with this reparation,
light in his ondt            otee          r pr     d on returnhis conduct  towards Protoenes  Ephesus, painted in retaliaceiving that the Rhodians did not appreciate the  tion his famous picture of Calumny, in which
works of that great artist, he volunteered to pur-   tolemy   ted a prncipal par   Lucian saw this
chase all the finished works he had by him, at any   pictureand thus describes it:
valuation the latter might fix; and Protogenes    "On'the right, is seated a person of magistehaving estimated them far below their real value,  ial authority, to whom the painter has given ears
Apelles generously offered him 50 talents (about  like Midas, who holds forth  is hand to Calumny,
$500,000) for the whole, and spread the report  as if inviting her to approach. He is attended by
that he intended selling them as his own.  He  Ignorance and Suspicion, who stand by his side.
thus opened the eyes of the Rhodians to the merit  Calumny advances in the form of a beautiful feof their painter, and they accordingly secured his  male her countenance and demeanor exhibiting an
works at a still higher price. Apelles left writ-  air of fury and hatred; in one hand she holds the
ipgs on the arts, which he dedicated to his pupil  torch of discord, and with the other, she drags
Perseus, who, however, does not appear to have  by the hair a youth personifying Innocence, who,
realized the expectations of his master.         with eyes raised to heaven, seems to implore sucPliny says Apelles was the first artist who         of the gods.   he is preceded byEnvy  a
painted tetrachromes, or paintings executed with  figure with a pallid visage and emaciated form
four colors, viz: lamp black, white chalk, ruddle,  who appears to be the leader of the band. Caand yellow ochre, yet, in describing his Venus  lumny is also attended by two other figures who
Anadyomene, he says she was.rising from  the  seem to excite and animate her, whose deceitful
green or azure ocean under a bright blue sky.  looks discover them to be Intrigue and Treachery.
Zeuxis painted grapes b naturally as to deceive the  At last follows Repentace clothed in black, and
birds. Where got he his green.and purple. There  At last follows Repentance clothed in black, and
birds. Where got he his green and purple?  There  covered with confusion at the discovery of Truth
has been a great deal of useless disquisition about the, in the distance, environed with celestial light."
merits of ancient painters and the materials they   This sketch has been regarded as one of the most
employed. When we  take into consideration their  ingenious examples of allegorical painting which
thorough system of education; that the sister arts  the history of the art affords. Raffaelle made a
had been brought to such perfection as to render  draig fro       ias description, which was forthem the models of all succeeding times; that these  drawing from Lucian's description, which was forpainters enjoyed the highest honors and admira-  merly in the cllectiansfer   to the French Mod
tion of their polished countrymen, who, it must be  seum
admitted, were competent to judge of the merits of                                shown that this
their works; that the  omans prized and praised.Apelles was not the great cotemporary of Alexanthem as much as the Greeks themselves; that  der, for the persons mentioned in connection with
there were in Rome in the time of Pliny many anthere were in Rome in the time of Pliny many an-  the story, lived more than 100 years after the death
cient paintings 600 years old, still retaining all  of Alexa der-or about the 144th Clympiad.
their original freshness and beauty, it can scarcely    SeePlin, Putarch, Lucian, Cicero, and Hor.
be doubted that the paintings of the great Greek
artists equalled the best of the moderns; that they  APEZTEGVIA, DON JUAN FELIPE, a Spanish
possessed all the requisite colors and materials;  sculptor; born at Navarre about 1724; studied




APEN.                     39                     APOL.
under Salvador Carmona, and afterwards under  ble pavements of the square are fifteen feet below the
Francisco Gutierrez. He made rapid progress, and  streets of modern Rome. Apollodorus also erected
executed several works of ability, by which, ac-  a College, a Theatre appropriated to Music, the bacording to Bermudez, he acquired considerable rep-  silica Nepia, a celebrated Library, the baths of Trautation. There are some of his works in the church  jan, Temples, Aqueducts, and other important ediof San Gaetano.  He was elected a member of  fices in Rome. His most famous work was the
the Academy of St. Ferdinand in 1777.            stone bridge over the Danube, in Lower Hungaria,
APENS, C., a Dutch engraver of some merit,  near Zeverino, where the river is narrowest and
who lived at Groningenm  He executed a number  most rapid. On account of its great depth, it was
of plates, among which is the portrait of Samuel  necessary to make a foundation, by throwing into
Maresius, theologian, dated 1673.                 the bed of the river an immense quantity of materials; on which were constructed twenty piers,
APHRQDISIUS, a sculptor, born at Tralles in  (some parts of which still remain) and twenty-two
Lydia; probably lived in the first century after  arches; each pier was sixty feet wide, one hundred
Christ. Pliny mentions him as one of the artists  and fifty feet high, distant from  each other one
who decorated the palace of the Csesars on the  hundred and sixty feet; the bridge was three
Palatine Hill at Rome, with some of its finest  hundred feet high, and a anile and a half long; its
statues.                                         extremities were defended by two fortresses. Tra.
APOLLODORO, FRANCESCO, called IL PORCIA,  jan had it constructed to facilitate the passage of
a reputable Italian portrait painter, who was born in  his troops, but his successor Adrian dismantled it,
the Friuli, and resided at Padua about 1600. Ac-  fearing the barbarians would use it against the
cording to Ridolfi and Lanzi, he painted the por-  Romans.
traits of nearly all the literati of Padua in his time..    Pliny says that Apollodorus was imprudent
APOLLODORUS, one of the most celebrated               to deride the young Adrian, presumptive
of the ancient Greek painters, was born at Athens  heir to the throne, for wishing to show his knowabout B. c. 440. Pliny commences his sketch of  ledge of architecture. After the latter had attained
the history of Greek painting with Apollodorus,  the crown, he erected a temple, from his own determing him the first luminary of art; but he  signs, and sent the drawings to the great architect.
mentions only two of his works-a Priest in the  thew him that he could erect a blding withou
act  of Devotion, and Ajax Oileus Wrecked-both  his assistance. Apollodorus answered that, "If
remarkable works, not only in chiaro-scuro, but as  the goddesses had amind to rise and go out, they
to invention and composition.  These paintings  could not."  Adrian was so  nraged at the sarwere preserved at Pergamos in the time of Pliny,  casm, and the error he had committed, that he
600 years after they were executed  This artist wa   caused the architect to be murdered.
the founder of a new school of painting; or rather    APOLLONIO, JACOPO, an Italian painter, born
he made painting complete as an imitative art.  at Bassano in 1584; was the grandson, and one of
Earlier artists had distinguished themselves for a  the most talented pupils of Jacopo da Ponte;
certain degree of effect in chiaro-scuro, as Dionysius  and imitated his master with such exactness that
of Colophon; but Apollodorus was the first who  the only difference in their works is, that those of
attained the perfect imitation of the effects of light  the latter have a more lively touch and vigorous
and shadow invariably seen in nature. If we may  execution. His best work is the ~Mrtyrdom of St.
depend upon the criticisms of ancient writers, the  Sebastian, in the church dedicated to that saint.
works of this master were not inferior in this  There is also a Magdalene in the dome of the Carespect to those of the most distinguished moderns.  thedral at Bassano, and a picture of St. Francesco,
His pictures riveted the eye, not merely from their  at the Riformati. He died in 1654.
general coloring, but also for a powerful and pecu-    APOLLONIUS, and his brother TAURISCUS,
liar effect of light and shade; on which account he  the sons of Artemidorus, were the sculptors of
acquired the surname of "the Shadower."  He  a marble group of the size of life, representing
introduced great and rapid advances in the art of  Zethus and Amphion tying Dirce to the horns
painting; was'the first to give varieties of character  of a wild bull. This work was brought from
and expression to his figures, the advantages of  Rhodes to Rome by Asinius Pollio; and, accordbreaking the colors and showing the value of  ing to Pliny, was formed of a single block of marlight and shade, and the harmony of contrast.  ble. The group of this subject, now in the court
Pliny says of him, "I may well and truly say that  of the Museo Borbonico at Naples, known as the
none before him brought the pencil into'a glori-  Toro Farnese, from its having at one period beous name and especial credit."                  longed to the Farnese family, is believed to be the
APOLLODORUS, an eminent ancient architect  work alluded to by Pliny. Tauriscus was a native
who lived, according to Pliny, about A. D. 100, and  of Tralles, in Lydia; Apollonius of Rhodes. They
was born at Damascus. By his great genius he  probably lived in the second century before Christ.
acquired the favor of the Emperor Trajan. He    APOLLONIUS, an Athenian sculptor, the son
built the great Square of Trajan, to effect which he  of Nestor, who probably lived in the first century
levelled a hill one hundred and forty-four feet  before Christ. He executed the marble statue of
high; in the centre was raised the famous column,  Heicules, of which a fragment, well known as the
of the same height as the hill that had been-re-  Torso of the Belvedere (or the Torso of Michael
moved, which commemorated the victories of Tra-  Aigelo, from the high estimation in which it was
jan, and served as a monument to that victorious  held by that master), is preserved in the collecEmperor. Around the square there was the most  tion of the Vatican at Rome.  This monument,
beautiful assemblage of buildings then known in  one of the finest specimens of Grecian art existing,
the world, among which was the triumphal arch  is much mutilated; the body and thighs alone are
erected in memory of Trajan's victories. - The mar-  preserved. The figure was seated on a lion's skin




APPE.                      40                      APSO.
This Torso was engraved in the Museo Pio Clem-    APSCH, JEROME ANDREW, a German wood enentino.                                            graver, born at Nuremberg about 1490, and assist.
APPEL, JACOB, a Dutch painter, was born at  ed Hans Burghmair in engraving two hundred and
Amsterdam, in 1680, and studied some time under  thirty-seven wooden cuts for a book issued at ViTimothy de Graaf, but was afterwards instructed   enna, entitled the Wise King, containing the chief
in landscape painting by David Vander Plas.  Des-  events of the life and reign of Maximilian I. He
camps says that he at first followed the style of  died in 1556.
Tempesta, but afterwards that of Albert Meyering.    AQUILA, FRANCESCOFARAONE, aneminent Ital
His landscapes are of some merit, but he succeeded  ian designer and engraver, elder brother of the disfar better in portraits.  He died in 1751.         tinguished Pietro Aquila, was born at Palermo in
APPELDOORN, JEAN, a landscape painter,  1676, and  ettled at Rome about 100  He eeborn at Amersfort in 1765, and studied under  cuted numerous engravings, some of which are
Jordanus Hoorn. He executed a few pictures in  highlyesteemed. In drawing and expression he
oil, but his works were principally n water colors,  is inferior to his brother. Some of his plates are
and possess considerable merit. He died in 1838.  done with the graver only, but they are by n
means equal to those where he used the point.
APPELINS, JEAN, a French painter of por-  Several of his prints are from  his own designs.
traits, history and landscapes, was born at Mid-  The following is a list of his works:
dlebourg, and flourished about 1778. His compositions are generally large, and possess considerable    A set of twenty-two large plates after Raffaelle, entitled,
sitions are generally large, and possess considerable  Picture Raphaelis Urbinatis ex aula et conclavibus Pamerit.                                             latii Vaticani, 4.c. Franc. Aquilo, del. et incid. 1722.
APPELMAN, BERNARD, or BARENT, a Dutch   The Repose in Egypt, with St. Joseph at work in the backpainter was born at the Hague, in 1640. It is not  ground. The Last Supper; after Albano, inscribed unus
inown under whom  he studied buit he probably  ex vobis, w4c., 1711. The Dead Christ in the Lap of the
known under whom  he studied, but he probably   Virgin Mary, with Mary Magdalene and St. Francis; after
visited Italy, as his landscapes are taKen from    Caracci. Our Saviour with a Glory, the Virgin Mary, St.
views in the vicinity of Rome. He adorned the   Ambrose, and St. Charles Borromeo; after Carlo Maratti.
hall of the  palace ofSoesdyk with several admira-  The Bark of St. Peter; after Lanfranco. St. Rosalie;
ble portraits, and some landscapes which are finely  f his     design. ABishopnnoun to theVirgi
the arrival of the Body of St. Helena. The First Vault in
pencilled and well colored. He often executed the  the Vatican; after Ciro Feri, 1696. Three large prints
landscapes and back grounds of the portraits of  of the Vault of St. Francis Xavier at Naples; after Paolo
Jan de Baan and others. He died in 1686.           de Mattel. Three Cupolas-one in the Chapel of the Holy
Sacrament, one in the Church of St. Sebastian, and one in
APPIANI, ANDREA, an Italian oil and fresco  the Chiesa Nuova-all of them circular; after P. da Corn
painter, born in the Upper Milanese, in 1754. He  tona. The Battle of Constantine with Maxentius; and the
studied under Cav. Guidei with such ardor that he  Triumph of Constantine; after AndreaCammasei. Venus
formed a graceful and original style that approaches  showing the Arms to Eneas; after Poussin. Mars with
Correggio. His best frescos are at Milan: his best  hisArmshungon a Tree; afterhis own design. Hercuoil paintings are Rinaldo in the garden of Armida,  les, to whom Mars offers a Sword, and Minerva a Crown of
oil paintings are Rinaldo in the garden of Armida,  Laurel; after Ant. Benfiglio. Two Portraits-the Cardi.
Venus and Love, and Olympus, which are works  nal Casini, and Cardinal Joseph Maria de Thomasis; after
of great beauty and merit. Napoleon sat to him   P. Nelli. Some of these plates are of very large size.
for his portrait, and appointed him his painter;    AQUILA, GIRGIO, aFlorentinepainterofsome
this portrait is now in  England. Rosaspina has  merit, who flourished from  1314 to 1325. Little
engraved.the frescoes he executed in the Royal Pa   is known of the events of his life. He is said to
lace at Milan.  He was made a knight of the Iron   have been the first Italian artist who used the nutCrown, and a member of the Legion of Honor.  oil in painting.
He suffered an attack of apoplexy in 1813, which
rendered it impossible for him to paint; and he lost    AQUILA, PIETRO, a reputable Italian painter and
his pension at the restoration of the Bourbons; so  excellent engraver, the younger brother of Francesthat he was compelled to sell his drawings and other  co, according to Baldinucci, was born at Palermo, and
valuables to obtain support. In 1818 a second at-  settled with his brother at Rome in 1700. While
tack of apoplexy terminated his life.              young he prepared himself for the priesthood, and
on arriving at Rome, he became a monk, but still
APPIANI, FRANCESCO, an Italian painter, born  followed his natural inclination for the art.  His
at Ancona in 1702. He studied under Domenico   plates are etched in a free, bold style, and his drawSimonetti, and subsequently at Rome in the time of  ing is extremely correct. His best prints are those
S. Cinca and Mancini, with whom  he lived in in-  he engraved after the Caracci, which are very hightimate friendship. His style was soft and harmo-  ly valued. The following are his principal plates,
nious, as is well shown in his Death of St. Dome-  some of which are from his own designs. Heinenico, painted for Benedict XIII; for which he was  ken's Dictionaire des Artistes has a full catalogue.
honored with a gold medal and chain.  He resided
chieflydwith atPerugia, where hd ainted the vauld of Subjects after Caracci.-The Holy Family; the Adorau.
chiefly at Perugia, where he painted the vault of  tion of the Magi; the Flight into Egypt; Lions fightingthe cathedral and many other works, and con-  an emblematical subject, inscribed spe suscitat iras.
tinned the practise of the art with great vigor till    After P. da Cortona.-The Sacrifice of Polyxena; the
1792, when he died, aged 90.                       Triumph of Bacchus; the Rape of the Sabines; Diana roAPPIANO  or APLANO, NicL  a Mil e  turning from the Chase; the Battle qf Alexander and
APPIANO, or APLANO, NiceoLS, a Milanese  Darius.
painter who lived about 1510. He is said to have    After Ciro Ferri.-Moses and the Daughters of Jethv
studied under Leonardo da Vinci. Cesariani com-  Moses striking the Rock; the Virgin Mary appearing tc
pares him with the greatest masters of the age;  St.Alesio; The Vestals keeping up the Sacred Fire.
but no other writer on the fine arts has mention-    After Carlo Maratti.-The Virgin Mry with fire
Saints; the Triumph of Religion-an allegorical piece; St.
ed him, except Zani. His works may have been   Luke showing the Virgin the Portrait he had painted of her
ascribed to some of his great -otemporaries.         After Gio. Marandi.-The Death of the Virgin.




AQUI.                      41                      ARCE.
The Bible of Raffaello, a set of fifty-five plates; entitled  ARCESILAUS, or ARCESILAS, a sculptor,
Imagines Veteris ac Novi Testamenti, a Raphaele Sanct.  who distinguished himself at lRome in the last
Urbin. in Vaticano picte,.c. —[The first thirty-six off                  H         the friend of 
these plates were engraved by Cesare Fantetti; the rest by  years of  the  republic.  He was the  friend of LuAquila in a very superior manner.] The Farnese Gallery  cus Lucullus; and his models or sketches, aecordin twenty-five plates, with the Statues and Ornaments. The  ing to Varro, brought a higher price than the finChamber of the Palace Farnese, in thirteen plates; inscribed  ished works of other artists. An unfinished statue
Imagines Farnesiani Cubiculi. The Assembly of the  by him, of Venus Genetrix, was placed in the forum
Gods, in nine plates, after the painting by Lanfranco, in  of Julius Cesar; and at his death he left incomthe Villa Pinciani at Rome, inscribed Deorum Concilium
ab Equite Joanno Lanfranco, 4.c. Fourteen Portraits  plete a statue of Felicity, that he was making for
of Roman Emperors, from medals; and a Portrait of Livio  Lucullus, and for which he was to receive 6,000,000
Odeschalchi, with ornaments.                       sesterces (about $260,000). Varro had in his posAQUILA, PCMPEO DELL, an Italian painter,  session a group by Arcesilaus, of some winged Cuwas born at Aquila, and lived about 1570. Padre  pids playing with a Lioness sculptured ou  of a
Orlandi, in the Abbecedario Pittorico says he wassingle piece.of marble; and Octavius, a Roma
citizen, paid him a talent for a model in plaster of
a very reputable historical painter, both in oil and    nbowl or drinking c
fresco. He executed a fine painting in the Church   a bowl or drinkg 
of San Spirito at Rome, representing the Descent    ARCHELAUS, a Greek  sculptor  of uncertain
from the Cross, of which there is a print by Hora- ge, the son of Apollonius of Priene. This name
tius de Sanctis, 1572. At Aquila, there are some  is inscribed on the upper part of a bas-relief of the
considerable frescos by this master.               Apotheosis of Homer, formerly in the Colonna
Palace at Rome, now in the British Museum. It
AQUILES, JUAN DE, a Spanish sculptor of Val-  was found in the Via Appia, near Albano, at a place
ladolid, who lived in the early part of the sixteenth, called Alle Frattocchie, the ancient Bovilli, where
century, and executed a number of works in the  the Emperor Claudius had a villa. It was purchurches of that city and other towns of Castile,  chased for the British Museum  at the enormous
which, according to Bermudez, evince much ability.  price of $5000.
ARAGON, JUAN DE, a Spanish painter of his-    ARCHITA, -, an Italian painter of some
tory, who resided at Granada in 1580, and was one  merit, born at Perugia in 1560; died in 1635. He
of the eminent artists who adorned the monas-  resided chiefly at Rome, where he executed a numtery of St. Jerome, founded by the great Captain.  ber of works for the churches, among which are
ARBASIA, CESARE, an eminent Italian painter  three frescos in S. Sebastiano, representing Saints
was born at Saluzzo; flourished in the latter part  Girolamo, Carlo, and Bernardo.
of the 16th century; studied under Federigo Zuc-      ARCIS, MARC, a French sculptor of Toulouse;
cheri, and imitated the style of Leonardo da Vinci.  studied under J. P. Rivalz, and in 1684 was elected
In 1579 he visited Spain, and executed a picture  a Royal Academician. There are several reputable
of the Incarnation, and some other works, in the  works by him in the Church of the Sorbonne, and
cathedral at Malaga, for which he received 3000  in the Gardens of Versailles.
ducats. In 1583, he executed a splendid work in      ARCIMBOLDI, GiosFFo, a Milanese painter
fresco in the Cathedral ofCordova, representing the  born in 1533, was favored for the greater part of
martyrs who suffered in that city. He also painted   his life with the patronage of the emperors  axithe ceilingoftheChurch ofthe Benedictine monks at    ilian  ad Rodolhus. He excelled in painting
Saragliano. It is probable that he visited Rome in  interiors of kitchens with fruit, vegetables, culinary
sculpwtoro the formtero mastury.  eriZuher sy binteriors of kitchens with fruit, vegetables, nlinary
1588, with his former maste, Federigo Zuccheri,  utensils, etc.; and sometimes with grotesque figwho was the first president of the academy of St.        i fored o fler and fruit, which at a dsLukensiof whiche Araa atwCas one ofthefounders.ures formed     of flowers and fruit, which at a disLuke, of which Arbasia was one of the founders.   ance appeared like human figures. He died at
He afterwards returned to Spain, where hedied in   Prague in 1593.
ARCO, ALONSO DELL', called EL SORDILLO DE
ARBULO. MARGUEVETE  PEDRO, a Spanish   PEREDA, a Spanish historical and portrait painter,
sculptor of the sixteenth century. Bermudez says  born at Madrid in 1625; studied under Antonio de
that from 1569 to 1574, he was occupied upon the  Pereda, and though deaf and dumb from his birth,
altar and stalls- of thle choir of the Church of S.  acquired considerable eminence. Palomino menAscensio, in the Rioja at Castile, which are execu-  tions several of his works, particularly the Miracedwith great ability.   e received for them 7387  ulous Conception, and the Assumption, in the cloisducats. He died at Briones in 1608.                ter of the Trinitarios Descalvos at Madrid; also a
ARCE, DON CALEDORO D', a Spanish sculptor,  fine picture of St. Teresa in the Church of San Salborn at Burgos in 1739; studied under Fra. Greg-  vador. Bermudez mentions a large number of his
orio Barambio; was elected a member of the Acad-  works in the churches at Madrid, and other pubemy of San Fernando at Madrid; and in 1788  lic edifices throughout Spain. He died at Madrid
was appointed escultor de. cdmera to Charles IV.,  in 1700.
King of Spain; of whom he executed an equestrian     ARDELL, JAMES Mc, a reputable mezzotinto
statue in marble, which has been engraved by Sal-  engraver, was born about 1710, and of Irish exvador Carmona. In 1786, Arce published at Pam-  traction. He executed a considerable number of
peluna a work on sculpture.                        plates, some of which are from historical subjects;
ARCE, JOSEF D', a reputable Spanish sculptor;  but the greater part are portraits of eminent per7                               sons after the principal painters of the time. He
studied under Juan Martinez Montailes, and execu-  sns after the principal painters of the time. He
ted several works at Seville, among which are eight died in 1765. The following are his principal plates.
colossal stone statues over the balustrade of the                     PORTRAITS.
Church of the Sanctuary, in the Cathedral. He    After Reynolds. —George, Lord Anson; Dr. Ashton;
flourished about 1657.                             the'Countess of Berkley; Vice-Admiral Boscawen; the




ARDE.                       42                     ARDE.
Countess of Essex; Lady Fontesque; James, Earl of Wal-  prefixed to the second volume of the works of that
degrave-fine and scarce.                           author, who died in 1726.
After Hudson.-Mary, Duchess of Ancaster; William   a      w          
Benn, Lord Mayor-scarce.                             ARDENTE, ALESSANDRO, a Piedmontese paintAfter Vandyck.-George, Duke of Buckingham, and his  er, who, from the dates on his pictures, probably
Brother, from the picture at Kensington Palace-very fine;  flourished from 1565, to 1592. At Turin, in the
Mary, the Countess of Coventry-scarce; Francis du Ques-  Monte della Piet, is a picture by this master, of
noy, called Fiamingo, sculptor; Rachael, Countess of South-  one      t           p             
ampton-veryfines Lord John and Lord Bernard Stuart-   the Conversion of St. Paul, painted with such
very fine; Ruben's Wife-fineeand scarce.           grandeur as might lead us to suppose he was of
After Wilson.-Dr. Franklin-fine and scarce..  the Roman School. In the Church of S. Paolini,
After Zoffany.-Mr. Garrick and Mrs. Cibber, in Jaffier  at Lucca, is a picture of S. Antonio Abate, dated
ABler Hogarth.-Two of John Pine, painter-   with,  1565; and at Moncaliere, near Turin, an altar-piece
After Hogarth. —Two of John Pine, painter-one with,                                 I
and the other without hands; Daniel Locke.         of the Adoration of the Magi, dated 1592. Ardente
Also, Archibald Bowen; after Knapton.  Elizabeth,  was painter to the Court of France, and died at
Duchess of Hamilton; after Cotes. General Washington;  Paris in 1575.
after Pine.                                          ARDITI, ANDREA, a Florentine sculptor; of the
OTHER SUBJECTS.                   early part of the fourteenth century, who executed
After Vandyck.-The Virgin and Child; Moses found  among other works, the silver head of San Zanobi,
in the Nile; Time clipping the Wings of Love.      which, according to Vasari, gained him great celeAfter Rembrandt.-An Interior, with a Woman reading,  t in h  t
and a Child in a Cradle; the Tribute Money; the Angel        s  m
and Tobit; Rembrandt's Mother reading; the Student in  AREGIO, PABLO DE, a reputable Spanish painter
Mathematics.                                       who lived about 1506, and executed in that year, in
After Murilo. —The Virgin, with a Glory of Angels;  concert with Francisco Neapoli, the doors of the
St. Jerome kneeling before a Crucifix; St. Francis da  getaltarofthecathedral ofValencia.  Eachdoor
ItiPaola ^   ^                 ^ ~~~~great altar of the cathedral of Valencia. Each door
Paola.
After Rubens. —Rubens and his Family.            contains six pictures. The subjects are from the
All the above are fine prints, and good impressions are  life of the Virgin, executed in the style of Leovery scarce.                                       nardo da Vinci. Bermudez says they are admiraARDEMANS, DON TEODORO, a Spanish paintr  ble in respect to the design, style, and expression
and architect; born at Madrpid in 16.   Hisntr  of the figures. Aregio received 3000 ducats for
and architect; born at Madrid in 1664.  His  these works.
father was a soldier in the noble body-guard, in 
which Ardemans served also for some time; but    ARELLANO, JUAN DE, a Spanish painter, born
his love for the arts led him to place himself under  at Santorcas in 1614, studied under Juan de Solis.
Claudio Coello to learn painting. He commenced   but not succeeding as a historical painter, he copied
at the same time to study mathematics and archi-  the subjects of Mario de Fiore, and by his assiduity
tecture. In 1689, when in his twenty-fifth year,  became an excellent painter of fruit and flowers.
he contended at Granada with Boccanegra, then  -His pictures are in most of the collections of Spain,
painter to the King. for the appointment of chief  where they are highly esteemed. He died in 1676.
master to the Cathedral of that city. The artists    ARELLIUS, a Roman artist of some celebrity,
were ordered to paint each other's portraits, and   who flourished at the beginning of the reign of Au-"
Ardemans, who was the first to begin, in less than   gustus. From the manner in which he is mentioned
one hour painted a very masterly likeness of Boc-  by Pliny, he must have been an artist of ability,
canegra  which so discouraged the latter that he  for the only fault he finds against him is that he
deferred his trial to another day, but not appearing   selected as the models of his- goddesses the most
on the day fixed, Ardemans obtained the appoint-  beautiful courtezans of his time; a reproach which
ment. This defeat is said to have caused the death  that author never thought of making against the
of Boccanegra.  Ardemans remained several years  greatest artists of Greece, who constantly availed
at Granada, practising both painting and civil and   themselves of this practice.
hydraulic architecture. In 1694 he was appointed     ARENDS or ARLENDS JAN,   Dutch landchief master of the cathedral of Toledo; in 1700   scape and marine painter born a Dort in 1738
he received a similar appointment at Madrid; and   sape and marine painter, born at Dort in 17
ii V., who placed him   studied under J. Ponse. His pictures are praised
again in 1702, from Philip V., who placed him   for their admirable perspective. There- are a few
over the Alcazar and other palaces of Madrid, with  for tir                             c derabe
tedath of    ducats per annum. In 1d704, after  prints by this artist which possess considerable
a salary of 400 ducats per annum. In 1704, after   mi   He died at Dort in 180.
merit. He died at Dort in 1805.
the death of Ruiz, the King appointed Ardemans
his cabinet painter. According to Bermudez, his      ARETINO. SeeSPiNELLO.
pictures are scarce, because he applied himself      ARETUSI, CESARE, an eminent Italian painter,
chiefly to architecture; but that author praises a  born at Modena, and lived about 1590. It is not
fresco by Ardemans, in the sacristy of the chapel  known under whom he studied, but he formed his
of the third order of Franciscans at Madrid.       style from the works of Bagnacavallo.  Lanzi says
As an architect, Ardemans designed the decora-  he was an excellent colorist in the Venetian style,
tions at the celebration of the funerals of the Dau-  but of a weak and dull invention; while Gio. Batphin of France in 1711, and of the Queen Maria  tista Fiorini, was full of fine conceptions, but worthLouisa of Savoy in 1715, at the convent of the In-  less in his coloring. These two painters were mcarnation at Madrid. In 1719 he designed the   timate friends, andby uniting their talents produced
principal part of the Palace and Gardens, the Colle-  works of considerable merit, among which is the
giate Church, and the great altar of San Ildefonso;  cupola of the cathedral of S. Pietro, at Bologna.
and in 1722 the Church of San Millan At Madrid.  However this may be, Cesare's merit as a porHe is known also as an architectural and scientific  trait painter equals that of many of his cotemwriter. It is probable that he was living in 1730,  poraries, and his portraits possess a breadth and
as he wrote the eulogy on his friend Palomino,  beauty of coloring, that approaches the excellence




ARFI.                      43                      ARIS.
of Correggio. He painted several of the most illus-  ordered it to be sent to Pella, his native city. It
trious men of the day. He surpassed all artists  represented a Dying Mother, wounded at the sackthen living as a copyist of the works of great mas-  ing of a city, with a child ft her bosom; remarkters, for he could assume the style of almost any   able for the expression of agony in the mother,
painter, and even pass off his copies as genuine.  lest the child should suck blood from  her breast
In imitating Correggio, he was very successful, and  instead of milk. Aristides painted an easel picture
received a commission to execute a copy of the   of a Persian Battle, for Mnason, tyrant of Elatea.
celebrated Notte, by that master, for the Church   containing 100 figures, for which that prince paid
of S. Giov. di Parma, where it still remains. Mengs  him 1000 minse (about $18,000)-an immense price,
declared that were the original at Dresden lost, it  since being an easel picture, the figures were probamight be well supplied with so fine a duplicate.  bly small, and of many of them, only parts were
He gained so much reputation for this work that  seen. His works appear to have risen in value
he was appointed to restore the painting executed   after his death. After the capture of Corinth by
by Correggio for the tribune of the same church,  L. Mummius, B. c. 146, Attalus III., of Pergamos,
which had been removed to extend the choir.  bought a picture of Bacchus and Ariadne by ArisRuta, in his Guida, says that so accurate was  tides, for 600,000 sesterces, (about $26,000) so great
the imitation of the taste displayed in the original,  a price that it excited the suspicion of Mummius,
of its conception and harmony, as to lead those  who withheld the picture, notwithstanding the
unacquainted with the change, to suppose it the  complaints of Attalus, and sent it to Rome; where
work of Correggio.  Pungileone is of the same  it was dedicated in the temple of Ceres, which was
opinion.  In the Church of San Giovanni del  afterwards destroyed by fire. The same king of
Monte at Bologna, is a fine altar-piece by this  Pergamos purchased another of the works of Arismaster, representing the Virgin and Infant with  tides at the enormous price of one hundred Attic
two female figures embracing each other.  His  talents (about $100,000.)  Pliny mentions many
principal patron was the Duke of Ferrara, whose  other works by this artist;-Running Quadrigae;
favor he lost by an act of indiscretion. The prince  Huntsmen with Game; a Suppliant whose voice
commissioned Cesare to paint the portrait of a lady   you could almost hear; portraits and other pieces
for himself, but on no account to divulge the secret  in various styles. He notices also an unfinished
to the fair one or any of her family. The artist  picture of Iris, which was greatly admired.  Poloaccomplished his purpose, but from  a feeling of  mon, in his work on the pictures of Sicyon, quoted
vanity, shewed it to some of his acquaintances, and  by Athenseus, says he painted light subjects; and
the secret soon transpired. The relatives of the   he is also denominated a Pornographer, or painter
lady were much enraged, and the duke at first  of lascivious pieces. There was a picture in the
threatened Cesare with death for his treachery,  temple of Apollo at Rome, of a tragic poet and a
but he afterwards merely banished him.             boy, by Aristides, which was destroyed by a pic-, A O D, a Snish oil ad            ure-restorer, to whom the prator M. Junius had
ARFIAN, ANTONIO Do, aSSpanish oil and  fres-  given it to be cleaned, before the celebration of the
co painter of the school of Seville, studied under  Apollinaria.  Pliny says Aristides had the power
Murillo and L. de Vargas. He was employed on   of impressing his forms with soul-of representing
several important works, particularly the grand   those impassioned actions of the body which result
altar-piece of the cathedral, which he painted in  from violent emotions of the mind. So effective
1551, in concert with Antonio Ruiz. He was liv-  was the earnestness of supplication portrayed by
ing in 1587.                                       him, that the voice seemed to escape from-the picARIAS, FERNANDEZ, a distinguished Spanish Nture. Temanthes first drew the line that separates
historical painter, was born at Madrid; studied un-  terror from an excess or horror; Aristides marked
der Pedro de las Cuevas. At the early age of four-  the boundaries which divide it fromdisgust.  His
teen, he gained great reputation by the grand altar-  picture of the Wounded and Dying Mother, shudpiece he executed for the Carmelites at Toledo.  He  dering lest her starving infant should suck her
subsequently pursued his studies with great assi-  blood instead of milk, was one of the most celeduity, so that at the age of twenty-five, he was one  brated pictures of antiquity. The expression of
of the best painters in Madrid, and was chosen by   the principal figure, still alive, though mortally
the Duke d'Olivarez to paint the series of portrats  wounded, helpless, beautiful, and forgetting herself
of the kings of Spain, which were in the saloon of  in her anguish for her child, excited the beholder
the ancient palace. He is said to have died in a  to tears and produced an effect never since equalhospital, in 1680, though some say in 1684.       led, although the same subject has frequently been
handled by succeeding artists.  He painted battleARISTIAS.  The name of this artist, associa-  pieces, hunting scenes and chariot races, for foreign
ted with that of Papias, is found on two marble  princes and public halls, which commanded any
statues of Centaurs, which were formerly in the  price he pleased to ask for them.
Furietti Palace, but are now in the Vatican. They    ART                  in             n     i
were natives of Cyprus, and probably lived in the                                      
Polycletus of Sicyon, who lived in the latter part
~second century,~~. ~of the fifth century before Christ. Pliny says he
ARISTIDES, of Thebes, one of the most celebra-  was celebrated for his skill in making chariots,
ted painters of antiquity, a cotemporary ofApelles;  Quadrigae, and Bigae. These chariots were probflourished from about B. c. 360 to 330; was the son   ably constructed for some important purpose;
of Aristodemus, and the brother and pupil of the  either to be presented as votive offerings to some
celebrated Nicomachus. A painter named Euxe-  temple, or to be used on particular occasions; and
nidas, was also his master. Pliny relates that  being the work of an eminent artist, were decorated
when Alexander stormed Thebes, he was so struck   with designs of figures in relief, or enriched with
with one of Aristides' works he saw there, that he  foliage or other elaborate ornament.




ARIS.                     44                    ARLA.
ARISTOCLES, a Greek sculptor of uncertain  the most ingenious portrait painters of his time
age, who executed a group, dedicated at Olympia  While at St. Cloud, he copied a Leda from the basby Evagoras of Zancle, representing Hercules fight-  relief of Michael Angelo, or, as others think, from
ing an Amazon on horseback for her girdle.      the famous picture of Correggio; which was unverAnother Aristocles executed a group represent-  sally admired.  The Duke de la Force purchased
ing Jupiter and Ganymede, dedicated at Olympia  it for 12.000 livres, but happening to be a loser in
by one Gnothis a Thessalian.                    the Mississippi scheme, he returned it to the artist
ARISTOCLIDES, a Greek painter of uncertain  with 4,000 livres for the use of it. He was favored
age, classed by Pliny among artists of the second      the patronage of the Princess Palatine, who
rank. Hle painted the temple of Apollo at Delphi,  presented him with her portrait, set with diamonds,
and in 1721, when he visited England, she gave
ARISTOGITON, a Greek sculptor, who was  him a letter of recommendation to the then Prinemployed with Iypatodorus to execute some of  cess of Wales, afterwards Queen Caroline, whose
the offerings dedicated at Delphi by the people of  portrait he painted. While in England, he sold a
Argos.                                          copy of his Leda for ~600, but refused to part with
ARISTOLAUS, a celebrated Grecian painter, a  the original. He painted several of the nobility,
native of Pausias. He was celebrated among the  and was liberally rewarded. He returned to Paris,
artists of his time for the grandeur and simplicity  where he remained a few years, and, having acof his style. He seldom introduced more than one  quired wealth, he settled in Geneva, his native city,
or two figures into his compositions, and he made  where he died in 1743.
choice of those eminent personages whose virtues    ARLAUD, BERNARDO, or BENJAMIN, a Genevan
and great exploits had endeared their memory to  painter of miniature portraits of the last century,
their country. Among these were Theseus, Epam-  who lived at two different periods in London, where
inondas, and Pericles.                          he met with considerable success, and was a freARISTOMEDES, a Theban sculptor, who lived  quent exhibitor at the Royal Academy. In 1801,
about B. C. 500. Pausanias says he executed, in  he returned to his native city, where he suffered
concert with his countryman Socrates, a statue of  much from the depredations of the French.
the goddess Cybele, which was dedicated by Pin-    ARLER, PETER VON, a German architect,
dar, and placed in her temple near Thebes. The  born in 1333. At the early age of twenty-three
statue and throne were made of Pentelic marble.   he was employed to carry on the cathedral of St.
ARISTOMEDON, a sculptor of Argos, who  Vitus at Prague, which had been commenced by
lived about B. c. 480, and executed for the Phoci-  Mathias Von Arrias in 1343.  This edifice, which
ans the statues of Apollo, of Tellias the Seer, of  ranks as one of the finest specimens of the Gothic
the Commanders in their army, and also of the  style in that period, occupied him for thirty years,
Heroes of their country; all of which were dedica-  from 1356 to 1386, when, though not fully completed at Delphi, in commemoration of the success  ted, it was left by him nearly in its present state.
obtained over the Thessalians.                  He also erected the Allerhelige Kirche; began the
celebrated Moldau bridge in the same city; and
ARISTON, a sculptor of Laconia, who, with his  celebrated Moldau bridge in the same city  anbe.
brother Telestas, executed a marble statue of Ju-        
piter, about eighteen feet high, which was dedicated  ARMAND, CHARLES, a reputable French paintby the Cleitorians at Olympia, in commemoration   er of history and portraits, was born at Bar-le-duc
of their victories.                             in Lorraine, and died there in 1720.
ARISTONIDAS, a sculptor, who is said by         ARMAND, JACQUES FRANCOIS, a reputable PaPliny to have been so skillful in mixing the differ-  risian historical painter, was born in 1739, and
ent metals he employed in his art, that he was  died 1769.
able to express the various tints of the complexion.    ARMANI, PIERMARTINO, an Italian historical
This was effected in the statue of Athamas, at  painter, born at Reggio, in the Modenese, in 1613;
Thebes, who was represented as overcome with  died in 1669; studied under Lionello Spada, with
grief for the death of his son Learchus, whom he  whom, according to Lanai, he painted some works
destroyed in a fit of insanity,                  in the Church of S. Maria at Reggio.
ARISTOTILE. See BASTIANO SAN GALLO.             WRMANNO, VINCENZIO, or VINCENT ARMANN,
ARLADI, ALESSANDRO, an Italian historical  a landscape painter, was born in Flanders, in 1598,
~ARLADI, AL^SANDRO, an ^ahanhitonc    and practised at Rome. His landscapes are truthpainter, born at Parma about 1470, studied at Ve-     practised at Rome. His landscapes a re truthnice under Giovanni Bellini, and painted in the style  ful to nature, and have a certain stillness of color
that Lanzi terms antico moderno. In the Church  pleasingly varied with light and shade. His figof thae  armelites at Parma, is a picture  cy this  ures are excellent, and his invention abundant.
of the Carmelites  at Parma, is a picture by this  According to Passeri, he was imprisoned by the Inmaster, representing the Annunciation, which is   Acording to      fesh    fast days, and that on
highly praised by the critics. He died in 1528.    quisition for eating flesh on fast-days, and that on
highly praised by the critics. He died in 1528.                    eft Rome in disgust, and settled
his liberation he left Rome in disgust, and settled
ARLAUD, JAMES ANTHONY, a Swiss painter,  at Venice, where he died in 1649.
born at Geneva in 1668. His first practise was    ARMENINI Gio. BATTISTA, a Italian painter,
painting ornaments ji miniature for the jewellers,              studied under Pern del Vaga, and
but he subsequently attempted portraits, in which  born at Faenz,        
he was so successful, that when twenty years old f puli in                
he settled at Paris, and obtained the patronage of                       R
the Duke of Orleans, who condescended to become    ARMESSIN. See LARMESSIN.
his pupil, and gave the artist apartments in the    ARNALDI, CONTE ENEA, of Vicenza, an Italian
palace at St. Cloud. This patronage stimulated  architect of noble birth, who was born in 1716,
the efforts of Arlaud, so that he became one of  and superintended the restoration of the Palace of




ARNA.                      45                    ARRE.
Reason, which gained him much reputation. He  of the royal castle called Karlstein, four leagues
also wrote two works on architecture.           from Prague, commenced by the Emperor Charles
ARNAU, JUAN  a Spanish historical painter,  IV. in 1348; but this also he did not live to comborn at Barcelona in 1595; studied under Eugenio  plete. There is a bust of Arras in the cathedral at
born at Barcelona in 1595; studied under Eugenio
Caxes, and was chiefly employed in works for the Prague.
churches and convents of Barcelona. In the Church    ARREDONDO, DON ISIDORO, an eminent Span3f Santa de la Mar is a picture of St. Peter, to  ish historical painter; born at Colmenar de Oreja
whom Angels are presenting the Keys; and in the  in 1653; studied first under Garcia, but subseAugustine monastery there are several pictures  quently under Rizi, at whose death he was ap
representing scenes from the life of St. Augustine.  pointed painter to the King by Charles II., who
He died in 1693.                                gave him letters of nobility. Palomino, in descriARNOLD, or ARNOUL, JONAS, a designer and  bing a number of his works, speaks in admiration
ARNOLD, or ARNOUL, J  adeigner and  of one representing the Incarnation. He died in
engraver, who drew the portraits and figures en-  1702.
graved by Philip Kilian, and engraved among
other plates, one of Louis le Grand seated on his    ARREGIO, or AREZZO, PAOLO D  probably
Throne, and Louis Dauphin, after Antoine Dieu.    n Italian painter, though mentioned as Spanish.
AThronT  JOd LoNT Dauhn egaer Aofitte ne,   In 1506 he painted the doors of the great altar of
ARNOLDL, JOHN, an engraver of little note, who  the cathedral of Valencia, in concert with F. Neaexecuted, among other works, a small plate of  poli  The subjects are taken from the life of the
Daniel in the Lions' Den, after Fra. Xav, Palco.  Virgin, and possess the correct design, grandeur,
ARNOLDI, or DI ARNOLDO, ALBERTO, an  and noble character that distinguished the school
eminent Florentine sculptor of the fourteenth cen-  of Leonardo da Vinci, in which both these artists
tury. He executed the colossal group in marble,  are supposed to have been instructed.
of the Madonna and Child with two Angels, in the   ARRIGHI  G EPPE an Italian historical
Church of S. Maria del Bigallo at Florence, which,  ter   latter part of the seventeenth cenpainter of the latter part of the seventeenth cenuntil lately, has been ascribed  to Andrea Pisano,  tury, born at Volterra. He was, according to Lanzi,
through the error of Vasari. Arnoldi was engaged  the favorite pupil of Baldassare Franceschini, whom
on it from 1359 to 1364.                        he greatly assisted in his works.
ARNOLFO, a Florentine architect, was born in    ARTEAGA Y ALFARO, MATIAS, an eminent
1232, studied under his father, Lapo, and acquired  Spanish painter and engraver, bor at Seville. He
much reputation. He built the new walls of Flor- studied under Juan deValdes, and painted numerence, and ornamented them with towers. In the  ous perspective pieces, in which he represented subsame city he formed the square now called St.
same city he f ed the fom esquare now called St. jects from the life of the Virgin. He was secretary
Michel; the square of the Priors; the Abbey and  to the Academy of Seville, and died in 1704.
Church of Santa Croce, four hundred eighty-two.
and a half feet long, and one hundred and thirty-    ARTEVELT, ANDREW VAN, a Flemish marine
three feet wide; and designed the magnificent  painter, was born at Antwerp about 1570. His
Cathedral. For these and other works, the Flor-  pictures of storms and rocky shores are executed
entines elected him a member of the city council.   with sublimity and grandeur. Vandyck admire'
T   a N n p r o   his works, and painted his portrait among the cel
ARNONE, ALBERTO, a Neapoltan painter of  ebrated artists of his country. Artevelt resided
the end of the seventeenth century; studied under  several years at Genoa, but the time of his death
Luca Giordano at Naples, and afterwards under  is not recorded
Cgrlo Maratti at Rome. Dominici says he united
the styles of those masters. He excelled in por-    RTEISIA, the  ueen of Ca, was the wie
traits, and painted most of the Neapolitan gentry  of Mausolus, and built the magnificent tomb fot
of his time. He was presented by Luca Giordano  her husband, which was accounted one of the seven
to Philip V. as an excellent portrait painter; the  wonders of the world, and which has given  name
King sat to him, and rewarded him highly for the  to all structures of that description.
portrait that Arnone executed, with which he was    ARTEMON, a Greek painter of uncertain age
well satisfied. He died it Naples in 1721.      and birth-place. Pliny mentions the following
ARNOULLET, BALTHASAR, a French w          -  works by him: Danae with the Infant Perseus
ARNOULLET, BLTHASA  a trench wod-en-  discovered by the Corsairs or Fishermen of the
graver, who lived at Lyons. Papillon says he exe-  disoered by the Corsirs or Fisherme n of the
cuted a large print of the town of Poitiers.    Island of Seriphus; Hercules and Dejanira; Queen
e a arge rin  e    n  Piier   Stratonice; and two pictures in edifices adjoining
ARNOULT, N., a Parisian engraver, who gained  the portico of Octavia at Rome, which were his
some reputation by his portraits d la mode of the  master-pieces; the Apotheosis of Hercules from
personages at Court. There is a set of six figures  the summit of Mount (Eta; and some part of the
in folio, published in 1673 and 1674; also a por-  story of Hercules, Neptune, and Laomedon, King
trait of the Marquise d'Angeau at her toilet; with  of Troy: probably the delivery of Hesione from the
several others, in a coarse, poor style.        Sea-monster by Hercules.
ARPINO, IL CAVALIERE Do. See CESARI.            ARTEMON, a sculptor who lived about the time
ARRAS, MATHIEU D', a French architect, born |of Pliny, and according to that author, executed
at Arras about 1300, and died in 1352. In 1344  many works in the Palace of the Caesars on the
he was summoned by John IV., King of Bohemia,  Paatine Hill.
to erect the new cathedral of St. Veitskirche, in that    ARTIGA, FRANCISCO DE, a celebrated Spanish
city. The corner-stone was laid with great solem-  landscape and historical painter. He was born at
nity by John himself, but the structure was not  Huesca, and painted several Sibyls, Conceptions,
completed until 1385. This fine edifice still ex-  and perspective pieces for the Spanish collections.
ats. Arras also superintended the construction  which were remarkable for their fertile invention




ARTO.                     46                    ASCO.
fine coloring, and correct design. He was also an  of the twelve gods at the rate of 300 nmnae each,
architect and a mathematician of considerable abil-  about $5000. Pliny says that Apelles yielded to
ity, and an author of reputation. He died in 1711.  Asclepiodorus in symmetry. There was a Greek
ARTOIS, JACQUES, a clebrated Flemish land-  sculptor of this name, who excelled in his statues
scape painter, was born at Brussels in 1613. From   of philosophers.
his style he is supposed to have studied under John  ASCONDO, FRANCISCO, a Spanish architect of
Wildens. His works are faithful delineations of the  considerable eminence; born in the Province of
scenery around Brussels and are often decorated  Biscay in 1705; died in 1781. In 1731 he entered
with excellent figures by David Teniers, which ren-  the convent of San Benito at Valladolid, in quality
ders them much more valuable. His pencil is light  of lay brother and also in his professional capacand free, his skies and perspective are admirably  ity. In 1742 he erected the churches at IHornija
managed, and his trees are of grand forms, with  and Villardefrades; also the Church of the Priory
foliage that appears in motion. Writers generally  of S.  aria de Duero, near Tudela; considerable
place his death in 1665, but Zani says he was liv-  portions o the monastery of romesta, and of the
ing in 1666.                                     nunnery of S. Pedro de las Duenas, near Sahagun;
ARZERE, STEFANO DELL?, an Italian painter,  also a mansion for Viscount Valoria at Valladolid.
born at Padua. Ridolfi says he executed several
paintings for the churches and convents of that    ASENSIO-a Spansh portrait painter of some
ity. In the Church of the Monastery of the Pa-  distinction, who practised the art at Saragossa,
city. ^ th Chrc ^ th Moatr                      about the end of the seventeenth century.  He
dri de Servi, he painted the principal altar-piece;  executed anumber of portraits ofeminentpersonand  in the Ciesa degi Eremitni, sub     from executed a number of portraits of eminent personand in the Chiesa degli Eremitani, subjects from           time which have received considerable
the Old Testament, and two pictures of St. Petere received c
commendation.
and St. Paul, which possess considerable merit.
ASHFIELD,  EDMUND, an English painter in'ASAM, CosMusDAMAN, aBavarian historical and                   EDMUN, an English painter i
crayons, who studied under Michael Wright. He
portrait painter and engraver, who studied several   crayons, who studied under Michael Fright. e
years at Rome, and afterwards settled at Munich,                                      
where he was quite successful. He engraved some    ASNE L. See MICHAEL LASNE
prints from his own designs, markedCosmusAsam,           orTA   ASPER, HANSa Swiss paint
among which are: a Franciscan monk kneeling,                 U, ier, born at Zurich in 1499, died
with the Virgin in the Clouds surrounded by An-  in 1571. His drawings of flowers, birds and game
gels; and St. Joseph presenting a book to a Bishop.  were greatly admired. He was cotemporary with
ASCANI, PELLEGRINO, DA CARPI, a reputable  Holbein, and painted portraits in the style of that
Italian flower painter of the last century, who was  master, which gained him great reputation in his
educated in the Modenese school. He executed a  day, but he has been deprived of much of it by his
number of fine pictures for the private collections  portraits being ascribed to Holbein, and sold as the
at Modena, which are much esteemed. Little is  works of that master. He was so much esteemed
known of the events of his life.                 that a medal was struck to record his merit, yet,
ASCARUS, a Theban sculptor, who executed a  according to Fuseli, he lived and died in indigence.
statue of Jupiter crowned with Flowers, and hold-    ASPERTINO, GUIDO, a Bolognese painter, born
ing a Thunderbolt; which was dedicated at Olym-  about 1460, studied under Ercole di Ferrara, and
pia by the Thessalians out of spoils taken from the  became a distinguished historical painter.  His
Phocians.                                       chief work, which he completed in 1491, was the
P-A       v -ASCH  PETER  JOHN  VAN  a  Crucifixion in the cathedral at Bologna. He died
A    ror       Duth, bPETER Jt,   in the prime of life, much regretted, as he was an
or VV   Dutch painter, born at Delft in    tist of great promise.
artist of great promise.
1603. He excelled in painting small landscapes,   a                         
which, according to Houbraken, were universally    ASPERTINO, AMIco, a Bolognese historical
admired. It is said, that by his unremitted atten-  painter of little note, the younger brother of Guition to an aged father and mother, who were sick  do Aspertino, born in 1474, studied under Francis
many years, he neglected his profession; which  Francia, and according to Vasari, was called Amico
accounts for the scarcity of his works. He signed  da due Pennelli, from his being able to use both
his pictures with a monogram of his initials, P. J.  hands in painting with equal facility. He was of a
V. A. Time of his death is not recorded.        capricious and whimsical disposition, sometimes apASCIANO, GIOVANNI D, a Sienese painter of  proaching mental derangement. He died in 1552.
the latter part of the fourteenth century; studied  ASPETTI, TIZIANO, an Italian nobleman and
under Bernardo da Siena, whom, according to Lanzi,  sculptor; born at Padua in 1565; died in 1607:
he surpassed in coloring. In the parish church of. was the nephew  of Titian. He studied under
Arezzo, he completed a series of frescos which his  Jacopo Sansovino at Venice, and executed many
master had left unfinished,                     excellent works in marble and in bronze at Venice,
ASCIONE, ANGELO, a talented Neapolitan fruit- Pisa, Padua, and Florence. There are several of
painter of the latter part of the seventeenth cen-  his works in the Church of S. Antonio at Padua.
tury.  Dominici says he studied under Gio. Bat-    ASPRUCK, FRANTZ, a German designer and
tista Ruoppoli.                                 engraver, who probably studied under R. Spranger,
ASCLEPIODORUS, a celebrated Athenian paint-  from the resemblance of style. There are a few
er, cotemporary with Apelles; ranked by Plutarch  prints by him marked F. A., or, Franz Aspruck
with Euphranor and Nicias, and noticed by him as  fecit-~viz.: Four small plates, half-length figone of those artists who had done great honor to  ures-of the Archangels Michael, Gabriel, Raphtheir country. He was of great reputation, for  ael, and Uriel; Cupid and Anteros, half-length
Mnason, a tyrant of Elatea, paid him for pictures  figures, small plates.




ASSC.                       47                     ASSE.
ASSCHE, HENRI VAN, a Flemish landscape  Judas, entering  ee Garden-very fine. Jesus betrayed by
painter, born at Brussels in 1775. In his infancy   Judas, is seized, and St. Peter cutting off the Ear of Malhshowed  an iniclination for the art, and learned  chus. The Scourging of Christ. Christ bearing his Cross.
e showed an inclination for the art, and learned   The Crucifixion, with St. John and the Marys at the Foot
the elements of design and perspective from his  of the Cross. The Entonring of Christ. A set of six large
father, who was an excellent artist. He subse-  prints, each containing six different subjects in architectuquently studied under De Roi, at Brussels, and   ral compartments, and in the middle of theprints, the words,
made two journeys into Switzerland for improve-  1. Superbia. 2. Luxuria. 3. Invidia. 4. Ira. 5. Gula.
ment.  There are several fine landscapes by him   6. Avaritia; and their opposite virtues. There is a small
print by this artist, representing an armed Figure on Horseat Ghent, Lisle, Brussels, and Harlem, some of  back, inscribed St. Hadrianus Amstelodamus in.dibus
which are enriched with figures and animals by   Donardi Petri, 4.c.
Ommeganck. He died in 1841.
ASSERRETO, GIOVACCHINO, an Italian paintQ  or;   or.y  ASSELYN, JOHN, called  er, born at Genoa in 16CO, studied under Borzone
C aJL   ft ~           T  CRABBETJIE, a  distin-  and Ansaldo, and with such assiduity, that at the
guished Flemish landscape painter, born at Ant-  age of sixteen he executed a picture of the Temptawerp, in 1610. He studied under Esaias Vander-  tion of St. Anthony for the monks of that order.
velde, and went to Italy while young, where he  There are several of his works in the churches and
remained several years. He was called Crabbetjie  convents at Genoa, which possess considerable
by the Flemish artists at Rome, on account of a  merit. IHe died in 1649, leaving a son named
contraction in his fingers. His pictures represent  Giuseppe, who painted history in the style of his
views in the vicinity of Rome, enriched with ruins  father, but died young.
of edifices, and decorated with figures and cattle in  ASSISI, ANDREA LUIGI DI, an Italian painter
the style of N. Berghem. In landscape he imita-  born at Assisi. Bryan makes him out a wonderted Claude Lorraine; his touch is free and firm,  ful genius, and mentions several extraordinary
his coloring bright and clear, his skies warm, and  works of his execution, but Von Rumohr has sathis figures well drawn and judiciously disposed.  isfactorily proved that the only known work by
He also painted battle-pieces of considerable merit.  him is an inferior painting of a coat of arms in the
His works,re very highly esteemed, and jtl   town-house at Assisi executed in 1484
merit the approbation  they receive.  He died        A
~~~~~in 1660.^                             ASTA, ANDEA DELL, a Neapolitan painter, born
"^~~~~~in 1660.  ~in 1673; studied in the school of Solimena, but afASSEN, JAN VAN, a Dutch historical and land-  terwards visited Rome, where he studied some
scape painter of some eminence, born at Amster-  time, and introduced something of an imitation of
dam in 1631. He was educated in Italy and adopt-  Raffaelle into the Neapoltian style.  He returned
ed the Italian style, especially that of Antony  to Naples, where his works were greatly admired,
Tempesta. He died in 1695.                         particularly the Nativity, and the Adoration of the
j1r    ASSEN, JOHN WALTHER VAN, a Dutch   Magi, in the church of San. Agostino. He died at
M   wood engraver, born in Holland about  Naples in 1721.
1490. He was very distinguished among the ear-    ASTLEY, JOHN, an English portrait painter, who
ly wood engravers; his prints are admirably exe-  lived about 1750, born at Wemm, in Shropshire;
cuted, and are highly prized. His monogram  is  studied under Hudson, and afterwards visited Itacomposed of the letters I. W. A. Little is known of  ly. Bryan says his talents were of a high order
this artist. There has been much discussion among  and on returning to England he was very successconnoisseurs to whom many prints and wood cuts  ful.  The widow of Sir William Daniel, a lady of
bearing certain marks should be attributed. Brul-  large fortune, sat to him for her portrait, and was
liot, in his Dictionaryof Monograms, though he con-  so much pleased with the artist that she offered
fesses these marks have always been attributed  him her hand; on his marriage he relinquished the
to Werner van Ossanen or Walter van Assen;  profession.  He was a lucky dog, and died in 1787.
yet he says that Carl van Mander more properly       AST, BARTHOLOMEW VANDER, a Dutch painter
calls this artist Jacques Cornelisz van Oostsanen   born at Utrecht.  He painted small fruitnd floand thinks the real name should be Jacques Cor-  or peces inte sl                      which he innelisz, or Corneliszoon (which last signifies the  er pces in he style   d Breughl      which  he 
son of Corlnelisz.)  But Bartsch on the other hand  troduced shells, insects, drops of water, and other
son of Cornelisz.)  But Bartsch on the other hand  objects, which, though excellent by themselves,
says, "these monograms, improperly explained as                            excellent by theselves,
says, "these monograms, iproperly exlained as  made a combination defective in ordonnance and
meaning Werner van  ossanen, are generally at-  harmony. In 1629 he presented a picture of fruit
tributed to J. Walter van Assen, an artist of  to the hospital of St. Job, at Utrecht.
whom little is known except that he lived in Am- 
sterdam in 1517."   By carefully examining the       ATHANASIO, DON PEDRO. BOCANEGRA.
character of the prints and the monograms, (for    ATHENION, a celebrated Greek encaustic paintthere are several forms of the latter, see plate 1,)  er, of Maronea, in Thrace, cotemporary with Niwe shall perceive them to be the work of one and  cias of Athens, to whom, says Pliny, he was somethe same artist, and without doubt Prof. Bartsch   what preferred.  He was the pupil of Glaucion
is right in attributing them  to J. W. van Assen,  of Corinth. That author mentions the following
with whose initials the monograms accord, but have  works by him: Phylarchus and the Athenian
not the least reference to Cornelisz, or any other  Assembly, called Syngenicon; Ulysses detecting
known artists.  The following are his principal  Achilles in a female dress among the daughters
prints:                                            of Lycomedes; and a Groom breaking in a Horse,
his most celebrated work. The first two were
A set of six prints, of a circular form, about nine inches  painted in the temple of Eleusis. This name is
diameter, representing the Passion of our Saviour, marked   in
inscribed on a cameo in the Museo Borbonicoat Nawith his cipher, and dated in 1513 and 1514, viz:
Our Saviour Praying in the Garden, three of the Disci-  ples, which is one of the best in that collection. It
ples sleeping below, and in the distance, Jews, conducted by  represents Jupiter in a chariot destroying two giants




ATHE.                       48                      ATTI.
with his thunderbolts.  This artist was more  painted several pictures, which, with portraits of
austere in his coloring than Nicias, but in his aus-  the Emperor, so much pleased the monarch that he
terity was more pleasing. His pictures seem  to  created Attiret a Mandarin, with all the appointhave been less a display of pictorial effect than of a  ments; a dignity which the painter declined.
thorough knowledge and understanding of his sub-  Some of these pictures were preserved in the palject; the distinction between the Roman and Ve-  ace, and shown only by permission of the Empenetian schools.                                    ror. No pains were spared to render them  comATHENODORUS, a Greek sculptor of Clitor, in  plete; many officers who distinguished themselves,
Arcadia, was a scholar of Polycletus. According  travelled, according to Amiot, even eight hundred
to Pliny, he excelled in his Statues of noble Wo- leagues to sit for their portraits. Sixteen of
men. Pausanias says he executed two statues of  these, or similar drawings, were sent to Paris to be
Jupiter and Apollo, which were dedicated at Delphi  engraved at the Emperor's expense.  The prints
by the Lacedsemonians.                             were on a mammoth scale, and are extremely
ATTALUS, an Athenian sculptor of uncertain  scarce, for they were sent with the plates to China
age, who, according to Pausaias executed the  as soon as printed, a few impressions only being
age,   I                  aus     e               reserved, for the royal family ofFrance, and for
statue of the Lycian Apollo, which was in the,    the                      family of France and for
Temple of Apollo at Argos.the Library of Paris.
Attiret died at Pekin in 1768, aged sixty-six.
ATTIRET, JEAN DENIS, called FRERE ATTI-  The Emperor ordered two hundred ounces of silver
RET, a French painter, whose career is quite re-  to be given towards the expense of his burial.
markable. He was born in 1702, in theFranche-    ATTIRET, CLAUDE FRAN                 a French sculpCompte at DolI, where his father practised the art,    ATTIRET, LAUDE  FRANOI, a French sculpComand was  his  first instructor.  The Maquis de  tor, the nephew of the preceding; born at Dole in
ndBroissi  hism to Romefir   where he completed his  1728; studied under Pigal, and executed four statBroissia sent him to Rome, where he completed his       o th  S          t    o  StAndr  and St.
studies.Afte    rAttiret attracted some  ues of the Seasons; two of St. Andr6 and St.
studies. After his return, Attiret  ttrted som     Jean; and one of Louis XVI., the first ever erect
notice by several pictures he painted at Lyons; he  e      a   on, m e fo  the city of Dole
subsequently went to Avignon, where he joined   He executed also the ornaments of the public foun
the Jesuits. During his novitiate, he painted four  ta  of his native city.
pictures for the cathedral at Avignon; also some                                      
other works. About this time the French Jesuit    ATBERT, AUGUSTIN, a French portrait, histomissionary at Pekin wished a painter to be sent to  rical and landscape painter, born at Marseilles, in
them  from  France; and, accordingly, Attiret set  1781. His landscapes represent views in the viciout in 1737 to join his countrymen in China. Soon   nity of his native city. His principal subjects are
after his arrival he presented the Chinese Emperor  from sacred history, many of which are of large
Keen-Loong, with a picture of the Adoration of   size. His works are held in considerable estimathe Kings, which so pleased his Celestial Majesty  tion in France.
that he ordered it to be hung up in his palace; and  AUBERT, JEAN, a French engraver. The folmoreover, indicated his intention of entirely en-  lowing are his principal works, which are little
grossing the time of Attiret upon works according   more than slight etchings, without much effect:
to his taste, and in water-colors, for he disliked the   Portrait of Gillot, an upright plate; A  set of
gloss of oil. He ordered Attiret to restore in dis-  Academy figures, from  E. Bouchardon; and a
temper, a painting on a wall of one of the rooms  Book of studies for Drawing, after Raffaelle, and
of his palace, which, though an extraordinary honor  other masters, from drawings by Bouclardon.
to Attiret as a foreigner, was, through the ceremo-    AUBERT, MICHEL, a Parisian painter, and hisnies of the palace, an exceedingly tedious and an-  torical engraver, born in 1700. His style is slight
noying task. Notwithstanding his difficulties, he  and free; in some of his historical subjects he
completed the picture entirely to the satisfaction   seems to have imitated the manner of Gerard Auof the Emperor, assisted by the advice of Castigli-  dran, though not with much success. He died at
one of the Portuguese mission. The Chinese court  Paris in 1757. His plates are:
painters became very jealous of Attiret, and know-                    PORTRAITS.
ing his dislike of water-colors, they took care that    Elizabeth, Queen of England, 4to. Charles Emanuel,
he should be allowed to use no others.             Duke of Savoy, after Vandyck. Victor Amadeus, King of
lie soon had so many commissions from the  Sardinia, after Ferrand. James I., King of England.
Emperor is well as from  the nobles, that he was  Philip of France, Duke of Orleans, after Nocret. The
obliged to employ Chinese painters. He made all  Marchioness de Montespan. Louis, the Dauphin of France,
the designs and executed the figures and other  on Horseback; Louis XV. on Horseback, after Le Sueur.
chief objects, and especially the carnations. He  Two portraits, of the Dauphin and Dauphiness; Charles
chief objects, and  especially the carnations. e   Stuart, oval, after La Tour. A great many portraits for
found that the Chinese painters executed the cos-  La Vie des plusfameux Peintres, by D'Argenville.
tumes, the landscapes, and even the animals, withUBJECT AFTER DFFEREN  MASTERS.
much greater facility, and even better than him-.much greater facility, and^ evenbetter than him-    The Circumcision, after Ciro Ferri. St. Francis, after
self. By conforming to the Chinese taste he be-  Guido; arched. Pan instructed by Cupid, half-length figcame a great favorite, even with the painters, and   ures, after Caracci. St. George kneeling before the Virgin
was enabled to establish a drawing-school. Be-  Mary and Infant, after Parmiggiano. Mars and Venus
tween 1753 and 1760, the Emperor obtained seve-  bound by Love; Mars disarmed by Venus, after P. Veroral victories over some Tartar hordes in distant  nese, for the Crozat Collection. Vanity, an allegorical
subject, after-Bouchardon. Venus reposing with Cupid;
provinces of the north-west of the empire; and in  thDeat of Adoni, after Boucher. Laban seeking for
1754, Attiret was ordered to follow, in order to  his Gods; the Reconciliation of Jacob and Esau, after Jeauimmortalize the victories on the scene of their oc-  rat. The Promenade on the Ramparts; the Rendezvous do
currence. He made many accurate drawings of   Chasse, after Watteau.
triumphs, processions, festivals. etc., in which he  AUBIN, AUGUSTIN DE ST., a very ingenious
wasassisted by Chinese artists; and from these he  Parisian engraver, born in 1720, studied undel




AUBI.                        49                      AUBR.
Laurence Cars, and imitated his style.  He exe-  his own, he engraved the works of several Ita:ian
outed an immense number of plates, embracing his-   and French masters, of which a list may be found
torical subjects, portraits, frontispieces and other  in Heineken.  His works are executed with the
ornaments for books; besides the collection of gems   graver in a neat, clear, fine manner.
of the Duke of Orleans and the collection of med-       ABRIET, CLAUDE a French p ter and deJ... In.... AUBRIET, CLAUDE, a French painter and deais belonging to M. Pelierin, which numbered about  signer, born at Chlons-Sur-Mare in 1651, and
three thousand.  He was a member of the Acad-  died in 1743.  Having studied under Joubert, and
emy of Painting.  The following is a list of his  acquired some reputation as a miniature painter, he
~principal works:                       -^gwas appointed to make drawings of objects of natuPORTRAITS AFTER COCHIN IH FiILS, MOSTLY IN QUARTO.  ral history in the Jardin des Plantes at Paris. Here
Charles Nicholas Cochin, 1771; AnthonyBeaume, 1772;  he formed the acquaintance of Tournefort, who
Joseph Anthony de Blanchard; Guillaume le Blond; Marie  thought so highly of his talents, that he proposed
Joseph Lavalette de Buchelav; Jean Jacques Caffieri,  that Aubriet should accompany him on his journey
sculptor; Guillaume Couston, sculptor; Antoine Depar-  to the Levant which the latter accepted.  On his
cioux; Jacques Dumont le Romain, painter; Madame de  return he was appointed painter to the        at the
Norman d'Estiolles (Pompadour), 1764; Benjamin Frank-  rern  e  as appointed painter to the  ing at the
lin, with Spectacles; Benjamin Franklin, reading a Paper;  Jardin des Plantes, as successor to Joubert; where
L'Abbe Charles Ganzargues; Guerin, famous surgeon;  he was occupied many years in adding to that fine
Pierre Jeliot, etched by Cochin, and finished by St. Aubin;  collection of Illustrations of Natural History, which
Jean Antoine Rigoly de Juvigny; Joseph Marie Frangois  was commenced at Blois by Nicolas Robert, by orde Lassone, the Queen's Physician; Pierre Jean Mariette,  der of Gaston Duke of Orleans. This collection
celebrated amateur; J. F. Marmontel, of the French Acad-ason uke                 en      hiscollection,
emy; Jean Joseph Cassana de Mondonville; Monet, Di-  which Joubert also contributed, amounts to sixtyrector of the Comic Opera; Sauveni Frangois Morard, sur-  six folio volumes, and is now in the library of the
geon; Jean Baptist Pigale, sculptor; Guillaume de la  Jardin des Plantes.  Aubriet's drawings in this
Motte Piquet; Alexis Piron, poet; M. Philidor, the cele-  collection are superior to those of Joubert though
brated chess player and musician; L'Abbe Pommier, etched   not always equal to those of Robert.  The plates
by Cochin, and finished by St. Aubin; Jean Philip Rameau,
musical composer; L'Abbe Raynal, the historian; Roetiers  which illustrate  Tournefort's great work, Elele Pere; Leonard le Roux, architect; Charles des Brosses,  ments de Botanique, or the Latin edition InstiComte de Tournay; Thomas Walpole; George Washing-  tutiones Rei Herbariae, were from the designs of
ton.                                                  Aubriet.  The plates accompanying Tournefort's
PORTRAITS FROM HIS OWN DESIGNS, AND OTHERS.        account of his voyage to the Levant, were after
Le Prince Charles de Saxe, Duc de Courland, 1769;  designs by Aubriet, drawn on the spot.  On his
Charles Henri7  d Heineken, amateur; Lgtuet, fameux   return from the Levant, he commenced the drawAvocat, 1774; P. L. de Belloy, author of the Siege of Calais-an allegorical portrait; Pierre le Grand, for M. de  ings for Sebastian Vaillant's great work, published
Voltaire's work; Portrait de M. Pellerin, famous anti-  in folio, in 1727. In the Royal Library at Paris are
uary; Le Due de Chevreuse; Buste de Languet de Guercy,  five folio volumes of his designs.  Aubriet was also
1767; from his own designs. Claude Joseph Dorat; Sal-  an able botanist.
omon Gesner, poet and painter; Frangois Arrouet de Voltaire; M. Worlock, English physician; afterDenon. Denis  AUBRY, ABRAHAM, a German engraver, born
Diderot; after J. B. de Greuze.  Buste de Voltaire;  at Oppenheim, and flourished about 1650. He enBuste de Crebillon; after J. B. Le Moine, sculptor. Jean   graved eleven of the twelve plates representing the
Jacques Rousseau; after La Tour. Claude Adrien Hel-  twelve months of the.year; after Sandrart; the
vetis; after L. M  Vanloo. Charles XII., King of Swe-  ote e  month of May, was executed by F. le
den; after Gardelle, for Voltaire's work. Portrait duRoi
de Sardaigne; after J. P. Boucherat.                 Brun.  He resided chiefly at Strasburg, where he
dealt considerably in prints.
SUBJECTS FROM HIS OWN DESIGNS, AND OTHERS.i
Set of six prints, entitled Differens jeux des petits po-  AUBRY, PETER, a German engraver, born, aclisons -de Paris; two prints for Pretot's Roman History;  cording to Huber, at Oppenheim in 1596. He was
from his own designs. Vertumnus and Pomona; Am-  probably a relative of Abraham  Aubry, and was
phion saved by the Dolphin; after Boucher. Four prints,  also established at Strasburg as a print-seller.
of the Fountain of Grenelle; after E. Bouchardon. Venus on the Waves; etched by M. L. du Ronserai, and fin-    eineken mentions a list of his portraits of emished by St. Aubin. The Five Senses; after P. Dumes-  ient persons of different countries, which are exnil; engraved by St. Aubin, Le Vasseur, and Tillard.  ecuted with the graver in an indifferent style.
Concert of the Graces and Nymphs; after Cochin. Venus  Among others are the following: Oliver Cromand Adonis; after D. Le Fevre. Custom of the Russians  well; Bernard, Duke of Saxe-Weimar; Ferdinand
before and after Marriage; after J. B. le Prince. Venus  Ernest Count ofJohn Schmdt
a la Coquille; after Titian. Jupiter and Leda; after.   t,  of               alle nstei n;  John  Schmi dt, 
Veronese. A Battle in a mountainous Country in China;     Doctor of Theology  Michael Virdunga, ProfesChinese Camp.-[These two prints were engraved from two   sor at Altdorf.
drawings sent to Paris by the Emperor of China.         AUBRY, JOHN PHILIP, an engraver and printAUBIN, CHARLES GERMAIN DE ST., a Parisian   seller, who lived at Frankfort about 1670, and was
designer and engraver, brother of Augustin A.,  probably a relative of the two preceding artists.
born in 1721. He executed several plates, from   He executed a large number of plates for the bookhis own designs, of flowers and fancy subjects.  sellers, as well as for his own collection; consistwhich possess considerable merit.                    ing chiefly of portraits.  They are executed in a
AUBIN, GABRIEL JAQUES DE ST., a Parisian   very indifferent style.
historical painter and engraver, brother of Augus-      AUBUISSON, MARQUIS D', a reputable French
tin, born in 1724.  He engraved some plates, from   painter.  He exhibited in the Royal Academy from
his own designs, the principalof which are: Six   1812 to 1822, a number of poetical and historical
Statues-of the Christian Virtues; View  of the   pictures; namely, Paris taking leave of Helen;
Louvre Exhibition of Paintings in 1753.               Hector forcing Paris to quit Helen; Alexander
AUBIN, AUGUSTIN nE ST., a skilful Parisian   and Bucephalus; and the Punishment of Hebe.
engraver, born in 1736   Besides compositions of        AUDEBERT, JEAN BAPTISTE, a French artist




AUDE.                        50                     AUDO.
lho united in a high degree the talents of an en-                       PORTRAITS.
graver to the knowledge of natural history. He         The Cardinal Sacripanti, 1695; the Cardinal Turusi; the
was born at Rochefort in 1759, and'at the age of  Cardinal Ottoboni; after J. B. Gauli. The Cardinal F.
18 went to Paris, where he studied drawing and   Barberini; after C. Maratti. The Cardinal Henry de la
painting, and became an excellent miniature paint-   range d'Arquien; after S. Desortes, 1695. The Carer. In 1789 he made the acquaintance of Gigot  dinal Joseph d'Archinto, 1699; the Cardinal Andrea di
Santa Croce; after G. Passeri. The Father Francesco
d' Orcy, a great lover and promoter of the science   Caraccioli, adoring the Sacrament; after A. Procaccini
of natural history. D' Orcy possessed a very large
collection, and employed Audebert to paint copies        SUBJECTS AFTER DIFFERENT ITALIAN MASTERS.
of the rarest specimens.  He afterwards enabled        After Carlo Maratti.-Agar in the Desert; the Sacrithe latter to visit England and Holland for im-  fiee of Abraham; Rebecca and the Servant of Abraham;
provement, where he made a great number of de-  David, with the Head of Goliah; the Triumph of David;
sipgnsfrovmnature, seome ofawhh geave beer oaed   Bathsheba in the Bath; the Annunciation; the Adoraticn
signs from nature, some of which have been used   of the Magi, etching; the Flight into Egypt, same, A. v.
in Olivier's History of Insects. This occupation   Westerhout, exc.; the Repose in Egypt, octagon; our Saawakened in him a taste for natural history, and   viour on the Mount of Olives; the Crucifixion; the Dead
he immediately undertook some works which laid   Saviour in the Lap of the Virgin, with the Marys and St.
the foundation of his reputation.  The first was  John; the Death of the Virgin, 1728; the Assumption of
l'Histoire Naturelle des Singes, des Makis et ds   the Virgin; the Death of St. John, etching; the Virgin
stoeMary with the Infant Jesus, distributing Chaplets to Nuns;
Galeopitheques, (Paris, 1800, folio), in which he   Mary Magdalene, penitent; the Martyrdom of St. Blaise;
shows himself an able draughtsman, engraver, and   St. Anthony of Padua, kissing the Infant Jesus; St. Philip
writer.  With regard to coloring, so essential in  of Neri; Janus, first King of Italy, received amongst the
natural history, he brought it to a high degree of   Gods; Romulus and Remus; Apollo and Daphne, in two
perfection. Not satisfied with laying different col-               Cortona       Nativity; six etchings, of
ors on the same plate, he went even farther' and sub-    After P. da Cortona.-The Nativity; six etchings, of
ors on the same plate, he went even farther, and sub-  the Life and Death of St. Bibiena.
stituted oil instead of water colors, as more dura-    After Bernini.-Hippomenes and Atalanta, a group.
ble. He carried his art to still greater perfection    After Gio. da Bologna.-The Rape of a Sabine Woman
by using gold in his impressions, the color of which   After Giac. Brandi.-St. Facunda.
he changed in different ways, in order to imitate      After Ann. Caracc.-The Birth of the Virgin.
the splendor of his models. Natural history was    After Domenichino.-The Scourging of St. Andrew; St
the splendor of his models.  Natural history was  Andrew conducted to his Crucifixion; St. Andrew transgreatly benefitted by his work, the splendor of   ported to Heaven.
which is astonishing.  He also rendered much as-    After Marc. Antonio Franceschini.-St. Luke painting
sistance in the publication of Le Vaillant's African  the Portrait of the Virgin.
Birds.  His Histoire des Colibris des Oiseauzx-        After J. B. Gauli.-The Wrath of Achilles, in three
sheets.
Mouches, des Jacamars et des Promrops, (Paris,    The Pope Innocent XII. on his Throne, at his feet Heresy
1802, folio,) is esteemed the most complete work  subdued, and the Four Quarters of the World prostrate.
of the kind extant.  Scarcely was it began, when       AUDOUIN  PIERRE  an eminent Parisian enAudebert formed new plans, the execution of which   1, stie   ner  eaa
would have occupied the longest life.  He died in   graver, born i  1768, studied under Beauvarlet,
1800, when he had scarcely commenced listoire   He engraved for the collection of the Museum,
G er ex   et des Oiseax de Paradis.  published at Laurent; several of the finest works
des Grimpereaux et des Oiseauv de Par~adis.  of the Italian and Dutch masters.  The following
Both works were admirably finished by Desray,  are his best works:
who was in possession of the materials, and the
process for carrying on the work.                      Jupiter and Antiope; after Correggio. La belle Jardiniere; after Racffaelle. The two Portraits called Raffaelle
AUDENAERDE, or OUDENAERDE, ROBERT   and his Fencing-master; ascribed to Raffaelle. The EnVAN, a Flemish painter and engraver, born at  tombment of Christ; after Caravaggio. Charity; after
Ghent in 1663. He studied first under Francis   Andrea de Sarto. Melpomene, Erato, and Polyhymnia;
after Le Sueur. Two subjects, after Terburg; one do.,
van Mierhop, and subsequently with John van   afterLe Sueur. Two subjects, after  erurg    e o
Cleef. At the age of twenty-two he visited Rome,  of Louis XVIII.; after Le Geros.
and studied with Carlo Maratti, under whose in-            DRAN, CHARLES          risan engraver, born
struction he became a reputable historical painter.  in 1594.  He was the fist of the family of Audran
in 1594. He was the first of the family of Audran
He etched a few plates for amusement, which were  that became eminent in this art in which it holds
shown to Maratti who advised him to devote his           itinie  a  an            hen very young he
energies entirely to that branch of art.  He how-   o ditinguished a rank    
energies entirely to that branch of art.  He how-  manifested a strong inclination for art.  After reever painted several pictures for the churches of    eiin  sme istrong incin    for art.   After ren
Ghent, executed entirely in the style of Carlo Ma-  cengsome instruction in drawing, he went to
ratti, among which is the great altar-piece in the   Rme for iproement admiratione        eencouraged
Church of the Carthusians, representing St. Peter   im to fresh efforts. On returning to France,ohe
appearing to the monks of that order; considered   hi  t  reh erts             retri   t   rce, he
his best work.  In the Church of St. James is a   settled at Paris, where he had great success, and
his best work.  In the Church of St. James is a
picture of St. Catherine refusing to worship the   died in 1674, aged 80.  He used the graver excluFalse Gods.  As an engraver, his dlawing shows  sively; his style resembles that of C. Bloemaert,
a perfect knowledge of thebut is more highly finished.  He marked his prints
a perfemely correct knowledge  of  the  human figure, and s  during the earlier part of his life. with a C., until
entirely with the g er bt  are c eren-  his brother Claude began to mark his own plates
ted entirely  with the graver, but are considered in-  with the same letter when he changed it for K., as
ferior to those Cohere he used the point.  Most of          e       leter, when      changed it forK., a
his prints are after the pictures of Carlo Maratti.  the initial of Karl.  The following are his principal
The following is a list of his principal Mworks.  Ie   wPORAI
usually marked his plates with one of tLese mono-                        PORTRAITS..sua A lly ma rk                Vt I  n-       Henry of Bourbon, with the Four Cardinal Virtues; K.
gr~ams: p    or oV       or      o     Tr or  - Audran, sc.; oval. Andrew Laurent, Physician to Henry..L V.X.     Vj   X     11  jL,   I V   I  IV.; oval. Peter Legier; oval, with ornaments. An alle




AUDR.                          51                       AUDR.
gorical subject, of two Portraits, with a Genius painting a   trait of Clement IX., and some other works, whi
third Portrait, inscribed on the palette, unus ex duobus;  gained him so much reputation that the great Col
signed C. Andran, fecit.                                                                       invitedhudsigned C. Audran, fecit.                               bert, himself a liberal patron of the arts, invited Aud
SUBJECTS AFTER DIFFERENT MASTERS.              ran to return to Paris.  Soon after his arrival he
After P. da Cortona.-A set of twenty prints with the   was appointed engraver to the king, with aparttitle, for the Gallery of the Great Women, representing          the Gobelins and a considerable pension.
Anne of Austria, and nineteen other eminent women, with   He now applied himself with great assiduity and
a subject from their life ill the background.          He now applied himself with great assiduity, and
a subject from their life in the background.
After Lodovico Caracci.-The Annunciation, inscribed  formed anintimate connection with the celebrated
Spiritus Sanctus, cfc.; incorrectly attributed on the plate   painter Charles Le Brun, whose principal works
to Annibale; very fine. It is from the picture in the Ca-  are the subjects of some of his finest plates, and
thedral at Bologna.                                    it may be said that the pictures of that great masAfter Ann. Caracci.-The Baptism of Christ, small oval,  ter have been embellished by the admirable graver
ter have been embellished by the admirable graver
no name.
After Melini.-St. Francis de Paola; marked Carl. Au-   of Gerard Audran.  He may be said to have cardran, sc.                                              ried the art to its highest perfection, especially ir.
After the Younger Palma.-The Stoning of Stephen.     his large historical plates.  The Battles of AlexAfter Stella.-The Conception of the Virgin Mary, in-  ander will ever be regarded as a lasting monument
scribed amat hanc, oc.; The Nativity, with David writing   of the fame of both artists.  He died in 1703, ageA
on a Tablet; The Holy Family, with St. Catherine and   63   He exeofot  artists   number of i      laten,  oe
Angels, fine..  He executed a large number of plates, of
After Titian.-The Virgin and infant Jesus, St. John   which the following are the principal:
presenting an Apple, and St. Catherine kneeling; very fine.    PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS.
After G. L. Valesie.-The Virgin Mary and infant J-     Pope Clement IX., of the family of Rospigliosi; Andrea
sus treading on the Serpent.                           Argolus, S. Marci Eques; Samuel de Sorbiere, engraved at'After C. Vignon.-A Thesis, representing Religion as  Rome in 1667. Henry Arnaud, Bishop of Angers; Le Be.
the true knowledge, inscribed Non judicamus, 4c.       noit Langeois, capuchin; Fras. du Quesnoy, called FiaAfter Vouet.-St. Francis in ecstacy before the Sacra-  mingo, sculptor; St. Paul preaching at Athens, vignette,
ment, inscribed Tergeminus in terris; Frontispiece for a   inscribed Non emin, 4-c; Wisdom and Abundance, above,
Book, a Genius holding the Portrait of Cardinal Mazarin,ner, inscribed Louis le Grand. Frontinscribed Johannes Francisci, cfc.                     ispiece, 1650.
After Domenichino.-The Assumption of the Virgin;OUS ITAIAN MATER
ffvery fine.                                  ^          " SUBJECTS FROM VARIOUS ITALIAN MASTERS.
very fine.
AUDRAN, CLAUDE, a French engraver, born at             After Rajfaelle.-Thirteen Hieroglyphical Figures, in
AUDRANr~~~~ C'i LAUDEo    Ithe  Vatican. Fifteen plates, called emblems, or Cupid and
Lyons in 1639.  He was the second son of Claude,  Psyche, in a loggia in the Farlese Garden, dedicated to
the brother of Charles Audran, and studied draw-   Charles Le Brun. Moses and the Burning Bush. St.
ing under his uncle Charles at Paris, but after-   Paul and Barnabas at Lystra. St. Paul beaten by Dewards went to Rome.  On his return to Paris he   mons; after a drawing by Rubens, and not after Raffa
was engaged by Le Brun, whose style he imitated    elle, as expressed on the plate; it is St. Ignatius and not
St. Paul. Jesus Christ giving the Keys to St. Peter in presHie painted in fresco under the direction of that            f the Apostles; a ne   hin; R.V., in., G. Au
master, the chapel of Colbert's Chateau de Sceaux;  sc.; very scarce. The Death of Ananias. The Descent of
the gallery of the Tuilleries; the grand staircase  the Saracens in the Port of Ostia; from  a drawing by
at Versailles, and many other works.  He also as-   Racaelle; etching without his name. The Clemency of
sisted Le Brun in his Battle of Alexander at the   Scipio; qfter a drawing; an etching, without his name.
Passage of the Granicus, and the Battle of Arbela.    After Domenichino. —Aneas saving his Father AnchiHs a g wTTor ac, and he  a t o         gra ^ acla    ses. The Mystery of the Rosary. The Martyrdom of St.
His drawing was correct, and he had.great facility   Agnes. The Temptation of St. Jerome. Four sheets, of
of execution.  He was appointed Professor of the   the four Angels in the Church of St. Carlo de Catenari,
Academy of Painting, and retained this situation   representing Justice, Temperance, Prudence and Fortitude,
with much credit till his death, which occurred at  Rome, 1675.
Paris in 1684.                                           After P. da Cortona.-Two Friezes, St. Paul preaching, and the Descent of the Holy Ghost, on one plate. SixAUDRAN, GERMAIN, a French engraver, born   teen prints, of the History of AJneas, in the Pamphili Galat Lyons in 1631.  He was the brother of Charles  lery. Three plates, of the Triumph of David, in the SacAudran, and studied under that master.  His  chetti Palace.
merit was considerable, though inferior to that             er An. Caracci-The Death of St. Fran. 
Martyrdom of St. Sebastian. The Temptation of St, Anof some others of his family.  He engraved sev-  thony. The Discovery of Achilles disguised.
eral plates, consisting of portraits, and a variety       After Guercino.-St. Hyacinth; an etching.
of ornaments, ceilings, vases, &c., among which are       After Guido.-The Magdalene, half-length.
the following:                                           After Lanfranco.-St. Peter walking on the Sea.
After a Drawing of Palma.-The Nativity, a small
The portraits of Charles Emanuel II., and of Francis of   plate.
Orleans, in an oval; after Caravaglia. The portrait of   After Giulio Romano.-Silenus Drinking; an etching
Cardinal de Richelieu, in an oval. The portrait of The-  The Rape of Dejanira.
ophilus Reynaud; Ger. Audran, sc. 1663. Six sheets of     After Titian.-Ganymede; an octagon.
Ceilings; after George Charmeton. Six ornaments of           SUBJECTS FROM VARIOUS FRENCH MASTERS.
Vases; after N. Robert. A book of Friezes; after La      After N. Poussin.-Moses taken out of the River Nile
Fage. A book of Views in Italy; after Fancus. Six  engraved by Benoit and John Audran, and retouched by
Landscapes; after Gaspar Poussin. Thirty-one designs  Gerard. St. John baptizing the Pharisees in the Jordan.
of Fountains, Friezes, Ac.; after Le Brun.             two sheets, very fine. The Woman taken in Adultery
AUDRAN, GERARD, a very celebrated French   fine. St. Francis, a Roman Saint, kneeling before the Vir-.
engraver, the son of Claude, and the nephew of   gin Mary; copied from a print by P. del Po. The Flight
of Pyrrhus; in two sheets, fine. Coriolanus appeased by
Charles Audran, was born at Lyons in 1640.  He   his Family; similar to the preceding. Furius Camillus
studied the elements of- the art under his father,  delivering up the Schoolmaster to his Pupils; large plate
but afterwards went to Paris and remained sev-  Rinaldo and Armida; engraved by Gerard, assisted by
eral years under the tuition of his uncle.  He af-  John and Benoit Audran. Daphne changed into a Laurel
terwards visited Rome for improvement, and is   Narcissus. The Empire of Flora. The Plague at Rome
~erwards visited Rome for improvement, an   i i-Time discovering Truth; a ceiling.
said to have studied under Carlo Maratti. Lst re-  T          ivering  -Moses and the Burniing   Bush   Th
sided in that city three years, and executed a por-   Descent o the Holy Ghost. TheStoning of Stephen. Four




AUDR.                         52                       AUDR.
sheets, of the Triumphal Entry of Constantine into Rome.  den, two friezes: ajter Mignard; engraved by Benoit
Six Sheets of the Ceiling of the Chapel de Saulx; very fine.  and John Audran. The Saviour, with Martha and Mary;
Four sheets of the Pavilion of Saulx, called the Pavilion  St. Paul preaching at Ephesus;. Alexander drinking the
of Aurora; dedicated to Louis XIV. Thirteen large sheets,  Cup which his Physician presents him; after Le Sueur.
making together the four prints of the Battles, &c., of Alex-  Two fine prints for the Luxembourg Gallery, representing
ander:-1. The Passage of the Granicus. 2. The Defeat  the Accouchment of Mary of Medicis; after Rubens. Six
of Darius at Arbela. 3. Porus brought to Alexander after  plates of the Twelve Months in the Year; after Claude
his Defeat. 4. The Triumphal entry of Alexander into  Audran.
Babylon. To these are added, Alexander entering the tent    A  RAN  JEAN aFrnhnrvr                   rn  t
of Darius; engraved by Gerard Edelinck, and which will    A                              engve  brn at
be noticed under his name. The best impressions of these  Lyons in 1667.  He was the brother of Benoit,
superb prints, are those marked with the name of Goyton,  and the third son of Germain Audran. He learnedthe printer.                                          the elements of the art from  his father, but was
After P. Mignard.-The Plague; in the first impres-  subsequently placed under the care of his uncle,
sions of this plate, the figure in the clouds is Juno with a  thefamous Gerard Audran. Before he was twenty
Peacock; in the latter, the figure is changed to the Exter-         h    i                  ii           
minating Angel. Christ bearing his Cross. Three plates, years old, he displayed unusual ability, and beof the ceiling of the lesser Gallery at Versailles; Apollo and  came a very distinguished engraver.  In 1707 he
the Muses, Prudence and Vigilance. Six plates of the ceil-  was appointed engraver to the king, with aparting of the Val de Grace, representing the Felicity of the  ments in the Gobelins.  Great talent is evident
Blessed.                                              in all his works; and though he did not attain
After Le Sueur.-The Martyrdom of St. Laurence. The  the perfection of Grard Audran his clai  to ex
martyrdom of St. Gervaise and St. Protais. The Aurora;      perection      era Auran,  s clam to e
inscribed Lucerna pedibus.                             cellence is very great. This laborious artist pracAfter L. Testellin.-Time and Truth dispersing the  tised the art until upwards of eighty years of age.
Clouds of Ignorance.                                   and died in 1756.  The following are his chief
After F. Verdier.-Pharoah's Host destroyed in the Red  works 
Sea. Flight into Egypt.'
After Borgognone.-Battle of the Saracens. Taking of                       PORTRAITS.
the Town of Damieta.                                     Louis XV., full length; after Gobert.  Portrait of a
After Ant. Coypel.-The Judgment of Solomon.          Prince, with his Page, full length; Clement Augustus,
After La Fage.-The Deluge. The Passage of the Red  Prince of Bavaria; De la Motte Fenelon, Archbishop of
Sea.                                                   Cambray; after Vivian. J. B. Colbert, Marquis of TorAfter the Marble by Girardon.-The Rape of Proser-  cey; the Duke d'Antin, bust, oval; the Abbe Victor Maria
pine.                                                  d'Estrees, oval; after Largilliere.  The Cardinal Peter
AIDRAN, BENOIT, a French engraver, born at  Ottobani; after Trevisani. Peter Gillet; after Tortebat..AUDRANBE IT, a.     ec egarbnt  Francis Robert Secousse, sitting; after Rigaud. Peter
Lyons in 1661.  He was the second son of Ger-  Paul Rubens; after Vandyck; for the Luxembourg Galmain A., from whom he at first received instruc-  lery. Noel Coypel, Painter to the King; his piece of retion.  He subsequently studied under his uncle,  ception at the Academy, 1708. Anthony Coyzevox, Sculpthe celebrated Gerard A., and though he never  tor to the King, 1708; the same; after Rigaud.
equalled that master, yet his admirable portraits               SUBJECTS AFTER VARIOUS MASTERS.
and historical subjects have justly acquired for    Our Saviour in the Bark, preaching; after Raffaelle.
him great reputation.  His drawing is very cor-  The Infant Saviour regarding the Cross presented by Anrect, his heads have a fine expression, and his  gels; afterAlbano. TheNativity; afterP. da Cortona;
style, like that of Gerard, is clear and bold.  He  oval. The Good Samaritan; afterAnn. Caracci; arched.
was a member of the Academy of Painting, and   St. John administering the Sacrament to the Virgin; after
was a member of the Academy of Painting, and  oe  Ca acci. Our Sayiour on the Mount o                Olives;,...,   7  Lodovico Caracci. Our Saviour on the Mount of Olives;
was appointed engraver to the king, with a pen-  after Domenichino. St. Andrew led to Crucifixion; after
sion.  He died in 1721, aged 60.  The following   Guido. The Martyrdom of St. Peter; after Guido; on
are his principal works:                              the plate improperly called after Domenichino. St. Paul
PORTRAITS.                       preaching at Athens; after Ciro Ferri; a small frieze
Galatea; after Carlo Maratti; fine; for Crozat CollecBenoit Audran; Joseph Clement, Elector of Cologne;  tion. The Miracle of the Loaves; after Claude Audran.
Maximilian Emanuel, Elector of Bavaria; after J. Vivien.  Six plates, copies of the large battles of Alexander; by G.
The Reverend Louis de Thomas de la Valette; B. Au-  Audran. St. Augustine; after P. de Champagne. Sim
dran, fecit, ad vivum. The Reverend Father Renaud;  eon holding the Infant Jesus; after M. Corneille. Moses
after Bonnet. Charles le Goux, Archbishop of Narbonne;  saved from the Nile; Jacob and Laban; Athalia seeing
after B. de Boulogne. J. B. Colbert; after C. le Fevere:  Joas on the Throne; the Resurrection; Cupid and Psyche;
oval.  Henry de Beringhen; Nauteuil, pin.; 1663; B.  after Ant. Coypel. Our Saviour curing the Sick; Christ
Audran, sc.; 1710. Samuel Frisching, General of the  bearing his Cross; after Ant. Dieu. The Elevation of the
Swiss; J. Huber, pin.; Ben. Audran, sc.; 1713. J. F. de  Cross; the Crucifixion; after Vandyck. The French ParWillading; 1718; J. Huber, pin.; B. Audran, sc. Eques-  nasus; after the bronze by Garnier. The Miraculous
trian statue of Louis XIV.; after.Desjardins; by B. and  Draught of Fishes; the Resurrection of Lazarus; the Queen
J. Audran.                                            Blanche inspired with the Holy Spirit; after Jouvenet.
SUBJECTS AFTER VARIOUS MASTERS.              Acis and Galatea; after F. Marot.  Venus punishing
Psyche; Psyche consoled by Cupid; after J. M. Nattier.
The Baptism of Jesus Christ; after Albano. The Rapo    he dead Christ with the Marys, S. John, and Nicode
of Dejanira; after Guido. David with the Head of Go-  mus the Rape of the Sabines after Poussn, his most
liath; after a picture in the collection of the king of France,  esteemed print. St. Sholstia at the point of Death after
improperly attributed to Michael Angelo Buonarotti, but. estout. Andromace entreating for her Son; after L.
more probably the work of Daniello da Volterra; two  Silvestre. Henry IV. deliberating on his marriage; Henry
plates engraved by B. and J. Audran, in 1716, 1717. A   IV. preparing for the German War; the Coronation of the
Bohemian, or Gipsy, telling Fortunes; after M. Angelo  Queen very fine.
da Caravaggio. Lot and his Daughters, for Crozat Collection; a subject called Disgust; after P. Veronese. Mo-    AUDRAN, LouIS, a French engraver, the youngses defending the Daughters of Jethro, engraved by John,  est son of Germain Audran, born at Lyons in
and retouched by Benoit Audran; the Espousals of Moses  1670, studied under his uncle, Gerard A.  He
and Sephora; Moses and the Brazen Serpent; the Purifi-  executed some copies of the large plates engraved
cation; the Elevation of the Cross, 1706; the Descent from
the Cross; an allegorical subject, of Holland accepting by his relatives; and a set of seven middle-sized
Peace; after Le Brun. Zephyrus and Flora; after Ant. plates of the Seven Acts of Mercy; after Bourdon
Coypel. The Baptism of Christ; the Pleasures of the Gar-  He did not engrave many prints, but assisted his




AUDU.                      53                     AUDU.
brothers in forwarding theirs. He died at Paris  contain four hundred and thirty-five copper plates
in 1712, aged 42.                                comprising more than a thousand figures of birds,
AUDUBON, JOHN J.  The author does not  all drawn of the size of life, in their natural attipropose to write a biography of this extraordinary  tudes and circumstances, and colored to life, with
man, for all the space the plan of this work allows  five royal octavo volumes of accompanying Orniwill be required to give even a brief sketch of his  thological Biography. The Birds of America in
merits and works. He has himself written his  seven royal octavo volumes.  The Quadrupeds
autobiography, which will soon be published, un-  of America, in three volumes, twenty-eight by
der the supervision of his accomplished sons, which  thirty-two inches, contain one hundred and fifty
will not only contain the incidents of his remark-  plates-a work equal in point of execution and
able life, but a fund of the most interesting and in-  value to his great work on the Birds, and a monstructive information. He has been called abroad  ument scarcely less glorious. The Quadrupeds of
the "great American Ornithologist," but in this  America in seven royal octavo volumes, now in
work he should be spoken of as a great artist, as  process of publication.
well as a great naturalist. Most ornithologists    "The hearts of all," says Prof. John Wilson.
and naturalists derive their information from cab-  "warmed towards Audubon, who was capable of
inets, as well as from a study of nature, and they  conceiving the difficulties, dangers, and sacrifices
generally employ artists to depict the subjects  that must have been encountered, endured, and
of their researches. Therefore many of their works  overcome, before genius could have embodied these.
have the appearance of nature dead; whereas Au-  the glory of its innumerable triumphs."  Speakdubon studied and depicted nature living. With  ing of the exhibition of his drawings in Edinhis shot gun, faithful dog, and tin box, filled with  burgh, he says, " The spectator instantly imagpainting materials, he has spent the greater share  ined himself in the forest. The birds were all
of his long life in exploring almost every part of  there, of the size of life, from  the wren and the
North America in search of his favorite objects,  humming-bird to the wild turkey, and the Bird of
and when he procured a new specimen, he imme-  Washington. But what signifies the mere size?
diately painted it to the life, with the-scenery of  The colors were all of life too, bright as when borrc
its native haunts, and in the pursuit of its natural  in beauty, through the woods. There too, were
instincts. It is this that gives such an originality,  the attitudes and postures, infinite as they are astruth, and value to his works. The drawings of  sumed by the restless creatures, in motion or rest,
his animals have not less merit than those of his  in their glee and in their gambols, their loves and
more favorite birds. It is astonishing to contem-  their wars, singing or caressing, or brooding or
plate what his genius, enthusiasm, and indomitable  preying, or tearing one another to pieces. The
energy of character has accomplished. His pub-  trees on which they sat or sported, all true to
lished works form but a small part of his finished  nature, in bole, branch, sprig and leaf, the flower,
drawings, for he has left behind him stacks of ex-  shrub and the ground flowers, the weeds and the
quisite pictures of insects, reptiles, plants, and  very grass, all American-as were the atmosphere
flowers-every thing, in short, peculiar to the  and the skies. It was a wild and poetic vision of
Continent of America in animated and beautiful  the heart of the New World, inhabited as yet alnature.                                          most wholly by the lovely or noble creatures that
Highly gifted by nature, and blessed with an iron'own not man's dominion.' It was indeed a rich
constitution, Audubon possessed an enthusiasm for  and magnificent sight, such as we would not for a
his favorite pursuits that knew no bounds, that  diadem have lost."
stopped at no difficulties or dangers, and that    Thus encouraged, Audubon went boldly forward
quailed before no misfortunes. He first saw the  with his vast undertaking, which would take him
Bird of Washington on the borders of the great  fourteen years to complete, and when the first
Lakes, but failing to secure it, its image haunted   drawings were put into the hands of the engraver,
his imagination, and it was the object of his pur-  he had not a single subscriber. After three years
suit for ten long years, and when he got it on the  spent in Europe in forwarding his work, he recoast of Labrador, his triumph of joy knew no  turned to his own country, leaving it in process of
bounds. When two Norway rats had gnawed a  execution at Edinburgh. In 1830 the first volume
hole into a chest containing his finished draw-  of one hundred plates was issued. It was hailed
ings-the labor of many years, which they totally   with universal applause. Royal names headed his
destroyed; undismayed, like Newton under a like  subscription list, which, at $1000 each, reached the
misfortune, he went boldly forth and supplied their  number of one hundred and seventy-six, of which
loss at an expense of three years time and labor.  eighty were Americans. His name was enrolled
When he had resolved upon the gigantic enterprise  among the members of the learned societies of
of publishing his Birds of America, he made inef-  Great Britain and the Continent, as well as m
fectual attempts to do this, both in New York and   America-the world claimed him  as one of her
Philadelphia without meeting with any sympathy   great men.
or encouragement. Your money makers look upon       In the autumn of 1831, Audubon visited Washsuch men as wild enthusiasts. Then it was that  ington, where he received from  Government, lethe boldly set sail for Europe, where his great  lers of protection and assistance, to be used at all
merits immediately won him the admiration, sympa-  the national ports, revenue and naval stations.
thy, and encouragement of the learned and the good;  The year following, he tracked the forests of
and during a period of fourteen years: he toiled in   Maine, and explored the shores of the British
erecting that glorious monument of his genius,  Provinces, returning with rich spoils in the unwhi3h will prove more lasting than enduring mar-  tumn to spend the winter at Charleston, in the
ble-the Birds ofAmerica. It is astonishing to con-  preparation of his drawings and descriptions. In
template what he has accomplished. His Birds of  1834, he published the second volume. In 1835,
America, in four volumes, thirty by forty inches,  he again went to Europe and spent that year and




AUDU.                      54                     AUDZ.
the following till September, in London and Edin-  reach of his rifle, a strange gigantic bird sweeping
burgh, in writing the biographies of the second and  over the waters. He hunts for that bird ten years,
third volumes, and in forwarding his work, the' and finds it again three thousand miles from the
third volume of which made its appearance in 1837.  spot where he saw it first. Meanwhile he has
In September 1836, he returned to the United States,  been chilled with extreme frosts, and burned with
and spent near three years in exploring expeditions  perpetual heats. He has slept many nights across
through the South, to Florida, and Texas, in ves-  branches of trees, waked by panther screams; and
sels placed at his disposal by the Government. In   many nights he has passed in canebrakes where
1838 he published the forth volume of the plates  he did not dare to sleep. He has seen the knife of
and the fifth of descriptions, which completed the  the savage unsheathed for him; stepped on venwork.                                            omed serpents; started the cougar from his secret
In 1839, Audubon commenced in this country,  lair; swam swollen streams, with his gun, amunithe republication of his smaller work of the Birds  tion, drawings and journals lashed on his head:
of America, in seven royal octavo volumes, which   on equatorial rivers, alligators stared at him as he
were issued during the succeeding five years. Be-  landed; in polar regions, the water turned to ice
fore the expiration of this period, however, he had  as it fell from his benumbed limbs when he struck
commenced the preparation of his Quadrupeds of  the bank: his tongue has parched with thirst on
America, which, with the assistance of his talent-  deserts, and he has laid himself down famishing.
ed sons, has recently been completed, in three large  to wait, like Elijah, till he was fed by the birds of
volumes. In the mean time, though upwards of  heaven. This was his history during the life of a
sixty years of age, he projected an expedition to  generation. And yet, through this long pilgrimage
the Rocky Mountains, with all the enthusiasm of  of peril and suffering, which COesar would not have
his youth.                                       borne, to have heard the tramp of his legions in
The concluding years of the life of this extraor-  three quarters of the globe, his courage never failed,
dinary man were passed on his beautiful estate of  his love for nature never cooled; his reverence for
Minniesland, on the banks of the Hudson, some  God, whose illimitable universe he was exploring,
eight miles from New York, where he expired on  deepened the longer he gazed. Nor did he lose a
the 25th of January, 1851, at the age of 76 years.  throb of human feeling for civilized men, from
We conclude this article with the following terse,  whose habitations he had exiled himself.
but eloquent sketch from the pen of C. Edward       "And yet this man had nobler pleasures, as well
Lester, Esq.:                                    as nobler hardships, than other men. He had gone
"When a copy of' The Birds of America' was  with one of his sons-both of whom from boyhood
received by the Royal Academy of Sciences at Pa-  have been his forest companions and scholars-and
ris, Baron Cuvier, to whom it was referred, said  with other young men of Boston, since distinguishin his report:'It can only be described bycall-  ed, on a voyage to Labrador for new birds. The
ing it the most magnificent monument that Art  expense would have buit a beautiful villa.  A
has raised to Ornithology.'                      pleasant morning, they scared from her nest the
"Audubon was born of French parents, near New   Black Poll Warbler.'The enormous expense of
Orleans, in Louisiana. His father, an enthusiast  my voyage,' he says,'was refunded in the sight.'
for liberty, was with Washington at Valley Forge;  A prouder triumph was reserved for the day when
and the Audubon family still possess the portraits  he at last captured the Washington Sea Eagle.
of both, painted in the camp; that of Washington'Not even Herschel,' he writes,'when he disbeing the first ever taken of him. At a very early  covered the planet which bears his name, could
age Audubon was sent to France, and educated in  have experienced more rapturous feelings. As the
Art and Science, under the best masters, among  New World gave me birth and liberty, the Great
whom was David. The love for birds, which has  Man who ensured its independence is next my
been the passion of his life, manifested itself in in-  heart'; and therefore he called the noblest of
fancy; and when he returned from France, he be-  eagles after the noblest of men. Other ornitholotook himself to his native woods, and began a col-  gists had painted their birds after they were stuflection of drawings, which made the germ of'The  fed; Audubon made accurate drawings of his, in
Birds of America.' His father gave him a planta-  the forest, before the plumage had lost its briltion on the rich banks of the Schuylkill; and lux-  liancy, or the muscles their natural expression.
ury and fortune offered their blandishments, to   He has exhibited in perfection the highest attriwean him from  his love of adventure. But his  butes of zoological painting never before attempted.
heart was in the forests; and in 1810, with a young   He has depicted the passions and feelings of birds
wife, an infant son, and his unfailing rifle, he em-  as tenderly and truthfully, as Claude Lorraine
barked in an open skiff, on the Ohio, to find a new   painted trees, flowers and skies.  And so, after
home. The mellow lights and shadows of our In-  many years, his portfolio was enriched with a
dian Summer had fallen along the shores of that  thousand finished drawings. His collection was
queen of rivers. At long intervals, the axe of the  entirely destroyed!'The burning heat,' says he,
early settler was beginning to disturb the solemn'which rushed through my brain when I saw my
reign of nature. He settled in Kentucky; and in  loss, was so great, that I slept not for several nights,
the central region of that vast valley through which   and my days were oblivion. But I took up my
the Mississippi rolls on to the sea, he pursued his  gun, note-book and pencils, and went forth to the
studies and roamings. We can hardly give an   woods as gaily as if nothing had happened. I could
idea in these few words of the forest and prairie-  make better drawings than before, and in three
life that he led. He has himself found place to do  years my portfolio was filled.'
it but imperfectly, in his five ponderous volumes    " Hitherto he had wandered, studied and painted,
of Ornithological Biography. He has spent more  only to gratify his love of nature. In 1824, Luyears in the forests than most men live. Among  cien Bonaparte proposed to buy his drawings, but
the great Lakes of the North, he sees beyond the  he resolved to publish them himself. It could not




AUER.                     55                     AUGU.
be done in America, and he went to England, where  alier of the Legion of Honor. Augustin established
Rosco received him with open arms. Men of rank   and taught for a long time a school of drawing and
and taste extended hospitality to the wondrous  painting, at which many of the best miniature
woodsman. His drawings were exhibited in Ed-  painters of the present day were educated.
inburgh. He passed the severest scrutiny of art    A       TI          a D        pinr, br 
and learning, and stood by the side of Herschel,   h p, b 
Cuvier, and Humboldt, as a father of Science, and  G  mroingen in 1725. He painted flower-pieces of
in Art, a master without a rival. With Scott,  considerable merit, and his portraits were considBrewster, Wilson, and Jeffrey, for companions, he  eredtonishinglikenesses. He died atHarlem
began the publication of his magnificent work. It  in 1773.
was completed in London, in fourteen years; and    AULIZECK, or AULICZECK, DOMINIK, a Gerhis fame was established. One hundred and sev-  man sculptor; born at Policzka, in Bohemia, in
enty-five subscribers at $1000 each, most of them   1734, where he learned the elements of the art.
obtained by himself in person, and eighty of whom   but afterwards went to Vienna and studied for
were his own countrymen, remunerated his vast  some time with an obscure sculptor of that city.
undertaking.  The learned societies of Europe  He subsequently visited Paris and London, and
proffered him their honors; but he received with  finally Rome, where he studied some time with the
more pride than all, the crown of the Royal Soci-  architect Gaetano Chiaveri, and, according to Naety of London. He published a synopsis of his  gler, became a reputable sculptor. He gained the
great work at Edinburgh: and finally, in 1839,  prize in the Academy of St. Luke for the best
weary with years and covered with honors, he re-  model, and was made a Cavalier of the Golden
turned home bringing with him all his original  Spur by Clement XIII. Aulizeck made several
drawings. He republished the work in New York,  good statues while at Rome. Returning to Gerin royal 8 vo., and with Dr. Bachman, the eminent  many he was made superintendent of the porcelain
zoologist, began' The Quadrupeds of North Am-  manufactury at Nuremberg, and sculptor to the
erica,' which was completed in 1849, with applause  Court. He was connected with this establshment
and success.  n speaking of these works, particu-  many years, until 1796, during which time it steadlarly the last, mention should be made of his  ily increased in prosperity, and much of its present
two sons, whose accomplishments in Art and  success is due to his able management. There are
Science have been so useful to their father.     in the Royal Gardens of Nuremberg four good stat" The ornithologist is now reposing on a world-  ues, larger than life, by Aulizeck, of Jupiter, Juno,
wide reputation, and few men are surer of lasting   Pluto, and Proserpine. He died at Munich, accordfame. It is not in the keeping of History alone.  ing to Nagler, in 1807.
From every deep grove, the Birds of America will    AURIA, GIOVANNI DOMENICO D, a distinguished
sing his name. The wren will pipe it on our win-  Neapolitan sculptor of the sixteenth century;
dows; the oriole carol it from the meadow grass;  studied under Giovanni da Nola; executed many
the turtle dove roll it through the secret forests;  works for the churches and city of Naples, which
the many-voiced mocking-bird pour it along the  are still extant; also some works for Palermo and
evening air; and the Bird of Washington, from his  other Italian cities. His master-piece is the Foncraggy home far up the Rocky Mountains, will  tana Medina, in the Place of the Castelnuovo at
scream it to the tempests and the stars."        Naples; for which excellent work he received, acAUERBACH, JOHANN GOTTFRIED, a German  cording to Dominici, a pension from  the King.
portrait painter, born at Muilhausen, in Saxony, in   D'Auria died in 1585.
1697. He settled at Vienna, where he attained the    AUROUX, NICHOLAS, a French engraver, who
rank of court painter. There are two pictures by  flourished about 1650. Heineken mentions four
him in the Gallery of the Belvidere, at Vienna-a  portraits by him, and a print of the Virgin holding
full-length portrait of the Emperor Charles VI., as  the Infant, with St. John kissing his Foot, inscribed
Knight of the Golden Fleece, and a large equestrian  Sancta Mater, published at Lyons.
portrait of Prince Eugene of Savoy, in the room
containing the pictures of his battles by Parrocel.    AUSTIN, WILLIAM, a London engraver of little
Auerbach painted also the heads of Charles VI.  note, born about 1740, studied under Geo. Bickand Count Althan, in Solimena's picture of that  ham, and executed several landscapes, after Vander
Emperor receiving from the Count the inventory   Neer, Zuccharelli, and Ruysdael; also a set of
of the Gallery. Several of his portraits have been  ten plates of Views of Ancient Rome, and the
engraved. He died at Vienna in 1753, aged 56;  Ruins of Palmyra.
leaving a son, Johann Karl Auerbach, who was    AUSTRIA, DON JUAN D', the son of Philip IV.,
also a portrait painter.                         and brother of Charles II., of Spain, was an amaAUGUSTIN, JEAN BAPTISTE JACQUES, a dis-  teur painter, but practised the art with the ardor
tinguished French miniature painter in oil and  of a professor. He studied under Eugenio deas
enamel, was born at St. Diez (Vosges) in 1759. uevas. The celebrated  arreno, seein  a paintIn 1781 he established himself at Paris, where,  ing by Don   an, said without flattery, "if hehad
from 1796 until his death in 1832, he exhibited a  not been born a prince he might, with his talents
long succession of portraits, which, according to  have lived like one."
Gabet, are highly finished, correctly drawn, and   AUVRAY, FELIX, a Parisian historical painter;
finely colored. Among them are portraits of many  born in 1800; died in 1833; studied under Baron
of the most distinguished individuals of that event-  le Gros, and, according to Gabet, was one of his
ful period. In 1806 and 1824, he obtained medals  most eminent scholars. That author mentions the
of the first class for the pictures he exhibited; in  following works by him: St. Louis, prisoner;
1819 he was appointed principal miniature painter  Gautier de Chattillon defending St. Louis against
to Louis XVIII.; and in 1821 he was made a Chev-  the Saracens; the Spartan Deserter; and St. Pan




ATUWE.                        56                     AVEL.
at Athens.  The Art-Union of Douai decreed Au-         AVELINE, ANTOINE, a Parisian designer and
vray a gold Medal of honor, but it arrived at his  engraver, born in 1662. He engraved a number
residence during the ceremony of his funeral.        of landscapes, and views of the palaces and chateaux, J. G  W   V   a s   o   of France and other parts of Europe, executed in a
AUWERA, J. ~G. W. VON  a sculptor of        neat and agreeable style, of which the following
last century, mentioned by Jack as an Italian of    ar nd agreeable style 
noble birth.  He Was educated at Rome, but set-  a  w               
tled at Wfirzburg, in Bavaria, where he was ap-    Six landscapes, numbered, marked Aveline in: itfec
pointed court sculptor, and executed several mon    Twelve landscapes not numbered, same mark. Sixteen
pointea court sculptorthe cathedrals ofd M l Bamo   Views of Versailles. Twelve Views of the Royal Palaces
umental works for the cathedrals of Mainz, Ban-  and Chateaux near Paris. Twenty Views of Cities and Ports
berg, and Wurzburg.                                  in different parts of Europe. Twelve Views of the public
AUZON, MADAME, a distinguished Parisian   Edifie in Paris.
paintress of portraits and familiar subjects, born     AVELINE, PIERRE, a Parisian designer and
in 1775, and studied under Regnault.  Some of  engraver, born in 1710 and studied under John
her most interesting pictures were purchased by   Baptist Poilly.  His drawing, though tolerably
the French Government, the Duchess de Berri,  correct, is stiff and formal.  He gained, however,
and the Society of Friends to the Arts.  Several  considerable reputation, and it is to be regretted
of them have been engraved.                          that he employed a great portion of his time in
AVANZI, GIUSEPPE, an Italian painter, was  trifling and insignificant works.  The following
born at Ferrara in 1655, and studied under Cos-are his principal prints:
tanzo Cattanio.  Guarini  mentions four of his                SUBJECTS FROM HIS OWN DESIGNS.
pictures, representing subjects from the life of S.    Four plates of the Seasons, represented by Children; five
Gaetano, in the Church of the Madonna della Pieta,  plates of the Senses, gallant subjects; Venus at her Toilet;
at Ferrara; also the Marriage of St. Catherine, in   Bacchus and Ariadne.
the Church of S. Domenico, which is considered               SUBJECTS AFTER DIFFERENT MASTERS.
his best work.  He executed many pictures, few         The Cardinal de Fleury, accompanied by the Virtues;
of which possess merit.  He died in 1718.            after Chevalier. The Wrath of Neptune; after Albano;
42ANZI, JACOPo, DA BOLOGNA, a Bolognese  inscribed Quos ego. Diana and Acteon; after Bassan;
for Croz1at Collection. The infant Moses brought to the
punter, who flourished about 1370 and studied   Daughter of Pharaoh; after Giorgione. Jupiter and Io;
under Franco da Bologna.  Malvasia mentions   after Schiavone; for Crozat Collection. The Departure of
several of his works in the Qhiesa di Mezzaratta in  Jacob; Noah entering the Ark; after Castiglione. The
that city, and says they were such admirable pro-  Death of Seneca; after Luca Giordano. Christ healing
ductions as to have received the praises of Michael  the Sick; after Jouvenet. A Landscape; after Nicholas
Angelo and the Caracci.  There is, however much   Berghem; fine. The fortunate Accident; after Van Palens. Folly; after a drawing by Corn. Viscsher. The
obscurity and conjecture in the various accounts   Birth of Bacchus; the Rape of Europa; three subjects of
of this painter.                                     Cupid; La Belle Cuisiniere; Venus and Cupid; the PruAVANZINO, —, an Italian painter, born in  dent Shepherdess; after F. Boucher. The Rape of Helen;
1552 at  itt  di Casello   studied under  ig neas succored by Apollo; after Deshayes. Hans Car1552 -at Citta di Castello; studied under Cig-  vel's Ring; after J. L. Lorrain. La Place Maubert;
nani, and assisted him in many of his works.  He   after Jeaurat. The Flemish Trio; after Ostade. A Dog
painted likewise numerous original frescos in vari-  with Game; after Oudry.  A pair-one a Boy with a
ous Roman churches, the principal of which are   Mouse, the other a Girl with a Cat; after C. Parrocel. The
enumerated by Baglioni.                              Bath of Diana; the Rape of Europa; the Charms of Life;
Italian Recreation; after Watteau.
AVEEN, ADRIAN, a Dutch engraver.  He was                          
born at Amsterdam, and practised the art about         AELNE FRANOIS ANTHONY, a Parisian en1700.  He engraved a number of plates, among   graver, the cousin and scholar of Peter A.veline,
which are sevral views of the  ountry-seats    born in 1718. His talent was inferior to that of
Holland, executed in a neat but formal style.        his master.  He worked chiefly for the bookseller
Holland executed in a neat but formal stylin Paris and afterwards went to London.  Bassan
AVED, JACQUES ANDRE JOSEPH, a distin-  says he died in indigence. He executed the folguished French portrait painter; born at Douai in  lowing plates:
1702; studied first under Bernard Picart, the cel-    Th  Fr Seasons;  opied from Peer Aeline. Six
ebrated engraver, then living at Amsterdam. Aved   Chinese Figures; the Chinese Bark; after Boucher. The
however, resolved to be a painter, and having vis-  Spanish Musician; after J. E. Evelsen.  The Flemish
ited the principal cities of Holland and Flanders, he   Musician; after Teniers. View of a Port in the Levant;
arrived at Paris in 1721, and entered the school of  after Vernet. Six, of Chinese Figures and subjects; after
the eminent La Belle; where he became intimate   Pillement. London, 1759.
with Vanloo, Boucher, and several other young          AVILLINO, GIULIO, called IL MESSINESE, a
painters, who afterwards distinguished themselves.  Sicilian painter born at Messina' about 1645. He
In 1734, Aved was elected a Royal Academician;  probably studied under Salvator Rosa, as he painted
and about the same time was chosen by the Turk-  landscapes in the style of that master.  He settled
ish Ambassador, Mehemet-Effendi, to paint his  at Ferrara, where landscape painting since the time
portrait, which he intended to present to Louis  of Dossi had been almost abandoned, and was
XIV.  From  the success of this work, he was  much employed by the nobility of Ferrara and
shortly after appointed painter to the King.  The   Cremona. He enriched his landscapes with ancient
picture was greatly admired, and was placed in the   ruins, architecture, and figures, admirably designed
Chateau de Choisy. Aved is said to have suc-  and touched with a masterly hand.  There ar',
ceeded perfectly in representing the character of his  choice specimens in the collections of the Signori
sitters, and his portraits, with their draperies and   Cremona and Donati; and the collections at Feraccessories, were finished carefully and beautifully.  rara and Romagna are not considered complete
He died at Paris in 1766.                            without some of his works.  He died 1700.




AVEL                      57                     AVIC.
AVELLINO, ONOFRIO, a Neapolitan painter,  born at Padua about 1530. From his style it is
born in 1674; studied under Solimena, but after-  very probable he studied under Giorgio Ghisi, as
wards went to Rome, where he remained several  his plates are executed entirely in the manner of
years, and painted the vault of the Church of S.  that master; and he has also copied some of his
Francesco di Paola, which is considered his best  works. He sometimes signed his prints G.A.S.F.,
work. In the Church of S. Maria de Montesanto  or G.A.P.P., and often marked them with his very
is an altar-piece, representing a subject from the  curious monogram, formed of the letters which
life of St. Alberto. He died in 1741.            compose the word Gaspar. His principal work
AVER, JOHN PAUL, a reputable German paint-  was a large volume in five parts, containing the
er, was born at Nuremberg in 1636. He painted  full-length portraits of the Princes and Emperors
a number of historical subjects, portraits, and land-  of the House of Austria. engraved in the style of
scapes, which possess considerable merit. He died  the Sadelsrs; signed Gaspar Patavinus, incisor.
in 1687.                                         1569. The following are his best single prints.
They are dated from 1560 to 1580.
AVEMANN, WOLFF, a German painter, born at
AVrEMANN,  W   a German painter, borand a The Espousals of the Virgin Mary; after P. Veronese,
Nuremberg, studied under Henry Steenwyck, and   Gaspar ab Avibus, Citadelenss,fe., 1577. The Woman
painted interiors of churches and other edifices in  taken in Adultery; Gasparo Osello Padovano, f. The
the style of that master which have considerable  Scourging of Christ; Gaspar ab Avibus, Citadelensis.fec.
merit. He died in 1620.                         Christ crowned with Thorns; Gaspar Patavinus,f. 1566.
The Last Supper; after Lam. Lombard; copied after a
AVENDANO, DIEGO DE, a reputable Spanish  print by Mantuano, marked Gaspar P. F. 1564. Apollo
historical painter. He flourished at Valladolid  and the Muses on Mount Parnassus; after Penni, Gaspar,
about 1660, where he executed a number of works  f.; copied from Mantuano. Venus and Adonis, and its
of considerable merit for the churches and private  companion, a Youth carrying his Mistress on his Shoulder;
collections.'                  after L. Penni; copied from Mantuano; marked Gas.,
f., 1563. Venus Bathing; after the same; ditto.; Gasp.,
AVERARA, GIOVANNI BATTISTA, an Italian  f., 1564.
painter; born at Bergamo about 1508. It is not    AVICE, CHEVALIER, a French amateur engramentioned under whom he studied, but he formed  ver, who etched some plates in a slight though
his style of coloring from the works of Titian.  spirited style, after N. Poussin, and other masRidolfi praises some fresco paintings by him; espe-  ters; of which the best is a middle-sized plate of
cially two pictures in the Church of S. Francesco  the Adoration of the Magi, after Poussin.
at Bergamo. He painted landscape and architec-    AV                              f T      
ture, and became very eminent for his skillful rep-    AVILAn d IERNANsc or   a native of Toledo, wa
resentation of nature, not only in the scenery, but    ter the death of his former master   ancis
in the figures and animals which he introduced         the death of his former master  Franciso
in the figures and animals which he introland-  Comontes, in 1565, he was appointed painter to
into his compositions. The nature in his land- 
scapes, the design of his infant figures, and the  the cathedral of Toledo in his place. In 1568 he
beauty of his coloring, all show that he aspired to ned to altar-p s       a chael of that athe
the Titian style.  Muzio, in his Teatro di Ber-   al, representing S. John the Baptist, and the
gamo pronounces him an universal genius. He  Adoration of the Kings. In 1576 he designed the
died in 1548.                                    principal altar of the nunnery of San Domingo el
Antiguo at Toledo.
AVERBACH, JOHN GOTFRIED, a reputable Ger-    AVTTA F A N   
man painter, born, according to Heineken at Mul-, a portrait painter of Se
hausen in 1687. He, who was distinguished for the accuracy of
Charles V., and executed a number of works for  his likenesses, and the sweetness of his coloring.
the Royal Palace which possess considerable merit.  There were several Spanish painters of this name
He designed and engraved a plate representing his        the sixteenth and sevententh centuries, but
own portrait painting that of his wife. He died  t        work are not sufficiently recorded to speak
at Vienna in 1743.                               of thein with certainty.
TIIT    TAT or  sTAVERCAM,HENRISAN,    AVILER, AUGUSTIN CHARLES D, a distin1l  ior l li^   Z  surnamed   DE STOMME  guished Parisian architect, was born in 1653, and
VAN CAMPEN, was born at Kampen about 1590,  evinced an inclination for architecture from infancy,
and lived and died in that city. His singular taci-  He applied himself to its study  with so much asturnity obtained for him the surname of the Mute.  siduity, that he passed his examination at the ae
He executed many pictures, chiefly marine views,  of twenty, and was so fortunate as to be selected
and landscapes ornamented with cattle; but they  to go toRome to study in the Academy. He enhave lost much of their value on account of a  brked at Mrseilles, but the vessel  as captured
change of color. His drawings with the pen and  and they were all carried prisoners to Tunis, where
in black chalk, are still highly valued. He marked  DAviler immediately commenced drawing, and dohis works with one of the above monograms.      signed a grand mosque, which is thought the best
edifice in that city. After sixteen months slavery
AVIANI, -, an Italian painter. born at Vin-  he arrived at Rome. where he remained five years.
cenza, and flourished about 1630. He excelled in  Returning to France, he placed himself under Harperspective and architectural views, in which the  douin Mansard, who employed him  in executing
figures were usually executed by  iulio  arpioni.  many of his numerous undertakings; but as he
His pictures generally represent the most remark-  found that Mansard never allowed him to produce
able views in Venice, though he sometimes painted   ny of his own inventions, he went to Montpellier
landscapes and sea-ports, which are held in consid-  and executed the gate called La Porte Perou
erable estimation.                               which D'Orbay had designed in the form of a trior           AVIBUS, GASPAR AB, or PA-  umphal arch.  He also wrote a book entitled
o.   v.TAVINU,9 an Italian engraver,    Cours d'Architecture" and other works, which




AVOG.                       58                     AXTM.
have done him great honor.  He erected the cele-  the following plates: The Emperor Joseph, afle?
brated Archi-episcopal Palace at Toulouse, and va-  A. Hanneman; George Frederick Prince of Walrious edifices at Carcassone, Beziers and Nismes,  deck; a set of Portraits of the kings of Spain,
which gained him so much reputation that he was  Hungary, and Bohemia, &c., and many of the platet
appointed architect of Languedoc; but scarcely  in Freheri Theatrum Virorum Eruditione Clarohad he taken possession of this important post  rum.
when he died in 1700, aged 47.                       AXTMANN, LEOPOLD, a German painter, born
AVOGADRO, PIETRO, called BRESCIANO, an   at Fulneck, in Moravia, in 1700; studied under
Italian painter, was born at Brescia, and flourished   John George Hamilton of Vienna, and rivalled him
about 1730; studied under Pompeo Ghiti, to  in reputation. He excelled in painting horses and
whose style he adhered; though in some respects  dogs, and there are several pictures of merit by
he followed the Venetian school, especially in his  him in Bohemia. He settled at Prague, where he
carnations. His figures are remarkably graceful,  died in 1748.
and harmony prevails through all his pictures.    AYALA, BARNABI, an historical painter of SeHis chief work is the Martyrdom of Sts. Crispino   viUe,who studied under Zurbaran, and followed
and Crispiano, in the Church of St. Joseph, at  his style in his tints and draperies. Many of his
Brescia.  Lanzi says, that in the opinion of many,  pictures are probably passed off at this day as the
Avogadro holds the first place after Bonvicino,  work of his instructor.  He was one of the founGambara, and Savoldo, the three great painters of  ders of the Academy of Seville in 1660, and atBrescia.                                          tended there till 1671. It is supposed he died in. lT  a   AVONT, PETER  VAN DER, a  1673, as his name does not appear with the subscriiL/'\  V ~.  \  Flemish landscape painter and  bers to the statues in that year.
engraver, born at Antwerp about 1619. He enli-       AYBAR XIMENES, PEDRO, a Spanish historirened his pictures with figures well drawn, and  cal painter, who sdied under F. Ximenes, and impainted with great animation. He frequently dec- itatedhis style. The pictures he produced at
orated the landscapes of Vinckenboom. As an en-  itated  is style.  The pictures he produced at
orated the landscapes of Vinckenboom. As an en-  Calatyud, in 1682, are praised for their composigraver, he was also distinguished. Brulliot says  tin,         and   g    Tee  for their cou  ofhi
tion, color, and design. There is no account of him
he sometimes marked his plates with a monogram   after that year
of his initials reversed; but without doubt he cop-    A, or MI G                            I 
ied it as above from a transfer, instead of the print.    AZZOLIN,  or  MAZZOLINI, GIOANNI BERThe following  are his principal works:             NARDINO, a Neapolitan painter. who flourished
The following are hish preincipal wks:  about 1510. He resided chiefly at Genoa, where
The Virgin Mary, with the infant Jesus, St. John andthere are several of his works in the churches and
St. Anne; the Virgin suckling the Infant, with St. John
and an Angel; the Virgin and Infant in the Clouds, in-  convents. In the Church of S. Giuseppe in that
scribed Regini coeli; the Magdalene ascending to Heaven,  city, are two pictures by him, representing the An
Pet. van Avont, inv. et exc., 4.c.; twenty-four small plates  nunciation, and the Martyrdom  of St. Apollonia
of Children, on each plate a Child and an Angel-they were  which are highly praised by Soprani. He excelled
published in the set entitled Pxadopegnton, by W. Hollar;  inwax work and modeled heads with an absolute
the Four Elements, represented by Four Children; two
Bacchanalian subjects of Children-one, Bacchus drawn in  expression of life.
his Car, the other, Bacchus carried by Four Children, Pet.
van Avont, inv.,fec., et exe. 
AVRIL, JEAN JACQUES, a modern Parisian engraver, born in 1744 according to Gabet.  He stud-    BAADER, AMALIE, a German engraver, was
ied under J. G. Wille, and executed several plates  born at Erding, in Bavaria, in 1763. She studied
of considerable merit.  He died in 1832, aged 88.  engraving under J. Dorner, the director of the GalThis laborious artist executed about five hundred  lery at Munich, and practised it merely for amuseand forty plates, some of large size; among which   ment. Her mark, an A and C, interlaced, is found
are the following:                                 on copies after Rembrandt and Schmidt, of Berlin,
Mars going to Battle; Mars returning from Battle; A        Italian masters.
Shepherd and Shepherdess, called the Croc-en-jambe;    BAAK, HATTIGH JAN, a painter of Utrecht,
after Rubens. Apollo with the Seasons, dancing; after  who lived in the middle of the seventeenth century,
Poussin. Diana and Acteon; the Bathers surprised; after
oussin. Diana andActeon* the Bathers surprised *after  who lived in the middle of the seventeenth century,
Albano. Venus revenging herself on Pysche; after da  as we find by a picture in the hospital of St. Job,
Troy. Pigmalian and his Galatea; after 1Iarillier. St.  in that city, 1642. It is a landscape and figures.
Genevieve; afterC.Vanloo. Fishermen Returning; Tray-  so much in the style of Poelemburg, that we may
elers in a Storm; the Shipwreck, dated 1775; after Vernet.  conclude the artist was one of his scholars.
The double Recompense of Merit, 1784; French Patriotism, 1788; after P. A Wille. The Taking of Courtray;    BAAN, JOHN DE, an eminent Dutch portrait
after Vandermeulen, 1782. The Passage of the Rhine;  painter, born at Haerlem, in 1633. After receivgfter Berghem. Catherine II., on her Travels; after F.   
De Meys, 1790. Ulysses and Penelope; Combat of the  ing some instructions from an unle named Pie
Horatii and the Curiacci, 1787; after Barbier.     mans, who followed the style of Velvet Breughel.
AVRIL, JEAN JACQUES, a Parisian engraver   he was sent to Amsterdam to study under Jacob
I                              0 L, JEAN JIC&UEB, a Parisan elga aver:de Backer, a reputable painter, with whom  he reson of the preceding, born in 1771. He was one  de B          ace  a etale pinter, with whom  he reof the principal artists employed in the work of  mained till he was eighteen, assiduously using
every means of improvement. After leaving that
Robillard and Laurent; and also engraved many   evmery mes o improvement.  Afterileaving that
excellent plates of pictures by the old masters,  m                                            
and statues in the Louvre. According to Nagler   cess in portrait painting was such, that he paid lithe died in 1831.                                   tle attention to other branches of the art. He
painted the portraits of the principal personages
AXARETO.  See ASSERRETO.                         of his country. King Charles II., who had beAXELT, JOHN, a German portrait engraver of  come acquainted with his talents while residing on
little note, mentioned by Heineken. He engraved  the continent, invited him to England, where he




BAAN.                      59                    BACA.
painted the king, queen, and several of the nobili-  of his prints: Apollo and Diana; small upright
ty. After remaining some time in England, he  plate. Three Men Bound; the same. Virgin Mawent to the Hague, and there painted a noble por-  ry and Infant resting on the Stump of a Tree; and
trait of the Duke of Zell, for which he received  St. Joseph resting his head on his hand; a square
1000 Hungarian ducats,-about ~500. He next  plate; half length figures. Virgin Mary sitting at
painted some pictures for the Duke of Tuscany,  the foot of a tree, the Infant Jesus standing by
who placed De Baan's portrait in the Gallery of  her side, Elizabeth seated near him, and an Angel
Florence, and sent him a handsome present in re-  playing on a Musical Instrument; St. Joseph on
turn for it. His best work is the portrait of  the right hand of the print. The Wise Men's OfPrince Maurice, of Nassau-Ziegen. He painted  fering; a small upright plate. St. Jerome writing
many portraits of eminent persons of his time,  with a crucifix before him. Two small upright
some of which are not inferior to those of Van-  plates-one represents A Man carrying a Boat, and
dyck. Louis the XIV., after conquering part of  the other, A Woman with a Child in her Arms.
Iolland, sent to Utrecht for De Baan, to paint his  Jerome Hopfer has engraved both these on one
portrait; but the painter excused himself by ob-  plate, larger; and has surrounded the Head of the
serving, that, while his country was in mourning,  Woman with Stars and a Glory. A Sacrifice to
he could not think it proper to trace the features  Priapus; a free subject; copied after Marc An
of her conqueror. This, however, did not lessen  tonio.  Recent discoveries have shown that the
him in the opinion of Louis, who frequently con-  real name of this artist is Jacob Da Barbary.
suited him on the purchase of pictures. He was  Brulliot, in his Dictionary of Monograms, menof an obliging disposition, and fond of the pleas-  tions two pictures by this master, one having the
ures of the table. He was a great admirer of Van-  letters J, A, D, B, with a caduceus, and the other
dyck, and imitated his style. His portraits were  the name Jac. Da Barbary, with the caduceus, and
much admired for the elegance of their attitudes,  the date 1504. Bartsch is inclined, from the style
and for their clear, natural and lively tone of col-  of his design, to consider him an Italian; Zani, on
oring. He died at the Hague in 1702.             the contrary, of Dutch or French origin. Bartsch
BAAN, JACOB DE, a Dutch painter, the son and  enumerates twenty-four prints with his mark; and
scholar of John De Baan, was born at the Hague  Brulliot mentions four others, not described by the
in 1673. At the age of twenty he went to Eng-  former, nor by himself. Otley, also, speaks of a
land in the suit of William III. His father's fame,  Holy Family not mentioned by Bartsch.
and the favor of the court, procured him immediate    BACCARINI, JACOPO, an' Italian painter, was
employment, and he painted the young Duke of  born at Reggio, about 1630. He studied under
Gloucester, and several of the nobility. His strong   Orazio Talami, and painted history in his style.
desire to see Italy, induced him  to abandon these  Two of his best works are The Repose in Egypt,
bright prospects; and he visited Florence, on his  and the Death of St. Alessio, in the Church of S.
way to Rome, and was favored with the protec-  Filippo in Reggio. He died in 1682, aged about 52.
tion of the Grand Duke, who showed him the por-    BACCI, ANTONIO, an eminent Italian flower
trait of his father, John De Baan, which he greatly  painter, was born at Mantua, or Padua, (for auvalued. On arriving at Rome, he applied himself  thorities differ.)  He flourished about 1663 and
with great diligence in studying the works of great  painted many works of considerable merit, which
masters, and painted some portraits and conver-  are found in the private collections of Italy.
sation pieces which were highly esteemed. Both
in Rome and Florence he gained a great deal of    BACCIARELLI, --             a modern Italian en.
money, but soon became dissipated. His pictures  graver of some merit, who flourished about 1760.
money, but soon became dissipated. His pictures
are finely handled, and he gave promise of surpas-  engraved a few portraits, among which is that
sing his father; but his irregular habits brought  of Austus Stanislaus Poniatowski, King of Poon a disorder of which he died in 1700, at the early  land.
age of 27.                                         BACCICIO. See GAULI.
BABEUR, or BABUREN, DIRK or THEODORE,    BACCIO. See FRA. BARTOLOMEO PORTA.
a Dutch painter, was born in 1570. He generally    BACCIOCHI, FRA. FERRANTE, an Italian paintpainted figures of the size of life, and most of them   er, a monk of Ferrara, of the order of the Filipat half length. He had a free and firm pencil, and  pini. Some of his works are noticed in Barrotti's
his drawing is preferable to his'coloring, which,  account of the Paintings and Sculpture at Ferrara.
though vigorous, is not pleasing, on account of a  One of his best pictures was the stoning of St. Steyellowish brown tint predominating through the  phen, in the Church of S. Steffano, in Ferrara; and
whole. His expression is but indifferent in any  in St. Maria del Suffragio, there was a Holy Famcharacters, excepting those which are mirthful;  ily by this master.
and his pictures generally represent musical as-      CHELIER  J. J., a French painter, born at
semblies, card players, &c. He was a scholar of                             Fench pat, born 
Paris in 1724. He was an artist of only repPeter Neefs, and he painted interiors of churches  uale talns          e was   a  long and usefu
in the manner of that master. He died in 1624    utable talents, but he lived a long and useful
life.  He had amassed a fortune of 60,000 francs,?  BABYLONE, FRANCIS DE, an old engraver,  and in 1763 consecrated all of it to the establishwho flourished about 1550.  He has some-  ment of a free school of drawing for artists, which
times been called the Master of the Cadu-  was afterwards consolidated, through his exertions.
ceus.  His style was original, the plates be-  by government and private subscriptions. He was
ing all executed with the graver, with fine strokes,  made director of the porcelain manufactory at S&and not much crossed. His drawing of the figures  vres, and contributed greatly in improving its taste..
is not very correct. His prints are esteemed for  He invented a kind of encaustic varnish, to prethe neatness of their finish, and highly valued on  serve marble statues from the action of the weathaccount of their variety. The following is a list  er, and he assisted the Count de Caylus, a great




BACH.                     60                     BACK.
friend to the arts, in his researches to discover the  els. He gained much reputation as a painter of
ancient method of encaustic painting. He also  history, and executed among other good works, a
wrote two excellent works, entitled Le Conseil de  fine picture of Cimon and Iphigenia. His pictures
Famille, Octavo, 1774, and a Memoire Sur l'Ed-  are extolled in poetry by Vondel, his countryman.
ucation des Filles, Octavo, 1789, which last he  In designing academy figures, his expression was
presented to the National Assembly. He died in  so just, and his outline so correct, that he obtained
1805, aged 81.                                   the prize from all his competitors, and his works
BACHELIER, NICHOLAS, a French sculptor  still bring high prices. In the collection of the
and architect, born at Toulouse in 1496. In early  Elector Palatine there is an excellent head of
life he went to Rome, and entered, according to  Brouwer, by this artist, and in the cathedral at
Morei, the school of Michael Angelo, whose style  Antwerp, he painted the altar-piece of the chapel
he adopted. He possessed great taste, and on his  of the family of Plantin, representing the Last
return to his own country, he endeavored to im-  Judgment; it is a grand composition, correctly
prove the style of Sculpture and Architecture, which  drawn and finely colored.
at that time, especially in the south of France, was    BACKER, ADRIAN DE, a Dutch painter, born at
mean and old fashioned, but he did not succeed, as  Amsterdam in 1643. He was sent to Italy while
is proved by the fact that many of his statues were  young, and acquired there a taste and correctness
gilded, after his death, an operation which destroyed  of design not very common among the artists of
to the eye, the grace of his outlines and the deli-  his country, which is discernible in all his piccacy of his work. He died at Toulouse in 1554.   tures. His best work is in the Town House of
BACHELEY, JACQUES, a French designer and  Amsterdam, representing the Judgment.of Solomon; a n ingenious composition, and painted in
engraver of some merit, born at Pont l'Eveque, in    on; an ingenious composition, and painted in
Normandy, in 1712. He was a member of the  good style. He died at Amsterdam in 1686.
Normandy, in 1712. He was a member of the
Academy of Rouen, where he died in 1781, aged      BACKER, NICHOLAS DE, a Dutch painter, born
sixty-nine. The following is a list of his plates:  at Antwerp in 1648. After learning portrait paintA View in Italy; a View on the Tiber; View of  ing at home, he went to England, where he was
the Bridge of Voges; after Bart. Breemberg. A   employed as an assistant by Kneller. He also
view of Amsterdam; after Van Goyen. The Cas-  painted perspective views of English churches. He
tie of Ryswick; and a View near Utrecht; after  is said to have died in England in 1689.
Ruysdael. A Storm on the Coast of Greenland;    BACKEREEL, WILLIAM and GILES, were emafter J. Peeters. The Redoubt of Schenck; and  inent Dutch painters. The former painted landEntrance of the Maes River; after B. Peeters.  scapes, and resided principally in Italy. The latView of Havre de Grace; after his own design.    ter was cotemporary with Rubens, and his manBACHIOCCI, CARLO, an Italian painter, a na-ner resembled that master. He competed with
tive of Milan, according to Averoldi, who men-  Vandyck in an altar-piece in a church of Anttions several pictures by him in the churches and  werp, but, though bot works were highly praised,
convents of that city, particularly in the mon-  the preference was never given in favor of either.
asteries of S. Giacomo, pand  S. iFilippo. t     In the Low Countries he adorned the churches
BACHMANNsr     GEORGEm,   a reputable German   with pictures whieh justly entitle him to the highBACHMANN,  GEORGE, a reputable German  est rank among the artists of his country, at a
portrait painter, who flourished about 1660, and                     the. 1eriod  when they were in the zenith of their fame.
died in 1681. Little is known of the events of hisiod when they were in the compared with those
life. His works are probably ascribed to some  of Rubens or Vandyck.  In the cathedral at
BCmore eminent master.   JAQE            uceBurges, is an altar-piece by Giles, representing St.
BACKER, or BAKKER, JACQUES DE, a Dutch   Charles Borromeo administering the Sacrament
historical painter, born at Antwerp in 1530. He  to a numrerous group of persons attacked by the
was the son and scholar of an artist of no great  Plague. The composition of this fine picture is
celebrity. Having early lost his father, he was  grand and striking; the drawing more correct
employed by one Palermo, a dealer in pictures, on  than Rubens, yet bold and decided; in coloring
account of which he was sometimes called Jacopo  equal to the chaste and delicate tinting of VanPalermo. He kept Backer incessantly occupied,  dyck. In the Church of the Augustines, at Antand sent his paintings to Paris, where they were  werp, is an admirable picture by him of the
greatly admired, and sold quickly, at high prices;  Crucifixion. At Brussels, in the Church of the
while the artist remained in obscurity and poverty.  Franciscans, is a splendid work of this master, reWhile in Palermo's employment, he gained great  presenting the Virgin Mary and Infant Saviour,
facility of handling, and became an excellent col-  with St. Beatrice and other saints. He had a good
orist, from copying the old masters. He, however,  taste for poetry, but by exercising that talent too
painted several original historical pictures, three of  freely in satires against the Jesuits, he drew upon
which representing Adam and Eve, a Charity, and a  himself the revenge of that fraternity, who comCrucifixion, are highly praised by Karel van Mander,  pelled him to fly from Antwerp.
who represents him as one of the most promising    BAC      YSEN, LUDLP, a German painter,
young painters of his time. He died in 1560.        n a Em        i    31. He was of respectable
born at Embden in 1631. He was of respectable
BACKER, or BAKKER, JACOB DE, a Dutch  family, and was intended by his parents for a merpainter, born at Harlingen in 1608. He resided  cantile profession, for which purpose he was sent
chiefly at Amsterdam, where he distinguished him-  to Amsterdam. But his time was more occupied
self as a painter of history and portraits. His fa-  in the society of painters than in the countingcility of hand and freedom of pencil were such, that  house, and he at length became a pupil of Albert
Houbraken asserts he finished the half-length por-  van Everdingen, under whom he remained some
trait of a lady of Haerlem  in one day, though  time. He acquired most of his knowledge by freadorned with rich drapery and loaded with jew-  quenting the rooms of different artists, and from




BACK.                      61                    BACQ.
one of these, Henry Dubbels, he learned more than  of the triumph of genius over adverse circumstanfrom any other. His fondness for shipping led him   ces. In 1755, he was bound an apprentice to a
frequently to the port of the city, where he made  china manufacturer at Lambeth, where he was
admirable drawings of the vessels with a pen, which  first employed in painting on the ware, but diswere much sought after by the collectors, and were  covering a taste for  oodelling, he was soon empurcRased at liberal prices. Several of his draw-  ployed for this purpose, and'n less than two years.
ings were sold at 100 florins each. This success  he modelled all the figures for the manufactory.
induced him to paint marine subjects. His first  Some sculptors were in the habit of sending their
essays were successful, and his pictures universally  models to this pottery to be burnt, and from the
admired. While painting, he would not admit his  sight of them, his ardent mind resolved on its fumost intimate friends to his studio, lest his fancy  ture occupation. He made rapid progress, and
might be disturbed. He hired fishermen to take  received nine premiums from the S.ciety for the
him ott to sea in the most tremendous gales, and  Encouragement of Arts, &c.; the first, in 1758, for
on landing, he would run impatiently to his pal-  a figure of Peace. Several of his earlier producette to secure the grand impressions of the views  tions-a Mars, a Venus, and a Narcissus, &c., are
he had just witnessed. He has represented that;  still to be found in the rooms of that Society. Dufearful element in its most terrible agitation, with  ring his apprenticeship, he formed the idea of maka fidelity that intimidates the beholder. His pic-  ing statues in artificial stone, which he afterwards
tures on these subjects have raised his reputation  perfected, and which is still carried on at Lambeth.
even higher than that of W. Vandervelde; al-  About 1768, he began to work in marble, and inthough the works of the latter, which represent the  vented an instrument, now in general use among
sea at rest, or in light breezes, are much superior,  English sculptors, for transferring the form of the
and indeed inimitable. His pictures are distin-  model (with a correctness before unknown) to the
guished for their admirable perspective, correct  marble; thereby rendering the executive part more
drawing, neatness and freedom of touch, and re-  of a mechanical operation, to be performed by asmarkable facility of execution. For the burgo-  sistants, and thus giving the sculptor more time
masters of Amsterdam, he painted a large picture  for designing and modelling. In 1776, he received
with a multitude of vessels, and a view of the city  the first gold medal from the Royal Academy, and
in the distance; for which they gave him 1,300  in 1770, he was elected an Associate of that Instiguilders, and a handsome present. This picture  tution. Bacon now rose rapidly in public estimawas presented to the King of France, who placed  tion and favor. He was commissioned to execute
it in the Louvre. The King of Prussia visited  a bust of the King for the Hall of Christ's College,
Backhuysen, and the Czar Peter took delight in   Oxford, which he performed with such excellence,
seeing him paint, and often endeavored to make  as to increase his reputation and secure the royal
drawings after vessels which the artist had de-  patronage. Soon afterwards he received a similar
signed. At the age of seventy-one he engraved a  commission for the University of Gottingen. In
series of views on the Y, an arm of the sea near  1777, he executed the monument to the memory
Amsterdam. He died in 1709.                      of Gay, the founder of Gay's Hospital, which was
BACKHUYSEN, LUDOLF, a Dutch  painter,  considered so admirable that the city of London
grandson of the preceding, was born at Amsterdam   engaged him to erect a monument to the Earl of
in 1717, and died at Rotterdam  in 1782. He  Chatham-a work esteemed his most capital per
painted horses and battle-pieces with considerable  formance. In 1778, he was elected a Royal Acadreputation.                                      emician, and completed the beautiful monument to
BACLER, LoUIs  ALBERT GUILLAIN, BARON   the memory of Mrs. Draper, in the Cathedral
BACLER, Loms ALBERT GUILLAIN, BARON
Church at Bristol. Among his other principal
D'ALBE, a French painter, was born in 1761, at  Curc  at Brsto           og hi oer pinitop
St. Pol [Pasde Calais.  He was general of bri    works, are two groups, which embellish te top
of the front of Somerset Place; a Statue of Judge
ado and  held other military and civic ofices under  Blackstone, for All Soul's College, Oxford; a Statue
Napoleon. He painted several views in Italy du-        Henry V, for Eaton College  the Monument
ring the incursions of the French, particularly the  of Henry VI., for Eaton College; the Monument
Battle of Lodi and the passage of the Po. The  of Earl Chatham, in Westminster Abbey; the
Statues of Dr. Johnson, MrC Howard, andlSi Willatter were painted under the inspection of Napo-  Statues of Dr. Jo hnson, Mr. Howard, and ied inleon. He afterwards commemorated several other  lm  on  in. P          
London in 1799.
victories of the French armies. He also painted
classical subjects, such as the Death of Paris;    BACQUOY. See BAoUOY.
(Edipus wandering in Greece, and several inter-    BADALOCHIO,, anItalian painter, was
esting landscapes.                                 BADALOCCHIO, SISTO, an Italian painter, was
esting landscapes. N   E  a  E     s  aa        born at Parma in 1581, and studied under AnniBACON, SIR NATHANIEL, an English amateur  bale Caracci. He attended that master to Rome,
painter, born in 1644. was the brother of the great  and assisted him in some of his great undertakings
Sir Francis Bacon. He studied in Italy, but painted  in that city. His principal works are the two
in the style of the Flemish school. It is said that at  pictures he painted in the Verospi Palace at Rome,
Gorhambury, the family seat, there are some good  which have been engraved by John J. Frezza.
pictures by him, consisting of a whole-length por-  They represent Polyphemus seated on a Rock,
trait of himself; a half-length of his mother, and a  with Galatea and her Nymphs on the sea; and
Cook-Maid with Fowls. Several others are men-  Polyphemus hurling a Rock on Acis and Galatea.
tioned at Culford, in Suffolk. IHis monument in   Badalocchio etched several plates in a free and
the chancel of Culford Church has, in addition to  masterly style, which are in general more finished
his bust, a palette and pencils.                than those by Guido Reni, though not quite so eleBACON, JOHN, an eminent English sculptor,  gantly or so carefully drawn. He was an accomborn at Southwark, near London, in 1760. The  plished designer, possessed an inventive genius, and
history of this able artist is a beautiful illustration   would probably have proved one of the most rep



BADA.                      62                    BADI.
utable painters of the Carraci's distinguished school,  seated with the Infant Jesus on her lap; a Bishop
had he not died in the prime of life; Zani says in  and Monk kneeling; from his own design. The
1647.  His ordinary mark was S. B., f. We  Holy Family, and Christ taken down from the
have the following plates by him: The Statue of  Cross; after Flaminio Torri. The Virgin Ma.
Laocoon; after the antique marble.  Six plates  ry and Infant Christ; half-length. The Repose
of the Apostles from the cupola at Parma; after  in Egypt. Another Repose in Egypt, where the
Correggio. Fifty-one plates; after Subjectsfrom   Virgin is holding a linen to cover the Infant on her
the Bible; painted by Raffaelle in the Vatican, en-  knee; The two last prints are generally attribgraved in conjunction with Lanfranco, and dedica-  uted to Alessandro B. There is much discrepanted to Annibale Caracci. The Holy Family, with St.  cy among various writers about the time of BadiJohn; after Schidoni, Sisto Badalocchio, fecit.  aldi's birth, but it is generally agreed that he died
BADARACCO, GIUSEPPE, a Genoese painter,  about the age of 45.
called II Sordo, from his being deaf. He studied    /    BADILE, ANTONIO, an Italian historical
under Andrea Ansaldi for some years, but upon  BX and portrait painter, born at Verona in
leaving his school he visited Florence, where he so  1480. Lanzi says he was the first Veronese paintmuch admired the works of Andrea del Sarto, that  er who divested himself entirely of the Gothic
he applied himself with assiduity to the study of  manner that prevailed before him, and was supethe pictures of that admired artist. He painted  rior. to his cotemporaries in the expression of his
history with reputation, and executed several  heads and the delicacy of his coloring. His picworks for the churches and public edifices of Flo-  tures of the Raising of Lazarus, in the church of
rence, where he died in 1657.                    S. Bernardino; and the Virgin and Infant in the
BADARACCO, GIOVANNI RAFFAELLE, an Ital-  clouds, with several Saints, in S. Nazaro, so highian painter, born at Genoa in 1648. He was the  ly praised by Ridolfi, are worthy of the instrucson and scholar of the preceding, but after study-  tor of Paolo Veronese and Zelotti.  He died
ing some time with his father, went to Rome, and  in 1560.
entered the school of C. Maratti. Aiming at a    BAECK, JOHN GEORGE, a              German engraver,
freer and bolder style, he adopted the manner of  born at Augsburg, about 1700.  He engraved
P. da Cortona. There is great sweetness and a fine  a number of portraits, most of which are mentionimpasto in his coloring, which a profusion of ultra-  ed by Heineken; and he also engraved some plates
marine has preserved in all its brilliancy. He was  after other masters. His mark is B. fe.
much employed in easel historical subjects; of his    BAENER, JOHN ALEXANDER, a German enlarge works, the most important are some pictures  graver of little note, who flourished about 1670.
in the Certosa at Polcevera. He died in 1726.    Among others, he engraved an emblematical subBADENS, FRANCIS, a Dutch painter, born at  ject, executed with the graver in a coarse, heavy
Antwerp in 1571. His father, an obscure artist,  style, and representing a man kneeling at the feet
taught him the first principles of design. He af-  of another man, with a book before him; and a
terwards went to Italy, where he resided several  hand, holding a sword, is striking from the clouds
years, and by close application became an accom-  at the latter.
plished artist. Van Mander mentions him in very    BAERSTRAETEN, or BAERSTRAET, JOHN,
favorable terms as a painter of history and por-  a Dutch painter, who flourished about 1660. He
traits, and says that he excelled in conversation  sometimes painted marine views, but excelled in
pieces and subjects of gallantry. His style of de-  winter pieces, in which he has represented the
sign partook more of the Italian than of his native  principal chateaux near Amsterdam with a numschool, and his coloring was excellent. On his re-  ber of figures skating, well drawn and neatly
turn to Antwerp, his merit obtained for him con-  touched. These subjects he has treated with instant employment, and gave him the soubriqu~t of  finite art, and they produce a wonderfully natural
the Italian painter. He died in 1603.            effect. He died in 1687.
BADENS, JOHN, a Flemish painter, born at Ant-    BAESTEN, MARIA, a Flemish paintress, whose
werp in 1576, was the younger brother of Francis  maiden name was Ommeganck. She usually paintB.. and was instructed by his father. He went to  ed landscapes and cattle with reputation. She was
Italy whle young, where he resided several years.  a member of the Academy at Antwerp in 1784.
He afterwards visited Germany, where his works     BAGETTI, CAV., GIUSEPPE PIETRO.  This
were highly esteemed, both in history and por-  eminent artist was born at Turin, in 1764. He
traits. Several princes of the empire favored him,  was educated for the church, but disliking the ecand he acquired there both fame and fortune. Re-  clesiastical profession, he turned his attention to
turning home, where he intended pasmng the rest  architecture, and afterwards placed himself under
of his life in tranquillity, he was robbed by banditti the instruction of Palmieri to learn the art of
of all he possessed. This event threw him into a  painting in distemper, or water-colors in which he
state of despondency and languor, occasioning his  became prieminent.  The King of Sardinia apdeath in 1813, aged 37.  Balkema, Nagler, and  pointed him his draughtsman, and sent him with
Zani, state erroneously that he died in 1603, at the  his army. He soon afterwards appointed him Proage of 27.                                       fessor of Topography in the Military School at
/p    BADIALI, Al,ESSANDRO, an Italian paint-  Turin. When the French took possession of Pied/     D3er and engraver. born at Bologna in 1626.  mont in 1778, he was persuaded by his friends
He studied under Flaminio Torri, and painted sev-  and General Dupont to enter the service of the
eral pictures for the churches and public edifices at  French, and for this purpose he repaired to Paris,
Bologna. He etched several plates in a slight, free  where he was well received, and attached to the
style. We have the following prints by him,  War Department, as Topographical Engineer, with
marked with his monogram: The Virgin Mary  the grade of Captain, and was especially charged




BAGL.                       63                     BAGL.
to execute pictures representing the victories of  the Last Supper. His best work is the picture
the French army. In the space of eight years he  in St. Peter's. of that saint raising Tabitha from
painted eighty pictures, which are now in the gal-  the dead. This production was greatly admired,
lery at Fontainbleau, and the War Department  and gained for Baglioni the Knighthood of the Or
at Paris.  Many of these were engraved by the   der of Christ from Paul V. He wrote the Lives
order of Napoleon. Bagetti displayed all the re-  of the Painters, Architects, and Sculptors, who
sources of his art in executing pictures which  flourished at Rome, from Gregory XIII., to Urban
should embrace an immense extent of country.  VIII.-from 1572 to 1642.
For this purpose, obliged to dispense with the or-    BAGNACAVALLO. See RAMENGH
dinary rules of optics, he took his point of sight    BA          AL         a  o      e   e         e
at a sufficient elevation to command a view of the   BAILL~, ALEXANDRE, an obscure French enremotest objects.  In this manner he executed an   graver, who practised the art about 1764. He
immense picture, now in the Royal Museum at  engraved, among other plates, one representing a
half-length figure of St. Cecilia; after Francesco
Paris, which gave a general view of the whole of  halent  figure of St. Ceilia; after Francesco
Fernandi. It is signed with his name, and the
Italy as far as Naples, divided by the Alps. For
above date.
this great work, Napoleon conferred upon him the   above date.
Order of the Legion of Honor and sent him to         BAILLEUL, F., a French engraver, who resiOrder oteeioHoradehided at Paris about 1722, and engraved part of the
Naples to paint a general view of Italy as far as  dd at Paris abt,      engraved part of the
the Alps, of the same size, as a match to hang be-  plates published in that year, representing the
side it.  But the war with Russia breaking out, he  ceremonies of the coronation of Louis XV.
was recalled, and accompanied Napoleon in that            BAILLIE, WILLIAM, an Irish engraver,
fatal expedition, and this great work was never           was born about 1736. During his early
completed. After the restoration of the Bourbons  life he was connected with the army. which he left
in 1815, he was dismissed by the French govern-  with the rank of captain of cavalry. Ienceforth
ment, when he returned to Turin, where the King   he was devoted to the arts, and long had the name
conferred on him  the rank of Major of Infantry,  of a very excellent connoisseur. His best works
appointed him  professor in the Military School,  are those he executed in the style of Rembrandt,
and made him  change the Star of the Legion of  and his copies after the prints of the latter. He
Honor, for the Cross of Savoy. He executed for  executed about a hundred plates, of which the folthe King a great work which showed the Alps and  lowing are the principal, some of them  marked
all Piedmont, as far as Lombardy.  He also paint-  with his name, and some with his monogram:
ed several grand pictures of Battles in honor of the    Bust of an Old Man, with a gold chain, in the manner of
heroes of Savoy, for which he was decorated with   Rembrandt; two plates with, and without the chain. A
the Cross of St. Maurice, and rewarded with   Landscape, with a Stone Bridge, engraved 1764, scarce. A
a pension. He died at Turin in 1831 and a mon-  Landscape, with the Ruins of a Temple; in the manner of
a pension. lie died at    T~urin in 1831, a nd a mon-  Claude. The Portrait of Sofonisba Angusciola, paintress;
ument was erected to his memory. Bagetti is  ipsa inxit. A Landscape by moonlight; after A. Cuyp.
ranked the first of painters in his line. He was    he Pencutter; the Lacemaker, and the Mother of G
a distinguished theorist, and wrote some admira-  Douw; after G. Douw. Susanna justified byDaniel; after
ble essays on Painting and the Fine Arts pub-   Ger.vanEeckkout. FourOfficers, twoplayingatTrictrac;
after Gerrards; scarce. The Portrait of Francis Hals,
lished at Turin in 1827. The King of Sardinia,  afinter Gerrards; scarce. The Portrait of Francis Hals,
Painter; F. Hals, pinxit. The Portrait of Francis Mieris;
Charles Albert, in consideration of his distin-  after himsef. Peasants saying Grace; and a Musicalasguished services and eminent abilities, on his death  sembly; after Molenaer. James, Duke of Monmouth, on
generously conferred a pension on his widow.       Horseback; after Netscher. Interior of a Dutch Chamber,
BAGLIONI  ESAE a B gnee pintr       with Peasants regaling, 1767; and another Interior, with
BAGLIONI, CESARE, a Bolognese painter, was  Peasants smoking and drinking, 1765; after A. Ostade.
the son of an obscure artist who taught him the   Christ healing the Sick, called the Hundred Guilder Print,
elements of design. He adopted the style of the  Rembrandt's original plate, purchased by Baillie in HolCaracci, particularly in landscapes, in which he  land, and exquisitely retouched by him. Beggars at the
excelled; though he did not enter that school   Door of a House; the Gold-weigher; The Three Trees,
Landscape; a Landscape, with a Horse lying; qfter RemHe was a universal artist, painting history, ani-  brandt's prints. An Old Man, half-length, witha Beard
mals, fruit, &c., all of which, according to Malva-  and Cap; W. Baillie, 1765; after Rembrandt. The Ensia, possessed considerable merit.  The principal  tombing of Christ; two plates varied; an Old Man, halfworks of this master were at Bologna and Parma,  length, with a large Beard, and his Hands in the Sleeve of
where they are highly esteemed. In the Church   his Robe, 1771   A Landscape, with a Horse lying. The
of the Mi~adonna  del Soccorsoqis a picture of the   Holy Family; after Schedoni. Interior of an Ale-house,
of the Madonna del Soccorso~           iapctrofhewith Figures regaling, fine; afterTeniers. A Student sitAscension; and in S. Giorgio, an altar-piece, repre-  ting before a Table with a Globe and Books; and William,
senting St. Anthony and St. Martha.  He was  Prince of Orange, on Horseback; after Terburg. Solliving in 1610, as is clearly shown by documents  diers quarreling, half-length; after Valentin. Three Seapreserved by the Canon Trecasali, and recorded by. Pieces; after drawings by W. Vandevelde.
Zani, to the effect that he was employed in that    BAILLIO, DAVID, a Dutch painter, born at Leyyear by the Duke Ranuzio Farnese, to paint the  den in 1584. His principal subjects were portraits
church or oratory of Stirone, the foundation of  and interior views of temples and churches.  The
which was laid in 15'9.                            correct likeness and fine coloring of his portraits
BAGLIONI, CAVALIERi GIOVANNI an eminent  gained them much admiration.  His architectural
Italian painter, born at Rome in 1594. He studied  views are much admied, though inferior to those
under Francesco Morelli, and was employed in  ofSteenwyckandP.Neefs. He dd in 1638.
many considerable works at Rome during the    BAILLU, or BAILLIU, P. DE, a Flemish enpontificates of Clement VIII. and Paul V. In the  graver, was born at Antwerp about 1614. After
Church of S. Maria dell' Orto, he painted a chapel  acquiring the elements of design, he visited Italy
in fresco, representing the life of the Virgin; and  for improvement, where he studied with assiduity
in S. Niccol6, in Carcere, there is a fine picture of  the works of the great masters and engravers, sev



BAIL.                       64                    BAKE.
eral good plates. Returning to Antwerp about         BAKKER, N., a Dutch painter, born in 1648.
1635, he engraved several works of celebrated Fle-  He was instructed by Sir Godfrey Kneller, at Lonmish masters, particularly Rubens and Vandyck.  don, where he died in 1689. He painted portraits
Although by no means equal to the works of Vorst-  and history, and had some reputation as a designermans, Bolswert, or Pontius, his prints are held  er and colorist.
in considerable estimation.  The following are       BALASSI, MARIO, an Italian painter, born at
the principal:                                     Florence in 1604. He first studied under Jacopo
Pope Urban VIII.; P. de Bailliu, exe. John Backer,  Ligozzi, and after the death of that master, he beDutch painter; se ipse, del.  John Byler, painter, of  came a scholar of Roselli and afterwards of PasUtrecht; se ipe, pin.  Albert, Prinoe and Count of Arenberghe; L, CouPntess of Carlisle  Honore Urphee,  signani. He assisted the latter in the works he
enberghe; 1137, Countess of Carlisle; Honore Urphee,  e       at Rm  fo      TT U     IITT  Hc
Comte de Morel; the Crucifixion; the Virgin Mary in the  executed at Rome for Pope Urban VIII.  He copClouds; Rinaldo and Armida; all after Vandyck. Helio-  led Raffaelle's Transfiguration for Don Taddeo
dorus driven from the Temple by two Angels; after a  Barberini, who placed it in the Church of the
drawing by P. de Lint; after Raffaelle, P. de BaiUu.  Conception, at Rome. In the Church of S. AnA dead Christ on the knees of theirgin Mar; after                                  a in the StigCaracci; scarce. St. Michael vanquishing the Demon;  mat  one of St. rancis; both his compositions.
after- Guido. The Reconciliation of Jacob and Esau;
after Guid. The Reconciliation of Jacob and Esau   mata, one of St. Francis; both his compositions.
Christ praying in the Garden; Magdalene dying, sup-  He died in 1667.
ported by Angels; Combat of the Lapithae; all after    BALDI, ANTONIO an Italian designer and enRubens. The Holy Family; after Theodore Rombout. 
Susanna and the Elders; after Martin Repyn.  The  graver, born at La Cava, in the kingdom of NaScourging of Christ; and Christ Crowned with Thorns;  ples, about 1692. After studying some time with
after Diepenbeck. Discoveryofthe TrueCrossbySt. Hel-  Solimena, he entered the school of Magliar. He
ena; and Theodosius carrying the True Cross before St.  resided chiefly at Naples, where he executed a
Ambrose; after P. van Lint. Christ Bound to the Pillar,  number of plates, chiefly from  his own designs.
with Angels holding the Instruments of the Passion; after  Zani says he was living in 1760. The following
J. Thomas. St. Anastasius reading; after Rembrandt.
are his principal plates:
BAILLU, or BALLIU, and also BALEAU,    The Emperor Charles VI., oval; Don Carlos, King of
BERNARD, a Dutch engraver, born about 1625.  the Two Sicilies, oval; Nicholas Cyrillus; S. Cyrillus, p.
His plates are executed entirely with the graver.  Maria Aurelia Caracioli, a Nun, oval; St. Ignatius LoyThey consist chiefly of portraits, with some his-  ola, oval; Ant. BalWi ex. Proroypo. The Monk Raftorical subjects. He engraved several plates for  faelle Manca, with an Angel, oval; the Communion of St.
Mary of Egypt; A. Baldi, in. et sc. St. Philip of Neri in
the collection of portraits of Cardinals, published   Heaven; inscribed Cui nomen dedit, &c. St. Emigdeo
at Rome; besides which we have the following:    interceding for the Neapolitans; Divo Emigdo in terra,
The Cardinal Ursini, afterwards PopeBenedictIII., 1672;  &c. St. Gregory with the subjects of Miracles, 1738; Ant.
Canute, King of Denmark; Christ between St. d'Alcanta  Baldi fee.
and St. Mary Magdalene of Pazzis; B. Baillu, sc. St.   AD 
Mary Magdalene of Pazzis, with the Virgin raising her    BALDI, LAZARO, an Italian painter, born at
Veil-; Virgin Mary appearing to St. Peter of Alcantaro;  Pistoja, in Tuscany, in 1623. He went to Rome
all marked Lazzaro Baldi pinx., B. Baillu, sc. St.  while very young, where he entered the school of
Louis Bertrandus; Ciro Ferri pin., B. van Baleu.  P. da Cortona, under whose able instructions he
Five Saints canonized by Clement X.; Cyrus Ferrus,  became an eminent artist.  He painted several
cui. Franciscus Brune, d; B          d de B,  pictures for the churches and public edifices at
acunp.
BAILLY  J.  The name of this artist is at-  Rome, which are particularly described by the
tached to some spirited echings after Callotin   Abate Titi. There is a fine work by him in the
tached to some spirited etchings after Callot, in   Pontifical Palace at Monte Cavallo representing
which the neat style of that master is imitated   Pontifical Palace at Monte Cavallo, representing
which the neat style of that master is imitated
with considerable success.                         David and Goliah; and in the Church of St. Luke,
an altar-piece of the Martyrdom of St. Lazaro.
BAILLY, JACQUES, a French painter, born at  He died in 1703.
Gracay in 1629.'He settled at Paris, where he
BALDINI, BAccIo, a Florentine goldsmith,
became a member of the Academy of Painting, and  born about 136, who, according to Vasari, was in
distinguished himself in miniature portraits. He  structd b  Mo   niguerra in the artof engravstructed by 1Maso Finiguerra in the art of engravdied in 1682...
ing. There is little known with certainty of him,
BAJARDO, GIOVANNI BATTISTA, an Italian   except that he executed nineteen plates for Dante's
painter, born at Genoa, about 1620. It is uncer-  Inferno, after the designs of Sandro Boticelli,
tain who instructed him, but he painted history   printed at Florence, by Niccolo Lorenzo della
with reputation, and executed several fine pieces for  Magna, in 1481. He died at Florence in 1515.
the churches and public edifices at Genoa, partic-    BALDIN, FRA. TIBURZIO a Bolognese painter,
ularly in the cloister of S. Agostino, and the por-  wh  fourished about 1611. Averolsaysheextico of S. Pietro.  His works are distinguished for  w  o foused   ou aintings for the  churches and contheir graceful design, judicious composition, and  vents at Besca  the best of which were the Margreat facility of execution. Soprani says he died  vents aof the Virin with St. Joseph, and the Murof the Plague, in 1657, aged 37.      riage of the Virgin with St. Joseph, and the MurBAKER, JON, anEglish p e o       s  der of the Innocents, in the Chiesa delle Grazie.
BAKER, JOHN, an English painter of flowers
BAKER  JOH   an  English painter of flow's     BALDINI, PIETRO PAOLO an Italian painter.
and fruit, born about 1736. He was one of the        BALDINI,  ETR  PAL   an Italian painter.
original members of the Royal Academy. In the  According to Abate Titi, he was born at Rome, and
original members of the Royal Academy. In the            discipleofP.daCortona. HewasarepuCouncil Chamber of Somerset House, iwas a disciple of P. da Cortona.  He was a repuCouncil Chamber of Somerset House, is a credi-  table painter of history, andthat author mentions
table specimen of his talents.                     table painter of history, and that author mentions
table specimen of his talentsseveral admirable works by him in the public ediBAKKER, BAPTIST DE, a Dutch engraver and  fices at Rome. He highly commends an altarpainter, who flourished about 1770. He executed   piece representing the Crucifixion, in S. Eustacseveral plates of portraits and landscapes, in a neat  chio, finely composed, and very carefully and cor
and finished style.                                rectly designed.




BALD.                       65                      BALE.
BALDINI, VITTORIO, an Italian wood engraver.  Solomon's Idolatry; Samson Delila;'David ant BathshePapillon says he flourished about 1599. Among   ba; Aristotle and Phryne; the Holy Family, with St.
other works, he executed the wooden cuts for the   Elizabeth and St. Catherine, half-length, 1512; two prints
of Horses in a  Forest; marked Baldung, 1534.
frontispieces of the acts of Tasso's play of Aminta,  of Horses in a Forest; marked Baldung 1534.
published in 1599.                                   BALECHOU, JEAN JACQUES, a distinguished
BALDINUCCI,  ILIPPO, an Italian  painter,  French engraver, born at Aries in 1715. His exsculptor, and author; born at Florence in 1624.  ecution was superior to that of any previous French
IIe chiefly distinguished himself by a Biographical  engraver, as to the clearness of strokes, and brilHistory of Painting, of which he only lived to pub-  liancy ofcolor; but notwithstanding its charming
lish three volumes. He also wrote a treatise on   effect, his flesh appears like marble, and his drawengraving, with biographical sketches of artists,  ing is imperfect.  His prints of history chiefly,and
1686, 4to. He was a member of the Academy of  also some of his portraits, have this defect. The
Della Crusca. He died in 1696.                     following are his principal works:
BALDOVINETTI, ALESSIO, a Florentine por-    Anne Charlotte Grauchier; Mad. Aved; Charles Henry
trait and historical painter, born according to Vas-  Friso, Prince of Orange; Prosper Jolyot de Crebillon, 1751,
trait and historical painter, born, according to Vas-  f    al a    Ad  Jaques Gabriel Grillot; after Au
5.   e p d in ol ad i f o, i   fine; allafter Aved.  JacquesGabriel Grillot; after Au
ari, in 1425. He painted in oil and in fresco, in  treau. Jean de Julienne, celebrated amateur; after de
the dry Gothic manner prevalent at that early   Troy. Charles Rollin, &c.; Charles Coypel, painter; afday.  He died about 1500.                          ter Charles Coypel. Henry, Comte de Bruhl; after L.
BALDREY, J., an English engraver, who lived    yster; fine; but it was ill retouched, and therefore
BALDREY, J., an English engraver, who lived   probably not done by Balechou. Auguste III., Roi de
about 1790.  He executed some portraits, and.  Pologne; after Rigaud. The first impressions are very
other subjects, in the chalk style, among which  fine, but the plate was subsequently much altered. Infanthe best are: The Finding of Moses; after Sal.  cy and Youth; after D. Bardon. Five fancy subjects;
Rosa.  Diana and her Nymphs; after C. Maratti.  after E. Jeaurat. La Force; the Portrait of Elizabeth
The Benevolent Physician; after Penny.             of France; after Nattier. St. Genevieve; after C. VanBALDRIGHI, G E  an Itaan pinter,  loo. The Storm; the Calm; the Bathers; after Vernet.
BALDRIGHI, GIUSEPPE, an Italian painter,
born at Pavia in 1722. After studying for several    BALEN, HENRY VAN, a distinguished Flemish
years in Florence, under Vincenzio Meucci, he was  painter, born at Antwerp in 1560. He studied
invited to the Court of Parma, where the Grand   under Adam van Oort, the master of Rubens. He
Duke made him his principal painter. He estab-  afterwards went to Italy for improvement, where
lished a successful school of painting in that city.  he remained several years, and executed several
One of his finest works is a picture of Prometheus,  admirable pictures. On returning to Antwerp, he
in the Saloon of the Academy at Parma. He ex-  was so successful, that he could scarcely supply
ecuted a large painting, representing the portraits  the demand for his works. He was among the
of the family of Filippo, Duke of Parma, by which  first of the Flemish painters, who attained that
he acquired much distinction. He died at Parma   pure coloring, which was perfected by Rubens and
in 1802, aged 80.                                  Vandyck. In his cabinet pictures, he often repreBALDUCCI, GIOVANNI, called Cosci, an Ital-  sented Ovid's Metamorphoses, with small figures:
ian painter. According to Baldinucci, he was born   well drawn and finely clored. The landscapes in
at Florence, and studied under Battista Naldini. He   these subjects were painted by John Breughel,
afterwards went to Rome, where Cardinal de Me-  though in some of his pictures, they were by Kierdici, afterwards Leo XI., extended him protection,   ngs. His works of this kind were highly prized.
and employed him for some time. At Rome and   He also executed many fine works for the churches.
Florence there are some of his works. Late in   There is an admirable altar-piece by van Balen in
life, he visited Naples, where he painted some pie-  the Cathedral at Antwerp; the centre-piece repretures for the churches. and died there in 1600.    senting the Virgin with the Infant and St. John;
VHANS                    G sometimes called  BAL- O N   For another altar-piece in the same church, he
JL'"J[_J[HAN5,        s ometimes c alled  BALDUNG GRiN, a German painter and engraver, born   painted St. John preaching in the Wilderness, with
DUNG ^ RijN, a ^r    pnea    nar  o   anumber of figures, well composed and finely colabout 1495, at Gemund, in Suabia. There are sev-a numb er of fiures w   the orst instructor of Vaneral of his paintings in the cathedral at Friburg;  d     an   ne   the   st  tist of his coun
in a style similar to his cotemporary, Albert Durer.  He died in 1632o
He engraved chiefly on wood, and his blocks are ex-  e  e 
ecuted in a free bold style, possessing great merit.    BALEN, JOHN VAN, a Flemish painter, the son
The heads have a good expression, though the draw-  of the preceding, born in 1611. After studying
ing is not very correct. His monogram is usually  some time with his father, he went to Italy, and
attached to his prints. Bartsch, Brulliot,andZani,  remained several years at Rome. He seems to
all agree that he engraved on copper. Bartsch   have followed the pleasing style of Francesco Almentions two of his copper plates, and Brulliot al-  bano. His works are disnguished for great freeludes to several. Zani maintains that Baldung and   dom  of touch  and admirable coloring; but there
Bresang are one and the same artist.-(See Bres-  is a want of taste, and a manifest incorrectness of
apg.)-We have the following prints by him:         design. He was most successful in cabinet pictures.
Adam and Eve in Paradise, Eve plucking the apple;   ures.
the Fall of Adam; inscribed on a Tablet. Lapsus humanis  ) BALESTRA, ANTONIO, an Italian painter,
generis, 1511. Christ and the Twelve Apostles, 1514.    JL_  born at Verona in 1666. It is not known
13 plates. The Crucifixion, with St. John supporting the  who first instructed him, but at the age of twentyVirgin, and Mary Magdalene behind the Cross; fine, in  one he visited Venice, and studied for three years
chiaro-scuro; Bacchus drunk, near a Tun, a Cupid making   under Antonio Belucci. He afterwards  ent to
water on him; an Incantation, in chiaro-scuro, 1510.    re ate                                e A
Two Landscapes, very scarce; a Man with a Horse, large  Bologna, and to Rome, where he attended the Acupright, no date; four small upright prints, very fine;  ademy of Carlo Maratti, then in high reputation




BALL.                      66                    BAMB.
He acquired considerable distinction, gained the  pointed one of the members of the memorable
prize of the Academy of St. Luke in 1694, and   Scientific   Expedition  which  accompanied the
was employed to paint several pictures for the  French army to Egypt, and while there, his love
churches and palaces of Rome. His manner is  for the arts and antiquity, induced him  to visit
sweet and agreeable, not unlike that of Carlo Ma-  ancient Thebes and to explore her monuments.
ratti; and there is a certain mingling of tile beau-  On his return to France, he was appointed one of
ties of Raffaelle, Correggio, and Caracci.  His  the commissioners charged with the collection and
works are considerably esteemed, though he is not  disposing of the materials for the great work on
thought a great painter. Balestra established a  Egypt, which the government had resolved to pubschool in Venice, and though his style is by no  lish. Balzac enriched it with many precious demeans Venetian, yet his lectures and example pro-  signs of Egyptian architecture.  In his leisure
moted the fame of that school. His scholars, Ma-  hours he cultivated  poetry and literature, and
riotti and Nogari, were excellent imitators of his  some of his essays were published with success.
style. In the Church of Santa Maria Mater Dom-  He died at Paris in 1820, of apoplexy, deeply laini, at Venice, is one of his best works, represent-  mented.  He left in his portfolio an immense
ing the Nativity; and in the Church of S. Ignazio,  quantity of drawings, plans, and architectural deat Bologna, is a picture by him of the Virgin and  signs.
Infant, with St. Ignatius and St. Stanislaus. He    BAMBINI, GIACOMO, an Italian painter, born
etched some plates from his own designs in a free  at Ferrara about 1560 and a scholar of Domenico
and masterly style, some marked with his name,  Mona. He painted historical subjects, chiefly for
and others with his monogram. We have by him  the churches and convents of Ferrara, the principal
the following: Two Soldiers, one standing, the  of which arc three altar-pieces in the cathedral, reother sitting; the Virgin Mary in the Clouds, with  presenting the Annunciation, the Flight into Egypt,
St. John, inscribed Mater pulchrce dilectionis.  an- the Conversion of St. Paul. He died in 1622.
Antonius Balestre, inv. et fec., 1702. The Three                         an Italn p, 
Angels with Abraham; a Vignette with Two Fig-                            an Itala   ainte, 
ures holding a Flag; Verona Fidelis; Portrait  at Venice in 1651, where he was instructed by
of an Architect, Michele St. Michele.            Giulio Mazzoni; but afterwards he went to Rome,
and studied under Carlo Maratti. Lanzi says he
BALLI, SIMONE, a Roman painter, who lived  designed with correctness and elegance, and that
about 1600, and adopted a style resembling that  his coloring was simple and chaste. Sometimes
ofAndrea del Sarto. He went to Genoa, where he  he imitated the style of Cav. Liberi, especially in
practised the art under Pazzi. There are many  the beauty of his female heads; at others he folsmall pictures on copper painted by this artist.  lowed the Roman manner, as in his picture of St.
BALLINI, CAMILLO, a Venetian painter and  Stefano, painted soon after his return from Rome.
engraver, who lived, according to Zani, about 1590.  His two sons, Giovanni and Stefano, painted in the
His father was a noted jeweller at Venice. Lanzi  style of their father.
says he practised the art in that city during the  BAMBOCCIO. See PETER DE LAER.
age of the Mannerists; but Zani says he was a      BAMBESBIE    JAN, was a German portrait
talented artist, and Lodovico Dolce commends him    pAMBESBIER, JAN, was a Germn  portrait
for his assiduity.                               painter, and a scholar of Lambert Lombard. He
~for his assiduity.~ TT-went to Amsterdam, where for some time he gained
BALTEN, PETER, a Flemish painter, born at  much reputation as a portrait painter; but in his
Antwerp in 1540. His subjects were generally  latter days he fell intodisrepute  He died in 1598.
fairs, viXage festivals, and landscapes, in which he  ATr                R   t             in
followed the style of P. Breughel. His small fig-    BANCK, JAN,   Duchportraitpaiter,
who flourished about 1745.  lie lived some years
ures are neatly touched, and well drawn; and his  w   flourishere h      e paint ed nu merou s pictures;
views in Flanders, like those of P. Breughl, are  i     s pictures;
executed with great precision. He was chosen  some distinguished persons, showing great fanember of the Academy at Antwerp in 157'9, ad  cility of execution. In many cases, however, they
died in 1611.                                    seem to have been hurried, and carelessly finished.
BALTZ, J. GEORGES, a painter of miniature        BANCK, PETER VANDER. This engraver was
portraits and landscapes on porcelain, born at  born at Paris in 1649, but of Flemish parents.
Strasburg in 1760. There are many works of this  Under the instruction of Francis de Poilly, he ackind to be found in cabinets, in England, Prus-  quired eminence. About 1674 he visited England
sia, and France; and it may be interesting to the  with the painter Henry Gascar, where he engraved
possessors to know by whom they were painted.  many portraits of distinguished persons intimately
BALZER, JOHN, a German engraver, born at  connected with English history, which on that acI.LZRJON  a Geranengraver Ib r              count will always possess great interest.  His
Kukus, in Bohemia, in 1738. He chiefly resided   count will always possess  reat interest.  His
uusat, ine hemie dealt considerably inresidd   great neatness and finished execution, constituted —
at Prague, where he dealt considerably in prints.  h   chief merit.   e died in 1697. The followHe engraved and published several works in concert   i    hief meri e died in 1697. Thefollowwith his brother Matthew; among which are the        arehisprincipalprints
following: Fifty plates of Landscapes, Battles and    Charles II., 1675; and the same, 1677; after Gascar.
Conversations; after Norbert Grund, an old Ger-  The Princess Anne; the Princess Mary; Prince George.
ma     ~ painter. Two sets of Portraits of Artists  of Denmark; Thomas, Earl of Ossory; Alexander, Earl
of Moray, 1686; George, Visconnt Tarbatt, 1692; Thos.
and Authors of Moravia and Bohemia, published   Lamplugh, Bishop of York, fine; James, Duke of Monat Prague in 1773, and 1775; the Portrait of  mouth; Richard, Lord Maitland, 1683; Sir Geo. Mac-'Francis Edmund Weirotter, 1791; fine.           kenzie; Archibald, Earl of Argyle; Frederick, Duke of
BALZAT, M., a French architect and eminent  Schomberg; Robert, Earl of Yarmouth; Sir Thos. Brown,.~BALZA.~, M~.,~ )_M. D.; John, Earl of Strathnaver, or Earl of Sutherland:
designer, born at Paris about 1750. He was elect-  William, Duke of Queensberry; George, Lord Dartmouth;
ed a member of the Institute of France, and ap-  Sir Edmundbury Godfrey; Sir Thos. Allen, large plate:




BAND.                       C7                     BANK.
James, Earl of Perth, 1683; Geo. Walker, who defended  with the greatest assiduity, and executed several
londonderry; Thos. Dalziel, a Scotch General, scarce;  works which added greatly to his reputation parJohn Locke; Edmund Haller, At. 23; the same Et. 70.  ticularly Cupid catching a Butterfly, (emblematic
James II.; large plate; Mary, his Queen; King William;   L    i   t        a   u           
and William, Lord Russell; all after Kneller.  King  of Love seizing the human Soul,) which was afterWilliam; Mary his Queen; both after Wissing.  Arch-  wards purchased by the Empress of Russia, (Cathbishop Tillotson; after Mrs. Beale.; the face has been  erine II,) and Caractacus brought prisoner to Rome,,
defaced, and re-engraved by R. White. Archbishop Ten-  purchased by the Duke of Buckingham. Soon afison; after thesame. SirWm. Temple; after Lely, 1679.               England, he was elected a mem
Lady Litchfield; after Verelst.  John Smith, writing    er oif  etu  to   glad   e ws ete   mem
master; after Faithorne; fine. The Virgin and Infant, er of the Royal Academy.   e now attempted
with Elizabeth and St. John, and Christ praying on the  to introduce a lofty and heroic style of sculpture
Mountain; after S. Bourdon. The Naval Triumph of  into his native country, then so much in advance
C;harles II.; from the Ceiling at Windsor, in two sheets;  of the public taste that he met with no encourageand Mercury in the Air, bearing the Portrait of Charles  ment and necessity compelled him to have reII.; from the Ceiling at Windsor; both painted by course to the less pleasing but more lucrative emVerrio. A set of Heads, for Kennet's History of England,
designed by Lutterel.                              ployment of monumental sculpture. The Empress
NDIERA  BENEDET     an Italian painter of Russia now invited him to her Court, whither
BA~NDIERA  BN rntaianpantr he went; but not realizing his expectations, he reborn at Perugia in 1557. He is thought to have          ent;                     expectations he rebeen a scholar of Federigo Baroccio, from  the re-  turned after an absence of two years. But he never
semblance of their works.  He painted history   met with that encouragement which his talents dewith reputation both in oil and fresco. He djd   served. He was a man of genius, and had he obtainin 1634.                                           ed that liberal patronage which alone stimulates an
artist to energy, by relieving his mind from anxBANDINELLI,  CAV. BACCIO,  a Florentineiety and embarassment, and enables him to pursue
painter and eminent sculptor, was the son of a  th natural bent of his genius, he would doubtless
goldsmith, and born, according to Lanzi, in 1487.  have become one of the brightest ornaments of his
He early manifested a strong inclination for art.  country.
His father taught him the elements of design, and    Banks rose to distinction by his genius, and
he also studied under Rustici, one of the best  untiring industry alone.  His person was tall,
sculptors of the day. At this time Michael An-  his features noble, and his soul full of generosgelo was near the summit of his fame, and Bandi-  ity and magnanimity.  He despised to play the
nelli being constantly tormented with a desire to  courtier, though his manners were engaging and
surpass that celebrated artist, turned his attention   persuasive. He was remarkably taciturn, exceptto painting, in which art he did not accomplish   ig in the society of kindred spirits.   His admiramuch, except that he proved a great designer. His    n of the antique school was unbounded, and he
principal works as a painter was the Murder of   delighted to mould his clay into the port of the
the Innocents, and the Martyrdom  of St. Law-  gods and heroes of his favorite Homer. But he
rence. He soon devoted himself again to sculp-found no Mecaenas to extend to him  a sympature, and executed a fine statue of St. Peter, in the  thising and a helping hand. His most beautiful
Cathedral at Florence; and that of Orpheus, in the  works were never executed in marble.  CunningPalazzo Pitti.  The latter was a good imitation of  ham, describing his model of the battle between
the Apollo Belvidere.  He executed a fine copy of   Jupiter and the Titans, says: "Heavenisabove
Mercury, for Francis I.; also a large number  the earth is beneath; in the former, all the gods
of other important works in sculpture, among   and goddesses have come forth, while Jupiter,
which the most esteemed is the colossal group of  seated in the centre, personates not inaptly these
Hercules overthrowing Cacus, which is now at  noble lines,Florence, on the site of the old palace. Bandinelli
was greatly noted for his admirable bas-reliefs, one'And from the middle darkness flashing out,
of which he executed in bronze, and sent it to the     By fits he deals his fiery bolts about;'
Emperor Charles V., who named the artist a Chev-  he holds a thunderbolt in his right hand, and with
alier of St. Jacques.  There are also a number of   his eye fixed on the victim, seems ready to launch
beautiful bas-reliefs in the cathedral at Florence  it. The god appears not to have taken up the
by him, which have been engraved by the distin-  matter a moment too soon. Beneath him, a sea
guished Morghen. His last work was an admira-  of gigantic forms lie crushed and weltering-yet,
ble group of a Dead Christ supported by Nicode-  some who have survived their brethren, are premus.  He died in 1559, according to Zani and   paring with enormous rocks, to pile up a way
Lanzi, aged 72.                                    from the mountain tops to heaven. Against these,
BANKS, THOMAS, an eminent English sculp-  the right hand of Jupiter is lifted up, and all the
tor, born at Lambeth in 1738. He was appren-  conclave of heaven sit composedly watching the
ticed to a wood carver, with whom  he served  result.  The interest of the scene is not, however
his term  of seven years.  But he aspired to a  above-it lies wholly below.  There we see no unhigher employment, and on the Society for the  worthy image of that scene of desolation, described
Encouragement of the Arts, &c., offering prem-  so sublimely by Milton, where Satan and his comiums for models in sculpture, he set himself to  panions are cast down to hell, confounded, though
study and modeling with that resolution which  immortal-the linked thunder and the wrath of
ensures success, and having honorably obtained   God pursuing still. We also see the germ of the
several premiums of that Society, he entered him-' Fallen Titan' itself (a work previously described.)
self a student of the Royal Academy, obtained their  Looking at both, we cannot refrain from  lamentgold medal, which entitled him to go to Rome as  ing, that a man capable of such things should have
their student for three years, with a salary of  mourned three-fourths of his life over disappoint~100 per annum, and his traveling expenses paid.  ed hopes."
At Rome, he applied himself to study the antique,    Banks' most celebrated works in marble are




BANN.                       68                     BAR.
the Cupid and Moth, and the Caractacus, before  published by Basan, which are executed in % neat
mentioned; the Alto-relievo in front of the Shaks-  and finished style.
peare Gallery, and which still adorns the same       BAQUOY, PIERRE CHARLES, a French engraver,
building, now occupied by the Royal British Insti-  born at Paris in 1760, was son and pupil of the
tution; the monument to the only daughter of  preceding artist.  He engraved a multitude of
Sir Brooke Boothby, in Ashbourne church, (which   plates for the book publishers, executed in a very
~Irew tears from the spectators on its exhibition   beautiful manner. He engraved all the plates foi
at the Royal Academy;) the monument of Sir  the elegant edition of the works of Racine, aftel
Eyre Coot in Westminster Abbey; the monuments  designs by Moreau and Monsian. Also for the
of captains Westcott and Falconer, in St. Paul's  superb edition of Roman History in quarto, after
Cathedral; the Death of a Giant, in the Council  designs by Myris, published by the government
Room of the Royal Academy, and some works he  for the instruction of the children of the Royw
executed in Russia.  His most capital perform-  Family. His other principal works are:,.ace, a colossal statue, representing Achilles
nmce, a colossal statue, representing  Achilles    Two portraits, Charles Gravir, and the Count of Vergen
mourning the loss of Briseis, now in the Hall of  nes; St. Vincent de Paul Receiving a Child; Fenelon sue.
the British Institution, was never executed in mar-  coring the Wounded Soldiers; two plates, Diana and hei
ble, but remains a noble monument of his genius,  Nymphs, and the Death of Adonis; after Poussin. Foul
and a reproach to his country.                     Landscapes; after J. B. Bernard.  La Ruine; afteo
" The merits of Banks," says the author before   Watteau.  His greatest work is the martyrdom of St
quoted,'"as an artist, are very high.  He was the  PGervsaiose andl St. Protais; after Le Sueur. He died at
quoted, " as an artist, are very high. He was the  Ps in 182' 
first of our native sculptors whose aims were uni-    B     
formly lofty and heroic; and who desired to bring  NICOLAS  a celebrated French historica
poetry to the aid of his compositions.  The proofs  painter, who was born in Barrois, but passed most
of his genius must not be sought in those magni-   f his life at Rome, where he was known by the
ficent tasks called public monuments, where the  name of Signor Nicoletto. He was a descendant
subject matter is prescribed, and where perhaps  of the Maid of Orleans, and flourished in the latter
the most that talents can hope for, is to escape  part of the 17th century. He is said to have
public censure. Those who would have access to  painted a great many easel pictures of Virgins,
public censure. Thostyle of. hacell encess He als
his happier inspirations must study his sketches-   Madonnas, &c.,     a stylef excellence. He aso
rough, it is true, but full of heroic feeling and   painted some pictures for the Primatial church at
marked with a vigor of sentiment akin to thee ded at Rome, but the time is no
wondrous marbles of Greece. In these, the man   mentioned.
comes fully out; we see that he has surrendered      BAR, called NICOLAS DE LYS, was a son of the
his whole soul to those happier days of sculpture,  preceding artist, born at Rome and studied under
in which the human figure was free and unshac-  his father. This artist took the name of de Lys,
kled, and the dresses as well as the deeds of men   accorded to his ancestors by Charles VIL in memwere heroic; that the bearing of gods was familiar  ory of Joan of Arc. In 1710 he went to Lorraine,
to his dreams. But the cold welcome which his  where he resided till his death, in 1732. * This
poetic groups received from  his country, prevent-  artist painted many pictures in the Italian style
ed him from expanding them into the size of life,  for the convents and churches of Nancy. There
and working them into enduring materials."         are also many of his works in the private gal
BANNERMAN, ALEXANDER, an English en-  leries of rancewhere they are highly esteemed.
graver, born at Cambridge about 1730. He ex-    BARA, or BARRA, JOHN, a Dutch engraver
ecuted some portraits for Lord Orford's Anecdotes  born in 1572. He published some plates in Engof Painting, and several plates for Boydell's collec-  land, dated 1624 and 1627. He seems to have
tion; among which are: Joseph interpreting Pha-  imitated the works of the Sadelers, but he was
raoh's Dream; after Spagnolet; The Death of  far inferior to them. He worked entirely with
St. Joseph; after Velasquez; Children dancing;  the graver, in a stiff and labored manner. The
after Le Nain.                                     following are his principal prints:
BAPTIST, J.. a Dutch engraver, who lived at    Christian II., Elector of Saxony; J. Bara, fec. et exc.
Amsterdam  about 1720. He executed, in a very  1605.  Prince Maurice of Nassau-Orange; Joachim,
Amsterdam  about 1720. He executed, in a very   Count of Ortenbogrg; Lodowick, Duke of Richmond and
indifferent style, some of the plates for a collec-  Lenox, 1624; Bust of a Man, with Two Figures representtion of prints published in that year at Amster-  ing Literature and Painting, 1622. A Landscape, with
dam, entitled Figures de la Bible, from  designs  Phaeton demanding of Apollo the conduct of his Car, J.
of Picart and others.                              Bara, inv. et sc. The Hist. of Tobit, in three Landscapes;
Christ and his Disciples going to Emmaus; a Landscape,
BAPTIST.  See MONNOYER.                          with Susanna and the Elders; Joh. Bara fecit, Londini,
JBAPT   See GASPARS.        1627. A Landscape, with Two Men carrying the Trunk
BAPTIST, J. See  ASPARS.                         of a Tree; Susanna and the Elders; H. Goltius, inv.,
BAQUOY, MAURICE, a French engraver, who   Barra, sc., 1598; scarce. Bathsheba Bathing; after a
flourished about 1720. He engraved a set of vi-  painter whose initials are G. W.  The Parable of the
Sower; Ab. Bltoemart, inv.; Jo. Bara, sc. Herodias,
nettes for Pere Daniel's History of France, from   with the Head of St. John; after John van Aken, inscribed
the design of Boucher. We have also by him a   Quid mater mali, -c. Some grotesque ornaments,from
set of landscapes and views, and a naval combat,  Nicasius Rousseel, marked John Barra, sculp., Londini
after P. D. Martin, which was one of the four    BARAB, —, a French engraver of some
battles engraved at Paris for the Czar Peter.      merit, who flourished about 1760. He executed
BAQUOY, JEAN, a French engraver, the son   some prints of architectural subjects, firom designs
9f Maurice B., was born at Paris about 1730.  of G. M. Dumont.
Among other book-plates, he engraved a set of    BARABBINO, SIMONE, an Italian painter, born
vignettes for the edition of Ovid's Metamorphoses  near Genoa, about 1585. He studied under Ber



BARA.                       69                     BARB.
nardo Castello, and manifested such great abilities  discernible.  Of his oil paintings tnc principal are
that the latter became jealous and expelled him   The picture of St. Omobono, in the School oi
from his school. Directly after, he painted a picture   Sarti, at Venice; Christ bearing his Cross, in the
of St. Diego for the Nunziata del Guatasto, which,  Church of S. Roch; and in the school of S. Marco,
according to Soprani, is equal to the works of Cas-  a picture of that Saint appeasing the Tempest; at
tello. Not being sufficiently encouraged at Genoa,  Trevigi, in the Monte di Piet', is an admirable piehe went to Milan, where he gained abundant en-  ture of a Dead Christ. One of his most esteemed
couragement.  One of his best works is the Dead   works is the Finding of Moses, in the archiepiscoChrist with the Virgin, St. Michele, and St. An-  pal palace at Milan.  Giorgione died of the plague
drea, in the Church of S. Girolamo.  Zani says he  in 1511, aged 34 years.
was living in 1664.                                  BARBATELLI, BERNARDINO, called POCCETTI,
BARATTI, ANTONIO, an Italian designer and   an Italian painter, born at Florence, according to
engraver, born at Florence about 1727. He ex-  Moreni, in 1548. He studied under Michele Riecuted some plates for a volume of prints, from   dolfo del Ghirlandajo, but after leaving that school
the collection of pictures belonging to the Marquis  he went to Rome, and studied the works of RaffaGerini, published at Florence in 1759. He also  elle and other eminent painters.  On returning to
engraved a portrait of John Bettini Cignarolli;  Florence he became quite eminent. His works
after Rosa.                                        were distinguished for richness of composition, eleBARAUDIE, LE, an Italian engraver, a native  gance and grace; and the draperies, fruit and flowof Florence, who lived about 1638. He executed  ers, landscapes, and other accessories which he inamong other works, several plates of designs and  troduced into his historical pieces, have been highly
ornaments for gardens, published at Paris in 1638,  praised. But few of his works remain in Florence,
by Michael van Lochon.                             except frescos; and in this branch of the art he
BARBALUNGaA  ANTONIO RICCI, a Sicilian   equalledmany Italianpainters. P. daCortonasaid
painter, born at   essn   in 1.  He s d   it was surprising that he was not sufficiently esRome  under Domenichino   whose admirable  teemed in his day; and whenever Mengs went to
at Rome under Domenichino, whose admirable
style he imitated with success. He executed two   Florence, he  areully studied his works  He is
pictures at Rome for the church of the Theatines,  said to have been of a whimsical disposition, hoosrepresenting St. Gaetano and St. Andrea Avellino   ing his companions from the lowest society, assimwhich are worthy of the school of Zampieri. He  ilating himself to them, and treatinghe higher
classes with insolence or contempt.  He died in
returned to Messina, where he executed many ex-  1612.
cellent paintings.  He established a school in that
city which produced several distinguished scholars,    BARBAULT, JEAN, a French painter and enamong whom were D. Marolli, O. Gabriello. and   graver, born, according to Nagler, at Paris.  He
gostino Scilla.  This artist ranked as one of the  lived at Rome about 1760. Little is known of him
best Sicilian painters.                           as a painter, but Basan says he engraved a set of
prints of the antiquities of Rome, and a few etchBARBARELLI, GIORGIO, called GIORGIONE,  ings, among which is the Martyrdom of St. Peter,
a distinguished Italian painter, born at Castel-  afterPeter Subleyras
franc, near Trevigi, in 1477. He early manifested      ARBE         a Fleish engravr, born at Anta strong inclination for art, and was placed in the   i    tu
school of Giovanni Bellini, at Venice, where Titian   werp about 1585. He is supposed to have studied
soon after became his fellow  student.i   He Tsoon   under the Wierixes, from the great similarity of
manifested great ability  and was the first of the  their styles. He visited Italy and became proficient
in drawing, which may account for his surpassing
Venetian painters that broke through the timid  in drawing, which may account for his surpassing
and constrained stylehat  prevailed att the time  most Flemish engravers in this respect. After his
and constrained style that prevailed at the time  return home he executed some small and middleof the Bellini, and introduced a freedom of out-e, he executed some small and middlelnea boldness of hand ing,' a3nd a vigorous efc   sized plates, in a very neat and agreeable style.
line, a boldness of handling, an  a vigrus effect  Vandyck painted his portrait, which was engraved
of chiaro-scuro, which were unknown before him.  byBolswert.  Thefollowing is a list of hisprints:
His characters were dignified, his masses of light    Bolswert.  Thefo
and shadow  were broad and simple, his coloring             SUBJECTS FROM HIS OWN DESIGNS.
rich and harmonious, and he was the first to intro-    The Annunciation; inscribed Spiritus sanctus. The
duce that admirable blending of tints, which con-  Nativity; inscribed Peperit.filium. The Virgin Mary and
stitutes the chief magic of Venetian coloring. HeSt. Joseph arriving at Bethlehem; inscribed Et reclinavit
egained his principal improvement from the study   eum, -c.  The Virgin suckling the Infant Jesus, in a gargained his principal improvement from the studsr clandof fowers; inscribed Beatus veenter, 4c.  Christ on
of the works of Leonardo da Vinci; and from   the Mount of Olives; In diebus, 4c. Christ and the Disthem he acquired the extraordinary breadth of ef-  ciples at Emmaus; Et aperti sunt, 4c. The Crucifixion;
fect, and the wonderful relief, for which his works  Prohefili, cfc. St. Ignatius kneeling before an Altar.
are distinguished. His coloring was soft as well  Four Emblematical Subjects of the Christian Virtues.
as vigorous, and in his carnations he sometimes ap-        SUBJECTS AFTER VARIOUS MASTERS.
preached the tenderness and truth of Correggio.    The Repose in Egypt, St. Joseph presenting an Appie to
His pictures were greatly admired by Titian, who  the Infant; after J. B. Paggi. The Holy Family, with
for some time followed his style.  Giorgione was  the Infant Jesus embracing St. Joseph; after Rubens; fine
greatly distinguished for his admirable portraits.  and scarce before the name of Rubenb. Twenty-six plates
greatly  d~istinguished~. ~   i     of the Life and Miracles of Father G-abriel Maria, foundei
His works in this branch of the art are character-  of the Annunciades; entitled Theatrum vitam, irtutes,
ized by grace, dignity, expression, and truth of  4c., with his Portrait; after Ab. van Diepenbeck. The
character; and he may be ranked among the great-  Virgin seated on a Throne, holding the Infant, with a Bird;
3st portrait painters. Most of his frescos have  after Franciscus Franck.
perished, and those which remain are greatly in-    BARBELLO, Gio. GIACOMO. an Italian painter
jured so that little of their original excellence is  born at Cremona in 1590.  Pasta praises him




BARB.                      70                    BARB.
greatly for his paintings in the churches at Ber-  works showed a ready invention, and wonderful
gamo, especially for an altar-piece in S. Lazaro,  facility of execution. Orlandi says he died at Verepresenting the titular Saint, commendable for its  rona in 1698.
dignity of character, and decision of hand.        BARBIERIPAOLoANTONIO an Italian painter
BARBIANI, ANDREA, an Italian painter, born  born at Cento, a village near Bologna, in 1596. He
at Ravenna about 1680. Lanzi thinks he studied  was the brother of Gio. Francesco B., called Guerunder P. Cesare Pronti, in whose style he painted  cino. He usually painted flowers, fruit, and game,
subjects of history. There are some of his works  and he represented fish in the most truthful manin the churches and public edifices at Ravenna and  ner. He died in 1640.:Rimini, which stamp him a good artist; the best
of them are the Four Evangelists, in the vault of   BARBIERI,  GIOVANNI FRANCESCO, called
the cathedral at' Ravenna. He died in 1754, aged   GUERCINO, an Italian painter of great eminence,
about 74.                                        was born at the village of Cento, in the country of
BARBIANI, Gio. B T  an I n         Ferrara, in 1590. Malvasia says he was called
BARBna ANI, GIlou.BTTISA, an Italian painter,  Guercino from having lost his right eye during inborn at Ravenna, and flourished about 1635. From fancy, by an accident occasioned by the negligence
his style it is thought he studied under Bartolo-  fancy, by an accident occasioned by the negligence
his style it is thought he studied under Bartolo-  of a nurse. Before he was ten years old, he painted
meo Cesi. His finest oil paintings are at Bologna,  a figure of the Virgin on the faade of his father's
a  figure of the Virgin on the facade of his father's
being two of St. Andrea and St. Giuseppe at the  house which would have been thought a very reFranciscans; and St. Agata in the church of that  markable production even at a more advanced age.
name. His best freso  painting is the A^ssump- |It is asserted that he studied under the Caracci;
tion of the Virgin, in the dome of the chapel of Our  but this can hardly be true, both from the time in
Lady delSudore, at Ravenna, which Lanzi says  which he lived, and the wide difference in their
will compare fav bly with the cupola in that city,  styles. Lanzi says he was not a scholar of the
painted by tuido.                                Caracci, but that he was instructed by two obscure
BARBIER-WALBONNE, JACQUES Luc, a  painters, Gio. Battista Cremonini, and Benedetto
French historical and portrait painter, born at  Gennari the elder.  Barbieri was a self-taught
Nisme. in 1769. He studied under David. He  artist. He often spoke very highly of the great
executed a number of historical works, besides  work of Lodovico Caracci at the Capuchins at
several portraits of the famous French generals.  Cento, and probably derived much advantage from
BARBIERE, DOMENICO DEL, an Italian painter  its study. At different periods of his life he foland engraver, born at Florence about 1506. He  lowed three different styles. In early life he seems
was instructed by il Rosso, who took him  on a  to have imitated Michael Angelo Caravaggio in his
visit to France, where he was invited by Francis I.  violent contrasts of light and shadow, the works
to adorn the palaces Fontainbleau and Meudon,  of that master being then highly esteemed; and
in which his pupil greatly assisted him. Barbiere  though always superior to him in design, and in
was employed, after the death of Primaticcio, to  dignity of character, yet his first works were charexecute some fresco paintings after the designs of  acterized by the false principles, and something of
that master. His plates, though valued for their  the vulgarity of the latter. After visiting Bologna,
rarity, have little merit, for they are sometimes  Venice, and Rome, he chose a style distinguished
executed entirely with the graver, in a clumsy,  by a grander and more elevated taste of design,
awkward manner; and his etchings are no bet-  more amenity and sweetness in the coloring, the
ter. He is occasionally confounded with Domen-  heads finely expressed, with a wonderful relief, free
ique Barriere, from the similarity of name; but  from harsh or violent contrast. Such are his celetheir styles are so totally different that the error  brated pictures of St. Petronilla, formerly in St.
will easily be corrected. He sometimes marked  Peter's; the Aurora, in the Casino at the villa Luhis plates with Domenico del Barbiere, Fioren-  dovisi; St. Philip of Neri, in the Chiesa Nuova, at
tino. sometimes D. F., and sometimes with one  Rome; the Resurrection, at Cento; and S. Elena,
of the following monograms:                      at the Mendicanti, in Venice. It was at this peTjIN.,          _^           T _^ s        nriod, in the middle of his life, that he commenced
del., inv., or Jj) F.) or     o       his stupendous work of the dome of Piacenza,
which from the beauty and strength of its colorThe following are his principal prints:        ing, the boldness of the foreshortning and the
An Angel standing on a Globe, holding two Trumpets;  magic of its relief, may be called the perfection
inscribed Domenico del Barbiere Fiorentiro. The Be-  of fresco painting. The cupola has eight compartpose in Egypt, with some Angels, marked D. F. The  ments intheupperpart of whichare theProphets,
Stoning of Stephen; Domenico Fiorentino. Christ taken
down from the Cross; after Salviati, without the name of  accompanied byAngels, and in the lower, the Sibyls,
the painter, marked with his cipher. Amphiara raising a  and subjects from  the New Testament. These
Storm against Aneas; after Primaticcio, without the  wonderful performances stamp him  one of the
name of the painter; inscribed Amphirao. Venus, Mars,  greatest artists of his time. But in his finest
and Cupid; after il Rosso, marked D. F. A Banquet;  works we find no graces of ideal beauty, and by no
after Prmatcc  signed  o.Frento.     means the purest choice of nature. There is gen
BARBIERI, FRANCESCO, called DA LEGNANO,  erally something lacking in the expression of his
an Italian painter, born in a fortress called Leg-  heads, and his figures have neither dignity of form,
nano, near Brescia, in 1623. He was intended for  or nobleness of mein; but his powerful coloring
the military profession, but showing great taste for  counteracts this in a great measure, and his brilliant
painting, he was placed under Bernardino Gandini,  lights, tender demi-tints, and strong shadows, prowhom he soon left, and entered the school of Pietro  duce an extraordinary effect. His drawing is bold
Ricchi, a pupil of Guido Reni, under whose instruc-  and frequently correct, and his facility of execution
tion he acquired eminence. He painted landscapes  is most wonderful, as is evident from the great
mnd history both in oil and in fresco. All his  number of his works. Malvasia gives a list of one




BARB.                      71                    BARD.
hundred and six altar-pieces for the churches, one  in 1783. He studied in the school of Vanloo.
hundred and forty-four large historical pictures,  Heineken speaks of some prints engraved by this
besides his great fresco works, and numerous Ma-  artist.
donnas, portraits and landscapes in private collcc-    BARDUCCI, V., an Italian engraver who flourtions. Later in life, after the death of Guido, the  ished about 1768, and executed, among other.
great fame of that painter induced him again to   works, a portrait of Pascal Paoli, the Corsican
change his style; but in attempting the elegance  general.
and grace of Guido's forms, and the delicacy of his    BARDWELL, THOMAS, an English portrait
coloring, he fell into feebleness and languor, losing  painter. He executed several portraits of the emthat powerful energy which characterizes his best  inent men of his day, and wrote a book called
works. In this weak style he painted most of his   The Practice of Painting and Perspective made
works forthe churches at Bologna, also the Marriage  Easy. Ile died about 1773.
of the Virgin, in S. Paterniano, at Faro; the An-    BARENTSEN D         a Dutch painter, born at
nunciation, at Forli; and the Prodigal Son, in the  Amsterdam  in 1534, was the son of an obscure
Royal Palace of Turin. He left an immense numartist, who taught him the elements of design. At
ber of excellent drawings, which are highly valued.  artist, who taught him the elements of design. At
King George IV. possessed a large collection of  the age of twenty-one, he visited Venice, where the
these eodrawings some of which have been finely  famous Titian received him into his school, and fathese drawins, some of which hav  been finely  vored him with his kindness and friendship: He
engraved by Bartolozzi. He died in 1666. There
engraved by Bartolozic. He died in 1666  Thed w  executed a fine portrait of that great master, which
are some etchings by this artist, executed with
great freedom and spirit, among which are the fol-  gained him much reputation.   aving remained
lowing: Bust of a Man, with a cap and beard; Bust  under his tuition for seven years, he returned to
of a Woman; Bust of a Man, in oriental costu me   Holland, where he met with great success as a porSt. Peter, Joan\ F. Barberaf; *St. Jerome, with  trait painter; and executed several works for the
St.a Crucer, Josame F.ark bi J    St. Jeromen, wint.h  churches. The style he had acquired from Titian,
St. Anthon, same  mark; S. John, Joawas a great advantage to him in portrait painting;
St. Anthony, same mark. 
and in this branch of the art, he was thought the
BARBIERI, LUCA, a Bolognese painter of land-  best Dutch painter of his time. Among his finest
scapes and architecture, and a scholar of Alessan-  works of history was an altar-piece, which he exedro Tiarini. He executed several important works  cuted for the great church of Amsterdam, reprefor the palaces and public buildings at Bologna, in  senting the fall of Lucifer. During the religious
concert with Francesco Carboni, who painted the  troubles of Holland this painting was destroyed.
figures.                                         Van MBander says he died in 1592.
BARCA, or BARCHI, CAV. GIAMBATISTA, an           BARGAS, A. F., a Flemish designer and engraItalian painter, who lived about 1650. He was  ver, who lived about 1700. He etched a seof six
born at Mantua, but became a citizen of Verona.  landscapes from his own designs, A. F. Bargas,
His works were replete with grace and beauty,  inv. etfec.; and a set of four landscapes after Peter
and both Lanzi and Zani give him credit for great  Bout, which are sometimes marked with the name
ability. Some have supposed him to have studied  of Bargas, and sometimes without it.
under D. Feti, but this is not known with cer-    BARGONE, GIACOMO, an Italian painter, born
tainty, as his style varied at different periods. t Genoa, and studied under Andrea and Ottavi
BARCA, DON VINCENTE CALDERON DE LA, a  Semini. The outline of his figures was full of
Spanish painter, born at Guadalaxara in 1762. He  beauty and grace, his pencil rapid and free, and his
studied under Don Francesco Goya, and gained  drawing very correct. His genius excited the envy
distinction for his portraits and historical subjects,  of Lazaro Calvi, a rival artist, who, according to
in the former of which he especially excelled. The  Soprani, invited him to an entertainment, and gave
Birth of St. Norbert in a college at Avila, is his  him poisoned wine, causing his death in the prime
best historical work. He died in 1794, aged 32.    of life.
BARCO, ALONSO DEL, a Spanish landscape          BARKER, SAMUEL, an English painter. Lord
painter, born at Madrid in 1645. He studied un-  Orford says he was a relative of John Vanderbank,
der Antolinez; Palomino  Velasco  says he was  who instructed him in the art; but having a fine
a distinguished painter of landscapes, many of  genius for painting fruit and flowers, he imitated
which are in the palaces and private collections  Baptist, and would probably have become eminent
at Madrid. He died there in 1685.               in that branch of the art, had he not died young,
BARDIN, JEAN, a French historical painter  in 1727.
born at Montbar in 1732. He was first instructed   BARKER, ROBERT, an English painter of the
by the elder Lagren6e, but finished his studies at  last century. He invented and painted many panRome. He was sent by his parents to Paris to  oramic views, the first of which was a view of Edlearn a trade, but his genius guided him to the pro-  inburg, exhibited in that city in 1788, and in Lonfession for which nature had intended him. On  don in 1789, where it excited little attention. He
returning to Paris, he acquired considerable emi-  next produced a view of London, which was highly
nence; and his picture of Christ disputing with  praised by Sir Joshua Reynolds and others.
the Doctors, gained him admission into the Acad-    BARKER, BENJAMIN, an English landscape
emy of France in 1795. His subjects partake of  painter, born in 1766. Iis pictures are principally
poetry, history, and religion.  He taught David  views taken from the vicinity of Bath. His skies
and Regnault the principles of the art. He died  are warm, and his chiaro-scuro is managed with
in 1809.                                        considerable intelligence.  He practised the art
BARDON, MICHIL FRANCOIS D'ANDRE, a  with success, and in the latter part of his life he'
French historical painter and engraver, born at  published a volume of forty-eight views, executed
Aix, in Provence, in 1700, and died at Marseilles  in aquatinta by Thos. Fielding.  Ho died in 1838




BARL.                        72                     BARO.
BARKER, THOMAs, an English painter, was   works, he returned to Urbino, where ne executed
born in 1769, in Monmouthshire.  He was taken   an admirable painting of the Desce t from  the
under the protection of Mr. Spanckman, an opu-  Cross, for the Cathedral of S. Lorenzo at Perulent coach builder at Bath, who gave him every   gia. During the pontificate of Gregory XIII., he
opportunity to follow the bent of his inclination.  returned to Rome and painted two fine pictures
At the age of seventeen, he painted a picture of the   for the Chiesa Nuova, representing the Visitation
Woodman, which was greatly admired, and was  of the Virgin to Elizabeth, and the Presentation
afterwards sold to Mr. Macklin for 500 guineas.  in the Temple, which are thought his greatest efAt the age of twenty-one, Spanckman sent him to  forts; also a picture of the Last Supper, for the
Rome, where he remained several years; and after   Chibsa della Minerva.  Baroccio's works are exhis return, he practised the art at Bath for many   ecuted with elegant taste, and there is great amenyears with considerable success. He was an occa-  ity and harmony in his coloring. He seems to
sional exhibitor at the Royal Academy for about  have imitated Correggio; and though his figures
fifty years, during which period he sent nearly one  are graceful, yet his style is somewhat affected,
hundred pictures.  His best work is thought to be   and cannot for a moment be compared with the
the fresco painting on the wall of hi.s own house in  simple, touching beauty of that great master. The
Bath, representing the Inroad of the Turks upon  following is a list of his plates, which are correctScio, in April, 1822. Barker died in 1847.          ly designed and beautifully expressed, though not
BARLOW, FRANCIS, an English painter and   executed in a finished manner:
engraver, born in Lincolnshire, about 1626, and       The Virgin holding the Infant Saviour; a small plate,
the pupil of Sheppard, a portrait painter of little  of which the lower part is left unfinished; the Virgin in
note. EHe painted fish, animals, and birds with  the Clouds, with the Infant Jesus; marked F. B. V. F
The Annunciation; on the left of the print a Cat sleeping;
great accuracy of design; and had his touch and  fine. St. Francis receiving the Stigmata; the Virgin and
coloring been as good, his reputation in this branch   our Saviour appearing to St. Francis; a large plate, arched.
would have been very great.  The landscapes in   This is his principal plate.
his pictures are very well executed.  Hollar en-       BARON, BERNARD, an eminent French engraved a set of thirteen ptes representing hunt-  graver, born at Paris about 1700. He studied
ings, &c., from designs of Barlow, which were very   under Nicholas Henry Tardieu and followed his
correctly drawn.  Barlow  executed some of the   style.  He executed several plates for the Crozat
plates for Edward Benlow's divine poems, called  collection, and afterwards visited England, where
Theophila, published in 1652. There is a print  he remained till his death, in 1762.  His plates,
by him representing an eagle in the air, with a cat  though coarsely engraved, have considerable merit
in her talons, from  a scene he witnessed in Scot-  The following are his principal works:
land. He published a translation of Esop's Fables,
with 110 plates, from  his own designs.  He often                       PORTRAITS.
marked his plates F. B., sometimes enclosed in a    King Charles I. on Horseback, with the Duke d'Epercircle.                                             non, 1741; Charles I. and Queen, with two children; the
BARNUEVO, DON SEBASTIAN DE HERRERA, a  Nassla  Family, after Earl Cowper's picture; the PemSpanish painter, sculptor and architect, born at  broke Family, after the picture at Wilton; Robert, Earl
of Caernarvon, in the same collection; Anna Sophia,
Madrid, according to Palomino, in 1611., His fath-  Countess of Caernarvon; after Vandyck. Henry VIII.
er, Antonio Herrera, was a sculptor, and taught  granting the Charter to the Surgeons Company; after
him that art; but as he manifested a taste for paint-  Holbein. The Family of Vandyck; after the Earl of
ing, he was placed under Alonso Cano, and became   Pembroke's picture. George, Prince of Wales, on Horsequite distinguished in painting, sculpture, and ar-  back; after Adolph. Cornelius Tromp, Vice-Admiral of
Holland; after J. Vanderbank. Doctor Mead; the Lord
chitecture.  Many of his productions are to be   Chancellor Hardwick; after A. Ramsay.  The Chief Jusfound in the churches and convents at Madrid, the  tice Reve; after J. Amiconi. The Cornaro Family; afbest of which among the paintings are the Beatifi-  ter Titian; the picture is in Northumberland House.
cation of St. Augustine, in the great chapel of the   Dr. Benjamin Hoadly, Bishop of Winchester; after HoAugustine Recolets; and the Nativity, in the    ath. 1743.
Church of St. Geronimo. He died at Madrid in                 SUBJECTS AFTER VARIOUS MASTERS.
1671.                                                 Nine plates of the Life of Achilles, with the titles; after
BAROCCIO, or BAROCCI, FEDERIGO, an Ital-  Rubens; dedicated to Dr. Mead. Belisarius; incorrectly
ian painter of eminencino in 158   called after Vandyck. Charles I. escaping from Hampton
dian  painter of eminence born at Urbio in 1528,  Court; after J. d'Angelis. Jupiter and Antiope; after
died in 1612. His father was Ambrogio Baroccio,  Titian; for the Crozat collection. This is considered his
a somewhat noted sculptor. His uncle, Bartolo-  best performance. Pan and Syrinx; after Nic. Bertin.
meo Genga, taught him  the rules of perspective,  The Card-players; the Temptation of St. Anthony; after
and he studied under BattistaVeneziano until twen-   D. Teniers. The Italian Comedians; the Companione;
ty years old, when he visited Rome, where Car-  the Two Cousins; Soldiers plundering a Village; the
Peasants revenged; after Watteau. St. Cecilia; after
dinal della Rovere favored him  with his pro-  Carlo Dolci. Moses exposed on the Nile; after le Sueur.
tection, and received him into his palace, where
Baroccio executed some fresco paintings, and the       BARON, JEAN, or BARONIUS, a French
portrait of his patron.  Having spent four years  engraver, born at Toulouse in 1631, and w;iein Rome, he returned to Urbino, where he execu-  times called Tolosano, from  his birth-place. He
ted a picture of St. Margaret for the confraternity  resided chiefly at Rome, where he engraved several
of the Holy Sacrament.  This performance gained   plates of history and portraits, executed entirely
for him so much celebrity, that he was invited by   with the graver, in a neat but dry manner, and inPius IV. to paint some ornaments in the Belve-  correctly drawn. The following are the principal:
dere palace, where he represented the Virgin and                        PORTRAITS.
Infant, with several Saints; and the Annunciation,    John de Planter et de la Pause, Bishop of Loudun; the
on a ceiling in fresco. After finishing these and other  Cardinal Aquaviva; Leonardo Alberti, architect; Vito de




BARO.                       73                     BARF.
Aramanto. architect; Giovanni Francesco Rustici, sculptor;  Giorgio Vasari presented him to Julius III., whc
Marc' Antonio Raimondi, engraver; Raffaelle d'Urbino;  had known Vignola at Bologna when legate to that
Leonardo da Vinci.                                 city.  He appointed him his architect, gave him the
SUBJECTS AFTER VARIOUS MASTERS.           direction of the waters of Trevi, and ordered him
The Stoning of Stephen; the Martyrdom of St. Andrew;  to decorate his villa.  Vignola erected a smal
after Nicolo dell Abate. St. Peter and St. Paul in the  temple 6n the Via Flaminia, in the antique style,
Clouds; after Ann. Caracci. The Virgin in Adoration;  called Sant' Andrea di PonteMolle.  He improve
qfter Guido Reni.  The Virgin; a small plate; after
after GdoReni.  The  irin  asal plate aftercalled Sant Andrea di Ponte Molle. He improved
Bernini. St. Romualdo, and Monks; after Andrea Sc-  fori de' Monti, the palace which afterchi. The Plague; after N. Poussin.                 wards became the property of the Grand Duke of
BARONI, CAV. GASPARE ANTONIO, a reputable  Tuscany, and commenced another palace for the
Italian painter, born at Roveredo in 1682. He was  same nobleman. The cardinal Alessandro Farnese
a pupil of Balestra, whose style he adopted. He   ws mu   attached to Vignola, and employed him
executed five admired works in fresco for the choirin the Farnese Palace; also to erect the beautiful
of the Church of the Carmelites in that city. The  Corinthian door at San Lorenzo and Damaso. He
Count Venetti ha   ritte    s written his life, and given an   designed the magnificent church of the Jesuits, and
account of his works. pubished at Verona in 1781   carried the edifice up as far as the cornice. The
8vo, in which he extols him as an extraordinary
8vo., in which he extols him as an extraordinar    Caparola Palace was erected by Vignola, and is the
genius; but other authors class him only as an   most stately and magnificent work of this great
artist of the third order. He had the faults of    an.'It is about thirty miles from Rome on the
Balestra without possessing his talents. His best  Viterbo side, in a mountainous and desolate region.
works are the prophets Elijah and Elisha, and the   After the death of Michael Angelo, he was apLast Supper, Which last is in the Church of Notre   pointed architect of St. Peter's, and erected the
Dame di Loretto.  IIe died in 1759.                two beautiful lateral cupolas.
BARONI, GIUSEP   a Venetian engraver, wo     The Baron Martirani had collected twenty-two
BAflourished about 1720. He engraved  some larg  designs by the most eminent architects of the age,
ourished  abou      t 720. H e engravedr the Venetian  for the Palace of the Escurial. While at Rome,
plates in a coarse heavy style, after the Vee      he shewed them all to Vignola, who, by combining
~~~masters.                           ^~gtheir various excellences, and uniting his own
BAROZZI DA VIGNOLA, GIACOMO, an Ital-  ideas, produced so beautiful a whole, that Philip
ian architect of great eminence, was born in 1507,  II. immediately decided upon it, and invited him
at Vignola, in the territory of Modena. His father,  to Spain to execute it, but his advanced age preClemente Barrozzi, a resident of Milan, had left that  vented.
city in consequence of its civil discords, and retired,    Pope Gregory XIII. employed Vignola to settle
with his wife, to Vignola.  Giacomo, while young,  the difference between him and the grand duke
studied painting at Bologna, but not succeeding,  concerning the boundaries of their estates near
he turned his attention to perspective, and at  Cittt di Castello, which he executed with judgment
length collected all the rules on that subject into  and integrity. He had scarcely returned to Rome
one treatise, which is well known.  At the same  when he died, aged 66. His body was carried,
time, he studied architecture; and visited Rome,  with great honors, by the members of the Acadwhere he measured nearly all the ancient edifices  emy of Drawing, to the Pantheon.  "It is but
that still remained in that city. In his latter days,  just," says Aviler, " that the greatest admirer of
he produced a valuable treatise on the five orders  ancient architecture should have his sepulchre in
of architecture, which has become the alphabet  the most magnificent edifice of antiquity."
of architects. While pursuing these studies, he      Vignola formed a system, and prescribed rules
resumed his pencil for support, but received so  of architecture that have been of immense advanlittle profit from it, that he became disgusted with  tage to the science. He was fertile in invention.
painting, and undertook to make drawings for the  elegant in his ornaments, and majestic in his aruse of the new Academy of Architecture at Rome.  rangements. As to his personal disposition, he
Il Primaticcio having arrived from France to col-  was prompt to assist others, patient, cheerful, and
lect antiquities, Vignola gave him  a number of  sincere.
drawings of ancient monuments, and returned with       A    A    BA
him to France, where he resided several years, and     A Ar BARA, JOHN, a Dutch painter and
made many designs for edifices, which, in conse-  engraver. His initials, preceded by the Cross of
quence of the civil wars, were never executed.  On   Lorraine, are found on prints engraved after Nicreturning to Bologna, he made a design for the  olas Roussel, which represent arabesques. Heinefahade  of San Petronio, which was preferred to   ken describes several of his works, dated from 1598
many others, and received the commendations of  to 1632; and some of his prints have the word
Giulio Romano, Cristofaro Lombardo, architect of     ndini where he died, according to   alpole,
the cathedral at Milan.  He erected a magnificent     1634.
palace at Minerbio, near Bologna, for the Count      BARRABAUD, PIERRE PAUL, was born at AuIsolani; the house of Achille Bochi; the beautiful  busson in 1767. He was one of the most distinfacade of the bank, and the canal of Navilio at Bo-  guished painters of birds and natural history that
logna. Not being adequately rewarded for the lat-  France has produced. He was the son of a poor
tcr works, he withdrew to Piacenza, where he de-  man, a workingman in a carpet manufactory.  At
signed the ducal palace; and, after laying the foun-  an early age he exhibited a remarkable disposition
dations, left it to the execution of his son Giacinto.  for drawing, and at sixteen years of age went to
Vignola erected the churches of Mazzano di Sant'  Paris, where he entered the studio of Malaine. deOreste, and della Madonna degli Angeli, in Assisi;  signer and painter for the Gobelins; but he soon
and the elegant chapel in the Church of San Fran-  surpassed his master, and taking nature for his
cesco at Perugia.                                  guide, he rose to the highest excellence. The celOn his returhing  a second time to  Rome,  ebrated traveler and naturalist, Le Vaillant, em



BARR.                       74                     BARR.
ployed him  to draw and paint his birds, and he  some plates from  his own designs; and in 1651
painted all the parrots and birds of paradise for  he published a work of some merit, entitled Viag
that savan's History of the Birds of Africa. He  gio Pittoresco d'Italia.
now found himself overwhelmed with commissions;         DBARRIRE             MINIQUE, an ingenious
but laborious, and working with extraordinary fa-       BFre        engraver born at Marseilles about
cility, he was enabled to furnish all the designs,  1622. He resided chiefly at Rome, where he exclored to life, for Buffon's Natural History, pub -  ecuted a considerable number of prints, in a very
aished by Sonnini; also for Latreille's Natural  agreeable style, after Claude and other landscape
History of Insects. He also rendered important  paiers. They are neatly executed in the style
services in getting out the great work on Egypt,   f Stephen della Bella. He sometimes signed hi
published-by the Govern ant. He executed nu *of Stephen della Bella. He sometimes signed his
published by the Government.  He executed nu-             with his name Dominicus B      ere Massi
merous designs for the porcelain manufactory at  plates with                  his monogram, which
Sevres, which greatly contributed to its reputa-  is the same as that  used by Domenico del Barl. He painted a portabl  cabinet for Joseph is the same as that used by Domenico del Bartion. He painted a portable cabinet for Joseph   biere; which has often occasioned mistakes, though
Buonaparte which was greatly admired, and he  their styles are totally different. The following
was ordered by Napoleon to decorate the dining              nal work
room at St. Cloud. In 1808, he obtained a gold                  pal w
medal for two birds, which he placed in the exhi-    Portrait of John de la Valette; marked D. B.; scarce.
binand - which were bought by the Empressi. JA set of six Landscapes; Rossi exc. A set of twelve Landbition, andwhich were bought by the Empress  scapes; dedicated to Lelio Orsini. 1651. Seven Views
Josephine for Malmaison. In 1809, a decree of  of the Villa Aldobrandini, 1649; Dominicus Barriere
government appointed him professor of the School  Massiliensis. A Landscape, with the Zodiac; inscribed
of Arts, at Lyons, where he fell sick and died soon   Vim protert ubi, &c. A View of Frascati; Pontana
after his arrival, October 1, 1809, aged 42, deeply   magiore nel Giardino di Tivoli, with his cipher. Eighlamented.                                          ty-four Views and Statues of the Villa Pamphili; Rossi,
exc.  Four; entitled Catafalco e aparato nella chiesa,
BARRAS, SEBASTIEN, a French engraver, born   &c. Sepulchral Monument of N. L. Plumbini; Dominiat Aix, in Provence, in 1680. Heineken says that  cus Barriere Gallus, in. ex. del. et scul. Hercules, after
the first edition of the collection of Boyer dAiguil-  a basso relievo in the Medicean Garden. A large plate;
me contained twenty-two plates in mezzotinto, en-  entitled Circum Urbis Agonalibus, &c., with many Figles contained twenty-two plates in mezzotinto, en-      ^  ^ D^^us Barrier Mass. del et scul. Sevures, 1650; Dominicus Barriere, Mass. del et scul. Sevgraved by this master, and that they were replaced   eral plates of the History of Apollo; after the pictures by
in the second edition by engravings of Coelmans.  Domenichino and Viola.
These are very scarce.
~These are very scarce.                 BARROSO, MIGUEL, a Spanish painter and archiBARRET, GEORGE, an eminent landscape paint-  teot, was born at Consuegra in 1538. As an archier, born at Dublin in 1728, died in 1784. His  teethe is little entitled to consideration. He studprotector, Mr. Burke, introduced him to the pa-  ied painting in the school of Becerra, according to
tronage of the Earl of Powerscourt, and during   Palomino, and executed for Philip II., in the prinmuch of his youth, he studied  and designed  cipal cloister of the Escurial, the Resurrection,
the scenery around Powerscourt Park.  He soon   Christ appearing to the Apostles, the Descent of
after gained the prize offered by the Dublin Ac-  the Holy Ghost, and St. Paul Preaching. His
ademy, for the best landscape; and in 1762 went  compositions are copious, and his design correct,
to London, where, two years after, he gained the   with great intelligence of chiaro-scuro.  Bermudez
~50 premium  offered by the Society for the En-  says he was occasionally deficient in vigor and
zouragement of Arts, &c.  He was one of the   knowledge of chiaro-scuro; but that his forms are
prime movers, and earliest members of the Royal  those of Correggio, and his color that of Baroccio.
Academy.  His works are faithful delineations of  He died at Madrid in 1590.
nature, and executed with admirable taste; his       BARRY  JAME   an eminent historical painter
colorin- is excellent, and he has perfectly reprezolorin is  excellent, and he has perfectly repre-  of the British school, born at Cork  in Ireland in
sented the richness and dewy freshness of Eng-  1741. Brtsh              sborn at Cork, and edu
lish scenery. This sometimes tempted him to use  cated      e     the  soo   of Mr. Wes, at   un,   ere,
oolors rich and beautiful when first applied, but   atd in the shool nty-two  he gained the prize for
svhich no art can render permanent,  His land-  at the age of twenty-two, he gained the prize for.which no art can render permanent, His landh    no......   ".a historical picture representing the arrival of St.
scapes are to be found in several collections of the        isi   pi    psi             ri       
nobility; but his chief works are in the possession   Ptrik on the coast of Cashel.  Hs merit ganed
of the Dukes of Portland and Buccleugh; and the. Edmund Burke, who
of Ade Dukes of PortAhd   d 1.ce  and m  induced him to go to London, and afterwards furgreat room of Mr. Lock, at Norbury Park in Sur-  indued him         to go to Lo   and afterwards 
rey, which is a continuous scene painted entirely   nished him the means to go to France and Italy
y) wihi     otnosseepme   niey where he studied with great assiduity, and painted
round. He executed a few spirited etchings of his  s     excellent works which gained him considerworks as follow: A, View of the Dargles near  some excellent works which gained him considerDublin; a set of six View  of Cottages near Lon-  able reputation.  While at Bologna, he was made
Dublin; a set of six Views of Cottages near Lo^   a ^,J~ ^  ^  Clementine Ac-emy, on which
don; a large landscape, with Cottages; a View of  a member of the Clementine Academy, on which
Hawarden Castle; dated 1778.                       occasion he painted his picture of Philoctetes in the
isle of Lemnos. He returned to England in 1770,
BARRETT, RANELAGH, an English painter,  and exhibited in the Royal Academy, his Adam
mentioned by Lord Orford as an excellent copy-  and Eve; and the year following, his Venus Anaist. He was favored with the patronage of Sir  dyomene, both of which were greatly admired.
Robert Walpole. and succeeded well in copying        Barry was a singular genius, with an enthuRubens.  He copied several works for Walpole's  siasm  for art that knew no bounds, and with an
collection; also for those of the Duke of Devon-  independence that brooked no dictation and subshire, and Dr. Meade. He died in 1768.             mitted to no slight or indignity; therefore it may
BARRI, GIACOMO, a Venetian painter and en-  be foreseen that his path through life would not be
graver, who lived about 1650. He etched a slight  a flowery one. The patronage he met with affree plate of the Nativity, after P. Veronese; also  forded him but a scanty maintenance; but his




BARR.                       75                     BARS
wants were few, and nothing daunted his energy.  ing three of the subjects poetical, the others nlsWhen the members of the Royal Academy refused  torical. The Elysium and the Victors at Olym
to accept the proposition made by the Society for  pia are forty-two feet in length; the other four
the Encouragement of Art, &c., to decorate their  fifteen feet six inches long; the height of all of
new Room in the Adelphi, on condition that a pub-  them  is eleven feet six inches.  His other best
lic exhibition should remunerate the artists for  works are Jupiter and Juno; Venus Anadyomene;
their pictures, Barry, without a shilling in his  Job reproved by his Friends; the Conversion of
pocket, stept boldly forward and offered his ser-  Palemon; King Lear, in the Shakspeare Gallery;
vices to do the work.  He gratuitously spent three  the Archangel's triumph over Satan; Satan rising
years in the execution of those great paintings in  from the fiery gulph and hurling defiance at the
fresco, living in a garret, and subsisting on the   vault of Heaven; Battle of Satan and Death, Sin
coarsest fare, by the sale of an occasional drawing.  interfering; Adam and Eve; Temptation of Adam;
At the completion of this noble work, the Society   Adam  and Eve after the Fall; Birth of Venus;
called an extraordinary meeting to view the pie-  Milton dictating to Alwood, the Quaker, &c. Bartures, which were highly approved; and they   ry etched on copper most of his works.
passed a resolution,' that the series of paintings  BARSAITI,MARCO DEL RIULIwas a descendillustrating in their design, the Progress of Human  at of a        family of Friuli, and an eminent
Knowledge and the Advancement of useful and  o    o   
K~nowledge and the Advancement of useful and  painter ofhis time. In the church of S. Giobbe
elegant Arts, from a very early period to the pre-     paintr of Chist payi in the hGarden, paiotist   a work of great execution and classicalis a  picture of Christ praying in the Garden, paintset,is a work of great execution and classical  ed in 1510, highly extolled by Ridolfi and others.
information, and must be deemed a national orna-  There are several of his works in the churches of
ment, as well as a monument of the talents and   Friuli, and one in particular, of the Vocation of St.
ingenuity of the artist," and they voted him theirftheCertosa,whichLanzisays
thanks, and gave a public exhibition for his remu-  i on e                urof   of tost  Ce rtosaa whlc h Lanzi saysg
neration, which brought the painter ~503 2s! Dr.
neration, which brought the painter ~~503 258!  Dr.  There is a duplicate of this picture in the Imperial
Johnson, speaking of these pictures said, "they   galler at Vienna.
show a grasp of mind that you will find no where                                a
else."  During the time of the exhibition, he pub-    BARTELS, GERARD, a Dutch historical and
lished  a description of them  entitled, An account  portrait painter of some merit, born in 1570. His
of a series of Paintings in the Great Room  of  works are probably ascribed to some nore emithe Society of Arts, Manufactures, and Commerce, nent master.
at the Adelpi, by James Barry, R. A., Professor      BARTOLET.  See BART. FLEMAEL.
of Painting to the Royal Academy, 1783.              BARTOLI, PIETRO SANTE, called Perugino, an
Barry was elected a Royal Academician in 1777,  Italian painter and engraver, born at Perugia about
and Professor of painting in that Institution, on   1635. In the early part of his life he practised
the resignation of Mr. Penny, in 1782.  But his  painting, but afterwards devoted himself entirely
natural independence, which led him to use inter-  to engraving. His plates are etched in a very free
derate language when excited, made a rupture be-  and masterly style.  He sometimes marked his:ween him and the President, Sir Joshua Reynolds,  prints with the initials of his name, with an F. for
which caused his removal from office, and finally  fecit, as P. B., F.; and more frequently with an
his expulsion from  the Academy. Barry strug-  abbreviation of his name, as Ptr. Ss. Bart., sc.,
gled with his evil genius, poverty, and neglect, and   Romae.  His prints number over a thousand, a codied in the greatest indigence at London, Feb. 22d,  pious list of which may be found in Nagler's Kiun1806.  A short time before his death, the Earl  stler Lexicon.  The following are his principal
of Buchan and other persons, who appreciated   works:
Barry's genius, raised a sum, by subscription,                   VAO   ANTQTIES
with which they purchased of Sir Robert Peel, a
small annuity for Barry, of which intelligence was    Admiranda Romanorum  Antiquitatum  ac veteris
brought to the unfortunate artist in his dying mo-  Sculptures Vestigia; eighty-three plates.  Romance
ments! His body was now laid out in state, in   magnitudinisMonumenta; one hundred andthirty-eight
the Great Room of the Adelphi; his funeral was  plates. Veteres arcus Augustorum triumphis insignes;
the Great Room of the Adelphi; his funeral was  sytwo plates. Colonsdi Marco  Aurelio, ^.: the
attended by many eminent men, and his remains  Antonine Column; seventy-eight plates. Colonna 4: ainterred in St. Paul's Cathedral, with a tablet  jana, di Alforso Ciacconi; one hundred and twenty-eight
bearing this inscription:                          plates. Sepolcri antichi Romani ed Etruschi trovati in
^~~~The,              Roma; one hundred and twenty-three plates. The AqueThe                          duct that brings the Water from Civita Vecchia; four
Great Historical Painter,             large plates. The Sepulchral Urn, in the Court of tho
JAMES BARRY,                      Capitol. The Antique Painting, called the Noce AldrobanDied 22d February, 1806,               dini; two sheets. Le Pitture antiche delle grotte di- RoAged 65.                       ma, 4-c.; assisted by F. Bartoli; ninety-four plates, 1680
and 1706. Le antiche Lucerne sepolchraliin Roma, 1691
The principal works of this great artist are the   and 1704; one hundred and nineteen plates. Antiquissimi
series of great pictures in the Adelphi, Which are   Virgiliani Codicisfragmenta et picture.
best described by himself in his pamphlet. and           SETS OF PRINTS AFTER VARIOUS MASTERS.
which he terms a Series of Pictures on the Human     After Rafaelle.-A set of friezes, subjects from the BiCulture. - The first represents the story of Or-  ble, twelve plates; another set of friezes from the same, fifpheus; the second, a Harvest Home, or thanksgiv-  teen plates; another set of friezes, inscribed Leonis X., f c.,
ing to Ceres and Bacchus; the third, the Victors  fifteen plates; a set of ornaments and figures, inscribed
at Olympia; the fourth Navigation, or the Tri-  Parerga atque ornamenta in Vaticani, -c., forty-three
umnph of the Thames; the fifth, the distribution        r Giulio Romano.Four, of Jupiter, Mars, Mer
of Premiums in the Society of Arts, &c.; the sixth,  chry, and Diana; a set of friezes; Jupiter fulminating the
che Elysium, or the state of final retribution, mak-  Giants.




BART.                         76                      BART.
After Lanfranco.-A set of several plates of the Life of  instructed in drawing by Hughfort Ferretti, ab
St. Peter.                                            Florence, and studied  engraving under Joseph
SINGLE PRINTS AFTER VARIOUS MASTERS.            Wagner, at Venice.  His first productions were
After Rffaelle. —The Adoration of the Magi, in three   some plates after Marco Ricci, F. Zuccherelli, and
sheets.                                               others, engraved while in the employment of WagAfter Giulio Romano.-Jupiter nursed by Amalthea;  ner.  His principal works, however, were executed
Hylas carried off by Nymphs; Sophonisba before Massi-  in  ngland, where he arrived in 164.  His etchnisa; the Continence of Scipio.                       mi England, where he arrived in 1764.  His etchnissa; the Continence of Scipio.
After P. F. Mola.-St. John preceding Christ in the  ings, after drawings of the most eminent painters,
Wilderness.                                           represent admirably the fire and spirit of the origAfter Albano.-The Birth of the Virgin.              inals; and he was not less successful in the exAfter Nicolo Berretoni.-The Marriage of the Virgin.   quisitely finished plates he produced in the various
After P. da Cortona-DanieTl in the Lions' Den.      styles he practised.  He died at Lisbon in 1813.
After L. Caracci. —The Virgin and infant Christ in the   This laborious artist has left an immense number
Clouds, with Saints.
Clouds, with Saints.  This laborious artist has left an immense number
After Ann. Cafacci.-The Family of Coriolanus at his  of plates, the principal of which are the following:
Feet; St. Charles Borromeo led by an Angel.
Feet St. CPLATES WITHOUT THE NAME OF THE PAINTER, SOME
SUBJECTS FROM HIS OWN DESIGNS.                             FROM HIS OWN DESIGNS.
St. Stephen with the Crown of Martyrdom; St. Bernard  Abraham and the Angels, n etching; the Miracle of the
enchaining the Devil; Theatre erected in St. Peter's for the  aa     the Angel, an eting; the Miracle of the
Canonization of two Saints; the sepulchral Monument of   Manna, the same; Job abandoned by his Friends; CharPope Urban VIII., Petr. Sanct. Bartol., del. et scul.; an  it  an oval, iribed pecit; the Origin of Painting,
ancient Mausoleum.                                    1787; the Virgin and Infant, circular.
BARTOLINI, GIOSEFFO  MARIA, an Italian                       PLATES AFTER VARIOUS MASTERS.
painter, born at Imola in 1657.  He first studied       St. Francis of Sales triumphing over Heresy; after Amunder Passinelli, whose style he somewhat im-  iconi. Rebecca hiding the Idols of her Father; Laocoon
itated. He posessed  g  fac f e          attacked by the Serpents; after P. da Cortona. St. Luke
itated. He possessed great facility of execution,  painting the Portrait of the Virgin; after Cantarini. The
and Lanzi says there are many of his works in the   Bust of Michael Angelo. The Portrait of Annibale Carchurches of his native city and throughout Ro-  acci; after a drawing by himself. Roland and Olimpia;
magna, where they are highly esteemed.  He died   Clytie, circular; after An. Caracci. The Adulteress before
about 1730.                                           Christ; after AgostO Caracci.. Prometheus devoured by
the Vulture; after M. Angelo. The Parting of Achilles
BARTOLO, DOMENICO, an Italian painter who   and Chriseis; Hector taking leave of Andromache; Chriflourished in 1436, was the nephew and disciple of   seis restored to her Father; the Death of Dido; Jupiter
Taddeo Bartolo, and greatly improved on the style  and Juno on Mount Ida; Venus presenting the Cestus to
of that master.  His works display much freedom    Juno; Venus attired by the Graces; Tancred and Hermif       f.' +  v.' ^',1  nia; Tancred and Clorinda; Shakspeare crowned by Imfrom the dryness of former artists; his design and   mortality;red after Cipriani. The Virgin and Infant after
perspective are better; his compositions are execu-   Carlo Dolci.  Socrates in Prison; Penelope lamenting
ted in a masterly style, with the great richness   Ulysses; Telemachus and Mentor in the Isle of Calypso;
and variety common to the artists of his school.  Paulus Emilius educating his Children; Coriolanus apRaffaelle and Pinturicchio, while painting at Siena,  peased by his Family; the Interview of Edgar and Elfrida
adopted many ideasof national costume, and per-  after her Marriage with Athelwold;  after Angelica
~~~~~adopted many itani~ per-   Kauffman.-The last plate was begun by the unfortunate
haps some other particulars, from  the pictures of   Mr. Ryland, and was finished by M. Bartolozzi for the benBartolo in the Pilgrim's Hospital.                    efit of his widow. King John ratifying Magna Charta;
BARTOLO, TADDEO, an historical painter of    fter Mortimer; the companion engraved under the same
circumstances. The Portrait of Carlo Cignani; the Porthe Sienese school, born at Florence, flourished in  trait of Pietro da Cortona; after C. Maratti. Cornelia,
the early part of the fifteenth century.  The chief   Mother of the Gracchi; after B. West.  Mary, Queen
merit of his works lies in their dignity and origi-  of Scots, and her Son; after Zucchero. A collection of
nality.  Some of his pictures still exist in a good   Gems, designed by various artists, engraved by Bartolozzi.
state of preservation at Pisa, Volterra, and Padua.A set of eight subjects; after Ben. Castiglione. A set
-Some of his smal pictures are of more merit than   of thirteen plates from the' paintings by Domenichino; in
Some of his small pictures are  of more merit tn   the cloister of Grotta Ferrata.  Twenty-three plates,
his larger works, and show an imitation of Am-  making a part of eighty-one, from drawings by Guercino;
brogi, his great prototype, and also the subdued  in the King's collection. A set of Portraits of illustrious
and agreeable style of the Sienese school.  He died   Persons of the time of Henry VIII.; after drawings by
in 1436.                                              Holbein. Two Portraits of Henry and Charles Brandon,
sons of the Duke of Suffolk; after two miniatures by HolBARTOLOMEO.  See BREEMBERG.                         bein, executed in colors, very fine. A set of six plates;
BARTOLOM1 EO, FRA.  See PORTA.                      after original drawings by the Caracci; in the King's collection, in imitation of the drawings. A large plate of the
BARTOLOMEO, MAESTRO, an Italian painter,  Death of Lord Chatham; after Mr. Copley.  Several
who flourished at Florence about 1236. In the   plates for the Shakspeare Gallery.
church of the Servi in that city, according to           BARTSCH, ADAM, a modern Viennese engraLaini and Lanzi, is an Annunciation painted in   ver, born in 1757.  He was principal keeper of the
1236, still in good preservation, which is held in  Imperial Gallery at Vienna.  He published that
the highest veneration.  It possesses much orig-  excellent work  Le Peintre  Graveur, tom. 22
inality, and is inscribed Ecce Virgo Concipiet,  which is the most reliable account of prints extant.
&c.  The same religious fraternity have other an-  He executed for this work a series of fac-similes of
cient paintings executed in the thirteenth century,  extremely rare etchings by Dutch  and Flemish
some of which are supposed to be by this artist.  artists in which the touch and spirit of the origThey are painted on panels prepared with a coat  inals is admirably represented.  He also published
of gypsum, and the vehicle of color was the white   a catalogue of the etchings by Rembrandt and his
of eggs.                                              scholars, which exhibits great accuracy and perseBARTOLOZZI, FRANCESCO, a celebrated Flor-  verance.   His son. Frederick de Bartsch, published
entine designer and engraver, born in 1730; was  in 1818, a Catalogue Raisonne of all the prints by




BART.                        77                       BATA.
his father, amounting to 505 pieces; among them         The Portrait of Robert de Lorrain, sculptor; engraved
are the following:                                   for his reception into the Academy in 1741. The Portrait
PORTRAITS.                       of P. J. Cazes, painter; the same. 1741. Four-of the
Times of the Day; the Embarkation; after Berghem.
Adam Bartsch.  John Christian Brand, painter.  A   The Environs of Groningen; the Environs of Guelder;
young Lady in a Nightcap, 1785. Michael Wolgemut,  after Ruysdael.  David Teniers and his Family, fine;
painter. Antonio Allegri, Correggio; after Carlo Maratti.  the Works of Mercy; the Prodigal Son, fine; a large FlemMadame Tscida. A Girl reading by Candlelight, said to  ish Festival, with Teniers and his Family; after Teniers,
be after Guido. The Marriage of Alexander and Roxana;  fine. The Italian Chase; the Milk-pot; the Boar-hunt; afafter Parmiggiano. A set of thirty-nine plates, in imita-  te, Wouwerman. FourlargeHuntings; aftervan Falens;
tion of the drawings of several masters, in the Imperial col-  fine.  The Port of Messina; an Italian Landscape; aflection. Twelve studies of animals; after J. H. Roos;  ter Claude Lorraine; fine. An Italian Sea-port; Fishfour on each plate. A Traveler passing a Forest, with a   ermen going out; thirteen of the Ports of France; after
Boy holding a Lantern; engraved in the manner of Rem-   Vernet; the etchings are by Cochin.
brandt. The Obsequies of Publius Decius Mus, large plate;
after Rubens.                                          BAS, or BASSE, MARTIN  a Dutch engraver,
BARTSCH, orBARTASCH,GoDFRID,a German   who flourished about 1660, and engraved some
engraver, who executed a small collection of prints   portraits in the style of the Wierixes.
From  the pictures in the gallery at Berlin.  He       BASAITI, MARCo, a Venetian painter, born in
also engraved the following:   The Holy Family;  the Friuli, but of Greek parents; flourished about
after Vandyck.  Meleager presenting the Head of   1510.  He was a rival of Gio. Bellini, and if he
the Boar to Atalanta; after Rubens.                  did not equal that master in every respect, there
BARY, HENRY, a distinguished Dutch engrav-  are some things in which he surpassed him. His
er, born about 1626.  His style resembles that of   compositions were happier, and his grounds harCornelius Visscher.  There areseveral plates by monized better with his figures.  According to
Cornelius Visscher.  There  re several plates by   Ridolfi his best work is at the Certosa reprehim  of portraits and various subjects, executed, h                            at       e        eeprevery neatly with the graver, which have great  senting the call of Peter and Andrew.  There is a
very neatly with the graver, which have g reat
merit, though by no means equal to the works of  fine picture of Christ praying in the Garden, and
r~it~ hogb mene  tohwr          f Lanzi  mentions favorably a Descent from  the
Visscher.  He usually marked his plates with his   Lanzi mentins  favorably a Dest
name, and sometimes H. B.  The following is a                by ts m          a 
list of his principal works:                            BASAN, FRANCOiS, a Parisian engraver, born
in 1723; studied under Stephen Fessard and Jean
PORTRAITS.                       Daull6. He was chiefly occupied in printselling,
Dirk and Walther Crabeth, glass-painters.  Adrian   and published a Dictionaire des Graveurs in
Heerebord; 1659. Hieronymus van Bivernink. Desid-  1767.  Th  flli    is a lis    his plates           
erius Erasmus. William Joseph Baron of Ghent, admiral
of Holland. Rombout Hagerbeets. Anitius Manlius Sev-    Louis XV., with Diogenes; after Le Moine. Cardinal
erinus Boetius. Jacobius Taurinus. Count John de Wald-  Prince de Rohan. Christophe Lemenu de St. Philibert;
stein. The Dutchess de la Valiere: marked H. B. fec.  after Le Fevre.  Carle Vanloo. An Ecce Homo; after
Hugo Grotius; after 1. IMirevelt. Cornelius Ketel, paint-   Caravaggio. St. Maurice; Bacchus and Ariadne; afer; se ipse. pinx. 1659. Jacob Backer, painter; G.Ter-  terL. Giordano. Christ breaking the Bread; after Carburg, pinx.; oval.  John Schellhammer, pastor; Esco-  lo Dolci. The Card-players; an Incantation; after Ten.
pius, del. John Zas, pastor; Chr.Pierson pinx. Jacob   iers. The Gothic Songster; after A. Both. The Female
Batiliere, Predicant; Westerbaem, pinx. Arnold Gest-  Gardener; after Fras. Miers.
cramus, Predicant; Westerbaem, pinx. Michael Ruyter.                      ARIT,   Bergamese paint
admiral; a fter F. Bol. Admiral Vlugh; after B. Van-       B  HENIS, E, a           e  ain
der Helst. Leo Aitzema, historian; after John de Baan.  er, born in 1617 and died in 1677.  He arranged
George de Mey, theologian; after C. van Diemen.      upon tables, covered with  the  most beautiful
SUBJECTS AFTER VARIOUS MASTERS, AND AFTER HIS    cloths,        kinds of musical instruments, muDESIGNS.                        sical books, leaves, boxes, fruit, vases, flowers,
Neptune, emblematical; H. Bary, fee. Allegorical title  inkstands, &., from which he painted pictures so
for the work of Leo van Aitzema; II Bary, fec. A   exquisitely executed as to deceive the beholder.
Mother suckling her Child, without the name of the painter.  Lanzi says his works are found in the best collecTwo Drolleries; after Brower; H. Bary, fec., without  tions, where they are highly prized, and that there
the name of the painter. A Peasant Family; after Peter   were eight of them in the library of San Giorgio,
Aertsen; Hendrich Bary, sc. Summer and Autumn,    the ingenuity of which was highly commended by
one plate, represented by two Children, one holding a Zanetti.
handful of Corn; after Vandyck  A young Woman lean-    anet
ing on a Table sleeping, and a young Man laughing; af-  BASILI, PIER ANGIOLO, an Italian painter, born
ter the same. A young Lady sitting at a Table, with a   at Gubbio, and died in 1624.  He studied under
Hat and Feather; after Terburg.                      Damiani and afterwards Roncalli, whose delicate
BAS, JAMES PHILIP LE, a celebrated Parisian   manner he adopted.  There are some pieces by
engraver, born in 1708; studied under A. Tardieu,  him  in the choir of S. Ubaldo, highly esteemed
and was one of the most ingenious painters of his  for the variety and grace of composition. In the
time.  IIe excelled in landscapes and small fig-  church of S. Mw1ziale, is a picture of Christ prayures, which he touched with infinite spirit and   ing, with a beautiful portico in perspective, and
neatness.  He availed himself much of the freedom    a multitude of auditors, which Lanzi says is full
and facility of etching, which he harmonized in an   of energy, variety and grace, and appears to have
admirable style with the graver and dry point.  been painted in competition; the figures are small
His reputation gained him  a number of scholars,  as seen in the compositions of Albert Durer.
who were employed in advancing the plates which         BASIRE, JAMES, a London engraver, born in
he afterwards finished and published-with his   1740; little is known of his life.  He executed the
name.  He died in 1782. Le Bas executed over  following plates:
a hundred plates after Teniers, which are copied         aptain Cook  after Hdges J. Baire, c. 1777
with uncommon success.  His plates are very   Lady Stanhope, as the Fair Penitent; after B. Wilson.
numerous, among which are the following:             1772. Lord Camden; qcfer Reynolds. Orestesand Py.




BASS.                     78                     BASS.
lades before Iphigenia; after West. The Field of the  BASSI, FRANCESCO, the Elder, apainter of Crem
Golden Cloth, or the Interview between Henry VIII. and  ona, born in 1642, died about 1700. He acquired
Francis I., after the picture at Windsor, engraved in 1774,  the nameof i Cremonese da Paesi, from his excelthe largest print that has been engraved on one plate,
about twenty-seven inches by forty-seven inches.  lent landscapes, which were touched with great
BASSAN or BASSANO. See PONTE.                  spirit, and at the same time sufficiently finished.
He decorated them with figures and animals, tolBASSANO, ALESSANDRO, a learned gentleman  erably drawn, and neatly painted. Many of his
and architect of Padua, who, according to De La  works are in the private collections at Venice.
Lande, built the loggia and hall of the Senate    B         F
House, in the Square of the Signory, at Padua.     BASSI,  RANc         the Younger, a Bolognese
painter, born in 1664, died in 1693, and studied
BASSANO, CESARE, a Milanese painter and  under Pasinelli: although he died at the early age
engraver, born about 1584. As a painter, we have  of twenty-nine, he left some works of great merit
no account of his works, but he engraved the fol-  in the public edifices at Bologna, the best of which
lowing plates: The Portrait of Gaspar Asselius;  is a picture of St. Antonio taken up to Heaven by
Bassanus, fec.  A Funeral Frontispiece of Fran-  Angels. Bassi was a distinguished copyist and
cesco Piccolomini; same mark.  The Nativity;  imitator of Guercino.
no mark.                                           BAST, DOMINIC DE, a Flemish painter, born at
BASSANO, LEANDRO, an Italian historical and   Ghent in 1782. He was an amateur painter of
portrait painter of some merit, denominated Cav.  landscapes and cattle, and also of marine subjects,
Leandro, from his having been made a Knight of  in which he excelled, having had the advantage of
the Order of St. Mark, by the Doge of Vefiice.  many voyages by sea as a merchant. His pictures
He was born in 1558 and died in 1632.            are chiefly at Ghent, in private collections.
BASSEN, B. VAN, a Flemish painter, who flour-    BASTARNOLO, IL, or FILIPPO MAZZUOLI, a
ished about 1650. He painted interiors of churches  Ferrarese painter, who lived about 1575, is deand other public edifices, which are executed with  scribed by Lanzi as a learned, correct and graceful
admirable perspective and lively coloring. The  artist. He was not so well skilled in perspective
Agures in his pictures are frequently by eminent  as in other branches, and he injured his reputapainters of his time, to whom  he returned the  tion at first, by designing figures in too large procompliment by painting architecture in their com-  portion. His second manner, however, was of a
positions. His works have been little regarded  grander design, and more studied coloring. The
when called by his name; but prized, when as-  foundation of his taste is drawn from the Dossi;
cribed to eminent artists. Neither the date of his  in force of chiaro-scuro, and in his heads, he seems
birth or death is recorded.                      to have followed Palma; in the natural flesh-tints,
BASSEPORTE, FRANCE MAGDALENE, a rench  he approaches Titian; and from Veronese he seems
paintress, born in 1701, died in 1; s d  to have derived the magnificence of his draperies.
paintress, born in 1701, died in 1780; studied un-                   verybeautiful altar-pieces, reder the famous Robert, and executed some ad-  He executed two very beautiful altar-pieces, reder the famous Robert, and executed- some ad-  presenting the Annunciation, and the Crucifixion,
mirable subjects of natural history, in water-col-  presenting the Annunciation and the Crucixion,
in the Church of Gesf. The Ascension, at the
ors. In 1732 she succeeded Obriette as painter  in the Church of Ges. The Ascension, at the
Cappuccini, is a magnificent work; and an altarof natural history in the royal gardens, with a  Cappuccini,isamanificent work; a   a al
salary of one hundred pistoles a year. She also  piece of the titular Saint, with half figures that
engraved some plates for the Crozat and other  seem to breathe, at the Zittele of S. Barbara, is
collections. We have by her; The Martyrdom   extremely beautiful. This artist was drowned
St. Fidelio de Sigmaringa; after P. A. Robert.  while bathing; he deserves to be known more
Diana and Endymion; after a design of Sebas-  generally, beyond the limits of his own country.
tiano Conca. There are also three books of flow-    BASTARO, GIUSEPPE DEL, a Roman painter,
ers, drawn from nature, by this lady, engraved by  who, according to Baglioni, flourished about 1690.
Avril.                                          He painted several pictures for the churches of
BASSETTI, MARC' ANTONIO, an eminent Ver-  Rome, the most admired of which is the AssumpBASSETTI, MARC' ANTONItion in S. M aria Maggiore.  In S. Girolamo is
onese historical painter, born in 1588, died in 1630,  tion in S fM aria Magiore.   In  S. Girolamo is
but afterwards visited  a Descent from  the Cross, and the Death of St.
studied under Felice Riccio, but afterwards visited  Jerome
Venice, where he became attached to the style of
Tintoretto. On leaving Venice, he went to Rome,    BASTIANINO. See SEBASTIANO FILIPPI.
where he remained a considerable time. On re-    BATRARCHUS, an  ancient Lacademonian
turning to Verona, he painted several pictures for  architect, who, according to Pliny, erected in conthe churches and public edifices of that city, which  junction with his countryman, Saurus, at their
are mentioned by Ridolfi. Among them is a pic-  own expense, certain temples at Rome, which were
ture of St. Peter and other saints, in the church  afterwards enclosed by Octavius. Not being alof S. Tommaso; and the Coronation of the Virgin,  lowed to inscribe their names, they carved on the
in S. Anastasia. His works are highly esteemed,  pedestals of the columns a lizard and a frog, which
but he left very few, it being a maxim with this  indicated them.
artist, that painting ought not to be practised as a    BATTEM, GERHARD VAN, a Dutch landscape
mechanical art, but with the leisure which is be-  painter, who practised from 1650 to 1700.  His
stowed on literature for the sake of the pleasure it  subjects are mountainous landscapes, with travelaffords.                                        ers or banditti, andhunting pieces. Several of his
BASSI, ANTONIO, a reputable Italian painter,  pictures are somewhat in the style of Rembrandt.
who executed in the church of S. Giovanbattista    BATTONI, POMPEO, an Italian painter, born
of Ferrara, a Repose in Egypt, and our Saviour at  at Lucca in 1708, according to Lanzi and Nagler.
the well of Samaria; also in the church of S.  He was the son of a goldsmith, and was intended
Clementino, the Virgin, St. Ann, and St. Jaochim.  by his father for that business; but after work



BAUD.                        79                      BAUR.
ing at it some time he relinquished it, and under   subsequently devoted himself entirely to engrav
the patronage of some eminent friends at Lucca,  ing.  His prints are chiefly after designs by Vanhe was sent to Rome, where he studied under Se-  dermeulen, and are etched in a free bold style, with
bastian Conca and Agostino Masucci.  His pleas-  good effect.  He died at Paris in 1700, aged 60
ing style of coloring, and the agreeable expression   His works are as follow:
of his heads, gained him much popularity, and his    Six Landscapes, with Figures; middle-sized plates. Six
works were held in considerable estimation through-  large Landscapes; dedicated to Ph. de Champagne. Eight
out Europe.  It was fortunate for the reputation   Landscapes, with Buildings. Two Stag-hunts; one dedi
and success of Battoni that he lived at a period   cated to the Marquis de Louvois. & large Landscape,
when the arts were in a vtery low state in Italy.  with the march of the King to Vincennes; dedicated to
w h inthearts ony riva  and hy s ror, wtas' cn hIly.  Ch. Le Brun. A large Landscape, with the Queen going to
Mengs, his only rival, and his superior, was chiefly   Versailles; dedicated to the Duke de Noailes. Six Views
employed in Spain, and Battoni was the only paint-  of Towns in France. Two Views of Versailles; as it was,
er in Rome of the least pretensions, and conse-  and as it is. View of the Castle of Vincennes. View of
quently met with great encouragement.  He was  the Palace of Fontainbleau; two sheets. Two Views of
more employed in portraits than historical works,  Gardens in Italy; after A. Genoels.
although there are several of his pictures in the   V         BAUR, JOHN WM., a German painter
public edifices at Rome. In S. Maria Maggiore is an    V      and engraver of considerable note born at
altar-piece of the Annunciation; in the pavilion at  Strasburg in 1600.  He studied under Brentel, and
Monte Cavallo are five pictures, one of which is con-  before long surpassed his instructor.  On leaving
sidered his best performance, representing Christ  that master, he went to Rome, where he remained
giving the keys to St. Peter; and in the Church   several years, and painted views of that city and enof S. Girolamo, there is a Madonna, with saints  virons, with small figures, neatly touched, which
and angels.  He died at Rome in 1787.                were much admired.  His pencil is very neat and
BAUDET, STEPHEN, an eminent French en-  spirited, and his coloring warm and glowing, though
graver, born at Blois about 1620. He first stud-  his design is not very correct. The Prince Giusied at Paris, but afterwards went to Rome, and   tinianigave him his protection; as did also the Duke
seems to have adopted the style of C. Bloemart in   di Bracciano, who gave him apartments in his palhis earliest plates, which are executed entirely with   ace. As an engraver, he was quite distinguished,
the graver.  On returning to Paris, he altered his  and executed a great number of prints from  his
manner, and calling in the assistance of the point,  own designs, the best of which are from the Metexecuted his best works, which nearly approach   amorphoses of Ovid.  They are slightly etched,
the style of John Baptist Poilly.  His subjects  and finished with the graver in a very spirited
are well chosen, and are from the works of some of   style, resembling that of Callot. In 1637 he left
the most eminent Italian and French painters.  He   Rome and went to Venice, where his works were
was a member of the Royal Academy of Paris,  greatly admired. He afterwards visited Vienna,
where he died in 1691. The following are his  and was employed by Ferdinand IIL, in whose
principal works:                                     service he died in 16401 aged 40. The following
PORTRAITS.                       are his'principal prints:
Pope Clement IX. Charles Perrault; Carol. Le Brun,    Portrait of Don Paolo Giordano II., Orsino Duca di
pinx., 1665; Stef. Baudet, sc. Acad. Reg. Pict., S.c.  Bracciano; oval; dated 1636; scarce. A set of HabiliLouisa, Duchess of Portsmouth, as Venus caressing a Dove;  ments of. different Nations, with his Portrait; eighteen
H. Gascar, pinx.; St. Baudet, sculp. Bust of the Em-  prints. A set of Battles; entitled Caprici di varie batperor Adrian, from the Antique; S. Baudet, sc., 1678.  aillie; fifteen prints. Another set of Battles; fourteen
Bust of a Roman Lady; St. Baudet, 1680.              prints, with the title. A set of Landscapes, among which
are the Four Elements; twelve prints. Twenty of BatSUBJECTS AFTER VARIOUS MASTERS.             tles, for the History of the Belgic War; by F. Strada. Tho
The Virgin teaching the Infant Jesus to read; the Wom-  Metamorphoses of Ovid; one hundred and fifty prints, puban of Samaria; four plates of the Loves of Venus and Ad-  lished at Vienna after his death, in 1641.
onis; engraved at Rome in 1672; four circular plates of the 
four Elements; afterAlbano. 1695. The dead Christ on the  BAUR, NCOLAS, a Dutch  painter, born at
Knees of the VirginMary; The Stoning of Stephen; after  Harlingen in 1767, died in 1822, the son of AnAnn. Caracci. 1677. Adam and Eve; after Domeni-  thony Baur, a portrait painter.  He painted landchino; very fine. The Nativity; after J. Blanchard.  scapes and views of cities, also moonlight and
The Holy Family; six Landscapes; qfter S. Bourdon; 
winter scenes and was very successful in marine
round. Six-Of the great Staircase at Versailles; aftnd was very successful in marine
Le Brun; that of the ceiling is engraved by C. Simmon-  views.  Two of the latter were purchased by the
eau. The Tribute of Money; after Valentin. The Com-  King of Holland in 1807, and placed in the Mumunion of the Primitive Christians; after C. dela Fosse.  seum. There are many of his works throughout
HMoses treading on the Crown of Pharaoh; Moses striking   Holland, and he is considered one of the best of the
the Rock; the Worshipping the Golden Calf; the Hol   mode   Dutch mainepainters
Family; Venus reposing; dated 1666; four grand Land- lne p                         s.
scapes; dedicated to the Prince of Conde; dated 1684.   BAUREINFEIND, GEORGE WILLIAM, a GerFour other grand Landscapes; dedicated to the King of   man painter and engraver, born at Nuremberg.
France;  after N. Poussi.                           He went to Copenhagen and learned the art of enBAUDOUIN, S. R., a French amateur engrav-  graving under John Martin Priesler. In 1759. he
er, and an officer in the Guards.  He engraved   obtained the grand prize from the Royal Academy
some plates of battles, after the pictures of Charles   of Copenhagen, for an engraving, the subject of
Parrocel; a set of small landscapes after Michau   which was Moses and the burning Bush. In 1760,
and others; and a set of etchings from  his own   Frederick V. of Denmark appointed him to accomdesigns, representing the military exercise of the   pany the Scientific Expedition to Arabia, in which
French infantry.                                     service he died in 1763. He made the designs for
BAUDUINS, ANTHONY  FRANCIS, a Flemish  the cones rerum naturalium of Forskal.  In the
painter and engraver, born at Dixmude in 1640;  "Voyages of Niebuher in Arabia," are many plates
studied painting under F. A. Vandermeulen, but  engraved after his designs.




BATUS.                       80                      BAZZ.
BAUSA, GREGORIO, a Spanish historical paint-  crowned with Thorns. The Crucifixion. St. Jerome and
er of some eminence, born at Mallorca, near Val-  St. Peter, two plates; after Lichery. St. Francis receivencia, in 1596.  He studied under Francisco Ribal-  ingtheStigmata; afterBaroccio. St. Isabella,fondresa
of the Abbey of Longchamps; after Ph. de Champagne.
ta, and executed the principal altar-piece in the   St. Ann teaching St. Elizabeth to read; St. Mary, of Egypt,
church of St. Filippe at Valencia, representing   andSt. Zozima; after LeBrun. The Virgin Mary suckthe martyrdom  of that saint; also several pic-  ling the Infant; after Correggio. Two Ladies, one going
tures in the monastery of Los Trinitarios in that  into a Bath; after J. Dieu.
city. He died in 1656.                                 BAZZANI, GIUSEPPE, an Italian painter, born
BAUSE, JOHN FREDERICK, a modern German   at Reggio in 1690, according to Lanzi; studied unengraver born at Halle, in Saxony, in 1738. He  der Gio. Canti. His talents were superior to those
is said to have learned the art without the instruc-  of his master, and were well cultivated. Lanzi
tion of a master, and to have imitated the admira-  says he studied the works of Rubens at Mantua,
ble style of J. G. Wille.  His plates are chiefly ex-  and followed his style.  Many of his fresco paintecuted with the graver, which he handled with great  ings are at Mantua, and in the convents in its
purity and fresnness. He died at Weimar in 1814.  vicinity, composed in an admirable style, and
He executed a considerable number of plates, ac-  painted with great freedom  and spirit. He was
cording to Nagler, the following of which are the  director of the Academy at Mantua, where he died
principal:                                          in 1769.
The Good Housewife; after G. Dow; dedicated to J.    BAZZIACALUVE, or BEZZICALUVA, ERG.Wille. TheOldConfidante; afterKupetsky. Artemisa;  COLE, an engraver of Florence, or Pisa (for he
after Guido. Venus and Cupid; after Carlo Cignani.  is described as of both) flourished about 1640
Michael Ehrlich; after B. Denner; amezzotinto. Three  B    h  escribes seven of his ris   d Brul io
Apostles; after Caravaggio; etching. Damon and MuApostles; after Caravaggio; etching. Damon and Mu-  Bartsch describes seven of his prints, and Brulliot
sidoro, subject from Thomson; a moonlight; after Bach.  several others.
The Repentance of St. Peter; after Dietricy. The Sac-  BEALE, MARY, a reputable English portrait
rifice of Abraham; after Oeser. The Head of Christ;  paintress, born in Suffolk in 1632, and the daughafter Guido. The Magdalene; from a drawing by Bach,,      the daughafter Battoni. Bust of a Girl; after Greuze. Bust of  ter of a clergyman.  Manifesting a great inclinaa Girl, with a Basket of Roses; after Netscher. La pet-  tion for the art, she was placed under Sir Peter
ite Rusee; after Reynolds. Cupid feeling the Point of an   Lely, and soon gained distinction.  She copied sevArrow; after Mengs.                                 eral portraits by Vandyck, by which she acquired
BAYEU, Y SirBIAS  DON FRANCISCO, a mod-  a purity and sweetness of coloring which distinern Spanish painter, born at Saragossa in 1734,  guish her portraits.  Being of an estimable chardied in 1795. He was instructed by an obscure   acter and very agreeable manners, she was patpainter of his native city, and having gained the   ronized by many of the most distinguished persons
premium at the Academy, he was allowed a pen-  of her time, and lived in great respectability.  Her
sion to enable him to visit Madrid, where he en-  husband was also a painter, but of little note. She
tered the school of Antonio Gonzales Velasquez.  died in 1697.
His own merit, and the discernment and liberality    in      \t    T  BEATRICI, NICCOLO, an emof Raffaelle Mengs, the principal painter to theinent French engraver, born at
King, recommended him to the patronage of Charles   Thionville, in Lorraine, about 1500.  He went to
III., who employed him in the Prado, and in the   Rome while quite young, and, from the dates of
palaces of Madrid and Aranjuez.  He also painted   his plates, must have lived there from 1532 to 1562.
several pictures for the churches, among which,  His style resembles that of Agostino Veneziano.
those of the life of St. Bruno, at the Carthusians, are   His works are inferior to those of that master, and
considered his best works.  Bayeu profited much   are principally valued for their subjects.  He
by the advice and instruction of Mengs. In 1765   marked his plates with one of his monograms, or
he was received into the Academy at Madrid, and   the letters N. B. F., or, N. B. L. F. Heineken
in 1788, according to Bermudez, was made painter  has inserted in his Dictionaire des Artistes, after
to the King.  He had a-brother named Don Ray-  the prints known to be by this master, a list of
mond Bayeu, born at Saragossa in 1746; studied
under his brother, and assisted him in his fresco  those marked with a B on a die, thus,,          but
works. He died in 1793.                                     [ 
works.  He died in 1793.               these are much superior to the others, and are
BAZIN, NICHOLAS, a French engraver, born at  probably by Bartel Beham, under whose article
Troyes, in Champagne, in 1636; studied under  they will be found. The following is a list of
Claude Mellan, and established himself at Paris as  most of his works:
an engraver and print-seller.  He worked chiefly                        PORTRAITS.
with the graver, in rather a stiff, dry manner, and   Bust of Pius III., inscribed Nicolaus Beatricius Lotapublished several plates executed partly by him-  ringus, &c. Pope Paul III., an ovol, inscribed Paul. I..
self, but chiefly by the younger artists whom    Pont. Pope Paul IV.; dated 1558. Pope Pius V. Henhe employed.  The following are his principal  ry II. King of France; marked with the monogram N. B.;
works:                                             Lot. f. 1558. Another Portrait of Henry II.; dated 1556.
works:                                              Hippolita Gonzago. John Valverdus, Spaniard. Don JuPORTRAITS.                       an of Austria, an oval, on a monument; inscribed GenerMadame Helyot, an abbess; Bazin, del. et. scul. 1686.  ale della Legha. The Genealogy of the twelve first EmMadame Guyon, a celebrated visionary. John du Hous-  perors and Empresses, with their Portraits, from medals;
say de Chaillot, a hermit.  Father Emanuel Magnan.  two sheets. The Kings of Poland, in medallions; inscribed
Father Anthony Verjus, a Jesuit; J. P. Cany, pinx.  Reges Polonice.
John Crasset, a Jesuit. St. Francis Xavier. St. IgnatiusUBJECT  OF AC     HITO
de Loyola, founder of the Jesuits. Louis XIV., on horse-        SU     S OF S    D H     Y.
back; N. Bazin, sc. 1682. Louis, Dauphin of France;     ainkillingAbel; inscriedFratricidiumAbelis, A. S.
after Martin, N. Bazin. 1686.                       ex. 1540. N. B. F. Joseph explaining the Dream; afXfe a.VARIOUS SUBJECTS.            ter Raffaelle; marked with the monogram, N. B. F., and
VARIOUS SUBJECTS.                   his name; one of his best plates. The Nativity of the VirThe Portrait of the Virgin. The Annunciation. Christ  gin; after Baccio Bandinelli; inscribed Nicolaus Bea



BEAU.                         81                       BEAU.
tricius restituit et formis suis exc. The Annunciation;  BEA UMONT, CAV. CLAUDIO, a painter of Tuwith the names of M. Angelo and Beatrici. The Ador-         orn in 1694.  After studying sme time in
ation of the Magi; after Parmiggiano, N. B. LF. F. The   his'o     i   he    td           h 
Holy Family, with St. John; Jerom. Mutian, pinx. Ni-       native c     h e  t    ome, where h  aplied
colaus Beatricius Lotharingus, incidit, -.c. The Good   himself to copying the works of Raffaelle, Guido,
Samaritan; Michele Angelo, inv. Christ on the Mount of   and the Caracci.  He seems to have thought little
Olives; after Titian, marked N, B. F. The Crucifix-  of the Roman painters of his time, except Treviion, with the Virgin, Magdalene, and St. John; with the   sani, whose manner he followed in the vigor of his
Sun and Moon on each side; Mucianus Brixianus, in          ing.   On r           t    ri, e w 
Nicolaus Beatricius, fc. exc. The Mater Dolorosa; af-   olorig. n  retrning to Turln, he was employed
ter Michele Angelo, N. B. Romw. 1547. The taking down in decorating the  oyal palace, where he painted in
fcom the Cross; after Circignani; marked B. Rome,  fresco, in the library, various symbolical subjects.
Christ delivering the Souls from  Purgatory; with the   relative to the Royal Family of Sardinia; and in
names of Raffaelle and Beatrici. The Ascension; after  the other apartments he represented the Rape of
Rafaelle, with his cipher. 1541. The Conversion of St.  Helen and the Judgment of Paris.  In the  hiesa
Paul; M. Angelo, ypinx., 4dc., marked N. B. St. Michael
overcoming the Evil Spirit; after Raffaelle; marked N.  della Croce i  a fine picture of the Descent from
B. L. The Virgin seated on a Throne, distributing Ros-  the Cross.  The King of Sardinia conferred on
aries; inscribed Nicolaus Beatricius, f.c. exc., oval. The   him the honor of knighthood, in whose service he
Cross worshipped all over the world; arched plate, marked   died in 1766.
with the monogram, N. B. F., and inscribed Crux illustris,
XC. MDLVII. The prophet Jeremiah; after M, Angelo;       BEAUMONT, CLAUDE ETIENNE, an eminent
vith names of painter and engraver. St. Jerome kneeling   French architect, born at Besangon in 1757.  He,efore a Crucifix; after Titian; marked N. C. L. F. St.  went to Paris at an early age. and placed himself
Elizabeth, Queen of Hungary, relieving the distressed; af-  under the instruction of Dumont professor in the
terMutianO. The Last Judgment                                                of a fterofe Angeln Da-t
terd 15ano. IThe Last Judgment; afterM. Angelo. Dt    Academy.  After finishing his course, he entered
ted 1562. In nine sheets.
SUBJECTS\OF PROFANE HISTORY.                the office of Conture, who was commissioned to
The Sacrifice of Iphigenia; on the altar is inscribed Iph-  continue the construction of the Madeleine Church.
igenia; it is marked N. B. L. F. Ganymede, inscribed   B., perceiving that his new master, in modifying
Ganimedes juvenis,  cc.; the Fall of Phaeton, retouched   the original plan, had dispensed with the rules of
by Beatrici; Titius devoured by a Vulture, Ant. Salam-   art, deemed it his duty to inform him, for which he
ancha, ex. Silenus carried by children, N. Beatrice, fec.;  was discharged.  lie immediately published a letthe Dream of Human Life, emblematical subject; Shoot-  ter as coming from  Dulin, an eminent architect
ing at a Target; after Michael Angelo. Vertumnus and   lately deceased containing a just criticism on the
Pomona; after Pontormo. Reason combatting Love;               la           aiinng      a j ust criticism on the
after B. Bandinelli; with his cipher. A Combat between   new pan of the Maelee, which was suppressed
five Men and fiveWild Beasts; afterGiulioRomano. 1532.  by the order of the council, at the instigation of
The Battle of the Amazons; after a basso relievo; in-  Baron de Bretenil, protector of Conture.  On the
scribed Amazonum pugna, c-c. 1559. The Battle of the   erection of the new department at Paris, B. was
Dacii; after the basso relievo of the Arch of Constantine;  attached as archie   to the Bureau of Domains
marked N. B. and inscribed Tabula Marmora, c-c.'The
Emperor Trajan Triumphant; after a basso relievo. 1560.  and merited, by his zeal and talents, the esteem
The Pantheon of M. Agrippa; marked N. B. F. The   of the Administration.  He constructed the Palais
Temple of Fortune; after a drawing by Raffaelle; marked   de Justice, the House of the Sisters of Charity, the
with the monogram, N. B. F. The great Circus; marked   Institution for the Deaf and Dumb, and the Hall
N. Beatrizet Lotaringic; two sheets. The Front of the   of the Tribunal, which last was  ronounced by a
Farnese Palace; after the design of M. Angelo. 1548.  conn          the  most pert   ediice           h 
Statue of Moses; after M. Angelo; inscribed Moysis in-   connoisseur the most perfect edifice which had
gens, 4.c. Statue of Jesus Christ; after M. Angelo; with   been erected by the authorities since the revoluhis name. Equestrian Statue of M. Aurelius. 1558. Stat-  tion.  The government, having decided to convert
ue of a Philosopher reading; inscribed Anaximenes, f-c.;  the Madeleine into the Temple of Glory, ordered 
the plate was afterwards retouched, and the Philosopher  competition of plans.  The plan of B. was preferred
changed into St. Paul. The Castle of St. Angelo. The Siege      ahi     ral  a        h   ni       
and taking of Thionville; Nic. Beatrizet Lotaringas, in-    aer               ss  the   ns   t, b    t h
cidit. 1558.                                          enemies reversed the decision by showing that he
BEAU, PIERRE ADRIEN LE, a French engraver,  had appropriated his principal ideas from the letter
was born at Paris in 1744, and executed several por        1)lin, without knowing that he was the autraits, and other subjects, among which are:          thor, and they adjudged the prize to another archiLouis XV. King of France. Marie Antoinette, Queen  tect.  B., having disproved the charge of plagiarLouis XVI. King of France. Marie Antoinette, ueen  ism brought aainst him  obtained an  ndemnity
of France. Louis Philippe, Duke of Orleans. HyderAli;  ism  brought against him, obtained an indemnity
after J. Year. Madlle. de Raucour, actress. Abbe Ter-  of 10,000f., but the chagrin he felt at being so unray, comptroller of finance under Louis XV.  A. R. J.  justly deprived of the honor of attaching his name
Turgot, comptroller under Louis XVI. Necker, director  to so grand a monument, consigned him  to the
of finances under Loeis XVI.
of finances under LoHRuis XVI.   F c   ograve soon afterwards.  Among other works, the
BEAUBRUN, HENRY, a French portrait paint-   Theatre of the Varieties was built after his deer of merit, was born at Amboise in 1603, and   signs.  He died at Paris in 1811.
died at Paris in 1677.  His brother, Charles Beau-                                          
brun, wh6 was born in 1605, distinguished himself in the same branch of art, and died in 1692.     graver, born about 1720; executed several plates
BEAUD PIEOIafter T. Breughel and Ph. Wouwerman:
BEAUDOUIN, PIERRE ANTOINE, a French                   Three Views in Flanders;  after Breughel.   The Anminiature portrait painter of some merit, was born       Three Views in Flanders; after Breughel.  The Aniatue Pa      rait painter of sme merit, was born   gel appearing to the Shepherds; the Thirsty Traveler;
at Paris in 1719, and died in 1769.                   Running at the Ring; the Swimmers; Cavalry defiling;
BEAULIEU, SEBASTIEN PONTAULET DE, a eel-   Halt of Cavalry; the Blacksmith; after Wouwerman.
brated French military architect, engineer, and   FourHunting Pieces; after N. N. Coypel.
field-marshal under Louis XIV.  He published             BEAUMONT, SIR GEORGE HOWLAND, was born
plans, views, and details of all the sieges, battles,  in 1753, and died in 1827.  Descended from  an
&c., of that monarch. to which he annexed lectures   ancient and illustrious house, he has rendered his
%n the art.  He died about 1674.                       name still more illustrious by his liberal patron9




BEAU.                        82                      BECC.
age of art and public munificence.  He was a great  tion. During these times, he executed many busts
lover of the fine arts, and acquired Considerable  and statues of the principal leaders and patriots,
skill in painting scenes from nature.  Pilkington   some of which were multiplied prodigiously in
says," In his landscapes there is less of the fine,  plaster, and procured his admission into the various
fresh glow of nature than might be expected from   popular societies, and gave him a high place in the
the hand of one trained in that academy, yet he  administration of public works, and finally brought
had the soul and eye of a painter; his scenes are  him so near the guillotine, that he thought it pru
finely imagined, and there are glimpses of gran-  dent to retire, and devote himself exclusively to the
deur, but little that was wrought out in the spirit  cultivation of his profession.  Among his most
of the conception. He was deficient in the practi-  esteemed works are a statue of Narcissus, one of
cal skill, which his fine fortune hindered him from   Pomona, one of Susanna in the Bath, and one of
acquiring from that rough old teacher, necessity."   General Moreau. His works are said to be very
He delighted in the society of artists, and the walls  graceful, but defective in character and expression.
of his house in Grosvenor Square were covered  IIe succeeded best in the grand style, wrought with
with some of the choicest works of Claude, Wil-  great facility, and the French regret that so much
son, and Reynolds.  He was one of the principal  of his time was lost in politics.  He died in 1828.
founders of the British National Gallery. When         BEAUVARLET, JAMES FIRMIN, an eminent
Parliament were debating the propriety of buying   modern French engraver, born at Abbeville in 1733.
the Angerstein Collection for ~60,000, he advoca-  He visited Paris while young, and was instructed
ted the measure witn enthusiasm, and exclaimed,  in the art by Charles Dupuis and Laurence Cars.
" Buy this collection of pictures for the nation, and   His first productions were in a free, bold style, and
I will give you mine."  And this he nobly did, not  these are preferred to those more highly wrought
in the form of a bequest, but he transferred them   plates which he afterwards engraved, although they
at once as soon as the galleries were prepared for  are executed with great neatness and delicacy.their reception, with the exception of one little   The following are his principal plates:
gem, with him a household god, which he retained
till his death.  This picture was a landscape by                         PORTRAITS.
Claude, with figures representing Hagar and her    The Abbe Nollet; after La Tour. Edme Bouchardon,
Claude, with figures representing Hagar and her  sculptor; after Drouais, 1776. Jean Baptist Poquelin de
child, and he was so much attached to it that he   Moliere; after S. Bourdon. Tho Marquis de Pombal;
took it with him as his constant traveling compan-  after Roslin and Vernet. Catherine Princess de Galizin;
ion. When he died, it was sent to its place in the   medallion. Prince Ferdinand of Brunswick; &c.
Gallery.  Such instances of noble generosity for             SUBJECTS AFTER VARIOUS MASTERS.
public benefaction, deserve to be held in grateful    Lot and his Daughters; Susanna and the Elders; Perremembrance, and to be written in " letters of gold  seus combating Phineus, shows the Head of Medusa; Acis
on enduring marble," for the imitation of mankind.  and Galatea; the Judgment of Paris  the Rape of Europa;
Sir George, in a letter to Lord Dover on the sub-  the Rape of the Sabines; after Luc. Giordano. Susanna
f the purchase of the Anerstein collection,  and the Elders; after Guido Cagnaci. The Sewers; after
ject of the purchase of the Angerstein collection,  Guido; very highly finished. The Incredulity of Thomas;
speaking of the benefit which a country derives  after Calabrese. Venus lamenting the Death of Adonis;
from the possession of the best works of art. says:  after A. Turchi, called Veronese. La Rusee; after C.
"My belief is that the Apollo, the Venus, the Lao-   Vega. The Double Surprise; after Ger. Douw. The
coon, &c., are worth thousands a year to the coun-  Fisherman; after H. Carre. The Tric-trac Players; the
try that possesses them."                            Bagpiper; after Teniers. The Burgomaster; after Ostade. Diana and Acteon; after Rottenhammrner. The
BEAUVAIS, NICHOLAS DAUPHIN DE, a Parisian   Bathers; the Trap; the Dreamer; Cupid chained by the
engraver, born about 1687; studied under John   Graoes; aJter Boucher.  The Children of the Count do
Audran, and gained considerable reputation.  He   Bethune; after Drouais.  Le Colin Maillard; after
probably resided some time in England, as he en-    ragonard. The Chastity of Joseph; after Nattier.
Susanna and the Elders; The Offering to Venus; The
graved part of the Dome of St. Paul's, after Sir   Offering to Ceres; after Vien. A Subject from an AnJames Thornhill.  He had a son named Charles  tique Painting of the Herculaneum. Cupid holding his
Nicholas Dauphin de, who was born in 1764, stud-  Bow; La Confidence; La Sultana; Lecture Espagnole;
ied under his father, and executed several plates.    ConversationEspagnole; after C. Vanloo. Telemachus
in the Island of Calypso; after Raoux. The Toilet, and
The Virgin with the Infant Jesus, upon a Pedestal, with  the Return from the Ball; two companions; after De
severalSaintsbelow; afterCorreggio. St.Jerome; after   Troy. Seven prints of the History of Esther; after J.
Vandyck. Mary Magdalene in the Desert; after B.  F. de Troy.
Lutti; for the Crozat collection. Bacchus and Ariadne;
after N. Poussin. Cupid stealing Jupiter's Thunder;        BECCAFUMI, DOMENICO, called  MICAafter Le Sueur. The Burning of Aneas's Ships, and their    RINO an eminent Italianpainter,sculptor
Metamorphoses into Nymphs; the Companion, a Subject                            tA          E  sal ptor,
from the Life of JEneas; after Coypel. The Resurrection;  andengraver bornatSienain484. When a boy,
the Four Seasons; four plates, engraved conjointly with  he was employed in watching sheep, but manifestDesplaces; after P. J. Cazes. The Descent of the Holy  ing an inclination for art, he was removed from
Ghost; All Saints; after J. Andre. Monument in honor  that humble station, and placed under an indifferof William, Earl Cowper.                             ent painter, called Capanna, but afterwards under
BEAUVALLET, C. NICHOLAS, a French sculp-  Giovanni Antonio Vercelli. He subsequently vistor of considerable eminence, born at Havre in  ited Rome, where he studied the works of Angelo
1749, and studied under Pijou.  In 1784 he was  and Raffaelle; and on returning to Siena, proappointed keeper of all the works of sculpture in   duced several admirable works, both in sculpture
the Chateau of Compigna; and some remarkable  and in painting, particularly a number of bronze
works which he executed for the hall of the Guards  statues and bas-reliefs; and the celebrated mosaic
commenced his reputation, and procured him ad-  of the pavement of the cathedral of Siena, which
mission to the Royal Academy of Painting and   has been engraved by Andrea Andreani.  He also
Sculpture at Paris in 1789, at a time when, like   painted several pictures for the churches, both in
most artists, he espoused the cause of the revolu-  oil and in distemper.  Zani denies that he evex




BECO.                       83                     BECK.
engraved on wood; but he executed some plates,  born at Pfouzheim in 1759. IHe was an excellent
ooth etched and with the graver only, which show   scholar; went to Italy in 1776, where he resided
considerable ability.  He was living, according to  some years; acquired a thorough knowledge of
Lanzi, in 1551. He sometimes marked his prints  art, and returned to his native country, where he
with his name, Micarino,fe., and sometimes with   was taken into the service of his sovereign, Charles
his monogram. The following are his principal  Frederick, Grand Duke of Baden, whose portrait
works:                                             he painted, and those of the ducal family, who apPaulus III. Pontifex Maximus;* without a aime 1515,  pointed him his court painter, director of his GalPaulus III. Pontifex Maximus; without a name. 1515,  ley a    i      to his  hd          B  pn
a plate. An Old Man Standing, and a Young Man lying  ]ery, and instructor to his children. B. painted
down; Micarino,fec.; a plate. Three Academy Figures;  landscapes, portraits, and animals with equal fawithout a name; a plate. The Nativity; after Titian;  cility.  He painted the portraits of many eminent
a wooden cut, fine. The Virgin embracing the infant Je-  personages of his time. One room in the Gallery
sus; a wooden cout, three tints. St. Peter holding a Book  of Carlsruhe is devoted to  his works, among
and the Keys; a wooden cut, in chiaro-scuro. St. Philip                           is 
holding a Book and a Cross; do. St. Andrew, with his  which are a great many exquisite drawings and
Cross; do. A Philosopher, with a Cloak, sitting; do. St.  studies. He was very eminent as an instructor,
Jerome kneeling before a Crucifix; a wooden cut. Ten  and some of the most distinguished modern Gersubjects of Alehymy, on the first is inscribed Mecarinus  man artists studied under him. He was a man of
de rSienis inventor,                               estimable character, and died universally beloved
BECC ARUZZI, FRANCESCO, an Italian painter,  in 1829.
born in the Friuli, studied under Pordenone, and     BECKET, ISAAC, one of the earliest English
followed his style. Ridolfi mentions many repu-  mezzotinto engravers, born at Kent in 1653; was
table works, both in oil and in fresco, by this  apprenticed to a calico-printer, but becoming acmaster, in the churches and convents at Trevigi;  quainted with Lutterel, who had made some proone of the best was the picture he painted for the   gress in the art, he learned from him the process
Franciscans at Conigliano, representing St. Francis  and executed a number of plates, of which the folreceiving the Stigmata, with several Saints.       lowing are the principal:
BECGRRA, GASPAR, an  eminent Spanish                               PORTRAITS.
painter, sculptor, ard architect. born at Baiza, in    Sir Godfrey Kneller; from a picture by himself. Charles
Andalusia, in 152), died in 1570. The patronage   II.; James, Duke of York; after Kneller. Henry, Duke
bestowed on the arts by Philip II., induced him to  of Grafton; after T. Hawker. The Duchess of Grafton;
visit Rome at a time when Michael Angelo was in   Charles Melford; after Wissing. Sir Peter Lely; Se ipse,
the zenith of his fame, and Palomino says he  pinx. George, Prince of Denmark; Henry, Lord Bishop
of London; John Maitland, Duke of Lauderdale; after
studied under that master. On his return, he was  Riley. Christopher, Earl of Albemarle; after Murray
taken under the protection of the Emperor, and   George, Duke of Buckingham; after Verhelst. Henry,
executed several works in fresco in the palace at  Duke of Norfolk; Becket, fecit et exc. Thomas CartMadrid, which were greatly admired. He became  wright, Lord Bishop of Chester; very scarce. Lady Wilone of the first reformers of the Spanish school,         flllength. Adrian Beverland; dran from a
by introducing a superior style, founded on that  sta
of Buonarotti.  His designs are very rare, and are         SUBJECTS AFTER VARIOUS MASTERS.
highly esteemed for the great care he bestowed on    The Virgin Mary and St. Joseph, with the infant Jesus
y esTe d fork a gat scur ise  a estae  f o asleep, with two Angels; without the name of the painter.
them. His chief work as a sculptor is a statue of   Time cutting the Wings of Love; the same, J. Becket, exc.
the Virgin, made by order of his patroness, Isa-  A Landscape, with a Shepherd and Shepherdess; J. Beckbella de Valois. He exercised the three arts in the  et, exc. The Dutch Schoolmaster; after Hemskerk. The
screen of the cathedral of Astorga; and in the  Village Barber Surgeon; after J. Lingleback.
Church of the Scalze Reali at Madrid, he erected     BECKMIAN, SIR MARTIN, an English amateur
the great altar with two orders of columns, and a  painter, who lived about 1685. He studied under
variety of sculptures much admired. As an archi-  John Wyck, while that artist resided in England,
tect he only practised the ornamental parts. Many   and was distinguished for his sea-pieces and shipof his works, according to Bermudez, are in the  ping. He was engineer to Charles II., and depublic edifices at Madrid, Astorga and Zamora.     signed the fortifications of Tilbury Fort, and the
BECHON, J., a French  engraver, flourished   works at Sheerness.
about 1670; executed several plates of landscapes    BEDAS, a Greek sculptor, who flourished about
in a clear, neat manner.                           (122 Olymp.,) B. c. 288. Pliny says he was the
BECKER, PHILIP CHRISTOPHER, a celebrated  pupil of Lysippus, and the brother of Laippus.
engraver of dies and precious stones, was born at  Among his works is the statue of a man in proCoblentz about 1675. He was successively ap-  found adoration, of which the Adoring Boy at Berpointed engraver of medals to the Emperors Jo-  lin, according to Visconti and Bitticher, is a faithseph I., and Charles VI., of Austria, the latter of  ful copy.
whom conferred upon him titles of nobility. Peter    BEDEL, PIERRE, a reputable French architect,
the Great also invited him  to St. Petersburg to  who flourished about 1558. He went to Spain,
engrave the Imperial seals and new dies for his coin.  and executed there a number of good works, menHaving called upon the Emperor one day while he  tioned by Bermudez. They are the Aqueduct of
was at dinner, the Czar ordered a cover to be  Teruel; the celebrated Mina or Breakwater, at
brought, and made him dine with him. The merit  Daroca; and the church at Fuentes de Ebro, in,f this artist consists in the exquisite design and  the Gothic style.  He also restored the cathedral
finish of his works. He engraved coats of arms  and the Dominican church at Albarracia, where he
with wonderful precision. some of them of the   died in 1567.
3mallest size and very complicated.  He died at    BEDUSCHI, ANTONIO, an Italian painter, born
Vienna in 1750.                                    at Cremona in 1576; studied under Campi, and
BECKER, PHILIP JACOB, a German painter,  imitated his style. P. Carasi praises two pictures




BEEC.                      84                     BEEK.
painted by him in his twenty-sixth year, for their    BEEKERK. HERMANN WALTER, a Dutch painte
promise of future excellence; one is the Stoning   er, was born, according to Nagler, at Leeuwarden
of Stephen, and the other a PietA for St. Sepolcro,  in 1756. He studied under J. van Dregt, and
in Piacenza. IIe was living in 1607.             painted several good pictures for the Town Hall
iof his native place.
BEECIHEY, SIR WILLIAM, an English portrait         his nae 
painter of considerable eminence, was born at BAur-    BEERESTRATEN, A. VAN  a Dutch painter
ford, in Oxfordshire, in 1753. He was originally  of much merit, ho is supposed by van Eynden to
intended for the legal profession, but an acquaint-  have studied in Italy. His marine views are full
ance which he formed with some of the students  of striking effects, the water painted in a most ad.
in the Royal Academy served to develope his taste  mrable manner, and appearing to move on the
for art, and in 1772 he was admitted as a student  canvass. They represent Dutch and Italian seaof that institution. His first objects of study were  ports, but are very scarce. The Gallery at Dresthe works of Reynolds; after which he practised,den, and the Museum at Amsterdam, possess some
and then studied from nature. Some of his ear-  of the best; and M. le Brun paid 1600 livres at
liest works are the portraits of Dr. Strachey,  Paris for one of the works of this artist.
Archdeacon of Norwich, and his family; the Chev-    BEEK, DAVID, an eminent Dutch portrait paintalier Ruspini and his family; and the Duke and  er, born, according to C. de Bie, at Delft in 1621,
Duchess of Cumberland; that of the Ruspini fam-  though others assert, that he was a native of Arnily is supposed to be the first the artist exhibited  heim, in Guelderland. He studied under the great
at the Royal Academy. From London, Beechey   Vandyck, and was the most successful, if not one
went to Norwich, where he began painting small  of his ablest scholars. Charles I. favored him with
conversation pieces, in the manner first practised  his patronage, and he was appointed to instruct
by Hogarth, and afterwards by Zoffany.  Five  the Prince of Wales and Duke of York in drawing.
years after, he returned to the metropolis, where  His pencil was remarkably rapid, which occahe soon became generally known and extensively  sioned the King to say pleasantly, while sitting for
employed. In 1793 he was elected an Associate  his portrait, that he believed he could paint while
of the Royal Academy, and the same year painted  riding post. After passing several years in Enga full length portrait of Queen Charlotte, who ap-  land, he visited Sweden, where he was received
pointed him her portrait painter. In 1797 he was  with distinction by Queen Christina, who appointed
elected a Royal Academician. In 1798 he paint-  him her principal painter and chamberlain. Noted his large composition representing a Review   withstanding the flattering protection he received
of the Horse Guards by King George III., the  from the Queen his desire of revisiting his native
Prince of Wales, and the Duke of York, which is  land prompted him to solicit permission to return
now in Hampton Court, and is esteemed one of  to Holland, which he with difficulty obtained, un
Beechey's best works, and gained him the honor  der a promise to return. His attachment to his
of knighthood. Soon after this, Beechey painted a  native country prevented his fulfilling his engageset of portraits of the royal princesses, for the  ment, and he died at the Hague in 1656.
Prince of Wales, and then a series of whole-length  BEELDEMAKER, JOHN, a Dutch paintqr, born
portraits of the royal family, for the Gothic Pal-  at the Hague in 1636. It is not recorded under
ace, then erecting at Kew. There is also an apart-  whom he studied; but he gained distinction by his
ment at Frogmore Lodge, entirely decorated with   Huntings of the Boar and Stag, which are treated
portraits by his hand. Besides the liberal pat-  with great ability, and painted with a suitable fire
ronage of the royal family, Beechey enjoyed a  and spirit. They are frequently seen in England,
very large 9hare of public patronage and support.  usually of small dimensions.
His portraits are almost numberless, many of       BEELDEMAKER, FRANCIS. a Dutch historical
which are of a very high class of excellence. Those  and portrait painter, the son of John B., born at
of the King, Prince of Wales, and Duke of York,  the Hague in 1669; studied first under his father,
in the picture before mentioned, evince a power of  but preferring another branch of the art, he was
handling, and breadth of effect, as well as an ac-  placed under William  Doudyns, an historical
curacy of resemblance, which deserve great praise.  painter of considerable note. He improved so rapIn his portraits of men, he seems to have been  idly under his instruction, that before long he dedeeply imbued with a command of character and  termined to visit Italy, and while at Rome was
expression; and in those of ladies, grace and beau-  very assiduous in the study of the works of the
ty are ever pervading. Of the former, may be in-  great masters. After several years, he returned to
stanced those of Nelson and Lord St. Vincent;  Holland, where he met with great employment, and
and of the latter, those of Miss de Visine, Miss  gained considerable reputation. He was admitted
Rudd, and Miss Lushington as a Bacchante, are  a member of the Academy at Hague, and died in
good specimens. Beechey executed but few works  1717.
besides portraits. Among his other productions      BEER, JOSEPH DE, a Dutch painter, born at
was a picture of Iris bearing to Sommus the com-  Utrecht in 1550, studied under Francis Floris, and
mand of Juno to warn Alcyone, by a dream, of  painted history with some success. He was patthe fate of her husband Ceyx, painted on his first  ronized by the Bishop of Tournay, for whom he
arrival at London. He died in 1839, aged 86 years.  painted several admirable pictures. He died in
BEECK, JAN, a Flemish painter, born at Looz;  1596.
was a-monk of the convent of St. Lawrence, near    BEERINGS, GREGORY, a Flemish painter, born
Liege, of which he became the abbot in 1509. He  at Malines in 1500; studied in Italy, where he acpainted the greatest number of the pictures in the  quired a fine taste; produced some good pictures
church of his convent, and is considered, after the  of landscapes and architectural ruins, and might
brothers Van Eyck, to be the morst eminent  have gained great distinction, but he fell into indo.
among the ancient painters of Liege. He lied in 1516.  lence and dissipation, and died in 1544.




BEGA.                       85                     BEGN.
BEESTEN, A. H. VAN, a Dutch painter.of por-        BEGNI, Giu4 to CESARE, an Italian painter
traits and bassi-relievi, in which he is said to have   born at Pesaro.  He studied under Antonio Cimaexcelled; but being a man of great modesty, he  tori. He was a follower of the Venetian school
suffered others to profit by his talents.          and painted in a bold, rapid, and unfinished style.
BEGA, CORNELIUS, a Dutch painter, born at  but with a fine effect. There are many of his
Haerlem in 1620, studied under Adrian Ostade, and   works in Pesaro and Udine. He died about 1680.
became the ablest painter of his school. His pie-    BEGYN, ABRAHAM, a Dutch painter, born in
tures, like those of Ostade, represent Dutch peas-  1650, painted landscapes and cattle in the style of
ants regaling and amusing themselves, and the in-  Berghem; his pictures on those subjects are very
teriors of Dutch cottages.  These subjects are  justly admired.  His pencil was light and free, and
treated with a most humorous delineation of char-  his coloring very agreeable. He resided chiefly at
acter; and his works, though not equal to the ad-  Berlin, where his works were greatly esteemed.
mirable productions of Ostade, have sufficient merit  Houbraken says he was principal painter to the
to rank him among the most interesting artists of  Elector of Brandenburgh. In several collections in
his country, and are deservedly placed in the  Holland, his works are placed among those of the
choicest collections.  After some years, he fell into   most admired painters; and they are held in cona dissipated course, and became so depraved that  siderable estimation in England, but his best prohis father, a sculptor, named Peter Begeyn, dis-  ductions are there ascribed to Berghem, and are
owned him, whence he changed his name to Bega;  altered so as to more clearly resemble the works
his earlier pictures being marked with one, and his  of that master. He died about 1710.
latter works with the other. Whatever may have
been his conduct in the earlier part of his life his    BEHAM, BARTEL, a German painter, and very
death was occasioned by a circumstance which   distinguished engraver, born at Nuremberg about
proves that his profligacy had not extinguished the   1496. He was the elder brother of the eminent
affections of his heart. A young person to whom   Hans Sebald Beham, and, according to Orlandi, rehe was fondly attached, and whom  he was about  sidod chiefly in Italy, and studied under Marc' Anto marry, was attacked by the plague, which vis-  tonio Raimondi, at Roe and Bologna. Sandrart
ited Holland in 1664. Though every one aban-  mentions several of his paintings, which in his time
doned her, yet Bega remained by her side, and con-  were i  the Gallery of the Elector o Bavaria, at
tinued the most assiduous attention even to the   Munich, and in the collection of the Prince of Neulast moment. He caught the infection and died   boug.  As an engraver he was more eminent, and
aged 44. As an engraver, he has executed about  was one of the most successful imitators of the fine
thirty-five etchings touched with great spirit and   styleof Marc' Antonio. His heads have a fine exingenuity. Among them are the following:           pression, and his drawing is masterly and correct.
An interior of an Alehouse, with three Peasants, one with   Many of his plates have no mark, which has somea Goblet in his Hand; a sketch of two Peasants and a Boy;  times occasioned difficulty. Those which bear his
the interior of a Dutch Cottage, a Man with a Pitcher in his  signature are marked B. B., and are dated from
Hand, with another Peasant with a Woman and a Child,  1520 to 1533.
fine; a Man leaning on a Table, and his Wife suckling a
Child; a Company of five Men and Women regaling; an-                   PORTRAITS.
other Company regaling, a Woman pouring out a Glass of    William, Duke of Bavaria. Bust of Erastus Balderman.
Liquor; an Assemblage of eight Peasants, of which two are  1535. Bust of Leonard van Eck. The Emperor Charles
playing at Cards, very scarce.                     V.; marked BB. Ferdinand I.; same marK.
BEGARELLI, ANTONIO, called ANTONIO DA                            VARIOUS SUBJECTS.
MODENA, an eminent Italian designer and modeler,    Adam and Eve, and Death before the Tree. Judith sitfrom whom the most eminent painters and sculp-  ting on the body of Holofernes. 1525. The Virgin sucktors of his day, gained instruction and advantage.  ling the infant Jesus; very fine. A Sibyl reading, and.a
He was born at Modena in 1499, and studied un-  Boy holding a Torch. BB. Susanna brought before the
der Gio. Abati.  He practied chiefly at Parma,  Elders; after Giulio Romano.  Lucretia.  Cleopatra.
der  io.1520. The Judgment of Paris. A Battle-piece; a friese;
Mantua, and other cities. He was associated with  inscribed Titus Gracchus. Another Battle-piece; a friese.
Correggio in the decorations of the cathedral at  A soldier caressing a Woman. A Child playing with a
Parma.  They were ever on the most friendly   Dog. 1525. A Child sleeping, with a skull. A Woman
terms, and naturally assisted each other.  Bega-  sleeping uner a Tree, with aChild and a ambnear her,
relli made the models from which Correggio painted'  and in the background a Wolf with a Sword in his Mouth,
relli made the models from which Correggio painted
many of his floating figures, and instructed his  pursuing a Goos; inscribed Der Welt Lauf
friend in the art of modeling.  They were nearly     There are some prints marked with a B on a dye,
of the same age, and their conceptions of the grand       and sometimes with the dye only, which
and beautiful were very similar. Begarelli sur-           have been by some attributed to Nicholas
vived Correggio many years, and produced many   Beatrici, but are now with more probability supfigures, larger than life, of which the monastery   posed to be by Bartel Beham, as they are every
and church of the Benedictines preserved a noble   way much superior to the usual style of Beatrici,
collection. Vasari extols him  for the fine air of  and are much in the manner of B. Beham. They
his heads, exquisite proportions, beautiful drapery,  are as follow:
and color like marble.  But the great Michael An-            PRINTS WITH THE B ON THE DYE.
gelo declared, "If this clay were only to become    Apollo causing Marcyas to be flayed; Christ giving his
marble, wo betide the ancient statues."  Begarelli  Charge to St. Peter; after Racfaelle. A Naval Combat.
acted as a master in design and modeling, hence   A Landscape, with  nimals lying about a Tree, and at the
he greatly influenced the art of painting; and to   Top of the Tree a Phoenix setting fire to her Nest. Four
him are we to attribute in a great measure that  frie    with Boy  pling, andestoons of Flower
RAPH. VRB. IN. Ant. Laferii Formis.
relief, correctness, foreshortening, and grace, ap- APH.RB.IN. Ant.La            orm
proaching so near to Raffaelle, of which the Lomn-     PRINTS WITH THE DYE WITHOUT THE LETTER.
-oard paintersboast so large a share. He died in 1565.    Apollo and the Python. Apollo and Daphne.




BEHA.                         86                      BEIN.
T V      1        Or10  orfS  BEHAM, HANS,  of the Passion of our Saiour. The Holy Family- St
[K)S    o'  I0 11 _X      or JOHN SEBALD    Joseph plucking the Branch of a Tree. The Virgin with
_3                    or JOHN S E         AD the infant Jesus on her Knee. St. Jerome with a Book and
an eminent German engraver, born at Nuremberg   Crucifix. A Young Man and Woman. A Female with
~n 1500; the younger brother of Bartel B., who,  Wings, with a Crown and Stars, with a Skeleton at her
according to Sandrart, instructed him in the art.  Feet-a Child with Wings holds a part of her drapery.
This, however, was probably only the case previous   1548. The Baptism of the Anabaptists; circular; scarce.
re  Another of the same subject; large print of four sheets;
to Bartel's going to Italy, as the style of John reto Bartel's going to Italy, as the style of John re-  very scarce. A Village Fair, with a Steeple and a Clock;
sembles that of H. Aldegrever.  He engraved on  large frieze; very scarce. A March of Soldiers; large
wood and copper, and a few etchings have been at-  frieze, in four sheets; very scarce. Biblicae Historisetributed to him.  His copper plates are executed   Comprising three hundred and forty-eight prints, of which
entirely with the graver, in an unusually neat and   the greater part have gures on both sides.
delicate manner; his wooden cuts are uncommonly         BEINASCHI.  See BENASCHI.
free and spirited; his drawing of the figure is gen-    BEISCH, JOACHIM FRANCIS, a German painter
erally correct; and the expression of his heads and   and engraver, born at Munich in 1665, was the son
figures is of great merit.  He possessed consider-  of William  Beisch, a painter of little note, who
able genius and a ready invention.  In the early   was a native of Ravensburg, in Suaba, but resident
part of his life he resided at Nuremberg, during   at Munich, from  whom  he received instruction
which time he marked his plates with a cipher  in the art.  He excelled in landscapes and battlecomposed of the three letters, H. S. P., dated from   pieces.  His best works are in the palaces of the
1519 to 1530.  He afterwards lived at Frankfort,  Elector of Bavaria, in whose employment he rewhen he changed his mark to a cipher composed   mained for several years; among which are sevof H. S. B., dated from 1531 to 1549.  His copper  eral large pictures of the battles fought in Hunplates, according to Bartsch, are very numerous.  gary by the Elector Maximilian Emanuel.  With
The following are the principal:                      the consent of his patron he visited Italy, and made
PLATES WITH THE CIPHER ISP.               many designs from  the beautiful scenery of that
Engraved at Nuremberg, and dated from 1510 to 1530.  country.  His landscapes are very pleasing, and he
The Portraits of Sebald Beham and his Wife, and in the   seems to have followed the style of Gaspar Pousmiddle the Cipher, with a Wreath of Laurel; this is also   sin in the arrangement of his pictures.  As an enengmalved by Hola1. Adam and Eve in Paardise; two  graver, he executed four sets of landscapes, with
small plates. 1519.'St. Jerome, with a Cardinal'.q Hat
and the Lion. 1519. The Virgin suckling the infant Je-  figures and buildings,  amounting to twenty-si
sus. 1520. The Virgin, with a Glory, standing, holding   plates, etched with great facility and spirit.
the infant Jesus. 1520. The Death of Dido; Reginea      BEISSON, ETIENNE, a French engraver, born
Didonis imago. 1520.  St. Anthony, Hermit, writing.  at Aix; studied under Wille; executed several
1521. St. Sebald seated between two Trunks of Trees, and  subjects after the Italian masters for the   alerie
holding in his right hand the Model of a Church. 1521.  su  s afe   e   aan   ate     the   ae
Two Peasants playing on the Flute and Bagpipe; very   du Musee, and Susanna at the Bath, after San
small. Two Peasants, Man and Woman, dancing. 1522;  terre.  He died in 1820.
very small. A Triton carrying a Nereid on his shoulders.    BEITLER  M  aerman engrver, lived at
1523; very small. A Woman sitting on a Lion. 1524. A                           Ger     engraver, ived a
Young Man and Woman embracing. 1526. The Death         1. Augsburg about 1616; engraved in a very
of Cleopatra. 1529. A Vase, a Model for a Goldsmith,  neat style, according to Prof. Christ, several small
with a German inscription. 1530. Combat of the Greeks  plates of landscapes.  His monogram  was an M
and Trojans; very small frieze. Combat of Achilles and  and a B reversed.
Hector; same. 
PLATES WITH THE CIPHER I-S-B.                BEL, JOHN  BAPTIST LE, a Flemish painter,
Engraved at Frankfort, and dated from 1531 to 1549.  who flourished, according to Nagler, about 1750.
A Vase, embellished with sculpture, with two Syrens.  He painted mostly heads of old men and women,
1531. Adam and Eve, behind them a Stag. 1536. Adam   as well as portraits of his own composition.  His
and Eve in Paradise, with the Serpent presenting the Ap-  portrait, according to Fiorillo, is in the Florentine
pie. 1543; very fine. The Emperor Trajan, with his  Gallery, where several  f his pictures are to be
Army, listening to the complaint of a Woman against hiss a   to 
Son. 1537. Melancholy; inscribed Melancolia.  1539; oun
after Albert Durer. Patience; inscribed Patentia; on    BELANGER, FRANCOIS JOSEPH, a French ara tablet is written, Sebaldus Beham Noricus faciebat.           rn      Par in 1744.  He s              
1540. Fortuna; a Woman holding a Wheel. 1541. In-  chtect, born at Paris in 1744.  He studied at
fortunium; a Woman stopped by an Evil Genius with a  the  University, and  distinguished  himself by
Lobster. 1541. A Young Woman, with a Buffoon, pre-  obtaining a gold medal, in competition, for a desenting Fruit; an etching. 1540. Four very small platea  sign for a triumphal column.  Before the revoof the Four Evangelists, with Wings. 1541. Twelve  lution, he was a fashionable artist, and had charge
small plates of the Labours of Hercules; inscribed   of all the pblic f     spectacles and f
of all the public f6tes, spectacles, and funeral shows
Aerumncv Herculis; dated from 1542 to 1548. An En-           the                           uneral shows
sign and a Drummer. 1544. The Roman Charity, with a  given by the court.  He was also distinguished for
German inscription. 1544; fine. The Arms of Beham.  the elegance of his designs for country villas, &c.,
1544. Bust of Domitia Calvilla, with the Emperor Tra-  and in the employ of the Duke d'Artois, he acjan; after Antique Medals. 1546. The Twelve Months  quired a brilliant reputation and an ample fortune.
of the Year, each represented by a Man and Woman dan        strongly attached to the crown, he lost all
ing; two months on one plate; six small plates. 1545.     g       stngy a   ed to  te       rown, e lost all
The Judgment of Paris; Judicium Paridis. 1546; fine.  these advantages by the revolution, was imprisoned
Death seizing a Young Woman; inscribed Omnem in ho-  and his property confiscated, and he afterwards
mine, 4c. 1547; fine. A Man trying to pull up a Tree;  presented to the government claims to the amount
inscribed Impossibile. 1549. The Virgin holding the in-  of 350,000f.  He is particularly worthy ofnotice as
fant Jesus in her Arms, with a Parro and an Apple; S.  the first projector of the Abattoirs of Paris, which
Maria. 1549; after Bartel Beham.
Mara.  149; after  artelBeham.          were constructed after his designs.  He died at
WOODEN CUTS,                       Paris in 1818.
Which are sometimes marked with the one and some- \
times with the other of his tw, ciphers.        BELANGER, THIERRY, a celebrated French
Portrait of Beham; with a Cap. 1546. Eight prints  painter, born at Nancy about 1596.  He was




BELB.                      87                    BELL.
a friendof Callot, Leclerc, Chasseul, and all those  BELKNAP, JAN VAN, a Dutch painter, who
artists who threw so much eclat on the peaceful  practised chiefly in England, wkere he was much
reign of Charles III., Duke of Lorraine.  He first  employed in copying the pictures in the Royal colstudied under Henriot, a distinguished Champenois  lection.  At Drayton there were formerly porpainter, but not liking his style, he went to Paris  traits of Henry VII. and VIII. copied from large
and placed himself under the tuition of Vouet,  pictures by Holbein, which were burnt at Whitewhere Le Brun, Le Sueui, and Mignard were his  hall, and some of his works are still in the Royal
fellow students. He now entered the service of the   Collection. He died in England in 1653.
Duke of Lorraine, and executed for him a great    BELL, JOHN, one of the most distinguished of
many works. He painted in fresco the grand hall  the Scotch anatomists and surgeons was born at
of the convent which was destroyed in 1718; the   Edinburgh, in 1762. Professor of Anatomy and
twelve Caesars, in colossal grandeur, for the chat-  Surgery in the University, and overwhelmed with
teau de Morainville; a Conception of the Virgin in  an extensive practice, yet he found time to cultithe Church of Notre Dame. But his greatest  vate a taste for the fine arts. He learned engraworks are in the Church of the Minimes, at Nancy;  ving to enable him to illustrate his works with a
among these are a Figure of Christ; the Virgin  truth and fidelity which he could not obtain to his
on her death-bed, surrounded by the Apostles and   satisfaction. He is particularly worthy of menCherubims; the Assumption of the Virgin-a  tion in this work as the designer and engraver of two
grand composition, extending from  the bottom of   quarto volumes of plates, illustrative of his works
the choir almost to the cupola of the sanctuary, in  on anatomy, which are etched with wonderful
which are introduced as spectators, the portraits  freedom and truthfulness to nature. He died at
of Charles and the ducal family. " This majestic  Rome in 1820, whither he had gone in hopes to
assemblage forms an oval, surrounded with a rich  repair his energies, worn out by a life of constant
border in which the passion of the Saviour; and the  professional labor. While in Italy he wrote some
life of the Virgin are represented, a work which alone  admirable criticisms on works of art, which were
is sufficient to rank his name among the most cele-  published in Edinburgh in 1825, after his death.
brated masters of his time."  This however is
French praise; the picture, as described by the    BELL, LADY the sister of J. Hamilton, R. A.,
author from which this is taken [See Dictionaire  received instructions from her brother and ReyBiogaphie Unierselle] is a gross piece of flat-  nolds. She succeeded very well in copying the
tery. He possessed a fertile imagination, and  works of the latter, and also copied some pictures
wrought with great facility. He died at Nancy   by Rubens, in Carton Palace, among which was a
about 1660.
about 1660.                                     fine Holy Family. She died in 1825.
BELL, WILLIAM, an English painter, born at
BELAU, NICHOLAS BRUNO, a German painter,  Newcastle upon Tyne. He went to London about
was born at Magdeburg in 1684. He studied at  1768, and was among the first to enter as student
Berlin under Augustine Zerwesten, and afterwards  of the Royal Academy. In 1771 he obtained the
went to Italy for improvement, where he passed  gold medal for a picture representing Venus solicseveral years. On his return, he practised the  iting Vulcan to  orge arms for ZEneas. He was
art at Berlin, Anspach, Vienna, and other parts  much patronized by Lord Delaval, for whom he
of Germany. Heineken mentions by him, the  painted two Views of Seaton Delaval, and the porportrait of Gottlieb van Haesseler, privy coun-  traits of the family. He died at Newcastle about
sellor to the King of Prussia, engraved by Berni-  1800.
geroth; also an equestrian portrait of Charles VI.,
to whom a gentleman on his knees is presenting              o      BELLA, STEFANO DELLA, a
a book. It has been engraved in folio by G. A.'17 j;  distinguished Florentine engraMuller. Belau died in 1747.                      ver, born in 1610, was the son of a goldsmith, and
BELBRLE,   a French wood engraver flour-  intended for that profession, but manifesting a
-EL about 1580..   mnis sm -genius for drawing, he was placed under Cesare
ished about 1580. Papillon mentions some orna-  Dandini to learn painting; but a decided inclinameutal cuts of flowers by him very delicately ex-  tion for engraving induced his father to place him
under Cantagallina, who was also the master of
BELEJAMBE, PIERRE, a modern French engra-  Callot. He at first followed the manner of the latver, born at Rouen in 1752. He executed some  ter, but soon abandoned it and adopted a style of
fancy subjects after the cotemporary painters of  his own. He designed his pieces with wonderful
his country, and a few prints for the collection of  taste, his execution is admirable, and his prints prothe Palais Royal. Among others are the follow-  duce a clear and brilliant effect. Some of his prints
ing:                                             are slightly, though spiritedly etched; but this is not
Portrait of Pilatre de Rosier. Cupid reposing on the surprising, as the number of the whole is upwards
breast of Psyche; after J. B. Renaud. La petite Jean-  of fourteen hundred. He visited Paris in 1642,
ette; after J. B. Greuze. The Circumcision; after Gio.  where he executed some plates for Henriet, the
Bellini; for the Orleans Collection. The Adoration of the  uncle of Israel Sylvestre. Cardinal Richelieu emMagi fter Carlo Cagliari; do. The Holy Family;  ployed him to make drawings of the siege and
after M  AnIelo; do, BEentaking of Arras by the royal army, which he subBELIDOR, BERNARD FOREST DE, a celebrated  sequently engraved. On returning to Florence, he
Spanish architect, mathematician, and engineer,  was appointed by the Grand Duke to instruct
born in Catalonia in 1695. He was an engineer in  his son Cosmo in drawing, with a suitable pension
the service of France, member of the Academies  He died at Florence in 1664, aged 54. The fol
of Sciences at Paris and Berlin, and of the Royal  lowing are his principal works:
Society of London.  Besides his several designs                  VARIOUS SUBJECTS.
and erections, he is well known by his able works    Portrait of S. Della Bella, in a Persian costume, after
on mathematics, arcl itecture and engineering.   %is design. Sigismond Boldoni, a noble Milanese.



BELL.                         88                        BELL.
Mount Joie, St. Denis, King at Arms, very scarce. Hora-  managed with more than usual intelligence.  His
tius Gonzales, oval, very scarce. Ferdinand, King of the   drawing is incorrect, and there is an appearance of
Romans. Bernardo Ricci on Horseback, Buffoon to Ferdi-.     e 
nand II., 1637. St. Antonine kneeling in the Clouds, said to                          figures.   The follo.be his first plate. St. Anthony mounted on a Monster with  in  are his principal plates:
two Heads, inscribed Super aspideni,.-c. Jacob and Ra-    The Annunciation; The Holy Family, with St. Cathechel leaving Laban. Jacob's Journey to Egypt, to find Jo-  rine and St. John; The Adoration of the Magi; The Reseph. Battle of the Amalekites. St. John Baptist, with a   surrection of Lazarus; Christ bearing his Cross; The dead
Lamb. St. John Baptist getting Water with his Cup. The   Saviour lying on the Knees of the Virgin Mary; The Three
Virgin, with the infant Jesus on her Knee. The Virgin, with   Marys going to the Sepulchre; The Magdalene, halfthe infant Jesus standing on her Knee. The Virgin suck-  length; St. John the Baptist in the Wilderness; The Marling the infant Jesus. The Virgin suckling the infant Jesus,  tyrdom of St. Lucia; The Death of Virginia; Adonis
with St. Elizabeth and St. John. The Virgin sitting, with  carrying Diana on his Shoulders.
the Infant standing on her Knee, oval. The Virgin suckling
the Infant, Caracci inv. A small plate of the Flight into  BELLANGER, J. A., a French amateur engraEgypt, St. Joseph leading the Ass. A round plate of the   ver, mentioned by Bassanj as having etched some
Flight into Egypt, with the Heads of Angels. The Repose in   plates from  his own designs with  considerable
Egypt, a round plate. The Repose in Egypt, with St. Jo-  taste  inte
soph reading, leaning against a Tree. The Holy Family,    te  ite      ee, and     which  ae t         irace
with St. John and St. Elizabeth, with a Flower-pot. The in-   pates  aer Raa      n              the Mira le
fant Jesus explaining the Writings to the Virgin and St.  of the Loaves and Fishes, and the School of Athens.
Joseph, very rare. Effigie del glorioso Martyre Sto. Bene-  BELLE, CLEMENT  LOUIS MARIE  ANNE, a
detto, very scarce. The Finding of the miraculous Image   French historical painter of eminence, born at
of our Lady, near Florence, 1633. The Triumph of the   Paris in 1722.  His father, Alexis Simon Belle a
Church. St. Prospero descending from Heaven, very scarce.  reputable painter, and member of the Royal Acad
The tyrant Phalaris ordering Perillus to be put into the Bra-  reputable    te        te 
zen Bull, 1634.  A Basso-relievo, antique, after Poli-  em, instructed him in the art, and after his death,
doro. Lucretia, after Parmegiano. Three Children car-  his mother placed him with Le Moine, and afterrying a Plateau, after Guido. A basso-relievo, antique, a   wards sent him  to Italy to perfect his education.
Woman stopping a Bull. Clovis on Horseback, carrying off  Soon after his return to Paris he was admitted a
Clotilda, scarce. A Seaman, of whom a Beggar is asking   member of the Academy, and afterwards appointed
Charity. A Seaman, with his Hand on the Head of his Dog,  Assistan   then  Professor  and finally  in 1785
and other Figures. A Child teaching a Dog to sit up. Four 
Turks, half-length figures. Three Turks, with a Boy and a   Rector to the Academy.  In 1775 he was appointed
Negro. A Polonese, with his Battle-axe. A Soldier, with his  inspector of the manufactory of the  Gobelins.
Musket, and holding a Fowl, and a Woman on Horseback,  Though his time was much employed in the diswith a Child. A Florentine Sportsman, with his Gun, and a   charge of these various duties, he executed some
Girl spinning.  A Lady holding a Dog, marked twice S. D.  excellentworks for the public edifices.  He died
Bella. Mount Parnassus, very fine. An Eagle devouring a     t
Fowl, with its Wings extended, and below two Horses and a   Paris in 1806.  He was a man of talents, a thornumber of spectators. The Rock of the Philosophers, fine and   oughly educated artist, of large scientific acquirescarce. The Fair, representing a Festival on the Arno, oval,  ments, which, together with his high moral quali-this plate was a long time attributed to Callot. Perspec-  ties, and amiable disposition, peculiarly fitted him
tive View of the Catafalco of the Emperor Ferdinand II.,  fr the instruction of pupils, who reared him
with the Arms of the Medici. A Thesis, on the Canonization   with affection.    e left a son who s eded hi
of Francis Solanus, 1639. Plan of the Siege of La Rochelle,  aection   He left  son, whouceeded him
S. Del. Bella del. et fec. Plan of the Siege of Arras, for   as inspector of the manufactory of the Gobelins.
the Cardinal Richelieu, marked Stefano Della Bella, inv.  BELLE  AUGUSTIN LOUIS, a French painter, son
etfec. The Reposoir, or Fete Dieu, lengthways-it is sel-    f  h     receding,  born  at Paris in 1757; was
dom a good impression of this plate can be met with. The   o  the preced, b rn at Par      1; was
View of the Pont-neuf-the first impressions of this plate  instructed by his father, whom  he assisted in
are without the weathercock on the steeple of St. Germain  the Gobelins manufactory.  He painted many picl'Auxerrois. View of the Castle of St. Angelo.          tures from subjects of sacred and profane history,
VARIOUS SETS OF PRINTS.                  and the ancient poets.  He was living in 1831.
Two Landscapes; in one, a Peasant carrying a Basket     BELLE  NICHOLAS SIMON ALEXIS an eminent
at the end of a Stick; and in the other, a Peasant carry-  E     o            I    o      17    n        n
ing a Package on his Head. Two Landscapes, one with a   French portrait painter, born in 1674; stued unMan leading Dogs; and the other, a Man leading a Horse   der F. de Troy; was patronized by the. King of
loaded with Sheep. Six Views of the Port of Leghorn.  France and several other sovereigns, and had an
1655. The Four Seasons; four figures in ovals. The   excellent practice in his day.  He died in 1734.
Four Elements, Landscapes and Marines. Eight Marines      B                     a F     is  mrin    inr
in the style of Callot; dedicated to Lorenzo de Medi.     BELLEVOIS,, a Flemish marine painter.
Six-Of Vases. Six Landscapes; circular. 1656. Four  It is not mentioned by whom  he was instructed,
charming Landscapes, with Figures. Four Views of Ro-  but he was a respectable artist in this branch, and
man Ruins. Three Battle-pieces; large plates.  1622,  his works are to be found in many of the Flemish
1627, 1641.  Eleven-Of Moors, Hungarians, Asiatics,  collections.  He followed the style of W.Vanderand Africans. Sixteen small square plates-Of Soldiers,  velde and Backhuysen.  He resided at Hambur,i
Hunters, Fishermen, Peasants, Children, &c., which some
attribute to Callot. Eighteen; entitled Raccolta di vai  where he died in 1684.
capricci. 1646. Twenty-four Views of Edifices; publish-   BELLI, JAMES.  According to Basan, this ened by Israel Sylvestre. Twenty-two Sketches, &c., by   graver was born at Chartres, but resided chiefly in
Stef Della  ella. The Five Deaths oval  the las of   graver was born at Chartres, but resided chiefly in
Stef. Della Bella. The Five Deaths; ovals; the last of
his works. The sixth Death, plate begun by Della Bella,  Italy.  He executed some plates after An. Caracci,
and finished byJ. B. Galestrucci his scholar,.-'ter his death.  and also the following, supposed to be from  his
BELLANGE, JACQUES, a French paii er and en-  own designs:  Jupiter and  Juno;  Venus and
graver, born at Chalons about 1610, studied un-  Adonis; Hercules and Omphale; Diana and Enper Claude Henriot, a painter of Nancy, and after-   dymion, dated in 1641.
wards visited Paris, where he became a pupil of           BELLICARD, JEROME CHARLES, a French arSimon Vouet.  As a painter, little is known of   chitect, born at Paris in 1726.  After obtaining
him.   His plates, though executed in a rather   the prize for a grand frieze, he went to Italy to
singular manner, possess considerable merit; his  study.  Shortly after his return, he was appointed
point is free and masterly, and the chiaro-scuro is   professor in the Academy of Architecture at Paris




BELL.                      89                     BELL.
He was a man of talents, and might have gained  art from his father, and for some time assisted his
an honorable distinction, had not dissipation de-  brother in the work he was executing for the
stroyed his fortunes, and ended his life in misery, in   Council-chamber at Venice. Ridolfi says he was
1786. He published a work on the antiquities of  the first Venetian who ever painted in oil, and that
Herculaneum, or ancient painting and sculpture,  he learned it of Antonello da Messina. He was
illustrated with thirty-three plates, etched by him-  not long satisfied with the dry, Gothic style preself.                                            vailing in the Venetian school, and was the first
BELLING, JOSEPH ERASMUS,  a German en-  of his countrymen that tried to reform it, by simgraver of Augsburg. Among other works by this  ply following nature, though his design was still
graver of Augsburg. Among other works by this
artist, Heineken mentions a portrait of Clement  characterized by the stiffness and formality of
artist, Heineken mentions a portrait of Clement
the time. Miany of his works are in the VeneXIII., folio; and a number of devotional subjects.  t   churches an some of his smaller pictures
tian churches, and some of his smaller pictures
BELLINI. JACOPO, an old Venetian painter,  are in the foreign collections. Bellini was very
born about 1405; studied under Gentile Fabriano,  industrious, and has the credit of having instructand is said, by Ridolfi, to have been one of the  ed two of the greatest painters of the Venetian
most reputable painters of his day. He was an  school, Giorgione and Titian. Bryan says he died
eminent portrait painter, and executed several pic-  in 1512, aged ninety, but Lanzi says he was living
tures of the principal personages of the republic,  in 1516. In that year he was visited by Albert
and others, one of which is mentioned by Ridolfi,  Durer, who pronounced him the best painter of
that of Jacopo Lusignano, King of Cyprus, Iho  his time. Mechel mentions a picture in the Imwas beheaded ast Venice. That author mentions  perial Gallery at Vienna, in which a young lady
several of Bellini's works in the public edifices at  nearly naked, is seated arranging her hair before
Venice, which were highly esteemed at the time,  a mirror. At the lower part of the picture is
especially in the Church of the Confraternity of  Johannes Bellinus jfciebat MDXV.  It would
St. John the Evangelist, representing different sub-  seem that he continued to employ his talents to
jects from the lives of our Saviour and the Virgin.  the last, as there remains in the gallery of Santa
He died in 1470.                                  Giustina of Padua, a Madonna, dated 1516, and
Brandolesi mentions another at Padua with the
BELLINI, CAv. GENTILE, a Venetian painter,  same date.
born in 1421, was the eldest son of Jacopo B.,whom
he assisted in some works for the government, in    BELLINI, FILIPPO, an Italian painter, born at
which he manifested such ability that he was en-  Urbino, and flourished about 1594. Lanzi says he
gaged to adorn the great council-chamber at Ven-  possessed unusual ability, although he is little noice, for which he painted several large pictures rep-  ticed in the annals of art. He was a successful
resenting the most celebrated achievements of the  imitator of Federigo Baroccio, as appears in his picVenetian Republic; of which a particular descrip-  ture of the circumcision in the Basilica of Loretto,
tion is given by Ridolfi. These, and other works  and in the marriage of the Virgin, in the dome at
for the nobility, gained him great reputation. He  Ancona. Among his principal works are the marafterwards executed some sacred subjects, for the  tyrdom of St. Guadenzio in the Conventuali di M.
Confraternity of S. Marco. Some of Bellini's pic-  Alboddo; and fourteen pictures of the works of
tures were carried to Constantinople by Turkish   Charity, in the Chiesa della CaritA at Fabriano.
merchants, and shown to the Sultan, Mahomet II.,    BELLINI, CAV. GIACINTO, a Bolognese paintwho applied to the Senate of Venice to permit  er, born about 1600; studied under Francesco Al
Bellini to visit his court, where he was received  bano, and on leaving the school of that master,
with great favor, and painted the portraits of the  was taken under the protection of Count Odoardo
Sultan and Sultana, which were regarded as prod-  Pepoli, by whom he was sent to Rome for imigies by the Turks. He painted for the Sultan a  provement, with Francesco Caracci. While in that
number of pictures; among others, one represent-  city, Bellini soon manifested so much ability that
ing the Decollation of St. John, who is highly re-  he gained the patronage of Cardinal Tonti, who
vered by the Turks. The picture pleased Mahomet  employed him  for some time, and according to
exceedingly, except the execution of the skin of the  Malvasia, was so much pleased with his works,
neck at the part where it is severed, and the mon-  that he procured him the Knighthood of the Order
arch, in order to prove his position, ordered imme-  of Loretto. He followed the manner of Albano
diately the head of a slave struck off in the paint-  and his pictures have much of the graceful style
er's presence, who was so shocked at the barbar-  of that esteemed master. He was living in 1660.
ous spectacle, that he could not be easy till he ob-    BELLINIANO  VITTORE  a Venetian histori
tained his dismissal  This request was at length                  I a
granted, his dismsalo   Ts requeste was at lengoh   cal painter; flourished, according to Ridolfi about
granted, and Mah~I~omet presented hlun with a gold l526. Several of his works are in the confraterchain and medal, and wrote letters to the Senate in                   w       a  i  t 
his favor, wich procured him an honorable stipend    ty of St Marks, at Venice, and in the nighfor life, and the knighthood of the Order of St.  boring towns.
Mark.  He died in 1501.                            BELLIS, ANTONIO DE, a Neapolitan painter of
BELLIN N  an I n p, of te  great geni.s, who died young at Naples, in 1656.
ELIN, BELLIN, an Italan pater ofthe  He paint-.several subjects for the church of S.
school of the Bellini, and one of their family, who   Carlo in t  t city, partaking of the styles of Guido
flourished about 1500, and imitated their style with  and Guercinu.
great exactness. He painted Madonnas for pri-    BELLU  ALIS SIMON                         
vate collections, and Lanzi says they are usually,                  I   I, a r        eputable Frenc
attributed to either Gentile or Giovanni Belli.    portrait painter, born at Paris, according to Heinattributed to either Gentile or Giovanni Bellini.                    s             F        
eken, in 1674. He studied under Francis de troy,
BELLINI, GIOVANNI, a Venetian painter, the  and was elected a Royal Academician. He pracyounger son of Jacopo B., and the brother of Gen-  tised the art at Paris for many years with good
tile, born in 1422. He learned the elements of the  success, and died in 1734.




BELL.                     90                    BELT.
BELLIVERT.  See BILIVERT.                      ter, and though rare, a few of them still exist in
BELLO, MARCO, an Italian  artist, born at   ilan, Bologna, and other places. Lanzi conArgenta, and studied under Giovanni Bellini. At  mends one in the  isericordia at Bologna, repreRovigo, in the possession of the noble family of  senting the Virgin between St. John the Baptist
Carsalini, is a picture of the Circumcision by this  and St. Bastiano, with the figure of Girolamo da
artist. signed Opus Marci Belli, discipuli Johan-  Cesio, kneeling at the foot of the throne. The picnis Bellini, and Lanzi says he was a good disciple  ture bears the signature of the artist, dated 1500.
of this master. He mentions another picture at    BELTRAND, IIERNANDO DOMINGO, sculptor
Argenta by him, signed with his initials, M. B.  and architect, born at Vittoria, in Biscay, about
BELLOTTI, BERNARDO, a modern Venetian   1500, studied in Italy, became so skillful that Palo
painter and engraver, born in 1724, died at War-  mino Velasco did not hesitate to place him  above
saw in 1780; studied under his uncle, the cele-the most famous artists of his time.   e was
brated Antonio Canal, called Canaletti. In im-  formed by studying Michael Angelo, and many
itation of the latter he painted perspective and  statues of Christ, of natural grandeur, executed
architectural pieces which possess considerable  by Beltrand, appear worthy of being attributed
merit. He resided chiefly in Germany, and has  to the illustrious master he had chosen.  The
etched, from  his own designs, several views in   Escurial, the Imperial College at Madrid, (which
Dresden, Vienna, and Warsaw, and other subjects,  before had belonged to the Society of the Jesuits,
as follow: A set of six Landscapes and Views,  of which Beltrand was a member) the Chapel ot
engraved at Vienna. A set of twelve architectu-  the same city, and the great altar of the college of
ral Ruins; the same. Fifteen Views in Dresden.  Alcala de Herarez, were decorated with  these
Eight Views in the environs of Dresden. Three  statues. Beltrand died in 1590 at a very advanced
Views in Warsaw.                                 age.
BELLOTTI, PIETRO, a Venetian painter, born    BELTRANO,AGOSTINO, and his wife, ANIELLA,
in 1625; studied under Girolamo Foraboso, un-  Neapolitan painters, and scholars of Massiro, ot
der whom he became an excellent colorist. He  whom Aniella was the niece: they are mentioned
painted some historical subjects, but was more em-  together, as they painted alike, and jointly preployed in portraits, in which he was very success-  pared many pictures which Massimo afterwards
ful. He died at Venice in 1700.                  finished. They both possessed more than ordinBELLUCCI, ANTONIO, a Venetian painter, born  ary merit as is shown by many altar-pieces and
in 1624; studied under Domenico Difnico, from   cabinet pictures.  Some, however, are the work
whom he acquired an admirable style. Orlandiof Aniella alone, and are highly prized; Massimo
says he painted several altar-pieces for the churches  is upposed to have had a considerable share in
at Venice and Vienna. There are several pictures  their execution. However this may be, her origiby him in the Dusseldorf Gallery; some of the   nal designs prove her talents, and her cotemporalandscapes of Tempesta are enriched with figures       oth artists and authors, highly praise her
by Bellucci; and in the church of the Ascension   abilities. She wasmurdered by her husband   a
at Venice, is a fine picture of the Nativity. The  fit of ealousy, in the year 164, at the ag  of 36.
Emperor Joseph I., invited him to his court, sat  He died in 1665.
to him for his portrait, and appointed him  his     BELVEDERE,,' ABATE ANDREA, a reputable
principal painter. After remaining some years at  Neapolitan painter of flowers and fruit; studied
Vienna, he obtained permission to retire, and en-  under Ruoppoli. He quitted painting for the purtered into the service of the Elector Palatine,  suit of literature, in which he held a respectable
where he lived a long time, highly respected for  rank.
his talents. He died at Trevisa in 1726.            BEMBO, BONIFAZIo, an Italian painter, born
BELLUNELLO, ANDREA, one of the old Vene-  at Cremona. Lanzi says he was employed by the
tian painters, born at San Vito, where he flour-  Court of Milan in 1467. He painted several of
ished in the latter half of the fifteenth century,  the compartments in the Duomo of Cremona,
and where he was considered the Apelles of the   which are characterized by spirited attitudes, magage; for in the Cathedral at Pordenone, under one  nificent drapery, and splendid coloring.
of his altar-pieces is this inscription:            BEMBO, GIOVANNI FRANCESCO, a painter of
"Andreas Zeuxis nostreque aetatis Apelles,  the Cremonese school, the brother of Bonifazio,
Hoe oBelluntellus tnoile pinxit opus."     flourished about 1520. His works have slight
In one of his paintings, dated 1490, he signs himself  traces of the antique, and resemble Fra BartoloAndrea Bellone. Lanzi says his master-piece is a  meo in point of coloring, though inferior to that
Crucifixion in the Council-chamber at Udine, and   master in the drapery, and dignity of figures.
that his works, though possessing merit for the   Lanzi mentions an altar-piece by him at the Osage in which he lived, have neither beauty of form   servanti, dated 1524, and says he has not observed
nor color.                                        anything of a similar taste in Cremona or its vicinBELLUNESE, GIORGIO, a painter of the Ven-  ity. Rosini mentions a print of a votive picture
etian school, who flourished at San Vito, in the   which is designed with much of the dignity and
Friuli, about 1550. Cesarini says he was an able  grace of Raffaelle.
artist, especially in painting portraits, freezes, and  BEMMIELL, WM. VAN, a Ducth painter, born,minute ornaments.                                at Utrecht in 1630; studied under Herman ZachtBELTRAFFO, Gio. ANTONIO, an Italian paint-  leeven, and, like his master, excelled in landscapes.
er. born at Milan in 1467, and died in 1516. He   On leaving him, he visited Italy, where he passed
studied under Leonardo da Vinci, and is said to  several years in designing after the finest views in
have succeeded him in the direction of the Acad-  the vicinity of Rome. These studies furnished
emy. His works partake of the style of his mas-  him with excellent material for his future wolks,




BEMM.                     91                    BENE.
and his pleasing manner of painting landscapes,  considerably esteemed as a fresco painter. One
with waterfalls, ruins and vestiges of Roman ar-  of his best works was the ceiling of the church
chitecture, gained him much reputation. On leav-  of San Antonio, at Brescia, which is highly coming Italy, he settled at Nuremberg, where he met  mended.
with great encouragement. His works are rarely     BENEDETTIS, DOMENICO DE, a Pieldmontese
to be seen but in the German collections.` He  painter, born in 1610; went to Naples while young,
etched six plates of landscapes, dated 1654, which  and studied for some time under Fabrizio Santaare executed with great ability. He died in 1703,  fede; after which he visited Rome, and studied
aged 73. John Geo. van Bemmell, his son, a paint-  under Guido, whose graceful and elegant style he
er of battle-pieces, was born at Nuremberg in  imitated with success. On returning to Naples,
1669, and died in 1723.                         he was favored with the patronage of the King,
B]MMELL, PETER VAN, a German painter and  whose-palace he adorned with several pictures. He
engraver, born at Nuremberg in 1689; painted  executed several works for the churches, the best
landscapes. His pictures are little known, except  of which, according to Dominici, is the Dome of
in his native city. He etched six plates of land-  the Chiesa di D. Regina, where he has represented,
scapes, lengthways, published at Ratisbon; J. H.  in the different compartments, subjects from the
Osterbag, exc. He died in 1723.                 life of the Virgin, entirely in the manner of Guido.
He died in 1678.
BERNANI, FRANCIS, a very old Italian painter,      d                                       
by whom there is a whole length picture of St.    BENEDETTO, GIOVANNI BENEDETTO.  See
Jerome holding a crucifix in his hand. It pos- CASTIGLIONE.
sesses all the characteristics attributed by Lanzi    BENEDETTO, DA ROVEZZANO, so called from
to Italian painting in the 13th century. It is  the place of his nativity, near Florence. This emmarked Franciscus Bernanus, Filius Petri Abla-  inent sculptor was born in the latter part of the
da. The size of this work is twenty-six by thirty-  fifteenth century. About the year 1500, he extwo, and it is painted on panel covered with gyp-  ecuted the fine monument to Pietro Soderini and
sum.                                            Oddo Altoviti, in the church of the Carmine
BENASCHI, or BEINASOHI, CAV. Gio. BAT-  at Florence. He was employed conjointly with
TISTA, a Piedmontese painter, born, according to  Sansovino and Baccio Bandinelli, on the works of
Lanzi, in 1636.  He visited Rome while quite  sculpture in the cathedral of that city; the beautiyoung, where he studied under Pietro del Po, but  ful marble statue of St. John was entirely executed
formed his style after Lanfranco. His chief per-  by him. In 1515, he was employed by the monks
formances are at Naples, where he painted several  of Vail' Ombrosa to erect a superb monument to
ceilings, and other works in fresco. He possessed  the memory of St. Jean Gualbert, the founder of
a ready invention, and was an able designer. There  their Order. This work, which it took him ten
is an etching by Benaschi, of the Holy Family,  years to complete, was  composed of several
after Domenico Cerini, his intimate friend. He  statues in bas-relief.  It was executed at the
died in 1688, aged 72.                           house occupied by the General of the Order, outBENASECH, PETER PAUL, a London engrav-  side of the city walls, and was totally destroyed
er, born about 1744; studied under Vivares, and  during the war that happened about that time,
according to Basan, practised some time at Paris,   hen Florence was besieged. It is said that Benbut returned to England. The following are his  adetto went to England at the invitation of the
principal works:                                 King, who munificently rewarded him. But it is
principal works:        ^   A    *probable that he was employed by Cardinal WolPeasants playing at Bowls; after A. Ostade. Fisher-  probable that he was employed by Cardinal Wolmen; Return from fishing; a'Calm at Sea; Morning;  sey to erect the splendid monument which Henry
after Vernet. Four large Landscapes; after Dietricy;  VIII. appropriated to himself, after the downfall
engraved in 1770 and in 1771. These are his finest prints.  of that prelate, and that he afterwards continued
BENAVIDES, DON VINCENTE DE, a Spanish  some time in the service of that monarch.  He
painter, born at Oran in 1637; studied under  became blind, and passed the rest of his days, in
Francesco Rizi, at Madrid. He did not succeed in  competency, in his own country, where he died
the figures, but excelled in fresco painting, and was  about 1550.
much employed in theatrical decorations. He was    BENEDETTO, DA MAJANO, an eminent Florenappointed painter to Charles I., in 1691, and died  tine architect, who flourished about 1450. He had
in 1703.                                         a brother named Julian, and they both excelled in
BENCOVICH, FEDERIGO.  This painter was  sculpture as well as architecture. They executed
born in Dalmatia, but educated at Bologna, and  a number of fine works, among which the colossal
flourished about 1753. He executed a number of  and majestic Strozzi palace stands preeminent.
excellent works at Bologna, Venice, and Milan.  It  es commenced by Benedetto in 1450, but was
In the church of la Madonna del Piombo at Bo-  completed by Simone Pollajolo, called Cronaca,
logna, is an altar-piece, representing the crucifix-   bout 1500. It forms a  almost imperishable
ion of St. Andrew. He was a good theorist, cor-  monument of the genius of Benedtto, and is the
rect in his design, and vigorous in his light and  finest instance of the power of architecture speakshadow; he seems to have studied the style of  ing to the imagination.
Carlo Cignani, whose firmness of design he ap-    BENEDICTO, ROQUE, an historical painter of
proached more than the softness of his coloring.  Valencia, and scholar of Gaspar de la Huerta. His
He was more employed on easel pictures than   best work was the Miracle of St. Francis de Paul
large works, many of which are in Germany,  feeding the three thousand persons with a few
where he lived many years.                       loaves of bread. His coloring was better than his
BENEDETTI, MATTIA, an Italian painter,  design. His works are often taken for those of
born at Reggio; studied under Orazio Talami.his master. He died at Vaencia in 1735.
Averoldl says he flourished about 1700, and was    BENEFIALI, CAV. MARCO, a reputable Roman




BENI.                      92                     BENT.
painter, born in 1684. In the Academy of St.  Delaveile Leroux, and Desmoustier addressed to
Luke, is a fine picture of Christ at the Well of  her " Les letties sur la Mythologie," under the
Samaria; in the church of the Stigmata, the Fieg-  name of Emilie.
ellation; in the Palazzo Spada, there is a saloon    BENOZZO, -—, a Florentine painter, born in
painted entirely by this artist, which is thought  1539; died in 1617. Little is known of the events
one of the finest works of his time, where are also   of his life. He painted history and portraits with
preserved the cartoons for his great fresco work,  considerable reputation.
of the dome of the Cathedral at Viterbo. He re-    BENSHEIM            J., a German engraver. There.ceived the honorofknighth fBENSHEIMER, J., a                       German  engraver. There
ceived the honor of knighthood from the Pope, and   are a number of plates by this artist, among which
~died im -176b4.                       ^    gare a set of portraits of the Electors of Saxony
BENET, EL PADRE GERONIMO, a reputable  which possess some merit. He usually marked
Spanish painter. He was distinguished for pictures  his plates with his initials, J. B.
of the Virgin and Christ, to which he gave considerable expression.  He died at Valladolid in 1700.    BENSO, GIULIO, a Genoese painter, was born
about 1600. He studied under Gio. Battista PagBENFATTO, LuiGI, a Veronese painter, born  gi, and excelled in subjects of history, and archin 1551; was the nephew and scholar of Paolo  itectural representations.  He was patronized by
Veronese, from whom  he acquired a bold, vague,  the noble family of Doria, and executed several orand vigorous style.  Ridolfi says he supported the   namental works in their palaces. His most esfame of the school, and the splendid system of col-  teemed performance is the coronation of the Virgin,
oring established by Paolo, for some time after'the  painted in fresco, in the Nunziata, which has been
death of that great master. The same author  greatly admired.  He also painted a number ofpicmentions many of his works in the public places  tres in oil for the churches, of which that of S
at Venice; among which is a grand composition in   Domenico is highly esteemed. Soprani says that
the church of St. Nicholas, representing the as-  Benso also gained distinction as an architect, but
cension of that saint to Heaven, attended by a  none of his works are mentioned.  He died in 1668.
choir of angels and emblematical figures. In the 
Chiesa di S. Marta, are several pictures by him      -so'7           BENT, JOHN VANDER, a Dutch
of the life of that saint. He died in 1611.        t..     VA J,painter, born at Amsterdam  in
I  Sf of anDt   an ditdin   l1650; studied first under Peter Wouwerman, but
BENINI, SIaGISMONO, an Italin  landscape   afterwards under Adrian Vandervelde. His style,
painter, born at Cremona about 1675; studied  both in landscapes, figures, and cattle, resembles
under Angelo Massarotti.  His pictes are high-  that of Nicholas Berghem, much more than that
ly finished and very agreeably colored; his light  of either of his instructors, and his works may
1y;~d   rr  6rraranh~/rlmJ     i lgtof either of his instructors, and his works may
and perspective are well managed; but his talent  easily be mistaken for those of that master.  His
was confined to landscapes, for when he introduced   works may be often found in English collections
figures of his own, the work always diminished in  and   y are  serving of estimation, though not
and they are deserving of estimation, though not
value.                                             equal to those of the artist above mentioned.
BENINCASA, Gio., a Neapolitan architect, who   IIe died in 1690.
lived about i520, and in conjunction with Ferrante   BENTUM, JUSTUs VAN, a Dutch painter born
Maglione, erected under the Viceroy of Toledo,  a Leyden in 1670.  He studied under Godfrey
the royal palace in that city, now called the Old   Schalcken, and followed the style of that master.
Palace.                                           His works are probably all attributed to Godfrey.
BENNINGS, LIEVENE, a celebrated Flemish   He died in 1727.
paintress, daughter of Simon Benichius, or Ben-    BENVENTO  Go. BATTISTA called LRTOnings, a miniature painter of Bruges, who instructed her in the art.  She became so distin-  LANO, an Italian painter, born at Ferrara about
guished that Henry VIII ite  her to his court,  ^1490; studied a few years in his native city, and
and procured    for her a rinvited noble husband.  then visited Bologna, where he became a pupil of
nd procured for her a rich and noble husband.  Bartolomeo Bagnacavallo. Barotti describes sevHer works were equally admired in the reigns of
H        er  works were equally admired in the  wareigns inof  eral of his works at Ferrara, where they are highly
Mary and Elizabeth; with the latter she was in esteemed; among which is a picture of the Virgin
great favor in 1570.                               esteemed; among which is a picture of the Virgin
great favor in 1570.                               and Infant, with Saints, in the Church of S. NicBENOIST, or BENOIT, WM. PHILIP, a French   colo, 1520; in S. Maria de Servi he painted a Naengraver, born at Coutances, in Normandy, in 1725.  tivity; and in S. Lorenzo, the Adoration of the
He executed some portraits and other subjects in   Magi. He died at Ferrara in 1525.
a very neat style. During the latter part of his     BENWELL          YanEnglishpantressofsome
life he resided at London, where he died about       BENWELLMARYanE             h
1780. The following are his principal plates:         it who lived about 1770. She executed  portraits in oil, crayons, and miniature, and was a
PORTRAITS.                     regular exhibitor at the Royal Academy, from
Galilee Galilei; aJter F. Villamena. The President  1762 to 1783.
deMontesquien. Alexander Pope. Rosen de Rosenstein,     RA                               arin  n
physician. Sir Isaac Newton. Blaise Pasal  Albert         AI, or BERRAIN, JEAN  a Parisian enHaller.                                            graver, born about 1636. He etched several plates,
SUBJECTS.                      mostly from his own designs, in a very neat style,
Jupiter and Juno; after Giuliano di Parma. Beth-  though rather sti  and formal, of which the folsheba bathing; after Bonnieu.                      lowing are the principal:
BENOIST, MADAME, a French paintress, born          Twelve plates-Of the ornaments of painting and sculpabout 1770. She executed many interesting fa-  ture, which are in the gallery of Apollo in the Louvre.
niliar subjects, and the portraits of several distin-  Thre plates-Of ornaments inened and engraved by J
Berain. The Mausoleum for the Funeralof Maria Anna
guished persons, among whom are Napoleon and   Christine Victorie de Baviere. Devices for a'uneral Cer
his wife Maria Louisa. Her maiden name was  emony; Berain, fee.




BERA.                       93                     BERG.
BERARDI, FABIO, an Italian engraver, born   Palaces, &c., of Spain. They are etched in a deat Siena in 1728; visited Venice while young, and   cided manner, but stiff and formal.
studied under Wagner.  He has executed several 
historical and other subjects, chiefly after the mod-   RGEN, DIRKapes and cattleODOR   at Haer
of which the following are  painter of landsoapes and cattle. born at Haerlem
ern Venetian painters, of which the following are
th  Venetian cipal:inters,                         about 1645; died in 1689; studied under the cel~the principal: ^'ebrated Adrian Vandervelde, whose charming style
St. Seraphinus worshipping the Cross, half-length; fron-  he followed, and was his ablest scholar. Some of
tispiece. 1767. A Woman sleeping, surprisedby a Sport-  h nest works re little inferior to those of Van
man; after Pliazetta. Isaac blessing Jacob, and the Sacrifice of Gideon; after J. B. Pittoni; F. Berardi Vene,  dervelde, and are often ascribed to that master;
scul. Jacob and Rachel; after J. Varotti. Agar and  although in some instances, there is a darkness
Ishmael-in the Desert; after J. Varana. Six Views in  of the shadows, which renders the effect of his
Venice; after Canaletti; engraved by Berardi and Wag-  pictures abrupt and harsh. His cattle, without the
ner. 1742. Four Pastoral subjects; after Piazetta.  correctness of Vandervelde, are spiritedly touched,
BERCHEM. See BERGHEM.                           and his pencil is free and firm.
BERCHET, PIERRE, a French painter, born in         BERGEN, NICOLAS VAN, a Dutch painter, born
1359; studied under Chas. de la Fosse, till he ac-  at Breda, in 1670; died in 1699; painted historquired sufficient ability to execute some works in  ical subjects, interiors, and conversations, in the
the palaces of France.  He visited England in  style of Rembrandt, which  have considerable
1681, where he was much employed in adorning   merit.
the houses of several of the nobility. His best    BERGER, DANIEL, a Prussian engraver, born
work is the ceiling of the chapel of Trinity Col-  a Berlin in 1744; studied under his father, who
lege, Oxford, where he has represented the Ascen-  was an artist of little note. In 1787 he was apsion. He died in 1720.                             pointed Professor of Engraving in the Academy
BERG, MAGNUS, born in Norway in 1666. In   of Berlin.  He has executed several portraits of
his youth he was a valet, but his talent for sculp-  the Royal Family of Prussia, and other eminent
ture procured for him a recommendation to King   personages, principally after the painters of his
Christian V., who placed him under the court  country; among which are the following:
painter, Anderson. He afterwards visited Italy       A Bust of a Man with a gold chain; after G. van Eckat the King's expense, where he gained much im-  hout. The Virgin and Child; after Correggio. The Virprovement from the study of the great masters.  gin Mary; afterRaffaelle  ServiusTullius; qfter An
Fin nt      the sd  of te g t mste    gelica Kauffman. The Death of Major de Kleist; after
On returning to Norway, he was much employed,  gichodowKieca. The Death of Mchwerin; after J. C.
D. Chodowiecke. The Death of Schwerin; after J. C.
and executed a number of works, both in painting   Frisch.
and sculpture.  IIe excelled in coloring on ivory.    B    ERE, P         E 
He died in 1739.                                     BERGERET, PIERRE NOLASQUE, an eminent
French historical and landscape painter, a native
BERG, MATTHIAS VANDER, a Flemish painter,  of Bordeaux, and a pupil of David.  His subjects
born at Ypres in 1615. Descamps says that his  are of the most interesting kind, and many of his
father had the management of Rubens' estates,  works have been placed in the Luxembourg, and
near Ypres, who took Matthias under his protec-  other royal palaces. He executed four of the portion, and instructed him in his academy.  He was  traits for the Hall of the Chancellors; made dean able and diligent designer, but was unequal to  signs for the medals struck at the mint, and for
the arrangement of an original composition; either  the bas-reliefs on the column of the Place Vend6me.
from a lack of talent, or from having too long ac-  Many of his pictures have been engraved, and serve
customed himself to the servility of a copyist.  He  as illustrations to the splendid editions of Boileau,
distinguished himself by some admirable copies  La Fontaine, and other French classics.
of Rubens' works.  Zani says he died in 1685;    BERGHEM, or BERCHEM, NICHOLAS, a celeBalkema, in 1687; and Brulliot, following Des-  brated Dutch painter, born at Haerlem in 1624;
camps, in 1647.                                    died in 1683; was the son of Peter Class van
BERG, NICHOLAS VANDER, a Flemish engrav-  Haerlem, (Class being the family name) a painter
er, probably born at Antwerp.  He etched several  of little note. It is difficult to say how the name
plates of some merit, after Rubens, marked N. V.  Berghem, or Berchem, originated.  This artist
D. Berg; among others, the portrait of Justice  first studied under his father, and subsequently
Lipsius; and the portrait of a devout person, with   under John Van Goyen, and also John Baptist
a crucifix, half-length.                           Weeninx. His earlier works are somewhat in the
BERGAMASO, GUGLIELMO, a reputabyle of the latter, though touched with more delarchitect, who erected the Cappella Emiliana d   icac    Like the pictures o  that master, they
Camaldolesi, at Murano; the public palace of the  represent sea-ports, and embarkations. He afterCamerlinghi, at the foot of the Rialto; the Tacca  wards formed to himself an original manner, representing landscapes of most delightful scenery,
palace in Portagruaro, at Friuli; the grand gate,  presentg landscapes of most delightful scenery,
called the  Portello, at Padua, an th   of   n   decorated with pleasing groups of figures and catTommaso at Treviso.tha                             tle, and enriched with architectural ruins. Berghem's style was very expeditious, yet his pictures
BERGE, PETER VANDER, a Dutch engraver of  are well finished.  His compositions are admirably
little note. He executed several portraits, one of  arranged, and he has given to every figure, as much
which is a Jew Rabbi, with a Hebrew inscription,  of ease and elegance as it would admit. The light
marked P. V. D. Berge ad vivum del. et fec.;  floating of his clouds, the transparency of the waand the Triumph of Galatea, after A. Coypel. His  ter, and his admirable perspective, are not surpassprincipal work was a set of plates for a folio vol-  ed by any of his countrymen. The management
ume of prints, published at Amsterdam, entitled   of light and shadow, and the distribution of his
Theatrum  Hispanice, or, Views of the Towns,  masses, are conducted with great skill. There




BERG.                      94                      BERK.
seems to have been some degree of rivalry be-  der Gio. Battista Bolognini, and afterwards under
tween Berghem  and his countryman, John Both,  Guercino. He at first attempted historical subwho was also a very eminent painter. M. Van-  jects; but having painted the portraits of several
derhulk, the Burgomaster of Dort, a great en-  distinguished persons of Bologna, he met with such
courager of art, engaged both artists to paint each   encouragement that he devoted himself entirely to
a picture, for which he agreed to pay them a lib-  this branch of the art, and became a reputable poreral remuneration, and a certain sum  as a prem-  trait painter.
ium, to the artist whose work should be esteemed     BERKHEYDEN, GERARD, a Dutch  painter,
preferable. Berghem exerted his utmost powers,  born at Haerlem in 1645; was the younger brothand produced an admirable work, representing a  er of Job Berkheyden, and was encouraged to the
magnificent mountainous landscape, enriched with  study of painting by the success of that artist, who
cattle and figures of every description.  Both was  assisted Gerard by his instruction. His works are
not less successful-he produced a beautiful Italian   chiefly select views of the interior of the principal
scene, glowing under the clear atmosphere of that  towns of Holland and Germany, painted with
delightful country, and pencilled in the charming   great neatness, and finely colored; they are somestyle peculiar to himself.  The works were both  times enriched with figures by Job, who surso admirable, that their patron could not decide on   passed his brother in this branch of the art. These
preferring either, and assured them that, as they had   two artists seem to have been inspired with a laudboth reached perfection in the art, they were both  able emulation, and a desire of contributing to
entitled to the premium. Berghem has executed   each others celebrity, so affectionate was their ata large number of exquisite drawings and etchings,  tachment.  Gerard died at Amsterdam in 1693.
the latter of which are  in a much more finBERKHEYDEN, JOB, a Dutch painter, born
ished manner, than would be expected from  a  at Haerlm in              I                       
painter.  The following are the principal: for a  had an  instructo,   t does not  appear that he
^-i\^t    ^  "^ ^  ^-^^^^   /i   had any instructor, but from a natural inclination
full list see the catalogue published by Henry de        a   r 
-Wintner, at Amsterdam, in 1767               for the art, he occupied his leisure hours, while
young, in making sketches of the environs of Haer7\X3 y r 0^ Tor" q4ew DAp or'D  lem. The praises which his first efforts received,
V 84  Or1 6 w.:!       >DT,  U induced him to adopt it as a profession. He paintSETS OF PRINTS ETCHED BY BERGHEM.          ed chiefly landscapes, and views of the Rhine, exSix plates of Cows, with the title, called the Milkmaid   ecuted in a very pleasing manner. He enriched
C. Berghem, fec. et exc. 1634 to 1644. Six of Seep;  hi landscapes with small figres tolerably drawn,
in the title print, a woman sitting on a stone. Six Goats;  and very neatly touched. His careful study of
in the title print, a man sitting with a dog. Eight of Sheep;  Nature enabled him to give an appearance of air
n the title print, a woman standing near a rock. Eight  and sunshine to his pictures, producing a very
of Sheep and Goats; in the title print, a man. Five larger  areeabl  effect  He sometimes painted village
plates upright, one dated 1652; all marked Berghem, fee.  feasts and merry-makings, which have considerFour smaller plates of different animals, lengthways   feasts and merry-makings, which have considermarked N. B. Six of the Heads of Sheep, Goat, &c.;  able merit. In company with his brother Gerard,
small; scarce.                                     he made the tour of Germany, and was for some
SINGLE PRINTS ETCHED BY BERGHEM.           time in the employment of the Elector Palatine,
A Cow drinking; Berchem, fec. 1680. A Cow water-  who ordered him to execute several pictures, and
ing; C. P. Berghem, inv. et fec.; fine and rare. A   presented him with a gold chain and medal. He
Landscape with two Cows lying, and one standing; Ber-  subsequently returned with his brother to Holghem fee. A Landsape, with Cows, and a man riding on  land, where he met with great encouragement. In
an Ass; N. Berghem, fec. A Landscape, with a Woman
anAss; N. Berghem,.fec. A Landscape, with a Woman   1698, he was accidentally drowned in a canal at
bathing her Feet in a Brook, and a Man behind leaning            accidentally drowned in a canal at
on a Stick, with Animals and Figures, and a Ruin in the  Amsterdam.
distance. A Boy riding on an Ass, speaking to another    BERKMANS, HENRY, a Dutch painter, born at
Boy, who is playing on the Bagpipes, called the Bagpiper;  Klundert, near Williamstadt, in 1629; studied for
fine. A Landscape, with a Man playing on the Flute, and some time under Boschaert, and afterwards under
a Woman sitting; scarce; without a mark. A Landscape,  some      ti u n Boschaert, and afterwards under
with a Man standing, and a Woman seated suckling a child;   J. Jordaens. On quitting that master, he painted
without a mark; very scarce,                       some historical pieces with reputation, but the enpainter  and engraver, bornGEO at Dirkheim,  to devote himself entirely to that branch of the
~g pRT-~TTF?                           Hoantgementhramet itbion portaindued him
painter and engraver, born at Dirkhem,  art. He painted the Count of Nassau, the Admiral
m Bavaria, in 1688, died in 1762; studied under. He passatA i
Andrew  Wol; painted portraits and histor de Ruyter, and many of the most distinguished
Andrew  Wolff; painted portraits and history;  persons of his country. So great was the demand
persons of his country.  So great was the demand
some of his works may be seen in the curches  for his works, that he could scarcely fulfil his enakno Augsburg, where he resied.   e is chie fy   gagements. His most celebrated work is a large
known by his engravings, which are from his own   picture of the company of Archers, in the towndesigns; the following are the principal:          house at Middlebourg. He died in that city in
Four; the Baptism of Christ, the Transfiguration, the  1690.
Resurrection, and the Ascension. The Conception, The    BERLIN, BA a o                            -
Virgin Mary caressing the infant Christ. The Death of St.    BERLINGHIERI, BONAVENTURA, an old ItalJoseph; inscribed S. Joseph moriens.  Christ on the  ian painter, born at Lucca. In the Castle of GuiMount of Olives. Sancta Catherina Victrix. St. Sebas-  glia, near Modena, is a picture of St. Francis by
tian, Martyr. The Virgin and infant Jesus presenting the  this artist, dated 1235, still in good preservation,
Rosary to St. Dominick. St. Francis kissing the Foot of  which the Abbe Bettinelli describes as a work of
the infant Jesus. An emblematical subject on the Mis-  great merit for that age.
fortunes of the Times; inscribed Tumultum adduxit tem-    m t for t 
vus. Justice and Peace; Justitia et Pax, &c. The Four    BERLINGHIERI, CAMILLO, called IL FERRASeasons. 1730.                                     RESINO, a painter of Ferrara, born about 1596;
BERGONZONI, LORENZO, a Bolognese painter,  died in 1635; studied under Carlo Bononi, and beb)rn in 1646; dlied ahnut 1700; studied first un-  came an excellent historical painter. His works




BERN.                       95                    BERN.
are chiefly at Ferrara, and at Venice. In the church   and executed in a very neat and spirited style.
of S. Niccol6, at Ferrara, is a fine picture by him,  The best are those he executed for the Bible, which
of the Miraculous Descent of Manna; also the An-  was published at Lyons, at different times, from
nunciation, in S. Antonio.                         1550 to 1580. Brulliot says he was living in 1598.
BERNABEI, PIETRO ANTONIO, called DELLA   The following are his principal cuts:
CASA, an Italian painter, born at Parma; flourished  A set of prints for the Metamorphoses of Ovid; published
about 1550. It is not known under whom he   at Lyons, in 1557. A set of Medals for the Epitome of the
studied, though he appears to have followed the   Antiquities of Giacomo Strada, of Mantua; published at
style of Correggio.  There are several considerable  Lyons, in 1553. Thirty-four of the History of Psyche;
styleof   rreggio. There are several considerable  with Italian verses. Eighteen of Baths; printed at Lyons,
works by this artist in Parma, among which his  in 1572. A set of prints for the Golden Ass of Apuleus;
great work of the Cupola in la Madonna del Quar-  published at Lyons, in 1558. A set of vignettes for the
tiere, proves him  well deserving a rank among   French Translation of Virgil; published at Lyons, in 1560.
the ablest Lombard fresco painters of his time. It  The seven Planets, represented by the Figures of Heathen
represens a M e of te B d a grand   Divinities. Twenty-two of Theatrical Decorations. A set
represents a Multitude of the Blessed, a grand            oval prints for a Book of Hymns; printed at Lyons
composition, copious, without confusion; the fig-  in 1560.
ures in the style of Correggio, with great relief and   RAR
a vigor of coloring, that still preserves its original    BERNARDI, RANCESCO  called BIOLARO  a
fresness. There are other important works by   Veronese painter, born in 1622; studied under
Domenico Feti. Averoldi says he painted'history
this master, in the convent of the Carmelites and   DorenicoFeti. Aeroldi say  ws he pantedhistory
other public edifics a4.            with reputation.  His principal works were in the
other public edifices at Parma.                    churches of Santa Croce and S. Giovanni, at
BERNAERTS, NICAISE, a Flemish  painter,  Brescia.
born, according to Nagler. in 1608; studied under
Francis Snyders. The subjects of his pictures are    BENASCONI, LAURA or LUCIA, a                Roman
the same as those of his master, and bear a great  paintress, was a scolar and imitator of Mario da
IFiori. Her works, like those of her preceptor,
resemblance to them. His pictures have been sold   F      H   w         l   t     o      
as the genuine productions of Snyders, and some  have lost much of their original beauty owing to
writers assert that they are very little inferior to  the use of some treacherousmateria that   ve
the works of that master. Nagler says he died in  brilliancy at first, but in the lapse of years has
1678. Zani says he was born in 1593, and died   changed to opacity, giving them  a black appearin 1663; thus both make him of the age of 70.      ance.
BERNAZZANO,  a Milanese painter, who flourBERNARD, JAN, a Dutch painter, who excelled        BERNAZZANO, a Milanese painter, who flourin copying the works of Paul Potter,and Berghem   ished about 1536. He painted animals, fruit, and
born ing t17e dorki ofPi     Potter, and Berghiembr  landscapes, in which he excelled, especially in the
born in 1765; died in 1833.  He was a member  coloring. The figures in his landscapes are usuof the Institute, and of the Academy of Fine Arts  coloring.  The figures in his landscapes are usuat Amsterdam.                                      ally by Cesare da Sesto, a pupil of Leonardo da
BERNARD, of Brussels.  See VAN ORLEY.
BERNETZ, CHRISTIAN, a German painter of
BERNARD, SAMUEL, a Parisian painter and en-  fruit and flowers; born at Hamburg, in 1658, and
graver, born in 1615; died in 1687; studied under  died in 1722. This artist resided a long time at
Simon Vouet, and for some time painted large por-  Rome, where, according to Pascoli, his works were
traits in oil and fresco, but meeting with little suc-  so highly esteemed, that Carlo Maratti employed
cess, he devoted himself to miniature painting, in  him  in ornamenting his pictures, and in return,
which he acquired considerable reputation. His  enriched the works of Bernetz with Children and
merit procured him  a professorship in the Royal  Cupids which rendered them  invaluable.  "His
Academy of Painting at Paris. There are a num-  fruit and flowersappear newly plucked, and sparkber of plates engraved with the point and in mez-  ling with dew-drops."
zotinto, which are proved by Heineken to have
been all by this artist, though Basan and Strutt     BERNIERI, ANTONIO, DA CORREGGIO, was born
have divided them  between two artists of this  at Correggio in 1516, and died there in 1563. He
name.                                              was descended from  a noble family, and studied
under the great Correggio, who, dying when he was
Cl o, ETocHINa;,       only 18 years of age, he inherited in a measure
Charles Louis, Duke of Bavaria; after Vandyck;. the appellation of Antonio da Correggiowhich has
Bernard. 1657. Louis Garnier, sculptor and      S.  the appellation of Ant nio da Correggio, which has
Philip, Count of Bethune. Anne Tristan de la Beaume ideuLuze, Archbishop of Paris; after de Troy. The Appa-  racies. According to Landi and Pietro Aretino he
rition of St. Peter and St. Paul to Attila; after Raffaelle.  painted cabinet pictures in the style of Correggio,
The Young Astyanax discovered by Ulysses in the Tomb   and was one of the most distinguished miniature
of Hector; after Bourdon. The Crucifixion; the Virgin  painters of his time.  Lanzi thinks that some picMary, with the dead Christ; the Ascension; after Ph. de  tures attributed to Correggio were rather executed,Champagne. An allegoatrical subject of  Concordrreggio wereratheexeted
Flight into Egypt; after Guido.by this artist.
MEZZOTINTOS.                       BERNIGEROTH, MARTIN, a German engraver,
The Portrait of Louis XIV.; oval. Sebastian, le Prestro   born at Ramelsboug in 1670; died at Leipsic in
de Vauban; after F. de Troy. The Nativity; after  1733. He resided in the latter city, where he enRembrandt. A Herdsman driving Cattle. An Ox Mar-  graved a great number of portraits, executed with
gaket; after  Corregio.  The Repose; called LaZin   the graver in a tolerably neat manner, among
which are: Prince Leopold of Anhalt-Dessau, on
B    BERNARD, SOLOMON, or LITTLE BER-  horseback, witha                tle inthe back-ground. Fredi, NARD, a French engraver, born at Lyons in   erick Augustus II., King of Poland.
1511. Ileis said to have acquiredthis surname from   BERNIGEROTII, JOHN MARTIN, a German
the small size of his prints.  He wrought chiefly for  engraver, the son and pupil of Martin, born at
the booksellers, and his plates are well designed,  Leipsic in 1713; died in 1767. He executed a




BERN.                     96                     BERN.
number of plates for the booksellers, but is prin-  later period of his life. Gregory XV. recognized
cipally known as an engraver of portraits, which   his merit, and made him Knight of the Order of
are neatly executed in the style of his father, the  Christ; but the Cardinal Mafflo Barberini, the
principal of which are:                          successor of Gregory XV. under the name of UrFrederick Augustus III. King of Poland. Frederick  ban VIII., gave the finishing touches to his forChristian, Prince Reg. Poland. John Adolphus, Duke of  tune. He said to Bernini, on his calling to offer
Saxe Weissenfeld. 1645. This is esteemed his best plate.  his congratulations to his benefactor, "If the CavSebastian Felix, aron von Schwannenberg. Christianus,  aliere Bernini esteems himself happy in seeing me
Prince of Denmark. John Gottfried Richter, Antiquary.   his sovereign, I am more glorified that he lives unBERNINI, PIETRO, an Italian painter and sculp-  der my pontificate;" and he immediately charged
tor, who is chiefly known as the father of the  him  with the execution of those great works
Cavalier Giovanni Lorenzo B. He was born in   which have immortalized both their names, at a
Tuscany about 1670, and early went to Rome to  salary of 300 crowns a month. Among the great
improve himself; from  thence to Naples, where  works which he executed under this pontificate,
he married and practised his profession with repu-  may be mentioned the Baldachin, or great altar of
tation. His son, before mentioned, having ex-  St. Peter's, in bronze and gilt, under the centre
hibited the most extraordinary precocity of talents,  of the dome; the four colossal statues which fill
he took him to Rome in 1708, in order to give him  the niches under the pedatives; the pulpit and canevery advantage, and by his own able instructions  opy of St. Peter's; the Campanile; the circular
and shrewd management, greatly contributed to  place before the Church, and the Palace Barberini.
his son's future fame and glory.                 For these services the pope gave the artist 10,000
BERNINI, GIOVANNI LORENZO, called IL CAV-  crowns, increased his salary, and extended his faALIERE BERNINI, whose renown filled all Europe  vor to his brothers. In the year 1644, Cardinal
in the 17th century, was born at Naples in 1598.  Mazzarini, in the name of the King of France, ofHe was called the Michael Angelo of the age, be-  fered him a salary of 12,000 crowns, to enter the
cause like him he united, in an eminent degree, the  service of that monarch, but he declined the invithree great branches of art-Painting, Sculpture,  tation. His reputation extended more and more,
and Architecture; though  he was chiefly re-  and Charles the First, of England, engaged him to
nowned in the two last. Richly endowed by na-  execute his statue for 6,000 crowns. For this purture, and favored by circumstances, he rose supe-  pose he sent to Rome three portraits, in which
rior to the rules of art, creating for himself an  Vandyck had represented him in different aspects,
easy manner, the faults of which he knew how to  and by this means Bernini made a striking likedisguise by its brilliancy; yet this course, as must  ness, which so much pleased the King that he sent
ever be the case, did not tend to a lasting reputa-  him a diamond ring worth 6,000 crowns more. On
tion, for his style did not long survive the artist;  the death of Pope Urban VIII. the envy and jealousy
and his works, though possessing great merit, are  which B.'s merits and the favors bestowAl upon
not looked upon by artists as worthy of imitation.  him had engendered, broke forth, and for a time
His talents were exceedingly precocious, and al-, eclipsed his glory; but he regained the favor of
most from his infancy he exhibited a passion for  Pope Innocent X., by a model for a fountain.
the fine arts, which was carefully cultivated by   About the same time, he erected the palace of
his father; and at eight years of age he is said to  Monte Citorio, and the magnificent monument to
have executed a child's head in marble which was  the memory of his benefactor, Pope Urban VIII.
considered a wonder. This doubtless was fiction,  Alexander VII., the successor of Innocent X., who
or rather accomplished through the assistance of  was a liberal patron of the arts, employed him to
his father. Yet certain it is that he was wonder-  embellish the piazza of St. Peter's; and the admifully precocious; and this, in a great measure, laid  rable colonnade, so beautifully proportioned to the
the foundation of his splendid fortunes. His fa-  Basilica, was executed after his plans and under his
ther took him to Rome, where he had some com-  direction. He also built the Palace Odescalchi, the
missions to execute, that he might have every pos-  Rotunda della Riccia; and the House for Novices,
sible advantage, and his fame having already been  for the Jesuits. Louis XIV. having made him
bruited abroad, the Pope Paul V. wished to see the  the most flattering invitations, through the great
prodigy who at ten years of age was the astonish-  Colbert, to come to Paris and direct the works of
ment of artists, and on his being brought into his  the Louvre. Bernini with great difficulty obtained
presence desired him to draw a figure of St. Paul,  permission of the Pope, and set out from Rome at.
which he did in half an hour, so much to the satis-  the age of 68, accompanied by one of his sons and
faction of the pontiff that he recommended him to  a numerous retinue. Never did an artist travel
Cardinal Barberini, a great connoisseur and pa-  with so much pomp, and under so many flattering
tron of the arts. "Direct," said he, "the studies  circumstances. He was received everywhere on
of this child, who will become the Michael Angelo  his way with the honors of a prince, and on his
of this century."  One of his first works it} mar-  arrival at Paris he received the most honorable reble was the bust of the prelate Montajo, which  ception from the King. He was first employed in
was so striking a resemblance that some one said,  preparing plans for the Louvre, which were never
"It is Montajo petrified."  He next executed busts  executed. He executed a bust of the King, and
of the Pope and several Cardinals. He was not  suddenly returned to. Rome, after an absence of
yet 18, when he produced the Apollo and Daphne  eight months, in consequence of the effects of envy
in marble-a master-piece in grace and execution,  and jealousy, notwithstanding the high esteem
which he himself, towards the end of his life, on  which he enjoyed at Paris. He took leave of the
looking at this group, declared one of his best  King, who made him a present of 10,000 crowns,
works, and that "h e had made very little progress  gave him a pension of 2,000, and one of 400 to his
since the time it was produced."  His manner  son, and a command to execute an equestrian statue
was indeed more chaste and less affected than at a  of himself (Louis XIV). This work, of colossal




BERN.                      97                     BERR.
proportions in marble, was finished in four years Rome, among whichthe following are the most re.
after his return to Rome, and sent to Versailles, markable-some of them  have previously been
where it was afterwards converted into Marcus mentioned:
Ourtius, and where it still remains.  The King   The great Altar of St. Peter's, in bronze and gilt; the
also defrayed the expenses of his journey, and to  four colossal statues of St. Chrysostom, St. Athanasius, St.
immortalize his voyage had a medal struck with  Augustin, and St. Ambrose, cast in bronze; the Belfry of
the portrait of the artist, and on the reverse the St. Peter's; the basso relievo in the portico of St. Peters,
representing Christ saying to St. Peter, "Feed my sheep;"
Muses of the Arts, with this inscription: ",Singu- the noble Fountain near the Piazza da Spagna; some fine
laris in singulars8; in omnibus, Unicus."  On  statues for the churches of St. Francesco and B. V. M.
his arrival at Rome, B. was received with great di Loretto; a beautiful Canopy over the statue of the Virdemonstrations of joy; the Pope showed him the gin Mary, in the church of St. Agostino. He built the
most marked favors and named his s6n Canon of sumptuous chapel in the church of S. Maria della Vittoria, dedicated to St. Teresa, with a fine marble statue of
S. Maria Maggiore, and provided him with seve- that Saint; the Church and grand Altar of St. Bibiano
ral benefices.  Cardinal Rospigliosi having been  a great part of the Church of St. Anastasia; the principal
elected pope on the death of Alexander VII., Ber- part of the Barbieri palace; some addition to the pontifical palace of Monte Cavallo; the celebrated Chigi palace,
nini was still charged with great work, mong built for the Cardinal Flavio Chigi, nephew of Pope Alexwhich were the splendid tomb of Alexander VII. ander VII.; the Collegio Urbano di propaganda Fide; part
and the decorations of the Bridge of St. Angelo. of the Church of St. Andrea del Noviziato, and many other
He died at Rome in 1680, at the great age of 82, architectural and sculptural works.
loaded with riches and Ihonor, and was buried    BERNINI, PIZTRo, was a brother of the prewith great pomp and magnificence in the Church  ceding artist, under whom he studied, and with
of S. Maria Maggiore. To his children he left a whom he remained through life, and was his most
fortune of 400,000 Roman crowns (about $700,000). able assistant. He was an eminent sculptor and
His most eminent disciples were his brother, architect, capable of undertaking great works.
Pietro Bernini-who was an eminent statuary, ar- He was also an eminent mathematician. But his
chitect, and mathematician, and who assisted him  brother's fame enabled him to monopolize all the
in the execution of these great works-Matthia great works executed at that time, so that Pietro
Rosse, Franqois Duquesnoy, surnamed the Flem- had no chance to distinguish himself, otherwise
ing, and Borronini.                             than as his assistant.
Bernini was a man of ordinary stature, very    BERRETINI, PIETRO, called DA CORTONA, an
dark complexion, lofty forehead, black piercing illustrious Florentine painter and architect, born
eyes, aquiline nose, with a countenance full of en- at Cortona in 1596. At the early age of 14 he
ergy and expression, which became terrible when visited Rome, where he studied under Baccio Cianimated with anger. Of a temperament all fire, arpi, but gained more advantage from the study
he could not endure the rays of the sun without of the works of Raffaelle and Oaravaggio. While
inconvenience. His health was feebleto forty-two  yet at an early age, he painted two pictures for
years of age, when it became robust, and he could the Cardinal Sacchetti, representing the Rape of
endure the greatest fatigue. His life was one of the Sabines, and a Battle of Alexander, which
continued exertion, and he designed and wrought gained him so much celebrity that Pope Urban
with great facility. He spoke of the works of VIII. commissioned the young artist to paint a
others with discretion and liberality, and of his own  chapel in the church of St. Bibiena, where Ciamwith modesty. His favorite maxim was " Ghi non  pelli, a reputable artist, was employed. The latesce talvoltac della regola, non pas8sa mai."  Thus ter regarded with contempt the audacity of so
he was of opinion that in order to excel in the arts young a man attempting so important a public
a man must rise above all rules, and create a style work; but Cortona had no sooner commenced itpeculiar to himself. This he accomplished with  than Ciampelli was satisfied of his ability.  His
rare good fortune, but the inftaence of his style success in this performance gained him his celewas transient. The confession of this artist, when brated work of the ceiling of the Grand Saloon in
near the close of life he reviewed his first works, the Palazzi Barberini, which is considered one of
is the voice of truth disabused of self-love.-  the greatest productions of the kind ever executed.
He then recognized that he had departed from the Its harmonious coloring, splendid style, rich comtrue principles of nature and the antique, and fall- position, and skillful chiaro-scuro, render it one of
en into the affected; that he had mistaken the fa- the most perfect specimens of ornamental art. It
cility of execution for the inspiration of genius; has been said of it that the draperies have not the
and that he had injured grace and beauty by affec- appearance of nature, and that the drawing is intation and excessive ornament. That admirable correct; but its general charm is so attractive that
Italian critic and connoisseur, Lanzi, says: "The it is impossible to view it without admiration.
Cavaliere Bernini, the great architect and skillful   Cortona made the tour of Lombardy, went to
sculptor, was the arbiter and dispenser of all the Venice, and in returning visited Florence, where
works at Rome under Urban VIII. and Innocent X. he was engaged by the Grand Duke Ferdinand II.
His style necessarily influenced those of all the art- to paint the saloon and four apartments in the Paists, his cotemporaries.  He was affected, parti- lazzo Pitti, where he represented the Clemency of
cularly in his drapery. He opened the way to ca- Alexander to the family of Darius, the Firmness
price, changed the true principles of art, and sub- of Porsena, the Continence of Cyrus, the History
stituted for them the false. At different times, of Massanissa, and other subjects: Disgusted by
the study of painting has taken the same vicious the intrigues of some artists who were jealous of
course; above all, among the imitators of Pietro  his reputation, he left Florence abruptly, before
da Cortona, some of whom went so far as to con- he had finished his works, and could never be perdemn a study of the works of Raffaelle, and even  suaded to return. They were completed by Ciro
to decry as useless the imitation of nature."    Ferri. On arriving at Rome, he continued to relie executed an astonishing number of works at ceive many commissions, and was employed by
10




BERR.                      98                    BERR.
Alexander VII., who honored him with the Order diu in that city, and a number of bas-reliefs in the
of the Golden Spur. Cortona's principal works  Choir of the Church of Sillas. There are a great
at Rome are, the Saloon in the Barberini, and a number of his works in Toledo, the best of which
gallery in the Pamphili; the Cupola and Vault in  is the marble sepulchre of the Cardinal di Fathe Tribune of the Chiesa Nuova, and the Conver- bera. As an architect, he erected the gate of S.
sion of St. Paul at the Capuccini, one of his cele- Martino, at Toledo; the palace of Alcala, belongbrated works. There is an admirable picture of  ing to the bishop of Toledo; and a great portion
St. Paul healed by Ananias, in the Church of the  of the Cathedral of Cuenca. Berruguette was one
Conception.                                     of the most distinguished artists of his time, and
The compositions of this great artist were some- was favored with the patronage of Charles V. and
times crowded with unnecessary figures, and he  his son Philip II.  He was highly respected by
was rather intent upon producing a magnificent all, and acquired great wealth by his genius. He
whole, than careful execution in detail; but it is died rich at Alcala, in 1561, and was buried with
generally admitted that his compfytionl art eopi- the grYatt mtghiflence at the expense of his
ous and ingenious, and if he does ciot address him- sovereign.
self always to the mind, he fascinates the eye by    BERRY, WILLIAM, an eminent Swiss engraver
a grand and imposing spectacle. His genius was on precious stones, born about 1730. He went to
especially adapted to great fresco works, which he  England, where he received considerable employexecuted with a force and brilliancy that might ment among the nobility as a seal engraver. He
almost vie with oil painting. His coloring, though  bestowed so much labor on his works that the
not always chaste, is constantly pleasing.  The prices he received afforded him but apoor remuneheads of his females are not strictly beautiful, ration. Pickler, a celebrated engraver in the same
but they invariably have a grace and loveliness line, pronounced him the best gem engraver of his
that overcome those deficiencies, and his works time. Some of his intaglios are said to equal the
generally exhibit a most fertile invention, and  antiques, particularly a Hercules and a Julius Caegreat facility of execution.                    sar. While in England he cut the heads of CromAs an architect, Cortona erected a number of  well, Newton, Thompson, and others, said to be
important edifices, among which is the Church of  surprising likenesses. He died in 1783.
Santa Maria Martina, rebuilt by the Barberini   BERSOTTI, CL G, an Italian paintprinces. He restored the Church della Race, and  er, born at P     in 1645.   ccording to Padre
adorned the facade with a gracefulportico, so much   r, born at Pavia in 164. According  d painded
to the satisfaction of Alexander. VII. that he de- Orlandi, he studied under Cario Sacc, and painted
clared Cortona a cavalier, and gave him a munifi- landscapes and figures in a style of excellence.
ent Oreward. He erected the f aade at Santa Ma- [There are many of his works in the collections at
cent reward. He erected the fa~ade at Santa Ma- Pavia.
ria in Via Lata, which is universally admired;
also the chapel of the Conception in San Lorenzo    BERTANO, or BRETANO. See GHISI.
and Damaso; and made a design for the palace    BERTAUD, MARIE ROSALIE, a Parisian female
of the Louvre, in concert with Bernini and Rinaldi, engraver, born about 1760; was instructed by St.
which Louis XIV. highly approved, and sent Cor- Aubin and Choffard, and has executed several
tona his picture richly set in jewels. This emi- plates, the best of which are after Vernet, entitled
nent artist died at Rome, in 1669.              Orage imp~tueux, an oval plate; La P&che A la
BERRETONI, NICOLO, a reputable Italian his- Ligna; Le Rocher perc6; La Barque mise a flot;
torical painter, born at Montefeltro, near Macerata, La Peche au clair de la lune; Les Pecheurs Italin 1627; studied under Carlo Maratti, and was iens.
one of his ablest scholars.  His earlier works,   BERTAUX, DUPLESSIS, a French  engraver.
after leaving that master, are much in the style of  His etchings are somewhat in the style of Callot.
Guido. One of his best pictures is an altar-piece  They are quite numerous, and many of them illusin the Church of S. Maria de Montesanto at Rome, trate Choiseul's Travels in Greece and Italy, and
representing a subject frommthe life of St. Francis. his work on Egypt. He died in 1813.
He was elected an Academician at Rome in 1675,   BERTELLI, CHRISTOFANO, an old Italian engraand died in 1682.                               ver, born at Rimini, in the duchy of Modena, about
BERRUGUETTE, ALoNzo, an eminent Span- 1525; executed a few plates with the graver, in
ish painter, sculptor, and architect; born, accord- rather a stiff manner, among which are:
ing to Palomino, at Parados de Nava, in Castile,   The portrait of Ottavio Farnese, Duke of Parma; the
in 1480. He had already made some progress m  Conversion of St. Paul, marked Per me Christofano Berthe art of painting when the fame of the great teli; the Virgin and Infant, with St. Sebastian, St. Francis,
Michael Angelo induced him to visit Italy, and he  and St. Roch, after Correqgio. The Virgin and Infant,
had the advantage of studying under that great with St. Augustine, St. Sebastian, and St. Helena, with
had the advantage of studying under that great
St. Joseph sleeping, inscribed Per mi Christofano Bermaster. He was the cotemporary and friend of  telli. TJoe Virgin and Child, with St. George and other
Andrea del Sarto, and made such improvement Saints, inscribed the same. The different Ages of Man;
during his stay in Italy, that he returned to Spain  Christofano Bertelli, sc.
an eminent proficient in painting and sculpture.   BERTELLI, FERRANDO, a Venetian engraver,
The emperor Charles V. immediately appointed  born about 1525; executed some plates after the
him one of his painters, and employed him in many  Venetian painters and others, of which are the folconsiderable works at Madrid, in the Palace of the  lowing: A print entitled omnium fere gentium,
Prado, and in the Alhambra of Granada, which es-  Ven., 1569.  Christ curing the sick; Farinati,
tablished his reputation, and for which he was pinx.; F. Bertelli, ex., 1566.  The Crucifixion;
amply renumerated by his patron. As a sculptor after Giulio Romano. Venus and Cupid; after
he was very distinguished. He executed a bas- Titian; etched by F. Bertelli; Nic. Bertelli, exc.,
relief of the Transfiguration, in the Choir of the  1566. Specchio della vita humana; in Venezia
Cathedral of Toledo; also a statue of San Seoca- per F. Bertelli, 1566.




BERT.                      99                     BERT.
BERTELLI, LucAs, a Venetian engraver, prob-  Queen of Candace. His most celebrated work was
ably a relative of the preceding. He is said to have the ceiling of the church at Plessis St. Pierre, in
been a print-seller. He has executed a number of Normandy. He was elected a Royal Academician
plates after the great Italian masters, some of in 1703.
which are very scarce. Among them are;            BERTOJA, GIACOMO, or JAOPO, an Italian
A Bust of Hippolita Gonzaga, Daughter of Ferdinand, historical painter, born at Parma. He was a sucLucas Bertelli, ex. The Israelites tormented by Serpents, cessful imitator of Parmiggiano, and there is little
after M. Angelo. The Baptism of Christ, L. Bertell, with doubt that many of his easel pictures are ascribed
an inscription,  on iti Christum latices, &ode. Christ
washing his Disciples' Feet, Lucus, se. The Flagellation,      that artist. Orlandi says he died in 1558;
inscribed Et fui flagellatus, &c., Luecs BerteUi. The but Padre Affo has conclusively shown that he
Crucifixion, marked f A.A. Luc  Bertelli formis. The was living in 1573, and Zana has cited authorities
Descent from the Cross, Lue ca Bertelli formis, fine. The to prove that he died at a great age, in 1618.
Four Evangelists, after Coxcie, Lucce Bertelli formis.
The last Judgment, after J: B. Fontana, Lucce Bertelli   BERTOLOTTI, GIOVANNI LORENZO, a reputaformis. A Woman and Children warming themselves by ble historical painter of Genoa; born in 1640;
a Fire, after Titian, Luce Bertelli, ex.        died in 1721; studied under Francesco CastigliBERTHAULT, LouIS MARTIN, a French archi- one. Ratti praises a picture by him in the Church
tect, born at Paris in 1771. He first attracted at- of La Visitazione, at Genoa, representing the Vis
tention at Paris for his skill in designing parks and itation of Mary to Elizabeth, a fine composition,
gardens, and the Empress Josephine employed him  with great sweetness and transparency of coloring.
to arrange the gardens at Malmaison, which he ex-   BERTOTTI, OTTAVIO, called ScAMozzI, an Italecuted in such exquisite taste, that Napoleon took ian architect, born at Vicenza in 1726. He pubhim into his employment, and appointed him ar- lished an edition of the works of Palladio, which
chitect to the Chateau de Compeigne. He restored possesses great merit. lie designed and erected sevthis palace, and Girodet and others decorated it eral edifices at Vicenza, and at Castel-Franco in
with painting. Many architects had tried in vain Trevigiana, he erected a gallery for the Cardinal
to arrange the gardens; the plantations had per- Giovanni Cornaro, with a dormitory for strangers
ished on account of the quality of the soil; but annexed to it. He also constructed at Scantripo,
he renewed them, and by planting suitable trees, in the Vicenza territory, a palace for the Counts
rendered them most delightful. He made an ar- Trissini, and another, with a beautiful loggia, at
bor there half a league in length. On the birth  Alpiero, for the Counts of Schio; also a house with
of the King of Rome, Napoleon conceived the idea a loggia, for the Franciscans, in Arcugnano. Berof building, in the capital of the Catholic world, a totti was so highly esteemed, that the Marquises
palace that should be worthy, by its magnificence, Capra, executors of Scamozzi, awarded to him the
as a home for the future heritor of his throne; so use of the property of that nobleman, which he had
he made B. a member of the Legion of Honor, and left in his will, with the obligation of assuming
sent him to Rome to build the palace. On his ar- his name, to the one who should rank as the first
rival, having millions of money and thousands of architect of his native city.
workmen at his command, he went to work, and    BERTRAND, PHILIP, a reputable French sculpastonished the Italians with the colossal grandeur tor, orn at Paris in 1664.  He was employed
of his plans; but the reverses of Napoleon de- chiefly in embellishing with statuary the Parisian
stroyed the finest embryo palace and royal gardens churches and the royal palaces. He was received
in the world I On his return to Paris, B. was intothe Academy for a fine group in bronze, repreemployed to construct or remodel many chateaux, senting the Rape of Helen. He executed among
which he executed in excellent taste. "All the other works, a group of Strength and Justice, inthe
countries of Europe demanded plans of him, which  choir of Notre Dame; St. Satyrus, in the Invalides;
were afterwards executed by other architects."   chateau of Tanon; a  igHe acquired an ample fortune, and died in 1823.  ure    Christ, in the Samaritaine, on  the Pont
ure of Christ, in the Samaritaine, on the Pont
BERTHELEMY, JEAN SIMON, a French painter, Neuf; also, the bas-reliefs for the Triumphal Gate,
born at Laon in 1743; died at Paris in 1811; erected by the city of Montpelier in honor of Louis
studied under N. Hall6. He painted the ceilings XIV., highly commended. He died at Paris in
of the Palace of Fontainbleau, the Luxembourg, 1724.
and the Museum; also a number of historical and
poetical subjects, which have been engraved. He    BERTRAM,, a Dutch engraver, who lived
was a  irector of the School of Design, and a about 1690, and executed several plates in a very
neat style, representing views and public edifices.
Royal Academician.
BERTHOLET. See FLEMABL,                         BERTRAND, P., a modern French engraver of
BERTIN, NIcHoL^s, an emine~R  Parisian paint- some merit, who executed a number of portraits,
BERTINNHOLanemetPariipai among which is one of Pope Clement X.
er, born in 1667; died in 1736; studied while very     
young under Jean Jouvenet, and afterwards under   BERTUSIO, GIovANNI BATTISTA, an Italian
the elder Boulogne. His progress was so rapid, historical painter; born at Ferrara in 1644. He
that when eighteen years old he gained the first studied under Denis Calvart at the same time with
prize of the Academy, and was accordingly sent to  Guido and Albano, and followed their example in
Italy for improvement, with the royal pension, leaving Calvart to place himself under the Caracci.
where he remained four years. On returning to His figures have a graceful turn, and are correctly
Paris, he gained eminence by several historical drawn.  He endeavored to imitate Guide, but
works. He was employed by Louis XIV. in the failed decidedly; his coloring is chalky and cold.
chateau of Trianon, where he painted Vertumnus Malvasia mentions a number of his works in the
and Pomona, and other works. There is a fine pie- churches at Bologna; among which is a picture of
ture by him in the abbey of St. Germain des Pres, the Virgin and Infant with saints, in S. Giovanni
representing the Baptism of the Eunuch of the in Monte; also St. Giuliana, in S. Stefano; and




BERV.                       100                     BETT.
the Death of St. Joseph, in S. Do4enico. His exhibit proofs of his knowledge of composition,
name is usually written Bertucci, afid there are  color and chiaro-scuro. For the convent of Monte
several artists of this name, both of Faenza and  Sion at Palma, he executed a grand composition,
Bologna.                                          which is considered one of the wonders of that
BERVIC, CHAiLES CLEMENT, or JEAN  GIL- city. It represents Christ in the Desert attended
LAuTME BALVAY, one of the most eminent French  by angels, measuring nine feet in length.
engravers, was born at Paris in 1756, and studied    BETTELINI, PIETRO, a very eminent Italian
under J. G. Wille, whom he equalled in the bril- engraver, born at Lugano in 1763. At an early age
liancy and exquisite finish of his works. He was he applied himself to the art, and studied under
elected a member of the Royal Academy in 1784, Gandolfi and Bartolozzi, though in his subsequent
and subsequently many learned societies and in- works he inclined to the style of R. Morghen. In
stitutions in Europe elected him  an honorary  1848 he was employed on the Judgment of Solomember, especially the Academies of Berlin, St. mon after Raffaelle. His engraving of the EnPetersburg, Copenhagen, Amsterdam, &c. In 1819, tombment, after Andrea del Sarto, in the Florenthe King of France made him a Chevalier of the  tine Gallery, is his master-piece. It exhibits all
Legion of Honor.  His most capital work was the the beauties of the original, and deserves a place
Laocoon and his Sons, engraved for the Musee among the best specimens of the art. His subFranQais, pronounced by connoisseurs the finest jects are executed with taste and spirit, and he is
representation of a marble group ever executed. peculiarly successful in light afid elegant forms,
Proof impressions of this print have been sold in though not so much so as in those of a sombre
London as high as ~30. His last work was the- or forcible character. He does not aim at brilliant
Testament of Endamidas, which was finished by  effect, but works with great care and delicacy, corhis favorite pupil, Paolo Toschi, of Parma, Bervic responding with the style of the original.  Thorhaving lost his sight before its completion. He  waldsen highly esteemed him, and employed him
died in 1822. The following is a list of his prin- to engrave several of his finest statues and bassicipal works:                                      relievi. The following are a part of his excellent
Portrait of Louis XVI; after Callet. Portrait of Jean productions: St. John, after Domenichino; AsSenac de Melihan; after Duplessis. Portrait of M. d'An- cension of the Virgin, after Guido; Magdalene,
iviller, Architect. Charles Linnseus, the great Natural- after Schidone; Sibylla Persica, after Guercino
ist; after 1oslin. Portrait Qf Michael Letellier; after Madonna and sleeping Infant, after Raffaelle;
amod  b Nateuil, 178. The Little Turk; from asleeping Infantafter                                e;
design by Wille. 1774. Portrait of Massalki, Bishop of Madonna col devoto, and Ecce Homo; after CorWilna. 1780. Innocence; after Merimee. A bust of reggio; the Portraits of Poliziano, Macchiavelli
Napoleon; from a drawing by Lefebvre.  Portrait of and Galileo.
Louis XVIII.; after Augustit. The Repose, and the   BETTETS, Jomw and ThoMAs, two brothers,
Demand Accepted; after Lepicier.  The Education of   E.                                    -ner
Achille; after Regnault; and the Laocoon and his Sons; English miniature painters. John studied under
after the Antique  both for the MuseeFranpais. St. John  the elder lilliard, and painted the portrait of
in the Desert; after Raffaelle; 1791; for the Gallery of Queen Elizabeth.
Florence. The Rape of Dejanira; after Guido. This   BETTI, PADRE BIAGIO, an Italian painter, born
work was considered his chf d'Ceure, and the decennial
convention adjudged it the prize before all the engravings     Pistoja in 145; studied under Dniello da Vlthat had appeared from 1800 to 1810. It was engraved terra. Shortly after the death of that master, he
before the Laocoon, which put a seal to his reputation. became a monk of the Order of Theatines. His
Fine impressions of his works are very rare and valuable. works are chiefly confined to the monasteries of
BESENZI, PAOLO EMILIO, an Italian painter, that Order at Rome; among which is Christ Diswas born at Reggio in 1624. He was the friend  puting with the Doctors, in the library; and ir
and companion of Lionello Spada, but did not fol- the Refectory, the Miracle of the Loaves and
low his style, preferring the graceful manner of Fishes. Baglioni says he was a monk for fifty
Albano. -He painted a number of works for the  years, and died in 1615.
churches, of which those in S. Pietro are most es-   BETTINI, DOMEmICO, a  Florentine  painter,
teemed, and deserve considerable commendation. born, according to Orlandi, in 1644; died in 1705.
Besenzi is said to have also distinguished himself He studied under Jacopo Vignali, but subsequentas a sculptor and architect; but none of his works ly visited Rome, where he became a scholar of
are mentioned. He died in 1666.                   Mario Nuzzi. His pictures, like those of his masBESOZZI, AMBoaGio, a Milanesepainter and en- ter, represent fruit, flowers, birds, and fish, and
graver, born in 1648; died in 1706. He studied  are well painted.
under Giuseppe Danedi, and afterwards under   BETTINI, PIETRO, an Italian engraver, who
Ciro Ferri. He excelled in painting architectural etched a few plates, in a slight manner, among
views, friezes, bas-reliefs, and other works of dec- which are thelllowing; Christ appearing  to
oration. He etched the portrait of Correggio, and  Peter; after MDmenico Campe7li; marked Piethe Apotheosis of a princess, in which the por. triss. Bettinus, del. et scul. 1681. The Martyrtrait was by Bonacina; after Cesare Fiori.        dom of St. Sebastian; after Domenichino.
BESSOHEY, or BISCHEY, J. F., a Flemish    BETTOLI, CAJETANI, a Venetian painter litpainter, born at Antwerp in 1789; died in 1799. tie known, who flourished in the latter part of the
He executed small copies of the works of Rubens 17th century. He etched some plates in a free and
and Vandyck in an admirable style. He also made  artistic style, among which is the Death of St. Jocopies of Rembrandt, Teniers, Moucheron, Pyn- seph; after Cav. Marc' Antonio Franceschini,
acker, Wynants, Terburg, Gerard  Douw, and  signed with his name.
others.                                             BEVILAQUA.,See SALIMBENE.
BESTARD, a Spanish painter, who lived at               /566BEUCKELAER, JOACHIM, a FlemPalma about the end of the 17th century. He   D                 ish  painter, born at Antwerp in
decorated several public edifices in that city, which  1530; died in 1570. He was the nephew of Peter




BEUR.                    101                    BIAN.
Aertsen, who instructed him in the art. He paint- reputation. He also executed a number of copper,
ed fairs, market-places, and interiors of kitchens, plate illustrations; and the wood cuts for an
with dead game, fish, fruit, &c., which were much edition of Goldsmith and for Parnell's Hermit,
admired. Descamps says he was ill rewarded for published in 1795; besides a number of illushis works, and that he died in poverty.       trations for the publications of the day.  He
BEURS, WM., a Dutch painter, born at Dort was very industrious.  His brother John assisted
in 1656; died about 1690. He studied under W. him in some of his publications, and is said in some
Drillenburg, and gained some reputation for his respects to have exceeded Thomas, but he died at
portraits, flowers, and landscapes.           the age of 35; his best engravings being published
BEUTLER, CLEMENT, an eminent Swiss land- in 1795
scape and historical painter, born at Lucerne. There BEYER, JEAN DE, a Swiss painter, born at
are many of his works in his native city, where they Aran in 1705. He settled.in Holland, where he
are highly esteemed. In the church of the Capu- painted landscapes; but he was an able draughtschins is an admirable picture, representing St. An- man, and was distinguished for the accuracy of
thony preaching on the sea shore. Also the Gar- his drawings of cities, public buildings, chateaux,
den of Eden, and the flight of the Rebellious &c., many of which have been engraved.
Angels, which are considered masterly perform-   BEYER, JEAN DE, an eminent Swiss medalist,
ances. The last picture was destroyed through born at Basle. He had a thorough knowledge of
the prudery of a woman, who, offended at the nu- medals, and displayed much taste in their execudity of the figures, cut it in pieces. He flourished tion. He died at Berne, at a great age, in 1788.
in the first part of the 18th century-time of birth   BEYLBROUCK, M., a  lemish engraver who
or death not recrded                            BEYLBROUOE, M., a Flemish engraver who
or death not recorded.                       lived in England in 1713, where he executed a
BEUTLER, JAMES, a German engraver, who, plate representing the Death of Dido, after Sebasaccordingto Prof. Christ, was born at Ravensburg, tian Bourdon. It is neatly executed, but in a
and flourished about 1598. He is classed with the stiff, formal style, without much effect.
little masters, his prints being generally very small   BEZZI, Gio. FEANOESOO, called IL NOSADELLA
They are usually marked with his initials, I. B.; a Bolognese painter, and pupil of Pellegrino. Mal
and since these letters were occasionally used by  asia says there are many  of his works at Bologna,
other German engravers, especially James Binck and other cities, executed in the style of h is mas-,
and John Burgkmair, who lived about the same ter, with more power, but    less c  are. He died at
time, it requires great attention to distinguish,i,but less are. He died at15
their works.                                  Bologna, in 1571.
BE}VENUSE, ANTONo. Lanzi thinks this ar-   BEZZICALUVA, EROOLE, a native of Pisa, who
tist was a native of Bavaria, for which reason, and according to Morrona, flourished at Pisa about
tist was a native of Bavaria, for which reason, and 1640 where his works were highly esteemed.
his early return to his own country, he is not    0, where hiwos  i were highly esteemed.
known in Italy as his merits deserve; that he was Lanzi mentions a picture in the Choir of the
a disciple of the Bolognese school, and that in the Church of S. Stefano, at Pisa, representing sevea discple of the Bolognese school, a picture of the Mar- ral saints, as an excellent performance. He also
corialege of the unziargin, which isa pictuysre of at accuracy says he was a good engraver, but does not spetnage of the Virgin, which displays great accuracy cify any of his works in this line, nor mention the
of design, superiority of forms, and an admirable cify any of his works in this line, nor mention the
chiaro-scuro.                                 time of his death.
chiaro-scuro.
BEVILACQUA, AMBEOGIO, a Milanese painter,   BIANCA, GIOVANNI, an Italian architect, born
painter, at Pesaro, in 1571. According to Milizia, he was
who flourished in the latter part of the fifteenth a  e        and a cti   of  oe 
century.  Lomazzo says that there are several  an engineer, and aeitizen of Rome  He
erected several good edifices, among which is the
of his works in the churches at Milan, and that erected several good edifices, among which is the
Santa Oasa at Loretto. He also wrote an excelhis style was good, and his drawing and perspec- lent work, entitled   nle   d   rcite
tive excellent. In the church of S. Stefano is a w   w   cected and enlarged in 172, by
fine picture by him, representing St. Ambrogio L      eonardo de Vegni, of Sienlarged in 1772, by
0 Leonardo de Vegni, of Siena.
with Sts. Gervasio and Protasio standing by his                           
side. He had a brother named Filippo, who as-   BIANCHI, BALDASSARE, a Bolognese painter,
sisted him in his works.                      born in 1614; died in 1679. He studied under
BEWICK, THoMAs, an eminent English woo- Gio Paderna, and subsequently under Agostino
v born in Northumberland in 1753; died Metelli. He was patronized for many years by
engraver,       Northe Dukes of  odena and Mantu, whose palaces
in 1828.  He was apprenticed at the age of four- he adorned with a great number of paintings.
teen to Ralph Beilby, a copper-plate engraver of  ndi says he h    a daughter named Lucrezi
Newcastle. Mr. Charles Hutton (afterwards Dr. Ora             distinguished asr named Lucreziaartist.
Hutton) applied tc Beilby to engrave on copper the who was also distinguished as an artist.
illustrations of his work on mensuration, who ad- BIANCHI, CAv. ISIDORO, a Milanese painter,
vised that they should be engraved on wood. The who lived about 1626; he studied under Pier
young apprentice was employed to execute many Francesco Mazzuchelli, called Morazzone, whose
of these; and the excellence of the cuts led his style he followed with great credit. His works
master strongly to advise him to devote his atten- in fresco surpassed those in oil,  as appears from
tion to this neglected art. Soon after the expira- his paintings in S. Ambrogio at Milan, and in diftion of his apprenticeship, he entered into partner- ferent churches at Como. He was appointed by
ship with Beilby; about which time Bewick com- the Duke of Savoy to finish a grand saloon at
menced the cuts for an edition of Gay's Fables; of Rivoli, which Mazzuchelli had left unfinished at
which the Old Hound gained the premium of the his death. He was subsequently chosen courtSociety of Arts, in 1775; though the work was painter, and was knighted in 1631.
not published till 1779. In 1770 he published his   BIANCHI, FEDERIGO, a Milanese painter, and
"History of Quadrupeds," which established his a relative and scholar of Giulio COearo Procaccini,




BIAN.                     102                     BIAN.
Orlandi says that when seventy years old he Bustini, who flourished at Como in the 18th cenpainted three frescos in the cloister of the monas- tury, and whose manner was powerful yet elegant.
tery of Padre Zoccolanti at Milan; also several   BIACHI, BONAVITA FRANOEsO, son and puother works in that city. The Duke of Savoy pil of the preceding, a Florentine painter, who died
greatly patronized him, and honored him with a in 1658. Baldinucci says he was chiefly employed
gold medal and chain.                           by the court to paint ancient pictures to present to
BIANCHI, FsatNEsco, called IL  FRARI, an foreign princes. He also executed many small hisItalian painter, born at Modena in 1447; died in torical pictures for the cabinets, painted on jasper,
1510. Vidriani-says he instructed Correggio, and agate and other hard stones, the spots on which
that his works were highly esteemed in his time, assisted in forming the shadows-a kind of paintfor their graceful design and fine impasto of color. ing then in great request beyond the Alps. Many
such were formerly brought to the United States.
BIANCHI, GWIovaNI,  a Milanese painter, who It is probable the author above cited is mistaken
died at Florence in 1616. He was a celebrated ar- as to the kind of work chiefly executed by this artist in a kind of mosaic work, which was then in tist. Like his father, he was doubtless employed
great repute all over Europe. Francesco I., medi- by the Duke in mosaics.
tating the erection of a magnificent chapel for the  b  n  o 
sepulture of the royal family, in the Church of S.   BIANCHI, SEBASTIANO, an Italian  engraver
Lorenzo, and ornamenting it with views and altars who lived about 1580.   e executed several plates
wroughtin mosaic, invited Bianchi to his court in  of devotional subjects; among which is a print
1580, and committed these works to his direction. representing the emblems of our Saviour's sufferThis art was carried to very high perfection, in va- ings, with angels, &c.; inscribed Sebastiano Bianrious towns in Italy about this time, especially chi, fee.
at Florence and Milan. For this purpose every    BIARD, or BIART, PIERRE, a French sculptor
species of hard stones, as agate, jasper, &c., were and architect, according to Florent le Comte, was
sawed into small pieces, having every variety of born at Paris in 1559. He went to Rome, where
color, and in the execution of the work, the tints he remained several years, studying the best
were lowered, heightened, and managed so as to models of ancient art; after which he returned to
almost rival painting. In this manner tables, cabi- Paris. He resided there many years, and executed
nets and coffers were ornamented with small land- various works both in sculpture and architecture,
scapes, architectural pieces, portraits, and even by which he gainedconsiderable reputation. That
mythological and historical pieces, which proved which did him most honor was a grand bas-relief,
an acceptable and coveted present to foreign representing Henry IV. on horseback, designed in
princes. In one of the Cabinets of the Ducal Gal- admirable taste. It was placed over the grand
lery is an exquisite octagonal table, the central part gate of Hotel de Ville, but was unfortunately deof which was designed by Pocetti, and the border stroyed in a popular tumult. Biard died in 1609.
by Ligozzi. The work was executed by Jacopo  There was an engraver of this name, who resided
Antelli, who, with numerous assistants, was em- at Paris about 1627, and is said to have executed a
ployed sixteen years in its execution, and finished set of twelve plates, the subjects of which are not
it in 1649. A small picture, executed for the same mentioned. He also engraved an emblematical
prince, after the designs of Vasari, by Bernardino  subject, into which he has introduced many figures;
di Porfirio, of Leccio, cost 20,000 crowns. During it is etched in a bold, spirited style, somewhat rethe sixteenth and seventeenth centuries, many ex- sembling that of Antonio Tempesta, and is incellent artists were employed in this kind of work. scribed Petrus Biard, fecit, 1627.
Since the invention and substitution of cubes of   BIANCHINI, a family of eminent artists, who
colored glass for stones, and the method of multi- wrought mosaic pictures at Venice in the sixteenth
plying the pictures by sawing into thin slabs, mo- century. Of these, the most eminent were Vinsaics are less prized, and less attention is paid to  cenzio, who flourished from 1517 till his death in
the art.                                        1552; Domenico, his brother; and Giovanni AntoBIANCHI, ORBAZO, a reputable Roman histori- nio, his son. Zanetti also mentions Marco, Lucical painter. His best work, according to Abate ano, and Rizzo, brothers of Vincenzio. They found
Titi, was the Marriage of the Virgin, in the abundant employment in the churces at Venice.
Church of S. Giuseppe.                            The art of Mosaic work had at this time been
BIANCHI, PIETRO, a Roman painter; born in brought to such perfection at Venice, that Vasari
1694, and died in 1740. He first studied under declared    that it would not be possible to effect
Baciccio and then Benedetto Luti, whom he sur- more with colors."  Lanzi observes that "the
passed in the excellence of his manner, especially church and portico of St. Mark remain an invaluin large compositions. Lanzi says his extreme fas- able museum of this kind of work; where, comtidiousness and his early death prevented him from  mencing with the eleventh century, we may trace
leaving many works. A few of his pictures are the gradual progress of design belonging to each
found in the churches at Rome. At Gubbio, is age, up to the present, as exhibited in many works
his picture of St. Chiara, with the Angel appear- in mosaic, beginning from the Greeks and contining, a work of grand effect, from the powerful dis- ued by the Italians. They consist chiefly of histotribution of light and shade. The sketch of this ries from the Old and New Testaments, and at the
picture was bought by the King of Sardinia at a same time, furnish very interesting notices of civic
high price. He painted a picture for the Church  and ecclesiastical history."  There are a multitude
of St. Peter, so excellent that it was copied in mo- of mosaic pictures in the churches, galleries, and
saic, in the altar of the Choir. The original is in public edifices of Italy, especially at Florence, Mithe Certosa, which was finished by Cav. Mancini, lan, Rome, and Venice, and some of the greatest
Bianchihaving died leaving it in an unfinished state. artists were employed to furnish designs for them;
Orlandi mentions another Pietro Bianchi, called  ar:d in later times, some of the grand paintings by




BIAN.                     103                     BIEN.
the greatest masters have been copied in mosaic for   7i         B      ADRIAN  DE, a Flemis
their preservation, as the Transfiguration by Raffa-   or                           a Flemish
elle, and the Communion of St. Jerome, by Domen- we   *paiter,bornatLiere, near Antichino, in the Vatican. It will be sufficient to men- werp, in 1594; died about 1640; studied under
tion the chapel of the Mascoli, at Venice, which   uter Abts, an obscure artist. At the age of
contains the famous series of pictures of the Life eighteen he  sited Paris, and studied some time
of the Virgin, executed with extraordinary careu          his countryman, Rudolph Schoof, painter to
by Michele Zambono, after designs in the best Louis  III. He afterwards visited Rome, where
taste of the Vivarini. The Church of San Marco heremained eight years. In 1623 he returned to
contains some of the finest specimens ever execut-  landers, and was much employed for the churches
ed. The.Ducal Gallery at Florence is also very  and in painting portraits. His best work was a
rich in specimens of this art.                  picture of St. Ely, in the Collegiate Church of S.
BIANCO, BARTOLOMEO, an eminent Italian ar-Gommer, at Liere.
chitect, born at Como, about 1600. Soprani says   BIE JACME     N, an ee   E.
that the republic of Genoa consulted this artist as    I, JO, n           nnt Flemish engraver
to the most convenient manner of enclosing the of coins, antiquities, &c., born at Antwerp in 1581.
city with a new wall. His plans were adopted and HFis prints rank withhe  works of   the best old
immediately put in execution under his direction.  lemsh engravers.   The principal works that he
He was also employed to fortify the new mole. published were Imperatorum Roman. Numismata,
Among other works at Genoa, he built the Strada Numismata Grecice, and La France Metalique.
Balbi; the College for the Jesuits, a superb edifice;   BIENAIM], PIER:E THkOSE, a French archiand a palace for Gio. Agostino Balbi. This palace tect, born at Amiens in 1765, where he studied
has since passed to the Durazzo family. Accord- under the Abbe Delille, and acquired a thorough
ing to Milizia, he died at Genoa in 1656. He had knowledge of the sciences and arts relative to artwo sons, Pietro Antonio, and Giovanni Battista, chitecture. He went to Paris while young, to perboth of whom  possessed great talents.  Pietro fect himself; studied eight years in the Academy,
died quite young. Giovanni had already acquired and drew several prizes. He drew many prizes in
a high reputation as a sculptor, when he died at competition with other eminent architects, for vaGenoa of the plague, which ravaged that city in rious public improvements. He was made a mem1657. His most celebrated work was a statue of ber of various learned societies in France and Itathe Virgin surrounded with Angels, cast in bronze. ly, and passed a life of usefulness in public and
He received several commissions for statuary from  private employment. He died at Paris in 1826.
France, and among others, a marble figure of   BIESELINGHEN, CHRISTIAN  JOHN VAN, a
Bacchus gained him great reputation. He also Dutch painter, born at Delft about 1550. Little
studied painting.                               is known of his history. Descamps says that he
BIANCO, DEL BAOcIo, a Florentine painter, drew from memory such a striking likeness of
born in 1604, and died in 1656.  According to  William I., Prince of Orange, in 1584, after the
Baldinucci, he studied in the school of Bilivert, assassination of that prince, that Gerrit Pot prewent into Germany with Pieroni, the imperial ar- ferred it to all the portraits of the prince for the
chitect, of whom he learned perspective, returned large picture he painted for the City Hall of Delft.
to Florence, where he established a school for B. went to Spain, where he was appointed painter
young artists, and taught with applause. He also to the king. He afterwards returned to his own
exercised his pencil, especially in fresco, and small country, and died at Middlebourg, aged 42.  The
fanciful subjects in oil, in the style of the Caracci. author above cited makes no further mention of
Naturally facetious, he became distinguished for his works.
his burlesques, which he chiefly executed with    BIGARI, VITTORIO, a Bolognese painter, who
the pen.                                        executed many pictures for the public edifices of
BIANCUCCI, PAOLO, an Italian painter; born his native city. In the Pitture di Bologna are
at Lucca in 1583; died in 1653; was a distin- mentioned several of his works; among which is
guished scholar of Guido, and followed the beau- a Gallery in the Palazzo Aldrovandini, in which
tiful style of that great master. He executed a he has represented the principal transactions of
representation of Purgatory, in the Church of the that noble family. In the Cliurch of the Madonna
Suffragio; and an altar-piece of several saints in del Soccorso, is an admirable picture by him of
S. Francesco. His works closely resemble those the Virgin and Infant, with Saints.
of Sassoferrata.                                  BIGI, FELICE, an Italian painter, born at Rome,
BIBIENA. See GI. a Foetn  pane  oaccording to Orlandi and at Parma, according to
BICCI, LORENZO DI, a Florentine painter of Lanzi. He established at Verona, where he
great reputation in his day, born in 1400, and died taught and painted till his death, about 1680.
at Florence about 1460. He studied under Spi-                      
nello, and executed many works in fresco and in BIGIO, MARo, a Sienese painter, who flouroil, which show great facility of design and celeri- ished about 1530, and whom Lancillotti reckons
ty in execution.  The private cloister of the   among the most famous painters of his time."
Church of S. Croce contains several pictures by His works were usually small historical pictures.
him  in fresco, representing the legends of St.   BIGIO, FRANOIA, a reputable Florentine painter
Francis; on the front is also an Assumption in of architecture, landscapes, and animals; born in
the execution of which he was assisted by Dona- 1445, or 1483 (for writers differ); died in 1525.
tello, while still a young man.  Lanzi says his   BIGNON, FRANgOIS, a French portrait engraver,
best frescos are in the Church of S. Maria Nuova, born in 1690. His plates are generally executed
built by Martin X. He had a son named Neri, with the graver, though he occasionally used the
who painted in the style of Giotto, and executed point. His style is neat, but there is a want of
some excellent works, but died young.           harmony in the effect. We have by him: Thirty



BILL                         104                       BINE.
five portraits of the Plenipotentiaries assembled  The style of his plates will also distinguish them.
at the Peace of Munster, and a set of portraits of  The following are the principal:
the Illustrious Personages of France, after the    The Portrait of James (or Jacob) Bink, with a Cap, a
pictures of Vouet in the Palais Royal, engraved in  Skull in his Cloak, and a Cup in his right hand. The Porconcert with Zachary Heince, 1690.                   trait of Lucas Gassell; I. B.  1529  inscribed Imago
ab Jacob Binck ad vivum delineata.  Portrait of FranBILIA, DELLA, Gio. BATTISTA, a Roman paint- cis I.; Francasue rex Francie.  Portrait of a young
er, who, according to Vasari, flourished about the  Princess. 1526. Christiernus II. Danorum Rex. 1525
middle of the sixteenth century, and executed some  Elisabeta, Danorum Regina.  Bust of Martin Luthel.
frescos at Citta di Castello, near Fratta in Urbino. Bust of Philip Melancthon; inscribed Si Deus pro nobis,
aoh ari  oftisnmw. St. Jerome, with the Lion.  Marcus Curtius on
There was another artist of this name who was Horseback, going to throw himself into the Gulf. The Triemployed in the Palazzo Vitelli, probably a son  umph of Bacchus; a frieze. - 1528. Infant'Bacchanalof the former.                                      ians, Children pressing Grapes; frieze. 1529. The Seven
RBITLIVERT, GIOVANNI, a Florerntine painter; aPlanets represented by figures. 1558. I. L. The Seven
BILL' 1, GVArN a   lrentine Pnte             ofFaithVirtues, of Faith, Hope, charity, Justice, Patience, Fortiborn in 1576; died in 1644; studied under Cigoli, tud, and T        emperance arkty.u. i nemblematica
tude, and Temperance; marked L B. kn emblematical
and blended the style of that master with that of  subject of Four Women forging a flaming Heart on an
Paolo Veronese and Titi.  He finished several Anvil; marked 15 I. B. 29. An emblematical subject of
works which Cigoli left imperfect at his death, and  Hope, Envy, Tribulation, and Forbearance; 15 1. B. 29;
executed a number of pictures in S. Gaetano and  the two last from the designs of B. Pirkheimer.  An
armed Man at the Footof a Tree. An emblem of History,
S. Marco. Of these the Elevation of thle Cross is represented by a Woman writing on a Tablet; circular.
much admired, and is considered his master-piece. ALady and her Servant, buying a Duck of a Peasant. A
The Chastity of Joseph, in the Florentine Gallery, Peasant selling Vegetables to a Woman. Twenty plates,
is another admired work of this painter. Many  representing the Divinities; copied after Caralus, who
copies of the latter work are to be found in Flor- engraved these plates after It Rosso.
ence, and in foreign collections.                    THE FOLLOWING ARE MARKED WITH THE CIPHER BEFORE
BILLI, or BILLY, NIacoL6 and ANTONIO, two                              MENTIONED.
Italian engravers, who lived about 1734.  They    Adam   oldin                             
engraved several portraits and historical subjects, Branch with Two Apples. Lot and his Daughters; circuexecuted with the graver in a stiff, dry manner. lar; marked twice.  David, with the Head of Goliah.
Niccolo engraved some plates for the Museum Flor- 1526. Judith, with the Head of Holofernes. St. Michael
entinum. The following are their principal plates: vanquishing the Evil Spirit. The Virgin Mary and St.
Joseph adoring the infant Jesus in the Manger. The VirFredericus Zuccharus.  Hans Holbein; 8e tpe,Mi.. gin Mary and Infant crowned by an Angel. 1526. The
Pietro Leone Ghezzi; se ipse del.  Giovanni Morandi;   assacre of the Innocents; copied after Marc' Antonio;
se ipe del. The Cardinal Pompeo Aldrovandi; G. Bert, very scarce. The Descent from the Cross; surrounde
pinx. N. Billy. The Cardinal Spinelli; Dom. Dura, with other little subjects.  St. John sleeping, with his
pinx., N. Billy, 1734. The infant Jesus sleeping; oval; Lamb. 1526. St. George and the Dragon. Mercury; a
Nic. Billy, scul. Romai. St. Philip Neri kneeling before  circular. A Man lying near a Pedestal, and a Woman arthe Virgin, after S. Conca. The Holy Famijy; after C- ranging Flower-pots. A Woman approaching a Man with
racci; half-length figures. The Fligt into Egypt; after surprise, seated near a Pedestal, on which is a Child and
Guido..                                 some Vases; after Raffaelle, engraved under the direction
BILTIUS,  FRANcIS, a  Dutch  painter who  of Mfare'Antonio. A-Woman beating and driving away
lived about 1650, and was distinguished for hishe Devil with her Crutch. 1528. An Old Man embracrepresentations of dead game, fowling-pieces, pow- ing   Girl. 1525. A Soldier and a young Woman. A
~~~~~~~~~~~~representations              easant carrying a Basket of Eggs. A Peasant and Woder horns, and other sporting implements, which  man dancing. I Child leading a Blind Man. A vignette
he painted on a white ground, as if attached to a four Cupids mounted on Dolphins. A vase, ornamented
wall, and with such wonderful fidelity as to cause  with the Heads of two Unicorns.
a perfect illusion.  He was living in 1671, as ap-    BINET, ~,  a French engraver who lived
pears by that date and his name attached to a pic- about 1760, and executed several plates of landture mentioned by Zani.                              scapes, after Vernet and others.
BILLONI, GIAMBATTISTA, a painter of Padua,    BINNEMAN, WALTER, an English engraver of
born in 1576; died in 1636.  He painted history, little note, who practised the art about 1675.
landscapes, and portraits, and excelled in the latter. Among other portraits, he executed one of Robert
BIMBI, BABTOLOMEO, a  Florentine  painter, Chamberlaine, an arithmetician, prefixed to his
born in 1648; died in 1725.  He was admired for Accountants' Gude.
his fruit and flower pieces, which were admirably    BIORD, PETER.  This artist engraved, among
executed.                                            other plates, an etching of Cupid and Psyche.  It
T   BIN, JA, a  Germn  egraer  is executed in a bold, spirited style, and is appaBINK, J            s,    a  German  engraver,  rently heproductionof a painter.
born at Cologne, in 1504.  He studied  rently the productonof a painter.
under Durer, and afterwards visited Rome, where,    BIROK, PAtL.  This engraver is mentioned by
according to Sandrart, he became a scholar of Strutt, who says he executed four plates, and a tiMarc' Antonio, and engraved some plates after tie representing the four Elements, in circles, surRaffaelle, under his direction. Some of his plates rounded by ornaments, which appear to be patresemble those of Durer, and he holds a distin- terns for the goldsmiths. They are executed with
guished rank among the little masters. His style  the graver in a style resembling Theodore de Bry.
is very neat, occasionally resembling H. Aldegre- On the title is inscribed, Quatuor Mundi Elever, but his plates evince greater facility of execu- menta, Elegantibus figuriS sen  Imaginibue Artion; his drawing is more correct, and there is tiiciosa expressa.  PAXLus BIRCK, F.
a more agreeable taste in the turn of his figures. * BIRCKAERT, or BIRCKART, ANTHONY, a
There has been much confusion about the marks of  German engraver, who lived at Prague about
the artists of this period, particularly those whose  1680, and executed a print mentioned by Basan,
name commences with a B. The works of Binck  representing the martyrdom  of forty Portuguese
are usually marked I. B., or with his monogram. Jesuits, after Borgognone; also several large prints




BIRB.                      105                     BISE.
of architectural views, with figures executed with  amusement; being, according to Houbraken, ar,
the graver in a stiff, formal style; inscribed Birck- advocate at the court of Holland. He excelled in
art, eculp. Prag.                                copying the pictures of the best masters, in small
BIRCKENHULT, PAUL, a German engraver colored drawings, correctly drawn and highly finand print-seller, who lived about 1670. He pub- ished. As an engraver he is more deserving nolihed a set of small plates, representing warlike tice, and he has left a great number of plates,
trophies, with figures, etc.; executed with the principally etched, and harmonised with the gragraver in a neat but formal style.               ver, in a free and pleasing style. There is great
BIRD, WM., an English painter, born at Wol- relief and richness in his prints. His principal
verhampton in 1772; died in 1819. He executed work was a set of prints for a book, of which the
two historical pieces of some merit: the Surrender first edition, published by Bischop, contains 102
of Calais, and the Field of Chevy Chace; the lat- plates; the second, published by Nic. Visscher,
ter of which has been much admired.              contains 113 plates. It is entitled, Paradigmata
BIRD, FsANcIs, an English sculptor, born in graphices variorum  artiphicum, tabulis aeneis.
1667. He executed, among other works, the sta- Pars I, et II. Hage, 1671, fol. He latinized his
tue of Queen Anne, in the front of St. Paul's; the name, assuming Episcopus for Bischop, and markConversion of St. Paul, on the pediment; and the ed his plates with a cipher composed of the letters.
bas-reliefs under the portico. His most important J. E. There are other prints by him, among
work, however, was the fine monument of Dr. which are the following:
Busby, in Westminster Abbey. He died in 1731.   Christ and the Samaritan Woman; after An. Caracci.
BIREKHART, ANTHONY, a German engraver, Joseph distributing Corn to the Egyptians; The Martyr.
born at Augsburg in 1677; died at Prague in 1748. dom of St. Lawrence; after B. Breemberg.
Dlabacz gives a full catalogue of his plates.      BISET, CHARLES EMANUEL, a Flemish painter,
BIROZNE, CLEMBNTINO, an Italian engraver born at Antwerp in 1633. It is not recorded by
on precious stones, born at Milan about 1550. To whom he was instructed. When young he visited
him we owe the invention of graving on the dia- Paris, where he succeeded admirably, his pictures
mond. Philip II., king of Spain, invited him to  being adapted to the taste of that nation, reprehis court, and employed him to engrave the arms senting gallant assemblies, balls, concerts, and
of Spain for his private seal. He also engraved, conversation pieces. His subjects are designed
in this manner, an exquisite portrait of Don Car- with great taste, and his pencil is neat and flowlos. He was held in high reputation at the court ing, though his coloring is rather cold and grey.
of Spain, where he met with much encouragement His chief work is a large picture in the Hall of the
from the Spanish grandees.                       Society of Archers, at Antwerp, representing Tell
BISCIANO, BARTOLOMEO, a Genoese painter, shooting the Apple from his son's head.
born in 1632; studied under his father, Gio. An-   BISI, FRA BONAVENTURA, a Bolognese painter.
drea Biscaino, and subsequently under Valerio  He studied under Lucio Massari, and gained conCastelli. At an early age he manifested uncommon siderable reputation by his copies in miniature,
talent, and before his 25th year he had executed after Correggio, Titian, Guido, &c.; many of
many considerable works, when his career was cut which were in the Cabinet of the Duke of Modeshort by the plague, which visited Genoa in 1657. na. He also etched a few plates after ParmiggiaThere are three of his works in the Gallery at no, Guido, &c., and one after his own design, of a
Dresden. He etched several plates, finely cor- Holy Family, with St. John and St. Elisabeth,
posed and elegantly drawn, in a style somewhat marked F. B. B. F., 1631. He died in 1662.
resembling Benedetto Castiglione, but in a.more   BISI, MICHAEL, a celebrated Milanese engraver
finished manner. He marked his plates B. B. of the present century, who first distinguished
The following are the principal:                himself by the publication of the Pinacoteca del
Moses in the Bulrushes. Susanna and the Elders.he ePalazzo Reale, della Scienze dell' Arti, &c. In
Mien's Offering. Herodias with the Head of St. John.
The Virgin Mary and infant Jesus, with Angels. The Andrea Appiani, in which he was assisted by some
Virgin suckling the infant Jesus, with St. Joseph. The of the best scholars of Longhi. His print of VeVirgin suckling the Infant, with St. Joseph and St. nus embracing Cupid, happily expresses the beauJohn with his -Lamb. The Virgin adoring the infant ties of the original. He afterwards engraved the
Jesus. The Virgin with the infant Jesus on her Knee, Virgin and Infant enthroned, with saints, after
St. John kissing his Foot and St. Joseph behind. Th                 entroned, with saints, after
Virgin, with the infant Jesus standing on her Knee, Luini, executed in a brilliant and elegant manner,
stretching out his Arm to St. Joseph  ha f-length figures. preserving the beauty and grace of that rAster;
The Holy Family, with St. John holding a Cross. The also Andromeda and Perseus, after Guercino; an
Repose in Egypt, with Angels in the Clouds. The infat Adoration of the Virgin, after Sasso Ferrato;
Jesus reposing on the Globe. St. Joseph, with the infant
Jesus; half-length. St. Christopher giving his Hand to and the Offering of the Magi, after Gaudenzio di
the infant Jesus. St. Christopher, with the infant Jesus. Ferrara. He also succeeded as a painter of landMary Magdalene in the Desert; dated 1656. A Bacchan- scapes. It is not ascertained whether he is still
-alian subject.                                  living.
BISCAINO, GIOTANNI ANDREA, a Geonese   BISQUERT, ANTONIO, a reputable Spanish hispainter, who executed landscapes in a bold and  torical painter, born at Valencia. He studied unspirited style; but, according to, Soprani, he was der Ribalta, and established himself at Teruel in
obliged to paint with dispatch in order to support 1620. His subjects are chiefly from Romish lea numerous family, which prevented his bestowing  gends: distinguished for their sentiment, good
the necessary care and attention upon his works. color, and correct design. He copied Sebastian
He died in 1657.                                 del Piombo's picture of a dead Christ in the arms
apF  BISOCOP, JOHN DE, a Dutch designer and  of the Virgin, attended by the Marys and John.
(.J]  engraver, born at the Hagne in 1646; died  He died in 1646.
in 1686. He practised drawing merely as an    BISSOLO, PIETRO  FRANcEsco, a Venetian




BISS.                     106                    BLAK.
painter, who lived about 1520. He studied in the   BLAKE, WILLIAM, was the son of a London
school of the Bellini. Lanzi mentions several of hosier, and was born in London in 1757. At the
his pictures at Murano, and in the Cathedral of age of fourteen his father was induced by his son's
Trevigi, which he compares with those of the elder passion for drawing to apprentice him to an enPalma.                                          graver of the name of Basire. He was a diligent
BISSONI, Gio. BATTISTA, an Italian painter, and enthusiastic student; the day he devoted to
born at Padua in 1576; died in 1636. He studied, the graver, and the night to poetry, for the graphic
according to Ridolfi, under Francesco Apollodoro, art absorbed but one half of him, and he was utan eminent portrait painter, and subsequently un- terly indifferent to the goods of this life. Blake
der Dario Varotari. He painted several pictures produced a series of designs and poems which are
for the churches and convents of Padua and Ra- quite unique in the peculiar spirit of their concepvenna.                                         tion, but notwithstanding their peculiarity, are
BITINO, a Bolognese painter, who flourished at replete with beauties of the highest order. The
Rimini in the first part of the fifteenth century, first of his own publications were the " Songs of
and, according to Lanzi, was one of the first art- Innocence and of Experience," which appeared
ists of his time. In the Church of S. Giuliano, at in about sixty-five etched illustrations in 1789.
Rimini, is an admirable altar-piece of the titular These etchings and poems are executed in a very
saint, by this artist, dated 1407.              peculiar and original manner; the designs are
BITTONTE, GIOVANNI, called IL BALLERINO, drawn and the poems written upon the copper
was born at Vicenza in 1633, and died in 1678. with a secret composition, and when the uncovHe established himself at Castelfranco, where he ered parts of the plate were eaten away by aquafound much employment, and opened a school of fortis, the rest remained as if in stereotype. His
painting. He was also employed in the Casa Mo- wife worked off the plates in the press, and Blake
rosini, at Venice, where he competed with the Ca- tinted the impressions, designs, and letter-press,
valiere Liberi, and executed some excellent works. with a variety of pleasing colors.
BIZE NT ANDR  D    a French engraver    His next work was the " Gates of Paradise" in
who lived about 1780, and etched severalland  sixteen small designs, of a very mystical character.
who lived about 1780, and etched several landThis was followed by aseries of twenty-seven very
capes i a nea and pling style.      strange but powerful designs, under the title of
BIZZELLI, Gio., a Florentine painter, born in  "Urizen," in which he attempted to represent
1556; died in 1612. He studied under Bronzino, hell and its mysteries. Flaxman was a constant
and afterwards went to Rome for improvement, friend to Blake, and the latter in his correspondwhere he met with much encouragement, and ence usually addressed him-"Dear Sculptor of
painted several pictures for the churches. Borghi- Eternity," and in the first letter he wrote to him
ni mentions a number of his works which he exe- from Felpham he called him  " sublime archancuted for the public edifices of Florence on his re- gel."  The first work after his return from Felturn to that city.                              ppham  was his "Jerusalem," comprising 100 deBLACEO, BERNARDINO, an Italian painter, who signs, of figures of men, spirits, gods, and angels;
lived about 1550. Ridolfi mentions several of his for which tinted he charged twenty-five guineas.
works in the churches at Udine, in the Friuli; His next work was a series of twelve designs to
among which are the principal altar-piece in S. "Blair's Grave," the engraving of which was inLucia, representing the Virgin and Infant, with trusted to Schiavonetti. These were followed by
Angels, and St. Lucia, and St. Agatha; in Porta his "Canterbury Pilgrimage," a picture in waterNuova, the Virgin and Infant, with St. Peter and colors, or distemper, exhibited at his brother's
St. John.                                       house in 1809, with some other of his paintings in
BLACKMORE, JOHN, a London mezzotinto en- the same manner
graver, born about 1740. He executed some good    He became extremely poor, but he still conportraits, among which are: Samuel Foote, 1771; tinued to produce new works, as "Twenty-one
W. H. Bunbury, J. Blackmore, fee.; Henry Bun- Illustrations to the Book of Job," which are among
bury; all after Reynolds. Innocence; Black- his best productions; two works of prophecies,
more, fec., 1770.                               one on America, in eighteen plates, the other on
BLAIN, JEAN BAPTISTE, a French painter of Europe, in seventeen; and a long series of illusfruit and flowers, born at Caen in 1654; died in trations to Dante, of which however he engraved
1715; studied under Monnoyer, and followed his only seven. His last performance was a likeness
style.* His pencil was delicate, and his coloring of his faithful wife, who, through his eccentricities
elegant; he painted insects with great exactness, reduced to the extreme of poverty, was never inand gave a high finish to all his subjects.     clined to complain. Blake himself never regretBLAKE, B., an English painter of still-life, birds, ted his poverty; he considered himself a martyr
fish, etc., of the present century. His pictures, in the cause of poetic art, and he pitied his fortuwhen carefully painted, are very pleasing; but nate contemporaries for their inordinate love of
his straitened circumstances and his mode of living gain.
obliged him to hurry his works, and too often to    His genius was undoubted, but his mind was
repeat them. The dealers employed him to copy ill balanced; and in his illustrations of Young's
the works of Dutch masters, in which he was Night Thoughts, Jerusalem, Blair's Grave, and
sometimes so successful as to enable them to cheat the Book of Job we are sometimes surprised by
their customers; they retaining the profits, and the invention and sublimity displayed by the artleaving the disgrace to the artist when detected. ist; while at others his absurd and extravagant
As his pictures were somewhat popular in his flights excite our pity or ridicule. He died on
day, the dealers held him in thrall to their rapaci- the 12th of August, 1828.
ty, and even injured his reputation by employing    BLANCHARD, JACQUES, a distinguished Pariothers to copy his works. He died about 1830.   sian painter, born in 1600; died in 1638; studied




BLAN.                       107                     BLAN.
under his uncle, Nicolas Botteri.  At the age of the sea-shore, with the waves retiring at ebb-tide,
24, he visited Italy, and passed two years in Rome, which he describes as wonderfully natural and
and two in Venice. He adopted the splendid  beautiful, and accounts it the best work of this
style of coloring peculiar to the Venetian masters, artist. The Flemish Society of Painters at Rome
and on returning to Paris, the force and clearness called him Maat or comrade, by which name he is
of his pictures gained him many admirers. He sometimes known.
was the first to establish a true and natural style    BLANSERI, VITTORIO, a Venetian painter, born
of coloring, in which the French artists were very  about 1735; died in 1775.  He studied under
deficient. His chief works are two pictures that Beaumont, and he was his ablest scholar.  He
he painted for the Church of Notre Dame-one succeeded that master in the service of the court
representing the Descent of the Holy Ghost, and  of Turin, in which city are his chief works. Three
the other St. Andrew kneeling before the Cross; of them are in the Church of S. Pelagio, one of
also the Gallery in the Hotel de Boullion, where which is much admired, representing St. Luigi
he painted thirteen large pictures of subjects from  fainting, supported by an angel.
Ovid. He also etched some plates from his own                                                  
designs and others, among which are the follow-    7Q        r   BLECO, or BLEEOK, PETERVAt,
ing:                                                      7/4    a,Flemish engraver who came to
The Holy Family; without his name;,  hez  uart. England about 1730, and executed several plates
Another Holy Family witho St. Catharine and St. John in mezzotinto of some merit, among which are:
Another Holy Family, with St. Catharine and St. John;
Chez Ciartres. The Birth of the Virgin: Blanchard,   Richard van Blbeck, painter; se 8 e, pinx. P. vam
pinx.  Huart, ec.  St. Agnes adoring the infant Jesus Bleeck, junior, fec. 1735. Rembrandt van Rhyn; 86
in the arms of the Virgin Mary; after Lodovico Caracci;  psepn. Van  leech. 1727; with the cipher. Francis
without the name of the engraver.                 du Quesnoy, called Fiammingo. Sculptor, A. Vandyck,
Tvixr.  P. V. B. I. f. 1751. Nell Gwyn; after Lely.
BLANCHERI, VITTORiO, an Italian painter, Mrs. Clive, in the character of Phillida; Mrs. Cibber, in
who flourished from  1736 to 1775. He studied  the character of Cordelia; Griffin and Johnson, in the
under Beaumont, in the latter period of the Vene-' characters of Tribulation and Ananias; P. san Bleeck,
tian school. He was employed for the greater fe, 175. Te VgMarandInfant; after. Van
part of his life by the King of Sardinia, and paint- de f. 1748.
ed a number of large works in the palaces and    BLECKER, J. G., a Dutch designer; born,
churches of Turin.                                according to Huber, at Haerlem, about 1600. He
BLANCHET, THOMAS, a Parisian painter, born  etched several plates in a slight and spirited style,
in 1617; died in 1689. He was naturally inclined among which are:
to sculpture, and studied that art for some time,           SUBJECTS FROM HIS OWN DESIGNS.
under Sarrazin; but was advised to relinquish it   A Landscape, with Jacob and Rachael; A Landscape,
on account of a delicate state of health, and to  with Rebecca and the Servant of Abraham; A Peasant,
apply himself to painting. He went to Rome, and a Woman riding in a Wagon; a similar subject;,T.
where he studied under Andrea Sacchi. He form- G. Blecker, fec.  A Landscape, with a Carriage at the
ed the acquaintance of Poussin and Algardi, who  Door of an Inn; J. G. Blecker,fec. 1643. A Landscape,
with a Woman milking a Cow, and a Peasant. 1643.
encouraged him by their commendations, and as- A Landscape, with Cattle. A Landscape, with a Woman
sisted him by their advice. After some years, he on Horseback. A Landscape, with Figures on Horseback.
returned to Paris, where his talents were already  A Landscape, with a Shepherd watching his Flock.
known. He painted the Vision of St. Philip, and
the Baptism  of the Eunuch, for the Church of             SUBJECTS ROM 
Notre Dame; also some considerable works for   Jacob and Laban dividing their Flocks; The Lystrians
iotre Dame; also some considerable works for
the, tonhos a Lns whc                 hi  a.  wishing to sacrifice to Paul and Barnabas; T. G. Blecker,
the town-house at Lyons, which stamped him  as at. fort. 1638. The Crucifixion; C. P        1ny  I. C. B.
one of the ablest French historical painters of the  The three last are engraved in the style ofRembrandt.
day. In 1676 he was elected a Royal Academi-   BLEKERS, N, a Dutch  historical painter,
cian, and painted for his picture of reception, Cad- born at Haerlem  about 1635; died in 1682. He
mus killing the Dragon.                           was patronized by the Prince of Orange, for whom
BLANCUS, CHRISTOPHEn, a German engraver he painted one of his best works, representing the
of little note, who lived about 1600, and executed  Triumph of Venus. He also painted a fine pica few plates in the style of John Muller, among ture, the subject of which was the story of Danae.
which are:                                        Vondel, a poet of Holland, has celebrated the
A Holy Family, accompanied by Angels; half-length; works of this artist.
after Spranger. 1595. The portrait of Michael Angelo    BLES, HENRY DE, called HENRI DE BLES, or
Bonarotti; Chritop&orus Blancu8faciebat. 1612.    HEINraIH MET DE BLES, an old Flemish landJ3LANCUS, or BIANCHI, JOHN PAUL. This scape painter, born at Bovines in 1480; died in
engraver lived, according to Heineken, about 1682, 1550. He imitated Joachim Patenier, and followed
and executed a few etchings in a heavy, indifferent the stiff, dry manner of his time. He usually instyle, among which is an emblematical print, after troduced sacred subjects into his landscapes, with
C. Stores, marked Io. Paul Blancus incid., and  a number of figures neatly drawn. His works
Christ praying in the Garden, 1682.               were in much request, even in Italy, where he
BLANEHOF,  JOHN  TEUNISZ, an  excellent was called Civetta, or the Owl, because his picDutch marine painter; born at Alkmaer in 1628; tures always have an owl in one of the corners.
died in 1670. He studied under Arnold Tierling, Theyare very curious, and are highly esteemed; but
a painter of like note; and afterwards under CA- quite rare in commerce. His best works were
sar van Everdingen.  On leaving the latter,    bought by the Emperor Rodolph, and are now in
visited Rome, where he passed several years. His the Cabinet of Vienna.
best pictures represent storms on the coast of the    BLESSENDORF, SAMUEL, a Prussian enamel
Mediterranean. Houbraken mentions a view of  engraver, born at Berlin in 1670.  He worked




BLEY.                     108                     BLOC.
chiefly with the graver, and his plates are very youth, she modeled figures, fruit, and flowers, i
neatly finished. He designed and engraved seve- wax; and also engraved with the diamond, or
ral plates for Puffendorf's History of Sweden, and crystal and glass with extreme delicacy. She insome other; among which are;                   vented a kind of open-work (decouure) to imiCharles XI. Kin of Sweden. Charles XII. Frederick tate painting, which she-carried to such perfecRodolphus Louis, Baron of Canitz. Samuel Baron de Puf- tion as to excite general curiosity, and to obtain
fendorf. Frederick III. Elector of Brandenbourg. 1696. the patronage of the most distinguished personFrederick William, Prince Electoral. Frederick William; ages. With her silks and scissors only, she made
A4dam de C' /re,pinz. The portraits of John Frederick landscapes, figures, cattle, flowers, and even porof Brandenbourg, Margrave of Anspach, and the Margravine, in a Garden; after Gasp. Netseher. 1682; very traits, having a surprising resemblance to nature.
fine.                                           The Czar, Peter the Great, visited her; the Elector
BLEYSWICK, F. vANK, a German engraver of Palatine in vain offered her 1000 florins for three
BLEYSWIOK,  F. vAN, a German engraver of
little note, who lived from 1725 till 1746 and small dcoupures. The Empress of Germany paid
her 4000 florins for a portrait of the Emperor
executed several small landscapes of some,merit,     40 florins for aport     of the Emperor
and many portraits for the publications of the Leopold I., and a trophy with his coat of arms,
day-   others, a part of the plates for which she hung in his cabinet. Queen Mary of
day —among  others, a part of the plates for
the collection entitled Portraits Historiques des England and many princes sought her works.
Hiommes illustres de Danemar, 1746.             She died at Amsterdam in 1715, aged 65.  Her
husband, wishing to erect a monument to her memBLIEK, DANIEL DE, or VAN- BLICOE.  This ory as curious as were her works, employed the
artist was a good painter of interiors and exteriors celebrated Nicholas Verkolie to draw in one picof edifices, and lived about 1656. His style re- t, the portraits of all the princes and princesses
sembles that of van Vliet.                      who had registered their names in a book kept by
BLINKVLIET, M. This painter probably flour- his wife for that purpose. Descamps assures us
ished about 1680.  He. imitated the admirable that the works of J. B. are surprising imitations
works of Berghem with such success, that his of nature, and very correct in drawing; and to give
works have been ascribed to that master.        a precise idea of the method of execution, he comBLOCK, DANIEL, a German portrait painter, pares them to the engravings of Claude Mellan,
born at Stettin, in Pomerania, in 1580; died in  which are executed with the graver in parallel
1661. He studied with Jacob Scherer, a reputable lines. See Claude Mellan.
portrait painter, under whom he soon became dis-   BLOCKLANDT, ANTHONY DE MONTFORT, a
tinguished, and ultimately surpassed his instruc- Dutch historical painter, born at Montfort in 1532;
tor. He was patronized by the courts of Denmark died in 1588. He studied under Francis Floris,
and Sweden; also for many years by the Prince whose style he followed, and became one of his
of Mecklenburg.  His talents enabled him  to  ablest scholars. His style partakes more of the
amass a large fortune, of which he was deprived Italian, than of his country's taste, in respect to
by plunder.                                     composition and design. He painted a number of
BLOCK, BIEN., a reputable German historical works for the churches of Holland. Van Mander
and portrait painter, the son of the preceding, was mentions three in the great church at Utrecht, reborn at Lubec in 1631; studied with his father, presenting the Birth of the Virgin, the Annuaciaand was sent by the Prince of Mecklenburg to tion, and the Assumption, which were highly esItaly for improvement. He visited Rome, Naples, teemed in his time.  At Gouda he painted the Deand Venice, and met with encouragement as a collation of St. John, and at Dort several pictures
portrait painter in each of those cities. His best of the Passion of Christ. Hubert Goltzius and
work is the portrait of Kircher, the Jesuit, which  others have engraved some of his works.
was exceedingly admired, even at Rome. On re-   BLOEM, A., a German engraver, who lived at
turning from Italy, he was invited to the court of Vienna, and engraved the portraits, battles, views,
Saxony, where he painted the Electoral family, plants, &c., for a book published at Vienna in
and the principal courtiers. He painted several 1674, entitled Istoria di Leopold Cesare.
historical works for the churches in different parts   BLOEMAERT, ABRAHAM, a Dutch historical
of Germany.                                     and landscape painter and engraver, born at GorBLOCK, JACOB ROGER, a Dutch painter, born  cum in 1564, according to Houbraken; though
at Goudain 1580. He visited Italy while quite Sandrart says in 1567; died in 1647. He was
young, and studied architecture and perspective the son of an architect, who placed him under
with great assiduity. He made designs of the re- Joseph de Beer, but he seems to have profited
mains of antiquity near Rome; and on returning to most by studying and copying the works of FranHolland, painted several admirable pictures com- cis Floris. He painted several pictures for the
posed from these subjects. According to Houbra- churches in Flanders; among which are the Wise
ken, Rubens, while making the tour of Holland, Men's Offering in the Jesuit church at Brussels; the'
visited Block, and pronounced him the ablest pain- Virgin and Infant with a glory of Angels, in the cater of his country, in the subjects which he repre- thedral at Mechlin, and the Nativity at Leliendael.
sented. He also excelled in military architecture, Two of his best works were a picture painted for
and was taken into the service of the Archduke the Emperor Rodolphus, representing the Death
Leopold, with a considerable pension, whom he of Niobe and her Children; and the Feast of the
accompanied in some of his campaigns, and was Gods, painted for the Count de la Lippe. His colkilled in 1632, by a fall from his horse.       oring is excellent, but his drawing very incorrect.
BLOCK, JOANNA, a woman of such extraordi- As an engraver, he etched a number of plates in a
nary ingenuity, that Descamps has given a long free, bold, and masterly style, some of which are
article on her life. She was born at Amsterdam  in imitation of pen-drawings: but his best prints
in 1650. The family name was Roerten. In her are those executed in chiaro-scuro, which are done




BLOE.                        109                       BLOE.
with good effect, in a very spirited style. The out- are marked C. BI., and others, Corn. Blo., or C.
iines of these are etched on copper, instead of be- Blo. The following are the principal:
ing cut on weod. His prints are sometimes signed                SUBJECTS FROM ms OWN DESIGNS.
with his name at full length, but often marked    Franciscus Bonisignus, secretary to Prince Ieopold; C.
Ab. BI., in., or A. BI., or A. Bloem.  The follow- BI. John Baptist Toretti Florentine; Rome. P. Grebing are the principal:                               ber; P. Harlem consec; C. Blo. 8C. J. 3Doens  Scot.
ETCHINGS AY A. BLOEMAERT.              Theol. Jacques Faverau; after Diepenbeck; oval. Moses in the Bulrushes. TheVirgin Mary and the infant
St. John, with a Lamb. The Magdalene, penitent. St. Jesus caressing her. A Thesis, with three of the Popes in
Peter, penitent.  The Holy Family; J. Starterus, exo. Niches. A Frontispiece, where St. Ignatius is presented
1593. Juno. FourLandscapes, withFigures andAnimals. with a Map.
PRINTS IN CHIARO-SCURO.                        SUBJECTS AFTER ABRAHAM BLOEMAERT.
Moses and Aardn. The Virgin and infant Jesus. The   Bartholomau8 Aribertus, liber Baro Halgrati. AthanHoly Family. Two Busts, theVirgin Mary and St. Joseph. asius Kircher, Jesuit.  Cardinal Francesco Peretti di
St. Simon, with the Instrument of his Martyrdom. The Montalto. The Tomb of D. Nomi.  The Virgin Mary,
Magdalene, with a Crucifix. St. Jerome reading; A. Blo. with the infant Jesus sleeping. The infant Jesus, with a
Another St. Jerome; after Parmiggiano: marked F. P. A  Glory. The Assumption of the Virgin; fine composition.
naked Infant; after Titian. A Woman with a Veil; after St. Jerome in the Desert. The FourDoctors of the Church
Parmiggiano.                                         disputing on the Sacrament. St. Francis kneeling before
the infant Christ. Christ carrying his Cross; and St. IgnaBLOEMAERT, ADMIAN, a Dutch historical and  tins; very fine. Avarice, an old Woman counting Money
portrait painter of some merit, son of the preced- by Candlelight. Liberality, ayoung Woman giving Drink
ing. He studied under his father, and subsequent- to a Child. An old Woman warming her hands with a
ly visited Italy, where he remained some time. Stove.  A half-length figure playing the Romel-pot,
called the Mustard Grinder. Four, called Travellers reHe afterwards went to Vienna, and ultimately set- posing. Two Landscapes, in one a Woman with a Basket,
tled at Saltzburg, where he fell in a duel. Heine- sitting under a Tree, and in the other, a Woman sitting;
ken attributes to him  several plates of portraits, fine and scarce. Thirteen, The Twelve Months of the
although they are without his name.  He had an  Year, and the Zodiac. A Cat, with a Rat under her Paws;
elder brother named Henry, a portrait painter of  Owl, with a pair of pectacles andf t         The great
little note.
BLOEMAERT, ~FREDERICKP ai Dutch engraver,                  SUBJECTS AFTER. ITALIAN MASTERS, ETC.
BThe Virgin with the Infant seated on a Throne, with St.
born at Utrecht in 1600; was the third son of A. Roch and St. Sebastian; after Baroccio. The Holy FamBloemaert, who taught him  the art, and drew  ily; after Parmiggiano. The Virgin Mary adoring the
many designs which Frederick  engraved.  His infant Jesus sleeping; after Guido. The Virgin and inchief work was a drawing-book containing 173  fant Christ; aftr Titian. The Annunciation; afterLanplates, after designs by A. Bloemaert.  He exe- france inscribed Spiritu8 Sanctus, &c. The Resurrection ater designs by A.Paolo Verone.  The Holy Family, with St.
cuted several plates entirely with the graver, and  Joseph with Spectacles; The Crucifixion; St. Margaret;
there are a number of etchings by him, and prints after Caracc. St. Luke painting the Virgin and Infant;
in chiaro-scuro.  His plates are sometimes signed  the Adorationof the Shepherds; after Rafaele. St. John
A. Bloem. nv., PF. B. Filiuafecit, and sometimes in the Wilderness; Videns Jonnes, &c.; Christ at Table
ml,. Bo. Th   folwing. ae prinipual sometimerhs  with his Disciples; The Resurrection; St. Paul preaching.F. B. The following are principally after his at Athens; the Holy Family, with St. Francis kneeling;
father's designs;                                    St. Anthony of Padua kneeling before the infant Jesus;
Twelve of the Archbishops and Bisho psof Utrecht; two   fter Ciro Ferri. St. Peter raising Tabitha from the
of which are by Corn. Btoemaert. Thomas a Kempis.    ead fter Guercio; extremely fine; the most capSt. Francis in a Hermitage. The body of Leander on the ital plate of this master. The Nativity; the Virgin and
Sea-shore. A set of sixteen figures of Men and Women; infant Jesus, with St. Martha holding the Palm of Martyrmarked FE B. fec. A set of thirty-Of Beggars; on the  dom; after P. aa Cortona.  The Genius of Poetry distitle is inscribed NMdus inops mutilus, F. B. fee. The tributing Wreaths; a circular plate.
Five Senses. The Four Seasons. Twenty Landscapes;   BLOEMEN, JOHANNxE  FRANCIs vAN, called
F. B filife  t etm.  A Landscape, with a Pigeon- ORIZONTI, a Flemish landscape painter, born at
house. Fourteen of Animals and Birds; entitled Versch- Antwerp in 1656; died at Rome in 1740.  He
yde Jest en and tVogen.  Four of Cock-fighting; De. He
a  anabyter.                                         went to Italy while very young, and remained
BLOEMAERT, CoRNELIUS, an eminent Dutch  there all his life.  His works have no resemblance
engraver, born at Utrecht in 1603; died at Rome  to th  taste of his cotry, and, though inferior to
in 1680.  He was the fourth son of A. Bloemaert  Gaspar Poussin, he deserves a rank among the
who instructed him in the elements of design. H   able landscape painters.  In his pencilling andhis
studied also under Crispin de Passe, and before  forms, he seems to have imitated Poussin, and
long surpassed that master.  In 1630 he visited  some of his  orks may be compared with those of
Paris, where he gained distinction by several plates that admirable artist.  His views in the vicinity
he engraved for the Temple of the Muses.  He  of Rome and Tivoli, are characterized by great
subsequently went to Rome, where he resided  truth, and even grandeur.  The Flemish Society
the greater part of his life.  He essentially im- atRome gave him the name of Orizonti, from the
proved the art, not only by the beauty of his exe- beauty and delicacy with which he painted.the
cution, but chiefly by effecting an insensible degra- distances in his landscapes.  There are many of
dation from his light to his shadows, and  introdu- his works in the palaces of Rome, the best of
cing a variety of delicate tints in the different dis-  which are in the Rospigliosi, Doria, and Colonna
tances of his subjects. Before his time, there was a palaces, and the pontifical palace at Monte Cavalgreat neglect of harmony, by leaving the lights in- lo. He etched several plates of views near Rome,
discriminately clear; so that the effect was render- in a bold and masterly style.
ed spotty and incongruous. He may be said to have  P       orjY- BV-BLOEMEN, PETER VAN, called
been the founder of that admirable style which           J   I702  STANDARD, a Flemish  painter,
has been so successfully followed by Audran and  and brother of the preceding, born at Antwerp
others.  His prints are numerous, and are greatly  in 1649; died in 1719.  He visited Rome  for
admired. Several of them are quite scarce. Some  improvement, where the Flemings called him




BLOI.                       110                      BLON.
Standard, from  his painting occasionally charges he set on foot a plan for copying the cartoons of
of cavalry. After a few  years he returned to  Raffaelle in tapestry, and made some fine drawings
Antwerp, and in 1699 was made director of the from  the originals for that purpose,; but though
Academy.  His pictures represent battles, the much capital was invested, the scheme failed, and
march of caravans, horse-fairs, &c; ingeniously  le Blond left England for Paris, where he had no
composed, correctly drawn, and painted with great success, and died in a hospital in that city, in
freedom and spirit.  He decorated his landscapes  1741, aged 71 years.  The following are his prinwith the ruins of architecture and statues, from  cipal prints, which, besides the novelty of the
the studies he brought from Italy, and his figures manner, possess considerable merit:
are designed in a style superior to the usual taste                    PORTRAITS
of his country. He had a younger brother, Nor-   George II. of England. The  ueen.  Louis X. of
bert van B., a painter of little note.  His works France. Prince Eugene of Savoy. Cardinal de Fleury.
were portraits and conversations.                  The Children of Charles I. Peter Paul Rubens. Anthony
BLOIS, ABRAHAM  DE, a Dutch engraver, of  Vandyck.
little note, who lived about 1700. He executed; T.
St. Agnes; St. Cecilia; after Domenlchino.   The Re.
part of the plates of a work entitled Figures de la  pos in Ept: the Entombing a of Christ; Venus  after
Bible, from  designs by Picart and others, pub-  Ttian. The Triumph of Galatea; after C. aratti. Culished at Amsterdam  in 1720; also many other pid making his Bow; after Correggio or Parmiggiano.
plates for the booksellers.                        The Chastity of Joseph; after C. Cignani. Christ on the
plaTesXT   T~aN  -DPT~srIC    AIE~bNDRE          Mount. Mary Magdalene. St. Mary of Egypt. St. John
BLOND, JEAN  BAPTISTE ALEXANDRR  LE, a embracing the infant Jesus; after Vandyck.
Parisian architect, born in 1679.  He erected a             DA                   n     n           n
considerable number of buildings a't Paris; among BLONDEAU, JAMEs, a French engraver, born
which is the noble palace in the Rue des Enfersat Langres  about 1639. He followed the style of
near the Cistercian monastery. He made many ad-. Bloemaert, though in no respect his equal. He
ditionsto Aviler's CoursetDictionnaired'Architec- engraved several plates after pictures by P. da
ture, and became so eminent that Peter the Great, Cortona, in the Pitti Palace at Florence, besides
in 1716, sent for and appointed him his first arch- some plates at Rome after other Italian masters.
itect, and president of all those great-works which  Some of his portraitshave no name attached. The
that monarch projected. Le Blond, however, died following is a list of his works:
shortly after at St. Petersburg in 1719. The Czar                      PORTRAITS.
ordered his obsequies to be most splendidly per-   Cardinal Francesco Lorenzo Brancati, 1681; Cardinal
formed, and atobtended them  in sperson.           Fortuna Caraffa, 1686; Cardinal Maximilien Gandolfi,
1686; Cardinal Opitus Pallavinci; General Enee, Count
M7?       TBLOND   MICHAEL LE  a Geran   of Caprara; Rene d'Est, Duke of Modena; John George
BV\or0BLONI, M    I      C HAEL  Le, a German  III., Elector of Saxony; John Sobieski, King of Poland;
_B] A,D. A engraver, born at Frankfort about Cardinal Bichi, after ourgognone, oval.
1580. He resided chiefly at Amsterdam, and ap-               SUBJECTS AFTER VARIOUS MASTERS.
pears to have been principally employed in making    The Martyrdom of St. Lawrence; after P. da Cortona.
ornaments for the goldsmiths. In 1626 he pub- Eight allegorical subjects, from the pictures by P. da Corlishd a set of ornaments, fruit, flowers, and foli- tona, in the Pitti Palace; small plates. The Pulpit of St.
age, executed in a very neat manner.  His prints Peter; after Bernini. The Magdalene,; half-length; after
aClaandrucci.  The Circumcision; the Crucifixion; St.
are very small, and are executed entirely with the Augustine appearing to St. Teresa; after C. Ferri.
graver in the finished manner of Theodore de Bry.
He sometimes marked them with a cipher cor-   BLONDEL,  FRANOIS, a French architect, born
posed of an M. and a B. The following is a list in 1617. He designed the gates of St. Antoine and
of his plates:                                     St. Denis, the latter of which is a magnificent affair.  He also designed several embellishments in
St. Jerome, seated at a Desk writing, with an ornamen. Paris, was director of the Academy of Architectal border; a small circular plate, about the size of a shilling; dae 1610. Figures dancing, in a small oval, with ture, and wrote several works on mathematics,
an ornamental Border; signed A. Blondus, 1612.  The architecture, and engineering.  He died in 1686.
Representation of a Marriage; M. Blondus, 1615. Two    BLONDEL, JACQUES FRANQOIS, a French arornaments for goldsmiths; inscribed Wilhelm van Weel-    ~ o,      JACQUES FRANn OIS, a French arichket. A very small plate of ornaments with three Gob-  hitect of great ability, born at Rouen in 1705. At
lets. Six plates numbered, of Arabesque ornaments for Metz he erected, in 1764, the royal abbey of St.
Knife-handles; Michael Blondus, fecit; very highly fin- Louis des Dames Chanoines: he also formed a beauished.                                             tiful square and street leading to the cathedral;
BLOND, or BLON, JAMES CHRISTOPHER LE, a an elegant Gothic edifice; the magnificent Hotel
German painter and engraver, born at Frankfort de Ville,,lpposite to which he erected another edin 1670. He visited Italy at an early age, and is ifice; near to this latter, a guard-house, with magsaid to have studied under Carlo Maratti. He ac- azines, and facing that, the beautiful facade of the
companied Bonaventura van Overbeek to Am- Parliament house; and, finally, the sumptuous
sterdam, where he gained some reputation by his Archiepiscopal palace.  At Strasburg, in 1768,
miniatures in water-colors; but afterwards went he made the plan for rendering that town more
to England, and established a manufactory for regular, and succeeded in improving it wonderfulprinting mezzotinto plates in colors, so as to imi- ly. At Cambray, he made many improvements;
tate the pictures from which they were engraved. and at Chateau Cambresis, several miles from CamThe project, however, proved ruinous to le Blond  bray, he designed a beautiful country palace and
and his associates, and the prints were disposed  gardens; also a variety of other buildings throughby lottery.  In 1730 he published a work in Eng- out Germany and France. Blondel also illustratlish and French, explanatory of the process; en- ed the last edition of d'Aviler, and three volumes
titled II Colorito, or the Harmony of Coloring in  of the Architecture  Franpaise, with  six hunPainting, reduced to Mechanical Practice, under  dred engravings of the principal edifices in France.
easy Precepts and Infallible Rules. After.this, He contributed all the parts relating to architec



BLON.                        111                        BLOT.
ture in the Encyclopedie, and wrote that very use-  jects of sacred history, with Flowers; A. Blotelng, fee.
ful work, his  Coure d'Architecture.  In 1744,  Twelve views of Gardens; inscribed Alcune Vedlte, &c.
I~ ^+0^1^~ ^i o  A    4.   ~Six views of the Environs of Amsterdam; Jac. uysdael,
he established a School of Architecture in Paris,  Six vis of the Environs of Amsterdamwunts oa    Boa
w w n ev.c -A Bloteling, fee., 1670. Two Huntings of the Boar
which grew into considerable importance. He died  andSta; fine. Acteon devoured by his Dogs; a Shephera
in 1773, aged 68.                                     playing on his'Pipe, with a Sheperdess; G(. Flinkpinx.
BLONDEL, JEAN FRANIOIS, a Parisian engra-  A Lanascape, with Diana bathing; J. van Neck, pinnx.,
BA Bloteling, exe. A Landscape, with Alpheus and Are.
ver.  He published a description of the festivals at  thusa; the same.  The Golden Age; G. Lairesse, pinx 
Paris in 1740, on the Marriage of Madame Louise  N. Visscher, exe. The Marriage of St. Catherine; after
Elizabeth to Don Philip of Spain.  The illustra-  Rafaelle.
tions are chiefly by himself.  He also etched                       PRINTS IN MEZZOTINTO.
the plates for several large volumes of architec-                          PORTRAITS,
ture, published by himself.                             Desiderus Erasmus;  K. Holbein, Pinx. 1671. Justus
{'I e   o'aT-g..       Lipsius; A. Bloteling,fee. Michael Angelo Buonarotti;
~'g    BLONDEL, LANSLOOT, a Flemish painter,  A. Bloteling,fec. Francis Mieris, painted by himself; A.
0.3  born at Bruges in 1500, died in 1559. He  Bloteing, fee.  Henry Bennet, Earl of Arlington, oval;
painted architectural ruins and conflagrations. His  Charles, Earl of Derby; Abraham Symmonds, an artist;
works are marked with a trowel in addition to his       een Catherine; afte Lel. John de Wit, Grand Pen.
sionary of Holland; Cornelius de Wit, the brother of John;
initial, in allusion to his original occupation as a  after deBaan. C6ostantine Hughens; John de Cronefeld;
mason.                                                1B. Valiant, pinx. The Emperor Leopold I.; C. Morad,
BLOOT, PETER, a Dutch painter, who lived  _pinx.  Henry Casimir, Prince of Nassau; i. Van HusT.^^t 165 ^.^~  Duchpinechef, piw l. Titus Oates; Th. ffawker, pnx. William
about 1650.  He painted scenes from low life, such  Henry, Prince of Orange, 1678; Eleanor Gwyn; Maria
as drolls, drunken frolics, and the quarrels of the  Beatrice, Princess of Modena, Duchess of York; Cornelius
peasantry. His figures are short, gross, and un-  Tromp, Admiral of Holland; after Lely. Staverinus, an
graceful, having neither commendable expression  old Jew, holding a Medal; Corn. Bega, pinx. Michael
Adrienze  de Ruyter, Admiral of Holland; Jo Lievene,
or correct outline; yet his pictures have great   ien Portrait of a Venetian Lady; Titiano, inv.
merit, and are highly esteemed in Holland, where
they are carefully preserved in private collections, VARIOUS SUBJECTS FROM EIS OWN DESIGNS AND OTHER
and are purchased with difficulty.  Some of them                            MASTERS.
are equal to the best productions of his time for    Bust of a Man; circular. Bust of a young Man crowned
transparency of color and lightness of touch.  He  with Laurels; circular.  Bust of Hyppolita; oval. Two
died in 1667.                                         Heads, with Phrygian and Grecian Head-dresses; one
plate. The Satyr and Peasant; oval. Vanitas, a Child
H, BLOOTELING, or BLOTELING, ABRA-   lowing Bubbles. Abundance, a figure sitting. The Head
~ HAM, a very eminent Dutch designer and  of a Vestal, crowned with Roses. Small Bust of Jupiter;
engraver, born at Amsterdam  in 164. He execn-  circular. Small Bust of Venus  same. Half length of a
engraver, born at Amsterdam in 1634. He execu- Boy holding a Cat. Cupid and Psyche. The Five Senses;
ted a great number of etchings; also some plates  the Four Ages; Circular; after C. Bega. A Blind Man
with the graver, and several in mezzotinto.  His  playing on the Flute. A Man holding a Glass; Bostrate,
style resembles that of the Visschers.  When the  pinx. St. Peter penitent; after P.,oreels. Andromeda.
French attacked Holland in 1672, he went to Eng-  Hercules destroying the Monster;  L. Laiee    x. The
la      where he met with encouragement, but dd  Temptation of St. Anthony; Cam. Procaccin, pina. A
land, where hemet with encouragement, but did  Landscape, with mythological figures; F. de Neve, pinz.
not remain long. In 1685 he published the collection of the gems of Leonardo Agostini, etched by    BLOT, MAJEICE, a Parisian engraver, born i
himself.  He sometimes marked his plates with  1754; died in 1818.  He studied under St. Aubin,
his name in full, and sometimes with his mono-  and executed several portraits and fancy subjects,
gram.  The following are the principal:               in a neat manner, among which are the following:
ETCHINGS AND PLATES WITH THE GRAVER.                Giovanni Angelo Braschi, Pope Pius VI., a frontispiece
for the Life of that Pontiff, 1799. Guillaume de Gery,
PORTRAITS.                      Canon of St. Genevieve; fM. Blot, fecit.  The Dauphin
Sir Thomas More, Chancellor of England; Thomas Sy-  and Madame Royal, the Children of Louis XVI.; after
denham, Bishop of Worcester; John Wilkins, Bishop of  Madame Le Brun, 1786. The promise of Marriage, and
Chester; after Mrs. Beale. Edward Stillingfleet, Canon  Companion; after Fragonard. A Boy blowing Bubbles;
of St. Paul's. Edward, Earl of Sandwich; Edward, Earl after. Mieris. L'Occupation du Menage, et Companof Montague; James, Duke of Monmouth; after Lely. ion; after Aubry. The Judgment of Paris; after Vander
Anthony,Earl of haftsbury; after Greenhill; one of the  Werf. Meditatiou; after Guido. Vanity, and the Cornscarcest prints of this artist  Henry, Duke of Norfolk, panion; after L. da Vinci. La Vierge aux Candelabres
1678. Jane, Duchess of Norfolk, 1681. Prince Rupert; after  afaelle.  Mars and Venus; after.E Poussin.
after Lely, 1673. Jerome de Beverningh; William van  Marcus Sextus; after Guerin.
Haren, 1680; after Vaillant.  The Marquis de Mirabelle   BLHOOFT I., a Dutch painter, who probably
after Vandyck.  Constanter Hugenius; after Netscher.e
John Henry Thim; A. Stech,pinx. Ferdinand de Furst- lived about 1650.  In the Catalogues of Terwesten
enberg, Bishop of Paderborn; A. Bloteling, s8., 1669. and Hoet, there are two of his pictures noticed,
Egbert Meesz Kortenaer, Admiral of Holland; Bart. Van- which are favorably compared with those of Netderhelst, pinE. Augustus Stellingwerf, Admiral of Friesland. Cornelius deWitt, Vice Admiral of Holland. Tierck  er  For this reason he is noticed, as many
Hides de Fries, Admiral of Friesland.  Aert Van Nes, pictures are ascribed to Netscher that resemble
Admiral of Holland; L. de Jouglhe, pinx. Michael Adria-  his manner, but are by other artists.
ensz Ruyter, Admiral; Bloteling,fec. aqua forti. Cornelius Tromp, Admiral of Holland; after Lely. Cornelius    BLYTH, ROBERT, a modern English engraver
Speelman, Vice Admiral.                               who executed several spirited etchings, after the
VARIOUS SUBJECTS AFTER HIS DESIGNS AND orMlR      fine drawings of J. Mortimer.  The following are
MASTERS.                        his best plates:
Two Heads of Children; after Bubens  rare; some im-   Three, of Studies, in the Style of Sal. Rosa and Laipressions have the name of Rubens. The Study of the Head  resse; four of the same, with inscriptions; bust of an Oriof a Man; after Rubens A. Bloteling, fee. et exc.  rare.  ental Chief, 1779, oval; Bust of an Old man, oval; BanFour studies of Lions; after  ubens; inscribed Var/n    ditti going on an Expedition, 1780; Banditti returning
Leonum Icones, a P. P. Eighteen circular plates of sub- from an Expedition, 1780; the Captive, 1781; the Life and




BOBA.                     112                    BOOC.
Death of a Soldier four plates; Fishermen; a Nymph, lowed his manner; but on visiting Rome. he abanwith a Basket of Flwers, sitting on. the Sea-shore with   doned the dry, gothic style to which he had been
Shepherd; Caius Marius reflecting on the ruins of Carhage; Nebuchadnezzar recovering  his reason, compan-accustomed, adopting a grand and pleasing manner,
ion; Homer reciting his verses to the Grecians.  and was considered the greatest genius of the Cremonese school. In 1537 he painted the Four EvanBOBA, GEORGE, a painter and engraver. Bartsch  gelists, in the niches of the cupola of S. Sigismentions six landscapes with historical subjects, mondo. They approach wonderfullythe merit of
after Primaticcio, which have Boba's name in full, Correggio, both in the perspective and foreshorten
or included in amonogram, very small. Van Man- Corrego, both in the perspectie an  oresorten
der says he studied under Francis Floris.      ing; though the artist was only twenty-six years
der says he studied under Francis Floris.   old, and had never frequented the school of CorregBOBADILLA, GERONiMO, a Spanish painter, gio. Two other works of this artist, at Cremona,
born at Antequerra, and studied under Zurbaran of are highly esteemed, the Raising of Lazarus, and
Seville. He was an adept in perspective, and em- the Adulteress before Christ, surrounded with
ployed it successfully in arranging in his composi- friezes of a numerous group of angels, designed and
tions the small figures on which he chiefly em- composed in an elevated style. He died in the
ployed his talents. His works were well coloured, prime of life, in 1546.
but indifferently designed; he used a peculiar var-   BO         FRAN         a I      
nish on his pictures, which Murillo compares to   BOrn at Crena abo, Fdied in   painter,
crystal. He had a large collection of drawings, born at  remona about 1680, died in 170. He
models, and academio flgures, and sketches after studied at Rome, first under Brandi, and afterwards
eminent artists.  He was one of the founders of under Carlo Maratti. He painted easel pictures
the Seville Academy in 1660, and continued to sup- of historical subjects in a very pleasing manner,
prt it till his death, in 1680.                which were well esteemed in private collections,
pot it tl hs dh, in 16.           and of which he painted more than of larger works
BOCANEGRA, DoN PEDRO ATANASIO, a Span- for the churches. He sometimes imitated the style
ish painter, born at Granada in 1638; died in of Albano, and, like that artist, was partial to fabu1688. He studied under Alonso Cano, and accord- lous subjects.
ing to Palomino improved himself in coloring by
studying the works of Pedro de Moya and Van-   BOCOANERA, MAmno, an architect of Genoa,
dyck. He was excessively vain and overbearing, who lived about 1300, commenced the mole there,
and boasted his superiority to all the artists of his for the foundation of which he threw into the sea
time; but on being challenged to a contest of abili-stones of an immense size, taken from the neighty with Mathias de Torres, he shrank from the boring mountains. To him is attributed the wet
trial, and left Madrid. His works, however, were dock, which had been commenced by others; and
in much request, and no collection was considered the basin called the Mandrocchio, as well as some
complete without a specimen. There is a picture aqueducts. In the year 1300, he enlarged the
by him of the Conception, in the cloister of Nues-port, digging it a depth of fifteen feet, and one huntra Selora de Gracia, at Granada; and one of his dred and fifteen cubitsalong the shore.
best works in the Jesuit College, representing the   BOCOHI, FAUSTINO, an Italian painter, born at
Conversion of St. Paul.                        Brescia, according to Orlandi, in 1659, died in 1742.
BOCATIS, GIOVAIrx DI CAMEiNO, a painter He studied under Everardi, called Fiammingo. He
of the Roman school, who flourished about 1450. was partial to battle-pieces, charges of cavalry, and
Lanzi says there is a picture by this artist in the other warlike subjects, executed on a small scale,
convent of the Dominicans at Perugia. It is in- but with great animation. His landscapes are
scribed, Opus Johannis Bochati de Chamerino.    very beautiful, and his figures correctly drawn.
BOCOACCINO, BocoAcCIo, an Italian painter,   BOCCIARDO, CLEMENTE, called CLEMENTONE
born at Cremona in 1460, died about 1518. He from his corpulency, was a Genoese painter, born
studied; according to Pascoli, under P. Perugino. in 1620, died in 1658. He studied under Bernardo
Vasari and Cav. Antonio Campi say he studied  Strozzi, and surpassed that master in his invensome time at Rome. He has the credit of having tion and correctness of design, though inferior to
been one of the instructors of Benvenuto Garofalo. hi  in the truth and purity of his coloring. He
Lanzi observes that he was the best modern among accompaniedBenedetto Castiglioneto Rome, where
the ancient painters, and the best ancient among he studied some time, and afterwards went to Florthe moderns. Some of his works have a strong ence, where he met with encouragement, and
resemblance to those of Perugino, particularly his painted a portrait of himself for the Florentine
Marriage of the Virgin; and the Madonna, with St. Gallery. His principal works are at Pisa, of which
Vincenzio and St. Antonio, in the Church of S. Lanzi distinguishes his Martyrdom of St. SebasVincenzio, at Cremona, which have been frequent- tin, in the Church of the Carthusians.
lytaken for the works of Perugino. One of his best   BOCOIARDO, DoMEmIo, an Italian painter,
works is a frieze in the dome at Cremona, repre- born at Finale, near Genoa, about 1686, and was a
senting the Birth of the Virgin, and several sub- disciple and follower of Gio. Maria Morandi. His
jects from her life. Lanzi considers him in these design was correct, and his coloring pleasing,
works inferior to Perugino in his composition, the though he had little invention. In S. Paolo, at
expressions of his heads, and the vigor of his light Genoa, is a composition of several figures, repreand shadow; but richer in his drapery, more spir- senting St. John baptizing.
ited in his attitudes, more varied in color, and not   BOCHOLT, FRANCIS VAN, an old German enless harmonious and pleasing in his landscapes and graver, who lived soon after the time of Martin
architecture.                                  Schoen and Israel van Mecheln. He executed a
BOCCACCINO, CAMILLO, an Italian painter, the number of prints in a stiff, labored manner, geneson of the preceding, born at Cremona in 1511. rally marked F. V. B. The following are the prinHe studied under his father, and for some time fol- cipal:




BOCK.                     rl3                   BOEO.
After Martin Schoen.-St. Anthony carried into the Air    BODIN, JEAN FRANCOIS, an eminent French
by Demons; St. James reading; St. Michael and the Dra-  architect, born at Angers in 1766. He passed a
gon.                                           useful life in various public employments, as archAfter Israel Van Mecheln.-The Judgment of Solomon; itect egineer paasera            aer h
the Annunciation; the Virgin and Child, in an arch.  engneer, paymaster, and finally, after the
After his Own Designs.-A Friar struggling with a Girl, restoration of the Bourbons, a member of the
who defends herself with her Distaff; Samson strangling the  Chamber of Deputies for the department of Maine.
Lion; two Men Quarrelling; St. GFeorge and the Dragon, He wrote some valuable works, among which are
with Francis van Boeholt, in very old characters.  two works of historical researches in Upper and
BOCKHORST, JOHN VAN, called LANGEN JAN, Lower Anjou, with a description of the monua Flemish painter, born at Munster in 1610. He  ments illustrated with plates. He died in 1829.
was of a respectable family, which settled at Ant-    BOECE C. F. See BOETIUq
werp when he was very young. He studied under    BOECK,          ANDR
Jacob Jordaens, and became a very eminent his-    B  EGKLER, GORGE ANDREW, a celebrated
Jacob Jordaens, and became a very eminent his-  German architect, mechanician, and author, of Nutorical painter. There are many of his pictures in  rembg. He published atNuremberg, in German,
the churches of Flanders, which are deservedly  a    v  luable wrk o mills and other mechanical ian
ranked amngteesroutinsotel a valuable work on mills and other mechanical inranked among the best productions of the Flemish       illustrate
school. He seems to have taken Vandyck as his  ventions, illustrated with 154 copper plates, which
school. He seems to have taken Vandyck as his
model, and some of his best pictures are so much  was translated into Latin by Henry Schmid, unin the style of that great artist, that they might  der he tteof ea       Machanarum, pubeasily betaken for his works. There is an admi  lished at Cologne in 1661, and at Nuremberg in
1686; the work entitled Architettura Curiosa e
rable picture of the Resurrection, by this master, Nuova in four books rendered into Latin by
in the church of the Beguines at Antwerp, painted Christopher Storm, and published at Nuremberg
entirely in the manner of Vandyk, and not un-Christopher Storm, and published at Nuremberg
woeniry of thea master. of Vandk, and not unv  in 1663, with 200 copper plates representing the
worthy of that master. There is another very  most beautiful fountainsof the public places
fine picture by him, at the principal altar in the  throughout Europ, plans for grottoe labrinhs
Church of St. James at Ghent, representing the
martyrdom of that saint. He also excelled in  water-ets, gardens, &c.; Domestic and Rural
Economy, in two books illustrated with many
portraits, many of which were scarcely inferior  coppen plates, published at Frankfort in 1666 any
to those of VAndyck.                           copper plates, published at Frankfort in 1666, and
to those of Vandyck.
BOCKHORST, JOHN VAN, a Dutch painter, born  reprinted in 1683 and 1699, all of which are
BOCKHORST, JOHN VAN, a Dutch painter, born  ci    a    vlb  works.
at Deutekom in 1661, died in 1724. He studied  c       a         e works.
at London under Kneller, on leaving whom he    BOEHM. See BEHAM.
went to Germany, but finally settled in his own    BOEHMER, CHARLES WM., a painter and encountry. He painted history well, but excelled  graver of Saxony, was the brother-in-law and
in portraits and battle-pieces.                scholar of Dietrich. He executed a series of
J     1 BOCKMAN, G., a mezzotinto engraver, landscapes and marine subjects, which are quite
who appears also to have been a painter  rare. They are marked with his monogram, dated
as he executed at London a plate of St. Dunstan,  1744 and 1754, in 8vo. and 12mo.
signed with his name, with the addition of pinx,    BOEKHORST, or BOCKHORST, JAN VAN, a
etsculp., 1643. The following is a listof his plates:  Dutch painter, born at Deutekom in 1661. He
William Augustus, Duke of Cumberland, uncle to the  went to London, where he studied under Kneller,
King; after Vanloo. Another Portrait of the same, with  in whose style he executed a number of portraits,
his hat on; ad vivum, 1746. Mary, fourth daughter of  and passed some time with that master. He also
George II., consort of Frederick II., of Hesse Cassel; aftertlepiees, and some historical
painted a few battle'-pieces, and some historical
Dahl. Thomal Chibb, YtheDeistEal of           compositions. He returned to his own country,.Dahl. Thomas Chubb, the Deist.                    p
BOCQUET, NICHOLAS, a French engraver, who  where he died in 1724.
lived, according to Basan, about 1600. He exe-    BOEKEL, VAN, a Flemish painter, and a pupil
cuted a number of indifferent prints, among which  of Francis Snyders. He painted living and dead
are: Adam and Eve, after Raffaelle; St. Bruno  animals in the manner of his master. He died
kneeling before a Crucifix, after Bon de Boulogne.  in 1767.
BODART, PETER, a Dutch engraver, who pub-    BOEL, CORNELIUS, a Flemish engraver, born at
lished at Leyden, in 1723, a drawing-book entitled  Antwerp about 1580. He worked chiefly with the
Les Principaux Fondements du Dessin. It con- graver, in the style of the Sadelers, and his plates
tains a large number of prints, which are etched  are executed in a clear, neat style, with consider
in an indifferent style.                       able merit. His most important works are eight
BO anidiffeCKeR   t N F   a G    large plates of the battles of Charles V. and FranBODECKER, JOHN FlRANCIS, a German paint- cis I., after Anto. Tempesta. He engraved a set
er, born at Cleves in 1660; died at Amsterdam in  of oval plates for the fables of Otho Vvenius, pub1727. He studied under John de Baan, and was  lished at Antwerp in 1608; also an oval portrait
very successful at the Hague and Amsterdam.    of Henry, Prince of Wales, with an ornamental
BODENEHR, MAURICE, engraver to the court border; and the Last Judgment, marked Comeof Dresden, was born at Friburg in 1665, and died  lius Boel,fec., without the name of the painter.
at Dresden in 1749. He executed a set of thirty-   BOEL, PETER, a reputable Flemish painter, born
two mythological and poetical pieces, after Sam.  t Antwerp in 1625; died in 1680. He studied
Botschild, which were published with his name, in  under Francis Snyders, and subsequently under
1693. His father, John Geo. B., was a reputable  his uncle, Cornelius de Waal; after which he viengraver, born in 1631; died in 1704; and his  sited Rome for improvement, where his works
brothers Gabriel and Geo. Conrad, followed the  were much admired. Finding that de Waal had
same profession.                                settled at Genoa, he went there also, and met with
BODEWYNS, N. See BOUT.                       considerable encouragement.  On returning to




BOEL.                     114                    BOGD.
Flanders, he met with much employment. Four of  of Argenson; the gates to that of Villars, and the
his best works are at Antwerp, representing the  Luxembourg; the second order of the facade of
Four Elements. His subjects generally were fruit,  the Church de la Merci; and the Hospital of the
animals, and flowers; which he finished with free-  Enfants Trouves, his best work. At Nancy he
dom and spirit, and beautiful coloring. D'Argen-  erected a palace for the prince of Craon, and at
ville says he settled finally at Paris, and was ap-  Wurtzburg, the Episcopal palace designed by
pointed painter to the King after the death of  Neuman. He was also inspector and engineer of
Nicasius. Boel also etched some fine prints of ani-  the bridges, embankments, and canals of France,
mals, and a set of six plates of birds of prey, with  and published an account of the method practised
landscapes, entitled Diversi Uccelli di Petro Boel.  in casting'the Equestrian Statue of Louis XIV.,
BOEL, QUERIN or COBYN, a relative of the pre-  in one piece; which afterwards served as a guide
ceding, was born at Antwerp about 1622. He  to that of Louis XV. at Bordeaux. Boffrand never
etched several plates, after pictures of the elder  visited Italy, but always followed the style of PalTeniers, representing peasants' merry-makings.  ladio. He died in 1754, aged 87.
He also engraved several plates for the book called    BOGDANE, JAMES, a Hungarian painter of
Teniers' Gallery, after the pictures in the collec-  some reputation, who practised in England in the
tion of the Archduke Leopold.                   reign of Queen Anne, who favored him with her
BOETIUS, or BOECE, CHRISTIAN FRED, a Ger-  patronage. IIis subjects were flowers, fruit, and
man engraver, born at Leipsic in 1706. He studied  fowls; some of his pictures are in the royal colunder C.A.Wartman, and lived chiefly at Dresden, lection. He died in 1720.
where he was made professor of the Electoral Aca-    BOICHOT, GUILLAUME, a French sculptor
demy, in 1764. He executed several of the plates  born at Chalons-Sur-Saone in 1738. He went to
for the collection of pictures at Dresden, published  Italy, where he diligently studied the antique, on
in two folio volumes in 1753 and 1757, entitled  which he founded his style. He was a skillful
Recueil d'Estampes d'apres les plus celebres Tab- artist, but being over diffident, he did not meet
leaux de la Gallerie de Dresde; also several por-   ith that encouragement which his talents detraits and other subjects, among which are the  served.  He died at Paris in 1814. His best
following:                                    works are Telephus Wounded by Achilles; a
The Portrait of Boetius; portrait of Charles Iutin;  Seated Hercules; a grand bas-relief for the porch
Portrait of Raffaelle Mengs; Portrait of J. Cassanova; in  of      Genevieve; a Statue of the Patron Saint
imitation of chalk drawings. 1771. A Landscape, with a     S      a Sat  o t    Pat       ai
Cow and Sheep; after C. du Jardyn. A Landscape, with  of St. och, and the grand bas-relief for the portico
a Monument; after Breemberg. The. Interior of an Inn; of the Triumphal Arch of the Carrousal, which are
after T. Wyk. Sportsmen at the Door of an Inn; after  greatly admired for their pure antique style.
IVouwermans. A Woman holding a Pot with Coals, and a    BOILLY  Louis LEOPOLD  a Frenh   int
Boy Blowing; after Rubens. A Swiss Family kneeling      I       S i       D,    rec  painter
before the Virgin and Infant Jesus; after Holbein; fine.   born at La Bassee in 1761. He painted about
BOETTGER, JOHN GOTLIEB, a German engrav-  500 portraits; also merchants' shops, interiors
er, born at Dresden, in 1766. He studied under  atliers, banditti, popular amusements, domestic,
J. G. Schulz, and executed the following plates: military and comic scenes. In 1800 he sent three
Portrait of F. W. B. de Ramdohr; after Graaf. picturestotheLouvre. He exhibitedattheLouvre
Ganymede; a Vestal; after Vogel. Calliope;   om 1800 to 1826. His drawing was very accuafter Angelica Kaufmann.                        rate, and his execution neat and delicate. lIe also
BOETTO, GIOVENAL, a Piedmontese fresco  engraved about 100 plates, and many of his pic~~~IBOETTO, G^OVENA,     idtures have been engraved by Fresca. Petit, and
painter, who flourished at Turin from  1642 to  t     h     b                             
1682, and adorned the palaces and public edifices  others. It is said that he had no master. He died
at Paris in 1845, aged 84.
of that city with allegorical subjects, ingeniously ars   n     a.
composed, and designed in a tasteful and elegant    BOILOT, a French architect, engraver, and austyle. His master-piece is a series of twelve  thor,was born at Langres in 1550. He acquired
frescos in the Casa Garballi, representing subjects a thorough knowledge of Mathematics and drawemblematical of the Arts and Sciences. Lanzi ing, and made himself acquainted with modes of
says he was a good           b   engraver, but mentions none  engraving. He was employed as an engineer in
of his prints,                                 the army of Henry IX., and afterwards contribBOEYERMANS, THEODORE, a Flemish histori   uted to maintain his native city, in obedience to
cal and portrait painter of Antwerp, was a pupil that prince, for which he was rewarded by some
of Vandyck. His design is correct, his coloring  trifling public office, which gave him  leisure to
compose two valuable works on architecture and
pleasing, and he had a good knowledge of chiaro- compose two valuable works on architecture and
s        uro.                                   engineering,illustratedwith about 150 plates neatly
engraved on wood and copper, by himself. The
BOFFRAND, GERMAIN DE, an eminent French
cBOhteRAND, b ERMAIN DEs in 16em67 ntud u r  works above referred to, have been pirated, and
architect, born at Nantes in 1667; studied under  republished in French and translated into GerHardouin Mansard, who entrusted him with his  republished i  French and translated into German. Time of death not known.
most important works. In 1709, he was admitted    B       M             a Parian engraer 
into the Academy of Architecture, and acquired          MARTI  DU,  Pri    engra          who
great reputation in Germany, where he erected  executed some of the plates for the collection from
edifices for a number of the princes. lIe built a  the works of the Italian masters, published by
hunting-seat for Maximilian, Elector of Bavaria;  C. Paten, i 1690. There are several engravers
was declared first architect of Leopold I., duke of of this name, of little note.
Lorraine, for whom he built the new palace Nan-   BOISSARD, ROBERT, a French engraver, born
cy, that of Luneville, and another as a pleasure-  at Valence about 1591. He followed the style of
house, called Malgrange, near to Nancy. At Paris,  Theodore de Bry, and used the same mark as Rene
Boffrand erected the Hotel de Montmorency; that  Boivin, which may sometimes occasion confusion.




BOIS.                        115                        BOIZ.
BOISSIERE, SIMON DE LA, a French engineer,  a statue of Meleager as his reception-piece. Iis
who engraved several plates from his own designs  works are deficient in the purity of the antique,
and. after Sebastian Le Clerc.  The following are  and there is too much similarity in his forms. He
the principal:                                        executed two busts, of Gen. Joubert and M. Julien,
The Death of a Prince, surrounded by his Court. Forty-  for the gallery at Fontainbleau. Among his other
one plates of Antique Medals; in the collection of the  works are the group of allegorical figures in the
King of France.  A View of the Palais Royal; in two  Place du Chatelet, which is said to be his best
sheets. Several plates for the work entitled Traite des  production.  He died in 1809.
Edifices Antiques de Rome; by A. Desgodets, published
at Paris in 1682.                                       BOIZOT, MARIE LOUISE ADELAIDE, a Parisian
BOISSIE    JEAN  JACQUES        a French   female engraver; born in 1748.  She studied unOpainter, and an eminent engraver, born   der'J. J. Flipart, and executed several portraits
in 1736;  died in 1810.  He painted several sub-  and other subjects, among which are the followjects similar to those of Ostade, also a few por-  ing:
traits.  As an engraver he executed about sixty            John Joseph William Brute, Doctor of Sarbonne; M.
traits.  As 3an engraver he executed;. A. Boizot, del. et fec. The EmperorJoseph II. Louis
landscapes and other subjects, in a pleasing and  XVI. King of France. Marie Antoinette, Queen of France.
spirited style, from  his own designs, and after  Louis Stanislaus, Count of Provence. Marie Josephine
other masters.  The following are the principal:  Louisa, Countess of Provence. Charles Philip, Count of
Artois. Marie Elizabeth, sister of the King. St. CatheAn Old Man, with a Boy reading; a Cooper working in  Armi.  M arie Elizabeth, sister of the King. St. Cathea Cellar; in the manner of Rembrandt. An Italian   ine; aerL. Caracci  The  Dutch Breakfast; after G.
Landscape, with Women Washing. A Landscape, with  Me.              A      i  a  i; after Nescher. A
Shepherds by the water-side; after Berghem. A Land-  Young Turk; do. A Girlreading; after Greuze
scape, with a Boy driving an Ox; a Landscape, with figures    BOJAN, J. L., a French engraver, who lived
in a Boat, and a Mill; the great Mill, a charming land-  about 1670, and was employed by John Berain to
seae; fter Ruysae.  A Forest, wih a Cottge and a  engrave some of the plates for his large work of
Man on Horseback, with Peasants. Another Forest Scene;   the Orname   n   the   leris a         or
the companion. A Landscape, with figures and animals,  Ornaments in the Tuileries and Louvre.
in the middle, a Hill, on which is a Cross, and an old Man    BOKSHOORN, JOSEPH, a Dutch portrait paintkneeling. A View near Tivoli, with a Man and a Woman                            in 16, w     e he 
mounted on a Mule, driving Cattle through a Rivulet. The     He went to Lndo  in 1670,where he copied
Quack Doctor; after C. du Jardyn.  A mountainous  many portraits of Sir Peter Lely and Vandyck.
Landscape, with a Waterfall; after Asselyn. A Grand     BOL, CORNELIUS, aDutch painter, who lived
Landscape, with a Hermit, at the entrance of a Cavern,  in England  in 1666-the time of       reat fire in
1797. A pleasing Landscape, with large figures, and two  England in         the time of th  great fire
Cows standing in the Water.                           London, of which he painted several views; as he
also did of several edifices in and near the meBOIT, an eminent Swedish painter in enamel,  also did of several edifi ces in and near the mewho practised several years in London, during the   tropolis.  He etched sme vies     Dutch seareign of Queen Anne, and afterwards went to Pa-  portsamongwhichisthatofBriel.
ris, where he was countenanced by the Regent, and       BOL, FERDINAND, an eminent Dutch historical
met with great success. He died at Paris in 1726.  and portrait painter and engraver, born at Dort in
BOITARD, L., a French engraver of little note,  1611; died in 1681.  His family removing to Amsterdam when he was young, he had the advanwho lived at London in 1760, and executed several terdam w n he was               ng hehad  headvnplates for Spence's Polymetis, and the Rotunda at  tage of s ying under Rembrandt, whose style
Ranelagh, after Panini.  He also engraved sev-  he imitated successfully, both as a painter and eneral portraits.                                       graver, and some of his best portraits might be
taken for those of Rembrandt. There are several
IZDBOIVIN, RENE, a French engraver, born   of his pictures in the Town House at Amsterdam,
J    pH)at Angers about 1530.  He engraved sev-  and two admirable works in the Council-chamber
eral plates in the style of Cornelius Cort, execu-  at Dort, representing the Appointment of the
ted with the graver.  They are         y are neatly done, but  Seventy Elders in the Camp of Israel, and Moses
the drawing is incorrect.  There are also some  breaking the Tables. The poet Vondel celebrates
etchings by him.  Some of his plates are from   an historical work that he painted for the Admihis own designs, and several after I1 Rosso. The  ralty at Amsterdem.  His etchings are executed
following are the principal, sometimes signed Re-  in a free, bold manner; the lights and shadows
natusfecit, sometimes with his monogram:              are well managed; and though not equal to those
Twelve of Philosophers and ancient Poets. Portrait of  of Rembrandt, they are highly esteemed.  The
Clement Marot; dated 1556. The same Portrait; with-  following are the principal:
out date. Portrait of John Sebastian Psanserus. Portrait
of George Vicelias, Theologian. Susanna and the Elders.              PORTRAITS AND HEADS.
The departure of Hagar and Ishmael from the House of    A young Man, with a round Hat; marked, Bol, fec.
Abraham; a spirited etching. Banditti robbing the Cart  An Officer with his Hands on the Hilt of his Sword; Bol.
of a Peasant, etching.  The plates for a work entitled  fee. 1643. A young Man, with a Cap and Feathers; F.
Livre de la Conqueste de la Toisan d'or, par le Prince  Bol. 1642. A young Woman, half length, with a Cap
Jason de Tessalie. An emblematical subject of the Tri-  and Feathers; marked F. Bol,f. 1644; fine, oval. The
umph of Virtue; Rous Florent, inv.; Renatus fecit.  Woman with the Pear, at a Window; in the manner of
Francis I. advancing towards the Temple of Immortality,  Rembrandt; very fine. An old Man sitting in a Chair,
leaving behind him Ignorance and the Vices; Rous Flo-  with some Books, and an unlighted Candle; marked Bol,
rent, inv. Dom. Zenoi venetus, exc.                   scarce. An old Man, half-length, with a Bonnet, in the
BOIZOT, LOIS SIMON, a French sculptor born   manner of Rembrandt, leaning on a Cane; F. Bol, fec.'in174 a th  son, of A  rntine B    t a member  1642.  Bust of an old Man, seen in front, with a fur Robe,
in 1743, was the son of Antoine B., a member of   fastened with Diamonds; no name; very scarce.
the Royal Academy, and a designer for the Gave-                        VAR S    JECT
lins. At the age of nineteen, he gained the grand                      VARIOUS SUBJECTS.
prize of the Royal Academy and went to Rome             A Philosopher in Meditation, resting on a Table, on
z  of te R a Academy, an  wn  t              which are some books and a Globe; very fine. Another
with the King's pension.  On his return, he was  Philosopher, holding a Book; F. Bol, 1642. The Astroloreceived into the Academy in 1778, and executed   ger, an old Man sitting at a Table, with books and a Globe:




BOLA.                      116                    BOLO.
he wears a flat Hat, and his Hands crossed. The Family  dence as their surname, and the sons of painters
-a Woman Suckling a new-born Infant, with a Man hold-  often adopted their fathers' names, as a sort of suping Linen; F. )ol. 1649. Abraham's Sacrifice: an
arched plate; F. Bol, f    very s carce prin, mentioned  port or recommendation of their own. This artist
by M. Heineken, of Agar in the Desert, with the infant  flourished at Bologna from 1384 to 1418, and exeIsmael; F. Bol,f  The Sacrifice of Gideon. St. Jerome  cuted some excellent works. Eanzi says he exein a Cavern, contemplating a Crucifix; F. Bol,f.  cuted, in conjunction with Simone, the chief part
B, H, a F h pintr and en     of the sacred histories in the Church of MezzaItI3vBOL, Hbor  at  Femishn i pa diter a tnd eng-  ratta, and a few of them alone, as the Miracle of
\     iJ n5ver,  H at uech dn  f  t  diedatAm-  the Probation at the Cottone, of which he wrote
sterdam in 1593.  He studied for two years with.  This
an obscure artist, and afterwards made the tour of  Jt.  This Simone Bologa wgo    aris
called Simone dal Crocifissi, and was a good artist.
Germany, remaining some time at Heidleberg,  Jacopo also painted in Padua and Verona some
h-r he copied the works of some of the most  Jacopo also painted in Padua and Verona some
where he copied the works of some of the most  excellent works. In the Church of S. Jacopo al
eminent masters. He afterwards settled at Am-  ok  t'a
eminent masters. He afterwards settled at Am-  Santo at Padua, he painted seven historical substerdam, where his works were much esteemed.                     I
sterdam, where his works were much eslteem~ed.   jects, pretty nearly in the style of Giotto, and in
He executed a number of landscapes in the neigh-  some respects superior to him. He painted some
borhood of Amsterdam; also two pictures, repre-  Triumphs in a Saloon at Verona which Mantegna
senting Daedalus and Icarus, and the Crucifixion,  comme       a  e llnt productions. He su
commended as excellent productions. He subwhich are extolled by Van Mander. lie etched  sced t              Jacobu  Paul p     t, which cirseveral plates from  his own designs, in a slight,  sce  tese  acus   u             t,
spirited manner, sometimes marked H. B., an Lcumstance, together with similarity of style, led
spirited manner, sometimes marked H. B., and
Lanzi to think that he was a Venitian, and the
sometimes with his monogram. The following  same Jacobus Pauli, who with his father Paolo
are the principal:                               Same Jacobus Pauli, who with his father Paolo
are the principal:,.and his brother Giovanni painted the much adThe Reconciliation of Jacob and Esau; circular. The  mird ancint altar piee in  the   hurch  f  an
first interview between the Servant of Abraham and Re-    ancen  aar pece in         urc  o
becca. Twelve circular plates of the Twelve Months of  Marco at Venice.
the year; Ad. Collaert, excud. A set of twelve Land-    There are many other ancient artists who asscapes; H. Bol, inv. Joh. Sadder, exc. A set of twelve  sumed or are known by the name of Bologna, and
Landscapes; H. Cock, exc. H. Bol. A large Landscape,  who, according to Malvasia, flourished in that city
with a man in a Boat, catching a Goose, with several figures.  from the twelfth to te fifteenth century: Ventur
BOLANGER, JEAN, a disciple of Guido, born  B.,from 1197to1217; GuidodaB.,1280; Giovanni
in 1606; died in 1660. Under the tuition of that  B., about 1400; Lorenzo B., supposed to be aVenegreat artist, he became so eminent that he was ap-  tian, in 1368; Maso B., in 1404; Orazio and Piepointed principal painter to the Duke of Modena.  tro de Jacopo B., about 1445'; Severo B, about
His subjects were from  sacred and profane his-  1460; Simone B., called da' Crocifissi, 1377; Vitory.  His composition and design were elegant  tale B., called della Madonna from the sweetness
and pleasing and his coloring delicate.           of his Madonnas, about 1345; Ursone B., from
BOLDRINI,orBOLDINI,NIcoLo,called  1226 to 1248. All these artists were eminent in
"^ VICENTINO, a wood engraver, born at Vi- ^their day, and there are many specimens of their
cenza about 1510. He executed a number of prints works still preserved in the churches and public
after Titian, in a bold free style. The following edifices at Bologna.
is a list of his works, which are quite scarce:     BOLOGNA, or BOLOGNESE, M. DOMENICO
John, Baron de Schwarzenberg; with a border; after  a Bolognese painter of whom  little is known.
Albert Dwrer. The Wise Men's offering; after Titian,  Lanzi says there is a picture by him in the Church
with his cipher. St. Jerome praying; in a landscape; do. of S. Sigismondo at Cremona, executed in 1537,
St. Catherine, St. Sebastian, and four other Saints; do. representing Jonah ejected from  the Whales
A Mountainous Landscape, with a Woman milking a Cow.           Jonah ejected from  the Whale
Venus seated on a Bank, holding Cupid, a Squirrel on the  Belly, which he pronounces a most admirable perBranch of a Tree; marked Titanius inv. Nicolaus Bol-  formance for the softness and.delicacy of coloring,
drinus Vicentinus incidebat. 1566.                resembling that of Correggio.
BOLLMAN, JEROME or HIERONYMUS, an engra-    BOLOGNA, LATTANZIO DE, a Bolognese paintver, probably of Germany. He executed anumber  er, according to Baglioni. He studied under the
of prints after Raffaelle and other great Italian  Caracci; on leaving whom he visited Rome and
masters, in a bold, free, and effective manner, pos-  was commissioned by Sextus V. to paint the ceilsessing considerable merit.                       ing of one of the saloons in the palace of St. John
BOLOGNA, FRANCO, one of the oldest of the  of Lateran; also the ceiling in the chapel of SexBolognse painters, and one of the founders of  tus V, in the church of S. Maggiore, representing
that school. Lanzi says he was among the first  a choir of angels. In S. Maria de Monti is a fine
of the Bolognese artists who taught many pupils,  picture by him of the Scourging of our Saviour.
and that he is almost deserving the name of the  His genius promised high attainments; but havGiotto of this school; that there are several of  ing naturally a weak constitution, he died much
his works preserved in the Malvezzi Museum, the  regretted at the early age of 27.
most remarkable of which is one of the Virgin    BOLOGNE, JEAN DE, an eminent French sculpseated on a throne, dated 1313, which will compare  tor, born at Douals in 1524. He early went to
with the productions of Cimabue and Guido da  Italy, where he resided many years. His chief
Siena. There are also, in the same collection, two  models were the works of Michael Angelo, and his
small pictures with figures in miniature, display-  style is founded on the manner of that great masing much grace, attributed to him.               ter.  He produced many works in Italy, among
BOLOGNA, JACOPo  DI PAOLO, or AVANZI.  which is the fine group of a Roman Soldier carryThere is some doubt of the real name of this paint-  ing off a Sabine woman, in the great square at
er, as well as of many other old artists, for they  Florence. He executed the ornaments for the beausometimes assumed their place of nativity or resi-  tiful fountain near the cathedral, at Bologna, which




BOLO.                       117                      BOLS.
is greatly admired.  At Florence there are two          VARIO'US SUBJECTS AFTER DIFFERENT MASTERS.
stat ues, of Neptune and Jupiter; at Rome he exe-    The Adoration of the Shepherds; after Abr. Bloemaert
cuted a beautiful statue of Mercury, for the villa  1618. The Repose in Egypt; do. Twenty-four of the
Hermits of the Desert; Silva Anaghoretica; published at
de Medici; also a large number of works at Ve-  Antwerp in 1619; do. Twenty-six of the Hermittesses;
nice and Genoa. At Meudon, in France, is a statue  do. Four of Landscapes and Figures. 1613; do. Set
of Asculapius, and at Versailles a finegroup of Cu-  of twenty landscapes; numbered. 1616; do. Fourteen
pid and Psyche.  He commenced an equestrian  of Animals; do.; B. A. Bolswert,fec., 1611. Jesus Christ,
statue of Henry IV., which was finished by his  with Mary and Martha, after J. Goiemar; B. A. Bolswert,
pupil Taffa, and was placed on the Pont-Neuf.   c.; scarce. Men contending against Animals; after D.
pupi Tarfa, and  wa~ s    placed on the Pont-Neuf.  Vinckenbooms; B. a Bolswert, sc.; scarce. A Landscape,
This industrious artist died in 1605, aged 84.      with Adam and Eve in Paradise; do.; B. a Bolswert, sc.;
BDOLOGN1SE, DE.  See IL GRIMALDI.                scarce. The Judgment of Solomon; after Rubens. The
BOL JOGNS,. bee IL  RIMALDI.      Resurrection of Lazarus; do.; very fine. The Last SupBOLOGNNII, CARLO, aBolognese painter, born,  per; do.; P.:. Rubens, pine. Boet. a Bolswert, sc.;
according to Zani, in 1662; died in 1704. He stu-  very fine.
diedunder Mauro Aldrovandini, and subsequently              or f    BoOLSWERT, or BOLSUERD,
under Giulio Trogli. He excelled in painting per-   StCt,  1LSCHELTIUS A., one of the most
spective views, and resided many years at Vienna,  celebrated Dutch engravers, the younger brother of
where he was much employed.                         the preceding, was born at Bolswert in Friesland
BOLOGNINI, GIOVANNI BATTISTA, a Bolognese  about 1586,and settledwith his brother atAntwerp.
painter and engraver; born, according to Zani, in  He executed many plates after the most eminent
1612; diea in 1689.. HIe studied under Guido,  ^Flemish painters, but he especially distinguished
and was one of his ablest scholars. He executed             by his admirable prints after some ofthe
best works of Rubens and Vandyck, which he repseveral pictures for the churches at Bologna,  bestworksofRubensandVandyckwhichher
among which are the Virgin and Infant with Mag-  resented in such a masterly style as to give them
dalene and Saints, in $. Maria, Nuova; the Dead   greater effect than could well be expected in a
dalene and Saints, in $. Maria, Nuova; the Dead
Christ with the Virgin, St. John, and others, in  print, so that they appear to exhibit the very charthe Church of the Servi; and  the Conception, in  acter and color of the great originals, His plates apS. Lucia  He also,etched the following plates in a  peartohavebeen executedentirelywiththegver.
a slight, spirited style:                           Rubens occasionally retouched his proofs, in the
a slight, spirited style               progress of the plates, with chalk or with the
The Murder of the Innocents; after Guido. St. Peter  pencil; and Bolswert was  aided materialt  by
made Head of the Church; do. The Crucifixion; after  pe ncil; and Bolswert was aided materiay by
the picture in the church of the Capuchins at Bologna. Bac-these ions, in producing that characteris
chus and Ariadne; in three sheets; do.              expression found in these prints.  Proofs of this
BOLOc GNINI, GIACOMO, a reputable Bolognese  description are occasionally met with in the porthistorical painter, the nephew of the preceding,  fl   of the curious.  He was equally successwas born in 1634, and died in 1634.  He studied  ful in all his various subjects.  One of his most
under his uncle, and executed several pictures for  beautiful engravings is a grancoposition after
the churches at Bologna; among which is Saint  Vandyck, representing the  Crucifixion, with a
Francis receiving the Stigmata, in S. Sebastiano  figure presenting the sponge toChrist; on the
e Rocco; and a Dead Christ, with the Virgin and  other ide the Virgin and St. John are standing,
Mary Magdalene, in the church of the Purita.        and Marv Magdalene kneeling and embracing the
BOLONGINO, Or BOLA  O  B        -  Cross. In the first impressions, which are very
aBOLONGINO,  or BOLG..RINO, BARTOLO   rare, the hand of St. John is not seen on the
rEO, a Sienese painter who flourished in the firss   t 
pEO, a Sienese painter who fourished in the first  shoulder of the Virgin; in the second impression
part of the 15th century.  According to Vasari,the hand of St John rests on the Virgis shoulhe studied under Pietro Laurati, and painted                              Vandyck is changed from
der, and the name of Vandyck is changed from
many excellent works at Siena, and in other parts  the left to the right hand corner of the plate. In
of Italy.  He was a man of rank, and a magis-  the last impressions the hand was erased, probably
trate in his native city.
rate in his native city.               to give them the appearance of first impressions,
c3rJ or0       BOLSWERT, or BOLSUERD,  but they may be easily distinguished by the su<^) b      #Ot     BoETIus ADAM, an eminent Dutch  periority of the first as to color and clearness.
Engraver, born at Bolswert about 1580. He set-  His plates are generally signed with his name, or
tied at Antwerp with his brother Scheltius, as aol   The
printseller and engraver.  He worked entirely  monogram, but sometimes thus,
with the graver, and he seems to have adopted  following are his principal plates:
the free, open style of C. Bloeemart; though the
plates he engraved after Rubens are more full            Vs    S UBJECT  MOSTLY AFTER HIS OWN
of color, and more highly finished.  His plates                          DESIGNS.
of coloadmoehghyfn- dam o        Hilts          The Infant Jesus and St. John playing with a Lamb.
are sometimes signed  J    dam       olswert, and  The Virgin Mary, and Infant Jesus Sleeping. The Virgin
giving suck to the Infant. The Virgin Mary, with her
sometimes  (flolsuerd.                              hands folded on her Breast. The Virgin Mary with the
sometimes^  Jolsuerd.         Infant in the Clouds, with Angels and Cherubim. The infant Jesus caressing the Virgin Mary, and St. Joseph holdPORTRAITS  ND  UBJECTS FRO  HIS Oing a Pear. Twelve half-length figures of Saints. Twelve
F. Adam Sasbout; inscribed Omnia vanitas. John  other half-length figures of Saints, beginning with St. PeBergman, Jesuit, kneeling before on Altar, pointing to a  ter. A Hermit kneeling before a Crucifix. Mater DoloSkull. St. A. Gonzaga kneeling before a Crucifix. Wil-  rosa. Jesus Christ triumphing over Death. St. Barbe,
liam Louis, Count of Nassau. William of Nassau lying  Martyr. St. Stanislaus Koska, kneeling before an Altar.
in State; 1618. Seventy-seven plates for the Life of  St. Francis Borgia. St. Alfonso Rodriguez. Robert BelChrist; published at Antwerp 1622 and 1623; Het Leven,  larmin, of the Society of Jesus. Leonard Lessius; an4-c. The plates for a book entitled The Pilgrimage; pub-  other Jesuit. The Death of a Saint, and that of a Sinner;
lished at Antwerp in 1627.                          after Diepenbeck. An emblematical subject of Prince




BOLS.                        118                       BOLT.
Ferdinand; inscribed In te spes reclinata recumbit. Two  Christ, interceding for the Souls in Purgatory; M.. vanden
plates of a Thesis; dedicated to Sigismund, King of Po-  Enden, exc. The Continence of Scipio; the best impresland. Six plates with the Frontispiece, for the Academie  sions are before the address of G. Hendrix. Silenus,
de l'espee; by Thibault. 1628. The Dispute between  drunk, supported by a Satyr, with another figure; the best
the Gras and the Meagre; B. A.Bolswert, inv. S. A. Bols-  impressions are those with the name of Bolswert only,
wert, sc.                                             without the address.
VARIOUS SUBJECTS AFTER DIFFERENT FLEMISH                       LANDSCAPES AND HUNTINGS.
MASTERS.                           A grand Landscape, deluged by a Torrent, and in a
The Crucifixion; Jac. Jordaens, inv. et. pinx.; the best  mountainous part of it, the subject of Baucis and Phileimpressions are before the cum Privilegio Regis. Mer-  mon. A large Landscape, with a view of the Sea-coast
cury and Argus; do.; the good impressions are before the  and a Shipwreck. A grand woody Landscape, with the
address of Blotelling; fine. The infant Jupiter; do.; fine.  Chase of Meleager and Atalanta. A view near Mechlin,
Pan playing on a Flute; do.; fine. A Concert; entitled  with Haymakers and a Wagon, and figures driving CatSoo d'oude songen soo pepen de Jongen; do. Pan hold-  tie. A view of a Stable with Horses and Cows, and the
ing a Basket of Fruit, and Ceres crowned with Corn, and a  subject of the Prodigal Son. (These five landscapes are
Man sounding a Horn; do.; very scarce. The Salutation;  highly esteemed and finely executed.) A set of twenty
after Gerard Seghers. The Return of the Holy Family  smaller Landscapes. A set of twelve Huntings of different
out of Egypt; do. The Virgin appearing to St. Ignatius,  animals, of which one is a Lion Hunt, with figures on horsewho is kneeling; do. St. Francis Xavier, tempted by the  back; very spirited and fine.
Devil; do. Peter denying Christ; do.; very fine. Abra    BOLTRAFFIO, or BELTRAFFIO, GIo. ANham sacrificing Isaac; after Theodore Rombouts. A Con-          reputable Milanese painter who studied,
cert; do. The Virgin, with the Infant Jesus holding alanee p                              er wo 
Globe; after Erasamus Quelinus. The Communion of St.  according to Vasari, under Leonardo da Vinci. He
Rosa; do. Tle Dead Christ on the knees of the Virgin  was in easy circumstances, and painted merely
Mary; after Diepenbeck. The Crucifixion -of the Three  for amusement.  The only production he ever
Jesuits at Japan; do.                                  placed in public was an altar-piece in the Church
PORTRAITS, ETC. AFTER VANDYCK.              della Misericordia, representing the Virgin and
Scheltius a Bolswert; Ad. Lommelin, sc. Andrew van  Infant with Saints.  It bore his signature, with
Ertvelt, painter of Antwerp. Martin Pepin, painter. Adrian  that of da Vinci, and the date 1500  but both
Brower, painter. John Baptist Barbe, engraver. Justus Lip-  have been erased.
sius, historiographer. Albert, Prince of Aremberg. Mary  ve been erased.
Ruthven, wife of Vandyck. Margaret of Lorraine, Duchess    BOM, PETER, a Flemish painter, born in 1530';
of Orleans. Wm. de Vos, painter. Sebastian Vranck, paint-  died in 1572. He was distinguished for his lander. Maria mater Del. The Holy Family, with an Angel  scape in Water-color.
holding a crown. The Virgin and Infant Christ on her Knee,  scapes in water color
with a Female Saint holding a Palm. The Holy Family      BOMBELLI, SEBASTIAN, an  eminent Italian
with the Infant sleeping in the arms of the Virgin. The Holy  painter, born at Udina in 1635. He studied under
Family in a landscape, with several Angels. Christ crown-  Guercino, with whom  he made rapid progress.
ed with Thorns; very fine. The Elevation of the Cross.  He subsequently visited Venice where he studied
The Crucifixion, a grand composition with two Men on                                       Tintoretto and P. VeroHorseback, and a figure presenting the Sponge to Christ;       e  t   wr          T                  
on the other side the Virgin Mary and St. John standing,  nese.  His copies of the latter are of such extraand Mary Magdalene kneeling and embracing the Cross.    ordinary merit that some of them can scarcely be
SUBJECTS AFTER RUBENS.                  distinguished from  the originals; and Boschini
The Bizen Serpent; the best impressions are those  says that for imitating the character of that maswhich have the word Antwerpiae at the right hand corner,  ter, and for portraits, he could not be surpassed.
without the name of G. Hendrix. The Marriage of the  During the early part of his life he painted several
Virgin; the best impressions have the name of Hendrix,  excellent historical pieces, and Sandrart thinks he
without the word Antwerpiae.  The Annunciation; the  would have arrived at great eminence in history,
best impressions are those with the address of M1_. Vanden  would he   arriv ed    at   reat eminence 
Enden.  The Nativity; the best impressions have the  had he not been allured to that more lucrative
same address. The Adoration of the Magi; do. The  branch of the art, portrait painting.  His talents
Return of the Holy Family from Egypt; do. The Feast  were in great request, and he was patronized by
of Herod, with Herodias presenting the head of St. John  the Emperor of Germany, the King of Denmark
to her Mother. The Executioner giving the Head of St.  the Electors of Bavaria and                  and a
John to Herodias. The Miraculous Draught of Fishes; in                                 Brunswick,  r
three plates. Christ Crucified between the Thieves; G.  number of princes in different parts of Europe.
Hendrix, exc. The Crucifixion, a Soldier on Horseback,  He was living in 1716.
piercingthe side of our Saviour; dated 1631; extremely   BOMBELLI, RAFFAELLE, was a brother of the
fine. The Crucifixion, with the City of Jerusalem in the  preceding artist, who painted with great facility.
distance; M.V. Vanden Enden. exc. The Dead Christ in    r                                   
the Lap of the Virgin Mary, with St. Francis; the same  He is said to have executed many historical and
subject is engraved by Pontius. The Resurrection; M.  other subjects, which are not known out of the
Vanden Enden, excudit.  The Ascension; do.  The  Friuli.
Four Evangelistse  The Fathers of the Church; Nic. Law-    BONA, ToMAsso, a painter of the Venetian
ers, exc. The Destruction of Idolatry; in two sheets; do.              according to Zamboni, painted archiThe Triumph of the Church; in two sheets; do. The Im                acco        o 
maculate Conception; Ant. Bon. Enfant, exc. The As-  tectural ornaments and perspective pieces so admisumption; arched; M. Vanden Enden, exc. The As-  rably, "as to surprise us by the air of their masumption, with one of the Disciples lifting the Stone of the  jesty, and cheating the eye by their relief."  He
Sepulchre; M. vanden Enden; the impressions with the  also excelled in figures.  He was still paintingat
address of G. Hendrix are posterior, and those with the  Brescia in 1591
name of C. van Merlen are retouched. The infant Jesusrea   n.
embracing the Virgin Mary; M. vanden Enden, exc.    BONACINA, Gio. BATTISTA, a MilaneseEngraThe Virgin Mary holding a Globe, and the Infant Jesus  ver, born about 1620. Ie followed the manner of
holding a Sceptre. The Holy Family, with the infant Je-  C. Bloemaert and engraved a few plates in a neat
sus and St. John caressing a Lamb. The Holy Family,  style,
with a Parrot on a Pillar; a Bonenfant, exc. St. Igna-       though rather dry and stiff. The following
tius and St. Francis Xavier; the first impressions are before  are the principal:
the name of Rubens. Thr Education of the Virgin by St.                      PORTRAITS.
Anne; the best impressions are without the name of Hen-    Pope Clement IX. Guido Visconti. Hernes Visconti'rix. St. Cecilia; very fine. St. Theresa at the Feet of  Giovanni Battista Conte Trucchi.




BONA.                         119                      BONA.
SUBJECTS.                        Judith with her Servant coming out of the Tent of HoloThe Alliance of Jacob and Laban; after Pietro da  fernes; after M. Angelo. The Nativity of John the Bap.
Cortona. St. Martin kneeling before the Virgin and in-  tist; after Pontormo; Jacobus Florentinus Inventor,
fant Jesus; do. The Holy Family, with St. Catherine and  Julio B. F. The Nativity; Julius Bonasone, Invent.
St. John after Andrea del Sarto.                       The Nativity, a grand composition; attributed to Giulio
BONACOSSA, ETTORE one of the early paint-  Romano. - Another Nativity; after Parmeggiano. The
Holy Family; after Giulio Romano.  Another Holy
ers of the Ferrarese school. There is an image of  Family; J. Bonasone, Inventore.  The dead Christ on
the Virgin at Ferrara, called del Duomo, held in  the Tomb, with the Virgin Mary; after Rafaelle, without
the highest veneration, and solemnly crowned not  the name of the engraver. Christ seated on the Tomb,
long ago, painted by this artist.  At the bottom   supported by two Angels, with the Virgin Mary and St.
is his signature and the date, 1448.                  John; after Polidoro B. 1532. The entombing of Christ;
after Titian, with the names of the painter and engraver.
BONACORSI, or BUONACORSI.  See DEL   1563. The Resurrection; J. Bonasone, inventor. St. PeVAGA.                                                 ter made Head of the Church; after Raffaelle. St. Peter
BONAGRAZIA, GIOVAN  a p     er of the   and St. John healing the Lame; after Perio' del Vaga.
BONAGRAZIA, GIOVANNI, a painter of the  St. Paul preaching; oval; do. The Last Judgment; afVenetian school, who, according to Federico, was  ter M. Angelo; inscribed Julius Bonasonius Bonone
born at Treviso, in 1654, and studied under Anto-  propria Michaelis Angeli; qc. Solomon, David, and Jesnio Zanchi. He painted with considerable success  se, part of the Sistine Chapel; after M. Angelo;. Julio
in his native town, and in the province of Trevigi.  Bonasone imitando, 4-c. St. Joachim and St. Anne, pree gained the most reputation for his painting at  senting the Virgin Mary to the High Priest; after ParHe gained the mos                                     meggiano.  Christ meeting St. Peter; after Rafaelle.
San Vito.  Time of death not recorded.                The Virgin Mary and infant Jesus in the Air; after ParBONASIA  BARTOLOMEO, an old painter of the  meggiano, F. P. I. V.; J. Bonasonis imitando, qc. St.
Modenese school, who died in 1527, and whom    Cecilia; after Rafaelle. St. George; after Giulio RoModen ese chool, who died in 1527,.and wh            mano; with the names of the artists. Twenty-nine of
Tiraboschi affirms was an excellent painter of sa-  the Passion; entitled Passio Domini inri, Jesu Christi;
cred subjects. He also painted inlaid work, which  Julii Bonasonis opus, -c. Thirteen of the Life of the Virhe sometimes introduced into his pictures as ac-  gin, marked with a B., and some of them with a D.
cessories, to rival nature. There is a specimen of                SUBJECTS OF PROFANE HISTORY.
his skill in the convent of S. Vincenzio, at Modena.    Achilles dragging the Body of Hector; after PrimaticBONASONI, GIULIO, a Bolognese painter and   cio. The taking of Troy; do.; two sheets; 1545. Bonavery eminent engraver, born about 1498, diedabout  sons, F. The Shipwreck of ineas; qfter Parmeggono
v1er7   Ty   J. st,ie.d IiT unecoeziab-    Alexander with Bucephalus and Roxana; circular; Julio
1570.  He studied painting under Lorenzo Sabba-;Bonasone, inventor. The Roman Charity; a friese; aftini, and engraving under Marc' Antonio. He ex-  ter Polidoro.  Clelia, with one of her companions on
ocuted several pictures for the churches of Bologna,  horseback escaping from the camp of Porsenna; I. V.
among which is a fine painting in S. Stefano, rep-  Bonaso imitando, 4-c.  Scipio wounded, retiring from
resenting the Souls in Purgatory.  As an engra-the Battle; I. V. Bonaso imitando, -c. Twenty-of the
ver he executed many plates after M. Angelo, R-  History of Juno, with Italian verses; after his own dever, heexecutedmanyplates after M.Angelo, Raf-  igns. The Rape of Europa; after Raffaelle; with the
faelle, Giulio Romano, Parmiggiano, and others;  names of the artists. Mars and Venus; after Primaticalso several from his own designs. His plates are  cio. Venus attended by the Graces; after Raqfaelle. The
usually executed entirely with the graver, and al-  Birth of Adonis; dated 1586. The Triumph of Cupid and
though his style is neither so clear, firm, and mas-Pssche; Julio Bonasone, inventore. Apollo in his Car,
+erly, as that of his'dmirable instructor, nor his  with the hours, and Time walking on Crutches before; L.
terly, as that of his admirable instructor, nor his     nventore. Niobe and her Chl
V. B. Julio Bonasone, inventore. Niobe and her Childesign so pure and correct, yet his works are exe-  dren; after Perino del Vaga. 1541. The Fall of Phaecutedwith great facility and considerable elegance,  ton; after M. Angelo. Three Female Figures with Veils,
and are much esteemed. His prints have an excel-  do.
lent management of chiaro-scuro, and a breadth in        BONATTI, Gio., an Italian painter, born at
the masses that is very masterly.  They are usu-  Ferrara, in 1635, died at Rome in 1681.  At an
ally marked with his name in full, or contracted,  early age, he manifested an inclination for art, and
as Julio Bonso; and sometimes with his initials  was taken under the protection of Cardinal Carlo
B.-I. B., or I. B. F.; also with his monograms.  Pio, who placed him in the school of Guercino,
The following is a list of his bestworks. See Cum-  where he remained three years.  He afterwards
berland's Catalogue for a full list.                   visited Rome,where he studied under P. Francesco
r ----    -'-                             Mola, and executed several works for the public
I     +B or ~      o or  I      tB         edifices; among which are two in the Gallery of
PorTRA —Ir.         the capitol, representing Rinaldo and Armida, and
PORTRAITS.                        Sisera and Jael; also, several other works in the
The Pope Marcellus II., without the name; scarce. Phi-  Chiesa Nuova, and S.. Croce in Gerusalemme.
lippus Hispaniarum princeps, Caroli V. filius; Julio B. F.
Cardinal Pietro Bembo. JEt. 77; after Titian.   afla-  "0      BONAVERA, DOMENICO MARIA, a Boelle d'Urbino, with and without the name. Michael An-         lognese engraver  born  about 1650.  He
gelo Buonarotti; circular. Francisci Flori Antwerp ani   tudied underhis uncle Dom. Maria Canuti. His
inter Belgos pictoris. Joannes Bernardinus Buonifacias,  pates a re chi s unce, D        Maria Canti. His
&c. M.D.XLVIII. Cardinal Ardingbello; after a monu-  plates are chiefly etched, and finished with the dry
ment.                                                  point. His monogram is the same as that of Dom.
SUBJECTS OF SACRED HISTORY.                Barriere and Dom. Bettini. He executed eighteen
The Creation of Eve; after Michael Angelo; without  plates, from designs of Titian, for a book of anathis name. Adam and Eve; after his own design. Adam   omy; also the following:
tilling the earth, and Eve spinning; do. Adam and Eve    St. Anne teaching the Virgin Mary to read; after Dom.
driven from  Paradise; after Amico Aspertino.  Noah  Maria Canuti: -Dom. Bonavera, fec. St. Theresa with
coming out of the Ark; after Rafaelle. Joseph sold by  the infant Jesus; do. The Martyrdom of St. Christiana 
his Brethren; do. The Cup found in Benjamin's Sack;  do. The Baptism of our Saviour, by St. John; after A'with the names of Raffaelle and Bonasone. The Miracle  bano: D. Bonavera. sc. (The two last are the best prints
of the Manna, and Moses striking the Rock; on the same  of this artist.) St. John preaching; qfter Lodo. Caracci;
plate; F. Parmesanino, inv.; Julio Bolognese,fec. 1546.  D. Bonavera. Lot and his Daughters; after Ann. Cao




BONC.                    120                    BONE.
racci: D. Bonavera. The Cupola at Parma, the Assump-  of Marinari. His coloring was brilliant, and Lanzi
tion; after Correggio: Dominico Bonavera, sc. 1697.   says his pictures would, in any collection, attract
BONAY, FRANCISCO, a Spanish landscape paint-  the eye.
er, born at Valencia in 1655, died in 1730. He    BONELLI, AURELIO, a reputable Bolognese
executed a landscape in the Sacristy of the Carme-  painter, and pupil of the Caracci, who flourished in
lites at Valencia, which is his chief work. His  the first half of the seventeenth century. In the
landscapes are decorated with cattle in the style  Church of S. Michele in Bosco, is a picture by him
of Berghem, and buildings after Perelle.        representing the Conference between St. Cecilia
BONCONSIGLIO. See BUONCONSIGLIO.             add St. Valeriano. He was living in 1640.
BONCONTI, Gio. PAOLo,a Bolognese artist of    BONESI, Gio GIROLAMO, a Bolognese painter,
great talents who studied under Annibale Caracci, born, according to Zanotti, in 1653; died in 1725.
and afterwards followed his masterto Rome,where  He studied under Gio Viani, and painted pictures
he was employed by Pope Sextus V. to conduct  for the churches and public edifices of Bologna, in
some works in the Vatican, and had executed some  which he seems to have imitated Carlo Cignani.
designs conceived in the best style of art, when  His best works are St. Francis of Sales kneeling
he died very young. Malvasia says he died in  before the Virgin, in S. Marino; St. Tommaso di
1605, aged 42, which cannot be, as Annibale  Villanuova giving Alms to the Poor, in S. Biagio;
Caracci was born in 1560.                      and the Virgin and Infant with Mary Magdalene
BONCUORE, Gio. BATTISTA, a reputable Ital- nd St. Ugo, at the Certosa.
ian historical painter, born at Abruzzo in 1643;    BONFANTI, ANTONIO, called IL TORRICELLA, a
died in 1699. He studied at Rome under Fran-  painter ofFerrara, who executed several works for
cesco Albano. His works are executed in a vigor-  the churches and convents of that city; among
ous, effective style, though sometimes in a heavy  which are the Purification, and Christ disputing
manner. One of the best is an altar-piece in the  with the doctors, in S. Franceso; and the Holy
Chiesa degli Orfanelli, at Rome.                Family, in la Santissima Trinita.
BONDI, ANDREA and FILIPPO, two brothers,   BONFIGLIO, BENEDETTO, a painter of Perugia,
born at Forli, who studied under Carlo Cignani, born, according to Zani, in 1420. Several reputaand flourished in the latter part of the seventeenth  ble writers describe him as one of the best artists
century.  According to Guarienti, they were  of his time, and Vasari says he was only equalled
among the best pupils of Cignani, and Lanzi says  by Perugino. Lanzi says the latter was his scholhe saw several of their works in the churches and  ar. In S. Domenico at Perugia, is a picture by
convents at Forli, which seem to be the work of  this artist, of the adoration of the Magi; and in
one hand, and boast the fine execution of Cignani; agli Orfanelli, a fine picture of the Annunciation.
but the forms and expressions are not equally se-  He was living in 1496.
lect. The Crucifixion, in the church of S. Filippo,    BONI, GIACOMO, a Bolognese painter, born in
is cited as one of their best works, and altogether  1688, died in 1766. He studied under Marc' An 
an excellent performance.                       tonio Franceschini, whom he assisted greatly in
BONE, HENRY, an eminent English enameller, his works, especially at Rome. It is said that he
born at Truro, in Cornwall, in 1755, died in 1834. was also a scholar of Cignani, whose style he cerHe entered into the employment of a China man-  tainly imitated, as appears from his work of the
ufacturer in Plymouth, and afterwards employed  ceiling of S. Maria della Costa at S. Remo, and in
his talents at Bristol, where he painted landscapes  that of S. Pietro Celestini at Bologna. He exand groups of flowers to ornament porcelain. He  celled especially in fresco, and painted a saloon in
subsequently visited London, and gained consider-  the Palazzo Pallavicino, which is much admired;
able reputation by painting in enamel the Sleep-  also a fine picture of the Infant Jupiter.
ing Girl, after Reynolds. His most important    BONIFACCIO, FRANCESCO, a reputable Italian
works, however, were the Portraits of the Illustri-  historical painter of Viterbo, born in 1637. He
ous Men and Women of England, which he ena-  studied under P. da Cortona, and followed his style.
melled after the original pictures in the royal and  He painted several pictures for the public ediother collections. They are executed with won-  fices of his native city; among which is the
derful precision and beauty. This collection was  Adulteress before Christ, in the Palazzo Braschi.
offered by the artist for ~4000, but met with no    BONIFACIO, VENEZIANO, a painter who floursale until after his death, when they were sold at  ished, according to Ridolfi in the finest era of
auction, bringing some 2000 guineas. Bone was  Venetian art, was born in 1491, died in 1553. A.
a member of the Royal Academy, and enamellist  Morelli, in his Notitia, asserts that he was born at
to George the Fourth.                           Verona, though all other authors agree that Venice
BONECHI, MATTEO, an Italian painter, who  was his birth-place. He was the scholar of the
flourished in the first part of the eighteenth cen-  elder Palma. The admirable works of Titian he
tury. He studied under Sagrestani, a pupil of Cav. studied with the greatest attention, and formed a
Cignani,who instructed him with perfectdictation,  style combining the excellencies of both. His
so that he became, as Lanzi says, " one of those  compositions are abundant and ingenious, and his
practical artists who make up for the poverty of agreeable coloring nearlyapproaches the excellence
their invention, bytheir spirit and coloring." He  of Titian. Ridolfi mentions many large works by
however was an excellent artist, for the exquisite  him in the State Palace at Venice. There are also
Holy Family, called the Madonna de' Ricci, though  a number of admirable works in the churches, as
claimed to be the work of Sagrestani, is attribu-  follows: In Padri Serviti,Christ surrounded by his
ted to him, and he furnished the frescos in the  Apostles; in S. Giovanni, Michael driving the Evil
Castello, begun by Gabbiani; also, in the Capponi  Spirits from Heaven; in S. Giovanni di Rialto, the
Palace near the Nunziata, he continued the works  Virgin in the Clouds, with Saints; and in the Sao




BONI.                     121                  BONN.
cristy of the latter church, the Baptism of Christ, probably a relative of Robert and Nicholas B.
and the Sacrifice of Abraham.                  Among other good plates, he executed an engra.
BONIFACCIO, or BONIFAZIO, NATALIS, an  ving in Perrault's Cabinet des Beaux Arts, pubItalian engraver, who executed some plates for a  lished at Par     1690, representg a celing or
book published at Rome in 1590, compos~e  by  namented with figures. It is etched in a free,
D. Fontana, architect to Sextus V.. concerning the  masterly style, and finished with the graver,
removal of the Vatican Obelisks.  The plates are  rked      Bnnat, Jnior  del. et. sculp.
chiefly etchings, executedwith freedom and spirit;   BONNCIONE, E., a French engraver, who flourinscribed Natalis Bonifacius Sibenicensis,fec.    ished about 1670. Among other plates, he execuBONIFORTI, GIROLAMO, an Italian painter,  ted one of Diana seated in a Chariot, drawn by
born at Macera in 1594, and a very good imitator  Dragons, with a Cupid behind her, after F.Bol.
of Titian. He subscribed himself Francesco B.    BONNEAU, JACOB, a French engraver, who
Was living in 1671.                            resided in England about 1740.  He worked
BONINI, GIRLOLAMO, an Italian painter of An-  chiefly for the booksellers, and engraved, among
cona, who lived, according to Orlandi, about 1660, other plates, the portraits of the American Bucand was a favorite pupil of Francesco Albano. caniers, prefixed to their History, which was
He assisted that master in many of his important  published at London in 1741.
works, especially in the Sala Farnese, and the    BONNEMAISON,  ~, an excellent French
palaces at Bologna.                            painter of portraits and sentimental subjects; also
BONISOLI, AGOSTINO a Cremonese painter,  a talented lithographer, and one of the best connoiseurs of his time. He died in 1828.
born in 1633, died  in 1700. He studied under    Neurs of his time. He died in 1828.
Battista Tortiroli, and afterwards for a short time,    BONNEMER, FRANCOIS, a French engraver,
under M. A. Bonisoli, an artist of little note. He who lived about 1670, and executed several plates
was more indebted to his natural talents and to  after Le Brun and other French masters; among
the study of the works of P. Veronese, than to  which is a print of Moses and the Burning Bush.
the instructions of his masters. His works were   BONNET, Louis, a Parisian engraver, born about
principally easel pictures of sacred subjects. The  1735. He lived some time at Petersburg, where
only large work by him is the Dispute between St. he engraved several portraits of Russian nobles.
Antonio and the tyrant Ezzelino, in the Conventu-  On returning to Paris he published several plates,
ali at Cremona.                                executed in imitation of Crayon drawings; of
BONITO, GIUSEPPE, a reputable Neapolitan  which style he pretended to be the inventor.
historical and portrait painter, born in 1705, died  They are chiefly after Boucher and other modern
in 1789. He studied under Solimena, and was one  French masters.
of the most successful imitators of his style. He    BONNINGTON, RICHARD PARKES a reputable
was appointed painter to the court of Naples, and  English landscape painter, born at Arnold, near
practised the art with great reputation.       Nottingham, in 1801. Not obtaining patronage at
BONNARD, JACQUES CHARLES, a French ar-  home, he visited Paris at the age of sixteen, where
chitect, was born at Paris in 1765. He studied  he soon obtained distinction. He subsequently
in the school of Renard, one of the first architects  went to Italy, where he improved on his earlier
of his time. He distinguished himself in gaining  manner; but as the climate disagreed with him he
several prizes, but on the breaking out of the  returned to England, where he practised the art
Revolution, he fled to England to escape the gul-  t  his death in 1828. He possessed extraordinary
lotine, as he was a thorough royalist. He re-talents, ad many of  s works have beencopied.
turned to Paris after the reign of terror, and   BONO, GREGORIO, a Venetian painter, who was
through the assistance of his old friend and in-  invited to Chamberg, in Piedmont, by Amadeus
structor, obtained employment from the govern-  VIII., about 1415, to paint his portrait, from which
ment, and on the death of Renard, succeeded him  circumstance it is evident he was an artist of disas architect of Exterior Relations. He built the  tinction.
magnificent palace for the minister on the quay    DONO, NICOLINO, an old painter of the Vened'Orsay. He died at Bourdeaux in 1818, whither  tian school, who, according to Morelli, was a nahe had been sent by the government, as inspector  tive of Bologna or Ferrara. He was a pupil of
of public buildings. He was a member of the  Squarcione, and he painted some pictures repreFrench Institute, or Academy of Architecture,  senting the history of St. Cristoforo, in the church
and engraved some plates of architectural de-  of San Marco at Venice. He lived in the first half
signs.                                         of the fifteenth century.
BONNART, ROBERT and NICHOLAS, two bro-    BONOMO, DI JACOBELLO, an old Venetian
thers, Parisian engravers, were born about 1646. painter. In the Church of S. Arcangelo at ViThey studied under F. Vandermeulen, and execu-  cenza, is a small picture of the Conventuali, under
ted severalilates from designs of that artist. The  an image of the Virgin, among various other
following ira list of their prints:            Saints, signed Jachobelus de Bonomo, Venetus,
Portrait of Louis XIV.; Robert B3onnart, fee. Por- pinxit, hoc opus, 1385.
trait of the Dauphin Louis; do. Portrait of Claude le    BONONI CARLO
Pellatier; Nic. Bonnart, sc. The Virgin, with the Infant, a dstngushed Italian pant
Jesus and St. John. half length figures; do.; oval. The  er, born at Ferrara in 1569, died in 1631. He
taking of Valenciennes in 1677; after Vandermeulen;  studied under G. Mazzuoli, till he was twenty
engraved by R. Bonnart. The taking of Cambray in 1677; years of age, He subsequently visited Bologna,
do. The Siege of Douay; do. The entrance of the Queen  where the works of the Caracci inspired him with
into Arras, two sheets; do.                    a new idea of the art. After passing some time
BONNART. JEAN, JR.. a French engraver, and  there, he went to Rome, and improved his design




BONO                      122                    BONZ.
by the study of the antique. He afterwards re-  tised the art with considerable success for a numturned to Bologna, where he studied and copied  ber of years, and died at Paris in 1740.
the works of the Caracci. He also went to Venice,    BONZI, PAOLO, an Italian painter, called IL
where the magnificent works of P. Veronese exci-  GOBBO CORTONA, from  his birth-place, and IL
ted in him the liveliest admiration, as did also the  GOBpO CARACCI, from his instructor. He was
great domes of Correggio at Parma. Cotemporary  born in 1580, and died in 1640. He was distinwith Ippolito Scarz9llino, and unable to equal him   guished for his fruit-pieces, which are so admirain tenderness of tints and beauty of expression, he  bly executed as almost to rival nature herself. He
endeavored to rival him in vigor of coloring and  sometimes also painted history and landscape.
boldness of design. His smaller works exhibit so    BOON, DANIEL, a Dutch painter who lived in
much of the style of the Caracci,that he was styled  England in the reign of Charles I., and died in
the Caracci of Ferrara. His large works are re-  1698. He painted drunken scenes and revellings,
plete with the magnificence of P. Veronese. Such  in which it seemed to be the utmost of his ambiare his Feast of Herod, in S. Benedetto; his Mira-  tion to excite laughter by ugliness and deformity.
cle at Cana, in the Refectory of the Certosini at   BOONEN  ARNLD an eminent Dutch portrait
Ferrara; and his feast of Ahasuerus in the Refec-,    A, a   
to~ry of the Regular Canons at Ravenna;* which  painter, born at Dort in 1669; died in 1729. He
tory of the Regular Canons at Ravenna; which  sued under Arnold Verbius alsounder Godfrey
for abundant invention, may almost rival the studied under Arnold Verbius, also under Godfrey
for abundant invention, may almost rival the                                 painted a few pic
Marriage of Cana by Paolo. Many other works Schaleken, in whose style he painted a few picMarriage of Cana by Paolo. Many other works 
of this painter are in the public edifices at Fer-  tures of scenes by candle-light; but was so much
rara, and his academy produced some of the prin-  employed in portrait painting, that he devoted
rcipal Ferrarese painters. ayn   himself mostly to that branch of the art. He had a
correct design, a pencil of uncommon facility, and
BONONE, BARTOLOMEO, a painter born at  an excellent system of coloring; so that he was
Pavia, where he flourished in the first part of  soon considered one of the ablest painters of the
the sixteenth century.  In the church of San  day. He executed many portraits of the most emiFrancesco, at Pavia, is an altar-piece of the titu-  nent men of his time; among which were Peter
lar Saint, dated 1507.                          the Great, the Elector of Mentz, the Landgrave of
BONONE, LIONELLO, the nephew and scholar  Hesse-Darmstadt, the Great Duke of Marlboro',')                        the Prince and Princess of Orange, and several
of Carlo B., flourished about 1649. His best                    Pces of Orange, and seve
works arle the Visitation, and the Holy Fam~ilyothers. He also painted several large pictures for
works are the Visitation, and the Holy Family, the halls of the differet companies of Dort and
in the chapel of the hospital of S. Maria Novella   te has      th iffernt companies o Dort an
The excellent instruction of his uncle might have  Amsterdam.  Hehad      n,named spar,
enabled him to attain eminence, had it not been  also painted portraits with some reputation; but
for his negligence and depravity of conduct.     was much  inferir to hs 
BONONIENSIS FRA, an Italian engraver, who              RCHT  PETER   ANDER, the elder, a
BOP~ONI[executed  several         vr sp          iritengs, iao  F  Flemish landscape painter and engraver,
executed several very spirited etchings, in a bold,s a painter he
masterly o n ese, and usually s igned with hiures  by name.    gained little distinction; but he has left a great
Veronese, and usually signed with his name.
number of plates, etched in a crude, careless style.
BONTERNS, PIERRE, a French sculptor, who  Hehad great fertility of invention,butwasnotvery
flourished during the 16th century, and executed  judicious, either in the attitudes of his figures, or
among other works, several fine bas-reliefs for the  the compositions of his groups. His plates are
tomb of Francis I., which are now in the Musee  usually marked P. B. F., or with his monogram.
des Monuments Frangois.                          The following are the best:
BONVICINO, ALESSANDRO, called IL MORET-    A set of Landscapes with subjects from the Old and New
TO, a painter of Brescia, born in 1514; (though  Testaments. Rural Enjoyments; Cornelius Van Tienen,
Lanzi says he painted in 1516) died in 1564. He  exc. The Festival of the Company of Archers; do. A
studied under Titian, whose style he approached  Country Wedding; Fecit Petrus vander Borcht. 1560.,. ~~studieds,.A Landscape, with the subject of Hagar and Ishmael;
nearer than any of his countrymen, and his por-  dated 1586. A Set of plates for the Metamorphoses of
traits have even been compared to those of that  Ovid; one hundred and seventy-eight prints, published at
great artist. In 1532, at the age of 16, he painted  Antwerp; Theodore Galle, exc.
a picture of St. Niccolo, in the church of the Ma-,k-   BORCHT, HENRY  VANDER, a painter
donna de Miracoli. He subsequently endeavored   Agand engraver born at Brusselsin 1583.
to introduce into his works something of the  The troubles in the Low Countries obliged his
greatness of Raffaelle, and formed a very attrac-  family to remove to Germany while he was quite
tive style. His coloring approaches the fresh-  young, and they settledatFrankfort, where he was
ness of Titian, and his figures, (generally from   placed under Giles van Valkenburg. The Earl of
sacred subjects) have an expression of fervent  Arundel,passing through Frankfort,and discerning
piety and devotion. He sometimes painted in  in Vander Borcht, intelligence and taste for antifresco, but was more successful in oil. There are  quities, sent him to Italy to collect for him, and he
two pictures by him of St. Lucia, and St. Caterin, remained in his service till the deathf the Earl.
in the Chiesa di S. Clemente at Brescia; also an  He was subsequently employed in the same caadmirable work, the principal altar-piece, repre- pacity by the Prince of Wales, afterwards Charles
senting the Virgin and Infant in the clouds, with  II. This artist painted fruit and flowers, and his
Saints below. There is a fine picture of the con- pictures were much esteemed. During the latter
version of St. Paul, at Milan, signed with his  part of his life, he resided at Antwerp, where he
name, contrary to his usual practice.            died in 1660, aged 77. There are a few etchings
BONYS, ANDRE, a French portrait painter of  by him, usually marked with his monogram. The
some merit, born in Provence in 1702. He prac-  following are the principal:




BORC.                     123                    BORG.
The Virgin and Infant Jesus; after Parmiggiano;    BORGHESE, PIETRO.  See PIETRO  DELLA
1637. The dead Christ, supported by Joseph of Arima-  FRANCESCA.
thea, from a drawing by Parmiggiano; after Raffaelle.
1645. Abraham at Table with the Angels; after L. Ca-    BORGHESE, GIO. VENTURA, an Italian paintracci. The Infant Jesus embracing St. John, from Guido's  er, born at Citta di Castello. He studied under P.
print; after Agost. Caracci. Apollo and Cupid; after  da Cortona, whom he assisted in some of his most
Perino del Vaga; oval. Twenty-two plates of the En-  important works at Rome, and was engaged to
try of Frederick, Elector Palatine, with Elizabeth, Prin- complete several pictures that Cortona had left
cess Royal of England, his Consort, into Frankenthal datedcompte several pictures that Cortona had left
1613.                                          imperfect at his death. There are two pictures
BORCHT, JAME A., a Flemish engraver, who  by Borghese, in S. Nicolo da Tolentino, reprepractised the art at Antwerp about 1Q30. He  senting the Annunciation, and the Virgin crownworked entirely with the graver in a style ap-ed by angels.
proaching that of James de Ghyn. Among other    BORGHESI, IPPOLITO, a reputable Neapolitan
plates, he executed several from L'Academie de  historical painter, who flourished about 1620. He
l'espee by G. Thibault, published in that city in  studied under Francesco Curia, and painted an
1628.                                          altar-piece in S. Lorenzo at Perugia, representBORDIER. See PETITOT.                        ing the Assumption; which is his principal work.
BORDINO, J. F., an Italian engraver who ex-    BORGIANI, ORAZIO, a Roman painter and enecuted the plates for a 4to. volume, entitled Series  graver, born, according to Zani, in 1577; died in
et Gesta Pontificum, published in 1604.         1615. He studied under his brother Giulio BorBORBONE, JACOPO, a painter of the Modenese  giani, called Scalzo, but received more improveschool, born according to the Cav. Tiraboschi, at  ment by studying the works of the great masters
Novellara. He was a good artist, and painted a  at Rome. He was induced to visit Spain, from the
part of the cloister at the Church of the Osser-  patronage afforded to the arts by Philip II., where
vanti, at Mantau, about 1614.                   he remained several years and met with good sucBORDONE PAS a ding  d pintr f  cess, his works being in high repute. On returnBORDONE, PARIS, a distinguished painter of
1BORDONE, PARIS, a disting     to Rome, he painted several pictures for the
the Venetian school, born at Trevigi in 1500, ac-  SnshAmbassa aintedals     pctures fo r hes. In
c it ad 5 H' w Spanish Ambassador, and also forthe churches. In
cording to Zani and Lanzi; diedin 1570. He was      driano a Campo Vaccino, and in S. Salvatore
of noble descent, and as he manifested a decided S. Adriano a Campo Vaccino, and in S. Salvatore
of noble descent, and as he manifested a decided  del Lauro, there are two pictures by him; and in
inclination for the art, after receiving a suitable    Elea  Cesarini, is a picture of the Assumpeducation, he was placed under Titian. Gifted  t    As an engraver,    etched several plates in
with fine talents, and having so able an instructor,  afreebod mannermoreinishedthanis sualfor
he gae alypro o ucmmn bliyad  ta free, bold manner, more finished than is usual for
he gave early proof of uncommon ability, and ates are usually mared with a
the age of eighteen, he painted a picture of Mel- palates are usually marked with a
eager and Atalanta, and a Holy Family, which  cipher composed of an H. and a B., thus:1,.
gained universal admiration. Ridolfi mentions
many of his works in the churches and public  or         r     or            The followin  are
edifices at Venice, Milan, Genoa, and Florence.-,.  -
His most important work was the dome of S. the principal:
Vincenzio, at Trevigi, containing, in six compart-   The Resurrection, a composition of many figures; markments, the Annunciation, the Nativity, the Ado-  ed with the last of the above ciphers. The dead Christ, in
ration of the Magi, the Crucifixion, the Ascension,  a foreshortened position, with the two Marys and St. John;
ration of the Magi, the Crucifixion, the Ascension,  dated 1615. St. Christopher giving his Hand to the Infant
and the Assumption of the Virgin. He seems to  Jesus. St. Christopher carrying the Infant on his Shoulder.
have imitated the grand simplicity of Giorgione,  Fifty-two. Bible histories called Raffaelle's Bible; dated
rather than the style of Titian. His portraits are  1615.
inferior to no Venetian painter, Titian only ex-    BORGOGNONE. See CORTESE.
cepted. He was invited to Paris by Francis II.,    BORGOGNONE A         OGO   Milenese paintwhere he painted the portrait of that monarch,    BORGOGNO, a   lenese paitand the principal personages of his court.         who s ed,  cording to Lmazzo, abou 1500.
r  ae studied under Vincenzio Foppa, and followed
BOREKENS.  See BORREKENS.                    his manner. He painted in the style now called
BORGANI, FRANCESCO, a painter of Mantua,  antico moderno, and was one of the earliest Miwho lived about 1650. He studied under Dom-  lanese painters who attempted to reform the dry
enico Feti, but followed with some success, the  Gothic style that preceded him. Rosini mentions
graceful manner of Parmiggiano. In the church-  a Coronation of the Virgin, which shows that he
es of Mantua there are several of his works,  was far in advance of his age. He painted for one
which afford convincing proofs of his genius.  of the cloisters of S. Simpliciano at Milan, the hisLanzi says they deserve more praise than they  tories of St. Sisinio and his companions, which
have usually received.                          have an extraordinary beauty, simplicity, eleBORGHESE, GIOVANNI, was born at Messina, gance and grace.
and studied under Costa, at Ferrara, and after-    BORGONA, JUAN DE, a Spanish painter who
wards established a school of painting in his na-  flourished from 1495 to 533. He gained distinctive city where he flourished in the latter part  tion by his works; several of which at Toledo, in
of the 15th century. He was a good artist, though  oil and in fresco, were held in high estimation.
little is known of his works.                   His coloring and mode of casting his draperies
BORGHESE, GIROLAMO, born at Nizza della  were considered equal to the best Italian and GerPaglia, in Piedmont, where, and in Bassignana, are  man masters of his time. At Avila, he finished
several pictures inscribed Hieronymus Burgensis  the pictures commenced by P. Berruguette and
Nicice Palearum pinxit. He flourished about  Santo-Cruz. He also executed the portraits of
1500.                                          several Cardinals. He painted in concert with




BORR.                     124                   BO'RR.
Alonzo Sanchez, Francois d'Anvers, Alvar Perez  the Piazza Nuova, which is considered his best
de Villoldo, and other eminent masters.         performance, and gained him so much reputation
BORRAS, IL PADRE FRANCISCO NICOLAS, a  that the king of Spain appointed Borromini to
Spanish historical painter, born at Cocentayna in  enlarge and modernize his palace at Rome. Ho
1530; died in 1610. He studied under Juanes at  madea design for itwhichwasneverexecuted, but
Valencia, and executed the great altar-piece of the  which pleased the monarch so wellthathe honored
monastery of St. Jeronimo, of Gandia,and re-  the architect with the cross of St. James, and prequired for payment to be admitted to the order, sented him with 1,000 pistoles. Pope Urban VIII
which was gladly conceded him. He painted an  also made him a knight of the order of Christ,
astonishing number of pictures for this immense and gave him 2,000 crowns and a pension. He
establishment, employing the greater part of his  was also employed in the Barberini palace; erected
life in these works. Several of his paintings are  the church and monasteries of the Madonna de
also at the Escurial, at Ontiniente, at Aldaya, at  Sette Dolori; modernized the Falconieri palace in
Cocentayna, and Valencia.                       the Strada Giulia; erected the palace of Rufina at
BORREKENS, JOHN PETER FRANCIS, an ex-  Frascati; and embellished the Spada palace. The
church of S. Carlino is his most extravagant
cellent Flemish landscape painter, born at Antwerpin1747; died in 1827 Most of his landscapes  effort; it is an assemblage of right angles, conwere ornamented with cattle and figures  by Om-caves, and convexes, columns above columns of
different diameters, windows, niches, and sculpmeganck and other masters, for which he paid  different diameters, wdows, niches, andscpthem the like compliment of painting the land-  tures which are crowded into a verysmall fagade.
Ecapes in their pictures.           His oratory of the Padri da Chiesa Nuova has also
scapes in their pictures.                      been severely criticised. Borromini executed many
BORREKENS, MATTHEW, a Flemish engraver,  other works, and made designs for edifices in variborn at Antwerp about 1615. He executed seve-  ous parts of Europe, by which he acquired both
ral original plates, but was principally employed  fame and fortune. His only pupil was his nephew
in copying the works of eminent engravers for the  who inherited his wealth. He died in 1667, aged
print-sellers.  His plates are executed entirely  68.
with the graver, and he seems to have followed. A                              O a Cr
the style of Pontius, though with little success.  ORROI,. ANG     a Cremonese
The following are his principal plates:        painter, born in 1684: died in 1772. He studied
under Angelo Massarotti, and subsequently under
Augustus Carpzon, Plenipotentiary of the Duke of Sax- Roberto le Long; on leaving whom he was emony at the treaty of Osnaburg; Ans. van Halle, pn. ployed several years by the family of the Crivelli
1649. Gerard Schepeler, another Plenipotentiary at that ployed several years by the family of the rivelli
treaty; do. The Crucifixion, with the Virgin Mary, Mag- in decorating their palace. He subsequently paintdalene and St. John; after Vandyck; Ant. Vandyck,  ed several pictures for the churches of Cremona.
pinx.; Eras. Quellinus, del. The Immaculate Concep- and in the dome of the cathedral at Milan, he re
tion; Rubens, pinx; M. Vandenendei exc. St. IFran-  presented St. Benedetto interceding for that city,
cis Xavier, on a white ground; do. St. Ignatius; do.  of which he is the protecting saint. This work
St. Barbara, with a Tower on her Head; Rubens, pinx.; 
St. Barbara, with a Tower on her Head; Ru s, pmxs,;of which he is the protecting saint. This work
Mat. Boreckens, sc.; scarce. Christ bound, and kneeling, gained him  so much reputation that the Duke
with two Angels holding the instruments of the Passion; conferred on him the honor of knighthood, and
after Diepenbeck. The good Shepherd; do.        Lanzi says it may be compared with the works of
BORROMINI, CAV. FRANCESCO, an eminent  the best painters of his time.
Italian architect; born, according to Milizia, at    BORSUM, ABRAHAM VAN, a Dutch painter of
Bissone, in the diocese of Como, in 1599. His  considerable merit. His chiaro-scuro and coloring
father was also an architect, and was- much em-  resemble Rembrandt, though not so artistically
ployed by the Visconti family. Francesco studied  managed. His subjects were landscapes, views of
sculpture at Milan, and at the age of seventeen, he  cities, animals and birds. His drawings are highly
visited Rome, where he studied architecture under  esteemed in Holland; at the sale of C. Ploos van
his relative, Carlo Maderno. He copied the de-  Amstel's collection, one sold for 400 florins.
signs of the latter, and sculptured the cherubim  BORSUM  ADAM VAN a Dutch painter of aniat the sides of the small doors of St. Peter's; with  mals and landscapes, who followe   the style of
the baskets and festoons above the arches, which   aul Potter and A. Vanderneer. His works are
are the only sculptures he ever executed. On the  characterized by a natural coloring and a firm,
death of his instructor, he was appointed architect  yet free and spiited pencil.
of St. Peter's under the direction of Bernini. In
this new position he soon became ambitious, then    BORZONE, LUCIANO, a Genoese historical and
envious, and finally the enemy of the latter, en-  portrait painter, born in 1590; studied under his
deavoring to supersede him in everything. In his  uncle, Filippo Bertolotti. In S. Domenico, at Gedesirefor novelty, he sometimes fell into an excess  noa, there is a picture by him, of the Presentation
of extravagance. He was one of the first men of  in the Temple; and in S. Spirito, the Baptism of
the age in regard to the fertility of his genius, and  Christ. Soprani says that he excelled in portraits,
manyofhisworks deserve credit fortheirgrandeur,  and that his house was the resort of persons of
harmony, and elegance; but he often departed  taste and literature, he being a man of great acfrom that simplicity and regularity which mainly  quirements. He was killed by a fall in 1645, while
constitute the enduring attractions of the antique,  painting the ceiling of the Chiesa della Nunziata, at
and practised novelties which, though attractive  Genoa. His three sons, Gio. Battista, Carlo, and
to the multitude, can never stand the test of en-  Francesco Maria, followed the same profession;
lightened criticism. Had he followed the path of  the latter excelled in landscapes in the styles of
Bernini, his abilities would undoubtedly have ele-  Claude and Poussin.  Borzone etched several
vated him to the rank of that great architect. He  plates after his own works, as follow:
executed the fagade of the Church of St. Agnes in    The Portrait of Giustiniani. St. Peter delivered from




BOSC.                     125                    BOSO.
Prison. Prometheus devoured by the Vulture. Children  of Marlboro' on horseback, while that nobleman
playing. A set of devoutsubjects.               was at Antwerp. The horse was executed by
BOS, BALTHASAR, a Flemish engraver, who flour-  Peter van Bloemen. The design of Bosch was
ished about 1520.  Among other plates, he  correct, his coloring good, and his compositions
executed one of the Judgment of Paris, which is  ingenious.
probably from  his own design, as he has addedOSCHE or BOS, JEROME
the wordfecit to his name.BOSCHE, or BOS, J, a
BOS, CORNELIUS. See Bus.,     C o  c b   Dutch painter and engraver,
Bos, COR Sou. See Bus.                          ^        ^
BOS, GASPAR VANDER, a Dutch marine painter,                         0 born  at Bois-le-du, about
born at Hoorn, in 1634; died in 1666. His pic-  subjects are generally grotesque representations
tures have considerable merit, for their finish  of devils, spectres, and incantations, treated with
and truth of coloring.                          singular ingenuity. One of them represents our
BOS, LEWIS JANSSEN, a Dutch painter, born at  Saviour delivering the ancient Patriarchs from
Bois-le-duc, according to Van Mander, about  Hell. Judas, in attempting to escape with the
1450; died in 1507. He painted fruit, flowers,  select, is seized on by devils, who are in the
and plants. The insects on the plants are ingen-  act of hanging him in the air.  He, however,
iously drawn, and painted with wonderful preci-  painted several works of a more serious nature,
sion; and his subjects were all very highly fin-  among which were Christ bearing his Cross, and
ished. He also painted small portraits in the  the Flight into Egypt, in the Church of Bois-lesame labored manner.                            due, which are praised by Van Mander. As an
BOS, MARIE RENAUD EU, who lived about  engraver, he exhibits the same fanciful humor.
1770. He studied under  w.. Dupu  a             is prints have now become very scarce, and are
1770. He studied under N. G. Dupuis, and executed several prints in his style alter Basseporte, in much request. They are executed in the stiff,
cuted several prints Gin                        Gothic manner prevailing in his day. They are
Rosalba, and others.                marked with his name BOSCHE, or in Gothic
BOSC, CLAUDE DU, a French engraver,who went  letters. The following are the principal:
to England about 1712, at the request of N. Do-   The Temptation of St. Anthony; dated 1522. The Last
rigny, to assist him in engraving the cartoons of  Judgment, Christ appears in the Air, seated on a Rainbow,
Raffaelle; but on account of some dispute he left  and on each side of him are two Angels, sounding TrumDorigny, and engaged to engrave the cartoons for  pets, with Labels bearing this inscription; Hic est dies
the print-sellers. He also undertook to engrave  quemfeei; Surgite mortui, venite ad judicium. At
the Duke of Marlboros battles, and sent to Paris  the bottom of the print are small figures of Men and Dethe Duke of Marlboro's battles, and sent to Paris  visof all shapes intermixed. St. Christopher carrying the
for Beauvais and Baron to assist him in that un-  Infant Jesus across a River, and a Hermit with a Lantern.
dertaking, which occupied him two years. He en-  Constantine at the Head of his Army, an Angel showing
graved a print of the Continence of Scipio, after  him the Cross in the Sky. The Baptism of Christ by St.
oussin, and others after some of the great mas-  John. An assemblage of grotesque figures; inscribed Ai
ters, executed in a coarse, heavy style, and  dapop, 4c. Another similarsubject; inscribed Dese Jeron. Bosch drollen.
incorrectly drawn. He also published an English    BOSCE See Bos.
translation of Picart's Religious Ceremonies, the, ee  os.
plates being partly by himself, and partly by    BOSCHAERT, NICHOLAS, an eminent Flemish
Scotin and Gravelot.                            painter of flowers and fruit, born at Antwerp in
BOSC J. DU, a French engraver, who flourished  1696; died about 1746. He studied under Crepu,
about l74.   Among other plates, he engraved  whomhe soonsurpassed. He frequently painted
several of flowers, which are executed with the  thefruitandfowersinthepicturesofotherartists.
graver in a  very neat style.            His subjects are treated inexcellenttaste; his penHgraver in aver na style.   enrvr wo           cilwas light, and his coloring delicate.
BOSCH, ELIAS, a German engraver, whose
plates possess considerable merit.  They are    BOSCHI,FAsrIzIo, a Florentine painter, born
executed entirely with the graver, in a neat, fin-  about 1570: died in 1642. He studied under Pasished style. Among others, we have by him a  signani, and at the early age of nineteen executed
print of the Holy Family, with Angels; after  in fresco a considerable work, representing the
John van Achen.                                 Life of St. Bonaventura, which, according to BaldiBOSCH, JACOB VANDER, an ingenious Dutch  nucci, was greatly admired.  One of his best
IOCH  I^^ VANDER a   neiu             tc works was the Martyrdom of St. Peter and St.
painter of fruit-pieces, was born at Amsterdam in   aul, p  ainted for the church of St. Peter and St.
1636. He drew all his subjects after nature, and   l pnte   or the church of the D  omican co
with such truth and delicacy, Florence. In the church of the Dominican conrepresented them with such truth and delicacy, vent                               work, repreand so natural and translucent a coloring, as al-    of S. Lucia, is  nother exceent workroue
most amounted to deception. He died in 1676.   enting the Assumption of the Virgin, surrounded
by Angels, with the Apostles below.
BOSCII, or BOSSCIE, BALTHASAR VANDER,    BOSCHI, FRANCESCO, a reputable Florentine
aFlemish painter, born at Antwerp in 1675; died in 16
i 1715. H   stde  wtanosuepierpainter, born in 1619; died in 1675. He studied
in 1715. He  studied with an obscure painter, under his uncle, Matteo Roselli, and finished sevnamed Thomas, whom he soon surpassed. His  eral works left incomplete by that master at his
best subjects were saloons and galleries adorned  death. He painted several pictures of his own
with works of art, with figures dressed in the pre-  composition for the churches at Florence, though
vailing costume. He was also fond ofrepresenting  his chief excellence consisted in portrait painting.
the inside of a painter's or sculptor's studio, with
the artist surrounded by the objects of his art.    BOSCHINI, MARCO, a Venetian painter and
His pictures gained great reputation,and command-  engraver, born in 1613. He studied under Palma,
ed extravagant prices. He was also very success-  but occasionally imitated Tini )retto. One of his
full in small sized portraits, and painted the Duke  best works is an altar-piece i'i the Sacristy of S.




BOSE.                       126                      BOSS.
Girolamo at Venice, representing the Last Supper. ject of peace and War; and in the Church of St.
His prints are usually signed Marcus Boschinius.  James at Bruges, is a grand composition, repreHe was the author of a Practical Guide to the  senting the martyrdom of that saint, which, as to
Art of Painting, published at Venice in 1660.       design and coloring, would not dishonor the great
BOSCOLI, ANDREA, a reputable Florentine his-  Vandyck.  There is also another  ne work by
torical painter, born in 1550; died in 1606.  He  Bosschaert, of the martyrdom of St. Basil, in the
studied under Santo di Titi.  He gained distinc-  Church of the Capuchins at Brussels.  In 1646,
tion by his skill in chiaro-scuro, which was then  he was elected director of the Academy at Antbut'imperfectly known in the Florentine school.  werp.
He had a free and bold pencil, great vigor of color-    BOSSE, ABRAHAM, a French engraver, born at
ing, and a grand style of composition and design.  Tours about 1610. He seems to have imitated the
His master-piece is a picture of St. John preach-  least finished works of Callot.  His plates are
ing in the church of the Teresiani at Rimini.  He  etched with great freedom and spirit, and afterwas also successful in portraits, and one of him-  wards finished with the graver, in a bold, masterly
self is in the Florentine Gallery.  Florente le  style.  He published a work entitled La maniere
Comte says he engraved nineteen plates.             de graver a l'eau forte, et au Burin; afterwards
BOSELLI, ANTONIO, a reputable Italian sculp-  republished, with additions, by M. Cochin.  His
tor and painter,who flourished at Bergamo,accord-  plates are principally from his. own designs. The
ing to Tassi, about 1500. As a sculptor, he seems  following are the principal:
to have attained considerabledistinction,and there    The Queen Mother seated with the young King, and his
are a number of his works noticed by that author,  Brother standing by her. Bust of Cardinal Richelieu. Porparticularly some fine statues in the Bergamese  trait of J. Callot, with his Epitaph. A Man with a Cloak,
resting against a Tree; engraved by Bosse and Mellan.
churches.  As a painter he executed a number of  Judith and her Servant, with the head of Holofernes. The
works for the churches of his native city, among  Adoration of the Magi. The Holy Family. Six plates of
which is a picture in S. Cristoforo, representing  the History of the Rich Man and Lazarus. Six do. of the
St. Peter, St. Paul and St. Luke, inscribed, Hoc  History of the Prodigal Son. Seven do. of the parable of the
opusAntonium  scito pinxisse Bosellum  die 23  wise and foolish Virgins. Seven ditto of the works of Meropus Antonium  scito pinxisse Bosellum, die 23  w 
i    T 1509.In the  churh of te A      cy. St Anne and her Miracles. Preparation of a ChrisFebruarii, 1509. In the church of the Augus-  tian Soldier for the Spiritual Warfare. The King and
tines there is another of his works, representing  Queen offering their Vows to the Virgin. The Forces of
the Virgin and Infant in the Clouds, with Saints  France. The Siege of La Motte. The Reduction of Manbelow. It is probable that he practised the art to  tua. Six of the Reception of the Knights of the Holy
a later period, as there are accountsofmoniespaid  Ghost.  The Procession of the Chase of St. Genevieve.
to him in 1527; and it is believed he assisted Pom-  The Contract of Marriage between the King of Poland and
o him in 1527; and  isbelieved he assisted Po-  Louisa de Gonzague. The Marriage of Louis XIV. The
poneo Amalteo, in the Friuli, from 1534 to 1536.  Hall of Charity. The Gallery, du Palais marchand.
BOSELLI, FELICE, an Italian painter, born at  Fifteen of the Occupations and actions of Private Life.
Piacenza in 1650; died in 1732. He studied un-  Four of the Painter, the Sculptor, the Engraver, and the
der Gioseffo Nuvolone. He at first attempted  Printer. Five of the Surgeon, the Apothecary, the Man's
de ef Nuvolone.  He at irst attempted  Shoemaker, the Woman's Shoemaker, and the Hairdresser.
subjects of history, but not succeeding very well,  Two of the Schoolmaster and Mistress. Four of the Four
he adopted a different branch of the art, and be-  Elements; half length figures. Four of the Four Quarters
came an excellent painter of birds, fish, and ani-  of the Globe. Four of the Seasons. Five of the Senses. A
mals.  His pictures on these subjects are highly  set of plates for the History of the Maid of Orleans; from
the designs of pictrnon  and others.
esteemed, and are found in the best collections in  the designs of Vgnon and others.
his native city.  He was so accurate a copyist    BOSSI, BENNIGO, a Milanese designer and enof ancient pictures, as to deceive the bestjudges;  graver; born in 1727.  He intended studying
these are numerous, but rarely admitted to be  paintingunderPompeoBattoni,but was prevented
copies by the possessors.                           by the death of the latter; and, by the advice of
Mengs and Dietrich, he applied himself to engravBOSSAM, JOHN, a reputable English painter,  Meng. He sDietrichtled at Dreden but was oblied      tongvwho lived in the reigns of Mary and Elizabeth.                           D    en, but was obliged to
leave in consequence of the seven years' war, and
BOSSART, ROBT., a German engraver of little  went to Parma, where he was favored with the
note who lived about 1595, and followed the style  patronage of the Grand Duke.  The following
of Henry Goltzius.  He executed a set of prints,  are his principal prints:
emblematical of the characteristics of the different    His own Portrait. The Presentation in the Temple,
nations of Europe; also a portrait of B. Spranger,  1755. Forty small etchings of Heads, and other subjects;
dated 1595.                                         very spirited. A set of Vases and a Masquerade; aftsr
BOSSCHAERT, THOMAS WILLEBORTS, an emi-  Petitot. Four of Trophies. 1771. Four of the Attributes of the Seasons; circular. 1770. Two of Children.
nent Flemish painter, born at Bergen-op-Zoom   A set of twenty-nine small plates; qfter the drawings qf
in 1613; died in 1656.  He studied at Antwerp  Parmeggiano. Allegorical figures representingthe towns
under Gerard Segers, and afterwards visited Italy  in Piedmont. St. Catherine; after the celebrated picture
for improvement.  He remained at Rome four  belonging to the family of Sanvitali. The most esteemed
years, and then returned to Flanders, where he  plate of the artist.
soon gained distinctionbyseveralpictures he paint-    BOSSI, CAV. GIUSEPPE, an Italian painter, born
ed for the churches of the Low Countries.  His  in 1777, at the village of Busto-Arsisio, in the Mistyle, both in history and portraits, approaches  lanese. While in college, he devoted much of his
Vandyck, and his works may justly be ranked  time to the study of drawing, and his preceptor
with the best productions of the Flemish school.  furnished him with several of Poilly's prints after
His coloring is extremely tender and harmonious,  Caracci, which assisted him very much.  He soon
and his heads have a pleasing and graceful expres-  devoted himself entirely to art, and entered the
sion.  There is an admirable work at the Hague  school of Brera at Milan. At the age of eighteen
by this master, representing an emblematical sub-  he went to Rome, where he remained six years




BOSS.                        127                     BOTS.
and gained great improvement from the study of    Andrew Both also acquired much reputation by
the admirable works of art in that city.  On his  several pictures of his own composition, in the
return to Milan in 1804, he received considerable  manner of Bamboccio, though more agreeably coencouragement, and executed a number of fine  lored, which are highly esteemed; they are genworks.  The government offered a prize for an  erally fairs, merry-makings, and quack-doctors
allegorical subject representing Italian liberty,  surrounded by figures, designed with infinite huwhich was successfully competed for by this art-  mor, and full of character. The works of these
ist. This work is distinguished for correctness  admirable artists had gained them a wide reputaof design and great beauty of coloring. He was  tion, when an unfortunate accident deprived the
appointed to draw up the rules for the three  world of their combined powers. While residing
academies of arts at Bologna, Milan and Venice;  at Venice, returning from an entertainment, Anand in 1806 he was made a Knight of the Iron  drew accidentally fell into a canal and was drownCrown. He died in 1815.                           ed, in 1645. John Both soon after returned to
BOSSIUS, JAMES, a Flemish engraver, born  Utrecht, where he engaged Poelemburg to paint
about 1520, and resided chiefly at Rome. He  his figures. He died in 1650. They etched a few
worked with the graver in a neat, though rather plates in a masterly style. The following are the
stiff manner, and his drawing is incorrect.  His  principal: By John Both:
prints, however, have considerable merit. They    A set of four upright Landscapes; signed J. Both,fec.
are sometimes signed with his name in full, and  A set of six Landscapes; lengthways; J. B.f  A Landsometimes with his monogram.  The following  scape, with loaded Mules; Both,fec. A Landscape, with
mar e    wthe principal:hs moa Traveler seated, with a Basket; J-. Both, inv. etfec.
are the principal:                                  By A. Both:
The Portrait of M. Angelo Buonarotti. Bust of Othonny praying with  Skull; marked A. Both
St. Anthony praying, with a Skull; marked A. Both,
Trucsess, Cardinal of Albani; with a Border, and an em-; do.
blem of Charity; Jac. Bossis Belgia incidebat. Bust of  reversed. St. Fran, with a Crcifi beore him; do.
St. Thomas d'Aquinas; Jacob Bossius Belgia incidit.  Bust of a Man, in Profile, with a Cap and Feather; markedS.t. T.  TwoBeggars.  Two of Dutch Merry-makings;
The Crucifixion; Jacob Bossius incid. Four, of the Four  ed, A n. T e.   Two of Dutch Merry-mak; of whicngs;
Evangelists; marked B. B. F. Cock, exc. Jacob's Lad-  A. Both, int. etfec. Six Landscapes numbered; of which
der; after Rafeiee; marked B Jac. b. bSt. bSt. Peter and  the first is marked A. Both. The Five Senses, represented
der; after RaffaeUe; marked Jac. b. b. St. Peter and   roeufigr
St. John curing the Lame Man; Jac. Bos.f. The Statue  bygrotesquegure
of Pyrrhus, King of Epirus; after the antique; signed    BOTSCHILD, SAMUEL, a reputable historical
Jacobus Bossius Belgia inid. 1562.                painter, born in 1640, at Sangerhausen, in Saxony.
BOSSU, LE, a French engraver who lived about  He was appointed court painter, and keeper of the
1700, and imitated the style of F. de Poilly.  He  Electoral Gallery at Dresden,where he established
resided some time at Rome, where he executed  an Academy of Painting. He also etched a few
several plates after the Italian masters, among  plates from his own designs, of which the followwhich is the resurrection of Lazarus; after Gia-  ing are the principal:
cinto Brandi.                                       The exterminating Angel destroying the Army of SennaBOTELLI, FELICE, an Italian painter born in  cherib; S. Botschild acqua forti. Four of allegorical fig1652aBOTELLI, FELICE, an Italian dpainter  bor  ures. Four of the Times of the Day. Two emblematical
1652, at Piacenza. He studied under  Giuseppe  subjects, one of Hope and Patience, the other Faith and
Nuvolone, and practised history for some time  Charity; oval. Ulysses and Epeus giving the Dimensions
without much success; after which he painted ani-  of the Trojan Horse. Hercules, with Cupid spinning.
mals, birds, and fish. These subjects he represent-    BOTTA, MARC' ANTONIO, a reputable German
ed with great spirit and beauty, and gained con-  historical and portrait painter, born in 1572, and
siderable reputation. He died in 1732.            studied under Bernardo Azzolino, of Naples. He
BOTET, F., a French engraver of little note, practised some time in France with success, and
who flourished about 1750. Among other prints,  afterwards returned to Genoa where he died in
he engraved several subjects of gallantry and  1648.
bambochades, after Coypel.                           BOTTALA, GIo. MARIA, an Italian painter,
71-      I   BOTHT JOHrNandANDREW. These  born at Savona, near Genoa, in 1613; died at Mior, J /    eminent Dutch painters were bro-lan in 1644. Soprani says he visited Rome while
thers, and cherished during life the warmest affec-  young, and studied under P. da Cortona. He was
called Raffaellino from his great veneration for the
tion for each other.  Their works are so intimate-  called    aello, from his great veneration forthe
ly connected that they are noticed in one article. works of that master, though he always followed
They were natives of Utrecht, John the elder~  the style of Cortona. He painted several pictures
being born about 1610. They learned the elements  for the Cardinal Sacchetti, the most important of
being born about 1610. They learned the elements
of design from their father, who was a painter on  which was the meeting of Jacob and Esau, afterglass, but afterwards studied under A. Bloemaert,  wards placedin the capitol by Benedict XIV.
and subsequently visited Italy for improvement,         e            e      e       e          
where John Both, stimulated by the fame of   Genoa.
Claude Lorraine, soon produced landscapes that    BOTTANI, GIUSEPPE, a Cremonese painter,
were highly praised by the artists themselves.  born in 1717, and studied at Rome under AgosThese were ornamented by Andrew inavery taste-  tino Masucci. He settled at Mantua, and gained
ful and elegant style with figures and cattle, which  considerable reputation by his landscapes in the
harmonized most charmingly with the landscapes.  style of Poussin, with figures in imitation of Carlo
Throughout their works, everything is warm, ten-  Maratti. Lanzi mentions an historical piece of
der, and harmonious; in the landscapes of Both, some merit by Bottani, in the church of S. Cosmo
we admire the most beautiful exhibitions of every  and S. Damiano, at Mantua, representing St. Paola
variety of nature.  His coloring is glowing, yet  taking leave of her attendants.  He died in 1784.
delicate; and there is a sparkling effect of sun-    BOTTI, RINALDO, a Florentine painter, who
shine that has scarcely ever been equalled,       flourished in the first part of the 18th century.




BOTT.                    128                    BOUC.
He studied under Jacomo Chiavistelli, and Maga-    BOUCHER, JEAN, a French painter and en
lotti pronounces him a great fresco painter. None  graver of little note, the brother of the preceding.
of his works are specified, nor the time of his  He etched five plates, among which is the porbirth or death are noticed.                    trait of the painter Watteau.
BOTTICELLI, SANDRO or ALESSANDRO, a    BOUCHET, Louis ANDRE GABRIEL, a French
Florentine painter and engraver, born in 1437;  historical painter of the present century. He
died in 1515. He studied under Filippo Lippi,  studied under David, and painted portraits, and
and subsequentlyvisited Rome, where he executed  historical and poetical subjects. He obtained the
several important works for Sixtus IV. His chief  first great prize of the Royal Academy in 1797,
works at Florence were a Venus attired by the  and continued to exhibit till 1819.
Graces, and a Venus Anadyomene; also an Ai-    BOUCUET  VIT     areputable Flemish
sumption of the Virgin, in S. Pietro Maggiore,    tral a   prtrat                   Fmei
highly praised by Vasari, painted for St. Matteo
Palmieri, and now in England. It contains a mul-  1619, and died in 1677. His works are in the diff fi   Ap   ferent churches of the towns of Flanders; they
titude of figures in the heavens, the Apostes  are characterized by fine coloring and good comarcended,    toh  figures of Palm ieri an  his asw  position: but exhibit little of the taste of his councended, and the figures of Palmieri and his wife
plaa s w try. In the great church at Nieuport, are two
kneeling. Vasari mentions a number of plates  try. In the great church  t Nieuport, are two
kneeling. Vasari mentions a number of plates  altar-pieces by Boucquet, one of which, representby Botticelli, among which are twelve of Sibyls,  ig te Death o   t Francis, is much esteemed;
seven of the planets, a St. Jerome kneeling, etc.  and in te D eath of St. Francis, is a large picture by
and in the town-house there is a large picture by
Baccio Baldini, engraved nineteen vignettes from
Baccio Baldini, engraved nineteen vinettes from   him, considered his chief work, representing the
designs of this master, for Dante's.Inferno.  Judgment of Cambyses. He alo painted the
BOTTONI ALESSANDR?, a_ Roman historicalJudgment of Cambyses. He also painted the
BOTTONI, ALESSANDRO, a Roman historical  principal altar-piece in the church at Ostend, repainter, born in 1662; died in 1706. He was  presenting the Deposition from the Cross.
elected a member of the Academy of St. Luke,
a Ind practised the art with reputation.         BOUD, R., a Dutch engraver, who flourished
BOTTE, JEAN DIE a French architect, born in  about 1590. He was principally employed in en1OTT    +N,  + 4.1.h't'1 4.'  graving plates for the booksellers which were
1670. He went to Prussia, at the invitation of       g ptes    the ooksellers, which were
executed with the graver, in a stiff. formal style.
King Frederick III., where he enlarged and or-  Among other plates there is one of Henry Goltznamented the Royal Arsenal, and made it one of
ius, the eminent painter and engraver, crowned
the finest edifices in Europe. Under the reign of  with laurels byFame.
Frederic William, de Botte was charged with the  wi      ls by
erection of the fortifications of Wesel, which are BOUHOT, ETIENNE, an eminent French painter
considered a good specimen of military architec-  of architectural views, both interior and exterior,
ture. In 1728 he visited Saxony, where he also at-  born at Bardles-Epoisses, (Cote d'Or) in 1780,
tained distinction. He died at Dresden in 1745. and was living in 1831. He obtained manymedals
MARTTIaT    F  h eg     r of     from the different places where his works were
BOUCHE, I RTIN, a Flemish  engrav er o por-  exhibited. His pictures are numerous, and much
traits, who flourished about 1680. He worked  esteemed.
chiefly for the booksellers, and executed a number
of plates almost entirely with the graver, in a neat, a Spanish painter of Santiago, born about 1672,
I a Spanish painter of Santiago, born about 1672,
stiff style, but not without merit. Among other                  He studied under Luca 
prints, he engraved a number of portraits of the  and did in            tdied uder   a GrJesuits who suffered in England, among which  semling the stye of that  aste        pictus r-i
are those of John Fenwick, and Thomas Harcott. sembling the style of that master. His principal
are those of ohn  enwic  and hoas Harcott.  works are in the churches of Santiago, whither he
The latter is signed Martin Bouche.       returned on account of the troubles at Madrid.
BOUCHARD, JOSEPH, a Flemish engraver, In the cathedral is a picture of St. Paul and St.
who flourished about 1760. He executed several Andrew, and in the convent of the Dominicans
plates representing buildings and antique ruins, are two altar-pieces by him.
m a neat, finished style.
in a neat, nished style.                        BOULEE, ETIENNE LOUis, an eminent French
BOUCHER, FRANcoIs, a Parisian  printer and  architect, born at Paris in 1728. He studied unengraver, born in 1704; died in 1768. He studied  der Lejai, and early manifested great abilities. Beunder Franois Le Moine  was appointed court  fore his time, architecture was exceedingly corpainter and was favor  with the pronageofthe  rupt, and characterized by the false taste of the
great. Few painters have enjoyed in their life- times: but Boulee succeeded in changing this
time the flattering encouragement and great repu-state of things  and in introducing  the purity of
tation of Boucher; and never perhaps was there   e antique. His works are ditingushed
the antique. His works are distinguished for
one who enjoyed those advantages with less real their ingenious arrangement, purity of form and
claim to them. He was a perfect master of the  majestic proportions. He erected the Hotel d
mechanism of the art, and deserves great credit  Bruony, in the Champs Elysees, which established
for that; but he openly set at naught the truly  his reputation. Among his other works are the
beautiful, and corrupted the public taste. HeChateau de Tasse and Chaville; that of Chauvry
succeeded best in pastoral subjects, though they  atMoitmorency;the Hotel dEvreux etc Healso
are not equal to those of Wittoau. The following  erected a number of theatres churches, vilas, city
are some of his etchinggates, and triumphal arches; which gained him
A small oval plate of the Virgin. Four of Children  great reputation. He wrote an excellent Essay on
playing. Cupid. sporting. The amiable Villager. An- Architecture which shows a profound knowledge
dromeda. Twelve of Chinese figures. Set of twelve fig- 
ures; afterA. Bloemaert. The Portrait of Watteau. The of his profession. He was architect to the King
Italian troop. The Player on the Guitar. La Guinguette. and a member of the Royal Academy for many
La Coquette Grotesque.                         years; and in 1795 he was elected a member of




BOUI.                      129                      BOUL.
the Institute. Among his scholars were Chalgrin, after Guido. The Virgin and infant Jesus, with St. John
Brognard, Durand, Gisors, and other eminent ar-kissin  his Foot; do.he Holy Family; after  oe
nchitects.  Boule died in 1799.                    Coypel. The Holy Family; half-length figures; afte
chitects. Boulee died in 1799.                     Nic. Loir. The infant Christ; inscribed Salvator Mundi,
BOUILLARD, JACQUEs, a French  engraver, &c.; do. 1651. Christ bearing his Cross; after Nic.
born in 1744, and died in 1806. He was a mem- Mignard. The Virgin and Infant, with St. John kissing
ber o f the Royal Academy, and editor of the c    his Foot; after P. Mignard. The taking down from the
er~of the Royal Academy, and editor of the col- Cross; after S. Bourdon. The Entombing of Christ; do.
lection of the Palais Royal.  He engraved classical The Crucifixion; after Ch. le Brun. St. Francis de Paolo;
subjects after Guido, Caracci, Poussin, Mignard  after S. Vouet. The dead Christ supported by Joseph of
and others.                                        Arimathea. The pompous Cavalcade on the occasion of
BOUILLARD, JEAN, a French engraver, who  Louis XIV. coming of age.
went to England about 1795. He remained a    BOULLONGNE, Louis, the elder, a Parisian
short time in that country, and published several painter, born in 1609; died in 1674.  He excelled
plates engraved by himself, after Poussin, e Su- in copying the ancient masters, and his copies have
eur, and other French painters; among which is often surprised the best judges.  He also painted
Moses treading on the crown of Pharaoh; after three historical subjects in the church of Notre
Poussin.                                           Dame; the Miracle of St. Paul at Ephesus; the
BOUIS.  See Bouys.                               Martyrdom of St. Paul; and the Presentation in
the Temple. He also etched the Miracle of St.
BOULANGER, JEAN, a French painter, born at Paul at Ephesus, and the Martyrdom of St. Paul,
Troyes in 1606; died in 1660. When quite young from  his own designs; and tV.e Rape of Helen,
he visited Bologna, and entered the school of Guido  after Guido.
Reni, where he acquired a pleasing and harmoni-   B,, a Prin pntr, 
ous coloring, and a graceful and correct design.   BOULLONGNE, B             or, a Parian  painter the
The duke of Modena appointed him painter to his   n of Louis B           ne, b,        ding to Zri
court, and he composed and executed, in the ele- in 1649; diedin 1717.  Hetudid under his
gant style of Guido, severalhistorical works for the  father, and gained the p f: (f bhe Academy by a
ducal palace. He also established a reputable ac- p         of St. Johnh   entitled hito the royal
ademy at Modena, which was much frequented.   pension, to enableinlli to prosecute his studies at
emr ATMdna, wh wa   fr.             *Rome, where he remained five years.'He afterBOULANGER, MATHIEU, a French engraver, waris went to Lombardy, and passed some time
who flourished at Paris about 1680, and is sup- in studying the works of Correggio and the Oarpow   -a4Lri1i    e  a~,agrJfean B. He. was'ac, after which he returned to Paris. In 1677
principally employed in engraving portraits for he was elected a Royal Academician, and painted
the booksellers, which were executed in a stiff, for his picture of reception, Hercules combating
heavy style; among others is that of Raymond  the Lapitha. He possessed a peculiar faculty of
Vievssens, M. D.                                   painting what the Italians call Pasticci, or imiBOULANGER, JEAN, a French engraver, cous- tations of the style of other masters, without the
in to Jean B., was born at Troyes in 1613. He servility of copies. Louis XIV. employed him to
first imitated the style of Francis Poilly, but sub- paint the staircase at Versailles, under the direcsequently followed a mode adopted by his cotempo- tion of Charles le Brun.  In 1702 he painted in
rary, John Morin, (which he greatly improved) of fresco the cupola of the chapel of St. Jerome, in
finishing the flesh or naked parts of his figures the church of the Invalides.  One of his best
with.dots, instead of strokes, or with a mingling  works is the Resurrection of Lazarus, in the
of both which gives a very soft and mellow  ef- church of the Carthusians. At Versailles, he
feet.  His draperies and backgrounds, however, painted Venus and Cupid, and Bacchus and Silewere finished with rather a harsh use of the grav- nus; also Juno and Flora, and the Toilet of Veer, causing a want of unison in the effect; yet his nus, in the palace of Trianon. He also etched a
prints have considerable merit, and are justly es- Holy Family, St. John preaching in the Wilderteemed. The following are the principal:           ness, and St. Bruno.
PORTRAITS.                        BOULLONGNE, LouIS, the younger, son of
Maria Theresa of Austria, Queen of France; after Frere Louis Boullongne, an eminent Parisian painter,
Luc. Pope Urban VIII; J. Boulanger ine. et fee — born in 1657; died, according to Zani, in 1783.
Charles If., King of England. Gustavus Adolphus, sKind                               one o       
of Sweden.. Leopold, King of the Romans. Henry of
of Sweden.. Leopold, }in  of the    Adolphis, Kin orHe studied under his father, was one of the most
Castile, Abbot of St. Martin. J. Regnault de Segrais, of assiduous students of the Academy, and gained the
the French Academy. J. James Olier, Curate of S. Se- first prize in 1675, at the age of eighteen, which
pulcre. Paul Berier, Canon of St. Genevieve. Daniel de entitled him to the royal pension, to enable him to
Cornac, Bishop of Valence. V. Louis de Seckendorfl af- prosecute his studies at Rome.  In 1680 he rey     s    eceornacZBff~- ~fM~ic~proaecute his studies at Rome. In 1680 he reter C7. Schefer. Michael Nostradamus, Physician. Vincent de Paul. Mademoiselle le Gras, Foundress of the turned to Paris, was elected a Royal Academician,
Filles de la Charite. Francis Isidor de Hayrien. Francis and painted for his picture of receptien, Augustus
de Clermont, Bishop of Noyon.                      ordering the Temple of Janus to be shut.  At
SUBJECTS FROM HIS OWN DESIGNS.          the death of Coypel, he was appointed painter to
Two Busts of our Savior and the Virgin Mary. Bust Louis XIV.  He also received from the King a
of the Virgin, surrounded by a border of Laurel; oval. patent of nobility for himself and his descendants;
The Virgin Mary and infant Jesus; half length. The Vir- was chosen designer of medals to the Academy of
gin Mary and Infant, with St. John presenting a Cross.   Inscriptions, and also Director of the Academy of
SUBJECTS FROM DIFFERENT MASTERS.          Painting. His frescos in the chapel of St. AugusThe Virgin and Infant Christ holding some Pinks; tine, procured him a pension and the order of St.
called the Virgin of the Pinks; after Raff'aelle. A Bust Michael; whence he is commonly designated the
of the Virgin  inscribed Mater amaiiss; do. The Holy  Chevalier. He was also employed at Fontainbleau,
Family, with St. Joseph giving the Infant some Cherries;      in the chateau of Meudon  also in the church
after Caracci. The Virgin of Passau; after Solario.-      the chateau of  euo   also in the church
the Virgin Mary, with the Infant sleeping in her Arms; of Notre Dame, where there are two fine pictures
12




BOUM.                       180                     BOUR.
of the Purification, and the flight into Egypt. He tion, and a wonderful facility of execution, though
excelled in historical and allegorical subjects, and his design was sometimes incorrect. He also
it may be easily seen that he had studied the old painted portraits and landscapes. In the latter
masters with unusual care; his heads have a fine he particularly excelled; and appears to have comexpression, his coloring is vigorous, and his draw- bined in them the style of Titian and Poussin. As
ing correct. He etched a few plates, as follows:  an engraver, he has etched a number of plates of
The Holy Family, the infant Jesus holding a Bird with various subjects, after his own designs, executed
a String. The Holy Family, with St. John. The Dead in a free and masterly style. The back-grounds
Christ, with the Marys and Disciples. The Martyrdom of of his pictures are exceedingly picturesque, his
St. Peter. The Martyrdom of St. Paul. The Flagellation chiaro-scuro is managed with great intelligence,
of St. Andrew; afterP. Veronese. St. Bruno. The Ro- and his prints are highly esteemed, conveying a
man Charity,                                      perfect idea of his manner of painting.  The folBOUMAN, P., a reputable Dutch  landscape lowing are the principal:
painter, born at Dort in 1765.. He painted vews. -
painter, born at Dort in 1765.. He painted views   Jacob returning to his country in the absence of Laban.
in the vicinity of Haerlem; also Waterfalls, Win- Rebecca meeting the Servant of Abraham. The Ark sent
ter Scenes, and similar subjects, so prevalent at back by the Philistines to the Beth-shemites; scarce. The
this time among the Dutch artists. His works Annunciation. The Angel appearing to the Shepherds.
are highly esteemed.                              Six of the Flight into Egypt, and the return from thence.
The Holy Family reposing, the infant'Jesus feeding a
BOUNIEU, MICHEL'HoNORs, a French painter, Lamb. The Holy Family, St. John holding the foot of
born at Marseilles in 1740; died at Paris in 1814. the Lamb. The Holy Family, called the Washerwoman.
He painted subjects from  history, poetry, and The Baptism of the Eunuch. Christ healing the Sick.
Hfable.  H   e wa     s keeper of prints at the   ibeo t - The Merciful Samaritan. A Peasant Woman giving
fable.  He was keeper of prints at the mBiblio- Drink to a Child. The Fortuneteller. The Five Senses;
theque Nationale, and for twenty years professor five plates. A set of fourteen subjects, representing the
of design "des Ponts-et-Chacussees."              liberal Arts and the Virtues; dedicated to M. Colbert;
ovals and octagons. A set of six large Landscapes; very
BOUNIEU, NICirELAS, a painter and engraver ovals and octaons. A set o six large Landscapes; veryfine. Two
of Marseilles, born in 1744, and stndied under M. grand Landscapes; inscribed S. Bourdon,, iv., scTu., et
Pierre, was elected a Royal Academician in 1775. exc. The Seven Works of Mercy; dedicated to M. ColAs an engraver, he designed and engraved a few  bert.
mezzotints.                                         BOURGEOIS, CHIABLES GUILLAUME ALEXANAdam  and Eve driven from'Paradise. Magdaleue,'1EFrpr   rFl    - n      1' f - Pat
Penitent. Love led by Folly. The Punishmneit of a Ariens in  17T9.  He studied engraving undei
Vestal. An Allegory on the Birth of the Dauphin. The
Green-house of the Tuilleries. The Amusement of th  George Wille, and executed a number of portraits,
Sultan.                                           among which were those of Cresset and the BishBOURDON, PIERRE, a French engraver, who op of Amiens. He afterwards devoted himself
flourished at Paris about 1703.  He engraved, to miniature painting, in which he made great imamong other works, a set of plates from his own provements, especially in the coloring.  He pubdesigns; representing ornaments with figures, forlished at Paris a number of treatises on his discovgoldsmiths andjewellers. They are executed en- eries at different times, from 1813 to 1827. He
tirely with the graver, in a very neat style, and died in 1832.
signed, Petrus Bourdon, inv. etfecit.               BOURGEOIS, CONSTANT, a French landscape
BOURDON, SEBASTIEN, an  eminent French  painter, engraver, and lithographer, was living in
painter and engraver, born at Montpellier in 1616; 1809, and, according to Landon, was distinguished
died at Paris in 1671. He studied the elements for the richness of his compositions, and the purity
of design with his father, who was a painter on of his style. That author describes three of his
glass.  At the age of fourteen he was taken to pictures, executed in the manner of Poussin.
Paris, and placed under a painter of little note;   BOURGEOIS, SIE FRANOIS, was born in Lonwith whom he remained four years, and thewent do  i  175and died in 1811. The family of
to Rome, where heformed the acquaintance of this painter was originally of Berne, in SwitzerAndrea Sacchi and Claude Lorraine, and was fa- land. He was intended by his father for a milivored with their friendship and instruction. Af- tary life, but was advised by Reynolds, who was
ter studying three years at Rome, he also visited shown some of his juvenile attempts, to pursue
renice. On returning to Paris, he executed the painting. He accordingly studied under LutherCrucifixion of St. Peter, in the church of Notre bourg, and in his nineteenth year painted several
Dame, which is considered his master-piece. The landscapes, battles, and marine views, of some
reputation he acquired by this picture, gained him  merit.  In 1776, he  visited the Netherlands,
great employment; but his success was inter- France, and Italy, for improvement.  ie was
rupted by the civil wars of the Broweand in France, and Italy, for improvement. He was
rupted by the civil wars of the fronde, and in elected a Royal Academician in1792; and in 1794,
1652 he went to Sweden, where he-was welcomed was appointed landscapepainter to the king. He
by Queen Christina, and appointed her principal was considered a reputable artist in his time, but
painter. He executed there several important his works now attract little notice.
works; but the queen having resolved to abdi-                               aFrc    i t
cate the throne; and tranquillity being partially    BOURLIER, FBRANOIS, a French painter, who,
restored in France, he returned to Paris, and met according to Basan, etched several plates from
with immediate employment. Soon after, he paint- his own designs, and after Gulio Romano and
ed his esteemed picture of the Deposition from  others, among which is Moses Discovered by
the Cross, for the church of S. Benedict; and hi  Pharaoh's Daughter, after P Perrier.
martyrdom of St. Protais, for the church of S.   BOUSSEAU, JAcquEs, a French sculptor, born
Gervais. Bourdon is saidto have had so excellent in 1681, at Chavaignes-en-Poiton.  He visited Paa memory that he could copy a picture he had ris, and entered the school of Nicolas Coustou,
once seen. IIe possessed great fertility of inven- where he made rapid progress, and was in due




BOUT.                       131                     BOUT.
time received into the Royal Academy, where he    BOUTATS, PHILIBERT, a Flemish engraver, the
attained the rank of Professor of Sculpture. His son of F. Boutats, born at Antwerp about 1650.
reception-piece was a statue of Ulysses drawing his He executed a number of portraits in a neat style,
Bow. For the church of Notre Dame, he executed  among which are:
two statues of St. Maurice and St. Louis, and a                        PORTRAITS.
bas-relief, representing Christ giving the Keys to   Pope Innocent XI. The Dauphin, Son of Louis XIV.,
St. Peter. In St. Honor6, he executed the Mau- oval. Mary Antonia Victoria, of Bavaria, Dauphiness.
soleum of Cardinal Dubois, which has been erro- Elizabeth Charlotte, Duchess of Orleans. William Henry,
neously attributed to Ooustou. At Versailles he  Princeof Orange. Christian V. King ofDenmark. Herd a s e of R, ad at R, te  man Werner, Bishop of Paderborn. John Sobieski, King
executed a statue of Religion, and at Rouen, the  of Poland; P/ilibert Boutats, sc. Thesis, with the Porgrand altar of the cathedral. The King of Spain  trait of the Bishop of Munster.
invited him to his court, and appointed him  his   BOUTEUX, PIEBE L, a French painter was
principal sculptor. Bousseau resided many years  P~R   E  F                               inea
principal sculptor.  Boussea  resided many years born at Paris in 1692. He painted subjects of hisat Madrid, where he executed a number of good      H                               e ped su s of hi
works. He died in that city in 1740A.            tory, but did not attain distinction. He died in
work    He died in that city in       1750.
BOUT, or BAUT, FBAxcIs, and N. BOUDEBOUT, or BAUT,  I,  and N. BOUDE-   BOUYS, or BOYS, ANDRt, a French portrait
WYNS, Flemish painters, born at Brussels, and    BOY, or, A, a   e    prtrait
flourished about 1700. They are noticed in one painter, borninroence about 1680   He studied
article, as they usually painted in concert; the  under Francis de  Troy, and practised at Paris.
landscapes of Boudewyns being decorated with fig- He also engraved a few mezzotints, among which
ures by Bout; although the latter occasionally ex- are:
ecuted paintings of his own composition, repre-    ndrew Boy and hisWife  Franis de Troy, painter.
Claude Gros, de Boze; And. Boys' pinx. ad ivumn, et sc.
senting winter scenes and views of the sea-shore, 1708. Francis Ren6, Marquis de Bellay; a oys'pinx. et
with a number of small figures neatly drawn. sul. John Baptist Massillon, Bishop of Clermont; Boys,
Their combined works are much esteemed in Flan- fee. De Marais, famous musician.
ders. They are generally views of the country        BOVA, ANTONIo, wa born at Messina in 1641
seats of the-nobility, and the adjacent scenery, He studied under Antonio Ricci, called II Barba
with figures representing gallant assemblies and  lunga whose style he happily imitated. He exmerry makings. The landscapes of Boudewyns
merry makings. The landscapes of Boudeweyns celled equally in oil and in fresco, and there are
are much in the style of Breughel, and there is many of his works in the publi edifices at Mesgreat truth in the figures orBout. The latter has sina, where they are highly esteemed. Lanzi says
etched a few plates in a slight, fr'ee style, viz.: his works compare favorably beside those of his
Four Winter Scenes, with Skaters and a variety  master; and being of a placid and tranquil dispoof Figures; a Landscape, with a Statue of Nep- sition, he took no part in the revolutions of Mestune; a View of the Sea-shore in Winter, with a sina, but devoted himself to his profession, and
Fish-market; the Bride conducted to Church; lived all his days in peace, and with him expired
and a Country Market.                             the school of Barbalunga.
BOUTATS, FRED., a Flemish engraver, born at
Antwerp about 1620. He engraved several plates    BOVADILLA, GERONIMO DE, a Spanish painter,
from his own designs and those of other masters, was born at Antequera, near the city of Seville.
executed with the graver in a neat style; among  Palomino says he studied under Francisco Zurbawhich are the following:                          ran, and followed his style.  He was distinguished
for his perspective views and subjects of history,
PORTRAIT, ETC.                  -of medium size. He died in 1680.
Charles Emanuel, Duke of Savoy. Charles Gaspar,
Elector of Treves. Queen Christina of Sweden. Oliver   BOVINET, ETIzENN, a reputable French enCromwell, Protector. Frederick William, Elector of Bran- graver, who flourished about 1805. There are a
denbourg. John George, Elector of Saxony. John Bap number of good works by him, after the most emtist Hel, portrait painter; se {~pisi. Daniel Van Hell,
tist eil, portrait painters mDaniel an Hell umber of good works by him, after the most emlandscape painter; J. B. Van Hlel,pinx. Leo Van Heil, inent Italian, Dutch, and French painters. He
architect; do. David Ryckaert, painter; se ipse pinx. also executed several fine plates for the Galerie
The Virgin and Infant Jesus, with St. John; dated 1655. du  iusee Napoleon.
Cavaliers and Ladies playing at Cards; F. Boutats,feeit.  VIN
BOVINI, FsxNOeso, an Italian painter of unBOUTATS, GASPAS, a Flemish engraver, bro- certain age, who flourished at Ferrara. Barotti
ther of F. Boutats, born at Antwerp about 1625. mentions two altar-pieces by him, in the Church
He etched the plates for a folio volume of Views of the Oratorio della Penitenza, in that city, repof Jerusalem, after designs of John Peters; also a resenting the Immaculate Conception, and the
number of other prints for the booksellers, among  Adoration of the Magi.
which are the following:                            BOWER, EDWARD, an English painter in the
Frontispiece for the Psalms of St. Augustine; FGatar reign of Charles I. Among others, he executed
Boutats, fee. The Massacre of St. Bartholomew. The
Assassination of Henry IV. The Decollation of Count the portraits of John Pym, Gen. Fairfax, and Lord
Nadasti, Count Corini, and Marquis Francipani. A Sut- John Fairfax; the two last were engraved by
ler's Tent; after P. H. Wouwerman~s.              Hollar.
BOUTATS, GERARD, a Flemish engraver, bro-   BOWLES, THOMAS, a London engraver, born
ther of F. Boutats; was born at Antwerp about about 1712. He published a set of thirty views in
1630, but settled at Vienna, where he was ap- and near London, some of which were engraved
pointed engraver to the University.  The follow- by himself, and others by Foudriniere, Vivares,
ing are his principal plates:                     etc. The following are the principal:
Adamus Munds, physician. 1657. Antonius d'Aumont.   A View of London from the Thames. 1751. Somerset
Charles Joseph, Archduke of Austria. Don Pedro, King House. 1753. Greenwich Hospital. 1745. The Rotunda
of Portugal. The Resurrection; Gerard Boutat, sul.  at Ranelagh. 1751. The Royal Exchange. St. Mary-leVienna.                                           bow.




BOXB.                     132                   BOYD.
BOXBERGER, M., a German engraver of little  which he sold for one shilling. Small as this
note, who flourished about 1570. He executed  sum was, he often spoke of it with pleasure in his
among other works, several plates of historical prosperous days, and a silversmith in Duke's-Court,
and devout subjects which are neatly finished, but St. Martin's Lane, sold so many copies that the
in a stiff, formal style.                      engraver, when he called to settle for the year's
sales, "thought it civil to take a silver pint mug
BOYDELL, JOHN, an eminent engraver and  in part payment," and this mughe retained till his
print-seller, who has justly been termed by his death. He designed and engraved many other
countrymen the "father of engraving in England,"  views, generally of places in and about London,
and he might with equal propriety be called the  and published the greater part of them at the low
father of historical painting in England; for he price of one shilling each. But even at this early
did-more to bring the arts of painting and engra- period of his life, he was so much alive to fame,
ving in his country to the present elevated state, that after having spent several months in engrathan any other man. He was born in Shropshire  ving a historical picture of Coriolanus, after Sein 1719. His grandfather was a Doctor of Divin- bastian Concha, he was so much dissatisfied with
ity, and had two livings in Derbyshire; during  his performance that he broke it up. He engraved
whose life-time, his grandson had been intended  many plates after Berghem, Salvator Rosa, Brookfor the church. His father was a land surveyor, ling, and others, which are executed in so highly
and on the death of Dr. Boydell, brought up his a respectable manner as to show, that had not the
son to his own profession, and had it not been for bent of his. genius and ever active mind directed
one of those little accidents which sometimes de- his attention to publishing, he would have acquired
termine " the path that men are destined to walk,"  distinction as an engraver. His facility of execuhe had wasted that life which has been so honor- tion and unconquerable perseverance having enaable to himself, and so beneficial to his country. bled him to complete a great number of prints, he
While he was yet young, chance threw in his way  collected the whole into one portfolio, and publishBradley's Views of different Country Seats, among  ed it at five guineas. This work met with such
which was one of Hawarden Castle, Flintshire, the  liberal patronage, " that," as he modestly remarks,
seat of Sir John Glynn, by whom his father, with  "it was by the profit of these prints that the enhimself, was employed in his professional capacity. graver of them was enabled to hold out encourageThese.prints powerfully attracted young Boydells ment to artists in this line, and thereby he flatters
attention. The exact delineation of a building and  himself he has somewhat contributed to improve
of grounds he had so often contemplated, excited an  the art in the country;" and he adds, "it is the
astonishment easier to be conceived than described, first book that ever made a Lord Mayor of Lonand considering it as an engraved plate, from which  don; and when the smallness of the work is coma multitude of impressions could be taken, and  pared with what has followed, he hopes it will
judging from his own pleasurable emotions that impress all young men with the truth of what he
his sphere of usefulness would be greatly enlarged  has often held out to them, that industry, patience
if he could acquire and practise the art, he imme- and perseverance, if united to moderate talents,
diately made application to his father for permis- are certain to surmount all difficulties."
sion to go to London for this purpose, who entirely    The art of engraving was, at the time Boydell
disapproved of the project. He had no sooner ac- began, at a very low ebb in England. Wotton's
quired his majority, than he set out for London, Portraits of hounds, horses, grooms and squires,
on foot, greatly to the displeasure of his parents, with a distant view of the stables and dog kennels,
and apprenticed himself to Mr. Thorns, the engra- and hunting-pieces, representing lords and squires
ver of the plates before mentioned, for seven years. in jockey caps, and similar subjects, taken almost
His conduct during his apprenticeship strongly  entirely from the sporting habits engrossing the
marked the man, for he set himself to work with  aristocracy, were all the rage, and pretty much all
that spirit and perseverance which he manifested  English artists were thought capable of performthrough life, to acquire a thorough knowledge of  ing; " and it must be acknowledged, mortifying as
the business in all its branches. He applied him- it may be," says Gould, " that with the exception
self to study drawing, and whenever he could get an  of the inimitable Hogarth, and two or three others,
opportunity he went to the Academy in St. Martin's the generality of our artists were not qualified for
Lane, to perfect himself in this branch. His lei- much better things."  The men of fortune, who
sure hours in the evening he devoted to the study  had refinement and taste, procured prints of a
of perspective, and learning French without the aid  higher order from abroad, "for which, even at this
of a master; and to improve himself in pronuncia- time, the empire," says the same author, "was
tion, he regularly attended the French Chapel. He  drained of immense sums of money."  Boydell saw
thus acquired a thorough knowledge of the lan- this evil and stoutly maintained that it was not
guage. After pursuing his business for six years, for want of ability in their artists, but from prejufinding himself a far better artist than his teacher, dice and lack of patronage; and he had met with
he bought of Mr. Thoms the last year of his ap- such success that he resolved to test the truth of
prenticeship, and became his own master in 1745. his assertions. " To check this destructive fashThe first use he made of his freedom was to return  ion, he sought for an English engraver who could
to his own county, where he married a worthy  equal, if not excel them ( i. e. the foreign engrayoung lady for whom he had an early attachment. vers), and in Woollett he found one. The Temple
He immediately returned to London and com- of Apollo after Claude, and two premium pictures
menced that course of active operations which led  from the Smiths, of Chichester, were among the
to fame and fortune. His first work was a set of first large works which this excellent artist ensix small plates, designed and engraved by himself, graved; but the Niobe and Phaeton, after Wilson,
called the Bridge Book, from the circumstance that established his fame."  These superb works were
a bridge formed a part of the scenery in each plate, published by Boydell at the extraordinary low




BOYD.                     183                    BOYD.
price of five shillings each; for proof impressions foreign print trade. "The works of Shakspeare
of which, in after years, fifteen guineas were fre- were then proposed," says Rose, "as affording ample
quentl given in London! Boydell now gave full scope, and the great print-seller himself undertook
employment to every young and talented engraver to give the adequate encouragement. The result was
in London, and soon put a stop pretty effectually the painting of that series of splendid pictures long
to the foreign importation, and even exported exhibited in London as the Shakspeare Gallery."
largely to the continent, so that the balance of Reynolds, then president of the Royal Academy,
trade in this branch of art was greatly in the favor opposed the project on the ground of its utter imof England, andhas continuedto increase ever since, practibility on so grand a scale. Boydell, having
till the export of prints and illustrated works from  fully determined on its execution, and considering
that country to every part of the world, now  the cooperation of Reynolds all important, priamounts to many millions per annum; greatly vately enclosed him a ~500 Bank of England note,
beneficial to the country at large, and to the en- with a request that he would paint two pictures
couragement of the fine arts, by giving employ- for the proposed gallery on his own terms. "Not
ment to many artists. He engraved a multitude content," saysGould,' withhaving formed aschool
of plates after the Italian, Dutch, and Flemish  of engraving in this country, so far superior to that
masters, among which was the Liber Veritatis, or of any other, he resolved to direct his efforts to the
a collection of prints after the drawings of Claude encouragement of painting also. To effect this, he
Lorraine, then in the possession of the Duke of projected the splendid establishment of the ShaksDevonshire. This work was published about 1777, peare Gallery, Pall-Mall, a plan which, considered
in three volumes, containing about three hundred in all its bearings, is of much greater magnitude
fac-similes of the original drawings, with a descrip- than any ever attempted in any age by a private
tive catalogue of each print, together with the individual; and mentally considered, he was a
names and places of residence of the persons for painter of the first order."
whom the original paintings were executed, taken    The first step taken by B)ydell was to advertise
from the hand writing of Claude, on the back of for designs illustrating Shakspeare's works, the
each drawing. Price, ~31.10s. This work had price for which was to be one guinea for every one
an immense sale both at home and abroad. He possessing merit, and a prize of one hundred guinalso published quite anumber of prints afterEnglish  eas for every one adopted by a committee of five
painters, illustrative of English history. We now  eminent artists, himself being president. This
approach the period-about 1785-when he com- step shows his profound judgment, that he might
menced his celebrated enterprise of the Shakspeare select from a great many designs, subjects approGallery. It is proper to observe here that Boydell priately treated; for it must be recollected that
had already acquired fame and fortune. He had there were thirty-two painters, two sculptors and
been elected Alderman for his ward in 1776, which  thirty-three engravers employed on the work.
office he held till his death, with the exception of Of course these were not intended for such artists
the periods he served as High Sheriff and Lord as West and Reynolds. The enterprise was now
Mayor. He had acquired by his liberality and prosecuted with all the energy which his abundant
just dealings, the confidence, esteem and love of means and active mind could command. The
every artist; for though he required those in his paintings were duly executed of the size of life, by
employment to execute their works in a proper the most eminent artists, and he erected the magmanner, he never stinted them as to price, and had nificent building now occupied by the Royal Britfrequently been known to pay gratuitously large ish Institution, for their reception and exhibition.
additions to the stipulated price, when he found The most celebrated engravers were also employed
the remuneration not sufficient. This had been to transfer these gems to copper, the general size
repeatedly the case with Woollett. It has justly  of which was twenty-six by twenty-two inches,
been observed that the "very liberal policy of and the work known as Boydell's Illustrations of
Boydell, his literary acquirements, his knowledge Shakspeare was published in numbers at two
of the fine arts, the splendid specimens of engra- guineas for each plate for the proofs, and one guinea
ving which he had brought before the public, his for the prints, which was never reduced during
business and his wealth, as well as the civic the life time of Boydell, and which is not much
honors bestowed upon him, all tended to bring him  above one-fourth part the present English publishinto constant intercourse with the leading artists ers' price for the same class of prints. At length,
of the time; and no man perhaps ever shared so in 1804, after a period of about twenty years from
largely the confidence of this sometimes capricious its commencement, the whole work was completed,
class of men, as Alderman Boydell."  The honor but the noble projector found himself a bankrupt
of originating the Shakspeare Gallery has been to a vast amount. Circumstances beyond his foreclaimed by the friends of several eminent artists, sight or control, had contributed to this unforbut Mr. Josiah Boydell has put the thing in its tunate issue. His expenses had exceeded his estitrue light. The project originated at a dinner- mates. The patronage of the work, though liberal,
party given by that gentleman, at which Alderman had not equalled his expectations, and many of his
Boydell and several distinguished artists were subscribers had fallen off; and lastly, the non-inpresent, among whom were West, Reynolds, and tercourse policy of Napoleon had entirely broken
Fuseli. A discussion arose on the aspersions of up his print trade on the continent, which he himthe Abb6 Winckelmann, and the opinions then  self assigns as the great cause of his misfortunes.
generally entertained by foreign artists, that Eng- Finding himselfinextricably involved, he petitioned
lishmen had no talent for historical painting. Parliament for permission to dispose of his paintBoydell declared otherwise, and maintained that ings and drawings by a lottery, which was granted
nothing more was wanting than suitable sub- -a thing never before nor since done in Englandjects and adequate encouragement, and cited in and thus this noble collection of paintings, which he
proof, the revolution he had already effected in the had fondly hoped to have presented to his country as




BOYD.                     134                    BOYE.
a monument to his love of the fine arts, was scat-   The Marriage of St. Catherine; after A. de Sarto  with
tered to the winds. One of the pictures only found the graver. Two figures of Christ; on one plate; the
its way to the United States-Lear in the Storm, by same. TwoLandscapes; after  couremezzotto. Bus t of a
John Baptist; after Manfredi; mezzotinto. Bust of
West, which is in the Boston Athenaeum. Boy- Man; the same.
dell lived to see the last ticket sold, but not the    BOYERMAS, or  BOEYERMANS  THEO
John Boydell was a man o f the most exemplary   on, an eminent Flemish painter of the sevencharacter, untiring in his industry and perseve- teenth century, and a native of Antwerp, who was
cranc. te  enjoyed in  a high degree the respet living in 1660. He studied under Rubens, whose
rance. He enjoyed in a high degree the respect style he followed with great success. His compoand confidence of his countrymen, who, notwith- style he followed with great success. is compostanding his misfortunes, continued him in office sltions are copious and ingenious, his chiaro-scuro
till his death. He was universally beloved by ar- is managed with great intelligence, his design is
tists for his liberal conduct and generosity towards correct, and the delicacy and softness of his colorthem. He was elected Alderman in 1775, High  ing approach the excellence of Vandyck. His prinSheriff in 1785, and Lord Mayor of London in cipalworks are in Flanders and Brabant. In the
1790, in which capacity he servedtwo terms. The Jesuits' Church at Ypres, is his master-piece, repPrince Regent, at a public banquet, complimente  resenting St. Francis Xavier converting an Indian
Prince Regent, at a public banquet,                                           Jacomplimens    Ante
him by proposing his health, which was drank  Chief. In the convent of the Jacobin  at Antwith every token of respect. He was assiduous in werp, is the Decollation of St. John; and in the
his magisterial capacity. Though inflexibly just Church of St. James is an admirable picture of
the Assumption. In the Church of S. Peter, at
he was merciful; and whenever complaints were te    umption. In the Church of S. Peter, at
brought before him, he always attempted to ac  Mechlin, is an altar-piece representing the Virgin
brought before him, he always attempted to ac-withtheplag
commodate the differences, and not unfrequently interceding for persons attacked with the plague.
he recommended the complaining parties to amend    BOYLE, RICHARD, Earl of Burlington, an Engtheir own conduct, as examples to those whom they lish architect, and a great patron of art, who lived
accused. Wishing to disseminate a taste for the in the latter part of the last century. He gave
fine arts, he presented several valuable historical large sums for the assistance of public works, and
and other paintings to the city of London, which  was known to choose that the expense should fall
now ornament the council chamber of Guildhall. heavily upon himself, rather than that the country
Some of these commemorate the actions of the should be deprived of beautiful edifices. He assistgreat English military and naval commanders, and ed Kent in publishing the designs of Whitehall,
others are calculated to impress upon the youth- and gave a beautiful edition of the public baths from
ful mind, sentiments of industry, prudence and vir- the drawings of Palladio, whose papers he had protue. He always took great pleasure in the dis- cured at great cost. Besides the works he erected
semination of prints or books of a moral tendency. on his own estate in Lonsborough, he built a new
When he published the works of Hogarth, with de- facade for his mansion in Piccadilly, erected by
scriptions by John Ireland, he frequently said that his father, and added the grand colonnade within
if people only knew the incitements to industry, the court. He designed the Dormitory at Westprudence, and humanity, inculcated in them, few  minster School; the Duke of Richmond's manfamilies would be without the volumes. His death  sion, in Whitehall; and a number of other fine
was occasioned by a too eager attention to his offi- works.
cial duties. The week before his death he went   BOZZA, BARTOLOMEO, an  eminent Venetian
to attend in his capacity of magistrate at the Ses- artist in Mosaic pictures, who was a pupil of the
sions House in Old Bailey, and as he was always Zuccatti, and flourished at Venice in the middle of
early in his attention to business, he arrived there the 16th century.
before any of the other magistrates, and before the   BOZZATO. See PoxnINo.
fires were lighted. Standing before one of the
grates while this was done, the damps were drawn    BRACELLI, GIo. BATTISTA, a Genoese paintout, and he took a cold, which produced inflamma- er and engraver. He studied under Gio. Battista
tion of the lungs, of which he died on the 11th of Paggi, and painted history in his style. He enDecember, 1804, in the 86th year of his age. His graved the plates for an architectural work, pubremains were honored with a public funeral, at- lished at Rome by Giacomo Borozzio; executed in
tended by the Lord Mayor and Corporation of a neat but dry manner. He died young, in 1609.
London.                                           BRACCIOLT, Gio. FEANOESCO, a Ferrarese
BOYDELL, JOSIAH, was a nephew of the pre- painter, born in 1698; died in 1762. He studied
ceding artist, born at Stanton, in Shropshire, about under Giacomo Parolini; but afterwards at Bo1750.. His uncle sent for him, and had him in- logna, under Giuseppe Crespi. Barotti mentions
structed in both painting and engraving, and ulti- an altar-piece by him, in the Oratory of the Theamately took him as a partner. On the death of tines at Ferrara, representing the Annunciation;
the Alderman, he was unanimously elected to the and in the church of St. Catherine, a Flagellation,
vacant gown by the ward of Cheapside, but re- and Christ crowned with Thorns. The two latter
signed in 1810, on account of ill-health, and died are his best works.
in Middlesex, March 27, 1817.                     BRADEL, JEAN BAPTISTE, a Parisian porBOYER, JEAN BAPTISTE, MARQUIS D'AIGUIL- trait engraver, born about 1750. He executed
LES, a French amateur painter and engraver. He several plates in a very neat style, of which the
visited Italy in company with the celebrated sculp- following are the principal:
tor Puget, where he formed a large collection of
pictures, sculpture, &c. He published the prints                   PORTRAITS.
f these in twovolumes; six of the plates were en-   Pope Benedict XIV. Pope Clement XIV. Madame
Louisa, of France. Louis Francis Gabriel de la Motte,
graved by himself. The following are some of his Bishop of Amiens. General Paoli. Prosper John de Creprints:                                         billon. John Bart, Admiral. The Chevalier d'Eon. An




BRAE.                     135                    BRAM.
allegorical subject; inscribed Trinus et unus. A Boy the 16th century, but neither the time of his birth
playing on the Tambour de Basque.               or death is recorded.
BRAED, NIOHOLAS, a Dutch engraver, who    BRAMANTINO, DI AGOSTINO, was a pupil of
flourished from the year 1600 to 1630. He exe- the preceding artist, from whom he derived his
outed several plates from designs by Henry Goltz- name, his real name being Agostino da Milano.
ius and James Matham; also a number of good Little is known of this artist. Lomazzo calls him
prints after various masters, among which is a Agostino di Bramantino of Milan, a painter, and
small upright plate signed with his name, repre- disciple of the same Bramantino, and says he was
senting Christ before Pilate; after Tintoretto.    skilled in foreshortening, and cites the cupola of
BRAKENBURG, RENIMB, a Dutch  painter, the Carmini, painted byhim, and that by Correggio
born at Haerlem in 1650; died in 1702. He stud- in the cathredral at Parma, as models of excellence.
ied first under Mommers, a landscape painter; and Lanzi says "his name is so little known in Milan
afterwards under Bernard Schendel, whose manner as to lead us to suppose that he passed much of his
was better adapted to his talents.  His subjects time in foreign parts. And we are even authorare similar to those of Schendel, representing-mer- ized to conjecture, that he may be thesame  gos
ry-makings and drunken assemblies, executed with  tino dell Prospettive, whom we meet with at Bogreat facility, though they appear highly finished. logna in 1525, and he goes on to give reasons
His lights and shadows were managed with great suffcient to establish his identity.
intelligence, coloring good, and composition ingen-   BRAMANTINO, BARTOLOMEO, a reputable Italious; though his design was incorrect, especially ian painter and architect, who flourished, according
in the human figure, and exhibits a vitiated taste. to Milizia, about 1450. It is not known by whom
BRAMANTLE. See LA  Ri. The was instructed, but he spent several years at
BRBAMANTE. See LAZZAERI.                      Rome, studying the works of the best masters.
BRAMANTINO, DI AGOSTINO, an old Milanese His abilities soon became known, and he received
painter, who, according to Vasari and Pagave, was several commissions from Nicolas V., to paint a
an eminent artist, and flourished about 1450, but number of large subjects from sacred history for
Lanzi disclaims all belief in him, and claims that the churches, which gained him considerable reputhe works attributed to him by the authors before tation. He afterwards devoted himself to archcited, in the Vatican and at Milan, were executed itecture, and studied the great models of antiquity.
by Bramantino, a pupil of Bramante, who flour- He went to Lombardy, where he carefully measished in 1529, as noticed in the following article.  ured the vestiges of ancient architecture in that
province, and composed a book upon them. BraBRAMANTINO, BARTOLOMEO, a Milanese paint- mantino erected a number of fine edifices at Mier, whose real name was Suardi. He was the fa- lan, which were much esteemed. His best work
vorite pupil of Bramante, and for that reason, was the church of S. Satire, which was richly ortook the name of Bramantino. He was also an namented within and without with columns and
architect before he studied painting. He painted double corridors, a Sacristy full of statues, and a
perspective so admirably as to deceive animals, magnificent Tribune. Some authors assert that
He went to  Rome with Bramante, where, accord- Bramantino was the first to revive good architecing to Lanzi, under the pontificate of Julius II., ture in Lombardy. The time of his death is not
he painted those portraits in the Vatican, so recorded.
highly praised by Vasari as the works of Agos-       A        A     o   ATTTA  a  e          e
tino di B., and which were afterwards destroyed    BRAMBILLA,   G    BATTITA, a reputable
to make room for the works of Raffaelle. During Piedmontese historical painter, who flourished
his residence at Rome, he greatly improved his about 1770. He studied under Cav. Carlo Delfino,
style, especially his coloring and his draperies. and executed several-works for the churches at
According to Lomazzo, Bramantino returned from  Turin; the best of which is in S. Dalmazio, repreRome to Milan, where he executed many works senting the Martyrdom of that saint.
for the churches and public edifices. Among these,   BRAMER, LEONARD, a Dutch painter, born at
he refers to a picture of Sts. Ambrogio and Michele, Delft, in 1596. It has been supposed that he was
with the Virgin, colored in the Venetian style, in a scholar of Rembrandt, from the resemblance of
the Melzi Gallery.  There are also some other his style to that master, but Bramer was born
pieces in the church of S. Francesco, which dis- ten years before Rembrandt, and at the age of 18,
play more elevation and dignity than belonged to  when the latter was only eight years old, he left
the age in which he lived. He likewise holds him  Holland, and went to Italy; where he passed the
up as a model for his picture of a Dead Christ be- greater part of his life, and gained considerable retween the Marys, painted for the church of S. Se- putation by his works at Florence and at Venice,
polcro, a work that produces a fine illusion. The where he chiefly resided. He excelled in painting
figure of the Redeemer is foreshortened, and the night-pieces, with towns on fire; and caverns, with
legs, in whatever point they are viewed, appear the light coming from above, in the manner of
with equal advantage to the eye. Other artists have Rembrandt. His principal works, however, were
produced the same effect; but it is a just, though historical subjects of a small size, which he decortrite saying, that an inventor is worth more ated with vases of silver and gold, imitated with a
than all his imitators. Bramantino's chief excel- wonderful exactness. His pencil was light and
lence was in perspective, and his rules were in- spirited, and his lights and shadows were managed
serted by Lomazzo in his work out of respect to with wonderful intelligence. Towards the close
this distinguished artist. The Cistercian Fathers of his life he returned to Holland, and resided at
have a grand perspective in their monastery, re- Delft. The year of his death is not recorded.
presenting the Descent of Christ into Purgatory,   BRAMBINI, AMBROGIO, an Italian engraver,
which Lanzi characterizes as an admirable perform- who flourished about 1580. Among other works,
ance. Bramantino flourished in the first part of he executed a large plate, from a design of C. Du



BRAN.                     186                    BRAN.
chetti, signed Ambrosius Bram. F. This compo-   BRANDENBERG, JOHN, a Swiss painter, born
sition consists of a large number of figures, and is at Zug in 1660; died in 1729. He studied under
executed in a slight style, somewhat resembling his father, Thomas Brandenberg, an obscure artthat of A. Tempesta. The engraving is entitled ist. On the death of the latter, he was taken unBenedizione del Pontef, ce nella Piazza di S. der the protection of the Count of Ferrari, who
Pietro.                                         took him  to Mantua, where he was so much
BRAND, CHRISTIAN  HELTGOTT, a German pleased with the works of GiulioRomano, that he
painter, was born at Frankfort on the Oder, in commenced studying and copying them with great
1695. le painted landscapes in a style of excel- assiduity. On returning to Switzerland, he paintlence, and settled at Vienna, where he was much  ed some pastoral subjects in fresco, on the ceiling
employed, and where many of his works are to be of the concert-room at Zurich; and a number of
seen. His son, John Christian Brand, was born historical pieces for the churches and convents of
at Vienna, in 1722. He was instructed by his the Catholic cantons. He also painted several adfather, whom he far surpassed, and soon rose to  mirable battle-pieces.  His coloring is vigorous,
great distinction.  The Emperor Francis I. was his design correct, and his subjectswell composed.
so charmed with his talents, that he commissioned    BRANDI, GIACINTO, an Italian painter; born
him to decorate the walls of the Luxembourg cha- according to Pascoli at Poli, and others at Gaeta,
teau, and appointed him director of the landscape i 162, and died in 1691. He studied under Cav.
department in the Imperial Gallery. He attained  Gio. Lanfranco, and washis most celebrated scholgreat eminence, and was much employed at Vien- ar at Rome. He at first adopted his master's
na, where he resided during his whole life, and died moderate tone of coloring, the variety and contrast
in 1795. He was most distinguished for his truth  of his compositions, and his flowing pencil. Lanof coloring, as he made nature his sole model. He zi says that he wrought with great facility, and
often introduced figures into his landscapes, which  filed Rome and the state with his works; but his
he grouped with admirable taste and skill. His inordinate love of gain induced him to hurry his
principal works are: the Battle of Hochkirchen, works, and to neglect correctness of design, so
in the Imperial Gallery; the Four Elements, which  that he never arrived to that grandeur of style
he painted for the Marquis Mavi de G6nes; the which we admire in Lanfranco. He sometimes,
Chateau of Austerlitz, ordered by the Prince of however, went beyond himself, and produced some
Kaunitz; and the Market of Vienna, embracing  noble works, as in his St. Rocco of the Ripetta,
thirty pictures, which represent in an admirable and in the Forty Martyrs of the Stigmata at
style, the manners and customs of the people. Rome. His best works are said to be at Gaeta,
This artist has etched a few plates from his own where he painted in the Nunziata a picture of the
designs, in a spirited style.                   Virgin and infant Christ; ten Angels in the infeBRAND, FRED. AUGUSTUS, a Viennese painter rior part of the Duomo; and over the altar, the
and engraver, the brother of the preceding, born in Martyrdom  of St. Erasmus, bishop of Gaeta1730. He was a member of the Imperial Academy, works worthy of his master. He executed a muland painted several historical subjects and land- titude of cabinet pictures, most of them in a very
scapes which are favorably mentioned by German hurried manner.
writers. He studied engraving under Schmutzer,   BRANDI, DOMENICO, a Neapolitan artist born
and worked both with the graver and dry point.  in 1683, and died in 1736, who, according to Dominici, excelled in painting animals, which subThe Breakfast; after Torenvliet; F. Brand, fee. A  mini   excelled in painting animals, whih subView near Nuisdorf. View of the Garden of Schoenbrunn. jects he treated with great spirit and truthfulness.
Banditti attacking a Carriage. The Entrance to the Town   BRANDIMARTE, BENEDETTO, an Italian paintof Crems.
er born at Lucca, and who, according to Orlandi,
BRANDANI, FEDERIGO, a native of Urbino, was a good painter in fresco and in oil, and was
who died in 1575. He was a celebrated modeller considerably employed in painting for the churchof statuary in clay, which he glazed and baked so es. Lanzi mentions a picture by him, the Decolas to resist the action of the weather. He also lation of St. John, which he saw in the church of
made beautiful vases, and other vessels, of the  St. Peter at Genoa, which he characterizes as an
same materials. Lanzi, speaking of a Vase orna- indifferent performance, but admits that a single
mented with a group of the Nativity of St. Joseph, production is not sufficient to decide the merit of
says: " If we except Begarelli of Modena, it is an artist. He was still living in 1592.
doubtful if any one can be compared with him for
liveliness and grace in his figures, for variety and    BRANDING, OTTAVIANO, a Venetian painter
propriety of attitude, and for the natural expres- who flourished in the first part of the 15th centusion of the accessory parts; the animals, which ry. He was an eminent artist in his time, and
seem alive; the satchels and the key suspended; painted in competition with Gentile da Fabriano,
the humble furniture, and other things admirably  but none of his works are specified.
appropriate, and all wonderfully represented." He   BRANDMULLER, GREGORY, an eminent Swiss
was largely patronized by the princes and nobles painter; born at Basle in 1661. He studied unof the land.                                    der Gaspar de Meyer, an obscure artist. At the
BRANDEL, PETER, a talented German painter, age of seventeen he went to Paris, and studied unborn at Prague in 1668, according to Nagler; der Le Brun, who found sufficient ability in the
died at Kuttenberg, in 1739. He studied under young artist to instruct him to paint from his deSchroeter, and in four years surpassed his instruc- signs in the works he was engaged upon at Vertor. He painted with great facility, and had a sailles, which he completed much to the satisfacready invention. His works are principally in the tion of Le Brun. After gaining the prize of the
churches and public edifices of Prague and Bres- Royal Academy, he returned to Switzerland, and
lau.                                            was invited to the courts of Wurtemberg and Ba



BRAN.                       187                     BREB.
den Dourlach, where he met with great encourage- unimpaired. His drapery is good, his composition
ment.  One of his best works was a Deposition  tolerable; he selects difficult perspectives, and his
from the Cross, in the Church of the Capuchins at attitudes are bold. From his works we might proDornach.  His historical compositions were full nounce him rather the head of a new school than
of spirit and fire, and treated in a grand and ele- the follower of any other school. His Murder of
vated style.  His portraits also were highly es- the Innocents in the church of S. Agostino at Geteemed, which he was fond of painting with his- noa, and his St. Giovanni in the chapel of the Matorical accessories. Brandmuller is considered  donna de Savona, executed by the commission of
as one of the ablest painters of his day, and he  Cardinal della Rovere, in competition with other
would undoubtedly have had a brilliant career, artists, are highly praised.
had he not died at the early age of thirty, in 1691.
BREBES, J. B.~  a French engraver who execuBRANDT, ALBERT JONAS, a Dutch painter of  ed, among other works, several plates in a neat
still-life, born at Amsterdam in 1788; died in style for the work entitled Les Edifices de Rome,
1821. He studied under J. E. Morel, and after- after designs of Ant. Desgodetz, published in 1682.
wards under G. J. J. van Os. He painted dead  He also engraved several plates after Seb. Bourgame, fruit and flowers in a style of excellence. don and other masters.
In the Museum at Amsterdam is a vase of flowers                BREITT,                          p -
by this master, which is highly esteemed.              A                     PIE    a Fenc     nt
orB   ~ er and engraver, born at Mante on the
BRANT, N., a Dutch painter, was born at the                  Seine,in 1596. He is more particuHague.  He studied under G. Netscher, and paint- larly worthy of notice as an engraver.  He had a
ed several admirable works in the style of his good invention, and a pleasing, but spirited and
master, but died young.                            masterly style. He executed a number of plates,
BRAUVERE, PASCHATIUS DE, an engraver of  some of which are from his own designs.  The
little note mentioned by Bru]liot.  Among other following are the principal:
plates, he executed an etching in the style of Gui-          SUBECTS FROM  IS OWN DESIGNS.
do, representing the executioner placing the head    Peter Brebiette, Calcographus, in a Border, with two
of John Baptist in a plate held by the servant of  Angels. Francis Quesnel, Pictor, with two figure of
Herodias.  It is signed P. D. B. inv. etfec. 1631. Painting and Fame. A set of various subjects; inscribed
Opera diversa a Peter Brebiette inventa. 1638. The NaBRAY, SOLOM1ON DE, a Dutch painter of some tivity. The Adoration of the Magi; an unfinished plate.
merit, who lived about 1620, and executed a num- The Virgin Mary kneeling before the Infant, with two
her of portraits of the eminent men of his time. Angels. The Virgin, with the infant Jesus sleeping.
His son, Jacob de Bray, distinguished himself by  The Virgn, with the Infant crowned; Quesnel, exc. Sevhis fine drawings on vellum and paper, finished in  er St.nts kneeling before the Virgin. TheConverson
of St. Paul. The Martyrdom of St. Catherine. The Martyrblack and red chalk; they are much esteemed by  dom of St. Sebastian. The Combat of the Lapitha; a
the collectors. Van Mander says he was a repu- frieze. The Death of the Children of Niobe; the same.
table historical painter, and speaks in high terms 1625. Thetis at her Toilet; a frieze.' Sacrifice to Ceres,
of a picture by him at Amsterdam, of David play- the same. Orheus surrounded by Animals. Four ova
ing before the Ark, wih a numbr of Prie.     p lates of the Seasons. Ten friezes, of Bacchanalian subing before the Ark, with a number of Priests. He         Twelve friezes, of ditto; after various master
ects. Twelve friezes, of ditto; after various  masters'
also executed a small portrait of his father on  four friezes, of Marine Gods.
wood, in a very spirited manner, dated 1664. He              SUBJECTS AFTER VARIOUS MASTERS.
died in 1680.
The Holy Family, with St. John.; after RafaeZle. AnBRAZZE, GIo.' BATTISTA, called IL BIGIO, a other Holy Family, with St. John; after A. del Sarto.
Florentine painter who was a pupil of Empoli, and  The Martyrdom of St. George; after P. Veronese. Paraflourished  in the middle of the 16th century. Bal- dise; a grand composition, in two sheets; after Palma;
flourished in the middle of the 16th century. Bal- fine.
dinucci says that he painted caprices with surpris-   BREDA  ALX                     a Flemish painter
ing skill, of which he says he was the inventor;  Rwho l          AL ntwerp abot, a Fle nd painted
but prior examples may be found in the Milanese Ioan l  a               Antwerp abi ot,  and pawith figures
school.  These pictures at adistance appeared like Itan adscape  fairs, nmarkets with fgures
human figures, but a near approach showed them and cattle, which were much esteemed.
to be composed of different sorts of fruit or other    BREDA, JOHN VAN, a Flemish painter, the son
materials artfully arranged.  In the American  of Alex. Breda; born at Antwerp in 1688: died
Museum is a picture which gives a good idea of  in 1750. He studied under his father, but followed
this sort of painting.  It appears like a portrait the style of Wouwerman, whom  he copied with
or head at a distance, but a closer inspection shows the most servile imitation, though the gaudiness
it to be a mass of Cupids, two forming the ears, of his coloring stamps him far inferior to that adthe posterior of one the nose, and two the chin, mirable artist.  He visited England with Rys&c.                                                brack the sculptor, where his pictures were quite
BREA, LUDOVIOO, a painter of the Genoese popular; and after a few years he returned to
school, and a native of Nizza. It is not mention- Antwerp, well compensated for his exertions.
ed under whom he studied, but Soprani says he  When Louis XV. entered Antwerp in 1746, he
resided at Genoa from 1483 to 1513, and executed  wa pleasedwith the works of Breda, and ordered
many works for the churches.  Lanzi says his four of them to be purchased for him, which exworks are still common at Genoa and in the State, ample was followed by many of the attendant
and that in point of taste he is not equal to the  courtiers, who engaged all the pictures he could
best among his cotemporaries in other schools, as paint, and liberally rewarded the artist.
he employed gilding, and adhered to the old dry-   BREDAEL, PETER VAN, a Flemish painter, born
ness of design; yet his style yields to few in the  at Antwerp in 1630. He painted small landscapes,
beauty of his heads and the brilliancy and vivid- with figures neatly touched and well colored, in
ness of his coloring, which still remains almost the style of John Breughel. He passed several




BREE.                      138                     BREM.
years in Spain, where his works were much es- taking of the style of that master and that of Remteemed. It is supposed that he visited Italy, as brandt. His heads have a very natural air, his
he often introduced into his landscapes vestiges touch is very light and spirited, and his chiaroof architecture in the vicinity of Rome. In 1689  scuro is managed with great intelligence.  His
he was elected director of the Academy at Ant- works represent Dutch cottages, with figures, and
werp.                                             are highly esteemed in Holland.
BREE, MATTHEW IGNATIUS VAN, a reputable    BREMDEN, D. V., an engraver of little note.
Flemish painter, born at Antwerp in 1773; died in  He executed a number of plates in a neat but
1839. He studied under W. Schaeken; was first tasteless style; among which is a print of Ladies
professor of the Academy at Antwerp, and mem- and Gentlemen at an Entertainment, after de Vlieber of several scientific establishments. He exe- ger; and several plates, after A. Vander Venne.
cuted many historical subjects, which are of a    BRENTANA, SIMONE, a Venetian painter, born
large size. His pencil was light, free, and spirit- in 1656; died in 1726; resided chiefly at Verona.
ed, his compositions graceful, and his conceptions He formed to himself a style combining the fire
poetical.                                         of Tintoretto with something of the grandeur of the
BREE, PHILIPPE JACQUES VAN, a Flemish paint- Roman school. Most of his pictures are in the
er of historical, fancy, and architectural subjects; palaces and churches of Italy.  One of the finest
born at Antwerp in 1786; died in 1840. He stud- is in S. Sebastiano, at Verona, representing the
ied under his brother Matthew.  He painted, martyrdom of that Saint, crowned by an Angel.
among other works, a view of the interior of St.   BRENTEL, FREDERICK, a German miniature
Peter's, purchased by the Belgian government, painter and engraver; born at Strasburg in 1590;
who honored the artist with a gold medal, in ad- died in 1651. His works have been attributed to
dition to theprice of the work.                   Fraecs Bra,  koM S]r3iked fei' 1f50 tf  IS&g,
R  Ca orT    BREEMBERG, or BREENBERG, as appears by the dates of his prints. Brentel
J.ID.BARTHOLOMEW, an eminent Dutch  executed a set of plates from his own designs, in a
painter, born at Utrecht in 1620; died at Rome, light, spirited style, for abook published at Nancy
according to Zani, in 1663. He was very indus- in 1608, entitled " The Pompous Parade at the Futrious, and was considered one of the most promis- neral of Charles III., Duke of Lorraine."  His
ing artists of his country, even before his depart- monogram is also found on a series of landscapes
ure for Italy, where he lived nearly all his life. ornamented with subjects of history and rich borThe taste of Breemberg was entirely of the Ro- ders, dated 1617 and 1619.
man school, without the characteristic vulgarity  BRESANG,   German
of his country; he embellished his landscapes                         engraver, who  lived  about
with historical subjects, choosing the most delight- 1513. He was cotemporary with Hans Baldung;
ful views near Tivoli, Frescati, and Albano. He their style bears the closest resemblance, and they
mostly painted in a small size, his larger works used the same monogram (see Baldung). His
being less successful. His coloring is very agree- prints  e  hiefly wooden cuts, though Brulliot
able, and his figures touched with great freedom  mentions several copper-plates. The following are
and spirit. He has etched several plates from his his prinipal prints:
own designs in a very spirited manner. They are
greatly valued, and good impressions of them  are   Christ bound to the Pillar, with the cipher 1504. The
scarce. His prints are usually marked with one  ed    rist with te suMaryed by Andead  Christ stretch
ed on a linen, and supported by Angels. Christ and the
of his monograms or his initials, and an F. for Twelve Apostles. 1519. The Three Fates, 1513; very
fecit, thus: B. B. F. The following are the prin- scarce.
cipal:                                              BRESCIA, FRA Gio. MARIA DA, a painter and
Twenty-four of Landscapes, with Ruins. Figures, and engraver of Brescia, born about 1460. He was
Animals; inscribed, Verschien verfallen Gebouden, with  originally a goldsmith, but studied painting and
his portrait. Another set of Twelve; entitled Antiquities engraving for some time, after which he joined the
of Rome. A Landscape; marked with his cipher. Jo- engraving for some time, after whichhe joined the
seph delivering Corn in Egypt; inscribed Erat fames, order of the Carmelites at Brescia, and painted
&c  * B. B F. The Martyrdom of St. Lawrence; same several pictures for the church of his monastery,
mar.                                              and some frescos in the cloister, representing subBREEN, GISBERT or CLASS TAN, a Dutch en- jects from the history of Elijah and Elisha. The
graver, who lived about 1600. His plates are following are his principal plates:
somewhat in the style of James de Gheyn, and   The Virgin and infant Jesus, the Virgin holding a Book.
have some merit, though by no means equal to  The Virgin and Infant in the Clouds; a circular plate,
those of that master. The following are the prin- with a Latin dedication and his name; Fr. Jo. Ma. Brix.
cipal                                             Carmelita dicarit. M.D.II. St. Gregory resuscitating a
Youth; inscribed opus Fr. Jo. Marice Brixensis or. CarThe Portrait of James I., with the Queen and Prince of melitarum. M.CCCtC. II. The History of the Emperor
Wales. Six, of subjects, of the Lives of young Libertines; Trajan; on a Balcony at the upper part of the plate is
C. V. Breen, f. A Woman carrying a Basket of Eggs to seen the Pope, and the words Divus Gregorius; and at
Market, with a Man with a Basket of Fowls; after  lass the top opU8 Fr. is Jo. iMaric Brixensis or. Carmelitarum.
Cock. A Man and a Woman walking, followed by a Fig- M.CCCCC. II.
ure of Envy; do. An Ass that is washed, recompenses    BRESCIA  FRA RAFFAELLE DA, a painter of
the trouble by kicking and biting; C. van Mander,RESCIA,   A   AA E  A, a                painter 
G. v. Breen, sc. Two young married persons dissipating  the Venetian school, who according to the Guida
their Dower; do. The Companion, representing them re- da Bologna was born at Oliveto in 1479, and died
duced to Misery; do. A Concert; after Sbrasen.    at Bologna in 1539, and who adorned the choir of
BREKELENKAMP, QumIINs, a Dutch paint- the church of S. Michele in Bosco, at Bologna,
er, who lived about 1650. He studied under Ge- with some excellent works.
rard Douw, and formed to himself a manner par-   BRESCIA, Gio. ANTONIO, an Italian engraver.




BRES.                     139                    BREU.
probably the brother of the preceding. His plates evince an elevated design, and his outlines were
are exactly in the style of Andrea Mantegna; in- perfect, without impairing the solidity of the struccorrectly drawn, but in a more neat and finished ture. He also practised sculpture for amusement.
manner than the works of that master. There About 1621, he erected several important edifices
are many artists of this name; Zani mentions at St. Omer; and at Mons, in 1684, he built the
thirty:                                         superb monastery for the Monks of St. Julian.
The Virgin suckling the Infant Jesus; Jo. An. Br. The   T    BREUGHEL, ABRAHAM, the Neapolitan, a
Virgin adoring the Infant, St. Joseph sleeping; same   D   Flemish painter,born at Antwerp in 1672.
mark. The Scourging of Christ;s were fowers and fruit, which he
His subjects were flowers  and fruit, which he
1503. (There are second impressions of this plate; dated
1509.) Hercules and Anteus; Jo. An. Bx.  Hercules treated in an admirable style. He was called the
strangling the Lion; inscribed D. Sere, invicto. A naked Neapolitan, from his residence at Naples, in which
Woman and Child, with a Satyr playing on a Pipe; mark- city are the greater part of his works. He died,
ed 1507; Jo. An. BX. A white Horse, the same as that according to Balkema, in 1710.
engraved by A. Durer I/ A. Brix. 1505. A grotesque;
below, a Satyr and a Woman; inscribed, Victoria Au.   BREUGHEL, JOHN, called VELVET BREUGBHEL,
gusta; Jo. An.                                  an eminent Flemish painter, born at Brussels in
BRESCIA, LEONARDO, a Ferrarese painte, who  1665; died in 1642. He was the son of Peter
lived about 1530. Barotti mentions a number of Breughel, the elder. At the age of five years, he
pictures by him in the churches and convents of lost his father, and was reared by his grandFerrara; the best of which are the Assumption, mother, the widow of Peter van Aelst. He comin the church of 11 Gesu; the Annunciation, in the menced miniature painting, but afterwards studied
Madonna del buon amore; and the Resurrection, oil painting under Peter Goekint. It is said that
in S. Monica.                                   he was called Breughel de Velours, or Velvet BreuBRESCIANO, or BRESCIANINO, a reputable ghel, from his habit of dressing in velvet; though
Italian historical painter, in oil and fresco. Heit is more likely thathewas called Breughe de
was a native of Brescia, and studied under Lat-  Vlours, from  being an eminent flower painter.
tanzio Gambara. Cozzando says he flourished His subjects at first were fruit and flowers, and in
about 1580.                                    these he gained considerable distinction; but on
visiting Italy he commenced painting landscapes
BRESCIANINO, DELLE BATTAGLIE. See Gio. with small figures, correctly drawn, and touched
MONTE.                                          in a very spirited and artistic manner. On returnBRESCIANINO, ANDREA DEL, a native of ing to Flanders, his works were held in the highSiena, who, along with his brother, according to  est estimation, and he was even solicited by RuDella Valle, executed some pictures in the church  bens to paint the landscapes in many of his easel
of the Olivertine Friars, at Siena, about 1520. pictures. One of the best specimens of their comVasari also calls him a pretty good master.     bined talents was a picture of Adam and Eve in
BRESCIANO, VIan ZIO. See          Paradise, in which they displayed their greatest
BRESOIANO, Vi io. See FoPA.       excellence. The picture was in the collection of
BRETEUIL, OOMTE DE, a French nobleman, the Prince of Orange, but was taken to Paris by
who was a great amateur artist. Basan says he the French. Breughel's Views in Flanders are
etched several plates after Berghem, and other faithful in the highest degree; every object being
masters.                                        drawn and painted with the greatest accuracy to
BRETHERTON, JAMES, an English engraver nature. He painted the landscapes in the pictures
of little note, who lived about 1770.  He had a of van Balen, and executed small figures with such
son named Charles Bretherton, born about 1760, neatness and precision, that he was solicited to orwho executed several portraits and landscapes of nament with them the landscapes of Momper, and
some merit. He died in 1783.                    the churches of Steenwyck. He also etched four
BREUCK, JACQUES DE, called the Elder, an small plates,   ked J.          er, e
eminent architect and sculptor, was a native of   BREUGHEL, PETER, the Younger, a Flemish
Mons; in Flanders, according to Boussu, and flour- painter, brother of the preceding, probably born
ished about 1540. He acquired the elements of in 1569; died in 1625. He was called Hellish
art in his own country, and then went to Italy for Breughel, from the character of his subjects.
improvement. On his return, he was appointed    BREUGHEL, PETEI, the Elder, called the
architect to the queen dowager of Hungary, for DROLL, from his whimsical subjects, an eminent
whom he erected the famous palace of Binck, and Dutch painter, the son of a peasant, was born at
the chateau of Marimont. In 1539, he erected the Breughel, near Breda, in 1510, and died in 1570.
magnificent chateau near the city of Mons, for He studied under Peter Koeck, but seems to have
the Comte de Boussu, which he decorated with an imitated the works of Jerome Bos, rather than
admirable collection of works of art. As a sculp- those of his instructor. On leaving Koeck, he
tor, he executed many statues, bas-reliefs, etc., to  went to France, and afterwards to Italy, where his
adorn the edifices which he erected. For the chief studies were the sublime scenery of the Alps.
church of S. Waudru, at Mons, he executed  On returning to Flanders, he settled at Antwerp,
several statues, and some bas-reliefs, representing  and was elected a member of the Academy in
the Last Supper, the Flagellation, Christ bearing  1551. His subjects were attacks of banditti in
his Cross, etc. This artist was the instructor of wild landscapes, gipsies telling fortunes, and the
ea Boulogne. Time of his death not re- pleasures of the peasantry. He often assumed the
habit of a peasant, for the better observation of
BREUCK, JAcqUEs DE, a reputable Flemish ar- his favorite subjects, and in these, he is only surchitect, born at Mons, or at St. Omer; for writers passed by D. Teniers. Breughel has also etched
are disagreed as to his birth-place. His works a few plates, among which are the following:




BREU.                      140                     BRIN.
A large plate of a Kermess, or Village Festival. An- chords. The fame his brother acquired in Italy,
other subject of Peasants regaling; inscribed  irmes  inspired the young painter with a laudable ambiBaspired the young painter with a laudable ambiBarth. zMum/per exo. The Feast ofthe Archers, with their  and he secretly left his home and set out for
Banner flying from the Window of an Alehouse; inscribed tion,   secretly let his home an  set out for
Dit isde Gutde, &c. A Masquerade known by the name Italy. Passing through France, he was compelled
of Valentine and Orson, with his name, and dated 1566; to remain at Lyons to recruit his exhausted finanscarce. A View on the Rhine, with the subject of Daedalus ces by the practice of his profession; which being
and Icarus; Petrts TBreugXel, fecit, Roma, 1553. Lxcud. Hondius. Another view on the Rhine, with the accomplished, he at length reached Rome and
subject of Mercury and Psyche; same mark.        placed himself under the tuition of his brother,
BREUKELAAR, HENRI, the Younger, a Dutch  whom he assisted in his works in the Vatican. He
painter, born at Amsterdam in 1809. He studied  adopted a pleasing style, founded on that of Titian,
under 0C. and J. A. Kruseman, and painted the  and soon rose to eminence. On the death of his
picture of Van Spyck at the tomb of De Ruyter,  brother, the pension of the Pope was continued to
which was highly esteemed. He bid fair to attain  PauBril. Baglioni says he was engaged, on the
eminence, but died in 1839, at the early age of 30. accession of Sixtus V., to execute some considerable works in S. Maria Maggiore, in the Sistine
BREYDEL, CHARLES, a Flemish painter, born  chapel, and in the Scala Santa, in St. John of Latat Antwerp, in 1677, died in 1744. He studied  eran. He also painted several admirable easel picunder Rysbrack, the landscape painter, with whom  tures of landscapes, embellished with the inimitahe remained three years. He afterwards went to  blefigures of Annibale Caracci. His greatest work
Germany, and was for some time employed by the however, is in the Sala Clementina, painted for
Prince of Hesse Cassel; after which he visited  Clement VIII. It represents a sublime landscape,
Holland, where he painted Views on the Rhine, in sixty-eight feet wide, in which is introduced the
the style of Griffier. He also executed attacks of subject of St. Clement, with an anchor fastened to
cavalry and other battle pieces, painted with great his neck, and about to be thrown into the sea. The
spirit and ingeniously composed.                 works of this admirable artist are extremely scarce,
BRIARD, GABRIEL, a French painter, was a na- and are highly valued throughout Europe. He
tive of Paris, and studied under Natoire. In 1749 has etched several landscapes in a spirited and
he gained the grand prize of the Royal Academy, masterly manner, of which are the following:
and was consequently sent to Italy with the royal   Four Landscapes in the set, by Nieulandt. Two Landpension. He remained there several years, study- scapes; marked Paulus Bril, inv. et fee., &c. A View in
ing the works of the great masters, and on his re- the Campagnia, with ruins; P. BrilZ,fec. 1590. Another
View in the same; the companion.
turn was elected a Royal Academician on which         n t  s     t 
occasion he painted Hermione among the Shop-   BRINCKMAN, PHILIP JEROME, a  German
herds, as his reception-piece. His design was very painter and engraver, born at Spires in 1709. He
correct, and his works were executed with great studied under J. G. Dathan, and painted landfacility, but he was not a good colorist. He prac- scapes, history and portraits; in several of the
tised the art at Paris with reputation, and died in  latter he imitated the force and coloring of Rem1i77..brandt.  He was painter to the court of Mentz, and
BRIDAN, CHARLESL ANTOINE, a distinguished  keeper of the Gallery in that city. He has etched
French sculptor, who flourished in the latter part a few plates in a spirited manner, of which are
of the last century, born at Rivi6re, in Burgundy. the following:
When a child he evinced a great inclination for   Philip Jerome Brinckman; se  sefee. David with the
art, and he was sent to Paris, where he devoted  Head of Goliah, 1741. The death of Pyramus. The Repose in Egypt; Rembrandt, inv., Brinckman, fee  The
himself to sculpture, and after obtaining several Resurrection oyp  LazaBrus; dtBrinma, v    infee.  aery M
medals, he bore away the grand prize at the age dalene at the feet of our Saviour. Christ and the Samaof 23. He then went to Rome, with the royal ritan Woman. The Presentation in the Temple; P. J.
pension, and remained there three years, studying  Benckman, iv. et fec. Six pleasing Landscapes; Ph.
the models of antiquity with great assiduity. In  Brick. del. et fec.
1764, he returned to Paris, and presented to the   BRINI, FRANOEsco, an Italian painter of the
Academy his marble group of the Martyrdom of 17th century, of whom  little is known. Lanzi
St. Bartholomew. In 1772 he was elected an  says there is an' excellent picture by this artist,
Academician, and shortly afterwards was chosen  representing the Miraculous Conception, at VolProfessor of Sculpture. He executed a number of terra, but of his country or school, he is ignofine works, among which are his statues of Vau- rant.
ban and Bayard, in the Gallery of the Tuilleries;   BRIOSCO, ANDREA, called Riccio  an Ialian
and his Vulcan in the garden of the Luxembourg. architect, was born at Padua, and flourished, acHe died at Paris in 1805.                        cording to Milizia, about 1500. His principal
BRIL, MATTHEW, a Flemish painter, born at work was the grand church of S. Guistina, which
Antwerp in 1547. He visited Italy in the time he erected about 1500, in concert with Alexander
of Gregory XIII., who employed him to paint Leopardo, a Venetian architect. This work is one
several landscapes in fresco, in the Loggia of the of the most sumptuous and magnificent structures
Vatican, and settled a pension upon him for life. in Italy, and gained Briosco great reputation. He
He would probably have attained considerable was also a sculptor of considerable ability, as is
eminence as a landscape painter, had he not died evident from the great candelabra, supported by
in the prime of life in 1584, aged 37.           Evangelists, at the altar of S. Antonio, at Padua,
BRIL, PaL,, an eminent Flemish painter, the for   ich he was honored with a gold medal.
brother of Matthew, was born at Antwerp in 1556,   BRIOT, J., a French engraver, who has execu
and died at Rome in 1626. He studied under ted a few plates in the style of Wierix.  They are
Daniel Wortelmans, an obscure artist, and was at of his own composition; rather neatly executed,
first employed in ornamenting the cases of harpsi- but incorrectly drawn: Seven plates of the Vir



BRIO.                       141                      BROE.
tzes. A set of small circular plates of the Sibyls.   A large Landscape, from his own design. St. Roch; afA set of plates for Ovid's Metamorphoses.          ter Parmeggiano. The Holy Family; after Correggio.
The Return out of Egypt; Lod. Caracci. A Portrait
BRIOT, A., a French engraver, who flourished  of Cinthio Aldobrandini; after L. Caracci. A Frontisin the latter half of the 17th century.  Among  piece; inscribed Eplicatione de sacrolenzuolo. 1599;
e co.;scarce. Another Frontispiece; inscribed Tempio
other plates, he engraved a set of different habili- al Cardinale Cinthi Aldobrandini. 1579; do. Another
ments, from designs of St. Igny.                   Frontispiece, with the Arms of the Duke of Modena, and
in the middle some Children; do. 1594; very scarce. St.
BRISSART, P., a French engraver, who flour- Francis kneeling, holding the infant Jesus,and theVirished about 1670. Among other plates, he etched  gin Mary in the Clouds; do. The Virgin Mary crowned,
a birds-eye view of the royal palace at Vincennes, with the infant Jesus, and two Angels; after L. Caracci.
from  his own design, in a slight neat style, but The greatSt Jerome; the plate left imperfect by Agoswithout much effet. He also engraved several tino Caracci, finished by F. Brizzio. Christ and the
without much effect. He also engraved several Samaritan Woman; after Ag. Caracci. 1610. A Blind
plates from the works of Jean Baptiste Santerre.  Man led by a Dog; after Annibale Caracci.
BRISEUX, CHARLES ETIENNE, a French arch-   BROECK, CRISPIN VANDER, a Flemish painter
itect, born about 1680, at Baume les Dames, in  and engraver, was born atAntwerpin1524, accordFranche Comte.  He is more distinguished for the  ing to Zani; and died, according to Balkema, in
works which he published, than for the edifices he  1575, though Brulliot says he died at the age of 71.
erected. In 1728 he published Traite d' Architec- He studied under Francis Floris, and painted histure Mioderne, 2 vols., 4to.; in 1743, Traite d' Ar- tory with considerable reputation. He is also said
chitecture dans le gout Moderne, 2 vols., 4to.; in  to have distinguished himself as an architect, but
1743, I'Art de batir les Maisons de Campagne, none of his works are mentioned. There are a
2 vols., 4to.; in 1752, Traite du beau essentiel number of prints by Broeck, which are much esdane les Arts, applique particulUrement d I'Arch- teemed. He engraved both on wood and copper,
itecture, followed by another work entitled Traitg  and marked his plates with a monogram composed
des Proportions Harmoniques, 2 vols., and 1 fol. of the letters 0. V. and B. The following are his
vol. of plates accompanying it. All these are works principal prints, of which the wooden cuts are
of great merit.  Brieux died in 1754.              scarce; they are marked with his cipher:
BRIXIENSIS. See BRESCIA.
BRIZE, CORNELIUS, a Dutch painter of still-           C.               or   \          5
life, born at Haerlem in 1635; died in 1679. His. 
talent lay in the representation of bas-relief and                    COPPER-PLATES.
armor; also musical instruments, papers, volumes   Seven of the Creation, with Latin inscriptions. Another
lying open, etc., which he executed with most ad- set of nine of the Creation. Nineteen of the Life of the
mirable fidelity.                                  Virgin. The Crucifixion; in a border ornamented with
the Instruments of the Passion.
BRIZZI, SERAFINO, a Bolognese painter, born
in 1684, and died in 1737. According to Zanotti,                      WOODEN CUTS.
he was an eminent artist, and employed as a court   The Annunciation; a circular print.  The Visitation;
Lnz   *.s ame. The Adoration of the Shepherds; same. The Adopainter of public festivals, &c.; and Lanzi says ration of the Magi; same. The Circumcision; same.
there are many grand perspective pieces in oil byNDE, te d                                      r of
this artist in Bologna and other cities.             BROECE, BARBARA VANDE, the daughter of
this artist in Bologna and other citis.       Orispin vander B., a Flemish engraver of some
BRIZIO.  See AMBROGI.                           lmerit, was born at Antwerp in 1560. She exeBRIZZIO, FILIPPO, a Bolognese painter, the cuted a number of plates entirely with the graver,
son of Francesco Brizzio; studied under Guido, which she handled with great ability; and in some
and executed a picture in the church of S. Guili- of her works, particularly that of the Last Supper,
ano, at Bologna, representing that saint crowned  she imitated the style of Martin Rota, among
by angels; also an  altar-piece in  S. Silvestro, which are the following:
representing the Virgin, with Saints.                The Holy Family, with Angels; marked with the cipher
BRIZZIO, or BRICCIO, FRANCEScO, a distin- of her Father, and signed B. Filia, sc. Samson and Deliguished Bolognese painterand engraver, was born  lah; Crispin,; B. fecit.  The Last Judgment; Barbarafilsa Crisi~ni, sc.; H. Hond., eec.  Mandonia prosin 1574, and died in 1623. Until the age of 20, trating herself before Scipio; Barbara, fe. Venus and
he was employed as a shoemaker's boy; but his Adonis; B.fil., fee.
strong inclination for art induced him  to place:imself under Passerotti, from whom he acquired    BROECK, ELIAS VANDER, a Flemisll painter,
sknowledge of design. e      aft erwards entered  born at Antwerp in 1657; died in 1711. He studled under Abraham Mignon. His subjects were
the academy of the Caracci, and became one of ied under Abraham Mignon. His subjects were
their most eminent disciples.  He painted history, fruit and flowers, in which he was tolerably suctheir most eminent disciples. He painted history, cossful, though he never approached the.excellence
architecturalviews, perspective, andlandscape, and  of     th   h he n      a      hd h 
in the three latter branches he surpassed all his
fellow disciples. He approached Lodovico more    BROERS, a Dutch painter.  His subjects were
closely than any other artist.  He gained great the pleasures of the peasantry, which he executed
reputation for the grace and beauty of his cherubs, with great truth, life, and humor.
and Guido said that in this he even surpassed Bag-    BROGNIART, a Parisian architect, who denacavallo.  Brizzio was instructed in engraving by  signed the celebrated Bourse, or Exchange, which
Agostino Caracci, and he is said to have forwarded  consists of a parallelogram, about 160 feet wide by
some of the plates of that master. His plates are 263 feet deep, surrounded by a handsome Corinnearly equal to those of Agostino in point of exe- thian colonnade on all its four sides, raised upon a
cution, but they are greatly inferior to them  in  very lofty pedestal. The simple and noble arrangecorrectness of drawing and beauty of expression. ment of the interior commands the highest praise;
The following are the principal:                   a very grand hall is in the centre, 100 feet long




BROM.                       142                     BROS.
by 60 feet wide, surrounded by two stories of  chantress, after Murray. Return out of Egypt; after
spacious arcades, and covered by a vaulted roof.  Rubens. Moonlight, a Sea-piece; H. Ioblell, pinx.; R.
Brookshaw, fee. 1772. A Storm at Sea; do.
BROMPTON, RICHARD, an English portrait              a
painter, who studied under Benj. Wilson, and          i          BROSAMFR, HAYs, a German
afterwards went to Rome, where he received in-                   engraver on copper and wood, born
structions from Mengs. When Lord Northampton                      at Fulda  about 1506.   He  is
went ambassador to Venice, he was accompanied                     ranked among the little masters,
by Brompton; who, while there, painted the from the size of his works. His prints are someportraits of the Duke of York, and others of Eng- what in the style of Aldegrever, though much
lish nobility, in one piece. He subsequently re- inferior to those of that master. The following
turned to England, but not succeeding as he ex- are the principal; some are marked with his name,
pected, he went to St. Petersburg, where he died  oters with his monogram:
in 1790.                                                            COPPER-PLATES.
BRONKHORST, JonH  VAN, a Dutch painter,   The Portrait of Martin Luther. The Portrait of John
born at Utrecht, in 1608. He studied under John  II, Abbot of Fulda.  Samson and Dalilah; Johanne
Verburg, a painter on glass. He executed the  Brosamer Fulda degens faciebat, 15 H. B. 45. David
splendid windows of the new church at Astee.and Bathsheba. Solomon and his Wives worshipping the
splendid,Windows Ot the new church at Amster- Idol. 1543. Xantippe riding on Socrates. Laocoon and
dam, which, with many other works, gained him  his Children. 1538. Marcus Curtius leaping into the Gulf;
great reputation. When thirty-six years old, he circular. 1540. The Judgment of Paris. The Crucifixmet C. Poelemberg, and immediately relinquished  ion; Jo  Brosamer Fuldcee degensfacebat, 1642; fine.
his former pursuit, to follow the branch of oil-                     WOODEN CUTS.
painting.  In the church above mentioned are   Theophrastus Paracelsus; H  B. 1540. A Stable, with
three excellent pictures by him: The Triumph of a Horse, a Man sleeping, and a Woman holding a lighted
David over Goliah; the anointing of Saul; and  Torch; very scarce. The great Procession of the Christian
and Pagan Heroes on Horseback; in seven sheets; very
Saul's attempt to kill David. Bartsch enumerates scarce, and often attributed to Burqkmair. A set of woodeighteen prints by this artist. He died, according  en cuts chiefly copied from the work by Holbein, publishto Zani and Nagler, in 1680; though Balkema ed in 1547; entitled Bibla veteis testamenti artificiosis
says in 1659.                                     picturis effgiata. Franckfort, 1552.
BRONKHORST, PETER VAN,, Dutch painter,   BROSSE, JAcQUEs DE, an eminent French arborn at Delft in 1588; died in 1661. He excelled  chitect who flourished, according to Milizia, durin painting interiors of public edifices, which he ing the regency of Mary de Medicis. He designed
decorated with historical figures. In the Council- the famous palace of the Luxembourg, in which is
Chamber at Delft are two fine paintings by him, united extent, solidity, and beauty. It was comrepresenting the Judgment of Solomon, and Christ menced in 1615, and finished in 1620, and is one
driving the Money-Changers from the Temple.    of the finest edifices in Paris. He also erected a
number of other good works, among which is the
BRONZINO, ALESSANDRO  and  CRISTOFANO. aqueduct of Areueil, which gained him great repuSee ALLOBI.                                       tation. He designed the facade for the palace of
BRONZINO, AGNOLO, an eminent Florentine St. Gervais, and erected the great vaulted hall in
painter, born in 1511; died in 1580. He was the the palace of Justice, at Paris. In 1643, he pubfavorite scholar of Jacopo Carrucci, whom he as- lished La compte des Pierres, of Desargue; and in
sisted in some of his important works, particularly  1665, a treatise on Perspective.  The time of his
in the chapel of S. Lorenzo, in Florence, which he death is not recorded.
was employed to finish after Carrucci's death., His   BROSTERHURST, JOHN, an engraver of litworks are at Florence, Pesaro, and Pisa; among tle note, probably a native of Holland. He executhem is a Nativity at Florence which is highly ex- ted a number of prints in a tasteful and pleasing
tolled; also a Venus embracing Cupid, attended  style, among which are a set of six prints, repreon one side by mirthful Loves, and on the other senting landscapes, views of villages, &c., signed
side by Jealousy, Fraud, etc. His design was Joann. Brosterhurst, Praedia.
granmd and he imitated Michael Angelo. Bronzino
also excelled in portraits, and painted Petrarch,   B;   r  about T        S26, and probably studied
Boccaccio, and Dante, besides many other illustri- eng raver; borI about 1726, and  prob ably studied
ous men of his time.                              under Wagner. He executed a number of plates,
among which are the following:
BROOKING, M., an English marine painter, among which are the   llowing:
~BROOK M, an English marine pPortrait of Pope Benedict XIV.; an ovalplate. A Vigborn about 1720. He had some situation in the         P    ortrait   ofedict XIV. St. Theresa
nette, with the Portrait of Benedict XIV. St. Theresa
dock-yard at Deptford, and having a taste for in adoration. A set of twenty Views in Venice; after
drawing, applied himself to painting marine sub- Canaletti. 1763. Another set of twelve large plates; do.,
jects. Having the boundless sea constantly before with the Ceremonies of the Election of thel)oge, and his
him, his works exhibit a truth to nature which no  marriage with the Adriatic.
previous English artist had ever equalled.  He    BROWER, or BRAUWER, ADRIAN, a Dutch
lived, however, in obscurity, and died in 1759.    painter of extraordinary ability, born at Haerlem,
BROOSHAW   RIHA     an English mezzo-in 1608. His parents were extremely poor, and
tinto engraver, who lived about 1770, and execu-his mother sldto te peasants bonnets and handted a number of portraits and other subjects, after kerchiefs, which the young Adrian painted with
Reynoldsanubr   o and  other  bmastersf    flowers and birds.  These attempts were iioticed
by Francis Hals, a distinguished painter of HaerLouis XVI., King of France. Marie Antoinette of Aus- lem, who offered to take the young artist into his
tria, Queen of France. A half-length Portrait of a youngsch  whsa              adacpted    al
Lady holdin  a Vase; after S   Josua   yno.    school which proposal was gladly accepted. Hals,
Lady holding a Vase; after Sir Jos~ha.,&nogits.  k
Portrait of General Paoli. James Bouverie, Son of the on discovering his superior genius, separated him
Earl of Radnor; after Sir Joshua Reynolds. The En- from all his companions, and locked him up in a




BROW.                       143                     BROW.
garret, that he might profit by his talents, The    B"ROWN, MATHER or MATTHEW, an English
pictures of Brower sol readily at high prices, but painter, who lived about 1795. He painted the
the avaricious Hals treated him with increased se- portraits of Cornwallis, and other English officers
verity, lest he should become acquainted with the  of his time; also several historical subjects, from
value of his talents, and leave him. This cruelty  the events of the war in India with Tippoo Saib,
excited the pity of Adrian van Ostade, then a pu- and from scenes in Shakspeare. He died in 1810.
pil of Hals; and he found an opportunity of ad-   BROWN, ROBERT, an English painter, who
vising Brower to make his escape; which the lat- studied under Sir James Thornhill, according to
ter effected and fled to Amsterdam. Soon after Lord Orford, and assisted him on the cupola of St.
arriving in that city, he painted a picture of Boors Paul's. On leaving that master he painted a
Fighting, which he gave to the landlord of the inn  number of pictures for the London churches,
where he lodged, and requested him to sell it. among which was the altar-piece of St. Andrew
The host soon. returned with one hundred ducats, Undershaft.
which he had received for the work. The artist 
was amazed at such a result of his labors, but in-   BROWNE, JoN, an eminent English landscape
stead of exerting his wonderful talents, he plunged  engraver, born at Oxford in 1719. He executed a
stead of exerting his wonderful talents, he plunged number of plates in a masterly style, after the
into a course of dissipation. This natural propen-         o p         a masterly  style, after the
sity to alternate work and indulgence marked his greatt. The follow            the wre incipa d 
whole life, and involved him  in many extraordinary adventures. When the States-General were   A Landscape, with a Sportsman; after G. Poussi in
at war with Spain, Brower started on a visit to  the Houghton collection. A Kitchen; after Teiwers. The
Cottage; after Hobbema. 1778. The Wagoner; after
Antwerp, whither his reputation had already pre- Rubens.  1776; fine. A Landscape; do.; from a picture
ceded him.  Omitting to provide himself with a in the collection of the Duke of Montague. The Market;
passport, he was arrested as a spy and confined  do.; from a picture in the royal collection. The Milkin the citadel, where the Duke d'Aremberg was            do. The same subject; engraved by Van Uden.
imprhecisoned    Thaethbe    liedirien ashp  Apollo and the Muses granting longevity to the Sibyl of
imprisoned. That nobleman lived in friendship
imprisoned. That nobleman lived in  riendship uma  after Sal. Rosa. Landscape, with a Waterfall;
with Rubens, who often visited him in his confine- after. Poumn. A Landscape, with Procris and Cephament; and the Duke having observed the genius Ius; after Claude Lorrain. St. John, preaching in the
of Brower, desired Rubens to bring a palette and  wilderness; after Sal. Rosa. A Landscape, with the
pencils, which he gave to Brower, and the latter Baptism of the Eunuch; after J. Bot.
soon produced a representation of Soldiers playing    BRU, MOSEN  VINOENTE, a Spanish painter;
at Cards, which he designed from a group he had  born, according to Palomino, at Valencia, in 1682.
seen from his prison window.  The Duke showed  He studied under Juan Conchillos, and before he
the picture to Rubens, who immediately exclaimed  was twenty-one had painted several altar-pieces
that it was by the celebrated Brower, whose pie- for the churches of his native city, which showed
tures he often admired; and he offered the Duke uncommon ability; but he died shortlyafter, much
six hundred guilders for the work, but the latter regretted by the friends of art, in 1703, aged 21.
refused to part with it, and presented the artist   BRUGGEN, JOHN VANDER, a Flemish mezzowith a much larger sum. Rubens lost no time in  tint engraver, born at Antwerp in 1649, where he
procuring the enlargement of Brower, and took  executed a number of plates; but afterwards sethim  into his own house; but he soon became tled at Paris, and engaged in print-selling. His
weary of his situations He left Rubens, and re- prints are chiefly portraits and drolls, after Teniers,
turned to his old vicious habits, to which he fell a Ostade, &c. The following are the principal;
victim  in 1640, at the age of 32. He died in the
public hospital at Antwerp, and was buried in an 
obscure manner; but when Rubens knew it, he                     1       I  Vi     F 
had the body re-interred, with funeral pomp, in the   \    C      pR     or       R  FE
Church of the Carmelites; and he intended also          \or                            or..
to have erected a superb monument to his memo-   The Portrait of John vander Bruggen; after Larqilry, had he lived to see it executed; though San- liers. The Portrait of A. Vandyck; se pse Spinx. The
drart says there was a magnificent one over his Portrait of Louis XIV. 1681. The Gold Weigher; after
tomb, with an epitaph to perpetuate his honor. Rembrandt. An old Woman weighing Gold;..Brug,
The subjects of Brower were of the lowest order, f. A Man holding a Goblet. A  anleaning on a Table,
and a Woman. A man sitting on a Trunk of a Tree,
representing the frolics of his pot companions; but lighting his Pipe. Cupid and Psyche. A Skull; Memento
his expression is so lively and characteristic, his mor. An oldPeasant, and a Girl playing on the Flute;
coloring so transparent and brilliant, and the pas- after Teniers, A Man drinking, and a Woman smoking;
sions and movements of his figures are so admira-.
bly expressed, that his works have justly elicited    BRUGHI, Gio. BATTISTA, a Roman painter, the
the applause of the world. They are highly val-pupil to Gaulli, who, according to the Guida da
ued, and in consequence of his irregular life are Rom, adorned some of the public edifices of
exceedingly scarce.  Brower also etched a few  Romewith mosaic pictures.  He also painted in
plates in a very spirited style, among which are oil, and there are several of his oil paintingsin the
the following:                                    churches in that city. He died about 1730.
BRUGIERI, Gio. D6MENIOO, a painter of the
A Company of four Peasants; in*ribed T sa rienden,, Florentine school; born at Lucca in 1678, and
dc. A Woman playing on the Flageolet, and Peasants died in 1744  A rdin  to the Florentine 
dancing; inscribed Leti. epell, cfc. Three Peasants    i.   coo                onine   osmoking; Weraent emoken.  A Peasant sleeping, and  tionary, he first studied under Baldi, and afterothers drinking; Brauwer. Two of single figures; sign- wards, Carlo Maratti.  He is highly applauded for
ed A. Brower. A Man and a Woman, with a Monkey  his works in the Chapel of the Sacrament, at the
smoking; Wats dit, &c. A Woman making Cakes       Servi, and in other edifces at Lucca.
cular. A Woman holding a Stove, and a man lighting his
Pipe. Six of Men and Women Peasants.                BRUGNO, INNOOENTO, a painter of the Vene



BRUN.                     144                    BRUN.
tian school, who, accordingto Renaldis, flourished  that the figures often appeared to be slipping off
in the first part of the 17th century, and executed  the canvass, and the buildings had not a true
some reputable works for the churches in Ve- point of view. He was one of the first who renice; but Lanzi says his works obtained little ce- vived the Greek practice of reducing the precepts
lebrity.                                        of geometry subservient to the painter, and was
BRUN, AUGtUUSiNE, a German historical paint- the first Florentine who discovered the method of
er of some merit; born at Cologne in 1570, and  bringing it to perfection, which, as Vasari says,
died in 1622.                                      consisted in drawing it in outline by means of intersections, or squares."  He was imitated in MoBRUN, CHARLES LE, an eminent Parisian paint- saic by Benedetto da Macano, and in painting by
er, born in 1619; died in 1690. He was the son  Masaccio, who were his pupils. Architecture, as
of a sculptor. His father being employed on  a science, was at this period almost entirely negsome works in the gardens of the chancellor Se- lected, and according to the Tuscan writers, Bruguier, took his son with him; and that great min- nelleschi has the honor of having first revived the
ister was so much pleased with the genius of the  three ancient orders, the Doric, Ionic, and Coyoung artist, that he placed him in the school of rinthian. He learned considerable from the church
Simon Vouet, where he made such rapid progress of S. Giovanni at Florence, which is built in a
that at the age of fifteen he painted the picture of good style, and very nearly approaching the anHercules destroying the Horses of Diomed, which  tique; but he acquired his principal knowledge
was in the Orleans.collection. At the age of from the noble vestiges of ancient architecture at
twenty-two, the Chancellor sent him to Italy with  Rome, which he designed and sketched with the
a liberal pension, and a letter of recommendation greatest accuracy. He now conceived the idea of
to N. Poussin. The latter assisted him  in his raising a cupola over the church of S. Maria del
studies, though the talents of Le Brun were bet- Fiore at Florence, and went to Rome with a view
ter adapted to grand compositions than to the  of perfecting his plan, when his mind became so
style of that master. After six years he returned  absorbed that he scarcely allowed himself the rest
to Paris, and was appointed first painter to the  that nature required, and was in such want of
King, who conferred on him the order of St. Mi- money that he pawned his jewels to obtain the
chael, and employed him at Fontainbleau and Ver- common necessities of life. He then returned to
sailles. In 1662, he commenced his great workof Florence, and secretly made designs and models
the Battles of Alexander, which have been per- for his cupola, proposed the plan to the deputies
petuated by the admirable burin of Gerard Au- of the building, and then set out at once for Rome.
dran, and which gained him an immense reputa- As he expected, he was soon entreated to return,
tion. In the church of Notre Dame are two of when he asserted that he could raise the cupola
his most celebrated pictures; the Stoning of St. without any difficulty, and wished that the most
Stephen, and the Martyrdom of St. Andrew. His eminent architects might be gathered to offer their
conceptions were grand, though never sublime  sentiments in regard to the scheme. In about a
like those of Raffaelle; his design was correct; year there were collected, at great expense, a mulhis extensive genius rapidly produced the most titude of artists from  all the nations of Europe,
abundant compositions. There is, however, occa- who suggested the most extravagant and ridicusionally a sameness visible in his works, though he lous opinions, and cast the utmost derision on the
was a perfect master of the mechanism of the art. project of Brunelleschi, who was treated as a madLe Brun, by his influence with Colbert and the  man, and turned out of the assembly. He perseKing, succeeded in establishing the Royal Acad- vered, however, against violent opposition, and
emy, for which he deserves the grateful remem- finally succeeded in completing his undertaking,
brance of every lover of the arts. He etched seve- which surpassed in height any work of the anral plates, representing the Four Times of the Day, cients. He was afterwards called to Milan, by the
and an Infant kneeling on the Cross.            duke Filippo Maria, and on his return to Florence
BRUN, F.Y  a French engraver, who executed a he performed many works for the duke, and also
number of portraits entirely with the graver, in a made a number of important improvements in the
neat style.                                     Cathedral. At Fiesole, by order of Cosmo di
Medici, he built the magnificent abbey of the reBRUN, GABRIEL LE, a Parisian painter and en- gular canons. He gained great reputation by the
graver, the brother and scholar of Charles le Brun; noble Pitti palace, which he raised to the second
born about 1625. As a painter, he is little known. story. Vasari gives a long description of a repreAs an engraver, he executed several plates; among sentation of Paradise, in the church of S. Spirito,
which are the following:                        with a sky full of moving figures, and an infinite
Portrait of Charles Fevret de St. Mesmin. 1657. Alle- number of lights, which is attributed to Brunelgory on the Peace of the Cardinal Mazarin. Frontispiece  leschi. He visited Rome, where he executed a
for the Memoirs of Vittorio Siri. The Twelve Apostles; number of works for Pope Eugenius IV., and reafter C. le Brun. The Saviour; do.: on two sheets. St. turned to Florence with applause and honorable
Martin; do.  St. Anthony; do.  A Thesis; dedicated  rewards. From the time of Brunelleschi, is dated
to the Parliament of Normandy; do.
o t  P   o N   d  the restoration of good architecture. He died at
BRUNELESCHI, FILIPPO, an eminent Flo- Florence in 1444, and was buried with pompous
rentine architect, born in 1377; was the son of solemnity in S. Maria del Fiore.
Filippo Lapi. He was originally intended for the    BRUNELLI, GABRIEL, a French sculptor, born
legal or the medical profession, but being ardently  at Boulogne, and flourished in the 17tI century.
attached to mechanical pursuits, he was placed  He studied under Algardi, and attained a 1igh rewith a goldsmith. He then practised sculpture, putation, both in his own country and in Italy.
and afterwards studied perspective. Before his He prosecuted the art with great assiduity, and
time, little attention was paid to perspective, so  executed no less than forty-four marble statues




BRUN.                       145                    BRUN.
in his native city. At Naples, Padua, and Raven-  1726. According to Ratti, he studied under P. da
na, he executed a number of works, among which   Cortona, and was one of his ablest scholars.  He
are bas-reliefs, fountains, and colossal statues, in  executed some altar-pieces and other subjects for
the latter of which he especially excelled.        the churches in his native country, in the style of
BRUNETTI, SEBASTIANO, a Bolognese painter,  his master.  He is said to be an unequal painter,
born about 1618. He studied under Lucio Mas-  but Ratti thinks that those inferior works ae im 
sari; but afterwards, according to Malvasia, under  properly attributed to him.
Guido, and was one of his ablest pupils. In S.    BRUNO, GIULIO, a Piedmontese historical paintMaria Maggiore, at Bologna, is a picture by him   er. He studied at Genoa, under Lazzaro Tavarone:
of the Guardian Angel; in S. Marguerite, Mary   and subsequently under Gio. Battista Paggi.  SoMagdalene praying in the Desert; in S. Giuseppe,  prani says, that about 1625, he gained great repua Holy Family, entirely in the manner of Guido.  tation in Savoy; but in consequence of the wars
His taste for design was graceful, but his coloring   of that country, he returned to Genoa, where he
was sombre and heavy. He died in 1649.             soon after died.
BRUNT, DOMENICO, a reputable Brescian paint-       BRUNO, Gio. BATTISTA, a brother and scholar
er of architecture and perspective, born, according   of Giulio B., who he assisted in his works, and he
to Averoldi, in 1591. He studied under Sandrini,  painted some respectable works at Genoa.
and painted several works for the churches and       BRUNO. See BUONI.
public edifices of his native city. He died in 1666.    BRUNORI, or BRUNOINI,  FEDERIGO, an
BRUNI, FRANCESCO, an Italian engraver, was  Italian painter, who lived about 1600. He studborn at Genoa about 1660. Among other plates,  ied under Damiani, followed the Venetian style,
we have one by him, representing the Assumption   and in some of his works, availed himself of the
of the Virgin, after Guido.                        compositions of Albert Durer.  His portraits are
BRUNT, ORAZIO, a Sienese engraver, born about  characteristic, and his coloring vigorous.
1630. He executed a few plates entirely with the      RUSAFERRO  GIROLAMO, a Venetian painter,
graver, in the style of F. de Poilly, some of which   who studied under Cav Nicolo Bambini and, amare from his own designs. The following are the   bitious of imitating Ricci, according to Lanzi, formprincipal:                                         ed a mixed style, not destitute of originality. He
The Prodigal Son. The Golden Age, A set of the  was living in 1753.
Four Seasons. A set of various Animals. A Warrior, and
a Female in a Triumphal Car, with Minerva presenting a  BRUSASORCI. See DOMENICO RICCIO.
Sceptre.                                             BRUSSEL, PAUL THEODORE VAN, a Dutch
BRUNI, LucIo, a painter of the Venetian school,  painter, was born near Schoonhoven. He studied
who lived at Vicenza in 1584. Lanzi says he can   under Gio. Augustini, and also under H. Meyer
find no mention of him, which he attributes to the   of Haerlem. He was first employed in the manfact. that he found no historian to rescue his name  ufacture of tapestry, but afterwards devoted his
from  oblivion, at a time when Italy abounded in  attention to nature, and became one of the best
the most eminent artists, but he mentions a small  fruit and flower painters of his time. His latex
altar-piece by him, in the church of San Jacopo at  pictures are his best efforts, and are preserved in
Vicenza, representing the Marriage of St. Cathe-  the choicest collections. He died in 1795.
rine, which he pronounces a work worthy of the
best age of painting.BRUYN, or BRUIN, ABRAHAM, a Flemish enBRUNI, G -OLAMO, an Italian painter, who  graver, born at Antwerp about 1540. He executed
studTie  undrBorgognoe a                    alpaterwhol a  number of plates of a small size, entirely with the
studied under Borgognone, whose style he adoptSdimed undf his org s are in the stCol he ad   -  graver, in a very neat, though formal style, and ined. Some of. his works are in the Colonna Gallery.  He practised at Bologna, and perhaps in  correctly drawn. His best prints are hisportraits,
erthe last half of the 17th century.    and small figures representing hunting, hawking
other cities, in the last half of the 17th century.,   &c.:
BRUNN, D., a German engraver, who executed
among other plates, a Bacchanalian subject, after                  o r  *    or'TL  orAI
Rubens,. and a similar subject, after Vandyck;        I1;D ~D)y                   J.JrLM
signed D. Brunn, Argsis. sculp. 1628.                                 PORTRAITS.
BRUNO, GIOVANNI DI, an old Florentine artist    Philip Louis, Elector Palatine. Anne, his Spouse. Aland pupil of Buffalmacco, who is believed to be  bert Frederick, Duke of Prussia. Eleonora, his Duchess.
the painter of a St. Ursula, which still exists in the  William, Duke of Juliers. Mary, his Duchess. John
Commenda at Florence. By the aid of sentences  Sambucus, physician; a wooden cut.  Carolus Nonus,
proceeding from the mouths of his figures, he en-  Francorum Rex. AnnaAustraca,CaroliV.fill.
deavored to explain what their features and atti-                  VARIOUS SUBJECTS.
tudes were incapable of expressing,-a practise in    Moses and the Burning Bush. Four of the Evangelists.
which he found a precedent, even in Cimabue fol-  Christ and the Samaritan Woman. A Philosopher. The
loed by other artists of the time           Seven Planets. 1569. The Five Senses. A set of plates,
loed by other artists of the time.    entitled, Impeii ac Sacerdotii ornatus, diversarumgenBRUNO, ANTONIO, a native of Modena, and a  tiumvestitus, ExcudebatAb. Brun. 1577. Another set
pupil of Correggio. Lanzi says his name is un-  of plates, Diversarum gentium  armatura equestris.
kpupil of ioteggio. fLart sab  his name is.un-  1577. A set of forty-nine plates, entitled Omnium fere
known in the history of art, but that he was an  gentium  imagines,'.c. sculpsit Ab. Bruynus. 1587.
able artist,, who emulated the genius of Correggio  Seventy-six of Horsemen; Ab. de Bruyn,fec. 1575. A
in his grace, his nature, his foreshortenings, and his  set of small friezes of Hunting and Hawking. 1565. A
broad lights, though with a far less correct pencil.  set of twelve plates of Animals; Ab. de Bruyn,fecit. exc.
1583. A set of Arabesque Patterns. Pyramus and ThisBRUNO, FRANCESCO, a painter, born at'Porto   be; after Francis Floris. The Resurrection of Lazarus;
vIaurizio, in the Genoese, in 1648, and  died in  after Crispin vander Broeck.




BRUY.                          146                         BRYE.
Brom YNs or BRIN, NIar-cuHOLA  DE,a French en-   parades, with a large number of figures, correctly
graver, born at Antwerp about t1570t       ime. The following athe   drawn, and a fine expression n an the heads.  He
son of A. Bruyn, and studied under his father, but   executed the plates for the first four vols. of Boisfollowed the styl e of Lucas van Leyden  His corn-   sard's Roman Antiquitie;  the two last were
positions are abundant, and his works possess con-   completed by his sons.  His prints are sometiesque
siderable merit.  His plates are neatly finished   marked T. B., and sometimes with his monogrem.
with the graver, but his forms are not chosen in   The following are the principal:
good taste, and there is little effect in his prints,    St. John in the Wilderness; an etching; very scarce.
from his ignorance of chiaro-scuro,-a defect com-   A Dance of Cavaliers and Ladies; Hic pudor, 4-c., de
mon at that time.  The following are his princi-   Bry, fec. A Dance of Men and Women Peasants; Quanpal plates, usually marked with one of these mono-  tur aula; same mark. A Design for a Saucer, a Head
grams:                                                    representing Pride and Folly, surrounded with grotesque
subjects; a circular plate, marked TL d. B. f.; scarce.
A.~A dj^\  AJ(HJ orr^      1^Another Design for a Saucer, a Head of the Duke of Alva,
or b)         or    B, oor       r 1o         with the Mask of Folly, with grotesque subjects; circular;
rj LJv ^~'  ~~ ^^'  "'scarce. Another Design for a Saucer, with the Head of
^  f^I orT   or             o     T)rN      William of Nassau, with grotesque figures, indicative of
/L[           jolt      1 s2Der 9 I       Prudence; circular; scarce. A Medallion of Scanderbegus, with Latin inscriptions, and a border of birds, flowers,
SUBJECTS FROM HIS OWN DESIGNS.                 and insects. The Companion; Donice Scanderbegi Uxor.
Adam and Eve in Paradise. 1600.  Adam  and Eve   The Nine Muses. The Procession for the Funeral of Sir
sta       nding under the Tree of the forbidden Fruit.  1631.  Philip Sidney; invented by Thomas Lant, gent., and graThe Israelites, with the Daughters of Madian. The great  yen in copper by Derick or Theodore de Brie, in the city
Festival of the Jews after six years' bondage. 1617. King   of London. 1578; in thirty-four plates. The Procession
Balach speaking to the Prophet Balaam. The Prophet   of the Knights of the Garter in 1556, in twelve plates;
Jeremiah, with a Lion. 1608. The Vision of Ezekiel.  dated 1578. A set of Portraits; entitled Iconesquinqua
1600. David and Goliah. 1609. David meeting Abigail.  ginta virorum illustrium  Fran. 1569. The Plates for
1608. The Queen of Sheba before Solomon. 1621. Ne-  the Work published at Franckfort in 1596; entitled, The
buchadnezzar's Dream. Daniel in the Lion's Den. Su-   brif, true Report of the new-found land of  Virginia
sanna accused by the Elders. Susanna's Acquittal. The   published by ThomasHariot, serjeat to Sir Walter RaStoning of the Two Elders. The Nativity of Christ. 1621.  leigh, and employed by him in the discovery. Picart coThe Adoration of the Magi; N. de Bruyn, sc. The Re-   pied these plates for his Religious Ceremonies of all Napose in Egypt. 1621. The Murder of the Innocents. 1644.  tions. The plates for the Latin narrative of the Cruelties
St. John preaching    the Wilderness. Christ preaching   of the Spaniards in America; entitled Narratio Regionum
on the Mount.  The Centurion imploring Christ. Chris t's  Indiarum par Hispanos quondam devastatum verissima
Entrance into Jerusalem. Christ bearing his Cross. 1632.  Francof  1598; one hundred and twenty-three plates.'The Crucifixion.  The Resurrection. 1631.  St. Paul  The plates for his great work; entitled Descriptio genepreaching.  1621. St. Hubert. 1614. The Idolatry of   ralis totius Indice Orientalis et Occidentalis, in nineteen
Solomon. 1606. Orpheus playing, surrounded by Ani-  parts, contained in five volumes, folio. 1598.
mals.  A  Family of Peasants.  A Landscape, with Li-        BRY, or BRIE, JOHN THEODORE DE, a German
ons, Tigers, and Stags. A Spanish Assembly in a Forest.  engraver, the son and scholar of T. de Bry, born
A set of six Patterns for Goldsmiths. A  set of twelve   at Liee  in 1561.  He assisted  hi  father in
Quadrupeds. 1621. A  set of thirteen of Birds; C. J.    a.   He added con   fathr m
Visscher, exc. A set of thirteen of Fishes.              many of his works.  He added  considerably to
SUBJECTS AFTER VARIOUS MASTERS.                the collection of portraits of illustrious personages,
St. John preaching in the Wilderness; after Lucas of   begun by his father; and, in  concert with  his
Leyden. A Miracle wrought at the Tomb of St. James;  brother John Israel, completed the two vols. of
do.; 1600. The Golden Age; aJter A. C. Bloemaert; one   Boissard's Roman Antiquites, which his father
of his best prints. Four Landscapes, with historical fig-   left unfinished at his death.  There are also the
ures; after G. Conixioo. Three Landscapes, with figures;  following prints by him, usually marked with one
after D. Vinckenbooms.  A  Landscape, with a Stag-   of his monograms:
hunt; after John Breughel. A Landscape, with Moses
defending the Daughters of Jethro; after J. Bol. Four  T                                r 
of the Seasons; after M. de Vos.  St. Cecilia; after o I                                      or     or
Raffaelle. A Knight on Horseback, accompanied by Time,.   J,JD  I 
and followed by the Devil; after Alb. Durer. 1618.          Portrait of Gerard Mercator, geographer. Portrait of
BRUYN, CORNELIUS DE, a Dutch painter and   Daniel Specklin. Four, of the Elements; J. T. de Bry,
engraver, born at the Hague in 1652; died at   nv. etfec. The Marriage of Rebecca; after Balthazar
Utrecht in 1728.   He studied  at Rome  under   Perruzzi. A march of Soldiers; afrieze; after Titian;
techt in 17.  He studied at   ome, under   J. Theodore, fee. Another March of Soldiers, conducting
Robert Duval, and afterwards at Venice for three   Prisoners, with Death riding on a Horse; a frieze; do.;
years, with Carlo Lotti.  He painted portraits, but   called the Triumph of Death. The little Village Fair;
is more distinguished for an interesting work, de-   after S. Beham. The Fountain of Youth; do. The Triscribing his travels in  Persia, India, and other   umph of Bachus; after Giulio Romanov The Venetian
sc r  with plates from his own designs d o         thr. Ball; after Theodore Bernard; a circular plate. The
countries, with plates from his own designs.              Golden Age; after the print engraved by N. de Bruyn;
BRUYN, T. DE, a native of Switzerland or France,  after A. Bloemaert.
who went to England in 1760.  He painted land-              BRYER, HENRY, an  English  engraver, who
scapes and cattle, and imitated bas-reliefs with   studied under Ryland, and became his partner in
surprising ingenuity, an example of which may be   the business of printselling.  He executed a few
seen in the chapel of Greenwich Hospital.                plates chiefly after Angelica Kauffman; among
1  BRY, or BRIE, THEODORE DE, an eminent   which are Bacchus and Ariadne, and a large plate,
IX    German engraver, born at Liege in  1528,  lengthways, of Mars and Venus discovered by Vuldied at Frankfort in 1598.  lHe resided chiefly in   can.  The Society for the Encouragement of the
the latter city, where he was engaged in print and   Arts awarded him a premium for the latter..
bookselling.  His style is formed on that of Se-            BRYAXIS, an  eminent Greek  sculptor, who
bald  Beham.  He executed a large number of   flourished about B. C. 324.  He was chosen toplates entirely with the graver, in a neat, free style.   gether with Scopas, Timotheus, and Leocarus, by
Hlis subjects were usually public processions and   Artemisia, Queen of Caria, to erect the famous tomb




BUBE.                     147                     BULL.
of Mausolus in the city of Halicarnassus, which  ly employed in engraving portraits for the.cokwas reckoned one of the seven wonders of the   sellers; among others, is that of the Marshal de
world. Its dimensions on the north and south   Broglio, on horseback, after Nicholas Loir.
sides were sixty-three feet, the east and west sides    BUGIARDINI GLIAN   alorentine histor
were a little shorter, and its extreme height was           RDINI, GIULIA, a F entine hi
ical and portrait painter, born in 1481; died in
wone hundred and forty feet. It was surrounded   1556. He studied first under Bertoldo, a sculptor,
with thirty-six splendid marble columns. Bryaxis  but afterwards, according to Vasari, was the felexecuted the north side, Scopas the east, Timotheus  low student of M. Angelo. Lai ss he     
the south, and Leocarus the west. Artemisia died   of the most successful  imitators of Leonardo da
before the work was completes;but the artists  o t e most successful imitators of Leonardo da
before the work was complete; but the artists  Vinci, equal to Luini, and cites several examples at
continued their work with unabated zeal, and they   Bologna and elsewhere. Vasari says he excelled
endeavored to rival each other in the beauty and  in portraits. and that he was the colorist of some
magnificence with which they decorated this admi-  works of        Bartolommeo and the assistant of
rable work. A fifth sculptor, named Pythis, was  Albertinelli. In Florence he painted many excel^ ^l. s.^.^.                     ^         Albertinelli. In Florence he painted many exceladded to them, who executed a noble four horse  lent Madonnas and Holy Families; also a picture
chariot of marble, which was placed on a pyramid  in the church of S. Francesco, at Bologna repre
crowning the summit of the mausoleum. Bryaxis  senting the Marriage of St. Catherine.
also  executed many other remarkable works, 
among which were five colossal statues in the isle   UISEN, or BUYSEN, A. VAN, a Dutch engravof Rhodes; and one of Apollo, which was after-  er, who executed part of the plates for the work
wards placed in the temple at Daphnis, near Anti-  published at Amsterdam by Picart and others, i
ochus. It is said that Julian the Apostate wished   1720, entitled Figuresde la Bible.
to render to this statue peculiar worship and hom-    BUISTER, PHILIP.  This sculptor was born
age, but that he was prevented by the miraculous  at Brussels in 1595, where he studied the art, and
destruction of the temple and statue by fire. Cle-  where he remained about half of his life; after
ment of Alexandria assures us that many works  which he went to Paris, and attained considerare ascribed to Phidias, which are in reality by   able distinction. He executed for the park at VerBryaxis.                                         sailles a group of two satyrs, a statue of Flora.
BUBE. L., a wood engraver, who executed,  and several other works. His principal producamong other works, a large upright print of the  tion is the tomb of Cardalde Rochefoucald, which
was in the church of St. Genevieve, bul- was afIoly Family, in chiaro-scuro, after the design of     in the church of St. Genevieve, but was afAbraham Bloemaert. It is executed in a slight,      wards removed to the Musdes Monuments
but very spirited style, and evinces considerable   ranois.
ability.                                            BULLANT, JEAN, a French architect and sculpBUCK, SAMUEL and NATHANIEL, English en-   or, who flourished from 1540 to 1573. The charavers, who lived about 1755. They execu         teau d'Ecouen, which established his reputation, is
gravers, who lived about 1755. They executedwas com
about five hundred plates of views of the antiqui-    a rae edifi.       1564, he        c
ties in England and Wales.                       sioned by Catharine de Medicis to build the chatie in England and  W   Dutc       teau of the Tuilleries, in concert with Philibert de
BUCKSHORN, JOSEPH, a Dutch painter, ac-  Lorme. Bullant also executed a number of other
cording to Lord Orford, who visited England in  works, among which was the Hotel de Soissons.
the time of Charles II., and studied under Sir Pe-  He exercised the art of sculpture in the bas-reliefs
ter Lely, whose works he copied with great perfec-  and other ornaments for the aitar of the chapel of
tion. He also painted the portraits of Mr. Dave-  Ecouen, some of which represented the Four Evannant, son of Sir Win. D., and his wife. He died   gelists, and another, the Sacrifice of Abraham.
at the age of 35.                                Bullant also wrote several works on architecture,
BUDD, GEORGE, an English painter of little  which possess considerable merit.
note. His subjects were portraits, landscapes, and  BULLET, PIERRE, a reputable French architect,
still-life.                                      born about 1645.  He studied under Francois
BUDRIO, GIACOMONE. See GIACOMO LIPPI.    Blondel, and erected, after his designs, a large numBUFFAGNOTTI, CARLO ANTNIO, a painter  ber of edifices in Paris; among others, the gate of
St. Denis. He did not long occupy this subordi
and engraver of perspective and theatrical decora-St. Denis. He dd not long occupy this subordi
tions at Bologna and Genoa, who lived about  nte position, but soon became so hihly esteemed
1690.                                            by other members of his profession, that he was
19  *T OAMIV an<  old 1       ri   admitted into the Academy of Architecture, and
BUFFALMACCO, BuoNAMO, an old Floren-  soon attained distinction. IIe designed and exetine painter; born, according to Vasari, in 1262, and  cuted in 1674, the triumphal arch called the Port
painted in the dry, Gothic style of the immediate  St. Martin. He was appointed architect to the
followers of Cimabue. He studied under Andrea  city of Paris and erected a number of excellent
Taffi. He executed several works for t    athe Cat ecech hehe Jadral at Arezzo, mentioned by Vasari, which are  cobines. Bullet made  many  designs for various
now destroyed. He is remarkable as being the  works in Paris, which contributed to increase his
one who first used a label drawn from the mouth  reputation. He also published several good works
of a figure, to represent it speaking.  He was a  on architecture, from 1688, to 1696, especially the
merry  ag, and a  careless spendthrift and died in  one which appeared 1696, relative to the executive
poverty in 1340, aged 78.                        department of the art, which has been through many
BUFONI, POMPONEO, a Roman historical paint-  editions.
er; born in 1634; died in 1679. His heads had a    BULLINGER, JOHN BALTHASAR, aSwiss paintfine expression, and his pictures were highly fin-  er, born at Langnau, in the canton of Zurich, in
ished.                                           1713; died in 1793.'He studied first under John
BUGEY, a French engraver, who was principal-  Simler, but afterwards went to Venice, and re




BULA.                     148                     BUON
mained two years with Gio. Battista Tiepolo. He  rence. Here the young Ange.o soon manifested
at first attempted historical painting, but soon  great fondness for drawinga, and he became quite
gave it up, and became very eminent in landscape.  intimate with the young students in painting. The
He subsequently passed some time at Amsterdam,  decided bent of his genius induced his parents,
where he followed the admirable style of Both and  against their wishes, to place him at the age of
Berghem. IIe etched several plates in a free style,  fourteen under Domenico Ghirlandajo, from whom
among which are the following:                   he could derive little improvement, except mere
The Portrait of J. B. Bullinger, se ipse fec. A Frontis-mechanical facility, and he soon surpassed his felpiece, with a number of Genii. Two mountainous Land-  low disciples as well as his instructor. Lorenzo
scapes, with figures. A set of fifty Landscapes; some  de Medici, called the Magnificent, had at that time
from his own designs, and the others after F. Ermels and  founded an academy for the improvement of deF. Meyer. A Head; after Le Brun; engraved for La-  sign and sculpture, and had collected in a garden at
vater's Work.                                    Florence a museum of antique statues, busts, and
BULARCHUS, a celebrated Grecian painter,  bas-reliefs, for the use of the students.  The
who lived about B. c. 730. He painted the Bat-  young Angelo was almost constantly to be found
tles of Magnetes which was esteemed so highly,  here, studying with great assiduity and enthusithat Candaules, king of Lydia, bought it for its  asm these admirable works of antiquity; and in
weight in gold.                                  this school of ancient art may be said to have been
BUMEL, or BIMEL, MICHAEL, a German en-  developed the powers of his wonderful genius.
graver of little note, who engraved a number of  His assiduity and progress were soon noticed by
plates, representing saints and other devotional  Lorenzo, and perceiving his great abilities, the latsubjects, executed entirely with the graver, in a  ter took him under his especial protection at the
neat, though rather stiff manner, and devoid of  age of sixteen, and gave him  apartments in his
taste.                                           palace. He did not, however, enjoy this patronBUNEL, JACQUES, an eminent French painter   age more than two years, as Lorenzo died in 1492,
as born at Blois in 1558. He studied at Rome,  at which time Angelo visited Bologna Venice, and
was born at Blois in 1558. He studied at Rome,                    where he executed acartoon of
uner Federigo Zucchero, and attained a high rank   afterwards Rome, where he executed a cartoon of
under Federigo Zuechero, and attained a high rank   St. Francis receiving the Stigmata, for S. Pietro in
among the historical painters of his time. He was  StFrancisreceiving the St p may hs for S. Ptr in
appointed one of the painters to the king, and exe-  Mntorio, whihwasprobaly his first work in
cuted, in concert with Dubreuil, several very im     p   in 1500.   is next picture was a Holy
portant works for the  royal palaces. He   pa         inted in 1502, for his friend Angelo
portant works for the royal palaces.  He painte   Doni and which was subsequently placed in the
the vault of the small gallery of the Louvre, which                   s  n t
was burned in 1660; also among his best works  tribune of the Florentine gllery   Soon afte
may be mentioned a fine picture of the Descent  was engaged to paint a fresco for the great saloon
of the Holy Ghost; and above all, his celebrated  in the ducal palace at Florence, of which Leonardo
picture of the Assumption of the Virgin, in the   a Vinia already decoated  n dese  ith an
church of the Feuillans.                         admirable representation of a Battle of Cavalry.
The subject chosen by Angelo was peculiarly
BUNNICK, JOHN VAN, a Dutch landscape paint-  adapted tohis wonderful powers, representing a
er, born at Utrecht in 1654; died in 1727. He  number ofFlorentine soldiers bathing in the river
studied under Hermann Sachtleeven for three years,  Arno, surprised by a sudden attack of the enemy,
and then visited Italy. While at Genoa, he formed  and hurrying out of the water to arm and defend
the acquaintance of Tempesta, and painted several  themselves; expressed with an energy of design,
pictures of considerable merit. On arriving at  and a daring display of muscular anatomy that
Rome, he was introduced to C. Maratti, Abraham   astonished the beholder.  Of this noble design he
Genoels, and Ferd. Voet, from whose works and  executed only the cartoon, which is known by the
conversation he gained great improvement. Hav-  name of the cartoon of Pisa, as the troubles of the
ing completed his studies at Rome, he visited Mo-  times prevented its completion in fresco. In 1508,
dena, where the Duke appointed him first painter,  Julius II, conceived the design of decorating the
and rStained him eight years in his service. On   walls and ceiling of a chapel in the Vatican, which
his return to Holland, he was employed by Wil-  his uncle had built from the design of Bacciq Pinliam III., then Prince of Orange, to decorate his  telli, and Michael Angelo was engaged to undertake
palace at Loo. His design was correct; and his  the work. This he was unwilling to do, as he had
composition elegant.                             never executed any grand work in fresco, and beBUNNICK, JACOB VAN, a reputable Dutch   cause he was desirous of proceeding with the monpainter of battle-pieces, the brother of John van  ument of his Holiness, for which he had made a
B., whom  he accompanied to Italy. He died in  noble design four years previous. But the pontiff
1725.                                            was imperative, and Angelo reluctantly commenced
BONACORS.  SePIERINO DELVAGA.      the cartoons for the ceilings of the Sistine chapel,
B~ONATCTT. See iITr  a  m         which he finished in 1512, in the incredibly short
BUONAMICI. See TAsI.                           space of twenty months. If Angelo had executed
BUONAROTTI, MICHAEL ANGELO, a pre6mi-  no other work, this alone would have immortalnent Italian painter, sculptor, and architect, was  ized his name. It has received the universal apborn in 1474, at the castle of Caprese, in the terri-  plause of mankind, and is the most sublimeTonutory of Anezzo in Tuscany, of which fortress his  ment of daring and dignified genius that the* art
father was governor. He was descended from the  has produced, in ancient or modern times. His
noble family of Canosa, which he has rendered  next work in painting was a picture of Jupiter
still more illustrious by the noble productions of  and Leda, with the Birth of Castor and Pollux,
his mighty genius. His father, Lodovico Simone Bu-  painted in 1529, for Alfonso, Duke of Ferrara, and
onarotti, intended him for one of the learned profes-  subsequently purchased by Francis I. of France.
sions, and placed him in a grammar school at Flo-  In 1534, in the pontificate of Paul III., he corn




BUON.                     149                    BUON.
menced his sublime fresco painting of the Last  he was unfit to become his patron. He prosecu.
Judgment, which measures fifty-four feet by forty-  ted his studies, however, with great eagerness;
three, and occupies one end of the Sistine chapel.  and about this time he executed a colossal statue
The subject was admirably adapted for the full dis-  of Hercules in bronze, and also a Crucifixion in
play of his amazing genius, and its grandeur and  wood, for a convent at Florence.  Aware of ~he
sublimity are inconceivable. This majestic paint-  great importance of a correct knowledge of the
ing must ever be regarded as one of the noblest  human form, he now turned his attention to the
productions of human genius. It is an immense  study of anatomy, for which purpose he applied
composition, as may be conceived from its having  to the prior of the convent (for which he had
occupied this wonderfully expeditious painter sev-  carved the Crucifixion), who furnished him  with
en years, and was finished in 1541.  His next  subjects for dissection from the hospital connected
works were the Conversion of St. Paul, and the  with the convent. He thus acquired that intimate
Crucifixion of St. Peter, painted for the opposite  knowledge of the human frame which so distinchapel in the Vatican, called Paolina, by order of  guishes his works, and in the display of which
Paul III. These were his last works in painting,  some consider him to have been too profuse.
and having reached his 68th year, he found him-    The tranquillity of Florence being now somewhat
self unequal to the fatigue of. painting in fresco,  disturbed by the proud yet pusillanimous conduct
and requested that Pierino del Vaga might be   of Piero de Medicis, Michael Angelo retired to
allowed to finish the work after his design, which   Bologna, and from thence went to Venice; but as
was acceded to by the Pope.                      he met with no encouragement he returned to BoIt has long been disputed whether Michael An-  logna. Aldobrandi, one of the sixteen composing
gelo ever painted in oil; but it has been ascer-  the government of that city, invited him to his
tained by Lanzi that the Holy Family in the Flo-  house; and during his stay he executed two statrentine gallery, which is the only picture by him   ues in marble, for the church of S. Domenico.
supposed to be painted in oil; is in reality in dis-  After remaining for upwards of twelve months at
temper. Many of his designs, however, were exe-  Bologna, and Florence having again become quiet,
cuted in oil by his cotemporaries, especially Se-  he returned to his father's house, and pursued his
bastiano del Piombo, Jacopo da Pontormo, and  profession with diligence. His first work on his
Marcello Venusti.  Fresco painting was better  return was a Sleeping Cupid, which considerably
adapted to the elevated character of his composi-  advanced his reputation; but so great was the pretions, which required a simple and solid system of  judice in favor of the antique, that by the advice
coloring, rather subdued than enlivened, and pro-  of a friend, Michael Angelo sent his statue to Rome,
ducing a grand and impressive effect, which could  to undergo the process of burial, in order to give it
not have been expressed by the glittering splendor  the appearance of a work of ancient art, before it
of oil painting,                                 should be submitted to public inspection.  This
As a sculptor, Michael Angelo attained great.  fraud, like many of a similar kind at this time
eminence. While pursuing his studies as a paint-  practised, succeeded completely; and the Cupid
er, under Ghirlandajo at Florence, he was accus- was eagerly purchased by the Cardinal St. Giorgio,
tomed to visit the garden of Lorenzo the Magnifi-  for 200 ducats. It was not long before the Cardicent, which has before been alluded to. At this  nal was told that a trick had been played upon
time, when about the age of fifteen, he found a  him. and he sent a person to Florence, in order to
piece of marble in the garden, and carved it into  ascertain, if possible, the truth of the charge.
the mask of a Satyr, borrowing the design from   The latter repaired to the studios of the different
an antique fragment.  Lorenzo, on seeing the  artists in that city, on the pretence of seeing theii
work, was struck with the excellence of the at,  productions. On visiting the atelier of Michael
tempt, and jestingly told the young Angelo that he  Angelo, he requested to see a specimen of his work,
had made a mistake in giving a complete set of  but not having anything finished at the time, he
teeth to an old man. This hint was not lost, and  carelessly took up a pen, and made a sketch of a
on the next day it was found that the artist had  hand. The Cardinal's messenger, struck by the
broken one of the teeth from the upper jaw, and  freedom and grandeur of the style, inquired what
drilled a hole in the gum to represent the cavity left  was the last work he had executed. The artist,
by the lost tooth. To this circumstance was Mi-  without consideration, answered at the moment, it
chael Angelo indebted for the patronage of Loren-  was a Sleeping Cupid; and so minutely described
zo, who was greatly impressed with the precocity  the supposed antique statue, that there remained
of his genius, and received him  into his palace.  no doubtwhose work it was. The messenger at
Here he was admitted to every intimacy and free-  onceitebassed-the "objeet of his journey, and so
dom, and he formed a friendship with Politiano, an  strongly recommended Michael Angelo to visit
accomplished scholar, at whose instance he execu-  Rome, that he soon after went to, that city, on the
ted a bas-relief in marble, of the Battle of Her-  express invitation of the Cardinal St. Giorgio himcules and the Centaurs, which at once established   self. Here he executed several admirable works,
his fame as a sculptor. It is sufficient to say of   among which the Piet& or Dead Christ has been
this admirable work, that it was approved by the  highly extolled for the great knowledge of anatomaturer judgment of the artist himself; who, al-  my displayed in the figure. He afterwards rethough little indulgent to his own works, hesitated  turned to Florence, where he executed his celebranot, in the decline of life, to express his regret that  ted marble statue of David.
he had not devoted himself entirely to sculpture.  Julius the second, a patron of genius and learnIn 1492, death deprived Michael Angelo of his  ing, having ascended the papal throne, Michael
protector, Lorenzo; but for some time he enjoyed  Angelo was among the first invited to Rome, and
the patronage of his successor, Piero de Medicis,  was immediately employed by the pope in the
a man of corrupt and vitiated taste, as incapable  execution of a magnificent mausoleum. On the
of appreciating the talents of this great master as  completion of the design, it was difficult to find a




BUON.                     150                    BUON.
site befitting its splendor; and it was finally deter-  ishes which disfigure his other works. The build
mined to rebuild St. Peter's, in order that this  ings of the modern capitol consist of a moderately
monument might be contained in a building of  sized square placed on an elevated terrace, apcorresponding magnificence. This originated the  proached by a magnificent flight of spacious steps,
design of that edifice, which was one hundred and  and that side occupied by a balustrade interspersed
fifty years in completion, and which is now  the  with colossal trophies and marble statues. Three
noblest triumph of architectural genius the world  palaces form the other sides, the two lateral ones
can boast. The completion of this grand monu-  diverging towards the middle one, called the Palment was delayed by various causes during the  ace of the Senator of Rome, which is simple in its
pontificates of several succeeding popes, until the  arrangement, and has two noble flights of steps
time of Paul III. It was not placed in St. Peter's,  leading to the entrance, with a fountain and reas originally intended, but in the church of S. Pie-  cumbent river-gods. In the centre of the area is
tro, in Vincoli. On this monument is the celebra-  the equestrian statue of Marcus Aurelius, full of life
ted colossal statue of Moses, which ranks Michael  and movement. His greatest work, however, was
Angelo among the first sculptors, and has con-  the cupola of St. Peter's. Bramante, the original
tributed largely to his renown.                  architect, had executed his design only up to the
Michael Angelo devoted himself to architecture  springing of the four great arches of the central
when about forty years of age. One of his first  intersection.  Giuliano di Sangallo, Giocondo,
works, according to Milizia, was the Medicean Li-  Raffaelle, Peruzzi, and Antonio Sangallo, had been
brary, at Florence; also the second Sacristy of S.  successively engaged, after Bramante's decease, to
Lorenzo. Up to this period, he had not given to  carry on the work; but during the inert sway of
architecture any serious attention, and it is evident  Adrian VI., and amid the catastrophes of Clement
that, unable to brook the restraints of an art with   VII., little had been accomplished. At length Paul
which he was but imperfectly acquainted, he was  III. appointed Michael Angelo to the post of archiobliged to rely on the tastes of inferior assistants;  tect, much against his will, as he was then seventyor, when he had recourse to his own invention, to  two years of age. He immediately laid aside all the
disregard that which he so little understood. His  drawings and models of his predecessors, and takalterations were the result of impatient ignorance,  ing the simple subject of the original idea, he carperhaps, more than of caprice; for they exist to a  ried it out with remarkable purity, divesting it of
greater extent in details than in the general con-  all the intricacies'and puerilities of the previous
ception. Until his time, architecture had been ad-  successors of Bramante, and by its unaffected digvancing in high excellence, of which the brilliant  nity, and unity of conception, he rendered the inproductions of Brunelleschi, Michelozzi, Alberti,  terior of the cupola superior to any similar work
Bramante, the Sangalli, Peruzzi, and San Michele  of modern times. He was engaged upon it sevenare sufficient evidences. But this advance was ar-  teen years, and at the age of eighty-seven he
rested by the terrible genius of Michael Angelo,  had a model prepared of the dome, which he
whose fatal example let in a flood of licenses and  carried up to a considerable height; in fact, to such
grotesque fancies, which even the taste of a Pal-  a point as rendered it impossible to deviate from
ladio has not been able to overcome, and the effects  his plan; and it was completed in conformity with
of which are felt even at this day. His name and   his design, by Giacomo della Porta, and Domenico
example imposed upon all, until Milizia, towards  Fontana. The work was greatly delayed in conthe end of the last century, dared to think for  sequence of the want of necessary funds, or else
himself, and calling in question the supremacy of   Michael Angelo would have himself completed
Michael Angelo, to give the following opinion of  this great monument of his taste and skill. If
him as an architect: " When architecture was at the  we are indebted to Bramante for the first simple
highest, Michael Angelo, with the sublimity of his  plan of the Greek Cross of St. Peter's, and the
intellect overthrew all, filling all with caprice. It  idea of a cupola to crown the centre, still it must
is not always that the most learned bear the sway.  be allowed that to Michael Angelo is due the merit
He imposed upon the Fontanas, the Portas, and   of carrying out the conception of the original arthe Ammanati of succeeding periods; he spoiled  chitect, with a beauty of proportion, a simplicity
his own age, and prepared the way for a worse."  and unity of form, a combination of dignity and
Michael Angelo inserted columns in the walls,  magnificence of decoration, beyond what even the
with small niches to receive them; pediments of   powers of Bramante could have effected.
every variety of shape over openings truncated and  Such was the unparalleled eminence which this
twisted  into volutes; ballusters turned upside  wonderful genius attained in the three sister arts
down; ornament not only wildly introduced, but  of sculpture, architecture, and painting.  His
extravagantly conceived; the orders reduced to  chief characteristics were grandeur and sublimity.
subordinate purposes.  Such  are some of the   His powers were little adapted to represent the
main faults of this master, which it will be per-  gentle and the beautiful, but whatever in nature
ceived, relate rather to the details than to the gene-  partook of the sublime and the terrible, weffe pori
ral conception. All the works he executed at  trayed by him with such fidelity and grandeur as
Florence have the stamp of bad taste, and it is at  intimidates the beholder. Never before nor since
Rome that we must look for architectural works  has the world beheld so powerful a genius.  The
more commensurate with the reputation he has re-  name of Michael Angelo will be immortal as long
ceived. And here let it be understood that the   as the peopled walls of the Sistine chapel endure,
evils of which Michael Angelo was the cause, were  or the mighty fabric of St. Peter's rears its proud
the result of a partial imitation of his works.  dome above the spires of the Eternal City.
Happy had it been for the art. if his copyists had  Buonarotti died on the 23d of February, 1563,
faithfully imitated the beauties of the Capitol, the  aged 89 years. He was buried with great pomp
grandeur of the Farnese palace, and the sublimity  in the church of S. Apostoli at Rome, but aftersf St. Peter's, rather than to have copied the blem-  wards, at the request of the Florentine Academy




BUON.                      151                    BUON.
the remains were removed to the church of Santa  tor, was born, according to Baldinucci, in 1536
Croce at Florence, and were with great solemnity   When he was eleven years old his parents were
finally deposited in the vault by the side of the  both killed by the fall of their house, caused by a
altar, called the Altare di Cavalcanti.          sudden inundation of the Arno, but the young BerBUONCONSIGLI, Gio., a painter of Vicenza,  nardo was saved, and was taken under the protecwho lived, according to Ridolfi, about 1500, and  tion of the Grand Duke, Cosmo I., who gave him
executed a picture for the church of S. Cosimo in  every advantage of education. He is said to have
that city, representing the Virgin and Infant, with  been instructed in painting by Salviati and Bronsaints.  It is signed with his name, and dated   zino; in sculpture by Buonarotti, and in arch1497.                                            itecture by Giorgio Vasari; and to have learned
BUONFANTI, ANTO d IL TO,  miniature painting from Giulio Clovio.  IHe exB                           spONFANTI, ANTONIO, called IL TORRICELLAe  celled in the latter branch, but as an architect
was a native of Ferrara.  ^  ^ ^pp  he was much more famous. He was appointed
been a pupil of Guido, in whose style he painted.  Se  Engineer for Tuscany, and eree   ap numLittle is known of this artist, but Lanzi says there  Stateer of  exellent fortresses in different parts of
are two large scripture pieces by him in the churcher                         of excellent fortresses in diffe arignolle, now
of S. ranese atFer     ad sppoes hatheItaly. He designed the villa of Marignolle, now
of S. Francesco at Ferrara, and supposes that he
of S. Francesco at errara, and supposes that he  Casa Capponi, and erected the Florentine Gallery.
must have taken up his residence elsewhere. There  He also erected the villaof Artiminio for the Grand
are a few other pictures by him at Ferrara. He
are a few other pictures by him at Ferrara. He  Duke, and the celebrated one of Pratolino, which
flourished in the first part of the 17th century.  evinces wonderful ingenuity and talent. At Pis
evinces wonderful ingenuity and talent. At Pisa
BUONI, BUONO DE, a reputable Neapolitan  he erected the palace of the Grand Duke; the
painter, who flourished, according to Dominici,  facade of the church de' Cavalieri; the palace at
about 1430, and studied under Colantonio del  Siena; besides many other works. Buontalenti
Fiore. He executed a number of paintings for  established a very successful academy at Florence,
the Neapolitan churches, the best of which is St.   which was much frequented. In this school were
Francis receiving the Stigmata, in the church of  taught the arts of design, painting, sculpture, archthe Restituta. He died about 1465.               itecture, mathematics, mechanics, and military enBUONI, SILVESTRO DE, a Neapolitan historical  gineering; and it has produced several eminent
painter, the son and scholar of Buono B.; was  men, among whom were Cigoli, Pocetti, and Paborn about 1420, and died in 1480. He studied  rigi. His house was the resort of artists, learned
also under Antonio Solario.  Among his best' men, nobles, and princes; and his infuence on the
works is an Assumption, in the church of S. Pietro  arts was beneficial in the highest degree.  His
Martyre; and the principal altar-piece in the Res-  inventive powers were wonderful, especially in his
tituta, representing the Virgin and Infant, with  curious machines and decorations, for theatres,
saints.                                          and for sacred and public festivals. He was celebrated for making fire-works, whence his surBUONO, an eminent architect for his time, who  name. The Grand Duke was greatly attached to
flourished about 1160.  His origin is unknown.  him, and often took him out to ride in his own
According to Vasari and Sansovino, he was em-  carriage. He died in 1608 aged 62.
ployed by Domenico Morosini, Doge of Venice,.
to erect the famous bell-tower of St. Mark. The    BUPALUS, a Greek sculptor, a native of Chios
principal merit of this work is its solidity; and af-who flourishedabout B. c. 570. He was employed
ter so many centuries, there has not appeared in it  by the inhabitants of Smyrna to execute a statue
a single crack; a different fate to that which has  of Fortune, which, according to Pausanias, he reusually attended structures of this description. It  presented with the horn of Amalthea, and bearing
is 330 feet high, and 40 feet thick. Buono also  upon her head an emblem of the pole. He also
erected a number of works in different Italian   executed for the same people, statues in gold, of
cities, which gained him great reputation. At Na-the Three Graces, which he has represented investples he erected the Capuan Castle, now called the  ed with flowing garments, after the manner of the
Vicaria, and the Castle of Vovo; at Pistoja, the  more ancient Greeks. There has been recently
church of S. Andrea; at Florence, he gave the de-  discovered at Rome a pedestal, with the inscripsign for enlarging S. Maria Maggiore; in Arezzo he  tion The workmanship of Bupalus.  This sculpbuilt the town-hall, with a bell-tower. In his  tor, and his brother Anthermus, executed in conworks there is not so much of the barbarous ara-cert, several works, some of which were placed at
besque as was common at his time.                Rome in the temples erected by Augustus.  (See
BUONO  BARTOLOMEO, a reputable Italian ar-  Anthermus.)  Bupalus is said to have hanged
BUONO, BASTOLOMEp  O  a reputable Italian ar-  himself in vexation at a satire written upon him
chitect and sculptor, was born at Bergamo about  by Hipponax. whose leanness he had caricatured
1450. It is not known under whom he studied.  in a statue. 
In 1495, according to Vasari, he erected the church
of S. Roch at Venice, in a very simple style, with  BURATTI, GROLAM, a pnter of Ascoli, who
Corinthian pilasters; also the old buildings of the  lived about 1580, and painted tne admirable picProcurazie, which is a majestic edifice, and gained  ture of the Presipio, at the Carith, in Ascoli; also
him great reputation. In 1510, he restored with  severl frescos that have been highly praised.
great skill the upper part of the superb campanile  BURCH, ALBERT VANDER, a Dutch painter.
of St. Mark. As a sculptor, Buono executed the  born at Delft in 1672. He studied under Verkolie.
fine statue of St. Roch, in the church of that saint,  and Adrian vander Werf, and painted portraits
and three small statues which adorn the great altar  with reputation.
of the church of S. Geminiano. He died 1529.       BURG, ADRIAN VANDER, a reputable Dutch
BUONTALENTI, BERNARDO, called DALLE GI-  portrait painter, born at Dort in 1693. He studied
RANDOLE. a Florentine painter, architect and sculp-  under Arnold Houbraken. He painted portraits




BURG.                        152                     BURL
with reputation, and also executed several cabinet     BURINI, ANTONIO, a reputable Bolognese hispictures, in the style of that master.  He died   toricai painter, born in 1660. He studied under
in 1733.                                             Domenico Canuti, and painted a number of pic.
BURG, THIERRY  VANDER, a Dutch  painter,  tures for the churches of Bologna; among which
born at Utrecht in 1723.  He painted landscapes,  are the Crucifixion, in S. Tommaso del Mercato;
with cattle, and views of villages and country  the Martyrdom of St. Catherine, in S. Caterina de
seats; which are usually exec4ed in good style.  Saragozza; David with the Head of Goliah, in the
He died in 1773.                                     Sacristy of S. Salvatore; also a saloon for the PaBURGHERS, MICHAEL, a Dutch engraver, who   lazzo Legnani, which is highly praised.
settled at Oxford, at the taking of Utrecht by         BURINI, BARBARA, a Bolognese pintress, the
Louis XIV., and worked chiefly for the booksell-daughter and scholar of A. Burini; born in 1700,
ers.  His plates are executed entirely with the   diedin 1752. She acquired afinetaste, andexecugraver, in a stiff manner, devoid of taste.  His best  ted several excellent historical wors, as well as
prints are antiquities, ruins of abbeys, and other  potraits.
curiosities.  He also engraved  ortraits, and plates   BURKE, THOMAS, an English engraver, born
for the classics, among which are:                  in 1746; his plates were usually printed in red or
William Sommer, the antiquary; after Vandyck. Fran-  brown colors, and were chiefly after the works of
oiscus Junius; do. John Barefoot, letter doctor to the Uni-  Cipriani and other cotemporary artists.  He adoptversity.  1681. Head of James II.; for an Almanac.  ed the style of Bartolozzi, in the chalk manner,
1686. Anthony Wood; in a niche; his only mezzotinto.  and occasionally that of Earlom.
King Alfred; from a manuscript in the Bodleian Library.
Sir Thomas Bodley; in the Corners of the plate are the Heads  BURNET, JAMES, a Scotch painter, born at
of the other Benefactors to the Library; William, Earl of   Musselburg in 1788.  At an early age he maniPembroke, Archbishop Laud, Sir Kenelm Digby, and John  fested an inclination for the art, and learned the
Selden. Timothy Hatton, provost of Queen's College. Doe-  elements in Graham's evening academy. In 1810
tor Wallis. 1699. Sir Thomas Wyat. John Baliol. De-  he visited London to renew his studies and studied
vorguilla, his spouse. Doctor Rateliff. The Visage of      ted London to renew
Christ, engraved in the manner of Mellan, with one stroke.  particularly the works of Cuyp and P. Potter.  He
BURGKMAIR, HANS, a German painter and   was a pupil of nature, and produced several compoengraver, born at Augsburg in 1472; died in 1559.  sitions representing the humblest rural avocations,
eng Iav   bornatA~gsburgmM72;which possess considerable merit.  He died in
It has been supposed that he studied under Durer,  which possess considerable merit.  He died in
but there is only a difference of one year in their  1816,aged28.
ages, and Burgkmair's style differs materially         BURRINI, Go. ANTONIO, a Bolognese painter,
from that of Durer; he was rather the founder of   born in 1655; died in 1727; studied under Canuti
a school of his own.  Several of his pictures are   and Pasinelli.  He was a great admirer of P. Vepreserved at Augsburg, and possess considerable  ronese, and spent much time in studying the works
merit.  His prints are very numerous; principal-  of that great master.  In this style he painted an
ly wooden cuts, with much of the spirit and fire   admirable picture for the Ratti family.  His earof Durer.  Prof. Christ supposes that the fine  lier works show great care and attention, and posprints marked I. B., 1510, in the old edition of the   sess considerable merit; but he afterwards, unforworks of Geyler Keyserberg, are by this artist.  tunately for the art, adopted a greater facility of
His cuts are sometimes marked H. B., and some-  opeation, which gained more disciples than his
times with his monogram.  The following are his  first manner.
principal works.  Nagler has a copious list:           BUS, or BOS, or VANDER BOSCH, CORNEdF         ~LIUS, a Dutch engraver, born at Bois-le-duc about
T nW *4, ^ O1510.  He visited Italy while young, as appears
10Q3por Itor fl      fj                      from  some of his prints being engraved at Rome.
JLJD I."~-'r LHis plates are executed with the graver, and his
The Emperor Maximilian on horseback; with his name.  style resembles that of Marco da Ravenna, but is
The same print in chiaro-scuro; dated 1508; scarce. Jo-  inferior to that artist.  He usually marked them
seph and Potiphar's Wife; H. B. St. George on horse-  with one of these monograms, and the following
back; in chiaro-scuro, with the name of Negker. St. Se-f                  esteemed prints
bastian, standing in an arch; with his name. 1512. St. 
Thomas and St. Bartholomew. 1514. A young Female la-  
menting the loss of a Hero that Death is trampling upon;
in chiaro-scuro; H. Burgkmair - I. de Negker; scarce.    f                                  h
Hector von Troy, Gros Alexander, Julius Caesar; with his,or      Uor  
name. Lucretia, Virginia, and Veturia; with his name.
1519. S. Elena, S. Brigita, and S. Elsbeta. An Emperor                       or
on his Throne, giving Audience to a Man. A set of two               C    B  I
hundred and thirty-seven plates for a book, published at    The Last Judent; withhis cipher. 1530. Lot and
Vienna, entitled Der Weyss Koneg, or the wise King,  his Daughters. 1     Did  nd        h  154.  Jes
giving the principal actions of the Emperor Maximilian   Dauht       550. David and    ah. 1546. Jesus
I. A set of thirty-eight plates of the Triumphal Entry of  preachingtothe Jews; inscribed Beati qum, tc. Venus
Maximi'ian  I.'       in her Car. 1546. Venus and Cupid coming to Vulcan.
Maximilian.                                       1546. Combat of the Centaurs and the Lapithm; in two
BURGO, FRANCESCO DA, an excellent painter  sheets. 1550. Death seizing a Monk. The Equestrian
of the Bolognese school, of whom little is known.  Statue of Marcus Aurelius. A set of sixteen of Trophies,
In the church of S. Francesco at Rimini, are two   Arms, and Grotesques; Rome. 1550 to 1553.  Moses
paintings which Lanzi says are noble productions,
paintings which Lanzi says are noble productions,  breaking the Tables of the Law; after Raffaelle. 1550.
abounding in perspective and invention.  The one   Moses presenting the Law to the People; do. i551. The
Triumph of Bacchus; after Giulio Romano; in two
represents St. Sigismond, at whose feet appears  sheets. 1543  The Entombing of Christ; after Francis
Sigismondo Malatesta, inscribed, Franciscus de   Floris. 1554. The Battle of the Giants.  The Descent
Burgo f   1446; the other, the Scourging of  from the Cross. 1545.
Christ.                                                BUSC. Basan says this amateur etched twenty



BUSO.                     153                     BUSO.
eight plates after Rembrandt, and twenty others  blooks of wood; one for the outline, the other for the deep
of portraits, &.                                 shadows, and another for the demi-tints.
BUSCA, ANTONIO, a Milanese painter, born in      BUSO, AURELIO, a painter of Cinema, who lived
1625; died in 1686; studied under Procaccini, and  about 1520, and studied under Caravaggio, and il
painted, in competition with that master, a picture  Maturino, whom  he assisted in their works at
of the Virgin, Mary Magdalene, and St. John, in   Rome.  He painted in the style of Polidoro a
the Church of S. Marco, which may wel be com-  number of historical pieces in his native city, and
pared with the works of Procaccini. Busca was  several frieze  and other works in the  enzo
afterwards afflicted with the gout, and never equal-  Palace at Venice.
led this production. He sunk into a mannerist,    BUSSE, JOHN, a German engraver, who flourand contented himself with frequently repeating  ished about 1528. He is classed among the little
the same subject.                                masters, from the size of his plates, and is supposed
BUSCATI, or BUSCAT, TLUCA ANTONIO, a Bo-  to have studied under H. Aldegrever, as he copied
BSAIor  I,    A.ANT O sIni  several of the prints of that master. Among other
lognese painter of the fifteenth century. Rosiniseeraloftheprints   of         thataster  mngther
lognese painter of the fifteenth century. Rosini  plates, there is a small set representing the seven
gives an outline of a Deposition from  the Cross  plates th    a smal set represen  te 
by this master, in the Ercolani Gallery at Bo-  planets which are ma rked JB., 1528. 
logna, and Zani ranks him among the most emi-  mentions a plate, lengthways, representing a man
nent artists of his time.                        and woman dancing, with two men playing on
nent artists of his tim.            musical instruments, signed John Busse.
BUSCHETTO DA DULICHIO, an architect of, a Florentine painter, who
Greek origin, who lived in the eleventh century,  BUTI, LODOVICO, a Florentine painter, who
Greek origin, who lived in the eleventh century,  lived about 1600; studied under Santo di Titi, but
and, according to Vasari, was employed at Pisa in     wards imitate,          derable success, the
the erection of the cathedral. It consists of five  afterwed with consi
style of Andrea del Sarto. Batdinucci  mentions
naves, enriched with a variety of beautiful col-  steof Andrea del Sarto. Balinucci mentions
umns, which the Pisans, according to Morona, had  several of his works in the churches and palaces at
brought from distant countries. Buschetto with
brofrom dwhistant countries.  Buschetto with   Florence. His master-piece is the Miracle of the
much    lty a d the v s f   nts o    Loaves and Fishes, in the Florentine Gallery.
much difficulty arranged the various fragments of
antiquity, as vases, capitals, cornices, and columns,    BUTINONE, BERNARDO, a native of Travillo.
collected from  different parts. The plan of the  It is not known under whom he studied, but he was
cathedral is a Latin cross; its entire length is 311  the companion and friend of Bernardino, so much
feet, and the length of the transept is 237 feet.  commended by Vasari for his works at Milan, and
The dome of the cupola is ornamented with   wrought with him in the church of S. Pietro in
eighty-eight columns.  This edifice was com-  Gessato.  In this church there are several piemenced in 1064, and finished, according to an an-  tures by Butinone, executed about 1484, in which,
cient document, in 1092. Buschetto left many pu-  Lomazzo says, he displayed great knowledge of
pils, but their names are little known. The date  perspective.  He died in 1520. This Bernardino,
of his death is not recorded.                    mentioned by Vasari, Lanzi affirms was no other
BUSHNELL, JOHN, an English sculptor, who  than Bernardo Zenale, the intimate friend of da
flourished in the latter part of the seventeenth  Vinci; which see.
century. He visited Italy for improvement, and     BUTTERI, Gio. MARIA, a Florentine historical
remained some time at Rome and Venice. In the  painter, according to Baldinucci; studied under
latter city he executed a magnificent monument for  A. Bronzino, and painted several works for the
the Procurator of San Marco. On his return to  churches and convents. His drawing is incorrect,
England, he produced two statues of Kings Charles  and his coloring indifferent. He died in 1606.
T. and II., for the Royal Exchange, and subse-    BUYTENBERG. WM. DE, a Dutch painter and
quently the statues of the Kings for Temple Bar.  engraver, born at Rotterdam about 1600; died in
He had agreed to complete the figures of the sove-  1640.  Houbraken  calls him  Geestige Willem
reigns of England at the Exchange, but on hearing  (William the Gay,) and under this appellation he
that Cibber had made interest to supply some of  is to be found in the Catalogue of Pictures by Hoe
them, he refused to go on with the work. He died  and Terwesten, as a painter of landscapes and conin 1701.                                         versations. His principal work was the Triumph
BUSI, NICCOLO, an Italian sculptor, who is only  of William, Prince of Orange, engraved by C. Kitknown by the works he executed in Spain, where  tenstein. Some of his works have been engraved
he passed the greater part of his life. His produc-  by G. H. Scheyndel and E. Vandervelde.  His
tions were much esteemed, especially his busts,  plates are etched from his own designs, in a pleaswhich, according to Palomino, were his best per-  ing style. The following are the principal:
formances. He died at an advanced age, in 1709.
BUSINCK, Louis, a German wood engraver,                                 or   r orT \        Cf.
who lived at Minden, according to Heineken, about.
1630, and executed in a very spirited and masterly    Two of Women going to Market, one with Vegetables,
style a number of cuts in chiaro-scuro.          and the other with Fowls. Seven of different Dresses of
Noblemen; W. B.fec. Six of Dresses of Ladies. Ten
Fidelity, an allegorical piece; from his own designs.  of Landscapes, with Ruins and Figures; Verscheide Land1630. A half-length figure playing on the Flute; do. 1630.  schapjes.
A Cavalier; full-length; do. 1630. Two of Peasants.  B     o 
BYE, or BIE, JAMES DE, a reputable Flemish
SUBYECTS IN CHIARO-SCURO; AFTER G. L. ALLEMAND. 
engraver, born at Antwerp about 1581, where he
St. Peter holding the Keys; half-length. St. John and followed the business of print and bookselling.
St. Matthew. Judith, with the Headof Holofernes. Mo-        ae                           gve
ses, with the Tables of the Law. A Family of Beggars.  His plates are executed entirely with the graver,
A young Man playing on the Flute. A.neas saving An-  his drawing tolerably correct, and his line neat
chises from the Fire of Troy. A Holy Family, on three  and firm. His style resembles the Collaerts, and




BYLE.                       154                      CABE.
he engraved, in concert with those masters, several  born at Ryswick in 1631; died at Lyons in 1695;
of the plates in the set of fifty, of the Life, Passion,  studied under Van Goyen, and afterwards visited
and Resurrection of our Saviour, after designs of   Italy, as appears from  the fact that the Flemish
Martin de Vos. The following are his principal  painters at Rome called him Corydon and Geestigplates:                                             keit; though Descamps says he never went to
The Medals of the Roman Emperors; in the collection  Italy.  He subsequently settled at Lyons, where
of the Duke d'Arschot. 1617. The Portraits of the Kings  he had good success, and painted landscapes, with
of France; for the History by Mezeray; fifty-eight  figures, cattle, and sea-ports, which have little of
plates. The Descendants of the House of de Croy; about  the taste of his country.  In his animals and figsixty plates. The Portrait of Francis I.; after M. de        fllw     aili     in lanca            v
Vos. Christ Healing Peter's Wife's Mother; fine; for  ese ollowed  astglone n landsape, alva
Collaert's set. The Resurrection of Lazarus; fine; for the  tor Rosa; and in coloring, he sometimes combined
same set.                                           the styles of Caracci and P. F. Mola.  His pictures
BYE, or BIE, MARK DE, a Dutch painter and   show great ability, but in consequence of his disengraver, was born at the Hague, about 1612. He   solute life they are very unequal in merit.  Bartsch
studied painting under J. vander Does, and exe-  enumerates fifty-fiveprints by this artist; among
cuted several landscapes, with animals, which pos-  which are:
sess some merit. As an engraver he is chiefly         A set of six Landscapes, with figures and buildings.
deserving of notice, and his etchings of animals  Thirty of Landscapes and Marines. A set of four mouner Pl Per, ad Mark Grar,  are         tainous Landscapes, with figures; inscribed A. vander
after Paul Potter, and Mark Gerard, are much   Cabel, fecit, N. Robert, exc.  Two Landscapes, large
esteemed.  The following are his principal plates:  plates, with figures. A large upright Landscape, with St.
Three sets, of eight each, of Cows and Oxen; after Pot-  Bruno, the figure is engraved with single strokes, in the
ter. A set of sixteen of Sheep; do. A set of sixteen of  manner of Mellan; rare. Another, its companion, with
Goats; do. A set of sixteen of Lions, Leopards, Wolves,  St. Jerome; rare.
Bears, &c.; do. A set of sixteen of the Natural History  CABEL, JAN VANDER. Balkema says this arof the Bear; after Mark Gerard. 1664; scarce.       tist painted horses, cattle, and landscapes with anBYLERT, or BYLART, JOHN, a Dutch painter,  imals and figures, but does not give any dates.
was born at Utrecht in 1603. He was the son of
CABEZALERO, JUAN MARTIN DE, a reputable
a painter on glass, who taught him  the elements        ABEZALERO, JUAN MARTIN DE, a reputable
of design; and without any other assistance he   Spanish historical painter; born according to Paof design; and without any other assistance he   ^            ^ Almaden, near Cordova, jn 1633, died
became a good historical painter.  His pictures are  lomino,atAlmaden,near Cordova, n 1633; died
usually smaller than life; composed with great  in 1673; studied under Don Juan Carreno.  His
usuallty smaller han life  composed with great v     best works are the Assumption, and a picture of
ingenuty, and clored with great vigorS. Ildefonso, in the Church of S. Nicola.  There is
His talents have been celebrated by the poet Cor-  also a Ecce Homo, and a Crucifixion by him in the
nelius de Bie, in his Gulden Cabinet.                Church of the Franciscans
BYRNE, WILLIAM  an English engraver, born           CACIA, G LIELMO, called IL M
at London in 1743; died in 1805.  He was first               IA   GGLILO, called IL   ONALVO,
London'in  14 diedin5.eafrom his long residence at that place, an eminent
instructed by his uncle, who was an obscure artist;  from on     ese piner, orn at that plae,  n  inen
but subsequently went to Paris, where he became   Piedotee i       ainer b     a       a e in  first 
a scholar ofAliamet, and afterwards of J. G. Wille.    at Mi  and painted in  16e cu rch  of S. Antoni
at Milan, and painted in the church of S. Antonio
His plates, are principally landscapes, and they   Abate aworkn fresco, which may even be ranked
possess considerable merit.  The following are the   with some of the best productions of the Carloni
principal:                                         with some of the best productions of the Carloni.
Teprincipalqie oBrti;fmthca: mid                    It represents the titular saint, with St. Paul.' AnThe Antiquities of Britain; from the charming draw-  other admirable fresco painting by Caccia, is the
ings of Mr. Ilearne. The Views of the Lakes of Cumberland and Westmoreland; after Mr. Farrington. The  cupola of S. Paola, at Novara.  Lanzi says he reScenery of Italy;,after the fine designs of Mr. Smith.  sided some time at Pavia, where he was made a
Apollo watching the Flocks of King Admetus; after F.  citizen; and that he was not less known at AlesLauri; the companion to Mr. Woollet's print of Diana and  fandria, Novara, Vercelli, and Turin.  His best oil
Acteon. The Flight into Egypt; a fine lahdscape;after  paintings are: St. Pietro, in the   hiesa della
Domenichino. Evening; a fine landscape; after Clade   Coce;St.Teresainthechurchofthatname; the
Lorraine. Abraham and Lot quitting Egypt; after Zuc-              the          hch         
carelli; the figures by Bartolozzi. A Sea-piece; after  Descent from  the Cross, which many consider his
Vernet. Evening; after Both; the landscape byByrne;  master piece, in S. Gaudenzio, at Novara; the
the figures by Bartolozzi. Two Views of Leuben, in   Raising of Lazarus, and the Miracle of the Loaves,
Saxony; after Dietricy. The Death of Captain Cook;  at Chieri, finely expressed and admirably comthe figures by Bartolozzi. The Waterfall of Niagara;  posed.  The pictures  in the Conventuali at Monafter R. Wilson.'posed. The pictures in the Conventuali at MonaB. WlOHN.    S s painr ws           calvo, are almost entirely by this master.  It is
BYSS, JOHN RODOLPH, a Swiss painter, was born   not recorded with whom he studied, though as his
at Soleure in 1660. His subjects were easel pic-  style has something of the energy of the Caracci
tures of historical subjects in landscapes, in which  it has been thought he was of tht school but his
he followed the  style of Gerard de Lairesse, and   manner partakes far more of the Roman than the
the finished manner of Adrian Vanderwerf.  He   Bolognese school.
also painted flower pieces in an admirable style,
which Fuseli says equalled those of John van Huy-      CACCIA, ORSOLA MADDELENA, and FRANCESsum, though this is perhaps too high praise. Byss  CA, daughtersand scholars of G. Caccia.  They asresided chiefly at Mentz and Vienna, where he  sisted their father in his fresco works, and are the
met with great encouragement.  He died in 1738.  only women ever known to have practised this
branch of the art.  Their styles were so similar,
C.                           that in  order to  distinguish  them, Francesca
adopted the symbol of a bird, and Orsola that of a
CABEL, or KABEL, ADRIAN VANDER, a Dutch  flower. In Monferrato they painted a number of
painter.  His name was originally Vander Toow,  cabinet pictures, and more altar-pieces than any
but was afterwards changed to Cabel.  He was  other females.  The outlines of their figures are




CACC.                     155                     CACC.
copied from their father, but with less animation.  of the character of another's hand writing colld
Orsola founded the conirent of the Ursulines at  ever rival him in the dexterity with which at a
Moncalvo, the chapel of which is decorated with  moment's call, he could imitate the phisiognomy,
some altar-pieces by her, and several cabinet pic-  the naked figure, the drapery, and the entire chatures, with- landscapes, in the style of Paul Bril,  racter of every designer. The most experienced perornamented with flowers.* There is also a Holy  sons would sometimes request of him, a design after
Family by her, in the same style, in the rich col-  Michael Angelo or Raffaelle, or some other great
lection of the Palazzo Natta. Orsola died in 1678,  master, which he instantly complied with, and
and Francesca at the age of fifty-seven, but the  when confronted with an indisputable specimen of
year is not recorded. Zani says they were both  the master, and these persons were requested to
Ursulines.                                       point out the original, as Buonarotti's for exCACCIA, POMPEO, a Roman painter, who flour-  ample, they often hesitated, and often fixed on the
ished at Pistoja in the first part of the seventeenth  design of Cades. He was, notwithstanding, excentury. Lanzi says there are several of his works  tremel honorable. On one occasion, he made a
in that city, among which he commends a Presen-  lage   si  in the style of Raffaelle to deceive
tation  of Jesus in the Temple, at the Salesiane,  the director of a foreign cabinet, who boasted an
dated 1615.                                      infallible knowledge of the touch of that master,
CACCIANEMICI, FRANCESCO, a Bolognese  and employed a person to show it to him, when he
C CIANEMII, FRANCESCO, a Bolowasnese   eagerly purchased it at 500 Zecchins, and notwithpainter, studied under Primaticcio, and was se-  standing Cades afterwards confessed the fraud to
lected among others by that master, to accompany  him and offered to return the money, he refused to
him to France, when he was invited thither by  part with it, and it now probably adorns one of the
Francis I. He assisted Primaticcio in his great  first cabinets of Europe as an original by Raffaelle.
work at Fontainbleau, and was also employed on     He was confident in his own talents from his
other important works, in concert with il Rosso.  early years, and on a public occasion he made a
He died in 1609.                                 drawing after the bent of his own genius, regardCACCIANEMICI, VINcENZIO, a Bolognese  less of the directions of his master, who wished it
gentleman, who lived about 1530, and practised  to be done in another style, and he was in consepainting for amusement. He studied with Par-  quence dismissed from his school. This drawing
mniggiano, and painted the Decollation of St. John,  obtained the first premium, and now exists in the
in the Gapella Macchiavelli, in S. Stefano; also  academy of St. Luke, where it is much admired.
the same subject differently treated, in the chapel  He owed less to the instructions he received than
of the family Elefantuzzi, in S. Petronio, at Bo-  to his own genius, and his talents for imitation.
logna. He also etched two plates marked V. C.;  Though sometimes defective in design, his works
Diana returning from the Chase, and a Landscape  were much admired, and he found abundant emwitha Nymph and Dogs. Zani says he died in  ployment at Rome. The princely families of the
1542.                                            Borghesi, the Ruspoli, and the, Chigi, employed
CACCIANIGA, FRANCESCO, a Milanese painter.  him to adorn their palaces and villas. He also exborn in 1700, studied under Franceschini, at Bo-  ecuted several pictures for the Empress Catherine
logna. On leaving that school he went to Rome   II. of Russia, as well as some other excellent works
where he obtained the favor of the Prince Borg-  for the churches at Rome, where he died about
hese, for whom he executed several works. His  1800, aged 50.
best productions, however, are at Ancona, where    CAFFA, MBLCHIORE, an Italian sculptor, born
he painted several altar-pieces, the best of which   at Malta, in 1631.  He studied under Bernini,
are the Marriage of the Virgin, and the Last Sup-  and made great progress in the art. Some auper.                                             thors even assert that he equalled his instructor;
CACCINI, GIOVANNI, a Florentine architec but others, who ridicule the extravagance of this
and sculptor of considerable merit, was born in  praise, say that he had a fertile genius, and was a
1562. He studied under Dosio, and was equally   master of the art of design. He executed a numclever in sculpture and architecture. He erected  ber of fine works, for the Roman churches, of
at the church of la Nunziata, in Florence, a loggia,which the most esteemed is a marble group of St.
with arches and corinthian columns, sculptured  Thomas distributing alms, in the chapel of S. Agosout of Sirena marble. Caccini also executed the  tino. Caffa died at Rome, in 1687.
rich and noble oratory for the Pucci family, and   CAFFI, LA, a Venetian paintress of the 18th
designed the choir and grand altar for the church  century, who excelled in the execution of flower
of S. Spirito, He died in 1612.                  pieces, which were greatly admired.
CACCIUOLI, Gio. BATTISTA, an eminent his-    CAFFIERI, FILIPPO, an Italian sculptor, born
torical painter, born in the castle of Budrio, near  at Rome in 1634, of a family originally from  NaBologna, in 1623, according to Zani, though others  ples, and allied with many of the first houses in
say in 1635. He studied under Domenico Maria  Italy. At the request of Cardinal Mazarin, CafCanuti, and painted several pictures for the Bo-  fieri went to Paris in 1660. Colbert gave him
lognese churches. He was greatly patronized by   apartments at the Gobelins, and employed him
the Dukes of Parma and Modena, and died in 1675.  in several works for the royal Palaces. He was
CADES, GIUSEPPE, a celebrated painter of the  subsequently appointed sculptor and naval archimodern Roman school, was born at Rome about  tect to the king, and inspector of the marine at
1750. He was of French extraction, and studied   Dunkirk. He died in 1716.
under Domenico Corvi. Lanzi says he recom-    CAFFIERI, JACQUES, a French sculptor, the
mends himself to our notice principally for an ama-  son of the preceding, was born in 1678. He exezing facility of imitation, dangerous to the art when  cuted many good busts in bronze, among which
not governed by correct principles. No simulator  was that of Baron Benzeval. IIe died in 1755.




CAFF.                     156                    CAGL.
CAFFIERI, JEAN JACQUES, an eminent French   of Veronese are his four great paintings in the Veculptor, the son of Jacques C., born in 1723. He  netian churches. The first was painted for the
studied under Lemoine, and his works exhibit a  Refectory of S. Giorgio Maggiore, and is now in
finer taste, and greater truth of expression than  the Louvre. The subject is the Marriage at Cana;
those of the other members of his family. He was  it is over twenty-five feet wide, and contains an
appointed professor in the academy, and sculptor  immense number of figures, many of which are
to the king, and elected a member of two acad-  portraits. It is said that he received only ninety
emies of fine arts. He executed a great many fine  ducats for this immense work, which is accounted
works, among which are the busts of Corneille  for by the fact that he never received more remuand Piron, in the Theatre Fran ais; the busts  neration from the convents than the expense of
of Quinault, Lulli, Rameau, and Helvetius. His  his materials. The second, painted in 1570j for S
busts are generally superior to his larger. works.  Sebastiano, represents the Feast of Simon, with
Among the latter is the statue of St. Sylvia, at the  Magdalene washing the feet of Christ. The third
Invalides; and the group of Melpomene and Tha-  executed for SS. Giovanni e Paolo, is the Saviour
lia. He died in 1792.                            at supper with His Disciples. The fourth, (which
CAGLIARI, or CALIARI, PAOLO, called P4OLO  is perhaps his master-piece) is the same subject
VERONESE, a distinguished painter of the Venetian s the second, but quite differently treated; it was
school, born at Verona, according to Ridolfi, in  painted for the Refectory of the Padri Servi, and
1532, though Zani and others say in 1528; died  in 165, was presented b  the Republic to  ouis
in 1588. He was the son of a sculptor named  XIV. There are a few masterly etchings marked
Gabriele Cagliari. -Ie early manifested great ge-  P. C., and PA. CAL. which are attributed to
nius for painting, and was placed in the school  Paolo; among which are the Adoration of the
of his uncle, Antono Badile, then one of the mostMagi, Paolo Veronese fec.; and Two Saints sleepeminent Veronese painters. Paolo was soon em-  ing; no mark.
ployed by the Cardinal Gonzaga, to paint in fresco  CAGLIARI, BENEDETTO, an Italian painter and
the dome of the cathedral at Mantua, in concert  sculptor, the brother of Paolo C., was born at Verowith Domenico Brusasorci,  Paolo Farinato, and  na in 1538. His abilities were greatly inferior to his
Battista del Moro, in which he distinguished him-  brother, but he assisted him in some of his works,
self above all his competitors. He next visited  particularly in painting the architecture, and he
Venice, where he competed for the prize of a gold  also painted several subjects from mythology and
medal and chain, offered by the senate to the ar-  Roman history in the court delgi Mocenighi, which
tist who should execute the finest decorations for  are praised by Ridolfi and Boschini.  As a sculpthe palace of the Conservators; and though sev-  tor he executed a number of works, but never rose
eral eminent painters contended against him, and   above mediocrity. He died in 1598.
though the great Titian and Sansovino were the      CAGLIARI, CARLETTO, a Venetian painter, the
judges, yet Paolo came off victorious.  Grimani,  elder son and scholar of Paolo, born in 1570. He
the Venetian ambassador to Rome, invited Paolo  gave early proof of genius, and under his father's
to accompany him to that city. where he had an   able instruction, produced some extraordinary peropportunity of studying the'works of the great  formances, at the early age of eighteen. After his
masters. His abilities, however, would never have  father's death he completed several works left iagained him distinction in the simple sublimity of  perfect by that master, and distinguished himself
Raffaelle and the antique; and, accordingly,'he  still farther by his own compositions, so that it
neglected these; —by his fascinating delineations  was supposed he would equal, if not surpass Paolo,
of splendid ornament and magnificent parade,  but he died at the early age of 26, in 1596.
he attained an immense reputation. M. de Piles      CAG, GRE            the yungr son an
asserts that his success in chiaro-scuro is to be  scholar of, born in 156e  died in 
attributed to chance.-an idea that deserves no
rconsideration  for the admirable management of  painted a few portraits and historical pieces; but
consideration; for the admirable management of soon turned his attention to commercial pursuits.
his breadths, and the intelligent arrangement of his
ights and shadows, certainly warrant the belief    CAGNACCI, GUIDo, a Bolognese historical
that he was perfectly versed in this important part  painter, born, according to Malvasia, in 1600; died
of design. In most of his large works he was as-  in 1680; studied under Guido Reni, and followed
sisted by Tintoretto; nor was the pre-eminence  his style. He met with great encouragement from
of either ever determined. If Tintoretto was al-  the court of Vienna, and resided there the most of
lowed to imitate nature with superior force, vi-  his lif. His grace andexpression are inferior to
vacity, and truth of coloring, Veronese was ac-    uido, but his coloring is more vigorous, and his
figures are drawn with tolerable correctness.  His
knowledged to possess a finer invention, more ele- igures are drawn with tolerable correctness. His
gance and grace in his figures, and more dignity   works are more known in Germany than in his own
in his characters. His composition is grand, and  country, though there are several in the palaces at
his design noble; his coloring is pure and harmo-  Bologna.
nious. His heads are usually graceful, but in the   CAGNOLA, MARQUIS, a celebrated architect of
extremities of his figures, and the outline of his  Milan, who flourished in the present century. To
naked forms, he is often incorrect; his attitudes  this distinguished artist we unquestionably owe
are not always well chosen. His works, how-  one of the most remarkable monuments of the
ever, display copious invention, and a lively imag-  present age-the triumphal arch which, at the end
ination, a light and pleasing pencil, and a firm and  of the road from over the Simplon, forms the envigorous execution. He often overloaded his paint-  trance to the town of Milan. This arch, admirably
ings with ornament, without due regard to the  adopted from the antique, is, from the elegance of
subject;-as in the celebrated pictures of the Feasts  its proportions, the purity of its form, the merit
of Simon and Levi, which he has represented with  of its.execution, and the richness of its materials,
the most sumptuous magnificence. The best works  far superior to any similar structure existing. Ii




CAIR.                     157                    CAIR.
was Intended by Napoleon as a grand memorial of  During the pontificate of Urban VIII., it was re,
his triumphs in Italy, and though its completion  solved to remove some of the best paintings in St.
was delayed until after the conqueror was driven   Peter's, on account of the dampness, and replace them
from Italy, the architect had the satisfaction of  by copies in Mosaic. The first copy was executed
beholding in full perfection this monument of his  by Calandra, after the St. Michele of Cesare d'Artaste and skill. Cagnola also erected a number of  pino. This art was subsequently carried to a high
other fine works, by which he gained honors and  degree of perfection by the Cristofori.
fortune. He died in 1833.                          CALANDRUCCI, GIACINTO, a painter of PalerCAIRO, CAr. FRANCESCO, an Italian painter,  mo born in 1646; died in 1707; studied under C.
born at Varese, in the territory of the Milanese, in  Maratti at Rome, where he painted two excellent
1598; died in 1674; studied under P. F. Moraz-  pictures, of St. John in S. Antonio de Portoghesi,
zone, whom he surpassed in agreeableness of col-  and St. Ann in S. Paolino della Regola. He afteroring, and elegance of design, though inferior to  wards returned to Palermo, where he painted a
him in vigor of effect. In the earlier part of his  picture of the Virgin, with Saints, which Lanzi
life he followed the great principles of design which  says was surpassed by few  productions of his
he had acquired at Rome; but after studying the  time.
splendid works of Titian and Veronese, he adopted    CALANDR CI DOMEN
an admirable style, founded on the manner of, DOMNICO, brother of the
both these masters. He was invited to the Court Ppreceding artist, who studied under Carlo Maratti,
-of S  a voy by the Duke, Victor Amadeus; for whom   and afterwards returned to his native city, Paleof Savoy by the Duke, Victor Amadeus; for whom        Pascoli says he was a favorite pupil of his
he painted a number of portraits. entirely in the mo. Pascoli says he was a favorite pupil of his
style of Titian, according to Lanzi, and several master, but does not specify any of his works.
CALANDRUCCI Gdo. BATTIsTA  was a nio
historical subjects. Oneof his best pictures is his ALANDRUCCI, Go. BATTISTA, was a neSt. Teresa, in S. Carlo, at Venice; and there are  phew of Giacinto C., under whom  he studied at
some of his works at Turin and Milan.            Rome. When his uncle returned to Palermo, he
continued at Rome in the practise of his profesCAIRO, FERDINANDO, an Italian historical paint-  sion.
er, born at Casalmonferrato in 1666; studied with                        an i ious 
his father, an obscure artist, and afterwards under    CALAU, BENJAMI, an igeniou   German
Franceschini, at Bologna.  Averoldi praises his  painter, born at Frederickstadt, in Holstein, in
1724. He was skilled in portrait painting, and
frescos on the ceiling of the church of S. Antonio, at    He was   ied in portrait paintig, and
Brescia, in concert with Gfiacinto Gsarofalino. He  i celebrated for having discovered the eleodorique,
died, according to Zani and Lanzi, aged 77; though         a substance used by the a given  an account  instead
others say at the age of 26. He had an elder bro-  Gaze 
ther, named Giuseppe, or Guglielmo. who died   was a  ember of the  cademy 1768, p. 740. He
at the age of 26, and this has probably caused the  wBerl, wa  ere  he died in 17 5.
error. 
CALABRESE.    See T  andDCALCAR, or KALCKER, JOHN VAN, a Flemish
CALABRESE. See PRETI, and CARDIsco.        painter, born at Kalcker, in the Duchy of Cleves,
CALABRIA, PEDRO DE, a Spanish painter who  in 1499; died at Naples in 1546; studied at Veflourished from 1612 to 1625; studied under Luca  nice under Titian, whose admirable style he imiGiordano, and painted spirited battle-pieces in the  tated with such success as even to deceive Goltzstyle of that master.                           ius, and other excellent judges. Sandrart says ho
CALAMIS, an eminent Greek sculptor, who  copied the works of Raffaelle with almost equal
flourished at Athens about B. c. 420, and was a  success, and Vasari says his works are totally free
disciple of Praxias.  He excelled principally in  fr   the Flmish taste. Calcar designed theilstatues of horses, and he carried this branch of the  lustrations of Vasari's work. Rubens possessed a
art to the highest perfection. He also executed    ativity by him in which the light proceeded from
many admirable chariots, on which were placed the  the Infant; it was purchased by Sandrart at the
statues of heroes and princes, which were the work  death of Rubens, and by him was sold to the Emof his cotemporaries. Among them was that of  perorFerdinand.
Gelon, tyrant of Syracuse;.executed by Onatas    CALCIA, GIUSEPPE, a Piedmontese painter, who
of AEgina. He also succeeded no less in statues,  flourished about 1675. Lanzi says be was called
and to prove that he was not inferior to his rivals,  Genovesino, which has occasioned him to be conhe commenced and finished without assistance,  founded with Marco Genovesino. ]n the church
several beautiful statues. He was not, however,  of the P. P. Predicatori, at Turin, are two pictures
free from the faults of the preceding masters; and  by him, of St. Dominico, and ST. Jommaso. He
his works, according to Cicero, though less stiff  also painted several altar-pieces for the churches
than those of Canachus, were inferior to those of  at Alessandria, but is best known for his cabinet
Myron, and especially to those of Polycletus.  pictures, one of which is praised by Lanzi for
Pausanias mentions a great number of the works  grace of design and beauty of coloring. It repreof Calamis, among which was a statue of Alscu-  sents Christ praying in the Garden, and was in
lapius in gold and ivory, and a Colossus of Apollo,  the collection of the Marchlesi Ambrogio Ghilini.
placed in a small isle near the coast of Illyrium,    CALDERARI, OTTONE, an Italian nobleman,
which was taken to Rome by Lucullus, and con-  was born at Vicenza in 1Y30, and early manifested
secrated in the capitol. He employed metals with   a love of architecture. He studied assiduously the
great success, and most of his works are executed  works of the best maers, both ancient and modin bronze.                                       ern, and adapted the solidity, decorations, and maCALANDRA, Gio. BATTISTA, an Italian paint-  jesty of Palladio to the internal arrangements of
er, born in 1586, according to Zani; died in 1644.  that period.  Tha purity of his taste, and his
He acquired celebrity by his skill in Mosaic work.  knowledge of the art of building, so raised his re



CALD.                      158                    CALL
putation, that a number of noblemen erected edi-  congruities of the works of Caletti sufficiently enfices from his designs. In 1772, he erected a palace  dorse their paternity. He was, however, capable
for the noble Sebastiano Anti Sola, at Vicenza. In   of something higher, as appears from his two picthe next year, he built another-palace in the same  tures in the church of S. Benedetto at Ferrara, recity; and afterwards erected several other fine edi-  presenting St. Mark, and the Four Doctors of the
fices, among which is the temple of S. Orso at the  Church. The former is correctly and grandly defoot of Monte Summano, which received great ap-  signed, and is full of fine expression.
plause, and would have done honor even to Pal-    CALIAVARI. See CARLEVARIIS.
ladio himself. The time of Calderari's death is                                      
not recorded.                                       CALICI, ACHILLE, a Bolognese painter, born
about 1565; studied under Prospero Fontana, but
CALDANA, ANTONIO, a native of Ancona, who  subsequently under Lodovico Caracci. Malvasia
flourished at Rome in the latter part of the 18th  says he painted with great credit the two side
century. According to the Guida di Roma, he  pieces of the great altar in the church of St. Mipainted a large picture in the sacristy of S. Nic-  chele Arcangelo at Bologna.
cola da Tolentino, from the life of that saint, which  CAIG          See CP
is much admired.  After the execution of this        ALIARINO. See            ELL
work, he probably returned to his native city.      CALIMBERG, JOSEPH, a German painter, born
CALDARO. See P. DA CARAVAGGIO.                 about 1505; died in 1570. He passed the greater
CALDARO. See P. DA CARAVAGGIO.
part of his life in Venice, where several of his
CALDERARI, GIo. MARIA, a painter of Por-  works yet remain. particularly the Battle of Condenone, born about 1500; was a very talented  stantine at the Servi. His style was ingenious,
scholar of Pordenone, and painted entirely in his  though rather sombre and heavy.
manner, so that some of his works deceived the      CALL, JOHN  VAN, a Dutch painter, born at
best judges. They are little known, and are pro-  Nimeguen in 1655, was the son of a surveyor, and
bably ascribed to his master. Calderari painted  was almost wholly self-taught. His first attempts
several considerable works in fresco at Montereale,  were several copies of the landscapes of Paul Bril,
and at Pordenone.  Zani says he was living in  John Breughel, and William van Nieulant; and he
^~~~~157*'~0.  ~studied attentively the principles of perspective
CALDWALL, JAMES, an English engraver, who  and architecture. He afterwards visited Switzerhas executed several portraits of distinguished per.  land and Italy; and, during a residence of several
sonages, besides other subjects.                 years at Rome, he made many drawings of the
PORTRAITS.                    beautiful scenery near that city.  His drawings
Sir Henry Oxenden de Barham, Bart.  Catherine,  are more esteemed than his pictures. They are
Countess of Suffolk. Sir John Glynne, Chief Justice of  highly valued in Holland, where they are found in
the King's Bench. Sir Roger Curtis. Admiral Keppel.  the richest collections. Call afterwards settled at
John Gillies, LL.D., historian. David Hume, historian.  the Hague, where he died in 1703.
Mrs. Siddons and her Son, in the character of Isabella.
CALLAMAR, CHARLES ANTOINE, a French
sculptor, born in 1776. He devoted himself with
The Immortality of Garrick; after Carter, the figures  the greatest ardor to the prosecution  of his proengraved by Cal, and the landscape by S.   th.the greatest ardor to the prosecution of his proengraved by Caldwall, and the landscape by S. Smith.
The Fete Champftre given by the Earl of Derby at the  fession, and made rapid progress. Among his nuOaks; after R. Adams, engraved by Caldwall and Grig-  merous productions is the statue of Hyacinthus
nion. The Camp at Coxheath; after W. Hamilton.   wounded, and above all his well-known work of
CALENDARIO, FILIPPO, an Italian architect  Innocence playing with a Serpent, which is an exand sculptor, who flourished at Venice about-1334.  an  bre  b  h    w          ar g     a
and sculptor, who flourished at Venice about.1334.  quisite work of art. There are also many statues
He was commissioned by the Republic to erect the  and bas-reliefs by him,which are greatlyadmired
superb porticos, supported by marble columns   Callamar died by his own hand in 1821, in a fit of
delirium, caused by an attack of typhus fever.
that surround the vast area of the square of St.  deliriu, caused by an attack of typhus fever.
Mark, and upon which a range of uniform build-    CALLC()TT, AUGUSTUS WALL, an English landings is built, adorned with bassi-relievi, and great-  scape and marine painter, born at Kensington in
ly admired. He was liberally rewarded by the  1779. He was the brother of the eminent musical
state, and the Doge gave him one of his daughters  composer, Dr. Callcott, and in early life officiated
in marriage. There are also several other good  for several years in the choir of Westminster Abworks by him in that city.                       bey; but preferring painting to music, he pursued
CALENSE, CESARE, a Neapolitan painter, a-  that study also, and finally executed a portrait,
cording to Dominice  flourished about 1590. He  while under the tuition of Hoppner, in 1799, which
cording to Dominici, flourished about 1590. He  was exhibited in the Royal Academy, and much
executed a fine Desent from the Cross in S. Gio-  was exhibited in the Royal Academy, and much
execute  fine Descent from the Cross, in S.  io-  admired. He soon found that his talents were
vanni Battista, at Naples, represented with great  better adapted to landscape, and in 1803 devoted
expression and feeling. His design is graceful and himself exclusively to thatbranch of the art. His
corrct, annd his chiaro-scuro managed with great |landscapes are generally of a small size, and very
intelligence.                                    similar in style, being extensive views, extremely
CALETTI, GIUSEPPE, called CREMONENSE, a  placid, with nothing in them to attract vulgar atpainter of Ferrara, born about 1600; died in 1660.  tention, but fascinating to the refined lover of naHe first studied the works of D. Dossi, but after-  ture. They cannot be compared with the works
wards became an imitator of Titian, particularly  of Claude, being totally different in composition
in mythological subjects. In these he came so  and execution. His marine views have a pleasing
near to the powerful expression and glowing color  tranquillity. with beautiful selections of objects,
of that great master, that, according to Baruffaldi,  though sometimes cold and monotonous in colormany of Caletti's pictures were believed to be  ing. Many of his works have been engraved. His
those of Titian; though the anachronisms and in-  most successful work in figure painting was the




CALL.                       159                      CALL.
fine picture of Raphael and Fornarina, exhibited   Meeting with continued opposition, he again abin 1837.  Callcott was a member of the Royal  sconded, but was followed by his brother to Turin,
Academy, and for many years contributed largely   and taken back to Nancy.  His parents at length
to its annual exhibitions.  He was made a knight  concluded to allow him to follow the bent of his
in 1837, and appointed keeper of the Royal collec-  genius, and sent him to Rome in the suite of the
tion.  He died in 1844.                             envoy from  the Duke of Lorraine to the Pope.
CALLEJA, ANDRES DE, a Spanish  painter.  The young artist now studied with the greatest
born at Rioja in 1705; died in 1782. He obtained   assiduity, under the tuition of Giulio Parigii; and
academic honors and court favor, established a   having acquired proficiency in design, placed himschool of painting, azd was greatly beloved by his  self under P. Thomasin, to acquire the free use of
scholars.  His best works are in the churches of   the graver. In this he was not very successful,
S. Croix,          ee      e  a  the c         of   and he soon abandoned it forRoyal  the point.  He thent of
St. Francis, and the chapel of the Treasury.        went to Florence, and etched several admirable
CTALLESCiROS.  See ANTISTATES                     plates from his own designs, which procured him
the patronage of the Grand Duke Cosmo II., and
CALLET, ANTOINE FRANCOIS, a French histo-  gained him  great reputation.  On the death of
rical painter, born in 1741; died in 1823; painted   Cosmo. he returned to Nancy, where he was libeclassical subjects, and events from the Life of Na-  rally patronized by Henry, Duke of Lorraine. In
poleon; also a part of the ceiling of the Gallery   1628 he visited Paris, whither his reputation had
of Apollo in the Louvre, and that of the Luxem-  preceded him, and was employed by Louis XIII.
bourg. He also painted the portraits of Louis  to engrave several of the principal sieges and batXVI., Louis XVIII., and Comte d'Artois.             tles of the French, particularly those of Re and.
CALLICLES, a Greek sculptor, a native of Me-  Rochelle.  The small works of Callot are superior
garus, and son of Theoscome, who flourished about  to his large ones; in thelatter his style is rather
B.C. 420, and is highly praised by Pausanias. He   heavy, and loses a part of the taste and spirit that
distinguished himself by a statue of Jupiter, which   distinguish his small figures.  The fertility of his
the Megarians regarded as the finest ornament of  invention was wonderful, and his style was retheir city.  He also executed several other fine   markably varied.  He frequently made several deworks, among which was a statue of Diagoras, a   signs for the same plate, before he was satisfied,
successful pugilist at the games.  There was a   and Watelet says that he saw four different drawpainter of this name, who flourished about B. C.  ings by him for the celebrated Temptation of St.
320, and attained considerable distinction.         Anthony.  His drawings are greatly admired, and
CALLICRATES.  See ICTINUS.                        are even more spirited than his prints.  Heineken
*CALLTCRATES, a Greek sculptor, who, accord-  gives a full list of the plates of this indefatigable
GALLUGRATES, a Greek sculptor, who, accord-   rtist; they amount to over fifteen hundred. The
ing to Pliny, was distinguished for his small stat-             the     nt t    er iteen hnre       he
ues in ivory, which were executed in a very deli-  f        g a  t 
cate and ingenious manner.  In concert with Mer-                         PORTRAITS.
mecydes, he made a miniature chariot, drawn by               I, Grand Duke of Tuscany; oval.  Francs,
four horses, which could be hid under the wing of      and  uke of Tuscany; oal; scarce.  Charles III.,
Duke of Lorraine; scarce. The Marquis de Marignan,
a fly.                                              General of Charles V.; scarce. Donatus Antellensis, callCALLIPHON. a tinter of Samos, whose works  ed the Senator; scarce. Claude Dervet, painter, and his
adorned the temple of Diana at Ephesus.  The   Son  1632.
subjects of his pictures were taken from the liad.                   SACRED SUBJECTS.
He flourished about the fourth century, B. C.         The Murder of the Innocents, engraved at Florence;
CALLON, a GIreek sculptor, born at RZEgina,  scarce. The same subject, engraved at Nancy, with variations. The Annunciation, with the words Ecce ancilla
about B. C. 516. He was the disciple of Angelion   Domini coming from the mouth of the Virgin; after Matand Tectseus, the celebrated sculptors who execu-  teo Roselli; very scarce. Christ bearing his Cross; small
ted the statue of Apollo at Delos.  Callon carved   oval; engraved on silver. The Crucifixion; with the Vira statue of Diana in wood, which was placed in the   ginSt. John, and Magdalene; scarce. The Entombing
A7 T       ^ ITi,  ^' of Christ; after Ventura Salimbeni. The Virgin and
Acropolis at Athens.  He also made for the-city ofmbeni.  The Virgin and
Infant, with St. Elizabeth and St. John; after A. del SarAmyclae a statue of Proserpine, upon a tripod of  to. The Holy Family, with St. Joseph giving drink to the
bronze. There was another sculptor named Callon,  infant Jesus. The little Assumption, called the Assumption
a native of Elis, who flourished about B. C. 432; but  with Cherubim. Another Assumption; oval. The triumph
he was less celebrated than Gallon of AEgina.  oftheVirgin;dediatedtotheDukeofLorraine. St. John
The only statue of note executed by him was that  in the Isle of Patmo. The Temptation of St. Anthony
dated 1635. Another Temptation of St. Anthony, with a
of Mercury at Elis.                                 River in the middle, and on the right some Devils drink-;CALLOT, JACQUES, an eminent French engra-  ing; very scarce. The Martyrdom of St. Sebastian; a
Iver, born at Nancy, in Lorraine, in 1593; died in  grand composition. St. Mansuetus restoring to life the son
~.ver, born at Nancy, in Lorraine, in 1593; died in of King Leucorus.
1635; was the son of Jean Callot, a gentleman
of noble family, who intended him for a very dif-                          OTHER  UBJECT.
ferent profession; but when  twelve  years  old he    Jupiter fulminating the Giants; scarce. Pandora, with
lefet hromesitout mntey   resrcs, jod a  the Assembly of the Gods. The Card-players. The Punleft his home without money or resources, joined a  ishments. (The best impressions of this fine print have a
company of wandering Bohemians, and found his  small square tower above the houses 6n the left, and a little
way to Florence, where some officer of the court  image of the Virgin in an angle of the wall in the middle
discovered his inclination for drawing, and placed   of the print.) A Woman seated with a Child in her Arms,
him under Cantagallina.  After passing some time   and another eating Fruit under a Tree; very scarce. A
in Florence, he went to Rome, where he was re-  View of the Louvre, with the steeple of Nesle. A View of
in Florence, he went to Rone, where he was re-  the Pont Neuf at Paris; the companion. The Parterre of
cognized by some friends of his family, and was  Nancy, with figures walking. The Garden of Nancy; Jac.
persuaded to return with them  to his parents.  Callot, inv. etfec.; very scarce. The great Fair of Flo




CALO.                       160                      CALV.
rence, engraved at Florence, 1620; fine impressions of this  his figures have occasionally a strained and indeprint are very scarce; in two sheets. The same subject,  corous air.  His master-piece is the St. Michael
engraved at Nancy, called the Fair of Nancy; inscribed   i. Petronio at Bologna.  Of his other works
Fc - Fiorentic et exc. Nancei. The little Fair, called the
Players at Bowls, with figures dancing; the best impres-  the best are; a Holy Family, with St. Roch and
sions are before the name of Callot; scarce. The Siege  St. Sebastian, in the church of S. Giuseppe; our
of the Isle de Re; in sixteen sheets. The Siege of Ro-  Saviour appearing to Magdalene, in S. Giorgio;
chelle; similar. The Siege of Breda; in eight sheets. The  and St. Gregory converting the Heretics, in S.
Tilting, or the New Street at Nancy.                 Gregorio.
VARIOUS SETS BY CALLOT.                  C      I AO           a 
The Life of the Virgin; in fourteen plates, with the   ALVI          I,  a Genoese painter who, actitle. The Life of the Virgin; in twenty-seven plates.  cording to Soprani, was a good painter in the old
Nine plates of devout subjects; Gloriosissimi Virginis, f-c.  style, and was one of the first artists at Genoa
Eleven of the New Testament, with a title by Ab. Bosse,  who forsook the gold ground for one of color. He
twelve plates. Seven, the great Passion of Jesus Christ.  was living in 1528.
Twelve, the little Passion; the first impressions are very      
scarce. The Acts of the Apostles; in twenty-nine plates,  CALVI, LAZZARO  and PANTALEO, Genoese
executed with the graver in his early time. Six of the   painters, sons of Agostino Calvi, a reputable
Penitents, including the title by Ab. Bosse. Sixteen of   painter of Genoa, who was amongst the first reChrist, the Virgin, the Apostles, &c. 1631. Sixteen of the  formePs of the old style of his country.  Lazzaro
Martyrdom of the Apostles, &c. Four, called the Little    b     i            w     hi  r    r Pantalo
Banquets. Forty-one, of the Miracles; entitled Scelta   was born in 1501, andwith     brother  antaleo,
d'alcuni miracole, 4-c. Seven of the Seven Mortal Sins.  was educated in the school of Pierino del Vaga.
Eighteen of the Miseries of War; dated 1633. Seven of  He remained there till the age of twenty-five.  On
the little Miseries of War; the title by Ab. Bosse. Four-  leaving Pierino, the brothers painted in concert at
teen of the military Exercises. Fourteen of Fantasies;  Genoa Monacco, and Naples.  Lomazzo highly
dated 1635. The Caprices, engraved at Florence. Thefa e of the Palazzo Dori (now that
same Caprices, engraved at Nancy, inferior in execution.  extols the faade of the Palazzo Doria (now that
Varie figure di Jacopo Callot; in seventeen plates. Balli  of Spinola) executed by these artists.  It repredi Stefania, or Currucum; in twenty-four plates. Varie  sents prisoners and other figures, in various attifigure Gobbi di Jacopo Callot fatto in Firenze; there is an-  tudes, designed and executed in admirable taste.
other set with the same variations. Twenty-five of Beg-  Mengs considers their picture of the Continence
gars; entitled Capitano da Baroni; fine. Twelve of  of Scipio, in the Pallazzo Pallavicini, at Zerbino,
Ladies and Gentlemen in the Dresses of the Mode. Six-i                                        ni a  Z n
teen of the Tragedy of Soliman, with the portrait and title.  as worthy of their master Pierino.  Lanzi suppoThree of Festivals during the Carnival at Florence; scarce.  ses that they were assisted by the latter in some
Seven of Tournaments. Four of Jousts and Tournaments.  of their works, and he is known to have furnished
Forty-eight plates, for a Journey to the Holy Land. The  them  very liberally with his drawings and carTwelve Months of the Year; after Momper. The Four  toons.  Such was the vanity and envy of Lazzaro
Seasons; after Sadeler's prints from  Bassano. Four  that he could not endure the idea of a rival, which
Landscapes, lenthways.ould not endure the dea of aval, which
CALMAT,   BTOMO a Vnta  pintewas, perhaps, the reason why Pantaleo, though
CALOMATO, BARTOLOMEO, a Venetian painter,  the elder brother, claimed no share of the praise
who flourished from  1650 to 1660. He was dis-  justly due to him for the accessories in the works
tingaished for his small pictures of civi6 and rural  they jointly executed.  The jealousy of Lazzaro
views, decprated with figures, well composed, and   led him to the commission of the foulest crimes.
expressed with grace and spirit.                     He caused Giacomo Bargone, a talented young
CALORI, RAFFAELLE, a native of Modena, who   painter, to be poisoned, and he endeavored by the
flourished at Tassuolo from 1452 to 1474, in the   basest machinations to overthrow the reputation
employment of the Duke of Bosso, and executed   of his competitors.  While carrying on these deseveral works in the best style of the time.  A   testable plots, he was engaged by Prince Doria to
picture of the Virgin is particularly commended   paint the Birth and Life of St. John the Baptist,
for its graceful design and beauty of coloring,      for the chapel de Nobili Centurioni, in competition
CALVAN, DON JUAN, a painter of Saragossa,  with Luca Cambiaso, and Andrea Semini; and
born in 1600;  died-in 1658.  He gained consider-  though he produced one of his finest pieces, the
able eminence by his pictures in the churches and   preference was given to Cambiaso who in consemonasteries of his native city.                      quence was employed to execute the frescos in the
CALVART, DENIS, an eminent painter of the   church of S. Matteo.  This so disgusted Lazzaro,
ALVART, DEs o, ab n eminentw pater ofut155e   that in a fit of mortification he threw up the palette,
Bolognese school, born at Antwerp about 1555;and went to sea.  After continuing in the occudied at Bologna in 1619.  After attaining some   pation of a mariner for twenty years, he returned,roficiency in landscape painting in his own coun-  to his original profession, which he continued till
try, he visited Italy for improvement, and entered
the school of P. Fontana at Bologna, but soon -r  his eighty-fifth year.  His last works were for the
ter became t he   scholar of Sabbatini, whom he ma-  church of S. Caterina, but they show none of his
ter became the schol  of Sbbati,.hom he  pristine vigor. He died in 1606, at the great age
terially assisted in his works in the Vatican.  On   pi         g  
quitting that master, he studied for some time the 
works of Raffaelle and other great masters at          CALVI, GIULIO, called IL CORONATO, a CremoRome, after which he returned to Bologna, and   nese painter, born  about 1570; died in 1596;
established that celebrated school where Albano,  studied under Gio. Battista Trotti. Zaist says his
Domenichino, and Guido were first instructed; and   pictures might easily be mistaken for the inferior
which he conducted in a most admirable manner.  works of Trotti, had he not signed them with his
His design was graceful and correct, his coloring   name.
fine, and his perspective good; hence he was re-       CALZA, ANTONIO, a Veronese painter, born in
garded as the restorer of the Bolognese school,  1653; studied at Bologna, under Carlo Cignani.
which had at that time fallen considerably into   As his genius inclined him to the painting of andisrepute, especially for its indifferent coloring.  imals and horses, he visited Rome for the purpose
He was, however, something of a mannerist, and   of studying under Borgognone, by whom be was




CAMA.                     161                    CAME.
greatly benefitted. On returning to Bologna he  Gio. Cattini. In 1751 he went to Dresden, where
painted battle-pieces and landscapes, established  he was employed in engraving plates for the gallery
a school, and gained great reputation. Writers  and was made principal engraver to the court
disagree widely as to the time of his death; Zani  The following are his principal plates, come of
says in 1725.                                    which are from his own designs:
CAMASSEI, ANDREA, a painter of Bevagna,                           PORTRAITS.
born in 1601; died in 1648; studied under Dom-    Marco Foscarini, Doge of Veoice. Simone Contarini.
enichino, and afterwards under Andrea Sacchi. His  Procurator of St. Mark. Sebastiano Bombelli, Pictor celworks are much admired for their sweetness of  eberrimus.
coloring, elegance of design, and elevated concep-      SUBJECTS FROM THE DRESDEN'GALLERY.
tions. His best works are the Assumption in the    The Parable of the Talent; qfter Domenico Feti. The
Rolonda, and the Dead Christ at the Cappucini.  Parable of the Prodigal Son; do. David, with the Head
In St. John of Lateran, is the Triumph of Con-   f Goliah; do. The Holy Family; after Giulio Cesare
stantine; andin the Palazzo Rondinini his Bat-  Procaccini. St. Roch administering the.Pestiferous; afCst   with M t ^ter Camillo Procaccini. St. Roch; after Caracci. The
tle of Constantine with Maxentius.               Assumption of the Virgin; do. The Adulteress before
CAMBERA, LACTANZIo, anItalian painter, born   Christ; after B. Biscaino. The Chastity of Joseph; afat Cremona in 1584. He studied under Antonio  ter S. Cantarini. The Old and New Testament; after
A. ed  Vaccari. The Magdalene; after Pompeo Battoni.
Campi, and was distinguished for his skillful col-  A half-length figure, with a beard; after Dietricy. Anoring. He painted subjects of history, in which  other half-length, the companion; do. The Magdalene;
he displayed much felicity of invention, and great  after Vanderwerf.
spirit in his composition. He died at Venice in    CAMILLO, FRANCISCO, a reputable Spanish
1616.                                            historical painter, born at Madrid about 1635;
CAMBIASO  or CANGIAGIO, GIOVANNI a  died in 1671; was the son of Domenico Camillo, a
GIOVAN I'Florentine, who had settled in Spain. He studied
Genoese painter, born in 1495; studied under An- Florentine, who had settled in Spain. He tudied
tonio Semini. He was cotemporary with Pierino  under Pedro de las Cuevas, and painted a number
and Pordenone, and like them, was among the first  of works distinguished for their excellence of de
reformers of the dry, Gothic style of his country.   ign and sweetness of coloring. They are extra
vagantly praised by Palomino; particularly one
CAMBIASO, or CANGIAGIO, LUCA, called  in the church of San Juan Dios at Madrid, of the
LUCHETTO DA GENOVA, an eminent Genoese paint-  Nuestra Sennora de Belen. Three other celebraer, born in 1527; was the son and scholar of the  ted works of this artist are the St. Mary of Egypt
preceding. At a very early age he showed great  before the Virgin, with saints and other figures,
talents, and when fifteen years old he produced  in the church of the Capuchins at Alcala de las
works characterized by uncommon genius.  He  Henares; the Descent from the Cross, in S. Justo
visited Florence and Rome, where he increased his  at Salamanca; and the San Carlos Borromeo, in
natural conception of grandeur by the study of  the Padres Minores.
Angelo and Raffaelle.  The impetuosity of his        AMPAGNA GIROLAMO a Veronese sculptor,
genius led him astray; he usually painted his    h   ourishd   bout 1530. He studied under
first performances both in oil and in fresco, with-  wao flourd  comleted m y works left unfin
out preparing either drawing or cartoon, and h    Cataneo, and completed many works left unfinishout preparing either drawing or cartoon, and his      a     dah              uio   i  
ed at his death. His productions consist chiefly
early style was gigantic and unnatural. He afterwards checked this impetuosity, and it was in the  of altars and sepulchres, in the cities of Venice and
e  Verona, which deserve considerable praise.  At
middle of life, that he produced his best works   Verona, whih deserve onsiderable praise.  At
middlerti. of lif nve     n t tas wfhVenice he sculptured the isolated altar in S. S.
His fertility of invention was wonderful; his ge- iovanni e Polo, in theform  of a s
nius grappled and conquered the most arduous dif-  witha  cupola. TheGit in the portico of tee
ficulties of the art, and he shows his powers in  Zeca ics      this atit.  He  also desied the
foreshortening, in the most daring variety. He                   th   ar    al       i 
monument of the friar Paolo Sarpi, but it was
was rapid and bold in design, yet was selected by  monmexecuted    e fdied inl 552
Boschini as a model of correctness; hence his drawings, though numerous, are highly esteemed. One    CAMPAGNOLA, GIULIO, a Paduan painter and
of his best works is the Rape of the Sabines, in  engraver, who lived about 1500. He painted in
the Palazzo Imperiali at Terralba, near Genoa.  miniature and also executed a few pictures in oil
This picture has been highly extolled; Mengs de-  that approach the modern style. Ottley mentions
dared he had seen nothing out of Rome that ap-  nine plates by him, among which are Ganymede
proached so near to the beauty of the loggia of the  ten up to Heaven; and St John the Baptist
Vatican. In the church of St. George at Genoa, is  holding a cup. The latter is executed in a style
another admirable performance by this master of  approaching to what is now called dotting. This
the martyrdom of that saint. Philip II., invited  style has been generally supposed to be of modern
him to Madrid in 1583, and employed him in the  date, and critics have had considerable controversy
Escurial, where he painted on the ceiling of the  respecting this artist.
choir, an immense composition, representing the    DO   CAMPAGNOLA  DOMENICO an eminent
Assemblage of the Blessed, which is highly ex-           painter of the school of Titian, who lived
tolled by Lomazzo. This artist died at the Es-  about 1543. His progress was so rapid, that his
curial in 1585. He had a son named Orazio, who  master is said to have regarded him with jealousy.
accompanied him to Spain, where, after the death   Many of the oil paintings and frescos of Campagnola
of Luca, Philip II. continued to employ him, and  will indeed bear comparison with the works of Tisettled on him a liberal pension.                tian, and Lanzi and-other good judges think that
CAMERATA, GIUSEPPE, a Venetian engraver  he surpassed that great master, in his representaand miniature painter, born, according to Nagler,  tion of the Evangelists, on the ceiling of the Scuola
in 1718; died in 1803; studied engraving under  del Santa. IHe excelled in the nude, and Ridolfi




CAMP.                      162                     CAMP.
says his landscapes are little inferior to those oP  itect, born at Florence in 1494.  Ile was cornTitian. This artist has etched a number of plates,  missioned to complete the tomb of Cardinal Formost of which are from his own designs, and are ex-  teguerri, in the church of St. James at Pistoja,
ecuted in a masterly style. The following is Ot-  which had been left unfinished by Andrea del
tley's list; he says there are also a few wood prints   Verocchio.  He afterwards went to Rome, where
marked with his name, but that they were proba-  his talents at once attracted the attention of Rafbly engraved by others, from  his own designs.  faelle, who caused him to be employed upon the
Some of his plates are marked D. C., and others  tomb which Cardinal Chigi designed to erect in
D. 0. CAP.                                         the church of Santa Maria del Popolo. He also su1. Christ healing the sick Man at the Pool of Bethesda.  perintended the erection of some noble edifices, and
2. TheResurrection  of Christ. 3. The Descent of the   particularly distinguished himself by his design
Holy Spirit on the day of Pentecost. 4. The Assumption  for the admirable facade of the palace of Cardital
of the Virgin. 5. The Madonna seated with the Infant  della Valle, for whose garden he executed two noin her arms under a Tree, with St. Catherine kneeling on  ble bas-reliefs in marble. He died in 1541.
the right, and on the left a graceful Female holding a Banner. 6. The Decollation of a Female Saint. 7. Venus  CAMPANELLA, ANGELO, a Roman engraver,
naked, seated upon a Bank in a Landscape, and turned to-  born about 1748; died in 1815.  He engraved
wards the right. 8. A Youth in a standing posture, with a  several plates for G. Hamilton's Schola Italica,
Reed Pipe, leaning against a Tree, and on the left an old  and the statues of the twelve Apostles in St. John
Man, in the habit of a Warrior, with a Dog at his feet. 9.        Lateran
A group of Three young Men and a Female, seated with 
Musical Instruments, under a clump of Trees on the left of  CAMPANELLA, AGOSTINO, a, Florentine enthe print, with, on the right, a Landscape and Buildings.  graver of little note, who flourished about 1770.
10. A Combatof naked Men on foot and on horseback, in   le engraved, among other works several plates
ieH  engraved, among other works, several plates
a Wood. ~ 11. St. Jerome seated naked at the entrance of a
Hovel, with the Lion at his feet. 12. A Dance of twelve  representing historical and biblical subjects, which
Cupids, two of them with Tambourines.              are executed with the graver, in a neat style,
CAMPALASTRO, a Ferrarese painter of un-  though not very correctly drawn.
certain age. There is a Nativity, a Repose in        CAMPBELL, J., a Scotch engraver of little
Egypt, and the Adoration of the Magi by him, in  note, who lived about 1754, and executed, among
the church of S. Crispino, at Ferrara; also a pie-  other works, a few plates after Rembrandt, in
ture of St. Francis d'Assisi, in S. Lorenzo.       which he imitated the style of that master with
CAMPANA, PIETRO, an Italian engraver, born   considerable success.
at Soria in 1727; died in 1765; studied under        CAMPEN, JACQUES VAN, Lord of Rambrock,
Rocco Pozzi, and resided chiefly at Venice and   a Dutch architect and painter, of noble family, born
Rome. The following are his principal plates:      at Haerlcm, and flourished about 1630. He folSt. Francis of Paolo; after Seb. Conca. St. Peter de-  lowed painting as an amusement, and learned the
livered from Prison; after Mat. Preti. Portrait of P.  elements of design in his own country, but afterda Cortona; from a picture in the Florentine Gallery.  wards visited Rome for improvement, where the
Portrait of Bernardino Barbatelli, called Poccetti.  contemplation of the noble remains of ancient
CAMPANA, TOMMASO, a Bolognese painter;  monuments and edifices induced him to follow the
studied under Guido, according to Masina, and im-  profession of architecture. After remaining sevitated successfully the graceful manner of his in-  eral years in Italy, he returned to Holland, where
structor, as appears abundantly in two pictures of   he gained considerable eminence, and was appointSt. Cecilia, in the cloister of St. Michele in Bosco,  ed, according to Milizia, to erect the new palace
at Bologna.                                        at Amsterdam,-the old one having been destroyed
CAMPANA, ANDREA, an Italian artist who   by fire. It is the finest edifice in Holland, and is
said to have cost over 30,000 000 florins. Campen
flourished at Modena in the first part of the 15th  ad to    e co     er 30,000,000 fors.  Campen
century. Little is known of him. Tiraboschi in-  also erected a number of other edifices at Amsterformrs us that he was one of the best artists of   dam; a Theatre, several mausoleums for celebrated
his time at Modena, add Lanzi says there is a fine   utch admirals, and a palace at the Hague for
his time at Modena, iasd Lanzi s~ys there is fine Prince Maurice of Nassau. He died in 1658.
picture, bearing his initials, attributed to him. in   P    M                             
the Colorno Villa of the Duke of Parma, repre-       CAMPER, PETER, was an eminent Dutch prosenting the acts of St.Pietro Martyre, a work ex-  fessor of anatomy and surgery, and also an amatremely pleasing and well colored.                 teur painter, born at Leyden in 1722. and died at
the Hague in 1789. He studied under Karel de
CAMPANNA, PEDRO, a painter of the Roman   Moor, and executed several cabinet pictures in
school, born at Brussels in 1503; died in 1570.  the style of that master; he also succeeded in copyWhen quite young he visited Rome, studied at-  ing the works of Carlo Lotti and other Italian mastentively the works of Raffaelle, and imitated his  ters. Most of his pictures have the marks of imstyle with considerable success. In 1530 he was  itation, rather than of originality.  Ie published
at Bologna, and painted the triumphal arch erect-  an excellent work for the use of young students in
ed for the reception of Charles V. At the invita-  painting.
tion of that monarch he visited Spain, where he       CAMPHUY             T 
resided many years, acquired riches and honor, and    CMPHUYSEN,  THEODORE  RAPHAEL. a
resided man years, acquired riches and honor, an    Dutch painter born at Gorcum  in 1586; studied
executed many capital works, the best of which    uh          pa        at G    m             udied
are in the cathedral of Seville, particularly his  underDietrich Govertz; po nte  smallRlane  capes
famous pictures of the Nativity and the Purifica-  with ruins, and views on the Rhine, with boats
tion.  In the church of S. Lorzo he painted        and figures, touched with great neatness and spirit.
tion. In the church of S. Lorenzo he painted the There is much contradiction in the accounts of vaDescent from the Cross, in a grand style.          I m       n      ioni th  accounts of vaDescent from the Cross, in a grand style.    rious authors about this artist.  There are several
CAMPANAIO, LORENZO  DI LODOVICO, sur-  paintings marked Camphuysen, which resemble
named LORENZETTO, an Italian sculptor and arch-  with wonderful exactness those of P. Potter, and




CAMP.                     163                    CAMP.
some have said that he imitated that master, but,  the works of the great Correggio, and on returnaccording to Balkema, Camphuysen died in 1626,  ing to Cremona he executed in the church of S
so that this could not have been, as Potter was  Gismondi, St. Cecilia with St. Caterina and a
born in 1625. Zani and Fuseli say he had a son   Choir of Angels, which is a most admirable work;
named Hermann, who flourished from  1650 to  also his great work of the cupola of the same
1670; and a landscape painter, J. G. Kamphuy-  church, which is less grand than the style of
sen, is mentioned, but no account is given of him.  Giulio Campi, but possessed of a more correct and
There are also several excellent pictures known   refined degree of ideal beauty, and great delicacy
as the works of Camphuysen, which are evidently  and sensibility of expression. It represents an
of a later date than 1626, and have no resemblance  assemblage of all the blessed, from  the Old and
to those of Potter. They represent well-wooded   New Testaments, each with its appropriate symlandscapes, generally with a stream, through which   bols. Lamo says that few productions in Italy
a vehicle is passing. These may perhaps be as-  can be compared to it, for abundance of invention,
cribed to one of the two last mentioned artists.    variety  of character, admirable harmony, and
CAMPI, GALEAZZO, a Cremonese painter, born   grandeur of style. It is of stupendous dimenin 1475, and is said by Vasari to have studied un-sions. The figures are aout ten feet high;   t,
der. Boccaccino; which, however, is questioned by   at the distance from which they are viewed they
Lanzi, on account of their disparity of style.-   appear only of the  size of life. Such was his faThere is a picture of the Virgin and Infant, dated  cility of execution, that    completed this great
1518, in S. Sebastiano at Cremona, which is tolera-  work in the short space of seven months. There
bly colored, but otherwise has little merit. His  are several other of the compositions of this great
bly colored, but otherwise has little merit. His  aris i Mila    a         a    C
best work seems to have been his own portrait,          in Milan, antua, and Cremona. He died
dated 1528, which obtained a place in the Gallery  about 1592, aged 70 years.
of Painters at Florence.                            CAMPIDOGLIO.  See ANGELO.
CAMPI, GIULIO, an eminent Cremonese paint-    CAMPIGLIA,  Go. DOMENICO, a painter and
er, the son of Galeazzo; born in 1500; died in  engraver of Lucca, born in 1692; died in 1763;
1572. He studied under Giulio Romano at Man-                             A
1572.  He studied under Giulio Romnano at Man-  studied at Florence, under Tommaso Redi, and Lotua, where he made great proficiency, and acquired  rezo dal Moro; also under Gioseffo dal Sole, at
a grand style. He afterwards went to Rome, and   Bologna. He painted some subjects of history at
studied the works of Raffaelle and the antique.  Florence; also several portraits, among which that
His best works are at Mantua, Milan, and Cre-  of himself was placed in the Gallery.  HIe excelled
mona; the church of S. Margherita at Cremona   in drawings after the antique marbles, and was
maybesaid to be a gallery of his paintins.  His  much employed at Rome and Florence, in making
may be said to be a gallery of his paintings. His           f               r.   e            
Descent from the Cross in S. Grismondo at Cre-  draings for the engravers. The following are
mona, and the Dome of S. Girolamo at Mantua,  hi principaletchings:
are admirable specimens of his abilities.  His    Giovanni Domenico Campiglia. Giovanni Lorenzo Berworks are distinguished for their grandeur of con-  nini.  Giulio Romano. Salvatore Rosa. Leonardo da
ception, vigor and elegance of coloring, and facil-  Vinci  iovanni Antonio Rzzi.
ity of execution. He may justly be regarded as      CAMPING, Gio., a painter of Camerino, born
the founder of the most celebrated school of his  about 1590. This artist is a remarkable, if not a
country.                                         solitary instance,.of an Italian leaving his own
CAMPI,' CA. ANTONIO, an Italian painter and  country to study painting. Sandrart assures us
architect. the younger brother and scholar of Giulio  that he went to Antwerp, placed himself under
was a native of Cremona, and flourished about 1586.  Abraham Janssens, a cotemporary of Rubens, and
He executed several works at Milan, both in oil and  remained with him  several years. He subsefresco. He was less successful in the latter, in  quently returned to Italy and settled at Rome,
which he attempted, without success, the great  where he studied the works of Caravaggio, whose
style of Correggio. His talents were good, and   style resembled that of his Flemish instructor.
he had spirit and resolution, but lacked discretion   He gained considerable reputation, and was invited
and judgment.  His best oil paintings are St.  to the court of Spain, where he was patronised by
Paul resuscitating Eutychus, which is engraved  the king, and died in 1650.
by Agostino Caracci; and the Nativity, in S. Pa-    CAMPION  CHARLES Comte de Tersan an
oLp, at Milan. As an architect, he was more dis-  amateur engraver, born at Paris in 1744   died
tiiguishedthan as a painter, and he erected seve-  about 1816  he  as also an ecclesiastic. He had
ral edifices which are deserving of praise.      a brother named Joseph Andr6, also an amateur
CAMPI, VINCENZIO, the younger son of Ga-  engraver. We have the following plates by C.
eazzo Campi, studied under his brother Giulio,  Campion, partly executed with the graver, and
and painted portraits and still-life with good sue-  partly etched:
cess, though he sometimes attempted history. IIe
dd i5Alexis Claude Clairault; after Cochin; C. P. C. de
died in 1591.                                    Tersan. Aignau Thomas Desficches; do.; Campion.
CAMPI, BERNARDINO, a Cremonese painter of   S. Francis Morand; C. P. Campion Tersan, f. Franthe same family as the preceding artists, born in  cisRegny; Campion. PrinceLouisdeRohan; Campion
sc. Nicholas de Verri; Campion de Tersan. Cardinal
1522; studied under Giulio Campi, and subse-  Commandon;C.C. M.St.Amatran4; same mark. A
quently with Ippolito Costa at Mantua, where he  Storm; C.C.fecit. 1769. Abratiam and Isaac; after
also gained great improvement from the study of   Rembrandt. Job and his Wife; do. The Dead Christ,
the sublime works of Giulio Romano and the  withtheVirinandAngels. Two small Landscapes; oval.
drawings and prints of Raffaelle. At the age of   Five small Landscapes; ircular.
nineteen he commenced practising, and soon gained  CAMPO, LIBERALE DA, an old Italian painter
eminence  He visited Parma and Modena to study   of the Venetian school, who. according to Federici,




CAMP.                      164                     CANA.
flourished in the latter part of the 14th, and first  his uncle he visited Rome, where he painted sevepart of the 15th century. In the cathedral at Ve-  ral pictures, but afterwards went to Dresden,
nice is a picture by him representing the Nativity,  where, according to Heineken, he assumed the tidated 1418.                                      tie of Count Bellotti, and is generally known by
CAMPOLO, PLACIDO, a painter of Messina,  that name in Germany. He resided chiefly at
accordi to Hac; born inter of Mesdina,  Dresden, where his works were much admired.
743; studied under Sebastiano Conca, at Rome,  There are a few spirited etchings by him, repre1743; studied under Sebastiano Conca, at Rome,      ^    ^   ^  ^          ^  
where he applied himself very diligently to the   enting views in and near that city.
study of the antique marbles, and the works of     CANAL, FABIO, a Venetian painter of considRaffaelle. On returning to Messina, he gained  erable eminence; born in 1703 and died in 1767.
considerable reputation as an historical painter,  According to Zanetti, he studied under Gio. Bat.
particularly in fresco.  One of his best works  Tiepolo, to whose school he did much honor. Ite
is the ceiling of the Galleria del Senate, in that  executed many works for the churches, public edicity, which is ingeniously composed and correctly  fices, and palaces at Venice.
designed.                                          CANALE, GIUSEPPE, a Roman designer and
CAMPORA, FRANCESCO, a reputable Italian  engraver, born in 1728; studied under Jacob
painter, who, according to Ratti, was born at Ge-  Frey, and also frequented the school of Benefiale.
noa about 1700, and died there in 1763. HewentIn 1751 he  as invited to Dresden to execute the
to Naples, and studied under Solimena,ndafter-  drawings and engravings for a part of the plates
wards returned to his native city, where there are  from the pictures in that gallery, and was appointsome of his works in the churches.               ed engraver to the court. The following are his
CAMPROBIN, PEDRO DE, a Spanish painter of  principal prints:
animals, fruit, and flowers, who lived about 1660.                  PORTRAITS.
His flower-pieces are to be seen in several churches    Maria Mattia Perini; after M  Benefiale. Maria AnMaria Mattia Perini; after M. Benefiale. Maria AnH is flower-piecsaretb seentonia Walburgis, Dowager Electress of Saxony. Archof Andalusia; the best are signed, Pedro de Cam-  bishop Bonaventura Barberini. Maria Josephina, Queen
probin Pasano fecit.                             of Poland. Prince Xavier, of Saxony. The sepulchral
* CAMUS DE MEZIERES, a French architect;  Monument of Cardinal Spinola.
born at Paris in 1721, and died in 1789.'He is                  VARIOUS SUBJECTS.
principally noted for the works which he pub-    The Philosopher; after Spagnoletta. The Glory; qflished on artet         which                 -  ter Domenichino. A Sibyl; afteture, whAngelich gaa Kaiffman.
ible reputation. H e designed and  erected the  Paris and Oenone; after Vanloo. Adam and Eve driven
rable reputation. He designed and erected the  from Paradise; after Albano. Christ and St. John; after
Grain Market of Paris, which evinces ability.    Vanderwerf. Christ appearing to St. Thomas; after Mat.
CANACHUS, a Greek sculptor who flourished   Preti; this plate was finished by Beauvaret. A Turk.
about B. C. 400. He was a pupil of Polycletus,  ish Woman; after Dietricy. Spring; do.
about B.C0. 400. He was a pupil of Polycletus,
but was inferior to that master, as he did not di-    CANALETTI. See CANAL.
vest himself of the stiffness and severity that    CANDIDO. See WIT.
characterize the works of the old masters. His    CANDIOLI, GIOVANNI, an Italian painter who
principal works, according to Pausanias, were a  flourished at Mantua in the last half. of the eighstatue of Apollo, which he executed for the Mile-  teenth century. He was considered a good landsians; another Apollo, for the Thebans; and a  scape painter, but better in fresco than in oils. He
statue of Venus, in gold and ivory. He also exe-  was one of the principal founders of the Academy
cuted, in concert with Patroclus, thirty-one bronze  of Design in that city, and was made its first Distatues, which were erected in the temple at Del-  rector. He also wrote an excellent account of the
phos, in honor of the Athenian generals who con-  painters and pictures of Mantua.
quered at the battle of Egos Potamos.
uered at the battle of Egos Potamos.  CANE, CARLO,, a reputable  Italian  painter.
CANAL, ANTONIO, called  CANALETTO  and  born at Gallarata, near Milan, in 1618; died in
CANALE+TI, a celebrated Venetian painter of per-  1688; studied first under Melchiore Gillardini;
spective views; born in 1697; died in 1768. His  and afterwards under Morazone, whose style he
father was a scene painter, and Antonio was bred  followed. Iis best works are the fresco paintings
to the same branch of the profession, in which he  of S. Ambrogio and S. Ugo in the Certosa at Paacquired a promptness of invention and a facility  dua. He also painted animals and landscapes in a
of execution that afterwards enabled him to dash   very spirited style.
off many works in a short time.  Aspiring to
CANETI, FRANCESCO ANTONIO, according to
higher things, he went to Rome, where he passed     ist was born at Cremona in 1652. He was a
some time in designing the grand remains of anti-    i o   atai, an  principlly pinted smal picquity; after which he returned to Venice, where  pupil of Natali, and principally painted small picquity;_ after which he returned to Venice, where  tures and miniatures, which he executed in apleashe chose as subjects the interior views of that  tures and miniatures, which he executin ape
city, which he treated with an intelligence of per- ng stle   He afterwads became a apuchin friar
\city,  3i  h   3rae 4.t f   "t^'i-n.' pr,and there are some of his best works in the church
spective, and a conduct of aerial tint that are in-        hi oder at Come of hi bes wor  in the chu
deed most admirable, and nearly approach illusion.
The number of his pictures are immense, but there   CANGIAGIO.  See CAMBIASO.
are many attributed to him which are spurious;    CANINI, Gio. AGNOLO, a reputable Roman
they were probably painted by his scholars, who  historical painter, born in 1617; died in 1666;
imitated him very closely, especially F. Guardi.  studied first under Domenichino, and afterwards
CANAL, BERNARDO, a Venetian painter of per-  under Barbalunga. In 1650, he was elected a memspective and architecture, born about 1724; died  ber of the Academy of St. Luke. Queen Christiat Warsaw in 1780; was the nephew and scholar  na of Sweden a great patroness of the arts, sent
of Canaietti and followed his style. On quitting  him several important commissions, and he execu



CANN.                     165                     CANO.
ted two fine altar-pieces for the church of S. Mar-  by Cano at the Imperial College, and other public
tino a Monti, representing the Martyrdom of St.  situations at Madrid, which rank him among the
Stephen, and that of Bartholomew.                 greatest Spanish painters.
CANNERI, ANSELMO, an Italian painter, who         As asculptor, Cano early manifested great abilaccording to Guarienti was a native of Verona, and  ity. While studying painting      Sville, he also
flourished at Venice in the latter half of the six-  gave his attention to sculpture, and executed seveteenth century. Vasari says he studied under Pa-  ral fine works, whch excited universal admiration
olo Veronese, whose style he adopted, and that he  particularly a marble group of the Madonna and
was an able assistant to his master.              Child, in the great church at Nebriga, and two colossal statues of St. Peter and St. Paul. He afterCANNEVARI, ANTONIO, a Roman architect;  wards went to Madrid, where he was appointed
burn, according to Milizia, in 1681. Heerectedthe  royal architect, and painter to the king. As an
church della Stimate, at Rome, and modernized  architect, he gained considerable eminence-the rethose of Sts. Giovanni and Paolo. These edifices  sult of his father's excellent instruction, and his
were severely criticised, and the architect went to  own genius. He made several additions to the
Portugal, where he was still more unsuccessful;  palaces; and public gates and triumphal arches
for being commisioned to build an aqueduct he so  were erected from his designs, and under his inlittle understood the necessary arrangements, that  spection. He died, according to Bermudez, in 1667.
the water never flowed through it. Cannevari
afterwards returned to Italy and settled at Na-    CANOT, PIERRE CHARLES, a French engraver,
afterwards returned to Italy, ale a tled  t Naples, where he built the royal pae at Prtici, ad  born'in 1710; died in 1777. He visited England
the seat of Porta Nuova, near S. Giuseppein 1740, where he resided during the remainder of
his life, and engraved a great number of plates of
CANONICA, LUIGI, an eminent Italian'architect  landscapes, marines, and other subjects, many of
born at Milan in 1762.  About 1802, he com-  which have considerable merit. Some of his best
menced his famous work at Milan, the Arena, or  prints are those he engraved of naval combats,
Amphitheatre, which is built after the manner of  after Paton; besides which are the following,
the ancients, and is of immense size-capable of  which are highly esteemed:
containing 30,000 people. He also erected a num-    A slight Breeze; after Backhuysen. A fresh Breeze;
ber of other fine edifices in different Italian cities,  after TXW  Vandevelde. A Calm; do. A Storm; do.
the most important of which were at Milan.-   Returning from Market; after Berghem. The FarmAmong them are the beautiful Palazzo Belloni;  yard; after P. de LaeP. The Amorous Toper; after D.
the Casa Canonica, his own residence; and the   Teniers. The Dutch Smokers; do. The Dutch Cotthree theatres, Teatro R, Carcano, andl Filodram-  tage; after Pillement. Autumn; do. Winter; do.
three theatres Tearo R, Carcano, and Filodrm-  A Dutch Merry-making; after Ostade. Pyramus and
matico. He also erected two other theatres at  Thisbe; after L. Bramer. The Tempest; after S.
Brescia and Mantua, and designed the new theatre  de Vliegher. An Italian Landscape; after Gaspar Pousat Parma, erected by Bettoli. His talents gained  sin. A Landscape; after Claude Lorraine. Sunrise, a
him great wealth, and he was a liberal patron of  Marine; do. Two pastoral subjects; after Rosa da Tithe arts. At his death, he bequeathed 87,000f. to  rolt.  Two views of Westminster Bridge and London
the Academyr of FineaArtsat Milan; and 174,00f  Bridge; after Scott.  Seven of Fox Huntings; after
the Academy of Fine Arts at Milan; and 174,000f.  Wootton.
to the Primary Schools of Lombardy.
CANOVA, ANTONIO, the greatest of modern
c049fiCANO, ALoNSO, an eminent Spanish paint-  sculptors, and the restorer of his art, was born in
Lr   -e4er, sculptor, and architect, who has been  1757, at the little village of Possagno, situate in
called the Michael Angelo of Spain, for his great ex-  the plains of Treviso, in the Venetian States. His
cellence in the three sister arts. According to Ber-  father, who was a stone-mason, died when Antonio
mudez, he was born at Granada in 1601; the son of  was only three years of age, and being of a deliMigue Cano, an eminent architect, who educated him   cate constitution, he was taken under the care of
in his own profession. The young Alonso soon  his grandfather, Pasino Canova. The latter (who
applied himself also to sculpture, in which he made  was also a stone-mason) had some knowledge of
very rapid advances. He afterwards went to Se-  architecture and a taste for design; and he impartville, and entered the school of Francisco Pacheco,  ed such instruction as he could to his grandson.
a painter of considerable note, with whom he re-  Antonio found every opportunity in the workshop
mained eight months. He afterwards studied un-  of his grandfather to gratify the bent of his gender Juan del Castillo, one of the most eminent  ins, and he frequently indulged his inclination for
patters in Spain, and executed many works'for  sculpture, even at this early age. Two shrines, cut
the public places of Seville, which were greatly ad-  in Carrara marble at the age of nine years, prove
mired, and were considered astonishing perform-  the excellence of his first attempts. The patrician
ances for a student under twenty years of age.  family of Faliero, whose villa was situated near
For these he would receive no remuneration, de-  Possagno, were warm patrons of Pasino, and from
daring that he considered them unfinished and de-  his good qualities he was held in much esteem by
ficient, and that he wrought for practise and im-  Sig. Giovanni Faliero, the chief of his house, and
provement;-such was the noble view in which he  a senator of Venice. Owing to this acquaintance,
regarded his art. In his after years he produced  he frequently saw the young Canova, whose skill
many admirable compositions. His works are to  in the use of the chisel attracted his notice, and he
be found in all the principal churches and convents  soon after took him under his own immediate proof Ccrdova, Madrid, Granada, Seville, etc. In the  tection. It is said that the warm interest taken
church of Santa Maria at Madrid, is a celebrated  by Faliero in the welfare of  Canova arose from
picture by him, representing a subject from  the  his having seen a lion which the young artist
life of S. Isidoro; one of St. Francis, in Santiago;  had modelled in butter. as an ornament for the
and in S. Miguel, two pictures of St. Caterina and  table of the senator. At his twelfth year, his patSt. Joseph. There are also many excellent works  ron placed him under the instruction of Torretto




CANO.                      166                     CANT.
an eminent sculptor of Venice, who was then re-  beauty; and in this year he completed his spl.I1siding at Possagno, and he continued his pupil for  did monument of Christina, arch-duchess of Austhree years. Canova, then but fifteen years of  tria. erected in the church of the Augustines at
age, went to Venice at the invitation of his patron,  Vienna. In 1810, he revisited Paris, where he
and was placed in the Falieri Palace, where he was  modelled the bust of the Empress Maria Louisa,
instructed by Giovanni Ferrari, the nephew of his  and executed a statue of the mother of Napoleon.
former master. With him he remained about one  In 1815 he was sent to Paris, to demand of the
year, when at the desire of his patron he began   French government the great works of art which
his group of Orpheus and Eurydice.  He corn-  had been taken from Italy. In the same year he
menced with the figure of Eurydice, which he  visited England. On his return to Rome, new
completed in his seventeenth year. This statue,  honors awaited him. The Pope inscribed with his
which is of life-size, is remarkable for simplicity  own hand the name of Canova in the Golden Vo I'
of action, and gave promise of that future excel-  une of the Capitol; he received the title of Marlence which was nobly attained when, in three  quis d'Ischia, and an annual pension of 3,000
years afterward, he produced the statue of Orphe-  crowns was granted him. Among his last works
us. At this time, while Canova was actively em-  was one of his best-the group of Mars and Veployed at his favorite art, he found sufficient leis-  nus. In the arrangement of the figures it resemure to enrich his mind by an attentive study of  bles the Venus and Adonis; but in grace and
ancient and modern history; he also acquired a  beauty it far surpasses it: His last work was a
knowledge of several continental languages, and  bust of his friend and biographer, Count Cicognadid not neglect the study of anatomy. His next  ra. He died in 1822.
production was the group of Daedalus and Icarus,    CANOZIO.  See DLENDINARA
which is considered the best work of his early
years. In 1790, a pension of three hundred du-               CANTAGALLINA, REMIGIO, a Flocats for three years, was granted him by the Ve-         or Jlrentine designer and engraver, born
netian Senate, and he went to Rome, where he was  in 1582; died about 1630; studied engraving unpatronized by Sir William Hamilton, and several  der Giulio Parigii, and frequented the school of the
others, and also found a sincere patron in the   Caracci, though he does not appear to have execuVenetian ambassador, Zuliani, a man of cultivated  ted many works in this branch of the art. He
taste. Canova had now an opportunity oT study-  has the credit of being the instructor of Callot and
ing the splendid remains of antiquity, and he soon   della Bella. His pen drawings are highly esteemproved that he profited by this study, by produc-  ed, and possess great merit. His subjects were
ing his group of Theseus vanquishing the Mino-  landscapes, theatrical decorations, and triumphal
taur, wvhich at once established his fame. He now   entries. The following are the principal:
attempted another branch of the art, namely, a    T  i             C        ar            A     
The immaculate Conception; after Calleot.  set of
grand monument in honor of Pope Clement XIV.  four Landscapes; dated 1609. A set of six Landscapes. A
It was finished in 1787, and is a most admirable  set of twelve landscapes; octagon; marked with his cipher.
specimen of monumental sculpture. During the  A set of six landscapes; with his cipher; dated 1624. A
progress of this great work, he produced his stat-  set of plates of the Scenes of an Opera; after the designs
ue of the youthful Psyche, an exquisite piece of  of Giulio Parigii. A set of plates, called the Palazzo
sculpture; and also the model of the group of Cu-dell Fame; dted 1608.
pid and Psyche in a recumbent posture, executed     CANTARINI. SIMONE, called SIMONE DA PEin marble in 1793. In 1795 and the two succeed-  SARO, an eminent Italian painter and engraver;
ing years, several beautiful works appeared, among  born at Pesaro in 1612; studied under Pandolfi,
which were his group of Cupid and Psyche stand-  and afterwards C. Ridolti, on leaving whom  he
ing, and his celebrated group of Venus and Adonis.  painted a picture of St. Pietro, for a chapel at FaThe latter was sent to the king of Naples, who ex-  no. Such was the popularity of the works of
pressed his approbation of its excellence by honor-  Guido, that although Cantarini had gained considing the sculptor with the order of the Two Sici-  erable reputation by this painting, he resolved to
lies. The troubles of 1798 obliged him  to retire  enter the school of that great master, where he reto his native village Possagno, where, in strict re-  tamned until his envy and insolence, not only to
tirement, he devoted himself to painting, which in  his instructor, but to Albano and Domenichino.
early life he had studied under the eminent Min-  obliged him to quit Bologna altogether, and to regardi, and produced several excellent pictures,  pair to Rome, where he occupied himself in studywhich proved that he would have gained eminence  ing the works of Raffaelle. He afterwards returnin this branch of art, had he devoted himself  ed to Bologna, but finding his residence there unwholly to it. One picture especially, a Descent  pleasant, he removed to Mantua, where the Duke
from the Cross, is mentioned in the highest terms.  took him into his service, and employed him  to
This he presented to the parish church of Possag-  paint his portrait. But, whether from not having
no. Canova soon afterwards returned to Rome,  been accustomed to that branch of the art, or
and produced his Perseus with the Head of Medu-  from some other cause, he was entirely unsuccesssa, which by a public decree was honored with a  ful. This disappointment, preying on a disposiplace in one of the Stanzi of the Vatican. In 1802.  tion naturally morose and irritable, is supposed to
Canova was invited to Paris at the special request  have occasioned his death, in 1648. Cantarini apof Napoleon. On his arrival, he was received with   proached nearer to Guido than any other of his
great honor, and admitted a member of the Insti-  imitators, and many of his works have great beautute. lie modelled a colossal statue of Napoleon,  ty; but he has little claim  to originality. Iis
which was not completed till six years afterward,  etchings are very masterly and spirited, and are
and is now in the possession of the Duke of Wel-  highly esteemed, but the imitation of Guido is
lington. In 1805 he produced his Venus Victori-  even more apparent than in his paintings; and the
ous, a recumbent figure of exquisite grace and   plates of the latter are not easily distinguished,




CANT.                       167                      CANU.
except by a superior outline of the figure, espe-  such kind of work. The art of embroidery was
cially in the extremities.  The following are his  not only employed to represent fruit and flowers,
principal prints:                                    but for landscapes, and even extensive historical
Adam and Eve eating the Forbidden Fruit. The Repose  pieces, both sacred and profane.
in Egypt.; falsely marked G. Renus in. 4. fec. Another
CANUTi, DOMENICO MARIA, a Bolognese paint.
Repose in Egypt, with the Head of the Virgin in profile,   born in 1620; died in 1684.  He was instructwith St. Joseph sitting near her. Another Repose in    was instructEgypt, with the Head of the Virgin in front, with St. Jo-  ed by Guido, of whose school he proved a brilliant
seph in the distance; very fine. The Holy Family, with  ornament, so that that great master often compliSt. John. Another Holy Family, with St. John and three  mented the taste and ability displayed in the fine
Angels; marked S.C. da Pesare,.fec. The Virgin Mary,  compositions of Canuti. He was employed on
with a Glory, and the infant Jesus; marked S. C. da Pe-  many ine works at Padua, Bologna, and R
sare,fec. The Virgin, with the infant Jesus holding a  Iny fe  works at  Pa. P.         Bologna,  Rome.
Bird by aString. The Virgin sitting in the Clouds, with  In the church  f the P. P. Olvetani at Bologna, is
the infant Jesus. The Virgin, with a Glory, crowned by   an extraordinary picture by him of the Deposition
two Angels. Christ bearing his Cross, with Joseph of Ari-  from the Cross, represented by moonlight, called
mathea. St. John the Baptist in the Wilderness, holding  the Notte del Canuti.  In S. Bernardino is a noble
his Cross, and a Cup. St. John in the Wilderness, sitting   piece of the Virgin and Saints; and in the palace
on a Stone. St. Sebastian, with an Angel presenting the
Palm of Martyrdom. The great St. Anthony of Padua  of the Pepoli family at Bologna are two saloons
kneeling before the infant Jesus. The little St. Anthony   painted entirely by this artist, which are univerof Padua. St. Benedict curing a Demoniac; after Lod.  sally admired.  We have a few plates by Canuti,;
Caracci. The Guardian Angel leading a Child. Jupitr,  in the manner of Guido, but in a neater and more
Neptune, and Pluto, doing homage to Cardinal Borghese;  finished style, though less spirited in the execution.
fine; it was for some time believed to be by Guido. The  Th
Rape of Europa; fine, and scarce. Mercury and Argus;   e following are the principal:
fine, and scarce. Mars, Venus, and Cupid; after Paolo    The Portrait of Lodovico Caracci; Canuus, sc. Ditto,
eronese. Venus and Adonis. Fortune, represented by a  Agostino Caracci; same mark. Ditto, Annibale Caracci;
Female, with her Foot on a Globe; after Guido Reni;  same mark. The Virgin in the Clouds, with Christ standmarked G. Renus, in. 1fec.                          ing by her. St Roch, as well as the preceding; after his
CANTHARUS, an eminent sculptor of Sicyon,  6wn design. St. Francis praying; after Guido-Dom.
who flourished, according to Pausanias, about B.  Ma. Canuti, fec.
C., 300. He was the son of Alexis, and the disci-      CANZIANI, Gio. BATTISTA, a painter of Veple of Eutychides.  He executed a great number  rona, on whom the Padre Orlandi bestows great
of good works, but nothing worthy of being ranked   commendation for the excellence of his portraits.
with the master pieces of art.  At Elis, there was  He was banished from his native city for an act of
a statue by Cantharus, of a wrestler who had car-  homicide, when he settled at Bologna, where he
ried off the prize at the games.                    practised with success.  He died'about 1720.
CANTI, GIo., a painter of Parma.  Lanzi says        CAPANNA, PIJcco, an Italian painter of the
he resided chiefly at Mantua, where his battle-  fourteenth century, who was esteemed one of the
pieces and landscapes were in request for the pri-  most successful followers of Giotto.  His style
vate collections.  He also painted a few historical  was distinguished for beautiful simplicity and
pieces, which possess but little merit.  He died in  truth of expression, as may be seen by the en1716.                                               graving in Rosini's work, representing the Entomb
CANTOFOLI, GINEVRA, a reputable Bolognese  ment.  Zani says he was born at Assisi, though
paintress; born, according to Zani, in 1618; died   Lanzi inclines to Florence.
in 1672. Malvasia says she studied under Elis-         CAPELLANI, ANTONIO, a Venetian engraver,
abetta Sirani.  Her master-piece is a picture of St.  born about 1730, studied under Wagner, and enTommasodi Villanuova.  In S. Procolo at Bologna  graved the principal part of the portraits for
is a picture by her, of the Last Supper; and an-  Bottari's edition of Vasari, published at Rome in
other in La Morte, of St. Apollonia.                 1760; also, several plates for the Scuola Italice
CANTON, JOHN GABRIEL, a German painter,  Picturae, under the direction of G. Hamilton; and
I TN   ONCBILaGra  ~ne, a number of other prints, amiong which are the
born at Vienna, in 1710.  He painted men and   a n              f o      p                         
following:
horses with great spirit and correctness, and some      ow
of his labors in this branch of the art are to be     The Portrait of Michele Angelo Buonarotti. The Drawfound in the landscapes of Orient, and in the battle  ing School; after Dom. Maiotto. Diana and Endymion;
inthe  l e of O t an  in         do' Apollo and Daphne; do. The Creation of Eve;
pieces of Meyltens.  His pictures are scarce, and   rom the istine  hapel; fter M. Angela. Adam and
sell at high prices.  He died at Vienna in 1753.    Eve driven from Paradise; do. The Marriage of St. CaCANTONA, CATERINA a noble Milanese lady   therine; qfter Correggio. The Repose in Egypt; after Ba_AIMIMA, CATERINA, a nObie Milanese la. y,  roccio. 1772. View of the Portico of the Villa Albana;
whom Lomazzo praises for her skill in tapestry,  after Panini.
which she designed and wrought with exquisite          CAPELLINO, Gio. DoMENICO a Genoese paint.
grace and beauty.  Morizia also speaks of her in
terms of praise. but calls her name Barbara, and   er, born in 1580; died in 1651; studied under
says she died young in 1595.  The Bart of embroid-  Paggi, whose style he successfully imitated, though
says she died young in 1595. The art of embroid-                                                    n
ery was practised in very ancient times, and has  he did not equal him  in dignity. IIis best percry was practised in very ancient times, and has  formances are the Death of St. Francis in S. Niccontinued in Italy from the Romans to the present  cob  at Genoa, and his St. Francesca Romana, in
time, and there are many valuable ancient speci-  S  Stefano.
mens in the museum  of that country.  The custom of adorning the walls of the churches with         CAPITANI, GIULIO DE, a native of Milan, whc
sacred histories, wrought in tapestry, continued   studied under Bernardino  Campi.  Lamo  says
through the dark ages, and there are some relics  he was an able assistant of his master.  He flourstill preserved in the sacristies.  In later times,  ished at Milan in the last half of the sixteenth
the most eminent painters furnished designs for  century.




CAPO.                     168                    CAPP.
CAPITELLI, BERNARDINO, a painter and en-    CAPPELLA, SIMONE, a Neapolitan painter, born
graver of Siena, who flourished from 1622 to 1637,  in 1591; died in 1641; studied at Rome under
and studied under A. Casolani, and also under R.  Annibale Caracci, after which he returned to his
Manetti.  Little is known of him  as a painter.'native place, where, according to Dominici, he
Bartsch enumerates forty-three etchings by him   painted sacred subjects with great success.
of considerable merit, according to Zani, some of    CAPPELLE, JAN VANDER, an eminent Dutch
which are finished with the graver. The following   painter of marine subjects and river views, was
are the principal: —                             probably born about 1635, as is supposed from the
The Portrait of Alessandro Casolani; B. Capitelli,fec.  style of his pictures, many of which possess great
S. Anthony of Padua, and his Miracles; B. Capitelli, fec.   excellence, though he is not noticed by the Dutch
1637. The Marriage of St. Catherine; after Correggio.  authors. His first works are in the style of W.
The Repose in Egypt, the Virgin giving drink to the infant
Jusns; after Rutilio Manetti. Ceres drinking in the Cot-  Vandervelde; others resemble De Vlieger and
tage of the old Woman; the same subject which Count  Dubbels; and some bear the impress of the genius
Goudt engraved after Elsheimer. A set of twelve plates  of Rembrandt, with the glow  and warmth of
of the Life of St. Bernard of Siena, with the title;'Ber-  Cuyp. Like most artists of his country  he was
nardus Capitellius Senensis. A set of friezes and bassi-   uyp.  lie  mot artists of also caintryhe wnar
rilievi, among which is the Aldobrandini Marriage, from   e ent corist. He aso painted winter
an antique painting.                             landscapes, with  numerous figures skating on
CAPODORO. See PAGANINI.                        frozen lakes or rivers, like vander Neer and
CAPODORO. See PAGANINI.
Ostade. There are pictures with his name, J. V.
CAPODIFERRO, Gio FRANCESCO, an Italian   Capelle, but none with a date. Lord Townsend,
artist and native of Bergamo, who died about 1533.  an English nobleman, had a very beautiful speciLanzi says he was either a pupil or a rival of Fra  mn representing a river scene, at the entrance of
Damiano da Bergamo, who decorated the choir of  the Bril
his own church, at Bergamo, and that of Bologna     he. 
with a species of inlaid work, executed with the     A, G. A        O, an historical painter
greatest art; also that of S. Pietro, at Perugia,  of Brescia; born, according to Zani, n 1669;
ornamented with the most beautiful histories.      Po                               eo  
For this purpose, at first, different colored woods  afterwards visited Bologna, where he studied some
were employed, and afterwards stained woods, by   time under Pasinelli, but finally went to Rome,
means of which not onlybuildings but figures  and became a scholar of Baccici.  His fresco
were accurately represented. nay odiferrowas  works were held in considerable estjmation; they
were accurately represented.  Capodiferro  was
much employed in ornamenting the churches at  are chiefly in the public edifices at Bres
Bergamo and other cities with this kind of work,    CAPPELLI, FRANCESCO, called CACCIANEMICI,
and appears to have acquired considerable wealth.  an Italian painter, born at Sassuolo, in the Duchy
His works in S. Maria Maggiore, at Bergamo, are  of Modena, flourished from  1535 to 1586. He
considered among the finest specimens of the art.  studied under Correggio, and resided chiefly at
He had a brother named Pietro, who assisted him   Bologna, according to Vidriani, where he was
in his works; also a son named Zinino, whom he  chiefly employed for the private collections. Lanzi
instructed in his own art.                       highly extols a picture by him  entirely in the
CAPOLONGO, ANTONIO, a Neapolitan painter,  style of his great instructor, representing the Virgin
who lived about 1480; studied under della Lama.  with saints, in S. Sebastiano, at Sassuolo. There
Dominici highly praises the principal altar piece  was another Francesco Caccianemici of the school
by him, in S. Diego, at Naples, representing the  of Primaticcio. who flourished about this period.
Conception with Saints. In S. Niccolo is a picture  CAPPELLINI, GABRIELE, a Ferrarese painter,
by him, of the Virgin and Infant, with a glory of  called IL CALIGARiNO, from his original occupation
angels and several saints.                       of a shoemaker. He is said to have been induced
CAPON, WILLIAM, an English painter and ar-  to give up his trade, and to become a scholar of
chitect. born in 1757. He studied painting under  D. Dossi, from being praised by that artist for the
his father, who was an artist of some merit; but  elegant shape of his shoes. Barotti mentions sevmanifesting a strong inclination for architecture,  er  of his  ors, paintedin a noble style; among
he was placed with Novosielski, under whom, he  which is a picture of St. Peter and St. John, in the
assisted in the construction of the Royal Opera  church of S. Francesco at Ferrara; also the prin
House, and also designed several edifices for the  cipal altar-piece in S. Giovanino, representing the
gardens at Ranelagh. IIe afterwards visited Italy   Virgin and Infant, with Saints.
for improvement, and on his return was employed     CAPRIOLO, ALIPRANDO, or ALESSANDRO, an
to erect several works. He was particularly dis-  engraver of Trent, who lived about 1580. He entinguished for his ability in scene-painting, and he  graved the plates for a work entitled Ritratti di
enriched the theatres of Drury Lane and Covent  cento Capitani illustri, which have little merit.
Garden with a number of admirable works of this  His style resembles that of C. Cort, and some
description. He died in 1828.                    critics suppose that his best prints have been atCAPORALI, BARTOLOMEO, a native of Peru-  tributed to that master.
gia, who, according to Mariotti, was a distinguished  CAPRIOLI, FRANCESCO, an excellent old paintpainter in his day. There are works executed by   er, who, according to Tiraboschi, was a native of
him at Perugia bearing his signature and date  Reggio, where he flourished from  1482 to 1505.
from 1442 to 1487. Ile had a son named Giam-  and executed many works for the churches and
battista, born  in  1476.  He was a reputable  public edifices. Lanzi says there are several of his
painter, but more distinguished as an architect,  works still at Reggio, especially in the church of
and died about 1553, according to Mariotti, and   S. Tommaso, which have resemblance to the works
1560 to Pascoli.  This last artist also had a son,  of the two Francia, and that many of his works
named Giulio, whom he brought up to his own  have been attributed to those distinguished ornaprofession.                                      ments of Bologna.




CAPU.                      169                    CARA
CAPUGNANO. GIOVANNI, an artist very fully  seems diffused over his pictures, were most admi.
treated of by Malvasia, Orlandi, and other writers,  rably adapted to the grave and dignified subjects
who flourished at Bologna in the time of the Ca-  he generally represented. His principal works are
racci. He is only worthy of notice for his amu-  at Bologna, the most important of which were his
sing character; misled by a pleasing self-delu-  fresco paintings in' the Palazzi Magnani and Zamsion, like that ancient personage mentioned by   pieri, in which he was assisted by Agostino and
Horace, who imagined himself the owner of all the  Annibale. In S. Domenico is his wonderful picture
ships that entered the Athenian port, he believed  of St. Domenico and St. Francesco, painted in the
himself the greatest painter in the world, which  simplest and grandest style of the art, with an almade him the butt and ridicule of all the artists  most imperceptible effect of light and shadow, yet
of Bologna.                                      of sufficient and surprising relief, and an inexpresCAPURRO, FRANCESCO, a Geioese painter, who  sible sanctity in the expression of the heads. His
oCAPURROe FRa ESCo 9 aGenoese pDierwho  Caritr in the ceiling, so tender, so graceful, and
flourished about 1690; studied under D.  wiasella,  lovely, is indeed a model of beautiful expression.
and afterwards at Rome under Spagnoetto, whose  The Flagellation and Christ crowned with Thorns.
works were then much in vogue. He was em-s
works were then much in vogue. He was em-  in the Certosa, exhibit powers more masculine
ployed at the court of Modena, and according to   n  ior,  pbe of epresenting the awful and
Soprani, just as he was giving promise of rising  and vigorous, capable of representing the awful and
Soprani, just as hewas giving promise of rising  terrific. In the cloister of St. Michele he painted,
eminence, he died at Genoa, of a malignant fever,                                             i
emence,e died at Genoa, of a malignant fever,  with the assistance of his scholars, thirty-seven
in the prime of life.                            pictures, from  the lives of St. Benedetto and St.
CARACCA, ISIDORO, a Piedmontese painter,  Cecilia; also a fine picture of the Last Supper. In
who flourished at Leghorn in 1595.  No writer  S. Martino Maggiore, is his celebrated picture of
takes notice of him except Lanzi, who found man-  Girolamo, and his more famous Limbo, or Purgauscripts in the books of the Treasury at Leghorn,  tory, which is considered one of the greatest exreferring to him. He says he was appointed court  amples of the sublime.  This great artist has
painter, and probably succeeded Ardente; that he  etched a few plates in a masterly style, finished
cannot speak of his country, school or works, but  with the graver. They are generally marked L.
an artist who had received such a mark of distinc-  C. or L. O. C. The following are the principal:
tion, at that time, ought not to be placed among; L  C  G   T 
the vulgar, but researches instituted to find him   and infant Jesus, witfour Angels, half-length.  The Virout.                                             gin suckling the infant Jesus; half-length; Led. Car.,
~no~  CAR -.CC. L ic nilsouB-inv.f. The Holy Family, where the Virgin is washing
{C r.  CAR ACCI, LODOVICO, an illustrious Bo-  Linen; L. C.f. Another Holy Family; 1604; Lodovi-.=*J^'lognese painter, born in 1555; died in  coCaracci,fec. Another Holy Family under an Arch. The
1619  studied under P. Fontna. He at first man-  Frontispiece to the Poems of Cesare Rimaldi. A Thesis,
1619; studied under P. Font'a'na. He at first man- w th the Arms of Bonfigliovoli,.with Mercury and t ercules
ifested such dulness of apprehension, and produced ith the Arms ofBonglioroli,.with Mercury and Hercules
such feeble and unpromising pictures, that his fel-    CARACCI, PAOLO, was a brother of Lodovico
low students nicknamed him  the Ox, and Fon-  C., and cultivated painting, but he was deficient
tana advised him to abandon the art. But it soon  in judgment and ability, and only calculated to exbecame evident that he was not deficient in genius;  ecute the designs of others, in a style of medioche considered that the depraved and impoverished  rity.
style which had been practised in the schools of the    CARACCI, AGOSTINO, a Bolognese painters and
different Italian masters, had arisen from a prema-  very eminent engraver, the cousin of Lodovico Cature and dangerous negligence of execution.  He  racci, and the elder brother of Annibale, born in
made Nature his grand model, and by the constant  1558; died in 1601.  He was intended by his
study of her ever varying beauties, he insensibly  father for the business of a goldsmith, a profession
acquired that correctness and simplicity which so  then nearly allied to that of engraving. When
peculiarly distinguish his works.  On quitting  fourteen years old, he had engraved several plates
Fontana, he visited Venice, and studied the splen-  in the style of C. Cort, when Lodovico requested
did works of Titian and Tintoretto. At Florence  him  to study painting. He became a pupil of
he studied and copied the pictures of Andrea del  Fontana, and  subsequently of Passerotti; on
Sarto, and at Parma attached himself to his favor-  quitting whom, he visited Rome with his brother
ite models, the grand productions of Correggio.  Annibale, to study the works of Correggio and
On returning to Bologna, he was desirous of re-  Parmiggiano.  He afterwards went to Venice,
trieving the art from the low state into which it  where, under the able instructions of C. Cort,
had fallen, both in that city and throughout Italy,  he became one of the most distinguished Italian
and by the assistance of his relatives, Agostino and  engravers. His design was most admirable, and
Annibale, he elevated it to a proud and transcendant  in his engravings he frequently corrected the faults
position. In this glorious work the Caracci met  of the original picture. On returning to Bologna,
violent opposition, but the extraordinary merit of  he devoted himself to painting with incredible astheir productions at length triumphed over their  siduity. Emulated by the fame of his brother Anenemies, and they succeeded in establishing that  nibale, and assisted by the instruction of Lodocelebrated academy, which has produced an Albano,  vico, he advanced so rapidly that he was engaged
a Guido, and a Domenichino, besides many other  in all the important. works which they were
artists of ability.  Of this great school Lodovico  executing in the Palazzi Magnani and Zampieri.
was the head, and to him is due much of the honor  He was well versed in poetry and the sciences;
of its usefulness and success. His style has been  which acquirements were of infinite value in many
considered by several of the best judges of the art,  of the great works produced by the Caracci. About
as that which approaches nearest perfection. His  this time he painted his celebrated picture of the
simplicity of coloring, his breadth of light and  Communion of St. Jerome, for the Certosa at Boshadow, ard the solemn effect of the twilight that  logna, which was taken by the French to the




CARA.                          170                        CARA
Louvre, but is now  in the Gallery at Bologna.  Balth. peruzzi, pinx. The Virgin and Infant, with Mag
Agostino soon  after  accompanied by his turbulent    dalene, St Jeromeand by the TrinityAngel; ater ACo o. 1586.
continual disse nsions, so that ing the Farnobliged ae       r Fed. Baroccio.l-  The Adoration of the Magi after Marco de oro. The
to  aband   him a      nd to leave ome.  He   went to a fter Raffael. The Ho    ly Family, wi th   St. Mi chgures; after Cor
leParmay, where he was cquiremployents and poetical genius regg to paint. abb 1587. The mocking of Christ andesp. Strada,
we         gre at value in the composition of those   pinx. The great Crucifixion; after Tintoretto; in three
mythological subjects, to which  the unlettered   sheets. The dead Christ, supported by an Angel; halfAnnibale was totally  inadequate.  The  latter,  length;              onyfter V.  Strada.  ThePiet; after the sculphowever. did not seem to appreciate this important              The  Virgin taking  under   her pro tect i on two Monks 
assistance and by his turbulent disposition. raised. The Marriage of           St. Catherine do. The   Mary crowned
continual dissensions, so that Agostino was obliged   bfter Fed. Baroccio.         The Holy Family, with St. John;
to abandon him, and to leave Rome.  He went to   after RfTitiaelle. The Holy Family, with St. Michael; after
Parma where he was employed by the Duke to paint   L. Sabbatini. The Virgin with the CPaul rescent and the infant
the great saloon of the Casino, but died soon after                    a    Bnedicm; do. The Holy Family,
itGals  le, were the Triumph of Galatea andble picturepha-    with St. er Anthony and St. Catherine; after Paolo Vero
ius and Auro ra. He pFra                                   nesco Francia. T he Virgin tasucking  ction two Monks;
of the Assumption in the church of S. Salvatore   do. The Marriage of St. Catherine; do. The Martyrn
at Bologna; also a fine picture of the Nativity,  domof St. Justinia, in two sheets; do. The Trinity;
with two laterals of the Adoration of the Magi,  after Titian. The Virgin and infant Jesus, with several
and the Circumcision, in. S. Bartolomeo di Reno.  Saints; after Giulio Campi. St. Paul resuscitating EuAt. Rome,  h i         s hea    ds aie  ora  et    presse an  ing in a Landscape; afttribute  to Coasser. The Virgin; aufGallery, were the Triumph of Galatea, and Cepha-  leand gth; after Giaomo Franciaetto. WiSebatian;dom, after
rectness and Aurora.                                     Francesco Francia. The Virgin suckling the infant' JeAs an engraver, he has produced a large number   sus; afafer Gio. Ligozzi. St. Jer; half-length; after
of works.  His plates are executed entirely with    Vanni. St. Jerome, with the Lion regarding the Virgin
the graver, in a free, bold style, resembling that of   inic   and the Cloungds; after Tintoretto. 1598. The mptation
C. Cort; his are theads are admirably expreniussed, and   of St. Anthony, 1582. As thise careful is without a name, it
Agostin       e C aracci. Antonio Caracci, hi  s father    very   Havingomemes attributed t Cornelius Cort. Mercuhis extremities most accurately drawn.  The cor-  ry and the Graces; after Tinof Lodretto. Wisdom, acomparectness of his design is only equalled by the beau-  nied by Peace, driving away the   long stuod of War; do.  neas
ty of his execution, and his plates would have   carrying his father Anchises; after Baroccio.
nearly  reached  perfection, had  he  studied  the          CARACCI, ANNIBALE, an  illustrious Bologchiaro-scuro more carefully.  His platesn are usu-  nese painter, born  in 1560; died in 1609; was
ally marked A. C., or AUG. F.ldrovadu s. Mar   C., and   the cousin of Lodovico, and the younger brother
sometimes with his name abbreviated.  The fol-   of Agostino C.  At an early age he manifested
lowing are the principal:                                 great genius, and under the careful instruction of
PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS.          Lodovico, he progressed with wonderful rapidity.
Agostino Caracci. Antonio Caracci, his father; very   Having made considerable proficiency, he visited
scarce. A Medallion of the Emperor Augustus; C. A.  Parma, by the advice of Lodovico, to study the
Bust of Cosmus I. with ornamental figures. The Head of   works of Correggio.  By the long study of these
a Woman; fiue. Portrait of a Lady with a Collar of   wonderful productions,'he attained the  daring
Pearls. Giovanni Tommaso Costanzo. Prinoess Christina.i        o  f             t    b n           of 3s'
of Lorraine. Ulysses Aldrovandus. Marc' Antonio Rai-   v        y o  foreshortening, the boldness of design,
mondi. Titiano Vecelli. 1587. Antonio Caracci, as St.  the admirable choice in the turn of his figures, and
Joseph. Eve giving the Apple to Adam. 1581. The Vir-  the magnificent simplicity of the folding of his
gin and infant Jesus. The Virgin suckling the infant Je-   draperies, which have gained for his works unisus. The Repose in Egypt. The Virgin in the Clouds,  versal admiration.  He also improved his coloring
giving the Scapulary to a Saint. The Virgin seated on a
step, with St. Joseph, the infant Jesus, St. John, and an   by the study of the splendid works of the VeneAngel; scarce. The Good Samaritan; proofs before the   tian masters.  His energy was indomitable, noletter are very rare. The impressions with the name of   thing could impede his progress, and every fresh
Bertelli, are retouched. The Crucifixion, with two Fe-   obstacle seemed only to incite him  to new  exermales, one representing Christianity, the other Judaism.  tion.  On returning toBologn he assisted LoThe Resurrection. Le nome di Dio. The Pope and the          io    n h   rk in  the Palai Magnani, Favi,
Senate of Venice kneeling before the Virgin; Luc. Bar-                             the Palazzi Magnani, Favi.
telli,formis. 1582.  St. Francis d'Assisi receiving the   and Zampieri.  He was soon after invited by CarStigmata; Agos. Car. 1586. The Cord of St. Francis;  dinal Farnese to decorate the gallery of his imSt. Francis distributing cords to a number of persons of   perial palace at Rome, whither he was accompanied
different orders. 1586. St. Jerome kneeling at the en-   by his brother Agostino.  Here his great genius
trance of a cave. (There are impressions of this platee
which are very scarce, where it is three parts finished, and   works of Raffelle and the antique.  The iarnese
the rest slightly sketched with a single stroke. The plate
wvas afterwards finished by his pupil Villamena.) Seven-   Gallery occupied him eight years of the prime of
teen plates of free subjects, called in Italy le Lascivie dei  his life.  He was assisted in this great work by
Caracci. Two other indecent subjects. A Landscape with   Lodovico and Agostino, and although by it he has
naked figures. A Landscape with the same, and in the                                                   art; yet
distanee a Dance. Cupid conquering Pan; Omnia vincit           e                  i     h'           n
amor. 1599. Perseus combating the Monster. Frontis- his employer only paid him  the miserable pittance
piece for the book, called Cremonafidelissima. This book,  of 500 crowns.  It must be allowed, however, that
which is very scarce, contains thirty-five portraits engraved   had he possessed the cultivated taste and literary
by Agostino.                                             acquirements of Agostino, his powers would have
SUBJECTS AFTER VARIOUS MASTERS.                 been developed in a much more admirable manner.
A Child blowing Bubbles; after Goltzius; very scarce.  His natural vivacity, and daring energy, rendered
Jacob watering the Flocks of Rachael; after D. Calvart.  him  averse to the slow and toilsome attainment
1581.  Judith, half-length; after Lorenzo Sabbatini.  of learning, therefore he was ignorant of history
The young Tobit conducted by the Angel; improperly
^marked Rcaelle d Ur^bino;  it  isather RafaeledaBeg- and fable, and was compelled to have recourse to
marked Raffaelle d' Urbino; it is after Raffaelle da lIeSgio. The Presentation in the Temple; after Orazio Sa-          ideas of others; consequently he could not remacchini. The Virgin and Infant Christ giving the Keys   present the subject with that true poetry of feelto St. Peter; do. The Adoration of the Magi, 1579;   ing, which would have filled his soul from  the




CARA.                       171                      CARA.
contemplatioi of his own conceptions.  But when   of Agostino and Annibale, born in 1595; studied
the subject did not transcend his comprehension,  under Lodovico Caracci.  He attempted to riva.
he was a perfect master of the art.                 that great master in academic celebrity, set up a
A. Caracci also painted landscapes, not merely  rival establishment, and even had the insolence to
those in the backgrounds of his historical subjects,  have written over his door This is the true School
but several in which the figures were only acces-  of the Caracci.  Not succeeding as he expected,
sory, and in grandeur of scenery, spirited execu-  he left Bologna, and went to Rome, where he died
tion, choice of forms, and aerial tints, they are not  in 1622.  At Bologna he painted St. Roch and
surpassed.  His principal works at Rome, are the   the Angel, in the church of S. Rocco; and in S.
Farqese Gallery; the Marriage of Cana, in the cha-  Maria Maggiore, the Death of the Virgin, with the
pel of the Farnese palace; the Assumption, in the   Apostles, in which Lanzi says he was assisted by
Madonna del Popolo, an admirable picture; and in   Lodovico.  There are a few prints by this artist
S. Francesco da Ripa, a fine work, representing the   from the designs of Lodovico and Annibale; some
body of Christ supported by the Virgin.  In the   of them  are marked F. C., and others with his
Gallery at Dresden is an admirable work, cha-  monogram. The following are the principal:
racterised by the most admirable invention, repre-    The Virgin and infant Jesus, inscribed, Diaparew imago
senting St. Roch distributing his wealth to the   a divo Luca pict. c4c. Sir Charles Borromeo kneeling.
poor; expressed with all the feeling and senti-  An Angel with wings, pointing to a skull. Four Busts of
ment of which the art is capable.  At Bologna isomen; Semiris, Lucretia, Artemisia, and
the Annunciation, in the Madonna di Galiera; the   Portia
Assumption, in S. Francesco; and a grand picture       CARACCINO, IL.  See MULINARI.
of the Resurrection, in Corpus Domini.  His most       CARACCIUOLO, GIo. BATTISTA, a Neapolitan
celebrated easel picture was in the Orleans collec-  painter, born about 1580; died in 1641; studied untion, now in the portrait collection of the Duke   der F. Imparato; and afterwards under Caravaggio,
of G4rlisle.  The subject is the Descent from  the   whose style he followed for some time.  On going
Cross; it is represented with such solemnity as  to Rome, he adopted the style of Annibale Caracci,
fills the mind with the most affecting emotions.  and studied with great assiduity the works of that
Roullet has engraved an admirable print from this   master in the Farnese Gallery.  On* returning to
inimitable work.                                     Naples he painted several pictures for the churches
Annibale Caracci has executed about twenty   and public edifices of that city so much in the style
plates, partly etched, and partly finished with the   of Annibale, that Dominici says they might be misgraver, which are strongly characteristic of that  taken for his works.  The best of these are: St.
great master. They are the following:                Cecilia, in the church of S. Maria; St. Antonio, in
The Virgin suckling the infant Jesus; oval. The Vir-     Nicolo; St. Carlo, in S. Agnello; the Death of
gin supporting the Head of the infant Jesus sleeping. The the   Virgin, and the Assumption, in S. Anni di
Virgin and Child, with St. John presenting a Bird. The   Lombardi.
Virgin seated, with the Infant standing. The Adoration            AAG          or A
of the Shepherds. The Virgin of the Porringer, where she    or Cm CARAGLIO, or CARALIUS, GIo. GIAgives drink to St. John. 1606. A dead Christ in the lap          OMOaneminent Veronese designer and
of the Virgin, called the Christ of the Caprarole. 1597.  engraver, born about 1512; studied at Rome, and
Christ crowned with Thorns; A. C. inv. etfec. 1606. St.  from his style is supposed to have been a scholar
Jerome with spectacles; half-length. St. Francis  ith a M. A. Raimondi.  His drawing is very correct;
Crucifix and a Skull. St. Francis kneeling at the foot of a   his heads have a fine expression; and his works
Rock. St. Petronius kneeling. Apollo playing on the    ieas          ae  ane e     on  a    iswo
Lyre, with Pan. An old Man, with two other figures. Ve-  exhibit great taste and skill.  He flourished as an
nus sleeping, with Cupid and a Satyr. Venus sleeping,  engraver on copper from  1526 to 1551, and was
contemplated by a Satyr, menaced by Cupid. Silenus, a   also much employed in the graving of gems. lHe
Faun, and a Satyr, called the Cup of Annibale. The Tri-  wa employed at the court of Sigismund, King of
umph of Bacchus, a salver to the Cup; both very scarce.  Poland, where he executed several medals, which
Acis and Galatea, with a Satyr. Susanna and the Elders;  gained him great reputation.  In the latter part of
very scarce.
very scarce,                                         gained him great reputation. In the latter part of
his life he returned to Italy, and settled on his own
CARACCI, ANTONIO, called IL GOBBO, an Ital-  estate, near Parma, where he died about 1570.
ian painter; a natural son of Agostino C., born at  The following are his principal plates:
Venice in 1583; studied with his uncle Annibale,    The Virgin andInfant, under an Orange Tree; Jacobus
whom  he accompanied to Rome when the latter   Veronensis. The Virgin kneeling, with the Infant and
went to paint the Farnese Gallery. Under Anni-  St. Ann. The Holy Family; after Raffaelle; the same
bale's excellent instruction he soon showed proofs  subject as the fine print by Edelinck. Another Holy Famof ability, and was taken under the protection of Car-  ily, with St. Elisabeth; do. The Marriage of the Virgin;
dinal Tonti, who employed him in his chapel in S.  after Parmeggiano. The Annunciation; after Titian;
-Barto o  ne' I, w e Antonio pininscribed Titiani figurarum, 4c.; Jac. Caraglio. The
Bartolomeo nellp Isola, where Antonio painted sev-  Punishment of Tantalus; do. The carrying up of Ganyoral frescos representing the Life of the Virgin and   mede; after M. Angelo. An Anatomical Figure, holding
the Passion of Christ.  One of his best works is a   a Skull; after Rosso. Hercules piercing with his Arrows
frieze in an apartment of the palace of Monte Ca-  the Centaur Nessus; do. Hercules slaying Caucus; do.
vallo, which is much admired. He had a strong   Nymphs and Young Men in a Garden; do. Twenty, of Diaffecton for  ncleAnnile w   h  a      vinities with their Attributes, in niches; do. Twenty, of
affection for his uncle Annibale, whom  he attend-  the Metamorphoses of the Gods; after Rosso and Pierino
ed in his last moments, and honored with a splen-  del Vaga. The Triumph of the Muses over the Pierides;
did funeral, and a magnificent tomb near that of   after Pierino del Vaga; J.J. Caraglia Veronese. 1553.
Raffaelle, in the church of the Rotonda.  Antonio   The Death of Meleager; do.; Jac. Caralius, fee. The
was of a slender constitution, and died, aged 35 at  Creation; semi-circular; do. A Battle; R. J. Jacobus
Romen in 1618.                    de edVer., fec. The Rape of the Sabines; after Rosso; unfinished.
i    CARACCI, FRANCESCO, a Bolognese painter           CARAVAGGIO, POLIDORO CALDARA DA, an
j of considerable ability, the younger brother   eminent Milanese painter, born  at Caravaggio




CARA.                     172                   CARB.
In 1495. His parents were very poor, and after  shadows are less deep, and his lights less lucid,
passing his youth in misery and want, he went to  than those of the scholars of that master. His
Rome for employment, and was engaged to carry   works are characterised by harmony of coloring,
mortar for the fresco paintings of the artists who  and good invention and design. His best producwere employed by Leo X. in the Vatican. He no-  tion is the Last Supper, in the church of Corpus
ticed with what facility Maturino and Gio. da  Domini, at Turin.
Udina executed the designs of Raffaelle, and was    CARBAJAL, Luis DE, an eminent Spanish
stimulated to imitate them. His attempts soon  painter, born at Toledo in 1534; studied under
attracted the notice of Raffaelle, who took him into  Villoldo, and was employed by Philip II. in the
his school, of which Caravaggio became one of the  Escurial, with many other distinguished artists.
most illustrious disciples. He studied the antique  He painted several subjects from the Life'of the
with such assiduity, that in a short time he seemed  Virgin, in the principal cloister; also the altarto have completely caught the true spirit of the  piece of the Infermeria, representing the Nativity.
Greek sculptors; all his works were characterised  There are several of his pictures in the churches
by that admirable perfection of design, and purity  of Madrid and Toledo. He was emplQyed in the
of form, which have made their works the models  Prado  according to Bermudez, as late as 1613,
of all succeeding ages. This careful attention to  though Bryanerroneously says he died in 1591.
the antique, rendered him almost insensible to the  ARBON, GIANNI    Italian painte who,
magic of coloring. His productions at this time    CARBONg, IO    was born Itaan pam er o,
according to Pascoli,, was born at San Severino,
were monochroms in chiaro-scuro of the designs
were monochroms in chiaro-scuro of the deigns  about 1625. Hewent to Rome and studied under
he had composed from his studies of the beauties             s. He was a eutae a
of antiquity and he was the first of the Roman Andrea Camassei. He was a reputable artist, but
of antiquity, and hewas the first of the Roman 
chool who attempted works of this kind. Such  the noticesof him are very meagre
was their excellence that Raffaelle selected him to  CARBONCINO, GIOVANNI a Venetian knight,
paint the friezes which accompanied his works in  who studied painting under Matteo Ponzono, and
the Vatican; and they are not unworthy a place  acquired considerable eminence. He went to Rome,
with the sublime productions of that great master.  but Lanzi says there are none of his works in that
In the variety of his attitudes, the simple folding  city, unless some attributed to Giovanni Carbone
of his draperies, the trophies with which he adorn-    ere executed by him. He afterwards returned
ed his works, and the grandeur and abundance of  to Venice, where he executed many works, some
his compositions, he appears to have revived the  of which are in the churches of that city. A St.
perfection of ancient art. He executed, in concert  Angelo at the Carmini, and a Dead Christ at San
with his friend Maturino, a number of fresco paint-  Antonio, are highly commended by Melchiore and
ings on the exterior of the palaces of the nobility,   Guarienti. Lanzi says there are some of his works
but these have been destroyed by the effects of the  in the church of S. Nicolo of Trevigi; marked Carweather, and no remembrance of them is preserved  boncini opus. He flourished in the last part of
except in the admirable prints by Alberti, Goltzius,  t  17th, and first part of the 18th centuries.
and Galestruzzi. Besides the works already men-    CARBONI, BERNARDO, or Gio. BERNARDO DI
tioned, he executed at Rome the Fountain of Par-  ALBARA, an eminent Genoese historical and pornassus, in the garden of the Palazzo Buffalo; also  trait painter, born in 1614; died about 1680;
in the court of the palace, the history of Niobe,  studied under Andrea di Ferrari. His portraits
and some grand compositions of naval combats,  are said to have been much in the admirable style
and two subjects from the Life of Magdalene, with  of Vandyck.
a very beautiful landscape. Caravaggiowasinthe    CARBONI, FRANCESCO, a Bolognese painter,
full tide of success, when he was compelled to flee  studied under Tiarini, but followed the graceful
to Naples, in consequence of the sacking of Rome  and elegant style of Guido. In S. Martino Magby the Spaniards, in 1527. He was kindly received  giore, at Bologna, is the Crucifixion, with St. Teby his old friend, Andrea del Sarto, whose ac-  resa and other figures, by him; in S. Paolo, the
quaintance he had made at Rome, and who was  Entombment; and in the Padri Servi, the Decolthe means of procuring him immediate employ-  lation of St. John. He died in 1635.
ment. He painted here two pictures of St. Peter    CARDENAS, BARTOLOMEO       a Portugese
and St. Paul in the church of S. Maria della Grazie;  painter, born in 15EO DE, a Portuuese 
also several pictures in S. Angelo in Pascheria.  painter, born in 1547; -died in 1606. He visited
atlso several pictures in S. Angelo i  Pascheria.  Madrid when quite young, where he studied under
After remaining some time at Naples, he visited  A. S. Coello and, according to Bermudez. became
Sicily, where he painted the triumphal arches  A.S. Coello, and, according to Bermudez. became
Sicily, where he painted ~ he triumphal arches  one of the best painters of his time. He painted
erected at Messina, on the occasion of Charles V.'s       the             ste of    t e c nt
return from his Tunis expedition. His next work  the principal part of the cloister of the convent of
was his celebrated picture of Christ bearing his  Nuestra Seora dAch  at Madrid. In the l
Cross, a grand composition of many figures, paint-  ter part of his life he resided at  alladolid, where
ed in oil, with a beauty and harmony of coloring  he painted several pictures for the churches, espeed in oil, with a beauty and harmony of coloring  ^J   ^  ^  ^^  ^  ^   ^^  ^  g P^
which shows his ability in that branch of the art.   c ay in th e loister of he    Cardenast who reWhen Rome was restored to tranquillity, he made  He  ad a sn nad  u an de Carenas, n  eminpreparations to return thither, but having drawn  sided at Valadoid about 1620, an was an enhis funds from the bank, he was murdered by his  ent painter of flowers and fruit.
Sicilian servant for the sake of the money, in 1543,.  CARDI, LODOVICo, called CIGOLI, an eminent
in his 48th year..Florentine painter and architect; born at the
CARA O M. A.     AN.     Castle of Cigoli, in Tuscany, in 1559; died in
CARAVAGGIO, M. A. See ANOELO.                 1613. He studied painting under Allori, and afCARAVOGLIA, BARTOLOMEO, a Piedmontese  terwards under Santo di Titi, whose academy was
painter, who flourished about 1673, and is said to  then the most reputable in Florence. He-studied
have studied under Guercino, but Lanzi says his  with great assiduity the works of M. Angelo, Pon



CARD.                      173                    CARD.
tormo, and A. del Sarto, and was more indebted  a Dead Christ, with two laterals of St. Peter and
to these for improvement than to either of his in-  St. Paul, in a chapel of the cnurch of S. Pietro ad
structors. After making the tour of Lombardy,  Aram at Naples.
he returned to Florence, and was received into the    -CARDON, ANTHONY, the elder, a Flemish enacademy; his picture of reception was Cain Slay-  graver, born at Brussels, and flourished about
ing Abel. He painted two pictures of Venus and  1766. He visited Naples, where he engraved a
a Satyr, and the Sacrifice of Isaac, at the request of  number of plates for Mr. Hamilton. There are
the Grand Duke, for the Pitti Palace. The Duke  also the following by him:
sent him  to Rome, where he was employed to
sent him  to Rome, where nhe swas -employed to    The Portrait of George Prince of Wales. 1766. The
paint a picture for the Vatican; the subject was  Portrait of the Chevalier Verhust  L  Bain rst;
Peter healing the Lame Man at the Gate of the  after A. Watteau. Le Contrat de Marriage; do.
Temple. This composition was considered  by        CARDONANTHONY, the younger, a Flemish
many as one of the finest works in the Vatican.           born at Brussels in 1773; died in 1813
It has been much injured by dampness, and the  engraver, born at Brussels in 1773  died i 1813;
It has been much injured by dampness, and the  studied under his father Anthony, called the elder,
ignorance of cleaners. The other principal works
of this master, are St. Jerome, in S. Giovanni de  a Flemish engraver of little note. During the'I~ 4.-  ^r n     ~   f f. -ivn i   troubles in the Low Countries, Cardon took reFiorentini, at Rome; the Conversion of St. Paul,    ube in  e Lw   ontes, Carn  oo  rein S. Paolo, near Rome; the Stoing of St. Stephen,  fuge in England, in 1790, when he was seventeen
ine pPaoloe, inRoe; the Stoinvn    of St.Stephen,  years old. In a few years he gained considerable
a fine picture, in the convent of Monte Domini'  reputation by the plates he engraved for the variat Florence, (this has been engraved in Rosini's    p        y   o       
work); St. Alberto, in S. Maria Maggiore; the       utat    he    lats   he enrraved forethervan
work); St. Alberto, in S. Maria Maggiore  the  ous publications of the day. He also etched seveTrinity, in Santa Croce. In the Florentine Gal-       detached prints and portraits of some merit.
lery is a fine picture of Mary Magdalene'; also his    Catherine of France presented to Henry V. of England
celebrated Ecce Homo. Cigoli also painted manyaftertot. Salvator Mndi; after Carlo Dolci.
easel pictures of Saints (particularly St. Francis),
Hermits, and Magdalenes at devotion, which are    CARDUCCI, or CARDUCHO, BARTOLOMEO,
remarkable for their expression of contrition, fer-  an eminent Italian painter, was born at Florence,
vor, and abstinence. They generally have a high   according to Zani, in 1561.- He studied under
degree of finish, especially in the accessories. Bal-  Federigo Zucchero, whom he assisted in the'great
dinucci.says he approached nearer to the style of  cupola at Florence; and while quite young he
Correggio than any artist of his time, but as Lanzi  painted two pictures for the church of the Jesuits,
observes, this would not be credited by those who  representing the Annunciation and the Nativity.
have seen the works of Baroccio, Schidoni, and the  When Zucchero was invited to Madrid by Philip
Caracci. His works are much inferior to those of  II., he induced Carducci to accompany him, who
Correggio as to foreshortening, variety of coloring   assisted Zucchero in the great works he executed
and impressive tenderness of expression; though,  in the Escurial, among which was the greater porlike an able artist, he availed himself of the admi-  tion of the admirable frescos in the cloisters of that
rable management of chiaro-scuro, and the gran-  palace, which were so much admired by the king
deur of design, which characterize  the works of  that he rewarded Carducci with 200 ducats in adthat great master. Cigoli etched two plates in a  dition to his salary. He also painted the famous
masterly style, which represent Mary Magdalene  ceiling of the library, in concert with Pellegrino
washing the Feet of Christ, marked C. I. V., with   Tibaldi. But the work which, above all others,
his monogram, and the Conversion of St. Paul.    established his reputation in Spain, is the Descent
As an architect, he erected the triumphal arches  from the Cross, in the church of S. elipe, at Madfor the Florentine festivals in honor of the mar-  rid-a picture of most admirable composition,
riage of Mary de Medicis with Henry IV. of France.  which was held in the highest estimation.  CarHe also designed the bronze equestrian statue of  ducci was invited to the French court, but Philip
that monarch, on the Pont Neuf, at Paris. At  II. expressed so great regret at being deprived of
Florence he erected the Loggia of the Fornaquinci,  his talents, that the grateful artist excused himself
and built the court of the Strozzi palace. His best  to the French ambassador, and remained in Spain.
work, however, is the Renuccini- palace in that  After the death of his friend and patron, Carducci
city. At Rome, he erected a number of fine edi-  continued some years in the service of his succesfices, among which is the palace near Piazza Ma-  sor, Philip III. He was commissioned to paint a
dama, for the Grand Duke. He also published a  gallery of the Prado, with subjects from the life
Treatise on Practical Perspective.               of Charles V.; but the artist died before he had
made much progress in this great work, in 1608.
CARDIER, J. GUILLAUME, a Flemish painter,  He is said to have had considerable skill in sculpborn at Liege in 1645; died in 1675; studied un-  ture and architecture, but none of his works are
der Doufflest and B. Flemael. His pictures are in  mentioned.
the St. Petersburg and other foreign galleries.or CARDUCHO  V, a
CARDUCCI, or CARDUCHO, VINCENZIC, a
CARDISCO, MARCO, called IL CALABRESE. a  Florentine painter, the younger brother of B. Carreputable painter of Calabria, who flourished from   ducci; born in 1568; died in 1638; was instruct1508 to 1542. Lanzi says he probably studied  ed by his brother, and at his request accompanied
under P. da Caravaggio. Dominici mentions a  him to Spain. After the death of the latter, he
picture by this artist, in the church of S. Agostino,  was engaged by Philip III. to complete the gallery
at Naples, representing that saint disputing with  in the Prado, which had been commenced by B.
heretics. This work is considered his master-  Carducci. Instead of the Life of Charles V. he
piece, and is incorrectly stated by Vasari to have  adopted the History of Achilles, finished the work
been at Aversa. He also painted several other  to the entire satisfaction of his royal patron, was
works, among which is a much admired picture of  made king's painter during the reign of that mo



OARI.                     174                    CARL.
narch, and also to Philip IV., by whom  he was  the Cathedral of the Guastato at Genoa, and was
employed in many important works. He execu-  invited to Rome to paint the ceiling of the church
ted a number of pictures in Salamanca, Segovia,  of the Theatines, which he did not live to finish.
Valladolid, and Toledo. At Madrid he painted the  It was completed by his brother.
great chapel in the convent L' Encarnacion; St.    CARLONI,  o.  ATT               eminent GenoAntonio and the Angel's Warning to Joseph, in  ese painter, the younger brother of the preceding;
the convent del Rosario; and St. John preaching,  bor in 1594; ied in 1680; studied under Pasin the Refectory of the Franciscans. His last work  signani.  He executed several great works at Gewas a St. Geronimo, in the church of Alcala de  noa,in concert with his brother, the principal of
HTenares, which he did not live to finish. He wrote  which were the fresco paintings in the three naves
a book on painting, printed at Madrid in 1633,  of the cathedral of the Guastato. In the princiwhich is highly praised by Bermudez.             pal nave he has represented the Adoration of the
CARIANI, Gio., a Bergamese historical and por-  Magi, the Entrance of Christ into Jerusalem, the
trait painter of great merit, according to Lanzi and  Resurrection, the Ascension, the Descent of the
Tassi. Bryan says he was born about 1510; but  Holy Ghost. and the Assumption. It is a magnifithere are pictures by him dated 1514 and 1519. He  cent work; characterized by the most abundant
followed the style of Giorgione. In the church of  invention, graceful contour of the figures, heads of
S. Gottardo at Bergamo, is a very celebrated pic-  most varied and beautiful expression, and a charmture by him, representing the Virgin and Infant in  ing lucidity, brilliancy, and harmony of coloring.
the Clouds, supported by Angels, with a Choir of  In the same church he also painted the PresentaCherubs. It is colored with great amenity and  tio  in the Temple, and Christ preaching to the
sweetness, with a graceful and elegant composi- Pharisees.
tion.                                              CARLONI, ANDREA, a Genoese painter, the son
CARLEVARIIS, LUCA, a painter and engraver  of the preceding; born in 1639; died in 1697;
of Udina, born in 1665; died at Venice in 1729.  studied with his father a few years, and then went
He was called Luca di Cd Zenobrio, having been  to Venice, where he remained some time and repatronized by the Zenobri family, who possessed  turned to Genoa. IIis first productions were sevmany of his pictures. He painted landscapes, ma-  eral inferior pictures at Perugia, and the Life of
rine views, and perspective; his pictures are little  St. Feliciano, in the church of that Saint at Foknown, except in Venice. There is a set of one  ligno. He went afterwards to Rome, where he
hundred neat and spirited etchings by this artist,  altered his style for one more noble and elevated,
which are very faithful representations of differ-  and subsequently produced some most admirable
ent views in Venice.                             works at Genoa, which Ratti numbers among the
CARLIERI, ALBERTO, a Roman painter; born,   rance.
CARLIERI, ALBERTO, a Roman painter; born,  Genoese works of art most worthy of rememaccor'ding to Orlandi, in 1672; studied under Gio- ae.
seffo de Marchi, and afterwards under Andrea       CARLONI, CARLO, a Milanese painter, probaPozzo.  He excelled in architectural subjects,  bly a relative of the preceding artists; born near
which he enriched with admirable historical fig-  Como, in 1686; died in 1775, was the son of a
ures.                                            sculptor, and was intended for his father's profesCARL, Ao, an I n s     or, wo  sion; but as he preferred painting, he was placed
under Giulio Quaglio. He afterwards studied at
visited England and executed a number of works.  Rome until he was twenty-three years old, and
Among his best productions were an equestrian
Among his best productions were an equestrian  visited Germany, where he met with great encourstatue of George IV., and a statue of Dr. Ward in
agement. Little is known of his works as a paintthe Adelphi. Carlini excelled particularly in dra-agement. Little  is kno      n of h is ors as a paint
peries. He was appointed keeper of the Royal  er, except that he possessed an inventive genius
Academy, and died in 1799.                       and great facility. As an engraver, he has execuAcademy, and diedin1ted the following plates, mostly from  his own
CARLINI, P. ALBERGIO, was born at Pescia in  compositions:
1705, and diee in 1775. He was a Minorite monk,    The Conception of the Virgin. The Holy Family, with
and first studied under Ottaviano Dandini, and  St John kissing the Foot of Jesus. S. Charles Borromeo
afterwards Cav. Sebastiano Conca at Rome. He  communicating the Pestiferous. The Death of a Saint.
became a good artist, and there are many of his  An allegorical subject of Opulence, for a coiling. Another
works in the convent of his order at Pietrasanta.   subject for a ceiling, a Figure with a Crown. A Group of
Children, with a Basket of Flowers.
CARLISLE, ANNE, an English paintress, who        CARLONI, NICCOLO, was a brother and pupil
lived in the reign of Charles I. She painted por-  of Andrea Carloni. He was the least talented of
traits, and according to Walpole was admired for  the family-" not," says Lanzi, " that he wanted
her copies of the works of the Italian masters.  talent, but it was not of a transcendant kind."
CARLONI, Gxo., a reputable Genoese painter,     CARLO, ANTONIO, an Italian painter, born in
born in 1590; died in 1630; was the son of a  Portogruaro, a district of the Friuli, was the son
sculptor. He studied under P. Sorri, and after-  of an obscure painter, who instructed him in the
wards under Passignani at Florence, where he be-  elements of the art. He afterwards studied the
came an able fresco painter; and on returning to  works of Tintoretto and P. Veronese, at Venice.
Genoa he was much employed, and gained a dis-  Lanzi says that Friuli has not produced a greater
tinguished reputation.  His works are charac-  genius than Carlo since the time of Pordenone.
terized by facility of execution, masterly foreshort-  The composition of his historical subjects is ingenening, and correct design. The airs of his heads  ious and abundant, his design is bold and elevated,
are tolerably graceful, his chiaro-scuro is managed  and his coloring, especially in the carnations, is
with intelligence, and his coloring is vigorous.  tender and harmonious. Several of his best works
He assisted his brother in the great fresco work in  at Udina have been much injured by retouching




CARN.                     175                     CARO.
The best preserved is St. Tommaso, in S. Lucia.  signed and admirably colored, with remarkably
He painted many easel pictures and portraits for  fine figures.
the private collections of Udina.                   CAROSELLI, ANGIOLO, a Roman painter, born
CARMONA, EMANUEL SALVADOR, an eminent  according to Zani about 1585; died in 1653; studSpanish engraver, born at Madrid about 1740. He  ied under M. A. Caravaggio, whose powerful colorvisited Paris when young, and entered the school  ing and bold effect he closely imitated, but added
of Charles Dupuis. In a few years he made such   a grace and elegance which that master wanted.
progress that he was received into the Academy at  He was chiefly employed in easel pictures and porParis in 1761. He afterwards returned to Spain,  traits for the gallery of the Cardinal Gessi. He
where he continued to exercise his talents. The  possessed an extraordinary felicity in copying the
following are his principal plates:              works of great masters, and in painting close imiThe Portrait of Francis Boucher. 1761; his reception  tations of their style. His large works in the
print at the Academy. The Portrait of Colin de Vermont.  churches are the Martyrdom of St. Placido and
1761. The Portrait of the Marshal de Broglio. An alle-  St Gregory celebrating Mass, in S. Francesca Rogorical subject, in honor of Charles III. of Spain; after  mana; also St. Vinceslaoin the pontifcal palace
Solimena. Joseph, a Carmelite Monk; after Velasquez.e pont l 
The Virgin and Infant; after Murillo; half-length. The  of the Quirinal.
Virgin and Infant; after Vandyck. The Angels appear-    CAROTTO, Gio. FRANCESCO, a Veronese painting to Magdalene; cfter Guercino. St. John Baptist in  erborn in 1470; studied under Liberale Veronese
the Desert; after Mengs. Mary Magdalene in the Dese    1'rt; do.      and afterwards under Mantegna, with whom  he
CARNEVALE, FRA., or F. BARTOLOMEO COR-  made such rapid progress, that Lanzi says his instructor sold his pupil's productions as his own;
RADINI, was a native of Urbino and died about  structor sold his pupils productions as his own;
am  s a geat artist,  and describes some of Carotto's works as more
1478. Lazzari commends him as a great artit,  harmonious, and in a grander style than those of
and Lanzi says that though his pictures appear deand Lanzi says that though his pictures appear de-  Andrea, particularly his large picture of St. Fermo
fective in perspective, and retain in the drapery thea,   ar                        Angioli, in S.
dryness of the age, yet his architecture is beautiful,  Eufemia. a  e altar-piece of the Angioli, in S.
the colors brilliant, and the air of his heads noble  the Counts of was m  uch  employed, espeially by
and unaffected    ispotrai sthe Counts of Milan, and at the court of Monferand unaffected. His portraits are so strongly ex-      where there are a number of his portraits
pressed that they seem to live and speak. He was  rat, were theres.  e       ber o  his p     i
the most distinguished painter in Urbino, and it is  and             
known that Bramante and Raffaelle carefully stud-    CAROTTO, GIOVANNI, was the younger brother
ied his works, as at that time there were no better  and scholar of the preceding, whose style he folworks in Urbino.                                 lowed, though greatly inferior to him  in merit.
CARNOVALE, DoMENICO, an Italian painter  He acquired more reputation by his designs of the
and architect, born at Modena, and flourished about  curious remains of antiqpity in and near Verona;
64  me was most dist d fr hs          any of these, particularly his design of the fa1564. He was most distinguished for his adm'ira-  mous amphitheatre at Verona, were afterwards enble views of architecture, with figures introduced   ed and published.   e was the instructor of
in excellent taste. IIis perspective views were  P Veronese in the elements of perspective and
executed with such wonderful skill as to produce
perfect illusion. He practised architecture with  architectural painting. He died about 1550.
perfect illusion. He practised architecture with                              
reputation, and erected several good edifices.      CARPACCIO, VITTORE, a Venetian  painter
CARNULI, FRA. SIMONE DA a Genoese paintr  who flourished, according to Ridolfi, about 1500,
Cand a Fran Risa  Mn      D, a Genoese panter  and painted several pictures in competition with
and a Franciscan monk. He painted several picison two  of which possess verapic-  the Bellini, for the churches and public edifices at
tures for his convent, two of which possess con-  Venice. There are works by him dated 1519, and
siderable merit, representing the Last Supper, and   Zani sashewaslivingin  522.   Hisearl 1
the Predication of St. Antonio; both are dated   Zani says he was ling in 1522. His early pic1519. His figures had something of the dryness  tures have something of the hard and dry manner
1519. IIis figures had something of the dryness  ^  ^ ^       ^  his later ones are charncterized
common in his time; but he painted architectural      his time, but his later ones are characterized
and perspective views, with small figures, which       more softness of coloring and beauty of expresare commendable for their serial perspective and  sion. His principal work was painted in concert
degradation of tint,                             with Bellini, in the great council-chamber of the
Ducal palace, which was destroyed by fire in 1576.
CARO, FRANCISCO LOPEZ, a painter of Seville;  In the Oratorio di S. Orsola, are several pictures
born in 1592; died in 1662; studied under Pablo  of the life of that Saint. At Ferrara, in S. Maria
de las Roelas; painted several pictures in the Pra-  del Vado, is the Death of the Virgin; and in the
do, representing the victories of Charles V., and   chapel of the Compagnia de S. Girolamo, is the
was also an eminent portrait painter. He had a  Communion of St. Jerome.
son named Francisco, born at Seville in 1627;
died in 1667; was instructed by his father, and    CARPACCIO, BENEDETTO, an Italian painter,
afterwards by AlonsoCano. His principal works,  probably the son or nephew  of V. Carpaccio.
according to Palomino, are the pictures of the Life  There is a picture by him dated 1537, in the church
of the Virgin, in the chapel of S. Isidoro; and his  of the Rotonda, at Capo d' Istria, representing the
celebrated Porciuncula,in S. Francisco at Segovia.  Coronation of the Virgin, which is equal to many
These works exhibit no ordinary talent, and sus-  pictures of his time, as to beauty of expression
tain the reputation of the school of Cano.       and coloring, and management of the chiaro-scuro.
CAROLI, PIETRO  FRANCESCO, a painter of  There is also another of his pictures in the Ossero
CAROLI, PIETRO  FRANCESCO, a painter of    ^   ^    1                  ^             ^
Turin, born in 1638; died in 1716.  He visited   v           
Venice, Florence, and lastly Rome, where his mer-    CARPENTERO, JEAN CAROL, a Flemish paintit gained him admission to the Academy of St.  er, born at Antwerp in 1784; studied under vanLuke, of which he became professor. His subjects  den Bosch and M. van Bree. He painted subjects
were the interior views of churches, correctly de-  of history, and landscapes with cows and sheep:




CARP.                      176                    CARP.
the latter are painted in the style of Ommeganck,  the church of S. Francesco, is'is picture of the
and such of his works as are exported to foreign   Pentecost.
countries are attributed to that master.            CARPINONI, DOMENICO, a Bergamese painter,
CARPENTIER, ADRIAN, a Swiss portrait  born at Clusone in 1566; died in 1658; went to
painter, who settled in England about 1760, and   Venice while young, and became a scholar of the
was a frequent exhibitor with the Society of Art-  elder Palma, whose works he copied, as he also
ists at Spring Gardens. One of his best produc-  did those of Bassano, but afterwards he painted
tions was a portrait of Roubilliac the sculptor. He  several pictures of his own composition which, acdied about 1778, at an advanced age.              cording to Tassi, have a vigorous coloring and a
CARPENTIER, ANTOINE  IICHEL, a reputable  tolerably correct design. In the principal church
French architects born at Rouen in 1709, where  of Clusone is a picture by him  of the Birth of
he acquired the elements of design, after which he   John the Baptist, and a Descent from  the Cross.
went to Paris, in 1728, and devoted himself entire-  In the   esa d Monesterolo, i the Valle Caally to architecture. He soon became distinguished,  lina,is a pictureof the Transfiguration. In the
and in process of time was chosen a royal Acade-         of the Osservanti, at Lovere, is the Adoramician; also architect to the Arsenals, and to the   ionoftheMag.
royal domains. Among the numerous edifices    CARPINONI, MARZIALE, a Bergamese painterected by Carpentier, are the Chateau de Cour-  er, the grandson and scholar of the preceding;
teilles; that of la Ferte dans le Perche; that of   born at Clusone in 1644; died in 1722. He visitBallinvilliers; the buildings of the Royal Arsenals,  ed Rome for improvement, and entered the school
etc. He was also chosen by the prince de Conde  of Ciro Ferri. He painted a number of historical
to erect the Bourbon palace. He died in 1772.     works for the churches at Clusone, Bergamo, and
^CARPI, UGO DA a Roman painter and engraver,  Brescia. In the great church of Clusone is the
OARP^~  ^^h^ ^ DA ^ ^ ^ R n pNativity, and the Baptism of Christ; in the Caborn about 1486. He is little known as a painter,  thedral at Bergamotwo pictures of Sts. Domneone
but he distinguished himself by the invention ofo p                            s of S. 
printing in chiaro-scuro, in imitation of drawing,  and  use ia.
which was afterwards carried to such perfection     CARPIONI, CARLO, an Italian portrait painter,
by Baldassare Peruzzi. The process consists in   wasthe son and scholar of Giulio C.. and followed
using different blocks: one for the outline and  his style. In the council-chamber at Vicenza, nd
darkest shadows, another for the lighter shadows,  in the convent of the Servites, are some excellent
and a third for the demi-tints. His prints are  groups of portraits of magistrates, which are charslight, but masterly and spirited; they exhibit  acterized by grace and dignity, as well as faithful
an excellent resemblance to their great originals,  resemblance.
being mostly after Raffaelle and  Parmiggiano.    CARPIONI, GIULIO a Venetian painter, born
Bartsch mentions fifty-two prints by him, of  in 1611; died in 1674; studied under Alessandro
which the following are the principal:            Varotari, and like his instructor followed the splenAFTEER RAFFAELLE..did style of P. Veronese. He painted history and
Jacob's Ladder. David with the Head of Goliah. The  mythology; also sacred subjects of assmall size,
Murder of the Innocents. Christ preaching on the Steps  many of which are to be seen in the churches of
of the Temple. Elymas struck with Blindness. The Death  the Venetian States. His mythological subjects
of Ananias, The Descent from the Cross. The dead  have great excellence; they are highly valued, and
Christ in the Lap of the Virgin. St. John in the Wilder-  are not unworthy of his instructor. His bachanness. Eneas carrying his father Anchises. A Sibyl read-  nals are more analogous to the style of N. Pousing in a Book, with a Child holding a Torch. Hercules  sin than any other master.
strangling Anteus.,taffaele andhis Mistress.
AFTER PARMIGGIANO.                   CARRADORI, GIACOMO FILIPPO, an old paintThe Virgin and Infant, with St. Sebastian and St. Ni-er of the Bolognese school, who was born at Facholas. St. Peter and St. Paul. St. Jerome sitting with  enza, where he flourished in the latter part of the
some Books. A Satyr, sounding the Water with his Flute.  16th century, and executed some works for the
Diogenes seated at the Entrance of his Tub.       churches. There are still two altar-pieces by him
CARPI, GIROLAMO DA, a reputable Ferrarese  at Faenza, bearing his name, and dated 1580 and
painter, born in 1501; died in 1556; studied un-  1582. That in the church of S. Cecilia is comder B. Garofolo, on leaving whom he passed some  mended by Oretti, though Lanzi says he never distime at Bologna, and was much employed in por-  played the powers of a superior artist.
trait painting. He afterwards visited Parma and     CARRARI, BALDASSARE, an eminent artist of
Modena, where he studied and copied with great  his time, a native of Ravenna, where he flourished
assiduity the works of Correggio and Parmiggia-  in the first part of the 16th century. He had a
no. He also painted many excellent pictures of   son named Matteo, who assisted him in his works.
his own composition, for the churches of Ferrara  Lanzi says they painted for San Domenico at Raand Bologna. At Bologna are his two most cele-  venna, the celebrated altar-piece of S. Bartolomeo,
brated productions-one in S. Martino Maggiore,  with the Grado, containing very elegant histories
of the Adoration of the Magi; and the other in S.  of the Holy Apostles. Such is its merit, as hardly
Salvatore, of the Madonna and Bambino, with St.  to yield to the gracefulness of Luca Longhi, who
Catherine and other saints. In these he has com-  placedone of his own pictures near it. It was one
bined the Roman and Lombard styles. In the ca-  of the earliest works painted in oil at Ravenna,
thedral at Ferrara are three pictures by him, of   and it deserves the eulogium bestowed upon it by
la Madonna, St. Giorgio, and St. Maurelio. At the   Pope Julius II., who, on beholding it in 1511, deCarmelites is his St. Girolamo; and in S. Maria  dared that the altars of Rome could boast of no
del Vado one of his finest works, representing a  pieces which surpassed it in point of beauty. He
Miracle wrought by St. Antonio. At Rovigi, in  left his own portrait in the figure of St. Peter. and




CARR.                     177                    CARR.
that of Rondinello, his instructor, in that of St.    CARRETTI, DOMENICO, a Bolognese painter. It
Bartholomew, somewhat older. Time of his death  is not known under whom he studied. He renot recorded.                                   sided chiefly at Brescia, according to Averoldi,
CARRI, FRANc IS, a Dutch painter, born in  where he painted many easel pictures of historical
Friesland about 1633; died in 1669; was appoint-  subjects for private collections, as well as works
ed first painter to the Stadtholder, Wm. Frede-  for the churches. His master-piece is a picture
rick. He excelled in landscape and village festi-  of the Virgin and Infant, with St. Teresa, in the
vals, which are little known out of his own coun-  church of S. Pietro, in Oliveto.
try.                                               CARREY, JACQUES, a reputable French painter
CARRi, HENIY, a Dutch painter, the son of  and designer, born at Troyes in 1646. HIe studied
Francis C., born at Amsterdam in 1656; died in  under le Brun, and was chosen to accompany Ollier
1721; studied for some time under J. Jacob and  Nointel, ambassador to the Ottoman Porte. While
J. Jordaens, when the Princess of Orange gave  at Constantinople, he painted the reception of the
him a commission in her regiment, and he served  French ambassador by the Sultan; and while at
several years in the army, and was present at the  Jerusalem, he represented the entry of the French
siege of Groningen in 1672. He afterwards re-  ambassador into that city; also the Sacred Fire, a
turned to the profession, and practised at Amster-  ceremony practised by the Greeks in Jerusalem.
dam with reputation and success. In the chateau  During this journey, he made a large collection of
of Ryswick, he painted a saloon with landscapes,  designs of statues, bas-reliefs, monuments, etc.,
decorated with figures and animals, spiritedly  which were unfortunately lost at Constantinople.
touched and well drawn. He had a son named   After his return to Paris, he executed a number of
Abraham, who painted small portraits, and was an  fine works for the king at Versailles and elsewhere,
excellent copyist of more distinguished Dutch  which gained him a pension and apartments in the
masters. He was much employed for this pur-  Gobelins and in the palace at Versailles. In 1690.
pose by the dealers, who sold them for originals.   after the death of his friend le Brun, Carrey returned to his native city, Troyes, where he proCARRI, MICHAEL, a Dutch painter, the young-  duced a number of works, among which were six,er brother of Henry C., born at Amsterdam  in  large historical pictures of subjects from the Life
1666; died in 1728; studied under his brother,  of St. Pantaleo. He died in 1726.
and afterwards under N. Berghem. Instead of
adopting the admirable style of that great mas-    CARRIERA. See ROSALBA.
ter, he preferred the greatly inferior manner of G.    CARRUCCI DA PONTORMO JACOPO an emivander Leew. Houbraken says he resided some  nent Italin painter, born at Pontormo in the Flotime in England, but had little success. He attain- ine state in 1493. His parents  ying when
ed considerable celebrity in landscape. Some of  he was twele years old, a re!tive took him to
his easel pictures, landscapes with cattle, are very   Florence and perceiving his genius, placed him
good, and are to be found in many respectable col-  under Leonardo da Vinc; but afterwards he belections. On the death of Araham   Begyn, he  came successively the scholar of P. Cosimo, M.
was invited to the court of Berlin, and ap-  Albertinelli, and Andrea del Sarto. While with
pointed one of the King's principal painters.  Albertinelli, he painted an Annunciation, which
After the death of the king he returned to Holland, wa greatly admired, and even received the comand resided chiefly at Alkmaer. His principal  mendation of Raffaelle, who foretold from  this
merit was an uncommon boldness of design and          the fue e       eof   to        While unpiece the future eminence of Pontormo. While unfacility of execution, well adapted to the embel-rto, his abilities were high  praised by
lishment of halls and large apartments, in which           occasio                 e      d the ealousy 
Michael Angelo, which occasioned the jealousy of
he was mostly employed. One of his best works  his instructor, who dismissed him from his acadis a saloon at the Hague, where he has represented  e  This base treatment only stimulated Ponin large landscapes, with figures, the history of          resh eertio           sn   met wt
Jacob ~and Esau.  ~tormo to fresh exertions, and he soon met with
Jacob and Esau.                                 considerable employment. One of his first works afCARRENNO DE MIRANDA, DON JUAN, an  ter leaving Andrea, was a picture of the Visitation,
eminent Spanish painter, born, according to Palomi-  for the Nunziata, which disputed the preference
no, at Abiles, in Asturias, in 1614; died in 1685;  with many of the works of Andrea. He was not
studied at Madrid, under P. de las Cuevas, and  less successful in his Holy Family, with St. John,
afterwards under Bartolome Roman. His talents  painted for S. Michele at Florence; and in his picrecommended him to the patronage of Philip IV.,  ture of St. Agostino giving the Benediction, with
who employed him  in several important fresco  a beautiful choir of Angels, in the church of S.
works in his palaces, and in 1651 nominated him   Clement. He also painted some admirable porcourt painter, which appointment he retained un-  traits; Kugler mentions several in the Museum
der Charles II. He acquired a surprising facility  at Berlin. For some unaccountable reason, Ponof execution; his design is tolerably correct, his  tormo forsook the noble path he was following,
brilliant and tender coloring combines the excel-  and adopted a mean and servile imitation of the
lence of Titian and Vandyck; his conceptions  works of Albert Durer  In fact, the series of picwere vigorous, and his compositions abundant.  tures that he painted for the cloister of the CarPalomino mentions a large number of his works  thusians at Florence, are undisguised copies from
at Toledo, Madrid, Alcala de Henares, Pampeluna,  the prints of Durer. His last works were the
and Segovia. He was also a distinguished portrait  frescos in the chapel of S. Lorenzo, representing
painter. At Madrid, in concert with Francesco  the Deluge and Last Judgment. He was engaged
Ricci, he painted the celebrated cupola of S. Anto-  on them  eleven years, but when completed, they
nio, and a fine picture of Magdalene in the Desert,  were found to be totally unworthy of his reputain the convent de las Recogidas.                 tion.  They have since been obliterated. It is




CART.                     178                    CART.
supposed that this disappointment hastened his  lery of Count Moltke, for whom  he painted a
death, which occurred, according to Zani, in 1558.  picture of Adam  and Eve; but that nobleman
CARS, LAURENCE, an eminent French designer  demurring to the price of the picture, it was purand engraver born at Lyons in  1702; died in 1771;  chased b the Crown Prince for 100 crowns. Carwas the son and scholar of an obscure artist. When  tens now became a student of the Royal Academy,
young he went te Paris, and soon acquired dis-but the professor, Abidgaard, treated him  with
tinction. Cars may be considered one of the best  such rudeness that in 1783 he left Copenhagen.
French engravers of his time, in the class of su-  and went to Lubec, where he remained five years
jects he has represented. His best plates are those  supporting himself by portrait painting. He afhe engraved after Le Moine, particularly the print  terwards removed to Berlin, in 1788, where he
of Hercules and Omphale.  He has engraved a  gave lessons in drawing, and made designs for the
large number of plates; the following are the prin-    oksellers.  Hewas employed in ornamenting
cipal:                                           the principal apartment of the Dorville palace, and
pQORTRAI^TS.          thenee his merit became known to the Prime MinrTUT AITS.                    ister. The lter presented him to the king, who
Sir Isaac Newton. Michael Auguier, sculptor to the. The lter present  him to the king, who
King; after Revel. Armand Gaston, Cardinalde Roan;seled on him a pension to enable him  to visit
after Rigaud.  Mary, Princess of Poland, Queen of   Rome, where he arrivedin 1792. Here he studied
France; after Vanloo. Lonis, Duke de la Feuillade.  with great care the works of M. Angelo and RafFrancis Bouher, painter to the King; after Cochin. John  faelle; particularly the latter, in imitation of whom
Badptst hardin, painter; do. Charles Vanloo, painter;  he produced several large mythological subjects.
do. Madame de Clairon, in the part of Medea.
His last finished work was a painting of CEdipus
sBBJ3CTS AFTER VARIOUS MASTERS.          Tyrannus, from Sophocles. About the same time
The Adoration of the Shepherds; after Vanloo. The  he formed a magnificent design, from  Hesiod's
Flight into:gypt; do. The Chastity of Joseph; afterde   Golden Age,but did not live to complete it. He
Trioy. Adam and Eve before their Sin; after Le Moine.  died in 1798.
The Companion, Adam and Eve after their Sin; after La-   ~                               19
toire. Time discovering Truth; do. Nymphs bathing;    CARTER, JOHN, F. S. A., an English architect
do. Hercules and Omphale; after Le Moine, his chef d'  and engraver of perspective born at London in
ceuvre. Perseus and Andromeda; do. The Sacrifice of           vr             a 
Iphigenia; do. Hercules destroying Caucus; do. Cepha-1738.  or several years he was employed by the
lus and Aurora; do. The Rape of Europa; do. Louis  Council of the Society of Antiquaries of London,
XV. surrounded by emblematical figures; after Boucher.  in surveying, making plans, elevations, sections,
Monument to the honor of the Duke of Marlborough.  and details of some of the cathedrals and monasL'Aveugle dup; after Greuze. The Fortune-teller;  tic churches of England; which were published
after Watteau. The Venetian Festival; do. A Convoy  in large folios, with  istorical accounts by Sir
-of Equipage; do.                              Henry Englefield, and others. In 1780, he cornCARTELLIER, PIERRE, an eminent French  menced publishing a very interesting work, entisculptor, born at Paris in 1757. He studied un-  ted SpecimensofAncient Sculpture and Paintder Charles Antoine Bridan, and for nineteen, wich terminated in 1794, ut was not comyears applied himself with the greatest assiduity  pleted. He then began his Specimens of Ancient
to win eminence, but was unsuccessful in his at-  Architecture of Great Britain, from the most retempts to gain the grand prize of the Academy.  mote period to the 16th century. This, like the
In 1796, at the age of 39, he executed a fine statue former work, was issued in periodical numbers,
in simple terra cotta, which received great ap and closed abruptly, in 1816. bringing the series
plause, and he was immediately chosen to make  of specimens only to the reign of Edward III.  A
two statues of Vigilance and War, to decorate the new and greatly improved edition was issued in
palace of the Luxembourg.  His next work was  1838. Carter also published the Views of Ancient
an admirable statue of Modesty, which fulfilled the  Buildings in England, engraved by himself, in
expectations of the public, and increased his repu-  si small vols. containing 119 plates. He died in
tation. The next year he produced a fine bas-  1817
relief, representing a group of young Spartan girls
dancing before the altar of Diana. His works are
lived about 1660n He studied under Hollar and
distinguished for the purity of their contour, and  lived abou 1660. He studied undeHollar, and
delicate yet vigorous execution. In 1808 he was  imitated his style with success. He executed
made Chevalier of the Legion of Honor, and in  among other works the vignettes and other orna1810, member of the Institute. The following are  ments for Ogilbys translation of Homer, and it is
some of his principal works: A marble Statue probable that he assisted Hollar in his numerous
of Louis Bonaparte, King of Holland; a colossal  works, as his name, or mar, is axed to but very
Statue of Gen. Valhubert; a Statue of Gen. Pi-  few prints.  His plates are sometimes marked
chegru; a colossal bronze Statue of Louis IV.;.         C.
a Statue of the Empress Josephine, consecrated in  CARTISSANI, NICCOLO, a native of Messina.
the church at Ruel, by Prince Eugene; a colossal  according to the Florentine Dictionary, was borh
Statue of Minerva, etc. In 1830 he executed, in  in 1670, and died at Rome in 1742, where he had
concert with Dupaty, the magnificent tomb of the  settled. He was a good landscape painter.
Duc de Berri. He died in 1831.                      CARTWRIGHT, WM., an English engraver of
CARTENS, AsMUs JACOB, a Danish painter,  portraits and other book-plates.  Among other
born near S'eswick in 1754; was apprenticed to a  works, he executed a portait of Thomas Cranmer,
wine merchant, and during his leisure hours prac-  Archbishop of Canterbury, after Holbeir.
tised drawing with such success as to paint several    CARWITHAM, J., an English engraver, who
portraits without any instruction. On quitting the  flourished about 1730, and wrought chiefly for the
merchant he went to Copenhagen, where he ob-  booksellers. His plates are sometimes executed
tained access to the Royal Gallery, and thereby   with the graver only, and others are etched and
Improved his knowledge. He also visited the gal-  finished with the graver, in a style resembling that




CASA.                     179                    CASE.
of Bernard Picart. He executed a variety of front-  then went to Paris, where he mtt with great en
ispieces, among which is an emblematical one, from   couragement, and was received into the Academy.
a design of B. Picart, dated 1723. There is also  Lutherbourg was one of his scholars. He aftera print of the Laocoon by him, after the antique  wards visited Vienna, where his works were much
marble, dated 1741.                             admired. Basan says he etched several plates from
CASA, GIOVANNI MARTINO,a native of Vicenza,  his own designs. He died in 1805.
who flourished at Milan in 1654. Lanzi says he    CASAUBON, FREDERICK, a German painter,
was a good artist, but no other author mentions  born at Solingen in 1623; studied at Amsterdam,
him, nor does he specify any of his works.      and subsequently at Paris, under C. le Brun. He
CLBA, NICHOLAS DE LA, a French engraver,  afterwards went to Italy, where he remained sevsupposed to have been a native of Lorraine. Za-eral years, formed an intimacy with N. Poussin
ni pays he practised about 1640; he and other  and attempted to imitate his style. Towards the
authoities think this artist the same as Nicolo  latter part of his life he visited England, and not
Beatrici. There are two plates by him, executed  succeeding in historical subjects, he applied him
entirely with the graver:  The Portrait of the  self to portraits. He died at Londonin 1690.
Emperor Charles V.; oval, with a border, copied    CASELLA, GIOVANNI ANDREA, a native of Lufrom ASneas Vico; inscribed N. D. la Casa Lo-  gano, who flourished at Turin in 1658, where he
taringus, fec. The Portrait of Baccio Bandinelli.  was employed by the court. He was a pupil of
CASALI, ANDREA, an Italian painter and en-  Pietro da Cortona, and one of his ablest scholars,
graver, Aborn at Ci ntal Vecian about 1720  pro.whose style he generally followed, though he somegraver, s tud ied under S. Conca. About 1720; pro   times imitated Bernino in his design. He painted
^bably studied under S. Cone. About 1748, he  some fabulous and mythological subjects in the
went to England, and was employed in decorating   Veneria Reale at Turin in a style oxceence.
the seats ofseveal of the nobility. His pictures  He was assisted in these works by his nephew,
the seats of seve  of the nobty. His    es  a    T i    xcellence.
are generally of a large size, the figures in theatri-  Giacomo Casella. He was also much emplyed
cal taste, but well colored. He etched several  in dcorat   he   rces of thtcity 
plates from his own designs, and one from  Raffaelle, They are the following: The Virgin and     CASELLA, FRANCESCO, a native of Oremona,
Infant; after Raffaelle.  Edward the Martyr.  where he painted, according to Zaist, in the first
Lucretia lamenting her Fate. The Princess Gun-  part of the 16th century. There are some of his
hilda, or Innocence Triumphant.                 works still at Cremona, but Lanzi says they do
not rise above mediocrity. One of these is dated
CASALI, FRA. GIOVANNI VINCENZIO, a Flo-  1517
rentine architect and sculptor, who flourished, ac-    CASELLA  PoLIDORO  an old painter of Crecording to Milizia, about 1575. He studied sculp-  mona who flourished about 1345       was one
ture under Fra. Gio. Angelo, of Florence, and  mona who flourished about 1345. H  was one
ext ur           e under Fra. Gio. Angelo, of Florence, and  of the ablest painters of the school of Cremona at
executed a number of good statues for various    patronized by Francesco Sforza.
churches in Tuscany. The great marble altar in                                 
the church of the Serviti at Lucca was executed    CASELLI, CRISTOFORO, sometimes called CRISby this artist, both with regard to the architec-  TOFORO DA PARMA, and also IL TEMPORELLO.
ture, the statutes, and the embellishments. He  He was a native of Cremona, and a pupil of Giowas sent for to Naples by Duke d'Ossuna, the  vanni Bellini. According to Ridolfi, he was one
viceroy, to discover some method of relieving the  of the \best artists of Cremona, and Lanzi says
country of Capua from the stagnant, pestilential  there is a very beautiful painting by him in the
waters, and to sink wells for the public use. In   hall of the Consorziali, in that city, dated 1499.
these works he happily succeeded, and was im-    CASEMBROODT, or CASENBRODT, ARRAmediately after appointed royal architect.  Ite  HAM, a Dutch painter, who lived about 1650. lie
constructed the present wet-dock at Naples, and  resided many years in Sicily, and acquired consibuilt a number of other important works. The  derable distinction at Messina for his landscapes,
viceroy took Casali with him to Spain, where he was  and pictures of sea-storms. He also painted hismost honorably treated by Philip II., who direct-  torical subjects, three of which, representing the
ed him to survey and repair the fortress of Porto-  Passion of Christ, are in the church of S. Giovacgallo;, but while preparing to execute these corn-  chino at Messina. He also etched several plates
mands, he died, in 1593.                        of sea-ports and marine views.
CASALINI, LUCIA, an eminent Bolognese paint-     CASENTINO, JACOPO DI, an old Florentine
ress, born in 1677; died in 1762; studied under  painter, who studied under Taddeo Gaddi, and was
Giuseppe dal Sole, and at first attempted history,  one of the two favorite pupils of that master, who,
but was more successful in portraits, in which she  upon his death-bed, commended his two sons to
gained great reputation.                        their protection. He was an eminent artist in his
CASANOBRIO, or CA ZENOBRIO. See CAR-  time, had many pupils, and died old, in 1380.
LEVARIIS.                                       There are some remains of his works in the
churches of Florence.
CASANOVA, FRANCESCO.  This artist was
born at London in 1732, of Venetian parents, who   CASINI, GIOVANNI, a native of Varlungo, in
sent him to Venice while young, where he studied  the Florentine territory, was born in 1689. and
under F. Simonini, a painter of battle-pieces, and  died at Florence in 1748. Little is known of him
an imitator of Borgognone.  Casanova adopted  or his works, but he must have been an artist of
the same style, and acquired considerable reputa-  some distinction, as his portrait, executed by himtion. Besides battle-pieces, he painted landscapes  self, is in the Ducal Gallery at Florence.
with figures and cattle, marine views and pastoral    CASINI, VITTORE, a Florentine artist, mensubjects. He resided several years at Dresden, and  tioned by Vasari as one of his assistants in his




OASO.                     180                     CASS.
decorations of the Palace, and of the obsequies  at Genoa, Florence, and Venice. He had a youngof Buonarotti.                                    er brother, Gio. Battista C., who excelled in fruit,
CASINI, VALORE and  DOMENICO, eminent  flowers, and still life; also a sister, Maria Vittoria
Italian painters, were brothers, and flourished at  C., who painted small pictures of devout subjects
Florence in the 17th century. They studied under  for private collections, which were  much  esPassignano, and devoted themselves to portrait  teemed. She died in 1711.
painting, in which they became very eminent, and   CASSANA, NIccoLo, a Venetian painter. the
were liberally patronized. They usually wrought  brother of the preceding artist, born in 1659
in concert, Valore executing the hands and features,  learned the rudiments of the art from his father.
which he painted with a free pencil, and great  He painted several historical pictures in the Flotruth and delicacy. He had a peculiar talent for  rentine Gallery, which possess considerable merit,
retaining in his memory the features of his ac-  especially the Conspiracy of Cataline. He also bequaintances, and he often painted excellent like-  came very distinguished in portrait painting, visnesses in this manner, even after death. Dome-  ited England, and painted the portrait of Queen
nico usually executed the draperies, for which his  Anne, as well as several of the nobility. He did
talents were admirably adapted.  There are a  not live long to enjoy this success, but died atLonlarge number of portraits at Florence by these ar-  don, in 1713.
tists'- which are much admired. In St. Maria in     CASSANA, Gio. FRANCESCO, a Genoese paintefiapo, are two pictures by these artists, of Lau-  er, born in 1611; died in 1691; studied under B.
rentino, bishop of Fiesoli, and Genevieve Popo-  Strozzi.  He gained considerable distinction in
leschi; the latter is very beautiful.            portraits, and painted a great number at Venice,
CASOLANI, ALE8SANDRO, a very reputable Si-  where he chiefly resided. He passed some time
enese historical painter, born in 1552; died about  at the court of the Mirandola, where he painted a
1606; studied under Cav. Roncalli. His works  picture of St. Girolamo in the dome of the church,
are principally in the churches of Siena; there are  besides other creditable performances. He was
also several at Naples and Genoa. His figures are  the father of a family of reputable artists.
correctly drawn and well disposed; his compo-    CASSANDRO, a Roman architect, who lived.
sitions ingenious and abundant. His picture of  according to Milizia, in the latter part of the 11th
fhe martyrdom of St. Bartolomeo at the Carme-  century, and who was appointed, in concert with
lites attracted the attention of Guido, who said it  Florino, a French architect, to rebuild the city of
was the production of a true painter.            Avila, in Spain, which remained in a ruined state,
CASOLANI, ILARIO, or CRISTOFANO, was a son  in consequence of incursions of the Mohammedans.
of the preceding artist, who instructed him in the  This undertaking was commenced in 1090, by 800
art. Hle finished the Assumption for the church  men, all under the direction of Cassandro and Floof S. Francesco at Siena, sketched by his father  rino.
before his death, and then went to Rome, where he   CASSAS, Louis FRAN9OIS, a French designer
was kindly received by Cav. Roncalli, out of re-  and painter, born at Azay-le-Feron, in 1756. He
spect, says Mancini, to his father.  Under this  early went to Italy, and formed a valuable collecable artist. he became a proficient in his style of   tion of drawings from the finest views in Sicily
fresco, and imitated it with success, in the church  Istria and Dalmatia; and after his return to Paris,
of the Madonna d6 Mouli, where he painted some  he set out for Constantinople with Choiseul-Goufpictures from the history of the Virgin, and an As-  fier. He then visited the site of ancient Troy, where
cension, on the ceiling, considered his best work.  he designed with great care the monuments and
He-also painted the Trinity in S. Maria in Via.  views described by Homer, after whichhe went to
Titi uniformly calls this artist Cristofano Conso-  Syria, and designed the immense ruins of Balbec
lano. He never obtained much reputation as an   and Palmyra, being the first traveler, after Wood,
original designer, and succeeded better in fresco than  who had communicated definite information in rein oil. He died about 1635.                      gard to these ancient monuments. He then visited Egypt, and made many valuable designs, after
CASOLI, IPPOLITO, a native of Ferrara, who                               
flourished in that city from 1577 till his death, in  which he returned to Paris, where the vlue and
1622. He was probably a pupil ofGirolamo Carpi;  number of his drawings attracted so much attenand at all events, according to Baldinucci, assisted  tion and admiration  that Cassas determined to
that artist in the execution of his works at Ferrara. ish them. His Voyage Pittoresque dstrie
et de Dalmatie first appeared; after which he
CASONE, GIo. BATTISTA, a native of Sarzana,  commenced his Voyage Pittoresque de la Syrie,
who was living in 1668. Orlandi calls this paint-  de la Phenicie de la Palestine, et de la Basseer Carlone. He studied under Fiasella at Genoa,  Egypte, fol., of which thirty numbers were pubwhose style he adopted. Lanzi says he did not  lished.' He afterwards published another folio
paint much in Genoa, and mentions an altar-piece  work, entitled Grandes Vues Pittoresques, des
in delle Vigne, in that city, representing the Virgin  principaux Sites et Monuments de la Grece, de
surrounded with angels, executed in the style of  la Sicile, et des Sept Collines de Rome, designed
his master. Nothing further is recorded of him   and engraved by Cassas and Bance, Paris, 1813.
or his works.                                    For many years he was engaged, at great expense,
CASSANA, ABATE GIO. AGOSTINO, a Genoese  in preparing a collection of models of the finest
painter, the eldest son and scholar of Gio. Fran-  specimens of architecture in different countries,
cesco C., born in 1658; died in 1720.  He ac-  which was at length completed, and was purchased
quired some reputation in portrait painting, but  by the government, to be placed in the rooms of the
chose to represent animals, and fruits, in the style  Institute. Cassas was appointed Inspector-general
of B. Castiglione. These works have considera-  of the Gobelins, which office he held for a period
ble merit, and are to be found in the collections  of eleven years. lIe died in 1827.




CASS.                    181                     CAST.
OASSENTINO, JACOPO DI, a Florentine paint-  graver of still-life, born at Antwerp in 1684; died
er, born about 1270; died in 1356; studied under  in 1749; visited England in 1708. His paintings
Taddeo Gaddi, and followed the Gothic style of  have little merit. In 1726, he published a set of
that master. He was considered as an artist of  twelve plates of birds and fowls, etched from his
considerable merit, and painted a great number  own designs; also several other plates after his
of works in fresco and distemper, at Arezzo and  pictures, which possess considerable merit.
Florence. He is said to have founded in 1350, the  CASTEL, ALEXANDER, a Flemish landscape
Florentine Academy. His most memorable work  and battle painter. His works may be seen in the
was St. Luke painting the portrait of the Virgin,  galleries at Schleissheim, Lustheim, and Munich.
painted for the chapel of the academy.          He died at Berlin in 1694.
CASSIANI, PADRE STEFANO, called IL CERTO-    CASTELFRANCO, ORAZIO DA, an excellent
sINO, a painter of Lucca, lived about 1660. He  fresco painter who flourished in the time of Titian,
painted in fresco the cupola of the church of the  and of whom little is known. Melchiori calls his
Carthusians at Lucca; also two altar-pieces, rep-  name Orazio dal Paradise. Lanzi says he execuresenting subjects from the life of the Virgin; and  ted a few pictures in a style of excellence.. In the
several works for other churches of his order, in  church of the Dominicans at Campo d'Istria is a
Pisa, Siena, and elsewhere. They are in the style  large picture, executed in the glowing style of Tiof P. da Cortona, and are very creditable perform-  tian, signed HORATIO. PER. P.A.D. MDLXVIII.,
ances.                                          attributed to him. According to Zanetti, he was
CASSINO, BARTOLOMEO DI, a native of Milan,  still living in 1600.
who studied under Civerchio. He was areputable    CASTELLACCI, AGOSTINO, a native of Pesaro,
artist, and there are authentic works by him at  was born in 1670. He studied under Carlo CigMilan, particularly an altar-piece in the Immaco-  nani. Lanzi says he is little known, even in his
lata, mentioned by Lanzi, dated 1513.           own state.
CASSIONE, Gio. FRANCESCO, an Italian wood       CASTELLANI, ANTONIO, a native of Bologna,
engraver, who flourished at Bologna about 1678.  who according to Malvasia studied under the CaAmong other prints, he executed several portraits  racci, and though he never acquired distinction, yet
of painters, for a work published at Bologna in  he was a reputable artist. There are some good
that year, entitled Felsina Pittrice, by Carlo Ce-  specimens of his skill at Bologna.
save Malvaeia.                                     CASTELLANI, LEONARDO, a reputable NeapoCASTAGNO, ANDREA DEL, a painter of Cas-  litan painter, briefly mentioned by Vasari, who
tagno in Tuscany, born in 1409; died in 1480.  studied under Marco Cardisco, and flourished at
His parents were extremely poor, but he early  Naples about 1568.
manifested so decided a genius for art, that- Bene-lognese painter,
detto de Medici placed him under Masaccio. Soon      flourished about 1605; stuied under P. Fa
after leaving that master he attained a high repu-who fourished about 1605; studied under P. Fac"
after leaving that master he mattaie a high repu   cini, whose style he followed, and thus fell into the
tation, and became one of the most distinguished defect discernible in the works of that master.
defect discernible in the works of that master.
artists of his day. About this time Doml nico f  By laboring his carnations, he disturbed the outVenetiano came to Florence, who had learned from   line and his figures became heavy and incorrect.
ine, and his figures became heavy and incorrect.
Antonello da Messina the new method of painting  His best work is the Raising of Lazarus in the
in oil and varnish, which was till then unknown  church of S. Paolo, at Bologna.
in Tuscany. The novelty and splendor of this            o                                     
new method were greatly admired, and Castagno,    CASTELLI,  IOVANNI BATTISTA, called IL
by a pretended friendship for Domenico, was. the  BERGAMAScO, an eminent Italian painter,   n aconly possessor of his secret. The temptation to  cording to Zani in 1490, at Gandino in the Valle
be the sole possessor of so valuable a discoveryin-  Seriana, in the Bergamese. He was called il Berduced him to the' atrocious act of assassinating Do-  gamasco, to distinguish him from a Genoese paintmenico, which he effected without suspicion. He  er of the same name, who was a pupil of Luca
executed several considerable works at Florence,  Cambiaso, and excelled in miniature. Castelli acby which he gained great riches, but lived only a  quired the elements of design from Aurelio Busso,
few years to enjoy his nefarious gains. Torment-  at Crema, who had been a pupil of Polidoro da
ed by remorse,he made a full confession of his  Caravaggio. His instructor took him to Genoa,
guilt before his death. The best of his works ex-  and after some time left him in that city, unprotant are at Florence, in the Hall of Justice and in  tected and abandoed, but well advanced in art
the church of S. Lucia; also a Crucifixion, with  from his studies of  e best masters of that school
many figures, painted on a wall in the Monastery  The young artist attracted the attention of Tobia
degli Angeli.                                   Pallavicino, a Genoese nobleman, who took him
under his protection, and sent him to Rome for imCASTAGNOLI, CESARE and BARTOLOMEO,  provement, where Castelli made rapid advances in
two  brothers, and natives  of Castelfranco, who  painting, and is said to have also attained profistudied under Paolo Veronese. Cesare executed  ciency in sculpture and architecture, though none
many works in fresco, which according to Lanzi do  of his works in those arts are mentioned. On re
not display much power, beyond a certain degree  turning to Genoa, he painted some pictures for the
of spirit, and promptness and copiousness of ideas.  palace of his patron, and several fresco works for
His works were rather showy and fanciful. Bar-  th church of S. Marcellino. In the monastery of
tolomeo executed some works in oil, in a chaster  S. Sebastiano, is his celebrated picture of the marstyle than those of Cesare, and gained a higher re-tyrdom of that saint, which has received high
putation. They flourished in the latter part of  praise, and gainedhim  great rputation. During
the 16th century.                               the zenith of his fame, Luca Cambiaso having finCASTEELS, PETER, a Flemish painter and en-  ished his studies at Rome and Florence, returned




CAST.                     182                    CAST.
Genoa, and these eminent artists seem to have  concert with other artists. One of the subjects
engaged in a laudable emulation, which proved  on which they were employed was the victory
honorable and advantageous to both. They were  gained by John II. over the Moors of  Granada;
employed in concert by the Duke Grimaldi, in the  it was copied from a painting by Dello, on a canNunziata di Portoria, where Castelli painted a  vass one hundred and thirty feet in length, which
large picture on the ceiling of the choir, represent-  was found in an armoire of the Alcazar de Segoing Christ sitting as the Judge of the World, sur-  via, and is a most curious composition. Hle also
rounded by angels, some bearing the instruments  painted several frescos at the Prado, and he colorof his passion, and others displaying a scroll, in-  ed forty-eight busts of Saints executed by Juan d'
scribed Venite Benedicti. This magnificent work   Arfe for the Escurial. He died at Madrid in 1617.
is characterized by great beauty of coloring, and a  ASTELLI, GIOSEFFO ANTONIO called IL CASsplendid effect of light emanating from the figure  TELLINO, a native of Monza, who according to Orof Christ, which dazzles the beholder. Luca Cam-  landi studied under Domenico Mariani, at Milan,
biaso painted the laterals, representing the fate of  andined some reputation. He was living in
the Blessed and the Reprobate, which are worthy   1718.
of great admiration, though surpassed by the
transcendent abilities of Castelli in composition  CASTELLINI, GIACOMO, a Bolognese painter,
and expression. On revisiting his native country,  who studied under Francesco Gessi, and acquired
he commenced his great work of the Saloon in the  some reputation. He flourished at Bologna about
Lanzi palace at Gorlago, where he represented sev-  1678.
eral of the most interesting subjects from the Iliad,    CASTELLO AVANZINO DA CTT, an Ital
composed and executed with a grandeur resembling   anpainter, bornin the Roman States in 1552;
thm~l~es a epevatedrst, born ithe Roman.  States in the  a1552;
the elevated style of  iulioRomano. Inthe lat-  died in 1629; studied under N. Pomerancio at
ter part of his life he was invited to visit Spain, by   Rome. He held a high reputation during theponCharles V., who employed him  in the Prado,  tificates of Sextus V. and Clement VIII.  was
where he represented subjects from  Ovid. He
where he represented subects from  Ovid. He  employed in St. John of Lateran, and painted, acalso executed several other works, and died at  cording to Baglioni, many pictures for the churchMadrid, according to Fuseli, in 1570, aged 80.   es at Rome. The best of his works are the Miray  K" CASTELLI, or CASTELLO, BERNAR-  cle of the Viper in the Isle of Malta, the DecollaO  ALt'DO a Genoese painter, born in 1557   tionof St. Paul, and his Ascent into the third
raDo, a Genoese painter, born in 1557;
died in629; studied under A. Semini. He was  heaven, in the church of S. Paolo, near Rome.
an able designer; he was copious and ready of in-    CASTELLO, CASTELLINO, an eminent painter
vention; but by endeavoring to acquire the facility  of Turin, born in 1579; died in 1649; studied unof L. Cambiaso, he abandoned nature for manner-  der Gio. Battista Paggi. His picture of the Penism and despatch. His works would have been  tecost, in the church dello Spirito Santo, is characmuch improved by more careful study. He paint-  terized by an elegant and correct design, and gained a number of pictures for the Genoese churches,  ed him great reputation. He was also a very emithe principal of which are St. Diego, and St. Giro-  nent portrait painter. Lanzi says that when Vanlamo, in S. Francesco. At Rome, he painted Pe-  dyck visited Genoa, he expressed great satisfacter walking on the Sea, in the Basilica of St. Pe-  tion on viewing the works of Castello, and that
ter's. He was also an eminent miniaturist, and is  they painted each other's portraits.
praised by the poet Marino, for the skill and accuracy of his representations of insects. He lived   CASTELLO, FELIX, an eminent Spanish paintin intimacy with the principal poets of his time,  er of history and battle-pieces, born at Madrid in
and made the designs for Tasso's Jerusalem, which  1602; died in 1656; studied under his father, Fawere engraved by Agostino Caracci.               brizio, and afterwards under Carducci. His principal works are in the church of the Capuchins at
CASTELLI, or CASTELLO, VALERIO, a Geno-  Madrid. His compositions are superb, and are exese painter, the son of Bernardo C., born in 1625;  ecuted in a spirited and masterly manner. There
died in 1659; was a scholar of D. Fiasella, but  were two admirable pictures at Madrid by Casformed an original style from the study of the  tello, representing the Storming of a Castle by Don
works of Procaccini and Correggio. His design is  Fadrique de Toledo, with Spanish soldiers swimnot always correct, but his works are composed  ming to the attack. Carducci was so much pleaswith great judgment; the coloring is harmonious  ed with the manner in which his pupil prepared
and vigorous, and the chiaro-scuro is managed  the masses in the composition of these pictures,
with great intelligence. He painted a number of  that he requested permission to paint the head of
frescos for the Genoese churches, which nearly ap-  Don Fadrique in the first, which he did in a very
proach the- excellence of Carloni, as is evident in  masterly manner.
the cupola of the Nunziata, and in* S. Marta. In                              D.  Ths pn
S. Maria del Gerbino is his picture of the Concep-  was born in  landers, of Spa    nts,
tion, with two laterals of the Marriage of the Vir-       e visited Rome while very young, for the prpose
~~~~~~~gin, and th~e Presentation in the Temple  and in  visited Rome while very young, for the purpose
gin, and the Presentation in the Temple; and in  of improvement, and painted historical subjects,
the ceiling, the Crowning of the Virgin, with a  generally of a small size, which were very popuChoir of Angels. He also excelled in battle-pieces,  lar  He also painted several works forthe churchand in subjects from profane history, somewhat  H  alo a             s al or or the 
in the style of Tintoretto and Veronese. Several                is an altar-piece in S. Giacoo
of them are in the Genoese palaces.              degli Spagnuoli, representing the Assumption, with
a Glory of Angels, and the Apostles below. In S.
CASTELLI, or CASTELLO, FABRIZIO, a tal-  Rocco di Ripetta, is a picture by him of the Maented Italian painter, the son of Battista C.,  donna and Bambino, with  Saints. He died at
was employed by Philip II. in the Escurial, in   Rome in 1636.




CA                         183 CST.  13                 T
CASTELLO, Gio. BATTISTA, called IL BER-  which is his portrait. Six large Heads, one of them his
(AMASCO. a Bergamese architect who flourished,  portrait. Two plates of the Heads of Men and Animals.
according to Mizia, about the middle of the 16th   Noah and his Children collecting the Animals. Noah driving the Animals into the Ark. The Departure of Jacob.
century. In 1560, he was appointed by Andrea   Rachel hiding her Father's Gods. Tobitburying the Dead;
Doria, to modernize the celebrated church of S.  a night-piece. A similar subject; in chiaro-scuro. The
Miatteo, at Genoa. He accomplished his commis-  Nativity, with Angels adoring the Infant. The Adoration
sion in an admirable manner and the work may   of the Shepherds. The Angel appearing to Joseph in his
well serve as a model in all similar cases.  Cstel-  Dream. The Flight into Egypt. The Resurrection of
well serve  a moel  all sim r caseLazarus.   St. Roch in profile, behind him the Head of his
lo is also said to have designed the imperial palace   DgL. The Melancholy; a  print sO called.  The little
at Campetto.                                       Melancholy. The finding the Bodies of St. Peter and St.
CASTELLO, GIAcoMo, a Venetian painter who   Paul. Four old Men visiting the Tombs by torch-light.
flourished at Venice about 1600. He excelled in   Circe in search of the Arms of Achilles.  A Man with
flourished at'Venice about 1600. He excelled in
some pieces of Armor, and another examining a Tomb. A
painting animals and birds. Lanzi says his works  Man pushing a Boat, in which are some Animals. Dioof this kind are common in the collections of Ve-  genes with his Lantern. Pan instructing Apollo to play
nice, where they are highly esteemed.              on his Flute. Silenus playing on a Flute, with a Shepherdess. A Combat of Sea Gods. Silenus drunk, with three
(ASTELLUCCI, SALVI, a painter of Arezzo,   atyrs. A Bacchanal, with a Satyr on a Pedestal. A
born in 1608; died in 1672; studied at Rome un-  Woman beating a Boy. A Menagerie of various Fowls.
der P. da Cortona, whose style he successfully imi-  A Landscape; inscribed Gio. Benedette Castiglione, Gen.,
tated.  He was much employed in painting easel  fec. 1658. A Landscape; apparently a frieze; Castiglipicturesfor private collections.  There are several   nfec. A Shephrddrivinghilock. To Shepherds,
ofthis larger works in the churches of his native   one on Horseback, driving their Flocks. A Capuchin disof his larger works in the churches of his native   covering the Body of St. Jerome. Eleven plates of vigcity, which are painted in a free, bold style, and   nettes, &c.
very agreeably colored. He had a son named Pie-       CASTIGLIONE, FRANCESCO, the son of Benetro who painted in his style, but was inferior to   detto C.; painted landscapes, with figures and anihis father.                                        mals, in the manner of his father, but never atI0'o  v    ^ O CASTIGLIONE, Go. BENE-  tained any distinction.'        w   ^or r *'DETTO, an  eminent Genoese      CASTIGLIONE, SALVATORE, the brother and
painter, born in 1616; died in 1670; studied for  scholar of Benedetto C.; painted landscapes and
some time under Gio. Battista Paggi, and after-  pastorals in the style of that master.  There
wards under Gio. Andrea Ferrari, in whose school  is a highly finished etching by this artist, markhe made great progress. It is said that when Van-  ed Cast. 1645.
dyck visited Genoa, he formed an intimacy with        CASTILLO   AUGUSTIN, a painter of Seville
Castiglione, who gained great advantage from the   born in 1565; died in 1626; studied under Luis
instruction and advice of that great painter; but  Fernandez. Ie resided chiefly at Cordova, where
this is rather doubtful, as Benedetto was then too   he painted a number of pictures for the churches,
young to attract notice as an artist.  After leaving   some of which are nearly destroyed by dampness
errari, he visited Rome, Florence, Parma, and   and neglect. There is a Conception by him, in
Venice, in each of which cities he left proofs of his  the church of Nuestra Sennora de los Librers;
ability.  He painted history and portraits, but is  also several pictures in the convent of S. Pablo;
chiefly known for his admirable pictures represent-  and an Adoration of the Magi, in the Cathedral at
ing pastoral subjects, the march of caravans, and   Cadiz, which is said to be his finest work.
troops of animals, in which he was eminently suu -
cessful. His chiaro-scuro is managed with great       CASTLLO, JUAN DEL, the brother of Augustin C., a distinguished historical painter of Seville.
intelligence, his touch is lively and spirited, and., a  stued historical    ernandez. Hi
his coloring clear and vigorous.  The animals in   born in 1584; studied under LuisFernandez. His
his pictures are grouped with admirable taste, and   principal works are at Seville and Granada.  He
the scenery is always appropriate and pleasing   established an academy of paintin, where Murillo
In his subjects of history, he does not seem  to    lonso Can, Pedrode Moya,and   heremient
have had in view the ideal beauty of the great  artists were educated. He died at Cadiz i 1640.
masters, nor to have attempted the elegance of        CASTILLO, Y SAAVEDRA, ANTONIO DEL, an
form, nor the purity of outline, or nobility of ex-  eminent Spanish painter, born at Cordova in 1603,
pression, which form  the essence of historical  the son of Augustin Castillo, who instructed him
painting.  His Nativity, however, in the church of  in the elements of the art.  After his father's
S. Luca at Genoa, and his Magdalene and St. Cath-  death, he became a scholar of Francisco Zurbaerine in the Madonna di Castello, are fine works  ran, who at that time was in great repute.  Casof art.  During the latter part of his life he was  tillo painted many pictures of great merit for the
much patronized by the Duke of Mantua, for  Cathedral of Cordova, the best of which are St.
whom he painted some of his best works.  The   Peter and St. Paul, and the Assumption.  Had
Duke gave him apartments in his palace, and treat-  his coloring been equal to his composition and deed him with liberality and munificence. This art-  sign, few artists of his country would have surist has engraved about seventy plates, executed   passed him. There is a picture by this master in
with all the taste and spirit to be seen in his pic-  the convent of St. Francis at Cordova, representing
tures.  They are etched, and sometimes assisted   a subject from the life of that saint, which he
with the graver, with a most masterly effect of   painted in competition with Juan d'Alfaro, who
light and shadow; and may be compared to Rem-  was accustomed to mark his works Alfaropinxit.
brandt, and other admirable engravers in that  To show his contempt for the vanity of his rival,
style.  The following are thle principal:          he inscribed his picture non fecit Alfaro.  In
The Genius of Benedetto Castiglione, serving as a front-  1666 he visited Seville, where the works of Muispiece to his work. Portrait of Agostino Mascardi. Por-  rillo at that time were universally admired. Castrait of Antonio Pignolesale. Sixteen small heads, among  tillo was so much impressed with their extraordi




CAST.                     184                    CATA.
nary beauty and excellence, and his own inferior-  in a free, though neat and delicate style. His works
ity, that he sunk into a despondency that hastened   are arranged in admirable taste, and his chiarohis death, which occurred in 1667.               scuro is managed with great intelligence. He
died in 1663.
CASTILLO. JOSEF DEL. a Spanish painter and  died in 1663.
engraver, born at Madrid in 1737; died in 1793.    CATALANI, ANTONIO, called IL ROMANO, a
At an early age he manifested great genius, which  Bolognese painter, born about 1596; studied uninduced the prime minister, Josef de Carbajal, to  der Albano, whose style he successfully imitated.
send him to Rome in 1751, at his own expense, to  He was chiefly employed on easel pictures for the
study the works of the great masters, under Cor-  private collections, but painted several pictures for
rado Giacuinto. On his return to Madrid in 1758,  the Bolognese churches. In the church of la Mathe king gave orders to Mengs, his principal paint-  donna del Grada, are four pictures of the patron
er, to employ the young artist. Mengs employed  saints of the city, in four niches; and in the church
him on pictures for the royal tapestries, and in  del Gesu, St. Peter healing the Lame at the Pordh'painting mystical pictures for the cells of the roy-  of the Temple.
al convent of Salesas; also on several portraits of  CATALANI, ANTONIO, called the Sicilian, a
Charles, with the mantle of the order of Toison  painter of Messina, born in 1560; died in 1630.
d'Or. Castillo also executed a number of paint-  Lanzi thinks he studied at Rome, and formed his
ings for the Escurial, and for various churches,  style from the works of Federigo Baroccio, where he
convents, and hospitals of Madrid. He made  acquired that harmony of coloring and softness of
drawings for the edition of Don Quixote published  effect which distinguish his works. There is a fine
by the Academy at Madrid; he engraved the Dis-  picture of the Nativity by Catalani, in the church
ciples at Emmaus, after Cerezo; the Flight into  of the Capuchins at Gesso.
Egypt, and other subjects, after Giordano; and     CATANE   DANESE, reputableItalian sculpmade small copies of the frescos in the Retiro, for   born      Massa di Carrara, and  ourished.or, born at Massa di Carrara, and flourished
~~the engravers~, ~about 1555. He was, according to Milizia, a scholCASTREJON, ANTONIO, a Spanish painter,  arof Sansovino. He executed the statueofApolborn at Madrid in 1625; died in 1690. He was  lo in the court of the Zecca at Venice; the sepulmost celebrated for his small historical subjects,  chre of Andrea B^doaro in S. Giovanni Evangelista.
although he painted several larger works for the  and the sepulchre of Leonardo Loredano, in the
churches which possess great merit. The best of  church of Sts. Giovanni and Paolo. His greatest
these is St. Michael subduing, the Dragon. In  work, however, was the altar and sepulchre of the
St. Giles is the Presentation in the Temple, by  celebrated Giano Fregoso, in S. Anastasia at Flothis artist, and several subjects from the Life of  rence, which is adorned with several admired statthe Virgin.                                      ues. Cataneo also executed a number of other
CASTRO, DON FELIPE DE, an eminent Spanish  works, among which were some sculptures for the
sculptor, born at Noya in Galicia, in 1711. He  Arco del Santo at Padua. He died in that city.
early manifested a strong inclination for the art,  in 1573.
and having made some progress, he went to Lisbon,    CATELANI, F. BERNARDO, a Capuchin of Urthen to Seville, and afterwards to -Ronmewhere he  bino whom some authors suppose to have studied
appliedhimself with such ardor that his progress was  under Raffaelle; but this is doubted by Lazzari
surprising, and he produced several fine works,  and Lanzi. There are some of his works in the
which gained him a pension from Philip V., king of  convent of his order at Cagli, and there is an altarSpain. He drew the grand prize in sculpture of  piece in the church of the Capuchins, executed in
the Academy of St. Luke, and was afterwards ad-  the style of Raffaelle. He lived about 1550.
mitted a member of that institution, as well as of  CATENA, VINCENZIO, a Venetian painter, who
the Florentine Academy.   On his return to his
the Florentine Academy. On his return to his  flourished from 1500 to 1530, in which year he
native country, he executed at Madrid several* ad-  he died. He formed his styl from the works of
he died. H e formed h is style from  the works of
mirable works insculpture, and in 1752 was ap-  Giorgione, and painted portraits with great reputapointed D'irector of the Royal Academy of St. Fer-  tion, but was more esteemed for his easel pictures
dinando. His researches relative to the fine arts of historicalsubjects. He was also employed in
were ofgreatvalueandhis  woks ad eof historical subjects. He was also employed in
were of great value, and his works and example  the churches of Venice. He seems to have been a
elevated  the Span   of,    sculture.  He died  painter of great distinction, for when Raffaelle
in 1755, at the age of 44, much regretted by the died, and M. Angelo was growing infirm, M. A.
friends of art.                                  died, and M. Angelo was growing infirm, M. A.
f~riends otf~ art.                  Michiel wrote from  Rome to Antonio di MarCASTRO, GIACOMO DI, an Italian painter, born  silio at Venice, recommending Catena to be on
according to Dominici at Sorrento, about 1597;  his guard, "as danger seems to be impending
died in 1687; studied under Gio. Battista Carac-  over all very excellent painters."  His best works
cioli, and' afterwards received some instruction  are in S. Simone Grande, alle CaritA, and S. Maurifrom Domenichino, when that great master visited  zio. They possess considerable merit, but show
Naples to paint the Chapel of the Treasury.  traces of the dry manner that preceded him.
There are a number of his works in the churches    CATERINO. an old painter of the Venetian
of his native city, the best of which is his picture  school, who lived about 1250. All that is known
of the Marriage of the Virgin.                   of him with any certainty is an antique altarCASTRO, PIETRO DE, an Italian painter of  piece in the church of Corpus Domini at Venice,
whom little is known, though his works are quite  inscribed Catarinus pinxit.
numerous in the Italian collections. Hie painted   CATESBY, MARK, an English designer and ensubjects of still-life in an admirable manner, as  graver, born in 1679. In 1712 he visited this
vases, shells, musical instruments, &c., which are  country, where he remained seven years studying
executed with great truth of coloring, and pencilled  natural history, and then went back to England.




CATH.                      185                     CAUK.
HIe subsequently returned to America, where for  antique statues at Venice, and a set of fourteen
several years he was occupied in making drawings  heads after Piazzetta.  He engraved the portrait
of the various specimens of natural history that  of F. Zuccharelli, and those of several Venetian
he collected in his excursions throughout the  nobles; also  some statues in  the Giustiniani
States of Georgia and Florida. In 1726, he re-  Gallery, in the manner of Claude Mellan, with a
turned to England, and learned the art of etching,  single stroke.
that he might engrave the plates for his intended    CAUKERKEN, CORNELIUS VAN, a Flemish enpublication, which he did from  his own designs.  graver, born at Antwerp in 1625; engraved seveThe work is entitled "The Natural History of   ral plates after Rubens, Vandyck, and other FlemCarolina, Florida, and the Bahama Islands."  Ca-  ish masters.  They are executed with the graver,
tesby was a fellow of the Royal Society, and died  in a stiff, labored manner, but are not without
in 1/49.                                           merit. The following are the principal:
CATHELIN, Louis JACQUES, a Parisian en-                             PORTRAITS.
graver, born in 1736; studied under le Bas, and    Peter Snayers, painter of battles; D. van Ieil, pinz.
became one of his most successful scholars.  There  Tobias Verhaect, painter; Ottovenius, pinx. Robert Van
are a number of plates by this artist, chiefly after  Hoeck, painter; Gon. Cocques, pinx. Peter Meert, porthe modern painters of his country, which are  trait painter; C. Caukerken,fec. Charles Vandenboseh,
very neatly engraved. The following are the prin-  Bs of Buge.  Crles I.  g of Englathe 
~~~~~cipa~~~~~l:                      ure by Caukerken, the rest by HoUar.
VARIOUS SUBJECTS.
PORTRAITS.                       The dead Christ in the lap of the Virgin; after An.
L'Abbe Terray; after Roslin; his reception plate at  Caracci. The dead Christ, with the Virgin, Magdalene,
the Academy. Louis XV.; after L. M. Vanloo. Joseph  and St. John; after Vandyck. The Descent of the Holy
Vernet, painter of marines; do. Henry IV. of France;  Ghost; do. Charity, with three Children; do. The Roafter a drawing by Cochin. Jean Jacques Balechou,  man Charity; after Rubens. St. Ann, with the young
engraver; after Arvanou. Maria Theresa, Empress of  Virgin Mary; do. The Martyrdom of St. Lievinus; do.;
Germany; after Ducreux.  Joseph II., Emperor; do.  the best impressions are before the name of de Hollander.
M. de Marmontel; after Cochin. Louis Joseph Bourbon,  A Woman suckling an Infant; after A. Diepenbeck.
Prince de Condr. Equestrian Statue of Louis XV. 
*VARIOUS SUBJECTS.CAULA, SIGISMONDO, a painter;of Modena.
VAIOU  T  UBJECT.                  born in 1637; studied under John Boulanger, and
The Death of Lucretia; after Pellgrini. Latona re- afterwards visited Venice, where he studied with
venged; after Ph. Lauri, begun by Balechou, and finishedby Cathelin. Erigone; afterMonsiau. A Water-  great assiduity the splendid works of Titian and
f1al; with Fishermen; after J. Vernet. A set of Four, of  Tintoretto.  His first productions were superior
the Times of the Day; do.                          to those executed in the latter part of his life.
CATI, PASQUALE, DA JESI, a Roman painter  He painted altar-pieces, and cabinet pictures for
according to Baglioni, who flourished during the  private collections. The best of his arge works
pontificates of Gregory XIII., Sixtus V., and Cle-is thepicture of the Plague, in the church of S.
ment VIII.  He was employed in the Vatican,  Crlo at Modena, painted with great vigor and exwhere he painted the Passion of Christ, and seve-  pression.  There are works by him  dated 1682
ral friezes in the Sala Clementina. He also paint-  and 1694.
ed the chapel of Cardinal Altemps, with subjects     CAUSE, H.; a Flemish engraver, who flourished
from the Life of the Virgin. He died in the pon-  about 1690. There are several plates by him, reptificate of Paul V., aged 70.                      resenting views of castles and other edifices, which
CATTANIO, COSTANZO, a Ferrarese painter,              s considerable mrit, also some portraits,
born in 1602; died in 1665; studied under Scar-  among which is thatof Cardinal Ferdinand d'Adda.
sellino, and afterwards under Guido, at Bologna.    CAVAGNA, Gio. PAOLO.  This painter was
Lanzi says that he was of an exceedingly quarrel-  born at Borgo di S. Leandro, in the Bergamese, in
some disposition, and was so frequently engaged   1560; died in 1627. He visited Venice at the time
in broils and outrage that he passed the most of  when Titian was in the zenith of his fame; and
his life in disgrace or exile. The subjects he usu-  Tassi says he studied for a short time under that
ally represented harmonised with his disposition,  great master.  On returning to Bergamo, he combeing generally soldiers and banditti, painted in a  pleted his studies under the distinguished Gio.
fiery and menacing tone of coloring.  He was, how-  Battista Moroni, from  whom  he acquired a firm
ever, capable of better things, as appears from his  pencil, and delicacy of coloring. He seems to have
Ecce Homo, and the Flagellation, in S. Giorgio at  adopted the style of Veronese, and his best works,
Ferrara; his Christ praying on the Mount, in S.  both in oil and fresco, resemble those of Paolo.
Benedetto; and his Annunciation, in S. Spirito.  He particularly excelled in painting old men and
The two latter have something of the grace and   children. His best fresco work is the Assumption,
sweetness of Guido.                                in S. Maria Maggiore, at Venice. His oil paintings
are not less admirable, especially two pictures of
CATTAPANI, LUCA, a Cremonese painter, born  the Nativity, and Esther before Ahasuerus, in the
about 1570; was a scholar of the Campi; paint-  same church.  His most capital performance is the
ed several works in fresco, but was more success-  Crucifixion, in S. Lucia, which has been highly exful in oil. He distinguished himself by an un-  tolled.  This artist had a son named  rancesco,
common facility, and he.copied many of the works  called Cavagnuolo, who painted history, but never
of his master with a precision that might deceive  attained any distinction.  His best work is in the
the best judges.  Of his own compositions, the  church of Zoccalanti del Romacolo, representing
best was his Decollation of St. John, in S. Dona-  the Virgin and Infant in the Clouds, with Saints
to at Cremona.                                     He died young in 1630.
CATTINI, GIo. FRANCESCO, a Venetian engra-         CAVAGNA, PIETRO FRANCESCO. a Bolognese
ver, born in 1730; executed several plates ater  historical painter; born in 1675; died in 1733




CAVA.                       186                    CAVA.
studied under Domenico Viani. Zani designates  erable relic of the dry Gothic style prevalent at
him  a copyist and imitator.  He was much em-  that early period of art.  There is a print of this
ployed in the Bolognese churches. In the church   celebrated picture in Rosini's..work. His princiof Sts. Sebastiano and Rocco is the Conception, and   pal work in fresco, was in the church of Ara Coeli;
St. Sebastian and St. Roch. In S. Colombano are  in which he represented the Virgin and Infant
pictures of St. Niccolo, and St. Gio. Battista; and   above, surrounded with glory, and below, the Emin S. Giuseppe the Nativity.                       peror Octavian, and that of the Sibyl, directing
CAVAGNI, Gio. BATTISTA, a Neapolitan archi-  his eye to the figures in the air. In the Guide to
tect, who flourished, according to Milizia, about  Rome are mentioned several of his works yet ex1585. In concert with Vincenzio della Monica, he  isting; and in the Guide to Florence, Cambiasi
erected the church and convent of.S. Gregorio Ar-  commends a picture of the Annunciation by Cavalmeno at Naples. The Sacred Monte della Pieta  lini. He died at Rome, according to Lanzi, in
was also erected by Cavagni, and gained him great  1344; though Vasari says in 1364.
reputation. He died in 1600.                         CAVALLINO, BERNARDO. This painter was
CAV4LCABO, BARONI GASPARE ANTONIO, a  born near Naples, in 1612, according to Zani;
native of Sacco, was born in 1682, and died in 1759.  studied under Stanzioni, and was his ablest disciThe Cav. Vannetti wrote his life. He first stud-  pe. Hs genius and success  ere so great, that
ied under Antonio Balestra, and afterwards Carlo  he ecited the jealousy of his master. He became
Maratti.  He executed many beautiful works.  greatly distinguished for his easel pictures of subLanzi particularly commends an altar-piece in the   jects of profane and sacred history, which he
Choir of the Carmine in his native place, with four  treated in the style of Poussin, with fine composilateral pieces of great merit.                     tion and expression, and the brilliant coloring of
Rubens. There are many of his works in the pri-, or I CjAVALLERIIS, Gio. BATTISTA, an   vate collections of Naples, which are highly es-'-T    I -Italian engraver, born near Brescia,  teemed. His pictures were all carefully finished,
about 1530, and practised at Rome from 1550 to  and he gave promise of great distinction as an ar1590.  His  manner resembles  that of Enea  tist. which was not realized; for, by dissipation and
Vico, although inferior to that master. Many of, debauchery he shortened his days and died in 1654.
his plates are copies from prints of other engravers.    CAVALLCCI, ANTONIO, an Italian painter,
They are etched and finished with the graver, in a  born at Sermoneta in 1752; died in 1795. He restiRtasteless manner, and incorrectly drawn. He  born at Sermoneta in 1752; died in 1795. He restiff, tasteless manner, and incorrectly drawn. He  sided at Rome of which school he was, perhaps,
executed about 380 plates, of which.the following   considered the principal ornament in his tme a
considered the principal ornament in his time, afare the principal:
are the principal:                                 ter Mengs and Pompeo Batoni.  His principal
The Frontispiece, and Heads of the Popes, for the Vie  paintings are St. Bona distributing his wealth to
de Pontefici. The Prints for a book, entitled Beati Apolli-  the Poora are St Bon  distriabting his Pwllth to
naris IMartyris,.c.  Thirty-three plates of the Ruins of,  Pisa; St. Francesco da Paolo, in the
Rome; after Dossius. 1579. Ecclesie Anglicanse Tro-  Basilica di Loretto; and his celebrated picture of
phse; after Nic. Circignano. Christ among the Doctors;  Venus and Ascanius, in the Palazzo Cesarini, at
supposedfrom his own design. The Last Supper; do.  Rome.
The Image of the Virgin of Loretto. 1566. The House
of Loretto, and the Miracles wrought there. 1569. The  CAVARAZZI, BARTOLOMEO, called CRESCENZI,
Jubilee in 1585, with a view of the old Church of St. Pe-  a painter of Viterbo; born about 1590; died in
ter's* A Sea-fight against the Turks; for the book of Ci-  1625; studied under Pomerancio. On leaving that
acioni. The Virgia, called "The Silence;" after M. An-  master he was taken under the protection of the
gelo. The dead Christ in the Lap of the Virgin; do. They Crescenzi, from whom he acquired his
Conversion of St. Paul; do. The Martyrdom of St. Peter; le famy  rescenz from whom he acquired his
do. The Animals coming out of the Ark; after Rafaelle.  surname. He panted many works for his proMoses showing the Tables of the Law; do. Christ appear-  tector, and was also much employed for the Roing to St. Peter; do. The Miracle of the Loaves; do.  man churches. In the church of S. Andrea dela
The Battle of Constantine with Maxentius; do. The Mur-  Valle, is a picture by him, of St. Carlo kneeling,
der of the Innocents; do. Susanna and the Elders; after  with a choir of angels. In S. Ursula, he has paintTltian. 1586. St. John preachingin the Wilderness; af-  ed that Saint with the famous Legend of the
ter A. del Sarto. The Descent from the Cross; after Da-  tha   an    it   t   famos               
niello da Volterra. The Virgin and Infant in the Clouds;  eleven thousand Virgins; also a Holy Family, in
after Livio Agresti. The Elevation of the Cross; do.   the convent of St. Anna.
CAVALLI, ALBERTO SAVONESE.  Little is             CAVAZZA, Gio. BATTISTA, a Bolognese paintknown of this artist, save a beautiful fresco' in  er and engraver; born about 1620; studied under
the Piazza del' Erbe at Verona, executed in the   Cavedone and Guido, and painted several pictures
style of Giulio Romano, dated 1540, from  which  for the churches of his native city, among which is
circumstance it has been supposed that he studied   a fresco painting in the Nunziata, representing
under that master.  From the beauty of this work   several saints. He has engraved from  his own
great researches have been made by Italian con-  designs four plates, of the Crucifixion; the Renoisseurs to discover memorials of him  or his  surrection; the Death of St. Joseph; and the
works, but without any success, and Lanzi suppo-  Assumption.
ses that he must have changed his country, and       CAVAZZOLA, PAOLO, a Venetian painter, and
died in foreign parts.                             pupil of Francesco Moroni.  In the opinion of
CAVALLINI, PIETRO, an old Roman painter,  Vasari. he excelled his master in the gracefulness
torn in 1279; studied under Giotto, and like   of his designs and the beauty of his coloring, and
him  practised the Mosaic art, as well as engraving.  had he not died young, he would have acquired
He assisted that master in the principal mosaic  great distinction. Lanzi says he died at the early
over the principal entrance to St. Peter's.  His  age of 31 years, and left many fine specimens of a
most important work in oil, was the picture of the   mature judgment in the churches of Venice.
Crucifixion, at Assisi, which is a curious and ven-  CAVAZZONE.  See ZANOTTI.




CAVE.                    187                   CAVE.
CAVAZZONI, FRANCESCO, a Bolognese paint-  of his days however, he received a violent shock
er, born in 1559; studied under Passerotti, and af-  by a fall from a scaffold. Superstition had charged
terwards in the school of the Caracci. He holds a  his wife with the crime of witchcraft; and to comrespectable rank among the followers of the latter  plete his affliction he lost his only son, a youth
school, though less distinguished than Guido and  who had manifested great genius for the art. He
Domenichino. His principal works are at Bolog-  sunk into a stupid despondency, and was comna. The most esteemed are: Magdalene at the  pelled to beg his bread in the streets of Bologna.
Feet of Christ, in S. Madalena; the Crucifixion, in  He died suddenly, in the horrors of wretchedness
S. Cecilia; and St. John Preaching, in S. Giovanni.  and want, in 1660, aged 73.
Cavazzoni was living in 1612.                    CAVERSEGNO, AGOSTINO, a Bergamese arCAVEDONE, GIACOMO, an eminent Italian-  tist, who, according to Tassi, flourished from 1539
painter, born at Sassuolo, in the Modenese, in  to 1552. His will was dated 1539. Little is
1577. When a boy, he was driven from home by  known of him. Lanzi says "that having flourthe severity of his father, and compelled to obtain  ished at a period so distinguished for the art of
his subsistence by entering the service of a noble-  coloring, he may be compared to certain writers
man. His master was a true lover of art, and  of the 14th century, who, as Salvini observes,
possessed a valuable collection of pictures. The  throw little light upon learning, yet in respect to
young page had employed himself during his leis-  language, every page appears imbued with gold."
ure moments in copying some of them with a pen;    CAVINO, GIOVANNI, called IL PADOVANO, an
which appeared to the nobleman such extraordin-  ingenious engraver of the 16th century. An imary productions of untaught genius, that he show-  pulse had been given to the study of the medals
ed them to An. Caracci, who encouraged Cavedone  and coins of antiquity, first by Petrarch and after
to persevere, gave him several of his own draw-  him, by Cosmo, Pietro, and Lorenzo de  edici, by
ings to copy, and soon afterwards received him   Alfonso, king of Naples, and by Cardinal St. Mark.
into his school. The young artist now made as-  Availing himself of the general passion for coltonishing progress. On leaving the school of the  lecting such remains, Cavino applied himself with
Caracci, he visited Venice, and acquired from the  success to the task of producing counterfeits; and
study of the splendid works of Titian, that admi-  with the assistance of Alex. Bassiano the poet,
rable system of coloring, in which he may be said  diffused an incredible number of them throughout
to have surpassed every other painter of his school.  Italy. A collection of his coins and medals was
On returning to Bologna, his paintings were so  made by Lecointe, antiquarian to the king of
highly esteemed, as to be considered nearly equal  France, and presented by him to the Abbey of St.
to the works of Annibale. At this time his de-  Genevieve, whence they passed into the imperial
sign was elegant and correct, and his coloring so  cabinet; they are 122 in number, and attest the
vigorous, yet tender and harmonious, that Lanzi  skill and ingenuity of the artist.
says when Albano was asked by a stranger, if
there were any pictures by Titian at Bologna, he    CAXES PATIIO, an Italian painter, born at
replied "No, but there are two by Cavedone, in S.  Arezzo. Little isknown of his earl history but
Paolo, which amply supply the want of them."  he attained sufficient eminence to be invitd to
He painted with uncommon facility, yet his works      by Philip II., who employed hi  in the
have nothing of the appearance of negligence. In  palaces at Madrid. He was appointed to paint the
his frescos he was singularly harmonious, using  Queen's Gallery at the Prado, where he representlittle variety of tints, but so admirably adapted t   ed the Chastity of Joseph, a subject not very apthat style of painting, that Guido adopted him as  propriat for the apartments of a princess. It
a model. His most celebrated picture is in  the  was destroyed, together with many works of art,
church of the Mendicanti at Bologna, representing  in the conflagration of that palac. This master
St. Alo and St. Petronio kneeling before the Virgin  translated Vignola on the Five Orders of Architecand Child, with a glory of angels. In this great  ture into Spanish, for which he engravedthe fronwork he appears to have combined all the beauties  tispiece and plates. After serving Philip II and
of the art; it is admirably composed, with en-  Philip III., during forty-four years, he died at an
chanting color, truth, and expression in the heads,  advanced age, in extreme poverty; and when the
and a grand and simple folding of the draperies;  king was informed of the indigence of his family,
and a grand and simple folding of the draperies;
forming a most attractive painting, even a city so  consisting of a widow and eiht children, he asrich in works of art as Bologna. This picture was  signed them a stipend of ten cents per diem for one
daily mistaken for the work of Annibale Caracci.  year; and yet this has been cited as a proof of
In S. Paolo are his fine pictures of the Nativit  royal generosity
and the Adoration of the Magi. In the Ospitale    CAXES, EUGENIO, a Spanish painter, the son
di S. Francesco, is a Holy Family, with St. John  and scholar of Patricio C.; born at Madrid in
and St. Francis. In S. Michele is the Last Sup-  1577; died in 1642. He assisted his father in sevper; and in S. Salvatore, the Four Doctors of the  eral of his works for the court, and in 1612, was
Church. As a proof of the great merit of this  made painter to Philip III., which appointment
artist, it is related that a picture by him, the Vi-  he retained under Philip IV., who assumed the
sitation of the Virgin, in the royal chapel at Mad-  crownlin 1621. He painted the portrait of the
rid, was mistaken by Colonna, Rubens, and Ve-  latter and several historical works in the palaces,
lasquez, for the work of Annibale Caracci. Cave-  besides many pictures for the churches and condone had acquired an immense reputation, when,  vents, who, following the example of the court,
by some unaccountable cause, he gradually changed  gave liberal encouragement to the arts. In the
his manner from a style which had gained uni-  monastery of S. Augustin Calzada at Madrid, is
versal admiration, to one of mediocrity; and final-  a fine picture of St. Joachim and St. Ann; in the
ly sunk to the lowest degree. In the latter part  church of S. Martin are his two pictures of the




CAYO.                      188                     CECC.
Nativity and the Adoration of the Magi. He also  the lives of St. Germain and St. Vincent. A Holy
painted several frescos in concert with Vincenzio   Family at St. Louis de Versailles, is also much adCarducci, in the palace of the Prado. All the works   mired, and is one of his best productions. The
of Caxes, except those in the churches above men-  king of Prussia has two fine pictures by Cazes,
tioned, were destroyed by fire. The convent of  which are very highly esteemed. He was the inSan Felipe at Madrid, where there were many of   structor of Chardin and Charles Parrocel, and
his works, was burned in 1718; and the Prado   held several honorable offices in the Royal Acadwas destroyed in the same manner.                  emy. He died at Paris, in 1754.
CAYLUS, ANNE CLAUDE PHILIPPE, COMTE DE,    CECCARINI, SEBASTIANO, a historical painter
a celebrated French amateur engraver, and a very   of Urbino; born about 1700; died, according to
eminent connoisseur, born at Paris in 1692; died   Lanzi, in 1780; studied under Agostino Castelin 1765. He spent his life and fortune in the pro-  lacci, and practised at Rome with reputation, dumotion of art, and the encouragement of artists.  ring the pontificate of Clement XII. The surporta
In fact, he may be said to have done more for  of the church of S. Urbano, representing that
both than any other man of modern times, and   saint; also the principal altar-piece in the same
the friends of art are under the greatest obliga-  church, are by Ceccarini; as is the picture in the
tions to him. He published a Recueil d'Antioui-  Capella delgi Svizerri in the Quirinal. His best
ties Egyptiennes, Etrusques, Grecques, Romatines,  productions, however, are at Fano, where he chiefly
et Gauloises, in seven vols.; of which the last  resided; among them are his St. Lucia, at the Auvolume appeared after his death, in 1767. As an   gustines, and several subjects of sacred history ia
engraver he has etched an immense number of  the palaces.
plates, of -which those after Bouchardon  were       CECCATO, LORENZO, an admirable artificer in
finished by Fessard and his pupils; the set of  Mosaic pictures, who flourished at Venice towards
gems from designs by the same artist, were ter-  the end of the 16th century. He was principally
minated by le Bas. They do not possess much   employed in copying the works and designs of the
merit, but deserve attention as preserving the mas-  great masters, especially of Tintoretto.
terly sketches of the most celebrated painters.    CECCHIGAETANO, a Florentine engraver, who
The following are the principal:                   practised about 1770. He executed several plates
A set of about Two Hundred Plates, after the Drawings  of historical subjects, which are etched and finin the Collection of the King of?rance. A set of ten An-  ished with the graver in a style that does him
tique Gems, from drawings by Edme Bouchardon, ethedished with the graver, i a style that does him
by C. de Caylue, and terminated with the graver by Le  considerable credit.
Bas. A set of six Mythological Subjects; after Bouchar-  CECCHI, GIo. BATTISTA, a Florentine engraver,
don; etched by C. de Caylus, and terminated with the  born about 1748, and was living in 1812. He engraver by Pessard. A set of Thirty Heads; after Ru  raved several plates for the work entitled "Serie
bens and Vandyck; from the Crozat Collection. A set of ed several plates for t he work entitled e
fifty grotesque Heads; after Leonardo da Vinci. A set  degl  uomini illustri," and for the Life of the
of fine Sketches; after della Bella.               Marchesi di Pombal; also the following prints
CAYOT, AUGUSTIN, a reputable French sculptor,  after various Italian masters:
born at Paris in 1667. He at first studied paint-    TheVocation of St. Andrew to the Apostleship; after
ing under Jouvenet, but soon abandoned that art  L. Cardi. The Martyrdom of St. Lawrence; after P.
for sculpture, which he studied under le Hongre.  da Corton. The Martyrdom of St. Vital    fter F.
He gained the grand prize of the Royal Academy,  Baroccio. The Stoning of Stephen; do. The Entombing
He gaeind _th e grand prize of the Royal Academy,   of Christ; after Daniello da Volterra. Cataline's Conand was then sent to Rome with the royal pen-  spiracy; after Salvator Rosa.
sion, where he became an assistant of van Clive,    CECI   THOMAS  an English engraver, who
and wrought with him forfourteen years. Among  prised about 1630.  His platesp ess some
other works, he executed the Two Angels, in bronze,  practised about 1630.  His plates possess some
other  orks, ahe executed the Two Angels, in bronze   merit; they are neatly executed, entirely with the
for the grand altar of the church of Notre Dame; 
graver, and are chiefly portraits from his own deand a statue in marble, of a Nymph of Diana,  gave,              e         chie portraits fro  his own 
which is placed in  the  garden  of the Tuileries.  signs. The following are the principal:
which is placed in the garden of the Tuileries.
In 1711 he was elected an Academician, on which                       PORTRAITS.
occasion he executed his statue of Dido, as his re-   een Elizabeth on Horseback. Walter Cure, Bishop
ceptionh piece.ue   i  tteo   Wishsr              of Winchester. William Cecil, Lord Burleigh. Edward
~cepu~ti~onl piece.  ~Reynolds, Bishop of Norwich. Thomas Kidderminster of
CAZES, PIERRE JACQUES, an eminent French   Langley, 1628; scarce. John Talbot, Earl of Shrewsbury.
painter, born at Paris in 1676. He studied under  Sir John Purgh, killed at the Isle de Rhed; this print is
onasse, and subsequently in the school of Bon   very scarce, as it is thought the plate was altered, and the
oullongne.  He obtained the grand prize at the  title changed for that of Gustavus Adolphns, and inserted
longn.  obtainedhegrandin Scudery's Curia Politiy. John Weaver, prefixed to
Academy in 1699, and in 1704, was elected a Roy-  hi Funeral Monuments. 1631. A small whole-length of
al Academician. Cazes may be considered one of  Archee, the King's Jester. Sir John Hayward, Knt.
the first artists of the French school. His drawing   LL.D. The Frontispiece to Ambrose Parry's Works.
is correct; his design is grand; he greatly ex-  1634. The Frontispiece to Devout Meditations. 1629.
celled in  draperies, and possessed an accurate  The Frontispiece to Lord Bacon's Syla Sylarum.
knowledge of chiaro-scuro.  He wrought with          CELER, and SEVERUS, were eminent Roman
great industry, but his performances are not all  architects, and flourished in the time of Nero. Acof equal merit, and towards the latterDart of his  cording to Tacitus, they were appointed by that
life, his pictures betray the decline of Mis powers.  emperor to erect his famous golden palace, which
He was also particularly distinguished for his pic-  surpassed all that was stupendous or beautiful in
tures of horses. There are many of his works to  Italy. It was erected after the conflagration of
be seen at Paris, in the church of Notre Dame; in   Rome, which has been imputed to the wickedness
the college of the Jesuits; at the House of Chari-  of Nero. His statue, 120 feet high, stood in a
ty, etc. At St. Germain des Pres, he represented   court, ornamented with porticos of three rows of




CELE.                    189                    CENN.
lofty columns, each row a mile long; the gardens  VII, of whom he executed a gold medal, which rewere of vast extent, with vineyards, meadows,  ceived great applause. At Florence he afterwards
woods and lakes, filled, according to Tacitus, with  executed a gold medal with the device of Hercules
every species of domestic and wild animals.-  tearing open the jaws of the Nemean lion. MiPearls, gems, and the most precious materials  chael Angelo, on seeing it, declared that his style
ornamented the palace in every part, and especial-  was entirely original. He executed a number of
ly gold, which was used in the utmost profusion.  other medals which gained him great reputation.
This great palace was completed by Otho, but did  Cellini was soon afterwards appointed engraver to
not remain long, for Vespasian restored to the peo-  the mint at Rome.  He subsequently went to
ple the lands of which Nero had unjustly deprived  Paris at the invitation of Francis I., where he
them, and erected in its place the mighty Colos-  commenced several fine works; but he soon got
seum, and the magnificent Temple of Peace.       into trouble with the Queen's favorite, Madame
CELESTI, CAV. ANDREA, a Venetian painter   d'Etampes, who did all in her power to excite the
born in 1637; -died in 1706; studied under Pon-  king against him, ad he obtained permission to
zoni, but did not follow his style. He painted the  return to Itay.  On arrivingatlorence,the
most beautiful views about Venice, and other Ital-  Grand Duke Cosmo de Medici received him with
ian cities, in a large size, and also in small. His  honor, and gave  him  astudio where he executed
selections are choice and elegant; his coloring  his celebrated Perseus with the head-of Medusa,
pleasing; his skies are luminous and clear, and  in bronze, to ornamet the grand square at Foevery part isagreeable to the eye. He was fond  rence. Cellini and Bandinelli contended for the
of using a purplish tint, something in the style of  execution of a  losal statue of Neptune, and his
Rubens of which he was occasionally too profuse,  design was preferred, which is said to have caused
especially in his carnations. He painted historical  the death of the latter, although the duches, who
subjects of large and small size, and sometimes  was Cellini's enemy, prevented him from having
conversations and pastoral subjects.  His land-  the work, and caused it to be given to Ammanati.
scapes are scarce, and are highly prized. He had  He soon after, however, regained the duchess' good
a fertile invention, with a vagueness of coloring and  opinion, by presenting to her and the duke a mara flowing outline that resemble Veronese. Some  ble crucifix, which is highlyextolled b  Vasari.
of his works have lost their original freshness, and  Cellini wrote a treatise on the various  ranches
in some cases the demi-tints appear to have per-  of his art, which is also highly praised by Vasari,
ished, by which the harmony of the work is di-  and which bears incontestible evidence of an oriminished. His best historical works are in the  ginal and comprehensive genius. He died at Flochurch of the Ascension at Venice, of which the   ence in 1570, and was buried with great pomp,
most esteemed are, an Adoration of the Magi; and  in the Nunziata.
in the Ducal Palace, a picture of a subject from the    CENNINI, ANDREA, an Italian painter and auOld Testament, which is highly valued.           thor, who lived at Florence in the first part of the
CELI, PLACJDO, a native of Messina, who ac-  15th century. He is celebrated for a work comcording to Hakert, studied under Agostino Scilla.  posed in 1437, the MS. of which is still preserved
He followed that master to Rome, where he after-  in the Library of S. Lorenzo, by which Vasari prowards imitated the style of Carlo Maratti, and  fesses to prove that oil painting was known in
executed some pictures for the churches of dell'  Italy before the invention was practised by John
Anima and Traspontina. He afterwards returned   van Eyck, called John of Bruges. This MS. was
to his own country, where he executed some works  published under the superintendence of Cav. Tamfor the churches, and died at Messina in 1710. Lan-  broni, about 1800; but it signally fails to prove
zi says he did not rise above mediocrity.        that oil painting, at least for pictures, was known
CELIO, CAr. GASPARO, a Roman painter; born  in Italy before it was in Germany; for he expressin 1571; died in 1640; studied under Nicolo Cir-  ly says, "I wish to teach thee now to paint in oil
cignani, according to Baglioni, and painted several  on walls or on panels, as practised by many Ger
works for the Roman churches. The best are St.  mans," and he goes on to give directions for preMichael discomfiting the Fallen Spirits, in S. Gio-  paring different colored paints with boiling linseed
vanni Laterano; St. Charles Borromeo, in S. Carlo  oil, and painting on walls, wood, iron and marble.
See John vaan Eyck.   Cennini had not much repa Catarini; St. Francis receiving the Stigmata, in  See Jon van Eyck. Cennii had not mupa    red e
the Mendicanti; and the Israelites crossing the  utation as a painter. Vasari says he painted the
the M~endicanti; and the Israelites crossing the
Red Sea, iln the Gallery of the Palazzo Mattei.  Virgin, with several Saints, in the Hospital of BoniCeL LINIinBthe  VENUTry  an the Plazominent. Iai    fazio at Florence, "in a good style of coloring."
CELLINI, BENVENUTO, an eminent Italian   Yet he never excited the admiration or envy of his
sculptor and medalist, born at Florence in 1500.  brother artists.
He was intended for the musical profession, but as he  CENNINI CENNINO, an old Italian painter of
early manifested a strong inclination for sculpture,  th fourteenth century. He was apupil of Giotto,
he was permitted to follow his favorite pursuit;  and deserves notice as the author of the earliest
and his earliest works in gold and silver, in the  trea  ti     ng extant. It is entitled Instr
antique style, were greatly admired. At the age  treatise on painting extant. It is entitled Instrw
antique style, were greatly admired. At the age  zione Pittoriche, and remained for ages unnoticed
of fifteen, he established himself with a goldsmith   io te ^atica librry, till 1821, when it was disnamed Marcone, and also directed his attention to           the Cavalere Tambroni, who published
seal-engraving, under the able instruction of Lau-  i    Rome n that ya. lr  contains, amongothed
tizio; he likewise made ingenious maskeenings of
tizo   he likewise maden T i genious maskeenins of  matters relating to the art, some curious informagold and silver on Turkish daggers, and employed  tion respecting oil painting. See John Van Eyck.
himself in cutting dies, medalling and enamelling,.  
in all of which he was eminently successful. He    CENTINO, IL. See NAGLI.
was now  employed by the dignitaries of the        CEPHISODOTUS, or CEPHISODORUS, a
church, and was taken into the service of Clement  Greek sculptor, the son of Praxiteles, who flour



CERA.                     190                     CERT.
ished about B. C., 360, and whose sister was the  the works of others. He flourished about the
first wife of Phocion. Pliny and Pausanias men-  middle of the seventeenth century.
tion many of his works, which they rank as    CERTOSINO, IL. See CASSIANI.
master pieces in the art, especially a statue of Mi-    CERt BARTOLO, a reputable Venetian paintnerva, placed at the port of Athens; and an inge-                                      Se o 
nious allegorical design, representing Peace, bear-   i whosu     engraved in aquafort  b Bosni.
ing in her bosom a small statue of Plutus. There      rks were engraved   aquafortis, by Boshini.
was also at Pergamus a noble work of Cephisodo-          ot    6
tus, a Symplegma, representing a group of wrest-    CERUTI, FABIO, a native of Milan, and a relers with their limbs interlaced in violent struggle.  putable landscape painter, who studied  under
Pliny mentions some of his works which had been  Christopher L. Agricola, and painted in his style.
transported to Rome; among which were three  Lanzi says his works are numerous in Milan and
statues, Latona, Venus, and Diana, placed in the  in the State. He fourished in the first part of
temple of Juno.                                 the eighteenth century.
CERAJUOLO, ANTONIO  DEL, a reputable             CERVA, Gio. BATTISTA, a Milanese painter,
Florentine painter, mentioned by Vasari, who  who flourished about 1550; studied under Gaustudied under Ridolfi Ghirlandajo, and flourished  denzio Ferrari, according to Lanzi. The only work
about 1435.                                     mentioned as by this artist, is the Incredulity of
CERATI, ABATE DO   DOMENICO, an ItaTlian   Thomas, which for its animated expression of the
architect, bn a t 1, at V. Fm e-  heads, and its admirable style of coloring and deWchitect, born  abou12atieza. Fr~om abotear- 1sign, deserves to rank high among the productions
liest youth he was attached to the study of archi-  of th   iane school.
tecture, and pursued his profession with such ardor  o e anese s
and success, that he was appointed Professor of    CERVELLI, FEDERIGO, a Milanese painter, who
Civil and Military Architecture at Padua.  He  flourished about 1690; studied under Pietro Ricerected the famous observatory in that city, which  chi, whom he rivalled in the freedom of his pencil,
surpasses every other structure of the kind in Eu-  and surpassed in the correctness of his design.
rope. He also superintended the erection of the  One of his best works is at the Scuola di S. Teomagnificent hospital at Padua, and designed the  doro, representing a subject from the life of that
embellishments to the Prato della Valle.         Saint
CERESA, or CEREZI, CARLO, an eminent Ber-    CERVETTI. FELICE, a Piedmontese painter,
gamese historical and portrait painter; born in  whflourishedat Tur  in 1764. He wrought
1609; died in 1679; studied under Daniello Crespi,with more facility han  nish andhis woks are
a talented painter of Milan, from whom he soon  frequently met with at Turin and in the State.
acquired a style of coloring and design nearly ap-    CERVETTO, Gio PAOLO, a Genoese painter,
proaching the merit of that master. According to  born about 1630. Soprani says he studied under
Tassi, his figures are gracefully disposed, his col-  Valerio Castelli, and imitated his vigorous style
oring has great softness and harmony, and his  with considerable success, but died young, in 1657.
heads have an agreeable expression. His works    CERV, BENARDO, a painter of Modena and
are chiefly confined to the churches of Bergamo.            a scholar of Guid. He possessed an etrordia scholar of Guido. He possessed an extraordiIn the Cathedral is a picture of St. Vincenzio carried
nary genius, but at the time when his great inup to Heaven by Angels; in the Cupola of S. Fran-  nry    s, bt hadformed the most lively expctations
c,four of the prophets; and in S. Pietro one  structor had formed the most lively expectations
cesco, our of the prophets; and in S. Pietro one  of his rising greatness, he was ct off by the
of his finest works, representing the Resurrection.  plague, in 1630  His principal works are hisres.  plague, in 1630. His principal works are his fresCEREZO, MATTEO, an eminent Spanish painter   cos, in the dome at Modena. There are also sevborn at Burgos, in 1635; died in 1685. He studied. eral altar-pieces in the churches. There is a print
at Madrid under Don Juan Carreno, and painted  by this artist, with the name abridged, of the
several pictures for the churches of Madrid and  Martyrdom of St. Sebastian, dated 1628.
Valladolid, by which he acquired great reputation.    CESAREI, PIETRO, sometimes called PERINO
He afterwards painted, in concert with Francisco   DE PERUGIA, a painter of Perugia, living in 1595.
de Herrera, elainter to Philip IV., in some works  He was an artist of considerable reputation. He
which he was engaged upon for the king. His works  established himself at Spolettowhere, andin the
possess great excellence, and he was called the  neighboring towns, are some of his works, which
Vandyck of Spain.  The best performance of  Lanzi says are often attributed to Pietro PeruCerezo, is Christ with His Disciples at Emmaus,  gino. Itappears,however, that he was anxious
which is said, by Bermudez, to equal the works of  to prevent this confusion and therefore he signed
-"~~~~~Titian.    ~his name Perinus Perusinus, or Perinus Cesareus
CERQUOZZI. See M. ANGELO.                      Perusinus. He had a brother named Serafino,
CERRINI, Gio. DOMENICO, called IL CAV. PER-  who assisted him.
UGINO, a painter of Perugia; born, according to    CESARE, PADRE. See PRONTI.
Pascoli, in 1609; died in 1681; studied under    CESARI, CA. GI PP  called DARPIN, an
Gauido from whom he acquired a graceful and ele-  eminent Italian painter, born at the Castle of Argant design, with an expression in the heads that pino, in the kingdom of Naples, in 1560; died at
occasioned some of his works to be taken for those  Rome in 1640. He was the son of an obscure artist
of Guido. His best work in fresco is the Cupola  of little merit, who taught Cesari what little he
la Makdonna, representing S  P     t of the art. At the age of thirteen he obtained
his father's consent to visit Rome for employment,
CERRINI, LORENZO, a Florentine painter, who  where he was compelled to offer his services to
studied under Cristofano Allori. He was quite  prepare the palettes and colors of the artists who
celebrated as a portrait painter, and as a copyist of  were then employed in the Vatican, under Gregory




CESA.                      191                    CESA.
XIII. He had filled this humble situation but a  eral pontiffs in the execution of medals, in which
short time, when he took an opportunity, in the  he so distinguished himself as to gain the approabsence of the painters, to sketch several figures on  bation of Michael Angelo.
the wall, which excited the surprise and admira-    CESARIANO, CESARE, a Milanese architect,
tion of every one, particularly Fra. Ignazio Danti,  whose life was written by Poleni, was born in 1483
the superintendent of the works in the Vatican,  and died in 1543. He also was a painter in minwho mentioned the circumstance to the Pope. The  iature.
latter immediately took Cesari under his protection, and placed him in the school of Nicolo Po    CESCHINI, GIOVANNI, a native of Verona.
merancio. The instruction of that master was  who studied under AlessandroTurchi, whose
not calculated to counteract the depraved taste of  works he copied so accurately that they passed
for originals by that master. He flourished at
the time for alluring glitter and ostentation. Ce- r    na   b  that  master. He n       he  at
sari had great natural facility, and finding that he  V a a t te m     e o    sixteenth century.
could easily satisfy the prevailing taste, he did not    CESI, BARTOLOMEO, an  eminent Bolognese
think it necessary to consult nature or the best  painter, born in 1556; died, according to Lanzi, in
models of antiquity. His works possess an ap-  1629; studied under Gio. Francesco Bezzi, but
pearance of grandeur in the composition, lightness  afterwards attached himself to the works of Pelleand dexterity in the desigh and execution; but  grino Tibaldi. He rather excelled in his frescos
we look in vain for sublimity of conception, purity  than in his oil paintings, although he has displayed
of outline, elevated expression, or harmony of  great merit in both, as his pictures at Bologna
effect. By straining the attitudes of his figures,  sufficiently evince. His design was careful and
he expected to give them  animation and move-  correct, but not timid; his forms were judiciously
ment; and when he attempted expression, he fell  chosen, and his coloring was tender and delicate.
into distortion and grimace.  In some of his works  His works appear to have been the models from
these defects are not discernible, such as battle  which Guido formed the sweetness and elegance of
pieces and processions, which require a crowded  hisstyle. He lived in friendship withthe Caracci.
composition. In these the horses are drawn with  though he occasionally painted in competition witi'
great spirit, and his readiness of invention is sur-  them, and not unsuccessfully.  His works are
prising. With all his defects, he was soon re-  quite numerous at Bologna. The principal are in
garded as the most distinguished painter in Rome.  S. Giacomo Maggiore, the Virgin and Infant in the
He enjoyed during a long life a distinguished rep-  clouds, with a Glory of Angels; St. John, St.
utation, and established a very succcessful acad-  Francis, and St. Benedict; in S. Martino, the Cruemy. He was a perfect master of the arts of in-   ifixion; in S. Domenico, the Adoration of the
trigue, and possessed the talent of exalting the  Magi, and the Descent of the Holy Ghost; in the
merits of his own productions, while he vilified  Certosa, are his fine pictures of Christ Praying in
those of others, and his instruction and example  the Garden, and the Descent from the Cross.  His
undoubtedly had a most pernicious influence upon  best work is a set of ten frescos, of subjects from
art.  Clement VIII., the successor of Gregory  the Life of AEneas, in the Palazzo Favi.
XIII., continued to extend him the protection and  CESI, or CESIO, CARLO, an historical painter
favor he had experienced under the latter, and cre-  and engraver of the Roman school, born at Anated him Knight of St. John of Lateran. The  trodoco, in the Papal States, in 1626, died in 1686;
style of this artist varied considerably through-  studied under P. da Cortona, and was employed oD
out his long life, and his last works partake of the  several public works in concert with several of
languor and feebleness of age. There are many  the best artists of his time, during the pontificate
of his works at Rome, of which the principal are  of Alexander VII. His works are held in considthe Cupola of S. Prassede, representing the As-  erable estimation. In the Quirinal, he painted the
cension. with the Virgin and Apostles; in S. Gio.  Judgment of Solomon, and others of his works
Grisognono, the Assumption of the Virgin. His  are in the Rotonda and in S. Maria Maggiore.
most celebrated performance is the Saloon called  There are several plates by this artist of considerby his name, in the Capitol, where he has repre-  able merit, after the Italian painters of his time.
sented  in fresco, the History of Romulus and  They are correctly drawn, and are etched and terRemus, the Combat of the Horatii and the Curi-  minated with the graver in a free, masterly style.
atii, the Battle of the Romans and Sabines, and  The following are the principal:
the bloody Conflict between the Romans and the    The Virgin and infant Jesus with St. John; half-length.
Veii.                                            St. Andrew led to Martyrdom, prostrating himself before
the Cross; after Guido. The Frontispiece to the Book
CESARI, BERNARDINO, was the brother and  entitled Discorsi della Musica. Sixteen plates from the
scholar of the preceding, whom he assisted in many   Pamphili Gallery; after P. da Cortona.  Forty-one
of his works. He also painted several pictures of  plates of the Farnesian Gallery; after An. Caracci.
Eight plates of the Chapel Buougiovanni; after Lan.
his own composition in the churches at Rome, en-                         Buongiovani; after La
tirely in the style of his brother. There is a large  franco.
fresco work in St. John of Lateran, by this artist,    CESPEDES, PABLO, called at Rome, CEDASPE
painted for Clement VIII., representing the Em-  a very eminent painter of Cordova; born, accordperor Constantine in a Triumphal Car, with many  ing to Bermudez, in 1538. He had the advantage
figures. In S. Carlo a Catinari, is a picture by   of a very liberal education in the theological semhim of Christ appearing to  ary Magdalene.       inary, was conversant with the classic and oriental
languages, and spoke with great fluency most of
CESARI, ALESSANDRO, an Italian medalist and  the modern ones. His learning and merit raised
gem engraver, called The Greek. He flourished  him to the rank of a dignitary in the church, and
in the sixteenth century, and resided for a long  he was not less remarkable for his modesty and
period at Rome, where he was employed by sev-  humility than for the extent and variety of his ac



CHAB.                      192                    CHAM.
quirements. This artist visited Rome twice for      CHALLE, CHARLES MICHEL ANGELO, a French
improvement, where he derived great advantage  painter, born at Paris in 1718, died in 1778. It
from  the study of the works of M. Angelo.  is not known under whom he studied, but he atWhile in that city he formed a close intimacy with  tained sufficient distinction as to be chosen an
Federigo Zucchero; and afterwards when the latter  academician, on which occasion he executed a piewas applied to by the bishop of Cordova to paint  ture representing Painting and Sculpture united
a picture for his cathedral, he declined the com-  by the Genius of Design. He painted, also, several
mission, observing "that while Spain possessed  other works, among which was a picture in the
Cespedes, they need not send to Italy for artists."  church of St. Hippolyte, representing the Priests
While at lRome Cespedes painted several works,  congratulating that saint on his conversion. He
among which was an Annunciation, and a Nativity,  was appointed professor of perspective in the
in the Trinit& de Monti; also several subjects from   Royal Academy, designer for the Royal Cabinet
the Life of the Virgin, in the vault of the same cha-  and chevalier of the order of St. Michael. Challe
pel. As a colorist, he was one of the greatest artists  also wrote some treatises on architecture, which do
of his country; and Bermudez says he sometimes  not possess much merit. He had a brother named
approaches, in this respect, the beauty of Correggio.  Simon C., who practised the art of sculpture, but
His works are chiefly at Cordova. In the cathe- -never attained any distinction.
dral is the Virgin and Infant, with St. Anne; also  CHALON, Louis, a landscape painter, supposed
his admirable picture of the Last Supper, which is  t h    been born in Holland about 1687; some
highly praised by Palomino for the masterly dis-  pictures by him are mentioned in the catalogues of
crimination of character in Christ, and the differ-  1724. He painted views on the Rhine, decorated
en Ditciples. In the Jesuit college ofS. Catalina,  with figures, in a very artistical style, and an
is the Martyrdom  of that Saint, with a Glory of  agreeable tone of coloring.
Angels. This artist is said to have attained distinction in sculpture and architecture, but none of    CHALMERS, SIR GEORGE, a painter of Edinhis works are mentioned. He died in 1608, and                                     R say,and afwas buried in the cathedral at Cordova.           terwards visited Rome. In early life he was patronized by Gen. Blakeeey at Minorca, where he
CHABRY, MARc, a French painter and sculp-  pated a portrait of that oicer, which was aftertor, born at Lyons in 1660. He executedinthat    ards engaved.  He succeeded to the title of
city a large number of works in both departments  Baronet, ut not to the estates of his ancestors
of rt, among which were the paintings and bas-  which had been forfeited by their attachment to
reliefs that adorn the great altar of the church of  th  Stuarts. Sir George, therefore, continued to
S. Antoine; a bas-relief over the entrance to the  follow painting as a profession, first at Hull, and
Hotel de Ville, representing Louis XIV. on horse-  afterwards in London. He died in 1791.:ack, the altar of a chapel of the Oratorio, and       cAeITn    ls   oi
several works in the Church de la Trinit6. He       CHAMBERLAIN, MAN, an English portrait
executed two statues of Hercules and the Virgin   painter, who was esteemed very successful in his
painter, who was esteemed inery successful in his
and stRI thEmto ithe   kng r   whTor apnt ned hiim likenesses. He was one of the original members of
and sent them  to the king, who appointed himi. A. a~       A,i       3' iMiO
sculptor to the city of Lyons.  The Marnchal de         a  Aca                   
Villeroy purchased of him a statue of Winter. for   CHAMBERLAIN, WM., an English painter, who
6,000 livres; and a merchant of Lyons payed him   studied in the Royal Academy, and afterwards un2,000 livres for a statue of Christ in box-wood   der Opie. He painted portraitswith success. He
which -was worthy of Puget. Chabry died in  died in 1807, in the prime of life.
1727. He left a son named Marc C., who attained     CHAMBERS, THOMAS, an English engraver.
considerable distinction in sculpture, and executed  born at London, about 1724. He executed several
among other good works, several statues for the  plates for the Boydell collections,; also, some
Church des Carmes, of the Four Evangelists, St.  portraits of artists for Lord Orford's anecdotes.
Peter and St. Paul; also some statues for the  They are executed with the graver, in a firm, but
Church des Chartreux.                             not a pleasing manner.  The  following  are his
CHALGRIN, JEAN FRANCOIS THaRE SE, an  prinipal plates
eminent French architect, born at Paris, in 1739.    A Concert; after M. A. Caravaggio. Raffelle's MisHe studied under Moreau and Boulet, and having  tress; after Rafmaelle. The Holy Family; after B. Mugained the grand prize of the academy, he went to   ilo.  t. Martin dividing his Cloak; after Rubens. St
Italy with the royal pension.- On his return, he  Peter and St. John healing the Sick; after S. Bourdon..
Italy with the royal pension.  On his return, He  JupiterandAntiope; after Casali. Helen orman ~ f'
Jupiter and Antiope; after Casali. Helen Forman; af.
soon attained eminence, and was chosen by the  ter. Vandyclc. The Good Man at the Hour of Death;
duke de la Vrillidre to erect his hotel, on the cor-  after Hayman. The Wicked Man; the Companion; do.
pletion of which the duke honored him  with an  The Death of Turenne; after Palmieri.
entertainment, and presented him with a magnifi-    CHAMBERS, GEo., an English marine painter,
cent watch, set with diamonds. He-was soon after  born at Whitby, in Yorkshire, about 1795. He
admitted too he academy, and in 170 was appointed  was of very humble origin, and for  several years
architect to the king. Chalgrin was distinguished  followed a sea-faring life, but having a natural
for the grandeur of his conception-rather than for  taste for painting ships, he apprenticed himself to
precision in details.  He restored the Palace du   an old woman who kept a painter's shop in his
Luxembourg, of which the grand staircase is a  native place, in order to gain a knowledge of colmaster-piece in magnificence. Among his other  ors. At the same time he took lessons of a drawprincipal works, are the Hotel de St. Florentin,  ing master named Bird, and employed his spare
the College de France, the Church of St. Philippe  time in painting small pictures of shipping, which
du Roule, besides a number of hotels at Paris,  found a ready sale at his humble prices. He subchateaux for the nobility, and the Triumphal Arch  sequently went to London, where he was employed
de 1' Etoile. He died in 1811.                  i by Thomas Horner to assist in painting the grand




CHAM.                     193                    CHAM.
Panorama of London, at the Colosseum, in the  distinguished for an admirable system of coloring
Regent's Park. At the completion of this work  and he was a close imitator of Nature, but without
he was engaged as scene-painter at the Pavilion   choice or animation. His subjects were devoid of
Theatre. Here he attracted the notice of Admiral  life or movement, and totally divested of that senLord Mark Kerr, who became his sincere patron,  sibility of expression which feeling alone can inand procured him an introduction to William IV.  spire. His portraits are admirable, and the picHe would now perhaps, have reaped some advan-  ture of himself placed in the gallery of the acadtages from his persevering industry, but he soon  emy, is not unworthy of the first portrait painters.
after died. in 1840. His pictures have some merit,  His best works are the ceiling in the king's apartespecially his naval battles, though they have too  ment at Vincennes, composed on the subject of
much of a reddish cast, particularly in the smoke.  the peace of 1659; St. Philip in neditation, his
In Greenwich Hospital are three pictures by him;  reception picture; and the six pictures in the
the Bombardment of Algiers, the Capture of Porto   Carmelites at Paris, representing the Nativity,
Bello, and a copy of West's picture of the Des-  the Adoration of the Magi, the Circumcision, the
truction of the French Fleet in the port of La  Assumption, the Raising of Lazarus, and the DeHogue.                                           scent of the Holy Ghost.  This artist died at
CHAMBERS, SIR WILLIAM, an English archi-          is in 1674.
tect. He was the son of a merchant, originally of  CIAMPAGNE, JEAN BAPTISTE, was the nephRippon, in Yorkshire, but who settled at Stock-  ew and scholar of Philip de C.; born in 1645, died
holm, where William was born in 1725. He vis-  in 1688. He also studied several years at Rome.
ited Italy, where he devoted himself to the study   but never attained much distinction. On -his reof the great remains of antiquity, and became a  turn from Italy, he was appointed professor of the
reputable architect. After visiting the principal  Royal Academy, in Paris, and executed several
cities of Europe, he went to England, and was  works for the churches. and for the palace of the
introduced by John Carr, of York, to the Earl of  Tuileries.
Bute, to instruct the prince, afterwards Geo. III.,    CHANGE. See DUCHANGE.
in the elements of architecture. The latter was so
much pleased with his tutor, that on his accession  CHANTREY, SIR FRANCIS, an eminent English
to the crown, he appointed him his chief architect.  sculptor, born in 1782, at the village of Norton, in
to the crown, e appointedhim his chie arhitect Derbyshire. While very young he manifested a
He erected a large number of edifices, among which   Derbyshire. While very young he manifested a
is a villa for the Earl of Besborough, at Roehamp-  strong inclination  for art; and several pastry
ton, and two superb mansions at Whitehall andfigures which he modelled for the tab   of a
Piccadilly for Earl Gower and Lord Middleton.  wealthy lady named Stanley, excited great admiHe designed and erected a beautiful Casino at Ma-  ration. The latter immediately took him under
rino, in Ireland, for Lord Claremont; and after-  her protection, and placed him with a carver and
wards designed the new buildings at Somerset  frame manufacturer, in Sheffield, where Chantrey
House, on the Thames, which cover a space of 500  found sufficient opportunity for the indulgence of
by 800 feet. Chambers was appointed Comptrol-  his favorite pursuit, and produced several admiraby 800.feet. Chambers was appointed ComPtrol-  ble models in clay. At the same time he evinced
ler of the Board of Works, and afterwards surveyor- le models in clay.  At thesame time he evinced
general; he was nominated Treasurer to the Royal  a taste for landscape painting, and executed some
Academy, and in 1771 was presented to the king   portraits in miniature. He received someexcellent
of Sweden, who conferred on him the Order of the  instruction in painting from John Raphael Smith,
Polar Star. In 1759 he published a Treatise on   and in1802 he advertised inc  Shrffiely  papers,
the Decorative part of Civil Architecture, which  to  t     ake  portraits in crayons. Shortly afterwards
the Decorative part of Cdvil Architecture,  which
is a work of considerable merit. He died in 1796.  he viited Edinburg and Dublinbut without re-....MO O Jceiving much encouragement. He then went to
CHAMORRO, JUAN, a Spanish historical paint-  London, and after studying some time in the Royal
or, who studied under F..Herrera the Elder. His  Academy, he exhibited, at the exhibition of 1804,
works show considerable ability, and great indus-  a portrait in oil. The following year having retry and perseverance.  In 1669 he was elected  verted to his true vocation, he exhibited threebusts
President of the Academy of Seville, and contri-  which display great ability. In 1809, Mr. Alexbuted to the support of that institution till 1673.  ander, the architect, gave Chantrey an order for
His principal works were in the convent of Mercy  four colossal busts of Howe, St. Vincent, Nelson,
at Seville; they represent subjects from the Life  and Duncan, for the Trinity-house, and Greenwich
of the Virgin, and the Four Doctors of the Church.  Naval Asylum. His next work was the bust of
CHAMPAGNE, PHILIP DE. This painter was  Pitt, and in 1811, he exhibited six busts, one of
born at Brussels in 1602, but went to Paris at the  which drew forth the warm approval of Nollekens;
age of nineteen, with the intention of visiting Italy.  the sculptor, who generously ordered one of his
He had not the advantage of the instruction of any   own busts to be removed, and that of Chantrey to
eminent painter, and the greatest assistance he  be put in its place. He soon after produced his
received, was from Fouquieres, who lent him some  statue of George III., for the city of London,
of his drawings. While in Paris, he met with such   which was greatly admired for its dignified ease.
encouragement, in painting portraits and land-  and tended largely to increase his fame. In 1817
scapes, that he abandoned his intention of visit-  he was elected an associate of the Royal Academy.
ing Italy. He had apartments in the College of  He was engaged in several monuments in marble
Laon, where also N. Poussin dwelt. The latter  and bronze; among them may be mentioned the
admired the works of Champagne, and an intima-  statue of George IV., at Brighton; that of Pitt,
cy sprang up between them. He soon acquired  in Hanover Square; and one of Watt, in West.
such celebrity, that he was appointed superintend-  minster Abbey.  He was also employed upon
ent to the works of the queen, and met with great  several statues for St. Paul's, besides designs for
encouragement and admiration. His works were  church sepulchres.  Among the latter was the




CHAP.                      194                     CHAR.
monunent of two children, daughters of Rev. W.  long time was charged with the decoration of the
Robinson, placed in Litchfield Chapel. This ex-  Louvre. He died in 1779.
quisitely simple and touching work, representing     CHARES, an ancient sculptor, was a native of
the two children lying asleep in each other's arms,  Lindus, in the isle of Rhodes, and flourished about
is Chantrey's master-piece in this branch of the   B. C. 290. He was a disciple of Lysippus, and
art. It was exhibited in 1818, and gained Chan-  immortalized himself by the Colossus of the Sun,
trey a unanimous election to the Royal Academy.  at Rhodes, which was reckoned one of the seven
Shortly after, he produced a beautiful statue of  wonders of the world. This statue was of brass,
Lady Louisa Russell, representing a child standing   and, according to Strabo, was seventy cubits, or
on tip-toe, looking down, with an expression of  one hundred feet high; and Chares was employed
archness and delight, at a dove which she is fond-  upon it twelve years. It was said to have been
ling in her bosom. In 1819 he visited Italy, and   placed at the entrance of the harbor of Rhodes,
was elected a member of the Academies of Rome  with the feet upon two rocks. in such a manner,
and Florence.  He afterwards returned to Eng-  that the ships then used in commerce could pass
land, where he continued to prosecute his profes-  in full sail between them. This colossus, after
sional labors, and in 1835 he received from  Wil-  standing fifty-six years, was overthrown by an
liam IV. the honor of Knighthood.  He collected   earthquake.  An oracle had forbidden the inhabita choice cabinet of medals, statues, and antiques,  ants to restore it to its former position, and its
and from the large price his works commanded,  fragments remained in the same position until A.
he amassed a handsome fortune, which at his death,  D., 667, when Moaviah, a calif of the Saracens,
in 1841, he bequeathed to Lady Chantrey for her  who invaded Rhodes, in that year, sold them to a
life, and after her decease to the Royal Academy,  Jewish merchant, who is said to have loaded 900
for the encouragement of English art. Among his  camels with them.
unfinished works is the Colossal Equestrian Statue   CHARPENTIER, PIERRE  FRANCOIS, called
of the Duke of Wellington, intended to be placed   Pierre Etienne and Francois Phillipe; a French
in front of the Royal Exchange.                    engraver in aquatinta; born at Blois, according to
CHANTRY, JOHN, an engraver of little note,  Zani, in 1739.  The following are his principal
who executed a number of portraits for the book-  plates:
sellers, entirely with the graver, in a stiff, formal    The Education of the Virgin; after Boucher. Cupids
style. The following are the principal:            playing with the Graces; do. The Death of Archimedes;
after Ciro Ferri. The Shepherdess; after Berghem.
James I. Charles II.; three prints. James Fitzroy,  The Shepherd reposing; do. The Descent from the Cross;
Duke of Monmouth. Edward Leigh, M. A., of Magdalene  after C. Vanloo. Astyanax torn from the arms of AndroCollege, Oxford. 1660. Thomas Whitaker, physician to   mache by order of Ulysses.
Charles II. The Portrait of Selden. Gething, a writingmaster. John Selden.                                 CHARPENTIER, RENE, a French sculptor,
CHAPERON, NIC, a Fr h e,  born at Paris in 1680. He studied under Girardon,
CHAPERON  NICHOLAS  a French engraver,
I          I ERON  NICHOLAB       French engraverand executed a number of works in the church of
born, according to Zani, at Chateaudun, in 1599,        ochaongwhichis the Tomb of the Corte
died in 1647; studied painting under Simon Vouet,  St. Roch; amon g which is the  Tom b of the  Comte
and visited Rome for improvement, but did not  Rangoni.  His works have much of the bad taste
andvisitedRome for improvemen, bt didnt  that prevaled in his time, though they evince some
make any proficiency in painting, as his talents  talent  ediedin 1723
were far better adapted to engraving. He remained 
in Rome several years, and in 1636 published his set  CHASStL, REMI FRANqOIS, a French sculptor,
of fifty-two plates from the pictures of Raffaelle  born at Metz, in Lorraine, in 1666. At an early
in the Vatican, called Raffaelle's Bible. These  ae, hisfather, who had been sculptor tothe king,
grand works have been several times engraved,  sent him to Paris, and placed him under Lecomte.
and though no artist has succeeded in represent-  The young artist resided there a number of years,
ing their noble character and purity of design, yet  and wrought under Boullogne, Coustou, and Desperhaps those of Chaperon are equal to any of the  jardins; after which he returned to Lorraine,
others.' Besides'these, there are the following   where the duke, Leopold I., appointed him proplates, some of which are from  his own designs.  fessor of sculpture in the academy at Nancy
Several of them are marked N. C. F.                which then rivalled the most celebrated academies
of Europe. He executed a large number of works,
The Portrait of N. Chaperon, with the Bust of Raffa-  among which were  the
Of^^ T^ ^  Ita among which were, the monument of Cueillet;
elle.-The title to the Bible of Raffaelle. The Portrait of      f           m   r   ent of Cuhillet
Henry IV.; below, in basso relievo, the King wounded by  two statues of a Dead Christ and of Charity, in the
Du Chatel; after Freminet scarce. Another Portraitc     Church des Carmes at Nancy; the monument
Henry IV., with a Battle below. The Virgin suckling the  erected by the prince of Guise, in honor of LeoInfant, falselycalled after Titian. The Holy Family;  pold; and a fine statue of Venus. He died i 1752.
Guerinau, exc. Bacchus and Venus, 1639; Ciartres. cxc.   
A Man giving Drink to Bacchus. Bacchus, with a Man car-  HASTILLON, LOUIS DE. a French engraver
tying a Child. Satyrs, with Women and Children. A Bac-  and a painter in miniature and enamel; born at
chanal, with a Child pouring outWine to a Bacchante. An-  St. Menehould, in Champagne, in 1q39, died in
other Bacchanal, with Silenus riding on a Goat. Young Bac-  1734. He seems to have followed, though rather
chanalians, one riding on a Goat. Another Bacchanal. 1639.  unsuccessfully, the admirable style of Gerard AuCHARDIN, JEAN BAPTISTE SIMEON, a French   dran.  The following are his principal plates,
painter, born at Paris in 1701. He distinguished   which have some merit, though greatly inferior to
himself as a painter of conversation pieces, of a  those of Audran.
domestic character; which he represented with        The Adulteress before Christ; after S. Bourdcn. The
great truth, simplicity and beauty of finish.  He   Conversion of St. Paul. The Seven Sacraments; after the
is compared by his countrymen to Gabriel Metzu.  pictures by Poussin, painted for the Cavaliere del Pozzo,
He was a member of the Royal Academy, also   a little varied from those in the Orleans collection. St
He was a -mezmber of the Royal Academy, also   John in the Isle of Patmos; after Poussin. The Fates
one of the portrait painters to the king, and for a   spinning the Destiny of Mary de Medicis; after Rubenr.




CHAT.                      195                      CHAU.
Three Books of Prints; two of the Fountains at Ver-  were in a great measure lost, and he seldom  exersailles, and one of the Pavillions at Marly.       cised his ability except when compelled by necesCHATEAU, or CHASTEAU, NICHOLAS, a  sity.  He designed landscapes in an admirable
French engraver of some merit, born at Paris about  style, either from nature or fancy, and those he has
1680.  Little is known of the circumstances of  himself engraved are executed in a very masterly
his life. The following are his principal plates:    manner.  His principal works are after G. PousA Young Lady, with a Mask in her hand; half-length;  sin and other masters. for the collection of landafterSanterre. A young Lady in a Spanish Dress; do.  scapes published by Boydell, in 1744. He proSummer, represented by a Female figure; half-length   bbly died in 1771   The following are his princiZ5    bably died in 1771.' Tle following are his princiafter P. vanden Berge. Venus and Adonis; qfter L.  pal lates
Silvestre. Daphne and Apollo; do. Rinaldo and Armida;    p
do.; finished by J. Audran.                          The Four Times of the Day; etched by Chatelain; afCHATEAUT or CHASTEAU, WM., a French  terwards finished in mezzotinto by Houston. Nine, eight
CHATEAU, orCHASTEAU,   WM,^ a' Frenchlandscapes after Gaspar Poussin, and one landscape after
engraver, born at Orleans, in 1633.  He learned   Rembrandt. Eight Views of the Lakes in Cumberland
the elements of design at Paris, and then visited   and Westmoreland; after Bellers.  Eleven different
Rome, and entered the school of John Frederick   Views; after Marco Ricci. Three grand landscapes; afGreuter, where his first performances were several  ter Cortona, N. Poussin, and F. Bolognese.
portraits of the popes. He subsequently engraved      CHAUDET, ANTOINE  DENIS, a reputable
some prints after Poussin, and several Italian   French sculptor, born at Paris in 1763. While
masters, some of which are entirely with the  very young, he evinced an extraordinary genius
graver, others with the graver and point, which he  for modeling, and at the same time manifested
handled with taste and spirit. His plates execu-  good abilities as a designer, being admitted a pupil
ted in the latter style have great merit, and are  of the Royal Academy at the age of fourteen. In
much superior to his others.  After remaining   1784, he carried off the grand prize, for a marble
several years in Rome he returned to Paris, where  bas-relief representing Joseph sold by his brethren.
he was employed by M. Colbert, until his death,  He then went to Rome with the royal pension,
in 1683. The following are his principal plates.  where he remained five years, and returned to PaThose he engraved at Rome are generally marked  ris in 1789. He soon after executed a group to
Guilielmus Castellus Gallus.                       adorn the peristyle of the Pantheon, illustrating
A set of Portraits of the Popes. Portrait of M. de Col-  the Emulation of Glory, which increased his repubert; oval. Portrait of the Bishop of Ruette. 1670. The  tation.  He next produced his admirable statue of
Repose in Egypt; after Correggio. The Virgin, with  (Edipus, which was exhibited in 1801. Several statthe infant Jesus, embracing a Cross. The Life of St. The-   es busts; and bas-reliefs from his chisel appeared
resa. The miraculous Draught of Fishes; after Raafa-        succession allof whic
ele. The Baptism of Christ by St. John; after Albano in rapid   cession, all of which were of such merit
Paul restored to sight by Ananias; after P. da Cortona.  that Chaudet was ranked among the first modern
The Stoning of Stephen; after An. Caracci. The As-  sculptors.  lIe also attained distinction as a painter
sumption of the Virgin; do. Christ appearing to St. Pe-  and designer, and executed a large number of exter; do. The Repose in Egypt; after Correggio. The  cellent designs for the magnificent edition of RaHoly Family, with St. John; after C. Maratti. The Miracle of the Manna in the Desert; after N. Poussin   cme, published by P. Didot; also a great number
Christ curing the Blind; do. St. Paul taken up to Heav-  of medals illustrating the events in Napoleon's
en; do. The Preservation of the Young Pyrrhus; do.  life, and a fine painting representing Aneas and
The Death of Germanicus. 1663; do; fine. The Virgin   Anchises in the midst of the conflagration of Troy.
and infant Jesus; after Noe Coypel. The Holy Family;  Among his principal works in sculpture, were the
do.                                              silver statue of Peace in the Tuilleries; the statue
CHATEL, FRANCIS  DU, a Flemish painter,  of Cincinnatus, in the Hall du S6nat; the has reborn at Brussels in 1625; died in 1679. He was  lief representing Painting, Sculpture, and Archithe favorite scholar of the younger Teniers, and  tecture, which decorated the first gallery of the
followed the style of that master in his pictures   Musee Napoleon. He was appointed Professor of
of village festivals; but he is better known for  Sculpture, and as a contributor to the Dictionary
his small family portraits and conversations, in the   of Fine Arts, he has displayed great research and
style of Gonzales Coques. His pictures are some-  a thorough knowledge of his subject.  He died in
times mistaken for the works of that master. His  1810.
coloring is admirable, his touch neat and spirited,
and his drawing correct.  His most important         CHAUFOURRIER, JEAN, a French painter,
work isin the Town House of Ghent. It repre-  born in 1672. His works are particularly dissents the Marquis de Castel Rodrigo, governor of   tinguished for the excellence of the perspective,
the Low Countries, receiving the oaths and horn-         he taught this branch of the art with success.
age of the States of Brabant and Flanders to Charles  The principal are the Cascade of St. Cloud; a
II. of Spain; it is dated 1666.  This composition   Moonlight Scene on the Ocean; and a Bark overcontains an infinite number of figures, grouped in  tued  by the Wind.  Sylvestre has engaved
a masterly style, and touched with such neatness  some of his works.  He died at Paris in 1757.
and truth that it has often been thought a work   rCHAVEAU, FRANCOIS, a French  painter
of Gonzales.  A few years ago, a picture by Cha-       designer, and engraver, born at Paris in 1613;
tel was presented by the King of Holland to the  died in 1676; studied under Lawrence de Hyre,
Academy at Antwerp, which is so much in the   and painted small pictures in the style of that
manner of Teniers that it is even there ascribed to   master; but not meeting the success he anticipathat master.                                       ted, he devoted himself to engraving.  He at first
CHATELAIN, JOHN BAPTIST. This ingenious  used the graver, but soon abandoned it for the
designer and engraver was born in England, of   point, by which he could rapidly delineate the effuFrench parents, about 1710. His genius was great,  sions of a lively and abundant imagination. If
but in consequence of his dissipated life, his talents  his plates have not the delicacy and mellowness




CHAV.                        196                      CHEL.
that distinguish other artists, they have certainly all  scape; after Teniers. A Landscape, figures and horses;
the fire, force, and sentiment of which the art is ca-after Wouemans. ASea-port; do.
pable.  His smaller plates are considered his best      CHELLES, JEAN DE, a French architect, who
works. and are much in the style of Sebastian le  flourished, according to Felibien, about 1250.  He
Clerc.  The number of his plates is immense-    erected, among other fine edifices, the celebrated
about 4,000 according to L'Advocat-besides which   church of Notre Dame at Paris, and the portico
he executed many designs for sculptors, painters,  at the end of the transept, next the palace of the
carvers, goldsmiths, and embroiderers.  About  Archbishop.
1,400 plates have been engraved by other artists        CHENDA.  See RIVAROLA.
from  his designs.  The multitude of works in                                   rn     nrvr
which he was employed, brought many artists and         CHENU, PIERRE, a French engraver, born at
which he was employed, brought many artists and   Paris in 1730; studied under P. le Bas, and enauthors to his house, and their frequent meetings      aied uer P                                and e
and conversations there, terminated in the estab-       ved  several plates of portrts a   other sublishment of the French Academy.- He was ad-  jects, in a slight, pleasing manner.  The following
mitted into the Royal Academy of Painting and             theprincipa:
Sculpture in 1663, and obtained a pension for en-                         PORTRAITS.
graving the plates of the Carousel.  The follow-    Francis I. of France, with ornaments; after Nic. del
ing are his principal works:                         Abate. Antoine Perrenot, Cardinal of Granville. Pierre
Carlet de Champlain, de Marivaux, of the French AcadeSETS OF PRINTS.                    my. Bust of Diderot.
Les Delices de l'Esprit; fifty plates, designed and en-      sUBJECTS AFTER VARIOUS MASTERS.
graved by Chaveau. Nineteen plates for the History of
Greece. Many plates for Ovid's Metamorphoses; by Ben-   The Adoraionof the Shepherds;  ftr Bassano
serade. The Bible History; many plates. Severalplates  Christ driving the Money-changersfrom the Temple; do.
for Tasso's Jerusalem. The same for the Fables of La   The ancient Temple at Ephesus; after Breenberg.  RuFontaine.  Twenty-one plates for the poem of Clovis.  ins at Ephesus; do. A Landscape, with cattle; a.fter A.
Twelve plates for the Pucelle d'Orleans. Two hundred and   Vandevelde. The Sailor's Amusement; after D. Teniers.
forty-three medals; the collection of F. Orsini.      The Dutch Baker; after A. Ostade. View of the Castle
of St. Angelo; after Vernet.
DETACHED PRINTS AFTER HIS DESIGNS.              CHER,  IOVANNI, r,    L            alls him  G
The Annunciation. The Repose in Egypt. The Virgin       CHERELORANESE    native of Lorraine, who
and Infant, with St. John. The Crucifixion. The Mystery
of the Sacrament. 1676; in two sheets.  Meleager and  flourished at Venice about 1600.  Lanzi says he
Atalanta; circular. Venus and Adonis; the same.      was one of the best scholars of the Venetian masSUBJECTS AFTER VARIOUS MASTERS.              ters, and executed the historical piece which adorns
Christ with the Disciples at Emmaus; after Ttian; the  the Grand Council Hall of Venice.
same subject that is so finely engraved by Masson, called  CHEREAU, FRAN OIS, a French engraver, born
the Table-cloth. A Concert; after Domenichino;  als    t Blois in 1680; studied under Gerard Audran,
engraved by Picart. Twenty-two plates of the Life of St.  and is distinguished for the beauty of his graver,
Bruno; after the pictures by Le Sueur, inethe Carthusians  and the correctness of his design, especially in porat Paris. The Nativity; after L. de la Hire. The Holy         correctness of his design, especially in porFamily; do. Meleager presenting the Head of the Boar  traits, some of which are admirable. His portrait
to Atalanta; do. The Triumphal Arch for the Place Dau-  of Louis P6court has not often been surpassed.
phine; after Le Brun.                                 His plates are quite numerous,; the following are
CHAVEAU, RENE, a reputable French sculp-                principal:
tor, the son of Frangois C., was born at Paris in                         PORTRAITS.
1863.  He was employed by the French govern-    Louis de Boullogne; after a picture painted by himself;
ment on several works, after which he visited Swe-  engraved by F. Chereau, for his reception into the Acadeden, where he met with much encouragement, and   my in 1718. Nicholas de Largilliere, painter; after himincreased his reputation.  On his return to Paris  self. Andr Hercule, Cardinal de leury; aer  iga
fine. Melchior, Cardinal de Polignac; very fine. Louis
he was patronized by Louis XIV., and executed   Pgcourt, Maitre de Ballet; after Tournieres; very fine.
several works for that monarch, among which was  Elizabeth Sophie Cheron, paintress; from a picture by hera group in bronze, representing the Sun surround-  self. Louisa Maria, Princess of England; after A. S.
ed by the Four Seasons.  He also adorned with   Belle.
several fine works the Chateau de Frescati, and                SUBJECTS AFTER VARIOUS MASTERS.
the grand saloon of the Chateau de Saverne, for    St. John in the Wilderness; after the picture by Raffathe Cardinal Rohan.  He died in 1722.                 elle, in the Orleans Collection. The Crucifixion; after Guido. St. Catherine of Siena; after J. Andre. St. Cecilia;
CHEDEL, QUINTIN PIERRE, a French designer  after Mignard. St. Theresa in Contemplation. St. Igand engraver, born at Chalons in 1705.  His plates  natius, founder of the Jesuits.
are etched with great spirit, and sometimes finished    CHEREAU, JACQUES, the brother and scholar
with the graver in a masterly style.  He was  of Frangois C., was born at Blois in 1694.  His
much employed by the booksellers, and executed   subjects were portraits and history, and he was
a large number of plates.  The following are the   little inferior to his brother.  His prints possess
principal:                                            considerable merit, though they are not numerSUBJECTS FROM HIS OWN DESIGNS.              ous, as he quitted the graver to follow the business
A set of six Landscapes; dedicated to Madame de Pom-  of a print-seller.  He went to England, but not
padour. Six plates of Battles; dedicated to Count Turpin   meeting with much encouragement, he returned to
de Ceiss6. The Village Wedding, and the Village Feast.  Paris, where he died in 1759.  The following are
Two Landscapes with Ruins, called " Ruines de Cames."    his principal prints:
SUBJECTS AFTER VARIOUS MASTERS.                                  PORTRAITS.
Four, Attacks of Cavalry; after Vandermeulen. Four,    George I. King of England; Jac. Chereau, fee.; enLandscapes with Ruins; after Boucher. Two, Sea-pieces  graved in London. Philip of Orleans, Regent of France
with Fishermen; after A. Willaerts. Day-break, a land-  Michel de Montague. 1715  oval. J. Soanen, Bishop of




CHER.                       197                     CHEV.
Senez; after Raoux; very fine. Charles Joachim Col-  er, born in 1644, and studied under his father,
bert, Bishop of Montpelier; do.  Portrait of a Young  whom he surpassed in afewyears.  Theworks of
Lady holding a Dove; after Vanloo. Jane of Arragon,  Vandyck were particularly admired byThim, ank
Queen of Sicily * aftr                Vandyck were particularly admired by him, and
Queen of  Sicily; after Raffaelle.'
een of Si; after Ra.          he studied them with great assiduity. He painted
SUBJECTS AFTER VARIoUS MASTERS.           portraits, landscapes, fruit and flowers, and easel
The Holy Family; after Rcqfaelle; in the Crozat col-  pictures of history with equal success; and his
lection. The Virgin, with the Infant Jesus and St. John,
called la Belle Jardiniere; in the same collection. David  figu   were touched in a spirited style.  Having
with the Head of Goliah; after Dom. Feti; very fine.  attained considerable eminence, he left Flanders
David and Bathsheba; after Raoux. Christ washing the  and went to Madrid, where he was employed by
Feet of the Apostles; after N. Bertin. Vertumnus and  Louise, wife of Charles II., for whom he executed
Pomona; after F. Marot. The Descent from the i ross;  a number of fine works, especially several cabinet
after Charpentier. The Transfiguration; after Raffa-  picturs, among which was the History of Psyche.
elle.^~~~~~~~~~ ^     T gR'pictures, among which was the History of Psyche.
After the death of this princess, he painted the
CHERON, ELIZABETH SOPHIA, a French paint-  portrait of Marie Anne of Newburg, second wife
ress, born at Paris in 1648. She learned the ele-  of Charles II., who appointed him her painter, and
ments of design from her father, who was a Pariments of design from her father, who was a Par-  retained him in her service after the death of the
sian enamel painter, and soon rose into general es-  king.   e was afterwards sent to Paris to paint
teem by her performances, and particularly by her  the portrait of Philip V. before the departure of
portraits; for, besides their striking resemblace   that prince for Spain, and he died in that city, in
they were elegantly disposed, finely colored, and   1708.
neatly finished. She also painted several histori-,                                erman  engraver,
cal works; which were placed in the first collec-  bn a              on  te Oer in 1           s e
tions of Paris. She also engraved, both with the  born at Frankfrt n the Oder  in 1729; studied
point and graver, and executed several plates after  under. F Schmidt, but afterwards at Paris unher own designs of select antique gems and other  der J. G. Wille.       engved several pates in a
subjects. The collection of gems consisted of   T            are:
subjects. The collection of gems consisted of   neat style, principally after the French artists.
twenty-four plates, three of which she engraved;  They are:
the others were executed by Picart, Audran, and    The Portrait of Simeon Chardin; from a picture by himothers.  There are also by her a Drawing-Book of  self. Portrait of M. Le Noir; after Greuze. La Sante
portoe, and la bante rendue; qfter Terburg. A Girl
thirty-six prints; the Descent from  the Cross,  sewing, and another spinning; after Heilman. A young
after AbbU Zumbo; St. Cecilia, a Magdalene, St.  Girl caressing a Bird; after a drawing by Wille. The
Austin, St. John, and St. Paul, after Raffaelle.  young Coquet; after J. Raoux. The dangerous Beauty;
In 1676, le Brun proposed her as a candidate for   after Santerre. The Death of General Montcalm; after
the honors of the Academy, and she was received   Watteau.
with marks of distinction. She died in 1711.          CHIAPPE, BATTISTA, an Italian painter, born
C IERON,, a Parin p er, te br      at Novi in the Genoese, in 1723; studied at Rome,
CHERON, Louis, a Parisian painter, the brother of the preceding, born in 1660; died, accord-  and afterwards settled at Milan, where, according
ther of the preceding, born in 1660; died, accord-       C      R   he pain'   v3   i          which
ing to Zani and Nagler, in 1723. He acquired the  to Ca. Ratt, he painted seveal pictures which
elements of design at Paris, and then visited Italy,  gave promise of great abiity.   is best work was
where hiis sister enabled him to prosecute his stu-a picture in the church of S. Ignazio, representing
a picture in the church of S. Ignazio, representing
dies for eighteen years, during which time he  that Saint with a Glory of Angels; a composition
dies for eighteen years, during which- time he  characterised by grandeur and fine expression.
studied particularly the works of Raffaelle and   characteried by grandeur and fine expression
Giulio Romano.  On returning to Paris, he was  Chiappe died in 1765, in the midst of a successful
employed to paint two pictures for the church of   career         aordingto Lanzi was the last GenoNotre Dame, iepresenting the Decollation of St.  ese pnter of any distinction.
John, and the prophet Agabus before St. Paul.    CHIARI, FABRIZIO, a Roman painter and enThey are correctly designed, but indifferently col-  graver, born, according to Orlandi, in 1621; died in
ored, and composed in a feeble and inanimate style.  1695; painted several good frescoes in the Roman
Being a Calvinist, he was compelled  to leave  palaces.  There are a few etchings by thiF artist,
France, and he went to England, where he was  which are executed in a spirited style.  They are:
employed by the Duke of Montague, and others of    Mars and Venus, in a landscape; Fabritus Clarus.
the nobility. Cheron also etched several plates  1635. Venus and Adonis; signed Nicolaus Pussinus, in.
from his own designs, executed with spirit and   f. This etching has been attributed to N. Poussin, but it
taste, and correctly drawn.  They are:             is by Chiari. Venus and Mercury, with Children.
taste, and correctly drawn. They are:
St. Peter curing the lame Man at the Gate of the Temple.    CHIARI, GIUEPPE, an eminent Roman paint.
The Death of Ananias and Sapphira. The Baptism of the  er, born in 1654; died in 1727; was the favorEunuch by St. Philip. Hercules reposing after his Labor;  ite scholar of C. Maratti, at whose death Chiari
fine. Twenty-three subjects for the Psalms of David;  completed his cartoons for one of the domes of
translated by his sister.                          St. Peter's, to the perfect satisfaction of CleCHERON, CHARLES, an ingenious French en-  ment XI.  He was continually employed on grand
graver, born at Luneville in 1635. He visited   works for the churches and palaces of the nobility.
Rome, where his talents gained him  the appoint-  The principal are the ceiling in S. Maria di Montement of chief engraver to the pope. Louis XIV.,  santo, and the Adoration of the Magi in S. Maria
learning the abilities of this artist, gave orders to  del Suffragio. In the Spada Palace are four pichis ambassador to persuade Cheron to return to  tures by him of subjects from Ovid.  Chiari also
Paris, and the king commissioned him to engrave   painted an extraordinary number of subjects from
all the medals which were'executed in honor of   sacred and profane history, as well as fancy-pieces
that monarch; he also gave Cheron apartments  which spread his reputation, not only through
in the Louvre, with a considerable pension.  He   Italy but through all Europe. His touch was delidied in 1699.                                      cate, his coloring agreeable, and his design elegant
CHESEL, JAN VAN, a reputable Flemish paint-  and correct. He died at Rome in 1727.




CHIA.                    198                     CH1R.
CHIART, TOMMASO, a brother of thepreced-  execute the statues of the Four Evangelists, for
ing, was born at Rome in 1665, and died in 1743.  the church of St. Paul at Lyons, which added to
He also studied under Carlo Maratti, but he never  his increasing reputation, and enabled him to visit
acquired much distinction.                       Italy. At Rome he studied with the greatest asCHIARINI, MARC' ANTONIO, a Bolognese  siduity, and improved so rapidly that in 1786 he
painter, born in 1652; died in 1730; studied four  gained the grand prize of the Academy of St.
years under Francesco Quaino, and afterwards un-  Luke, on which occasion he executed his admiraderDomenicoSanti. He was noted for his archi-  ble group  of Perseus delivering Andromeda.
tectural views, which were decorated with figures  While at Rome, he executed a number of copies
by Sigismondo Caula. He was much employed  after the antique, some of which were purchased
by the nobility of Bologna, Modena, and Milan,  by Chevalier de Jouy, to enrich his elegant hotel
and his works were highly valued.                at Lyons. Among these were the busts of BacCHIAVEGHINO. IL. See ANDREA MAINARDI.  chus, Ariadne, Homer, and the Pythian Apollo;
C^                             a statue of Venus; a group of a Lion and a Bull
CHIAVISTELLI, JACOPO, an eminent Floren-  fighting; another of a Centaur subdued by Cutinepainter of architecture and perspective, born,  pid; and the Laocoon. In 1789 he returned to
according to Zani, in 1618; studied under Fabrizio  Lyons, and was commissioned to erect at GrenoBoschi, but afterwards in the school of M. Angelo  ble a magnificent monument to Chevalier Bayard,
Colonna, where he surpassed all his competitors,  which he designed, but did not execute in marble,
and manifested great genius. He painted chiefly  on account of the troubles of the times. In 1790,
in fresco, and his works were highly esteemed for  he produced a colossal statue of Liberty, and one
their variety of invention, elegance of composition,  of Madame Vanrisambourg in the character of
and beauty and delicacy of coloring. In his per-  Minerva. In 1791 he revisited Italy, and comspective designs, he showed the utmost perfection' menced for M. Vanrisambourg (a violent revoluof the art; delighting the eye by the truth and  tionist), two marble groups, representing Jupiter
exactness of his drawing, and enriching his archi-  overthrowing the Aristocracy, and the Goddess of
tecture with statues of exquisite taste and bold   Reason trampling on Superstition, for which he
relief. He was employed in several important  was seized and confined about six weeks in the
works at Bologna and Florence, and was much  castle of St. Angelo. On his liberation, he immepatronised by the Grand Duke; and by his inde-  diately left Italy and returned to Lyons, where he
fatigable labors he acquired an opulent fortune.  executed a group of Liberty and Equality, placed
He died in 1698.                                 over the entrance to the Hotel de Ville. The talCHIESA, SILVESTRO, an eminent Genoese por-  ents of this indefatigable artist were constantly
trait painter, born in 1623. He studied in the  employed until 1800, when he made a third voyschool of Lucian Borzoni, where he made rapid  age to Italy. On his return, he was admitted to
progress, and at the age of eighteen his works  the Academy of Arts and Sciences at Lyons; and
were very much admired, and gained him  great  in 1807 was appointed professor of sculpture in a
reputation. He delineated the features with won-  school of design established there in 1805. As a
derful truth and precision, and had a peculiar tal-  sculptor of busts, he deserves to rank among the
ent for retaining in his memory the appearance of   highest. His works are characterised by purity
a person he had once seen, so that he could paint  of taste, excellence of composition, and great delian excellent likeness. Chiesa's genius was not  cacy and facility of execution. In 1811, he execuconfined to portraits; he executed several large  ted a marble statue of Peace for the city of Marcompositions which showed great ability; and he  seilles. He died in 1813.
would have attained eminence in that branch also,    CHIRINOS. JUAN DE, a Spanish painter, born
had he not died in 1657, aged 34 years.          at Madrid in 1564; died in 1620; studied under
CHIGHI. See GHISI.                             11 Greco, according to Bermudez, and painted, in
CHIMENTE. DA EMPOLI, JACOPO, a Florentine  concert with Bartolome de Cardenas, the greater
painter, born in 1554; died in 1640; studied un-  part of the pictures in the Convent de Nuestra
der Tommaso Manzuoli di S. Friano, and followed   Senora de Atocha, at Madrid.
his style. After the death of that master, he im-    CHIRISOPHUS, a Cretan architect. It is not
proved himself by the study of the works of An-  known when he flourished. but according to Paudrea del Sarto. His design is excellent, his color-  sanias, he erected a number of temples at Tegea,
ing pleasing, the airs of his heads are graceful and  a city of Peloponnesus; one of which he dedicated
agreeable, and his productions are full of life and  to Ceres and Proserpine, another to the Paphian
spirit. He was celebrated for copying the works  Venus, and one to Apollo, in which was a statue
of the best masters, and his copies were so admi-  in honor of the architect.
rably executed that good judges were occasionally  CHODOWIECKI, DANIEL NICOLAS, an emideceived. Moreni praises his frescos in the Gerto-  nent German designer and engraver, born at Dantsa, and in the monastery of Boldrone at Florence.  zic in 1726. His father was a drug merchant,
He had the misfortune to fall from a scaffold,  and intended him for the same business; but havwhich obliged him to have recourse to oil-painting.  ing some knowledge of miniature painting, he
One of his best works is his St. Ivo, in the Flo-  taught it to his son as a means of recreation, but
rentine Gallery, which is much admired.          the latter made it his principal study. After the
CHINARD. JOSEPH, an eminent French sculp-  death of his father, he was apprenticed to his uncle,
tor, born at Lyons in 1756. He studied in the  a grocer of Berlin; and during his leisure moments
free school of design established by the king in  employed himself in painting snuff-boxes, which
that city, and taught by Nonnotte. He drew sev-  he sold to the shop-keepers. His uncle perceiving
eral prizes there, and afterwards studied sculpture  his talent might be made a source of profit, perunder Blaise. In 1780 he was commissioned to  mitted him to learn the art of enamelling, and the




CHOF.                      199                    CHR1.
young artist applied himself with the utmost assi-    CHRISTOPHEN, JOSEPH, a reputable Dutch
-]uity. Some of his productions attracted the no-  painter, born at Utrecht in 1498. He studied in
tice of the Academy, and he was employed by that  the school of Anthony More, where he made rapid
society to make designs and engrave the figures  progress, and was successful both in portrait and
for their almanac. This he accomplished with so  history. His style was founded on those of P.
much spirit, that it brought him into general no-  Perugino and Giovanni Bellini, his touch was
tice, He produced a series of 12 plates of the  pleasing, his coloring very harmonious, and his
Passion of Christ, of small size, but so delicately,  perspective was much superior to the generality
yet spiritedly executed, that they gained him   of his cotemporaries. He was invited to the court
great reputation. In 1767 he published a print  of Lisbon by John III., where he executed a nuinmentitled Les adieux de Calas, which was greatly  ber of fine works for the churches and royal paladmired, and is very scarce. He was now so ful-  aces. The king was so highly pleased with his
ly occupied with designing and engraving, that he  performances, that he made him knight of the Orwas obliged to discontinue painting. He executed,  der of Christ, and loaded him with benefits.
according to Nagler and Heineken, a large number    CHRISTOPHSEN, PETER, a German painter
of prints for the periodicals of the day, besides the  of the 15th century, called Pietro Crista by Vaplates for Klopstock's Messiah, and Don Quixote;  sari. Little is known of the events of his life. In
for editions of Shakspeare, Voltaire, La Fontaine,  the gallery of the Berlin Museum, is a portrait of
and many other illustrated works.  His prints  a young girl, inscribed with his name, which is
have true reprcseatations of the costumes, etc., of  distinguished for its simple and beautiful executhe times to which they relate. He was elected  tion. At Cologne, in the possession of Herr OpDirector of the Academy of Arts and Sciences in  penheim, is a picture of St. Eligius, as a goldsmith,
Berlin, and died there in 1801.                   selling a wedding ring to a bridal pair, dated i449.
CHOFFARD, PIERRE PHILIPPE, a French engrav-  Mr. Aders of London, had a picture by him of the
er, born at Paris, according to Basan, in 1730;  Virgin and Infant, with Saints, inscribed Petrus
died in 1809. He executed three good plates, re-  XPR. me fecit, 1417.
presenting a View of the Bridge of Orleans, after    CIAFFERI, PIETRO, a painter of Pisa, who
Desfriches; the Cascade of Brunoy, after Grave-  flourished, according to Lanzi, about 1654. He
lot; and two sets of flower-pieces, after Bachelier.  resided chiefly at Leghorn, where he was much
He also engraved several vignettes and other book-  employed in painting shipping and sea-views, decplates for editions of La Fontaine, and Ovid's Met-  orated with figures, very neatly touched, and coramorphoses. He published a Notice Historique  rectly drawn. His works are chiefly at Leghorn
sur Ilart de la gravure, which was republished in  and Pisa, where they are much esteemed.
Basan's work in 1809.
Basan's work in 1809.                  CIALDIERI, GIROLAMO, a painter of Urbino,
CHORIS, Louis, an eminent Russian draughts-  born in 1593; studied under C. Ridolfi. Lanzi
man and traveler, of German descent, born in 1795.  says he had great facility of execution and softness
He was educated in the-Academy of Kharcov, where  of coloring. He painted landscape in an excellent
his taste for drawing recommended him to the no-  style, and introduced architectural pieces into his
tice of Marshal de Biberstein, whom  he accom-  backgrounds with taste and judgment. Several
panied to the Caucasus in 1813; and in the next  of his works are in the Roman churches, the best
year he was appointed draughtsman to the expe-  of which is the Decollation of St. John, in*6. Bardition round the globe, commanded by Kotzebue,  tolomeo.
which sailed from  Cronstadt in 1815, and re-         CIAMBERLANOLucA, a painter of Urbino.
turned in 1818.  Choris then studied at Paris,        born about 1580 and practised from 1603 to
under Gerard. In 1820 he published in that city   1640. His profession at first was the civil law, in
three pictorial works, respectively entitled, Voyage  which he had attained a doctor's degree, when he
Pittoresque Autour du Monde, fol., accompanied  abandoned it for the study of painting and engravwith Cuvier's descriptions; Observationes sur les  ing. He resided chiefly at Rome, where he enCrines Humains, with remarks by Gall and  graved a large number of plates from his own
others; Vueset Paysages des Regions Equinox-  designs, and after the great masters. They are
iales, Paris, 1826, fol., with colored engravings   executed entirely with the graver, and have conIn 1827, he proceeded to Mexico, in company with  siderable merit, though the outline of his figures
an English gentleman named Henderson, but was  is not very correct. Bartsch enumerates 114 plates
slain by a party of robbers, near Xalapal, in March,  by him, of which the following are the principal:
1828.                                              Thirteen plates of Christ and the twelve Apostles; afteiCHRIEGER, or CHRIEG, CHRISTOPHER, a  Raffaelle. St. Jerome dead, lying upon a stone; do.
German engraver, who is said by Papillon to have  Christ on the Mount of Olives; after A. Casolani. Christ
executed the admirable wood engraving of the na-   ppearing to Mary Maglene; afte Federio Baoccio,
val combat at Lepanto, which was published at  inscribed Lucas Ciamberlanus, Urbinas I. V. Doctr.
val combat at epanto, which  was published at  del. etsculp. 1609. Christ appearing to St. Theresa; afVenice in 1572, by Cesare VeceHi, a relative of Ti-  ter Caracci. 1615.
tian, who is supposed to have made the design.    CIAMPELLI AGOSTINO an eminent FlorenIt is inscribed Christophs. Chriegr. Alit. inc.   t      intci a   rchitect, born in 1578  studied
tine painter and architect, born in 1578; studied
CHRISTOPHE, JOSEPH, a French painter, born  under Santo di Titi, and became distinguished
at Verdun in 1667, and died at Paris in 1748.  among the painters then flourishing at Rome.
He painted history with considerable success, and  He did not equal his master in invention or comwas chosen a member of'the Royal Academy. His  position; but his conceptions were graceful, and
picture of the Miraculous feeding of the Multitude,  his design correct; his coloring is more brilliant
was one of the finest ornaments of Paris before  than is usual in the Florentine school, though
the Revolution.                                   sometimes too red. In S. Stefano di Pescia. is his




CIAN.                     200                     CIGN.
celebrated picture of the Visitation of the Virgin  landscape, and flower pieces. His principal histo Elizabeth, with two laterals; also in S. Pras-  torical works are in the church of S. Francisco de
sede the Crucifixion, painted for his patron, the   Paula at Madrid. He died in 1696.
Cardinal de Medici. Two of his finest works in      CIGNANI, CAV. CARLO, an eminent Bolognese
fresco are in the Chiesa del Gesu, representingthe  painter; born in 1628; died in 1719. HewasofnoMartyrdom of St. Andrew, and a Glory of Saints  ble descent, and his juvenile attempts in the art
and Angels on the ceiling. As an architect, Ciam-  were some drawings after the pictures in his father's
pelli attained considerable distinction, and was ap-  collection. He first studied under Battista Cairo.
pointed to superintend part of the improvements  but afterwards under Albano, and became one of the
of St. Peter's.  He died in 1640.                 most celebrated of his disciples. On leaving that
CIANFANINI, BENEDETTO, a Florentine paint-  master, he visited Rome, Florence, and Parma,
era who studied under Fra Bartolomeo in his best  studying particularly the works of Raffaelle and
time, and was one of his ablest scholars; but Lanzi  Correggio. While at Rome he painted two picsays there are no longer any authenticated works  tures of subjects from the life of S. Andrea della
by him.                                          Valle, in the church of that Saint; and a picture
CIARLA, RAFFAELLE, a native of Urbino, cele-  in the Basilica of St. Peter's, which has been de
CIARLA,  RAFFAELLE, a native of Urbino, celebrated for the beauty of his designs and skill in  stryed by damp. On returning to Bologna he
painting porcelain. This manufacture was carried  painted in the great saloon  of the palace by order
of Cardinal Farnese, his celebrated work of the
to high perfection from 1540 to 1560 at Urbino,     of C   ardinal Farneseu his celebrated iork o the 
and the vases and other vessels were ornamented   e     of oe  au III. into  ooge Paswith the designs of Raffaelle, Michael Angelo, and  sage of Francis I. through that city. He soon acother great masters, and these services were sought  quired a dstguished reputation, and was greatly
after by the Princes of Europe. The Duke Gui-  maligned by his rivals, who even defaced several
of his works. He founded the Clementine Acaddobaldo sent Ciarla with a large assortment to pre-  emy at Bologna, of which Clement XI. ppointsent to Charles V. of Spain.                      ed him the head and conferred on it his name.
CIARPI, BAccIo, an excellent painter, was born   About this time Cignani was commissioned to
at Florence in 1578, and died in 1642. He is cele-  paint the cupola of la Madonna del Fuoco at
brated as the master of P. da Cortona. He painted   Forli, which occupied him about twenty years;
in the style of Santi di Titi, and was so skillful an   and so much were his scholars attached to him,
artist, that he was thought worthy of being em-  that they followed him to Forli, where the school
ployed in La Concezione at Rome, a magnificent  was continued till his death. This great work regallery, ornamented with the works of the greatest  presents the Assumption of the Virgin; an immasters.                                          mense composition of great merit, which establishCIBBER. CAIUs GABRIEL, a German sculptor,  ed beyond cavil the fame of the artist. Lanzi says
born'at Holstein, and flourished about 1670. He  it is the greatest effort of the kind in the 17th
went to England where he received much encour-  century. Cignani had great facility of invention,
agement, and was employed to execute'the bas-  but it was with difficulty that he finished a subreliefs and ornamental sculpture of the Monument  ject to his own satisfaction. His picture of the
of London. He is principally known, however,  Flight into Egypt, painted for Conti Bighini, occuby the two figures representing Raging and Mel-  pied him six months. His works, though highly
ancholr Madness, which are now in the new Beth-  finished, have nothing of a labored appearance.
lehem hospital, St. George's Fields.              He excelled in painting women and children,
CICCIONE, ANDREA, a reputable Italian archi-  which he represented with all the grace of Albatect who flourished about 1440. He studied in the  no, but with a more elevated expression. His
school of Masuccio the younger, where he attained   design is founded on that of Correggio, though inconsiderable distinction. Among other good works,  ferior to that great mater. His figures, like those
he executed the famous monastery and church of  of the Caracci, have a bold relief, which makes
Monte Oliveto; the beautiful palace of Bartolomeo  them seem larger than they really are.   is colof Capua, prince of Biccia. He also designed the  oring is admirablend resembles more the manthird cloister of S. Severino, in the Ioic order   ner Guido, than that of Correggio. His principal
and the small church of the Pontano, near the  works at Bologna are the Nativity, painted in
Pietra Santa.                                     fresco, in S. Giorgio; the Virgin and Infant Enthroned, with several Saints below, in S. Lucia;
CICERI, BERNARDINO, a painter of Pavia, was  four subjects of sacred history, in ovals, supportborn in 1650, and was one of the ablest scholars  ed by angels of great beauty, in S. Michele, esof Carlo Sacchi. He afterwards visited Rome to  teemed among his most admirable paintings in Bocomplete his studies, and on his return to Pisa, met  logna. His pictures of Charity, and the Chastiwith great employment by the churches and for  ty of Joseph, are well known in foreign countries;
private collections.                             the last he repeated, and other artists have freCIEZA, or CIEZAR, MIGUEL GERONIMO, a rep-  quently copied it.
ntable historical painter of Granada, who studied   CIGNANI, FELICE, the son and scholar of Carander Alonso Cano. Palomino mentions several  lo C., born at Bologna in 1660; died in 1724. His
of his best works in the convent del Angel, and   works indicate considerable ability, though he does
in the hospital Corpus Domini, at Granada. He  not appear to have practised the art except when
died in 1677. He had two sons, one named Vin-  prompted by inclination, as his father left him an
cent C., whose works are confounded with those  ample fortune. In the church of the Carit& at
of his father, and who died about 1700. The other  Bologna is a picture by him of the Virgin and Inwas named Joseph C., born at Granada in 1656;  fant, with Saints, and at the Cappuccini, an admiwas instructed by his father, and painted history,  rable picture of St. Francis receiving the Stigmata.




CIGN.                     201                    C(1MA.
CIGNANI, PAOLO, the nephew and scholar of        CIMABUE, GIo. For several hundred years
Carlo C., born at Bologna in 1709; died in 1764.  after the time of Nero, the arts continued to deLanzi praises a picture by him at Savignano of St.  generate, until they were totally lost in the night
Francis appearing to St. Joseph of Copertino. The  of the Dark Ages. Greece still preserved a missubject is represented by candle-light, with a fine  erable remnant of their former glory, and it has
effect, and the figures well designed, in the style  been shown that painting was practised at Pisa
of the antique.                                  and Florence, nearly two centuries before CimaCIGNAROLI, Gio. BETTINO, a Veronese paint-  bue; but it was left for the latter to rescue the art
er; born in 1706; died in 1770; studied under  from its gross and barbarous state, so that he has
Santo Prunati at Venice, and afterwards under  been called the father of modern painters. There
Antonio Balestra. He was one of the best paint-  is much obscurity and contradiction in the accounts
ers of the modern Venetian school, and was invi-  of this artist. He was of noble descent, and was
ted to several of the courts of Italy, but preferred   born at Florence in 1240. At an early age he
to reside in Venice, where he executed many works  manifested a strong inclination for art, and is said
for the churches and principal galleries. His back-  by Vasari to have learned painting from  some
grounds are ingeniously decorated with admirable      reek painters, who were employed in the church
architecture and pleasing landscapes, and his sub-  of S. Maria Novella. Others suppose he was injects, usually devout, are enlivened with groups  structed by Giunta Pisano, who is said by Morona
of cherubs and angels, which he introduced with  to have painted several pictures for the churches
the happiest effect. At Pontremoli is an admira-  of Assisi, about 1230, and who, P. Angelo asserts,
ble picture by him, of St. Francis receiving the  was instructed by some Greeks about 1210. The
Stigmata. His Flight into Egypt, in S. Antonio  productions of Cimabue, though of little merit as
at Parma, is highly extolled by Lanzi, who says  compared with those of succeeding times, were reits excellence approaches that of Carlo Maratti,  garded with the greatest astonishment, and when
though inferior in harmony of coloring and effect.  he had finished his picture of the Virgin for S.
CIGNAROLI, MARTINO, a Milanese painter,  Maria Novella, the Florentines carried it in triumborn in 1649; died in 1726, according to Zani;  phal procession to the church for which it was desstudied at Verona, under Carpioni.  He was dis-. Few ofhis worksave remained to the
tinguished for his easel pictures of landscapes   present day  In the S. Croe, at lorence, is still
which were executed in an admirable style.       preserved a picture of St. Francis, painted when he
CIGAROL I, SS a sn of te           was young; and in S. Stefano, an excellent porICIGNAROLI, SCIPIONE,was a son of the pre-  trait of St. Cecilia. Zani says he was living in
ceding artist. He learned the elements of design   1302.
from  his father, and then visited-Rome, where
he studied under Tempesta, and imitated success-    CIMAROLI DA SALO, GIAMBATTISTA, a Vene
fully the style of that matter, and also the works  tian landscape painter, who flourished from  1718
to 1733.  Little, is known of the events of his life.
of Salvator Rosa, and G. Poussin whose styles are                  known of the events of his life.
discernable in his                  s works are occasionally seen in England, where
at Milan and Turin. His merit and reputation re-  they are confounded witth hose of the Cignaroli.
commended him to the court, where he lived sev-Some have supposed that Zuccarelli took lessons
meral years in the greatest esteem.              "    from him, as his early pictures have some resemCIGOLl. See CARD.                              blance to those of Cimaroli, though with less
warmth.
CIGONINI, ANTONIO, an Italian painter who  war
CINCINNATO, ROMULO, a Florentine painter,
flourished at Cremona, in the latter part of the    CINCINNATO, ROMULO, a Florentine painter,
fifteenth century, where there are a few  of his  born about 1525, died in 1600; studied under
works, whichLanzi says do not rise above medi-  Francesco Salviati, and in 1567 was invited by
ocrity, though Zaist speaks of him  as a skilful  Philip II. to Spain, where he passedth  greater
artist.                                          part of his life. His principal works are in the
CIMA, Gio. BATTISTA  called IL CONEGLIANO,  Escurial, where he painted the great cloister in
an Italian  fresco, and in the church two pictures of St. Je-.an Itaian tpainter, born at Conegliano, near Tre-  rome reading, and the same Saint preaching to his
vigi, in the State of Venice, and practised the art,from  the life of St.
according to Zani, from 1489 to 154. He followedlife of St.
asccording tohe style of Gito 1541. Heli followed   Lorenzo. He painted some mythological subjects
successfully the style of Gio. Bellini, and Zani  in fresco in the palaceof the Duke del Infantado,
considers him superior to that master in color and  in fresc, in te alac o the ircumcon in the J
expression, though he did not equal him  in soft-  at Guadalaxara; lso, the circuiison  in the Jesness and harmony. One of his best works is the  uit churchat Cuena which     one of his fines
Virgin and Infant receiving the homage of several  works. He had two sons, Diego and Franceso,
saints; it was formerly in the dome of the cathe-who were instructed by their father, and were
dral at Parma, but is now in the Louvre.  Zaniprincipally engaged in painting portraits.
mentions a most admirable work by this artist,    CINCINNATO, CAV. DIEGO ROOOLO, son and
which was in S. Niccolo at Carpi, representing the  scholar of the preceding artist, was born at MaDescent from the Cross; it was originally in the  drid about 1570. He was very eminent as a porcollection of Alberto Pio, prince of Carpi, who  trit painter, and Philip IV. of Spain, took him
esteemed it equal to the works of the great mas-under his patronage and sent him to Rome to paint
ters. In S. Giovanni, at Venice, is a fine picture  the portrait of pope Urban VIII. He paitedthe
by him of the Baptism  of Christ. Rosini has a  portrait of Philip, which so much pleased that
very beautiful print from a picture by Cima in the  monarch that he knighted him and presented him
gallery at Parma, of a subject differing slightly   with a gold chain and medal. He also painted the
from that in the Louvre. He also painted por-  portraits of many of the personages of his time.
traits of small size, some of which have been sent  He died at Rome in 1635.
to England.                                         CINCINNATO, CAv. FRANCESCO  ROMOLO




CING.                    202                   CIRE.
brother of the preceding artist, was born at Ma-  works at Rome, ar. I after the death of the latter
drid. He studied under his father, and acquired  he resided several years at Citt& Castello, where
distinction, especially in portraiture, and was hon-  he painted some of his best works, the most esored with knighthood, by the king. He died at  teemed of which was the Conception, in the ConRome in 1636.                                  ventuali, which Lanzi says combines the styles of
CINGANELLI, MICHELE, a Florentine painter,  Baroccio and Roncalli. Baglioni says he returned
CINGANELLI,  MiCHELE, a Florentine painter,
to  Rome in the time of Urban VIII., and was much
who studied under Poccetti. He painted in the  to Rome in the time of Urban VIII., and was much
who studied under Po. 4ti.   He' painte inr the  employed for the churches. He painted several
Metropolitan Church at Pisa, about 1600, where,  employedfor the churches. Hepainted several
according to Morrona, he emulated the best Tus-           the Life of St. Alberto, for the Camecan artists, in a grand historical picture of Joshua.  lite church of S. Maria; also, several subjects from
can artists, in a grand historical picture of Joshua.  t  l  o t  V  
He was more eminent as a decorative painter for     f  f the Virn, in la Madonna della Consothe churches. 
CINGUI, GIOVANNI, a painter of the Florentine    CIRELLO, GIULI  a native of Padua, who
School, was born in the Florentine State, in 1667 studied under Luca Ferrari, a pupil of Guido, whose
School, was born in the Florentine State, in 1667.  stylehefollowed. Hewas areputableartst and
H~e studied under Dandinif and acquired consider-  style he followed. He was a reputable artist, and
He studied under Dandini and acquired consider-  flourished at Paua abouthe clse of the sevenable reputation. His portrait is in the Ducal Gal-  teenthcentury.
lery. He died at Florence in 1743.             teenth century.
CITTA DI CASTELLO, FRANCESCO, DA. This
CIOCCA, CRISTOFORO, a native of Milan, whom   artist derives his name from the place of his naLomazzo commends as one of his best pupils, espe-  tivity.  He studied under Pietro Perugino, and
cially in portraits. Lanzi says he never acquired  was considerably employed by the churches as his
much distinction, and that his only public works  name appears in the Guida di Roma, as one of
are the histories of St. Cristoforo in the Church  the artists who painted in the chapel of Bernardi
of S. Vittore al Corpo, at Milan, by no means  no in Ara Coeli. In the church of the Conventuexcellent.                                     ali, at CittA da Castello, is a fine altar-piece by him,
CIPRIANI, GIO. BATTISTA, a Florentine paint-  representing the Annunciation with a beautiful
er and designer, born about 1728, died in London  landscape.
in 1785. Lanzi says he formed his style from the    CITTADELLA, BARTOLOMEO, a painter of the
works of Gabbian, a Florentine painter who flour-  Venetian school, who, according to Guarienti,
ished a few years before him. His first public  flourished at Vicenza in the latter part of the
works were two pictures of St. Tesauro, and St.  seventeenth century. He wrought with great raGregory VII., painted for the abbey of S. Miheele,  pidity, and Lanzi says there are a multitude of his
at Pelago. He went to Rome in 1750, where he  works at Vicenza, in which he imitated the styles
remained a few years, and then visited England,  of Paolo Veronese and the younger Palma. Probwhither his reputation had preceded him; at this  ably from this fact he did not acquire much disperiod, the engraver, Bartolozzi was in his prime,  tinction.
and the union of their respective talents of designing and engraving produced many works of rare      ITTADINI, PIER   ANCES, calledIL 
excellence. Cipriani executed a few large paint-  LANESE a painter of Milan; born about 1616,
ings, the principal of which are at Houghton. He  died in1681; studied under Guido. He painted
has left, however, an infinite number of admirable  principally subjects of still-life, and many of his
drawings. His forms were attractive and elegant,  pictures are in the Bolognese collections. He was,
his composition graceful, and his invention abun-however, capable of higher things, s is evident
dant. He was one of the first members of the Royal  from his Stoning of Stephen, Christ Praying in the
Garden, the Flagellation, and the Ecce Homo, in
Academy, at its foundation in 1769. There are a, a   t  E    H 
few plates of portraits, engraved by this artist from   the church of S. Stefano; and his St. Agata in the
his own designs, among which are: Algernon Sid-  church of that Saint. These works are not unney, Edmund Ludlow, John Locke, John Milton,  worthy of a scholar of Guido, and it is to be reThomas Hallis, Andrew Marvel; also, the Mother  gretted that he should have left this branch of the
and Child, The Death of Cleopatra, after B. Cel-  art. Hehadtwo sons,named  Gio. Battista and
lini, The Descent of the Holy Ghost, after Gab-  Carlo, who resided chiefly at Bologna, and painted
biani, oval.                                   subjects of still-life, in the manner of their father.
CIRCIGNANI, NICOLO, called DALLE POMER-    CITTADINI, GAETANO, a Bolognese painter,
CE or IL POMERANCIO, a Tuscan painter, born  the son and scholar of Carlo., who lived about
at Pomerance in 1516. Baglioni says he visited        He excelled in pating landscapes of a
Rome while voung, in the time of Gregory XIII.,  small size, decorated with figures, designed in a
by whom he was employed in the great saloon of  correct and spirited manner  Hiworks are held
the Belvidere. He resided there the greater part  in estimation, both at Rome and Bologna.
of his life, and painted many pictures for the    CIVALLI, FRANCESCO, a painter of Perugia.
churches, among which is the Stoning of Stephen   Born in 1660, died in 1703. Studied under Gio.
in S. Stefano, and the Crucifixion in S. Antonio.  Andrea Carloni, and afterwards at Rome. under
He also painted the Cupola of S. Pudenziana, and  Baccici. He painted history with reputation, but
in il Tempio de Gesu there are two chapels painted  was more distinguished for his portraits, which
entirely by Circignani; in one he has represented  possess considerable merit.
the Nativity, and in the other, several subjects    CIVERCHIO, VINCENZIO, an Italian painter,
from the lives of St. Peter and St. Paul. He was  a native of Crema, in the Venetian State, who
living in 1591.                                flourished, according to Lanzi, from 1500 to 1535.
CIRCIGNANI, ANTONIO, the son and scholar  He painted in the public palace of Crema, the perof the preceding; born at Pomerance, in 1560,  traits of the most distinguished persons of that
died in 1620. He assisted Niccolo in many of his  city, which are particularly described by Ridolfi.




CLAE.                    203                    CLAU.
In the cathedral is a picture by him of the Annun-  Florent Le Comte says that Classicus was also a.
ciation, and in the council chamber, there was a  sculptor and architect, but none of his works are
celebrated picture by this master representing Jus-  mentioned.
tice and Temperance, which was so highly esteem-    CLAUDE. See LORRAINE.
ed that when Crema was taken by the French, it
was sent to Paris. Civerchio is said to have dis-    CLAUDE, an ingenious French painter on glass,
tinguished himself, also, as an engraver and an  born  about 1468, and practised at Marseilles,
architect, but none of his works are mentioned.    where he enjoyed a high reputation. He was inCLJAESSENS, ANTONY, a Flemish painter, who  vited to Italy by the great architect Bramante, to
CLAESSENS, ANTONY, a Flemish painter, who
practised at Bruges about 1490. He was a follow-  paint  the windows  of the  Vatican;  and taking
er of the Van Eyck school, and is said to have  with him one Guillaume,a monk of the order of
been a scholar of Quintin Metsys. There is a  the Dominicans he went to Rom  where heex
-capital picture by him, in the Town House at  cuted, in concert with the latter, the largewindows
Bruges, representing the Feast of Ahasuerus; also,  of the pontifical palace; also, two windows in S.
two pictures in the Academy, formerly in the  Maria del Popolo, which still remain, and preTown House, representing the Judgment of Cam-  serve all the brilliancy of their coloring. Claude
havenumerousfigures,  died at Rome soon after the completion of this
byses. Both compositions have numerous figures work.
correctly drawn and finely colored.
CLAESSOON, ARNOLD, called  by  Dutch            CLEEF,or CLEEVE, JoAs or JOOST VAN, called
writers AART KLAASZOON, or AARTGEN VAN LEY-  SOTTO CLEEF, a Flemish painter, born at AntDEN, a Dutch historical painter, born at Leyden in   werp about 1500. He was the son and scholar of
1498, died in 1564.  Studied under C. Engel-  Wmi  Van Cleef, a painter of whom little is known,
brechtsen, and at first followed his style, but after-  except that he was a member of the academy at
wards adopted that of John Schoorel. He com-  Antwerp. Cleef was an admirable colorist, and
posed his subjects with surprising facility. Van  his pictures are designed and composed more in the
Mander praises two pictures by him at Leyden,  Italian than in the Flemish stle. He went to
representing the Crucifixion and Christ Bearing  England in confidence of the most brilliant sucHis Cross. He was ill rewarded for his works,  cess, with his countryman, Sir Anthony More, who
but when F. Floris wished him to go to Antwerp,  introduced him to Philip II. The latter, however,
he refused to quit his native place.             had seen some of the works of Titian, which had
CLARET, WM., an English painter, who studied  just arrived, and  astoo chcharmed by their
under Sir Peter Lely, and copied many of the  beauty to pay any attention to the undoubted
works of that master. Of his own productions,    erit of Cleef. The latter seeing his hopes desthe best was a portrait of John Edgerton, earl of  tred, became greatly enraged, ad pored out
Bridgewater. Hedid in 17.           his wrath on More, as the cause of his disgrace.
He painted several altar pieces for the churches in
CLARKE, JOHN, a reputable Scotch engraver,  Flanders which were highly esteemed. In the caborn at Edinburg about 1680. Among other  thedral at Antwerp is a picture by him of St. Daplates by him, are the following:                mien and St. Cosmus. In the catalogue of the
A Medallion of William and Mary, Prince and Princess  pictures of James II., there are two mentioned by
of Orange. Sir Matthew Hale. George, Baron deGoortz. -this artist-the Nativity, and the Judgment of
Andrew Marvell. Doctor Humphrey Prideaux. Seven  Paris. At Amsterdam isa remarkablepictureby
small Heads on one plate; Charles II., and his Queen,  hi  of a B huswith  rey hair ad a youthful
Prince Rupert, Prince of Orange, Duke of York, Duke of        B huswith grey hair and a youthful
Monmouth, and General Moncke.                   countenance, seeming to convey'the moral, that
CLARKE  JOHN, another engraver, who resi-  excess of wine hastens old age. It is designed
ded at Gray's Inn.  He executed a number of  and colored in a most admirable manner, and is
plates, of which Walpole mentions a portrait of   eryhighlyesteemed. Cleefas exceedingly onRubens and a print of Hercules and Dejanira.  ceited, and many ridiculous and whimsical stories
Rubens, and a print o Heare related of him, but he was undoubtedly an
CLARKE, WM., an English engraver, born in  artist of great merit. He died in 1536, in the
1650. Among other plates he executed two which  prime of life.
are mentioned by Walpole; the portrait of George,
Duke of Albemarle, after Barlow; and John          i    orA   CLEEF, HENRYVAN, a Flemish
Shower, from a picture of his own.                         -.  painter, born at Antwerp in 1510;
died about 1589. His instructor is not recorded,
CLASENS, D., a Dutch engraver of little note,  died about 1589. Hisstructoris not reorded,
CLASENS, D.,aDtchengaveoflitl. but he visited Italy while young, for improvement,
who flourished about 1660. He executed a number  but he visited Iy whil        fimprovement,
of plates, among which is an etching of the Virgin  and returned to Flanders a very reputable landand Infant, with St. John and an Angel, after  scape painter. In 1535hewaselectedan Aade
P  ocaccini.                                    mician. His principal merit consisted in the lightness of his pencil and the harmony of his coloring.
CLASERI, MARCO, a Venetian wood engra-  He often painted the back grounds in the historiver, who flourished about 1580.  He executed  cal works of Francis Floris, which harmonize
a number of prints, among which are the Four  most admirably with the figures. This artist has
Seasons, and the Four Ages of the world; middle-  etched a number of plates of views near Rome;
sized prints, lengthwathwaysey are sometimes marked Henricus Clivensis,
CLASSICUS, VICTORIUS. This engraver has  fecit; and sometimes with his cipher. His plates,
executed a number of plates after the paintings of  numbering thirty-eight, have been published in
Tintoretto.  There is a small portrait of that  one collection, entitled Henri a Cleve Ruinarum
painter, engraved in a style similar to that of Cor-  ruriumque aliquot delineationes Execute, per
nelius Cort, inscribed Alessandro Victorio Clas-  Galleum. Among them  are: A Bull Fight; a
sice, Sculp., which is probably by this artist.  Landscape, with figures in a cave, cooking; a Land




CLEE.                     204                   CLEM.
scape, with figures at table in a cave; a Set of  the Correggio of sculpture. Among his principal
Four Views in the Vicinity of Rome; a Set of  works was the Tomb of the Prati Family, in the
Six Landscapes, with Latin Titles.               cathedral at Parma, and the Tomb of G. Androssi,
bishop of Mantua, in the cathedral of that city,
15IM~80  CLEEF, MARTIN VAN, a Flemish his-  which is considered his master piece. In the cathe-,l,'^ torical painter, and brother of Henry C.   dral at Reggio are two admirable statues of Adam
was a scholar of Francis Floris. He painted several  and Eve, and the splendid tomb of the Bishop
pictures fgr the churches, but was more esteemed  Ugo Rangoni.
for his easel pictures, in which the backgrounds    CLEMENTONE   See 
were painted by his brother Henry. He is called
the Master of the Ape, from his sometimes using    CLENNELL, LUKE, an English painter and wood
the figure of that animal (in allusion to his name)  engraver, was born in Northumberland, in 1781.
as his mark, instead of the above monogram. He  He early manifested an inclination for art, and was
died about 1570.                                 placed in the school of the engraver Bewick, where
CLEEF, JOHN VAN, an eminent Flemish paint-  he soon showed ability, and practised the art for a
CLEEFIJOH     Aa   mnn~eihan                number of years.  He afterwards painted some
er, born at Venloo, in Guelderland, in 1646, died  number of ye ars.  He afterwards painted som
at Ghenlt in 1716; studied under Primo Gentile,  pictures that attracted public attention, among
at Ghent in 1716; studied under Primo Gentile,  which was the Charge of the Life-Gurds  at th
at Brussels, and afterwards under Gaspar de Cra$-which was the Charge of the Life-Guards at the
at Brussels, and afterwards under Gaspar de Cra-  Battle of Waterloo, hich gained him considerable
yer. In the latter school he made rapid advances,  r at        e  a  oo    e  seeced o  a
and in a few years was able to assist his master in  reputation. He was soon after selected to paint
the entertainment given by the city of London to
the many works on which he. was engaged for th te entertainment given by the city of London t
churches in the Low; Countries.  He weas very  the allied kings, nobles, and generals, who had
much- attac hed to  Cr       ayer, and followed him  to  shared in that conflict. In the execution of this
much attached to Crayer, and followed him  to  work he encountered so much vexation, arising
Ghent, where, at the death -of the latter, he was  work, he encountered so much vexation, arising
Ghenitwhere, at the death of the latter, he was  from the caprice, vanity, and arrogance of various
commissioned to complete several of his unfinished  individuals that his mind became affected, so that
works, particularly the Cartoons for the tapestry  he completed the work, andhe ended his daors in
of Louis XIV. He soon gained a great reputation,  h colete t           ad e eed h  d          
and received many commissions from the churches  a lunatic asylum, in 1840, aged 59 years.
and convents. His works are very numerous in       CLEOMENES, a celebrated Athenian sculptor,
Flanders and in Brabant; the best are at Ghent,' was the son of Apollodorus, and is supposed to
His manner was not an imitation of Crlayer, though  have flourished about B. C. 370. Pliny mentions
he adopted the same purity of coloring, and was  him as the sculptor of statues and Muses, called
equally correct in his design. His compositions   Thespiades, which were taken to Rome, and
resemble the Roman school; his facility of execu-  adorned the temple of Felicitas. There are several
tion was remarkable, and his design was charac-  fragments of an ancient sculpture in England, interized by great taste and judgment. His most  scribed with the name of this artist, and also a
esteemed work is an admirable composition in  statue of a muse which may be one of the famous
drawing and coloring, approaching the excellence  Thespiades. But the crowning glory of Cleomenes
of Vandyck. It is in the chapel of the convent of  is the Venus dt Medicis, which has received the
the Black Nuns, at Ghent, representing Sisters of  unanimous applause of all generations, and is unithat order administering succor to persons attack-  versally considered as an eternal type of the purest
ed by the plague. In St. James is a fine picture  female beauty and grace. This master piece of
of th~ Assumption. In St. Nicholas is an excel-  antiquity was  discovered, according  to  some
lent picture of Magdalene at the Feet of Christ.  writers at Rome, in the garden of Nero; while
In St. Michael is an ingenious composition, repre-  others say at Tivoli, among the ruins of the Adrian
senting the Conception, with Adam  and Eve in   Villa. It was first placed in the Villa de Medicis,
the lower part of the picture.                   at Rome, after which it was transferred to the
1 _     *  TCLEIN, JOHANN, a German en-  Florentine Gallery. It was taken to Paris, by
gravr on wood and copr;  as  Napoleon, but subsequently restored by the Allies
a native ofNUremberg, and practised the art from,
a native of Nuremberg, and practised the art from in 1815 to its place in the Flrentine Gallerv.
1478 to 1520. In an 8vo. volume, entitled Hor-  whereitnow is.
tulus Anima, printed in 1511, there are sixty-seven  CLEON, a Greek sculptor, a native of Sicyon,
small wooden cuts attributed to him. There is,  who flourished about B. C. 388. Pausanias says
however, much uncertainty among writers respect-  he studied under Pericletus. who had been a pupil
ing this artist, and the marks on these plates, which  of Polycletus. He executed, among other remarkare the letters I. C., with a small shield between  able works, six statues of Jupiter, in bronze, for
them, are the same as those applied to Jan de  the city of Elis; also many statues of Victories, at
Cologne.                                        the Games; and a statue of Venus in iron. Cleon
CLEMENTI, PROSPERO, an eminent Italian  excelled, also, in statues of old men and philososculptor, born at Reggio, about 1504. According  phers.
to Tiraboschi, he received his first instruction from  CLERC, SEBASTIAN LE, an eminent French dehis grandfather, who died in 1525, and was con-  signer and engraver, born at Mentz, in Lorraine
sidered one of the ablest sculptors of his day.  in 1637, died in 1714. His father wasa goldsmith,
Parma, Mantua, and several other cities of Italy,  who taught him the elements of design, and sent
possess exquisite productions from  the chisel of  him to Paris, with the intention of obtaining him
Clementi; but his native town of Reggio, where  a situation in the corps of engineers; but by the
he died in 1584, is enriched by the greatest num-  advice of Le Brun, to whom he had been introber of his works. From his peculiar style, which,  duced, he devoted himself to engraving, and soon
combined correctness of design with the greatest  became so distinguished, that Colbert engaged him
beauty of form, he has been called by Algarotti,  in the service of the king, with a pension of 1,800




CLER.                         205                       CLER.
livres.  Le Clerc appears to have formed his style   The first impressions are before the borders. Eleven, with
from Le Brun, which he dignified by the study of   the title of the Institution of the Order of the Mathurina
Raffaelle.  If his execution is inferior to dellaBel-  for the redemption of captives. 1654. Another setof elevla. in1 te  c of th'. p t         en prints for the Order of Mathurins.  I656; scarce.
la in the playful charm of the point, it possesses   Twenty-three prints of the Triumph of Charles IV., Duke
a judicious firmness, adapted to the nobler sub-  of Lorraine; of which two plates were engraved by Derjects he engraved.  He used both the graver and   vet of Nancy. 1664. Thirty-seven, of the History of
point.  In his best prints, the forms of his figures   Charles V., Duke of Lorraine. Twenty-eight for the Hisare elegant and correct, the airs of his heads noble  tory of the present state of the Ottoman Empire; by Briand characteristic and his draperies'.are simple and   ot, Paris, 1670. Thirty-two, for the second edition of Du
and characteristic, and his draperies are simple and   Fresnoy's Art of Painting. Paris, 1673. Thirty-nine, for
suited to hisforms.  The.landscapes, architecture,   Ovid's Metamorphoses; by Benserade.  Paris, 1676.and other accessories, are in admirable taste. His   Thirty-nine, with the Title for Le Labyrinthe de Verwork  amounts to nearly four thousand plates,  sailles. Paris, 1677. The first edition, very scarce. Twenaccording to Zani, most of which are ornamental  ty-three ovals, for Elsop's Fables. Twenty-one, of Figures &-la-mode. A set of Sixty Prints of figures, horses,
pieces.  He also engraved twenty-four medals,  and landscapes; dedicated to the Duke of Burgundy.
struck off on various occasions.  The following are   Twenty Prints for a drawing-book of the Passions;* after
his best works:                                         le Brun. The Principles of Design, in fifty-two Prints;
PORTRAITS AND HEADS.                    by S. le Clerc. Forty-eight Prints of the King's TapesSebastian..l e.1 ^     st n nu ith     try; after le Brun. Six Prints, with the title, of the BatSebastian le Clerc, standing near a Bureau, with other  ties of Alexander; do. Four of the Amours of Cupid and
figures; called The Cabinet of le Clerc, unfinished. Head   Psyche. The Four Conquests: the taking of Tournay and
of a Turk. 1656. Abraham Fabert, Seigneur de Moulin.  Douay, the Defeat of Count Marsin, and the Alliance with
1657. Le Marechal de la Fert; scarce. -Egon de Fur-  the Swiss. Thirteen Prints of the great Conquests of the
stenberg, Bishop of Strasbourg. Louis Fremin; scare.  King. Eight, called the little Conquests.
A  Knight of Malta. 1659. Vera Effigies R, P. Di Philippi Francisi, Abbatis L. Agerici Virdunensis. 1660. Tor-               LANDSCAPES AND VIEWS.
quato Tasso. M. Potier, in a medallion. 1683. Three     A View of the Town of Metz; Le Clerc's first print.
Heads, two old Men, and a Woman.                        1650. The Ruins of the Aqueduct of Ione, near Metz.
SUBJECTS OF SACRED HISTORY.                 1656. A snall Landscape, with three Children holding a
The Vocation of Abraham. The Prophet Elijah sleep-  Scroll  Twelve small Views of the Environs of Paris.
ing. Elijah taken up in a Chariot of Fire. The Peni-  Twelve small prints of Gardens, Perspectives, &c. Thirtytence of the  inevites. The young Tobit with the Angel.  seven, of Landscape Views, and Figures; designed for the
The  Annunciation.  Another Annunciation; inscribed,  instruction of the Marquis de Courtenvaux. 1690.
Virgirniab Angelo 4-c. The Adoration of the Magi;         CLERC, SEBASTIAN LE, an historical painter.
very scarce. The Holy Family. The infant Jesus seated,  the son of the preceding; born at Paris in 1677,
St. John kissing his Hand. The little Shepherd, or the   died i 1763; studied uderBon Boulogne, and
Landscape of Isaiah; scarce. St. John in the Wilderness.                    f             A  ro
The Miracle of the Loaves. (In the first impressions, which   became a member of the Royal Academy.  In the
are very scarce, a town appears in the background; in the   abbey church, at Paris, is a picture by this artist,
ordinary impressions there is a mountain); very fine.  representing the Death of Ananias.
Christ seated in the midst of the Apostles. The Ecce Ho-    CLER, orKLERCK, HENRY DE, a Flemish hismo, with several Soldiers. The Crucifixion. The Stoning   tricalpainter, born at Brussels in 1570
of Stephen. The Virgin standing; surrounded with a   tcalpainter, born at Brussels in 1570, and is
border. The Virgin in the Clouds, with Angels. The Vir-  supposed to have studied under H. Van Balen,
gin and infant Jesus, in a Landscape, with Angels. The   from the resemblance of style.  He painted several
Virgin of Mount Carmel. The miraculous Image of the   large works for the churches of the Low  CounVirgin of Consolation. St. John Evangelist in the Isle of   tries; but his small pictures are most esteemed,
Patmos. The Bark of St. Peter.                    and they may be compared to those of Van Balen
SUBJECTS OF PROFANE HIWTORY.
UB3ECTS OF PROFANE HiTORY.                 and Rottenhamer.  In the church of St. James, at
The Entry of Alexander into Babylon. In the first im-  i
pressions the face of the Hero is seen in profile; in the sub-  ssels,  a fie ptu     the    cifixion, by th
sequent ones is a three-quarters face, on which account it  artist, and in the church of our lady, are two adis called, The print with the head turned. The Apotheo-  mirable pictures, representing the Holy Family,
sis of Isis. The first impressions are with the Dancers at  and the Resurrection.
the side of the Altar, the second with Sacrifices.  Diana
and Mars; two plates; rare. The May of the Gobelins.      CLERO, JOHN  LE., a French painter, born at
The first impressions are before the Womanwas introduced,  Nancy, according to Zani, in 1594, died in 1633;
who covers the wheel of the coach. The Academy of the  studied in Italy under Carlo Saracino, and imitaSciences. The first impressions are before the Skeleton of   ted his style with such success, that his pictures
the Stag and the Tortoise were added; this print is very   have been often taken for those of that master.
scarce. The triumphal Arch for Louis XIV. at the Gate of     a            fw pl     fro        in  of  ar
St. Antoine; fine. The Elevation of the large Stones in                  a f    p      f       d       
building the Front of the Louvre. The first impressions   one of which is dated 1519, and shows the hand
are before the date, which is 1677. The Chapel of St.  of a master.  It has been incorrectly attributed
Catherine at Stockholm, where is the sepulchre of the   to Guido.
Kings of Sweden; improperly called the tomb of the King
of Portugal. 1654. The Monument of the King of Swe-       CLERION  JACQUES a French sculptor, born
den. The Monument of the Chancellor Seguier; his re-   at Trets, near Aix, in Provence, in 1640. He visited
ception plate at the Academy; much esteemed. The Ceil-  Italy, where he studied with great assiduity the
ing of a Saloon in the Hotel of Baron de Tessin. Another  fine remains of antiquity, and on his return to
Ceiling in the same Hotel; its companion; both fine. The       he was employed on several works for the
Procession of the Knights of the Order of the Holy Ghost.                          on sver      r      r 
An Allegory in honor of Louis XIV., representing Her-  gardens at Versailles and the Trianon, where his
cules and Alexander, with the inscription, Plures non cap-  statues of Jupiter, Juno, Venus, and Bacchus atitoribis. 1684. Venus rising from the Sea. 1693; called  test great taste and skfll.  He died in 1714.
The first Venus. The same piece; re-engraved by le        CLERISSEAU  CHARLE  L S  aFrench arClerc in 1711, reversed, called The second Venus. After     LERISSEAU  CHARLES L               a French arthe death of le Clerc, M. Eisen added to the plate a Triton   chitect and designer in water-colors, born at Paris
pushing the conque, and a Cupid flying before.         in 1721, accompanied Robert Adams to England,
VARIOUS SETS OF PRINTS.                  where he remained some time, and made the drawThirty-six small prints of the Passion of our Saviour.  ings for the Ruins of Spalatro, 4-c., published in




CLES                       206                      CLOS.
1764. On his return to France, he published the   have by him   The Judgment of Midas, after KaAntiquities de France; Monumens de Nimes, and   rel van Mander, 1589; The Four Elements, halfother works; and in 1783, was appointed archi-  length figures, 1597.
tect to the Empress of Russia.  He is, however,    CLOSTERMANS, JOHN, a painter of Osnabest known by his admirable drawings in water-  burg, born in 1656. He was the son of an obcolors, of the ruins of ancient architecture, which   scure artist, who taught him the elements of deare highly esteemed. He died at Paris, in 1820,  sign. In 1679 he visited Paris, and was employed
at the great age of 99 years.                      by Troyes to paint his draperies. In 1681 he went
CLESIDES, an eminent Greek painter, who  to England, where he was employed in the same
flourished at Ephesus about B. C. 294. The fame  manner by Riley, and after the death of the latter
he acquired by his works, made him extremely   he finished many of his pictures, which recomhaughty, and he thought that even royalty itself  mended him to the patronage of the Duke of Somshould do him  homage.  Admitted to audience  erset, and he met with considerable encouragement
with Queen Stratonice, and not receiving the honors  from the nobility, though an inferior artist.  He
which he anticipated, he had recourse to the art for  died at London in 1710.
revenge, and painted the queen in all the splen-     CLOUET, or CLOWET, PETER a Flemish endor of her beauty, but reposing in the arms of a   g               Antwerp in 1606, died in 1668
graver, born at Antwerp in 1606, died in 1668.
fisherman. The queen was so highly pleased with   He acquired the elements of design in Flanders,
the admirable beauty and execution of the picture,  and afterwards visited Rome, where he studied
that she preserved it, and liberally rewarded the   under F. Spierre, and C. Bloemaert.  On his return
artist.                                           to Antwerp he engraved a number of plates which
CLEVE, CORNELIUS VAN. This eminent sculp-  are much esteemed, particularly those after Rutor was born at Paris, in 1645, of a family origi-  bens. They are executed with the graver, in a
nally from Flanders. He early manifested a strong   firm, clear style, resembling that of Pontius, but
inclination for art, and was placed in the school of  not equal to that master. The following are the
Anguier, where he soon attained such excellence as  principal:
to assist the latter on his bas-reliefs for the Porte                 PORTRAITS.
St. Martin. In 1671 he gained the grand prize of       erAreto. Thomas emps.  Ferdnnd Cortez.
Peter Aretino. Thomas a Kempls. Ferdinand Cortez.
the academy, and went to Rome with the royal  William Cavendish, Duke of Newcastle; after Diepenpension, where he remained six years.  Soon after  beck. Christopher Vander Laenen; after Vandyck. Thehis return he was admitted to the academy, and   odore Rogiers, Goldsmith; do. Charles Scribanius, celeexecuted a statue of Polyphemus for his reception   brated Jesuit; do. Anne Wake, Countess of Sussex,
piece.  This industrious artist was accustomed,  holding a Fan of Feathers; do.  Henry Rich, Earl of
during his whole life to rise at 4 o'clock, and he 
has produced a large number of excellent works.            SUBJECTS AFTER VARIOUS MASTERS.
He was hardly ever satisfied with his own produc-    The Descent from the Cross; Rubens, pinx.; C. J.
tions, and frequently destroyed his designs and   Meyssens, exc. The Epitaph of Rubens, with Accessories.
models and commend a. He e d m y   The Death of St. Anthony; fine and scarce; Rubens,
models andommenceds ande. HeMarlye;alsatParpinxe.t  St. Michael discomfiting the Evil Spirit; Id. pinx.
works at Versailles and Marly; also at Paris,  Several gallant Figures in a Garden; called The Garden
among which were a marble group in the gardens  of Love. The first impressions are with Flemish verses;
of the Tuilleries, and two bronze statues of angels,  fine and scarce. Those with the address of C. Van Merin the church of Notre Dame. Many of his statues  Lin are retouched, and very inferior. A large Landscape,
have been engraved by Poilly, after Vivien. Van  representing Winter: with the Snow falling, and a Stable
Cleve died in 1732, aged 87.                       with Cows; belonging to a set of six landscapes, of which
leve died in 172 aged 87.                     five are engraved by Bolswert. The Virgin suckling the.CLEYN, or KLEYN, FRANCIS DE7         a German  infant Jesus; after Vandyck. Vandyck has etched the
CLEYNor KLEYN,    ra                 n Isame subject. A Company of Cavaliers and Ladies at Ta[  painter, born at Rostock,,and was for some  ble, said to be the family of the Dukeof Newcastle; after
time in the employment of Christian IV., King of  Diepenbeck.
Denmark. He afterwards visited Rome for im-          CLOUET  or CLOWET, ALBERT, a Flemish
provement, where he remained four years, and a-  engraver, the nephew  of the preceding, born at
quired a talent for designing grotesques, in which   Antwerp, in 1624, died in 1687. He visited Italy
he afterwards arrived at great excellence. In the   while young, and  studied under C. Bloemaert
reign of James I. he visited England, and was  whose style he followed in his subjects of history,
employed by the king in designing historical and   though in portraits he sometimes imitated the
grotesque subjects for the manufacture of tapestry.  manner of Mellan, and sometimes that of F. de
The king settled a pension upon him, which he   Poilly.  Among his first productions were several
continued to receive after the civil war. He was  plates of portraits of painters, for Bellori's Vite
also employed in decorating the mansions of sev-  de Pittori,  c., published at Rome in 1672. He
eral of the nobility.  This artist has etched a few   also engraved several plates for Rossi's Effigies
plates resembling those of Hollar, which he some-   Cardinal. Nunc Viventium; also, several subjects
times signed with his name, and sometimes with  from pictures in the Palazzo Pitti, at Florence.
his initials F. C. or F. K. They are: a set of five  The following are his plates:
plates of the Senses, with grotesque ornaments;
the Seven Liberal Arts, F. Cleyn,fecit, 1645; a                       PORTRAITS.
book of ten plates of Grotesque Ornaments.  He    Niccolo Pousin, in Bellori  Anthony Vanyck; do.
died in 1658.                                      Cardinal Thomas Philip Howard. The Cardinal Azz3lini;
after Vouet. Cardinal Rospigliosi; after Morandi. CarCLOCK, NICHOLAS, or CLAAS, a Dutch engra-  dinal Rosetti; Halibertus Clouet, sc. Cardinal Francis
ver, born at Leyden about 1570; studied under  William de Wurtemberg. Maximilian, Count of Wolfegg.
Francis Floris, according to Heineken, and execu-  A Medallion of Pope Alexander VII.
ted a number of prints in a style resembling Cor-           SUBJECTS AFTER VARIOUS MASTERS.
nelius Cort, though not equal to that master. We     The Image of the Blessed Umiliana; after Baldinucci




CLOV.                      207                     COCO.
Sepulahral Monument of Paul III.; after Dom. Bar-  after some years returned to Florence, where he
riere. The Miraculous Conception; after P. da Cortona;  erected the Imperial Villa for the Grand Duke,
in two sheets, fine and scarce. An Attack of Cavalry; f-   and built the convent for the  monks of S. Teresa
ter Borgognone; fine. The Battle of Joshuawith the  and    lt the convent for the monks of S. Teresa
Amalekites; in two sheets; do.                     with a church of an hexagonal figure.  He was
CLOVIO, GIuLio GIORGIO, called MACEDONE,  appointed professor of mathematics at Florence,
CLOVIOGoiUroGiORGio  caned MICED^E,  and at the death of Castelli, he was invited to
a very eminent miniature painter of Croatia, born   Rome to fill the chair in the academy of that city,
in 1498. After learning the elements of design in  but he refused to quit Florence. He died in 164city,
his own country, he visited Rome, and entered th    but he refused to quit Florence. He died in 1649.
school of Giulio Romano. He first attempted to       COCCORANTE, LEONARDO, an eminent Neafollow the style of Giulio in his great historical  politan painter, who, according to Dominici, flourworks, but by the advice of the latter, he devoted  ished at Naples about the middle of the eighteenth
himself to miniature painting.  He possessed a  century. He excelled in landscapes and marines,
wonderful ability in designing small figures, with  and was much employed at the court of King
a taste, accuracy, and firmness that is almost in-  Charles of Bourbon.
credible, and every figure is delineated with aston-    COCHET, or COGET, JOSEPH ANTHONY,an
ishing correctness, though on so small a scale as  engraver of some merit who flourished about 1650,
to require the use of an optic. His works evince  and is supposed to have been a native of Flanders.
much of the grandeur of M. Angelo and Raffaelle,  We have by him two plates, representing the porand by his inimitable talents he has greatly eno-  trait of David Beck, the painter, with'others; and
bled this branch of the art. His miniatures were  Time crowning Industry and punishing Idleness
mostly confined to books in the libraries of princes,  after Rubens.
painted with extraordinary vigor and beauty of
coloring, and the most correct design. This artist        or A   COCHIN, NICHOLAS, or NATAhas executed an immense number of works, which          L          LIS, a French designer and engraare highly valued. The most celebrated is the pro-  ver, born at Troyes, in Champagne, about 1619,
cession of Corpus Domini, at Rome, painted in  died, according to Zani, in 1695. He settled at
twenty-six pictures, which occupied the artist nine  Paris, where he engraved a great number of plates,
years. At Milan, the Cistercians possess a Descent  many of which are in the style of Callot. Like
from the Cross, by Clovio, which has all of the   that artist, he succeeded better in small figures than
grand Roman style. He died in 1578.                in larger ones. The following are his principal
COBARRUBIAS, ALoNSo  DE, an  eminent  plates:
Spanish architect, who flourishedabout 1450. He    Melchizedeck and Abraham. Abraham sending away
Spanish agar. The Children of Israel passing the RedSea. Phahad the honor of first introducing Roman archi-  raoh and his Host swallowed -up in the Red Sea. Moses
tecture into Spain, which was firmly established   breaking the Tables of the Law. The Adoration of the
there by Charles V. He erected, among other  Magi. The Repose in Egypt. St. John preaching in the
works the magnificent cathedral of Toledo; also   Wilderness. The Conversion of St. Paul. The Temptathe faqade of the Alcazar, or Royal Palace. At  tion of St. Anthony. Part of the plates for a folio volume
Valenciadohe erectedthemonastery Rand temple of  of Plans ard Views of Camps, Towns, Battles, 4-c.,
Valencia, he erected the monastery andunder Louis XIV., published by Beaulieu, 1645. Part
the order of S. Girolamo, a work of great magnifi-  of the plates for the Entry of Louis XIV. and his
cence.                                             Queen into Paris. The whole consisted of twenty-two
COBL-ENT   or COBD-LENTZT    HERMANN,   plates. A Procession, with the Flags, &c., taken at the
J y COBLENT, or COBLENTZ1, HERMAN,  Battle of Fourcroy. Ten plates of the History of Judith.
a Flemish engraver, who flourished about  Eleven plates of subjects from the New Testament. Six1576. His style resembles the neat, finished man-  teen plates of the Martyrdom of the Apostles, &c. Six
ner of the Collaerts, and it is supposed that he  plates of Battles, in the style of Callot.
studied in their school.  He executed a number of    COCHIN, NOEL, or NATALIS, a French engraplates, among which are: Lucretia under an Arch;  ver, who has etched a number of plates in a coarse,
four plates of the Four Evangelists; a man seated   heavy style, among which is a Holy Family, after
at table with a woman behind him; and a set of  Titian; and a Miracle wrought by St. Anthony.
the Heathen Deities, single figures under arches.  He also engraved the plates for a volume of prints
They are marked with his monogram.                 from select pictures, with a description of them,
COCCAPANI, SIGISMONDO, an Italian painter  published by Caroline Catherine Patin, entitled
and architect, born at Florence in.1585.  He   Tabela Select ac Explicatce a Carola Catherstudied both arts under Cigoli, and executed as  ina Patina, Parisina Acade.mica, Batavii, 1691.
his first work in painting  an altar piece for a   Some confusion exists among writers in regard to
church at Lucca. In 1610 he went to Rome, to  this artist, and the preceding one, of whom  he
assist Cigoli in painting the Pauline Chapel.  He   seems to have been a relative.
afterwards returned to Florence, where he execu-     COCHIN, CHARLES NICHOLAS, the Elder, a
ted a number of works, both in painting and archi-  French designer and engraver; born at Paris in
tecture, among which were two paintings in the   1688, died in 1754. He studied painting until he
Duomo of Siena.  He also wrote a number of  was nineteen years of age, when he devoted himexcellent works on architecture.  He died in 1642.  self to engraving. His plates are executed in a'COCCOPANI, GIOVANNI, a Florentine painter  spirited and masterly style, and correctly drawn,
and architect, was born in 1582, of an illustrious   particularly when the figures are of a medium
family in Lombardy. As a painter he had some   size.  The following are the principal:
merit, according to Soprani, and executed a number    The Portrait of J. Sarazin, sculptor; engraved for his
of pictures for the churches and private collec-  reception at the Academy in 1781. The Portrait eof Pistions. In 1622 he was invited to Vienna, where  tace le Sueur, painter; also for his reception  Aexander
- ions~..In.622.e was inand Roxana; after a draowing by Rqffaelle; in the Crozat
he was employed by the emperor in the wars as  collection. The Inflexibility of St. Basil; afterLe Moine.
State Engineer. He was liberally rewarded, and   The Meeting of Jacob and Esau; do. Jacot tnd Laban:




COCH.                        208                      COCK
afer Restout. The Destruction of the Palace of Armida;  nius. They are mostly marked I. Wt. W., for Wierix
do, Jacob pursued by Laban; after N. Bertin. Rebec-  the publisher; entitled, Pictorum aiquot celebrium Gerca with the Servant of Abraham; do. The Trinity and   manice inferioris effigies, c-c. The Funeral Pomp of
the Assumption; after Noel Coypel. Seven plates of the   Charles V., large frieze; Hieronimus Cock, invent. 1559.
History of St. Augustine; after L. de Boulogne. The   Twelve plates; entitled Divi Caroli V., ex multis prceLame Man cured; after P. Cazes. A set of Fifty-two   cique Victoriarum imagines Hieronymus Coccius Picplates of the History of Languedoo; do. Several plates;  tor Antw. 1556. Moses with the Table of the Law  h.
after Watteau and Lancret, 4e.                        Cock, inv. et exc. St. Christopher with the infant Jesus
on his shoulders.
COCHIN, CHARLES NICHOLAS, the Younger,
an eminent French designer and engraver, the sonBJECTS AFTER VARIOU  FLEMI   MATES.
and scholar of the preceding, born at Paris in          A setof fifteen Landscapes; after Matthew  Cock. A
1715 died in 1788. In 1749 he accompanied the   large Landscape, with the Feast of St. George; do. Sam1715, died in 1788.  In 1749 he accompanied theaed p              1~a'afe atHemskirk.gDanielinthe
son and Dalila; after Martin Hemskirk.  Daniel in the
Marquis de Marigny on a tour through Italy, and   Lion's Den; do. A set of eight Female Figures, six from
in 1758 published his observations on works of art  the Old Testament, Jael, Ruth, Abigail, Judith, Esther,
in the various cities he had visited, which was very   and Susanna; and the Virgin Mary, and Mary Magdafavorably received.  He also wrote several other  lene; do. An Allegory, Fraud and Avarice do. Infant
works, most of them  relating to the arts  He   Bacchanalians dancing; do.  The Resurrection; after
works, most Pl em^     ^       ^^"  ^          Peter Breughel the old. The Temptation of St. Anthoengraved upwards of 1,500 prints, most of which   ny; do. The Temptation of James; do. 1566. The Last
are frontispieces and other ornamental works,  Judgment; do. The Laboratory of an Alchymist; do.
which are characterized by so much taste and   The Dispute between the (ras and the Maigre; do. A
skill, that they alone would have established his  set of twelve Landsapes with sbjects from the Bible do.
reputation. The following are his principal prints:   A grotesque subject of the great Fish devouring the little
reputation. The following are his principal prints:
ones; a whimsical composition; after Jerome Bos. The
PORTRAITS.                       Temptation of St. Anthony; do. St. Martin in a Boat,
Charles Sackville, Earl of Dorset.  David Garrick.  surrounded by Devils; do. An Incantation; do. 1561.
Francis Chereau, engraver. Louis de Boissy, of the French   Shrove Tuesday; a Woman making Pancakes. 1567.
Academy. Edme Bouchardon, sculptor. 1754. The Count
de Caylus, amateur artist. The Marquis de Marigny. 1752.  COCK, or KOCK, MATTHEW, a Flemish paintJohn Restout, painter. A. L. S6guier, Advocate General.  er, the brother of Jerome C., born at Antwerp
The Duke de la Valliere, of the Academy of Sciences.  about 1500.  He was one of the.early Flemish
The Prince De Turrenne.                              landscape painters, and among the first who atSUBJECTS FROM HIS OWN DESIGNS.              tempted to reform the dry, Gothic style that preThe Infant Jesus holding a Cross. The Virgin. The   vailed at that time.  Several of his landscapes
Crucifixion. Lucius Quintus Cinoinnatus; afteranantique   were engraved by his brother Jerome, and possstatue. The Consecration of Louis XV. at Reims. Louis  ess considerable merit for the time.
XV. presenting the Dauphin to Minerva.  Ceremony of
the Marriage of the Dauphin with Maria Theresa of Spain,                COCKSON, THOMAS  an Eng
1745; engraved 1746. Decoration of the Theatre atVer-        orh e                e                  
sailles on the above marriage. Funeral Pomp ofth D-  artabout20.  Wehave             him, the  portraits
phiness, at St. Denis. 1746. The Funeral Pomp of the      a               e hae  
Dauphiness, in Notre Dame at Paris. The Funeral Pomp   of James I., Charles I., and many of the nobility.
of the King of Spain, in Notre Dame. 1746. The Fune-  They  are executed in a neat, but rather stiff
ral Pomp of the Queen of Poland, in Notre Dame; etched   manner.
by Cochin, and finished with the graver by J. Ouvrier.
Forteen large etchings of the Sea-ports of Vernet.     King James I. sitting in Parliament. King Charles I.
in like manner. The Princess Elizabeth, daughter to
COCHRAN, WM., a Scotch painter, born in   James I. Louis XIII., King of France. Mary of MediClydesdale, in 1738.  He studied at Glasgow, in  cis. Mathias I., Emperor. Demetrius, Emperor of Rusthe academy founded by Robert and Andrew   sia. Henry Bourbon, Prince de Conde. Concini, Marquis
Foulis and afterwards visited Italy, where he   d'Ancre. Charles, Earl of Nottingham. Francis White,
4.Foulis, and 3   3    ritTds "isiti.  3taly, ^iDean of Carlisle, Bishop of Norwich.  Samuel Daniel.
studied under G. Hamilton, and painted several   1609. T. Coryat. The Revels of Christendom.
fabulous subjects, which are now  to be seen inLERS Louis BERNARD, a Dutch painter.Glasgoiw.  On his retuirn to Glasgow ohe painted |born at Maestricht, in 1740, died at Liege in 1817;
portraits of some merit, both in oil and in minia-son and scholar of Jean Baptiste Coers.
was the son and scholar of Jean Baptiste Coclers.
ture. He died 1785,
ture.  Headed 178.                     He visited Italy for improvement, and then regor      OCK, or KOCK,  turned to his father, at Liege, where he painted a
E Yg(E"W        L'J.*P JEROME, a Flemish   number of portraits, and also practised at Maespainter and engraver, born at Antwerp in 1510,  tricht, Nimeguen, and Dort; and ultimately setaccording to Zani and Nagler; died in 1570.  In   tled at Leyden, where he devoted his time to paintthe early part of his life he relinquished painting,   ing cabinet pictures, in the manner of Gerard
and applied himself to engraving and print-selling.   Douw, and other eminent Dutch masters.  In
There are a number of prints by this artist, some   1787 he went to Paris, where he remained several
after his own designs, and some from  those of P.  years, but afterwards returned to Holland, and
Breughel, and others.  They are executed in a   settled at Amsterdam, where he painted portraits
slight manner, and without much effect.  The fol-  and cabinet pictures, which were exhibited from
lowing are the principal; some are marked H.  1808 to 1813.  One of his pictures is in the museCock fecit; and others with his cipher or mono-  um of Amsterdam.  Rigal says he was also an
gram.                                                 engraver, and mentions twenty-five plates of his
PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS.       execution.
Francis II., King of France and Scotland.  Mary,      CODA, or CODI, BENEDETTO, a Ferrarese
Queen of Scotland and France. Gustavus, King of Swe-  painter, born about 1460, died about 1520; studied
den. Mary, Queen of Sweden. Soliman, Emperor of the              Bellini. Lani says he resided chiefly
Turks. Camelia, daughter of the Emperor. Six Portraits   a   n     ere he pa d fr he cures sevon one sheet; of Guido, Cavalcantes, Dante, Boccace, Pe-    a  s of cnsidere merit.  The princip
trarch, Politian, and Fioinus. A set of twenty-four Por-    works of considerable meri   The principal
traits cf Flemish painters, with Latin verses by Lampso-   are the Marriage of the Virgin, in the cupola of




CODA.                     209                    COEL.
Ihs cathedral, and his picture of the Rosary, in   COELLO, CLAUDIO. This very eminent wainter
the church of the Dominicans,                    was born at Madrid of Portuguese parents, but
CODA, or CODI, BARTOLOMEO, called DA RI-  the year of his birth is not recorded. He studied
MINI, a painter of Rimini, who flourished from   under Francesco Rizi, but derived more improve1528. to 1543. He was the son and scholar of  ment from the study of the works in the royal
Benedetto C., and surpassed his father.  Lanzi  collection, by Titian, Rubens, and other great mashighly extols a work by this artist, dated 1528,  ters. He was made painter to Philip IV. who
in the church of S. Rocco at Pesaro. It repre-  employed him in the Escurial. Bermudez says he
sents the Virgin and Infant Enthroned, with a  combined the design of Cano, the coloring of Muchoir of beautiful cherubs, and St. Roch, and St.  rillo and the brilliant effect of Velasquez. He proSebastian. He had a brother named Francesco,  nounces him the last of the Spanish painters, as
who painted in 1533.                             the art declined to its ruin from  the time that
Luca Giordano was called into Spain. Many adCODAGORA, VIVIANO.  Thispainter flourish-  mirable works of Coello may be seen in the
ed about 1650, and was educated at Rome. He  churches and convents at Salamanca, Saragossa,
was distinguished for his admirable representa-  and Madrid. His principal work is the famous
tions of architectural ruins near Rome, and for  altar-piece in the sacristy of S. Lorenzo in the
perspective pieces of his own composition. He  Escurial, which may well be ranked with the
gave a fine tone of antiquity to his pictures, and  works of Titian and Rubens. It is an immense
they are usually enriched with figures after the  composition, representing the ceremony of the
best artists of his time, particularly Domenico   Collocation of the Host, which took place in 1684.
Gargiuoli, of Naples; who, according to Lanzi,  in the presence of Charles II., and his officers of
usually painted the figures in his pictures, in  state; it contains the portrait of the king, and
which there was such graceful and harmonious  about fifty personages of the court; and, according
accordance, they appeared the work of the same  to Bermudez, was completed by Coello. in about
hand. Many of his works may be sfen in the  three years. It is painted with the utmost preciNeapolitan collections.  Codagora has been fre-  sion, yet in a bold and masterly style; and a maquently confounded with Ottavio Viviani of Bres-  jestic solemnity pervades the whole, suited to the
cia, who painted similar subjects, but the works of  grandeur of the subject. Coello died in 1693
the latter are very inferior to those of Codagora,       r, T,   Jc   a Flemish enin correctness of perspective and general effect.  COELMANS JAMES or J             a Flemish engraver, born at Antwerp about 1670; studied unCODDE, CHARLES, a Dutch painter, born at  der Vermeulen. After practising the art for some
Hague in 1640; died in 1698; painted landscapes,  time at Antwerp, he was engaged by M. de Boyer
according to Balkema, in the style of Both and N.  d'Aiguilles, to undertake the plates from the picBerghem. That author mentions an artist named  tures in his collection. They consist of 118 prints,
Peter Codde, who is supposed to have been a  and form the principal works of this artist, of
brother of Charles, though the time of his birth or  which the following are the principal:
death, is not recorded. He painted assemblies of                    PORTRAITS.
soldiers, and other conversation pieces. There is               Maldachi, niece of Innocent X.; after
one of his finest works in the Lormier collection.   Gu. Cesari. Paul Veronese, a Bust; after a picture by
CODIBUE, GIovANNI BATTISTA, a painter and  himself. Vincent Boyer, seigneur d'Aguillas; after le
CODIBUE, GIOVANNI BATTISTA, a painter and           if.
Grand. John Baptist Boyer; after Hyacinthe Rigaud.
sculptor of Modena, where he flourished in 1598.         S                V       MSE.
In painting, he imitated Raffaelle, and an Annun-UBJECT AFTE  VARIOU  MATERS.
ciation in the Carmine is highly commended by    The Holy Family, with St. John embracing the infant
Tiraboschi. It does not appear that he acquired any   Jesus; after Parmiggiano. The Meeting of Jacob and
Tiraboschi. It does not appearthat he acquired any  Rachel; after M. Angelo Caravaggio. Laban giving
lasting'reputation in either branch of the art; for  Rachel to Jacob; do. Jacob's Departure from Laban;
Lanzi says, that though he had read of his works,  after B. Castiglione. A Company of Musicians, Dancers,
both in painting and sculpture, being highly com-  &c.; do. Diana and Acteon; after Ottovenius. A Samended. he could not find any at Modena.         tyr drinking, with a Nymph and a Cupid; after N. Pous-'T"~t~  a  Trsin. The Martyrdom of St. Bartholomew; after S. BourCOECK. See KOECK.                              don. Mount Parnassus, with Minerva and Mercury; aj.
COELLO, ALONSO SANCHEZ an eminent Por-  ter le Sueur. The Flight into Egypt; after Pujet. The
Murder of the Innocents; after Claude Spierre.  The
tuguese painter, was born in 1515, and resided  Murder of the nnocens;  fter Claude Sperre  The
chiefly in Spain, where he was employed in the         o t  V       a       
Escurial by Philip II. He received some instruc-    COELN, WILHELM VON, or William of Cotion from Antonio Moro, and when the latter left  logne, a celebrated old German painter, called also
Spain, Coello succeeded him in the favor of the  Meister Wilhelm. He appears to have been born
king, whose portrait he painted several times, and  at Herle, near Cologne. He was settled at Cothose of eminent personages of the court, and so  logne as early as 1370, and was held in very great
much to the satisfaction of Philip, that he called  reputation, as appears from a record in the annals
him the Portuguese Titian. He painted a number  of the Dominican church  at Frankfort.  His
of admirable works for the churches and palaces  principal works are, the picture over the tomb of
of Madrid, many of which were destroyed in the  Cerno von Falkenstein, in St. Castor's church at
conflagration of the Prado. His master-piece is in   Coblentz, 1388; the large altar-piece of the church
S. Geronimo, representing the Martyrdom of St.  of St. Clara, at Cologne, in 26 compartments, reSebastian, with the figures of Christ and the Virgin.  presenting the Life and Passion of Christ, which
It is colored in admirable style, the expression is  is now  in the cathedral; the Sancta Veronica,
vigorous and masterly, and the design bold and  formerly in the Boisser6e collection, now'in the
elevated. Coello died in 1590, much regretted by   possession of the king of Bavaria, and in the Pithe friends of art. His epitaph was written by   nakothek at Munich, which has been admirably
Lopez da Vega.                                   lithographed by Strixner; a Crucifixion, and a




COEN.                    210                   COLA.
half-length Madonna and Infant Christ, in the  tro Simone, a friend and Companion of Giotto
Wallraf Museum at Cologne. Other works are  whose style he followed. Dominici mentions a
also conjectured to be by him, but they are also  number of his works at Naples, which are execuassigned to his scholar, the oelebrated Meister  ted in the dry, labored manner of the time, though
Stephan; among these is the Dom-bild, or Ca-  not without expression. The principal are, the
thedral picture, which was formerly the altar-  altar-piece in S.Maria, representing the Virgin and
piece of the chapel of the Rath-haus of Cologne,  Dead Christ, and Angels holding the Instruments
but is now in the cathedral. It was painted in  of the Passion; a Magdalene penitent, in the chap1410, and is esteemed the most valuable picture of  el of the same church; the Nativity, and the Anthe old school of Cologne.                     nunciation, in the tribune of S. Giovanni.
COENRADT, LAWERS, an engraver of little    COLANTONIO, MARZIO DI, a Roman painter
note, who flourished about 1690, and executed  of the 17th century. of whom little is known. Acseveral of the portraits of the collection of Cardi-  cording to Baglioni he went to Turin at the innals, published by Rossi.                      vitation of the Grand Duke, where he resided till
COGELS, JOSEPH CHARLES, called COGELS  his death, in the pontificate of Paul III. He was
MABILDE, a Flemish landscape and marine paint-  an accomplished artist in landscapes, and he painter, born at Brussels in 1786. He studied in the  ed smallfrescoes and arabesque ornaments i an
Dusseldorf Academy, and after spending some time  agreeable manner. There are a few of his works
in France, returned to Belgium in 1806, and was  at Rome, but most of them are at Turin, where he
elected a member of the Royal Society of Fine  was largely employed by the Cardinal, prince of
Arts at Ghent. In 1810, he went to Munich, where  Savoy. He died    1701.
he was employed by the king and queen to paint      COLBENSCHLAG, or COLBENIUS, STEcabinet pictures for their private collections, and. PHEN, a German engraver, born at Salzburg,
for the gallery at Schleisheim. He settled at Mu-  according to Brulliot, in 1591. He visited Italy for
nich, and was made an honorary member of the  improvement, and resided chiefly at Rome, where
Academy in that city. In 1817 he was elected a  he engraved several plates after the Italian masmember of the Academy at Antwerp. He died  ters, among which are; The Descent from the
in 1831.                                       Cross, after An. Caracci; and the Adoration of
COIGNET, GILES, a Flemish painter, born at  the Shepherds, after Domenichino. Ie died, acAntwerp in 1530; studied for some time under  cording to Nagler, in 1683, aged 92.
Antonio Palelmo, a painter then resident at Ant-  COLDORE, a French engraver of precious
werp. He afterwards went to Rome, accompanied  s s in      reign of Henry IV., who was spe
by one Stella, in which city they practised in con-  cially patronized and rewarded by that monarch
cert, and both soon became distinguished for theirHe wa  also invited to England by Queen Eliza
merit. As their reputation increased, they were      who commissoned  him to engrave her like
beth, who commissioned him to engrave her like
engaged in several other cities of Italy, particularly  ness. Coldore's productions are  carce, and are
at Terni, where they executed several historical  highly prized.
and grotesque subjects, both in oil and in fresco.                 
Coignet, after traveling through Naples and Sicily,    COE, THOMAS. This great artist was born in
returned to Flanders, and was so much employed  Bolton, Lanhire, England, in 1802. His family
that he could with difficulty execute the commis-  emigrated to the United State in his youth and
sions he received from the churches and the no-  settle at Steubenville, on the banks of the Ohio.
bility. He painted easel pictures of historical sub-  le was designed by nature for a great painter, and
jects, but was more successful in candle-light and  to this end all his thoughts and ambition turned,
moonlight pieces. He often employed Cornelius  even at a tender age. Ina letter written in after
Molenaer to paint his back-grounds with land-  years to a friend, he says: "My school opportunities were small; reading and music were among
scapes or architecture. He frequently employed  ties were small; reading and music wee among
his scholars to copy his works; which he after-  m ereations; but drawing occupied most of my
wards retouched, and sold as originals, so that it is  leisure hours. My first attempts were made from
difficult to distinguish his genuine pictures. In  cp and saucers; from them  I rose to copying
1561 he was elected a member of the Academy.
1561 he was elected a member of the Academy  prints; from copying prints to making originals.
at Antwerp. Soon after, in consequence of the  About the year 1820, Mr. Stein, a portrait painter,
troubles in which his country was involved, he  came to Steubenville. I became acquainted wit
was obliged to take refuge in Holland, where he  him, saw him  paint, and considered his Works
remained several years, and finally settled at  wonderful; I believe they were respectable. He
Hamburg, where he died in 1600.                lent me an English work on painting (I have forCOINY, JACQUES JOEPH a French engraver,  gotten the title); it treated of design, composition
COINY, JACOUES JOSEPH a French engraver,  and color. This book was my companion day and
born at Versailles in 1761. He. tudied under le nnight; nothing could separate us. My usual avoBas, and in 1788 went to Italy for improvement,  cations were neglected; painting was all in all to
where he remained for three years. On his re-  me. I had made some proficiency in drawing and
turn to Paris he soon gained encouragement, and  had engraved a little, both on wood and copper;
was employed to execute the illustrations for an  but not till now had my passion been fully aroused.
edition of La Fontaine, in concert with Simon, after  My love for the art exceeded all love. My ambidesigns by Vivier. He also engraved a very large  tion grew, and in my imagination I pictured the
plate, after Lejeune, of the Battle of Marengo;  glory of being a great painter. The names of Stualso many plates for Didot's edition of Horace and  art and Sully came to my ears like the titles of
Racine. Coiny died in 1809.                    great conquerors; and the great masters were esCOLA, GENARRO DI. an old Neapolitan painter,  teemed above all earthly things."  These feelings
born in 1320; died in 1370; studied under Maes-  came over our artist at the age of 18. The flame




COLE.                      211                    COLE.
which had long been smouldering, suddenly burst  the beauties of which they had had little conception
forth. He had never before seen the paraphernalia  till they came glowing'from his pencil. Con'misof a painter. He had been groping in the dark,  sions came pouring in to him, so that he was not
away in the Western wilds, without the means of  only enabled to contribute to the support of his
obtaining the least information of the art, except  father's family (a cherished filial obligation with
what his own imagination and nature afforded him.  him), but in 1828 to gratify his desire of visiting
In short. Nature was his teacher, and she taught  and studying in Europe. Late in the autumn of this
him  eventually to copy her with a truthfulness  year, he set sail for England, where he was warmseldom known in landscape painting. An invinci-  ly received by J. Fennimore Cooper, who introble diffidence led him  to avoid society, and hold  duced him to the poet Rodgers and Sir Thomas
converse with sweet Nature. He used to take  Lawrence.  Both these gentlemen treated him
long rambles in the grand forests and the deep  with great kindness; the former gave kim a comsolitudes on the banks of the Ohio, and he thus  mission for a picture, but the latter died not long
acquired that. love of walking which continued  after his arrival. Cole did not remain in England
through life. Having provided himself with  pa-  as long as he had intended. His works were not
lette, pencils,and colors, he commenced portrait  appreciated. He sent some of his choice pictures
painting, and made a tour through some of the  of American scenery to two annual exhibitions at
principal villages of Ohio, in the vicinity of Steu-  the Royal Academy, and they were hung in such
benville, but without any success-for he came  situations that even his friends, acccustomed to our
home as poor as when he left, though he walked  own bright skies, could scarcely distinguish them
all the way; and in one of these journeys he  for his. The dark, gloomy atmosphere of London.
walked from Zanesville to Chillicothe-a distance  together with this lack of appreciation, affected his
of sixty miles in a single day. This was not his  health, and produced a melancholy that he did not
forte. His father removed to Pittsburgh in 1823,  recover from for months after he had left England.
and here he first struck into the path which led to  In 1831 he left England for Paris, intending to
excellence and renown. The country about Pitts-  stay a while and study in the Louvre, but on his arburgh abounds in beautiful scenery. The young  rival there, finding the walls covered with an exhipainter, alive to the beauties of nature, felt that  bition of modern French paintings, he proceeded alhis natural powers lay in portraying that branch   most immediately to Italy.  He first took up his
of the art. Being confined in his father's shop  sojourn at Florence, which, in a letter to Dunlap,
after 9 o'clock, he rose every morning with the  he calls "the painter's paradise."  He studied the
lark, and bent his way to the banks of the beau-  noble collections of art which it contains, drew
tiful Monongahela, with his paper and pencils.  sedulously from life, and executed his Sunset on
lIe made accurate studies of every object-the  the Arno, and ether works. From  Florence, he
trees, the naked boughs and twigs, rocks and  went to Rome, where he says he "had his studio
banks, and as the spring advanced, he clothed them   in the very house in which Claude lived."  Here
with verdure. He had now found the right path  he seems to have studied the splendid ruins that
to success, and began to make finished sketches  environ Rome, more than the glorious works in
from nature, in all her changing scenes. Late in  the Vatican, and he made sketches, from which he
the autumn of 1823, Cole set out for Philadelphia,  afterwards executed some of his choicest pictures.
with the design of trying his fortune in that city.  From Rome he returned to Florence. where he
He met with no encouragement, but obtained per-  says he "painted more pictures in three months
mission to draw in the Pennsylvania Academy,  than he had ever done in twice that time before or
and after a winter of great privation, that would  since."  These were for commissions he had rehave driven any other than an enthusiast and a  ceived from the United States. From Florence he
determined spirit to some other mode of obtaining   next went to Naples, and from thence he made an
his bread, he joined his family in New York, whith-  excursion to Psestum, and took sketches of those
er they had preceded him. Brighter prospects  splendid ruins. Cole returned to the United States
now opened before him. He had painted several  in the autumn of 1832, much sooner than he delandscapes, which were exposed in a shop for sale.  sired, being recalled by the ill health and wishes
One of them was purchased by Mr. Bruen, an hon-  of his parents. He married an amiable lady, and
orary member of the National Academy, for a  settled himself permanently at Catskill, in full
small sum, but he was so much pleased with it  view of the glorious scenery of the Hudson and
that he immediately sought the acquaintance of  the Catskills. Soon after his return home he
the artist, and generously furnished him with the  commenced the Course of Empire, the first of that
means of studying and copying the scenery of the  series of great epic landscapes which have immorHudson. HIe painted three pictures in the sum-  talized his name, and which will in all future time
mer of 1824, which were exposed for sale at the  rank him with the greatest of landscape painters.
price of $25 each.  These were purchased by        While in Italy, the penciling of Cole underwent
three artists-Trumbull, Dunlap, and Durand-   a marked change. He laid aside that labored; timwho acknowledged their merit, and generously  id softness of manner, for a freer and more rapid
took this method of lending the young painter a  boldness in imitating the effects of Nature. This
helping hand.  "This youth," said Trumbull,  change was at once observed, wh'en his pictures
" has done what I have all my life attempted in  from abroad appeared in our annual exhibitions,
vain."                                           and was regretted by many who preferred his earThe National Academy of Design was founded  lier style. It also somewhat injured his popularin 1825, managed exclusively by artists. Cole  ity for a time. But Cole was no copyist; he had
was one of the founders. Its exhibitions were  acquired that confidence in his own powers which
annually graced with some of his choicest works.  genius inspires. He availed himself of any hints
The people were captivated with hie perfectly new   he could find in the works of the great masters,
and original delineation of American scenery, of  whom he held in the deepest reverence. Ho also




COLE.                        212                       COLE.
compounded his colors with a view to the changes   bosom of a little river below, are a number of canoes pass.
that time would work in them.  His pictures im-  ingdown the stream, while others are drawn up on the
rove every day with age and they  will glow with   shore. On an elevation beyond these is a cluster of wigprove every d ay'                            wamns, and a number of Indians dancing round a fire. In
renewed freshness in coming time, while the works  this picture we have the first rudiments of society. In the
of others who used less substantial but more. bril-  canoes, huts, and weapons, we perceive that the useful arts
liant colors, for immediate effect, will hardly sur-  have commenced, and in the singing which undoubtedly
vive the painter.  Reynolds lived to see some of   accompanies the dance of the savages, we behold the germs
his finest pictures dissolve and fade away; so with   of music and poetry. The Empire is asserted to a limited
degree, over sea, land, and the animal kingdom."
our own Inman.  Cole steadily improved, even to
the day of his death.  Indeed, this could not be                       SECOND OF THE SERIES.
otherwise with a man of his habits and feelings,          "In the second picture we have the simple or Arcadian
who believed perfection  unattainable, and  strove   state of Society. The time of the day is a little before
noon, and the season early summer. The' untracked and
to reach the highest point.  His earlier works will  rude' has been tamed and softened. Shepherds are tending
not compare a moment with his later productions.  their flocks; a solitary ploughman, with his oxen, are
In 1834, he commenced the Course of Empire   turning up the soil; and in the rude vessels passing into the
(the studies having been previously prepared), for  haven of a growing village, and in the skeleton of a bark
Luman Reed, Esq.,who was one of the most gene-  building on the shore, we perceive the commencement of
commerce. From a rude temple on a hill, the smoke of
rous and judicious friends of art the country ever  sacrifice isF  ascending to eple on bahill, the smorie of
had.  The stipulated price was $7,500; but Mr.  Religion. In the foreground on the left, is seated an old
Reed subsequently increased the price to $10,000.  man, who, by describing strange figures in the sand, seems
There are five pictures in the series.  These pic-  to have made some geometrical discovery, emblematic of
tures were finished in 1836.                           the infancy of science. On the right hand, is a woman
s works my be d d ito two cla s    with a distaff, about crossing a stone bridge; beside her, a
Cole-s works ma  b   iie  n tboy is drawing on a stone the figure of a man with a sword;
simple landscapes or scenes from  nature, and epic  and beyond these, ascending the road, a soldier is partly
or historical landscapes, which are compositions or   seen. Under some noble trees, in the middle distance, are
works of the imagination.  Of the latter class are   a number of peasants dancing to the music of pipe and
his greatest (though not more beautiful in point  timbrel. All these things show us that society is steadily
of execution) works, as the Course of Empire, the   advancing in its march of usefulness and power.
Cross in the Wilderness, II. Penseroso L'Alle-                         THIRD OF THESERIES.
groy the Architect's Dream, the Dream  of Arca-          " Ages have passed away, and in the third picture we
dia, the Epulsion of Adam  and Eve, the Past  have a magnificent city. It is now mid-day, and early auan  the Present, the Voyage of Life, the Cross  tumn. The bay is surrounded by piles of architecture,
and the World,  c.  All these pictures are con- 4temples, colonnades, and domes. It is a day of rejoicing.
s The spacious harbor is crowded with vessels, war-galleys,
ceived and executed in a manner that shows the   ships, and barks, their silken sails glistening in the sunartist to have possessed many of the attributes of   shine.' Moving over a massive stone bridge, in the forethe philosopher, the poet, and the Christian. The   ground, is a triumphal procession. The conqueror, robed
artist himself considered this class of painting   in purple, is mounted on a car drawn by an elephant, and
equal to historical painting and he has certainly   surrounded by captives and numerous guards and servants,
equald  that,.t... als..~lf.^.oes. ot..... d   many of them bearing pictures and golden treasures. As
proved that it equals it, if it does not exceed   he is about to pass the triumphal arch, beautiful girls strew
it, in powers of narration.  As the Course of Em-  flowers in his path; gay festoons of drapery hang from the
pire gives a good idea of this class of his paintings,  clustered columns; golden trophies glitter in the sun, and
with the exception that the landscape varies in  incense rises from silver censers. Before a Dorio temple,
his other serial works, we give a brief description   on the left, a multitude of white-robed priests are standing
on the marble steps, while near them a religious ceremony
of them.                                               is being performed before a number of altars. Near a
The Course of Empire consists of a series of five   statue of Minerva, with a victory in her hand, is a compapictures, and forms an epitome of the life of man.  ny of musicians, with cymbals and trumpets. From the
The landscape is the same in each of the series.  lofty portico of a palace, an imperial personage is watching
An isolated rock crowning a precipitous hill in the   the procession, surrounded by her children, attendants, and
distance identifies the scene in each picture, but  guards. Nations have.been subjugated, man has reached
the summit of human glory. Wealth, power, knowledge,
the position of the observer varies in each.  They   and taste, have worked together and accomplished the
illustrate a nation's rise, progress, greatness, de-  highest meed of human achievement and Empire."
cline, and fall.  The first represents The Savage                     FOURTH OF THE SERIES.
State, or the Commencement of  Elnpire;  the
secon, othe CArc       ncin  enr Pastoral State   the    "In the fourth picture, a barbarous enemy has entered
second, The Arcadian or Pastoral State; the
rd, The  ACo madian or Paora  Stae; f the  the once proud city; a fierce tempest is raging; walls and
third, The Consummation of Empire; the fourth,  colonnades are lying in the dust, and temples and palaces
The Destruction of Empire; the fifth, The Des-   are being consumed by the torch of the incendiary. The
olation of Empire.  These works belong to the  fire of vengeance is swallowing up the devoted city. An
New York Gallery.                                      arch of the bridge, over which the triumphal procession
had before passed, has been battered down, and broken
FIRST OF THE SERIES.                   pillars, ruins of war-engines, and the temporary bridge
" In the first picture, we have a perfectly wild scene of   which has been thrown over, indicate that this had been
rocks, mountains, woods, and a bay of the ocean, reposing   the scene of direst contention. Now there is a terrible
in the luxuriance of a ripe spring. The clouds of night  conflict on the bridge, the insecurity of which accelerates
are being dissipated by the rising sun. On the opposite  the horror of the struggle. Horses, men, and chariots, are
side of the bay rises a lofty promontory, crowned by a sin-   precipitated into the raging waves. War-galleys are congular isolated rock. As the same locality is preserved in  tending; some in flames, and others sinking beneath the
each picture of the series, this rock identifies it, although   prow of a superior foe. Smoke and flames are issuing from
the position of the spectator changes in the several pictures.  the falling and prostrate edifices; and along the battleThe chase being the most characteristic occupation of sav-  ments, and in the blocked-up streets, the conflict rages terage life, in the foreground we see an Indian clothed in  ribly. The foreground is strewed with the bodies of the
skins, pursuing a wounded deer, which is bounding down a   dead and dying. Some have fallen into the basin of a founnarrow ravine. On a rock in the middle ground, are other  tain, tinging the water with blood. One woman is sitting
Indians with their dogs surrounding another deer. On the   in mute despair over the dead body of her son; another




COLE.                      213                     COLE.
ieaping over a battlement to escape the grasp of a ruffian  such a charm  to his works.  The scenery is al.
soldier; and other soldiers drag a woman by the hair  ways nature, closely copied, in her sweetest or most
down the steps that form the pedestal of a mutilated colos-  terrible aspects
al sttue, whose shattered head lies on the pavement e-  rible aspects. His morning, evening, and noonlow. A barbarous enemy has conquered the city; Carnage  day scenery, may be compared to that of Claude
and Destruction have asserted their frightful Empire."  Loraine, more subdued, but more true, and his
FIFTH OF THE SERIES.                 storm  scenes to those of Salvator Rosa, equally
spirited, but more highly finished.  Whatever
"The last and most impressive picture of the series is  spirited, but more highly finished.  Whatever
the scene of Desolation. The sun has just departed, and  scene he painted, it was nature herself-the delithe moon is ascending the twilight sky over the ocean,  cious sunset, the dewy morning, the. sultry noonnear the place where the sun arose in the first picture. The  tide, the distant storm with the descending rain,
shades of evening are stealing over the shattered and ivy-  or near by, nature all in commotion, the trees
grown ruins of that once great city. A lonely columnrises  writhing or the limbs snapping in the fierce blast,
in the foreground; on the capital a solitary heron has  and the thunderbolt riving the sturdy oak. Nobuilt her nest, and at the foot of it her mate is standing in  thing can exceed the splendor of his Autumnal
the water.                                        thig can exceed the splendor of his Autumnal
" The Doric temple and triumphal bridge may still be  scenery, with sky, serenely blue, the mists curling
identified among the ruins which are laved by the waters  up the distant hills, and the forests decked with
of the tranquil sea. But though man and his works have  all the gorgeous hues of the rainbow,-and none
perished, the steep promontory, with its isolated rock, still  but those familiar with the appearance of Amerirears itself against the sky, unmoved, unchanged.  Time
has consumed the works of man, and art is resolving itself  can Autumnal scenery, can appreciate them; for
into its elemental nature. The gorgeous pageant has pass-  when Cole first went to London and exhibited
ed, the roar of the battle has ceased, the multitude has  some of his choicest pictures and sketches of such
mingled with the dust, the Empire is extinct."     scenery, the people, observing in them something
In July, 1841, Cole sailed on a second visit to  so entirely different from  what they had been
Europe, passing through France and Switzerland   accustomed to, pronounced his coloring gaudy, and
to Italy, and from thence, he made an excursion to  his works of little merit.  Cole excelled in his atSicily, with the scenery of which he was greatly   mosphere and perspective.  In looking at his Arch
delighted.  On its bold rocky summits, and in its  of Nero, we see the distant mountains through the
charming valleys, he found everywhere scattered   broken arches,    rising above tem in such truth
the remains of superb edifices of ancient grandeur   that we forget the painting, and seem to look at
and he gazed without satiety on its magnificent  nature herself. So with his Mount Etna, rising in
scenery, its luxuriant vegetation, and its serene  cloudless majesty; luxuriant vineyards flourish at
skies.  le returned homein 1842 and commenced   its base, with forests ascending to the bleak and
his last great work of The Pilgrim of the Cro    desolate regions of scoria and lava, and the top
andof the World.  While engaged in painting   towering above the clouds, clad in eternal snow.
this series, the summons of death came, and he  Instance the valley of the Hudson from  the Catdied of inflammation of the lungs, Feb. 13, 1848,  skills, or of the  onnecticut from  MtHolyoke
aged 46, universally lamented.                     In the former, the view extends to a distance of
Thos. Cole was a filial son, a tender father, and a  nearly 80 miles up and down the river.  The notrue Christian. He possessed the most generous and   ble Hudson, like a silver thread, winds i  wayfo
kind feelings, especially to the younger members of  a great distance; the distant mountains, towns and
his profession. When Verbryck was dying of con-  villages, the rich cultivated fields, farms and woodsumption, and unable to work at his easel, Cole exe-lands are all faithfully copied, and while gazing on
cuted a picture for him, for which he had received a  the picture, we  seem transported to the spot. The
commission. He could not endure a town life; Na-   iefrom   ount Iolyoke is equally beautiful.
ture alone had charms for him. He reverenced his  The winding Connecticut, with its Ox-bow, at the
profession as a means of doing good to mankind;  base of the mountain, the numerous towns and
hecould not bearthat his artshould bedegradedby t  villages, the rich farms so distinctly laid out that
sordid motives. A short time before his death he  one can recognize his own; the storm   and desaid, "I do not mean to paint any more pictures  sending rain in the distance, are all nature, i
with a direct view to profit."  He cherished reli-  describably beautiful.  Such was Thomas Cole, a
gion fervently, but without ostentation. His life  man whose history forms a bright example, from
was one of great industry. He executed upwards  which all, especially the young atis  may derive
of a hundred pictures, many of them of the largest  instruction and benefit,-the people, that theymay
size.  There were sixty-three of his works in  perceive the importance of cherishing native talthe exhibition in New York for the benefit of his  ent, and the young artist that he may not become
widow and children. The value of any one of them   discouraged from adverse circumstances or lack of
is now far greater than the prices he received  patronage, but strive to reach such excellence as
for them, and in coming time, they will command   shal command reward and renown   Would that
the prices of the works of the greatest masters.    as apeople we would refect how nature has faThos. Cole was an enthusiastic student of Na-  vored us above all the countries of the earth, and
ture. He went abroad with sketch-book in hand,  how much it would be for our interest and glory
at all seasons, at all hours. and in all kinds of   t develope our own resources, and to encourage
weather. He would take his equipage and go off
weather. He would take his equipage and go off  the genius of our own countrymen in every science
on his sketching expeditions into the deep recesses  and art, instead of keeping ourselves poor by exof the majestic Catskill Mountains for days to-  travagant encouragement of every thing foreign,
and coming from  people made fat by our patrongether. So enthusiastic was he, that forgetting or  and coming from  people made fat by our patronunheeding the coming tempest, he has been known
unheeding the coming tempest, he has been known   age. who seldom fail to repay our folly, by libeling
and reviling us as a people. and our institutions.
to get thoroughly drenched, while sketching the                                              on
changing scenes, caused by the storm  that was       COLE, J., an English engraver, who flourished
ibout to burst upon his head. It is this that gives  about 1720. He was much employed by the book




COLE,                       214                       COLL.
sellers, for whom  he engraved a number of por-   works in that city, among which were the Mau
traits and other book plates.  He also engraved   soleums of the archduke Ferdinand, and of the
several plates of monuments, and a copy from the   princess Philippine.  In 1577 he executed the
print by Martin Rota, representing the Last  embellishments for a fountain which the Emperor
Judgment, after M. Angelo.                           was erecting at Vienna.  He died in 1612.
COLEYER, or COLIER, EVERT, a Dutch paint-            COLLACERONE, AGOSTINO, a native of Boer, was born at Leyden, and flourished about 1691,  logna, studied under Padre Pozzo.  IHe was an
as appears from a picture of still-life, signed with   eminent perspective painter, and was much emhis name and the above date. In the catalogues   ployed by eminent artists of the time to paint the
of Hoet and Terwesten are mentioned several con-  architectural parts of their works.  In this way he
versation pieces by this artist.                     painted in the churches at Rome, Bologna; and other
COLIGNICOLA, GERONIMO DI, an Italian paint-  cities. He flourished about 1700.
er, born at Rome in 1500. He painted history           COLLAERT, ADRIAN, a Flemish designer and
and portraits, and was considerably esteemed in  engraver, born at Antwerp about 1520. He studhis time.  He died at Bologna in 1559.               ied the elements of design in his native country,
COLIGNON, FRANCIS, a French designer and   and afterwards visited Italy for improvement,
engraver, born at Nancy about 1621; studied un-  where he remained several years.  On returning
der Callot, and gained improvement from the works   to Flanders, he met with much encouragement,
of Silvestre and della Bella.  He engraved some   and engraved a great number of plates, which are
of the plates of the conquered towns in the reign   correctly drawn, and neatly finished, with a fine
of Louis XIV., published by Beaulieu.  We have   expression in the heads, though with a certain dealso by him several plates after different masters,  gree of dryness.  The following are the principal,
and from his own designs. His best works are ar-  usually marked with one of these monograms:
chitectural views, in the manner of Callot, executed           Y 
with great freedom and spirit.  The following are                    or            o
his principal plates:                                         SUBJECT  FRO  H  OW  DSIG
~~~~~~~~~~~~SUBJECTS FROM HISH OWN DESIGNS
SUBJECTS FROM HIS OWN DESIGNS.               A Man and his Wife, conducted by Death. 1562.  A
A set of twelve Landscapes. The Buildings at Rome   Man in Armor, to whom a Woman brings a Child, a Dog,
under Sistus V. A View of Malta with its ancient Forti-  and a Cock. The Four Elements; in four plates. The
fications.                                           Life of Jesus Christ; in thirty-six plates; entitled Vita JeSUBJECTS AFTER OTHER MASTERS.              SU Salvatoris variisiconibus, cfc. Thirty plates of Birds;
The Flight of Attila; after Raffaelle. The five canon-  entitled Avium  i  icones, &c. One hundred andtwentyized Saints; S. Gaetano, St. Francis Borgia. St. Philip  five of Fishes; Piscium rivzicones. Twenty-fourplates;
Benizio, St. Bertrand, and St. Rosa; after J. B. Gaetano.  entitled Floilegium  abHadrinoCollaert, ciatum, ac
View of Florence; after S. della Bella. Plan of the   The Temptation of St. Anthony. St.Apollona.
Castle of Moyen; after Callot.                                SUBJECTS AFTER VARIOUS MASTERS.
COLI, GIOVANNI, was born at Lucca in 1635,    The Twelve Months of the Year; after Josse Momper,
and died in 1682.  He studied under Pietro da  the same that Callot has engraved. The Last Judgment;
Cortona, and was one of his1 ablest scholars. Lanzi  after J. Stradan. Twelve plates of Horses; do. A HuntCortona, and was one of his ablest scholars. Lanzi
Giovanni Coli and Felippo Gherardi were ed-  ing and Fishing Party; do. The Israelite Women singing
says Giovanni Coi and Felippo Gherardi were ed-  the Song of Praise for the Destruction of the Egyptian
ucated in.the school of Cortona, and became his   Host in the Red Sea; do. A Woman saving her Child
imitators for a period.  Trained in the same school,  from the Fangs of a Lion; do. Twelve Landscapes; after
their style and disposition so exactly resembled   Henry ran Cleef. AsetofHermitesses; after M. de Fos;
each others. that they usually painted together  engraved conjointly with his son John Collaert. The callin. the samepiece, an  their joint labos a r  ing of St. Andrew to the Apostleship; after Baroccio. The
in the same piece, and their joint labors appear the   Repose in Egypt; after H. Goltzius, 1585. A set of six
work of a single hand.  They continued to work   plates, called the Annunciations; considered among the
in concert during the life time of Coli.  They adopt-  best of his works.
ed, after a time, a style of their own, founded on            r          COLERT             HAN,     
the Venetian and Lombard schools. In this man-            or.        i    LAE,  ANse  a  Flener, they painted the vast ceilings of the Library      ar               mish  engraver, the so   and
ner,                                                                      born at Antwerp about 1540.
of S. Giorgio Maggiore at Venice.  Rome possesses   scholar ofAdrian        orn a Antr ao 
He visited Rome for improvement, and remained
some of their stupendous works in the church of   for some time  for improvement, and returning toed
Lucchesi, and in the magnificent Colonna Gallery.   Fleso       e aite  hi  ather in many of his
They executed many works in their native city,  Flanders he assisted his father in many of his
They executed many works in their native city,  works, and   r
the most celebrated of which were the frescos in tworks, and engraved a great number of plates in
the most celebrated of which were the frescos in
the stribune of the church of S. Martino, and nex    the style of the latter, but in a finer taste, and less
the tribune of the church of S.   Martino, and next   stiffness.  His plates are dated from 1555 to 1622.
to it, the church of S. Matteo, which they decorated consequentJy he must have lived to a great age:
with three large sacred subjects, executed in oil.  consequently he must have lived to a great age.
After the death of Coli. his companion continued   They are sometimes marked Hans Collert fecit;
to paint at Lucca.  The whole cloister of the Mo-  sometimes H. C. F.; and someties with his m
nastery of the Carmelites was painted by him   nogram.  The following are the principal:
alone. See Gherardi..SUBJECTS FROM HIS OWN DESIGNS.
COLIN, ALEXANDER, an eminent German sculp-    The Life of St. Francis, in sixteen plates, with grotesque
tor, born at Malines in 1520.  He was sent for to   borders. The dead Christ in the Lap of the Virgin; John
oInspruc, b y the Emperor Ferdinand I., to finish   Collaert, sc. The Last Judgment, surrounded with small
Inspruck, by the Emperor Ferdinand I., to finish   subjects of the Life of Christ. Marcus Curtius throwing
the splendid Mausoleum, erected by his grand    himself into the Gulf. Peace and Charity.  Ten plates;
father, Maximilian I., which had been commenced   entitled Monilium Bullarum in auriumque, Tic. 1581.
by the brothers Abel, of Cologne.  After the coin-            SUBJECTS AFTER VARIOUS MASTERS.
pletion of this work in 1566, Colin settled at Ins-    St. John preaching in the Wilderness G. A. Z. in. 
pruck, where he was appointed sculptor to the Arch-   Collaert, sc. Roma. Moses striking the Rock; after Lam
duke Ferdinand, and executed a number of grand   bert Lombard; very fine. A Satyr pursued by Women




COLL.                      215                     COLL.
after J. Stradan. Time and Truth; do.; very fine.  resided at Antwerp and Brussel, where ne was
Mars and Venus; do. The Loves of Mars and Venus;  appointed engraver to the king of Spain and pracfour plates; after P. Galle. The title to the Biblia Sa-.   is p s a 
cra; after Rubens; fine. The Title to the Kerkelyke.   i         
Historie; do.; fine. The Title to the Vaders Boeck;  ecuted in a neat manner.  The following are th
do.; fine. Twelve plates for the Missal of Moretus; af-  principal:
ter the designs of Rubens. The subjects from the Life of               PORTRAITS.
Christ and the Virgin.                               Jane Bickerton, Duchess of Norfolk. Sir Godfrey Knel
COLLANTES, FRANCISCO, a Spanish historical  ler; for Sandrart's Academia. John Zachary Kneller;
andlandscapepainter, born atMadrid in 1599; died  for thesame. Artus Quellinus, sculptor; after E. Quelin 1656.  lie excelled particularly in landscapes,  linus. JohnPhilipvanThielen,flowerpainter; do  Joa.
which are painted in a bold and masterly style in  chim Sandrart. 1679. Bartholome S. Murillo, painter; se
which are painted in a bold and masterly style, in       se pin   Christian Albert, Prince Bishop of Lubeck.
the manner of Rubens, with rich coloring, and very   1654. Anna Adelhildis, Wife of the Prince of la Tour and
romantic scenery. His principal historical works  Tassis. 1682. A set of forty portraits of the Saints of
are two pictures of St. Geronimo. and the Resur-  Mount Carmel.
rection, in the Bueno Retiro.                               SUBJECTS AFTER VARIOUS MASTERS.
COLLEONI,  GIROLAMO, a Bergamese painter    Esther before Ahasuerus; after Rubens. Christ bearof great ability, born, according to Tassi, about  inghis Cross; afterA. Diepenbeck. St. Arnold; do.
1495. Most of the works he executed in his own       COLLINO, IGNAZIO SECONDO MARIA, a repcountry were formerly in the church of S. An-  utable Italian sculptor, born at Turin in 1724.
tonio dell' Ospitale at Bergamo, but were de-  He studied under Damo, and in 1744 entered the
stroyed when the church was rebuilt. Tassi high-  school of the celebrated Bomonti; he also wrought
ly extols a picture by Colleoni, in S. Erasmo, near  with Ladatto, where he modelled and cast in
Bergamo. It represents the Virgin and Infant,  bronze a statue of St. Sebastiano, which was prewith Magdalene and Saints, and is one of his most  sented in 1750 to king Charles Emanuel III., and
esteemed works. According to Lanzi, there was a  gained for Collino a pension to enable him to visit
picture by him, in the Carrara Gallery, which   Rome. Soon after arriving there, he executed
was thought by the best judges to be a work by   three busts of Marcus Aurelius, Faustina and a
Titian, until the inscription Hieronymus Colleo.,  vestal; also a group of Papirius and his mother,
1555, was found upon it. This artist did not meet  and a statue of Niobe in Carrara marble. In
in his own country the encouragement justly due   1760 he was admitted to the Academy of St. Luke,
to his merits, and determined to leave it; but, ac-  and having executed a number of statues and bascording to Tassi, previously to his departure, he  reliefs, he sent them to Turin in 1763, and was appainted, in a single night, on the faCade of his  pointed sculptor to the king. In1767 he returned
house, a very beautiful horse, with this inscrip-  to Turin, where he established an academy of sculption underneath, Nemo prophets acceptus in pa-  ture. He had a brother named Filippo C., who
tria sua. He went to Spain, where he met with   assisted him  in many of his works at Turin.
due encouragement, and was employed in the Es-  Among the sculptures they executed in concert are
curial.                                            two statues of Victor Amadeus II., and Charles
COLLET, JOHN, an English painter, born at  Emanuel III., in the palace at Turin; a statue of
London in 1725; died in 1780; studied under  Pallas; the tomb of the kings of Sardinia, in the
Lambert, the Landscape painter. He painted hu-  church of Superga; and the colossal statue of St.
morous subjects, somewhat in the style of Ho-  Agabro, in the city of Novara. Ignazio C. died
garth, but approaching that genius only in vul-  at Turin in 1793.
garity and caricature. His other subjects, in which  COLLINS, WM., an English painter of very conhe did not imitate the latter, but confined himself  siderable merit; born at London in 1788.  His
to simple objects, are deserving of notice for their  instructor is not recorded. In 1809 he sent two
faithful representation of the character and cos-  pictures to the exhibition of the Royal Academy,
tumes of the time.  Many of his pictures have been   and was a constant exhibitor from that time till
engraved, and there a few etchings of his own ex-  1836. In 1820 he was elected a Royal Academician,
ecution.                                           and painted The Young Anglers, at his reception
COLLIN DE VERMONT, HYACINTHE, a French   piece. His pictures usually represent rural subpainter, born at Versailles in 1693, and died in  je     and those connected with the habits and
1761. He studied under Rigaud, and afterwards  haunts of fishermen, near the coast. In 1837 he
visited Italy for improvement, where he acquired      ited Italy, and on his return, commenced pinta good taste for design, and on his return to Paris,  ing subjects of a higher nature.  In 1840 he exwas received into the Royal Academy, and after-  hibited Our Saviour in the Temple; and from
wards appointed Professor of Painting. His works  that time till 1846, he continued to exhibit landare distinguished for correctness of design, and pu-  scape and a few subjects of history. His Peacerity and elegance of forms.  He executed a number  Maker,painted in1841, was sold for $1325, and
of pictures for the churches and private collections,  several other of his works have brought nearly as
among which was the Presentation in the Temple,  high prices. Collins died in February, 1847.
in the church of S. Louis at Versailles; and the     COLLI, ANTONIO, a painter of the  Roman
sickness of Antiochus, which was exhibited in  school, who studied under Padre Andrea Pozzi.
1727.  He left a set of finished drawings, of sub-  and flourished about 1700. He painted the great
jects from the History of Cyrus.                   altar in the church of S. Pantaleo, and decorated
COLLIN, RICHARD, a German designer and en-  it in so beautiful a manner, that it was taken by
graver, born at Luxemboug in 1626. He visited   many for a work by his master.
Rome while young, studied under Sandrart, and        COLLYER, JOSEPH, a reputable English enengraved several plates for the Academia of that  graver, born at London in 1748. He studied first
author. He afterwards returned from Italy, and   under Anthony Walker, and afterwards under his




COLO.                     216                    COLO.
brother William W.. by whose instructions he at-    COLONNA, MELCHIORI, a Venetian painter,
tained great ability.  He engraved the portrait of  mentioned by Zanetti, supposed to have been a
Reynolds, and the latter was so much pleased with  pupil of Tintoretto, whose style he imitated. He
it, that he confided to Collyer the engraving of  flourished at Venice about 1600. Lanzi says his
his admirable picture of Venus. The talent he  name is hardly known in Venice, but he may
displayed in this plate, caused him to be chosen  have painted in other cities.
as an Associate of the Royal Academy. Among        COLONNA, GIROLAMO. See COLONNA MENhis numerous works are the portraits of George  GOZZI.
IV., and the princess Charlotte; also the portrait
of Sir William Young, which is executed in ex-        LI or CL IA, AA
cellent style. He wo     by Alderman  er, born at Rotterdam  in 1634. He followed succellent style. He was also employed byldermn   cessfully the manner of N. Berghem, and painted
Boydell to engrave for the Shakspeare Gallery.  cessfully the manner of N. Berghem, andh e style of
Collyer died in 1827.                           landscapes with figures and cattle, in the style of
ollyeor died in 1827.    t         that master. He also painted subjects of rural
COLOMB, or COLOMBE, MICHEL, a talented  festivity, and fire-light' pieces, which have conFrench sculptor, who flourished about 1730. He  siderable merit. Coloni resided several years in
was educated in the school of sculpture at Tours,  England, and died at London in 1685. He had a
and is principally distinguished for the magnifi-  son, named Henry Adrian C., who was the brothcent tomb which he executed at Nantes, for the  er-in-law  and scholar of Van Diest. He somedukes of Bretagne, byorder of Francis II., duke  times painted the figures in the landscapes of the
of that province. It is inscribed Par Vart et  latter, and also painted landscapes in imitation of
l'induvtrie de M. Michel Colomb, premier sculp-  the style of Salvator Rosa.
teur de son temps.                                 COLOTES, or COLOTHES, a Greek sculptor,
COLOMBANO, ANTONIO MARIA, a painter of  born at Paros, was a cotemporary of Phidias. He
Correggio, who flourished from 1596 to 1616. Pun-  is said to have been a disciple of that celebrated
gilione, in his Life of Antonio Allegri, mentions  artist, and to have assisted him in making the
fifteen pictures by this artist, representing subjects  statue of Jupiter Olympius. He also displayed
from the Life of the Virgin, and the infancy of  his skill in the construction of a buckler for the
Christ, some of which are of large dimensions.   statue of Minerva; but his master-piece was a
COLOMBANO, BERNARDINO, a Milanese paint-  statue of AEsculapius in ivory. Among his other
er, of whom  little is known. There is a good  works, was the table of ivory and gold, upon which
altar-piece by him in the Carmine, with his signa-  the crowns designed for the victors in the Olympic
ture, dated 1515.                                games were placed at Elis.
COLOMBEL, NICHOLAS, a French painter, born       COLORETTI, MATTEO,was born atReggioin
1611. He excelled in portraits, and painted at
at Sotteville, near Rouen, in 1646. He studied  1        H  ell   n  oa, and painted at
under Le Sueur, and subsequently visited Rome  Bologna, Modenaand other cities. Time of his
for improvement, where he studied the works of              re
Raffaelle and Poussin with great assiduity.  On    COLSON, JEAN FRANCOIS GILLE, a reputable
returning to Paris, he executed a composition re-  French portrait painter, born at Dijon in 1733.
presenting the amors of Mlars and Rhea, which  He was the son of Jean Baptiste Gille Colson,.a
gained him admission to the Royal Academy, and  painter in miniature and pastel, born at Verdun
which was placed in the Mus6e Napoleon. His  in 1680, and died at Paris in 1762. He studied at
composition and perspective are in excellent taste,  Avignon in the school of Imbert, where he applied
and the architecture with which he embellished  himself to portrait painting, and acquired good
his pictures is admirable. He was elected profes-  abilities. He afterwards went to Paris, where he
sor of the Academy in 1705.  Among his best  found a patron in the Prince de Bouillon; he acproductions is Orpheus playing on the Lyre, in  companied the latter to Navarre, where he practhe king's menagerie; Moses saved by Pharaoh's  tised the art for about forty years, with good repDaughter; and Moses defending the Daughters  utation and success. He died at Paris in 1803.
of Jethro. He died at Paris in 1717.               COLTELLINI, MICHELE, a Ferrarese painter,
COLOMBINI, GIOVANNI, a painter of the Ve-  who flourished about 1517. His principal works
netian school, was born at Trevigi about 1700,  are at Ferrara; they are much in the style of
and died there in in 1774. He studied under Se-  Lorenzo Costa, whence Lanzi supposes that he
bastiano Ricci, whose style he adopted. His chief  was a scholar of that master, though he is supeworks are in the convent of the Dominicans in  rior to him in the airs of his heads. In S. Andrea,
Trevigi, in which the perspective is so excellent,  is the Virgin and Infant, with Saints; in the Saand the gradations of the different objects so mas-cristy of the Augustines, a  picture of St. Monica
terly, as to give illusion to the eye. Lanzi says  wit four Saints of that Order; and in S. Maria,
he was less skilled in figures, yet he filled the con-  St. Francis receiving the Stigmata.  Also in the
vent with his portraits, introducing as it were, an-  church and convent of the Padri Agostinani of
other family of Dominicans.                      Lombardy, are several of his works.
COLOMBINI, CoSIMO, an ItaliaTn engraver,    COLYNS, DAVID. a Dutch painter, born at Amwh        o flourished about 175. lIe  execute   sterdam, about 1650. According to Houbraken,
*who flourished  about 1754. He executed
the principal part of the portraits of painters for  he painted easel pictures of historical subjects, conthe principal part of the portraits of painters for   ^  a   lumber of figures grouped with
the Museo Fiorentino.  His plates are usually  taing a large number of figures grouped with
thmaked with a monogram  cmposed of two.'s, as  great ingenuity, and touched in a delicate, thcugh
abed with a monoram  ompoedof two C.s as  spirited manner. That author highly praises two
pictures by Colyns at Amsterdam, representing
COLONNA, MICHAEL ANGELO. See MICHAEL  the Israelites fed with Manna, and Moses striking
COLONNA ANGEI (.                                 the Rock.




COMI.                    217                    COMP.
COMANDE, FRANCES9O, a Sicilian painter,  copied with infinite art all the pictures of that
born at Messina about 1580. He studied under  master that he could procure, especially many
Deodato Guinaccia, who  was the most distin-  portraits of the Virgin, which were mistaken for
guished scholar of Polidoro da Caravaggio at Mes-  originals by the best judges of that time. He was
sina. According to Hakert. he acquired consider-  also an excellent imitator of Raffaelle. He was not,
able distinction, and executed many works for the  however, a mere copyist; and there are many es
churches and public edifices of Messina, in the  teemed works by him  preserved at Rome, one of
pure style of Polidoro, among which are the Mar-  the best of which was the Fall of Lucifer,'which
tyrdom of St. Bartholomew in the church of that  he painted for Paul V. Lanzi says his MadonSaint, and the Adoration of the Magi in the mon-  nas were distinguished for the smallness of the
astery of Basic6, pronounced admirable perform-  neck, and by a certain air of virgin modesty, which
ances. Time of his death not recorded.          was peculiar to him. One of the most esteemed
COMANDE, GIOVANNI SIMONE, a brother of  is in the Corsini palace at Rome. He resided in
the preceding artist, was born at Messina in 1588.  that city the greater part of his life, and executed
He went to Venice, where he carefully studied the  many pictures for the churches. The principal are:
works of the best Venetian masters, and returned  the Baptism of Christ, in S. Giovanni in Fonte;
to Messina. He painted in the pure Venetian  Christ bearing the Cross, in the Tribune of S. Vistyle, and was considerably employed by the  tale; and the principal altar-piece in S. Carlo a
churches. He also painted sometimes in concert  Catinari, representing the Titular Saint kneeling.
with his brother, but their stylet are so totally   Comodi was the instructor of P. da Cortona. He
different, that Lanzi says it is very easy to assign  died at Florence in 1638.
to each his own work.                             COMPAGNO, SCIPIONE, a Neapolitan painter,
COMENDICH, LORENZO, a native of Verona,  born about 1624. His works are very rare; there
who studied under Francesco Monti, and settled at  are two in the Neapolitan Museum, representing
Milan, where he flourished in the first part of the  the Martyrdom of St. Janvier, and seven other
18th century. His works were held in high repute,  Christians; and an Eruption of Vesuvius, from the
and he found abundant employment. The Baron  Madeleine Bridge. There are a number of designs
Martine took him  under his patronage about  by this master, in various cabinets of Naples,
1700, for whom he produced a variety of works,  which are much esteemed.  He was living in
among which, his Battle of Luzzara, won by Louis  1680.
XIV., is highly commended, and that monarch is    COMPE JAN TEN a reputable Dutch painter
said to have beheld it with singular pleasure, andborn at Amsterdam in 1713 died in 1761  studcommissioned the artist to pant a duplicate for  ed under Dirk van Dalens, and painted landscapes,
himself.  G    M                                    g anefMdnworiver scenes, and views of cities and villages. He
COMI, GIROLAMO, a painter of Modena, who  represented different views of the Hague, which he
flourished about 1550. He painted some sacred  ornamented with figures and animals. His best
subjects, but he was more distinguished for his fine  pictures approach the merit of Berkheyden and
perspective pieces.  He was employed by the  Vander Heyden; and his View of the New Market
churches in ornamental work and in architecture,  at Amsterdam brought 2000 florins at public sale.
which Lanzi says deserved to have been accompanied by superior figures. One of his pictures in    CONCA, CAV. SEBASTIANO, an Italian painter,
S. Michele in Bosco, is dated 1563.             born at Gaeta in 1676; died in 1764. He studied
in the school of Solimena, and in the early part of
COMI, FRANCEsco, called IL MUTO, or the Mute,  his life was much occupied in painting portraits
also il Fornaretto, or the Little Baker, was born  of a small size, and at a low price, so that he had
at Verona in 1682, and died in 1737. He paint-  plenty of employment. When upwards of thirty
ed at Bologna as well as in his native city.  years of age, he visited Rome with his brother
Lanzi says that notwithstanding he was deprived  Giovanni, and for five years occupied himself in
both of speech and hearing, he was distinguished  making drawings from the antique, and the study
in art; and Orlandi and Pozzo have commemora-  of the works of Raffaelle and other great masters.
ted him among the artists of his country, whose  His abilities soon became known, and procured
memory was worthy of being preserved,           him the patronage of Cardinal Ottoboni, who reCOMMENDUNO, an old Bergamese painter,  warded him liberally for a picture of Herod and
who, according to Lanzi, studied under the two  the Wise Men. The Cardinal entertained him in
Nova. He lived in the latter part of the 14th  his own palace, and presented him to Clement XI.,
century.                                        who appointed Conca to paint the picture of the
FRA   A a mk of te Or prophet Jeremiah, in the church of St. John of
COMO, FRA EMANUEL DA, a monk of the Or-  Lateran, which gained him considerable reputation.
der of the Minori Riformati, was born at Como in  He was also employed to decorate the church of
1625. On being sent to reside at Messina, he  St. Clement with several works in fresco, which
studied painting under Scilla, which he had pre-  gave such satisfaction that the pope conferred on
viously practised, in a feeble manner, in his native  him the honor of knighthood, and procured for
town. He thus acquired considerable skill in the  him the execution of every great public undertaart, and decorated a number of places belonging to  king in Rome. From this time he was incessantly
his order, both in Sicily and at Rome, where he  employed, and his works were solicited by most
died in 1701.                                   of the princes of Europe. Philip V. of Spain inCOMODI, ANDREA, a reputable Florentine  vited him to come to his court, but he could not
painter; born in 1560. He was the friend and  be persuaded to leave Rome. He painted two piescholar of Cigoli, but derived great improvement  tures for the king of Poland, with figures as large
from the study of the works of Correggio, and  as life, representing A-lexander and Bucephalus.




CONC.                      218                    CONE.
and the Marriage of Alexander and Roxana. His  cesco at Rovigio, dated 1542, but this may have
great success is, however, rather to be attributed,  been executed by his son. One of his best works
accoI'ding to Mengs, to the state of decay into  is in the dome of the Cathedral at Parma, rewhich the arts had fallen, than to any great mer-  presenting the Virgin and Infant, receiving the
it of his own, though he says he possessed an   homage of St. John the Baptist, and other Saints,
abundant invention, great facility of execution, and   a picture of such beauty as to attract the rapacity
a system of coloring evidently aimed at for mere  of the French spoliation, and it was transferred to
brilliancy of effect. His works show little of the  the Louvre, but afterwards restored to its place.
elevated style of the palmy days of art. By adopt-  In the church of S. Giovanni at Venice, is his fine
ing the mannerism of Solimena, and a dangerous  picture of the Baptism of Christ, and in the church
facility of execution, he exercised a strong influ-  of S. Niccolb at Carpi, Christ taken down from
ence for the downfall of art. His principal works  the Cross, surrounded by the Marys, St. John,
at Rome are, the picture of Jeremiah before men-  Joseph of Arimathea, Nicodemus, and other holy
tioned, and the Assumption, in S. S. Martino et  persons. This last picture originally belonged to
Lucca. In the hospital of Siena, is his picture of  Alberto Pio, prince of Carpi, who esteemed it as
la Probatica; at Loretto, St. Niccolo; at Ancona,  one of his most precious gems, equal to the works
St. Saverio; and at Foligno, St. Agostino. Mengs  of Raffaelle. There is also one of his altar-pieces
unfairly says that "Conca by introducing at Rome  in the church of S. Maria dell' Orto at Venice,
the mannered style of Solimena, and a system less  which Lanzi characterizes as such an excellent
excellent than expeditious, he put the finishing   performance, that "in point of architecture. in the
stroke to the ruin of painting."  On the contrary,  air of its heads, and in the distribution of its colLanzi says " he possessed a fertile imagination, great  ors, there is something so extremely attractive,
facility of execution, and a coloring which enchant-  that we never, weary in contemplating it."  Rosed by its lucidness, its contrasts, and the delicacy  ini has also given a print (plate 86) of one of his
of its flesh tints. He was indefatigable in painting   pictures in the Gallery at Parma, the subject of
for individuals as well as for the churches, and in   which differs but little from that in the cathedral
the state as well as in Rome, there is hardly a  at Parma, which is very beautiful.  Conegliano is
collection without its Conca."                    said to hive excelled in portraits, executed smaller
than life, some-of which are in England.
CONCA, GIOVANNI, was a younger brother of  than life, someof which are in Egland.
the preceding, whom he accompanied to Rome, and     CONEGLIANO, CARLO CIMA DA, was a son of
whom he assisted in the execution of his numerous   Gio. Battista C., who instructed him in the art, and
commissions.  He wrought in the style of his- whose style he so closely followed, that Federici
brother, had an equal facility of execution, and a  says there are many pictures attributed to the
similar taste, though Lanzi says he was less beau-  father, which in reality, were executed by the son.
tiful in his heads, and had a less delicate pencil.  CONEGLIANO, CESARE DA, a painter of the
CONCHILLOS.  See FALCO.                        Venetian school, born at Coneglia, who, according
to Zanetti, was a good artist, and flourished in the
CONCIOLO, an old Italian painter of the 13th  time of Titian, or about 1550. Lanzi says ther
time of Titian, or about 1550. Lanzi says there
century. At Subiaco is a picture on panel by   is an altar-piece by him in the church of the Santi
him, representing the consecration of a church, in-  Apostoli, at Rimini, representing the Last Supscribed Conciolus pinxit. 1219.                  per, which is sufficient of itself to rank him with
CONDIVI, ASCANIo a native of Ripatransone,  Bonifazio and the best of that class of painters.
was a pupil of Michael Angelo. but he did not       CONEGLIANO, CIRO DA, a native of Coneglia,
possess sufficient talent to acquire any distinction   who studied under Paul Veronese, but died very
in that glorious age of art. He published a life  young. He is said to have painted an altar-piece,
of Angelo in 1553, ten years before the death of  representing the Nativity, for the Church of the
that master.                                     Riformati at Coneglia, so exactly in the style of
CONEGLTANO, Gio. BATTISTA CIMA.  The  Veronese, that a stranger could not distinguish it
family namneof this painter was Cima. but he is  from a genuine work of that master.  This picture
called Il Conegliano, from the place of his nativity,  was afterwards taken to Rome.
near Trevigi, in the Venetian states. According to  CONEY, JOHN, an English designer and enRidolfi, he was one of the most successful followers  graver, born at London about 1786. When about
of the style of Giovanni Bellini, and Lanzi classes  fifteen years old he commenced making architechim as one of his pupils, and says it is easy to con-  tural drawings, which he sold at very low prices.
found his works with those of Bellini, for though   In 1815 he published a series of eight views of
perhaps less smooth and tender in his coloring, yet  Warwick Castle, drawn and etched by himself.
he was not less diligent, graceful, and lively, in his  Shortly afterwards he was employed to draw and
motions and coloring. The same author also says,  engrave the series of views of the cathedrals and
that his works, especially his altar-pieces, are quite  abbey churches of England, to illustrate the new
numerous, though he grants that some of them   edition of Dugdale's Monasticon.  These plates
may have been executed by his son and scholar,  occupied much of his time for fourteen years, and
Carlo Cima C. There is considerable discrepancy  show considerable ability. In 1831, Coney comamong authors as to the time he flourished. Ac-  menced a series of plates, accompanied with decording to Zani, he practised from 1489 to 1541;  scriptive sketches, of the "Architectural Views of
to Ridolfi, from  1495 to 1517, when he died in   Continental Europe," which consist cf twenty-eight
the maturity of his powers. There is an altar-  large plates, and fifty-six vignettes. He also exepiece in the cathedral of his native place, dated  cuted many drawings with the pencil and in water
1493, which Lanzi considers one of his youthful per-  colors for the booksellers. He lived in obscurity
formances, and another, in the church of S. Fran-  and died in poverty, in 1833.




CONI.                      219                     CONJ.
fCONGIO, CAMILLO, a Roman designer and   was much employed, and his works were so great
engraver, born about.1604. In 1630, he en-  ly admired, that they were eagerly bought up by
graved several plates for the Justinian Gallery.  the picture dealers, who sent them to different parts
He also executed some of the engravings for Tas-  of Europe, where they brought good prices.  The
so's Jerusalem, after the designs ofBernardo Cas-  Emperor of Austria purchased many of them,
telli; and several plates after different Italian   which he placed among his most valued paintmasters, which are generally marked C. C. F., or his   igs.  The figures in the landscapes of this artist
monogram.  The following are the principal:        were usually painted by Martin van Cleef. He
The Annunciation. The Adoration of the Magi. Her-  was justly esteemed one of the ablest landscape
culos combating the Hydra. A Frontispiece entitled, Di-  painters of his time; his touch is light, spirited,
versi ornamenti capriciosi. The Creation of Angels; af-  and masterly, and his coloring very agreeable.
ter Camassei. Frontispiece to the Edes Barbarinae; af-  He died at Antwerp in 1609.
ter Guido Ubaldo Abbatini. An Assembly of Saints; after Gasparo Celio.                                    CONJOLA, CHARLES, a German landscape
CONINCK, DAVID, called PO.MMELAER, a Fle-  painter, born at Manheim in 1773.  His works
CONINCK, DAVID, called POMMELAER, a Flemish painter, born at Antwerp in 1636; studied   are principally views in water-colors, of the moununder Jan Fyt, and afterwards made the tour of   tainous regions of Bavaria and the Tyrol. He died
France, Germany, and Italy.  lie painted usually   at Munich in 1831.
subjects of still-life, which are executed in a firm,  CONRAD, or CONRADUS, ABRAHAM, a Dutch
yet free manner, with a natural and vigorous col-  designer and engraver, who practised the art abbut
oring. His pictures resemble those of Fyt, though   1650. His plates are principally portraits, chiefly
much inferior to the works of that master.  He  from his own designs.  They possess great merit,
died in Italy in 1689.    -                        and some of them are successful imitations of the
CONINCK, KONINCK, or KONING, CQRNE-  style of Lucas Vostermans. The following are his
LIUS, a Dutch designer and engraver, was born   principal prints:
-at Haerlem  about 1624.  He engraved several                           PORTRAITS.
portraits of distinguished personages of the 16th    Christopher Love. Jacob Triglande, professor of Thecentury, executed with the graver in a clear, neat  ology at Leyden. Thomas Maurois, of Canterbury, ecclestyle, among which are:  Lawrence de Coster,  siatic at Amsterdam; D. Boudringhen, pinx.; A. Conthe eminent painter, after J. V. Campen; Adrianus  radus,.fec. Godefroid Hotton, Pastor of the French Church
mTetrdius of Haerlemr P. Grebber. n v.   Dirk   at Amsterdam; after H. Mermans; very fine. The FlagTetrodius of Haerlem, P. Grebber.  nv.;  Dirk   ellation; after A. Diepenbeck. The Crucifixion; do.
Philius, C. Koning, scul. exc.; Martin Luther, C.,
Koning fe et exLc                                  CONSETTI, ANTONIO, a native of Modena, was
K vonng, fec. et*i exc.          born in 1686, and died, according to Tiraboschi, in
CONINCK, KONINCK, or KONING, SOLO-  1766. He studied under Cav. Donato Creti, whose
MON, an eminent Dutch painter, born at Amster-  style he followed.  Lanzi says he was accurate in
dam  in 1609; studied under David Colyns, and   his design, and a commendable master of the art,
afterwards under Nicholas Moyaert, but subse-  though his coloring is somewhat crude and unquently attached himself to the style of Rembrandt.  pleasing to the eye. Both Modena and the state
He painted easel pictures of historical subjects,  possess many of his works.
which are well composed, and admirably colored,    CONSOLANO. See  CASOLANI
with something of the richness and glow of Rembrandt, in a clearer tone.  His works possess great   CONSTABLE, JOHN, an English landscape
merit, but they are rarely seen out of Holland,  painter, was the son of a miller, and born in 1776;
being highly valued, and preserved in the choicest  studied under Farrington, and was also a student
collections.  He died, according to Balkema, in  in the Royal Academy.  He usually represented
1668. There are a few fine etchings by this ar-  views of water-mills, landscapes after a shower,
tist, which are also in the admirable style of Rem-  boats threading locks, lake scenery, and views of
brandt. The following are the principal:           Hampton Heath, with impending thunder clouds,
The Bust of an old Man with a Beard; S. Koninck.  or downright torrents of rain. His pictures are
1628. Bust of an old Man in an Oriental Costume, nearly  in a very singular style, and must be considered as
a profile; S. Koninck. Small Bust of an old Man with a  the production of an eccentric artist, who rejected
Fur Cap; Sal. Koning, invent. An old Man sitting in a  all the usages of the best masters.  His landscapes
Chair, seemingly praying, without his name; very fine.  are always gloomy; the skies are overspread with
Bust of a venerable old Man, three-quarters, with a Beard,  bulent clouds
without his name; very fine. A Lands   wi          tursarged ththundser, lightning
Cottages, and a Tower in Ruins; S. Konick, 1663.   and rain; and when the shower falls, instead of
verdant freshness, his trees and meadows are covCONINGH, or KONING, JACOB, a Dutch paint-  ered with fleeces of snow. Two of his best pieces
er, born at Haerlem in 1650; studied under Adrian    e a View in Suffolk, and another in Essex. This
vander Velde. He painted landscapes with fig-  artist was elected an Academician in 1829. He
ures and animals, in the style of his master, and   died in 1837.
sometimes not much inferior to him. One of his
pictures is in the Museum at Brussels.                CONSTANTINI, or CONSTANTINO, Gio.
CONINGSLOO, or COONINXLOO, GILES, a   BATTISTA, an Italian engraver, who practised the.I'art about 1619. There is an etching by him, in a
Flemish landscape painter, born at Antwerp in   art about 1619.  There    an etching by him, in 
1544; studied under P. van Aelst the vounger   slight free style, somewhat in the manner of Guido,
1544; studied under P. van Aelst the younger,
and afterwards in the schools of Leonard Kroes   though less masterly, representing a Bacchanalian
and afterwards in theschools of LeonardZ Kroes,  subject, surrounded with a grape vine in the form
and Giles Mostaert. For several years he prac-        a                       grape vine in the form
tised at Paris and Orleans; after which he went  o   
to Rome for improvement, and remained some-           CONSTANZIO, PLACIDO, an Italian painter,
time in that city. On returning to Flanders, he   born at Rome in 1660.  He painted history with




CONT.                     220                    CONT.
reputation, though his works have a labored ap-  1584, and died in 1649. He was the inventor of
pearance. He died in 1713.                       a kind of work called by the Italians a Scagliola
CONTANT, PIERRE, an eminent French archi-  or a Mischia, which was subsequently carried to
tect, born in 1698, at Irvy-Sur.  He studied   great perfection, and is now largely employed in
drawing under Watteau, and architecture under  the imitation of works in marble.  The stone called
Duline. He was admitted a member of the Royal  selenite forms the principal ingredient.  This is
Academy at the age of 28. He erected the church   pulverized, mixed with colors and certain adhesive
of Panthemont; the amphitheatre of St. Cloud;  substances which gradually becomes as hard as
the church of Conde, in Flanders; la Gouvernance,  stone, capable of receiving a high polish. Fassi made
at Lisle; and the church de la Madeleine, which   his first trials on cornices, and gave them the aphe did not finish.  He designed the beautiful  pearance of fine marble, and there remain two altarchurch of St. Waast, at Arras; also, the stables,  pieces, by him, in the churches of Carpi. From
at Bissey, where he first tried those brick arches,  him, the method rapidly spread over Italy, and
which, even to connoisseurs, appear so bold and  many artists engaged in this, then, new art. Anniastonishing. Contant published a folio volumeon   bale Griffoni, a pupil of Fassi, applied the art to
his system  of architecture. He died at Paris  monuments. Giovanni Cavignani, also a pupil of
in 1777.                                         Fassi, far surpassed his master, and executed an
CONTARINI, CA. GIOVANNI an eminent Ve-  altar of St. Antonio, for the church of S. Niccolo,
netian painter; born in 1549,died in 1605. He  at Carpi, which is still pointed out as something
applied himself with great assiduity to the study   extraordinary.  It consists  of two columns of
of the works of Titian; by which means he be-  porphyry adorned with apallium, covered with
came excellent in coloring, and painted portraits  lace, which last is an exact imitation of the coverwith great force, sweetness, and strong resem-  ing of an altar, while it is ornamented in the marblance; he also paintedhistorical subjects with  gin with medals bearing beautiful figures.  In
remarkable taste and correctness of design. His  the cathedral at Carpi is amonument by one
manner was lively and pleasing, and in all his works  Ferrari, which so perfectly imitates marble that it
might be seen a close imitation of Titian. When   cannot be distinuished fromit, except by fracture.
his reputation was well established, he travelledIt ha the l       aouch of marble. Lanzi, from
into Germany, where he met with great encour-  whom these facts are obtained, says that these
agement from the princes and nobility, especially  artists ventured upon the composition of pictures,
at the court of the Emperor Rodolphus II., by  intended to represent engravings as well as oil
whom he was knighted.  In the church Della  paintings, and that there are several such works,
Croce, at Venice, is a fine picture by this artist, of  representing even historical subjects, in the collecthe Crucifixion; in S. Francesco, is the Resur-  tions  of Carpi.  anzi considers this art of so
rection. His principal work, however, represents  much imprtancer the  us concludes his artithe Virgin and Infant Enthroned, with St. Mrk  cle upon it: " After the practice of modeling had
and St. Sebastian, and the Doge Marino Grimani  been brought to vie with sculpture and after enkneeling. It was formerly in the Ducal palace,  graving upon wood had so well counterfeited
but is now in the gallery of the Louvre.  pac    works of design, we have to record this third inbut is now in the gallery of the Louvre.
vention, belonging to a State of no great dimenCONTARINI, SIMONE, an Italian painter; born  sion. Such a fact is calculated to bring into higher
at Pesaro in 1614; studied successively under  estimation, the geniuses who adorned it. There is
Paidolfi, Ridolfi, and Guido Reni, after which. he  nothing of which man is more ambitious, than of
visited Rome, where he studied with assiduity the  being called an inventor of new arts; nothing is
works of Raffaelle. His subjects were principally   more flattering to his intellect, or draws a broader
from  sacred history, and were composed with  line between him and the animals. Nothing was
great judgment and taste. He died at Verona in  held in higher reverence by the ancients, and hence
1648, in the prime of life.                      it is that Virgil, in his Elysian fields, represented
CONTE, JACOPINO DEL, a Florentine painter,  the band of inventors with their brows bound
born in 1510; studied under Andrea del Sarto.  with white chaplets, equally distinct in merit as in
When young, he left Florence for Rome, and resi-  rank, from the more vulgar shades around them."
ded in that city during his after life. He was a
reputable painter of history, but was still more    CONTI, CESARE and VINCENZIO, two brothers,
distinguished in portrait painting, in which he be-    ere painters of Ancona, but visited Rome in the
came very eminent, and is said to have executed        of regory XIII., by whom  they  ere emmore portraits, and those of more eminent person-  ploed  as well as by his successors Sixtus V.,
Clement VIII., and PaulV. They usuallypainted
ages than any other artist of his time. His por-         VII, an  d Paul  They usually painted
trait of Paul III., which he painted soon after  in concert, Cesare being esteemed for his grotesque
coming to Rome, gained him so much applause  ornaments, and Vincenzio for his execution of the
that according to Baglioni, he was employed to  figres.  The principal of the combined works ot
paint every pontiff that succeeded him until the  these artists are: the History of St. Giacomo del
time of Clement VIII., in whose pontificate he  Zucchi,    S. Sprito in Sassia; St. Agnes and the
died. Many of the cardinaMartyrdom of St. Urbano, in S. Cecilia de Trasteerously rewarded him.  His principal historical         Several others of their works arein S.
works are St. John Preaching, and the Descent  Maria de Trastavere.
from  the Cross, in S. Giovanni Decollato; the     CONTI, DOMENICO, a Florentine painter and a
Dead Christ, with several figures, in the Madonna  friend and pupil of Andrea del Sarto, whose drawdel Popolo; the PietA, and St. Francis receiving  ings he inherited.  Vasari only mentions him as
the Stigmata, at the Cappuccini a Monte Cavallo.  the designer of the tomb and epitaph erected to the
CONTE, DEL, an artist, so called, whose real  memory of that great artist in the Nunziata, at
name was Guido Fassi, a native of Carpi, born in  Florence, near his own immortal works.




CONT.                    221.                    ONT.
CONTI, FRANCESCO 0., a Florentine painter,   while a child, was discovered modelling in clay
who studied under Carlo Maratti, and was a suc-  while attending his flocks. Simone Vespucci, then
cessful follower of his style. He was born in 1681,  governor of the province of Sansovino, saw his inand died in 1760. He excelled in painting Madon-  clination for art, and took him to Florence, where
nas, several of which are in the collections at  he was placed under the best masters, and proFlorence. His portrait is in the Ducal Gallery  gressed with great rapidity. He executed a lIrge
beside that of his master.                     number of fine works in sculpture, of which there
CONTI, Gio. MARIA, a native of Parma, who  are many at Florence, Genoa, and other cities. At
flourished n 1660. He was areputable artist.   Rome he produced, among other works, a superb
group from a single block of marble, for the church:
CONTRI, ANTONIO. This.artist, according to  of S. Agostino, representing the Infant Jesus. with
Baruffaldi, was a native of Ferrara and the son of the Virgin and St. Anne. He was equally successa lawyer. He was born about 1660, and died in  ful in architecture, and his chapel of S. Sacramento
1732. He went to Rome, where he resided for a  in the church of S. Spirito, at Florence, is so beaulong time, then went to Paris, and afterwards re-  tifully constructed, that it appears cut out of one
turned to Italy and established himself at Cremo-  piece. His reputation became so great that the
na, where he painted landscapes, in which he was  King of Portugal invited him to that country,
accustomed to introduce flowers, in which style he  where he erected a splendid palace for the king,
was much distinguished. There are many works  and many other good works. After remaining
of this kind executed by himself and his son Fran-  there nine years, he returned to Italy, loaded with
cesco C., at Cremona Ferrara and other places in  rich gifts. Pope Leo X., sent him  to Loretto,
their vicinity. But he was more distinguished asthe where he executed the fine bas-reliefs which adorn
inventor of a method of transferring paintings from   the exterior of the church of Santa Casa; he also
walls to canvass, which obtained him widecelebrity,  finished the palace of the Canons, commenced by
and which he performed without the Jeast in-  Bramante, and fortified the city. He died in 1529.
jury to the design or the painting.  For this
purpose, he spread upon a piece of canvass of the    CONTURE, GUILLAUME, a French architect,
size of the painting to be transferred, a composi-  born at Rouen, in 1732. He visited Paris, where
tion of glue or bitumen, and placed it upon the  his talents soon became known, and where he
picture. When this was sufficiently dry, he beat  erected many edifices, among which were the
the wall carefully with a mallet, cut the plaster  Hotels de Saxe and de Coislin.  The pavilion
around it, and applied to the canvass a wooden  which he erected at Sevres, gained him admission
frame, well propped, to sustain it, and then, after a  to the academy of architecture in 1775.  Soon
few days, cautiously removed the canvass, which  after this he visited Italy, where he designed from
brought the painting with it; and having extended  the fine remains of antiquity, and gained great imit upon a smooth table, he applied to the back of  provement. His restoration of the Church de la
it another canvass prepared with a more adhesive  Madeleine increased his reputation greatly, and
composition than the former. After a few days,  gained him the Cordon of St. Michael, although
he examined the two pieces of canvass, detached   he was unable to complete it. on account of the
the first by means of warm  water, which left  troubles of the times. He died in 1799.
the whole painting upon the second as it was    CONWAY. See DAMER.
originally upon the wall. Contri found considera-    COOGHEN. See KOOGHEN.
ble and profitable employment in this branch of    COO        GEORGE, a reputable English engraver
business for the noble houses of Cremona, Ferrara,    COOK at London in 1. He studied un er,
and Mantua. He thus removed some works of
and Mantua. He thus removed some works  born at London in 1781. He studied under Basire,
Giulio Romano from  the walls  of the Du       on leaving whom he was employed to engrave sevpalace. The secret composition of his glue, Contrieral plates for a  ork containing views in England
communicated onlytohisson. Lanziregretsthat  and Wales. Cooke executed plates of the Coast
communicated only to his son. Lanzi regrets that                                          In
this valuable invention had not been previously  Scenery of England, and Views in Scotland. 
known, so that many of those great works which  1822, in concert with Mr. Moses, he engraved the
knownsottany oillustrations for D'Oyley and Maut's Bible. A
are now only mentioned in the books, might have
been preserved. It is at least doubtful whether  series of plates, in whic he was assisted by his
Contri was really the inventor of the method,  son, Edward William   ooke, appeared in 1833,
which he might have learned at Paris, for in the  representing Old and New London Bridges.  ie
reign of Louis XV., the celebrated painting of St.  died in 1834.
Michael, by Raffaelle, was so skilfully removed    COOKE, HENRY, an English copyist and porfrom the old canvass to a new one as to greatly  trait painter of little note, who practised the art
improve it, for the cracks, which greatly disfigured  about 1640, and painted several portraits in that
the former, entirely disappeared in the latter. At  year for the Company of Ironmongers, which are
the present time, this art is practised in great per-  now in the hall of that corporation. They are
fection. even in the United States, and paintings  undoubtedly copies, as they represent persons who
can be transferred from canvass or panels to new  lived long before the time of Cooke, with the excanvass without difficulty or injury to the painting.  ception of Sir James Campbell, who sat to the
CONTRI, FRANCESCO, was the son and succes-  artist. Among them are the portraits of Charles
sor of the preceding artist; born at Cremona,  I. and Henrietta Maria.
where he continued to reside, though he often    COOKE, HENRY, an English painter of little
practised in other cities. He also painted land-  note, who went to Italy, and studied under Salvascapes in a reputable manner.                  tor Rosa. He returned to England, and was emCONTUCCIO, ANDREA, called DA MONTE SAN-  ployed by King William to copy the cartoons of
SOVINO, an eminent Italian sculptor and architect;  Raffaelle. He also painted the choir in New Col.
born in 1460. Hle was the son of a peasant, and  lege, Oxford. He died in 1700.




COOP.                     222,OPP
COOL, PETER, a Flemish engraver, who flour-  credit. After residing two years at Rome, where
ished about 1690.  He executed a number of  he had studied with the greatest assiduity, and
plates, among which is one after Martin de Vos,  made the works of Titian and Correggio his especial
representing Christ bearing his Cross, with St.  models in coloring, for composing the brilliant
Veronica, and other figures. It is executed entirely  hues of which, he wrote out receipts, he went
with the graver, in a coarse, stiff manner.      to London, where he met his wife and children,
COOPER, SAMUEL, an eminent English minia-  whom he had left in Boston. As the war of the
ture painter; born at London in 1609. He studied  revolution broke out in 1775, there was no good
under his uncle Hoskins, whom he soon surpassed.  opportunity for Copley to return to his native land,
He painted several of the most illustrious men of  which he always seemed to have had in view, and
his time, particularly Oliver Cromwell and John   as there was not much hope of success for an artist
Milton. The portrait of the latter is now in the  in the convulsed state of the country, he settled
possession of the Duke of Buccleuch. He painted  permanently in London. His first picture, which
several miniatures for the court for which his  may be termed historical, was the Youth Rescued
widow received a pension during her life. Cooper  from the Shark; but his great painting of the
was the first artist of his country who gave a  Death of Lord Chatham, which represents the
strength and freedom to miniature painting.  His  great orator fainting in the House of Lords after
coloring was pure, his carnations were beautiful,  his admirable speech in favor of America, and in
and the hair was painted in a flowing, elegant  which he introduced the portraits of all the leadmanner.  His merit, however, was confined en-  ing men of the House, at once established his reptirely to the head, for when he painted more of  utation.  This picture was so much admired that
the figure, his drawing is defective, and his execu-the artis was emboldened to have it engraved of
tion undetermined. This artist enjoyed consider-  unusual size, thirty inches long  y twenty-two
able reputation during his life. He died in 1672.  wide, by the hand f Bartolozzi. Thepainter sent
He had a brother named Alexander, who also  a print to Washinton, and John Adams, with
studied under Hoskins, and painted portraits with   whose approbation  e could not but have been
some reputation in oil and in miniature, though he  highly gratified.  This work" said the former in
was greatly inferior to his brother. He also painted  his reply, "highly valuable in itself, is rendered
landscapes in water colors. Not succeeding as he  more estimable in my eyes, when I remember that
expected, he went to Flanders, where he remained  America gave birth to the distinguished artist who
some time, and afterwards visited Sweden, where  produced it." "I shall preserve my copy," said the
he painted several miniatures for Queen Christina.  latter, "both as a token of your friendship and as
COOPER, RICHARD. This engraveris supposed   an indubitable proof of American genius."  In
to R havbenbrnat E isnb rabout 1730. He   1790, Copley was sent by the city of London to
to haved been born at Edinburgh, abot 1730  He  Hanover, to paint the portraits of four Hungarian
engraved a plate of the Ded  Christ and Marys,  officers, commanders of regiments associated with
after An. Caracci; the Children of Charles I,  the British troops, under GeneralElliot, (afterwith a Dog, after Vandyck; besides anumberof       eBritish troops, under General - Elliot, (afterwith a Dog, after Vandyck; besides a number of  wards Lord Heathfield) at the defence of  ibralportraits tof eminent personages, Among whih are   t, in order to introduce them into a large picture
hose of William IIL, Mary, his Queen, Frederick,
thoe o f Willm III M, his Q, Fed which he was commissioned to paint for the city of
Prince of Wales, with his sisters; Lord Bacon,  London, representing the Seige and Relief of GibralEarl of Strafford, and others.               tar, which are now ornaments to the Council ChamCOOPSE, PETER, a Dutch marine painter, who  ber of Guildhall. He pursued his profession with
followed the style of Backhuysen and Vder-  great distinction and with unabated vigor to an
velde. His pictures are generally of a small size;  advanced age, and died in London in 1815, aged 78.
his composition is ingenious and abundant, and his  His principal works, besides those before mentionooloring vigorous. There is a picture by him  in  ed, are-the Death of Major Pierson; Charles I. in
the gallery at Munich, which is attributed to  the House of Commons, demanding of the Speaker
Backhuysen, in the catalogue, and many of the  Lenthall, the Surrender of the Five Impeached
works of this artist are undoubtedly ascribed to   Members, containing the portraits of the most disthe latter. Ploos van Amstel has published fac  tinguished members of the house; the Surrender
similes of some of the drawings, by Coopse, in his  of Admiral de Winter to Lord Duncan, off Camcollection.                                      perdown; Samuel and Eli; Samuel Reproving
COORNHAERT. See CUENHAERT.                     Saul &c.; besides some fancy subjects, of which
OCOOSEMANS, ALEXIS, a Flemish painter, who  his Boy and Squirrel was an exquisite specimen of
flourished about 1630.  Little is known of the  coloring. But his great forte lay in portrait paintflourished about 1630.  Little is known of the  ing g
events of his life. IHe usually represented sub-  ing, his principal occupation. His portraits, which
jects of still-life, which possess considerable merit  are numerous, are distinguished for a truthfulness
COP, JN SI  L N ws bn   n B       harmony of coloring, and a life-like expression
COPLEY, JOHN SINGLETON,was born in Bos-  seldom surpassed. His eldest and only surviving
ton, in 1737. He was made by nature for a painter,  son, John Singleton Copley, now Lord Lyndhurst,
and he was wholly a self-taught artist. Hbegn   hs made a collection of hs father's beganst works
painting, as a profession, at sixteen years of age;  which adorn the walls of the artist's own house
l before," to use his own words, " he had ever seen a  in George St., Hanover Square, where his lordship
tolerable picture," and certainly before he could  continues to reside.
have received any instruction, for Boston at that
time had no Academy of Arts, nor any painters.    COPPA, CAV. ANTONIO. See GIAROLA.
Irnhis thirty-seventh year he went to Italy, but    COPPA, STEFANO, an Italian engraver, who
before this time, he had become a distinguished  practised the art at Rome, about 1775. In concert
portrait painter, and there are yet many of his  with Giuseppe Perini, he executed the plates from
early portraits in this country which do him great  the antique statues in the Clementine Gallery




COPP.                    223                   CORA.
He also engraved a number of other plates, among    CORADO, CARLO, a reputable Neapolitan paintwhich is a print of the Ascension, after Lanfranco.  er, born in 1693; studied under Solimena, andfolCOPPA. a native of Milan, who studied under  lowed his style. On leaving that master he went
Magnasco, whose style he successfully imitated.  to Rome, after which he -was invited to Madrid,
He flourished at Milan about 1750.             where the king settled on him a pension and emCOPPENS, AUGUSTINE, a Dutch engraver, who  ployed him in several important works. His deCOPPEN, AUGUSTINE, a\ Dutch engraver, whogsign was correct, his compositions were ingenious
practised the art about 1690. There are a number  sign was correct his compositions were ingenious
of plates by this artist, representing views of archi-and abundant and his coloring brilliant. Towards
the end of life, he returned to his native city, where
tectural ruins, which are executed in a neat, and  the end of life, he returned to his native city, where
he died in 1768.
finished style.
CORALLI, GIULIO, a Bolognese painter, was
COPPI, JAcoPo, was born at Peretola in the  born in 1641, and died about 1710.   ccordig 
Florentine State, in 1523, and died at Florence in  born in 1641, and died under Guercino, at Bologna,
1591. It is not'certain with whom he studied   Orlandi, he studied under Guercino, at Bologna,
1591. It is not certain with whom he studied,  which was a favor, as that master received few
which was a favor, as that master received few
but Lahizi thinks with Ghirlandaio.  There is  scholars into his studio in that city. He was a
some dispute about the merits of this artist. but it  reputable artis    t di not ain  ch
is probable that Jacopo del Meglio, who is so se-             b  d  no gn             n n.
verely treated by Borghini for his works in the    CORBELLINI, a Roman painter and pupil of Ciro
church of Santa Croce, was not Jacopo Coppi as  Fer   Hewasemployedtofinishthegrandcupola
some have supposed. At all events, Lanzi says f the church of S. Agnes, the last work of  iro,
his Crucifixion in the church of S. Salvatore, at  which was left incomplete by the death of that
Bologna, will vie with any of the productions in  master. Titi and Pascoli express deep regret that
that city, previous to the time of the Caracci. The  so fine a composition should have been injured by
subject is full and carefully studied. He says fur-thehandthat attemptedto inish it. This wor
ther, that in coloring, propriety of invention, in   been engved.
variety of figures, and in execution, le has seen no    CORBUTT, CHARLES, an English mezzotinto
picture by Vasari which surpassed it.          engraver, who flourished about 1760. He executed
COPPOLA, CARLO, a Neapolitan painter, who  a number of plates, among which are: Lady Charstudied under Falcone, and who painted battle-  lotte Johnson, and Garrick, between Tragedy and
pieces and skirmishes of cavalry, with all the force  Comedy, both after Reynolds; the Old Rabbi,
and animation, and correctness of design which  after Rembrandt; a Flemish Conversation, after
distinguish the works of his master. Lanzi says  Brower. Besides these, we have the portraits of
his-works may be mistaken for those of Falcone,  Gen. Wolfe, and other eminent personages of the
except that a certain fullness with which he painted  time.
his horses in his battle-pieces, may serve as a dis-    CORDEGLIAGHI, or CORDELLA  AGHI
tinction. There are manyof his works in the  GIANNETTO, a Venetian painter who flourished in
galleries at Naples. He was living in 1665.    the first part of the sixteenth century. According
COQUES, GONZALES, an  eminent Flemish  to Vasari, he enjoyed a high reputation, and painted
painter, born at Antwerp in 1618. He acquired. a multitudeof pictures for private collections. There
the elements of the art from David Ryckaert, the  is some dispute about the name of this painter.
elder, but gained great improvement from the at-  In Venice, he is called Cordella, perhaps for brevity,
tentive observation of nature. His first subjects  and to him is attributed the beautiful portrait of
were conversations and gallant assemblies; but the  Cardinal Bessarione, in the college of La CaritA.
extraordinary reputation Vandyck had acquired by  Lanzi says his name was probably double, Cordella
his admirable portraits, induced Coques to attempt  Aghi. Zanetti also read upon a beautiful Madonna
the same branch of the art, though on a different  in the collection of the learned Zeno, Andreas
scale.  He commenced painting portraits of a  Cordele Agi F., doubtless a member of the same
small size, and gave them the correctness and sim-  family.
pie character of nature, so much admired in the    CORDIER, V., a French engraver of some merit,
works of Vandyck. His success was so great,  born at Abbeville, and flourished about 1760. He
that he could with difficulty fulfill his engagements,  executed a number of plates, among which is one
and few persons could procure his pictures. His  after a design of G. M. Dumont, representing a
single heads, and groups of family portraits, were  public square and fountain.
esteemed superior to those of every artist of his 
time-Vandyck alone excepted. He also painted    CORDUBA FRANCECO an Italian engraver,
landscapes and animals with great beauty and skill.  who followed the style of Callot. We have a
He was employed by Charles I., the Archduke  number of plates by him, among which is a set of
Leopold, and other potentates of his time. Al-  plates etched in a spirited manner, representing
though his heads rarely exceed the size of an inch  the principal fountains of the gardens of Rome,
and a half, they have all the breadth, freedom of  with small figures. This artisthad received some
touch, and animated character of the works of  mark of distinction, ashesignedhisplates,  ues,
Vandyck. The heads and extremities are designed  Franc, Corduba del et cul.
with the utmost correctness; his coloring has the    CORENZIO, BELISARIO. This painter was a
freshness, and his draperies the ease observed in  native of Greece, and was born, according to Dothe works of that' great master.  His family  minici, in the province called Accaja, in 1558. He
groups were admirably conceived, and in the ac-  acquired the elements of the art in his own councessories, he displayed great taste and elegance.  try from an unknown painter, who was a great
His compositions are few in number, and are ex-  admirer of the Venetian masters; and by his destremely valuable; there are forty-six described in  criptions of their magnificent works, he excited the
Smith's Catalogue Raisonn6. Coques died in 1684,  desire of Belisario to behold them. The latter, a
aged 66.                                       the age of twenty-two, went to Venice, and en



CORI.                      224                     CORN.
tered the school of Tintoretto. Under his able  Joris'; after Guido; a capital print, in four sheets. 1647,
instruction, Belisario made rapid progress, and he  The Seven Ages, transported to Bologna, a Thesis.
could not have found a master whose style and the-    CORIOLANO, Gio. BATTISTA, a Bolognese
ory of the art were better adapted to his own or-  painter and engraver, the elder brother of Bartolganization.  He was gifted by nature with an   omeo C., was born in 1589. He studied under Gio.
almost unparalelled facility of execution, and a  Lodovico Valesio, but did not arrive at much diswonderful fertility of invention. Lanzi says he  tinction as a painter, although he was employed
was equal to four artists in point of despatch.  for some of the Bolognese churches. In the NunThis power he displayed in his immense picture of  ziata is an altar-piece by this master, representing
the Miracle of the Loaves and Fishes, in the refec-  St. John, St. James, and St. Bernard. In S.
tory of the Benedictines, which he finished in forty   Anna, are two pictures of St. Niccolo, and St.
days. After passing five years at Venice, he visit-  Bruno. As an engraver he deserves considerable
ed Naples, where, according to Dominici, he painted   credit.  He worked both on wood and copper.
many admirable works for the churches and pub-  His wooden cuts constitute his best prints.  His
lie edifices.  He painted a few pictures in oil, but  work consists of a number of theses and frontishis abilities seem to have been better adapted to  pieces, besides several portraits and other subjects,
grand fresco works.  He was sometimes led away   of which the following are the principal:
by the fire of an unusually ardent imagination,                        PORTRAITS.
but when he could govern this enthusiasm, he was
but when he could govern this enthusiasm, he was    Vincenzio Gualdi. Fortunatus Licetus. The same Pornot much inferior to the great Venetian masters.  trait in wood. Joannes Cottunius.
His principal works at Naples, are the ceiling of
the Capella de Catalani, in S. Giacomo, where he             UBJ        AFTER VARS 
The Image of the Virgin; J.B. Coriolanus, sc. The
painted in nine compartments, the Life of the    The Image of the  Virgin; J.B. Coriolanus,s. hel
miraculous Image of the Virgin; painted by S. Luke, held
Virgin, replete with grace and beauty; inthecor-  by three angels; after Guido. Christ crowned with
ners he painted four Sybils.  In the Church   Thorns; etched in imitation of a wooden cut; after L. CaDella TrinitY, is a picture of the Virgin Crowned   racci; fine. Cupid sleeping; in chiaro-scuro; after Guiby the Trinity, with two laterals, of the Visita-  do. Triumphal Arch in honor of Louis XIII.; II Coriotion, and the Presentation in the Temple.  Coren-  lano,fe. Twenty-seven plates of emblematical Subjects;
zio died in 1643                        after Paoli Macci; the whole set, Paoli Macii Emzio died in 1643.                                 blemata, consists of eighty-three plates; the rest are by 0.
CORIOLANO, CRISTOFORO, a reputable Ger-  Gatti and A. Parasini.
man wood engraver, was born at Nuremberg about       CORNARA, CARLO, a Milanese painter, was
1540. According to Heineken, the family name of  born, according to Orlandi, in 1605, and died in
this artist was Lederer, which he exchanged in  1673. He was an imitator of Correggio,and enjoyed
Italy for that of Coriolano. Vasari says that he   a good reputation.  Lanzi says he produced only a
executed at Venice an infinite number of fine spe-  few pictures at Milan, but executed with an exquiscimens of art; besides the portraits of the paint-  ite degree of taste, peculiarly his own, which reners, sculptors and architects to illustrate Vasari's  ders them valuable in private collections.  He also
work, after designs of the latter, first published in  painted some works for the churches, one of the
1568. They are very masterly performances. He  best of which is an altar-piece, painted for S.
also engraved the greater part of the figuresin the   Benedetto, at the Certosa, in Pavia, a picture now
Natural History of Ulysses Adrovandus; and the   much defaced by time.
frontispiece and cuts after designs of Titian to illus-    CORNEILLE, MICHEL, the Elder, a French
trate the Cours d'Anatomie of Andrea Vesalio.  painter, born at Orleans'in1603; studied under
Coriolano died at Bologna, about 1605.             Simon Vouet, and adhered to his style through
CORIOLANO, CAV. BARTOLOMEO, a Bolognese  life. He executed twelve large paintings for the
painter, the second son of Cristoforo C.; was born,  churches, and was one of the twelve original memaccording to Zani, 1599. He was first instructed   bers of the Royal Academy at Paris. He etched
by his father, but afterwards entered the academy   several plates after the Italian masters, among
of the Cxracci, where he became an able designer  which are three after Raffaelle; the Holy Famand wood engraver.  He usually finished his prints  ily, with St. Elizabeth; the Murder of the Innowith two blocks; on one he cut the outline and   cents; and Christ appearing to Magdalene: also,
dark shadows; and on the other, the demi tint;  the Virgin Suckling the Infant Jesus, after L.
these he managed with great judgment, and his   Caracci.  He died at Paris in 1664.
prints have a fine effect, a few of them are executed  CORNILLE MIHE  the Younger, a French
in chiaro-scuro, in which he used three blocks.                              the Younger, a srein
His drawing is masterly and spirited, and his  pair and egrs in 1642, diedin 1708. He was
heads havea fine expression,chharacteristic of the  instructed by his father.  He obtained the first
great school in whichs he was educated. He dedi-  prize of the academy, and was consequently sent
cated a set of his prints to Urban VIII., who, in  to Italy for improvement, with a pension fm the
return, conferred on him a pension, and the knight-  king. His studies at Rome were prosecuted with
hood of the order of Loretto. He died in 1676.  great assiduity, where he adopted the style of An.
He had a daughter, Theresa Maria Coriolano, who   Caracci.  Soon after his return to Paris he was
has etched, among others, a small half-length plate  rece io te a e           an   ae       his re
of the Virgin        Infant  The followng are hisreceived into the academy; and painted for his reofthe Virgin and Infant.  Thefollowing are his  ception-piece, the model of the picture which he
~principal plates ~: subsequently executed for the church of Notre
St. Jerome in meditation before a Crucifix; after Guido.  Dame, representing the Calling of Peter and AnIerodias, with the eead of St. John; do. The Virgin,  drew to the Apostleship.  He was employed by
with the Infant sleeping; do. The same subject in chiaro-  Loui XIV. at Trianon, Fontainbleu, and Versail
scuro; very fine. The Virgin and Infant sleeping; after   Tranon, Fontainbleau, and VersailF. Vanni. Peace and Abundance; G. R.; B. C. sc. Ro-  les;   d painted in one of the chapels of the Inmne. A Sybil. Jupiter fulminating the Giants; Victoriam   valides, the Life of St. Gregory, in six pictures.




CORN.                      225                     CORN.
This artist engraved a great number of plates,       CORNELISZ, JAMES, a Dutch painter, born at
which are highly esteemed. They are executed in   Oost-Sanen, in Holland, about 1470. Van Mander
a daring and masterly manner; the composition is  praises several of his works, particularly a picture
grand and ingenious, and the drawing extremely   of the Circumcision, in the old church at Haerlem,
correct, in the grand style of the Caracci. The  painted in 1517; and a Descent from  the Cross,
following are his principal works:                 at Alkmaer, the background of which was painted
SUBJECTS FROM HIS OWN DESIGNS.           by John Schoorel, who was his scholar. He died
The Deity appearing to Abraham. Abraham journey-  at Amsterdam in 1570.
ing with Lot. Abraham discomfiting the Army of the con-  CORNELISZ, LAMBERT, a Dutch engraver, of
federate Kings. Abraham setting out with his son Isaac  littlC   g principally employed by the
for the Sacrifice. (These four plates having come into the  e  note, who was principaly  epoye  by the
possession of a printseller at Rome, named Rossi, he put ooseller   Among oter portras           we
the name of Raffaelle on them; they are now scarce.) Sam-  have one of the great astronomer Tycho Brahe.
son and Dalila. The Conception of the Virgin. The An-    CORNIA, FABIODELLA of Perugia, was a denunciation; in two plates. The Nativity. The infant Je-  scendant of the dukes of Castiglioni and a brother
sus in the Manger. The Flight into Egypt. The Voca-  of the Duke of Cornia   He was born in 1600 an
tion of St. Peter and St. Paul to the Apostleship. St.   f the Duke of Cornia.  He was born in 160, nd
Francis kneeling before the Cross; fine. Christ and the  died in 1643. He first studied in the school of
Virgin appearing to St. Francis.                   Stefano Amadei, at Perugia, and then went to
SUBJECTS AFTER VARIOUS.MASTERS.          Rome where he executed some works, which Lanzi
The Marriage of St. Catharine; after L. Caracci. The  says entitled him to a higher rank than that of a
Virgin and infant Jesus in a Landscape; after Agostino  mere dilettante.
Caracci. Jacob wrestling with the Angel, in a Landscape;    CORNUOLE  GIOVANNI DELLE  an  eminent
after An. Caracci. St.Johnpreachingin the Desert;.          U         IOVANNI DELLE         eminent
St. Jerome in a Landscape; do. St. Francis receiving the  Italian engraver on precious stones, who flourished
Stigmata; do. Silenus, a Satyr, and a Faun, in a Land-  at Florence during the first half of the sixteenth
scape; do. Abraham sending away Agar; do.          century. He was patronized by Lorenzo de' MeCORNEILLE, JEAN BAPTISTE, a French painter  dicis, who afforded him every advantage by access
and engraver, the younger brother of the preced-  to his valuable collection of antiques. By studying; born at Paris in 1646; died in 1695. After  ing these with great assiduity, Cornuole attained
being instructed by his father, he visited Rome,  such purity and elegance of design, that his works
where he studied several years, and on his return   gained him a wide reputation throughout all Italy.
to Paris, was received into the Royal Academy, in   His subjects were both portraits and history; the
1676. He executed several works for the churches  most celebrated among the former was that of Saand public edifices at Paris, which give proofs of  vanaroli. He executed many admirable works for
his talent, though he did not equal his brother in  his patron and others, which were in great request.
correctness of design. In the church of Notre        CORONA, LEONARDO, an Italian painter, the
Dame, he painted St. Peter Delivered from Prison;  son of a miniature painter, born at Murano in
also, Christ appearing to St. Theresa, in the church   1561; died in 1605. Ridolfi says he was first inof the Carmelites.  He also engraved a number of  structed by Rocco da S. Silvestro, a painter of
plates from his own designs, and several after the  little note; but that he afterwards gained great
Caracci. They are etched in a very spirited style,  improvement from  the study of the works of
and some of them  are finished with the graver.  Titian and Tintoretto.  He was greatly assisted
The following are the principal:                   by Alexander Vittoria, who, according to Lanzi,
SUBJECTS FROM HIS OWN DESIGNS.            gave Corona a number of chalk models for the
The Bust of Michael Angelo. Susanna and the Elders.  better management of the chiaro-ecuro; and whc
St. Augustine in the midst of his Disciples. St. Bernard.  assisted him  in his esteemed picture of the An.
Christappearing to St. Theresa and St. John. The Bust  nunciation in S. S. Giovanni and Paolo; and also
of Monsieur, crowned by Victory. Apollo and Cupid; a  in his adirable picture of the Assumption, which
medallion. Apollo and Daphne; the same. Mercy in  in his admirable picture of the Assumption which
the Air. Diana and Calisto.                        is painted with a grandeur of style that approaches'SUBJECTS AFTER VARIOUS MASTERS.          Titian. In the church of St. Fantino is his masSUBJECTS AFTER VARIOUS MASTERS.                       ~.  \....
ter-piece, representing the Crucifixion, which, acSt. John in the Wilderness; after An. Caracci. Christ  er-pece, representing the Crucifixion,  which, acwith the Samaritan Woman; do. Two Landscapes, with  cording to Ridolfi, is so much in the manner of
St. Francis.                                       Tintoretto as to be easily mistaken for one of the
CORNELISZ, CORNELIUS.  See HAERLEM.             best works of that great artist. IHe is said to
have copied the works of Titian in so admirable a
CORNELISZ, or CORNELUS, LUCAS, called   manner that the best judges mistook them  for
THE COOK, an old Dutch painter, born at Leyden,  originals.
in 1493. According to Van Mander, he was the                        P, a V       n e      r o 
son and scholar of Cornelius Engelbrechtsen.    CORONELLI P. a Venetin enraverof little
Owing to the troubles that convulsed his native  n, who flourished about 1716, and engraved the
country, he was compelled, in order to support a  plates for a work entitled, Roma Antica Modrna
arge family, to exercise the occupation of a cook;  de P.Coronell Cosmogrfo publico, a  uso de
but at length he went to England, in the time of Suoi Argonauti in Venezia, 1716. They repreHenry VIII., who. appointed him  his principal  sent views of buildings, &c., and are etched in a
painter.  Van Mander mentions several of hisslight, indifferent stle.
works at Leyden; among others, the Adulteress ~  CORRADI, DOMENICO, called Ghirlandaio, an
before Christ. The most important works which   eminent Florentine painter, from  whence he ache executed in England, were sixteen pictures of  quired his surname; born, according to Zani and
the Constables of Queenborough Castle, which   Lanzi, in 1451; died in 1495. He was theson of
possessed considerable merit.  He probable died   a flower manufacturer.  He was instructed in dein 1552. There has been much useless di  ssion   sign, with the intention of learning the business of
about this artist.                                 a goldsmith; but his decided inclination for paint



CORE.                     226                     CORR.
ing induced him to enter the school of Alessio Bal-  rounded by his saints.  This work gained him
dovinetti,'where he applied himself with great as-  great reputation, and for its softness and brilliansiduity, and became one of the most distinguished   cy of coloring, as well as vigor of execution, it may
artists of his time, both as a painter, and a worker  be regarded as one of the most agreeable producin Mosaic. He was invited to Rome bySextus IV.,  tions of modern art in Rome, although greatly inwho employed him in the Sistine Chapel, where he  ferior to the sublime productions of the former
painted two pictures, one of which, the Resurrec-  times. His pencil was light and free, and he detion, has perished; the other, representing the  signed and painted with great facility; but the atCalling of Peter and Andrew to the Apostleship,  titudes of his figures were often strained and unis still preserved. He was the founder of a very   natural, and he sought for violent contrasts of
distinguished school, which has produced many   groups and masses. By his dangerous facility, he
eminent artists, and he claims the credit of having  followed in the track of Solimena, and assisted much
been the instructor of Buonarotti.  According to  towards the final downfall of the art. Corrado alMengs, Corradi was the first of the Florentine  so executed a number of works for different cities
painters, who, by a judicious attention to perspec-  of Italy, which greatly increased his celebrity. He
tive, gave to their works an appearance of depth   was invited to the court of Spain, where the king
and verity. His design was more correct and  gave him a pension of 3000 livres, and employed
graceful than was usual in his time, and the ex-  him  in several important works. After several
pression of his heads is superior to that of any   years, ill health compelled him to return to Italy,
painter who preceded him. He also has the merit- but he subsequently visited Spain, and executed
of exploding the practice common among artists of  several other works for the king, but was comthat day, of loading their works with gilded and  pelled again to return to his native land, where
tawdry finery.  Vasari describes many of his  he died in 1768.
works at Rome, Florence, Pisa, and Rimini. At
Florence, in the church of the Innocenti, is a fine         A, DIEO, a Spa 1550pAter of little
picture by this master of the Adoration of the  note, who flourished about 1550. At Placenzi,
gicture by this mster  the N  Adorativi,  and eral  in the convent of S. Vincenzio, are two pictures by
Magi; in S. Trinita, the Nativity, and several pic-   representing subjects from the Life of the Vi
tures of the Life of St. Francesco.              him, representing subjects from the Life of the Virtures of the Life of St. Francesco.
gin; and in the convent of the Bernardines, at
CORRADI, RIDOLFI, called GHIRLANDAIO, a  Val-de-Iglesias are several pictures representing
Florentine painter, the son of the preceding; born  the Passion.
in 1485; died in 1560. His father dying when he     CORREGGIO. See ALLEGRI.
was ten years old, he was reared by his uncle Da-    COR       ie                       
vid Corradi. He studied under Fra. Bartolomeo       CORSO, NICCOLO, a Genoese painter, who flourdi S. Marco, and made such rapid advances, that  ished about 1503.  According to Soprani, his
when Raffaelle visited Florence, he intrusted Cor-  works are distinguished for fertility of invention,
radi to finish a picture of the Virgin and Infant,  a fine expression in the heads, and variety and
which he had commenced for one of the Sienese  vigor of coloring, which, if it were divested of a
churches; and when Raffaelle returned to Rome,          hardness, ts  rtist would rank among the
he invited Corradi to assist him in his great works  ablest  enoese painters of his time. His works
in the Vatican. The latter, however, refused the  are chiefly in the Cloister and Refectory of the
invitation, which if he had accepted, he would pro-  Monastery of the P. P. Olivetani, at Quarto, near
bably have shared in the glory. of that illustrious  Genoa; the most esteemed of which is a picture
artist in an equal degree with Guido and Giulio  from the lifeof St. Benedetto.
Romano. Iis imagination was lively, and his forms    CORSO, GIO. VINCENZIO, a Neapolitan painter,
disposed with a taste and elegance that approaches  born about 1490. He studied under Gio. Antothe style of Raffaelle. Several of his first produc-  nio Amato, and afterwards went to Rome, where
tions are at Florence, in the churches of S. S. Girola-  he entered the school of Pierino del Vaga. Most
mo and Jacopo. They have something of the dry-  of his works in the churches at Naples have been
ness of Perugino, but bear a greater resemblance to  damaged and restored. The best preserved are an
the juvenile works of Raffaelle. He approaches  admirable picture of Christ bearing his Cross, with
nearer to the better time of that master in his two  many figures, in S. Domenico Maggiore; and the
pictures of subjects from the Life of St. Zanobi,  Adoration of the Magi, in S. Lorenzo.
originally painted for the Florentine Academy,              C        CORNELS  n einent Dutch
but afterwards placed in the Ducal Gallery.                        CORNELIU  an eminent Dutch
engraver, born at Hoorn in 1536; died
CORRADI, OcTAvIo, a Bolognese painter, whg o |at Rome in 1578. He was probably instructed by
flourished about 1630, and studied under Giacomo  Jerome Cock, for whom, in the early part of his
Cavedone. His principal merit consisted in copy- lif he executed several plates, which were pubing the works of the eminent masters. These he   fe, he executed several plates, which were pubing t he works of the eminent masters. These he  lished with the name of his master. After having
executed in the greatest perfection, and many of  engraved a number of plates after the Dutch ai
his copies, even in his own time, were accounted  eFgravedanumber of plates after the Dutch and
his copies, even in his own time, were accounted  Flemish masters, he went to Italy, and first settled
originals. He died in 1643.          at Venice, where he resided in the house of Titian.
CORRADO, CARLO, an Italian painter, born at  and engraved some of the finest works of that
Naples in 1693.  He studied under Solimena,  great artist. He afterwards visited Rome, where
whose style he followed, and became one of his  he established a famous school, in which the emir
most distinguished disciples. On leaving that mas-  ent Agostino Caracci was educated. The art had
ter he executed several works at Naples, and then  previously been confined to small plates, but Cort
went to Rome, where he painted a number of altar   opened the way for a more important branch of
pieces for the. churches, and also a large fresco  engraving; and at Rome he executed those great
painting in the vault of the church of Buono Fra-  works which have gained for him a high reputatelli, which represented Christ glorified, and sur   tion. The plates of Cort are executed entirely




CORT.                         227                       CORT.
with the graver, in a bold, open, and masterly   of the Loaves. The En, xmbing of Christ. The Desoen
style.  His drawing is correct and tasteful, and   of the Holy Ghost. The Martyrdom of St. Agatba.
the landscapes in his backgrounds are managed                         After Federigo Zucchero.
with remarkable skill.  Heineken has a full cata-         Moses and Aaron before Pharaoh. The Birth of the
logue of his works, of which the following are the   Virgin. 1578. The Conception of the Virgin. The Anprincipal:                                              nunciation. 1571. The Nativity. 1568. The Adoration
of the Magi. The Holy Family, with the Infant. The
PORTRAITS.                        Flightinto Egypt. The Adulteress before Christ.  Christ
Cornelius Cort; engraved by himself. Henricus II. Gal-  temptedin the Wilderness. Christ driving the Buyers and
lorum Rex; oval. Catharina de Medicis; Regina Franc.  Sellers from the Temple. The Resurrection of Lazarus.
Don Juan of Austria; oval, with ornaments. 1578. Mar-   The Woman of Samaria. Christ on the Mount of Olives.
cus Antonius Moretus; oval. Andrea Alciati; oval, with   Christ taken in the Garden. The Death of the Virgin.
ornaments. Roger of Brussels, painter. Theodore van   The Crowning of the Virgin.
Harlem, painter. Joachim Dionatensis, painter.                             After Raffaelle.
SUBJECTS FROM HIS OWN DESIGNS.                  The Transfiguration. The Battle of the Romans, called
The Birth of the Virgin. 1568. The Conception of the   the Battle of the Elephants. He has engraved a reverse
Virgin. 1567. The Presentation in the Temple. The Re-  of this plate. The Battle of Constantine with Maxentius
pose in Egypt. 1568. The Holy Family; St. Joseph pre-        SUBJECTS AFTER VARIOUS ITALIAN MASTERS.
senting a Pear to the Infant. The Last Supper. 1568.    Parnassus; afterPolidoroda Caravaggio. The AdoCatherine crowned by Angels. 1575.t. Vaeredina kneel-   Adoration of the Shepherds; qfter Paris Romano. The
ing before an Altar. Two Marinres, with Shipwrecks.     Holy Family; qfter F. Barocio. The Baptism of Christ;
SUBJECTS AFTER FLEMISH MASTERS BEFORE HE WENT TO    after F. Salviati. The Marriage at Cana; after LorenITALY.                          zo Sabbatini. The Last Supper; qfter Livio Agresti.
Adam and Eve, with the Serpent; after Michael Cox-   The Stoning of Stephen; after Marcello Venusti. St.
cie. The Resurrection; do. 1568. The Descent of the   Jerome penitent; after Ricio da Siena. St. Jerome in
Holy Ghost; do. Christ triumphant, with St. Peter and   the Desert, with two Angels; after J. Parmensis. The
St. Paul; do. Four plates of the History of ist the Rich   Cord of St. Francis; fter Caracci. The Marriage of St.
Man and Lazarus; after Hemskirk. The Parable of the   Catherine; after Correggio. The celebrated St. Jerome
Vineyard; do. Four plates of the Parable of the Talents;  do. St. Margaret of Cortona; after Tempesta.  A Dance
do. Six plates of the History of Noah and the Deluge    of Dryads; after it Rosso.  The Three Fates; after
after F. Floris. Six plateso        o of he   Abraham;   Giulio Romano. The two Tombs of the Medici; after
do. Six plates of the History of Jacob and Rachel; do.  M..Angelo.
Ten plates of the Labors of Hercules; do. Four plates of  CORT  HENRD             lemipeate
the History of Pluto and Proserpine; do. Bacchus and'.                   I D  a F       h l    c     panter,
Venus; do. 1566. The Immortality of Virtue; emblem-  born at Antwerp in 1742.  He became proficient in
atical; do. 1564. The Descent fromthe Cross; after Ro-   drawing the figure, under G. Herreyns; in landger vander Weyde. St. Roch; after J. Speckart.. 1567.  scape, under Antonissen.  His works are much in
St. Lawrence; do. St. Dominick reading; after Bart.  the Italian style, with views of cities and ancient
Spranger. The Holy Family, with Angels; do. The   ruins; colored in a pleasing manner and neatly
Crowning of the Virgin; after Giles Moestaert. 1565.   ii                   i                    
The Academy of Painting; after Stradan; fine.           fished.   He reside   many yeas at London,
where he died, in 1810.  During his residence in
SUBJECTS ENGRAVED IN ITALY AFTER VARIOUS MASTERS.   Holland, the figures and animals in his pictures
After Titian.                      were painted by Ommeganck and P. van RegeThe Annunciation. Another Annunciation. The Mar-   morter.
tyrdom of St.. Lawrence. 1571. The Trinity; generally     CORTE, VLER,  Venetian painter, born in
called ASnts. St. Jerome in the Wildernesee ee, reading. t 1530.  He studied in the school of Titian, where
St. Jerome in the Wilderness, kneeling before a Crucifix at
the entrance of a Cavern; In Venetia. Corn. Cort, f.    he became an admirable portrait painter.  He afscarce. Not mentioned by Heineken. The Magdalene;   terwards settled at Genoa, and met with great suchalf-length. The Magdalene in the Desert, before a Cru-   cess; but ruined himself by seeking after the phicifix. Tarquin and Lucretia. 1571. Diana and Calista.  losopher's stone.  He died in 1580.
Prometheus. Rogero liberating Angelica from the Dragon.   Ce p, te 
CORTE, CESARE, a Genoese painter, the son
After Giroamo Mutiano.and scholar of Valerio C.; born  in 1550.  AcSt. Peter walking on the Water. 1568. Christ crowned   cording to Baldinucci, he became one of the most
by Thorns. Christ bearing his Cross. The Descent from   reputable portrait painters of his tme  and also
thae Cross, with two adders. The Desent from the Crossd also
with four Ladders. Christ appearing to the Marys. St.  painted history with success.  His best historical
Jerome in Meditation. A set of seven Landscapes, with   works are at Genoa.  In S. Pietro, is his picture
figures, called the Seven Penitents; St. John Baptist. Mag-   of the Titular Saint at the feet of the Virgin, coldalene, St. Jerome, St. Onophrius, St. Hubert, St. Francis  ored in a very chaste and delicate manner.  In S.
with the Stigmata, and St. Francis in devotion.         Francesco is an altar-piece representing Mary MagAfter Clovio.                        dalene; and in S. Maria del Carmina are two picThe Annunciation. The Adoration of the Magi, in the   tures by him of St. Simeon and St. Francis.  He
form of an Altar. The Virgin and Infant, half-length.  is said to have visited France, where he was much
Christ preaching in the Temple. The Baptism of Christ.  employed; and also England, in the time ElizaThe Crucifixion, between the two Thieves. Another Cru-   beth, where he painted the Queen, and several of
cifixion; a grand composition. 1568. The dead Christ,  the nobility.  Hedied in613
with the Marys. The Entombing of Christ. Christ ap- the nobility.  He diedin 1613.
pearing to Magdalene. The. Conversion of St. Paul. St.    CORTE, DAVID, was a son of Cesare C., who.
George and the Dragon.                                  according to Soprani. possessed an extraordinary
After Taddeo Zuechero.                   talent for copying.  He distinguished himself so
The Creation of Adam and Eve. The Presentation in   much in this, that his pictures are placed in some
the Temple. The Nativity; a rich composition. The   collections, beside the originals as wonders of art.
Holy Family, with St. John and his Lamb. The Miracle   He died of the plague in 1657.




CORT.                     228                    CORT.
CORTEJ JUAN DE LA, a Spanish painter, born        CORTESE, GUGLIELMO, called IL BORGOGNONE,
at Madrid, according to Bermudez, in 1597, though   was the brother of the preceding; born at St. HipPalomino says in 1587. He studied in the school  polyte in 1628. He went to Rome while young
of Velasquez, and was distinguished for his land-  and entered the school of P. da Cortona. He exscapes, battle-pieces, and perspective views, as well  ecuted a number of works in Rome, the best of
as for his small pictures of sacred subjects. He  which are a Madonna, and several Saints, in the
was painter to Philip III., and retained the ap-  TrinitA di Pellegrini; the Battle of Joshua, in the
pointment under Philip IV., who employed him   palace of the Quirinal, in which he was assisted by
in the palaces of Bueno Retiro, and el Saloncete,  his brother; and the Crucifixion in S. Andrea a
which contain his principal works. He died in   Monte Cavallo. He did not follow the style ot
1660.                                             his instructor, but appears to have imitated Carlo
CORTE, GABRIEL DE LA, a Spanish painter, the  Maratti, especially in his compositions and the exson of the preceding; was born in 1648. Without  pression of his heads. In his backgrounds and his
the aid of an instructor, he practised flower paint-  boldness of relief, he seems to have followed Guering by copying the works of Mario and Arellano;  cin. Hediedatome in 1679, aged51.
and attained such proficiency that he was em-    CORTESI, Gio. MARMOCCHINJ, an ingenious
ployed by Antonio de Castrejore and Mathias de  Florentine paintress, was born in 1670, and studTorres to execute garlands of flowers to surround  ied under Livio Mehus, and Pietro Dandini.  At
their mythological subjects.                      the request of the grand duchess, she also studied
CORTESE,  JACOPO, called IL BORGOGNONE.  miniature painting under Ippolito Galantini, and
This celebrated painter was born at St. Hippo-  in a few years became quite eminent for her pleaslyte, in Franche Conte, in 1621. He was the so   ing and natural coloring, and the striking resemof an obscure artist, who taught him the elements  blance of her miniatures. She usually painted in
of design. At the age of fifteen he visited Milan,  oil, but was equally successful in crayons, and
where he formed an intimacy with a French officer,  gave to her subjects all the tenderness and warmth
who persuaded him to enter the army, which he  of life.   he met with much encouragement from
followed for some time, and exercised his talents  the court and nobility of Florence. She died in
in designing the marches, attacks and skirmishes  1736.
of which he was a witness. After three years he     CORTONA, PIETRO DA. See BERRETINI.
left the army, and went to Bologna, where he re-    CORTONA, URBANO DA, a mosaic painter, who
mained some time, and became acquainted with  flourished at Siena about 1481, and designed and
Guido and Albano, who assisted him greatly by.executed two sybils, commended by Della Valle.
their advice and instruction. He afterwards visit-           DMENI
ed Rome. where he at first painted a picture of     CORVI, DomENico, was born at Viterbo in
1723, and died at Rome in 1803. He studied unMagdalene at the feet of Christ, in the church of  17, and  ed at R e in 1. He sted 
S. Marta; and in il Gesu, the Adoration of the  der Mancini, and acquired something of the style
Magi, and the Murder of the Caracci. He was one of the most eminent
Magi, and the Murder of the Innocents. His na-  modern Roman masters. Lanzi sa s he was trutural inclination manifested itself on beholding the  n   o      hd ast   d fya 
admirable picture of Giulio Romano in the Vatican,  l  n    mis     att, p       tean comp
representingthe Battle of Constantine; and he  with him in his anatomy, perspective, and design.
representingthe Battle of  onstteHe opened an academy at Rome, and instructed
immediately applied himself to this branch of  He opened a is academy at Rome, and instrute d
the art, which he has carried to a degree of per-  prize,  and mor esteemed by connoisseurs than
fection unequalled either before or since his time,  prize  and more esteemd by connoisseurs
insomuch that Michael Angelo della Battaglia,  his paintings, which want that fascination of grace
insomuch that Michael Angelo della Battaglia,          olor   icattract  the eye. His most esthough a rival, was not backward in proclaiming   and color which attracts the eye. His most eshis merits, and Borognone soon attained the most  teemed works are his night pieces, as his Nativity, in
flatserits, and Borugo Hnisoon attainede are mos the church of the Assumption, which connoisseurs
faerig success. Is battle pieces are composed   were accustomed to visit at the close of day, to obwith a fire and painted with a vigor peculiar to  serve the magnificent effect. A lofty window ophimself; and they well display the ardor of a
mind delighted with the scene on which it is en-  posite, at that time of the day, favored the illusion
migd del.Hited with the scene on which it is enx -  of the perspective of the picture. Lanzi says that
gaged.  His pencil is lightand free, and his execution exceedingly rapid; his figures and horses are  though Corvi  is inferior to Gherardo delle Notti
drawn with the greatest spirit; and as Lanzi d    in the generality of his works, viewed in this mandrawn with the greatest spirit; and as Lanzi de-  ner heexcells him by anoriginality of perspective
scribes it, "in beholding his pictures we seem to   nr, he excels him by an originality of perspective
I ribes t,"'n bholdinghis picures weseem to and general effect; which certainly is the highest
hear. the shouts of war, the neighing of the horses,   a  eera ee      i   erai   is  e  ies
and the cries of the wounded."  While in the full  prais
tide of success, he suddenly lost his wife, and     CORVTNUS, JOHN AUGUSTUS, a German enthough he had lived with her in the greatest har-  graver; born, according to Zani, in 1682; died in
mony, he was accused of having poisoned her.  1738. He worked chiefly for the booksellers, and
This accusation determined him to abandon soci-  engraved many plates of landscapes and architec
ety; he immured himself in a Jesuit convent, and  ture, in a neat but stiff manner. There is a set
became a member of that order. His love for the  of ornaments for ceilings by him, after designs of
art, however, still remained, and he continued to   Carlo Maria Pozzi.  He executed most of the
exercise his pencil. with the same success. Many   plates for a work published at Augsbourg, entitled
of his works have blackened by age. Four of his  Representatio Belli ob successionem  in Regno
best pictures are at Florence, in the Palazzo Pitti.  Hispanico; also several plates of public edifices
Lie etched a set of Eight Battles, Giac. Corlese,  for another work published at Augsbourg in 1724
fec.; and a set of Four Battles, marked J. C.  by Jhn Andrew Peefel.
which are executed with uncommon spirit, and a      COSATTINI, GIUSEPPE, Canon of Aquileja,
masterly effect of light and shadow. This great  was a native of Udine, where he flourished from
artist died at Rome in 1676.                     1672 to 1734. He seems first to have practised




COSC.                     229                     COSS.
the art merely for amusement, but he rose so high  rous, though sometimes too brown. His works are
in public estimation, that he was declared painter  composed with good taste, and his attitudes are
to the Imperial Court.  He particularly distin-  well chosen. In the backgrounds of his subjects,
guished himself for his picture of St. Filippo,  he frequently introduced architecture, which he
preparing to celebrate the Mass, painted for the  treated in a very masterly style. His reputation
Congregation of Udine.                           procured him employment from the king of Spain.
COSCI.  See BALDUCCI.                          and several other princes, who bestowed on him
COSIMOTPIETRO  DA; a Florentine historical  peculiar marks of favor. Cossiers was appointed
and portrait painter, born in 1441; studied under    irec       te  cdemy t Antwerp in 1639, and
Cosimo Roselli, whom he soon surpassed in vigor 
of execution and lively imagination. He accom-    COSSIN, Louis, a French engraver of little
panied Rose.li to Rome, to assist him  in painting   note, born at Troyes about 1633. He has ena chapel for the Pope, where he gave such proofs  graved several portraits and other subjects, which
of his skill that he was much patronized by the  are executed entirely with the graver, and possess
nobility. and established a school, which produced  but little merit. Among them are:
Andrea del Sarto, Francesco da San Gallo, and oth-                  PORTRAITS.
er excellent artists. As he advanced in life, he    rouis XV., King of France, as large as life. Valentine
grew whimsical, altered his style, and took delight  Conrat, of the French Academy. Francis Chaveau, enin painting fantastical subjects, as harpies, satyrs,  graver. Charles John, Count of Koenigsmark; after
monsters, and bacchanals. (See Roselli.) He died  Dahl.
in 1521.                                                  SUBJECTS AFTER VARIOUS MASTERS.
COSMATI, a family of Greek artists who flour-    The Virgin Mary; after le Brun. St. John Evangelished at Rome asearly asthe 12thcentury. They  ist suspended over a Cauldron of Boiling Oil; do. The
scenyStonine g of St. Paul at Lystra; after Champagne. The
particularly excelled in Mosaic paintings. Among  School of Athens; after Raffaell; large plate.
these, Adeodato di Cosimo Cosmati was the most                       
distinguished, and he was employed in the church   fOSSUTIUS, an emC ent Roman architect, who
flourished about B. C. 200. He was one of the
of S. Maria Maggiore in 1290.  Several ofhis  first who followed the noble style of the Greeks,
name also exercised their talents in the Cathedral                  he noble style of the Greeks,
at Orvieto.                                       and he gained so much reputation that Antiochus
the Great, B. C. 196, appointed him to finish the
COSME, DA FERRARA. See TURA.                   temple of Jupiter Olympius at Athens. He is
COSSA, FRANCESCO, a native of Ferrara, who  said to have excelled in the admirable arrangement
was living in 1474. Lanzi says his name is al-  of his columns, and also in the elegance and
most forgotten in Ferrara, from his having so long  knowledge he displayed in the Corinthian order.
resided at Bologna, where he says he executed  He composed a treatise on the works he had exesome works, still to be found there, consisting of  cuted. according to the custom of the Grecian arMadonnas, with Saints and Angels, and with tole-  chitects; but this work was lost before the time
rably good architecture.  One of them, in the In-  of Vitruvius.
stitute, is dated 1474.                             COSTA, FRANCESCO, an excellent perspective
COSSALE, or COZZALE, GRAZIO, a painter of  painter, was born at Genoa in 1672, and died there
Brescia, who flourished about 1600. According to  in 1740. He studied under Gregorio de' Ferrari,
Cozzando, he had great facility of invention and? and forming an intimate friendship with Gio. Batexecution. His larger pictures somewhat resem-  tista Revello, they practised together at Genoa for
bled those of Palma, but without a servile imita-  twenty years. They were principally employed
tion. His chief works are the Adoration of the  by the various historical painters of the day to
Magi, in the church della Grazie, at Brescia; and  paint their perspectives and ornaments.  They
the Presentation in the Temple, in Le Miracoli.  also painted some saloons and chambers for the
Cossale was accidentally killed by his son, about  nobles, entirely  by themselves. They enjoyed
1610.                                             great reputation in their day at Genoa.
COSSIAU, JOHANN JOST D., called by Zani, DOT-    COSTA, IPPOLITO. There was a family of this
TOR GIUDA, a l)utch landscape painter, was born at  name, natives of Mantua, who flourished in the
Breda. The date of his birth is variously as-  16th century, and whose history and works are so
signed: in 1654, 1664, and 1666. He treated his  mixed up that it is difficult to distinguish them
subjects in the Italian manner, and endeavored to  apart, and indeed the Guida di Mantua mentions
imitate the style of G. Poussin. His pictures are  such pictures by Costa, without any other diswell composed, and decorated with architecture  tinction. The Costas are esteemed in Mantua as
and cattle. Some of them are in the Academy at  the last disciples of the great school, and some of
Dusseldorf, and others in various German collec-  their works are held deservedly in repute. Lorentions.                                           zo Costa, of Ferrara, is supposed to have been the
COSSIERS, or COSIERS,  JAN,  a reputa-  grandfather of Ippolito. Orlandi states that Ipble Flemish historical painter, born at Antwerp   polito was a pupil of Carpi, while Baldinucci
in 1603, and studied under Cornelius de Vos. He  states that he was a pupil of Giulio Romano, and
executed a number of works for the churches in  Lanzi says that his style bears evident traces of his
Flanders, the principal of which were the Nativi-  having studied in Giulio's academy, or availed himty, at Brussels, in the church formerly of the Je-   elf of his instructions or models. He flourished
suits; the Martyrdom of St. Ursula, at the Be-  in 1538. Another Lorenzo Costa flourished in
guinage; the Presentation, and a grand picture  1560. He also had two brothers, named Luigi
of the Crucifixion, in a church at Mechlin. The  and Girolamo, who practised the art.
two latter were esteemed his best works. His        COSTA, LORENZO, a native of Ferrara, who,
drawing is tolerably.correct, and his coloring vigo-  having gained considerable reputation in that city




COST.                     230                    COST.
went to Bologna, where he either entered the school  mirable figurist, and was much employed in paint.
of. Francesco Francia, or availed himself of his in-  ing figures in the landscapes of other artists, parstructions, or studied his works; for there is great  ticularly in those of John Francis van Bloemen
dispute among Italian authors, and great inequal-  called Orizonti.
ity in his works. But he signs himself on one of    COSTER, ADAM DE, a reputable Flemish painthis pictures, L. Costa Francicediscipulus. This  er, was born at Antwerp. and studied under Theomuch is certain-that he entirely changed his style  dore Rombouts. He painted equally well in hisafter he left Ferrara, and he gained so much repu-  tory or portrait; but he was especially distintation in Bologna as to get considerable employ-  guished for his pictures of gallant assemblies and
ment in the churches of that city, at a time when  public festivals, which he executed in a very lively
there were many excellent artists there. Mal-  manner, with great vigor of coloring. There is a
vasia contends that Francia was his sole mas-  fine print by L. Vorstermas, after a picture by
ter, while Vasari maintains that he was an artist  this artist, representing a Concert.
of established reputation in several cities before    COSTER D. a Flemish engraver, who fourished
his arrival at Bologna, and declares the first work  about 1700. Ie worked chiefly for the booksellhe executed there, the Martyrdom of S. Sebastia-  ers; and, among other plates, engraved a portrait
no in the church of S. Petronio, the best specimen   of Francis Halsthe painter, after Vandyck.
in water colors that had, till then, been seen in the  rA   R                   e   E      
city. Also in the Bentivogli Chapel, where Fran-    COSWAY, RICHARD, a reptable English mini
cia had painted an altar-piece, he painted two late-  ature painter, was born in Devonshire, in 1740.
ral pieces, filled with spirited portraits. Lanzi    e visited London while young, and soon distinsays there is a number of Madonnas in the col-  gished himself by his drawings from th antiques
lections of Bologna, attributed to Francia, which  in the Duke of Richmond's Gallery, which were
hesupposesratherthe works of Costa. Lanzialso,  praised by Ciprani and Bartolozzi. In 1771 he
after disputing that Costa studied with Francia   was elected a Royal Academician. He painted
speaking  of his altar-piece, divided into several  bothin water-colors and in oil. His miniatures
compartments. which was removed from Faenza  were marked by good taste, correctness, elegance,
to the Casa Ercolani, characterizes it in the words  an beauty; and he was much patronized by the
of Baruffaldi, as " a work executed with a fervor,  nbility. He diedin 1821.
a refinement, a softness, and a warmth which may   COTES, FRANCIS, an English portrait painter
be pronounced altogether Raffaellesque2"  He par-  in oil and crayons, born about 1725, and studied
ticularly shone in his countenances of men, as may   under Knapton. He was one of the first members
be seen from those of the Apostles at S. Petronio,  of the Royal Academy. Lord Orford mentions
and from his S. Girolamo, which appear among  several of his crayon sketches, and says he exthe finest specimens of his art. He was less em-  celled Rosalba in vivacity and invention, though inployed in his own country than at Bologna, though  ferior to her in softness and harmony. Cotes died
he gave several pupils to the former-among oth-  in 1770. He had a brother named Samuel, who
ers, the celebrated Dosso, and Ercole of Ferrara.  was also a crayon painter, and who died in 1818.
He mostly resided at Mantua, at which court he     COTIGNOLA, FRANCESCO DA, called Zaganelli,
was highly appreciated, although Mantegna had  an Italian painter, who resided chiefly at Parma,
been his immediate predecessor, and Giulio Romano  and flourished about 1518. He studied under Ronsucceeded him. He died about 1530.               dinello; and, according to Vasari, was a good colCOSTANZI, CA. CARLO, a very eminent engrav-  orist, though inferior to his instructor in design
er on precious stones, born at Naples, in 1703.   e  and composition. He painted a number of histowas a son of Giovanni C., who had attained a good  rial works for the churches, the best of which is his
reputation in this branch of the art, but was great-  celebrated picture of the Resurretion, at Classe
ly surpassed by this artist. Constanzi engraved  and his admirable one ofhe Baptism of Christ, at
on the diamond a figure of Leda, and a figure of  Faenza.   e      also painted apicture in the OsserAntinois for the king of Portugal, in which he  vanti, at Padua, of the Madonna with Saints, in
brought the art to a high degree of perfection, and  concert with his brother, Bernardino C.
which gained for him  from  that monarch the       COTIGNOLA, BERNARDINO DA, was a younger
knighthood of the order of Christ. He executed  brother of Francesco C., whom he assisted in his
a large number of admirable works, one of the  great works. He also displayed considerable abilbest of which is the portrait of Giorgio Spinola.  ity alone, and executed some good works at Pavia.
He also made excellent copies after the antique,    COTIGNOLA. See MARCHESI.
which were often taken for originals, even among    OTA  JA         
the connoisseurs. Among these was the Medusa          who  ouri       abt lian  engver of lle
of Solon, which he copied for Cardinal Polignac,  note, who flourished about 1600. He etched a
in 1729, from the original in the cabinet of Strozzie. Isc ad Rebe, af   to     It is executeing 
Costanzi practised the art chiefly at Rome, where  Isaac and Rebecca, after Storer. It is executed in
he was honored by Benedict XIV. with the order n infrior styl.
of St. John of Lateran. He had a brother named   ~   COTTART, PIERRE, a French engraver, who
Tommaso, who was inferior to him in ability, but  j-flourished in the 17th century. He etched a
practised the art at Rome with good success.     number of plates of vases and ornaments, which
COSTANZI, PLACIDO, a Roman historical paint-  are executed in a bold, coarse style, marked with
er, born in 1688; died in 1759. The best of his  the above monogram. Florent le Comte says he
large works is his St. Camillo, in S. Maria Mada-  was also an architect, but none of his works are
lena; in which he has endeavored to imitate Do-  mentioned.
menichino. He also painted in fresco the tribune in  COTTE, CHEV. ROBERT DE. an eminent French
S. Maria di Campo Marzio. Costanzi was an ad-  architect, born at Paris in 1657, and the grandson of




COTT.                     231                    COUC.
Fremin de Cotte, who was architect to Louis XIII.    COUCHET, FRANCOIS Louis, a French designHe erected the famous peristyle or Ionic colonnade  er and engraver, was born in 1782. He has exeof the palace of Trianon, and its adjacent parts;  cuted many designs and engravings, illustrating
the chapel of Louis XIII. in the Cathedral at Pa-  the triumphs of the French armies in Italy and
ris; the fountain in front of the Palais Royal;  Spain, partly from  his own designs, and partly
the Gallery at Toulouse; and a number of pala-  from those of other artists. He engraved many
ces, among which are those of Etrees and du  of the plates for the Orleans Gallery, and for DeMaine. He made designs for a large number of  non's work on Egypt; also sixty from his own
palaces, among which were several for the Electors  designs, for Norwin's History of Napoleon. He
of Bavaria and Cologne, the Count de Hanau, and  was appointed, in 1824, to engrave the Battles and
the Bishop of Wurtzburg. He also first intro-  Huntings of the Duke d' Angoul~me, since which
duced the ornamenting of rooms with mirrors.  nothing is recorded of him.
He composed his designs with ease and originali-    COUCY ROBERT DE, an old French architect,
ty; his lively imagination was regulated by a  who lived at Rheims about 1300. He had the
well balanced judgment, heightened by exquisite  principal management of the rebuilding of the Cataste. He was appointed Director  of the Royal  thedral in that city, which was destroyed by fire
Academy  of Architecture, and was Vice-President  i 1215. He was also employed in 1297, accordof the Academy of Painting and Sculpture. On  ing to Milizia, to finish the church of S. Nicaise,
the death of Hardouin Mansard, Cotte was de-  which was not of large size, but was esteemed for
dared first architect to the king, according to Mi-  its delicacy and fine proportions.
lizia, and was made superintendent of the royal
buildings, gardens, arts, and manufactories  He     COULET, ANNE  PHILIBERT, an ingenious
was greatly esteemed by Louis XIV., who made  French female artist, who has engraved several
him a knight of the order of St. Michael. He en-  plates of landscapes and marines, in a very delijoyed a great reputation until his death, which oc-  cate and pleasing manner. They are etched and
curred in 1735, at the age of 78.                finished with the graver. Among them are the
"Rendezvous A la Colonne," after Berghem; the
COTTINGHAM, LEWIS NICHOLAS, a reputa-  Departure of the Boat, the Fortunate Passage, the
ble English architect, born in 1787, in Suffolk, of  Fine Afternoon, the Fishermen casting their Nets
an ancient and highly respectable family. He  and the Neapolitan Fishermen-all after Vernet;
early manifested a strong inclination for architec-  Rural Pleasures, and the companion, after Lutherture, and was apprenticed to an architect of Ips-  bourg; Going to Market; after van Goyens.
wich, in Suffolk, with whom he remained several
years, devoting himself assiduously to the theo-   COURBES, JEAN DE, a French engraver born
retical and practical branches of the art. He af-  about 1592. He was principally employed by the
terwards went to London, where he was employed  booksellers. He appears to have visited England,
by a skillful architect and surveyor, from whom he  as there are two portraits by him of Sir Philip
gained much improvement. In 1814, he commenced  Sydney, and Mary, Countess of Pembroke.
his professional career. His first public appoint-    COURTOIS. See CORTESE.
ment was that of architect and surveyor to the    COURTOIS, PIERRE FRANOIS, a French engraCooks' Company, in 1822, which he held for a  ver, who resided at Paris about 1760. He ennumber of years.  Soon after this, John Harri-  graved several plates from the designs of St. Auson, Esq., of Snelston Hall, Derbyshire, became one  bin and others, but died in the prime of life.
of his principal patrons, and Cottingham  erected  COURTONNE, JEAN, a French architect born
for the latter the above mentioned mansion, in the   t P                           principal   r
perpendicular style of Gothic architecture.  In            a   oirmontier, and 
1825, he was appointed architect to the cathedral        tt  t   e te  Matignon, which display much taste and
of Rochester, wire he effected very extensive al-  Hotel de Matignon, which display much taste and
of Rochester, wre he effected very extensive al-  skill. In 1725 he published a folio work entitled,
terations and improvements. In 1829, he was the                p   ective pratique, etc. He was
successful competitor for the restoration of the  appointed professor in the Academy of Architecinterior of the Chapel of Magdalene College, Ox-  appointd pessor   the Aademy of Ahite
ford; and in 1833 he was entrusted with the res-ptor to the King. He died in 1738.
toration and repairs of St. Alban's Abbey Church.    COUSE, J. This engraver resided in England
He was afterwards employed in the restoration of  about 1750, and executed a number of prints in a
a number of churches and cathedrals, among which  neat style, which possess considerable merit.
may be mentioned the Cathedral at Armagh, in   Among them is a view of Berkeley Castle from a
Ireland, which was almost entirely rebuilt from   design by the Countess of Berkeley.
his designs; the churches at Ashbourne in Derby-    COUSIN, JEAN. a French painter, born at Soushire, at Chesterford in Essex, at Clifton in Notts,  cy, near Sens, about 1530. He was originally a
at Roos in Yorkshire, and the Cathedral at Here-  glass-stainer, but afterwards applied himself with
ford. The latter work, and that of the restoration   such assiduity to historical painting, as to be acof the Ladye Chapel, gained him great reputation,  counted the founder of the French school, as the
but he did not live to finish them. He also erect-  artists of his country had before this time confined
ed a number of fine edifices for Lord Brougham,  themselves to portrait painting. His principal
the Earl of Harrington, the Earl of Verulam, Sir  historical work was a grand composition, much in
Robert H. Inglis, and other noble and influential  the style of Parmiggiano, representing the Last
patrons. About 1825, he published several archi-  Judgment, which was formerly in the convent of
tectural works, among which was a large folio on   Minimes at Vincennes, now in the gallery of the
the Restoration of the Chapel of Henry VII.; and   Louvre. The windows of the church of that conanother folio work on " The Details of Gothic archi-  vent were also painted by him. The best of his
tecture."  Cottingham died in 1847, aged 60 years.  paintings on glass are the windows of the church




COUS.                     232                    COUT.
of St. Gervais, at Paris. They represent Christ  Chapel of Versailles; a statue of St. Roch, in the
with the Woman of Samaria, Christ curing the  church of that Saint. He died in 1777.
Paralytic, and the Martyrdom of St. Lawrence.       COUTANT, JEAN Louis DENIS, a French enCOUSINET, ELISABETH. See L'EMPEREUR.    graver, born at Argenteuil in 1776. He studied
COUSIN, HARDOUIN, a French engraver who  under Mechel of Basle, and was chiefly employed
resided at Aix in Provence, about 1760. Accord-   n subjects of natural history. Among his prining to Basan, he etched a number of plates after  cipal productions are the plates for the great work
Puget, Rembrandt, and other masters.              on Egypt; for the travels of Humboldt among the
COuSet raTTU, XTndCthOL   ma nenios.  Frenc    Cordilleras; the fossils of Cuvier; for LangenCOUSTOU, NICHOLAS, an ingenious French |heim's great work on the Anatomy of the Brain;
sculptor, born at Lyons in 1658. He studied at  and others of a similar kind. He also engraved
Paris, under his uncle Coysevox, and carried off the  the plates for Freyinets Voyage round the World.
grand prize of the Royal Academy at the age of
23, which entitled him to the royal pension. He   6yCOUVAY, JEAN, a reputable French engrawent to Rome, where he applied himself princi-  C   ver, born at Aries about 1622.  His plates
pally to the study of the works of Michael An-  are nearly all executed entirely with the graver.
gelo and Algardi, and executed the copy of the  in a bold,'coarse manner, something in the style
statue of Hercules which is in the gardens at Ver-  of Villamena. The following are the principal:
sailles. On his return to Paris, he met with im-    Louis XIV. on Horseback, preceded by Fame; after J.
mediate employment, and in 1693 was received in-  Bourdon. The Virgin and Infant; after Raffaelle; Dito the Academy; on which occasion he executed  lectus meus, 4cc. St. John in the Desert; do. ~ St. Benefor his reception-piece, a bas-relief in marble, rep-  diet, tempted by the Demon, presenting a Crucifix; after
Guercino. The Virgin; after Blanchard. Magdalene;
resenting the rejoicings of the French at the res-  half-length; after e Brun. The Ascension; after J.
toration of the health of Louis XIV. His works  Stella. The Martyrdom of St. Bartholomew; after Pousare executed in a spirited and pleasing style, but  sin; fine. Mary, Queen of Scotland; the Execution seen
they have little of the purity of the antique. His  through the Window. A set of small prints, called Les
most important production was a colossal group   Tableaux de la Penitence; after J. Chaveau.
in marble, representing the junction.of the rivers  COVYN, or COUVEYN, RENIER and ISRAEL,
Seine and Marne. IHe also executed a number of  two brothers, were Dutch painters of little repuother works, among which are the Descent from   tation. Renier usually painted market women
the Cross, and a statue of St. Denis, in the church   with dead game, fruit, vegetables, &c. Israel, the
of Notre DAme; a bronze statue, representing the  youngest, painted history, but was more successful
river Sa6ne, for the city of Lyons; the sepulchre  in portraits. The time when they lived is not reof the Prince of Conti, &c. He died at Paris in.corded.
1733.                                               COXCIE, or COXIS, MICHAEL, a reputable
COUSTOU, GUILLAUME,'a reputable French   Flemish painter, born at Mechlin in 1497. He
sculptor, the brother of Nicholas C., was born at  was first a scholar of Van Orley, but soon went to
Lyons in 1678. He studied under Coysevox, and   Rome, where he applied himself to the study of
having obtained the grand prize of the Academy,  the works of Raffaelle, with whom he was cotemhewent to Rome with the royal pension, where he  porary. He passed several years in Rome, and
studied some time, and executed a bas-relief of St.  painted some good pictures for the church of S.
Louisde Gonzague. On his return to Paris, he  Mariadel Pace. On his return to Flanders he'
was received into the Royal Academy, and execu-  was much employed, and painted many works for
ted a bas-relief of Hercules on the Funeral Pile,  the churches in Flanders, the best of which are
as his reception-piece. His reputation rapidly in-  the Last Supper, in S. Gudule, at Brussels; and
creased, and he gained great encouragement.-  the Death of the Virgin, in Notre Dame. In the
Among his principal works may be cited, the two  Cathedral at Antwerp, is a picture of the Crucimarble groups of Daphne and Hippomenes, and  fixion, much in the manner of Raffaelle. His picOcean and the Mediterranean, for the- gardens at  tures are finely composed, and the Roman taste is
Marly; the bronze statue of the Rhone, at Ly-  visible in his works, with more elegance irr the feons; and -a bas-relief representing Christ in the  male figures than is usual in the works of Flemish
midst of the Doctors, at Versailles, etc. In the  artists. He was deficient in invention, and is said
Musee des Monuments Francais there are two  to have used a number of the designs of Raffaelle
marble statues by this master, representing Louis  in his compositions. He died at Antwerp in 1592.
XIV., and Cardinal Dubois. He died in 1746.         COYPEL, NOEL, an eminent French painter,
COUSTOU, GUILLAUME, the Younger, a French   born at Paris in 1628. Hle studied first at Orsculptor, son and scholar of the preceding, born at  leans, under Poncet; but at the age of fourteen, he
Paris'in 1716. Having carried off the grand prize  entered the school of Guillerier. Here he made
of the Academy, he went to Italy with the royal  rapid progress, and was afterwards employed by
pension, and on his return assisted his father in   Charles Errard, who presided over the works at
his equestrian groups. In 1742 he was elected an  the Louvre. His merit procured his election to
Academician; in 1746 he was appointed professor  the Academy in 1659, when he painted, for his reof sculpture, and the king named him  keeper of  ception-piece, Cain slaying Abel. About this time,
the sculptures in the Louvre. For the Jesuits of  he painted his celebrated picture of the MartyrBordeaux, he executed a marble group, represent-  dom of St. James, in the church of Notre Dame.
ing-the Apotheosis of St. Francis Xavier; and for  Having thus attained eminence, he was appoilted
the king of Prussia, he executed two statues of  by the king Director of the French Academy at
Mars and Venus.  Among his other works was  Rome, whither he went in 1672, and discharged
the sepulchre of the Dauphin, father of Louis XVI.;  the duties of his responsible office with great repua bas-relief in bronze of the Visitation, in the  tation. Here he painted four easel pictures for the




COYP.                     233                     COYS.
king's cabinet, representing Solon taking leave of   several Angels; Jupiter and Anti ppe; A Young
the Athenians, Trajan giving  public audienee,  Woman caressing a Dove, afterwards finished by
Ptolemy ransoming the Jews, and Alexander Se-  N. Edelinck; and the Triumph of Amphitrite.
verus administering Corn to the Roman People.    COYPEL, CHARLES ANTOINE, a French paintThese works were much in the style of Poussin  er the son and scholar of Antoine C., born at Paand le Sueur. They were exhibited in the Roton-  ris in 1694. He followed his father's style, though
da at Rome, where they gained great admiration,  greatly inferior to that artist.  He at first painted
and were afterwards transferred to the Louvre.  historical subjects, but having little success, he
After three years' residence at Rome, Coypel re-  commenced painting bambochades, in which branch
turned to Paris, and was employed in several fres-  h succeeded no better. His best works are his
co paintings in the Tuilleries. His last work, the  portraits; that of Adriana le Couvreur has been
Vault of the Sanctuary at the Invalids, though ex-  admirably engraved by Duvet the younger. This
ecuted at the great age of seventy-eight, may be  artist etched a few plates of little importance. He
ranked with his best productions. He has etch-  died at Paris in 1752.
ed a few plates from his own designs, among which   COY            A                           c
are the Virgin caressing the Infant; the same sub-    OYS, ANTOINE,    eminent Fren h
ject larger; and the Holy Family. He died in  sculptor, born at Lyons in 1640. Before the age
a   t         1707F.     H            of seventeen, he distinguished himself by a statue
of the Virgin, and he immediately went to Paris,
COYPEL, ANTOINE, a French painter the son  where he studied under Lerambert and other masand scholar of the preceding, born at Paris in  ters and made rapid progress. In 1667 he was
1661; died in 1722. He accompanied his father   hoen by the Cardinal de Fursteberg to go to
to Rome, where he is said to have studied the  Alsace, in order to decorate with works of sculpworks of Raffaelle, Buonarotti, and the Caracci;  ture his palace of Soverne. This commission octhough he appears to have preferred the inferior  cupied him about four years, after which he restyle and counsel of Bernini. At the early age of  turned to Paris and executed his statue of Louis
eighteen, he returned to Paris, with a very super-  XIV.; after which he was commissioned by the
ficial knowledge of his profession, which may per-  province of Bretagne to make an equestrian statue
haps account for his deficiencies. He was only  of the same monarch. He afterwards produced 
nineteen when he painted his Assumption for the  large number of fne works, the principal of which
church of Notre Dame; and at twenty, he was  are the tomb of Cardinal Mazarin; the monument
elected a Royal Academician. Soon after, he was  of Charles le Brun, in the church of S. Nicolas
appointed painter to the Court, and became one of  th magnificent tomb of the great Colbert, in S
the most popular artists that his country has pro-  Eustache; two statues of a Flute-Player and
duced. He was graceful in the airs of his heads,  Florain the gardens at Marly  a statue ofthe
and painted the forms of children with great perfec-  gra  Cond; besides many busts, statues in
tion; but his attitudes, even in his grand historical  bronze, and medallions. Among his last works
works, were all characterized by a theatrical taste.  was the marble statue of Louis XIV., in the
His qualities were rather superficial than solid,  church of Notre Dame. He died in 1720. His
and were well adapted to please the multitude. He  bust executed by Lemoine, is in the Mus'e des
was much employed in decorating the royal pala-  Monuments Franais.
ces, and was appointed painter to the king in 1715.
His principal works at Paris are, Christ curing the  COZENS, ALEXANDER a  ussian painter, who
Blind, at the Carthusians; Christ among the Doc-  established himself in London as a landscape painttors; and the Assumption, in the church of Notre  er and drawing-master, about 1770. His son, Joh
Dame. Coypel has etched a few plates in a mas-         s followed the same profession, and surpassterly and finished style, among which are the fol-  edhis father.   e has executed a number of
lowing:                                           19
lowing:                                           drawings, which are highly esteemed.  He died in
Melchisedec presenting the Bread to Abraham. Judith; 
half-length;finished by Simoneau. The Baptism of Christ.    COZZA, FRANCESC,  an Italian painter, born at
Ecce Homo; finished by Simoneau. The Virgin and In-  Istilo in Calabria, in 1605. He studied at Rome,
fant, in an oval. The Virgin suckling the Infant. St. Ce-  under Domenichino, and imitated with success the
cilia; Cantabo Domino, 4-c.  Cupid conquering Pan.  style of that great master. He became a warm
Bacchus and Ariadne; finished by G. Audran; very fine.  friend of Zampieri, and after his death, according
The Triumph of Galatea; finished by Simoneau; fine.  to the Abateiti, completed several of his orks
The Head of Democritus. The Portrait of le Voisin  to  e Abate iti, complete  several oisor
broke on the wheel for poisoning; two plates, large and  At Rome, he was employed in several grand works
small.                                           in oil and in fresco, which did honor to his abiliOYPEL, NOE, a so         n of Nl   ties. One of the best is the Virgine delRiscatto,
COYPEL NOEL NICHOLAS, a son of Noel C. 
by a second marriage, born at 1692; died in    ie                o.     e      o      
1735. He received his first instruction from his   ie i
father, whom he lost at the age of fifteen, after    COZZA, GIo. BATTTSTA, a Milanese painter,
which he studied in the Academy, and in 1728 he  born in 1676. It is not mentioned by whom he
was elected a member of that institution. His  was instructed; but while he was yet young, he
picture of reception was Neptune carrying off Amy-  settled at Ferrara, and executed many works for
mone. He afterwards had considerable success,  the churches, characterized by an abundant invenand painted a number of works for the churches  tion, and great facility of execution, though not
at Paris. The most esteemed are the ceiling of   very correctly designed. The principal are, the
the Chapel of the Virgin in thq church of St. Sav-  Conception, in the Cathedral; the Holy Family,
ior; and the altar-piece in the same Chapel, repre-  at the Ognissanti; the Assumption, in S. Guglisenting the Assumption. There are a few plates  elmo; and the Annunciation, in S. Lucia. He died
by Coypel, among which are: St. Teresa, with  at Ferrara in 1742.




COZZ.                      234                     CRAN.
COZZA, CARLO, a Ferrarese painter, the son   are preserved in the best Dutch collections and
and scholar of the preceding, born about 1700.  are very highly esteemed. He died in 1710.
He painted several pictures in his father's style.    CRANACH, or KRANACH, LucAS, an old
for the churches of his native city, among which   German painter, and eminent engraver, born at
is the Annunciation, in the Chiesa Nuova; St.  Cranach, in the province of Bamberg, in 1472.
Antonio, in S. Lucia; and St. Francesco da Paolo   His family name was Sunder, but he was called
in S. Matteo. He died at Ferrara in 1769.          Cranach, from the place of his birth. At an early
COZZO, PIETRO DA LIMINA, an Italian archi-  period in life he entered into the service of the
tct, according to Milizia, born at  Limina, and   electoral house of Saxony, and was court painter
flourished in the latter half of the twelfth century.           electoral pr, Frederick te Wise
Little is known of the events of his life, but he is  John the Persevering, and Frederick the Magnnsaid to have erected the famous saloon at Padua,  imus. Withthe first, he made a pilgrimage to
which is the largest in the world, and was proba-  the Holy Land in 1493; and with the last he
bly commenced in 1172. Its form  is that of a   shared his five years imprisonment after the fatal
rhomboid, parallel to the equator, 256 feet long, 86   battle of Muhlberg, in 1547. He was burgomasfeet wide, and 72 feet high. It was finished in  ter of Wittenberg, and lived on intimate terms
g1218.                                             with Luther and Melancthon, His works are extensively dispersed throughout the Saxon States;
CRABB'ETJIE.  See ASSELYN.                       that in the city churcli of Wittenberg is considered
CRABETH, DIRK and WOULTER, two brothers,  one of his best. As a portrait painter, he attained
were very eminent Dutch painters on glass; and   considerable eminence, and was much esteemed for
according to Van Mander, were born at Gouda, in  his simple and faithful adherence to the forms of
Holland, and flourished about 1560. They exe-  nature. In the Berlin Museum is the portrait of
cuted many works of extraordinary merit, espe-  George, Duke of Saxony; and the Elector of Macially the windows of the great church at Gouda,  yence, Albert of Brandenburgh; both by this
which have been considered as the finest produc-  artist. He was also very skillful in the delineations ever executed in that branch of the art.  On   tion of beasts and birds, as is evident from  his
the four windows are represented the Nativity;  drawings for the Prayer-Book, in  the  Court
Christ Driving the Money Changers from the Tem-  Library at Munich; the first part of which were
ple; the Death of Holofernes; and the Destruc-  drawn by Albert Durer, and the last by Cranach.
tion of the Temple of Heliodorus.  They are dated   As an engraver, he executed but few copper plates.
in 1560: 1564, 1566, and 1567.                     and those of little merit; but his wooden cuts are
highly esteemed.  Some of them  are printed in
CRABETH, FRANCIS, a Flemish historcal paint-  chiaro-scuro, and are much in request. He someer, born at Mechlin in 1500.  He followed the   times marked his prints with the arms of Saxony,
style of Lucas van Leyden. In the churchofthe   or with the flying dragon, which was his own
Reccolets at Mechlin, Crabeth painted the princi-  crest     ptet of nobility, granted him  by the
pal altar-piece, representing the Crucifixion, with   ElectorFrederick.  This artist had many imitatwo laterals of subjects from the Passion of Christ.  tors, the bes of whom was his son Lucius CraHle died at Mechlin in 1548.                       nach the Younger, who seems to have combined
ORADOCK, LUKE, an English painter, born in  the styles of his father and Albert Durer, with a
-Somersetshire, about 1660, and served as appren-  grace and sweetness peculiarly his own, though his
tice to a house-painter in London,  With little  coloring was sometimes too rosy. For a full list
instruction he became a good painter of birds, ani-  of the works of both these artists, see Kigler's
mals and dead game; but rmet with little encour-  Hand Book, and Bartsch.  The following are the
agement.  He died in 1717.                         best prints of the elder Cranach. He marked his
CRAESBECKE. E aFeihpntr plates with a monogram  of his initials with a
CRAESBECKE, JOSSE, a Flemish painter,  shield.
A    tborn at Brussels in 1608, died in'1688. He was
originally a baker, and had settled at Antwerp in    ^  ^                                    or
that capacity at the time when Brower visited that  L                                           L
city. He became the pot-companion of the latter,                     COPPER-PLATES.
and when Brower forsook Rubens, he took him          The Portrait of John Frederick, Elector of Saxony, with
into his own house, and gave up his business to  an Angel holding a Crown of Laurel; very scarce. The
learn painting.  He studied with great assiduity,  Portraits of Frederick and John, two Electors of Saxony;
and though he was then thirty years old, he at-  half-length, one holding a Chaplet. 1510. Christianus II.,.tained a good rank among ~Flemish artists, espe-  Danorum Rex, &c. Martin Luther, in the Habit of a
tamed a good rank amoglihr        -Monk. Adam and Eve, after their Fall, 1509, with the
cially as a colorist. His subjects were from low   arms. Christ tempted in the Wilderness, LC. W.; very
life, like those of his instructor, but greatly inferior  scarce. Christ in the Clouds, surrounded by Angels; beto Brower in character and delicacy of touch, and  low, a half-length figure of the Elector.
marked by greater yulgarity.  Many whimsical                         WOODEN, CUTS.
stories are related of both these artists by the    The Bust of John Frederick, Elector of Saxony. HalfFlemish writers.  length of an Elector, with a Book, before a Crucifix; marked with the dragon, 1552; scarce. The Bust of Martin
CRAMER, NICHOLAS, a Dutch painter, born at  Luther, in the Habit of a Monk. D Martin Luther; fullLeyden in 1670. According to van Gool, he was  length. Philip Melancthon; do. The Emperor Charles
for some time a scholar of William  Mieris, but  V.; do. The Emperor Ferdinand; do. John Frederick,
afterwards studied under Karel de Moor, and fol-  Eletor of Saxony; do. John  illiam, Duke of Saxony;
do. Adam and Eve in Paradise. 1509. The Annuncialowed his style. His subjects were small portraits,  do. Adam and Eve in Paradise.   e.   15The Annunciaand conversations, which are well designed, beau-  Passion of our Saviur; in fourteen prints; entitled Pastifully colored, and delicately finished.  HIis works   sio D. N. Jesu Christi, 4c., 1509; very fine. The Twelve




CRAN.                     235                     CREA.
Apostles; very fine. Paris dying on Mount Ida, visited  and dignity, though he never attempted the aspirby the three goddesses, 1508; fine. M. Curtius plunging  ing flights of Rubens; and he constantly rejected
into he Gulf Te Great Tournament. 1509. The Little  whatever might savor of ostentation. His coloring is tender and delicate, and in the carnations it
CUTS IN CHIARO-SCURO.              resembles the clear tints of Vandyck. He execuSt. George and the Dragon. St. Christopher carrying  ted a large number of works, mostly of a religious
the infant Jesus. 1507. Venus and Cupid.         character. The principal of them are at Brussels;
CRANSSE, JOHN, a reputable Flemish histori-  in the church of Notre Dame, Christ appearing to
cal painter, born at Antwerp, in 1480. In 1523 he  Mary Magdalene; at Ghent, in the cathedral, the
was elected a member of the Royal Academy at  Assumption; in St. Michael, the Descent of the
Antwerp. In the church of the Virgin Mary in   Holy Ghost; in the church, formerly of the Jesuthat city, is-a fine altar-piece by this artist, repre-  its, a fine picture of the Resurrection. Crayer
senting Christ Washing the Feet of His Disciples,  died in 1669.
which is highly praised by Van Mander.              CREARA, SANTO, a native of Verona, who
CRASTONA, GIOSEFFO, a native of Pavia, was  studied under Felice Brusasorci, and on the death
born in 1664, and died about 1725. He studied   of that master, went to Rome where he gained
under Bernardino Ciceri, at Rome, and succeeded  considerable distinction as a historicalpainter. He
that master.  According to Orlandi, embued with  flourished in the first part of the seventeenth cenRoman erudition, he became a painter of land-  tury.
scapeS, into which he introduced historical and    CREDI, LORENZO DI, called SCIARPELLONI, 
mythological figus, executed with much taste.  reputable Florentine painter, born about 1452. He
There are many of his works at Rom% and some  studied under Andrea Verocchio at the same time
at Pavia.                                        with Leonardo da Vinci. He painted many MaCRATERUS, or CRATINUS, a Greek painter,  donnas and Holy Families, which are distinguished
who practised the art at Athens, and decorated  for their graceful manner, fine expression in the
with several of his works, the edifice named Pom-  heads, beauty of coloring, and pleasing backperon, where were preserved the ornaments and  grounds. They are much esteemed, and many of
vessels used in religious ceremonies. He had a  them are preserved in the Florentine collections.
daughter named Irene, who became eminent in the  According to Vasari, his master-piece is the Maart, and executed an admirable picture at Eleusis.  donna and Child, with Saints Julian and Nicholas,
There was a Roman sculptor named Craterus, who  painted for a chapel in the convent of Costello, but
executed, according to Pliny, a number of excel-  now in the Louvre. His Birth of Christ, formerly
lent statues for the palaces of the Emperors.    in the Monastery of Santa Chiara, but now in the
CRAYER, GASPAR DE, a very eminent Flemish   Florentine Gallery, is one of the best works in that
painter, born at Brussels in 1582; studied for a  city for coloring, expression, and execution. Credi
short time under Raphael Coxcie of Brussels, an   was a very successful imitator of Leonardo da
artist of little note, whom he soon surpassed. On   Vinci, and other eminent masters. He died about
quitting the latter, he commenced studying with  1536.
great assiduity the works of the able Flemish      CREETEN, CHARLES, a German painter, born
masters; and taking nature for his guide, he soon   at Prague in 1625. He studied at Rome, where
became distinguished. Several of his works at-  he obtained the name of L'Espadron. His exceltracted the notice of the court at Brussels, and  lence lay in history and portrait, which he painted
Crayer was engaged to paint the portrait of Car-  with great accuracy and elegance.  He died at
dinal Ferdinand, the Governor General of the Low   Prague in 1681.
Countries, to be sent to his brother, the King of    CREMONA, NIccoLo  DA, a reputable Italian
Spain.  This work was greatly admired, and  historical painter, according to.asina, who flourCrayer was appointed court painter, with a con-  ished at Cremona about 1518. In S. Maria Madsiderable pension, and was also employed in paint-  dalena Monache, at Bologna, is a picture by this
ing for the churches and public edifices. He now   artist, of the Deposition from  the Cross, dated
had the full prospect of a brilliant and wealthy   1518.
career; but being intent on perfecting his talents,    CREMONESE. SeCALETTI.
and desiring that tranquillity necessary to the pur-    MONESE.  Se
suit of his studies, he gave up his appointment and  CREMONESE, GIUSEPFE, a Ferrarese painter,
removed to Ghent. His retirement, however, did  born, according to Zani, about 1600; died in 1660.
not dhiiniss his reputation, and he continued to   He had no instructor, but acquired a knowledge
receive many important commissions from all parts  of painting from the study of the works of D.
of the country. About this time he painted his  Dossi and Titian; and formed a style which bears
fine picture for the refectory of the Abbey at  a resemblance to both. He executed a number of
Affleghem. which is thought one of his most cele-  good works for the churches of his native city, the
brated works. It represents the Centurion Dis-  best of which are: St. Carlo, at the Cappuccini;
mounting from his Horse to Worship the Saviour.  St. Cosmo and St. Damiano, in S. Niccolo; and
When Rubens beheld this admirable work, he ex-  the Four Doctors of the Church, in S. Benedetto.
claimed, " Crayer, nobody will ever surpass you."  He has etched several plates from his own designs,
This artist is placed by all the Flemish writers on   among which are: Samson and Delila; David, a
a par with Rubens and Vandyck; but though he  whole length figure, with the Head of Goliah; Damay not deserve this high praise, he should un-  vid, a half-length, with the same; St. Roch kneeldoubtedly be classed among the ablest painters of  ing; a Bishop kneeling; and a naked female.
the Flemish school. His works are composed with    CREMONIENSIS, ANTONIO, an Italian wood
admirable taste and intelligence, and with great  engraver, who flourished about 1560.  Among
correctness and simplicity. They evince grandeur  other prints, he has executed one representing




CREP                      236                     CRES.
Mutius Scaevola burning his hand in the presence    CRESPI, Gio. BATTISTA, called IL CERANO, an
of Porsena.  It is executed on a single  block,  Italian painter, born at a small town in the Milawithout any cross-hatching.                       nese, near Novara, in 1557. Iis family had been
CREMONINI, Gio. BATTISTA, an Italian paint-  distinguished in art, and he had the advantage of
er, born, according to Malvasia, at Cento, and   a classical education, which he well improved; but
flourished about 1600.  He principally excelled  manifesting a strong inclination for painting, he
in painting perspective, and in representing wild  devoted his energies to that profession. He visited
animals. He also painted history with success;  Rome and Venice, and subsequently settled at Miand there are several pictures by him  in the  lan, where he was patronized by the Duke Cardichurches at Bologna, which evince considerable  nl Federigo.  The works of Crespi are characterability. Cremonini has the credit of being one of  ized by a free and spirited style, and great  arthe first instructors of Guercino; His best works  mony of coloring; but his design is somewhat
are the Assumption, in S. Maria della Vita; and  conceited and absurd, from  an affectation of the
the Annunciation, and the Death of St. Francis, in  grand and the graceful. In his pictures in the
S. Francesco.   He died in 1610.                  Chiesa delle Pace, his drawing of the nude is
CREPIN, LOUIS PILIPPE  a French marine 1       heavy and tasteless, and the movement of the figpaCREPIN, Lourn s  PHn;IIPPE   a French marine  ures distorted by the violence of their attitudes.
painter, born in 1772; studied under Regnault  His works  however have many beauties  and
and Hubert Robert; he also took lessons from   H                                          i
d spubert Robert; he also took lessfos frotm   some of them are equal to the best productions of
Joseph Vernet, and  followed successfully the  the Milanese school at his time. His picture of
styles of those masters. He often represented  the Baptism of St. Agostino, in S. Marco, disputes
engagements between French and English ships  the  alm   ith Giuio Po          in, a   some conof war; and also painted many other subjects of  n       ise ur jude it upeiorocacci ani says that
more general interest.  Ie usually painted in water  noisseurs judge it superior. Soprani says that
and body color. He also etched a number of plwates  Crespi excelled in painting animals and birds, of a
and body color. He alss etched a number of plates  cabinet size. He is also said to have been a sculpin aqua-fortis and in aqua-tint.                  cabinet size. He is also said to have been a sculptor and architect, but none of his works are menCREPU, NICOLAUS, a Flemish painter, born in  tioned. He died in 1633.
1680. He was originally an officer in the Spanish   CRESPI, DANIELLO, a Milanese historical and
service, and often amused himself by designing af-  portrait painter. born in 1590; studied under Gio.
ter nature such objects as were agreeable to his  Battista Crespi; and afterwards under Procaccini.
fancy. At the age of forty he quitted the army,  According to Lanzi, he equalled the latter, and
and settled at Antwerp, where he devoted himself  surpassed the former. He deserves a high rank
to flower painting. His works soon attracted at-  among the Milanese painters. The grace and vatention, and he acquired considerable reputation.  riety in his heads, the fervid devotion in his picHis pictures were well composed, and painted with  tures of saints, his facility of execution, and admiragreat lightness and  freedom of touch:  they were  ble coloring, gained him a great deal of employment,
much sought after, and brought good prices in  both in oil and fresco, and he rapidly acquired
every part of Europe. Crepu died at Antwerp  wealth. His judgment enabled him to take advanin 1742.                                          tage of the attainments of others, and avoid their
CREPT, or CRESPY, JEAN and Louis, two   defects. Although he never frequented the school
French printsellers and engravers of little note.  of the Caracci, he seems to have approved and
Jean, the father, was born at Paris about 1650;  adopted their principles and practice. Among the
and Louis, the son, about 1680. There are a num-  best works of this artist, are the Descent from the
ber of portraits by them, and several copies of the  Cross, in the Chiesa della Passione at Milan; and
portraits of G. Audran; also the following: Mary  his celebrated set of subjects from the Life of St.
Magdalene, Crepy, inv. et fecit; the Descent from   Bruno, at the Certosa. Crespi died of the plague,
the Cross, after Cignani; the Nativity, after Al-  with all his family, in 1630, in the prime of life;
bano; their best print; the Presentation in the  much regretted by the friends of art.
Temple, and the Holy Family, after Le Brun.         CRESPI, GIOVANNI, (or GIUSEPPE) MARIA, callCRESCENZI. See CAVARoZZI.                      ed IL SPAGNUOLO, from the finery of his dress, a
CRESCENZI, CAV. GIAMBATTISTA, a Roman   Bolognese painter, born in 1665; died in 1747.
architect of noble family, born in 1595. His in-  He studied irst under Canuti, but afterwards untimate knowledge of the fine arts induced Paul  der Cignani. He  as great copyistof the works
V. to entrust him with the superintendence of the  o t   Italian masters, p cularyCo r     o thee he 
pontifical buildings and galleries of paintings at    aa    and  aoo    an  o   ee have unRomo. Crescenzi visited Spain with Cardinal Za-  doubtedly been sold as originals. He studied the
Rome. Crescenzi visited Spain with Cardinal Zapata, and was employed in the Pantheon, and sev-  works of the latter with great assiduity, and seems
pata, and was employed in the Pantheon, and sev-  ^ ^   fii   ^^'    in    J.^^'"' i          -rr
eral other buildings of the Escurial, where he dis-to have followedhisstylein  ost of hisworks.He
played so much ability, that, according to Milizia.  adopted in many of his works a dangerous facility
Philip II. declared him  Marquis de Torre, and  of execution, and a limsy method of coloring, conknight of St. Giacomo. He also erected a number  sisting chiefy of glazing, which has occasioned
of other reputable works, among which is the             mo st o them to be oblternicious in example uncourt prison at Madrid. He executed a numberdoubtedly            mostperniciousinflue uponar,
of good designs for the nobles, and was much es-  as many of his cotemporaries were induced to imteemed for his talents. He died at Madrid in  itate him, influenced by the praise and emolument
1690.                                             which he received. He was an admirable caricaturist, and some of these compositions were full of
CRESCIONE, GIOVANNI, a reputable Neapoli-  excellent humor. The Grand Duke Ferdinand emtan  painter, who studied under Cardisco, and  ployed Crespi to paint a number of works for the
painted at Naples in 1568.                        Palazzo Pitti. IIe also executed several pictures




CRES.                     237                   CRE r.
for the churches and palaces of Bologna, among  good taste, nor is his design correct, but his cornwhich is the Last Supper, in the Palazzo Zam-  positions are ingenious and abundant; the splen
pieri; the Annunciation in S. Maria Maddalena;  dor of his draperies and the richness of'his archi
the Temptation of St. Anthony, in S. Niccolo; St.  tecture approaches the excellence of P. Veronese
John Preaching, in S. Salvatore; the Crucifixion,  Some of his figures have the strained attitudes of
in S. Maria Egiziaca. There are several pictures  Tintoretto, and like that master, he frequently
by Crespi in the Dresden Gallery, among which is  used such thin oil coloring that several of his
the Ecce Homo, which, with all its faults; is a mas-  works have perished. Among them are the Cruterly piece; and the picture of the Seven Sacra-  cifixion of St. Peter, and the Presentation in the
ments, which he painted for the Cardinal Otto-  Temple, painted for the Basilica of St, Peter's, in
boni. Crespi has etched a few plates from his own  the pontificates of Paul V. and Urban VIII. A
designs, among which are: The Murder of the In-  number of them remain which are admirably colnocents; two plates of the Resurrection and one  ored, among which are the Descent from  the
of St. Anthony, in the style of Rembrandt; the  Cross, in the Palazzo Borghese, at Rome; Christ
Miraculous Crucifix of Pistoja; St. Pascal; five  bearing his Cross, in the Collegio S. Giovannino,
plates of the Trades, in the style of Rosa; and a  at Florence; and the Dead Christ, in the Capella
Shepherd and Shepherdess..di Mondragone, at Frascati. Hie was one of the
CRESPI, ANTONIO  and CANON LUIGI were  most influential of those artists who contributed
sons of Cav. Giuseppe Maria C. They were both  to the reform  of the Florentine school, by iminstructed in the art by their father, and Lanzi  proving the taste for color, and by rendering the
says they both painted for the churches of Bo-  mannered anatomical school less popular.  He
logna. The Canon however occupied much of his         the intimate friend of Cigoli, and is said to
time in writing the lives of the Bolognese artists.  have given lessons to Lodovico Caracci, while the
Antonio died at Bologna in 1781, and Luigi in  latter was at Florence. Passignanodied in 1638.
1779.                                              CRETI, DONATO, an Italian painter, born at
CRESPI, BENEDETTO, called IL BUSTINI, a paint-  Cremona, in 1671.  According to Lanzi, he studied
er of Como. who flourished in the 17th century.  under Pasinelli at Bologna, and formed a style
Orlandi says that his works are at once vigorous  which has little claim to originality, founded on
and elegant, some of which are in the churches of  those of that master and Contarini da Pesaro. His
Cerno. He had a son named Antonio Maria, who  tints were never properly blended, hence his colorwas his pupil and successor.                     ing was harsh and crude. He resided chiefly at
CRESPI, Gio. PIETRO, called also DE CASTOLDI   Bologna, where he painted a number of pictures for
I the churches and palaces. Among them are: St.
a reputable painter of the Milanese school, who  the churches and palaces. Among them are: St.
flourished at Milan in 1535, and, according to Lanzi,  VincenzioFerreri resustating a ChildSt Carlo
left some specimens of his genius in the church of  Borrmeo asking alms for the Poor; the CrwnS. Maria de Busto. The same author says also  ing of the Virgin, one of his best works, in S. Luca;
that this artist was grandfather of Gio. Battista C.,       admirable picture of the Adoration of the Magi,
called il Cerano, but the dates will rather show   in the Mendicanti; and four pictures of the Life of
that he was his father.                          Achilles, and other works, in the Palazzo Pubblico
Creti died at Bologna, in 1749.
CRESPI, RAFFAELLE, was a painter of the Mi-Creti died at Bologna, in 1749.
lanese school, who was also employed in S. Maria    j OREUTZFELDER,JoHANN,aGerman paint
de Busto in 1542..Lanzi also says he was either      er, born at Nuremberg in 1570; died, accordthe father or uncle of il Cerano.               ing to Doppelmayr, in 1636. He studied under N.
CRESPINI, MARIO DE, a native of Como, who  Juvenel, and painted portraits in a highly finished
studied under one Maderno in that city. Heaint-    le. Lanzi mentions three portrait painters by
ed interiors of kitchens and the like, in the style  this name calling the one to whom the above dates
of the Bassani, but he excelled in flower-pieces,  apply Joh  Geo7ge, another, John Philip; and a
and Lanzi says his works of this class are numer-  third naed John, wh  was living in 1660.  Naous, and are to be found in the collections of Comogler doubts whether these names do not apply to
and the neighbouring cities. He flourished about      person; the accompanying monogram, howO1720.                                           ever, is found on the known portraits of Creutzfelder, with a date, one of which is 1631.
CRESPY, or CRESPI, an Italian engraver of                        oe of w         i 
little note, who'practised the art, according to Ba-    CREVALCORE, PIETRO MARIA DA, a painter
san, about 1705. There a few  plates by him,  of the Bolognese school, was, according to Malvaamong which is the Descent from the Cross, after  si, a pupil of Calvart, at Bologna. He afterCignani.                                         wards imitated the Caracci. He flourished about
CRESTI, CAV. DOMENICO, called PASSIGNANo,an 1
eminent Italian painter, born at the village of Pas-    CRISCUOLO, Gio. FILIPPO, an Italian painter,
signano, near Florence, in 1558. He studied under  born at Gaeta about 1495, and first studied under
Naldini, and afterwards under Federigo Zucchero,  Andrea da Salerno. At the age of seventeen he
whose style he seems to have preferred. In con-  visited Rome, where he entered the school of Perucert with the latter he executed a number of works  gino, and studied with great assiduity the works
at Florence, which  gained him considerable re-  of Raffaelle. After his return to Naples he was
putation. Ie resided some time at Venice, where  employed for the churches and public edifices, and
he gained great improvement, and was so much   painted several pictures which are praised by Dofascinated with the works of the Venetian masters,  minici, particularly an altar-piece in S. Maria della
that, according to Boschini, he used to observe  Grazie, representing the Virgin and Infant in the
that whoever had not seen Venice, could not hope  clouds, with Saints below; and the Adoration of
to become a painter. His forms are not selected in  the Magi, in S. Maria del Rosario. Criscuolo died




CRIS.                     238                    CRIV.
at Naples in 1584. There was another painter of     CRIVELLARI, BARTOLOMEO, a Venetian enthis name, who practised the art about 1670, but  graver, born in 1725; studied under Wagner, and
attained no distinction.                         executed several plates for that master, after GherCRISCUOLO, Gio. ANDREA, an Italian painter,       dini,  iarini, and  iepolo; besides the followthe younger brother of the preceding.  He arl   ing portraits of Christian Electoral Princes of Saxmanifested an inclination for art, but his father  ony; Portrait of Archduchess Anne of Austria;
compelled him to enter the legal profession. On   three subjects from the life of St. Pietro Petronio;
the death of the latter, the reputation his brother     plates of Musical Gallant Assemblies, ater
had acquired, induced him to place himself in the   Nccolo del Abate; the  anoniion of St. Alex.
school of Marco da Siena, under whose instruction   Sul, after M. Bartoloni.
he became a reputable artist. He painted a num-    CRIVELLI. CREVILLI, or CRIVILLI, CARLO,
ber of works for the Neapolitan churches, which   an old Venetian painter, according to Ridolfi, who
are mentioned by Dominici. Among them are the  studied under Jacobello del Fiore, and flourished
Stoning of Stephen, in the church of that Saint;  from  1450 to 1486. According to Lanzi he was
and a picture of the Virgin and Infant, with St.  more remarkable for vigor of coloring, than for
Jerome, 1572; He died about 1580.                correctness of design. That author praises his
CRISEVOLO, MARIA ANGELA, a Neapolitan   small subjects of history, which represent beautipaintress, born in 1548. Little is known of the  ful landscapes, with figures full of grace, motion,
events of her life, but she painted history and por-   nd expression. His pictures are colored sometraits with considerable success. She died in 1606. what in the style of Perugino, and they are somedmT  pa r br   times mistaken for the works of that master,
CRISPI, ScIPIOrE, a Piedmontese painter, born  especially his altar-piece at the Osservanti in Maat Tortona, who practised the art, according to
1anzi, fo152o19.Ltecerata. In Mr. Edward Solly's collection was a
Lanzi, from 1592 to 1599. Little is known of his  picture by Crivelli, representing the Annunciation,
personal history, but he was undoubtedly poss-    ecutedin 1486 andadmirab  embellished with
essed of considerable ability, as is evident from his  birds, fruitowers, and aricutural decorations.
picture of the Visitation of the Virgin to Elizabeth,  Lanzi mentions three of his pictures and an altarin S. Lorenzo, at Voghera; and an altar-piece at                                   I
Loren   at Voghera; and an altapiece at S. Francesco di Matelica, inscribed CaroTortona, of Saints-Francesco and Domenico, 1592.  ls Crivellus  Venetus miles pinxit; also another
CRISTOBOLO, a Grecian architect, who flour-  dated 1476, in the possession of Cardinal Zelada.
ished about the middle of the 15th century, and  In S. Sebastiano, at Venice, are two pictures, rewas employed by Mahomet II. to erect a mosque  presenting St. Fabbiano, and the Marriage of St.
at Constantinople, on the ruins of the church of   Catherine.
the Holy Apostles, originally erected by the queen  CRIVELLI, ANGELO MARIA, called CRIVELof Justinian.  Cristobolo  produced an edifice,  LONE, a Milaese painter, who flourished about
which nearly rivalled, according to Milizia, the   1710. According to Orlandi, he painted animals
magnificence of St. Sophia; and afterwards rect-  and huntings with surprising truth and spirit,
ed the buildings for eight schools and eight hos-   d      ranked among the ablest artists of his
pitals. The Sultan gave him, as a reward, wh  ttd tthe  besttsts                                s
country, who treated these subjects.
street now remaining in the family of Cristobolo,    CRIVELL  JA, was a son of Angelo Mawhich is inhabited entirely by Christians.           CIVELLI, JACOtO, was a son ofAngelo Maria C., who instructed him in the art. At Milan
CRISTOFORI, FAnBIO, and PIETRO  PAOLO.  the fatheris called il Crivellone, to distinguish him
These artists, father and son, deserve great credit  from the son. le excelled in painting birds and
for the perfection which they attained in the mo-  fishes. He died in1760.
saic art. They executed in concert several admirable works in the Basilica of St. Peter's, after    CRIVELLI, VITTORIO, a Venetian painter, who
the original paintings; among which are the Com-  was probably a brother of Cav. Carlo C. Fremunion of St. Jerome, after Domenichino; the  quent mention is made of him in the Antichitd
St. Petronill  aftGuercino; the Baptism of  Picene.  Lanzi says there are altar-pieces by him
St. Petronilla~ after Guercino; the Baptism of  in the churches of Monsanmartino, and in Penna
Christ, after C. Maratti, and other important  in the churches ofMonsanmartino, andinPenna
works.                                           S. Giovanni at Venice; executed in 1489 and 1490.
CRISTONA, GIUSEPPE, an Italian painter, born     CRIVELLI, FRANCESCO, a Milanese painter,
at Pavia in 1664, and studied under Bernardino   who lived in 1450. He is reported to   ve been
Ciceri. He excelled in representing landscapes and  the first who practised portrait painting at Milan.
views in the vicinity of Rome, from designs he had  CROCE, BALDASSARE, a Bolognese painter, born
made during a long residence in that city. Ac-  in 1553. His instructor is not recorded, but according to Orlandi, the works of Cristona were  cording to Baglioni, he visited Rome during the
very popular in his day. fIe signed one of his pic-  pontificate of Gregory XIII., by whom  he was
tures, G. Crastona, 1705.                        employed in the Vatican. He painted both in oil
RITIAS, called  esiotes, an emint G k   and in fresco, and his works are executed in a
CRITIAS, called   esiotes an eminent Greek  free vigorous style. The principal ones in that
sculptor, who flourished about B. c. 432. HIe was      rhe Cul     the  aplla di S ones in t
called Nesiotes (the Islander) probably to distin-  in the huh           the   ul of theCapela diS. Francesco
guish him from Critias of Athens, who established   t. John of Lateran, and the history of Susanna.
a famous school of sculpture, which produced many  in th   urch    her na      e die  at Rom  in
distinguished masters. This artist was the cotem-  1628.
porary and rival'of Phidias, and he executed many   CROC             D.  
works for the city of Athens, among which the       CROCIFISSAIO, DEL. Se MACCHIETTI.
ancient writers mention the statues of Harmodius    CROCIFISSI, DE. See DA BOLOGNA.
and Aristogiton, and one of a Victorious Runner    CROMER, or CROMA, GIULIo, called IL CROat the Olympic Games.                            MA, a painter of Ferrara, was born in 1572, and




(ROM.                     239                    CRUY.
died n 1632. According to Baruffaldi, he studied             CRUYL, LEVINUS, a Flemish de
under Domenico Mona, though Lanzi says he did not    or      signer and engraver, born at Ghent
derive much benefit from it; but he subsequently  about 1640. He designed the finest views in the
became a correct designer by studying the naked  vicinity of Rome, enriched with figures and anifigures of the antique. He had the honor of paint-  mals, in a pleasing style and touched with great
ing the Presentation and the Death of the Virgin,  spirit. Several of these have been engraved by
m  the Scala at Ferrara, which was then a cele-  Giulio Testa, and Cruyl has also executed a few
brated gallery filled with the works of great ar-  plates from  his own designs, among which are, a
fists.                                          set of twenty-three plates of Ancient and Modern
CROMER, or CROMA, Gio. BATTISTA, a paint-  Rome, L. Cruyl del. et scul., 1665. A set of Arer of Padua, who, according to the Guida di Pa-  chitectural Views of Roman Ruins, 1667. Ten
dova, was a reputable artist, and died in that city  plates of the Triumphs of Roman Emperors, after
about 1750.                                     Andrea Mantegna.
CROSATO. GIOVANNI BATTISTA, a Venetian          CRUYS, THEODORE VAN, a Dutch engraver,
painter, whose genius and fine taste are highly ex-  who resided chiefly in Italy, and flourished about
tolled by Zanetti. He resided chiefly at Turin,  1710. He engraved a number of plates from the
and other places in Piedmont, where he left many  pictures in the Florentine Gallery; several porexcellent works. Lanzi says he was more admired  traits and some views of sea-ports, after Salvator
for his perspective than for the beauty of his fig- osa. His plates are etched and retouched with
ures. He was one of those painters who deceive  the graver, in a very indifferent style.
the eye by a strong relief, and he thus gives the    CRUZ, JUAN PONTOJA DE LA, a Spanish painter,
semblance of reality to his imitations.. His best  born at Madrid in 1560, and studied under Alonso
works are in the Vigna della Regina, at Turin. He  Sanchez Coello. He excelled in portraits, and also
died at Turin in 1756.                          painted historical subjects in good taste. He died
CROME, JOHN, an English landscape painter,  in 1610.
born at Norwich in 1769. He was apprenticed to    CTESILAS, or CTSILAUS, an eminent Greek
a coach-painter, and during his leisure hours devo-  sculptor, who flourished about B. c. 432.  He
ted himself to painting landscapes from  nature.  competed for a prize offered for six statues for the
At the termination of his apprenticeship he was  temple of Diana. The first was awarded to Polycompelled to give lessons in drawing to enable  cletus, the second to Phidias, and the third to himhim to pursue his favorite occupation. He did not.  self. Ctesilas distinguished himself by a number
however, acquire much distinction. He died in  of other works, among which was a statue of
1821.                                           Pericles, and a Wounded Amazon. But his greatCROOCK  HUBER E an e t G     n  est work was the Dying Gladiator, which has re-; CROOCK, HUBERT DE, an eminent German  ceived the highest commendations from  ancient
plwood engraver, who flourished about 1490.  and modern writers. It was long preserved at
His name and monogram are affixed to a large cut,  Rome in the Chigi palace, but was taken to Paris,
representing the Trinity, which is executed in a  with the Laocoon, c. in 1796.
neat, though stiff and formal manner.
CTESIPHON, an ancient Cretan architect, who
CROOS, A. VAN, called the Younger, a Dutch   gained great eminence for his design of the famous
painter, was the son of A. van Croos. He flour-  Templeof Diana at Ephesus; which, according tc
ished from 1643 to 1667, and probably resided at  Vitruvius, was afterwards commenced by him, and
the Hague, as many of his drawings are taken  was carried on by his son Metagenes. A small
from the environs of that city. He usually paint-  statue of ebony, said by some impostor to have
ed landscapes and views of cities much in the style  fallen from heaven, furnished, according to Pliny,
of Peter Molyn, also river views and marine sub-  the occasion for erecting this famous Temple, which
jects similar to those of van Goyen. His father's  was accounted one of the seven wonders of the
pictures are small landscapes, on panel, very indif-  world, and was 200 years in building. Every naferently executed; some of these are dated 1631.   tion of Asia Minor contributed to its completion
ROSSMHAEL, a painter employed by Charles  with the most fervent zeal. It was ornamented
ICROSS MIcHAL Bpit    epod    Cal           with 127 columns of Parian marble of the Ionic orI. to copy some of the fine pictures in Italy, who,  de sixty feet high; thirty-en of hi  Ic or
it is said, contrived to abstract a Madonna by Raf-h  t -                           c were the
faelle from the church of St. Mark at Venice, and  gift of as many kings, and were exquisitely finished.
left his own copy instead. This picture was sold  This great Temple was finished by Demetrius and
with the rest of the royal collection, and was pur-   aonius of Ephesus, but was afterwards burned
chased by the Spanish ambassador, together with  by Erostratus in order to immortalize his name. It
the twelve Csesars by Titian, for the king of Spain.  was subsequently rebuilt; but was finally deCtROSS  THlv  Oby iftk oS.                    stroyed by the barbarians in the third or fourth
CROSS, THOMAS, an English engraver, who  century.
practised the art about 1648, and was chiefly em-    CC           A              i
ployed by the booksellers. His plates are prin-  who flourisd in. AN, a ned  considera
cipally portraits, mostly after his own designs, and  o flourished in 1750. He gained considerable
reputation in his time, more from his assiduity,
executed usually with the graver, —among these
executed usually with the graver,-among these  reputation  in his, thanime, mor the from his assiduity,
are the portraits of Richard III., Lord Bacon   and patient finish, thn for the originalit of hi
Richard Cromwell, Sir Robert Cotton Bruce, and  design, or spirit of his pencil.
others.                                            CUERNHERT, DIRK, or THEODORE VAN, a
CRUG, Lous. See KRUG.                         Dutch engraver, born at Amsterdam in 1522; died
at Gouda in 1590. He resided at Haerlem, where
CRUGER. See KRUGER.                           he was more noted for religious controversy, than




CUEV.                     240                     CUNE.
for attainments in art. He has the credit, how-  Barberini palace; do. Ganymede; after Titian. A
ever. of being the instructor of Henry Goltzius.  Head of Magdalene; after Guido. The Prodigal Son;
There are a few plates by him, executed with the  after Guercino. The irth of St. John Baptist; after L.
Caracci. Galatea, part of the Farnese Gallery; after
graver in a slight, careless manner, among which   Agost. Caracci. Apollo and Silenus; after An. Caracci.
are the following, which are usually marked with  St. Cecilia receiving the Palm of Martyrdom; after Doone of these monograms:                          menichino.
SF UBJECT3 AFTER VARIOUS MASTERS.
]JCFc;or    H 0^   or^    d ^orJ I)       XPortrait of Raphael Mengs; se ipsum pinx. The VirorV~J ~x ~6 *HP-I   J^gin and Infant; after Mengs. Five sheets of the PaintThe Descent from the Cross; after L bombard. Joseph  ings by Mengs, in the Library of the Vatican; Five of
explaining his Dream; after M. Hemskerk. Joseph inter-  the History of Achilles and Hector; after G. Hamilton.
preting the Dreams of the Prisoners of Pharaoh; do. Job  The Virgin and Infant; after Correggio. The Entombreproachedby his Wife; do. Balaam and his Ass; do.  ing of Christ; after Rafaelle. Six, the Annunciation, the
The Elector of Saxony appearing before Charles V.; do.  Visitation, the Nativity, the Circumcision, the Adoration
The Landgrave of Hesse Cassel, before Charles V.; do.   of the Magi, and the Presentation in the Temple; after
Domenichino. Rinaldo and Armida; after Guercino.
CUEVAS, PEDRO DE LAS, a Spanish painter,  A set of thirteen plates of Ruins; after Clerisseau. And
born at Madrid in 1558. According to Palomino,  numerous others, chiefly after Italian masters.
he was more employed in painting pictures for the    CUNEGO, ALOYSIO, an Italian engraver, the elprivate collections, than in works for the churches.  der son and scholar of Doenico C., was born at
He gained more reputation by the celebrity of his  Verona in 1757, and resided principally at Legacademy than by his own works, sand several of  horn. The following are his principal plates: The
the most eminent painters of the time were edu-  Statue of the Apollo of Belvidere. St. Margaret;
cated in his school; as Antonio Pereda, Antonio  after Guercino. The Persian Sybil; do. Mary
Anias, Josef Lonardo, and Don Juan Carreno.  Magdalene; after Guido.
Cuevas died at Madrid in 1635. He had a son
named Eugenio, who was born at Madrid in 1613,    CUNEGO. GUEPPE, an Italian engraver the
according to Bermudez, and was instructed by his  younger son and scholar of Domenico., was born
father. He acquired great reputation at the court  at Verona in 1760. There  are a few plates by
for his portraits of a small size, and was appointed  him, of which ae the following:   our Italian
Landscapes, with figures; after 1: de Capo. Eight
by Philip IV. to instruct his son Don Juan of  Landcapeswitfigures  after   deao. Eight
Austria, in drawing. He was also a musician and  Landsca      after te pictures by GparPoua poet. He died at Madrid in 1667.
a p~oet.  He died at Madrid in 1667.       8sin, in the Palazzo Colonna.
CIT, GORGE  n  Engish painter, born at      t     CUNGI, CONGI, or CUGNI, three painters,
Moulton, iGEOEn Yorkshirengl, irn 174.         brothers, Giovanni Battista, Leonardo and FranHe early mani-  cesco, were natives of Borgo San Sepolcro, where
fested a strong inclination for art, and executed a   eso  ere nties of  oro   n 
few portraits in oil, and in crayons, which indicated   hey flourished in the  middle of the 16th century.
Lord   They were chiefly employed in the churches and
genius, and recommended him so highly to         convents in their own country, especially in the
Dundas, that the latter sent him  to Italy at his  church of S. Rocco and the convent of the Osserchurch of S. Rocco and the convent of the Osserown expense, where Cuit remained six years. On   vanti at San Sepolcro. Lanzi says, "their comhis return to England he was employed by his pa-  vti a Sn   plr    a           y     their 
tron in several fresco works to decorate his c oun  sitions display great simplicity; their ideas are
t    sev     reso  m   anifested good abiitiesn-  chiefly drawn from nature, and they attended suftry seat. In these he manifested good abilities;  ficiently to coloring. Leonardo had a son named
and he also produced a number of other good works,  Francesco, who was also a reputable artist and
among which were five landscapes executed for   rancesco, who was also a reputable artist, and
among which were five landscapes executed for
Mr. Crompton, and several views in the county of  painted  at San Sep o in 
York. His works have a great deal of mannerism,    CUNIBERTI, FRANCESCO ANTONIO, a native
though they display considerable truth and vigor.   f Savigliano, was a reputable fresco painter, and
He died in 1818.                                 was much employed in decorating the Cupolas
and ceilings of the churches in his native place and
I  c CGLMBACK, HANS, or JAN a Ger-  its vicinity. He died in 1745.
man engraver, according to ilorent
CUNIO, DANIELLO, a Milanese painter, who
le Comte, who flourished about 1517. He stud-    CUNO, DANIELLO, a M            ese painter, who
ied under Albert Durer and engraved both on   studied under Bernardino Campi. Lanzi says he
uwood andper   A mong oenra w orsh ha   was a landscape painter of great merit. He flourwood and copper. Among other works, he has  ished about 1600.
executed one of an Armed Soldier conversing with            o    0
a Countrywoman, dated 1517, and marked H. V.    CUNIO, RODOLFO, a Milanese                 painter, who  intC. There is much contradiction among different  ed in 1650. He was an excellent artist, and parwriters concerning this artist.                  ticularly excelled in his design, and his works are
found in the best collections at Milan.
CUNEGO, DOMENICO, an Italian engraver, born  found in the best collections at Milan.
at Verona in 1727; died at Rome in 1794. His        CUNNINGHAM, EDMUND FRANCIS. a Scotch
plates are usually executed with the graver, in a  painter, born at Kelso, about 1742. His father
neat, clear style. He engraved several portraits of  was obliged to leave Scotland on account of the
the Royal Family of Prussia; and also a part of  reverses of the Pretender; and he went to Italy,
the plates for Hamilton's Schola Italica.  He af-  where Edmund applied himself to the study of
terwards went to England, and engraved some  painting. He there assumed the name of Calzo,
plates for the Royal Collection.  The following   or Calze, by which name he is known in Italy.
are his principal prints:                        He visited France, Prussia, and Russia, and met
with some encouragement; but his dissipated habPART OF THE SUBJECTS FOR THE SCHOLA ITALICA OF   its constantly involved him in difficulties, and he
~G. HAMILTON.          died poor, in London, about 1794.
Three subjects of the Creation, from the Sistine Chapel;   i  r in   n
afUerM. Angelo. Raffaelle's Mistress, called la Forna-    CUQUET, PEDRO, a Spanish painter. born at
rmna; after Raffaelle. Galatea; after the picture in the  Barcelona in 1596. Palomino mentions a number




CURI.                       241                     CUSI.
of his works in the churches and convents of his  generally painted by his cotemporaries.  Curti
native city, of which the principal were some pic-  died in 1632.
tures from the life of St. Francesco de Paolo, in the  USIGHE, SIMONE DA, an old painter of the.church of that saint.  Many of his works have  Venetian school, who flourished' at Cusighe, a
been greatly injured by the process called Resto-  place near the ciy of Belluno, from 1382 to 1409.
~~~~ration,~~. ~Lanzi says there is an altar-piece and a fresco.
CURIA, FRANCESCO, a Neapolitan painter, born   with figures well executed, still preserved, execuin 1538. According to Dominici, he studied under  ted by him in his native place, signed Simone,
Gio. Filippo Criscuolo; but afterwards visited  pinxit, dated as'above.
Rome, where he studied the works of Raffaelle        CUSIN  M, a Venetian painter, who according
and other great masters. On his return to Na-          Bschini  ourished a Venice about 1660, and
ples, he painted many pictures for the churches  panted  flndscapes in the noble manner of Titian
and public edifices, which are distinguished for  p aite  ascapes                  
grandeur of composition, fine expression in the                      succ
heads, and a vagueness of coloring that approaches     CUSTOS, or CUSTODIS, DOMINIC, a Flem
nature.  His master-piece was an admirable pic-   I[Cish engraver, the son of Peter Baltens; born
ture of the Crucifixion, in the Chiesa della Pieta.  at Antwerp about 1565; died in 1612. He setIt is painted in a grand style. and Lanzi esteems  tled at Augsburg while young, where he assumed
it one of the finest pictures of which Naples can  the name of Custos, and dealt extensively in prints.
boast. He died in 1610.                            There are a number of plates by him, executed in
a neat but formal marner. The following are the
CURRADI, or CURRADO, FRANCESCO, a Flo-   rincial
rentine historical and portrait painter, born in       cpa
1570; studied under Baitista Nadini.      A set of the effigies of the German Emperors, A. D.
1570; studied under Battista Naldini. Accord-  1601. Fourteen, entitled Effigies piorum ac doctorum
ing to Lanzi he was constantly occupied during a  aliquot virorum,.cc. 1594. Twenty-eight plates, entitled
long life of 91 years, in fulfilling commissions, and   Tirolensium principum comitum genuinme Icones. 1599.
in the instruction of his numerous scholars.  His  Sixty-four portraits of the Fugger Family. 1593; scarce.
works are correctly designed, with a fine expres-    SEPARATE PORTRAITS, AND SUBJECTS FROM VARIOUS
sion in the heads, and composed with excellent                         MASTERS.
taste and judgment.  His coloring, like most of    Edward VI. Marcus Bragadinus; J. ab Ach, pinx.
the Tuscan painters, excels rather in sobriety  1591. Carolus III.Lotharingie  Dux. 1597. Dorothea
than variety.  He painted several large works for  Lotharingim Dux. Pope Sistus V. Bust of Sigismund,
the churches of which the picture of St. Saverio   Prince of Moldavia;.J. ab Ach, pinx. Maria Christina
the churches, of which  the  pictureofSt. Saverio,  Carolina, his consort. Cosmode Meaii. 1609. Rodolphus
in S. Giovannino, is considered the best. But he  II. Emperor. Four plates of the.Prodigal Son; D. Cuschiefly excelled in small historical subjects, of  todis, inv. etfec. Judith with the Head of Holofernes;
which two of his finest pictures are in the Floren-  after J. van Ach.
tine Gallery, representing a Magdalene, and the      CUSTOS, DAVID, a German engraver, the son
Martyrdom of St. Tecla. He died in 1661.           of the preceding.  He resided at Augsburg, where
t   URTI, BERNARDINoBr   he executed a number of prints, which are not
OCURTI BERNARDNO, aBolaBognes e painter,  without merit.  Among them  are: A  Set of, who flourished about 1645, and engraved without merit.  Among them  are: A  Set of
- who  flourished abowt ^45, and engraved   y^  ^  ^   ^  Countries; and a small Landseveral portraits, among which is one of Lodovico  Views in the Low Countries; an  a small LandCaracci. There is also a medium sized plate by   scape, wih Bors p         g at Ne-ps.
him, of an emblematical subject, after Luca Fer-     CUYLENBURG, ABRAHAM VAN a Dutch paintrari.                                              er, born at Utrecht in 1639. He imitated the style
of Poelemburg, and his pictures are often ascribed
CURTI. FRANCESCO, a Bolognese engraver, born  to the latter, though greatly inferior to the fine
about 1603; died about 1670. His plates are ex-  productions of that master.  His subjects are
ecuted almost entirely with the graver, in a clear,  usually caves, with figures, nymphs bathing, bacneat style, resembling that of Cherubino Alberti,  chanals, fabulous subjects, and designs from fancy.
though very inferior to the latter in drawing.       CUYP, or KUYP, JACB GRRT     called the
Besides some portraits, there are the following:             or KUYP, JAB G          TZ   called the
Elder, a Dutch painter, born at Dort, according
Two Busts of the Virgin and St. Catherine, on the same  to Balkema, in 1578. He studied under A. Bloeplate. The VirginteachingtheinfantJesus toread;after  maert and was principally distinguished for his
Guercino. The Marriage of St. Catherine; after D    viewsin the neighborhood of Dort, enriched with
Calvart. Venus directing Vulcan to forge the Arms for  views    the neighborhood of Dort, enrichedith
AEneas; after Caracci. Hercules combating the Hydra;  figures and cattle, which, though rather dry and
after Guercino. The infant Christ sleeping; after Gui-  hard in the pencilling, are worthy of notice for
do; etched. and finished with the graver.          their simple and natural tone of coloring. He also
CURTT, GIROLAMO, called IL DENTONE, a Bo-  painted battle pieces and encampments; and some
lognese painter, born in 1576. He studied under  of his portraits are excellent. His works would
Lionello Spada, but as his taste inclined to archi-  probably have been more highly esteemed, had
tectural painting, he quitted that master, and com-they not been greatly surpassed by the producmenced designing after the noble edifices erected  tions of his son, and his pictures are scarcely
from  the designs of Giacomo Baroccio.  He sub-  known out of his native country.  He was one
sequently visited Rome, where he gained improve-   f the founders of the Academy at Dort in 1642.
ment from the study of ancient architecture in that  CUYP, or KUYP, ALBERT, a very eminent
city.  His chiaro-scuro is managed with great in-  Dutch painter, born at Dort in 1606. He was the
telligence, and his works have the appearance of  son of the preceding, who taught him the elements
perfect illusion. He subsequently returned to Bo-  of design; and with no better instruction, he atlogna, where he executed many works for the pal-  tained such an excellence in landscape painting
aces and public edifices. in which the figures were  as has not been surpassed by any of his country



CUYP.                     242                    DADD.
men. His pictures generally represent scenes on  paint several pictures, which he executed so much
the banks of the Maes river, with herdsmen at-  to the satisfaction of that monarch, that he took
tending their cattle. He made nature his model,  him into his service and sent him to Italy to coland by a careful study of her ever varying pheno-  lect paintings and antiquities, and to make drawmena, he acquired that chaste and exquisite style,  ings from the most celebrated works of art. r The
for which he is so much admired. His pencil is un-  time of his death is not recorded with any certainusually broad and free, with an uncommon plump-  ty, though it is known he lived to a great age, and
ness of touch, and a crispiness of surface peculiar  died in Vienna. Authors confound this artist with
to him, excepting the works of Rembrandt, to  John van Achen, from the circumstance of both
which those of Cuyp bear some analogy in the  having beei employed by the same patron.
richness of color and intelligence of chiaro-scuro.    DADDI, BERNARDO, an Italian painter. born at
His pictures are not surpassed for purity of  Arezzo. Baldinucci says that he flourished in the
aerial tint, and he represented nature at every hour  middle of the 14th century; studied under Spiof the day with the most wonderful exactness.  nello Aretino; and was elected a member of the
His winter scenes, with skaters on the ice, are   Company of Painters at Florence, in 1355, where
most admirable; and he has caught the peculiar  he died in 1380. He was celebrated in his day,
gilded glow that is often observable at that season.  and some of his works are still preserved in the
His moonlight scenes are fully deserving the high   churches at Florence.
praise they have received, and the chiaro-scuro is, an Italian painter, who  acmanaged with most admirable intelligence. Cuyp      DADDI, Cosimo, an Italian painter, who, acmanagloed with most admirable intelligence. Cuyp   cording to Baldinucci, was born at Florence, where
also painted marine and river views, in which the  he flourished from about 1600 to 1630, when he
brilliancy of the skies is reflected in the waters  died of the plafue  Zani says that his name was
with a clearness and transparency of coloring that           a             hpate in 1         
is most admirable. He excelled in horse-fairs and   Dati, not Da  and thar   Baldinucci particuarly
skirmishes of cavalry, which he treated with infi-   esibes seea        s byhiartist 
describes several pictures by this artist in themonnite spirit. He also painted portraits; the inte-   orene reresent                             briors of churches and other perspective views. His jects from the life of the Virgin. In the church
works brig immense prices; they often sell at  of S. Michael, at Florence, there is still an altarfrom $5000 to $r0,000. Cuyp has left several  piece, representing the patron saint of that church
small eihings of cows which evince the hand of a  defein   the apostate  angels.
master, though not executed with much delicacyg the ap               e A
or care. It is not known when he died, but he       DADALUS, an ancient architect and sculptor,
was living in 1672.                               who flourished about B. C. 1250.  According to
C, or KU, B N a D h pain,  Diodorus Siculus, he was a cousin to Theseus, and
nep  hew ofr KU     BENJAM, a  pwrecdingag to  an Athenian of the royal family. He erected manephew nof the  preceding,  as born according to  ny edifices at Memphis, so much to the satisfaction
Bau kema, it 1608it   He studied fnder his une, H  of the people, that they permitted his statue to be
but chose to imitate the style of Rembrandt. His                          Vulcan, and afterwards
placed in the Temple of Vulcan, and afterwards
subjects were small historical pictures, resembling   raised altars to him, and paid him divine  onors.
those of that master in vigor of coloring and intel-   aster-piece was the Labyrinth in the island
ligence of chiaro-scuro, though the design is incor-  of Crete which he constructed to conin  the fabuof Crete, which he constructed to confine the faburect, and the expression of the heads is not without   o   Mirotaur, the famous one in Eoypt being hivulgarity. The time of his death is not recorded.  os Motaur, the famos about a hun    teinm  hie
model. The latter was about a hundred times the
CYDIAS, a Greek painter, born in the isle of  size of that of Daedalus, which was surrounded
Cythnos, one of the Cyclades, and flourished about  by a wall, and divided into a great number of sepaB. c. 364. His pictures were held in such high re-  rate parts, having doors on all sides, the number
putation, that the orator Hortensius paid 144,000  of which must have produced great intricacy and
sesterces for one, representing the Departure of the  confusion. It is said by Diodorus that Daedalus
Argonauts for Colchis, and placed it in his villa at  built many other edifices in Egypt, Athens, Crete,
Tusculum. This great work was afterwards taken   Italy, and also in Sicily, where he lived for some
to Rome by Agrippa, and consecrated in a portico  time in the court of King Cocalus, and built the
to Neptune. Some ancient writers attribute to this  city of Agrigentum; also a palace for Cocalus, and
artist the discovery of a red color produced from   other works. He was 4istinguishedforhis statues
burnt ochre.                                     in wood, which for a lov time were called Dcedalian. Pausanias says thA he invented the saw,
D.                          hatchet, auger, and the masts and sails of vessels.
He made a figure which moved like life, by means
DA, ABRAHAM, a German engraver of little note.  o    f qu   icksilver. He scultured lik e lie    marle
He ws probably a pupil of Theo. de Bry, whose  of quicksilver. He sculptured, in white marble,
He was probably a pupil of Theo. de Bry, whose  a goup of Youths and Damsels, dancing hand in
style he imitated. There is a plate from his own   hand, from the chorus of Ariadne in the Iliad;
design representing the Last Supper, engraved in  also a famous statue of Hercules in wood. In his
line in a neat, but dry style, inscribed Abraham   lifetime his  orks were held in high esteem,and
Da, feci.                                        -after his death a chapel was erected to his memory.
DACH, JOHN, a celebrated German painter,  "The works of Daedalus," says Pausanias, " are
who, according to Van Mander, was born at Co-  indeed rude and uncomely in appearance, but they
logne in 1566. He first studied under an obscure  have something as of divinity in the aspect."  In
painter named Barthelemy, on leaving whom, he  the British Museum  there are several ancient
went to Italy, where he resided several years,  small bronze figures of Hercules, generally supstudying the best masters with assiduity. On his  posed to be copies of the wooden statue by Daedareturn home. he stopped at Vienna, where he was  lus. Diabetes and Smilis were his cotemporaries.
commissioned by the Emperor Rodolphus II. to   To him Athens owed the introduction of some



DABD.                      243                      DAIG.
thing at least like a school of sculpture. Many   painter, born at Stockholm in 1656. He first stuhave supposed that Daedalus first introduced   died under Ernstraen Klocke, an esteemed Swedish
sculpture into Etruria or Tuscany, before the siege   artist, and painter to the king.  At the age of
of Troy.  In these primitive schools, many centu-  twenty-two he went to England, and from thence
ries necessarily elapsed before the arts were brought  to France and Italy, in pursuit of knowledge in
to'high perfection. Their founders were little more   his art. He resided in Italy several years, and
than ingenious mechanics, who practised carving   while at Rome painted the portrait of the celebraamong their other avocations, and their rude efforts  ted Christiana, Queen of Sweden. and other emiwere intended to represent only their divinities  nent personages. In 1688, he returned to Engand heroes. Jupiter, Neptune, and several heroic  land, where he found Sir Godfrey Kneller rising to
characters, have the same figure, face, and action-   the head of his profession; yet his merit enabled
the same narrow eyes, thin lips, and pointed chins,  him to secure his share of patronage, which was
as the Hercules of Daedalus. The only distinctions   sufficient to induce him  to reside there the rewere that each held in his hand some distinctive   mainder of his days. He was patronized by Queen
emblem-as Jupiter a thunderbolt, Neptune a tri-  Anne, and her husband, Prince George of Dendent, and Hercules a palm-branch.  The female   mark, whose portraits he painted at ~50 each.
divinities were clothed in draperies, divided into   He died at London in 1743, at the great age of 87.
a few perpendicular folds; their attitudes the same   DAIGREMONT, M., a French engraver who
as those of the male deities.  The hair of both  flourished about 1670. He engraved a series of
male and female statues was arranged with great  views of Versailles.  He engraved, also, some of
care, collected in a club behind, and sometimes en-  the plates in the Book of Ornaments of Paitin
tirely curled. All these facts are gathered from   and Sculpture, from works in the Louvre and the
vases, small bronzes and coins of Athens and   Tuilleries, published by Jean Berain.
Paestum.
- DALEN, CORNELIUS VAN, a Flemish engraver,
DAEDALUS, a Greek sculptor, a native of Sicy-  born at Antwerp about 1620.  IIe was called the
on, who flourished about B. C. 400.  Pausanias   Younger, to distinguish him from his father. who
says he was a brother and disciple of Patroclus.  was a publisher and print-seller. He was a pupil
He executed many works in the country of Els,  of Cornelius Visscher, whose style he followed for
among which were statues of conquerors at the   some time, but afterwards improved himself by
Olympic games. In Arcadia there was a statue   studying the works of Blooteling, Pontius, and
of Victory by Daedalus.                             Bolswert.  He wrought entirely with the graver,
DAIDALUS, a Greek sculptor, who flourished  in a bold, free, and intelligent manner.  He geneabout B. 0. 600. He was the instructor of Di-  rally marked his plates C. D.; sometimes C. van
penos and Scyllis, and made great' improvements  Dalen,-sc.  The following is a list of his principal
in design, as well as in the mechanical arts.  He  works:
was the first Greek sculptor who executed statues                      PORTRAITS.
with open eyes, who detached the hands from the
with open eyes, who detached the hands from the      Catherine of Medicis, in the back-ground the city of Ambody, and separated the legs and feet. Adrian   sterdam. Charles II., King of England; after S. Lutticites another Daedalus, of Bithynia, who executed  chuys.  James, Duke of York; do.  Henry, Duke of
an excellent statue of Jupiter.                     Gloucester; do. William III. Mary, his Queen. AlgerDAEL JAN FRANZ VAN an eminent Flemish   non Percy, Earl of Northumberland. John Maurice, Prince
DAEL, JAN FRANZ VAN, an emient Flemish   of Nassau; after G. Flink.  Pietro Aretino; with a
painter of fruit and flowers, born at Antwerp in  book; after Titian. Giovanni Boccace; do. Giorgio
1764. He settled in Paris, where he was employ-  Barbarelli, called Giorgione; do. Sebastiano del Piombo;
ed by the empresses Josephine and Maria Louisa,  do. (The last four are from the cabinet of Reynst.) Anna
so much to their satisfaction that Napoleon con-  Maria Schurman, paintress, c.; after Van Ceuen. Old
ferred upon him the Cross of the Legion of Honor.  Parr, aged 152 years.
He was a particular favorite with Josephine, who            SUBJECTS AFTER VARIOUS MASTERS.
employed him after her divorce to paint in water-    The Adoration of the Shepherds; marked C. D. The
colors her favorite flowers, which he executed in   Virgin, with the infant Jesus; the same mark. The Four
oan exquisitemanner. Louis XVIII. also reward-  Fathers of the Church; after Rubens; in the style of
an exquisite manner.  Louis XVIII. also reward-           odPontius. Nature adorned by the Graces; do.; in the
ed his merit with a gold medal. He died at Paris   manner of Bolawert. A Shepherd and Shepherdess; afin 1840, and was buried in the cemetery of PAre  ter Casteleyn. The Virgin suckling the Infant; after G.
la Chaise, near his friend Spaendonck, which see.    Flink. Venus and Cupid; do. The Four Elements, repDAELEM JAN-VAN, a Dutch painter, born in  resented by Children; after A. Diepenbeck. The ConDAELE, JAN VAN, a Dutch painter, born in  cert; do. The Monument of Admiral Cornelius Tromp;
1530, and died at Amsterdam in 1601. He excell-   C. van Dalen, sc.; scarce.
ed in landscapes and marines, particularly in rep-    DALENS, D, or TEODORE, a Dutch landresenting romantic and wild, mountainous scene-  scape, Dwh, cording  to Houbraken, was
scape painter, who, according to Houbraken, was
ry.                                                born at Amsterdam in 1659. He learned the first
DAGITT, FRANCESCO, called IL CAPELLA, an   principles of the art from his father, William DaItalian painter, born at Venice in 1714, and died  lens, an obscure artist, who fled with him to Hamm 1784. He studied under Giovanni Battista Pi-  burg in 1672, to avoid the wars.  Here young
azzetta, was elected a member of the Academy at   Dalens became acquainted with John Voorhout,
Venice, and painted history and sacred subjects   pursued his studies conjointly with him, and bewith reputation.  IIe was chiefly employed in  came an accomplished artist.  On his return to
painting for the churches in Bergamo and other   Amsterdam, he met with great encouragement, and
places.  One of his best works is St. George and   while his genius was budding with the finebt
the Dragon, in the parochial church of S. Bonate,  powers, he was cut off in 1688, aged 29. His princiin Bergamo.                                        pal works are large landscapes, painted with a free
DAHL, MICHAEL, an eminent Swedish portrait  and firm touch, and finely colored, which adorn the




DALE.                     244                    DALT.
saloons of some of the first people of Amsterdam.  into further doubt the claim of John van Eyck of
In the collection of the Elector Palatine is a pic-  Bruges, to the discovery of oil painting in 1410.
ture by this artist-a landscape with water-fowl-   A correspondent of the Gentleman's Magazine in
which is considered not inferior to Hondekoeter.  1841, asserts that a number of pictures of extraHe painted some cabinet pictures, of landscapes  ordinary antiquity had been discovered in the palwith figures, which are esteemed worthy of a place  ace of the Podesta at Bologna, evidently painted
in the first collections in Holland.             in oil, and marked with the name of Lippo DalmaDALENS, THIERRY VAN, a Dutch landscape  sio, and that the Academy of the Fine Arts had
painter, who flourished at Amsterdam in the lat-  appointed a committee to examine into their auter part of the 17th century. He also excelled in  thenticity, and to report on the same. The author
painting fruit, flowers, and still-life.         has not seen any such report, nor been able to obDALENSt, THIERY VAN, caTlled the Youger,  tain any further information on the subject.
DALENS, THIERRY VAN, called the Younger,    DL.                             
son of the preceding, and born at Amsterdam  in    DALTON, RICHARD, an English painter, born at
1688. He received instruction from  his father,  DeaneinCumberland,in 720. Hisfather,aclerand became a very eminent painter of landscapes,  gyman, apprenticed him to a coach painter in Lonenriched with figures, cattle, and ruins, much in  don, and after he had served his time, he went to
the style of Pynacker. This artist has been con-  Rome to study painting, where he resided several
the style of Pynacker. This artist has been con- 
founded by authors with Dirk or Theodore van  years. There, he seems to have acquired more
Dalen; but their chronology, history, and sub-  reputation as a connoisseur than as a practical artjects db not agree. (See van Delen.)            ist. At Rome, he became acquainted with several
DALL NICHOLA S  THOS a DaEnglish noblemen, and on his return to London
DALL, NICHOLAS THOMAS, a Danish landscape  Lord Charlemont recommended him to the Prince
painter who settled in London about 1760.-  of Wales, who, on his accession to the throne,
Though he excelled in painting cabinet pictures,    a  him ac    ted with his Librarian, and sent
he found so little employment that he almost entire-    hi   t ta  t c ct piings. On hi s return,
ly abandoned it for the more lucrative employment  he changed his situation for that of keeper of the
of painting beautiful scenery for Covent Garden  royal cabinet of drawings and medals. While he
royal cabinet of drawings and medals. While he
Theatre. In 1768, lie received the first premium   was abroad, he went to Egypt and made drawings
given by the Society for the Encouragement of  of some of her monuments, and the manners and
Arts; and for the best landscape painting, was  customs of her people, which he exhibited at some
elected an Associate of the Royal Academy  n   of the meetings of the Royal Academy, and after1771, and died in 1777.                          wards published them. He died in 1791.
DALLAMANO, GIUSEPPE, an Italian painter    DAM, ANTHONY VAN, a German painter little
of architectural pieces, born at Modena in 1679.  kno       born      Middlebourg about 1720.  He
Lanzi says that this artist exhibits a remarkable
Lanzi says that this artist exhibits a remarkable  chiefly painted marine subjects of large dimensions
instance of the progress natural genius sometimes  iabod freemanner.
makes, without the assistance of any other instrucotheDAM, GAUTIER VAN a  Dutch painter, born at
tion than observation affords. He was ignorant,    DAM, GUTIER VAN a Dutch painter, born at
even of his alphabet, and to appearance idiotic   Dort in 1726, and a scholar of Schman, whose
yvet he painted architectural views with such ex- manner he followed for some time. He afterwards
cellence as to surprise the best judges, and to com-  pted landspes in the style of Cuyp. He died
mand their admiration. Many of his works are     Dort in 1785.
in the collections at Turin, where they are highly  DAMBRUN, M,, a French engraver who lived
esteemed; the best are in the royal palace. He  at Paris about 1760, and executed with the graver,
died in 1758.                                    in a neat style, some plates after the French masDALLEVIA, A., an Italian engraver of little  ters, chiefly conversation-pieces, musical parties.
note, who executed with the graver, in a coarse  and the like.
and heavy style, a set of plates representing tri-    DAME, GILES LA, a French engraver, who, acumphal processions, published at Venice in 1686,  cording. to Le Comte, executed in line several
entitled Giuochi Festivi e Militari. A. Dallevia,  Holy Families and other subjects, in which he imisculp.                                           tated the style of Claude Mellan.
DALMASIO, LIPPO SCANNABECCHI, calledLIPPO        DAMER, HON. ANNE SEYMOUR, a distinguished
DALLE MADONNE, for the beautiful character and  sculptor, born in 1748, and died in 1828, aged 80.
expression he gave to his heads of the Virgin. He  She was the daughter of field-marshal Conway,
was a native of Bologna; where he lived, and died  brother to Francis, first marquis of Hertford, by
in 1410-time of his birth not recorded. He was  Lady Caroline Campbell. There are' few  more
a pupil of Vitale da Bologna, and as early as 1376  gratifying examples than that of a woman of high
far surpassed all his cotemporaries.  His works  rank, beauty, and accomplishments, disdaining the
are distinguished from the hard, dry, Gothic style  frivolous and the frequently vicious pursuits by
of his time, by a softer blending of tints, and  which females in the higher circles of society are
broader and less formal folding of draperies. The  unhappily absorbed, and occupying herself with
expressions of his heads were so beautiful that, ac-  studies of an intellectual character-studies, the
cording to Malvasia, Guido declared that nothing  tendency of which is to refine and elevate the tone
short of inspiration could have enabled him, at  of her mind; to secure to her sound, rational, and
that early period, to have given such majesty and  permanent enjoyment, and eventually to place her
sanctified sweetness of expression to the Virgin.  name among those whom posterity will contemMalvasia and Tiarini both assert that some paint-  plate with feelings of admiration and respect.
ings by this master'in the churches of S. Petronio  When yet very young, happening to see David
and S. Procolo at Bologna, were executed in oil.  Hume, the historian, talking with one of the ItalThis circumstance, with other authorities, bring  ian boys who carry plaster-casts about the streets




DAME.                        245                      DAME.
she, in a subsequent conversation, depreciated the   Hope, Esq. Bust, in marble, of Sir Humphrey Davy, late
talents by which such works were produced.  Mr.  president of the Royal Society. A bust, in marble; portrait
Hume frankly told her that with all her attain-   of the late Hon. Penniston Lamb, in the character of Mermments she was wholly incompetent to any similar   cury. A bust, in terra cotta, of the late Queen Caroline.
ments, se was wholly incompetent to any similar A small bust, head of a Muse, in bronze. A bust, in marble,
performance.  Piqued at this observation, Miss   heroic size, of Lord Nelson. For this bust Lord Nelson, who
Conway immediately procured some wax, and as-  was a great friend of Mrs. Damer's, sat immediately after
siduously, but privately, modeled a head sufficient-  his return from the battle of the Nile. She made a present
ly well to excite Mr. Hume's surprise when she   of it to the city of London, and received a letter of thanks
showed it to him.  He rearke  to her, however,  in return. It was put up in the Common Council Chamber
showed it to him. He remarked to her, however,  at Guildhall, where it now is.
that it was much easier to model than to carve.
She instantly procured a piece of stone and a chisel,    In early life, Mrs. Damer traveled much; and
and cut out a rude bust that still more strongly   she had written descriptions of her various tours,
called forth his wonder a nd pr aise.  From tu  b     hat     
called forth his wonder and praise.   From  that  which at one period it was her intention to publish.
moment she became enthusiastically attached to   By her will, however, she directed her executor to
sculpture; took lessons from the celebrated sculp-  destroy all her papers, which is the more to be
tor Ceracchi, who at the time happened to be  n   regretted, as she  as in possession       numerous
London; learned the technical part of working in  letters from Lord Orford, and other distinguished
marble n the studio of Mr. Bacon, the royal acade-  persons.  Retaining  to the last her attachment to
mician; studied the elements of anatomy under             fine arts she desired thathe  working apron
Mr. Cruikshank. subsequently made journeys
Mr. Cruikshank; subsequently  made  journeys   and tools might be deposited in her coffin.
into Italy, to contemplate the chefs-d'emuvre of the    DAMERY, JACOB, a Flemish painter of fruit
art, in order that she might perfect herself in the   flowers, and still-life, probably a native of Liege:
pure and simple style of the Greeks, which she   He went to Rome while young, where he is supalways endeavored to follow, and repeatedly de-  posed to have resided until his death.   He also
dared that she preferred the distinction of being   engraved some plates of similar subjects.  He died
an artist to any other that could be offered her.     about 1665, aged 58.
In 1767, Miss Conway was married to the Hon.          DAMERY  SIMON, a Flemsh historical painter,
John Damer, eldest son of Joseph, first Lord Mil        DAMERY, SIMON, a Flemish historical painter,
John D rterldest sn of Joseph, firsl o   or     erd Mil-  born at Liege in 1597.  He went to Italy, and setton, and brother to George, Earl of Dorchester.  ted at Milan, where he becme eminent in his proThe union was an unhappy one.  He shot himself  tled  at Milan, where he became eminent in his pro^at the Bedford^Arms, in Covent Garden, in 1776.  fession, and died there in 1640, in the prime of
at the Bedford Arms, in Covent Garden, in 1776.   ^              ^
The elegant, tasteful, and classical productions of        m    regrete.
her chisel are numerous and widely scattered.           DAMERY. WAUTIER, or WALTER, born  at
We cannot pretend to give anything even approach-  Liege in 1614. He studied under Nicholas Bertin.
ing to a complete list of her works; but among   at Paris; from thence he went to Italy, where he
them are the following: /                             resided several years; received instructions of P.
A statue, in marble, eight feet high, of his late majesty   da Cortona; became a reputable painter of histoGeorge the Third, placed in the Register Office at Edin-  rical subjects, and eminent in landscapes; and
burgh. Two colossal heads, in relief, executed in Portland-  settled himself at Liege, where he died in 1678.
stone, representing Thame and Isis; forming the ornaments
of the key-stone of the middle arch of the bridge at    DAMIANI, FELICE, an eminent Italian painter,
Henley upon-Thames. A bust, in marble, of her mother;  born at Gubbio, and flourished from  1584 till
the Countess of Aylesbury, erected as a monument in Tun- 1616. He is supposed to have been educated in
bridge church, Kent, A bust, in terra cotta, of her father,  1     e enetian uposeto and sbseently to have
field-marshal Conway. A group of two sleeping dogs, ex-  the   enetian scool, and   subsequentlyto have
ecuted in marble, and given to her brother-in-law, Charles  studied under Benedetto Nucci; for his works
Lennox, Duke of Richmond. A bust, in marble, of Lady   contain the principles of the Venetian and Roman
Viscount Melbourne, now placed in the collection of Earl  schools, the latter predominating.  He principally
Cooper.at Penshanger. A bust, in marble, of Lady Elisa-  painted for the churches in his native city. Lanzi
beth Forster, afterwards Duchess of Devonshire. A bust                                        
of herself, executed in 1778, and placed in the Hall of An-  says one o hs most esteemed works iS the Bapcient and Modern Painters, in the Royal Gallery of Flo-  tism of St. Agostino, in the church of that name
rence. Another bust of herself, in the collection of the   at Gubbio-a grand composition of many figures,
late R. P. Knight, Esq., transferred with that collection to  finely grouped, with an admirable expression -of
the British Museum, and placed at the entrance opposite to  piety in their heads, and enriched with noble arthe great stair-case. A bust, in marble, of Bacchus (por- chitecture, painted in 1594. Another admirable
trait of Prince Lobomirski), placed in the- gallery of the   chit, painted in  159. Another admrable
University of Oxford.. A bust, executed in bronze, of Sir  work    the Decollation of St. Paul, i S. Recanati,
Joseph Banks, the late president of the Royal Society, pre-  at Castel Nuovo.  The expression of the head of
sented to the British Museum. A dog, executed in mar-  the martyr is admirable, the drawing correct, and
ble, presented to her late majesty Queen Charlotte, and  the coloring brilliant and harmonious; dated 1584.
now in possession of her royal highness the Landgravine of   About 1596  he decorated two chapels in the
Hesse Homberg. Two kittens, in white marble, presented   church of the Madoa de L          at S   eein
to the right honorable Horace Walpole. An osprey eagle,   t    M on    e L iat  ee
in terracotta, also presented to Mr. Walpole. A bust, in   with paintings-scenes from the Life of the Virmarble, of the right honorable Charles James Fox, which   gin, and the Infancy of Christ.  Time of his death
Mrs. Damer presented in person to Napoleon Bonaparte,  not recorded.
on the first of May, 1815, at the Palace Elysee, at Paris.  DAM       PT       n      n               nThis bust had been promised on a journey which Mrs. Da-   DAMINI, PIETRO, an Italian historical paintmer made to Paris at the period of the Treaty of Amiens.er, born at Castelfranco in 1592, and, according to
She quitted Paris shortly after her presentation ofhe e bust  Ridolfi, studied under Giovanni Battista Novelli,
of Mr. Fox; but, before her departure, she received, by   who had been educated in the school of Palma.
the hands of Count Bertrand, a magnificent snuff-box, with   Such were the extraordinary expectations raised
the portrait, surrounded by diamonds, of the emperor, who   by the early display of his genius, that some wribegged her acceptance of it in remembrance of him. Paris, a small bust, in marble. Thalia, a small bust, in mar-  ters have not hesitated to affirm  that he would
ble. Isis, abust, in Greek marble, in the collection of Thos   have equalled Titian, had he not died young. Lan




DAMI.                      246                     DANC.
ii regards him as a man of great genius, but by no   hibitions of the Royal Academy, some very creditmeans equal to such praise. He appears to have   able landscapes.
frequently changed his manner in search of greater   DANCKERT or DANCKERS  CORNELIUS, 
perfection. His later works are his best, some of   Dutch engraver, born at Amsterdam in 1561. He
which are admirable in design, execution, and color-  established himself in his native city as an engraing. There are many of his works in Castelfranco,  ver and print-seller and executed some works of
Vicenza, Crema, and Padua. In the church of I   considerable merit, among which the following are
Santo, at Padua, is his most capital work of the  the principal:
Crucifixion, with the Virgin Mary and St. John,
which Lanzi says is a picture of extraordinary                        PORTRAITS.
beauty, of the most rich and harmonious coloring.    Gustavus Adolphus, King of Sweden. Jacob Wassenaer,
In the church of S. Clementino, in the same city,  Lord of Obsdam. Cornelius de Wit, with a Battle in the
is another admirable picture, of Christ giving the   back-ground. John Clvin; oval. John Casimir, Count
Keys to St. Peter. In the monastery of the Pa- f Nassau.
dri Serviti, at Vicenza, are several of his works,          SUBJECTS FROM HIS OWN DESIGNS.
representing scenes from the life of St. Filippo, the    Four, of Figures on Horseback, caled the Monarchies
founder of the  order.  Damini had acquired a.  representing Ninus, Cyrus, Alexander, and Coesar, with
emblematical ornaments.  Seven, of the Planets, with
distinguished reputation, when he fell a victim  to   Emblems. The Seven Wonders of the World, with the
the great plague that desolated Venice in 1631.    same. Twelve, of the Sybils; full-length. Twelve, of
DAMINI, GIORGIO  a distinguished  Italian   Animals and Birds. Sixteen Views in Holland. One hunDAMINI, GIORGO, a dis hedred subjects from the Old Testament; four on each plate,
painter, brother to the preceding, who also died  twenty-five plates. A set of Prints of the Ruins of Rome.
from the same dreadful calamity. He excelled in   Meleager and Atalanta; an etching; after R. Picou.
portraits, and painted historical and mythological    DANCKERT, or DANCKERS, DANKER, son
subjects of small size in an admirable manner.     of the preceding, was born at Antwerp about 1600.
of the preceding, was born at Antwerp about 1600.
DAMOCRITUS, an eminent Greek sculptor,  He succeeded his father in his business, and surwho flourished about B. C. 400. He studied un-  passed him in talents and skill as an engraver.
der Piso of Calaurus, and, according to Pliny, was  He engraved quite a number of portraits, as well
greatly distinguished for his statues of philoso-  as other subjects, mostly after the Flemish or
phers, in which branch of the art he deserves to   Dutch masters, among which the following are the
rank with the most eminent sculptors.              best:
DAMOPHILUS, or DEMOPHILUS, an ancient    The Portrait of Charles II. of England. The Departpainter and sculptor, mentioned by Pliny, who de-  ure of Charles II. for England at the Restoration. Venus
corated, in concert with Gorgasus, the temple of   and Cupid, with a Satyr; after Titian.
Ceres at Rome with paintings and sculptures.                VARIOUS SUBJECTS AFTER BERGHEM.
DAMOPHON, an eminent Greek sculptor, born          Hawking, called Het Vinkebaantjy. A Stag Hunt,
at Messina, who is supposed by Winckelmann to  called De Hartenjagt. Four, of Landscapes and Figures,
have flourished about B. C. 512. He executed  in one of which is a Man passing a Bridge. These are
beautiful marble statues  for th5 e temple of  considered his best prints; after Berghem. Four smaller
many beautiful marble statues for the temple of   Lndscpes and Figres  Si  middle-sized
many~~~~~~~~....plates, of Landscapes and Figures.  Six middle-sized
Esculapius, in the city of Ithome; but his master-  plates, in the title print a Shepherd riding on an Ox, playpiece was a statue of Cybele in Parian marble.  ing on the Flute, and a Shepherdess dancing. Four large
He also produced a number of other admirable  plates of Landscapes; on the title print is inscribed,
works, among which was a statue of Diana; a   Danckert Danckerts,fec. et exc. A set of fine Etchings;
statue of Lucina, for the temple of that goddess at  after Wouwerman.
Egium; the statues of Ceres and Juno, from  a        DANCKERT, or DANCKERS, HENRY, supsingle block of marble, in a temple of Arcadia.    posed to have been a son of the preceding, born
DANCE, GEORGE, an English architect of con-  about 1630. He was bred an engraver, but went
siderable eminence, born at London in 1741. He  to Italy to study painting, where he resided for
was one of the forty artists elected as the first  several years.  On his return, he settled in Engmembers of the Royal Academy.  He was also  land, under the patronage of Charles II., who emthe delineator of a series of portraits published in  ployed him in taking views of the royal palaces,
two folio volumes, by Daniels, entitled, Portraits   painting landscapes and sea views. In the collecsketched from  the life since 1793. He died in  tionof James II.,thereweretwenty-eightpictures
1825.                                              by this artist.  He also engraved some plates, as
DANCE  NATHANIEL, an English artist, bro-  follows: A Portrait of Charles II.; a large View
DANCE, NATHANIEL, an English artist, bro-  of Amsterdam and the Y, with' Shipping, in three
ther to the preceding, who had the good fortune   of Amsterda and the YoV    s th Shippinaaces and
to dance into the affections of a widow  of large   seepots; f End land. There were several other
fortune, and, through her influence, into a baro-  atts of        nglan d. There were several o    the
netcy under the title of Sir Nathaniel Dance Hol-  arti   of th   nae, w         urhe  about the
land. He was born at London, in 1734; studied   middle of the 17th century, but the accounts of
under Francis Hayman; went to Italy, where he  them are very confused, and their works are not
under Francis Hayman; went to Italy, where he
resided about eight years.  On his return to Lon-  worth any disquisition.  Jan Danckers, according
to  Balkema, painted portraits, and made some codon, he acquired some eminence as a painter of  to Balkema, painted portraits, and made some coportraits; married Mrs. Dummer, the widow of a   pies after Titian and Palma, about 1648. He also
portitsmaedM.Dummerthewidowofa  etched a few prints. Justus Danckers engraved a
wealthy country gentleman; was elected a mem-  few portraits. bout the same timea
ber of Parliament from  his borough; and was    w poai  aou 
finally made a baronet.  To his credit, be it said,    DANDINI, CESARE, an Italian painter, born at
the smiles of fortune did not induce him to relin-  Florence in 1595. He studied successively with
quish altogether his profession; but as an ama-  Curradi, Passignano, and CristofanoAllori. Unteur, he continued to contribute to the annual ex-  der these masters, he acquired correctness of de



DAND.                      247                    DAND.
sign, and an agreeable tone of coloring. He was  jects by him, in the church of S. Lorenzo; also in
very correct in his drawing, and labored his pic-  the church of S. Magdalena at Pescia
tures extremely. He executed many pictures and      DANDOLO, COUNT CESARE a noble Venetian
altar-pieces for the churches and convents at Flo-  painter, who, according to Morigia, was instructed
rence, which are much admired. lie also painted  b  Titian. Lanzi say  h  went from  Venice to
easel and cabinet pictures, esteemed for their high   sette at Milan, and that his works adorn various
finish and sweet coloring. He died in 1658.      palaces, which are esteemed not less for their exDANDINI, VINCENZIO. This artist, a brother  cellence, than for the noble rank of the artist. He
of the preceding, was born  at Florence, in   was living in 1595.
1607. After studying under Cesare, he went to      DANEDI, GIOVANNI STEFANO called MONTALRome, where he placed himself under the instruc-   TO, a Milanese painter, born at Treviglio in 1608.
tion of P. da Cortona, whose style he followed.  He studied under Cavaliere Morazzone; became
He became an eminent painter of history, and was  an eminent historical painter; and, during a long
made principal of the Academy at Rome, on which  residence at Milanexecuted many works i
occasion, Orlandi says, he painted a grand compo-  the churches and convents of that city.  One
sition, which gained him  great reputation. He  of his most esteemed works is the Martrdom of
afterwards returned to his native city, where the  St. Guistina, in the church of S. Maria at Pedone.
Grand Duke and other personages gave hi.m  am-  Hedied at Milan in 1689.
ple employment. He decorated the ducal palace,    D, G,        er of the preced
DANEDI, GIUSEPPE  abrother of the precedand in one apartment he painted the ceiling, rep-  ing was born at TreviSlio in 1618. He studied unresenting Aurora with the Hours, much in the
resenth hins, much in tee   mgas born at Treviglio in 1618. He studied                      unstyle of Cortona. In the Chiesa di Ognisanti at  der Guido Reni, at Bologna, and after quitting that
Florence, is an admired picture of the Conception   mster e settled at Turin, where he executed, in
of the Virgin. He died there in 1675.            a reputable manner, some works for the churches
of the Vign. d tre i.        and public edifices in that city. In the church of
DANDINI, PIETRO, was a nephew of the pre-  S. Sebastiano is a fine altar-piece by him, repreceding and son of Cesare, born at Florence in 1646.  senting the Murder of the Innocents. He died
Lanzi says, that having lost his father when he  there in 1688.
was four years of age, he received his first instruc-    DANET, JOHN. See D ET.
tion from Valerio Spada, who excelled in drawing,    DA        LEON.  See DAVEN.
especially in pen and ink sketches. Under the tuition of this artist he made such progress, and gave  DANIELE, VOLTERRA DI, a celebrated Italia.
such evident proofs of genius, that he was placed  painter and sculptor, born in Tuscany in 1509, and
with his uncle Vincenzio who instructed him  in  died in 1556. He first studied under Antonio de
the principles he had adopted from the style of P.  Verceil; and next, Balthazzar of Siena; and last,
da Cortona. He afterwards traveled throughout  under Michael Angelo, who highly esteemed him,
Italy, studying the best masters with assiduity,  and whose style he adopted. His finest paintings
especially of the Venetian and Lombard schools.  are in the church of the Trinity, at Rome. He
On his return to Florence, he found abundant em-  finally quit painting, and directed his attention to
ployment. The Grand Duke Cosimo III. patronized  sculpture. His most famous work in sculpture is
him largely, and he painted for him many works in  the bronze horse now in the Palais Royal at Paoil, and adorned his palace with frescos, mostly  ris, which was intended for an equestrian statue
historical and mythological subjects. He also ex-  of Henry II., and which the artist did not live to
ecuted many works for the churches and convents  finish.
at Florence. Lanzi mentions, as one of his most    DANIELL, THOMAS, an English landscape paintimportant works, the cupola in the church of S. Ma-  er of considerable eminence, born in 1750. He
ria Magdalena, executed in the style of Correggio,  commenced his career as a painter of English
In the church of S. Maria Maggiore, is a picture  scenery, with some attempts at poetical composiof St. Francesco, and in a church of the Monks of  tions. In 1784, he went to India with his neS. Servi is an altar-piece, representing that Saint  phew, William Daniels, where they remained ten
officiating at the Altar.                         years. He painted many views of fine Indian
This master had an extraordinary talent for imi-  scenery, from Cape Comorin to Seriuagur in the
tating the styles of the most celebrated painters  Himalayas, which he sent home to the annual exof every school, particularly Titian, Veronese, and   hibitions of the Royal Academy, and which, from
Tintoretto; and with a force and elegance equal to  the novelty of the subjects treated, attracted a
his sacred and historical subjects, he painted por-  great deal of attention. They also made a multitraits, landscapes, marines, architecture, battle-  tude of sketches of oriental scenery, Htindoo tempieces, animals, fruit and flowers, proving himself  ples, mosques, wild elephant and tiger hunts, &c..
a universal gefiius, and excellent in everything he  which they published on their return to England,
undertook. Fuseli says that it is to be lamented  in 1808, in colored aqua-tints, with descriptions, in
that the avidity of gain led him to despatch and   eight folio volumes, entitled "Oriental Scenery."
mediocrity in many of his works, compensated by   Thomas D. was elected a Royal Academician in
little more than the admirable freedom of his pen-  1795, and died in 1840. aged 90.
cil. He exerted his powers according to the price
he was to receive for his labors. Hle died in 1712.    DANIELL, WILL, nephew of the preceding,
and whose history is identified with that of his
DANDINI, OTTAVIANO, was the son of the pre-  uncle, who took him to India when he was only
ceding artist, who instructed him in the art, whose' twelve years of age and instructed him in his art,
subjects and style he followed, and whose reputa-  in which he made such excellent proficiency that
tion he sustained. Lanzi commends several of his  he executed a greater part of the drawings for
works in the churches and convents. at Florence.  their "'Oriental Scenery."  He also painted some
There are several fresco paintings of sacred sub-  oriental scenery and subjects which equalled, and




DANK.                      248                    DANT.
some say surpassed, those of his uncle. He was      DANTE, GIROLAMO, a Venetian painter, who,
elected a member of the Royal Academy, after his  according to Lanzi, was a scholar of Titian, whose
return from  India. He was born in 1773, and  style he imitated. Zanetti says that he assisted
died in 1837, aged 64.                           Titian in some of his less important works, and
DANKERS DE RY, CORNELI, a Dutch archi-  that, in copying the works of that master, he attect, born in 1561, was the son and scholar of Cor-  taed to such excellence that such of them  as
nelis Dankers. They held the same offices for  were retouched by Titian, bid defiance to the connearly forty years. and during that time enlarged  noisseur t distinguish them,-doubtless too high
the city of Amsterdam, embellishing it with a  prise. He also painted from  his own designs.
number of excellent edifices. Among their I;rin-  There is a fine altar-piece, entirely in the style of
cipal works were the three new churches, and the  Titian, in the church of S. Giovanni, in Olio, attrigate of Haerlem, which is a fine specimen of  buted tothis artist. He flourished inthefirst part
architecture.  They commenced the Merchant's  of tfe 16th century, but the time of his birth and
Exchange in 1608, and finished it in 1613. It is  death are not recorded.
two hundred and fifty feet long by one hundred     DANTI, ANTONIO, an Italian painter, born at
and forty feet wide, and is supported by three  Rome in 1634, and died there in 1675. He paintlarge arches, under which run canals. Dankers  ed portraits and historical subjects in a reputable
invented the method of building stone bridges  manner.
without piers, and erected with perfect success a    DANTI, PADRE IGNAZIO, a Dominican friar,
single arch over the river Amstel, where it is two  born at Perugia in 1537, and died at Rome in 1586.
hundred feet wide. He died in 1634.              He was descended from a family devoted to the fine
DANKS, FRANCIS, a Dutch painter of history   arts, and was a man of superior knowledge and
and portraits, born at Amsterdam  in 1650. He   judgment. Pope Gregory XIII. employed him
went to Rome, where he resided some time, and  to decorate a room in the Vatican with geographiobtained the name of Tortoise. He settled in his  cal illustrations of ancient and modern Italy. Lannative city, and practised with good reputation till  zi says that the Pope, having resolved to complete
his death in 1703.                               the continuation of the Gallery of Raffaelle, and
DANLEUX, PIERRE, a French painter, born  to paint four subjects from the New Testament in
at Paris in 1745. He acquired considerable repu-every arcade of, the Gallery; and it having been
tation as a painter of history and portraits, in his  found by experience to be prejudicial to the exenative city. During the French Revolution, he  cutionof such works, to entrust them to the enfled to England for his life. He painted an admi-  tire dirction of practical artists, who were for the
rable portrait of Delille the poet, who sang his  most part influenced in the selection of their aspraise in his poem of La Pitie. The Punishment  sistants, by favoritism, jealousy, or avarice, he
of a Vestal, faithless to her Vows, to which De-  employed Danti to superintend the work, in whose
lille alludes, is one of his best works. He died at  excellent judgment, profound knowledge of design,
Paris in 1809.                                   and integrity of character he could confide. UnDANNECKER, a German sculptor, born at  der the direction of Danti, the works were exesu
DANNECBEQR, a German sculptor, born at |ted in such an admirable manner, that the spirit
Stuttgard in 1758. He studied under Grubel, and  of Rafille seemed to be revived in the Vatican.
gained the prize of sculpture for his statue of Miloo 
of Crotona, in the Academy founded in 1761,          ANTI VNCENZIO, n Italian painter sclpby the Duke, Charles Eugene. He then visited  tor, and architect, born at Perugia in 1530. PasParis, with the royal pension, and remained there  coli says he executed some part of the pictures in
two years; after which he went to Rome, and re-the Vatican Gallery, the direcon of  hich was
sided there seven years. On his return to Wur-  assigned by Gregory XIII. to Ignazio Danti. As
temberg, he was highly honored, and appointed di-a sculptor, he executed a number of works, among
rector of the Royal Academy, with a pension of  which the bronze statue of Pope Julius II., which
15,000f. He was for about fifteen years consider-  he executed at the age of twenty, is considered a
model of art. He was an architect of lively gened an eminent artist, but on account of several   modl of. Hewasan architect of lively genbodily afflictions his powers fell into decay, and he  i, and Miliia ays that his designs for the Essaw  himself surpassed by Tieck, Rauch, and  curialmade by orderof th  Grand DukeCosimo,
were so highly valued by Philip II., that the latSchwanthaler. Among his finest works are a  weresohighlyvaluedby             lip    that the latfigure of Cupid; a statue of Alexander, for the  ter earnestly entreated him to go to Spain and
cabinet of the Duke Charles Eugene; the monu-  execute them. He restored the fountain at Perument of Count Zeppelin; and a statue of Ariadne.  gi in a very ngenious    ner, and executed seveBut the noblest effort of his genius is the statue of  r r works. He died in 
Christ, which occupied his undivided time for eight    DANTI, GIROLAMO, a brother of the preceding
years, and was completedin 1823, when it was sent  artist, was born at Perugia in 1547, and died in
to Russia, and is now in the possession of the  1580. There are some of his works in the church
Emperor. His Ariadne is in the collection of M.  of S. Pietro in his native city, but his early death
Bethonan, at Frankfort. The works of Dannecker  cut short his promising career.
are especially remarkable for grace and lightness    DANTI,  TEODORA, an Italian paintress, who,
of form, beauty of features, and attractive and   according to Pascoli, was born at Perugia in 1498;
elegant attitudes.  He died in 1834.             studied under Pietro Perugino, in whose style she
DANNOOT, PETER, a Flemish engraver of, lit-  painted small cabinet pictures in excellent taste
tle note, who lived about 1690. IIe engraved some  and coloring.
portraits and other subjects, the best of which is    DANUS, ITGUEL, a Spanish historical painter,
a Head of Christ crowned with Thorns, after Ru-  born at Majorca. He first studied at Valencia,
bens.                                            and afterwards went to Italy and entered the




DANZ.                        249                        DARG.
school of Carlo Maratti.  After a residence of sev-   rome, half-length; after Blanchard.  Thetis ordering
eral years in Italy, he returned to his own coun- Vulcan toforge the Arms of Achilles; do. A  Charity
try, where he painted many pictures in the style   with Five Children; do. The Visitation of the Virgin to
tfry, wheich   ma ny tobefundin-vSt. Elisabeth; after Corneille. The Virgin and Infant;
of Maratti, which are to be found in various col-  after Sarazin. He also engraved one hundred small
lections at Majorca.  He also painted some works   plates for a work entitled, La Doctrine des 7Mciurs, after
in the convent of the Secours at Palma.  He flour-  the designs of Otho Voenius, 1646; and a great number of
ished at Palma, in the latter part of the 17th cen-   portraits for a publication entitled, Tableaux historiques
tury.                                                   oe sont graves les illustres Francois, et Etrangers de
ANELJEROMEaFrench enraeon           l'un, et l'autre sexe, par Pierre Daret, et Louis BoisseDANZEL, JEROME, a French engraver, born at   vin, published in 1652 and 1656.
Abbeville in 1755.  He studied under Flipart, and          D'ARGENVILLE, ANTOINE  JOSEPH  DEZAengraved quite a number of plates in a neat, firm    LIER, a French amateur painter, who resided at
style, executed with the graver.  He was elected a   Paris.  He was the author of an excellent work,
member of the French Academy.  The following   entitled Abrege de la Vie des plus fame    Peinare his best prints:                                    tres, first published in Paris in quarto, 1755.  AcAn Old Man, half-length; after Rembrandt. A Flem-  cording to Basan, he etched some landscapes and
ish Merry-making; after Tilborgh. Venus and Adonis;  other subjects from his own designs
after J. Bethon. Venus and Rneas; after Ant. Boisot.
Alexander giving Campaspe to Apelles; after Lagrenee.     DASSONVILLE, JACQUES, a French engraver,
Socrates pronouncing his Discourse on the Immortality of   born near Rouen in 1719.  He etched about fifty
Coyel. Voul; aer ante.  The Romean CthriA; afer N. N.  plates in the style of Adrian Ostade, and although
Coypel.'Vulcan presenting to Venus the Armi of 2Eneas;
after Boucher. TheRape of Proserpine; after Vien.       they are by no mans equal to  the playful and
DAPHNIS, a Greek a t, wo ere, in   spirited point of that master, yet they  possess
DAPHNIS, a Greekls architect, who erected, in   muchmerit
concert with Peonius, and Demetrius, a priest of   m h mr
Diana, the famous temple of Apollo at Miletus,            DAUDET, JEAN BAPTISTE, a French engraver,
entirely of marble, and of the Ionic order, which   bornat Lyons in737.  Hewasthesonofa printwas preeminently distinguished for its grandeur   seller, who sent him to Paris, and placed him under
and magnificence, as is evident from the present re-   Balechou, and afterwards in the school of J. G. Wille.
mains.  Strabo terms it " the greatest of all tem-   He executed a  number of landscapes and marine
ples," and says "it remained without a roof in   views, after various masters besides many plates
consequence o  its bigness."  Pausanis mentions   for the illustrated works published about this peit as unfinished, but as one of the wonders pecu-                          de Saint Non   the Galerie de
liar to Ionia; and Vitruvius numbers it among the  pFes, by  the     oye en S, of C; the  
four temples which had raised their architects to   Florence; the Voyage e               n Syrie, of Cassas; the
the summit of renown.  The plan of this temple   Mus  Ro ard, &c   He was very industrious,
is a parallelogram, 3021-2 feet in length, by 1641-2    nd executed his plates in  neat and spirited style,
feet in breadth.  The cella is surrounded b   a   though rather highly finished.  Hubergives a full
feet in breadth. The celia is surrounded by a   list of his plates, among which are the following:
double row of columns, the outer peristyle havn                                    which are ting
twenty-one in the sides, and ten in each front.           Two Landscapes, with Figunes and Cattle  after BergThe height of the columns is sixty-three feet, which   hem. An Italian Landscape, with Figures and Cattle;
is about nine and a half diameters of the columns.  after Both ad  erghem. A Stag-hunt, etched by Dunker, and finished by Daudet; after Wouwermans. ItalDARDANI, ANTONIO, a Bolognese painter, was   ian Ruins; after C. Poelemburg. The Corsican Fisherborn, according to Zanetti, in  1677, and  died   men; after Vernet. The Washerwomen; do. Two, of
in 1735.  He studied under Flaminio Torre.  He   Roman Ruins; after Dietricy.  Evening; do.
was a reputable painter of easel pictures of histo-       DAULLU, JEAN, an eminent French engraver,
rical and other subjects, some of which may be   born at Abbeville in 1703.  He settled in Paris,
found in the collections at Bologna.                    where he became one of the ablest engravers of
w or Dn   DARET, PIERRE, a French engraver,   his time, and was admitted a member of the Acadr     *born at Paris in 1610.  After serv-   emy in 1742. He engraved many portraits, histoing his apprenticeship. he went to Rome in search   rical and other subjects, executed in a clear, neat
of improvement, where he resided several years,   style, with the graver, the principal of which are
and then returned and settled in his native city.   the following:
He executed a multitude of works, chiefly  with                              PORTRAITS.
the graver, in a very neat manner, though deficient       Catherine, Countess of Feuquieres, Daughter of P. Mig.
in effect and correctness of drawing.  His works   nard, holding the Portrait of her Father; -P. Mignard,
exceed four hundred prints, among which are the   pin. J. Daulle, sc. Hyacinth Rigaud, painter; engraved
following.  He frequently marked his plates with   for his reception at the Academy in 1742.  Margaret of
his monogram, a P. within a D.:                         Valois, Countess of Caylus; after Rigaud. Charles Edward Stuart, son of the Pretender; 1744; scarce. ClePORTRAITS.                         mentina, Princess of Poland; his consort; scarce. John
Bust of Alexander the Great, with an explication from    Baptist Rousseau; after J. Aved. John Mariette, engraPlutarch. Pope Alexander VII. Charles I. of England.   ver; qfter Pesne.
Henry de Bourbon, Prince of CondO. Charlotte Margaret             SUBJECTS AFTER VARIOUS MASTERS.
de Montmorency, Princess of CondI.  Margaret Gfaton,      The Magdalene; after Correggio; for the Dresden GalDuchess of Orleans. Vladislaus IV., King of Poland.     lery. Diogenes with his Lantern; after Espagnoletto;
lery. Diogenes with his Lantern; after Espagnoletto;
SUBJECTS AFTER VARIOUS MASTERS.               do. The two sons of Rubens; after that painter; do.
St. John sitting in the Desert with his Lamb; after Gui-   Neptune appeasing the Tempest; do. A  Charity with
do. The Virgin suckling the Infant; after Caracci. St.  three Children; after Albano. The Triumph of Venus,
Peter delivered from Prison; after Domenichino.  The   after Boucher. Latona; engraved in 1762; after J. JouEntombing of Christ; after Baroccio. A Holy Family,  venet. Four, Marines and other subjects; after Vernet.
with an Angel presenting Fruit to the Infant Jesus; after   The Bath of Venus; after Raoux. Two subjects; after
S. Vouet. The Dead Christ, with the Marys; do. St. Je-   G. Metzu. Jupiter and Calisto; after N. Poussin.




DAVE.                        250                      DAVI.
DAVANZO, JACOPO. See AVANZI.                       sc. Henrietta Maria, nis Queen, on Horseback; do. Anne,
Queen of Franle; do. Gaston of France, Duke of Or.
DAVEN, LEON, sometimes called DANET, or  leans. Cardinal Richelieu; H. David, sc. Giovanni Bat.
DARIS, a*celebrated French engraver, whose early  tista Montana, celebrated sculptor. 1621.
history is unknown.  He went to Italy, and ac-            SUBJECTS AFTER VARIOUS MASTERS AND HIS OWN
quired distinction at Rome and Florence, where he                           DESIGNS.
became acquainted with Primaticcio, who esteemed        The Heads of the Philosophers, thirty-six plates from his
him  highly, and many of whose works he en-  own designs. Adam and Eve driven from Paradise; H.
graved.  When that master visited France, Daven   David. Christ bearing the Cross; after Ercole Ferraaccompanied him, and engraved several plates after  ta. 1630. Ecce Homo; after Guercino. The Virgin of
the great works he executed at Fontainbleau.  His  the Rosary; after  GuCam ido. 1633. The Assumption of the
Virgin; after Camillo Procaccini.  St. Francis of Paola;
works are chiefly etched in a broad, bold, and sin-  after Robert Picou. He etched forty-two plates from the
gular manner, but they have such merit as to be   designs of Montano, of churches, tombs, and altars at
held in high estimation by collectors.  His plates   Rome, published by Soria.
are frequently marked with the initials of his name,    DAVID, FRANCO1I  ANNE, a French engraver,
L. D.  The following are his principal works:         born at Paris in 1741.  He was a pupil of Le Bas,
After Francesco Primaticcio.-Christ with a Glory of   and executed some portraits and other subjects
Angels. The Virgin in the Clouds, surrounded by Angels.  with the graver, in a neat and finished style, among
The Holy Family, with St. Elisabeth and St. John. Christ  which are th  following:
Triumphant. St. Mary of Egypt taken up to Heaven by
Angels.  Alexander taming Bucephalus. Fontainbleau.                       PORTRAITS.
The Marriage of Alexander and Roxana. Ditto. The        Monsieur, brother of Louis XVI.; after Drouais. Denis
Death of Cleopatra. Jlipiter and Danae. The Bath of   Diderot; after L.M.  anloo. C. G. deChoiseul, Ducode
Venus; a grand composition. Mars and Venus. The   Praslin  after Roslin. Catherine II.. Empress of Russia;
Rape o. Proserpine. Diana reposing after the Chase. Fon-  after Mad. Rameau.  Gaspard Netscher, painter, his
tainbleau. Hercules and Omphale. Cadmus combating   Wife and Son; after a picture by himself. Charles I. Y"
the Dragon.  A Sacrifice to Priapus.  Cupid blinded,  England with his Family; after Vandyck.
mounted on an Ass, with two Satyrs, and a Man blowing a
Trumpet. The Death of Meleager. The Rape of Europa.             SUBJECTS AFTER VARIOUS MASTERS.
The Continence of Scipio.                               The Dutch Sportsman; after G. Mentz. The Green.
After it Rosso.-Francis I. surrounded by his Courtiers,  market at Amsterdam; do. The Quack Doctor; after
a Child kneeling presenting a Pomegranate. Francis I.  Karel du Jardin. The Bull; after Paul Potter. Two
marching to the Temple of Glory. The Death of'Adonis.  Views of the Gulf of Venice; after Vernet. Two Views
After L. Penni.-Psyche attempting to get water at  near Dunkirk; do. Adam and Eve in Paradise; after
the Fountain guarded by Dragons, is aided by the Eagle   Santerre. He also engraved and published the Antiquiof Jupiter. Parnassus, with Apollo and the Muses.     ties d'Herculaneum, 12vols.; the Antiquities Etrusques,
After Giulio Romano.-The Body of Patroclus taken   Grecques, et Romaines, 5 vols.; the Musee de Flofrom the Field of Battle.                            rence, 8 vols.; I' Histoire de France, 5 vols.; I'Histoire
After Parmiggiano.-Circe drinking in the presence  d' Angleterre, 3 vols.; l'Histoire de Russia, 3 vols. He
of the Companions of Ulysses.                         afterwards commenced a History of France under the time
of Napoleon, of which he issued twenty-four numbers,
DAVID, CHARLES, a French engraver, born at  when Louis XVIII. was established on the throne. The
Paris about 1605.  Little is known of his early  latter appointed him engraver to his cabinet. David after
history, but he takes a respectable rank among   wards published Le Cabinet du Roi.
the engravers of his time.  His plates are execu-       DAVID, JACQUES LouIs, one of the most emited with the graver, in a clear, firm  manner, and   nent painters of modern times, was born at Paris
his drawing is tolerably correct.  His plates are  in 1750.  His countrymen have conferred upon
esteemed  by  collectors.  He  usually  marked   him the distinguished title of The Head and Rethem  with his initials, C. D., or C. D. F.  The   storer of the French School, which he brought
following are his best prints:                        back from  its previous gaudy and affected style,
Ecce Homo, or Christ shown to the People by Pilate; C.  to the study of nature and the antique.  David
David, se. The Virgin and Infant with Angels; after J.  first studied under Vien at Paris, and, in  1772,
B. Champagne. The Virgin with St. Bernard; after  gained the second prize of the Royal Academy. In
Ph. Champagne. A Nurse carrying a Child; with six  1775, he gained the grand prize, for his picture of
verses; C. David. The Roman Charity. Twelve, of the  the Amours  of Antochus and Stratonce, which
Labors of Hercules; after Francis Floris. Sixteen, of  the  mours of Antiochus and Stratonice, which
the Cries of Rome; copied after Villamena with such ex-  entitled him to the royal pension, and he immediactness that they may easily be mistaken for the originals.  ately went to Rome, where he devoted himself to
Wisdom awaking a Man sleeping; after Champagne. A   the most diligent study of the antique, with a
set of Landscapes; after 1. and P. Bril   A Print,  view to make it his standard in his works.  "I
after Callot, representing a Man with a Snail on his Fin-             that my wos m            e so 
ger, with a Goat wearing a Crown of Snails on its Head;                                mayhave    comvery scarce.                                         pletely an antique character, that, if it were possible for an Athenian to return to life, they might
lF~l rTI I     or Fo-r,  DAVID, JEROME,  appear to him to be the productions of a Greek
J JY   r J JL            Ja   aFrench engraver,  painter." At Rome, he devoted himself particularbrother to the preceding, born at Paris in 1608.  ly to historical painting, and his great talents soon
His plates are executed in the same style as those   gained him the reputation of one of the most proby his brother, which renders it probable that  mising artists of the age.  In 1780, he returned to
both received instructions from  the same master.  Paris, and distinguished himself by several classic
The works of the brothers consist of about two   productions.  In 1783, he was received into the
hundred and twenty plates. Jerome usuallymark-   Royal Academy, and was appointed painter to
ed his plates with the initials H. D. F., or one of the   Louis XVI., with apartments in the Louvre.  In
above monograms, which signifies Hieronymus   1784 he again went to Rome. where he executed
(Jerome) Davidius,fecit.  The following is a list  one of his master-pieces, the Oath of the Horatii,
of his principal works:                               which Louis XVI. had commissioned him to paint.
Charles I., King of England, on Horseback; H. David,  The French connoisseurs declared this work une



DAVI.                      251                      DAVI.
qualled, and that it breathed the dignity and spi-  Sons to Execution; The Rape of the Sabir  Worit of Raffaelle. In the same year, he painted his  men; The Oath taken in the Tennis Court; LeBelisatrus; in 1787, the Death of Socrates; and   onidas at Thermopylae; and The several Port
in 1788, Paris and Helen.  His reputation was  traits of Napoleon.  The opinions of the merits
now established as the first painter in France.  of this artist are various; envy, hatred, or jealThe French Revolution now broke out, and, seized   ousy have doubtless made some detractions. It
with an ardent zeal for liberty, he lent all his pow-  has been said of his works that they are " colored
ers in overturning the government, and establish-  statuary;" that his figures have the ideal beauty
ing the Republic. For this purpose, in 1789, he  of the ancient sculptures (no small praise), but are
executed a large painting, representing Brutus con-  too cold and inexpressive to excite any sympathetic
demning his Sons to Death. He also furnished  interest in the beholder. On the other hand his
the designs for the numerous republican monu-  countrymen honor his memory, and generally conments arid festivals of the time. It is not our in-  sider him the father or restorer of the modern
tention to follow the artist through his political  French school of painting. As a grand designer,
career, further than to show  its effect on his  he undoubtedly ranks among the first artists of
works. In 1792, he was chosen an Elector in Pa-  modern times, and the praise of correct delinearis, and afterwards, a deputy to the National Con-  tion and harmonious coloring is universally convention. During the Reign of Terror he was one  ceded to him. He died it Brussels, Dec. 29,1825.
of the most zealous Jacobins, and wholly devoted   aged 75 years. Had he lived in more peaceful and
to Robespierre.  He proposed to erect a colossal  less exciting times, so that he could have lent his
national monument on the Pont-Neuf, from  the  whole time and energies to his favorite branch of
materials of the king's statue. At the trial of  the art, he doubtless would have far surpassed
Louis XVI., he voted for his death. In January,  himself, and his history would have graced one of
1794, he presided in the Convention.  Among the   the brightest pages in the annals of the fine arts.
scenes of the Revolution which David strove to       DAVID, LoDovlco ANTONIO, an Italian paintimmortalize by his pencil, were the Entrance of  er born at Lugano in 1648. He first studied unLouis into the National Assembly; the Oath taken   der Cavaliere Cairo, and then Ercole Procaccini, at
in the Tennis-Court, and the Murder of Murat  Milan. He afterwards went to Bologna, and enand Lepelletier, the former of which he presented  tered the scopol of Carlo Cignani. He became a
to the National Assembly in 1790. After the fall  painter of eminence, and executed many works for
of Robespierre, David was thrown into prison,  the churches aid convents at Milan and Venice.
and his great reputation as a painter alone saved  In the church of S. Silvestro in the latter city, is a
him from the guillotine.  Disgusted with the ex-  Nativity especially commended for its beautiful
cesses and revolting scenes committed on all sides,  coloring, and finished execution. He also painted
and seeing no hopes of the Republic being estab-  many portraits of distinguished personages of his
lished on any permanent basis, he retired in dis-  time. The time of his death is not recorded.
gust, and resolved to devote himself exclusively to               AVD              F       
historical painting.  In 1799 he executed the mas-  or          DAVID, Lous a French engraver,
ter-piece of his genius, the Rape of the Sabines,               who according to Professor Christ
from the Exhibition of which he is said to have   went to Italy, and settled at Venice, where he flourfrom the Exhibition of which.     is said to have
received 100,00f.                                  ished about 1667, and engraved some plates after
When Napoleon came into power, he perceived  the Italian masters, executed in a clean, neat style,
the advantage of employing such a painter as David   with the graver. He marked his plates with a
to immortalize his glorious victories on canvass;  monogram of his initials, as above.
and he appointed him his first painter.  But these    DAVIS, EDWARD LE, an English engraver, stasubjects were not congenial to his taste; he, howev-  ted to have been born in Wales. He went to
er, painted several portraits of the Emperor, and oth-  France, where he learned the art of engraving. He
er members of the Imperial family, the most cele-  returned to his native country, and settled in Lonbrated of which were Napoleon as First Consul,  don about 1670. He engraved some portraits and
on horseback, crossing Mount St. Bernard, and   other subjects in a poor style, after Lely, Vandyck,
pointing out to his troops the path to glory, and   and other eminent artists, as follow:
Napoleon  in  his Coronation Robes.  In 1814,                          PORTRAITS.
he finished his great work of Leonidas at Ther-    Charles II. seated; the Head was afterwards effaced,
mopylae, the last painting he executed ate Paris.  and that of Iing William III. substituted in its place.
When Napoleon returned from Elba, he appointed   James, Duke of York. Catherine, Queen of England;
David a commander of the Legion of Honor.  Af-  whole-length; after J. B. Carpers. William, Prince of
Orange; after Lely. Mary, Princess of Orange; do. 1678.
ter the second restoration of the Bourbons, he was  The Duchess of Portsmouth. General Moncke. Charles,
included in the decree which banished all the regi-  Duke of Richmond; 1672, when a boy. Stephen Moncides forever from  France, when he established  teage. 1675. Bertram de Ashburnham, engraved for
himself at Brussels, where he continued to reside   Guillim's Heraldry. A Merry-Andrew; after Francis
till the time of his death. At Brussels, he paint-  Hal; inscribed Edward le Davis, Lordini, scup.
ed the portraits of several distinguished persona-          SUBJECTS AFTER VARIOUS MASTERS.
ges, and other subjects, particularly Cupid and      St. Cecilia, with Angels; after Vandyck. An Ecce
Psyche, and a picture of Venus, Cupid, and the   Homo; after Caracci; very scarce. A Holy Family;
Graces disarming Mars, which was exhibited in   ater a basso-relievo by Algardi.
Paris in 1824, and attracted much attention.         DAWE, GEORGE, an English portrait painter,
The most famous works of this great paint-  and a member of the Royal Academy, who went
er, several of which have been  admirably en-  to Russia, and is said to have painted four hundred
graved by Moreau, are The Oath of the Horatii;  portraits of the chiefs and leaders of the Russian
Belisarius in Banishment; The Death of So-  army, who with the assistance of the frosts and
crates; Paris and Helen; Brutus ordering his  snow, vanquished Napoleon. to adorn a Gallery




DAWE.                      252                    DECK.
for the Emperor, at St. Petersburgh.  -Ie made  He had a brother, who succeeded hinl in that ore
much money by this expedition, but died soon after  fice, and who deserves a place among the distinhis return to London, in 1829.                    guished German painters. He executed a number
DAWE, PHILIP, an English mezzotint engraver  of subjects from  the Old and New  Testaments.
of considerable eminence, who flourished about  besidesmanypicturesfromprofanehistory.His
1770. He engraved a number of portraits, and  works are entirely in the German taste, and are
some subjects after Morland.                      principally landscapes with historical figures. All
of his productions were engraved by the best artDEAN, JOHN, an English mezzotint engraver,         of his time
who lived about the commencement of the present
century. He studied under Valentine Green, and      DECKER, or DEKKER.  There are no less
executed some portraits and other subjects in a  than  ten  artists of this name mentioned by
good style, of which the following are the best:  Bartsch, and other writers, in admirable confusion,
PORTRAITS.                     as to merit, and as to which one certain works are
James, Earl of Abercorn; after Gainsborough. Jamee  to be attributed. Their respective names are AdriCaulfield, Earl of Charlemont; after Livesy.  George  an, Charles, Coenraet, Cornelius, Custos, Francois,
Vernon, Lord Vernon; after Gainsborough. The Son of   Henry, Jan, Jacques, and Paul. They flourished
Sir Watkin Williams Wynne, when a child, as St. John;  in the 17th, and commencement of the 18th centuafter Reynolds. Elizabeth Hamilon, Countess of Derby;  ry. Adrian is said to have been a scholar of Alqfter Romney. Lady Elizabeth Windham, when Lady  bert van Everdingen, and to have painted landAerbert, with her Son; after Rey. Lady, Gertrude  bert van Everdingen, and to have painted landHerbert, with her Son; after Rey/oids. Lady Gertrude                                There are in
Fitzpatrick; do.                                  scapes and marines in his manner. There arein
SUBJECTS.AFTER VARIOUS M]ASTERS.        foreign collections, many beautiful small landscapes
The Four Evangelists; after Rubens and Jordaens.  ascribed to an artist of this name, executed in the
The F'our Evangelists; after Rubens and Jordaens.
St. Anthony of Padua; after Murillo.              style of Ruysdael, with great freedom of pencilling
DEAN, HaUGH  an Irish landscape painter of  and harmonious coloring, which are highly esDEAN, HUGH, an Irish landscape painter of  teemed. Bryan says these pictures are often orconsiderable promise, whom Lord Palmerston took   namented.  wh figures and cttleby Adria n Ostade
under his patronage and sent to Rome.  The im-  namented with figures and cattle by Adrian Ostade
under his patronage and sent to Rome. The im-                 Vanderveldeand that they were propropriety of his conduct lost him his noble patron,  an  Adrian   eree                they wre pro
and blasted his fair prospects. He died in 1784.    bably executed by Adrian Decker, the scholar of
Everdingen; and Pilkington attributes them to
DEBLINCK, DANIEL, a Dutch painter, who   Francis D. On the other hand, the German wriflourished about 1650. He was a good painter of  ters variously attribute them to Coenraet, Charles,
perspective, and of architectural subjects, especially   Cornelius, and Henry. Balkema ascribes them to
of the interiors and exteriors of churches.       Charles, and says that engravings by him  have
been discovered, signed by him, and dated Haerlem,
ivDECKER, CORNELIUS, a German engraver  1685. Brulliot and Heineken say that Charles
~/of little note, who, according to Professor  was an engraver, and flourished about 1700. and
Christ, resided at Nuremberg, where he was much   call the painter Cornelius. Custos and Francis
employed by the booksellers.  He principally  are said to have painted grotesque subjects; Jan,
etched from his own designs. His best prints are  interiors, conversations, and landscapes, in  the
those engraved for a work entitled  Athanasii  style of Murant; Paul an architect and engraver
Kerchert Turris Babel. He usually marked his 
plates with a monogram of his initials.             DECLOCHE, N., a Flemish historical painter,
who flourished at Liege about 1750. He painted
DECKER, FRANCIS, a Dutch painter of great  sacred subjects in a reputable manner: two picmerit, whose history is unknown. He was proba-  tures of this kind in the church of St. Jacques in
bly a pupil of Jacob Ruysdael, and flourished in  that city, are commended. He also painted battle
the latter part of the 17th century, as his works  pieces, in a spirited manner.
are said to be found in almost every foreign collection, bearing his signature, and executed in the    DEFRANCE, LEONARD, an eminent Flemish
natural and pleasing style of that charming mas-  pinter, born at Liege in 1735. He studied under
ter, without the servility of imitation.          J. B. Coders, and painted historical subjects of
large and small dimensions with considerable reDECKER, PAUL, a German painter, engraver,  putation. He seems to have been a universal arand architect, born at Nuremberg in 1677. He   tist, fo  he painted landscapes, architecture, stillstudied design and engraving under G. C. Eimart,  life, frit, flowers, &c. He was appointed the first
and architecture under Andrew Schluter. He es-  professor in the Academy of the Fine Arts at Liege,
tablished himself at Bareuth, where he executed established by Prince Velbruck. He afterwards
many pictures for the palaces of Berlin. These  filled the same office in the school of the central
have been engraved by Hofer, Corvinus, and oth-  department of Ourthe. He died in 1805.
ers, representing huntings, conversations, country           J. C., aho  ouramusements, naval battles, &c. As an engraver,    DEHNE, J.., a erman engraver, w
Deuker executed a number ofplaes after Schluter  ished in the first part of the 18th century. He
Decker executed a number of plates after Schluter                                           epreand Terwesten, but the work which does him most  engraved a large number of curious plates reprehonor is his admirable treatise on architecture, en-     or taking of the gods goddesses and her
titled Furstlicher Baumeister, oder Architectura   of antiquity in the most ludicrous manner.  He
civilis, published with sixty-four plates, in folio,  also engraved several portraits for the work pubat Augsburg, in 1711. In 1716, three years after  lishedat Nureberg,entitled cones Bibioo
his death, two continuations to this work appear-  etTypogaphorum.
ed, with seventy-four plates. He left a manuscript,    DEI, MATTEO, a Florentine artist of the 15th
which was published at Liepsic in 1720, entitled,  century, who was an eminent worker in niello, a
Architectura theorico practica. Decker was ar-  species of engraved work, which led Maso Fin
chitect to the court at Bareuth, and died in 1713.  iguerra to discover the art of copper-plate engraving




DEJO.                      253                     IELC.
See Finiguerra.  In 1801, a silver pax from the   designs, and are distinguished by an elevated style
collection in the Ducal Gallery, supposed to have   and great delicacy of execution, though his design
been executed by this artist, was taken to pieces,  is not very correct. The Abbe Marolles had 318
to examine the workmanship.  The embellish-  prints by this artist, of which the following are
ments in niello upon it represented the conversion   the principal: Twelve, of the Months of the Year.
of St. Paul, and on the niello being extracted, the   Thirty, from Old Testament History.  The Three
engraved work was found not at all deep, and ink   Graces. The Brazen Serpent, after Jean Cousin.
and press being provided, twenty-five fine proofs  Leda, after Michael Angelo.  The copies after
were struck from it, which were distributed among   Marc' Antonio, are the Death of Goliah, the Masfew eminent artists and connoisseurs.  One of   sacre of the Innocents, the Rape of the Sabines,
them is in the collection of Senator Bali Martelli  the Works of Hercules, the  Martyrdom  of St.
at Florence.                                       Felicitas, &c.
DEJOUX, an eminent French sculptor, born of        DELCOUR, JAN GILES, a Flemish painter, born
obscure parents, at Vadans, near Arbois, in 1731.  at Liege about 1630. He studied under Bertholet
At the age of twenty-five, he went to Marseilles,  Flemael, with whom he made rapid progress. He
and saw several of the works of Puget, which at  went to Italy, where he resided several years,
once inspired him with a passion for sculpture.  studying the best masters. He made some copies
He immediately visited Paris, and entered the  of Raffaelle's paintings, which were considered exatelier of Guillaume Coustou. In 1768, he gained   cellent.  He settled in his native city, where he
the grand prize of the Royal Academy, and went  practised with reputation and success. It is said,
to Rome with the king's pension, where he passed  there are several fine original paintings in the
six years.  On his return to Paris, he was ad-  churches at Leige, executed by him.  He died
mitted to the Academy, and presented as his re-  there in 1694.
ception piece, a marble statue of St. Sebastian dy-    DELEN, DIRK, or THEODORE VAN, a Dutch
ing, which gained him  great reputation, and he  painter, was born, according to  Descamps, at
was considered worthy to rank with the distin-  Heusden, about 1635, and was a disciple of Franguished sculptors of his age. He exhibited anum-  cis Hals, in whose style he practised for some
ber of works at the Royal Academy, among which   years, and  painted portraits and conversation
were a statue of Philopeemen; a colossal statue   pieces; but his prevailing taste for architectural
of Achilles; and in 1787, his admirable model  views and perspective, led him to direct his attengroup of Ajax carrying off Cassandra, which has  tion to those branches, in which he became so embeen highly praised for its correctness of design  inent that his works were admired throughout the
and grandeur of conception. In 1800, he execu-  Low Countries. His favorite subjects were the
ted for the Gallery of the Musee, called afterwards  interiors of churches, grand temples, magnificent
the Musee Laocoon, two bas-reliefs, representing   saloons, and galleries, filled with assemblages of
France accompanied by Victory, and Minerva dis-  people at prayers, or concerts, feasting, or dancing.
tributing crowns to the Arts and Sciences.  He  His architecture is of a noble taste, and his figures
was made a chevalier of the Legion of Honor, and   are well designed, judiciously grouped, and highly
died in 1816.                                     finished. In some of his works the figures were
DELARAM, FRANCIS, an English engraver,  inserted by Van Harp, or Wouwerman, which
who lived about 1620. He engraved a great num-greatly enhanced their value.  Th best works of
ber of portraits of eminent personages, and some   this master are allowed  worthy of a pacein the
other subjects, in a neat but formal style, which         distnguished collections in the old country.
are only worthy of notice as early specimens of the   There is much uncertainty as to the exact time of
art in England.  The following are the principal:  the birthand death of this eminent painter, and
different authors spell his name Delen, Daelens,
PORTRAITS.                    lDalens, Delins, and some confound him with DaKing Henry VIII.  Queen Mary, holding a Paper.  lens the landscape painter.
Queen Elizabeth. James I.; as large as life.  Henry,
Prince of Wales, son of James I. Frances, Duchess of  DELFINO, CAV. CARLO, a French painter, who
Richmond and Lennox. 1623.  Henry Percy, Earl of  flourished at Turin about 1664. He painted porNorthumberland. 1619.  James Montagu, Bishop of  traits and history, and was much employed at the
Winchester. Henry Percy, Earl of Northumberland.-   court, and by the churches at Turin.  There are
John, Bishop of Lincoln, with Angels playing on Musical
Instruments, and six Latin verses; a curious print. Sir  a number of altar-pieces by him, in which Lanzi
Henry Montagu, Chief Justice of the King's Bench. Sir  says he displays considerable merit, though his
Horatio Vere, with an armed Soldier on each side. John   genius was more natural than ideal, and his works
Abbott, Bishop of Salisbury. Sir William Segar,'princi-  lack that fire which gives life to gestures and compal'Herald at Arms. Sir Thomas Gresham, holding a  position, yet he was a lively and agreeable colorist.
Globe. George Withers, poet; 1622: Nec habeo, nec
careo, nec curo. Frontispiece to Withers's Preparation    DELFINONE,GIROLAMO, a very eminent artist
to the Psalter. Frontispiece to the Seven Golden Can-  in pictorial embroidery, who flourished at Milan
dlesticks. 1624. Frontispiece to Nero Ccesar, or Mon-  about 1495. He was much employed by the last
archie depraved. 1627.                             Duke Sforza, for whom he executed several large
DELAULNE, ETIENNE, a reputable French en-  pictures representing the chases of different anigraver, born at Orleans in 1520; died about 1595.  mals. This kind of work was in great request,
He went to Strasburg, where he acquired a know-  at that time, for the royal cabinets of Europe, and
ledge of the art. Papillon says he engraved the  specimens of his work were sent to Philip V. of
wooden cuts for an edition of Petrarch, published   Spain and Henry VIII. of England. He also exeat Frankfort in 1572, but, this cannot be the case, as  cuted portraits and subjects from sacred history
Delaulne never engraved on wood. He copied with  in the same style of work, some very beautiful
good success, a number of the productions of Marc'  specimens of which, representing the history of
Antonio, but most of his works are from his own   the Virgin, he wrought for the Cardinal. Baiosa




DELF.                     254                     DELG.
The art became hereditary in the family, and his  painter, who, according to Bermudez, flourished
son Scipione D., and his grand son, Marc' Antonio  at Madrid about 1700. He was a good colorist,
D., were equally skillful. The latter was living  but was somewhat of a mannerist. A picture of
in 1591.                                          St. Francis Xavier in the Hermitage of Notre
Dame is commended as one of his best works.
DELFOS A. a Dutch engraver, who, according  Dame is commended as one of his best works.
to Basan, flourished about 1760.  He executed       DELGADO,  PIETRO, a Spanish painter, born
several plates of landscapes with figures and ani-at Orgaz, where he flourished about 1529. In the
mals, after Berghem; and subjects after Teniers  Hermitage of the Conception in that city are two
and other Dutch and Flemish masters, which are  large pictures, painted on panel, one of which reetched with considerable spirit,                  presents the Virgin surrounded with saints, and
the other, the Descent from the Cross, painted in
(F or 4 )DELFT, JAMES WILLIAM, a Dutch  the style of the 15th century.
VWi     "Cpainter and engraver, born at Delft    DELIBERATORE, NICCOL6, called NICCOLO
in 1580. He was the son of Jacob van Delft, a  FOLIGNATE. According to Lanzi. this painter was
portrait painter of little celebrity, who instructed   a native of Foligno, where he flourished from 1461
his son in his own profession. It does not appear  to 1480. He obtained a great reputation in his
that he acquired much distinction as a portrait  time, though his style is extremely Gothic. The
painter, but bending his attention to engraving,  Abate G. Colucci, in his Antichitd Picene, notices
he rose to eminence. He engraved many portraits  a picture in the church of St. Francis at Cagli,
after the celebrated Mirevelt, whose daughter he  painted by this artist in conjunction with Pietro
had married.' He engraved the portraits of Charles  di Mazzaforti in 1461, for which they were' paid
1. of England, and of Henrietta Maria, his queen,  115 golden ducats. Another picture is mentioned
after Mytens, which, it would appear, gave so much   by Lanzi in the church of S. Venanzio at Camerisatisfaction to the king, that he appointed him his  no, representing the Crucifixion with several figengraver, as the title of Engraver to the King,  ures painted on a golden ground, inscribed Opus
appears on some of his plates, though Vertue as-  Nicolai Fulginatus, 1480.
serts that he never was in England. He handled      DELLO ANTONIO, an Italian historicaLpainter,..tDELLO, ANTONIO, ammon fistomialnarnter,
the graver with uncommon freedom and clearness,  born at Florence in 1603. Little is known of this
and his heads are finely drawn. The plates he  artist, though he must have excelled in his proexecuted in the earlier part of his life are more  fession, for he was invited  by the king of Spain
neatly finished than his later works, but they are  to assist in the execution of the great works in the
by no means equal to them, for the latter are en-  Escurial in 1658. He died in Spain, and is said
graved in a more bold and open style, producing  to have painted historical subjects of small size in
a finer effect. His plates are sometimes signed  an admirable manner.
with his name; at others, with a monogram of his    DELLO IORENTINO, an ld fresco painter of
initials J. G. D., the J. in the centre and the other
letters reversed for James Gulielmus Delft. Some  whom little is known. It is evident that he was
authors latinize his name and call him Delphius.  an able artist, as he was one of the first to paint
The following are his nbest works:'       ^l p in fresco without retouching, by which means his
pictures had a more uniform and brilliant tone of
Charles I. of England; after D. Mytens. Henrietta  color. He was invited to the court of Spain, where
Maria, his Queen; do. George Villars, Duke of Bucking-  he was well received and liberally rewarded, and
ham; after Mirevelt. Michael Mirevelt, painter; after  he returned to Florence with honor and affluence
Vandyck.                                         he returned to Florence with honor and affluence,
POTRAIT  AFTEVandyckEVELT.            where he died in 1426, aged 49.
PORTRAITS AFTER MIREVELT. 
Jacob Cato, poet and philosopher. Hugo Grotius, Syn-    DELMONT, or DELMONTI, DEODATO, a Flemdic of Rotterdam; fine. Three fine Heads, of William,  ish painter born at St. Tron, near Antwerp, in
Maurice, and Henry, Princesof Orange. Gustavus Adol-  1581. He was from an ancient family, and rephus, King of Sweden. Frederick, King of Bohemia,  ceived an educatin suitable to his birth.  His
Elector Palatine. 1632. Elisabeth, Queen of Bohemia.ceived an education suitable to his birth.  His
Eletor Platine. 163. Elisabeth,  un of B.  inclination for the profession of a painter, induced
1630. Wolfgang William, Duke of Bavaria. G       h
ouAt:de Coligni. 1631. Louisa, Countess de Coligni. 1627   his parents to place him with Rubens, under whose
Florentio, Count of Culenborch. 1627. Catherine, Count-  instructions he made excellent progress, and when
essof Culenborch. 1636. Philip William, Prince of Or-  that master went to Italy, he took young Delmont
ange. 1628. Marc' Antonio de Dominis, Archbishop of  with him. Here he studied with such assiduity,
Spalatro. Sir Dudley Carleton, Abssdor aham vander Mee.  that he soon acquired great reputation as a hisJohn Olden Barnevelt. 1617. Abraham vander Meer.
Hans de Ries. Jacobus Triglandus, Professor in the Uni-  torica painter. He was for a long time employed
versity of Leyden. 1636. Felix de Sambix, famous writing-  at the court of Nieubourg, and the Duke honmaster of Antwerp.                                ored him with the order of Knighthood. IHe also
DELFT, JAMES WILLIAM  son of the precedi received some commissions from the king of Spain.
artist  was born at Delft in o1619. t nder tig    he composition of his works is said to be grand,
artist, was  born at Delft in 1619.  Under the
able instructions of his grandfather, Michael Mire-  the design and drawing correct, his penciling free
vel, he became an able painter.  He      and firm, and his coloring excellent, with an adalso dis-  mirable breadth of light and shadow. Rubens
tinguished himself as an engraver, having received
instructions in this art from his father. A set of  himself was profuse in his praise. and the approba.
oval portraits of illustrious personages, without ion of that incomparab  judge is sufficient to
the name of painters or engraver, is generally at-  secure the approbation of the rest of the world.
tributed to him, among which are Louis XTI.    Some of his works are preserved in the churches
king of France; Philip III., king of Spain; Philip  and convents of Italy, and of hs natve country
and convents of Italy, and of his native country.
IV. do.; Vladislasp IV., king of Poland;  Phrick   Three paintings by hit  at Amsterdam, are espeHenr, Prince of Orange,               Frederick   cially commended; the Transfiguration in the
cathedral; Christ bearing the Cross. in the church
DELGADO,  DON JUAN, a Spanish historical  of the Jesuits; and the Adoration of the Magi: in




DELS.                    255                   DENA.
the Convent of the Famons. He died at Antwerp  truth of resemblance to the beauty of the art, and
in 1634.                                        for not rendering the likeness in the most exquiDELPO, GIACOMO, a Neapolitan painter, born  site manner. He executed a statue of Lysimain 1709. Little is known of him, though he is  ches, who for sixty-four years was priestess of
said to have excelled in architectural pieces and  Minerva; and also that of garmenes, and a reperspective, and to have painted historical subjects  markable statue of Minerva, which was called the
En a spirited and pleasing manner. He died-at  Musician.
Naples in 1754.                                   DENANTO, FRANCESCO, an Italian wood engraDELSENBACH, JOHN ADAM, a German en-ver, who flourished about 1530, and executed some
graver, who flourished at Vienna, at the commence-  prints in a very spirited and graceful style, among
graver who flourished at Vienna at the commence- e r    i a l      wP e c   fo  hi o       s
ment of the 18th century. He was chiefly em-  which is a large wooden cut, from his own design,
ployed in engraving for the publishers of that city.  representing  hristheaingtheLame  an. Itis
He engraved some of the portraits in the work en-  inscribed  rancus    anto deabandia f
titled Icones Bibliopolarum  et Typographorum,    DENEYN, PETER, a Flemish painter, was born
published at Nuremberg. He also engraved some  in 1597; studied under Esias Vandervelde, in
of the plates for The History of Architecture, with  whose manner he painted landscapes and battle
Views of the most famous Butldings in the World,  pieces, with considerable reputation.
after designs by J. H. Fischers, published at Vien-    DENNEL, Louis, a French engraver, born at
na in 1721.                                     Abbeville in 1741. He studied under Beauvarlet,
DELVAUX, LAURENT. a reputable Flemish  and engraved several plates after Italian and French
sculptor, born at Ghent in 1695. After acquiring  masters, which are executed with neatness and desculptor, born at Ghent in 1695. After acquiring  l         floi    prn  are enumerated as
the elements of the art in his own country he  licacy. The following prints are enumerated as
the elements of the art ri   his own cyears a  worthy of notice: The Triumph of Galatea after
went to Italy, and resided many years at Rome,  Giordano; Pygmalion enamoured of his Statue.
where he practised the art with good suess, and      TGordnph o Pgm alion na   id of his  ue
received various tokens of encouragement and ap-       r      ph  f  antng an   antng  hr
probation from Popes Benedict XIII. and XIV.                          gr
On his return to his native country, he was much  DENNER, BALTHASAR, a German painter, born
employed, and executed, many excellent works.  at Hamburg in 1685, who acquired great repuThe productions of his chisel were rather distin-  tation in his day, but whose only merit seems to
guished for vigor than for grace; and his general  have been in mechanical execution. He was princonceptions were more pleasing than the details.  cipally employed by the princes of Germany, the
He received much patronage and support from   king of Denmark, and George I. of England. He
Charles VI. of Spain, from Maria Theresa and es-  painted in miniature the portrait of Duke Chrispecially from Prince Charles of Lorraine, governor  tian Augustus, Administrator of Holstein-Gottorp,
general of the Low Countries, who was accus-  with so much success, that it established his reptomed to visit his studio.  Among other fine  utation at that court. The Duke also commisworks, are his statue of Hercules, in the archdu-  sioned him to paint a large picture with the porcal palace at Brussels; several statues of David and  traits of himself and family, consisting of twentyothers in the court chapel; and the choir of the  one persons, which he executed to the satisfaction
cathedral at Ghent.  These works and others  of that prince. He introduced his own portrait
evince talents worthy of a distinguished rank in  into this picture. -George I. invited him to Engthe 18th century. He died in 1778.              land, but he succeeded so little to the satisfaction
DELVITO, NIccoLo, a Neapolitan painter, who,  of the king in painting the portraits of two of his
according to Dominici, was born at Naples in 1435,  favorite ladies, that h   not meet with that enand died there in 1496. He was a pupil of Anto-  couragement he anticipated. His fame, however
n  i    He was a pupil of Ant-  rose very high on his exhibiting the portrait of an
nio Solario, whose style he followed. He assist-  ol
ed that master in the execution of some of his    d wman, in which notonly the hairs, the down,
frescos at Naples, and painted portraits and his-  and the glassy humor of the eyes, but the pores
~tory with reputation.~ of the skin, were represented with most scrupulous
tory with reputation.               exactness. The Emperor Charles VI. gave him
DEMARNE, JEAN Louis, a Flemish painter,  600 ducats for this picture, and commissioned him
born at Brussels in 1744. He resided chiefly at  to paint the portrait of an old man to match it, for
Paris, where his merits gained him considerable  a like sum. These pictures were only sixteen ineminence, and he was elected a member of the roy-  ches high and fourteen wide. Denner painted a
al academy in that city. His works consist of  small picture of himself, wife and children, which
landscapes with figures and animals, village fes-  he wrought up to the highest degree of circumtivals, fairs, and subjects from low life. He also  stantial detail, representing not only each particupainted night scenes and battle pieces. Ie treat-  lar hair, but the pores of the skin. This faculty
ed his subjects in a very artistic and pleasing  of imitation, and German patience, constituted the
manner, and his coloring is rich and harmonious.  whole merit of this artist, and gained more apHis works are found in many foreign collections  plause than custom in his day, and no lasting repwhere they are highly esteemed. Some of them   utation. He died in straitened circumstances at
having found their way to St. Petersburgh, they   Hamburg in 1747.
were so much admired, that he received many or-    DENON, DMI        E V      T, B    N, a
ders from that city. He died at Paris in 1829.  celebrated French connoisseur, and an artist of
celebrated French connoisseur, and an artist of
DEMETRIUS, a Greek sculptor, who flourished  great merit, was born at Chalons in 1747. He
about B. C. 348.  Quintilian, in comparing the  was sent to Paris to study law, but preferred deworks of Demetrius with those of Lysippus and  voting himself to the arts, and made some proPraxiteles, seems to reproach him for preferring   gress in painting and engraving. He was honored




DENT.                     256                    DEQU.
with court favor, on several occasions, being sent  ments of the ducal palace with works that entitlel
with an embassy to St. Petersburg, and after-  him to rank among the ablest artists of his time.
wards to Switzerland, at which time he drew a  Denys returned to his native city after an absence
portrait of Voltaire, (engraved by St. Aubin,) and  of fourteen years, where he was received with the
the well-known picture, Le Dejeuner de Ferney.  most honorable distinction, but died soon afterDuring seven years, he occupied a place in the  wards in the prime of life, extremely regretted.
French embassy at Naples.  His residences in  Most of his works are in Italy; but an Ecce Homo
this city, and repeated visits to Sicily and Malta,  which he executed after his return to Amsterdam,
gave him an opportunity of exercising his talent  is considered as a masterly work, approaching to
for drawing and engraving. Denon had the prin-  Vandyck. His works are remarkable for correctcipal direction of the artists engaged in preparing  ness of design, and are executed with great force
the Abbe St. Non's Voyage Pittoresque de Naples  and freedom, with a coloring between the Roman
et de Sicilc, and the text was chiefly taken from   and Venetian schools.
his journal. This elegant work appeared at Paris   DEQUEVAUVILLER, FRANCOIS, a French enin 1788. Denon was universally beloved for his  graver, born at Abbeville in 1745. He was a pugood qualities, and admired for his talents and the  pil of J. Daull6, and executed with the graver
purity of his taste. In 1787, he was admitted to  several landscapes and other subjects, after the
the Royal Academy, on which occasion he pre-  French and Flemish masters, in a very neat and
sented his engraving of the Adoration of the Shep-  pleasing manner. The following are mentioned
herds, after Luca Giordano. During the reign   as worthy of notice: Noon, a Landscape with
of terror, he devoted himself to engraving at Paris,  figures and cattle; and Evening, do., afterBerghem.
having acquired the favor of Robespierre; but af-  A Landscape and cattle, after D. van Bergen. A
terwards perceiving the rising fortunes of Bona-  View of Landeck; A View on the Adige, after C.
parte, he united himself to him. He accompan-  Brad. The Bathers, after C. Poelemberg.
ied that general in his campaigns in Italy and     DERBY                                    
Egypt, and Desaix to Upper Egypt. Here he ex-               WM. an Engl        nter, born at Birmingham in 1786. He studied under Joseph Barecuted the admirable drawings for the great work   mingham in 1786. He tudied under Joseph Baron Egypt, which gained him an immense reputa-  ber of that city; and at the age of 22, he settled at
tion. On returning to Paris with Bonaparte, he  S         G       i  was a tas          t
was appointed general director of the Museums  Storalley, which was a         task of great labor,
and deserves commendation. From this time till
and of all the works of art executed in honor of  and deserves commendation. From this time till
the rFrench successes monuments cox e, the erec-  1825, he practised portrait and miniature painting
the French successes-monuments, coins, the erec-  in the metropolis with considerable success. In
tion of the triumphal pillar in the Place Vendome,  that year he was appointed to make the drawings for
&c. Napoleon was warmly attached to him, con-   Lodge
suled him on all matters relative to the fine arts   "Lodge's Portraits of Illustrious Persons," which
suited him on all matters relative to the fine arts,  office William Hilton, R. A., had resigned. This
and employed him in selecting those master-pieces  artfi  often  ade good copies in watd r colors, of
of art in the conquered countries which were ta-artist often made good copies in water colors, of
ke art n theParis as ed countrophiesn 1815 hich were ta- oil paintings; and he executed, in this style, for
pelled to witness the restoration of the wsp co    the Earl of Derby, portraits of the ancestors of
pelled t6 witness the restoration of the  spEmperor, he retained  the latter, from the time of Henry VIII.  Derby
the latter, from the time of Henry VIII. Derby
After the abdication of'the Emperor, he retained
died in 1847.
his office but was deprived of it in 1815, in conse-                      n                 
quence of his having joined Napoleon on his re-    DERSON, N., a French engraver of whom little
turn from Elba. He retained, however, his place  is known. He was probaBly a native of Reims,
E~ 3J^ c s1in,, b )'kinsm, lrhniqermen%; and was  in Cnampaigne. There is a fine print executed in
engaged for several years in the preparation of en-  the style of Callot, representing the front of the
gravings and lithographs of his splendid collection  church of Notre Dame at Reims, neatly etched
of works of art. He died in 1825.                and finished with the graver. with several spirited
DENTONE, IL. See GIROLAMO CURTI.              figures, inscribed N. Deson, Reim. fe. sculp. 1625.
DENTS, JAMES, a Flemish painter, born at'DERVET, CLAUDE, a French painter and enAntwerp in 1647. According to Descamps, he  graver, born at Nancy, in Lorraine, in 1600. He
first studied under Erasmus Quellinus the elder,  studied under Claude Henriet, and became the inbut while young went to Italy, where he spent  tie friend of Callot, whose style of engraing
some years in copying the works of the best m as-    he imitated. Heengraved some plates after his own
ters,  particularly  of Raaelle, Giulio  Roebmas,  designs, and two others, said to be after Callot, viz:
ters,. particularly  fRaffaelle, Giulio  Romano,   Charles IV., Duke of Lorraine on Horseback, with
Guido, and Titian, and he formed his taste of de-  Charyes, Duke of Lraine   on Horseback, 
sign and coloring from these celebrated masters.  Military Atteribtes; and     s  n   rsebc,
His merit recommended him to the patronage of  wie         a Battle-axe, inscribed C. Dervet fec.;
tb  Duke of Mantua, in whose employment he re-  1628. He also painted portraits and history with
mained some time. The Duke of Tuscany invited  reputation in his native city.
him to Florence, where he painted several histor-    DERYCK, PETER CORNELIUS, a Flemish paintical works for the Palazzo Pitti, the portraits of  er, born at Delft in 1568, and studied under Hathe Grand Duke, and the distinguished personages  bert Jacobsz. usually called Grimani. After leavof his court, which gave his patron so much satis-  ing this master he went to Italy, where he studied
faction that he liberally rewarded him, and present-  the different styles of the most eminent masters
ed him with a gold medal and chain, as a mark of  in Rome and Venice. He finally settled on that
his approbation and esteem. Denys now returned   of Giacomo Bassano, instead of striking out into
to Mantua, to the service of his first patron, with  one of his own, and imitated that master with
whose permission he had gone to Florence, with a  such exactness, that his works have frequently
promise to return, and executed several grand his-  been mistaken by good judges, for originals by
torical paintings, and adorned the principal apart-  Bassano. He resided fifteen years in Italy, execln



DERY.                     257                    DESE.
ting many excellent works, which were highly es-   of Notre Dame, which is an admirable work. He
teemed. But his reputation would have been much  also published several works 6n the arts. He died
greater had he not confined himself to servile im-  in 1822.
itation, for his landscapes are said to have been  DESENNE, ALEXANDRE JOSEPH, a French deadmirably designed, his penciling firm and free,  signer, born at Paris in 1783. He was much emand his figures and animals very spirited.  He  ployed to execute designs for the various publidied in 1630.                                    cations of the day, especially for the works of
DERYKE, WILLIAM, a Flemish painter, born  Rousseau, Voltaire, Moliere, Cervantes, Walter
at Antwerp in 1635.  He was bred a jeweller,  Scott, etc. His designs were highly esteemed for
but quitted that business and bent his attention  their correctness, and excellent composition. He
to painting, but did not arrive at any eminence,  died in 1827.
though he made some proficiency in history and     DESGODETZ, ANTOINE, a French professor
portraits. He went to England in the reign of  of architecture, born in 1653.  He set out for
King William III., and died at London in 1697.    Rome in company with d'Aviler, but both were
DESANI, PIETRO, an Italian painter. born at  taken prisoners and carried to Tunis, where they
Bologna in 1595. According to Malvasia, he was  remained sixteen months, after which they proa disciple of Lionello Spada, under whose able in-  ceeded to  ome, where Desgodetz remained three
struction he made rapid progress, and rose to     ears. Under the auspices of   lbert, he here
great distinction. He resided chiefly at Reggio, and  cmposed his work entitled Les Edices Antique
there is scarcely a church, convent, or public edi-  de Rome, which was published at Paris in 1682,
fice in that city that does not possess some of his  at the expense of the government, and is greatly
works. Among the most esteemed are a picture  praisedfor thecorrectness of the admeasurments.
of the Crucifixion, with the Virgin Mary, Mary  On his return to Paris, he was appointed royal
Magdalene, and St. John, in the Chiesa del Corpo  architect, and in 1719 succeeded M. de la Hire as
di hristo;  and St. Francis receiving the Stigma-  professor of architecture. He then commenced his
ta, in the Church of the Padri Zoccolanti. The  lectures, which he continued till his death, which
compositions of Desani are grand, and his design  occurred in 1728.
and drawing correct, but his coloring is cold and    DESHAYS, JEAN BAPTISTE, an eminent French
hard, which gives his pictures a disagreeable ef-  painter, born at Rouen in 1729. He studied unfect. He died at Reggio in 1657.                 der Colin de Vermont, and subsequently under
DESBARRES, BONAVENTURE, a French paint-  Restout, where he manifested excellent talents,
er, born at Paris in 1700. He painted portraits  and painted a fine picture of the wife of Potiphar,
and history with considerable reputation, but his  which gained him  considerable reputation. In
works display the artificial taste of his time and  1751, he drew the grand prize of the academy, afcountry.                                        ter which he was admitted to the school of Vanloo,
DESCAMPS, JEAN BAPTISTE. This painter  where he remained three years, and produced several fine works, among which was a picture of
was born at Dunkirk in 1714, and studied under    al fine wors, among   ich  as a picture of
Lot and his Daughters. He then went to Rome
his uncle Louis Coypel, after which he visited Pa- Lot and his Daughters. He then went to Rome,
ris, and entered the school of Largilliere. He paint-  andreained there about three  ears. On his reed there a number of good works, and subsequently  tur  he was admitted to the Royal Academy in
settled at Rouen, where he established a school of  1758, on which occasion he painted as his recepdesign. His subjects were generally conversation  tio  piece, Venus pouring over Hector's body a
pieces, and the pleasures of the French peasantry.  divine  essence to guard  him  from   corruption.
When Louis XV. visited Havre, Descamps was em-  This work gained him greatreputatio    Among
ployed to design the principal events of his jour-his other productions are, Jupiter and Antiope;
ney, which were engraved by Le Bas. Descamps  the Martyrdom of St. Andrew; and the Death of
was also a Royal Academician, and has produced       Benedi     he latter hs been highly prse
several admirable works on the arts, especially  fr its vigor and great truth of expression. De
his Vies des Peintres Flamands, Allemands et  hays would undoubtedly have attained a high
Hollandias, 4 vols.. 8vo., Paris, 1753-63. Ie  rank among the artists of his day, had he not
died in 1791.                                    met with an accident, which occasioned his death,
in 1765, at the age of 36.
DESEINE, Louis PIERRE, a French sculptor,    17, at t ge of 36.
born at Paris in 1750. It is not known that he had  DESIDERIO, M., a French painter, who flourany particular instructor. In 1780 he gained the  ished at Naples, aording to  ominici abut 1600.
grand prize of the Royal Academy, and visited   He was very celebrated for his grand perspective
Rome with the royal pension. On his return he  pieces and frescos, and was largely employed in
was received into the Academy, in 1785, and he sub-  decorating the churches. The same author says
sequently executed a group of Bacchus and Hebe,
sequently executed a group of Bacehus and Hebe,  that Belisario Corenzio assisted him in his works,
for the Chateaude Chantilly,which gained for hi   in which he painted the figures.
the appointment of sculptor to the prince of Cond6.    DESJARDINS, called MARTIN VANDER BoHe took no part in the scenes of the Revolution,  OAERT. This eminent sculptor was born at Breda,
being strongly attached to the ancient regime, and  in Holland, in 1640. When quite young, he went
at the Restoration, he was commissioned to exe-  to Paris, and was received into the academy at the
cute the monument of the Duke d'Enghein, which  age of 31, at which time he executed a group of
was completed by Durand, his nephew. Deseine  Hercules crowned by Glory. This work gained
executed many excellent works, among which are  him considerable reputation, and he was soon exthe busts of Louis XVI. and XVII., and Pius VII.;  tensively employed. Among his numerous productwo bas-reliefs of the Passion and Burial of Christ;  tions were, six groups for the church of the Mazaxnd the Mausoleum of Cardinal Belloy, in the church  rin College, representing the fathers of the Greek




DESP.                      258                      DESP.
and Roman Churches; a statue of Diana for the park   he never equalled him. Iis animals are highly
at Versailles; a statue of Louis XIV.; and the   commended.
magnificent monument in the Place des Victoires.     DESPREZ, JEAN Louis, a French painter and
Desjardins also executed four bas-reliefs for the   architect, born at Lyons about 1750. After pracchurch of S. Catherine, representing the Four Car-  tising his profession in Lyons and Paris, he went
dinal Virtues; and a bronze statue of Vigilance for  to Italy, where he resided several years.  While
the church of the Capuchins. He acquired a large   there he executed part of the drawings for the
fortune by the practice of his art, and died at   Voyage Pittoresque de Naples, published by the
Paris in 1694.                                     Abb6 de St. Non.  Gustavus III., king of Sweden,
DESPLACES, Louis, an eminent French en-  having seen Desprez at Rome, engaged him as his
graver, born at Paris in 1682. He engraved a   painter and architect. He accordingly went to
considerable number of plates after the Italian   Sweden, where he acquired a great reputation, and
and French masters which possess great merit.  continued in that monarch's service all the rest
Some of them are executed in the style of Gerard   of his days. He was a man of fine taste and talAudran, and though he is not equal to that dis-  ents, with a fertile and brilliant imagination, and
tinguished artist, yet his drawing is correct and   contributed greatly to a dissemination of correct
his works evince excellent taste, and have a fine   principles and love of the fine arts in that couneffect. He worked with the point and the graver.  try.  There are several of his works in the royal
His best prints are after Jouvenet.  The follow-  palace at Stockholm which are highly commended,
ing are his principal works:                       particularly the Battle of Sevenksund.  He died
SUBJECTS ENGRAVED FOR THE CROZAT COLLECTION.    there in 1804.
Jupiter and Danae; after Titian. Paul Veronese be-  DESUBLEO, or SOBLEO, MICHELE. This
tween Virtue and Vice; after P. Veronese. Wisdom ac-  artist was a native of Flanders, but lived most of
companying Hercules; do. Christ washing the Feet of  his days in Italy. Lanzi says he was educated in
his Disciples; qfter G. Mutiano. The Adoration of the  the school of Guido Reni, whose style he followed
Magi; a~fter Giulio Romano. The Triumph of Titus  very closely.  He painted several pictures for the
and Vespasian; do. The Crucifixion; after An. Caracci.   pait                     ral     es  e
churches at Bologna, particularly in Jesu e MaSUBJECTS AFTER VARIOUS MASTERS.            ia, in the style of his master, with something of
The Martyrdom of St. Peter; after I1 Calabrese. The  the force of Guercino. He afterwards went to VenPurification; after Tntoretto. Diana and Acteon; after  ice, where he resided the rest of his life, and exeBirth of Adonis    a      fter C. Cgnani.  The Roman Chari-  cuted some works for the churches and cnnts
Birth of Adonis; cafter C. Cignani.  The Roman Charity; after LeBrun. Hercules combating the Centaurs;  of that city.  One of his finest pieces is a Cricido. Christ curing the Sick; after Jouvenet. The Eleva-  fixion in the church of the Carmelites.
tion of the Cross; do. The taking down from the Cross;    DETIANUS  an  eminent Roman architect
do. St. Bruno praying; do  Venus prevailing on Vulcan     ourished about A D 125 unr chtet,
to forge the Armsof.Eneas; do. The Triumph of Venus;..                               der th  reign
after Ant. Coypel. Cupid taking Refuge with Anacreon;  of the Emperor Adrian.  He was greatly in fado. AEneas saving his Family from the Burning of Troy;  vor with that monarch, who confided to his mando.                                                agement the most important works that were done
DESPORTES, FRANCIS, an eminent French paint-  at Rome. Detrianus restored the Pantheon, which
er of hunting pieces and animals, born at Cham-          erected by Agrippa, and still remains at Rome,
pigneul in 1661. According to D'Argenville, he  but has undergone frequent alterations in the inwas a scholar of Nicasius Bernaert, an eminent  terior.  The simplicity and elegance of its portico
Flemish painter of similar subjects, who had stud-  cannot be sufficiently commended; the only fault
ied under the celebrated Snyders. Bernaert died   ever attributed to it is the height of its pediment,
the tympanum of which was once filled with a
before his pupil had made very great progress,  the tympanum of which was once filled with a
but without any further instruction, he applied   bronze bas-relief.  It is in front octastyle, and
nimself with great assiduity to the study of na-  consists in the whole of sixteen columns, the shafts
ture, not only to landscape and animals, but to the   each of a single block of granite.  This portico is
figure in the Academy. Heroseto greateminence   110 feet in extent; the bases and capitals are
in the branch he made his particular study, and   Corinthian, of white marble, as well as the enpainted every variety of hunting scenes to the   tablature and pediment.  Detrianus also restored
life-huntsmen, game and animals correctly drawn   a number of fine old works, among which were
and full of characteristic expression.  He was  the Basilica of Neptune, the Forum of Augustus
S  and the Baths of Agrippina.  He erected a magprincipally employed by Louis XIV., who appoint-  and the Baths  of  Agrippina.  He erected a maged him his painter, and gave him a pension. He   nificent temple, dedicated  to  rajan.  His most
executed a great many works for that monarch,  important works, however, were the vast Mauso
representing every species of the chase, which            of Adrian, and  the bridge  Elius, now that
adorned the royal palaces at Versailles, Fontain-  of St Angelo, which was ornamented with a high
bleau and Meudon. In 1699 he was elected a  covering of brass, supported by forty-two columns,
member of the Royal Academy at Paris. He af-  terminated at the top by as many statues. He reterwards went to England in company with the   moved the temple of the goddess Bona; also the
French ambassador, the Due D'Aumont, where   bronze Colossus of Nero, 120 feet in height. Inhe received considerable employment from the no-  this diffcult task  he employed twenty-four elebility.  He also painted flowers and insects with   phants, and efected it without changing the erect
equal truth.  He died in Paris in 1743.            posture of the statue. His sovereign Adrian, erected a vast number of edifices in Gaul, among which
DESPORTES, CLAUDE FRANCIS, son of the pre-  was the Basilica Plotina, the most superb buildceding artist, born at Paris in1696, and died in1774,  ing in that country. He then went to England,
aged 78.  He was instructed by his father, whose  and erected a wall from  Eden in Cumberland to;.ste and style he followed with reputation, though   the Tyne, in Northumberland, a distance of eighty




DEUT.                      259                    DEWI.
miles, to defend the province from the incursions  ture of Lord Cornwallis receiving the two sons
of the Caledonians. In almost every province of  of Tippoo Saib as hostages. He returned to Engthe empire, Adrian founded new cities, rebuilt  land in 1795, where he painted several popular Engthose which had been destroyed, and repaired the  lish subjects which gained him considerable repmore ancient. In these works, he must necessa-  utation. The principal of these are: Babington's
rily have employed other architects besides De-  Conspiracy. Archbishop Langton showing the
trianus, but their names have not come down to M/agna Charta to the Barons. A Portrait of
us. He finished and embellished the famous tem-  Lord Nelson.  The Death of Nelson on board
pie of Jupiter Olympius, which was begun six  the Victory.  The Death of the Princess Charcenturies previous; also a Pantheon, with a dip-  lotte. Stanley says that "Devis, as a historical
teral portico, decastyle, of Corinthian columns, a  painter, was equal, if not superior, to any of his
triple porch, and double on the flanks. He re-  day, had circumstances conduced to bring his powbuilt Jerusalem, and called it AElia Capitolina,  ers into play."  Yet Cunningham, in his Lives of
after the name of his family. He erected a thea-  Eminent British Artists, does not mention his
tre, and various heathen temples, using the stones  name. He died in 1822.
of the Jewish temple, and placed a statue of Ju-    DE WIT. See WIT.
piter on the spot where Christ rose from the dead;    DEWINT P, an Engish painter in water colalso one of Venus on Mount Calvary. Finally, he  o born in 1783.  Ie was adistinguished memreturned to Tivoli, and erected the magnificent  br  of t       e ol  d Society of Painters in  ier-dolors;
villa, which is still the admiration of travelers.    ber of the old Society of Painters in Water-colors;
villa, which is still the admiration of travelers and for a period of forty years, his drawings formDEUTSCH, NICOLAS MANUEL, an old Swiss  ed one of the most attractive features in their expainter and wood engraver, born at Berne, accord-  hibitions.  His subjects were usually landscapes
ing to Sandrart, in 1484. His pictures are very  of a very simple character, which were treated in
rare; his prints are more sought after than his  a free and masterly style, and with great faithfulpictures, and are only found in the richest cabinets.  ness. He died in 1849.
His most remarkable work was a set of six prints,    DEYNS JAcQUES a Flemish painter, born at
representing the Wise and Foolish Virgins, very   Antwerp in 1645.   e studied under Erasmus
scarce, executed in a slight free style. His works  Quellinus and afterwards visited Ital  for imother prints  e has executed the following: A           sl that he was mployed toecute a numFigure of a Woman standing; to the cipher he has  ber of works for the edifices of Mantua and Floadded, VON BERN; and a Composition of several  rence. His style was entirely Italian, and was
female ftiures with the cipher, 1518. h
female figures with the cipher, 1518.            much admired by that people.  His compositions
unde Drnt h   case, teorHT.                were ingenious and abundant, his design pure and
Bu E   D    _IiLoJJ or  ~                   correct, and his coloring warm and vigorous. He
r    o n  DEUTSCH, ro-  he died in 1704. 
~"~  _11 ~r*DOLPHUS MANUEL, a Swiss wood engraver, probably son of the    DEYNUM, JOHN BAPTIST   VAN, a Flemish
preceding. There are some wood cuts dated about  painter, born at Antwerpin 1620. He was em548, executed in a free and spirited manner, and  inent as a painter of portraits in miniature.   e
possessing great merit, which Professor Christ  also excelled in painting historical subjects and
attributes to this artist from the monogram com-  landscapes in water-colors, which he executed with
posed of the letters R. M. H. D., with a dagger  so much neatness, judgment, and taste, and with
underneath. In this case, the H. designates his  such delicacy of touch, exquisite finish, and bar
country, Helvetia, or Switzerland.  Sometimes  monious coloring that they were greatly admire'
the initials H. H. are founcdon prints marked with   The Emperor of Germany and the King of Spa:
the above monogram, which has given rise to the  patronized this artist, and bought most of his peJ
supposition that Hans Holbein executed some  formances. He died at Antwerp in 1669.
cuts. in conjunction with this artist. M. Strutt    DEYSTER, Louis, a Flemish painter, born at
mentions some prints of animals, and one with   Bruges in 1656, and studied under John Maes.
three figures conversing, in a landscape, marked  He went to Italy, where he diligently studied the
as above mentioned.                              antique, and the best masters for six years, when
DEVIS, ARTHUR, an English painter, born at  he returned to his native country, and soon rose
Preston, in Lincolnshire, about 1708, was a pupil  to distinction. He painted many pictures for the
of Peter Tillemans. According to Bryan, he set-  churches at Bruges, which distinguish him as one
tied in London, and painted portraits, mostly in  of the ablest artists of his time. His composismall whole-lengths, and conversation-pieces with  tions are judicious, his design correct, and his colreputation. He died in 1787.                     oring glowing and transparent, with the carnations
DEVIS, ARTHUR WILLIAM, wr English histori-  resembling Vandyck. His works partake more of
-al painter, son of the preceding, was born in 176    the Italian, than the Flemish school. In the church
and received instructions in the art from  his fa- f St. James at Bruges, are three fine pictures by
ther. Ile made rapid progress, obtained a medal  this artist, the Crucifixion, the Resurrection, and
from the Royal Academy at an early age and  the Death of the Virgin; and in the church of S.
in his twentieth year was appointed draughts-  Anne, the Martyrdom of St. Sebastian, which are
man by the East India Company, to accompany   highly esteemed.  He died in 1711.
Captain Wilson, in the Antelope, in a voyage round  DEYSTER, ANNE, daughter of the preceding
the world, which vessel was wrecked. He after-  artist, born at Bruges in 1696. She possessed
wards went to Bengal, where he painted the pic-  good talents, was instructed in the art by her fa



DIAM.                      260                      DIAS.
ther, and acquired considerable reputation.  She   Baruffaldi. he studied under Benvenuto Tisio, in
executed several works for the churches at Bru-  whose style he painted history and other subjects.
ges, in the style of herfather.  She also painted   He also mentions a fine altar-piece by him  in the
landscapes with success. She died in 1746.         church of the Madonna at Ferrara.  His tomb is
DIAMANTINI, CAV., GIUSEPPE, an Italian   also in the same place.
painter and engraver, born in Romagna in 1660.        DIAS, PEDRO  MORANTE, a Spanish painter
It is not mentioned under whom he studied.  He  who, according to Bermudez, flourished at Madrid
resided chiefly at Venice, where he rose to great  about 1630. He painted small historical pictures
distinction, both as a painter and engraver.  He   in good taste; but birds, animals, and ornaments
composed and painted with great facility.  In the  were his best subjects. He wrote a work on art, enchurch of San Moise, is a picture by him, repre-  titled Instruccion de losprincipios, 4c., and he was
senting the Adoration of the Magi, admirably exe-  denounced to the Inquisition as a sorcerer, because
cuted.  He is better known by his engravings, of  he wrote with both. hands with equal facility.
which he has left a considerable number, princi-     DIA     DIEG   VLENTIN, an emient Spanish
pally etchings from  his own designs, well courn-                                      died there in
posed and executed in a free and graceful manner.  painter, who lived at Valladolid    died here
1660. He executed many works for the churches
Thefollowing are his best prints, generally mark-  1660. He executed many works for the churches
The follwi  are hs bt ntis, ge ally mar-  and convents of that city. He acquired consideed Eques Diamantinus, in fn.                       rable wealth, and founded the House of Mercy, or
The Holy.Family, with St. John holding a Cross. Hta-  Hospital for Orphans, which is a fine edifice, and
gar in the Desert; oval. The dead Christ, supported by which he painted in perspective in excellent style.
an Angel. The Death of Dido; octagon. Venus, Ceres,style.
and Apollo. Mercury and Flora. The Fall of Phaeton. He was buried in this building, and a monument
Mercury and Argus; octagon. Venus and Adonis; do.  erected to his memory.  The portraits of himself
Another Venus and Adonis; different composition. Mars  and wife are placed above his tomb.
and Venus. Diana and Endymion. The Sacrifice of Iphigenia. Boreas carrying off Orythia. Justice and Peace.    DIBUTADES, the founder of the school of
Eight emblematical subjects of different sizes. Also, the   Sicyon, from which many of the most famous artMarriage at Cana; after P. Veronese,               ists of antiquity issued.  He is said to have been
DIAMANTE, FRA,an Italian painter, born at Pra-  a potter, and to have invented the art of modeling.
to, in Tuscany, about 1390. He studied under Filip-  Sicyon has been styled the Mother of the Arts.
po Lippi, and followed his style.  He became a   Sicyon, Egina, Corinth, and Athens were the first
monk, and afterwards painted many works for the   seats of commerce and the arts in Greece.
different churches of Florence, particularly several  DIEPENBECK, ABRAHAM  VAN, an eminent
in the church del Carmine, which were much ad-  Flemish painter, born at Bois-le-Duc in 1607.  He
mired. This artist may be placed among those  seems first to have practised painting on glass,
who assisted in the establishment and improve-  which he is said to have carried to a higher degree
ment of modern art, and, as such, deserves great  of perfection than any of his time.  Some of his
credit. He died about 1440.                        performances in this line are still admired in AmDIAMER, H. F., a Flemish engraver, who exe-  sterdam, particularly the windows in the Cathecuted a series of plates of scriptural subjects in   dral, on which he painted the Works of Mercy;
the style of Sebastian le Clerc, which have con-  and those of the church of the Dominicans, which
siderable merit.  He also engraved some portraits  are embellished with representations from the Life
after Vandyck and others, and flourished in the   of St. Paul. He abandoned glass painting; devolatter part of the 17th century.                   ted himself to designing and oil painting; went to
DIANA, BENEDETTO, an eminent Venetian paint-  Itay in search of improvement; and afterwards
er, who, according to Ridolfi, flourished in the lat-   tudied under Rubens, whose style he adopted.
ter part of the fifteenth, and first part of the six-  Hi genius was great, his invention fertile, and his
teenth centuries. He excelled especially in archi-execution rapid and spirited. He imitated Rubens
tectural pieces, and found cnsiderable employ-  closely in design and coloring, and he had an exment in the churches of his native city. Lanzicellent knowledge ofchiaroscuro. He settled in
says his altar-piece of St. Lucia, in the church of   Amsterdam, where he found abundant employSS. Apostoli, and a picture in the college of the Li-   t; for such was the elegance of his design, and
mosina de' Confratelli di San Giovanni, approach  the rapidity of his execution, that the publishers
the style of Giorgione.  The latter was painted   continually applied to him  to furnish designs for
in competition with Cav. Gentile, and Giovanni  their works. Hisgreatestproductions inthisline
Bellini.                                           are the illustrations for the celebrated work, The
Temple oj'f the Muses, in which he has discovered
DIANA, CRISTOFORO, an Italian painter, born   Temple of te Muses in which he has discovered
at Sin, the Friuli, in 1553.n p ainter, brn   a readiness of invention, and a clear conception of
at San Vito, in the Friuli, in 1553. Lanzi makes  his subjects, which are alone sufficient to establish
honorable mention of him, but records no partic-  his reputation as one of the ablest artists of his
ulars of his life. He studied under Pomponeo   country.  This very employment, however, injured
Amalteo, who gave him every advantage. At the   his reputation as a painter, by diverting too much
age of twenty, he executed a portrait of Oristilla     his attention to designing. He visited England
of his attention to designing. He visited England
di Parstinago, which shows an excellent knowledge   durin  the reign of Charles    and was empoyed
of his art.  In the principal church at San Vito,  b  the Dke of        castle   making desins elo
is a picture by Diana, representing the Crucifixion,  by the Dke of Nemans      making designs for
a book on horsemanship. Diepenbeck executed a
which is probably his master-piece, as no other  considerable number of paintings which are highly
work of his is cited which combines such correct-  est                     e Aump     of te  irness of design and beauty of coloring.             esteemed, particularly the Assumption of the Virgin, in the church of the Carmelites at Antwerp.
DIANTI, Gio. FiANCESCO, was born at Fer-  Descamps says there are several of his works in
rara aRut 1510, and died in 1576. According to  the church of the Recollets in that city, equal to




DIEP.                       261                      DIET.
Vandyck, which doubtless is too high  praise.  abroad do not appear to have changed his style,
Several pictures (said to be genuine) by this mas-  which is purely German. His chief talent conter, were brought to the United States some years  sisted in a fanciful imitation of Rembrandt, Osago, and sold as originals by Rubens. for enormous   tade, and Poelemburg; nevertheless, he had much
prices.  One of these, the Mocking of Christ, was   original talent.  His pictures are usually of cabicertainly an admirable performance.                  net size, well designed, and exquisitely finished,
DIEPRAAM, ABRAHAM, a Flemish  painter,  with a coloring peculiarly his own, in which he
born at the Hague in 1665.  He studied succes-  greatly excelled.  He painted scriptural and histosively under Dirk Stoop and Henry Martin Rokes,  ical subjects and landscapes equally well.  As an
called Zorg.  He also attached himself to Adrian   engraver, Dietrich  acquired a great and wellBrower, whose style of design, penciling, and   deserved  reputation.  He  has left about two
coloring he adopted; and, unfortunately, whose   hundred etchings from his own designs, which are
dissipated habits he contracted, which destroyed   executed in a very neat and. spirited manner, and
his prospects, blotted a name that might have been  like his pictures, mostly in the style of other emibright from the list of Flemish painters, and early   nent masters.  Some  of his prints have, become
ended his days in poverty and wretchedness —for   exceedingly scarce, in consequence of his custom
he is said to have possessed extraordinary talents,  of destroying the plates after taking of a certain
and bid fair to have equalled Brower himself.        number of impressions.  The following are his
DIES, GASPARD, a Portuguese painter, who   pincipal prints:
flourished about 1525. He early manifested a                          PACRED SUBJECTS.
strong inclination for art, and attracted the notice   Lot andhis Daughters; scarce. Abraham going to sa
of Dong Emanuelnat   who  sent himdattrad to me fortim-  crifice Isaac, 1730; scarce. The same subject differently
of Don Emanuel, who sent him to Rome for im-  composed; very scarce. The Nativity. 1740. St. Philip
provement.  Here the young artist entered the   baptizing the Eunuch. The Adoration of the Shepherds;
school of Michael Angelo, and executed many ex-  in the style of Rembrandt.  The Circumcision,  The
cellent works, which were much admired at Rome.  Flight into Egypt. Another of the same subject, differOn his return to Portugal he painted, by order of   ently composed. The Repose in Egypt, 1732; scarce.
the king, a number of excellent pictures for vari-  Another Repose in Egypt. 1734. The Return from Egypt.
Christ found disputing with the Doctors. 1731. Our Savous churches and other edifices; and, in 1534, he  iour healing theSick. The Prodigal Son. The Resurrecpainted his celebrated picture of the Descent of the   tion of Lazarus; in the style of Rembrandt. The taking
Holy Spirit, for the church of the Miseracordia.  down from the Cross; in the same style; scarce. 1730.
He died at Lisbon in 1571.                           Another of the same subject differently treated; in the
style of Rembrandt. 1742. The Disciples at Emmaus;
DIEST, ADRIAN VAN, a Dutch painter, born   extremely rare; the plate destroyed. Christ appearing to
at the Hague in 1655. He was instructed in the   Magdalene; unfinished. 1760. The Predication of St.
art by his father, who was a marine painter. He   James. 1740. St. Jerome writing. 1731.
went to England when he was seventeen years of                       VARIOUS SUBJECTS.
age, where he was employed by Granville, Earl of       Famine and Pestilence, 1731; very scarce. Nero on
Bath, for whom he painted several views on the   his Death-bed, tormented by Furies and the Shade of his
coast of Devon and Cornwall   Pilkington says   Mother; scarce. Jupiter and Antiope, 1735; one of his
coast of Devon and Corn.    P o       best etchings; scarce. The Artist in his Painting Room.
this artist possessed fine talents, which only want-  1730. The same subject with variations. 1732.  The
ed the advantages of study abroad, and proper en-  Quack Doctor; in the style of Teniers. 1732. The Huncouragement, to have raised him to eminence. His  garian Quack Doctor; 1757. The ambulant Musicians;
best works have great clearness and transparency   in the style of Ostade. The picture by him is in the Nain the coloring, an admirable perspective, fine skies,  tional Gallery. The Alchymist in his Laboratory; in the
style of Rembrandt, 1731; scarce.  Twenty plates of
uncommon freedom in the clouds, and an agreeable   Busts and Heads; chiefly in the manner of Rembrandt.
harmony pervading the whole.  Asaproof of his   About Thirty-six plates of Landscapes, in the styles of
merit, Lord Orford states that Sir Peter Lely   Berghem, Breemberg, Claude Lorraine, Ruysdael, and
had seven of his pictures in his collection.  But, as   Salvator Rosa, and in his own manner.
he had a family to support, and met with little        DIETTERLIN, WENDELIN, a German painter,
patronage, he was obliged to disregard fame, ac-  and a writer on architecture, born at Strasburg
cept of any commission he could get, and work ac-  about 1540. Jean Scheffer, in his work entitled
cordingly, so that there is a great disproportion in   Graphices seu de arte Pigendi, p. 78, says that
his works. He etched some landscapes from  his  he was the discoverer of pastel painting; but Fuown designs, which possess considerable merit. He   seli has attributed it to Wendelin Dieterich, whom
died in London in 1704.                              he has confounded with Dietterlin.  V. Wynn, a
DIETEL, CHRISTOPHER and F. A., two engra-  poet of Strasburg, celebrates his reputation in
vers of Vienna, probably brothers, who -were   high terms. He published a treatise on Architecemployed mostly by the book publishers.  They   ture at Strasburg, in 1593, containing 209 plates,
engraved conjointly a set of plates representing   and afterwards reprinted at Nuremberg.  He died
the Fountains of Rome.                               in 1599.
DIETRICH, or DIETRICY, CHRISTIAN WIL-                DIETZSCH, JOHN CHRISTOPHER, a German
LIAM  ERNEST, a German artist, born at Wiemar,  painter and engraver, born at Nuremberg in 1710.
in Saxony, in 1712.  He learned the first principles   He painted landscapes with reputation, and enof art from'his father, an obscure artist, and after-  graved a number of plates in the manner of Wawards studied under Alex. Tiiele, a landscape paint-  terloo, which, though more finished, are far infeer.  He made such progress, and exhibited such   rior to that master in picturesque simplicity.talents, that the king of Saxony sent him  with   Among these are a set of sixteen landscapes, dea pension to Italy, where he resided about four  signed in the manners of Ruysdael and Waterloo,
years, chiefly at Rome and Venice, when he re-  and executed in the style of Waterloo, and the
turned, and  settled  at Dresden.  His studies   portraits of Raffaelle and Correggio.




DIET.                     262                    DION.
DIETZSCH, JOHN ALBERT, the brother of the  cert with Glaucus some of which were sent tf
preceding artist, was born at Nuremberg in 1720.  Elis.
He painted landscapes, battle-pieces, fruit, flowers,    DIONYSITJS, a Greek painter, a native of Coloand portraits. He also engraved about twenty  phon, who flourished about B.. 412. He was a
views in Nuremberg and its vicinity, published in  cotemporary and imitator of Polygnotus, whose
1760. Some of his landscapes have been engraved  style he followed with the utmost servility. There
by Prestel.                                     was another painter of this name, who flourished
DIEU, ANTOINE, a French painter, born at Pa-  at Rome, and gained great reputation for his adris in 1662. He hurried his works so much that  mirable portraits.
they are very defective, and deserve little commen-    DIOSCORIDES, a famous ancient Greek endation. Jean Arnold has engraved some of his  graver on precious stones, who flourished in the
pictures, the best of which is Louis XIV. seated on  time of Augustus. The arts in his time had fallhis Throne. Dieu died in 1727.                   en much into decay in Greece, and Dioscorides esDIMO, GIOVANNI, a Venetian painter, extolled  tablished himself at Rome, where he attained great
by Vasari, who flourished at Venice about 1660.  eminence in this branch. He engraved a portrait
Boschini also speaks of him as a reputable artist,  of the emperor Augustus, which excited great adbut Lanzi says he can not find any of his works,  miration, both for its purity of design, and the exor commendations of him by other authors.        quisite fineness of the work. He also engraved a
DINARELLI, G)IULIANO, a Bolognese painter,  portrait of that emperor on a seal. There is an
who, according to Malvasia, was born in 1629, and  amethyst in France, on which is engraved a head
of Solon with the name of Dioscorides in Greek
died in 1671. He was a pupil of Guido, but does   f Solon, with the name ofDioscorides in Greek
not seem to have gained much distinction.        characters; but the authenticity of this and many
other works of a similar character may well be
DINOCRATES, a Macedonian architect, who,  doubted, as imitators have arisen in modern times,
according to Vitruvius, proposed to Alexander to  whose skillful execution will deceive even the concut Mount Athos into the form of a giant, holding  noisseur.
in his right hand a city, and in his left a shell    DIOTISALVI, an old Italian architect who
from which all the rivers collected in the mountain            t,  t  hoe irthlace i 
were to be discharged into the sea. This plan may  flourished about 1150, but whose birth-place is unwere to be discharged into the sea. This plan may  known. Hi principal wor is the Baptistery of
be seen in Fischer's History of Architecture.  Ac-   isa wic h  co    nced in 1152, ad finished
cording to Pliny, Dinocrates founded the city of  i eiht ye. This w     is n hndr   f  in
which was a work of great importance.  in eight years. This work is one hundred feet in
lexandrialls, which are eight and a
It is believed that he rebuilt the temple of Diana  half feet thick. It is one hundred and seventy
at Ephesus, and another at Alexandria, in honor  feet in height, and is constructed of marble, with
of Arsinoe, sister and wife of Ptolemy Philadel-  two orders of Corinthian columns.
phus. The whole interior was to have been incrusted with loadstone, in order that an iron statue    DIPENOS and SCYLLIS, two very eminent
of the princess might be suspended in the centre;  Greek sculptors, were brothers, natives of the
but at the death of Ptolemy the idea was aban-  island of Crete, and flourished about B. c. 540.
doned. Dinocrates also directed the obsequies of  They are supposed by many writers to have been
Hephaestion, which cost 12,000 talents.          the sons of Daedalus; though Pausanias only mentions them as his disciples. These artists were the
pDINOrwENES, f  or DINOMEDES, a Greek  first who employed marble in sculpture, and they
sculptor, who flourished about B. C. 400.  Pliny   are also distinguished as the founders of the celementions him as one of the celebrated artists of  brated school o  Sicyon. Their works were all
his day, and attributes to him a statue of Pytho-  executed in concert. The people of Sicyon invited
dorus, and that of Protesilas, the first of the  them to their city, to execute several statues of
Greeks who sprang upon the Trojan shore, where  the gods; but some disagreement arising, the arthe was killed by Hector. He also executed the  ists left the works imperfect, and retired to Etolia.
statues of Ino and Calisto, placd& in the Acropolis  Soon after however the city experienced some
at Athens; and many other works, among which,, the cty experienced some
at Athens   ad may other works, o    nic   great calamity, and, on consulting the oracle, the
the most remarkable was a statue of Besantdes,  people were told that it was because the sculptors
queen of the Paeonians.                          had not finished these statues. By dint of press
DIOLAI. See SURCHI.                            ents and entreaties they were induced to return,
DIONYSIUS, a native of Rhegium, in Magna  and the statues were soon completed. They used
Grecia, now Italy. He was the first sculptor who  Parian marble, and executed a large number of
executed a statue of Homer. He cast it in bronze   works for various cities, among which was a statue
and from it were taken numerous portraits of the  of Minerva at Cleone; the statues of Castor, Polfathers in verse, which are mentioned by Pliny as  lux, Anaxis, and Mnasinos, at Argos; and a statue
being common in his time. Of these there still re-  of Hercules, at Tirynthus. Their school produced
main two exquisite examples.                     many eminent disciples, among whom  were Tecteos and Angelion, who executed the statue of
DIONYSIUS, an eminent Greek sculptor, who   Apollo at Delos; Learchus of Rhegium, who
flourished about B. C. 160. He was the.son of  made a statue of Jupiter in bronze, at Chalcis;
Timarchides, and the brother of Polycles. In   Doryclidas, Dontas, Theocles, and others.
concert with the latter, he executed a statue of Juno, which in the time of Pliny, was in the temple  DIRICKSEN, D., a German engraver, who reof that goddess at Rome; also a statue of Jupiter  sided at Hamburg about 1690. IHe was chiefly
in a neighboring temple. There was another  employed by the publishers, and he engraved some
sculptor by this name, who flourished at Argos,  portraits in a neat style, resembling that of Passe.
about B. C. 484, and executed many works in con-    DISCEPOLI, GIOVANNI BATTISTA. an Italian




DITM.                      263                     DOCE.
painter, born at Lugano in 1590, and studied un-  lieved his necessities, and generously recommend.
der Camillo Procaccini. H& is usually called il  ed him to Charles I., who took him  into his emZoppo di Lugano, from  his having been a cripple.  ployment, and, on the death of that great artist,
Lanzi says he was an able designer, and one of   appointed him his serjeant-painter, with a pension
the best and chastest colorists of his time.  There  of ~300 a year.  He painted several portraits of
are several of his works in the churches of Luga-  the king, at Oxford; also the portraits of the
no, Como, and Milan, which are highly esteemed.  Prince of Wales, Prince Rupert, and several of
Lanzi particularly commends a picture represent-  the nobility.  King Charles complimented him
ing Purgatory, in the church of S. Carlo at Milan,  with the title of the English Tintoretto.  On the
and an altar-piece in the church of S. Teresa at  fall of that monarch, Dobson also fell, and died in
Como.                                              a distressed situation in 1646. " Of the painters
DITMER, or DITMAR, a Flemish engraver,  of his time, Dobson," says Bryan, "approached
who flourished in the latter part of the 16th cen-  nearest to the excellence of Vandyck." Sir Joshua
tury.  Huber says he engraved some plates after  Reynolds also speaks of him as one of the greatMartin de Vos, and other Flemish masters, but he  est artists England has produced.  His touch was
does not specify them.  There is a print by him,  bold and free, his coloring warm and harmonious,
after Michael Coxcie, representing Christ in the   and, though inferior to Vandyck in the gracefullouds, surrounded by Angels holding the Instru-  ness of his figures, yet he gave a life, dignity and
ments of the Passion, with the Animals symboli-  truth to his portraits which has seldom been surcal of the Four Evangelists, dated 1574.           passed. His works are highly esteemed, and are
to be found only in the public galleries, and the
DIXON, JOHN, an eminent English mezzotint  to be foundry in tepu    galleries and the
DIXON, JOHN, an eminent English mezzotint  collections of the nobility of England.  Specimens
engraver, who executed a number of fine portraits  may be seen in the superb galleries at Wilton
of distinguished personages, after Sir Joshua Rey-  Belvoir Chatsworth, Blenheim  Stowe, Windsor,
nolds and other masters, among which the follow-       o        sworth,  lene       t        indo,
Chiswick, Devonshire House, Castle Donnington,
ing are the best:
After Reynolds.-Mary, Duchess of Ancaster. Francis  Alth, 
Conway, Earl of Hertford. William, Duke of Leinster.    DOCENO.  See CRISTOFORO GHERARDI.
1775. Henry Herbert, Earl of Pembroke. The Countess    DOES, ANTHONY VANDER, a Dutch engraver,
of Pembroke, with her son, Lord Herbert. CharlesTown-  born at the Hague in 1610. He wrought with the
shend, Chancellor of the Exchequer.                graver, in the style of Paul Pontius, of whom he
After other masters.-William Beckford, Lord Mayor  is supposed to have been a pupil; and, though inof London; ad vivum del. 1771. Henry, Duke of Buc-  fer
cleugh, with Lady MaryScot fondling a Dog; after Gains-    ior to him, his works have considerable merit.
borough. 1771. Mr. Garrick in the character of Richard   He engraved some of the plates for the work enIII.; after N. Dance.                              titled, Portraits des hommes illustres dans le
DIZIANI, GASPARO,a native of Belluno, who   17me siecle, published at Amsterdam.  He also
studied under Sebastiano Ricci, and became an emi-  engraved some portraits and other subjects, after
nent artist.  He was noted for his skill and facility  the Flemish and Dutch masters among which are
in executing large theatrical pictures and decora-      following:
tions, and found considerable employment in Italy                      PORTRAITS.
and Germany in this branch of the art. Lanzi    Ferdinand, Cardinal-Infant of Spain, Governor of the
says he was also an excellent composer of pictures   Low Countries, on Horseback; in the background is the
for private ornament, some of which are to be  Battle of Nortlingen; after A. Diepenbeck.  Gerard
found in the collections at Rovigo. He died in  Coch, Senator of Bremen; after A. van Halle. George
found in he"ollctins  t  H    didi   Wagner, Questor of Eslingen, Plenipotentiary at the Peace
1667.                                              of Osnaburg; do. The Marquis of Castello Rodrigo; afDO, GIOVANNI, a Neapolitan painter of the17th  ter Rubens. Francis de Mello, on Horseback; in the
century, who studied under Spagnoletto, and fol-  back-ground a Battle.
lowed his style.  He excelled particularly in color-        SUBJECTS AFTER VARIOUS MASTERS.
ing, and produced many fine pictures, which re-    The Magdalene; after Vandyck. A Miracle wrought
semble the style of Spagnoletto more than the   by St. Francis; after A. Diepenbeck. The Virgin and
works of any other of his scholars, and the half-  Child; after Eras. Quellinus. The Holy Family; do.
length portraits of Giovanni Do have been taken      DOES, JACOB VANDER. the Elder, was born at
for the productions of that master. His best  Amsterdam in 1623. He studied under Nicholas
work is a Nativity, in the church della Penitentia,  Moyaert, and at twenty-one years of age went to
at Naples.                                         Paris, and from thence proceeded to Italy, where
DOBSON, WILLIAM, an English painter, born   he resided several years, mostly at Rome, studyat London in 1610. Pilkington says that he pos-  ing with great assiduity the scenery and ruins near
sessed such talents and genius that he only want-  that city, and designing therefrom.  The works of
ed proper encouragement, and the advantages of  Peter van Laer being in great estimation in Italy,
study abroad, to have raised him to the highest ex-  he attached himself to the style of that master
cellence.  Yet he had the patronage of Charles I.,  with considerable success.  He was diffident of his
and the advantage of studying the magnificent col-  own abilities, and often displeased with his work
lections which that monarch had gathered in his gal-  after he had exerted his utmost ability, and unforleries at Whitehall and St. James, consistingof 1,387  tunately being of a morose, fretful, and melanpictures, by the greatest masters of every school.  choly disposition; he imagined that his genius was
(See Hand-Book of the Public Galleries of Art  not appreciated, and quarrelled with all his acin and near London, by Mrs. Jameson, p. 193.)  quaintances, so that he was compelled to return to
Vandyck, seeing some pictures by this artist ex-  his own country. The only friend who did not quit
posed for sale in a shop window, sought him  out,  him was Karel du Jardin; yet these two painters
and found him living in a miserable garret, re-  were as opposite in their styles as they were in




DOES.                     264                    DOES.
disposition, for du Jardin loved to paint Nature    DOESIURGH, J., a Dutch engraver, who flour.
in her loveliest and most cheerful mood, while  ished about 1680, and etched and finished with
vander Does robed her in melancholy shades.  the graver some plates in a coarse and indifferent
And this is the fault of his works; for while they   style, among which is a plate representing Admiclaim our admiration for the choice of his scenery,  ral von Tromp engaging the English fleet, and sevthe correctness of the design' of his figures and   eral plates of Roman customs.
animals, especially his sheep and goats, which are  DOFIN, OLIVIER, a French engraver, who actouched with a precision and beauty of pencil that  cording to Basan, went to Italy, and settled at
has hardly been surpassed, yet the coloring is too   Bologna, where he died in 1693. He engraved
dark for the subjects, and as Descamps observes,  some plates after Caracci and other Italian masseems to partake of the gloominess of his charac-  ters.
ter. Vander Does, after his return to Holland,
married a lady of fortune, and acquired considera-    DOLABELLA, TOMMASO, an Italian painter,
ble wealth by his profession. His pictures are  was born at Belluno, about 1579. According to
said to have brought higher prices before than   Ridolfi, he was a pupil of Antonio Vasilacchi. He
after his death, though some of them  are works  painted historical subjects with reputation, but he
of extraordinary merit.  He also etched some  greatly distinguished himself as a portrait paintsmall landscapes, with figures, cattle, and animals,  er to which branch he mostly confined himself.
in a free, masterly, and painter-like manner. which   He was invited to the court of Poland by Sigisare highly esteemed. He died at Amsterdam, in   mond III., where he painted the portraits of the
1673.                                            Royal Family, and the principal personages of the
DOES, SIMON VANDER, the eldest son of the  court, and was favored with the especial protection
DOES, SIMON VANDEB, the eldest son of the
preceding artist, was born at Amsterdam in 1653.  of that monarch, who appointed him his painter.
The time of his death is not recorded.
He was instructed in the art by his father, whose  The time of hs death    not recorded
subjects, style. and manner of painting he adopt-    DOLCE, or DOLCI, Luzio, a native of Castel
ed, but with a more cheerful and pleasing tone of   Durante, in the State of Urbino, flourished from
coloring. He went to Friesland, and from thence   1536 to 1589. Little is known of this artist,
to England, where he resided about a year; but,  though his works are highly commended. He
failing to find adequate employment, he returned   seems to have studied at Rome, where he resided
to his own country, and settled at the Hague,  for some time, and executed many excellent works.
where he met with abundant employment,-but  He was employed by the Duke of Urbino to paint
he is said to have led a miserable life, being con-  the Imperiale. Colucci says that he painted many
stantly involved in his circumstances and de-  altar-pieces and other pictures for the churches in
pressed in his spirits, by the extravagance of his  his native city and other places. He also says
wife, who squandered all he could earn. His land-  that his grandfather, Bernardino D., and his ascapes are extremely pleasing, and though the tone  ther, Ottaviano D., both excelled in fresco painting.
of his coloring rather inclines to yellow and brown,    DOLCI, CARLO.  This painter was born at
yet there is such correctness of des;:^  in his fig-  Florence in 1616, and studied under Jacopo Vigures, cattle, and animals, such freedom and ele-  nali. Without the possession of much genius or
gance of touch, agreeable distances, pleasing forms  invention, he acquired a great and lasting reputation
of his trees, transparency and delicacy of coloring,  not for greatness of his design, but for a class of
and such a look of nature, that his works must  subjects admirably adapted to his pencil, and which
always be valuable. He also painted small por-  he treated in a style peculiarly his own. These
traits and domestic subjects in the style of Gaspar  were chiefly confined to heads of the Saviour
Netscher.  After the death of his wife, this artist  and the Virgin, and to Madonnas. His works
lived a very retired life, and died poor in 1717.  were distinguished for their appropriate composiHe also etched a few landscapes from his own de-  tion, and- expression, for their pleasing coloring,
signs, in a neat and spirited manner.            improved by a Judicious management of the chiaroDOES, JACOB VANDER, the Younger, the second  scuro, which gives his figures a surprising relief
son of the Elder, was born at Amsterdam in 1654.  for the graceful air of his heads, and for their general
After receiving his first instruction in the art, he  harmony and exquisite finishing. The soft and
studied under Karel du Jardin till that master  tranquil expression of resignation or devotion in
went to Rome, when he quit landscape painting,  the patient sufferings of Christ, the plaintive sorbecame the disciple of Gaspar Netscher and after-  row of the Mater Dolorosa, the compunctious
wards sought improvement with Gerard de Lairesse,  visitings of conscience in his Magdalens, are all
under whose instructions he made great proficiency  treated with great delicacy and tenderness. His
in historical painting. He was very assiduous, and   pencil was delicate, his touch inexpressibly neat,
it is said that when he had spent three or four  and his coloring transparent. He has been cenweeks upon a picture, if he was not satisfied with  sured for bestowing immense labor on his works,
his effort, he destroyed it, and commenced the  and for giving his carnations more of the apsame subject anew. M. de Graaf recommended   pearance of ivory than of flesh. In his manner of
him to the patronage of M. Hemskirk, ambassador  working, he was remarkably slow, and it is reportfrom the States of Holland to the king of France,  ed of him that his brain was affected on seeingLuca
whom he accompanied to Paris, and while the most  Giordano despatch more work in four or five hours
flattering prospects were before him, he died in the  than he could have done in as many months. He
bloom of life in 1691. He had already produced   generally painted in small size, though he executed
some works which gained him great reputation at  some works of the size of life, the principal of which
home, and it is supposed that had he lived to have   are the St. Anthony in the Florentine Gallery, the
executed the numerous commissions he had already   Crucifixion in the collection of the Marchesi Rireceived from the nobility at Paris, he would have  nuccini, and the St. Sebastian in the Palazzo Corwon a distinguished reputation.                  sini, and the Four Evangelists in the Palace of the




DOLE.                      265                    DOME.
Marchesi Riccardi.  There is a fine picture of  portraits of eminent personages in a poor, tasteless
Christ breaking bread in the collection of the Mar-  style.
quis of Exeter, and a Virgin, with flowers painted  DOMENECH, ANTONIO, a Spanish painter,
by Mario da Fiori, in the Pembroke collection at            Valencia about 1550. According to BerWilton. His half-length figures of the Saviour,  born at Valencia about 1550. According to BerWilton. His half-length figures of the Saviour,  mude, he studied upder Padre Nicolas Borrs,
the Virgin and of Madonnas, are more numerous  wom he assisted in his works and whose manand are more admired. He had a daughter, named  whom he assisted in his works and whose mannd a        re more amired    e had  a athe art, and who  ner he so closely imitated, that his pictures are all
Agnes, whom  he instructed in the a   and I ho  attributed to that master, even in his native city
painted very beautifully in the style of her father,  of Valencia.
and copied some of his works. Many of his small
pictures were also repeated by his pupils, Loma    DOMENICHINO. The real name of this great
and Mancini. The works of Carlo Dolci have been  artist was DOMENICO ZAMPIERI, but he is generalso successfully copied and imitated that it is a well  ly known by the diminutive of his christian name,
known fact that there are more pictures in the  not only among Italian, but foreign authors. He
public and private collections of Europe, esteemed  was born at Bologna in 1581, and received his first
genuine by him, than he could have executed had  instructions from Denis Calvart, but having been
he painted one every day of his life. He died in  treated with severity by that master, who had dis1686.                                            covered him making a drawing after Annibale Caracci, contrary to his injunction, Domenico preiP]3 or  lor B          DOLENDO,  BARTHO-  vailed upon his father to remove him from  the
i  JL I l LOMEW, a Dutch en-  school of Calvart and place him in the Academy
graver, was born at Leyden about 1566. He is  of the Caracci, where Guido and Albano were then
supposed, from his style, to have studied under  students. The great talents of Domenichino did
Henry Goltzius. He worked entirely with the gra-  not develop themselves so early as in many other
ver in an open, clear style. He engraved some  painters. He was assiduous, thoughtful, and cirplates after his own designs, as well as after the  cumspect, which his companions attributed to
Dutch and Italian masters, among which the fol-  dullness, and they called him the Ox, but the inlowing are the best. He occasionally marked his  telligent Annibale Caracci, who observed his faculprints with his name, but more frequently with  ties with more attention, testified of his abilities by
one of his monograms:                            saying to his pupils, "this Ox will in time surJonas in the Sea, swallowed by the Whale; circular.  passyou all, and be an honor to the art of paintJonas thrown back on the Sea-shore; the same. A Dutch  ing."  It was the practice of this celebrated school
Merry-making; after his own design. Adam and Eve  to offer prizes to the pupils for the best drawings,
taking the Forbidden Fruit; after C. van Mander. Christ  to excite them to emulation, and every pupil was
appearing to Magdalene; B. Dolendo, inv. et fec. The  obliged to hand in his drawing at certain periods.
Holy Family; after M. Coxcie. St. John preaching in      was not long after Domenichino entered this
the Wilderness. Pyramus and Thisbe; after Crispin
vanden Broeck. Jupiter and Ceres; an allegorical sub-  school before one of these occasions took place,
jeot; after B. Spranger. The Assumption of the Virgin.  and while his fellow students brought in their
D                  ZACHA. Th        works with confidence, he timidly approached and
orr7                     3        a DOLENDO,ZACHARY.   This  presented his, which he gladly would have with_J  -alh~au      4 artist was probably abroth-  held.  Lodovico Caracci, after having examined
er of the preceding, as they were both natives  the whole, adjudged the prize to Domenichino.
of Leyden, and cotemporaries.  According to   This triumph, instead of rendering him confident
Huber, he was a pupil of James de Gheyn. He  and presumptuous, only stimulated him to greater
far surpassed Bartholomew D. in the execution   assiduity, and he pursued his studies with such
of his plates and in the correctness of his design.  patient and constant application, that he made
Some of his portraits are not inferior to those of  such progress as to win the admiration of some of
J. Wierix. His plates are usually marked with  his cotemporaries and to beget the hatred of others.
a monogram of his initials, as above. The fol-  He contracted a friendship with Albano, and on
lowing are some of his best prints:              leaving the school of the Caracci, they visited toWilliam, Prince of Orange; half-length, in Armor; Z.  gether Parma, Modena, and Reggio, to contemplate
Dolendo. 1581. Andromeda chained to the Rock; finely  the works of Correggio and Parmiggiano.  On
drawn; from his own design. Adam and Eve embracing,  their return to Bologna, Albano went to Rome,
whilst Eve receives the Apple from the Serpent; after B.  whither Domenichino soon followed him and comSpranger.  The Continence of Soipio; after A. Bloem-  menced his bright career. The Cardinal Agucchi
aert. The Virgin and Infant, with Two Angels;  after J.  was the first who favored him with his patronage,
du Ghein. The Crucifixion; do. St. Martin  dividing
du Ghein. The Crucifixion, do. St. Martin divid  was the first who favored him with his patronage,
his Cloak with two Beggars; after Spranger. A set of  doubtless through the recommendation of Annismall Plates of the Gods and Goddesses; copied from the  bale Caracci, and he employed him  in his palace,
larger ones by Henry Goltzius.                   and commissioned him to paint three pictures for
DOLIVAR, JUAN, or JOHN. This artist, ac-  the church of S. Onofria, representing subjects from
the life of St. Jerome. At this time Annibale Cacording to Huber, was born at Saragossa in 1641.                                       Annibale 
He studied engraving at Paris. He engraved some  racci was engagedon his great works in the Far
of the plates of ornamental and decorative subjects  nesian Gallery at Rome, ndhe employed Domenfor Berain's Ornaments. He also engraved some  ichino to assist him. and he executed a part of
of the plates representing the conquests of Louis  them  from  the cartoons of te Caracci. He also
them from the carto()ns of the Caracct. He also
XIV. His works are compared to those of le
XIV. His works are compared to those of lepainted       in the  loggia in   the garden, from his own dePautre and Chaveau, though inferior to both.     signs, the Death of Adonis, in which he represented
Venus springing from  her Car to succor her unDOLLE, WILLIAM, an English engraver of little  fortunate Lover.  The health of Annibale Carnote, who flourished about 1630, and was chiefly  acci having been declining for a considerable time,
employed by the booksellers.  He engraved a few   and becoming daily more impaired, he was comn




DOME.                     266                     DOME.
pelled to refuse many commissions which were  Judith with the Head of Holofernes; David playoffered him, but he had the satisfaction of procu-  ing on the Harp before the Ark; Solomon and his
ring them for his scholars. It was thus that Guido  mother Bathsheba seated on a throne: esteemed
and Domenichino were engaged by the Cardinal  among his finest works.  Soon afterwards he
Borghese to paint the celebrated frescos in S. Grego-  painted the Four Cardinal Virtues in the church
rio, of which the Flagellation of St. Andrea by   of S. Carlo Catenari, which were admirably enDomenichino is so justly celebrated. The Cardi-  graved by Gerard Audran. Domenichino was now
nal Farnese next employed him to paint some  invited to Naples to paint the chapel of St. Janfrescos in a chapel in the Abbey of Grotto Ferrata,  uarius. He executed one of his most admired
where he executed several subjects from  the life  works in the Palazzo della Torre, representing the
of St. Nilo; one of these, representing the cure of  Dead Christ supported on the knees of the Virgin
a demoniac, is considered one of the finest produc-  surrounded with Mary Magdalene and others.
tions at Rome. He was soon afterwards employed  But he soon encountered such rancorous jealousy
by the Cardinal Aldobrandini to decorate his villa  that his life was in danger from poison and the
at Frascati, where he executed in fresco ten pic-  stiletto, and for safety he prepared his food with
tures of the History of Apollo, which greatly in-  his own hands. His life was also so embittered
creased his reputation. The next work of Dom-  that he threw up his commissions, quitted Naples
enichino was his famous Communion of St. Jerome,  in disgust, and returned to Bologna, where he died
painted for the principal altar of S. Girolamo della  in 1641, aged 60 years.
Caritt, a work which has immortalized his name.    Perhaps no artist has gone through the fiery orThis admirable performance was accounted, next  deal of such severe criticism as Domenichino, and
to the Transfiguration of Raffaelle, the finest pie-  certainly no one has suffered less in his reputation.
ture in Rome. It was taken to Paris by Napo-  It had been foretold by his early friend and patron,
leon, returned by the Allies, and it has since been  the Cardinal Agucchi, that the great merits of
copied in mosaic to preserve so grand a work, the  Domenichino would not be appreciated till after
original having suffered greatly from the effects of  his death; and while some more modern writers
time.  The reputation which Domenichino had  have not hesitated to declare that he possessed litacquired had excited the jealousy of some of his  tie genius, and that he was a copyist and a mancotemporaries, and the applause bestowed upon  nerist, the most judicious critics have done amthis work, served only to increase it. Lanfranco  pie justice to the merits of this extraordinary
in particular, one of his most inveterate enemies,  painter.  He is universally esteemed the most
asserted that the Communion of St. Jerome was  distinguished disciple of the school of the Caracci;
little more than a copy of the same subject by   the Count Algarotti does not hesitate to rank him
Agostino Caracci, at the Certosa at Bologna, and   before those great masters, and Niccolo Poussin
he employed Perrier, one of his pupils, to make an  considered him  the first painter after Raffaelle.
etching from the picture by Agostino. But this  i The distinguishing excellence of the works of Dostratagem, instead of confirming the plagiarism,  menichino is expression, in which he stands undiscovered the calumny, as it made it evident that  rivalled since the time of Raffaelle. His design,
there was no resemblance between the two works  like that of the great painter just named, is pure
than must necessarily result in two artists treat-  and grand, often approaching to the sublime; his
ing the same subject, and that every essential part,  compositions are studied and appropriate, and his
and all that was admired was entirely his own.  heads are full of grace and beauty. His forms are
If it had been possible for modest merit to have  selected from  the most perfect models, designed
repelled the shafts of slander, the work which he  with great elegance and correctness, and impressed
executed immediately afterwards in the Church   with a character peculiarly belonging to his works.
of S. Lodovico, representing the life of St. Cecilia,  The back grounds of his pictures are frequently
would have silenced the attacks of envy and ma-  enriched with noble architecture, in which he exlevolence; but they only tended to increase the  celled. In fresco painting, few have equalled him.
alarm of his competitors, and excite them to re-  His oil paintings have been criticised as having an
doubled injustice and malignity. Disgusted with  appearance of dryness, and wanting in effect, but
these continued cabals, Domenichino quitted Rome,  some of his works, as the Communion of St. Jeand returned to Bologna, where he resided several  rome, the Martyrdom  of St. Agnes, St. Cecilia,
years in the quiet practice of his profession, and   &c., are executed with a full pencil, and are admiexecuted some of his most admired works, particu-  rably colored. No better proof can be desired of
larly the Martyrdom of St. Agnes, for the church   his great merits than the fact that upwards of fifty
of that Saint, and the Madonna del Rosario, both  of his works have been engraved by Gerard Auof which were engraved by Gerard Audran, and  dran, Raffaelle Morghen, and other famous entaken to Paris and placed in the Louvre by order  gravers, and that many of them have been freof Napoleon. The fame of Domenichino was now   quently repeated.
so well established that intrigue and malice could  DOMENIUE, JEAN, arench pinter who
not suppress it, and Pope Gregory XV. invited him   went to Italy and studied under Claude Lorraine
back to Rome, and appointed him principal painter  whose style he successfully imitated. He resided
and architect to the pontifical palace. The Cardinal Montalto employed him to decorate the vault  chiefly at Rome, where he died in 1684.
of S. Andrea della Valle, where he represented the  DOMENIQUE, ALEXIS.  This painter was
Four Evangelists with angels in such a masterly  called the Greek, from his birth-place in one of
manner that they were the admiration of Italy and  the islands of the Archipelago. He visited Venice
the studyof artists. He also obtained new triumphs  at an early age, where he studied under Titian,
in the chapel of Cardinal Bandini in the church   and followed his style in so admirable a manner,
of S. Sylvestro, in the Quirinal, where he paint-  that his pictures passed for the works of that mased four pictures, queen Esther before Ahasuerus;  ter. He practised the art at Venice for several




DOME.                      267                    DONA.
years with great reputation, but for some unac-  great poverty.n London in 1801. In 1765, he obcountable reason he changed his style. This soon  tained the premium from the Society for the engreatly diminished his reputation, and he left Italy  couragement of the Arts, &c., for a drawing of the
for Spain, and resided at Toledo, where he resumed   Tent of Darius, and also in 1768, for two pictures
the style of Titian, and painted a number of excel-  in enamel, representing the Death of Dido, and
lent works, especially some pictures in the church-  Hero and Leander. Pilkington says that he exees of Toledo, which are greatly admired.  This  cuted pen and ink sketches after the old engravers
artist is said to have practised sculpture and archi-  so accurately as to deceive the best judges, which
tecture, as well as painting; and he exercised the  is questionable, but he etched several plates of begthree arts in a church of Toledo, which was erect-  gars after Rembrandt, which possess great merit.
ed from his designs, and which he entirely or-    DONATELLO, or DONATO, an old Florentine
namented with paintings and sculptures. He es-  sculptor, born in 1383. He studied under Lorenzo
tablished a successful academy, which produced   de Bicci, and was the first who forsook the stiff
several excellent scholars; and he composed and   Gothic manner, endeavoring to restore to sculpture
published several works on the theories of the  the grace and beauty of the antique. He was much
three arts. He died at Toledo in 1625.            patronized by Cosmo de Medicis and his son Pietro.
DOMER, DOOMER, or DEMER, JAN, a Dutch   The Venetian republic also gave him a commission
painter, who flourished about 1680. He was so  to execute a bronze monument of her general; Erasclose an imitator of Rembrandt, that some of his  mo Narin, at Padua. Among his chief works were
landscapes have been attributed to that master.  four statue on the bell-tower of the cathedral at
He is better known by his drawings, which are  Florence; one of which, representing an old man
quite numerous in Holland, where they are high-  in a senatorial dress, known by the name of Zucly esteemed for their simplicity, and truthfulness  cone, he regarded as his master-piece. The statues
to nature.                                        of St. Peter, St. Mark, and St. George, made for
DOMINGO, DON LUTS, a Spanish painter and  the church of S. Marco in Orto, are also celebrated.
sculptor, born at Valencia in 1718. According to   He died in 1466. His brother, Simone, was also
Bermudez, he studied painting under Hippolito Ro-  a sculptor of some eminence. Among other works,
bira, and sculpture under Battista Balaguer. There  he executed one of the bronze gates of St. Peter's,
are several of his pictures in the convent of the   and the tomb of Martin V., in the church of S.
Dominicans at Valencia, executed in a reputable  John of Lateran, at Rome.
manner. There are also some of his works in         DONATO, BERTOLO, a Venetian painter, was
sculpture in the churches of his native city, where  born in 1540, and died in 1601. He painted hishe died in 1767.                                  tory with considerable reputation. His subjects
DOMINICI, BERNARDO, a Neapolitan painter,  are well designed, his style correct, and his colorwho flourished at Naples about 1740. He studied  ing good. There are some of his works in the
landscape painting under J. F. Beisch, who was  collections in his native city.
then residing at Naples, whose style he adopted     DONATO, LuIGI, DE', was a native of Como,
with success. He also painted conversation-pieces  and studied under Civerchio. Lanzi says there
and scenes from low life. He is better known as  are some of his altar-pieces in his native city, one
the author of a work entitled Vite de Pittori,  of which is dated 1510.  He was a reputable
Scultori ed Architetti Napolitani, in two vols.,  artist.
published at Naples in 1742 and 1743.               DONATO, a Venetian painter, who, according
DOMINICI, FRANCESCO. This artist was a na-  to Ridolfi, flourished at Venice in 1459. He studtive of Trevigi, where he died about 1530, aged 35.  ied under Jacobello del Fiore. He surpassed that
According to Ridolfi, he was an artist of promise,  master in point of style and coloring, and there
and executed in the dome of the great church of  are one or two of his altar-pieces still preserved
his native city, a picture representing an eccle-  at Venice.
siastical procession, which he highly commends.    DONATO, ZENO, a painter of Verona, who, acHe also excelled in portraits,                   cording to Orlandi, flourished about the middle
DONADO, HERNANDO ADRIAN, a Spanish paint-  of the 16th century.  Lanzi says there is a picture
er, and a monk of Cordova, who flourished about  by him in the church of S. Marino at Rimini, re1610. Pacheco mentions him as an eminent ar-  presenting the titular saint, painted with singutist, and Palomino asserts the same, citing a pic-  lar care. It displays great simplicity of compoture of the Magdalene penitent, which he says  sition, good design, and excellent coloring.  He
might be ascribed to Titian. This work was exe-  seems to have belonged to the golden period of
cuted for the convent of which Donado was a  art, and it is known that he left other works at
member, in which are most of his works, among  the same place.
others, a fine picture of the Crucifixion. He was   DONCKER, PETER, a Flemish painter, was
rarely satisfied with his own productions, and his  born at Gouda in 1612. He first studied under
friends had frequently to interfere, to prevent him   Jacob Jordaens, and then went to Italy, where he
from destroying his works. He died, at an ad-  resided seven years, chiefly at Rome, carefully
vanced age, in 1630.                             studying the antiques, and the works of the best
DONALDSON, JOHN, a Scotch painter, was  masters. On his return to his native country he
born at Edinburgh in 1737. He only deserves  painted history with so much reputation that he
mention as a warning to others, for though he  found abundant employment from persons of the
possessed uncommon natural talents, he neglected   highest rank. He died in 1668.
to cultivate them, and instead of attending to his  DONCKER, JAN, a Dutch painter, born at
profession, fooled away his time in vague theories  Gouda in 1610. He was prematurely cut off in
about politics, morals, and religion, and died in  early life; but his great abilities are attested by an




DOND.                     268                    DONN.
admirable picture by him in his native city, which  ter, and Lanzi says some of his portraits are sinis painted with so much freedom of pencil and vigor  prising for their truth and vigor of coloring.
of coloring, that it looks more like the work of   There are some of his works in the Chiesa degli
an experienced professor than that of a young  Angeli at Assisi, and a picture of the Last Judgartist.                                         tnent in the church of S. Francesco at Perugia.
DONDOLI, ABATE, a painter of the Roman           DONNABELLA. See GENTILON.
school, who flourished at Spello in the beginning  DONNE, W., a Dutch engraver of little note,
of the 18th century. According to Lanzi he was  who lived about 1680, and executed, among other
an able designer, but an indifferent colorist.   prints, a plate representing Venus and Cupid, in a
DONDUCCI, GIo. ANDREA, called IL MASTEL-landscape, afer  zheimer.
LETTA, was born at Bologna in 1575, and died    DONNER, RAPHAEL, an Austrian sculptor, born
in 1655. According to Malvasia, he possessed a  about 1680. He visited Italy, where he studied
natural genius for the art, but, unfortunately, be-  the works of the great masters, and on his return
ing impatient of the precepts of the Caracci, in  to his native country he executed a number of exwhose school he studied, he neglected to ground  cellent works, which were especially distinguished
himself well in the art, so that he was unequal to  for their correctness of design. His principal prothe task of designing the naked figure, and far  ductions are a fountain in the new square at Vienfrom being capable of producing any masterly work.  na, and the statue of Charles VI. at the villa BreiHis method was therefore short, and wholly intent  tenfort. Donner died in 1740.
upon powerfully arresting the eye. He loaded his    DONNINI, GIROLAMO, was born at Correggio,
pictures with shadow in such a way as to conceal  in 1681. He studied successively under Francesco
his outlines, and opposed to his shadows masses of  Stringa at Modena, Giuseppe Soli at Bologna, and
light sufficiently strong, thus disguising his inac-  Carlo Cignani at Forli. He was a good artist, and
curacies of design, and sacrificing the good opinion  was considerably employed by the churches.of judges to gratify the multitude by a display of  There is an altar-piece in the church of the Maapparent novelty. He however gained considerable  donna de Galiera at Bologna, and there are some
reputation, and a good deal of patronage from the  of his works in the churches at Turin, and in the
churches at Bologna and other cities. He alsopaint-  Romagna, said not to be unworthy of the school
ed many works for the public edifices and palaces of  of Cignani. His best works, however, are his
the nobles. He painted landscapes in a better style,  easel pictures, which he executed in a masterly
which are to be found in many galleries, where  manner. He died in 1743.
they are often attributed to Annibale Caracci,    DONNINO, AGNOLO  DI, a Florentine fresco
who, while at Rome, strongly recommended Don-  painter, who studied under Ghirlandaio. He was
ducci to confine himself to this branch of the art,  one of the Florentine painters chosen by Michael
a course that was no way agreeable to him. When  Angelo to assist him in the execution of his great
advanced in life, he was induced, by the applause  works in the Sistine Chapel at Rome
bestowed on the clear open style then prevalent,                     n   inn       ni     i
to abandon his legitimate method for the new one,  born  SO, JOSEF, a in m16 He  Spatudi   painter,
but meeting with a total failure, he entered him-  bntCon                    He  stuied t 
self a friar, first among the Conventuals, and af-mentsof art under his father a painter of some
terwards with the Canons of S. Salvatore. Lanzi  reputation, and then entered the school of Francissays this artist exerted a powerful influence on  co Fernandez at Madrid, after which he went to
Rome. He remained there six years, and on rethe sect of the Tenebrosi, (Shadowists) who after-  Rom     He remained there six years, and on r
wards spread themselves throughout Lombardy  turningto Spain, he entered  the  school of Juan
and the Venetian states. The following are among  Carreno, called the  panish Titian, from his excelhis principal works at Bologna: The Assumption  lence in coloring. Palomino says that Donoso atand the Death of the Virgin in the Madonna dellataied great reputation, and that his works were
Grazie; the Adulteress before Christ, in S. Pro-  considered equal to those of P. Veronese.   e execolo; the Last Supper, one of his best works, in  cuted a large number of works for the churches
the Refectory of the Franciscans; the Flight into  and public edifices of Madrid, among which are
Egypt with a fine landscape in the Mendianti;  those in the Convent de la Victoire. viz.: The Canand  t. Irene drawing the Arrow from the breast  oonization of St. Peter of Alcantara; six large
of St. Sebastian at the Celestini.               pictures from the Life of St. Benedict; the Conception; the Last Supper, etc. He also wrote an
DONGEN, DIONYsius  VAN, a Dutch painter,  excellent treatise on architecture and perspective.
was born at Dort in 1748. He first studied with   He died in 1686.
J. Xavery at the Hague, and painted landscapes    DONZELLI, PIETRO and POLITO, two Neapoliand cattle in the style of his master for some time.  tan painters and architects, brothers, who studied
He afterwards went to Rotterdam, where he care-  painting under Solario, and acquired a great repufully studied the works of Paul Potter  Cuyp,  ttion in their time. According to Zani, Polito
Wynants, and other masters, by which means he  was born in 1405, and died in 1468; and Pietro in
became an admirable painter in the line of those  1412, and died in 1470. They distinguished theangreat masters, and his works are highly esteemed, selves by their paintings, both in oil and fresco
not only in his own country, buChinY G~etreeman) | selves by their pain   tings, both in oil and ftesco,
not only in his own country, but in Germany,  and they excelled in their architectural ornaments,
France and England. He died at Rotterdam  in  and in painting friezes, trophies, and other subjects
-"~~~~~~~1819.  ~in chiaro-scuro, so as to give them the appearance
DONI, DONE, or0 ADONE, an Italian painter,  of bassi-relievi, an art which it is supposed they
born at Assisi in 1472. He studied under Pietro  were the first to practice, at least in Naples. They
Perugino, whom he greatly excelled. His style is  were much employed in decorating the churches
nearly free of the dry, gothic manner of his mas-  and public edifices at Naples, and they painted sev



DONZ.                     269                     DORI.
eral large pictures in the palace of Poggio Reale,  from his own designs, but mostly after Vouet
for King Ferdinand. Pietro also excelled in por-  They are etched in a free, bold, and spirited style,
traits; and a few years ago, on the destruction of   but there is a degree of harshness in the effect of
some of his works on a wall in the palace of the  his prints, from a heavy darkness in the shadows,
Dukes of Mantalona, some of his heads were re-  which renders them disagreeable to the eye. He
moved with the greatest care, and preserved for  died at Paris in 1665. The following are his printheir excellence. They studied architecture under  cipal plates:
Giuliano da Majano. At the death of that mas-    The Hbly Family; dated in 1649. The Nativity. The
ter, they finished several edifices which had been   Adoration of the Magi; in four sheets; in the manner of
commenced by him. They erected also a number  a frieze. Jupiter giving Apollo the conduct of the Chariot
of excellent works from their own designs, among   of the Sun. Apollo killing the Python. Peace descendwhich is the magnificent Caraccioli palace of the  ingon the Earth. Venus at her Toilet. Venus, Cupid,
princsofSant Bunoiteqand Hope, plucking the Feathers from the Wings of Time.
princes of Santa Buono, in the square of S. Gio-  Mercury and the Graces. The Rape of Europa. A set of
vanni at Carbonara.                               six Bacchanalian sabjects; from his own designs.
DONZELLI, PIETRO, a native of Mantua, who         DORIGNY, Louis, an eminent French painter
studied under Carlo Cignani, and followed his  and engraver, the son of the preceding, was born
style. There is an altar-piece by this artist in the  at Paris in 1654. Having lost his father at the
Cathedral at Pescia, representing St. Carlo admin-  age of ten years, he entered the school of Charles
istering to the sick of the plague, executed in the  le Brun. At the age of seventeen, he competed
manner of his master.                             for the grand prize of the Royal Academy; but,
DOORNIKr, JAN VAN a Dutch painter, born  as he obtained only the second, he refused to acDOORNIK, JAN VAN, a Dutch'painter, born  cept the medal, and immediately went to Rome at
at Leyden, who is said to have successfully imita-    own expense. Aftr remaining there four years,
td Wouwerman.  He also pinted history and   his own expense. After remaining therefour years,
ted Wouwerman.  He also painted history and   he executed the grand altar-piece for the Feuillants
portraits. Nothing definite is known of his life,  he executed the gaind him gret repu tation, and
de Foligno, which gained him great reputation, and
or at what time he flourished.
plenty of employment.  He afterwards visited
DOORT, P. VAN, a Dutch engraver of little  Venice, where he remained ten years. In 1704 he
note, who wrought entirely with the graver, and  returned to Paris, and would have been chosen an
was a poor imitator of Cornelius Cort. His best  Academician, had it not been for the intrigues of
work is a plate after Bernardino Passari, repre-  Hardouin Mansard, which he did out of revenge
senting a Holy Family, with St. Elizabeth present-  for an engraving -executed by the father of Doing an apple to the infant Jesus.                 rigny, which satirized Frangois Mansard. He
DORA, JOSEPH, a painter of Bavaria, was born  immediately returned to Italy, and in 1711 was
in 1759. He studied in the galleries at Munich,  invited to Vienna, where he decorated the palace
in 1759. He studied in the galleries at Munich,
Vienna, and Dusseldorf. He acquired great ce-of Prince Eugene with many excellent works.
lebrity for his wonderful talents as a copyist. Hehe it of Prague also possesses many of his
is said to have copied the works of Francis Mieris,  prductons. Butthe work which does him mos
Gerard Douw, Terburg, Teniers, Vander WVerf,  honor, is the cupola of the Cathedral at Trent,
and other eminent Dutch and Flemish masters,  which he painted in fresco. As an engraver, he
with such accuracy of tint and touch as to deceive  ecuted about forty plates, etched withgreat freethe best judges.                         e        dom and spirit.  The following are the principal:
A set of thirty-two Plates, with the Title; from his own
DORBAY, FRANCOIS DE, a reputable French   designs, engraved for an Italian edition of the Peores
architect, who flourished at Paris about 1670. He   Chretiennes, by Pere Bouhours. Six subjects from Ovid's
studied under Louis Levau, who employed him to   Metamorphoses. Five Emblems of Horace. A View of
superintend the erection of the College des Quatre  the Amphitheatre at Verona. The Descent of the Saracens
Nations, and the Palace des Beaux Arts. After  atthePortof Ostia; after Rcfaelle.
the death of the latter he was commissioned to      DORIGNY, SIR  NICOLAS.   This celebrated
erect, from the designs of Levau, the palaces of   engraver was the younger son of Michel Dothe Louvre and the Tuilleries. He designed a  rigny, and was born at Paris in 1657. He was
number of edifices, among which were the convent  educated for the bar, and practised that profession
and church of the Capuchins, in the Place Ven-  till he was thirty years of age, when he turned his
dome;  the Church des Premontres a la Croix  attention to the arts, and went to Italy, where he
Rouge; and the Hotel des Comediens Franl ais.  resided upwards of twenty years. He first atHe died in 1697.                                  tempted painting, but by the advice of his brother, he soon directed his attention to engraving.
DORDONI, ANTONIO, an Italian engraver on   His earlier works are executed with the point, but
precious stones, born at Bussetto, in the State of  his later productions he united the point and
Parma, in 1528, and died at Rome in 1584. Hisand
Parma, in 1528, and died at Rome  in 1584. His  graver, and taking Gerard Audran for his model,
works are very scarce, and highly esteemed for  he obtained a great celebrity for the beauty and
their exquisite beauty and finish.  The finest are  excellence of his works. The French justly esteem
in the Duke of Devonshire's collection.           him as one of their greatest engravers; and, alDORIGNY, MICHEL, a French painter and en-  though he does not equal Gerard Audran in the
graver, was born at St. Quintin in 1617. He stud-  purity of his drawing, or in the picturesque effects
ied under Simon Vouet, whose daughter he mar-  of his lights and shadows, his prints will always
ried. He painted history with reputation, in the  be esteemed, not only for their merit as engravings,
style of Vouet, and there are some of his works  but for the admirable subjects he selected. In
in the castle of Vincennes. He was, however,  1711, he was invited to England, to engrave the
more celebrated as an engraver, to which he after-  cartoons of Raffaelle, which occupied him eight
wards mostly directed his attention. He engraved   years. He finished them in 1719, on which occaa considerable number of plates, some of them   sion King George I. conferred on him  the honor




DOSI.                       270                      DOSS.
of knighthood.  He returned to Paris in 1724,  happened had he been born in 1490.  Dosso studwhere he died in 1746, at the great age of 89 years.  ied under Lorenzo Costa. and on leaving that masThe following are his most capital prints:           ter, he and his brother Gio. Battista went to Rome
and Venice, in which cities they passed eleven
Nine plates of the Seven Planets, and the Creation of  earsn d ligen ing the works o the  p ed eleve
the Sun and Moon; after the paintings by Rafizaelle, ing the works of the best
the Chigi chapel, in la Madonna del Popolo. The Car-  masters.  They thus formed a style of their own,
toons; after Rffaelle; in eight plates, including the title.  distinguished for originality of design, and great
Twelve, of the History of Cupid and Pysche, and the Tri-  harmony of coloring.  They  appear to- have
umph of Galatea, including the title; after the paintings  wrought mostly in conjunction, though, according
from the designs of Ralfaelle in the little Farnesian Galle-  wrouht mosty i  coutio, thvough, accordin
ry. The Transfiguration; after Raaelle. The taking,                               wer  very dieren
down fromthe Cross; after Daniello da Volterra.  St.  Dosso is said to have excelled in figures, in which
Peter and St. John healing the Lame Man at the Gate of   Gio. Battista was less successful, but he distinthe Temple; ajfer L. Cigoli. The Martyrdom of St. Se-  guished himself for his landscapes, in which Lobastian; after Domenichino. St. Petronilla; aJter Gu-  mazzo considers him  little inferior to Gaudenzio,
ercino. St. Francis kneeling before the Virgin and In-  Pordenone and even to Titian.  These brothers
fant; after Caracci. St. Catherine in Meditation; after         a  i               n    T e  o
Carlo Cignani. St. Peter walking on the Sea; after   were much employed by Alfonso, Duke of FerLanfranco. The Virgin and Infant, with St. Charles  rara, and by his successor, Ercole II.  They paintBorromeo and St. Liborius; after B. Lamberti. The   ed the cartoons for the tapestry in the dome of the
Trinity; from the picture by Guido Reni inthe church of   cathedral at Ferrara, and for those in the church!a Trinittd d6 Monti. The Adoration of the Magi; a
la Trinit d Monti.  The BiAdrt o    teVirgin  do.  after   of S. Francesco, and in the ducal palace at ModeCarlo Maratti. The Birth of the Virgin; do. The Vir-        r                                  f 
gin and Infant, with St. Charles and St. Ignatius; do.  na.  There are several of the  works of Dosso
Eight plates of the Paintings in the Cupola of St. Agnes;  Dossi in the churches of Ferrara. the principal of
after Ciro Ferri.                                    which were his celebrated picture of St John in
the Isle of Patmos, in the church of S. Maria del
DOSI, GIROLAMO, a distinguished Italian ar-  Vado; a fine picture of the Crucifixion, in S.
chitect, born at Carpi in 1695.  He went to Rome   Agostino; and a picture of the Virgin and Infant,
at the age of fifteen, and entered the school of   with St. John and St. Augustine, in the Certosa.
Fontana, where he made rapid progress, and was   His best preserved works are in the Dresden Galgreatly esteemed by his master.  He soon attained   lery, of which Lanzi particularly commends one
distinction, and was appointed state architect by   representing the Four Doctors of the Church.
Clement XII.  That pontiff and his successors   Dosso also excelled in portraits, and he painted
employed Dosi to execute a number of important  the portrait of the poet Ariosto, who has immorworks, which attest his talents and pure taste in  talized the names of the Dossi in his verse, by
architecture.  Among them  are the Villa Cibo;  enrolling them  with Leonardo da Vinci, Michael
the Botanical Garden at Rome; the chateau of   Angelo, Raffaelle, and Titian.  The Dossi made
Civita Castellana; the cathedrals of Albano and   designs for Ariosto, to embellish his Orlando FuVelletri; and the Basilica of S. Maria Maggiore,  rioso.  Dosso died at Ferrara in 1560.  The time
which is a very difficult work.  In the latter part  of his brother's birth or death is not recorded, and
of his life he left Rome, and resided at Carpi, where  authors seem to attribute all the works to the forhe died in 1775. There are many of his architec-  mer, whereas it is highly probable that, while
tural designs in that city, remarkable for their  Dosso painted the figures, Gio. Battista painted
purity and delicacy of execution.                    the landscapes and other accessories.  At all
DOSIO, Gio. ANTONIO, a reputable  Italian   events, it is certain that they painted much in consculptor and architect, born at Florence in 1533.  junction, and that Gio. Battista excelled in landAt the age of fifteen he visited Rome, where he   scapes, the figures in which were painted by Dosso.
first learned the business of a goldsmith, and then    DOSSIER, MICHEL., a French engraver, was
turned his attention to sculpture, which he studied   born at Paris in 1684. He executed some plates
in the school of Raffaelle de Montelupo.  He was   entirely with the graver, in a neat style, somewhat
commissioned to restore a number of ancient' stat-  resembling that of P. Drevet.  They are mostly
ues discovered in the Villa Belvidere, which he   after the French masters, of which the following
executed in an admirable manner. Dosio also pro-  are the principal:
duced various works in stucco and in marble, be-    The Portrit of John Baptist Colbert, Maquis de Torci;
sides a number of sepulchres for noted personages,  after Rigaud. 1711. The Marriage of the Virgin; after
adorned with fine statues. His works gained him   Jouvenet. Christ curing the Blind at Jericho; after N.
an extended reputation, and he deserves an honor-   Colombel. Christ driving the Money-changers from the
able rank among the sculptors of the 16th centu-  Temple; do. Mary Magdalene washing the Feet of
ry.  He also studied architecture, and erected   Christ; do. Vertumnus and Pomona; after Rigaud.
several fine edifices at Rome and elsewhere, be-       IOTTO, VINCENZIO, a nobleman of Padua,
sides the noble chapel of Santa Croce at Florence,  who lived about 1610, and had an excellent knowfor the Niccolini family, which is of the Corin-  ledge of architecture.  In 1607, he designed the
thian order, and rich in statues.  He also erected   beautiful staircase in the Capitano palace, at Pathe superb palace of the archbishop of Florence.  dua, which is ornamented with Ionic  columns,
The time of his death is not recorded.               supporting the roof, and the small cupolas of the
landings. Its construction is so much admired,
DOSSI, Dosso, and GIOVANNI BAT-   that it has even been attributed to Palladio. Dotto
TISTA.  These painters were born in   also designed the Monte di PietY, contiguous to
the vicinity Qf Ferrara, near the close of the 15th  the above named palace, the gate of which has
century.  According to  Baruffaldi, Dosso  was  four Doric columns, and above them  the same
born about 1490, but Zani places his birth about  number of composite columns.
1474, and quotes from Pungilione, to prove that he     DOUDYNS, WILHELM, a Dutch painter, was
painted as early as 1512, which might as well have   born at the Hague in 1630.  He was of a distin



DOUF.                     271                    DOUW.
guished family, and first followed the art for his  ronage of Don John de Velasco, whc held the
amusement. He learned the rudiments from Al-  office of Superintendent of Finances for the King
exander Petit, an obscure artist, and then went to  of Spain. This nobleman had a collection of valuItaly, where he remained twelve years, carefully  able paintings, which he allowed Douven freely to
studying the antique and the works of the great  copy, by which means he greatly improved himself,
masters, by which he acquired a correctness of   and bid fair to acquire distinction as an historical
design and an elevation of taste which distinguish   painter, when an incident diverted his attention to
his works. On his return to the Hague he was  portraiture. The Elector of Dusseldorf sent him
warmly received, and commissioned to execute  a flattering invitation to visit his court, and he
several grand works in fresco, in which he excelled.  painted the portrait of that prince with such sucHe had a perfect knowledge of foreshortening,  cess as to establish his reputation at once, and
which enabled him to paint domes and ceilings  gain him abundant patronage. After having paintwith an admirable effect. Some pf his works of  ed the portraits of the principal personages at the
this description are in the Town House at the  court of Dusseldorf, he accompanied his patron
Hague. He also painted easel pictures of histori-  to Vienna, where he painted the portraits of the
cal subjects in a style of excellence, which are to   Emperor and Empress, for which he was amply
be found in the best collections in his country.  rewarded, and honored with a gold chain and meHe designed and composed his subjects in the  dal. His fame was now established, and his servigrand or Italian style, his contours are remarka-  ces were sought and obtained by almost every
bly correct, and he gave to his naked figures elegant  court in Germany. He received many marks of
forms; his draperies are well cast, in broad and  favor and distinction. He was likewise employed
natural folds, his pencilling is free and firm, and  at the courts of Denmark, Portugal, Modena, and
his coloring rich and harmonious, with broad   Tuscany. The Duke of the latter country complimasses of light and shadow, managed with great  mented Douven by directing his portrait, painted
intelligence. Doudyns was one of the principal  by himself, to be placed in the Florentine Gallery.
founders of the Academy at the Hague, of which   His portraits are well colored, and are remarkable,
he had the honor to be appointed the first Direc-  not only for their striking likeness, but for their
tor. He died in 1697.                            noble dignity of expression, which makes them apDOUFFLEST, GERHARD, an eminent Flemish   pear to live and think. He also occasionally paintpainter, born at Liege in 1594, and studied in the  ed small historic  subjects, well composed, deschool of Rubens at Antwerp, after which he went  signed, and colored. In the Louvre are two picto Italy. His works evince a good style of com-  tures by Douven, representing the Holy Family,
and Susannah and the Elders. He died in 1727.
position and design, and his subjects of history       Susannah and the Elders. He died in 1727.
are highly esteemed.  His coloring approaches       DOUW, GERHARD. This extraordinary artist
nearer the Italian than the Flemish taste. At  was born at Leyden in 1613. He was the son of a
Liege there is an admirable picture by this art-  glazier, and early exhibited a passion for the fine
ist, representing the Elevation of the Cross; also  arts, which his father encouraged. He received his
another valuable work, representing Douffiest and  first instruction in drawing from Dolendo, the enhis cotemporary, B. Flemael, painting each other's  graver. He was afterwards placed with Peter
portraits. Two of his works were purchased for  Kowenhoorn, to learn the trade of a glass-stainer
the Dusseldorf Gallery for the sum of 19,000  or painter; but disliking this business, he became
florins. They represent the Finding of the True  a pupil of Rembrandt when only fifteen years of
Cross, and Pope Nicholas V. visiting the Cave of   age, in whose school he continued three years.
St. Francis d' Assisi. The first was originally   From Rembrandt he learned the true principles of
purchased by John William, the Elector Palatine,  coloring, and a complete knowledge of chiarowho was so much enchanted with its excellence,  scuro, to which he added a delicacy of pencilling
that he offered the artist double the price agreed  and a patience in working up his pictures to the
upon.  The latter work is particularly distin-  highest degree of neatness and finish, superior to
guished for its originality and grandeur of compo-  any other master. He was more pleased with the
sition, boldness of design, and fine expression in  earlier and more finished works of Rembrandt,
the figures. The name of this artist is spelled  than with his later productions, executed with
variously-Doufflest, Douffet, Duffeit. He died,  more boldness and freedom of pencilling; he thereaccording to Balkema, in 1660.                   fore conceived the project of combining the rich
DOUHTY, WIL M an E h artit w    a  and glowing colors of that master with the polish
Thomas Beckwith, the An       an, Thomas Gray   illusion.  But though his manner appears so toterwards   oet mira   ee an  Mi   aer af-  tally different from that of Rembrandt, yet it was
terwards the Marchioness of Thomond.           to him he owed the excellence of coloring which
DOUVEN, JEAN FRANCOIS, a painter of French   enabled him to triumph over all the artists of his
descent born at Ruremonde in the Duchy of  time. His pictures are usually of small size, with
Cleves, in 1656. He first studied under Gabriel  figures o exquisitely touched, and with a coloring
Lambertin, at Liege, who had studied in Italy,  so harmonious, transparent, and delicate, as to exand had formed an excellent collection of drawings,  cite the astonishment and admiration of the bewhich were of great utility to his pupil. He next  holder. Although his pictures are wrought up
placed himself under Christopher Puitlink, who   beyond the works of any other artist, there is
excelled in painting landscapes and animals.  On   still discoverable a spirited and characteristic touch
leaving this master, he obtained the favor and pat-  that evinces the hand of a consummate master




DOUW.                      272                     DOYE.
and a breadth of light and shadow which is only   man holding some utensils. The folding doors on
to be found in the works of the greatest masters  one side show a study, and a man makfng a pen
of the art of chiaro-scuro. The fame acquired by   by candle-light; and on the other, a school, with
Douw is a crowning proof that excellence in art  boys writing, and sitting at different tables. The
is not confined to any particular style or manner,  whole is lighted in an agreeable and surprising
and had he attempted to arrive at distinction by a  manner; every object is expressed with beauty
bolder and less finished pencil, it is highly proba-  and astonishing force. Nor does the subject apble that his fame would not have been so great.  pear too crowded, for it was one of his peculiar
It has been truly said that there are no positive  talents to show, in a small compass, more than
rules by which genius must be bounded to arrive at  other painters could do in a much larger space.
excellence.  Every intermediate style, from  the  His pictures are generally confined to a few figures,
grand and daring handling of Michael Angelo, to  and sometimes to a single one, and when he atthe laborious and patient finishing of Douw, may  tempted larger compositions he was generally less
conduct the painter to distinction, provided he  successful. The works of this artist are not nuadapts his manner to the character of the subjects  merous, from the immense labor and time he behe treats.                                        stowed upon a single one; and from this circumGerhard Douw  designed everything from na-  stance, and the estimation in which they are held
ture, and with such exactness that each object ap-  by the curious collectors, they have ever commandpears as perfect as nature herself in color, fresh-  ed enormous prices. They were always particuness, and force. The first pictures he painted were  larly admired in France; in the days of Napoleon,
small portraits, and he wrought by the aid of a  there were no less than seventeen of his pictures
concave mirror, and sometimes by looking at the  gathered into the Louvre, most of which were,
object through a frame of many squares of small  after his downfall, restored to their original prosilk thread. He spent so much time in these  prietors, among which was the famous Dropsical
works that, notwithstanding they were extremely   Woman, from the collection of the King of Saradmired, his sitters became disgusted, and he was  dinia. At Turin, are several pictures by Douw,
obliged to abandon portrait painting entirely,  the most famous of which is the one just namedand devote his attention to fancy subjects, in the  the Dropsical Woman, attended by her physician,
execution of which he could devote as much time  who is examining an urinal. This picture is wonas he pleased. This will not appear surprising,  derfully true to nature, and each particular hair
when Sandrart informs us that, on one occasion,  and pore of the skin is represented. In the gallein company with Peter de Laer. he visited Douw, and  ry at Florence is one of his pictures, representing
found him at work on a picture, which they could  an interior by candle-light, with a mountebank,
not forbear admiring for its extraordinary neat-  surrounded by a number of clowns. which is exness, and on taking particular notice of a broom,  quisitely finished. The great fame of Gerhard
and expressing their surprise that he could devote  Douw, and the eager desire for his works, have
so much time in finishing so minute an object,  given rise to numerous counterfeits.  We may
Douw informed them that he should work on it  safely assert that there is not a single original picthree days more before he should think it complete.  ture by this artist in the United States.  Douw
The same author also says that in a family picture  died very rich in 1674.
of Mrs. Spiering, that lady sat five days for the   DOYEN, GABRIEL FRANCOIS, an eminent
finishing of one of her hands, supporting it on the  French painter, born at Paris in 1726. He early
arm of a chair.                                   manifested a strong inclination for art, and at the
Douw was incontestibly the most wonderful in  age of eleven years entered the school of Vanloo,
his finishing of all the Flemish masters, although   who cherished for him a warm friendship. At the
the number of artists of that school who have ex-  age of twenty, he drew the grand prize of the
celled in this particular style is quite large. Eve-  Royal Academy, and in 1748 he went to Rome,
rything that came from his pencil was precious,  where he devoted himself, with great assiduity, to
even in his life-time. Houbraken says that his  the study of the works of Annibale Caracci, and
great patron, Mr. Spiering the banker, allowed  often passing entire days in the Farnese Gallery,
him 1000 guilders a year, and paid besides whatever  copying the frescos of that great master. He was
sum he pleased to ask for his pictures, some of  also much attached to the works of Giulio Rowhich he purchased for their weight in silver; but  mano, Polidoro da Caravaggio, and Michael AnSandrart informs us, with far more probability,  gelo. He afterwards visited Venice, Bologna, and
that the thousand guilders were paid to Douw by   Parma, and in 1753 returned to Paris. He now
Spiering on condition that the artist should give  executed his admirable picture of the Death of
him the choice of all the pictures he painted. The  Virginia, which occupied him two years, and gainfollowing description of one of Gerhard's most capi-  ed him admission to the Royal Academy.  His
tal pictures, for a long time in the possession of the  next work, for the church of St. Roch, representfamily of Van Hoek, at Amsterdam, will serve to  eda Group of Persons attacked by the Plague,
give a good idea of his method of treating his sub-  and has been highly extolled for its richness of comjects. The picture is much larger than his usual  position, vigorous coloring, and great truth of exsize, being three feet long by two feet six inches  pression in the heads, representing in a most adwide inside the frame. The room is divided into   mirable manner the sufferings caused by disease.
two apartments by a curtain of curiously wrought  The death of Vanloo gained him  the commission
tapestry. In one apartment, sits a woman giving  to paint the chapel of St. Gregory aux Invalides.
suck to her child; at her side is a cradle, and a ta-  He afterwards executed a number of other fine
ble covered with tapestry, on which is placed a  works at Paris, among which his Death of St.
giltlamp which lights the room. In the second  Louis, in the chapel of the Military School, is
apartment is a surgeon performing an operation   highly esteemed. Doyen was invited to St. Petersupon a countryman, and by his side stands a wo-  burg by the Empress, Catherine II., who gave him




DOYE.                       273                      DREV.
apartments in the palace, and a pension of eleven   ed on his Throne; do. Philip V., King of Spain; do.
hundred roubles; he was also appointed Professor   Louis, DauphinofFrance; do. FrederickAugustus King
of the Academy of Painting.  After the death of   of Poland; after F. de Troy. Francis Louis, Prince of
of the Academy of Painting.  After the death of; -
Conde; after H. Rigaud. Louis Alexander, Count of
that princess, Paul I. continued to Doyen the same   Toulouse, with the Glove. The same Portrait, without the
favors, and employed him  to paint a number of   Glove. Rene-Francis de Beauveau, Archbishop of Narceilings in fresco-among others, those of the grand   bonne; after Rigaud. Andrew Hercules,  Cardinal de
saloon called the St. George; the king's apart-  Fleury; do. Mary de Neufhatel, Duchess de Nemours;
ment; and one of the galleries of Palawski.  He   do. Louis Anthony; Duke de Noailles; do. Louis Hecient;o aznd * 1one0~  ofQ~ ator, Duke and Marechal de Villars; do.  Ernest Augusdied in 1806.                                         tus, Duke of Brunswick Lunebourg. Andrew Felibien;
DOYER, LE, a French engraver of little note,  after le Brun. Nicholas Boileau Despreaux; after de
who lived at Paris about 1666, and executed some   Piles. Hyacinth Rigaud; from  a picture by himself.
plates for booksellers in an indifferent style.       Mary de Serre, mother of Rigaud; do.  John Forest,
plates for booksellers                 in an indifferent style.
painter; after N. de Lalgilliere.
DOZELLO, PIETRO IPPOLITO DEL, an old Neapo-                        SUBJECTS OF DEVOTION.
litan artist, was born in 1405.  He studied under       The Ent  of Christ into Jrusalem; after      Dieu.
Antonio Cola and was distinguished in his time,  Th Crucifixion; in two sheets.
both as a painter and an architect.  He died at         DREVET         ERRE, the Younger, a son of the
DREVET, PIERRE, the Younger, a son of the
Naples in 1470.
DRNapl, GIOVANNI BATTISTA14.     an  Itan   preceding artist, was born at Paris in 1697.  He
DRAGHI, GIoVANNI BATTISTA, an  Italian   was carefully instructed in the art of engraving
painter, was born at Genoa in 1657.  He studied   almost from infancy by his father, and at the age
under Domenico Piola, whose style he adopted,  of thirteen he produced a plate which was the
with some modifications.  He designed and paint-  surprise and admiration of the time.  He is claimed with great facility, yet his works are well fin-  ed by his countrymen a's one of the greatest enished.  His coloring is brilliant, and he exhibits   gravers of any age or country, and it is perhaps to
a masterly judgment in the turn and relief he gives   be regretted that he did not select some of the
his figures.  He painted both in fresco and in oil,  works of the great Italian masters for his subjects,
but his oil paintings are most esteemed, though the   instead of choosing the works of his own countryformer are fine, and exhibit the genius of a mas-  men exclusively.  His works are executed entirely
ter.  In the convent of the Franciscans at Pla-  with the graver, and though he may have been
cenza, is apicture by him, representing the Mar-  surpassed in boldness and freedom, he has scarcely
tyrdom of St. James, which is highly commend-  been equalled in the clearness of his stroke, and
ed. He also painted the dome of the church of S.  the precious finish of his plates.  His celebrated
Agnese, and in S. Lorenzo, an altar-piece of that  portraits of J. B. Bossuet, Bishop of Meaux, and
saint, in the same city.  There are some of his   Samuel Bernard, are considered master-pieces of
easel pictures in the collections at Genoa, where  the art.  He died at Paris in 1739, in the very
they were much admired. He died at Genoa in   prime of his life.  The following list comprises his
1712.                                                best works:
DRAPENTIERE, JEAN, a French engraver,                  X               PORTRAITS.
who went to London in 1691, where he was con-    Louis XV., when young, conducted by Minerva to the
siderably employed by the booksellers in engrav-  Temple of Glory; after Ant. Coypel. Louis, Duke of
ing plates of portraits and frontispieces, which he   Orleans; after Charles Coypel. Francis de la Mothe
executed in a neat style, but without much effect.  Fenelon, Archbishop of Cambray; after Vivien. Francis
He also engraved the following portraits:             Paul de Villeroy, Archbishop of Lyons; after Santerre.
also engraved the folowing portClaude le Blanc, Minister of War. William, Cardinal DuWilliam and Mary, when Prince and Princess of Orange.  bois, Archbishop of Cambray; after Rigaud.  J. B. BosJohn Graham, Viscount Dundee. Thomas White, Bishop   suet, Bishop of Meaux; full-length; do.; extremely fine
of Peterborough. Benjamin Calamy, Prebendary of St.  Samuel Bernard; the first impressions are before the words
Paul's. Henry Cuttes, of the Middle Temple; scarce.  Conseiller d'Etat; very fine. Isaac James de VertaSir James Dyer, Chief Justice of the Common Pleas.  mont, Bishop of Conferans; after de'roy. Rene PuPeter Perkins, Mathematician. Daniel Burgess, 1691;  celle, Abbe and Counsellor of the Parliament; after RiDissenting minister. Benjamin Keach, Anabaptist minis-  gaud. Nicholas Peter Camus, first President of the Parter. Elias Keach, John Todd, A. M.                    liament of Rouen; after Jouvenet. Robert Cotte, first inDREVER, A iN V, a D h land    e and   tendent of Buildings, &c.; after Rigaud. Mademoiselle
Dmarine painter who went to E landscp in  1,  le Couvreur, in the character of Cornelia; after Charles
marine painter who went to England in 1673,  Coypel; fine.
where he resided the rest of his life, without ac-EC TS AFTER V                       S 
quiring any particular distinction.   A                                                 MSE.
The Adoration of the Shepherds; after H. Rigaud.
DREVET, PIERRE, the Elder, an eminent French   The Holy Family; after Ant. Dieu. The Entry of Christ
engraver, born at Lyons in 1664.  After having   into Jerusalem; do. Adam and Eve after their Transstudied under Germain Audran in his native city,  gression; after A. Coypel. The same subject; smaller;
he wvents to Paris to comlplete his studies.  He ac-  very highly finished. Abraham going to sacrifice his son
quired a     great reputation  and executed many   Isaac; do. Abraham's Servant meeting Rebecca; do.
quired a great reputation, and execut    m            The Annunciation; after Coypel. The same subject;
works, chiefly portraits of distinguished persona-  smaller; do. The Crucifixion; do. The Presentation in
ges. IHe wrought entirely with the graver, and   the Temple; after Louis de Boullongne. This is esteemed
his works are executed in a masterly manner.  his best historical print. Christ in the Garden of Olives,
His drawing is correct, and although his plates are   with Angels; fter J. Restout. The Resurrection; after
very highly finished, his stroke is firm.  He died. Andri.
at Paris in 1739. The following are his best prints:    DREVET, CLAUDE, a cousin-german of the preceding artist, was born at Lyons in 1710.  He
Charles I. James rancis Edward Stuat, called the   went to Paris, and studied under his cousin, in
Old Pretender. Clementina Sobieski, his Consort. James  whose manner he executed some portraits which
Fitzjames, Duke of Berwick. Oliver Cromwell. Louis  possess considerable merit, among which are the
XIV., a full-length; after H. Rigaud. Louis XV., seat-  following.  He died at Paris in 1768.




DRIE.                     274                     DROO.
PORTRAITS.                     Lady Jhe Confessional, the Milk-Maid, the OrHenry Oswald, Cardinal d'Auvergne; after Rigaud.  ange Vender, the School Mistress, the Foreign
Charles Gaspar William de Vintimille, Archbishop of Pa-  Merchant, &c. His subjects are treated with great
ris; do. Philip Louis, Count de Sinzendorf; do. Peter  truth and beauty, both in sentiment and in colorCalvairac, Abbot of Pontignan; after A. le Prieur.
Madame le Bret, in the chafracter of Ceres; after Rigaud.  ing; and, though taken from low life, he never inDRIELST EGBERT VAN a Dutch painter, was  troduced anything ignoble into them. His design
DIELST, EGBRT VN, a Dutch painter, was  is correct, and his penciling is free and animated.
born at Groningen in 1746. He studied under  His works were highly esteemed during his life.
several masters, the last of whom  was Hendrick   and much more so since his death, and will ever,Meyer of Haerlem.  lIe carefully studied the  find a distinguished place in the finest collections.
works of Hobbema, Ruysdael, and Wynants, and   He died at Paris in 1817.
compared them with nature, by which means he
approached nearer to the style of the great mas-    DROOGSLOOT, JOOST CORNELISZ, a Dutch
ters of the preceding century than those of his  painter, was born at Utrecht, where he flourished
own time.  The subjects which he delighted to  from  1616 to 1660.  There is considerable disrepresent were well-wooded landscapes, with farms  crepancy and dispute among authors about Droogand cottages, which he ornamented with cattle and  sloot, arising from the fact that they confound the
figures, designed with great taste. He was always  two Droogsloots, whose places of nativity, manner,
fond of the picturesque effects of old ruined huts,  and merits were totally different. According to
old broken or uprooted trees, and barren heaths.  the best German authors, this artist was a very
His works are generally characterized by a thor-  reputable painter of his time, and his works were
ough knowledge of the effects of light and shad-  much admired.  His landscapes are especially
ow, and his coloring is suited to his subject. He  commended, and he painted scenes from  low life,
died in 1818.                                    village festivals, &c., in an admirable manner. He
DRILLENBURG, WTILLIAM  VAN  a Dutch   also painted portraits and history. In 1628, he
painter, was  born at Utrecht  in 1625. He first  painted a large picture of Job and his Friends,
which he presend to the Hospital of St. Job at
studied landscape painting under Abraham Bloem-    trecht he p   h he wasappoited ree St inb 838.
aert merely for his ausement; but he after-  Utrecht, of which he was appointed regent in 1838.
aert merely for his amusement; but he after-     ded and the landwards made it his whole study, and practised it as  Thsa piart uf it hiidto be very beautifulhe    is
a profession. On quitting Bloemaert, he imitated  soa part oit  scuted by himserf, isb in the sam
the charming style of John Both. not only in the   own portrait, xe isted      f, is in he apea
choice of his subjects, but in his trees, skies, and  institution.  It is dated 1630, and he appears
distances; and, although he never could approach         5 y     o 
the excellence of that master, even with the greatest    DROOGSLO'OT NICHOLAS. This painter was
assiduity, yet Houbraken, who was his pupil. says  born at Dort in 1660, and it is supposed he studhis works possess great merit. Ho was a perfect  ied under Henry Mommers. He painted scenes
enthusiast in his art, and wrought with so much  from low life, as village wakes and rural assemeagerness that he often suffered a whole month to  blies, which are marked by a disgusting vulgarity
pass without walking abroad, and here doubtless  of character that excludes them from choice colwas his great error-for had he studied nature  lections; though they are executed with a spirited
mnore, and art less, he would, with his talents and  pencil, and an agreeable and lively tone of colorpassion, have acquired an honorable reputation as  ing. He died in 1702.
an original painter, rather than that of an imitator.  The time of his death is not recorded.        DR()SSAERT, a Duth painter, who flourished
about the middle of the 17th century, and painted
DROESHOUT, MARTIN, a Dutch engraver who  landscapes with ruins, stag-hunts, and the like,
went to England about 1623, where he was chiefly   which possess considerable merit.  Little more
employed by the booksellers in engraving portraits  is known of him.
of distinguished personages, which are valued more    DROST, N. There is considerable disagreefor their subjects and rarity, than for their beauty            Christian name and the time ofth,.    ment as to the Christian name and the time of birth
of execution. The following are the principal:   of this painter. Some say he was born  t AmJames Hamilton, Marquis of Hamilton. Thomas Co-  sterdam in 1625; Balkema states in 1636. Naventry. John Donne, Dean of St. Paul's. Helkiah  gler calls him Van Terle W. Drost. He studied
Crooke, M. D. William Shakspeare, prefixed to his works  under Rembrandt whose style he followed with a
in 1623. John Fox, the Martyrologist. John Howson,  i                           -       i t  a
Bishop of Durham. Lord Mountjoy Blount, afterwards  bold and flowing pencil, and strong coloring.  On
Earl of Newport. He also engraved some plates for Hay-  leaving this master he went to Italy, where he
wood's Hierarchy of Angels, and the Death of Dido for  diligently strove to improve himself by studying
Stapylton's Virgil.                              the works of the best masters. While in Italy he
DROESHOUT, JOHN, a Dutch engraver of no  resided chiefly at Rome, and formed an intimacy
note, probably a son or brother of the preceding  with Carlo Lotti and other eminent painters. lfe
artist, who lived in London about 1640.          thus acquired a taste in design far superior to his
master, and executed some excellent works. HouDROLLING, M1ARTIN, a native of Oberberg-  braken highly commends his picture of St. John
heim, was born in 1752. Having a natural taste  preaching in the Wilderness  which contains a
for the fine arts, he went to Paris, that he might              ie   ell dene    n  eect
I.              I        n          * Ad * * multitude of figures, well designed and executed.
have the advantage of better models and instruc-  mAdied  i 1e690
tors than in his native place. He pursued his
profession with much ardor, and obtained a well-    DROUAIS, JEAN  GERMAIN, a distinguished
earned reputation for a class of fancy subjects  French painter, born at Paris in1763. His father
which he treated with great skill in the style of  Henri D., and his grandfather, Hubert D., were
the Flemish masters.  Such are his Charitable  distinguished in portrait paninting and under the




DROU.                    275                   DUBO.
instruction of the former the young artist made  the writer's hands, and many under his observarapid progress. He afterwards entered the school  tion, which would warrant the highest encomiums
of Brenet, who, though an inferior artist. had the re-  for artistic skill."  He says further that there are
putation of being an excellent instructor.  Here  many of his works in the rich collections of EngDrouais advanced with great rapidity, designing by  land, though unfortunately for the reputation of
night, and painting by day. He gained the grand  the painter, they pass under another name.
prize of the Royal Academy by his admirable pic-    Jan Dubbels was a pupil of Backhuysen, whose
ture of the Canaanitish Woman at the feet of  style he followed very closely, and with such sucChrist, which received high praise. He soon after  cess, that his works are frequently taken for origwent to Rome, and painted his picture of Marius  inals by his master. He was living in 1715.
at Minturna, which he sent to Paris. His next    DUBOIS, CORNELIUS, a Dutch landscape paintwork was a picture of Philoctetes, and he would  er who was probably a pupil of Jacob Ruysdael,
undoubtedly have attained great eminence, had he  whose style he imitated, though his mark is found
not died suddenly, in 1788, at the age of 25. His  on pictures more in the  style of Saftleven, than
monument is in S. Maria via Lata, at Rome.     of Ruysdael. He flourished about 1650.
DROUIN, a reputable French sculptor and ar-    DUBOIS, EDWARD, a Flemish painter, born at
chitect, born at Nancy about 1605, and studied the  Antwerp in 1622. He studied with an indifferent
art at Paris, after which he returned to his native  painter, named Groenwegen. He afterwards went
place, where he was greatly encouraged, zid was  to Italy, where he resided the greater part of his
commissioned with the principal part of the pub-  life and was for a time patronized by the Duke of
liceworks of the city. Among other excellent pro-  Savoy. In the reign of William III., he went to
ductions, he executed the beautiful mausoleum of  England, where,-according to Pilkington, he practhe Cardinal Charles de Lorraine, for the church  tised landscape and portrait painting with great
of the Cordeliers; the mausoleum of the Bassom-  success, though Bryan says, he met with little sucpierre family, in the church des Minimes; besides  cess. He died in London in 1699.
a number of marble statues for the churches.    D
Drouin was also attached to architecture, and      U I, J          a reae   renh sculpto
made it a study during his leisure hours. Prince   o  at   n in        e  as of a retiring disHenry of Lorraine. having determined to rebuild  position, and remained in his own cityuntil the
at his own expense the church of the Benedictines  age of 60, when he was persuaded to visit Paris,
to execute the bust of the chancellor Boucherat.
at N        ancy, charged Drouin to design the plan for  The latter wished to present him to the king, but
the new edifice. The artist immediately went to  h     d th h        d  ted to Dion.  His
Rome, and made the design; and the church was   e reused the onor, an d reuned to D        Hs
commenced, but not completed. on account of the
death of the prince. Drouin died in 1647.      encouraged during his whole life. Among other
excellent works, he executed the following: The
DRUYVESTEYN, ARNOLD JANSSE, a Dutch  Statues of St. Stephen and St. Medard, and the
painter, born at Haerlem in 1564. According to  Tomb of Pierre Odebert, in the Cathedral of Dijon;
Karel van Mander he was a person of fortune and  the grand altar, and the Assumption of the Virgin,
of a distinguished family, and practised painting  i the church of Notre Dame, (the statue of the
only for amusement. He also says he executed  Virgin is considered his master-piece); the Maulandscapes with small figures and animals with  soleum of Claude Boucher at Carmes; and the
great taste and beauty. He died in 1617.       Tomb of Marguerite Mucie, at the Minimes. At
DUBBELS. There are four painters of this  Plombieres, near Dijon, is an obelisk, erected from
name, of whom  little is known, except their  his designs, by order of Louis XIV. He died in
works, which is very surprising, as their pictures  1694.
are of great merit. Their names are Henry, Jan,    DUBOIS, SIMON, was a younger brother of
Thierry, and Peter. Balkema says, the names of  Edward Dubois, and studied under Philip WouHenry and Thierry are found in the catalogues of  werman. His forte lay in painting battle-pieces
Hoet and Terwesten, but without containing any  and landscapes with cattle, which he executed
information as to fanmily, or place of birth. He also  more in the Italian than in the Flemish style.
speaks of a River Scene painted in the style of  He went to England, where he met with so little
W. Vander Velde, and a Winter-piece with Skaters,  employment in his legitimate branch of the art, that
which were sold in 1773, under the name of Peter  he turned his attention to portrait painting, which
Dubbels, and another in Vander Linden Slinge-  was not suited to his fancy or inclination, and after
landt's sale, by Henry Dubbels; and this is all  painting the portrait of Lord Chancellor Somers,
the information he could collect respecting artists  and those of a few of the nobility at the recomwhose works rank them among the best marine  mendation of the latter, he returned to his own
painters of the Dutch school. This much is cer-  country, where he met with good encouragement,
tain, that there were two painters of the name of  married the daughter of Vandervelde, and acquired
Dubbels, both marine painters, whose styles were  considerable wealth. He died in 1708.
totally different. and whose works are highly es-    DUBORDIEU, PETER, a Dutch portrait painter
teemed. Their'names are Henry and Jan. Henteemed. Their names are Henry and Jan. Hen-  of French descent, who flourished at Leyden about
ry Dubbels is said by some to have been the mas-    middle of the 17th century. He acquired conter of Backhuysen, and by others his pupil. There  siderable eminence as a portrait painter, and some
are many of his works in the best collections, in   f his portraits have been engraved by Suyderhoef
Engl, as w   a h  o   c            B             atham. and, as well as hisowncotr. Bryan.'he was probably the master of Backhuysen. His
works bear not the least resemblance to Backhuy-    DUBOSCH. See BoscH.
sen or Vander Velde, except in their subjects.    DUBOS, MARIE JEANNE RENARD, a French feSeveral pictures by Dubbels have passed through   male engraver, born at Paris about 1700. She




DUCA.                       276                     DUCH.
engraved a number of plates for an illustrated   is evident he enjoyed great celebrity in his day.
work entitled Versailles Immortalise; besides a'While Giotto was at Avignon, he executed his fanumber of other works, among which is a Girl  mous picture intended for the great altar of the
caressing a Rabbit, after Basseporte.              metropolitan church at Siena, and which is still
DUBOURG, Louis FABRICIJUS, a Dutch  his-  preserved in the Opera House of that city. He
torical painter, was born at Amsterdam  in 1693,  wa occupied upon it three years. As this picture
and died there in 1775. He painted some histori-  forms almost an era in the art, Lanzi thus decal pictures for the churches at Amsterdam, which   scribes it:  "On the side facing the people, he
are much admired, some of which may be seen in the  painted large figures of the Virgin and various
Westerkerk and the New Church in that city. It  Saints surrounding her. On that fronting the
is said that he afterwards abandoned the palette   Choir, he represented scriptural subjects in many
for the graver.                                    compartments, in which he introduced a vast number of figures, of a palm, in length.  Pius II. reDUO, or DUCQ, JOHN LE, a Dutch painter, was  lates in his unpublished Annals of Siena, that it
born at the Hague in 1636. He studied under
born  at the Hague in 1636. He studied under  cost 2000 florins, and others raise the price to
Paul Potter, whose manner in painting animals, he   3000."  He also designed and wrought in mosaic
at first imitated, but he afterwards changed his  the pavement of the Duomo of Siena, representing
style, and painted interiors, with card-players,  the Deathof Absalom, part of which reains perassemblies of officers, corps de gardes, &c. Hav-  fect at the  resent day. For farther information
ing a passion for a military life, he abandoned the  respecting this old, but neglected artist the reader
art after he had acquired the reputation of an able   will find much interesting information in Rosartist, for that profession. He afterwards returned   s Storia dela Pittura Italiana,  c., published
to painting, and was appointed director of the   n 4 vols. at        1836-1843
Academy at the Hague in 1671. He etched a
considerable number of plates of landscapes, ani-    DUCHANGE, GASPAR, an eminent French enmals, and other subjects, after his own designs, in  graver, born at Paris in 1662, and received into
a neat and spirited manner, a list of which may be  the academy there in 1707. Duchange may be
found in Nagler's Kunstler Lexicon, and in Brul-  ranked among the ablest artists of hiscountry,
liot's Dictionary of Monograms.  He died in 1695.  particularlyfbr the mellowness and harmony with
which he has combined his etching with a tasteful
DUCA, GIACOMO DEL, a Sicilian architect, and   management of the graver. His plates, after Cora native of Palermo, who flourished in the latter  reggiq are peculiarly expressive of the admirable
part of the 16th century.  He studied at Rome,  style of that painter.  He lived to a very adand erected the lantern over the cupola of the Ma-  vanced age, and the number of his works is condonna di Loretto, and the Pamfili Palace at Fontana  siderable.  The f ilowing are his most esteemed
di Trevi. The latter work is somewhat defective,  prints:
having distorted modillions in the entablatures,
and other deformities in the windows.  He also                         POFTRsIT.
erected several otherworks at Rome and Caparola,                     after Rigad; for his reception into
the Academy in 1707. Charles de la Fosse; do.; for the
which have considerable merit, among which is  same occasion. Antoine Coypel, with his son; after a piethe small palace in the Strozzi gardens near to  ture by himself.
Villa Negroni.  He designed the Villa Matteo,               SUBJECTs AFTER VARIOUS MASTERS.
which was erected at Rome about 1583, on the
which was erected at Rme about 1583,     the. Jupiterand Io; after Correggio. Jupiter and Danae;
Coelian Mount. Duca afterwards went to Paler-  do. Jupiter and Leda; do. (The good impressions of
mo, and was appointed chief engineer; but so much  these fine prints are before the name of Sornique, who reenvy was excited against him, that he was barba-  touched the plates, and added draperies.) The Entombing
rously murdered.                                   of Christ; after Paolo Veronese; fine. Mary MagdaCART. a D h p er, born at A-   lene washing the Feet of Christ; after Jouvenet.  Christ'
DUCART. ISAAC, a Dutch panlter. born at Am-  driving the Buyers and Sellers from the Temple; do. The
sterdam in 1630. He acquired a great reputation   Sacrifice of Jephtha'; after Ant. Compel. Tobit recovering
in his time for his flower pieces, usually painted   his sight; do.; fine. Solon explaining his Laws to the
on satin or velvet, in the execution of which, he   Athenians; after N. Coypel. Trajan administering Jusis said to have rivalled nature,  and to have sur-  tice to the People; do., Diana disarming Cupid; after
D~sormeaux. Venus sleeping, with three Loves, and a
passed every other painter in his time.  He went  Satyr; after A. Coypel. The Death of Dido; do. The
to England, where he resided several years, and   Bath of Diana; do. Five of the plates of the Luxemmet with good encouragement.  He afterwards  bourg Gallery; after Rubens.
returned to his own country, where he practised      DUCHEMIN, CATHERINE, a Parisian paintress,
his art with extraordinary success till his death   was born in 1630, and died in 1698. She excelled
in 1697.                                           in painting fruit and flower pieces, which she exDUCCI, VIRGILIO, an Italian painter, was a na-  ecuted with great truthfulness to nature, and eletive of Citth di Castello, of whom little is known.  gance of composition.
Lanzi says he was a scholar of Albano, and a sue-    DUCHINO, IL. See LANDRIANI.
cessful imitator of his style, and that there are            J B LE,  Dutch painter, whom  some
DUCK, JACOB LE, a Dutch painter, whom some
two pictures-of Tobias in the chapel of the Duo          supposed the father of John leDu  though
in his native city, executed in a graceful and elegant  there is  difference in the spelling of their name,
style. He flourished about 1660.                   a circumstance not unfrequent i  the history of
DUCCIO, BUONINSEGNA, sometimes called IL  artists.  He painted interiors and conversationNUTINI, was a native of Siena. There is consider-  pieces with great beauty in the style of John le
able dispute about this old artist.  This much is  Duc, though with a less delicate touch and finish.
certain, that he was a cotemporary with Giotto,  He was elected Master of the Associated Body of
and was, next to him, the first painter of his time;  Painters of St. Luke at Utrecht in 1626, and there
Tizio says he was the first (primarius), and it i is a fine picture by him in the Hospital of St. Job




DUCL.                     277                     DUET.
in that city, representing a Musical Reunion, which  DUETECUM, or DOETECUAI, JOHN and Lu.
he presented to that institution.                 CAS A., two German engravers, supposed to have
DUCLOS, ANTOINE JEAN, a French engraver,  been brothers, flourished about the middle of the
born at Paris in 1742. He studied under St. Au-  16th century. They wrought together, and exebin, and has executed a number of plates for the  cuted several large plates, representing the funeral
booksellers, particularly those after Moreau, for  pomp of the Emperor Charles V., which are etched.
the editions of Rousseau and Voltaire, published at  in a bold and masterly manner.
Brussels. He also engraved a number of prints       DUETECUM, or DOETECUM, BAPTIST, a
after various masters, among which are the Ball,  German engraver of little note, who flourished
and the Concert, after St. Aubin.                 about 1610. He executed with the graver in a
DUCQ, JOSEPH FRANCOIS, a Flemish painter.  coarse, indifferent style, a set of plates representing
born at Ledeghem, near Courtrai, in 1762. In  the habits and customs of the Indians.
1780 he went to Bruges, and entered the school of   DUFAU, FORTUNE, an historical painter, born
Paul de Cock, where he made rapid progress.  in St. Domingo, from whence. at the age of 12
Having gained the grand prize of the Academy,  years, he went to France, and soon after became
he went to Paris and entered the school of J. B.  the pupil of David, whose political principles he
Suvee. In 1789, 1796, ahd 1800, he gained prizes  warmly espoused. He traveled in Italy for imat the Royal Academy; and in the latter year he  provement, and after serving in the army in Belobtained the second prize of the National Institute,  gium, returned to Paris at the close of the war,
with apartments in the Palace of the Fine Arts.  and resumed his pencil. He practised the art for
In 1807 he visited Rome, where the ambassador  many years, and was successively appointed proof France, by order of the Viceroy of Italy, fur-  fessor of painting at St. Germain and St. Cyr.
nished him with an atelier. He executed many   His picture of Count Ugolino in prison is a noble
excellent works at Rome, among which one was  work, and together with his St. Vincent de Paul,
exhibited at Paris in 1810, and drew a gold medal;  gained him the former appointment. He died at
another was in the collection of Prince de la Paix.  Paris in 1821.
In 1813 he returned to Paris, and in 1815 was ap-    DUFLOS, CLAUDE, a French engraver, was born
pointed first professor of the Academy of Fine  at Paris in 1678, and died there in 1747. It is
Arts at Bruges, and subsequently painter to the  not known by whom he was instructed, but his
King of the Low Countries. Many of his subjects  style resembles that of FrangoisPoilly. He was
of history are in the collection of Prince Eugene  an ingenious artist, and executed a large number
at Munich. In the Palace at St. Cloud, are two   of plates after the great masters in a very neat and
pictures of Night and Aurora, which were engraved  finished manner. He wrought principally with
in the Annales du Musee de Paris.  At Ghent,  the graver, but he occasionally brought in the asin 1820, he exhibited two pictures of Antonello  sistance of the point in his more delicate work.
da Messina visiting the atelier of John van Eyck,  The following are his best prints:
and the Marriage of Medor and Angelica. He died 
in 1829.                                                            PORTRAITS.
in 1829.
Philip, Duke of Orleans; after R. Tourniere. John
DUCREUX, JOSEPH, a French painter, born at  Francis Paul de Gondy, Cardinal de Retz. Denis Franeis
Nancy in 1737. He was the only scholar of La-  de Chavigny, Bishop of Troyes. Nicholas Lyon, Procu-'
tour, and was sent to Vienna in 1769 by the Duke  reur du Roi; after Herluyson.  John James Gaudart,
de Choiseul, to paint the portrait of Maria An-  Con erdu Roi; after Lriliere. Mark Rene de
toinette, who appointed him her first painter. He  Voyer; after Hyacinth Rgau.
practised the art with reputation in that city for a      SUBJECTS AFTER  VARIOUS MASTERS.
number of years, and was admitted to the Imperial    The Entombing of Christ; fter P. Peruino; for the
Academy. r He died in 1802.                       (rozat collection. The same subject; after Raffalle. St.
Michael discomfiting the Evil Spirit; do.; for the Crozat
DUCROS, PETER, a Swiss engraver and an em-  collection. Christ with the Disciples at Emmaus; after
inent painter in oil and water-colors, born in 1745.  P. Veronese; for the same collection.  The Adulteress
before Christ; after N. Colombel. Christ at Table with
He settled early at Rome, where he formed an in-  the Disciples; after Titian. Bust of the Virgin; after
timate acquaintance with Volpato, and painted a   Guido. The Annunciation; after Albano. Christ appearseries of views of Rome and the Campagna, which  ing to Magdalene; do. St. Cecilia; after P. Mignard.
he engraved, in concert with the latter. He ex-  The Presentation in the Temple; after Le Sueur. The
ecuted twenty views in Sicily and Malta, and   Descent from the Cross; do. The Murder of the Inno-.
various others, in a masterly manner.  Among   cents; after le Brun. Christ on the Mount of Olives;
do. The Crucifixion; do. The same subject; after the
these, his engravings of Palermo, the Theatre of   print by Edelinck; do. The dead Christ, with the VirTauromenium and Etna, and the Amphitheatre at  gin and St. John; do. The Descent of the Holy Ghost;
Syracuse, attest his taste and skill, and rank him   do. The Assumption of the Virgin; do. Mary Magdaamong the ablest artists of his time. He died at  lene, penitent; do. The Annunciation; after Ant. Coypel.
Lausanne in 1810, leaving a great number of draw-  Magdalene at the Foot of the Cross; do. A Concert; afLausanne in 1810, leaving a great number of draw-  trDomenichino. The Triumph of Galatea; do. Cuter Domenichino. The Triumph of Galatea; do. Cuings made by him during his stay in Italy, some  pid stung by a Bee; do. The same subject; smaller and
of which are of large dimensions.                 circular. Bacchus and Ariadne; do. The Triumph of
DUDLEY, THOMAS, an English engraver, who   Bacchus; after C. Natoire. The Triumph of Amphitrite;
DUDLEY, THOMAS, an English engraver, who  do.
flourished about 1678. He was a pupil of the cel-    DUFRESNE  CHARLES LOUIS  a French paintebrated Hollar, and executed a few plates in a rep-, and died at Ar.
utable manner, among others, a set of 27 plates   er,was born at Nantes in 1635         d  tr
for the Fables of 2Esop, published by Barlow, and   gentin in 1711. He painted portrait and
with reputation.
the portraits of Richard Russell, Bishop of Porta-  with reputat
legro, James Sharpe Bishop of St. Andrews, and      DUGHET.  See POUSSIN.
Titus Oates.                                        DUGY, M., a French engraver, who flourished




DUIV.                     278                    DUMO.
about 1760, and executed a few prints, after Bou-  also executed two statues of St. Peter and St
cher, and other French masters.                  Paul for the same church. The mcnument of the
DUIVEN, JAN, a Dutch painter, born at Gouda  Duke of Melun, is a fine proof of his taste and
in 1600. He studied under Wautier Crabeth, and  skill, as well as of his misfortune, since, while
acquired considerable reputation in portrait paint-  adding the finishing touches, the scaffolding fell.
ing. The most noted of his works was a portrait  injuring him internally, which caused his death in
of P. Simpernel, of which he executed a great many   1726, at the age of 38.
copies for different individuals, so much was it ad-    DUMONT, GABRIEL MARTIN, a French archimired. He died in 1640.                          tect and designer, born at Paris about 1720. AfDULIN, PIERRE, a French painter, born at Pa-  ter acquiring the elements of design, he went to
ris in 1670. He formed his style from the study   Italy, where he devoted himself to the study of
of the works of le Brun, and was considered an ar-  the antique, and returned to Paris with the title
tist of reputation. He was a member of the Roy-  of Correspondent to the Roman, Bolognese, and
al Academy, and painted, among other works, a  Florentine Academies of Painting. He published
large picture, representing St. Claude resuscitating several excellent works on architecture, among
a dead Infant, which was much esteemed. He died  which was the Recueil de plusiers parties de l'Arin 1748.                                         chitecture Sacree et Profane, 212 plates.  DuDULIN, PIERRE, a French historical painter,  mont was living in 1790.
born at Paris in 1670, and died there in 1748.    DUMONT, JEAN, a French painter, born in
He does not seem to have acquired much reputa-  1700. He was admitted to the Royal Academy,
tion, as nothing further is known of him or his  on which occasion he presented a picture of Herworks.                                           cules and Omphale, which appears to have been
DULLAERT, HEYMAN, a Dutch painter, was  his best work, as his other subjects of history are
born at Rotterdam  in 1636, and died there in  not much esteemed. His pictures of the Wanton,
1684. According to Houbraken his father was a  and the Savoyard Mother, gained him considerable
dealer in pictures, and his son showing an early in-        and were   engraved by Daully.  His
clination for the art, he placed him  with Rem-  picture of Lyncus metamorphosed into a lynx b
brandt, under whose able instructions he became  Ceres, was engraved by.  auzel.
a perfect master of his manner of coloring and     DUMOUTIER, DANIEL, a French portrait paintchiaro-scuro, so that he could imitate him so close-  er, born at Paris about 1550. He formed his style
ly as to deceive the best judges. A capital picture  from the works of Primaticcio, and his portraits are
by this artist is a Hermit kneeling, which was of-  in the style of those which that master painted for
ten taken for an original by Rembrandt, till the  tne court of Francis I. His works have no great
name of Dullaert was discovered upon it. The  merit, and are principally valued for their subjects.
same author says that another picture by him, re-  as they preserve the likeness of the most eminent
presenting the Amours of Mars, was sold at a  personages of the court of Francis I., of Henry IV.,
public sale in 1696, for an undoubted original by   and also several of Louis XTII. Iie died in 1631.
Rembrandt.  He generally painted cabinet pic-    DUNKAR
tures of historical subjects and portraits, which   DUNKARTON, R ERT  a reputable English
are greatly admired for harmony of coloring, a  mezzotinto engraver, was born about 1744. It is
~~are greatly admired for harn           not mentioned with whom he studied, but he resivigorous touch, and a masterly effect of light and    mentioned wt    om  e studed,  t e res
~~~~~~~shadow.  ~ded in London, and executed some plates of porshaRdow.             aemntFrchn-.          traits and historical subjects, among which are
DUMAREST, RAMBERT, an eminent French en-  the following:
graver of medals, born at St. Etienne, in Forey, in
1750. He took lessons in the Royal Academy, and                     PORTRAITM.
exhibited two pictures of his execution, one, the head     Geoge, Lord Littleton; after Mr  West. Jonas Hanof Rousseau, and the other the bust of Brutus, both   way;  er E. EdHoardnek;. Doctor Sir. Reynolds. JoHu
of which were highly extolled, and the first gained  Elliot;  Bamfy after N. Dance.  iss Bamfyeld;  W.
the prize. For the second, he was commissioned to  Peters.  James Brindley, engineer; after'Parsons.execute a medal for the sum of 6000 fr., with the  Miss Catley, in the character of Euphrosyne; after Law.
choice of the subject. He soon gained a high rep-  ranson.
utation, and executed a large number of works             SUBJECTS AFTER VARIOUS MASTERS.
possessing great merit, of which the portrait of G.    Lot and his Daughters; after A. de Gelder. Christ
Poussin deserves high commendation. His medal  and the Disciples at Emmaus; after Guercino.  Four
of the Peace of Amiens is also an admirable work.  subjects from the life of Joseph; do.
He died in 1806.                                   DUNKER, BALTHASAR ANTHONY, a landscape
DUMONT, FRANCOIS, a French sculptor, born   painter and engraver, was born at Saal in 1746
at Paris in 1688. He studied under his father, an   and died at  erne in 1807.  He is more known
artist of some distinction, and gained the grand   as an engraver than a painter. He engraved some
prize of the Royal Academy, but did not go to  prints after Boos, vander Does, Iackaert, and
Rome, being detained by a love affair with the  others, a list of which may be found in IIuber and
daughter of Noel Coypel, whom he married. At  Nagler. He also engraved some plates of the costhe age of 23, he was chosen an Academician, on  tumes of the French before the Revolution, illus-.
which occasion he presented a statue of a Titan  trations of books and other miscellaneous subjects.
struck by a thunderbolt, which was greatly admi-  He had a son, named Philip Heinrich D., whom
red. He soon gained a good reputation, and was  he instructed in his profession, and who practised
much employed in various important works. His  at Berne till his death in 1836.
best performances were the statues of St. John      DUNLAP, WILLIAM, an eminent American
and St. Joseph, in the church of St. Sulpice. IIe   painter, born at Perth Amboy in 1766. His fa



DUNL.                      279                    DUNS.
ther, a retired British officer, removed to New   the test of enlightened criticism. They are defecYork, when that city was in possession of the  tive in the first principles of art, without a knowEnglish. -Dunlap early manifested an inclination  ledge of which no man can produce works of excelfor art, and at the age of fifteen commenced taking  lence. It is honorable in Mr. Dunlap that he himlessons in drawing under an artist named Williams;  self was fully aware of his defects and advantages
but the latter soon left the city, without commu-  abused, deeply deplored them, and he frankly caunicating much instruction to the young artist.  tions all young artists to avoid his errors. SpeakHe commenced painting portraits in crayons at the  ing of his career in London he says, " This life of
age of sixteen, at the price of three guineas. The  unprofitable idleness was terminated by a sumnext year he spent some time by invitation, with   mons to return home," &c. Speaking of his picMr. John van Home, near Princeton, New Jersey,  ture which he called Calvary, he says, " Before
within a short distance of the head-quarters of  transferring it, (the sketch) to the large canvass,
Washington.  Here he often saw the general, and   I painted from nature the principal figures and
finally painted his portrait, and that of Mrs. Wash-  groups separately. I had none of that facility
ington, at the request of Mr. van Horne. His first  which attends the adept in drawing, and now felt
attempt at oil painting was a portrait of Sir Sam-  the penalty of my folly, when I had the Royal
uel Hood, for a sign, which was esteemed a capital  Academy of England at my command, and the adlikeness. His second oil painting was a full-length  vice of the best historical painter of the age alof Washington, on the field of battle at Princeton,  ways ready to instruct me-and both neglected.
which he took with him on his voyage to London   I now, as for some years previous, studied the casts
in 1784. On arriving in that city, he called upon  from the antique and improved, but my drawing
West, who gave him encouragement, and offered  remained deficient. I had neglected the spring
him the use of his own casts for practice in draw-  of life, and it never returned to me."  Again, from
ing. His sketch of the Fighting Gladiator gained  his journal, "Thursday, 19th Feb., 1829-I am
him admission to the Gallery of Somerset House;  this day 63 years of age, active, and I think strongbut being extremely diffident, and more fond of  er than I was a year ago. I believe lam improvfrolic and pleasure than study, Dunlap did not  ing as an artist.  As a man I hope I am —but it
even enter the Gallery, or take advantage of the  is little. May God receive my thanks for his
excellent instructions of West. He resided three  blessings, and may his will be done."  What lesyears in London, and returned to America in 1787,  sons of instruction and admonition to young men!.
with but little more knowledge of the art than      Mr. Dunlap wrote a History of the Rise and
when he started. For a year or two he painted   Progress of the Arts in the United States, in two
portraits with little success, and then joined his fa-  large octavo volumes, published in 1834, and a
ther in mercantile business. In 1805, he engaged  History of the Stage in the United States, in two
in theatrical speculations, and became bankrupt,  volumes of octavo. He died in 1835.
after which he reverted to the art to obtain a sub-    DUNSTALL JOHN an English engraver who
sistence, and painted in miniature with some suc- ourished at London about   60 an  engraved
cess. In 1817, after various changes of occupation,   oushed ats in   on  of W. Hollar, though the
Dunlap devoted himself permanently to painting,  are not to be compared with the works of that
and executed many portraits in that and the fol-  maer              e       he              of bi
master.  In 1660 he published a book of birds,
lowing year.  At this time, he aided to re-establish   animals, fruit, and  owers, from his 
the Academy of Fine Arts.I                       and was elected a aimals, fruit, and flowers, from his own designs.
the Academy of Fine Arts, and was elected a direc- He also engraved a few portraits, among which are
He also engraved a few portraits, among which are
tor and keeper, with a salary of $200 per annum.  King William and Queen Mary; Mary, Queen of
Meetisng with little encouragement in New York,  James III.; Samuel Clarke, prefixed to his Puhe spent the three following  years chiefly in  ritan Divines; Jacobus Usserius.
Norfolk and Montreal. In 1821, he returned to
New York, and commenced his first historical    DUNZ, JOHN, a Swiss painter, born at Berne
work, the picture of Christ Rejected. IIe after-  in 1645. He was principally distinguished for his
wards painted the Bearing of the Cross, and the  portraits and flower pieces. Fuseli says his porCalvary, which was considered his best production,  traits were good likenesses, well colored, and careand gained him considerable reputation. In 124,  fully finished.  His flower pieces also deserve
Dunlap did great service to America and the arts,  praise for their light and spirited pencilling, and
by assisting Thomas Cole to bring his works be-  their brilliant coloring.
fore the public. He says, "I did my best to make    DUPATY, CHARLES MERCIER, an eminent
the public acquainted with the extraordinary merit  French sculptor, born at Bordeaux in 1771. He
of his pictures."  The generosity of Dunlap in   was intended by his father for the legal profession.
this instance, deserves the highest praise. The  but at the death of the latter, in 1788, he entered
same year he painted his copy o( West's picture  the school of Valenciennes, to study painting. He
of Death on the Pale Horse, which has been re-  was soon, however, compelled to enter the service,
cently sold for $2000. In 1826, the National  and was incorporated in a regiment of dragoons,
Academy of Design, was formed, of which Dun-  where he remained until 1795, when he was dislap became an active member.                     charged. He immediately entered the school of
Dunlap was respected and beloved by artists  Vincent. but soon relinquished painting for sculpand a large circle of acquaintances for his gene-  ture, which he studied under Lemout. Such was
rosity, love of art, and the many excellent qualities  his assiduity, that in 1799 he drew the grand prize
of his heart. He was a man of talent, and had he  for his group of Pericles visiting Anaxagoras, but
improved his advantages in early life, and followed  in consequence of the bad manner in which the afpainting exclusively as his profession, he would  fairs of the academy were managed, he could not
have acquired a distinguished reputation as an his-  obtain the funds to take him to Italy. He exetorical painter. But it should be remarked for the  cuted a bust of Desaix for the government, and a
benefit of young artists, that his works will not bear  statue of Love presenting flowers, but concealing




DUPL.                      280                    DUPU.
the chains. These works were in the false taste  are etched in fine taste, and finished with the
of the reign of Louis XV., and the latter was cri-  graver in a free and masterly manner. His drawticised by David, whereupon Dupaty destroyed it,  ing is correct, and his heads are full of expression
and abandoning his former style, he adopted the   and character.  The following are his best plates:
purity of the antique. In 1801 he went to Rome,                        PORTRAITS.
where he remained eight years, and made the          Louis XV.; after Ranc. Henry of Lorraine, Duke de
models for his statues of Philoctetes wounded,  Guise; after Dumoustier. Nicholas Coustou, sculptor;
Venus Genetrix, Cadmus conquering the Castalian   afterLe Gros. Nicholas de Largilliere, painter; after
Serpent, Biblis dying etc., all of which he after-   Gueulain.
wards executed in marble.  He also sculptured a              SUBJECTS AFTER VARIOUS MASTERS.
fine head of Pomona, which adorned the Luxem-.    St. John preaching in the Wilderness; after C, Mabourg Gallery.  The government commissioned   ratti. The Marriage of the Virgin; after C. Vanloo;
him  to execute a statue of Gen. Leclerc.  On his  very fine. Alexander Severus giving Corn to the Romans;
return to Paris, he produced his master-piece,  after Noel Coypel. Ptolemy giving Liberty to the Jews;.Ajax pursued by Neptune, which gained, him   do. Two, of the Elements, Earth and Air; after Louis
Ajax pursued by Neptunre, which gained him   de Boullongne. Cupid triumphing over Pan; after Ant.
great reputation, and deserves the high praise it   Coypel. Diana reposing, with her Nymphs; do. Rinalhas received.  In 1816 Dupaty was appointed   do and Armida; do. The Passage of the Rhine; after
member of the Institute, and in 1819 of the Le-  Le Brun.
gion of Honor.  He received several commissions      DUPUIS, NICOLAS GABRIEL, a younger brother
from government about this time, among which   of the preceding, was born at Paris in 1696, and
were the equestrian statue of Louis XIII., and the   died in 1770. He also studied under Duchange,
principal group for the monument of the Duke de   and although he did not equal his brother, his
Berri.  Among his other works is the group of   works possess great merit. He was elected a memVenus discovering herself to Paris; and the statue   ber of the Academy in 1754. The following are
of the Virgin, in the church of St. Germain des  his principal plates:
Pres. He died in 1825.                                                 O
DUPLESSI-BERTAUX, JEAN. a very ingeni-    The equestrian statue of Louis XV. erected at Bordeaux;
ous and prolific French designer and engraver, who   after Le Moine. The same, from that erected at Rennes;
flourished about 1780. He executed a multitude  do. C. F. Paul de Normand de Tournehem,Director General
of prints after his own designs, which are highly  of the Arts; after L. Toqu. Philip Wouwerman, paintesteemed.  Rigal enumerates 650 in his catalogue.   r after C. b. Vissher.
DUPLESSIS, JOSEPH  SIFREDE, a reputable                  SUBJECTS AFTER VARIOUS MASTERS.
French painter, born at Carpentras in 1725.  He    The Guardian Angel; after Domenico Feti; for the
reary manifested a strong inclination for art, and   Crozat collection. The Adoration of the Magi; after P.
early maniested a strong inclination for art, and   Veronese; for the same. The Virgin and Infant, with
was placed under Imbert, at Chartreuse. In 1745,  Saints; after A. Caracci. St. Sebastian; after L. Cahe went to Rome, and entered the school of Sub-  racci. St. Nicholas and St. Francis: after Pierre.leyras, where he devoted himself to history, por-  Amusement of a Pastoral Life; after Giorgione; for the
trait, and landscape. His productions were praised   Crozat collection. The Death of Lucretia; after Guido.,neas saving his Father Anchises; after C. Vanloo. A
by Vernet, who advised him to devote himself to   Nymph aving hi Father Anchises; afte r. Che. A
landscape. After some years sojourn at Rome,                    t; ar L 
Duplessis returned to his native place, where he      DUPUY DU  GREZ, BERNARD, a learned
executed a number of excellent portraits, and pie-  French advocate, who flourished at Toulouse in
tures for the churches; after which at the age of  the latter part of the 17th century, and died in
27, he went to Paris. His portrait of the Abb    1720. He is worthy of notice for his Traite de
Arnaud, first attracted attention, and in 1774 he  la Peinture, 199; and particularly for the school
was admitted to the Royal Academy, on the pre-      f pinting which he established in that city,
sentation of the portraits of Allegrain and Vien.  in supporting which Cammas. Rivalz, and Crozat,
Among his other most admired works, are the   aided very much.  He afforded great encourageportraits of Franklin, Thomas, Marmontel, Bos-  ment to artists, by distributing medals at the exsuet, Gluck, Necker and his wife, &c. He was  hibitions, and paying the expense of the living
appointed keeper of the Museum at Versailles, and   model  This school became the germ of the acdied in 1802.                                      ademy afterwards established in that city, by the
King, in 1751.
DUPONT, GAINSBOROUGH, an English painter,  K              
was a nephew and scholar of Thomas Gainsborough,    DUQUE CORNEJO, DON PEDRO, an eminent
in whose style he painted landscapes and portraits.  Spanish painter, engraver, sculptor, and architect,
He also painted landscapes with architectural ru-  was born at Seville in 1677. It is not known by
ins in imitation of N. Poussin.  His principal  whom  he was instructed.  According to Bermuwork is a large picture containing the portraits of   dez, there are Some of his paintings in the Charthe Trinity Masters, which now adorns the court  treuse of S. Maria de las Cuevas, and in the monroom on Tower-hill. He died in 1797.               astery of S. Jerome de Buena-Vista, which have
DUPREEL, M., an eminent French engraver,  considerable merit. He had a ready invention, and
whose works may be found in the Musees Fran-  produced numerous designs, some of which he
cais, Napoleon, and de Florence, executed with   etched, and are highly esteemed at Seville. His
great neatness and delicacy.                       works as a sculptor and carver in wood, are found
DPUIS, CHAR, a F h e, ws  in the cathedrals and churches at Seville, Granada,
bn at Pas in 1685, and died there in 1.  Cordova, and other cities.  The account of his
born at Paris in 1685, and died there in 1742.  worksisverymeagre. HediedatSeville-inl757
He was a pupil of Duchange. He was an eminent
engraver, and was elected a member of the Royal  and was buried in the cathedral with great pomp
Academy at Paris. He executed a considerable  and magnificence.
number of historical subjects and portraits which    DUQUEYLAR, PAUL, a French historical paint




DUQU.                     281                    DURA.
er. was born at Digne in 1771. He went to Paris,  versity of Pont-i-Mousson. He died at Nancy in
and entered the school of David: very little is re-  1767.
corded of his life. He was a very promising young  DURANTE, COUNT GIORGIO, an Italiah painter,
artist while with David, had a decided taste for the  was born at Brescia in 1683. He acquired great
antique, and his subjects are designed from the an-  reputation for his flower-pieces, which were admi.
cient classic poets and historians. About 1800 he  rably composed, and painted with all the freshwent to Rome to perfect himself, where, in 1804,  ness and brilliancy of nature. He also painted
he painted the Judgment of Minos, and the story   birds which were admired, not only for a faithful
of Belisarius, which are described by Kotzebue in  imitation of nature, but for the beautiful and pichis Recollections of Italy.  Nothing further is  turesque attitudes in which they were drawn.
mentioned of this artist.                        His works were greedily sought after by princes
DUQUESNOY, FRANCIS called the Fleming, a  and nobles, and they are seldom to be found out
reputable sculptor, born at Brussels in 1594. He  of the noble collections of Brescia, Venice, and
was the son of a sculptor, from whom he acquired  Turin. Some of his best works are in the royal
the elements of the art, and showed so much abil-  galleries at Turin. He died in 1755.
ity that the Archduke Albert sent him  to Italy    DURANT J. L., an English engraver of little
with a pension. At the age of 25, he lost his ben-  note, who lied at London about 1690. He eeefactor, and was obliged to execute figuresin ivory  cuted a few portraits, and a variety of book ornaand wood to gain a livelihood. About this time,  ments for the booksellers.
he formed a connection with Poussin, who was in
a similar condition as himself, and they pursued  DURELLO, SIMON, a German engraver, who
their studies together with great assiduity. Du-  flourished at Vienna about 1674, and engraved some
quesnoy soon became distinguished for his statues  of the portraits for the Istoria di Leopoldo Ceof children, in which he formed his style upon the  sare, published at Vienna in 1674.
beautiful productions of Albano. He was employ-    DURER, ALBERT. This extraordinary artist
ed to model the groups of children which adorn  was born at Nuremberg in 1471. His father was
the columns of the grand altar of St. Peter's. He  a skillful goldsmith, from  Hungary, and taught
also succeeded admirably in higher subjects, and  his son the first rudiments of design, intending
his statue of St. Susanna for the church of the  him  for his own profession; but his early and
Madonna at Loretto, has been greatly admired for  decided inclination for the arts and sciences inits modesty, sanctity, and elevated expression.'For  tduced him to permit young Durer to follow the
the Basilica of St. Peter's he executed a colossal  bent of his genius. He received his first instrucstatue of St. Andrew, which is one of the finest  tion in painting and engraving from Martin Hapse.
productions of modern art, and occupied the artist  When he had reached the age of fourteen, it was
five years. Duquesnoy was never well encour-  his father's intention to have placed him under the
aged, and in 1646 he started for France, but was  instruction of Martin Schoen of Colmar, the most
poisoned by his brother.                         distinguished artist of his time in Germany, but
DURAMANO,FRANCESCO, a Venetian painter of  the death of the latter happening about that time,
flower-pieces, who flourished about 1750. Lanzi  he became a pupil of Michael Wolgemut, in 1486,
says he was an imitator of Gasparo Lopez, and  the first artist then in Nuremberg, with whom he
somewhat of a mannerist, yet his works are found  studied diligently four years. He also cultivated
in the choicest collections of Venice.          the study of perspective, the mathematics, and
architecture, in all of which he acquired a proDURAND, JEAN NICOLAS Louis, professor of  found knowledge. Having finished his studies,
architecture in the Polytechnic School, was born  he commenced his travels in 1490 and spent four
at Paris in 1760. He studied under Panseron
at Paris in 1760. He studied under Panseron,  years in traveling through Germany, the Netherafter which he was employed by Boulee, at a sal-  lands, and the adjacent counties and provinces. On
ary of 1200 livres. In 1780, he gained the grand  his return to Nuremberg, in 1494, he ventured to
prize of the Academy of Architecture, for the plan  exhibit his works to the public, which immediately
of a College, which is engraved in the Recueil of   attracted great attention. His first work was a
Prieur. He made many designs for various edi-  piece of the Three Graces, represented by as many
fices, which were highly esteemed. In 1794, he  female figures, with a globe over their heads. He
was appointed to the station above mentioned,  soon after executed one of his master-pieces, a
which he filled with great ability. He wrote sev-  drawing of Orpheus. About this time to please
eral excellent works on the theory of the art, and   his father, as it is said, he married the daughter of
was an honorary member of several foreign acade-Hans Fritz, a celebrated mechanic, who proved a
mires. He was appointed Chevalier of the Legion  fierceXantippe, and embittered, and  some say
of Honor in 1820, and died in 1834.              shortened his life. In 1506, he went to Venice to
DURAND, JACQUEs, a French painter, born at  improve himself, where his abilities excited envy
Nancy in 1699. He studied at Paris under Nat-  and admiration. Here he painted the Martyrdom
tier, and afterwards went to Rome, where he pro-  of St. Bartholomew for the church of S. Marco,
duced several fine works, and sent them to Nan-  which was afterwards purchased by the Emperor
cy. The Grand Duke Leopold was so much   Rodolphus, and removed to Prague. He also went
pleased with them that he sent him a pension.  to Bologna, and returned home in 1507. This
Durand remained there eight years, and then re-  journey to Italy had no effect whatever upon his
turned to Nancy, where he executed a number of  style, though doubtless he obtained much informaworks for the churches, which added greatly to  tion that was valuable to him, for at this period
his reputation. He also painted many pictures for  commenced the proper era of his greatness.the churches of other cities, among which were  Though Durer was most famous as an engrathe works in the church of the Jesuits, at the Uni-  ver, yet he executed many large paintings which




DURE.                      282                    DURE.
occupy a distinguished place in the royal col-  plates that boldness and freedom desirable in large
lections of Germany, and other European coun-  historical works, we find in them everything that
tries. In the Imperial collection at Munich are  can be wished in works more minute and more
some of the most celebrated, as Adam and Eve,  finished, as were his. To him is attributed the inthe Adoration of the Magi, the Crucifixion-a  vention of etching; and if he was not the inventor,
grand composition-the Crowning of the Virgin,  he was the first who excelled in the art. He also
the Battle between Alexander and Darius, and  invented the method of printing wood-cuts in
many other great works. Durer painted the Wise  chiaro-scuro, or with  two  blocks.  His great
Men's Offering, two pictures of the Passion of  mathematical knowledge enabled him to form  a
Christ, and an Assumption of the Virgin, for a  regular system of rules for drawing and painting
monastery of Frankfort, which proved a source of  with geometrical precision. He had the power of
income for the monks, from the presents they re-  catching the exact expression of the features, and
ceived for exhibiting them. The people of Nurem-  of delineating all the passions. Although he was
berg still preserve, in the Town Hall, his portraits  well acquainted with the anatomy of the human
of Charlemagne and some Emperors of the House  figure, and occasionally designed it correctly, his
of Austria, with the Twelve Apostles, whose dra-  contours are neither graceful or pleasing, and his
pery is remarkable for being modern German, in-  prints are never entirely divested of the stiff and
stead of Oriental. He sent his own portrait to  formal taste that prevailed at the time, both in his
Raffaelle, painted on canvass, without any coloring  figures and drapery. Such was his reputation,
or touch of the pencil, only heightened with shades  both at home and abroad, that Marc' Antonio Raiand white, yet exhibiting such strength  and  mondi counterfeited his Passion of Christ, and the
elegance that the great artist to whom it was  Life of the Virgin, at Venice, and sold them  for
presented expressed the greatest surprise at the  the genuine works of Durer. The latter, hearing
sight of it. This piece, after the death of Raffa-  of the fraud, was so exasperated that he set out
elle, fell into the possession of Giulio Romano,  for Venice, where he complained to the government
who placed it among the curiosities of the palace  of the wrong that had been done him by the plaof Mantua. Besides the pictures already men-  giarist, but he could obtain no other satisfaction
tioned, there is by him an Ecce Homo at Venice,  than a decree prohibiting Raimondi from  affixing
his own portrait and two pictures representing   Durer's monogram or signatures to these copies
St. James and St. Philip, and an Adam  and Eve  in future. Vasari says that when the prints of
in the Florentine Gallery. There are also some  Durer were first brought into Italy, they incited
of his works in the Louvre, and in the royal col-  the painters there to elevate themselves in that
lections in England. As a painter, it has been ob-  branch of art, and to make his works their models.
served of Durer that he studied nature only in her    Durer engraved both on wood and copper.
unadorned state, without attending to those graces  Among his most celebrated copper-plates are Forwhich study and art might have afforded him; but  tune, Melancholy, Adam and Eve in Paradise, St.
his imagination was lively, his composition grand,  Hubert, St. Jerome, and the Smaller Passion, so
and his pencil delicate. He finished his works  called, in sixteen plates. Among his best woodwith exact neatness, and he was particularly ex-  cuts are the Greater Passion, with the frontispiece,
cellent in his Madonnas, though he encumbered  thirty-seven pieces; the Revelation of St. John,
them with heavy draperies. He surpassed all the  with frontispiece, fifteen plates; and the Life of
painters of his own country, yet he did not avoid  the Virgin, in twenty plates. One of his best
their defects-such as dryness and formality of  wooden cuts is St. Eustachius kneeling before a
outline, the want of a just degradation of the tints,  Stag, which has a Crucifix between the Horns.
an expression without agreeableness, and drape-  This cut is accounted a wonder, particularly for
ries broad in the folds, but stiff in the forms. He  the beauty of the dogs, which are represented in
was no observer of the propriety of costume, and   various attitudes. The celebrated John Andreas,
paid so little attention to it that he seems to have  a Doctor in divinity, sent this print to a prince of
preferred to drape his saints, and heroes of anti-  the House of Brunswick, who wrote him a letter,
quity, in the costume of his own time and country.  in which he says, " You have extremely obliged me
Fuseli observes that "the coloring of Durer went  by your new present, a cut which merits a nobler
beyond his age, and in his easel pictures it as far  metal than brass, done by the celebrated painter
excelled the oil color of Raffaelle in juice, and  of Nuremberg, and which I think wants nothing,
breadth, and handling, as Raffaelle excelled him in  unless Zeuxis or Parrhasius, or some other person
every other quality."                            equally favored by Minerva, should add colors and
But it was as an engraver that Durer derived  the native form."  Andreas, in answer, says, "I
most of his fame, and he is allowed to have sur-  could easily guess that the Eustachius of Durer
passed every artist of his time in this branch of  would not fail to prove an acceptable present to
the art..Born in the infancy of the art, he carried  you. from whatever quarter a performance of that
engraving to a perfection that has hardly been sur-  admirable artist came. It is very surprising in
passed. When we consider that, without any   regard to that man, that, in a rude and barbarous
models worthy of imitation, he brought engraving to  age. he was the first of the Germans who not only
such great perfection, we are astonished at his gen-  arrived at an exact imitation of nature, but has
ius and his own resources. Although engraving  likewise left no second, being so absolute a master
has had the advantage and experience of more  of it in'all its parts-in etching, engraving, statuthan three centuries, it would perhaps be difficult  ary, architecture, optics, symmetry, and the rest,
to select a specimen of executive excellence sur-  -that he had no equal except Michael Angelo
passing his print of St. Jerome, engraved in 1514.  Buonarotti, his cotemporary and rival; and he
He had a perfect command of the graver, and his  left behind him such works as were too much for
works are executed with remarkable clearness and  the life of one man."  The fame of Durer spread
neatness of stroke; if we do not find in his  far and wide in his life-time. The Emperor Maxi



OURE.                       283                       DURE.
milian I. had a great esteem for him, and appoint-                    PORTRAITS ON COPPER.
ed him his court painter, with a liberal pension,    Albert Durer, represented at two different dates, 1509,
and conferred on him  letters of nobility; Charles   and 1517, on each side of a piece of architecture, with a
V., his successor, confirmed him  in his office, be-   Latin inscription. Albert, Elector of Mentz. 1523. Fredstowing uponr him at the same time the panter'   erick, Elector of Saxony. 1524. Philip Melancthon. 1525.
stowing upon him at the same time the painter's   Erasmus, from his statue at Rotterdam, 1526; scarce. Bilicoat of arms, viz., three escutcheons, argent, in a   bald Pirkheimer. 1524.
deep azure, field.  Ferdinand, King of Hungary,                        SUBJECTS ON QOPPER.
also best(Lwed upon him marked favors and liberal-       ^^                    
also bestowed upon him mallared favors and liberal-      Adam and Eve, with the Serpent, 1504; fine. There is
ity.  Durer was in favor wit  high and low.  All  a fine copy of this print by John Wierix when he was sixthe artists and learned men of his time honored   teen years of age. Adam and Eve after their Fall. The
and loved him, and his early death in 1528 was   Nativity, with St. Joseph filling a Vesselwith Water, 1504,
universally lamented.  He always lived in a very'called The little Nativity. The Holy Family, where St.
fr l m, withut th  l t otetati   fo   Joseph is resting on a Stone. 1506. The Holy Family, with
frugal manner, without the least ostentation for
a Monkey in the foreground, called The Virgin with the
the distinguished favors heaped upon him.   ie   Monkey. The Virgin seated at the Foot of a Tree, with the
applied himself to his profession with  the most  Infant holding a Pear, called The Virgin with the Pear.
constant and untiring industry, which, together   The Virgin seated on a Stone, in a landscape, with Buildwith hisgreat knowledge, great facility of mechan-  ings, and the Infant holding an Apple, called The Virgin
ical execution, and a remarkable talent for imita-  with the Apple. The Passion of Christ; in sixteen plates,
tioenabled him to rise to such distinctio.   and   including the frontispiece, 1607-1512; difficult to be met
tion, enabled him to rise to such distinction, an    with, complete. The Twelve Apostles. The Crucifixion,
to exert so powerful an influence on the character   with the Holy Women and St. John at the Foot of the
of German art for a great length of time.  He was   Cross; small circular; very scarce. Christ-praying in the
the first artistin Germanywho practised and taught  Garden, 1515, said to be engraved on Iron; very scarce.
the rules of perspective, and of the proportions of   Angels with the Instruments of the Passion. 1516. The'the human -figure, according to mathematical rin ~\  Great Ecce Homo, 1512, with a Latin inscription; very
the human figure, accord-                    in t  aacarce. The Prodigal Son; the best impressions are beciples.  His treatise on proportions is said to have   fore the date 1513. St. Hubert kneeling before a Stag,
resulted from his studies of his picture of Adam    with the Cross on its Forehead; one of his finest works.
and Eve.  His principal works are De Symmetria   There is a good copy of this plate reversed, by John Wiepartium in rectis frmis humanorum  corporum,  rix, with the cipher of Albert. St. Jerome in the Desert,
printed at Nuremberg in 1532; and De Verieitate  kneeling before a Crucifix, and holding a stone in his hand.
St. Jerome seated in a Room, writing, 1514; very fine.
Figurarum, etfiexuris partium, et Gestibus Ima-   There is also a copy of this fine print by John Wierix,
ginum; 1534.  These works were written in   when he was only twelve years old. A Woman with Wings,
German, and after Durer's death translated into  standing on a Globe, holding a Cup in her Hand, impropLatin.  The figures illustrating these works were   erly called Pandora's Box; it is sometimes named The
executed by Durer, on wood, in an admirable man-  StickGreat Fortune. A naked Woman on a Globe, holding a
executed by Durer, on wood, in an admirable manStick with a Thistle at the end of it, called The Little
ner.  Durer had also much merit as a miscellane-   Fortune. Melancholy, represented by a Woman resting
ous writer, and labored to purify and elevate the   her Head on her Hand, and holding a Compass; very fine.
German language, in which he was assisted by his   Three Women, or Witches, with a Globe over their Heads,
friend, W. Pirkheimer.  His works were pub-  with the letters O. G. H. and an appearance of Hell in the
lished in a collected form at Arnheim, in 1603, folio,  background; copied after Israel van Mecheln; dated
n Latin and in French.  J. J. Roth wrote a life   1497; very scarce. An armed Man on Horseback, purin Latin and in French.ohwrisued by Death, called Death's Horse. The best impresof Durer, published at Leipsic in 1791.  Some au-  sions are before the date 1513. There is a good copy of
thors have attempted to prove that Durer did not  this plate; dated 1564. A Coat of Arms, with a Skull, a
execute any of his engravings on wood. Zani and   Satyr, and a young Woman standing near it, 1503; called
Bartsch are decidedly of this opinion, and give rea-   The Death's Head. A Coat of Arms, with a Lion and a
sons to show that the designs only were Durer s   Cock. A Horse, with an armed Man with a Halbard following. 1505. A Man mounted on a Unicorn carrying off
and that the mechanical operation of cutting was   a Female, called sometimes The Rape of Proserpine;
entrusted to skillful workmen in that line.  This  very scarce.
decision of Bartsch extends also to Hans Schaufe-                   ETCHINGS BY ALBERT DURER.
lin, Hans Burgkmair, Hans Baldung, Altdorfer,    Christ seated, leaning his Head upon his Hand, and a
Lucas Cranach, and others-rather a sweeping   Figure in the front pointing towards him. One of the Fadeclaration. Where could Durer have found such   thersof the Church in a Cell, with two Books. 1515. The
skillful workmen in that barbarous age, unless he   Virgin holding the Infant asleep, with a young Female
had renderied them  as skillful as himself by  a   kneeling. 1519. Moses receiving the Tables of the Law;
1524. The Cannon, with Figures at the Entrance of a Vilcourse of instruction?  That he had assistants in  lage, 1518, said to be etched on iron; very scarce.
executing his numerous works cannot be doubted;               WO     N CS       ALBERT DU
nevertheless, they bear the genius and inspiration            WOODEN CUTS BY ALBERT DRER.
of his own directing hand, and they are as much                            PORTRAITS.
his as were the immortal works of Angelo and            Albert Durer, at the age of 56; inscribed Albrecht DuRaffaelle in the Vatican, though they had numer-  rer Conterfeyt, L4c. Albert Dureri Effigies, edita ex lines
affaelle.  in the Vatiutabula, &c.   ust of theEmperor, Maximilian r. 1519
ous assistants.  The prints of Durer are numer-  Ulrihus Varnbuler, 1522; scarce.
ous, and many of them are extremely scarce and                 WOODEN CUTS OF VARIOUS SUBJECTS.
valuable.  A fine print of his St. Jerome has been      The Life and Passion of Jesus Christ; in thirty-six cuts.
sold in London for thirty guineas.   His etchings,  These prints were copied on copper-plates by Marc' Antothough highly esteemed, do not compare with his  nio,.in a bold manner, in imitation of the wooden cuts.copper-plates and wooden cuts.  The following is   The Life of the Virgin; in twenty cuts, seventeen of which
a brief account and list of his most esteemed   were also copied by Marc' Antonio, with the mark of Alprints, which are often dated, and generally bear  bert Durer, except the last plate, on which he put his own.
one of his monograms, as follows                      St. Anne, with the Infant Jesus on her Knee, and the Virnoohsoneofh nograms, as follows ~                gin kneeling with two Saints; in chiaro-scuro; very scarce.
TX    7 ^  eF  r~  I~X^  ^The Holy Family, in a landscape, with two Angels crown,
J,lr     or A \or   Or      or                ing the Virgin, and three Rabbits. In the lower part of
JI.DX)~~~  ^^^~ 9) ^ ^~~~ l~  Lthe print, St. Christopher carrying the infant Jesus; scarce.




DURE.                      284                    DUVA.
The Emperor Maximilian, with the Virgin and several  ments of design under Nicholas Weilling, aftei
Saints worshipping the Saviour. The Siege of Vienna; in                                   o
which he went to Rome, and entered the school of
two sheets, 1527; scarce. The Triumphal Car of Maxi-  P d  to      o        he followed with conmilian I.; in eight sheets. The Rhinoceros, with a Ger.   ortona, whose style
man inscription; scarce. Six cuts of ornaments for tapes-  siderable reputation. He afterwards returned to
try and embroidery.                               Holland, and was commissioned by King William
DVRET, PIERRE, a French engraver of little  to execute several paintings at Loo. He was apnote, who lived at Paris about 1767, and engraved  pointed Director of the Academy at the Hague,
a few plates, among which are: A  View in Hol-  and painted the ceilng of the principal gallery,
land, after Ruysdael; Two Moonlight Scenes,  whichismuchesteeied. Heisalso saidtohave
after Vanderneer; The Country  Blacksmith,  attended the king to England, who entrusted to
after Wouwerman; and  an  Italian  Sea-port,  him the cleaning and repairing of the cartoons
after Vernet.                                     of Raffaelle. at Hampton Court. He died in 1732.
DURIVIER, JOHN, a Dutch medallist, born at    DUVAL.  PHILIPPE, a French painter, who
Liege in 1687. lie went to Paris, where he soon  flourished about 1672. He studied under Charles
gained great reputation for his talents, was ap-I Brun, after which he improved himself by a
pointed engraver to the king, with apartments in  residence in Italy. In the reign of Charles II. he
the Louvre, and was received into the Royal Acad-  went to England, and painted some historal subemy.  Among his other works is a medal, with  jects, particularly one for the Duchess of Rich
an admirable likeness of Louis XV. He died at  "od, representing Venus receiving from  Vulcan
Paris in 1761.                                   the Arms of AEneas. He died at London in 1709.
DURNO, JAMES, an English painter, was born        DUVENEDE, MARK VAN, a Flemish painter.
about 1752. He first studied under Andrea Ca-born at Bruges in 1674. He visited Italy while
sali in London, and afterwards with West. The  very young, and entered the school of Carlo Maearly productions of this artist gave promise of  ratti at Rome, where he remained four years. On
great ability.  He went to Italy in 1774, and died   his return to Flanders, he was employed in seveat Rome in 1795.                                  ral grand works for the churches and convents;
DURR, JOHN, a  n e, wo         -  but in a few years he became indolent, from  havDURR, JOHN, a German engraver, who flourish-  ing an easy income independent of his profession;
ed about 1626.  He engraved a few  portraits,  and for several years previous to his death, he probut was chiefly employed by the booksellers.      duced nothingof consequnce.  His works  ere
DUSART, CORNELIUS, a Dutch painter and en-  in the style of Carlo Maratti, and those which he
graver, was born at Haerlem in 1665. He stud-  painted soon after'his return from  Italy have
ied painting under Andrew van Ostade, whose style   much merit. Among his other works, is a capihe followed with considerable success. His paint-  tal picture at Bruges, of the Idolatry of Solomon;
ings, like those of Ostade, represent village festi-  and in the chapel of St. Christopher, another fine
vals, merry-makings, &c. Although not equal to   work, representing the Martyrdom of St. Lawhis master in the richness of his tones and har-  rence. He died in 1729.
mony of effect, yet his composition is ingenious,   a,      DUVET  or DANET.
his touch light and spirited, and his coloring clear    or        or  jJEANanold French engraand agreeable. There is, however, considerable                          ver, born at Langres, acirregularity in the works of Dusart. His best  cording to Bartsch and Zani, in 1485. He is somepictures are esteemed worthy of a place in the best  times called the Master of the Unicorn, from  his
collection. He etched a few prints in a very spir-  having sometimes engraved that animal on his
ited manner, and executed some mezzotint plates  plates. He flourished at Paris in the reign of
full of harmony, after his own designs. The fol-  Henry II., and usually marked his plates I. D.,
lowing are his best prints:                       or with one of his monograms. Among other
PLATES IN MEZZOTINTO.               works, he executed a set of twenty-four prints of
An Old Man playing on the Violin, with a Dutch Peas-  the Apocalypse; also one plate of the god Mars;
ant regaling. A Girl confessing to a Monk. A Dutch  I. D., 1530; the Marriage of Adam and Eve; and
Boor reading a Paper, and holding a Bottle. The Mon-  Moses with the Patriarchs.
keys regaling. An Indian dancing with a Girl. A Girl    D      IAA    A
dancing with a Tea-pot in her Hand. Twelve plates ofN, a  utch painter, who
the Months of the Year. He also engraved, in mezzo-  flourished at Dort about 1670, and was much estinto, the Five Senses, of which a detailed account may be  teemed for his pictures of fish and other subjects
found in Brulliot's Dictionnaire des Monogrammes.  of still-life, which possess considerable merit.
ETCHINGS.                       DYCK, DANIEL VANDER, a Flemish painter,
The Interior of an Alehouse, with Boors regaling. The  who studied in Italy, and was appointed court
Great Fair. 1685. The Little Fair. 1685. The Amorous  painter to the Duke of Mantua, and keeper of his
Cobler.'The Village Surgeon. 1695. The Village Physi-     H
gallery. He excelled in portraits, and also paintcilan. 1695. The Inside of a Dutch Alehouse, with Peas-  gallery.  e  exelled i n portraits, and also pain
ants drinking, and a Man playing on the Violin; with an  ed history in a good style. He engraed a few
inscription beginning, Rusticus ex animo, non pullus Hy-  plates after his own designs, and died in 1729.
pocritagaudet. A Village Festival; C. Dusart, pinx.  DYK, FLORU  VAN a Dutch painter, born in
DUTTENHOFER, CHRISTIAN  FREDERICK, a  1600, and died in 1649. He painted subjects of
reputable German engraver, born in 1778. He  history, but is better known for his fruit and flowexecuted some of the plates in the Musee Napo-  er pieces, which possess great merit.
leon; also a number of romantic views in the Ty-    DYXHOORN, PETER ARNOUT, a Dutch paint
rol, and many fine landscapes after Claude Lor-  er,born atRotterdam in 1810. He studied under
raine, Poussin, the Caracci, and Paul Brill.      M. Schouman and J. C. Schotel, and attained a
DUVAL, NICHOLAS, a reputable Dutch painter,  deserved reputation for his fine pictures of river
born at the Hague in 1644. He studied the ele-  scenes and marine views. He died in 1839.




EARL.                      285                     ECHA.
E. ~E                    C ECHARDT, or ECOARDT, JOHN  GILES, a
~E~~~~. German painter, who visited England about 1740,
EARLOM, A    a p mint E is e    and became a pupil of John Baptist Vanloo. He
EARLOM, RICHAF.D a preeminent Englishen-  acquired considerable reputation, as a portrait
graver, born at London in 1742, and was the son   acquired  considerab   reputation, as a portrait
painter, and was much employed, particularly by
of the vestry clerk of the parish of St. Sepulcre.  paiter, alpd was m        employed, prticularly by
His taste for design is said to have been excited by   Horae f Walp. Womong  ther ptreaits wer
the inspection of the ornaments on the state-coach  
Middleton. Echardt died in 1779.
of the lord-mayor, which had been painted by   M                Echardt diedin 1779.
Cipriani.  He entered the school of that master,    ECHION, a celebrated Greek painter, who flourwhere heunade such rapid progress that in 1760  ished about B. C. 352. Pliny ranks him  with
he was employed by Alderman Boydell to make  Apelles, Melanthius, and Nicomachus, and cites
drawings from the celebrated collection of pictures  many of his best works, among which were a picat Houghton, most of which he afterwards en-  ture of Bacchus, Tragedy and Comedy, the Crowngraved in mezzotinto.  In this branch of the art  ingof Semiramis, etc. His works were in great
he had been his own instructor, and he introduced   demand throughout Greece. Cicero praises him
into the practice of it improvements and instru-  equally with those painters who carried the art to
ments not previously used.  The fruit and flower  the highest perfection, but in some editions the
pieces executed by Earlom, after J. van Huysum,  name of Aition occurs, instead of Echion, and
established his fame. He engravedr  they may be the plates forsame artist. (See Ation).
the well known work published by Boydell, enti-  Echion was also a sculptor, and wrought in contied Liber Veritatis, executed in the style of the   cert with Therimachus.
original drawings by Claude Lorraine, which are       ECKMAN, or ECMAN, EDWARD,    Flemish
in the possession of the Duke of Devonshire. Ear-  wood engraver, born at Mechlin about 1610. His
lorn died in 1822. The following are his principal  prints, which, according to Marolles number about
plates:                                            one hundred, are esteemed for their neatness of
ETCHINGS.                      execution, and the correct drawing of the small
The Portrait of Rembrandt; se ipse pinx. Banditti  figures.  He seems to have imitated the prints of
and Travelers; after S. Rosa. Jacob wrestling with the  Callot; and he has copied some of them, in woodAngel; do. David and Goliah; do. Venus and Adonis;  en cuts with great delicacy and spirit, particularly
fter N.Poussin. The Death of Abel; after A. Sacchi.  the plate representing Fire-Works on the river
flneas saving Anchises from the Ruins of Troy; after
saving Anchises from the Ruins of Troy; after  Arno. He also engraved after Businck and AbraTintoretto. The Holy Family; after Guercino. Cupid     
bound; after Guido.                                ham Bosse.
PORTRAITS IN MEZZOTINTO.                 ECKSTEYN, GEORGE DAVID, a German enWilliam Henry, Duke of Gloucester; after Hamilton.  graver, who practised the art at Nuremberg, about
Thomas Newton, Bishop of Bristol; after West. Sir Ed-  1725. He engraved, among other works, a part
ward Astley, Bart.; do. George Augustus Elliot, Lord  of the portraits for thework entitled Icones BibliHeathfield; after Reynolds.  James Stuart, Duke of  opolam et                n,       i       in 
Richmond; after Vandyck. Admiral Kempenfelt; afterpogaporu    puis    in 
r. Kettle. The Duke of Aremberg on horseback; after  ECKHARD, GEORGE LUDWIG, a German porVandyck. Rubens' Wife; Rubens, pinx. A Portrait of  trait painter, born at Hamburg in 1769. He pracRembrandt; after a picture by himself.  Rembrandt's  tised the art in that city for many years with great
Wife; Rembrandt, pinx. James Mac Ardell, engraver.
success, and attained considerable reputation.  He
SUBJECTS AFTER VARIOUS MASTERS.           is the author of a biographical work on the artists
The Repose, called la Zingara; after Correggio. The  of Hamburg, which served as a supplement to the
Virgin and Infant; after Guercino. The Virgin and Infant with St. John; after Carlo Dolci. Salvator Mundi; ictionary of  usell.
after the same. The Virgin and Infant; after Canta-    EDELINCK, CEV. GERARD, a celebrated Flemrini. The infant Jesus sleeping; after Domenichino.  ish engraver,born Antwerp 1627   died at
Simeon receiving the infant Jesus; after Guido. Christ  ris in 1707. He sted uner C  lius Gale, wit
curing the Blind; after An. Caracci.  Galatea; afterrs n 707. HestudiedunderCorneliusGalle,with
Luc. Giordano. The Judgment of Paris; do. The Mi-  whom he made great progress; and in 1665 he
sers; after Quintin Messis. The Holy Family; after  was invited to Paris by the great Colbert, where
Rubens. Mary Magdalene washing the Feet of Christ;  he was taken into the service of Louis XIV., who
do. Nymphs and Satyrs; do. Meleager and Atalanta;  settled a pension on him, and gave him apartments
do. The Death of Hippolitus; do. Rubens' Son and his  in the  obelins.  He was subsequently elected a
Nurse, with Fruit on a Table; do. Elijah restoring to
life the Widow's Son; after Rembrandt. The Presenta-  Royal Academician, and was soon after knighted
tion in the Temple; do. Susanna and the Elders; do.  by the king. The plates of this admirable artist
A Boar attacked by a Lion; after Snyders. The Fruit-  are executed entirely with the graver, and are
Market; after Snyders and Langen Jan. The Fish-  very highly finished, yet they possess that freepMrket; do. The Gr-een-Market; do. Two, a Fruit-  dom and boldness of touch which give the appear.
piece and a Flower-piece; qfter John van Huysumn; ex-  ance of life and reality.  He worked with surpristremely fine; David and Bathsheba; after A. Vander-               reality.   e worked with surpriswerf; veryfine. The Enchantress; after D. Teniers.  ing facility; his plates, though exquisitely finish-.
The Singing Master; after G. Schalken. The Interview   ed, have nothing of a labored appearance, and he
between Augustus and Cleopatra; after R. Mengs. The  possessed a profound acquaintance with what is
Boyal Family of England; after Zofany. The Royal  called color in engraving.  The pictures of Le
Academy; do. Angelica and Medora; cfter West. Cu-  Brun may be said to have been embellished by
pid stung by a Bee; do  Meleager and Atalanta; after  Brunmaybe said to have been embellished by
Richard Wilson. Apollo and the Nymphs; do. A Black-  the admirable graver of this artist, and they seem,
smith's Shop; after Jos. Wright. An Iron Forge; do.  in his prints, to have been the productions of an
We are indebted to Mr. Earlom for a very interesting   accomplished colorist.  The following are his
work, published by Boydell, entitled Liber Veritatis, com-  principal works:
prising upward of two hundred plates, executed in the style
of the original drawings, by Claude Lorraine, which are               PORTRAITS.
in the possession of the Duke of Devonshire.         The Equestrian Statue of Louis XIV., the Frontispiece




EDEL.                          286                         EDEL.
for the Illustrious Men of France. Louis XIV., half-   ductions of the latter.  There are several prints
length; after J. de la Haye. Louis, Duke of Burgundy;   by hi   of statues in the garden of Versailles;
qfter F. de Troy. Esprit Flechier, Bishop of Nismes;  also the following:
fter Rigaud. Charles -Perrault, of the French Academy.
Paul Pelisson; of the same. J. de la Fontaine; of the       The Portrait of Isbrandus de Diemerbroeck, famous
same. J. Racine; of the same. Blaise Pascal. Peter   anatomist; afterRomeyn de Hooghe. The Deluge; after
van Bouc.- Nathaniel Dilgerus. 1683.  Titian, with a   Alessandro Veronese; very fine  This plate so nearly
long Beard. Abraham Teniers; after a picture by him-   resembles the fine style of Gerard Edelinck, that it is supse:f. Albert Durer, with a short Beard; Edelinck, scul.  posed he was greatly assisted in the execution of it by his
John Cousin, with Moustaches; do. Giles Sadeler, engra-  brother.
ver. Abraham Bloemaert. James Blanchard; after a            EDELINCK, NICHOLAS, a French engraver, the
picture by himself. Francis Tortebat, painter to the king;   s
aferdePilesre, engraver; after e Brun.  son of Gerard E., was born at Paris about 1680.
Peter Simon, engraver; after P. Ernou.  Francis Cha-   He  was first instructed by his father, and also
veau, engraver; after C. le Fevre. Martin vanden Bo-   visited Italy for improvement; but never rose
gaert, sculptor; after Rigaud. Hyacinth Rigaud, paint-   above mediocrity.   He engraved  a number of
er; after a picture by himself. Julien Hardouin Man-   plates for the Crozat collection, and also several
sard, architect; after Rigaud. Charles le Brun; after
le ChamgN. der a   c-portraits, amonrg  which are the following:
ture by himself; very fine. Charles d'Hozier, Genealogist                       PORTRAITS.
of ~France; after Rigaud. Frederick Leonard, Printer       Gerard Edelinck, engraver to the King; qfter Tortebat.
to the King  do. John Charles Parent,he Cardinal Julius de Medici; after Raffaelle. The
7Tortebat. Madame Helyot, with a Crucifix; after Gal-   Count Balthasar Castiglione; do.  Philip, Duke of Orliot. Francis M. e Tellier, Marquis de Louvois, bust, with  leans, Regent of France, on horseback; after J. Ranc
Mars and Minerva as supporters; after le Brun. An-   Adrian  Baillet.  John  Dryden, English Poet; after
drewHameauDotorofSorbonne; after Viie. Niho-   Kneller. The Virgin  and Infant; after  Correggio.
las de Bampignon, Doctor of Sorbome; do. John Rouille,   Vertumnus and Pomona; after J. Ranc.
Count of Meslay, counsellor of state; after Nantueil.
Charles Mouton, Musician to Louis XIV.; after de Troy.      EDELING, J., a Dutch engraver of little note,
SUBJECTS AFTER VARIOUS MASTERS.                 who worked principally for the  booksellers.The Holy Family, with.St. John, St. Elizabeth, and two   Among other portraits. he executed those of J.
Angels; after the picture by Raffaelle, which was in the   Deimerbroeck. and Timon van Geissel, which are
collection of the King of France; very fine. The first im-   not without merit.
pressions are before the arms of Colbert, the second are,
ith the arms, andin the third the arms have been effaced,   EDEMA, GERARD, a Ditch painter, born  in
but the frame in which they were inserted remains. The   Friesland about 1652.  He studied under Albert
Virgin Mary sewing, with the Infant sleeping in a Cradle,  van Everdingen, and like that master, painted landsurrounded by Angels; called La Couseuse; after Gui-  scapes with rocks and waterfalls.  At the age of
do; fine. The Holy Family, where St. Joseph is present-  eighteen he went to England, where he met with
ing flowers to the infant Jesus; inscribed Dilectus meus,        e                         a    3 
c.; after C. Maratti. The Holy Family, called the   some encouragement; and afterwards visited NorBenedicite; after le Brun. A Female Saint, holding a   way and Switzerland, where he gained improveLily, and kneeling before the Virgin and Infant seated on   ment from  observation of the wild, mountainous
a Throne, to whom she presents a Book; after P. da Cor-   scenery. He is also said to have visited Newfoundtona.' Mary Magdalene penitent, trampling on the Vani-  land.  His pictures are painted in a very forcible
ties of the World. It is the portrait of Madame de la Va-'           t              t         i 
liere;                      Brun, at the Carmelite  at   andspirited manner, though they possess little of
Paris. The first impressions are without the inscription,  the chaste and simple coloring that distinguishes
and are very scarce; the next best are without the border.  the works of Everdingen.  The figures in his landSt. Louis prostrating himself before a Crucifix; after le  scapes were usually painted by John Wyck. EdeBrun. St. Charles Borromeus kneeling; do. The Cru-   ma died at Richmond in 1700.
cifixion, surrounded with Angels; on two sheets; do. Moses, half-length, holding the Tables of the Law; after P.   EDEMA, NICOLAS, a Dutch landscape painter,
de Champagne; engraved conjointly with Naittueil.-   born in Friesland in 1666.  He visited Surinam in
Christ and the Woman of Samaria; do. The Virgin Mary   order to paint the landscapes, plants, and insects
at the foot of the Cross; do. S.  Jerome; do. St. Am-   of that country.  He became a good landscape
brose, half-length; after J. B. Champagne. St. Basil
painter, as his views are taken from  nature, with
four Horsemen fighting for a Standard, with three dead   a good tone of coloring and a spirited touch.  He
Figures on the ground; after the celebrated Cartoon by   visited England, and died at London, in 1722.
Leonardo da Vinci. The name of the painter is incor-        EDESIA  ANDRINO, a native of Pavia. supEDESIA. ANDRINO DI, a native of Pavia. suprectly written L. de la Finse, pinzit; very fine. Louis 
XIV. on Horseback; in two sheets. The impressions be-   posed to have been of Greek origin, who flourfore the name of Edelinck are scarce. The same subject,  ished, according to Lomazzo, about 1330.  To Edewith a Group, instead of the Scroll and the Standard.-   sia and his school are attributed  some frescos
Louis XIV. on Horseback, preceded by the exterminating   which still remain in the church of S. Martino and
Angel, and his Enemies overthrown at his Feet; in three   other places in Pavia.  Lanzi says their taste is
sheets; very fine. Louis XIV. in a Triumphal Car, drawn
by the Four Evangelistsy good, called the                coloring partakes of Cthat
ism; in two sheets; fine and scarce. Louis XIV. giving   of the Florentines of the age.
peace to Europe; in twosheets. Alexander accompanied        EDMONSTONE, a Scotch  painter, born  at
by Hephestion, entering the tent of Darius; on two sheets;
after te Brun. The first impressions have the name of   Kelso in 1795.  He early manifested a strong inGoyton at the bottom. This print completes the set of the   clination for art, and in his leisure hours devoted
Battles of Alexander engraved by Gerard Audran; af-   himself to the study of design.  He soon underter le Brun. Alexander entering the tent of Darius;  took painting and executedseveral pictures,which
afterMigneincw and P. Drevet.    ere exhibited in Edinburgh, and excited consideEDELINCK, JOHN, the brother of the preced-   rable applause.  Encouraged by the success of his
ing, was born at Antwerp about 1630.  He joined   first attempts, he went to London in 1819, and enhis brother at Paris, and engraved several plates   tered the atelier of Harlow, where he made good
in imitation of that master, which  possess con-   progress, and was considered as one of the most
siderable merit, though greatly inferior to the pro- I promising young artists of the day.  He visited




EDRI.                     287                    EGIN.
Italy, and spent some time at Rome, Naples, Flo-  he painted a number of pictures which approach
rence, and Venice, studying the works of the great the excellence of Rembrandt, but he afterwards
masters with considerable assiduity. On his re-  sunk into mannerism  and tameness. His subturn to England, he soon gained encouragement,  jects of history possess the defects of his master
and his works acquired for him an extended repu-  in design and characteristic propriety; while they
tation, especially for their facility of invention and  do not equal the latter in regard to coloring, or indelicacy  of coloring.  His talents were well  telligence of the chiaro-scuro. His pictures; howadapted to portrait painting, but he never left the  ever, are to be found in the best collections in Holhigher department of art.  Edmonstone would  land. Among the most esteemed is one representhave undoubtedly attained an enviable reputation,  ing our Saviour among the Doctors, in the Electohad he not died suddenly, in 1834, two years after  ral collection at Dusseldorf. This artist etchhis return from Italy.                           ed a few plates, among which are a Bust of a
EDRIDGE, HENRY. an English miniature paint-  Young Man in an Oriental Dress, marked G. V. D.,
er, and an associate of the Royal Academy, was  1646; and the Portrait of Cornelius Tromp.
born in 17(8, and died in 1821. He studied under    EGINTON, FRANCIS, an English painter on
Pether, the mezzotint engraver and landscape  glass, who contributed greatly to the perfection of
painter, but did not follow the footsteps of his  this branch of the art in that country. He has
master, his talents being better adapted to minia-  left about fifty large works, which evince distinture portraits, which he executed in black lead and  guished talents, among which are two pictures of
India ink, and afterwards in water-colors.      the Resurrection, after designs of Reynolds, in
EDWARDS, WILLIAM, an English architect,  the cathedrals of Salisbury and Litchfeld; the
born at Glamorganshire, in 1719. He was con-  Banquet given by Solomon to the Queen of Shestantly employed in erecting bridges in South  ba, after a picture by Hamilton, in the chateau of
Wales, and devised many improvements in that  Arundel; and St. Paul receiving his sight, in the
branchof architecture. His mostimportantwork  church of St. Paul at Birmingham. He died in
was a bridge of a single arch, which he constructed  1805.
over the river Taffe, the span of which is one hun-    EGMONT, JUSTUS VAN. This painter was born
dred and forty feet, being forty-two feet longer  at Leyden, in Holland, in 1602, but was educated
than the Rialto. It is an admirable work. Ed-  at Antwerp, in the school of Rubens. He assisted
wards died in 1789.                              the latter in many of his works, particularly those
EDWARDS, EDWARD, an English designer and  which he painted for the churches at Mechlin. On
painter, born in 1738. He was employed by Boy- leaving Rubens, he visited Paris, where he was
dell to make drawings from  the old masters for  appointed painter to Louis XIII.. which office was
his publications, and by the Society of Antiqua-  continued to him under Louis XIV., who highly
ries for the same purpose. He painted a few   esteemed Egmont, and rewarded him liberally for
pictures, among which are a subject from  the  his undertakings. He executed a number of imTwo Gentlemen of Verona; he also painted ara-  portant historical works, in concert with Simon
besques, and published fifty-two etchings. He  Vouet; and he had the honor of being appointed
was the compiler of the'; Anecdotes of Painters,"  among the twelve Elders at the establishment of
intended as a supplement to Walpole. In 1788,  the French Academy of Painting and Sculpture,
he was appointed Teacher of Perspective in the  in 1648. He died at Antwerp, in 1674.
Royal Academy, which situation he held till his    EGOGUI, AMBROGIO, an Italian painter. Litdeath, in 1806.                                 tle is known of the events of his life, except that
EDWARDS, GEORGE, an English naturalist,  he practised the art at Milan in the first part of
born at Stratford in 1693. He is principally noted  the 16thcentury  The only work remaiing, of
for his illustrated work on Ornithology, which  his execution, is a fine altar-piece, in a church at
contains 210 plates, in four vols., published in  Nerviano, dated 1527.
1750. About 1760 he published a work on natu-    EHRENSTAL, DAVID CLOCKER DE, a Swedish
ral history, containing about 400 plates, with de-  painter, born in 1629.  He early manifested a
scriptions. He died in 1773.                     strong inclination for art, and was taken under
EECKHOUT, ANTHONY VANDER, a Flemish  the protection of Queen Maria Eleonora, who sent
painter of fruit and flowers, was born at Bruges  him to Italy, where he entered the school of P.
in ]656. He accompanied L. Deyster, his relative,  da Cortona, and studied with great assiduity.  On
to Italy, where he practised the art for several  returning to Sweden, he was liberally encouraged,
years, and assisted Deyster by painting the land-  and in 1661 he was appointed painter to the court.
scapes in his compositions. He afterwards visited  He executed a large number of portraits and hisLisbon, where he met with much encouragement,  torical subjects, which were much esteemed; also
and married a lady of fortune; after which he  many excellent designs. He painted animals with
practised the art merely for amusement. He was  great accuracy. Among his principal works is the
assassinated in 1695, while riding in his carriage.   Coronation of Charles XI. in the chateau of DrottEECKHOUT, GERBRANT  VANDER, a Dutch  ningholm; and the Last Judgment) in the church
EECKHOUT, GERBRANT  VANDER, a Dutch
painter, born at Asterdam  in 1621; died in  of S. Nicolas at Stockholm. In 1674, he was
Hter, bn at   stuerd    in t162; died in  honored by Charles XI. with letters of nobility.
1674. He studied in the school of Rembrandt,  Hdied in 1698
where he acquired an admirable system of color-  He d   i 
ing, and a good acquaintance with the principles of  EHRET, GEO. DIONYSIUS, an ingenious German
light and shadow. On quitting that master, he ac-  botanical painter. born in 1710. His father was
quired great reputation as a portrait painter, and  gardener to the Prince of Baden-Durlach. George
his works in this branch of the art may be con-  early manifested a taste for drawing and painting
sidered as his best productions. About this time,  the flowers in the gardens, and when very young,




EIMM.                      288                    EISM.
though without any instructions, be had painted   Fontaine, and Basan's edition of the Metamorfive hundred plants with great accuracy and skill.  phoses of Ovid.
A physician who was visiting the gardens, saw      EISENHOUT, ANTHONY, a Dutch painter and
several drawings of the young artist, and was so  engraver, who flourished at Rome about 1590, and
much pleased with them that he introduced Ehret  was living in 1619. Prof. Christ has misnamed
to his friend, Dr. Trew, of Nuremberg. The lat-  him Eisenhart, and it appears that some of his
ter immediately offered 4000 florins for them,  works have been attributed to other masters; Brulwhich was gladly- accepted; and young Ehret  liot mentions several attributed by Bartsch to Luadopted the easiest methods of getting rid of his  cas Ciamberlani, which he thinks are the producmoney. He soon found himself at Basle, almost  tions of Eisenhout.
penniless; but being obliged to commence exer-    EISMAN, JOHN ANTHONY, a German painttions, he quickly found a ready demand for all he  er born in                       
could produce. Having thus recruited his finances,  Veroa  w e he wa  distinguished for his landhe went to Montpellier, where he taught the art to   Verona where he was distinguished for his landhea lady of fortunel, who reward hit the art to  scapes, battles, perspectives, and marine subjects.
a  nlady offoritune who rewarded hm generously. aThere are several pictures in the Dresden Gallery,
He next visited Paris, and made the acquaintance  under the name ofLeismann or ismann which
of Jussieu, who employed him in drawing the  under the name of Leismann, or Lismann, which
of Jussieu, who employed him in drawing the
plants of the Royaemploy ed him in drawing some time   are supposed to be by this master. He adopted
eplawnts  the Royal Gardens. Afer some time,  his favorite pupil, Carlo Brisighella. who took the
he went to London, but not succeeding as he ex-  nae f Charle Eis          a   who i.       th
name of Charles Elsmann, and who painted the
pected, he soon returned to the continent, and in   ame sub s as hThis hpaited te
3 same subjects as hi master.  This has caused
1736 was employed in the garden of Mr. Clifford,  same   cusi   i the accuts of bth aists.
some confusion in the accounts of both artists.
where Linnoeus found him, and gave him some in-  s  i  n o  
4.where ~inneus found him, and gave him some in- The name is sometimes incorrectly written Luisstructions. His fine taste and botanical accuracy   n
appear to have been first publicly displayed in the  mon.
figures of the Hortus Cliffortianus, which ap-    EKELS, JAN, a Dutch painter, born at Amsterpeared in 1737. About 1740, he went again to  dam  in 1722. He studied under Thierry Dalens
England, and remained there the rest of his life.  the Younger, and usually painted views of cities,
He painted many hundred plants for different pa-  in the manner of Jan Ten Compe. His subjects
trons, among whom  were Taylor White, Dr.  are usually of a small size, highly finished, with a
Mead, Sir Hans Sloan, and Dr. Fothergill. Many   good effect of light and shadow. He died at Amof these paintings were executed on vellum; and   sterdam in 1781.
engravings were made from them for various works,    EKELS, JAN, the Younger, a Dutch painter,
particularly  Dr. Trew's Plante  Selectee, and  born in 1759, was the son and scholar of the preBrown's History of Jamaica. He was a Fellow   ceding, and made rapid progress under his father's
of the Royal Society, and died in 1770, aged 60  instruction. He was distinguished for his inteyears.                                           riors, conversations, familiar-scenes, and portraits,
EIMMAERT, GEORGE CHRISTOPHER, a Ger-  chiefly of the cabinet size. His pictures are chaman painter and engraver, born at Ratisbon in  racterized by a light, free pencil, and a vigorous
1638. He executed a number of portraits of dis-  tone of coloring. His works are not numerous,
tinguished personages, historical works, and sub-  as he  practised the art rather  as an amateur than
jects of natural history, by which he gained so  a professor. He died in 1793, at the age of 34.
much reputation, that in 1674, he was appointed    ELBRUCHT, ELBURCHT or ELBURGH, JAN
director of the Academy at Nuremberg. He was  VAN, surnamed Kleynhansken, or Little John, was
invited to the court of Sweden, by King Charles  a Flemish painter, born, according to Balkema, at
XI., but declined the invitation, though not insen-  Elburg near Campen. in 1500. It is not known
sible to the honor, since he has dedicated many   by whom he was instructed; but he established
of his pictures, as well as engravings to that mon-  himself at Antwerp, where he acquired considerarch. As an engraver, he executed some plates  able reputation. He painted history, and excelled
for Sandrart's Academia, besides several etchings  in landscapes and sea-storms. There is a fine picof ruins, buildings, and vases, ornamented with  ture by him in the cathedral at Bruges, representfigures, in a very neat style, and possessing  ing the Miraculous Draught of Fishes. In 1535
considerable merit.  He died in 1705.  There  he was elected an Academician, and died at Antwere two other engravers of this name, one of  werp, according to Balkema, in 1546.
whom flourished about 1585; the other was born     ELDER, WM., a Scotch engraver, who practised
in 1603, and died in 1663. The name is various-  the art at London, about 1680, and worked princily spelt, Eimart, Eimmart, Eimaert, and Eimert.   pally for the booksellers. There are a few portraits
EISEN, FRANCIS, a Flemish engraver, born at  by him, executed entirely with the graver, among
Brussels in 1700.  He resided chiefly at Paris,  which are the following:
where he flourished about 1750. Among other    His own Portrait, with a Fur Cap. The same, with a
plates there is an etching by this artist after Ru-  Wig. William Sancroft, Archbishop of Canterbury. John
bens, representing Christ giving the Keys to St.  Pearson, Bishop of Chester. Ben Johnson, prefixed to his
Peter. The original painting was formerly in the  works in 1692. Sir Theodore de Mayerne, physician. AdBru soslsa. paintinged in 1777. He hadhe  miral Russell. Sir Henry Pollexfen, Chief Justice of the
church at Brussels. Eisen died1777Hehad  Common Pleas. John Ray, Naturalist. Richard Morton,
a son named Charles, who was born in 1722, and  M. D. George Parker, Astrologer. Charles Snell, Writingdied in 1778. He etched a few plates of the Vir-  master.
gin, a St. Jerome, St. Ely preaching, &c. He also  ELIAS, MATTHEW. This artist was born near
designed many of the small portraits and vignettes  Cassel, in French Flanders, in 1658. His parents,
for Les Vies des Peintres, par J. B. Descamps,  who were very poor, employed him while a boy
published at Paris in 1751, to 1763; and for other  in attending cattle; and while thus engaged, he
publications, among which were the Contes of La   was observed one day by Corbeen, a painter of




ELLI.                     289                     ELLI.
Dunkirk, making a mud fortification, with clay   View near Maestricht, with Cattle; after A. Cuyp. A
figures  ttacking it. The latter, seeing the regu-  Landscape, with the Flight into Egypt; after Poelem
laritbu displayed in the work, entered in- g.  A large Landscape; after G. Smith. A set of
larity and taste displayed in the wor  entered in-  bfour Landscapes;  after the S miths. A set of six of
to conversation with the boy, and finally induced   Horses; after T. Smith. Two Landscapes, Spring and
his parents to intrust their son to his care. The   Summer; after van Goyen. The Portrait of Helen Foryoung artist made rapid progress, acquired the   man, second wife of Rubens.
esteem of the public, and gained the favor of his   ELLIS, WILLIAM, an eminent English engramaster to such a degree that he sent Elias to  ver of landscapes and views. He engraved'some
Paris at the age of 20.  After spending some  plates in conjunction with William Woollet. He
cime in that city, he returned to Dunkirk. and   engraved some very fine plates after designs by
painted a fine picture for the altar of St. Barbara's  Paul Sandby and Thomas Hearne.
chapel, representing the martyrdom of that saint. 
On returning to Paris he was much employed and      ELMER  STEPHEN, an.English painter of dead
was appointed professor of the academy. fe af-game and still-life, who died at Farnham, where
terwards settled at Dunkirk, where he painted   he principally resided, about 1795. His works
many pictures for the churches of Flanders. He  are ingeniously composed, and eecuted with a
painted portraits which were much admired.-   very spirited pencil.
Among his best works is the grand altar-piec        ELSHEIMER, or ELZHEIMER. See A.LZfor the church of the Carmelites at Dunkirk, which   HEIMER.
is a votive offering of the city to the Virgin Mary.    ELSTRACKE, REGINALD, or RENOLD, an EngHis drawing is tolerably correct, his coloring  lish engraver, who flourished about 1620. He engood; but in composition he was extremely long  graved a number of plates for the booksellers,
and tedious, though very persevering; and his  which are executed entirely with the graver. His
latter works are decidedly formal. He died in  plates are marked R. E., or with his name in full.
1741.                                             He published a volume of portraits of the English
ELLIGER, or ELGER, OTTOMAR, the Elder,  Kings from the Conquest to the year 1618. The
a Dutch painter, was born at Gottenburg in 1633.  following are his principal plates:
His father was a physician, and wished to educate                   PORTRAITS.
Ottomar as a scholar; but perceiving his strong    James I. Queen Elizabeth. Mary, Queen of Scots,
inclination for art, he sent him to Antwerp, where  with Attributes; one of his best prints. The same, with
he entered the school of Daniel Segers. He paint-  LordDarnley. Thomas Howard, Earl of Suffolk. Robed fowers and frut in the hih nished  styl ert, Earl of Essex. Gervase Babington, Bishop of Worcester. Sir Julius Caesar, Keeper of the Rolls. Sir Thos.
of that master, and acquired considerable reputa-  More. Sir Philip Sidney. Thomas Sutton, founder of
tion. He was invited to the court of Berlin, and  the Charter House.  Edmund, Lord Sheffield. John,
was appointed painter to William Frederick, Elec-  Lord Harrington. William Knollis, Viscount Wallingford.
tor of Brandenburg..He remained in the service
of the latter during the rest of his life, and painted    ELST, PETER VANDER, a Dutch painter,
a great number of pictures, most of which are in      _  who flourished about 1655. He studied
Germany, where they are held in considerable  under Gerard Douw  and painted candle-light
estimation. He diedin 1686.                       scenes, into which he introduced half-length figures. Little is known of the events of his life, and
ELLIGER, or ELGER, OTTOMAR, the Young-  his works are probably ascribed to some more
er, a Dutch painter, the son of the preceding, was  eminent artist.
born  at Hamburg in 1666.  He acquired the          ELZEVIERARNOULD  a Dutch painter who
elements of design from his father, and then went  flourished about the middle of the 7th century
to Amsterdam, uhere he entered the school po  Mi-  His subjects were landscapes and conflagrations.
chael van Muscher, a painter of small portraits and  E      AE a e             p              a 
conversations. He soon left that master and en-    EMELRAET, a Flemish painter, born at Anttered the school of Gerard Laire.se, whose histori- erp in 1612. He visited Italy while young, and
cal works were then in high reputation. Under  passed several years at Rome, studying with ashis able instructions Elliger made rapid advances,  siduity the works of the great masters.  On his
and gained considerable reputation. He painted  return to Antwerp, he distinguished himself by
painting fine landscapes of a large size, nich  he
subjects of history in the style of his instructor,  painting fine landscapes of alarge size, wich he
which were characterized by judicious composT  executed in a style of superior beauty, insomuch
which were characterized by judicious composition and correctness of design. He was particu-  that he was often employed b  theabst historlarly attentive to the proprietyof costume, both in  icalpaintersto paintthe backgrounds of their picthe character and dress of his figures, and in the  tures.   everal of his best landscapes are in the
style of his architecture, which he   d introduced in church of the barefooted Carmelites at Antwerp.
style of his architecture whichhe introduced inte.
his pictures with great judgment and effect. He    e      died in 166
resided at Amsterdam, where he was much em-    EMERE, GARCIA D', a Spanish architect, who
ployed, and where his principal works are to be  flourished about 1594, and erected, among other
seen. He was patronized by the Elector of Mentz,  edifices, the parochial church of Valeria, near Cufor whom he painted the death of Alexander, and   enca, the falade of which has four Ionic columns,
the Marriage of Peleus and Thetis. He died in  on pedestals, with a balcony ornamented with
1732.                                             statues. This edifice is in the Gothic style.
ELLIOT. WM., an English engraver, born at    EMERY. See HEMERY.
Hampton Court in 1727; died in 1766. He exe-    EMMETT, WILLIAM. an English engraver, who
zuted several landscapes, which have been praised  flourished about 1710. He engraved a number of
for the taste and freedom of his point. The fol-  prints for the booksellers, among which is a large
lowing are the principal:                         view of the interior of St. Paul's church, executed
A Landscape with Cattle; after Rosa de Tivoli. A   with the graver in a neat, clear style.




EMPE.                     290                    ENGL.
EMPEREIUR. See L' EMPEREUR.                   s enting Serena rescued by the Red Cross Knight.
EMPOLI. See OHiMENri.                         He died in 1849.
ENDLICH, PHILIP, a Dutch engraver, born at    ENGLISH, JOSIAH, an English amateur enAmsterdam about 1700. He studied under Ber-  graver, who flourished about 1656, and, according
nard Picart, and was principally employed in por-  to Lord Orford, etched a few small plates in a
traits which are neatly executed with the graver.  spirited manner, among which is one of Christ and
The following are the principal:                his Disciples at Emmaus, after Titian.
PORTRAITS.                      ENS, or ENZO, CAV. GIUSEPPE, called the
Henry, Count of Moens. John Taylor, a celebrated  YOUNGER, to distinguish him  from  his father.
English oculist. 1735. John Philip d'Almeria, Governor  who was a court painter of Ridolfo II. Orlandi
of the Isle of St. Martin. John Gosewyn E. Alstein, ec-  calls him  Ains, or Enzo; Zanetti, Enzo, and
clesiastic of Amsterdam. 1738. John Noordbeck; do.  Heinz. In his celebrated Tomb of Christ at OgPeter ~ollebeck; do. dLeona~r~d8Be hls; the be.  do.Heinz. In his celebrated Tomb of Christ at OgPENFANTtHollebeck e  LeonardBee; t            nissanti, he styled himself Jos. Heinsius. This
ENFANT. See L ENFANT.                         artist flourished at Venice about 1660. He gained
ENGELBRECHT, CHRISTIAN  and MARTIN,  such an immense reputation in his time for his
two engravers and printsellers, who resided at  small allegorical pictures which the Italians call
Augsbourg about 1720.  Christian E. engraved   Capricci, that Pope Urban VIII. made him  a
several ornamental works for the goldsmiths, in  chevalier of the Order of the Holy Cross. For
concert with J. A. Peefel, after A. Morrison;  the chief part, they represent allegorical fictions,
also several views for the History of Architecture,  in which are introduced sphinxes, chimeras, and
published in 1721, by J. Hernhard. Martin E.  monsters in grotesque shapes, or what might more
engraved several plates after Rugendas, and other  properly be termed sick men's dreams, or the wanmasters; also some prints for Ovid's Metamor-  derings of a wild imagination.  Boschini menphoses.                                         tions an example of his works in which Pallas is
or J   ENGELBRECHTSEN, CORNELIUS,                      fseen putting to flight a troop of these wild fancies,
vX  J\ an old Dutch painter, born at Leyden  haunting an old decayed mansion, buried in fire
in 1468. The pictures of John van Eyck, the al-  and moke; as the symbol of Virtue dispersing the
leged inventor of oil painting, were at that time  shades of ignorance and vice. Such works were
the object of curiosity and admiration; and En-  common at that time in Italy, and had many adgelbrechtsen studied them  with great assiduity.  mirers. Subsequently, however, he changed his
Van Mander says he was the first Dutch artist  style for subjects of a more elevated nature, and
Van Mander says he was the first Dutch artist
who painted in oil. Those works of his, which   painted some altar-pieces for the churches of Veescaped the national commotions, were carefully  nic, which are eremy beautiful, particularly
preserved in the churches of Our Lady, at Ley-  that in the church of the Ognissanti. He had a
den; representing Abraham sacrificing Isaac; the  son named Daello, who was a reputable artist.
Crucifixion; the Deposition from the Cross; and    ENS, GIOVANNI, a Milanese painter, who proseveral small pictures of the Life of the Virgin.  bably studied in the school of Procaccini. There
The latter were distinguished for good composi-  are some of his works in the church of S. Marco
tion, and a less Gothic style of design than was  in his native city, which according to Lanzi do not
usual at that early period. His best work, how-  indicate much power, but a delicacy, bordering oy
ever, was an altar-piece, painted for the Epitaph of  weakness.
the family of Lockhorst, in the church of St. Pe-    ENTINOPUSanarchitect ofCandiawholived
ter at Leyden, representing the Adoration of the     t          I       ec              
Lamb, as described by St. John in the Revelation.   oaua  that the ceties exercised by the Visiof Padua, that the cruelties exercised by the VisiIt is a grand composition, containing a great number of figures. This artist died at Leyden in 1533.  goths under Rhadagasius, obliged the people to
htake refuge in various places, and that Entinopus,
ENGELRAEMS, CORNELIUS, a Flemish paint-  who had previously settled in Italy, retired to the
er, born at Mechlin in 1527. He excelled in paint-  fens of the Adriatic, and built the first house of
ing subjects of history in distemper. His master  the city of Venice. He was afterwards joined by
piece is a grand composition, representing the Se-  others, and from this small beginning, Venice rose
ren Works of Mercy, in the cathedral church of  to be mistress of the seas. The house first erected
Rombouts at Mechlin. He went to Germany,  by Entinopus, is said to be still remaining in the
tere he passed some years. There are several  quarter of the Rialto, which is considered the most.lis works in that country, among which is a  ancient part of the city.
a altar-piece representing the Conversion of St.
in the church of St. Catherine, at Hamburg.    EPEUS, a Greek sculptor, whose name has
d in 1583.                                been immortalized as the fabricator of the famous
vd in~ 1583~..~               Wooden Horse, by means of which, the Greeks
TLEHEART, FRANCIS, an English engraver,  took and destroyed Troy, after a ten years siege.
1775. He studied under Jacob Collyer,
rwards became an assistant to James    EPISCOPIO, GIUSTINO. sometimes called DE'
He wrought chiefly for the booksellers,  SALVOLINI, was a native of Castel Durante, where
and his plates possess great merit, especially his  he flourished about 1594. He studied at Rome,
engraving of " The Castle," after Richard Cook, a  and was a reputable painter. In conjunction with
subject from the Lady of the Lake, which deserves  Luzio Dolci, he painted the fine picture of the
great praise for its masterly execution. Sir David  Spirito Santo, in the Abbey at Castel Durante, and
Wilkie engaged him to engrave his Duncan Grey.  other works around it. He also executed many
and the Only Daughter. published by Alderman  other works by himself in his native city, at Rome.
Moon.  His last plate was from  Hilton's fine  and in other places.
picture, which was in the National Gallery, repre-    EPICI. See L'EPicIE.




UPIS.                    291                     ERTI
CPISCOPUS. See BISCHOP.                         emy at Paris, and afterwards uf the French AcadZRCOLANETTI, ERCOLANO, a good landscape  emy at Rome, where he died in 1689.
painter, who flourished at Perugia about 1683.    ERRAR, J. This engraver has executed, among
There are many of his works in his native city,  other plates, several etchings of landscapes, after
executed in a pleasing natural style.            Waterloo. They are marked with the initials of
ERCOLE, DA FERRARA. See GRANDI.his name.
ERCOLINO, DI GUIDO.  Se.  ERCOLE DE             ERTINGER, FRANCIS, a German  engraver,
MARIA.                                           born at Wyl in Suabia, about 1640. He resided
EREDI, BENEDETTO, a Florentine encgra           hiefly at Paris, where he was well employed. and
3born  in 1750. In concert with J. B.   e   engraved a number of plates, of which the followborn in 1750.  In concert with J. B. Cecchi. he
ing are the principal:
engraved nine plates of the monument of Dante,     g             p
with his portrait. He also executed the follow-                     PORTRAITS.
ing plates:                                        T. F. de Beughem, Bishop of Antwerp. N. Machiavel.
Gabriel du Pinau.
PORTRAITS.
VARIOUS SUBJECTS.
Luea Cambiaso, Genoese painter; after a picture by             VARIOUS SUJECTS.
himself. Federigo Zuccaro; do. Angelo Bronzino, Flo-    The History of Achilles, in eight Plates; after Rubens;
rentine painter. Annibale Caraci.                the same subjects have been since engraved by Baron.Twelve Prints from the Metamorphoses of Ovid; after the
SUBJECTS.                    miniatures of Joseph Werner. Ten Plates of the HisThe Transfiguration; after Raffaelle. The Adulteress  tory of the Counts of Toulouse; after Raymond le Fage.
before Christ; after Angelo Bronzino. The Death of  The Marriage at Cana in Galilee; do. Several Views of
Lucretia; after Luca Giordano.                   Towns; after Vandermeulen; some of which are in the
EREMITA, DI MONTE SENARIO. See STEFA-  manner of Callot. A set of Friezes of Bacchanalian subNESCHI.                                          jeots; after R. le Fage.
ERMELS, JOHN FRANCIS, a German painter    ERVEST, JACOB. This artist was a scholar of
and engraver, born near Cologne, in 1641. He re-  AdamAlEzheimer, and flourished about 1620. He
sided at Nuremberg, where he was most successful  painted marine subjects and naval combats, but
in landscape, in which he imitated the style of  never rose above mediocrity.
John Both. He also painted historical subjects,    ERWIN, of Steimbach, a German architect,
among which is a picture of the Resurrection, in  who flourished about 1330, and was engaged twenthe church of S. Sebald at Nuremberg. There  ty-eight years in building the cathedral and bellare a few etchings of landscapes by him, executed  tower at Strasburg, which has since been complewith spirit and taste. Ermels is said to have died  ted after his designs. It is a stupendous specimen
at Nuremberg in 1693; but according to Huber  of modern Gothic architecture, and is similar in
and Brulliot, there are etchings dated 1697, in a  style to the cathedrals at Rheims and Paris, except
similar style to the plates known to be by him,  the ornaments, which are very minute, and innuand signed with his initials.                    merable. The nave and choir are 120 feet high;
ERRANTE, GIUSEPPE. This painter was born  the fagade 240 feet high; and the tower rises
at Trapani, in Sicily, in 1760. He acquired the  above 334 feet, making the entire elevation 574
elements of design in his own country, and after-  feet. Erwin died in 1355.
wards went to Rome, where he formed an inti-    ERYSIOTHON  an  ancient Greek architect
macy with several persons of eminence. He dis- 
macywith severalpersnsothe son of Cecrops, commenced the famous Temtinguished himself while in that city, by his imi-  pe of Apolo a  Delos, which was afterwards
tations of the great masters. The king of Naples  pe of  pollo at Delos, which was afterwards
tations of the great masters, The king of Naples  finished at the general expense of the cities of
invited him to his court, but circumstances pre-  Greece, and became one of the most superb  diventing his profiting by the royal protection, he  fices in the world. Strabo mentions a wonderful
went to Milan, where he attained a permanent  altar in this Temple, composed of the horns of
reputation, and received many commissions for the  different animals, joined together without any ap
private collections. Among his best works are,  parent ligature. There was also a famous statue
Artemisia weeping over the Ashes of Mausolus;
Artemisia weeping over the Ashes of Mausolus;  of Apollo, mentioned by Pliny, which is still an
the Death of Count Ugolino; the Competition of  objectofadmiration    travelers.
Beauty; and Endymion and Psyche. Some of
these were engraved by his pupils. Errante pub-    ES, JAMES VAN, a Flemish painter, born at Antlished a new method of restoring pictures, and  werp in 1570, according to some writers, though
two essays on coloring. He died at Rome in  others place his birth in 1556. He was distin1821, and a memoir of his life was published by   guished for his pictures of flowers, birds, and fish;
his friend, the Abate Cancellieri.               which were executed with great truth and nature.
ERRARD, CHARLES, a French painter and ar-  His coloring is excellent and transparent, his picchitect, born at Nantes in 1606. He was appoint-  tures are finished with great care, and his shell-fish
ed by Louis XIII. director of the Louvre, which  in particular, were touched with infinite spirit.
that monarch had directed to be decorated with a  He died in 1621.
large number of paintings. He was subsequently      ESCALANTE, JUAN  ANTONIO, a reputable
sent to Rome by Cardinal Richelieu, to procure  Spanish historical painter, according to Palomino;
models of the great works of sculpture and archi-  born at Cordova in 1630. He studied under Frantecture, and he carried on the project with great  cisco Rizi; but imitated the style of Tintoretto,
zeal and ability; but for some cause the affair  both in composition and coloring. There are a
was abandoned. As an architect, he designed the  number of his works in the churches of Madrid,
church of the Assumption at Paris, which has been   which are highly praised by Palomino, among
severely criticised for its gigantic and awkward   which is a fine picture of St. Catalina; in S. Micupola. Errard was chosen director of the Acad-  guel; and an altar-piece representing the dead




ESPA.                     292                    ESTO.
Ohrist, with other figures, in the church del Es-    ESTOCART, CLAUDE D', a French sculptor
piritu Santo. Escalante died in 1670.            native of Arras, who flourished in the 17th cemESPAGNOLETTO. See RIBERA.                      tury. His principal work is the choir of S. Etienne
ESPAGNONDE, MAT HU L, a F h s      du Mont at Paris, after the designs of Laurent
tr, Aorn at Paris in 1. He executed mascunl-  de la Hire. It is adorned with fine bas-reliefs,
tor, born at Paris in 1610. He executed many   statues representing the Virtues, and an admirable
works for the churches, which possessed consider-    aue rer     ng the Virtues, and an ami
able merit. There were also several statues in the   igureofan ael abovethewhol. Ts work i
gardens at Versailles, by this artist, among which   hih   ie  by connoisseurs, for its beautiful
is that of Tigranes, king of Armenia. He died in  execution.
1689.                                              ETLINGER, GEORGE, a German wood engraESPANA, or ESPANOL, JUAN DE, a Spanish   ver, who resided at Bamberg. Among otherprints,
ESpainter, who resided in Italy from 1500 to 10,  there is one by him of a portrait of Bishop Blaize,
painter, who resided in Italy from 1500 to 1520, enclosed in a border, decorated with sacred symand studied under Perugino at the same time with   eclosed i a be      eted with    siri   d  isy
Rafelle. He 1 resided chiefly at Spoletoi andan    bols. It is executed with great spirit, and is
Raffaelle. He resided chiefly at Spoleto,a ndmany
signed George Etlinger, z. Bamberg.
of his works are to be found there, as well as in
other cities of Italy. They are generally ascribed  EUBULIDES, a famous sculptor mentioned by
to a cotemporary of Raffaelle, without ever men-  Pausanias, who flourished at Athens in the time
tioning the name of the artist, although he always  of Pericles.
signed his pictures.                               EUCHIR, or EUCHILUS, a Greek sculptor,
ESPINOSAJACINTO  O         a S h   who flourished at Corinth about B. C. 580. He
ESPINOSA, JACINTO JERONIMO DE, a Spanish  studied under Syndras and Chartas of Laedpainter, born, according to Palomino, in the vicini-d    ha o                     a        ce
ty of Valencia, in 1600. He studied in the school  mon, and is said to have visited Italy, where he
of Francisco Ribalta, where stacquired a toldness  taught the Etruscans the art of modeling. There
of Francisco Ribalta, where he acquired a boldness  w    a     sculptor of t    n
was another sculptor of this name, mentioned by
of design and a vigor of coloring, that approaches    wa s another sculptor of this mef  mentioned b
the style of Guercino. He was an indefatigable  statue of Mercur, besides manne statues 
artist, and painted a large number of works for the  state of Mercury, essf es many 
churches, as well as many easel pictures for the  warr, ad s         l 
private collections. Bermudez mentions about 80    EUCLIDES, a Greek sculptor of uncertain age
pictures by this artist in the churches of different  and a native of Athens, who executed many works
cities in Spain. The best are at Valencia, parti-  in Achaia, which remained in the time of Pausacularly in S. Esteban, and in the convent of the  nias. His works were all of Pentelic marble.Predicadores.  The principal altar-piece in the  Among them were the statues of Ceres, Venus,
church of the Carmelites is by this master, repre-  and Bacchus, in the city of Bura; also a statue of
senting the Transfiguration.  He died at Valen-  Jupiter.
cia in 1680.                                       EUCHARIS, a painter of Athens, briefly menESQUARTE, PABLO, a Spanish painter, who  tioned by Pliny as famous for his pictures of warstudied at Valencia, and afterwards went to Venice,  riors in armor, which were probably portraits of
where he entered the school of Titian. He ex-  distinguished commanders. He lived in the time
celled in portraits, and probably in other branches  of Pisistratus, about B. C. 500.
of the art, as the Duke de Villa Hermosa employed  EUD     S, one of the earliest sculptors of reece
him to ornament his palace and country residence.  was a     e of Ddalus. Pausanias describes
HIe acquired wealth, through the liberal rewards  was a disciple of Daedalus. Pausanias describes
of the Duke, and died rich.                      a statue of Minerva by him, which he saw in the
Acropolis at Athens.  The Heads of Minerva,
ESSELINS, JACOB, a Dutch painter, who is  found on the early Greek coins, are supposed by
said to have studied under Rembrandt, though his  antiquarians to have been copied from his statue.
works do not corroborate the assertion. His pie-  Like Daedalus, he made his statues generally of
tures represent villages on the banks of rivers,  wood, though it is evident, from passages in Howoody landscapes, edifices with magnificent foun-    er, Hesiod, and Plutarch, that metals and stone'ains, staSg-hunts, and views of shipping  T      ey                 ar          e
tas, stag-unts, and views of shipping. They are   were used for the various purposes of sculpture in
painted in a clear tone of color, with figures spirit-  more ancient times.
edly touched. The dates of his pictures are not
accurately known.                                  EUPHRANOR, a celebrated Greek painter and
sculptor, who flourished about B. C. 364. He was
ESSEX, JAMES  an English architect, born at  a native of Corinth, though he appears to have
Cambridge about 1723. He was distinguished for  practised the art at Athens. He is mentionedas
his success in restoring ancient edifices, among  the first painter who gave to his subjects approwhich  were the Chapelof the King's ollege at  priate dignity and expression, and he was especialCambridge, and the churches of Ely and Lincoln.   y famous for his representations of the gods.ly famous for his representations of the gods.He also wrote several works on architecture, which   The great public works of Euphranor at Athens
gained him considerable reputation. He died in  were in the Poecile; in which he represented the
twelve superior gods with wonderful dignity and
ESTENSE,BALDASSARE, an old Ferrarese paint-  majesty.  But his most famous work was the
er and medalist, who flourished about 1472. There  Battle of Mantinea, in which the most remarkable
are some of his pictures in his native city, but he  group was a charge of cavalry, in which he reprewas more eminent as a medalist. Some of his  sented Epaminondas at the head of the Boeotians,
works in this line are to found in the museums of  and Gryllus, the son of Xenophon, at the head of the
Italy. Two in particular, struck in 1472, in honor  Athenians. This work was the pride of the Athenof Ercole d'Este, Duke of Ferrara, are executed  ians; Pausanias himself praises it, and Plutarch
in a masterly manner.                           says it had the character of a divine inspiration




EUPO.                    293                    EVAN.
{e also painted in the same portico a series of al-    EUTYCHIDES, a Greek sculptor, who flourish-.egorical pictures, representing the early political  ed about B. C. 300, the son of Zoilus, and a disciple
state of Athens, one of which signified that The-. of Lysippus. His principal work was a statue
seus first established equal rights of citizenship  representing the river Eurotas, which is highly
among the Athenians. The other great paintings  praised by Pliny. That author also mentions a
of Euphranor were in the Temple of Diana at  statue of Fortune; and one of Bacchus, placed by
Ephesus, the most admired of which was the feign-  Asinius Pollio in a public place at Rome.
ed madness of Ulysses, whom he represented har-    EUXENIDAS, a Greek painter, who, according
nessing a horse and an ox to the same vehicle.  to Pliny, obtained more reputation for having been
We may form some opinion of Euphranor's tone  the instructor of Aristides of Thebes, than for any
of coloring from his own expression, that " While  great merit of his own, as an artist.
the Theseus of Parrhasius looked as if he had fed
upon roses, his own showed that he lived upon     EVANGELISTI,  FILIPPO, a Roman  painter,
flesh."   Quintilian thus sums up the generale  c  who flourished in 1745, and who has the credit of
flesh." Quintilian thus sums up the general cha- having executed some very beautiful works at
racter of some of the Greek painters of this period:    ving executed some ver  beautiful works at
"Protogenes distinguished himself by his accura-  Rome, particularly two pictures of St. Margaret
cy; Pamphilus and Melanthius, by beauty of de-  in Araceli; an altar-piece in the church of S. Galsign; Aniphilus, hease ad n l       licano, and the Nativity, in the church of the Infant
hAntiphilTs, by the ease a        -d natural fow of
c ll Jesus. He was chamberlain to the Cardinal Corgispencil; Theon, of Sos, y his lingenuly imand-  radini, through whose influence he obtained many
gination; Apelles by his ingenuity and the graces   LI                   tht Eleti be
in which he boasted that he had excelled; and Eu-  co iio.   anzi says  at  vangesi, eing
phranor made himself admirable by being pos-      aple of executing these commissions well,
essed of all these qualities in as eminent a degree  employed Marco Benefiali to assist him, sharing
as the best masters," doubtlesis too high praiseg    with him  the profits, but getting all the honor,
as the best masters,"-doubtless too high praise.   tl a ls the l    is
As a sculptor, Euphranor was equally re-  till at last, the latter, impatient of this treatment,
nowned. He executed a large number of colossal  and disdaing longer to support a character that
statues and other works in marble and bronze   did himnohonor, quitted Evangelisti, when his true
among which were the Judgment of Paris; the  merits were soon made apparent, as in his picture
among wch weGregory g                                          in the  church of Saints Pietro and
statues of Greece and Virtue; those of Philip and  of St. Gregor, in the church of Saints Pietro and
Alexander, on four-horse chariots; a statue of  Marcellino, when the public discovered that he was
Alexander, on four-horse chariots; a statue of
Vulcan; one of Minerva, which Catulus trans-  indebted to Benefiali for genius as well as labor.
ported to Rome; and one of Latona, which was    EVERARDI, ANGELO called the Fleming on
consecrated at Rome, in the Temple of Concord.    account of his father's country, an Italian painter,
born at Brescia in 1647. He studied under FranEsuperb   pl   a  Greek architect who erected a u-  cesco Monti, the eminent painter of battle-pieces,
superb temple at Euboea, in honor of Jumno. Pan-  whose style he followed, especially in coloring; afsanias says it was enriched with columns and  ter Which he visited Rome and studied the works
sculptures, among which was the famous statue
scu thatess, ao        which was tghe famous statue  of the great masters, particularly the battle-pieces
of that goddess, executed in gold and ivory.    of Borgognone, by which he made great improveEUPOMPUS, a Greek painter, and a native of  ment. On returning to Brescia, he soon attained
Sicyon, who flourished about B. C. 364. Although  distinction, and his battle-pieces, according to Orthe cotemporary of Zeuxis, Timanthes, and Par-  landi, were held in high estimation. He acquired
rhasius, yet he was regarded as one of the greatest  wealth by his talents, and executed a number of
painters that Greece had produced, as appears from   excellent works. Lanzi says they are quite rare,
the ancient writers. One of his most remarkable  owing to his having died at the age of 31, in 1678.
works was a picture of a conqueror at the games    EVELYN, JOHN, an English amateur engraver
holding the palm of victory in his hands. His fa-      ed about 1650, and etched a few plates
"It is not an artist, but nature  who lived about 1650, and etched a few plates,
vorite motto was, "It is not an artist, but nature  among which were five small prints of his journey
that should be copied;" showing that he had the  from Ro   to Naples. He was also the author
true elements of success in his art. He had the  from Rome to Naples. He was also the author
^true elements of success in his art. He had the  of one of the earliest English publications on the
credit of being the founder of the Sicyonian school,  subject of engraving, entitled Sculptura.
and among his most eminent scholars was Pamphilus, the master of Apelles.                   Tr^EVERDINGEN, CIESAR VAN, a Dutch
EUTHYCRATES, a Greek sculptor, and son   ~L  painter, and architect, born at Alkmaer
of Lysippus, who flourished about B. a. 300. He  in 1606, and studied under John van Bronkhorst.
was the most talented scholar of that master, but  His subjects were history and portraits, in which
he sought rather for correctness than elegance,  he displayed a tolerably correct design, and a naand adopted a style rather austere than agreeable;  tural and vigorous style of coloring. He painted
consequently his works were chiefly those of a  the Triumph of David, for the principal church at
severe and vigorous character. Among his prin-  Alkmaer, which was highly esteemed; and he
cipal productions were the statues of Hercules and  gained great reputation by his portraits of the
Alexander, and a Combat of Cavalry.  Tacitus,  Company of Archers, for the hall of their assemhowever, attributes to him several statues of wo-  bly, in that city. As an architect, he is said to
men, among which was that of Anyta, and Panteu-  have gained eminence, but none of his works are
chidis. Euthycrates had several disciples, among  mentioned. He died in 1679.
whom were Tisicrates of Sicyon, a sculptor of            EVERDINGEN  ALBERT VAN, a Dutch
note.                                                AEVERDINGEN, ALBERT VAN, a Dutch
1ie       painter, the younger brother of Caesar
EUTELIDAS, a famous sculptor of Argos, men-  van E., was born at Alkmaer in 1621. He studied
tioned by Pausanias, who flourished about B. C.  successively under Roland Savery and Peter MoST5.                                           lyn, both of whom he greatly surpassed. He ex*




EWBA.                      294                    EYCK.
celled in painting rocky landscapes, which were   Potiphar's Wife; Rembrandt,pinx.; Exshaufec. aqu
executed in a very i~nteresting manner; and his  forte; scarce. St. Peter's Bark in the Storm; same inmarine views, representing the sea in most tre-  with two Boys, eah havirng a Gun ask  of Cherries
mendous agitation, are well worthy the high praise                                t    b
they have universally received. His coloring is    EYr K, HUBERT and JOHN VAN, two  brothers,
landscapes, are correctly drawn, and very neatly  greed as to the dates of ther birth, but Hubert,
touched. His small pictures are superior to his  the Elder was probably born in 1366, and John
larger ones, both in pencilling and finishing; and  in 137.   heirfather was an obscure      and
they are veryo theB altic, he was shipwrecked on the  instructed them in the rude and Gothic style by
made to the Baltic, he was shipwrecked on the which the art was then distinguished. They escoast of Norway, where he was compelled to re-  tihe thesees adt uges   hi was theny e
main some time, until the ship could be rendered  th most ourishing and commercial city in Eusea-worthy. During this interval, he made many           Wr t rs    ave foded 
admirable designs of the romantic views in thath   they may be said to have foundedthe
country, which he afterwards used with great ef-Flemish school. It is said by some writers that
country, which he afterwards used wigthese artists were the discoverers of oil painting.
feet in his pictures; in which the grand forms of  A rdi  t   a    aer e              of painting
his rocks, and the fine effect of his cascades, are  previous to the tim e  of Jon van     i  John
designed in a taste, and painted with a spirit, that  previous to the time of John van Eyck, or J
des^^~~~~~~~~in                         of Bruges, was with gums, or a prepration called
have gained him the title of the Northern Salvator          was with gums, or a preparation called
Rosa.   his artist has etched a number of plates  egg-water, to which a kind of varnish was applied,
Rosa Th  artist has etwhich required a certain degree of heat to dry
in a free and masterly style, which are highly es-  which required a certain degree of heat to dry.
teemed. Bartsch and Nagler have a copious list  That author says that John van Eyck, having
ofteemed. Barintsch among which thNgler have a copious list 100  worked a long time on a picture, and finished it
of his prints, among which there are about 100   ^^ great care, placed it i the sunshine to dry,
landscapes; eight of the largest and most finisd    he th  e   oare n which it was psusinted, o plr
walshen the board on which it was painted, split.
are very fine. He also engraved a set of 56 small  Hisdisappointment at seeing so much labor lost,
prints for a book published in Germany, and called  urged him to attempt discovering, by his knowThe Cheats o the Fox.  His plates are sometimes  ledge of chemistry, smeprocess which would not
signed with his name, and sometimes A. V. E.  in future expose him to so unfortunate an accident.
ie died in 1675.                                 In this research he is said to have discovered the
EWBANK, JOHN W., an English painter, was  use of linseed or nut oil, which he found the most
born at Gateshead, in Newcastle, about 1779. In  siccative. It was for some time generally believed
1813 he was apprenticed to an ornamental painter  that it was to this circumstance the art was inin Newcastle, named Coulson. The latter after-  debted, in 1410, for the discovery of oil-painting.
wards removed to Edinburgh, and gave Ewbank   This, however, has been disputed, and Dominici
the opportunity of studying under Alexander Na-  asserts that oil-painting was practised at Nasmyth. The young artist soon rose to public notice,  ples, even as early as the first part of the 14th
and he gained considerable reputation and employ-  century.  Lanzi, however, has vindicated  Van
ment. About 1823, he was admitted into the  Eyck's claims to priority of invention, as far as
Scottish Academy. His best works are cabinet  oil-painting in Italy is concerned, for he examined
pictures of coast scenes, river banks, etc. Among  those works at Naples claimed by Dominici to be
his other productions may be mentioned the Entry   oil-paintings, executed prior to the time of van
of Alexander into Babylon, and Hannibal Cross-  Eyck, and found that they were not painted in oil,
ing the Alps. Ewbank attained great prosperity,  but in a peculiar kind of distemper on a gypsum
and in one year. the profits of his pictures were  ground. In a treatise on the invention of oilabout $12,500; but he forsook the paths of vir-  painting, published in 1781 by Mr. Raspe, the celetue, beeame a confirmed drunkar, and plunged  brated antiquary, it is very satisfactorily proved
himself and family into ruin. For the last twelve  that oil-painting was practised in Italy as early as
years of his life, he remained in this fearful de-  the 11th century. The kind of painting in oil as
gradation, and died in 1847, at the age of 68.   described by Ruggerio, seems to have been confined
EXIMENO, JOACHIM, a Spanish painter, born  to metallic substances, to preserve them from rust.
at Valencia in 1674. He  painted flowers, fru,  This much is certain, that the use of oil-colors for
at Valencia in 1674. He painted  owers, fruit,  paintings originated with van Eyck, and by him
birds, fish, and objects of still-life, which he rep- paintings oducd into Spain and PortugEyck, and by hiby
resented with great spirit and accuracy. Accord-  his introduc ed into  Spain and Portugal and by
ing to Bermudez. he painted in concert with his  his scholars into Itly.
father.T hat auth       or classes their works   th   The brothers van Eyck generally painted in confather. That author classes their works tgether,  cert until the death of Hubert, and their pictures
and says they were much esteemed at the times
especially four large pictures in the church of Onur  when hey iouished.  Their most important wor
Lady of the Pillar, at Valencia. This artist died  when they flourished   Their most important work
in 1754.                                         was an altar.piece with folding doors, painted for
JodocusVyts, who placed  it in the church of S.
EXSHAU, S., a Dutch engraver, who flourished  Bavon at Ghent. The principal picture in this
about 1760. His prints are chiefly imitations of  curious production represents the Adoration of the
Rembrandt, and they have considerable merit. The  Lamb, as described by St. John, in the Revelation.
following are the principal:                      On one of the folding doors is represented Adam
A Bust of an old Man, with a round hat; Rembrandt,  and Eve, and on the other, St. Cecilia. This comin.; C. Exshau,fec. 1758. A Head of an old Man,  position contains over three hundred figures, and
with a Beardi same inscription and date. Joseph and  is finished with great care and exactness; and,




EYCK.                      295                    EYND.
though the coloring Is somewhat' hard, there is  cis Xavier resuscitating a Dead Person, and the
great truth and character in the expression of the   same saint baptizing a Pagan King.
heads. This interestirg work was formerly in        EYK, ABRAHAM VANDER, a Dutch  painter,
the Louvre, but is now unfortunately divided  who flourished about 1665. He was cotemporary
-part being at Berlin and part at Ghent.-   with William Mieris. and finished his pictures in
Philip I. of Spain wished to purchase it, but  the manner of that master.
finding that impracticable, he employed Michael        NDEN RANZ VAN, a Dutch painter, born
Coxis to copy it, who spent two whole years upon      Nimeguen in 1694. He studied under Elias
the work, and received 4,000 florins from  the  vanNymegen at Rotterdam, and alsoderived much
king, who placed it in the Escurial. In Passa-  improv ment from the advice of Chevaliervander
vanti's work may be found two prints of the up-  Werf. He usually painted Arcadian scenes in the
per and lower compartments of this altar-piece,    le of Jon van  Iuy        but not with equal perwhich are taken from an old copy painted for St. ect        is skis and disans  e seee a
John's chapel at Ghent. In the sacristy of the  delcte and te clds illitanc es ae  sun, anr
Cathedral at Bruges is preserved, with great vene-  pleasingly reected in the waters is scenes are
pleasingly reflected in the waters. His scenes are
ration, a picture epainted by John van hyck 7in  skillfully varied, the different varieties of trees
1436, after the death of his brother, representing  are characterized by a free and masterly touch;
the Virgin and Infant, with St. George, St. Dona-  hi fire are  e   a            and dispsed with
tius, and other Saints. John van Eyck died in        figures   e seldm signed, a    ispse   ithunless
1441. There is much contradiction among writers      gme    He ed           ed          e
it was required by the purchaser. He died at
in regard to these artists, and no two accounts are  imeguen  n 1742
found to agree. Nagler's Kunstler-Lexicon con-     imegun  in 
tains a full account of their works, as well as    EYNHOUEDTS, REMOLDUS or ROMBAUT, a
many interesting particulars relating to the art-  Flemish painter and engraver, born at Antwerp
ists.                                             about 1605. His plates are etched in a slight,
dark style; and his drawing, though not very corEYCK, GASPAR VAN, a Flemish painter, born  rect, is bold. and masterly. He executed several
at Antwerp in 1625. He excelled in painting ma-  plates after the works of Rubens, Cornelius Schut,
rine views and naval combats, particularly those  and other'Flemish artists; also some of the prints
between the Christians and the Turks. Accord-  for Teniers' Gallery. The following are the prining to Descamps, the fire and smoke of the can-  cipal:
non were admirably painted, and his small figures              SUBJXCTS AFTER RUBENS.
were well drawn, and very neatly touched.
were well drawn, and very neatly touched.  The Adoration of the Magi. The Resurrection. The
EYCK, NICHOLAS VAN, a Flemish painter, who  Altar-piece of Rubens's Chapel. Pope Gregory, surroundresided chiefly at Antwerp, and is supposed to have  ed withemblematical figures. The Four Doctors of the
been a brother of the precedingartist.  Descamps  Church, with St. Clara holding the Sacrament. The Virben a b r of te p g. D  s  gin and infant Christ surrounded with Saints. St. Peter
says he painted skirmishes and attacks of cavalry  and St. Paul. An allegorical subject of Peace and Happiwith great spirit, and his works were highly es-  ness.
teemed at Antwerp.                                        SUBJECTS AFTER VARIOUS MASTERS.
EYCKENS, PETER, called the Elder, a Flemish    The Assumption of the Virgin; after Cornelius SAhut.
painter, was born at Antwerp in 1599, and died in  The Martyrdom of St. George; do. The Ascension; after
painter, was born at Antwerp in 1599, and died in  the younger Palma.
1649. He is said to have been a reputable painter  the younger Pa  
of history. Some authors have ascribed to this       ZGUERRA, PIETRO, a Spanish architect who
artist the works of another painter of the same  flourished about 1540, and erected the churches of
name, who was born in 1650.                       San Matteo de Caceres; of Robledillo, near Plasentia; of Malpartida; and the Cathedral of PlaEYCKENS, JOHN and FRANCIS, were Flemish  sentia-all of which were important works, and
painters, and the sons of the preceding, born at  gained the architect a high reputation. They are
Antwerp in 1625 and 1627. They were instruct-  in the modern Gothic style, and would be consided by their father, but preferred painting flowers  ered as worthy to rank with the finest edifices of
and fruit to historical subjects, and their produc-  the kind in Spain,,had they been completed by the
tions were held in estimation. John died in 1699,  original architect; but Ezguerra died in 1561, and
and Francis in 1673.                             the buildings were continued by his son Giovanni,
EYCKENS, PETER, an eminent Flemish histo-  and finished by Gio. Alvarez, in 1574. The two
rical painter, born at Antwerp in 1650. It is not  latter architects introduced a variety of absurd
mentioned by whom  he was instructed, but he  changes into the work.
ranks among the estimable artists of his country.
His works show a correct and tasteful design, in-.
genious composition, and judicious management.    FABER  JOHN  the Elder a Dutch designer
The folds of his draperies are broad and simple,
and his back-grounds are decorated with architec-  and engraver anative of Holland, who went to
ture, and landscapes of a pleasing scenery. In   England about 1695, and died there in 1721. He
drew portraits on vellum with a pen, but after1689, he was chosen Director of the Academy at  drew  portraits on vellum  with a pen, but after-.
Antwerp.  His principal works in that city are,  wards applied himself to mezzotinto, and executed
the Last Supper, in the church of St. Andrew; St.  a number of portraits, which possessbut little
Catherine disputing with the Pagans, in the Ca-  merit. Among them are the following:
thedral; and St. John preaching in the WildIer-    The portraits of the Founders of Colleges at Oxford and
nthedl the chuch of the convent called BWldere i Cambridge. The Heads of the Philosophers; after Runess, in the church of the convent called Bogaerde.  bens. The Portrait of Doctor John Wallis, the celebrated
At Mechlin, in the church of the Jesuits, were two   mathematician; after Kneller; one of his best prints
if his most admired works, representing St. Fran-  Humphrey Lloyd, of Denbigh, antiquary. 1717.




FABE.                     296                    FABR.
FABER, JOHN, the Younger, a reputable mezzo-  a work which Colucci highly commends.  Alle
tinto engraver, his son of the preceding, was born   gretti Nuti de Fabriano painted the oratory of the
in Holland, and was taken to England when three  church of S. Antonio Abate, at Fabriano, with hisyears old. He practised the art for many years,  tories of that saint, divided into compartments, on
and died in 1756. Some of his portraits are very   which is inscribed Allegrettus Nutiide Fabriano
fine. The following are the principal:           hoc opusfecit, 136-, the last figure being destroyed.
The Beauties of Hampton Court; after Kneller. The  The name of Antonio da Fabriano appears on a
portraits of the eminent Personages of the Kit-cat Club;  Crucifixion on wood, in Matelica, dated 1454, and
do. Charles II. in his robes, seated; after Lely. 1760.  in the archives of that city are mentioned two
Caroline, Queen of George II. The Children of Frederick,  paintings by Giuliano da Fabriano, the one in the
Prince of Wales; after Dupan. Sir Isaac Newton; after  church of the Dominicans, and the other in the
Vanderbank. 1726. Michael Rysbrack, sculptor; do.  urcomicans and   e  ther in 
Enoch Seeman, painter; do. George Lambert, landscape  Church of the Capuchins.
painter; do.                                       FABRIANO, GENTILE DA. Authors disagree
FABER,PIERRE, a French engraver, who prac-  as to the time when this painter flourished, but he
tised the art at Lyons about 1621.  He worked  is supposed to have been born at Verona about
chiefly for the booksellers, for whom he engraved   1360, and to have died about 1440. He was a coseveral plates in a neat style, but without much  temporary of Beato Angelico, and some of their
taste. His name is affixed to an ornamental front-  works have a great resemblance to each other. Aoispiece to the second volume of a work published   cording to Lanzi, he began to distinguish himself
at Lyons, entitled Operis Moralis, f c.          among the painters employed on the dome at OrFABIO, DI GENTILE, an old painter of Perugia,  vieto, in 1417.  He afterwards visited Venice,
some of whose works are still preserved in the   where, according to Ridolfi, he painted a picture
church of S. Maria della Consolazione, dated about  in the great council chamber, which was considered
1442.                                            so extraordinary a performance, that the Republic
FABIUS, 0., surgnned PICTOR. He painted   granted him a pension for life, and the privilege
the Temple of Salus in such a manner as to be' of wearing the patrician gown. He also painted
an altar-piece for the church of S. Felice, repreesteemed at Rome, even after the introduction of  an altar-piece for the church of S.  elice, representing St. Paul and St. Anthony. During the
paintings from  Greece. Valerius 1Iaximus says  sentg St. Paul and St. Anthony. During the
that   hen  he had painted the walls af te T - ss  pontificate of Martin V. he visited Rome, where he
th e of Salus, befor he had painted    by Julius ofBubucu Tem-  was employed in St. John of Lateran, and painted
pie of Salus, before dedicated by Julius Bubulcus,
he signed his name; as if a consular sacerdotal   a Holy Family for S. Maria Maggiore. There are
if a consular sacerdotal   also several of his works at Perugia and Urbino.
and triumphal family stood yet in want of this or-  At Florence, in S. Niccolo, is a subject by him from
nament"-of painter.                              the life of that Saint; and in the sacristy of la
FABRE, FRAN9OIS XAVIER, a French painter,  Trinit& is the Adoration of the Magi, dated 1423.
born at Montpellier in 1766. He early went to      FABRICIUS, CHARLES, a Dutch painter, bor
Rome, and entered the school of David, where he  at D t i 1                 tt       c    erabl
at Delft in 1624. He had attained considerable
made rapid improvement. In 1787, he carried off
made rapid impr^^ment. In 1787 he earnid~      reputation by his portraits, and was accounted
the grand prize of the Academy, and went to Rome  retation by his po is  and w           erspectie
with the royal pension, and gained great improve-  among the best artists of his time in perspective;
wimenth the ro y al pension, and gained great improven that  but he was suddenly killed by the explosion of a
ment from the study of the works of art in that  powder magazine, while standing in his chamber,
city. He was prevented from returning to France  powder magazine wo hie st nding in hippened in
on account of the persecution of his.elations at  intnt un his death was eett     ed b  the  iend
Montpellier by the republican party, and therefore                                        frie
took up his residence at Florence, where he prac-of art.
tised the art with good success. His design was    FABRIZZI, ANTONIO MARIA, an Italian paintpure, his coloring rich, and his works were finished        at Perugia in 1594. He went to Rome
with care. He devoted himself chiefly to portrait  while young, and commenced his studies under
painting, and executed the portraits of many dis-  Annibale Caracci; but, according to Pascoli, he
tinguished individuals, among whom were the poet  lost his valuable instructor when only fifteen years
Alfieri, Gen. Clarke, and M. Lefebvre, Secretary  of age; notwithstanding which he had no other
of the French Legation. Among his subjects of  master. His imagination was so active and erratic
history, were three pictures,-the Death of Abel,  that he fell into great irregularities of design and
Milo of Crotona, and Philoctetes in the isle of   execution; and his works are often finished in a
Lemnos, which have been much admired. His ad-  negligent manner, though many of them  evince
mirable copy of Guido's Martyrdom  of St. Peter,  ingenuity of composition, and great freedom  of
is in the Museum at Lyons. He died in 1837.      hand. Zani says he was living in 1656.
FABRI, GIOVANNI, a modern Italian engraver,    FACCHINETTI, GIUSEPPE, a native of Ferwho practised the art at Bologna. He executed  rara, who flourished about 1700. He studied unseveral plates with the graver, in a neat but formal  der Antonio Felice Ferrari, and became an eminent
style, among which are: The Death of St. Bene-  fresco painter. Lanzi says "he painted at St. Catediet, after Cavedone; and the Nativity, after  rina da Signa, and in other places, at once in a deliFrancesco Francia.                               cate and a sound style, and he is almost accounted
FABRIANO. There were several old painters  the Mitelli of his school."
who derived their name from Fabriano, a town in    FACCINI, BARTOLOMEO, a native of Ferrara,
the Roman  States, who were eminent artists  was probably a pupil of Girolamo Carpi. He exin their time, and some of whose works are still  celled all the artists of Ferrara in his time for his
preserved. Bocco de Fabriano painted the church   architectural decorations, such as feigned bassiof S. Maria Maddalena with pictures in fresco in  relievi, colonnades, cornices, niches, &c., with
1306. Francesco Tio de Fabriano painted the tri-  bronze statues, which were executed with such a
lune of t11  Conventuals at Mondaino, in 1318,  surprising relief that they appeared real.  He




FACH.                     297                   FACT.
was assisted in these works by other artists,  went to London, and were employed by MIr. Boy.
among whom was his brother Girolamo. He fell  dell, for whom they completed a great number of
from a scaffolding while he was embellishing the  plates, which are much admired for their selection
grand court-yard of Duke Ercole II., and was  and execution. They worked chiefly as ethers,
killed in 1577.                                and the impressions are either black, brown, or
FACHERIS, AGOSTINO. Little is known of  in colors. These artists died in the latter part of
this painter, except that he executed a picture in  the last centry.
the church of the Holy Trinity, at Borgo S. An-    FACTOR, FRA NICCOLO. See FATOR.
tonio, representing St. Augustine, with two An-    FAENZA, MARCO DA. See MARCHETTI.
gels. Tassi saysit is signed Augustinus Facheris,    FAENZA, Go. BATTISTA DA     Italian artist
fecit. 1528.                                     FAENZA, GIO. BATTISTA DA, an Italian artist
fecit. 1528.                                   who flourished at Faenza, in the latter part of the
FACHETTI, PIETRO, an Italian painter, born  15th and first part of the 16th centuries. The
at Mantua in 1535. According to Baglioni, he  real name of this artist is variously spelled by
visited Rome while very young, in the pontificate  Italian authors, which creates some confusion, as
of Gregory XIII. He at first applied himself to  Bertuzzi, Bertucci, Bertusio; but he is better
history, and produced several compositions of some  known as Gio. Battista da Faenza. He flourished
merit; but he afterwards painted the portraits of  in the Romagna about 1500. Lanzi says there is
some of the nobility, which were so much admired  a very beautiful picture by him in the Communal
that he soon gained great reputation, and was con-  collection of the Lyceum at Faenza, dated 1506.
stantly employed. Most of the nobility at Rome,  It represents the Virgin seated upon a Throne, on
particularly the ladies, were painted by Fachetti,  the steps of which St. John the Baptist, a youth,
and his pictures were greatly admired for their  kneels, while a Cherub plays on the Harp, and two
fine taste, lively resemblance, admirable coloring,  Angels support her mantle. It is correct in deand grandeur and elegance of design. He lived in  sign, the tints very pleasing, and the folds similar
great reputation at Rome to an advanced age, and  to those of Albert Durer. Lanzi pronounces this
died in 1613.                                  work equal to Costa, and not inferior to Francia.
FACIN   OH a B  e p er, born       e had two sons whom he instructed in the artFACINI, PIETRO, a Bolognese painter, born,  Jomone and Raffaello da Faenza.
according to Zani, in 1563. He did not manifest    Jacomone or Jacopone da Faenza after reany inclination for art until arriving at the age of    instruction fromhis faer, made te  orks
maturity; and it is recorded by Malvasia, that be-  ceiving instruction from his father, made the works
maturity; and it is recorded by Mavasia, that be-  of Raffaelle his model, and became an eminent arting in the habit of visiting the academy of Anni-  ist. There are many of his works in the churches
bale Caracci, though not for the purpose of study,   f the Romagna, executed entirely in the manner
one of the pupils drew a caricature of him, which  of Raffaelle.  Lanzi says it was through him
excited the mirth and ridicule of his fellow stu-  that the taste for the Ra esque style was difdents. On the drawing being shown to Facini.
dents. On the drawing being shown to Facmin,  fused throughout that part of Italy. Works of his
though he never had any instruction, yet in  few   arefounddated from 1513 to 1532. He had a
minutes he drew a charcoal sketch of the person  s  named    vanni Battta who s ced  io
who had ridiculed him, that attracted the admira-  Ba    rtuct
Battista Bertuccio or Bertusio, which see.
tion of all; and Annibale induced him to apply
himself to the art, and took him under his espe-    FAENZA, MARC' ANTONIO DA, a painter of the
cial instruction. Facini soon made such rapid ad-  Bolognese school, of whom little is known. He is
vances, that Annibale is said to have become jeal-  highly commended by Civalli, for his altar-piece
ous of him. On leaving that school, he met with  in the church of the Conventuali of Monte Lupone,
employment and reputation, and even established an  dated 1525.
academy of painting, which for some time was well    FAENZA, FIGURINo  DA, a painter of the Bopatronized. It was soon found, however, that the  lognese school, who is enumerated by Vasari
magic of his coloring had deceived the public, and  among the best disciples of Giulio Romano, and
that his design was neither tasteful nor correct,  who flourished in the latter part of the 16th cenhis figures uncouth and disproportioned, and the  tury. It is conjectured, with good reason. that
character of his heads without beauty or expres-  Figurino was only a surname given to Marc' Ansion. His coloring resembled the freshness of  tonio Rocchetti, which see.
Tintoretto, and occasioned Annibale to remark, on    FAENZA
seeing his picture of the Martyrdom of St. Loren-  AE AOTTA NO and PACE D  were pzo in S. Giovanni de Monti, that in his carnations ils of Giotto, and there are some of their works
Facini seemed to have mixed his colors with hu-  in the churches of Romagna. They flourished
man flesh. The principal works of this artist, at  about the middle of the 14th century.
Bologna, are the picture of St. Lorenzo, before    FAES, P., a reputable painter of flowers and
mentioned; the Crucifixion, in S. Benedetto; in  fruit, who followed the manner of van Huysum,
S. Francesco, an altar-piece, with the Marriage of  and flourished toward the latter part of the last
St. Catherine in the upper part, and below the  century, as appears from the dates on his pictures.
four Guardian Saints of Bologna; in S. Paolo, the  He was probably a native of Holland, though not
Crucifixion of St. Andrew.  Bartsch attributes  mentioned by Balkema. - His works are tastefully
three prints to this artist, which are without name  composed and delicately pencilled; and though
or mark. Brulliot mentions several others, and  somewhat deficient in vigor and chiaro-scuro, yet
gives the monogram. He died in 1602.           they are so true to nature in other respects, that
FACIUS, GEORGE SIGMUND, and JOHN GOTT-    they may be ranked with the works of diatinLIEB, two brothers, were reputable German en-  guished masters in this branch of the art.
gravers, and studied at Brussels, where their father    FAES, VANDER. See LELY.
held the office of Russian consul. In 1776, they  FAGE, RAIMOND DE LA, an ingenious French




FAIS.                      298                     FAIT.
designer and engraver, born at Toulouse, according   garet Smit afterwards Lady Herd;.Jo.ngague
to Zani and Nagler, in 1656-died in 1684. He   Bertie, Earl of Lindsey; do. William Sanderson; set
early manifested a strong inclination for art, and   sue 68, 1658; after Zoust; fine. Anne Bridges, Countwithout the helpof an instructor, produced some 4-ess of Exeter; after Vandyck. Samuel Collins, M. D. set.
without the help of an instructor, produced some   67; W. Faithorne, ad riJum del. et sculp. John Kerpen-drawings, which are little more than outlines,  sey, mathematician; after Zoust. 1672. John La Motte,
but are highly esteemed by connoisseurs.  His  Esq., Citizen of London. John, Viscount Mordaunt.figures are characterized by elegance and grace,  Thomas, Earl of Elgin; set. 62. 1662. Mary, daughter
and bold and spirited action. He possessed a fer-   f Sir James Langham. Henry Cary, Earl of Monmouth.
Thomas Kiligrew, in a fur cap, with a Dog; W. Sheppard,
tile invention, and a commanding facility of exetile invention, and a commanding facility of e     pinx. Thomas Stanley; qfter Lely. Robert Bayfield;
cution.  He visited Rome, where he passed several   et. 25, 1654, with a large hat. The same Person; at. 27;
years, and lived on terms of intimacy with Carlo   without a hat. Francis Rous, Provost of Eton, set. 77,
Maratti.  On his first visit to that artist he is said  1656, with a large hat. Sir Henry Spelman, with a ruff,
to hae found him  at his easel; when Maratti,  and point night-cap. Thomas Hobbes, set. 76. En quam
with true Italian courtesy offered Fage his pencils  modice habitatphilosophia. Samuel Leigh, et. sum  15,
1661. Incipe etperfice, domine. Henrietta Maria, with
and palette, which the latter declined. saying "he   a Veil; in the manner of Mellan. Thomas Mace; prewas not a painter." " I am happy," replied Maratti,  fixed to his book of music. Sir Orlando Bridgman, with
" that you are not, for if you could paintas well as  the Purse. Sir John Fortescue. Robert Boyle; oval,
you draw, I should have abandoned the art."  This  with an Air-pump. Elias Ashmole; bust, in a niche. He
artist etched some of his designs; and several  paid Faithorne seven pounds for the plate, a considerable
others have been engraved by Indian, Vermeu-  price at that time. William Oughtred; in the style of
others have been engraved by Audran, V   -   Hollar. John Wallis, S. T. D., prefixed to his Mechanica.
len, Ertinger, Simonneau, &c. The following are  Sir Francis Englefield, Knt. and Bart.; oval; extremely
by him:- The Fall of the Angels; the Brazen  scarce. A large emblematical print of Oliver Cromwell,
Serpent, R. la Fage, fec.; A Bacchanalian, a large  whole length, in Armor, with various devices and mottos;
plate; a Dance of Children; Juno and AEolus;  very scarce.
Jupiter and Semele; several Friezes, &c.              SUBJECTS BY FAITHORNE AFTER VARIOUS MASTERS.
FAISTENBERGER, ANTHONY, a  German                 A Holy Family; after Simon Vouet. A dead Christ;
ainter born at Insruckin the Tyrol, in 1678.  after Vandyck. The Last Supper; without the painter's
a inte'r     bornt                 arttns, in    e T  in 1  name. The Scourging of Christ; after Diepenbeck, inHewas instructed by an obscure artist, named   scribed Faithorne, sculp. Antwerp, 1657. The Marriage
Bouritsch, who lived at Saltzburg or Passau. He  at Cana in Galilee. (The last four prints were engraved for
had, however, the opportunity of studying some  Taylor's Life of Christ.)
of the works of Gaspar Poussin, and he formed so      FAITHORNE. WILLIAM, the Younger, was the
noble a style of painting landscape, that it might  son and scholar of the preceding; born in 1656;
be supposed he had visited Rome. His pictures  died in 1686. He was chiefly engaged in mezzoare views of very interesting scenery, decorated  tint engraving, and might have gained reputation
with architectural ruins, and pleasingly enlivened  in that branch, had he attended to his business
with beautiful cascades.  The forms of his trees   properly.  The following are his best prints:
are grand and picturesque, and the foliage is light    Thomas Flama, holding   Drawing of Charles I
and spirited.  His figures were usually painted by   Mary, Princess of Orange; after Hanneman. Sir WilGraaf and van Bredael.  He was invited by the  liam Read, oculist to Queen Mary. Queen Anne, when
Emperor to, Vienna, where he was employed for a   Princess of Denmark. George, Prince of Denmark. John
number of years, and gained great reputation.  Dryden. Frederick, Duke of Schomberg; after Da.l,
On quitting that city, he was employed succes-  Sir Richard Haddock; after Clostermans; one of his best
sively by the other princes of the empire.  He   prints. John More, Bishop of Ely. The Princess of Hanover. Charles XII. of Sweden. Mrs. Plowden, with a
died at Vienna in 1722. He had a brother named   Garland.
Joseph F, whom he instructed in the art. and who                                      
assisted him in some. of his works..  ALCE, ANTONIO LA, a native of Messina; stud- 
assisted him in some of his works.
ied under Agostino Scilla. According to Hakert,
r,fFAITHORNE, WILLIAM, the Elder, a  he was a good painter of easel pictures in distem1L. L.reputable English engraver, born at Lon-  per and oil. He attempted fresco with less sucdon in 1620, according to Nagler, though Zai  cess. He died in 1712.
says in 1629; died in 1691. He studied under
Robt. Peake, At the breaking out of the civil war    FALCIERI, BIAGIO, an Italian painter, born at
he took up arms for the King, and was taken pris-  St. Ambrogio, near Verona, in 1628. He studied
oner. He was released, however, on the condition   at Venice, under Cav. Pietro Liberi. His style
of quitting the country; and he went to France,  evinces much of the fire and fertility that chawhere he made the acquaintance of Robt. Nanteuil,  racterize  the  Venetian school, as appears from a
from whom he gained great improvement.  About  large picture of the Council of Trent. which he ex1652, he was allowed to return to England, where  ecuted for the church of the Dominicans at Verona;
he established himself as an engraver and print-  in the upper part he has represented St. Thomas
seller at Temple Bar, and dealt considerably in  vanquishing the Heretics.  Falcieri died in 1703.
Italian, French, and English prints. About 1680,                   FALCINI, DOMENIO       Italian
he gave up printselling, and devoted himself to en-               FL IN, who  flourished  fro
graving and painting portraits in crayons. His           -  _ engraver, who flourished from
1604 till about 1630. There are some wooden
plates are principally portraits, which are execu-1604 till about 1630. There are some wooden
plates are principally portraits, which are execu-  cuts by him, cafter Raffaille,  and other masters,
ted entirely with the graver, in a clear, free style,  wcuts  a    fre e ute nd othe      r maste rs,
and full of color. His subjects from  history are  for the      ecuted onther for the middle tintblocks, one
incorrectly drawn, but his portraits gained him the third for the dark shadows. Brulliot men
considerable reputation.  The following are the  the third for the dark shadows.  Brulliot menprincipdale rep.  Te f         g ae te   tions two prints by this artist with a different
principal:
mark from his usual monogram.
Sir William Paston, Bart. 1659; extremely fine. Lady   markfrom     usualmonogram.
Paston; after Vandyck; same date; very fine.  Mar-   FALCK, JEREMIAH, a German designer and en



FALO.                       299                     FALC.
graver, born at Dantzic in 1629; died, according  ited St. Petersburg, at the invitation of Catherine
to Brulliotand Nagler, in 1709. He studied at  II., and executed the noble bronze equestrian statParis, undeo Chaveau, and became a very reputa-  ue of Peter the Great.  In 1778 he returned to
ble artist.  On leaving France, he passed some   Paris, and relinquishing the practice of his protime in Holland, where he executed several plates  fession, devoted himself to literary pursuits.for the celebrated cabinet of Reynst. From  Hol-  Among his most important works in sculpture,
land he visited Sweden, where he passed some  are a statue of Christ agonizing, a group of the
time.  He was equally successful in portraits and   Annunciation, and two statues of Moses and Dahistorical subjects, and executed  a number of   vid, in the church of St. Roch at Paris; also a
plates, which possess great merit. The following   statue of St. Ambrose, at the church of the Invaare the principal:                                 lides. Falconet was attacked by paralysis in 1783,
PORTRAITS.                      which terminated his life in 1791.
Christina, Queen of Sweden; qfter D. Beck. Peter    FALCONET, PIERRE, a French painter, born
Gembichi, Bishop of Croatia; do. Leonard, Count de Tor- t Paris; was the son of Falconet the sculptor,
stensohn. 1649; after the same. Axel, Count d'Oxen-   to executed the  son of Falonet the f Peter t
stiern; do.; J.'F. Stockolmie fe., 1663. Adolphuswh  o executed the equestrian statue of Peter the
stiern; do.; J. F. Stockolmiwe, fee., 1663.  Adophus                                             ere
John, Prince Palatine; do. Charles Gustavus, Prince of   Great, at St. Petersburg. He wenttoLondon, where
Sweden; do.                                        he resided some years, and painted historical subSUBJECTS AFTER VARIOUS MASTERS.            jects and portraits, as well as ornaments.  He was
The Four Evangelists; half-lengths, oval, without the  remarkable for his portraits in black-lead, with a
name of the painter. A Concert of Music; after Guer-  mixture of coloring.  In 1766 he obtained a premcino; for the cabinet of Reynst. The Cyclops; after M.  ium of twenty guineas from  the Society of Arts,
A. Caravaggio; do. A Man and a Woman singing; af-  for a painting in chiaro-scuro; and in 1768, anoter J. Lys; do. St. John preaching in the Wilderness;  ther for an historical picture.  In 1773 he reafter A. Bloemaert; do.; J. Falck, Polonus, scul. 1661;  turned to France.
fine.
FALCKENBOURG, FREDERICK VAN, a Ger-                FALCONETTO, Go. MARIA, a reputable Ital
man landscape painter and engraver of little note.  ian painter and architect, born at Verona in 1458,
He practised both arts at Nuremberg, and has  according    Vasar.  He studied paiting under
etched a few plates of portraits and other subjects  his father, and afterwards under his brother Gio.
in a slight scratchy style, marked F. V. F.  He   Antonio F., at Verona, by whose instruction he
died about 1623.                                   became a reputable artist, both in history and
portraits, and executed a number of works for the
FALCO, AGNOLO. The name of this artist is  churches and private collections. As an architect
affixed to an etching representing a landscape,  he was more distinguished.  He passed twelve
with the story of Apollo and Daphne. It is very   years in Rome, studying and copylng the vestiges
indifferently executed and incorrectly drawn; but  of ancient architecture. He also copied the anappears to have been the work of a painter, and   tique sculptures of Rome, as well asthose of the
is from his own design.                            kingdom of Naples.  He was much respected by
FALCO, JUAN CONCHILLOS, a reputable Span-  the emperor Maximilian, then master of Verona,
ish painter, born at Valencia in 1651. He studied   and he erected a number of excellent works in that
in the school of Mario, where he acquired a good   city.  He resided for a number of years at Padua,
style of coloring, and a free, sweet, and delicate   where he built a beautiful loggia for the senator
pencil.  On quitting his master, he soon gained   Luigi Cornaro; a Doric gate to the palace of the
plenty of employment, and was considered one of   governor; the church of the Madonna della Grathe best historical designers of his time.  He was  zie, &c. He also commenced a superb palace at
much employed for the churches and private col-  Friuli for Savorgnano, the governor, but did not
lections, and died in 1711.                        finish it, on account of the death of the latter.FALCONE, ANIELLO, called ANGELO, a Nea-  He died at Cornaro, in 1534.
politan painter and engraver. born in 1600; died     FALDA, GIO. BATTISTA, an Italian architecin 1665. He studied under Giuseppe Ribera, and   tural designer and engraver, born at Valdugia, in
distinguished himself as a painter of battle-pieces  the Milanese, about 1640. From the resemblance
and skirmishes of cavalry, which he composed and   of style, he is supposed to have studied under Isdesigned with great fire and animation. His col-  rael Sylvester. H'e was distinguished for his deoring is vigorous and effective, and his touch bold  signs and engravings of select views of the churches
and free. His figures and horses are drawn with   and other public edifices of Rome, etched in a tasteequal correctness, and their various movements are  ful manner, and enriched with figures very neatly
expressed with characteristic propriety.  His easel  drawn. In 1676, he engraved a View of the city
pictures are esteemed equal to his larger works,  of Rome, in twelve sheets.  The following are his
and his best productions are little inferior to those   principal plates:
of the inimitable Borgognone.  This artist was    Two Views of the Piazza Navona. Two Views in Rome;
one of the masters of Salvator Rosa.  As an en-  the Basilica of St. Peter's, and the Fountain of St. Peter's.
graver, he executed a number of plates, of which a   A large plate of St. Peter's, and the Buildings round it;
list may be found in Bartsch and Nagler.           Gio. Battista Falda, del. et scul. Romen, 1662; scarce.
A View of the interior of St. Peter's, on the occasion of
FALCONET, ETIENrE MAURICE, an eminent  the Beatification of St. Francis of Salis. A View of the
French sculptor, born at Paris in 1716. He stud-  Castle of St. Angelo, with the Statues on the Bridge; by
ied in the school of Lemoine, where he made rapid   Bernini.
progress, and executed in 1745 a fine statue of Milo  FALDONT, Gio. ANTONIO, an Italian painter
of Crotona, which was much admired, and gained   and engraver, born, according to Zani, at Asolo,
him considerable reputation. In 1754 he was ad-  in the Marca di Trevisano, about 1690. He first
mitted to the Royal Academy, and was afterwards   studied landscape painting under Antonio Luciaappointed professor and rector. In 1766 he vis-  no; but did not attain distinction in this branch,




FALE.                      300                      t'ANS.
and his pictures are little known. He afterwards      FANSAGA, CosIMo, an eminent Italian sculptor
applied himself to engraving, and followed at first  and architect, born at Bergamo in 1591. He visited
the manner of Giles Sadeler, but subsequently   Rome, and studied sculpture and architecture under
adopted that of Mellan, in which he was very suc-  Pietro Bernini. The facade of the church of S.
cessful, and some of his works are much admired.  Spirito de' Neapolitani, is the only work by him in
He engraved a set of portraits of the Doges of Ve-  that city. He afterwards visited Naples, where
nice, and the Procurators of St. Mark  besides  he soon rose to eminence, and received so many
the following:                                     commissions for statues and buildings, that he
PORTRAITS.                      made it his permanent residence. He built and
MarcoRicci, painter; after Rosalba. Antonio Maria  sculptured a number of altars in that city; enZanetti, engraver; do. Luca Carlevariis, painter and en-  larged and supplied with water the Fontana Megraver. Sebastiano Ricci, painter.                 dina, which he made the most beautiful fountain
~SUBJECTS AFTER VARIOUS MASTERS.           in Naples.  Among his principal works, are the
A Holy Family, with Angels; after Seb. Ricci. The  facades of the churches S. Francesco Saverio, S.
Conception; do. The Nativity; after P. da Cortona.  Teresa degli Scalzi. and S. Domenico Maggiore.
David playing on the Harp before Saul; after G. Came-  He also designed the great gate and staircase of
rata. David flying from the Wrath of Saul; do. Part  the palace of Duke Mataloni, besides many other
pubof he Dawing  by Pariggiano  for the collection  works, by which he acquired riches and honors.
publishedby Zanetti, in two volumes.               He di      1678.
FALENS, CHARLES VAN, a Flemish painter,
born at Antwerp in 1684. He painted hunting-          FANTETTI, CEsARE, a Florentine designer and
pieces and other subjects, similiar to those of   engraver, born about 1660. He resided chiefly at
Wouwerman. Some of his pictures are very pleas-  Rome, where he engraved a number of plates after
ing, painted in a spirited style, and well colored.  his own designs, and those of other masters.  In
His works would be more esteemed if they had   concert with Pietro Aquila, he engraved the plates
less the appearance of being imitations of Wou-  from the paintings by Raffaelle, in the Vatican, callwerman, as it leads many to suppose them to be  ed Raffaelle's Bible; of which thirty-seven are by
copies of the pictures by that master.  This artist  Fantetti; the rest are by Aquila, and are superior,
died at Paris in 1733.                             particularly in correctness of drawing. He also
engraved the following prints:
FALGANI, GASPARE, an eminent landscape                 ed the followngprints:
painter, was a native of Florence, and studied un-    Christ praying in the Garden; after L. Caracci. A
der Valerio Marucelli.  His works are designed   Charity, withthree Children; afterAnn. Caracci. Lato-er Valerio Maru ei.    His works are designed   na insulted by Niobe; do. Flora surrounded by Cupids;
with great taste, his penciling is neat and spirited,  after Ciro Ferri. The Death of St. Anne; after Andrea
and they are enriched with exquisite figures; but,  Sacchi. Some friezes and other subjects, from various
unfortunately, as in the works of many other art-  Italian masters.
ists, his greens have changed into black. He executed many works.  He flourished about 1650.                        FANTUZZI, or FNTUZZ
FALLARO, GIAcoMo, a Venetian painter, con-                         ANTONIO, an Italian engraver,
mended by Vasari, who flourished in the time of   probably brn at Viterbo about 1520, though auTitian, and some of whose works are still to be  thors are disagreed about the time of his birth.
found in the churches at Venice.                   He is supposed to have studied the elements of
fouALE    JEAtNT an' Vengraver mentioned        design under Primaticcio, though some say he was
FA LER,  JEAN, an engraver mentioned by   originally a pupil of Parmiggiano, and that at the
Florent le Comte, who executed some plates of or-  death of that great artist, he joined Primaticcio, and
naments and grotesque figures.        went with him  to Fontainbleau.  His plates are
FALS, RAYMOND, a Swedish medalist, born at  etched in a free, bold style; dated from  1540 to
Stockholm  in 1658. He visited Paris, and exe-  1550, and chiefly after the works of Primaticcio.
cuted a series of medals for Louis XIV., who   His prints are scarce; the following are the pringranted him a pension.  He died at Berlin in  cipal:
1703.
Silenus supported by two Bacchante, and environed with
FANO, BARTOLOMEO and POMPEO  DA, two   several Satyrs; afteril Rosso. 1543. The Dispute of the
Italian painters, father and son, who flourished   Muses with the Pierides; after Primaticcio. Alexander
at Fano about 1530. According to Lanzi they   and Roxana; do.; circular. TheFestivalgiven by Alexpainted in concert a picture of the Raising of La-  ander to Thalestris; do. 1543. Jupiter directing Minerva
painted in foncrt    a pictur e of   the Raising of La-  to dismiss Cupid, Venus, and Psyche; do. 1543; oval.
zarus, for the church of S. Michele, in that city,  Titan reposing in the Bosom of the Ocean; Bologna, indated 1534. This work is executed in the Gothic  ventor. 1544. The four Cardinal Virtues.
style of the preceding century, and that author ob-    FANZONE, FENZONE, or FAENZONE. FERserves that it is singular they should have profited   RA  a painter of Faenza, who, according to Lanzi
so little by the general advance which had been   was born in 1562, and died in 1645. There is
made in the art.  Pompeo, however, after the   considerable contradiction among Italian authors
death of his father, attempted the more modern   about the name and tuition of this painter. Mataste, and produced several works which gained  rini writes it Finzoni.  Titi calls him  Ferrau da
him considerable reputation. This artist was one   Faenza, and says that he studied under Vanni at
of the instructors of Taddeo Zucchero.             Rome.  He executed quite a number of works in
FANONE, STEFANO, an old Italian painter,  fresco in the churches of that city, consisting of
born at Naples in 1318.  His works were painted   scripture histories, particularly in the Scala Santa,
in the dry Gothic manner which prevailed at that  S. Gio. Laterano and S. Maria Maggiore, in competiperiod.  He seems to have been highly esteemed, as  tion with Gentileschi, Salimbeni, Novara, and Croce.
he, as much patronized by Robert, king of Na-  He also executed some good works at Foligno and
pes, who rewarded him  liberally for his works.  Ravenna.  He afterwards settled at Faenza, where
He died in 1387.                                   he executed many works for the churches and con



FARE.                      301                    FARI.
vents in the style of the Caracci, of whom, in that  not visited all the works of this great artist in
city he is esteemed a pupil. Lanzi says his real  that city, so much was he charmed by the beauty
name was Fenzoni, of a noble family of Faenza, now   and grandeur of those which he had seen. Among
extinct. He was an excellent artist, possessing a  the principal works of Farinato at Verona are
profound knowledge of his art. His design was  three pictures in S. Maria in Organo, representing
exact, his composition  grand, and his coloring   St. Michael discomfiting Lucifer, and two large
very pleasing. Yet his name is blackened with an  subjects of the mothers presenting their children
atrocious deed; for he is said to have assassinated  to Herod, and the Murder of the Innocents. In S.
Manzoni merely out of jealousy of his rising rep-  Tommaso is a picture of St. Onofrio, in which the
utation.  He had two daughters, named Teresa  figure is treated after the Torso Belvidere, and the
and Felice, whom he instructed in the art, and who  whole design evinces an acquaintance with the anpainted with reputation at Faenza and at Bologna.  tique rarely found in the Venetian school. One
Felice was the most eminent and died at Bologna  of his finest paintings is the Descent from the
in 1703.                                          Cross. in the church of the Cappucini. Farinato
FARELLI, GIACOMO, an Italian painter, born at  practised the art with unabated ardor to a very
Naples, according to Dominici, in 1624. He studied   advanced age; and when 79 years old, he produced
under Andrea Vaccaro, and at first gave promise  his celebrated work of the Miraculous Feeding of
of considerable talent, as appears from a picture  the Multitude for thechurch of S. Giorgio. This
of St. Brigida, in the church dedicated to that      nting is a grand composition of my figures;
saint. He afterwards changed his manner, in en-     ted 1604, and signedFari     de Uberti fecit;
deavoring to rival some of the followers of Dom-  Ctatis     LXXIX.  Thereareseveral etchings
enichino; but failed completely, and thereby great-  by this artist, executed in a free, bold, and masterly injured his reputation.                        ly style. They are frequently signed with his
FARGUE  PAUL CONSTANTINE LA, a Dutch   name, and sometimes with the initials P. F. or
FARGUE, PAUL  ONTANTI   L              D       P. V. F., the V. being for Verona. Brulliot says
painter, who was born at theHague, and flour- |he also added a snail to his name or initials. The
ished about 1765.  His pictures are generally  following are his principal plates, which are from
small, representing views of the environs of his  his own designs:
native city, designed in a very agreeable style.
He had considerable skill in copying the works of    St. John; marked Paolo Farinato, f   St. Jerome
older Dutch masters. His drawings are more es-  kneeling, leaning on a Bank; P. F. Mary Magdalene
older 3utch mastes.' *is drawings are  more es3  seated, with a Book and a Crucifix; signed Paul fiannat,
teemed than his paintings in oil. La Fargue died   e -The Virgin, with the infant Jesus a nd St  Jhn. Arinat
at Leyden in 1782. He had a sister named Maria,  gels holding the Instruments of the Passion. Venus eawho painted various subjects, which are well com-  ressed by Cupid. 1566. A Charity, with three Children.
posed, finely colored, and highly finished.       Venus and Cupid at the Forge of Vulcan.
FARIAT, or FARJAT, BENOIT, a French en-    FARINATO, ORAZIO, a Veronese rainter, flourgraver, born at Lyons in 1646; died, according to  ished about 1615, as appears from the date of his
Nagler, in 1720. He acquired the elements of de-  picture in S. Francesco da Paola. He was the son
sign from William Chateau, and adopted his style;  and scholar of the preceding, whose manner he imbut afterwards visited Rome, where he acquired  itated. He early gave proof of unusral ability
greater skill, and a better taste of design, though   and promised to reach an elevated rank among the
he is not always correct. The following are his  artists of his country, but he died very young, and
principal plates:                                 universally regretted by the friends of art. His
PORTRAITS.                    principal work was the Descent of the H ly Ghost
Cardinal FederiCocia; r L. David. Cardinal  in S. Stefano, which, according to Lanzi deserves
Cornaro; do. 1697. Cardinal Tommaso Ferrari; do.  a rank with the greatest painters which that city
1695.                                            has produced, Paolo Veronese excepted. This sar
SUBJECTS AFTER VARIOUS MASTERS.          tist etched a few plates after his father's designs,
The Holy Family, with St. John; after Albano. The  which are frequently confounded with the engravHoly Family, with St. John presenting a Cross; after P.  ings of the latter. Among them are the following:
da Cortona. The Marriage, or, according to others, the  The Finding of the Cross, with St. Francis and
Crowning of St. Catherine; after Agostino Caracci. The  other figures; P. F., in.; Ho F. Vfe.  the
Virgin and infant Jesus, with St. John presenting him some  uctn of P    s H       H. 
Fruit; after Annibale Caracci. The Temptation of St  Destruction of Pharaoh s Host; Ho. F'.  f.;
Fruit; qfter Annibale Caracci. The Temptation of St.  PaulFa. V.    he  oly Family, with St. Jon.
Anthony; do. The Communion of St. Jerome; qfter D  P l Fa. V.I. The Holy Family, with St. John.
menichino. The Death of Francis Xavier; after Gio.    ARNTON,                 an   ng     pnr
Bat. Gauli. The Marriage of the Virgin andSt. Joseph;  born in  ancaster, in    H   sti     ner
after C. Maratti. The Baptism of Christ; do. The  born in Lancaster, in 1754. He studied under
Race of Atalanta; after P. Lucatelli.             West, and obtained the prize in the Royal AcadFARINATO, PAOLO, DEGLI UBERTI, an emin-emy for the best historical painting. In 1782 he
ent Italian painter, born at Verona, according to   went to India, where he had some success, and
Ridolfi, in 1522; died in 1606. He studied some  would probably have acquired considerable reputime under Nicolo Golfino, and afterwards gained  tation, had he not died in the prime of life, in 1788.
improvement at Venice from the study of the grand   FARRER, NICHOLAS, an English portrait paintworks of Giorgione and Titian. From  the eleva-  er, born at Sunderland in 1750. He studied under
ted style of his design, in which he surpassed most  Pine, and lived on terms of intimacy with Reyof the Venetian painters, it is thought he was also  nolds and Northcote. He painted the portraits
instructed by Giulio Romano; and it is certain that  of the Duke of Richmond and his family, by whom
he studied for some time the works of that master  he was patronized. His portraits are much 4n the
at Mantua. His coloring, however, is thought by   style of Reynolds, and have occasionally been taqome to be occasionally too brown. Lanzi says  ken for the works of that master. Farrer died
hat on leaving Veronb he regretted that he had  in 1805.




FARR.                    302                    FATO.
FARRINGTON, JOSEPH, an English landscape  which, according to Lanzi, was formerly in the
painter, born in 1742; died in 1821. He was in-  Palazzo Braschi at Rome. This fine painting is
structed by R. Wilson, and became a member of  entirely in the style and character of Leonardo da
the Royal Academy. His subjects were principal-  Vinci, and it is probable that the other works of
ly views of the scenery in Cumberland, and West-  Fassolo are ascribed to that master.
moreland, which have been engraved by Byrne,    FATOR, FRA NICOLAS, a Spanish painter, born
Medland, and others.                            at Valencia, in 1522. According to Palomino, he
FASANO, TOMMASO, a Neapolitan painter, who  was attached to literary pursuits in early life, and
studied under Luca Giordano. He became an ex-  is said to have gained distinction as a Latin poet.
cellent painter, and there are some of his works at  He subsequently applied himself to painting, and
Saints Sepolcro and Quarantore, at Naples. He  while yet young, he became a Franciscan mo]i
flourished about 1700.                          of the convent of S. Maria de Jesus. His pi.FASOLO, Gio. ANTONIO, an Italian painter,  tures, as is usual in such cases, are confined to the
born at Vicenza in 1528.  He studied first under  church of his monastery; the principalare: The
Battista Zelotti, but afterwards entered the school  Scourging of Christ; the Virginandnfant;and
of P. Veronese, then in the zenith of his fame,fiting Lucifer.
where he made rapid progress. On leaving that    FATTORE, IL. See PENNI.
master, he was much employed, and became a    FAUCCI, CARLO, an Italian engraver, born at
reputable painter of history. There is a fine pic-  Florence in 1729. He studied under Carlo Greture by this artist in the church of S. Rocco at  gori, and afterwards engraved several plates for the
Vicenza, representing the Pool of Bethesda, a  collection of the Marquis de Gerini. He subsegrand composition, with several groups of figures,  quently visited England. where he executed some
disposed and expressed in admirable style. In the  plates for Boydell. Among others by him, we
Padri Servi is another fine picture by Fasolo. of  have the following:-The Birth of the Virgin, and
the Adoration of the Magi. According to Ridolfi,  the Adoration of the Magi, after Cortona; the
there are several excellent pictures by him repre-  Crowning of the Virgin, and a Bacchanalian Subsenting subjects from  Roman history; Marcus  ject, after Rubens; the Martyrdom  of St. AnCurtius leaping into the Gulf; Mutius Scaevola be-  drew, after Carlo Dolci; Cupid, after Guido.
fore Porsenna; and Horatius defending the Bridge.    FAULKNER, BENJ. R., an English portrait
He died in 1572.                                painter, born at Manchester, in 1787. For many
FASSETTI, Gio. BATTISTA, was born, accord-  years he was an exhibiter at the Royal Academy,
ing to Tiraboschi, at Reggio, in 1686. He was an  and he executed many portraits of merit for different
extraordinary character. At the age of 28, he was  persons in his'native city. Among his best peremployed by Giuseppe Dallamano to grind his  formances was a half-length portrait of a lady, excolors while he was in the employment of the  hibited in 1838, which was greatly admired; also,
royal family of Turin. He watched his every   a picture of "Juliet," exhibited in 1846. He died
movement, and soon began to imitate, and then to  in 1849.
assist him, and ultimately, through the instruc-    FAUST, or FUST, JOHN, an eminent goldsmith,
tions of Francesco Bibiena, became one of the  of Mentz, one of the three artists to whom the
most distinguished decorative painters in Lombar-  invention of printing is attributed. See Guttendy. He was living in 1772.                      berg.
FASSI, GUIDO. See DEL CONTE.                    FAVA, CONTE PIETRO, a Bolognese painter,
FASSIN, CHEVALIER NICOLAS HENRI JOSEPH   born in 1669. He was of noble descent, and was
DE, a Flemish landscape painter, born at Liege in  also a patron of art, as well as an artist. He was
1728. He early manifested a strong inclination  the protector and friend of, Donato Creti and Erfor art, and entered the school of Coders. On   cole Graziani; and according to Lanzi, he studied
leaving that master, he threw up the palette, and   under Pasinelli, and was elected a member of the
entered the service of Louis XV., where he re-  Clementine Academy. In the church of S. Tommained a number of years. On returning to his  maso dal Mercato, at Bologna, is an altar-piece by
own country, he determined to devote himself to  him, of the Virgin and Infant, with St. Alberto, St.
painting, and visited Antwerp, where the sight of  Paolo, and other saints. Lanzi mentions, in high
the works of Rubens and Vandyck incited him to  terms, two pictures by him, at Ancona, of the Resnew energy, and he studied with assiduity for  urrection and the Adoration of the Magi. His
some time, after which he went to Rome in 1768.  pictures are much in the style of the Caracci,
On returning, he stopped at Geneva, and painted  to whose works he was chiefly attached. Fava
many admirable landscapes. He executed a land-  died in 1744.
scape here by order of the Empress of Russia, for    FAVENNES, J. DE, a French engraver, who
which he was liberally rewarded. On returning  practised the art at Paris about 1760. According
to Liege, he gained great encouragement, and by  to Basan, he engraved, among other plates, a subhis vigorous exertions, succeeded in establishing  ject after A. Watteau, representing the Pleasures
the academy of design for painting and seulpture,  of Summer.
in that city, which was supported by the Prince    FEBRE or FEBURE. See FEVRE.
Bishop Welbruck, who appointed Fassin director.    FEDDES, PETER called VAN HARLINGEN, from
Most of his works are in that city, where he died,       p  h pintr, b in 1
in 1811.                                        his birth-place. was a Dutch painter, born in 1588.
He usually painted portraits, conversation pieces,
FASSOLO, BERNARDINO, an Italian painter,  and musical parties. Several of his pictures have
was born at Pavia, and flourished about 1520.-   been engraved; one of which represents a lady
There is a picture by this artist now in the Louvre,  seated at a table, and a cavalier playing on the
representing the Virgin and Infant, dated 1518,  guitar. He died in 1634. ~




FEDE.                     303                     FELT.
FEDERIGHETTO  DI DALMAZIA.   See  in such an excellent manner, that he was the
BENCOVICH.                                       teacher of that style in Florence, and had many
FEDERIGHI, ANTONIO, a famous  Mosaic  imitators. His ornaments were more copious and
painter, who, according to Della Valle, was one of  -rich than those f the ancients, abounding in fancy,
the artists employed in adorning the pavement  and he united them in a different manner, with
around the altar of the magnificent cathedral of  figures admirably adapted to them.
Siena with Mosaics, a work of many years, and of    FELTRO, MORTO DA, was born in Florence, acwhich he executed the two Sybils. These works  cording to Vasari, in 1468. After having studied
were carried, by the labors of successive artists, to  in his native city, he went early in life to Rome,
an astonishing pitch of excellence, and were the  where he devoted himself to grotesque subjects
great attraction of the place. He flourished at  and ornaments, which he carried to great perfeciena, about 1480.                              tion, and was much employed by the nobility at
FEHLING, HENRY CHRISTOPHER, a German   Rome, Venice, and particularly at Florence, in decpainter, born at Sangerhausen, in 1653. He was  orating their palaces. Being of a capricious disinstructed by his relative, Samuel Botschild, with  position, at the age of forty, he abandoned paintwhom he visited Italy for improvement, and re-  ing and entered the army. He was killed at the
mained there several years. On returning to Ger-  battle of Zara, in 1513. This artist is supposed
many, he settled at Dresden, where he gained con-  to be the same as Pietro Luzzo da Feltro, called
siderable reputation, and was taken under the pro-  Zarato. See Luzzo.
tection of the Duke of Saxony, who appointed him   FEMINIA, GABRIEL, a Spanish painter, who
his painter. He practised the art in that city for  practised the art about the beginning of the 18th
many years, and was much patronised by the no-  century. Little is known of the circumstances of
bility. He painted several ceilings in fresco for  his life. He was distinguished for his landscapes,
the palaces of the Elector, which were much ad-  which were much esteemed in his day.
mired. On the death of Botschild, Fehling was
appointed superintendent and keeper of the impe-    FERABOSCO, MARTINO, an Italian engraver,
rial gallery. He deed in 1725.                   who practised the art at Rome about 1620. Among
rial gallery. He dANIed in 1725. eother works he engraved the plates for a book enFEHRMAN, DANIEL, an eminent Swedish  titled Architettura della Basilica di S. Pietro in
medalist, born at Stockholm, in 1710. He studied   Vaticano, published at Rome in 1620. They are
under the famous Hedlinger, and accompanied him   executed entirely with the graver, in a slight, forin a journey to Denmark and Russia. After the  mal style.
latter retired from the practice of the art, Fehrman was appointed engraver to the king, which      FERABOSCO, PIETRO, an Italian painter of
post he retained for many years, and executed a  whom little is known with certainty. He is sup
large number of medals, chiefly illustrative of  posed to have been a native of Lucca, and, accordevents in the national history, a catalogue of which    g to  uarienti, studied at Rome; but Lanzi rather
is given by IIallenberg. In 1764, Fehrman was  places him among the Venetian painters, from  the
attacked by apoplexy, and thereby disabled from   excellence of lis coloring in the manner of Titian.
pursuing his art. He had, however, the satisfac-  He painted portraits and history in a style of extion of seeing his son and scholar appointed to the  cellence, some of which are dated 1616. He went
vacant office. He died in 1780.                  to Portugal, where he gained considerable reputation, and took up his permanent residence there.
FEI, ALESSANDRO, called DEL BARBIERE, a reputable Florentine historical painter, according to  FERABOSCO. See FoRABOSCO.
Borghini, was born in 1538. He studied succes-    FERDINAND, Louis, a French portrait paint
sively under Ridolfo Ghirlandaio, Pietro Francia,  er, and an engraver. He was the son of one of
and Tommaso Manzuzi. His correctness of dB-  the instructors of N. Poussin, named Ferdinand
sign and character of expression, were superior to  Elle, whose baptismal name he adopted instead of
his coloring. He had a ready and abundant in-  retaining the surname. He painted portraits with
vention, well adapted to the great works he exe-  considerable reputation, and was elected a member
cuted in fresco, which he decorated with architec-  of the Royal Academy. As an engraver, he etched
ture, in the noble style of the antique. His works  the prints for a book, published at Paris in 1644,
may be seen.in the churches and public edifices of  and entitled Le Livre original de la Portraiture.
Florence, Pistoja and Messina. One of his most  He also etched a number of other plates, in a
esteemed pictures is the church of S. Croce, at  spirited and tasteful style, among which are the
Florence, representing the Scourging of Christ.    following:-Portrait of a Lady, after Vandyck.
FELICE, SIMONE, an Italian engraver, who ex-  Nicolaus Poussin, pictor, V. E. Pinxit. L. Ferecuted, among other works, a collection of prints  dinand, fecit. A set of six friezes, after L. Tes-:n concert with Gio Battista Falda, entitled Le Gi-  telin. A set of six, of groups of Children, after
ardini di Roma. They are very neatly executed  the same.  Several allegorical and mythological
with small figures, designed in a spirited style, and  subjects, after Primaticcio.
are equal to the engravings of Falda.              He had a brother named Peter F. who etched a
FELTRINI, or FELTRINO, ANDREA, was born  few plates, among which is St. Potentiana, after
at Florence, in 1543, and, according to Vasari, he   Correggio.
was a pupil of Morto da Feltro, from whom he de-    FERG, PAUL FRANCIS, a German painter, born
rives his name. Boschini says he painted at Flor-  at Vienna in 1689. He was the son of an obscure
ence in 1581, but the dates of these two artists do  artist, who placed him under a painter called Basnot at all agree. Lanzi also says he studied under  chueber, who was not much better than himself.
Miorto, and that he is sometimes called Andrea  After remaining three years under the latter he apdi Cosimo, after his first master, Piero di Cosimo,  plied himself to the study of the works of Callot,
(Rosselli.) He painted grotesque ornamental work   by which he was greatly improved. He was after



FERG.                     304                    FERN.
wards instructed in the design of the figure by    FERNANDEZ DE LAREDO, J1 N, a Spanish
Hans Graaf, and in landscape by Orient, a very  painter, born at Madrid in 1632. He studied under
reputable artist in that-branch. On leaving that  Francisco Rizi, whom he assisted in his works at
master, Ferg soon became distinguished, and he  the Retiro. He is said to have been one of the
gained great encouragement. He was invited to  most reputable Spanish fresco painters of his time,
the court of Dresden, where he passed several  and he executed many pictures for the churches of
years, and his works were much admired. His  Madrid, where he died in 1692.
landscapes usually represent very agreeable sce-    FERNANDEZ, LuIS, a Spanish painter born at
nery, embellished with architectural ruins in a  Madrid, according to Bermudez, in 1566.  He
very picturesque style. His small figures are cor-  studied in the school of Eugenio Caxes, and berectly drawn, and very delicately touched. His  came a reputable historical painter, both in oil and
best pictures are of small dimensions, painted  fresco. Palomino mentions a chapel in the parousually on copper. In 1718 this artist went to  chial church of Santa Cruz, painted in fresco by
England, where he remained about thirty years,  this artist; also several pictures in oil, of subjects
and gained considerable employment. He might  from the Life of the Virgin. He died in 1654.
have lived with respectability if an indiscreet mar-                        called     IMPERAL
riage had not involved him  in difficulties.  He    FERNANDI, FRANCSCO  called D' IMPERII
a reputable historical painter, who flourished at
was compelled to lower the price of his works,  Rome about 1730. Inthe church of S. Eustachio 
but he remained in indigence, and died, according        Rome is altar-piece by him, representing the
to Descamps, in 1740. He is said to have been,   n altarp                        representing the
found dead in the street, near the door of his  Martyrdom of that Saint, which Lanzi says is well
house. There is a set of eight neat and spirited  conceived and scientifically colored.
etchings by this artist, representing architectural    FERRACUTI, GIOVANNI DOMENICO, an Italian
ruins, with figures, called Capricci fattiper F F.  painter, born, according to Lanzi, at Macerata, and
FERGIONI, BERNARDINO, a celebrated marine  flourished about 1650. He excelled in landscapes,
painter, who flourished at Rome about 1718. He  particularly in his winter sceneswhich he reprefirst painted landscapes and cattle, but afterwards  sentedwith fine effect, and which were much espainted marines and sea ports, in which Lanzi says  teemed in his time.
he showed extraordinary talents, but he was soon   FERRADA, CHRISTOBAL, a Spanish painter,
eclipsed by Joseph Vernet, who had taken up his  born at Anieva, in the Asturias, in 1620. After
abode at Rome.                                   studying painting under a regular instructor whose
FERGUSON, WILLIAM, a Scotch painter, who  name is unknown, he entered the Monastic order
flourished about 1670. He acquired the elements  of St. Maria de las Cuevas. He continued, howof design in his own country, and then visited  ever, to exercise his pencil, and painted a number
France and Italy for improvement, where he passed  of pictures for the altars of his monastery, and for
several years. On his return to his native country  the cloister of. Miguel, at Seville. He died in
he acquired considerable reputation for his pictures  1678.
of dead game and other subjects of still-life. Some    FERRAJUOLI DEGLI AFFLITTI, NuNZIO,
of his smaller pictures are so excellent that they  an Italian painter, born, according to Orlandi, at
are often ascribed to Weeninx, to whose works  Nocera de Pagani, in the Neapolitan territory, in
they bear a resemblance. He died about 1690.     1661. He studied for some time under Luca GiFERNANDEZ D'ARIAS, ANTONIO, a Spanish  ordano, and subsequently went to Bologna, where
painter, was born at Madrid, but the date of his  he entered the school of Giuseppe dal Sole. He
birth is not recorded. He studied in the school of  first attempted history, but his genius soon directPedro de las Cuevas, where he made rapid pro-  ed him to landscape, in which he acquired emigress and soon became distinguished. At the early  nence. His pictureswere  inted in avery agreeage of fourteen, he painted the principal altar-piece  able style, and were much admired for sweetness
in the church of Carmen Calzada, at Toledo. At   f coloring, beauty of the skies, and transparence
the age of twenty-five he was considered as one of  of the waters. His landscapes are enriched with
the most eminent Spanish painters of his time.  figures designed in elegant taste. and his works are
His works are characterized by excellent coloring.  much in the graceful style of Albano. Orlandi
and great facility of execution. Palomino men-  compares him to G. Poussin and Claude Lorraie,
tions a number of excellent works by this artist,  but this eulogium may perhaps be ascribed to the
the best of which are eleven pictures in the Augus-  friendship that existed between him and Ferrajutine Convent at S. Felipe, representing the Passion   oi.
of our Saviour; and the Baptism of Christ, in the    FERRAMOLA, FIORAVANTE, an Italian painter,
church of San Gines. He died at Madrid in 1684.  was born at Brescia; and, according to Zamboni,
FERNANDZ, F O a Snish painte,  was an artist of considerable reputation, when that
FEborn at M, in 1604, He    Spantdied u r int,  city was taken by Gaston de Foix, in 1512. His
born at Madrid, in 1604. He studied under Vin-  abilities gained him  the favor and protection of
cenzio Carducci, and is said by Palomino to have  ats gane m  the for a    rotectio  o
that General. His works were much esteemed;
been one of the most ingenious artists of hi s t ime.
been one of the most ingenious artists of his time. one of the best is a picture of St. Jerome, in the
He gained great reputation, and was employed by  on o t  bs S a p          of S
He gained great reputation, and was employed by  church of S. Maria della Grazie. He died in 1528.
Philip IV. in several important works in the palaces at Madrid. He also painted a number of pic-    FERRANTE, CAV. Gio. FRANCESCO, a Bologtures for the churches and convents, as well as for  nese painter who studied under Francesco Gessi.
the private collections. In the Convent de la Vic-  This is all the information that Lanzi gives respecttoria, at Madrid, is a fine picture by him, of the  ing this artist yet it is evident that he was distindeath of St. Francisco da Paula. This artist was  guished in his time. for he was knighted, and the
killed in a quarrel, by FranciscodeBarras, in 1646.  Guida di Piacenza notices several of his works




FERR.                     305                     FERR.
ia the churches of that city, and states that ha died   cert with Cav. Fontana, to survey the route of the
there in 1652.                                    grand canal which the French government intendFERRANTI, DECIO, and AGOTINO, his son, two   ed to construct from the Adriatic across Italy to
miniature painters, very celebrated ih their day   the Mediterranean. His projects for draining the
who flourished at Milanabout 1500. Inthecathe-  lakes of Trasimene and Fucino were admirably
dral at Vigevano, are three of their works, con-  conceived. He diedin 1825.
sisting of a Missal, a Book of the Four Evangelists,    FERRARI, FRANCESCO, was born at Rovigo, a
and a Book of the Epistles, illuminated with min-  place near Ferrara, in 1634. He studied architeciature pictures and ornaments in the most exquisite  tural and ornamental painting, under Gabriel
taste.                                            Rossi, at Bologna, and acquired a profound knowledge of perspective. He acquired a high reputaFERRANTINI, GABRIELLO, called Degli Occhi-  tion in his time, and painted several grand historiali, a Bolognese painter, who flourished about  cal pieces at the Carmine and in S. Giorgio, at Fer1588. He was instructed in the school of Denis  rara, but his architectural pieces are most esteemCalvart, where he became a reputable painter of  ed. He was employed in other cities, and entered
history, both in oil and fresco. Most of his best  the service of Leopold, at Vienna. Ill health comworks are in the churches at Bologna, among  pelled him to quit Germany, and he returned to
which are a picture of St. Francesco da Paola, in  Ferrara, where he opened a school for young ar
S. Benedetto; St. Francis Receiving the Stigmata,  tists. He died in 1708.
in La Carita; a fine picture of St. Girolamo, in
S. Mattia; the Birth of the Virgin and the Des-                  A        F,   on o    n -
cent from the Cross in the Padri Servi.           co, was born at Ferrara in 1668, and died in 1719.
FRAT NI.L arptbeB           He was instructed in the art by his father, and
FERRANTINI, IPPOLITO, a reputable Bolog-  confining himself to architecture in fresco, he acnese painter, who, according to  Malvasia, was  quired great distinction, and was much employed in
a pupil of the Caracci, and flourished about 1600.  decorating the principal public and private edifiHe painted some pictures for the churches of Bo-  ces at Ferrara. He also received commissions from
logna and other cities in its vicinity.           Venice, Ravenna, and other cities, by which he
FERRARA, ERCOLE DA. See GRANDI.                amassed a large fortune. He had numerous pupils.
FERRARA, ANTONIO DA, an Italian painter.  He suffered much in his health by the labor of
was born at Ferrara, and practised the art at Urbi-  fresco painting, and in his will, he enjoined that his
no and Citta di Castello, about 1450. He was ed-  son was to forfeit his inheritance if he ever became
ucated in the school of Angiolo Gaddi, and became  a fresco painter.
a reputable historical painter. Little is known of    FERRARI, BERNARDINO, was a native of Vigehis works, and they are probably ascribed to some  vano, and, according to Lomazzo, he was so close an
more eminent master.                              imitator of Gaudenzio de Ferrari, that his works
FERRARA, CRISTOFORO, an old painter, sup-  might be taken for those of that master.
posed to have.been a disciple of Vitale, who paint-    FERRARI, GAUDENZIO. called Gaudenzio Mied at Ferrara in 1380. He is also called da Mo-  lanese, an eminent Italian painter, born at Valdudena and da Bologna, in which cities are some of  gia, in the Milanese, in 1484. According to Orhis works executed in the dry manner of the time.  landi, he was a scholar of P. Perugino; but Lanzi,
FERAPRA, GALASSO, a painter of Ferrara,  following Lomazzo, states that he first studied
commended by Baruffaldi, notices of whose works
are found from 1404 to 1462. There re some ofhis  nardino Luini. He profited most, however, from
pictures in the church of the Mezzaratta at B-  studying theworksofLeordodainci.  Among
Xogna, representing histories of the Passion. O   his first performances that attracted public attenof these is dated 1462. Lanzi says he obtained  tion, was the dome of the principal church of No
much reputation in his day, and painted many  var. While young he went to Rome where he
assisted Raffaelle, in several of his works, particuworks for the churches and public edifices at Fer-  assist  ffle, in severalof his works   ti
rara and Bologna, some of which are still preserved.  larly n his pictures of the History of Cupid and
There are also many other old artists mentionied   Psyche, in the Palazzo Chigi, called la Farnesina.
By his residenceat Rome, and his connection with
by Italian authors under the name of Ferrari, after  By  his residence at ome,  and  his connection with
Raffaelle, he gained  great improvement; and his
the place of their nativity or residence; but the   w              d great iroeen; and hi
accounts of them are confused and of little interest.    have a grandeur of design a   a harmony
of coloring, which are not found in any of the prewh     o were the immediate successors of Giotto, in  vious productions of the Milanese school. Lowho we te the immnediate sFuessors of Gbout 1.  mazzo considers him  as one of the most distinwhose style they painted at Ferrara about 1380.  guished assistants of Raffaelle, after Giulpo RoThere are several of the name of Stefano, one of  guishd assistants of Raae, af            io 
mano, and Pierino del Vaga. His invention was
whom was a pupil of Squarcione, and painted in mano, and Pierino del Vaga. His invention was
1430. Another Stefano painted in the palace of  extraordinarily fertile, and his style had much of the
Gio. Bentivoglio, at Bologna, in 1531. Pietro da  grandeurof  iulioRoano   Heoftenchosethose
Ferrara was a pupil of the Caracci at Bologna, but difficult and uncommon attitudes, which are bold
Ferrara was a pupil of the Caracci, at Bologna, but  and striking, whenever the subject admitted of it;
lie does not seem to have acquired much distinc- tgh th    e nusardelnens w ere not equal
tion.                                             though the muscular delineations were not equal
*t^~~ "'ion~ ~to the attitudes. Among his principal works was
FERRARESINO, IL. See CAMILLO BERLIN-  the cupola of S. Maria, near Sarono, which is comOHIERI.                                           pared by Lomazzo to that of S. Giovanni, at ParFERRARI, PIETRO, an Italian architect, born   ma, by Correggio; but it by no means equals that
at Spoletto in 1753. He was distinguished for a  wonderful production. His picture of St. Cristoprofound knowledge of his art, and was appointed  foro, in the church of that saint, at Vercelli, is
Iarchitect to the pope. IHe was employed in con-  greatly admired; and exhibits much of the beauty




FERR.                      306                    FERR.
and grace of Raffaelle. In the same church are  movement of his figures. One of his most esteemed
several pictures by Ferrari, representing subjects  works is the Dead Christ, in S. Antonio, at Padua.
from the Life of Christ and Mary Magdalene, in   which is full of character and expression, and adwhich are introduced several groups of beautiful  mirably colored. In compositions which require
angels. At the Conventuali, is an admirable pic-  a large number of figures, he was less successful,
ture of the Conversion of St. Paul, which Lanzi  as appears in his picture of the Plague, painted for
says approaches nearer to the grand production of  the convent of the Dominicans, in 1630. He died
M. Angelo, in the Capella Paolina, than any thing  in 1654.
he had seen. At Milan, he painted several pic-    FERRARI, ORAZIO, an Italian painter, born at
tures in competition with Titian, representing sub-  Voltri, in 1606. He studied in the school of Anjects from the Passion of Christ. Ferrari died in  drea Ansaldi, and became an excellent painter of
1550.                                             history.  On leaving that master, he soon acFERRARI, Gio. ANDREA, an Italian painter,  quired reputation, and was much employed for the
born at Genoa, in 1598. According to Soprani.he  churches and private collections. His merit restudied successively under Bernardo Castelli, and   commended him to the patronage of the Prince of
Bernardo Strozzi. Soon after leaving the latter,  Monaco, who employed him  for several years.
he gained considerable reputation, and was much   Among the best works of this artist is the Last
employed for the churches and private collections.  Supper, in the church of S. Ciro, at Genoa, which
According to Lanzi, this artist deserves a high rank  is highly praised by Soprani. Ferrari attained a
in the Genoese school, although Soprani, in his  high reputation at Genoa, but he was carried off
Lives of Genoese Painters, mentions him with little   with all his family by the Plague, which visited
commendation.  He painted history, landscape,  that city in 1657.
animals, fruit, and flowers. Some of his pictures   FERRARI, LEONARDO, called LONARDINO, a
are of small size, and finished with extraordinary   Bolognese painter, who flourished about 1620, and
beauty and exactness. Among his larger histori-  studied under Lucio Massari. Malvasia notices
cal works, the best are his picture of Theodosius,  him chiefly as a painter of drolls and carnival fesin the church del Gesu, at Genoa, and the Nativ-  tivals; but he deserves credit for several good hisity, in a dome of another church in the same  torical works in the churches at Bologna. In S.
city. His best work, which is highly praised by   Francesco is the Death of St. Joseph; in La MaLanzi, is a fine composition of many figures, in a  donna delle Neve, a picture of St. Anthony; and
church at Voltri, representing the Birth of the  in the church of Sts. Gervasio and Protasio, is anoVirgin.  He died in 1669.                         ther of the Virgin of the Rosary, with Mary MagFERRARI, GREGORIO DE, a Genoese painter,  dalene and other saints.
born at Porto Maurizio, in 1644. He was in-         FERRATA, HERCULE, an Italian sculptor, born
structed by Domenico Fiasella, but gained more  at Palasot, near Lake Como. about 1630. He visimprovement from the study of the works of Cor-  ited Rome, where he rose into reputation, and was
reggio, and he copied with great exactness, the   much employed in works for the churches and
fresco work of that master in the cathedral at Par-  public edifices. He executed, among many other
ma. He soon gained reputation, and was much   works, the statues which adorn the tombs of Caremployed for the churches and private collections,  dinals Bonelli and Pimentel; a bas-relief of St. Agparticularly at Turin and Marseilles. His style  nes, in the church of that name; the statue of
resembles that of Correggio, especially in the airs  Clement X., which decorates the tomb of that
of his heads, and in particular figures. His de-  pontiff; and the statues of angels, which sustain
sign, however, is generally negligent and incorrect;  the Cross at the Bridge of St. Angelo. Ferrata was
his composition is greatly inferior to that of Cor-  also employed by the Grand Duke of Tuscany, for
reggio, and his coloring occasionally feeble, espe-  whom he executed many works.
cially in his fresco works. According to Cav.        ERRATO  SAsO.  See SALI.
Ratti, his best work is the picture of St. Michael,    FERRAD JAC ES P, a Frh p -
in the Madonna delle Vigne, at Genoa. There are      ERRA, 
also several fine pictures by him in the Palazzo r, born at Joigny, in Bourgogne about 1653  He
Balbi. He' died in 1726.                          studied under Mignard, and afterwards learned the
art of painting in enamel from  Samuel Bernard.
FERRARI, ABATE LORENZO, a Genoese painter,  He excelled in this branch, and was admitted to
born, according to Ratti, in 1680. He was the son  the Royal Academy. In 1732, he published a work
and scholar of the preceding, whom  he surpassed   on enamel painting. He died in the same year,
in correctness of design. He attached himself to  leaving a son named Antoine. who followed in the
the works of Correggio, and followed, though at a  career of his father.
distance, the style of that great master. Lanzi says  FERRETTI, D IMOLA, Gio. DOMENICO, an Italhe was an artist of more merit than celebrity. In  ian painter, born at Florence in 1692. He studied
aiming at delicacy, he occasionally fell into languor,  under Giuseppe dal Sole, and became a reputable
but in his works in the Doria Palace, he emulated   painter of history. He painted a number of picthe vigor of the Carloni, and is little inferior to  tures for the churches, of Florence, Pisa and Bologthem. His last work was a gallery, in the Carega  na; also the cupola of the Filippini, at Pistoja. One
Palace, representing subjects from the AEneid. He  of his best pictures is in the church of S. Bartolodied in 1744.                                     meo at Pisa, representing the martyrdom of that
FERRARI LUCA DE, an Italian painter, born at  saint.
Reggio, according to Tiraboschi, in 1605. He was    FERRI, CIRo, an Italian painter, born at Rome
instructed in the school of Guido, where he ac-  in 1634, or 1638, as writers differ. He was the
quired much of the graceful style of his master,  ablest scholar of P. da Cortona, and was inferior
especially in the airs of his heads, and the elegant  to him only in elegance and effect. HIe imitated




f^KK.                       S07                      FETI,
the style of that master with an exactness that             SUBJECTS AFTER VARIOUS ^aAd4a.
approaches servility, and renders it difficult to dis-    Diana and Acteon; after Giacomo Bassano; for the
tinguish their works. On leaving Cortona he soon   Crozat collection; one of his best prints. St. John Bapgained reputation, and his pictures are greatly ad-  tist, with other saints; after Correggio. The Holy Fanmmgained_.rwutation an  h  pcure s argreatlya-  ily, with St. Charles Boromeo; after Scarsellir,;  The
mired.  He was employed by the Prince Bor-  four Liberal Arts, personified by Children; four plates;
ghese and Alexander VII., for whom he executed  after C. Vanloo. Jupiter and Antiope; do. Jupiter and
several fine works.  The Grand Duke Cosmo III.  Leda; after J. B. Pierre. The Birth of Venus; after
invited him to Florence to complete the great fres-'. de Troy. Jupiter and Leda; do. The Triumph of
cos commenced by Cortona; and he was so suc-  Galatea;  fter Bouchardon; etched by Count Caylus,
cessful that they appeared to be the work of one  after the same  etched and fh  Triumph of Be acce he
master.  His paintings brought high prices, and   Nativity; after Boucher. A Flemish Festival; after
his reputation spread throughout Europe.  At  Rubens. Psyche abandoned by Cupid; after Le Moine.
Florence he executed several fine works in the       FETI DoMENICO an able Italian painter, born
Palazzo Pitti, besides those which he finished af-  at Rome in 1589. HIe was first a scholar of Loter Cortona.  His principal works at Rome are,  dovico Cardi, called Cigoli; but afterwards studthe Conception, in the church of St. Mark; and  ied at Mantua the works of Giulio Romano. His
in S. Ambrogio della Massima, the great altar-  reputation rapidly increased, and he soon had
piece, representing St. Ambrose healing a sick   plenty of employment.  He wasmuch patronized
person, -one  of his most esteemed pictures. In   by Cardinal Ferdinando Gonzaga, afterwards Duke
the gallery at Monte Cavallo are two pictures by   of Mantua, who appointed him his principal paintthis artist, of the Annunciation, and a subject from   er.  His coloring is vigorous, with a powerful efthe life of Cyrus.  His last work was the cupola  feet; and the characters of his heads are full of
of St. Agnes, which he did not live to complete;  fine expression. Lanzi extols a picture by Fet,
it was finished by his scholar Corbellini. He died  in the academy at Mantua, representing the Mirain 1689.                                           culous feeding of the Multitude.  Among his best
FERRONI, GIROLAMO, an Italian painter and   productions are, four admirable pictures in the Paengraver, born at Milan, according to Zani, in 1687.  lazzo Corsini at Florence, representing Christ prayHis first instructor is not mentioned, but at a   ing in the Garden, Christ presented to the people
very early period he painted the Death of St. Jo-  by Pilate, Christ crowned with Thorns, and the
seph, for the church of S. Eustorgio,-at Milan.  Entombment.  Feti had great abilities, but he
He subsequently went to Rome, where he entered  fell a victim to his own intemperance, and died at
the school of Carlo Maratti. There are a few plates   Venice, in 1624, aged 35.
by Ferroni, etched in a very tasteful manner.-        FEVRE  CLADE       a French painter of porAmong others the following:  Joshua stopping                  I            a
ng otherse of  the followSun.  Deborah celebrating   traitsand landscapes, andan engraver, was born
eCourse of v   e Sun.  Deborah celebratingthe  iat Fontainbleau, in 1633. He studied successively
CVctory over Sisera. Jael siaying Sisera.  The   under Le Sueur and Le Brun. The latter advised
Chastity of Joseph, and Judith with the Head of
Holofernes.                                        him to attach himself to portrait painting, and he
became one of the most eminent artists of his
FERRUCCI, NICODEMO, a Florentine painter,  country, in this branch.  According to Watelet,
who flourished about 1635. He was the favorite  his portraits are distinguished for their faithful
scholar of Domenico Passignano, and imitated his  likeness, correct-design, and truth, and beauty of
spirited style and rapid execution with considera-  coloring. He went to England in the reign of
ble success. He accompanied that master to Rome,  Charles II., and died at London in 1675.
where he assisted him  in his most important un-      FEVRE, ROLAND LE called d  Venice, a French
dertakings.  He excelled chiefly in fresco, and ex-  painter, of no great reputation; born, according to
ecuted a number of fine works for the churches   D'Argenville, at Anjou in 1608.  He painted porand public edifices of Florence and Fiesole. Ile  traits and gallant subjects. He visited England in
died in 1650.                                      the reign of Charles II., and was employed by
FESELE, MELCHIOR. a German historical paint-  Prince Rupert.  He died in 1677.
er, who flourished about 1525. Little is known        FEVRE, VALENTINE LE, a Flemish engraver,
of the events of his life. but there are several fine   born at Brussels, and flourished about 1680. After
works by him in the galleries at Nuremberg, Mu-  acquiring the elements of design in his own counnich, and Schleissheim; they are rich in composi-  try, he went to Venice, where he remained many
tion, with a large number of figures highly fin-  years, and engraved a number of plates, after Tiished, and designed in a peculiar taste. He died  tian and Veronese.  They are etched in a slight,
in 1538.                                           feeble manner, but from the correctness of the deFESSARD, ETIENNE, a French engraver, born  sign, they give a faithful idea of the style of those
at Paris in 1714. He studied under Edme Jeau-  great masters. These plates were published at
rat, and gained so much reputation that he was   Venice, in 1680, in a large folio volume, entitled,
appointed one of the engravers to the King. He    pera selectiora que Titianus Vecellius Caduexecuted a considerable number of plates, which   brensis, et Paulus Calliari Veronensis, inventewere very neatly etched, and finished with the   runt et pinxerunt; qutque Valentinus le Febre,
graver. The following are the principal:           Bruxellensis delineait et sculpsit.
PORTRAITS.                        FIACCO, or FLACCO, ORLANDO, a painter of
Verona, who from his style is supposed by Lanzi,
Hortensia Maneini, Duchess of Mazarin; after Ferdi-to have studied under Antonio Badile, at Venice
nand. Mary Magdalene de Lavergne, Countess de la....'. X'
Fayette; do. J. P. de Bougainville, of the French Acad-  though VasariandBaldinuccigivehimtoanother
emy; after C. N. Cochin. The Marquis de Mirabeau;  school; Lanzi says his works approach Caravagafter Vanloo. The Duke de Choiseul; do.            gio in boldness of style, and that he possessed




FIAL.                     308                     FIAM.
ati, werit than fortune.  He flourished about  architect, originally a carver in ebony, who lived
1560.                                             in the latter half of the 16th century. He completed the church of S. Sebastiano. at Rome. and
FIALETTI, ODOARDO, an Italian painter,  executed some parts of the palace of Mondragone,
JJborn at Bologna, in 1573; died at Venice in  at Frascati. For the Cardinal Scipione Borghese,
16:S8. He studied some time under Gio. Battista  he erected the little palace in the Pinciana villa,
CJemonini, at Bologna, and then visited Venice,  which is well designed, but is adorned on the exwhere he entered the school of Tintoretto. Lanzi  terior with too many bas-reliefs and statues.
says that he resided the remainder of his life atVenice, to avoid competition with the Caracci.    FIAMMINGO, GIOVANNI, R I, and NccoL,
Boschini says he was much employed on large  three artists, probably brothers, who introduced
works, and he mentions thirty-eight pictures by   tapestry-weaving and embroidery into Florence,
this artist, in the different churches of Venice,  andwereargely patronized bythgrand duke and
among which is a fine picture of the Crucifixion,  the nobility.  Thy  rought from the designs of
in the Chiesa della Croce. Fialetti has etched a  Pontormo, and still more from those of Bronzino.
great number of plates from his own designs, and   They also wrought from thr designs of Giulio Rothose of other masters, which are executed in a  mano, for the Duke of Ferrara.
masterly style, with a graceful and correct design.    There are many other iaminghi mentioned by
The following are the principal:                  Italian authors, but they are of little consequence.
Fiammingi is an appellation derived from  FiamAlong frieze, with Tritons, Sirens, &c. Four, Venus  Fiammni s    app    n d     d fm 
and Cupid, Diana hunting, the God Pan, and a Man hold-      splendor, blush.
ing a Vase; qfter Pordenone. Twenty plates, called the    FIAMMINGHINI.  See ROVERE.
Pastimes of Love, entitled Scherzi d'Amore espressi da
Odoardo Fialetti, pittore in Veneia.  A set of Plates    FIAMMINGHINO.  See EVERARDI.
of the Costumes of different nations, and of the different    FIASELLA, DOMENICO, called IL SARZANA. a
religious orders. The Marriage at Cmaa in Galilee; after  Genoese painter, born at Sarzana, in 1589. After
aTintret. Also mny others enumerated by Bartsch  passing some time at Genoa in the school of Gio.
FIAMMINGTOg   ARRIGO a Flemish painter, born   Battista Paggi, he went to Rome, where he studied
FIAMINGO, ARRIGO, a Flemish painter, born   attentively the works of Raffaelle, A. del Sarto,
about 1524. His family name is not known, and   Guido Carvaggio and the Caracci; and in some
he is called Fiammingo, by the Italians, on account  mannr ii d         these  masters. He  resided  n
manner imitated these masters. He resided in
of his country. According to Baglioni, he visited  that city ten years, and executed a number of
Rome in the time of Gregory XIII., and was em-  works, in concert with Passignano and Arpino.
ployed by that pontiff, in the Vatican. He was          s r n to Genoa, he painted a great nummuch encouraged, and received many commissions          o pitures fo te churches of that city. He
for the churches and public edifices. In the church   was eof pictures for the   churches of that city. He
of La Madonna degli Angeli, is a grand composition   was eq partakes of the grandeur of the Roman
with many figures, of Christ and Mary Magdalene  school. pars olo     is superior to that of the
in the house of the Pharisee; also, another fine pic-      g enerality of Genoese artists. Heio    t tht    the
ture of St. Michael discomfiting the Fallen Spirits,  himsf al  ity of Genoese artists.   e ad is Madonhimself also as a portrait painter, and his Madonwhich is designed in a grand and noble style. In   nas are prepossessing, though deficient in ideal
S. Maria Maggiore, he painted the Resurrection,  has are prepossessing, though deficient in ideal
S. Maria Maggiore, he painted the Resurrection,  expression. Soprani praises many of his works,
for the Sistine Chapel, which is praised by Bagli-  particularly a  picture of St. Bernado, in S. Vinw
oni. He died at Rome, at the age of 78, about  cenzio, at Piacenza, which approaches the grand
style of Raffaelle. In the cupola of the cathedral
FIAMMINGO, ENRICO, a Flemish painter, who   at Sarzana, he painted the Murder of the Innoreceived this name from the Italians. There are a  cents, a grand composition; and in S. Agostino, at
large number of painters of this name mentioned   Genoa, a fine picture of St. Tommaso di Villa
by the Italian writers, whose family names are  Nuova. Fiasella died in 1669.
lost; which occasions much  confusion.  This
artist studied under Giuseppe Ribera and afterwards  FICATELLI, STEFANO, a native of Cento, ana
under Guido Reni. According to Lanzi, there are   a painter of the Bolognese school, who flourished
several pictures by him in the church of S. Barbaz-  at Ferrara, about 1700. He was an able artist and
iano. at Bologna, which that author esteems equal  painted much for the churches at Ferrara. Lanz
to the imitations of Guido, by Francesco Gessi,  says he was also an excellent copyist of Guercino,
though darker in coloring.                        equal in this respect to Francesco Bassi, so highly
commended by Crespi.
FIA'MMERI, PADRE Gio. BATTISTA, a Jesuit,  commended by Crespi.
who, according to Baglioni, flourished at Rome in   FICHERELLI, FELICE, called FELICE RIPOSO,
the pontificate of Paul V., and some of whose  a Florentine painter, was born in 1605, and studpaintings of sacred subjects are in the church of  ied under Jacopo Empoli. Lanzi says he acGesh, at Rome.                                    quired his surname from his singular taciturnity;
FIAMMINGOANGOLOanunknownforeigner,  for which he was not more remarkable than for his
so called by the Italians, who is supposed to have  uncommon ndolence. He executed but few works
painted the celebrated Deposition from the Cross in  as may be supposed; but those are distinguished
S. Pietro, in Montorio, at Rome, which is recom-  by elegance of design  and charming  softness
f and  harmony of coloring. Among them are his
mended to students as a school of coloring in itself.  and  harmony of colorig.  Among them  are his
picture of Adam  and Eve expelled from Eden, in
FIAMMINGO, VINCENZIo, another foreigner  the Palazzo Rinuccini; and his St. Antonio. in S.
who painted at Rome, about 1575. There is a fine  Maria Nuova, at Florence. His copies after A.,picture by him, of the. Pentecost, at the Vallicella.  del Sarto have been mistaken by good judges for
FIAMMINGO, Gio., called VASANZIo, an Italian  the works of that master. He died in 1660.




FICQ.                      309                      FIGI.
FICQUET, ETIENNE, a reputable French en-  Angelo in his designs, which are consequently in
graver, born at Paris in 1731; died in 1794.  He   the highest repute.
engraved a set of small plates of distinguished li-   FIGINO, GIROLAMO, a Milanese painter, who
terati of France, which are executed with extra-  flourished about 1595. According to Morigia, he
ordinary neatness and delicacy, and very correctly   was an able artist, exact in his design and an exdrawn. Some of the plates for Vies des Pein-  cellent colorist. His forte lay in small easel pictres Flamands,j. c., in 4 volumes, by Descamps,  tures of historical subjects.
were engraved by this artist.  One of his best        FIGOLINO. See FoGOLINO.
plates is a portrait of Madame de Maintenon, after                       rit  
Mignard, now very scarce.  The following are his      FILANDRO, GUILLAUME, a French  writer on
principal plates:                                  architecture, born at Chatillon in 1505. He was
3. de a Fontaine; after Rigaud. J. J. Rousseau; af-  patronized by the Bishop of Rhodes, who took
ter Aved. 1763. J..'Regnard; after Rigaud.. A.  him to  Rome where he studied architecture unde Voltaire; after de la Tour. 1762. P. Corneille; af-  der Serlio.  He was made a canon of Rhodes,
ter le Brun. J. de Crdbillon; after Aved. J. P. de  where he became celebrated for his commentaries
Moliere; after Coypel. Rend Descartes; after F. Hals.  on Vitruvius.  He joined his patron at Tolosa, and
M. Montague; after Dumoustier. 1772. lie la Mothe ledied there in 1565.
Vayer; after Nanteuil. De la Mothe Fenelon; after                              an Italn 
Vivien. J.J. Vad6; afterRichard.FILARETE, ANTONIO, an Italian  architect,
FIDANI, OA AZIO, a Florentine painter, who   who wflourished about 1460. In concert with Simo ne Donatello. he executed the bronze gate of
studied under Gio. Bilivert, and was one of his   mone   onaeo;
ablest scholars.  He was an assiduous artist, and   St. Peter's, by order of Pope Eugenius IV.  The
painted much at Florence in the style of his mas-Hospital at Milan, whch he built in 1457, by orter, though he died young. Some of his works   der of the Duke Francesco Sforza, 
and commodious edifice.  According to Vasari, Fiare dated 1642. His Tobias, painted for the fra-          commodious edifice. According to Vasari, Fiare dated 1642. His Tobias, painted for the fra-  larete erected the cathedral at Bergamo, which was
ternity of the Scala, has been highly commended. considered in good style. In 1464 he wrote a
considered in good style. In 1464 he wrote a
FIDANZA, PAOLO, an Italian engraver of little   work on architecture dedicated to Pietro dd Menote, born at Rome about 1736. He engraved   dicis.
several plates after Raffaelle and Annibale Caracci,    FILGHER, CORRADO, a German landscape paintwhich are very indifferently executed. The fol-ived at V                               Accoing to
or, who lived at Venice in 1660. According to
lowmig are the principal:                          Boschini, he was an able artist in his time, and
The Mount Parnassus; after Raffaelle.  The Miracle  not only very happily represented the different
of the Fire extinguished, called the Mass of Bolsena; do.  seasons of the year. but also the different lights
The Descent from the Cross; qfter Annibale Caracci.  and shadows throughout the day.
St. Peter and St. Paul appearing to St. Francis; do.            
FILHOL, ANTOINE MICHEL, a French engraFIESOLE, FRA GIOVANNI DA, called ANGELICO,  ver and printseller, born at Paris in 1759. He
an old Florentine painter, was born at Fiesole in  is principally known as the editor of the collection
1387. According to Lanzi, his first essay in the   of engravings and descriptions entitled Cours elart was illuminating missals, and other works, in  ementaire de Peinture, ou Galerie complete du
miniature, in which he seems to have been instruct-  Musee Napoleon, 10 vols., 4to.; which he comed by a Dominican monk.  At the age of twenty   menced in 1804, and prosecuted till his death in
he became a religious of that order.  This artist  1812. It was completed in 1814, by his widow.
had great reputation in his day, and he deserves   The latter, in 1827, published another volume of
to be ranked among the most.eminent painters of  thirty plates, entitled, Le Musee Royal.
his time. His works possess great merit, though       FILIrUS  FIELIUSTiTl   FILIUS  J      n Ryl
they have much of the Gothic style of Giotto, both    FIL     S F       S, or FILIUSOH, a Dutc
in the airs of his heads and the formal foldings of   painter, born at Bois-le-duc in 1660. He studied
the draperies.  Lanzi mentions as one of his best  under Peter van Slingelandt, and painted subjects
-te draperies. Lanzi mentions as one of his best
e d.'   m  s as o ne ofe   Tis b  like those of that master, representing conversaproductions, a picture of the Birth of St. John the   ie t     of tht mste, representing cnvesa
Baptist, in the Florentine Gallery; also another  tion-ieces, or subjects frm private life, and small
in S. Maria de Pazzi, representing Adam and Eve   portraits.  His pictures have great merit, and are
expelled  from Paradise.  Fiesole died in 1445.  found in the best collections in Holland, though
expelled from Paradise. Fiesole died'in 1445. 
they are not finished with the extreme polish of
FIGINO, AMBROGIO, a Milanese painter, who   those of his instructor.  He died, according to
flourished about 1590. He studied in the school  Balkema, in 1719.
of Gio. Lomazzo, where he acquired considerable       FILIPPI, GIACOMO, a painter of Ferrara, who
ability. He was eminent for his historical works,  studied under Francesco Ferrari. He was a good
which are remarkable for the correctness and   perspective painter in fresco, and died in 1743.
elegance of the figures, as appears in his picture of     pi               pa r,
St. Ambrogio in S. Eustorgio; and his St. Matteo,    FILIPPI, CAMILL, an Italian painter, was
in S. Raffaelle, at Milan.  He imitated the fine  born at Ferrara, and flourished about 1550. A
style of Gaudenzio Ferrari. in which he was more   cording to Barotti, he studied in the school of D.
successful than any other artist of his country.  Dossi, and painted history with some reutation.
His Assumption, in S. Fidele, and his admirable  In the church of S  Mria, is a picture by this
picture of the Conception in S. Antonio, deserve   master, representing the Annunciation, and in that
to be ranked among the finest productions of that  of il Gesu another of the Trinity.  Filippi died,
school. Figino was also distinguished for his por-    coding to Barualdi in 1574, though Soprani
traits, which were celebrated by the poet Marino;  says in 1585.
and the greatest potentates of the time desired to    FILIPPI, SEBASTIANO, called BAST-ANINO, and
have their portraits painted by his hand. He was   sometimes GRATELLA, an eminent Italian painter,
one of the most successful imitators of Michael  the son of Camillo F., was born at Ferrara in 1532




FILI.                    310                     FILL.
He wa Instructed by his father in the elements   Fables; and a middle-sized print of the Carriers
of design, and at the age of 18, he went to Rome,  after Wouwerman.
where he had the advantage of being admitted to    FILLIAN, JOHN, an English engraver, who
the school of Buonarotti. Lanzi says he became  flourished about 1676. He was instructed by the
one of the most assiduous and cherished scholars  elder Faithorne, and followed his style.  He exof that immortal artist, and that he approached  ecuted but few plates, among which are the folnearer to the grandeur and sublimity of his great  lowing: Portrait of Thos. Cromwell, Earl of Esinstructor than any other painter of his time. His  sex; Portrait of Wm. Faithorne, from a print by
great work in the cathedral at Ferrara, represent-  him; the Head of Paracelsus; the Frontispiece
ing the Last Judgment, established his fame. It  to Heylen's Cosmography.
is an immense production, and is said to have
been completed in three years. His works are dis-    LOCAMO, ANTONIO and PAOLO, two brohtinguished for energy and originality of thought,  ers, were Sicilian painters; born, according to Hagrandeur and correctness of design, and a continued  kert, at Messina, and flourished about 1721. They
variety in the groups. It was painted in fresco,  studied at Rome under Carlo Maratti; and on returning to Messina, they established an Academy
but was believed to have been in oil, and under this ngto Messin  they established an Academy
supposition, some inexperienced persons were em-  of Painting, which was qite successful. They
ployed to clean it, by which it has been materially  acquired considerable reputation. and executed a
impaired. There are, however, many of his works  number of works in concert, both in oil and in
remaining in the churches at Ferrara, which suffi-  fresco, in the former of which Antonio was much
ciently prove him to have been a harmonious col-         to Paolo. Their principal works are in
orist, though usually in a subdued tone. He of-  the churches of S. Gregorio, and S. Cateria di
ten repeated his own productions. to the injury ofValverde, at Messa.  The  both died i that
his reputation, and there are in the churches at Fer-  ity  f thePlage.
rara no less than seven Annunciations, differing   FINELLI, JULIAN, an Italian sculptor and arlittle from each other. Among his best works are  chitect, born at Carrara in 1602. At Naples he
the Martyrdom of St. Caterina, in the church de-  studied architecture under one of his uncles; and
dicated to that saint; the Adoration of the Magi,  at Rome he studied sculpture under Bernini. He
in S. Maria de Servi; in the Certosa, a grand pic-  practised both arts with good reputation for many
ture of S. Oristofano, entirely in the sublime style  years. He executed the statues of St. Peter and
of M. Angelo; in the Cappuccini, the Virgin and  St. Paul, which adorn the chapel of the royal
Infant, with St. John; in S. Benedetto, the dead  treasury; also the statues of the Viceroy and hit
Christ supported by Angels. In the cathedral is  wife, which gained him the patronage of governa picture of the Circumcision, which is supposed  ment. He visited Rcme, but died soon after his
to have been painted before he went to Rome, as it  arrival, in 1657.
resembles the slighter style of his father, rather
than the vigor which characterizes his later works.     FINIGUERRA,MA           Theveion
Lanzi says he was called Gratella, from his hav-        the art of engraving has long been claimed
ing been the first to adopt the practice of squaring  by both the Germans and Italians, and many arlarge works in order to reduce them to a smaller  guments have been urged on bot sides by varisize, with greater precision; a method he derived  ous authors.-[SeeIntroduction.] ZaniandOttley,
from Buonarotti. Filippi died in 1602.           however, have fully established the claim of Maso
Finiguerra, a Florentine goldsmith and enameller,
FILIPPI, CESARE, a Ferrarese painter, was the  to priority of discovery, and Bartsch admits its
younger brother of the preceding, who instructed  validity. Zani first brought into notice the print
him in the art. He was distinguished for his gro-  of The Coronation of the Virgin, taken from a
tesques in the ornamental style; although he some-  Pax executed by this artist in 1452; and that autimes attempted historical subjects, which are fee-  thor supposes he was born in 1418; Ottley conjecble imitations of the elevated style of his brother.  tures he was born in 1410, and that a print in his
The best of these is the Crucifixion, in the church   possession was executed in 1445. Vasari gives
della Morte.                                     the following account of the invention of FiniguerFILIPPO, MASTRO, a Spanish architect who   ra.  Having engraved some figures on a silver
flourished about 1512, in which year he restored  plate, which he intended to enamel, he cast upon
the famous cathedral of Seville, one of the finest  the plate some liquid sulphur, in order to try the
Gothic works in Spain. It is 420 feet long, and  efect of his engraving; when the dirt, or black,
273 feet wide; divided into naves, surrounded by  which had lodged in the traces of the graver, ad273 feet wide; divided into naves, surrounded by  h'r1d            ^  ^  ^^ ^ ^ ^^  
chapels. The vaults spring from thirty-two arches  hered to the sulphurand when the latter was reon each side; there are eighty painted windows,  moved from the surface of the plate, it produced on
and the roof has one grand vault, surrounded by  afterwards sulphur the eect of a fine pen-drawing   He
balustrades. The whole structure is built of Pao-  afterwards succeeded in taking of a copteimnazzetta stone, in a grand and simple style, and  pression, by filling the strokes with a black comdeserves high praise. The original architect is un-  position, and passing a roller over the plate placed
known; Filippo made it less lofty, but more beau-  on damp paper. Finiguerra is said to have commutiful than it was at first.                      nicated his discovery to Baccio Baldini, from whom
it passed to Sandro Botticelli. Huber describes
FILLEUL, GILBERT, a French engraver, who  twenty-four prints in the possession of M. Otto at
practised the art, according to Basan, about the  Leipsic, which were collected by Baron de Stosch
end of the 17th century. There are a number of  during a long residence at Florence, and which were
prints by this artist, after Le Brun, and other em-  judged by Heineken as originals by this artist.
inent French masters. He had a son named Peter  They chiefly represent fabulous subjects, aind are
F., who engraved several plates for La Fontaine's  well preserved. Zani describes a print by him,




FINL.                     311                     FIOR.
which he found in the cabinet of M. Borduge, of  the custom of the day. In 1401, he executed an
the Virgin and Infant seated on a Throne, sur-  altar-piece at S. Cassiano di Pesaro, and another
rounded by Angels and Saints. Among the prints  in 1409; both signed with his name, which he
of Cav. Seratti, sold at London by Mr. Stanley, in   wrote Jacometto de Flor.  He subsequently
1816, were two prints by Finiguerra, representing   painted the Coronation of the Virgin, for the cathe Epiphany and the Crucifixion. The former is  thedral of Ceneda, executed in a noble style, and
now in the collection of the Duke of Buckingham.  extremely rich in figures, so that it was called the
The latter is in the British Museum; it is of large   Painting of Paradise, in an MS. of the lives of
size, measuring twelve and one-eighth inches by   the Bishops of that place. It was executed at the
eight and three-fourths inches.  The sulphur  expense of the bishop Ant. Correr, in 1432.
print of the Coronation of the Virgin is in theELLO DEL an Italian  sculptor,
British Museum, to which it was bequeathed by        I ourished  at Naple  an Italian  sculpto
the late Mr. Thos. Grenville. This also belonged   wo fours 1      hed at Naples about 1  Rina470.  eto Seratti, and was purchased for about $1,500   c               the            adinal R       is
by Grenville of Mr. Stewart, the gentleman who   cicello, in the cathedral, and in 1473, e finished
brought it with the prints from Malta.            that of Giovanni Cicimello, in the church of S.
Laurentio.  In S. Domenico, is a tomb of his
FINLAYSON, J., an English mezzotinto en-  execution, in the chapel of St. Thomas d'Aquinas.
graver of little note, born about 1730. There are
a few portraits and historical subjects by this ar- FIORENTINO, TMMAS, a Florentine artist,
tist, among which are the following:              who excelled in painting grotesque subjects. He
went to Spain about 1511, where he painted in the
PORTRAITS.                     royal palace at Madrid, and Lanzi says that in the
The Duchess of Gloucester; after Reynolds. Lady  ducal palace at Alva, there are several galleries of
Charles Spencer; do. Lady Elizabeth Melbourne; do.  grotesques executed by him, by which he means,
The Earl of Buchan; do. Miss Wynyard; do. Lady  doubtless, that he decorated several galleries in
Broughton; after Cotes.  Duke of Northumberland; 
after Hamilton. Miss Metcalfe; after Hone. Signora  that palace with grotesque subjects and  ornaZamperini, in la buona Figliuola; do. William Drum-  ments.
mond, Scotch historian; after C. Jansen. Shooter, Beard,    FIORENTINO  GILIAN.  See BGARDINI
and Dunstall, in Love in a Village; after Zofany.   FIORENTINO, GLIANO. See BGIARDINI.
SUBJECTS.                       FIORENTINO, IL.  See STEFANO, VAIANO,
Candaules, King of Lydia, showing his Queen coming  and VANTE.
out of the Bath to his favorite Gyges; after his own de-    FIORI MARIO DA. See GAPARE NUZZI.
sign. A Collier, with his Pipe; afterJ. Weeninx.              Se C O LE   a 
FIORI.  See CARLO LOPEZ, and CARLO VooFINOGLIA, PAOLO DOMENICO, a Neapolitan   LA.
painter, was born at Orta, and flourished about
1640. He studied in the school of Cav. Massimo      FIORI, CESARE, a Milanese painter, was born in
Stanzioni; and, according to Dominici, he deserves  1636, and died in 1702. According to Orlandi he
credit for his correct and expressive design, and   gained considerable reputation for his grae orna
great fertility of invention. His principal works  mental works in fresco, some of which have been
were the Vault of the chapel of S. Genarro, in the  engraved.
Certosa at Naples; and several pictures in the      FIORINI, Gio. BATTISTA, a Bolognese painter.
capitol. He died in 1656.                         who flourished about 1588. In concert with Cesare
FIORAVANTI, -, a modern Italian painter  Aretusi, he executed several paintings at Brescia
of uncertain age. He excelled in painting vases,  and Bologna, among which are a picture of the
fruit, flowers, and musical instruments, which he  Mass at Bologna, in the Padri Servi, and another
represented with great exactness and fidelity,    of the Birth of the Virgin, in S. Afra, at Brescia.
FIORE, COLA ANTONIO DEL, an old Neapoli-    FIRENZI, GIORGIO DA, an old painter of the
tan painter, born, according to Dominici, in 1354.  school of Giotto, whose works date from 1314 to
He studied under Francesco Simone, and painted   1325. About the first period he was invited to
several altar-pieces for the churches at Naples,  Turin by Amadeus IV., in whose employment he
which were remaining in the time of that writer.  continued several years.
One of his first productions is in the church of S.    FIRENS  PIERRE, a French engraver of little
Antonio; it is-signed with his name, and dated   note, who practised the art at Paris about 1640.
1375. The centre of the picture represents the  He engraved several plates, among others, that of
Coronation of the Virgin; on one of the laterals is  Henry IV. of France. He also copied the print of
the Ascension, and on the other the Descent of the  the Hermits, after Sadeler, and executed several
Holy Ghost. His master-piece is the picture in  other prints after S. Vouet, Vignon, and other
S. Lorenzo, representing St. Jerome extricating a  French masters.
thorn from the Lion's foot; painted in 1436, when
the artist was over eighty years old. Fiore died    FISCHER  ANE CATHARINE a German paintin 1444.                                          ress, who flourished about 1664, in which year she
married Benjamin Blok. She excelled in painting
FIORE, JACOBELLO DEL, a Venetian painter,  flower-pieces, in oil and distemper.
who flourished from  1401 to 1436. He was the
son of Francesco F., who was a reputable artist;    FISCHER, JOHN, a German wood engraver,
but Jacobello surpassed him, and attained con-  who flourished about 1600. According to Sansiderable eminence. His works were character-   rart,he exeuted,among otherprints, thewooden
ized by force and dignity of the figures, and great  cuts for the Bible printed at Strasburg in 1606.
vigor of execution. His fault was that of loading   FISCHER, JOHN BERNARD, an eminent Gerhis figures with ornaments, and especially of ab-  man architect. who flourished about 1700. He
surdly decorating his draperies with gold lace. in  decorated Vienna with the most magnificent build



FISH.                      312                    FLAM.
ings of which that capitol can boast, and, accord-  campment at the end of the Fauxbourg St. Victor, neat
mg  to Milizia, was honored and enriched by the  the Horse-market; very fine.
emperor Joseph I. with the signory of Erlachen.. FLAMEN, F., a Flemish engraver, probably reIn 1696, he erected the palace of Schoenbrunn, as  lated to the preceding artist.  He resided at Paris
a hunting seat for the imperial court.  In 1699, he  about 1660, and executed, among other prints, a
erected the triumphal arch in honor of the mar-  set of four etchings, representing Views of the
riage of the emperor. Among his other works are  Seine, after the designs of Israel Silvestre.
the immense imperial stables, the palaces of Prince  FLAMENCO, JUAN, or John the Fleming, was
Eugene and Prince Trantkson at Vienna, and the   born in Flanders, and went to Spain.  There are
magnificent church of S. Charles Borromeo, erect-  many Flemish masters mentioned by Spanish wried in 1716 by the emperor Charles VI., in conse-  ters under the general term Flamenco, which occaquence of a vow. He wrote a curious and useful  sions some confusion. According to Bermudez,
work in five volumes, entitled Historical Archi-  he resided in the Monastery Certosa di Miraflores,
tecture.  He died in 1724, leaving a son named  from 1496 to 1499, and painted the altar-pieces for
Emanuel, who erected many works from his fa-  that institution. On the right hand of the altar.
ther's designs, and gained great reputation for his  he painted several subjects from  the life of St.
skill in mechanics. His hydraulic machine in the   John the Baptist, which were treated in the fine
garden of Prince Schwartzenburg, at Vienna, is  style of Lucas van Leyden, with good coloring
well worthy of attention, as is also one driven by   and much expression. On the left side he painted
steam, to drain water from the mines of Kremnitz  the Adoration of the Magi, which is much injured
and Schemnitz.  From these works Emanuel de-  by Time. For these works he received 53,545 marrived great riches, and died in 1738.              avedis, besides his support for the three years.
FISHER, EDWARD, an English mezzotinto en-    FLAMENCO, MIGUEL EL, or Michael the Flegraver, who practised the art about 1765, and exe-  ming, a Flemish painter who studied successively,
cuted a number of prints, mostly after Reynolds,  according to Bermudez, under Rubens, G. A. Ferwhich possess considerable merit. The following   rari at Genoa, and also under Cornelius Wael.
are the principal:                                 He formed an original manner from  the styles of
PORTRAITS AFTER SIR JOSHUA REYNOLDS.        these three masters, and was distinguished for
The Earl of Bute, when Lord Cardiff.  Lady Eliza  historical subjects of merit, and portraits in the
Keppel; full-length; very fine. Lady Sarah Bunbury;  manner of Vandyck.  From Genoa he passed into
the same; very fine. The Marquis ofRockingham. Hugh,  Spain, where he acquired considerable distinction
Earl of Northumberland. Elizabeth, Countess of North-  for his ability and merit.  He died there about
umberland. Granville Leveson Gower, Earl Gower. 1765.        Bermudez says his works have been atGeorge, Lord Edgcombe, Vice-Admiral. 1773. Viscount  1,  d              s    s works have been atDowne. Lady Elizabeth Lee; full-length. John, Vis-  tributed to more eminent masters.
count Ligonier, on horseback. Augustus Keppel, after-    FLANDES, JUAN DE, a painter mentioned by
wards Lord Keppel. 1759. Augustus Hervey, afterwads   Bermude, who      d eleven pictures in the C
Bermudez, who painted eleven pictures in the CaEarl of-Bristol. Lady A.'and Lady Jemima Yorke,
Daughters of Earl Hardwicke. The Hon. George Sey-  thedral of Palencia, which he commenced in 1509,
mour Conway. 1771. Lawrence Sterne, Prebendary of  and engaged to complete them in three years, for
York. Doctor Armstrong.                            the sum of 500 gold ducats.
PORTRAITS AFTER VARIOUS MASTERS.             FLATMAN, THOMAS, was born at London in
Frederick, Archbishop of Canterbury; after N. Dance.  1633. He was educated for the law, but he seems
Richard, Lord Bishop of London; do. William, Earl  rather to have indulged his inclination for art.
of Chatham; after Brompton. Doctor Franklin; after  He painted portraits  n miniature, and acqred
C^^         ^    ^^^    ^^   ^^    ^    He painted portraits in miniature, and acquired
some reputation. He died in 1688.
FITTLER, JAMES, a reputable English engra-            a        n                     n.
ver, born at London in 1758.  He executed several    FLAXMAN, JOHNan eminent English sculpworks of different descriptions, after various mas-tor, born at York in 1755.  His father having setters; also many plates for the booksellers.  His  tled in London opened a shop for the sale of plasbest prints are Lord Howe's Victory, and the Bat-  ter casts and it was from them that young  la
te of the Nile, both afterLoutherbourg; the Por-  man derived his first ideas of the art to which
trait of B. West;the plates in Forster's British   he afterwards became so distinguished an ornaGallery; and others in Dr. Dibden's Aedes Al-  ment.  Being of a delicate constitution, his school
thorpianae, published in 1822.                     education was not strictly attended to, and he was
FLAMEN, ALBERT, a Flemish painter and   permitted to employ a great portion of his time
FLAMEN, ALBERT, a Flemish pa inter and  i making models in clay, and in gratifying a natuengraver, and a native of Bruges, who   ral taste for drawing, which he evinced in a rewent toParis while young, andestablished   markable degree almost from  infancy. This he
himself in that city.  He at first devoted himself  pursued with  unwearied application, and  selfto painting, and produced a number of good land-  instructed, till his fifteenth year, at which time he
scapes; but possessing greater abilities for engrav-  became a student of the Royal Academy, where
ing, he devoted himself to that department of art.  he soon obtained the silver medal. In 1782, he
His etchings are executed in a spirited and mas-  left his father's house, and moved to one in Warterly style.  Rigal mentions 322 prints by him,  dour street, Sohof where he occupied himself in
of which the following are the principal:,  modeling in clay and wax. Having determined
Two sets, of twelve each, of Fresh-water Fishes, with  on a-visit to Italy, he proceeded to Rome in 1787,
back-grounds of landscapes, &c. Two sets, of twelve each,  and on his arrival took up his residence in the Via
of Sea Fishes, with marine back-grounds. A set of seven  Felice. At Rome he produced what may in truth
Landscapes, with small figures. A View of Port a l'An-  be termed thenoblest effort of his genius his out
glois, near Charenton. A View of Conflans, on the side of    e termed the noblest effort of his genius, his out
Juilly. A View of Pernay, on the side of Corbeil. A   line illustrations of subjects from Homer, Eschy
View of Marcousi, on the side of Mount Cheri. An En-  lus, and Dante.  The whole of the three series of




FLEG.                     313                     FLEM.
designs were engraved for the artist at Rome, by   Among other prints, he engraved an ornament.s
Piroli.  After a sojourn for upwards of seven  frontispiece, for a book entitled Gregorii Horstt
years in Italy, he returned to London, and fixing   opera Medica, and a portrait of G. Horstius, the
his residence in Buckingham Place, he commenced  author.
his monument to Lord Mansfield, the commission      FLEMAEL, BERTHOLET, an eminent Flemish
for which he received previous to his departure for  painter, born at Liege in 1614. His parents were
Rome. This noble piece of sculpture, for which   very poor, and they placed him under the care of
the artist was paid $12,500, is placed in Westmin-  a musician; but after he had made considerable
ster Abbey. In 1797, the Royal Academy elected  advances in that art, he turned his attention to
Flaxman an Associate, and in 1800 he was chosen  painting. After receiving some instruction from
an Academician, on which occasion he presented  an obscure artist, he entered the school of Gerard
to the Academy his marble group of Apollo and  Douffliet, a painter of history who had studied at
Marpessa. In 1810, that body having created a  Rome. After acquiring considerable ability, he
professorship of sculpture, Flaxman was unani-  visited Italy, and went to Rome, where he studied
mously elected to fill the chair. "Theelementsof  the works of the great masters with unremitting
Flaxman's style," says Sir Thomas Lawrence,"  assiduity. He soon gained distinction, and was inwere founded on Grecian art, in its noblest princi-  vited to Florence by the Grand Duke of Tuscany,
ples, in its deeper intellectual powers, and not on  who employed him in decorating one of the gallethe mere surface of its skill. Though master of  ries of his palace. After remaining several years
its purest lines, he was rather the sculptor of sen-in the service of that prince, he went to Paris
timent than of form; and Whilst the philosopher,  where he was patronized by the Chancellor Sethe statesman, and the hero were treated by him   guier, who employed him in some of the apartwith appropriate dignity, yet not even in Raffaelle  ments at Versailles.  He also painted the cupola
have the gentler feelings and sorrows of human  of the Carmelites at Paris, where he represented
nature been traced with more touching pathos."  Elijah taken up into Heaven, and Elisha receiving
About 1816, the celebrated goldsmiths, Messrs.  the Mantle of the Prophet. He also painted the
Rundell and Bridge, commissioned Flaxman to   Adoration of the Magi, for the sacristy of the Auexecute drawings and a model, for a magnificent  gustines. Notwithstanding this high encouragepiece of plate, to represent the Shield of Achilles,  ment, he left Paris, and returned to Liege, in 1647,
as described by Homer in the 18th book of the  after an absence of nine years. On arriving in his
Iliad. For this splendid work, Flaxman received  native city, he was employed in several important
$3000. Four casts were taken of it in silver-gilt,  works for the churches, the frst of which was the
each estimated at $10,000; one for George IV.;  Crucifixion, for one of the collegiate chapels of St.
another for the Duke of York; a third for the  John, which gained him  great reputation.  His
Earl of Lonsdale; and a fourth for the Duke of  other principal works at Liege are the Elevation
Northumberland. In 1822, Flaxman produced his  of the Cross, and the Assumption of the Virgin,
group of Michael and Satan, for Lord Egremont.  in the church of the Dominicans; the Conversion
In the following year appeared his Psyche; shortly  of St. Paul, in the church dedicated to that saint;
afterward two models of Michael Angelo and Raf-  the Raising of Lazarus, in the Cathedral; and the
faelle; and finally, his marble statue of Kemble.  Crucifixion, in the Convent of the Nuns of the
Among his other works arethe monuments of Nel-  Sepulchre. His invention was abundant, his penson and Howe, and the statue of Sir Joshua Rey-  cil free, and his coloring excellent. From his resinolds, in St. Paul's; his monument to Collins, the  dence in Italy, he acquired a grand style of compoet, in Chichester Cathedral, one of his earlier  position, and a correctness of design that approachproductions; and, in the same church, his monu-  es the excellence of the Roman school. His subment to Miss Cromwell. Early in December, 1826,  jects of history were distinguished by scrupulous
Flaxman was attacked by serious illness, and on   attention to propriety of costume; and he embelthe morning of the 9th he expired, in the 72d year  lished the back-grounds of his pictures with arof his age. In person he was slight, and short in  chitecture, designed in admirable taste. In 1670,
stature, and the plainness of his dress accorded  he was again invited to Paris, where he painted the
with the simplicity of his manners. He was a  ceiling of the king's audience chamber, in the Tuil-.
man of the warmest benevolence, mild and gentle,  leries, representing an emblematical subject of reand of unaffected piety. Among his writings on  ligion. He was elected a member, and subsequentthe art, are a number of articles in Rees' Cyclo-  ly a professor of the Royal Academy at Paris,
paedia, and his admirable Lectures on Sculpture,  and his talents were highly esteemed. He did
published at London in 1829.                      not, however, remain long at Paris, but soon reFLEGEL, GEORGE, a German painter of sub-  turned to his native city, where he continued to
jects of still-life, was born at Olmutz, about 1563.  practise the art under the protection of Henry
He resided chiefly at Frankfort, where he painted   Maximilian, Prince Bishop of Liege, until his
fruit, flowers, fish, vases, glasses, and other inani-  death, which happened in 1675.
mate objects, which, considered distinctly, pos-    FLESHIER, B.  This artist painted marine
sessed merit; but were not arranged in good taste  views, landscapes, and fruit. His pictures probaas compositions. He died in 1638                  bly possessed considerable merit, as there were
FLEISCHMANN, A. C., a German engraver  several of them, according to Lord Orford, in the
of little note, who resided at Nuremberg. He en-  collections of Charles I. and Sir Peter Lely.
graved, among other plates, several portraits for a  FLETCHER, A. According to Basan, this enbook published in that city in 1626, entitled Icones  graver executed several views of Rome, after CanBibliopolarum et Typographorum.                   aletti.
FLEISHBERGER, J. F., an obscure German            FLETCHER, HENRY, an English engraver, who
engraver, who resided at Nuremberg, about 1660.  flourished about 1729, and executed a number of




FLEU.                      314                    FLOD.
prints, among which is one of Bathsheba and her  by his father, whom  he greatly surpassed. He
Attendants at the Bath, after S. Conca; also a  was a member of the Royal Academy. His plates
portrait of Ebenezer Pemberton, Minister of Bos-  are partly etched, and finished with the graver,
ton, prefixed to his sermons.                     and possess great merit. Among others are the
FLEUNER, PETER. This engraver executed,  following:
among other prints, a wooden cut, in a bold and    The Portrait of J. B. Greuze, painter; after a picture
spirited style, representing an emblematical sub-  by himself.
ject, apparently the Procession of Gluttony, signed      SUBJECTS AFTER VARIOUS MASTERS.
Peter Fleuner, 1549.                               The Holy Family; after Giulio Romano; in the DresFLEUR, NICHOLAS WILLIAM  DE LA, a French   den collection. Adam and Eve, after their fall; after C.
engraver, and a native of Lorraine, where he flour-  Natoire. Venus presenting the Arms to lneas; do. A
e r ad a 4 e o  r ied  Rheflr h me; *  Sick Man surrounded by his Children; after Greuze.
ished about 1639. He resided chiefly at Rome;  Twelfth-Night; do. A Sea-storm at night; after Verwhere, among other prints, he engraved a book of  net. A Sea-storm by day; do. Christ curing the Paraflowers, consisting of twelve plates, with a title  lytic; after Dietricy. A Bear-hunting; after C. Vanrepresenting his portrait, surrounded with flowers.  to. A Tiger-hunting; after F. Boucher. The Combat
of the Centaurs and Lapithie.
FLINK, GOVAERT, a Dutch historical and por-          Centaurs and Lapith
trait painter, born at Cleves in 1614. His father   He had a brother, named Charles Franois.,
was treasurer of that city, and intended him  for  who executed a number of prints after Fragonard
the mercantile profession, for which purpose he  and other masters. He died in 1773.
sent him to Amsterdam, and placed him with a        FLODING, PETER, a Swedish engraver of some
merchant of that city.  But the young Flink   merit, who resided chiefly at Paris.  He executed
greatly desired to follow painting; he soon be-  several plates, both with the graver and in aquacame intimate with a number of artists, and was  tinta. Among others are the following:
oftener to be found in their studios than in the    The Portrait of Alexander Roslin, painter; after himcounting-house. His father, finding it impossible  self. Apollo and Daphne; after F. Boucher. Soldiers
to overcome his love for art, placed him  under  guarding a Prison; do. A Girl sleeping, with a Dog by
Lambert Jacobs, an artist of little distinction,  her after J. B. Deshays.
where he remained some time. He afterwards          FLORI, BASTIANO, a native of Arezzo, who
entered the school of Rembrandt, where he made  was employed in the Roman Chancery about 1545,
rapid advances, and became one of the most dis-  under the direction of Vasari.
tinguished pupils of that eminent artist. He soon   FLORIANI. FRANCESCO, an eminent painter of
acquired a high reputation, and was commissioned   Udine, where are several of his works, dating from
by the magistrates of Amsterdam to execute many   1568 to 1586. He painted many altar-pieces and
important works for the State House. He was  other subjects for the churches at Udine and other
also favored with the patronage of Prince Maurice  places, by which he acquired a high reputation.
of Nassau, who employed him in many important  He also painted portraits with such excellence
works. He painted the portraits of some of the  that Lanzi says they might be put in competition
most eminent personages of his day, particularly   with those of Moroni or Tinelli. He afterwards
the Elector of Brandenbourg and the Duke of  entered the service of Maximilian II., at Vienna.
Cleves. Although his works do not equal those  lHe had a brother, named Antonio, who assisted
of Rembrandt in the richness and harmony of   him in his works.
coloring, or the intelligence of chiaro-scuro, yet   FLORIANO, FLAMINIO, a Venetian painter,
they have been greatly admired for the purity and  who followed the style of Tintoretto   He execusobriety of the coloring, and the studied and judi-  ted a number of ine works, the best of which is
cious arrangement of the compositions.  One of                               the bs         ofh
his best works is Solomon praying for the Gift of   a picture of St. Loreno, in te churc of  that m
Wisdom, in the council-chamberSaint.  He was a successful copyist of that masWisdom, in the council-chamber at Amsterdam;  ter and many of his pictures have undoubtedly
and in that of the Burgomasters is another admir-  been sold as genuine works by  Tintoretto.
able picture of Marcus Curtius refusing the Treas-  been sold as genuine works b
ure of the Samnites. It is related by Descamps,    FLORIGORIO, BASTIANO, a reputable Italian
that on seeing some of the portraits of Vandyck,  historical painter, was born, according to Ridolfi,
Flink renounced that branch of the art, and con-  at Udine, and flourished about 1533. He studied
fined himself to historical painting. The burgo- under Pellegrino da S. Daniello, and painted both
masters of Amsterdam had commissioned him  to  in  il and fresco. His fresco works at Udine are
paint twelve large pictures for the Town-House,  almost entirely perished, but of his oil paintings
of which he had finished the sketches, when he  there is remaining a good picture of St.  eorge
died, in 1660, aged 46.                           and the Dragon, in the church of S. Giorgio; also
LIPART, JEN CHARLE  a French engraver,  the Last Supper, in the Refectory of the Padri di
FLIPART, JEAN CHARLES, a French engraver,
born at Paris about 1700. There are a number of  S. Pietro Martyre.
prints by him, executed entirely with the graver,    FLORIMUS, JOHN, an engraver of little note,
in a neat and finished style, but without much   mentioned by Florent le Comte. He was princieffect. The following are the principal:          pally employed by the booksellers, for whom he
The Portrait of Ren6 Choppin; after Jannet.  The  executed a number of portraits. There is also a
Virgin and Infant; after Raffaelle; for the Crozat collec-  frontispiece to a collection of antique heads by
tion. Christ praying on the Mount of Olives; do.; for the  him, consisting of several figures, and executed
tame collection. Mary Magdalene, penitent; after Le  with the graver in a neat, stiff style.
Brun  Apollo and Daphne; after R. Houasse.         FLORI. 
FLORINO.  See CASSANDRC.
FLIPART, JEAN JACQUES, a reputable French
engraver, the son of the preceding, was born at           FLORIS, FRANCIS, an eminent Flemish
Paris in 1723; died in 1782. He was instructed.1/    painter, whose family name was de Vriendt




FLOS.                     315                     FOIX.
born at Antwerp in 1520. He studied sculpture   S. Bartolomeo at Vicenza, by Marcello Fogolino
under his uncle Claude de Vriendt, until he reach-  which they say was painted before the time of
ed the age of twenty, when he turned his attention   Gio. Bellini. The latter author thinks he studto painting, and entered the school of Lambert  ied under Mantegna. Rosini has an engraving of
Lombard. After deriving great improvement from   a Chorus of Monks, after a picture by Fogolino,
the instruction of that master, Floris went to   which is excellent in design, composition, and exRome. where he studied the works of Michael  pression. There were three prints of statues in
Angelo and the antique, with great assiduity. He   the Royal Collection at Dresden, signed Marcellc
remained several years in Rome, and made a large   Fogolino. Bartsch mentions one in which there
number of drawings from various beauties in na-  is a Female caressing an Infant, and a beautiful
ture and art, which he brought with him to Flan-  piece of architecture. In the British Museum is a
ders, and which proved of great service in his  picture by this artist, representing the Virgin and
after compositions.  On returning to his native   Infant, with St. Joseph drawing water from  a
country, he exhibited a more elevated style of com-  Well, signed with his name in full. Ottley says,
position, and a more noble and correct design, than   also, that he had a small print by Fogolino, reprehad been practised by any previous Flemish paint-  senting the Nativity.
er, and he was honored with the appellation of      FOIX, Louis DE, a French architect and engithe Raffaelle of Flanders. His design is bold,  neer, who flourished from 1580 to 1612. He was
though not always correct, his coloring is clear and   highly esteemed for his abilities. The ancient cabrilliant, and he gave great roundness and relief  nal of the Adour, near Bayonne, having fallen into
to his figures. The abundance of his invention,  decay, he was commissioned to fill it up, and to
and his facility of execution were surprising. He  construct a new one for that port, which he execuwas favored with the especial patronage of the  ted in 1597. The most curious work of his genCounts of Hoorn and Egmont, and was received  ius is the tower of Corduan, erected on a rock at
into the Academy at Antwerp in 1559. His suc-  the mouth of the Garonne, six miles from  Borcess would undoubtedly have equalled the most  deaux. It was intended as a light-house, but Misanguine expectations, had he not given way to  lizia says there was not throughout all Europe so
dissipated habits. Van Mander says that when   magnificent and elegant a structure as this Pharos.
the Emperor Charles V. entered Antwerp, Floris  It was enriched with the Tuscan, Doric, and Cowas engaged to paint the triumphal arches; and  rinthian orders, pediments to the windows, and
he is said to have finished seven emblematical fig-  cupolas at the top; noble apartments, with ornaures as large as life, with different attributes, in   ments of marble, both internally and externally.
one day; and when Philip II. visited Antwerp,  The absurdity of enriching an almost inaccessible
Floris painted in a few hours a large picture rep-  watch-tower in this manner, is about equal to deresenting Victory, with several figures of slaves,  corating a hay-loft with the pictures of Raffaelle.
and the emblems of Peace and War. There is an       FOKKE, SIMON, a Dutch engraver, who resided
etching by him of this subject, dated in 1552.  at Amsterdam about 1744. He studied under J
Van Mander mentions a large number of works   C. Philips, and was chiefly employed by the bookby Floris, the most esteemed of which are, The  sellers in small portraits and vignettes, executed
Last Judgment, in the church of Notre Dame, at  in a neat style, and superior to his large subjects
Brussels; in the cathedral at Antwerp an admira-  of history. He engraved part of the portraits for
ble picture of the Assumption; and in the chapel  a work entitled Portraits Historiques desHommes
of S. Michael was formerly his most esteemed  illustres de Danemarc, published in 1746. There
work, The Fall of the Evil Spirits, which is now   are also a number of other plates by him. among
in the Gallery of the Louvre. Floris died in 1570.  which are the following
FLOS, DU. See DUFLOS.                            The Portrait of Simon Fokke; after his own design
FO, G. R., a Swiss engraver, who flourished   A View of the Port of Leghorn; after Vernet. A View
about 1551. According to Papillon, he was an   near Narni, in Lombardy; do. A Landscape, Winter
excellent wood engraver, and was cotemporary  after P. Breughel. A View of the Y, near Amsterdam
with Hans Holbein. He executed the cuts for the   Two small plates of Animals. The Prodigal Son; after
with Hans Holbein. He executSpagnoletto; in the Dresden collection. Jacob keeping
History of Animals, by Conrad Gesner, published  the Flocks of Laban; do.; same collection. The Death
at Zurich in 1551. He also engraved the coins  of Dido, a burlesque; after C. Troost.
and medals of the Roman Emperors, by the same       FOLER, ANTONIO, a Venetian painter, was born,
author, published in 1559.                        according to Zani, in 1530. He was a cotemporary
FOCO, PAOLO, a Piedmontese painter, who flour-  and friend of P. Veronese. and imitated his suished about 1660. He resided a long time at Ca-  perb style with considerable success in coloring,
sale, where he acquired a high reputation for his  though inferior in design, especially in his larger
landscapes, painted in a bold Venetian style.-   works. In his easel pictures this defect is less
There are many of his works at Casale, where they   evident, and they are much esteemed.  Ridolfi
are highly esteemed. He also attempted histori-  mentions, among others, the following works by
cal painting on a grand scale, but with little suc-  Foler: in S. Barnaba, the Birth of the Virgin; in
cess.                                             the church of the Abbey of S. Gregorio, three
FOGOLINO, or FIGOLINO, MARCELLO, a Flo-  pictures of the Flagellation, the Crucifixion, and
rentine historical painter and engraver, who flour-  the Assumption of the Virgin; in S. Caterina,
ished in the 15th century, and practised the art  Christ praying in the Garden, and the Resurrecchiefly at Vicenza. He was supposed for a long  tion. He died, according to Zani, in 1626, aged 96.
time to be the engraver who marked his plates R.    FOLKEMA, JACOB, a Dutch engraver, born at
B. T. A., or ROBETTA; but Zani has proved the   Dockum, in Friesland, in 1692; died, according to
contrary. Boschini and Lanzi mention with high   Zani, in 1767. He engraved a number of plates
praise a picture of the Adoration of the Magi, in  after the designs of Picart, and many portraits and




FOLL.                      316                     FONT.
vignettes for the booksellers.  He also executed   took many fine paintings to England, and sold
several historical subjects, which are inferior to  them at large prices, especially his own imitations
his other productions.  The following are his  of the masters above mentioned.  Ie died at Paris
principal plates:                                  in 1835.
An Emblematical Subject on the Death of the Prince of  FONTANA, ALBERTO, an Italian painter, was
Orange. Time discovering the bust of F. Rabelais, with  born at Modena and flourished about 154(  He
figures and satirical and emblematical attributes; a curi-  studied under Antonio Begarelli, at the same time
ous print. The Martyrdom of St. Peter and St. Paul;  with Nicolo del Abati.  In concert with the ]ataftrN del Abate,                                   with Niccolo del Abati. In concert with the lataPRTRAITfr N. dl A.            ter, he painted the panels of the Butchers' Hall, at.~PORTRAITS.  ^Modena, which Scannelli ascribes entirely to Abati
Michael Cervantes de Saavreda; after C. Cort. J  and says it appeared to havebeen the production
Ens, Professor of Theology at Utrecht; after Colla. Petrus de Mastricht, Professor of Theol6gy at Frankfort; do.  of Raffaelle. The style of Fontana closely reHumphrey Prideaux, Dean of Norwich; after Seeman.  sembles that of Abati, especially in the airs of his
Suethlagius, Pastor at Amsterdam; after Anna Folkema.  heads, though inferior to him  in design, and with
This artist had a sister who painted portraits in  something red and heavy in his coloring. He died
miniature, and engraved several plates, about 1715.  in 1558.
FOLLI, SEBASTIANO, an Italian painter, born,         ONTANA, CESARE, an Italian engraver, who
according to Baldinucci, at Siena, and flourished     ished, according to Zani, about 1630. Among
about 1608. He studied under Alessandro Caso-  other plates, he engraved several of funeral proabout 1608. He studied under                                   cavalcades. Zandroi says he was- living
lani, and gained distinction by several frescos,cesss an      d cavalcades.  Zani says h  was living
which he executed in the churches of Siena, par-  in 160.
ticularly the cupola of S. Marta.  He also paint-     FONTANA, DOMENICO MAIIA, an Italian ened several subjects from the life of St. Sebastiano,  graver, was born at Parma about 1540, though
for the church of that Saint, in competition with  there is a print signed with his name, and dated
Rutilio Manetti; and they well deserve to rank   1651; but this was probably by another master. He
with the works of that master.  Folli went to  studied engraving at Bologna, and executed seveRome, where he practised the art with reputation,  ral plates from his own designs, and those of other
and was employed in several important works by   masters, among which are the following:
Cardinal Medici, afterwards Leo XI.                  The Flight into Egypt, with a mountainous Landscape.
FOLO, GIOVANNII an eminent Italian engraver,  The Sabine Women making Peace between the Romans
FOrLO,  Iand the Sabines. St. John preaching in the Wilderness.
was born at Bassano in 1764.  He -studied at  Mount Calvary, with a Latin inscription. Christ going to
Rome, in the school of Volpato, but subsequently   Calvary. 1584.
adopted the style of Morghen. His first produc-    FONTANA, VERONIA, an Italian feale en
tions have something of a hardness and dryness  gaver, the daughter of the preceding artist was
of style, but he afterwards. overcame this defect,  b       acco 
and his "Mater Dolorosa,   te   assofeato,         born, according to Zani, in 1596. She learned the
and hisrale Mat e  ofter olo, r Sassoferrato, is  elements of design from her father, and Elizabeth
an admirable specimen of the art. His style was  Sirani and executed a number of neat wooden
better adapted to large than to smallsubjects. He       chiefly portraits, amon  which is that of the
sought to represent the delicate coloring, the har-poetAndreii, mentioned by Brulliot  Zani says
mony of light and shadow, and the  was living in 1675.
design in the original work, rather than to gain
admiration by his elaborate execution.  His man-      FONTANA, GIOVANNI BATTISTA, an Italian
ner is powerful and firm, yet his Adam and Eve,  designer and engraver, was born at Verona about
and similar works, are executed with great delica-  1524. His plates are etched from his own designs,
cy. Nagler mentions a number of his plates, after  in a free and masterly style.  Among others are
paintings and sculptures by'Raffaelle, Michael An-  the following:
gelo, Titian, Poussin, Guido, Rubens, Caracci,    A set of middle-sized plates, of subjects from the Eneid.
Thorwaldsen, Canova, and other eminent masters.  St. Peter, Martyr; after Titian. The Battle of Cadore,
His St. Andrew, after Domenichino, is considered   between the Imperialists and the Venetians; do.  The
his best work; it is executed with great force and   Crucifixion. Twenty-eight subjects from the Life of Romu.
delicacy.  Folo died at Rome in 1836, aged 72.     lus; dedicated to Ferdinand, Archduke of Austria. 1573.
FONBONE, a French engraver of little note, who     FONTANA, PROSPER, an eminent historical
flourished at Paris about 1712.  Among other  and portrait painter, born at Bologna in 1512. He
plates, he engraved several for the large set of the  studied under Francucci, called da Imola but atViews of Versailles, published in 1715.            tached himself to the works of Vasari, preferring
the facility of that master to the highly finished
FONTAINE, E., an obscure French wood en-  style of Francucci. He was more incorrect and
graver, who flourished about 1680. Among other  negligent than Vasari, and his dangerous facility
prints, he executed one of little merit, represent-  was. according to Lanzi, one of the principal
ing Christ standing upon a Pillar; marked E.  causes of the decline in the Bolognese school.
Flontaine, sculpsit. Anno 1681.                   ^which continued till the time of the Caracci.  He
FONTAINE, PIERRE LA, a reputable French   was highly educated; he possessed fertility of inpainter, wa born at Courtrai in 1758. He painted   vention and boldness of design, and might have
interiors of churches in the manner of Steenwyck   attained great eminence; but being of an extraand Peter Neefs. He was so excellent an imitator  vagant disposition, he generally painted in a hurry
of the styles of those masters, that his works have  for the sake of gain, in order that he might gratify
often been mistaken for originals, and they are  his passions.  He painted a saloon in the Palazzo
much esteemed.  La Fontaine was also a dealer  Vitelli, at Citta di Castello, representing the prinin pictures, in which he was very successful.  He   cipal achievements of that noble family, and fin



FONT.                     317                    FONT.
ished it, according to Malvasia, in a few weeks.  cuted many other works. by which he gaied bott
There are also a number of his hasty productions  fame and fortune. He died in 1714.
at Rome, in the Villa Giulia, and the Palazzo Tos-    FONTANA, CAV. DOMENICO, an eminent Italcana in Campo Marzio. His master-piece is at Bo-  ian architect, born near Lake Como, in 1543. At
logna, in S. Maria della Grazie. It is signed with  the age of twenty, he went to Rome, and joined
his name in letters of gold, and it exhibits a splen-  his brother Giovanni, who was studying architecdor, facility, and grandeur that approaches the  ture in that city. Here Domenico applied himself
style of P. Veronese. In the same church is an   with great assiduity, and soon attained distinction.
admirable picture of the Annunciation; in S. Gio-  The Cardinal Montalto, afterwards Sextus V., emvanni Battista, a picture of the Virgin and Infant,  ployed him to erect the chapel of the Persepio, in
with several saints-one of his most copious com-  S. Maria Maggiore; and the little palace della Vilpositions. He also executed the Descent from the  la, which now belongs to the Negroni. near the
Cross, of which Rosini has an engraving. It is in  same Basilica; but Pope Gregory XIII. having
the Bolognese Academy. Fontana greatly distin-  deprived the Cardinal of his income, thinking that
guished himself as a portrait painter, and gained   his building was an evidence of too great riches, it
great reputation at Rome, during the pontificate of  was suspended for want of funds; but Fontana
Julius III. and three of his successors. He died   being attached to the cardinal, sent for 1,000
in 1597, aged 85.                                 crowns, which he had saved from his own indusFONTANA, LAVINIA, an eminent Italian paint-  try, with which he was enabled to continue the
ress, the daughter of Prospero F., was born at  chapel.  This act of generosity made the fortune
Bologna in 1552. She studied under her father,  of Fontana, for the Cardinal soon after became
and painted a number of historical works in his  Sextus V., and appointed Fontana the pontifical
style, for the Bolognese churches, of which the  architect. The chapel was soon completed, to the
best are the Miracle of the Loaves, in il Mendi-  admiration of all, being in the form of a Greek
canti; the Annunciation, at the Cappuccini; the  cross, with four large, superb arches, on which
Crucifixion, in la Madonna del Soccorso; and St.  rests an elegant cupola. The little palace was also
Francis da Paolo resuscitating a Dead Person, in  finished in an elegant style. The pope was very
la Morte. She subsequently went to Rome, dur-  desirous of raising in the square of St. Peter's, the
ing the pontificate of Gregory XIII., where she  only obelisk which remained standing, but partly
practised portrait painting with the greatest suc-  interred, near the wall of the sacristy, where was
cess. Baglioni says that she painted the portrait  formerly the circus of Nero. Accordingly he colof that pontiffas well as those of many persons  lected about five hundred mathematicians, engiof distinction, and attained a reputation in this  neers, and learned men, bringing with them their
branch of the art equal to that of any portrait  inventions.  Fontana's plan, however, was appainter of the time. Lanzi says that she possessed   proved, and with the assistance of one hundred and
an admirable sweetness of penciling, especially  forty horses, and eight hundred men, he removed
after having studied the works of the Caracci; and  this immense mass, weighing about 750,000 pounds,
that some of her portraits might have been taken   and placed it safely in the square of St. Peter's.
for those of Guido. She died at Rome in 1614.     For this undertaking, he was created a knight of
FONTANA, ANNIBALE, an ingenious engraver  the Golden Spur, and a Roman nobleman; he had
on precious stones, born at Milan in'1540. He  a pension of 2000 crowns, transferable to his
was patronized by the Duke de Baviere, for whom   heirs; ten knighthoods, 5000 crowns of gold, and
he executed many works in rock crystal, among  all the materials used in the work, which were
which was a casket covered with bas-reliefs, val-  valued at more than 20,000 crowns. He afterued at six thousand crowns. His works were  wards  erected  other  obelisks in the  Piazza
greatly admired for their delicacy and perfect exe-  del Popolo, in S. Maria Maggiore; erected some
cution. There are also by him a number of fine  parts of the Vatican and Quirinal palaces; built
bas-reliefs and statues, which adorn the entrance to  the palazzo Matteo,now Albano; restored the two
the church of S. Celso at Milan. Fontana died in  columns of Trajan and Antoninus; built the Men1587.                                             dicant Hospital, &c. While occupied upon a bridge
FONTANA, CARLO, an eminent Italian archi-  of travertine over the Tiber, at Borghetto, so many
teet, born, according to Milizia, at Bruciato, in the complaints were made against him, that Clement
State of Comasco, in 1634. He went to Rome,  VIII. deprived him of the situation of pontifical
where he soon attained distinction, and was ap- architect, and required an account of the money
pointed pontifical architect. He erected many fine   employed in his various buildings. The Count
edifices in that city, of which the following are the  Miranda, Viceroy of Naples, sent for him to that
principal: the Grimani palace, in Strada Rosella;  capital, and declared him the royal architect, and
the Bolognetti palace-simple, solid, and graceful   first engineer in the kingdom. When Fontana
the Fountain of S. Maria in Trastavere-beauti  arrived at Naples, in 1592, he commenced various
ful and simple; the Theatre of Tordinona; the  improvements in the city; renewed the ancient
Library of Minerva; and the palace and villa for  canal of the Clanio; erected the royal palace, the
Signor Visconte at Frascati. In the greater part  Stada di Chiaga, and many otherfine works. His
of his works, he practised a correct and legitimate  inventions were exceedingly grand, and he deserves
style. He also wrote a diffuse description of the  a place among the most distinguished artists; alBasilica Vaticana, by order of Innocent XI., and  though he did not preserve the proper characters
made a calculation of the whole expense of St. Pe-  peculiar to the orders, nor avoid the various abuter's, from the beginning to the year 1694, which  "es then in practice, which the genius of Michael
amounted to 46,800,052 crowns, not including mod-  Angelo had rendered popular. He died rich and
els, demolishing of walls, the campanile of Ber-  honored at Naples, in 1607.
nini, or useless expenditures. Fontana also exe-    FONTANA, CAV. CESARE, an Italian architect




FONT.                     318                    FONT.
the son of Cav. Domenico F., flourished about  painting flowers and fruit, to which he  dded
1600. At the death of his father, he was ap-  vases ornamented with figures in bas-relief, and
pointed royal architect, and erected a number of  with festoons of flowers in elegant taste, and
works at Naples, among which are the public gra-  grouped with great judgment. His productions
naries, and the stupendous buildings of the Uni-  were highly esteemed. He was a member of the
versity, which were commenced in 1599.           Royal Academy, and was employed by Louis XIV.
FONTANA, GIOVANNI, an eminent Italian ar-  at the Gobelins, Versailles, and elsewhere, and died
FONTANA, GIOVANNI an eminent Italian arin the service of that monarch, in 1715.
chitect, the brother of Domenico F., born in 1540.         c               c
He was appointed architect to St. Peter's, and is    FONTUZZI. See FANTUZZI.
supposed to have designed the palace of the Gius-    FONTYN, PIERRE, a Dutch painter, was born
tiniani princes. But his greatest excellence con-  near Dort, in 1773, and studied under Pierre Hofsisted in hydraulics. He cleansed the Tiber at  man, and Guillaume van Leen. He painted porOstia; settled some contentions which had existed  traits, and interiors with figures-scenes of mirth
from time immemorial concerning the Velino, be-  and domestic enjoyment. He died in 1839.
tween Terni and Narni; supplied Civita Vecchia     FOPPA, VINCENZIO, an old Italian painter,
and Veletri with water; and conducted the Algi-  was born at Brescia, and is considered the founder
da to Frascati, to ornament the Belvidere Villa,  of the Milanese school. Lanzi says that he saw a
and also to the Villa di Mondragone, for the pur-  picture by this master, in the Carrara Gallery at
pose of supplying some curious fountains. He re-  Bergamo, inscribed Vincentius Brixiensis, Jecit
stored and renewed the ancient fountain of Augus-  1455. His heads are expressed with great truth
tus; carried the aqueducts over the Ponte Sisto,  and character, his design of the figure is correct,
to form the beautiful cascade opposite the Strada  and there is great harmony in his coloring. His
Giulia; and executed many other important works.  finest works are the pictures of the Trinity, and of
He died in 1614.                                 St. Orsola, in S. Pietro Oliveto, at Brescia; and
FONTANA, ORAZIO, a native of Urbino, an emi-  the Martyrdom of St. Sebastiano, in S. Maria di
nent painter on porcelain, who flourished at Castel  Brera, at Milan. Zamboni says that Foppa died
Durante, from 1540 to 1560. He acquired a high  in 1492, as appears from the inscription on his tomb,
reputation for the beauty of his ornamental vases,  in the church of S. Barnaba, at Brescia. There
" which," says Lanzi. " for the polish, the beauty  are many discrepancies in various writers concernof the figures, correctness of the forms, and bril-  ing this master, but the above account is the best
liancy of the colors, may perhaps be ranked be-  authenticated.
fore any that have come down to us from antiqui-   FORABOSCO, or FERABOSCO, GIROLAMO, an
ty."  He was largely patronized by princes and  Italian painter, was born at Venice, according to
nobles. He had a brother named Flaminio, who  Orlandi though others say he was a native of Paworked in conjunction with him, and was invited   dua. He flourished about 1640 and was a cotemto Florence by the Grand Duke of Tuscany, and  porary of Boschini, who assigns to this master, and
introduced his art there, under the patronage of  Cav. Pietro Liberi, the first rank among Venetian
that prince, about 1576.                         painters of the time. According to Zanetti, his
FONTANIEU, M. DE, a French amateur engra-  works were characterized by an elevated taste of
ver, who has etched a number of small plates of  design, combining softness and elegance with vigor
animals, &c., some of which are dated 1760.      and finish. His pictures were studies in every
FONTEBASSO, FRANCESCO, a Venetian paint-  part, particularly his heads, which appeared speaker and engraver, was born in 1709, and died in  ing. He executed a few works for the churches,
1769. He received his first instruction at Rome,  but was more employed for private collections.
but afterwards studied at Venice, under Sebastia-  Forabosco became very distinguished in portrait
no Ricci. As a painter, he attained scarce any dis-  painting, in which branch of the art he was much
tinction, and little is known of his works. As an   employed. His best productions were a portrait
engraver, he executed a number of plates, among  of the Doge Contarini, painted in 1655, and another
which are:                                       of the Doge Pesaro, in 1659. In the Palazzo Sangredo at Venice, among a number of admirable
The Virgin appearing to St. Gregory, who is praying for  works by the great masters, is an Old Man's Head
the Delivery of the Squls in Purgatory; after Sebastian   which sems to  e a    f        r
Ricci. A set of seven fantastical subjects,from his own  which seems to be a portrait of some person of
designs.                                         eminence, painted by Forabosco. It is in every
FONTEBUONI, ANASTAGIO, a Florentine paint-  respect admirable as to coloring, finishing and
er, who flourished from 1600 to 1620. He studied   character; and is full of nature, truth and expresunder Domenico  Passignano, and, according to  sion. He was living in 160.
Baglioni, visited Rome during the pontificate of   FORBIN, Louis NICHOLAS PHILIP AUGUSTUS,
Paul V., where he painted several good pictures for  Count de, a French painter, born at La Roque, in
the churches. Lanzi praises two admired works  1779. He had an appointment in the household
by him, in S. Giovanni Fiorentini, representing   of Napoleon, which he quitted in 1811, and went
the Birth and Death of the Virgin, which are con-  to study the great works of art at Rome, and
sidered his best works. He also painted the Vault  while in Italy he painted an Eruption of Vesuvius.
of S. Giacomo de Spagnuoli; and the Annuncia-  At the Restoration he was made general director
tion, in the church of S. Maria in Selci. This art-  of the Royal Museums. His earlier works, among
ist died in the prime of life, about 1621.       which is the Scene of the Inquisition, are superior
FONTENAY, JEAN BAPTISTE BLAIN DE, an  to those of his later years. He died in 1841.
eminent French flower-painter, was born at Caen,    FORBICINI, ELIODORo, a Veronese painter, who
in Normandy, in 1654. He studied under Jean  flourished, according to Vasari, about 1586. He
Baptiste Monnoyer, whose style he followed in  practised the art at Verona, where he was much




FORD.                     319                    FORN.
employed in painting grotesques, which he execu-  in the church of S. Tommaso, at Reggio, which
ted in a very spirited style.                    are executed in the manner of the two Fiancia,
FORD, M., an obscure English engraver in mez-  and Lanzi says that many of his works have been
zotinto, who flourished about 1760. He executed attributed to those distinguished ornaments of
several portraits, among which are those of Wil-  Bologna.
liam Stanhope, Earl of Harrington, after Du Pin;    FORNAVERT, J. P., an engraver of little note,
and Henry Singleton, Chief Justice of the Cor-  who was chiefly employed by the booksellers.
mon Pleas, in Ireland.                           Among other plates, he engraved a frontispiece to
FORE, LE, a French engraver of little note, who   a book of devotion, representing Moses and Aaron,
was chiefly employed by the booksellers, in en-  with the Four Evangelists. It is neatly executed
graving portraits.  Among others are those of      ith the graver, in ti  formal style.
Henry de Mausses and Nicolaus de Netz, Episc,    FORNAZERIS, JACOB DE, a French engraver,
Aurelianensis, &c.                               who flourished about 1615. He is supposed to be
FOREST JFrench landscape  the same as Fornazori, who engraved portraits in
FORESTI JEAN BAPTISTE, a Trn   ldsa          the style of Grandhomme.  He resided at Lyons,
painter, was born at Paris, in 1636. He acquired  and executed a number of plates for the bokselthe elements of design from his father, an artist of   ers touh h    or   are  reates f or te  oose
little note; but subsequently went to Italy, and  tho thcasso   artists. Amoot er pat
entered the school of Pietro Francesco Mola, at   hose of that classof artists. Amongotherplates,
td idt   th r  d    he engraved several frontispieces, which he generRome. He afterwards studied with great assiduR H r sgea  assiu-  ally embellished with small historical figures, cority the landscapes of Titian and Giorgione. On        embellished    h small historical gures, orhis return to Paris, he obtained the reputation of  retly drawn.  They are very neatly executed
being one of- the best landscape painters of the  with the graver, though in a formal style.
day, and was received into the Royal Academy in     FORRESTER, J., an English engraver, who
1674. His scenes are mostly taken from nature,  flourished about 1760. He resided several years
designed in a grand and elevated style. His pen-  in Italy, where he executed a number of plates in
cilling is bold and spirited, and his trees are  a neat and pleasing style, among which are several
touched in a bold and masterly style. Some of  etchings of landscapes.
his works have become dark, i consequence of his    FORTINI, BENEDETTO, a Florentine painter,
using a treacherous medium of coloring. He died  was born in 1675, and died in 1732. According to
at Paris in 1712.                                 Moreni, he studied under Bartolomeo Bimbi, and
FORLI. There are several old artists called da  excelled in painting flowers and animals.
or di Forli, mentioned by Vasari, Malvasia and      FORTORI, ALESSANDRO. a native of Arezzo
others, who derived their names from the place of  who flourished there about 1568. He was a reputheir nativity, but they are of no consequence in the  table painter of history, according to Vasari, but
history of art. The chief of these.are Guglielmo,  none of his works are specified.
a scholar of Giotto, Ansovino, a scholar of Squarci-    FORTUNA, ALESSANDRO, a native of Rome
one, and Bartolomeo, a scholar of Franeia.           ORTUNA, ALESSANDRO. a       native of Rome,
one, and Bartolomeo, a scholar of Francia.        who according to Passeri, studied under DomeniFORLI. See MELOZZO.                            chino. Under the direction of his master he
FORMELLO, DONATO DA, an Italian painter   painted some fables from Apollo, in the villa Aldewas born at Formello, in the Duchy of Bracciano.  brandini, in Frescati. He lived in 1610, but died
He studied under Giorgio Vasari, and according to  young.
Baglioni, visited Rome early in the pontificate of    FOSSANO, AMBROGIO DA, an Italian painter
Gregory XIII. He was employed by that pontiff  and architect of the Piedmontese School, who
in the Vatican, and executed several fresco works  flourished in 1473. He designed the superb fain a staircase of that palace, representing subjects  gade of the church of Certosa, at Pavia, and there
from the Life of St. Peter. These were greatly  is an altar piece in the same temple ascribed to
superior to the works of Vasari, and Formello  him.
would undoubtedly have attained great distinction   FOSATTI GoRGIo, an Italian engraver and arhad he        ^ not died young.FOSATTI, GIORGIO, an Italian engraver and arhad  he not died young.                          chitect, born at Morco, near Lugano, about 1705.
FORMENT, DAMIANO, a Spanish architect and   As an engraver, he executed the plates for an edisculptor, a native of Valencia, who flourished about  tion of Palladio, also plans of Venice, Bergamo
1525. Among other works, he erected, according  and Geneva. He possessed a profound knowledge
to Milizia, the facade of S. Engracia, at Saragossa,  of the theory of architecture, and published a hisentirely of alabaster, divided into four orders of  tory of the art, at Venice, in 1747.
columns, with statues larger than life. He also
made the Altar Screen of alabaster, of the Cathe-  FOSSATO, DAVID ANTONIO, a Venetian
dral of Huesca; it is divided into three orders by   ALU   painter and engraver, who flourished, acthree historical subjects, executed in alto-relievo.  cording to Brulliot, about 1743.  lie is little
It was commenced in 1520, and finished in 1533.   known by his works as a painter, but he etched
FORMENTINI, IL., a reputable landscape paint-  several plates of landscapes and historical suber of the Venetian school, who flourished at Vero-  ects after various masters of which the following
na, about 1700. There are several of his works   retheprincipal:
in the galleries at Verona, bearing his signature,    Diana and Jalisto; after Solimcna. The Family of
the figures in which were painted by Alessandro  Dariusbefore Alexander; after P. Veronese.  Jupiter
^Ma~ ~ r~h~ ~sini.~'fulminating the Vices; do. Rebecca and the Servant of
Marchesini.                                       Abraham; fter A. Bellucci. The Vocation of St. Peter
FORNARI, SIMONE, also called MORESINI, a  tothe Apostleship; do. A set of twenty-four Views of
painter of Reggio, who flourished in the first part  Venice, and landscapes; after Marco Ricci.
of the 16th century. There are some of hisworks     FOSSE, CHARLES DE LA. an eminent French




FOSS.                     320                    FOUQ.
painter, the son of a goldsmith, was born at Paris born at Bergen-op-Zoom in 1609. He was sent tc
in 1640. He studied under Charles le Brun, and  Antwerp while very young, and was placed in the
having gained the prize at the academy, he was, school of Vandyck; but when that master went
sent to Italy for improvement, with the royal pen-  to England, Fouchier returned to Holland, where
sion. He attached himself to the works of Titian  he studied under John Bylart, at Utrecht. He afand Veronese, and by studying them with great  terwards visited Rome, where he studied the works
assiduity he became one of the most distinguish-  of the great masters with assiduity, and met with
ed colorists of the French School. On his return  considerable encouragement during the pontificate
to Paris, he was immediately taken into the ser-  of Urban VIII. He remained in that city three
vice of Louis XIV., and painted four fine pictures  years, and would probably have attained a high
for the apartments in the Tuilleries. His next  reputation had he not been involved in a quarrel
work was a fresco painting in the chapel of St. Eu-  which obliged him to quit Rome. He then went
stache, representing Adam and Eve, and the Mar-  to Venice, where he adopted the style of Tintoretto.
riage of the Virgin. He also painted several other  After an absence of eight years Fouchier returned
admirable works, which gained him great reputa-  to Holland, where he soon discovered that the
tion. In 1693 he was elected a Royal Academi-  style he had adopted, and the subjects he reprecian, and painted the Rape of Proserpine for his  sented, were not so acceptable to his own countrypicture of reception. His genius was well adapted  men as they were in Italy, and he therefore asto grand and copious compositions; and he excelled  sumed the subjects of Ostade and Brower, in which
both in history and landscape; but his design is  he had great success, and his pictures of rustic fesnot very elegant or correct, and his coloring,  tivals, and drunken frolics, were much esteemed.
though equal to that of any other French master,  His works are still to be found in many of the
is inferior to the truth and purity of Titian and  collections in Holland. He died in 1674.
Vandyck.  The Duke of Montague invited La          FOUQUIERES, JACQUES, an eminent Flemish
Fosse to London, and commissioned him  to paint  landscape painter, born at Antwerp in 1580. He
two ceilings in his splendid mansion, which is now   studied first under Josse Momper, and afterwards
the British Museum.  The subjects were the  under John Breughel; but he adopted a style of
Apotheosis of Isis, and an Assembly of the Gods.  landscape painting totally unlike those masters,
King William, on seeing these works, offered La  and much superior to them. In this branch of the
Fosse a handsome establishment in England, but  art he attained such excellence, that Rubens occahe chose rather to return to France. Among his  sionally employed him to paint the back grounds
most important works are the pictures he painted   of his works. He subsequently went to Italy.
at Versailles, representing the Sacrifice of Iphige-  where he gained great improvement, especially
nia, the Infant Moses saved from the Nile, and in  from the admirable landscapes of Titian, which he
the chapel, The Resurrection. At Marly, he paint-  studied with great assiduity. His works are dised a picture of Bacchus and Ariadne; at Trianon,  tinguished for a free and firm pencil, and great
one of Apollo and Thetis, and in the choir of No-  clearness of coloring both in oil and fresco, though
tre Dame, the Nativity, and the Adoration of the  sometimes cold, and partaking too much of the
Magi.   His principal work, however, was the- green. His landscapes are decorated with figures
Cupola of the Invalids, which is 56 feet in diame-  correctly drawn, and touched in a very spirited
ter, representing St. Louis before the Virgin, and  style. On his return to Flanders, he was invited
Christ with a Glory of Angels, and the Four Evan-  to the court of the Elector Palatine, whose palace
gelists in the corners. La Fosse died at Paris in  he ornamented with some considerable works. In
1716.                                            1621 he went to Paris, where he painted several
JOSSE, JEAN BAPTISTE DE LA, a French en-  pictures for the Louvre, by order of Louis XIII.,
graver, born at Paris in 1721. He studied under  which were much admired by that monarch, and
Stephen Fessard, and was employed by the book-  gained for him  the honor of knighthood.  D'Arsellers, for whom he engraved a number of plates,  genville says that this mark of distinction renamong which were the illustrations for an edition  dered him so vain and foolish that he afterwards
of Ovid's Metamorphoses, and for La Fontaine's  never painted without his sword by his side; and
Fables. There are also several plates by him,  his conduct became so insolent, especially to N.
after the designs of Carmontel, among which are  Poussin, who was employed by the king in the
the following: The Duke of Orleans on Horseback.  Louvre, that that artist left Paris in disgust, and
The same, with his son, the Duke de Chartres.  resided at Rome the remainder of his life. FouM. Rameau. The Abbe de Chauvelin, 1757. The  quieres died at Paris in 1659.
Unfortunate Calas Family.                          FOUR, N. DU. See DuFOUR and LONGUERRUE.
FOTI, LUCIANO, a native of Messina, was born     FOURDRINIERE  PIERRE aFrench engraver
in 1694, and died in 1779.   e studied at Naples,      flourishedabout 1730. He visited London,
where he chiefly resided. He was a man of extra-  where he engraved several plates for the emelordinary talents in his line. His great merit con-  lishment of books, plays and pamphlets, among
sisted in the penetration of the secrets of the art,  which are some of the plans  f  oughton Hall,
which enabled him to detect every style, every pe-    d some large plates of architectural views for a
culiar varnish and the various methods of color-       volume of the Villa  of the Ancients, pub
ing of different masters, so that he not only as-  lished by Robert Castel, in 1728.
certained many doubtful masters, but restored pictures, damaged by time, in so happy a manner as    FOURNIER, a French engraver of little note,
to defy detetion  He could also accurately copy  who executed part of the plates for a small folio
every master, especially Caravaggio, whose style  volume, entitled Le  Tableaux e la Petence.
he adopted in his own compositions.                FOURNIER, (IAAc? ) a French portrait paintFOUCHIER, BERTRAM  DE, a Dutch painter,  er, who flourished in the first half of the 18th




FOUR.                     321                    FRAN.
century. He studied under de Troy, and after-  fifteen he had made great advances in mathematics
wards went to Holland, where he remained the  and other studies, when he turned his attention to
greater part of his life. He painted the portraits  painting.  He acquired the elements of design
of many distinguished persons of his time, among  from some inferior artist; but was more indebted
which were those of the Duke of Cumberland and  to his own natural abilities for success. He first
Admiral Anson. He died in 1754.                  distinguished himself at the court of the Duke
FOITRNIER, ISAYE, called FORNACERIIS, a  d'Urbino, where he painted several small pictures.
French painter, who flourished about 1590. Flo-  During the pontificate of Nicholas V., Francesca
ent le Comte says that he was one of the paint-  visited Rome, where he was employed by the pope
ers to Henry IV. He is also said to have engraved  in the Vatican. He executed a large composition
several plates, but the subjects are not mentioned.  which still remains in that palace, representing the
pontiff, with several cardinals and bishops; in
FOUTIN, J., a French engraver, who was prob-  which there is a truth of character in the heads
ably a goldsmith, and flourished  about 1620.  that is superior to the artists of his time, and if he
Among other works he executed several plates of  had possessed the grace of Masaccio, he would
ornamental foliage, with grotesque heads, figures,  nearly have equalled that master. There are several
&c. They are marked, J. Foutin, a Chasteaudun.  of his works at Arezzo, in the choir of the ConvenFOX, CHARLES, an English painter, born at  tuali, which show great advances in the art since
Falmouth in 1749. He visited Norway, Sweden   its infancy in the time of Giotto. In the public
and Russia, and made many designs from the wild  palace at Borgo S. Sepolcro, is a picture of S. Loand mountainous scenery of those countries. On  dovico by Francesca; and in the church of S. Chireturning to England, he produced many land-  ara, is the Assumption with the Apostles. The
scapes which were highly esteemed; and he also  latter work has something of the stiffness of deattained some distinction in portrait painting. Fox   sign which characterized the works of early paintwas fond of literary pursuits, and he wrote one or  ers; but in the coloring and airs of the heads, it
two poetical works. He died in 1809.             evinces the beginning of that great style, which
OX, CARLS an Engh e, bn        was afterwards improved by his scholar Perugino,
FOX, CHARLES, an English engraver, born in                                              ino,
n    and perfected by Raffaelle. Vasari says that Fran1797. He studied under Edwards, at Bungay in   a  pe        d b Raiaelle. Vasari says that Fran1797. He studied under Edwards, at Bungay in  cesca became blind in his sixtieth year, in 1458,
Suffolk, and afterwards went to London, where he  thoug
was employed by the booksellers, and executed     ough he lived to the age of 86, and died in 1484.
was employed by the booksellers, and executed      F       E         P       c      P      FIAMseveral plates after Wilkie, for Cadell's edition of    FRANCESCHI, PAOLO, called PAOLO FIAMScott's novels; as well as various illustrations for  MINGO. This painter was born in Flanders in
the annuals of the day. He also produced some   1540, but went to Venice while young, and resilarge plates, among which are a whole-length por-  ded there the remainder of his life. He studied in
trait of Sir Geo. Murray, after Pickersgill; and  the school of Tintoretto, and was most distinthe First Council of the Queen, after Wilkie. He  guished for his landscapes, though he occasionally
died in 1849.                                    painted subjects from history. He was employed
FRAGONARD, NICHOLAS, a French historical  by the emperor Rodolphus II., for whom he paintpainter and engraver, born at Nice in 1733, died in  ed everal landscapes and other subjects. Ridolfi
1806. He studied under Boucher, and having  praises two pictures by this master in the church
carried off the grand prize of the Academy, he        Niccolo de Fra, at Venice, representing the
went to Rome, with the royal pension. On his  Descent from the Cross, and St. John preaching
return to Paris he was elected a Royal Academi-  in the Wilderness. He died at Venice in 1596.
cian, in 1765, on which occasion he painted his fine  FRANCESCHIELLO.  See MURA.
picture of Callirhoe as his reception-piece, which    FRACANZANI,FRANCESCO, aNeapolitan paintwas much admired. His next work was the Vis-  er, who, according to Dominici, might have arrived
Hiation of the Virgin, for the Dtuke de Gramont.  at the pinnacle of fame. He studied under Giuseppe
He soon, however, left the path of high and noble  ibera and executed some works possessing a pesubjects which he had hitherto followed, and paint-   uliar grandeur of style and a nole tone of colr.
ed  bacchanals, conversations, and  subjects  of  His Death of St. Joseph in the Pellegrini is conFrench manners, many of which had an exceed-   idered one of the best pictures in Naples. He
ingly licentious tendency.  As an engraver he  afterwards fell into dissolute habits, and was fietched several plates from his own designs, and  nally condemned to death for some atrocious deed,
after other masters, among which are the follow-  by the common hangman, but for the honor of
ing:                                            the art, his punishment was commuted to secret
The Circumcision; after Tiepolo. The same subject;  death by poison, in prison, in 1657.
after Seb. Ricci. Christ with the Disciples at Emmaus;
do. The Last Supper; do. St. Roch; after Tintoretto.    FRANCESCHINI, MATTIA, a painter of Turin,
The Conception; do. Four Bacchanalian subjects; after  who studied under Cav. Claudio Beaumont. There
his owr designs.                                 are many of his works at Turin, executed in the
FRAISINGER, CASPAR, a German engraver of  manner of his master. He frequently painted in
little note, who flourished at Ingolstadt, in Bava-  competition with Felice Cervetti. He flourished
ria, about 1600.  Bartsch mentions two of his  in the middle of the 18th century.
prints, dated 1591; Brulliot mentions several    FRANCESCHINI, BALDASSARE, called IL VOLothers, inscribed with his name in full, one of  TERRANO, an eminent Italian painter, born, accordwhich is dated 1599.                             ing to Baldinucci, at Volterra, in 1611. He was
FRANCESCA, PJETRO DELLA, called PIETRO   called il Volterrano Giuniore, to distinguish him
BORGHESE, and DA BORGO S. SEPOLCRO. This old  from Daniele Ricciarelli da Volterra. He first
Italian painter was born at Borgo S. Sepolcro, in  studied under Matteo Roselli, and afterwards in
the province of Umbria, in 1398. At the age of  the school of Gio. de St. Giovanni. The latter;a




FRAN.                    322                    FRAN.
said to have engaged him as a coadjutor in some  he was nearly eighty years of age, and evince no
works in the Pitti Palace, but after witnessing his  decay of his powers. He died in 1729.
abilities, became jealous, and dismissed him.-    FRANCESHINI,, an Italian painter,
Franceschini was distinguished for his excellent  te sn ad s       o       preceding, born at Boeasel pictures, of which there are many at Volterra  logna in 1672. He painted history in the style of
and Florence, especially in the Palazzi Maffei and  h      a   exeted   number of works for
Sermolli. But it is in grand fresco works that his  hi s fat her, and execute among  whh are a pture
the Bolognese churches, among which are a picture
powers are displayed to the greatest advantage, and   f St. Usualdo, St. Marherita, St. Lucia, and St.
in these he ranks with the most eminent artists of.                               uci
modern times. His talents have been extraordi-  Cecilia, in S. Maria Incoronata; the Crucifixion,
in S. Simone; and St. Anna, in S. Martino. He
narily praised, but Lanzi says he deserves all the  din     in  174.  
applause he has received, which is justly due to
his ingenious and abundant invention; the cor-    FRANCESCHINI, DOMENICO, an Italian enrectness of his design, so rare in great fresco works;  graver of little note, who has executed, among
the spirited movement of his figures; his perfect  other plates, a slight etching of the Amphitheatre
knowledge of foreshortening; and the subdued  of Flavius; dated 1725.
harmony of his coloring. The fire of an ardent    FRANESHINI VINNZIO an Italian engenius was tempered by study and reflection, and,d euted amn
his natural taste of design was elevated and va-graver, who lived about 1750, and executed among
ried by association with the best works of art at  other works, a part of the plates for the Museo
med  by  association with the best works of art at  Fiorentino, published in 1748. They are usually
Rome and Bologna. Among his great frescos is  marked V F
the cupola of the Capella Niccolini, in the church  mad V 
of S. Croce at Florence, which is a wonderful pro-    FRANCESCHINO. See FRANCESCO CARACCI.
duction.  At the Nunziata, is another, equally    FRANCESCHITTO, or FRANCISQUITO, a
deserving of praise; and in the vault of a chapel  Spanish painter, who studied under Luca Giorof S. Maria Maggiore, is a picture of Elias, which  dano while the latter was in Spain.  He gave
is so admirably foreshortened as to be worthy a  promise of great talent, and his master was accomparison with the celebrated St. Rocco, by Tin-  customed to say that the pupil would surpass his
toretto. The oil paintings of Franceschini fre al-  instructor. When the latter returned to Italy,
so highly esteemed; among them are a picture of  Franceschitto accompanied him, and painted a
St. Filippo Benizzi, in the Nunziata at Florence;  picture at Naples for the church of S. Maria del
St. Giovanni Evangelista, in S. Chiara at Volterra;  Monti, which nearly verified the prediction of
and St. Carlo Borromeo communicating the Pes-  Luca, representing St. Pasquale, with a beautiful
tiferous, in the Nunziata at Pescia. He died in  choir of angels, and a sublime landscape.  He
1689.                                          would undoubtedly have attained great eminence,
FRANCESCHINI, CAy. MARC' ANTONIO, an  had he not died at Naples, while quite young.
FRANCESCHINI, CAV. MARc' ANTONIO, an
eminent Italian painter, styled by Lanzi as one of    FRANC IEVILLE, PIERRE, a French sculptor,
the heads of the new Bolognese school, was born  born at Cambray in 1548. His parents wished
at Bologna in 1648. He first entered the school  him to pursue a literary career, but his love for
of Gio. Battista Galli, but afterwards studied un-  art induced him to quit the paternal mansion and
der Carlo Cignani, with whom he formed a warm   go to Italy, where he placed himself under Jean de
attachment, which was increased by his marrying  Boulogne. He made rapid progress, and attained
the cousin of his instructor, the sister of Quaini.  such distinction, that Henry IV. recalled him to
Cignani favored him above all his scholars, giving  France, and employed him in a number of works.
him a separate studio, furnishing him with select  The four figures which adorn the pedestal of the
models for designing the nude, and directing him  statue of Henry IV. on the Pont Neuf, together
how to use them to the greatest advantage in his  with the bas-reliefs and accessories, are by Francompositions. By this excellent instruction, and  cheville.
a constant study of the best works of art, he ac    A
quired the tasteful choice and grandeur of Cignani,    FRANCHINI, NICOLO, a nativ e of Siena, who
and combined with the manner of that master, a   uied hm self rather b resini  He works o
harmony of coloring, and a novelty of style en-  guihed  himsef rather by   restoring the works of
tirely original. His invention was most abundant,   her mastersthan b  is own productions.   By
and his execution exceedingly rapid; his coloring  hikill, says Ca. Picci, "in restoring injured
is clear, without coldness, and his compositions co-  specimens to their original beauty, without applyC;ing to them a fresh pencil, and by supplying the
pious without confusion. The principal works of if       o       the s     an  b   sppintg o
this great master at Bologna, are a ceiling in the         with others take from paintings of
Palazzo Ranuzzi- the Death of St. Joseph, in  less value, he entitled himself to the praise of a
Corpus Domini;  t. Francis of Sales kneeling be-  newdiscovery.  He waslivingin 1761.
fore the Virgin and Infant, in la Madonna di Ga-    FRANCHI, ANTONIO, an Italian painter, born
leria; a fine picture of the Annunciation, at the  at Lucca in 1634. He studied under Baldassare
Institute; and St. John in the isle of Patmos, in la  Franceschini, and settled at Florence, where he beCaritg. At Rimini, in the church of the Augus-  came a reputable painter of history, and was emtines, is a fine picture of St. Tommaso giving alms  ployed by the Grand Duke to paint a number of
to the Poor. Franceschini continued to practice the  easel pictures, as well as others for private collecart until he reached the age of eighty-one, with lit-  tions. He also painted a number of fine works for
tle diminution of powers, as is evident from his  the churches, among which, his picture of Christ
picture of the Founders of the Order in the Padri  giving the Keys to St. Peter, in the parochial
Bervi, at Bologna; and the Dead Christ, in the  church of Caporgnano at Lucca, is considered his
Agostini at Imola, which were both executed when  master-piece. His picture of St. Giuseppe di Ca



T^c ~ALI\.                 323                    FRAN.
iassanzio, in the church of the Padri Scolopi at  latter. In the accessories of his landscapes he riFlorence, is admired for its correctness of design,  vals both, but in landscape itself, and in the splenand vigor of effect. He composed a work enti-  dor of his architecture he is inferior to them." He
titled La Teorica della Pittura, published after  afterwards enlarged his manner, and painted sevhis death, in 1739. IIe died in 1709.             eral altar-pieces for the churches at Bologna with
FRANC, GSEPPE, an Italian  sculptor, born   equal success, which caused authors to make a disFRANCII, GiusEPPE, an Italian sculptor, born
a  173. He ey wt to R e t   tinction between his first and second manner; the
at Carrara in 1730. He early went to Rome to  first that of Perugino, and the second founded on
study the art, in which he attained such distinc-  that of Andrea Mantegna. Perhaps his best altartion, that in"1776 he was invited to Milan, to as-  piece was that in the Bentivogli Chapel, painted in
sume the professorship of architecture in the Ac-      w tt in thtili Cpein                 ein
ademy of Fine Arts in that city. His works were  1490. It is a beautiful specimen of the age, disademy of Fine Arts in that city. His works were
highly esteemed for their purity of design, and   playing the most finished delicacy of art in every
individual  figure and ornament, especially in the
they often gained the prize at the exhibitions. He  individual figure and ornament, especially in the
arabesque pilasters, in the manner of Mantegna.
had many scholars, and discharged the duties of  arabesque pilasters in the manner of Mantegna.
had many scholars, and dischaxged the duties of  Lanzi further says that when Raffaelle was in the
that responsible office with great reputation for  midst of his career at Rome and was more regardthirty years, until his death in 1806.
y y, uil his dh in 16.           ed in the light of an angel than a man, and had
FRANCHI, LORENZO, the Younger, an Italian   already executed some works at Bologna, "he bepainter, born at Bologna about 1563. He studied   gun a correspondence with Francia, urged to it by
under Camillo Proccaccini, and after leaving that  the letters of the latter; Raffaelle became his
master, he studied with great assiduity the works  friend, and on sending to Bologna his picture of
of the Caracci, and copied many of their works,  St. Cecilia, he requested him, on discovering any
besides imitating their style in small pictures.  error in it, to correct it; an instance of modesty
He became eminent in this line, and his works are  more to be admired in our Apelles, than even his
universally ascribed to the masters whom he imi-  paintings."  This occurred in 1518, in which year
tated, so that his own name is scarcely known out  Vasari closes the life of Francia, who, he declares,
of Italy. He died about 1630.                     died of melancholy on finding how much Raffaelle
FRANCHI, CESARE, a painter of Perugia, who  exceeded him in every particular of the art. But
stdidndeIr   ARE, a painter of Perugia, who   Lanzi proves this a "weak invention of the enestudied under Giulio Cesare Angeli. He excelled   L          t     awe   iventi  th 
in small historical pictures, which are found in the  my,' and that he viewed it with enthusiastic admiration. Malvasia, also says~that "he lived many
best collections of Perugia and other places. He  mrat        aas, also ssa   he led many
died in 1615.                                     years afterwards, and though aged and declining, he changed his manner."  It is clearly proved
FRANCIA, FRANCESCO. The real name of this  that he painted his celebrated St. Sebastian, after
artist was Raibolini, but he is universally called by  this event, founded on the manner of Raffaelle
Italian authors Francesco Francia.  There is con-  which he exhibited in a room at the Mint, and
siderable contradiction among authors, as to the  which for a long time, according to Malvasia,
merits of this artist, the reputation he enjoyed,  served as a studio for the Bolognese pupils, who
and the time of his death. Lanzi satisfactorily  flocked to it to copy its proportions with as much
puts all these matters at rest, and we shall not  zeal as the ancients did a statue of Polycletes, or
discuss them  here. He was born at Bologna in  the moderns, the Apollo in the supposed Antinous
1450. He is said to have been bred a goldsmith.  Belvidere. Francia also painted in fresco, but with
Lanzi says, "the truth is he had a consummate  less success. Lanzi shows that he died April 7,
genius for working in gold, on which account the   1533.
medals and coins taken from his models rivaled         A     A    A                   on n 
those of Caradosso, the Milanese."  This was his  of the preceding        wse ste  hson ad schol
forte, and on this he relied for his renown, for on  of the preceding artist, hose style he so close
ome  of   his paintins he srelied   hims renw, Franc-  ly imitated that it is now often difficult in the
some of his paintings he signed himself Franc-               Bologna to distinguish the works of
cus Irancia Aurifex.  He did not begin to ex      gallery at Bologna to distinguish the works of
He did not begin to exer-  the father from  those of the son. He painted
cise his pencil till he had arrived at maturity of  the  fr the r from   hes and pic edifie at 
manhood; then he set himself to work with such   much for the churches and public edifices at Bomanhood; then he set himself to work with such           w       t         h   
diligence that he equaled, if he did not excel, any   logna, w   er e they are held in gret veneration.
of his predecessors. Malvasia says,'he was es-  He also paisted sometimes in conjunction with
teemed and celebrated as the first man of the age,"   is ath, a in the ch h of, wher
and Vasari asserts that "he was held in the esti-in a Nativity, Giacomo painted the figures. and
mation of a god."  But the appearance of Raffaelle  Francesco the cherubs. Lanzi sal s that in his
threw him as well as all his cotemporaries of the  earlier works he did not equal his father, but 
old school far into the shade. Lanzi says his Ma-  progress of time, he acquired a more free and easy
manner. Some of his Madonnas were copied; and
donnas rank beside those of Pietro Perugino and   manner.  Some of hs Madonnas wee copied and
Gio. Bellini; Raffaelle too, in a letter dated 1508,   ngad    Agino Ca. Hehadso,  edi   attBoquoted by Malvasia, praises his Madonnas, "never  whom  he instructed in the art, but he never achaving beheld any more beautiful, more devotional in their expression, and more finely composed   quired any celebrity, though there is an altaral in their expression, and more finely composed                     c    h o S: Rc   n  a fe
by any artist,."  Lazi says his manner is nearly  piece by him in the church of S: Rocco, and a few
by any artist.e   Lanzi says his manner is nearly   o     s       a  B           w      do n    rise
between those of Perugino and Bellini: "It boasts  oe    e e   at Bologna, whh do  ot rise
the choiceness and the tone of color of Perigino,abovemediocrity. He died in 1575.
while in the fullness of its outlines, in the skill of  FRANCIA, GIULIO. or RAIBOLINI, was a cousin
the folding and the ample flow of the draperies, it  of Francesco, flourished at the same time with
bears greater resemblance to Bellini. His heads,  him at Bologna, but never acquired much distinchowever, do not equal the grace and sweetness of  tion, and died in 1540.
the former, though he is more dignified than the    FRANCIA, FRANCESCO MARIA, an Italian en,




FRAN.                     324                    FRAN.
graver, born at Bologna in 1657; died in 1735.  reputation, and succeeded in establishing a sueHe studied in the school of Francesco Curti, where  cessful academy. Among his principal works is
he made rapid improvement. The Jesuits em-  the great altar-piece in the church of the Cordeployed him to execute some plates of saints and  liers at Paris, representing the Nativity, dated
sacred subjects after various masters, and he soon   1585; also another, in the Cathedral at Antwerp,
rose to distinction. His works are distinguished  representing one of the miracles of St. Gomer,
for correctness of design, and great intelligence of  signed H. F. F., 1607. At the death of Francis
chiaro-scuro. He was very laborious, his plates  Floris, the scholars of that master placed themnumbering about 1500. The Musee de Florence  selves under the tuition of this artist. He died,
has four portraits of ancient painters, engraved by   according to Zani, in 1620.
this artist. His finest plate is the Conception of  FRANCK, or FRANCKEN, FRANCIS, called the
the Virgin, after Franceschini.                  Elder, a Flemish.painter, the younger brother of
FRANCIA, DOMENICO, an Italian painter, the'Jerome F., born at Antwerp about 1546.  He
son of the preceding, born at Bologna in 1702. He  studied under Francis Floris, and painted history
studied under Franceschini, and afterwards under  with considerable reputation. His easel pictures
Bibiena, of whom  he became one of the most dis-  are superior to his larger works; they are well
tinguished scholars. In 1723, he went to Vienna  colored, and touched with great freedom and effect.
and associated himself with Giuseppe, a son of Bi-  In 1581, he was received into the academy at Antbiena. They both visited Prague, to assist in pre-  werp. His master-piece is an altar-piece in the
paring for the ceremony of the coronation of  cathedral of that city; the principal picture repreCharles VI. He was much employed in designing   senting Christ among the Doctors; and on the
sumptuous court festivals, the elegance and splen-  two folding doors, the Baptism of St. Augustine,
dor of which gained him  great reputation, and   and the miracle of the Widow of Sarepta. He
he was employed by several sovereigns for this  died in 1616.
purpose.. On returning to Vienna, he received      FRANCK, or FRANCKEN, AMBROSE, the
various commissions, and executed a number of  youngest brother of Jerome F., was born at Antworks which were greatly admired, especially for  werp about 1549. He studied under Francis Flotheir admirable perspective. The king of Sweden  ris, and painted history with reputation. He exeappointed him  cabinet painter, and in 1736 he  cuted a-number of works for the churches of the
went to Stockholm, remaining there till 1744, du-  Low Countries, among which is an altar-piece in
ring which time he executed many excellent works  the cathedral at Antwerp, representing the Marfor the royal palaces. He then visited Lisbon,  tyrdom of St. Crispin, and also a picture of St.
and afterwards Rome, leaving proofs of his talents  Luke painting the portrait of the Virgin.
in both those cities. He subsequently revisited    FRAN        or FRA                         
Vienna, and executed several new works; after    F       C   o  RANCKEN, SEBAST    the elwhich he returned to Bologna. Commissioned to   er sn      rnis  rder       br
paint in fresco the wall of the convent of the Con-  Antwerp in573. He studied under Abraham van
ception, he commenced the work, but unhappily   Oort and gained considerable reputation for his
fell from a ladder a~nd died in 1758.            battle-pieces and skirmishes of cavalry. He afterwards painted landscapes, into which he introFRANCIA, MARC' ANTONIO, called also FRAN-  duced sacred subjects, and in these he was considCIA BIGI and FRANCIA BIJIO. See BIGIO.           ered one of the best artists of his time. Some of
FRANCISQUE. See MILE.                          his finest productions are in the collections of the
FRANCK. CONSTANTINE, a Flemish painter.  Elector Palatine, one of which, representing the
born at Antwerp about 1660. He was distin-  Works of Mercy, is highly esteemed.
guished for his skill in painting battle-pieces and  FRANCK, or FRANCKEN, FRANCIS, called the
sieges; and his works possess great merit, though   Younger, was the younger son of Francis Franck the
usually somewhat dry and hard, and perhaps not  Elder, born at Antwerp in 1580. He studied under
equal to the productions of Vandermeulen. His  his father, and followed his style for some time.
master-piece is much superior to his usual produc-  after which he visited Italy, and resided chiefly at
tions, representing the Siege of Namur by king   Venice, where he studied the works of Titian and
William, in which he introduced the portrait of   Tintoretto. After an absence of three years he
that monarch and those who attended him. The  returned to Antwerp, and was admitted to the
town was seen in the distance, and the encamp-  academy in 1605. He painted several works for
ment was between the principal group of figures  the churches at Antwerp, one of the best of which
and the city.                                    is Christ Disputing with the Doctors, in the CaFRANCK. HANS, an old German wood engraver,  thedral. C. de Bie places his death in 1642.
who is supposed to be the same as Jan Franck,    FRANCK, or FRANCKEN, JOHN BAPTIST,
who resided at Nuremberg and wrought for Albert  the son of Sebastian F., born at Antwerp in 1600.
Durer. Among other works, he assisted in the  He studied under his father, whose style he folTriumph of the Emperor Maximilian, after Hans  lowed for some time, but subsequently greatly imBurgkmair.                                       proved himself by an assiduous study of the works
FRANCK, or FRANCKEN, JEROME, a Flemish   of Rubens. He first painted subjects of history;
painter, born, according to Brulliot, in 1542, at Her-  but subsequently became greatly distinguished for
enthals, near Antwerp, and studied under Francis  his interiors of saloons and galleries, decorated with
Floris, on leaving whom he visited Paris, and was  paintings and statuary, with gallant assemblies
employed by Henry III., whose portrait he paint-  of figures and conversations. These works were
ed. and was appointed painter to the king. He af-  touched in a very spirited style, with great beauterwards visited Italy, and remained some time at  ty of coloring; they were much in request, and
Rome. On returning to Flanders, he soon gained   were placed in the choicest collections. The small




FRAN.                      325                     FRAN.
pictures which he introduced into his galleries,  cellence. It is supposed that he acquired this art
were painted so exactly in the, style of the master  from Marc' Antonio Raimondi, which conjecture is
he wished to irxitate, that it was easy to point out  strengthened by the resemblance of his style to
the original artist.  His talents were often em-  that of Giulio Bonasone, a pupil of that great masployed in executing the figures in the compositions  ter. The plates of Franco are worked entirely
of his cotemporaries; many of the interiors of Pe-  with the graver, although some of them appear to
ter Neefs are decorated with figures by this ar-  have been assisted with the point. They are exetist.                                              cuted in a free, bold, but pleasing style.  His deFRANCK, JOHN ULRICH, a German desigsigner   ig  evinces the grandeur and correctness of his
and engraver, born at Kaufbeuren, in Suabia, in  favorite model, Michael Angelo; and his masses
1603.  He resided chiefly at Augsburg, where  of light and shadow are broad and masterly.  He
he etched several plates from  his own designs,  usually marked his plates B. F. V. F., for Battista
among which are the following:  A set of four  Franco Venetus, fecit.  Bartsch enumerates over
Battles of Cavalry; Hans Ulrich Franck, f  1643.  100 prints by him, among which is one dated 1563.
The Meeting of David and Abigail. Alexander  Zani says he was living in 1566; and Vasari says
and the dying Darius.  1644.                       he died in 1580. Lanzi; however, places his death
FRANGK, JOHN, a German engraver, the son  in 1561.  The following are his principal plates:
of John Ulrich F.  He executed several plates for    Moses striking the Rock. Abraham meeting Melchisethe booksellers, among which are some of those in  dec. Abraham sacrificing Isaac. The Israelites gathering
the booksellers, among which are some of those in
jthe Priorata Hist. Leop. He also engr aved a set  Manna in the Desert. The Captive Kings brought before
the Priorata Hist. Leop.  H e also engraved a set  Solomon. The Adoration of the Shepherds, with Angels
of the gardens and fountaifs in the vicinity of  in the Clouds. The Virgin and Infant, with St. John. St.
Rome, in concert with Susanna Sandrart and J.  John the Baptist. St. Jerome holding a Skull. Christ disMeyer.                                             puting with the Doctors. The Entombing of Christ by the
FRANK  FRANCis FRERIC another son A         of r  Disciples. Simon the Magician before the Apostles. The
FRANCK, FRANCIS FREDERIC, another son of   Cyclops at their Forge. Hercules and Dejanira. The DoJohn Ulrich F., was a portrait painter, as ap-  nation made to the Church by the Emperor Constantine;
pears from several plates by Kilian, bearing his mo-  after Raffaelle. A Bacchanalian subject; after Giulio
nogram of three F's interlaced, and the date 1683.  Romano. The Triumph of Bachus; do. The Deluge;
after Polidoro cda Caravaggio.
FRANCKALLS, BAPTIST, an engraver of little  after Poioro a Caraaggio.
FRANCKA^S,   APTI, n enagralve of lite         FRANCO, GIACOMO, an Italian designer and
note, mentioned by Florent le Comte, who says he     FRANCO, GrAcoMo, an Italian designer and
excelled   engravin tournaente  Cmte, wh    sayshe   engraver, probably a relative of Battista F., born at
and magnificent decorations.                       Venice about 1560. His design is correct; the
and magnificent decorations.
heads have a fine expression; and his style is free
FRANCO, ALFONSO, an eminent painter of Mes-  and masterly, resembling that of Agostino Caracci.
sina, was born in 1466, and died of the Plague in   The following are his principal plates:
1524. Hakert says he was the boast of hisage,    Part of the plates for an Edition of Tasso's Jerusalem,
in Messina, and that he painted in a natural man-  published at Genoa in 1590; after the designs of Bernarner, with a correct design and a lively expression,  do Castelli; the rest were engraved by Agostino Caracci.
which made his works so much sought after, that  Habiti delle Donne Venetiane; published in 1626. A colthey have left only two of his pictures in his native  lection of portraits of the Great Men; dated 1596. St.
place, —a Deposition from the Cross, at the church   Jerome; J. Franco Rom, s. The Crucifixion; signed
Giacomo Franco, fec. Hercules between Virtue and
of S. Francesco de Paolo, and the Dispute of Christ  Pleasure; from an antique basso relieen   e
with the Dotors, at S. Agostinantique basso relievo.
with the Doctors, at S. Agostino.       FRANCO, GIUSEPPE, called also DE'MONTI, and
FRANCO, ANGIOLO, an old Neapolitan painter,  DALLE LODOLE, a reputable Roman painter, who,
who died about 1445. According to Domnici, he   says Baglioni, was one of the artists employed on
studied under Calantonio del Fiore, and paintedin tie works prosecuted by Sextus V. He afterthe style of Giotto, with a stronger management  wards went to Milan, where he resided many
of chiaro-scuro.                                   years.  He was called Lodole, because he often
FRANCO, BATTISTA, called IL SEMELEI, an em-  marked his pictures with a Lark. He died in the
inent painter and engraver, born at Venice in 1498.  pontificate of Urban VIII.
After acquiring the elements of design in his native  FRANCO, LORENZO, a Bolognese painter, was
city, he went to Rome, where he studied with great  born, according to Malvasia, about 1563.  He
assiduity the works of Michael Angelo. He also  studied under Procaccini.  He afterwards became
visited Florence, where he copied all the pictures     excellent imitator of the manner of the Caracci,. I ^   * f an excellent imitator of the manner of the Caracci,
sculptures, and designs of that great master. By   though in the opinion of P. Resta, his style was
his careful study of these excellent models, Franco  somewhat too minute.  He settled at Reggio,
became one of the ablest designers of his time, al-  where he painted history with success, and exethough he was less successful in coloring. Vasari      d some works for the churches.
mentions among his best productions, the frescos  c
in a chapel alla Minerva at Rome, representing       FRANCO, BOLOGNESE.  See DA BOLOGNA.
several subjects from the Evangelists.  He painted   FRANCOIS, LUcAs. This painter was born at
in fresco the choir of the Metropolitan church at  Mechlin, in Flanders, in 1574. It is not known
Urbino; and a picture in oil representing the Vir-  under whom he studied; but he painted history
gin and Infant between St. Peter and St. Paul,  with considerable reputation, and was also much
which, according to Lanzi, is painted in the best  employed as a portrait painter.  He visited the
style of Florentine art, though there is something   courts of France and Spain while young, where he
of stiffness in the figure of St. Paul. In the Sa-  gained eminence, and was appointed painter to both
cristy of the cathedral at Osimo, are several easel  of the reigning monarchs.  After six years he repictures from the Life of Christ, which are consid-  turned to Flanders, where he painted several altarered as rarities, as he seldom painted any small  pieces for the churches, which are deserving of
works.  As an engraver, Franco attained great ex-  great praise.  l'here is a fine picture by him  at




FRAN.                      326                    F'RAN.
Tournay, in the Abbey of St. Martin, represent-  sacred character, and he usually avoided those sub
ing St. Placido and St. Maurice; also in the church   jects which call for crowded compositions, or
of St. Catherine, at Mechlin, the Martyrdom of  violent attitudes, as his character was remarkable
St. Lawrence. He died at Mechlin, in 1643.        for meekness and placidity. He executed a large
FRANCOIS, PETER. This painter was the son  number of works for the Bolognese churches. and
of Lucas F., born at Mechlin in 1606. He studied  some of them are so much in the simple and beauunder his father for some time, and followed his  tiful style of Raaelle, that they seem to have been
style in large historical works; but he subsequent-  pnted from the designs of that master.  Among
ly entered the school of Gerard Segers, whose acad-  these are his admirable frescos in the chapter of S.
emy was then in high reputation, and adopted a  Michele in Bosco, representing the Four Evangelemy was then in high reputation, and adolted a  ists
mode of painting history and portraits of a size, the Annunciation, the Death of the Virgin,
smaller than life, which were highly esteemed for  and the Assumption. In the same church he exebeauty of coloring,. and neatness ofpenciling. The  cuted the principal altar-piece, which is designed
beauty of coloring, and neatness ofpenciling. The
archduke Leopold invited him to his court, and fa-  entirely in the taste of Raffaelle, and may be ranked
vored him with his patronage and esteem. He was  among his finest productions, representing the Viralso invited to Paris, where his works were Much   gin and Infant in the Clouds and below St. Miadmired, and gained him great reputation and em-  chael, St. Peter, and St. Benedict. He sometimes
ployment. He remained in France four years, and   painted small pictures under his altar-pieces, which
then returned to Flanders, where he practised the  are very beautiful; in S. Giaomo, under his large
art with great success. His design is firm  and  paintingof the Marriage of St. Catharine, is an
correct, his compositions ingenious, and his color-  exquisite little picture of the Nativity. In S.
ing clear and seductive. At Mechlin, in the church   Matteo is an altar-piece of the Virgin and Infant
of the Nuns of Bethenian, are two pictures'by with several Saints; and below  four small picPeter Franois, of subjects from the history of  tures, representing Christ appearing to Mary Magtheir order. He died in 1654. He had a young-  dalene in the Garden; the Presentation in the
er brother named Lucas, born at Malines in 1615.  Temple  St. Peter, Martyr; the Nativity; and
He painted history and portraits with considerable  Christ in the midst of the Doctors. He was an
reputation, and resided for several years in France,  adept in perspective, as is evident from  his imwhere he practised the art with excellensce       mense fresco work in the cupola at Faenza, in
which Lanzi compares his landscape and perspecFRANCOIS, SIMON, a French painter, born at  tive to Leonardo da Vinci. Malvasia says he died
Tours in 1606. He made some progress in the  of a pestilential fever, at the age of 56. The date
art without the aid of an instructor, after which   of his last work is 1549.
he went to Italy, where he remained several years,
and formed at Bologna the acquaintance of Guido.    FRANIPANE, NICCL, an Italian painter,
whose portrait hepainted. On returningtoFrance,  born at Padua, or Udine-for writers differ.  He
he settled at Paris, where he painted the portrait  flourished from 1565 t 1597, as appears from the
of the young Dauphin. This work was much ad-  dates of his works, which prove him to have been
mired, and the artist anticipated a brilliant and  an artist of great abilities. At Pesaro is an altarfortunate career, but was unfortunately disappoint-  piece by him, of St. Stefano; and at Padua, in the
ed. He died at Paris, in obscurity, in 1671.      church of S. Bartolomeo, a fine picture of St.
FRANCOIS, JEAN CHARLES, a French engra1   Francesco, dated 1588. His master-piece, howFRANCOIS, JEAN CHARLES, a French engra-    Assumption, in the Conentuali at
ever. is the Assumption, in the Conventuali at
ver, born at Nancy in 1717. According to Zani,  Ri         hich Lai metions inthehighestterms
he was the original inventor of the style of engrav-h L i    ts in t  h                     
ing in imitation of crayons, and that author cites  FRANQUAERT, JAMES, a Flemish painter and
a letter addressed to M. Saverien in 1740, in proof  architect, born at Brussels, according to Balkema,
of his positiot. He published a work on his dis-in 1577. His parents were highly respectable,
covery, which gained him  great reputation; and  and gave him a liberal education; but having early
his admirable-productions, which could not be dis-  manifested an inclination for art, he was sent to
tinguished from crayon drawings, gained him  a  Italy, where he studied painting and architecture
pension from the king of 600 francs. Franqois  for several years.  On returning to Flanders, he
also executed a number of small portraits with  soon gained a good reputation, and was appointed
the graver; besides the plates for the History of   principal painter and architect to Albert and Isathe Modern Philosophers, by Saverien.  Brulliot  bella, then governors of the Low Countries. Franand Zani sayhe died in 1769. The following are  quaert was highly esteemed by his patrons, who
his principal plates:                             employed him in several important works in both
LouhisXV, of France.  i Queen. Peter:Bayle   arts. There are a number of his pictures in the
Louis XV., King of Fnce.   His Queen. Peter HByle   church of the Jesuits. at Brussels, which edifice
after Carle Vanloo. Desiderius Erasmus; after Holbein. Thomas Hobbes; after Pierre. John Locke; after  was erected from his own designs. He died in
Vien.  Nicholas Malebranche; after Bachelier. The  that city, in 1652.
Dancers; after F. Boucher. A March of Cavalry; after    FR     NH        a Flemish painter born at
Parrocel.                                           FRANS, NICHOLAS, a Flemish painter, born at
FRANC   INNOCENZI, called DA IMOLA,  Mechlin in 1539. He painted history with repuFRANCUCCI, INNOCENZIOJ called DA    I  OLA,   tation. His drawing is correct, and his coloring
born at Imola, though he resided chiefly at Boborn at Imola, thouhhreidexcellent. In the collegiate church of Our Lady,
logna. In 1506, he entered the school of Frances-  excellent   n   th e ollegiate church of Or Lady,
at Mechlin, is an altar-piece by this master, repreco Francia, and subsequently went to Florence,   eti   the  lih intoEgypti and in the church
according to Malvasia, where he remained several  senting  te F   t into Egy   and in th chures
years in the school of Mariotto Albertinelli. His     of H answck ne ar Mechlin, are two 
style is founded on that of il Frate and Andreaa
del Sarto, whose works ht appears to have studied   FRANSSIERES, J. DE, a French engraver of
with great assiduity. His pictures are all of a  little note. He executed, among other works, par




FRAR.                     327                    FREE.
of the plates for a set of Turkish habits, published  FREEBAIRN, ROBERT, an English landscape
at Paris in 1714, by M. de Ferriol.              painter, born in 1765; studied a short time under
FRARI, FRANCESCO. See BIANCHI.                Richard Wilson, after which he went to Italy
and remained about ten years. His talents were
FRATACCI, or FRATAZZI, ANTONIO, a na-  of  common order, and he never attained distive of Parma, who studied under Carlo Cignani, tinction. On his return to England, he met with
and became an excellent imitator of his style.  several patrons, and as he was slow of execution
There are some of his works in the churches at it is probable that they were the chief purchasers
Bologna. At Parma, Lanzi says, he was not much  of his works. He executed about forty prints ot
employed in public, but his works are to be found  Italian and English scenery. He died in 1808.
in the collections, where they hold quite a high   FREEZEN  JOHN         RGE, a German painter
rank. He painted at Parma in 1730.                 FREEZEN, JOHN GEORGE, a German painter
rank.  He painted at Parma i 1730.              of fruit and flowers, born at Palts, near Heidelberg,
FRATE, IL. See DELLA PORTA.                   in 1701. He first studied under John.van NikkeFRATE, PAOLOTTO IL. See GHISLANDI.            len, and afterwards in the school of Philip van
FRATELLINI, rGIVANNA,  a celebratedItalian   Dyck, of whom he was one of the most distinpaintress, born  at Florence in 1666.     al   guished pupils. He was patronized by the Duke
painess born at Florence     1666. She early  of Hesse and was appointed historical and pormanifested a strong inclination for the art, and at-  of  esse an   as app e  h     l an 
tracted the attention of the Grand Duchess Vic-  trat aner t  he cur o   assel
toria, who took her under her protection, and      FREMIN, RENE, a French sculptor of emicaused her to be instructed in drawing and music,  nence, born at Paris in 1673. He studied the eleby the best masters. She afterwards learned min-  ments of the art in his native city, and afterwards
iature painting under Ippolito Galantini, and finally  went to Italy.  On his return he soon gained recompleted her studies under Antonio Domenico  putation, and produced a number of good works
Gabbiani. She painted historical subjects and por-  for the churches and public edifices, among which
traits in oil, in miniature, and in crayons.   were the bas-relief in the chapel de Noailles
In the latter she chiefly excelled, and equalled  at NotreDame; the great altar in the chapter of
the celebrated Rosalba. She soon gained a wide-  the Louvre; and the statue of St. Sylvia, in the
spread reputation, and was much patronized by  chapel of the Invalides. At this time, Philip V.,
the nobility of Florence, and the most illustrious  of Spain was commencing the gardens of St. Idelpersonages of Italy. She painted the portrait of  fonso, in imitation of those at Versailles, and
Cosmo III., and that of the Grand Duchess, her  among many other artists he invited Fremin, who
patroness. One of her finest productions is a pic   was employed from 1722 to 1729. Among other
ture in tle Ducal Gallery at Florence, representing   works, he executed the statue of Apollo; the busts
her painting the.portrait of her son. She died in  of Philip and his Queen; a group of the Four
1731.                                            Elements; a statue of Minerva; and the Fountain
FRATELLINI, LORENZO MARIA, a Florentine  of Perseus, which sends up a jet of water 115 feet
~~~FRATELLN, LORNZOMARA,               high. In i745, he returned to Paris, loaded with
painter, the son and scholar of Giovanna F., born  hih   n       he  honors.
in 1690. He afterwards studied in the school of  riches and honors.
A. Domenico Gabbiani, where he acquired a ready    FREMINET MARTIN an eminent French paintand correct style of design. He painted history  er, born at Paris in 1567. He was the son and
and portraits with reputation, and bid fair to at-  scholar of an obscure painter, and with no better
tain great distinction; but he died, in the prime  advantages, he acquired sufficient ability to proof life, in 1729.                                duce his fine picture of St. Sebastian, in  the
RTN   GAETAO  a p    o  t.        church of S. Josse, at Paris. He afterwards visitFRATTINI, GAETAN. a painter of  the Bo-  ed Rome, where he formed an intimacy with Giulognese school, who studied under Franceschini.  seppe Cesari, though he did not follow the manner
He was a reputable artist, and there are some pie- of that master. His style was founded on that
tures by him in the churches at Ravenna, particu-  of Michael Angelo, whose works he studied with
larly an altar-piece at the Corpus Domini.       great assiduity. He possessed a ready invention;
FREART, ROLAND, DE CHAMBRAY, an eminent  his design was bold rather than elegant, and he
French architect, who flourished about 1640. He  was a perfect master of anatomy and perspective.
was the cousin of M. Desnoyers, the Secretary of  In attempting to imitate the grandeur of BuonaWar, and Superintendent of Buildings under Louis  rotti, he fell into an extravagant style, and the
XIII. He was twice sent to Rome by the King,  movement of his figures is strained and violent.
on some important affairs, and availed himself of  Freminet visited. Florence, and afterwards Parma,
these opportunities to make a collection of all that  where he studied some time the works of Parwas rare and curious in the fine arts of Italy,  miggiano. After passing fifteen years in Italy, he
which laid the foundation for his excellent and  returned to Paris, in the reign of Henry IV., who
very useful treatise, entitled Parallele de 1' Archi-  appointed him his painter, and employed him  in
tecture Antique avec le Moderne. While Bernini  the chapel at Fontainbleau, but the artist had
was in France, the King desired M. de Chambray   hardly commenced that undertaking, when the
to work in concert with that architect, who soon   king was assassinated. Louis XIII. continued to
discovered his superior acquirements, and told the  employ him, and honored him with the Order of
King that in M. de Chambray he had a master  St. Michael. The ceiling of the chapel at Fonwhom he should have felt an honor in following,  tainbleau was his most important work, and gained
and that he was not so bold as to make any change  him  a great reputation. It represents subjects
in his design for the Louvre. This tribute of  from the Old and New Testaments, among which
praise is given on the authority of Milizia, and is  are Noah and his Family entering the Ark, and
of the very highest character, coming from  so  the Annunciation. In the angles he has repreillustrious an artist as Bernini.                sented the Sibyls, designed in the tasteful style of




FRER.                      328                    eitEU.
Parmiggiano. He did not long survive the corn-  evinces the benefit he had received from his studies
pletion of this work, and died at Paris in 1619.   after Titian. In 1656, he returned to Paris, where
FRERES, THEODORE or DIRK, a Dutch painter,  he painted, among other works, a fine picture of
born at Enkhuysen in 1643.'His family was an-  St. Margaret, for the church of that name, and
cient and wealthy, and he received a liberal edu-  four landscapes in the Hotel d' Amenonville, in
cation.  He manifested so strong a predilection for  which the figures were by Mignard.  During the
drawing, that his parents acceded to his desire of  remainder of his life, he was occupied in preparing
visiting Italy, and he passed several years at Rome,  for publication his admirable poem  on the art,
studying the antique, and the best works of mod-  which ences a profound knowledge of the theor
ern art.  He returned to Holland with a large   of painting, and has gained for its author a high
collection of drawings he had made in Italy, and   reputation.  Among his principal works which he
soon gained considerable eminence. His composi-  executed while residing at Rome, are the Birth of
tions are ingenious and tasteful.  The studies he  Venus; the Birth of Cupid; the Filial Piety of
made in Italy are more distinguished for purity    Eneas; a young Athenian visiting the Tomb of
and correctness of design, than for beauty of col-  her Lover the Ruins of Campo Vaccin   and
oring.  He is said to have been invited to Eng-  Mars finding Lavinia asleep on the Banks of the
land by Sir Peter Lely, who promised to- present  Tiber-one of his best works.  He died at Paris,
him to the king; but on arriving at London, he  in 1665.
found the situation he desired filled by Antonio     FREUDWEILER, DANIEL, a Swiss painter,
Verrio, and therefore returned to Holland.'Among   born in 1793. He was the son of a poor shoehis principal works are the ceiling of the public   maker, but manifesting a genius for art, he was
hall in Amsterdam, and some pictures in a palace   gratuitously instructed by Pfenninger, and afterof the Prince of Orange. He had just completed   wards visited Rome in 1818, where he attached
some important works in the Town-House at Enk-  himself to the study of the works of Raffaelle.
huysen, when he died, in 1693.                     On his return to Zurich, he had recourse to porFRESNE, CHARLF.S DU, a French amateur en-  trait painting, and acquired considerable reputagraver, who lived about 1680, and executed, ac- tion; but died in 1827.
cording to Basan, a few plates, among which is the    FREUNDWEILER, HENRY, a Swiss painter,
Interview between St. Nil and the Emperor Otho   born at Zurich in 1755, and died in 1795. He
III., after Domenichino.                           painted portraits with reputation, and is highly
FRESNOY, CHARLES ALPHONSE DU, a very   esteemed for his pictures commemorativeof events
eminent French painter, was the son of a respecta-       the  nationalhistory of his country.
Die apothecary, born at Paris in 1611.  He was       FREY, JAMES, an eminent Swiss engraver, born
intended for the medical profession, and received a   at Lucerne in 1681; died at Rome, in 1752. He
finished classical education; but his genius for  is better known by his Italian name, Giacomo
painting was so decided, that at the age of eighteen   Frey; though there was another engraver of this
he ventured to express a wish to study that art.  name, but of inferior abilities. He acquired the
His parents opposed him  with great pertinacity,  elements of design in his own country, after which
but he determined to follow the bent of his gen-  he went to Rome, at the age of 22, where he studius at all hazards, and entered the school of Fran-  ied for some time under Arnold van Westerhout,
cois Perrier, after which he studied under Simon   but afterwards entered the flourishing school of
Vouet, and remained with those masters three   Carlo Maratti, where Robert van Audenarde was
years. He then determined to visit Italy, although   then a pupil.  Here Frey made rapid progress, and
without resources. On arriving in that city, he  was soon considered one of the ablest artists in
produced a number of views of edifices and archi-  that city. His plates are distinguished for gracetectural ruins in and near Rome; but, though his  ful and correct design, and most admirable harmoworks were not without merit, he found it very   ny of effect. They are etched with spirit, and the
difficult to attract public notice. Destitute of   etching is worked over in a firm  and masterly
friends, and  deprived  of all assistance  from   style..He is surpassed by few artists for faithful
his family, he could scarcely subsist, and re-  imitation of the styles of the masters after whom
mained for two years in indigence and obscurity,  he engraved.  He executed a large number of
until the arrival of his fellow-student, Pierre Mig-  plates of which the following are the principal:
nard, from Paris.  The two friends immediately                        PORTRAITS.
formed for each other an unwavering attachment,    Carolus Eques Maratti; after a picture by himself —
which lasted their whole lives, and Mignard, who   Pope Innocent XIII.; Aug. Massucius. inv. Pope Benwas more succesful than du Fresnoy, divided with  edict XIII.; do. Pope Gregory XIII.; after the marhis friend the proceeds of his pencil; and. though   ble by Camillo Rusconi. Hieronymus Picco de Miranhe possessed a greater facility than the latter, he   dole; PNelly, pi. Clementina M. Britan. Franc. et
was often aided materially by his profound refec-  Hib. Regina; J. rey.
tions, and his perfect acquaintance with the theory        SUBJECTS AFTER VARIOUS MASTERS.
Af the art. The two artists were employed by the     The Holy Family; copied from Edelinck's print after
Cardinal of Lyons to copy the choicest works of   R     lle  A Charity, with three Children; aer Albao.
The DeA  of wth tree  Cildre n la; aT.ero.
Annibale Caracci in the Farnese Gallery, and they   The Death of St. Petronilla; fter Guercino. The Crown
ing of the Virgin; after Caracci. The Virgin giving the
were most assiduous in their studies of Raffaelle  Scapular to St. Simon Stock; after Seb. Conca. St.
and the antique. In 1653, he left Rome for Ve-  Francis de Paula restoring a Child to life; after B. Lamnice, intending to return soon to France, but was  bertini. The Archangel Michael; afte  Guido. The
so much impressed with the works of Titian, that  Four Fathers of the Church; do. The Death of St.
he wrote to Mignard to join him  in that cit    Anne; after A. Sacchi. St. Romuald; do. The Martyrdom of St. Sebastian; after Domenichino. The Cornwhere he remained about eighteen months, and   munion of St. Jerome; do. The Four Angels of St. Carpainted a number of works, whose fine coloring  lo Catenari at Rome, representing Justice, Temperance




FREY.                       329                      FRIS.
Fortitude, and Prudence; do. The Rape of Europa; af-  chitect, he erected, among other works, the trium'er Albano. Aurora, with the Hours dancing before the  phal arch for the Entry of Charles V. into Ant.
Chariot of the Sun; after Guido; in two sheets. Bac-  werp.
chus consoling Ariadne after the Departure of Theseus;
do.; in two sheets. An allegorical subject of Clemency;  FRISIUS, JOHN EILLART.  This engraver was
after Carlo Maratti. St. Bernard; do. The Adoration   probably a relative of the preceding, and was
of the Shepherds; after Seb. Conca. St. Charles Borro-  chiefly employed by the booksellers, for whom he
meo interceding for the stopping of the Plague; after P.  executed a number of portraits, among which are
da Cortona. A Riposo, where St. Joseph is presenting  those of Henry IV        n
those of Henry IV. of France, and Henry of NasCherriesto the infant Christ; after Carlo Maratti. Au-d Henry of Nasgustus shutting the Temple of Janus; do. St. Andrew   sau, Prince of Orange; scarce.
kneeling before the Cross; do.                         FRISIUS, SIMON, an eminent Dutch engraver,
FREY, JOHN PETER DE, a Dutch engraver, born   born at Leuwarde, in Friesland, about 1590, and
at Amsterdam  in 1770, and studied under Lau-  was probably a relative of the preceding artists.
wers.  Being naturally unable to use his right  He is regarded as the first who brought etching
hand, he notwithstanding determined to pursue   to perfection, and Abraham Bosse, in his treatise
the art with his left, and by indefatigable exer-  on the art of engraving, &c., thinks Simon Frisius
tions surmounted every difficulty.  He settled at  entitled to great credit for being one of the.first
Paris, where he became greatly distinguished for  that handled the point with freedom and facility.
his able design, and the boldness of his graver.  His etchings are in a bold and masterly style, and
His plates exhibit fine and well-exercised talent,  in his- hatchings he approaches the neatness and
and there are many prints by him, after Rem-  strength of the graver.  The small figures in his
brandt, Flink, G. Douw, and other eminent Dutch   landscapes are correctly drawn, and his prints are
masters, which are highly esteemed, particularly   scarce and highly esteemed.  They are frequently
the Family of Tobias, the Ship-Builder and his  marked S. F., fecit, and sometimes with the word
Wife, the Anatomical Demonstration, and the Pre-  fecit only.  The following are the principal:
sentation in the Temple, all after Rembrandt.-         A set of twelve small heads of female Saints and Sibyls;
Joubert says his last work is dated 1818; but  marked fecit; after his own designs. A set of portraits;
there is a print by him of the Comte de Hauterive,  after Henry  ondius. A set of twelve plates of Birds
dated 1827, and he was employed in 1830.             and Butterflies; after Mark Gerard. Twenty-five Views
and Landscapes; after Matthew Brill, entitled, TypoFREZZA, GIO. GIROLAMO, an Italian engraver,  graphia Variorum Regionum, aeri incisa a Simone
born near Tivoli, in 1660. He studied at Rome,  Frisio, ab J. Visschero excusa. 1651. A mountainous
under Arnold van Westerhout, and executed a   Landscape on the Sea-Coast, with figures; marked Henry
uder Arnold van Westerhout, and executede ad   Goltzius inv. Siimon Frisius,fec. A Landscape, with a
number of plates, which are etched with care, and   Tor  1608; Henry Golzius, inv. Lastman, inv. S.
neatly finished with the graver, but have little   Frisius,fec. aqua.fort. A Landscape, with the Flight
vigor or effect. The following are the principal:  into Egypt; Hondius inv. S. Frisius,.fec. A Landscape
witltwo pastoral figures; marked S. Frisius; highly finThe Gallery of the Verospi palace; seventeen plates;  ished, and very scarce.
after the frescos by F. Albano. A set of ten plates, in- RISO  D
eluding the title; after the nine pictures by Niccolo Bere-  FRISO, DEL. See BENFATTO.
toni, in the church of la Madonna in Monte Santo, at    FRITS, or FRITZ, PETER, a Dutch painter
Rome. The Twelve Months; after Carlo Maratti. The  born at Delft in 1635. His subjects were incansame subjects are engraved by Poilly. The Virgin suck-  tations and similr a    ditis in te ste 
ling.the Infant; after L. Caracci. The Holy Family;,                  ilar absurdities, in the style of
after Carlo. Maratti. The Assumption of the Virgin;  Jerome Bos. He visited several courts of Europe,
do. The Judgment of Paris; do. The Riposo, called the  but had little success, and died in 1682.
Zingara; after G(orreggio. The Descent of the Holy     F
Ghost; after Guido; scarce. Polyphemus on a Rock,       RITSCH, DANIEL  a German  painter, who
and Galatea and her Nymphs on the Sea; after Sisto  lived about 1590, and was an imitator of Lucas
Badalocchi. Polyphemus hurling a Rock at Acis and   Cranach. Kugler mentions a picture in the church
Galatea; do. Venus; after an antique painting; for  at Templehof, near Berlin, dated 1596, which was
the Crozat collection. Pallas; do.; do.             supposed to be the work of Cranach, but on cleaning
FRIANO, TOMMASO DI SAN.  See MANZUOLI.   was found to be by Fritsch.  That author says it
FRIDERICH, JAMES ANDREW, a German en-  is inferior to the later works of Cranach, but is
graver, born in 1683. and died in 1751.  He exe-  distingshedfor the excellence and individual
cuted a number of plates of Hussars, and other        uth of the heds.
Horsemen, after Rugendas.                              FRITZSCH, CHRISTIAN, a German engraver
FRIES, ERNEST, a German landscape painter,  and a native of Hamburg.  He wrought chiefly for
born as Heidelberg in 1801; studied at Munich,  the booksellers, for whom  he executed a number
and attained a high reputation.  Several of his  of portraits, among which are those of Benedict
finest works are in the collection of the senator  XIV., and John Churchill, Duke of Marlborough.
Jenisch at Hamburg, and one in that of M. de           FRIULANO, NIccoL5, an old artist of Friuli
Mitchels at Heidelberg.  He died in 1833.           some of whose works are found at Gemona, one of
FRIQUET, DE VAUROSE, an artist mentioned   which is signed Magister Nicolaus Pintor me feby Basan, who says he studied painting under Se-  cit. 1332.  Lanzi says that to this artist is asbastian Bourdon, and also engraved some of the   cribed that vast and meritorious production, still
works of that master.                               in such a state of fine preservation, ornamenting
FRIS S, JOH   VREDEMAN, a Dutch engraver  the dome of Venzone, and which represents the
solemn scene of the Consecration.
and architect, born at Leuwarde, in Friesland, in                        Consecration.
1527. He executed the plates for a book of mon-        FROMANTIOU, HENRY DE, a German painter
uments, published at Antwerp in 1563, by Jerome   born. at Nimeguen in 1630.  In the gallery at
Cock.  They are etched, and finished with the   Saltshal, is a beautiful flower-piece by him.  It is
graver, with considerable intelligence.  As an ar-  said that he followed the style of Rembrandt, and




FROS.                     330                     FUES.
that Wouwerman gave him  his daughter in mar-  painter, who possessed great talent, though not
riage, with a large portion; but this is rather  mentioned by Palomino or Pons. He was born at
apocryphal, as Wouwerman never became rich by   Granada in 1600. His subjects and manner of
his profession, but died in chagrin at finding his  treatment resemble the Bassans; he was distinworks so little esteemed.                         guished for correctness of design, vigor of chiaroFROSNE, JEAN, a French engraver, born at Pa-  scuro, and a beauty of coloring that nearly apris about 1630. He executed part of the orna-proaches the excellence of the Venetian school
mental plates for the collection of Views, &c., by   In S Giovanni at Granada is a fine picture by
S. de Beaulieu.  Marolles also mentions forty-  Fuente, representing that saint kneeling before the
three portraits by him, among which are the fol-  Infant Jesus; and in the Augustines another adlowing:                                          mirable work representing the Passion of Christ.
Claude Baud   A    de la CroFor S. Laurentio at Seville, he painted the Birth
Claude Baudry, AbbW de la Croix; after Le Bon.  of Christ, which has been copied many times.
1657. Louis de Lorraine, Due de Joyeuse. Henry d'Or-  But his master-piece is n emblematical work in
leans, Due de Langueville. Nicholas Dauvet, Comte de
Desmarez; qfter Stresor. Nicholas Potier, President of  S. Felipe el Real at Madrid, representing Charity
the Parliament. M. Dreux d' Aubray.              with figures of life size; it is very highly esteemed
FROST, GEORGE, an English painter, born in  for its elevated taste of design, fine expression of
Suffolk in 1744. He became somewhat distin-  the heads, and beauty of coloring. There are also
guished for his landscapes, both in oil and in water-  many other of his works in Granada, Seville, and
colors, which he executed in the style of Gains-  Madrid. He died in 1654.
borough, of whose pictures and designs he pos-    FUESSLI, HENRY. See FUELI.
sessed a large collection. He died in 1821.         FUESSLI, MATTHIAS, a Swiss painter, born at
FRUTET, FRANCISCO. This painter was a na-  Zurich in 1598. He studied under Gothard Ring
tive of Flanders, though he resided chiefly at Se-  gli, and afterwards visited Italy for improvement,
ville, where he flourished about 1548. It is not  where he acquired the esteem of Tempesta and
known by whom  he was,instructed, but it is  Spagnoletto. On his return to Switzerland, he
probable be formed his style from the study of  gained considerable reputation for his works,
the great works of art at Rome, as his taste of  which were chiefly battle-pieces, conflagrations,
design resembles the elevated character of that  and the sacking of cities. He died in 1665. Both
school, and exhibits little of the taste of his coun-his son and grandson attained good reputations as
try.  His master-piece is in the chapel of the Hos-  portrait painters. The latter died in 1739.
pital of St. Cosmo and Damiano at Seville. In       FUESSLI, JOHN MELCHJOH, a Swiss engraver
the centre picture he has represented the Cruci-  born at Zurich in 1677, and died there in 1736.
fixion; on the outside of the folding doors, the  He was talented and indefatigable, and has deVirgin and Infant, with St. Bernard; on theTn-  signed and executed a great number of plates,
side. Christ bearing his Cross, and the Entomb-  among which is that of the Ceremony of the Oaths,
ment.                                            by which was consecrated the alliance of the reFRUYTIERS, PHILIP, a Flemish painter born at  public of Venice with the two cantons of Zurich
Antwerp,according toBalkema, in1625. Hisfirst at-  and Berne. The principal part of the plates for
tempts were historical subjects in oil, and he execu-the Bible of Scheuchzer, were engravedafter deted an excellent altar-piece for the cathedral, repre- igns of this artist.
senting the Virgin and Infant sitting on a Globe, with  FUESSLI, JOHN CASPAR, an eminent Swiss
choir of Angels.  He soon, however, gave up oil  painter, born at Zurich in 1706. He visited Vipainting for distemper and miniature, and attained  enna, where he studied some time under John
a reputation in these branches second to no other  Kupetski, and attained considerable. distinction
artist of his time. His works are characterised  particularly for his portraits, which were much
by a ready invention, and an excellent system of  admired. He was appointed painter to the court
coloring. He was highly esteemed by Rubens,  at Rastadt, where he resided several years, after
who employed him to paint the portraits of him-  which he returned to Zurich. and practised the art
self and family, which were executed greatly to   with reputation. He executed a series of magiste
the satisfaction of that master.  Fruytiers etched  rial portraits, which have been engraved in mez
a number of plates in a masterly manner, which   zotinto by Valentine Daniel Preisler, and others
are chiefly portraits.  Hedied in 1677.          He also designed and engraved the portraits for
FRYE, THOMAS, an English portrait painter and  the Lives of Swiss Painters, by himself, in three
engraver, born about 1724. He painted portraits  volumes. He died in 1781.
with some success, and executed several plates in   FUESSLI, JOHN RODOLPH, a Swiss painter and
mezzotinto, among which are the following: His  engraver, the elder son of John Caspar F., born at
Majesty George III.  The Queen.  His own por-  Zurichin 1737. He studied under his father and
trait. That of his Wife, and the celebrated Miss  became skilful in both departments of art. In
Pond.                                            1765, he visited Venice. In 1798, he commenced
FUCCIO, an old Florentine architect and sculp-  his Catalogue Raisonne of the works of the best
tor. mentioned by Vasari. In 1229 he erected the  engravers of each school, but only lived to comchurch of S. Maria at Florence, on the Arno. He  plete four volumes, comprising the best producalso finished the Vicaria at Naples, the Castle dell'  tions of the Flemisht and Italian schools.  He died
Vovo, begun by Buono; he erected the gate over  in 1806.
the Voltlrno at Capua, and enclosed two parks, a  e                                  I
with walls, for the  chase, one at Gravina  and  the,    F^  DINNDO, an eminent Italian arch
other at      he M      oe a G                   tect, born at Florence, according to Milizia, in
Fother at MT     T.                    -1699. He was of noble descent and received an
FUENTE, JUAN LEANDRO DE LA, a Spanish  education suited to his rank. At twelve years of




FUGE.                       331                     FULC.
age, he began to study the elements of architecture  for 130 years, until, in 1260, it Was at length
under Gio. Battista Fugini an architect and sculp-  dedicated, by Pierre de Mincy, the sixty-sixth bitor of some eminence; at eighteen he was sent to  shop. The spire and tower was commenced by
Rome, where, delighted with its ancient remains   Jean Texier in 1506, and completed in 1514.
and modern edifices, he fixed his residence. In        YFULARUS, or FURCK, SEBASTIAN, a Ger1725 he was sent to Naples by the Cardinal Giu-        * man engraver, a native of Goslar, according
dire, to erect a public chapel in the portico of the  to Prof. Christ, as the name of that town is incourt of his palace, called di Cellamare;-an ex-  scribed on several of his prints. He resided at
pensive and elegant work. In 1728 he was sent  Rome during the early part of his life, and engraved
for to Palermo, by a deputation from that king-  a number of plates as early as 1612. From 1620
dom. to design a bridge over the Milcia river, which  to 1630, he resided at Frankfort on the Maine, and
was afterwards executed by others. On the acces-  executed a number of plates after Titian and other
sion of Clement XII., Fuga was appointed ponti-  masters; also many portraits, chiefly for the bookfical architect, and was employed i erecting many   sellers, among which are those of the Columna famadmirable works, among which was the noble pal-  ily. His plates are executed chiefly with the graace of the consul, on Monte Cavallo; the church   ver, though there also a few etchings by him. The
della Morte, in the Strada Guilia; and the new   following are his principal works:
faqade of S. Maria Maggiore. He also designed the    The Last Judgment; after M. Angelo Buonarotti.
Triclinio in the piazza of St. John of Lateran, and   On the tombstone, at the left-hand corner, his cipher is
the Corsini palace, which is one of the most su-  marked, in the first impressions of the print; and when he
perb and magnificent edifices in Rome. In con-  had retouched the plate he added the inscription, Sebassequence of the fame he acquired by these works,    n.Fucaus eincidique. St. Sebastian; a half figure
ki    Charles of Naples invited him  to his court   An ornamental Frontispiece to the works of Gul. Fabriking                                               cinCharles of Npe   nie   it_ ius, dated 1646. It is etched in a very spirited style, and
and commissioned him  to erect the great Reclu-  is signed S. Furck,f. He also engraved some plates from
sorio, which is the largest hospital in Europe. He   Titian, and other masters.
also designed a palace for the Duke Giordani, and     FULCO, GIOVANNI, a Sicilian painter, born at
another of immense size, for the prince Caraman-  Messina in 1615. He studied the elements of deica.                                               sign in that city, after which he went to Naples,
Fuga lived to upwards of eighty years of age,  and entered the school of Stanzioni. According
when he possessed that youthful vigor which re-  to Hakert, he was a firm and correct designer, and
suits from regular and moral conduct, cheered and   was distinguished for his admirable representations
enlivened by application and industry.  He was  of children. Many of his pictures have been detruly an admirable architect; understanding two   stroyed by earthquakes.  The best of those still
of the most important parts of his profession, sol-  preserved, are his fresco works, and an oil painting,
idity and ornament. His humility was the result  representing the Birth of the Virgin, in the chapel
of a perfect acquaintance with the difficulties of his  of the Crucifixion at the Nunziata de Teatini, at
art.  He was a man of distinguished merit, and   Messina. He died about 1680.
deserving the good opinion of all.                    FULLER, ISAAC, an English painter, who flourFVGER, FREDERIC HENRY, a German painter,  ished in the reign of Charles II.  He studied unborn at Heilbronn. in Suabia, in 1751. He stud- der Francois Perrier at Paris. He painted history
ied at Leipsic, under Oeser, and afterwards visited   and portraits, but succeeded only in the latter, as
Dresden, where he derived much improvement  his historical works are very inferior.  His porfrom the study of the works of art in the famous  traits are good likenesses, and some of them  are
gallery in that city.  He afterwards went to Vi-  executed in a bold and masterly style.  He etched
enna, where he soon gained distinction, and was  -several plates for a drawing-book; and in concert
taken under the protection of Maria Theresa. He   with Tempesta and Henry Cooke, etched the plates
remained five years in Rome, and two in Naples.  for the Moral Emblems, by Caesar Ripa, which
On returning to Vienna he soon gained a high   are poorly executed. Fuller died at London in
reputation. His subjects were history and por-  1672.
traits, in which he followed the principles of Ra-    FULTON, ROBERT. It may be interesting to
phael Mengs, and the German writers consider him   artists to know that this celebrated engineer was a
among the best artists of his time.  His designs  practical artist, in his early life. From the-age of
for Klopstock's Messiah gained him a great reputa-17  to 21, he painted portraits and landscapes in
tion, and are perhaps his best productions. In   Philadelphia. In- his 22d year, he went to Eng1806, the emperor Francis I. appointed him Direc-  land to prosecute his studies, and was received
tor of the Imperial Gallery, and under his able   with great kindness by Mr. West, who was so
management it became so attractive as to be the     
resort of the majority of German artists.  He   much pleased tht his promhimin   isown hous and amidied in 1818. Brulliot mentions two prints by   able qualities, that he took him into his own house,
died in 1818. Brulliot mentions two prints by   as a member of his family, where Fulton resided
Ffiger, one of Moses and Aaron; the other, Ju-  as a member of his family, where Fulton resided
iFger, one of Moses and   Aaron; the other, Ju-  for several years. After leaving West, he seems
pi~ter and Juneo~. ^to have made painting his chief employment for a
FULBERT, a bishop of Chartres, who flour-  livelihood for a considerable period, though at this
ished about 1015. Being instructed in architec-  time his mind was occupied with various great
ture, he undertook to rebuild his own cathedral,  projects connected with engineering. In 1797, he
which had been three times destroyed by fire. He   went to Paris, in prosecution of these projects,
died in 1028, and is supposed only to have'built  and to fill his empty coffers, he projected the first
the crypt. Gilbert, in his description of this ca-  panorama ever exhibited in that city. From this
thedral says that Thierry, or Theodore, succeeded  time, all his energies were devoted to mechanics
Fulbert, and continued the work until his death, in  and engineering.  He was born at Little Britain,
1048. The structure progressed by slow degrees  in Pennsylvania, in 1765, and died in 1815.




FUMA.                      332                    FUSE.
FUMACCINI. See SAMACCHINL                      He was a cotemporary of the Galles and Sadelers,
FUMIANI, Gio. ANTONIO, an Italian painter,  who engraved some plates from his designs.  His
born at Venice in 1643. He studied at Bologna,  style resembles nearly that of those artists. His
where he acquired an excellent style of composi- utline of the figure was correct bu in attempting
tion and design, and then returned to Venice, where  the grand style of M. Angelo, like many others he
he devoted himself to the study of the works of  fell into affectation and extravagance. His plates
P. Veronese. He did not, however, attain such  are executed entirely with the graver, in a slight,
excellence as might have been expected from these  feeble manner. The following are the pincipal:
advantages; there is a lack of vigor in his chiaro-    A set of six plates of the Parable of the Good Samariscuro, a coldness and languor in his coloring, and  tan. The Martyrdom of St. Felicia; P. Furnius in. el
also a want of expression, unusual in the school.fec. The Escape of Clelia, with other subjects from the
also a want of expression, unusual in the school  R       H
where he was educated. Lanzi thinks his best                              
picture is Christ in the midst of the Doctors, in  FUSELI, HENRY, was the son of John Caspar
la CaritA at Venice; but that author remarks that  Fiiessli of Zurich, Switzerland, but he chose to
his best productions have the defects alluded to.  write it Fuseli, by which name he is universally
He died in 1710.                                 known. This extraordinary man was born, acTFUMICELLI, LODOVICO  an Italian painter,  cording to his biographer, John Knowles, F. R. S.,
born a      t Trevigi, and ourish   about l536. Laniat Zurich, in Switzerland, Feb. 7th, 1741, which
born at Trevigi, and flourished about 1536. Lanzi
says he was one of the ablest imitators of Titian.  city had been the native place of his faily for
though it is not known whether he studied under  m        generations. He exhibited a passion for the
that master. In the Padri Serviti, at Trevigi, he  fine arts from early infancy, but his father, having
painted a picture of St. Liberale and St. Caterina,te him for the curch, did all
pain-ed a pictureof St. Ziberale and St. Caterina,  he could to thwart the natural bent of his genius,
with two laterals, representing St. Sebastiano and   he ould to thwart the natural bent of his genius,
St. Filippo, the founders of the order. In 1536, he   and prohibited him from  drawing. This opposipainted the principal altar-piece of the Padri Ere-  tion met with the fate which usually attends all
mitani at Padua, representing the Virgin and In-  such attempts. Young Henry contrived to devote
taniatPaduapresentingtheVirgin and-  to his favorite pursuit every moment in secret that
fant seated in the Clouds, with saints below, which,   hs fvord it   e prsuit every mome occupations s   and
according to Ridolfi, is designed and colored in a  he could withdraw from his other occupations; and
accstyle worthy of the greatidoli, is designed and colored in    he used in after life to tell of his purloining canstyle worthy of the greatest masters. Fumicelli
dle ends from the kitchen, to enable him to sit up
was induced to abandon the palette, by the offer  a n      nd    se in solitude and secresy his 
of an advantageous situation in the engineers.   da       r    ling studies. His father had an extensive clh
darling studies. His father had an extensive colFUNGAI, BERNARDINO, a Sienese painter, who  lection of prints, after the old masters, and by freflourished about 1512. There are several of his  quently copying them, he rendered himself familiar
works at Siena, which retain something of the  with their styles andmerits. Michael Angelo was
dry, Gothic style that preceded him, though not  his favorite, even at this early age, which shows
more than other artists of his time. Among them   the natural bent of his genius. He did not confine
are a picture of the Virgin and Infant with Saints,  himself exclusively to copying, but frequently
dated 1512, at the Carmine; and the Crowning  varied his drawings according to his own fancy,
of the Virgin, at Fonte Giusta.                  and even designed originals. In order that he
FURINI, FRANCESCO, an eminent Italian paint-  might be duly qualified for the sacred office for
er, the son of a reputable portrait painter, born at  which he was destined, his father placed him, at
Florence in 1604, and first studied under his fa-  the proper age, in Humanity College, where his
ther. He afterwards entered the schools of Pas-  old friends, Bodmer and Breitinger were distinsignano and Roselli, and then went to Rome. where  guished professors. Iere he became acquainted
the works of Guido attracted his admiration, and  with the celebrated Lavater, his fellow-student in
he studied them with great assiduity, but rather  theology, with whom he formed an intimate friendas a rival than an imitator. He soon attained a  ship, that lasted till death. It was here, also, that
high reputation for his admirable easel pictures,  he begat to cultivate a knowledge of the English lanwhich are found in the best Florentine collections,  guage, in which he made such proficiency as to be
and are very highly esteemed. He designed with  able to read the English poets with ease and decorrectness and elegance, particularly the delicate  light. Shakspeare and Milton were his favorites.
forms of women and children; and he generally   At this time, also, he translated Macbeth into
chose those subjects in which they could be intro-  German, and subsequently, the Letters of Lady
duced with the happiest effect. Such was his re-  Mary Wortley Montague. It may be observed
putation, that Lanzi calls him the Guido and Al-  here, that Fuseli possessed such extraordinary
bano of the Florentine school. Among his finest  powers of memory that when he had read a book
works were a picture of the Three Graces, in the  once, he thoroughly comprehended its contents;
Palazzo Strozzi; and that of Nymphs carried off  and he not only wrote in Latin and Greek, but
by Satyrs, in the Casa Galli. Lanzi says he some-  spoke them with the fluency of his native tongue.
times painted Magdalenes, which were not much   He also acquired such a perfect knowledge of the
more veiled than his Nymphs. Furini also paint-  several modern languages of Europe, especially
ed a number of large works for the churches, the  of the English, French, and Italian, that it was
best of which are at Borgo S. Lorenzo, near Flo-  indifferent to him in which he spoke or wrote,
rence, representing St. Francis receiving the Stig-  except that when he wished to express himself
mata, and the Conception of the Virgin. Zani  with power, he used to say he preferred the Gersays he died in 1649.                            man. It was at college, too, that he made himself
1E  ) 1   r 1^          FU7RNIUS, PE-  acquainted with the writings of Klopstock and. oor      r            XTER, a Flemish   Weiland, and imbibed their intense love of poetry,
F*  Eo    4u  designer and en-  which attended him through his life; and he wrote
graver, who flourished at Antwerp about 1570.  several poems in German, which met with consid




FUSE.                     333                    FUSE.
erable applause. Having finished his collegiate  tance and necessity of having recourse to the foun
course, and obtained the degree of Master of Arts,  dation of excellence, he went to Italy in 1770
Fuseli, with his friend Lavater, went to Vienna,  where he resided eight years, and studied with
and from  thence proceeded to Berlin, where  great assiduity in the numerous galleries, particuthey  placed themselves under the instruction  larly the works of Michael Angelo, whose fine and
of the learned professor Sulzer, author of a cel-  bold imagination, and the lofty grandeur of his
ebrated Lexicon on the Fine Arts.  Sulzer and  works, were most congenial to his taste. It was
other learned men of Germany had formed the de-  a story he loved to tell in after life, how day after
sign of opening a channel of communication be-  day, and week after week, he lay upon his back,
tween the literature of Germany and England.  with upturned and wondering eyes, musing on the
The ready and apprehensive talents of Fuseli, and  splendid ceiling of the Sistine chapel, and the unhis thorough knowledge of the English language,  attainable grandeur of the great Florentine. Durtogether with his enthusiasm, recommended him  ing his residence abroad, he made notes and critito Sulzer as a person peculiarly fitted to carry out  cisms on everything he met with that was excelthis plan, and the proposition was made to him.  lent, which he left among his manuscripts at his
Sir Robert Smith, the English ambassador at the  death, but much of which he wove into his lecCourt of Berlin, having seen some of Fuseli's  tures before the students of the Royal Academy.
drawings, illustrative of scenes in  Shakspeare,  His talents, acquirements, and his great conversaand pleased with his genius, strongly recommend-  tional powers made his society courted, and he
ed him to go to England. The occurrence of so  formed some valuable acquaintances at Rome, parmany favorable circumstances at once determined  ticularly among the English nobility and gentry,
his course. Before parting with his friend Lava-  who flocked there for amusement, and who herter, the latter gave him a testimonial of his high  aided his fame at home. He also sent some of
appreciation of his talents, by presenting him with   his choice drawings, illustrating Shakspeare and
a piece of paper, beautifully framed and glazed, on   Milton, to the annual exhibitions of the Royal
which he had written in German, " Do but the  Academy. In 1778, he left Italy and returned to
tenth part of what you can do."  " Hang that up  England, passing through Switzerland and his nain your bed-room, my dear friend," said Lavater,  tive city. We must pass over the rest of the life
" and I know what will be the result."  Arriving  of this extraordinary man with rapidity, and conin London early one morning in 1767, before the  fine ourself mostly to a criticism on his character
people were stirring, the vast metropolis of the  and works. No one ever doubted his great talents;
British empire seemed to his vivid imagination a  his society was courted by the learned and the
solitude; and being impressed with his forlorn  great, and he was a lion at their tables; but his
situation, a stranger in a strange place, without  works were not appreciated in his day, nor did he
any fixed plan of obtaining a livelihood, "he burst  meet with that success to which he was eminently
into a flood of tears," as he expresses himself. IIe  entitled.  His numerous subjects are from  the
did not long continue, however, in this desolate  greatest poets, or of writers of wild and wondercondition.  Sir Robert Smith had given him  let-  ful fictions. Some people looked upon his powerters of introduction to Mr. Coutts the banker, to  ful delineations of Shakspeare and Milton, admired
Mr. Johnson and Mr. Cadell, the booksellers, and   and praised them for fashion's sake, with as little
to others, all of whom  received him  with great  appreciation as they praised those immortal wricordiality, and through their advice and influence  ters themselves.  Others, more matter of fact, who
he was enabled to fulfil his mission in a satisfac-  could appreciate an ornamental tea-tray, and admire
tory manner. Through their influence, also, he  Dutch boors, put down his lofty imaginings as
obtained the situation of tutor and traveling com-  wild extravagances, or ridiculous fancies. His subpanion to a nobleman's son, with a liberal salary,  lime pictures of Hamlet and Lear, and his Midand proceeded with him as far as Paris, when the  summer Night's Dream, in which his imagination
youth refusing to obey his injunctions, and giving  is as playful and airy as the poet's, were entirely
him insolence, he threw up his situation in disgust,  above their comprehension. His Milton Gallery,
and returned to London. A little incident now de-  of forty-seven pictures, which occupied him  ten
cided his career. Among the men of talent and  years, from 1790 to 1800, wvas closed after two
genius to whom he was introduced in London,  years' exhibition, with loss. Alderman Boydell
was Sir Joshua Reynolds, then in the zenith of his  was almost his only liberal patron, for whom  he
fame. On Fuseli's showing him some of his draw-  painted eight pictures for the Shakspeare Gallery.
ings, the President of the Royal Academy inquired   Yet Fuseli had his faults. The following critihow long since he had returned from Italy, and ex-  cism by one of his biographers, Allan Cunningpressed surprise on learning that he had never  ham, who seldom spares the lash, gives a good
been in Italy. Reynolds tendered him his hospi-  idea of his character and of his works:  "As a
talities, and would occasionally buy of him one of  painter, his merits are of no common order. He
his little pencil sketches, in which there was so  was no timid or creeping adventurer in the region
much poetic conception and power displayed, that  of art, but a man peculiarly daring and bold, who
at last he could not refrain from saying, " Young  rejoiced only in the vast, the wild, and the wonderman, were I the author of those drawings, and  ful; and loved to measure himself with any subwere offered ten thousand a year not to practise  ject, whether in the heaven above, the earth beas an artist, I would reject the proposal with con-  neath. or the waters under the earth. His main
tempt."  Fuseli had been offered a living if he  wish was to startle and astonish-it was his amwould take orders, and he was balancing with re-  bition to be called Fuseli the daring and imaginaspect to his future career, when this unequivocal  tive, the illustrator of Milton and Shakspeare, the
opinion, proceeding from so high and disinterest-  rival of Michael Angelo. Out of the seventy ex
ed a source, instantly determined him  to devote  hibited paintings on which he reposed his hope of
his life to painting. Fully aware of the impor-  fame, not ono can be called commonplace  they




FYT.                     334                    GAAL.
are all poetical in their nature, and as.poetically  of a Cart, a Horse, a Dog, Foxes, Goats, and three of Cows
treated. Some twenty of these alarm, startle, and   These are very sare.
displease; twenty more may come within the limits of common comprehension; the third twenty                           Go
are such as few men could produce, and deserve a
place in the noblest collections; while the remain-        GAA   BARENT,  Dutch painter, born
ing ten are equal in conception to anything that             A     B  E
genius has hitherto produced, and second only in   Phi       Hauwerleman, and made such rapid advancer
their execution to the true and recognized master-   h    Wouwern ad  ade suh rapid advances
pieces of art. His coloring is like his design, ori-   foud hiself  fficiently advanced in the art to
ginal; it has a kind of supernatural hule, which  found himself sufficiently advanced in the art to
ginal; it has a kind of supernatural hue, which   dispense with farther instruction. He painted
harmonises with his subjects-the spirits of the   horse-fairs,  battles, hunting-pieces,and subjects
horse-fairs, battles, hunting-pieces, and subjects
other state and the hags of hell are steeped in a similar to thoseof his instructor. He often exektinad of kindred colornagsiorbetcomes their char-  similar to those of his instructor. He often exekind of kindred  color, which becomes their char-  cuted the figures in the landscapes of Isaac Koene
acter. His notion of color suited the wildness of   a scholar of Jacob Ruysdael. His works are dis,
a scholar of Jacob Ruysdael. His works are dis.
his subjects; and the hue of Satan, and the lustretinguished for truth of coloring, and intelligence
of Hamlet's Ghost, are part of the imagination of   of chiaro-scuro; though greatly inferior to Wou.
those unnatural shapes. The domestic and hum-  werman in softness and fnishof pencilling, and
ble realities of life he considered unworthy of his  correctness of drawing    He died in 1703.
pencil, and employed it on those high and terrible
themes where imagination may put forth all its        AAL, PETR, a Dutch painter, born at Midstrength, and fancy scatter all her colors. He   debourg in 1770. He studied under his father,
loved to grapple with whatever he thought too   and afterwards in the school of Schwieckhardt, at
weighty for others. and assembling round him the  the Hague. He visited London, Paris, and several
dim shades which imagination readily called forth,    erman cities, after which he settled in his native
sat brooding over the chaos, and tried to bring the   cty, and painted portraits, landscapes, animals,
whole into order and beauty."                    live and dead game, and subjects of ordinary life.
Fuseli died in 1825. For twenty years he ably   His compositions are distinguished by a superior
filled the office of Professor of Painting, and   mode of treatment, and lightness of penciling. In
Keeper of           the oyal cseries  of          ^^                 s
Keeper of the Royal Academy; and the series of   1808, two of his works, of a large size, were exlectures he delivered before that institution, show   hibied at Amsterdam, one representing Gen. Mona profound knowledge of the history and princi-net, with several officers of his staff, in full uniples of art. In 1805, his critical powers were dis-  forms; and the other, Cattle and Sheep of the
played in a new and enlarged edition of Pilking-  natural size. He died at Middleboug in 1819.
ton's Dictionary of Painters. In 1817, he was       GAAL, THOMAS, a Dutch painter, born at Terhonored with a diploma of the first class, from the  monde in 1739. He settled at Middiebourg, where
academy of St. Luke, at Rome. He was a ripe  he gained considerable reputation for his portraits,
scholar and a poet. He continued to paint till the   birds, and flowers. He was the instructor of J.
last week of his life. He had a remarkably good   Perkois, J. H. Koekkoek, and S. de Koster, and was
constitution. "I have been a very happy man,"  one of the founders and directors of the Academy
he was accustomed to say, " for I have alwaysbeen   of Painting in that city. He died in 1817.
well, and always employed in doing what I liked."   GAAST, MICHAEL DE, a Flemish painter, born
He left many manuscripts, some complete and   at Antwerp in 1510. His pictures represent the
others imperfect, some of which may be found in  ruins of ancient  ome, decorated wth animals
Knowles' Life and Writings of Fuseli, in 3 vols.  and figures. In 1558 he was chosen a member of
8vo.; London: 1831. His life was one of great  the body of painters at Antwerp.
industry, and he had on his hands at.the time of
his death upwards of sixty pictures, most of them   GABASSI, MARGHERITA, a Modenese paintrcss
of large size, many of which had been exhibited.    who flourished in the first part of the present cen
HN an e nt Fe h p  r bn   tury. According to Tiraboschi, she painted small
FYT, JOHN, anu^    Flemh punter, b' n   humorous pieces in such an admirable manner that
at Antwerp in 1625; died in 1671. He was disher works are much sought after.
tinguished for painting animals; and although he 
excelled in representing every kind, yet in dogs he  GABBIANI, ANTONIO DOMENICO, an Italian
is unequalled. His penciling is free, spirited, and   painter, born at Florence in 1652. He was inplayful, but peculiarly characteristic and full of  tended for the medical profession, but as he manienergy. It is impossible to imitate nature more  fested a strong inclination for design, he was
closely than Fyt has done in his admirable produc-  placed under Justus Subtermans and Vincenzio
tions. His pictures are very highly esteemed, and   Dandini, by whose instructions he soon acquired
are placed in the choicest collections. He was  a readiness and correctness of design that astonoften employed by Rubens, Janssens, Crayer, and  ished his preceptors. Dandini sent him to copy
other eminent artists, to paint the animals in their  all the pictures of P. da Cortona, which were in
pictures; a very high compliment, especially from   the Palazzo Pitti at Florence; and while so emRubens, who excelled in representing every species  ployed, the young artist was noticed by the Grand
of animals.  There are a number of fine etchings  Duke, Cosmo III.,.who became his patron, and
by Fyt, executed in a bold, spirited style. Among   sent him to the Florentine Academy at Rome,
them are the following:                           where he frequented the school of Ciro Ferri.A set of eight of Dogs and other Animals marked Jo.  After passing three years at Rome, he went to
A set of eight of Dogs and other Anicemals  marked aJo.n d ^      
lFyt. 1640. A set of seven of Dogs, of different species,  Venice, and gained improvement from the splendid
with backgrounds of landscapes; dated 1642; inscribed  works of Titian and Tintoretto.  According to
Johannes Fyt, pinx. etfecit. A set of eight small plates,  Lanzi, he was one of the most correct designers of




GABB                       335                    GABR.
the age; and Mengs praises several of his draw-      GABRIELLO, ONOFRIO, a Sicilian painter, born
ings in the collection of Signor Paccini, for their  at Messina in 1616. HI  studied six years in his
elegance, and facility, of execution. His coloring is  native city, under Antonio Ricci, called Barbaoccasionally languid, but not often so, and his  lunga; after which he went to Rome, and entered
carnations are generally very tender and true.  the school of P. da Cortona. He subsequently
His draperies, however, are frequently formal and   visited Venice, in company with his countryman,
heavy. In his easel pictures. he generally selected   Domenico Maroli; and on returning to Messina,
subjects in which he could introduce children, and   he received many commissions from the churches,
in these productions he nearly equals Gio. Battista  and for private collections. Some of his best works
Gauli. His works of this description are highly  are in the church of S. Francesco di Paola, at Mesesteemed, even in the Florentine Gallery and the   sina. He also painted portraits with great sucprincipal palaces of that city. Gabbiani was in-  cess, but when the Revolution broke out in 1674,
vited to the court of Vienna, where he painted the   he left Sicily and went to Padua, where he resided
portraits of the Emperor and the King of the RBo-  many years, and was generally known by the
mans; also several historical subjects for the Im-  name of Onofrio da Messina. There are a number
perial Gallery.  On returning  to Florence, he  of his works in the private, collections and public
painted several altar-pieces for the churches, par-  edifices, particularly in the Palazzo Borromeo.
ticularly a fine picture of the Assumption, and a   He died in 1706.
Repose in Egypt; also his celebrated picture of St.    GABRON, WILLIAM, a Flemish painter born
Filippo, in the church of the Padri dell' Oratorio.  a Antwerp, in 1625. He visited Italy, where he
He practised the art until seventy-four years of  resided many years, and on his rern gaied conage, when he was killed by a fall from  a scaffold,   iderablereputation for his pictures of frit and
flowers, gold and silver vases, porcelain and other
GABBIANI, GAETANO, was the nephew  and   ornaments. He died at Antwerp in 1679.
scholar of the preceding. Lanzi makes honorable     GADDI, GADDO, an old Florentine painter, born
mention of his abeilities. LH~eZ resided ch~iefly, t GADDI, GADDO, an old Florentine painter, born
mention of his abilities. He  resided chiefly at  in 1239. He was a cotemporary and intimate
Florence, where he executed many easel pictures,  friend of Cimabue, and in his earlier works, he at
some of which'are to be found in the collections  first united the manner of that master with someof that city. He lived in the first half of the 18th   thing of the Greek style. Hewas also the particcentury.                                  *       ular friend of Andrea Taffi, and from  this intiGABBUGIANI, BALDASSARE, a modern Italian   macy may be traced the first dawn of excellence
engraver, who executed some of the portraits for  in the mosaic art. Gaddi subsequently visited
the Muiseo Fiorentino, published at Florence, in   Rome, where he improved his style, and painted
ten volumes.                                      a number of pictures, among which is one in the
GABRIELLI, CAMILLO, an Italian painter, who  Florentine Gallery, mentioned by Lanzi, repreflourished about 1710, and studied under Ciro  senting the Crucifixion, which is a reputable per
Ferri. According to Lanzi, he first introduced the  formance for the time. He was also employed ir
style of P. da Cortona among his countrymen.  the Mosaic embellishments for the facade of S
He painted several oil pictures at the Carmelites,  Maria Maggiore. He died in 1312.
and for private collections; but he gained more     GADDI TADDEO, an Italian painter and arphi
distinction by his fine fresco paintings, among  teet,thesonofGaddoG.,bornatFlorencein 300
which his principal work, the grand saloon in the   He was first instructed bv his father but afterPalazzo Allicata, is highly esteemed.             wards studied in the school of Giotto.  According
GABRIEL, JACQUES, a French architect, who  to Vasari, he surpassed the latter in the expresflourished about 1670; was architect to the king;  sion of his heads, and the delicacy of his coloring.
erected the Chateau de Choisy, and the Pont Royal,  Most of his works have been nearly destroyed by
which was finished by the friar Remain Giordano.  time, but Rosini mentions two of his pictures
He died in 1686, leaving a son, Gabriel C., born in   which exhibit a beautiful simplicity in their com1667, who studied architecture under Hardouin  positions, and gracefulness in their forms and attiMansard. He soon became distinguished, and de-  tudes. One of these is in S. Croce at Florence,
signed several edifices at Nantes and Bordeaux;  representing the Birth of the Virgin; the other in
also the court of the garrison and the clock-tower  S. Maria, representing Religion, Arts, and Sciat Rennes; the hall and chapel des Etats at Di-  ences, in the persons of those most eminent in each
jon, and projected the sewers of Paris. He was  department. In the Capitolo degli Spagnuoli, he
admitted to the Academy of Architecture, was ap-  painted several works in competition with Lippo
pointed inspector-general of the royal edifices and   Memmi, which have considerable originality and
manufactures, first engineer of the bridges and   good taste. In the vault are several subjects from
embankments of the kingdom, and a knight of the  the Life of Christ, and in the Refeotory, the Deorder of St. Michael. He died in 1742.            scent of the Holy Ghost. As an architect, he is
GABRIEL, JACQUEs  ANGE, son of the second   said to have excelled Giotto, and Andrea of Pisa,
Jacques Gabriel, was born at Paris about 1710.  in concert with whom he erected several important
He attained the position of first royal architect,  edifices. He restored the foundations of the Logand added to the fame of his ancestors by the   gia, now called S. Michele; rebuilt the old bridge
Military School, which was commenced in 1751,  over the Arno; repaired the castle of S. Gregorio;
and is one of the most superb edifices in Paris.  completed the bell-tower of S. Maria del Fiore,
He erected a part of the Louvre; also the two col-  and erected various other edifices.  Baldinucci
onnades adjacent to the Place de la Concorde. He  says he was living in 1352, though Zani says in
designed the Place de Louis XV., which is a rec- 1365.
tangle, 744 feet long, and 522 feet broad.  He died  GADDI, ANGIOLO, the son of Taddeo G., was
in 1782.                                           born at Florece, according to Baldinucci, in 1324.




GAEL.                     336'GAGL.
died in 1387. He received his first instruction    GAGLIARDI, BARTOLOMEO, a Genoese painL
from  his father, but was afterwards assisted  er, born in 1555. Orlandi says he was an artist
by Giotto. He followed the style of Taddeo.  of some reputation, but his works are not menIn the church of S. Pancrazio, at Florence, is  tioned. There are several plates by him, both
a picture by him of the Virgin and Infant, which  etched and finished with the graver, among which
was well composed and colored for the time;  is a large print of an emblematical subject, execuand in the Conventuali, the Finding of the True  ted in the style of Cherutlno Alberti, though greatCross.                                          ly inferior to that artist.
GAELEN, ALEXANDER VAN, a Dutch painter,    GAGNIERES. See GANIERES.
Dorn at Haerlem in 1670. He studied under John     GA     AD RO
van Huchtenburg. and painted battle-pieces and     GAILL        ROBE, a    utable French en
huntings in a very spirited style. His instructor  gaer bo   at  as n                   executed a
being a dealer in pictures, Gaelen had an opportu-    ber of plates of andscapes, in a very excellent
nity of improving his touch by copying the works  hst yle; besides which there are severl p aits
of Berghem, Wouwerman, and other eminent  historical and other subjects, among which are
of Berghem, Wouwerman, and other eminent  t  floi
masters, from which he gained great improvement.  t
He visited Germany, where he passed a few years                    PORTRAITS.
at Cologne, in the employment of the Elector, and    Cardinal Etienne Rend Potier de Gesvres; after P. Batafterwards returned to Holland; but not meeting  toni. Christophe de Beaumont, Archbishop of Paris; after Chevalier. Jean Joseph Languet, Archbishop of Sens;
the encouragement he expected,                   do. The ueen of Sweden;nt to Engafter Latinville.
land, in the reign of Queen Anne. Van Gool says
he painted a picture of the Queen in a Coach,            SUBJECTS AfTERVARIOUS MASTERS.
drawn by eight horses, and attended by several    Venusand Cupid; afterBoucher. Jupiter and Calisto;
do. Baoccants sleeping; do. Sylvia delivered by Amynof the nobility. He is also said to have painted     do.   VilBhan rs lihing; do. yhe Cabaret after J
for a nobleman three pictures, representing two   B. le Prince. The Russian Concert; do. The Father's
of the principal battles between Charles I. and   Malediction; after J. B. Greuze. The Son's Punish
Oliver Cromwell, and the Battle of the Boyne.  ment; do. The Lace-maker; after Schenau. A Girl
Balkema says he died in 1723.                    spinning; do.
GAERTNER,HERR VON, an eminent German              GAILLARD, DE LONJUMEAU, P. I.,a French
architect, born at Coblentz in 1792. While young,  amateur engraver, who etched several small plates,
he visited Italy, where he spent some time in the  amotg which are a Set of Views for the Antiquistudy of the antique, and afterwards traveled in-  ties of Aix, dated 1750.
to France and Spain, with a view to inspect the    GAINSBOROUGH, THOMAS, an eminent Engimprovements made in modern architecture. He  lish painter of portraits and landscapes, born at
afterwards settled at Munich, whither he was call-  Sudbury, in Suffolk, in 1727. He early manifested by that great protector of the arts, Louis I.,  ed an inclination for art, and often passed his mornwho appointed him Professor of Architecture in  ings alone, sketching various objects of nature
the Royal Academy of Fine Arts in that-eity. In   When about thirteen years of age, he went to Lon
1822, he was appointed Director of the State Man-  don, and received instructions from Gravelot and
ufactory of Porcelain and Glass Paintings. He  Hayman. On quitting the latter, at the age o4
erected a large number of fine edifices at Munich,  sixteen, he resided in Hatton Garden, and prac
among which the most important were the Com-  tised landscape and portrait painting. He mar
mander's Hall, the University, the Triumphal  ried a lady with an annuity of two hundred pounds,
Gate, the gorgeous Hall of Victory, the clerical  and soon after went to Bath, where he commenced
Seminary, the Church of St. Louis, and the Royal  painting portraits for five guineas, and gradually
Library. The last work acquired great honor for  raised the price to one hundred. His portraits
the architect. He also designed the king's new   were remarkable for truthfulness of resemblance.
palace, and erected the Wittelsbach palace. After  They are wrought in a slight manner, with great
the departure of von Cornelius to Berlin, von  freedom of hand, and but little coloring. ReyGaertner became Director of the Academy of Fine  nolds says that "the portraits of Gainsborough
Arts, having formerly been nominated Chief Ar-  were often little more than what generally attends
chitect and Inspector General of the Plastic Monu-  a dead color, as to finishing, or determining the
ments. He died in 1847.                          form of the features; but as he was always attenGAETA, DA. See PULZONE.                        tive to the general effect, this unfinished manner
appeared to contribute to the striking resemblance
GAETANO, LUIGI an eminent Mosaic painter,  for which his portraits are so remarkable."  In
who was employed in the churches at Venice about  landscape painting, however, he was much more
1590.                                            distinguished. The subjects he chose were very
GAGLIARDI, CAV. BERNARDINO, an Italian  simple, usually a rising ground, and a few figures
painter, born at Citta di Castello, according to Or-  seated upon or near it; with a cow or some sheep
landi, in 1609. He studied under Avanzino Nucci,  grazing. His charm  was purity and simplicity
but on visiting Rome, he abandoned the style of  of coloring, freedom  and clearness of touch, and
his master, and devoted himself to studying the  judicious combination of forms. He sometimes
works of Guido and the Caracci. His master-  painted pictures representing a cottage girl, a sheppiece is his picture of St. Pellegrino, with two lat-  herd's boy, and a woodman, with some slight acerals, in the church of S. Marcello, at Rome.-   cessories in the back-ground, which have the same
Among his other works. are the Martyrdom of St.  charming simplicity as his other works. His ear
Crescenziano, in the dome of the church at Cas-  lier landscapes are imitations of the manner of
tello, and his two pictures from the Histoiy of the  Wynants; they have the same clayey and sandy
younger Tobit. He died in 1660.                  grounds, and a similar arrangement of objects as




GALA.                     337                     GALE.
in the smaller pictures of that artist. He had a  where they executed many excellent works. They
second manner, more original, but rather heavy.    were both'iving there in 1769.
Gainsbortugh practised-the art at Bath for many
years, by which he acquired both fame and for-  *  ^Q   GALESTRUZZI, Gio. BATTISTA, a Flo
tune; and in 1774, he removed to London, where              rentine painter and engraver, born in
he died in 1788. He was exceedingly eccentric in  1618. He studied painting under Francesco Furhis manners, but was greatly beloved for his gen- ini, and afterwards visited Rome, where he was
erous qualities.                                  received into the Academy of St. Luke, in 1652.
GALANINO, BALDASSARE ALLOISI, called.-   Little is known of him as a painter, however, but
This painter was born at Bologna in 1578, and   he gained considerable distinction as an engraver.
He was the friend of Stefano della Bella, whose
studied under the Caracci, to whom  he was re-He was the friend o Stefan  della Bea, whose
lated.  His works at Bologna are greatly ad-  style he imitated, and, according to Huber, finish-  ed some of the plates left imperfect at his death.
mired, and evince talents little inferior to the most  He  ethed a lae  num. plates   rfecthis death.
admired of his fellow students.  Among them   He etched a large number of plates, which are readmired of his fellow  students.  Among them   corded in the catalogue of Giacomo Rossi. The
Malvasia highly extols his Visitation, in la Carit;  fo in the  a        mong his principal works:
and the Virgin and Infant, with St. John and St.  following are among his principl works:
Francis, at the Osservanza. During the time of    Paris receiving the Golden Apple from Mercury; after
Urban VIII., Galanino went to Rome, where, ac- An. Caracci. St. John the Baptist in Prison; after Bacoi'g 4-o'aglio ni he was much emp'oyed in  tista Ricci. The Apotheosis of the Emperor Claudius.
cording to Baglioni he was muchl employed in  t1657; rare.  Several sets of Friezes and Bas-reliefs;
painting portraits of the most illustrious person-  after Polidoro da Caravaggio. A set of Antique Gems,
ages of his time, which Were greatly admired for  with explanations by Leonardo Agostino; published at
relief, and vigor and truth of coloring. He also   Rome in 1657 and 1659. Six plates, representing the
painted some historical subjects for the churches  Mausoleum of Cardinal de Mazarin; from the designs of
at Rome, of which the principal was the great  the AbbeElpidius Benedictus. 1661.
altar-piece in Gesu e Maria, representing the Cor-  GALILEI, ALESSANDRO, an eminent Florentine
onation of the Virgin. He died at Rome in 1638.   architect, born in 1691. He attained some disGALANTINI, IPPOLITO, a Genoese painter,  tinction, and was invited by several noblemen to
ALAborn  in62, wIPPOIT     a  enoese painr   accompany them  to England, where he resided
born  in 1627, was called IL CAPPUCINO, and
sbometimes627wascalled IL PTAPPUCINO, and.seven years, after which he returned to Tuscany,
sometimes IL PRBTE GENOESE, from his being a  and was appointed State Architect by Cosmo III.
monk of ~he order of Capuchins. He studied unmonk of the order of Capuchins. He studied un-  But he erected nothing very remarkable, either in
der Gio. Battista Stefaneschi, and was afterwards  England or Tuscany. Clement XII. invited him
/I^ ^  ^^ ^^ ^   ^  afte^^sEngland or Tuscany. Clement XII. invited him
sent by his order to India as a missionary.'He
to Rome, and he there erected three superb monpassed several years in that country, and on his  umentsofrt, thefagadesofS.Giovanni de Fioreturn to Genoa, painted several pictures for the  rentin   and S. G a        Laterao; and the Corchurches of his order, one of the best of which is  sini chapel in the ltter edifice. The first wor
the Payment of the Tribute Money, in the Floren-..th.    e.~ent of~e Tribute Money, in the  loren- x.according to Milizia, is rich, grand, and beautiful;
tine Gallery. His design was elegant and correct,        n            mans igod ta    but
his. colorig d e an  hs.        the second is by no means in good taste; but the
his coloring delicate, and his expression animated.
s clr dlicatted.   third does great honor to the architect, particuHe visited Paris, and was employed by Louis XIV. arly for the beauty and grace of its ornaments.
to paint several pictures. He died in 1706.  Galilei was not correct in his arrangement of the
GALASSI, GALASSO, a Ferrarese painter, born   orders; but he succeeded admirably in the ornaabout 1380. There are but few of his works re-  mental part, and was well versed in mathematics.
maining, among which are several pictures of the   He died in 1737.
Passion of Christ, dated 1404, in the church of la, CLAUDE, a French engraver, born
GALIMARD, CLAUDE. a French engraver, born
Madonna di Mezza Ratta, designed in a stiff and       Troyes in  hampagne, in1729.  He visited
Gothic style, though carefully finished and well  e   s                                      e 
colored. In the Palazzo M1alvezzi, is a picture of    e and on his return to France was chosen a'e  I      adn the    Sacr isty of la Ma-  member of the Royal Academy.  IIe executed a
the Annunciation; and in the Sacristynumber of ornaments for books, of which fourteen
donna delle Rondini, is a small picture of the Vir- 
frontispieces and vignettes. after Cochin the Younggin and Infant, with Saints.                      er, are particularly described by Heineken. There
GALEOTTI, SEBASTIANO, a Florentine painter,  are also a number of plates after de Troy, Subborn about 1676. He studied under Alessandro  leyras, and S. Bourdon, among which are the folGherardini, but subsequently went to Bologna,  lowing:  The Bust of Nicholas Vleughel: after
and entered the school of Giuseppe dal Sole. He   M. A. Slotz; Claudius Galimard, Parisinus, inpossessed a ready invention and a good style of  cidit. 1744. The Queen of Sheba before Solomon;
design; his powers were well adapted to fresco  after J. F. de Troy.
painting, in which, according to Ratti, he executed
several important works in the Chiesa della Mad-    GALIZIA, FEDE, an Italian paintress, born at
alena, at Genoa. There are but few of his pro-  Trento, in the Milanese, and flourished about 1616.
ductions at Florence, whence it is probable that  Her father, Annunzio Galizia, was a miniature
he was more highly esteemed in Upper Italy.-   painter at Milan, and from him she received inThere are several of his works at Piacenza and   structions in that line of art. She afterwards paintParma, and particularly at Turin, where he was  ed history and landscapes, in a very agreeable and
chosen Director of the Academy, in which capa-  finished manner, resembling the style of the Bocity he died, in 1746.                           lognese school, anterior to the Caracci. Among
itALEOTTI GIUSEPPE and G'io. BATTISTA, w       her best performances is a picture in the Chiesa
GALEOTTI.GiusEPPE and Gio. BATTiSTA, were  della Madalena at Milan, retgsenting Christ apthe sons and scholars of the preceding artist.      en            May Magdalene
cording to Ratti, they sustained their father's rep-     t        
utation at Turin, and afterwards resided at Genoa,    GALLARDO, MATTEO, a reputable Spanish




GALL.                         338                       GALL.
painter, who resided at Madrid in 1657.  There is  freedom  and facility of execution, which greatly
a picture of Christ, signed with  his name; and   surpassed his father and brother.  He executed
several pictures of the Virgin, life size, which de-   several plates at Rome, after the Italian masters,
serve notice for their agreeable coloring and rich   and then returned to Antwerp, where he carried
impasto.                                                on the business of a print-seller, and engraved.,P r                                                many excellent plates, after the works of his counU   or M  GALLE, PHILIP, an eminent Dutch   trymen and his own designs.  There are some in1  1  engraver, born at Haerlem  in 1537;  ferior prints executed before he went to Italy, aS
died in 1612.  He established himself at Antwerp   follows:
as an engraver and print-seller, and was the origin
of a family of distinguished engravers.  His talents      A part of the plates of the Life of Christ; after Martin
de Vos; published by Collaert. A set of plates of the
were of a medium class; his design was tolerably   Life of the Virgin Mary; after St-adan. A      set of plate s
correct, and he had considerable facility of execu-  of the Life of St. John Baptist; do.
tion, although, like other artists of his time, there     The following are his most esteemed prints:
is a want of harmony and effect in his plates.  He
executed a considerable number of prints, among                              PORTRAITS.
which are the following:                                  St. Charles Borromeus, Cardinal and Archbishop of Milan; in an octagonal border. Philip Rubens, the brother
PORTRAITS                          of Peter Paul Rubens. John van Havre; after Rubens.
Johannes Calinus. Martinus Lutherus. Hulricus Swin-  Charles I., King of England; in an allegorical border;
glius. Bililaldus Pirchmeyer. Thomas Morus. Dantes  after N. van Horst. Henrietta Maria, Queen of Charles
Aligerus, Florentinus. (These are a part of a set of por-  I., with a border of flowers and figures; do. Leopold Wiltraits of celebrated persons of the fifteenth and sixteenth  liam, Archduke of Austria; after A. Vandevelde. Artus
centuries.) The Pedestrian Statue of the Duke of Alba.  Wolfart, painter; after Vandyck.
1571. Martin Hemskerk, painter. William  Philander,
architect.                                                      SUBJECTS AFTER VARIOUS MASTERS.
VARIOUS SUBJECTS.                       Adam and Eve; after Gio. Bat. Paggi. The Holy
A st of t r p, i   t  t     Family returning from Egypt, with a Choir of Angels; do.
A set of thirty-four plates, inluding the title, inscribed   Venus caressing Cupid; do. Christ at Table, in the House
D. Catherines Senensis. Vita ac miracula selectiora, 4c.,  of Simon the Pharisee; after L. Civoli. St. Peter bapapud Philip. Gallaeum. 1603. A set of prints of sub-  tizing St. Priscia; do. The Virgin and Infant, to whom
jects from the Old and New Testament; after M. Hems-   St. Bernard is offering a Book, with a Branch of Laurel;
kerk, Martin de Vos, A. Blocklandt, the elder Breughel,  after Francesco Vanni. The Crucifixion, with the Virgin,
4-c. A  set of ten plates of the Sibyls, inscribed Je-   St. Francis, and St. Theresa; do. Venus bound to a Tree,
su  Christi dignitatis virtutis et efficientia proven-   and Minerva chastising Cupid; after Agostino Caracci.
tus Sibyllis X.; after Blocklandt. The Seven Won-   The Virgin caressing the infant Jesus; after Raffaelle.
ders of the World, and the Ruins of the Amphitheatre of   The Entombment of Christ; do. The Virgin Mary, unVespasian at Rome; eight plates; after Martin Hem-   der an arch, ornamented with flowers by angels; after Ruskerk. A set of prints of the Triumph of Death, Fame,  bens. Judith cutting off the Head of Holofernes; do.;
%nd Honour; do. A set of twenty-eight plates; entitled   fine. The FourFathers of the Church; do. The first im9ivinarum nuptiorum conventa et acta; dated 1580.  pressions are before the work was enlarged, which is dis1hrist with the two Disciples at Emmaus; after the elder   covered by a black stroke on each side of the print. Progne
Breughel. The Death of St. Anne; do. The Trinity; a   showing the Head of her Son to her Husband; do. Senelarge plate; after M. de Vos; his best print. Solomon   ca in the Bath; do. A naked Woman grinding colors;'directing the building of the Temple; after F. Floris.   after Rubens. The best impressions are before the French
Abraham sacrificing Isaac; do. Mutius Scsevola in the   verses. A Banquet, with Musicians;'ithout the name of
rent of Porsenna; do. 1563.                            the painter.
GALLE, THEODORE, a Dutch engraver, the elder            GALLE, CORNELIUS, the Younger, the son and
son and scholar of Philip G., born at Antwerp in   scholar of the preceding, born at Antwerp in 1600.
1560.  He visited Rome for improvement, which   He wrought entirely with the graver, and his plates
he gained by studying the antique, and by execu-   have considerable merit, particularly his portraits;
ting several plates after the great masters.  His   although inferior to those of his father in freedom
plates evince a degree of stiffness, and a want of   and clearness of style, and correctness of design.
effect in the management of chiaro-scuro, though   He probably never visited Italy, which is perhaps
they are more neatly finished than those of his  the reason why he did not equal his father.  The
father.  The following are his principal works:         following are his best plates:
The Portrait of Justus Lipsius; oval, in a frame ora-                      PORTRAITS.
mented with allegorical figures; with six Latin verses. St.    The Emperor Ferdinand III.; after Vandyck. 1649.
Jerome kneeling, in a Grot. A set of emblematical sub-   Mary of Austria, his Empress; do. 1649. Henrietta of
jects; entitled Litis abusus, 4fc.; scarce.  A set of   Lorraine; do. John Meyssens, painter and engraver; do
plates of the Life of St. Norbert; published at Antwerp.  Jodocus Christophorus de Kressenstiens, Senator of HamTwenty-eight plates of the Life of the Virgin and St. Jo-   burg; after Anselm van Hulle. Octavius Piccolomini de
seph. A set of thirteen figures, each with a title and ex-   Aragona, in a border of fruit and flowers; do.; fine.
plication; entitled Typus occasionis, in quo receptce commodo, 4c. Theodorus Galleus, M. D. C. The infant                  SUBJECTS AFTER VARIOUS MASTERS.
Jesus regarding the Instruments of the Passion. St. John  Job and his Wife; after A. Diepenbeck. St. Dominick
the Evangelist. St. Jerome. Count Ugolino and his Chil-  receiving the Rosary from the Virgin; do. The Crucifixdren in the Tower of Famine; after J. Stradan; scarce.  ion; after J. vanden Hoeck. Jupiter and Mercury, with
Coriolanus entreated by the Roman Women; do. Cornelia,   Baucis and Philemon; do. The Nativity, with the Angels
the Mother of the Gracchi; do. A Frontispiece; after a   appearing to the Shepherds; after David Teniers the
design by Rubens; entitled Aug. Mascardi, silvartah   Old. The Resurrection; after Gaspar de Crayer. Velib. iv. Antv. 1622. Another Frontispiece; do.; entitled   nus suckling the Loves; after Rubens.
Las Obras en Verso de don Francisco de Boria.             GALLEGOS, FERNANDO, a Spanish painter, born
GALLE, CORNIUS, THE ELDER, the younger   at Salamanca, in 1461.  He studied under Berrugson and scholar of Philip G., born at Antwerp about   uette, but followed the style of Albert Durer, and
1570.  He visited Rome, where he resided several  with such exactness, that connoisseurs occasionalyears, an  acquired a correctness of design, and a   ly confound their works.  Gallegos flourished in




GALL.                      339                    GALL.
the golden age of Spanish art. His design is cor-  site scenes. He also erected a variety of edifices
rect, his coloring beautiful, and his figures dis-  for the same princes, and his management of festiposed in good taste. One of his best works is in  vals, illuminations, hc., may be classed among his
the cathedral at Salamanca, representing the Ma-  performances in this department of art. In 1725,
donna and Infant, with St. Andrew and St. Chris-  he published a work on civil architecture, et.titled
topher. In the cloister of the same edifice are a  Direzione a giovanne studenti della Architettura
number of pictures by this master, representing   Civile Bologna.  Crespi says he died in 1743.
St. Michael, St. Anthony, and the Adoration of      GALLI FRANCECO, called BIBIENA, a painter
the Kings. hMany of his pictures have been in-  and architect, the younger brother of Ferdinando
jured by time. The Count A. Raczinski, in his  Galli, born at Bologna in 1659. He studied under
work, The Arts in Portugal, says there are many   Lorenzo Pasinelli. but subsequently entered the
of his works in that country. He died in 1550.    school of Carlo Cignani, where he became a corGALLENDORFER, SERALD, an old German  rect designer. and usually painted the figures in
wood-engraver, who flourished about 1494. Among  the pictures of his brother. He was also a master
other prints, he executed several small wood cuts  of the principles of architectural and perspective
for a book entitled Archetypis triumphantis Ro-  painting, and produced similar works to those of
nce, published at Nuremberg in 1494.             Ferdinando, though inferior to him in grandeur of
G4ALLI, Gio. MRIA, called BIBTENA, an Italian   conception and facility of execution.  He spent
painter, born at Bibiena, in the Bolognese state. in  three years in Rome, and was also employed at
1625; died in 1665. He was the father of several  Genoa, Naples, Mantua, and Verona. As an arartists, all of whom gained distinction. He stud-  chitect, he built the riding-school of the Duke of
ied under Francesco Albano, whose graceful style   Mantua; and arranged the festival at Naples in
he followed with considerable success, and execu-  honor of the arrival of Philip V., who appointed
ted a considerable number of large historical sub-  him his architect, according to Milizia, and offered
jects for the Bolognese churches, of which Mal-  him every inducement to return with him to Spain,
vasia highly praises the following: St. Andrea, in  but was unsuccessful. Bibiena then went to ViS. Biagio; St. Anne, in la Caritt; St. Francesco  enna, and built a large theatre.  The emperor Leode Sales, at the Padri Servi; and the Ascension,  pold was desirous of retaining him in his service,
at the Certosa.                                  and offered him 6000 florins a year; but while
GALLT,   ERDINBANDO, called BIBIENA, an emin-  persisting in his demands for 8000, Leopold died,
GALLI, FERDINANDO, called BIBIENA, an eminent Italian painter and architect, the son of the  and the emperor Joseph succeeded, who dismissed
him with many marks of esteem. He was invited
preceding, born at Bologna in 1657. He lost his  him  with many marks of esteem. He was invited
father when eight years old, and was placed in the    ngland bu preferred  going to Lorraine, where
school of Carlo Cignani. The latter, perceiving  he erected a superb theatre, and where he also
pmarried. On returning to Italy, he was chosen to
in his pupil a strong inclination to painting archi-       magnificent tetre   Verona, h  wchn 
tecture and perspective, rather than to designing   erect the magnificent theatre of Verona, which is
the figure, placed him under Aldobrandini and An-  one of the best arranged edifes in Italy. Bibiena
tonio Marini. Bibiena now progressed with great  was also appointed professor in the academy of Borapidity, and rapidly rose to the position of the  logna, where he taught geometr  perspective, mefirst master of his time in the ornamental and dec-   hanics, and surveying. He died in 1739.
orative branches of the art. He was particularly    GALLI, ANTONIO, called BIBIENA, a son of Ferpatronized by the Duke of Parma, who appointed   dinando G., born in 1700. He followed in the
him principal painter of decorations and architec-  footsteps of his father, and was much employed in
ture, with a pension; which was continued to him   erecting and decorating theatres, in Vienna, Hunby Duke Francesco Farnese. He was also favored   gary, and Italy.  Returning to Italy after the
by nearly all the sovereigns of Europe, particularly  death of Charles VI., in 1740, he erected and
by the Duke of Milan, and the Emperor Charles  painted the new theatres of Pistoja and Siena,
VI., who invited him to his court, gave him a sim-  also that of Pergola at Florence. His greatest unilar appointment to that from the Duke of Parma,  dertaking, however, was the new theatre at Boand honored him with a chain and medal of gold.  logna, co:menced in 1756. and finished in 1763.
Bibiena had the direction of all public festivals on   It is entirely of stone, and has five orders, each
occasion of victories, and the triumphal entries of  containing five boxes.  I-e had two brothers,
princes, which, under his management, were far  named Alessandro and Giuseppe, who were both
more sumptuous and magnificent than ever be-  distinguished in the same department of art. The
fore. The splendor and grandeur of his invention  latter resided successvely at Vienna, Prague, Drescould only have had fill scope in the employment  den, and Berlin. He died in 1756, leaving a son,
of kings. He introduced many important im-  Carlo, also a theatrical painter.,rovements in  theatrical scenery and decora- 
tions, which conduced greatly to the perfection of   ALINARI, PIETRO, a Bolognese painter, 
the favorite scholar of Guido Rent, and acquired
its illusions. He was also distinguished for his  the  fav   orite scholar of Guido Reui, and acquire 
admirable pictures of architectural and perspective  te tion of his mastero    e    excelled  in history, in
views, which are placed in the principal galleries  the style of hi   s master. He excelled in  historn
of Italy, and are highly esteemed for their grand                d     d      i   s ta  hi 
and elegant ordonnance, fine tone of coloring, and  liest pictures, retouched by his master, are hed ill
admirable management of chiaro-scuro. The fig-  high esteem, also that he executed other works for
admirable management of chiaro-scuro. The fig-  ^    ^   ^   ^   ^^  ^           ^  ^ (^ ^
ures in these works are usually painted by his  the court, and for various c ches at Gr:astlla
brother rancesco. As an architect. Bibiena erect-  which are valuable. He was an artist of the no
brother Francesco. As an architect. Bibiena erected the delightful villa of Colorno, for the Duke of  blet promise, but was cut of prematurely in 1664
Parma, and embellished it with a number of beau-  not  ithout suspicion of poison.
tiful gardens, and a theatre, decorated with exqui-  GALLIS. PETER, a Dutch amateur painter of




GALL.                     340                    GAMB.
flowers, fruit, and objects of still-life; flourished   S S. Faustino and Giovita at Brescia; and a Dead
at Enkhuysen; born in 1633; died 1697.            Christ in S. Pietro at Cremona. This eminent artGALLO, BERNARDO, an Italian engraver, men-  ist was killed by a fall from  a ladder, in 1574,
tioned by Orlandi as the artist of a set of plates  at the age of 33, much regretted by the friends.%r the Old Testament, and a set for an edition of  of art.
Ovid's Metamorphoses, published at Lyons in 1559.    GAMBERATI, GIROLAMO, a Venetian painter,
lIe usually marked his prints B. G.               was born about 1560, and died in 1628. He first
GALLOCHE. Louis, a reputable French his-  studied under Giuseppe Porta, but afterwards imtorical painter, born at Paris in 1670; died in 1761.  proved his coloring with Palma, who was his
He studied under Louis Boullongne, but afterwards  friend. He executed some works in the churches
visited Italy for improvement, whence he brought  of Venice so entirely in the style of Palma, that
a large number of studies, that were of great use  it is suspected the latter lent him a helping hand
in his subjects of history. He was chosen a mem-    GAMBARINI, GIUSEPPE, a Bolognese painter,
ber of the Royal Academy, and presented his pic-  born in 1680. He studied in the school of Lorenzo
ture of Hercules and Alceste.  Among his other  Pasinelli, where he made considerable progress;
works are the Departure of St. Paul from Miletus,  but on the death of that master. he entered the
in the church of Notre Dame; the Good Samari-  school of Cesare Gennari. He followed the stylf
tan and the Resurrection of Lazarus.              of the latter in rapidity of touch and power of na
GALVAN, DON JUAN, a Spanish painter, born  tural effect, and also copied some of his works
at Loesia, in Arragon, in 1598. After acquiring   He subsequently visited Rome and Venice for imthe elements of design in Spain, he visited Italy,  provement, but finding his powers not well adaptaccording to Palomino, and on his return settled   ed to historical painting, he devoted himself to
at Saragossa, where he painted the cupola of the  representing subjects from ordinary life, such as
church of.Santa Justa y Rufina; and a picture of  boys' schools, mendicants begging, and women inthe Trinity, in that of the Carmelites; but his best  tent on domestic affairs, with similar popular obperformance is the Birth of the Virgin, in the ca-  jects, in all of which he abounded with commisthedral of his native city. He died at Saragossa  sions. At Bologna, such familiar pieces by him
in 1658.                                          and his able pupil, Gherardini are common, and
GAMBARA, LATTANZIO, an eminent Italian   please by their spirit and exactness. Sometimes
painter, born at Brescia, according to Ridolfi, in  also he represented serious subjects, as in his pic1541. His father, a tailor, being obliged to leave  ture in Ca Ranuzzi, exhibiting the  oronation
his native city for Cremona, had great difficulty in  of Charles V. Gambarini died, according to Zasupporting his family, so that Lattanzio was com-  notti, in 1725.
pelled to work at his trade. His genius, however,    GAMBERUCCI, CosIMo, a Florentine painter,
could not be restrained, and he often employed him-  who flourished about 1610, and studied under Batself in drawing, which produced quarrels between  tista Naldini. He painted easel pictures, which
himself and his father. At length Antonio Campi,  are found in the Florentine collections; but he
a distinguished painter of Cremona, interested him-  did not gain much eminence in the art, although
self in the youth, and finding that his sketches  there are some reputable productions in the churchevinced considerable talent, took him  into his  es of his native city, especially his picture of St.
school, and instructed him for six years. At the   Peter healing the Lame Man, in S. Pietro Magage of eighteen, Gambara entered the school of  giore, which is somewhat in the style of the CaGirolamo Romanino, and became his favorite pu-  racci.
pil. Here ho made rapid advances, and surpassed     GAMELIN, JACQUEs. a French painter, born
his instructor in correctness of design, and grand-  at Carcassone in 1739. He was intended for the
eur of composition.  According to Lanzi, he en-  mercantile profession, but as he manifested a great
riched the elevated principles he had acquired un-  inclination for art, he was placed in the academy at
der the Campi, by the magic of Venetian coloring,  Toulouse, where he remained five years, and then
in which he approached the rich tones of Por-  visited Paris. Having gained the grand prize at
denone. He selected the most beautiful forms,  the Royal Academy, he went to Rome with the
which are always gracefully varied, according to  king's pension. After his return, he gained conthe subject; his attitudes are animated and appro-  siderable employment. In 1774 he was appointed
priate, even in the most difficult foreshortenings,  professor of the academy at Toulouse, and two
with a relief approaching perfect illusion.  Ro-  years-after, Director of that at Montpellier. He
manino had a very exalted opinion of his talent,  settled at the latter place, but occasionally visited
and, according to Ridolfi, gave him his daughter in  the principal cities of Languedoc, and executed
marriage. His greatest, and most studied produc-  many works, which have something of the false
tion, is his fresco in the dome of the cathedral at  taste of the old French school, though they possess
Parma, representing subjects from  the Life of  considerable merit. In the Museum of Toulouse
Christ, which are very attractive even in the pres-  are two pictures by Gamelin, representing Achilence of the works of Correggio. In the Corso de'  les dragging the body of Hector, and Ulysses driRamai. at Brescia, there yet remain three fagades,  ving away the lovers of Penelope. He died at
adorned with beautiful frescos of various histori-  Carcassone in 1803.
cal and fabulous subjects. Superior to the latter,
are his admirable productions in the cloisters of S.  \     or         GAMPERLIN, a German
Eufemia at Brescia, which represent Cain Slaying    V      V  Vwood engraver, who lived at
Abel; Moses and the Brazen Serpent; Samson   Strasburg, and executed, among other works, a set
and Delilah; Judith with the head of Holofernes;  of twenty-two wooden cuts for the Life of Christ,
Jaeland Sisera; and the Deposition from the Cross.  printed by John Knoblauch in 1607.  Authors
His finest oil paintings are the Birth of Christ, in  differ respecting this artist; Nagler says he is




GAND.                      341                    GAND.
identical with Ursus Graf, and gives a copious  works in various parts of Italy. He also engraved
list of his works.                                with much elegance, and among his productions in
GANDIA, JUAN DE, a Spanish painter, who  this branch of art, is an etching in a very masterly
lived about 1720, and was distinguished for his ar-  style, representing the Nativity, signed  iccol. del
chitectural and perspective views.                Abati, pizx.; Gajet Gandolfi, fec. Ie died in
GANtDINI GIORGIO called als, from hs mo   1802, and was buried by his countrymen with
GANfDINI, GIORGIo, called also, from his mo-  great funeral honors, equal to those of Agostino
ther's family, DEL GANO, was born at Parma,  Cara.
where he died young, in 1538. According to Orlandi, he was not only a pupil of Correggio, but    GANDOLFI, UBALDO, the elder brother of
was also assisted by that master in retouching his  Gaetano G.. was born in 1728, and died at Bologna
pictures. Padre Zapata ascribes to Gandini the  in 1781. He successively studied under the painprincipal altar-piece in S. Michele, which Ruta er-  ters, Torelli. Graziani, and Lelli. He was one a
roneously attributed to Lelio Orsi; and Lanzi  distinguished  artist of the modern  Bolognese
says that its ease and sweetness of pencilling, its  school, not so much for his coloring, in which
relief, and power of coloring, reflected honor upon  he was inferior to his brother, but for his supethat school. How highly he was esteemed by his  rior academical designs.
fellow-citizens, may be inferred from the commis-    GANDOLFINO   MESTRO, a  Piedmontese
sion which they allotted him, to paint the tribune   painter, who ourished about 1493.  n the church
of the Cathedral, as a substitute for Correggio,  painter, who flourished about 1493. In the church
of the Cathedral, as a substitute for Correggio, of S. Francesco, at Alba, are some of his works,
who died before he commenced the work. Gan-  still in good preservation.
dini also died soon after, and the commission was
transferred to Girolamo Mazzuoli.                   GANDON, JAMES, an eminent English archiGANDIN, ANTONIO, a Brescian painter, who  tect, born in 1760. He studied under Sir William
studied under Paolo Veronese, and followed his  Chambers, and gained the first architectural gold
style. He also imitated Vanni, with something of    dal everawarded by the Royal Academy. Afthe style of Palma. His invention was fertile, and   ter ably editing the  Vitruvius Brittanicus, he
his design correct; he was vast, varied, and ornate in  went to Ireland, where he spent the remainder of
his compositions, an artist every way deservingof his life. He designed the Royal Exchange, the
consideration in his grand picture of the Crucifix-  Custom House, the Four Courts, the Portico of
ion, in the old cathedral at Brescia.  Orlandi and  the House of Lords, and many other elegant strucZamboni place his death in 1630.                  tures in Dublin. The Society of Antiquaries electGANDOL, GATO a   ern Ilia       -  ed him a member of their body, as did also the
GrANDOLFI, GSAE TANO, a modern Italian paint-  Irish Academy. His talents were highly esteemed,
er, born at S. Matteo della Decima, in the Bolog-  and his works gained him great reputation.  Ho
nese state, in 1734. He studied under his brother,  died in 1824.
Ubaldo G., and afterwards improved himself in
oloring by studying for a year at Venice, and by   GANDY, JAMES, an English portrait painter,
copying for a Venetian dilletante the finest produc-  born in 1619, and is said by Pilkington to have
tions of the Caracci at Bologna. It is difficult to  studied under Vandyck. He was patronized by
account for the fine coloring in some of his pie-  the Duke of Ormond, who took him  to Ireland,
tures, and the inferior coloring in others-as in the  where he painted many portraits of noblemen and
Death of Socrates, at Monsig. Trenta's, bishop of   others, which that author extols as little inferior to
Foligno. Lanzi says it is feeble and deficient in   Vandyck, either for dignity, coloring, or expression.
truth, owing either to caprice or age. In his pre-  He died in 1689, leaving a son named William, who
parations of paintings he was more commendable;  went to England in 1700, and became an itinerant
his first conceptions were sketched on slate with a  portrait painter in Devonshire and Cornwall. He
pencil, and then more carefully on paper. He next  died in obscurity.
began to select; modeled the figures in chalk, and  GANIERES  JEAN  a French engraver who
draped them; afterwards forming the design on a  flourished at Paris about 1650. Heexeute
large scale, and by the aid of his experiments, and  few plates with the graver, in a stiff tasteless manof the living model, he went on completing and re-      ater Blanchard&e,  c    al   some portats
touching his work. He has been accused of bor-      aftr   ch         a
among which are:
rowing too frequently from  the ancient models;
but whoever had seen him, aged as he was, devot-                     PORTRAITS.
ing himself in the public academy to the practice    Louis XIII. of France; an oval, with ornaments. 1640.
of modeling, would not unjustly condemn him   Cardinal Flavio Chigi. M. de la Melleraye. 1679.
with those plagiarists so notorious at this day.                      SUBJECTS.
Moreover, Lanzi says he was inimitable by most    Magdalene, penitent; after J. Blanchard.  A Boy
artists in those rare gifts which nature had lavish-  sleeping, with a Skull near him. 1640.
ed upon him-enthusiasm, fertility of invention,    GANTREL ETIENNE, a French engraver
sensibility, and skill in depicting the passions; to  at Paris abot 1.     executed a n   er bo
which he added a correct eye, and ability to design   Paris about 1626.   e executed a number of
and compose, in the decoration of friezes for the  plates of portraits and historical subjects, in a neat
Institute, exotic plants, and other rarities of na- style, possessing considerable merit. The followture, and skill to paint in oil as well as fresco.    g are the principal:
He was esteemed in Italy as one of the first artists                 PORTRAITS.
of his day. His master-pieces are the Assump-    Louis XIV. of France; as-large as life; Stef GantreL
tion, in S. Maria della Vita; and the Marriage of  fec. 8ebastianoPisani, Bishopof Vcrona; do. A.Brean
Cana, in the Refectory of S. Salvatore at Bologna;  neau, President de la Tournelle; after la Dam. J. L.
de la Bourdonnaye, Bishop of Lyons; qfter Fontaine.also the Martyrdom of S. Pantaleone in the church   M. Poncet de la Riniere. 1682. Louis Brrieri Counaelly
of the Girolimini at Naples, besides some other  to the King. 1674.




GARB.                      342                    GARO.
SUBJECTS AFTER VARIOUS MASTERS           riche, mentions another of his beautiful altar.
The Rod of Moses, changed into a Serpent, devouring  pieces, still in existence at S. Salvi; and some of
the Rods of the Magicians of Pharaoh; after N. Poussin.  his earlier pictures are in a similar state. UnforThe Israelites passing the Red Sea; do. The Israelites  tunately for the art, he became the father of a nudancing round the Golden Calf; do. The Descent from   merous family and gradually degenerating in his
the Cross; do. St. Francis Xavier restoring an Indian to
life; do. St. Gervais and St. Protais before the Pro-Con-  style, he died in poverty and obscurity in 1534,
sul; after le Sueur. St. Benedict kneeling; after Phil.  aged 58.
de Champagne. St. Francis supported by an Angel; after  GARCIA, FERRER, a Spanish ecclesiastic, who
Caraci. The ead of Christ; after e Brun.   practised painting at Valencia and Madrid about
GARBIERI, LORENZO, called IL NIPOTE, a Bo-  the middle of the 17th century. His works were
lognese painter, born, according to Malvasia, in   much esteemed, particularly for their admirable
1580. He studied under Lodovico Caracci, and  perspective. He usually represented religious subbecame one of the most successful imitators of that  jects, among which is a picture of the Crucifixion,
great artist. Lanzi says he was less select in the  dated 1632.  He possessed a fine collection of
heads, but grand in the forms, expressive in the  works by the old masters, and also of his own
attitudes, and studied in his large compositions.  pictures, which after his death brought a large
His austere and almost fiery disposition, with an  sum.
imagination abounding in wild and mournful ideas,    GARCIA, FRANCISCO, a reputable Spanish
impelled him to represent tragical events, as mar-  painter, who flourished at Murcia at the comtyrdoms, slaughter, pestilence, and death. To the  mencement of the 17th century. Among his best
style of the Caracci, he added the daring contrasts  works is an altar-piece in the chapel de los Velez,
of Caravaggio.  His paintings in S. Antonio at  in the cathedral of that city, representing St. Luke
Milan, which are less loaded with shade, were at-  writing, which is highly esteemed.
tributed to the Caracci, by Santagostini, in his    GARCA,                               
Guide to Milan. Among his principal works is an  Spanis, Dorn at Mur,       a  in 1656. He deadmirable picture in the Filippini at Fano. repre-       painter, born at Murcia in 1656. He d
asenting St. Paul raiing the    ouFiippini at Fno, whr voted himself to painting at the age of fourteen,
senting St. Paul raising the Youth to Life, which   ad his first masters were Mateo Gilarte and Nico
is painted with such power and expression as to  las de Villacis. In 1676 he visited Rome for imexcite both terror and devotion. In S. Paola de
excite both terror and devotion. In S. Paola d?  provement, and was assisted by the advice and inBarnabiti, at Bologna, he painted the Plague of  struction of Giacinto Brandi, P. da Cortona, SalMilan, with S. Carlo Borromeo visiting the Sick,   ator  osa a       o    ra.  On returning to
and conducting a penitential procession. In S.
and conducting a penitential procession. In S.  Spain, he resided several years at Valencia, where
Maurizio at Mantua, is his celebrated Martyrdom     ain        ed severalyears at Academyand were
of St. Felicita, and her seven children-a piece in-  cuted many ineeral pries at te Awardssetled ea
cuted many fine works. He afterwards settled at
ferior to the Miracle of St. Paul in point of vigor,  Madrid, and executed, in concert with Don Juan
but containing such a variety of images and deathly   Carrei, a number of pictures in thcloister of S.
horror, as not to be surpassed in tragic interest by   Carrelo, a  number of pictures in toister of S.
anything from that school. He had the choice of      ointe   ort
establishing himself as court-painter at Mantua,  painter by Philip V., who conferred on him the orestablishing himself as court-painter at Mantua,  der of St. Michael. His works are distinguished
but preferred taking a wife with a handsome dowry  fdr   icel   omposition, beautiful coloring, fine
at fologna. Thisstep was a oss to thebr excellent composition, beautiful coloring, fine
at Bolo~ga.  This step was a loss to the art, RC-  expression in the heads, grace and elegance of
cording to Malvasia, since from that period, find-  forms. He was cotemporary with Palomino, who
ing himself rich, and occupied with family cares,   s en s      s reputation, ad d no ino, w
he painted little, and with as little study, leaving  hs nen his Lives of Paint        ers
his final labors by no means equal to the preced-  count for the megre setch in Bryan of this emiing. He died in ^ 1654.count for the meagre sketch in Bryan of this emiing. He died in 1654.                nent artist.  Among the principal works of GarGARBIERI, CARLO, the son and scholar of the  cia, are the Battle of Lepanto, in S. Juan at
preceding, whose style he followed. He did not  Valencia; St. Joseph, in S. Andrds; St. Joachim
apply himself closely to his profession, but exhib-  and St. Thomas, in the Convent of S. Domingo.
ited several historical works, which showed that in   At Madrid there are twenty-four pictures by him.
time he might have equalled his father. In S. Gio-  in the cloister of S. Augustine, representing subvanni in Monti, at Bologna, is a picture by him of  jects from the life of that Saint.  Garcia is said to
the Death of St. Mary of Egypt; and in S. ]3aolo,  have engraved a number of plates, but their subthat Saint taken up to Heaven.                    jects are not mentioned. In 1691 he published a
GARBO, RAFFAELLINO DEL. a Florentine paint-  work on art, entitled Principio ara etdiar e
er, born in 1476. He studied under Filippino Lip-  NobilismoArtedela Pintra.
pi, whom he soon surpassed, and gave promise of     GARCIA, DE MIRANDA, called EL MANCO. This
rare merit. He accompanied his instructor to  Spanish painter flourished about 1730, and alRome, and painted a Choir of Angels on the ceil-  though little is known of his works, he must have
ing of the Capella della Minerva, which surpassed  been an eminent artist. Philip V. appointed him
the work of Lippi in the same chapel, particularly  court-painter, with a salary of 2500 ducats per
in the expression of the heads. Lanzi says this  annum. He was called El [Manco, from his habit
work alone would serve to justify the name by   of painting with his left hand, having lost his right
which he was distinguished. In Monte Oliveto at  by an accident. He died at Madrid in 1749. There
Florence, is a Resurrection by this artist, where  were two other painters of this name-Reynoso
the figures are small, but so graceful, correct in   Garcia, of Andalusia, who died in 1677; and Garattitude, and so finely colored, that Lanzi says he  cia de Salmeron, who d'ed in 1666.
can hardly be ranked inferior to any master of that    GARDINER, WILIIAM, an Irish engraver, born
age. The learned Moreni, in his Memorie Isto-  at Dublin in 1766. He early manifested a taste




GARD.                     343                    GARN.
br design, and was placed in the Academy of Dub-  subjects are very interesting. He was living it
lin, where he gained distinction on several occa-  1831.
sions. He afterwards went to London, and prose-    GARNERY, AMBROISE LOUIs, a Parisian paintcuted the art with great assiduity, under the direc-  er, son of Jean Francois G. He painted naval
tion of Bartolozzi. who allowed his own name to  battles, and other marine subjects, illustrative of
be affixedto several of his plates. He was distin-  events within the last thirty or forty years, such as
guished for his portraits in aquatint, which pos-  the capture of an English frigate by an American
sess great merit. Among his other works are the  (no uncommon event about 1812, Mr. Stanley to
illustrations for the Memoirs of Grammont; the  the contrary notwithstanding); also the Battle of
Fables. of Dryden, by Lady Beauclerc, &c. It is  Navarino painted by order of the government;
to be,egretted that he did not apply himself stead-  and the Embarkation of the Duke and Duchess de
ilyto the art, as he would undoubtedly have at-  Berri. He also engraved and published a pictorial
ained eminence. He died in 1814.                 work, entitled, " Views on the Ports and Coasts
GARDNER, THOMAS, an English engraver,  of France."
who wrought chiefly for the booksellers, and exe-    GARNERY, AUGUSTE, a French painter in wacuted, among other plates, a set for the Book of  ter-colors, the second son of Jean Francois G. He
Common Prayer, paraphrased by James Harris  studied in the school of Isabey, and painted many
in 1735.                                         portraits, besides some small-sized subjects of hisGARDNER, DANIEL, an English painter, born  tory; also designs for vignettes, and for Denon's
at Kendal, in Westmoreland, and flourished about  work on Egypt.
1780. He was a student of the Royal Academy,        rGARNIER, ANTOINE, a French engraver,
and was also on terms of intimacy with Reynolds.     whoflourished at Paris a bout 1650. His
He painted fashionable portraits of a small size,  plates have some merit, though not very delicately
and realized a considerable fortune by this prac-  executed; they are etched in a bold style, and fintice, which enabled him to retire from the profes-  ished with the graver. He engraved, among othsion some years before his death, which occurred  er works, four plates, after Blanchard, of Charin 1805.                                         ity, the Holy Family, St. Sebastian, and St. John
GAREMYN, JOHN, a Flemish painter, born at  the Baptist; also some of the paintings by PriBruges in 1712, and studied under Louis Roons  maticcio at Fontainbleau; a set of twelve plates,
and Matthias de Visch. His talents were versa-  after the pictures by the same artist, in the chaptile; his works are numerous in different branch    el de Fleury; and several plates after M. A. Caraof the art, and are highly esteemed for warmth  vaggio and N. Poussin.
of coloring, and facility of execution. He painted  GARNIER, ETIENNE BARTHELEMY, areputable
numerous altar-pieces for the churches at Bruges  French portrait and historical painter, born at
and Courtrai; and others for private collections at  Paris in 1759. He painted many pictures of subBrussels and Ghent. At Bruges there are also a  jects from ancient poetry, and of events in the
number of his pictures in the style of Rembrandt  reigns of King Dagobert, Henry IV.. and Napoleon.
and Teniers, which are highly esteemed. Gare-  He competed in 1828 with Horace Vernet for the
myn also designed and executed several plates for  directorship of the French Academy at Rome; but
the Chronicles of Flanders, in 4 vols. fol., 1736.  being unsuccessful, he was declared Chevalier of
He died in 1799.                                 the Legion of Honor, and received a pension of
GARGIUOLI, DOMENICO, called Micco SPADA-  2000 francs. He was living in 1831.
RO, a Neapolitan painter, born in 1612. He stud- 
ied under Aniello Falcone. at the same time with         or o GARNIER, NEL,an
Salvator Rosa, next to whom he was the most tal-                            ld French engraver,
ented of Falcone's disciples. He gained distinc-       oushed  about  560. Heis called the
tion as a landscape painter, ana was also a good   "Master of the Knot," from   s sometimes using
artist in large historical works, as is evident from   a knot to unite the letters of his monogram. He
his pictures at the Certosa, and in other churches.  executed several wooden cuts, and some of the earHe had an extraordinary talent for painting small  liest plates ever engraved in France, which are in
figures, and Lanzi says he might be called with   a very rude style, and seem like the productions
propriety the Cerquozzi of his school. His friend,  of a goldsith. There is a plate by him, marked
Viviano Codagora, always employed him to deco-  with his Christian name  on a tablet representing
rate his landscapes with figures, which he did with  severalmen fighting, something in the style ofSeinfinite grace. The Neapolitan galleries possess  bald Beham, though greatly inferior. There are
many of their pictures; and some have specimens    o a number of groteque ornaments, and a set
of Capricci, all by Gargiuoli. He had no equal  of forty-eight figures, emblematical of the arts.
in depicting the manners and dress of the common  sciences, trades, &c.
people, particularly in large assemblies, in which  GAROFOLO. See TisIo.
the number of figures sometimes exceeded a thou-   GAROFOLINI, GIACINTO, a Bolognese painter,
sand. He was assisted by the etchings of Callot  was born in 1666, and died in 1725. He was
and Della Bella, both of whom  were celebrated   a pupil of Marc' Antonio Franceschini, and execufor placing a great number of figures in a small  ted various works in fresco for the churches at Bospace; but it was in the true spirit of imitation,  logna and other cities.
without a trace of servility.  He died in 1679.    GAROFOLO, CARLO, a Neapolitan painter, who
GARNERY, JEAN FRANCOIS, a French painter  studied under Giordano, and excelled in painting
of portraits, architectural views, and fancy sub-  on glass, or rather on crystal, for ornamenting
jects, born at Paris in 1755. His earlier portraits  mirrors, caskets, and other furniture of the chanare said to be in the Flemish style, and his fancy   bers of the great. then much in vogue. He went




GARO.                     344                     GASP.
to Spain at the invitation of Charles II., to prac-  considerable merit; the best is the portrait of Phil.
tice this kind of painting in the royal palace at  ip, Earl of Pembroke.
Madrid, where he died about 1715.                   GASPARINI, GASPARE, an Italian painter, a
GAROLI, PIETRO FRANCESCO, a Piedmontese  native of Macerata, and flourished about 1585.
painter, was born at Turin in 1638, and died in   He studied under Girolamo Sermoneta, and fol1716.  He studied at Rome, and was an excellent  lowed his style, though in a less finished manner,
painter of perspective. He was much employed   as is evident from his two pictures in S. Venanzio,
at Turin and in other cities, in decorating the  at Fabriano, representing the Baptism  of Christ
churches, in which Garzi painted the figures.     and the Last Supper, though these do not equal
GARD a land       e pinter of lt   his picture in the same church of St. Peter and St.
GARVEY, EDMUND, a landscape painter of lit-  John healing the Lame Man-a grand compositle note, who flourished in England about 1790.  tion in the elevated style of Raffaelle. There is
He followed the style of Richard Wilson, to a cer-    o        e        levate  stle o   aaelle    here is
tain extent. He left many small pictures at his  aso a fine picture at the Conventuali, in his native
tatn exteht. He  left many b   ut rather dry style   place, representing St. Francis receiving the Stigdeath, executed in a neat but rather dry style, mata.
which were sold at auction in 1816.. O i m
or  Tan  Italia  painte            GASPARINI, SEBASTIANO. Orsini mentions
GARZI, LUIGI or LODOVICO, an Italian painter,  an artist of this name, who studied under Cav.
born at Pistoja, according to Orlandi, in 1638. He  Pomerancio, and decorated a chapel in S. Biagio in
studied in his native city, under S. Boccali, until the  that city with historical paintings in fresco.
age of fifteen, and in 1653 went to Rome, where                   hr
he entered the school of Andrea Sacchi, and soon    GASPARS, JOHN BAPTIST, a Flemish painter,
manifested such remarkable talent that he became  who flourished about 1660, and studied under
highly celebrated at Naples and Rome in every   Thomas Willeborts Bosschaert. His drawing
branch of painting. According to Lanzi, he was an      coect, and he excelled in making designs
enemy to despatch in painting, correct in his de-  from tapestry. During the civil war he visited
sign, and free from the corrupt prejudices which   England, and was much employed by Gen. Lamafterwards usurped the place of the genuine rules  bert. After the Restoration he became an assistar            s    erhe    e   eof   tarthe   ant to Lely, and subsequently to Kneller. Among
Sacchi and P. da Cortona. He  is praised for the  his works are the Portrait of Charles II., in Paintelegance of his forms and attitudes, correct per-  ers Hall, and another of the same prince, in the
spective, and fertile invention and composition.  hall of St. Barthblomew's Hospital. He died at
He was the cotemporary and rival of Carlo Ma-  London in 1691.
ratti, though in refinement of taste he did not    GASSEL, LUCAS VAN, a reputable Flemish landequal that master. Among his principalworks at  scape painter, who probably resided chiefly at
Rome are the cupola of the Capella Cibo, in S.  Brussels, where he died at an advanced age. His
Maria del Popolo; the Marys at the Sepulchre,  portrait, by Jacob Binck, is in the collection of
in S. Marta; and his celebrated picture of the  persons who died before 1572, engraved by John
prophet Joel, in S. John of Lateran. He was in-  Wierix.
vited to Naples, to paint the vault of S. Caterina  GASSIES, a French painter, who flourished
del Formello, with the angles; and two saloons in  from  1810 to 1827, and executed many works
the royal palace. In the dome at Pescia, he paint-  which are now in the collections of some of the
ed an immense picture of the Assumption, which   best patrons and amateurs of the art in France.
is considered his most capital performance. He  His works embrace historical, poetical, and allegodied in 1721.                                     rical subjects, landscapes, marine views, interiors
GARZI, MARIO, the son and scholar of the pre-  of churches, and striking scenes on the coast of
ceding, painted subjects of history in the style of  England and France.
his father, which evinced fine talents, but died    GAST ICEL DE, a Flemish painter born at
young. Pascoli mentions two of his works, in the    GAST, M                               
Guida di Roma. ~ d):;mnintafAntwerp in 1520. He probably passed the earlier
part of his life in Italy, as many of his works repGARZIA. ALVARO, an old Spanish architect,  resent the ruins of ancient Rome, decorated with
was a native of Estelle, in Navarre, and flourished  figures and cattle. In 1558, he was chosen a memabout 1090. He erected at Avila the cathedral,  ber of the Academy at Antwerp.
with the tower and fortress, which in ancient times  GASULL AUGUSTIN. a Spanish historical painthad been the royal palace. These buildings were   e, whouied at Rome under Carlo
commenced in 1091 and finished about 1107.     er of Valencia, who studied at Rome under Carlo
commenced in 1091, and finished about 1107.       Maratti.  All his works are remarkable for their
GARZONI, GIOVANNA, a reputable Italian paint-  admirable coloring, and are greatly admired.ress of flowers and miniature portraits, a native of   Among them are the pictures of St. Andrew, St.
Ancona, and flourished about 1630. At Florence,  Stephen, la Vierge de 1' Esperance, and also his
she painted the portraits of some of the illustri-  St. Joseph, painted for S. Juan del Mercado at Vaous personages of the Medici, and many of the  lencia, besides many  pictures in several other
nobility. She died at Rome in 1673, at an advanced  churches of the same city. He died at Valencia,
age, and left all her property, which was consider-  about 1704.
able, to the Academy of St. Luke, where a marble    GATTA, DON BARTOLOMEO a native of Camalmonument is erected to her memory.                dola. who died, according to Vasari, in 1461, aged
GASCAR. HENRY, a French portrait painter,  83; to others with more probability in 1491. He
who went to England in the time of Charles II.,  was educated at Florence, in the monastery of the
where he was greatly patronized by the Duchess  Angeli, and painted-miniatures and small historiof Portsmouth and others, so that he acquired   cal pieces with reputation. He was also skilled in
about $50,000 in a few years. His works have  music and architecture. He was appointed Abbot




GATT.                      345                     GATT.
of S. Clementino at Arezzo, where he practiced,  cellino. Gatti also held a high rank as a portra.
and instructed several pupils in the art.          painter.  He was not always equally diligent
GATTI, FORTUNATO, a native of Parma, and a  however, and sometimes betrays a mechanica
reputable painter, who flourished in that city in  hand, while there is often a monotony in his cou
1648. Lanzi says his works show the succession  tenances, and a want of selection in his heads. His
of the Parmese artists, rather than the genius of  last works are dated in 1631.
a great painter.                                     GATTI, URIELE, supposed by Lanzi a brother
GATTI, BERNARDO, called SOIARO, an eminent  of the preceding, flourished about 1600. In S. SeItalian painter, born, according to Cav. Antonio  polcro, at Piacenza, is a picture by him of the Cru
Campi, at Cremona, where his family was estab-  cifixion, painted with an elegant and vigorous col
lished. Lanzi says he deserves to be considered   oring, but in an insignificant style, with feeble
the great master of the Cremonese school, which,  chiaro-scuro. It is signed Uriel de Gattis dictv
benefitted by his presence and guided by his exam-  Sojarius, 1601.
ples, produced during so long a period such a vari-    GATTI, GIROLAMO, an Italian painter, born at
ety of admirable works.  He was the most talent-  Bologna in 1662; died in 1726. He studied uned of the scholars of Correggio; and his Repose  der Marc' Antonio Franceschini, but imitated Cigin Egypt in S. Sigismondo at Cremona, Christ in  nani in his coloring. He was considerably emthe Manger at St. Peter's in the same city, and   ployed in small figure pieces, among which is the
the Dead Christ in the Magdalene at Parma, all  Coronation of Charles V., in the Hall of the Anziani,
afford ample evidence of his power of imitating   which evinces good talents in the figure and perCorreggio, without the servility of a copyist. No   spective.
one has emulated him better in the delicacy of his   GATTI OLIIER   an Italia
countenances, and his young girls and boys appear, O          a     an paiter and enanimated with the spirit of               appnocene,  graver, born at Parma in 1598; studied painting
a       nimated with the spirit of innocence, grace, nd under  io. Lodovico Valesio  and probably was
beauty. Sweetness is one of the chief characterinstructed  in  engraving by  Agostino  Caracci.
istics of his coloring, and the relief of his figures,  whose style he imitated though greatly inferior.
like his great instructor, is every way perfect and
He was chosen a member of the Bolognese Acadecomplete. He succeeded to the place of Pordenone,  m n 1         As a paner, he s Bologne kAcad
at Piacenza, where he painted the remainder of the  m  i  1          a      er     s little known;
tribune at S. Maria di Campagna; and Vasari  but there are a number of plates by him, which
says it all seems the work of the same artist-    possess considerable merit.  The following are
Lanzi mentions an admirable work by Gatti, in  the principal
the cupola of the Steccata at Parma, in which the    St. Franis Xavier kneeling on the  ea-shore, and tak
Madonna is of wonderful beauty. Another of his  ing up a Crucifix, which is floating on the water; after
his design. The Virgin caressing the infant Christ; after
pieces, representing the Multiplication  of the   Garbleri. St. Jerome, with a Crucifix; after Agos. CaLoaves, is highly deserving of praise. It was ex-  racci. An emblematical subject, representing an Armorial
ecuted for the Refectory of the Padri Lateranensi  Bearing, supported by two River Gods, with an armed figat Cremona, dated 1552. It is an immense comp-  ure, standing alone, surrounded by Jupiter, Hercules, Nepsition, full of figures larger than life, admirably       Apollo, and Minerva; after L. Caracci.   A set of
sItion, flofiuelretalfa r        four small plates, representing the Deity forming the
varied in features, drapery, and attitudes, besides  World, the Creation of Adam, the Sacrifice of Abraham
a rich display of novelty and fancy; the whole  and Judith with the Head of Holofernes; after Pordeconducted upon a grand scale, with a beauty of  none. A Drawing-book; after the designs of Guercino.
coloring and harmony of effect, that serves to ex-   GATTI, TOMMASO, an Italian painter, born at
cuse a degree of incorrectness in the Aerial per-  Pavia in 1642. He was one of the best scholars
spective. Few of his works are to be found in   of Carlo Sacchi, and afterwards pursued his stuprivate Italian collections, as a great number have  dies at Venice. He succeeded, Lanzi says, at least
been taken to other countries, particularly to Spain.  as a practical artist, and painted a number of pieRosini has a print of Gatti's Nativity, which gives  tures for the churches at Pavia.
a good idea of that admirable work. He died in       GAUCHER, CHARLES ETIENNE, a French enGAT1G575o ald'nIain. TG ocgraver, born at Paris in 1740; died in 1804. He
GATTI, GERVASIO, called SOIARO, an Italian   studied under Basan, and afterwards under le Bas.
painter, born at Cremona, and flourished from   He executed a number of portraits, in a neat, fin1571 to 1631. He was the nephew of Bernardo  ished style, among which are:
G.. who initiated him in the same principles which                    PORT
he had himself imbibed, by studying and copying                        PORTRAITS.
he hadimels  f  rimbibed, t  rstuy ing  and copying  Maria Cecilia, Ottoman Princess, daughter of Achmet
the models of Correggio at Parma.  His improve-  III.; after his own design. M. du Paty. celebrated Adment was evident from his picture of S. Sebastiano,  vocate; cfter Notte.  Louis Gillet, with four French
painted for St. Agatha at Cremona in 1578, de-  verses. Louis Auguste, Dauphin of France; after Gcusigned with all the purity of the antique, and a  tier. J. P. Timoleon de Cosse, Duke de Brissac; after St.
coloring equal to the best productions of the Mi-  Aubin. Louis de Grimadi, Bishop of Mans. 1767. An
lanese school.  In S. Pietro is his Martyrdom  of  allegorical subject, to the memory of J. P. le Bas; after
Cochin. The Crowningof Voltaire; after Moreau,'The
St. Cecilia, surrounded by Angels, entirely in the   Card-players; after Tilburg.  Repose; after Gaupar
style of Correggio, most admirably colored, and   Netscher.
finished with exquisite care. In composition, it     GAUD,HENRY. See             T
resembles his uncle, Bernardo G., and might be       GAUDENZI. See FER            I.
easily mistaken for the work of that master, were
it not signed with his name and dated 1601. Lan-     GAUDIN, Luls PASCAL, a Spanish painter, born
zi says that he probably saw the works of the   at Villa Franca, near Barcelona, in 1556. He studCaracci. as their style is evident in some of his  ied theology, and took priestly orders, but did not
pictures, particularly those in Sts. Pietro and Mar-  relinquish his profession.  His instructor is not




GAUF.                       346                      GAUL.
mentioned; but he visited various cities of Spain,  gaging the subject in an animated conversations
and executed many fine works, which were much   and thus obtaining the most striking expression
admired, and even gained him  the honor of an in-  possible.  He is said to have etched the portrait
vitation to Italy by Pope Gregory XIII.; but  of Cardinal Celio Piccolomini.  He died in 1709.
when about to depart, he was taken sick, and died,     GAULT, PIERRE MARIE, DE ST. GERMAIN, a
in 1621.  Among his principal works are six grand   French painter, born at Paris in 1754.  He paintpictures of subjects from the Life of the Virgin,  ed subjects from sacred and profane history, some
in the convent of S. Maria de las Cuevas, near Se-  of which are of large dimensions; also portraitr
ville; and eight pictures of the Life of St. Bruno,  of many celebrated individuals, as Voltaire, Mlle,
in the Scala Dei.  His works are distinguished for   Clairon, Crebillon, and Stanislaus, King of Poland
correctness of design, intelligence of composition,  He wrote a number of works relative to the art,
beautiful attitudes, and the noble character of the   which display great knowledge  and judgment,
figures.                                             among which are an " Account of the Lives and
GAUFFIER, Louis, an eminent French painter,  Works of Leonardo da Vinci and N. Poussin;"
born at Rochelle in 1761.  He studied under Tara-  and a " Guide to Amateurs for the Italian, Spanval, and made rapid progress, carrying off the   ish, Flemish, and Dutch Schools."  He was living
grand prize of the Academy in 1784, for his pic-  in 1831.
ture of the Canaanitish Woman. He went toAULT                                    or GALTER  LEONRome with the royal pension, and produced seve-                   GAU, or           GAL,   LEO
ral works which greatly increased his reputation.                  1AD, a French engraver, who flourHis picture of Alexander and Hephestion, of life-  ished about 16, and executed a grea           er 80
size, gained him the title of Associate to the Royal  pts    h, m y of w h wee  o s possss         over 
Academy. Among his other works, are the Ro-  prints by him, many of which were from his own
Academy.  sAmong h   other Jworks, ae the Ro- Sea    designs.  They consist of portraits and various
man nations sending their Jewels to the Senate;
manthe Angels appearnding t heir  Jewels to the Senatcob and   subjects, some of which are very highly finished,
Rahe Angels apphileng to Abrahamg   Jacob  aHd   in the style of Crispin de Passe, and executed enRachel; and Achilles recognized by Ulysses. He
died at Florence in 1801.  His wife, Pauline Cha-  tirely with the graver, with great precision, but in
a stiff, formal manner. The following are the
tillon G., was instructed by him, and produced          ti  formal manner.   he following ae the
many excellent works, very delicately executed,
some of which have been engraved in England, by                         PORTRAITS.'BartolozzlShe died at Florence in J101, three         Henry IV. of France; L. Gaultier,fec. Henry, Duke
months previous to her husband's death.              de Montpensier, Peer of France. J. Amyot, Bishop of
months~ prvosthrhsad'et.Auxerre. Alexander Bouchart, Viscount de Blosseville.
GAULLI, GIO. BATTISTA, called BAcIcCIO, an   Philip de Mornay, Seigneur du Plessis. 1611. Charles de
eminent Genoese painter, born in 1639; died in   Gontaut de Biron, Marechal de France. Stephen Paschi1709.  He acquired the elements of the art at  nus. John Caron.
Genoa, and then went to Rome, where he studied                       VARIOUS SUBJECTS.
the works of the best masters, aided by the coun-    A set of small plates of subjects from the Old and New
sels of Bernini, and rapidly rose in public esteem.  Testaments. A set of the Prophets, Apostles, and EvanGifted naturally with a ready invention and great  gelists. Thirty-two plates of the History of Cupid and
facility of execution, he gained great eminence in   Psyche; after Raffalle. The Procession of the Ligue; a
grand fresco works.  The vault of the church del  stiricsaprint. The  amily of Henry IV.; nine figures.
The Assassination of Henry IV. The Coronation of Mary
Gesu, at Rome, is his most celebrated performance.  of Medicis; L. Gaultier, sc. 1610. The Cyclops forging
It represents St. Francis Xavier taken up to Heav-  the Thunderbolts; after J. Cousin. Leonar. Gaiter, fecit.
en, and is worthy of high praise for its grandeur   1581. A Sacrifice; after M. Freminet. The Last Judgof composition, knowledge of foreshortening, uni-  ment; copied from the print which Martin Rota engraved;
ty and harmony of effect, brilliancy and skillful           A. Buonarot
gradation of light. It is in the general effect, how-  GAULTIER, a French engraver of little note,
ever, that it is most to be admired; for the local  probably a relative of Leonard G., whose style he
tints are less excellent, and the outline of his fig-  imitated.  Among other plates, he executed seveures is not always correct.  His faults in his easel  ral of emblematical subjects, which have some
pictures, which are very numerous in Italy and   merit.
foreign countries, are less obtrusive, and are abun-   GAULTIER, PIERRE, a French painter and endantly atoned for by their spirit, freshness of tints,  graver, who flourished about 1730, and resided
and engaging countenances.  He varies his man-  chiefly at Naples.  His plates possess considera- 
ner with the subject, assigning to each a different  ble merit, among which are the following, after
style.  There is a delightful picture in his best  Solimena:
manner, gracefully painted, in S. Francesco a Ripa,    David and Bathsheba. Tbe Visitation of the Virgin to
representing the Madonna and Infant, and at her  St. Elizabeth. St. Michael discomfiting tha Evil Spirits.
feet St. Anna kneeling, surrounded by Angels. On   The Defeat of Darius. The Battle of the Centaurs. The
the contrary, in S. Andrea at Monte Cavallo, is his  Four Quarters of the World; small ovals.
picture of the Death of St. Saverio, treated in a      GAUTHEROT, CLAUDE, a reputable French
grave and pathetic style, most admirably adapted   painter, born at Paris in 1769.  He studied under
to the subject.  Gaulli also painted the angles in   David, and became, like that master, involved in
the dome of St. Agnes, and with such force and-  the French Revolution. About 1799 he opened
brilliancy that the works of Ciro Ferri, in the   a school at Paris, and by the influence of David,
same edifice, are almost eclipsed.  He also gained   who sent him all his scholars that were not suffigreat reputation in portraits, and Pascoli says he   ciently advanced to study the living model, he bepainted no less than seven different pontiffs, be-  came quite prosperous. In 1800 he exhibited his
sides many illustrious nobles. In this branch of   Convoi d' Atala, which was greatly admired,
the art he followed the practice of Bernini, of en-  Gautherot practised the art for many years at Pa.




GAUT.                     347                    GAYW.
ris,with good success. Amonghisprincipalworks  works in scagliola.  See Guido Fassi and dei
are Napoleon wounded before Ratisbon, and the   Conte.
Interview between the two Emperors at Tilsit,
which were placed in the'uileries. In 1815. he     GAYWOOD ROBERT, a reputable Englsh enpainted for the Royal Chapel a picture of St. Louis  graver, who lived about 1660, and studied under
attendig te S. He dd in 1.          Hollar. His prints are in the style of his instructor, though much inferior to that master. He exeGAUTIER (DAGOTY), EDOUARD, a Frenchen-  cuted a plate of Venus reclining, with a Man playgraver, who lived about 1780, in which year he  ing on the Organ, after Titian; besides three sets
engraved and published a book of twelve plates. in  of plates of Birds and Animals, after Rubens and
colors, after some of the finest pictures in the   Barlow; and the following portraits:
Royal Gallery. The subjects were as follow:
Leda, after, Veronese; Cupid, after Correggio;                      PORTRAITS.
Jupiter and Io, after Titian;* Cupid and Psyche,    Mary, Queen of Scots, with a Crucifix in her hand,
afiter  aiido; The Bather, after Le Moine; Jc-  Charles I.; oval, with a hat and cloak. Henrietta Maria,
after Guido; The Bather, after Le Moine; Jo-  his Queen, in mourning. Elizabeth, daughter of Charles
seph and Potiphar, after Alex. Veronese; St.  I., with an Angel drawing a Veil from her Face. Charles
Francis, after Vandyck; The Magdalene, after  II.; after Hanneman. The same, on Horseback. 1661.
7e Brun   Bathsheba, after Bounieu; three plates  The same, with a Hat and Feather. Catherine, Queen of
of Venus. Gautier died at Milan in 1784.          Charles II. Oliver Cromwell. Richard Cromwell. Geo.
Monck, Duke of Albemarle. Jerome Weston, Earl of
GAUW, G., an engraver mentioned by Strutt,  Portland.  The Countess of Portland.  Sir Bulstrode
who executed, among other plates, a singular en-  Whitelocke; fine. Sir Peter Temple, Bart. Sir George
graving in imitation of a pen-drawing, represent-  Croke, Chief Justice of the Kings Bench. Sir Kenelm
ing the Head of Mercury, after J. Mathan.         Digby. Sir Peter Paul Rubens. Hans Holbein, painter.
William Camden, historian and antiquary. William FairGAVASIO, Gio. GIACOMO, an Italian painter,  fa, General in the Palat. 1656. Inigo Jones, architect.
a native of the valley of Brembana, in the Ber-  Margaret Lemon, with French verses. James Shirley,
gamese and flourished about 1512. Tassi men-  poet. William Drummond, the Scottish historian. John
tions two pictures by him, and says they possess  Playford, musician. Matthew Stephenson, poet. John
tions two pictures by him, and says they possess  Evelyn antiquary.
merit enough to rank him among the ablest art-  Evel, a      ar
ists of his time. One is the Virgin and Infant,        GEBBO, ANDREA DEL a Milanese painter, born
with Saints, in the collection of Sig. Carlo Apiani  in 1492.  Iis instructor is unknown; but he
at Bergamo; the other i the sacristy of S. Ales-  painted historical subjects in a good taste, and was
sandro, of the same subject, with a Glory of An-  an excellent colorst. He died at Pavia i 1551.
gels, in the style of Gio. Bellini, and signed Io.    GEBER, an old Spanish architect, a native of
Jacobi Gavitii de Poscantu opus, 1512.            Seville, who probably flourished during the 11th
GAVASIO, AGOSTINO, probably the son of   century. He lived in the reign of Bernebet AlmuGio. Giacomo G. Tassi mentions a picture by   camas, king of Seville, and designed the great towhim in the parish church of S. Giacomo at Piazza-  er of Giralda in that city, and two other similar
tore, in the valley of Brembana, representing the  towers at Morocco and Rabata.  The invention of
Virgin and Tnfant; signed Augustinus de Gavaz-  Algebra is attributed to this architect.
zis Civ. Berg. pinxit, anno 1527.                   GECHTER, THEODORE, a reputable French
GAVASSETTI, CAMILLO, a Modenese painter,  sculptor, born at Paris in 1796. He studied first
who died young, according to Tiraboschi, m 1628.  under Bosio, and afterwards entered the school of
It is not said by whom he was instructed, but  Gros. He visited Italy for improvement, where
that author says his merit was greater than his  he remained several years, studying the antique,
reputation. He confined himself to fresco works   and the works of Buonarotti and other great masthe principal of which are at Piacenza, where he is  ters  after which he returned to Paris. iHe soon
better known than at Modena or Parma. One of   met with great encouragement, and practised the
his paintings adorns the parsonage of S. Antonio  art very successfully at Paris for many years. He
at Piacenza, representing a subject from the Apoca-  executed a large number of public works of high
lypse, and so finely executed as to induce Guercino   merit, among which may be mentioned his two
to bestow the highest commendation upon it.-   statues of the Rhine and the Rhone, which adorn
There is something so grand, spirited, and select  the fountain of the Place de la Concorde. He died
in the whole expression of this work, combined at Paris, in 1844, at the age of 48 years.
with so much grace and harmony of tints, that it    GEDDES, ANDREW, a reputable Scotch portrait
equally surprises the observer when viewed gene-  painter, born at Edinburg about 1789. He early
rally, and satisfies when examined part by part.  manifested an inclination for art, and entered the
The action only is sometimes extravagant, and   Academy at Edinburg while Haydon and Wilkie
some of the figures are hardly sufficiently studied.  were there. In 1814 he visited London, and paintIn fact, this artist preferred expedition to high fin-  ed the portraits of David Wilkie, Henry Mackenish; and held a dispute, reported by Baldinucci,  zie, Dr. Chalmers, and other noted persons, which
with Tiarini, who practised and maintained the  gained him considerable reputation. In 1818 he
contrary.  They painted scriptural histories in  painted the Discovery of the Regalia in Scotland.
competition, in S. Maria di Campagna at Piacenza,  in which he introduced the portraits of Sir Walter
where Gavassetti well maintained his position   Scott, and other distinguished men from Edinburg.
against Tiarini and other competitors, very nu-  About 1825, he was elected an Associate of the
merous and distinguished for that period.        Royal Academy, and in 1828 visited Italy, GermaGAVIGNANI, or CAVIGNANI, a native of  ny, and France. On his return he attempted hisCarpi, was born in 1615. He studied under Guido  tory, and painted an altar-piece for the church of
Fassi, and afterwards under Griffoni, both of   St. James, Garlic Hill; also a picture of Christ
whom  he surpassed in the skillful execution of   and the Samaritan Woman. He died in 1844.




GEEL.                     348                    GELE.
GEEL, JOHN VAN, a Dutch painter, born in   There are a number of good historical pieces by Gel1631, and died in 1698. He was a scholar of Ga-  dorp, among which are those painted by order of
briel Metzu, whose highly finished style he imita-  the Duke de Terra Nuova at Cologne. Among his
ted so closely that their works are frequently con-  best works are the Four Evangelists, which have
founded. He also painted marine views, which  been admirably engraved by Crispin de Passe. He
are excellently designed, and colored in a very  died at Cologne, according to Balkema, in 1611.
agreeable and truthful style.                      GEL, CLAUDE. SeeLORRAINE.
GEEST, CORNELIUS VAN, a Dutch engraver, who    GGELENIS, SIGISMUND, an old Gerexecuted, among other plates, a portrait of Gilbert               wood engraver, mentioned by
Burnet, Archbishop of Salisbury.                             Prof. Christ, who executed, among
GEIIN, G. D., a Flemish engraver of little note,  other prints, a set of twelve small wooden cuts
who lived about 1645, and executed a number of  of the Labors of Hercules, in a spirited style, with
book ornaments, in a poor imitation of Paul Pon-  fine strokes neatly cut.
tius. Among other prints by him, there is one of    GELLE, JOHN, a German engraver, who flourCarolus Aleaspinaeus.                           ished about 1628, and resided chiefly at Cologne.
GEILEKERCK, NICHOLAS VAN, a Dutch en-  Among other plates, he executed the portrait of
graver, who flourished about 1612. His produc-  Ferdinand III.; and some of the plates for the
tions are chiefly portraits, among which is that of   Academie de 1' Espee, published at Antwerp in
Prince Maurice of Nassau.                        1628, which are worked entirely with the graver
I    GELDER, ARNOLD DE, an eminent Dutch                       T T T.3LISpainter of portraits and history, born at    GELLIG, or GILLIG, JACOB, a Dutch painter,
Dort in 1645. He acquired the elements of de-  born at Utrecht about 1636. His favorite subjects
Dort in 1645. He acquired the elements of design under Samuel van Hoogstrseten, but after-  were fish and still-life, which he always copied
wards went to Amsterdam, and entered the school  from nature. He also painted portraits and landwards went to Amsterdam, and entered the school
of Rembrandt. He became one of the most ac-        pes, which possess some merit. He died, accomplished imitators of the style of that master,  cding to B e, in 1.
and his works exhibit the same magical coloring,    GEMIGNANI. See GIMIGNANI.
and admirable chiaro-scuro, producing an effect    GEMINUS, or GEMINIE, THOMAS, an old Engwhich captivates the beholder, and counterbalances  lish engraver and printer of little note, who executhe uncouth choice of forms, impropriety of cos-  ted the plates for several of his publications.tume, and low conception. He designed all his  Among them were a translation of Vesalius' Anataccessories from nature, and his studio was crowd-  omy, published in 1545; and a small work on
ed with armor, old draperies, flags, and sabres.  Midwifery, mentioned by Vertue.
He was most successful in his portraits. some of   GENEROLI, ANDREA, called from his birthwhich are worthy of Rembrandt, and are often at-  place IL SABINESE, studied at Rome under Pietro
tributed to that master. Among his principal his-  da Cortona, in whose style he executed some reputorical works are a picture at Dort, represent-  table works for the churches at Rome, and in the
ing'Solomon on his Throne, surrounded by his  Romagna. In the Guida da Roma he is called
Soldiers; at the Hague, a Jewish Synagogue, with   Generelli. He flourished about the middle of the
a great number of figures, of an admirable effect;  17th century.
and his master-piece, a picture at Dort, representing Bathsheba entreating David to leave his king-    GENGA, GIROLAMO, an Italian painter and em
dom to Solomon; it is most admirably colored,  inent architect, born at Urbino in 1476, and at the
with a rich and glowing effect. His last works  age of fifteen was placed in the school of Luca
were the Sufferings of Christ, in a series of twenty-  Signorelli, at Cortona, whom he assisted in sevtwo pieces. He died at Dort in 1727.             eral works, particularly at Orvieto. He subseGELDER, PETER DE, a Dutch painter, proba-  quently spent three years with P. Perugino, at the,
Rembrandt whoe manner he  time when Raffaelle studied under that master.
bly studied under  Rembrandt, whose mannr he  Lanzi says that most of his works have perished,
happily imitated, with a light touch, and a good  but mentions some historical subjects in the estyle of coloring. lHe died in the prime of life, in  but mentions some historical subjects in the Pet165e fc      g  Hediedinthprimn   trucci palace at Siena, which Vasari praises as
superior to those of Signorelli. At Rome, in S.
GELDERSMAN, VINCENT, a reputable Flem-  Caterina da-Siena, is a most beautiful picture by
ish historical painter, born at Mechlin in 1539.  Genga, representing the Resurrection. He was
Iis instructor is not recorded, but his works are  assisted by Timoteo della Vita, at ITrbino, and the
correctly designed and finely colored, particularly  imperial palace at Pesaro by Raffaelle del Colle,
in his carnations. Among his best works is a pie-  and others.
ture of Susanna and the Elders, and a Descent    As an architect, he gained considerable eminence,
from the Cross, in the Cathedral at Mechlin.     and was more employed in this capacity, than as
GELDORP, GELSDORF, or GUALDORP,  a painter. The Duke d'Urbino commissioned him
TORTZIUS, a Flemish painter, born at Louvain in  to erect a palace on the Imperial Mount near Pe1553. He acquired the elements of design in his  saro, which was so admirably furnished with conative city, and then went to Antwerp, where he  lonades, courts, galleries, fountains, and delighful
entered the school of Francis Franck, at whose  gardens, that all the princes who visited that part
death he became the disciple of Francis Pourbus.  of the country went to see it, and among them
Under the able instruction of the latter, he gained  Paul III., on his way to Bologna. At Pesaro he regreat improvement, and was esteemed worthy to  stored the court of the palace, and built the church
rank among the best artists of his time, especially  of S. Gio. Battista, which is the most beautiful of
in portraits, in which he was greatly employed.  any in that part of the country. He repaired and




GENG.                      349                   GENN.
embellished the episcopal palace at Mantua; erect-  Guercino, whose style he followed, and so closely
ed the facade of the cathedral, of such graceful  that amateurs may be deceived. His heads have
proportions and composition, that it is considered  a natural and animated expression, and his picamong the finest specimens of architecture. Gen-  tures possess considerable vigor and relief. In S
ga died in 1551.                                 Maria del Carobio, at Bologna, is a fine picture bv
him of the Assumption. He died in 1658.
GENGA, BARTOLOMEO, an Italian painter and         E           BE
eminent architect, the son of Girolamo G., born at    GENNAR, BENEDETTO, was born at Cento
Urbino in 1518. Vasari mentions several histori- n 1633  He was the nephew and scholar of  uercal pictures by him, in the style of his father, under  cino, and imitated his style with such exactness
whom  he also studied architecture, and was in-  as renders it diicult to distinguish their works.
structed b~y Vasari and Ammanati, after which  Gennari often copied Guercino's Persian Sibyl, the
tructedby VasariandAmati, aftSt. John, and Herodias, with the greatest exacthe visited Rome, and studied with great assiduity                 ois,  it te        e      ct
the remains of antiquity.  He erected a beautiful  ness, so that they are only to be distinguished by a
palace  at Pesaro, for the Duke d'Urbino; al-  less vigorous tone in the tints. Lanzi mentions a
so the small church of S. Pietro at Mondavio,  picture of Bathsheba by Guercino, together with a
which is an admirable work, surpassing, accord-  copy by Gennari; and the former seemed as if
ing to Milizia, any other edifice of its size in  freshly painted at the time, but the copy many
Italy. He was invited to erect some fortifications  years previously. This artist visited France in the
for the city of Genoa, and also for the King of Bo-  reign of Louis XIV., and painted some pictures
hemia; but the Duke would. not allow him to  for one of the palaces; also several portraits;
leave Urbino. At the earnest solicitation of the  among which  was that of the Duke d' rleans
Knights of Malta, he was allowed to depart for  which was greatly admired. He visited England
Knights 9f Malta, he was allowed to depart^ forin the time of Charles II., who appointed him court
that island, where the architect was received with  in the time of Charles II., who appoined him court
every demonstration of joy, and proceeded to       nter, which appointment he retained under
model a city, several churches, and a palace for  James, Iwh  and painted the portrait of that mon
the Grand Master of the Order, all designed with  arch,who had twelve of Gennars pictures in his
great beauty and regularity. Before the works  collection.  He subsequently returned to Italy,
great beauty and regularity. Before the works
were commenced, however, he died very suddenly,  almost transformed into a Dutch or Flemish paintwere commenced, however, he died very suddenly,
in 1558, at the age of forty. His loss was deeply  er, such was the truth with which he imitated veldeplored by the friends of art.                  vets, lawns, laces, gems, and other ornaments in
gold, and indeed, in everything that can enrich a
GENILLON, JEAN  BAPTISTE  FRANqOIS, a  portrait, besides drawing an extremely correct
French painter, who flourished in the first part  likeness, freed from any blemishes in the original.
of the present century, and studied under Vernet.  By means of this taste, then new in Italy, he obHis works possess considerable merit, representing  tained much applause and much employment, both
naval combats, shipwrecks, harbors, conflagrations  from princes and individuals. There are several
of ships, and eruptions of Vesuvius by moonlight.  works of his own composition in the churches of
He died in 1829.                                 Bologna and Cento. Among them are St. Rosa, in
GENNARI, Gio. BATTISTA, an Italian painter,  S. Domenico at Bologna; St. Anniano baptizing a
born at Cento, near Ferrara, and flourished about  Pagan king, in S. Gio. in Monte; St. Anthony of
1600. Lanzi says he was one of the instructors of  Padua, at the Cappucini. Some of his original picGuercino, and a reputable painter of history. In  tures are only inferior to Guercino in vigor and reS. Biagio, is a picture by him, in the style of Pro-  lief, among which are St. Leopardo, in the dome
caccini, representing the Madonna and Saints, with  at Osimo; and S. Zaccaria, at Forli. He died in
a glory of Angels.                               1715.
GENNARI, BENEDETTO, a native of Cento, and       GENNARI, CESARE, the younger brother of
probably a brother of the preceding, flourished at  Benedetto G., born at Cento in 1641, according
Cento in 1610. He painted at Cento and Bologna.  to Crespi, and studied under his uncle Guercino,
He was at least a reputable artist, for Malvasia says  whose style he followed with considerable success,
that Guercino endeavored with Benedetto to find  though unequal to his brother. He was also an
out by experiment what constituted grand effect  admirable copyist of the works of Guercino, and
in art. At all events he was connected with Guer-  executed a number of fine works from  his own
cino by the marriage of his son Ercole with the  designs. Among them  are St. Niccolo kneeling
sister of that artist. He had two sons, Ercole be-  before the Virgin, in the church of that saint; and
fore mentioned, and Bartolomeo, whom  he in-  St. Maria Madalena Pazzi, in S. Martino Maggiore.
structed in the art, and who also studied in the  He died in 1688.
school of Guercino at Cento, and distinguished     GENNARI, LORENZO, was probably a relative
themselves by their works at Cento, Bologna and  of the same family. He flourished about 1650;
other cities. Ercole was born, according to Cres-  studied under Guercino, and produced a number
pi, in 1597, and died in 1658, and is said to have  of works, among which is one in the Capuccini at
imitated the manner of Guercino more closely than  Rimini, very well executed.
was done by any other painter..).ENOELS, ABRAHAM, an eminent Flemish
GENNARI, LORENZO, a native of Rimini, who           GENOELS, ABRAHAM, an eminent Flemish
GENNARI, LORENZO, a native of R, who  landscape painter, born at Antwerp in 1640.
was a pupil of Guercino, in whose style he painted  At the age of twelve he placed himself under
with reputation in the churches at Rimini about  Jacques Backereel, where he remained three.years
1650.                                            and became an eminent portrait painter; but havGENNARI, BARTOLOMEO, an Italian painter,  ing made some successful attempts at landscapes
the son of Benedetto G., born at Cento, according  he determined to pursue that branch of the art.
to Crespi, in 1591. He was nearly the same age of  and entered the school of Nicholas Firelans, a'




GENO.                     350                    GENT.
Bois-le-Duc, who was highly esteemed for his skill  of St. Michael at Ghent. According to Lanzi and
in that science. After acquiring a thorough know-  Nagler, he died at Brussels, in 1657.
ledge of perspective and mathematics, he visited Pa-    GENTILESCHI. See LoMI.
ris at the time when le Brun, Poussin, and Mignard were highest in public esteem. Here he soon   F7     GENTSCH, ANDREW, a German engragained distinction, and was engaged by de Seve to'. ver, who flourished at Augsburg about
paint the cartoons for eight large landscapes, to be  1616.  He executed a number of plates, among
executed in tapestry for M. de Louvois. The fig-  which are several of grotesque ornaments; markures in the landscapes were by de S6ve. Le Brun  ed with the same monogram as Albert Aldegrevengaged him to paint the landscapes in his Battles  er, but may be distinguished by their inferiority
of Alexander; and in 1665, he was chosen a Royal  and the difference of date.
Academician, and received a pension from the king,    GEORGETJEAN  an eminent French painter
with apartments in the Gobelins. In 1674 he vi-                                         Hestudon porcelain, born at Paris about 1760. He studited Rome, and was admitted under Davidome,                       and wat first devoted himself to
ciety, from which he received the title of Archi- miniature painting, but subsequently entered the
medes, which he sometimes signs on his etchings.  famo   chinamanufactory at Sevres, where he beGenoels may be considered one of the most emin-   am      nf the most distinguished artists in this
ent landscape painters of his country. His works  branch.  His coloring is admirable.  Among his
are characterised by a truthful  and vigorous sys-  master-pieces are, Francis I. and Charles V. visittem  of coloring, and great facility of execution,  ig the Tomb of St. Denis, after Gros; and the
with a touch admirably varied to the character of  Dropsical Woman, after  Gerard Douw.  The lathis works. He resided several years in Italy, and  ter occupied him  four years, and is a  ost wonpainted, among other works, several large views in  derful performance. He died in 1823.
the vicinity of Rome. for Cardinal Rospigliosi. He
afterwards returned to Antwerp, with a large col-    GERARD, FRANcoIs, an eminent French paintlection of drawings and studies made in the envi-  er, born at Rome in 1770. His father was French
rons of Rome. He resided at Antwerp until his  and his mother Italian. He studied at Paris, first
death, which occurred, according to Zani, in 1703.  under the sculptor Pajou, and then under the
lHe has left a few masterly etchings of his works,  painter Brenet, but became dissatisfied with his
executed in a bold, free style, and embellished with  master, and entered the school of David. Here
figures and cattle. Among them are the follow-  he made rapid advances, and in due time was coning:                                              sidered one of the most promising young artists
A set of four mountainous Landscapes, with ruins and fig-  of his day. Under the rule of Napoleon he gained
ures; A. Genoels aquafort.fec. 1684. Two rocky Land-  great encouragement, and was patronized by the
scapes, with figures; A. Genoels, alias Archimedes, sc.  most eminent personages of the empire, who comRomec. 1675. Two grand Landscapes, with ruins and  missioned him to paint their portraits. Napoleon
figures; A. Genoels,fec. Four mountainous Landscapes,  appointed him chevalier of the Legion of Honor and
with ruins and waterfalls; A. Genoels, fec. Four viewsim chevalier of the Legion f Honor and
of Gardens, with figures and statues; A. Genoels, inv. et  of St. Michael; and he became successively a prosculp., vander Meulen, exc. Two large Landscapes, with  fessor of the school des Beaux Arts; member of
waterfalls; one signed A. Genoels, inv. etfec.   the Institute; Baron; and first painter to the
~GENOVESE, IL PRETE. See STROZZL.              court. His society was courted by the most em~GENOVESINO, IL H. ~See CAL IAsee A-  inent personages, as the emperor of Russia, Madame
GEBNOVESINO, IL.  See CALCIA, see MIRA-  gde Sta6l, and the Duke of Wellington, who often
DORO.                                            visited his atelier. He was a great favorite with
GENTILE, BARTOLOMEO DI, a native of Urbino,  Napoleon, and was honored and esteemed by his
two of whose works are to be found at Monte Ci-  countrymen and foreigners. Among his numercardo, with this inscription, Bartholomaeus Ma-  ous portraits, are those of Napoleon, Josephine,
gistri Gentilis de Urbino; 1497, and one, dated  Maria Louisa, the King of Rome, Louis Philippe,
1508.                                            Gen. Bernadotte, Talleyrand, Humboldt, Madame
Pasta, and Madame de Stal. His portraits are
GENTILE, LUIGI, PRIMO, called. The family  distinguished for their spirited expression and adname of this artist was Primo, but he acquired the  mirable coloring   Among his subjects of history,
title of Gentile from his polished manners and ele-  was his picture of Belisarius, his first exhibition, in. of dress. He wa born atBrussewas his picture of Belisarius, his first exhibition, in
gance of dress. He was born at Brussels in 1606,  1795. There are many other classical works by
where he acquired the elements of design, and then  him, in the public galleries and private collections
visited Italy, where he gained a high reputation,  of France, many of which have been engraved.
both for his portraits and historical subjects. He  Amon  them are his beautiful Psyche, which reresided at Rome for thirty years; was patronized  tans i  exquisite coloring unchanged, a remark
by Pope Alexander VII., who employed him to  that cannot apply to many of his historical works.
paint his portrait; and was admitted to the Acad-  Besides, there are the Three Ages, exhibited in
emy of St. Luke in 1650. He painted the por-  1808; the Battle of Austerlitz; the Entry of Hentraits of many illustrious personages at Rome, in  ry IV. to Paris; Daphnis and Chloe; and Thetis
a very highly finished manner, though without a  bearing the Arms to Achilles.   e died in 1837.
labored appearance; and admirably colored. He
also excelled in historical subjects, which, accord-    GERARDI, ANTONIO, an engraver mentioned
ing to Lanzi, were highly finished, with an admi-  by  lorent l Comte, who executed a number of
rable relief. Among them are the picture of St.  plates of funeral parades, tombs, and monuments.
Antonio, in S. Marco at Rome; also the Nativity,    GEREARDS, MARK, a reputable Flemish painter
and St. Stefano, in the Cappuccini at Pesaro. One  engraver and architect, also an illuminator, and a
of his best productions is a picture of the Cruci-  designer for glass painters. He is quoted by Zani
fixion, in the chapel of the Trinity, in the church   as working in 1560, and to have died in 1598. IIis




GERB.                     351                    GERM.
name is variously spelled, as Garrard, Geraats,  its designer. He erected a chur h at Angers; alGeerarts, Gheeraerts; and sometimes he is called  so a monastery at Mans. and ethers in various
Marco de Bruges.  He went to England about  places.
1580, and was appointed painter to Queen Eliza-    GERMAIN, THOMAS, a French sculptor and arbeth. His carnations are thinly and delicately  chitect, born at Paris in 1673. He acquired the
colored, with a prevalent bluish tint; his works  elements of design in the atelier of Boullongne,
are occasionally to be met with, particularly his  and then went to Italy for improvement, where
portraits, which are distinguished by the careful  he was greatly assisted by the advice of the sculpneatness of their finishing, and the stiffness of  tor Le Gros. He designed a church at Leghorn,
their draperies, decorated with pearls and other  and on his return to Paris, erected the church of
jewels.  He designed the Procession of Queen   St. Louis du Louvre. As a sculptor he was highElizabeth to Hunsdon House; also that of the  ly esteemed, and received many commissions from
Queen and Knights of the Garter, in 1584. As  the court, the nobility, and foreign princes. Louis
an engraver, he executed a set of plates for AEsop's  XIV. gave him apartnients in the Louvre, and in
Fables, in 1565; a large plate of a View of Bru-  1738 he was elected to an honorable office in the
ges; a set of fourteen plates of the Passion of  city of Paris. His works were distinguished for
Christ, oval, J. Sadeler exc.; and a set of eighteen  their good taste, correctness of design, and delicacy
plates of Quadrupeds, 1583. Gerards is said to have  of execution. He died in 1748.
been  an able architect, but none of his works are  GERMAIN, a French engraver, who lived about
*~~mentioned.               ^1765, and executed several etchings of Views in
GERBIER, SIR BALTHASAR, an eminent Flem-  Rome, from designs of Dumont.
ish miniature painter and architect, born at Antwerp in 1591. He went to England with the Duke     GERMAN LLORENTE, BERNARDO, a reputa
of Buckingham, and became a retainer ofthe latterble Spanish paiter, ornatSeville in 1685. 
in 1613, whom he accompanied to Spain, when the  acquired the name of Pintor de as Pastoras, from
negotiation was pending for a marriage between   painting many pictures of the Virgin in the habits
the Prince of Wales and the Infanta.  Gerbier was  ofshepherdesses. He gave to his heads such grace,
afterwards honored with a diplomatic appointment  sweetness, and relief, that many were sold as the
to Antwerp, on which occasion he obtained the  works of Murillo, and pass current for such, in
honor of knighthood. He painted a number of  other countries. His later works are much inhonor of knighthood. He painted a number of
pictures of the royal family, and also those of  ferior to his former ones, since in endeavoring to
many of the nobility. His reputation was great   strengthen his chiaro-scuro, he produced blackand he enjoyed an extensive patronage. So high ness.       was appointed court painter by Philip
was he in favor, that he entertained the duke and     but declined the honor, being unwilling to fola large party of noblemen at supper in his own                                     e  ie  
house, the expense of which is said to have been  vie in 1757.
$5000. In the collection of the Duke of North-    GERMYN, SIMON, a German painter, born at
umberland, is a large oval miniature of the Duke  Dort in 1650; studied under G. Schalcken, and
of Buckingham on horseback. The head is finely  followed his style for some time, but afterwards
painted; the figure is draped in scarlet and gold,  entered the school of Ludowyk Smits, called Hartand finished with great labor and richness. It is  camp, of whom he acquired a peculiar manner of
inscribed B. Gerbier, 1618. Vandyck painted a  painting fruit. Like his instructor, he had excelfine picture of this artist, with his family.    lent success at first, but his pictures soon faded,
As an architect, Gerbier designed the triumphal  and with them  his reputation; for which reason,arches for the reception of Charles II.; also the   he applied himself to landscape, and practised it
palace at Hemmell Hempstead; and wrote several  till his death, in 1719.
works relative to the arts. He instituted an acad-    GERRARD, of HAERLEM, called also GERARD
emy at London, on the model of that of Charles I.,  OF ST. JOHN, from his residing in a convent of that
called Museum Minerve, in which were to be  name, an old Dutch painter of eminence, born at
taught all the arts, sciences, languages, antiqui-  Haerlem about 1460, and entered the school of Alties, etc. None but those who could prove them-  bert van Ouwater, one of the first, after John van
selves gentlemen were allowed to enter, and the  Eyck, who painted in oil. He soon manifested
institution was afterwards destroyed —a triumph   such freedom of hand, so firm an outline, and such
of democracy!                                   facility of coloring, that Ouwater was wont to reGERICAULT, JEAN Louis THEODORE ANDRE   mark that he was born a painter. In design and
a French painter, born at Rouen in 1790.  He  expression, he equalled his instructor; and in
studied under Carle Vernet, and afterwards in the  composition, he far surpassed him. He was well
school of Guerin. He executed many designs and   acquainted with perspective, and his works were
engravings in aquatinta, which are much esteemed  finely colored. Albert Durer, who visited Haerfor their spirit. Among his principal paintings  lem to see his works, said that he must have been
are the Wounded Cuirassier, in the gallery of the  a remarkable favorite of nature, who could in his
Palais Royal; and the Wreck of Medusa, in the  youth arrive at so high a degree of perfection. In
Louvre, which are executed with great vigor and  the church of St. John at Haerlem, he executed a
effect. The latter work was exhibited in London   picture of the Crucifixion, the Descent from the
with great applause. He died in 1824.            Cross, and the Resurrection, which were esteemed
GERMAIN, SAINT, a bishop of Paris in the  superior to any productionsof thetime. He died
sixth century, was fond of architecture, and de-  in 1488, at the early age of 28
signed several churches, among which is the one    GESSI DEL. See Gio. BATTISTA RUGGIERI.
erected by king Childebert in honor of St. Vin-    GESSI, FRANCESCO, an Italian painter, born at
cent. It is now called St. Germain, in honor of   Bologna in 1588. He studied under Guido Reni




GESS.                     352                   GHEN.
nd imitated his stylewith great success. He was    GHEEST, JAMES DE, a Flemish painter, who
distinguished for his fertile invention, and rapid  executed subjects of history with reputation. He
and spirited execution, which latter quality Lanzi  was born at Antwerp in 1570, and died there in
says excited the jealousy of Guido. Several of his  1612.
earlier pictures exhibit the sweetness of coloring  GHEIN.  See GHEYN.
and delicate pencilling, which distinguish the works  GHELLFRA            a painter of the Bolog
of his instructor. Among them is his beautiful  nese s, FRwas born  at M inar of the Ban
picture of St. Francesco, at the Nunziata, which    ee                        edii  i 
has frequently been mistaken for the work of Gui-  din    Bologna in 1703. He  studied under Alban',  whose style he followed, but he acquired most
do. To these he was indebted for the name of a  no  whose style he followed, but he aqred most
second   uido; but subsequently he abused his  reputationfohis ruralviews,which are highly esteemed, and are to be found in the best collections
talents, and Bologna abounds with his pictures,  atBologna.
in which, with the exception of their fine charac-   B
ter and great delicacy, there is nothing to com-    GHENDT, EMANUEL DE, a French engraver.
mend; the coloring is cold and feeble, and the  who flourished at Paris about 1749. He studied
shape of his features is large, and often incorrect.  under J. Aliamet, and has executed a number of
On Guido's retiring, however, he established a suc-  plates in a very pleasing style, among which are
cessful school and formed scholars of considerable  many of the prints and vignettes for the Voyage
reputation, as Giacomo Castellini, Francesco Cor-  d'Italie de l'Abbe de Saint Non, and the followreggio, and Giulio Trogli. Among the principal  ing:
works of Gessi, are St. Antonio, in S. Maria del    L'Amour Asiatique; after Ch. Eisen. Les MoissonMuratelle; and the Descent from the Cross, at the  neurs dans les Champs; do.  La pleine Moisson; after
Cappuccini. He died in 1649.                     Isaac Moucheron. A View of the Fountain of Arethusa
GESSNER, SOLOMON, a distinguished Swiss,  at Syracuse; after Chatelet. The Four Times of the
GESSNER  SOLOMON  a distinguished Swiss,   ay after Baudouin.
born at Zurich in 1730, and died in 1788. He is       after 
principally known by his poem on the. Death  f     GHENT, JUSTUS VAN. There is much uncerAbel, and other poetical works, which gained him   tainty concerning the works of this painter. He
great celebrity.  He also devoted a part of his   as a scholar of the brothers van Eyck, whom he
time to designing and engraving, in which he ac-     supposed to have assisted in their best works.
quired proficiency. Among his other works, are  Kugler describes a master-piece of art in the church
several vignettes and other ornaments for his  of St. Mary at Dantzic, representing the Last JudgDeath of Abel, and his Pastorals; also the follow-  ment which is generally ascribed to John van Eyck;
ing: A set of ten Landscapes; dedicated to M.  but Dr. Waagen thinks it is the work of this artWatelet. 1764. Twelvepastoral Landscapes, 1767   ist. Kugler mentions two pictures by him, the
1786.  Ten Landscapes, with mythological figures.  Communion in S. Agatha at Urbino; and a small
1769.  1771.                                     picture at Ghent, of the Finding of the True Cross,
GEYSER CHRISTIAN THEOPHLin which there is little depth of conception, and
GEYSER, CHRISTIAN THEOPHILUS, a reputable  some dryness of handling. The picture at Urbino
German engraver, born at Gorlitz in 1742. He ac-  was painted for the brotherhood of Corpo di Cristo,
quired the elements of design in his native place,  and proa    finished in 1475, in  h year he
and afterwards finished his studies in the academy   was paid     florins by that society.
at Leipsic. Among his first productions were the
illustrations to an edition of the poems of Utz, af-    GHERARDI, CRISTOFORO, called DOCENO, an
ter the designs of Oeser.  He engraved many   Italian painter, born at Borgo S. Sepolcro in 1500.
landscapes after Ferg, Wouwerman, and Pynacker,  He studied under Raffaellino dal Colle, and afterwhich are the best of his productions, and are  wards assisted Giorgio Vasari in many important
highly esteemed. He was chosen professor in the  works, who valued his talents very highly. His
academy, and a member of the academies of Dres-  facility of execution, and splendid style of colorden and Leipsic.                                 ing, enabled him to produce admirable works in
OGHEDINI,  GISuEPPE, a Ferraresco. Such were his talents for managing fresco
painter, born about 1710; studied under Giacomo  colors, that Vasari says he surpassed him; but
Parolini, and executed a number of reputable works  the grotesques in the Vitelli palace, wholly the
for the churches, among which are a picture of St.  work of Gherardi, are not more vigorously colored
Lucia, in S. Caterina da Siena; the Annunciation,  thn the productions of Vasari. His principal oil
and the Death of St. Joseph, in Corpus Domini;  paintings, are the Visitation in S. Domnico, at
and the Miracle of the Loaves and Fishes, for the  Citta di Castello; and the elegant and graceful
monastery of S. Maria degli Angeli, his principal  picture of St. Maria, at Perugia, painted in concert
work, painted in 1755.                           with Lattanzio della Marca. Lanzi says he died
in 1552.
GHEEST, WYBRAND DE, called the Noble  i 
Frieslander, was born in Friesland about 1591.    GHERARDI, ANTONIO a painter of the Roman
He went to Rome while young, where he resided  school, was born at Rieti in 1644, and died in 1702.
several years, and made many drawings after the  He first studied under P. F. Mola at Rome, and
antiques and the works of eminent masters. On  on the death of that master entered the school of
his return to Holland, he painted historical sub-  Cortona. He afterwards travelled through Italy
jects, which gained him considerable reputation.  for improvement, and at length settled at Rome.
He also designed the plates for  e book entitled   where Lanzi says he painted rany works for the
Cabinet des Statues, published at Amsterdam in  churches with more despatch  than  elegance;
1702. He died at Antwerp in 1643. There was  though Pascoli commends him as an artist of
another artist of this name, who painted history  considerable powers.
with reputation at Antwerp, where he died in       GHERARDI, FILIPPO, an Italian painter, born
1672.                                            at Lucca in 1643. He studied under Giovanni Mar



GHER.                       353                      GHEY.
racci, according to Lanzi, at the same time with       GHERINGS, JOHN, a reputable Flemish paintGiovanni Coli, for whom  he formed an intimate   er, who flourished about 1665.  His works are
attachment.  The two artists went to Rome, and   generally subjects of architecture and perspective,
studied under P. da Cortona, whose style they fol-  some of which are in the galleries of Vienna and
lowed for some time, after which they visited Ven-   Dresden.
ice, and adopted a manner combining the Venetian                    r             GHEYN, or GH
and Lombard styles.  They painted the immense  orj jorME,   the, aor G
ceiling of the library of S. Giacomo Maggiore at                            t    JAMES, the Elder, an
Venice.  Lanzi mentions some of their stupendous   eminent Flemish designer and engraver, born at
works in the church of the Lucchesi at Rome, and   Antwerp in 1565; died in 1615. Hewasinstructtwo admirable pictures in the Colonna Gallery,  ed by his father, who was a glass-painter; and he
representing the Battle of Lepanto, and the Tri-  studied engraving under Henry Goltz.  This artumph of Mark Antony Colonna. The most cele-  ist has engraved a great number of plates, with a
brated picture with which they adorned their na-  correct design, good taste, and bold free style, in
tive place, was the fresco of the tribune of St. Mar-  the manner of Goltz.. The following are his printin.  After the death of Coli, his companion con-  cipal prints, which are highly esteemed:
tinued to paint at Lucca; the whole cloister of the                      PORTRAITS.
Carmelite monastery was by him alone. He died          TycoBrahe, the celebrated Danish Astronomer. Abrain 1704.                                             ham Gokevius, antiquary, of Amsterdam.' Hugo Grotius.
GHERARDINI, ALESSANDRO, a Florentine   Philipde Marnix, the disciple of Calvin.  The Count de
painter, born in 1655.  He studied under Ales-  Medicis, called the Fatherof the People. SigismundMalsandro Rosi, and became very eminent for his sub-  atesta, a famous warrior; circular. Johannes Basilowitach,
Autocrator Russize; circular.
jects of history, painted in oil and fresco. His
design is correct, his invention fruitful, and his             SUBJECTS AFTER HIS OWN DESIGNS;
coloring rich and harmonious.  Among his prin-         Vanity; represented as a Woman at her toilet. Magcipal works, is a subject from the Life of Alexan-   dalene; a small oval  Mars and Venus; two small meal worksis a sujec  romte  ie o Alexan    dallions. A Gipsy telling a Girl her fortune. The Statue
der, in the Casa Orlandini; also a fine picture of   of the Laocoon.  A Lion, in a landscape; J. de Ghein,
the Crucifixion, in the monastery of the Augus-  fee. C. de Visscher, exc.; very scarce. A set of ten
tines at Florence.  He died in 1723.                 plates, called the Masks; J. de Ghein, inv. et fee.;
GHERARDINI, GIOVANNI, was born at Bolog-  very scarce.  The twelve Roman Emperors; circular;
GHERARDINI, GIOVANNI, was born at Bolog-  f'Pe.
na, according to Crespi in 1610, and died there in
1685. He was a pupil of Angiolo Michele Colonna,              SUBJECTS AFTER VARIOUS MASTEBB.
and was one of his most distinguished  disciples.    The Life and Passion of Christ; in fourteen plates; enav. Titi mentions some of his architectural works   graved by J. de Ghein and Z. Dolendo, after C. zan
Ca. Titi mentions some of his architectural works  Mander. The Twelve Tribes of Israel; in twelve plates;
in the Certosa of Pisa which he extols as perfect  do. Tho Four Evangelists; after Henry Goltzius. -The
miracles of art.                                     Confusion of Tongues at the building of the Tower of BaGHERARDINI, TOMMASO, an eminent Floren-  bel; qfter van Mander. The Adoration of the Trinity;
tine painter, was born in 1715.  He studied under   do. The Judgment of Midas; do. The Prodigal Son,
tine painter, was born in 1715. He studied under   ^ ^  ^^ ^          T ^  Crucifixion; after Criin van'.   Meucci a cin two sheets; do. The Crucifixion; qfter Crispin vanincenzio Meucci, and completed his studies at the   der Broeck. The Assembly of the Gods; do. 1589.'he
schools of Venice and Bologna.  He acquired a   Empire of Neptune; after H. Goltzius. 1587. Twelve
great reputation both for his fresco and oil paint-  plates of Soldiers of the Guard of Rodolphus II.; fine.ings. He executed many fresco histories for vari-  The Annunciation; after Ab. Bloemaert. A Repose in
ous. palaces and villas of the nobles of Florence   Egypt; do. Christ preaching to the Jews; do. The Mirous palaces and villas of the nobles of Florence
acle of the Loaves; do. Daniel in the Lion's Den i after
and other cities.  He was particularly excellent   T.aBe rnard   Dianaand Acteon; do. Polyphemuswith
in his basso-relievo and chiaro-scuro.  He decora-  Acis and Galatea; after C. van Haerlem. Asmall Landted the Medicean Gallery in fresco, and also execu-  scape; an etching; after Breughel.
ted some excellent works for the Imperial Gallery, at Vienna.  He received many commissions                 GHEYN, or GHEIN, JAMES, or JACOB,
from  strangers, English, German, and others.   J            c. the Younger, a Flemish painter and enLanzi says he was one of the ablest artists of his  graver, flourished about 1630, and was the son of
time, and bestowed great credit on his native city.  the preceding artist.  He studied in Italy, under
He died in 1797.                                     A. Tempesta, whose style he followed, and paintGHERARDINI, STEANO, a Bolognese painter ed landscapes and flowers with reputation.  As
who  studied  under  Giuseppe Gambarini.  He   an engraver, he executed among other works, eight
painted scenes from  low life, in the Flemish style,  plates for La Vie de Charles V., in  concert with
as women intent on domestic affairs, boys' schools,             Boe  from desgns by Tempesta, marked
mendicants, &c., all faithfully copied from life, and                n., 
executed in a very spirited and pleasing manner.          or i  GHEYN, or GHEIN, WM., a FlemSometimes he represented more dignified subjects.                 ish engraver, who resided chiefly at
Hle painted the coronation of Charles V. in the   Paris, where he engraved some plates for J. le Blon;
Casa Ranuzzi.  He died at Bologna, in 1755.          also the Four Seasons, in concert with Jeremiah
GHERARDO, DALLE  NOTTI.  See HONT-  Falk, represented by French ladies, in the cosHORST.                                               tume of the time of Louis XII.  There are also,
GHERARDO  a Florent, wo  f       d   among others, a portrait of Louis XIV., as a boy
GHERARDO, a Florentine, who  flourished   on horseback; and Bernard, Duke de Weymar,
about the end of the 15th century.  Lanzi says   on hoseback both marked G.  de  G           eyn fe.
that he was a painter and an engraver, in the style
of Albert Durer, and a worker in Mosaic, in all of     GPEYSELS, PETER, a Dutch painter of stillwhich arts there are specimens of his ingenuity,  life, was living in 1687, as appears from a picture
at Florence.                                         of a Dutch Fair, in the collection of H. T. Hope




GHEZ.                     354                    GHID.
Esq., where there is another of a Peacock, a Dead  quest of the Society, executed another, after ulSwan, sporting apparatus, and a variety of birds  most as long a period. Michael Angelo said of
and game, foliage and insects, all admirably fin-  these, that they were worthy of adorning the enished, with the name of the artist on a pedestal.   trance to Paradise. During these forty years, GhiGHEZZI, SEBASTIANO a reputable painter of  berti also completed three statues of St. John the
history, born near Ascoli, and flourished  about  Baptist, St. Matthew and St. Stephen for the church
138. He  was a scholar of Guercino, and painted,  Or San Michele; two bas-reliefs for the baptistery
1638. He was a scholar of Guercino and painted,
mong other works,  fine picture of St. rancis   of the Cathedral of Siena; and the bronze reliquareceiving the Stigmata, at the Augustini in Mon-  ry of St. Zenobius, bishop of Florence, for S. Maria
receiving the Stigmata, at the Augustini in Mon-  d  Fr    A  t          w     -        preserved
a son, Giuseppe G., born in  del Fiore.  All these works are still preserved,
163sam. and   sudied under his faher. He ater   and mark the advancement of Ghiberti in his art.
1wards visited Rome, were he studied the works  The dryness of the school of Giotto appears in his
of P. da  ortoname, whand adoptedre  his studiyle. He was  earlier works; but the latter are in imitation of
of P. da Corto an  d         hied  by Pope Clement  the Greeks, and are marked by increasing vigor,
ortifatonized and highly esteA    rk by heimed byon sculpture is extant, a
firmness and beauty. The reliquary of S. ZenoXI ~fragment of wwhich has been publishted bey Cicogacademy
GHEZZI, CAV. PIETRO LEONE, th                        and the two doors, are to this day, among the
scholar of Giuseppe G.; born at Rome, in 1674; died  twelve beautiful etchings of the doors of Ghiberti,
1755. This artist is surpassed his instructor, and  in 1798.
executed several considerable works for the Duke   GHIDONE, GLEAZZ, are onee   painter
sculof Parma, who conferred on him  the gainOrder o the  chui    159died uro e  tpi nder Antonio
olden Spur. He was aso patronized by Bene-   ampi. He was Or San  Miexcellent artist. but  of such
diet XIV., who employed him to paint the Proph-  weak health that he did not execute many public
ets in. John of Lateran, inconcert with L.  arzi,A work by him on sculpture by him in the church
F. Trevisani, and B. Luti.  He gained great repu- f S. Mattia, at  Cremona, representing St. John
tation  for his talgments in caricature, and his worh has  been pinublishedrness, which Lzi says is
of that description  are numerous in the son and  naprivate  commended by connoisseurs. There are some of
schollectar of Giuseppe G.; born at Rome, in 1674; died twelve febeautiful etchings by pictures in the collections of GhibCremonarti,
in 1755. He greatly surpassed his instructor, and  in 1798.
him, executed several  clear, neat style, works from his ownDuke    G ONE  GALEAZZ   a Creonese painter,emed
of designs, and the pictuonferre of his father. der Amongf t   
others are the following:                         GHIGI, TEODORO, or TEODORO MADITUANO, an
Italian painter, born at Mantua, and flourished
Thol   den Spur. He was also patronized by Bene-  Campout 1. He w studied ux der Giulio Rot ano
dict XIV., who employed him topaint the Proph-         w eak h  ealth that he did not execute ma ny public
ts in S. John of Lateranin concert with L. Garzi,  wks. The e s a   ble imitatorof his style, that he
F. Tevisani and Bthe ALuti. PiHe gained g reat repu-   o      ia        ai   rere    e e in.  Jh
trait of Signior Niola Zabagia; Ingegna repredelawas chosenbytheDuke f  Mantuato finish the
tation for his talents in caricatureorks Pr eahing incomplete at the Wil    derness,  h of his master.
GHIARINI, MARC ANTONIO, a Bolognese en-    GHINGHI, FRANcESCO, an eminent engraver
of that description 1652.are  numerous in ther works, he  commended by connoisseurs. There a re some   of1689. He
etched and published a set of plates of the Aque-  studied design under Francesco diaminighi. and
collects and Fountains at Rome. here are rt of moetchings by his easel pictures in the collectionsculptor of Cremona
GTTTBERTI, LORENZ. a Florentine painter and   eminence. His first essays were several medals
him,very eminent statu clear, bneat stylo from his own   which are highly estemed
whic the patronage of Marquis Inontri, who setdesigns, and the pictures of his father. Among     GHIGI, TEODOHO, or TEODORO MANTUANO, an
in that of the goldsmith, low ing:  which the Florentines
had gained great celebrity.   ealian painter, borne                   a t Mantua, and flourished
The Virgain and    moinfant Je d tha                t    5.f caestind  n a  er Giui ced on of   o o,
metals, from his step-father Bartoluccio, an expertos, excute aonce established his reputation. His
marked Petrus Lo Ghezziu, dl. et.. 1700; and was prosuch lan nlberallyrewarded  im   or this admityle that he
Florene. The on account of the Abb. Piue, about 1398, he  n Por- Caos, kng Of te    
went to Rimini, and wap engaged n pManltng some  his best productions are three heads of Savonarait of Sin the  Nieolae of   ncbbagia; Inggnolo e testla  r hosen by the D e of a n a to fins;  bt his
faricwhen thedi S. ociety of mercorkhants              left incomplete at the death o f his  master.
artists to propose models forone of the bronzeed isere
dooGHIARs    MARC ANTONIO, a Bolognese  en-    GHINGHI, FRand was engaged  eighteen months
ing up of Isaac was to be executed in gilt bronze,  initscompletion. Hisworks eaesod erfectlyinthe
as a        specimen of1652. Among othe r work s, he  on pr ecious stones born at Florence in 1689. He
etched and publiat thed a set of plates of the Aque-  studied design under Francesco  iainigh diand
duct d  onthemerits  at Rome.                    the works  of modeling under difoggini, a sculpor of
GilIBERTI, LORENZO a Florentine painter and eminence. His first essays were several medals
a                                     iferent artists. Those of  hibch were greatly praise, and gaine
and Donatello, werred the three bestatuary  but    GHIODAROLO, GIOVANNI MRIA a Bolognese
nucci in 1378; died about 1455. His ancestors  atled upon him a pension, and presented him to
distinguished themselves in the arts, particularly   Ferdinand del Medicis. The latter engaged to enthe two latter withdrew the goldsmithms, giving which  t he  palore nt er who studied under Franeso  Frania.
had gained great celhiberti. After twenty-o leaneearsordin to Malvasia, he acquired considerable
labor           d e         ad thCoo III.,  executed on a                 chalcedony of two colmetals, from his step-father Bartoluccio, an expert  ors which at once established his reputation. Iis
Florence on account of the plague, about 1398, he  Don  oaros  k     e    twoils  a mong
went to Rimini, and wvas engaged in painting some  his best productions are three heads of Savonafrescos in the palace of Prince Pandolfo Malatesta,  rola Adrian and Traa     apphires; but his
when the society of merchants at Florence invited   m                  an      s
artists to propose models for one of the bronze  thetVenusbdatMedicisIwhch heeexecuterforethetOar
doors of the baptistery of S. Giovanni. The Offer-  dinal Gulteri,  was  e    eightee  months
ing up of Isaac was to be executed in gilt bronze,  in its completion. His works are so perfectly in the
as a specimen of the work each artist could pro-  style of the antique, that it is exceedingly difficult
duce; and at the end of one year, the judges decided on the'merits of the works of thirty-four different artists. Those of Ghiberti, Brunelleschi,
and Donatello, were considered the three best; but    GHIODAROLO, GIOVANNI MARIA) a Bolognese
the two latter withdrew their claims, giving the  painter who studied under Francesco  Francia.
preference to Ghiberti. After twenty-one years'  According to Malvasia, he acquired considerable
labor, he completed the door; and then, at the re-  distinction, and painted in competition with Guido




GHIR.                        355                       GHIS.
Asputini, and subsequently with Innocenzio da I and sometimes The Melancholy of Michael Angelo. It
Imola, in the Palace  of Viola, at Milan.  He   represents an old Man looking at a Shipwrecked Vessel,
flourished in the latter part of the 15th, and the   whilst a Nymph appears approaching him; in the back
-first part of the 16th centuries.                     ground are seen several horrible and fantastical figures. It
is inscribed Raphaelis Urbinatus inventum, and on a
GHIRARDONI, GIo. ANDREA, a painter of  tablet, Georgius Ghisi, Mat. 1561. The Prophets and
Ferrara, who flourished there, about 1620.  Ac-   Sibyls; six large plates; after the paintings by M. Antording to Baruffaldi, he was anfable artist, and exe-  gelo Buonarotti, in the Sistine Chapel. The Last Judguted some wos for the cur, in whment; ten large plates; after the celebrated work by the
cuted some works for the churches, in which the   same painter. An allegorical subject, representing the Birth
design was excellent, but the coloring languid and   of a Prince of the House of Gonzague; after Giulio Rofeeble, with  better chiaro-scuro  than  coloring.  mano. 1568. Cupid and Psyche crowned by Hymen; do.
GHIRLANDAIO, or GHIRLANDAJO.  See   The Birth of Memnon; do.; very fine. Cephalus and ProGIIRLANDAIO, or GHIRLANDAJO. See
COR^ R I                                                ncris; do. The Interview between Hannibal and Scipio;
CORRADI.                                               do. Regulus led to death by the Carthaginians; do. Regi 0T1G S, G\o. BAT TIA BERTAN,            ^ulus shut up in the Tun; do. Venus in the Forge of Vul.
IB   M          Gl HISI, Gio. BATTISTA BERTANO,  can, sharpening the Arrows of Cupid; after Perino de!
l_2~.''~  _Jn r BRITANO, called MANTUANO, an   Vaga. Venus and Mars; after Raffaelle da Reggio
Italian painter, engraver, and architect, born at  An allegorical subject, representing a Judge on his Tribu
Mantua, about 1500.  Vasari says he studied   nal with Asses' Ears; afterLucaPenni. Endymion carpainting under Giulio  Romano, whom  he  ac-  rying Diana to the Chase on his shoulders; do. Hercules
conquering the Hydra; qfter Giov. Bat. Britano Man.
companied to Rome, and whose school he assumed   tuanos.  The Judgment of Paris; do. The Siege of
after his death.  The dome erected by Giulio. in S.  Troy; do. The taking of Troy; do. A Print represent
Barbara, is adorned with pictures by this artist; and   ing tombs, skeletons, &c., called the Resurrection of the
Lanzi says that his merit in design was very great,  Dry Bones. 1554; fine; do. Venus and Adonis; aftei
as is evident from his pictures of the Martyrdom    Teodoro Ghisi. Angelica and Medora; do. The Birth
of St. Agata, in one of the Roman churches, execu-  of the Virgin; after B. Spranger.. The Mystery of the
Trinity; after hts own design. 1576. The Adoration of
ted by Ippolito Costa, from the design of Ghisi.  the Shepherds; after Angelo Bronzino; in two sheets.
This picture approaches very near the excellence   1554. The Last Supper; after Lambert Lombard. The
of Giulio.  He had many assistants, among whom    Visitation of the Virgin to'St. Elizabeth; after his own
were Giulio Campi and Paolo Veronese.  As an   design. The Crucifixion; do.
architect, he was also distinguished.  He was well    i7^                   GIT 
versed in.the study of the ancient edifices of Rome,   /       or  tISI, ADMO, the younger
and expert in perspective.  The Duke of Mantua            n  1              brother of Giorgio G., born
highly esteemed him; appointed him  superinten-tua,  bout 1530.   He executed  several
dent of all the buildings in the State; and in 1565   plates, after the great masters, which though infecommissioned him  to erect the church of S. Bar-orks of his brother, are well drwn,
bara, with a noble campanile of four orders, in   and possess great merit.  HesometimeSsignedhis
which is an inscription in honor of the architect.  prints Ada     Sc         e, Mantu          and som
He left some writings on the art, among which is  times with his monogram.  The following are his
a work on some obscure passages in Vitruvius, and   principal plates:
particularly on the Ionic Order.                         The Nativity; after Giulio Romano. Adamo Scultore
As an engraver, he was also distinguished, and   Man. The Presentation in the Temple; qfter Nic. Mar.
is supposed to have been a scholar of Marc' Anto-  tinelli Romm 1581. Adamo Scultore Mant. sc. The
nio fr  o.   f style.  His deg  is  dead Christ in the Lap of the Virgin; after the celebrated
io, from the resemblance of style.  His design is   capture by Michael Angelo Buonarotti. Adam. Mancorrect, though somewhat stiff; and his plates  tuano. 1566; on a white ground. This plate was afterhave little harmony of effect.  He was living, ac-  wards retouched, and the back-ground changed into a
cording to Vasari, in 1568.  The following are his  landscape, with the inscription, Romev Ant. Lafreri, sc.
principal plates: *Cupid carrying the Arms of Mars; after Giulio Romano.
principal plates                                       Mars, preceded by Cupid, going to Battle; do. The Bath
Some Heads, with Helmets, and antique ornaments.-   of Venus; after Giulio Romano. Diana going to the
The Virgin suckling the infant Jesus. 1539. David cut-  Chase; do. Endymion regarding the Moon; do. Herting off the Head of Goliah; after Giulio Romano. 1540.  cules between Virtue and Vice; do. Venus and Cupid,
A young Warrior carrying off a young Woman; called   with Pan playing on the Pipe.
Paris and Helen. 1539. A River God; after Luca Penni. Mars, Venus, and Cupid. A large Naval Combat;        GHISI, DIANA, called MANTUANA, an Italian
from his own design. 1538. The Burning of Troy, a   engraver, the sister of Giorgio G., who probably
grand composition; fine.                               instructed her in the art, as she has engravedsevrjj]%/II7',O   T7V  GHISI, GioRGio,call-  eral plates in his style, which possess great merit.
L   1  or                  * ed  MANTUANO,  an   The following are the principal, which are usually
Italian engraver, born at Mantua, in 1524.  He   signed with  er name ifu  and sometime  only
was the son and scholar of the preceding, whom           ana.  The following are her principal plates:
he greatly surpassed, especially in harmony  of    Two Men and a Woman seated at a Table; signed Dieffect.  His outline of the nude was very correct,  ana. The Virgin and Infant, with St. John and St. Joseph
and the extremities of-his figures were correctly   presenting a Basket of Fruit; Diana Mantuana incidewere corr'. ecty   bat Romie. A. M  D. LXXV. without the name of the
drawn; but there is a sameness in his figures,  painter. The Holy Family, with St. Joseph at work; afwhich gives his prints the appearance of manner-  ter Correggio. The Holy Family, with St. John preism.  His works are highly valued, and fine im-  senting a Billet; after Raffaelle. The Virgin caressing
pressions of them are scarce.  They are usually  the Infant; qfter F. Salviati. The Virgin and Infant
marked with his monogram, or Giorgio Ghisi di  seated in the Clouds, and below the Archangels Michael,
Mantoua fecit.  The following are the principal  Gabriel, and Raphael; inscribed R. V. I. Diana Mantuana and Regina Angelorum. St. Peter made Head of
The Portrait of Julius II.; after RaJfaelle. The Holy  the Church, accompanied by the Ten Apostles, kneeling beFamily, half-length; do.  The School of Athens, two   fore Christ; after Raffaelle.  The Adulteress before
sheets; do. The Dispute of the Sacrament; do. An em-  Christ; after Giulio Romano. The Continence of Sciblematieal subject; sometimes called Rafaelle's Dream,   pio; do. The Birth of Castor and Pollux; do.; fine.



GHIS.                     356                     GIAC.
The Festival of the Gods at the Nuptials of Cupid and  GIACINTO, CAV., born at Popolo, in the king,
Ptyohe; after the design of Giulio Romano, in the Pa-  dom of Naples, and became the scholar of MIassilazzo del T. at Mantua; in three sheets, very fine. The  mo. His talents in historical paintinggained him
Visitation of the Virgin to St. Elizabeth; after G. Vasari.  the honor of knighthood, and he acquired ahi
the honor of knighthood, and he acquired a high
GHISLANDI, DOMENICO, a Bergamese painter.  reputation among the artists of his time. Ie died
*ho flourished about 16G2. He was distinguished   at Naples in 1684.
for his architectural and perspective views in fresco,    GIALDISI. N., a native of Parma, according to
though he occasionally painted subjects of history.  Zaist who flourished at Cremona about 1720.
Tassi describes several pictures by him of the Life  He excelled in painting fruit and flowers, carpets
and Miracles of S. Francesco Paolo, in the Padri  musical instruments, books, &c., which he repreMinimi, at Bergamo; and in the Palazzo Terzi is  sented with a fidelity of form and truth of colora saloon decorated with architectural views, in  ing which deserve high praise.
which the figures are by Giacomo Barbello.          GIAMBERTI,  RA              acrentine archi
GIIISLANDI, GIOVAN, a Milanese painter,  tect, who flourished during the fifteenth century.
born in 1623. Orlandi says he studied first under  and designed many edifices in Florence and Rome.
Girolamo Chignolo; after which he learned archi-  He left a work containing drawings of Greek and
tectural and perspective painting from Antonio Vol-  Roman architectural remains, which is preserved in
pini, though he was chiefly indebted to Salvator Ro-  the Barberini palace at Rome.
sa for his taste and manner of pencilling. He gave    I,               o,  a V       n 
the first proof of his abilities by designing and   G, G                      a 
painting the triumphal arches for the reception of  born, according to Zani, in 1698. From his style,
itA is probable that he studied under Wagner
the Archduchess Maria, on her passing throughit is probable that he studied under Wagner
Milan; soon after which. in 1650, he went to   Brulliot says he was the nephew of Marco Ricci,
Milan; soon after which, in 1650, he went to
Rome, and designed the beautiful remains of anti-  after whom he engraved several plates, as follow
quity, which he used to great advantage in his    A set of thirteen Landscapes, with the frontispiece, after
quity,                                        Marco Ricci, entitled Raccolti di 12 paesi inventati e disubsequent works. He excelled chiefly in perspec-  pinti dal celebre Marco Ricci. A set of four pretty Pastive views of sea ports, although there are a num-  toral subjects. A set of four Landscapes; after M. Ricci
ber of historical pictures and altar pieces, some of  and F. Zuccarelli.
which are in the Certosa, at Padua, and in the      GIANNETTI, FILIPPo, a painter of Messina,
Sanctuario at Varese. Many of his pictures are  according to Hakert, flourished about 1685. He
to be found in the choicest collections of Rome,  studied under Abraham  Casembrodt, and painted
Naples, Genoa, and Milan. He died in 1683.       landscapes with such boldness of style and facility
GHISSONI, OTTAVIO, born at Siena, but visit-  of execution that he was termed the Luca Giordaed Rome while young, and studied for several years  no of landscape.
under Cherubino Alberti. In 1610 he went to         GIANNIZZERO, an Italian painter mentioned
Genoa, and entered the school of Ventura Salim-  in the Colonna Catalogue as a pupil of Borgognone,
bene, where he painted some fresco works for the  in whose style he painted battle-pieces. Some of
public edifices, which are more highly esteemed  his -orks are in the Colonna Gallery.
for excellence of coloring, than for correctness of  IAUINTO,                born at Molfetta, and
de?GIAQUINTO, CORRADO, born at Molfetta, and
design.                                          flourished about 1750.  He studied at Naples,,
GH[TI, POMPEO, born at Marone, near Bres-  under Solimena, but afterwards went to Rome, and
cia, in 1631.   He first studied under Ottavio  entered the school of Sebastiano Conca, whose
Amiconi, but afterwards visited Milan, and studied   style he adopted. His works manifest a ready in.
five years under Gio. BattistaDiscepoli. He after-  vention, and a spirited and vigorous pencilling;
wards settled permanently at Brescia, and execu-  although he was more of a mannerist than his inted a number of works in oil and fresco, which   structor, and less correct in his design. He was
were much esteemed for their correctness of de-  invited to the court of Madrid, where he was emsign and fertile invention, though his coloring was  ployed in several of the palaces. In Italy there
feeble and cold. He established quite a success-  are many of his works, particularly at Turin and
ful school. He was living in 1704, in which year  Macerata. His best works are his frescos in the
his last known picture is dated.                  Tribune of S. Croce. and the great altar-piece in
GHIZZI, ANDREA, a Bolognese painter, born in  S. Trinita, at Rome.  He died in 1765.
1570, and studied successively under Massari and    GIAROLA, or GEROLA, ANTONIO, called IL
Dentone. He became distinguished for his archi-  CAV. COPPA, born at Bologna, in 1595, and studied
tectural and perspective views, which were much   under Guido and Albano. His pictures are infeadmired. He died in 1618.                        rior to Guido in relief, and in elegant simplicity of
GIACAROLO, Gio BATTISTA, a native of Man-  composition; although they approach his exceltua who studied under Giulio Romano.   e never  lence in graceful contours, and sweetness of colorob~tuwosde  n GuRa, ~~~~~~~ing. In the refectory of the seminary at Verona,
obtained much celebrity. There is an altar-piece  is afine picture by Giarola, representing Christ
by him  in the church of S. Cristoforo, in his  with the Disciples at Emmaus; and in the Padri
native eiy.^  l^e flourished about 1560          with the Disciples at Emmaus; and in the Padri
native city. He flourished about 1560.
ntive city. He flourished bout 1560.  Servi. at Bologna, is another excellent work, the
GIACCIUOLI, V., a Roman printer, who stud-  Magdalene in the Desert. He died in 1665.
ied under John Francis van Bloemen, whose style     GIBBONS, GRINLING. This sculptor, accordin painting landscapes he closely imitated. Lanzi  ing to Walpole, was the son of a Hollander, who
says his works are found hanging beside those of  settled in England in the 17th century.  He was
his master in the collections of Rome. See J. F.  employed by Charles II., in ornamenting several
van Bloemen.                                     palaces, and received an appointment under the
(IACOMONE. See LIPPI and DA FAENZA.    Board of Works. He executed several produc




GIBE.                     357                    GILA.
tions at Petworth; besides the choir of St. Paul's  ver, who flourished about 1640, and executed sev
cathedral, and the admirable font in St. James'  eral indifferent portraits for the booksellers, among
church, Westminster. He died in 1721.            which are those of Hugh Latimer, Bishop of WorGIBELIN, ESPRIT ANTOINE, a French painter,  cester, and Sir Edward Marmion.
born at Aix, in Provence, in 1739. He studied      GILARDI, PIETRO, a Milanese painter, born in
under Arnulfi, a painter of Aix, and then visited   1679., and studied under Federigo Bianchi, but
Italy, where he remained six years, and drew the  afterwards entered the school of M. A. Francesgrand prize of the Academy at Rome, represent-  chini at Bologna, and then became a disciple of
ing the Combat of Achilles with the River Sca-  Giuseppe dal Sole. He particularly excelled in
mander. He then visited Paris, in 1771. and paint-  grand fresco works, for which his talents were
ed the grand fresco monochrom painting which   well adapted, as is evident from  his subjects of
adorns the great hall of the Academy of Surgery,'history in the refectory of S. Vittore, at Milasn
It is divided into three parts; Louis XVI. en-  which are highly valued for ingenuity of compo
throned; Esculapius teaching his disciples; and  sition, facility of execution, and tenderness an0
a Battle, with surgeons succoring the wounded.  harmony of coloring.
He painted a number of works of this kind, and     GILARTE, MATEO. a Spanish painter, born at
also frescos in colors, which were much esteemed  Valencia, according to Palomino, in 1647. He
for their invention, sentiment and elevated style;  studied under Francisco Ribalta, and attained emalthough they have little merit as to coloring or  inence in historical painting, both in oil and in
correctness of design.  He wrote many critical  fresco. He resided chiefly at Murcia, where there
works on art. He died in 1814.                   are most of his works, which show a grand and
GIBERTONI, PAOLO, a Modenese painter,  copious composition, and perfect acquaintance with
flourished about 1760.  He resided chiefly at  chiaro-scuro, although they are deficient in beauty
Lucca, and excelled in grotesque subjects in fresco. f the forms, and fine epressio in the heads. In
He introduced into his pictures small animals of  PNuestra Sennora del Rosario, are three large picevery kind, touched in a very truthful and spirited             reprnting Esther i the prestyle. He also painted landscapes, which were  sence of Ahasuerus, Jacob Wrestling with the
much esteemed  He died about 1770.               Angel, and St. Domenico with other Saints.
GIL DE HONTANON, JUAN, a Spanish arGIBSON, RICHARD, an English portrait painter,    GIL DE HONTANON, JUAN  a Spanish arborn in 1715. He wa usually called the Dwarf,  chitect, who flourished about 1500. He designed
as he was only    e fet tn inches high. Whil  the cathedral of Salamanca, which passed the oras he was only three feet ten inches high. While             examination by Alono    Cobarrubias,
quite young he was page to a lady at Mortlake,  dal     an examination by Alonr o de Cobarrubias,
who, observing in him an inclination for art, placed  three other eminent architects, by whom it
him under Francis e  leyn, at that time superin-was approved and commended  It was erected
tendent of thetapestry works at tMortlake. When   by Rodrigo Gil, the son of Juan G., who comSir Peter Lely visited England, Gibson gained  emenced it in 1513. The edifice is 378 feet long; digreat improvement by copying his works. He  vided into five naves, the centre one forming a Latwas in favor with Charles I., who honored his mar-  in cross, 50 feet wide and 130 feet high; the side
riage by his presence. After the death of the  aisles are 371-2 feet wide, and 88 feet high; the
king, he was patronized by the Earl of Pembroke,  others are divided into chapels, 28 feet wide and
and is said to have painted the portrait of Oliver  54 high; the columns of the nave are three feet in
Cromwell several times. He was also appointed  diameter, and those of the transept twelve. The
th Prin    Mary  whole structure is vaulted, and of square stones,
the instructor i.  daw in     the Princesses Mary   with a large tower of the same material. Rodrigo
andAnne. He did in 1.         commenced the cathedral of Segovia, in 1525. which
GIBSON, WILLIAM, the son of Richard G.,  in size and majesty is equal to those of Toledo and
studied painting under his father and Sir Peter  Seville. Signor Ponz says that he was an able
Lely. He attained some reputation in miniature,  architect, and well acquainted with the Greek and
though his excellence was chiefly in copying the  Roman style, which in his time was beginning to
portraits of Lely. He died in 1702. He had a  revive; but that, like many others, he was obliged
relative; Edward G., who was instructed by him,  to humor the tastes of those who employed him,
and painted portraits both in oil and crayons, but  and therefore adopted the Gothic style, without
died young.                                      its ornaments or details.
GIFFART, PIERRE, a French engraver, born at    GILES,of Antwerp. See COIGNET.
Paris in 1648. He gained sufficient reputation to    LES, or GYLES, HERY, an Eglih painter
be appointed engraver to the king. His work con-                              an    e      fr
sists of portraits and book ornaments, neatly exe-  on glass, who lived at York, and practised from
1640 to 168,; Among his performances is the
cuted with the graver; among which are the fol-  et               University College, Oford, marklowin: *east windowef University College, Oxford, marklowing:                                         ed, Hen. Giles, pinxit, 1687.
PORTRAITS.                      GILIOLI, GIACINTO, a Bolognese painter, born
Maria Anne Victoire de Baviere, Dauphiness of France.  inI  aIne  on
Frances d'Aubigno, Marchioness de Maintenon. Philip n 1584; studied under the Caracci, and painted
son of Thomas XIII., Count of Savoy. Edward, son of  history with some reputation. Among his best
Amadeus XV., Count of Savoy.                     works, are David with the Head of Goliah, in S.
VARIOUS SUBJECTS.                Salvatore, and the Death of St. Joseph, in S.' Mattia. He died in 1665.
A set of Medals from the French King's Cabinet. A set   He died in 1665.
of Ornaments; after Berain. A Frontispiece to the In-    GILLARDINT, or GHERARDINI. MIELCHIORE
troducton to Geography, by P. Violier; after S. Le  a Milanese painter, who studied, according to OrlanClerc.                                           di, under Gio. Battista Crespi. He was employed
GIFFORD, GEORGE, an English portrait engra-  to finish several pictures left imperfect at the death




GILL.                     358                    GIMI.
of his instructor, and also painted several altar-pie-  to a ship painter. He soon commenced designing
ces from his own designs. Lanzi praises a picture  animals, and some of his sketches were shown to
at St. Celso, near Milan, of St. Caterina da Siena.  the Duke of Cumberland, who employed him to
There are a few etchings by this artist, after Guido,  paint his favorite horses at Newmarket, in which
Cortona and others; also several plates from   he evinced considerable genius, and a correct and
his own designs, of battles and other subjects, ex-  spirited design. He was principally employed all
ecuted with neatness and spirit, in the style of  his life in painting horses, although he produced
Callot. He died in 1675.                         two subjects of history, the Election of Darius, and
GILLBERG, Jo4,N a Swedish engraver, born  the Triumph of Camillus, which possess considerat Stockholm about 1748. He executed several  able merit. Hesually panted the hoses in the
portraits of eminent Swedes; and then visited   compositions of Barret, who returned the compliParis, where he engraved, in imitation of chalk   ment by painting the landscapes in Gilpin's works.
drawings, several heads after Raffaelle, and some  He was a member of the academy, and died in
landscapes in concert with Demarteau.
landscapes in concert with Demarteau.            1807. There are a few etchings by Gilpin, among
which are a set of Oxen, Cows, &c.; a small book
GILLEMANS, JOHN PETER, a Flemish painter  of Horses; and several Heads for the Lives of the
of fruit and flowers; born, according to Balkema,  Reformers.
in 1672. His works are usually of a small size,     IMGNAN, or GEMIGNANO  VNcNzo
in 1672'  ^     f     d in a          GIMIGNANI, or GEMIGNANO, VINCENZIO
well colored and composed, and finished in a neat
style. - He often painted the fruit and flowers in  SAN, born  at San Gimighile young, an, en1490. He visited Rome while young, and enthe compositions of other artists.               tered the school of Raffaelle, whom he assisted in
GILLIG, JACOB, a Dutch painter, who gained  the works of the Vatican. He painted several
some reputation for his pictures of landscapes and   pictures in the public edifices, and, according to
river fish. He was born at Utrecht, in 1636, and   Vasari, had gained considerable reputation, when
died in 1688.                                    Rome was taken and pillaged by the Spanish forGILLIG, M., an engraver mentioned by Strutt,  ces in 1527. The scenes of slaughter and dewho executed, among other plates, a portrait of  struction through which he passed during that
Gerard de Vries, philosopher of Utrecht.         terrible event, produced such a powerful effect upon
his mind, that on returning to Tuscany, he fell
GILLOT, CLAUDE, a French painter and en-  into a state of melancholy, that prevented him
graver, born at Langres in 1673. He went to  from exercising his talent, and finally terminated
Paris while young, and entered the school of J. B.  his existence in 1530.
Corneille.  He excelled in drawing satyrs, grotesques, and similar subjects, by which he gained   i  GIMIGNANI, or GEMIGNANO, GIACINTO,
some reputation, and was admitted to the Royal   born at Pistoja in 1611; died in 1680. He
Academy in 1715. He was the instructor of An-  studied at Rome under Niccolo Poussin, and subthony Watteau. His paintings are but slightly  sequently in the school of P. da Cortona. In his
esteemed, but he has left a number of etchings  composition and design, he followed the style of
from  his own designs, in a bold, free style, and  the former; but his architecture was in the taste
well finished. The Count Caylus engraved sev-  of the latter. He executed some pictures in fresco
eral plates after his designs. There are about 180  from the Life of Constantine, in the Baptistery of
plates by Gillot, among which are four plates of  St. John of Lateran. in concert with Andrea Cathe Feasts of Diana and Bacchus, and the Tri-  massei and Carlo Maratti. Several of his works
umphs of Pan and Faunus; also a number of  are in the Palazzo Niccolini at Florence; and a
plates for Les Fables de la Mothe-Houdard. He  fine picture of Leandro, in the Ducal Gallery, is so
died at Paris in 1722.                           much in the style of Guercino, that Lanzi says it
GILLRAY JAMES an Englh e,        was for some time attributed to that master. There
GLLRA, JAMES an Enlish  engraver, prin-  are a few etchings by this artist. among which are
cipally distinguished for his admirable political     s o th sorts o  h
caricatures, was of Irish descent, born in 1757.  a set of twelve small plates, of the sports of children; Antony and Cleopatra; and Queen SemiraHe commenced his career as a letter engraver, but.   ntony a    l    t          e 
afterwards became a student of the academy, and  mi quellig a Revolt.
produced a number of good plates from his own      GIMIGNANI, or GEMIGNANI, LoDovIco, the
designs, among which was the Deserted Village,  son and scholar of Giacinto G.. born at Rome in
1784, and two portraits of Wm. Pitt. He also  1644. His design was less correct than that of
engraved a few plates after Lady Spencer's draw-  his father, but his forms were more elegant, attirngs, and occasionally signed them with fictitious  tudes more spirited, -and his tints more delicate.
names, as J. Hurd, and J. Penn.  But as a cari-His talents were best adapted for grand fresco
caturist, Gillray was far more dist'iguished, and  works, and there are several of these at Rome,
he seized upon every point open to fIdicule, with  among which the vault of S. Maria delle Virgini,
most admirable tact.  His productions of this  is greatly admired. He died in 1697.
character amounted to over twelve hundred, but    GINASSI, CATERINA, a noble Roman paintress,
as they are all subjects possessing at present but  the niece of Cardinal Ginassi, born in 1590; died
little interest, they will not be enumerated. They  in 1660. She studied under Lanfranco, and painthave all been republished by Mr. Bohn. Gillray  ed after the designs of that master, all the piewas a man of very intemperate habits. He died  tures in the church of the convent St. Lucia at
in 1815.                                         Rome.
GILPIN, SAWREY, a reputable English painter,    GIOCONDO, FRA, an eminent Italian architect
born at Carlisle in 1733. After acquiring the ele-  and engineer, born at Verona in 1435. Accordments of the art from his father, who was a captain  mg to Vasari, he was a Dominican friar, extremely
in the army, he went to Lonlon, and was articled  learned in philosophy and theology.  From early




GIOL.                     359                     GIOR.
youth he studied with great attention the models  teen, he had acquired a fertility of invention and
of antiquity at Rome, an account of which he col-  facility of execution, unparalleled in the annals of
lected in one volume, and sent it to Lorenzo the   art. He went to Rome for improvement, and soon
Magnificent.  He visited Vienna, and remained   attracted the notice of P. da Cortona, who emseveral years in the serwice of the emperor Maximil-  ployed him in many important works. The faciliian.  He strengthened and preserved the bridge  ty and splendor of that master's style, were pecuat Verona, by surrounding the middle pier with  liarly attractive to Giordano, and he seems to have
piles driven into the bed of the river. Louis XII.  aimed at it in all his works. He now manifested
invited him to Paris, and commissioned him  to  great talents for designing the works of the old
erect the bridge of Notre Dame, which was said   masters, from which his father, who had followed
by Scamozzi to be the best constructed work in  him to Rome, derived a large income. The deParis. Giocondo afterwards returned to Italy, and   mand for his drawings and sketches was so great
went to Venice, where the Lagunes, its important  that Luca, when obliged to take refreshments, did
bulwarks, were in danger of destruction, from the   not retire from his work, but gaping like a young
overflowing of the Brenta. A council was called,  bird, gave notice to his father of the calls of hunand among all the opinions given, that of Giocon-  ger, who, always on the watch, instantly supplied
do prevailed, which was to turn half of the over-  him with food, at the same time reiterating Luca,
flow  towards Chioggia; and the Lagunes were  fa presto, (hurry, Luca) by which appellation Lusaved. He made a noble design, according to Mi-  ca Giordano is often designated. The only prinlizia, including a magnificent bridge, for rebuilding   ciple his father instilled into him was despatch.
the quarter of the Rialto, which had been destroy-  Bellori says that Giordano made twelve different
ed by fire. But the design of one Scarpagnino   designs of the loggia and paintings by Raffaelle in
was preferred, which was a mere mass of build-  the Vatican; twenty drawings after'the Battle of
ings, without solidity, beauty, or symmetry. Gio-  Constantine, by Giulio Romano; besides many
condo, indignant at this, quitted Venice forever;  works after Michael Angelo, Polidoro, and others.
but he left his drawings with the family Braga-  He afterwards visited the other cities of Italy,
dini, and the Rialto was built soon after, proba-  where his talents *ere in equally great demand. and
bly from his design. He now went to Rome, where  his facility of execution enabled fim to despatch
he was declared architect of St. Peter's, after the   an incredible number of works. Probably no artdeath of Bramante. In concert with Raffaelle and  ist ever produced a~ many pictures, not even TinAntonio Sangallo, he rebuilt that immense fabric,  toretto. Lanzi says that his facility was not dewhich Bramante, from his great haste, had left ex-  rived wholly from  a rapidity of pencil, but was
tremely weak. They made large square excava-  aided by the quickness of his imagination, by
tions under the foundations, and filled them with   which he was enabled clearly to perceive, from
strong walls, built with great care; between these  the commencement of the work, the result he inand some new piers strong arches were turned  tended, without hesitating to consider the compoover the earth; thus the whole fabric, which was  nent parts, or doubting, proving, and selecting,
till then unsafe, was placed on a solid and new   like other painters. He was also called the Profoundation. By these works, and many others,  teus of Painting, from his talent of imitating every
Giocondo gained great fame; and died at an ad-  known manner, the result of a wonderful memory,
vanced age.                                       which retained every thing once seen. There are
G)IOLFINO, or GOLFINO, NICCOLO, a Vene-  numerous instances of pictures painted by him in
tian painter, eminent in his time, who flourished in  the style of Albert Dure  Bassano, Tiian, nd
the first part of the 16th century.  There are  Rubens, which are valued in commerce at two or
some of his works in the churches at Venice, which,  treeimesthepriceofpicturesfromhisowndethough not devoid of the dryness of the time, yet  signs. In S.Teresa at  aples,d re two pictures
the coloring is pleasing and harmonious.  He suc-  by       theyleof           andHolyFam
ceeded best in small compositions, as in his Res-  at the court of Spain, which Mengs says may be
urrection of Lazarus in the church of Nazareth at  tken for a production of Raffaelle. For the no
Venice.                                           ble house of Manfrin at Venice, he painted the
Fortune, taken from Guido's picture, which Lanzi
GIONIMA, SIMONE, was born at Venice in 1655,  says, that when confronted with the original, it is
Crespi says inaccurately, at Padua. Hestudied un-not easy to decide which to prefer. From imitader Cesare Gennari, and distinguished himself as  ting so many painters he formed a manner, coma follower of the school of Guercino. He went to  bining the styles of nearly every master; and the
Venice, where he found good employment.           undisguised imitator is evident in all his works,
GIONIMA, ANTONIO, born at Padua in 1697,  so that he can have little claim to independence or
was the son and scholar of Simone G.. an artist of  originality.
little note. Ie afterwardsstudiedunder Aureliano    Luca Giordano was invited by Charles II. to
Milani, at Bologna, where he settled and painted   Spain, where he arrived in 1692, and was appointworks for the churches with considerable reputa-  ed painter to the king. In the short space of two
tion. Among his best works are the Martyrdom   years he painted in fresco the stupendous ceiling
of St. Floriano, in S. Agata; and the Finding of  of the church, and the staircase of the Escurial;
Moses, in S. Cristina.  Hie died at Bologna in 1732.  the latter, representing the Battle of St. Quintin,
GIORDANO, LUCA, called Luca fa presto, an   and the Capture of Montmorenci, is considered as
eminent Neapolitan painter, born, according to  one of his finest works. His next productions were
Dominici, in 1632. He was the son of Antonio  the great saloon in the Bueno Retiro; the Sacristy
G., an artist of little note; but attracted by the  of the great church at Toledo; the vault of the
works of Giuseppe Ribera, he entered the school  royal chapel at Madrid; and other important
of that master at a very early age, and soon made  works. After the death of Charles II., he was
surprising progress, so that before the age of thir-  employed in the same capacity by Philip V., and




GIOR.                     360                     GIOV.
remained ten years in Spain, producing in that  on a fiat stone, after nature, attracted the attentime, an incredible number of grand works, which  tion of Cimabue, who persuaded his father, Bonreasonably might have occupied a long life. In   done, to allow him to go to Florence, confident that
1702, he accompanied Philip V. to Naples, where  he would be an ornament to the art.  Giotto cornhe met with an enthusiastic reception, and re-  menced by imitating his master, but he quickly
ceived so many commissions that he could scarce-  surpassed him. A picture of the Annunciation,
ly supply the demand, though he despatched them   in the possession of the Fathers of Badia at Flowith wonderful rapidity, as is evident from a fine  rence, is one of his earliest works, and manifests
picture of St. Francis Xavier, for the church of the  a grace and beauty superior to Cimabue, though
Jesuits, which he painted in a day and a half!  the style is somewhat dry. In his works, sym
The grand altar-piece in the church of the Ascen-  metry became more chaste, design more pleasing
sion at Naples, is considered one of Giordano's  and coloring softer than before. Lanzi says tha.
best works. It represents the Battle of the An-  if Cimabue was the Michael Angelo of that age,
gels, and the Fall of Lucifer; its coloring is ex-  Giotto was the Raffaelle. He was highly honortremely beautiful, fresh, and brilliant, and has a  ed, and his works were in great demand. He was
striking effect, from  the brightness of the local  invited to Rome by Boniface VIII., and afterwards
tints. He died at Naples in 1705.                to Avignon by Clement V. The noble families of
There are a few etchings by this artist, executed   Verona, Milan, Ravenna, Urbino, and Bologna,
in a free, spirited, and masterly style, among which   were eager to possess his works. In 1316, accordare the following:                               ing to Vasari, he returned from Avignon, and was
Elijah calling Fire from Heaven to destroy the Priests of  employed at Padua, where he painted the chapel
Baal. The Virgin and infant Jesus. St. Joseph and St.  of the Nunziata all' Arena, divided all around into
John. Magdalene penitent. The Adulteress before Christ.  compartments, each of which represents some
Christ disputing with the Doctors. St. Anne received into  scriptural event. Lanzi says it is truly surprising
Heaven Lby the Virgin.
to behold, not less on account of its high state of
GIORGETTI, GIACOMO, born at Assisi about  preservation beyond any other of his frescos, than
1610, and studied painting under Gio. Lanfranco.  for its graceful expression, and that air of grandeur
He painted subjects of history, chiefly in fresco,  which Giotto so well understood. About 1325 he
which are well colored, and more highly finished   was invited to Naples by King Robert, to paint
than those of his master, though not so correctly  the church of S. Chiara, which he decorated with
drawn. Among his principal' works, are several  subjects from the New Testament, and the Myspictures from the Life of the Virgin, in the Con- -teries of the Apocalypse. These, like many of his
ventuali; and his largest work, the dome of the   works, have been destroyed; but there remains a
principal church at Assisi.                      Madonna, and several other pictures, in this church.
GIORGIO, GIOVANNI, an Italian engraver who   Giotto's portraits were greatly admired, particuflourished at Padua about 1650. Among other  larly for their air of truth and correct resemblance.
plates, he executed the Bath of the Anabaptists,  Among other illustrious persons whom he painted
after Raffaelle; and a set of plates for the collec-  werethepoetDante, and Clement VIII. The portion of antique lamps, entitled De Lucernis Anti-   trait of the former was discovered in the chapel of
quorum reconditis, Patavii, 1653.                the Podesta, now the Bargello, at Florence, which
had for two centuries been covered with whiteGIORGIO. FRANCEScO DI, an Italian painter,  wash, and divided into cells for prisoners.  The
stulptor. and architect, born, according to Milizia,  whitewash was removed by the painter Marini,
at Siena, of the Martini family, in 1423. Accord-  at the instance of Signor Bezzi and others, and the
ing to the custom of the time, he united the three  portrait discovered in the " Gloria" described by
sister arts, although none of his works in sculp-  Vasari. Giotto was also distinguished in the art
ture are mentioned. As a painter he did not at-  of Mosaic, particularly in the famous Death of the
tain eminence; Lanzi mentions a Nativity, by him,  Virgin at Florence, greatly admired by Michael
somewhat in the style of Mantegna, in the collec-  Angelo; also the celebrated Navicella, or Boat of
tion of Sig. Abate Ciaccheri, at Siena. As an ar-  St. Peter, in the portico of the Basilica of St. Pechitect, he erected, according to Milizia, a famous  ter's at Rome, which is now so mutilated and alpalace at Urbino, for Duke Federigo Feltro, which  tered as to leave little of the original design.
is arranged with great judgment, both as to con-    As an architect, Giotto attained considerable
venience and beauty. The staircases are more  eminence, according to Milizia, and erected many
beautiful and convenient than any constructed be-  important edifices, among which is the bell-tower
fore in Italy. He also made the designs and models  of S. Maria del Fiore. The thickness of the walls
required by Pope Pius II. for the palace and bi-  is about ten feet; the height is two hundred and
shopric of Corsignano, the native place of that pon-  eighty feet. The cornice which supports the partiff, who made it a city, with the title of Pienza.  apet is very bold and striking; the whole exterior
Milizia says that legitimate architecture is much  is of Gothic design, inlaid with marble and mosaindebted to this architect.                      ic, and the work may be considered one of the
GIORGIONE. See BARRARELLI.                     finest specimens of campanile in Italy. Giotto
GIOTTINO. See STEFANO.                         died, according to Vasari, in 1337.
GIOTTO, called.AMBROGIOTTO and GIOTTO DI    GIOVANNI, DA  SAN GIOVANNI. See MANBONDONE, an ancient Italian painter and archi-  NOZZI.
tect, born at Vespignano, near Florence, according  GIOVANNI, SIGISMONDO DI, a Neapolitan arto Vasari, in 1276. He was the son of a shep-  chitect, was a disciple of Mormando, according to
herd, and while attending to his flocks in the field,  Milizia, and flourished about 1500. Among his
was continually occupied in delineating the ob-  principal works, are the church Il Seggio di Nido,
jects around him. A sheep which he had drawn   in  which  the piers have Gothic  ornaments




GIOV.                     361                     GIOV.
with a well designed cupola. The latter gained  vanni d'Herrera, the pupil of Giovanni Battista di
him so much reputation, that he was entrusted   Toledo, after the death of the.atter.  It is situated
with that of S. Severino, after the model of Mor-  a few miles from Madrid, at the foot of - the Carmando. Such works were then comparatively  pentani mountains. which divide the two Castiles.
new at Naples, and considered extremely difficult  It is composed of a magnificent monastery, given
to execute.                                       to the Fathers of St. Girolamo; a college; a semiGIOVANNI, DA PISA, an eminent Italian sculp-  nary; and a royal palace: with the addition of a
tor and architect, the son of Niccolo da Pisa, ac-  number of country villas, hospitals. gardens, and
cording to Vasari, flourished during the early part  fields. The plan of the building resembles the
of the 14th century. He erected the public ceme-  form of a gridiron, in allusion to the instrument of
tery at Pisa, called the  Campo Santo. It is nearly   martyrdom of St. Lorenzo, and the royal palace is
a rectangle-about four hundred and twenty feet  supposed to represent the handle. The principal
long, and one hundred  and  forty  feet broad. The  faade is 740 feet long, and sixty feet high, with
walls are twenty-nine feet high, and the southern  five stories, and 200 windows; the faade opside is externally cased with white marble, decora-  posite the east is 1100 feet long; and the south
ted with forty-four pilasters of the same beautiful  side five hundred and eighty feet. It is divided
material.  Giovanni da Pisa was invited to Naples,  into fifteen courts, ornamented with'porticos and
where he erected, by order of Charles I. of Anjou,  galleries, and eighty fountains. It is adorned with
the Castel Nuovo, for which purpose he was obliged a majestic cupola, and eight towers, two hundred
to demolish the church of the Zoccolanti. which  feet high. From its long and erect fatades, its unthen occupied the site. He afterwards rebuilt it,  ornamented form, and its peculiar materials, it preand it was then called Santa Maria Nuova. On  sents an aspect of solemn grandeur, corresponding
his return from Naples, he erected the facade of  to the character of the monarch under whom  it
the Cathedral at Siena, which is very magnificent;  was erected.
at Pisa, the tribune of the Cathedral; and having   GIOVANNI, DI PAOLO, a reputable painter of
completed many works, both in sculpture and ar-  Siena, who flourished there about 1457. There
chitecture, at Arezzo, Orvietto, Perugia, Pistoja,  are some of his works in the churches at Siena
and elsewhere, he died, full of years and honors,  His Descent from the Cross, in the Osservanza1
and was buried in the Campo Santo at Pisa. The  painted in 1461, displays a considerable knowtime of his death is not recorded.                ledge of the human figure, though possessing,
GIOVANNI BATTISTA, DI TOLEDO, an emi-  according to Lanzi, the defects of the time.
nent Spanish sculptor and architect, according to   GIOVANNI, DI MATTEO, or MATTEO DI GioMilizia, who flourished about 1550. He visited  VANNI, an eminent Sienese painter, who flourished
Rome, and acquired great improvement and repu-  from about 1450 to 1491. He painted first in the
tation, when he was invited to Naples by the Vice-  churches of his native city in fresco, and from his
roy, Don Pietro di Toledo, who appointed him  intimacy with Giorgio da Francesco, a celebrated
state architect, and employed him  to erect many   architect, he improved himself in'perspective, and
very important works in that city. Among oth-  diversified his buildings very ingeniously with alto
ers, are the magnificent Strada di Toledo; the  and basso relievos. He understood foreshortening
church of S. Giacomo degli Spagnuoli; a magnifi-  well, and cast his draperies with more of nature
cent palace at Pozzuoli; and several beautiful  and dignity than was common to the age. His
fountains.  These works gained him  so much   master-piece was the Murder of the Innocents, a
fame, that Philip II. appointed him  architect to  subject which he varied and repeated both at Siall the royal works of Spain, and of the Escurial,  ena and at Naples. His success at Naples was
which that monarch wished to erect in the most  such as to induce the Neapolitan artists to improve
sumptuous manner. For this purpose he left Na-  themselves by adopting a less antiquated style.
ples in 1559, and removed to Spain. But his  After oil painting was introduced into Italy, he
wife, Orsola Jabarria, who embarked afterwards,  learned the art, and painted small pictures with
was shipwrecked and drowned, with her daugh-  good success. Several of his works are still to be
ters; and the immense riches acquired by Giovan-  found in the collection of noble houses at Siena.
ni Battista were also lost. In addition to this ar-    GIOVANNINI CARLO, probably a relative of
ray of disasters, he was obliged to carry on a law-            a G., flourished at Bologna about
suit with his father-in-law, Girolamo Jabarrial   Giacomo Maria G., flourished at Bologna about
suit with his father-in-law, Girolamo Jabarria,  1698.  le painted a number of historical works
who required the restitution of his daughter's mar-  with considerable reputation, among which are
riage portion. In 1563, this architect commenced  Adam and Eve driven from Paradise, in la Madon
the immense fabric of the Escurial. He continued      del Piom     ad Cis ging t  K            to 
to superintend the work until his death, in 1567.  na  del Pi    Giovanni in Monte.
This immense edifice has been attributed to Bra-      
mante, Vignola, and others; but Milizia cites an    GIOVANNINI, GIACOMO MARIA, an Italian
inscription on the portico of the Escurial church,  painter and engraver, born at Bologna in 167;
as follows, which shows conclusively that the work    died at Parma in 1717.  He  studied under Anto
is by Giovanni Battista:                          nio Roli, and painted several pictures for the
is.. Gochurches at Bologna, among which that of MagDeus O. M. operi aspiciat             dalene worshipping the Cross, in S. Niccolo degli
Philippus II., Hispaniarum Rex,          Alberi, is most esteemed. As an engraver, he ex
A fundamentis erexit                ecuted a number of plates, chiefly etched, and some
1563.                       of them assisted with the graver, in a very neat
oan. Baptista, Architectus,            style; though the design is frequently incorrect,
9. Kal. Maii.                   and there is a want of effect in his prints. The
This stupendous edifice was completed by Gio-  following are his principal plates:




GIOV.                     362                     GIRO.
A set of twenty large plates; after the paintings by Lo-  in the school of Francois Anguier; after which he
aovico Caracci, and others, in the cloister of St. Mishael in  advanced him the means necessary for a journey
Bosco, at Bologna. Twelve prints from the pictures by
Correggio, in the cupola of S. Giovanni,  Pto Rome, and Louis XIV. settled upon the young
after the celebrated picture called the St. Jerome by Cor-  artist a pension of a thousand crowns. Girardon
reggio. The same has been engraved by Agostino Car-  remained some time in Italy, and then returned to
acci and Sir Robert Strange. The Virgin and infant, with  Paris, where he acquired the friendship of Le Brun.
St. George; after the famous picture by Correggio; in the  Through the influence of that master, he obtained
Dresden gallery. St. Sebastian; after Lodovico Caracci.  commissions for many works in sculpture, for the
The Communion of the Apostles; after iMarc. Ant. 17'ranceschini   o                                      palaces of Versailles and Trianon. After the death
GIOVANNINO, DEL Pio. See BONATTI.              of Le Brun, Girardon obtained from  Louis XIV.
GIOVANNINO, DEL PiO. See BONATTI.                                        1
the post of general inspector of statues and other
GIOVENONE,GIRoLAMO, a native of Vercelli,  works in marble. In 1657 he was admitted to the
who flourished about 1515. In the gallery of Lo-  academy; in 1659, was appointed professor; bechis, at Bergamo, is a capital picture by him; and  came director in 1674; and chancellor in 1695.
in the Augustini, at Milan, is a fine picture of the  There are many of his productions in France. alResurrection, with two laterals, representing St.  though a portion of them have been destroyed by
Margaret and St. Cecilia.     ^revolutionary excesses. The Mausoleum of CarGIOVENONE, BATTISTA, PAOLO, and  Giu-  dinal Richelieu, in the church of the Sorbonne, was
SEPPE, three Milanese painters of the same family  considered his master-piece. In the garden of Veras Girolamo G., who flourished at Milan in the  sailles, there were by him the Rape of Proserpine,
16th century. They were reputable painters.-    a statue of Winter, and many fine bas-reliefs. The
Giuseppe was eminent as a portrait painter, and  tombs of the Princess de Conti; of Louvois; and
died about 1578.                                  of the Castellans; were also executed by Girardon.
GIRALDINI, or GILARDINO, MELCHIORE, a  He died in 1715.
Milanese painter and engraver, who studied under    GIRODET TRIOSON, ANNE Louis. an eminent
Gio. Battista Crespi, called il Cerano. Lanzi says  French painter, born at Montargis in 1767. His
he very happily caught the easy, agreeable, and  original name was Girodet, but in 1812 he adoptharmonious manner of his teacher, though inferi-  ed the name of his tutor, Dr. Trioson. He studor to him in the powers of his pencil. There are  ied under David, and at the age of twenty-two
some of his works in the churches at Milan. His  gained the grand prize of the Academy, for his
picture of St. Catherine, in the church of the Ma-  picture of Joseph's meeting with his Brethren.
donna at S. Celso, has been highly commended.  He then went to Rome with the royal pension,,
He married the daughter of Cerano, and inherited   where he produced his pictures of Endymion
his studio and all his drawings. He engraved in  sleeping, and Hippocrates refusing the presents of
aquafortis some small plates of histories and bat-  Artaxerxes, which last is in the Academy of Meditle-pieces, in the manner of Callot. He died in  cine at Paris, and is greatly admired for its correct
1675.                                            design and elevated expression. On returning to
GIRALDINI, N., was a son of the preceding   France, he soon gained great eminence, and was
artist, who instructed him in the art. He acquired   deemed worthy to rank with the most distinguishconsiderable eminence as a painter of battle-pieces,  ed professors, as is evident from his grand painting
and his works are found in the best collections at  of the Deluge, which carried away the pahn from
Milan. where they are highly esteemed.            David's picture of the Sabines. He was highly
honored by Napoleon, who was very fond of him.
GIRANDOLE.  See BUONTALENTI.                   He painted the portraits of many, illustrious perGIRARDET, JEAN, a reputable French painter,  sonages of the time, and made designs to illustrate
born at Luneville in 1709. He was intended for  the works of Anacreon, Virgil, and Racine, pubthe church; but manifesting a great inclination for  lished by Firmin Didot. His works are highly
art, he was placed in the school of Claude Charles,  esteemed, and are to be found in many of the pubprofessor of design at Nancy, in Lorraine, who  lic and private collections of France. Many of
had praised some of his drawings. After studying  them have been engraved or lithographed. Girothere for some time, Girardet visited Italy, where  det died in 1824.
he remained eight years, designing after the works  GIRON, M., a French painter who flourished at
of the great masters. He was invited to the court  Venice in 1660, and. according to Boschini, paintof Stuttgard by king Stanislaus, and painted in  ed landscapes in the manner of Paul Bril with
fresco a grand saloon in the royal palace, in 1762.  great success. He painted all kinds of views in
He afterwards returned to France, and settled at  an extremely natur  and pleasing manner.
Nancy, where he was much employed, and estab-a etreel  atural a   pls 
lished a successful school. There are many of his    GIRTIN, THOMAS, a reputable English painter,
works at Metz, Verdun, and other cities of Lor-  bo  i 1775. He studied under Edward Dayes,
raine. His Descent from the Cross, in one of the  and  was much esteemed for his landscapes in wachurches at Nancy, is considered his best produc- ter-colors. He visited Paris, and made twenty
tion.  He died in 1778.                          drawings of views in that city, of which he etched
GIRARDON, FRANOIS, a reputable French  the outlines, and the plates were finished in aquasculptor, born at Troyes in 1630.  Ie learned the  tinta by other artists. He died in 1802.
elements of the art from a carver in wood, and      GISMONDI, PAOLO, called PAOLO PERUGINO,
soon manifested fine talents. He studied with   a painter of Perugia, but brought up at Rome, in
great care the statues in the churches of Troyes,  the school of P. da Cortona. He was chosen a
and produced a figure of the Virgin, which was  member of the Academy of St. Luke in 1668, and
much admired. The Chancellor Seguier, perceiv-  was esteemed for his fresco paintings of historical
ing his abilities, sent him to Paris, and placed him   subjects, among which are several in the tribune




GITI.                    863                    GLAU.
of S. Agata in Piazza Nuova, and in S. Agnese  on him the title of Polidore. After spending two
in Piazza Navona at Rome.                         years at Rome, and the same time at Venice, he
GITIADAS, a Greek sculptor and architect, of  returned to Holland, and settled at Amsterdam
Lacedaemon, who flourished about B. C. 724. Ac-  Having formed an intimacy wit  Gerard de Lai
cording to Pausanias, he erected a temple in his  resse, he painted a number of admirable landnative state, dedicated to Minerva. It was con-  scapes, decorated with the classic figures of that
structed entirely of bronze, and contained a bronze  master. These fruits of their combined talents
statue of the goddess, of his own execution, be-  were very highly esteemed and they received so
sides many bas-reliefs, representing the Labors  many commissions as rendered it almost impossiof Hercules, and other mythological subjects.    bleto supply the demand. The landscapes of
G ~See ZUGNIc,.~~ rGlauber are entirely in the Italian style, and his
GIUGNI. See ZUGNI.                             subjects are chosen in a select and elevated taste.
GIULIANELLO, PIETRO DA, an old Roman   There are several admirable landscapes by him in
painter of whom little is known. There is a pic-  the chateau of Soesdyk, painted for the Prince o"
ture by him in the Borghese Gallery at Rome,  Orange, in which the figures are by Lairesse
representing the Woman of Samaria.  Lanzi says  Glauber etched several plates after the designs of
he deserves to be placed in the first rank of the  Lairesse, Berg~em  and G. Poussin; also several
quattrocentisti, or artists of the 14th century.  after his own  esigns, in a slight, spirited style,
GIULIANI. GIORGIO, a native of Civita Castel-  among which are the following:
lana, of whom little is known. Lanzi supposes    Various Landscapes and Cattle; after Berchem. Two
that he was a pupil of Guido, and says that he  Landscapes; after Gaspar Poussin; Gaspar Poussin,
found in the celebrated monastery of the Camal-  inx; J. Glauber,fec. A set ofsix Landscapes, length-  ways; from his own designs. A set of six Landscapes,
dolesi all' Avellana a fine copy of Guido's Martyr-  npright; do. A set of circular plates of allegorical subjects,
dom of St. Andrew. It is a large picture, exhibit-  from four of the great Monarchies of Assyria, Persia,
ed in the refectory; and, notwithstanding the  Greece, and Rome; after de Lairesse.
dampness of the place, it maintains a brilliancy of  GLAUBER, JOHN GOTTLIEB, born at Utrecht
color remarkable for pictures of that antiquity.  in 1656, the younger brother and scholar of John
It is signed Giorgio Giuliani da Civitd Castella-  G., whom he accompanied to Paris at the age' of
na, 161-.                                         fifteen, and while in that city, received some inGIUNTA. See PISANO.                            structions from Jacob Knyf, a reputable painter
GIUNTALOGCCHIO  DOMENICO an old painter  of landscape and architecture. He rejoined his
MENICO, an Fold painter  brother at Lyons, and continued with him during
of the Florentine school, and a native of Prato,  the two years he spent in Rome, studying the
who, according to Vasari, was more eminent as an  works of the great masters with assiduity.  In
engineer than as a painter. He studied under Nic-  1684 he went to Haburg ad met with great
colo Soggi, and painted portraits with reputation,  encouragement.  He Was soon afterwards invited
but did not succeed so well in fresco. His memo-  to the courtof Vienna where he spent several
ry is revered in his native place, not so much for  years, and  subsequently  practised the art at
his paintings as for a fund of 10,000 crowns which   Prague and Breslau. Most of his works are to
he bequeathed to found a school for the education  be found in Germany, where they are much esof young artists.                                teemed. His pictures are principally landscapes,
GIUSTI, ANTONIO, born at Florence in 1624,  in the style of his brother, though more highly
and studied first under Cesare. Dandini, but after-  finished, and less masterly in the handling; also
wards in the school of Mario Balassi. His tal-  sea-ports in the manner of Knyf, and architectuents were very versatile, and he painted history,  ral views. He died in 1703.
landscape, animals, and hunting-pieces, with equal     AUBE, D           the sister of the preceding
success; so that Orlandi calls him a universalart-  artistsborn at Utrecht in 1650, and was instruct
1st. He practised the art with vigor until 1705,  ed by her elder brother. She gained  onsidrwhen he died, aged 81.                           ed by her elder -brother. She' gained considerawhen he died, aged 81.               ble distinction in history and portrait at HamGLAUBER, JOHN, a very eminent landscape  burg, where she resided; but was unfortunately
painter, born at Utrecht, in Holland, of German   deprived of her sight, by accident, a few years beparents, in 1646; died in 1726. He early mani-  fore her death, which occurred about 1720.
fested a strong inclination for the art, but was op- GLA IA         rk s           o  E      
posed by his father, who wished him to adopt an-  flour d a t B  e           Ao          ina 
other profession. After a long time, however, he  works was the Statue and chariot of Gelontyrant
reluctantly  consented, and Glauber entered te  of ea  a  aterwards of Syrausehhhe exeschool of Nicholas Berghem, where he made rapid  cte in bronze. It was erected at Olympia h    n
progress, and was soon considered a very promis-  commemoration of the victry obtained by G
ing artist. He was greatly enamored of the Ital-   on, at the Olympic games.
ian landscapes by G. Poussin and others, which 
he had an opportunity of copying with Vylen-    GLEN, JOHN DE  a Flemish wood engraver,
bourg, who dealt in works of art; and at length    or  at Liege about 1550. He published two
he determined to set out for Rome, in 1671, by the  works, illustrated with wooden cuts of his own
way of France, intending to gain the means of   execution-the Wonders of the City of Rome,
traveling by practising his art. He passed one  and the Customs of the Ancients and Moderns. The
year at Paris, with Picart, a flower-painter; and  latter contains 103 plates, from his own designs.
two years at Lyons, with Adrian vander Cabel;,    GLOCKENTON, ALafter which he went to Rome, and soon became                             BERT, an old German endistinguished. He was honored by a flattering re-                        graver, born at Nuremception from the Bentvogel Society, who conferred   berg about 1432. His plates are executed entire



GLOV.                       364                     GOBB.
xy with the graver, in a neat but stiff manner,                     GOAR  VAN, an  old  German
somewhat in the style of Martin Schoen, some of           or                             
whose prints he copied.            w       r  h                     wood engraver, who lived about
whose prints he copied. The following are his  1516, and executed a number of ornamental illusprincipal plates:                                  trations for the booksellers, in a spirited and masTwelve plates of the Passion of Christ; fine and scarce;  terly style.
after Martin Schoen. Ten plates of the wise and foolish
Virgins; do. Christ bearing his Cross; do.; scarce. The  GOBBI, MARCERLO, a reputable painter of the
Death of the Virgin; do. The Virgin and infant seated   Roman school, who flourished at Macerata, his
on an altar.                                       native city, in 1606.
GLOVATCHEVSKI, CYRIL, a Russian painter,           GOBBINO. See Gio. BATTISTA Rossi.
born at Korope in 1735. He painted history and        GOBBO IL   See B       I.
portraits with reputation, and was appointed professor in the Academy of Fine Arts at St. Peters-     GOBBO, ANTONIO. See CARACCI.
burg. He died in 1823.                                GOBBO, DEL. See SOLARI.
GLOVER, GEORGE, an English engraver of lit-        GODDARD, J., an English engraver. who flourtle note, who lived about 1637, and executed a num-  ished about 1651, and executed several frontisber of portraits and other subjects for the book-  pieces, maps, and other subjects for the booksellsellers, in a bold, open style, but with little taste.  ers.
The following are the principal:                     GODECHARLES, WILLIAM, an eminent FlemJames I. Charles I. Henrietta Maria, Queen of Charles  ish sculptor, born at Brussels in 1750. He studI. Mary,,daughter of Charles. Charles II. Catharine,  ied under Laurent Delvaux, and in 1770 visited
Qeen of Charles II..James II. Maria Beatrix, Queen of  Paris, where he pased the academical course, and
James II. - Oliver Cron'well. William Russell, Duke of                     17
Bedford.  Franeis Ruseell, Earl of Bedford.  Algernon  then went to Rome. In  773, he gained the grand
Percy, Earl of Northumberland: Robert Devereux, Earl of  prize of sculpture in that city, and then travelled
Essex. Henry Rich, Earl of Holland. Thomas Wentworth,  through Italy, Germany, Prussia, and England.
Earl of Strafford, James Usher, Archbishop of Armagh.  On returning to Brussels in 1780, he soon gained
Sir Thomas Urquhart; very scarce. Sir Edward Deering;  great reputation, and was employed in many imfine. 1640. Sir James Campbell. Sir Henry Oxenden de                                      Countries,
Barham. Sir Anthony Vandyck. John Pym, M. P. for                 forthekingof the Low Countries,
Tavistock. John Fox, the Martyrologist. LewisRoberts,  and various distinguished personages. In 1783 he
Mercat. Lond. 1637. John Goodwin, Presbyter. 1642.  executed the grand bas-relief in the palace at BrusWilliam Bariff. 1643. John Lilburne. 1641. Henry Bur-  sels; and for the chateau of Laken, two statues of
ton, Rector of St. Matthew's, Friday street. 1648. Nat.  Minerva and Victory, besides several bas-reliefs.
Witt, an idiot, with four verses.                  There are a great number of his statues and busts
GLUME, J. G., a German painter, mentioned  in the magnificent gardens of Wespelaer, between
by Basan, who lived about 1760. He etched sev-  Louvain and Malines. He possessed more facility
eral plates of portraits and other subjects,from his  than taste, more energy than grace. He was ap-I
own compositions.                                  pointed sculptor to the king of the Low Countries,
GLYCON, an Athenian sculptor of uncertain   member of the Institute at Amsterdam, and proage, whose name is immortalized as the author of  fessor of the Academy of Fine Arts at Brussels.
the famous Farnese Hercules, the principal statue   He died in 1835.
of that hero now remaining. It is in the Farnese      GODEFROY, JEAN, a reputable French engrapalace at Rome, and has long been familiar to con-  ver, born at London, of French parents, in 1771;
noisseurs. It represents him resting after the last  studied under J. P. Simon, and executed many exof his twelve labors; leaning on his club, and   cellent plates of historical subjects, after Raffaholding in his hand the apples of the Hesperides.  elle, Correggio, Poussin, and the Caracci; also after
In this statue, as in all other figures of him, he is  Gerard, Proudhon. Vernet, Isabey, and Chaudet.
represented of a large size, with broad shoulders,  Among his most important plates is the Congress
spacious chest, and firm muscles; capable of un-  of Vienna, after Isabey; 1819. He was living in
dergoing great fatigue.                            1831.
GMELIN, WILLIAM  FREDERIC, a German en-            GODETZ, ANTOINE DES, a French designer and
graver, born at Badenweiler in 1745. He studied   engraver, who flourished about 1682, and publishunder Christian de Mecheln at Basle, where he  ed a large folio volume of plates, engraved after
made rapid progress. In 1788 he went to Rome,  his own designs. The frontispiece is etched by
where he resided the rest of his life, and engraved   himself.
many excellent plates, mostly landscapes of large     GODETZ. See DESGODETZ.
dimensions.  The fine plates for the superb edition
of the _Eneid, published in Italian by the Duchess    GODEWYCK, MARGARET, a Dutch paintress,
of Devonshire, are by Gmelin; but his master-  born at Dort, according to Houbraken, in 1627.
piece is the Mulino, after Claude.  He died at  She studied under Nicholas Maas, and painted
Rtome in 1821.                                     landscapes and flower-pieces, which were much admired.  She also had a remarkable talent for exeGNOOCHI, PIETRO, a Milanese painter, who   cuting similar subjects in needle-work.  She died
flourished, according to Morigia, about 1595. He  in 1677.
studied under Aurelio Luini, whom he excelled in                      an Engis  en        r       i
correctness of design, and elegance of expression.    GODFREY, G.an English engraver of little
Lanzi says that he may be the same as Pietro Lu-  note, who executed, among other plates, several
ini, it being common at that day for the disciple  prints for Grose's Antiquities, in 1785.
to adopt the name of his master. His finest pic-     GODFREY, RICHARD, an  English  engraver,
ture is in S. Vittore at Milan, representing Christ  who lived about 1760, and executed some plates
giving the Keys to St. Peter.                      of landscapes and antiquities; also several Eng



GODF.                     365                     GOET.
lish  portraits for the Antiquarian Repertory,  expression are very fine, and the becoming modes
among which are:                                  ty of the women cannot be sufficiently admired
Edward, the Black Prince. Thomas, Duke of Gloucester.  At Ghent, in the church of St. James, is a picture
Margaret, Countess of Salisbury. Sir Henry Unton, British  of the Holy Family, in which the head of the
Minister in France. Simon Forman, Astrologer. Sir  Virgin is extremely beautiful, and the whole worl
Anthony Weldon, Historian.  John.Evans, Astrologer  is very highly wrought up. At Bruges in th
Abraham Cowley, Poet. Richard, son of Oliver Cromwell.  church of St. Jam, is a  t Brum the
church of St. James, is a Descent from the Cross,
GODFROY, FRANCOIS, a reputable French en-  by this master; and in the monastery of Sior
graver, born at Rouen in 1748; studied under P.  near Brussels, are two-the Transfiguration and
l.e Bas, and has engraved several plates of land-  the Resurrection. He died about 1480.
scapes and other subjects, in the neat style of his
instructor. Among others, are the folowing:OETZ, GOTTFRIED BERNARD, a German paint
er, and engraver in mezzotinto, born at Klostcr
A pair of Landscapes, called Le Temple des Amours,  Welchrod, in Moravia, in 1708. He studied unWelchrodin Moravia, in 1708. He studied unand La Tour des deux Amans; after Lantara.  A view
of the Village ofMout.ersTravers; after Chatelet. Amuse-  der Eckstein, on leaving whom  he became the
ment of Brabant; after Teniers. The Georgian Bath;  scholar of John George  Bergmuller at Augsburg.
after L. de la Hyre. A pastoral Landscape; after Casa-  His pictures are rarely met with out of Germany;
nova. A Landscape, with a Waterfall; after le Prince. A   but he has executed a number of mezzotints,
Landscape; after Claude Lorraine.                 among which are the following:
GODONESCHE, NICOLAS, a French engraver,    The Portrait of the Emperor Charles VII.; after a pieborn at Paris about 1695. He was employed by  ture by himself. Bust of Louis XV. St. Amandus; afthe Abb6 Boursier to engrave the plates for a work  ter J. G. Bergmuller. St. Walburg; do.
satirizing the government, entitled Explication     GOIS, ETIENNE  PIERRE ADRIEN, a French
abregee desprincipales questions qui ont rapport  sculptor, born at Paris in 1731. This artist, who
aux affairespresentes; for which offence he was  flourished during the period of half a century, was
sent to the Bastie, in 1731. This publication was  a scholar of Michael Angelo Slodtz. At the age of
suppressed by order of government, and is now   seventeen, he gained the grand prize of the Royal
very scarce and valuable. In 1727, he published   Academy, and went to Rome with the king's penhis Medailles du regne de Louis X V., in folio;  sion. On his return he obtained an atelier in the
and in 1736 he issued a second edition. with fifty-  Louvre, and practised the art with good success.
four plates. He died in 1761.                     In 1770 he was chosen an Academician. Among
GOOEBOUW, or GOBAU, ANTHONY a Flemish   his principal works, are a marble statue of the
painter, born at Antwerp in 1625. Ater acquir-  Chancellor of the Hospital, executed for the grand
ing the elements of design, he visited Rome, where  staircase of the  Tuileries; a statue  of  President
he remained several years, studying the great  Mole, in a gallery of the Institute; one of St.
works of art. On returning  to  Flanders  he  Vincent, in S. Germain l'Auxerrois; and a numgained considerable reputation for his subjects of   ber of statues and bas-reliefs in S. Philippe d
history, but excelled chiefly in representing rustic   Roule. He died in 1823, aged 92 years.
scenes, as festivals and other sports, in the style of  GOIS, a French sculptor, the son of the precedTeniers and Ostade. His pictures of this descrip-  ing, flourished in the first part of the present cention are greatly admired in Flanders, and are  tury, and died in 1836. His principal works are
placed in the choicest collections. He painted   a marble group of the Descent from the Cross, exbattle-fields after the conflict, with soldiers des-  hibited in 1819, now in S. Gervais; a mausoleum
poiling the dead; also Italian sea-ports and mar-  in honor of the Duke de Berri, for the city of
ket-places, with numerous figures, in the style of  Lisle; and a statue of Joan d'Arc, for the city of
Lingelbach, which have considerable merit.  He   Orleans.
died in 1677.                                       GOLDAR, JOHN, an English engraver, who
GOEDART, JOHN, a Dutch designer and natu-  lived about 1760, and executed a number of plates
ralist, born at Middlebourg in 1620. He made  of humorous subjects, among which is a set of four
many excellent designs of insects, after nature;  plates entitled Modern Love, after Inigo Collet.
and published several able works on Entomology,    GOLDMAN, NICHOLAS, a German architect,
with many accurate plates, engraved'from his de-  born at Breslau, in 1623; died in 1665. He was
signs. He died in 1668.                           the author of many valuable works on the art,
GOERCE, JOHN, a Dutch painter and engraver,  among which are the Elementa Architecturce Milthe son of William Goerce, a Dutch author; flour-  itaris; and a Description of Solomon's Temple.
ished about 1700. He attained considerable repu-    GOLE, JACOB, a Dutch engraver, born at Amtation as a painter, and executed the beautiful pie-  sterdam, about 1660. Nagler gives a complete
tures which adorn the Burghers' Hall in the  list of his plates, some of which are executed with
Stadthouse at Amsterdam. He engraved a variety  the graver, and others in mezzotinto. Among
of frontispieces and other book plates, chiefly after  them are the following:
his own designs. He died in 1731.                                   ENGRAVINGS.
GOES, HUGO VANDER, an old Flemish painter,    Charles XI., King of Sweden. 1685. The Duchess de la
born at Bruges about 1405. He studied under  Valierg; the same date. Mahomet IV., Emperor of the
John van Eyck, from whom he learned the art of   Turks. Kara, Mustapha, Grand Viier. Abraham Hellenoil painting. His works are distinguished for ele-  brock, Minister of the Gospel. Nicholas Colvius, Pastor
oil painting. His works are distinguished for ele-  o t  W^lo C
of the Walloon Church; after B. Vaillant.
gance and grace in the heads, particularly of the              MEZZOTINTO PORTRAITS.
females; and are finished with great neatness of
females; and are finished with great neatness of    Charles III. King of Spain. Frederick, King of Poland,
penciling. Many of his works are preserved at  George Augustus, electoral Prince of Brunswick LuneBruges, particularly a picture of Abigail in the  bourg. Charles, Landgrave of Hesse Cassel. Cornelius
presence of David; in which the composition and   Tromp: Admiral of Holland. Balthasar Becker.




GOLT.                         366                      GOLT.
SUBJECTS IN MEZZOTINTO.                  a perfect master of human anatomy, and drew the
Peasants smoking; after A. Ostade. Dutch Boors re-  extremities with the greatest precision.  His comgaling; after A. Brower. The Tooth-drawer; after Te-   positions are often eccentric, and the attitudes and
niers. The School-master; after DL   Hemskerk. Hera-  movements of his figures strained and unnatural
clitus; after Cornelius Dusart                          -a failing often seen in the imitators of M. AngeGOLTZ, or GOLTZIUS, HUBERT, a Flemish   lo; but these defects are more than balanced  by
painter and engraver, and a learned antiquary, born   the extraordinary beauty and freedom of his exe
at Venloc in 1520.  His father was an artist of   cution.  His style is sometimes extremely neat
little note, who taught him the elements of design,  and highly finished; at others it is surprisingly
and then placed him  in the school of Lambert  bold, clear, and masterly; although there is occaLombard at Leige.  The latter allowed bim  to   sionally an appearance of affectation, and a desire
copy a number of designs which he had made   to display the unrestrained energy of his graver.
from the celebrated remains of antiquity at Rome;         At the age of forty-two, Goltz commenced paintand this inspired him with a strong desire to study   ing, and executed a number of fine pictures, the
after the originals.  He visited Rome, where he   first of which was the Crucifixion, with the Virgin
resided several years, and made many designs from    Mary and St. John, and is praised by van Mander
the antique; also adding abundantly to his litera-  for boldness of design and excellence of coloring.
ry knowledge, which enabled him  to investigate   Several of his pictures are in the Imperial Gallery
many curiosities in coins, medals and other antiqui-  at Vienna.  As an engraver, however, he was far
ties; and he subsequently wrote several learned   more distinguished; his prints number over five
works upon them, with critical notes, after his re-  hundred, and are very highly esteemed.  The folturn to Bruges.  Van Mander mentions a set:of   lowing are the principal-for a complete list see
pictures by H. Goltz, representing the History of   Nagler:
the Golden Fleece, painted for the House of Aus-                             PORTRAITS
stria.  In 1563 he  published his work, with forty-               olHenry Goltzius; inscribed, H. Goltzius Sculptor et
six plates, entitled " C. Julius Caesar, sive historice   Pictor. Henry IV. King of France. 1592; oval; very
Imperatorum  Caesarum  Romanorum, ex antiquis  scarce. Frederick II. King of Denmark. 1578; oval.
numismatibus restitute, liber prixnus, Huberto   William, Prince of Orange, in Armor, with an emblematiGoltzio Herbipolita Vanloniano Auctore ~t Sculp-   cal border; H. Goltzius,.fec.; fine. Charlotte de Bourtore."  In 15b6, he published another work with   bon, rincess of Orange; fine. Theodorus Cornhertius
4twoh.undred an dthirty-fourb plate s an d woon wh   ad vivum depictus et aeri incisus, ab H. Goltzius; very
two hundred and thirty-four plates and wooden   scarce. Gerbrand Adriaans Brederods; with an oval borcuts, entitled "Fastos Magistuum  et Triumpho-   der of Laurels; scarce. Joannes Bollius, Mechliniensis
rum Romanorum ab Urbe condita ad Augusti obi-  pictor; in an ornamented border. John Stradan, painter.
tur, ex antiquis Monumentis restitutos Hubert-   Philip Galle, engraver. Peter Forest, or Forestus, physius Goltzius Herbipolitus Venlonianus dedicavit."   cian. 1586. Justus Lipsius; inscribed, Moribus antquis.
The n ct in te l r we e          d by   1587. John Zurenus, holding a Book; after M. HemThe wooden cuts i   the latter were executed by.skerk. M. de la Faille; inscribed, Leges tueri; very
Joseph Gietlinghen, of Courtray,  Hubert Goltz   highly finished. Madame de laFaille, with a Scull. 1589;
died at Bruges in 1583.                                 the companion. Christopher Plantin, the printer. Frances
D'Egmont, with her hand on a Scull; oval. Robert DudI/    GOLTZ, or GOLTZIUS, HENRY, a priem-  ley, Earl of Leicester. 1586; oval; fine and scarce. The.JTWinent Dutch  engraver, and an  excellent   portrait of S. Sovius, without his name; inscribed, Bene
painter, born at Mulbrecht, in the duchy of Jul-    ere e nil timere. 1583; scare.
iers, in 1558.  He acquired the elements of design            VARIOUS SUBJECTS FROM HIS OWN DESIGNS.
from his father, who was an eminent glass-painter;    Judah and Thamar; circular; supposed to be one of his
after which he studied engraving under Theodore   earliest plates. The Life and Passion of our Saviour, in
Cuernhert, and made such rapid progress that he   twelve plates, executed in the style of Albert Durer; H.
soon surpassed his master, who, as well as Philip   Goltz,fec. 1597.-There is a set of copies after these, in a
engrave  several plates.  stiff, formal style. Christ and the Apostles, in fourteen
Galle, employed  him  toaengrave several plates.  plates. 1598. Six large plates, known by the name of his
He afterwards visited Italy, and studied with great  Masterpieces. They are executed in the style of each of
assiduity the works of Raffaelle, Michael Angelo,  the masters he wished to imitate, and are as follow;-The
and P. da Caravaggio, after whom  he engraved   Annunciation, in the style of Raffaelle; the Visitation, in
several plates.  On his return to Holland he set-  imotationof  Parmiggzano; theAnnunciation, inthemanner of Bassano; The Circumcision, in the style of Albert
tled at Haerlem, and executed a number of plates   Durer; the Adoration of the Magi, in imitation of Lucas
after the principal Dutch and Flemish  masters.  of Leyden; the Holy Family, in the manner of F. BaHe had the faculty of varying his style according   roccio. The Nativity; Jac. Mathan, exc. 1615; exto his subject; and he also imitated with admira-   tremely scarce; the plate is unfinished. The Adoration of
ble success the styles of Albert Durer, Lucas van   the Mgi; scarce. The Murder of the Innocents; C.
Leyden, and others, as is evident from  his set of   Visscher, exc.; very scarce; the plate was not finished.
The Repose in Egypt; H. Goltzius,.fec. 1589. The Wo
six large plates, entitled the Master-pieces of Golt-   man of Samaria; H. Goltzius, sc. et exc. 1589. The Wise
zius-not because they are his best works, but for   Men's Offering; a curious composition; fine and scarce.their perfect imitation.  Having been told  that   The infant Jesus holding a globe, with a glory of Angels;
some connoisseurs would not allow his works to be   H. Goltz,fec  1597. The Temptation of St. Anthony.
compared with those of Durer, he was so much   A Female Saint, holding a book; Matham, exc.; very
piqued as to engrave a design of the Circumcision   scarce. Some papts of the plate are merely traced. A set
piqued as to engrave a design of the Circumcision    caefof fifty-two plates for the Metamorphoses of Ovid; J. C.
in the style of that master, and struck off a single   de Visscher, excudit. It is supposed that Goltzius was
proof, which he discolored with smoke, to give it  greatly assisted by his scholars in these plates. A set of
the appearance of age; then burned  the part  ten plates of Eight of the Heroes of ancient Rome, with
where the name of the engraver is usually affixed,  the introduction and conclusion; H. Goltz. 1586.-Enand sent it to the Fair at Frankfort.  The sucess   graved in a free, bold style, with fine backgrounds.  Venus
and sent it to the Fair at Frankfort.  The success  reclining against a Tree, holding a bunch of Grapes, whilst
was complete; the connoisseurs were completely   Cupid presents her a handful of Corn; inscribed, Sine Ce
deceived, until Goltz exhibited the plate.  He was   rrer et Baccho,.friget Venus; a circular plate, of a most




GOLT.                        367                       GOME.
finished and beautiful execution. Three plates; Bacchus,  rome; also the large picture of the Martyrdom
Venus, and Ceres; dedicated to Cornelius van Haerlem.  of St. Ursula and her companions, which was deThree, of Juno, Minerva, and Venus; ovals. 1596. Mars s                       Pellegrino Tibaldi, to spply
and Venus. 1585. Three; Jupiter and Juno, Neptune and     ne  a    traced  by Pellegrno  baldo 
Amphitrite, and Pluto and Proserpine. Pygmalion and   the place of the same subject, by  L. Cambiasi,
his Statue; inscribed, Sculpsit.-Marita, est. 1593. Jo.  which had been removed to the old church of the
Jansonius, exc. Mercury and Argus; a small plate, very   Escurial.  He restored the Annunciation and the
scarce. Nine, of the Muses; each with four verses; dedi-  St. Jerome penitent, by F. Zucchero, which Philip
cated to John Sadeler. 1592. Three, of the Graces. The   had rejected and ordered to be retouched.  He
Three Fates; in circular plates. The Apollo of Belvidere,  died in 1597.
with the Portrait of the Designer, in half-length; inscribed,
Apollo Pythius, (-c. The Hercules Commodus; inscribed,    GOMEZ, VICENTE SALVADOR, a Spanish paintHercules AAEZIKAKO   inscriptus, -c., with four Lat    r born at Valencia about 1645.  He studied u,inverses. The Farnesian Hercules; inscribed Hercules   er Ja     o Jeronimo d Espinosa, and eary          i
Victor, 4c.; with four Latin verses and two figures. (The       t, ad    ly manithree last prints, after the famous antique statues, are exe-  fested such great abilities that before the age of
cuted with surprising beauty and energy.) Hercules hold-  fifteen he painted several large fresco works, from
ing his Club; in the back-ground are represented his La-  the Life of St. Ignatius, which were deemed sur
bors. 1589. In this plate Goltzius has overcharged the outline   prising performances.  Fe also painted landscapes
of the figure in the most barbarous manner, the parts are   anials, and architectural views with equal su
scattered, and the whole is without effect. The Judgment  Iamals, and architectual  iews wih eql 
of Midas. 1590. The seven Cardinal Virtues: Faith,  cess. n 1670 he filled the office of Director of
Hope, Charity, Justice, Prudence, Fortitude, and Temper-  the Academy of Valentian artists, who met in the
ance; in seven plates. Three fine plates, of Diligenee,  convent of St. Dominic in that city.  He died
Patience, and Wisdom; personified by female figures.-   about 1698.
Labor and Diligence; represented by a male and a female   OMZ   Sale
figure. 1580; scarce. An emblematical subject of Chris-    OMEZ, SBASTIAO, called EL MULATO D
tian Prudence, in a female figure, richly clothed; inscribed,  MURILLO, a mulatto servant of the eminent SpanAstu serpentes, et simplicitate columbae; small circular,  ish painter Murillo.  He had a natural taste for
highly finished and scarce. The Blind leading the Blind;  the art, and from observing the admirable produccircular; do. The Chariot of War; an immense compo-  tions of his master, he was induced to attempt,
ition; Henicus Goltzius,fecit. Joan. Gale, ec.; very   during his leisure hours, to acquire a knowledge
scarce. The Boy and Dog. The Boy is supposed to be
the portrait of the son of Theodore Frisius a painter of   Of painting.  In this he succeeded very well, and
Venice, to whom he dedicated the print. It is considered   after the death of Murillo, in 1685, he obtained
one of his finest plates. Corydon and Silvia; a pastoral;  considerable employment at Seville.  There are a
fine and Scarce. A mountainous Landscape, with the sto-  number of his works in that city, which possess
ry of Dmdalixs and Icarus; an etching.                 considerable merit, among which are the FlagellaWOODEN CUTS AFTER HtS OWN DESIGNS.             tion, at the Capuchins; and the Virgin  and InA Landscape, with a Cottage, and a Woman draiing   fant, in the convent Mercenarios Descalvos.
Water from a Well. A Landscape on the Sea-cost, with a
large Rock, and a Hermit kneeling. A pastoral Land-      GOMEZ, FELIPE DE VALENCIA, a Spanish paintscape, with a Shepherd and Shepherdess. A Warrior, with   er, born at Granada in 1634.  He studied  under
a Helmet and Spear; half-length. Hercules slaying Cau-   Cieza, and imitated with success the style of Alonous. A set of seven, of the Heathen Divinities; fine.  so Cano.  There are many of his works in the
SUBJECTS AFTER VARIOUS ITALIAN MASTERS.          churches and public edifices in Granada, among
St. Joachim; after Rafaelle. The Triumph of Gala-  which is a fine picture of Christ in the Winding
tea; do. Eight plates of the Heathen Divinities; in   Sheet; and a grand painting representing the
niches; after the paintings by Polidoro da Caravaggio,  Moors delivering the keys of Seville to king Ferin the Quirinal. Two Sibyls; do. The Last Supper; qf-  dinand III.; both of which are in the church des
ter Paolo Veronese. 1585. The Marriage at Cana  dfter
G. Salviati; in two sheets. St. Jerome in the Desert, in Carmes, and the latter is highly esteemed for its
meditation; after Palma; fine.                         excellent composition  and  expression. - Gomez
died in 1694.
SUBJECTS AFTER VARIOUS FLEMISH AND GERMAN
MASTERS.                            GONDOUIN, JACQUES, an eminent French arThe Fall of Adam and Eve; after B. Spranger. 1585.  chitect, born at St. Ouen on the Seine, in 1737.The Dead Christ, supported by an Angel; do. The Ban-   His father was also an architect, and designed and
quet of the Gods on the Marriage of Cupid and Psyche;  completed the beautiful gardens of Choiseul le Roi.
in three sheets; do. The Venetian Ball; after Theodore,
in three sheets; do. The  enetian Ball ater Te     o     mple ted the  beautiful g arundens of Choiseul le  Rogained the
Bernard; in two sheets. The Dragon devouring the Con    At  studying under J. H. Blondel, he gained the
panions of Cadmus; after Cornelius van Haerlem. 1588.  second prize in the Academy of Architecture, and,
The Dead Christ, with the Four Evangelists at the Tomb;  by the additional consideration of his father's serafter A. Blocklandt.                                   vices, obtained a pension to enable him  to visit
GOLTZ, JULTUS, a  Dutch engraver, proba-   Rome, where he remained four years.  On returnbly a relative of the preceding, and flourished about  ing to Paris, he acquired the protection of La Mar1580.  He executed a number of plates in a taste-  tiniere, first surgeon to the ktng; by whose influ
less style, and incorrectly drawn, which are some-  ence he was commissioned to erect the immense
what in the manner of the Galles.  The following   buildings of the School of Medicine.  He also erectare the principal:                                     ed several other important public  and private
The good and bad Shepherd; a set of middle-sized plates;  works, was chosen a member of the Academy of
after Martin de Vos. Christ appearing to Magdalene;  Architecture, and subsequently  revisited Rome,
after Fed. Zucchero. Part of the plates for a book, en-  where he resided several years.  He formed the
titled Habitus Variorum Orbis Gentium; by Jban. Jac.  project of restoring  the Villa Adriana at Ti3oissard. -1581.                                      voli, and  made many  drawings for that purGOMEZ, JUAN, a reputable Spanish historical   pose; but on returning to France, just previous
painter, who flourished at Madrid about 1593, in  to the Revolution, he left them all with his friend
which year he was employed by Philip II.  He   Piranesi.  During the violent commotions of the
painted several subjects from the Life of St. Je-   times, he remained at his country mansion, at




GONN.                      368                    GOOL.
Vives Eaux, near Melun, which he embellished  structor is not mentioned, but his style was prob.
with beautiful gardens. In 1795, he was chosen a  ably formed from the works of Titian. About
member of the Institute, and appointed by the  1665 he visited Italy, and painted many portraits
Minister of the Interior as a member of the Ar-  at Brescia and Bergamo. He died at Bergamo in
chitectural Council. The government confided to  1696.
him  the erection of several important works,    GOOL, JOHN VAN, a Dutch painter, born at the
among which was the triumphal column in the  Hague in 1685. He studied under Terwesten and
Place Vendome, which he executed after the Tra-  Simon vander Does, and painted landscapes, with
jan column at Rome. At the age of seventy-  cattle, which are attractive in design and coloring,
seven he married a young lady of seventeen, the  and somewhat in the style of Paul Potter, but
daughter of M. Perin, a member of the old Acad-  greatly inferior to that master. In 1751 and 1752
emy of Painting. The union is said to have been  he published two volumes, with portraits, of the
happy, but he lost his wife in a short time, which  Lives of the Dutch Painters, as a supplement to
rendered him inconsolable; and he died in 1818,  Houbraken's work. He died at the Hague, in
aged 81 years.                                   1763.
GONNELLI, GIOVANNI, an Italian sculptor,    GORGASUS. See DMPHIL
born near Volterra, in Tuscany, about 1632. He
studied under Pietro Tacca, and made rapid pro-    GORI, ANGIOLO, a distinguished painter of fruit
gress; but at the age of twenty he lost the use of  and flower pieces, who flourished at Florence in
his eyes. Notwithstanding this misfortune, he es-  1658. He painted such subjects with a skill that
sayed to model figures in clay, and by great perse-  almost rivalled nature.
verance succeeded in attaining so much skill tat    GORI, LAMBERTO, a Florentine artist, wasborn
the Abb6 de Fontenay, following a modern author,  in 1731, and died in 1801. He was celebrated for
says that his works were as correct as if he had  his works in scagliola.  See Del Conte.
been possessed of vision. He also modeled por-    GORLAS 
traits, which were very good resemblances; amongM, an eminent Flemish
them were those of Cosmo I., Grand Duke of Tus-  medallist, bornat Antwerpin1549. Heexecuted
cany; and Pope Urban VIII. He died at Rome
cany; and Pope Urban VIII. He died at Rome  many medals and devices, which possess great
about 1664.                                      merit. He made a large collection of ancient medals, gems, seals, rings, &c., which was esteemed of
GONZALES. See CocUEs.                          great value, and was purchased by the Prince of
GONZALES, BARTOLOME, born at Valladolid  Wales after his death, which occurred in 1609.
in 1564, but visited Madrid while young, and en-    GOTI, MAURELIO, a painter of Ferrara, who
tered the school of Patricio Caxes. He painted  studied under Giuseppe Facchinetti, and whose
history and portraits, and was employed by Philip  style he imitated very closely and successfully.
III. to paint the portraits of several branches of                     a B         p 
the Austrian family, for the palace of the Prado.  studied    VINCENI  a Bolognese painter, who
WhenP a dp t a  studied under Denis dalvart at the same time with
When Castello died, Gonzales was appointed paint-  Guido. At the age of twenty he accompanied
er to the king. He was much patronized, and  Guido to Rome, where he painted several works,
many of his works may be seen at the Escurial,  after which he was invited to Naples, and practised
Valladolid, and Burgos. Among his principal his-  th art with great success during the rest of his
torical works are the angles in the church of the  life. He painted with surprising rapidity, as is
Augustines at Madrid; and a picture emblemati-  evident from the number of his works; Orlandi
cal of the Arts, in the Royal Gallery. He died at  say thereeretw  hundred and eighteen in the
Madrid in 162..                                  churches and public edifices of Naples and the
GONZALEZ, DE VEGA, DON DIEGO, born at  State. He died in 1636.
Madrid in 1622; studied under Francisco Ricci, and  GOUAZ, YVES LE, a reputable French engravfollowed his style. Palomino mentions a number  er, born at Brest in 1742. HIe erly went to Paris,
of his works in te             at          n    where he public edfices at Madrid,  Aliamet and  also
some of his easelpictures in the private collections,  under Nicolas Ozanne. There are a number of
which he praises for their elevated design and fine  good plates by him, representing sea-ports and
coloring. In the convent of Religiosas Mercena-  other subjects, among which are the following:
rias are several pictures by him from the Life of                                    
the Virgin; and in the cloister of the Franciscans  Nic. Ozanne, del. Yves le Gouaz,fec. Th e Port of Anare a number of pictures from the Life and Suffer-  tibes; do. A View of the Port aid Gulf of Calvi, in Corings of Christ. IHe died at Madrid in 1697.      sica; after La Croix. A View of the Port of St. Lawrence; do. A Sea-storm; after Bon. Peters. Two Views
GONZALEZ, DON PEDRO RUIZ, born at Madrid  of the Environs of Caudebec, in Normandy; after Philip
in 1633, and studied under Antonio Escalante, after  Hackert.
which he adopted the style of Don Juan Careno.    GOUDA, CORNELIUS VAN, a Dutch painter, born
Palomino mentions several works by him in the  at Gouda in 1510; died in 550. He studied unchurches of Madrid; among them are Christ be-  der Martin van Hemskerk, and was one of his
fore Pilate, and the Entombment, which he cor-  ablest pupils. He followed the style of his inpares with the works of P. Veronese and Titian.  structor, and became a very reputable artist.
In S. Justo, is his admirable picture of the Nativ-                                 istini
ity; and in the Lado de la Epistola, the Death of  GOUDT, COUNT HENRY DE, a distinuished
St. Joseph. IHe died at Madrid in 1709.          patron of art, and an amateur engraver, born at
Utrecht, in Holland, in 1585. He had an early
GONZALEZ, JUAN GIACCHINETTI, called IL  inclination for art, and applied himself with assiBORGOGNONE DALLE TESTE, from his admirable  duity to become proficient in drawing; after which
portraits. was born at Madrid in 1630. His in-  he went to Rome, where he entered the Academy




GOUJ.                      369                     GOUR.
of St. Luke, and designed after the living model      GOURMONT, a French engraver, who probably
as well as the antique. He was a liberal patron   worked chiefly for the ornamenting of books.of AElsheimer, and purchased several of his princi-  Strutt mentions a portrait by him of Charles, Duke
pal paintings, which he engraved in a peculiar style,  of Bourbon.
distinguished for its extraordinary effect, correct   GOUSBLOOM, a Dutch engraver of little note,
outlines, great precision, and fine expression in   who executed, among other plates, a portrait of
the heads. They are as follow: Ceres drinking  Leonard vander Goes.
from a Pitcher.  The Flight into Egypt. The An-        OUE            ANDER aD h en             
gel with Tobit, two plates, varied.  Baucis and        OWENGVAN               aDu ch enraver, wo
Philemon entertaining Jupiter and Mercury. Au-  lived at Amsteda    about 170.  He worked
rora, representing the Dawn of Day.  The Be-  chiefly for the booksellers, and engraved, among
rrepresen he   wn of Dy. The B-  other plates, a set of prints for the Bible published
heading of St. John in Prison                     at Amsterdam  in 1720; after the designs of PiGOUJON, JEAN, an eminent French sculptor  cart and others.
and architect, called the Correggio of Sculpture,
and the Restorer of Sculpture in France, was born    GOVAERTS, JOHN BAPTIST, a painter of Antat Paris in the early part of the 16th century.  werp, who represented figures, fruit, and flowers.
Little is known, unfortunately, of the events of  At the Muse Napoleon, is a fine picture by him,
his life. He studied under a sculptor of Paris,  representing the Assembly of Archers.  He died
and no doubt visited Italy, as his works evince  i 
great attention to the purity of the antique.  He    GOVERT, a Dutch painter of landscapes with
was employed by Henry II. to execute a iumber  humorous figures, who flourished at Amsterdam
of works for the chateau of Anet, rendered fa-  in the first half of the 17th century.
mous as the residence of Diana of Poitiers.  The     GOVERTZ, THEODORE, a portrait painter of
work which gained him the most reputation, was  Utrecht, who lived about 1650, and was the inthe Fountain of the Innocents, executed for the Rue  structor of H. Verschuring and T. Camphuysen.
St. Denis in 1550. It is a master-piece of sculpture, surrounded by figures representing different    GOYEN, JOHN VAN, a Dutch painter, born at
ages and sexes, executed in a noble yet simple   Leyden, in 1596. He early manifested an inclinastyle. In the Musee des Monuments francais, are  tion for art, which  as encouraged by his father
some of his productions, as a group in white marble,   nd he studied successively under Schilperoot, a
of Diana and her dogs, and several bas-reliefs.  landscape painter; Isaac Nicolai, and Esais VanHis style was simple, yet noble and majestic; and   dervelde of Haerlem. Aided by all these advanif not always correct, he was invariably graceful.  tages, he made surprising progress, and was soon
As an architect, he erected the palace of Carna- considered a distinguished artist. His works are
valer, and several other works.  D'Argenville says  principally landscapes, views on the rivers, with
that about 1550, Goujon undertook, in concert with   boats full of figures very neatly drawn, and usualJ. Martin, to translate Vitruvius, for which he made  ly a village in the distance. His pencil is exceedmany designs.  He was killed, on account of his  inglylight and spirited, and his facility for exeProtestant faith, at the massacre of St. Bartholo-  cution was very extraordinary; but he paid little
mew's day, in 1572, while at work on a scaffold  attention to depth and richness of coloring. His
on the decorations of the Louvre.                  pictures and drawings are very numerous, some of
GO, a French archit, born   which are carefully finished, and are much esteemed;
GOULET, NicoLAs,  a French architect, bo         but others are executed n a hasty, negligent manat Paris in 1745; died in 1820.  He is principal-  but others are executed in a hasty, negligent manly noted for his writings on the art, which possess er, and deserve little credit. There are a few etchangs by van Goyen, executed in a spirited and
considerable merit, and show a good acquaintance  msry           yen, exeuted in a   iited and
with its theory. Among them are " Recueil d'Ar-                     He died at the Hague in 1656.
chitecture Civile, contenant les Plans, Coupes, et    GOYRAND, CLAUDE, a French engraver, born
Elevation des Chateaux, Maisons de Campagne  at Sens about 1634.  He resided some time at
situes aux environs de Paris, 2 vols., fol., 1806.  Rome, and executed a number of spirited etchings
1807," illustrated with plates.                    of landscapes, after Callot, della Bella, and others,
GOUPY, JOSEPH, a French painter and engrav-              which are the following:
er, born at Nevers in 1729; died at Lond6n in        A set of twenty Landscapes, &c.; after Callot; pub1763.  He visited England while young, where  lished by Israel, dedicated to M. de Crenan. A set of four
he resided the remainder of his life, and painted   Views; the Castle of Bissetre, the Invalids, the Ruins of
an old Tower, and the Fountain in the Garden of Tivoli.
landscapes in water-colors, in a very spirited and an old Tower, and the Fountain in the Garden of Tivoli.
Four Landscapes; after della Bella. Eight Views in Paintelligent style.  Soibe of them are in the style  ris and the environs; do.; Goyrand.acit; Israel exc.
of Salvator Rosa, and possess great merit.  As an   1645. The Chapel of S. Maria Maggiore at Rome; do.
engraver, he etched several plates in a spirited and   A small Head, with an ornamental border; inscribed, Cl.
masterly style, some of which are from  his own   Goyrand Galls. sculpsit Rome; worked with the graver.
designs.  Among them are the following:              GOZZOLI. BENOZZO, a Florentine painter, born
Mutius Scevola burning his hand before Porsenna;from   in 1400; studied under Fra. Gio. da Fiesole, but
his own design. Zeuxis painting Helen; after Solimena.  took Masaccio as his model, whom he surpassed in
Diana hunting with her Nymphs; after Rubens. St.  grandeur of architecture, beauty of landscape, and
Philip baptizing the Eunuch; after Salvator Rosa. St.  tasteful arrangement of his compositions. In the
John preaching in the Wilderness; do. The Vocation of                i                ii.        In 
St. Andrewto the Apostleship, in a Landscape; after P.  Riccardi palace at Florence, is achapel in good
Lda Cortona. A grand Landscape, with the story of Pyra-  preservation, in which are three pictures by him,
inus and Thisbe; after N. Poussin. A View of Cas-  of a Glory, a Nativity, and an Epiphany.  He
tel Gandolfo, and of the Campagna near Rome; after Jlo-  there painted with a profusion of gold and emognese. A set of eight Landscapes; after Sal. Rosa.    broidery, unexampled, perhaps, in fresco. He reGOTRAND.  See GOYRAND.                           sided a long time at Pisa, and executed a number




GRAA.                      370                    GRAC.
of admirable works, which are superior to those in  that he was employed by Prince Maurice of Nas
Florence, and are not so much loaded with gilding.  sau to paint four frescos in the Cupola of his PalVasari highly praises his portrait of St. Thomas  ace of the Wood, which established his reputation
d'Aquinas; but he especially commends his sub-  as one of the best artists of the time. Filled with
jects of sacred history, in a wing of the Campo  the desire of visiting Italy, he went to Rome in
Santo, "a most prodigious work, sufficient to ap-  1648, and studied with great assiduity for three
pal a legion of painters," which he executed in two  years, the antiques and the works of the best masyears. Lanzi says that this work ranks him next  ters. He succeeded so admirably, that Niccolo
to Masaccio; and he highly commends it for its  Poussin declared he never saw a Fleming of whom
grandeur of composition, variety and truthfulness  he had higher expectations, nor one of more proin the forms, fine expression in the heads, and   mising talents.  On his return to Holland, he
clearness and brilliancy of coloring. Adjacent to  lived alternately at Amsterdam  and Utrecht, and
this great work, is the monument erected by the  received many commissions, by which he gained
city, as a grateful tribute to his talents. He died  both fame and fortune. His works evince a corin 1478.                                          rect design, entirely in the Italian taste; also a
GRAAF, JOHN, a German painter, born at Vien-  grand composition and excellent coloring. Among
na in 1680.  He studied under van Alen, and  his principal works were the pictures painted for
painted landscapes, fairs and market-places, hor-  the Bronkhorst family, among which were the
ses, and other animals. His pictures are well de-  Education of Bacchus, and the Triumph of Julius
signed and composed, and touched in a spirited   Caesar.  Graaw died. according to Balkema, in
style. He died at Vienna in 1734.                 1684.
GRAAF, or GRAVE, JOSHUA, a painter of            GRACE, MRS., a reputable English paintress;
landscapes, views of cities, fortifications and en-  was the daughter of a shoemaker, and although
campments. He was an officer in the service of ideprived of the advantages of regular instruction,
Holland, and lived about 1690.                    attained such excellence in portrait painting, as to
AAF, o  GAV    TITH   DE a Duch   support her husband, and, according to Pilking2RAAF, or GR^VE, TIMOTHY  E       uc         ton to realize $100,000. She frequently exhibitlandscape painter, the instructor of Jacob Appel  ton, to realize $100,00.  She frequently 1, poe
at Amsterdam. Little is known respecting him;  ed with the Society of Arts, and in 1767, pruced
4at Amsterdam. Little is known respecting hm;   a historical work, representing Antigonus, Seleubut in the Catalogues of Hoet and Terwesten, many   s a h    Qwork Stratonice. She died in 1786.
of his pictures are mentioned, principally landscapes     
and views in the vicinity of Amsterdam.             GRADO, FRANCESCO DE, a Neapolitan engraver,
GRAAT, BERNARD, or BARENT, a Dutch paint-  who flourished about 1690. His plates are exeer, born at Amsterdam in 1628. While very young   cuted with the graver, in a stiff, tasteless style.
a reputable painter of landscapes and animals. He  trious persons, published  at Naples in 1693; and
preferred the style of Bamboccio, wof those                         to illustrate Bellori's Lives of
he studied with such assiduity and success, that  t         s
his pictures occasionally passed for those of that    GRAF, ANTHONY, an eminent Swiss portrait
master. He also spent many hours in the fields,  painter, born at Winterthur in 1736. He studied
observing the different effects of light on sur-  under John Ulric Schellenberg, and made rapid
rounding objects, and produced many fine land-  advances; after which he went to Augsburg, and
scapes, with figures and animals, touched in a very  practised the art there for eight years, with good
spirited style. He designed everything with great  reputation. In 1766 he was invited to Dresden,
care and exactness; his pictures are faithful imita-  and appointed court painter. He settled permations of nature, usually with a subdued tone of  nently in that city, but occasionally visited Leipcoloring, but in perfect harmony with his subject.  sic, and Berlin, where he married the daughter of
Graat also painted cabinet pictures of interiors and  his compatriot, Prof. Sulzer.  Graf had for many
conversations, of a very pleasing character; the  years the reputation of the first portrait painter
figures are' well grouped, and chosen from  the  in Germany, and during his long and laborious
higher classes of society, -unlike most Dutch  career, he painted a large number of eminent inpainters.  He also painted subjects of history, in  dividuals, whose portraits are particularly distin.
which he was very successful, and his talents in  guished for their characteristic expression. Bause,
this branch are highly commended by the Dutch   Berger, Geyser, and other German engravers, have
biographers. Being unable to visit Italy, he pro-  executed about 120 plates after the portraits of
cured many excellent drawings by the best Italian   Graf.  The most important of them  are those
masters, which he studied with assiduity; and all  engraved by Bause from  1768 to 1794, representhis subsequent productions evince greater refiner  ing the most distinguished savans, cotemporary
ment of taste. His portraits were highly esteemed,  with Graf. He died at Dresden in 1813.
and he established a school for studying the living  G,            A           
model, which was frequented by his cotempora- 
ries. Among his best historical works, is a fine  man landscape painter, born at Dresden in 1774.
picture in the Council Chamber at Amsterdam, of   He was the second son of Anthony., who inTime discovering Truth; and another of David
Time discovering Truth; and another of David  structed him in the art; but as his genius did not
and Bathseba.  He died    Ainclne to portrn, at spaintin  he was placed in the
school of Zingg, at Dresden, where he made good
GRAAW, HEN RY, an eminent Dutch historical  progress. In 1801 he went on a tour through
painter, born at Hoorn. in North Holland, in 1627.  Switzerland, designing  the grand mountainous
He studied under Peter Grebber, and afte wards  scenery of that country, and then visited Milan,
in the school of Jacob van Campen, where he re-  Rome, and Naples. About 1807 he returned to
mained eight years, and made such improvement,  Dresden with a large number of valuable drawings




GRAF.                     371                    GRAN.
and sketches. He occasionally made excursions  other ornaments  Jesides which there are severa
among the Hartz mountains, and on the banks of  large plates of ruins, in a neat style; and a set of
the Rhine, by which he gained great improvement,  plates for Ovid's Metamorphoses, published at
being conversant with the ever-varying appear-  Paris.
ances of nature. He practised the art with suc-  T                                    GrA 
cess for a number of years, and produced many         or          GRANDHOMME. or GRANTgood works, characterised by grand composition                   HOMME, JAMES, a German enand correctness of design. He died in 1832.      graver, a native of Heidelberg, flourished about
GRAF, or GRAACFF  URsus, an old German   1600. He probably studied under T. de Bry. His
GRAF, or GRAAFF, URsus, an old German  best prints are his portraits, which have considerengraver, probably born at Basle about 1470. His  able merit. There are also a number of subjects
style resembles Albert Durer, and his wooden cuts  after various masters, executed entirely with the
are esteemed equal to that master, for delicacy of   g    in a nea  but formal st.   h 
execution, although inferior to him in composition,  i  are the principal:
design, and chiaro-scuro.  He executed many vig-              pical
esign, and chiarorscuro. He Vexecuted many vig a  The Portraits of the Doctors and Reformers of the
nettes and ornaments for the libraries of Basle and   Church; or, as they are styled, the Heresiarch; after a
Strasburg. There are a set of twenty wooden cuts  painter whose initials are J. 1V. F. The infant Dauphin
attributed to Graf, representing subjects from the  strangling a Serpent. 1601. Adam and Eve. The PorPassion of Christ, which decorate the work of Phi-  trait of Henry Smetius. The Death of Adonis. Venus
lesiug Ringmann, published at Strasburg about  and Adonis. The Murder of the Innocents. The Apos1505.                                            tles, twelve small prints; after his own designs. The
Rape of Helen; copied from the print by Marc' Antonio,
GRAFFICO, CAMILLO, a painter of Friuli, who   after Raffaelle.
flourished about 1588. His plates are executed     GRANDI, ERCOLE, called  ERCOLE DA FER
entirely with the graver, in a style resembling that  RARA, born at Ferrara in 1491. He studied unof Cornelius Cort, though greatly inferior. Among  der Lorenzo Costa, whom he surpassed, and gained
other plates, he engraved a Holy Family, after  a distinction equal to that of any artist of his time
Bernardino Passari.                              as is evident from his pictures from the Life of St,
GRAMMATICA, ANTTVEDUTO, an Italian paint-  Peter in the Garganelli chapel at St. Peter's in
er, born near Rome, according to Baglioni, in 1571.  Bologna, in which he spared neither time nor exIEe studied under Domenico Perugino, and became  pense to produce a perfect work, employing seven
distinguished both in history and portrait. He  years upon them, and five more in retouching them
attained such eminence as to be elected president  when dry. These paintings were pronounced by
of the academy of St. Luke, but was dismissed in   Albano, as equal to any by Mantegna, or P. Pedisgrace for attempting to sell a picture by Raffaelle  rugino, or any other artist who professed the mobelonging to the academy, and substituting a copy   dern antique style; nor perhaps did any boast a
of his own in its place. He died of chagrin, not  touch so soft, harmonious and refined. Three of
long after, in 1626. There are several fine works  these pictures were preserved when the chapel
by him in the Roman churches, among which is a,as taken down, and placed in the Tanara palace;
picture of the Virgin and Infant in the clouds, in  they were afterwards taken to England by Edward
S. Maria in Trastevere; and the Adoration of the  Solly. There is a fine altar-piece by Ercole in S.
Magi, in S. Giacomo degli Incurabili.            Paolo at Ferrara. Many of his pictures are atGRAMMORSEO, PIETRO, a Piedmontese paint-  tributed to Mantegna and others, so that he has
er of considerable merit, who painted at Casale  not enjoyed the celebrity his talents deserved.
and other places in the frst part of the 16th cen-He died in 1531.
tury. There is a fine altar-piece by him in the    GRANDVILLE, J. J., an ingenious French dechurch of the Conventuali at Casale, dated 1523.    signer, was born at Nancy about 1804, and was
GRAN, DANIEL, a German painter, born at Vi-  instructed by his father, a miniature painter. At
enna in 1694. He executed a number of works  the age of 17, he went to Paris, where he frequentfor the public edifices at Vienna, which gained  ed for some time the ateliers of Mansion and Hiphim considerable reputation. He died at Polten   polyte LeComte, both miniature painters.  He
in 1757.                                         soon, however, found this branch of the art ill
GRANACCI FRANC O a repu e          suited to his genius, and therefore relinquished
GRANACCI, FRANCEscO, a reputable Floren-  the pencil for the graver. His first essays were
tine painter, born in 1477. He studied under  Les Tribulationg de la Petite Propriete; Les
Ghirlandaio, at the same time with Buonarotti,               tout Age; La Siby des   ons;
and formed an intimate friendship for the latter,  &c.-orks exhibiting much refinement and delito whom he was indebted for much of his merit.  cacy, and gaining considerable popularity for the'
He was the companion of his studies in the gar-  artist.  is next publication was Le etaorden of Lorenzo the Magnificent, and by studying  poses    Jo   containing sixty scenes where he
the cartoons of Michael Angelo, he elevated his  caricatured the vices of the age in a most masterly
wn style, and approached the modern manner.  and effective manner. From this time, the designs
His works are by no means numerous, as he had   of Grandville were much sought after by the eda sufficient income aside from  his profession.-  itors and conductors of the periodicals; and he
Among his principal pictures are those of Sts. Za-  consequently became a distinguished contributor
nobi and Francesco, near the Virgin under a lofty   o     ouette,   tis          Cricature  and
canopy; arid the Assumption, in S. Pietro Mag-         Silhouette, L Artiste La Caricature, and
canopy; atd the Assumption, in S. Pietro Mag-  Le Charivari.  From journals he proceeded to
giore, in which the figure of St. Thomas is entire-    oks, and executed a vst number of designs to
ly in the style of Michael Angelo. He died in  illustrate the Fables of Fontaine, Marmontel's Flo1544.                                           rien, Robinson Crusoe, and many other works.
GRAND, LE, a Parisian engraver, who lived   He subsequently published a number of illustrated
about 1750. His works are chiefly vignettes and  works, among which were La Flore Humane, and




GRAN.                      372                   GRAS.
Fleurs Animees; which are full of eccentricity,  under Pordenone; but Lanzi thinks it more probut highly poetical. He died in 1847.            bable that he was educated under Titian, as his
GRA.NELLO, NicoLoso, an able fresco painter   style closely resembles that master. His princiof the Genoese school, who studied under Ottavio  pal works are in the cathedral at Cremona, repre.
Semini, and flourished about 1650. There was  senting Eah taken up to Heaven, the Vision of
another Granello, whom Ratti conjectures was a  Ezekiel, and the Annunciation.
son of Nicolosio G., who accompanied Gio. Bat-    GRASSI, TARQUINIO, a Piedmontese painter,
tista Castelli to Madrid and assisted him in his  who flourished at Turin in 1715. He was an exworks in the Escurial. He says that Castelli mar-  cellent artist, and was much employed by the
ried the widow of Nicolosio who probably brought  churches in Turin. in which he sometimes painted
with her this son of her first marriage.         in competition with Antonio Mari. Lanzi says he
is an artist well known at Turin, and seems to
GRANERI, N., a Piedmontese painter, who  is an artist well known at Turin, and seems to
fIourisd at Turin in 177. He studied under  have founded his style on that of Cignani, and
rfiourished at Turin in 1770. He studied under
Domnico Olivietri whose style he stubsequently  the Bolognese artists of that age. He had a son
Domenico Olivieri, whose style he subsequently            o    i         Tr                w    as
na-med Gio. Battista Tarquinio G., who was also
imitated.  He painted cabinet pictures in the   ad  i    ttist
Flemish style, and his subjects were scenes from    good artist.
low-life, as market scenes, charlatans, drawers of  GRASSI, NICOLA, a Venetian paintress, who
teeth, villagers quarrelling, and a variety of inci-  studied under Niccol Cassano of Genoa, and flourdents furnished by a busy assemblage of the vul-  ished in the first half of the 18th century. Lanzi
gar, which he rendered with great humor, a free  says she painted portraits in a style of excellence,
pencil, and a lucid clearness of tint, equalling  and that she had powers of invention equal to the
that of the Flemings.                            execution of larger works. She painted in the
GRANET, FRANCOIS MARIA. a French paint-  ceiling of the church of S. Valentino at Urbino,
erof interiors, born at Aix, in Provence, in 1774,  the Assumption of the Virgin, and a fine picture
and was living in 1833. He studied first under  for the large altar.
Constantine, a painter of Aix, and afterwards at    GRATELLI. See FILIPPI.
Paris in the school of David. He exhibited three   GRATELOP, JEAN BAPTISTE  a French sainteriors of chapels in 1800, and continued to exhi-, 
^^ol^T^ ^ P^   ^   ^ ^   ^  ^  vant, who practised engraving for amusement. He
bit till 1829. His style is very singular, and cha-  was born at Dax in 1735, and died in 181. He
racterized by a surprising effect; it may be termed  s are executed in avery delicate and pleasDioramic painting in small. In the Royal Gal-     g style, and are highly praisedy Basan. Among
lery at London, is an admirable specimen of his  ing style, and are highly praised by Basan. Among
lery at London, is an admirable specimen of his them are the portrait of Bossuet, after Jigaud; Fea           bilities, w ^hihcos anbout $4000.  sn o: them are the portrait of Bossuet, afterRigaud, Fenelon, after Vivien; Rousseau, after Aved; DryGRANGES, D. DES, an obscure engraver men-  den, after Kneller; Cardinal Polignac, after Ritioned by Strutt.  He executed several frontis-  gaud;  Mlle. Le Couvreur, as Cornelia, afte
pieces and book plates of little merit, among which  Drevet; Descartes, after Hals; Montesquieu, afis the title to a book entitled Bethel, or a FormJor  ter Dassier.
Families. 1634.
GRANO, DEL  See GANDINI.                         GRATI, Gio. BATTISTA, born at Bologna in
1681; died in 1758. He studied under Giuseppe
GRANVILLE, an English engraver, who lived  dal Sole, and attained a correct design, elegant
about 1760, and executed several landscapes, some  composition, and fine coloring. Among his prinof which are after the pictures of Thomas Smith  cipal works are, the Virgin and Infant, with Saints
of Derby.                                        and a glory of Angels, in S. Maria Incoronata; and
GRAPIGLIA, GIROLAMO and GIOVANNI, two   St. Anne teaching the Virgin to read, in S. GiacoVenetian architects, flourished in the first part of  mo Maggiore.
the 17th century. Milizia mentions as by the for-    GRAUW. See GRAAW.
mer, the Sepulchre of the Mocenighi, and also that
of Loredono, in the church of Sts. Giovanni and         an eminent French designer and engra
Paolo. Among the works of Gio. Grapiglia, is the  born at Paris in 1699. He studied under Restout,
\church of S. Pietro di Castello at Venie e com-born at Paris in 1699. He studied under Restout,
mchurch of S16.                at Veice, con-  and was assisted by the advice of Boucher. In 1733
he went to England, at the invitation of Claude du
GRASDORP, WILLIAM, a Dutch painter of  Bose, whom he assisted in his plates for the Relifruit and flowers, studied under Ernest Stuven in  gious Ceremonies, copied from Picart. He resided
1710, and settled at Amsterdam. His works are  at London thirteen years, and executed many plates
very highly esteemed, and are placed in the best  for various publications, among which are those
collections of Holland.                         for Sir Thomas Hanmer's edition of Shakspeare.
GRASS, CHARLES, a German painter of land-  In 1745 he returned to Paris, by the way of Holscapes, born about 1781. It is not known by  land, and was much employed. He executed the
whom he was instructed, but there are many of  designs for several beautiful illustrated editions of
his works in the German collections, which possess  Voltaire, Racine, Corneille, Marmontel, and other
considerable merit. He visited Italy, and after-  eminent authors, which were distinguished for
wards Sicily, where he made many drawings of  their noble and elevated style. His talents were
the scenery. In 1815 he published at Stuttgard  i.i great request, and his time was constantly ochis work in two volumes, descriptive of that is-  cupied with designing and delivering lectures on
land, and embellished with engravings after his  the art. He died at Paris in 1773.
drawings. He died at Rome in 1822.
drawings. H  died at Rome in 1822.    GRAY, an English engraver of little note, who
GRASSI, Gio. BATTISTA, a painter of Udine,  executed the plates for a work descriptive of the
flourished about 1568. Vasari says he studied  country of Guinea.




GRAZ.                     373                     GREB.
GRAZIA. See PISTOIA.                           of a large and small size; also copies of his masGRAZIAINI, or GRAZIANO, a Roman paint-  ter's works, and those of Breughel de Velours.
er, who was a scholar of Borgognone, and painted    GREBBER, PETER, a Dutch painter, born at
battle-pieces in the style of his master.        Ilaerlem, according to Nagler and Balkema, in
GRAZIANI, ERCOLE, an eminent Bolognese  1600. He was the son and scholar of Francis Pepainter, born in 1688, and studied under Donato  ter G., a painter of little note, and afterwards inCreti, whose style he surpassed in elevation of de-  structed under Henry Goltz. He painted history
sign, fneedom of hand, and harmony of coloring.  and portraits in an elevated style. similar to his
He was greatly patronized, and painted an im-  instructor, most of which are easel pictures, and
mense number of works, particularly in the Bolog-  are placed in the best Dutch collections. He was
nese churches, among which is the celebrated pic-  the master of several distinguished artists. There
ture of St. Peter consecrating St. Apollinarius.  are a few spirited etchings by Grebber, one of
On the accession of Cardinal Lambertini to the  which is dated 1655. He had a sister named MaPapal chair, he commissioned Graziani to execute  ri G., who excelled in perspective and architeca copy of this admirable work, for S. Apollinare  tural views.
at Rome. There are many others of his works         GRECCHI, MARC' ANTONIO, a Sienese painter,
at Bologna, among which is the Ascension, in la  who lived about 1634, and executed, among other
Purit&; and the Annunciation, a most admirable  works, a Holy Family in a church at Foligno;
work, in la Madonna delle Rondini. He died in  painted in a chaste, expressive, and correct style,
1765.                                            somewhat in the manner of Tiarini.
GRAZIANI, Gio. BATTISTA BALLANTI, called.    GRECHE, DOMENICO DELLE, or DOMENICO
This sculptor was born at Faenza in 1762.  He  TEOSCOPOLI, called IL GRECO. This painter was
was intended for the profession of engraving; but  a native of Greece, according to Palomino, and a
preferring sculpture, he devoted himself with as-  disciple of Titian. He visited Spain, at the invisiduity to acquiring that art. He visited Rome  tation of Charles V., in company with his master,
and other cities, and gained improvement. At Fa-  and resided there the greater part of his life. His
enza he executed a statue of the archangel Michael,  works are chiefly confined to Spain, and those in
commended for its noble attitude and correct de-  which he followed the principles of Titian, are
sign. At Imola he executed a group of the As-  highly esteemed.  He occasionally attempted an
sumption of the Virgin, for S. Cassiano. Among  original style, but produced very inferior works.
his other works are twelve statues of great beauty   Among his best pictures are several in the cathein the church of the monastery at Fagnano.  Gra-dral at Toledo, particularly a grand composition
ziani died at Faenza in 1835.                     of the Parting of Christ's Raiment, entirely in the
style of Titian, and nearly equal to that master.
GRAZZINI, GIo. PAOLO, a Ferrarese painter,  His most celebrated work is in the church of S.
born about 1570. He was originally a goldsmith,  Thoma at Toledo, representing the interment of
and passed the most of his life in that business;  Don Gonsalvo Ruiz. There are a few wooden
but being intimate with Carlo Bonone, he attempt-  cuts by this artist, after the designs of Titian. He
ed painting, and after eight years' labor, produced   died, according to Palomino, at Madrid, in 1625.
a picture of St. Eligio for the goldsmiths' school,    GRECHETTO.  SeeCA           NE.
according to Baruffaldi, which was much in the
style of Pordenone, and executed in such a mas-    GREEN, JOHN, an English engraver, who lived
terly style as to decide his excellence. Barotti,  about 1758. He studied under J. Basire, and exhowever, says it is in S. Giuliano, and that Carlo  ecuted a number of plates for the booksellers,
Bonone painted four angels at the corners, in  among which were the illustrations for Borlase's
chiaro-scuro; besides which, it was surrounded   Antiquities of Cornwall; also the portraits of
with nine small pictures from the life of that saint,  Thomas Rowney, M. P.; Thomas Shaw, D. D., and
painted by Scarsellino. Grazzini also painted sev-  Wm. Derham, D. D.
eral easel pictures, which were much esteemed for   GREEN, VALENTINE, an eminent English meztheir own merit, as well as for the singular history   zotinto engraver, born in Warwickshire in 1739;
of the artist. He died in 1632.                   died in 1813. He was intended for the legal proGREATHEED, an English amateur painter of  fession, for which he studied two years at Eusham,
and then abandoned it, to place himself under an
great abilities, according to Rose, was a native of  and then  abandoned it, to place himself under an
Warwickshire, and lived in the latter part of the  obscure lineengraver at  orester. Not succeed18th century.  Descended from  an ancient and  ing as he expected, he went to London in 1765,
8h   century. Desd fm an  d devoted himself to mezzotinto engraving,
wealthy family, he was sent while-young, to travel  ad  devoted himef to mezzinto envi
on the continent, and while in Italy, acquired that  which, without the aid of an instructor, he   -
taste for the fine arts, which he afterwards so suc-  vted to a high degree of perfection.  His encessfully cultivated.  On returning from Italy. he  gravings of Hannibal and Regulus, after B. West
found Miss Kemble, (afterwards Mrs. Siddons)  were the most superb plates that had yet appeared.
Green was indefatigable in his exertions, and'duacting as governess in his father's family, and this rn  as idefatiae i   i               and dudistinguished lady, as well as her brothers, be-  ring a period of forty years, produced about fo
came, frequently, the subjects of Mr. Greatheed's  hundred plates after the most eminent masters of
came, frequently, the subjects of Mr. Greatheed's'c     3    3 m          Tims. on 1     h  ~t 3
ancient and modern times. In 1789 he obtained
masterly productions. There are several of his
mperformances in th  family mansion at  fuy's  the exclusive privilege from the king of Bavaria,
Cliff. He died in 1804.                           of engraving and publishing prints after the pictures in the Dusseldorf Gallery; and in 1795, he
GREBBER, FRANCIS PETER DE, a Dutch paint-  published twenty-two prints from that collection.
er, born at Haerlem in 1579; died in 1636. He  This enterprise, together with several others, was
studied under Roland Savery, and painted subjects  overthrown by the influence of the French revo.




GREE.                          374                        GREF.
utionl.  In 1767 he was elected a member of the                     SUBJECTS AFTER VARIOUS MASTERS.
Incorporated Society of Artists in Great Britain;           Christwith Nicodemus; after Rembrandt. Rembrandt'a
and in 1774, an Associate engraver of the Royal   Father;. Christ among the Doctors;ig. An old WoAcademy.  When the Royal British Institution   man herine; after Ba ronden Eeckhoui. he Haourteenppy  amilates of the
f h azzar's  Dre                  am.  Harp. ThNalife  of S. eriends; after Bernardino Barbateniers, A
wafo-as           Das appointed keeperwhi ch offic e   tti. The Womarys atwith a    Sarrot; after G. RafMetzu.
he discharged with great ability.  The followingar
are his principal plates:                                        GREFF, JEROME, called VON FRANccKORT,
PORTRAITS AFTER SIR JOSHUA REYNOLDS. H1e                   a German engraver, a native of Frankfort
The Poitrait of Sir Joshua Reynolds. 1780; from the   and flourished from 1500 to 1520.  Among other
picture at the Royal Academy. The Duke of Bedford,  prints by him, there are the wooden cuts of the
Lord Henry and Lord William Russell, and Miss Vernon.  Apocalypse of St. John, very finely copied from
1778. Lord Dalkeith, son of the Duke of Bucleuch. 1778-. VAlbert  urer, marked with  oreff s monogram.
Maria Isabella, Duchess of Rutland.  Emilia Maria            ni. The
Countess of Salisbury. 1787. Anne, Viscountess Towns-       GREGORI GIROLAMO a native of Ferrara, was
hend. 1780. The three Lady Waldegraves. 1784. Lady   born in 1694, and died in 1773.  He studied with
Louisa Manners. 1769. Lady Elizabeth Cavendish. 1781.  Giuseppe dal Sole in whose style h  painted landLouisa, Countes of Aylesford. 1783. Lady Elizabeth                                                 d
Delme. 1779. Lady Talbot. 1782. Lady Caroline How-   scapes which are highly extolled.
ard. 1782. Lady Georglna Spencer, Duchess of Devon-         GREGORISC R,  M., an o           bscure  Germa    n e nshire. 1780. Lady Jane Halliday. 1779. Jane, Countess  in 1719; died in 1759.  He studied at Rome, unof Harrington, with her two Sons. 1780.                   der Jacob Frey, and attained a good reputation.
PORTRTAITS AFTER VARIOUS MASTERS.                He executed several plates for the Museo mastorenCharles Theodore, Elector of Bavaria; after P. Batto-   tino; also many after the pictures in the collecni. Sir Thomas Wharton; after Vanayck;en for the   tion of Marquis Gerini, and severa portraits. His
Hoghton collection. Henry, Earl of Dthat way; do.than do.  principal plates are those afterthe paintings by
George, Marquis of Huntly; do.; do  Richard Cumber-   Bernardino Barbatelli, in the chapel of S. Neri at
land, Esq.; after Romney.to an intemperates ours e    known.   He subs equently visited Paris, and was
Tragic usedo. 1772. ohn Hamilton Mortimer, paint- Florence; besides which weprotection of Count de following:
er;at after a picture by himstef. Mr. Garriek and Mrs.
Pritchard in Macbeth; after Zoffany. Mr. Powell and                             PORTRAnTS.
Mr. Bensley in the characters of King John and Hubert;      Francis Mary, Grand Duke of Tuscany; after Campigafter Mortimer.                                            a. EleonoraVincentts   in 17a, of Gonzaga, his spouse; do,
aeMzor,ebatian Bombelli; after a picture enaver himself
HISTORICAL SUBJECTS, AFTER MR. WEST.
F The Stoning of Stephen; very fine. 1776. The Raising              SUBJECTS AFTER VARIOUS MASTERS.
of Lazarus. Christ calling to him the little Children. Pe-  The Image of the Virgin; after a design by Fratta
ter denying Christ. aco^blowing Christ. Jacob blessing the Sons of Joseph. St. Catherin;cipal afternd F. Zuccartozzelli. ourteen plaes of the
1768. Daniel interpreting Belshazzar's Dream.in the  gallery of S. Neri; after Berardo Barbatei, called Pocthan said unto David,   Thou art the man." 1784. S    cetti. The Marys at the Sepulchre; after Rajfaehle.
Peter and St. Paul going to the Sepulchre.  The three       GREGORI, FERDINANDO, the son and scholar
Marys at the Sepulchre. Alexander and his Physician.-   of Carlo G., born at Florence in 1743; died, accordRegulus leaving Rome to return to Carthage. Hannibal   ig to Naoler  in 1804.  He visited Paris  and
owingeternal hatred to the Romans. Mark Anthony's  in    tN                J, i  10         H    which P   e and
Orationontheeathot  esar. Agrippina weeping over   studied  under J. G. Wille; after which  he rethe Urn of Germanicus. The Death of Epaminondas.  turned to Florence, and practised the art with
The Death of the Chevalier Bayard.                        reputation.  The following are his principal plates:
SUBJECTS AFTER VARIOUS MASTERS.                   The Portrait of Carlo Gregori; after his own design.
The Annunciation; after Fed. Baroccio. The Nativi-   The Virgin suckling the infant Jesus; after C. Maratti.
ty; do. The Virgin and Infant; after Domenichino.  Venus sleeping; after Guido. St. Sebastian, half-length;
St. John with his Lamb; after Murillo. The Assump-   do. Venus, with Cupid mounted on a Dolphin; after Cation of the Virgin; do. The Entombing of Christ; after   sanova. Two Groups of Sculpture; after Cellini. The
L. Caracci. Time clipping the Wings of Love; after   Holy Family; after A. del Sarto. The Stoning of SteVandyck. Venus and Cupid; after Ag. Caracci.'The   phen; after L. Cardi; fine. The Death of St. Louis
Descent from the Cross; after Rubens, The Visitation;   Gonzaga; after Cipriani.
do. The Presentation in the Temple; do.                           G                Mr
GREENHILL, JOHN, an English portrait paint-                     GREISOHER, M   a  obscure Geman ener, born at Salisbury in 1649.  He studied under                   graver, mentioned by Basan.  He execuSir Peter Ley, and became one of his ablest dis   ted  several plates after various masters, among
ciples, so that before the age of twenty, he copied   wi   i  o   o  t   Vg    a    Ia     a                   F
Vandyck's picture of Killigrew and his Dog, with   Baroccio.
such exactness that it was mistaken for the origi-          GRESLY, GABRIEL, a French painter, born at
nal.  He painted portraits in crayons, and seems   Lisle about 1705.  He early manifested a strong
to have been more employed in that way than in   inclination for art, and was instructed in the eleoil.  Greenhill would probably have attained em-   ments of design, by a painter whose name is not
inence, had he not fallen into an intemperate course    known.  He subsequently visited Paris, and was
which caused his death, in 1676, in the prime oi   taken under the protection of Count de Caylus.
life.  There is an etching by him, of his brother   His subjects are all from scenes in common life,
Henry Greenhill, a mathematician, with a sphere.    and possess considerable merit.  He died in 1756.
(GREENWOOD, JOHN, an English  engraver,                   GRESSE, JOHN ALEXANDER, born at London
who lived about 1780, and executed some portraits   in 1741, of Swiss extraction.  He became succesand other subjects in mezzotinto, and etched sev-   sively the pupil of Scotin, the engraver Cipriani,
eral landscapes.  The following are his principal   and F. Zuccarelli.  He also studied for some time
prints:                                                  in the gallery of the Duke of Richmond; and next
PORTRAITS.                          at the Academy in St. Martin's Lane.  After folSimon Fokke, Dutch engraver; after J. Buys. John lowing the profession of painting for some time,
Wesley; after N. Hone. George Whitefield; do.             he relinquished it, to become a teacher of draw



GREU.                       375                      GRIB.
ing, and became quite distinguished, so that in   young girls possess a charming innocence and sim1777 he was appointed drawing-master to the   plicity that deserves the highest praise. His draprincess. In the early part of his life, he etched, in   peries, however, are often in bad taste; and he
concert with Bartolozzi, the figures, &c., for Ken-  not unfrequently produced works of a debasing
nedy's Account of the Statues and Pictures in the   character, totally the opposite of those pure produc
Earl of Pembroke's mansion at Wilton. There are  tions which have given him such high reputation
also four other etchings by Gresse, which are now   There is often a similarity in his heads, and his
scarce, a Satyr sleeping, after N. Poussin; a Cot-  works generally display so much mannerism, that
tage; St. Jerome; and aview of Framlingham Cas-  they have been easily and frequently copied; many
tie.  He died in 1794.                               duplicates, as they are called, exist of heads of young
GREUT, JOSEPH, an engraver mentioned by   persons ascribed to Greuze, but they lack his spiStrutt, who was probably a German, and  r           rt and wrought  exquisite coloring, and are often termed his
for the booksellers.  Among other plates there is  unfinished pictures, of which he is said to have
one of Hieronymus Bartholomeus, executed with  left a great number.  His works are highly prized,
the graver, in a neat style.                         and bring large prices; the Girl and Dog was sold
G;z R EUTER~~x  M T,aetl        for $3125, at London, in 1832.  Among his other
/.    GREUTER, MATTHEW, a reputable Ger-  principal works are, La Confidence, L'Aveugle
m  an engraver, born at Strasburg, accord-  irompe, Le Pere de Famille, L'Accorde de Viling to Fuseli, in 1566; died at Rome in 1638. He   lage. in the Louvre; La Latiere, in the collection
acquired the principles of the art in his native city,  of Baron Rothschild, at Paris; and Le priere du
and afterwards went to Lyons and Avignon, where   Matin, in that of M. Waldo.  There is'also a fine
he was for some time employed.  He subsequent-  specimen of his talents in the National Gallery,
ly visited Rome, where he settled permanently, and   London.  Many of his works have been engraved
executed a number of plates in a very neat style,  by eminent French artists.  He died at Paris in
but often incorrectly designed.  Some of them    1805.
are wrought entirely with the graver, and others
are etched, and finished with the graver, in a slight-  GRIBELIN, SIMON, a French engraver, born at
er style.  The following are his principal plates:  Blois in 1661; died at London in 1733.  He acst. Te f g ae hi prIn    l p:  quired a knowledge of his art at Paris, and went
Pope Sextus V. with an ornamental border. Cardinalge of  i    went
Seraphinus Oliverius Razzalius. The Virgin seated, with  to England at the age of nineteen, but did not atthe infant Jesus and St. John; after F. Baroccio. Mary  tract much attention for several years, until he
Magdalene sittings in a landscape, holding a Book, leaning   executed an excellent copy of Gerard Edelinck's
her hand on a Scull; after Gaetano. 1584. Venus stand-  fine print of the Tent of Darius, after Le Brun.
ing on a Globe, with figures emblematical of Virtue and  He afterwards engraved the cartoons of Raffaelle,
Vice; very neatly finished with the graver; marked M.  which had considerable success.  There are also a
Greuter, inv. etfecit. 1587. The Fall of Phseton; after          con    a          success   ar     o
W. Dieterlin. 1588. The Burning of Troy; after Lanfran-  number of portraits and subjects from  various
co. The grand Cavalcade of the Emperor Charles V.; en-  masters, among which are the following:
graved conjointly with Lucas Vosterman.  A set of small
plates of Insects; etched in a style like that of Gaywood.               PORTRAITS.
William III.; after Fowler. Mary, his Queen; do.
GREUTER, JOHN  FREDERICK, the son and   William, Duke of Gloucester; after Kneller.  Queen
scholar of Matthew G.; born at Rome about 1600;  Anne. Frederick, Prince of Wales. George Granville,
died, according to Nagler, in 1660. He executed   Lord Lansdowne. James Butler, Duke of Ormond; after
the plates for the Flora of P. Ferrari, in a clear,  Dah. 1      Thomas Herbert, Earl of Pembroke. The
neat style, also a varietyofothers among which
rnet style, a] so a variety of others, among which   Closterman; affixed to the Characteristics. Sir William
are the following:                                   Dawes, Archbishop of York; do.
The Portrait of Gio. Battista Marino; after J. Vouet.       SUBJECTS AFTER VARIOUS MASTERS.
Hercules in the Garden of the Hesperides;  fter P. da  The Cartoons, seven small plates; after Raaelle.  On the
The Cartoons, seven small plates; after Rajf'aele. On the
Cortona. M re' Antonio Colonna carried in Triumph by  title is the portrait of Queen Anne, and the representation
Sea Gods; do. ThFore of Vuleortn; ofter Laifranco.   of the apartment in which the paintings then hung.  The
The Hesperides arriving in the Port of Naples, with their  Apotheosis of James I.; after the ceiling at Whitehallj
Fruit, borne by Britons; do. Apollo and the Muses; f-  by Rubens;  n three plates. Hercules between Virtue
ter A. Camassei. The Virgin and Infant, with St. Fran-  a   e; after P. Mateis    e Adoratin f the Se
cis kneeling; after his own design. The Death of St.    d Vie; after P. Ma theeis    Tb e Ationthe  ShepCecilia; after Domenichino. Anemblematical subject of   Tintoretto.   ollo and ther before Ahd uerus Brh of
Tintoretto. Apollo andthe Muses; do. The Birth of
the Growth of Christianity; after Romaneli. A Battle;  Jupiter; after GiulioRomano.
after A.''empestcr.  ^  ^'Jupiter; after Giulio Romano.
after A. Tempesta.
GREUZE, JEAN BAPTISTE, an eminent French              RIFF,or GREFFANTHONY.  Thispainter
of fancy subjects, and conversation  ived about 1650, but nothing is known of his life.
painter of fancy subjects, and conversation pieces    There are many of his works n commerce which
born at Tournus in 1726.  He early manifested               a  m      of             
a strong inclination for design, in which he was  are generally wooded  andscapes  with dogs, dead
violently opposed by his father; but happeningto   game, and other accessories of the chase.  They
attract the notice of Grandon, a portrait painter    are usually of a small size, but designed in a spiritof Lyons, he was taken to his school, and soon    d te, and  el 
made rapid progress.  He afterwards went to            GRIFFIER, JOHN, a Dutch painter, born at
Paris, and produced his celebrated picture of the   Amsterdam, according to Nagler and Balkema, in
Father explaining the Scriptures to his Children,  1656. He first studied under a flower painter; but
which at once established his reputation, and he   preferring landscape painting, he placed himself
was soon extensively employed.  His works are  under Roland Rogman, who then held a high repuhighly valued for their exquisite coloring. parti-  tation.  He is said to have imitated the works of
cularly in his carnations; and for the fine inodels   Ruysdael and Lingelbach; but it is more probable
of his heads and countenances.   His pictures  that he formed his style from the works of Herare full of life and sensibility, and his heads of   man Zachtleven, as his manner resembles tha




GRIF.                     376                     GRIG.
master. He painted a number of fine landscapes  garth and Ch. Grignon, scul. 1745. Phryne and the
and views on the Rhine, after which he visited    hilosopher Zenocrates; after Sal. Rosa.
London in 1667, and met with great encourage-       GRIGNON, CHARLES. This painter was pro-.
ment. He often painted views on the Thames,  bably the son of Charles Grignon. the French enand in order to observe nature more intimately,  graver, who settled in England about 1750. He
he purchased a yacht, embarked his family, and   was born at London in 1754, and having obtained
passed his whole time on the river. After many   a prize from the Society of Fine Arts, and the gold
years he departed to Holland, but was wrecked   medal from  the Royal Academy, he proceeded to
near the Texel, losing all his paintings and the  Rome, where he remained three years. At Palfruits of his industry.  He then returned to Eng-  ermo he painted the portrait of Lord Nelson, and
land, and died there in 1718.  There are a few   was rapidly rising to eminence, when he died, at
plates of birds and animals by Griffier, after Bar-  Leghorn, in 1804. His case of pictures, containlow, finely drawn, and etched with great freedom   ing'among others, two splendid landscapes by
and spirit.                                       Claude, were preserved for him by Lord Nelson,
GRIFFIER, ROBERT, the son and scholar of  and sold for $35,000.
John G., born at London in 1688; died in 1750.    GRILLENZONE, ORAZIO, a painter of Carpi,
He chiefly resided at Amsterdam, where his pic-  born about 1540, and died in 1617. He resided
tures were highly esteemed. They usually repre-  chiefly at Ferrara, where he enjoyed the friendsent views on the Rhine, with boats and figures,  ship of Tasso, who has immortalized his name
designed in a neat style, and very agreeably colored.  in that dialogue, bearing for its name II GrillenGRIFFONI, ANNBALE, a native of Carpi and   zone, or, The Epitaph. Tiraboschi speaks of him
as an accomplished artist, but Lanzi says there
a celebrated worker in scagliola.  He studied with   a  non    is   rs t          and e     those
Guido Fassi, and applied the art to monuments,  are none of his works at Ferrara, and even those
Guido Fassi, and applied the art to monuments,  claimed as his at Carpi, are of a disputable charand even ventured upon the composition of pic-  acter*
tures intended to represent not only engravings     Gr
but oilpaintings. Heflourishedaboutl656. Hehad      GRIMALDI, FRANCESCO, a Neapolitan archia son. Don Gaspare G., born in 1640, whom he in-  tet, born at Oppido, and flourished from 1590 to
structed in the art. See Guido Fassi or del Conte.  about 1630. His first work at Naples was the
GRIFFONIT, FULVI, a painter of Udine, who   monastery of the Teatini, called Santi Apostoli;
G)RIFFONI, Fv^^^ o, ^^    painter o' t dine, who after  which he erected the chapel of the Treasury,
flourished there in 1608. Little is known of him,  after which he erected the chapel of the Treasry,
further than that he received a commission from          te bes   e e   the hurh o  nrea ell
the city to paint part of the picture of the Miracle   Vae. atRomes and in 622,thatoftheSantiAposof the Manna. to be placed in the public palace  Valle. at Rome; and in 1622, that of the SantiAposof the Manna. to be placed in the public palace     afterwards built that  S.
near the Supper of Amalteo.          toli, at Naples.  He afterwards built that of S.
near the Supper of Amalteo.          Maria degli Angioli, which Milizia characterizes
GRIFONI, GIROLAMO, a Bergamese painter,  as the best proportioned edifice in Naples.
who studied with Gio. Paolo Cavagna, and "in        GRIMALDI, Go. FRANCESCO, called IL Bowhose productions," says Lanzi, "we seem to
whose productions  say  Lanz   we seem to   LOGNESE, an eminent landscape painter, born at
trace the copy of a copy of the style of Paul ye- OG           an   em inen   t landsce pinter bn 
ronese," i. e., he copied his master who was an im-  Bol      in 1606; died in 1680. He studied unitator of Veronese. He flourished in the first part  der the  aracci, to  ho   he  as r, ad 
~of the 17th century.~ -came a skilful and correct figurist, though rather
~of the 17th century,.               inclined to landscape, in which he imitated the
GRIGNON, JAMES. a French engraver, who   style of Annibale. Having acquired considerable
flourished about 1680. His portraits are more  proficiency in their school, he went to Rome for
highly esteemed than his other works; they poss-  improvement, and soon rose to eminence.  He
ess great merit, and are executed entirely with the   was employed by Innocent X. in the Vatican, and
graver, in a neat clear style. In his subjects of  at Monte Cavallo; after which the Prince Pamhistory the drawing is incorrect. and his chiaro-  philo, nephew of the Pope, engaged him in several
scuro is badly managed, with little effect. He en-  works for his villa of Bel Respiro, where he paintgraved several plates for a work entitled Les Tab-  ed several admirable landscapes, decorated with
leaux de la Penitence; after designs by Chaveau;  figures in the style of the Caracci. The Pope was
also the following portraits: Francis Maria Rhi-  so much charmed with his conversation and genma; an ecclesiastic. Peter Barbareau. Doctor in  ius, that he frequently visited him while at work.
Theology; after Champagne.  Jacques Caur de  His landscapes are of grand and select scenery;
St. Fargeau; J. Grignon. Jean Bureau, Mayor  his foliage extremely beautiful, his pencil light and
of Bordeaux; J. Grignon, sc.                      flowing, and his coloring fresh and pleasing, though
GRIGNON, CHARLES, a French engraver, born  occasionally too green. Grimaldi attained a very
about 1710, and was probably a relative of James  high rank as a painter, though inferior to AnniG. He went to London in 1750, and engraved   bale Caracci and Domenichino in his aerial tint,
some plates in a masterly style, among which   energy of handling, and selection of forms. He
were several of the Antique Statues, after designs  was invited to Paris by Cardinal Mazarin, and
of Dalton; and the Tapestries of the Vatican, pub-  was employed in the Louvre by Louis XIV., who
lished in 1753. His plates are executed in a clear,  rewarded him with great liberality. On returnbold manner, and with great facility and neatness.  ing to Rome he received numerous commissions;
The following are the principal:                 was patronized by Alexander VII. and Clement
IX.; was twice appointed president of the AcadA View taken from the Star and Garter at Richmond;  emy of St. Luke, and attained both fame and forafter eckel. Two perspective Views of the Foundling  tune.   e also deserves great praise for his kind
Hospital; after Valge, Four plates of the Election; af-t u ne. e also deserves great   praise for his kind
ter Hogarth; engraved conjointly with Le Cave and Ave-  and humane character.  There are a great numline. Garrick, in the character of Richard III,; W. Ho-  ber of pen-drawings by Grimaldi, some of which




GRIM,                      377                    GROE.
have been engraved by Bartolozzi; also many         GROENSVELT, JOHN, a Dutch engraver, born
etchings, executed with great freedom, taste, and  at the Hague about 1650.  He etched several
spirit.  Among others are the following:          views and landscapes, after Lingeibach, Berghem,
A set of four small Landscapes. A grand Landscape,  and others; also a number of historical subjects
with Buildings, and in the fore-ground Figures at play;  and portraits, among which are:
Gio. Fran. Grimaldi Bolognese, inv. et fec. A grand    The Portrait of Dorothy, Countess of Sunderland; after
Landscape, with Buildings and Fishermen; do. A Land-  Vandyck. A Girl, with a Cat; after Ab. Bloemaert. A
scape, with the Baptism of Christ. A Landscape, with  Man sleepingon a Barrel. The Adoration of the Magi;
Ruins and Figures; Fr. Grimaldi Bolognese, fec. A   after P. Veronese; J. Groensveltfec. Christ before
mountainous Landscape, with Figures; no mark, Two  Pilate; after A. Schiavone; J. Groensvelt, fec. A set
upright Landscapes; after An. Caracc. A set of four  of six Landscapes; after Berghem. A set of four LandLandscapes; do.                                   scapes; do.; Berghem, del. Groensvelt, fee. Cle. de
GRIMALDI, ALESSANDRO, the son and scholar  Jonghe, exc.; fine.
of the preceding, whose style he followed.  His     GRONIGIUS, GERARD, an engraver of little
landscapes are greatly inferior to the admirable  note, who executed, according to Strutt, ten plates
works of that master. There is a spirited etching   emblematical of human life, from ten to one hunby him, of the Brazen Serpent, Alex. Grimaldi,  dred years, which have some merit, though incorinv. et. fec.                                     rectly drawn. They are marked Ger. G(ronigits,
GRIMALDI, FRANCESCO, a Neapolitan painter,  inv. faciebat.
born in 1550; died in 1609. He studied under        GROPALLO, PIETRO MARIA, a Genoese paintDomenichino, and produced a number of historical  er, born in 1610; died in 1672. He studied under
subjects, characterized by ingenious composition,  Gio. Battista Paggi, and became a good artist in
fine coloring, and good perspective,              history.
GRIMANI. See JACORSZ.                             GROS, JEAN LE. a French portrait painter, born
GRIMM, SAMUEL HENRY. a Swiss painter in  at Paris in 1671; died in 1745. He attained diswater-colors, who studied in his native country,  tinction in portrait painting, in which he had conand then went to England, where he painted land-  siderable success.
scapes in a good style. He was much employed    GROS, ANTOINE JEAN, an eminent French paintby the Society of Antiquaries, in drawing ar-  er, born at Paris in 1771. He early manifested a
chitectural views.  One of his best produc-  strong inclination for art, and at theage of fourteen
tions was a picture of the Departure of Henry   was placed in the school of David, where he made
VIII. for Boulogne. He died in 1794.              rapid advances. In 1793 he left Paris, oil account
GRIMMER, or GRIMMAAR, JACOB, a Flem-  of the troubles of the times, and visited Genoa,
ish painter, born at Antwerp in 1510, and studied   where he practised painting portraits in miniature,
successively under Matthew Cock and Christian   of which he has left a great number, very delicateQueburg. Balkema says he painted landscapes,  ly touched, and beautifully colored. He afterwards
and views of cities and villages, in an excellent  visited  Milan, and met with Bonaparte, who
style. His skies and distances are admired for  warmly patronized him, and employed him  to
their color and lightness of handling. In 1546 he  paint his full-length portrait. The General gave
was chosen a member of the Academy at Ant-  him a large atelier in the Casa Serbelloni, and often
werp.                                             visited him while at work. On returning to Paris
GRIMOU, ALEXIS, a French painter of portraits  in 1801, he was much employed, and painted his
and familiar subjects, who lived about 1725. His  picture of Sappho, which was greatly admired for
pencil was delicate, his coloring frequently bril-  its correctness of design, harmony of coloring
liant, and his heads had much expression. He ac-grace and ne expression. He was commissioned
quired a good practice, and executed many works  by Government to execute several works, illustratof estimation. He died in 1740.                  ing the most stirring events in the history of NaGRIMOUX, a French painter, born at Pars in  poleon, among which were the Battle of Aboukir;
1688; died in 1740. Heopied the works of Van-  that of the Pyramids; and the Battle of Eylau,
dyS and Rembrandt, Hand without further in-  which gained the grand prize. His picture of the
stdyckton aembrpted  st  and wiportrait, but did  Persons attacked by the Plague at Jaffa, is a masstruction attempted history and portrait, but did ter-piece of art, according to the French writers,
ter-piece of art, according to the French writers,
not produce any reputable worenks.   p      b    who say that for depth of conception, fertility of
GRISONI, GISEPPE a Florentine painter, born  invention, correctness of design, and vigor of colabout 1700, and died in 1769. He studied under  oring, it deserves to rank with the productions of
Tommaso  Redi, and painted history, portraits,  the most eminent French painters. His most adand landscapes. He visited Rome, Venice, and  mired work, however, is the cupola of St. Geneother cities for improvement, and is also said to  vieve, for which he is said to have received 100 000
have gone to England. He acquired great skill in  francs. Le Gros was a member of the Legion of
figures, but still more in landscape; and there is  Honor, and of the Order of St. Michael; Professan admirable portrait of him, executed by himself,  or of the Institute, and of the School of Fine
in the Florentine Gallery. In a chapel of the  Arts. He was subject to fits of melancholy, and
Nunziata, at Florence, he rivalled Vincenzio Meuc-  finally drowned himself in the Seine, near Meuci, in a picture of St. Barbara, according to Lanzi,  don, in 1835.
and it is said that vexation at this circumstance   G
shortened the days of that painter.                 GROS PIEBRELE an minentFrench scptor,
born at Paris in 1656. He was instructed by his
GROBBER, FRANCIS, a Dutch painter, born at  father, who was a reputable sculptor, and a proHaerlem in 1579; died in 1636. He studied un-  fessor in the Academy. At the age of twenty, he
der Roland Savery at Utrecht, and attained some  gained the grand prize for a bas-relief representing
distinction in history and portrait.             the Entry of Noah and his Family into the Ark




GROS.                     378                    GUAR.
and was sent to Rome with the royal pension.  habit of a friar of St. Paul, and undertook to paint
On arriving there, he soon became distinguished,  the cupola of the church of his order at Milan,
and was commissioned to execute a marble group   but he died before he had finished his work, in
for the altar of St. Ignazio, in the church del Gesu,  1760.
representing the Triumph of Religion over Here-    GUARDI, FANCESC, a Venetian painter, born
GUARDI, FRANCESCO,    a Venetian painter, born
sy. He also executed several other important        1712; did in 1793. He studied under Canaworks. among which are the statues of Sts. Tomworks among which are the statues of Sts. om letto, and, like his instructor, excelled in architecmaso and Bartolomeo, in S. John of Lateran; and  tural views of Venice. Lanzi says he was eshis admirable statue of St. Domenico, in St. Pe-  teemed a second Canaletto; thathis works attractter's. Le Gros returned to Paris, but remained  ed the attention of Italy, and of foreign countries,
there only two years, after which he revisited Ita-  and were especially noted for their spirit, taste,
ly, and settled permanently at Rome. During   and fine effect; although as to accuracy of perthis time, he produced his admired statue of Si-   pective and intelligenceof chiaro-scuro, they are
lence, for the garden of the Tuileries, and several  inferior to his instructor.
works for the Hotel Crozat. His works are highly
praised by Cavaliere Cicognara in his History of   GUARDOLINO. See CARLO NATALI.
Sculpture, for their purity and simplicity, in the  GUARGENA, DOMENICO. See PADRE FELICIantique style, as well as for their grace and spirit,  ANO DA MESSINA.
and delicacy of execution. He was much employ-    GUARIENTI, PIETRO, a painter of Verona
ed at Rome, and executed, among other works, the  born about 1700. He studied under Giuseppe
statue of Cardinal Casinata, in the church della  Maria Crespi. He was a good artist, had a thorMinerva; the tomb of the same Cardinal, in S.  ough knowledge of the art, and was an eminent
John of Lateran; and the mausoleum  of Pope  connoisseur. He resided chiefly at Venice; wrote
Pius IV., in S. Maria Maggiore. He died at  the additions and corrections to Orlandi's DictionRome  in 1719. MLaFrnhldwois                  ary of Painting, published at Venice in 1753; and
GROSNIER, MLLE., a French lady, who is said  afterwards went to Dresden, at the invitation of
by Basan to have engraved several plates after va-  the King of Saxony, and was appointed Director
rious masters; but he gives no further account of  of the Dresden Gallery, where he died, about 1769.
her works.
Gh ROer     BAwTEorks.o     l                      GUARIENTO, a Paduan or a Veronese painter,
GROSSI, BARTOLOMEO, an old painter of Par-  of the school of Giotto, who flourished at Venice
ma, some of whose works are in the church of   about 1365. According to Ridolfi, he was an emi
S. Francesco in that city, dated about 1450. Lan-  nent artist in his time; received many commiszi says they are executed in the dry manner of the  sions from  the Venetian Senate; and executed
time, but in a more polished style.              many works for the churches at Venice, and other
GRUND, NORBERT, a reputable German paint-  places. One of his frescos and a Crucifixion yet
er, born at Prague in 1714. His works are nearly  remain at Bassano, and in the choir of the Eremiall of small dimernsions, and he succeeded equally  tani at Padua, there are many of'his figures, now
in portrait, history, battle-pieces, and subjects from   retouched. Zanetti highly recommends him, for
common life. His works are distinguished for  his rich invention, the spirit of his attitudes, and
good composition, correct design, and harmony of  the felicity with which, at so early a period, he
coloring. He died in 1767.                       disposed of his draperies.
GRIYNEWALD, MATTHIAS, a German painter,    GUARINI, BERNARDINO, a painter of the Boborn at Aschaffenburg about 1450. His pictures  lognese school, and a native of Ravenna, of whom
have Dot much merit, although he is said to have  little is known. Lanzi says there is a Pieta, or a
been in some measure a rival of Durer. There  Dead Christ, by him, in the church of S. Francesare several of his works at Munich and Mayence.  co at Rimini, bearing his signature, and dated 1617,
Fuseli says he died in 1510.                     He says it shows an artist of a sound style, not
far removed from that of the Caracci.
n  GRTNEWALD, HANS, a German engraJl ver, the brother of Matthias G., who execu-    GUARINI, FRA GUARINO, an Italian architect,
ted a number of inferior copies of the plates of  and a monk of the Order Teatini, born at Modena
Albert Durer; also several wooden cuts, among   in 1624. He was learned in philosophy and mathwhich is a Landscape, with a view of the Sea.    ematics, and was acquainted with the works of
GUADAGNINI, JACOPO. This artist was a  Vitruvius, Alberti, and Palladio, but all his archison of the daughter of Jacopo da Ponte the  tectural works display the extravagancies of BorYounger, and died at Bassano in 1633. Lanzi  romini, carried to the greatest excess. They are
says he acquired considerable reputation as a por-  full of whims and irregularities, both in the plans,
trait painter, and imitated feebly the works of his  elevations and ornaments. Notwithstanding his
ancestors, and upon his decease, every vestige of    any faults, he seems to have been much employthe school of Jacopo became extinct at Bassano.         l many others whse works have been
condemned by posterity, to have enjoyed a great
GUALDORP. See GELDORP.                         reputation in his day. He was appointed archiGUALLA, PIETRO, a Piedmontese painter, and  tect to the Duke of Savoy, and erected a number
a native of Casale. He painted both in oil and  of buildings at Turin, among which Milizia menfresco at Turin, and in many other places. Lanzi  tions the following: The gate of the Po, concave,
says he painted portraits with great spirit, to  convex, and disgusting; the Chapel of the Sudawhich branch of the art he ought to have confined  rio, of a round form, heavy in its arrangements and
himself, for he did not possess a sufficient know-  ornaments; the church of S. Lorenzo, which
ledge of design, nor the genius to attempt great  has not a single right line throughout. At Moworks. When verging on old age, he assumed the  dena, he erected the church of S. Vincenzio; at




GUAR.                      379                    GUCH
Verona, the tabernacle of S. Niccolo; at Messina,    GUCHT, MICHAEL VANDEn, & Flemish engra.
the church of the Sommaschi. He visited Paris,  ver, born at Antwerp in 1660; died in 1725. lIe
and erected the church of St. Anne; at Prague, studied under one of the Boutats, and afterwards
he built that of S. Maria d'Ettinga; and at Lisbon,  went to England, where he met with considerable
that of S. Maria della Divina Providenzia. Gua-  encouragement, and executed many plates for the
rini died in 1683.                               booksellers, among which were the portraits for
GUARNANA, GIACOMO, an Italian painter,  Clarendon's history; several plates of anatomical
born at Verona in 1720. He studied at Venice,   gures; and a large print of the Royal Navy a/under Sebastiano Ricci. and afterwards in the  ter Baston.  He was the instructor of George
school of Tiepolo, where he made rapid advances   Veue.  The following are his principal prints:
and soon rose to an elevated rank. He executed    Qeen Elizabeth; after Sir Anthony  More. William
a large number of fine works, in oil and fresco,  III. and Mry his Queen. Queen Anne; four plates.a which were greatly admired, and gainedm George II.; two plates. Edmund Grindill, Archbishop
which were greatly admired, and gained him great  of Canterbury. Lord Astley. James Butler, Duke of
reputation. The Procurator of St. Marc commis-  Ormond. Edward Montague, Earl of Manchester. Sir
sioned him to execute a picture for the Ducal pal-  obsiah Child; after Riley. J. Savage, prefixed to his
ace; the Academy of Copenhagen offered him its  History of Germany; after Foster; fine. James Drake,
directorship; and the Empress of Russia invited  M. D.; do. James Stanley, Earl of Derby; after Winhim to St. Petersburg; but he declined all these  stanley. George Granville, Lord Lansdowne. Francis
Atterbury, Bishop of Rochester; after Kneller. William
honors. According to his biographer, the Abbe  Congreve, poet; do. Simon Patrick, Bishop of ChichesZendrini, Guarnana painted a splendid picture for  ter; do. Thomas Sprat, Bishop of Rochester; after Lely.
the Empress Catherine, which is said to rival Cig-  Offspring Blackall, Bishop of Exeter; after M. Dahl.
nani in coloring. He was commissioned to paint  Willim Beveridge, Bishop of St. Asaph; after Ferrers,
in fresco the cupola of S. Vitale at Ravenna, which   osph Adison,poet  fterKnelle. ThomasBetterton,
for composition and coloring, is one of the mos actor; do.
remarkable fresco paintings of modern times.-       GUCT, GERARD VANDER, the son and scholar
This artist etched several fabulous subjects, from   of the preceding, executed a number of plates for
his own designs. He died at Venice, in 1807. His  the booksellers, among which are the following:
son, Vincenzio G., painted in oil and fresco, and    James II. and Maria his Queen. John Tillotson, Archdied in 1815.                                    bishop of Canterbury; after Kneller.  Matthew Wren,
Bishop of Hereford. The Countess of Clarendon. John
GUAY, JAcQUEs, a French engraver on precious  Milton, poet, three plates. John Dryden, poet; after
stones, born at Marseilles about 1715. He ac-  Kneller. John Hughes, poet; do. John Philips, poet;
quired the elements of design under Boucher, but  do. John Barber, Alderman of London; after Dandridge.
having seen the fine collection of engraved stones
having seen the fine collection of engraved -stones  John Allen, D. M. Colley Cibber, poet and actor; after
in the cabinet of Crozat, he determined to devote    oo.  ha J             the  yner sn an
himself to that art. In 1742 he went to Italy,    G           JOHN  AN         the younger son and
where he gained great improvement from the col-scholar of Michael ander G. He also studied at
lection of theGrand Duke at Florence. He copied   London, under Louis Cheron, and designed from
many antique gems, and engraved a head of Anti-  the models at the Academy. He engraved six acanous, after a statue in the collection of the Cardi-demical figures from  the drawings of Cheron,
nal Albani at Rome, which was highly esteemed.    hih gained him great reputation; and he was
On returning to Paris, he soon gained great repu-employed by Willam Cheselden, the surgeon, to
tation; was appointed engraver to the king's cab-  execute the plates for his Osteology. There are also
inet, at the death of Barrier; and in 1742 was cho-  several portraits by him, and a plate of Tancred
sen an Academician. He died in 1787.             and Erminia, after N. Poussin. He died in 1776.
GUBBIO, ODERIGI DA, or ODERIGI DAAGUBBIO,    GUELARD, B., a French engraver, who lived
an old Italian painter, and a native of Gubbio, a  about 1750, and executed, according to Basan, sevsmall town near Perugia. Baldinucci affirms that  eral plates after Oudry, P. van Bloemen, &c.
he was a disciple of Cimabue, and Vasari tells us   GUERARDS. See GERARDS.
that he was the friend of Giotto at Rome. Dante     GUERARDS N., a French engraver of little
has immortalized him in his second Cantica, and   note, who lived  about 1700, and executed the
note, who lived  about 1700, and executed the
calls him an honor to Agubbio, excelling in the  plates for Les Edifices  ntiues de Rome, after
art of miniaturist. He settled at Bologna, and  the designs of A. Desgodetz; also a number of
instructed many pupils there, so that Malvasiaother plates among which  is one of Soldiers
says that " the most noble and ever glorious city   marching in imitation  of  Callot.
of Bologna received the first seeds of the beautiful
art of painting from him."  He died shortly be-    GUERCINO. See Gio. FRANCESCO BARBIERI.
fore 1300.                                          GUERIN, CHRISTOPHER, a German designer
GUBBIO, CEcco and PuccIO DA, supposed to  and engraver, born at Strasburg in 1758, and
have been pupils of the preceding, painted in the  studied under Jolain and Miuller. His plates are
Cathedral of Orvieto, in 1321.                   after Raffaelle, Correggio, Giulio Romano, and LuGUBBIO, GIORGIO DA, or GIORGaI  DA UGUBTO,  therbourg.  He was keeper of the Museum  at
a famous manufacturer and painter of porcelain,  Strasburg, and was liing in 1831.
who flourished at Gubbio from 1519 to 1537. He      GUERIN, J. B. PAULIN, a distinguished French
made statues, well modeled, and painted and then  painter of history and portraits; born at Toulon
baked them, so as to render them indestructible by  in 1783. He was much patronized by the nobilithe weather. Lanzi says there are many services  ty, and painted the portraits of several of the Bourin various noble houses, of his beautifully painted  bons, their generals, and courtiers, after the Reswares, almost rivalling painting, bearing his name,  toration. There are a number of fine historical
Al. Giorgio da Ugubio. See Iederigo Brandani.  pieces by him, mostly of scriptural subjects, in the




GUER.                    380                   GUER.
churches of Paris. Guerin was a member of the  dowed with a facility essential to the vast works
Legion of Honor, and professor of painting to the  on which they were employed during the reign of
maison royale de St. Denis.'He was living in  Sextus V., in the chapel of S. Maria Maggiore, in
1831.                                          the library of the Vatican, in the Quirinal and Lat
GUERIN, BARON PIERRE NARCISSE, an emin-  eran palaces, at the Scala Santa, and in other places
ent French painter, born at Paris in 1774. He  Tiraboschi also mentions several pictures by Guer
studied under Brenet, and afterwards under Reg-  ra, which adorn the tribune of the church of the
nault. In 1797 he gained the grand prize of the  Rotonda, at Modena. He made a great number
Royal Academy, and went to Rome with the  of designs of subjects from the Old and New Tesroyal pension. By studying with great assiduity  tament, and from Greek and Roman history, some
the antique and the productions of the old masters,  of which have been engraved. As an architect,
he made rapid advances, and adopted a grand and  he designed the Scala Santa at Rome, and the
classic style. His picture of Marcus Sextus, ex-  church of S. Maria di Paradis and la Madonna
ecuted while at Rome, excited great admiration   delle Asse, at Modena. He died at Rome in 1618.
at Paris, and gained him a high reputation. On    GUERRI, DIONISIO, a painter of the Venetian
his return to Paris, he was received with great  school and a native of Verona, who, according to
honors, and was loaded with commissions. Among  Pozzo, possessed great talents. He was born in
his principal works, are Phedra and Hippolyta;  1610, studied under Domenico Feti, and formed a
Cephalus and Aurora; and Andromache and Pyr-  very clear and striking style of his own, which
rhus, exhibited in 1810.  Most of his pictures  gave promise of excellence, but he died young.
have been engraved. He was honored with the  in 1640, greatly lamented. Lanzi says he left a
title of Chevalier of the Legion of Honor and of  few works behind him, which are highly esteemed.
the Order of St. Michael; was a member of the     GUERRIERE, FRANCOIS DE LA, a French enAcademies of Fine Arts at Rome, Florence, Turin,  graver, who lived about 1630, and executed, among
Antwerp; director of the French School at Rome;  other plates, a set of seventeen etchings, after the
and Professor of the Royal School of Arts at Paris.  grotesque figures by Raffaelle, in the Vatican.
He died in 1833.
GUERRIERI, Gio. FRANCEsco;bornatFossomGUERNIER, Louis Du, a French painter, born  brone, in the Roman states, and flourished about
about 1550. He was distinguished for his min-  1650. He painted in the style of Caravaggio and
iatures on vellum, and. was much patronized by   Guercino, and there are a number of fine works
the eminent personages of the time. The Duke  by him in different cities, particularly one in the
of Guise ordered him to paint the illustrations for  Filippini at Fano, of St. Carlo contemplating the
a prayer-book, and Guernier introduced the por-  Mysteries of the Passion, with two laterals, repretraits of the gayest ladies of the court, to represent  senting subjects from  the life of that saint, in
saints.  He had several sons who followed the  which the style of Caravaggio is improved by
same profession, among whom Alexander attained  softer tints, and more elegance in the forms. In a
considerable distinction, and his miniatures are  church at Fabriano is a picture of St. Sebastiano,
much esteemed for the brilliancy of coloring which  by torchlight, in the style of Guercino, with a fine
they still retain. The latter had a son, born in  effect.
1614, and died in 1659. He was an eminent    GUEVARA  DON JUAN NINO DE an eminent
painter on enamel, and surpassed all those who  Spanish  painter, born, according to Bermudez at
had preceded him, for accuracy of likeness and  Madrid, in 1632. His father was a captain in the
beauty of coloring.  Another son of Alexander  Guards of the Viceroy of Arragon, and the latter
G., who died in 1656, was also considered a repu-  took him under his protection and placed him in
table artist in this branch.                   the school of Miguel Manrique, formerly a pupil
GUERNIER, Louis DU, a French engraver, born  of Rubens.  Guevara subsequently studied at
at Paris in 1677. He studied under L. de Chas-  Madrid, under Alonso Cano, and with such adtillon, and afterwards went to England in 1708,  vantages he made great progress, combining the
where he was chiefly employed by the booksellers.  grandeur and correctness of Cano, with the adAmong his principal plates is a large print of Lot  mirable coloring of Rubens. There are many of
and his Daughters, after M. A. Caravaggio, en-  his works at Malaga, Cordova, and Granada.graved for Lord Halifax; also two portraits of  Palomino mentions several of his portraits at CorJames Douglas, Duke of Queensberry, and his  dova, in the cloister of the Augustines, and comDuchess, after Knellar. He assisted Du Bosc in  pares them  to Vandyck, In the church de la
engraving the Duke of Marlboro's battles. He  Charidad at Malaga, is a fine picture of the Tridied at London in 1716.                        umph of the Cross; and in the cathedral, the
GUERNIER, RENE, a French engraver, men-  Ascension of Christ, and the Assumption of the
tioned by Le Comte as a good artist in ornaments  Virgin. He died at Malaga in 1698.
and grotesques.                                   GUGLIELMELLI, ARCANGELO, a Neapolitan,
GUEROULT, GUILLAUME, a French engraver,  mentioned in the Life of Solimena, as a very skilwho executed, according to Strutt, a set of wooden  ful painter of bambocciati, in the Flemish mancuts for a Bible published at Paris in 1564.   ner. He flourished about 1750.  See Peter de
GUERRA, GIOVANNI, called DA MODENA, an  Laer, called Bamboccio.
Italian painter, designer, and architect, born at    GUGLIELMI, GREGGRIO, an' eminent fresco
Modena in 1544. He visited Rome at the age of  painter, was born at Rome in 1714. It is uncereighteen, where he made great improvement, and  tain with whom he studied; some assign him to
rose to considerable eminence.  He executed a  Trevisani, but Lanzi says he rather belonged to
number of works in concert with Cesare Nebbia,  the school of Conca. He says also that his fresco
and Lanzi says that both these artists were en-  paintings in the Hospital of the S. Spirito in Sassia




GtGL.                      381                    GUID.
entitle him to rank among the most eminent young   and le was a perfect manager of the chiaro-scurc
artists who painted at Rome in the pontificate of  There are also several fine pictures of fabulous subBenedict XIV. He left Rome early and went to  jects by him, in the Palazzo Centurioni; and in the
Turin, where he executed some paintings in the  Palazzo Brignole Sale, is an excellent picture of
church of S. S. Solutore e Comp. He afterwards  Lot and his Daughters. He died in 1709.
went to Vienna, Dresden, St. Petersburg, where      GUIDOBONO, DOMENICO, a brother of the prehe painted in fresco, with much applause, for the  ceding, was born at Savona, according to Ratti, in
respective sovereigns of those cities. Among his  1670, and died in 1746. He painted at Genoa
most esteemed works are the ceilings in the Uni-  Turin, and invarious other cities. He was a
versity of Vienna, and the imperial palace at  very unequal painter, sometimes surpassing his
Schoenbrunn, which are highly extolled. He was  brother, at others falling below  him. Lanzi
remarkably facile in composition, his style was  says that his best works are distinguished by a
elevated, and his coloring harmonious and pleasing.  delicate and graceful pencil, and that his Glory
He also painted in oil, but this was not his forte.  of Angels in the dome of the cathedral at Turin
He died at Petersburg in 1773.                   is worthy of the school of Guido.
GUGLIELMO, an old Venetian painter, sup-           UIDOTTI. CV. PAO, a painter and sculp
posed to have been a scholar of Guariento, some  tor, born at Lucca in 1569, and according to Bag
of whose works are found at  enice, signed Gug-  lioni, visited Rome while young, in the pontificate
lielmus pinxit, 1368.                            of Gregory XIII., where he gained improvement
GUGLIELMO, or WILHELM, a German archi-  from the study of the great works of art.  He
tect who visited Italy about 1174, in which year he  was employed by Sextus V. in several fresco
commenced the celebrated Leaning' Tower of Pisa,  works in the library of the Vatican, in the Scala
in the rear of the cathedral, in concert with Bo-  Santa, and in the palace of St. John of Lateran.
nano, an Italian architect. It is built of marble,  In S. Giacomo degli Schiavoni, id a picture of St.
177 feet high, decorated with 200 columns. It is  Matthew; and in the cupola of S. Maria in Monti,
not distinguished, according to Milizia, for beauty  the Assumption of the Virgin. As a sculptor, he
of design, or variety of material, but from its sin-  deserves considerable praise. He executed several
gular inclination of fifteen feet frontthe perpendi-  fine works, among which were a group of six figcular. During its construction the architects were  ures in white marble, presented to the Cardinal
not careful to sufficiently secure the foundation  Borghese, on account of which Paul V. honored
by piles, and when it was half completed, the  Guidotti with the knighthood of the order of,
work gave way, which obliged them to strengthen   Christ. He died at Rome, in 1629.
the foundations on the inclining side. Nearly all
the towers of Pisa, as well as many level lines and  GUIGOU, V., a French engraver, who lived at
supports of the cathedral, and the observatory   Paris about 1676, and wrought for the booksellers.
supports of the cathedral, and the observatorg  Among other plates, he executed several portraits,
erected in 1755, incline towards the South, in the  Among other plates, he executed several portraits
direction of the Anio, the soil there being weakest.  and views of chateaux, and other edifices.
Several authors assert that this bell-tower was     GUILLAIN, SIMON, a French sculptor, born at
purposely built inclining; but an examination of  Paris in 1581; died in-1658. His father was a
the jambs and courses of the stones, which are  reputable sculptor of Cambray, and sent his son
broken and pendent, will counteract this opinion,   to Rome for improvement. He subsequently reGUIDI, RAFFAELLE, a Florentine engraver, born  turned to France, and settled at Paris, where he
in 1540. From his style, it is supposed he studied  gained great reputation, and was charged with
under Cornelius Cort or Agostino Caracci.  His  many important commissions. He has the credit
design is tasteful and correct, and though inferior  of being the first who proposed the weekly reunto Agostino. his plates possess great merit, and  ions of artists, from which arose at length the
are executed entirely with the graver, in a master-  Academy of Painting and Sculpture, and Guillain
ly manner. The following are the principal:      was one of its first directors. Most of his works
King David playing on the Harp; after Giuseppe Ce-  were destroyed in the Revolution. Among the
sari. Daedalus and Icarus; do. The Crucifixion; after  most important, were the Monument at the Pont
Christopher Schwartz. The Entombing of Christ; after  au Change consisting of the bronze statues of
F. Baroccio. Aneas carrying his father Anchises; do.  Louis XIII. and Anne of Austria, with Louis XIV.
Jupiter, with his Thunder; after Polidoro da Caravag-  as   hild. IntheMuse des Monumens Frangio. Vulcan, with his Hammer; do.                c    a  t  eta
GUID'ulO. nOthhis~emmer;, o.         cai, are the statues by him  which decorated the
GUIDO. See RENI.                               grand entrance of the church of the Sorbonne;
GUIDO, ASCANIUS, an Italian engraver, who  the Four Evangelists which were at St. Gervais,
lived about 1567, and executed among other plates,  etc. He etched a number of plates, in a slight but
one of the Last Judgment, after Michael Angelo,  masterly style, among which are twenty plates
marked Ascanis. Don. Guido faciebat.             from the life of St. Diego; and eighty plates of
GUIDOBONO, BARTOLOMEO.  This painter  the Cries of Bologna, engraved in concert with
was born at Savona in 1654. His father was a  Alessandro Algorgi; all after Annibale Caracci.
painter on china, and had him instructed in draw-    GUILLAUMOT, CHARLES AXEL. This eminent
ing, to assist him in that art. The young artist  architect was born at Stockholm  in 1730, of
afterwards copied several pictures by Benedetto  French parents, and went to Paris at the age of
Castiglione with such exactness that it was diffi-  fifteen, to study architecture. In 1749 he visited
cult to distinguish them from  the originals. He  various cities of Germany, and in 1750 went to
then went to Venice and Parma for improvement,  Rome, where he carried away the first prize in
and settled at Genoa, where he painted animals,  architecture in the French Academy.  In 1754
fruit and flowers with good reputation, and was  he returned to Paris. and was employed by govmuch employed. His pencil was soft and pleasing,  ernment to erect the barracks of St. Denis, of Ru



GUIL.                     382                     GUIR.
el. and of Courbevoie. At the death of Le Blanc,  among which are the Transfiguration, in S. Salva
he was appointed chief engineer of Paris, which  tore de Greci; and the Trinity, in the Pellegrini.
office he held eighteen years. In 1769, he laid out.   GTTIRRO, FRANCISCO, a Spanish historical paint.
a camp for 25,000 soldiers in the environs of Ver-  er, born at Barcelona in 1630; died in 1700. He
berie; constructed a bridge of boats across the  executed a number of fine works for the churches
Oise; and the following year erected the barracks  of his native city, among which are several at the
of Joigni. In 1773 he was chosen a Royal Acade-  convent of Recoletas.
mician; and in 1789 was appointed Director of the   GUISONI  FER         a Mantuan painter, who
Gobelins. He was honored with the Cross of the      G        I   R        Manuanater
flourished about 1568. He was a favorite pupil
Legion of Honor, and was appointed director of     ure o t               H     s   ow          pi
-Legion of Honor, and was appointed director of  of Giulio Romano, and painted, in the dome of the
the quarries under the city of Paris.  Guillaumot  o        l    an   an   ain   in the dome of the
fwas principally empoyed in public works; among  cathedral, a fine fresco work from the cartoons of
ewas principally emproyed in public works; among  his master, representing the calling of Peter and
his private ones are the chateaux of Savigny and  Andire, which is considd on of Giio's bes
de la Brosse, and the ecclesiastical palace of Veze-  Andre, whih is considered one of Giulio's be
dir in e Heillso   Atte deal          compositions. In S. Andrea is an excellent piclar in Bourgogne. He also wrote several profound  ture of the Crucifixion from his own design.
woksaond rchitecture.  Hedied in a1807.   m      ture of thne Crucifixion, from his own design.
works on architecture. He died in 1807.
GUILLAUME,  FRERE, an eminent French    s GULDENMUNDT, HANS, a German en
painter on glass, born at Marseilles in 1475. He        graverand printer, who fourished at Nuwas a member of the Order of Dominicans and in  remberg, according to Brulliot, from 1520 to 1550.
w as a member of t      he Order of Dominicans, and                  ing
concert with Frhre Claude, a brother of the same  Among other prints, there is one of two Soldiers
order, executed many excellent works in the south  standing, one of them holding a halbert, and the
of France. Claude being invited to Rome by Bra-  other a flag. It is executed in a bold, spirited
mante, took Guillaume with hime  and they execu-  style, and the figures are correctly dressed in the
ted two admirable works at Rome, which gained   mnne o   e;hem great reputation. These were the windows    GUMIEL, PEDRO DE, a Spanish architect who
if one of the Vatican galleries, and two more in S.  flourished, according to Milizia: about 1500, and is
Maria del Popolo.  The latter still remain, and pre-supposed to have erected the church  of S. Engraserve their pristine brilliancy. At the death of  cia at Saragossa, the faLade of which is of fine
Claude, which happened soon after the comple-  sculptured stone. In 1498 he commenced the coltion of the latter work, Guillaume applied himself  lege of Alcala, a sumptuous edifice, built entirely
with assiduity, and attained great skill in the art.  of stone, and divided into three ample courts.He executed a window in S. Maria dell' Anima,  The first of these has a Doric portico, with archwhich was mucht admired; and the Cardinal da  es, and two orders of galleries above, one having
Cortona invited him to that place, where he paint-  Doric columns, the other Ionic; comprising in all
ed several windows for the Cathedral. His talents  ninety-six columns: the second court has thirtywere also in request at Arezzo, Florence, and other  two composite columns, and several fine heads becities. In the Cathedral at Arezzo, he painted sev-  tween the arches; the third court has thirty-six
eral admirable works, among which were the Bap-  Ionic columns, beyond which is the theatre.  The
tism of Christ, the Resurrection of Lazarus, and   church has Ionic columns, richly sculptured, and
Christ driving the Money-changers from the Tem-  the whole edifice is executed in a masterly style.
pie. Not content with the fame he had acquired,    GUNDULPHUS, an old English architect, who
Guillaume studied painting and architecture. In  flourished in the eleventh century. According to
S. Maria de la Miseracordia, near Arezzo, is a freW.  Vertue, he erected the cathedral at Rochester;
co painting of his execution. He established a  also the Tower of London, so famous in English
successful school for teaching the art of painting   history.
on glass, which produced many excellent scholars.    GUNST, PETER VAN, a Dutch engraver, brn
GU an  Frenishe tefngepiure of theNativiynteThoaGs Mori, Ptt an           Maria, hiQueen Williamand.
Among these were Vasari, who wrote his life; Ben-  at Amsterdam about 1667. His style resembles
edetto Spadari; Battista and Maso Borro; and  the Drevets, and his plates are executed entirely
Michele Angelo Urbani. Vasari highly extols his  with the graver, in a neat, clear style, although
correct and noble design, the softness of his carna- there is a want of effect, and sometimes incorrect
tions, truth of his perspective, lively expression,  drawing.  His works are principally portraits.
and the brilliancy and harmony of his coloring.'His most important work was ten full-length porHe says that the abilities of Guillaume deserve  traits, after Vanyc, of Charles I., his Queen.
infinite praise; and that he first carried the art  and some of the English nobility. He also enr
of glass painting in Tuscany to the highest degree  graved nine plates of the Loves of the Gods; afof perfection.  The state of Arezzo presented him  ter Titian; a set of portraits of Larrey's History
with a territorial property, which afforded him a  of England; and many others amon
good income. He died in 1537, aged 62 years.                 PORTRAITS AFTER 
PORTRAITS AFTER VANDYCK.
GUILLEMART, a French engraver of uncer-    Charles ]. Henrietta Maria, his Queen. William Vil..
tain age, who executed a number of plates for the  lers, Viscount Grandison. Lucy Percy, Countess of Car..
booksellers, among which is that of the Abbe de  lisle. Viscount Chaworth. Margaret. Smith, Lady HerSt. Genevieve.                                    bert.  Ann, Countess of Chesterfield. Lady Wharton.
Elizabeth, Countess of Lindsey. Arthur Goodwin, of
GUINACCIA, DEODATO, a Sicilian painter, born   Winchendon, Bucks.
at Messina about 1510. He studied under P. da              PORTRAITS FOR LARRE'Y S HISTORY.
Caravaggio, while the latter resided at Messina,    Edward VI. Edward Seymour, Duke of Somerset. Sir
and finished the fine picture of the Nativity in the Thomas More, Lord Chancellor. Mary, Queen of England.
Chiesa del' Alto Basso, left imperfect at the N death  Philip of Spain, her Consort. Mary, Queen of Scots. James
Cheadl'At    aslf  mefc  ttedahHamilton, Earl of Arran. Thomas Howard, Duke of Norof that master. He afterwards executed a num-  folk. Sir Francis Walsingham. Cardinal Pole. Sir Richard
her of works, in the grand style of Caravaggio,  Bacon, Lord-keeper.




GUTT.                     883                    GUTT.
VARIOUS PORTRAITS.                He likewise printed, as some maintain, four ediKing William III.; after Brandon. Mary, his Queen;  tions of the Donat, (Latin grammar of DonatBs)
do. Queen Anne; after Kneller.  George, Prince of  which others attribute to the office of Faust and
Denmark; after- Wissing.  John Churchill, Duke of  Schoffer. In 1457 he printed the FIsalter with a
Marlborough; after Kneller. George I.; do. Earl ofhical elegance that shows a rapid advance
Peterborough; do. John Locke; afer Grerhill. John  typographical elegance that shows a rapid advance
Dryden; after Riley.                             in the new art, and that it was cultivated with the
utmost diligence. Guttenberg's printing office reGUTTENBERG, or GUTENBERG, JOHN, an   mained at Mentz till 1465, about which time he
ingenious German artisan, born at Mentz about  was ennobled by Adolphusof Nassau. From this
1400, to whom we are indebted for the invention  time the art of printing rapidly spread over Eu
of printing types.  Although this subject does  rope. Guttenberg died Feb. 24, 1468.
not come under the legitimate head of the fine
arts, yet it is interesting to know that the Germanenbo   at Nurerg n  7         H aqired   he ar
antiquarians have clearly proved, that John Gut-  born at Nuremberg in 144. He acqurethe art
tenberg was the inventor of moveable wood and  in his own country, and then went to Paris for
metallic types, and that he drew his first ideas  improvement, where he received further instrucfrom the early wood cuts of the German engravers,  tions from J. G. Wille. His plates are numerous,
explanatins of w re gven   letterscarved  and are engraved in a brilliant and agreeable style
explanations of which were given by letters carved
on the blocks. When and where his first attempts  with great delicacy of execution. He died at Paris in 1792. Among his principal works are some
at printing were made, can never be determined,  rs in 17. Aong h  principal works are some
for he never attached either his name or any date  pes      e   toyage P^toresque uRoaume de
to the works he printed. This much is certain,       e, by Ae St. No; ao the followin
that in 1424, he was living in Strasburg; that in    The Portrait of Catherine II., Empress of Russia; after
1436 he entered into a contract with Andrew   Rotari. WilliamTell; after F.       petit Boudeur; after Greuze. L'Invocation a l'Amour; qfter
Dryzehnzehn, or D ehn, and others, binding him-  Theolon. The Death of General Wolfe; neatly copied
self to teach them all his secret and wonderful  from the print by Woollet. A pair of Views in Switzerarts, and to employ them for their common ad-  land; after Schutz.
vantage. The death of Dryzehn, which happened      GUTTENBERG, HENRY, the brother and scholsoon after, broke up the contract.  In 1438 he  ar of Charles G.; born at Nuremberg in 1749;
made use of moveable types of wood. In 1443 he  died about 1818. He executed many fine plates
returned from  Strasburg to Mentz. and in 1450  in the style of his brother after various masters,
formed a copartnership with John Faust, a rich   among which are: A Dutch family; after C.
goldsmith of that city, to carry on his art and  Bega. A Repose in Egypt; after Baroccio. A
mystery; Faust agreeing to furnish the necessary   Mountainous Landscape; after Dietricy.
funds. A third person concerned in this busi-    GUTTENBRUNN  L  aerman painter, a naness was Peter Schoffer, or Schseffer, who had mar-      Dresden, who w a meerm  he Florentine
tfive of Dresden, who was a member of the Florentine
ned the daughter of F]aust. To him is allowed   Academy, from which it supposed that he studied
the honor of having invented punches and matrices        Italy.  He  visite   Eg d  abot 1789, and
for founding the type, thus perfecting the art.     Italy. He visited England about 1789 and
for founding kth type, thus perfecting the    ae in  painted portraits and historical subjects; exhibitThe first book they published was  the Bible in      fears at the Royal Academy until
ing for three years at the Royal Academy, until
Latin, called the jbrty-two lined Bible, because        when he went to Petersburg at the recomeach page contained forty-two lines, published in   mendation of the Russian Ambassador, and realied
1455. Guttenburg and Faust soon after disagreed,   men      ation of the  ussian  massao   returned to
and dissolved their connexion in 1456, and a law-  a f   rne frm his art aer wi he  een pu ed
suit was the consequence. The result was that  from his drawingls
Faust retained the presses and printing materials  rom   I               TTra ings.
of the establishment, and carried on the business  GUTTIERER, or  GUTTIEREZ  GNNARO,
conjointly with Schoffer. Faust and Schoffer in  an Italian engraver, who lived about 1760 and exe1459 printed a book called Durandi Rationale  cuted several plates forthe Museo iorentino; also
Divinorum Oficiorum, and in 1462 another edi-  aplate of the Virgin and Infant in the Clouds,
tion of the Bible, in which year Faust went to Pa-  after Carlo Maratti, in a neat style, similar to
ris to sell his books, where, it is pretended, he  James Frey, but greatly inferior.
was arrested on supposition that he multiplied     GUYARD, LAURENT, an eminent French sculpthem by means of Lucifer, the art being kept a  tor, born at Chaumont, in Bassigni, in 1723. His
profound secret. This however is ascertained to  parents were poor, and apprenticed him to a blackhave been mere fable, and his history has been  smith; but one day while Voltaire and Madam
mixed up with that of Doctor John Faust, or  DuchAtelet were passing the shop where he was
Faustus. a very different person from the printer.  at work, they saw the sketch of a horse, which
It seems probable however, that the monks, who   Guyard had drawn with a coal on the wall, and
found the profits of copying diminished, became  highly praised the attempt.  This encouraged
involved in a violent quarrel with him, and charged  him, and he entered the school of Lallier, a repuhim with having formed a league with Satan.-   table painter of Chaumont; but prefering modelFaust and Schoffer published the Bible in Ger-  ing, he studied under Landsmann, a sculptor of
man, and several other books previous to 1466,  ornaments. Here he soon manifested fine talwhen Faust again went to Paris, where it is sup-  ents, and  made great advances.  On visiting
posed he died of the Plague.                     Paris, he was admitted to the school of BoucharAfter the separation of Guttenberg and Faust,  don, and in 1750 carried off the grand prize of
the former found means to carry on his business,  sculpture. He then went to Rome, where he reand printed, soon after, as is supposed, a work   mained several years, and was employed by M.
entitled Hermanni de Saldis Speculum  Sacer-  Bouret, to copy many antique statues, among which
dotum, in quarto, without date or name of printer,  were the Apollo Belvidere; the Dying Gladiator




GUYA.                     384                    HAAS.
and Cupid and Psyche. In 1767 he returned to  icate complexions, and he had a happy talent of
Paris, and was invited to Berlin by king Freder-  succeeding in his likenesses.
ick; also to Parma by the Grand Duke, who           HAASTERT, ISAAC VAN, a reputable painter
possessed an admirable work by Guyard, a group   of landscapes and views of cities, was born at
of AEneas and Anchises. He accepted the latter  Delft in 1753; was instructed by Jerome Lapis, a
invitation, and was loaded with honors by the  Venetian painter; and died there in 1834. He
duke, who employed him on several important  published a collection of prints of wild animals,
negociations at Rome. He was elected a member  and translated a work on Physiognomy.
of the academies of Bologna, Padua, and Parma;    HABERT  NICOLAS a French engraver, born
and was employed to erect for the abbey a monu-  at Paris about 1650. He engraved several por
ment of St. Bernard, upon which he was employed  traits of literary and other celebraed peronsn a
traits of literary and other celebrated persons, in a
when he died suddenly, at Carrara, in 1788.      neat style; also an emblematical print, in the style
GUYARD, ADELAIDE LABILLE, a French paint-  of and dedicated to Anthony Masson. We have
ress.of reputation, born at Paris in 1749. She  by him the following:
painted portraits in miniature, oil, and crayons,                   POAIT
which have considerable merit. She married M.    James I; aer          T S.
Vincent, a distinguished artist; but is best known   Queen of; ft Kneller. Mari Louis of Orleans,
Sueen of Spain; after Champagne. Louis Maimbourg,
by her maiden name. She died in 1803.            a celebrated Jesuit; after his own design. 1683. CorGYSEN, or GYSELS, PETER, a Flemish paint-  nelius Jansenius, Bishop of.Ypres; after Champagne.
er, born, according to Nager, in 1510. He studied   Felix Vialart, Bishop of Chalons; do. John Milton.John Dun; called Scotus. Old Parr. 1715.
under John Breughel, called Velvet Breughel, and 
painted landscapes, in the highly finished style of    HACCOU, JOHN CORNELIUS,was born at Midhis instructor, with small figures, neatly drawn;  dlebourg in 1798; was a student in the Academy
also views on the Rhine, with boats, in the man-  in that city, and  a pupil of J. H.  oekkoek. He
ner of Zachtleven. His small pictures are more  visited France, Germany, and Switzerland, and
highly esteemed than his larger ones, and possess  finally established himself in London, where he
considerable merit, though deficient in harmony   died in 1839. Hepainted withconsiderabletalent,
of coloring. He died, according to Nagler, in 1570.  winter scenes, lakes with vessels, moonlights, and
landscapes.
H,,,,,                             HBHACKAERT, or HAKKERT, JOHN, was one
~                        of the ablest landscape painters of the Dutch
HAACK, G. MARCELLUS, a Dutch  portrait  school. He was born at Amsterdam in 1636. His
painter, who was living in 1700, but of whom lit-  master is unknown. His pictures are true to natle is known.                                     ture, and present to the spectator a view of whatever is grand, pleasing, or uncommon in her asHAAG, J. F. C., a German portrait painter,  pes            e o  is landsapes exhibit a beautiful
died at the Hague in 1759, whither he bad accom-  pects. Some of his landscapes exhibit a beautiful
died at the Hague in 1759, whither he had acrom-  and extraordinary effect of sunshine penetrating
panied his patron, William Charles Henry Friso,rocks ad opeigs i  the woods.  To
Prince of Orange.                                through rocks and openings in the woods.  To
~Prince ot~f~ Orange.  ^furnish himself with subjects, he traveled through
HAAG. TETHART PHILIP CHRETIEN, son of the  the most romantic parts of Switzerland and Gerpreceding, was born at Cassel in 1737, and died at  many. On his return to  Holland, he lived on
the Hague in 1812. He was instructed by his fa-  terms of intimacy with Adrian Vandervelde, who
ther, and painted portraits; but excelled in paint-  painted for him figures and cattle, giving great ading horses, by which he gained great reputation.    ditional value to his pictures. Hackaert etched
HAAN, ABRAHAM DE, a disciple of Cornelius  six landscapes from his own designs. They are
Pronk, was born at Amsterdam, and died in 1748.  inscribed Joannes Hackaert, inv. etfecit. He died
or 1750, aged about 40 years. He painted por-  in 1699.
traits and architecture, in oil and on glass.       HACKEN, or HAECKEN, ALEXANDER VAN, a
HAAN, DAVID DE, a good historical painter,  Dutch mezzotinto engraver who resided in Lonbut whose chief excellence was in battle-pieces.  do. le engraved several portraits, of which the
He was born at Rotterdam in 1602, studied in Ita-  following, among others, possess considerable
ly, and died at Rome in 1659, according to Balke-  merit:
ma; or in 1674, according to Fuessli and Zani.    George II. Caroline Wilhelmina, his Queen; after
He painted his own portrait when he was in his  Amiconi. William Augustus, Duke of Cumberland; do.
57th year.                                       Charles Hamilton, Viscount Binning; after Richardson.
James Keith, Prussian Field-Marshal; after Ramsay.
HAANSBERGEN, JOHN  VAN, was born at  General Wade; after J. Vanderbanck. General WentUtrecht in 1642, and died at the Hague in 1705.  worth; after Ramsay. John Christopher Pepusch, muHe was the scholar of Cornelius Poelemberg, and  siian; after C. Lucy. Carlo Broschi, called Farinelli;
for some time followed the manner of his master 
very closely, in landscape, figures, back-grounds,    HACKERT, JAMES PHILIP, a Prussian painter
and ornaments; but at length his pictures lost  and engraver, born at Prentzlau in 1737. His fatheir credit, in comparison with those of his mas-  ther was a portrait painter, and placed him under
ter, being accounted inferior in correctness of  N. B. le Sueur, at Berlin. He afterwards visited
drawing, in the delicacy of his figures, and neat-  Sweden, and made a number of drawings of the
ness of touch. Under the advice of. friends, he  wild scenery of that country. He went to France,
abandoned landscape painting, and applied himself  and was employed by the Bishop of Metz to paint
entirely to portrait painting, with a success an-  several pictures for his chateau at Ivry. In 1768
swerable to his most sanguine expectations.  The  he visited Rome, and was employed by the Emtint of his coloring was exceedingly adapted to del-  press Catharine to paint twelve pictures illustrat



HACK.                      385                    HAER.
ing the naval successes of the Russians, which are  city, and was forced to return to Holland. Soon
now in the Imperial Gallery at Peterhof. He was  after, at Antwerp, he became a disciple of Francis
much patronized by the Roman nobility, and paint-  Pourbus, and afterwards of Giles Coignet, under
ed many admirable landscapes and marines for  whom he made such rapid progress that, abandontheir palaces, among which are four grand paint-  ing the intention of visiting Italy, he returned to
ings in the Villa Pinciana of the Prince Borghese.  Haerlem in 1583. Deprived of the advantages of
He was a faithful imitator of nature, and an adept  visiting Rome, ho collected for study and the
in perspective; his pencil was vigorous, and color-  formation of his taste, the most celebrated models
ing harmonious. According to Nagler, he execu-  and casts. He is said to have painted a large picted a large number of works, which may be found  ture of the Deluge, for the Earl of Leicester. He
in the best European collections. He died at Flo-  painted a large picture for the Hall of the Comrence in 1807. There are a number of etchings  pany of Archers at Haerlem, which was an assemby Hackert, executed with great fire and spirit,  blage of the portraits of the principal members of
among which are the following: Twenty-one views  that society, but composed with the arrangement
in Pomerania and the Isle of Rugen; J. Ph. Hack-  of an historical painting, and was admirable in
ert,fec. 1763, 1764. Six Views in Sweden; do.  composition, coloring, and design. Many of his
Six Views in Norway. Four Views in the King-  works are in the galleries at Vienna and Dresden.
dom of Naples. Rome, 1779.                        Muller and Goltz have engraved many plates after
HACKERT, GEORGE, a younger brother and  him, among which are the Punishment of Tantapupil of James Philip H., was born in 1755, and died  lus; the Fall of Icarus; the Fall of Phaeton; the
in 1805. In 1786 he established himself as an   Punishment of Ixion; all by Goltz: and by Mulengraver and print-seller at Naples. We have the  ler, a large composition. representing Fortune disfollowing prints by him, principally from the de-  tributing her Gifts.  He died in  638. The folsigns of his brother, James Philip:               lowing is a list of his monograms:
A View of the Environs of Carpentras. The Ruins of                   
the Aqueduct at Frejus. Two Views of the Ruins of the 
Bridge of Augustus at Narni. Two Views of Tivoli. A.   
View of Rome, from the Villa Mellini. A View of Cestel  df I _
Mare. AView of the Bay of Naples. A pair, Morning  or ((H  I.OH            -
and Evening; after Gaspar Poussin.                    l      19           614.~r 0 
HACKERT, JOHN GOTTLIEB, brother of the
preceding, was born in 1744. He excelled in animal painting. He studied in Italy with his bro-           or
thers, went to England, and in 1773 exhibited several of his pictures at the Royal Academy. The         - 
same year he died at Bath.                          HAERLEM, DIRK (THEODORE) VAN, was born
HAEFTEN, NICOLAS VAN, was born at Gorcum,  at Haerlem about 1410. Dirck of Haerlem, Dirck
and flourished about the year 1700. He was a  of Louvain, and Theodore Stuerbout, are all
painter of portraits and merry meetings, and both   names applied to this one painter. Stuerbout was
etched and engraved. He painted and engraved   probably the family name, and the other names were
his own portrait.                                 given from the place of his birth or residence. He
HAELWEGH A., a Femish engraver, who en-  studied nature diligently, and had considerable merHAELWEGH, A., a Flemish engraver, who en-  it for the age in which he lived. An ancient altargraved several portraits and frontispieces for the  or     agewhich lived           anciet al
booksellers, in a formal style. He resided at Co-  piece by him in one of the churches of Leyden,
penhagen for a time.  We have the following by   representing Christ, is highly spoken of by Van.him: ~                                           Mander. On the folding doors are the figures
of St. Peter and St. Paul, as large as life. It is
PORTRAITS.                    less hard and dry than most of the works of his coSophia Amelia, Queen of Denmark and Norway; after  temporaries, and is highly labored in the finishing.
A. Wachters. Christian, Count of Rantzou, Minister of  There are also two large pictures undoubtedly by
State; do. Louis, Landgrave of Hesse Cassel; after Du-  him in the private collection of the King of 
arte. The Duke of Argyle, in armor. The reverend pat-    h      p olc n   the  ing   o
riot, George Walker, Governor of Londonderry. Jacob  land, which were discovered in the Council House
Oldenborg, Phil. Doct.; after A. Houbraken. The Four  of Louvain. He died at Haerlem in 1470.
Seasons; after Karel van Mander,
Seasons; after Karel van Mander,                     HAESKEL, was a Dutch or Flemish portrait
There were three Haelweghs, Adrian, Albert,    HAESKEL,wasaDutchor Flemish portrait
There were three Haelweghs, Adrian, Albert,  painter, who flourished about the middle of the
and Adam, about whom there is great obscurity.  17th century. His manner of painting resembles
There are prints by Adrian with the date 1673,  that of Dobson. It is probable, from the costume
and one by Albert with the date 1666, and some  of his portraits, that he visited England.
are quoted earlier.                                 HAFFNER, ENRICO and ANTONIO, two BoIIAERLEM, CORNELIUS CORNELISZ, called  lognese painters, who studied under Canuti, and
CORNELIUS VAN, was born at Haerlem  in 1562.  were employed at Rome, Genoa, and other places,
The name of Cornelisz is an abbreviation of  in painting perspective pieces for the churches, in
Corneliszoon, signifying  the son of Cornelius,  which branch of the art they excelled. Lanzi
and probably  his proper  name should  read  says they were the followers of Mitelli in delicacy
Cornelius, son of Cornelius of Haerlem.  He  and harmony of coloring. They painted much in
studied under Peter Aersten the Younger, called  concert. Enri6o.was chosen by Franceschini to
Long Peter, until he was seventeen years of age,  paint the perspectives in the church of Corpus
when he embarked for Rome, intending to travel  Domini at Rome. Antonio was invited to Flothrough France and Italy, but was prevented from   rence by the Grand Duke, to direct the execution
landing on account of the plague raging in that  of some works. He was superior to his brotner




HAFF.                        386                      HAID.
in invention, and in the sweet union of his tints.      HAID, JOHN GOTTFRIED, also a son of John
He joined the monks of the Order of St. Philip,  Jacob Haid, was born in 1730, or, according to
in Genoa, and decorated their church, and other   Zani and Nagler, in 1710; and died in 1776.  Like
places in that city.  Enrico was born in  1640,  the preceding, he was instructed by his father in
and died in 1702.  Antonio was born in 1654, and   mezzotinto engraving.  His works are numerous,
died in 1732.                                         and consist mostly of portraits. He engraved some
HAFFNER. MELCHIOR, a German  engraver,  plates in mezzotinto for Mr. Boydell.  Some of his
who worked principally for the booksellers, and   plates psess great merit.  The following  are
who flourished about 1680.  His chief performance   some of the principalprints:
was a set of neatly executed portraits, for a work                        PORTRAITS.
published at Vienna in 1673, entitled  Templum          George II. Maria Theresa, Empress of Germany. JoHonoris; also the frontispiece of a book called   seph II., Emperor of Germany; after Weickart. 1770.
Bibliotheca Realis Universalis,                       Lord Camdenl after Reynolds. Garrick, in the Farmer's
Return; after Zofany. Foote, in the character of MaITrTHAGEDORN, CHRISTIAN LOUIS DE, a   jor Sturgeon; do. James Anthony Arlaud, painter; afIMIl JGerman. engraver, who flourished about  terLargilliere.
1745.  He was an amateur, and etched landscapes                SUBJECTS AFTER VARIOUS MASTERS.
caricatures, and heads in a spirited style, from his     irginia; after Nathaniel Dance. Absalom's Submisown designs.  The following is a list:his Father; after    Bol. Abraham offering up
his son Isaac; after Rembrandt.
Six sheets of Heads and Caricatures, called his Erster  HAINZELMAN  E
Versuch, or his First Essay; dated 1744. Six sheets of                      LIAed    an engraver born a
studies of Heads, containing thirty-six heads; in two of   Augsburg i  1640; died i  1693.  He became a
the sheets there are landscapes below the heads, with the   pupil of Francois Poilly at Paris, and followed the
cipher, and inscribed Appendix, 1744. Thirty-six Land-  manner of his master.  His portraits in particuscapes; called Landschaften (Landscapes); dated in  lar possess great merit:
1744 and 1745; numbered. Six sheets, containing seven
Landscapes; called Neue Versuch; dated 1765.                              PORTRAITS.
-^^.                ~~~~~~~S. Franciscus Xaverius, Societatis Jesu.  Aegedius
ZX   HAGEN, JOHN VAN, was born at the   Strauch, Theologime Doctor. 1682.  Marcus Huberus,
(. -   Hague, or, as some say, in the Duchy of  PReipubl. Augustanve Senator. David Thoman ab Hagel-ipvpQ  onifi^  oH~^~a~r.^-~T.^Q  li  Vi   stein, Juris consultus. Carolus liber Baro a  riesen. GaCleves, in 1635.  His pictures are generally small,  briel Wiler, Juris consultus.
and mostly consist of views in the neighborhood                SUBJECTb AFTER VARIJOUS cASTER S
SUBJECTS AFTER VARIOUS MASTERS.
of Nimeguen and Cleves.  They are mostly markdof Nimeguen1650    and 166Cleves.  They are mostly mark-  The Virgin presenting Pinks to the infant Jesus; after
ed 1650 and 1662. One of his pictures, represent-   Raffaelle. Christ appearing to Magdalene; after Albano.
ing a village, having in the foreground a sports-   St. Francis praying before a Crucifix; after Domenichino.
man with a servant and dogs, is in the Louvre.  The Virgin, with the Infant sleeping, and St. John, called
His manner was pleasing, but the coloring is much   the Silence; after An. Caracci. This subject has been
deteriorated, in consequence of the fading of the   engraved by Michael Lasne, Stephen Picart, and Bartoblue and green into black, from the too great use  lozzi. The Holy Family, with St. John presenting a Lamb
to the infant Christ; after Sebastian Bourdon. The He
of Sphaltum, or Haerlem  blue, a color generally  ly Family, with the Virgin washing Linen; do. The Heused at that time.  He died in 1679.                  ly Family, with St. John presenting an Apple to the inHAGENS, CHRISTOPHER, a Dutch engraver,  fantJesus; do.
lived about the year 1664.  He engraved a por-          HAINZELMAN, JOHN, a brother of the pretrait drawn by himself, of Sir William Davidsone.  ceding, was born at Augsburg in 1641, and died
HAID, JOHN JACOB, was born at Wurtemberg about 1700.  He became with his brother,  pupil
about 1700. He became, with his brother, a pupil
HAID, JOHN JACOB, was born at Wurtemberg   in engraving of Frangois Poilly. In design, he was
in 1703, and died in 1767.  He became an excel-         engraving of  raoi Poilly  In design, he was
more correct than his brother Elias.  The followlent portrait painter, under Ridinger of Augsburg    more orret       his  rt r  is.            
He was also distinguished as an excellent mezzo-  i  a                    
tinto engraver.  He engraved the portraits of the                         PORTRAITS.
Illustrious Personages of Germany, which, with          John Sobieski, King of Poland; J. Hainzelmann, del
their Lives, were published in 1741.  The follow-   et sc. 1684. The Elector Frederick William; after le
in  are some of his best prints:           Clerc. Philippe Dufour, Chevalier; Paris, 1682  J. B.
ing are some of his best priTavernier, Ambassador to Persia, in an Oriental dress
Carl Ludwig, Count of Hohenloe. Christophorus Fri-  1679. Claude le Peletier, Minister of State. 1687. M.F
dericus, Baron of Seckendorf. Felix Meyer, painter. Egi-  le Teller, Marquis de Louvois; after F. Vouet.
dius Verhelst, sculptor. Joannes Carolus Hedlinger, sculp-     SUBJECTS AFTER VARIOUS MASTERS,
tor.  Marcus Fridericus Kleinert, painter.  GOeorgius
tor.  Marnus Fridericus Kleinert, painter.  Georgius    The infant Jesus embracing the Virgin; after An. Caracci. The Virgin and Infant, with St. John; after J.
HAID, JOHN ELIAS, the younger son of the   Guillebault. The Annunciation; after Sebastian Bourpreceding, was born at Augsburg in 1730, and   don. The Holy Family; do. The Repose in Egypt; dc.
died in 1809.  He was instructed by his father in       HAKEWILL, HENRY JAMES, an English sculpmezzotinto engraving, and engraved numerous por-  tor, born in 1813.  His father was opposed to his
traits of distinguished personages, and various   following the career of an artist, but at length
subjects after different masters:                     consented, and  Hakewill commenced  studying
PORTRAITS.                       sculpture under Gass, in 1830. The following
Joannes Jacobus Haidius, Pictor et Calcographus; after  year he produced a clay model of such  excelGraf. AntoniusGraff, Pictor; seipsepinx. 1766. Jo-  lence, that it drew the silver medal, and his adannes Koella Pictor Tigur; J. Koella, pinx. 1776. Jo-  mission as a student of the Royal Academy.  In
hann Winkelmann; after Liotard. 1782.                 1832, he produced a statue of Sir Richard BeauSUBJECTS.                       mont in armor, and soon after, one of Lady BeauThe Nativity; after Rembrandt. The Raising of Laz-  mont.  His statue of Lord Gray, however, gained
irus; do.                                             him the most reputation, and is indeed an admira



HAKK.                      387                     HALL.
ble work for so young an artist. Hakewill also   als, and antiquities. His portraits are faithful a?
produced a number of busts, and some capital de-  likenesses. Among them are the following:
signs. He bid fair to attain great eminence, but                     PORTRAITS.
died in 1834, at the age of twenty-one, greatly re-    Thomas Howard, when Earl of Surrey, who gained the
gretted by the friends of art.                    victory at Flodden Field. Henry Fitzallen. Earl of Arun
HAKKERT. See HACKERT.                          del; after Holbein, Catherine, Marchioness of Pembroke
after Passe. Mary Sidney, Countess of Pembroke; do
HAL, NICHOLAS VAN, an historical painter, born   Sir Francis Wortley; after Hertocks. Sir George Barnes,
at Antwerp in 1668, and died in 1738. His early   Lord Mayorof London. William Hervey, Herald. Thempictures are much esteemed for their composition,  as Goodrich, Bishop of Ely, Lord Chancellor.
color, and design. His latter productions display   HALL, JOHN, an English engraver, was born at
less merit. He painted the figures in the flower-  Wivenhoe, near Colchester, in 1739. He went tc
pieces of Hardime and others.                     London at an early age, and was placed under the inALBEC, JOHN, was an e  struction of Mr. Ravenent the engraver. At the age
1-'L'HALBECKC JOHNwas an engraver bornt,    of seventeen he executed an admirable drawing it'iTh  at Copenhagen, i and who executed, aentire    pen and ink, in imitation of engraving, from which
with the graver, in a stiff and formal style, a var-  is scarcely discernible. Sir Stephen Theodore
ety of prints. He engraved a large plate of the  Jansen and Jonas Hanway, Esq., were hisearliest
Heads of the Emperors, from  Julius Csesar to  patrons at LJondon He was, upon the decease of
Ferdinand II.; also a set of grotesque ornamentspatrons at London. He was, upon the decease of
dated 1618II.; also aset of grotesque ornaments,  Woollett, appointed  historical engraver to the
king, and upon being introduced by Mr. West, pre
HALBOU, JOHN Louis, was born at Paris in  sented to his Majesty his print of the Battle of
1730. He was a pupil of N. G. Dupuis. We  the Boyne. He engraved several plates for the
have, amongst others, the following prints by him,  collection of Mr. Boydell. All his engravings are
executed in a pleasing style:                     what are caIled' line or stroke engravings, and are
Le Jeune Aubergiste; cfter Coquetet. Le galant Bou-  executed in a bold and clear style, possessing
langer; do. Le Buveur trop grave; after F. Mieris.  great merit. The following are among his prinLa Toilette du Savoyard; after Murillo. Le Tems perdu;  cipal plates:
after P. A. Wille. Les Intrigues amoureuses; after                   PORTRAITS.
Schenau. Le Beau Commissaire; after Eisen. La Jolie                   R Ao
Charlatane; do. La Sultane favorite; after Jeaurat.   Pope Clement IX.; afer Crlo Maratti. 1767. Sir
Le Sultan galant; do.                             Robert Boyd, Lieutenant Governor of Gibraltar. William
Warburton, Bishop of Gloucester; after Hoare. Richard
* HALDENWANG, CHRISTIAN, an eminent land-  Chenevix, Bishop of Killaloe. Richard Brinsley Sheridan,
scape engraver, was born at Durlack in 1779. For  M. P.; after Reynolds. Sir William Blackstone, Justice
five years he lived in the establishment of Christian   of the Common Pleas; after Gainsborough.  George
von Mechel at Basle, as an apprentice. Obtaining a  Colman; do. Edward Gibbon, historian; after Reynolds.
sight of some of Middiman's and Woollett's views,         SUBJECTS AFTER VARIOUS MASTERS.
he determined to make the latter his model. Du-    Timon of Athens; after Dance. William Penn treatring the latter portion of his tilne with Mechel, he  ing with the Indians for the Province of Pennsylvania;
made some attempt at aquatint, and obtained the   after West. Oliver Cromwell dissolving the Long Parlianotice of the Chalcographic Society.  In 1796 he  ment; do. The Death of the Duke of Schomberg at the
Battle of the Boyne;- do.
went to Dessau, where he remained for eight years.  Bate of te B; 
His improved skill in landscape engraving pro-        ALLE, CLAUDE GUY, a French painter, was
cured for him  from Charles Frederic of Baden,  born at Paris in 1651, and died there in 1736. He
the appointment of eraer              of engraver to the Court of Carl sruhe. He worked for the booksellers during the  torical painter of little note.  He does not appear
French ascendency in Germany.  He executed  ever to have travelled out of his native country, or
four landscapes for the " Mus6e Napoleon," after  to have had any superior advantages of instrucClaude and Ruysdael; two masterly engravings  tion. His coloring is pleasing and vigorous, but
for the " Travels in Brazil;" and the Views in the  his design is mannered and constrained. He was
"Rhenish Pocket-book."  As an engraver of land-  in 1682 made a member of the Royal Academy
scapes, he is awarded a high station by his coun-  at Paris. In the church of Notre Dame, is a large
trymen. His best pieces are after Poussin, Claude,  picture by him of Christ driving the Money-changEIackert. Paul Potter, Claude, Ruysdael, Bolognese,  ers out of the Temple, and an excellent picture of
and  Elsheimer. He has united vigor with judi-  the Annunciation. There are several other pictures
cious moderation, and freedom with delicate exe-  by him in the churchesof Paris.
cution and grace. He died at Rippoldsau in 1831.    HALLh, NOEL, the son and scholar of Claude
HALEN, ARNOULD VAN, a painter and engraver,  Guy H., born at Paris in 1711. He gained the
who resided in Antwerp, and died there in 1732.  grand prize of the Academy, and went to Rome
He excelled in mezzotint, but is best known by   with the king's pension. On his return to Paris,
his designs in chiaro-scuro.                      he was admitted to the Academy, and soon gained
HALEN, PETER VAN, flourished at Antwerp   a good reputation. His design is not in good taste,
about  1660. He  is said to have pand his coloring is too red, but his architecture and
about 1660. He is said to have painted historical
subjects, but is chiefly known as an excellent land-  perspective are most admirable.  In 1771 he was
scape painter. He introduced a number of small  appointed superintendent of the Gobelins, and ex6fgures to enliven his landscapes.               ecuted several #ne works as models for the manufacture of the royal tapestries.  Hall6 returned
HALL, CHARLES, an English engraver, born  to Rome, where he was made director of the
about the year 1720, and died at London in 1783.  French Academy, and on returning to Paris, was
Originally a letter engraver, he was afterwards  honored with the Cordon of St. Michael. There
much employed in engraving portraits, coins, med-  are many works by him in the churches and




HALL.                     388                    HAMI.
palaces at Paris, among which are the Prediction   dell's Illustrations of Shakspeare; Macklin's Bib.
of St. Vincent de Paul, in the church of St. Louis  lical and Poets' Galleries; and that of English
at Versailles. He died at Paris in 1781. There  History by Mr. Bowyer. In these undertakings
are a few etchings by him from his own designs,  he added to his own reputation and that of the
among which is Antiochus thrown from his Char-  enterprises in which he was engaged. His colored
iot, and the Companion.                          drawings are peculiarly tasteful and effective.
HALLEMAN, THOMAS, a portrait and histori-    HAMILTON, CHARLES WILLIAM VAN, a paintcal painter, concerning whom little is known, ex-  er of birds and insects, was born at Brussels in
cept that he flourished at Rotterdam about 1691.   1668, and died at Augsburg, in 1754.
T     HALS FRANCISl acelebratedFlemishpor-    HAMILTON, JOHN GEORGE VAN, a painter of
ltrait  paintter,was born at Mechlinin 1584,  horses and animals, was born at Brussels in 1666
and died in 1666. He was a disciple of Karel van  and died at Vienna i 1740.
Mander. He was a cotemporary and friend of Van-    HANCOCK, R., an English mezzotinto engravdyck, and in their particular branch of the art of  er, who flourished about the year 1785, and by
painting, he has been surpassed by none of the art-  whom we have among others, the following porists of his country, except by the latter. His col-  traits:
oring is chaste but vigorous, and his heads are full    General William Kingsley; after Reynolds. Lady
of life and character. It is said that Vandyck in-  Chambers; do. Miss Day, afterwards Lady Fenhoulet;
vited him to accompany him to England where his  do. Mark Noble, Rector of Barming; prefixed to his
talents would be properly rewarded; and that great  History of the House of Cromwell. John Wesley, M.
talents would be properly rewarded; a'nd that great  A.; after Miller. James Wright, of Frome; after J.
painter was of the opinion that no Flemish artist  Wright; scarce. William Hopley, Verger of the Cathewould have equalled him, had he given more ten-  dral of Worcester; do. Robert Hancock, Engraver, of
derness to his coloring. He painted with remark-  Worcester; do. This print is called unique in Bromley's
able accuracy and vigor, a large picture containing   Catalogue.
the portraits of the members of the Company of     HANDERIOT, FRANCOIS, a French engraver,
Archers at Delft for their hall.                 who engraved, among others, a print representHALS, DIRIC (THEODORE,) a brother of the pre-  ing St. John thrown into the Caldron of boiling
ceding artist, was born at Mechlin in 1589, and  oil, after C. Le Brun.
died in 1656. He was a pupil of Abraham Bloe-    HANDERIOT. See ANDERIOT.
maert. In early life he painted animals and hunt-    HANDMANN, EMANUEL, a Swiss painter, born
ing scenes, but he afterwards changed his subjects  at Basle in 1718. He acquired the elements of
for village festivals and merry-makings, which he  design in his own country, after which he visited
treated with much humor.                         Paris, and entered the school of J. Restout. He
HALS, NICOLAS, the younger son of Francis  went to Italy, where he remained four years, and
Hals, was a painter of landscapes and villages, with  then returned.to Switzerland. He painted poranimals and figures.                             traits and history with reputation, and many of
_ _-. ^~,his pictures have been engraved, among which
^HAMEL, A. B. DU, was a French engraver,  are the portraits of Euler and Albert Haller. He, and resided at Paris about 1760, where he  died in 1781
was employed chiefly by the booksellers. Amongst
others we have the following portraits: Joliot do    HANGEST, ROBERT MARINUS FREDERICK D.
Crebillon. Jean Jacques Rousseau.                was born at Utrecht in 1746. While studying
Crebi. Jean Jacques Rousseau      the law. he took lessons of Verstegh as an amateur
HAMILTON, GAVIN, the author of Schola Ital-  in painting. His pictures are worthy of a profesica Pictur"ve, was descended from an ancient Scotch  sor. After the completion of his legal studies, he
family, and received a liberal education. He reached  traveled on an artistical tour, painting views of the
a reputable position as a painter, but is chiefly dis-  Rhine rocky scenery, landscapes, with lakes and
tinguished for his enthusiastic attachment to, and  rivers, sunsets and moonlights. Ie died in 1810,
ardor in promoting the advance of the Fine Arts.  and his pictures, about thirty-six in number, were
The greater period of his life was spent at Rome,  distributed among his friends.
where he became a chaste and careful designer.
He possessed such advantages from early educa-    HANNAN, WILLIAM, a Scotch painter, who
tion as a scholar and a painter, as gave to him a  flourished about 1760. Originally an apprentice
respectable rank among modern historical paint-  to a cabinet-maker, he afterwards became a painters. He is distinguished for a rigid adherence to  er, went to London, and received the patronage of
the propriety of costume and a familiarity with   Lord le Despenser, who employed him to paint
the antique. His best pictures are from subjects  several of the ceilings of his seat at West Wycombe,
taken from the Iliad: Achilles grasping the Dead  one of the designs being by Cipriani. Some of
Body of Patroclus, and rejecting the Consolation  his landscapes were engraved by Woollett. He
of the Grecian chiefs; Achilles dismissing Briseis;  died in 1775.
and Hector tied to his Car. He died in 1797.       HANNEMAN, ADRIAN, was born at the Hague
HAMILTON, WILLIAM, a member of the Royal  in 1611, and was a pupil of John Ravesteyn. He
Academy. is supposed to have been born in Lon-  resided sixteen years in England, where he paintdon in 1751. When very young he went to Rome,  ed the portraits of several of the nobility. He was
where he studied several years. In England he  a successful imitator of the style of Vandyck. He
soon became distinguished for his quickness of  returned to Holland during the civil wars in Engdesign, sweetness of style and beauty of coloring,  land. He was made painter to Mary, Princess of
and beloved for his gentle and amiable manners.  Orange, and in 1665 was director of the Academy
He was actively and successfully employed in for-  of the Hague. He painted a portrait of Charles
warding the magnificent enterprise of Mr. Boy-  II. before the Restoration. His best historical




HANS.                     389                    HARL.
performance is an emblematical picture of Peace in  ist as Daniel Haring, although mentioned differentthe Council Chamber of the States at the Hague.  ly by Immerzeel and Balkema.
He died in 1680.                                   HARLOW, GEORGE HENRY, was born at LonHANSEN, CHARLES Louis, was born at Am-  don in 1787. His father, an English resident at
sterdam in 1765, and died in 1840. He was a pu-  Canton, died a few months before his birth, and he
pil of Peter Barbiers Pietersz. and painted land-  was left entirely to the care of shis mother. The
scapes, interiors, and views of cities and villages.   son manifested a strong inclination for the arts,
HARDIME, PETER, was born at Antwerp in  and was placed first under a landscape painter
1678, and died in 1748, at Dort, where he had re-  named De Cort, next with Mr. Drummond, and
tired during the latter part of his life.  Le was a  lastly with Sir Thomas Lawrence. Although emscholar of his brother, Simon H., and became an ex-  ployed by the latter merely in filling in the dead
cellent flower painter, celebrated for his coloring and  coloring and other merely mechanical drudgery,
the arrangement of his groups. The best of his per-  yet his progress was rapid, and he acquired the
formances are four large designs representing the  peculiar style and character of that master's perSeasons, in which he introduced all the fruits and  formances. His first historical picture was Boflowers peculiar to each. They are in the monas-  lingbroke's Entry into London; the next was the
tery of the Bernardines near Antwerp. He ac-  quarrel between Queen Elizabeth and the Earl of
quired  such reputation that his works were  Essex. This was followed by Hubert and Prince
spread through all the Low Countries. His fruits  Arthur, from King John; and the next was the
and flowers are fine imitations of nature, freely  Kemble family in the characters of King Henry,
handled, with an agreeable tone of coloring, and  Queen Catharine, and Cardinal Wolsey, in the Trial
well finished. He, in conjunction with Terwes-  of Queen Catharine. The last great work exhibten, who painted the figures, ornamented the  ited by him in London, was Christ healing the
apartments of the Hotel of the Count of Was-  Woman who had an issue of blood. He painted
senaer.                                          most excellent portraits upon a small scale. In
HARDIME, SIMON, was born at Antwerp in  1818 he went to Italy, where he acquired great re1672, and died at London in 1737. He was the  putation by the rapidity with which he copied the
elder brother and instructor of the preceding art-  Transfiguration of Raffaelle. He there executed
ist, but was inferior to him in the practice of the  the Presentation of the Cardinals Hat to Woley
same branch of the art.                          in Westminster Hall, which by the desire of CaHARDOL  an egraer wo fur-  nova was exhibited first at his own house, and afHARDOUINMiCHEL, an e av           terwards at the Academy of St. Luke, of which he
ished at Paris about the year 1680. He executed  was     ed a member. I  1819 he returned to
in a neat style, principally with the graver, the  was elected died tere in 1the se year, aed 
plates for a work entitled Livre des Plans, Pro-                e   e          e    e y     
files, et Elevations du  Chateau de Clayny, pres  thiry-to 
de Versailles, published at Paris by M. Cossin,    HARNSIUS, P. A., an engraver who was born
engraver to the king.                            at Haerlem, and flourished about 1611. We have
HARDRINE, PETER. See HARDIME.                 by him, among others, a plate of the Ecce Homo,
I DINPEESeHRDMfrom his own design, dated 1611, and the Funeral
HAREFELDT, or HAREVELD, BERNARD, an   Procession of William Ludwich of Nassau, in four
indifferent Flemish engraver by whom we have the  sheets, in a spirited style.
Crucifixion, after Rubens.  He flourished at Ant-                         n       n         
werp about 1650.                                   HARP GEARD VAN, an excellent  rtist, the
HARGREAVES, THOs., a reputable English  disciple and happy imitator of Rubens in design
HARGREAVS, THS., a reputaoble English  and manner of coloring. He copied, on a reduced
miniature painter, born at Liverpool in 1775. —
mihen young he evince a talnt for e a, an   scale, some of his master's works so closely that
When young he evinced a talent for the art, and  good judges have mistaken them for originals by
lady, which was shown  good judges have mistaken them for originals by
painted a miniature of a lady, which was shown  Rubens. His own compositions represent farmto Sir Thomas Lawrence. The latter was much  houses and the festivals of peasants. His easel
pleased with the attempt, and advised Hargreaves    ues are generall on copper.
to visit London, which he did, and apprenticed
himself to Lawrence.  After spending several    HARREWYN, FRANCIS, an engraver born at
years in London, he returned to Liverpool, where  Brussels about the year 1675, was the pupil of
he practised the art with considerable success. His  Romeyn de Hooghe, but inferior to his master.
pictures are esteemed for their firmness and breadth,  We have by him the following:
as also for their faithfulness and natural ease of                 PORTRAITS.
character. He died at Liverpool in 1846, and left    Henry of Lorraine, Duke of Guise. Margaret of Valois.
three sons who are following their father's pro-  Albert, Archduke of Austria, kneeling, with a Book, and
fession with success in that city.               St. James by his side; after Rubens. Isabella, Infanta
HARING, DANIEL, a portrait painter, born at  of Spain, kneeling, with St. Margaret presenting her a
Crown of Flowers; do. Two Views of Rubens' House,
the Hague about the year 1636. He painted the por-  one from the court and the other from the garden; Harretraits of some of the most distinguished families  wyn,fecit.
in Holland. His works were in the manner of    HARRIS, J., an English engraver, who flourishNetscher, and though inferior to his, were much  ed about the year 1700. We have by him a plan
esteemed. He died in 1706.                       of the Encampment of the Royal Army on HounsHARINGS, MATHEW, a portrait painter, born  low Heath; architectural views for the fourth
at Leuwarden, in 1636, or 1637.  He produced  volume of the Vitruvius Brittanicus, published
excellent likenesses and well painted,           in 1739; and views of gentlemen's country-seats,
HARLING, DANIEL,.a portrait painter, born at  engraved in conjunction with John Kip.
the Hague in 1636, and was probably the same art-     HARRIS, MosEs, an English engraver, who




HARR.                      390                    HAVE.
flourished about 1778, and engraved a book of In-  was generally correct, clear, and neat in his style
sects, with his own portrait prefixed.           He was a successful imitator of the style of BeHARRISON, THOMAS, an eminent English ar-  noit Audran. His best prints are those he enchitect, born at Richmond, in Yorkshire, in 1744.  graved for the Crozat collection, which are the folHe visited Rome, where he gained great improve-  lowing:
ment from designing the admirable remains of an-    The Creation of Eve; after Giulio Romaeto. Jupiter
tiquity, and was chosen a member of the Academy   and Semele; do. An allegorical subject; after Sermoof St. Luke. On returning to England, he settled  neta. Christ driving the Money-changers from the Tem.
+T Lancaster, and was comm~issioned to 3 esign and   ple; after Bart. JlMaifredi. An Assembly at Table; do.
at Lancaster, and was commissioned to design and  Moses striking the Rock; after P. Romanelli. The Rich
execute the extensive improvements and alterations  Man and Lazarus; after Dom. Feti. The Virgin and
in the castle at that place. He rebuilt the court-  Infant; after la Fosse, Pan and Syrinx; after J. Corrhouse and gaol at Chester, and the new  bridge  tin.
across the Dee, formed of a single arch of two?9 HAVER, JOHN. a German engraver, who
hundred feet span. He first proposed a grand            flourished about the year 1612. We have
quay on the Thames, to be built from Westmin-  by him some small copper plates; also a set of
ster Bridge to that of Blackfriars. He designed  wooden cuts of the portraits of the Electors of
the Doric column at Shrewsbury, in honor of Lord  Saxony, executed in conjunction with  Moses
Hill; and one for the Marquis of Anglesea, erect-  Thym.
ed near the residence of the latter, on the Straits    HAVERMAN, MARGARET, the daughter of a
of Menai. Among his other works, are the Lyce-  school-master of Amsterdm, was a scholar of
um, and St. Nicholas' tower, at Liverpool; and  Jan van Huysum. She resided at Paris.   er
the Theatre and Exchange Buildings at Manches-Jan van Huysum. She resided at Paris.   er
the Theatre and Exchange Buildings at M~Ianchet- works are held in high esteem, and are sometimes
ter. Harrison deserves great credit for first di-  sold as those of Van sm.  May of hisosnrecting the attention of Lord Elgin to the marbles  fiisd sktches it i sai, were compled by  her
which the latter caused to be removed to England.         ketches it  said, were completed by her.
He died in 1829.                                   HAWKSMOOR, NICHOLAS, an ingenious and
HARTCAMP. See SMITS.                           skillful English architect, born in 1666. At the
HARTLEY, MIss, an ingenious young lady who  age of seventeen, he became a scholar of Christopher Wren. He soon gained considerable reputaetched a landscape dated Dec. 5, 1761; also a  pher Wren. He soon gaied considerable reputaetched a landscape dated Dec. 5, 1761; also a  tion, and was successively appointed deputy-surcharming etching of Jedediah Buxton, the celebra-tion, and was successively appointed deputy-surted mathematician, from the life, dated 1764.    veyor of the building of Chelsea college, and clerk
ed mathematician, from the lie, dd 14.     of the works at Greenwich, in which posts he was
HARTZOEKER, DIRK  or THEODORE, was  continued by William III., Queen Anne, and George
born at Utrecht in 1696, and died in 1740. He  III. Under the reign of Queen Anne, a statute.
studied in Italy under Balestra, and was a good  was passed for the erection of fifty new churches,
historical and portrait painter.                 and Hawksmoor was appointed surveyor of the
HARWEYN, JAMES, an engraver born in Flan-  works. He designed many of them, and erected
ders, who flourished about 1696, and executed, in  the beautiful church of St. Mary Woolnoth;
a neat, pleasing style, several views of chateaux   Christ Church, Spitalfields; and St. George, Midand gentlemen's seats in the Netherlands.        dlesex. He also built part of All Souls' College,
HASSEL, JACOB VAN, flourished about 1650.  Oxford; a mansion at Easton Neston, NorthampHe painted landscapes and views, principally taken  tonshire;  and assisted Vanbrugh at Blenheim and
from the environs of Rome.                       Castle Howard.  He died in 1736.
HATTIN, or HATTINS, JOHN, an English en-    HAYDON, BENJAMIN ROBERT, an English hisgraver, by whom we have a view of old St. Paul's,  torical painter, was born at Plymouth in 1786.
executed with the graver, in a neat but tasteful  He was a student of the Royal Academy, but at
style.                                           an early period in his career became involved in a
HAUGHTON, MOSES, was born in Stafford-  quarrel with that institution, and thereby defeated
shire in 1734, and was first employed as an enamel  his chances of becoming a member. His impetupainter, and an ornamenter of tea-boards. He  osity of temper was ever leading him into controafterwards devoted himself to painting still-life in ersies with those who gave tone to  pulaapprewater-colors, in which he attained considerable  ciation, andwhowere malevolently disposed to use
excellence. He died in 1804. His son Matthew   their power against one who would neither render
engraved some of the ornaments to the first edi-them homager submit to their dictation. His
tion of Roscoe's Life of Lorenzo de' Medicis.                                          
school of art, for which he was qualified by his
HAUGHTON, MosEs, a nephew of the above,  energy and knowledge. His enthusiasm made him
was born in Staffordshire about 1772, and was a  despise the difficulties he had to encounter in overpupil of the celebrated horse painter, Stubbs. He  turning the prejudices of long cherished tastes,
was distinguished in miniature, and also painted  and the enmity of those who, in their hatred of the
scriptural and moral subjects in oil. His portraits  man, overlooked the merits of the artist. When
on ivory and prepared paper, although in water-  his adversaries, in imitation of his example, dropcolors, have the appearance of oil paintings. He was  ped the pencil and seized the pen, they aimed at
a frequent exhibitor at the Academy, and number-  him so many shafts of malice that he found no proed among his friends the celebrated Fuseli, and  tection against their attacks. Though the man
numerous men of literary talents. " The Love-  was not crushed, he was involved in difficulties and
Dream" and " The Captive" have, among other of  pecuniary embarrassments which finally made him
his works, been engraved.                        an inmate of the King's Bench prison, and only
HAUSSARD, or HAUSSART, JEAN, was born  ended with his desperate and melancholy death on
at Paris about the year 1700, and as an engraver  the 22d of June, 1846. Since his death, that merit




HAYE.                      391                    HAYM.
has been accorded to him which was denied to   a good style. He also painted the portrait of Fahim when living, and the Queen and the most emi-  ther Pepys and Flatman the poet. He was a rinent of his countrymen have provided the means  val of Sir Peter Lely, and copied the paintings of
of support to his widow and daughter. Haydon   Vandyck with extraordinary talent. He died in
is now confessed to have been one of the most  1679.
eminent of modern English historical painters;
and though his productions are not to the taste of     HAYM, NICOLO FRANCESCO, an Italian enthe many of this fastidious age, yet they are no-         ver who reed             L oo  i  the  ear
ble works, worthy of the best days of art. At  1719, when he etched the plates f
published, entitled Tesoro Britannico.
the time of his death he was in the sixtieth year  published, entitled Tesoro Brtannico.
of his age, and his efforts as an artist had been   HAYMAN, FRANCIS, an English artist, was
continued nearly forty years. He exhibited his  born in 1708, and died in 1776. He was a scholar
first picture, a Repose of the Holy Family, in 1807.  of Robert Brown, a portrait painter in London,
In 1809, he received for his Dentatus the great  and acquired considerable reputation as an historiprize of the Royal Institution. For his Judgment  cal painter. He decorated Vauxhall Gardens with
of Solomon, exhibited soon after, he received from   historical pictures. He was much employed by
the British Institution a present of one hundred  the booksellers, for whom he furnished drawings
guineas. In 1827, a public subscription was made  for Moore's Fables, Congreve's Works, Newton's
for his relief. While in prison, he painted his  Milton, Hanman's Shakspeare, Smollett's Don
Mock Election, which was purchased by George  Quixote, Pope's Works, &c. He etched a few
the Fourth for five hundred guineas; and its com-  small plates, one of which represents Falstaff seatpanion, Chairing the Member, which was bought  ed on a Drum. He was one of the first members
by Mr. Francis, of Exeter, for three hundred   of the Royal Academy, and was librarian at the
guineas. Pharaoh  dismissing Moses was pur-  time of his death.
chased for five hundred guineas. Notwithstanding    HAYNSWORTH, WILLIAM, an English engrathese liberal prices, his difficulties clung to him,  ver, by whom we have a portrait of Richard Cromand he turned his attention to portrait painting.  well, and also a copy of the print by Jerome David
But he would not flatter: his portraits were too  of Geffroy le Grandent le Lusignan. He was an
life-like, and their boldness ald vigor were rather  indifferent engraver.
annoying than pleasing to his sitters. His heads    HEAD, GUY, was the son of a house painter of
of men of intellect are many of them  admirable.  Carlisle and at an early age was enabled, by the
Among his most celebrated works in addition to  patronage of a gentleman, to visit Italy. He there
those mentioned, are his Entry into Jerusalem,  painted the portraits of several gentlemen and
Lazarus, the Reform  Banquet, the Anti-Slavery  copied their most valuable paintings, which he conSociety (the two latter being merely collections of  ceived to be the best method of perfecting himself
portraits); Napoleon at St. Helena, of which he  in the art of painting. He painted some original
made four copies;   Wellington  at Waterloo; Nero   pictures which, although rather dry in the outline
playing on the Lyre, while Rome is burning; Cur-  and tame in execution, still are not without merit.
tius plunging into the Gulf; and Alexander the  He returned to his native country with a large
Great encountering a Lion. At the time of his
Great encountering a Lion. At the time  of his  collection of drawings, designs, and copies of the
death he was employed on a large picture, the  finest pictures in the Vatican, with which he insubject being Alfred the Great and the First Eng-  tended to make an exhibition; but while preparlish Jury.  But he saw a preference given to me-ing a room for that purpose he died, in the early
diocrity. While the public, to the number of  part of 1801.
120,000, during the week preceding his death,    HEAPHY, THOMAS, an English painter and enflocked to the exhibition of the dwarf Tom Thumb,    H    h   i           1835. n    gained  some repuHaydon's Banishment of Aristides, which was be-  graver, who died in 1835.   e gained some repuBanismentoftaAristides, whichon, and enjoyed considerable patronage as a deing exhibited in an adjoining apartment, received  tation and enoyed considerable patronage as a de
ing exhibited man adding apartment, reived  lineator of low life. Afterwards he turned his
the visits of only 133. He died desperate and bro- ineator of low life.          s he turned his
ken hearsits of only 13. He died desperate and b-  attention to portrait painting, and executed the portraits of Queen Caroline, the Princess Charlotte,
HAYE, CHARLES DE LA, a French engraver,  Prince Leopold, and the Duke of Wellington. In
was born at Fontainbleau in 1641. His style of   1831 he visited Italy. and copied many celebrated
engraving resembles that of Cornelius Bloemaert.  paintings. He was of a most versatile genius.
His plates want harmony.  Conjointly with Blo-  Brought up as an engraver, he was also an admirable.
emaert, Spierre, Blondeau, and others, he engraved   painter in water-colors as well as in oil, and posthe paintings by P. da Cortona in the Palazzo   sessed much ingenuity and mechanical invention.
Pitti at Florence. The following are among his  But he was changeable and intractable. His works
best prints:                                      possess much simplicity and truth, delicacy of colThe Virgin and Infant, with St. Catherine and other  oring, and appropriate expression. IIe was the
Saints; after Ciro Ferri. St. Philip Neri kneeling be-  first president of the Society of British Artists.
fore the Virgin; do. Coriolanus refusing to see the Roman  HEARNE, THOMAS, was born at Brinkworth, in
Ambassadors; do. The Grecian Philosophers in Confer-  Wiltshire, in 1744; died in 1817. He was for six
ence; after Romanelli.
ene; afer Romanelli..           years an apprentice to Mr. Woolett, the engraver.
IIAYE, RENIER DE LA, a Dutch painter of scenes  At the expiration of that time, he accompanied Sir
in private life, after the  manner of Terburg and   Ralph Payne as draughtsman, to the West India IsMetzu. He lived about 1670.                       lands, where he remained five years. In 1778 he asHAYLS, JOHN, an English portrait painter of  -sociated with Mr. Byrne in the publication of the Anthe time of Charles the Second. There are seve-  tiquities of Great Britain, for which he executed the
ral portraits by him at Woburn, the seat of the   whole of the drawings. His works are chiefly to
Duke of Bedford, of the Russell family, painted in  be found in private collections, and are executed




HEAT.                     392                   HECK.
with care and fidelity. He was peculiarly distin-  He designed and colored well, and managed his
guished for all that is excellent in painting of land-  masses of light and shade admirably.
scapes in water-colors, and has been styled the fa-    HECKENAVER, LEONARD, a German engrather of that art.                                ver, born at Augsburg about the year 1640. He
HEATH, JAMES, an eminent English engraver,  engraved several plates for the Academia Artis
born in 1756. His fame extended all over the con-  Pictoriae by Sandrart, published in 1683; also a
tinent, and was by no one more highly appreciated   Holy Family, after Pietro Liberi, dated 1675.
than by the celebrated Raphael Morghen, at Flor-  His plates are formal and heavy, done principally
ence. During many years he confined himself to   with the graver.
book illustrations, but afterwards struck out a    HECKINS, ABRAHAM, engraved a set of ornamore enlarged sphere for the display and exercise  ments for goldsmiths and jewelers in a neat style,
of his talents, and executed many admirable spec-  dated 1634. He is supposed to have been a goldimens of the art. Among these are the death of  smith.
Maj. Pearson, and the Death of Lord Nelson, after    HECQUET  ROBERT, a French engraver, was
West; the  Dead  Soldier, from  a picture by   born at Abbeville about the year 1730, and resided
Wright of Derby; a whole-length of Gen. Wash-  several ya  i   ai         e engraved a Woman
ington, engraved from Stuart's well-known por-  Bathing aer Nicolo Poussin   also four small
trait in the possession of the Marquis of Lans-; also four small
downe; the portrait of Pitt, from  the M statue  at  plates from the large plates of the Labors of Herdowne; the portrait of Pitt, from  the statue at   ules by Rousselet, ater Guido.
Cambridge University; and several scenes from         b                         
Shakspeare. after Smirke and Peters. He died in    HEDA, GUILLAUME KLAASZ, was born at Haerr
1834.                                           lem in 1594. His pictures of still-life, insects.
flowers, and fruit, were in the manner of De Heem,
HEATH, CHARLES, a reputable English engra-  and  were held in  high  esteem.  Jacob de Bray
ver born in 1784. He was the son and scholar     g    y
ver born in 1784. He was the son and scholar  painted his portrait in 1678, when he was in his
of James H., and acquired considerable distinc-  eighty-fourth year.
tion by his illustrations of the various Annuals of
the day. His plates are executed with a delicacy   HEDLINGER, CHEV. JOHN CHARLES, a celeof line which was well adapted for book illustra-  brated Swiss medalist, born in the canton of
tions, and these are much superior to his larger  Schweitz in 1691. In 1709 he was placed under
works. Some of his plates after the single figures  William  Craver, director of the Mint at Sion,
of G. S. Newton, R. A., were treated in exquisiterogress. In 1717 he visitstyle; and his portrait of Lady Peel, after Law-  ed Paris, where he acquired the friendship of
rence, deserves high praise. He died in 1848.    Charles Roettiers, medalist to Louis XV., and of
HECK, T    V, an e t F s p       Nicholas de Launai, who engaged him to execute
HECK, JOHN VAN, an eminent Flemish painter,  several medals for the king.  After residing
born at Quaremonde, near Oudenarde, about 1625.  eighteen months at Paris, he proceeded to Sweden,
wAt an early age he went to Rome, where he pr-  and was appointed director of the mint, by Charles
sued his studies, and resided many years, enjoying  XII.    23hewa          si       a, wth the
XII. In 1723 he was invited  to   Russi a with t he
a great popularity. He was particularly patron-  offer of the appointment of medalist to Peter the
ize'a by the Duke of Bracciano. He painted flow-  Great; but he declined. In 1726 he visited Italy,
ers and fruit, landscapes and vases, in imitation of d while at Rome executed a medal of Benedict
the antique, in all of which he manifested a ine  XIII.  After visiting Venice, he proceeded through
taste and pleasing composition. His productions  Germany to Copenhagen, where he remained a
were held in high esteem. In 1660 he returned                                                o
were held in high esteem. In 1660 he returned   year and a half, and then returned to Stockholm.
to Flanders, and resided at Antwerp until thepe-  The Empress of Russia having requested the
nod of his death, in 1669.   hQueen of Sweden to permit him to make a short
HECK, NICHOLAS VANDER, was born at the  visit to St. Petersburg, he went there in 1735,
Hague about the year 1580, and died in 1638.-  and executed an admirable medal of her imperial
His great excellence was in landscape painting, but  majesty. After two years he returned to Stockhe also distinguished himself in historical paint-  holm, loaded with favors. In 1748 he went to
ing. His drawing was bold and firm, and his col-  Nuremberg, to execute the medals distributed as
oring natural and lively. By his knowledge of the  prizes by the Academy of Berlin, for which he rechiaro-scuro he gave a striking effect to his pic-  ceived the first impressions of each in gold, and
tures. In the Town House at Alkmaer are three  was elected a member. He died in 1771. All his
compositions by him. The first is the Beheading  medals were engraved and published in Switzerof the Bailiff of South Holland; the second is the  land, by M. Mechelnt under the title of (Euvres de
Flaying alive of an unjust Judge by Cambyses;  Chevalier Hedlinger, 1776, fol.
and the third is the Judgment of Solomon. He
was one of the founders of the Academy at Alk-     HEEDE, WILLIAM VAN,       born at Fues
maer in 1631                                     in Flanders, in 1660. When young, he traveled
in France and Italy, where he resided many years.
HECK, MARTIN HEMSKERK VANDER, the son   On his return to Flanders, he was invited to the
of the preceding artist, by whom he was taught  court of Vienna, and was much patronised by the
drawing, design, anl coloring. He was inferior  Emperor. and the German princes. In the church
to his father, particularly in landscape painting.  of St. Walbourgh, at Fumes, is a capital altarHis principal subjects are views of old castles and  piece by him, representing the Martyrdom of a
ruins, painted in the dark style of Roland Rog-  Saint. His pictures are finely composed,correctly
^^'~~~~~~man.  ~drawn, and richly and harmoniously colored. His
HECKEL, G. VAN. a Dutch artist. who flour-  works are better known and more highly esteemed
ished about the year 1660. He is supposed, from   in foreign countries than in his own. He died in
his style, to have been a pupil of Gerhard Douw.  1728.




HEED.                     393                   HEGR.
HEEDE, VIGOR VAN, a younger brother of the  brandt, and lived about 1649. In the collation
preceding artist, was born at Furpes in 1661. He  ofCassel is a picture by him representing a soldier
accompanied his brother to Italy, but returned be-  and a woman playing cards.
fore him. He was distinguished as a painter of    HEGRET, THEODORE, a scholar of 0. Beering,
still life, but was very inferior to his brother as an  was born at Malines in 1643. In the churches and
historical painter.                              convents of his native city are several pictures by
HEEM, DAVID DE, the father of John David  him.
de Heem, was born at Utrecht in 1570, and died     HEIL, DANIEL VAN, was born at Brussels ii
in 1632. Many of his productions are claimed by   1604, and died in 1662. He first acquired reptheir possessors as the works of his son. He was  utation as a landscape painter, but is more disan excellent painter of fruit, flowers, and still life.  tinguished for his pictures of conflagrations and
A group of flowers by him is in the Museum at  winter pieces.  His coloring was brilliant, well
Brussels.                                        suited to his subjects, and he was well acquainted
HEEM, JOHN DE, a son of the preceding, was  with the management of chiaro-scUro. His pioborn in 1603, and died in 1650. He was a pupil  tures are numerous. Among the most celebrated
and careful imitator of his father in subjects and  of them are The Destruction of Troy and the
execution.  There is a picture of still life by him   Burning of Sodom.
in the Museum at Amsterdam.                        HEIL, JOHN BAPTIST VAN, the younger brother
HE)M, JOHN DAVID DE, also a son of David de  Fof the preceding artist, was born at Brussels in
Heem, was born at Utrecht in 1600. He received         and was ling in 1661.  His chief merit
his instructions in painting from his father, but  ws i ptrit paintig but le alo painted some
soon surpassed him, and rose to the height of per-         pictures which are to be found in the
fection in the particular line which he adopted. churches of his native ity.
Ifis pictures of fruit, flowers, and insects, were en-    HEIL, LEO VAN, the youngest of the brothers
riched with vases of gold and silver, musical instru-  Heil, and was a painter of architecture, flowers, and
ments, ornaments of glass, crystal and gems. He  insects. He etched a plate of a Dance of Flemhad a perfect knowledge of the chiaro-scuro, and  ish villagers; after Rubens. He is more known
he grouped his objects admirably, colored them ex-  as an architect than as a painter. Some date his
quisitely, and gave them  the highest and most  birth in 1603, and others in 1605.
delicate finish. His imitations of insects, crystal    HEINCE, ZACHARY, a French engraver who
and glass have particularly the appearance of re-  flourished about the year 1690, and who, conjointality. His pictures were eagerly sought after, and  ly with Francis Bignon, engraved a set of portraits
purchased at high prices. In 1671, on account of  of personages of France after the pictures by Simon
the troubles of the times, he was obliged to leave  Vouet in the Palais Royal. They were published
Utrecht for Antwerp, where he died in 1674.      in 1790, and are etched in a spirited style.
HEEM, CORNELIUS DE, the son and scholar of    HEINS, or HEINSIUS, GIOSEFFO. See ENS.
the preceding artist, was born at Utrecht in 1623.    HEINS a German painter and engraver, who
He painted similar subjects to those of his father,  visited England, and resided at Norwich abut
but they are far inferior, though well colored and  1740. He painted several portraits, and engraved
highly finished.                                 some of them  in mezzotinto, in a very inferior
HEEMS, N. VAN, was born at Rotterdam. and  style. Among them  is that of Thomas Gooch,
is only known as an admirable copyist of the pic-  bishop of Norwich, half-length, signed Heins, pinx.
tures of the Chevalier- and Peter vander Werf..et fecit, 1741.
HEERE, LucAs  DE, was born at Ghent in 1534.    HEINS, J., the son of the preceding, was born
His father, John de Heere, was a sculptor and arch-  at Norwich about 1740. His father apprenticed
itect. and his mother, Ann Smyters, painted land-  him to a woolen manufacturer, but he afterwards
scapes in miniature. He was instructed by his  devoted his attention entirely to art, and painted
father in design, and placed under Francis Flo-  portraits in oil and miniature, but succeeded betris, and soon became his equal, and even supe-  ter in engraving. His plates are executed in a
rior in composition. On quitting Floris he went  style resembling that of Worlidge, by scratching
to France, where he was employed by the court  with the dry point, without the help of aquafortis.for some years in drawing designs for tapestry.  He made the drawings for the views and monuOn returning home he gained much applause in   ments of Bentham's History of Ely; and engraved,
portrait painting, and he had such a retentive  among other plates, a print of a cat and kittens,
mind, that if he saw a person but once he could  after Collet; and the portraits of Mr. Grasse and
draw his perfect likeness from memory. In the  his wife. He died at Chelsea in 1770.
church of St. Peter at Ghent, is an altar-piece re-    HEINS, W. C. This engraver was probably a
presenting the Descent of the Holy Ghost, and on  native of Germany, and flourished about 1640.
the folding doors the Last Supper, by him. In the  Among other portraits, hex executed several for
church of St. John is a picture of the Resurrec-  Boissard's Bibliotheca Chalcographica.
ion, and on the folding doors Christ and his Dis-    HEINTZ, JOSEPH, a Swiss painter, and a native,ples at Emmaus, and his appearance inthe garden                                 t
iples at Emmaus, and his appearance in the garden  of Berne, flourished in the latter half of the 16th
to Mary Magdalene. He visited England in the  century. His instructor is not mentioned, but he
reign of Queen Elizabeth, where he painted her  was a reputable historical painter, and was inmajesty's portrait, and was much employed by the vited to Prague by Rodolphus II., who favored
nobility. His manner is stiff, but his coloring and                        sent him to Italy for
draperies are good. He died at Ghent in 1584.    improvement.  Hevisited Parma and studied the
HEERSCHOP, HENRY, was a pupil of Rem-  works of Correggio with great assiduity. On re



HEIN                      394                    HELM.
turning to Germany, he gained considerable repu-  Dutch painter, born at Haerlem in 1624. His
tation, and painted a number of excellent works,  father was a musician, and intended him for the
somewhat in the style of Correggio, among which   same profession; but his genius leading him to
are three pictures of Jupiter and Leda, Diana and   painting, he was placed in the school oi Peter
Acteon, and the Rape of Proserpine.               Grebber, at the time that Sir Peter Lely was a puHEINZELMAN.  See HAINZELMAN.                   pil of that master. On the death of Grebber he
HEI CHRISTOPHER  ELIAS, a German painter  visited Italy, and found at Venice a generous patHEISS, CHRISTOPHER ELIAS, a German painter  ron in Senator Loredano, for whom he executed
and engraver in mezzotinto, born at Memmingen,
and engraver in mezzotinto, born at Memmingen,  several excellent works, which gained him considin Suabia, about 1670. He painted portraits with   serable repuation, He then visited Rome, and
reputation, and was among the first German art-    et  it  a le   protector in Cardinal de Medists that practised mezzotinto engraving on a large  icis; after which he spent some time in Florence
scale, some of his plates being about two feet wide,    d Naples.      returng to Haerlem, he met
and three feet high.  They possess considerable        N aples.  On reting  ecouraeme,    recee
merit for the time, although indifferently drawn,  with most flattering encragewas with difficulty
so many commissions, that it was with difficulty
and executed in a dark heavy style. The follow- 
and executed ar incip a  prkiheavytstyle. Thefoll he fulfilled them. This capital success, however,
ing are his principal prints:                    did not detain him in Holland: returning to ItaPORTRAITS.                    ly, he settled at Rome, where he was immediately
Petrus Alexiewitz, Czar, et Magn. Dux Moscovis. Fri-  employed by the Jesuits, for two years, and exedericus August. Rex Polon. et Elect. Saxon.; after Hoyer,  cuted some of his finest pictures for that Society.
SUBJECTS AFTER VARIOUS MASTERS.          He painted history and landscape; also markets,
St. Paul and St. Anthony, the first. Hermits. Christ  fairs, public places, and views in Rome, with monks
praying on the Mount; a large plate; after C. Maratti.  administering alms to the poor. His works are
The Virgin and Infant on a globe; do. The Adoration of  most admirably composed; his figures designed
eShepherds;  do. TheAnnunciation; after J. G. Berg-  with elegance and taste, with the most expressive
character; his touch is broad and free, and his
HEKEL, AUGUSTINE, a German engaver, born  coloring clear and harmonious.  His landscapes
at Augsburg about 1690. He visited England, and   have abundance of truth, variety, and nature, propractised ornamenting gold and silver with great  ducing a striking effect; his animals and figures are
success, so that his reputation exceeded that of  finished with a free and delicate pencil, and his
any other artist of his time. He drew views in  chiaro-scuro is managed with great intelligence.
water colors, some of which were engraved by   He sometimes resembles Bamboccio in the subjects
Bowles and Sayer. He also executed eight small  and tone of his pictures, but they are painted in a
plates of views in Richmond and its environs; a  more elevated style. His most admirable works
Horse after Wootton; and a Book of Flowers.  are of a small size. At Rome, in the church of
He had a sister, who engraved several plates for  the Jesuits, is a noble landscape by Helmbrcker,
Kilian's Bible, in a very neat style.             in which is introduced the Temptation of Christ
HELIODORUS, a Greek sculptor, who is men-  in the Desert. At Naples, in the Refectory of the
tioned by Pliny as excelling in statues of wrestlers,  Jesuits' College, are three sacred subjects, most
warriors, hunters, and priests.  In the time of  admirably executed; Christ in the Garden; Christ
that author, there was a master-piece by Helio-  carrying his Cross; and the Crucifixion.  At Amdorus, in the portico of Octavius at Rome.-a  sterdam  is a most capital work, representing a
Symplegma, or combat of wrestlers, with their  convent, of which the architecture is in the Italian
limbs interlaced in violent struggle. It is, how-  taste, excellently designed, and highly finished;
ever, supposed by some, that this work, and the   and before the building appear a number of men,
famous Symplegma by Cephisodotus, are by the  women and children, who are being served by
same hand.                                        monks with victuals. He died at Rome in 1694.
HELLE, ISAAC DEL, a Spanish painter, who          HELMONT, LUCAaGAsEL VAN, a Flemish landflourished about 1568. He is said to have been a  scape painter, born at Brussels in 1480; died in
scholar of Michael Angelo, but this is uncertain, al-  1528. His pictures are very rare.
though he seems to have studied the style of that
master. He painted for the Cathedral of Toledo      HELMONT, MATTHEW VAN, a Flemish painter,
a fine picture of St. Nicasius, which Pens mistook   born at Brussels about 1650. He studied under
for the work of Berruguette; wherefore he may   D. Teniers, and painted similar subjects to those
be considered.as an artist of excellent abilities.  of that master, such as fairs and Italian markets.
with shops of confectionery, vegetables, &c., in a
HELMAN, ISIDORE STANISLAUS, a reputable  style which had evidently been improved by a reFrench engraver, born at Lisle in 1743; died about  sidence in Italy. He visited Paris, where his works
1798. He early went to Paris, and entered the   were much admired by Louis XIV., for whom he
school of Le Bas, of whom he became one of the  painted some of his best pictures. He died in
best disciples. His plates are executed in the neat,  1719.
finished style of his instructor.  Helman published three pictorial works illustrative of Chinese  HELMONT, SEGRES JAMES VAN, a Flemish
history, and engraved the plates himself. Among   painter, the son of Matthew van H., was born at
others the following are by him:                  Antwerp in 1683. He studied under his father,
who took great pains in instructing him; and afJoseph and Potiphar'sWife; after Lagrene. Susan-  ter his death, Helmont sought no other master,
na and the Elders; do. The Death of Cleopatra; do.                el    sought no other master,
The Useless Precaution; after le Prince.  The Useless  but improved himself by studying the fine works of
Lesson; do. The French Quack-Doctor; after Bertaux.  art which abounded at Brussels. He painted hisThe German Quack-Doctor; do. The Temple of the Si-  tory with great reputation; his compositions are
byl at Tivoli; after Robert.                      grand and copious, his design correct. and his colIIELMBRECKER, THEODORE, an  eminent  oring chaste and pure. His principal works are




HEMM.                      395                    HEMM.
in the churches at Brussels, where they are much  er, the masses of light broader, and more tranquil
esteemed. In the church of Mary Magdalene, is a  In other cases the tone of his landscapes is a clear,
fine picture of the martyrdom of St. Barbara, de-  uniform, autumnal tint. He is always successful
signed and painted in the style of Vandyck. In  in scenes which require the highest brilliancy of
S. Michael is the Triumph of David; and at the  strong lights, as the rising sun; or forcible and
Carmelites one of his most capital works, repre-  singular combinations of color, as in visions and
senting Elisha sacrificing before the Priests of  similar subjects."  Besides the altar-piece alBaal. He died in 1726.                           ready mentioned, there is in the chapel of St.
HELST, BARTHOLOMEW VANDER, a Dutch paint-  John's hospital, the celebrated Reliquary of St.
er, born at Haerlem in 1613. His instructor is  Ursula, a shrine of about four feet in length, decnot mentioned, but he painted subjects of history    rted with small pictures in the very best style
in an excellent style, and as a portrait painter, he  of the Flemish school, representing subjects from
ranks among the ablest artists of his country.  the history of that saint. In the private collecSeveral of his works are to be seen at Amsterdam,  tion of the king of Holland, are two long panels,
among which is one in the Stadt-House, represent-  containing ten admirable scenes from the life of
ing a company of trained bands, about thirty full  St. Bertin. At Munich is a similar work " relength figures; highly praised for its correct draw-  presenting the principal events of the Life of Christ
ing, lively and true expression of the figures and   and the Virgin (the Seven Joys and the Seven
countenances, and admirable coloring. He died   Sorrows of the Virgin); not in separate compart
at Amsterdam in 1670.                            ments, but in one great whole, united in a landL, or HEMLINGT, T  scape, with  an endless number of subordinate
4+., orfIf HEMMELINCK,or HEMLING,  events; a whole world of life, and joy, and sorJoHN. anold Flemish painter, born  row, executed with wonderful grace and beauat Bruges, according to C. J. Nieuwenhuys, about  ty."  In the Academy at Bruges are also pre1440. According to Dr. Kugler, he studied under  served two pictures by Hemmelinck; and in the
Roger of Bruges; and was one of the best artists  chapel of St. Julian, was formerly one of St.
of the school of van Eyck. There has been a great  Christopher carrying the Infant Jesus across a
deal written, to prove him identical with Juan   River, with St. Benedict and St. Giles, which was
Flamenco and Juande  Flandes (q. v.) but the  taken to France, and is now in the Louvre. The
subject is involved in obscurity, and the little  small traveling altar of Charles V., enriched with
which is known of his history is merely tradi-  subjects by this master, and valued at 15,000, is
tional. According to van Mander, he was of a  in the king of Holland's collection, where is also a
very dissolute character, and was reduced to the  large Breviary, formerly in the Library of St. Mark
necessity of engaging as a private soldier. Sick-  at Venice, illustrated by John Hemmelinck, with
ness compelled him to seek refuge in the hospital  the assistance of two scholars, Livin of Antwerp,
of St. John at Bruges about 1479, where he was  and Gerard of Ghent. The miniatures in this
restored to health. Influenced by the feeling of  work, ar composed in an elevated style, and exegratitude, he disclosed his profession, and paint-  cuted with delicacy and richness. This artist was
ed several works for the chapel of the hospital,  living, according to Nieuwenhuys, in 1499.
among which were an altar-piece, representing the
Nativity, and the Adoration of the Shepherds; on   HEMMESSEN, or HEMMISTEN,. JOHN VAN,
one of the laterals is a group of Angels adoring  a Flemish painter, who flourished about 1550.the Infant Jesus in a Cradle; on the other, the  He studied at Rome, and was so diligent an imiPresentation in the Temple. It is inscribed OPus  tator of the works of Leonardo da Vinci, that
JOHANNIS HEMMELINCK, M.CCCC.LXXIX. This ad-  many of his pictures, particularly of children,
mirable work is composed with an order and in-  have been attributed to that master. In the Mutelligence little known at that time. Several of  seum at Brussels is a picture by him, representhis heads are greatly superior to his cotempora-  ing the Descent from the Cross; in the Louvre is
ries in character and expression; it is colored with  another, of Tobit restoring Sight to his Father;
wonderful delicacy and beauty, and is preserved  and in the collection at Dusseldorf is an Ecce Howith the greatest care and veneration. The fol-  mo, dated 1544.
lowing elegant criticism on this artist is from the  HEMRICH, C. H. This engraver resided at
pen of Dr. Franz Kiigler.  "Hemling adopted the  London about 1705 but was probably aative of
mode of conception peculiar to the school of van   Germany. Among other plates he executed a
Eyck, tinged, however, with greater severity. The   et     erfies   d insects, after Roesel, in a
features are less lovely, but more earnest; the fig-  ver    t stelies
ures less elegant; the movements less soft; the     y       y
handling sharper, with greater finish of detail.       HEMSKERK, MARTIN VAN VEEN, called
His grouping is strictly symmetrical, and he con-       MARTIN, a Dutch painter, born at Hemsfines himself in general to the characters absolute-  skerk, near Haerlem, in 1498; died in 1573. He
ly necessary; while on the other hand, he en-  was the son of James William van Veen, but acdeavors to exhaust the history, and often intro-  quired his surname from his birthplace. HIe first
duces the events which preceded or followed the  studied under John Lucas, at Delft; after which
principal action, in a smaller size, in the back-  he went to Utrecht, and entered the school of John
ground. We trace his more serious feelings par-  Schoorel. Here he made such rapid progress that
ticularly in the conception and coloring of his  his master became jealous, and dismissed him from
landscapes. If in John van Eyck these shine in  his academy. He executed a picture of St. Luke
the light of spring, in Hemling they glow with   painting the portrait of the Virgin, for the Paintthe richness of summer; the greens are darker,  er's Chapel at Haerlem, so entirely in the style of
the meadows are more equally tinted, the foli-  Schoorel, that it was generally ascribed to that
age of the trees more dense, the shadows strong-  master. At the age of tJirty-four he visited Italy,




HEMS.                     396                     HENR.
and remained three years at Rome, studying the   was Orestes pursued by the Furies, characterized
antique, and the works of Michael Angelo.  On  by correct design and vigorous coloring. In 1815
returning to Holland, he executed several works  he left France and settled at Liege, where he was
for the public edifices at Amsterdam, among   patronized by the Prince of Orange. He finally
which is an altar-piece of the Crucifixion, in the  retired to Tournay, and directed the Academy of
old church, with two folding doors, representing   Design in that city, until his death.
subjects from the Passion of Christ. Hemskerk       HENRIET, ISRAEL, a French designer and engained a high reputation, and was considered an   graver, born at Nancy in 1608. He was the son
eminent artist in his day. His draperies, how-  of Claude Henriet, a painter on glass, who inever, are clumsy, with a confusion of folds; his  structed him in the elements of design, and then
heads have little grace or beauty of expression.  sent him to Rome, where he became a pupil of
His compositions are abundant, but with little  Tempesta. On returning to Paris, he devoted
taste or judgment; and, like many other imita-  himself to engraving, and was appointed to in-'tors of Michael Angelo, his design is frequently  struct the Dauphin, afterwards Louis XIV.. in destrained and overcharged. There are a few etch-  sign. He engraved a number of plates of the Hisings by this artist, among which are four plates  tory of the Prodigal Spn, some landscapes, and othrepresenting Judah and Thamar, the Annuncia-  er subjects, from his own designs, in the style of
tion, the Wise and Foolish Virgins, and Industry   Callot. Henriet established himself as a printand Commerce.                                     seller, and published many engravings, from his own
HEMSKERK, EGBERT, called the Elder, a  designs, and after Callot, Della Bella, and Israel
Dutch painter, born at Haerlem about 1610. His  Sylvestre, all of whom he employed. He died at
subjects are of the lowest order, representing the  Paris, in 1661.
interiors of Dutch taverns, with Boors drinking     HENRIQUEZ, BLAISE LOUIS, a French engraor quarreling. They are executed with considera-  ver, born at Paris in 1732. He studied under N.
ble ability, and a good imitation of nature, though   G. Dupuis, and was chosen an Academician in
greatly inferior to the works of Brower and Te-  1779. His plates are executed with the graver, in
niers.                                            a very neat style. The following are the princiHEMSKERK, EGBERT, called the Younger,  pal:
probably the son of the preceding, was born at                      PORTRAITS.
Haerlem in 1645. He studied under Peter Greb-    Louis XVI. King of France; after J. Bozg. Denis Diber, but imitated the style of the elder Hemskerk.  derot; after Vanloo. John d'Alembert; after Jollain.
He painted drunken scenes and drolls with con-  Francis Maria Arouet de Voltaire; after Barat.
siderable humor, and  sometimes incantations,             SUBJECTS AFTER VARIOUS MASTERS.
spectres, and similar subjects, characterized by in-    Minerva driving away the God of War; after Rubens.
genuity and fertility of invention, although the col-  Mercury and Argus; after G. van Eeckhout. Honors
oring is cold and heavy. He visited England in  paid to the Constable du Guesolin; after Brenet.
the reign of King William, and was much patron-    HENSTENBURGH, HERMAN, a Dutch paintized by the Earl of Rochester. He died at Lon-  er in water-colors, born at Hoorn in 1667. He
don in 1704.                                     excelled in painting birds and flowers, and his picHENDRIKS, WYBRAND, a Dutch  painter,  tures are still esteemed.
born at Amsterdam in 1744. He settled at Haer-    HERACLIDES. the Macedonian, a celebrated
lem, where he practised the art with great reputa-  ancient marine painter, who flourished about B. c.
tion for many years, and painted portraits, inte-  180.
riors, and landscapes. His flower-pieces and sub-    HERCK, JACOB MELCHIOR VAN, a Flemish
jects of still-life, in the style of Weeninx, how-  flower-painter, who lived about 1720. He married
ever, are the most admired of his works. In the  the daughter of P. G. Verbruggen, and copied
Museumat Amsterdam is a View in Haerlem, exe-  some of the works of that master.
cuted by this artist. He died in 1830.
cuted by this artist. He dd.         HERISSET, A., a French engraver, who flourHENGEL, H. F. VAN, a Dutch painter, a native  ished about 1750. His plates do not possess much
of Nimeguen, flourished in the last century. He  merit. Among them  are several after J. F. de
studied under Herman vander Myn, and painted   Troy; also some plates of fortifications, published
landscapes and conversations of a cabinet size;  in 1757; and a part of the plates for the folio pubbut whether from want of ability, or disinclination  lication of the Views of Versailles.
to part with his pictures, he never disposed of any,                      Fl
retaining them in his collection till his death,    HERLIN, FREDERIC, a Flems  painter, a naretaining them  in his colection 17l his den th,  tive of Nordlingen, flourished in the latter part of
which occurred at Utrecht, in 1785, when they  the5thcentury.    e hada brother named Huwere all sold.                                  the 15th century. He had a brother named Hu%8^~~~~~~   *                          ~~bert, who was also a painter; and there were sevHENNEQUIN, P. A., a French painter, born at  eral other artists of this name, who flourished
Lyons in 1763. He studied under David, gained  about the same period, but little is known of their
the grand prize of the Academy, and visited Rome  histories or works. Frederic Herlin was a close
with the royal pension. On returning to France,  imitator of the style of van Eyck. In the church
he went to Paris, and soon after settled in his na-  of St. George, at Nordlingen, are two pictures by
tive city, where he was commissioned to execute a  him-the Crucifixion. and the Virgin and Infant,
painting for the Hotel de Ville, which he finished  with Saints-dated respectively 1462 and 1488.
in six months.  He became involved in the Revo-  In the choir of the Cathedral at Meissen, is a
lution, and came near losing his life. He prac-  beautiful picture by him, in an elevated style,
tised the art at Paris under the rule of Napoleon,  which closely resembles the works of van Eyck,
and produced several good works, among which  both in composition and the naked figures, although




HERM.                     397                    HERR.
the latter are not so well treated. The draperies  HERREGOUTS, MAXIMILIAN. Little is known
are cast in a grander style than in John van Eyck,  of this painter. There is a picture representing
although they do not exhibit the particular stuffs  the Interior of a Kitchen, with a Woman making
so distinctly as in the works of that master. Un-  Pancakes, signed with his name, and dated 1674.
fortunately, this gem has been greatly injured by  HERRERA, FRANCISCO DE, THE  ELDER, a
the so-called process of restoration.            Spanish painter, born at Seville in 1576. He is
HERMODORUS, or HERMODUS, a Roman   also said to have been an architect, but none of his
architect and engineer, who flourished about B. C.  works are mentioned. He studied painting under
104. According to Vitruvius, Metellus commis-  Luis Fernandez, and was among the first who atsioned him to erect the porticos surrounding the  tempted to reform the dry and tasteless style that
temple of Jupiter Stator. He also erected the  had previously prevailed in Spain. His works
temple of Mars, in the Flaminian Circus; and he  are distinguished for a clear and bold coloris probably the architect praised by Cicero for his  ing, and the figures have a fine relief. He visited
abilities in constructing all works necessary for  Madrid, and painted several subjects from the life
sea-ports.                                       of St. Ramon, in the cloister of Merced Calzada.
HERMOGENES, a Greek architect, a native of  Besides historical works, he also excelled in paintAlabanda in Caria. He is cited by Vitruvius as  ing fairs, markets, and merry-makings, which
one of the most celebrated architects of antiquity,    ere greatly admired. Among his principal works
and as having greatly contributed, by his works,  is the Last Judgment, in S. Bernardo at Seville;
discoveries, and teachings, to the progress of the  and his fresco paintings in the cupola of San Bueart. In the city of Magnesia, he erected a temple    a Ventura.  Herrera established a successful
to Diana, of the Doric order; at Tros, he built a  school, in which the preeminent Don Diego Velastemple to Bacchus; and he also published a work   quez was educated. There are afew etchings by
on these edifices, which was extant in the time of  himafter his own designs, particularly of his picAugustus. There was a sculptor of this name, a  tures in S. Buena Ventura. He died in 1656.
native of Cythera, who executed, among other    HERRERA, FRANCISCO DE, THE YOUNGER, the
works, two statues of Apollo and Venus, at Co-  son and scholar of the preceding, born at Seville
rinth.                                           in 1622. He visited Rome for improvement, where
HERMON, an ancient Greek sculptor, a native  he resided six years, studying with great assiduity
of Trezene, by whom there were several statues  the beauties of antiquity, and the best works of
in the time of Pausanias, in a temple of his na-  art. On returning to Spain he manifested great
tive city, which that author regards as the most  abilities, and soon gained a high reputation. Some
ancient edifice of the kind in Greece. At Elis he  time after his return to Seville, the Academy of
executed the treasury of the Epidamnians, in con-  Painting was commenced, Murillo being chosen
cert with his brother Lachares, and his father  president, and Herrera vice-president. Not liking
Pyrrhus.                                         this inferiority, he left Seville and went to Madrid,
HERREGOUTS, HENRY, a distinguished Flem-  where he soon gained reputation. He was appointish painter of history, born at Mechlin about 1666.        painter to Charles II., and superintendent of
It is not known by whom he was instructed. His  te royal works. He also excelled  in painting
works are characterized by grandeur of composi-    ll-life, owers, and fish, particularly   the lattion, correctness of design, great freedom of pen-  ter, for which he was called by the Italians
ilfreedom? pen-  il Spagnuolo  degli Pesci. Among his' principa)
cilling, and a pure and chaste style of coloring, re-  il Sagolo dei Pesc    Among his pricipal
sembling that of Vandyck.  The airs of his heads  works at Paris are the great altar-piece of the Car.
sembling that of Vandyck. The airs of his heds                                              As
are graceful and expressive, and his draperies are  melites, representing St.Hemendildo; the As
simple and well cast. There are several of his  sumption of the Virgin, in the cupola of the conpictures in the churches of Antwerp, Louvain   vent Nuestra Sennora d, Atocha; and i  the
and Bruges. In the Cathedral at Antwerp is a  convent of Corpus Christi, St. Anne teaching the
fine picture by Herregouts, of the Martyrdom of   Virgin to read. He died in 1685.
St. Matthew; and at Bruges, in the church of St.    HERRERA, CAV. GIOVANNI D', an eminent
Anne, is his master-piece, representing the Last  Spanish architect, who flourished about 1570. He
Judgment. It is an immense composition, with   was a pupil of Giovanni Battista di Toledo, and
figures larger than life, grandly composed, and de-  succeeded that architect in the erection of the Essigned in a bold style. Herregouts died at Ant-  curial, which is a high testimonial of his abilities.
werp in 1724.                                    For a description of this magnificent edifice, see
HERREGOUTS, JOHN BAPTIST, the son and   Giovan        ni Batlista. Herrera was appointed royscholar of the preceding, born at Bruges about  al achitect, and gained great reputation for his
1700. He painted historical subjects in the style  numerous edifices. He desied the church of St.
of his father and his works possess considerable  James in the vicinity of Cuenca; erected the
fmerit although inferior to that master. In the  bridge of Segovia, entirely of granite; and was
merit. although inferior to that master. In the  the first architectof the royal pleasure-house at
church of St. Anne, at Bruges, is a picture of the  t     al pleasure-house at
Virgin and Infant in the Clouds with a Glory of  A    uez. Hediedin 1597.
Angels; in the church of the Carmelites, the Pre-    HERRLIBERGER, DAVID, a Swiss engraver,
sentation in the Temple, and the Virgin and seve-  born at Zurich in 1697. and died there in 1777.
ral Saints kneeling before Christ, considered his  He studied under Melchior Fu.ssli, and then visitbest work. There are a few etchings by this art-  ed Amsterdam, where he gained much improveist, executed in a slight, free style, among which   ment from the instructions of Picart. He then
is a plate of St. Cecilia, surrounded by a Glory of  visited England and France, returning thence to
Angels, signed J. Baptista Herregouts,f et invent.  his own country. He engraved and published
a Brugge.                                        several pictorial works, among which is a Topo



HERS.                     398                     HESS:
graphical Description of Switzerland, 3 vols.,  Academy, in 1780. In 1782, the Elector Palatine
illustrated by 323 plates.                        appointed him engraver to the court, and in 1787
HERSENT, Louis. a French painter of history   he visited Italy for improvement, where he lived
and portraits, born at Paris in 1777. He studied  on terms of intimacy with  eminent men  of
under Regnault, and painted many subjectslfrom   learning and talents. On his return to Germany,
poetry, and from French history, which are great-  he remained some time at Munich, and afterwards
ly esteemed. He also painted many eminent per-  practised the art with great success at Dusseldorf;
sonages, and his works are to be found in the best  until that city was attacked by the French in 1794,
French collections. Some of them have been en-  when he removed back to Munich. He executed
graved by Adam, Tardieu, Laugier, and others.  many plates after the pictures in the Dusseldorf
Hersent was a member of the Legion of Honor,  Gallery, for a pictorial work, and his plate of the
the French Institute, and the Royal Academy at  Painter and his Wife, after Rubens, is esteemed
Berlin. His wife, Madame Hersent, whose maiden  the finest one in the collection, although Bartoname was Mauduit, was born in 1784. Shegain-  lozzi executed many plates for the same work.
ed great distinction as a paintress of history and  He received many commissions from England, and
portraits, and some of her works may be seen in  from the German Libraries. Among his other
the Luxembourg and Fontainbleau galleries, which  esteemed productions are the Ascension, after Guihave been engraved by Tardieu.                    do; the Charlatan, after G. Douw; the Holy
ERTOKS, A. an English  engraver,   Family, fter Raffaelle; the St. Jerome, frequentH[ERTOCK(S,  A., an English  engraver, who  ly attributed to the Elder Palma; the Madonna,
lived about 1660. He wrought chiefly for the      attrCutedo the Elder Palmat the Madonna,
booksellers, and executed a number of portraits  aenth Cartr Dolci; and a       large plater thielerand frontispieces, entirely with the graver, in an   He died in 1828. His three sons distineuished
indifferent style. Among them are the following:  themselves as painters. Peter Hess a painter of
PORTRAITS.                    battle-pieces, born at.Dusseldorf in 1792, and for
Charles I. kneeling, holding a Crown of Thorns; after  three years after 1813, accompanied the Bavarian
P. F'ruytiers. Charles II. when Prince of Wales. Sir  army into France, to design the battles. Heinrich
Edward Nicholas, Secretary of State; after Hanneman,  Hess, born at Dusseldorf in 1798, was professor
Sir Francis Wortley, Bart. Henry Rolle, Juris-consul;   f historical painting in the   cademy of Fine
prefixed to his Abridgment. Robert Rawdon, a Governor  of historical painting in the Academy of Fine
of St. Thomas's Hospital. William Chamberlaine, M. D.  Arts at Munich. Carl Hess, a painter of landand poet; prefixed to his Pharonnida. Hugh Crompton,  scapes and familiar subjects.
poet. Alexander Brome, poet. Gideon Harvey, M. D.    HESS C          A                 
Fdward Waterhouse, Juris-con. and antiquary., CRL ADOLPHUS, was born at Dresden
HERZ, or HERTZ, JOHN DANIEL, a German  in 1769, and attained a skill in painting horses
~I  ^        O 4.IIEL, XT    i.rmn,equal to that of any other German artist. He
engraver, born at Nuremberg, according to Basan,  was not related to the preceding family.
in 1599; died in 1635. He etched several plates                                             
from his own designs, and those of other masters,    HETSCH, PHILIP FREDERIC DE, a German
among which is a large plate of St. Paul in the  painter, born in 1758. While very young, he enAreopagus, after his own design.                  tered the school established at Stuttgard by the
HESS, Louis, a Swiss landscape painter, born   Duke of Wurtemburg, where he had the advantage
at Zurich in 1760. He studied under Solomon   of the advice and instruction of Guibal, a pupil of
Gessner, and made excursions among the moun-  Mengs.  Hertsch gained several prizes, and in
tains, to design views of the grand scenery of his  1780 went to Patis, where he formed his style by
native country. In 1794 he visited Rome for im-  studying the works of Vien and Joseph Vernet.
provement, and on returning to Switzerland he  After two years he returned to Stuttgard, and was
soon gained reputation, and was much employed.  appointed one of the court-painters  In 1785 he
There are many of his landscapes in the collections  visited Italy for improvement, and while there,
was elected a member of the Bolognesie Academy.
of France, England, Germany, Denmark, and Rus-  was elected a member of the Bolognese Academy.
sia, which are distinguished for correctness of de-  On  returning to  ermany, he soon gained reputasign, fine choice of objects, and truth of coloring   tin, and received many commissions.   orPrce
In the latter part of his life he engraved a num-        he executed an equstrian portrait, besides
ber of fine plates, from his own designs. He died   ny subjects of history. In 1800 he was apin 1800.                                         pointed Director of the Gallery at Stuttgard, and
was soon after received into the Academy of Fine
HESS, CHARLES ERNEST  CHRISTOPHER, an   Arts at Berlin. He visited Paris in 1808, where
eminent German engraver, born at Darmstadt in  he remained a short time. and painted a picture of
1755. He lost his father at the age of thirteen,  the Resurrection, which  was greatly admired.
and was afterwards taken under the protection of  Among his other works, are several in the royal
his relative Hohleisen, a medalist and goldsmith  palace at Stuttgard, representing Brutus and Porof Manheim, who taught him those arts. During  cia; the Farewell of Regulus; Tullia driving her
his leisure hours, Hess devoted himself to the  Chariot over the Body of her Father; and the
study of the works of art in the gallery of Man-  King of Wurtemburg and his Suite. He practised
heim, and by the advice of Krahe, director of that  the art but little in the latter part of his life, and
gallery, resolved to devote himself to copper-plate  died in 1838.
engraving. In 1776 he settled at Augsburg, and
engraved several good plates. Meanwhile his    HEUDELOT, J., a French engraver, who lived
friend Krahe had been appointed director of the   about 1760. Among other prints, he executed a
Dusseldorf Gallery, and he invited Hess thither,  portrait of Margaret Goyen, after a picture by
to engrave some plates after the pictures in that  Jan Steen, her husband; also a few plates after
collection. He executed several fine plates after  A. van Ostade and Lingelbach.
Rembrandt, which gained him  admission to the       HEUMAN, GEORGE DANIEL, a German engra



HEUS.                     399                    HEWV.
ver, who resided at Nuremberg about 1724.-        HEWVICK, GASPARD, a Flemish painter, born
Among other plates, he executed several portraits  at Oudenarde in 1550. At an early age he visited
in a very neat style, of distinguished Germans,  Italy, and entered the school of Lorenzo Costa, by
and a set of architectural views of the churches  whose instructions he became a good painter of
and public edifices of Vienna, published by John  large historical subjects, for churches and public
Andrew Peeffel, at Augsburg, in 1724.            edifices. He died in 1611.
HEURTIER, JEAN FRAN9OIS, a French archi-    HEYDEN, or HEYDE, JOHN VANDER. an emtect, born at Paris in 1739. He gained the grand  inent Dutch painter, born at Gorcum in 1637. He
prize in the Academy of Architecture, and passed  obtained his knowledge of design from an ordinary
three years at Rome, with the royal pension. On  glass painter; but his energy and talents enabled
returning to Paris he settled at Versailles, and  him to improve, by studying after nature, and his
was appointed architect to the king. He erected  taste directed him to the choice of subjects very
several fine edifices at Versailles and elsewhere;  rarely seen in such perfection as he has representwas a member of the Royal Academy of Archi-  ed them. He painted churches, palaces, ruins, and
tecture, and also of the Institute. He died at Ver-  views of cities, with the greatest precision; and
sailles in 1822.                                 enriched them with landscapes, trees, and lovely
HEUSCH, WILLIAM DE, a Dutch painter, born  distances. His pictures are finished with uncomat Utrechtin 1638. He acquired the elements of  mon neatness and patience; and he painted his
design in his native city, after which he visited  buildings with such exactness, that each brick or
Rome, and entered the school of John Both, where  stone might be counted in the walls. Notwithhe made great proficiency. He adopted the admi-  standing this careful finishing, his touch and colorrable style of his instructor, and was so success-  ing are so light, free and soft, that his pictures
ful that his works have often been mistaken for  hve no labored appearance. He was a perfect
those of Both. His landscapes exhibit the most  master ofthe principles of perspective and chiaroagreeable scenery, with more of the Italian than  scuro. Many of his works were decorated with
his native taste, and embellished with figures and  figures i admirable style by Adrian Vandervelde,
cattle neatly drawn, and touched with great spirit.  after whose death they  ere usually painted b LinHe designed after nature, and sketched views on   gelbach. Vnder Heyden had a secret of printing
the Rhine and the Tiber, of Frescati and Ti-pictures in oil colors, which he afterwards r
voli. Though inferior to Both, his talents were  tuched with the pencil. Several of them, done on
very highly esteemed, and high prices were paid  parchment, were fied ona panel, in a very ingefor his works. He executed twelve spirited etch-  nious manner.   ander   ydenvisitedermany,
ings, with figures, after his own designs, which   Belgium, and England. Among other works, he
are now very rare. He died in 1702.              executed a View of the Royal Exchange and Monument, London; the Town House, Amsterdam;
HEUSCH, JACOB  DE, a Dutch painter, the  and several views in Cologne, Brussels, Delft, and
nephew and scholar of the preceding, born at  other cities. He died in 1712.
Utrecht in 1657.  After attaining considerable
ability under his instructor, he visited Italy, where    HEYDN, JOH    ND, a   emis  portrait
he particularly attached himself to studying the  painterwhovi      Englndandresided atLonworks of Salvator Rosa, and followed the style of  don, where he died about 1686.
that master with considerable success. He met    HEYLEN, GONZALES VAN, a Flemish wood enwith very flattering encouragement at Rome, his  graver mentioned by Papillon, was a native of
pictures being greatly admired, which represent  Antwerp, and flourished about 1694. There are
the finest views in the vicinity of Rome, dec-  several frontispieces and other book illustrations
orated with figures and animals in admirable  by him, executed in a free, spirited style.
style, correctly drawn, and vigorously touched.    HIBBART, WILLIAM, an English engraver, who
There are a few etchings by him, executed in a  lived at Bath about 1760, and etched several porneat, slight style, after his own designs. He died  traits in a free, painter-like style, which are somein 1701.                                         what in the style of Worlidge. Among them are
HEUSCH, ABRAHAM DE, a Dutch painter, prob-  the portraits of Antoine Watteau, and Laurence
ably a relative of the preceding, born at Utrecht  Delvaux.
in 1650. He studied under Christian Striep, an     HIDALGO, DON JOSE.  See GARCIA.
artist of little note. He excelled in painting     HIGHMORE, JOSEPH, an English painter, born
plants, insects, and reptiles, copied from  nature  at London in 1692. Against his inclination, he
with wonderful accuracy and finish. -His works  was articled to an attorney in 1707, but in about
are very scarce, as he used a vast amount of care  three years he commenced employing his leisure
in finishing every picture; and they are equal to  hours in drawing, and frequented the Painters'
Gerhard Douw or Mieris for their delicate polish.  Academy, under the direction of Sir Godfrey KnelThere are a few etchings by this artist, after his  ler, who noticed him particularly. On the termiown designs.                                     nation of his clerkship he commenced painting as
HEUVELE, ANTHONY  VANDER, a Flemish  a profession, and soon met with employment. He
painter, born at Ghent about 1605. He studied  was engaged by Mr. Pine to make the drawings
under Gaspar de Crayer, and afterwards visited  for the prints of the Knights of the Bath, on the
Italy. On returning to Ghent, he painted a num-  renewal of that order in 1725. He also painted
ber of good pictures for the churches and private  the portraits of several of the members of that
collections in that city, and'other towns in Flan-  order, among which was one of the Duke of Richders. In the Museum at Brussels is his Martyr-  mond.  Shortly after he was commissioned by
dom of St. Aurelia; but his master-piece is in the  George I. to paint the portrait of the Duke of
Museum at Ghent.                                Cumberland. In 1732, Highmore visited the con



HIGM.                      400                    HIPP.
tinent, for the purpose of seeing the Dusseldorf  flourished about 1645, and executed a number of
Gallery; and two years after he went to France  plates, among which is a portrait of Prince Rufor a similar purpose. In 1742 he painted the  pert, and Robert, Earl of Warwick.
Prince and Princess of Wales, for the Duke of       HIPPODAMUS, a famous Milesian architect,
Saxe Gotha. He executed a series of pictures,  who built the port of Athens.  According to Strawhich were engraved and published by subscrip-  bo, his most celebrated work was the city of
tion, in 1745.  Among his subjects of history,  Rhodes, founded about B. C. 408.  It was diswere the Good Samaritan; the Finding of Moses;  posed in the form of an amphitheatre, ornamented
Hagar and Ishmael, and the Graces unveiling Na-  with magnificent buildings, ample streets, squares,
ture. He died in 1780.                            walks, and groves. According to Suetonius, there
HIGMORE, an engraver of uncertain age and   were temples for all the gods of paganism, among
country, whose name is affixed to several large  which, that of Apollo was considered the finest;
portraits, among which is that of Le Sage, the au-  and those of Isis and Diana were master-pieces of
thor of Gil Bias.                                 architecture.  Pliny says that Rhodes possessed
AARD, PAU  VAN a reuta      ut    more than three thousand statues, besides the faHILLEGAARD,  PAUL VAN, a reputable Dutch   mous ColossusoftheSun.
historical painter, of whose historylittle is known.  mous Colos of te 
He painted battles, skirmishes, and drunken quar-   HIRE LAURENCE DE LA aFrench painter, born
rels. In the Museum at Amsterdam is a picture  at Paris in 1606; died in 1656. He was the son
by him, representing Prince Maurice dismissing  and scholar of Stephen de la H., an historical paintthe Trained Bands in 1618.                        er of some reputation. He afterwards entered the
HILLIARD, NICHOLS  n Englh m    e  school of Simon Vouet, and although he did not
ILIARD,  N, an English minture  follow the style of that master, like all other of
painter, born at Exeter in 1547. He acquired the  his cotemporaries, yet he did not adopt a better
business of a goldsmith and jeweller, and having a  butcontinuedamannerist  Twoof his bestworks
taste for design, he studied the works of Holbein,  are the Entry of Christ into Jerusalem, and his
and gained something of the neatness of his finish-  Apparition t  the Marys, in the church of the
ing, though greatly inferior in clearness and vig- pparition to the Marys, in the church'of the
ing, though greatly inferior in clearness and vig- Carmelites at Paris. There are several etchings
orof coloring. He attained estimation in his day   a P    gs
oi eofvcoloring.  Heoattainedestim dationin   t hisday;  by this artist, some of which he has assisted with
painted several court personages; and was appoint-  the graver, executed in a slight, free style, but incored goldsmith, carver, and portrait painter to Queen  rectly drawn. Among others are the following:
rectly drawn. Among others are the following:
Elizabeth. He died in 1619.
HILTON, WILLIXM  an eminent English his-    The Holy Family, with St. John kissing the foot of the
HILTON, WILLIXM,  an eminent English his-  infant Jesus; L. de la Hire, inv. etfec. The Holy Famitorical painter, born at Lincoln in 1786. He stud-  ly reposing, surrounded by Angels. The Repose in Egypt.
ied under his father, who practised portrait paint-  The Crucifixion, with the Virgin, Magdalene, and St. John.
ing in his native place; after which he went to  1639. The Conversion of St. Paul. The Judgment of
London, and entered the Royal Academy. Here  Paris. Venus and Adonis. Different sets of Children
he made good advances, and in 1806, produced his  playing, in the form of friees. Several Landscapes, of
picture of Cephalis and Procris, from Ovid, succeeded by Venus carrying AEneas, and Ulysses and    HIRE, PHILIP DE LA, the grandson of the preCalypso. These and several other works were  ceding, born at Paris in 1677. He acquired the
large compositions, and attracted much attention   elements of design, but afterwards entered the
for their skilful composition, and harmonious col-  medical profession, in which he attained distincoring. His conceptions were elevated, and many  tion.  During his leisure hours he occasionally
of his works possess great beauty, and delicacy of  indulged his taste for art, and painted several fine
touch, although they lack that poetical fire so es-  pictures in the style of Watteau.  He died in 1719.
sential to the art, and have an alloying tameness      HIRSCHFOGEL, AUGUSTINE, a German
which is easily distinguished. Hilton practised   f    engraver and enamel painter born at Nuthe art for many years, but like Barry and other  remberg about 1506. He was the son of Viet H.
English historical painters, did not gain much  a glass painter, who instructed him  in the eleencouragement. Cunningham says of this, that  ments of design. His drawing of the figure is in"he shut his eyes to the fact, that neither reli-  correct, but his etchings of landscapes are execugion nor history, now, since general intelligence  ted in a masterly style. Among other plates by
had opened their pages to all, required Art as an  him there are the following:
interpreter, and that the nation desired the magic
of color and the graces of outline tA e of outline to bsix mountainous Landscapes, with castles. 1546.
on unexhausted and original topics."  Hilton was    Landscape, with a Canal and a Stone Bridge. 1525. A
on unexhausted and original topics."  Hilton was  View of a Village by the side of a River, with a Wooden
chosen a member of the Royal Academy in 1819,  Bridge. 1546. A Landscape, with a figure representing
and in 1825 was appointed Keeper. This office af-  the Death of Cleopatra. 1547. Two Views of Sea-ports,
forded him a modest independence, so that he was  with Shipping.  1549.  Part of the Murder of the
enabled to pursue his favorite branch of the art,  Innocents; after a sketch by Raffaelle, different from
without interruption, and he produced ten histor   th  by Marc' Antonio. 1545. A Vase, with goldsmith's ornaments. 1543. A Sword, the handle ornamentical and poetical works, from  this period to 1836.  ed with eagles' heads, and the scabbard with goldsmith's
Among his principal pictures are, Sir Calepine  ornaments.
rescuing Serena, in the National Gallery; Venus
restcing Serena, in the National G~allery; Venus    HOARE, WILLIAM, an English portrait painter,
seeking Cupid at the Bath of Diana, in the collec-  born at Eye, in Suffolk, about 1707. After retion of Lord Charles Townshend; the Rape of  ceiving a liberal education, he was placed under
Proserpine; and Nature blowing Bubbles for her
hildPr oserpi ne;  and Nature blowg  Bubbles for hiser   Grisoni, an Italian painter in London, on leaving
Children.  Hilton was greatly beloved for his  whom, he visited Italy, and entered the school of
mild and amiable manners. Hle died in 1839.       Francesco Imperiale, he diciple of Carlo  aratti.of
IINDE, T., aobcrEnls,              Francscuo Imperialwh e  the formed disciple of Carlo   aratih Pope
HINDE, T., an obscure English engraver, who  Here he formed a close intimacy with Pompeo




HOAR.                    401                    HODG.
Batoni, which lasted through life. He made many   zotinto, after Vandyck, Metzu, and Rembrandt
studies and copies from the works of the best mas-  He died at Amsterdam in 1837.
ters, and after nine years, returned to England.    HODGES, WILLIAM, an English landscape
Finding little encouragement to historical paint-  painter, born at London in 1744. He studied uning he had recourse to portraiture, and practised  der Wilson, on leaving whom he was engaged as
at Bath successfully, for many years. He gained  draughtsman to accompany Capt. Cook on his see
considerable distinction as a painter in crayons,  ond voyage of discovery round the world, and de
and produced many elegant figures in that branch  signed many interesting views of the various counof the art. When the Royal Academy was formed,  tries which they visited. On returning to London,
Hoare was chosen a member, and exhibited for  he painted several pictures for the Admiralty, of
many years. For the Octagon Chapel, at Bath,  views in Otaheite and other islands of the Pacific
he painted a picture of the Pool of Bethesda; and  ocean; after which he visited India, where he refor the church of St. Michael, Christ bearing his  sided until 1784, and acquired a competent fortune.
Cross. He died in 1792.                        On his return to England he practised the art for
HOARE, PRINCE, an English author and an  a few years, but in 1790 engaged in a commercial
amateur painter, the son and scholar of William   speculation, by which he lost his property. He
H., born at Bath in 1755. He studied in the  diedin 1797.
Royal Academy, and in 1776 visited Rome, where    HOECK, JOHN VAN, an eminent Flemish painthe was a pupil of Raphael Mengs, at the same time  er, born at Antwerp in 1600. After acquiring a
with Fuseli. and Northcote. In 1799 he became  liberal education, he entered the school of Rubens,
foreign correspondent of the Royal Academy. He  and became one of the most distinguished scholars
wrote a number of works, some of which related  of that great master. On quitting Rubens, he
to art, and gained considerable reputation. He  went to Italy, and resided several years at Rome.
was a member of several academies, and died in  He devoted himself with great assiduity to study1834.                                            ing the works of the old masters, and painted sevHOBBEMA,  MINDERHOUT.  Little is known  eral pictures for the nobility, which gained him
great reputation. On returning to Flanders, he
of the life of this eminent painter. According to  was invited to Vienna by Ferdinand II., and paintthe generally received opinion in Holland, he was  ed the portraits of the imperial family, and the
born at Coeverden, about 1611; although some  principal personages of the court; also several
writers assert that he was a native of Vriesland;  historical works for the churches and public ediothers, that he was a Noord Hollander; and Rev.  fices. He accompanied the Archdake Leopold,
Mr. Pilkington says he was a native of Antwerp. governor of the Lw Countries, on his return to
governor of the Low Countries, on his return to
He resided at Amsterdam, and lived on terms of  Holland who appointed him frst painter to the
intimacy with Nicholas Berghem, A. Vandervelde,  cou   and empoyed him  on several important
John Lingelbach, and Ruysdael, who are said to  works. The portraits of van Hoeck areremarkahave adorned his landscapes with figures and ani-  be fort     ratrand are little
mals. His style was similar to the latter with a, ble for their accurate resemblance, and are little
mals. His style was similar to the latter, with a inferior to those of Vandyck. Among them are
richer and more harmonious system of coloring.
cher and more harmonious system of coloring   his admirable pictures of Albert and Isabella, for.
His subjects are usually of a very humble charac-  merly in the collection of Prince Charles of Lorter, oftei representing a ottage eabosomed in th raine. His subjects of history are finely composed
clump oftrees, with a sandy road leading through   designed in a correct and delicate style, with a cola wood, and a brook or small lake. His pictures  oring and penciling so closely resembling that of
are executed with charming simplicity, and he is  Rens   a  is picres  ae occasionally been
not surpassed by any Dutch painter, for pure and  Rubens, that his pictures have occasionally been
not surpassed by any Dutch painter, for pure and  ascbed to that master even in Flanders. Among
chaste tints, finish and freedom of touch, and in-  ascribed to that master, even in Flanders. Among
chaste tints, finish and freedom of touch, andis a capital picture of th
ti ofIar uro    n      some of themhehis historical works, is a capital picture of the
telligence of chiaro-scuro.    some of them ho  Deposition from the Cross, in the Church of Our
has most happily introduced the sunlight penetra-  Lady, at Mechlin. He died in 1650.
ting the forest shade, and illuminating the centre,  mish painter born
of his picture in a most admirable manner. His    HOECK, ROBERT  AN, a Flemish painter, born
skies are light and floating, and his verdure poss-  a Antwerp in 1609. His instructor is not menesses a charming dewy brightness. The pictures  tioned, but he excelled in painting encampments
of Hobbema are dated from 1657 to 1669. They  skirmishes, and battles,'with a great variety of
were long considered less desirable than the works  small figures, neatly drawn, and touched in a very
were long considered less desirable than the works
of Ruysdael, but are now in great estimation and  spirited style. He also painted historical subjects.
of Ruysdael, but are now in great estimation. and
fine specimens bring the very highest prices; even f which there are twelve in the Abbey of Ber
$15,000 has been paid for one.                  St. Viiox, near Dunkirk, representing the Twelve
Apostles, with the Martyrdom of each beneath.
HOCKNER, JOHN GASPAR, a German engrav-            HOEFNAGEL 
er, who resided at Dresden about 1655.  He         HOEFNAGEL GEORGE a Flemish designer
14 painter, and engraver, born at Antwerp in 1546.
wought chiefly for the booksellers, and engraved   painter, and engraver born    Antwerp in 1546
a number of plates in a neat style, but devoid of  His fthe   as a iamo     merchant, and intended
taste.                                         him for the same occupation; but manifesting a
genius for art, he was allowed to follow his incliHODGES, CHARLES HOWARD. This portrait  nation. After acquiring the elements of design,
painter was born in England, in 1774, but visited  he visited Italy for improvement, and made many
Holland, and settled at Amsterdam.  He was  drawings of the most remarkable monuments and
much patronized by distinguished personages, and  other antiquities. On returning to Flanders, he
was greatly esteemed for his firm and broad pen-  published a volume of plates after those designs;
cil, beautiful tone of coloring, and correct like-  and then applied himself to painting animals,
nesses. He engraved a number of plates in mez-  plants, and insects, which he finished with great




HOEF.                     402                     HOFL.
correctness and beauty.  When Antwerp  was  traits of three dignitaries of the British governtaken by the Spaniards, Hoefnagel was plundered   ment, dated 1711.
of all his possessions, and fled to Bavaria, where  HOFLAND, THOMAS CHRISTOPHER, an English
he obtained the protection of the Elector, and re-  landscape painter, born at Worksop, in Nottingmained several years at Munich. He was after-  hamshire, in 1777. He acquired the elements of
wards employed by the Emperor Rodolphus, who   design from a landscape painter named Rathbone,
settled upon him a pension, retaining him in his  and afterwards went to Derby, where he passed
service until his death, in 1600. As an engraver,  several years as a teacher of drawing, and then
Hoefnagel executed a map of Bristol; some of the  went to London, intending to copy the pictures in
plates for the Theatrum Orbis Terrarum; and a  the British Gallery. In this enterprise he met
part of those in Braun's Civitates Orbis Terra-  with good success, and settled at London in 1814,
rum.                                              in which year he was awarded one hundred guineas
HOEFNAGEL, JAMES, a Flemish engraver, the  for his picture of a Storm off the Coast of Scarson of George H., born at Frankfort in 1575. He  borough, purchased by the Marquis of Stafford.
executed several plates from his own designs and   The Duke of Marlborough employed him for some
those of other masters; also a set of fifty plates  time at White Knights, to paint a series of picof beasts, birds, flowers, insects, &c., after the de-  tures to illustrate a description of that place, but
signs of his fathether.                               affair had an unpleasant termination, greatly
injurious to Hofland. and dishonorable to the
IHO, or        Oor HOGEEST, G.  Duke. He aided in establishing the "General BeThis painter flourished in the 17th  nevolent Society of Artists," and also in projectcentury, and was distinguished for his pictures of  ing the building of the Gallery in Suffolk street.
interiors of churches, in the manner of De Wit.  In 1840, he visited Italy, under the protection of
There are two of his works in the Museum at the  the Earl of Egremont, and designed many beautiHague, representing the new church at Delft, with  ful sketches of the scenery near Naples, Rome,
the monuments of the Princes of the House of   Tivoli, and Florence. Sickness compelled his reOrange. One of them is dated 1651. His cabi-  turn home, and he died at Leamington in 1843.
net pictures are occasionally seen in commerce.     HOFMAN, SAMUEL, a Swiss painter, born in
HOET, GERARD, a Dutch painter, born at Bom-  the Canton of Zurich, in 1589. He acquired the
mel in 1648. His father was a glass painter,  elements of design under Gotthard Ringgli, but
whom he assisted for some time in that branch of   afterwards visited Antwerp, and entered the school
the art, and then entered the school of Warnar  of Rubens, where he made such rapid advances
van Rysen, a painter of considerable eminence.  that he was soon  considered a distinguished
After remaining under that master about one year,  artist, both  in history and portrait, particuhe was obliged to quit him on account of his fa-  larly in the latter branch. He also painted fruit,
ther's death, who had left imperfect a number of  game, and other objects of still life. On reglass paintings, which Hoet was compelled to fin-  turning to Switzerland, he gained great encourageish for the'support of the family. He was thus  ment, and was highly esteemed for his portraits
engaged until 1672, when the French took posses-  in which he united  fidelity of resemblance to
sion of Bommel, which obliged him to take refuge  grandeur of style and dignity of character. He
at the Hague, and he employed himself in orna-  died in 1648.
menting  saloons, and  painting  the ceilings of    HOGARTH, WILLIAM. This eccentric genius
the principal hotels. He also painted cabinet pic-  was born at London in 1697 or 1698. His father
thres of historical and fabulous subjects, which   was a schoolmaster, and apprenticed him, at an
were greatly admired. He afterwards painted at  early age, to an engraver of arms on plate. While
Amsterdam, and finally settled at Utrecht, by in-  thus engaged, his inclination for painting manifestvitation of M. van Zuyden, for whom he executed  ed itself in a remarkable manner. Going out with
some of his best works. His figures are designed  some companions on an excursion to Highgate, the
with elegance, and drawn with correctness; his  weather being hot, they entered a public house,
coloring is lively, natural, and harmonious, though   where before long a quarrel occurred. One of
deficient in vigor. His pictures are composed in  the disputants struck the other on the head with
an ingenious and appropriate manner, and are held   a quart pot, which cut him  severely; and the
in high estimation. Hoet succeeded in establish-, blood streamed down the man's face, giving him a
ing a School of Design at Antwerp, of which he  singular appearance, which, with the contortions
was appointed Director, and he conducted it with  of his countenance, presented Hogarth a laughagreat honor and success. He died in 1733.         ble subject, and taking out his pencil, he sketched
IEY O Y JN VA        Ths p  r ws  the scene in a most truthful and ludicrous manIIOEY  or  OOY  JAN VAN. Thisaint          ner. At the expiration of his apprenticeship, he
born at Leyden in 1545, but visited Paris while   nered the Academy of St. Marte's Lane, and
young, where he acquired a knowledge of his art,  entered  drawg after the modela bt did not atn
and settled in that city. He painted subjects of   tu  excelene in   the fire. Hs  t didnot t
history; and is supposed to have engraved a num-    ain  exelentatin the fire. Hs fist paintin
ber of portraits and landscapes, but there is no   was a representation of Wanstead Assembly, the
certainty about this. His talents were highly es-  figures of which were sketched from the life, with
certainty about this. His talents were highly esteemed by HenrTy-IV., who appointed him  super-  great accuracy, but without any circumstances of
teemed by Henry-IV., who appointed him  sup^-   ^sque. Hisfirst employment appears to haveintendent of the royal collection of pictures. He  bu rlesque.   His first employ  net peas  to hve
died in 1615.                                     been engraving shop bills, and next the execution
of prints for the booksellers. In 1725 he engraved
HOFFMAN, FRANCIS, an engraver of little  some prints for Beaver's Military Punishments of
note, who lived in England about 1711. Among  the Ancients, and in 1726, seventeen prints for an
other plates, he engraved one representing the por-  edition of Hudibras. As a painter, he had great




TTO.A_                      403                      IIOGE.
facility in catching a likeness, and adopted a novel  sea Bubble; W. Hogarth, inv. et sculp. 1721. Thirteen
method of grouping families in conversation pieces,  prints fo Aubrey de la Motraye's Travels, in 1723. Seven
which for a time gained him considerable employ-   small prints for Apuleius's Golden Ass; in 1724. Fifteen
which for a time gained him considerable employ
head-pieces for Beaver's Military Punishments of the Anment.  He also painted a number of portraits, but   cients. A Burlesque on Kent's Altar-piece in St. Clement's.
was entirely unable to please his patrons.  He   1725. A Masquerade, invented for the use of ladies and
therefore devoted himself to the  delineation of   gentlemen by the ingenious Mr. Heidegger. 1725. A Just
the calamities and crimes of private life, and the   View of the British Stage. 1725. Twelve prints for Hudivices and follies of the age.  His series of " The   bras; the large set. 1726. The small set, containing sev
enteen, with Butler's head. (The head engraved for But
Harlot's Progress," " The Rake's Progress," and   ler, is that of J. B Monnoyer, the flower-painter, of which
"Marriage a-la-Mode," gained him  great reputa-  there is a mezzotinto.)  Mary Tofts, the rabbit woman of
tion; and the prints which he engraved and pub-   Godalmin. 1726. Rich's Glory, or his triumphant entry
lished from  them, although rude specimens of the   into Covent Garden. 1728. Sarah Malcolm, executed in
art, met with an enormous sale, greatly to his   1732 for murder. W.Hogarth,lad vivumpinxitet sculpsit. This woman sat to him for her picture two days before
emolument.  His talents were er~aminently in bur-   her execution. A Midnight Modern Conversation. 1733.
lesque and satire.  He has portrayed vice as lead-   Southwark Fair. 1734. The Harlot's Progress; in six
ing to disgrace and misery; while virtue is repre-   plates. 1733, 1734. The Rake's Progress; in eight plates.
sented as conducting to happiness and  honor.  1735. The Sleepy Congregation. 1736. The Distressed
Lord Orford characterizes him  as a painter of   Poet. 1736. The Lecture;  atur vacuum. 1736. The
Four Times of the Day. 1738. Strolling Actresses in a
comedy.  " If catching the manners and follies of  uBarn 1738. oThe Enraged Musician. 1741.  Marriage
an age,  living as they rise'; if general satire on   A-la-mode; engraved under his direction by Scotin, Ravvices and ridicules, familiarized by strokes of na-   enet, and Baron. 1745. The Portrait of Martin Folkes,
ture, and heightened by wit, and the whole ani-   Esq. 1745. Simon, Lord Lovat; an etching. 1746. Garmated by just and proper expressions of the pas-  rick in the character of Richard III.; engrave  by Hosions, be  comedy; Hogarth composed comedy as   garth and Grignon. 1746. The Stage-coach, an Election
sions, be comedy; Hogarth composed comedy as                     9
that he   Procession in the yard, 1747. The Effects of Industry
much as Molere."  It is nt surprising that he   and Idleness; in twelve plates. 1747. The Gate of Calais,
did not excel in portrait or historical painting.   "0 the Roast Beef of Old England!" by Hogarth and
His design and coloring possessed little merit.   Mosely. The March to Finchley; L. Sulivan, sc. W.
He was  incapable of conceiving or illustrating   Hogarth, dir. 1748. The Portrait of Hogarth, with a
a single noble passion of the human soul, and   pugdog. 1749. The Stages of Cruelty; four prints. 1751.
Paulbefore Felix; scratched in the manner of Rembrandt.
combined his burlesques with elevated subjects   1751' Paul before Felix; after the picture in Lincoln's
in a most disgusting manner, of which his Sig-   Inn Hall. Moses brought to Pharaoh's daughter; by Ho.
ismonda is an example.   His mind was of a   garth and Sulivan. Columbus breaking the Egg. 1755.
very low  order, totally devoid of delicacy, refine-  (The ticket to the Analysis.) Four prints of an Election.
ment or education. Naturally of a vulgar and    755; by Hogarth, Grignon, la Cave, and Aveline. The
satirical disposition, his asperities  were never   Portrait of Hogarth, painting the Comic Muse. 1758. The
Cockpit. 1759. The Five Orders of Periwigs. 1761. Cresoftened by contact with refined society.  Like   dulity, Superstition, and Fanaticism. 1762. The Times;
many others, who attain position by wealth alone,  two plates, 1762. John Wilkes, Esq.; drawn from the
he evinced his narrowness of mind by affecting to  life, and etched by W. Hogarth. 1763. The Bruiser, C.
despise all knowledge which he did not himself   Churchill, in the character of a Russian Hercules. 1763.
possess, and continued gross and uncultivated du- The  oodSamaritan. The Pool of Bethesda. Sigismonda. The Analysis of Beauty; two plates.
ring iis whole life. In 1730, he married the onlyAnal ofBeauty;                        plates.
daughter of Sir James Thornhill, against her             HOGEN  J., an engraver of little note, who exfather's consent; but when the latter perceived   ecuted, among other works, a print of Damianus
his abilities, he became reconciled to the marriage.  Agoess, in a neat style, signed, lo. Hogen fec.
He visited France in the year of the peace of Aix-       HOGENBERG, REMIGIUs. This engraver, from
la-Chapelle, but incurring suspicion of being a   his name, was probably a native of Germany.  He
spy, he did not proceed farther than Calais. This   visited England, and executed two portraits of
event he afterwards satirized in his print of " O   Archbishop Parker, about 1573, entirely  with
the Roast Beef of Old England."  In 1753 he pub-   the graver, possessing very little merit.  He also
lished his  Analysis of Beauty," a work contain-   executed a large genealogy of the sovereigns of
ing some sensible hints and observations, but that   England, from  the inscription of which it would
did not convince nor meet the universal acquies-   appear that he was retained in the service of the
cence he expected.  In this he was assisted by Dr.   Archbishop.  It is signed Remigius Hogenberg.
Hoadley and Dr. Morrell.  Hogarth became in-   ius servus D. Matt. Archiep. Cant. sculpsit, 1574.
volved in a controversy with Wilkes, in which he         HOGENBERG, FRANCIS, the brother of the pregave the first offence, by an oblique attack on the   ceding, was employed by the English booksellers.
friends and party of the latter, in publishing his   There is a print by him, of Queen Mary, dated 1555,
print of "The Times."  Wilkes answered by a   whence it is supposed that he visited England besevere article in the North Briton, and Hogarth   fore his brother; but some think this date to reretorted by a caricature of the writer.  Churchill, er t the era of her reign. The following are his
the poet, then entered the arena of this ludicrous      rinipal plates:
and disgraceful strife, and wrote his Epistle to Ho-   princ  f  
which the latter answered by a caricature            The Portrait of Mary I.. Queen of England; 1555; ingarth, which the latter answered by a caricature         ribed erits   temporisfiia.  The Maps of Gaul and
ga Churth, ll represented as a ea.nonical bear with   scribed Veritas temporis filia. The Maps of Gaul and
of Churchill, represented as a canonical bear, with   Belgium, in Saxton's Atlas. Part of the Views in Braun's
a ragged staff and a pot of porter. While this   Civitates Orbis Terrarum; printed at Cologne in 1572;
contest was being carried on, Hogarth visibly de-  engravedin conjunction with Simone Novelani and George
dined in health, and finally expired the 26th of Oc-   Hoefnagel.  The pompous Funeral of Frederick II.,
tober, 1764. Th n following are his principal plates    King of Denmark; dated 1592; engraved in conjunction
oer,..ne    llo e e    b  himselfs   with Simone Novelani; in twenty-one plates. An emcomprising nearly all those engraved by himself:  blematical print of Charity; inscribed Franciscus HoThe Portrait of William Hogarth, with two figures and   genbergus, sculpsit. Jacobus Christianus, excudit. En.
two Cupids. 1720. An emblematical print on the South-   graved in a poor. dry style.




HOGE.                      404                     HOLB.
HOGENBERG, ABRAHAM, supposedto havebeen  the death of Jane Seymour, he was sent to Flana younger brother of the preceding artists.  His  ders to draw the portrait of Christiana, Duchess
plates are executed in a neat formal style, and   dowager of Milan, whom Charles V. had recommendvery incorrectly drawn. He assisted Francis H.  ed to Henry for a fourth wife, but as the king disin his plates for the Theatrum Orbis Terrarum,  solved his connection with the Romish Church,
by Abraham Ortelius. Among his other works,  the marriage did not take place. Holbein painted
were the Equestrian portrait of the Duke of Ba-  in oil, distemper, and in water-colors.  He had
varia, and some frontispieces for the booksellers.   never practised the last till he went to England.
IHOGENBERG, JO.HN, a relative of the prece-  where he acquired the art of Lucas Cornelii, and
ding, flourished at Cologne about 1600, and en-  carried it to a high degree of perfection. His porgraved several portraits and historical subjects in  traits are distinguished for a pure and simple dea clear, neat style, somewhat resembling Crispin  sign; his carnations are tender and clear, with a
de Passe, but greatly inferior. Among them are  peculiar enamelled bloom; and his heads, without
the following:                                   much shadow, have a surprising relief. Ha gen
erally painted on a green ground; in his smal
PORTRAITdms,       EAcbhpfpictures often on a blue. There are but few his.
John Adams, Electoral Prince, Archbishop of Mentz;  torical works by Holbein in England.  The most
J. Hogenberg, scul. Lotharius, Electoral Archbishop of   mportant is that in th Surgons' Hall, of Hnry
Treves; do. George, Cardinal Radzivil, Bishop of Cra          that in the Surgeons' Hall, of enry
cow; do. The Scourging of Christ; after M.de Vos. VIII. granting the Charter to the Company of
HOI  r HOY, NILAS VAN, a Flemis  e      Surgeons; in which the character of the king is
er, who was employed in concert with J. van Os-admirably expressed, and all the heads are finely
senbeck, Francis Vandersteen, and others, on the  drawn. Another large picture is in the Hall of
plates after the collection of the Archduke Leo-  Bridewell, representing Edward VI. delivering to
pold, called the Gallery of Teniers. It consists  the Lord Mayor the Royal Charter, by which he
of 243 prints, and was  ublished at Antwerp in  Pgave up his royal palace of Bridewell to be con1660.                                             verted into a hospital and workhouse. There are
a great number of genuine portraits by Holbein,
T1-f lOr      HOLBEIN, HANS, or JOHN, an  in the mansions of the nobility throughout EngDL'L eminent Swiss painter, designer,  land. At Basle, in Switzerland, are eight picand wood engraver, born at Basle, according to  tures of the Passion of Christ; and in the Library
some accounts, in 1498; although others think he  of the University a Dead Christ, painted on a
was a native of Augsburg. He was the son and  panel, in 1521. It has been doubted whether the
scholar of John Holbein, who settled at Basle, and  celebrated Dance of Death was originally designed
resided there during the rest of his life. At the  by Holbein; but this has been occasioned by conearly age of fourteen, he manifested great abilities,  founding the set of prints of the Dance of Death
and painted the portraits of hirself and his father,  engraved by Matthew Merian, with the wooden
which were engraved in Sandrart's Academia,  cuts by Holbein, after his own designs, the origiin 1512, He had already gained considerable dis-  nais of which are preserved in the public library
tinction, particularly in portraits, when he was  at Basle. In the reign of George II., a valuable
invited by an English nobleman, to visit England,  collection of his drawings was discovered, of the
but he did not feel inclined to go. Several years  portraits of eminent personages in the reign of
afterwards, he formed an intimacy with Erasmus,  Henry VIII., some of which have been engraved
and painted his portrait. The latter persuaded   by Bartolozzi, in the style of the original drawhim to visit England, and gave him a letter to Sir  ings.
Thomas More. On arriving at London, he sought    As a wood engraver, Holbein is said to have exout that nobleman, who received him with great  ecuted some works as early as 1511, and before
kindness, giving him apartments in his house, and  his departure from  Switzerland, he engraved a
employing him to paint the portraits of himself,  great many wooden cuts, for the publishers of
his family, and friends, with other works. One  Basle, Zurich, Lyons, and Leyden. The most imday Holbein happening to mention the nobleman  portant of these, are a set of wooden cuts entitled
who some years before had invited him  to Eng-  the Dance of Death, after his own designs, which
land, Sir Thomas was desirous to know who it  complete, consists of fifty-three small upright
was. Holbein replied that he had forgotten the  plates, but is seldom found above forty-six.  The
title, but thought he could draw his likeness from   first impressions are said to have been made in
memory; and this he did so strongly, that it was  1530; but there are later publications, especially
immediately recognised. This peer was either the  one at Lyons, entitled Simolachri Historice, eJigEarl of Arundel or the Earl of Surrey. The Chan-  ure della Morte, in Lyone oppresso Giov. Frelcellor having now enriched his apartments with  loni, MDXLIX. They have been copied on wood by
the productions of Holbein, adopted an expedient  an old engraver, in a very inferior style. There
to introduce him  to Henry VIII. He arranged   are also by Holbein a set of ninety small cuts of
the pictures in the great hall in an advantageous  subjects from  the Old Testament, executed in a
manner, and invited the king to an entertainment.  bold masterly style, but with great delicacy. The
On entering, his Majesty was so impressed with  best impressions of these were published at Lyons
the beauty and merit of these productions, that  in 1539, by Melchior and Gaspar Treschel; but
he anxiously inquired for the artist. Holbein was  there is a later edition, with two Latin verses, eu
soon presented, and Henry immediately took him  logising Holbein; and they have been copied by
into his service, assigning him apartments in the   Hans Brosamer, in an inferior style. He made a
palace, with a liberal pension, besides the price of  number of designs for the Bible, which were enhis pictures.  Holbein painted the portrait of the  graved and published at Leyden, in 1547, under
king several times, also the principal personages  the title of Icones Historiarum veteris Testamenti.
of the court, and many others of the nobility. On   In St. John's college, Cambridge, is Henry VIII.'s




HOLB.                         405                       HOLB.
Bible, printed on vellum, with Holbein's cuts fine-   (1533,) Falconer to Henry VIII.-This portrait, or a repe.
ly illuminated.  He made many designs for Eras-  tition of it, is noticed by Sir J. Reynolds, (Works, v, ii. p.
US' Morise Encomium, or Panegyric of Folly.    346,) at the Hague, as being " admirable for its truth and
mus' Morine Encomium), or Pa             negyric        f Folly.  precision, and extremely well colored. The blue flat
He also modelled and carved; and designed a num-  ground, which is behind the head, gives a general effect of
ber of vignettes, frontispieces, and ornaments, for   dryness to the picture: had the ground been varied, and
the goldsmiths.  He died of the plague, at Lon-   made to harmonize more with the figure, this portrait might
don in 1554.  The following is a list of his por-  have stood in competition with the works of the best portraits in England taken from Walpole's Anecdotes traiat painters. On it is written, Henry Chesman, 1533."
traits in England, taken from Walpole's Anecdotes                                                       {
Moret, the King's jeweler and enchaser, who wrought from
of Painting, edited by Rev. James Dallaway.  A   Holbein's designs, cups, daggers, &o., Northumberland
list of publications from  his works, real and pre-   House. Sir Thomas Pope, Founder of Trin. Coil. Oxon.,
sumed, is also  added, from  Nagler's Kunstler   Wimpole, brought from Tittenhanger, Herts, at Wroxton.
Lexicon  Holbein, his wife, four boys and a girl, (small.) Mereworth
Castle, Kent.-" As a whole it has no effect; but the heads
PORTRAITS BY HOLBEIN NOW  IN ENGLAND.               are excellent. They are not painted in the common flat
In the Royal Palaces.                  style of Holbein, but with a round, firm, glowing pencil,
and yet exact imitation of nature is preserved; the boys
WINDSOR.                         are very innocent, beautiful characters."-Gilpin. (May
Sir Thomas More. Thomas, third Duke of Norfolk.  not this be a repetition of the family picture mentioned by
Henry, Earl of Surrey, whole length. Holstoff, a mer-   Mr. W., in a note p. 147, as having been in Holbein's house
chant.                                                  on London Bridge, and destroyed in the great fire?  Or
KxENSINGTON.                        may it not be the same picture, rescued?) Edward Stanley, third Earl of Derby, Knowsley. Sir T. Wyat.-E. of
Holbein's Father, and his Mother, by J. H. sen. or his   Romney, the Moat, Kent. John Lord Berners, Diddlingson Sigismond. Himself and wife, (small) water-colors.  ton, Norfolk, as Chancellor of the Exchequer. He holds a
Henry VIII., a head, white fur in the shoulders. Kathe-  lemon in one hand to prevent infection; alluding probably
rine ofArragon, with a Dwarf. Sir Henry Guldeford.-  to his having escaped the plague, when sitting as a Judge
William Somers, the King's Jester, looking through a lat-  in court. Henry VIII. Diddlington, Norfolk. John Dudtice. Erasmus, valued at Charles the First's sale at.200.  ley, Viscount Lisle, afterwards Duke of Northumberland,
Frobenius, his printer (the Architecture added by Steen-   1545, Penhurst. The Princess, afterwards Q. Elizabeth,
wyck). Others at Hatfield, before 1527, at Althorp and   when young, in red, holding a book, formerly at Whitehall,
Strawberry-hill.  Erasmus, at Althorp; and at Straw-  now at Kensington  Sir Brian Tuke, Corsham. SirJohn
berry-hill, (round) at Longford Castle, formerly Dr. Mead's,  Gage, 1541. W. Parr, Marquis of Northampton, Kensingsold for ~110. IEgidius, or Peter Giles the Lawyer of  ton. Anne Boleyne; sold at Sir L. Dundas's sale for ~78
Antwerp, his friend. In the same collection.            15s. W. Herbert, first Earl of Pembroke, Wilton.  Dr.
HAMPTON COURT.                       Butts, Henry VIII.'s physician, and his Wife, at Anthoiy,.n Reiskim. S l p aits by H-  Cornwall. W. Fitzwilliam, Earl of Southampton, destroyErasmus. John Reskimer. Several portraits by Ho-  ed at Cowdray. In the collection of G. Villiers, Duke of
bein are said to have been preserved in the Royal Palaces  we re four portraits noneexceedingtwofeetsquare
of Somerset or Denmark House, taken down in 1775.'   Bucks., were four portraits, none exceeding two feet square.
of Somerset or Denmark House, taken down in 1775. —   1  *'  nof France;  3.Eaf
Whitehall was bued in 1698, and St. James' in        i 1. King Henry VIIl; 2. Mary Queen of France; 3. ras
Whitehall was burned ain 169^8, and~St.  James' in 1809,mus;  4. T. 3rd Duke of Norfolk. Attributed to Holbein in
and the pictures have been either destroyed, or replaced   B. Fairfax's Catalogue.
in others of the king's residences. Erasmus, (small) Greystoke Castle, Cumberland.-The Original. Thomas, Third                 MINIATURES BY HOLBEIN.
Duke of Norfolk, (small) H. Howard, Esq. Corby Castle.    Himself, round, Strawberry Hill. Katharine of Arragon,
Do., half-length, Norfolk House. Do., half-length, Castle  ditto. Q. Katherine Parr, ditto.  Q. Anne of Cleves, Lee
Howard, with a View of two Castles. Do., half-length,  Priory, Kent.  Henry Brandon, Duke of Suffolk, and
Thorndon; Do., half-length, Gorhambury. Henry VIII.,  Frances (Grey) Duchess of Suffolk, two children of Charles,
whole-length, bought at Lord Torrington's sale, in 1778,  Duke of Suffolk. (limning) Kensington. Himself, small
for ~112, sitting, holding a walking staff, at Knowle.-   round Althorp.
Francis I. at Lord Harrington's, 1780, brought from Spain. 
Henry VII. and Henry VIII., sketch in black chalk, size   [The perfect editions of Holbein's Dance of
of life, Chatsworth. Henry VIII. (small) was in the Duke   Death contain fifty-five plates; nevertheless, we
of Buckingham's collection. Do., whole-length, at Pet-  must not seek here for any complete list of editions
worth. Do., whole-length, at Belvoir Castle. Do., head,  of the Holbein Dance of Death, neither of the oriApuldercombe. Do., from Lee Court, Kent, Sir T. Baring.  ginal nor copied pieces.
Do., and Queen Catharinewith the divorce in her hand,
(small) Dalkeith. Q. Anne Boleyne, half-length, with a   The Editio princeps bears the title:-Les Simulaehres
velvet bonnet and single feather, many jewels, ANNA   et historieds faces de la mort autant de garet pourtraites,
REGINA, IH., 1533. Q. A. Boleyne, Warwick Castle.  que artificellement imaginees. A. Lyon soubz l'escu de
Q. Jane Seymour, (1536,) Woburn. Q. Katherine Parr,  Coloigne, 1538. It has Latin and French verses, and at
Dawson Turner, Esq. Margaret. Q. of Scotland, New-  the end stands, Excudebant Lugduni Melchior et Gaspar
battle Abbey. K. Edward Sixth, whole length, Petworth.  Trachsel fratres, 8vo. The wood cuts of this edition are
The same, when a child, with a rattle, Apuldereombe. Do.,  exceedingly fine, and of uncommon power. This is shown
small whole length, Houghton. W. Warham, Archbishop   particularly in the copy belonging to the court and state
of Canterbury, Lambeth; at Ditchley. Martin Luther,  library in Munich.
Stowe. J. Fisher, Bishop of Rochester, St. John's Coll.    Imagines Mortis, 4-c. Lugd. apud Joannem et FrancisCamb.; Diddlington, Norfolk. Sir John Gage, K. G., Bel-  cum Frellonius fratres, 1542, 9 plates,8vo. In the years 1545
videre, Kent. Judge Montagu, Liscombe, Bucks. Lord   and 1546, a Frenchman, Vaugris or V. Valgrisius, produced
Paget, a repetition, Beaudesert. Sir Nicholas Carew, Lum-  some very beautiful and finely executed imitations, far suley Castle. Sir W. Petre, Thorndon. At Lumley Castle.  perior to the Cologne imitations of Sylvius Antonius,given by
H. Fitzalan, Earl of Arundel, Longleat. John Dudley,  Birkman and Erben. Vaugris brought out, in 1546, a
Duke of Northumberland, Penshurst. Sir J. Brydges, 1st  Latin edition by G. AEmilius, and in 1545 also an Italian
Lord Chandos, Avington. Sir A. Denny and his Lady,  edition.
Northumberland House. The same, when Lord Denny,    Imagines Mortis, 4-c. Lug. exc. J. Frellonius, 1547,
Longford Castle. Sir H. Guldeford and his Lady, North-  53 plates, 8vo.
umberland House. Sir J. More, Judge, Longleat. Sir    Immages de la Mort, 4*c, Lyon chez Johann. Frellon.1
Edward Grimstone, (1548, set. 20,) Gorhambury. Sir  1547, 8vo.
Thomas Smyth, Secretary of State. Edward Seymour,    Simmolachri historie et figure de la Morte, &c. In Lyoc
Duke of Somerset, at Longleat, Stowe, and Castle Asliby.  appresse G. Frelloni, 1549, 53 plates.
Thomas, Lord Seymour of Sudeley, at Longleat, and at    Les Immages de la Mort, auxquelles sont adjoute's, 17
Stowe. Gregory, Lord Cromwell, Tixhall, Purnham, Dor-  figures, &o. Lyon, Frellon., 1562, 8vo.
ret. Sir T. Chaloner, (sat. 28, 1548.) Henry Chesman,     Cologne Imitations of Birkmann and Erben.




HOLB.                          406                       HOLB.
Imagines Mortis, 4-c, C olon. apud haeredes Birkmanni,  Illustrations of the Old Testament, &c., with wood cuts by
1555, 53 plates.                                         John and Mary Biefield, and text in five languages. LonImagines Mortis, 4-c. 1557,53 plates.-Of which there   don, 1830, 8vo.
is a Lubeck imitation with a few variations. A German      4. The New Testament, now clearly into German from
(Augsburg) edition of the same year has a preface in  the right foundation. Also the Revelation of St. John,
rhyme by C. Scheyt, 53 plates.                           with beautiful figures. Le Basle, T. Wolff, 1523. The
Imagines Mortis, Colon. &c. 1566, 53 plates,           21 wood cuts of the Apocalypse are attributed to Holbein;
Imagines Mortis, Colon. &c. 1567, 8vo.                 the ornamented title bears Litzelberger's mark. 8vo.
Dance of Death of 1651. Abraham a Diepenbeck, H.         5. Erasmus of Rotterdam. Upright figure, under a
B. i. (Holbein invenit.)  Another edition is of 1682, The   decorated gate. A celebrated wood cut, bearing the folborders are by Diepenbeck, and W. Hollar engraved them   lowing inscription in the first impressions:
with copies of Holbein.                                        Pallas Apelleam nuper mirata tabellam
Dance of Death. D. Urbani Regii MDLVII,-This edi-            Hanc ait  sternum bibliotheca colat
tion is praised by Fiorillo as the non plus ultra of all in the  Dedaleam monstrat musis Holbeinius artem
art of figure-engraving.                                       Et summi ingenii magnus Erasmus opes
Dance of Death, by Bellerus, 1654, 8vo, with frontis-                  
piece.-These wood-cuts are copies after Holbein by A.      In the second impressions we.read:
Sallaert, and not originals, as is stated by all biographers,  Corporis effigiem si quis non vidit Erasmi,
even Mr. Douce. Vide Weigel's Cat. II., p. 64. No, 2133.       Hanc scite ad unium picta tabella dabit.
Dance of Death, engraved by W. Hollar, 1647, 51   The copper still exists, from which there are more recent
plates, 4to.                                             impressions, with and without these lines.
Dance of Death, engraved by W. Hollar, 1789, 12mo.       6. The Alphabet with the Dance of Death. Each letsplendidly printed.                                      ter is 11 lines in height and breadth, masterly cut.
Dance of Death, engraved by W. Hollar. The Dance         7. The Latin Alphabet, with Children at sport, 24 p.,
of Macaber, &c., by J. Lydgate, edited by W. Douce.-   not quite one inch in height and breadth.
London, 1790.                                              8. The Peasant's Dance, and the Peasants who drove
Dance of Death, Historical Dissertation, &c., 30 plates,  the Fox from the Goose. Title border of a Lactantius, fol.
by W. Hollar; and Dance of Macaber by Lydgate, as   1542.
represented in St. Paul's, &c. London, 1796, 8vo.          9. Cebes Table. Title Border having several allegoriDance of Death, 52 engravings on wood by Bewick,   cal figures; Felicites, the Virtues, and Vice. This is found
with letter-press illustrations, by Douce, 3rd edition. Lon-   as title to the Lexicon-Graecum Basilisa apud Val. Curiodon, 1825.                                               nem; to the Dissertation of S. Cocceius Promot. Cand. lec.
Dance of Death, -c., by Douce. The wood cuts are by   ex Off. Oparin.
Bonner. London, 1833, 8vo.-Especially good are the cop-    10. Female Figure, clothed in a cuirass, as decoration
ies by the court-inspector, F. A. G. Frenzel, in Dresden,  on the blade of a poignard.
and Professor J. Schlotthaner, in Munich. The former       11. Venus, on the blade of a poignard.
are imitated by Frenzel himself on copper, but the latter  12. City Arms of Freiburg, in Brisgau, with mark and
Prof. S. had lithographed by the clever artist, C. Hoegerl.  date of year 1519; fol.
In these stone impressions, the greatest fidelity and purity  13. Bordering of Title, with Herod at the Beheading
of outline are presented, and the character of the wood   of St. John the Baptist; 4to.
cats is to be traced here with undoubted certainty. The    14. Bordering of Title, with the Triumph of Infants;
number of plates is 53, but only 33 are by Hoegerl; his  4to.
progress in the execution of the rest was terminated by the  15. Bordering of Title, with Tarquin and Lucretia; 4to.
hand of death.  These were completed by two unnamed   These three titles have been used to the works of Erasmus
artists. The poetry to Frenzel's edition is by Dr. L. Bech-   of Rotterdam.
stein, and the text to Schlotthaner's was given' by Profes-  16. Bordering of Title, with the Dying Lucretia, 8vo.
sor Schubert. The former appeared in 1831, the latter in   17. Bordering of Title, similar to the above, with Cethe following year.                                      res and Pelop.
To Holbein's celebrated Triumph of Death are             18. Bordering of Title, with the Bishop.
appended the following wood cuts, generally very           19. Bordering qf Title, with the Fathers of ye Church.
apd teo ow     wood c urtsn eneforayer into. 20. Tl'he larger Title Border, with Peter and Paul, and
scarce.  These are, to " certain extent, orme  into   the city arms of Basle, after Holbein, to the Geography of
entire works.                                            Ptolemy.
1. Catechismus. That is to say, a short instruction into  21   The smller itto, with the mark of the printer, A.
Christian Religion, for the singular commoditie and profyte   Pr
of children and young people, set forth by the mooste rev-  22. Border of Title, with David dancing before the
erende father in God, Thomas, Archbyshop of Canterbury,   Ark of the Covenant, after Holbein, with the mark of A.
Primate of all England and metriopolitane. Cwalterus   Petri.
Lyne excudebat, 1548. At the end; Enprynted at Lon-        23. Title, with the feasting of the 5000, Children dancdon in St. James Street by Nicolaus Wyll for Cwalder  ing, and Fight of Tritons.
Lyne, dwelling in Somers Kaye by Kyllings gate. 8vo.       24. Plates in Erasmi encomium  Moria. (Stultitioe.)
The woodcuts of this extraordinary and rare work are   After Holbein's humorous drawings.
attributed in part to Holbein. Edward Burton, at Oxford,   25. The Lord's Prayer, illustrations from the old and
republished this work in 1829.                           new Covenant, probably after Holbein,-excellently en2. The Pastime of People, or the Chronicles of divers   graved by V. C.; 8 plates, 8vo,; very scarce.
realms, and most especially of the realm  of England.-     26. Title Page in Genii and the name Hans. Holb., bePrinted by Russell of Cheapside, 1529. The wood cuts to  fore the Paraphrase in Epistol S. Pauli ad Galatas per
this work were attributed to Holbein. T. F. Dibden re-   ErasmumRoter. Balileae S. Frobenium. 1519, 4to.]
published it in 1811, with wood cuts by John Nesbit, 4to.                   OLBEIN, SIGIsMoND.  ThisartThis work is likewise very scarce, as only very few copies   Ror          LB ist was a painter araexist.                ^'      J    J               ^ JL^   ^   ^ ist was a painter and wood engrav3. Historiarum veteris instrumenti icones ad unicum    er, and is said to have been the uncle of -Ians
expressae. Lugd. sub  scuto Coloniense, MDXXXVIII.   Holbein.  Little is known of his pictures; but
Excud. Melchior et Gaspar Trechsel fratres.-This is the   there are several indifferent wooden cuts marked
first very rare edition, with 92 wood cuts, in 4to. The sec-   with  the  accompanying  monogram   whh  ar
ond edition appeared 1530, Liege; the third in 1540, Antwerp; the fourth, 1549, in Liege (at the brothers Frellon,   usually attributed to him.
with 94 wood cuts); the fifth, 1543, at Lyons (with Spanish  HOLE, WILLIAM, an obscure English engraver,
text); the sixth, 1547, in Liege, at Frellons', with 94 wood   who flourished about 163.  He wrought for the
cuts; the seventh, 1549, in Lyons, at Frellons', with Eng-   b        a                                    
lish and French text, and 94 plates. The single impressions           a  e ete   er    o          lae   e
of the wood cuts are printed on one side, and without text.  tirely with the graver, in a formal, labored styi
A new edition has the title; Icones veteris Testamenti;   among which are the following:




HOLL.                         407                        HOLL,
PORTRALTS.                          ken his collection.  He employed Hollar to enh
Prince Henry Frederick, son to James I.; full length   grave from  his pictures, for some time, but as he
Thomas Egerton, Viscount Brackley, Lord Chancellor.  visited Italy for the benefit of his health, the artSir John Hayward, Knt., LL.D.  Martin Billingsley,  ist was obliged to work for the booksellers at Antwriting-master. Giovanni Floris, Italian master to Anne   wpr afo         r   rn eration   t         ise  rof Denmark. Michael Drayton, prefixed to his works   werpor    small remuneration.  In 1652 he reThe Frontispiece to Michael Drayton's Polyobion.         turned to  ngland, but gained little encouragement.
Ta   e                         v    m     i        y furi e  and was reduced to great distress.  He was sent
He was sOentL    IAned                                   to Africa by Charles II., to make drawings of the
i -Prof. Christ, as residing at Nuremberg, about   town of Tangier, with the fort and adjacent coun
1638.  Among   ther plates, he                                          folexecuted several   try; bt on  his rreceived for his lab
fter C. Reverdus, and others.                            and expense, the miserable pquittance of  500. In
HOLLAND, J., an obscure English engraver, he w rovisited the north of England, and mad
who flourished about 1755.  Among other plates,  designs of Lincoln, Southwell, and Newark.  He
heetched the Head ofn a Turk, in a spirited style,  died in the deepest poverty and distress, under the
but with little effect.                                  most afflicting circumstances, in 1677.  There are
HOLLAND, SIR NATHANIEL.  See DANCE.                   about 2,400 prints by this artist, executed with
TT     AD        ct iongreat lightness, freedom, and spirit, but in a firm
en Portugal, under t          he titl e of "M anuscrit de  Richar d II. kn e   Some bf his prints possess
writers, Francois de Hollande, a Portuguese paint-  considerable merit, and his subjects comprise porer of miniatures in manuscripts, who flourished   t              landscapesanimals, insects, still-li  ruins,
during the 16th century, and was living in 1571.  frs shelsa &c                       i          s       
He was sent to Italy by King John III., where he               o     prefixed to his life, w itcesh have     obtf Richarined forIII.
reived duhis pring his residence at Rbecome on                            terms ofesided some time and made many drawing.from            The following are his principal works:
the most beautiful remains of antiquity.  On re-e                                 s
turning to Portugal in 1549, he wrote a treatisets                r        o                            v
on ancient painting, dedicated to the king, con-             E s eVVx;                  f
taof emineng much valuable information.  This publi-of Surrey;  do. rare. SirAncation may be found in Raczinsk   the Librarys work, Les Arts                 PORTRAITS.
en Portugal, under the title of   Manuscrit de             Richard II. kneeling by his three patron saints. EdFrancois de Hollande."  By his own account he   ward V.; prefixed to his life, with that of Richard III.
lived during his residence at Rome on terms of   Henry VIII.; after Holbein.  Ann Bolen, his Queen;
illU~umi               n      ated; with drawings           of the most  be autiful JohnChamb ers; do.; fine. Queen MHowary; do.  SirAnn of Cleves;
intimacy with at Rome, Napleslo, and othVenice; also the   and  scarce. Edward VI.; do. Thomas Cromwell, arl of Essex;
of eminence.  Pons, in his Voyage en Espagne,   do. Henry Howard, Earl of Surrey; do.; rare. Sir Anmentions a book of draw ings            the Library o    thonis QueDenny; do. Sir Henry Guilford, Comptroller of the
the Escurial, by this artist. It contains a por-   Household; do. Lady Guitford; do.  Duchess of Suftrait of the reigning pontiff, and of Michael Angelo,  folk; do; sometimes called Queen Catherine. Doctor
illuminated; with drawings of the most beautiful   Joh Chambers; do.; fine. Queen Mary; do. Sir Thos.
iuminated; J.'   J. T~    -VT  i  J -r         ^1     Chaloner; do.; ex. scarce. Hans Holbein, painter; fine
antiquities at Rome, Naples, and Venice; also the   and scarce. Charles I.; ten prints. Henrietta Maria,
amphitheatre at Narbonne; drawings of mosaics,  his Queen; five prints. Mary, daughter of Charles I.,
ancient statues, &c.; all of which are recorded in   consort of William, Prince of Orange. William, Prince
the MS. above mentioned.                                 of Orange. Francis Bacon, Lord Keeper. Thomas Howard, Earl of Arundel; six prints; one with his son, Henry
HOLLANDAIS, JAN LE, or JOHN OF HOLLAND,  Howard, Baron Mowbray. Robert Devereux, Earl of Esa Flemish landscape painter; born at Antwerp in   sex, on horseback. Philip Herbert, Earl of Pembroke;
1494.   He was the grandfather of Cooninxloo.  after Vandyck. Thomas Wentworth, Earl of Strafford
Hi  tl   a   mttdb    ruhl  n   i   r- do  Robert Rich, Earl of Warwick.  Alathea Talbot,
His style was imitated by Breughel, and his pro-   Countess of Arundel;, after Vandyck.  Ann D'Acres,
ductions were formerly in great demand.  He died   Countess of Arundel; after Vosterman. Teresia, Lady
at Antwerp in 1553.                                      Shirley; after Vandyck; scarce. Dorothy, Countess of
HOLLAR, WENCESLAUS, an eminent German   Suffolk. Mary Villiers, Duchess of Richmond and Lennox; after Vandyck. Mary Stuart, Countess of Portengraver, born at Prague in 1607.  He studied at  land; do. Edward Calver, of Wilbie; scarce. Henry
Frankfort, under Matthew Merian, and at the age   Colthurst, holding a helmet; scarce. Sir Edward Deering,
of eighteen published his first plates-an  Ecce   Bart. William Laud, Archbishop of Canterbury; after
Homo, and the Virgin and Infant.  He made the   Vandyck. Peter Smart, Prebendary of Durham; scarce.
tour of Germany, and published several views of   Sir Edward Coke, Chief Justice of the King's Bench. DocStrasurg, Frankfort    entz, Co   and other   tor Richard Harvey; rare. John Thompson; rare. Sir
Strasburg, Frankfort, Mentz, Cologne, and other   Peter Paul Rubens, painter; after Vandyck. Sir Anthocities.  At Cologne he formed the acquaintance   ny Vandyck; from a picture by himself. Inigo Jones, arof the Earl of Arundel, traveling as ambassador   chitect; after Vandyck. Charles II.; eight prints. Cathto Austria, who took him  into his employment,  erine, his Queen. Prince Rupert. George Digby, Earl of
and on returning to England brought him thither.  Bristol; rare. Lady Catharine Howard, Countess of BrisHollar executed several plates from the Arundel-  tol  Algernon Percy, Earl of Northumberland, on horseback.-This plate has also been used for James, Duke of
ian collection; also an equestrian portrait of his   York, Oliver Cromwell, and General Fairfax.  Jerome
patron; in 1640, a beautiful set of twenty-eight   Weston. Earl of Portland; after Vandyck. James II.
plates, representing the different habits of English   when Duke of York; after Teniers; scarce.  Philip
women; in 1642,'43, and'44, his other sets of   Wharton, Lord Wharton. Richard Cromwell, sdn of Oliwomen in the costumes of the various nations of   ver; scarce. Wenceslaus Hollar, engraver; three prints.
Europe.  About this time the civil war broke out,                  SUBJECTS AFTER hIS OWN DESIGNS.
in which Hollar became involved on the side of             A View of London, before and after the fire; in two
the Royalists, and was made a prisoner by the op-  sheets; 1666. The Tower. The Royal Exchange. Westposition, in 1645.  On obtaining his liberty  he   minsterHall. Whitehall. The Cathedral Church atStrasposiion t,_n _  n     A....._ _ l..a.. in           burg. The Cathedral at Antwerp; very fine. The best
went to Flanders, and settled at Antwerp, whithera single line of writing t the botto                           S
the E~arl of Arundel had withdrawn, and had ta-   Views of the town and environs of Tangiers; inscribed,




HOLL.                        408                       HOLS.
Divers Prospects in and about Tangiers. 1673; scarce,   attracted the notice of Lawrence, who gave him
Four Views near Aldbrough. 1645. A set of twenty-eight  three guineasfor one of hispencil sketches.  After
plates; entitled, Ornatus Muliebris Anglicanus, repre-    rin  fr       e     i       n   the   itish    se
senting the habits of English women of all ranks; very      a            at       n o the i  Brsh Museum
fine. Several plates of the different Female Dresses initted as a student of the Academy, and
the different nations in Europe; fine and scarce. A set of   subsequently executed many drawings for Law
twelve plates of Insects, entitled, Muscarum, Scarabeo-  rence, several of which were supposed to be comrum, Vermiumque varie figurea et.formve, Antverpiae.  missioned by George IV. His pictures are entirely
Ann  1646; rare. A Mole. 1646. An Elephant, a Cam-  in the German taste, and many of them were chael, two Monkeys, and two Bears. Several Muffs, Gloves,   acterised  by  eccentricites; consequently they
Fans, Tippets, &c. 1647; scarce. Five plates of Muffs; 
1645; very fine and scarce. A set of small Plates of Shells;  were not popular.  His subjects are all of a rovery rare and fine. A set of Butterflies; small plates.  mantic and gloomy character, and no consideraSUBJECTS AFTER VARIOUS MASTERS.             tion could induce him  to yield to the English
The Virgin suckling the infant Jesus and caressing St.  tastenot even commissions, or the privations he
John, in a landscape; after Rotenhamer.  The Holy   was compelled to undergo, from the unpopularity
Family; after Pierino del Vaga. The Ecce Homo, with   of his subjects.  It must be remembered, however,
many figures; after Titian. The Queen of Sheba visit-  in assigning the cause of his ill success, that Baring Solomon; after Holbein. Seleucus causing the law   ry in the last century, and Hilton in the present,
against adultery to be executed on his own sons; after Giu-  a h a   s of ad t                   w    
lio Romano. Cupid sleeping at the Foot of a Tree; af-                    acknowledged talent, were very
ter Parmiggiano. The infant Hercules; do. The sa-  poorly encouraged.  Hogarth, i one of his satirical
cramental Chalice, adorned with figures; after a drawing   works, represents British Painting as a tree with
by Andrea Mantegna. 1640; rare. Mausoleum of the  three branches, on which a shower of patronage
Earl of Arundel; rare. A Winter-piece, with the Nativi-  is falling; the bough of Landscape is only moistty; after A. Braun. 1644. The Magdalene in the Desert,  ened  and grows not; the bough of Portrait is
kneeling before a Crucifix, in a landscape; after P. vand   fo n                   b           o    i
Avont; rare. A set of twenty plates, including the por-  drenched, and flourishes; but not a drop falls on
traits of George Etenhard and P. van Avont, of Children  the Historical branch, which is therefore parched
at Play; entitled, Pedopagnion, sivepuerorum ludenti-  and withered.  Van Hoist left a large number of
um Schemata varia, 4-c.; after P. van Avont. A set  drawings and sketches, and some unfinished paintof thirteen plates of the Caricatures of Leonardo da Vinci;   ngs.  His picture of the Raising of Jirus Daughentitled, Vari et figures et probe artem picturac incipi-  tehas been   graved.   e died in 184
endoe inventuti utiles. 1645; rare. A set of thirteen               engraved.  He died in 1844.
plates of Hunting and Fishing; entitled, Several wavys of  HOLSTEIN, PETER, a Dutch engraver, and a
Hunting, Hawking, and Fishing, according to the Eng-   painter on glass, born in 1626.  He engraved a
lish manner; invented by Fras. Barlow.  1671. The   painter on glass, born in 1626.  He engraved a
Emblems; after Ottovenius; entitled Emblemata Nova;  variety of portraits, among which is a set of twenin eight plates; rare. A set of thirteen Landscapes;  af-  ty-six of the ambassadors to the Congress of Munter Artois. A dead Hare, and other game; after Peter   ster, executed with the graver, in a stiff style, but
Boel; rare.                                           possessing some merit.  The following are his
HOLLINS, WM., an English architect, bornin   pincipal plates
1763.  He resided chiefly at Birmingham, where                             PORTRAITS.
he erected a number of fine edifices, among which       Cardinal Fabio Chigi, negotiator at the Peace of Westare the Public Office and Prison, the old Birming-   phalia; afterwards Pope Alexander VII. Jacob vander
ham Library, and the Dispensary.  His best work,   Burchius; oval. John Ernest Pictoris, Counsellor to the
however, was the country seat of the Earl of   Elector of Saxony. John Huydecooper, Burgomaster of
Amsterdam. John Reyner Historiographer of the Peace
Shrewsbury, which has been highly commended.  of Munster. 1648. John Saenredam, engraver. Albert
He also designed the plans for the Royal Mint at  Vinkenbrinck, sculptor.
St. Petersburg, by order of the Empress.  He died       HOLSTEIN, CORNELIUS, a Dutch painter and
in i1843,^ aged ~80.                    engraver, the son and scholar of the preceding,
HOLLOWAY, THOMAS, an English engraver,  born at Haerlem  according to Balkema, Zani, and
born in 1748.  He was first apprenticed to a steel  Fuessli, in 1653.  Nagler and others say, however,
engraver, and executed several specimens of seals  that he was born in 1623, but this is impossible,
and medals, particularly a fine head of Ariadne;  as his father was born in 1626.  He painted hisbut this branch of the art was passing somewhat  tory with considerable reputation.   Houbraken
into disuse, and Holloway therefore devoted him-   mentions a picture by him, of the Triumph of
self to copper-plate engraving.  He executed a   Bacchus, as being well composed, correctly drawn,
number of portraits and other plates for the mag-  and agreeably colored; he also praises his painting
azines; also many of those in Lavater's Essays   on the ceiling of the Treasury at Amsterdam.
on Physiognomy, translated by Rev. Dr. Hunter,  Holstein engraved a number of plates from  his
and containing about seven hundred illustrations.  own designs; also some of those in the cabinet of
He also executed a number of prints for the pub-  Gerard Reynst, published at Amsterdam  about
lications of Boydell, Macklin, and Bowyer. and the   1663.   Among others are the following:
engravings of the cartoons of Raffaelle, which oc-    Infant Bacchanalians; a frieze, in six sheets, numbered;
cupied him many years, and are esteemed as deco-   Clement de Jonghe, exc.; rare. A  Lady seated in a
rative prints for their elaborate execution.  Hol-  Chair, richly habited, supposed to be the portrait of Isaloway died in 1827.                                   bella d'Este, Marchioness of Mantua; after a picture said
by some to be painted by Correggio, by others Giulio
HOLMES, P., an obscure English engraver, who   Romano. Corn. Holstein, scul.
executed, among other plates, a great part of those                         a G     n hi il pin
in Quarles' Emblems, published in 1696.                 HOLZER, JOHN, a German historal paiter
and engraver, born at Burgriess, in the Tyrol, in
HOLST, THEODORE VAN.  This painter was   1708.  He visited Augsburg, and studied under J.
born at London in 1810, of German extraction.   G. Bergmuller.   There are a number of fresco
At a very early age he manifested a very strong   works by him, in the public places at Augsburg,
inclination for art. and at the age of ten years he   some of which have been engraved by J. J. Nilson.




IHOLZ.                     409                     HOND.
He etched a number of plates in a spirited style,  obliged to leave his native place. on account of
among which are the following:                     the troubles of the times; and he went to Eng
The Adoration of the Shepherds; J. Holzer, inv. etfec.  land in 1583, where he engraved portraits, maps,
The Four Seasons; after Bergmuller. The Adoration of   and charts. He also practised making mathematthe Magi; do. The Ecce Homo; Holzer, del et fecit,  ical instruments, and printing types. The followaquaforti. The Virgin, with a Glory of Angels; Holzer,  ing are his principal portraits:
del. et sc.
HOLZHALB, JOHN RUDOLPH, a Swiss engrav-                              PORTRAITS.
er, born at Zurich about 1730.  He wrught    Queen Elizabeth. Henry IV. of France. Sir Francis
er, born at Zurich about 1730.  He wrought  Drake, with two hemispheres.  Thomas Cavendish, the
chiefly for the booksellers, and engraved, among  famous navigator. The Maps and Charts of Sir Francis
other works, several plates for the Lives of the   Drake's Voyages. Several Maps for Speed's Collection;
Swiss Painters, by Fiessli, and Lavater's Phy-  some with figures. Some plates for the Atlas Major of G.
siognomy.                                          Mercator, with his portrait.
HONDEKOETER, GILES, a Dutch painter, born  I_              -LrrT              HND, o 
at Utrecht about 1583. His father was the Mar-              or       or          HONDIUS, or DE
quis of Westerloo, a Protestant Belgian nobleman                              HN          H       r,  THE
whose castle was between Herenthals and Diest   ELDER  a Flemish engraver, born at Duffel in
and who was obliged to take refuge in Holland. b    1576, and was probably a relative of the precedand who was obliged to take refuge in Holland. by   in     e studied under J  Wierix and imitated
the Spanish Inquisition, who confiscated his es-  ing.  He studied under J. Weri, and imitated
tates.  Giles Hodekoethe ses of  the style of that master, though inferior in design
tates.  Giles Hiondekoeter followed the styles of  and execution.  He engraved a large number of
R~Di~~~io   -  i il.    "   i'  ~and execution. He engraved a large number of
Roland Savery and David Vinckenbooms, parti-                                         g  nu
Roand Savery and Davidinckenbooms, parti-  portraits, landscapes, and other subjects, after
cularly the latter, in the forms and foliage of his   Brughel, an ander, and others.  The following
trees.  He also painted birds and fowls, with truth
and exactness, frequently filling his landscapes  arethprincpal:
with no other objects, highly finished, with great               PORTRAITS OF REFORMERS.
transparency of coloring.                            John Wickliffe. Philip Melancthon.  John Bugenhagen; H. Hondius. 1599. John Knox. John Calvin.
HONDEKOETER, GYSBRECHT, the son and   Jerome Savonarola.
scholar of Giles H., born at Utrecht in 1613; died        PORTRAITS OF.PAINTERS AND ENGRAVERS.
in 1653.  He painted various kinds of domestic
in 1653. He painted various kinds of domestic    Cornelius Cort; H. H..fec. 1598. Henry de Cleeve.
fowls, which possess considerable merit, although   GilesCooninxoo. Hans Hoheein. Joas van   Cleevo.
greatly inferior to those of the succeeding artist.    Hoefnagel. John Mabuse. Sir Anthony More. Henry
Cornelius Vroom.
AX    7    /HONDEKOETER, MELCHIOR,  Com.'   oA,/. an eminent Dutch painter, born          SUBJECTS AFTER VARIOUS MASTERS.
at Utrecht in 1636. He was the son of Gysbrecht    The Judgment of Solomon; after Karel van Mander.
H., who instructed him in the art till his death,  The Adulteress before Christ; do. 1597. St. Paul castH.wMelchior hais d reached the arge of seventeen.  ing the Viper into the Fire, in a landscape; after Giles
when Melchior  had reacthe two Disciples going to Emma
He then entered the school of John Baptist Ween-  us; do. 1598. Four plates of Drolleries; after P. Breuinx, and under the excellent instruction of that  ghel. Tobit and the Angel; after G.de Saen. 1600. St.
master, he became an admirable painter of live  John preaching in the Wilderness; do. A View of the
fowls, game, and similar subjects. His principal  Hague; inscribed Curia Hollandice; do.; scarce.
guide was nature, and he is said to have trained a    HONDIUS, or DE  HONDT, HENRY, THE
cock to stand for hours in any particular attitude.  YOUNGER, the son and scholar of Jodocus H., born
He imitated the plumage of each fowl in the most  at London in 1588. He completed some of the
perfect manner; his touch is firm  and bold, and   plates left imperfect by his father, and also execuhis coloring rich and mellow.  Although'not so  ted a number of portraits in a neat style, marked
glossy and highly finished as those of Weeninx,  with a similar monogram to that of the preceding
they are painted with more freedom, and a fuller  artist.  The following are his principal plates:
pencil; and his productions are unsurpassed. He
died in 1695.                                                          PORTIT.
Queen Elizabeth. James I. Charles I. John Bale,
HONDIUS, ABRAHAM, a Dutch painter, born at  Bishop of Ossory. Thomas Cranmer, Archbishop of CanRotterdam in 1638. He painted huntings and ani-  terbury.  Robert Cecil, Earl of Salisbury.  William,
mals in a masterly style; also conflagrations and   Prince of Orange. Mary Princessof Orange. Sir Richard Spencer, Ambassador. Sir Ralph Winwood, Secretary
towns on fire; but his best productions were dogs,  of State.
in which he attained great perfection, almost equal
to Snyders or Fyt.  He painted a picture of
thirty  species  of  dogs, designed in a spirited            or        ILLI, thenofthE  p d
style, with great freedom of touch, and each par-  ingW                      MeIH ee ec
ticular animal characterised in an admirable man-      fourished at the Hague about 1640. He en
ner.  He visited England in the reign of Charles  graved a number of good plates, after Vandyck
and others, among which are the following:
II., where he resided many years and died in  and  others, among which are the following:
1695. There are a few very spirited etchings by      Ladislaus IV., King of Poland; W. Hondius, fecit.
1637. John Casimir, King of Poland; after Schulze.
Hondius, which are scarce and highly esteemed.  Louisa Maria, Queen of Poland; after J. van, Egmont.
Among them  are a Boar-Hunting, and a set of   Charles, Prince of Poland, Bishop of Breslau; after
Huntings of various animals.                       Schulze. Prince Maurice of Austria. 1623; fine. Bernard, Duke of Saxe Weymar. Theodore ab Werdenor   oif  or riJ         HONDIUS or  Burgio. Henry Cornelius Longkius; after J. Mytens.
^  E JL~ Ja ~~           DE  HONDTFrancis Franck, the younger, painter; afte- Vandyck
His own portrait; do.
JODOCUS, or JOST, a Flemish engraver, born atort; 
Ghent in 1563.  At the age of twenty, he was          HONE, NATHANIEL, an Irish painter, born at




HONG.                       410                     100G.
Dublin about 1730. He visited England in the   both in history and portrait, and was chosen Diearly part of his life, and practised itinerant por-  rector of the Academy at the Hague, where he
trait painting, particularly in York, where he mar-  died in 1748.
ried a lady of some fortune. Shortly afterwards                          HO   E, PETER D, a Dutch
he settled in London, and continued to follow his   PD           or      paintr of adrab  tant
profession with reputation, both in oil and minia-                     p of   mir             alents
but of whom little is known.,He flourished about
ture, but chiefly in enamel; and after the death of.  H                                   usua 
Zincke he was ranked among the first artists of  the middle of the 17th century.  His usual subZincke, he was ranked among the first artists of
his time in that bran gch. He was chosent ar   memo  jects were the interiors of Dutch apartments, with
his time in that branch. He was chosen a men-  figures in the prevailing costume of the day. Al
ber of the Royal Academy, at its founding in   f igures in th        e  prevailing ostume and spirited than
1768, but offended that society by his picture of   tha t of Metzu or   mo re free and spirited th  in
the Magician, in which he exposed the plagiarisms  neatness of finishing. His coloring is most admiof Reynolds. He also produced another, reflecting   rable andishis lanagd wth gat
on Angelica Kauffman.  He died in 1784.                      his chiarosuro is managed with great
intelligence. He had the peculiar excellence of repHONGRE, ETIENNE LE, a French sculptor,  resenting the sun shining through a window, illuborn  at Paris in 1628. After studying under  minating a part of the room with a highly pleasJacques Sarrazin, he visited Italy, and remained  ing effect. His works are widely known, and unithere six years.  He was invited by Colbert to   vorsally admired; the best of them  are dated
assist in the works at the palace of Versailles,  1658. In the English royal collection, and also in
where he executed a figure of Air, the statues of  those of the Duke of Wellington and the late Sir
Vertumnus and Pomona, and also a number of   Robert Peel, are several pictures by de Hooge,
bas-reliefs, which possess considerable merit.  He   which are invaluable.
designed the bronze equestrian statue of Louis       HOOGHERoMEYNDE a Dutchdesignerand
XIV., erected in the Place Royale at Dijon.-D
XIV., erected in the Place Royale at Dijon.-  engraver, born at the Hague about 1638. He natAmong his other works. were a part of the sculp-.
Among his other workn  were a part of the sculp-  urally possessed fine talents, and great facility of
tures in the Mazarin College, now the Palais de  invention which are manifest in his works; but
1.iAcademy in  invention, which are manifest in his works; but
1 Institute.  He was admitted to th cademy in  thesevery excellencies led him to neglect correct1668, and died in 1690.
ness of design, and he used little judgment in the
[IONT, or HONDT, H. VAN. This painter is  selection of his subjects.  He handled the point
said to have been a scholar of D. Teniers.  He   with great spirit and facility, and his small figures
painted scenes similar to those of that master, and   and distances are executed with great delicacy and
often very much in his style.                      neatness. His foregrounds and principal figures,
HONTANON, GIOVANNI DI. See GIL.                 however, are less happy, and there is a lack of harHONTHORST,-  GERARD, cad            mony of effect, and of light and shade. He exeDALLE NOTT    the Italians, from his often      cuted a considerable number of prints, some of
DALLE  NOTTIby the Italians, fromhisoftenwrep-  which are highly esteemed. The following are
resenting scenes by torch-light, was an eminenty                                              g i 
Dutch painter, born at Utrecht in 1592. After  theprincipal:
studying under Abraham  Bloemaert, he visited        The portrait of Michael Adriaensz de Ruyter, AdmiralRome, and closely applied himself to the study of  General of Holland; very fine. An Allegorical subject, in
honor of Leopold II. Another, in honor of William Henthe works of M. A. Caravaggio. He succeeded in  honor   of Lpld I. Anhe Mairiage of William, Prince
ry, Prince of Orange. The Marriage of William, Prince
combining, in a most admirable manner, the vigor-  of Orange, with the Princess Mary. The Entry of the
ous coloring and powerful lights and shadows of   Prince of Orange into London. The Coronation of Wilthat master, with dignity of character, and a  liam and Mary. The Army of William III. in order of
more correct and elevated taste of design.  He   Battle, on the Banks of the Boyne, with the medallions of
was patronized by Prince Giustiniani, for whom   the King and Queen Mary. The Siege of Vienna by the
he painted some of his finest works, among which   Turks. 1683. The Triumphal Entry of John III., King
he painted some of his finest works, among which   of Poland, into Warsaw, after raising the siege of Vienna.
are two capital pictures of St. Peter delivered from   Constantinople taken by the Turks. A set of plates, repPrison, and Christ before Pilate.  There is an ad-  resenting the excesses committed by the French in Holland.
mirable torch-light scene by Honthorst in the   1672, 1673. The Deluge of Coerverden. The Massacre
church of the Madonna della Scala, at Rome, rep-  of the two De Witts. 1672. The Defeat of the French at
h    e aion  f   ate rep-  Hochstadt in 1704, with medallions of the Duke of Marlresenting the Decollation of St. John. After re-borough and Prince Eugene. The taking of Narva, by
turning from Italy, he visited England, and painted   Charles XII. The Battle of St. Deny's near Mons; in
several pictures for Charles I., who liberally re-  two sheets. The Jewish Synagogue at Amsterdam. The
warded him. He afterwards settled at the Hague,  Entry of Louis XIV. into Dunkirk; two sheets; after
and was patronized by the Prince of Orange, for   ander Meulen. Charles II. of Spain descending from
whom he painted several excellent pictures for the   his carriage to pay homage to the Host. Six emblematical
whom he painted se ver al xceent pictes fo the  subjects, relative to the abuses of the clergy of the Romish
Palace of Ryswick and the Palace in the Wood.  Church; dated 1679. The Fair at Arnheim. Twelve figHe died in 1660.                                   ures habited in the mode of the latter part of the seventeenth century.
HONTHORST, WILLIAM, the younger brother
of the preceding, born at Utrecht in 1604. He        HOOGHENBURG, JOHN, a German painter,
was instructed by Abraham Bloemaert, and though   born at Cologne in 1500. Little is known of the
he sometimes painted historical subjects in the   events of his life, but he attained considerable exstyle of his brother, his chief excellence was in  cellence in historical painting. He died at Malmes
portraits.  He died in 1683.                       in 1544.
HOOFT, NICHOLAS, a Dutch painter, born at          HOOGSTADT, GERARD VAN, a Flemish painter,
the Hague in 1664. He studied first under Daniel  born at Brussels in 1625. His instructor is not
Mytens, and afterwards became the pupil succes-  mentioned, but his works evince considerable abilsively of Doudyns and Terwesten. He excelled  ity, both in design and execution, several of which




HOOG.                        411                      HOPF.
are in the churches of Brussels, particularly his  Ti  I^ or f             HOPFER, DAVIDor DANIEL,
pictures of the Passion of our Savior, in  S. Gu-       J         1 l  an old German engraver, born
dale.  He died in 1675.                              at Nuremberg about 1510.  He was the eldest of
HOOGSTRAETEN, DIRK (THEODORE) VAN, a   three brothers, who were all engravers, and markFlemish painter, born at Antwerp in 1596.  He   ed their plates with the initials of their names on
was brought up to the business of a goldsmith,  a tablet, with a hop-blossom between the letters,
but having gained the friendship of several Flem-  in allusion to their name, which means a hop
ish painters, who instructed him in the art, he ac-  plant.  Marollesmistook it for a candlestick, and
quired such a proficiency that he quitted his  calls them the Masters of the Candlestick.  Daoriginal occupation, devoting himself entirely to the   vid was the ablest and most industrious of the
pencil.  He painted historical subjects, but chiefly  three.  He executed a great variety of etchings, in
landscapes, designing them after nature with great  a spirited and pleasing style; although his design
truth and exactness, and distinguished himself  is stiff and formal, and his composition inferior.
above many of his cotemporaries, who had been   He excelled in ornamental buildings and decoraregularly educated.  He died in 1640.                tions.  Nagler has a list of his prints, among
which the following are the principal:
4  HOOGSTRAETEN, SAMUEL
X H or             VAN a Dutchpate, t                 David cutting off the Head of Goliah. David playing
AN ut erhe   n   on the Harp before Saul. 1531.  The Woman taken in
of the preceding, born at Dort in 1627.  After ac-  Adultery. The Last Judgment. The Presentation in the
quiring the elements of design from his father, he   Temple. The Holy Family, with St. Elisabeth and St.
visited Amsterdam, and entered the school of Rem-  John. Christ caring the Blind Man. The Crucifixion of
brandt.  On leaving that master, he applied him-  Christ between the two Thieves. Another Crucifixion, with
self to portrait painting, in the dark, vigorous  the Virgin and St. John. St. Christopher. The Representastyle he had acquired under Rembrandtn; but find-  tion of an Altar. M.D.xxvII. A large Altar, with the Virgin,
style he had acquired under Rembrandt; butfind-  Christ, and St. John. Venus, with Cupid playing on a
ing this rather unpopular, he adopteq a more clear  Madoline. A Combat of Marine Monsters; copied from
and agreeable manner, and met with great encour-  Andrea Mantegna. Five Swiss Soldiers. Several Vilagement, both at the Hague and at Dort.  He also  lage Festivals. Grotesque figures dancing; of various
painted landscapes, flowers, fruit, and subjects of             rnamentS           figures.
painted landscapes, flowers, fruit, and subjects of   sizes. The Fountains, ornamented with figures. Military
still-life, touched with great neatness, and agree-            with grotesque figures.
bly colored.  Hoogstraeten visited Vienna, where                         PORTRAITS.
he was patronised bv the Emperor, to whom  he          Martin Luther..D.XXIIIr. Claus Sturzenbecher; very
presented three pictures; one a portrait; another      rce.   rolus Rex atholicus, a medallion.
an Ecce Homo; and the third a subject of still-         ^          R              HOPFER  JEROME,
life, highly finished; with which the monarch was   I   Hor  jH  or  sHthe younger brotherof
so highly pleased that he honored him  with a   the preceding, fiourishedat Nuremberg about 1535.
chain and medal of gold.  From Vienna he went   He etched a number of plates in the style of Dato Rome, and after spending some time there for  vid H., some of which, after his own designs, posimprovement, he visited England about 1663. Ver-  sess considerable merit.  He copied, in a poor style,
tue mentions a picture by him, representing sub-  several of the prints of Durer.  His plates are
jects of still-life, among which was an English   marked with his initials on a tablet, with a hop
Almanac for that year.  After remaining a few   blossom  between  them.  The following are the
years in England, he returned to Dort, and died   principal             
there, in 1678.                                      p    p
PORTRAITS.
HOOGSTRAETEN, JOHN VAN, a Dutch paintHOOGSTRAETEN, JOHN VAN a Dutch paint-    Franciscus von Sickingen, with a German inscription;
er, the younger brother of the preceding, born at  fine and scarce. Wolfgang Juriger zu Toledt; fine and
Dort in 1629.  According to Houbraken, he paint-  scarce. JuliusSecundus,PontifexMaximus; abust. Ined history and portraits with reputation, and was   nocentius Octav. Pontifex Maximus; do. The Emperors
chosen a member of the Society of Painters at  Charles V. and Ferdinand I.; on one plate. Leopoldus,
Dort in 1649.  He was invited to the court of Vi-  Dickius, Juris-consultus, &c., fine. Erasmus Roterdamus;
fine.
enna, where he remained several years in the service'Sf the Emperor.  He died at Vienna, accord-                      VARIOUS SUBJECTS.
ing to Nagler in 1654.                                 Samson overcoming the Lion. The Virgin suckling the
ingthpaner  or.  ~infant Jesus. St. Hubert; copied from Albert Durer.
HOOGZAAT, JOHN, a Dutch painter, born at  St. Jerome; do.; rather smaller than the original. St.
Amsterdam, in 1654.  He studied under Gerard   George standing upon the Dragon; from his own design.
de Lairesse, who considered him  among his best  An emblematical Print, representing several naked figures,
disciples. In consequence of the favorable expres-  with Diana in the front, holding a moon in her right hand,
sions of Lairesse, he was employed to paint the   and a flambeau in her left; do, Hercules strangling Anteceiing of the Burg.hers' Hall atAmsterd am, r.e -  us; after Mantegna. Roma; Pallas seated, holding the
ceiling of the Burghers' Hall at Amsterdam, rep-  figure of Victory. The English and French armies before
resenting an allegorical subject, ingeniously com-  the battle of Agincourt; very scarce. A Roman Battle;
posed and agreeably colored.  He was afterwards   after Giulio Romano; rare. The great Cannon; after
employed by William  III. in his palace at Loo.  Abert Durer.
He died at Amsterdam, in 1712.                         HOPFER, LAMBERT, the youngest brother of
HOOSTAD, or HOOGSTADT, GERARD VAN, a   the preceding artists, was inferior to them  in talFlemish painter, born at Brussels in 1625. His  ents.  His plates are marked with the initials L.
instructor is not mentioned, but Descamps says   H., on a tablet, and sometimes with the hop plant.
he was an excellent painter of history, with a cor-  There are a number of etchings from his own derect design, and ingenious composition.  He paint-  signs, and after the prints of Albert Durer, among
ed some pictures for the churches of Brussels,  which are the following:
among which are several in S. Gudule, of subjects      The Fall of our First Parents. A set of fifteen plates
Brom the Passion of our Saviour.                     of the Life and Passion of Christ; copied from the wood



HOPP.                      412                     HORR.
an auts of Albert Durer, Christ praying in the Garden;  1759.  His favorite subjects were conversation
with an arabesque border. A Triton on a Sea-horse, and   pieces, of which the characters were generally
Cupid on a Dolphin; the same. The Conversion of St.  taken from the peasantry of the country
Paul. Three circular subjects on the same plate, a Man
caressing a Woman, Paris dying on Mount Ida, St. Jerome  HORREMANS, JOHN, the Younger, the son
praying. An arabesque ornament, with four candelabra;  of the preceding, was born in'-717. He painted
esteemed his best print.                           similar subjects to those of his master. but scHOPPNER, JOHN. This painter was descend-  lected his characters from  the higher classes cf
ed from a German family, but was born at London   society, with an occasional analogy to Hogarth.
in 1759. His natural taste led him to landscape  He died in 1759, the year of his father's decease.
painting, but prudence restrained him to portraits,    HORST, NICHOLAS VANDER a Flemish painter
as the only certain means of pecuniary success.-   born at Antwerp in 1598. He studied under RuThe back-grounds of his pictures, however, afford         a                                and Italy
ample proof of his abilities in the former branc        etnn  t        nders, he ettled at Brussel
On returning to Flanders, he settled at Brussels,
f the art.  Hs style was founded on that of Rey-  where he painted history and portraits with great
nolds, but he was not a servile imitator of that  credit. He was appointed painter to the Archmaster.  His coloring is natural, chaste, and vigor-  duke Albert for whom he executed several works.
duke Albert, for whom he executed several works.
ous, and his tones are generally mellow and deep;      died at Brussels i 1646.
his pencilling is full, and his carnations fresh and
transparent.  His pictures of children were full    HORTEMELS, FREDERICK. a French engraver,
of unaffected ease and playful grace. He possessed   born at Paris about 1688. His best works were
the power of greatly improving the appearance   engraved for the Crozat collection,  A part of
of a portrait, without destroying the-resemblance; his plates were executed almost entirely with the
consequently his talents were in great demand   graver, and have very little etching; but in his
among the ladies. In his portraits of men, how-  best prints he has equally united the point and
ever, he seemed to have very inadequate concep-  grer, and they possess a great deal of merit,
tions of the noble passions visible in the "human with unusual harmony of effect. The following
face divine," and in his anxiety to represent the are the principal:
gentleman, he sometimes failed to delineate the    The Portrait of Philip, Duke of Orleans; after Santerre.
man. Hoppner was a member of the Royal Acad-    SUBJECTS ENGRAVED FOR THE CROZAT COLLECTION.
emy. He died in 1810.,        Christ bearing his Cross; after Giorgione. The Wise
IIORBERG, PETER, a Swedish painter, was  Men's Offering; after P. Veronese. The Virgin in Medoriginally a shepherd, born about 1730.  While  itation; after Dom. Feti. The Marriage of St. Catherine; do. The Birth of St. John Baptist; after Tintopursuing his humble duties, he was accustomed to  retto. The Death of Abel; after A. Sacchi. Christ and
make drawings on pieces of birch bark, and -at  the Woman of Samaria; after B. Garofalo. The Descent
last, having heard of the Academy of Painting at  of the Holy Ghost; after Gaudenzio Ferrari.
Stockholm, he visited that city, and succeeded in    HORTEMELS, MARY MAGDALENE, a French
finding patrons. He was indefatigable in his ex-  engraver, mentioned by Watelet, as the daughter
ertions, and became an artist of distinction.  He  of Frederic H., and the wife of Charles Nicolas
practised the art for many years, and in his latter  Cochin.  She etched several plates and finished
days obtained a pension from  Gustavus IV. He  them  with the graver, in a light, pleasing style,
died at an advanced age, in 1814.                  among which are the following:
HOREBOUT, GERARD LUCAS, a Flemish paint-                           PORTRAITS.
er, born at Ghent in 1498. He painted several    Cardinal de Blissy, Bishop of Meaux; after Rigaud
historical subjects for the churches of Ghent, after  Cardinal de Rohan, Bishop of Strasburg; do.
which he visited London, and entered the service            SUBJECTS AFTER VARIOfS MASTERS.
of Henry VIII.  He painted portraits in the style    Mercury announcing Peace to the Muses; a ceiling;
of Holbein.  He died at London in 1558.            after Corneille. Penelope occupied in the midst of her
HORFELIN, ANTONIO LX, a Spanish painter,  Women; do. Aspasa disputing with the Philosophers of
bon  1587. After acquiring the    reece; do. St. Philip baptizing the Eunuch; after N.
born at Saragossa in 1587. After acquiring the  Bertin. Iphigenia; inscribed, Quantum religio potuit;
elements of design from his father, Pedro l' Hor-  do. The Triumph of Flora; after N. Poussin. The
felin, an obscure artist, he visited Rome for im-  Conquest of Franche-Comte; after C. Le Brun.
provement, and studied the works of Raffaelle and        HOSKINS JOHN an English portrait paintMichael Angelo.  His principal performance is a             wo liv  in t   ist pat of te 
picture of St. Joseph in the Augustine monastery   century during the reign of Charles I. For sev
at Saragossa, which evinces a grandeur of design   eral years he painted portraits in oil, but after
and harmony of coloring, superior to his Spanish   wards in miniature in which he succeeded best.
cotemporaries. He died in 1660.                    The King, the Queen, and the principal nobility
HORION, ALEXANDER LE, a Flemish painter,  sat to him; and he had the satisfaction of educaborn at Leige about the close of the 16th century.  ting two good disciples, Alexander and Samuel
He painted several subjects from  sacred history,  Cooper, who were his nephews. The portraits
for the churches of Liege and the convent of St.  of Hoskins have a natural and truthful expression,
Claire; but he excelled chiefly in portraits, which   but his carnations are not sufficiently varied, and
were correctly drawn and good likenesses, but  have an unpleasing red monotony.  He died in
with little expression.  He adorned his pictures  1664. He had a son, who also painted in miniawith accessories in a most beautiful manney, which  ture, and usually marked his works with the incontributed eonsiderably to the popularity of his  itials I. H.
works. He died in 165U..                HOUASSE, RENE ANTOINE, a French painter,
HORREMANS, JOHN, the Elder, a Flemish   born at Paris in 1645. He studied under le Brun.
painter, born at Antwerp in 1685, and died in  and became a reputable artist in history.  He




HOUB.                      413                    HOUE.
visited Rome and became successively Professor  ted to the Royal Academy, on the exhibition of
and Director of the French Academy in that city.  his admirable statue of Morpheus, which gained
He died at Paris in 1710, leaving a son, Michel  him great reputation. He was invited to AmeriAngelo Houasse, who was instructed by his father,  ca by Franklin, where he executed the statue of
and followed his style. He died at Arpajon in   Washington and the bust of Lafayette, in the Cap1730.                                             itol at Richmond, Virginia. His statues of young
HOUBRAKEN, ARNOLD, a Dutch painter and  Sgirls have also been much admired for their exbiographer of artists, born at Dort in 1660. After  pression of modesty and purity. In 1781 he exreceiving a liberal education, he was placed under  ecuted a statue of Diana for the Empress of RusWilliam van Drillenbourg, and subsequently under  sia, which was greatly admired. Among his other
Samuel van Hoogstraeten. He painted portraits  principal works, are a statue of Voltaire, in the
and small subjects of history, which were more  peristyle of the French theatre; the busts of
esteemed for correctness of design than for truth   Rousseau D'Alembert, Barthelemy, the Margrave
of coloring. He visited England to make the draw-  of Anspach, Marshal Ney, Napoleon, Josephine;
ings of the portraits of Vandyck, which were en-  and his celebrated statue of Cicero, representing
graved by Peter van Gunst. Houbraken is best  the orator denouncing Cataline before the Roman
known by his biographical work in Dutch, in 3   Senate. Houdon also executed for the use of the
vols., entitled The Great Theatre of the Dutch   academy, two models of the human frame, repreand Flemish Painters, with their Portraits.-  sented without the skin, and evincing great knowThere are a few etchings by him, after his own   ledge of anatomy. He died in 1828.
designs, among which are the following:             HOUEL, J. P. L. L., a French painter and enA set of slight etchings of Boys, with vases. Vertum-  graver, born at Rouen in 1735. He studied paintnus and Pomona. 1699. Christ with the Disciples at Em-  ing under Descamps; and then visited Paris
mans; in the manner of' Rembrandt. An emblematical  where he studied engraving under Mire; and aftersubject, representing three Women looking at a Child lying  wardsbecame a pupil of the painer Casanova.
in a sort of Basket, encircled by a Serpent; A. HIoubra-  wards became a pupil of the painter Casanoa.
ken, pinx. etfecit.                               He then went to Italy, and traveled through the
HOUBRAKEN, JACOB, an eminent Dutch en-  kingdom of Naples, and the islands of Sicily, Malta,
graver, the son of the preceding, born at Dort in  and Lipai, designing man  fine landscapes. On
1698. It is not known by whom  he was in-  returning to Paris,he commenced his great work,
structed, but he appears to have founded his style  entitled Voyage Pittoresque    Sicle, de Malte,
et de Lipari, fol., Paris, 1782 to 1788, embellished
upon those of Nanteuil and Edelinck. He chieflypari, fol.,Par, 1782 to 1788, embellished
with 264 plates of his own execution. He also
excelled in portraits, and many of his productions  with 264 plates of    own  execution. He also
are equal to those of the most eminent artists in  engraved a number of other plates, and painted
this branch; designed in excellent taste, correctly  some fine landscapes. He died in 183.
drawn, and executed in a very soft and delicate     HOUSEMAN, or HUYSMAN, CORNELIUS, an
style. Houbraken executed many of the plates in  eminent Flemish landscape painter, was born at
Knapton's Collection of Illustrious Personages,  Antwerp in 1648, but afterwards settled at Mechpublished at London; also a large number of  lin, wherefore he is often denominated Houseman
others, among which are the following:            of Mechlin. He was the son of an architect, but
PORTRAITS.                    losing his father while young, he was placed in
His own portrait; afterJ. M. Quinkhart. Jacob van  the school of Gaspar de Wit to study paintHoorn; do. Jacob van Selsted, his Wife; do. Albertus  ing. Happening to see some of the landscapes of
Seba; do. John Burman, physician; do. Francis Bur.  Jacques Artois, he visited Brussels and studied
man of Utrecht, Doctor in Theology. Gustavus William,  under that master. He made nature his guide
Baron d'Imhof, Governor-General of Dutch India. Peter  and studied a great deal in the forest of Soignes
de Musschenbroeck, Professor of Medicine at Leyden. Fer-  where he sketch
dinand van Collen, Burgomaster of Amsterdam. 1727.-  where ie setcnea    a great many beautiful views.
Hermann Alexander Roell, Doctor in Theology. -Peter  On quitting Artois, he went to Mechn, and soon
Burman, Professor at Utrecht. 1727. Jerome Gaubius,  gained a high reputation. Vander Meulen was so
physician. 1744. John Conrad Rucker, juris-consult. 1736.  favorably impressed with his talents, that he enWilliam James Sgravesande, mathematician; after Van-  deavored to prevail upon him to visit Paris, but
dyck. Sigbert Havercamp, Professor of Leyden; after  was unsuccessful.  Houseman is ranked among
Mieris. Johnde Witt, Grand Pensionary of Holland;-   the best lemish artists in landscape. His style
ter Netscher. John Rodolph Faesch of Basle; afteru-     beFlemh artistsin landscape. Hisstyle
ber. Henrietta Wolters, paintress; seipse pinx. Cornel-  i much in the Italian taste; his coloring rich and
ius Troost, painter, of Amsterdam; se ipse pinx. Jacob  harmonious. He always painted the figures and
Campo Weyermans, painter, and author of the Lives of  animals in his pictures, (a rare excellence in an
the Dutch Artists. Nicholas Verkolie, painter; after a  artist eminent in landscape,) and designed them
picture by himself. He also engraved two plates for the  so well, that he was frequently employed by MGallery of Dresden: The Portrait of Daniello Barbaro;  derhl, tahewafrunlepodbMi
after P. Veronese. The Sacrifice of Manoah; after Rem-  derhout, Achtschelling, and others, to decorate
a. fier P. Vronest. The Sacrifice of Manoah; after Remn
brandt.                                          their pictures in the same manner. His chiaroHOUDON, JEAN ANTOINE, an eminent French   scuro is managed with great intelligence, and he
sculptor, born at Versailles in 1741. At an early   was fond of introducing a fine effect of sunshine
age he went to Paris, and studied in the Ryl   in the foreground, which is enriched with plants
Academy. At the age of eighteen he gained the      nd foliag    Some of his landscapes, however,
grand prize, and visited Rome with the king's pen-   ppearto havechanged color, exhibiting a reddish
sion, where he executed, among other works, a  brown appearance, which has considerably diminmarble statue of St. Bruno, which was highly  ised their value. Houseman practised the art
praised by Clement XIV. for its lively and anipraised by Clement XIV. for its lively and ani-  with success at Mechlin for many years, and died
mated expression. After spending ten years at  t          
Rome, he return d to Paris, and soon gained rep-    HOUSEMAN, or HUYSMAN, JAMES, a reputation and employment. In 1775 he was admit-  utable Flemish painter of history and portraits,




HOUS.                        414                      HOWA.
born at Antwerp in 1656, and was probably a re-  Hopkins, poet.  Joseph Moxon, mathematician.  John
lative of Cornelius H.  He studied under Giles   Taylor, mathematician. William Winstanley, biographer.
Backereel.  Becoming obnoxious to the Jesuits,           HOWARD, HENRY, an English painter, born
and obliged to leave Antwerp, he visited England,  in 1769.  After acquiring the elements of design
in the time of Charles II., where he practised the   under Philip Reinagle, he entered the academy as a
art with great success.  In portrait painting he   student, in 1788. In 1790 he gained the grand
was a successful rival of Sir Peter Lely, and   medal for the best historical painting, Caractacus
among the Beauties at Windsor, is a portrait of a   recognizing the Dead Body of his Son; and the
lady by Houseman, equal to any by that artist.  silver medal for the best drawing from the life;
He also painted a fine portrait of the Duchess of   a remarkable instance of success.  In 1791 he
Richmond, which is in the palace at Kensington;  visited Italy, where he lived on terms of intimacy
but his most admired production was that of   with Flaxman.  In concert with that artist, and
Catharine of Portugal, Queen of Charles II.  In   another sculptor named Deare. Howard executed
the National Gallery at London, is his portrait of   a set of outlines of the most celebrated works of
Izaak  Walton.  Houseman died at London in   antique sculpture; each one correcting the sketches
1696.                                                 of the others, until perfection was attained; and
HOUSEMAN, F., an English mezzotinto en-  they were then traced off.  He sent a picture of
graver, who executed among other plates, a por-          e Dream of  ain to the Royal Academy.  On
trait of Nancy Parsons, afterwards Lady May-  returnng to England hewas engaged on the senard.                                              ries of unfinished drawings of the Dilettanti SoHOUSSARD    This engraver was probably.         a   ciety, and made many designs for illustrating the
native of FranceRD.  AmThs eng oravther plates heprobably aexecu-  Poets and Essayists for the publications of the
native of France. Among other plates he execu-  In               1801 h   was elected an Associate, and in
ted a portrait of Saveur Frangois Morand.              day.  In 1801 he was elected an Associate, and in
1808, a member of the Academy.  His favorite
HOUSTON, RICHARD, an English engraver in   subjects were of a poetical and classical nature;
mezzotinto, and in the chalk manner.  He at-  his pictures evince an exquisite taste of delineation
tained considerable eminence in these departments   and a strongly imaginative temperament, infinitely
of the art, and executed a variety of portraits and   superior to the common taste, consequently he was
other subjects, many of which possess considerable   not generally appreciated. Howard was chosen
merit. The following are the principal:                Secretary of the Academy in 1811, and Professor
PORTRAITS.                        of Painting in 1833.  In the latter capacity, he
Several portraits for Holt's Lives of the Reformers.  delivered a course of lectures to the students,
George II.; after Worlidge. Henry Pelham, Chancellor   which are  remarkable for eloquence of diction,
of the Exchequer; after Hoare. John Byng, admiral;  clearness and vigor of reasoning, and elevated
after Hudson. James Wolfe, general.                    views of art.  Howard also painted several fine
AFTER SIR JOSHUA REYNOLDS.                landscapes, one of which, a View  in Knowles
Charles, Lord Cathcart. Philip Dormer Stanhope, Earl of   Park, is in the collection of the Earl of Egremont.
Chesterfield. John Manners, Marquis of Granby. Rich-  He died in 1847.  The following are some of his
ard Robinson, Archbishop of Armagh. Eliza, Duchess of   principal paintings, the subjects of which evince
Argyle, with her son and a greyhound.  Maria Walpole,  his taste in art:
Duchess of Gloucester, with her daughter. Lady Selina
Hastings. Caroline, Duchess of Marlborough, with Lady    The Pldes. in the possession of the Duke of SutherCharlotte Spencer. The Duke of Marlborough. Mary,  land.-A duplicate of this picture long formed the chief
Duchess of Ancaster. Elizabeth, Duchess of Northumber-  ornament of the Leicester Gallery.  The birth of Venus,
land.                                                  and Fairies on the Sea-shore, Sir Matthew White Ridley.
The Solar System, Jesse Watts Russell.-Of this subject
SUBJECTS AFTER VARIOUS MASTERS.              the original was exhibited in 1796, as The Planets drawThe Virgin and Infant;'after Raffaelle. The Tempta-  ing Lightfrom the Sun; a duplicate picture was painted
tion of St. Anthony; after Teniers. An old Man, with a   for Mr. Morrison; and an adaptation of the composition to
beard; after Rembrandt; fine. A Man seated, with a   a circle, 12 feet in diameter, decorates the ceiling of tho
large hat on his head; do. Bust of a Woman, called the   Duchess of Sutherland's boudoir at Stafford House. The
great Jew Bride; do. An Old Woman plucking a Fowl;  House qf Morphrus, the Earl of Egremont. A series of
do. A Man holding a Knife; do. The Pen-cutter; do.  pictures.from Milton's Comus, of which Sabrina is the
The Philosopher in contemplation; do. The Gold-Weigher;  chief personage, and a Riposo, Mr. T. W. Budd.  The
do. Christ with the Woman of Samaria; do.  Avarice   Story of Pandora, and other works, in the Soane Museand Innocence; after Mercier.                          um. A Lady in Florentine Costume, Lord Colburne.HOVE, FREDERIC  HENRY  VAN, a Dutch  en    Of this there is a duplicate in the possession of Lord KenbOrn, atEDERIC HENRY VAN, a Dutchmen-  nedy, and a similar subject in the collection of Mr. Vernon.
graver, born at Haerlem  about 1625. He visited   Hebefeeding the Bird of Jove, Love listening to theflatLondon, where he resided from 1648 to 1692, and   teries qf Hope, Hylas carried qff by the Nymphs, Venus
executed a number of plates for the booksellers,  carrying of Ascanius, The Moon unveiling her Light,
particularly for Robert Morison's Historia Plan-  and other subjects of a similar poetical character.
tarum.  His productions are chiefly  portraits,   X{TFHOWARD, WILLIAM, an English engravamong which are the following:                           V].Z  er, who flourished about 1665. Among
James U. William III. Mary his Queen. King Wil-  other plates he executed a set of marine views,
liam and Mary, on their throne. Thomas Sutton, Mercat.  somewhat in the style of Hollar.
Lond. founder of the Charter House. Sir Nathaniel Ber-   HOWITT SAMUEL an English artist, who, withnardiston, of Kelton, Suffolk. Arthur Capel, Earl of Es-..,' a Egi  artist w     w
sex; prefixed to his Murder. Thomas Butler, Earl of Os-  o   instruction, attained considerable skill in desory. Sir Edmund Bury Godfrey; prefixed to his Life.  signing wild animals and huntings, which he exeSir Matthew Hale; prefixed to his Origin of Mankind.-   cuted in a correct and spirited style. There are
Samuel Speed, poet. Sir Thomas Browne, M. D. Hansard   also a few prints by him, etched from his own deKnollis, V. l. M. Lady Mary Armyne, grand-daughter   signs.  He died at Somerstown, in 1822.
to George, Earl of Shrewsbury. Mary Trawy, Lady
Vere. Sir Henry Morgan, Governor of Jamaica. John        HOY.  See HoI.




HUBE.                      415                    HUGF.
HUBER, JOHN RODOLPH, an eminent Swiss  and finely colored. He is said to have amassed a
painter, born at Basle in 1668. His father was  large fortune by the practice of the art, which he
Alexis Huber, a member of the Council of that  bequeathed to the poor of his native city.  He
city. After studying under Gaspar de Meyer un-  died at Valencia, in 1714.
til the death of that master, he entered the school    HUGFORD, IGNATIUS. This painter was born
of Joseph Werner. At the age of nineteen he  at Florence, of English parents,in 1703. He was
went to Italy. and visited Mantua, to study the  esteemed an excellent connoisseur in art, and paintpaintings of Giulio Romano. At Venice and Ve-  ed history with  reputation.  For the church
rona he attached himself particularly to the works  of S. Felicita, at Florence, he painted an altarof Titian and Veronese, and while in the latter  piece, representing St. Raphael, which is praised
city became intimate with Tempesta, for whom he  by Lanzi. Hugford also painted easel pictures of
painted the figures in his landscapes. At Rome  historical subjects, some of which are in the Flohe lived on terms of friendship with Carlo Maratti,  rentine Gallery. He died at Florence in 1778.
and by designing the antiques, frequenting the
academy, and pursuing his studies with unwearied     HUGTENBURG JAMES VAN. a Dutch painter,
diligence for six years, he became an accomplished       Haerlemin 16          He studied under Nihartist. On returning to Switzerland he soon gained   olas Berghem, after which he visited Rome, where
great encouragement. His first remarkable work   hemet withmuch encouragement, and his talwas a large family picture for the Margrave of  ents in landscape painting were highly esteemed.
Baden Dourlaeh, by which he gained great ap-  He would probably have attained eminence in the
Baden Dourlach, by which he gained  great ap-  ^^^^^ ^    ^   ^^    ^ ^  in the
plause. In 1696 he was employed at Stuttgard   art had he not died young.
by the Duke of Wurtemberg, to paint several   13    or   HUGTENBURG, JOHN
large compositions for the grand apartments of          *      V 1   VAN, an eminent Dutch
his palace. His pictures were in great demand  painter and engraver, the younger brother of the
among the German princes, and were highly es-  preceding, born at Haerlem in 1646; died in 1733.
teemed for correctness of design, freedom of pencil,  After studying under John Wyck, he visited Italy
and vigorous coloring. Huber painted three thou-  for improvement, and remained there two years,
sand and sixty-five portraits, besides a great num-  until the death of his brother, when he returned
ber of historical paintings, all finished with his  to Holland by the way of Paris, where he spent
own hand; and on account of this wonderful fa-  some time, and became intimate with vander Meucility of execution, he was called the Swiss Tinto-  len, who gave him much valuable instruction. On
retto. He died in 1748                           his arrival at Haerlem, he soon gained a high repHUBERT, FRANCOIS, a French engraver, a dis-  utation for his admirable battle-pieces. which were
ciple of Beauvarlet; flourished at Paris about 1780.  greatly admired. He was an adept in representHe executed a variety of portraits and other sub-  ing the human passions, and has delineated the
jects, among which are Le Retour de la Nourrice,  characters of rage, pain, despair, &c., with perfect
after Greuze; and La Nouvelle Heloise, after letruth. His costumesarealways appropriate; and
Fevre.                                           the features of different nations are as easily disIUBERTZ. C., an obsure -Dutch engraver, who  tinguished in his works, as their habiliments.
I^^  ^ ^'^^"^1^    ^ ^      o   His pictures have a clear and vigorous coloring,
wrought chiefly for the booksellers, and executed,  Hs pictures have alear and vigorous coloring,
among other plates, several prints for the    us    ight and floating skies; and a neat, yet spirited
de la Bible, published at Amsterdam in 1720, from   touch, surpassing vnder Meulen, nd approaching
the designs of Picart and others.    the excellence of Wouwerman.  Hugtenburg was
employed by Prince Eugene to paint the battles
IIUCHTENBURG.  See HUGTENBURG.                 of his campaign with the Duke of Marlboro', in
HUDSON, THOMAS, an English portrait painter,  1708 and 1709. In 1711 he was invited to the
born in Devonshire in 1701. He was the scholar  court of the Elector Palatine, for whom he painted
and afterwards the son-in-law of Jonathan Rich-  several pictures, and was rewarded with a chain
ardson, after whose death he became very much  and medal of gold.
patronized in portrait painting. He was the in-    As an engraver, Hugtenburg etched a great numstructor of Reynolds, who, by effecting a revolu-  ber of plates, and finished some of them with the
tion in English art, overthrew the popularity of  graver. They are executed in a very spirited and
Hudson. The latter relinquished the practice of  masterly style, after his own compositions, and
his profession, and retired to his villa at Twick-  the designs of vander Meulen and others. He
enham, where he died, in 1779.                   also engraved several plates in mezzotinto, but
HUE, J. F., a French painter of landscapes and  these are inferior to his other productions. He
marines, who exhibited in the French Academy  designed and executed the plates for a large folio
from 1800 to 1824, in which year he died. There  volume of military operations, published at the
are a few poetical or historical pictures by him,  Hague in 1720. The following are his principal
and he occasionally introduced classical subjects  plates:
into his landscapes; but most of his works are    A Halt of Travelers, before a Forge; Hugtenburg,.feviews of sea-ports and marines.                  cit. William III. reviewing near Arnheim; do. A set
HUERTA, GASPARdDE LA, a Spanish painter,  of eight Battles, Skirmishes, and Marches; after VandcrHUERTA, GASPARO DE LA, a Spanish painter,  o hmeulen; marked with his cipher; ovals. Four Mountainborn, near Cuenca in 1645. He visited Valencia,  ous Landscapes; Vandermeulen, pinx. with cipher. A
and was received into the school of Jesualda San-  Halt of Sportsmen, in a landscape; do. A Battle of Cavchez, the widow of a painter named Pierre Infant.  airy; dedicated to the Duke D'Enghien; do. Another
Here he copied all the pictures and prints that he  Battle of Cavalry; dedicated to the Duke de Chevreusc
do. A View of Lisle, with the French Army;  ^Vander'
could find, and attained sufficient ability to gain  do  A View of Lisle, with the French Army; Vanderextensiv  pan. A g  hs      meulen, pinx. Hugtenburg et Baudouin,fec. The takan extensive patronage.  Although his works  ing of Dole in Franche-Comt6; do.; in two sheets. Louis
have little vigor, yet they are correctly designed,  XIV. with his Gua.rds, passing the Pont-neuf; Vander



HULE.                     416                   HUMP.
metuen, pinx. Hugtenberg, fecit. The Battle between  HUMPHREY, WILLIAM, an English mezzothe French and Germans in Italy; D. Hoogstraeten, in.  tinto engraver, who flourished about 1795, and
J. v. Hugtenberg,fec. et exc.; very fine. A Horse-Fair  executed a number of portraits, among which are
in Holland; dedicated to Prince Frederick William of
Prussia; do.; very fine. Several Battles, and other sub-  the following: Georgiana, Duchess of Devonshire,
jects, in mezzotinto.                            after Reynolds; Doctor Arne, after Dunkarton;
HULETT, JAMES, an obscure English engraver,  Colonel Richard King, after Kneller; William
who flourished about 1710. He wrought chiefly   Broomfield, Surgeon.
for the booksellers, and executed several plates    HUMPHREY, OZtAS, an English painter, born
for the Life of Queen Anne, published by Walker;  at Honiton, in Devonshire, in 1742. At the age of
also a number of portraits, among which are Mary,  fourteen he was sent to the drawing school taught
Queen of Scots, after Janet. There was another  in London, by William Shipley, where he remained
indifferent artist named Hulett, who executed the  three years, and was then obliged to return to
plates for an edition of Fielding's Joseph Andrews.  Devonshire, on account of the death of his father.
He died in 1771.                                 Shortly afterwards he was engaged with Samuel
HULLE, ANSELM VAN, a Flemish historical and   Collins, a miniature painter of Bath, whom he
portrait painter, born at Ghent in 1605. There is  succeeded in that city until 1763, when he removed
a picture by him, in the Museum at Ghent, repre-  to London, under the auspices of Reynolds. In
senting the Dead Christ on the lap of the Virgin.  1766 he exhibited at Spring Gardens, a miniature
Hulle died in 1660.                              of John Mealing, the living model of the Royal, ESAIAS VAN, a D h egravr me    Academy, which was universally admired, and was
HULS, ESAIA  VAN  a Dutch engraver, men-                 by the king for one hundred guineas.
tioned by Prof. Christ as a native of Middleburg.  purchased by the- king for one hundred guineas
He resided chiefly- at Stuttgard, and executed,  Soon afterwards, Humphrey painted a miniature
among other plates, several grotesque drawings  of the Queen; and gained considerable reputation
marked E. V. H., and drawn in a very correct and   and encouragement. In 1773 he visited Italy in
tasteful manner.                                 company with Romney, and resided there four
years, endeavoring to become a good artist in oil
HULSBERG, HENRY. This engraver was a  painting. On returning to England, he began to
native of Amsterdam, but resided chiefly at Lon-  practise that branch of the art, continuing it until
don, where he executed a number of plates for the  1785, when he visited India, and adopted miniabooksellers, of architectural views and buildings,  ture again. While in that country, he painted the
in a neat, but tasteless style. He also engraved a  portraits of several Indian princes, as well as Eularge view of St. Peter's; the illustrations for the  ropean residents; but in 1788, the state of his
first volume of the Vitruvius Britannicus; and   health compelled his return to England, and two
a number of portraits, among which are the fol-  years afterwards he was elected an academician.
lowing: SirBulstrodeWhitelocke. Robert War-  He greatly injured his eyesight by the labor of
ren, M. A., Rector of Bow. Joseph Warder, phy-  copying in miniature, the portraits in the Duke
sician. Aaron Hill; prefixed to his History of  of Dorset's collection, on account of which he dethe Ottoman Empire. 1711.                        voted himself to painting in crayons. His last
HULSE, or HULSIUS, FREDERICK, a German  performances were the portraits of the Prince and
engraver, and a native of Frankfort. According  Princess of Orange. He died in 1810.
to Florent le Comte, he studied under Theodore     H    UIER, JAc        GABRIEL, a French engravde Bry. He visited London, and executed a number    HUQUIER, JACQUES GABRIEL, a French engravde Bry. He visited London, and executed a number  er and print-seller, born at Orleans in 1695; died in
of plates for the booksellers, among which are  1772. He executed a great number of plates, afcome frontispieces, and the portraits of Bishop  ter Boucher, Watteau, and others, among which
Carleton, and Dr. Nicholas ab Prambesarius.      are the following:
HULST, PETER VANDER, a Dutch painter, born
I+~~~~~~  -n^~l~    ~   o ^^The Five Senses; afterWatteau. TheTemple of Diat Dort in 1652. He was called Tournesol, be-                     fterWatteau. The Temple of Diat Dort in 1652. He was called Tournesol, be-  an, and the Temple of Neptune; do. The Triumph of
cause he usually painted a sun-flower in his pie-  Galatea, and a Shephere caught in a Storm; do. Four
tures. After acquiring the elements of design in  Pastoral subjects of the Seasons; do. The Four Elements;
his own country, he visited Italy, where, not suc-  do. A large Pastoral subject; after Boucher. The Five
ceeding in  historical or portrait painting, he  Senses; do. The Four Seasons; do.
adopted the style and subjects of Mario di Fiori,    HUQUIER, GABRIEL, the son and scholar of
who painted flowers, fruit, insects, and reptiles.  the  preceding, born at Paris about 1725. He
His design is chaste, his touch free, and his color-  painted portraits in crayons, and engraved several
ing hvely and pleasing. His manner of painting   plates after Boucher, among which are the followpartook more of the Italian than the Dutch school.  ing: Le Repos champ6tre. Le Sommeil, et le
He died in 1708,                                 R6veil. Two Corps de Gardes. A Girl with a
HULSWIT, JOHN, a Dutch painter and en-  Bird, and the Infant Travelers; a pair.
graver, born at Amsterdam  in 1766. Thee are are   HURET, GREGOIRE, a reputable French engravtwo beautiful pictures by him, in the Museum at  er, born at Lyons in 1610; died in 1670. AccordAmsterdam, painted for Louis Napoleon, king of  ing to Watelet, his plates are distinguished for
Holland. He was a capital designer of landscapes,  their ingenious composition, fine expression in the
river views, and animals; and his drawings are  heads, andgood draperies. The following arehis
more numerous than his paintings. He died in  principal lates:
1822.
PORTRAITS.
HUMBELOT, JACQUES, an obscure French en-    Pierre Seguier, Chancellor of France; Greg. HurTt,
graver who lived at Paris about 1760, and execu-  fec. Francois de Bonne, Duke de Lesdiguieres; after
ted several plates after le Brun, in a stiff, tasteless  Dumoutier. Jacques Bouceau, Sieur de la Baranderie;
style.                                           after A. D. Vries.




HURT                       417                    HUTI.
SUBJECTS FROM HIS OWN DESIGNS.          History of the Bible, in concert with Virgilius
A Set of thirty-two, of the Life and Passion of our Sav-  Solis.
iour. The Stoning of Stephen. St. Peterpreaching. The    HUTIN  FRAN9OIS  and CHARLES, were two
Holy Family, with St. Catharine. Christ crowned with  French engr s,     ou rish ed a    t Paris about
Thorns.'French engravers, and flourished at Paris about
1760. There a number of plates of their execution,
HURTAULT, b   Ir aXIMILIAN  JOSEPH, a French  among which are the following, etched in a slight
architect, born at Huningue in 1765. He went to  style: Apollo and Daphne, after de Troy; The
Paris, and studied architecture under Percier;  Seven Works of Mercy, and the Twelve Apostles,
drew the grand prize and visited Italy, where he  after their own designs.
gained great improvement by designing the noble 
remains of ancient architecture in the vicinity of   in  England Cabout 1696   engrver, who resi
Rome. On returning to Paris, he was appointedd   A  o    plate
architect to the chateau of Fontainbleau, and exe-    executed t  Triumph of Julius Caesar in nine
cuted many improvements in that edifice. He  plates, after Mantegna; also several prints in a
work on anatomy, entitled Johannis Gaubii Epist.
practised the art at Paris for many years, and  wrk anaomyetedJohanis GaubiEpist.
gained fame and fortune. He died in 1824.rob. prmad Fed. Ruysch;, M. D., 1696.
HUSSEY, GILES, an English painter, born at    HUGOT, JEAN NICOLAs, a French architect,
Marnhull, in Dorsetshire, in 1. He was de-  born at Paris in 1780. He studied at Rome, and
Marnhull, in Dorsetshire, in 1710. He was descended from a very ancient family, and at seven   obtained the grand prize of the French Academy in
years of age was sent to Douai. in France, for his  that cityin807; afte which he was appoited t
education, where he continued two years, and was  restore the Temple of Fortune at Preneste. Afte
then removed to St. Omer, where he pursued his  visiting the Greek islands  nd the Lev, he re
studies for three years longer. He commenced  turned to Paris in 1821.  He executed a number
studying painting under Richardson, but disli-of good works     that city, and was appointed:                                Professor in the Academy of Architecture. He
king a seven years apprenticeship, he engaged with   Professor in the Academy of Architecture. He
Damini, a Venetian painter of reputation, practi-  of the Palais du Justice  but died in 1840at the
sing in London, and remained with him four years.is duJ                   but died 
He then visited Italy in company with his instruct-  commencement of his labors.
or; but while at Bologna, Damini absconded with     HUYS, or HUS, PETER, an old Flemish engravHussey's money and most of his apparel. By the  er, who executed, among other plates, several small
kindness of Signor Gislonzoni, however, he was  subjects from sacred history; and the prints in a
relieved from his distress; and afterwards prose-  work by Arius Montanus, entitled Monumenta Hucuted his studies at Bologna for three years and a  manau Salutis. 1571.
half. He then removed to Rome, and received         HUYSMAN. See HOUSEMAN.
much kind attention and advice from Ercole Letti. 
Dissatisfied with the prevailing rules of art, Hus-    HUYSUM, JUSTUS VAN, the Elder, a Dutch
painter, born at Amsterdam in 1659. He studied
sey endeavored to produce a satisfactory theory,  punder cholas  er      m,  1659. He studied
fepcl, i ed n under Nicholas Berghem, and evinced consideracombining fixed principles, which ended in h7is
aoptiing the ancinit hypothesis of musical or  ble abilities, but did not adhere to the style of his
instructor. Owing to a singular fickleness of disharmonic proportions, as the governing principles  insttor.  Owing to a singular fickleness of disof beaaty, of all forms in art and nature; nd   position, and to a desire of gaining distinction in
thoug-ht he had madeanr important discover    Af- various branches of art, he attached himself to'thought he bad made an important discovery. After attaining considerable reputation at Rome, he history, portrait, battle-pieces, marines, landscapes,
ter attaining considerable reputation at Rome, he re-  and flowers; but attained distinction only in the
turned to England, and settled at London in 1742,    ler         t attae      ttion only in the
when he submitted to the drudgery, as he was accus-       He died in 1716.
tomed to term it, of painting portraits for a subsist-    HUYSUM, JOHN VAN, a celebrated Dutch flowerence, in which he excelled far more than in histo-  painter, the eldest son and scholar of the preceding
ry.  His pencil drawings from the life are highly  artist, born at Amsterdam  in 1682. Having atesteemed for characteristic likeness; and his fancy  tentively studied the flower-pieces of Mignon, de
sketches are perhaps unsurpassed for accuracy,  Heem, and others, he devoted himself to designing
elegance, and beauty. His academical drawings  after nature, and adopted an original style, in which
are still exhibited at Bologna, as master-pieces of  he gained great eminence, and his productions soon
taste and skill. Hussey had a zealous eulogist in  commanded enormous prices. The most curious
the painter Barry, who often spoke of him with  florists in Holland, vied in supplying him  with
enthusiasm. He met with considerable opposition  the choicest flowers, as models for his pictures.
from  other artists, whose envy was excited by   This success encouraged him to fresh endeavors.
his masterly and graceful performances, which   He admitted no one into his room while painting,
seriously affected his spirits, and he left London   not even his brothers, and never disclosed, his
for his native place. In 1773, by the death of his  method of mixing his colors. He made many exbrother he succeeded to the family estate, and lived   periments to purify his oils, and to procure the
in retirement until 1788, when he died at Beeston,  most lustrous and durable tints. His cloths were
near Ashburton, in Devonshire.                   prepared with the greatest care, and primed white
nea~rY   T o~n,~ in   evoshie.with  all  possible  purity, and   his  colors  were  laid
S\    _ l HHUTER, SIMON, a German wood en-  on very lightly. He painted every thing after na3. LIgraver, who flourished about 1560.  ture, and even watched the hour of the day when
His prints are executed in a neat style, and possess  his model appeared in full perfection. His picconsiderable merit. In concert with Justus Am-  tures are distinguished for their unsurpassed delman, he engraved a number of prints from  the  icacy of penciling, exquisite finishing, and a tastedesigns of that master, for a work entitled Neuwe  ful arrangement, superior to any other artist. He
Biblischi Figuren, published at Frankfort in  usually represented them in elegant vases, adorned
1564; also a part of a set of small cuts for the  with bas-reliefs in a masterly style. He introduced




HUYS.                     418                    ICMU.
birds' nests with eggs, into his pictures; also in-  commodating thirty thousand persons, also the
sects, butterflies, dew-drops, in so skilful a man-  Temple of Apollo, near Mount Cotylion, in Arcaner as to cause perfect illusion. Those painted   dia, which was considered one of the finest of anon a clear or yellow ground are most esteemed,  tiquity, and was vaulted with stone. But his
having a superior touch and more harmonious  most important work was the famous Parthenon
coloring than his earlier works, which are usually  at Athens, erected within the citadel, by Ictinus
on a dark ground. Van Huysum  also painted   and Callicrates, by order of Pericles. According
landscapes, somewhat in the styles of Glauber and  to Vitruvius, the two artists exerted all their powers
Lairesse, which are composed in good taste. He  to make this temple worthy the goddess who predied in 1749.                                    sided over the arts. The plan was a rectangle.
HUYSUM. JUSTUS VAN, THE YOUNGER, was a  like most of the Greek and Roman; its length,
Dutch painter, and the second son of Justus van  from east to west, was 227 feet 7 inches, and its
Huysum, born at Amsterdam about 1684. He ac-  width 101 feet 2 inches, as measured on the top
quired the principles of art from his father, and  step. It was peripteral, octastyle; that is, surpainted battle-pieces, both in small and large size.  rounded with a portico of columns, with eight to
He manifested great ability in this department of  each fagade. The height of the columns was 34
art, and would undoubtedly have attained high dis-  feet, and their diameter 6 feet. Within the outer
tinction, had he not died at the early age of twen-  portico was a second, also formed of isolated colty-two, in 1706.                                 umns, but elevated two steps higher than the first;
HUYSUM, JACOB VAN, the third son of Justus  from thence the interior of the temple was entervan Huysum the Elder, born at Amsterdam, ac-ed, which contained the famous statue of Minerva
cording to Balkema, in 1687. He was distinguish-                     Phidias. This famous temedfor his copies of the productions of his brother  ple was built entirely of white marble, and from
John, which he imitated so exactly, as often to de-  its elevated position, could be seen from  an imceive the best judges.  His usual price for each     ense distance. On anearer approach, it was adcopy was $100. He also composed subjects from   mired for the elegance of its proportions, and the
his own designs, in the same style, which possess  beauty of the bas-reliefs with which its exterior
great merit, and are highly prized. He visited was decorated. It was preserved  entire until
England in 1721, where his talents were much es-  1677, when it was nearly destroyed by an exploteemed. He died, according to Nagler, in 1740;  sion during the siege of Athens by Morosini.
though others say in 1746.                    The ruins still remain, but in the centre the Turks
HYLE FR S an E h e, wo e-  have erected a mosque, covered with a low cupola.
HYLE, FRANCIS, an English engraver, who executed a number of plates, among which Basan    ICMULUS an ancient Greek sculptor who is
mentions several portraits after Kneller and other  immortalized in the Odyssey, as the sculptor of
masters.                                        the Throne of Penelope.
HYPATODORUS, a Greek sculptor, flourished    IMBERT, JOSEPH GABRIEL, a French painter,
about B. 0. 372 and was cotemporary with Ce-  born at Marseilles in 1666. He first studied unphisodorus, Polycles, and Leochares. He execu-  der Charles le Brun, and afterwards under A. F.
ted many fine works, the principal of which was a  vander Meulen. He was a man of talents, adoptcolossal statue of Minerva in bronze, placed in the  ed a style of his own, and after he had gained contemple of that goddess on the citadel of Aliphera,  siderable reputation as a portrait painter, he bea city of Arcadia. This work is very highly praised  came a monk of the Order of St. Bruno, at the
by Pausanias. Hypatodorus also executed in con-  Carthusians of Villeneuve d:Avignon, at the age
cert with Aristogiton, the statues of Aliterses and  of thirty-four years, after which he was wholly
Amphiaraiis, which the people of Argos consecra-  employed in painting sacred subjects, chiefly altarted at Delphi in memory of their victory over the  pieces for the churches of his order. His most esSpartans.                                       teemed work is a grand altar-piece for the church
of the Carthusians at Marseilles, which is highly
JI.~ ~ ~            commended by Watelet. He died in 1749.
IMOLA, DA. See INNOCENZIO FRANCUCCI.
IBBETSON, JULIUS CJESAR, an English land-    IMPARATO, FRANCESCO. a Neapolitan painter,
scape painter, and native of Masham in Yorkshire.  who flourished about 1565. He first studied under
He was liberally educated, and studied painting for  Gio. Filippo Criscuolo, but afterwards went to Veamusement, but he met with such success that he  nice, and became a pupil of Titian, whose style he
made it his profession. He painted landscapes  adopted on his return to Naples, where he execuand cattle, which were eagerly sought after by  ted some works for the churches. His masterpersons of the highest rank. Mr. West compli-  piece is a picture of St. Pietro Martyre, in the
mented him by calling him the Berghem of Eng-  church of that Saint, which Caracciolo praises as
land, which has as much relevancy as the English  the best painting then to be seen in Naples. OthTintoretto to Dobson. and the English Raffaelle  er fine works by him are the Martyrdom  of St.
to Thos. Kirk. Ibbetson was a good landscape  Andrew in S. Maria Nuova, and the Annunciation
painter, and attempted history with less success.  in S. Severino.
He died at his native place, in 1817.              IMPARATO, GIROLAMO, was the son and scholICTINUS, a celebrated Grecian architect, who  ar of the preceding, in whose style he at first
flourished about B. c. 430. He was distinguished   painted. He afterwards went to Venice for imfor the magnificent temples which he erected to  provement, traveled through Lombardy, and parthe heathen gods. Among these were the famous  ticularly studied the works of Correggio, at ParDoric temple of Ceres and Proserpine at Eleusis,  ma. On his return to Naples, he executed some
of which he built the outer cell, capable of ac-  works for the churches, the chief of which is a




IMPE.                      419                      INGO.
picture of the Madonna da Rosario, with several  Jorge by the Spanish writers and all that is known
Saints, and a Glory of Angels, in the church of   of him is that he was a celebrated architect, and
S. Tommaso d' Aquino, which, according to Do-  painted an altar-piece for the Hospital of Buitraminici, is finely composed, and designed and col-  go for the Marquis de Santillana, who had founded
ored with great beauty and taste; but the Cav.  it, which he executed in two compartments, and inStanzioni, who  was his competitor, naturally  troduced the portraits of his patron and lady, one
enough considers him inferior to his father, and   on either side, kneeling in the act of prayer.  He
describes him as vain and ostentatious.  He died,  then asks, Who is Master George?  and thinks
according to Dominici, about 1620.                 that George and Ingles are both English names.
IMPERIALI, GIROLAMO, a native of Genoa,  England has as good a right to claim him asItaly
who flourished about 1640.  He first studied   or Spain. The talian and Spanish writers.doubtpainting, but afterwards learned engraving under  less refer to different persons.  The altar-pice reGiulio Bensi.  He engraved some portraits of em-  ferred to was painted in 1455, and there are two
inent persons, and there are some spirited etch-o more old Italian painters of little note called
ings by him after his own designs.                 Giorgio. Francesco di Giorgio of Siena was a celebrated architect, and flourished about 1460, which
INDACO, JACOPO, called L'INDACO, a Floren-  see.
tine fresco painter, who, according to Bottari, was  INGOLI MATTEO a painter of the Venetian
one of the artists employed by Michael Angelo to  school, was born at Ravenna in 1587. He  ent to
assist him in his works in the Sistine Chapel; but  Venice wen youn and studied under Luigi del
Lanzi says that Angelo afterwards effaced their  Venie when young, and studied under Luigi del
Angelo afterwards eced thei riso. According to Boschini, he adopted as his
works after his cartoons, and painted them  him-  models      works of Palma and Veronese, and exself  He was a pupil of Ghirlandaio and flourished   ecutedsome works for the churches at Venice,
about 1534. He had a brother named Francesco,  euted some works for the churches at Venie,
who painted some at I'lbrothe and  more at Monte-  where he resided till his death by the great plague
who painted some at  lorence and more at Monte   in 1631. Lanzi says that, judging from his works
~~~~~~pulciano.                      ^at the Corpus Domini and other places, and from
INDIA, TULLIO, a painter of Verona, who, ac-  his picture at San Apollinare, he aspired to a more
cording to Vasari, flourished about 1530. He was  solid but less pleasing style than those of the
an able fresco painter, in which branch he distin-  masters before mentioned, and that in them  we
guished himself. He was also celebrated for his  trace the hand of precision and assiduity. He was
powers of imitating or copying other masters, and   also a distinguished architect.
he excelled in portraits.                            INGOUF, PIERRE CHARLES, a French engraver,
INDIA, BERNARDINO, the son and scholar of   was born at Paris in 1746, and died in 1800.  HEe
the preceding artist, was born about 1535. He  studied under Jean J. Flipart, and executed some
imitated the grand style of Giulio Romano in sev-  plates after his own designs and the French maseral pictures he executed for the churches at Vero-  ters, in the neat, finished style of his master. The
na, the chief of which are three altar-pieces, two   following are given as among his best prints:
of which are in the church of S. Bernardino, dated   The Portrait of John George Wille; qfter a drawing
1572 and 1579, and the third in S. Nazaro, dated   byhis son. Four Heads, of various characters; qfter
1584. They are tastefully designed, and executed   Greuze. La Paix du Manage; after Greuze; etched
with great vigor and strength of character.  He  by Morcau, and finished with the graver by P. C. Ingouf.
also painted much fos the private collections of   La bonne Education; do.; do. A Girl caressing a Dog;
Verona.                                            do. The contented Mother; after P. A. Wille. Thediscontented Mother; do.
INGEGNO, IL. See Assisi.                           INGOUF, FRANCOIS ROBERT, a brother of the
INGHEN, WILLIAM VAN, a Dutch painter, was  preceding, was born at Paris in 1747, and died in
born at Utrecht, according to Houbraken, in 1651,  1812. He also studied with Flipart.  He executed
and Weyermans, in 1650.  After having learned   a considerable number of plates, in a neat, finished,
the rudiments of the art in his native city, he be-  and agreeable style. He was one of the artists
came the pupil of Peter Grebber, at Haerlem, with   employed in engraving the plates of the Musee
whom  he continued till he was twenty years  Frangais.  He engraved a large number of beauof age, when he went to Italy in the retinue of the   tiful vignettes for the booksellers, and some of the
Vicar-General of the Netherlands, who, on his ar-  subjects for Le Voyage en Egypte. The followrival at Rome, recommended him  to the care of  ing are his other principal plates:
Carlo Maratti. He remained with that master                            PORTRAITS.
above a year, yet by close application he made    John James Flipart, engraver; a medallion. Simon,
such progress as to be enabled to execute several  printer. Bust of John James Rousseau; from a model in
pictures for the churches at Rome, which gained   wax. Gerhard Douw, playing on a violin to his bird; oaf
him much applause, and the warm friendship and   ter a picture by himself  Armand Jerome Bignon, maskindly offices of his preceptor. These works were  ter of the ceremonies; ar Drua
elegantly designed, with correct drawing and a               SUBJECTS AFTER VARIOUS MASERSe.
pleasing tone of color. He afterwards went to        A Boy presenting a Bird to a Cat; after A. VanderVenice, where, according to Descamps, the splen-    er. The Winter Evening; after reudenberg.  The
did coloring of Titian seduced him from attention   Soldier on Furlough; do. The Ambulating Merchant;
did coloring of Titian seduced him from attention   d   T  Return o the Laborer after Serazech.
do. The Return of the Laborer; after flenazech.
to design, in which he says he was very deficient.      T A            J         t  
Onhis return to Holland hesettled at Amsterdam       INGRAM, JOHN  an English engraver, who
where he painted history and portraits with rep        t to Paris in 1755, where he greatly improved
went to Paris in 1755, where he greatly improved
where he painted history and portraits with repu-  his style, and engraved some vignettes for the
tation and success till his death, in 1709.
booksellers, and a few plates after Boucher and
INGLES. Stanley says this artist was called   other masters. He was employed in engraving for
II Maestro Giorgio by the Italians, and El Maestro  the Academy of Sciences at Paris, about 1767.




IRAC.                     420                     JACH.
IRACE, SEVERO. a Neapolitan  painter who   cient but poor family.  le took the ecclesiastical
flourished about 1534. According to Dominici, he  habit, and then visited Rome to study architecture.
studied under Marco Cardisco, called Il Calabrese,  He entered the school of Fontana, who directed
in whose style he painted history with considera-  him to copy the Farnese palace, and other simple
ble reputation. In the church of the Nunziata is  edifices, recommending him always. according to
a fine altar-piece by him, representing the Virgin   Milizia, to adopt the greatest simplicity, without
with the Infant in the Clouds, with a Glory of  fear of falling into the extreme; as he perceived
Angels, and Ielow, St. Peter and St. Paul. It is  his style was too much inclined to redundancy of
signed with his name, and dated 1534.             ornament. Ivara now progressed with great raIREiLAND, SAMUEL, an English amateur en-  pidity, and was employed by Cardinal Ottoboni
graver, who flourished about 1785, and etched a  in his celebrated theatre at Burattini. The Duke
few plates after Hogarth and others, and some   f Savoy, afterwards King of Sicily, sent for him
plates of views from his own designs, executed in  to Messina. and commissioned him to erect a palan indifferent style.                             ace near the gate of that city. The design so
IRIARTE  IGNACm an emit S       h    uch pleased the king, that he declared Ivara his
RIARTE, IGNACIO DiE, an  eminent Spanish  chief architect, with a pension of six hundred
painter, born at Biscayan in 1620. He went early  crowns; and took him to Turin, where he presentin life to Seville, where he studied under the elder  e h   w     the rich aey of Sele, worth 
Herrera, and settled for life. On leaving his mas-  sdi a        y or     f      me    le, woara
ter, according to Palomino, his genius led him  to   cd a ear             of Madame Reale, Ivar
p  painting, and by attentively studying  erected the facade of the church of the Carmellandscape painting, and by attentively studying
landscape  ites, at Turin.  He also erected the temple and
nature, he became very eminent in this branch of  buildings on the Superba Hill and sever  othe
the art. His works are truthful to nature, andfine            by order of the king, Vittorio Amadeo
are found in the best collections of Seville, where  While on a visit to Rome, he was invited to Lisbon
they are highly prized. Murillo was Iriarte's
they are highly prized. Murillo was Iriarte's  by the king of Portugal, who entreated the king
personal friend, and a great admirer of his works,  of Sardinia to allow him  to depart. The latter
in some of which he inserted the figures. His  consented, and Ivara visited Lisbon, where he delandscapes thus ornamented are exceedingly valu-  signed a        amost magnificent royal palace,
ab) j. He died in 1685.                           signed a temple, a most magnificent royal palace,
ab3J. He died in 1685.                            and various other edifices. He brought from
ISAACS, PETER, a Dutch painter, was born at  thence jewels, porcelains, a brilliant cross, a penHelvezor in 1569. He first studied under Corne-  sion of 3000 scudi, and was made Cavaliere di
lius Ketel at Amsterdam, but afterwards John van   Cristo. Previous to returning to Turin, he made
Ach, with whom  he traveled through Germany   a visit to London and Paris. Immediately on arand Italy.  On his return to his own country, he  riving at his diocese, he was sent for to Mantua,
settled at Amsterdam, where he practised with  to finish the cupola of S. Andrea; to Como, that
great success. He painted history with reputation,  of the Cathedral; and to Milan, the facade of the
but excelled in portraits, and painted many dis-  Cathedral. After erecting a number of excellent
tinguished personages. His heads are full of dig-  works in different cities of Italy, he was invited to
nityy life, and character, and he drew  the hands  Spain by Philip V., to rebuild the royal palace,
with great correctness. He died in 1618.         which had been destroyed by fire. He accordingISAC, JASPAR, a Dutch engraver, who flourish-  ly went to Madrid, but had scarcely finished the
ed about 1625. He resided chiefly at Paris, and  design, when a violent fever terminated his existwas principally employed by the booksellers. He  ence, in 1735, at the age of Afty years.
executed a number of portraits, in a neat but taste- 
less style, among which are those of Charles           IXNARD, MIHL D, acquirin archi, born
L'Oyseau, and Stephen Paschasius.                at Nismes in 1723. After acquiring a knowledge
yseau, and Stephen Paschasiuof his art, he was employed by the Prince de MonISEMBERT, of Xaintes, a French architect of  taubon, and was presented to Cardinal Rohan, who
the 12th century, who erected the bridges of Xain-  sent him to Strasburg, and recommended him to
tes and Rochelle. These works had procured him   several German princes. He was employed by
great reputation, in consequence of which he was  the elector of Treves, who appointed him Superinrecommended by King John to the citizens of Lon-  tendent of the royal edifices. Among his princidon, in 1201, to effect the completion of the bridge  pal works, are the Hotel du Miroir at Strasburg;
then being erected over the Thames. This struc-  the Electoral Palace at Treves; and the Abbey of
ture was commenced under the direction of a priest  St. Blaise, in the Black Forest. The plans of these
named Peter of Colechurch, in 1176; and was fin-  and other of his edifices, were published at Paris
ished in 1209, probably by Isembert.             in 1782; forming a collection of fifteen sheets.ISIDORUS.  See ANTHEMIUS.                      Ixnard died at Strasburg in 1795.
ISSELBURG, PETER, a German engraver,
born at Cologne about 1585. He lived the                           J
greater part of his life at Nuremberg, where he
was principally employed in engraving vignettes    JACHTMANN, JOHANN LUDWIG, a celebrated
and portraits for the booksellers, and executed a  Prussian medalist, was born at Berlin in 1776.
multitude of such works which possess little ill-  He practised in that city for many years, with
terest to the connoisseur. Nagler, in his Kunstler-  great reputation, and may be ranked among the
Lexicon, gives a list of two hundred prints attrib-  first artists in this branch, of the 19th century.
uted to him. He engraved a set of thirteen plates  One of his best works was the medal struck for
after Rubens, representing Christ and the Twelve  the festival in honor of Albert Durer, held on the
Apostles.                                        18th of April, 1828. This artist died at Berlin,
in 1842.
IVARA, CAV. ABATE FILIPPO, an eminent Ital-  i 
ian architect, born at Messina, in 1685, of an an-    JACKSON, JOHN BAPTIST an English wood




JACK.                      421                      JACO.
engraver, who flourished about 1745. He went to  the Duke of Devonshire, Earl Grenville, the Duke
Paris in early life, and worked for some time for  of Wellington, the Marquis of Chandos, and Lord
Papillon, but meeting with little encouragement,  Braybrooke.  Of the latter are Canova, Flaxman,
he proceeded to Venice, where he seems to have   Chantrey, West, Stothard, Nollekens, Thomson,
settled and practised with considerable success.  Shee, &c. His portrait of Canova was a wonHe executed a number of wooden cuts, printed in   derful work, considered  his masterpiece.  The
chiaro-scuro, in imitation of the drawings of the  fame of his Lady Dover has also been borne over
great masters, among which are the Descent from   the world by a masterly engraving.  Jackson
the Cross, after Rubens, and seventeen large cuts  wrought with extraordinary ease and facility when
published by Gio. Battista Pasquali, at Venice, in  in the right spirit, giving to his portraits all
1745, entitled Titiani Vecellii, Pauli Caliari, Ja-  the dignity and intellect possessed by the originals;
cobi Robusti, et Jacobi da Ponte, opera selectiora   and his likenesses were exact, for he never fiata Joanne Baptista Jackson, Anglo, ligno caelata  tered.  Cunningham  says it would have been
et coloribus adumbrata.  Among these are the   more for his fame, had he taken more leisure, and
following:                                         bestowed the same care and study on all his heads
St. Peter Martyr; after Titian. The Descent of the  that he did on that of Canova. He was elected a
Holy Ghost; do. The Martyrdom' of St. Mark; after  Royal Academician in 1818, and died in 1831, aged
Tintoretto. The Murder of the Innocents; do.  The   53, of a cold he caught in attending the funeral of
Presentation in the Temple; after P. Veronese. The     early patron, Lord Mugrave.
Marriage of St. Catherine; do. Christ praying in the  hs e                
Garden; after Basan. The Entombing of Christ; do.    JACOB, Louis, a French engraver, born at LiThe Raising of Lazarus; do.                        seux, in Normandy, in 1712. He went to Paris
JACKSON, JOHN, an eminent English portrait  in early life, and first became a pupil of Gerard
painter, born at Lastingham, in Yorkshire, in   Scotin the younger, and afterwards of Jean Au1778. The life of this artist is a capital illustra-  dran.  His works are not numerous, nor are they
tion of the reward of merit; for, though he des-  much esteemed. His drawing is incorrect, and his
pised to represent the affected graces of fashiona-  heads lack character and expression.  The followble life, yet he disputed successfully the wide do-  ing are his best prints:
main of portraiture with the accomplished cour-    Perseus and Andromeda; after P. Veronese; for the
tier, Lawrence, than whom  no one knew  better  Crozat collection. The Departure of the Israelites from
how to " win golden opinions of all sorts of men"   Egypt; do.; do. The Adoration of the Shepherds; do.;
by flattering vanity.  Hewas the son of a poor  do. Rebecca meeting the Servant of Abraham; do.
tailor, and he early exhibited a passion for the fine  JACOBE, JOHANN, a German mezzotint enarts. His first attempts at art were made'at the   graver, born at Vienna in 1733. He went to Engvillage school, where his companions were his sit-  land, where he scraped a few mezzotints; but not
ters, and his boyish outlines exhibited a rude free-  meeting with much encouragement, he returned to
dom and striking likeness that attracted the atten-  his own country.  He executed a considerable
tion of one of his neighbors, a house painter, who   number of prints, among which are the following:
supplied him with colors to fill up his outlines.                      PORTRAITS.
Without any instruction, he made such progress    George Sackville Germaine, Viscount Sackville; after
as to be emboldened, at the age of seventeen, to   Reynolds. Mary, Countess of Corke; do. Joseph Adam,
offer his services as a miniature painter at York,  reigning prince of Schwarzenberg; after Kollonitz.and had the good fortune to obtain the patronage   Elizabeth, Princess of WurtenbergStuttgard. 1783. Carof Lord Mulgrave and the Earl of Carlisle. At  lo Antonio Martini; after Moesner.  Francis Ferd.
Sehroetter; after Donat.
Castle Howard he had the opportunity of studying                   VARIO  su.
and copying the magnificent collection of paintings                T A   o  in   i       o   o 
by the old masters, which was in itself a school.    Thers; after Guadal. A Bull attacked by Dogs; athe
The Earl of Mulgrave was so much pleased with   Rhein. A Stag-hunt, by moonlight;  after Casanova.
his assiduity and talents that he took him  under  A Tiger killed by the Prince of Nassau-Ziegen; do.
his protection, and sent him to London at his own     JACOBELLO DEL FIORE   See FIORE, JAexpense, confiding him to the care of his friend,  COBELLO DEL.
Sir George Beaumont, who greatly befriended 
him. He went through the usual routine of study       JACOBONI. GIo. BATTISTA, an Italian engraat the Royal Academy, and gained considerabie  ver, who flourished at Florence about 1760, and
reputation from the drawings he executed for Ca-  engraved several plates for the Museo Fiorentino,
dell's publication of " Illustrious Personages."-    and other works. The following are by him:
Cunningham says " his hand had, in 1804, attained    An Angel protecting a Child from an Evil Genius; after
such mastery in portraiture, that he ventured to   A. Sacchi.  The Holy Family; after Saffaelle. The
exhibit some of his productions; and as these were  Virgin and Infant;, after Seb. Conca. St. Fidelius de
likenesses of people of note and condition, others  Simaringa; do.
flocked to his easel, charmed with the force of ex-  JACOBS, LucAS. See LUCAS VAN LEYDEN.
pression, the freedom of posture, the brightness of  JACOBS SIMON a D h portrait painter of
his colors, and the rapidity of his execution. In
considerable eminence, born at Gouda in 1520. He
his happiest hours, when his hand was in and his  considerable emnence, orn at Guda in 5s        
sitters to his liking, he produced portraits which   was  scholarof Charles dYpres.  Hs drawing
fairly rivalled those of Reynolds in all their varie-  was very correct, his coloringpure and brillian
his touch free and decided. his expression anity of excellence; but when his hand was out, and   mat; nd  he met wi          good  encouragement. He
his sitters not to his wish, he sunk far below thatws ed and he me h goo Haerl r, in 1572.
great master."  His portraits are numerous, and
include nearly one-half of the nobility of rank or    JACOBSZ, C. PHILIP, a Dutch engraver, who
9f mind in the kingdom. Among the former are  flourished about 1767. He engraved several plates




JACO.                    422                   JAME
representing views in and near Amsterdam, exe-    JAMES, WILLIAM, an English landscape paint.
cuted in a neat and pleasing style.            er of little note, who studied with Canaletti, when
JACOBSZ, HUBERT, called by the Italians GRI-  that artist was in England. He resided in LonMANI, a Dutch portrait painter, was born at  don, and in 1.768 exhibited some indifferent views
Delft in 1599. After having learned the rudiments  of oriental scenery, supposed to have been copied
from some other person's designs, as he was never
of the art in his own country, he went to Venice,  from some other person's designs, as he was never
where he carefully studied the works of Titian,  out of England. His chief business was that of a
and became an excellent colorist. His talents re-  picture dealer and restorer.
commended him to the patronage of the Doge    JAMES, GEORGE, an English portrait painter
Grimani, in whose employment he passed nine  of little note, born in London-perhaps a brother
years with distinction, and was called by his name.  of the preceding. He went to Italy, and resided
He afterwards returned to his own country, where  some time at Rome. On his return home he sethe began to practice his profession with success  tled in London, as a portrait painter, but meeting
and reputation, when he died at Briel, in 1628 or  with little encouragement, he removed to Bath,
1629, in the morning of life, deeply lamented.  where he was not more fortunate. Finally he went
JACO, J N or J N  a G n  to France, and was thrown into prison during the
JACOBSZ, JURIAN  JULIN   a   erman  Revolution, where he died in 1794. He was an
painter, was born at Hamburg in 1610. He went  R          w      he died           e w
to Antwerp while young, and entered the school of  early associate of the Royal Academy, in which
Francis Snyders, whose subjects and style he first  institution he occasionally exhibited his pictures,
which never rose above mediocrity.
adopted. He painted hunting-pieces, combats of
animals, and similar subjects, which he designed    JAMES, JOHN, an English architect of good
and executed with spirit and animation. Des-  abilities, who flourished about 1740. He was emcamps says his pictures of this description are lit-  ployed by the Duke of Chandos, to erect his mantle inferior to those of his master. He afterwards  sion at Cannons; besides which he erected the
painted history and portraits with considerable  church of Greenwich in Kent, a noble mansion at
reputation, though his works in this line are not  Blackheath, for Sir Gregory Page, and St. George's
so much esteemed as his former subjects.  His  church, Hanover Square, the west front of which
history of Venus and Adonis, and other kindred  consists of six Corinthian columns, forming a
subjects, are highly commended. He was engaged  handsome portico, crowned by a pediment, over
bn several grand designs, when himself and all  which is a steeple of an octangular form.
his family were cut off by the great plague at    JAMESON, ALEXANDER, a Scotch architect of
Amsterdam, in 1664. Iis works are principally  considerable eminence, who flourished at Aberdeen
to be found in the best collections at Antwerp and  about 1600.
Amsterdam.
JACOBTTS an old German engraver on wood,    JAMESON, GEORGE, an eminent Scotch porwho flourished about 1480. His principal works trait painter, was the son of the preceding born
at Aberdeen in 1586. Ile went abroad. and had
are sixteen or eighteen cuts of the Life of Christ,  at Aberdeen in 1586. He went abroad and had
some of which are signed, in German letters, Opus   the advantage of studying under Rubens at AntJacobi. Papillon mentions a large upright plate  we   at the same time with Vandyk.
by this artist, and says it belonged to a set of plates  turn oe e etted a  Edinburgh, where he acrepresenting the history of Romne in allegorical  qured a great reputation as a portrait painter, and
figures, and adds that it was well executed  he is justly termed by his countrymen, the Scotch
figures, and adds that it was wel executed.                   l        p r
Jandyckc. His largest portraits are somewhat
JACONE, a Florentine painter who, according  less than life size, and his excellence consists in
to Vasari, was the friend and assistant of Andrea  delicacy and softness, and a clear and brilliant
del Sarto. He was a bold but fantastical design-  coloring, without much shadow-principles he acer, and extravagant in his attitudes.  His best  quired in the great school in which he was educaworks are imitations of the style of del Sarto,  ted. He also painted in miniature, with equal sucand mostly to be found in the churches at Corto-  cess. when Charles I. visited Scotland, the magna. He~ ~died in 1555.             istrates of Edinburgh, knowing his taste, employJACOPSEN, H., a Flemish engraver, who flour-  ed Jameson to make drawings of the Scottish
ished-about 1620, and executed a set of plates,  monarch, which they presented to the king, with
chiefly portraits of eminent persons, for a History  which he was so much pleased that he sat to the
of the Netherlands, published at Antwerp in 1620.  artist for a full-length picture, and rewarded him
JACQUART, ANTOINE DE, an engraver who is  with a diamond ring from his own finger. Jame-supposed to have been a native of France, though  son being troubled with weak eyes, the king alhe passed at least a part of his life in Flanders.  lowed him to be covered, a privilege he ever after
There are some finely engraved vignettes, with fig-  used, and commemorated by painting his own porures and grotesque ornaments, marked A. D. I. F.,  trait with his hat on, in imitation of Rubens. He
which Florent le Comte attributes to him.      executed a great number of portraits of the noJAGER, GERHARD DEa Dutch painter, and a na- - bility and distinguished personages of his time,
tJAGER, GERhARD DE,a Dutch painter, and a n-   which are chiefly in the mansions of the nobility
tive of Dort, who flourished about 1646. He was  of Scotland. Heoccasionally painted history and
of Scotland. lie occasionally painted history and
a good marine painter, and he was particularly  landscape, but these are not to be compared with
excellent in his representations of river scenery,  his portraits. The largest collection of his works
with still water, in which every object is beauti  are at Taymouth, the seat of the Earl of Breadalfully refected.                             bane, the descendant of Sir John Campbell, the
JAGER, R., an obscure Dutch engraver, by  early friend and patron of Jameson, who traveled
whom there is an indifferent etching, representing  with him on the Continent. The portrait of Jamethe fleets of Spain and Holland, without a date.    son is in the Florentine Gallery. He died at Edin



JAMI.                     423                     JANS.
burgh, in 1644. He left a widow and several chil-  some plates after his own designs in a neat, spirit.
dren, of whom Mary Jameson seems to have inherit-  ed, and painter-like style.
ed a portion of her father's genius, in pictorial em-    JANSON, JOHN CHRISTIAN, a son of the prebroidery, specimens of which are still preserved,  ceding artist, was born at Leyden in 1763. He
particularly Jepthab's rash Vow, and Susanna and  was instructed in the art by his father, but havthe Elders, which now adorn the east end of St.  ing a passion for military life, he entered the army
Nicholas' church, Aberdeen.                       and served in several campaigns, attaining the
rank of Captain of Artillery. On the union of
JAMITZER, or JAMNITZER, BARTHOLOMEW,  rank of Catain of Artillery.  On the union of
Holland wit h France, he settled at the Hague, ard
a German engraver who, according to Prof. Christ,  H andwithFrance,hesettledattheHague,and
flourished at Nuremberg about 1547, and engraved  returned to thepractie of his firstprofession. He
some plates which he marked with his ipitials  painted landscapes, with cattle and figures, in the
and the date, but he does not specify them. Zanistyle of his father, also winter-pieces and other simsays he worked as late as 1571.                   ilar subjects, which have considerable merit, and
are found in good collections in his native coun(T or X      JAMITZER, or JAMNITZER,  try.
M    W  CHRISTOPHER, a German engraver,    JANSON, PETER, a younger brother of the preprobably the son of the preceding, was born at  ceding, born at Leyden in 1768. He was also inNuremberg about 1560. He engraved and pub-  structed in the art by his father, but abandoned
lished, in 1600, a set of grotesque subjects, etched  painting for the field of glory. After having been
with spirit, and neatly executed. He also engraved  well hacked, and incapacitated from further militasome other plates, among which are the following,  ry service, he retired on a pension with the rank
marked with a monogram of his initials. There  of Captain, and amused himself in painting landare prints by him, dated as late as 1610.         scapes and cattle, which were in great favor with
His own Portrait, studying perspective. A set of twelve  the amateurs of the time.
plates 6f the Sports of Children. Aset of twelve, of Chil-    JANSSEN, CORNELIUS, an eminent Dutch pordren mounted on Sea Monsters. Four plates of Children,  trait painter, was born at Amsterdam  in 1590.
with the Wings of a Bat. A Dance of four Children round  After having obtained considerable reputationin his
a Tree. A   set of six Grotesque subjects.        After having obtained considerable reputation inhis
own country, he went to England in 1618, where
JAMPICOLI. See GIAMPiICOLI.                    he met with great success. He entered the servile
JAN, LANGEN. See BOCKHORST.                    of James I.. whose portrait he painted several
JANET, FRANCOIS, an eminent French portrait  times, as well as those of the royal family and
painter, who is generally known by the name of  the principal nobility of his court. His style of
Clouet. He flour       ishe   during the reigns  coloring is clear, lively, and natural, his touch
of Francis I.,  enry II., Francis II., Charles IX.,  light, his pencil delicate, his carnations soft and
and  H    Ienry ill. of F ranse, and executed a multiand Henry III. of France, and executed a multi-  sweet, and he painted his pictures with remarkatude of portraits in oil, and in white and black ble neatness Though he had not the freedom of
chalk, of the eminent personages of the courts of  hand and  the grace of Vandyck, yet in other rethose monarchs, which are greatly valued. There
those monarchs which are greatly valued. There  spects he was deemed his equal, and in finishing,
are many of his works in England, particularly at  his superior. His pictures are easily distinguished
Castle Howard, where there are eighty-eight por-  bytheir smooth, clean, and delicate tints, and by
traits, in black and white chalk. His portraits in  that character of truh to nature with which they
oil are found mostly in the public edifices and the  are stongly marked. He generally painted on
houses of the nobility of Paris. His pictures in  brown, and his drapers for the most part are
oil are elaborately finished, and so highly prized  black, probably because the opposition of that tint
that they are said to have been multiplied of late  made his flesh colors appear more cleaand brilyears, so skilfully as to deceive the unwary.     liant, especially in his female figures  Th  same
kind of draperies were often employed by Rubens
JANOTA, JOHANN GEORG, a native of Bohe-  and Vandyck in portraits, which served to give a
mia, who flourished at Vienna about 1775. When  roundness, relief, and liveliness to the figures. It
young, he was taken under the protection of the  is said that Janssen used ultra-marine both in
Prince of Lichtenstein. who sent him to study in  his black colors and carnations, which may be one
Italy. After his return to Vienna, he distinguished  cause of the original lustre continuing in all its
himself as an engraver, and was elected a mem-  brilliancy to the present day.  He frequently
ber of the Imperial Academy. He engraved some  painted in small size in oil, and often copied his
choice plates from the pictures in the Lichtenstein  own works ih this manner. His fame began to
Gallery, among which are following:              wane on the arrival of Vandyck, and the civil war
PORTRAITS.                     breaking out, he returned to Amsterdam in 1648,
The Emperor Joseph II. The Archduke Maximilian.  where he continued to practice his art with disSUBJECTS.                     tinguished success till his death in 1665. One of
~aT ^ f Ti  Mn.   his finest pictures, a portrait of Sir George VilBust of a young Man; after Rembrandt. Christ bear-  hi fi, a portrait of Sir George Viling his Cross; aJer Leonardo Vinci. St. Catherine of  liers, the father of the celebrated Duke of BuckingSiena praying; after Alessandro Allori. The Funeral  ham, is still at the family seat at Strawberry Hill.
Pomp of Joseph Wenceslas, Prince of Lichtenstein.  He is represented with his hand on a greyhound,
JANSON, JACOB, a Dutch painter, who flour-  which animal is painted to the life. Another celished at Leyden about 1785. He painted land-  ebrated picture is the portrait of the Princess
scapes and cattle in the manner of Paul Potter,  Elizabeth, who married the Elector Palatine, and
which are held in considerable estimation. His  is commonly called the Queen of Bohemia. His
pictures resemble those of Potter only in design, name is often incorrectly written Jansen, and
and the coloring is very pleasing. It is said that  Johnson.
he could copy Potter remarkably well. He etched     JANSSENS, ABRAHAM, an eminent Flemisb




JANS.                      424                    JAINS.
painter was born at Antwerp in 1569. It is not  Comte says he also engraved some plates of deCnown under whom he studied, but he was en-  votional subjects and images cf the Virgin, from
dowed with extraordinary genius, surpassing even  his own designs. He died in 1672.
in his first efforts any competitor, till the time of
Rubens, and was one of the most celebrated paint-    JANSSENS, VIT R HO  NORIUS, a Femish aintt
ers of his day. He executed many works for the  er, was born at Brussels in 1664. His father was
ers of his day. He executed many works for the
churches of Flanders, which justly rank him   a tailor, and intended to bring his son up to his
own business, but he showed such an early passion
among the ablest artists of the Flemish school.  bbu            e   showed suh anearlypassion
among the ablest artists of the Flemish school.  for the fine arts, that he was induced to place him
Iis composition and his design possess the judg-         the        fne V ers, a  indifferent
ment and fire of the greatest masters, supported  piner,  th whom     remained seven years, and
with an admirable coloring and an intelligent man-  paiter,  h pwhom he rem    d        surpassed hs inaaement of the chiaroseuro. Ile had acquired a  made such progress, that he far surpassed his inagement of the chiaro-scuro.  lie had acquireda  structor.  On leaving his master, he showed so
brilliant reputation, when the extraordinary tal-  much a y tt he Duke of Holn                ed
ents of Rubens began to display themselves and   much ability that the   ue of  ostein inted
eclipse his fame; and the success of Rubens is said  him to his court, and appointed him hs painter,
to have excited in Janssens feelings of disgust  with a pension of 800 florins a year. After passto have excit. in Janssens feelings of disgust  ^  ^^      ^ ^       ^  ^ of       ^J  
which threw  him  into dissipation and excesses   ng four years in the service of that prince, he
that impaired his fortunes and injured his reputa-  solicited and obtained permission to go to Italy
tion.   onfident of his o wns ability, and not ustly  for improvement, and the liberality of his patron
tion.   ondentofhis wnatyandnojusty   supplied him with the necessary means. At Rome
appreciating his rival, he had the imprudence to     suppied hi  wiorks of the best masters with
send Rubens, then in the zenith of his fame, a           assiduity, especially the works of Raffaelle
defiance to paint a picture in opposition to him   great assiduity, especially the works of Rfaelle
defiance to pait a picture   oositi  to and the antiques; ad sketched the beautiful sceneonly for fame. Rubens declined the challenge with   ad the atue; a    etropd t       soon ditien
dignity and modesty, telling him that he freely  ry about that great metropolis, and soon distin.
bitt    dto him, and   t hat th  e world would cer-guished himself as a ready and correct designer.
submitted to himH and that the world woulde formed an intimacy with Tempesta, and painttainly do justice to them both. According to San-  ede figures in hi  landscapes. He painted hisdrart, Jaussens had no superior in coloring ex-  torical subjects both in large and small size, princept Ru rens   He odesigned fm the livang mod-  cipally the former, which were the most saleable at
els, his figures are correctly drawn, and have a
Mels,      fgr   r  ort  dana   hv             that time in Rome. He chose Albano for his modstriking appearance of truth and nature.  His           in        le                       
tbuch was free and his draperies well cast. He  el, and in that style he was not equalled by any
of his  cotemporaries. He soon gained an immense
gave a fine roundness and relief to his figures, and  of his cotemporares.   e soon gained an immense
such a warmth and clearness to his carnations,   rep io  and could scarcely execute all the orders he received. After a residence of eleven years
that they had all the look of real flesh. His col-  at Rome a desire to visit his own country, induced
ors too were so judiciously compounded, that they   him to abandon these fine prospects; and he restill retain a remarkable clearness and brilliancy   turned to Brussels, where    wawarmly received,
His paintings in the church of the Carmelites at trnd   to Brussels, were as warmly red
Antwerp, representing the Virgin and the Infant,  and where his performances were as much admired
Antwerp, representing the Virgin and the Infant,  and as much in request as they had been in Italy.
and the Entombment, give a just idea of his merits.  H    ad hitherto confined himself to easel picThe composition in both is exceedingly rich and  tures, but he was n     called upon to exert his
grand, the figures larger than life, and the design  talents   nw ad l         le, for he reee
and coloring every way excellent. In the talents on a new and larger scale, for he received
and  coloring  every way excellent. In th  cathet  commissions to paint several altar-pieces for the
fral at Ghent is an Ecce HoRmo, and a Descent  churches at Brussels and other cities of Brabant.
from the Cross worthy of Rubens himself, which  In 1718 he was invited to Vienna and appointed
is often taken for a work by that master. The                                         d     ited
Resurrection of Lazarus in the collection of the  painter to the Emperor, where he resied three
years. Descamps says this artist visited England
Elector Palatine is considered his master-piece.ut no mention is made 
Thetime of his death is not exactly known, some  about this time, but no mention is made of him,
The time of his death is not exactly known, some by the English writers of that period. He conplace it in 1631, and others in 1650, which last date  the E   h writers of esion with  great di~~is probably wrong.  ~tinued to practice his profession with great disis probably mw~rong,.                tinction till his death at Brussels in 1739. His
7JANSSENS, H., a Flemish engraver, by   works are numerous, especially his easel pictures,
whom  we have some plates of ornaments  which are found and prized in the best collections.
for goldsmiths and jewellers, enriched with fig-  Among his most esteemed works for the churches,
ures and other embellishments, some of them   are his St. Roch curing the Diseased in the church
after his own designs, and others after H. Tan-  of S. Nicholas at Brussels; and St. Charles Borgers and other masters. They are executed in a  romeo, interceding with the Virgin for persons inneat, and delicate style.                        fected with the Plague, in the church of the Carmelites.  He adorned  most of the principal
JANSSENS, J. ALEXANDER. a Flemish engraver,  churches and palaces of the Netherlands.  He
probably a relative of Victor Honorius Janssens,  had an extraordinary facility of design and exeifter whom he engraved a set of plates from the  cution, as is seen from the great number of works
life of Achilles, etched in a firm, neat style, with a  he executed for the churches at Brussels and its vicommanding effect of light and shadow.           cinity. His invention was fruitful, his design corJANSSENS, PETER, a Dutch painter on glass,  rect, his coloring natural and pleasing, his pencil
was born at Amsterdam in 1612. Ile studied un-  broad and free, and the airs of his heads have digder John van Bronkhorst, a celebrated painter in  nity, beauty, and elegance. His large-and small
that branch. He became eminent in his line, and   pictures are designed and executed with equal corwas much employed for the churches. He painted  rectness and taste, but the coloring of the latter is
on glass from his own designs, correctly drawn;  more brilliant. The coloring of his large works
and executed them  in an elegant manner. Le  appears more raw and cold, probably intentional,




JANS.                     425                    JARD.
to give them  more dignity and solemnity.  He  fee., with the date. Good impressions of these
also excelled in his representations of gallant sub-  interesting works are scarce and valuable, but the
jects, and assemblages of belles and beaux in the  plates not having been destroyed, poor imprescumberous paraphernalia of the time, engaged in  sions are more common. For a full description
dancing, or employed in amatory conversation.  of 150 paintings by him, see Smith's Catalogue
His Cavaliers and Damsels act by the card, and   Raisonne, vol. 5th and Supplement.
sustain the airs of persons of quality. These cor-    JARDINIER, CLAUDE DONAT, a French en.
positions are very lively and pleasing; not so  graver, was born at Paris in 1726; died in 1774.
polished as those of Watteau, but appearing less  He first studied with Nicholas Dupqis, but afteraffected, with more of real life and manners.    wards with Lawrence Cars. He executed a conJANSZ,EGBERT, a German engraver, who flour-  siderable number of plates with the graver in a
ished about 1C60. He engraved among others, a  neat, firm, and agreeable style, among which are
set of small prints entitled Icones venantum species  the following:
varias, t c., 1663; after Antonio Tempesta. He    The Virgin and Child; after the picture by C. Maratti;
wrought chiefly with the graver in a style some-  in the Dresden collection, The Genius of Glory and Hon
what resembling that of Crispin de Passe.        or, represented by a figure in the air, holding a crown, surrounded by Cherubs; after An. Caracci. A Mother, with
JARDIN, or JARDYN, KAREL DU. This emin-  three Children; after Greurze. A Girl sleeping; do. Two
ent painter was born at Amsterdam in 1640. He  Soldiers playing at Cards; after Valentmn.
studied under Nicholas Berghem, and was the best
of all his disciples. On leaving his master, he went    JARENUS, a German painter, who flourished
to Rome, where he was received by the Bente-  at Soest, in Westphalia, about the close of the
to Rome, where he was received by thea Bente- 15th century. Little is known of him except a
vogel Society, who initiated him into their mys-15th century. Lttle s known of him except a
~vogel Soiety, who initiated him into their mys- few paintings remarkably well executed for his
teries, and conferred on him the title of Barbe deew paintins eaa              we  eete  f  hi
time and country, somewhat in the style of van
Bouc. He possessed extraordinary talents, but  Eyck. There is a remarkable one in the museum
gave himself up alternately to study and dissipa-  of Berlin, painted oar a gold ground, and forming
tion with his boon companions. Yet, amidst this  a large altar-piece.  The middle portion represingularity his progress was most surprising, and  sents scenes from the Passion; the right wing the
he soon gained an immense reputation, so that  Resurrection, the Ascension, the Pouring out of
his works were eagerly sought after, even by the  the  oly Spirit and the Last Judgmen, in four.
Italians, who preferred them to those of any other  compartments.  The left wing, the Annunciaartists of his country who were numerous and  tion, the N           ativiy, t     he   Magi, and
famed at that time in Rome. After a residence of  ton the Nativity, the Adoration of the Magi, and
the Presentation. The figures of the Virgin are
several years he set out for home, and stopped some  simple, and gracefully drawn; beautiful German
time at Lyons, where he met with sufficient en-  heads, with auburn hair falling down over the
couragement, but his extravagance plunged him
couragement, but his extravagance plunged him   shoulders.  Another little picture representing
into debt, and to escape the vengeance of his credi-  the Dead By,   urned by hs fe
tors, he married his hostess, who was old and dis-    d ollowers, is in the collection othe Earl of
and followers, is in the collection of the Earl of
agreeable, but very rich. Mortified and ashamed  Pembroke at Wilton.
of what he had done, he returned to Amsterdam
soon after, accompanied by his wife, and there, for    JARVIS, JOHN WESLEY. This eminent Amersome time practised his profession with great suc-  ican portrait painter was born in South Shields,
cess, notwithstanding which, he returned to Italy  on the Tyne, in England, in 1780. He was the
and died soon after his arrival at Venice, in 1678,  nephew of John Wesley, the celebrated Methodist
in the 38th year of his age. The life of this artist  divine, with whom  he lived during infancy, and
is a useful lesson to those of a gay, giddy disposi-  was taken by his father, at the age of five years,
tion, inclined to dissipation and excess. With the  to America. His youth was passed in Philadelmost brilliant talents, that could command admi-  phia, where he acquired some knowledge of the
ration and success, he degraded his character, ru-  art from Mr. Clark and Mr. Pratt, artists of reined his happiness, and sunk into an untimely  spectable abilities. He afterwards engaged with
grave. The works of this artist are mostly con-  Mr. Savage, a painter, engraver, and print-seller;
fined to landscapes, executed in a style founded  but seems to have learned more from Mr. David
on that of Berghem, modified by his own genius  Edwin, an engraver in the employ of Savage, than
and his residence in Italy. His landscapes are  from his instructor. The latter removed to Newalways of the most pleasing scenery, decorated  York some time afterwards, taking Jarvis with
with charming figures and animals. Ttey com-  him, who chiefly devoted himself to engraving;
bine thQ exquisite finish of the Flemish school,  but the success of Martin in portrait painting,
with the warm glowing tints of the Italian. In  induced him to pursue that department of art.
11l his landscapes he showed great genius and   Gifted with great natural abilities, he became an
baste. As he died young, and wrought up his pic-  excellent portrait painter, without any adequate intures to a high degree, they are not numerous,  struction, surpassing for many years, every Amerand command enormous prices. One called " Le  ican artist, excepting Stuart. He studied anatomy
Passage du Gue," or Passing the Ford, sold at  with Dr. John Augustine Smith, and practised
Count Perregaux's sale for 26,500 francs, and  modeling in clay. His coloring was truthful and
others in England at incredible prices. Several  vigorous. He was especially distinguished for a
of his pictures may be seen in the museums at the  remarkable faculty of seizing the characteristic exHague, Amsterdam, and Paris.  Karel du Jar-  pression of his subjects; and for his great facility
din has left us fifty-two etchings of landscapes,  of execution, generally requiring but one sitting
figures and animals, from his own designs.  They  to complete a portrait. He was of a frank and
are sometimes marked with his name in full, and  generous character, and liberal towards the proat others with his initials, as K. D. 1., or K. D. V. I.  ductions of other artists. About 1814, Jarvis occu



JARV.                     426                     JEGI.
pied a studio in Murray st., where Henry Inman   born at Maidstone, in Kent, about 1756. He first
was his pupil. He passed some time in Balti-  studied engraving under Woollett, but afterwards
more, and met with the same flattering success  applied himself to painting, and became a student
as in New York.  He also visited Charleston,  of the Royal Academy, where he made such pro
Richmond, and other southern cities, where he  ficiency as to obtain, in 1773, the gold medal foi
was greatly patronized.  In company with In-  the best historical picture, which entitled him to
man, he went to New Orleans, and in the course  go to Rome and study four years at the expense
of six months, received $6000 for portraits; which   of that institution.  Soon after his return to Enghe repeated the next year with the same success.  land, he exhibited at the Academy a fine picture
Jarvis painted the portraits of all the eminent  of the Siege of Gibraltar, which was much admen of his day, among whom were John Ran-  mired, and was engraved by Woollett. He died
dolph and Bishop Moore; and his talents were  soon afterwards of consumption in 1784.
highly esteemed by Henry Clay and other dis-             JEHER, HRITOPHR, a  erman engravtinguished citizens of our country. He painted          JE
several admirable historical portraits for the City    er on wood, was born about 1590. He reHall of New York, among which are those of  sided chiefly at Amsterdam, where his great merit
Commodores Bainbridge and Perry. He died in  recommended him to the notice of Rubens, who
1840.."^        <.i...u              employed him to engrave some wood cuts from his
designs. They are executed in a bold, free style,
JARVIS, JOHN, an Irish painter on glass, born   with spirited strokes in imitation of cross-hatchat Dublin about 1749. He removed to London,  ings with a pen, producing a powerful effect. Afwhere he settled permanently, and executed many   ter the death of Rubens, Jegher bought the greater
c pital works which were greatly admired. —
capital works which  were greatly admired.-  part of the blocks and published them on his own
Among them are a picture of the Resurrection,  account. He also engraved after the designs of
after the designs of West, in St. George's chapel,  other masters. The following are after Rubens.
Windsor; and his master-piece, in the west win-  The best impressions are with the name of Rubens
dow of New College Chapel, Oxford, from a de-  as the publisher. Those with the name of Jegher
sign of Sir Joshua Reynolds. Jarvis died in 1804.  substituted are less valuable:
JEAN, GHERARD DE ST., an old Dutch painter,    The Bust of a Man with a thick beard; in chiaro-souro.
was born at Haerlem in 1366. He studied under  Susanna and the Elders. The Repose in Egypt. The inAlbert Ouwater, to whom  he was superior in de-  fant Jesus and St. John playing with a Lamb. The Corosign andcomposition.  He painted history and   nation of the Virgin. Christ tempted by Satan. Hercules
tign  nwith reputation, but dited young  in 1394 destroying Fury and Discord. Silenus drunk, supported
portraits with reputation, but died young         by two Satyrs; the same subject is engraved by Bolsweft.
JEAN, PHTLIP, an English painter, and native   Lovers in a Garden, called the Garden of Love.
of Jersey, born in 1755, who served in the navy     JEHNER, J., an English mezzotinto engraver,
during the American Revolution, at the close of  who flourished in London about 1780, and enwhich, he settled in London, and painted portraits  graved a few plates, among which are the porand miniatures with some distinction. He died  traits of the Marquis of Titchfield, after Reynolds;
in 1802.                                          the Earl of Barrymore, as Cupid, aJter Cosway;
and the Four Seasons, after Breughel.
JEAURAT, EDME, an eminent French engraver,  ad te Fr Se, 
born at Paris about 1680. He studied under Ber-     JELGERHUIS, JOHN  RIENKSZ, a  Dutch
nard Picart.  He executed a considerable number  painter, was born at Leeuwarde in 1770. He
of plates which are highly esteemed. He poss-  painted landscapes, marines, interiors of churches,
essed the faculty of expressing in his prints, the  market-places, &c. He died in 1836 at Amsterpeculiar style of the painter whose work he en-  dam, and was buried at Haerlem.
graved. His drawing is correct, and his execu-    JELGERSMA, TAKO HAJO, a Dutch painter,
tion is bold and free, with a fine effect of light and   born at Harlingen in 1702. He studied with Vishadow. The following is a list of his best works:  tringa, and settled at Haerlem. He painted maThe Portrait of Peter Puget, called the Michael Angelo  rine subjects in an excellent manner, but he devoof France; after Puget the younger. The Meeting of  ted himself almost entirely to portraiture, in which
David and Abigail; after N. Vleughel. The Resurrec-  h excelled, and found abundant and profitable emtion; do. Thetis plunging Achilles into the Styx; do.
Telemachus in the Island of Calypso; do. The Triumph  ployment. He painted an immense number of porof Mordecai; after le Clerc. Christ among the Doctors;  traits. His marines, founded on the styles of Van
do. Achilles discovered among the Daughters of Lyco-  derveldend Backhuysen, are said to be exquisite
medes; do. St. John Baptist baptizing the Jews; after  productions, and it is regretted that he did not deN. Poussin. Pan and Syrinx; after P. Mignard. The  vote more of his time to these subjects. He died
dead Christ on the knees of the Virgin  after le Brun.  a H   in 17
The Interview between Jacob and Rachel; after P. F at Haerlem in 1.
Mola; for the Crozat collection; very fine. The Repose    JENICHEN, or JENCKEL, BALTHASAR, a Gerin Egypt; do.; do. The Finding of Moses; after P.  man engraver, who executed a set of small plates
Veronese; do.                                    of the Labors of Hercules, dated 1568, somewhat
JEAURAT, ETIENNE, a French painter of his-  in the style of Hans Sebald Beham, though greattory and conversation-pieces, who was of suffi-  ly inferior to the works of that engraver.  He
cient distinction as to be admitted a member of  marked his plates with his initials, B. J., with the
the Royal Academy in 1743. This artist is con-  date, enclosed in a small square.
founded with Edme Jeaurat by Basan, Smith, and      JENKINS, THOMAS, an English painter, who
others. He designed the illustrations for La Fon-  studied under Hudson at London, and went ta
taine's Fables which were engraved by Edme, and   Rome with Richard Wilson. He did not attain
hence the error. They were doubtless brothers.  any eminence in art, but he turned his attention
JEFFERIES, JAMES, an English painter, was  at Rome to dealing in ancient paintings and an



JERV.                       427                      JODE.
tiques, by which he realized a fortune.  Upon the   having learned the rudiments of the xrt with his
irruption of the French into Italy, he returned to  father, he studied under Henry Goltzius, and af
his own country, where he died in 1798.              terwards went to Italy for improvement, where he
JERVAS, CHARLES, an Irish portrait painter,  engraved several plates after the great masters.
who studied a short time under Knelier, and ac-   About 1601 he returned to Antwerp, where he
quired so much reputation in his day, as to be   greatly distinguished himself.  His drawing is
eulogized by Pope, and obtain abundant employ-  very correct,  and  though his command of the
ment.  Lord Orford thus sums up his merits:          graver is less daring and bold than that of his
"Such was the badness of the age's taste, and the  instructor, yet. his style is more chaste and artisdearth of good masters, that Jervas sat at the   tic. He died in 1634. The following are his prinhead of his profession, and his own vanity thought  cipal plates:
no encomium  disproportionate to his merit.  Yet                         PORTRAITS.
he was defective in drawing, coloring, and composi-    Eryius Puteanus, or Henry du Puy, a learned Hollandtion; and even in that most necessary, and perhaps  er; in a circle formed by a serpent; Pet. de Jode, sculp.
most easy talent of a portrait painter, likeness.  J.Meytens, exc. JoannesBocatins; Titian;pinx. Pet.
In general his pictures are a light flimsy kind of   de Jode,fecit. Ferdinand Count Palatine of the Rhine;
fan painting, as large as life."  His vanity and   oval; afterRubens. PhilipIII. King of Spain; oval;
conceit knew no bounds.  He copied a picture of   do. Francis de Mello, Count d'Azumar; P. de Jode,fec.
Titian in the Royal Collection, which he thought  Ambrose Spola; do.
so vastly superior to the. original, that on contem-                 VARIOUS SUBJECTS.
plating it on its completion, he exclaimed with        The Five Senses; apparently from his own designs.
great complacency, " Poor little Tit, how he would   The Life and Miracles of St. Catherine of Siena; twelve
plates; qfter Francesco Vanni. 1606. The Life of Christ,
stare"!  Heaffectedtobe violentlyn le w i            n ithirty-six plates; without the painter's name. The
Lady Bridgewater; yet after dispraising her ear  Virgin and Child; after Titian. The Marriage of St.
as the only faulty point about her, he exhibited   Catherine; do. The large Holy Family; do. The Adohis own as a model of perfection.  When Kneller  ration of the Shepherds. after Ad. van Oort.  Christ,
heard that he had set up a carriage with four hor-  with Nicodemus; do. The Decollation of St. John; after
he said "Ah  mine Cot if his horses do not  Rubens; oval; scarce. Christ giving the Keys to St.
ses, he said, "Ah. mine Cot, if his horses           Peter; do.; fine; the best impressions are before the addraw  better than he does, he will never get to   dress of Vanden Enden. The Crowning of St. Catherine;
his journey's end."  He died in 1739.                do. The Last Judgment; after John Cousin; on twelve
JOANES.  See JUANES.                              plates; one of the largest prints known.
JOANSUINI, GIACOMO, an Italian painter and           JODE, PETER DE, the YOUNGER, the son of the
Jnavrof whom           little is known.  There  and   preceding, was born at Antwerp in 1606.  He was
engraver, of whom little is known. There is an
engraver, of whom  little is know    There is an   Instructed by his father whom he surpassed in'the
indifferent etching, representing the Presentation   tsteandfa tyithwhic  he   supaedthegre
in the Temple, inscribed Jacobu Joansuinus pic       taste and facility with which he handled the graver.
in the Temple, inscribed Jacobu Joansuinus pictor    ^      ^   ^  ^equally executed, and Basan says
et incisor, without date.                     *7   His plates are unequally executed, and Basan says
et icisor, without date.                             of him,' in some of his prints he has equalled the
JOCINO, ANTONIO, a landscape painter, com-  best engravers, and in others, he has sunk below
mended by Hakert, who flourished  at Messina   himself.  His works are highly esteemed, though
about 1750.                                          they are considered generally inferior to those of
JOCONDUSOr JUUNDUSGIOVAN         -  his eotemporaries, the Bolswerts, Pontius, and
~JOGONDUS: or JUCUNDUS, GiovANrI, a Ver-  Vostermans. Perhaps his best performances are
onese architect, who flourished about 1515. He   Vostermans.  Pero s his best perforances ar
was a monk of the Dominican  order, but practised his portraits, ome of which are after Vandyck.
was a monk of the Dominican order, but practised   The exact time of his death is uncertain. The laas an architect at Rome and Paris, where he erect-     e eact tice of  his deth i isunceai.  The r
ed two bridges over the Seine.  While resident  mentions one dated 1699,but this is probably a
there, he recovered some of the epistles of Pliny the   misprint  The following is a list of his most esYounger, and the works of Julius Obsequens on   misprint.  The following is a list of his most esYounger, and the works of Julius Obsequens on teemed prints; or a full list the reader is referred
teemed prints; for a full list the reader is referred
Prodigies, which he prepared for publication, and   to Nagler's Kunstler Lexicon:
sent to Aldus, by whom  they were published in
1508.. He illustrated OCesar's Commentaries with                 PORTRAITS AFTER VANDYCK.
notes and figures.  On returning to Italy, he pub-    Charles I. Henrietta Maria, his Queen. Thomas Wentlished an edition of Vitruvius.  After the death   worth, Earl of Strafford. Prince Rupert, Catherine, Counof Bramante, he was employed on St. Peter's. Histe  of Newbrgh. Peter de Jode,junior;  e pse cul.
last  architectural work, was a bridge over th Jacob Jordaens, painter of Antwerp. Cornelius Poelemlast architectural work, was a bridge over the  berg, painter, of Utrecht. John Snellincks, painter, of AntAdige at Verona. He died about 1530.                 werp. Daniel Meytens, painter. Adam de Coster, painter,
JODE, GEERHARD DE, a Flemish engraver and   of Mechlin. Andrew Colyns de Nole, sculptor, of Antprint-seller, born at Antwerp in 1521.  He en-  werp. Henry Liberti, organist. Albert, Duke of Friedprint-seller born at Antwerp in 1521. He en-   and, Count of Wallenstein. Genevieve d'UrphO, Duchess
graved a considerable number of plates, which   de Croye. Jane de Blois. John Tzerilaos, Count de Tilly.
seem to be an humble imitation of the style of   Diodorus van Tulden, professor at Louvaine.  Anthony
Cornelius de Cort, among which a set of twenty-  Trieste, Bishop of Ghent.
nine portraits of the Popes, 1585; a Roman Tri-              PORTRAITS AFTER VARIOUS MASTERS.
umph, in twelve sheets, after Martin Hemskerk;    Charles Henry, Baron de Metternich; after A. van
the Crucifixion, a large print in three sheets, after   Hulle. Augustus Adolphus, Baron de Trantorf; do.Michael Angelo, marked G. de Jode, with the   Thomas Ricciarni; after Simon Vouet. Ernest, Count
name  of the painter.  He was the head of a fam-  d'Isembourg; after J. Willeborts Boschaert. Petrus de
ily. greatly distinguished in the art of engraving,     ncvilla sculptor and architect; after Bunel.
and  died  in 1591.                                            SUBJECrT AFTER VARIOUS MASTERS.
St. Augustine, bishop, crowned by Religion; P. de Jodc,
JODE, PETER DE, TIE ELDER1 the son of the   fee. St. Francis kneeling before a Crucifix; after Barocpreceding, was born at Antwerp in 1570.  After  cio. The Holy Family, with St. Elizabeth. St. John, and




JODE.                      428                     JOHN.
Zachary; after Titian. The Visitation of the Virgin to  John Churchill, Duke of Marlborough. Marquis of GranSt. Elisabeth; after Rubens; fine and scarce. The Three  by. William, Lord Cowper. Lord Anson. Sir John WilGraces; do.; fine. Venus rising from the Sea, surround-  lis, Chief Justice of the Common Pleas.  Bullock, the
ed with Nymphs and Tritons; do. St. Francis and St.  comedian; T. Johnson ad vivum pinx. et sculp. ThomClara adoring the infant Jesus; after Gerard Segers.  as Britton, the musical small-coal man.
Christ with Nicodemus; do. The Nativity; after J. Jor-             VARIOUS SUBJECTS.
daens; fine. St. Martin de Tours, working a Miracle; do.
fine. Folly and Ignorance; do. St. Augustine supported    Four plates of the  eason; Johnson, fee. The Holy
byAngels; after Vandyck. Rinaldo and Armida; do.  Family returning fromEgypt; afterRubens. Adam and
The Holy Family, with St. Anne; after A. Diepenbeck.  Eve; a mallplate.
An allegorical subject on Peace; do. St. John in the Des-    JOHNSON, JOHN, a reputable English archiert; after P. van Mol.                             tect, born at Leicester in 1754.  He left his naJODE, ARNOLD DE, was the son of Peter de  tive place at a very early age, and by his natural
Jode the younger, and was born at Antwerp in  abilities, arrived at considerable distinction.  He
1636.  He was instructed in the art by his father,  filled for twenty-six years the office of Architect
but he never rose above mediocrity.  His best  and Surveyor of the county of Essex.  Among
prints are his portraits. We have the following   his principal works, are the County Court House,
by him.                                            and a large Stone Bridge, erected from  his dePORTRAITS.                     signs. He died in 1814.
Cardinal Palavicini; after Titian. Sir Peter Lely;    JOHNSTON, ANDREW, an English mezzotinto
after a picture by himself. Alexander Browne; prefixed  engraver, who executed a few  portraits of little
to his Ars Pictoria; after Huysmans.               merit.
VARIOUS SUBJECTS.                    JOLI, ANTONIO, an Italian painter, was born at
Mercury educating cupid; after Correggio. [1667.1   Modena in 1700. He studied under Gio. Paolo
Magdalene; a half-length, circular; after Vandyck. The  Pannini at Rome, and became an eminent painter
infant Christ embracing St. John; do.; inscribed, Arnoldus    f perspective and architectural views in the style
de Jode, sculp. Londini, ternpore incendii maximi. A    f his master.  Lanzi says he distinguished him
Landscape; after L. de Vadder; Arnold de Jode, sculp.of h  master.  Lanzisays he distinguished him165                                                self as a painter of theatrical decorations at the
N      CHARLES HENRY ALFRED, a de  ncourts of England, Spain, and Germany. He was
JOHANNOT, CHARLES HENRY ALFRED, a de-  appointed court painter to Charles III. of Naples
signer, engraver, and painter of the French school,    d t  his son.  He painted a great number of
was born in 1800, at Offenbach on the Maine, in  landscapes and sea-views of an oblong form. for
the Duchy of Hesse. He was the son of Francois  the villas in the vicinity of Naples, to serve as decJohannot, a rich merchant of Frankfort, descended   orations of interior doors. He died in 1777.
from a family whom the Revocation of the Edict          LLAT a  rench engraver on wood who acof Nantes compelled to remove from France. His    JOrench en
father removed to Paris in 1818, and Johannot  cording to Papillon, flourished at Paris about 1510.
father removed to Paris in 1818, and Johannot  He executed the cuts of ornamental borders, figstudied design and engraving under his elder bro-    e eecue    e c          ornamental bo rder, fi
ther Charles J., an engraver of some eminence,  ures, &c., for a missal in octavo, printed at Paris
ther Charles J., an      ver of some eminence,
who executed the plates for a number of illustra-  in 1490. He also executed the plates for an anawho executed the plates for a number of'llustrao executed i   peo btomical work by Carolus Stephano, M.D., which
ted works, and a large print of the Wounded   t           cal work by  arolus Stephano,. i., which
Trumpeter, after Horace Vernet. Alfred J. made  ar  neatly cut, though the drawing is incorrect.
good progress, and produced his plate of the Or-  They are dated from 1530 to 1532.
phans, after Scheffer. His plates are executed in     JONES, INIGO.  This eminent architect, to
a very spirited and graceful style, and he was much   whom England is indebted for her first specimens
employed in illustrating the works of Walter  of classical architecture, was born at London in
Scott, J. Fenimore Cooper, Lord Byron, and   1572. He was intended for a mechanical employother eminent authors. About 1830, he devoted   ment; but manifesting a strong inclination for
himself to painting, and exhibited in the following   landscape painting, his talents attracted the attenyear, a picture of the Arrest of Jean de Crespiere,  tion.of the Earl ofArundel, and of William, Earl
under Richelieu. Among his other pictures, are   of Pembroke, the latter of whom  supplied him
two subjects from the life of St. Hyacinth, in a  with the means of visiting Italy.  Hewentto Venchapel of the church of Notre Dame; Mary Queen  ice, where the works of Palladio inspired him with
of Scots leaving Scotland; and the Parting of  a taste for architecture.  His reputation procured
Charles I. and his Family. His works are re-  him the appointment of chief architect to Christian
markable;for grace and harmony, more than for  IV. king of Denmark, who, visiting his brothervigor of effect. He died in 1837.                  in-law, James I., in 1606, brought Jones with him
J OHNSON  CORNELIUS  See            to England. He was induced to remain. and was
JOHNSON, CORNELIUS.  See JANSSEN.          appointed architect to the Queen, and subsequentJOHNSON, LAWRENCE, an English engraver of  ly to Henry Prince of Wales. After the death
little note, who flourished about 1603, and en-  of that Prince, he revisited Italy, and divested
graved some heads for the General History of the   himself of the remains of rudeness that appear in
Tures, published in that year.  They are poorly   his first works, so that on returning to England
engraved.                                          the second time, he erected many edifices, characJOHNSON, C., another English engraver of lit-  terised by great purity of taste.  He was appointtie note, who engraved some portraits, among   ed surveyor-general of the Board of Works, and
which is the Queen of James I.                    finding that this Society had incurred a considerJOHNSON, T., anEnglish engraver, who scraped   able debt under his predecessors, he  ould not
a few mezzotints in a poor style, among which are  accept any salary until it was paid; which excelthe following:                                     lent example was followed by the comptroller and
paymaster; and the debts were discharged without
PORTRAITS.                     any extra tax upon the people.  He invented
Edward Hyle, Earl of Clarendon; after G. Zoust.  many ingenious decorations, and wonderful ma




JONO.                     429                    JORD.
chines for shows and diversions. At the request  ings of battles, executed in a masterly manner:
of James I. he wrote a dissertation relative to that  also some etchings of horses, equally spirited.curious monument of former ages, Stonehenge, on   These plates are usually marked I. M. D. I. Stan
Salisbury Plain, published after his death by his  ley says his name was Jan Martss or Marssen, and
son-in-law, Mr. Webb. The object of this treatise  that de Jonge (the younger) was added to distinwas to prove that Stonehenge was a hypaethral  guish him from another of the same name.
temple, erected by the Romans, dedicated to the god  JONGELINEX, ANTHONY, an engraver. supCoelus. Under the tempestuous reign of Charles I.,  posed to be a Fleming, who resided in England
Jones suffered much from  the parliament, who  about 1762. and engraved some small plates of
were equally violent against all attached to the  fishes, after Arnold van Achen.
king; and he was also obliged to pay a fine of     JONGELINX, J. B., a Flemish engraver oflitabout $2,700. The execution of the king affected  tle note who executed a few portraits in an indifhim deeply, and injured his health so seriously,   erent style, which are marked with his name
that when replaced in office by Charles II., his  with the letters Ant. for Antwe7pic.
debilitated frame would not allow him fully to
satisfy the magnificent ideas of that voluptuous    JORDAENS, HANS, a Flemish painter, born at
monarch. At length, worn out with sorrow and  Antwerp in 539. Hestudied under Martin van
suffering, he died July 21,1652. The Banqueting-  Cleef, and painted avariety of subjects with repuHouse at Whitehall, one of his principal works,  tation in his day, such as landscapes, moonlights
consists of a rustic basement, surmounted by an   crps-de-gardes, village festivals, c. He died at
Ionic order, then a Composite, with an attic and  Delft, in 159
a balustrade above. In this edifice, elegance is    JORDAENS, JACOB.  This eminent painter
united with strength, ornament with simplicity,  was born at Antwerp, in 1594. He studied under
and majesty with beauty. This superb building  Adam van Oort, an able artist, whose daughter
is only a small part of a magnificent royal palace  Catherine he married while he was very young.
which Jones designed, but which was never erect-  This step prevented him from carrying his design
ed. In 1639, he erected a palace in Greenwich   of visiting Italy for improvement into execution;
Park, as a retirement for the queen dowager.  therefore he contented himself with closely studyAmong his other works are the beautiful palace  ing and copying the works of such Italian masters
of Lord Pembroke at Wilton, in the county of  as he could find at Antwerp, particularly those of
Wilts; the Queen's chapel, St. James'; the fagades  Titian and Paul Veronese. Rubens was residing
of Holyrood House, and IHeriot's Hospital, Edin-  at this time at Antwerp, in the plenitude of his
burgh; besides many other important edifices.  fame, and Jordaens very naturally made him his
Jones left a great number of admirable architec-  model. The discerning eye of Rubens also soon
tural designs, which were highly praised by Van-  discovered the great talents of Jordaens, and with
dyck. A collection of them  was published by   his wonted liberality, he took every opportunity
Kent in 1712 and 1724; and others more recent-  of rendering him service. The King of Spain had
ly, by Ware, and by Leoni.                       applied to Rubens for a series of cartoons for tapJONCKHEER, J., an artist. probably a native  estry, and he employed Jordaens to paint them
of Holland, who engraved a set of small plates,  from his desigs, and aided him  with his assistlengthways, representing dogs and other domestic   nc and advice, thus conferring on theyoung ar
animals, which bear date from 1650 to 1660. They      mark of approval and distinction that could
are etched in a free and spirited style, and appear  but be highly advantageous to him  in bringto be the work of a painter. He harmonized the     g him before the public. Sandrart, who is foletching with the graver in the manner of Rem-  lowed by de Piles and other authors, asserts,
brandt.                                          without any probability of truth, that "Rubens,
jealous of the coloring of Jordaens, and apprehenJONIG LUDOLPH DE, a Dutch painter, born at  sive of being rivaled in a point wherein consisted
Overschie, near Rotterdam. in 1616. His father  his own greatest excellence, employed him to paint
was a shoemaker, and instructed his son for his  for tapestries designs in  distemper, after his
own trade, but Ludolph, having an inclination for  sketches, so that thereby the latter weakened his
painting, ran away  and studied the  art under  powers, and enfeebled his tints, which before were
Cornelius Sachtleven for two years. He after-  strongand wonderfully natural."  Fortunatel
wards studied successively under Anthony Pala-  fy
wards studied successively under Anthony Pala- | for the purposes of truth, this story is palpably
medes at Delft, and John Bylaert at Utrecht, and  erroneous and unjust, for Jordaens was then
then went to Paris, where he found sufficient em-  young, and the works on which his reputation is
ployment to detain him seven years. He then re-  founded, the coloring of which is admitted to
turned to his own country, and settled at Rotter-  be equal to that of Rubens, were executed at a
dam. where he acquired great distinction as a por-  much later period of his life; so that it is evident
trait painter, found abundant and profitable em-  that he derived the greatest advantage from  his
ployment, and became rich. He also painted some. intercourse with that great master. In short, his
small pictures of hunting scenes and battle-pieces,  fault was that he was the imitator of Rubens,
ingeniously composed and spiritedly touched. His  without possessing his powers of invention, his
most remarkable picture is in the Salle des Prin-  correctness of design, or his elegance of composices, at Rotterdam, containing the portraits of the  tion. This is proved by the fact that some of his
officers of the Company of Burghers. There is  best works have often been attributed to Rubens
another similar picture in the Armory, containing   bygood judges. Some authors, in comparing Jorthe portraits of some artillery officers. He died aenswithRubens, have said that the latterpos
in      ^ 16^^  ^^Y ^7'                    ^    daens with Rubens, have said that the latter pos~in io~169~7/.                      -   ~sessed more genius, a finer imagination, and nobler
JONG, or JONGE, J. M. DE, a Dutch painter,  ideas in his characters, but that the former had
to whom are attributed a set of very spirited etch-  better expression and more truth, with an equal




JORD.                      430                     JORD.
excellence of coloring; but this last can only ap-   JORDAN, GREGORIO, an Italian engraver, who
ply to the best works of Jordaens. He painted   published at Venice, in 1622, a set of plates with
with extraordinary freedom, ease, and facility;  explanations, entitled Prophetica seu  Vaticinia
there is great brilliancy and harmony in his color-  XIV. tabellis expressa, representing the subvering, with good understanding of the chiaro-scuro.  sion of the Mahometan Religion. The plates are
He studied and copied nature, yet he did not select  slightly etched, and the figures incorrectly drawn.
her beauties, nor reject her defects. His composi-    JORDAN, SALVADOR, an artist classed among
tion is sufficiently rich, and his expression strong    Spanish painters, though he was doubtless 
and natural, but his design wants elegance and   Fleming, wh   flourished  at Madrid about 1636, at
taste. He knew how to give his figures a good                     portrait of the celebrated  uevedo
relief, though he is frequently incorrect in his out-  d  Villegas was engraved by Gazan, the originality
line. His penciling is always excellent; and for a  of the design and striking likenessof which gained
free, spirited touch, hardly any painter can be ac-  Jordan a great reputation at the time. Nothing
counted his superior. His works are very numer-farther is known of him; but he was so excellent
ous, and abound in the churches and public edifices  a portrait painter in the style of Velasquez that
of Netherlands; and, though he never received   his works are generally attributed to that master.
large prices for them, he acquired considerable
wealth from  the numerous commissions he re-    JORDANO, LUCA. See GIORDANO.
ceived, and the facility with which he designed and  JORIS, AUGUSTINE, a Dutch painter, born at
wrought.  Some of his most celebrated works are   Delft in 1525. After studying three years with
the Martyrdom of St. Apollonia, in the church of   James Mondt, a painter of little note. he went to
the Augustines at Antwerp; Christ disputing   Paris, where he resided some time, and made such
with the Doctors, in that of St. Walburg at Fumes,  excellent progress that, on his return to Delft, his
which has often been mistaken for a painting of   picture of the Virgin and Infant gained him  disRubens; the Triumphal Entry of Prince Freder-  tinction, and it is supposed by his countrymen
ick Henry, of Nassau, in a car drawn by four  that he would have become one of the ablest artwhite horses, admirably executed, which is in the  ists of his time, had he not been drowned in a
Palace in the Wood, near the Hague; the famous  canal in 1552.
Merry-making in the Dusseldorf Gallery, and the      JORIS, AUGUSTINE, an eminent Dutch painter
equally celebrated pictures oftheSatyrand theMan   on glass, for the churches, who died at Delft, in
blowing hot and cold, in the Orleans collection;  1537.
and the story of Pan and Syrinx, which were fin-              ABRAHM, an engraver who, according
ished in six days, although the figures are as large  to F  t le, executed a multitude ofprints
as life, and the whole admirably designed and exe-  (about 6, bt e does not secify any of prthe
cuted.  The powers of Jordaens were better adap-  nor-has any otherwriter.
ted to the representation of fabulous subjects, or       s a    o     
the festive scenes of tumultuous revelry, than to     OE, JACQUES LE, a French painter, was born
sacred or historical compositions, which require a   at Paris in 1687, and died in 1761. He excelled in
greater dignity and elevation of character. Jor-  perspectives, architectural subjects, and decorations
daens died at Antwerp in 1678, aged 84.  There  for the theatres.
are a few etchings by Jordaens, which, though ex-    JOULLAIN, JACQUES, a French engraver of
ecuted in a hasty and slight style, are very spirit-  little note, who flourished at Paris about 1730, and
ed, and evince the hand of a great master.  They   executed some vignettes and other book-plates in
are the following:                                 a stiff, formal manner, with incorrect drawing.
The Flight into Egypt; dated 1652. Christ driving the  JOULLAIN, FRANCOIS, a French engraver, and
Merchandizers from the Temple. The Descent from the  eminent printseller, who flourished at Paris about
Cross. 1652. Mercuryand Argus. Jupiter ando. 1652.  1750. He engraved some plates, principally after
The Infancy of Jupiter. A Peasant stopping an Ox by the
tail, with several spectators,                     the French masters, in the style of Lawrence Cars,
JORDAENS, HANS, a Dutch painter, was born   which, though inferior to the works of that master, have considerable merit. The following are
at Delft in 1616. He went to Italy when young,          have considerable merit.  The following are
where he soon acquired considerable reputation,        bestprints:
and passed the greater part of his life at Venice,    Th Flaying of Marsyas after P. Veronese; for the
Rome and Naples, his works being much admired   Crozat collection. Mercury and Herse; do.; do. The
obythe nI     Hpe 1'  afterwardk s returned to his  Ecce Homo; after Charles Coypel. The Annunciation;
by the Italians. HIe afterwards returned to his  }ado. The Boar-hunting; qfter N. Desportes. The Wolfown country, and settled at the Hague, where he  hunting; do. The Portrait of N. Desportes; after a picfound abundant employment.  He painted history  ture by himself. The Rural Recreation; after N. Lanwith uncommon facility, somewhat in the style of  cret.
Rottenhamer. He died at Voorburg, a village near     JOUSSE, MATHURIN, a French architect, and a
the Hague, in 1669.                                writer on the art. flourished about the middle of
JORDAN, ESTEBAN, a Spanish painter and  the 17th century.  He resided chiefly at Fleche,
sculptor, born at Valladolid in 1543. Little is  and is known by several architectural treatises,
known of the circumstances of his life, but it is  among which are Le Secret d'Architecture decousufficient proof of his abilities, that Philip II. ap-  vrant fidelement les traits geometriques, coupes
pointed him first sculptor to the court. Among   et derobements necessaires dans les batiments.
his most important works are the statues of St.  Fleche, 1642, fol.
Peter, St. Paul, and a Mary Magdalene; also a        JOUVENET, JEAN, an eminent French painter,
group of the Adoration of the Kings. It is said   was born at Rouen in 1644.  He was the son of
there are six excellent pictures by this artist, in   Laurent Jouvenet, a reputable painter of that city,
the church'of the Magdalen, at Valladolid.  He  who instructed his son in the first principles of the
died about 1605.                                   art. At the age of seventeen he went to Paris,




JOUV.                     431                    JUKE
and studied with Nicholas Poussin, under whose  tirely confined to the churches and convents of his
instructions he made such rapid progress that. at  native city. Like the celebrated Morales, he confined
the age of twenty-seven, he produced his celebra-  himself to subjects from sacred history. His picted picture of Christ curing the Paralytic-a no-  tures are composed in the grand style, and colored
ble and grand composition-in the church of Notre  with great truth and beauty; and, though they
Dame. Soon afterwards he painted, in the Hos-  are finished with extraordinary care, it does not
pital of the Invalids, between the windows of  impair their force, nor impoverish their effect. Juthe dome, the Twelve Apostles, with Angels and  anes' chef d'oeuvre is the Baptism  of Christ, a
attributes, designed in a grand style, the figures  grand composition of several figures entirely in the
being fourteen feet high. In 1665, Charles le  style of Rafaelle, in the Cathedral of Valencia.
Brun presented him as a candidate for the honors  In the chapel of S. Thomas de Villanueva, belongof the Academy, and he was received with marks  ing to the Augustine monks, are three grand works
of distinction, on which occasion he painted his  by him, representing the Nativity, the Martyrdom
picture of Queen Esther before Ahasuerus, one of  of St. Ines, and the Burial of a Monk of their Orthe finest works in the halls of the Academy.-   der. Another fine picture is a Dead Christ in the
About this time he executed four pictures for the  church of San Pedro, which is greatly admired.
church of St. Martin aux Champs, representing  He died at Bocairente, near Valencia, in 1579.
Mary Magdalene at the Feet of our Saviour, in  Bermudez calls this eminent painter  Vicente
the house of Simon the Pharisee; Christ driving  Joanes, and gives a list of his genuine works, and
the Money-changers from the Temple; the Mirac-  others attributed to him, and the places and edifiulous Draught of Fishes; and the Raising of  ces where they are to be found.
Lazarus. The most capital work of Jouvenet is    JUKES, FRANCIS. an English aquatint engraver,
his Deposition from  the Cross, painted for the  born about 1750, and flourished till about 1800.church of the Capuchins at Paris, but now in the  He engraved Walmesley's Views in Ireland, and
gallery of the Louvre.  The French are justly  Nicholson's Views in England, and numerous other
proud of Jouvenet as one of the greatest painters,  similar productions by artists of the time. Most
and some allowance must be made for national  of his landscapes and sea-pieces are washed with
partiality. M. Watelet, speaking of the Deposi-  colors, so as to resemble drawings.
tion from the Cross, says: "In this picture, Gu-    JULIEN, PIERRE, an eminent French sculptor,
ercino is united to Caracci, or rather it is Jouvenet  born in 1731, at St. Paulien, near Puy en Velai.
breathing defiance to all the great masters. Had  He studied for two years under Simon, a sculptor
it been painted at Rome, or had Poussin seen it  of the last mentioned place, after which he entered
there, he would have ranked it as the fourth of    the school of Perache, at Lyons, and made great
the chef d'"(uvres of that emporium of art." Jou- progress. After gaining a prize in the Academy
venet had a ready invention and a fruitful genius,  at Lyons, he visited Paris, and in 1765 entered the
and a taste for grandeur in composition. His de-  school of Guillaume Coustou, sculptor to the king.
sign is correct, and his draperies are cast in an  Iere he soon became distinguished, and drew the
elegant and graceful manner. In France, his merit  grand prize of the Royal Academy for a beautiful
is universally allowed, but some foreign critics con-  bas-relief. representing Sabrinus offering his Chardemn his taste of design, as being too much load-  iot to the Vestals, when the Gauls were about to
ed, and his coloring as having too predominant a  invade Rome. In 1768, he visited Rome with the
tint of yellow in the carnations. In 1713, towards royal pension, and devoted himself to the study
the close of his life, he lost the use of his right  of the noble remains of antiquity. Among the
arm by paralysis, when he attempted to paint with  works he executed at ome, were a marble mauhis left hand, and to the astonishment of every-  soleum for the wife and daughter of President Bebody succeeded, and in this manner he painted his  lenger; and copies in marble, for President Ifocpicture of the Magnificat, in the choir of Notre  quart, of the Apollo Belvidere, the Flora in the
Dame. He died in 1717, aged 73.                  Farnese palace, and the Dying Gladiator. After a
JOUVENET, FRAN9OIS, a brother of the pre-  residence of four years at Rome, he was recalled
ceding, was born at Paris in 1669, and died in 1749.  to Paris to assist Coustou in the mausoleum  for
He studied under his brother, and was an excel-  the Dauphin and Dauphiness, destined for the Calent portrait painter, to which branch he devoted  thedral at Sens. Of this he executed the figure
himself.                                         of Immortality. His fame being fully established,
JUANES, JUAN BAPTISTA, an eninent Spanish  he was desirous of gaining admission to the Royal
painter, born.at Valencia in 1523. te is called the  Acdemy, and for this purpose presented them
Spanish Raffaelle. Palomino incorrectly states  with a statue of Ganymede; but, notwithstanding
that he studied under Raffaelle, for Raffaelle died  its acknowledged merit, he was not at this time
before Juanes was born. He, however, studied at  successful. In 1779. however, he made another
Rome, and afterwards settled at Valencia, where  effort and his statue of the Dying Warrior gained
his works are only to be found. The.Spanish wri-  him  admission to the Academy. He was then
ters rank him as one of the greatest artists of the  commissioned by the king to execute a marble
glorious age  of  Pope Leo X. Pacheco bestos  statue of La Fontaine, which is considered his
upon him the highest encomiums, and Palomino  master-piece in that style. He also produced vaVelasco does not hesitate to prefer him to Morales,  rious bas-reliefs for the castle of Rambouillet, and
or even to Raffaelle himself. Much of this adula-  a statue of a Female bathing, which is now in the
tion doubtless arises from national partiality; yet  Hall of the Chamber of Peers, and is allowed to
it may be fairly presumed that the artist, on whose  be one of the finest specimens of modern art. His
works such general and distinguished praise has  last work was a statue of Nicolas Poussin, for the
been conferred, possessed great abilities. But, un-  Hall of the Institute. He died in 1804.
fortunately for his fame abroad, his works are en-    JULIEN, SIMON, also called JULIEN or PARMA,




JULI.                    432                     JUST.
an eminent French painter, born at Toulon in1736.  tury, and acquired a high reputation for their
He studied under Bardon at Marseilles, and after-  works, which they always executed in concert.
wards visited Paris, where he became a pupil of  Jean was considered the most talented, and FranCarlo Vanloo, and gained the grand prize of the  cis I. commissioned him to execute, in white marRoyal Academy. He then visited Rome with the  ble, the mausoleum of Louis XII. and Anne of
king's pension, and remained in that city ten years.  Bretagne, in the church of St. Denis. They also
He relinquished the style he had acquired in Paris,  executed the mausoleum of the children of Charles
and adopted one entirely in the Italian taste. On  VIII. and Anne of Bretagne; that of Philibert
returning to Paris, he soon gained reputation,  Babou, in the chapel of Bon Desir, a few leagues
and produced several works of great merit.-  distant from  Tours; and a reclining figure, in
He was elected an Academician, and exhibited   white marble, in the same chapel, said to be the
on that occasion, his fine picture of the Tri-  statue of Agnes Morin, wife of Philibert Babou.
umph of Aurelian.  In 1788, he exhibited in  Jean Juste is supposed to have died about 1534.
the saloon of St. Louis his admirable master-piece    JUSTER, JOSEPH, a French engraver, who went
of art, representing Study spreading her flowers  to Venice, where he engraved a great number of
over Time, which was sent to England, and was  plates for the books published there from 1691 to
engraved. Among hisother capital performances,  1700. His plates are etched, and then finished
are Jupiter on Mount Ida, asleep in the arms of  with the gver, in a coarse, indifferent style. In
Juno; a i Aurora and Titan. His last impor-  conunction with N. Cochin, H. Tournheyser,and
tant work wasran altar-piece for the chapel of the  H. Vincent, he engraved a part of the collection
Archbishop of Paris, at Confans, representing St.  of prints from select pictures, published at Venice
Anthony in a trance. Julien died in 1800.        in 1691, by Catherine Patin, which are his best
JULIO. See ALESSANDRO.                         works.
JULLIENNE, JEAN DE, a French connoisseur,    JUSTUS OF GHENT, supposed to be the same
who made a noted collection of pictures, most of   as GIUSTO DI ALEMAGNA, of the Italians. Little
which were engraved. He also etched a few plates.  is known with certainty of this did artist. He
merely for amusement, after Teniers, Watteau,  flourished in the second half of the 15th century.
and other masters.                               He is supposed to have studied under the van
JUNCOSA, called FRA. JOACHIM, a Spanish   Eycks, and afterwards went to Italy. There is a
painter, was a native of Cornudella. When young,  celebrated picture of the Last Judgment in the
he painted mythological subjects with such suc-  church of St. Mary at Dantzig, long supposed to
cess as to gain him  considerable reputation. In   be by John van Eyck, but it is now attributed by
1660, he joined the Carthusians, and entered their  good judges to Justus of Ghent. (For a descripmonastery of Scala Dei, where he painted several  tion of this famous picture see the English transpictures, and the portraits of the most meritorious  lation of Kagler's Hand Book of Oil Painting.)
members of the brotherhood. He next painted  In the church of S. Agatha, at Urbino, is a fine
in the Carthusian monastery at Monte Alegre,  picture of the Communion, by him. See Giusto
the Birth of the Virgin, the Coronation of the  di Alemagno.
Virgin, and thirty-six other pictures of a large   JJVANI, FRANCESCO, an Italian painter, who,
size, which were placed round the cornice of the  according to Basan, was a native of Rome, and a
church. He then went to Italy to study, where  scholar of Carlo Maratti. Of his works as a painthe resided some time, and returned much improved  er little is known. He etched a few plates from
in his style. In 1680 he was employed, in con-  the designs of his master, among which is the Adjunction with his cousin, Dr. Juncosa, to paint the  oration ot the Shepherds.
major chapel of the Hermitage De Ruis, in which                         an eian a
he represented various subjects from the Life of   J ARRA FILIPPO an eminent Sicilian archi
the Virgin. Juncosa is considered a distinguished  tect, degner, and engraver, born at  essinain
painter of the Spanish school. His woks are  1685. He designed and etched a set of ornamental
numerous, and are celebrated throughout Spain   shields, which were published at Rome in 1722.
for correctness of design, freedom of execution,        are executed in a free and masterly manner,
and. possess great merit. They are signed - Cav. D.
beautiful coloring, and a good understanding of the  and possess great merit. They are signed Ca  D.
chiaro-scuro. It is related of this artist, that in  Filppo Juvarra, Architetto e Academico de S.
Luca.  He studied architecture at Rome under
the latter part of his life the Superior of his con-  Fo   and studied  architeture at R e under
vent, who was no great lover of painting, compelled  Fontana, and distinguished himself by the beauti}him to devote more time to his beads and other  ful edifices he erected at Turin. He visited Spain
holy offices than he was accustomed to which so  at the invitation of Philip V., and executed a model
for a magnificent palace to be erected on the ruins
irritated him that he fled to Rome, and laid his or  magniicen paace toe erecd on te   ins
case before the pope, who not only pardoned his  of that which had been destroyed by fire and it
disobedience, but permitted him  at a hermitage  was highly approved, but in consequence of the inwithout the walls of Rome, and commanded that  trigues of the queen, was not executed. Juvarra
he should be allowed to paint when he liked, and  disappointed and chagrined, died of grief, at Madnot be tormented any more with religious formal-  rid in 1735.
ities and duties. He died in this retreat, in 1708.    JUVENEL, PAUL, was a son of Nikolaus Jueneel, a reputable painter of perspective, who died
JUNE, J., an English engraver of little note,  in 1597.  Afterlearning the rudiments of the art
who flourished about 1760, and executed a few  in 159    Afterlearning  the rudiments of the art
portraits, in a poor style for the booksellers.  frm  h  faer, he  studied with Adam   Elsheimer, and became eminent as a copyist of the old
JUSTE, JEAN and JUSTE LE, two old French   German and Flemish painters, particularly of Alsculptors, were brothers, and natives of Tours.  bert Durer. He painted at Nuremberg, Vienna,
They flourished in the first part of the 16th cen-  and Presburg, and died in 1643, aged 64.




KABE.                      433                    KALL.
JUWEEL, NICOLAS, a German painter, who  himself to historical painting for some time, but
flourished at Rotterdam  about 1690, and imitated   not succeeding to his satisfaction, he turned his
the style of Chev. vander Werf, without arriving   attention to still-life, in which he acquired great
at the peculiar merit of that master.            reputation.  He excelled in painting vases and
other ornamental work in gold and silver, and all
K                          kinds of metallic vessels and implements, which
he imitated with a delicacy and precision that
KABBETE, JAN, a Dutch painter, who flourish-  produced perfect illusion. His pictures are very
ed about 1640. After acquiring the elements of de-  highly finished, his touch is neat and spirited, his
sign in his own country, he visited Paris and other  coloring clear and sparkling, and his chiaro-scuro
cities of France, where he practised his art. He  is managed with great intelligence. He also paintalso visited Italy, and gained great improvement  ed fruit, flowers, kitchens, with all kinds of cookfrom the study of the antique, and the productions  ing utensils, earthen pots, stone-ware, &c. His
of the old masters; after which he settled at Am-  works are found in the best collections of Holland,
sterdam. His pictures are chiefly landscapes, en-  where they are highly esteemed. He died at Amriched with architectural ruins, for which he made  sterdam in 1693.
many designs while in Italy. Some of them poss-    KALLE  ALBERT C., a German engraver of
ess great merit, and have been engraved by Perel-  little note  who flourished at Strasburg about
le. Kabbete diedin 1660.                         1648, and engraved some frontispieces atd porKABEL. See CABEL.                              traits for the booksellers in a stiff and formal
_VD^KAGER, MATTHEW, an eminent German  style.
_Vpainter, was born at Munich in 1566. He          KALRAAT, ABRAHAM VAN, a Dutch painter,
went to Italy while young, where he passed sev-  born at Dort in 1643. He was the son of a sculperal years, studying the works of the best masters  tor, who instructed him in the rudiments of his own
with great assiduity. Soon after his return, the  profession, but on the death of the latter, he studDuke of Bavaria appointed him his principal paint-  ied painting under Samuel Hulp. He excelled in
er, with a considerable pension. Kager was one  painting fruit and flower pieces, which he composed
of the most eminent artists of his country. His  with elegance, and executed with great tastefulworks are chiefly in the churches and public edi-  ness. He died in 1699.
fices of Munich. Toward the close of his life, he    KALRAAT, BERNARD VAN, the younger broresided at Augsburg, where he painted his most eel-  ther of the preceding, was born  at Dort in
ebrated picture of the Last Judgment, in the Hall  1650. He first studied under his brother, but afof the Senate, which is a sublime production.  terwards became the scholar of Albert Cuyp,
The works of Kager are scarcely known out of  whose charming style he endeavored to imitate
his own country, except by the numerous prints  for some time, but feeling that he had no chance
engraved from them by the Sadelers, the Kilians,  of rivaling, or equaling his instructor, he changed
and others, amounting to more than sixty. He  his manner for that of Herman Sachtleven, and,
etched a few plates from his own designs in a free  like him, painted cabinet pictures of views on the
and painter-like style, among which are the fol-  Rhine, with boats and figures, which he highly
lowing. He died at Augsburg in 1638.             finished, and touched with great neatness and precision. though inferior to Sachtleven.  His best
The Adoration of the Shepherds; M. Kager, inv. et sc.   thouh inferior to Sachteve.    is best
1610. The Baptism of Christ by St. John; do. The  works are found in the choicest collections of HolHoly Family; M. Kager, fecit. 1605. St. Francis sur-  land, and his second style is far preferable to his
rounded by the monks of his order, and the Virgin and  first, in which he painted landscapes, figures, and
Child in the Clouds; after P. Rems. Bozzulo.     dattle, on the banks of the Maes, sportsmen going
KAISER, FRIEDRICH, a German engraver, born  or returning from  the chase, halts of travelers,
at Ulm in 1779. He studied at Basle under Chris-  &c., in the style of Cuyp. He died in 1721.
tian de Mechel, and afterwards visited Weimar.    KAMBLI, MELCHIOR, a Swiss sculptor, born at
where he was employed by the directors of the  Zurich in 1718.  He was much patronized by
library, and drew the silver medal at the school  Frederick II. of Prussia, who appointed him sculpof design in that city. He visited Paris, and stud-  tor to the court, and employed in many works for
ied under Berwick. In 1811 he drew the s         the silver royal palace. After acquiring a competent formedal at the School of Fine Arts, and also executed  tune by the practice of his profession, he died, in
some good plates of antique busts, and one of Mel-  1786, leaving a son, Henry Frederic Kambli, who
pomene crowned by Calliope, for Berwick's work,  equalled him in talents, and succeeded to his office
entitled Galerie de Florence. He visited Naples,  of sculptor to the court. The latter died in 1801.
and joined his brother, who resided in that city.    KAMPEN  JAC
Here Kaiser taught design, and engraved a num-QUES. See CAMPEN.
ber of good plates. He afterwards settled at Vien-    KAMPEN, JOHN JOACHIM, an ingenious paint
na, and executed some plates of Gothic architec-  er on porcelain. born at Selingstadt, in Saxony, in
tural monuments in Austria, for Prince Lich-  1706. He was much employed in the porcelain
nowsky. He also published a treatise embellish-  manufactory at Meissen, and his figures were greated with fifteen plates, on the elements of design  ly admired for their grace, and beauty of execuin landscape. He died at Vienna in 1819.         tion. Among them are his St. Paul; the Flagellation; the Death of St. Xavier; the Twelve AposKALCAR. See CALCAR.                            ties, &c.  The group which he completed for
KALF. WILLIAM, a Dutch painter, born at Am-  Louis XV. of France, at the desire of Augustus of
sterdam in 1630. He studied under Hendrick Pot,  Poland, was deservedly commended, and gained the
a historical painter, with whom he continued for  artist a very handsome reward from the French
several years. After leaving his master, he applied  monarch. He died in 1776.




KAMP.                      434                    KAUF.
KAMPER, G., a Flemish painter, supposed to  cility in French and English, on which account she
have been a native of Leyden, who flourished about  paints all the English who visit Rome. She sings
1700, and imitated the subjects and manner of Van-  with a taste which ranks her among our greatest
derneer, but did not arrive at his excellence, though   virtuose. Her name is Angelica Kauffman."  At
his works have often been mistaken and sold for  Rome, she was so fortunate as to secure the patoriginals by that master. His coloring is colder  ronage and friendship of the British Ambassador
and less transparent, and the general tone of his  and his lady. who prevailed upon her to accompany
pictures darker than those of Vanderneer.         them to England, with assurances of success. AcKAMPHUYSEN.  See CAMHUYSEN.                    cordingly she accompanied Lady Wentworth to
KAPPELLE, JOHN VAN, a Dutch painter, who   Venice in 1764, and the following year to London,
studied unde  te y g Vandervelde, whose  whither her reputationhad preceded her, and where
studied under ithe younger Vandervelde,  hose  she was received with the most marked distincstyle he imitated with considerable success, though   tion. She resided seventeen years in England, and
he could never equal his master's performances.  her talents were recompensed with every honor,
He flourished about the first part of the 18th cen-  distinction and reward that the most exacting
F'                VNRaFeihury.     pitrambition or cupidity could desire. In 1769, she
KAPPEN, FRANCIS VANDER, a Flemish painter  was elected a member of the Royal Academy.
of whom  little is known. He was a native of  She was high in royal favor, and in the public esAntwerp, and went to Italy to complete his stud-  timation-affluent, respected, admired, and caressies, where he acquired considerable reputation as  ed, when unfortunately she poisoned all these ena historical painter.  He flourished about 1660.    joyments by a matrimonial alliance which is said
vWKARTARUS, or KARTARIUS, MARIUS,  to have embittered the rest of her life. She was
L  supposed to be a German, who flourished at  deceived by the footman of a German count, who
Rome about 1565. There is a great difference in  passed himself off for his master, and when the
prints bearing his monogram, which has led to the  cheat was discovered, he ran away with her jewsupposition that he was a print-seller, as well as  els, and money ~300. Seven years afterward she
an engraver, and that he attached his mark to the   married Signor Zucchi, an Italian artist, but notworks of others whom he employed.  Some of his  withstanding this change in her condition, she was
plates are coarsely etched and finished with the  still called by her maiden name. In 1782, she acgraver. He copied some prints after Albert Durer  companied her husband to Rome, where she conin a neat, finished manner. The following are by   tinued to exercise her talents with distinguished
him, marked with his monogram:                    success and undiminished reputation till the time
The Adoration of the Shepherds; neatly executed with  of her death, which happened in 1807, at the age
the graver. Christ crowned with Thorns; do. Diana and  of sixty-five years. The merits of this highly
Acteon; a large plate. Christ praying in the Garden;  gifted lady have been so highly rated by her adqfter A. Durer. Romce. 1567. St. Jerome seated in a  mirers, and so harshly judged by severe critics,
chamber; after thefamous print by the same. Christ de-  that it would probably be a just and candid estisaending into Hell; roughly copied from Andrea Man-                                    ween the
tegna. The Last Judgment; after Michael Angelo.  mate of her ab es to strike a line between the
KTcdAUFwATT   theRIaANGhELICA^ JoTehish clbrfa- |two. Her great forte lay in those poetical and
KAUFFMAN, MARIA ANGELICA' This celebra-  mythological subjects in which the youthful figure
ted paintress was the daughter of Joseph Kauff-  could be introduced in all the charms of graceful
man, a Swiss portrait paiter, who resided at  attitude, and these subjects she treated in a fasciCoire, the capital of the Grisons, where she was                peculiarly her wn. Her pictures
born )in 1742. At a very early age, she.discov-  nating manner peculiarly her own. Her pictures
born, in 1742. At a  ery early age, she discov-  are distinguished by an air of mild and virginal
ered a passion for music and painting, which was. Shehadafinetaste. Shedrew correctencouraged by her father, who instructed her in  ly; her figures are generally modeled after the
the elements of design, and procured for her the  antiue; her compoitions  re graceful and her
best instructors in music. HIer advancement in   antique; her compositions ar      e graceful and he
both arts was so extraordinary as to induce her  coloring sbjetand Hearmotyle  was not at all
father to take her to Italy, where she could have   te tistorical paintings; consequentthe best advantages for improvement. In 1757.              t
the best advantages for improvement.  In 1757  ly these are her poorest performances, by which a
he accordingly conducted her to Milan, where she  correct estimate of hererits cannot be formed.
applied  herself with great assiduity to copying    here is, however, too great a similarity in her
the best masters, and designing from  her own  forms, which appear to have been drawn from an
fancy. In 1763 she went to Naples, and in the  ideal model which she had conceived to be perfect,
following year to Rome, where her talents and ac-  and which led her into an unavoidable mannerism.
complishments, joined to the charms of an elegant  Sh also etched a few plates in a spirited style,
person, excited a great degree of interest and ad-  sometimes  fter her own designs, ad at others
miration, and brought her abundant patronage.  after  Correggioof which the following are the
She appears to have confined herself to portrait  principal:
painting during her first residence at Rome. —
Among her numerous admirers was the celebrated    Tho Portrait of John Winkelman; Ang. K. fec. 1764.
connoisseur and critic, the Abb6 Winckelmann,  The Marriage of St. Catherine;  fter Correio. The.who, in aletter to his friend Franck, written in   Virgin and Child; from her own design. A Girl reading.
who, in a letter to his friend Franck, written in   A Youth in meditation. Bust of an old Man, with a
1764, speaks of her accomplishments in the most  beard. Bust of an old Man reading. Bust of an Artist,
flattering terms. "I have just been painted," said  with a crayon in his hand. Two Philosophers, with a book.
he, " by a stranger, a young person of rare merit.  Hope; a half-length. A young Female embracing an
She is very eminent in portraits in oil; mine is a  Ur. L'Allegro. II Penseroso.
half-length, and she has made an etching of it as    KAUPERZ, JOHN VITUS, a modern German
a present tome. She speaks Italian as well as  engraver, was born at Gratz, in Stiria, in 1741
German, and expresses herself with the same fa-  He studied with James Schmutzer of Vienna, in




KEAR.                      435                   KELL.
which city he chiefly resided. He acquired con-      or  KELLER, GEORGE, a German engrasiderable distinction, and was elected a member of  r  U   ver of little note, born at Frankfort
the Imperial Academy. He engraved quite a num-  about 1576, and died in 1640. He engraved chiefly
ber of plates of various subjects, some in mezzo-  for the booksellers. He also engraved a few plates
tint, and some with the graver, among which are  of views of Towns and Camps. with Soldiers skirthe following:                                   mishing, slightly etched, and sometimes retouched
PORTRAITS WITH THE GRAVER.            with the graver
Maria Theresa, Empress of Germany. Minerva hold-    KENT, WILLIAM, an English painter and archiing the Portrait of the Empress.                tectr born at Yorkshire in 1685. He was appren
VARIOUS SUBJECTS IN MEZZOTINTO.         ticed to a coach painter, but left his master, and
The Flute-player; after Gerard Douw. A Peasant  went to London. By the liberality of several pasmoking; after Teniers. Mary Magdalene; after Gui-  trons of art, he was enabled to visit Rome, where
do. Artemisia; after A. D. Thebusch. Venus asleep,  he studied under Cav. Benedetto Luti, and gained
watched by a Satyr; after Weisskircher.          the second prize in the Academy of St. Luke. He
KAY. See KEY.                                  there became acquainted with Lord Burlington,
KEARNE, ANDREW, a German sculptor, w           who who, on Kent's return to England in 1719, gave
visited England, where he practised his art for a  him apartments in his own house, and obtained
number of years, and died in 1710. He was a  him considerable employment, both in history and
brother-in-law of Nicholas Stone, by whom he was  portrait. Jre designed some of the ornaments for
employed on arriving in England. At Somerset-  Gays Fables, Spenser's Faerie Queen, and Pope's
stairs, he carved a figure of a River-God; and a  Works. On the death of Jervas, Kent became
Lioness at York-stairs.  Among his other works  painter to the King. As an architect, he gained
were two statues, of Venus and Apollo, for the considerable eminence, and his abilities are well
Countess of Mulgrave, and several statues for Sir attested in the Temple of Venus, in Stowe GarJustinus Isham, at his house near Northampton.   dens, Holkham House in Norfolk, and many other
KEEBLE, WILLIAM, an English p t p -  edifices. By the patronage of the dukes of GrafKEEBLE, WILLIAM, an English portrait paint-  ton and Newcastle, he was made architect and
er of little note, who flourished in London about  keeper of the pictures to George II. He also exe1750, and was a member of the Academy in St.  cuted the Shakspeare Monument in Westminster
Martin's Lane. He painted the portrait of Sir  Abbey, and is considered as the inventor of modern
Crisp Gascoyne, lord-mayor of London, which was  gardening. Among his works in thig branch are
engraved by Mc'ArdelL                            the royal gardens at Richmond. He died in 1748.
KEISAR, WILLIAM DE, a Flemish painter, born      KERKHOFF, D., a Dutch painter, born at Amat Antwerp about 1647. He was bred a jeweller,  sterdam in 1766. He studied under Barbier Piebut having a great inclination for painting, and  tersz. He painted landscapes and figures, wild
having had the advantage of a good education with  scenery with waterfalls, views of cities, &c., with
some instruction in the elements of design, he  great reputation. His works are not known out
spent all his leisure in painting in miniature, as  of Holland, but his own countrymen place him in
well as in enamel and oil, both in large and small.  the first rank of landscape painters. He died in
He acquired considerable reputation at Dunkirk,  1821.
whence he went to England, where he was warm-    KERKHOVE           EPH  AN
ly received by the king, who promised him  his    KEKHOVE, JSE    ANRaFeih ntpatronage and assistance; but the revolution  e, bon at Bruges in 1669. He studied at Antbreaking out about that time, entirely destroyed  erp, uderErasmusQuelinusthe Younger,
his prospects, when he turned his attention to Al-      whose able instructions he made rapid prochemy, and died a few years after in distressed cir-gress. On leaving his master he setout with the
cumstances. He left a daughter, whom  he had  intention of passing through France to Italy, but
taken great pains to instruct, and who copied well.  meeting with great encouragement at Paris, where
his works were much admired, he gave up the idea
She possessed a picture of St. Catherine, painted  his works were much admired, he gave up the idea
by her father for the chapel of the Queen Dowa-  of going to Italy, and after a residence of several
by her father for the chapel of the Queen Dowager of Charles II. at Somerset House, and his own  years at the French metropolis, he returned to his
portrait in water colors.                        own country with an established reputation, and
settled at Bruges, where he received more comm isKELDERMAN, JAN, a Dutch amateur painter  sions than he could execute. He adhered conof fruit, flowers, and birds born at Dort in 1741.  stantly to the style of his master; his composiHe studied under Wouter Dam, and was benefitted  tion is generally simple, in the grand style,
by the advice and instruction of several other art-  and he introduced nothing superfluous to embelists of reputation. He executed several pictures  lish his subjects; his design is correct, and his
of the above subjects, richly composed, and well  coloring warm and harmonious. He was a perfect
executed. He died at Dort in 1820.               master of perspective, and his pictures are enrich
KELERTHALER, JOHANN, a German engraver,  ed with noble architecture. His principal works
born at Dresden about 1530. He engraved seve-  are a series of fifteen pictures of the Life of oui
ral plates after the works of John Nosseni, a sculp-  Saviour. in the church of the Dominicans at Brutor who flourished in that city about 1575, among  ges; a fine picture of the Resurrection, and four
which are the following. Some authors write his  of the Works of Mercy, in the Collegiate Church
name Kellerdaller.                               of the Saviour. At Ostend, he painted in fresco
the ceiling of the Town Hall. representing the
The Buildingof the Towerof Babel; J. Nosseni, n.   the ceiling of the Town Hall representing the
Kelerthalers, sculp. The Destruction of Babylon; do.  Counil of the Gods-ingenious composed, or
The Roman Empire, with the death of Ceesar in the back-  rectly designed, and well colored. He died at
ground. The Pope receiving the Homage of Charlemagne.  Bruges in 1724.




KERV.                      436                      KESS.
Orr  Y O   KERVER, JAME, a Ger-  which reason they were usually inserted ly Eyck.:~  1l-orman  engraver on wood, ens Maas, van Opstal, and Biset, in return for
or1wman  engdraver on wood,                                                      for
who according to Florent le Comte, resided at  which, he painted in their pictures those objects
in which he particularly excelled.  His most esFrankfort about 1540. To him  are attributed a  heparticularyexcelled. His most esFrankfort about 1540. To him  are attributed  teemed works are his four pictures in the Dusselset of wooden cuts of grotesque figures, standard-                 re                ur  
in the old German taste publishedat  dorf Gallery, representing the four quarters of
bearers, &c., in the old German taste, published at  the world     
Frankfort in 1540; also the heads and small his-  animals        which the plants, fowers, trees, and
animals peculiar to each are introduced. He died
torical subjects which embellish a folio volume, en-  in the prime of life at Breda, in 1696.
titled  Catalogs Annorunmw, &c., published  at  in the prime of life at Breda, in 1696.
titled  Catalogus Annorun., &c., published  at
Berne the same year. He usually marked his           KESSEL, NICHOLAS VAN. This painter was
ITt  -"r,,       the nephew of Ferdinand van Kessel, and was born
plates with his monogram   i'K  or.   to which   at Antwerp in 1684. He adopted the manner and
he sometimes added a knife with a snail on the top   subjects of David Teniers with great facility, so
subjects of David Teniers with great facility, so
hef i. A imiles addd a kni wia  als o  us ed b  Jame t  that his best works approached very near to the
of it.  A similar mark was also used by James  excellence of that master.  He went to Paris,
Robel excellence of that master. He went to Paris.
where his works were much admired, and he found
KERVER, THIELMAN, a German wood engraver,  abundant employment.  His subjects were the
who flourished in the first part of the 16th cen-  rustic conversations, assemblies, feasts, and merrytury.  There are many devotional books, missals,  makings which he had observed among the peas&c., with wood cuts to embellish the borders,  ants of his own country.  He designedhis figures
printed at that time, which bear his name on the  with admirable freedom and readiness, in the mantitle.  Zani mentions him  as a designer and en-  ner of La Fage, and through all his compositions
graver. He was also probably a bookseller and   there appears everywhere great spirit and truthpublisher.                                         fulness to nature. Unfortunately this artist, who
KESSEL, JOHN VAN, THE ELDER, a Flemish   might have shone as one of the brightest ornaments
painter, born at Antwerp in 1626. He imitated   of the Flemish school, destroyed all his prospects
the highly finished style of Velvet Breughel, and   by a course of reckless dissipation, which impaired
painted small pictures of landscapes, fruits, flow-  his powers. His uncle left him a considerable forers, plants, birds, insects, and reptiles, with extra-  tune, which he soon squandered away, and he endordinary neatness and precision. His coloring is  ed his days in poverty, obscutrity, and misery. In
clear and transparent, approaching the sweet and  the latter part of his life he attempted portraits
silvery tones of Teniers.  He studied entirely after  without any success.  He died at Antwerp in
nature, and faithfully imitated all her beauties.  1741.
Philip IV., king of Spain. was a great admirer of     Z      KESSEL THEODORE VAN, a Flemish
his works, purchasing as many of them  as he   t              engraver, probably a relative of the
could procure, and at last invited the artist to his  preceding artists, was born at Antwerp about
court, where he was appointed painter to the  1620. He engraved a considerable number of
Queen, at whose death he returned to Antwerp,  plates in a free and spirited manner. Some of
where he died in 1708. It is worthy of mention  them are etched, and others wrought up afterwards
that van Kessel was accustomed through life to   with the graver. He also etched the plates for a
make sketches after nature, and studied at differ-  volume of vases and ornamental compartments, in
ent seasons, when his objects were in full bloom   eight parts, from the designs of Adam  de Viane,
and beauty.  Some of these he only designed, oth-  published at Utrecht. Most of his plates are
ers he colored, and of some he took models, so  marke4 with the initials of the designer, and his
that he always had abundant materials on hand   own monogram; sometimes with his initials T.
for any work he undertook. This artist is gene-  V. K. in Italic capitals, or in cursive letters.  The
rally confounded by English writers with his son,  followingis a list of his best prints. Nagler gives
the following artist, called the Younger, who was  a complete list.
an eminent portrait painter.
The Portrait of Charles V.; after Titian. St. GregoKESSEL, JOHN VAN, called THE YOUNGER, was  ry in meditation; after T. Willeborts. A Reposo; after
the son of the preceding, who instructed him  in   Giorgione. Magdalene at the feet of Christ in the House
the art. He accompanied his father to Spain,  of Simon; do. Christ and the Woman of Samaria; after
where he raised himself to great distinction as a   Caracci. The Adulteress before Christ; do. Susanna
and the Elders;  after Guido. The Virgin and Child,
portrait painter. He was largely patronized by    i th Angels; after Vandyck. An allegorical subject of
the king and queen, and the nobility, and settled   Abundance; after Rubens. A set of four, representing
permanently at Madrid.  He painted in the man-  the Triumph of Galatea; a Triton embracing a Sea
ner of Vandyck, and his portraits are said to be  Nymph; a Nymph in the arms of a Sea God; a Faun
not much inferior to those of that master.        ^seated near a Rock, with two Children and a Goat; after
Rubens. A Boar Hunting; do. A Landscape, with a
KESSEL, FERDINAND VAN, born at Antwerp in   Man driving a Cart with Vegetables, and a Man and Wo1660, was the second son of the elder van Kessel,  man with Oxen; do.'A Landscape, the companion, callwho instructed him in his art, and whose style he   ed the Milk-maid; do. A set of Battles, and Attacks of
who instructed him in his a rt, and  whose style he  Banditti; after P. Snayers. 1656.
followed, though he never fully equalled his father.  The King of Poland invited him  to his        KESSEL, JAN VAN, was born at Amsterdam in:ourt, where he executed many ingenious works,  1648. He painted landscapes and winter scenes,
for which he was munificently rewarded by that  in the style of Jacob Ruysdael. He particularly
prince, who knighted him. He designed landscapes  excelled in his winter-pieces, in which he introin an agreeable style, and every plant, fruit, flow-  duced glare ice, with skaters, and other parties
er, and animal that he introduced was well design-  frolicking, very spirited and life-like.
ed and colored; but he was deficient in figures, for  KETEL, CORNEl.US, a Dutch painter, born at




KETE.                     437                    KEUN.
Gouda, in 1548. At twelve years of age, he be-    KEUNE, HENRY, a Dutch painter, born at Haer
gan to study design with his uncle, who was a  lem in 1738. He painted views of cities and villabetter scholar than a painter, and took more pains  ges, enlivened with numerous figures, in the man
to teach his nephew polite literature than the art  ner of Berkheyden, which have considerable meri<
of painting. At eighteen, he went to Delft, and    KEUX, JOHN LE, an eminent English arch'
studied under Anthony Blocklandt. He then went  tectural engraver, was born at London, in 1783.
to France, and was employed with others of his  He studied with Basire, and imbibed a decided
countrymen, in the chateau of Fontainbleau.  But  taste for architectural subjects, especially edifices
these works being discontinued, he retired to Gou-  in the Gothic style, in which he became very emida, where he found little employment, on account  nent. He formed a style of his own, which was
of the troubles that then existed in Holland. He  admirably adapted to this class of subjects, comaccordingly went to England, and bent his atten-  bining high finish with great taste and truthfultion to portrait painting, though his genius natu-  ness, which was far removed from a mere mechanrally led him to historical painting. He painted  ical, pains-taking correctness of delineation. John
the portraits of Queen Elizabeth and some of the le Keux's peculiar. talent has contributed much to
court, many of which were full length, well drawn the celebrity of many architectural publications
and colored, with a just expression. In 1581, he  in England, and to a diffusion of a taste for Gothic
went to Amsterdam, where he painted a large pie-  architecture. His works embrace nearly all the
ture, in which he introduced the portraits of the  choice publications, illustrative of Gothic architecchief officers of the trained bands, as well as his  ture, that appeared in his time, as Britton's Archiown, for the Gallery of the Mall. In 1589 he  tectural Antiquities, Cathedrals, &c.; the elder
painted another large picture of the members of  Pugin's Antiquities of Normandy; Gothic Specithe confraternity of St. Sebastian. Both these  mens and Gothic examples; Neal's Westminster
considerable works were greatly admired. The  Abbey (in which the interior of the chapel of Hendisposition of the figures was remarkably good,  ry VIl. is an admirable performance); the plates
and the different stuffs of the draperies admirably  of the first volume of Neale's Churches; Memoriimitated. Sandrart says that Ketel visited Ve-  al of Oxford, &c. He died in 1846.
nice and Rome, and returned to Amsterdam, where    KEP, or KAY WILLIAM a Duth  intr, orn
he died in 1602. More notoriety has been given     KEY, or KAY, WILLIA, a Dutch pander    bert
to this artist than he deserved, from  the ridicu-at Bred  in 1520. He studied under Lambert
to this artist than he ldeserved, froh   the ridicu-  Lombard, at Liege, at the same time with Francis
ions stories that are told of his having abandoned   Floris. He settled at Antwerp, where he painted
the use of brushes in the latter part of his life,  history wit reputation, but was more eminent in
and like Ugo da Carpi, painting with the ends of
his fingers, even with those of his left hand, which   portrait painting, in which branch he was little in
ferior to Sir Anthony Moore. His historical subany artist might do, but when practised to any
etanyt  shows a capricious  nity more wrthy te   jects are well composed, and though they exhibit
extent shows a capricious vanity more worthy the   s f        t     o Foi
mountebank than the skilful artist.              less fire than those of Floris, yet they are temnmountebank than the skilful artist.
pered with more judgment, and designed with
KETERLAER, JOHANN, a Dutch artist, men-  more correctness. His works are found in the
tioned by le Comte as the engraver of a print rep-  best collections of Holland, where they are highly
resenting a Globe, with several animals, supported esteemed. He was elected a member of the Acadin the air by a figure of Death, whose head ap-  emy at Antwerp in 1540, and died in 1568.
pears above, with two wings and two trumpets.
KETTLE, TILLY, an English portrait painter of     ^  orI   cEY, ADAN schOMS of William
no note, born at London about 1740. He was  Key. Little is known of this artist, and probably
the son of a house painter; studied in the Duke  most of his works are attributed to his cousin.
of Richmond's Gallery, and at the Academy in   There is a fine picture in the Museum at Antwerp,
St. Martin's lane; spent several years in the East  representing Christ and his Disciples at Supper,
Indies; returned to London in 1777; met with  said to be the portraits of the family of Franco y
no encouragement, and died at Aleppo in 1798, as  Feode-Briez. Balkema mentions another picture
he was returning to the Indies by land.          in the Museum, representing the females of the
KEULEN, or CEULEN, JANSSENS or JAN-  same family. The first mentioned picture is inSONS VAN. This painter is said to have been born' scribed Adrianus Thomcn Keii —fecit. 1575.
in London, of Dutch parents. Before the arrival    KEYL, MICHAEL, a         German engraver, who flourof Vandyck he had acquired so much reputation  ised at Dresden about 175, and executed some
as a portrait painter as to be employed by Charles  plates after pictures in the Dresden Gallery and
I., who held his works in high esteem, which roy-  the collection  of Count Bruhl, aong      are
al favor procured him considerable employment         Dead Christ, after Anibale Caracci; and the
from the nobility. Though Vandyck was superior  Martyrdom  of St. Lawrence, after Spagnoletto
to him, they formed a strong personal friendship.  both in the Dresden Gallery.
Fuseli says that portraits by Janson van Keulen
are not rare in England, if those who possess    KEYSER, THEODORE DE, an
them, and dealers, would not rob him of the credit       or        eminent Dutch painter, whose
by attributing them to Vandyck. It is supposed,p L   ictures date from  1620 to
he went to the Hague during the great rebellion,  1660. Little is known of the events of his life,
as there is a large picture in the Town Hall, rep-  but his pictures are to be found in the choicest
resenting the portraits of fourteen of the magis-  collections of Holland, where they are highly estrates of that city, dated 1647. He died at the  teemed. One of them, representing the BurgoHague in 1665. His names are variously spelled,  masters of Amsterdam deliberating on the honors
Keulen or Ceulen, Janssen or Janssens, Janson  they should pay to Mary de Medicis, on her cnor Jansons.                                      trance into that city in 1638, is adm;rablv execu~




KEYS.                       438                      KILL
ted, with a richness of coloring nearly approach-  prints is injured by overworking his lighbs    The
ing Rembrandt.  This picture was transferred to  following is a list of his best prints:
the Louvre by the order of Napoleon, and was re-                         PORTRAITS.
stored-to its rightful owners in 1815.. 
Lucas Kilian; let. 55; se ipse sc. i7n argento. 1635;
KEYSER, HENRY DEN a Dutch painter of whom   scarce. Petrus Custos, vulgo Baltens, pictor et poeta
little is known, save that he lived at Amsterdam,  Antwerpianus. 1609. Prince Henry Frederick of Nassau.
whre there are several of his portraits of distin-   1620. Nicholas Christopher, Prince of Radzivil. Gustavus Adolphus, King of Sweden. Maria Eleonora, his
guished persons in the Museum, executed in a   Queen. FranciscusPisanus, scriptor Genuensis; after
style of excellence.                                 L. Borzone. Albert Durer; from a picture by himself.
KHEL, ANDREW, a German engraver, who flour-                 SUBJECTS AFTER VARIOUS MASTERS.
ished about 1650. He was chiefly employed by           The Adoration of the Shepherds; after the younger
the booksellers, and he executed a few  portraits   Palma. The Miracle of the Loaves and Fishes; after
with the graver, in a neat style, possessing con-   Tintoretto. The Resurrection; after P. Veronese. The
siderable merit.                                     Pieta, or the dead Christ on the lap of the Virgin; after
Michael Angelo Buonarotti. The Holy Family; after
KICK, CORNELIUS, a Dutch painter, was born   Cornelius van Haerlem. Another Holy Family; after
at Amsterdam in 1635.  He was the son of a por-   B. Spranger. 1605. Wisdom fettered by Love; do. The
who according to Houbraken brought  Nativity; after J. Rottenhamer. 1601. The Crucifixion;
trait painter, who according to Hafter a picture in the style of Tintoretto. Christ praying
him up to his own profession, in which he excelled,  in the Garden; after Fred. Sustis. The Adoration of
and had acquired a good reputation, when he was  the Shepherds; after J. Heintz. The Descent from the
so captivated with the works of John David de   Cross; after the same. The Rape of Proserpine; do.
Heem, that he abandoned portraiture for fruit and              KILIAN, WOLFGANG, a younger brother
flowers, which subjects he treated with great suc-    \     iof the preceding artist, was born at
cess.  His manner of painting was light and deli-      V. Augsburg in  1581.  He also studied
cate, and his coloring had all the brilliancy and   under Dominic Custos, and afterwards went to
freshness of nature. His favorite flowers were tu-  Italy.  He resided several years at Venice, and
lips and hyacinths, which he cultivated with great  engraved some plates after the Venetian masters.
care in his garden for the purpose of models, as   His style resenbles that of his brother Lucas,
he always painted from nature.                       though he never equalled him in the skilful manKIERINGS, KIERINCX, or CIER-   agement of the graver.  Yet his plates are neatly
INCX, JAMES, a Dutch painter, born at  executed, and possess much merit.  His best pro-,(.J. ~Utrecht in 1590.  His name is variously   ductions are his portraits.  The following are
speled by  authors, and Descamps calls his Chris-  among his best prints, and they are marked with
tian  name  Alexander.  He  painted  landscapes  his monogram.  He died at Augsburg, in 1662.
with considerable celebrity, in which the figures                        PORTRAITS.
were inserted by  Cornelius Poelemberg, which    Wolfgang Kilian; inscribed, Labor improbus omnia vingreatly increased their value. His views and ob-   it se ipse sc.  Ernest, Count of Mansfield. Frederick,
jects are copied from  nature, and he finished his   Baron of Teuffenbach. John Godefroi, Bishop of Wurtzpictures with amazing care, even the bark and foli-  bourg. Ferdinand III., Emperor. John Suiccard, Archbishop and Elector of Mentz. Ferdinand of Bavaria,
age of the trees being so distinctly marked that  Archbishop and Elector of Cologne.  Lotharius, Archevery species could be readily distinguished.  He   bishop and Elector of Treves. John Major, mathematiwent to England in the reign of Charles I., and ac-  cian of Augsbourg. The Emperors and Archdukes of Auscompanied that monarch to Scotland, where he  tria, from 1229 to 1623; published at Augsbourg in 1629.
painted several views of the king's palaces.  His   A set of neat heads for a volume, entitled Genealogia sereniss. Boiaries Ducum, et Quorumdam Genuince Effipictures are generally marked with a monogram   gies. 1605.
of his initials.  He died at Amsterdam  in 1646.
SUBJECTS AFTER VARIOUS MASTERS.
The Baptism of Christ; after P. Veronese. The Asor    oT I          r    sumption of the Virgin; after Tintoretto. The Merciful
Samaritan; after Giacomo Bassano. The Resurrection;
after Francesco Bassano. The Descent from the Cross;
KIESER, EBERHARD, a German engraver, who   after Paolo Farinato. The Four Evangelists; after his
flourished at Frankfort about 1630.  He engraved   own designs. The Festival of the Peace of Westphalia,
aprtofthe    plates fort aworkpub   at Frank-   given in 1649; after J. Sandrart; in two sheets; scarce.
a part of the plates for a work published at Frank-  Part of the plates of the Saints of the order of St. Benefort in 1625, entitled Thesaurus Philo-Politicus,   diet, for the volume entitled Imagines Sanctorum, Ord.
hoc est, Emblemata sive Moralia-Politica, con-  S. Benedicti, &c. 1625. Part of the Architectural Views,
sisting of views of cities and towns in Germany,  and others, for the history of the Monastery of St. UdalSpain, Italy, and other parts of Europe.  He also   ic at Augsbour; from the designs of Matthias Kager.
engraved some portraits, and, among others, that       KILIAN, PHILIP, the eldest son of Wolfgang
of Prince John of Austria, with a battle raging in   Kilian, was born at Augsburg in 1628, and died
the distance.                                        in 1693. He was instructed in the art of engravKILIAN, L   an eminent German engraver ing by his father, and though he never attained
born  at Augsburg in 1579.  He studied under   any great eminence, he engraved sme plates of
his step-father, Dominic Custos, who not only in-  portraits and other subjects, which have considerstructed him in the art as far as lay in his power,  able mer
but sent him to Italy for improvement.  He resi-       KILIAN, BARTHOLOMEW, the youngest son of
ded chiefly at Venice, where he executed a consid-  Wolfgang Kilian, was born at Augsburg in 1630,
erable number of plates, in a style having some   and died in 1696.  After having studied under his
resemblance to those of Goltzius and  Muller.  father, he went to Frankfort, and became the pu.
His design is not very correct. and the effect of his   pil of Matthew Merian for two years.  He after



KILL                       439                     KILL.
wards went to Paris, where he resided several    KILLENSTEYN, or KITTENSTEYN, C., a
years, and engraved some plates from Testelin and   Dutch engraver of little note, who executed some
Philip de Champagne. He then returned to his  Bible plates, among which are a series of the his
native city, where he permanently settled, and en-  tory of Joseph.
graved some plates of theses, portraits, and other   KING, DANIEL, an English engraver, who floursubjects, in a very neat and pleasing style, which  ished about 1650. He etched some prints in imiare deservedly admired. He wrought both with  tation of the style of Hollar, but which are not to
the  graver and the point.  The following are  be compared with the works of that master.  He
some of his most admirable works:                  also published the Vale Royal of Cheshire, with
PORTRAITS.                      plates of his own engraving, representing views of
Benedict Winkler; after J. Ulric Mayr. Michael In  churches, castles, palaces, &c.
Hof, Noriberg. Leonhard Fussenegger; Bart. Hopfer,
KING, GEOGE an English engraver of little
pinx. Johan Conrad Bobel; do. Johan Heinrich Feber     ING, GEORGE, an Englsh engraver of little
do.  artmanCreid;  o.          n JohanLeonhard Shorer af-  note, who flourished about 1740. He engraved a
ter F. Franck. 1665. Bernhardus Verzaseha, Medicus  few portraits and embellishments for the bookBasiliensis; oval; fine. Augustus II. Abbas Einsid-   sellers, in a coarse and very indifferent manner.
lensis. 1686. Joannes III. Poloniac Rex; Ad. Bloemaert, del.; as large as life. Maximilian Emanuel, Elec-    KING, GILES, an English engraver, who flourtoral Prince of Bavaria. The Emperor Joseph on horse-  ished about 1762, and engraved for the publishers.
back; one of the largest prints known; as large as life.  He also engraved some plates of Fish, after ArA set of Portraits, represented in an emblematical man-  nold van Achen.
ner; after J. Schreyer. Three Medallions of Archbishops of Saltzbourg.  The Virgin and Child; after C.    KING, THOMAS, an English painter, who studSing; fine.                                       ied with Knapton, and though possessed of talents
KILIAN, WOLFGANG PHILIP, the son of Philip  as a portrait painter, he destroyed; all his reputaKILIAN, WOLFGANG PHILIP, the son of Philip   a a
K., was born at Augsburg in 1654, and died in   tio         it       e   e       y   a 
was  born at  ugsburg in 1654, and died in  tio  and prospects by intemperance, and died in
1732.  He was instructed by his father, but he  misery in 1
had no great capacity, and was chiefly employed      KINSON, FRANCIS, an eminent modern Flemish
on vignettes and portraits for ths booksellers, which   portrait painter, born at Bruges in 1774. He met
he executed in a feeble style.                     with extraordinary success, and painted many
royal personages from  the time of Napoleon to
KILIAN, PHILIP ANDREW, of the same family,  that of Louis Philippe. He painted Jerome Bowas born at Augsburg in 1714, and died in 1759.  naparte, when king of Westphalia; BernadottC
He was instructed in the art of engraving by An-  king of Sweden, when prince of Ponte-Corvo;
drew Friedrich of Augsburg, but he afterwards  the prince of Orange, now king of Holland;
studied with George Martin Priesler at Nurem-  the Duchess de Berri, and the Duchess d'Angouberg.  He engraved several plates after pictures in  lame. He also painted'the portraits of many marthe Dresden Gallery, in a very neat and pleasing   shals, and other distinguished officers and personmanner, which are highly esteemed. He wrought  ages of the imperial reign. William I. of Holland
both with the graver and the point.  The follow-  honored him with the order of knighthood.  His
ing are some of his principal plates. Engravers  biographer says his portraits are distinguished for
of the name of Kilian are quite numerous; Zani  dignity and elegance of position, a happy choice
mentions about twenty.                             of accessories, a soft and brilliant coloring, and a
PORTRAITS.                     striking resemblance.  He died in 1839.
Clemens Rezzonicus, Venetus, Pontif. IMax. G. D.    KINTS, PETER, a Dutch engraver on wood, who
Porta,pinx. Francis I., Emperor of Germany; after  flourished from 1610 to 1635. There are some
Meytens. Maria Teresa, Empress; the companion. C.           b  h                            i  
Christopher, Count von Schiden, Prussian Field Marshal;  s by hm i imitation of pen and ink sketchfiter Stranz. Ferdinand, Duke of Brunswick; after  es, from the designs of Anthony Sallaert. They
A. Pesne. Johan Martin Cristell; A. P. Kilian, del et  are marked with a monogram  of the initials of
sculp.                                             the latter, and the initials of his own name, P. K.
SUBJECTS AFTER VARIOUS MASTERS.             KIP, WILLIAM, an English engraver, mentioned
Christ praying in the Garden; after his own design.  by Lord Orford as the engraver of some triumphal
Magdalene washing the Feet of Christ; after Nic. Grassi.  arches dated 1603.
The Adoration of the Magi; after P. Veronese; from
the Dresden collection. The Adulteress before Christ; a  KIP, JOHANN, a Dutch engraver of little merit,
ter Tintoretto; do. The Baptism of St. Augustine by orn at Amsterdam about 1652, who went to EngSt. Ambrose; after Pittoni. The Daughter of Herodias  land soon after the Revolution, and settled in Lonwith the Head of St. John; after C. Dolci. St. Cecilia;  don where he engraved a large number of plates
do. The Holy Family; after Carlo Loti. The Virgin,
with a Glory of Angels; Regina Angelorum; after J.  of castles, palaces, and seats of the nobility in the
G. Bergmuller; fine. The Virgin giving plenary Indul-  kingdom, chiefly after the designs of Leonard
gences to St. Francis; after C. T. Schefflerr; fine. St.  Knyf.  He also engraved a few portraits, among
Cosmus and St. Damian; after J. W. Baumgaertner.   which is one of Marcellus Malpighius.  He died
KILLEGREW, ANNE, an English poetess and   at Westminster in 1722.
paintress, the daughter of Henry Killegrew, D.D.,    KIRBY, JOHN JOSHUA, an English landscape
Master of the Savoy, and one of the prebendaries  painter, born at Pasham  in Suffolk, in 1716. He
of Westminster.  Dryden immortalized her name   was a good landscape painter, but more eminent
in an ode dedicated to her praise.  She was Maid  for his literary talents.  In 1754, he delivered a
of Honor to the Duchess of York, whose portrait  series of lectures on perspective, by request, beThe painted, as well as that of the  Duke, after-  fore the Society of Arts.  About this time he pubwards James II.  She also painted some histori-  lished his work entitled, "Dr. Brook Taylor's
cal subjects, and pieces of still-life.  She died of   Method of Perspective made easy."  He next rethe small pox in 1685, at the age of twenty-five.    moved to London. where he obtained the patron



KIRK.                      440                     KLEI.
age of the Earl of Bute, through whose influence  fist Klauber, an obscure artist. He afterwards
he was made clerk of the works of Kew. In 1761   went to Paris and studied with J. G. Wille. He
he published his " Perspective of Architecture,"  soon distinguished himself, and in 1787, was electin two vols. folio. He was a member of the Royal  ed a member of the Royal Academy of Paris, and
and Antiquarian Societies, and for a time, president  appointed engraver to the King.  On the breaking
of the Society of Artists.  He died in 1774.       out of the French Revolution, he returned to Nu
KIRKALL, EDWARD, an English engraver, born  remberg, where he published the gems in the col
at Sheffield, in Yorkshire, about 1695. Ile went  lection of the Baron de Stosch, now in the cabinet
to London, where he was chiefly employed in en-  of the King of Prussia; the greater part of which
graving plates for the booksellers. He was also   were engraved by himself. He wrought chiefly
the inventor of a patched-up method of producing     ith the graver in a neat and finished style. He
prints in chiaro-scuro, by a mixture of etching,  also engraved some portraits and other subjects,
mezzotinto, and wooden blocks. The outline is  among which arethefollowing. There are prints
boldly etched, the dark shadows are supplied by       him dated as late as 1811 and it is supposed
mezzotinto, and the demi-tints by wooden cuts,pro-  he died about 1820.
ducing a curious effect. The following are his                         PORTRAITS.
best prints:                                         GasparNetscher; seipsepinx. The Wife of Francis
PRINTS IN MEZZOTIXn~TO.       Mieris; after Mieris. Charles Vanloo, painter; eafter F.
PRINT~S IN MBZZOTINTO.               le Sueur; his reception plate at the Academy in 1787.
The Cartoons of Raffaelle; in eight plates. The Bust  Christopher Gabriel Allegrain, sculptor; after Duplessis.
of the Saviour; do. Apollo and Daphne; in green. A   Count de Herzberg; after Schroeder. 1795.
Rustic Family, with their Flocks and Herds; after Rossano; do. A set of ten Sea-pieces; after W. Vander-                  VARIOUS SUBJECTS.
belde; printed in sea-green. A set of thirty, of Plants    Salvator Mundi; after Stella. Petitecolier de Haerand Flowers; after van Haysum.                     lem; after Poelemburg.
SUBJECTS IN CHIARO-SCURO.               KLEINSCHMIDT, JOHANN JACOB, a German
Eneas carrying Anchises on his shoulders; after the  engraver of little note, who flourished at Augscut by Ugo da Carpi, from Rafaelle, inscribed, Imitan-  burg about 1700. He engraved some plates for
do ccalavit E. Kirkhall. 1723. The Holy Family, with  the booksellers, which are indifferently executed.
St. Joseph leaning on a chair; do. The Adoration of the.      
Shepherds; after Pierino del Vaga. St. Jerome con- n  the drawing i inaccurate.
templating a Crucifix.                               KLENGHEL, JOHN  CHRISTIAN, an eminent
KITCHENMAN, JOHN, an  English  portrait  German landscape painter, born at Kesseldorf in
painter in miniature and oil. He studied in the   Saxony, in 1751. He went to Dresden, and entered
Royal Academy, became a good draughtsman, and   the school of Dietrich, whose style he followed,
obtained several premiums from  the Society of   and where he manifested abilities of an uncomArts.  He died in the prime of life, of debauch, in   mon order. In 1783 he was chosen a member of
1782.                                              the academy at Dresden; and in 1786, honorary
KITCHIN, THOMAs, an English engraver of lit-  member of that at Berlin. In 1780 the King of
tle note, who flourished about 1750, and engraved   Saxony sent him  to pass a year in Italy, and he
some portraits and other subjects for the booksel-  there made many excellent designs, which were
lers.                                              of great use to him in his subsequent works. His
KLASS, CHARLES CHRISTIAN a German paint-  landscapes are faithful imitations of nature, and he
er, was the elder brother of Frederick Christian   particularly excelled in representing the water and
er, was the elder brother of Frederick Christy    f           H    di     J cs compositions
Klass. HIe studied under Casanova, and devoted  foliage.  His design is correct; his compositions
Klass. He          ^       ^ studied under Casanova and devote well arranged; coloring skilful; and his gradanimself to historical painting.  He was appointed   well arranged; coloring skilful; and his gradainspector of the Dresden Collection of prints, and   tion of light and shadow  admirable.  His works
held this office until his death, in 179, wn it  are to be found in many of the chateaux of Gerheld this office until his death, in 1794, when it                            p      Baratinski posswas giento his brother.               many and Russia; the Prince Baratinski posswa givento his brother                esses some very beautiful specimens. Klenghel
KLASS, FREDERICK  CHRISTIAN, a  German   was appointed Professor in the Dresden Acadpainter and engraver, the younger brother of the   emy, and was the instructor of Mencke, Stamm,
preceding, born at Dresden in 1752. He studied   Wehle, Reichel, Faber, and other excellent artists.
under Casanova, and became one of the most emi-  One hundred and thirty-two of his landscapes were
nent modern German landscape painters.  He was  engraved and published at Dresden in 1800. He
a member of the Electoral Academy.  He also   died in 1824. There are a number of spirited etchetched some spirited prints of picturesque scenery,  ings by Klenghel, in the style of Dietrich:
after his own designs, among which are the followeing.     e died in 1827.                          A set of twelve Views in Saxony; by J. Ch. Klenghel.
ing. FHe died. inm 182,               Four Landscapes; dated 1770. Two Mountainous LandA set of fourteen small Landscapes, inscribed, Erster  scapes. 1771. Twelve Landscapes; after designs by DieVersuch (first essay); Von F. C. Klass. Six views in  trich; J. Ch. Klenghel. 1773. A large Landscape; after
Saxony, with figures and cattle. Four larger Landscapes;  Ruysdael. 1784. Two Views near Rome; K. F. Romec.
very pleasing scenery. Two Mountainous Landscapes;  1791.
F. C. Klass,fec. 1775.                               KLERCK, HENRY DE, a Flemish painter, born
KLASSZEN  VAN WIERINGEN, CORNELIUS,  at Brussels in 1570.  He studied under Martin
a Dutch landscape and miniature painter, who   de Vos, and painted history in the style of his
died at Haerlem in 1635. Little is known of him,  master.  There are some of his works in the
but his pictures are richly ornamented with fig-  churches at Brussels and other places in the Low
ures and vessels, and have considerable merit.     Countries, which maintain respectability among
KLAUBER, SEBASTIAN IGNATIUS, an eminent  the works of the most distinguished artists of his
German engraver, born at Augsburg in 1754. He  time. His principal works are the Crucifixion.
was instructed in the art by his father, John Bap-  with the Three Marys and St. John, in the church




KLIM.                     441                    KNAP.
of St. James at Brussels, the Hol Family, in the  his works, and many of those claimed as originals
church of Our Lady, and the Martyrdom of St.  by him, were doubtless executed by his pupils.
Andrew, in the church of St. Elizabeth, in the     KNAPTON, GEORGE, an English painter and
same city. It is said that he painted the figures  engraver, born at London in 1698, was the son of
in some of the landscapes of John Breughel. He  aextensive bookseller. He  was placed at an
~died in ib~1629~.                  ^early age, under the instruction of Jonathan RichT       Or TIK   LIMT     HANST  a German en-  ardson.  He first painted portraits in crayons.
In 1740 he went to Italy, where he wrote an inlabout 160. Thgraver on wood, whoflourish-  teresting account of the discoveries in Hercued about 1600. There are some wooden cuts 1590 and  laneum. On his return to England, he associated
ished at Nuremberg between the years 1590 and  himself with Arthur Pond, in engraving and pub1603, marked with a monogram of his initials,, marked with a          monoam o his initials,  lishing prints after the most celebrated masters,
H. K., which are attributed to him.              among which are twenty-seven prints, engraved
KLINGSTADT, CLAUDE  GUSTAVUS.  This  by Knapton, mostly after Guercino. In 1765, he
painter was born at Riga in 1657. At the age  was appointed painter to the Dilettanti Society.
of fifteen he entered the Swedish army, and five  and after the death of Slaughter, surveyor and
years after went to France, where he engaged in  keeper of the King's pictures. He died at Kenthe French army, and remained there until the  sington in 1788.
age of thirty-three, when he devoted himself to    KNELER, SIR   DFREY, an einnt German
indulging his taste for design. Unfortunately, his  painter, born atG, an e     t  erma
subjects were of a very licentious character, but   a aiter,    ad Lubeck in 1648. His father was
they were suited to the French manners of his  an architect, and held the office of Surveyor-genthey were suited to the French manners of his
eral to the Mines, and inspector of the revenues of
day, and were in great demand.  His pictures  Cou   Mansfeldt.    inspector    the rns o
are faulty in design and other high qualities of  Count Mansfeldt. He intended his son for the
art; but the heads have a striking boqlitess and  military profession, and with this view sent him
to Lond on to study mathematics and fortification.
relief. and are finished in exquisite style, partic- to Lon on to studfy exhibited so strong a prediularly in his larger works. He was called the  But young Godfrey exhibited so strong a prediularly in his larger works. He was called the  lection for painting, that his father allowei'him t6
lection for painting, that his father allowed him to
Raphael of the Snuff-Boxes. His designs in In-  follow the natural bent of his genius, and sent him
dia-ink were much admired. He died in 1734.
to Amsterdam, where he entered the school of
KLOCKER, or KLOCKNER, DAVID, a Ger-  Rembrandt, and afterwards that of Ferdinand
man painter, born at Hamburg in 1629. He stud-  Bol. When he was seventeen years of age, he
led under George Jacob, a Dutch artist, who paint-  went to Rome. and became successively the pupil
ed animals and hunting-pieces, then resident in  of Carlo Maratti, and Cav. Bernini. At Rome, he
that city. He afterwards went to Italy, where  made considerable progress in architecture, and
he resided several years, chiefly at Rome and Ven-  began to acquire fame as a painter of history. He
ice. The king of Sweden invited him to Stock-  next went to Venice, where he received great civiliholm, and appointed him  his court painter. He  ties from the principal nobility, particularly the
painted the portraits of the king and other members  Donati and the Gartoni, for whom he painted some
of the royal family, and the chief personages of  portraits and family groups which gained him conhis court, and adorned his palace with many his-  siderable distinction, particularly the portrait of
torical and poetical paintings.  His works are  Cardinal Bassadonna. These marks of distinction
chiefly confined to Sweden, where they are highly  however could not prevail upon him to remain in
esteemed. He had a remarkable freedom of hand,  Italy after he had completed his studies, as he
and observed a strict propriety in his characters.  had heard that England contained the golden fleece
He was fond of introducing a number of figures  for the Jason of portraiture, therefore he went
into his compositions, and his designs are adorned  to that country with his brother John Zachary
with agreeable landscapes and enriched with noble  Kneller in 1674. He had letters of recommendaarchitecture, which he had copied from the antique  tion to Mr. Banks, a noted Hamburg merchant,
vestiges about Rome. His coloring was excellent  then residing in London, for whom he painted a
and his drawing very correct. He died at Stock-  family picture which was much admired.  Mr.
holm in 1698.                                    Vernon, secretary of the Duke of Monmouth, havKLOMP, ALBERT, a Dutch painter, whose pic-  ing seen this picture, sat to him for his portrait
tures have date from 1602 to 1622, and who is  which on being-shown to the Duke, the latter was
erroneously said by most authors to have imita-  so much pleased with it that he sat for his own,
ted Paul Potter, who was born in 1625. He paint-  and induced the king, his father, (Charles II.) to
ed the same class of subjects as Potter did, and  have his portrait painted by the new artist.  The
some of them have much merit.                    King had promised the Duke of York his porKLPFFE. an enre     lttle not     trait, to be painted by Sir Peter Lely, and unwilC5LPFE L  ~. C., Tn enrsling to go through the ceremony of a double sitprolbably a G~erman, who engraved some prints  ting, he proposed that both artists should paint
of the Cries of Rome, after  rints by Villamena.  him at the same time. Lely, as the established
They are executed in a neat, but stiff and formal  panter, took thelight and station he liked, but
^~~~~~style.'                          ~Kneller took the next best he could find, and went
KLUYT, PETER THIERRY, a Dutch portrait  to work with so much expedition, that he had
painter, who studied under M. J. Mireveldt, and  nearly finished his portrait, when Lely had only
was one of the ablest of his scholars. The por-  laid on his dead coloring. This novelty pleased,
traits by Mireveldt are exceedingly numerous.  and Lely himself had the candor to acknowledge
Some writers say he painted 5000, and Descamps  his merit, and Kneller immediately found himself
swells the number to 10,000! His portraits are  in possession of great reputation and abundant emso admirably executed, that there must be im-  ployment, and the immense number of portraits
mense exaggeration with respect to the number of  he executed proves the stability of his reputation.




KNEL.                      442                     KNEL.
He was equally patronized  by Kings Charles,  robe-de-chambre, loosely drawn over it. His male
James and William. He had the honor of paint-  portraits are altogether his best. His prices were
ing ten sovereigns, viz: Charles II., James II.  fifteen guineas for a head, twenty, if with one
and his Queen, William and Mary, Queen Anne,  hand, thirty for a half, and sixty for a whole
George I., Louis XIV., the Czar Peter the Great,  length. Even at those prices, he accumulated a
and the Emperor Charles V.; a list that Lawrence  large fortune for those times, for although he lost
did not rival. His best friend was King William,  ~20,000 by the South Sea speculation, he left at
for whom  he painted the Beauties of Hampton   his death an estate worth ~2,000 a-year. Kneller
Court, and by whom  he was knighted in 1692,  was a man of wit and soul. Orford has related
and presented with a gold medal and chain worth   many anecdotes of him, some of which are vulgar
~300. In his reign also he painted the several  and profane.
portraits now in the gallery of the Admirals, which  KNELLER, JOHN ZAHARY, was the elder broare among his best works. In the latter part of  tr  of Sr G e, an bon at Lubecin
this reign also he painted the portraits of the Kit-  t     f  r    fre Kneller, and born at Lubec
cat Club. He lived to paint the portrait of George  1635. After traveling through Italy he accomI.. and was made a baronet by him. He died in  panied his brother to England, in 1674. He paintaged 75. His body lay   state, and he was  ed architecture in fresco and in oil. and copied some
buried at his country seat at Wilton, and a mwi-  of Sir Godfrey's pictures in water colors. He did
not acquire any distinction, perhaps for want of
ument was erected to his memory in Westminster  not acure an    tncto   pehas  fr   nt of
Abbey, for which he left ~300, with particular  encouragement, for portrait painting was the only
instructions for the erection of it by Rysbrack.    ah o te at tn i v               i   a     He
Kneller executed a prodigious number of portraits,
among which were almost all the nobility and        KNIEP, CHRISTOPHER HENRY, a German paintdistinguished people of the land. After the death  er, born at Hildesheim in 1748. He studied under
of Lely in 1680, he stood at the head of the pro-  a scene painter at Hanover, who was related to
fession of his art in England, and his character  him. He afterward settled at Hamburg, and diwas made so conspicuous by the many royal fa-  vided his time between painting portraits and the
vors heaped upon him, that it is not at all surpri-  enjoyment of the society of Klopstock, Voss,
sing that he met with the great encouragement  Campe, Schroeder, and others, with whom he was
he did. In those days kings governed the fash-  intimate.  From  Hamburg he went to Cassel,
ions, and fashions always govern the world. Knel-  where he lived on terms of intimacy with the
ier left some few good pictures behind him  as  Tischbein family. The Prince Bishop Krasinski
proofs of the natural powers he possessed, but his  appreciated his talents, and furnished the funds
most sincere admirers who are good judges, acknow-  to enable him to visit Italy; but soon after his
ledge that the greater part of his works are a dis-  arrival at Rome, his patron died, and he was
grace to himself and his patrons.  The truth is, he  obliged to depend upon his own resources. By
was a man of excessive vanity, and so covetous that  the influence of Wilhelm Tischbein, he was emhe made his reputation subservient to his fortune.  ployed by the poet Goethe, to accompany him
"History painters," said he, " make the dead live.  in a tour through Sicily, where Kniep made many
I paint the living, and they make me live "; and   designs of the varied scenery of their travels. He
this tells the story of his merits and his demerits.  afterward settled at Naples, and devoted himself
A rapid pencil and a ready talent in taking like-  entirely to landscape painting. His works were
nesses first laid the foundation of his reputation,  much in request, and  were highly esteemed.
and the royal favors and the ignorance of the age,  Count Maurice of Lichtenstein assigned him a
enabled him successfully to barter a lasting rep-  pension, and commissioned him to paint a picture
utation for gold, during the whole of his long life.  once a year. Kniep was appointed Professor of
That he possessed powers of a high order is ad-  the Academy of Fine Arts at Naples. He died in
mitted by his severest critics, for some of the best  1825.
portraits, as those of Newton and Dryden, are    KNIP  N LA    FRIEDRICH    German paintpainted in a masterly manner, and had he lived in                                  G     n 
a country where his services would have been re-        bornatNimeguen in 1742. He painted landwarded according to his merits, his name would  scapes, fruit and flower-pieces of small size, usualhave shone among the greatest portrait paint-  ly from twelve to eighteen inches, for which his
ers. It is allowed that he was a correct and grace-  price was from fifty to sixty forins.  He always
ful designer of the head, but it seldom amounts to  painted after nature, and his best works have great
~%^   4          ~',merit. In early life he traveled about, seeking
character in his portraits; the hair is admirably   me   In ear         e  travelndabout, seeking
employment wherever he could find it. At thirty
disposed, and if the locks seem unnaturally ele- em o et herr he cd fid  it.  At thirt
vated, it must not be attributed to defect in the    ears of age he married  and  settled at Fribourg.
~painter's art for he lived in an age when the  At the age of fifty-three he became blind and died
omen erected  edifices of three stories on their  in 1809. He left a large collection of drawings,
women erected edifices of three stories on their
heads. Had he painted them in this preposterous  which are said to be of surpassing excellence.
attire, wholly devoid of grace and beauty, his por-    KNIP, HENRIETTE GERTRUDE, was the daughtraits would have appeared ridiculous in the next  ter of the preceding, born at Tilbourg in 1783.
half century, and to lower the dress to a natural  Her father having become blind, she received inlevel, when the age was accustomed to pyramids,  structions from van Spaendonck, and painted in
would have shocked their prejudices and injured   water-colors from drawings of her father. She
the resemblance; therefore he took a middle  afterwards took  lessons of the celebrated  van
course. He did not often drape his women in the  Dael, and commenced painting in oil. She paintmonstrous dresses of the time, but in one more  ed fruit and flower-pieces with great skill, and
ideal, consisting of nothing more than loose robes  produced numerous works which were exhibited
thrown open and discovering the bosom and a  at Paris. Amsterdam, the Hague, and other places




KNIP.                     443                    KOBE.
and were greatly admired. She died at Haerlem      KOBEL, JAMES, a German engraver on wood, to
in 1842.                                         whom are attributed the cuts of a work, entitled
KNIPBERGEN, or KNIBERG, N., a Dutch  1a             en be besl  gen 3omisten 3Xeicts, consistlandscape painter of whom little is known, except  ing of single figures of soldiers holding banners.
that he was a successful imitator of the man-  with the arms of all the provinces and cities of the
ner of Paul Brill. He always painted after na-  German empire. They are executed in a very spirture, and selected for his subjects the wild moun-  ited manner, and are generally marked with the
tainous scenery of Switzerland and Germany. He  initials I. K. He flourished about the year 1520.
had an uncommon freedom of hand and a fine'pen-    KOBELL, FERDINAND, a German painter and
cil; the expeditious manner in which he painted  engraver, born at Manheim in 1740. He distinthe skies, mountains, cascades, trees, and figures,  guished himself at an early age for some views he
was surprising, notwithstanding, every object ap-  executed in the vicinity of his native city. He expeared well finished and touched with spirit. He  celled in landscapes, and was appointed landscape
wanted elegance in the choice of his subjects, and  painter to the King of Bavaria. He also executed
also in the forms and attitudes of his figures. His  a large number of etchings from his own designs
perspective is not always good, and his distances  with great taste and spirit. The Baron de Stendo not recede with just degradation, but the foliage  gel has given a list of 230. He died in 1799.
of his trees is loose, free, and bright, though some-    KOBELL, WILLIAM, was the son of the precewhat too green, as are occasionally his grounds  ceding, and born at Manheim in 1766. He was
and hills. The clouds in his pictures are remark-  instructed in landscape painting and engraving by
ably bright and floating, and his foregrounds are  his father, in which branches he greatly distinwell broken and diversified.                     guished himself. He painted landscapes with figKNOBELSDORF, HANS GEORG WENCESLAUS,  ures, rural subjects, and water-pieces, in which he
i mitated the manner of Wouwerman.  He etched a
BARON DE, an eminent Prussian architect and a  imitated the manner of Wouwerman. He etched a
painter of considerable merit, born in 1697. He  large number of charming plates after'the princiearly cultivated a natural taste for design, but en-  pal landscape painters of the Dutch school, in
tered the military profession, in which he re-  which he imitated the style of each particular
mained until 1730, when he devoted himself to  master with great success. The following are a
architecture. After a long sojourn in Italy for  few of his best prints; for a full list of which see
improvement, he returned to Prussia, and settled   Nagler's Kunstler Lexicon. He was living in 1834.
at Berlin. Fredeiick the Great remarked his tal-    A Landscape, with Travelers, and Horses loaded; after
ents, and employed him in re-arranging the Zoo-  W Romeyn. TwoLandscapes, with Figures and Cattle;
logical Gardens; after which Knobelsdorf cor-  after Berghem. Cavaliers and Horses at the door of an
Inn; after Wouwermans. A pair of Landscapes, with
menced the Royal Opera House, and completed it  Cattle; after John Henry Roos. A Landscape, with a
in 1742. He was appointed Royal Architect, and. Woman carrying a Lamb, with an Ox, and some Sheep;
was highly esteemed by the king. His master-  after J. le Ducq. A Shepherdess, with a Cow and some
niece was the beautiful chateau of Sans Souci, the  Sheep; after Th. van Bergen. A Landscape, with a
avorite retreat of his monarch. As a painter, he  Waterfall; after J. Both. A Viewin Holland; after J.
executed a number of Jgood portraits and land-  Wynants. A Landscape, with a Shepherd playing on his
executed a number of good portraits and land-  Pipe, and several Animals; qfter A. Vandervelde. Figscapes.                                          ures going a hawking; after Karel du Jardin.
KNORR, GEORGE WOLFGANG, a German paint-    KOBELL, FRANZ, was a younger brother of
er and engraver, born at Nuremberg in 1705. He  Ferdinand Kobell, born at Manheim in 1749.executed a number of landscapes, but is chiefly   From a strong predilection for art he joined his
known as an engraver of subjects of natural his-  brother, who was Secretary to the Electoral Court
tory, with which he was intimately acquainted,  of Manheim, and with his instruction and assistand often delivered lectures upon it. He executed  ance he made such proficiency as to attract the
many of the plates for his Thesaurus rei Her-  notice of the Elector Charles Theodore, who sent
barice Hortensisque Universalis, cfc., Nuremberg,  him to Italy to study, where he remained nine
1750, 301 plates. He died in 1761.               years, studying the classic scenery and antique ediKNUFER, or  NUPFER, NICHOLAS, a Ger-  fices and ruins about Rome and making numerous
man painter, born at Leipsic in 1603. He early  sketches from them. On his return to Manheim,
showed a genius for painting, and was placed  the Elector appointed him  his principal painter.
under Emanuel Nysens, an obscure painter, with   He excelled in sketching and drawing landscapes
whom  he remained two years, and then went to  and buildings with a pen which was his favorite
Utrecht and studied with Abraham  Bloemaert,  pursuit, and he executed a multitude of such, (his
who, observing in him fine talents, took him into  biographer says 10,000) in so exquisite a manner
his own house. Under the able instructions of  that they were much sought after. Consequentthat master he made rapid progress, and became  ly his oil paintings are rare. He died at Munich
a very reputable painter of history and battle-  in 1822.
pieces of small size. The King of Denmark com-    KOBELL, HENDRICK'or HENRY, a Dutch marine
missioned him to paint three pictures, represent-  and landscape painter, born at Rotterdam in 1751.
ing the victories of his ancestors, which he execu-  His father was a merchant, and intended his son
ted to the entire satisfaction of his royal patron.  for that profession, but showing an early predilecHe resided' many years at the Hague, where he  tion for painting, by sketching the shpping of the
met with good encouragement, and where his  port, and the river scenery in the vicinity, he was
works are much esteemed. One of his compositions  allowed to pursue the bent of his genius after his
represents a Council of the Gods, formerly in the  return from London, whither he had been sent on
collection of Greffier Fagel, at the Hague.  He  commercial matters while young, and where he
died in 1660.                                    devoted more time to his favorite art than to




KOBE.                      444                    KOEC.
trade. He accordingly went to Amsterdam, where  studying and designing from  the choicest monmhe made such progress, that in two years he was  ment of art in that metropolis. He went to Naadmitted a member of the Academy in that city.  ples, where he forned an intimacy with a Flemish
He went to the Rhine and the Meuse, and made  painter named Franco, whose daughter he married.
finished drawings of some of the most beautiful  This union fixed his residence at Naples for several
scenery of those rivers. He then settled in his  years, during which time his reputation extended,
native city, where he continued to paint land-  so that he found abundant employment, and he
scapes and marines with distinction till his death  received numerous invitations to return to his
in 1782. He executed a great number of drawings  country.  He received a commission from  the
of landscapes, marines, battle-pieces and other sub-  confraternity of the monks of St. Sebastian, to
jects, which were eagerly sought after by con-  paint a picture of the martyrdom of that saint for
noisseurs. There are some etchings of marine  their chapel in the cathedral of Notre Dame at
subjects attributed to him.                      Antwerp, which he executed in such a manner as
to increase his reputation, and the work was adKOBELL, JAN, an eminent painter of landscapes  mired even in that rich assemblage of the choice
and animals, was the son of the preceding, and born  productions of the Flemish school.  The archat Utrecht in 1782. His father dying the same  duke now invited Koeberger to Brussels, and he
year, he was placed in the Orphan Asylum.-   quitted Italy with regret, and returned to his naWhen he had grown a youth, he was placed un-  tive city, and soon after settled at Brussels, where
der the instruction of W. R. vander Wal, who  he was appointed chief painter and architect to
paid great attention to his studies, and made him  the Archduke. He painted several altar-pieces
design from  nature, and adopt Paul Potter for  for the churches of Flanders and Brabant, and duhis model. He made great progress, and produced  ring many years had the superintendence of the
various landscapes and animal subjects, which  public buildings. Vandyck painted his portrait,
were received with great applause and were ad-  which was finely engraved by Lucas Vosterman.
mitted into the choicest collections. His reputa-  As an architect, Koeberger gained considerable
tion continued to increase till his death in 1814,  eminence, and was commissioned to conduct the
in the bloom of life, when he bid fair to rival the  embellishments for the chateau of the Archduke,
most illustrious painters of his country in his  near Brussels, who appointed him his principal
time. He died greatly lamented by his country-  architect. He erected a number of fine edifices at
men, who are justly proud of his works, and consid-  Brussels, among which are the church of Notre
er that he upheld the celebrity of the old Netherland  Dame de Montagu, after the plan of St. Peter's.
school of painters. His pictures for truthfulness  He died, aged seventy, in 1624. Authors disagree
of representation, skilful composition, and beau-  as to the time of his birth and death. Balkema
tiful coloring, rival the works of Paul Potter. As  says he was born in 1560, and died in 1630.
a proof of his merit, it is only necessary to mention that, though he received liberal prices for    KOECK, or       K  PETER, a Dutch painter,
them, the commercial value has more than quad-  architect and engraver on wood, born  t  lost in
1500. He- studied under Bernard van Orley at
rupled since his decease. He left some exquisite                          Bernard van  rley at
drawings, which are very valuable.  He also   Brussels, and then went to Italy, where he prinetched a few prints from his own designs in a  cipally devoted himself to the study of architecture.
very spirited manner.  On his return to Brussels, he was engaged by a
very spirited manner,
company of speculators to paint the cartoons for a
KOBELL, JAN, SENIOR, was the younger bro-  manufactory of tapestry they intended to estabther of Hendrick Kobell, with whom he stud-  lish in Turkey. For this purpose Koeck went to
led landscape painting, but not succeeding in this  Constantinople and made designs of whatever he
branch of the art to his expectations, he bent his  thought most interesting in the manners and cusattention to engraving. He does not seem to have  toms of the Turks. The project fell through, and
acquired much distinction.                       Koeck returned to Brussels. and bent his attenKOBELL, JAN, JUNIOR, was a son of the pre-  tion to the practice of his profession. in which he
ceding, arid cousin-german to Jan, the son of Hen-  acquired so much distinction, that the Emperor
drick K., was born at Rotterdam in 1800, or 1802,  Charles V. appointed him his painter. He painted
for authors differ. Like his cousin, he painted  some pictures for the churches in Brussels and
landscapes and cattle with great reputation, and  other places, and the portraits of the Emperor and
like him he died young, in 1838. Some opinion  other distinguished personages. He also engraved
of his merits, and the estimation in which his  the designs he had made in Turkey in seven large
works were held in his own country, may be  wooden cuts, which, when joined together, form a
formed from the fact that, at the sale of his ef-  very long print, resembling a frieze. They reprefects soon after his death, his pictures brought at  sent, in seven compartments; 1, the March of the
auction from 1000 to 2800 florins, and his draw-  Grand Signior with his Janizaries; 2, the Grand
ings 300 to 400 florins.                         Signior with his Suite in his promenade; 3, a
KOCK, MATTHEW. See COCK.                      Turkish Marriage, with the Dances; 4, the CereKOOK, M., a Dutch engraver of little note,  monies of th         he Turs at the New Moon;
5, the Festivals of the Turks at the New Moon;
who flourished about 1690. He went to England,  6 their Customs at their Repasts; 7, their mode
where it seems he engraved a large plate represent-  of Traveling and making War. The whole forms
ing the Procession of William  III., which took   a very curious work, containing a multitude of
place Feb. 5th, 1691.                           figures habited in their appropriate costumes, and
KOEBERGER, WENCESLAUS. a Flemish paint-  very carefully executed.
er and architect, born at Antwerp in 1554. He    Peter Koeck was appointed architect to Charles
studied painting under Martin de Vos, and after-  V. None of his edifices are mentioned, but he
wards went to Rome where he resided several years,  left several treatises on architecture, geometry, and




KOED.                      445                    KOER.
perspective, which possess considerable merit, and   style, with a light, free pencil, and brilliant colorcontributed to the advance of the art. He died in  ing. He died in 1747.
1550.                                               KOERTEN, JOANNA. See JOANNA BLOCK.
KOEDYCK. D., a Dutch mezzotinto engraver,    KOETS, ROELOF, a German painter, born at
who flourished about 1730, and executed some  Zwoll in 1655. He was first instructed by his
prints after Metzu and other masters, and some  father, who was a portrait painter of little note,
portraits in an indifferent style.                and who placed his son at the age of sixteen with
KOEDYK, NICHOLAS, a Dutch painter, born at  Gerard Terburg. Under the able instruction of
Zaandam in 1681. Little is known of this artist.  this master he made rapid progress, and soon surHe is said to have enjoyed the favor of Peter the  passed all his fellow  students. The praise beGreat. Balkema says there is no doubt of the   stowed upon him  by his master is said to have
fact that Koedyk painted the famous picture called  excited so much envy that he was obliged to leave
L'Escalier Tournant (the Winding Stair,) which  the school at the age of eighteen, when he made
was purchased in Holland to be sent to Russia.  nature his study. He now devoted himself enThis picture, together with La Chambre de l'Ac-  tirely to portrait painting, and having succeeded
couchee, by Gerard Douw, and a large picture of a  in painting the portrait of Count Dalwigh, that
Herd of Cattle by Paul Potter, intended for the  nobleman recommended him  to Henry Casimir,
Imperial Collection at St. Petersburg, were lost at  Stadtholder of Friesland, who received him into
sea. There is a fine portrait of Admiral Pieter  his patronage and favor. Through his influence
Pieterz Hein, in the Museum  at Amsterdam, by   he painted the portrait of William III., which
Koedyk.                                           brought him the patronage of all the English noKOEKKOEK, JAN HERMANN  a Dutch marine  bility who attended that monarch at Loo. Pat.
painter, born in 1778. He was the father of the  ronage now poured upon Koets to his heart's conKoekkoeks of the present day, whose fame has  tent, and he is said to have painted five thousand
spread over all Europe, as among the first marine  portraits with his own hands, all of them  well
painters of the age. He was a good artist, and  finished, without any assistance whatever. This,
was living at Amsterdam in 1844. His son Jan,  however, is one of those marvelous stories that
was born in 1811, and died in 1831. He posssed  some authors love to trumpet abroad, no matter
extraordinary talents. It may be interesting to  how incorrect. He painted with great freedom
know that there are still three Koekkoeks, sons  and readiness, designed well, selected an agreeable
of the preceding, residing at Amsterdam, viz: Ber-  choice of attitudes, and he was strictly attentive
nard Cornelius, Marinus Adrian, and Hermann.  to nature. He died in 1725.
Their subjects are marines and landscapes with      KOHL, ANDREW, an obscure German engraver,
figures and cattle.                               who flourished at Nuremberg about 1609. Among
KOELLA, JOHN. a Swiss painter, born at Staefa,  other things he engraved an ornamental frontisin the canton of Zurich, in 1740. He studied un-piece to a work on architecture marked A. K.
der Gaspard Fuessli, and became a reputable artist.  1609. It is executed on copper in a free and masHe died in 1778. His nephew, Henry Koella, was  terly style, resembling drawing with a pen.
born in 1737, and studied under John K., and S.    KOHL, CLEMENT, a German engraver, born at
J. Fuessli. He visited Rome for improvement,  Prague in 1752. He studied under J. Schmutzer
and on returning to Switzerland, soon gained con-  at Vienna, where he took up his residence. He
siderable reputation. He painted several excel-  executed some portraits and historical subjects
lent portraits and historical compositions, and   with great neatness and delicacy, among which
would probably have attained eminence, had he  are the following:
not died young.                                                      PORTRAITS.
KOENE, ISAAC, a Dutch painter, born at Haer-    Frederick William, Prince of Hohenlohe; after J. Kreutlem in 1650. He studied under Jacob Ruysdael,  zinger. Serges, Prince of Gagarin; L. Posh, p. Cl.
and painted landscapes and waterfalls in the charm-  Kohl, sc. Viennc; fine. The Princess of Gagarin; do.;
ing style of that master. The figures are fre-  fine. Charles William Ferdinand, Duke of Brunswick;
quently inserted by Barent Gaal. His pictures in   Ant. Graff, pins. Ferdinand, Duke of Brunswick and
quently inserted by Barent Gaal. His picture s in   Lunebourg; after Ziesenis.
private collections only, retain his name. Most
of those which have passed through dealers' hands                    SUBJECTS.
0 ~~VY   ~II ~WUIU  LIIV~bJW'ob's Blessing; after L. Kohl. 1775. An Astrologer
have been converted into the works of his master,   Ja. Kohl. 1775  An A og
by the erasure of his name, and the substitution  eS ininge phere; d   A                      
of that of Ruysdael, for the sake of greater prices.      J        TT       a D         n  
Koene died at Haerlem in 1713.                     (KOK, JAN  MATTHEW, a Dutch painter, was
Koene died at HaerlemO in 1713.    aPborn at Amsterdam in 1720. He studied under
KOENIG, ANTHONY BALTHASAR, a Prussian   Nicholas Verkolje. He possessed considerable talengraver, was born at Berlin about 1676. He en-  e   ad wold hae distinguished himself had he
graved some portraits of distinguished personages,  confined himself to one branch of the art; but he
among which are the following:       loved variety, and painted sea-pieces, landscapes
PORTRAITS.                     and cattle, views of chateaux, figure-pieces, &e.
Frederick William, King of Prussia; after Weidemann.  The time of his death is not recorded, but his colFrederick, Baron of Derfflinger, General of Cavalry.-  lection of pictures was sold in 1771.
Charles Gottfried Schrader, Aulic-counsellor to the King.
Alexander Hermann, Count of Wartensleben. 1716. The    KOLBE, CARL WILHELM, a Gernman engraver,
Monument of Charles Gottfried Schrader.           born at Berlin in 1757. He received a good eduKOENRAAT, a Dutch painter, born at the  cation, and was for many years professor of lanHague in 1678. He was a pupil of Constantine  guages in the Academy at Dessau. At the failure
Netscher, and painted flower-pieces in an elegant  of this institution, he was obliged to seek some




KONI.                       446                     KOOT.
other way of obtaining a livelihood, and by the   nelius Bega, and a friendly intimacy and rinalry
advice of his relative Chodowiecli, he entered the  sprang up between them, which was advantageous
Academy at Berlin, at the age of thirty-six.  He  to both. Koogen at first painted historical pictures,
soon made rapid progress, and manifested excel-  with figures nearly of life size, but he afterwards
lent talents for engraving landscape.  His style is  painted conversations and boors regaling, in the
formed on those of Gessner and Waterloo.  He  manner of Bega. His pictures are ingeniously
wrought with great rapidity, yet his design is very  composed, his figures are correctly and spiritedly
correct. The best of his plates are those after his  designed, and his coloring is clear and transparent.
own designs. Most of them have been published   As he possessed an affluent fortune, he only paintin collections, among which are forty-nine plates,  ed for his amusement, and his pictures are scarce,
mostly of landscapes, published at Leipsic in 1796.  being hardly known out of his own country,
Kolbe was chosen a member of the Berlin Acade-  where they are highly esteemed.  He died in 1681.
my of Fine Arts.  He died in 1835.                 He executed a few spirited and masterly etchings.
KONINCK, DAVID DE, a Flemish painter, born  in the style of Salvator Rosa, among which are
at Antwerp in 1636. He studied under Joh.n Fyt,  the following:
and painted subjects similar to those of that mas-    A set of six prints of Soldiers; dated 1664, 1665, and
ter, excelling particularly in designing all varieties   1666. A set of four, representing Apollo and the Muses;
of birds. His progress was so great, that Fyt is  the Battle of the Giants; a Sacrifice near a Tomb; a
said to have become jealous of his pupil, who   Standard-bearer, with Soldiers. Another set of four; a
Female Head, 1664; an Ecce Homo, 1664; St. Sebastian,
quitted Antwerp, and traveled through France,  1665; and two Men playing at Trictrac.
Germany, and Italy, residing several years at
Rome, where his pictures were esteemed. The          KOOI, WILHELM BARTEL VANDER, was born
works of Koninck possess considerable excellence,  at Augustinusga, in Friesland in 1768. He went
though greatly inferior to those of Fyt.  He died  to Amsterdam, where, in 1808. he obtained the
in 1687.                                           prize of two thousand francs for the best picture in the exhibition. The subject was a Lady
KONINCK.  See CONINCK.              
KONINOCK.  See CONiNCK.             receiving a letter from her domestic. In 1823, he
KONING. See CONINCK.                             exhibited his Flute-Player, at Ghent, which atKONING, JAMES, a Dutch painter, born at  traded great attention. His pictures of domestic
Amsterdam  in 1650. He studied under Adrian   scenes and fancy subjects have received the warm
Vandervelde, under whose able instructions he be-  approbation of the public.  He died at Leeuwarde,
came an eminent artist, and painted landscapes  in 1836.
with figures and cattle, in the style of his master,    KOORNHERT.  See CUERNHERT.
with great success. He also painted small pictures                                       JU, 
of historical subjects, in a style of excellence. He  KOOTWYCK, or COOTWYK, JRAN
was invited to the court of Denmark, where it isDutch enraver born at Amsterdamin714. H
supposed he died.                                  engraved some plates in imitation of the drawings
of the Dutch masters, in aquatint, as well as othKONING, WILLIAM, a Dutch engraver and   ers after his own designs. among which are the
printseller, who resided at Amsterdam, and en-  following:
graved a few indifferent prints, among which are a
set of sixteen, representing the building, use, and         SUBJECTS AFTER VARIOUS MASTERS.
destruction of ships.                                A Sea-piece; after Lud. Backhuysen; scarce. A
K G  N. The ws frmey in te L         Landscape, with figures and animals; after Berghem.
KONING, N. There was formerly in the Lou-  Three Landscapes, with cattle; after P. van Bloemen.
vre collection, a full-length portrait by this artist,  SUBJECTS SUPPOSED TO BE FROM HIS OWN DESINS.
of Charles I. of England.                            A Shepherd playing on the Flute to a Shepherdess. An
KONINGH, PHILIP DE, a Dutch painter, born   old Woman sitting, holding a Paper. A Man holding his
at Amsterdam in 1619, and wa  one of the ablest  Hat on his Knee. Three Landscapes. An Ox and a Cow.
at Amsterdam in 1619, and was one of the ablest  An Ass with Panniers.
scholars of Rembrandt.  He painted historical  AnAss              ier
subjects and portraits, but was particularly emi-     KOUWENHOVEN, JACOB, a Flemish painter,
nent in the latter.  His portraits are remarkable  born at Rotterdam  in 1777. He studied under
for the striking resemblance and great character  Ommeganck at Antwerp, in whose style he paintof nature that appears in them, for choice and va-  ed landscapes and cattle, in an excellent manner.
riety of attitude, and for rich and harmonious col-  Many of his works are to be found in the English
oring, free from the dark shadows of Rembrandt,  collections.  He died at Rotterdam, in 1825.
and approaching the chaste and tender touching of    KOUWENBERG  or KAUWENBERG, CHRSVandyck.  His portrait, painted by himself, is in  TIAN VAN, a Dutch painter, born at  elft in 1604.
the Florentine Gallery.  He also painted land-  He was instructed  in  the  rudiments of the
scapes, which are among the finest of the Dutch   ar   by   John  van  Es.  He  afterwards went
school, blending the styles of Rembrandt and  to Italy, where he resided several years, studyRuysdael.  They are generally bird's eye views  ig with great assiduity, and became an  emiof the country, representing distance and va-  nent historical painter, more in the  talian than
riableness of aspect with wonderful success.  He   te Flemish manner.  On his return  to Holland
died iby the Prine of Orange to exeKOOG-EN, LEONARD VANDER, a Dutch painter,  cute several works in the chateau of Ryswick and
born at Haerlem in 1610. His parents were in  the Palace in the Wood. His subjects are deaffluent circumstances, and on his exhibiting a de-  signed in the grand style, with figures of life size.
cided taste for the fine arts, they sent him to Ant-  His design is tasteful and correct, and his coloring
werp, and placed him in the school of Jacob Jor-  exceedingly natural.  He particularly excelled in
daens. His cotemporary in this school was Cor-  designing the nude figure. There were many of




KRAF.                       447                     KRIE.
his works in the royal palaces and public edifices  instruction he applied himself with such assiduity
of the Netherlands. He died in 1667.               as to make surprising progress, and ultimatelyto
KRAFFT, JAMES LouIs, a Fle.mish engraver,  imitate his master with such exactness as to deKRAFFTcJAMee Louis,  F lemish engraver,                          Piazzetta hewent to
born at Brussels in 1710; died in 1790.  He en-  ceive even him.  On eaving Piar.etta he went to
graved several plates after Rubens, and other mas-Paris, but unfortunaty he was so conceited and
ters, in a coarse, tasteless style, among which the  illiberal to his brother artists, magnifying his
following are the best:                            own works and depreciating theirs, that he gained
ollow     are thebeNst.their ill will, and a fine picture of the Death of
SUBJECTS AFTER RUBENS.               Adonis which he presented to the Academy was
Job tempted by his Wife. Christ giving the Keys to St.  Ad s ted.  He aftesened  ted several citie 
Peter. Christ with Nicodemus. Jupiter and Danae af-erward  isited several cities i
ter a drawing by Rubensfrom Titian. Venus and Cu-  the south of France, where he found some employpid; do.; from Giorgione.                          ment in painting for the churches and convents,
KRAHE, LAMBERT, a German painter and emi-  but not sufficient for his support, so that he was
nent connoisseur, born at Dusseldorf. about 1730.  obliged to condescend to paint portraits in crayAfter having received instruction in his native   ons. At length he reached Lyons, where he met
city, he went to Rome, and studied under Subley-  with emploment more worthy of his talents, and
ras and Benefiali.  After his return to Dussel-  executed some fine pictures for the church of de
dorf he acquired considerable distinction, and was  la Sainte Croix, and a series of works for the
appointed inspector of the Electoral Picture Gal-  church of Our Lady, on which he was engaged
lery, which office he held till his death, in 1790.  when death overtook him,in 1754. NotwithstandThere are several of his works in the Dusseldorf  ing the vanity of this painter, he possessed considGallery.  He possessed an excellent knowledge  erabletalent.  His design was good, his drawing
of art, of which he was an enthusiastic lover, and   very correct, and he excelled in the extremities of
he was an affectionate and active friend to all  his figures; his coloring had force and brilliancy,
young artists with whom he came in contact.        and his penciling great freedom, though unequal,
T *KRANACH.  See CRANACH             sometimes appearing dry, at others full of spirit.
KRANACH. See CRANACH.                           gHe has been censured for using too strong an opKRAUS, JANE SIBYL. See KUSELL.                   position of light and shadow; but this is doubtKRAUS, or KRANS, GEORGE MELCHIOR, a  less owing to an injurious mixture of colors, for
German painter and engraver, born at Frankfort  his pictures are said to have had a surprising brilin 1727.  He first studied under J. H. Tischbein,  liancy and lustre when first executed, but seem
at Cassel, and afterward went to Paris, and be-  to have undergone a great change-the lights fadcame the pupil of J. B. Greuze. He painted land-  ing, and the shadows turning darker,-so that his
scapes, which were much esteemed, and procured   pictures now  appear heavy and unharmonious.
him the patronage of the Duke of Saxe Weimar,  His most esteemed work is a picture of Mary
for whom  he executed several fine pictures of  Magdalene anointing the feet of Christ, in the reviews about his capital. He also executed some  fectory of the Carthusians at Dijon.
spirited etchings after his own designs, among       KRIEGER, CARL FRIEDRICH, a Germa  enwhich are a set of six views near Weimar, and a        RIEGER, CARL  FRIEDRIcH, a German enhic  are a set of six views of cha eaux  in the Duchy of We    graver, who resided at Nuremberg, and engraved
set of six views of chateaux in the Duchy of Wei-        I ^  ^   ^ ^  of learned men to befound
some of the portraits of learned men to be found
mar.                                               in a book entitled Icones Vironum  omnium  OrKRAUS, JOHN ULRIC, a German designer and   dinum, Eruditione, &c.
engraver, born at Augsburg in 1645, and died 
there in 1719. He imitated, in engraving, the::KRUG, or KRUGEN, LUCAS, or
manner of J. le Clerc. He also copied several of     L           LUDWIG, a German  artist, who
the prints of Albert Durer and Lucas van Levden.                  flourished in the first part of the
He engraved some landscapes and  perspective   16th century.  IHe was a goldsmith, painter, and
views, and many biblical subjects from  his own   engraver; but it should be recollected that many
designs for the booksellers.  The following are  of the old goldsmiths were really artists, having
among his principal works.  For a complete list  an excellent knowledge of art, and being elegant
see Nagler's Kunstler Lexicon.                     designers. He is sometimes called the Master of
PORTRAITS.D  ~the Pitcher, from his monogram, which is an L.
PORTRAITS.                      and a K..on a tablet with a pitcher between them,
Christophorus Schultzius, Pastor Memel.; qfter Fischer.  Krug signifying a jug, or pitcher. His drawing
John Dolle, physician * after C. Labert.           Krug signifying a jug, or pitcher. His drawing
John Dolle, physician.; after C Labert.       is tolerably correct, and he handled the graver
VARIOUS SUBJECTS.                  with great spirit and delicacy, somewhat in the
The History of the Old and New Testament, in quarto,  style of Lucas van Leyden. The following prints.
four subjects in each plate; intended to be bound in octavo,  which are extremely rare, are attributed to him
so as to have two subjects on a leaf; the number of leaves   hh  ruit   ano  r   ti      ut      i
though Brulliot and others think, without suffiwould then amount to one hundred and eighty-eight,
and they are so numbered. The Life of Christ, in thirty  cient reason, that they were by another artist
plates, two compositions on each plate; published at Augs-  whom they call Lucas Kornelisz, called the Cook,
burg in 1705. A' setof six pleasing Views of Gardens.  but Kornelisz is a Christian name, and were it
A set of six Landscapes. Thirteen plates of the most in-  not the monogram (jug) can have no reference to
teresting Views in Nuremberg; after the designs of J. A           ar  
Graaf. A View of St. Peter's at Rome; do.; fine,       Te p s ae a 
KRAUSE, FRANCIS, a German painter. born at    The Nativity. 1516. The Adoration of the Magi; the
Augsburg in 1706.  His parents were ex trem elIy same date. The Virgin suckling the infant Jesus. An
poor, but he early exhibited so much genius for  Ee omo, with the Insrument of the Scorgin   St
John the Evangelist writing, with the Virgin in the Clouds,
painting, that a liberal gentleman traveling to  and below, the Devil emptying his Inkhorn. Two naked
Italy, took him to Venice, and placed him  under   Women holding a Skull, with an Hour-glass upon it. A
the tuition of G;o. Battista Piazzetta, under whose  naked Female, seated with her back towards the Spectatr




KRUG.                     448                    KUNS.
flor T^yor       l          KRUGER, or  appointed court painter by the Emperors Paul
rL  1      {O1\rDJ\R:*C ORUGER THEO-  and Alexander. He executed numerous paintings
DORE, a German engraver, born at Munich about  and drawings of scenery in Northern and South1576. He went to Italy early in life, and passed  ern Russia. It is recorded that he painted one
the greater part of his life at Rome. He imitated  hundred and seventy-one  pictures, and made two
the style of Francesco Villamena. He handled  hundred finished drawings. His works are mostthe graver with more vigor than taste, and there  1y confined to Russia, as they were executed by
is a want of harmony in his lights and shadows.  the order of the Emperors before mentioned. He
The following are his best prints, marked with his  died at Revol in 1832.
monogram. He spelled his name Cruger.              KUNST, CORNELIUS, a Dutch painter, born at
The Life of St. John Baptist; from a series of paintings  Leyden in 1493.  He studied under Cornelius
by Andrea del Sarto, in the vestibule of the Confraternity  Engelbrechtsen, whose daughter he married. He
del Scalza, at Florence; T. Cruger, sc. 1618. The Last  painted scriptural and historical subjects in the
Supper; do. TheReturn from Egypt; after Francia  style of his master with considerable success,
Bigio. The infant Jesus, with St. John; do.     though his works partake of the Gothic character
or MS   KRUGER, or CRUGER, MAT-  of his time. His design was good, his expression
~ or     THEW, was a brother of the pre-forcible, and his coloring warm and harmonious.
ceding.  According to Florent le Comte he en-  He also painted portraits and views of cities. He
graved some plates after Guido, Cav. Borghese,  died at Leyden in 1544
and other masters, as well as from his own de-    KUPETZKI, JOHN, a Bohemian painter, born
signs, marked with his monogram.                 at Porsina in 1667. His father was a weaver, and
KRUGER, ANDREW LouIs, a German engraver,  compelled his son to work at the same trade, conwho flourished at Potsdam  about 1760. He en-  trary to his inclination, and treating him  with
graved some plates for the Dresden Gallery.      severity. He ran away at the age of fifteen, and
KRYNS, EVERARD, a Dutch painter, born at  being destitute, his necessities compelled him to
the Hague in 1568. He first studied under Charles solicit charity at the gate of a nobleman, who took
van Mander, on leaving whom, he went to Rome,  compassion on the youth, and received him into
where he greatly improved himself in design and  his castle, where aSwiss painter named Claus, was
coloring.  He afterward returned to his own  employed in decorating some of the apartments.
country, where he painted history and, portraits  The youth watched the progress of the painter
with reputation till his death in 1627.          with admiration and delight, and during his absence, began to imitate his work, in which he
UICK, JOHN VAN, an eminent painter on glass,  showed such extraordinary talent, as to excite the
born at Dort in 1530. Having given some of-  astonishment of the artist and the Count. The
fence to the Jesuits, he was accused of heresy, and   atter no  too  him  nr      protection and enlatter now took him under his protection and enimprisoned. He was kept in irons for a long time,  gaged Claus to instruct him. He accompanied
though Johnlvan Boudewinze endeavored to procure  that artist to Vienna, and was soon able to assist
his enlargement. Out of gratitude, Kuick painted  himinhisworks. After studyingthreeyears, he
a Ipicture representing'the Judgment of Solomon,  him in his works. After studying three years, he
a picture representing the Judgment of Solomon,  went to Venice with letters to Car. Liberi, who
in which he introduced the likeness of his benefac-  received  him into his studio: he afterwards went
tor as the principal figure. This gave new offence  e     here he          e into his s   he    patronage
to the Jesuits who increased the miseries of his  to Rome, where he was taken into the patronagc
to the Jesuits, who increased the miseries of his   f Prince Stanislaus Sobieski, who employed him
imprisonment, and finally extorted an order for  to years and liberally rewarded him. He afterhis condemnation, which was immediately carried  ward visited other cities of Italy, studying with
into execution, and he was burned alive at Dort  assiduity the works of the best masters, espein 1572.                                         cially those of Correggio and the Caracci. After
KULGELGEN, GERHARD and CARL VON, Ger-  a residence of twenty-two years in Italy, he reman painters, twin brothers, born at Bacharach,  turned to Germany and settled at Vienna, where
on the Rhine, in 1772. Their father was Ex-  he was made painter to the Emperor Joseph
chequer Councillor in the service of the Elector  I. On the death of that sovereign, Charles III.
of Cologne, and after the completion of their stud-  of Spain, who had succeeded to the Imperial
ies at home, he sent them to Rome in ]791 to per-  throne, offered to continue him in the office. but
feet themselves.  Gerhard painted history and  he declined the honor, being desirous of visiting
portraits, and Carl landscape. On quitting Rome  the different courts of the empire.  He passed
they went to St. Petersburg, where they met with  some time at those of the Elector of Mentz,
great encouragement, and married two sisters of  the Duke of Saxe Gotha, and the Margrave of
a noble family of Curland. In 1804 Gerhard re-  Anspach, whose portraits he painted. It is also
moved to Dresden, where he soon obtained a high  stated by Descamps that he was invited to Engreputation, and was appointed Professor of Paint-  land by George II., when that monarch visited
ing in the Academy. His career was cut short  Hanover, but the artist declined the proposal on
in a melancholy manner in 1820, by a highway-  account of age and ill health. It is also said that
man, who robbed and murdered his victim as he  Peter the Great invited him to enter his service,
was traveling from Pillnitz to Dresden. His con-  and accompany him to St. Petersburg, and that he
positions are simple, seldom having more than two  left Vienna on account of attacks of the Jesuits,
or three figures, designed according to the most  who accused him of heresy; which last, is probably
rigid principles of academic art, and executed with  a fact, as he was fond of variety and of his liberty.
great precision and delicacy.  His pictures are  He died in 1740. The German biographers are
mostly sacred subjects.                          loud in their praises of the talents of Kupetzki,
Carl continued to reside at St. Petersburg, where  and they compare his coloring to that of Remt.he acquired great distinction, and was successively  brandt, and his drawing of the human figuro to




KUtSE.                     449                      LAAR.
that of Vandyck. He appears however to have  landscapes, in a neat finished style, after the deconfined himself almost exclusively to portraiture,  signs of J. Glauber; also several plates after Vanin which he was very distinguished.                der Meulen; and the portrait of Lawrence Coster,
KUSELL, MATTHEW, a German painter and   of Haerlem.
designer, born at Augsburg in 1621, and died in       LAAR.  See LAER.
1682.  He engraved some plates of portraits and                            a  I        erar, 
other subjects, both with the point and the graver,  flourishd fm  11 to 1.               ng  oher
executed with great neatness and spirit.  He also  fro                551     1567.  Amog  other
executed wqith great number  of  etchingsp.  He Amon prints, he executed several for an architectural
executed quite a  umber of etchings.  Among   work by his father, Antonio Abacco, published at
others, we have the following by him:              Rome in 1559. He also copied the Torment of St.
PORTRAITS.                     Anthony, by Martin Schoen; and Peter walking
Christophorus Bender, Preetor Reipubl. Francofurtensis.  on the Sea, after Giotto, by Beatrici. It is supCayrolus ASulser, Patricius AugustAus,  c.; after Ulric  posed that he executed many of the prints classed.
Mays. Adolphus Zobelius, Patricius Augustanus; J. Bey-  as anonymous in t
schlag,pinx. Andreas Winkler, Lipsiensis. Johannes Mi-  anonymous in the catalogues.
chaelDilherrus Theologus, &e.; with an octagon border of  LABACCO. See ABACCO.
sixteen medallions of Theologians; after Ulric Mayr; fine  LABRADOR       a      is pi
and scarce. Leonardus Weissius; Joh. Werner, pinx.; fine.    LARADOR, JUAN, a Spanish painter born at
VARIOUS SUBJECTS.                  Badajoz about 1530. He studied under Morales.
but did not follow the style of that master, preThe Virgin'and Child. A set of forty-two etchings of  but d id not follow te ste  of tat  astfe, pin
the Scenes and Decorations of an Opera; Lodovico Bur-  ferring to paint fowers, fruit, and still-life, in
nacini, inv. Mat. Kusell. 1668.                    which he attained great skill. In the catalogue of
KUSELL, MELCHIOR, a German engraver bro-  pictures in the King of Spain's collection, by Mr
ther of the preceding, born at Augsburg in 1622,  Cumberland, two of Labrador's flower-pieces are
and died in 1683. After learning the elements of  very highly praised; and Bermudez says they are
the art in his native city, he went to Frankfort  superior to the productions of any other painter
and studied under Matthew Merian. He executed        this department of art.  He died at Madrid in
a large number of portraits and other subjects in   1600
a highly finished, delicate, and agreeable style.    LABEYLE, CHARLES, a Swiss architect, who
He also executed many etchings with great neat-  died in France about 1762. He was invited to
ness and spirit, and with a charming effect. His  England by the Earl of Pembroke, who strongly
principal work is a set of one hundred and forty-  recommended him  to the court.  The principal
eight etchings, of various sizes, chiefly from the de-  work of Labeyle is Westminster Bridge, which is
signs of William  Baur, known by the name of   a lasting monument of his skill.
the Miniatures of the Emperor, consisting of the      LACER, C. JULIUS, a Roman architect, who
Life, Miracles, and Passion of Christ, sea-ports,  flourishedabout A.D. 100, in the reign of Trajan.
views in Italy, &c. For a complete list of the   He built a small but elegant temple in honor of
works of these brothers. see Nagler's Kunstler-  that emperor, in the province of Alcantara in
Lexicon. The following are among his best prints:  Spain, which still exists under the name of San
PORTRAITS.                      Giuliano. He also constructed a bridge over the,Sebastianus Kirchmajerus, professor public. Ratisbonen-  Tagus, 670 feet long, with six arches, considered
sis  after Ben. Block. 1680. Johannes Hozius, Augusta?  the most celebrated in Spain.
Consul; Melchior KuseUl. Maximilianus Curz. Lib. Baro  LACOUR, N., a French historical painter, born
m Senfftenu. 1658. Antonius Schottius. 1680.       at Bordeaux in 1746. He visited Rome for imSUBJECTS..                     provement, where he resided some time, and then
The Life and Passion of Christ; twenty-five plates; af-  returned to France. He settled at Bordeaux, and
ter William Baur. A set of sixteen Landscapes and       hosen Profes
Views in Italy; do. Seventeen Marines and Sea-ports   was csor in the Academy of that city.
do. Eighteen Views of Country Houses and Gardens.;  There are many of his works in the churches and
do. Forty different Views; published in 1681; do. The   private collections of Bordeaux, among which are
Scenes and Decorations for the Opera of Paris and Helen.   a picture of Orpheus rescuing Eurydice; a Miser
KUSELL, JANE SIBYL, was the daughter of   sleeping on his Treasure; and St. Paulin opening
Melchior Kusell, born at Augsburg in 1646. She  his palace to the afflicted. Lacour also painted
was instructed in the art of engraving by her  portraits, landscapes, and marine views. He died
father, and  married  an  engraver, John  Ulric  in 1814.
Kraus. Among other subjects she engraved four        LACRATES.  See HERMON.
landscapes after Alsheimer, and a set of battles     LACROIX. ISAAC JACOB, a Swiss engraver,
from  the designs of Le Clero, executed with delt-  born in the canton of Berne, in 1751. He studied
icacy and considerable spirit.  She marked her  under Christian de Mechel, with whomheremainplates with her initials, J. S. K.                 ed five years, and was employed on the collections
KUYP, See CuYP.                                  of Hedlinger's Medals, and of the pictures in the
KYTE, FRANCIS, an English mezzotinto en-  Dusseldorf Gallery. He afterwardsvisited Rome,
graver of little note, who lived about 1730. He   where he gained the friendship of Volpato and
executed a few portraits in an indifferent style.  Hackert, and engraved a number of good plates,
among which was a View of St. Peter's, after
L.                         Hackert.  On returning to Switzerland. he devoted himself to engraving vignettes, and other book
LAAN, ADRIAN VANDER, a Dutch engraver,  ornaments.  He died about 1805.
born at Utrecht about 1690, and was living in         LAORUZ, MANUEL DE, a Spanish historical
1742. He visited Paris, and wrought for the book-  painter, born at Madrid in 1750. At the age of
sellers. Among other plates, he etched a set of   nineteen he gained the grand prize of the Acade



LADE.                      450                    LAER.
my, and in 1789 was chosen a member. His pic-  pretended rival; wherefore his mortification must
ture in the Cathedral at Carthagena, representing   have been of very long continuance. There are
the four Guardian Saints of that city, gained him   many of the admirable pictures of Bamboccio in
great reputation. He executed nine pictures for  the Italian collections, particularly in the Uffizj
the convent of S. Francisco, at Madrid, which are  Gallery at Florence; also in the Augsburg and
now in the church del Rosario. He died in 1792.   Vienna Galleries. lie etched a number of plates
LADENSPELDER, JOHAN,  r H S vN   from his own designs, in a spirited and masterly
LADENSPELDER,  JOHANN,  r ^HANS VON  style, among which are the following:
ESSEN, a Gerihan engraver, born at Essen, in the  style, among which are the f     ig:
Duchy of Berg, in 1511. Little is known of the    A set of eight plates of Animals and Rural subjects; inDucy- f  er, n    itleisknwn of tescribed, P. de Laer, Romce. 1636 A set of six of Horses;
events of his life. Ottley mentions a third set of  numbered; do. A Blacksmith shoeing a Mule; P. v.
the cards entitled I  Giuoco di Tarocchi, copied  Laer,f.; scarce. A Blacksmith's Shop; P. D. Laer,f.
about 1550, by this artist. Bartsch describes about  Roma; sometimes attributed to Visscher.
twenty prints, marked J. L. V. E. S., and inter-ELAN   VAN, a Dutch
prets it Johann Ladenspelder von Essen, sculpsit     LAER, or LAAR, ROELAND VAN, a Dutch
poneof them is datede1548. Severalare salso mark-  painter, the elder brother of the preceding, born at
Laarena according to Fuseli, in 1610. He visited
ed in., or inventor, and are probably from his own  Italy      ang w ith  Bboccio, and aoted
designs.                                          taly in company with Bamboccio, and adopted
~~~designs,~~. ~the style and subjects of that master, being not
LADMIRAL, JOHN, a Dutch engraver, born at  much inferior to his brother in design, touch, or
Leyden, about 1680. He executed many prints  coloring. After practising at Rome with good
in colors, of anatomical subjects and natural his-  success for several years, he visited Venice, and
tory, and was much  employed by Frederick   died there in 1640.
Ruysch.                                             LAFOND, CHARLES NICHOLAS RAPHAEL, a
LAENEN, CHRISTOPHER JAN, or JACOB VAN-  French painter, born at Paris in 1774. He studDER, a Flemish painter, born at Antwerp about  led under Regnault, and attained a high rank
1570. According to Balkema, he studied under  among the modern French painters. His subjects
Rubens, and painted conversation pieces and sub-  are often of a poetical character, although he somejects of gallantry, well composed and correctly de-  times painted scriptural pieces, and events in
signed. His pictures are not often seen out of the  French history.  The ceiling and the four large
Low Countries, but they are much esteemed in the  landscapes in the saloon of M. le Baron Barbier,
Flemish collections. He died in 1628.             are by Lafond. There are many of his works in
LAER  PETER DE, called BAMBthe public and private collections of France, where
LAER, PETER DE, called BAMBOCCIO by the  they hold a distinguished rank.
Italians, from his subjects. This eminent Dutch  
painter was born at Laaren, near Naarden, in Hol-    LAGRENB E, Louis JEAN FRANCOIS, an emiland, in 1613. He early manifested an inclination  nent French painter, born at Paris in 1724. He
for art, and after acquiring the elements of de-  studied under Charles Vanloo, and at an early age
sign in his own country, visited Rome for improve-  gained the grand prize of the French Academy for
ment, where he lived on terms of intimacy with  his picture of Joseph interpreting the Dream  of
Claude and N. Poussin, and was accustomed to de-  Pharaoh. He visited Rome with the royal pen
sign the remains of antiquity near that city, in  sion, where he remained several years, and then
company with those celebrated painters. He resi-  returned to Paris, in 1753. His picture of the
ded at Rome sixteen years, and was highly es-  Rape of Dejanira gained him admission into the
teemed by all classes, not only for his professional  Academy, and he soon attained such high reputaabilities, but for his amiable temper and vivacity    tion that the Empress of Russia appointed him
of genius. His favorite subjects were fairs, rural  Director of the St. Petersburg Academy, and
festivals, farriers' shops, beggar-scenes, &c.; usu-  principal painter to the court. He painted subally termed Bambocciate by the Italians, from   jects from sacred and profane history, and from
whence he derived his surname. He had apartic-  the ancient poets. His portraits, also, are much
ular bias to all that is low and common, but his  admired, and most of his works have been enpictures are faithful imitations of nature, admira-  graved. In 1804 he was presented with the Cross
bly composed, spiritedly and correctly designed,  of the Legion d'Honneur, by Napoleon. Lagren6e
colored in a rich and vigorous style. He studied  was also Rector of the School of Fine Arts, and
nature incessantly, and skilfully adapted his lights  honorary conservator and administrator of the
and shadows to the exact hour of the day he  Musee. He died in 1805. There are a number
wished to describe. His invention is abundant;  of small etchings by him, in a very spirited style,
his penciling vigorous; and his chiaro-scuro is  among which are the following:
managed with the.greatest intelligence. In 1639,    The Virgin, with the Infant sleeping; after Guido. St.
at the earnest request of his friends, he returned  Peter and St. Jerome; two prints; from his own designs.
to Holland. and settled at Haerlem, where he soon  The Virgin and Child. Charity and Justice, two emblemgained a high reputation, and his pictures were  atical subjects. The Sacrifice of Noah. A Sacrifice to
greatly admired. It is said by'Houbraken that  P'an
Peter de Laer became so jealous of the popularity    LAGRENPEE, JEAN JACQUES, called THE YOUNGof Wouwerman that his life was shortened; but  ER, an eminent French painter, born at Paris in
this story is highly improbable. as their subjects  1740. He was the brother and scholar of Louis
were very different, and Bamboccio had already   Jean Franqois L., whom he followed to Russia,
attained great popularity in Holland when Wou-  after visiting Rome. His master-piece is a picture
werman rose into public notice. Moreover, de  of Telemachus in the island of Calypso. He was
Laer, being troubled with asthma, was subject to  much attached to the antique, and succeeded in a
melancholy, and finally  committed suicide by   process by which he made exact copies of ancient
drowning, in 1673, five years after the death of his  paintings of baths, Etruscan vases, &c., upon mar



LAGU.                      451                     LAIR.
ble, porcelain, glass, and wood. He was connected  tion. He imitated N. Poussin in the'choice and
with the manufactory at Sevres, and his designs  composition of his subjects, but he fell far short
for porcelain contributed greatly to the advantage  of the purity, elegance, and elevated conceptions
of that famous establishment. He died in 1821.    which distinguish the works of that great master.
LAGUERRE, Louis, a reputable French paint-  Although his figures are often short and ungrace
er, born at Paris in 1663. He studied under  ful, yet they are draped in strict accordance with
Charles le Brun; also in the French Academy;  proprietyof costume. His facility of operation
and made such good use of these advantages that  was extraordinary, and he is said to have painted
at the age of twenty he visited England, and was  apicture of Molnt Parnassus, with Apolo and
the Nine Musesoin ar n     ay. His works are
employed by Antonio Verrio upon the large pic-e  uses, in asingle day. His works are
ture in St. Bartholomew's Hospital. After this  enriched with architecture in a masterly style.
he obtained plentiful employment on his own ac-        Lairesse visited Italy, he would probably
count, and painted a great number of ceilings, sa-  have attained great eminence; and, although withloons, &c., for the nobility. King William  gave  out this advantage, his style is very accomplished,
him  apartments  in Hampton Court, where  he  and his productions are greatly esteemed. In 1690,
painted te      s    Hru       n      ore     e   at the Labors  of fiftyHercul, Liresse was unfored thetunately delarge picture called the Triumphs of Cesar, by   prived of his sight, but he continued till his death to
Andrea  Mantegna.  He was also employed by   discourse to his brother artists on the theory and
Kneller to paint the decorations in his house at  practice of painting, from which were collected the
Wilton, where he produced works superior to his  materials for the Treatise on Design and Coloring,
other productions.  According to Lord Orford, he  which was published after his death, and passes
was unanimously chosen by the commissioners  under his name. He died at Amsterdam in 1711.
to paint the cupola of St. Paul's, but the interest  His pictures are usually of easel size, among which
of Sir James Thornhill prevented him from  re-  the most celebrated are, Achilles discovered among
ceiving the conunission. There are a number of  the Daughters of Lycomedes; the Death of Alex
prints by Laguerre, engraved in a good style,  ander; the Death of Germanicus; Antony and
amono which is one of the Judgment of Midas.  Cleopatra; the History of Heliodorus; and Moses
IHe died in 1721.                                trampling on the Crown of Pharaoh. Among his
altar pieces are the Martyrdom of St. Ursula, at
LAGUERRE, JOHN, the son of Louis L., was  Aix-la-Chapelle; and the Penitence and the Bapa native of London, and studied under his father,  tism of St. Augustine, in S. Ursula, at Liege.
but quitted the pencil for the stage and music. Af-    As an engraver, he etched a great number of
ter many years he returned to painting, and exe-  plates from his own designs, in a free and spirited
cuted a number of scenes and other theatrical dec-       admirably composed, with broad and powerstyle, admirably composed. with broad and powerorations. He also engraved several plates of dra-ful lght and shadows. He also made many dematic subjects. He died in 1748.                  signs which were afterwards engraved by Pool,
LAIR, JEAN Loris CESAR, a reputable French   Glauber, and other artists.  His plates are somepainter, was a native of Janville, and studied un-  times marked G. L., and sometimes with one of his
der Regnault and David. He painted many sa-  monograms. The following are the principal:
cred subjects of large dimensions for the churches,    The Fall of our first Parents. Adam and Eve driven
and a multitude of portraits and smaller pictures.  from Paradise. Joseph and his Brethren. Solomon conAfter practising the art with success at Paris for  secrated by the High Priest. The infant Jesus explaining
many years, he finally retired to his native place,  to his Parents the Divine Will. The Incredulity of St.
and died there, in 1828.                          Thomas. Saint Teresa. The Parting of Hector and Andromache. Antony and Cleopatra. A March of AmaLAIRE, SIGISMUND, a German painter in minia-  zons. A large Bacchanalian subject. Venus lamenting
ture, born at Baviere about 1550. He visited  the Death of Adonis. The Four Seasons; designs for ceilRome during the pontificate of Gregory XIII.,  ings. Diana and Endymion. Bacchante, with Silonus
and studied under Francois du Chatel. His works  asleep.
are distinguished for their high finish, and softness
donnas, which were greatly admired, and succeed-  J6'i 68 or9       u                 JrXli
3d in acquiring fame and fortune. He died at
Rome in 1636.
LAIRESSE, GERARD, an eminent Flemish paint-                     o    r L!:1)  or 
er, born at Liege in 1640. He was the son of Renier Lairesse, a painter of reputation, who had                    Or       or        f 
him instructed in music, poetry, and polite lit-    d   C,.      J  L
erature, and taught him the elements of design. o
He afterwards studied under Bertholet Flem-                 oiTor             or
ael, and at the age of sixteen painted several               or_      or_ A 
portraits and historical subjects for the Elec- 
tors of Cologne and Brandenburg, wlich gained       Gerard  Lairesse left two sons; Abraham,
him considerable reputation. Although he receiv-  who died in 1739; and Jan, who died in 1728.
ed excellent prices for his works, yet his dissolute  Neither of them ros to distinction.
course kept him in indigence. He visited Utrecht,    LAIRESSE, ERNEST, a Flemish painter. the
and afterwards removed to Amsterdam, where his  elder brother of Gerard L.. born at Liege about
reputation rose so high that the Dutch esteem   1635.  After acquiring the elements of design
him their greatest historical painter. Intimately  from his father, Renier L., he visited Italy for imacquainted with history and fable, his style was  provement, at the expense of the Prince of Liege,
grand and poetical, with a lively and ready inven-  who on his return took him  into his service, in




LAIR.                     452                    LAMB.
which he continued during life. He excelled in  ty of coloring, as gained him great reputation. He
painting animals and huntings, and his pictures  did not execute many large public works. In the
were much esteemed. He died in 1675.             Palazzo Gabrieli are several of historical subjects,
LAIRESSE, JAMES and JOHN the younger bro-  which have been much admired. The pictures in
LAIRESSE, JAMES and JOHN, the younger bro-  St. Peter'sr by Lamberti. have been copied in mothers of Gerard L., resided chiefly at Amsterdam,  saic Pets. by Lambere is alo a    e engravin 
and gained reputation for their flowers, fruits, and  by  acb  Frey  o his fine    o a large enf S    raving
bas-reliefs.                                     by Jacob Frey, of his fine picture of St. Francesco de Paolo resuscitating a Dead Child. In 1693,
LALLEMAND, GEORGE, a French painter and  Dorigny engraved a plate after Lamberti's picture
wood engraver of little note, born at Nancy about  of the Virgin and Infant, with Saints. He died in
1600. There are a number of wooden cuts by   1721.
him, which possess considerable merit.             LAMBERTINI, MICHELE, an old Bolognese
LALLEMANT, PHILIPPE, a French  painter,  painter, who flourished from 1443 to 1469. Among
born at Rheims in 1629. He painted history with  other works he painted a picture in the Iall of
reputation, and died at Paris in 1716.           the Fish-market at Bologna, mentioned by Lanzi,
LAMA, GIo. BERNARDO, an Italian  painter,  who says that Albano preferred it to the works of
born at Naples, according to Dominici, in 1508.-   Francesco Francia. in regard to softness and deliHis father, Matteo Lama, an artist of little note,  cacy, although painted considerably previous to
taught him the elements of design, and he after-  the time of that master. It is dated 1443.
ward became a pupil of Gio. Antonio Amato.    LAMBORN, P. S., an English engraver, born in
The flight of P. da Caravaggio from Rome to Na-  1722; died in 1780. He engraved a number of
ples, in 1527, enabled Lama to study under that  plates for Mr. Boydell; also several portraits.
great master, whose style he followed with excel-  among which are those of Samuel Johnson; and
lent success. Among his principal works is his  Oliver Cromwell, after Cooper.
admirable Deposition from the Cross, in S. Giaco- 
mo degli Spagnuoli, frequently mistaken for the    LAMBRI, STEFANO, a painter f Cremona, who
work of Polidoro; and in S. Lorenzo a picture of  studied with Cav. Gio. Battista Trotti. He was
the Stoning of Stephen. Lama is said to have dis-  a reputable artist, and there are some of his works
tinguished himself in architecture, but none of  in the church and convent of the Padri Predicatori,
his works are mentioned. He died at Naples, in  at Cremona. He was living in 1623.
1579.                                              LAME, GIULIA, a Venetian paintress, who flourLAMA, Gio. BATTISTA, an Italian painter, born  ished in the first half of the last century. She
at Naples in 1670. He studied under Luca Gior-  acquired considerable reputation by her fine picdano, at the same time with Paolo de Matteis.  tures in the churches Nunziata de' Miracoli, and
He painted subjects of history; also easel pictures  S. Maria Formosa.
of mythological subjects, valued for their elegance  LAME, DELLE. See PUPINI.
of style and sweetness of coloring. Several of his    LAMI, CHARLES, a French painter, born at
works were in the Gallery of the Duke di S. Nic-  Montagne-au-Perche in 1679. He painted histocolo Gaeta, at Naples.  Ie died about 1740.      ry, but did not attain much distinction.  He died
LAMANNA, GIROLAMO, a painter and poet of  at Paris in 1733.
considerable reputation, born at Catana, in Sicily,    LAMINOYS, SIMON, a French painter, born at
about 1580. He executed many pictures of merit,  Noyon in 1620. His chief excellence was in paintwhich are to be found in the Florentine collec-  ing battle-pieces, and he attained considerable reptions. He died in 1640.                          utation in this branch. He died at Urigny in
LAMBERT, GEORGE, a reputable English land-  1683.
scape painter, born about 1710. He studied under    LAMMA, AGOSTINO, a Venetian painter, born
William Hassell, but afterwards followed the style  about 1636. He studied under Antonio Caza. a
of Wootton, whom  he decidedly surpassed. His  scholar of Borgognone, and, according to Lanzi, atlandscapes have a pleasing effect, but he chiefly taed considerable excellence in painting battleexcelled in theatrical decorations. In concert with  pieces. He  wrought chiefly for private collections,
Samuel Scott, he painted several views of the set-  ad executed many excellent works in the style
tlements in India, for the East India Company's  of Matteo Stm,  among which is a fine picture of
House. One of Lambert's best works is a land-  the Siege of Vienna, in the collection of Sig. Gio.
scape at the Foundling Hospital.  Several of his  Battista Curti. Lamma was living in 1696.
views have been engraved, and he etched two
plates from his own designs, with figures. He      LAMOUREUX, a French sculptor, born at Lydied in 1765.                                    ons in 1674. He studied under Coustou, the Elder, and was employed to execute several imporLAMBERTI, BONAVENTURA, an Italian painter,  tant works at Lvons, among which are two excelborn at Carpi, in 1652.  He went to Bologna,  lent bas-reliefs in the chapel of Gonfalon, reprewhere he entered the school of Carlo Cignani,  senting Christ in the midst of the Doctors, and
whose style he followed. According to Mengs,  the Death of the Virgin; also several statues in
he was one of the last scholars of that master who  the churchof the Annunciation.
attained eminence. After executing everal works
at Modena, in concert with Lana, he visited Rome,    LAMPARELLI, CARLO, a native of Spello, and
and was commissioned to execute three pictures for  a pupil of Giacinto Brandi, mentioned by Orlandi
the church della Minerva, and the Madalena.  He  as a reputable painter, one of whose works is in
painted, also, the cupola in the church dellaVittoria,  the church of Spirito Santo at Rome. He flourand several other works, which displayed such per-  ished about 1700.
fection of design, admirable composition, and beau-    LAMSVELT, JOHN, a Dutch engraver, born at




LAMS.                      48                       LANO.
Utrecht about 1660. His plates are executed in a     LANCISI, TOMMASO, a painter of the Floren.
style resembling that of Romeyn de Hooghe.  tine school, was born at Citta S. Sepolcro in 1603
They are quite scarce, particularly his portraits,  and died in 1682. He studied under Scaminossi.
among which are the following:                     and painted in the style of Pietro da Cortona.
PORTRAITS.                     Orlandi says that painting was hereditary in his
Oliver Cromwell; an oval. John de Wit, pensionary  family, and that two of his brothers were painters"
of Holland. Cornelius Pieterszoon Hooft. George Cas-    LANCONELLO, CRISTOFORO, an Italian paintsander. Hubert Duishus of Rotterdam. The Siege of  er a native of Faenza, flourished about 1587.
Tournay, by the Duke of Marlborough and Prince Eugene.
Lanzi says his style resembles that of Federigo
LAMSWEERDE, SIMON  ANTHONY  VAN, a  Baroccio.  There is a picture by him in the ErcoDutch designer and engraver, born at Utrecht,  lani palace at Bologna, representing the Madonna
according to Nagler,in 1625, and was living in  and Child, with Saints, and a Glory of Angels.
1683. He executed several portraits in the style  It is entirely in the style of Baroccio; the airs of
of Suyderhoef, but much inferior to him, among   his heads are beautiful; it is pencilled with great
which are the following:                           delicacy, and colored in a rich and harmonious
Francis Gomarius, professor of theology at Groningen.  manner.
Henry Alting, professor of theology at Heidelberg. Anna  LANCRET NrcQLAS a French painter, born at
Maria Schurmans. 1657. Cyprian Regnier, juris-consult.              O     a Fen    aie b       at
of Utrecht. Charles de Maets, professor of theology at  Paris in 1690. He studied under Claude Gillot
Utrecht. 1659.                                     and A. Watteau, and imitated the style of the latLANA,, an Italian painter and en ter so closely that his pictures were often taken
LANA, LoDOVICO, an Italian painter and en-  for those of that mastero who became jealous
graver, born in the Modenese in 1597, and studied  for hose of  ha  maser, wo  e e   alo
under Ippolito Scarsellino at Ferrara.  He was a  of his pupil.  His works are numerous, generally
ung ader p   oflthe worlsofGuercrrarawhose style wsaconversation pieces and gallant subjects, which
great admirer of the works of Guercino, whose style  have little of the grace f nature and are inferior
he imitated with success, exhibiting the vigorous                                     and  a ns
opposition of his masses, with the spirited move-        of cola in si     of  pcili    andtranspament of Tintoretto.  He settled at Modena, where   rncy       loring. Many of his works have been
he practised the art for many years, and fod nded a  engraved, and they were much in request at Paris.
he practised the art for many years, and founded a  In 1719. he was chosen a Royal Academician, with
successful Academy, which was very highly es-  the titlof Peintre defetes galantes, which suffiteemed throughout Italy. There are many admir-  ciently indicates the peculiarity of his style.  He
able pictures by him in that city, the principal of   died in                        hs s 
which is in the church del Voto. representing the
deliverance of Modena from  the Plague. It has       LANCRINCK.  See LANKRINCK.
been highly extolled for abundance of invention,    LANDERER, FERDINAND a German engraver
originality and ingenuity of composition, correct-  born at Stein, in Austria, according to Nagler, in
ness of design, vigor and harmony of coloring.  1743. He resided chiefly at Vienna, and executed
Bartsch gives a list of his prints. He died in 1646.  a number of plates both etchings and in the crayLANCASTER, HUME, an English painter of   on manner; among which are the following:
the present century, who was an old member of                          PORTAIT
the Society of British Artists, and whose name                         PRT S
was favorai y  mentiohed Art, yyearind the  eorts    France Maurice, Count of Lary; after Konolitz. Jowas favorably mentioned every year in the reports  seph de Kurz, author and actor; from his own design.
of that institution. His subjects were chiefly ma-          SUBJECTS AFTER VARIOUS MASTES.
rine views, especially of Dutch scenery. He was         So    BJECTS AFTER  VARIOUS MASTERS.
obliged, by the force of circumstances, to paint for    Samson and Dalilah; after Rembrandt. Two Landscapes, with ruins and animals; after Dietricy.  Two
the picture-dealers, at prices barely sufficient to   mountainous Landscapes; after Pillement. Two large
afford him sustenance, and the latter part of his  Landscapes, with figures and cattle; after Loutherbourg.
history is sad indeed. He died in 1850.  Ten Heads; engraved in a style imitating Rembrandt.
LANCE, MICHEL, a French painter, born at                                    LANDFIELD, AHAS.
Rouen in 1613. He attained considerable reputa-                or            UERUS DE an old Ger
tion for his pictures of animals, fruits, and flowers.             A      l VX    Jman wood engraver.
He died at Paris in 1661.                         rThere are several small prints, marked with the
LANCHARES, ANTONIO DE, a Spanish painter,  accompanying monogram, which are attributed to
born at Madrid, in 1586. According to Palomino,  this artist. See Londersell.
he studied under Eugenio Caxes; but Bermudez                         GASPAO, aneminent  talian
says he was a scholar of Patricio Caxes, and a fel- painter, born at Piacenza in 1756. He entered the
low disciple of Eugenio C.  He gained eminence  school of design in his native city, and was very
in historical painting. There is a noble picture by   assiduous in the study of the grand productions
him, in the choir of the convent de la Merced Calof Correggio and the Caracci. He gained the
zada, at Madrid, representing the Virgin surround- rand  rize of the Academy at Parma for his fine
ed by Angels; and in the church of La Santa
ed s by Angels; and in t ihe  church  of La Santa  picture of Tobias and Sarah; after which he was
Cortesa da Paula, are two fine works, represent-  sent to Rome by the Marquis of Landi, and studing the Ascension, and the Descent of the Holy  ied under Pompeo Batoni. He was favored with
Ghost.   One of them  is signed with his name,  the friendship of Canova, and other distinguished
and dated 1620. He died in 1658.           artiste.  Aher gaining a number of prizes at the
LANCILOTTI, FRANCESCO, a Florentine paint-  exhibitions, he was chosen Professor of the Acader, who flourished about 1500, and imitated the   emy of St. Luke by Pope Pius VI. He surpassstyle of F. Mostaert.  Vasari says he excelled in  ed most of his cotemporaries in the grace of his
fire and candle-light scenes. He wrote a poem on   compositions. and his beauty of coloring, particularthe art, published in 1508, which has been reprint-  ly in the carnations. In 1813 he was commissioned in Bottari's Letters on Painting.               ed by the French government to execute several




LAND.                      454                    LANF.
woiks. and was appointed a Director of the School  whose manner he painted. He lived about 1550.
of Design established in the convent of Apollina-   LANFRANCO, CAV. GIOVANNI, an eminent
rius. His masterpiece is the picture in the church  Italian painter, born at Parma on the same day
of the Dominicans at Piacenza, representing Christ  with Domenichino, in 1581. While young he was
ascending Mount Calvary. Landi left Rome in  placed as a page in the service of Count Orazio
1829, and retired to Piacenza, where he died in  Scotti at Piacenza. Iaving a strong inclination
1830.                                            for art, he often amused himself with designing
LANDON, CHARLES PAUL, a French painter,  upon the walls, with a piece of charcoal. This
and an eminent writer on art, was born at Nonant,  was observed by the Count, who became his patin the department of Orne, in 1760. He entered  ron, and placed him under Agostino Caracci, who
the school of J. B. Regnault at Paris, where he  was at that time employed by the Duke Ranuccio
made rapid progress, and having gained the grand   at Ferrara.  Here Lanfranco made such rapid
prize of the Academy, he went to Rome with the  progress, that at the age of sixteen he painted a
royal pension, and remained there five years. On  picture of the Virgin, with Saints, which was
returning to France, he devoted himself to literary   greatly admired, being placed in the church of S.
pursuits during the bloody scenes of the Revolu-  Agostino at Piacenza. Stimulated by this success,
tion. He exhibited at the Louvre three pictures:  he applied himself with great assiduity, studying
the Maternal Lesson, the Bath of Paul and Vir-  carefully the works of Correggio at Parma. At the
ginia, and Dsedalus and Icarus, the two latter of   age of twenty he lost his instructor, and then viswhich were for a long time in the Luxembourg  ited Rome, becoming the pupil of Annibale Caracci,
Gallery. Landon was appointed painter to the  who employed him in the Farnese Palace, and in
Duke de Berry; Chevalier of the Legion of Hon-  the church of S. Jago, where he executed a numor; Correspondent of the French Institute; Con-  ber of works after the designs of Annibale. He
servator of the Musee Royal, and of the.Duchess  studied attentively the works of Raffaelle, and afde Berry's gallery. Among his works on art are the  ter the death of his instructor, was employed by
celebrated Anuales du Alusee, in 33 vols.; and Les  the Cardinal Sannese, in several works; and his
Vies et les Euvres des Peintres les plus celebres.  fresco paintings in S. Agostino, were greatly adin 21 vols. He died in 1826.                      mired, particularly his Assumption of the Virgin.
LANDRIANI, PAOLO CAMILLO, called DUCHI-  For Pope Paul V. he painted a number of piea Milanese painter, who flourished about 160.  tures in S. Maria Maggiore; and also in the palNO, aace at Monte Cavallo, among which were Moses
He studied under Ottavio Semini. and became a 
striking the Rock, the Sacrifice of Abraham, and
good historical painter. He painted several altar-  strh F t ing th  Roc  t  iie his great mo   Cr
pieces for the Milanese churches, particularly a  the Flight into Egypt. Like his great model Corpecesrif io  n and a Nativity, in the church, p o a.  reggio, the conceptions of Lanfranco are grand,
Crucifixion and a Nativity, in the church of S.  and his foreshortening bold and daring  his penAmbrogio.  The latter has more harmony and   and his foreshortening bold and daring; his penAbroftns than the wor  s  of Semini Landrand  cil is lively and animated; his groups are artfully
ofdied about 1619.       of       i. Lan          combined; his draperies cast with taste and judgment. His compositions are copious and ingenLANDRY, PIERRE, a French engraver, born at  ions, though sometimes tumultuous and confused;
Paris about 1630, and died about 1720. Ie en-  and his design rather negligent than incorrect.
graved a number of portraits, frontispieces, and  Resting in his great natural endowments for fame,
other subjects for the booksellers.  His plates  he bestowed little study upon his works, which
are executed entirely with the graver, and his  are deficient in expression, seldom harmonious, and
portraits possess considerable merit.  Among   occasionally characterized by the violent contrasts
them  are the following:                          of Caravaggio. By the death of Cardinal MontPOnTRAITS.                    alto, the patron of Domenichino, Lanfranco sucLouis XIV. of France; after J. Francois. Louis de  cecded through intrigue, in procuring the commisBourbon, Prince of Conty; after Gribelin. Charles de  sion to paint the cupola of S. Andrea della Valle.
Bourbon, Bishop of Scisson. 1660. Abel Brunier, Physi-  It had been promised to Domenichino, who had
cian to the Duke of Orleans. 1661.  Charles Brulart,  previously painted the four angles in a most adMarquisof Genlis. Eustache de la Salle; after C. Le  mirable manner; and stimulated by the presence
Febre. Anthony Godeau, an ecclesiastic; after Ardisson.  of these works of his rival, Lanfranco exerted every
Francis Lescuyer, Cons. Reg. &c.                  power he possessed, and produced a wonderful
SUBJECTS.                     work of art, on an immense scale, some of the
St. Jerome; P. Landry, sc. The Virgin and Child.  figures being twenty feet high. It represents the
Christ and the Woman of Samaria; after Albano. The  Virin  seated i the clouds surrounded with saints
Virgin seated in the clouds surrounded with saints,
Head of St. John Baptist; after An. Caracci.
eadofSJo Bapti;  a fTerap.      and contemplating the figure of Christ, which is in
LANDULFO,  POMPEO, a Neapolitan painter,  the upper part of the picture, from  which enaborn in 1515. Dominici says that he was of a  nates a celestial light which irradiates the whole
noble family, and was placed under Gio. Bernardo   composition with great tenderness and harmony.
Lama, where he made such rapid progress as to   Ts celebrated work may well rank amon  the
paint, while very young, an altar-piece for the  greatest works of this description, next to the
church of S. Matteo at Naples, representing the  domes of Correggio, for its grandeur and judgment
Virgin and Infant in the Clouds, surrounded by   of composition, boldness of design, and daring foreworshipping Angels.  He afterward  painted a
worshipping Angels.  He afterward  paiited a  shortening. In 1646 he was invited to Naples to
noble picture of the Holy Family, with Saints, for  paint the cupola of the church of del Gesu, which
the church of La Pieti, which was considered his  he completed in one year and a half. Domenichibest production. He died at Naples in 1590.       no was engaged to paint the cupola of the TreasLANETTI, ANTONIO, a painter of the Milanese  ury at Naples. and had already partly completed
school and a native of Buglato, according to Or-  it, when the intrigues of Lanfranco occasioned the
landi. IHe was a scholar of Gaudenzio Ferrari, in   work to be suspended. After the death of that




LANG.                     455                     LANG.
modest artist, whose merits were infinitely supe-  scapes by him, with horned cattle and inorses
rior to Lanfranco, the latter was employed to finish   He died at Amsterdam in 1818.
the work; and he destroyed all of Domenichino's    LANGETTI. Gio. BATTISTA, a Genoese paintperformance, except the angels, which abundantly  er, born, according to Zanetti, in 1635. He studattest the surpassing excellence of that painter,  led successively under P. da Cortona. and Gio
in comparison with his base competitor. On ac-  Francesco Cassana. Lanzi mentions a good piccount of the disturbances at Naples, Lanfranco  ture by him, in the church of S. Teresa at Genoa;
was soon afterwards compelled to return to Rome,  but he appears to have chiefly excelled in painting
during the pontificate of Urban VIII., who em-  heads and busts of old men, particularly hermits
ployed him to paint a picture for the church of  and philosophers. There are many of his pictures
St. Peter, representing that saint walking on the  in the private collections of Lombardy and the
sea, engraved by Gerard Audran; also a series of  Venetian States. Langetti died at Venice in 1676.
pictures of subjects from  the Passion of Christ,    AN     AN        AR                  
for the chapel of the Crucifix. The pope was so    LANHANS   CHARLES GOTHARD, a erman
highly pleased with these works, that he confer-  architect, born at Landshut, in Silesia, in 1733.
red upon Lanfranco the honor of knighthood. His  He acquired the principles of his art in his native
last works were in the tribune ofS. Carlo Cati-  country, and afterward visited Italy and other
nari, which are the feeblest of his productions.  parts of Europe for improvement.  On returning
He died in 1647. There are a number of spirited  to Germany he settled at Berlin, and was appointand masterly etchings by him, which are usually  ed principal director of public buildings in that
signed with his name, or with his initials, G. L.  city. He erected man  edifices at Berlin, among
Among others are the following:                   which are the Brandenburgh Gate, and the Theatre. He was a member of the Academy of Fine
The Messengers of Moses returning from the Land of  Arts at Berlin, and that of the Arts and Sciences
Canaan. The Triumph of a Roman Emperor. An Emperor haranguing his Soldiers. Part of the plates engra-  at Bologna, and of the Patriotic Society of Silesia.
ved conjointly with Sisto Badaloochio, from the paintings  He was also the author of several memoirs on
by Rafaelle in the Vatican, called Raffaelle's Bible. The  architecture. He died in 1808.
whole consists of fifty-one prints, besides the titles, [and  LANGLEY  THOMAS BATTY, an English armany others, of which an account will be found in Nagler.J    LANGLEY, THOMAS BATTY, an English architectural engraver, who flourished during the
LANG, MAURIrIus  or MORITZ, a German en-  first part of the 18th century, and died in 1751.
graver, who flourished about 1670, and was living  He published a work on Gothic architecture, of
in 1681. He wrought entirely with the gray-  which the plates were engraved by himself, and
er, and resided chiefly at Vienna, where he execu- possess considerable merit for his time.
ted a number of frontispieces, book-plates, and
portraits for the booksellers, among which are      LANGLOIS,JEAN, a French engraver, born at
several in Priorata's History of the Emperor Leo-  Paris in 1649; died about1712. He acquired the
pold.                                             elements of design in his native city, and then visited Rome, where he became a member of the
LANGE  FRANCESCO, an Italian painter, born   French Academy.  He engraved several plates
at Anneci in 1676; died in 1756.  He studied  from the antique statues; some architectural subfirst under his father, and afterward at Turin un-  jects from  Andrea Palladio; also a number of
der Andrea Chevilli, his maternal grandfather,  others among which are the following:
where he remained eight years. He then settled
at Bologna, where he devoted himself to the study                    PORTRAITS.
of the works of Albano. There are many excel-    William Brunetiere, Bishop of Saintonge; after Boulent works by him at Turin and Bologna.           longne. Peter Loisel, Doctor of Sorbonne. Julian Gary~~~lent works~deu, Curate of St. Etienne du Mont; after Lombard.
LANGE, JOHANNES REMIGIUS, a Flemish paint-  John Law.
er, who flourished about 1555. He studied under                  VARIOUS SUBJECTS.
Vandyck, and is said to have been a close imita-    St. Luke painting the Virgin; after Raffaelle. The
tor of the style of that master, particularly in his  Stoning of Stephen; after P. da Cortona. Tobit and the
coloring. His works are generally of large size;  Angel; after An. Caracci. The Martyrdom of St. Paul;
and there are a few of them in the churches of   fterL. Boulongne. Christcuringhe Paralytic; fte
Brussels and other cities of the Low Countries.        Boulo
His design was greatly inferior to his coloring,    LANGOT,FRANoIs, a French engraver, whose
but his works are probably ascribed principally  plates possess considerable merit. He was chiefly
to Vandyck.                                       occupied in copying the works of other masters,
particularly  Cornelius Bloemaert, Huret, and
LANGEN, JAN. See BRONKHORST.                   others.
LANGENDYK, THIERRY  or THEODORE, a               LANGREMUS, M. F., an engraver of little
Dutch painter, born at Rotterdam  in 1748.  Be  note, who lived about 1650, and executed several
studied under D. A. Bisschop, and became an  portraits; &c., in an inferior style.
excellent painter of battle-pieces, in which he por-    LANIERE NICHOLAS. This artist was born
trayed the passions with great fidelity, and fin-       Italy in 1568, but settled at London, and gained
ished his subjects carefully.  Several of his land-  favor with Charles I. for his various talents. He
scapes, decorated with cattle and horses, have been   wa a ait  engraver, connoisseur, picture-dealengraved. He died at Rotterdam in 1805.           was a painter, engraver, connoisseur, picture-dealengraved. He died at Rotterdam in 1805.  er, and musician; but seems to have been most
LANGENDYK, JOHN  ANTHONY, a Dutch   distinguished in the latter. He participated largepainter, son of the preceding, born at Rotterdam   ly in the purchases made for the royal collection.
in 1780. He followed the style of his father, and   He drew a Holy Family for the King; and his own
particularly excelled in drawings in water-colors  portrait, which is in the Music-School at Oxford.
and India ink. There are a few etchings of land-  Laniere possessed a collection of drawings, several




LANI.                     456                   LAOD.
of which he caused to be engraved, and etched  Lanfranco, and adopted his style. On returning
some of them himself. He died in 1646.           to Milan, he painted several fine works, among
LANINT, BERNARDINO, an eminent Italian   which are a picture of St. Carlo Borromeo; and a
subject from the life of Cardinal Federigo in the
painter, born at Vercelli about 1522. He studied  subject from the life of Cardinal Federigo, in the
under Gaudenzio Ferrari, and imitated the style  AmbrosianLibrary.  Hediedin 1.
of that master with such success, that his picture    LAODICIA, DE PAVIA, an old artist of Pavia,
of Christ in the lap of the Virgin, in S. Giuliano  mentioned by Lomazzo, supposed to have been of
at Milan, was often taken for a work of that mas-  Greek origin, who flourished about 1330. To him
ter. He was much employed at Milan, and No-  and Andrino di Edesia are attributed some frescos
vara, where he painted the personification of the  still preserved in the church of S. Martino and
Deity, in the dome of the cathedral, also several  other places in that city.
subjects from the life of the Virgin, and his cele-    LAP, JOHN, a Dutch painter, who flourished
brated Sibyls. In some of his works, it appears  about 1650. His drawings of landscapes are more
that he was emulous of rivalling Leonardo da Vin-  known than his oil paintings, although there are
ci, particularly in a picture of our Saviour after  some landscapes by him, with ruins and numerous
the Flagellation, between two angels, in S. Am-  figures, in the style of John Both.
brogio at Novara. This admirable work glows    LAPI, NIccoLo, an Italian painter, born in 1661;
with pious and beautiful expression, and is parti-  died in 1732; was a pupil of Luca Giordano. There
cularly distinguished for its admirable relief. He  were several engravers of this name, among whom
afterwards adopted a more independent style, and   Giovanni Lapi flourished about 1750, and executed
Lomazzo highly praises an altar-piece of St. Cate-some of the plates for the Museo Etrusco.
rina, in the church dedicated to that saint, as full
of fire and feeling, colored with Titian tints, and  LAPICCOLA, NccoL, a painterofthe Roman
an expression in the head that might well vie with  school, born at Crotone, is said to have studied
Guido. Lanini died about 1578.                   under Francesco Mancini. He was an able artist,
LANINI, GAUDENZIO and GIOLAMO, the bro-  and painted the cupola of a chapel in the Vatican,
LANINI, GAUDENZIO and GIOLAMOwhich was afterwards copied in mosaic for its
thers of the preceding artist, whose style they im-  preservation. Thereare sme pictures by him in
itated, but in a very inferior manner. According  preerv. urches at Rome. He also painted much
to  Lanzi, the former painted a picture of the  fothe churches in Romagna, particularly at VelVirgin and Infant, in the sacristy of the Barna-  etr   He ourished about 1750.
bites; the latter a Deposition from the Cross, in  L                   a   taia   aiter, born at
a private collection at Vercelli.                  LAPIS, GAETANO. an Italian painter, born at
a private collection at Vercelli.               Cagli, in the Roman States, in 1704. He studied
LANKRINCK, PROSPER HENRY, a German  under Sebastiano Conca, and is praised by Rossi
painter,, born about 1628. His father was a sol-    r hs originaltaste, possessing great fire, but
dier of fortune, and brought his wife and child  cor    his o design. There iss  fine picture by
to Antwerp, where he obtained a Colonel's com-  correct in his design. There is a fine picture by
to Antwerp, where he obtained a Colonel's corn- him on a ceiling of the Borghese Palace at Rome,
mission, and died in that city. The young Lank-  representing the Birth of Venus. He died in 1776.
rinck received a liberal education, and was intended by his mother for the church; but manifesting   LAPO.  This old architect was a native of
a strong inclination for art, he was allowed to at-  Germany, according to Vasari, but settled at
tend the Academy, and gained great improvement  Florence, where he died in 1262.  He acquired
by studying the works of Titian and Salvator  great reputation by the church and convent of
Rosa, in the collection of Mr. van Lyan. On the  Assisi, completed in 1218. In Florence he erected
death of his mother he went to England, in the  various edifices, among which were the Bargello
reign of Charles II., and was patronized by Sir  palace.
Edward Spragge, but more particularly by Sir    LAPO, ARNOLFO, an able Florentine architect,
William Williams, for whom  he painted a great  born in 1232. He attained great eminence in his
many landscapes, which were destroyed when that  day, and executed many excellent works. His
gentleman's mansion was burned. His pictures  taste and skill are sufficiently attested by the Cawere held in considerable estimation, characterized  thedral of S. Maria del Fiore at Florence; the
by wild and romantic scenery, with rocks and bro-  tomb of Cardinal de Bruges, in S. Domenico at
ken grounds, in the style of Salvator Rosa. Lank-  Orvieto; and the marble tribune in S. Paolo, at
rinck was much courted by Lely, for whom he of-  Rome. He died in 1300.
ten painted the landscapes and backgrounds in his    LAPO, ARNOLFO DI, an Italian painter and sculp
pictures. He died at London in 1692.             tor, about whom  there is much disagreement
LANTARA, SIMON MATHURIN. a French land-  among authors.  Vasari calls him  Arnolfo di
scape painter, born near Montargis in 1745. He  Lapo. Others call Lapo the father of Arnolfo.
excelled in painting the natural appearances of  Lanzi says that it is now fully proved by an ausunrise, mid-day, sunset and moonlight; and he  thentic document in the cathedral at Siena, that
had a masterly skill in aerial perspective. He  Lapo and Arnolfo are the names of different sculpgained a high reputation, but fell into habits of in-  tors, who were the disciples of Cimabue, and astemperance, which reduced him to extreme indi-  sisted him in his works in that edifice in 1266.
gence, and he died in 1778.                      Arnolfo is variously called Arnolfo, Arnolbf di
LANZANI, ANDREA. a Milanese painter, born  Lapo, and Arnolfo Fiorentino, which last is the
about 1645. He acquired the elements of design  proper name. See Arnolo.
from  Luigi Scaramuccia, a pupil of Guido; and     LAPPOLI, GIo. ANTONIO, an Italian painter,
then went to Rome, to study under Carlo Maratti.  born at Arezzo in 1492. According to Vasari,
Preferring a style more energetic than that of his  he studied under Domenico Pecori, and afterward
instructor, he attached himself to the works of  in the school of Jacopo Carrucci, called Pontormo.




LAQU.                        457                     LARM.
Early in life he visited Rome, andformed a friend-  traits entirely with the graver, in a very agreeaship with Pierino del Vaga, and il Rosso.  Fa-  ble style, possessing considerable merit. Among
vored with the protection of Clement VII., he was   them are the following, usually marked with his
employed in several public works, but in conse-  monogram, or the initials N. L.:
quence of the sacking of Rpme in 1527, he was                           PORTRAITS.
obliged to leave them incomplete, and quit the city.    Pbilip de Bourbon, Duke of Orlans, brother to Loui
He returned to Arezzo, and painted several pic-  XIV. Henrietta, Duchess of Orleans. Henry Julius de
tures for the churches and private collections.  Bourbon, Duke d'Enghien. Charles XI., King of Sweden.
He died in 1552.                                     Claudia Felicita of Austria, Empress of Leopold I. Maximilian Henry, Archbishop of Cologne. Godfrey, Count
LAQUY, WILHELM JOSEPH, a Dutch painter,  d'Estrades, Marshal of France. Gabriel Nicholas de la
born in 1738. He studied under John Remmers,  Reynie, Lieutenant of Police.  Louisa Frances, Duchess
at the same time with Wybrand Hendriks.  He   de la Valiere, in the habit of a Nun. Balthasar Moretus
painted a number of cabinet pictures which are   Paul Manutius, Librarian of the Vatican. Lawrence Cos.
esteemed for their beauty of coloring and admira-ter, for a history of Printing. John Guttenberg; do.
ble accessories, and are placed in the best collec-     LARMESSIN, NICOLAS DE. the Younger, was
tions.  He was patronized by the distinguished   the son and scholar of the preceding, born at Paamateur Braamcamp, and made copies of the works   ris in 1684; died in 1755.  He executed a great
of Gerhard Douw, P. Potter, Metzu, and others.  number of portraits and historical subjects, with
Hendriks often employed him to paint the figures  the point and graver, in a neat, finished style, posin his landscapes.  He died at Cleves in 1798.       sessing considerable merit.  He was appointed enLARCHER, ANTOINETTE, a French female en-  graver to the king; member of the Royal Acadegraver, who flourished about 1725.  She engraved   my; and executed several subjects for the Crozat
several historical subjects, among which is Judith   collection.  The following are his principal plates:
with the Head of Holofernes, after Raffaelle. Her                        PORTRAITS.
plates.are usually signed Toinette Larcher.            James II., King of England. Maria, his Queen. WilLARCHEVEQUE, a French sculptor, born in  liam and Mary. Louis XV, on horseback; after J. B.
Vanloo. Maria, Queen of Louis XV.; do. Louis XV.
1721.  In 1755 he was made associate to the Roy-  on foot; do.   aria, Dauphiness of France; do. Charles
ai Academy at Paris, and afterward received the   Henry of Lorraine; after Ranc. Woldemar de Lowendal,
knighthood of the Order of St. Michael.  About  Marshal of France; after Boucher. William  Coustou,
1760 he was invited to Stockholm, and commis-  sculptor to the King; after Lien; engraved for his recepsioned to execute the models for a statue of Gusta-  tion into the Academy. 1730. Claude Halle, painter to
vus Vasa, ao d for an equestrian statue of Gusta-  the King; after Le Gros; do. Philip Vleughel, painter;
vus Vasa, a d for an equestrian statue of Gusta-  after  P.       a
vus Adolphus.  They were both cast in bronze,  afte de Ch
of colossal size, by a Swede, named Meyer. Lar-PORTRAITS FOR THE CBOZAT COLLECTION.
cheveque established a school for sculpture in Swe-    Raffaelle and Jacopo Pontormo; half-lengths; after
den. and was honored with the Order of the Polar   Rafaelle. Federigo Carondeletto, Archdeacon of Bitonto;
do. Cardinal Pole; after Raffaelle, or S. del Piombo.
Star. After a residence of sixteen years in Sweden, he returned to France, in 1776, and died thereUBJECT                  THE CROZAT COLLECTION.
in 1778.                                               St. Michael vanquishing the Evil Spirit; after Roffaelle. St. George and the Dragon; do. St. John the EvanLARGILLIERE, NICOLAS DE. This painter   gelist; do. The Holy Family; do. The Virgin and inwas born at Paris in 1656, and was intended for  fant Jesus; do. The Vision of Ezekiel; do. Christ bearthe commercial business by his father, who settled   ing his Cross; do.
at Antwerp as a merchant; but manifesting a               VARIOUS SUBJECTS AFTER FRENCH MASTERS.
genius for art, he was placed under Francis Go-    The Four Seasons; after Lancret.  The Four Ages of
beau, a painter of landscapes and still-life.  After   Man; do. A set of Four Prints from the Fables of La
making considerable advances in these branches   Fontaine; after Boucher. The Amorous Savoyard; afof the art, he devoted himself to history and por-  ter Perre. The Savoyard Family; do.
traits with considerable success. In the reign of                    A T       R             R
CharlestI. he visited London, where he acquired        v       o or/          LAROONMARCELLUS,
the friendship of Sir Peter Lely, and became                J          J   a Dutch  painter, born at
known to the king, for whom  he painted several  the Hague in 1653, and was instructed in paintpictures.  He went to Paris, where he gained the   ing by his father, whom  he accompanied to Engfriendship of Charles le Brun, and painted the por-  land,where he was placed with La Zoon, a portrait
trait of that artist, which has been admirably en-  painter. He subsequently studied under Flechidre,
graved by Edelinck.  Patronized by Louis XIV.,  and gained great distinction for his talent of imihe painted the portrait of that monarch, and was  tating the styles of different masters.  He painted
afterward  chosen  a member of the Academy.  portraits,.conversation-pieces, and historical subHis most important historical work was the Cru-  jects with success.  His talent in draperies was
cifixion, in the church of St. Genevieve.  His por-  very great, and his services in this branch were
traits are drawn with great fidelity; his penciling   often in request by Kneller.  There are a few
is light and spirited; and his coloring exceedingly   spirited etchings by Laroon, in a style resembling
chaste and delicate.  He visited England at the   Ostade, but very inferior, representing Dutch boors
coronation of James II., and painted the king,  regaling, and similar subjects.  He died at London
queen, and several of the nobility; but when the   in 1705.
revolution broke out, he returned to Paris, and        LARRAGO, APOLLINARIO, a Spanish painter, a
practised the art in that city until his death,which   native of Valencia, who formed his style by studyoccurred in 1746.                                    ing the works of Pedro Orrente.  His works are
i^'T    LARMESSIN, NICOLAS DE, the Elder,  chiefly to be found in the churches and convents
a French engraver, born at Paris about  of his native city, where they are highly esteemed.
1640. He executed a number of por-   He died in 1728.




LASN.                       458                      LATE.
LASINIO, IL CONTE CAVALIERE CARLO, an em-  Saenredam. His plates are executed in a very
nent Italian engraver, born at Trevigi about 1757.  neat style, but without much taste. Writers are
He resided chiefly at Flerence, and executed a   disagreed as to the time of Nicholas Lastman
number of plates after the old masters, remarka-   Balkema and Nagler place his birth in 1619. Zani
ble for correctness of design, and beauty and vigor  denominates him  Nicolaus Petri, or Nicholas the
of expression.  Among other works by him, Na-  son of Peter; and says he wrought in 1606 and
gler mentions a number of prints after the pic-  1626. Nagler cites a print of Christ in the Gartures remaining at Campo Santo di Pisa; por-  den, after A. P. Lastman, signed Nicola Petri, sc.
traits of the ecclesiastical dignitaries assembled at   1648; but Brulliot, mentioning the same picture,
Florence in 1787; L'Etruria Pittrice, published   reads 1608.  Others are signed N. Lastmanonly:
in 1791  and several plates after the ancient pic-  without any dates.  The following are his princitures in Florence.  The timeof his death is not  pal prints:
recorded.  In Rosini's Storia della Pittura Ital-    The Portrait of Karel van Mander; copied after J.
iana, are several fine illustrations, signed with the   Saenredam,  Christ praying in the Garden; after Peter
names of his sons, Ferdinando and Giovanni Paolo.  Lastman. St. Peter delivered from Prison; qfter J, PiTAT  MICHEL an e   t F chnas. The Martyrdom of St. Peter; after Guido. The
I \     LASNE, MICHEL, an eminent French   Merciful Samaritan, in a landscape; after his own deengraver, born at Caen, in Normandy,  sign. This print is not generally known; it is executed
in 1595.  His style seems to be found-  in a very pleasing style. Nicol. Lastman, inv. et scul.
ed on those of C. Bloemaert and F. Villamena, and      LATER, or LATRE. J. DE, an obscure engraver,
he was among the first French artists who handled   who lived at Amsterdam about 1720, and executed
the graver with freedom and dexterity.  There are  several plates for the work entitled Figures de la
a large number of prints by Lasne, characterized   Bible, from the designs of Picart and others.  He
by a tolerably correct drawing, and a bold and   also engraved several mezzotinto portraits, among
free stroke, although there is sometimes an appear-  which is that of William III.
ance of dryness in his works.  The following are       LATO, 
~~the principal-           ~LATOUR, MAURICE QUENTIN DE, an eminent
~the principal: *'French painter, born at St. Quentin in 1705.  He
PORTRAITS.                       early manifested a strong inclination for art, and
Louis XIII. on horseback, the back-ground representing   was allowed to follow his favorite profession.  He
a battle; was engraved by Callot; Michael Asinus,  settled at Cambray, and painted the portrait of the
sculptor Regius. Bernard, Duke de la Valette; the back-  Enlish Ambassador wo took  im  to London
ground with the town of Metz, is also engraved by Callot.  Enish Ambassador, who took him  to London,
Anne of Austria, Queen of France. Armand, Cardinal de   and procured him considerable employment.  On
Richelieu. Julius, Cardinal de Mazarin. Charles de Cre-  returning to France, he relinquished oil painting
qui, Marshal of France. Francis de Bassompierre, Marshal  for crayons, in which art he made great improveof France. Peter Seguier, Chancellor. Nicholas de Bailleur,  ment.  At the age of thirty-three he was chosen
President of the Parliament. Francis Fernandez,Francisca    an Acdemician.   is talents  ere highl esteemed
Father Joseph,celebrated Capuchin. John Francis Niceron,  A                t ts we hily eeem
Monk, and famous mathematician; rare. GiulioStrozzi,Ve   by Louis XV.. who greatly patronized him. He
Monk, and famous mathematician; rare. Giulio StrozziVenetian poet; after S. Vouet. 1627. Francis Quesnel, painter  painted the portraits of all the royal family, and
to Henry III.'; from a picture by himself. Father Nicho-  was twice offered the Order of St. Michael, but
las Caussin; engraved in the manner of Mellan.       refused.  Latour deserves honorable notice as a
SUBJECTS AFTER VARIOUS MASTERS.             friend of art, for founding an annual prize in the
The Holy Family; after Rubens. St. Francis d'Assisi  Parisian Academy, for the best piece of linear and
receiving the infant Jesus from the Virgin; do. The Vis-  aerial perspective; also another at Amiens, for the
itation of the Virgin; after Lod. Caracci. The Virgin,  most useful discovery in the arts.  He endowed
with the Infant sleeping, and St. John, called the Silence;  two institutions for the support of indigent chilafter Annibale Caracci. A dead Christ, with Mary Mag-  dren and foun        a free drawing school at St.
dalene; from his own designs. An Ecce Homo; after     ren, and founded a free drawing schoo  at St.
Titian. Jesus Christ in glory, with St. Peter and St.  Quentin.  He died in that city, in 1788.
Paul; after P. Veronese. The Virgin in the Clouds, with  LATROBE, BENJAMIN HENRY.  This eminent
a Crescent; after Albano; oval. St. Francis de Paula  architect and engineer was horn in England, of
re g the Infan *  sar c hi tect and engineer was born in England, of
receiving the Infant; after Rubens.
r   the Inf; ae R         Moravian parents, in 1763. lHe acquired a knowLASTMAN, PETER, a Dutch painter, born at  ledge of the art from a reputable architect at LonHaerlem, according to Balkema, in 1581; died in   don, and afterwards erected several fine country
1649.  Nagler, Brulliot, Fuseli. and Zani place his   mansions.  In 1795 he resolved  to depart to
birth in 1562; but do not mention his death.  He   America, and embarked for Philadelphia, where he
studied under Cornelius Cornelisz, and, according   had an uncle residing; but the vessel was driven
to van Mander, visited Rome in 1604, for im-  into Norfolk. Virginia.  Here Latrobe attracted
provement.  He usually painted subjects of histo-  the attention of a gentleman of Norfolk, by whose
ry, introducing a great number of figures.  His  influence he obtained patronage at Washington,
works are deficient in grace and correctness of de-  and was finally entrusted with the most important
sign, but are characterized by great vigor of color-  works.  He rendered the James river navigable,
ing, and considerable intelligence of chiaro-scuro.  and was appointed Engineer of the State of VirHe was the instructor of several eminent painters,  ginia.  Invited to Philadelphia, he there erected
among whom was Rembrandt.  There are a few   the Bank of the United States, a magnificent edietchings by Lastman, from his own compositions,  fice of white marble, in imitation of the Parthenon
among which are a plate of Judah and Thamar,  at Athens.  Latrobe erected light-houses along
in a landscape, marked P. L.; also a Female seat-  the sea-coast, besides several important hydraulic
ed before an Arch.                                   works; also the buildings of the Fairmount WaLASTMAN. NICHOLAS, was the son of the pre-  ter Works; the granite cathedral at Baltimore,
ceding artist, born at Haerlem  in 1609. He ac-  surmounted by a cupola one hundred feet high; the
quired the elements of design from  John Pinas,  Merchants' Exchange of the same city; and the
and subsequently learned engraving from  John   Hall of.the Representatives at Washington, form




LAUB.                      459                     LAUR.
ing the southern wing of the capitol. In 1811, he   Ie Bas.  He settled in that city, and  flourished
sent his eldest son to New Orleans, to commence   about 1750. Among other plates, he engraved
the hydraulic works for supplying that city with  those of the great gallery at Versailles, after the
water; and at the death of his son, in 1817, La-  designs of Cochin; also the following:  Saul controbe removed to New Orleans, but died before the  sulting the Witch of Endor, after Sal. Rosa; a
completion of the works, in 1820.                  Conversation, after Teniers; The Hay  arvest,
LAUB, TOBIAS. This mezzotinto engraver was   andits companion, after Wouwerman.
probably a native of Germany, born in 1685.    LAURENT, PIERRE, an excellent French en.
Among other portraits he executed one of John   graver, born at Marseilles in 1739; died in 1809.
James Scheuchzer.  He died in 1761.                He settled at Paris, and practised the art with
good success. In 1802, in concert with Robillard
LAUDATI, GIOSEFFo, a painter of Perugia,  he published a beautiful pictorial work entitled
who flourished at Rome in 1718, where he execu-  Le Musee Francais. The following are his printed several excellent works, according to Orlandi;  cipal plates:
who says that " he contributed to restore the art,    The WterMill; afterBoucher. The Washer-woman
which, after the support it had found in Bassotti    The Water-Mill; after Bouche. Te Waser-van;
and others had fallen into decay."                 Vander Does. The Passage of the Ferry-boat; after
LAULNE, ETIENNE or STEPHANUS, an eminent  Berghem. The Shepherdess; do. The Fortune-Teller;
French engraver, born at Orleans, according to  do. A pair of Landscapes, with figures and animals; afBrulliot, in 1520; although Nagler says he was  ter Dietricy. An Italian Landscape, with figures and
Brulliot, in 1520; although Nagler says he was  cattle; fter H. Roos. Shepherds rejoicing; after Louborn in 1510, and Fuseli and Zani in 1518.  His  therbourg. A View of Mondragon, in Dauphiny; do.
prints are very numerous, usually of a small size,  A Sea-port, with architecture; do. The Death of the
characterized by great fertility of invention, ingen-  Chevalier d'Assas; after Casanova. [Also others after
ious composition, and tasteful drawing. His plates  P. Potter, K. du Jardin, Wouwerman, Ploussin, Van Goyare executed entirely with the graver, with great  en,. Fei, c.J
dexterity of handling, and very highly finished.    LAURENT, PIERRE Louis HENRI, a French
He copied several of the prints of Marc' Antonio  engraver, the son of the preceding, born at Paris
with success, but the greater part are from  his  in 1779. He published the collection of engravown designs, usually marked S. or S.F.  The fol- ngs of the Muse Royal, as the supplement to his
lowing are the principal:                          father's work. Among other plates, he engraved
lowin  are the princ'ipal:some subjects from the life of St. Bruno, after le
A set of thirty prints of subjects from the Old Testament.  some subjects from  the life of St. Bruno, after e
A set of eighteen mythological subjects; oval, very small.    e    th e Martyrdom of St. Peter, after  Titianh
The Twelve Months of the Year; circular. Four; Jup     Death of the Virgin, after Caravaggio  the
ter, Neptune, Mercury, and Ceres; circular. Four sub-  Rape of the Sabines, and the Finding of Moses,
jects of Ancient History; oval. The Four Monarchies;  after Poussin; the Communion of St. Jerome, afoval. Four, of Rural Occupations; oval.  The Three  ter Domenichino; also many others after the
Graces. David and Goliah; after Marc' Antonio. The     t  ta
Murder of the Innocents; do. The Martyrdom of St.  greamasers.
Felicita; do. The Rape of Helen; do. The Brazen Ser-    LAURENT, PETER JOSEPH, a Flemish archipent; after John Cousin. This is one of his largest prints.  tect and engineer, born in 1715. He early maniLAUNAY, NICHOLAS DE, a French engraver,  fested a strong inclination for art, and at the age
born at Paris in 1739; died about 1792.  He  of eight years he is said to have constructed a hystudied under J. L. Lempereur, and was chosen   draulic machine. When twenty-one years old, he
an Academician in 1777. There are a large num-  was entrusted with the superintendence of several
ber of prints by Launay, neatly executed with   public works, besides the direction of the canals
the graver, among which are the following:         in the Low Countries and Hainault. He formed a
The Portrait of Abbe Raynal; after Cochin.  The  grand design of joining the Soome with the Scheldt,
Wise and Foolish Virgins; after Schalken. The March  and performed many other nearly insurmountable
of Silenus; after Rubens. Christ driving out the Mer-  schemes. At the invitation of Louis XV., he unchandizers; after Jordaens. Angelica and Medoro; af-  dertook a survey of the public roads in France,
ter J. Raour.  Leda; nd Mits c  ompanion, Endymion; a -  and greatly added to the facility and improvement
te,- Pierre. The Good Mother; after Fragonard. Tne
Favorite Child; after le Prince. The Lime-kiln; after   f traveling. According to D'Argenville, he also
Loutherbourg. A pair of Views of Ruins; after Dietri-  repaired and beautified the palaces of Versailles,
cy. The Triumph of Taste, a frontispiece for the History   Trianon, and Marly. He died in 1773.
of the French Theatre; [and many others after painters
f his^~~ti~m'~e.  -^~'LAURENTIO. C., an engraver mentioned by
ohTime.] RABERT TDET the younger brot            Strutt, as the artist of several portraits in Prioratals History of the Emperor Leopold. Ile lived
and scholar of Nicholas L., born at Paris in 1754;   about 1660.
died in 1814. He was much employed in orna-                                           
menting for books; and also executed a number    LAURETTI. TOMMASO, called IL SICILIANO, from
of plates in a neat finished style, similar to his  his native country, was an eminent Sicilian painter,
brother, among which are the following:            born at Palermo about 1530. According to Vasari,
The unforeseen Misfortune; after Greuze. The Mar-  he studied under Sebastiano del Piombo, and settled
riage Contract; after A. Borel. The Marriage broken  early in life at Bologna, practising.his profession
off; after E. Aubrey. The Egg-sellers; after A. Van-  there for a number of years.  He subsequently
derwerf  The Turkish Bath; after Barbier.          visited Rome, at the invitation of Gregory XTII.,
LAURA.  See LAURI.                              to finish the ceiling of the Sala di Constantino.
LAURATI.  See LORENZETTI,                        He was much employed by Sextus V. and Clement
VIII., and was honored with the appointment of
LAURENT, or LAWRENCE, ANDREW. Ac-  President of the Academy of St. Luke, being the
cording to Basan, this engraver was an English-  second president after its foundation.  After pracman, but visited Paris and studied under J. P.  tising the art with great reputation for many years




LAUR.                      460                     LAUR.
in that city, he died about I610, in his eightieth  fall of Liebethal; after Zingg; two large Views
year. Among his principal works at Rome, are  of Fano; after Theil; a landscape and Cattle, afthe fresco paintings of the History of Brutus, in a  ter A. Vandervelde.
saloon of the capitol. Among his principal works      LAURO, GIACOMO, an Italian painter, and acat Bologna are, the Crowning of the Virgin, in  cording to Federici, a native of Venice; died young
S. Mattia; the Resurrection, in S. Giacomo Mag-  in 1605  He studied under P. Veronese and settled
giore; and a grand and copious composition in the    t Trevigi, where there is a grand composition in
same church,representing the burial of St. Agostino.  the church of the Dominicans, representing St.
LAURI, BALDASSARE, a reputable  Flemish   Roch interceding for the persons attacked by the
landscape painter, born at Antwerp in 1587. He  Plague.
studied under Paul Bril, whose style he followed, 
and after visiting various European countries, he   T                              LAUTENSAC,
settled at Rome, where he practised the art with ex-              or           HENRICH,anoldGercellent success for many years. He died at Rome            1558                man engraver, born
in 1641.                                           at Nuremberg about 1506. His father was a painter of little note, and taught him the elements of
LAURI, FRANCESCO, an Italian painter, the son   design. He is said to have engraved on wood, and
of the preceding, born at Rome in 1610. He stud-  there are a number of prints by him, in the style of
ied under Andrea Sacchi, and afterward traveled   Sebald Beham, but greatly inferior to that master.
through Italy, France, and Germany for improve-  Among them are the following:
ment. He manifested great abilities, and would
ment.' He manifested great abilities, and would    The Martyrdom of St. Catherine. The Crucifixion, inundoubtedly have attained a distinguished rank   scribed, Christum non istum. Sed Christu  crede per
in the art, had he not died in 1635, at the early  istum. The Decollation of St. John; a small circular
age of 25. In the Palazzo Crescenzi at Rome, is  print. A Boy holding a Flag. A Boy standing on a
a ceiling painted by him, representing three God-  Globe, with a bow in his hand.
desses.'  T         LAUTENSACK, HANS
LAURI, FILIPPO, the second son of Baldassare              r      54    SEBALD a German engravL., was born at Rome in 1623. He studied under         1       L1, er, the son of the precehis brother, Francesco L., at whose death he en-  ding, born at Nuremberg about 1528. He etched a
tered the school of Angelo Caroselli, his brother-  number of landscapes in a dark uripleasant style;
in-law, and made such rapid advances as soon to  and also several portraits, etched and finished with
surpass his instructor. He painted several pie-  the graver, possessing considerable merit. Among
tures of historical and fabulous subjects, composed  them are the following:
in a very ingenious manner, the figures designed                       PORTRAITS.
with correctness and spirit, with pleasing land-    Paulus Lautensack, painter of Nuremberg. Hans Sescapes in the backgrounds. He also painted sev-  bald Lautensack; se ipse sc. 1552. Hieronymus Schureral altar-pieces for the churches, and particularly  stab, half-length; on one side his Arms, and on the other a
one of Adam  and Eve, in la Pace. His works  Village with a Church. M.D.LIIII. Georgius Roggenback.
evince a ood acquaintance with history and fable,  1554. The half-length of a Nobleman, with a beard; on
and an excellent knowledge of perspective. Many
and an excellent knowledge^ of  hisptory   fable   one side his Arms, and on the other a fortified castle. 1554.
of them have been engraved by Woolett and other                 UBJECTS AND LANDSCAPES.
English artists.  Lauri died in 1694.                A Landscape, with David and Goliah. 1551.  Christ
LAURIGACOMO an Italian engrcuring the Blind at Jericho. 1559. A mountainous LandLAURI, GIACOMO, an Italian engraver and anti-  scape, with the history of Balaam and his Ass. 1559. Vilquary, born at Rome about 1570. He was en-  lagers occupied in the Vintage. 1559. A Landscape with
gaged for twenty-three years in engraving the   a Farm-Yard. 1551. Two pleasing Landscapes; dated
most celebrated antiquities of Rome, and finally  1553 and 1555. A grand Tournament; 1560; very scarce.
published the collection in one volume, entitled          A large View of Nuremberg, from the east; in three
sheets. 1555. A similar View of that city from the west;
Antiquce urbis splendor, hoc est prcccipua ejus-do. 1552.
dem templa, 4c., 1612 and 1613, fol. This work
was very highly esteemed, and has been frequent-      cAUW, or LAWv, an English engraver, who has
ly republished, with new plates; one edition had   executed  several mezzotints, after Teniers and
descriptions in German, French, and Italian.-    ther masters.
There are also a number of other plates by Lauri,    LAUWERS, NICHOLAS, a Flemish  engraver,
among which is a Nativity, after Annibale Ca-  born at Leuze, near Tournay, about 1620. He
racci. He died at Rome about 1630.                 studied at Antwerp, following particularly the
LAUTRI,  r LAURIER, PIETRO, a native of  style of Paul Pontius; but did not equal that
France, but a painter of the Bolognese school, and   master, either in the correctness of his design, or
Franc^   a painter ^ the B~neses~oo^ and the firmness of his graver. He  executed a number
a pupil of Guido. He flourished about 1650. There  the firmness of his graver. He executed a number
are a number of works by him  in the'Bolognese  of plates after various masters, the best of which
are after Rubens. Among them are the followchurches, among which is a fine picture of St. An-  are after Rubens.  Among them  are the followtonio, in la Madonna della Liberta; and the Vir-  ing:
gin and Infant with St. Felice, at the Cappuccini.                     PORTRAITS.
PORTRAITS.
gin and Infant with   Felice,   the Cappuccini.   Isabella, Infanta of Spain, with two Children, one holdLAURIN, HEINRICH FRIEDRICH, a. German en-  ing a crown, the other her arms; after Rubens. Fran.
graver, born at Dresden in 1756; died in 1830.  Leiio Blancatie; after Vandyck.
He studied under Adrian Zingg, and executed a                SUBJECTS AFTE VAIOUS MASTER.
number of landscapes in a neat and spirited style,       Adoration ofthe Mg; fterubens. Christbe
after Salvator. Rosa, Kobell, and others, among  fore Pilate; do. In the latter impressions of this print,
which are the following:  Two Landscapes, after  the name of Bolswert is substituted for that of Lauwers.
Kleughel; a pair, the Fishermen, and, the Water-  The Descent from the Cross; do. The dead Christ on the




LAUW.                      461                    LAWR.
knees of the Virgin, with Mary Magdalene; do. The  1791 he was chosen an Associate of the A.ademy;
Triumph of the New Law; in two sheets; do. St. Cecilia,  in 1792 George III. appointed him  successor to
with Angels; after Gerard Seghers.  Gamesters and  Sir Joshua Reynolds, as principal painter in orSmokers in a Tavern; do. Jupiter and Mercury, with
Baucis and Philemon; after J. Jordaens. The Virgin  dinary; and the Dilettanti Society alsochose him
appearing to a Carmelite; after Diepenbeck. St. Agabus  as their painter. In 1795 he was received into
before the Virgin; do.                             the Royal Academy. His fame in portraiture had
LAUWERS, CONRAD, the younger brother of  now reached a high point, but he determined to
the preceding, born at Leuze about 1623. He  try his skill in historical composition.  Accordstudied engraving at Antwerp, and executed a  ingly he painted the Satan of Paradise Lost, calling
number of plates after the Flemish masters; also   upon his legions to arise. This work was highly
others with the graver, in the style of his brother,  praised for grandeur of design and splendid colorbut inferior to him.  Among them are the follow-  ing, but it was evident that his strength lay in
ing:                                               portraiture, and to that he devoted his entire enPORTRAITS.                     ergies. Among the many noble ladies who sat to
him, were Lady Templeton, the Marchioness of
Aertus Quellinus, junior, architect; qfter J. de Decyts.  him  wer Lady  Templeton, L ady C. Hamiltoness of
Peter Verbrugghen, sculptor; after E. Quellinus. M.
A. Capello, Bishop of Antwerp; after Diepenbeck. Antho-  Lady Peel, besides many others, including nearly
ny Vigier, Jesuit; after J. Cossiers.              all the beauty and fashion of the times.  Among
SUBJECTS AFTER VARIOUS MASTERS.           his portraits of men were Lord Grey, Lord AmElijah in the Desert, with an Angel bringing him food;  herst, William  Pitt, Thomas Campbell, Walter
after Rubens. Christ bearing his Cross; do. The Peni-  Scott, Benj. West, Henry Fuseli, and many others.
tence of St. Peter; after Cossiers. The Crucifixion; do.  The design of Lawrence is graceful and unaffectThe Virgin, with the infant Jesus, St. Elizabeth, and St.  ed; his coloring is clear and brilliant, with a soft
John in a Landscape; after Schiavone.              splendor, particularly in his female portraits, which
LAVESQUE, JACOB, a Dutch painter, born at  renders them  fascinating in the highest degree.
Dort in 1624. He studied under Rembrandt, but  His male heads possess a great deal of elegance
instead of following the style of that distinguished   as well as vigor.
artist, he attached himself to the works of John     In 1802, he received thirty guineas for his
de Baan, who was very inferior to Rembrandt. He  heads; sixty guineas for half-lengths; and one
devoted himself entirely to portrait painting, and   hundred and twenty guineas for full-lengths.  Engained considerable reputation.  He died in 1674.   couraged by increasing fame, he advanced his priLAYIZZARIO, VINcENZIo, a Milanese painter   ces; in 1806, his price for the head was fifty guinwho flourished in 1520. He was an excellent por eaandthewholelengths two hundred. In 1808,
e po'-  he raised the small size to eighty guineas, and the
trait painter, and Lanzi says "he may be esteemed                                   guineas, and the
the Titian of the;Milanese."                      whole size to three hundred and twenty. In 1810,
LAWRENCE, SI  THOMAS  an Enat the death of Hoppner, he increased his heads
LAWRENCE, SIR THOMAS, an English por-  to one hundred, and his full-lengths to four huntrait painter, born at Bristol in 1769.  His father,  dred guineas.  Notwithstanding these prices, his
who was a hotel keeper, taught him to recite poe-  popularity and practice continued to increase.
try, and encouraged him to cultivate the arts of     In 1814, Lawrence was commissioned by the
design, for which he manifested a strong inclina-  Prince Regent to paint a number of the sovetion while very young. In 1782 his father settled  reigns, statesmen, and generals, who had particiat Bath, and placed him under Mr. Hoare, apaint-  pated in the allied war against France. He comer in crayons, where his talents were developed  menced with the portraits of the King of Prussia,
with great rapidity, and in the same year, at the  Platoff and Blucher, who were then in England.
age of thirteen, he received for a copy of the Trans-  In 1816 he was knighted by the Regent; in 1818
figuration, the great silver palette, gilt, with the  he visited the Congress of Aix-la-Chapelle  thence
addition of five guineas, from the Society of Arts.  to Vienna, where he painted the Emperor of AusAt the age of sixteen he drew portraits with a  tria. In 1819 he visited Rome, and painted Pius
grace and accuracy nearly approaching the excel-  VII. and Cardinal Gonsalvi. There were many
lence of the productions of his riper years.  These  others in this collection, which is now in Waterloo
extraordinary talents, united with a handsome per-  Hall at Windsor castle. During the absence of
son, and great courtesy of manners, attracted many   Lawrence on the continent, Benjamin West, then
sitters of all ranks, and his works were exceeding-  president of the Academy, died in 1820, and he
ly popular.                                        was elected to the vacant chair. After enjoying
In 1787 Lawrence visited London, and entered   all possible honors and distinctions, both at home
as a student of the Royal Academy. He was en-  and abroad, for many years he died on the 7th of
couraged by Reynolds, who advised him to imi-  January, 1830.
tate the coloring of nature, rather than the richness of hue visible in the works of the old mas-    LAWRIE, ROBERT, an English mezzotinto enters; and not to represent things too like them-  graver, born about 1740, and probably died about
selves. Lawrence profited by this sage counsel,  1804. There are a number of portraits and variand after diligently applying himself to become  ous subjects by him, which possess considerable
expert in the use of oil colors, he produced his  merit. Among them are the following:
portrait of Miss Farren, afterward the Countess                        PORTRAITS.
of Derby, which was well received by the public.    George III.; after Zoffany. 1772. The Queen; do.
During the first year of his residence in London,  1772. The Prince of Wales, and Duke of York. 1772
he exhibited seven portraits of females at Somer-  Elizabeth, Duchess of Hamilton  after C. Read. Ste
set House, which added greatly to his reputation.  phen Francis, Duke de Choiseul; after Vanloo.
In 1788 he was honored with royal patronage,                SUBJECTS AFTER VARIOUS MASTERS.
and painted the Queen and Princess Amelia. In        The Nativity; after Rubens. The Holy Family re




LAZZ.                     462                     LAZZ.
turning from Egypt; do. The Crucifixion; do. The  tween the Belvidere and the Vatican palace, which
same subject; after Vandyck. The Incredulity of St.  he executed in a most admirable manner; but his
Thomas; after Rembrandt. The Adoration ofthe Magi;  work has been injured by various alterations.after A. Cazali. Sun-rise, alandscape; after G. Barret.
A hard Gale; after Vernet. A Squall; do  The Quack- Ther was an engraving by Enrico van Schoel,in
Doctor; after Dietricy.                          the Corsini Library, representing the court as Bramante left it. The graceful and beautiful temple
LAZZARI, DONATO, called BRAMANTE D'URBI   in the cloister of San Pietro Montorio, is one of
NO, an Italian painter, and a preeminent architect,  his most esteemed works, of which he executed a
was born, according to Colucci. at Castel Durante,  large number. That by which he gained the most
in the  Duchy of Urbino in   1450; although Va-fame, however, was the celebrated Basilica of St.
sari dates his birth in 1444.  Others say that his  Peter.  Julius II. conceived the grand design of
family was of Castel Durante; but that he was  demolishing the old church, and erecting a new
born at Monte Asdrualdo, a villa of Fermignano,  one whose equal should not be found in Rome, or
four miles from Urbino; whence he is called As-  in the world. The plan, although a Latin cross,
drutvaldinus.   He first applied himself to paint-  was well divided, and of a vastness unequaled.
ing; but his inclination for architecture soon   The principal nave was well proportioned, with
gained the ascendancy, and he devoted his entire  peristyles forming three naves; the cupola and
energies to that department of art. He studied the   steps were on the plan of the Parthenon, and the
paintings of Fra Bartolomeo Corradini, and painted   general arrangement of his design resembled the
portraits, as well as subjects from sacred and pro-  plan of that edifice, being composed of eight
fane history, in a style resembling Andrea Man-  masses, between each of which were two columns,
tegna. Lomazzo mentions with distinction the  forming three intercolumniations.  In 1513 the
few paintings, by him, remaining at Milan and in  foundation of this edifice was laid, and the work
the State. Most of his frescos in the Milanese  progressed with incredible despatch until the succhurches have nearly or quite perished; but some-  ceeding year, when Bramante died, at the age of
thing has been preserved in the Palazzo Borri, and   seventy, and was pompously interred in St. Peter's,
the Palazzo Castiglione. At Pavia, in the chapel  attended by all the papal court, and professors of
of the Carthusians, is a chapel painted by Bra-  the Fine Arts. The architects who succeeded him
mante, in fresco, in which the figures are grossly  in this great work altered his original design, leavand heavily designed, and the coloring is crude and    g none of his workmanship standing except the
raw. Rosini gives a print, which exemplifies his  four great arches which support the tower of the
style of painting.                   -           dome. Bramante was highly esteemed during his
Bramante shares with Brunelleschi the honor  whole life, for his amiable qualities, as well as for
of restoring pure architecture.'He visited Lom-  his talents.  His writings, both in prose and
bardy, and studied the proportions of the Milan-        were first discovered n 1756, and were
verse, were first discovered in 1756, and were
ese cathedral, after which, according to Milizia, he  published in the collection of Opusculi, at Milan,
went to Rome, and devoted his whole attention to  in that year.
studying and measuring the great remains of antiquity in the vicinity of that city. He afterward    LAZZARI; Go. ANTONIO, a Venetian painter
visited Naples for improvement, and on his return   of noble descent, was born, according to Melchiori,
to Rome was commissioned by Cardinal Oliviero  in 1639, and died in 1713. Lanzi says he was a
Caraffa to rebuild the cloister for the Fathers della  scholar successively of Cav. Liberi, of Langetti,
Pace. It was built of travertine, and without pos of Ricci, and of Diamantini. He was more celesessing much beauty of design, it gained him great  brated  as a copyist than as an inventive  genius.
reputation, as Rome was at that time without an   Melchiori says he copied the works of Bassano so
eminent architect. He was appointed pontifical  skilfully as todeceive the best judges, and to
architect by Alexander VI., and erected the foun-  sell them for riinals by that master. He also
tain of Trastavere; the principal part of the Pa-  excelled in painting with crayons, and was the inlazzo della Cancellaria; and several other works,  structor of the famous Rosalba Carriera in that
all of which were built of travertine stone, in a 
regular style, manifesting a great improvement in   LAZZARINI, CANON. Gio. ANDREA, a painter
architecture, although not entirely purified from   of the Bolognese school, was born at Pesaro in
barbarism. Bramante's style was at first cold and   1730. He studied under Francesco Mancini, and
formal, but afterward became elegant and majes-  notwithstanding his clerical duties, he executed
tic. His invention was fertile, and his buildings  many beautiful works for the churches. He was
possess the requisite solidity.,His genius was un-  a profound scholar and an excellent connoisseur;
doubted, and his abilities were highly estimated   and Lanzi, speaking of the beauty and propriety
by Michael Angelo, as is evident from  a letter  of his compositions, says, "How widely different
written by the latter to his friend, Sig. Bartomeo,  in point of invention appears an artist versed in
" It cannot be denied that Bramante is superior in  literature, and one with no taste for letters."  He
architecture to all others, since the time of the an-  painted two historical pictures for Count Algacients," &c. He was the uncle of Raffaelle, and   rotti, representing Cincinnatus called to the Dicinduced that artist to visit Rome, where he gave  tatorship, and Archimedes absorbed in his scienhim great encouragement, and taught him  archi-  tific studies during the Storming of Syracuse,
tecture. In the School of Athens, Raffaelle drew   which Lanzi pronounces well executed and classithe portrait of his instructor leaning against a pi-  cal productions, at once noble and graceful, and
laster, and describing a geometrical figure, sur-  free from all affectation or parade. He executed
rounded by youths, who are regarding him  with   many  altar-pieces and other subjects for the
great attention. Appointed pontifical architect by   churches in his native city, and in other places.
Julius II., Bramante was commissioned to reduce   His master-piece is a picture of the Virgin and
to the form of a rectangular theatre the space be-  Holy Child, between St. Catherine and B. Marce




LAZZ.                     463                    LEBA.
Fantuzzi, which adorns the chapel of the Counts    LEARCHUS, one of the most ancient Greek
Fantuzzi in Gualdo, a diocese of Rimini, and which  sculptors, born at Rhegium B. c. 700. According
Lanzi says is executed in true Raffaellesque style.  to some authors, he was a disciple of Daedalus;
He had spent several yCears in Rome, at the house  though others say he studied under Dipenos and
of Cardinal Fantuzzi, for whom he made a superb   Scyllis. Pausanias mentions a statue of Jupiter
collection of paintings, among which were several  by Learchus. which was formed out of several
of his own works.  He also succeeded admirably  pieces, fastened together in a very ingenious manin pictures of Magdalens and Madonnas, which he  ner.
represented with great sweetness of coloring, and  LEBARBIER, JEAN  JACQUES FRANCOIS, a
appropriateness of expression. A weeping Mag-  French painter, born at Rouen in 1738. He gaindalene in the Varani Collection at Ferrara, is high-  ed the first prize in the Academy of that city, and
ly commended as a masterly and studied perform-  then went to Paris, where he studied under Pierre,
ance. He wrote several admirable treatises on  the first painter to the king. Ile was afterward
the Fine Arts, especially his Dissertation upon the  sent to Switzerland, to make designs for the beauArt of Painting, which has often been republish-  tiful work of Zurlauben, entitled Tableaux topoed. He died in 1801, at the great age of ninety-  graphiques de la Suisse. Here he formed a pleasone years.                                       ing intimacy with the distinguished Gessner, and
LAZZARINI, GREaORIO, a Venetian painter,  afterward visited Rome for improvement, where
born, according to Zanetti, in 1654; although  he made many designs from the most celebrated
Longhi places his birth in 1658. He studied un-  works of art, and on returning to France distrider Francesco Rosa, a Genoese painter, then resi-  buted them among the different schools of paintdent at Venice, but soon renounced the gloomy   ing. By this means he is said to have prepared
style of that master for one of a more simple and  the way for the revolution in the French school,
natural character. Although Lanzi asserts that  commenced by Vien and completed by David. He
Lazzarini never left Venice, yet his works resem-  practised the art for many years with reputation;
ble those of the Roman or Bolognese school. He  was a member of the old Academy of Painting,
was highly esteemed by his cotemporaries, partic-   nd also of the Institute. He wrote several works
ularly by Carlo Maratti; for when the Venetian   on art, which possess considerable merit. He died
ambassador at Rome proposed to have a picture  in 1826.
painted by a Roman artist, to adorn the  Sala    LEBARRE, ELOI, a French architect, born at
della Scrutinio of his native city, Maratti refused  Ourchamp in 1764. He early manifested a taste
the offer, saying it would be an act of great injus-  for design, and was sent to Paris in 1782, where
tice, while Venice possessed so great a painter as  he studied under Raymond, architect to the king.
Lazzarini. The latter was accordingly employed,  He made excellent progress, and gained great repand. produced his admirable work of the Triumph   utation. He was made a member of the Legion
of the Morosini. His best performance, however,  of Honor, and succeeded Thibaut in the French
is a picture of St. Lorenzo Giustiniani, in the Pa-  Institute. He was employed in many important
triarchal church at Venice. This work was es-  works, among which was the palace intended for
teemed by Lanzi, as the finest oil painting of the  the Merchants' Exchange, and the Tribunal de
Venetian school of that time, and he highly praises  Commerce. He died in 1830.
it for grandeur of composition, variety in the     LE BAS  See BAS.
heads and attitudes, and elegance of contours.    LE,  CAL   JAUE, a F               h 
Longhi places the death of this artist in 1730, but    ho ter
Zanetti in 1740.                                 who flourished during the  rst quarter of the
LZAZZARtOin    Gio.  BATTITA, a painterofpresent century. He painted portraits and histoLAZZARONI, GIo. BATTISTA, a painter of  rical subjects, which possess considerable merit.
Cremona, was born in 1626, and died in 1698. He  He produced a number of interesting subjects
studied under Gio. Battista Tortiroli. according to  from  French history, from 1806 to 1827 among
Zaist, and devoted himself mostly to portraiture,  which were the Taking of Paris by Henry IV. 
in which he became very eminent, and was much  Napoleon visiting the Hospital of St. Bernard, &c.
employed by the princes and nobility at Milan,  In the collection of Baron Holland was a picture
Parma, and Piacenza.                             by Lebel, representing Turenne asleep on the
LEADER, WILLIAM, an English mezzotint en-  Field of Battle, in winter, and his officers covering
graver, who executed a number of prints, among  him with their cloaks.
which is a small upright plate of Samson in Pris-   EBEREHT, CHARLES DE, a celebrated   don, after Rembranlt.                               LEBERECHT, CHARLES DE, a celebrated medon, af~t~erl Rembrandt.             alist and engraver on precious stones, born at
LEAL, LEON, DON SIMON DE, a Spanish paint-  Meiningen in 1749. At the age of twenty-six he
er, born at Madrid in 1610. He studied under  went to Russia, and executed several medals, which
Pedro de las Cuevas, and became eminent in his-  attracted  the notice of Catharine II., and he
tory and portraits, in whichlast he approached the  was sent to Rome for improvement, at the expense
clear and harmonious coloring of Vandyck. Hie  of that Empress. Here he made rapid advances,
was appointed painter to the Queen, and was  and on returning to St. Petersburg he soon gained
much employed by the Spanish court. There are  reputation. At the accession of Paul I., he was
several historical works by him at Madrid, among  appointed medalist to the court, and Director of
which are the Conception, at the Capuchins; and  the Mint. In 1806 he was chosen a member of
the principal altar-piece, as well as a series of sub-  the Academy of Fine Arts; in 1809, Chevalier of
jects from the Infancy of Christ, in the church of  the Order of St. Anne; in 1812, member of the
the Novicisdo of the Jesuits. He died at Madrid,  Academies at Stockholm and Berlin. Most of his
in 1687.                                         works relate to the history of Russia, among
LEAL. DON JUAN DE VALDES. See VALDES.    which are the four medals struck in 1803, for the




LEBL.                     464                     LECL.
centennial jubilee of the Founding of Peters-  born at Rouen in 1750. He is principally distin
burg. Leberecht established a successful school,  guished as a writer on the art, and acquired suffiand instructed many scholars in the art. He died  cient reputation to be chosen Professor in the
in 1827.                                         Academy at Rouen, and was a member of several
LEBLANC, HORACE, a French historical and  literary societies at Paris. One of his principal
LEBLANC,                                       workswas his Galerie des Peintres celebresc ane
portrait painter, a native of Lyons, who flourished   works was his  alerie deeintres celebres, ave
in the seventeenth century. He visited Italy, and  des remarques sur la genre de chaque maitre,
studied under Lanfranco, but adopted the style of  Rouen and Paris, 1800, 2 vols. 8vo. He died in
Cav. d'Arpino. On returning to Lyons, he soon   1822.
gained reputation, and was appointed painter to    LECCE, or LECCIO, MATTEO DA, called Perez
the city. His portraits were much esteemed for  d'Alesio. This painter flourished at Rome, actheir accuracy of resemblance. Among his prin-  cording to Baglioni, about 1580. Iis works are
cipal historical works are, Christ at the Sepulchre,  chiefly in fresco, and he attempted the style of
in the church of the Carmelites; and the Martyr-  Buonarotti, but with little success. In the Chiesa
dom of St. Irenseus and the first Christians of  Nuova is a large altar-piece by him, representing
Lyons, for Les Feuillants. He practised the art  the Transfiguration; and in S. Eligio degli Orefici,
at Lyons for many years, and finally died there at  is a picture of the Virgin and Infant, with saints.
an advanced age.                                 It is supposed he died in 1600.
LEBLOND, JEAN, a French painter, born in         LECCHI, or LECH, ANTONIO, a Venetian paint1635. He painted history with considerable rep-  er, eminent for his flower-pieces, who flourished,
ntation, and died at Paris in 1709.              according to Martinioni, in 1663.
LEBRUN, JEAN BAPTISTE TOPINo, a French           LECLERC, DAVID, a Swiss painter, born at
historical painter, was a native of Marseilles. He  Berne in 1680. He studied under Joseph Werstudied under David, and painted a number of  ner, and then visited Frankfort, where he practised
good works, among which his picture of the  the art for several years, and acquired consideraDeath of Caius Gracchus was purchased by the  ble reputation for his pictures in oil, miniature,
government, and placed in the Museum  of Mar-  and enamel. He was invited to the court of Hesse
seilles. This artist became unfortunately involved  Darmstadt, and executed the portrait of the Landin a conspiracy against the life of Napoleon, while  grave, Ernest Ludwig; after which he entered
First Consul, and was condemned to death in 1801.  the service of the Landgrave of Hesse Cassel, and
LEBRUN, MARIE LOUISE ELISABETH, an emi-  remained there thirty years. During this period
nentFrench paintress, born in 1755. Her maiden  he visited France; and in 1715 went to Engname was Vigee, but she married Jean Baptiste  land, remaining there two years, after which he
Pierre Lebrun, a dealer in works of art. She  returned to Germany, and settled at Frankfort
studied under Davesne, Briard, and Joseph Ver-  Most of his works are portraits, in oil and minianet; after which she gained great improvement  ture, designed in an elevated style, with a system of
by copying the works of Rubens and Rembrandt;  coloring founded on those of Rigaud and Rubens.
also the beautiful heads of young girls, from the  There are also by him a number of fine historical
pencil of Greuze. She soon gained a great repu-  subjects, landscapes, and flower-pieces. Leclerc
tation; was patronised by many distinguished in-  was much patronized by the German princes. He
dividuals; and, during the whole course of her  died at Frankfort in 1738. He had a brother,
long career, her talents were very highly esteemed  named Isaac L., a very ingenious engraver on steel
throughout all Europe. Her subjects are princi-  and on precious stones, who was appointed medalpally portraits, semi-allegorical subjects, and land-  ist to the court of Cassel, and died in 1746. Jan
scapes. She painted the famous Count Orloff;  Friedrich, the son of David L., was born at LonCardinal de Fleury; Marie Antoinette; Madame  don in 1717, and practised miniature painting, in
de Stael as Corinne; Madame Catalina, and many   Germany, with reputation.
others  She was admitted to the Academy of    LECOMTE, FELIX, a French sculptor, born at
Paris, and presented her picture of Peace renew-  Paris in 1737. He studied under Falconet and
ing Plenty, as her reception piece. She visited  Vass6, and having gained the grand prize of the
Italy in 1789, and was chosen a member of the  Academy, he visited Rome with the royal pension.
Academy of St. Luke, at Rome. where she painted  On returning to Paris. he soon gained a high repMiss Pitt as a Hebe, an admirable work; also  utation, and was admitted to the Academy in 1771.
Lady Hamilton as a Sibyl and Bacchante; the  By order of the government, he executed the statpainter Robert; the Queen of Naples and the royal  ues of Rollin and Fenelon, the latter of which is
family. She afterward visited Switzerland, Prus-  in the Hall of the Institute, and is considersia, Russia, and England, receiving everywhere the  ed his master-piece. During the Revolution Lemost flattering attentions and honors. After spend-  comte lived in retirement; but in 1810 he was
ing three years in England, and painting the por-  appointed a member of the fourth class of the
traits of Lord Byron and the Prince of Wales,  Institute; and on the accession of the Bourbons,
she returned to France. During her travels she  he was appointed Professor in the Academy of
painted many admirable landscapes, and the result  Sculpture. He died in 1817.
of her indefatigable exertions during a long life    LEOMTE MARGUERITE. This ladywasborn
was 662 portraits, 15 compositions, and 200 land-    LECO, M.    is  d    s b
scapes. She 5w1as honored by admission to the  at Paris about 1719, and distinguished herself by
scapes. She was honored by admission to the  ^   ^   ^   ^  ^   ^   Sheengravedanumber
Academies at Pais, Bolognaher fine taste for the arts. She engraved a number
cademies at PaBrlin,     rsroga, RStLuke atd VR e,  of portraits and landscapes; also several vignettes
Geneva, Berlin, St. Petersburg, Rouen, and Vau-                                    It would apfor a translation of Gessner, 1764. It would apuse. Madam  Lebrun died in 1842, aged 87.  pear that she attained considerable eminence in
LECARPENTIER, C. L, F., a French painter.  art and literature, as her portrait, designed by




LEDE.                      465                     LEES.
Watelet, engraved by Lempereur, is inscribed  landscapes he followed the tastes of Genoels and
Miarguerite Lecorte, des Academies de Peinture   Gaspar Poussin. His coloring is pleasing, though
etdesBelles-Lettres de Rome, de Bologne, et de Flo-  occasionally too cold; and his pencil is free and
rence.                                           flowing. In the church of St. Anne at Bruges, is
~LEDERER, HANS. TThere is considerable'  a picture by vander Leepe, representing the Flight
LEDERER, HANS. There is considerable
uncertainty among various authors with  into Egypt.  His landscapes are generally decuncertainty among various authors wth  orated with the figures of Kerckhove and Duvenregard to this artist.  Professor Christ            He died in1720
and Malpe attribute to Hans Lederer several engravings marked with the accompanying mono-    LEEST, ANTONIUS VAN, an engraver mentioned
gram. Brulliot ascribes to Jerome Lederer four  by Papillon, as possessing considerable talent.
prints expressing the different temperaments, as  by his cuts of the Four Evangelists.
the Sanguine, the Melancholy, the Choleric, and
Phlegmatic. The first, has the name H. Lederer;    LEEUW, GABRIEL VANDER, a Dutch painter,
and the second a mark resembling I. L., or H. L.  born at Dort in 1643. He was the son and scholar
Nagler also agrees with Brulliot, giving the Latin-        Sebastian vader Leenw, formerly a disciple of
ized name as Ilieronymu.                         Jacob Gerritze Cuyp. He made such rapid progress, as soon to surpass his father, and then went;E, LEDERLIN. JACOB, a German wood en-  to Amsterdam, from whence he traveled to France
I VLgraver, born at Tubingen about 1565.  in company with David vander Plaas. After pracT 3i He executed a number of wooden cuts,  tising the art with good success at Paris and Lysome of which are dated 1590; also a set of por-  ons for four years, he visited Rome for ihnprovetraits of some of the professors of the University   ment, and studied the works of Benedetto Casof that city, published in 1596, by Erhard Zell.   tiglione, and Rosa da Tivoli. His subjects were
LEDERSBASCH, CHRISTOPHER, probably a  usually landscapes with cattle, and he often spent
German engraver, who etched a number of plates,    hole days in the fields, designing afternature
among which is a large upright print of the Pre-  by which he acquired great correctness of design
sentation of Samuel, after Romanelli.            and truth of coloring. His compositions are ingeniously arranged, the animals well drawn, and
LEDESMA, JosE  DE, a Spanish painter, born  touched in a bold and masterly style.  After
in Old Castile in 1630. After acqiring the ele-  practising the art for ten years in Italy with exments of design in his native coultrcy, he went to  cellent success, he returned to Holland, and at first
Madrid, and entered the sch gf.p oniJuan Ca-  received great encouragement; but as he wrought
renno. Palomino highly. Rises.mhi   for his cor-  with surprising facility, his works became less
rectness of design and, ib'lra le qofong; and  popular, not being finished with the laborious prementions his maste Iof'the' D epsition from   cislon of the Dutch artists, but pencilled in a free,
the Cross, with the Virgin. Mary Magdalene and-  bold, and spirited style, and colored in the ItalSt. Johi. in the church of the Recollets of St. Au-  ian taste. Discouraged by this ill success, he regustine. He died at Madrid in 1670.              solved to return to Italy, but died soon after at
LEDOUX, CLAUDE NICOLAS, a French archi-  Dort, in 1688. He etched a number of plates in
tect, born at Dormans, in the department of the  the styles of Castiglione and H. Roos, which duMarne, in 1736. He was educated at the college  ring his residence in Italy, he signed G. Leone;
of Beauvais, and then went to Paris, where he  Leone signifying a lion in Italian, as does Leeuw
learned engraving, and for some time devoted  in Dutch. The Italian writers incorrectly ascribe
himself to that branch of art. He then applied  these plates to a Guliemo Leone, placing his
himself to the study of architecture, and in 1771,  birth at Parma, in 1644.
Madame Dubarry appointed him  her architect.
For her he erected the elegant pavilion De Lou-    LEEUW, PETER VANDER, a Dutch painter, the
vcneFor her he erected the elegant pavilion D    younger brother of the preceding. was born at
veciennes, and the chateau deSt. Vrin, near Ar-;.ort in 1644, and studied under his father, Sebas.
pagon. Among his other works were a hotel at  tian vnder Leeuw, mentioned in the foregoing aParis, for the Count d'Halleville; in Rue Michel  tic. de He painted similar subjects to those of hin
Lecomte, that of Prince de Montmorency; the Ho-  brother, and with great merit; but his style of
tel de ThBusson, wih its noble gateway; ando th-e  penciling and coloring was better adapted to the
chateau de Benonville, at Caen. His most import-  taste of his country, his pictures being very neatly
ant work. however, was the Barriers of Paris                            pictures beingveryneatly
ant work, however, was the Barriers of Paris,  and carefully finished. He was a close imitator of
which were erected'afitr his designs. The most  the works of Adrian Vandervelde, and his pictures
remarkable part of this great work, is the trium-   r of   mistaken for the productions of that masphal columns of the Barriere du Trone. He pubphal colurnns ofthe iBariedre du Trone. He pub-  ter. His skies are bright and clear, his distances
lished a work entitled L'Architecture Considerhe
liur e Rapporkt de  ledArt, des A eurs, et da Lerg   very agreeable, his touch and coloring closely aplsurai on, Pari 1804'Art, des. Leurst da Led i   proaching the excellence of Vandervelde, although
1   806.                         ^   his animals are inferior to that master, in correctness of design or beauty of finishing. He died
LEEPE, JOHN ANTHONY VANDER, a Flemish  at Dort in 1705.
painter of landscapes and marines, born at Bruges,
of a distinguished and opulent family, in 1664.    LEEUW, JON DE, a Dutch engraver born at
Manifesting a strong inclination for art, he was  the Hague about 1660. In concert with John
permitted to indulge his desires, by devoting him-  Lasvelt, he executed theportraits for leVassor's
self to painting. He made nature his chief mod-  History of Louis XIII. There are also a number
el, spending much time in the fields and forests,  of ther plates by him, among which are the folor on the sea-shore; consequently his works are  lowing:
very truthful, particularly his marine views. In his    Carolus Niellius, D. Thool. J. de Leeuw, sc. James




LEEU.                      466                      LEGI.
William Imhof, Senator of Nuremberg; D. Leeuw, fee.  Among them are the following, engraved for John
Joseph Justus Scaliger. John, Duke of Marlborough;  Boydell:
veni, vidi, vici. Abraham Cowley, poet; for the edition
of his works published in 1700,                      Mary, Queen of- Scots, resigning her Crown; after Gavin Hamilton. The Continence of- Scipio; qfter N. PousLEEUW, THOMAS DE. See LEU.                       sin. The King, Queen, and Laertes, in Hamlet; after
LEEUW, WILLIAM DE,  West. Also a Scene in Richard the Third, after Northj\\  jo~r  \ fi {a Flemish engraver, born  cote; and another Scene in King Lear; after Barry.
~~jr           e        ~Im,,aor   a Flemish engraver, born co
VTj     f  at Antwerp  in  1610;         LEGI, GIACOMO, a painter of Flanders. who,
died about 1665.  He studied under Peter Sout-  according to Soprani, died young at Genoa in 1640,
man, but instead of adopting the neat and fin-  but left there some exquisite pictures of animals,
ished style of that master he etched his plates with  flowers, and fruit.
boldness and freedom, although in a coarse and       LEGNANI, STEFANO, called LEGNANINO, a Miinharmonious style.  He executed a number of  lanese painter, born, according to Lanzi, in 1660.
plates, which are much esteemed, particularly his  After acquiring the elements of design from  his
paintings, after Rubens, to which his manner was  father, a portrait painter, named Cristoforo Legwell adapted.  The following are the principal:    nani, he studied successively under Carlo Cignani,
Lot and his Daughters; after Rubens. The first im-  at Bologna, and Carlo Maratti at Rome. His
pressions are before the name of C. Dankertz. Daniel in  style combines those of the Roman, Milanese, and
the Lion's Den; do. The first impressions of this plate  Bolognese schools; and he executed a number of
are also before the name of Dankertz. The Virgin, sup-  subjects from sacred history and the fable, comported by Angels, called Mater Dolorosa; do.; scarce.  posed with elegance and taste, and evincing great
The Martyrdom of St. Catherine; do,; fine and scarce. tellgence of the ciaroscuro, a free and spirited
Four large plates of Huntings; do. The same subjects  i ntelligenc of the  ciaro-scuro a f cloring.   He
are engraved by P. Soutman, viz. the Lion-hunt, the Boar-  touch. a   charming clearness o  coloring.  He
hunt, hunting the Wolf, and the Crocodile and Hippopota-  painted a number of pictures at Genoa, and Tumus. Tobit and his Wife; after Rembrandt. David  rin, and particularly several fresco works at Milan,
playing on the Harp before Saul; do. The Portrait of   among which is a picture in S. Angiolo, representembranndth s Wife; do. A Female wSt. Francis  eal-  ing a battle fought under the protection of St. Gialength; do.; inscribed Marianne. St. Francis in medi-       A                         o         i
tation; after J. Lievens. A set of four large Landscapes;  camo.  At Novara, in the cupola of S. Gaudenzio,
after Adrian Nieulant. These prints are in a more fin-  is one of his finest productions.  He died in 1715.
ished style than is usual with him; they are scarce.  LEGNANO. See FRANCESCO BARBIERI.
LEFEBURE.  See FEVRE.                              LEGOTE, PABLO, a Spanish historical painter,
LEFEVRE, ROBERT, an eminent French painter  who practised at Seville about the middle of the
of portraits and history, born at Bayeux, (Calva-  17th century; and wag living at Cadiz in 1662, as
dos) in 1756. He early manifested an inclination   appears from  payments made to him there for
for art, and although of a very poor family, he  painting standards for the Indian naval armament.
succeeded in amassing a small sum to enable him   le was patronized by Cardinal Spinola, Archto visit Paris, The sight of the works of art in  bishop of Seville; for whom he painted twelve fullthat metropolis, decided him  to study painting;  length pictures of the Apostles, life size, for the
and on returning home, he began to practise or-  archiepiscopal palace. These works evince an asnamental painting, for apartments, by which he   siduous study of nature, correctness of design, and
gained the means of revisiting Paris, where he en-  great truth and beauty of coloring.  Several of his
tered the school of Regnault.  His instructor was  paintings have been ascribed by good judges to
surprised-at his fine coloring, and told him that he  the elder Herrera and Alonso Cano, particularly
could teach him nothing in that department of the   twelve half-lengths of the Apostles, in la Miseraart.  In 1791, Lefevre exhibited several portraits  cordia at Seville; and the grand altar-piece of Santa
and other subjects, which were admired, and en-  Maria de Lebrixa, in the same church.
couraged him to fresh exertions.  In 1804, he ex-    LEGRANDJAcQuEs GUILLAUME an eminent
hibited a full length portrait known as The Lady   French architect, born at Paris in 1753.   e was
in black velvet, which gained him great reputation,  educated for his profession in the school des Ponts
and from this time his success was complete.  He  et Chausses, where he attracted the notice of
painted the portraits of Napoleon and Josephine,  perronnet, and while very  young, wtas commisand made twenty-seven copies for different princes  sioned to erect the bridge at Tours. He studied
and dignitaries of Europe.  At the restoration of  also under Blondel, and after his death, under
the Bourbons, he was employed to paint the por-de
for thesChamberyof Peers   Clerisseau. In company with      Molinos, he  made
trait of Louis XVIII, for the Chamber of Peers,  the tour of Italy, but was recalled to Paris by
which gained him  the appointment of painter to  the government, in whose employment he rethe King, and admission to the Legion of Honor.  mained twenty yeas.  He erected many public
Among his other portraits are those of Charles X.,  edifes, and restored others, which had fallen into
and the Duchesses d'Angoul4me and de Berrn.  decay. One of his most noted works, which he
Among his nsubgvcts of history are, Venus dis-  executed in concert with Molinos, was the cupola
arming Cupi; engraved by Desnoyers;  Phocion   of the Halle aux Bleds. He also erected the Theataking thPoson, treated in  an vigorous and ele-  tre Fleydeau, and effected the restoration of the
ateed style; the Crucifixion, and the Apotheosis  Fountain of the Innocents, the Halle aux Draps,
Of St. Louis, in the Cathedral at Rochelle.  He   and the interior of the Hotel Marboeuf. He wrote
died inm 1831.                                     the text for the pictorial works entitled Edifices
LEGAT, FRANCIS. This engraver resided at  de Paris, and Galerie Antique; also the descripLondon about 1780. His plates evince an imita-  tions and criticisms of many architectural subtion of the style of Sir Robert Strange, though in-  jects in the Annales du Musee; the architectural
ferior to that master in power and brilliance of   portion of Cassas' Voyage Pittoresque d'Istrie et
effect. They are executed in a very finished style.  de Phenicie; and also an octavo volume to ac



LEIG.                     467                    LELY.
company Durand's Parallele d'EdiJices.  He  a teacher of the art, however, he attained great em
died in 1806.                                    inence and held a high reputation f-r many years
LEIGEL, GODFREY, a Swiss wood engraver,  He also taught sculpture and architecture with
i    who flourished from 1527 to 1560, according  equal success. He executed many excellent modto Bartsch and Brulliot. Among other prints,  els in wax, for the Bolognese Institute; also A
he executed a set of wooden cuts of sacred sub-  number of fine works in marble, which evince a
jects marked with his monogram.                  high order of talent in this branch of art. He
LEIGH,  D an E h a    r p, a  wrote a work entitled Compendio Anatomico per
LEIGH, JARED, an English amateur painter, a  U  de' Pittori e  cu ri. As an architect none
Proctor in the Doctors' Cnmmons.  He painted  auso de' Pittori e Scultori.  As an architect, none
Proctor in the Doctors' Commons.  He painted    mentioned  As an engrver, he
landscapes and marine views, and frequently ex-  of his works are mentioned. As an engraver, he
hibited at the Society's Rooms in Spring Gardens.  executed a number of good plates, among which
He died about 1769.                              the following are after his own designs: Hagar
and Ishmael; the Virgin and Infant; St. Filippo
LEIPOLDT, J. There is a small oval por-  Neri, surrounded by a Glory of Angels; St. Tetrait of Mary, Queen of Scots, surrounded by the  resa at prayer; a number of portraits, among which
arms of England, Scotland, Ireland and France,  is that of his preceptor Zanotti. His plates are
marked with the name of this artist.             usually marked E. L. He died in 1766.
LEISMAN, JOHN ANTHONY. See EISMANN.              LELY, SIR PETER, an eminent German portrait
LEJEUNE, Louis FRANCOIS.  This painter  painter, born at Soest, inWestphalia, in 1617. The
was born at Strasburg, in Germany, in 1775. He  family name was vander Faes, but his father, an
was an aid-de-camp to Gen. Berthier, and was en-  officer in the army, being lodged in the house of a
gaged in rnny of the battles of the French armies  perfumer, the sign of whose shop was a lily, reduring    r    of  aleo         e        esis      ved the  appellation of Napoleon. He madetain du Lys, or Lely;
of the engagements on the spot, and afterward  and the son retained this name. Manifesting an
painted the pictures. Among his principal pro-  inleination for art, he was placed in the school of
ductions are, the battles of Marengo, Lodi, Abou-  Peter Grebber of Haerlem, with w     he conIkir, (on land) -Mount Tabor, the Pyramids Mos-  tinued only two years; having, at the age of twenkowa, and several others. He was honored with   t  made sufcient progress    portrait and landthe titles of Baron, and Chevalier of the Order of  pe to enter on his profession. In 1641 he visSt. Louis; in 1831 he filled the highly honorable  ited England, were  andyck had died the year
appointment of Commander of the Legion of Hon-  before. At first he painted landscapes with hisor. Bovinet and Coiny have engraved several of  torical figures; but soon devoted himself entirely
his battles.                                     to portrait painting, in the style of Vandyck, and
LEIE,   DRIA  Flemish painter, born atgained great reputation. Through the influence
LELIE ADRIAN LIE a Flms  pa r br    tof William, Prince of Orange, who visited England
Tilbourg, in the province of Brabant, in 1755. He        1643, Lely was presente d to Cand
studied under Quertenmond at Antwerp; but by   painted his portrait, as well as those of William
the advice of Prof. Camper, he settled at Amster-  and the Princess Mary. During the civil wars,
dam, where he was greatly patronized, and prac-ained in favor with both Royalists and Retised the art for many years. He painted many   publicans, and was commissioned to paint the porportraits and cabinet pictures, which are highly  trait of Cromwell, who said to the artist, " Mr. Lely,
esteemed throughout Holland and Germany, be-  I desire you will use all your skill to paint my picing placed  in the choicest collections. He visited  ture truly like me, and not flatter me at all; but reDusseldorf, and copied manl   portraits by Rubens  mark all these roughnesses and pimples, warts, and
and Vandyck, as well as historical subjects by   every thing as you see me, otherwise I will never
Italian and Dutch masters. In the Museum at  pay you a farthing for it."  After the restoration
Amsterdam, is a picture by him, representing the  Lely was appointed court painter to Charles II.,
interior of a peasant's dwelling.  One of his best  who also conferred on him the honor of knightworks, was a picture of a young student at his  hood. He gained great reputation and encouragelesson, in the collection of Madame Vanderberghe  mt, and for many years was the most eminent
of Ghent. He died at Amsterdam in 1820,          painter in England. He acquired a considerable
LELIE1BERG. Little is known of the per-  fortune by his art, and deported himself in a mansonal history of this artist. He flourished in Hol-  ner worthy of his success. There are a large numland about 1663, and painted pictures of dead game  ber of his works, which are portraits to the knees,
and subjects of the chase, in the style of Ween-  mostly of ladies. The backgrounds in his landinx.                                             scapes were usually painted by others, especially
LELLI, Gio. ANTONIO, a Roman painter, born,  when landscape was required. There are a few
according to Baglioni, in 1591, and painted a number  historical subects by him, among  hich is Sof fine historical subjects for the Roman churches;  sanna and the Elders, in the possession ofthe
although he was principally employed on easel  MarquisofExetered
pictures for private collections. There is an ex-   y abeautiful and permanent colorng,  d    e
cellent picture of the Annunciation by him, in S.  ful attitudes. Inferior to Vandyck isimplici
Matteo in Merulano; but his master-piece is the  elevation of deSg, and purity of coring 
Visitation, in the cloister della Minerva.       endeavored to, supply  is want of   te with affectation in the airs of his head, and a loose,
LELLI, ERCOLE, an Italian painter, engraver,  capricious arrangement of his habWiments, greatly
sculptor, and architect; born at Bologna about  inferior to the tasteful draperiesf Vandyck. The
1700. He studied under Gio. Pietro Zanotti, and  eyes of his female figures havy/a sleepy, languishpainted a few pictures, among which is the Virgin  ing look, which in some cgeS might give a fine
and Infant, with saints, in S. Andrea at Bologna;  effect, but is almost univ  ally visible in his porand St. Fedele, in the Cappuccini1 at Piacenza. As  traits. exposiug him to X  charge of nanneriai




LEMA.                      468                    LEMP.
The hands of his ladies are very beautiful, and           SUBJECTS AFTER VARIOUS MASTERS.
some of his female portraits surpass those of Van-    The Bathers; after C. Vanloo. The Triumph of Siledyck. There is an etching by Lely of a Shepherd  nus; do. Aurora and Tithon; after Pierre. A Sacriand Shepherdess. He died in 1680, and was buried     to Pan; do. Bachs andAriadn; do. The Forge
of Vulcan; do. The Rape of Europa; do. Pyramus
in Covent Garden, where there is a monument with  and Thiubo aer J ape f Europ; do  Pyraiu
and Thisbe; after J. B. Cazes. The Garden of Love;
his bust by Gibbon, and a Latin epitaph by Tho-  after Rubens; the same subject is engraved by Clouet
mas Flatman.                                     and C. Jegher. A Spanish Festival; after Palasedc
LEMAIRE, JEAN, a French painter, born at  A pair, Flemish Merry-makings; after Tenim. TI,Rape of Proserpine; aJfer La Fosse.
Dammartin in 1597.  After acquiring a know-        pe     oser La  osse.
ledge of the art from Vignon, he visited Italy, and  LEMPEREUR, CATHERINE  ELIZABETH,
studied the great remains of antiquity. On re-  French engraver, the wife of the preceding artist
turning to France he chiefly devoted himself to  born at Paris in 1726. She studied under Law
historical, architectural, and perspective subjects.  rence Cars and Fessard, and executed a number of
He died at Gaillon in 1659.                      prints in a neat and agreeable style, among which
are the following:
LEMATRE, FRANCOIS, a French painter, born          
Maison Rouge in 1627. He painted portraits,    Two Views of Architecture; after Pannini. The Milkmaid; after Teniers. The Dangerous Forest; after
and colored them in a good style. He died at  Wouwerman. The Rural Labors; do. The Departure
Paris in 1688.                                   of Jacob; after Boucher. A set of six Marine Subjects
and Sea-ports; after Fernet.
LEMBKE, JOHANN PHILIP, a German painter,          Sea-port
born at Nuremberg in 1631. He studied under    LENARDI,GIo. BATTISTA, a painter of the Ro
M. Weyer and George Struch. About 1653, he  man school, who studied under Baldi, and aftervisited Italy, and having a strong inclination for  ward under Pietro da Cortona, in whose style he
painting battle-pieces, he devoted himself to the  painted in several churches in the Romagna, espestudy of the works of Borgognone, and became a  cially in the chapel of the B. Rita at San Agostino
very reputable artist in that branch. On return-  and the church of the Buonfratelli'at Trastevere.
ing to Germany, he was invited by Charles XI.  He was not a great, but a reputable artist, and
to the court of Sweden, and executed a number of  flourished about the middle of the 17th century.
works, among which two grand battle-pieces in   - TTLENCKER, HANS, a German goldsmith
the palace of Drottningholm, attest his talents.   i   and engraver, who flourished at Nuremberg,
He etched a number of plates in a spirited style.   A   Laccording to Brulliot, about 1573. That
He died at Stockholm in 1721.                    author cites two prints, one of Pyramus and
LEMENS, BALTHASAR VAN, a Flemish painter,  Thisbe; the other of Birds on the Branches of
LEE S, BALTHASA   VAN a Flemish painter,  Trees and Stalks of Flowers; marked with his
born at Antwerp in 1637. He visited England af-                  a     n tas  o oers    are    ith his
ter the Restoration, and painted small historical. He observes that these prints ought
subjects, characterized by fertility of invention and  to beattributed to Lenker because we are a
^. 4.^   ^',11. ^ l.~v.   <~~   t.'    3  tobe attributed to Lencker, because  we are ac
quainted with other worksn  the same styleen
facility and neatness of execution. Meeting with  quunted with other works i the se style, en
grayed and enameled: in silver, and marked with a
little encouragement, he devoted himself to paint-  gred and enameled   silver, and marked with a
ing the draperies tnd backgrounds in the portraits  monogram composed of the letters H. L. N., for
ng thedr     iesandba ckgr oundsinthepor tsHans Lencker, Nurembergensis dated 1573. It
of other artists.
is found on silver enameled arabesques, decorated
LE MIRE. See MIRE.                             with birds, animals and figures, among which are
LEMOINE. See MolNE.                            the covers of a book of prayers, in the royal
LEMOYNE. See MOYNE.                            library at Munich, which bear the monogram,
LEMPEREUR, JEAN DENI, a French amateur  with Lencker's name, and the date, 1573.
LEMPEREUR, JEAN DENIS, a French amateur
engraver, born at Paris in 1710. He etched a va-    LENDINARA, LORENZO CANOZIO DA, a native
riety of plates after P. da Cortona, B. Castiglione,  of Modena, and a fellow-student of Andrea Manand Vandyck. He was a connoisseur in art, and  tegna, who was esteemed an excellent artist.  He
possessed an extensive collection of drawings and  inlaid the whole choir of the church of S. Antonio
paintings,                                       with beautiful figures. He died in 1477. This
LEMPEREUR,  JEAN BPTSE  D, te   edifice was afterward destroyed by fire. None
LEMPEREUR  JEAN BAPTISTE  DENI  the  of his works are now certainly known to be in exson of the preceding, was born at Paris in 1740.  istence though there are other works of the same
He etched a number of plates from his own designs,  istence, though there are other works of the same
He etched a number of plates from his own designs,  kind in the churches at Venice, attributed to him,
and after different masters, among which are  or tohis brother Cristoforo, or to his son-in-law
the following:  The Angels announcing to the  Pier  Antonio who assisted him in his labors
Shepherds the Nativity of Christ after Boucherin his labors,
She phrdhe     of e In   ts  after PB  c  err;   and who are applauded by Siculo as worthy of
the Murder  of te  nnoentsate Perre; two   vieing with Phidias and Apelles themselves.  TiLandscapes, after Ruysdael.                     raboschi also commends these artists.
LEMPEREUR, LOUiS SIMON, an eminent French
LEMPEREUR, Louis SImON, an eminent French        LENFANT, JEAN, a French engraver, born at
engraver, born at Paris in 1725.- He studied un-  Abbeville in 1615; died at Paris in 1674. He
der Pierre Aveline, and followed his style. His  studied under Claude Mellan and executed a numplates possess great merit, and he was chosen a.           *.
plates possess great merit, and he was chosen a  ber of plates with the graver, in a neat but formal
member of the Royal Academy. The following
mber of the RoyalAcademy. The following  manner, following the first style of his instructor,
~are the principal~~: Iwith the cross strokes. His plates are principally
PORTRAITS.                    portraits, which are his best productions. Among
E. Jeaurat, painter to the King; after Roslin; engra-  them are the following:
ved for his reception into the Academy in 1775. P. L. B.
de Belloy, a dramatic poet; an emblematical portrait.              PORTRAITS.
1765. Philip Cayeux, sculptor; after Cochin. Claude    The Count de Brienne; qfter Le Brun. Jacobus de
Henry Watelet; do.                               Souvre; after Mignard. Franciscus du Tillet; Lenfani




LENG.                      469                     LEON.
id Weavu  faciebat. 1664. Nicholas Blasset, architect and  LEON, DON SIMON  DE, a Spanish histories
sculptor.'1658. Franciscus de Harlay, Rothomagenis  painter, born at Madrid in 1610. Under the ablt
Archiepiscopus; after  Champagne.  Ludovicus Bo-      tructions of PCuevas he made rap
cherat, D. de Cei pans. 1670.
chert,  s. 10.         id advances; and by studying the works of VanT o SiuoBJECTs. atrRee        dyck, he acquired a brilliant and vigorous system
The Buistof ourlSl iur;  oll; af ter Raffaelle.   The  of coloring. He was commissioned by Cardinal
Virgin suckling the Infant: circular; after An. Caracei.
The Virgin adoring the Infant; oval; after Guido.  Everard to execute some paintings in the church
LENGELE, M. a D h paint,      at  of the Jesuits at Madrid, where he painted the
the Hague in 1604.  aIe painted history with r    grand altar-piece, representing the Apparition of
putation, and was chosen president of the Acade-  the Father and the Son to St. Ignatius; and also
the dome of the same Church, in twenty-one cornmy of Painting at his native city, in 1656. He
ieyof Paining at hinative city, in 1656. He  partments, representing the History of the Infant
died at the Hague    1661.            Jesus.  The Cardinal was so highly pleased with
LENS, ANDREW CORNELIUS, a Flemish histori-  his talents, that he recommended him to the Queen.
cal painter, born at Antwerp in 1739. He stud-  and he soon attained a high reputation. He paintied under Eyckens and Balthasar Besschey.-   ed many fine works for the churches of Madrid,
Among his principal works are the Annunciation,  which were highly esteemed. He died in 1687.
in the church of St. Michael at Ghent; several 
LEON. FELIPEr DE, a Spanish painter, who flourpictures from the History of Mary Magdalene in
the church of that Saint at Lisle; and Delilah  ished at Seville in the first part of the 18th cencutting off the Hair of Sampson, in the Museum   tury.  He painted several historical subjects from
at Brussels.  ITe died in 1822.                    his own designs, in a style closely resembling that
of Murillo, among which is a picture of Elijah asLENS, BERNARD, the Elder, a mezzotinto en-  cending to Heaven in a Fiery Chariot.  He copied
graver, the son of an obscure painter of the same  the works of Murillo with great exactness, and
name, was born in 1659, and died in 1725. Be-  many of his copies were formerly at Seville
sideshis mezzotints, he also etched a few  plates,      e  they wer    e highly esteemed.  He died in
in an indifferent style. Nagler mentions about  tht city in1728
twenty-five of his prints, among which are the                CHRISTOPHER DE, a  panish         ter
foLEON, CHRISTOPHER DE, a Spanish painter.
following:                                         brother of Felipe de L., was born at Seville about
David, with the Head of G(oliah; after Dom  FetL.  1650.  [e studied under Miurillo and Valdes and
The Judgment of Paris; after Sir Peter Lely. Bacchus,
Venus, and Ceres; after F;  Badens. Three Landscapes,  nearly approached the style of the latter master.
with figures and cattle; after Berghem. Rinaldo and  tIe painted history with reputation, and executed a
Armida; after J. Vandervaart; and about twenty more  numbere   good works in oil and fresco, among
enumerated by Nagler.                              which are twenty-eight portraits in S. Felipe de
LENS, BERNARD, the Younger, was the son of  Neri, at Madrid.  He died at Seville in 1729.
the preceding, and flourished in England about    LEON. or LEONI, CARLO a native of Rimini.
1730. He became distinguished as a painter in    hoiscommendedinthe Gida laRiminiforhis
miniature, and a teacher of drawing, in which ca-        panting  in the  church.,_1.I. ~.      fresco paintings in the churches of that city.  Ile
pacity he was chosen to instruct the Duke of Cum-  also  pintictures in the churech and cna iso painted several pictures in the church and conberland.  His chief excel ience was in copying the    t of the Conventuali at Venice, which are highworks of Rubens, Vandyck, and other masters, in   y extolled.  Hediedat  iminiin 1700
water-colors. He etched a few  portraits; also
two or three drawing-books of landscapes and         LFON1 or LEONI,GIovANNI, a native of Carpi,
views, published for the use of his scholars. Na-       born in 1639,and died in 1727.  He studied
gler mentions twenty-three mezzotints by him.    ith  riffoni, andwas a vereminent atificer in
He died at Knightsbridge, in 1741.                 his time of works in scagliola.  Two very beautiful specimens of his work are preserved in the
LENZLENi  J. F., a Flemish painter, born at |Ducal Museum at Modena. Ie resided chiefly at
Antwerp in 1790. He is chiefly known by his  Cremona, where he introduced this then new art.
successful copies of the pictures of Ommeganck,  See del Conti.
which have doubtless increased the number of
works ascribed to that master. He died in 1840.    LEON, or LEONI, GIROLAMO DA, a painter of
LEOCARUS, an eminent Greek sculptor, flour-  Piacenza, who. according to Orlandi, lived about
1580. The Guida da Parma also makes mention
ished in the 4th century before Christ, and was  1580. The Guda da  ara also makes mention
the cotemporary and rival of Polycles, Cephiso-  of some of his works in that city.
dorus, Scopas, Bryaxis, and Timotheus. In con-    LEONARD, JOHN FRANCIS, a Flemish engracert with the three latter, he executed the famous  ver, born at Dunkirk in 1633; died at Nuremberg
tomb of Mausolus, for Queen Artemisia. (For a  in 1687.  Among other plates, he executed the
description of this work, see BRYAxIS.)  Leocarus  portrait of Merstraten, Syndic of Brussels, and
also made the bronze statue of Isocrates, for the   his wife, after Vandyck; also a part of the portemple of Eleusis; the Colossus in the temple of   traits for the History of the Emperor, published
Mars at Halicarnassus; the statues in gold and   at Vienna in 1674.
ivory, of Amyntas, Philip, Alexander, Olympias,    LEONARDIS, GIOVANNI, an Italian engraver,
and Eurydice, which were consecrated by Philip,  born at Venice in 1712. He studied painting unafter the battle of Cheronea, in a temple erected at  der Gio. Battista Tiepolo, but afterward devoted
Olympia. Many other of the works of Leoca-  himself to engraving.  Thereare a number of etchrus are mentioned by Pausanias, Pliny, and other  ings by him, after various Italian masters, among
writers, but his most admired production seems  which are the following:
to have been a group of Ganymede carried off by        pds at Play after Giulio Carpioni  TheTrimp
the Eagle; a statue of Autolycus; and a statue   of Silenus; do. Neptune and Thetis; after Seb. Conch.
of Jupiter, placed in the capitol at Rome.         1765. The Rape of Europa; do. Two subjects of the




LEON.                     470                     LEON.
Amusements of the Carnival; after Tiepolo. The Gold-  ture. which he designed and executed with great
en Calf; after Tintoretto. 1768. The Last Judgment;  freedom and taste. The figures in his works are
^'~~~~do. 1768.  ~generally of life-size, and sometimes larger. He
LEONARDO, FRA. AUGUSTIN, a Spanish his-  died in 1564.
torical and portrait painter, born at Madrid, according to Palomino, in 1580; though other wri-     LEONI, GIOVANNI DA, a painter briefly menters place his birth at Valencia. He was a monk   tioned by Vasari, of whom little more is known
of the Order of St. Felipe, and painted several  than that he studied under Giulio Roano at
pictures for the monastery Nuestra Sennora de la  Rome.
Merced. His portraits are said to possess great    LEON], LUIGI, called IL PADOVANO, a reputable
merit. Among his subjects of history was a  Italian painter, engraver, and modeler, was born
Battle between the Moors and Spaniards, with St.  at Padua in 1531, but practised at Rome. He
George assisting the latter.  Palomino highly  painted history with reputation, both in oil and
praises his picture of the Miracle of the Loaves  fresco. As an engraver, he executed several plates,
and Fishes, in the Refectory of the convent de la  coins, and medals. His models in wax, however,
Merced at Toledo. He died at Madrid in 1640.    were greatly admired, and it is said that after
LEONARDO. Jos, an eminent Spanish paint-  once seeing a person he could easily model a correct likeness. He died at Rome, in 1606.
er of battles, born, according to Palomino, at Mad-  rect likeness. He died at Rome, in 1606.
rid in 1616, though Martinez says he was a na-    LEONI, CAV. OTTAVIO6 called IL CAV. PADOtive of Catalonia. He studied under Pedro de las  VANO and PADOVANINO, the son of Luigi L., was
Cuevas, and became so distinguished as to be ap-  an eminent Italian painter and engraver. His
pointed painter to the King. He executed a num-  family was from Padua, which gave him his surber of excellent works for the palace of Bueno  name; but he was born at Rome, according to
Retiro, among which are the Siege of Breda; and  Nagler and other authorities  in 1574; died in
a large composition of great merit, representing a  1628. Baglioni says he was the son of a painter;
March of Soldiers, with the Duke of Frias con-  and during the pontificate of Urban VIII. be was
versing with an Officer. He was p6isoned in 1656,  held in high esteem for his talents in portrait and
probably by those jealous of his merits.          history, being employed to paint the pope, cardiLEONARDONI, FRANCESCO, an Italian painter,  nals, and principal nobility of the time. Among
bornat Venice in 1654. He visited Spain, and  his historical works is the Virgin and Infant, in
settled at Madrid. According to Palomino he  S. Maria della Minerva; the Annunciation, in S.
gained great eminence in portrait painting; and   Eustachio; and St. Carlo, St. Francesco, and St.
also executed several historical works for the  Niccolo, in S. Urbano. He was chosen Director
churches, characterized by a grand style of design,  of the Academy of St. Luke, and was appointed
bold and spirited touch, and great intelligence of  Knight of the Order of Christ on which occasion
chiaro-scuro.  Among his principal works is a  he painted the Martyrdom of St. Martina, for the
large altar-piece of the Incarnation, in S. Geroni-  church of the Academy.
mo el Real, at Madrid; and-two subjects from the    As an engraver, Cav. Ottavio Leoni executed
Life of St. Joseph, in the church of the Colegio   bout forty plates, described by Bartsch and Nad'Atocha. He died at Madrid, in 1711.             gler, among which are about twenty portraits of
LEONBRUNO, LORENZO an Italian painter,  painters, engraved in a singular manner, but proLO RN    LOREO   ducing a very pleasing effect. The hair and dranot mentioned by Lanzi and other writers on art.  dui  a very peasing efet.          the shadows
In 1825, Girolamo Prandi, professor of the Uni-    ies are engraved with strokes; the s
assisted with strokes; the faces delicately dotted;
versity at Bologna, published a notice of the life  as  heads finely draw, ad;        the whole highly
and works of this artist.   e was born at Man-  finisheads finely drawn, and the  whole hlowi, sighly
tua in 1489, and studied under Count Castiglione,  finis. Ott. ongu  Romanus pictor, ecitg
the friend of Raffaelle. Appointed painter to the                                 
Duke of Mantua, he gave offence to Giulio Roma-                     PORTRAITS.
no, and was obliged to quit Mantua, and settle at    Ludovicus Leonus, Pictor et Sculptor elebris. 1625.
Milan, where hedied about 1537.  Therearethree   Eques. Ottav. Leonus, se ipse fee. 1625. Joannes FranMilac, where b he died about M a7. wherei are three  ciscus Barbieri, Centinus pictor, 1623. Marcellus Provenpictures by Leonbruno at Mantua. which are very   alis, Centensis. 1623. Eques Christophor. Ronchalis de
highly praised, even to a comparison with the  Pomeranciis, pietor. 1623. Eques Joseph. Cesar Arpins,
works of Annibale Caracci and Domenichino.-   pictor. 1621. Antonius Tempesta, pictor Florentinus.They are St. Jerome, the Metamorphosis of Midas,  1621. Thomas. Salinus, Romanus, pictor. 1625. Fr. D.
and the Body of Christ in the Arms of the Vir-  Antonius Barberinus. 1625.
gin.                                                LEONI, LEONE, an Italian sculptor and medalLEONCINI, FRANCESCQ, an engraver mention-  ist, a native of Arezzo, in Tuscany. He gained a
ed by Strutt, as the artist of a plate representing  high reputation, and was commissioned to execute
the Flight into Egypt. It is etched in a slight,  the magnficet bronze mausoleum       honor of
free style, and signed Francesco Leoncini di S.  Giacomo de' Medicis, brother to Pius IV., erected
~~~~Geminiano, mv. etfin the cathedral at Milan. This work greatly increased his reputation, and he was patronized by
LEONE, GUGLIELMO. The plates attributed  the Emperor Charles V., who assigned him apartto this imaginary artist, who, according to the  ments in his palace at Brussels. He executed
Italian writers, was born at Parma in 1644, are in  three marble statues of the Emperor, his Empress,
reality by Gabriel vander Leeuw, which see.       and their son, Philip II. He also cast a bronze
LEONE, ARTO, called CORIARIO. This painter  colossal statue of Charles V., at Madrid, and made
was born in 1498, and studied under Cornelius  several bronze and marble statues for the EscuEngelbrechtsen. He painted sacred and poetical  rial. He died in 1660.
subjects in a grand style, decorated with architec-    LEONI, GIACOMO, a Venetian architect, who




LEOP.                      471                      LEPR.
visited Germany, and was employed by the Elec-  which were Narcissus metamorphosed  and the
tor Palatine, for whom he erected a number of   Martyrdom of St. Andrew.  His works are quite
good edifices.  He afterward visited England, and   numerous, but they are abundantly open to critipublished at London a fine edition of the Works  oism for their unstudied and unnatural design, and
of Palladio, in 1742. He died in 1746.             their false system of coloring. He died in 1784.
LEOPARDI, ALESSANDRO, an eminent Italian           LEPRINCG, A. XAVJER, a reputable French
sculptor, born at Venice about 1450. Little is  painter, who flourished in the first quarter of the
known of the circumstances of his life,. but his  present century.  He painted landscapes, fairs, carworks are very highly esteemed for their elegant  nivals, and various other subjects, which are to be
and masterly execution.  Among his finest pro-  found in some collections.  A few partially finishductions, according to Cicognara, is the Mauso-  ed compositions which he left at his death, in
leum of the Doge Andrea Vendramino, in the an-  1826, were completed by Renou and Potdevin.
cient church of the Serviti.  It is enriched with    LERCH, J. M., a German engraver of little
a great number of admirable statues and bas-  note, who flourished at Vienna about 1670. He
reliefs.  The three bronze pillars in the Piazza di  executed several portraits for Priorata's History
San Marco, which support the standards of the   of the Emperor Leopold, and a large print in three
Republic, are also by this artist; and the elegance  sheets, in concert with Hoffman, of the Siege of
and perfection of their proportions have been   Brandenburg.
highly praised. He executed the bronze eques-    LEROY  JEAN DAVID an eminent French writrian statue of the Colleoni, after the design of    LERO            DAV     n minent Fnh 
AndreadaVerocchio.  He died in 1510.               ter on architecture, born at Paris in 1728. He
AndTrea danrD Verocchio.  H e die in 150 "early manifested a strong inclination for art. and
LEPICIt, BERNARD, a reputable French en-  visited Greece in order to collect materials for his
graver, bornat Paris in 1699,and died there in 1755.  work which appeared in 1758, entitled Ruines des
He formed his style upon that of Jean Audran, of  plus beaux monuments de la Grece.  In 1770 he
whom he was probably a pupil. At the invitation   published a revised edition, which was greatly adof Claude du Bosc, he visited England to assist  mired.  He was made a member of the Acadethat artist in engraving the Cartoons of Raffaelle  mies of Inscriptions and of Fine Arts at Paris,
for the print-sellers.  These plates, however, are  and also of the Institute; member of the Bofar below his other productions.  On returning to  lognese Institute; and was also Professor of ArParis, he engraved a number of plates which   chitecture in the French Academy for many years.
gained him great reputation, and he was chosen a  Leroy wrote  several excellent works on archimember tf the Royal Academy, of which he was  tecture and engineering; and by his teachings and
appointedsecretary and historian.  He published   writings succeeded in greatly elevating and imtwo workS relating to art, entitled La Descrip-  proving the architectural taste of France.  He
tion des Tableaux du Roi, and Les Vies despre-  died in 1803.
miers Peintres du Roi, depuis Charles le Brun, 
jusqu'^ a Francois le Moine.  The following are      LERPIIREDNIELDE. Thisegravflourhiqu p   Frincipal prints: l M   T    f       a    ished in England in the latter part of the 18th
century. Nagler mentions a print by him, dated
PORTRAITS.                      1790. He was probably of French extraction, and
Nicholas Bertin, painter to the King; after Lien; en-  a pupil of F. Vivares.  There are several naval
graved for his reception into the Academy in 1740. Louis  su1ect by him
deBoullongne, first painter to the King; after Rii.  a uects b, engraved in concert with Fittler;
Philihert Orry, Minister of France; do. Peter Grain, so a number of landscapes and views,  which
Directorof the Mint; aferLargitliere. Charles Cappe-  possess great merit.  Among them  are the folyrcskr, Librarian to the King; after Aved..Francis  lowing:
d'Aubign6, Marchioness de Maintenon; after Mignard.
John Baptist Maoliere;sd aftner dCharles Coypel      A Landscape, with the Flight into Egypt; after Claude
John Baptist Moe.        Lorraine. The Companion,with St. George and the DragSUBJECTS AFTER VARIOUS MASTERS.           on; do. A grand Landscape, with the Israelites worshipThe Circumcision; after Giulio Romano; for the Cro-  ping the Golden Calf; do. A Sea-piece, a Calm; after
zat collection. Jupiter and Io; do.; do. Jupiter and   Vernet. The Companion, a Storm; do. Two Italian
Juno; do.; do. St. John preaching in the Wilderness;  Landscapes; after the designs of John Taylor. Two
after Bacccio; do. Vertumnus and Pomona; after  Landscapes, with cattle; after Cuyp. A  Landscape,
Rembrandt. Two Subjects; after Teniers. The Chess-  Evening; after Pynacker. Six Views of Sea-fights, &c.;
players; after C. de Moor. The Players at Piquet; af-  after R. Paton.
ter G.Nels.her. Town Love and Village Love; after
Charles Coypel. The Pacha having his Mistress' picture  LESCOT, PIERRE, an eminent French architect,
painted; after C. Vanloo; fine. Charles I. taking leave   born at Paris in 1510. He has the credit of beof his Children; after Raoux.                      ing among the first to reform the Gothic and basLEPICIl, RENEE MARIE ELIZABETH, was the   tard styles of architecture, which till then prewife of the preceding, and engraved a number of   vailed in France. Convinced of the surpassing explates in a neat style, after Boucher, Vanloo, Char-  cellence of the beautiful remains of antiquity, he
din, Rigaud, and others, among which are a pair  endeavored to substitute them in place of the prevafter Chardin, Saying Grace, and the Industrious   alent modes, and to reform the public taste.  The
Mother; also the Flemish Cook, after Teniers.  first important work confided to Lescot, was the
She died in 1752.                                  Louvre, commenced in 1541, under Francis I. The
LEPICI~, NICHOLAS BERNARD, a French paint4-' Hall of the Hundred Swiss, was much esteemed;
er, the son of Bernard L., born at Paris in 1735.  and the Fountain of the Innocents, in which the
He studied under Carl Vanloo. and gained some   genius of the sculptor  oujon is united with that
distinction by his picture of William the Conquer- f Lesot.  Thisartistdiedin 171.
or. In 1768 he was'admitted to the Academy, for       LESCOT, HORTENSE VICTOIRE HAUDEBOURT. a
his picture of Chiron instructing Achilles in mu-  reputable French paintress, born at Paris in 1785.
sic. In 1770 he exhibited several pictures, among   She studied under Lethiere. the severity of whose




LETE.                      472                      LEUP.
style scarcely admits of the supposition  that  ages, and a few other subjects, possessing much
she could adopt that for which she was afterward   merit, executed entirely with the graver, in a neat,
distinguished. When Lethiere was appointed Di-  finished style, somewhat resembling that of the
rector of the French Academy at Rome, she also   Wierixes. Iis prints are generally marked with
accompanied him  thither, and produced several  his name, among which are the following:
works in that city, which gained her considerable                      PORTRAITS.
reputation.  She first exhibited at the Louvre in    Henry III., King of France and Poland. Henry de
1810; and in 1812 she produced the' Salutation   Bourbon, Prince of Conde, at the age of nine years. Cesar,
of the Feet of St. Peter." and the "Confirmation,"   Monsieurthe companion, aged five years. Bustof Henry
in the church of St. Agnes at Rome; which are  IV.; after Bunel. Busts of Henry IV. and Mary of Menow in the gallery of the Luxembourg. In 1814 she   dicis; after Quenel. Mary of Medicis; T. de Leu,fec.
married M. Haudebourt, the architect; after which   Mary, Queen of Scotland and France; T. de Leu. Charles
e. a d rts   the   che     d.  de Bourbon, Count of Soisson. Francis de Bourbon, Prince
she was appointed artist to the Duchess de Berri.  de Conte. Charles de Lorraine, Duke du Mayne. Henry
Her pictures were mostly historical, very numer-  de Savoy, Duke de Nemours. Henry de Montmorency,
ous, and remarkable for felicity in the selecting of   Constable of France. Louisa de Lorraine, Dowager of
the subjects. She practised the art with consid-  France. Anne, Duke de Joyeuse, Admiral of France
erable success till her death, which occurred in   Charles d Biron, Marshal of France.
1844.                                                                   SUBJECTS.
LETETLIER.  C. F   a French engraver, who          Twenty-five plates of the Life of St. Francis.  rhbe
LT LIER. C. F a French engraver, who   Twelve Sibyls; from his own designs. Justice rewarding
flourished about 1780. He executed several plates  the Labor of the Husbandman; after F. Zucchero. The
of conversations, &c., with the point and graver,  Ecce Homo, with Angels bearing the Instruments of the
after the French painters and other masters.       Passion.
LETII. HENRY DE, a Dutch engraver, who re-         LEUPENICIE, J., a Dutch engraver, and prosided at Amsterdam, and according to Basan, exe-  bably a painter, who flourished about 1677. There
cuted many views of Kennemland, in a poor style.  are a few slight but spirited etchings, retouched
LETHIERE  GUILLA E G,    an e        with the graver, representing views in Holland,
LETIILIERE, UILLAUM E GUILLON, an eminLETHIERE, GILLAUME GUILLON, anA ~which appear to be the work of a painter, signed
ent French painter, born at St. Anne, in the island   which ape
and dated as above.
of Gaudeloupe, in 1760.  He was sent while very
young to France, and after receiving a very liberal    LEUR, NICHOLAS VANDER, a Dutch painter, born
education, was placed under a professor of the art  at Breda in 1667, and died there in 1726. He
at Rouen, where he remained three years, and   went to Italy while young, and spent several years
then studied at Paris, under Doyen. In 1786,  at Rome, diligently studying and copying the best
having gained the grand prize of the Royal Acad-  works of the great masters.  On his return to
emy, he visited Rome for improvement, and made   Holland he acquired considerable reputation, both
rapid advances.  His classical education, and the   a an historical and portrait painter, in which last
stirring scenes then transpiring in France, sug-  branch he excelled, and might have been without a
gested the representation of subjects connected   competitor had he confned himself to it, but he
with resistance and destruction of tyranny, and   aspired to a higher rank without properly estimahe therefore painted several pictures of the Death  ting his own capacity.   is drawing and coloring
of Virginia, the Death of COesar, and Brutus con-  were good, and he understood perspective and ardemning his Sons. The latter he sent to Paris   chitecture well, but his imagination was cold, his
where it was received with great applause, and       vention   rrow and confused, and his coposigained for Lethiere a great reputation.  In 1792   t   labored.  His bet work is an altar-pioe in
he returned to France, where he became involved  te church of the Recolets as Breda.
in the Revolution, but without participating in its   LE VASSEUR. See VAssEUR.
excesses. lie formed a friendship with Louis Bo-      LEVESQUE, PIERRE CHARLES, a French ennaparte, which was of great advantage to him    graver, born at Paris about 1727. He is better
during the Consulate, but subsequently obliged   known as the continuator of the Dictionnairedes
him to follow his protector into exile.  Through   Beaux Arts, begun by M. Watelet, than for his
his influence Lethiere obtained the Cross of the   works as an engraver, although he executed a num
Legion d'Honneur, and the directorship of the   ber of plates which possess considerable merit
French Academy. In 1815 he was chosen a mem-  The following are the principal:
ber of the fourth class of the Institute, and al-                      PORT
though Louis XVIII. refused at first to confirm      Ls P, P                AITS.
him, yet by the same prince he was afterward ap-     LOUi PhliPPU,     uke de  Viie   re afer  anhim, yet by the same prince he was afterward ap-  too. Michael Francis Sedaine; after J. L. David. John
pointed Professor of Painting. His works are char-  Causeur, aged 130 years; after Caffieri.
acterized by great elevation of design, evincing a           SUBJECTS AFTER VARIOUS MASTERS.
mind enriched with classical and poetical beauties,    Venus and Cupid; fter Pierre  1770. Cupid harpand may be ranked among the greatest historical  ening his Arrows; after Cazes. Sleeping and Waking;
productions of modern art.  In 1816 his pictures  after Boucher; two prints. 1765. The Dutch Toilet;
of the Judgment of Brutus, and Iomer reciting   after Metzu. Lot and his Daughters; after Diepenbeck.
his verses to the Greeks, were exhibited at Lon-      LEVO, DOMENICO, a painter of Verona, who.
don with great applause. Among his other most  according to Pozzo, flourished about 1720, and
important works, are Aneas and Dido fleeing from   was an excellent painter of flower-pieces, which
the Storm, exhibited in 1819; and Philoctetes in   he composed and executed with great e]eganceand
the Jsle of Lemnos.  Lethiere died in 1832.         truth.  Lanzi says his works were extremely ad
LEU, THOIAS DE, a French engraver, born at  mired.
Paris in 1562, and died about 1620.  It is un-                LEYDEN, LUCAS JACOBS, called Luknown under whom  he studied, but he engraved  c/S          O\ CAS VAN LEYDEN, from the place of his
a large number of plates of distinguished person-'      nativity, was born in 1494.  He was




LEYD.                       473                      LEYD.
the son of Hugo Jacobs, an obscure painter, who   though his attitudes are not ill chosen, they are
instructed his son in the rudiments of art. Al-  generally stiff and ungraceful. He engraved on
most in infancy, he exhibited the greatest passion   wood as well as on copper, but his cuts are not
for the fine arts, and an extraordinary precocity of   very numerous. They are spirited and masterly,
genius.  He bestowed all his time, night and day,  though inferior to those of Albert Durer."
to his favorite pursuits, and had scarcely attained     Lucas van Leyden died in 1533, aged 39. It is
his ninth year, when he produced some plates   said that he was fond of display and corporeal enfrom his own designs. His father now placed him   joyments, and that he indulged himself to such
with Cornelius Engelbrechtsen, to study paint-  an extent as to destroy his constitution. His chief
ing, under whose instructions, he made such pro-  companion in dissipation was John deMabuse. Yet
gress, that at twelve years of age he produced his  he executed an astonishing number of works for
picture of St. Hubert, the excellence of which, as-  so short a life.  There are considerably over one
tonished the artists of his time, and procured him    hundred paintings, (of which above eighty are histhe greatest applause, only stimulating him  to  torical subjects) considered genuine by him in the
greater exertions.  In 1508, when he was four-  galleries and collections of Europe.  Doubtless
teen years of age, appeared his celebrated print  some of these were executed by cotemporary artof Mahomet drunk, having killed the Monk Ser-  ists, who availed themselves of his prints and
gius.  Cotemporary with Albert Durer, there ex-  drawings in imitating his style.  It is the fate of
isted between these distinguished artists the most  all imitators to have their best works attributed
intimate friendship and correspondence, which was  to their prototype, and the possessor never has any
never interrupted by any jealousy occasioned by   doubt of their originality.  His prints are very
their noble emulation of excelling each other in   numerous.  Bartsch, Zani, and Ottley, agree that
art.  He is allowed to have surpassed Durer in   Lucas van Leyden did not engrave on wood; that
composition, though inferior to him in design. He   he merely traced the design and employed others
painted in oil, in distemper and on glass, and treat-  to execute the work.  The same has been said of
ed with eqcal success, history. landscape, and per-  Albert Durer and other eminent artists, whose
traits.  His coloring is fresh and clear, and his   wooden cuts are so highly prized.-(See Durer.)
pencil is light, though his pictures are highly fin-  The following list comprises all his principal prints,
ished.  His drawing is taken from  the model  of which fine impressions are now very scarce and
in the stiff Gothic style, then universally preva-  valuable. For further details, and catalogues of his
lent throughout Germany and Flanders, divest-  prints, the reader is referred to Bartsch's Peintre
ed of grace and elegance, and his heads, though   Graveur, and to Ottley's History of Engraving.
they have an expression of truth, have neither   His prints are usually marked with the Gothic
dignity or beauty, and there is too great a simi-  letter L:
larity in them.  His draperies are stiff, and bro-             SUBJECTS OF THE OLD TESTAMENT.
ken into too many folds.  He had an imperfect    A set of six, of the Creation and Fall of Adam and Eve.
acquaintance with the principles of perspective,  1529. Adam and Eve driven from Paradise. 1510. Cain
then not well understood in his country, but he   and Abel. 1524. Abraham and the Angels. Abraham
endeavored to overcome this difficulty by appor-  sending away Hagar; one of his first plates; very scarce.
tioning the strength of his coloring to the different  The same subject, differently treated; smaller; called the
degrees of distance in which his objects were placed.  Little Hagr. Lot and hist DJughterph     1530; fine. A
set of five of the History of Joseph. 1512. Jeptha and
These defects, however, may be fairly attributed   his Daughter. Samson and Dalilah. The Triumph of
to the predominant taste of his country, which he   David. David praying, with an Angel appearing to him.
had no opportunity of improving by the advanta-  1520. David playing on the Harp before Saul. Solomon
ges of travel. IIis most famous pictures are the   worshipping the Idols. 1514. Esther before Ahasuerus.
Last Judgment, an immense composition, with a   1515. Susanna and the Elders; one of his earliest prints.
multitude of figures, in the Town House at Ley-                SUBJECTS OF THE NEW TESTAMENT.
den, Christ curing the Blind Man at Jericho, dated     St. Joachim and St. Anne. 1520. The Annunciation.
1531; the Virgin and Infant holding a bunch of   The Visitation. The Adoration of the Magi; very fine.
Grapes, in the1 imperial collection at Vienna dated   1513. H. Goltzius has engraved the same subject, with
Grapes, in the imperial collection at Vienna dated   verylittle difference. The Repose in Egypt; one of his
1522, and the Descent from the Cross, in the church   early prints. The Baptism of Christ; a composition of
formerly of the Jesuits at Paris.                    many figures. Christ tempted by the Devil. 1518. The
"As an engraver." says Strutt, " Lucas van Ley-  Resurrection of Lazarus; one of his early prints. A set
den claims particular attention. At a period when   of fourteen, of the  Passion of our Saviour. Another set
Albert Durer had carried the art of engraving to   of nine, circular prints, of the Passion. The Ecce Homo;
Albert Durer had carried the art of engraving to           r   o  osit; engraved in 1510. The Crucifixion
a rich composition; engraved in 1510. The Crucifixion;
such perfection in Germany, and Marc' Antonio ex-  another capital composition; one of his finest prints. 1517.
ercised it with the greatest reputation in Italy,  Christ appearing to Magdalene. 1519. The Prodigal Son;
Lucas disputed the palm  with those celebrated   fine.
competitors, in the Low  Countries.  He learned              SUBJECTS OF THE VIRGIN, SAINTS, &C.
the use of the point and graver from a goldsmith,    The'virgin and Infant, with St. Anne. 1516. The Virwhich he carried to a surprising pitch of perfec-  gin and Iifant, with a Glory of Angels. The Virgin and
tion for the short time he lived. His style dif-  Infant, seated at the foot of a tree. The Virgin and Infers from that of Albert Durer, and seems to have   fant, in a landscape, with two Angels; very fine. 1523.
been bu it on that of Is l vn Mecheln.T His    e Holy Family, with St. Joseph presenting an Apple.
been built on that of Israel van Mecheln. His ex-  A set of thirteen, of Christ and the Twelve Apostles. The
ecution is neat and clean; but as his strokes are   Four Evangelists; in four plates; dated 1518. St. Peter
equally fine in objects in the forgeround, as in those   and St. Paul; half-length. 1517. The Conversion of St.
in the distance and as there is a want of connex-  Paul. 1509. St. Peter and St. Paul, in a landscape. 1527.
ion  in the masses, his plates, though extremel    St. Christopher carrying the infant Jesus. 1521; veryfine.
neat areinferior to those ofDurer in firmnessan    St. John the Baptist in the Desert. 1513. The Decollaneat. are inferior to those of Durer in firmness and
tion of St. John. St. Jerome, with a BoOk, a Skull, and
harmony of effect. His figures are tall and meagre,  Lion. 1521. The Martyrdom of St. Sebastian. St. Anthe extrenmties rather mannered than correct, and   thony, the Hermit. The Temptation of St. Anthony.



LEYS.                        474                      LEYT.
1509; very fine; engraved when he was thirteen. St.  rewarded the goodness of his heart, and he found
Francis receiving the Stigmata. St. George combating   abundant employment at Antwerp in decoratin
the Dragon. Mary Magdalene in the midst of the Pleas-the mans s of 
ures of the World; the celebrated print called Magda-  the saloons and ceilings of the mansions of the
lene's Dance; very fine, and extremely rare. Mary Mag- wealthy. He designed historical and mythologidalene in the Desert. St. Catherine; half-length. 1520.    cal subjects with great taste, and he excelled in his
VARIOUS SUBJECTS                     nymphs, cupids, and statues; his drawing was ex
The Monk Sergias, killed by Mahomet, who is sleeping; remely correct and his tone of colong pleasing
dated 1508; very fine, engraved when he was fourteen.-   He frequently inserted the figures, with great eleThe Seven Cardinal Virtues; ii seven prints. 1530. The   gance and propriety, in the works of Boschaert,
Death of Lucretia, by some called the Death of Dido.-   Verbruggen, and Hardime. He died at Antwerpin
Pyramus and Thisbe. 1514. Mars and Venus. 1530. Mi- 1710.
nerva seated; supposed to have been his last plate, which
he did not quite finish. The Standard-Bearer. A young   LEYTO, ANDRES, a Spanish historical and perMan at the head of an armed company, listening to a Man   spective painter, who flourished at Madrid about
who is speaking to him, with his lat in his hand; fine. The   1680.  In conjunction with Jos6 de Sarabia, he
Wedding-Ring; an old Man putting a Ring on the finger  executed a series of pictures in the cloister ofthe
of a young Woman; a highly finished etching; scarce.  convent of S. Francesco at Segovia. But his chief
An old Woman, with a Bunch of Grapes. The Musicians.             Fncesc a           t eg ia    he
1524. The Surgeon performing an Operation. 1524. The   excellence lay in painting perspective, or the decQuack-doctor. 1523. The scarce and celebrated print call-  orations of interiors, in which branch hQ had few
ed the Uylenspiegel. It represents a man playing on the   equals among the Spanish painters.
Bag-pipes, carrying two children in a basket, and a woman
with a child on her shoulder, leading an ass with panniers,  LEYVA, FRAY JACOB DE, a Spanish painter,
in which are three more children. This group is preceded   born at Daro de la Rioja, about 1580.  After acby the Uylenspiegel, in the form of a boy, with a hood,  quiring the elements of design in his native counhaving an owl on his shoulder, carrying a pitcher and a   try, he visited Rome for improvementand on returnstaff. The extreme rarity of this print is well known to                      mprovem        d on 
the collectors. It was for some time believed to be unique,  ing to Spain, settled at Burgos and soon gained
and existing only in the collection of the King of France:  reputation.  In 1628, the clergy of ]Brgos combut it has since appeared that an impression of it was in Ma-  missioned him to paint a number of portraits of
riette's collection; and it is thought that there are not  eminent personages, and several historical subjects,
more than four or five of them in existence. Its scarcity   which were distinguished for their fine composiconstitutes its great value, as it is very inferior to many of  tion and cooring, although  they lack elevation
his works. It was copied by Hondius and others; and Ba-    and coloring, although  they lack elevation
san mentions another copy of it, without the name of the   of design.'At the age of fifty-three he lost his
engraver, so exact as easily to be mistaken for the original.   wife, and entered the monastery  of Miraflores,
It is dated 1520.                                     which he decorated with several pictures.  He
PORTRAITS.                       died in 1637.
The Emperor Maximilian I.; after a picture painted by  LIAGNO, TEODORO FILIPPO  DA, a Neapolitan
Lucas when he visited Leyden. The head is executed withnd engraver, who flourished about 1635.
the graver, the rest etched, and in parts harmonized with   designer and engraer, who  ourished about 1635.
the graver. 1520; very fine and scarce. The Portraits   There is a set of military and other costunme, de
of Lucas van Leyden, inscribed Effgies Lucaw Leidensis   signed and engraved by him, and published at
propria manu incidere. A young Man, half-length, with   Rome by G. Rossi, in 1635.  Bermudez and otha cap and feathers, holding a skull; usually called his own   ers, from  the similarity of names, confound him
portrait, though it bears no resemblance to the preceding   withFelipe Liano
one.
WOODEN CUTS, ALL SCARCE.                   LIANO, FELIPE, a Spanish painter, born at
The Kings of Israel; in chiaro-scuro. The illustrious   Madrid in 1575, and died in 1625.  According to
Women of the Old Testament. Four large Tournaments.  Bermudez, he studied under Alonzo Sanchez CoelLEYSEBETTEN, PETER VAN, a Flemish engrav-  lo, and excelled in painting small portraits. which
er, born at Brussels about 1610.  In conjunction   such fidelity of resemblance and such beauty  f
with John van Troyen, he engraved part of the   coloring, that he acquired the title of El Titiano
plates for the Gallery of Teniers.  The drawing   Pequino.  He found abundant employment among
is incorrect, and they are executed in a coarse,  the nobility at the Spanish court.
tasteless style. Among others are the following:        LIANORI, PIETRO, a Bolognese  painter, of
The Portrait of David Teniers, the elder; after P. van   whom are notices from 1415 to 1453, and some of
Mol. Jupiter and Danae; after Titian. The Marriage   whose works are to be found in the churches and
of St. Catherine; after P. Veronese. The Visitation of   collections of his native city.  He enjoyed considithe Virin  to St. Eli abeth; afer Padma. The  Virgin,  erable reputation in his day, but Lanzi says his
wth the Infant esus and St. John; do. Cupid present works partake of the Gothic dryness of aSt. John; earlier
ing Fruit to Venus; after Paris Bordone. Diana and   works partake of the Gothc dryness of an earlier
Endymion; do.                                         age and his contours and folds are overcharged
LEYSSENS, NICHOLAS, a Flemish painter, born   with dark lines.  He signed his pictures Petrus
at Antwerp in 1661.  After studying under Peter   Joannis.
Eyckens in his native city, he went to Rome, where      LIART, MATTHEW, a French engraver, born at
he resided several years,assiduously studying nature   Paris in 1736.  He went to England, where he
and the works of the best masters, became an ele-  was employed by Boydell in engraving some of the
gant designer, and had already acquired consider-   numerous plates he published.  The following are
able reputation in that metropolis of art, when he   among his best prints:
was summoned home to attend his father, who             The Sacrifice of Abraham  [of Noah?]; after Andrea
was poor, aged, and in declining health.  He in-   Sacchi. The Convention between Jacob andLaban; after
stantly obeyed the summons, left his bright pros-   P. da Cortona. The Jovial Companions; after Ostade.
pects and hastened to comfort his parent with every   Venus lamenting the Death of Adonis; after West. Cefilial duty, and never left his side except to attend   phas and Procris; do
to his'professional or religious duties.  Providence    LIBERAL. GIORGIO, an Italian painter and en



LIBE.                      476                      LIBE.
graver, who flourished at Venice about 1548. In   Vicenza; Moses striking the Rock, at Bergamo.
conjunction with M. Wolfgang  Miererpeck, he  and the Story of Job, in the Palazzo Zambeccari
executed on wood the cuts of animals and plants   t Bologna, which last shows the styles of Carafor Matthiolus' Commentaries on Dioscorides,  vaggio and Calabrese. He was more employed in
published at Venice in 1548. He is styled by that  depicting fabulous than sacred subjects. He somewriter, Homo Artispingendi peretissimus.           times painted capricci and allegorical subjects,
LIBERALE, DA VERONA, an Italian painter,  too obscure for CEdipus himself to unravel, but he
born at Verona in 1451. He was a disciple of Vin-  more frequently painted naked figures, as Venus,
cenzio di Stefano, but he imitated the style of Gi-   n       te ste Titia   which are esteemed his
como Bellini and Andrea Mantegna.  Some of his  master-pieces, and acuired for him  the name of
works contain a multitude of figures of small i    Libertino.  His colorng is sweet and rosy, with
Vasari mentions his Adoration of the Magi as con-  the delicate shading of Correggio; his profiles often
taining an infinite number of small figures, horses,  borrowed from the antique, and frequently repeatcamels, dogs, and other animals, in which the  ed, and his touch is free and elevated. His easel
whole were so highly finished as to give th  work   pictures are very numerous, and are found i  the
the appearance of a miniature rather than an oil  best collections in Italy, as well as other European
painting. His design was good, his drawing pr-  countries. He died in 1687.
cise, his coloring excellent, the expression in his  LIBgRI, MARCO, was the son and pupil of the
heads graceful, and he finished his pictures with   preceding artist, born at Venice about 1650. He
extraordinary care and neatness; for which rea-  copied his father's works so accurately that they
son he was much employed in illuminating mis-  might easily be mistaken for originals, but when
sals, which are now to be found at Verona and  left to his own invention he did not rise above meSiena-or, as Lanzi will have it, he acqp d this  diocrity. His best originals are cabinet pictures
extraordinary expertness in finishings  0m  his  of mythological subjects, which are found in nuhabit of illustrating books. Vasari ~ lje inva-  merous collections beside those of his father, greatriably adhered to the style of Bellini,:i 4s De-  ly to their detriment.
scent of the Holy Ghost in the dome oftde Cathe-    LIBON, an  eminent Grecian architect, who
dral at Verona is more in the style of Mantegna.  flourished about B. c. 450, and erected the faHe died in 1536, aged 85.                          mous temple of Jupiter, near Olympia.  AcLIBERALE, GENZIO, a painter of ldine, who   cording to Pausanias, this famous structure was
flourished about 1568. Ridolfi calls hij  Genne-  of the Doric order, two hundred and thirty feet
sio and Renaldis Giorgio, or Gennesio, TPis forte  long, ninety-five wide, and sixty-eight high; surwas in painting fish, which he executed  ith ex-  rounded by marble columns, and covered with
traordinary truth.                                 marble cut in the form of tiles. The famous statTLIBERI   CAVALIERE PIETRO.  Thisi        neantRue oPf Juiter in gold and ivory, executed by PhidLIBERI, CAVALIERE PIETRO.  JaTh is  ne               was in thi  temple. The pediment in front,
painter was born at Padua in 1605, and studied   as was nthat o the rea      he pediment i 
under Alessandro Varotari, called Il Padovanino.  adorned with  sculptures; the interior was of
Ise ranks among the great men of his art, and is  two orders of columns, supporting lofty galleries,
esteemed by many as the most learned in point of  through which there was a passage to the thone
design, of all the Venetian school. He carefully  of Jove, glittering with gold and gems.
studied the antique, and the works of the most
famous Italian masters, as Michael Angelo, Raffa-    LIBRI, GIROLAMO DA, a painter of Verona,
elle, Correggio, and Titian, -and from  these he  bon in 1474.         was instructed in the art by
formed a style of his own, partaking of every  his father, who was a miniature painter, and was
school, which gained him great celebrity, not only  much employed in illuminating books, and hence
in Italy but in Germany, and the titles of Cava-he acquired the name of da' Libri.  According to
liere and Count, with abundant means to support  Vasari, at the age of sixteen hepainted a Descent
these dignities at Venice. Few artists have dis-  from the Cross, for the church of S. Maria in Orcovered so great a variety of character in their  gano at Verona, which excited universal admiraworks as Liberi, and Lanzi says in order to esti-  tion. Lanzi says he frequently painted in conjuncmate his merits rightly, we ought not to consider  tion with Francesco Morone, to whom  he was
him as a painter in one style, but in many.' Accord-  bound with the strictest ties of friendship from
ing to his own confession, he employed for the in- his youth, but that he excelled him in taste and
spection of true judges a free and rapid pencil; and  celebrity.  In the church of S. Giorgio at Verona,
for the less intelligent a very careful and finished  which is extremely rich in master-pieces of art, is
one, in which the very hairs might almost be count-  a small altar-piece by him, representing the Virgin
ed. These last he executed on panels of cypress  between two Saints, with three Cherubs, dated
wood. Lanzi also says the works of this artist may   1529, which Lanzi says "shines almost like a
be distinguished into the sublime and the beauti-  precious jewel, surprising the spectator by an inful, but he produced fewer specimens of the former  describable union of what is graceful, bright, and
than of the latter. Among the sublime, he cites  lucid."  There are several of his works in the
his Murder of the Innocents, at Venice; Noah  churches and public edifices of Verona.  Dr. Franz
just landed from the Ark, in the Cathedral at Vi-  Kugler says his earlier works decidedly incline to
cenza; and the Deluge, in the church of S. Maria  the manner of Andrea Mantegna, and his later ones
Maggiore, at Bergamo-all of them grand in design,  approach nearer to that of Jacopo Bellini.
displaying a fine variety of foreshortenings and of  LICINIO, GIOVANNI ANTONIO, called IL PORDEattitudes, with naked parts in grand character,  NONE, from the place of his nativity, a siall town
more in imitation of the Caracci than of Buona-  in the Friuli, where he was born in 1484.  The
rotti.  Others of his grand pictures are, the De-  family name of this great artist was Licinio, or
struction of Pharaoh's Host, in the Cathedral at  Licino. He is also called Corticellis, Sacchiense,




LCI.                    476                    LICI.
and Regillo, which last name he adopted, and re-  and the Four Doctors of the church. Also in the
nounced all title to his family name, in consequence  great niche over the altar he painted the Transfigof a quarrel with his elder brother. The follow-  uration, with the Prophets and the Apostles. The
ing inscriptions are found on his paintings, Lycin-  reputation of Pordenone reached Germany, and
tus P.-Joh. Antonius Corticellis P., 1520-JoIh.  he was invited to Prague by the Emperor Charles
Antonius Regillus P. 1535, and in the marriage  V., who employed him to decorate a grand saloon
contract of his daughter with Pomponeo Amalteo,  in his palace, with emblematical subjects reprehe is styled D. (Domino) Jo. Antonio Sacchiense.  senting the Cardinal Virtues, with the execution
But he is almost universally known by the name  of which he was so much pleased that he conferred
of Pordenone. It is said that he showed an early  upon him the honor of knighthood. Pordenone's
passion for the fine arts, but it is not known from   last works were a teries of cartoons, representing
whom he derived his instruction. Some have sup-  the Labors of Hercules, for Ercole II., Duke of
posed that he first studied in the school at Castel-  Ferrara, designed for tapestry. He died at Man
franco, and Renaldis, that he was a fellow-student  tua in 1540, strongly suspected of having been poiwith Titian,under Giovanni Bellini. Lanzi adopts  soned by some one of his envious rivals. Pordethe opinion of Ridolfi, that he studied under Pelle-  none, though posterity has given the palm of Vicgrino di San Daniello at Udine, and subsequently  tory to Titian, must be allowed no small honor to
under Giorgione at Venice, whose manner he  have contended with so transcendent a genius, and
adopted: modified by the bias of his own genius,  to have acquired at least the second rank in the
-the surest guide to an artist in the formation of  Venetian school at a period so prolific in excellent
his style. Other followers of Giorgione acquired  artists. Less tender in his tones, and less seducsomething of his manner, but Pordenone adopted  tive in his contours than Titian, he at least rivals,
his mind, and the grandeur of his compositions.  and some say surpasses him in the energy of his
"In this province," (Friuli) says Vasari, "there  style and the boldness of his execution. To a
flourished during his time many excellent artists,  grand character of design, he added the rich and
but he stood preeminent above all, surpassing his  glowing coloring of Giorgione, with an admirable
predecessors in the conception of his pieces, in de-  chiaro-scuro. He was more successful in the rosign, in boldness, in the use of his colors, in his  bust and muscular delineations of men than in
frescos, in rapidity, in grandeur of relief, and in-  the delicacy and softness of female forms, on which
deed in every other attribute of the art."  After  account his frescos are preferable to his oil painta residence of some years at Venice, he returned  ings, though he arrived to great excellence in the
to his native town, where he painted, in 1515, his  latter. His best works are at Venice, where the
picture of the Holy Family with St. Christopher,  emulation and enmity between him  and Titian,
for La Collegiata, and soon afterwards the Annun-  like the rivalship of Michael Angelo and Raffaelle,
ciation, an admirable performance, for the church  was of the greatest advantage to both, and, as in
of S. Pietro Martiro, at Udine. He returned to  the latter instance, the one excelled in strength,
Venice, where he painted his celebrated picture of  the other in grace of hand.
S. Lorenzo Giustiniani, with St. John the Baptist,   LIOINIO, BERNARDINO DA PORDENONE, proba
and St. Agostino, in the church of S. Maria dell'  bly a nephew, and certainly a relative and pupil
Orto, one of his greatest works. The celebrity  of the preceding, was an artist of considerable
of this and other performances brought his  merit, but the glory of the great Pordenone so
talents into comparison with those of Titian,  completely eclipsed him that little is known of his
who is said to have conceived some apprehen-  history or his works. There is an altar-piece in
sion as to his success, and to have expressed no  the church of the Conventuali at Venice by his
little indignation at being put in competition  hand, quite in the style of the elder P. He exwith Pordenone. This jealousy was considera-  celled in portraits, which are still preserved in the
bly aggravated by his being commissioned to  different collections, and are often attributed to
paint a picture of the Annunciation for the con-  his master.
vent degli Angeli, at Murano, instead of one by   LICIas te 
Titian, which was rejected on account of the exor-, G                  PORas te 
bitant price demanded for it, and at length, when hew and scholar of Gio. Antonio Licinio, born at
he painted his frescos in the cloister of S. Stefano,  Pordenone in 1520. According to Sandrart and
avowedly in competition with Titian, this jealousy  others, he distinguished himself  a an historical
or enmity ran so high that Pordenone deemed it  painter, particularly in fresco, and imitated the
but prudent to paint with arms at his side. This  manner of his uncle so closely that his works ar
state of open hostility little congenial to the dis-  often attributed to himthe certain fate of all
position of Pordenone, occasioned him to quit e-  imitators-so that now there are no authenticated
nice and go to Mantua where he painted the fa-  works by him in Itay, unless, as Lani suppose,
gade'of the Palazzo de' Cesarei From thence he  he is the same as Giulio Lizino, who, in competiwent to Piacenza, where he was employed to paint  tion with Paul Veronese, Schiavone, and other
a picture of St. Agostino, in the tribune of S. Ma-  artists, produced the three circular pictures in the
ria di Campagna, and two chapels in fresco, in one  Library of S. Marco at Venice in 1556. Accordof which he represented the history of St. Cathe-  ing to Sandrart, however, he passed a great part
rine. and in the other the Nativity and the Adora-  of his life in Germany. where he left many proofs
tion of the Magi. He next went to Cremona   of his ability, especially at Augsburg, where he
Trevigi, and Parma, where he was successively         in 1561
employed in executing works for the churches.    LICINIO, Gio. ANTONIO DA PORDENONE, the
At length he returned to Venice, when he was  Younger, was a younger brother of Giulio C., and
immediately engaged to paint the cupola in the  is more commonly called Sacchiense. According
church of S. Rocco, one of his most considerable  to Renaldis, he followed the school of Licinio, and
works, where he represented the Four Evangelists  his works are highly commended; but Lanzi says




LIEF.                     477                     LIEV.
there are no longer any authentic works by him,  years, and it does not appear he had any other in
not even in Como, as far as he could learn, where  struction.- When he was only -twelve years old,
he lived, and died in 1576.                       he copied two pictures of Democritus and HeracLIEFRIN, HANS. See LENCKER.               litus, by Cornelius van Haerlem, so exactly that
his copies might have been mistaken for the origiemient Flemish paint, born at   hent in  1n  nals. He occupied himself diligently in studying
eminent Flemish painter, born at Ghent in 1575.  after nature and before he was eighteen he had acHe first studied under Mark Gerards, and, after  after nature abeforehe was eighteen hehad
1 s2  M   r  a  t quired an established reputation as a portrait and
the death of that master, with Ottovenius, whose    i   a established reputation as a portrat and
school was then the most eminent in the Low   historical painter; he was applauded by the
mostCountries.  ashiselw thden,  artists, and his praise sung by the poets of his
Countries. Rubens was his fellow student, and                             9       I pe  o  his
Rubens was his fellow student, and  time. About this time he painted a portrait of
the emulation that existed among the pupils con-  tehe panted ap                            t of
the emulation that existed among the pupils con- his mother, which is described as a wonderful pertributed to the production of several artists of       other       is decrie            e
formance., Another picture of Lievens, which
great celebrity.  On leaving Ottovenius, he was     mhepiture                     Levens
invited to the court of Prince Paderborn, where he  gained him great'applause as well as great benefit,
invited to the court of Prince Paderborn, where he
met with liberal encouragement; but the climate  was the Student in his Library, with figures of
not agreeing with his health, he returned to his  life size. This picture was purchased by the
native city, where he settlanered,           and tal-!Prince of Orange, who presented it to Charles I.
native city, where he settled, and exercised his talents with great reputation during the remainder  of England  who ws greatly pleased with the exof his life. The name of Rose was given to him   cellence of the work, and astonished when informwhen a boy, on account of his ruddy cheeks, by   ed that the artist was not above twenty years of
which appellation he was generally known   He  age. This picture procured him  a favorable rewas one of the most eminent painters of the Flem-  ception at the court of England, where he resided
ish school, and his works are in almost er'three years, and painted the portraits of the king
own in the Low Counris    e pain   sa  and other members of the royal family, also some
town in the Low Countries. He painted sacred   of the principal nobility of his court. On leaving
and historical subjects. His design was grand,  England he went to Antwerp, where he was ing
his composition good, his drawing correct, his col-    e t                        ee e ws 
oring rich and harmonious, and he wrought with  cessantly occupied in executing large works for
great facility. According to Descamps, Rubens   the churches and convents, and smaller historical
av     b aplied to  y te coateity o   t   subjects for private collections. At Brussels, in
having been~applied to by the confraternity of St.  the church formerly belonging to the Jesuits is
Michael at Ghent to paint them an altar-piece, re-  his Visi n of the Vr f   gin, a      the Jchurchi of
fused the commission in the most liberal manner,  hi. JVisiati  Aof the Va fine picture f church o
observing that, "while you possess so fine aaRose   St. James at Antwerp, a fine picture of the Holy
observing that,  wdie wyou posses of fi Rose   Family. In 1641 he returned to Leyden, where
you may well dispee   with fiowers of foreiegn   he executed his celebrated pictures of David and
growth."  In the church of St. Nicholas at (Ghent
growth."  In the church of St. Nicholas at -Gent  Bathsheba the Sacrifice of Abraham, and the Conare two of his best works, the Good Samaritan                te ce of AbrahaS, and the  onI4.1.1^11^^-0^1^   i   l, i.tinence of Scipio, in the Town Hall of Leyden,
and the Fall of the Rebel Angels, which last is  tinence of Scipio, in the T      all of  eyden,
nsd the   mteree  Als   i  ch l      which last is one of his finest works. Every one of
considered his master-piece. Also in the church. i                                f
these is a sumffcient proof of his genius for comof St. James are several of'his works, one of  these is a sufficient proof of his genius for comwhich is a    grand  composition, with a multitude of  position, the sweetness of his coloring, and the exwhich is a grand composition, with a multitude of  c            pencil so highly commended.
figures, representing the Last Judgment. He died  cellence of his pencil so highly commended.
at Ghent in 1647.                                   Lievens distinguished himself not less as an engraver than as a painter. His plates are partly
LIENARD, JEA  BAPTISTE, a French engra-  etched, and finished with the graver, in a manner
ver, born at Lisle about 1750. He was a pupil of  somewhat resembling that of Rembrandt and litJacquesPhilippeleBas,whosestyleheimitatedwith  tie inferior to the admirable prints of that great
considerable success. He executed some plates of  master, either in picturesque style of execution
views and landscapes, and he engraved a part of  or the charming effect of chiaro-scuro. His celethe plates for the VoyagedesRoyaumes de Naples  brated print of the Raising of Lazarus is superior
et de Sicile, by the Abb6 de St. Non.             to that of Rembrandt of the same subject in comLIENDER, PETER VAN, a Flemish painter, born  position, and equal to it in execution. His prints
at Utrecht in 1727, and died there in 1797. He  amount to about sixty, and are usually marked
painted landscapes and views of cities with con-  with his name, which is sometimes spelt Lvyns,
siderable success. His favorite subjects were scenes  and sometimes with his initials I. L. only. He
on the Rhine.                                     died, according to Nagler, in 1663. The following
LIERRE, JOSEPH VAN, a Flemish painter, born  is a list of his best prints:
at Brussels in 1530.  He settled at Antwerp,                    PORTRAITS AND HEADS.
but in consequence of the troubles of the times,    Ephriam Bonus, seated in a Chair; Joannes Lyvyns,
was obliged to take refuge at Franckendal, where  fecit. Joost Vondel, Dutch poet. Daniel Heinsius, Prohe practised the art with reputation, but embrac-  fessor of History at Leyden; very fine. Jacobus Gouters,
ing the principles of Calvin, he became a Protest-  musicin; very fine. The Bust of an old Manbald, with
ant preacher. His works are much sought after  along beard. Bust of a Man with a furred Cap; after
ant preacher. ~ His works are much sought after
Rembrandt; fine. Several Busts and Studies of Heads,
for their rarity and beauty. He died at Swin-  &c.
drecht in 1583.
~~~~drecht in 1583.                               viov sVARIOUS SUBJECTS.
LIEVENS. JOHN, an eminent Dutch  painter    The Holy Family, with figures kneeling. The Virgin
and engraver, born at Leyden in 1607. He dis-  presenting a Pear to the Infant Jesus; fine and scarce.
covered a passion for the fine arts in his childhood   The Rising of Larus; a gran  composition; fne and
and his father placed him under the direction of  scarce. St. John the Evangelist, St. Jerome in a Cell, holdand his father placed him under the directionf   inga Crucifix. St. Francis holding a Skull. St. Anthony; one
George van Schoten, to learn the rudiments of   of his early plates; scarce. Mercury and Argus. An Oriendesign, and when he was ten years of age with  tal Figure; with a furred cloak and cap. Another OrienPeter Lastman, with whom he remained only two   tal Figure, with a gold chain. The half-length of a Man,




LIOA.                     478                     LILI.
with long hair over his shoulders; a wooden cut; rare. A   ing the Interview between Sts. Francis and 1YOtlx
Landscape with three trees; a wooden cut; fineandcarce.  inic the founders of the Order, on which he
LIGARIO, Gio PIETRO, an Italian painter, born   wrote " To the confusion of our friends," meaning
at Sondrio, in the Valteline,in 1686. After learn-  the envious and malignant. This is considered
ing the elements of the art in his own country, he  his master-piece in fresco. He painted rore frewent to Rome, where he studied for some time  quently in oil colors for the churches. His St.
under Lazzaro Baldi. He then went to Venice,  Raymond reanimating a Child, in the church of S.
and carefully studied the works of the most emi-  Maria Novella, is a picture full of Ert; and his
nent masters of the Venetian school. On his re-  Martyrdom of St. Dorothea, in the Cfnventuali at
turn to his native place, he executed some works  Pescia, Lanzi does not hesitate to cll a wonderful
for the churches, well designed, correctly drawn,  picture, in which we recognize % disciple of the
and beautifully colored. He also painted small  school of Paul Veronese. He %us describes it:
historical subjects for private collections in a style   "The scaffold, the  executionf, the prefect on
of excellence. He died in 1748, or, as some say,  horseback ordering him to strike, the great crowd
1752.                                             of spectators variously affected, and all the appaLIGHTBODY, JOHN, an English engraver of  ratus of a public execution, strike and astonish
little note, by whom there are a few small etch-  equally the connoisseur and the unskilled in paintings of beggars, very indifferently executed.    ing; the holy martyr especially interests us, who,
LHTFOT, W M  an Elish pain,  on her knees, with &s placid composure, willingly
GHTe      OTand arc ILLItAM, who    Engfrishe paint the  resigns her life, and is about to receive from angels
engraver, and architect, who flourished about the
engraver,^^~~~~~~  ^ ^ ^the eternal crown purchased with her blood."  He
middle of the 17th century. -He painted land-  executed mn  works for the churches and public
scapes and perspective views, and as an architect  edce      e aso  ante   any            picture
he was employed at the building of the old Royal      indiiduls, whih are admirably designed and
Exchange in London. Evelyn says he was little  colored, and very highly finished. Some of his
inferior to Wierix for the neatness of his graver,  works were engraved by agostino Caracci  and
works were engraved by Agostino Caracci and
and that he "published two or three Madonnas  others. He also etched some prints after his own
with much applause."  He died about 1671.                                      rae  oth on o
designs.  Some say that he engraved both on copLIGORIO, PIRRO, a Neapolitan nobleman, born  per and wood, but Zani denies that he ever enin 1493. He studied painting, but devoted hi-  graved on wood. He died in 1627.
self principally to architecture and the study oftheE. Se 
antique. He was employed as an architect by          IIO, ANDRBA. See ANCONA.
Paul III., Paul IV., and Paul V.; and after the     LIMAN, LUDWIG DIRK, a German architect,
death of Michael Angelo, he was appointed to su-  born at Berlin in 1788. In 1811 he visited Paris,
perintend the building of St. Peter's, in concert  and studied under Percier; in 1814 he visited Itawith Vignola. Pius IV. employed him  to design  ly, and made a large number of designs after the
the sepulchre of Paul  V.,  and he also erected   anticuities of Rome. Herculaneum, Pompeii, and
the smallpal e iif-tMelvidere wood, besides the  Paestum. On returning to Berlin, in 1819, he
Lacillotti palae, on the Piazza Navona, on the  soon manifested fine talents, and was chosen ProCuccagna.  Ligorio was strongly attached to the  fessor in the Academy of Architecture. In 1820,
st.udy of the antique, and designed a vast number  Baron Minutoli formed a project for visiting
of monuments, medals, &c., with the intention of   Egypt and the ancient Cyrene, with a view of pubmaking a complete collection of the kind for the  lishing a pictorial work descriptive of those counillustrationof the writingsofantiquity. His rep-  tries. He accordingly formed an  expedition, of
utation caused him to be invited to the court of   which Liman was a member; and they visited
Alfonso II., Duke of Ferrara, who gave him  the  Upper Egypt and the temple of Jupiter Ammon,
title of Antiquary to the court, in 1568. He  in the Libyan Desert. Liman died at Alexandria,
wrote several works, among which is a treatise on   on the 11th of December, 1820. He made many
the Antiquities of Rome, printed in 1553. He  designs for the work, which was published at Berdied at Ferrara  in 1573.                        lin in 1824.
LIGOZZI, JACOPO, an Italian painter, born at    LIMBORGH, HENRY VAN, a Dutch painter,
Verona, in 1543. He first studied under Giovanni  born at Rotterdam about 1675. He studied unErmanno, and subsequently, according to Baldi-  der Adrian Vanderwerf and pated small histonucci, Paul Veronese, while that artist was at Ve-   ical pictures and portraits in the polished and
rona. He painted both in oil and fresco, acquired   highly finished style of that master, and though
great distinction, and was appointed by Ferdinand   much inferior they are highly esteemed, and are
II., Duke of Florence, court painter and superin-  to be found in the best collections. One of his
tendent of the Ducal Gallery, in preference to the  bestworks, representing the Hol  Family, is in
many able Florentine painters of his time, which the Gallery of the Louvre. His name is ariousoffices he held for many years-an honorable testi-  ly speled  Limborgh, Limborch, and Limburg.
mony of his abilities.  He executed some works' He died in 1758.
at Rome, and " introduced," says Lanzi, "at Florence a freedom of pencil, an art in composition, a  LIN, HANS VAN, a painter of whom  little is
taste for the ornamental, and a grace and elegance  known, and who flourished, according to dates on
till then rare in that city. His design was suffi-  his pictures, from 1667 to 1675. He painted batciently correct, and he uniformly improved while  ties and hunting pieces with great spirit and truth,
in Tuscany. His coloring, although not that of  and his works are highly esteemed. Authors freVeronese, was full of truth and vigor."  His sev-  quently call him Jan (James), which they misenteen semi-circular fresco paintings in the clois-  take for John or Hans, and Zani calls him Giovanters of the Ognissanti (All Saints) at Florence are  ni van Lint. His pictures are marked H. V. L.
particularly valued, especially the one represent-  for Hans van Lin, his true name.




LINA.                     479                    LINS.
LINAIUOLO, BERTO, a Florentine painter, who  went to Rome, where some say he studied under
flourished about the middle of the 15th century,  Spagnoletto. At all events, he studied the works
and obtained considerable celebrity for his cab-  of Michael Angelo Caravaggio, whose vigorous
inet pictures, which were held in great repute in  style he followed with considerable success, and on
the private collections. According to the account  his return to Holland might have gained a distinof Vasari, he received several commissions from   guished reputation, had he not indulged in such
the King of Hungary and other princes for his  excessive dissipation that his employers could with
works.                                           difficulty get him to finish their commissions.LINCK, HANS or JOHN VAN, a German  Two of his most esteemed works are at the Hague,
14? _  engraver, mentioned by Professor Christ,   nd reprent the Denil and Repentance o  St.
L      Twho executed some prints bearing the  Peter. He died in 1678. The history of this
above monogram, but which he does not specify.   artist seems imperfect and unfair. A very dissipated man would not be likely to attain the great
LINDAER. GIAcoMO, a painter of German de-  age of 88 years.
scent, born at Florence in 1488. IHe studied under Domenico Ghirlandaio, and afterward went to    LINSEN, JOHN, a Flemish painter who, after
derDomenito   Ghirlandaio, andafterwardwenttohaving studied the art in his' own country, went
Rome to improve himself by studying the works  havig  studied thart in his own country, w
of Michael Angelo. He designed in a grand style,to Italy, where. he resided several years. His
and was a reputable historical painter.subjects were marines                 naval engageents.
While he was making a cruise in the MediterraLINGELBACH, JOHN, an eminent painter of  nean, the ship was captured by an African corsair,
the Dutch  school, born at Frankfort on the  and his best picture is a representation of this enMaine, in Germany, in 1625. It is not known   gagement. He gave promise of distinction, but
by whom  he was first instructed, but he went  was killed in the prime of life in a quarrel with a
to Amsterdam when very young, and in 1642, at  gamester.
the age of seventeen, he had made such pro-    LINT, PETER VAN, a Flemish painter, born at
gress that he resolved to go to Italy, and set  Antwerp in 1609. After being instructed in the
out for Paris in search of employment, to raise  rudiments of the art in his native city, at the age
the means. In this he happily succeeded, and af-  of seventeen he went to Italy, and passed several
ter a residence of two years in that city, he pro-  years at Rome, where he studied diligently, in the
ceeded to Italy, where he passed six years, mostly   Academy, and after nature. At length his talents
at Rome, studying and designing from the most  attracted the attention of Cardinal Gevasi, Bishop
remarkable objects in and near that metropolis,  of Ostia, who employed him seven years in the
with great assiduity. In 1650 he returned to Am-  execution of works for his Cathedral, and in the
sterdam, with his portfolio filled with the studies  chapel of La SantaCroce in S. Maria del Popolo
he had made during his tour, of which he made  at Rome. After an absence of nine years he reample use in the compositions of his pictures.  turned to Antwerp, whither his reputation had
He acquired great reputation, and his works are  preceded him, and where he found abundant emstill prized and found in the best collections.-   ployment in executing works for the churches and
His usual subjects are fairs, mountebanks, mar-  private collections. His design was correct, his
kets, landscapes, sea-ports and quarries, and naval  composition good, and his coloring excellent. In
engagements. His landscapes are enriched with  the church of St. James, at Antwerp, is afine picancient ruins, animals, and spirited figures. His  ture by him, representing the Virgin and Infant,
sea-fights are full of expression, exciting pity and  with several Saints, and in the church of the Carterror. He introduced into his Italian sea-ports  melites one of the Virgin mking a gift to the
a multitude of figures, habited in the costumes of  monks of that order pained in the manner of
the different nations, touched with great spirit,  Vandyck, and not much inferior to that master.
and with a character as expressive as varied. He     painted in distemper as well as in oil. His
was equally successful in his representations of  easel pictures of historical subjects are highly. esfairs, Italian markets, the amusements of the Car-  teemed, and he received several commissions from
nival, with appropriate figures, ingeniously group-  the King of Denmark. He also painted portraits
ed, of mountebanks surrounded by crowds of  with great reputation, many of which are still to
spectators, and other assemblages. His figures,  be found in the Low Countries where they are
cattle and animals are correctly drawn, and touched  highly esteemed. The time of his death is not exwith great neatness and spirit. His skies and dis-  actly known; some say he died in 1668, and othtances are treated with an exact attention to aerial  ers say that he was living in 1675.
perspective, and his coloring is clear and agreeable. His pictures are embellished with architec-r                  or         or
ture, and the ruins of ancient monuments and stat-,  /    or             VL
ues, introduced with the happiest effect. In paint-    LNT, H  Y VN c         
ing figures and animals he had a wonderful readi-          EN, called  tudio, was the son
ness of pencil, for which reason he was employed  oftheprec g, who instructed him in the first
by several of the most eminent artists of his  principles of the art, and sent him at an early age
ti         ants a                     sa         to Rome, where he particularly by Wynassed the greater pa  of his
decorate their works with these objects. He also                                        studying
executed some very spirited etchings of his favor-  and designing after natue, the  beautiful scenery
ite subjects, after his own designs. He died at            remas o antiquity in the viity of
Amsterdam in 1687.                               that city; and so great was his assiduity that the
Bentevogel Society named him  Studio, by which
LINSCHOOTEN, ADRIAN VAN, a Dutch histo-  appellation he was afterward known. He paintrical painter, born at Delft in 1590. After learn-  ed landscapes and views in the vicinity, in the
ing the elements of the art in his own country, he  style of John Francis van Bloemen, called Oriz,




LINT.                    480                    LIPA.
zonte, with great reputation, and his works are  of the preceding. He went to Paris, where he
to be found in the collections in Italy. Lanzi  learned the art of engraving under Benoit Audran,
calls him Wallint, confounds him with his father.  whose style he imitated. He afterward went to
and says that he painted small landscapes and  Venice, where he appears to have settled, or at
sea views, with very beautiful figures, and that  least resided many years. The following are his
lie imitated Claude Lorraine. There are several  principal prints: Five large plates; from  the
of his pictures in the collections of the nobility  Cartoons, painted in fresco, in the Palace of the
of England. He etched a few spirited plates of  Duke of Parma, by Carlo Cignani, representlandscapes from his own designs, some of which  ing Venus in her Chariot. Apollo rising from
are dated about 1680. The time of his birth and  the Waves. Bacchus and Ariadne. Pan and Syleath are not known.                           rinx. The Rape of Europa. A set of prints of
LINTHORST, J., a Dutch painter, born at Am-    bjts from the Bible;  fer ebatiano Ricci
sterdam in 1755, and died there in 1815. He ex-    LIPARI, ONOFRIO, a Sicilian painter, who studcelled in painting fruit and flower-pieces, which he  ied at Naples, and settled at Palermo, where he
executed with a delicacy, freshness, and brilliancy  flourished in the latter part of the 18th century,
of coloring rivalling nature. There are two fine  and executed some works for the churches, partispecimens of his skill in the Museum at Amster-  cularly two pictures of the Martyrdom  of St.
dam, and his works are received into the best  Olivia in the church de' Paolotti.
collections.                                      LIPPI, GIACOMO, called GIACOMONE DA BuLINTMEYER, or LINDMEYER, DANIEL, a  DRIO. He studied in the school of the Caracci.
Swiss painter, born at Schaffhausen about 1540.  He was a distinguished artist, and a universal
He was an eminent painter on glass, and his works  genius; and executed some excellent works for the
are admired for their ingenuity of composition and  churches at Bologna and other places. Lanzi says
brilliancy of coloring.                        that "in his fresco histories in the Nunziata, we
LIONE, ANDREA DI, a Neapolitan painter, was  trace the pupil of Lodovico Caracci, not so select,
born in 1596, and died-about 1675. Lanzi says  but of a prompt and practised hand."
he painted battle-pieces in the style of Falcone,    LIPPI, FRA. FILIPPO, an old Florentine painthis cotemporary, but his works are easily dis-  er, orn, according to Baldinucci, about 1400.
tinguished from those of that master, by less fire  When a youth, he was received into the convent
and animation, and the more timid touch of an  of the Carmelites at Florence, where the works of
imitator.                                      Masaccio, several of which were in the convent,
LIONI, CAVALIERE OTTAVIO. See LEONI.         inspired him with such ardor, that he set himLIOTARD, JOHN STEPHEN, called the TURK, a  self to copying them, in which he made extraSwiss painter, born at Geneva in 1702. His fath-ordinary progress, and ultimately imitated his
er intended to bring him  up to mercantile pur-style     exactl that  e was called the  Spirit   Kt/M4      Ai ~       t at VSai wau
suits, but discovering an early passion for the Bre
arts, he allowed him to follow the bent of his  in error, from the above circumstance, in making
arts, he allowed him to follow the bent of his  h    a pu    o  Maccio. The applause he re
genius, after he had successfully copied a minia-            l     of Maaio. The al ause h e ret
ture by Petitot. He went to Paris in 1725, where  ceived only stimulated him to greater exertions,
ture by Petitot. Hewent to Paris in 1725, where   ^  ^ ^ ^   ^   ^^   ^^ ^  ^  habit
he soon got into practice in painting portraits in  and he forsook the convent, threw of the habit,
crayons niniature andenameand devoted himself entirely to the profession of
crayons, miniature and enamel. In 1738, he ac-  painting, in which he acquire e.t renown. and
companied the Marquis de Puisieux to Rome, and  painting, ii ewhich he acqure   o   renown an
while in that city became acquainted with the  pas  ftccut   aimfon             o that of RafEarls of Sandwich and Bessborough, who engaged  paintere Soi eotifmeofi as     anci     after he
him to go with them  to Constantinople.  There    lle. So      offiistpances  fter he
he got t we patronage of tConstantinople. There  left the convent, when he was seventeen years of
e got the patronage of the English Ambassador,
Sir Edward Faulkener, on whose recommendation  age, were several small pictures for the sacristy of
he went to London where hoe resided two years  the church of S. Spirito, and a picture of the Virand then returned to Switzerland where he died  gin and Infant, with a choir of Angels in the
andthen returned to Switzerland, where he died  ^^ ^ g Ambrogio  at Florence in which the
about 1776. Liotard painted        church of S. Anibrogio, at Florence, in which the
habout 1776.  iotard painted portraits exquisite-  expression of the heads is far more graceful and
ly, but with such rigid fidelity that they failed ton        th   tht h    rece 
pleasing than any thing that had preceded him:
please, for he would not suppress any blemish   About this time, as he was making a voyage to
that he might perceive in his sitter's countenance.   sh  was aped by                  yo
While at Vienna he painted the portraits of the.,  e ship was captred by a Barbary c
Emperor and Empress, and by the imperial com-  situation he was continued eighteen months, when, one
mand he drew his own likeness, which is in the  situation he continued eighteen months, when, one
Florentine Gallery.When hwetday. lhenving sketched an exact likeness of his masFlorentine Gallery. When he went to Constantinople, he adopted the Turkish dress, and would  ter on the wall with a piece of charcoal, the latter
never wear any other; hence his cognomen, the  was so pleased with it, that he generously set him
neveJ wear any other; hence his cognomen, t~e  at liberty. On his  return to Florence, he was conTurk. There are several pastel paintings in the  at liberty. On his return to Florence, he was conGallerytt Dresden by this master, among which  stantly employed in executing works for the
is a portrait of Marshal Saxe. He etched a few   churches, the Grand Duke, and the nobility. He
is a portrait of Marshal Saxe. He etched a few
plates, among which are the following: The Em-  was the first of the Florentine painters who atpress Maria Theresa, in a Turkish dress. The  tempted to design figures as large as life, and the
Archduchess Maria Christina; the same. Ren6  first who remarkably diversified the draperies, or
ArchQuchess Maria Christina; the same. Rene
* Heraallt, Lieutenan t-Glene~ral of police. The Por-  gave his figures the air, dignity, and grace of the
HeraUltLieutena  G f  Tantique. His coloring was excellent, and pecutryait of John Stephen Liotard, with a long beard.  antique. His coloring was excellent, and pecuthe Sick Cat, with some French   verses,       liarly his own; his tints very clear, but delicate,
The Sick Cat, with some French verses.
and often subdued by a purpl'sh hue, not comLIOTARD, JEAN AMICHEL, WaS the brother  mon to other painters. In the parochial church




LIPP.                     481                     LIPP.
at Prato, he painted in fresco, the Martyrdom of  where he resided many years. He executed many
St. Stephen, and the Decollation of St. John, the   works at Florence, the best of which are a Crucifigures larger than life, which, in the opinion of  fixion in the Ducal Gallery, and the Triumph of
Vasari, were his most capital works. He also ex-  David, in the hall of Angiolo Galli, in which he inecuted many works at Naples, Padua, and other  troduced the portraits of his seventeen children, the
cities. He died at Spoleto in 1469, while engaged  eldest as the son of Jesse, and the other sixteen
in executing a grand altar-piece, which he left  as the youths and virgins that, with songs and
in an unfinished state. Lanzi says that Lorenzo  timbrels, greet the victor, and hail the deliverance
the Magnificent payed extraordinary respect to  of Israel. He died in 1664.
his memory by demanding his ashes of his towns-    LIPPO, ANDREA DE' an old architect and sculpmen, which being refused, he erected a handsome  tr of Pisa, who was employed on the cathedral
monument to his memory, with an inscription by   of Orvieto about 1336, probably the same as AnAngelo Poliziano, in the Cathedral at Spoleto.  drea Pisano which see.
There is an astonishing amount of fiction and con-    r
tradiction, among authors about the minutia of       IPS, JOHANN HINRICH a Swiss designer and
this artist's life, which are not worthy of men-  engraver, born at Kloten, near Zurich in 1758.
tioning.                                          He settled at Zurich and distinguished himself
by his engravings after the Italian and Flemish
LIPPI, FILIPPINO, was the natural son of Fra   masters, executed in a very masterly manner. He
Filippo Lippi, born at Florence in 1460. Accord-  also engraved many portraits and book illustraing to Vasari, he was a disciple of Sandro Boti-  tions. He was living in 1817.
celli, who had studied with his father. He assisted Boticelli in the execution of his works. He  LPS  JOHANNJAOB, ason of the preceexcelled in portraying the usages of antiquity, and   ding, was born at Zurich in 1790. He first was
Vasari says he was the first among the moderns  instc     by h    athr, an  afterward went to
who decorated their paintings by the introduction   uni  for improvement. He was an engraver of
oI grotesques, trophies, armor, vases, edifices, and     and executed some historical plates, as well
draperies, copied from  the models of antiquity.  as portraits and other subjects.
This however had before been attempted by Squar-    LIS, or LYS, JAN VANDER. This eminent artist
cione. Cellini also says, that he had seen several  was born at Oldenburgh, in Germany, in 1570,
books of antiquities drawn by Lippi. He did not  but studied at Haerlem, under Henry Goltz. and
design the human figure so well. At Florence, in  adhered to the style of that master, until he went
his pictures of St. Bernardo, in the Abbey of that  to Italy, where he studied with great assiduity
name, the Adoration of the Magi, in the Floren-  the works of P. Veronese, and Domenico Feti, and
tine.Gallery, and his twopicturesof St. John and   changed his manner entirely. His compositions
St. Philip, in the church of S. Maria Novella, he is  were univerly admired for their correct design
more admired for the admirable accessories he in-  fine expression, lively and natural coloring, and
troduced into them, than for the figures themselves.  sweetness and delicacy of pencilling; although he
e was invited to Rome, to paint a chapel in the  could never totally divest himself of the taste he
church of S. Maria della Minerva, where he repre-  had acquired in Holland. He became so eminent
sented the Assumption of the Virgin, and some  that he has been compared with Rubens and Vanhistories from  the life of St. Thomas d'Aquinas   dyck. His subjects are principally taken from sain which he shows great improvement in his heads.  cred history. The principal of them are a picture
He died in 1505.                                  of Adam and Eve mourning over the Body of
LIPPI, LORENZO, a Florentine painter, born in   Abel; and in S. Nicolo at Venice, is a celebrated
1606. He was a boon companion of Salvator Ro-             by him, representing St Jerome in the
sa, and, like him, divided his time and attention   Desert, with an Angel sounding-a Trumpet which
between painting, poetry, and music. Lanzi savs      designed in an admirble  style  Lis  ied at
that his poem II Malmantile Racquistato, (the   Venice in 1629.
Ragged Cloak Recovered,) is a model of Tuscan       LIS, or LYS, JAN VANDER, a Dutch painter,
purity of language, sprinkled with those graceful  born at Breda in 1600. He studied under CorneFlorentine idioms that are regarded as the Attic  lius Poelemburg, and imitated his style with such
salt of Italy.  He first studied painting with Mat-  success that many of his works are attributed to
teo Roselli. "In looking about," says Lanzi, " for  that master. He painted subjects of history, landa prototype among the artists of his own school,  scapes and conversations; some of which he enguided by a similarity of genius, he made choice  graved. At Rotterdam is a picture by Lis, repreof Santo di Titi. A delineator of the passions ac-  senting Diana in the Bath, attended by her Nymphs;
corded. with the genius of the poet, and a painter  but his most capital performance is said to be in
of the choicest designs was highly congenial irai   England, in the collection of Lord Middleton. He
elegant writer.". Lippi added to the style of Titi,  is supposed to have been the same as Giovanni
a greater force of coloring; in his draperies, he  Lutz, after whom  Mogalli engraved the Sacrifice
iollowed the practice of the Lombard school, and   of Abraham. He died in 1657.
oi Federigo Baroccio. The delicacy of his pencil,    LISEBETTEN. See LEYSEBETTEN.
the softness and beauty of his coloring, and the    LISSANDRINO.  See MAGN.
general good taste pervading his works show that
he had a feeling of natural beauty superior to      LITTERINI, AGosTifo, a Venetian painter, born
most of his cotemporaries. Roselli admired his  in 1642. According to Melchiori, he was an empictures, and  with  a liberality seldom  found  inent artist in his time, and painted much at Veamong painters, frankly admitted his superiority.  nice and in the State. His works were well deHe acquired great distinction, was invited to the  signed, and distinguished for clearness and boldcourt of Inspruch, and appointed court painter,  ness of style. He was living in 1727. He had a




LITT.                     482                    LLOY.
son named Bartolomeo, who was born in 1669, and   portrait of the infant Don Philip, which gave sc
who excelled his father. Also a daughter named   much satisfaction, that he became the favorite paintCaterina, born in 1675, whom Melchiori also high-  er of the court.  Notwithstanding this honorable
ly commends for her small historical and cabinet  and flattering patronage, from some religious feelpictures. Lanzi says the works of these artists  ing, or other fancy, he retired from the world. In
are well known in Venice.                         his seclusion, however, he continued to exercise
LITTRET. CLAUDE ANTOINE, a French engrav-  his art in painting pictures of the Virgin and
er, born at Paris in 1735. He engraved some  other religious subjects, which partake of the
plates of historical subjects and portraits, executed  sweet and simple style of Murillo.  One of the
with the graver in a neat, clean style, which poss-most esteemed, represent the Virgin  s a Shep
ess considerable merit. He went to England about  herdess, in the midst of her flocks. He died in
1768, but not meeting with much encouragement,  1757.
he returned to France and died at Rouen in 1775.    LLOYD, MARY, an English paintress, whose
Among others, we have the following by him:      maiden name was Moser, the daughter of George
PORTRAITS.                     Michael Moser, who instructed her in the art.
Madame de Pompadour; after Schenau. Mademoi-  She distinguished herself so much by her admiselle Clairon, celebrated actress; do. J. J. Rousseau; af-  rable flower-pieces, that she was elected a member
ter la Tour. P. L. de Belloy. M. de la Sartine, Lieu-  of the Royal Academy. After her marriage, she
tenant General of Police; after Viger. Antoine de Mal-  practised the art only for amusement. She died
vin, Archbishop of Lyons; after Vanloo.          in 1819.
VARIOUS SUBJECTS.
VARIOUS SUBJECTS.                   LOCA, BATTISTA, a Neapolitan painter, who,
Venus sleeping; after St. Quintin. Diana reposing;  acco g to, s tudied under Gio. Anto
do. Love conducted by Fidelity; after Schenau. Love  r       to Dominici, studied under Gio. Anto
distributinghis Gifts; do. Two Views of the Rhine; af-  nio d'Amato il Vecchio, but adopted the manner
ter Weirotter. The Concert of the Grand Sultan; after  of Andrea da Salerno, and acquired considerable
C. Vanloo.                                       reputation.  He executed  some works for the
LIVE, ANGE LAURENT DE LA. a French amateur  churches, the chief of which is the Conversion of
engraver, who executed a few plates after Boucher  St. Paul, in the church of I1 Spirito Santo at Naand Greuze, a few portraits, and a set of caricatures  ples, dated 1543, which is pronounced an admiraafter Salis.                                      ble performance.
LIVENS. See LIEVENs.                              LOCATELLI. See LUCATELLI.
LIVERSEEGE, HENRY, an English painter,    LOCHOM, MICHAEL VAN, a Dutch engraver.
born at Manchester in 1803. He was from his  who resided at Paris, and was chiefly employed by
birth deformed and weakly, and being neglected  the booksellers. He executed some portraits and
by his father, his lot had been sorrowful indeed,  frontispieces in a poor, indifferent style. He enbut for a kind uncle who took him under his own   graved some portraits for the works of Hippoprotection and educated him, and was rewarded  crates, published at Paris in 1639, and the plates
by seeing him rise to eminence. Itis not known   for LesPeintures de la Bible, published in 1656.
under whom he learned painting. He first tried      LOCHOM or LOCHON, B. V.. a Dutch engraportraits, but failing in this branch, he directed   ver, who, in conjunction with H. Janssens, execuhis attention to fancy subjects, which were more  ted a set of plates of ornaments for goldsmiths, afcongenial to his nature, and in which he met with  ter designs by Tangen. He also engraved a set
such success that his works found ready purchas-  of Huntings of various kinds, executed in a neat
ers, and are well known by engravings from them.  style.
Such are. Adam Woodcock, from Scott's romance           LOCHON  REN, a French engaver, born
of the Abbot; Isabella and the Recluse, from the       at Poisy about 1630. He went to Paris,
Black Dwarf; the Inquiry; the Cobbler reading           where he engraved some portraits and
Cobbett's Register, Percie Shafton and Mysie Hap-    he    e         wich he imitated the style of
per;uil, the Fisherme                                        ough greatly inferior to that master.
&c. He  died suddenly in 1832, aged 29. As an
&c. He died suddenly in 183A aged 29. As an            g others, we have the following by him'
artist, his powers lay in the delineation of charac-Among others, we hvethe following by him
ter, and his early death has left it doubtful wheth-                 PORTRAITS.
er he would have excelled most in seriousness or    Charles de Bourbon, Bishop of Soison. 1657. Eustache
comic humor.                                     de Lesseville, Bishop of Coutanoes. 1661. Felix Vialart,
JBishop of Chalon. B. Phelipeaux de la Vrilliere. 1667.
LIZINI, GIULIO, an Italian artist, who, accord-  Jerome Bignon. Louis de Mailla, Doctor of Sorbonne.
ing to Zanetti, painted in competition with Paul  Hardouin de Perefix, Archbishop of Paris; after ChamVeronese and Schiavone, the three circular~ pie-  jocAagne. Antoine Arnauld, Priest of the Oratory; do.
Veronese and Schiavone, the three circular pic-''
tures in the Library of St. Mark at Venice, in                       SUBJECTS.
1556. Renaldis asserts the same, and calls him a    Christ bearing his Cross; after Caracci. The Virgin
Roman artist, perhaps from  his long residence at  and Infant, with St. John; after N. Coypel.
Rome. Lanzi says he believes this artist to be    LOCKLEY, DAVID, an English engraver, who
the same as Giulio Licinio da Pordenone, which  flourished at London about 1719, and engraved a
see.                                             few plates of views and portraits in a poor style.
LLANOS.  See VALDES.                             LODER, a German painter and engraver of little
LLORENTE, DON BERNARDO GERMAN, a Span-  note, mentioned by Basan, who flourished about
ish painter, born at Seville in 1685. He was the son   1760 e etched a few plates after his own deof an obscure painter, who instructed him  in the  signs.
art. He carefully studied the works of Murillo,            LODGE WILLIAM an English designer
and acquired so much distinction that, when Philip         and engraver, born at Leeds in 1619.
V. visited Seville, he was commanded to paint the   V    LX He received a liberal education, and




LODI.                       483                     LOFV.
studied law at Lincoln's Inn. He went to Venice   many but in France and Eng.and..  He died in
in the suite of Lord Bellasyse, in his embassy to   1788.
Venice, where he improved his abundant leisure,       LOFVERS, HENRY, was the son of the precein studying the fine arts.  During his travels, he  ding, born in 1739. He was instructed in the art
sketched  various  scenes which  he afterwards   by his father, and he painted marine subjects,
etched.  On his return to England, he was em-  fruit and flower-pieces with ability. He died at
ployed by Dr. Lister to draw some rare shells   Groningen in 1805.
and fossils, which were transmitted to the Royal
Society, and published in their Transactions. He      LOGGAN, DAVID, a Prussian engraver, born
died at Leeds in 1689. He etched the following   at Dantzic in 1630. He is said to have received
prints, marked with his monogram:                  his first instruction from Simon de Passe, in Denmark: and afterward passing through Holland, he
The Pont du Gard, in Languedoc; with cipher. A Viewof  studied under Hondius.  He went to England beGaeta, with the Mole and.Plancus' Tomb. Pozzuolo, Car-  fore the Restoration where he found full employacallas Mole, Baia, &e. Ruins of the Amphitheatre and  fore the Restoration, where he found full employAqueduct at Minturnum. Promontory of Circe, Temple  ment  He engraved forty plates of views of the
of the Sun, &c.  Lambeth Palace, from the Thames.  public buildings of the University of Oxford, which
Westminster Hall and the Abbey. The Monument. Sher-  were published collectively in 1675 under the title
iff Hutton  astle. Clifford's Tower. View of York.-   of Oxonia Illustrata  in a folio volume; thirty
Leeds, with a View of Kirkstall and Fpuntain Abbeys.  plates do, of the University of Cambridge, pubThe Portrait of Oliver Cromwell, and his Page. The Por-               University of Cambridge, pub
trait of Samuel Malines; after Claret.             lished in 1688; a set of plates of costumes for the
LODI, CARLO, a Bolognese painter, was born in   Oxonia Antiquce, and a set of eleven plates for a
work entitled Habitus Academicorum  Oxonic  a
1701. and died in 1765.  ie studied with Nunzio work entitled Habitus Academicorum Oxonice a
11. anddiedn 1765.  lie studied withNunzio   Doctore ad Servientem. His works are executed
Ferraiuoli at Bologna, in whose style he painted.     t   e  aver in a neat bt ormal s, a
According to Crespi he was an excellent painter of   whih ae the fowin
landscapes in the style of Poussin, but Lanzi con-        aree   owi
siders him only a tolerably good landscape painter,     Charles I. on horseback; scarce. Henrietta Maria, h is
yet he says, "he was an excellent disciple of his   Queen. Charles II.; four plates. Catherine, his Queen.
yemaster"s sa s, d he was an excellent disc  of    his  James, Duke of York. George, Duke of Albemarle; fine.
master."  To understand the criticism of Lanzi, it  Sir Edward Coke, Chief Justice. Edward Hyde, Earl of
should be observed that he takes occasion to cen-  Clarendon; fine. James Stanley, Earl of Derby; rare.
sure the Padre Orlandi for his partiality to Ferrai-  Lord-keeper Guilford; fine. James, Duke of Monmouth;
uoli, whose friend he was, and whom hd compares  fine. James, Duke of Ormond. Crew, Bishop of Durto Poussin, and Claude Lorraine.                    ham. Sancroft, Archbishop of Canterbury. Sir Henry
Pope Blount. Pearson, Bishop of Chester. Sir George
LODI. ALBERTINO DA, an old painter, who flour-  Wharton. George, Prince of Denmark.  Mother Louse,
ished at Milan from 1447 to 1466. He is briefly  of Louse-Hall; one of his earliest prints.
mentioned by Lomazzo, as excelling in' the art      LOIR, NICOLAS, a French painter and engraver,
of correctly viewing objects," or perspective.  He  born at Paris in 1624; died in 1679. He was the
executed some works for the churches at Milan,  son of a goldsmith, who, perceiving his inclination
and perhaps other cities.                          for art, placed him  under Sebastian Bourdon; on
LODI, CALLISTO PIAZZA. See PIAZZA.               leaving whom, he visited Italy, at the age of twenLODI, ERMENIGILDO, a painter of Cremona,  ty-three.  Being in easy circumstances, he devowho flourished in 1616. He studied under Cav.  ted his time to contemplating, rather than copying
Gio. Battista Trotti, called Molosso; was one  the works of the great masters, and his memory
of his most successful pupils, and assisted that  was so retentive that, on arriving at his rooms, he
master in the execution of many -of his works.  was able to sketch the pictures which had pleased
Baldinucci and Orlandi speak of him in terms of   hi  most.  He became particularly attached to the
high commendation, and assert that it is difficult  works of Nicolas Poussin, and his best producto discern which of two paintings belonged to the   tions are his easel pictures, painted in the style of
master and which to the scholar. Lanzi conje-  that master. After remaining at Rome for two
tures that this arose from painting under the eye   years, Loir returned to Paris, and met with good
of his preceptor, and says that if we consult a few   encouragement.  He was employed in several imwhich he executed alone, particularly at the church   portant works for Louis XIV., in the palaces of the
of S. Pietro, we shall not find it difficult to make   Tuilleries and Versailles.  His pictures are lacking
the distinction.                                   in the dignity of the figures and elevation of the
TLODI, MANFREDO, was a brother f sthe piece-conceptions; but he had great facility of invention,
LODIMNFREDO, was  brother of the pece-  and a rapid manner of pencilling; his female figding artist, and  studied under the same mas-         a                                    e e g
ter. He was a reputable painter.  There is an   ures and children were characterized by graceful
forms and attitudes. In 1663, Loir was chosen an
altar-piece by him  in the church of S. Agostino   forms and attitudes.  In 1663, Loir was chosen an
alt^-piece by hm  I  the  church of S. Agostino   academician, and presented, as his reception piece,
at Cremona, dated             the Progress of Painting and Sculpture.  Among
LOEMANS, ARNOLD, a Flemish engraver and   his finest productions, is the Marriage of St. Cathprintseller, who flourished at Antwerp about 1690.  erine, in the church of St. Bartholomew.  As an
He engraved some prints after the Flemish mas-  engraver, Loir etched a large number of plates in
ters, and a few portraits, among which is one of   a slight but spirited style, among which are the
J. Callot.                                         following:
LOFVERS, PETER, a German painter, born at    Set of Twelve, subjects, Virgin and Holy Families. The
Groningen  in 1710.  He studied  under John   infant Jesus embracing the Cross. The Judgment of PaAbel Wassenberg, whose subjects and manner he   r   Apollo ad Daphne. Cleobis and Biton drawing the
at first adopted.  He afterward directed his atten Chariot of their Mother to the Temple of Juno. Two large
at first adopted.v  He  afterward directed his atten-  Landscapes. See Dumesnil, P. G. Frangais, tom. iii., for a
tion to marine views, in which he excelled, and his  description of 113 prints by Nicholas Loir. He conjectures
pictures were in great request lot only in Ger-  that the number mentioned in the text is an exaggeration




LOIR.                      484                     LOLM.
by D'Argenville, who probably includedsome of the anony-  design. Infant Bacchanalians; do. A similar subject
mous pieces, which were executed by his brother Alexis.    do.
LOIR, ALEXIS, a French engraver, the younger       LOLMO, GIOVANNI PAOLO. a native of Bergabrother of the preceding, born in 1630; died in   mo, who flourished at Venice in the latter part of
1713; although some authors place his birth in  the 16th century.  According to Tassi. he was an
1640. He was brought up to his father's profes-  excellent artist, and excelled in cabinet pictures.
sion of a goldsmith, but became eminent as an en-  There is an altar-piece by him  in the church of
graver. His drawing is correct; his execution   S. Maria Maggiore at Venice, dated 1587, highly
rapid and spirited; and he had the peculiar ex-  commended for its design and execution. Lanzi
cellence of faithfully preserving in his plates the   says he was a good artist in diminutive pictures,
different styles of the masters after whom he en-  and a diligent and minute observer of refinegraved. He etched several plates after his broth-  ment in figures, though he displayed a great parer's designs; also a number of others, among which  tiality for the design of the 14th century.  He died
are the following:                                 in 1595.
The Education of Mary de' Medicis; after the picture  LOMAZZO  GIO. PAOLO  a Milanese painter
by Rubens in the Luxembourg Gallery. Time discover-  a    r           t   fin, born in 1538.  He
ing Truth; do. The Fall of the Rebel Angels; after Le  d    iter on te  fine arts, born in  13     e
Brun; fine. The Massacre of the Innocents; do.; do.  studied under Gio. Battista della Cerva, and afterThe dead Christ in the lap of the Virgin; after Mignard.  wards traveled through Italy and acquired a proThe Finding of Moses; after N. Poussin. Venus giving  found knowledge of art. He was a man of genthe Arms to Eneas; do. The Presentation in the Ter-  ins, and rose to considerable eminence as an hisple; after Jouvenet. The Descent from the Cross; do.;  torical painter, but unfortunately lost his sight at
fine. The Virgin with the Infant sleeping'after N. Loir.
The Holy Family; do. Mary Magdaene paying; do.;  thirty-three years of age, when he devoted himself
The Holy Family; do. Mary Magdalene praying; do.;  to  literary  pursuits.  He painted both in oil
fine.                                              to  literary  pursuits.  He painted both in oil
f'~~lnOIS~e. L  b      F h          and fresco, and executed some works for the
LOISEL, an obscure French engraver, who   churches and convents of Milan and Piacenza, the
flourished at Paris about 1645. All that is known best of which are Christ giving the Keys to St.
of him is that he engraved the plates for the folio  Peter, in the church of St. Marco; the Sacrifice of
volume of Plans and Views published by Beau-  Melchisedec, in the library de Passione, at Milan;
lieu in 1645.                                      and the Forty Days' Fast, in the refectory of S.
LOISI, or LOISY.  There were four French   Agostino at Piacenza.  As an author, he wrote a
engravers of this name, who flourished at Besan-   Treatise upon Painting; published at Milan in
Von in the 17th century, but did not attain much   1584, which he condensed in his Idea of the Terndistinction. Pierre de L., called the Elder, was  pie of Painting, printed in 1590. Lanzi finds a
a medalist, and was appointed engraver to the   good deal to condemn, but enough to commend to
mint at Besan on.  Jean de L., his son, executed  think it worth while to remodel them, and sepathe plates for the work of Jean Terrier, entitled   rate the fruit from the husk.  They contain much
Portraits des S. S. Vertus de la Vierg, Paris,  historical information, with excellent observations
1635, Besangon, 1668. Pierre de L., called the   upon the practice of the best masters, and much
Younger, applied himself more particularly to en-  critical knowledge relating to the mythology, hisgraving  medals, although he executed  several  tory, and customs of the ancients.  His rules of
plates.  Claude  Joseph de Loisy, his son, en-  perspective were compiled from  manuscripts of
graved the plates for the Breviary published by   Foppa, of Zenale, of Mantegna, and of Vinci, and
the Archbishop of Besanton.                        are therefore particularly valuable.  He died in
1600.
LOLI, LORENZO, a Bolognese painter and en-          LOMBAR
graver, born in 1612.  He was a favorite disciple     LOMBARD, LAMBERT.  There is, perhaps, no
of Guido, for which reason he is called by the   name in art about which there is so much contraItalians  Lorenzo del Signor Guido Reni.  He   diction and  confusion as that of Lambert Lompainted some altar-pieces for the churches at Bo-    d, arig from the confounding together three
logna, in imitation of the style of his master, the   artists, viz.: Lambert Lombrdborn in 1506;
most admired of which is his St. Antonio di Pa-  Lambert Suterman or Suavius, his disciple, both
dova in the church of S. Caterina de Strada Mag-  natives of Liege; and Justus Susternans, born at
giore. He also distinguished himself by his etch-  Antwerp in 1597. Part of this confusion arose
ings, which he executed in a slight but spirited man-  from Sandrart's assertion that Lambert Lombard
ner, in imitation of Guido, and though greatly in-  and Lambert Suavius were one and the same artferior to the works of that master, they possess  ist, and as Lambert Lombard and Justus Sustermuch merit. He sometimes signed his plates with   man  both studied in Italy, the Italian authors
his name, and at others, L.LL. F., or Lo. F., or  even  Lanzi, confound  them  together.  Baron
Laur. Lol.  The following are his best prints. He   Heieken, however, has settled the whole quesdied in 1691.                                      tion, and we cannot discuss it any farther, but refer the reader to Lambert Suterman and Justus
The Flight into Egypt; after GTuido; there is a fine  Sustermans.
print by Poilly of this subject. The Holy Family, with  Lambert Lombard was born at L         accord
St. John, in which St. Joseph is leaning on a Pedestal; do. 
The Holy Family, with St. Elisabeth and St. John; after  ing  to  Lampsonius, his biographer, in  1506,
Sirani. The Virgin with the Infant sleeping; after Elis.  (others say in 1500,) and first studied under ArSirani. The Virgin, with the Infant, to whom an Angel  nold Beer, and then under John de Mabuse. At
presents a Basket of Flowers; after Sirani. The Assump-  the age of thirty-two he went to Italy, in the suite
tion of the Virgin; do.; fine and scarce. St. Jerome; do.  of Cardinal Pole, at the recommendation of Erard
Mary Magdalene, with a Crucifix; after his own design.  de la Mark, bishop of Liege.  During his resiThe Virgin appearing to St. Francis and St, Augustine; do. Mar bishop of Liege. During his resi
Fame flying over a Globe; after Sirani. Perseus and  dence in Italy he studied the works of the great
Andromeda; do. Cupid breakinghisBow; afterhisown   masters, both in painting and architecture with




LOMB.                       485                     LOMB.
intense application.  Lampsonius says he did not    LOMBARDELLI. See DELLA MARCA.
remain in Italy, being compelled to return to Liege,    LOMBARDI, ALFONSO, an Italian sculptor,
in consequence of the death of his patron, the bish-  born at Ferrara in 1487. He studied under  co
op of Liege; and he describes him as a man pos-        a      a a       n becam   distinguished for
sessing uncommon knowledge of ancient art and | his medallion portraits in wax, plaster, and terra
literaturo, self-acquired, and an artist consummte   cotta   He was patronized by variousdistinguishin design. Sandrar t says he studied under Andrea  cotta. He was patronized by various distinguishin design.  Sandrart says he studied under Andrea   ed personages, amongwhom wereAndrea  oria
del Sarto, which the foregoing account would lead  the Duke of Ferrara, Clement VII., and Ariosto.
I^\Y'^ ^  fo~o~g ^^  ^^   ^    the Duke of Ferrara, Clement VII, and Ariosto.
us to doubt. On his return to Liege, he rose to   He was also commissioned with more important
great distinction, and introduced a more elevated   works, among which is the marble tomb of Ramazstyle of painting among his countrymen. He
sty themabettelrtaste of paitigemog sis n countrym  He  zetto, in S. Michele at Bologna. His group in tertaught them a better taste of design by substitut-  ra cotta, in the same city, has been greatly admired
ra cotta, in the same city. has been greatly admired
ing the antique for the Gothic, and thus enabled   f  the extreme beauty of the heads.   obardi
for the extreme beauty of the heads. Lombardi
them to distinguish between the simplicity and   executed a medallion portrait, in marble, of the
elegance of the former and the unnatural stiffness  Emperor Charles V., which so highly pleased that
of the latter.  He also taught them  rules of per-  monarch that he recommended him to Cardinal
spective, and to enrich their works with noble ar-    olto de   eci who recm eed him  ito Cardi
chitecture. His academy became the most cele-  Ippolito del Mediciss who received him  into his
ehitecture    His academy became thn e most cele   palace, and commissioned him to execute the tomb
brated of the time in his country, and he has the of Clement VII.; but in consequence of the death
Y)                   of Clement VI.; but in consequence of the death
credit of having been the instructor of some of the  of the Cardinal it was given toBaccio Bandinelli.
most eminent Flemish artists of that period, as  Lombardi die  in 1536
Francis Floris, Hubert Goltzius, William  Key,  Lombardi died in 15
and others. He designed and wrought with great    LOMBARDI, Gio. DOMENICO, an Italian paintfacility, and it is said that he could produce in a   er, born at Lucca in 1682. He was a pupil of Pieshort time more works and better finished, than  tro Paolini, whose manner he adopted, but considothers  could  by  long continued  application;  erably improved by studying the design of the
that he availed himself of this facility while in   Caracci, and the best colorists of the Venetian
Italy to copy some of the works of the best Ital-  school. "The genius of this artist," says Lanzi,
ian masters, and that he imitated Correggio so ex-  " his taste, his grand and resolute tone, appear in
actly that several of his works passed for origi-  several of his pictures executed in his best time
nals by that master.  But this does not accord  and with real pains.  Such,are his two laterals in
with the works now  attributed to him.  What  the choir of the church of the Olivetani, which
renders it difficult to decide on his merits is the   represent St. Bernard, their founder, administering
fact, that the king of Bavaria collected all his  relief to the citizens infected with the plague.
best works in his palace at Tonn, where they fell  There are two others in the Chapel of S. Romano,
a prey to the flames when that city was bombard-  painted with a magic force approaching to the
ed.  Several of his works were engraved by his  best manner of Guercino.:' Lanzi further remarks
pupil, Lambert Suterman.  The time of his death  that he should always have painted thus, and nevis uncertain, but probably about 1565.             er prostituted his pencil to manufacture pictures
at all prices. He died in 1752.
a French designer and engraverL born
at Paris about 1612. It is said that  painter, who flourished in 1648. According to
h  leaed the princips of dn  u r        Ridolfi, he was an excellent artist, rivaling both
he learned the principles of design under  i-  the French and   emish painters in his landmon Vouet, but it is not known who was his  the French  nd    mish painters in his land
instructor in the art of engraving.  He went  scapes, which are admirably designed, enriched
with figures and animals, and touched in a very
to England before the Reformation, where he was    iite  an                           ed in a very
much employed by the booksellers, for whom  he  spirited manner.
executed a large number of subjects, chiefly vig-    LOMBARDO, GIULIO CESARE. a painter comnettes and portraits, executed with the graver, in   mended by Zanetti, who flourished at Venice in
a neat but rather tasteless style.  His portraits  the latter part of the 16th century. He was a
are his best works, and the following are his prin- good perspective painter, and was employed in
cipal plates:                                      decorating the churches and the palaces of the nobles.
PORTRAITS.
PORTRAITS.                        LOMBARDO, GIROLAMO, an Italian sculptor,
A set of twelve plates, half-length, two of the Earl of   born at Ferrara about 1510. He  s tudied under
Arundel and Earl of Pembroke, and ten of Ladies, calledFerraraabot 1510. H   studied under
the Countesses; after Vandyck. Charles I. on horseback;  Andrea Contucci, and finished a bas-relief of the
do. After the death of that monarch, the head of Crom-  Adoration of the Magi, left incomplete at the death
well was substituted for that of the King. Oliver Crom-  of that master.  He settled at Recanati, and pracwell, with his Page; after Walker. Walker, the Paint-  tised the art with reputation for many years.  His
er; after a picture by himself; oval. Sir Samuel Mor-  works are distinguished for their delicateand tasteland; after Lesy Anne Hyde, Duches of York; direlicateandtasteBrian Walton, Bishop of Chester; scarce. Jeremy Tay-  ful execution. The principal are, a bronze statue
lor, Bishop of Downe. De la Fond, Gazetteer of Holland.  of the Virgin, in the facade of the Capella Santa'
1667; scarce. Samuel Malines. Sir Henry Wootton.  and the four magnificent bronze gates of the SanDr, Charlton.                                      ta Casa.  Lombardo had four sons, named Anto.
VARIOUS SUBJECTS.                  nio. Pietro, Paolo. and Giacomo, who were repuSt. Michael vanquishing the Demon; after Raffaelle.  table sculptors.  Their principal work was the
The Virgin and infant Jesus; after Ann. Caracci. The  middle gate of the Santa Casa, enriched with many
Nativity, or Adoration of the Shepherds; after N. Pous-  beautiful ornaments, and representing the History
sin. The Last Supper; do. The Angel appearing to St.   f Adam and Eve.
Joseph; after Ph. de Champagne. The Crucifixion; do.
The Holy Family; after C. le Fevre.                  LOMBARDO, FRA AURELIO, an Italian scullp



LOMB.                      486                    LOMB.
tor, the brother of Girolamo L. He took the mo-    LOMBARDO, MARTINO. This architect was
nastic habit, but continued to prosecute his art.  of the same family as the preceding. His princi
Invited by his brother to Recanati, he assisted hin   pal work was the College or Confraternita of St.
in several of his works, particularly a magnificent  Marco, at Venice, consisting of two ample halls;
bronze tabernacle, which was intended by Paul V.  one distributed into three naves, by two files of
for the Pauline chapel in the Vatican, but was pre-  Corinthian columns; the other with a chapel at
sented by Pius IV. to the Cathedral at Milan.    the end, divided from the hall by three intercoLOMBARDO, PIETRO, a Venetian sculptor and  lumniations. The church of S. Zaccaria has also
architect, who flourished in the latter part of the  been attributed to him. Moro Lombardo, the ar15th century. In 1482, he sculptured the tomb    hitect of S. Giovann Grisostmo,is supposed to
of Dante, near the church of S. Francesco at Ra-        been his son.
venna. In concert with his sons, Tullio and An-    LOMBARDO, CARLO, an Italian architect, born
tonio, he executed the sepulchre of Cardinal Zeno,  at Aretino in 1559. According to Milizia, he was
in S. Marco.                                     both a civil and a military architect. He visited
As an architect he erected, according to Milizia,  Rome, and rebuilt a small palace for the Vitelli
the church of Sts. Giovanni and Paolo, at Venice.  family, on Monte Magnanapoli, which afterward
It is designed in the Greek style; of a quadrangu-  belonged to the Pamfilj inheritance.  He also
lar form, with an elevated chapel at the extremi-  erected the fagade of Santa Francesca Romana, in
ty. the ascent to which is by sixteen steps, orna-  Campo Vaccino; and for the Cardinal Giustiniani
mented with a balustrade. The exterior is of two   he designed a villa without the. Porta del Popolo.
orders, the first Corinthian, the second Ionic, di-  He died in 1620.
vided into arches supporting a rich entablature,    LOMI, ALESSANDRO, a Florentine painter, born
over which is a circular pediment, also ornament-  in 1655; died in 1702. He studied under Carlo
ed. The clock-tower in the square of St. Mark,  Dolci, and was an exact imitator of his style. Acdoes him great honor. A  vaulted portico, sup-  cording to Baldinucci, he not only copied and reported by Corinthian columns and pilasters, rises  peated the works of his master but painted the
majestically from the piazza, surmounted by three  same class of subjects from  his own designs
stories, ornamented with Corinthian pilasters, each   Doubtless some of the works now claimed to be
having a cornice. In the first is the dial plate;  originals by Carlo Dolci, were executed by him.
in the second a tabernacle, with a Madonna in   He was employed for several years by the Grand
metal; in the third a large lion in marble; at the  Duke of Tuscany; and among the celebrated
top is a terrace and the bell, on which the hours  paintings in the Florentine Gallery is a picture by
are struck by two bronze giants. Lombardo also  Lomi, which, although of very small size, contains
designed the church of S. Maria Mater Domini;  nearly one hundred figures, all well disposed, juthe school of. the Miseracordia; and many other  diciously grouped, and most delicately colored and
excellent works.                                 pencilled.
LOMBARDO, ANTONIO, the son and scholar4f         LOMI, AUREL!O, an Italian painter, born at Pisa
Pietro L., was a reputable sculptor, and flourished  in 1556. He first studied under Bronzino, but afabout 1510. He was commissioned to complete  terwards with Lodovico Cardi, called Cigoli. He
the works in sculpture in the chapel della Scarpa  painted both in oil and fresco, and is considered
in S. Marco at Venice, which had been left unfin-  the head of the school of Pisa. His frescos in the
ished by Alessandro Leopardi. Among his other  dome of the Cathedral of Pisa, partake of the
works were two statues of the grand altar of S.  manner of both his masters, though when comJustino at Venice; and the beautiful bas reliefs  pared to Cigoli, he is more minute, and has much
in the Capella del Santo, at Padua, which he exe-  less softness. Lanzi says his aim appears to have
cuted in concert with his brother Tullio.        been to surprise the multitude by an agreeable
LOMBARDO, TULLTO, a sculptor and architect,  coloring, and a magnificence of draperies and ornathe son and scholar of Pietro L., flourished about  ments. This style pleased at Florence and Rome,
1525. As a sculptor, he executed the statues of  and more especially at Genoa, where he was preAdam and Eve, at the mausoleum of Andrea Ven-  ferred to Sorri, an artist many years established
dramino; the two marble lions, at the entrance of  in that city, and in good repute. He executed sev
the college of S. Marco; the bas-reliefs of the  eral works for the churches and convents of Genoa,
twelve' Apostles, in the church of S. Giovanni  the best of which is his St. Antonio, in the church
Grisostomo, and the grand bas-reliefs in the Ca-  of the Franciscans; and his Last Judgment, in the
pello del Santo, with figures of nearly life size, in   Church of S. Maria di Carignano. The first is
which he was assisted by his brother Antonio.    graceful, and rich but modest in the tints; the secAs an architect, he erected, among other works,  ond is grand and terrible, and the colors more
the church della Madonna Granda, at Treviso;  vivid than those he usually employed. His St.
three chapels in S. Paolo y and the chapel della  Jerome, in the Campo Santo at Pisa, is less glowSacramento, in the Cathedral. He died in 1559.   ing, but is esteemed by the Pisanese his most capiLOMBARDO, SANTE, the nephew and scholar  tal work. This picture is signed with his initials,
of Tullio L., born at Venice in 1504. He gained a  A. L., 1595. He died in 1622.
high reputation for his abilities in architecture,    LOMI, ORAZIO, called GENTILESCHI, an Italian
and executed the Palazzo Vendramini, which, ac-  painter, born at Pisa in 1563. He studied under
cording to Milizia, deserves great praise for its ad-  Aurelio Lomi, his half-brother, and adopted the
mirable proportions, and superb entablature. He  name of Gentileschi from his maternal uncle. Afalso executed the fagade and steps to the college  ter a few years he visited Rome, and formed his
of S. Rocca. The Palazzo Gradenigo, and the  style from the finest works of art in that city, asPalazzo Trevisani, at S. Maria Formosa. are also  sisted by his friend, Agostino Tassi. The latter
attributed to this architect.  He died in 1560.  was an eminent landscape painter, and Gentileschi




LOMI.                      487                     LOND.
executed appropriate figures to his inventions in  and his plates are executed with the graver in a
the Loggia Rospigliosa, in the saloon of the Quir-  heavy, coarse, and tasteless style, possessing lit
inal palace, and in other places. He also painted   tie interest, except from the selection of his sub.
several smaller pictures in Rome, particularly in  jects.  The portraits he engraved after Vandyck
la Pace, though these are greatly inferior to his  are his best prints.  The following are his best
subsequent productions. In the Palazzo Borghese  works:
is a fine specimen, representing St. Cecilia and St.            SUBJECTS AFTER RUBENS.
Valeriano, admirably colored, with great intelli-    Abigail appeasing David with her presents. The Adogence of chiaro-scuro.' Lanzi says the choicest are  ration of the Magir The Circumcision. The Baptism of
in the royal palace of Turin, and several mansions  Christ. Christ washing the Feet of his Apostles  Christ
at Genoa. In the collection of Cardinal Cambiasi  appearing to Magdalene, The Triumph of Charity. Time
is a picture of David and Goliah, so admirably re   discovering Truth. The Assumption of the Virgin. St.
Cecilia. The Judgment of Paris. Christ taken in the
lieved, and with tints so vivid and well contrasted,  Garden; after Vandyck. The Virgin and Infant, with
that it gives the idea of a style entirely new.  the four Doctors of the Church; after Diepenbeck.
Gentileschi was so highly esteemed as to be invi- 
ted to England by Charles I., who gave him  a    WATT  LoNDE R SE LLr                  
pension, and employed him in several works for                              DERSEEL, AHASUERUS
the palaces, and in painting some ceilings in that                          vAN, a Dutch engraver
of Greenwich.  He was highly esteemed by Van-  on wood, born at Amsterdam in 1548.   is  ooddyck, who painted him in his series of portraits  en cuts, marked with his monogram, are executed
of one hundred illustrious men, which has been  in a very neat style, resembling that of Virgilius
i n Solis. Among these, the principal are some Bible
finely engraved by Vorsterman. Gentileschi paint-ese, the principal are s     Bible
ed two pictures for the Duke of Buckingham, of a  cuts; some small prints for an Herbal, by MatthiMagdalene and a Holy Family.  After the death   as de Lobel; and others to illustrate The Travels
of Charles I., when his valuable collection was  of Nicolas de Nicolay into Turkey, published at
sold, nine pictures by this artist brought ~600,   Antwerp in 1576. There are prints by him dated as
and are now in the Hall at Marlborough House..
He died at London in 1647, aged 84.-                  c7  LONDERSELL, or LONIXRSEEL,
LOMI, ARTEMISIA, called GENTILESCHI, an emi-                  JOHN  VAN, a Flemish engraver, born
nent Italian paintress, the daughter and disciple of    7 R   * at Bruges in 1582.  He is supposed,
the preceding, born at Rome in 1590. She follow-  from resemblance of style, to have been a pupil of
ed her father to England, and painted some por-  Nicholas de Bruyn. His plates are executed with
traits for the nobility, and several historical pic-  the graver, in a neat, finished style, but there is
tures for the king, the best of which was David  not much effect in his prints, from his ignorance of
with the HEad of Goliah. Her best years, how-  the principles of chiaro-scuro, yet some of them
ever, were passed in Italy; she resided a long time  possess considerable merit.  He usually signed his
at Naples; married there a Pietro Antonio Schiat-  plates with his name abbreviated, as J. Lond., or
tesi; was greatly improved by Guido Reni; and   J. Londer.,fec.  The time of his death is not
studied attentively the works of Domenichino.  recorded.  Among others, are the following:
-Lanzi highly praises her picture of Judith slaying   Faith, Hope, and Charity; represented by allegorical
Holofernes, in the Ducal Gallery at Florence; and   figures; from his own designs. The Five Senses, emanother of Susanna and the Elders, in the collec-  blematically represented; do. A set of Landscapes, with
tion of Sig. Averardo de' Medici, remarkable for the  figures; after J. Savary. Four Landscapes, with biblical
elegane of the principal figure  and harmony of   subjects; after G. Hondecoeter. Four Landscapes, with
elegance of the principal figure, and harmony of  the same; after G. Cooninxloo. Nine Landscapes, with
coloring. She was more celebrated for her por-  the same; after D. Vinckenbooms. A View of the intetraits, however, in which she surpassed her father,  rior of St. John of Lateran; after Hendrick Arts.
attaining  great reputation throughout Europe.    LONDONIO, FRANCESCO, an Italian painter
She died in 1642.                                  and engraver, born at Milan in 1723. It is not
LOMI, FRANCESCO, called GENTILESCHI, was  known under whom  he studied.  He first atthe son of Orazio L., who instructed him  in the  tempted historical painting; but failing in this, he
art; but he afterward entered the school of Do-  directed his attention to landscapes with animals.
menico Fiasella, called Sarzana. He flourished   and making nature his model, he gained considerachiefly at Genoa, and, according to Soprani, paint-  ble reputation.  His landscapes, with herds of
ed several pictures for the churches of his native  cattle; and his rural and pastoral views, with shepcity.                                              herds' cots and flocks; are highly esteemed, and
LOMIO, BACCIO, an Italian painter, who flour-  are to be found in the noble collections of Milan,
ished at Pisa in the latter part of the 16th centu-  Genoa, and Naples. He etched a large number of
ry. According to Lanzi, he was a reputable art-  plates of similar subjects after his own designs, in
ist, and executed some works for the churches and   a spirited and painter-like style. Nagler gives a
convents of his native city, the best of which is  list of ninety-four. Stanley says that some years
an Assumption of the Virgin at the residence of   ago, a large number of his studies in oil and on
the Canons.  His works, though partaking of the   paper, chiefly of goats and horned cattle, were
hardness of the age, are well designed and colored.  brought to England. He died in 1783.
LOMMELIN, ADRIAN, a Flemish  engraver,    LONGE, UBERTO or ROBERTO LA, a Flemish
born at Amiens about 1636. He went to Ant-  painter, born at Brussels.  According to Lanzi, he
werp, where he learned the art of engraving (his  passed his life in Italy, and died at Piacenza in
master is not mentioned) and took up his resi-  1709. He is also called by the Italians II Fiamdence. He engraved quite a large number of   mingo, an appellation that has given rise to many
plates, many of them  after the best works of   mistakes, and caused much confusion; especially
Rubens and Vandyck. His drawing is incorrect,  with regard to Flemish artists; as the Italians ap



LONG.                     488                    LONG.
plied this name not only to the Flemings, but.o   Leonardo da Vinci; Galatea, after Albano; and
their own countrymen who were their imitators.  many heads after Rembrandt.  It would occupy
Roberto la Longe frequented the Academy of  too much space for the limits of this work, to
Agostino Bonisoli, at Cremona; and if he was not  specify all the productions of Longhi's graver
a pupil of that school, he adopted much of its  worthy of enumeration. But the fine series of
manner, though he occasionally conformed to that  portraits published at Milan under the title of
of Maqsarotti. He resided mostly at Cremona and   Vite e Ritratti di Illustri Italiani, must not be
Piacenza, and executed some excellent works for  omitted; of those he engraved the portraits of Nathe churches.  Lanzi says that in his histories of  poleon with the Iron Crown on his head, as King
St. Teresa, in the church of S. Sigismondo at Cre-  of Italy; Michael Angelo; and Dandolo, Doge of
mona, he emulates the style of Guido, and in his  Venice; all of them master-pieces of the art, The
histories of S. Antonio Martire, in the church of   superb work entitled Fasti di Napoleone il grande,
that name at Piacenza, he approaches Guercino.  after the designs by Appiani, was in pait engraved
In other works he displays a strength, delicacy,  by Longhi, and the whole of it, as far as it exists,
and beauty peculiar to himself, as in his fine pic-  under his direction. Six of the plates were enture of the dying St. Saverio, supported by An-  tirely engraved by him in what the Italians call
gels, in the Cathedral at Piacenza. He enriched  semilibero* manner; five of those represent the
his pictures with beautiful landscapes in his back-  Battle of Marengo, and the sixth, Time with the
grounds, which give his figures a singular attrac-  Fates. The rest are by Michele Bisi, Giuseppe Betion. In the Guida da Piacenza, the name of  naglia, and the two brothers Rosaspina; all of
this artist is written Da Longe.                 them worthy disciples of their master. This work
LONGEUIL, JOSEPH DE, a French engraver,  was commenced by the order of Napoleon, and
born at Lisle in 1736. It is not mentioned under  prosecuted at his expense till his abdication, when,
whom he studied. He engraved some plates after  it is said, its further progress was forbidden, and
various masters, executed with the graver in a  the plates destroyed! By whose soever order this
clean, neat style, which possess considerable merit,  sacrilege was cmmitte  it shows a littleness and
but he engraved more for the booksellers. The  baseness of soul, incapable of appreciating genius,
followingre among his best printsor of performing any nobler deeds than those of a
Tarquin or a Nero. In 1827. Longhi commenced
Two Allegorical Subjects; after Cochin. Heroic Fidel- his last and greatest work, the Last Judgment,
ity; after Moreau. Two Rural Subjects; after' Lepicig   after Michael  Angelo, which, though far advanced,
and Aubrey. A pair of Dutch Merry-makings; after Os-hael Angelo, which, though far advanced
tade. The Fishermen; acfter Vernet. A View. of the  he left incomplete at the time of his death, which
Environs of Naples; after Mettai. A Sea-storm; do.  happened in 1831, by apoplexy, in the 65th year
of his age.
LONGHI, GIUSEPPE, an Italian painter and very
distinguished engraver, born at Monza, in 1766.    LONGHI, LUCA, an Italian painter, born, acHis father was a silk mercer, and intended his  cording to Lanzi, at Ravenna, in 1507. As there
son for the church, but Giuseppe was so much op-  are many conflicting statements concerning the time
posed to this course, and showed so strong a pre-  ofhis blrth and death, Lanzi gives for his authority
dilection for the fine arts, that he was induced to  the formal oration pronounced by Vincenzio Carplace him with Vicenzio Vangelisti, the Florentine  rari, which states that he died August 12th, 1580,
artist, who was Professor in the Academy of the  aged 73 years. He passed his life at Ravenna,
Brera at Milan, from  whom he learned the art  where he executed many works for the churches
of engraving. He afterward went to Rome, where  and public edifices. He also painted many portraits,
he studied some time, and formed an acquaintance  which are now to be found at Ravenna, Ferrara,
with Raffaelle Morghen.  He soon distinguished  Mantua, and Padua. The author above referred to
himself by his print after the Genius of Music by   says that his style was correct and highly finished,
Guido, in the Chigi Palace, which raised him high in  his conceptions sweet, varied, and graceful, with a
public estimation. After his return to Milan, he  powerful union of colors more nearly resembling
is said to have principally occupied himself with  those of Innocenzioda Imola, than any other artist
miniature painting.  In 1798, on the death of  of the time, though inferior to him in point of
Vangelisti, he was appointed his successor in the  grandeur and beauty. His best pictures are in
Academy, and filled his professorship with great  the churches of S. Vitale, S. Agata, and S. Domenihonor and distinction, and to him many of the  co, at Ravenna, all of which are representations of
most distinguished Italian engravers of the present  the Virgin, between two or more saints, with some
day owe their education. He taught and prac-  graceful cherubs above. In the church of S. Benedettised as a first principle, that an engraver should  to also is an admirable picture of the Circumcision.
make the means subservient to the end, and not  Vasari regrets that he should always have resided
the end to the means; in other words, in copying  in his native place, as with the advantages of study
a painting, he should endeavor to give as nearly  and travel, he might have become a very distinas possible the characteristics of the original, and  guished artist.
that he should invariably make cleverness of line
and manual dexterity subservient to this end. The    LONGHI, FRANCESCO, was the son and scholar
etching needle was accordingly his chief instru-  of the preceding  and painted history and porment. Few engravers have excelled him in thiIs  traits in the manner of his father, though greatly
first great principle of his school. He also ex-         to hi. In 1576, he painted an altarcelled in chiaro-scuro. Among his great works 
are the Vision of Ezekiel, the Marriage of the    * Semilero. Semi-free, in imitation of painting, in
Virgin, and a Holy Family, after Raffaelle; the  which the heads and extremities require a higher finish
V ntotnbml afteirg  D. pin,  th Mthan the draperies and accessories. So in this method of
Entombment, after D. Crespi; the Magdalene,  engraving, some parts are highly finished, and others exb
after Correggio; the Madonna del Lago, after  cuted with great boldness and freedom.




LONG.                      489                     LONS.
piece for the church of the Carmine at Ravenna;  er, born in Lancashire in 1777, and died at London
and there are accounts of him down to 1610.       in 1839. He was not a fashionable portrait paintLONGHI, BARBARA, was a daughter of Luca  er, therefore his practice was mostly confined to
L., and older than her brother Francesco. She  male sitters; but he showed great discrimination
was instructed in the art by her father, and paint-   f character in his lkenesses. and painted some of
ed history and portraits with considerable suc-       really great men of his time.
cess.                                               LONSING, FRANCIS JOSEPH, a Flemish painter
LONGHI, PIETRO, a Venetian painter, born in  and engraver, born at. Brussels in 1743. He was
1702, and died in 1762. He first studied under  intended for the militaryprofession, and entered
Antonio Balestra, and afterward with Cav. Giu-as a cadet in one of the Belgian regiments in the
seppe Crespi. According to Zanetti, he acquired   service of Austria. Being in garrison at the citaconsiderable reputation by the beauty and novelty   el of Antwerp, he showed such a taste for the fine
of his works. Lanzi says "he aimed at pleasing   arts, that Prince Charles of Lorraine, the governor
the eye with harmonious representations of masks,  of the Low Countries, took him under his protecof conversations, and landscapes, &c., which are  tion, and allowd him  to frequent the academy
found in the collections of various noble houses,"  which he had organized. Lonsing made such prowhich last part is a proof of high estimation.   gress that in 1759 he obtained the principal prize,
LONGHI, ALESSANDR, an It            a gold chain and medal, bearing the effigy of the
LONGHI, ALESSANDRO, an Italian painter and  Prince, with the inscription, Artis delineatoria
engraver, the son of Pietro L., born at Venice in  Pramium. After this he entered the school of
1733.  He studied under Giuseppe Nogari, and   Martin J. Geeraerts, a distinguished painter of
painted many portraits for the Venetian nobility.  bas-reliefs, and continued to improve so much to
He also prosecuted the art of engraving, and in  the satisfaction of his patron, that he sent him with
1763 published a folio volume of the Lives of the                              became a.pupil of
Venetian Painters of that age, illustrated with   aaelle Mengs. In 1772, he made  the auainttheir portraits. In this work he has not forgot-  ance of Sr       Hamilton, who employedhim to
ten to place his own portrait, with a favorable no-  engrave ome of the plates for his emhoe Italic
tice; and he is said to have omitted, from jealousy,  Pctura.  The rest of his life is somewhat obthe names of many distinguished artists.  He died   cur.  t      is not known how long  he resided at
in 1813. The following are his principal plates:    Rome, or whether e returned to his own country.
PORTRAITS OF PAINTERS.              He is known to have practised at Paris, at Lyons,
Giacomo Amiconi. Antonio Balestra. Sebastiano Rieci.  and at Bordeaux, in which latter city he died in
Gio. Battista Piazzetta. Gio. BattistaTiepolo.   1799, while engaged in adorning the mansion of
SUBJECTS.                    a rich merchant. He devoted his attention chiefA Venetian.Masquerade. A Gondolier dancing with a  ly to portraits, though he painted some pictures
Lady. A Quack Doctor on his stage. A Moor beating a  of historical subjects in a mixed style, partly FlemDrum. The Philosopher Pythagoras.                ish and partly Italian, which proved attractive from
LONGRAFF, a Dutch engraver, who flourished  its novelty. He designed and composed with faabout 1698. There is a set of ornaments for gold-  cility, disposed his groups with intelligence, and
smiths by him, well designed and executed with   was a good colorist.
the graver in a very neat style.                    LOO, PETER VAN, a FIemish painter, born at
LONI, ALESSANDRO. See LOMI.                    Haerlem in 1731. He painted landscapes, fruit, and
LONS, DIRCK EVERSEN, an obscure Dutch en-  flower-pieces, in the latter of which he particulargraver, who flourished in the first part of the  ly excelled. He died in 1784.
17th century. There is a Holy Family with St.    LOOFF, PETER, an obscure Dutch engraver,
Elizabeth and St. John, engraved by him, after A.  who executed some portraits and a print of Fredvan Nieulandt, dated 1612, spiritedly executed,  erick Henry, Prince of Orange, drawn in a triumbut incorrectly drawn; and four landscapes, each   phal car, dated 1630.
having a windmill, dated 1622.                      LOON, PETER VAN, a Flemish painter, who
LONGUEIL, JOSEPH DE, a French engraver, a  flourished at Antwerp about 1600. He painted
native of Givet, who flourished about 1770. He  architectural pieces with considerable reputation.
acquired the elements of design at Lisle, and then   His pictures are very carefully finished.
visited Paris, where he entered the school of      LOON  THEODORE VN, a Flemish painter born
Aliamet of whom he became a distinguished schol-  at Brussels in 1630.   isnotowwith
ar. His best plate is Les Pecheurs, after Vernet.  he first studied, but he went to Italy when young
He also engraved many illustrations for several  where he resided several years, chiefly at Venice
editions of the Counts of Lafontaine, and of the  and Rome. While in the latter city, he formed
Henriade, Among his principal plates are the fol-  an intimate friendship with Carlo Maratti  ho
lowing: An Interior of a Flemish Tavern, after  was          s  oler    n hie nd he t
Osthae; the Housekeeping of Good People, and  friends continued their studies in amicable compethe Companion, after Lepicie  and Aubry;  View   tition, drawing after the works of Raffaelle, from
of the Environs of Naples, with Vesuvius in the  whom each of them derived the simplicitydignidistance, after Le Mettay; View on the coast of  ty and beauty, found in their compositions. All
Campania, with a wreck in the foreground, do;  the works of van Loon partake much of the style
the Russian painter in his atelier, after Le Prince;  ofMaratti. His design is correct the chaacte
also several Battles in China, from designs sent to  of his heads noble and dignified, and his colorin
France by the missionaries, and published by order  excellent, except that his shadows are frequently
of M. Bertin.                                  rather sombre and heavy. There are some of his
LONSDALE, JAMES, an English portrait paint-  earlier works still preserved in the churches and




LOON.                     490.ORE.
palaces at Rome and Venice. On his return to  representing the effects of good and vicious govBrussels he acquired a high reputation, and exe-  ernment.  He says farther, "had there been a
cuted many works for the churches of that city  greater variety in his heads, and a superior arand its vicinity. In the church of St. Gery at  rangement in his composition, this picture would
Brussels, is a series of his pictures, representing  have been little inferior to the finest in the Campo
the Life and Passion of Christ; and in the Ab-  Santo at Pisa."  He had a brother named Pietro,
bey Dillinghem, near that city, a fine picture of the  who was also an able artist, and assisted him in his
Nativity. His most esteemed works are a series  works, or painted conjointly with him. Vasari
of seven pictures of the History of the Virgin in  erroneously calls him Pietro Laurati.  On a pica church at Aerschot, near Mechlin. He died at  ture painted by them, is this inscription, Hoc opus
Brussels in 1678.                                 fecit Petrus Laurentii et Ambrosius ejus frater,
LOON, H. VAN, a Flemish engraver, probabhly a  1335; and on one painted by Pietro alone, Petrus
LOON, H. VAN, a Flemish engraver, probably a  L   5            S     m       a      P32  Amrelative of the preceding. He went to Paris, where  uren de Sn  me            t anno 1342s   Amhe engraved some of the plates for a work enti-brogio  died in 1340.
tled Les Forces de PEurope, consisting of fortifi-  artists of this name, who flourished in the 15th
cations, plans of towns, &c., published at Paris in  cent     but their works, if any remain, possess no
~~~~~~~~~~1695.                     ~interest.
LOON, VAN, a painter of Amsterdam, whose         LORENZI, RANCESCO, a Venetian painter,was
subjects were birds, fruit, and flowers, ingeniously   or  i    ad  ie  in        He studied -
composed and highly finished.  He died in 1787,  der Gio. Battista Tiepolo. Lanzi says he was disaged 60.            fnse.tinguished for his works both in fresco and in oil,
and that he always adhered to the example of his
LOPEZ, JosE, a Spanish painter, who flourish-  master. There are some of his ceilings, and works
ed at Seville about 1670.  He  was a disciple of  in oil at Verona and at Brescia, which evince an
Murillo, whose style he closely imitated. He had a able artist.
passion for painting pictures of the Virgin, who is the
theme of most of his works, represented as a love-    LORENZI, STOLDI DI GINO, an eminent Italian
ly girl just bursting into womanhood, a gentle  sculptor, a native of Settignano, who flourished in
shepherdess, or a yearning mother. These sub-  the latter part of the 16th century. He at first
jects gained him great credit, and are still highly  studied painting and was a fellow disciple of Giesteemed for their simplicity and beauty.         rolamo Macchietti; but at length devoted himself to sculpture, in which he became very distinLOPEZ, PEDRO, a Spanish painter, who flour-  guished. He executed an admirable statue of St.
ished at Seville about the beginning of the 17th cen-  Paul, which was so greatly admired by a rich Pitury. He was a pupil of El Greco, and executed  san, named Martini, that he invited Lorenzi to his
some excellent works for the churches and con-  house, where he remained six years.  He decoravents of that city. His Adoration of the Kings  ted the Palace of the Grand Master of the Order.
in the convent of the Trinitarians at Toledo, is  of St.Stefano at Pisa with two fine statues of
pronounced by his countrymen a magnificent pic-  Justice and Religion; and a statue of Diana, which
ture, alone sufficient to entitle him to the rank of  adorns the gardens of Don Garcias di Toledo. at
a great artist. It bears his name, and the date  Chiaja, near Naples. On his return to Florence,
of 1608.                                          the Grand Duke Cosmo commissioned him to exLOPEZ, GASPERo, a Neapolitan painter, who   ecute the bronze Fountain of Neptune, in the garfirst studied under Dubbisson, and afterward with  dens of the Palazzo Pitti. He was afterwards inBelvedere, and who, according to Dominici, painted  vited to Milan, where he decorated the facade of
cabinet pictures of flowers in such an exquisite  S. Celso with four beautiful statues in marble, of
manner that his works were preferred before those  Adam, Eve, the Virgin Mary, and the Angel Gaof all other artists of his time, in the same line.  briel. In the Duomo at Pisa, he executed in 1583,
He traveled through Italy, and wherever he went,  the Angel in bronze, which supports a very beauhe found abundant employment, and his works are  tiful candelabra. This statue is replete with grace
sought after for the best collections. He is some-  and beauty, and covered with a light and delicate
times called Gaspero da Fiori, or Gaspar, the  drapery. Lorenzi also executed many other capiflower painter.  He also was a good landscape  tal works, by which he gained great distinction.
painter. He died at Florence, or, as some au-  The time of his death is not recorded.
thors say, at Venice, in 1732.                      LORENZI, ANTONIO DI GINO, the brother of
LORCH. See LORICH.                             Stoldo L., was also a native of Settignano, and a
LORENZETTI, AMBROGIO, an old Sienese paint-  good sculptor; flourished in the latter part of the
er, born in 1257. Vasari erroneously states that  16th century. He studied under Tribolo, and is
he was a pupil of Giotto, who was born in 1276.  chiefly known as the author of the admirable statHis style is also different from that of Giotto in  ue of Mattto Corte, which decorates the tonYb of
design, color, and drapery. Vasari says he was  the Grand Duke Cosmo, erected by that savant.
the first who attempted to describe in landscape   This work has been often attributed to his brothstorms of wind, tempests and rain, which he re-  er Stoldo, but Morona shows conclusively that it
presented with great success. He was considered   was by Antonio, from the design of Tribolo. He
a great artist in his time. His invention was very  also executed several works in the Ducal Palace
ready, the disposition of his figures good, and his  and gardens at Casteilo.
coloring lively. For the most part, he painted in   LORENZI, CAV. Gio. BATTISTA, an Italian
large size; in small, as in the History of S. Nicolo  sculptor, born at Florence in 1528. He studied
in the church of that name, at Florence.  His  under Baccio Bandinelli, and soon became distinprincipal work, as described by Lanzi, is a large  guished in the art. His first works were the
emblematical picture in the public palace at Siena,   statues of the Four Seasons, executed for the Sig.




LORE.                       491                    LORI.
nori Guadagni.  After producing many other fine  city has endured. He had considerable facility of
works, he was commissioned to execute the beau-  invention and a more bold and correct design than
tiful statue of Painting, and the bust of Michael  most of his cotemporaries. Most of his pictures
Angelo, which adorn the tomb of that great mas-  were in chiaro-scuro, and some of them are still
ter.  For Giacomo Salviati he made a marble stat-  preserved in the monastery degli Angeli.  The
ue of Perseus, and a group of St. Michael over-  works of this artist most regretted were the porthrowing Lucifer.  He died in 1594.                traits of Petrarch and Dante, painted after nature.
LORENZINI, FRA. Gio. ANTONIO, a Bolognese  in the church of S. Trinita at Florence. Loren
painter and engraver, born in 1665; was a scholar  zo died, according to Baldinucci, aged 55, but the
of Lorenzo Pasinelli. Little is known of his works  time is not recorded.
as a painter, but he executed a large number of                             LORICH, or LORCH,
spirited etchings after the best Italian masters,             or          MELCHIOR, a German ensome of which are scarce and very valuable. In              Is             graver on wood and copper;
1699, he was employed at Florence in conjunction   born at Flensburg, in the Duchy of Sleswick, in
with Theodore Ver Cruys, Mogalli and others, to   1527. His wooden cuts are executed in a bold,
engrave the pictures in the gallery of the Grand   free style, and his copper-plates Are engraved with
Duke, which were published in a single volume,  great neatness and delicacy. He sometimes signunder the title of " Gallery of the Grand Duke of   ed his prints with his name and date; at others,
Tuscany," consisting of 147 subjects, engraved on   with the above monogram.  The following are the
167 plates.  This work is extremely scarce. A   principal. He died in 1586.
full description of it may be found in Bohn's Gu-                          RAIT
inea Catalogue, p. 66. His plates are almost en-.
tirely etched.  Nagler gives a list of seventy-six     e Portrait of         ther;         re  
F lensburg. 1548. The Portrait of Albert Durer; 1550;
of his prints, of which the following are the prin-   carce. Aristoteles Stagirites Philosophus; with the ci
cipal. He died in 1740.                            pher. 1561. St. Jerome at Prayer. 1546. A Woman's
St. Anthony of Padua working a Miracle; after Pasi-  Head. 1551. Two Portraits of the Grand Signior and his
St. Anthony of Padua working a Miracle; after Pasi- fvrt  Sutn;ery scarce.
nelli. The Martyrdom of St. Ursula; do. St. John  favorite Sultana; very scarce.
preaching in the Wilderness; do. The Ascension; after                WOODEN CUTS.
L. Caracci. The Virgin and Child; after Ag. Caracci.    A Set of Prints of the Habits, Customs, &c. of the Turks;
St. Dominic taken up into Heaven; after Guido. St. dted from 1570 to 1581. A Sibyl. 1571. A Woman
Philip Neri kneeling before the Virgin; after C. Maratti.
Philip Neri kneeling before the Virgin; after C. Maratti.  standing, pressing her breasts, with a variety of animals
St. John, surrounded with Angels; after Correggio. The  bel   with   ription at the' top, ~V  Saturni
Annunciation; after P. Veronese. The Baptism  of         with an inscription at the 1565. A Lady 
Christ; do. The Raising of Lazarus; do. Noah build-  colfuJ qua hater 3eorum * dated 1565. A Lady in
Christ; do.  The Raising of Lazrus; do. Noah build- w full dress. 1551. The Deluge; a large print, in two sheets.
ing the Ark; after Giac. Bassano. St. Augustine with
a Glory of Angels; after Tintoretto. Joseph sold by his    LORIO, CAMILLO, a native of Udine, who flourBrethren; after Andrea del Sarto. Joseph governing  ished about 1650. He was areputable artist, and
Egypt; do. David with the Head of Goliah; after Guer-         te
cino. Christ, with the Disciples at Emmaus; do. St.works n hs native cty, and in
Peter delivered from Prison; do. The Holy Women at  other places.
the Sepulchre; after P. da Cortona. Venus end Cupid;    LORIONE probably an Italian painter, whose
after Carlo Cignani.
LORENZINIr  LORENZ   an Italian engraver,  name is found attached to some etchings of landLORENZINI, LORENZ u an Italian engraver,   scapes, with ruins and figures, executed in a free
who flourished about the middle of the 18th century. He engraved a part of the plates for the   panter-ke  style.
pictures in the collection of the Marquis Gerini.    LORME, A. D, or DE L'ORME, a Dutch paintLORENZINO, DA VT NEZIA, X   a Venetian painter  er, of whom little is known.  His pictures are
of whom   little is known.  According to Ridolfi  frequently met with in Holland, and represent inh      e studied under Titian, and was an excellent art   teriors of churches and other edifices. They are
he studied under Titian, and was an excellent r    remarkable for great delicacy of penciling, and the
st. Lanzi says there is an excellent picture of thelightsaretroduced
Virtues, with several finely designed ornaments, in   peculiar manner in which the lights are introced
the church of Saints Giovanni and Paolo at Venice.                     e
The figures are nobly designed, and much admired   ed by Terburg, and other eminent artists.  So
for their symmetry, their attitudes, and their color-of h   s pictures ae dated about  1660. It is  suring.                                               prising that so able an artist is not better known.
LORENZINO, DA BOLOGNA. See  SABBATINI,    LORME, PHILIBERT DE, a French architect,
and LoLI.                                          born at Lyons in the beginning of the 16th centuLORENZO, FIRENZO or FIOBlENZO DI, a painter  ry.  At the age of fourteen, he visited Italy to
LORENZO, FIRENZO or FiO-RENZO DI, a painter  ry,
of Perugia, who is mentioned by the celebrated   study the antique, and was patronized by Marcello
Mariotti in his catalogue of the painters of the   Cervino, afterward Pope Marcellus II. With a
ind highly enriched, he returned to  France in
14th century, as one of the first artists of his mind highly enriched, he returned to France in
time.  There are pictures by him  dating from   1536, and exerted all his industry to strip archi1472 up to 1521.                                   tecture of her Gothic dress, and clothe her in that
LORENZO. See Bicci.                              of ancient Greece. On visiting Paris, for the Cardinal du Belley, his merit was soon discovered by
LORENZO, DON, called CAMALDOLESE, an old   King Henry II., and afterward by his successors
Florentine painter, of the order of the Camaldu-  He erected a staircase at Fontainbleau, and de
lites; was a scholar of Taddeo Gaddi, and flour-  signed the castles of St. Maur and Meudon. He
ished about the end of the 14th century.  He is  also rebuilt a number of royal houses, and was
honorably mentioned by Vasari, and executed   employed by Catherine de' Medicis to build the
numerous excellent works in Florence, most of   palace of the Tuileries-a superb edifice, in which
which have been destroyed in the sieges which that  the architect displayed his most magnificent ideas




LORO.                      492                     LORR.
but inconsequence of some unfavorable astrolo-  studies; for while he was thus engaged, accigical predictions, the Queen stopped the works  dentally seeing at one of the public fairs some of
when partially completed. De Lorme was elected  the superb architectural views of Godfrey Waal,
almoner and counsellor to the king, and was enrich-  which had been sent on from  Naples for sale,
ed with a number of abbeys. He left a treatise on  these works so won his admiration, that he rethe manner of building well at a small expense,  solved to go to Naples, and place himself under
besides ten books on architecture. He died in  the instruction of that master. While impatiently
1577.                                            waiting for promised remittances from his relative.
LORO, CARLO DA. See PORTELLI.                  he received the mortifying intelligence that, in consequence of heavy losses by the conquest and pilLORRAIN, ROBERT LE, an eminent French  lage of his goods by the Swedish armies, it was
sculptor, born at Paris in 1666. He was instruct-  impossible for him to render him any further as
edin drawingby Lemonier; and at the oage of  sistance. In this forlorn situation his courage did
eighteen entered the school of Girardon, who com-  not forsake him; gathering his scanty means
missioned him to execute, in concert with Noulis-      animated  ith a zeal that shows a least a
and animated with a zeal that shows at least a
son, the tomb of Cardinal Richelien  in the Sor-  resolute and undaunted mind, determined to tribonne; and also his own tomb, in St. Landres, at  umph over every difficulty, he set out for Naples
Paris. In 1690 he went to Rome, and on his re-  on foot. Here history again announces the simple
turn to France was appointed to complete several  fact that Waal admitted the young painter into
works of sculpture at Marseilles, which had been     ac         that he  oon won te   teem  an
left imperfect at the death of Puget. In 1701, he  friendship   his master, who took every  ccaon
friendship of his master, who took every occasion
was elected a member of the Academy, when he  to promote the advancement of his pupil; that
designed his statue of Galatea, a work universally  he probably remainedin Waas studio about two
admired. In 1717 he was chosen Professor of   years, and acquired that knowledge of architectuSculpture; and in 1737, Director of the Academy.      painting and the scienceof perspective, which
Among his principal works, are his sculptures in  he subsequently used to such advantage in his
the episcopal palace at Saverne, which are greatly  landscape scener  that he felt that ths class of
admired for their grace and purity of outline. He  a, heer well perf e, wa only a part or
art, however well performed, was only a part or
also executed a Bacchus for the gardens at Ver-  adjunct of the beautiful scenery around him  that
sailles; a Faun and several bronze statues for  daily attracted his admiration and inspired him
hose of  aly. He died in 1743day attracted hisadmiratioand inspired him
those of Marly. He died in 1743.                  with a desire to depict what appeared so lovely to
LORRAINE, CLAUDE, or CLAUDE GELiE. This  his eye; and that, having accidentally heard that
illustrious painter was born in the small town of  Agostino Tassi, a famous landscape painter, had
Chamagne, in the diocese of Toul, in Lorraine, in  just arrived at Rome, he resolved to return to that
the year 1600. As there are many absurd tradi-  city and place himself under his instruction; and
tional errors respecting this great artist,(such as his  that Waal learned his resolution with deep regret.
having been brought up a pastry cook, his going   These simple facts leave little for the imaginato Italy in that capacity, his imbecility of iindt,-   tioatf Onjeture, but merely show that the simhis being employed by Agostino Tassi to grind his  pie tale of the young enthusiast completely won
colors and clean his brushes, and other ridiculous  the painter's heart, and that his talents, and renonsense,) the author has written a somewhat  spectful and urbane deportment gained him  the
lengthened notice of his life and works, condensed  esteem and warm. friendship of his instructor.from the most reliable authorities.              There was evidently something in the character
His parents, Giovanni Gell6e and Anna Podosa,  and manners of Claude that won for him the esaccording to Baldinucci, were very poor, and had  teem and friendship of those with whom he beseveral children, of whom Claude was the third of   came acquainted, for Tassi, soon after his arrival
five sons. The death of both his parents happen-  at Rome. not only gave him the benefit of his ining when he was about twelve years of age, he was  struction, but took him into the bosom of his famthrown upon the world; and traveled alone, on foot,  ily, and made him his familiar companion. This
to Fribourg, to seek the protection of his eldest  gave rise to the story of his having had compasbrother, who was an engraver on wood, and who   sion on the poor boy, and employed him  to grind
instructed him in the first rudiments of art. How   his colors; whereas, at this very time, he must
long he continued with his brother is not known,  have been an artist of extraordinary promise.
but it is certain that while he was thus engaged,  And let it be remembered that the most eminent
the latent seeds of his extraordinary genius began   artists, in those days, often prepared their own
to germinate, and to show decided proofs, at least  colors, and the grateful pupil would not have
to discerning eyes, that it would ultimately pro-  thought any service beneath his dignity which such
duce abundant fruit. He was anxious to go to   a master might require. Under the able instrucRome, to pursue his studies in that greatest store-  tions of Tassi, Claude pursued his studies with the
house of art, and an opportunity soon presented   utmost zeal and assiduity, and so successfully imitself by the arrival of a relative, a dealer in lace,  bibed his principles and style, that his earlier
then on his journey through Fribourg to Rome,  works bear a close resemblance to those of that
who offered to take the young artist under his pro-  master.
tection, which liberal offer was gladly embraced.    Claude, naturally of a contemplative and reliThis period of his history on his arrival at Rome  gious disposition, feeling profound gratitude for the
is quite obscure, nor is it known whether he, at  many benefits he had received, and the happy
this time, had any other instructor than nature  change in his circumstances, soon after leaving
and the world of art before him; but it is evident  Tassi and quitting Rome, about 1625, made a pilthat he was at least partially sustained by this  grimage to the Holy Virgin of Loretto, where he
same relative, that he studied with the utmost as-  remained  some days in devotional meditation.
siduity, and that he made great progress in his  From thence he made a tour through Italy, trav



LORR.                      493                     LORIL.
ersing Romagna, Lombardy, and on to Venice,  and Satyrs dancing. The production of thesepiswhere he is supposed to have remained some time,  tures established his reputation, for although he
in the study and practice of his profession-for he  was little more than thirty years of age, yet they
was always a student of nature, nor did he neg-  exhibited all the science and skill of an experienced
Lect to study art. It was his intention to return   master, and soon rose exceedingly in public esdirect to Rome on quitting Venice, but circum-  timation.  About this time he was employed
stances induced him to bend his course toward his  by the Cardinal Crescenzi to deorate the ronative country, taking a circuitous route through   tunda of his palace; he was also similarly enGermany, in order to view and study the beautiful  gaged in the Muti of the'Holy Apostles, and of
scenery of the Tyrol and other picturesque re-  the Medici alla Trinit&  de' Monti. These were
gions. This journey was far from  being propi-  succeeded by the following commissions; the Duke
tious, for he was attacked with a severe fit of ill-  of Bracciano, the Duke de Bouillon, and the Prince
ness on the way, and robbed of all his money   de Leancour, for each a picture; the Signor de
while confined to his bed. After much delay he  Bourlemont and the Cardinal Mellini, for each five
arrived at Lorraine in a sad state of health and  pictures; for the Cardinal Giori, seven; the Conspirits, where he remained a short time to recruit,  stable of Colonna, eight; Prince Paul Falconieri,
and then proceeded to Nantes. Here it is said he  Prince Pamphili, and Count Valdestain, for each
met with a relative, an artist, engaged at that time  four. He also painted, by order of Pope Alexanto execute some works for the Duke of Lorraine,  der V., several pictures for the Ghigi family. The
to decorate the church of the Carmelites, who in-  fame of Claude now extended to every part of Euvited him to his house, and induced him to assist  rope, and he received commissions from the most
in the execution of the works, to which proposi-  distinguished persons, beyond his ability to supply.
tion Claude reluctantly acceded' on certain condi-  A reference to the Liber Veritatis shows that his
tions, one of which was that he should paint the  orders were not confined to Rome, Milan, Parma,
landscape and architectural parts.                Lombardy, and Venice, but extended also to Paris,
Claude soon grew weary of this unprofitable   Lyons, Montpellier, Avignon, Antwerp, Amsterand humiliating employment, which offered no  dam, and Madrid. He painted eight pictures for
scope for his genius, and from which he could de-  the King of Spain.
rive no reputation. He daily sighed to contem-    Among the many pictures from his pencil, Pasplate the beautiful prospects and serene skies of   coli mentions one in particular, representing a
Italy, which had become to him as it were his na-  woodland scene, which he painted with extraorditive land, continually haunting his imagination;  nary care, from the choicest groups of trees in the
and he resolved to put an end to the engagement  vicinity of Madama Villa and Mount Marius.
as soon as possible. His relative endeavored in   This he constantly placed near his easel as a model
vain to dissuade him from  these intentions. At  to work from. This exquisite study so delighted
length an event occurred, which hastened his de-  the Pope, that lie offered to cover it twice over
parture, and caused him to abandon his work and   with gold, if the artist would part with it; but
bid adieu to his country forever. While he was  such was its value and importance to him that he
engaged with his relative at work, the scaffolding   respectfully declined to do so on any terms, giving
gave way and precipitated them to the ground, and   as a reason that it was indispensably necessary as
though they both escaped serious injury, yet the  a model to govern his eye, and that it would be
effect from fright acted so powerfully on his sensi-  still more needful in case he should leave behind
tive mind that he fainted; and taking it for an   him any unfinished works, or be confined to his
evil omen, he could not be persuaded to resume his  house by sickness. This apprehension was not
work, but set out in a few days for Italy, by way   without reason, for towards the middle of his life
of Lyons, and thence to Marseilles. In the latter  he was affected by the gout, which often preventcity, he was attacked by another severe and dan-  ed him from pursuing his profession, and which
gerous illness. While thus suffering, some villain  increased with his years. Notwithstanding these
stole his money and left him  almost penniless.  severe visitations, his patience and good humor
But undismayed by this misfortune, he obtained   never forsook him. and if unable to paint, his
a commission from  a wealthy merchant for two   greatest pleasure was in conversing on the subject
pictures, which put him. in possession of sufficient  of his profession, and freely communicating his
funds to pursue his journey, and he joyously em-  opinions on the principles and practice of his art.
barked in the first vessel sailing for an Italian   When surrounded by his intimate friends, he took
port. IIe was again doomed to disappointment,  great delight in recounting the events of his life,
however; a tremendous storm  nearly wrecked  the struggles and privations of his boyhood, and
the vessel; but after much delay he got safely in-  the difficulties and dangers he had experienced in
to port, and arrived at Rome in 1627. There he  his maturer years; for though Claude was gentle
took up his permanent abode, and soon found   and unassuming in his manners, kind and commuabundant employment.  One of his earliest pat-  nicative to his professional brethren, and generous
rons was the Cardinal Bentivoglio, for whom  he  to a fault, yet his great talents and reputation
painted two pictures, which so much delighted   gained him bitter and malignant enemies, Artists
his eminence that he showed them  to the Pope  who pretended to be his friends would often visit
(Urban VIII.), who commended them exceedingly,  him while painting, With a view of borrowing his
and desired to see the artist.  The interview   ideas and compositions, and then imitate his
was highly  flattering to Claude, and ended by   works and sell their productions secretly under
his receiving an order to paint four pictures, rep-  his name, and thus injure his reputation. In orresenting the following subjects: A View of the   der to prevent a practice so injurious to himself
Port of Marinella; a Sea-port, embellished with   and others for the future, he made drawings of
noble edifices and numerous vessels; a-Pastoral  every picture he painted, and wrote the name and
Scene; and an Arcadian Landscape, with Nymphs  place of residence of every purchaser on the back,




LORR.                     494                     LORR..with tde date. This precaution was rernaered Inature, enriched by art, and exhibited under the
still more necessary by the frequent applications  most lovely forms and alluring media. Sir Joshua
he received from persons possessing spurious pic-  Reynolds says, in his Discourses, that Claude
tures, which they continually sent to him to be  Lorraine " was convinced that taking nature as he
identified, having purchased them as his produc-  found it seldom produced beauty."  If the scene
tions.  The enemies of his fame and prosperity  represents the early morning, the hemisphere is
being thus cqbed, and their designs frustrated,  suffused with light and warmth, and all nature
spread a report that he now rarely wrought with  visibly feels their influence; the mists are seen dishis own hands, but employed a clever man, named  persing, and the cool freshness of the dawn of
Giovanni Domenico to execute his orders. The  day is yielding to the absorbing rays of the sun;
latter was a cripple, whom Claude had compas-  the soft zephyrs appear to agitate in gentle ripples
sionately taken into his service, and employed  the surface of the lucid streams, and to breathe in
to grind his colors and wait upon him  while  whispers among the foliage of the surrounding
painting.  At length they carried their malice so  groves. The shepherd is seen leading his flocks to
far as to suborn this servant, who, instead of re-  the pastures, or Diana with her attending nymphs
quiting his kind master with gratitude, assumed an  is sallying forth to the chase. Every period of
air of importance, declaring that he had served him  the day, with all its elemental vicissitudes, has
thirty years, not in the capacity of a servant, but  been successfully embodied by his magic pencil,
his assistant, and demanded the payment of a suit-  and even the gorgeous splendor of a summer evenable salary. Claude, sow, in his old age, having  ing, with all its dazzling brightness, was not beever led a peaceful life, and abhorring dispute and  yond the reach of his master hand. His pictures
litigation, paid the unjust demand. These malig-  are enriched with palaces, temples, and other nonant attacks tended greatly to disturb his calm   ble edifices; and the ruins of ancient mighty strucand peaceful disposition, and embitter his latter  tures are so appropriately introduced, and comdays. He died of a severe attack of the gout,  posed with so much skill and taste, that it is easy
which had afflicted him  more or less for forty  to imagine that they once had existence at some
years, on the 21st of November, 1682.            glorious era of the Greek or Roman States. This
Claude left a property of only 10,000 scudi, which,  illusion is still farther heightened by the introductogether with the whole of his effects, he bequeathed  tion of some event from sacred or profane history,
equally to three of his nephews, for whom, as well  poetry, or romance, which accords with the style
as all his relations, he had ever shown the warm-  of the buildings and the scenes depicted. The
est regard. To his free and generous disposition  landscapes of other great artists, as Gaspar Pousmust be attributed the smallness of his fortune,  sin and Salvator Rosa, engage little of our time
for he executed an amazing number of works, and  and contemplation to run over the scanty confines
received for them his own prices. Claude did not  of their scenery, compared with the august and
attain the proud position of the first landscape   boundless expanse of Claude. He presents the
painter of modern times by his genius alonebut  beholder such an infinity of objects, and conveys
he united withit wonderful energy ani perseve r-  SFlito    suc~a'ar —  ofhill and dale and
ance in the study of nature as well as works of art.  misty mountains" that the eye seems to be conHe exerted his utmost industry to explore the  strained, as it wanders, to repose on the way.true principles of his art. He made his studies in   His marines and magnificent sea-ports contend for
the open fields, where he frequently continued   superiority with his inimitable landscapes, in the
from early dawn till the dusk of evening com-  purity and freshness of the atmosphere, and the
pelled him  to withdraw  from  his contempla-  gentle, undulating swell of the water, sparkling
tions. He drew  the most beautiful groups of   withthe reflection of a clear and brilliant sunshine.
trees so accurately that the different species could  Claude painted his great works for public places,
at once be distinguished. Every beautiful appear-  and sometimes for private dwellings, in fresco.
ance in the sky, every curious tinge of- light on all  The following description of a grand saloon, with
kinds of objects, he marked in his sketches with  lofty ceilings, painted for a nobleman at Rome,
similar colors. Sandrart relates that Claude, with   will give a good idea of the grandeur and beauty
the precision of a philosopher, used to explain to  of these works. On the first side he represented
him, as they walked through the fields, the causes  the vestiges of an ancient palace, bounded by a
of the different appearances of the same prospect  deep grove, incomparably  expressed as to the
at different hours of the day, from the reflections  forms, stems, -barks, branches, and foliage of the
or refractions of light, and from dews and vapors  trees, the proportional grandeur of which, as well
in the morning or evening. He also frequented  as the length of the grove, were perspectively and
the Academy, and took great pains to acquire a  beautifully set off by the shrubs and plants with
knowledge of the drawing of the human figure,  which the ground was diversified. The eye was
but although he succeeded so well as not to offend  pleasingly conducted to the second wall, which
the eye, even of the critic yet he was sensible of  seemed, by an artful contrivance and disposition,
his defect, and used jocosely to say that he " sold  to be only a continuation of the same scene, the
his landscapes, and gave his figures into the bar-  same elevation of the horizontal line being observgain."  He sometimes employed Filippo Lauri,  ed throughout the work. On this side he showed
Courtois, or Jan Miel to execute his figures. Ar-  an extensive plain, interspersed with mountains
chitecture, in his early life, was a favorite branch   and waterfalls, groves, travelers, flocks and herds,
of the art with him, for which he possessed a re-  which connected with the third wall, and on which
fined taste and ready invention  and he lost no  a lengthened prospect showed a sea-port at the
opportunity of showing his predilection for such  foot of some high hills, with a view of the ocean.
subjects whenever his scenes permitted.  His  and vessels laboring amongst the waves, which
works, therefore, are combinations of beautiful ob-  appeared in violent agitation. On the fourth wall
jects borrowed from the inexhaustible source of   he represented a wild scene, with caverns among




LORR.                       495                     LOTH.
rude rocks, ruins of temples and antique statues.  netti are mistaken in taking him a pupil of CaraThis composition, though divided into so many   vaggio, for the latter died in 1609, before Carlo
parts, constituted but one entire, connected pros-  was born. Lanzi says he took rank among the first
pect, the beauty, truth, and variety of which the  four painters of his age, all of whom  bore the
power of language cannot express.                  name of Carlo.  He was much employed in GerClaude was accustomed to preserve, as before  many for the Emperor Leopold I., as well as for
mentioned, in a book, drawings of the different  the churches in Italy, especially at Venice, and
subjects he executed. He left, at his death, six of   still more for the private collections. Many cabithese registers, which he called Libri di Veritd.  net pictures of historical subjects from  his hand
One of these, containing two hundred drawings, is  are to be seen in the collections of almost every
in the possession of the Duke of Devonshire; they   city in Italy, executed in the style of Caravaggio
were engraved by Earlom, and published by Boy-  and Guercino. The Death of Abel, so much praisdell under the title of Liber Veritatis. The pie-  ed, in the Florentine Gallery, and Lot and his
tures of Claude Lorraine are exceedingly valuable,  Daughters, in the Trivulzi Palace at Milan, are of
and command enormous prices.  Some of the  this class. He resided many years in Venice.
choicest are valued as high as five thousand guin-  where he died, in 1698.
eas.  England is said to be richer in his works      LOTH, or LOT               a Neaolitan paintthan all the rest of Europe together. In Smith's    r L         acordig to, fst stuied unde
Catalogue raisonne, part viii., may be found a de-    who, p acpodin and like  his master, painted fish,
scriptive account of four hundred of Claude's  Paolo Porpora, and like his master, painted fish,
scriptive account of four hundred of Claude'shells and other marine objects as well as fruit
works; their sizes; the names of those who for-  shells, a   oher marie obecs, as who painted
merly had them in their collections; the names of   and flowers. Abraham  Breughel, who paitted
these subjects in an exquisite style. having settled
the present possessors; and the prices they have                   ad       is style, and   eae ei
brought at various sales.                          at Naples, Loth adopted his style, and became emibrought a~,arious.s~  ~nent. He excelled in depicting fruit, especially
The life of Claude Lorraine is full of instruc-     e.  He  xce ed            in deiti   ruit ee17a7.
tion to the young artist, showing him  that the                  
zeal, fortitude, and untiring industry which he ex-    LOTO, or LOTI, BARTOLOMEO, a Bolognese
hibited, cannot fail of leading to distinction.    painter, and a pupil of Viola, who flourished about
LORRAINE JEAN BAPTISTE               1622. He was an excellent artist, and executed
ver of little note, who, according to Basan, flour-  soe hurces  competition   ith his master, for
ished about 1760. He engraved some plates of   Caracci.
ished about 1760.  He engraved some plates of  the churches at Bologna, in the pure style of the
portraits and other subjects.                      Caracci.
LORRAINE, Louis JOSEPH DE) a French paint-         LOTTI, CosMo, a Florentine painter, architect,
er and engraver, born at Paris in 1715.  He   andingenious mechanician.  He studied painting
learned the art of painting under Dumont, after  under Benedetto Pocetti, but probably did not
which he went to St. Petersburg, where he was  practice this art to any extent, as his pictures are
chiefly employed as a painter of theatrical decora-  very rare. In the Palazzo Pinadori at Florence, is
tions.  He engraved some prints after his own de-  a picture by him of the Virgin Mary. He was
signs, and a few after other masters, the best of   greatly distinguished for his ingenious inventions,
which are the Judgment of Solomon, Solomon   among which was a grotto at Castellano, containsacrificing to the Idols, Queen Esther before King   ing a huge grotesque head, which discharged thirtyAhasuerus, and the Death of Cleopatra, after J.  threejets of water upon any person who chanced
F de Troy.                                        Pto step on a particular stone near the entrance.
LOSCI, JAToP, an old pair  f Para   His talents were much esteemed by Cosmo II.
whose worC s are found in  ldth e hurches of  thParma,  In 1628, Philip IV. King of Spain applied to the
whose works are found in the churches of that
Grand Duke Ferdinand for a good architect, to
city, dated from 1462 to 1488. They are executed   eret a teatre  in            his palace of Beno  etir, an
in a more polished style than was common at that  erect a theatre in his palace of Bueno Retiro, and
in a more polished style than was common at that
by the advice of Giulio Parigi, his chief architect,
L        IBENRIO'apiage.       teofhe recommended Lotti. On arriving at Madrid,
LOSCHI, BERNARDINO, a painter of Carpi, of  the latter commenced the theatre, and completed
whom there are notices from  1495 to 1533. He   it so much to the satisfaction of the king that he
was an artist of distinction in his time, and was  was appointed royal architect and engineer, which
employed in the service of the Duke of Modena.  posts he occupied for many years.  He died at
There are some of his works at Carpi, and perhaps  Madrid, but the time is not recorded.
other places, executed somewhat in the style of
Giotto. His pictures are signed Carpense.            LOTTO, LORENZO, an eminent Italian painter,
the time of whose birth and the place of whose naLOTEN, JOHN. This painter was born in Swit-  tivity are uncertain, though it is generally conzerland, although some writers say he was a na-  sidered that he was born at Bergamo about 1490.
tive of Holland. He went to England about 1670,  Lanzi thinks he was a Venetian, and cites a docuand died at London in 1681.  He painted land-  ment to prove it, in which he is called M. Laurenscapes, and particularly excelled in representing   tics Lottus de Venetiis nunc habitator Bergomi.
dark oaken groves and glades, wild craggy scene-  According to Tassi, he was instructed in the rudiry, with cataracts and foaming torrents; land-  ments of the art by Andrea Previtali at Bergamo,
storms attended with rain, &c. His touch was  and afterwards studied at Venice under Gio. Belfree and spirited, and he had an excellent know-  lini.  There is something uncertain about this
ledge of chiaro-scuro. but the effect of his compo-  but it is sufficient to know  that his manner is
sitions would have been greater if he had been less  wholly Venetian, bold in his colors, luxurious in
cold and dark in his coloring.                     his draperies, and like Giorgione, of a deep red in
LOTH, or LOTI, CAV. GIOVANNI CARLO, was  his flesh tints.  Lanzi says he profited by his'iborn at Munich in 1632.  Both Orlandi and Za-  cinity to Milan, to cultivate an acquaintance with




LOTY.                     496                     LOUV.
-&Vinni, andlto imitatehimin manypoints, particu-  admitted into the Academy at Paris at the age of
larlyim.the distribution of his lights. His works,  twenty-two, contrary to the standing regulations,
however, have a strong resemblance to those of Gior-  which prescribed that the candidate should have
gione, and though his touch is less bold, and his  reached thirty. He became a very popular paintcolors less glowing, he equals him in the truth of  er of battles, huntings, sea-pieces, and landscapes
his carnations, and the copious cast of his drape-  with figures and cattle, in which last he imitated
ries; and perhaps surpasses him in the choice and  the charming style of Nicholas Berghem   He left
elegance of his forms, and in the beauty, finish,  Paris, and made a tour through Germany, Switand expression of his heads.. His principal works  zerland and Italy. In 1771 he went to England,
are in the churches at Bergamo, Venice, and Re-  and was immediately employed by Garrick to decanati. Ridolfi applauds his picture of the Virgin  sign and paint scenery for Drury Lane Theatre, in
and Infant, with Sts. Stephen, Sebastian, and Dom-  which he discovered extraordinary ability, and
inic, in the church of S. Bartolomeo at Bergamo,  gained much applause. In 1782 he was elected a
as a wonderful performance. Lanzi also says of  member of the Royal Academy, of which instituthis picture, that "the painter has bestowed upon  tion he afterwards became a visitor, and one of
the Virgin and infant Jesus such finely diversified  the Council. He executed a number of easel picand contrasted motions, that they seem as if con-  tures and some large historical subjects, among
versing with the holy bystanders, the one on the  which last are the Review of Warley Camp, now
right, and the other on the left hand."  In the  in the royal collection, Lord Howe's Victory of the
church of S. Spirito is another exquisite picture  first of June, and the Siege of Valenciennes.of the Virgin and Child, with the infant St. John   When Macklin projected his publication of the
standing at the foot of the throne embracing a  Bible, with illustrations from  original paintings,
Lamb, designed and executed with such simplicity,  he employed Loutherbourg to paint two pictures
grace, and innocence, that Lanzi says, "we can   -the Angel destroying the Assyrian Host,and the
hardly believe, while we gaze upon it, that Raffa-  Universal Deluge. Loutherbourg possessed genelle or Correggio could have gone beyond it. Such  ius and talents, but by attempting too much, he
master-pieces as these, with others that are to be  fell into the foibles of a mannerist. Had he conseen at Bergamo in the churches and private col-  fined himself to one branch, his reputation would
lections, place him almost upon a level with the  have been more lasting. His best works are his
first luminaries of art."  There is a difference in  sea-coast scenes, which are excellent. He designhis works, which has caused a contrariety of opin-  ed and wrought with great facility, but his colorion as to his merits. Thus Kiigler says his man-  ing is gaudy, and his chiaro-scuro very defective.
ner varied according to the master under whom he  He obtained a great reputation, and his works
studied, or whose works he studied. " Three dif-  were much sought after. They have been multiferent influences," says he, " appear in the different  plied by imitators to such an extent that they are
pictures of the artist. Thus one in the Museum   now " as thick as blackberries in summer."  He
at Naples is in the style of Bellini; another in the  also   blis some aquatinted etchings of landPitti Palace inclines to the Milanese (L. da tVift,  scapes, marines, and soldiers from  his own deand others to the Venetian manner."  But we are  signs. He died at Chiswick in 1812.
not to judge of the powers of an artist by his un-    LOUVEMENT, FRANCOIS DE, a French engraripe or over-ripe fruit. Lanzi's authority is worth  ver, who flourished about 1680. According to
all the rest, and he says that his powers declined   Florent le Comte, he went to Italy, where he reas he advanced in years, of which the artist him-  sided some years, and engraved several plates afself was sensible, and he used to retire to Loretto  ter P. da Cortona, Ciro Ferri, Lanfranco, Solimena,
and supplicate the Virgin that she would preserve   and other Italian masters.
his faculties and guide him into a better method;
and there he closed the period of his days in tran- LOUYSor LOYS, JOHN  a Femish engraver,
quillity, at an advanced age, in 1560. He also ex-  born at Antwerp about 1600. He studied under
celled in historical subjects of easel size, and in   Peter Soutman, whose style he imitated.  He
portraits,                                        wrought with the graver and the point, his carnations being chiefly excited with the point. The
LOTYN, JOHN, a Flemish artist, born at Brus-  following are his best prints:
sels. He excelled in painting flowers. and went to
England, where he was employed a long time by                        PORTRAITS.
Queen Mary, after whose death he returned to his    Philip the Good, Duke of Burgund. Louis XIII.,
own country.                                      King of France; after Rubens. Anne of Austria, his
own countryH B R P         PA.Auhr   Queen; do..Philip IV., King of Spain; do. Elizabeth
LOUTHERBOURG, PHILIP JAMES. Authors  of Bourbon, his Queen; do. Francis Thomas of Savoy,
have bestowed more praise and comment, than his  Prince of Carignan; after Vandyck.
real merits deserve, upon this ingeniQus rather than      SUBJECTS AFTER VARIOUS MASTERS.
great artist.  The time of his birth is uncer-    The Resurrection of Lazarus; a fine copy from the print
tain, being given at Strasburg in 1728, 1730, 1734,  by J. Lievens. Diana and her Nymphs reposing after the
1740, and 1741, which last is probably not far  Chase; after Rubens. - The Interior of a Dutch Kitchen;
from the truth as he died in 1812. His father  after  stade. Peasants amusing themselves; after A.
was principal painter to the Prince of Hanau-      oth. A DutchKithen; after W.Kaf.
Darmstadt, and intended his son for the engineer-    LOWRY, WILSON, an eminent English engraving department of the army, and gave him a libe-  er, born at Whitehaven in 1762. In his eighteenth
eral education in the college of Strasburg.  While   yar he went to London, and studied under John
in college, his genius led him to painting, and his  Browne, the landscape engraver. He also became
parents sent him to Paris, where he studied un-  a student of the Royal Academy, where he distinder Carlo Vanloo, as some say, and others Fran-  guished himself by his skill in drawing the huesco Casanova. He made great progress, and was  man figure, and made rapid progress in the art.




LOYE.                     497                     LUOA.
to the improvement of which he contributed a va-  reason he is supposed to have studied awder that
riety of useful inventions. Among these mnay be  master. His works, though inferior to those of
reckoned a new ruling machine, possessing the  Edelinck, possess much merit. The time'of his
property of ruling successive lines, either equi-  death is not known, but there are prints by him
distant, or in just gradations, from the greatest re-  dated 1694. Among others, are the following by
quired width to the nearest possible approxima-  him:
tion. Upon this instrument, originally invented                     PORTRAITS.
in 1790, he several years after made considerable    Armand John du Plessis, Cardinal de Richelieu. John
improvement, and constructed a-new one, capable  Peter Camus, Bishop of Belley. John Papire Masson,
of drawing lines to a point. and of forming con-  celebrated advocate. Vincent Voiture, of the French
centric circles. In 1798 he first introduced the  Academy. Peter Corneille, Dramatic Poet. Olivier Pa.
use of diamond  points for etching; a highly im-  tru, of the French Academy. Robert Arnauld D'Andilly.
sportnt invention, on accour t ofthe equaitgy im   John Baptist Colbert, Minister of State;and many others,
portant invention, on accoun of the equality of d   particularly thirty-eight portraits in Perrault's " Hommei
tone which they produced, and also for their dura-  illustres de France."
bility. Many other useful improvements in steel                     SUBJECT.
engraving were also introduced by Lowry, and he                   
was the first who succeeded well in what is techni-     Entombing    rist;  fter    Sueur.
cally termed " biting steel in"; the secret of which  LUCA, SANTO, a Florentine painter, who lived
was purchased from him by Mr. Heath. In 1812,  in the 11th century. To this artist is attributed
he was elected a Fellow of the Royal Society. His  a picture of the Virgin in S. Maria Maggiore, at
mathematical knowledge of drawing, his deep re-  Rome, and many others in Italy, claimed and besearches in the laws of mechanics, his extensive  lieved by the vulgar to have been painted by St.
acquaintance with physics and the general proper-  Luke the Evangelist. Lanzisays the tradition
ties of matter and form, combined with the cor-  was first impugned by Manni' and subsequently
rectness of an eye that never erred, and a hand that  confuted by Piacenza, so that it is now preserved
could not deviate-all highly qualified him for  only among the vulgar and the credulous, who
that department of the art in which he excelled.  shut their eyes to every rational criticism, as an
He was employed more or less for about twenty  innovation of their faith. In the early ages of the
years in engraving architectural and mechanical  church. the Virgin was not represented with the
subjects for Rees' Cyclopgedia. There are also many   Holy Infant in her arms, but with the arms explates by Lowry, in Wilkins' Vitruvius, and Mag-  tended, in the act of prayer, as is seen in-several
na Groecia; Nicholson's Architectural Dictionary;  ancient monuments. Lazi also assures us that
and the Encyclopaedia Metropolitana, on which he  thesepictures of the Virgin were executed by a
was employed till his death, in 1824.            Florentine named Luca, who, for his many virtues,
LOYER, a French engraver, who flourished   obtained the title of Saint. Rude portraits and
LOYER, a French egraver whflourished  images of the Virgin are found in many Italian
about 1760. and executed some plates of architec-  churhes, and also throughout the East, believed
tural subjects, after Dumont, Bernini, Marieschi,  churches and also throughout the East, believed
tural subjects, after Dumont,BerniniMarieschi,  by the vulgar to be the genuine works of St. Luke,
and othe Evangelist.
LUBIENETSKI, TEnoDnoREuD, a Polish paint-.    LUCA  DI TOME, an old painter of Siena,
er and engraver, bom at Cracow in 1653.  He
er and en~igraver, born at Cracow in 1653.  He  who studied withBernardoda Siena, and executed
went to Hamburg, where he studied painting un-  s      works for th  crche          and  eets.
der Jurian Stur, and from thence to Amsterdasm,    oFmi beg his siure, a nd conve
and became the pupil of Gerard Lairesse. On   Ho   Family bearing his signature, and  dated
and became the pul of Gerad Laires    11367, isin the convent of the CapuchMns at Siena.
leaving that master. he went to Italy, and resided       n te coe   f  es  t i
Lanzi says it has not sufficient softness, but in
someears at Florence, where he was particularly  otherrespectsitisareputablewor
patronized by the Grand Duke, who showed him           
many marks of honor and esteem. On his return      LUCAS, VAN LEYDEN. See LEYDEN.
to Germany, he was invited to the court of Berlin.    LUCAS, a French engraver, who flourished at
He was afterwards made painter to the Elector of  Paris about 1700. He engraved some plates of
Brandenburg, and appointed director of the Ac-  architectural subjects for the collection of the
ademy. He was an able artist, and painted his-   Views of Versailles, published by P. Menant. He
tory and landscape, much in  ie; style of Gerard  had a son, whom he instructed in the art, but none
Lairesse. He also etched some plates'after his  of his works are specified.
own designs. among which are six grand land-,
scapes, signed Th.'de'Lubienetzki fecit. 1698.    LUCAS, FRAN9OIS, a French sculptor, born at
He died in 1716.                                 Toulouse in 1736. His father, one of the founders
LBIENETS, CRSTOPHE   ws te         of the Academy in that city, instructed him in the
elements of sculpture. In 1761, he gained the
er brother of the preceding, born at Stettin in 1659.  ns of sptre. n    176   1  e appointed Professor
After receiving some instructions in design with   g    Sculpture.  Convin 1764 wa s apo inted Pofess
Theodore, under J. Str, he accompanied his  of Sculpture.  Convinced of the defects in the
Theodore,  under J. Stur,. he accompanied his
models of the Academy, he had the courage to
brother to Amsterdam, and entered the school of  models of the Academy, he had the courage ta
Adrian de Backer. He painted history and po      prefer a few figures modelled after the antique, as
Atraianes     He o pains mter, and rose to dis   studies for his scholars, instead of the works of Letraits in the style of his master, and rose to';dis'
tinction. His historical works arer  ommended for  moine and Pigalle. He afterwards visited Rome for
Unmction. His historical works are commended for  improvement, and made a fine collection of antiquiinvention and composition, correctness of design  iand made a ne collection of antiq
and an agreeable tone of coloring. He returned  ties, which are greatly admired. Among his prin
to his own country, where he died about 1720.'  cipal works, are the Statues of Worshippers, in tne
to his own country, where he died about 1720,.
church of St. Peter at Toulouse; and the MauLUBIN, JAcaEs, aFrench engraver, born at Pa-  soleum of M. de Puyvert, one of the finest ornaris in 1637. His portraits have a strong resem-  ments of the church of St. Stephen. Lucas diedc
blance to those of Gerard Edelinck, for which  in 1813.




LUCA.                     498                   LUCC.
LUCASZ, PETER FRANCIS, a Flemish painter,  by that Lucatelli who has been mentioned among
born at Malines in 1606. He went to Antwerp  the landscape painters. The connoisseurs attribute
and studied under Gerard Seghers. He painted  to him two different manners, the first good, the
landscapes with figures, designed and executed with  second still better, and exhibiting great taste both
great beauty and spirit. He acquired considera-  in coloring and in invention."  Stanley says there
ble distinction and was largely patronized by the  are many of his works in England, and that in
Arch-duke Leopold, for whom he executed many  them are blended the manners of Francesco Mola,
works. Healso painted portraits with reputation.  and Orizzonte, with less depth than the former,
He died in 1654.                                and more freedom than the latter.
LUCATELLI, or LOCATELLI, PIETRO, a dis-    LUCCA, DEODATO DA, an old painter of Lucca,
tinguished Roman painter, born in 1660. His real  by whom there is a Crucifixion in good preservaname was Lucatelli, though his name is spelled in  tion, in a church at San Cerbone, not far from Bomost books, Locatelli. He is said in the Catalogue  logna, on which is subscribed Deodatus filius Or.
of the Colonna Gallery to have studied under Ci-  landi de Luca me pinxit, A. D., 1288.
ro Ferri, but Titi and others make him a dis-    LUCCA, MICHEL ANGELO DA. See ANSELMI.
ciple of Pietro da Cortona. He acquired distinc-    LUCCHESE IL. See o    cci.
tion, was elected a member of the Academy of St.
Luke in 1690, and executed some works for the     LUCCHETTO. See LVCA CAMBIASO.
public edifices at Rome. Orlandi commends his               T       LUCCHESE, or LUCENworks in the church of S. Agostino, and in the          or      b   SIS, MICHELE, an Italian
Collegio Fuccioli. He died in 1741.             J          JVlFJ  engraver, and native of LucLUCATELLI, ANDREA, a landscape painter of  ca, who flourished at Rome about 1550. He enconsiderable eminence, born at Rome in 1540, and  graved some prints after the best Italian masters,
died in 1602. IIe excelled in painting the views  as Michael Angelo, Raffaelle and Polidoro di Carand ancient monuments about his native city. He  avaggio. His prints are usually marked with his
had an excellent knowledge of chiaro-scuro, and  monogram as above.
expressed admirably the light of the sun upon     LUCCHESINO, IL. See PIETROTESTA.
objects at different hours of the day.  lie im-    LUCENA  DON DI
itated the various shades of color produced by     UCENA, DO  DIEGO DE, a Spanish painter
time on stone and marble, and represented the  o          family of Andalusia, who studied under
bark and foliage of his trees with  Velasquez, and imitated his manner with conbark and foliage of his trees with great accuracy.  V uez, and  iaed h  manner
grean  auray   siderable success. He excelled in portraits, which
His figures were well designed and spiritedly ex-   iderable success.    e  He painted the poetwhich
ecuted.  He also represented landscapes with   Bermudezhighly commends.He paintedthepoet
striking effect.                                Pantaleon, who sang his praise in his verse. He
died young in 1650.
LUCATELLI, or LOCATELLI.  ANDREA, an em-                   
inent Roman landscape painter, whose history is         LUCINI, ANTONEK  FRANCESCO, a Floa mixture of thd most admirable contradiction and'j   rentine engraver, who flourished about
confusion, no two authors hardly agreeing as to his   L r   1646. He was cotemporary with, and
time of birth and death, his merits and the char-  probably a pupil of, Stefano della Bella, whose
acter of his works; and some doubt whether An-  style he imitated very closely, and even copied
drea and Pietro Lucatelli were not one and the  some of his prints, as the Festival on the Arno.
same artist. Now this arises from overlooking  He usually marked his prints with a monogram
facts and dates, and confounding the two artists  composed of his initials.
together. It is well known that this artist flour-    LUDINS, a Roman painter, who distinguished
ished at Rome at the same time with Orizzonte,  himself in the reign of Augustus for his views
and occasionally wrought in conjunction with  and landscapes, embellished with figures, and for
Marco Ricoi and Gio. Paolo Pannini, all of whom   his marines. He was the first Roman artist who
flourished in the first part of the 18th century, painted in fresco, and he was much employed in
their births and deths being, of Orizzonte, 1656-   decorating the villas near Rome, in which he ex1740, of Ricci, 1680-1730, and of Pannini, 1691-  celled.
1758. The elder Lucatelli lived then more than
a hundred years before.  Lanzi says that this    LUFFOLI,  GIOVANNI MARIA, a native of Peartist is not to be confounded wisa  that other  saro and a painter of the Bolognese school, whose
artistiot ecnfudd ihtatoh           works date from 1665 to 1707. IIe studied unLucatelli (Pietro) who flourished at Rome about  wrs   e fro       5 to 1.   e studied unthe same time. He says farther, that he was  der Simone Cantarini, in whose style he painted
highly celebrated in every inferior branch of the  many works for the churches of his native city,
art. "In the Archbishop's Gallery at Milan are a  particularly at S. Giuseppe and S. Antonio Abate.
number of his pictures, historical, architectural,  Oretti commends him as asound and udicious
and landscapes. In those he appears original in  artst.
composition and in the disposition of his masses;    LUGARO, VINCENZIO, a painter of Udine, of
he is varied in his touch, delicate in his coloring  whom there are notices from 1589 to 1619. Riand elegant in his figures, which he was accus-  dolf commends him for his altar-piece of St. Antomed to paint in the Flemish style, separate  tono at the Grazie in Udine. Lanzi says he was
from his landscapes."  He mentions some emin-  one of those artists whose works are reasonably
ent Flemish painters of the same class then living  well executed, but more or less borrowed from
sat Rome, (1686-1690) as Peter van Bloemen,  familiar models.
the brother of Orizzonte, who painted battle-pieces    LUGRENCELIS, an engraver, and probably
and Bambocciate; Francesco Wallint, (H. van  painter, by whom there are some spirited etchings
Lint) and others, and that " in Rome and the eccle-  of mythological subjects in the style of Benedetti
siastical states: we find many pictures of this sort  Castiglione, inscribed lugrencelis inv. et scul.




LUIG.                     499                    LUIN.
LUIGHI.  See LUNGHI.                           there are others at Milan attributed to him, in
LUIKEN. See LUYKEN.                            better taste; and specifies the Baptism of Christ
LUINI, or LOVINI, BERNARDINO an eminent  in the church of S. Lorenzo, as a work worthy of
LUINI, or LOVINI, BERNARDINO an eminent  hisfather.
Italian painter, about the time of whose birth and  IT ather.
death there is much disagreement. He was born at    LIN   EVANGELISTA, was the second son of
Luino, a small town in the Milanese, on the Lago  Bernardino L. Lomazzo remarks that in the art
Maggiore, some say in 1480, and died in 1530; and  of ornamenting and festooning he was equally inothers, that he flourished from 1500 to 1550. In   genious and fanciful as his brother, and at the
a picture dated 1525, he introduced his own por-same time, hegives him ahigh rank as an historitrait as that of an old man, which, if correct, would  cal painter; but he does not specify any of his
make his birth about 1455; but there is no cer-works.
tainty about this, for his son Aurelio was born in  LUINI, GIULIO CESARE, a painter of the Mi1530. He is generally considered, from his style,  lanese school, who studied under Gaudenzio Ferto have been a pupil of Leonardo da Vinci, but  rari. He was a reputable artist. and there are
there is much dispute on this point. Padre Resta  some of his works in the chapels at Varallo. He
asserts that Luini did not visit Milan until after  flourished about 1550.
the departure of Vinci in 1500: on the other    LUINI, PIETRO. See GNOCCHI.
hand, the Abate Bianconi in his Guida di Milano,    LUINI, TOMMASO, who died in the pontificate
gives it as the opinion of all the best critics and      U   III, aged 35 years. According to
connoisseurs, that he was a pupil of Vinci. Lanzi  Baglioni,Iwas  the  scholar of Andre    achi,
Baglioni, was the scholar of Andrea Sacchi,
says he certainly frequented his academy. At all  and painted in the style of Caravaggio, from which
events, it is impossible for one artist to approach  circumstance and his quarrelsome disposition he
nearer to the style of another than Luini does to  was called l Caravaggino. He was a man of abithat of Vinci, in his best works; he exhibits the  lity, and executed some esteemed works for the
same taste in design and composition, the same  churches at Rome. Lansi says he appears to the
peculiarity of color and extraordinary relief, so  best advantage when he painted the designs of his
that, according to Lanzi, out of Milan, many of his  master, as in the church of S. Maria in Via where
works pass for those of that master. His two  hecombinedhisown ideas. Hisdesign was rather
he combined his own ideas. His design was rather
pictures of Mary Magdalene and St. John embra-  dry and his coloring too dark.
cing his Lamb, in the Ambrosian Gallery at Milan, can hardly be called inferior to the works of  UMLEY, GEORGE, an English aateur enLeonardo in the beauty and suavity of his pencil,  graver, who resided at York about 1720, and exand the piety and feeling of his expression. There  ecuted a few  mezotinto portraits.
are also many other pictures by him in the differ-    LUNARDUS, an old engraver on wood, by
ent collections at Milan, possessng nearlyequal  whom there are some frontispieces and book ormerit. To form a just idea of Luini's merit it  naments executed in a spirited and masterly manwould be necessary to contemplate his series of  ner, which appear to be after his own designs. Ho
pictures at Sarono, representing the life of the  flourished about 1520.
Virgin, in which he approaches the dignity and
grace of Raffaelle. He was no less distinguished             LUN           GERRIT, O r   GERAR, a
for his-frescos, of which the most celebrated are         Dutch paintr olf iteiors and converChrist crowned with Thorns, in the Collegio del  k      &   L      s in ow l   ife, boo rs, merry-m
S. Sepolcro; and the choir of the Monistero Mag-  k,       Little is kn n o hi. His pitres
giore at Milan. Luini is scarcely known out of       executed in a very pleasing  d spirited man
Milan, as his works are attributed to da Vinci- ner, and are admitted intoood collections.He
the sure fate of all imitators. The finest, Christ dis-  is supposed to have flourished from 1650to 1670.
puting with the Doctors, now in the English Na-    LUNGHI, MARTINO, an Italian architect, who
tional Gallery, attributed to da Vinci, is now gen-  flourished in the latter part of the 16th century.
erally given by connoisseurs to Luini.           He was a native of Vigiu, in the Milanese; and his
LUINI, AURELIO, was the son of the preceding,  first profession was that of a stone-cutter, after
born at Milan in 1530, and died in 1593. Accord-  which, by study and practice, he became an archiing to Lomazzo, his cotemporary, residing at Mi-tect. Under  regory XIII. he erected that part
lan, he was one of the most distinguished artists  of the pontifcal palace on Monte Cavallo, at Rome,
of his time in that city; and he especially com-   alled the "Tower of the Winds."  For thefathers
mends him  for his knowledge of anatomy and  ofthe Oratorio heerectedthemajesticChiesaNuova,
his skill in landscape and perspective, and says  on the usual plan of a Latin  ross. He also dethat he was a successful rival of Polidoro da Cara-  signed the fagade of S. Girolamo degli Schiavoni,
vaggio in his large frescos. Lanzi says. "After a  at Ripetta, in a very beautiful and correct style.
lapse of two centuries, Bianconi has written of him   Among his other works, are the Campanile of
with more freedom, declaring that though the son,  the Campidoglio; the palace of the Dukes of Al
he was not the follower of Bernardino, the purity  temps at Apollinare; and the Palazzo Borghese
of whose style he was far from attaining. And in  at Rome.
truth, if we except his composition, there is not    LUNGHI, ONORIO, an Italian architect, the son
much to please in this artist. We may indeed, of-  and scholar of Martino L., was born in 1569. He
ten trace the paternal manner, much deteriorated  became quite distinguished in civil and military
and tainted with mannerism; his ideas are com-  architecture.  His most esteemed work is the
mon, his attitudes less natural, the folds of his  church of S. Carlo, on the Corso at Rome, designed
drapery are minute, and drawn in a mechanical  in a beautiful and magnificent style, with three
manner."  He then goes on to say that this is the  naves, in the form of a Latin cross. Among his
character of his genuine works but admits that  other productions, are the court, gallery, and log



LUNG.                      500                    LUTM.
* —f'' the Palazwo Verospi, on the Corso;- and  that he recommended him to the patronage of the
tihechurch of S Maria, at Campo Vaccino. He  Grand Duke, who sent him to Rome to study unwas but'little esteemed for his private character,  der Ciro Ferri.  On his arrival there, he had
rendering himself odious by his unsocial and ca-  the misfortune to find that that master had relumniating disposition. He died in 1619.          cently died. He did not place himself under any
LUNGHI, MARTINO, an Italian architect, the  other instructor, but diligently studying the works
son and scholar of Onorio L., flourished about the    f the best masters, he formed for himself a style
middle of the 17th century.  He visited Sicily,   hich, without exactly resembling that of any
Naples, Venice, and Milan, and erected a variety  other master, was distinguished for elegance of
of edifices. At Rome, he restored the church of  design and suavity of color, together with an exr
S. Adriano; erected the facade of the Madonna  cellent conduct of the chiaro-scur   One of his
del' Orto; and the grand altar of S. Carlo, on the  earliest works at Rome was the Death of Abel,
Corso. His best work is the staircase, madeby   publicly exhibited at the festival of St. Barorder of Cardinal Gaetano, in his palace on the  tholomew, when it excited universal admiration
Corso. It is generally cited as the most perfect in  by the  ublimity of its composition and the
Rome, but Milizia has contrived to find a number  characteristic expression of the head of the murof defects in this beautiful work. The Cardinal  derer. This work established his reputation, and
Ginetti was greatly delighted with it, and commis-    was commissioned by Pope Clement XI. t
sioned Lunghi to erect a similar one in his palace  paint a picture of the Prophet Isaiah in St. John
at Venice. He died in 1657.                       of Lateran, and other works, which were executed
LUNGHI, ANI'ONIO, a Bolognese painter, born  so much to the pontiffJs satisfaction that he conin. He s d u r G. G     e dl S,  ferred on him the honor of knighthood of the orin 1685. He studied under Gio. Giuseppe dal Sole,  der of the Holy Cross. He acquired a great repand acquired considerable reputation as an histor-   of te H oly Cossere  acquired   a gret rpHe was chiefly employed for the  utation, and was considered among the ablest arical painter.  He was chiefly employed for the  tists of his time. The Elector of Mentz presented
churches and convents of Bologna and the vicinity.  him a valuable diamond cross. Among his other
Among other works, one of Christ appearing to   most admired works atRome are St. Anthony of
Mary Magdalene, is highly commended. He died   Padua in the church of the Apostles; Mary MagIn 1757.                                          dalene anointing the feet of Christ, in S. Caterina
LURAGO, Rocco, aLombard architect, a native  da Siena. His portrait, by himself is in the Floof Pelsopra, flourished in the latter part of the  rentine Gallery. It is to be regretted that this
16th century. His principal work is the Palazzo  talented artist should have. devoted so much of
Doria Tursi, in Strada Nuova, at Genoa, greatly   his time to crayon painting, so transient in its napraised by the citizens and foreigners, but is more  ture, when he possessed powers for nobler exeradmired for its extraordinary size, and the abun-  tions. He died in 1724. He executed a few spirdance of marble with which it is decorated, than  ited etchings, among which are the Crucifixion, with
for the purity of its architecture. This is thejudg-  St. John and Mary Magdalene at the foot of the
ment of Milizia, who also says th  this edifice  ~Cross,-after  is'nt deign, and a landscape, after
surprises at the first view, and conveys an idea of   Guercino.
something more than ordinary magnificence. By       LTMA, ABRAHAM, a Dutch engrver ofwhom
order of Pius V., Lurago erected at Bosco, the  little is known. There is a portrait by him of
convent and church of the Dominican friars. This  Rubens after Vandyck.
edifice so pleased the pontiff, and his nephew, the
Cardinal Ghisleri, that they invited the architect    LUTMA, JANUS, or JOHN, a Dutch engraver
to Rome, but could not prevail upon him to leave  and goldsmith, born at Amsterdam  about 1629.
Genoa. He died in 1590.                          He was the inventor of a method of engraving,
which he called opus mallei, and which has nothLUSARCHE, ROBERT DE, an old French ar-  ing to recommend it. It is done with a punch, or
chitect who flourished about 1220, and designed,  chisel and mallet. Fair impressions of his plates
according to Felibien, the Cathedral of Amiens,  are now  extremely scarce, and for this reason,
which was continued by Tommaso of Charmont,  valuable. They are as follow:
and completed by his son Rinaldo, in 1269. This
edifice is of great size and beauty, in the Gothic    The Portrait of his Father; Janus Lutma, Posteri
style prevalent in those days. The principal nave   Bati; ou smalei per Janum, pec. His own Portrait
Yanus Lutma Batav us, per se opere Mallei. 1681. J.
is 213 feet long, and the choir 153 feet; making   Vondelius. Olor Batavus. Opus mallei, per J. Lutthe entire length of the edifice 366 feet.  The  ma. P.. Hooft. Alter Tacitus. Opus mallei, per J.
transverse nave is 182 feet, and its width forty-  Lutma. We have also by him two portraits, engraved in
nine feet. The roof is 132 feet high; the choir,  the style of Rembrandt, which are scarce, and highly esteemed, viz.-Joannes Lutma Aurifex. It is the porthe nave, and the transept, are surrounded by  teemed, z.-Joannes Lutma Aurife. It i the porthe nave, and the transept, are surrounded by  trait of his father, in a furred robe, holding a port-crayon
small aisles eighteen feet wide, and forty-two feet  in one hand, and his spectacles in the other; signed Joanhigh, which have also recessed chapels.           nes Lutma, Junior,.fecit Ao. 1656.  Joannes Lutma
LUTTI, CA. BENEDETTO, a Florentine pa'nter, *  Junior. He is seated at a table drawing, with a large hat,
LUTI, CAv. BENEDETT.O, a Florentine painter,  which throws a shadow over the face; this portrait is oxborn in 1666. His parents were very poor, and  tremely scarce. le also engraved some views of ruins,
unable to give him any education, but he early  &c., in a style executed with the point, and assisted with
showed a love for the fine arts, and amused him-  the mezzotinto tool, one of which represents a Fountain,
self by sketching everything that struck his fancy,  with tatues, and the Trajan Column; dated 1656.
and at length acquired so much skill as to at-    LUTMA, JAMES. This engraver was the son
tract the notice of Antonio Domenico Gabbiani,  of the preceding. He etched and finished with the
who generously took the youth into his studio,  graver a set of ornamental plates, of shields and foinstructed him  in the art, and was so highly  liage, from the designs of his father. He also enpleased with his deportment, talents and assiduity,  graved a plate of three portraits, in a frame, in




LUTT.                    501                   LYSI.
scribed Jan Lutma d'Oude, inv.  Jac. Lutma, A frieze by him in the Palazzo Spada still eists,
fecit aquaforti, et exc.                       and is highly commended. He flourished about
1530.
LUTTEREL, HENRY, an Irish painter and en- 
graver, born at Dublin about 1650. He went ear-   LUZZO, PIETRO, DA FELTRO. See MORTO DA
ly in life to London, and was educated for the law, FELTRO.
but abandoned that profession, and studied por-                  LYS or LIS, JOHN VANDER,
trait painting with Ashfield. About this time         or,                         N  a
(not Jan, as frequently called)
Blooteling had established himself in London, and                        
his mezzotinto prints were in great repute. Lut- in 1600. He  uid under  orn es Poeea
^i  1'0'i. Hle studied under Cornelius Poelemterel contrived to possess himself of his secrets, burg, whose manner he imitated so sucessfully
and afterwards formed a connection with Isaac
that many of his works are attributed to that masBecket; and they became the earliest English  thatmanyofhisworksareattributedtothatmasBecket; and they became the earliest Eneglish  ter. He painted historical subjects, conversations
engravers in mezzotinto. He acquired a high  a   landcapee  He issu       osedtohave ben
reputation in his time, and executed quite a num-   e sae as  oanni  u  o the Italians, after
her of portraits of distinguished persons.  His wm   oai engraved thesubject of Abraham
crayon portraits, too, were highly esteemed. He        Mogato i   engraved the subject of Abraeam
died about 1710.                               about to sacrifice Isaac. His works are very
highly finished. There is a famous picture by
LUTZELBURGER, or LEUTZELBURGER, this artist at Rotterdam, representing Diana in
HANS, called also HANS FRANK, a Swiss wood en- the Bath, attended by her nymphs. His works
graver, who flourished at Basle in the early part of are found in the best collections, not only in Holthe 16th century. Little is known of him. lie land but in England.
issupposed by some to have cut the blocks of the
celebrated Dance of Death, attributed to Hens   LYSIPP IS, a celebrated Greek sculptor, was
Holbein. This supposition is founded on the facts a native of Sicyon, and flourished about B.C. 325,
of his having been, as is supposed, cotemporaryin the time ofAlexander the Great.  He at first
with Holbein, a native of the same place, and  applied himsef to painting, until taught by his
from one of the cuts being marked H.L. But talents and inclination that he was born to excel
there is no certainty in this. There are many  in sculpture. He improved the art of statuary
other celebrated old cuts, singly and in sets, some by a better imitation of the hair, and by an
of them after drawiiigs by Holbein, which are  attentive study of symmetry, in which he conattribhutd to Lutzelburger. Those who are cu- sidered how the human figure appears to the eye,
rious about the facts, with regard to'.nese and not what are its exact proportions. For this reaother disputed points may find a detailed state- son he was the first that reduced the size of his
ment of the views of all parties in Dr. Nagler's heads, and thereby made his figures appear more
N       geues AZlgemeines Kunstler-eiGon.      tall and elegant. His reputation was so high, and
he was so much favored by Alexander, that that
LUYKEN, JOHN, a Dutch painter and engrav- monarch forbade any sculptor but Lysippus to
er, born at Amsterdam  in 1649. He studied  make his statue. He executed a series of figures
painting and design under Martin Zaagmoolen, of Alexander, beginning from his childhood; and
and for some time applied himself to the practice likewise made statues of Hephestion and his
of the art; but not succeeding in his expectations, other friends; all of which were taken to Rome
he turned his attention to engraving, and became  by Metellus, after the conquest of Macedonia.
very eminent in that branch. He executed a  Among his works, the figure of a man scraping
multitude of works, very many of them after his himself with a strigil, called Apoxyomenos, was
own designs. Bohn, in his new catalogue, men- particularly admired. It was placed by Marcus
tions upwards of 900, all having the name of this Agrippa before his public baths; but being removindefatigable artist. He discovers great fertility of  ed by Tiberius into his own chamber, the Roman
invention, and a remarkable facility of execution, people were so clamorous for its restoration, that
and his plates are executed with neatness and  the Emperor thought best to give way to their
spirit. His compositions are crowded with an  wishes. A chariot of the sun at Rhodes was one
infinite number of figures. These qualities pro- of his great works; which, however, was surcured for him the honorable title of the Callot of  passed by a colossus at Tarentum, forty cubits
Holland. He died in 1712.                      high. He also executed a statue of Hercules,
LUYKEEN, GASPAR, was the son and pupil of  which was removed to Rome from  Alyzia, in
the preceding, born at Amsterdam in 1670. He  Acarnania; one of Socrates; one of Esop; a stadesigned and engraved in the manner of his tue of Opportunity, represented as a youth with
father, but his works are every way inferior to  wings attached to his ancles, in the act of rising
him. He was chiefly employed by the booksel- from the ground. This work is admirably delers. Among his works are the following: Twelve  scribed by Welcker. The statues of Lysippus
plates of the Months of the Year; Four, of the  were 610 in number, and in the age of Augustus,
Seasons; St. Francis Xavier preaching before the  his works were sold for their weight in gold.
Emperor of Japan; the Miracle of the Loaves.     LYSISTRATUS, a Greeksculptorthebrother
LUZIO, ROMANO, a Roman painter, who stu- or brother-in-law  of Lysippus, flourished about
died under Pierino del Vaga; was his ablest B. C. 325. The only work mentioned as by him,
scholar and assisted him in his works. Accord- is the Head of.Menalippe, a woman distinguished
ing to Vasari, Luzio and some Lombards painted  for her wisdom. He was principally distinguishfour chambers in the Ducal Palace at Genoa, after ed as the inventor of taking impressions in plaster
the cartoons of his master. He executed some from the human form, which produced an accuexcellent works at Rome from his own designs. rate resemblance.