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GENEKAL DICTIONARY 
 
 OF 
 
 PAINTERS: 
 
 CONTAINING 
 
 MEMOIRS OF THE LIVES AND WORKS 
 
 OF THE MOST EMINENT 
 
 PKOFESSOES OF THE AKT OF PAINTING, 
 
 FKOM ITS REVIVAL BY CIMABUE, IN THE YEAR 1250, TO THE PRESENT TIMB. 
 
 BY MATTHEW PUHNGTON, A.M. 
 
 yiTH AN INTRODUCTION, HISTORICAL AND CRITICAL, 
 
 BY ALLAN CUNNINGHAM. 
 
 A NEW EDITION, WITH SUPPLEMENT. 
 
 CONTAINING THE NAMES OP 
 
 
 DAGUERRE, 
 
 M'lAN, 
 
 BONNAB, 
 
 DELAROCHE, 
 
 NASH, 
 
 BROCKEDON, 
 
 ETTY, 
 
 PROUT, 
 
 CHALON, 
 
 FIELDING, 
 
 SHEE, 
 
 CLINT, 
 
 HOLLINS, 
 MABTEN, 
 
 
 /^^^ 
 
 AHB 
 
 TURNER. 
 
 
 TJFIV1RSIT7I 
 
 
 
 --^ LONDON: 
 
 WILLIAM TEGG & CO., 85, QUEEN STREET, 
 CHEAPSIDE. 
 
 MDCCCLVn. 
 

 (p^Oi^l. 
 
 M'COKQUODALK AND CO., PRINTERS, LONDON. 
 WORKS NBWTON. 
 
SIR DAVID WILKIE, R.A., 
 
 ALL THAT IS NEW 
 
 IN THIS EDITION 
 
 PILKINGTON'S DICTIONAEY OF PAINTEES 
 
 
 BY HIS FRIEND 
 
 ALLAN CUNNINGHAM. 
 
PREFACE 
 
 TO THE PRESENT EDITION. 
 
 The Edition of "Pilkington's General Dictionary of Painters/* 
 which is now submitted to the Public, has been carefully revised with 
 respect both to the style and the facts. Many memoirs have been 
 added ; and likewise, from the French of Watelet, " A View of the 
 Particular Parts which constitute the Art of Painting;" and, from 
 the French of De Piles, " The Balance of the Painters ;" containing 
 an estimate of the merits of the most eminent Artists, with respect to 
 Composition, Design, Colouring, and Expression. The Editor trusts 
 that his humble labours will not prove unsatisfactory to the candid 
 reader. 
 
 V^^'^a^^ E. A. D. 
 
PREFACE 
 
 TO THE LAST EDITION. 
 
 When the materials for this Dictionary were first collecj;ed, the en- 
 thusiastic and industrious Author was unable to find more than thirty 
 British Painters who merited the distinction of appearing in his pages. 
 But such has been the influence of the Royal Academy, and such the 
 extension of taste for the elegant, the expressive, and the beautiful, 
 that, not to number the additional names which succeeding editors 
 and among them Fuseli have inserted in the work, no fewer than 
 twenty-six British painters, and most of them names of high reputa- 
 tion, will be found in tfee present edition, which are not to be found 
 in others. In addition to this, it appeared to the Publisher, as well 
 as to the Editor, that an Introduction, relating briefly and clearly the 
 general history of Modern Painting, describing the characters, and 
 delineating the fortunes of the various Schools, would not be unac- 
 ceptable, to this country in particular; since it would show how much 
 had been achieved, single-handed, by the genius of Britain, unaided 
 by the purse, and unpatronised by the Government, of this great and 
 wealthy nation. The Editor has executed this portion of his task 
 with" his best skill and knowledge : he has assigned to each country, 
 or district, the Painters to whom it gave birth, and by whom it ob- 
 tained fame in Art, and he has endeavoured to measure the merit of 
 each school, or nation, by the altitude attained in the poetry and 
 imagination of Painting. He had an easier task, perhaps, to perform, 
 when he composed the biographical sketches for the body of the work : 
 it was, however, a matter of some difiiculty, when he chronicled such 
 high names in Poetic Art as Hilton and Stothard, to confine himself 
 to the limits prescribed by the nature of a Dictionary. 
 
 A. C. 
 
fTJiri7BESIT7l 
 
 PEEFACE 
 
 TO THE EDITION OF -IS^^ 
 
 When this Dictionary was first undertaken, there existed nothing 
 of the kind in our language ; nor were there to be obtained any helps 
 for such a compilation, except in foreign tongues ; the Art of Painting 
 being at that time as low as it well could be in this country. Ardently 
 intent, however, upon acquiring some knowledge of a subject of which 
 he was an enthusiastic admirer, Mr. Pilkington, though an ecclesiastic, 
 and residing in a country parish in Ireland, set about collecting all the 
 information he could procure respecting the history of his favourite 
 art, and the lives of its most distinguished professors of the different 
 schools. The labour was arduous in an uncommon degree, as every 
 one must be convinced who has taken the trouble to read Vasari, 
 Yanmander, Eidolfi, and Sandrart, the principal writers in this de- 
 partment of biography. In their ponderous, and, for the most part, 
 ill-digested volumes, facts are frequently interwoven with irrelevant 
 disquisition, in such a manner as not to be easily separated ; and 
 chronological accuracy is so generally slighted, as to render it some- 
 times difficult to ascertain the time when the events recorded actually 
 took place. Of some artists, again, the accounts are extended to a 
 tedious and preposterous length ; while others, and those too of no 
 ordinary merit, have no justice done, either to their personal history 
 or professional character. In one case, when the superfluous matter 
 is removed, what remains proves so unsatisfactory, that farther research 
 becomes necessary to the illustration of the subject ; and in another, 
 the statements of the same point by different writers are so contra- 
 dictory, that no decision can be formed upon the question, without 
 much careful comparison and laborious calculation. To abridge a 
 prolix relation, and at the same time to preserve perspicuity in the 
 story, is more difficult than to expand scanty notices into pompous 
 narratives ; but the labour becomes more irksome where detail of cir- 
 cumstances is merely subservient to the appreciation of talent and 
 
The author of this Dictionary felt these embarrassments while pur- 
 suing his venturous course ; for, although his sole object was only to 
 enlarge his own ideas, and to improve his judgment, he was from the 
 very nature of his situation compelled to draw, if not all, yet by far 
 the greatest portion of his knowledge from books ; which, on questions 
 of taste and criticism in the arts especially are commonly very 
 suspicious authorities. 
 
 Having, however, to depend upon such guides, Mr, Pilkington laid 
 down the most judicious rule that could be adopted for the conduct 
 of his inquiry. " I have not adhered," says he, " to one author, so as 
 to be either a literal translator or transcriber ; but have collected what 
 seemed to me most material from each, and endeavoured, with the 
 utmost exactness I could exert, to rectify their chronological mis- 
 takes ; to illustrate what appeared obscure ; and to digest the whole, 
 so as to be instructive and concise." 
 
 After amassing, with uncommon diligence, a large stock of informa- 
 tion from a variety of sources, it naturally occurred, that what had 
 been so useful and agreeable to himself, might prove equally so to 
 others ; and hence he conceived that a collection of the Lives of the 
 Painters would be both an acceptable and a beneficial present to the 
 public. Impressed with this idea, he extended his inquiries, and 
 chose the alphabetical order of arrangement, as being best adapted for 
 a book of reference. It is somewhat remarkable that, wliile the 
 author was thus employed in a retired situation, the Royal Academy 
 in London was founded ; which circumstance, no doubt, acted as a 
 stimulus to the writer, who, with great propriety, addressed his work 
 to the President and Members of that new and important Institution. 
 Of the necessity of such an establishment a stronger proof, perhaps, 
 need hardly be given than what was to be found in this very Dictionary; 
 where, out of little more than twelve hundred names of artists, only 
 twenty-one could be adduced to which Great Britain and Ireland had 
 any proper claim as natives ; and even of that insignificant number, 
 which, as " rari nantes in gurgite vasto," appeared at distant intervals 
 during three centuries, not more than five or six had any legitimate 
 title to distinction. If, in contemplating this dreary waste, the eye 
 occasionally caught and was gratified with a cheering spot which, like 
 the oasis in the sandy desert, afforded some relief, it gave no resting- 
 place to the mind ; for though Henry the Eighth patronised Holbein, 
 and though Eubens and Yandyck were honoured and rewarded by the 
 unfortunate Charles the First, a dismal blank soon followed each of 
 those periods : " star after star went out, and all was night." 
 
It is mortifying to reflect that the Reformation, favourable as it was 
 to the exercise of the human intellect and the general cause of liberty, 
 had in this country at least a very chilling effect upon the state of 
 the Elegant Arts. In the reign of Edward the Sixth, images and 
 pictures were not only ejected from the churches, but the people were 
 publicly taught to hold in utter abhorrence all graphical representations 
 of sacred objects. Queen Elizabeth went farther, and issued a decree 
 for obliterating all such delineations on the walls of churches, by 
 whitewashing them, and inscribing sentences of holy writ in the room 
 of these figures. When, about seventy years afterwards, the spirit of 
 puritanism gained the ascendency, and broke down all the barriers of 
 the constitution, civil and ecclesiastical, the ornaments in the churches 
 were among the first objects of spoliation and destruction. Hence 
 the churches were converted into barracks for soldiers and stabling for 
 horses ; the costly monuments of the dead were stripped of their most 
 valuable carved work ; the highly ornamented fonts were carried 
 away, and profanely applied to the vile use of troughs for swine ; in 
 addition to which sacrilegious outrage, men were hired by the govern- 
 ing powers, at a daily stipend, to tear down crosses and images 
 wherever they could be found, and to break in pieces the beautiful 
 paintings in the windows of the churches ; while, as the finishing stroke 
 to the climax of iconoclastic fury, all pictures without any regard to 
 their beauty having the figure of the Saviour of the World, or his 
 Virgin Mother, were commanded to be destroyed by an express ordi- 
 nance of Parliament ! 
 
 In a country thus unfortunately overrun by fanaticism, the Fine 
 Arts could not flourish : for who would devote his mind to a study 
 which he saw brought with it nothing but contempt and poverty? 
 Nor were the times that succeeded much more favourable to the cul- 
 tivation of native talent in painting and sculpture ; for though a few 
 artists found occasional employment in and about the court, the chill- 
 ing gloom of superstitious prejudice still continued to prevail in the 
 nation at large, to such a degree, that, had a genius equal to Raflfaelle 
 himself then appeared in England, with nothing else to recommend 
 him but his talents, he must have sought employment in a foreign 
 clime, or starved in his own. A brighter prospect might have been 
 expected after the Revolution : instead of which, the Arts rather lost 
 than gained by the change ; for the spirit of party absorbed every 
 thing, and continued to do so, with scarcely any interruption, till the 
 accession of his late Majesty to the throne produced a renovation of 
 the national taste. Then the era of British genius in the Fine Arts 
 
began under his auspicious influence, and was fostered till it attained 
 maturity of strength, by the personal encouragement of a monarch who, 
 during the whole of his long and eventful reign, manifested the warmest 
 zeal for the interests of literature and science. The progress of Paint- 
 ing, Sculpture, and Engraving in particular, was so rapid as to excite 
 astonishment, especially when compared with the state of those Arts 
 in other countries, where, though they had long flourished, yet it was 
 by a far slower process, from servile imitation to originality of concep- 
 tion, and from feeble expression to grandeur of invention. 
 
 It has already been observed that, when this Dictionary made its 
 first appearance, or rather, when it began to be compiled, the author 
 could only discover between twenty and thirty British artists to 
 incorporate in the body of his work, that is, from the reign of Eliza- 
 beth to his own time. Now, although perhaps, by a little more in- 
 quiry, he might have obtained some additions to this list, it is certain 
 that those would have been but few in number, and that their names 
 would not have given dignity to the work. Since that period, how- 
 ever, the memoirs of more than one hundred natives of pre-eminent 
 worth have been embodied in the general history of the art ; out of 
 which number might be mentioned fifty, at least, who stand in the 
 very highest ranks in the respective departments of history, portrait, 
 landscape, and animal painting. Such has been the triumphant ascen- 
 dency of the art in Britain, within the space of half a century ; in 
 recording which, the conductors of this new edition of Mr. Pilkington's 
 Dictionary have spared no labour. All the articles in the former 
 editions have been carefully revised and corrected ; the lives of several 
 of the great masters, particularly Leonardo da Vinci, Michel Angelo 
 Buonarroti, Raffaelle, Kubens, and Vandyck, have been entirely re- 
 written ; others have been considerably enlarged ; and the additions, 
 in the whole, amount to above fom^teen hundred names ; to make 
 room for which the pages have been closely printed, the redundancies 
 of language cleared away, and the tables of artists and their disciples 
 thrown aside, as totally useless in a work, the an*angement of which, 
 being alphabetical, renders reference easy. 
 
 Thus, as it were, from a lofty eminence, a wide range presents itself 
 to our view ; the retrospect exhibiting the most elegant, if not the 
 most ancient, of the imitative arts, in all its great varieties and stages 
 of culture, since its emersion from the depths of comparative oblivion 
 to a period unparalleled in the history of intellectual improvement. 
 But, perhaps, the most singular feature in the whole expansive scene, 
 is that which falls immediately within our present observation, dis- 
 
playing the luxuriant state of the Arts in a region which was long 
 considered as ungenial to their growth. The notion, advanced by- 
 some foreign critics, and which for a considerable time obtained too 
 much credence, that either the atmosphere of Britain, or the genius of 
 its inhabitants, was unfavourable to the formation of a School of 
 Painting, has received a decisive refutation in the Koyal Academy 
 estabhshed by one monarch, and in the foundation of a National Gal- 
 lery by his august and accomplished successor. This triumph is not 
 ephemeral, but the result of energies properly directed, and of a pa- 
 tronage liberally conducted upon patriotic principles, for public benefit, 
 and not for the indulgence of a particular humour, or the acquisition 
 of individual glory. Yet, gratifying as this spectacle is, we may rea- 
 sonably hope that it is but the prelude to one still more brilliant, and 
 that the time is not far distant when the British School of Art will 
 be as much the object of admiration as that of Rome was under Leo X. 
 To accomplish this object, however, emulation must be continually 
 excited, and rising genius liberally encouraged ; just principles must 
 prevail, and these cannot be attained without much study, and an 
 habitual acquaintance with the sublimest models. It were therefore 
 to be wished to use the words of our author, in his original preface 
 " that our artists, as well as our nobility and gentry, who either travel 
 abroad for the improvement of their taste, or inspect the capital col- 
 lections of paintings in England, could prevail on themselves to be 
 more accurate in the observations they make, while they entertain 
 themselves by contemplating the works of the celebrated masters ; so 
 as not only to be struck with admiration while they behold them, but 
 also to penetrate the cause of so powerful an effect on the passions of 
 their minds. 
 
 " To see and to admire, on such an occasion, is not sufficient ; for 
 even those of the meanest capacity, the illiterate and the unskilful, can 
 readily arrive at such a degree of taste. But a refined taste can only 
 be formed by studiously examining the whole and every part of a 
 composition ; by exploring the grandeur of the ideas ; the sublimity 
 in the expression ; the truth and elegance of the design ; the grace 
 diffused through the objects ; the resemblance of nature in the colour- 
 ing ; and the magic touch of the pencil. 
 
 " The true knowledge of the art of painting is not so easy an acqui- 
 sition as too frequently it is accounted; nor are all those who can 
 plausibly descant on the perfections and defects of a piece of painting, 
 to be considered as solid or profound judges of the intrinsic merit of 
 a performance. 
 
" As painting is the representation of nature, every spectator, whe- 
 ther judicious or otherwise, will derive a certain degree of pleasure 
 from seeing nature happily and beautifully imitated ; but where taste 
 and judgment are combined in a spectator, who examines a design 
 conceived by the genius of a Raffaelle, and touched into life by his 
 hand such a person feels a superior, an enthusiastic, a sublime pleasure, 
 whilst he minutely traces the merits of the work ; and the eye of such 
 a connoisseur wanders from beauty to beauty, till he feels himself 
 rising gradually from admiration to ecstasy. 
 
 " To acquire a well-founded taste for painting, there are many es- 
 sential requisites, without which it is scarcely possible to discern the 
 real perfections of a performance, 
 
 " One requisite is, to be familiarly conversant with history, particu- 
 larly the sacred, from which many of the subjects that animated 
 the pencil of Raffaelle and the best artists, were composed. It may 
 indeed appear singular, that a studious perusal of the Bible should be 
 recommended to any persons of taste, who ought to be supposed to 
 have had an early acquaintance with that book in the course of their 
 education. Yet it cannot but be obvious to every one, that (to the 
 disgrace of modem politeness) the sacred volume is rather held in 
 contempt by many of the great ones of this age ; because that purity 
 of morals which it demands is incompatible with the vices which they 
 practise. However, if gentlemen, in pursuit of even their favourite 
 art, could find an inducement to read it, they might, perhaps, at the 
 same time imbibe a knowledge of a superior kind to what they sought, 
 and perceive that, among all their accomplishments, they wanted a 
 principal accomplishment that of religion. 
 
 " I have been led into this remark by an incident which not long 
 since happened, at a public sale of pictures, where a few professed 
 connoisseurs were busily examining the paintings, and were very loudly 
 profuse of their observations. Two pieces of scripture history, ex- 
 tremely well executed, attracted their particular attention : one de- 
 scribed St. Peter's payment of the Tribute-money; the other, his 
 Walking on the Water. No commendation of the paintings was 
 spared by the connoisseurs ; but, after consulting with each other what 
 the subjects might be, and none of them being able to determine that 
 point, one of them openly avowed that, if they knew but the history, 
 the pictures would appear excellent. Yet those gentlemen were per- 
 sons of considerable fortune, and well bred ; and had not their ignorance 
 of the sacred history so shamefully dishonoured their education, and 
 
PREFACE. 
 
 exposed their infidelity, none but their intimates would have suspected 
 them to be totally unacquainted with religion. 
 
 " Another requisite is the study of profane history, particularly that 
 of Greece and Rome ; and of Italy also, from the declension of the 
 Eoman empire. By such a course of study, an admirer of painting 
 may qualify himself to fix on the particular action represented by any 
 artist, even at the first view (supposing that action to be described in 
 a suitable and masterly manner), and be enabled to judge whether the 
 passion and expression be just ; whether the costume be properly ob- 
 served ; whether the characters are marked agreeably to historical 
 truth, and the incidents judiciously introduced. 
 
 " Another requisite is, to have a competent skill in drawing, and a 
 knowledge of anatomy, that the connoisseur may form a steady judg- 
 ment of the swell or the depression of the muscles in diflPerent actions 
 and attitudes ; of the true proportions of the limbs and extremities of 
 the figures ; of the elegance of the contours ; and whether the figures 
 appear justly balanced, in whatsoever attitude they are placed; so 
 that he will readily discern where the artist has happily succeeded in 
 his imitation of nature, and in what respect his execution is defective. 
 
 " Another requisite is, to have studied nature, so as to have im- 
 pressed on the memory beautiful and exact images of every object 
 that can enter into a composition ; and to have accustomed the eye to 
 distinguish what is gracefully natural, not only in the human form, 
 but in trees, rocks, rivers, animals, as well as those momentary inci- 
 dents of light, which agreeably diversify the face of nature. 
 
 " Another requisite (and that not the least difficult) is, the study of 
 the works of the most famous masters ; to observe them with so 
 piercing an attention as to discover their manner of pencilling, the 
 force and delicacy of their touch, as well as their style of invention or 
 composition : for every eminent artist has his peculiarities in compo- 
 sition, expression, and design, as well as colouring ; which, when 
 critically noticed, will distinguish him from others, whether they be 
 his equals or his superiors in merit. 
 
 " It is only by a frequent and studious inspection into the excel- 
 lences of the artists of the first rank, that a true taste can be es- 
 tablished ; for, by being attentively conversant with the elevated 
 ideas of others, our own ideas imperceptibly become refined. We 
 gradually feel a disgust at what is mean or vulgar ; and learn to ad- 
 mire what only is justly entitled to our commendation. It is scarcely 
 possible that a judicious reader, who has improvingly studied the 
 beauties of Milton, Shakspeare, and the best writers, can descend to 
 
be delighted with compositions that are comparatively indifferent, 
 although such compositions may have, in particular parts, a certain 
 degree of merit. A polished pebble may be esteemed as a diamond 
 by one who has never sufficiently attended to the native lustre of that 
 gem ; but a critical eye will readily determine between the glitter of 
 the one, and the lovely vivid beam of the other. Till, therefore, a 
 lover of the art of painting arrives at such a degree of judgment and 
 taste, as renders him incapable of being pleased with what is indifferent, 
 he may conclude that his taste and judgment are still but imperfect. 
 
 " Besides, by being familiarly conversant with the works of the best 
 masters, not only the taste of an admirer of the art will be effectually 
 established, but his judgment wiU proportionally be enlarged and con- 
 firmed. He will learn steadily to distinguish the ideas peculiar to 
 each master, whether in respect of the invention or the disposition ; 
 he will be instructed to know one master by the airs of the head, or 
 the attitudes ; another, by the dignity or grace of his figures ; another, 
 by a remarkable muscular strength; and others, by their elegance, 
 simplicity, or astonishing management of the chiaro-oscuro. 
 
 " By examining the colouring and the pencilling of different artists 
 who were excellent, he will discover what constitutes the manner pe- 
 culiar to each, and qualify himself to judge with precision. He will 
 perceive that almost every artist is remarkable for some one pre- 
 dominant tint of colouring ; he will observe that in some the yellow 
 predominates, in others the brown, the violet, and the green. In 
 some the black, as in Caravaggio, Spagnoletto, Manfredi, and Valen- 
 tino ; in some a paleness, as in Vouet and Nicolo Poussin ; the purple 
 in the Bassans ; and in Teniers the gray. And by a nice observation 
 of these particulars, confirmed by a competent skill in the style of 
 each master's composition, a judicious person will, without much diffi- 
 culty, qualify himself to judge with accuracy of the hands, as well as 
 of the merits of the different masters." 
 
MODERr~MINTING. 
 
 INTRODUCTION. 
 
 Poetry, Painting, and Sculpture, are of the same high order of genius; but, 
 as words provide at once shape and colour to our thoughts, Poetry has ever 
 led the vs^ay in the march of intellect : as material forms are ready made, and 
 require but to be skilfully copied, Sculpture succeeded; and as lights and 
 shadows demand science and experience to work them into shape, and endow 
 them with sentiment. Painting was the last to rise into elegance and sublimity. 
 In this order these high Arts rose in ancient Greece, and in the like order 
 they rose in modern Italy; but none of them reached true excellence till the 
 light of knowledge dawned on the human mind, nor before civilisation, fol- 
 lowing in the steps of barbarism, prepared the world for the reception of 
 works of polished grace and tranquil grandeur. 
 
 Fi-om the swoon into which the Fine Arts were cast by the overthrow of 
 the Roman Empire, they were long in awakening : all that was learned or 
 lofty was extinguished: of Painting, there remained but the memory, and of 
 Sculpture, some broken stones, yet smothered in the ruins of temples and 
 cities. The rules which gave Art its science were lost ; the knowledge of 
 colours was passed away, and that high spirit, which filled Italy and Greece 
 with shapes and sentiments allied to heaven, had expired. In their own good 
 time, Painting and Sculpture arose from the ruins in which they had been 
 overwhelmed; but their looks Avere altered; their air was saddened; their 
 voice was low, though it was, as it had been in Greece, holy, and it called 
 men to the contemplation of works of a rude grace, and a but dawning beauty. 
 These " sisters-twin " came at first with pale looks and trembling steps, and 
 with none of the confidence which a certainty of pleasing bestows: they came, 
 too, with few of the charms of the heathen about them : of the scientific unity 
 of proportion, of the modest ease, the graceful simplicity, or the almost severe 
 and always divine composure of Greece, they had little or none. But they 
 came, nevertheless, with an original air and character all their own ; they 
 spoke of the presence of a loveliness and a sentiment derived from a nobler 
 source than pagan inspirations ; they spoke of Jesus Christ, and his sublime 
 lessons of peace, and charity, and belief, with which he had preached down the 
 altars and temples of the heathen, and rebuked their lying gods into eternal 
 silence. 
 
 Though Sculpture and Painting arose early in Italy, and arose with the 
 mantle of the Christian religion about them, it was centuries before they were 
 able to put on their full lustre and beauty. For this, various causes may be 
 assigned. 1. The nations, or rather wild hordes, who ruled where consuls 
 
 b 
 
 \ 
 
Xvm MODERN PAINTING. 
 
 and emperors once reigned, ruled but for a little while, or were continually 
 employed in expeditions of bloodshed and war. 2. The armed feet of the 
 barbarians had trodden into dust all of art that was elegant or beautiful : 
 they lighted their camp-fires with the verses of Euripides or Virgil; they 
 covered their tents with the paintings of Protogenes and Apelles, and they 
 repaired the breaches in the walls of a besieged city with the statues of 
 Phidias and Praxiteles ; the desires of these barbarians were all barbarous. 
 3. Painting and Sculpture had to begin their labours anew; all rules were 
 lost; all examples, particularly of the former, destroyed: men unable, there- 
 fore, to drink at the fountains of Greece, did not think for centuries of striking 
 the rock for themselves. 4. The Christian religion, for which Art first wrought, 
 demanded sentiment rather than shape : it was a matter of the mind which 
 was wanted: the personal beauty of Jesus Christ is nowhere insisted upon in 
 all the New Testament: the earliest artists, when they had impressed an air 
 of holiness or serenity on their works, thought they had done enough ; and 
 it was only when the fears of looking like the heathen were overcome, and a 
 sense of the exquisite beauty of Grecian sculpture prevailed, that the geo- 
 metrical loveliness of the human form found its way into art. It may be added, 
 that no modern people, save the Italians alone, seem to share fully in the high 
 sense of the ideal and the poetic, visible in the works of Greece. 
 
 The first-fruits of this new impulse were representations of Christ on the 
 Cross; of his forerunner, St. John; of his Virgin Mother; and of his com- 
 panions, the Apostles. Our Saviour had a meek and melancholy look; the 
 hands of the Virgin are held up in prayer; something of the wildness of the 
 wilderness was in the air of St. John, and the twelve Apostles were kneeling 
 or preaching. They were all clothed from head to heel ; the faces, the hands, 
 and the feet, alone were bai-e: the sentiment of suffering or rejoicing holiness, 
 alone was aimed at. The artists of the heathen religion wrought in a far 
 different spirit : the forms which they called to their canvass, and endowed 
 with life and beauty, were all, or mostly naked; they saw and felt the sym- 
 metry and exquisite harmony of the human body, and they represented it in 
 such elegance, such true simplicity and sweetness, as to render their nude 
 figures the rivals in modesty and innocence of the most carefully dressed. 
 A sense of this excellence of form is expressed by many writers. " If," says 
 Plato, " you take a man as he is made by nature, and compare him with 
 another who is the effect of art, the work of nature will always appear the 
 less beautiful, because art is more accurate than nature." Maximus Tyrus also 
 says, that " the image which is taken by a painter from several bodies, pro- 
 duces a beauty which it is impossible to find in any single natural body, 
 approaching to the perfection of the fairest statues." And Cicero informs us, 
 that Zeuxis drew his wondrous picture of Helen from various models, all 
 the most beautiful that could be found ; for he could not find in one body all 
 those perfections which his idea of that princess required. 
 
 So far did the heathens carry their notions of ideal beauty, that they taxed 
 Demetrius with being too natural, and Dionysius they reproached as but a 
 painter of men. Lysippus himself upbraided the ordinary sculptors of his day, 
 for making men such as they were in nature, and boasted of himself, that he 
 made men as they ought to be. Phidias copied his statues of Jupiter and 
 Pallas from forms in his own soul, or those which the muse of Homer sup- 
 plied. Seneca seems to wonder that the sculptor, having never beheld either 
 Jove or Pallas, yet could conceive their divine images in his mind; and 
 
INTRODUCTION. XIX 
 
 another eminent ancient says, that " the fancy more instructs the painter than 
 the imitation ; for the last makes only the things which it sees, but the first 
 makes also the things which it never sees." Such were also, in the fulness 
 of time and study, the ideas of the most distinguished moderns. Alberti tells 
 us, that " we ought not so much to love the likeness as the beauty, and to 
 choose from the fairest bodies, severally, the fairest parts." Da Vinci uses 
 almost the same words, and desires the painter to form the idea for himself; 
 and the incomparable Raphael thus writes to Castiglione concerning his 
 Galatea : " To paint a fair one, it is necessary for me to see many fair ones ; 
 but because there is so great a scarcity of lovely women, I am constrained to 
 make use of one certain idea which I have formed in my own fancy." Guido 
 Reni approaches still closer to the pure ideal of the great Christian School 
 of Painting, when he wishes for the wings of an angel to ascend to Paradise, 
 and see with his own eyes the forms and faces of the blessed spirits, that he 
 might put more of heaven into his pictures. 
 
 Of the heaven which the great artist wished to infuse into his works, there 
 was but little in painting when it rose to aid religion in Italy. The shape was 
 uncouth, the colouring ungraceful, and there was but the faint dawn of that 
 divine sentiment which in time elevated Roman art to the same eminence 
 as the Grecian. Yet all that Christianity demanded from Art at first, was 
 readily accomplished : fine forms and delicate hues were not required for 
 centuries, by the successors of the Apostles ; a Christ on the Cross ; the 
 Virgin lulling her divine Babe on her bosom ; the Mii-acle of Lazarus ; the 
 Preaching on the Mount ; the Conversion of St. Paul ; and the Ascension 
 roughly sculptured or coarsely painted, perhaps by the unskilful hands of the 
 Christian preachers themselves were found sufficient to explain to a bar- 
 barous people some of the great ruling truths of Christianity. These, and 
 such as these, were placed in churches, or borne about by gospel mission- 
 aries, and were appealed to, when words failed, to express the doctrines and 
 mysteries which were required to be taught. Such appeals were no doubt 
 frequent, in times when Greek and Latin had ceased to be commonly spoken, 
 and the present languages of Europe were shaping themselves, like fruit in 
 the leaf, out of the barbarous dissonance of the wild tongues which then pi'e- 
 vailed. These Christian preachers, with their emblems and their relics, were 
 listened to by the Gothic subverters of the empire of art and elegance with 
 the more patience and complacency, since they desired not to share in their 
 plunder or their conquests, and opened to them the way to a far nobler king- 
 dom a kingdom not of this earth. 
 
 Though abundance of figures of saints were carved, and innumerable 
 Madonnas painted throughout Italy, in the earlier days of the Christian 
 church, they were either literal transcripts of common life, or mechanical 
 copies or imitations of works furnished from the great store-rooms of the 
 Asiatic Greeks. There were thousands nay, tens of thousands of men, who 
 wrote themselves artists, while not one of them had enough of imagination 
 and skill to lift art above the low estate in which the rule and square of 
 mechanical imitation had placed it. Niccola Pisano appears to have been 
 the first who, at Pisa, took the right way in sculpture : his groups, still in 
 existence, are sometimes too crowded; his figures badly designed, and the 
 whole defective in sentiment; but he gave an impulse communicated through 
 the antique to composition, not unperceived by his scholars, who saw with 
 his eyes and wrought with his spirit. The school which he founded, produced 
 
XX MODERN PAINTING. 
 
 soon after tlie celebrated Ghiberti, whose gates of bronze, embellished with 
 figures, for the church of San Giovanni, were pronounced by Michel Angelo 
 worthy to be the gates of Paradise. While the sister art took these large 
 strides towards fame, Painting lagged ruefully behind ; she had no true models, 
 and she had no true rules ; but " the time and the man " came at last. 
 
 The School of Florence claims a founder in Giovanni Cimabue, called 
 by his own country the restorer, and by all other nations the creator, of the 
 Italian or epic style of painting. He was born at Florence in the year 1240, 
 of a noble family, and was skilled both in architecture and sculpture: the 
 legends of his own land make him the pupil of Giunta; for the men of Flo- 
 rence are reluctant to believe that he was instructed in painting by those 
 Greek artists who were called in to embellish their city with miracles and 
 Madonnas. He soon conquered an education which consisted in reproducing, - 
 in exact shape and colour, the works of other men : he desired to advance ; 
 he went to nature for his forms ; he grouped them with a new skill ; he be- 
 stowed ease on his draperies, and a higher expression on his heads. His 
 talent did not reside in the neat, the graceful, and the lovely ; his Madonnas 
 have little beauty, and his angels are all of one make : he succeeded best in 
 the heads of the old and the holy, and impressed on them, in spite of the 
 barbarism of his times, a bold sublimity, which few have since surpassed. 
 Critics object to the fierceness of his eyes, the want of delicacy in the noses 
 of his figures, and the absence of perspective in his compositions ; but they 
 admit that his colouring is bright and vigorous, his conceptions grand and 
 vast, and that he loved the daring and the splendid. Nevertheless, a touch 
 of the mechanical Greek School, and a rudeness, all his own, have been ob- 
 served in the works of this great painter. His compositions were all of a 
 scriptural or religious kind, such as the church required : kings were his 
 visiters, and the people of Florence paid him honours almost divine : his pic- 
 ture, life-size, of the Holy Virgin, was borne in solemn procession to its 
 sanctuary in the church, and the happy event was celebrated with music and 
 feasting. 
 
 To Cimabue, who died in 1300, succeeded Giotti ; the former, the Michel 
 Angelo of his age; the latter, the Raphael: he was country-born, and bred 
 a shepherd ; but a love of art came upon him while watching his flock : a 
 ewe, which he had drawn on a flat stone by the wayside, attracted the notice 
 of Cimabue, who took him to his studio in Florence, saying he was about to 
 raise up a new ornament to art. He began by imitating his master : an 
 Annunciation, still preserved, is one of his earliest works : the style inclines 
 to what is called the dry, but there is a dawning of grace and elegance about 
 it, which proves Cimabue to have been a true prophet as well as painter. 
 In the hands of Giotti symmetry grew more correct, design more harmonious, 
 and colouring more soft and natural: the meagre hands, the too-pointed feet, 
 and the staring eyes all relics of the Greek style began to disappear. This 
 salutary change, commenced by the master, was completed by the scholar; 
 and though some send him to Pisa to learn this in the school of Giunta, there 
 seems no occasion to go abroad for what he could learn better at home : less 
 of the undesirable mechanism of the Christian Greeks appears in the works 
 of Cimabue than In the works of the Pisan. It is conjectured by Lanzi, that, 
 as Giotti was also a sculptor, and there were pieces of antique sculpture at 
 Florence, he improved from them his taste for the exquisite and the beautiful. 
 In confirmation of this, a style which partakes of statuary has been observed 
 
SCHOOL OF FLORENCE. 3^X1 
 
 in his compositions. Without the help of the antique, the biographer cannot 
 conceive how this shepherd-painter could, in so short a time, have made such 
 progress in art as deserved the admiration of Michel Angelo. 
 
 From whatever sources Giotti drew this more perfect inspiration, it soon 
 became visible in his compositions. His series of pictures from the life of 
 St. Francisco, when compared with the paintings of Cimabue, show how far 
 he excelled: even as the work advanced, the drawing became more correct, 
 the faces more varied and expressive, the attitudes less constrained, and the 
 grouping more natural. " To one who examines them with attention," says 
 Lanzi, " the composition appears the most surprising ; a branch of the art in 
 which he seems not only to surpass himself, but even sometimes appears 
 unrivalled." Occasionally, in his historical pictures, he called in the aid of 
 buildings, which he painted of various hues red, blue, or yellow, as was 
 then the taste or of a dazzling white, in imitation of Carrara marble. In 
 one of these works he depicted, with unrivalled happiness, a thirsty man ; 
 and this performance is illustrated by a story, preserved by his biographers. 
 One day, when the sun was very oppressive, Robert, king of Naples, said, 
 " Were I you, Giotti, I would leave off working this hot weather." "And 
 so I would, sir," replied Giotti, " if I were you." He was largely employed 
 by popes and princes, in scriptural and historical compositions ; and, what 
 literature loves to remember him for, he painted the portrait of the illustrious 
 Dante. Of his picture of Death and the Virgin, with the Apostles about 
 her, the attitudes, Michel Angelo used to say, could not be better designed; 
 his works were, indeed, universally admired for the correctness of the drawing, 
 their graceful disposition, and a sentiment which elevates. His naked figures 
 are, however, not so exquisite as those which are draped ; which casts some 
 doubt on his study of the antique : nor has he the high reach of Cimabue, 
 though a more agreeable painter. He died in 1336, and Florence erected a 
 statue to his memory. 
 
 But though Florence stood foremost in the desirable change which was 
 effected, both in Sculpture and Painting, the improvement is not due to her 
 alone : something of a similar transformation of the mechanical into the in- 
 spired was taking place in other cities of Italy: nor though Pisano in Pisa, 
 and Cimabue in Florence, established schools of Art, and produced scholars 
 of note, did all others grow out of theirs, nor all other pictures take the tone 
 and hue of their productions. The old paintings of Siena, of Venice, of 
 Bologna, and of Parma, are found to be dissimilar in idea, in choice of colour- 
 ing, and in taste of composition ; yet it must be confessed that Florence con- 
 tributed, more than any other city of those days, to the progress of Art. 
 Writers may strive to lessen the fame of Cimabue and Giotti, and their dis- 
 ciples, but they cannot get over the fact, that with them originated that style 
 of painting which has brought her highest fame to Italy that in Florence 
 the transition took place from the old to the new style, which has brought 
 modern Art most of its glory. 
 
 The fame and the success of Cimabue and Giotti brought forth painters, 
 and created schools, all over Italy. The church, increasing in power and in 
 love of magnificence, called Art in all its beauty into life : churches, which 
 demanded the twofold embellishment of Sculpture and Painting, grew as 
 numerous as heathen temples did of old; riches, as well as honours, were 
 showered by his Holiness on men whose genius added a new ray of grace to 
 a Madonna, or conferred diviner airs on St. PftLorvr St. Paul ; and, as much 
 
 /V^ Of 
 tTJ5I7 
 
XXll MODERN PAINTING. 
 
 of the wealth of Christendom found its way to Rome, the successor of the 
 Apostles was enabled to distribute his patronage over all the schools of Italy. 
 Of these the number extends to thirteen; and they are thus classed by the 
 historians of Art: 1. The Florentine. 2. The Sienese. 3. The Roman. 
 4. The Neapolitan. 5. The Venetian. 6. The Mantuan. 7. The Modenese. 
 8. The School of Parma. 9. The School of Cremona. 10. The School of 
 Milan. 1 1. The School of Bologna. 12. The School of Ferrara. 13. The 
 School of Genoa. Of these, the Florentine, the Roman, and the Bolognese 
 Schools, are celebrated for their epic grandeur of composition ; that of Siena 
 for its poetic taste; that of Naples for its fire; and that of Venice for the deep 
 glory of its colouring. 
 
 The first worthy successor whom Lanzi can find for Giotti, in the Floren- 
 tine School, is BuiFalmacco, whose wit, in the enduring record of Boccaccio, * 
 has survived the fame of his pictures. He excelled in Crucifixions and Ascen- 
 sions ; his heads are deficient in beauty, as well as in variety; and there is a 
 vulgar air about his women, which shows that he wanted taste to employ 
 nature for himself. Some of the heads of his men have an air of natural 
 earnestness, worthy of the first artists : he excelled in draperies, in which 
 might be distinguished the various stuffs, and the texture of the linings; but 
 he loaded them with flowers and fringes, and obscured their beauty by ex- 
 cess of ornament. In the genius of Andrea Orcagna, men imagined that of 
 Giotti revived: he was the son of a sculptor, and was taught drawing by his 
 elder brother, Bernardo, a painter of some note. He was an architect and 
 sculptor, as well as painter, and the first who introduced the circular arch in 
 the edifices of Florence. The favourite subjects of his pencil were Paradise 
 and Purgatory; and, like Dante, he put those whom he disliked among the 
 damned, and placed likenesses of those he loved among the spirits of bliss. 
 In telling his story he loved to introduce episodes of weal and woe; but he 
 was more skilful in images of sorrow than of joy. He discovers fertility of 
 imagination, and spirit, equal to any of his contemporaries; in composition 
 he was less judicious, and in attitudes less exact, than some of the scholars 
 of Giotti. 
 
 The grandson of Giotti, Stefano Fiorentino, excelled all who had gone 
 before him, according to Vasari, in every department of painting. He had 
 a genius for penetrating and overcoming the difficulties of art: he was the 
 first who introduced foreshortenings into painting ; and he improved the per- 
 spective of compositions, and the expression of the heads. His works have 
 all perished : but his genius revived in his son, Tommaso, whose works jus- 
 tified the name of Giotti no, bestowed by his fellow-citizens, who averred that 
 the soul of his great ancestor had transmigrated, and animated him. A Pieta, 
 from his hand, exists in Florence, which strongly partakes of the manner of 
 Giotti. But the School of Giotti produced, in Taddeo Gaddi, an artist who 
 eclipsed all but the master spirit : he was a favourite pupil, and has been 
 called his Julio Romano. Vasari, who saw both his frescoes and easel pic- 
 tures at Florence, says he surpassed Giotti in both colouring and delicacy ; 
 but time, which stript the splendid finishing from the marbles of Greece, has 
 done the like damage to the productions of Gaddi. His works were all of 
 an historical cast: he painted some of the acts of our Redeemer on the ceil- 
 ing of the Chapter House of the Spagnuoli, and the Descent of the Holy 
 Spirit in the Refectory ; on one of the walls he painted the Sciences, and 
 accompanied them by portraits of their professors : he introduced allegorical 
 
SCHOOL OF FLORENCE. XXlU 
 
 composition, which, in the hands of genius, approaches to poetry : the 
 brilliance and clearness of his tints are still visible in his works. He died 
 in 1352. 
 
 The followers of Cimabue and Giotti carried painting far beyond the term 
 of infancy ; but in some important qualities it was still but a child : it was 
 deficient in happy light and shade, and in true perspective. Paolo Uccello, 
 who had studied under Manetta, an eminent mathematician, perceived the 
 error in perspective, and applied the remedy : all his works reflect his know- 
 ledge in that branch of science, whether he painted temples and churches, 
 or exercised his genius in historic compositions. His figures are fore- 
 shortened with a skill new to Florence ; his landscapes, with animals, and 
 trees, and figures, are executed with a free hand, and fine perspective skill. 
 Masolino da Panicale did the like for chiaro-scuro ; he wrought as a sculp- 
 tor under Ghiberti, and observed the true light and shade which statues 
 produce : he practised colouring under Stamina, and both in sculpture and 
 colouring became much of a master ; and, happily uniting his knowledge of 
 both, produced a new style of art, inclined indeed to the easy, but grand, 
 determined, and harmonious, beyond all former example. He was prevented, 
 by his too early death, from producing many works ; but his ideas were 
 wrought out with equal happiness and skill by his scholar, Masaccio, a name 
 derived from the precarious subsistence on which he had to depend in his 
 youth, for his real name was Maso di S. Giovanni : he was an artist calcu- 
 lated to make an era in Painting, for of him Vasari avers, that " what was 
 executed before his time might be called paintings, but that his pictures seem 
 to live, they are so true and so natural." 
 
 The great merits of Masaccio were soon discovered : he painted many 
 historical works ; the air of the heads reminded Mengs of the style of 
 Raphael, while the postures and foreshortenings of the figures were more 
 diversified, and of a better style, than the works of his master, Paolo Uccello : 
 he was a painter of the mind as well as of the body. " Tlie anatomy of the 
 figure," says Lanzi, "is marked with truth and judgment. That figure, so 
 highly extolled in the Baptism of St. Peter, which appears shivering with 
 cold, marks, as it were, an era in the art. The garments, without being 
 minute, present a few easy folds ; the colouring is true, properly varied, 
 delicate, and surprisingly harmonious ; the relief is in the grandest style." 
 He died in 1443, and it is supposed that he died by poison ; several of the 
 pictures which death hindered him from executing for the churches, were, 
 after the lapse of many years, supplied by the younger Lippi. In the School 
 of Masaccio the best of the succeeding Florentine painters studied : time has 
 defaced many of his works, which the world commended. The portrait of 
 a young man that seems to breathe, and is estimated at a high price, is in 
 the Pitti Collection. 
 
 The loss which Florence sustained in Masaccio, was not wholly supplied 
 by two monks who studied in the same school. The first of these, B. Gio- 
 vanni Angelico, was remarkable for the beauty which he conferred on his 
 saints and angels ; he is called, in the spirit of comparison wliich distin- 
 guishes most of the histoi-ians of art, the Guide of his age, both for the lustre 
 of his faces, and the sweetness of his colouring. One of his most popular 
 pictures is the Birth of John the Baptist ; and his " Heaven," in the church 
 of Mary Magdalen, is not only the largest of his works, but it is also 
 reckoned the most beautiful. In the tube-like folds of his draperies, and the 
 
XXIV MODERN PAINTING. 
 
 uneasy posture of some of his figures, judges have detected an imitator of 
 Cimabue. The other monk, Filippo Lippi, was a genius of a gentler order : 
 he was instructed by the works of Masaccio rather than by the artist him- 
 self ; but his scripture histories have a beauty a fulness of countenance in 
 the angels a sweetness of colouring, and a gracefulness of design, which he 
 could borrow from no one. The neat folds of his draperies, the clearness 
 and delicacy of his tints, mark him out from the painters of his day, rather 
 than the gigantic proportions of the frescoes with which he adorned the 
 church of S. Spirito : he sought to surprise sometimes, rather than to please, 
 and several of his works are charged with being dry and hard : he died in 
 1469. Both these monks were equalled, many say excelled, by Benozzo 
 Gozzoli, who studied under Augelico. He wrought, indeed, with a profu- 
 sion of gold, more than was usual in frescoes ; but his historical works dis- 
 play, in the opinion of Vasari, an uncommon power, and a prodigality of 
 toil, fit to appal a whole legion of painters. His chief works are in the 
 Campo Santa of Pisa, but many are at Florence : he died in 1478, and was 
 honoured with a monument at the public expense. 
 
 At some distance of time, Gozzoli was followed by Raffaellino del Garbo, 
 a scholar of the school of Lippi, who carried his skill to Home, where, in 
 the chapel of the Minerva, he painted a choir of angels on the ceiling, of a 
 modest beauty, unsurpassed in the fuller day of Raphael himself: in a Re- 
 surrection, from his hand, at Florence, the figures, though small, are so 
 graceful, so correct, and so finely coloured, as to give him rank with the 
 best painters of the age. In these qualities he was equalled by Domenico 
 Corradi, surnamed Ghirlandaio; he was the first Florentine who, according 
 to Mengs, by means of true perspective, attained a happy method of group- 
 ing, and true depth of composition ; he had also the merit of rejecting the 
 large golden fringes with which the elder painters burdened their draperies. 
 His works were, in the spirit of his times, of a religious character, but he 
 introduced into them portraits of literary men and distinguished citizens : lie 
 has been largely commended by Yasari. Antonio Pollaiuolo became re- 
 markable for his skill in composition, and more so for his anatomical know- 
 ledge of the human figure ; he was the first Italian painter who dissected 
 bodies, to learn the natural position of the tendons and muscles. Luca Sig- 
 norelli designed figures with a true knowledge of anatomy ; and, although 
 he sometimes failed in choice of form, and was deficient in harmony of 
 colour, in his tints and graces of handling he approached the after excel- 
 lence of his school, and has been not only commended for spirit and expres- 
 sion, but his naked figures, in the cathedral of Orvieto, were not thought 
 unworthy of being imitated by Michel Angelo. On looking at the paintings 
 of those earlier days of Art, they appear to possess all that is required of 
 action and of thought, and to be deficient chiefly in high ideal beauty, fulness 
 of design, and harmony of colour ; there is an air, too, of timidity, and a want 
 of that wonderful freedom which a conscious masteiy bestows. 
 
 All that the Florentine School seemed to want, was bestowed by Leonardo 
 da Vinci, with the exception of colour, in which it never took the lead as it 
 did in design. He was the natural son of a notary, and was born at a castle 
 in Lower Valdarno, in the year 1452. "Nature," says Lanzi, " had endowed 
 him with a genius elevated and penetrating, eager after discovery, and dili- 
 gent in the pursuit ; not only in what related to the three arts dependent on 
 design, but in mathematics, in mechanics, in hydrostatics, in music, in 
 
SCHOOL OF FLORENCE. XXV 
 
 poetry, and also in the accomplishments of horsemanship, fencing, and 
 dancing. He was so perfect in all these, that when he performed any one, 
 the beholder was ready to imagine that it must have been his sole study. 
 To such vigour of intellect, he joined an elegance of features and of man- 
 ners, that graced the virtues of his mind." He was taught painting by 
 Verrocchio, and, like his master, designed with more readiness than he 
 painted ; he loved, in his faces, elegance of form, and variety and dignity of 
 expression, rather than fulness of contour : in all his compositions he inclined 
 to the poetical and the historic, and desired to improve art rather than fill 
 Florence with pictures. He gave that perfect relief and roundness, in which 
 painting, till his own day, was wanting, and imparted to it true symmetry, 
 grace, and spirit. 
 
 This great artist excelled also in sculpture, and, it is said, pleased himself 
 more with it than with painting ; he rarely finished any of his pictures ; his 
 fine genius surpassed the cunning of his hands ; he could conceive what he 
 could not execute to his mind ; but this want of finish this something, more 
 exquisite still, which perfection demanded was observed by very few, 
 beside himself. In painting, he had two styles, one abounding in shadow, 
 which called into brilliancy the contrasting parts ; and another, of a more 
 quiet and less splendid character, produced by means of the middle tints. 
 In both, the happiness of the design, the emotions of the mind, and the 
 delicacy of the pencil, were equally visible and unrivalled. In the subordi- 
 nate parts of his pictures, he was as skilful and as happy as he was in those 
 which were leading and principal ; the ground on which the figures, whether 
 saints or angels, stood the sky overhead, the landscape where the scene lay, 
 the flowers, the trees, and the buildings nay, the satins which clad, or the 
 jewels which adorned, the female figures in his historical compositions, were 
 all alike gracefully introduced, and skilfully handled. 
 
 The biographers have divided the life of Da Yinci into four periods : the 
 first includes his youthful studies in his native place; the second, the period 
 of his labours at Milan, under Lodovico Sforza ; the third, his residence of 
 thirteen years in Florence, after the misfortunes of that prince ; and the 
 fourth refers to his visit to Rome, at the request of Leo the Tenth. To the 
 first era, writers refer the Head of the Medusa, in the Royal Gallery, the 
 Magdalen of the Pitti palace, that in the Aldobrandini palace at Rome,*the 
 Madonnas and Holy Families in the Giustiniani and Borghese galleries, and 
 the Heads of Christ and St. John the Baptist, elsewhere in Italy. Some of 
 the heads of these works are more delicate than select, and speak of the 
 scholar of Verrocchio : not so, the Child lying on an embroidered couch, 
 preserved at Bologna ; it is of a higher order, though reckoned an early work. 
 These, and other productions of equal merit, spread the fame of the artist,' 
 and the fame of the Florentine School. 
 
 When he went to Milan, Da Vinci took with him a new and curious lyre, 
 of his own invention, and almost wholly of silver, and, in a contest with the 
 regular musicians of the place, in the presence of Sforza, was declared the 
 most skilful ; he gave them, also, a taste of his spirit in poetry and eloquence, 
 and all the city was in wonder at his talents. Nor did he astonish the people 
 less by his mechanical inventions for the service of the prince, and, particularly, 
 by his experiments in hydrostatics. He took charge of an Academy of the 
 Fine Arts, established under the patronage of Sforza, by which the taste of 
 Milan was formed and refined, and many eminent artists instructed in paint- 
 
XXVI MODERN PAINTING. 
 
 ing and sculpture : this, his biographers regard as the most glorious period 
 of his life; but that glory was increased by his sublime picture of the Last 
 Supper once one of the wonders of art, and still wondrous, though injured 
 by time, by barbarous soldiers, and by those professors of the art of destruc- 
 tion, known by the name of " Restorers." 
 
 The misfortunes of Sforza drove Da Vinci from Milan back to Florence, 
 where he lived for thirteen years. During this period he painted some of 
 the finest of his works : of these is the celebrated portrait of Monna Lisa, on 
 which he wrought four years, and yet left unfinished ; the cartoon of St, Anna, 
 to form a picture for the church of Servi, but which was never put into 
 colours ; the cartoon of the battle of Niccolo Piccinino, executed in rivalship 
 with Michel Angelo, but never finished, for, on failing to paint it in a new 
 method, in oils, he threw it aside, and allowed it to perish. The Madonna 
 with the Child on her bosom, in the monastery of St. Onofrio at Rome, is 
 in the manner of this period of Da Vinci's life : there are other pictures by 
 his hand, which have been assigned to a time when his hand and mind were 
 both in the highest discipline. Such was that famous work preserved at 
 Mantua, but stolen, during the sack of the city, and sold to the Emperor of 
 Russia: the subject is a Holy Family a woman of a fine form, and majestic 
 countenance, occupies the background ; it bears the cipher of Leonardo. 
 This, and other pictures, are touched with that beautiful, elevating, and pene- 
 trating spirit, constantly yearning after an excellence still diviner than it had 
 hitherto reached. Da Vinci's own portrait, in the ducal gallery, is of the 
 same high order; so is the half-length figure of the young Nun, commended 
 by Dottari, which he called the chief treasure in the palace of the Marchese 
 Niccolini ; and the same may be said of the Christ disputing in the Temple, 
 in the Doria palace ; of the Vanity and Modesty, in the Barberini collection, 
 with tints which no pencil has been able to rival ; and of the Madonna of 
 the Albini palace, who seems to request the lily which the infant Jesus holds 
 in his hand, and which he draws backj as if loth to part with; pictures of 
 exquisite grace. 
 
 When in his sixty-third year, and in full strength of body and mind. Da 
 Vinci renounced his art. He had been invited to Rome, but there, as well 
 as at Florence, he was doomed to find a formidable rival in Michel Angelo, 
 and to see the designs of that son of Anak preferred to his own, both in the 
 capital and his native city. Disgusted with the pontiff", who, says Vasari, 
 amused him with fine professions, and incensed at Michel, with whom, says 
 Lanzi, he had a quarrel, he accepted the invitation of Francis the First, who, 
 when he took Milan, tried to saw the Last Supper from the wall, and carry 
 it to France ; but he fell sick almost as soon as he arrived at Paris, and ex- 
 pired in the arms of the king. The style all his own of this truly great 
 master, was less followed at Florence than at Milan : he left at the former 
 city no picture to be publicly exhibited, and he taught no scholars ; but he 
 left at the latter place pictures of the highest rank, and pupils of the highest 
 distinction. His genius was of the first order very varied, and very inven- 
 tive and delighted in the calm, the solemn, and the majestic : in the sim- 
 plicity of female loveliness, and the grandeur of man's mind, he has had some 
 rivals, but no superiors. 
 
 Twenty-three years after the birth of Da Vinci, the far-famed Michel 
 Angelo Buonarroti came into the world : he was of the noble family of 
 Canosa, in Tuscany, and the pride of his line was alarmed when the boy 
 
SCHOOL OF FLORENCE. XXVU 
 
 declared he would be an artist. He began to study under Domenico Ghir- 
 landaio, and his first work was the head of a fawn : his high birth, as well 
 as promising genius, opened to him the gallery of antique sculpture, and the 
 palace doors of Lorenzo de Medici : this soothed the pride of his father, and 
 enabled him to lay the foundation of his own fame, in the graces of poetry, 
 the contemplation of Dante's creations, and the study of the works of Ma- 
 saccio, and the Greek sculptures. His fine wit, his ready eloquence, and 
 his talents for verse, were of themselves sufficient to obtain public favour ; 
 but to these he added a genius in painting, sculpture, and architecture, suf- 
 ficient to immortalize three different artists. Writers fond of classical com- 
 parisons have likened him to Zeuxis, whose fame lives in the pages of Quin- 
 tilian ; nervous, muscular, robust; his attitudes daring, and his expression 
 all life and energy: while those who could find resemblances more at hand, 
 compared him to Dante, for, like that great poet, he delighted in vast and 
 terrible subjects, and neglected or despised the attractions of the graceful, 
 tlie tranquil, and the contemplative. 
 
 From the first dawn of his eminence, Michel aspired to equal or surpass 
 the painters of his own day, and the sculptors of antiquity : he first measured 
 his strength with Da Vinci, and strove to excel him as much by the rapidity 
 of his execution as by his vigour of conception. " The cartoons of the battle 
 of Pisa," says Lanzi, " prepared for a competition with Da Vinci, in the sa- 
 loon of the public palace at Florence, are said to have been a wonderful pro- 
 duction in drawing. Michel Angelo did not rest satisfied with representing 
 the Florentines cased in armour and mingling with their enemies, but, 
 choosing the moment of attack on their van while bathing in the river Arno, 
 he seized the opportunity of representing many naked figures, as they rushed 
 to arms from the water, by which he was enabled to introduce a prodigious 
 variety of foreshortenings, and attitudes the most energetic ; in a Avord, the 
 highest perfection of his peculiar excellences." The animation and ardour 
 of that heroic group is said to have been wondrous : the din of battle in 
 their van had j ust reached the troops some were starting from the stream 
 some were hurrying on their dresses others snatching up their arms some 
 were calm, others fiery and impatient, while the clang of the trumpet, which 
 called them to strife, seemed to rouse and kindle all. This first-born of 
 his genius has perished, as well as that of his rival. Da Vinci. Cellini ob- 
 serves, that Michel, in his paintings in the chapel of Pope Julius, did not 
 reach the dignity of this cartoon ; and Vasari adds, that all who imitated it 
 became eminent. 
 
 From this splendid work Michel was called to Rome by Julius the Second : 
 he was called as a sculptor ; but as he was poet, painter, sculptor, and ar- 
 chitect, he was fit for whatever aspires to elegance ; he was, therefore, de- 
 sired to paint the ceiling in the Pope's chapel, which he began with reluc- 
 tance, and desired the commission might be transferred to Raphael. Even 
 the fiery ardour of Michel was too cold for his impatient patron ; the hand 
 of Da Vinci had been rejected because it began to prepare colours before it 
 offered to touch the pencil, and the Pope, it is said, ventured to use threats 
 to the indignant Angelo, to induce him to work. This roused a spirit not 
 slow to rouse ; he effaced at once all the wox'k, and the trembling outlines 
 which his assistants had traced from his designs, drew them all with his own 
 hand, and, in twenty months, rendered the work fit for public exhibition. 
 He desired to realize scripture in this vast design ; and his figures of the 
 
XXVIU MODEEN PAINTING. 
 
 princes and prophets of old are* pronounced, by Lomazzo, an honest judge, 
 to be in the finest style in the whole world. " There, indeed," says Lanzi, 
 " the dignity of the aspects, the solemn majesty of the eyes, a certain wild 
 and uncommon casting of the drapery and attitudes, whether representing 
 rest or motion, announce an order of beings who hold converse with the Di- 
 vinity, and whose mouths utter what he inspires." The Moses, on the tomb 
 of Pope Julius ; the Christ, the Piety, and the David, are all of a similar 
 order of works : the first, which connects the early with the latter law, looks 
 like one of the demigods of old, and seems something both of earth and 
 heaven ; whereof the latter, Vasari, a rapturous admirer, says, " it bears 
 away the palm from every statue, modern or ancient, either Grecian or Ro- 
 man." To believe this, we must forget the perfect unity, the true harmony, 
 the high -poetry, and the calm expression breathing of Olympus which 
 distinguish the sculpture of Greece. 
 
 Michel was summoned into the Sistine Chapel by Paul the Third, and re- 
 quested to work a few of his miracles on the ceiling, and on the walls. To 
 the entreaty that he would paint in oil, he replied, that painting in oil was 
 fit only for women, and that if he wrought at all it should be in fresco. 
 When he had filled his mind with the " Last Judgment," he removed the 
 plaster prepared by Frata, and substituted a ground of rough-cast, more 
 suitable for his colours. lie peopled his allotted space with innumerable 
 figures, awakened by the sound of the last trumpet ; by groups of bright 
 angels, and by bands of condemned ; by elected and rejected souls ; by spirits 
 rising from the tomb, others standing on the earth; some ascending into 
 bliss, others descending into punishment. Though some have said that the 
 expression might be improved, the colouring brightened, and the beauty of 
 the contour amended, yet all have pronounced this to be one of the most 
 marvellous of Michel's creations, and that vindicated his right to be master 
 of the awful and the sublime. That he confounded Christian and Heathen 
 history, by placing the angels of revelation beside the Stygian boatman, and 
 Christ judging the righteous, with Minos sentencing the damned, has been 
 urged against him by judges of many lands ; while others have, with less 
 wisdom, declared that he had no notion of either the graceful or the beauti- 
 ful. " The Eve, in the Sistine Chapel, turns to thank her master," says 
 Lanzi, "with an attitude so fine and lovely, that it would do honour to the 
 school of Raphael." 
 
 On the genius of this mighty master of art, historians have exhausted all 
 their praise, and poets and critics all their commendation. Fuseli, sensible 
 that all, on this side of the day of Michel, was descent in loftiness of design, 
 and in masculine force of handling, hesitated to trace the history of art far- 
 ther, but wished to leave it, as he declared, on the mountain-tops, ashamed 
 to descend with it into the valleys. But, though the gigantic gripe of Michel's 
 hand, and the Titan-like reach of his mind, no one can deny, it is equally 
 true, that, with his high merits, he had vast defects ; there is a too visible 
 straining in almost all his compositions ; the muscles are swollen and inflated, 
 and the postures are uneasy and extravagant ; godlike deeds are not done 
 ip a calm and celestial manner '^ pain and joy are both to excess ; he pushes 
 expression to extremity. His great contemporaries, Da Vinci and Raphael, 
 on the other hand, never seem even to do their best ; there is none of Mi- 
 chel's " double double, toil and trouble" in all their compositions; they are 
 tranquil, and " bide their time," in the certainty that serenity of expression 
 
SCHOOL or FLORENCE. XXIX 
 
 will, in the end, triumph. He seems resolved to conquer Fame by force, 
 and to do nothing in the manner of other artists, either ancient or modern. 
 His renown and his works are over all the earth : of his personal story it 
 may be told, that he was as impetuous in his temper as in his works ; that 
 he drudged, in the rough-hewing of his statues, with the diligence of a com- 
 mon mason ; that incensed, on a time, at the slow march of his assistants, 
 he dismissed them with reproaches, and performed the work himself; and 
 that, stung by the insolence of the offers of the Pope, he retired in disgust 
 to Florence, and was with difficulty persuaded to return. He died at the 
 ripe age of eighty-eight, in the year 1563. His last words were, "I resign 
 my soul to God, my body to the earth, and my wealth to my nearest of kin." 
 He was buried in Florence. 
 
 Many Florentines followed in the train of this consummate master, affect- 
 ing his regal air and his stately step leaving to Sebastiano del Piombo to 
 fill up his vast outlines with the glowing colours of the Venetian School, and 
 Ricciarelli to design so much in his spirit, as to make it doubtful whether 
 the hand of Buonarroti had not actually touched the canvass. Baccio della 
 Porta took a middle path, and, with something of both Raphael and Michel 
 in his style, and more of his own, left paintings worthy of that great era of 
 Art. His Holy Family stands high, for sweetness and beauty, among the 
 thousands which the world inherits ; his Madonna del Misericordia, in Siena, 
 shielding the crouching devotees from the wrath of Heaven, is another of 
 his popular performances ; while the colossal figure of St. Mark, which he 
 drew in scorn of those who reproached him for the modest stature of his 
 Saints and Apostles, is of a beauty to deserve the exclamation of an admir- 
 ing foreigner " A Grecian statue, transformed into a picture !" He has 
 the merit, too, of inventing that useful figure, now so generally used, with 
 joints, corresponding in motion to the human form, on which painters and 
 sculptors arrange their draperies. His method of studying was, to draw his 
 figures naked, and then drape them ; a clumsy form, he knew, could not pos- 
 sibly dress well. 
 
 Andrea del Sarto is called, by Vasari, " the most faultless painter of the 
 Florentines for perfectly understanding the principles of chiaro-scuro, for 
 representing the indistinctness of objects in shadow, and for painting with a 
 sweetness truly natural." Plis graceful countenances and smiling eyes ; his 
 fine architecture ; his draperies, complying with every condition of life ; and 
 his modest, or subdued expression, whether of joy or of sorrow, which never 
 transgress decorum, have been felt by all. His works are of the historical 
 order : he studied the cartoons of Da Vinci and Michel Angelo in Florence, 
 and perfected his style so much by his diligence at Rome, that, in the Bap- 
 tism of Christ, the Visitation, the Birth of the Baptist, the Birth of the Vir- 
 gin, and the Holy Family in Repose, his rise may be distinctly traced from 
 the stiff to the graceful, from the rank of Albert Durer to that of Raphael. 
 His Pieta, purchased from the Nuns of Lugo, and placed in the Tribune, is 
 an honour to the School of Florence. It is painful to add of this eminent 
 artist, that he died in domestic misery and wretchedness, in the forty-second 
 year of his age. 
 
 Jacopo Carrucci imitated, and it is said rivalled, his master, Del Sarto ; 
 while Rosso displayed a more creative fancy. " He disdained," says Lanzi, 
 " to follow any of his countrymen or strangers ; and indeed one recognises 
 much originality in his style. His heads are more spirited, his head-dresses 
 
XXX MODERN PAINTING. 
 
 and ornaments moi'e tasteful, his colouring more lively, his distribution of 
 light and shade broader, and his pencilling more firm and free, than was usual 
 in Florence." But his grand spirit was deformed by extravagance ; he in- 
 jured a fine picture of the Transfiguration, by delineating a band of gipsies 
 at the foot of the mount. In Domenico Ghirlandaio a milder spirit appeared, 
 who aimed, in his scriptural compositions, at elevating nature to the standard 
 of the ideal beauty perceived by Da Vinci and Raphael in the statues of Greece. 
 A swarm of painters who called thenjselves the imitators of Michel Angelo, 
 now succeeded : they might have found natural grace in Giotti ; unborrowed 
 elegance in Masaccio ; spirit in Rosso; light and shade in Da Vinci ; and gran- 
 deur enough in Michel, far more than they could execute in art : but men 
 of their stamp of understanding reject the lowlier and strike at the higher, 
 unconscious of their want of wing to bear them so close to heayen. Their 
 works are not, however, in Florence, but in Rome: they tried, where Michel 
 wrought his miracles, to perform their enchantments; they transferred into 
 their compositions that statue-like rigidity, that strength of limb, and the 
 markings of the origin and insertion of the muscles that severity of the 
 countenance, and those positions of the hands and bodies, which characterized 
 his awful style but without comprehending the principles of that extraordi- 
 nary man, without thoroughly understanding the play of the softer parts of 
 the human figure, either by inserting them in wrong situations, or by repre- 
 senting in the same manner those in action and at rest those of a stripling 
 and of a man : they imagined they were working in their master's spirit, 
 while they no more resembled him than a dead resembles a living body. 
 Amongst these, though not of them, Antonio Tempesta stands honourably 
 eminent for his battles and his landscapes ; many of the historical pictures 
 in the Vatican are from his pencil, and display great spirit and animation in 
 the heady fight, and natural beauty in the scenes and accessories. 
 
 Design, the leading characteristic of this School, was adhered to by Lodo- 
 vico Cigoli, and Gregorio Pagani, who, when young men, about the year 1580, 
 infused a bold system of colouring into the now languid style of the Floren- 
 tines. The fundamental maxims of design had been carried to excess, and 
 generated the cold and the timid : these artists sought to add to high design 
 and scientific perspective, the fine light and shade, and bright colouring of 
 Corregio : they were followed by Francesco Furini, called the Guido and 
 Albano of the Florentine School. His works consist chiefly of Nymphs 
 and of Magdalens, scarcely less noted than his Nymphs ; he excelled more 
 in the delicacy of his hues than in his modesty of sentiments : with him, paint- 
 ing drew its subjects from poetry more than from scripture. Carlo Dolci, 
 with moderate powers of invention, and with little force, either of colour or 
 drawing, obtained a high reputation by his graceful Madonnas, on whom he 
 bestowed such exquisite finish, as, in the sight of some, amounts to a fault ; 
 yet nothing is turgid or cold ; all is modesty, harmony, and repose. With 
 Dolci, the long line of eminent Florentine artists may be said to cease. Pietro 
 da Cortona, invited to Florence in 1640 by Ferdinand the Second, endea- 
 voured to lift the lowered banner, and renew the national cry of historic paint- 
 ing ; but though the body gave a convulsive throb or two, the soul of Art 
 had taken its flight. 
 
 The Siena ScHOOLthe Eve to that Adam, the Florentine stands 
 aecond in the proud list of Italy ; but if the elder be the more masculine, the 
 
SCHOOL OP SIENA. 
 
 
 younger lias been numbered with the more lively and poetic ; " for," says P. 
 Valle, " it displays a peculiar talent for invention, animating vk'ith glowing 
 images the stories it represents, filling them with allegory, and forming them 
 into fervid and poetic compositions." The origin of the school of this little 
 state has been proudly traced, by native writers, to Greece and the Cru- 
 sades ; and, if we accept Madonnas without minds, and Saints without spirit, 
 for works of art, no doubt but it ascends into a veiy venerable antiquity. 
 Guido is the first name which an historian who desires to be charitable can 
 place in the roll of the painters of Siena ; Mino stands second ; and, as both 
 lived in the days of Cimabue, they are supposed to have been influenced by 
 his fame or his works : the Virgin and Child, and Angels of Mino, are de- 
 clared surprising for the age. We come more into light when we name 
 Simone di Martini, the painter of Laura, and the friend of Petrarch: he is 
 supposed to have studied under Mino ; his style reminds artists of that of 
 Baroccio : in his Assumption of the Virgin, the fame of a choir of Angels, 
 which seemed to float in the air, has reached our own times. Pietro Loren- 
 zetti, according to Vasari, executed, in 1335, pictures with a better design, 
 and in a superior manner to any thing in Tuscany ; and, he adds, that he be- 
 came a better master than either Cimabue or Giotti. Bernardo da Siena, 
 who flourished in 1370, painted saints and angels with taste, and animals 
 with an accuracy then new to art ; he paid uncommon attention to the feet 
 and hands. The pencil of Taddeo, as that of the best master of the year 1410, 
 was employed to embellish the chapel and hall of the Palace of Siena ; he 
 painted sacred subjects, and, more original still, a series of illustrious heads, 
 from the histoiy of Greece and Rome ; they were habited as Sienese ; the por- 
 traits were ideal, but mind was represented and pictured with dignity. 
 
 From Taddeo, to his nephew and disciple Domenico Bartolo, is admitted 
 to be a long step ; in the Pilgrim's Ward of Siena Hospital, he painted the 
 history of its foundation, and the dispensation of Christian charity, to the in- 
 digent, the sick, and the dying. The old dryness of style is gone, greater 
 freedom is come, and, with it, a more scientific manner of composition : rich 
 and varied ideas he shared in common with his school : from these pictures 
 Raphael borrowed both of costume and character. In Matteo di Giovanni 
 critics hare hailed the Masaccio of Siena ; but he is far behind the Florentine, 
 though his expression was more varied, his draperies more natural, and his 
 anatomy more correct, than his native school had hitherto exhibited. He is 
 the first of Siena who wrought in oils, by which he imparted softness to his 
 figures; and, from his intimacy with Francesco de Giorgio, a celebrated archi- 
 tect, he gained a fine taste in buildings, which he embellished ingeniously 
 with basso-relievos. It is recorded of him, that he excited the Neapolitan 
 School to adopt a less antiquated style. 
 
 A law, which imposed the payment of a florin upon any foreign painter 
 who came to work in Siena, and fixed the limit of recompense which he should 
 receive at twenty-five florins, was regarded as inhospitable by strangers, and, 
 in the end, proved injurious to the fame as well as interests of these proud 
 but narrow-souled republicans. This law kept the great masters of other 
 schools from approaching her gates; and, by the end of the fifteenth century, 
 the fame of Siena in Art was humbled below that of Florence. The nobi- 
 lity perceived the decline of the native school, and, to the great dissatisfac- 
 tion of the ignorant populace, brought to its aid, first, Genga, the disciple of 
 Pietro Perugino; and, secondly, Signorella, through whose example the 
 
XXXll MODERN PAINTING. 
 
 school threw off the remains of a style which had descended from the Chris- 
 tian or eastern Greeks ; and design, and colour, and perspective, all attained 
 to excellence in a few years. Such is the influence of unfettered genius. 
 
 The first of the native Sienese who was rightly touched by this new 
 awakened spirit, was Jacopo Pacchiarotti ; he thought on Pietro Perugino 
 first,- and then on Raphael. He appears great in composition ; his Visit of 
 St. Catherine to the Body of St. Agnes is one of his most esteemed works : 
 there is such life in his heads, and such grace in his expression, as have made 
 him, oftener than once, to be compared to Raphael. Giannantonio Razzi 
 was a citizen of Siena, though his birthplace is disputed. His early pic- 
 tures, from the life of Alexander the Great, in the Farnese Palace at Rome, 
 have few marks of the facility, dignity, and grace of Da Vinci, whom he is 
 said to have studied, but they inherit his light and shades. His works in 
 Siena, the fruits of maturer age and study in Rome, have excited the admi- 
 ration of connoisseurs, who prefer his Flagellation of Christ, in the cloister of 
 St. Francis, to the figures of Michel Angelo ; nor is his St. Sebastian, in the 
 Ducal gallery, overlooked, which is supposed to have been copied from an 
 antique Torso. The Swoon of St. Catherine of Siena, in the chapel of St. 
 Domenico, is in the manner of Raphael. Perezzi afl&rmed that no swoon was 
 ever more literally pictured ; there is an unborrowed air about the mental 
 parts of this work : he found his models among the Sienese, whose heads 
 possess a natural gaiety, openness, and spirit. His genius has been depre- 
 ciated by Vasari, a writer not frugal of praise to others ; but he could not 
 be an indifferent painter, of whom Annibale Caracci said, " Razzi appears 
 a very eminent master, of the greatest taste : few such pictures as his are 
 to be seen in Siena," 
 
 Mecherino takes rank after Razzi : he first imitated Pietro Perugino ; nor 
 did he ever wholly dismiss, though he studied in Rome, a certain dryness, 
 which he caught from that master. He painted, on returning to his native 
 place, a series of works in a sweet style, in which he made choice of beau- 
 tiful airs for the heads, and frequently impressed on them the portrait of his 
 mistress. He afterwards aspired to excel in the masculine and severe style 
 of Michel Angelo, and, in seeking vigour, became coarse in his proportions, 
 and harsh in his expression. His works are numerous, and, like those of 
 his country, of the historical order ; his colouring is clear and cheerful, and 
 still bright. " His merit," observes Lanzi, " was greater in distemper than 
 in oil colouring ; and his historical frescoes do him greater honour than his 
 other paintings. His skill was great in distributing tliem to suit the archi- 
 tecture ; and he treats his subjects copiously, with dignity, and with perfect 
 nature : he imparts grandeur by his architectural views, and elegance by his 
 introducing the usages of antiquity." He loved to deal in difficult fore- 
 shortenings, such as ceilings require, and in peculiar lights ; of his figure of 
 Justice, the feet are in dark shadow, gradually brightening upwards, and the 
 head is crowned with a celestial halo, such as, it is said, Corregio alone has 
 equalled. 
 
 The modest and timid Baldassare Peruzzi was bred up in difficulties, and 
 died ere his high merits became known, even in his native place : after losing 
 his all, when Bourbon's soldiers sacked Rome, he wandered with his wife 
 and children from city to city, picking up a morsel of bread by making de- 
 signs in architecture, and by pictures, in which the classic beauty recalled to 
 mind the marbles of Greece. He approached Raphael in his frescoes : to 
 
SCHOOL OF EOME. XXXUl 
 
 his Judgment of Paris, and the Sybil foretelling the Birth of Christ to Au- 
 gustus, he imparted a loveliness and an enthusiasm unsurpassed by the liighest 
 masters. On all his works there is the stamp of a fine imagination : had he 
 coloured as well as he designed and drew, he would have ranked with the 
 highest painters. He is one of the noblest architects of his time; and his 
 Farnese Palace is conceived, according to Vasari, with such exquisite grace, 
 that it seems the work of enchantment rather than of human hands. 
 
 But in the midst of this rise in Art, the fortunes of Siena seemed to borrow 
 their hues from those of her son, Peruzzi ; after a noble struggle, she was 
 robbed of her freedom, and lost with it most of her artists, the worthy re- 
 corders of her actions. This happened in 1555 : in time, she recovered from 
 her misf )rtunes, and, beginning to lift her head in painting, produced Arcan- 
 giolo Salimbeni, who loved precision more than fulness of design : in this he 
 was followed by Pietro Sorri, and by Casolani, who added to precision, and 
 natural rather than ideal grace, a genius prompt to conceive, and a hand 
 quick to execute. "Casolani is truly a painter !" was the exclamation of 
 Guido ; and when Roncalli looked on his Martyrdom of St. Bartholomew, 
 he said, " All the art of his time is contained in that picture." But Fran- 
 cesco Vanni, born at Siena in 1G63, is accounted by many the best artist of 
 that school, and is numbered among the restorers of Italian painting in the 
 sixteenth century. He mastered the elegant and florid style of Baroccio, of 
 which his Humiliation of Simon the Sorcerer is sufficient proof ; but his St. 
 Raymond walking on the Sea is supposed to be his first work in Siena, though 
 this praise has been claimed for his Marriage of St. Catherine, and also for 
 his Dispute about the Sacrament, in the cathedral of Pisa. His works, 
 it is said, were not at first, as they are now, held in high esteem in his native 
 place : the influence of his name and example was long, however, felt ; and 
 his youngest son, named after Raphael, equalled him in grandeur of design, 
 and exquisite mastery in shadows and colour. He may be called the last of 
 the elder race of artists of Siena. The fervid genius and poetic vein of the 
 little republic, was for a time revived by Guiseppe Nasini, in the early part 
 of the last century, whose historic compositions display a taste for allegory, 
 a great command of pencil, and an imposing air, which stuns as much as it 
 delights the beholder. 
 
 The Roman School has been traced into the thick gloom of the dark 
 ages, by historians more anxious in the cause of vanity than of truth ; but 
 of painters who have left no marks behind them, and of works at once ob- 
 scure and barbarous, who would desire an account ? Centuries of labours, 
 in the mechanical style of the Christian Greeks, passed before the light ap- 
 peared which was to show the world that the School of Rome rivalled, in 
 sublimity and the ideal, the grand and serene sculpture of Greece. Luco 
 stands first on the rolls of Art, a painter of Virgins and Saints ; but of him, 
 or of Cavallani, who, instructed by Giotti the Florentine, painted gospel 
 scenes with some approach to skill and intelligence, it is less necessary to 
 speak, than of Gentile da Fabriano, whom Facio extols as a man of universal 
 art who represented not only the human form, and edifices, in the most cor- 
 rect manner, but painted also the stormy appearances of nature in a style 
 that struck terror into the beholder. Of a better order we must regard Fra. 
 Carnavale, a Dominican, the heads in whose pictures seem to speak, and are 
 free and unaflTected. He was studied by Raphael, as well as by Bramante, 
 
XXXI V MODERN PAINTING. 
 
 and flourished early in the fifteenth century. Piero Borghese is recorded as 
 one of the most memorable artists of his time. He painted, according to 
 Vasari, about the year 1458, became blind at sixty years of age, and re- 
 mained so till his death. He mastered the principles of mathematics, imi- 
 tated the effects of light, marked correctly the muscles of the naked figure, 
 and studied his draperies with a care new to the Roman School. 
 
 In these, and in higher things, Piero was worthily succeeded by Pietro 
 Perugino. This distinguished painter was born in 1446, and is supposed to 
 have studied the works of Masaccio; he is hard, indeed, and dry, but atones 
 for it by the grace of his heads, particularly in his boya and women, which 
 have an air of elegance and a charm of colour unknown to his contempo- 
 raries. It is pleasant to behold, in his pictures, the bright azure ground 
 which affords such high relief to his figures. He had little invention; his 
 works are numerous, but not varied ; he repeated himself often in his Cru- 
 cifixions, Ascensions, and Holy Families ; and the landscape which had served 
 the figure of a Saint, he transferred, without scruple, to that of a Madonna. 
 Andrea Luigi di Assisi was the assistant rather than the disciple of Peru- 
 gino, and brought a larger style and greater softness of colour to the Roman 
 School : he was struck blind early ; but his loss was supplied by Orazio di 
 Alfani, who, with much of the suavity which distinguishes Baroccio, is said 
 to bear a great resemblance in his works to Raphael. He was chief of the 
 Academy of Design, and painted scenes from scripture, and histories of saints, 
 real or imaginary. 
 
 The historians of Art, on approaching the bright day in which Raphael, 
 Michel Angelo, Corregio, Giorgione, and Titian, all flourished, pause to in- 
 quire the cause why such men were sent into the world in clusters ; and, 
 having settled that Nature had a grand meaning in it, hasten to describe the 
 wonders which they performed. To Raphael is assigned the highest place 
 in the temple, where dramatic life and divine grace and beauty are wor- 
 shipped. He was born in 1483, at Urbino, and studied at first with his 
 father, an artist of no uncommon powers. At the age of seventeen, after 
 having improved under Perugino, whose style he soon excelled, he painted 
 St. Nicholas, with the figure of Satan cast under the feet of the Saint ; the 
 spirit of Evil is freed, by the taste of the boy painter, from the horns and 
 hoof of the elder artists, and wears the genuine hue of Etliiopia. Another 
 work of these youthful days is a Crucifixion, in which the figures might pass 
 for those of Perugino, except the Virgin, the beauty of which Pietro never 
 equalled. A Madonna, raising gently a veil of the most delicate texture from 
 the Holy Infant as he lies asleep, is another celebrated work of his boyhood. 
 He went a step or two farther into his own region of loveliness, in the Mar- 
 riage of the Virgin. " The two espoused," says Lanzi, " have a degree of 
 beauty which Raphael scarcely ever surpassed in his mature age, in any other 
 countenances. The Virgin particularly, is a model of celestial beauty. A 
 youthful band, festively adorned, accompany her to the espousals. Splen- 
 dour vies with elegance ; the attitudes are engaging, and the veils variously 
 arranged. In the midst of these accompaniments, the principal figure 
 triumphantly appears, not ornamented by the hand of Art, but distinguished 
 by her native nobility, beauty, modesty, and grace. On first beholding this 
 performance, we are astonished, and exclaim. How divine and noble the spirit 
 that animates her lovely form ! " 
 
 These works made Raphael the wonder of his master and his fellow stu- 
 
SCHOOL OF KOME. XXXV 
 
 dents; but it was some time before they brought him, with the world, the 
 fame which he deserved. The bent of his genius, voluptuous as well as grace- 
 ful, led him to that ideal beauty in which literal transcripts of life have little 
 share, and to that divine grace and tranquil loftiness of expression which so 
 few have either aimed at or reached. To ensure success in this department, 
 neither study nor art is sufficient. A natural taste for the beautiful ; an in- 
 tellectual faculty of combining the several excellences of many individuals 
 in one perfect whole; a vivid apprehension, and a sort of fervour in seizing 
 the momentary expressions of passion ; and a facility of touch obedient to the 
 conceptions of the imagination ; these were means which nature alone could 
 furnish, and these he possessed from his earliest years. Whoever ascribes 
 the success of Raphael to the effects of study, and not to the felicity of his 
 genius, does not justly appreciate the gifts which were lavished upon him by 
 nature. This reach of genius was peevishly denied to him by Michel Angelo, 
 who declared, that Raphael did not inherit his excellences from nature, but 
 obtained them through study and application ; but neither study nor appli- 
 cation could bring down that glory from heaven, which shines through all 
 his compositions like light through crystal. 
 
 It has been supposed, that when Raphael went to Florence he enjoyed the 
 society of Da Vinci, examined his merits in his works ; and that he also made 
 the acquaintance of the less accessible Michel Angelo, then risen into emi- 
 nence : it is more certain that he saw much to admire in the works of Ma- 
 saccio, whose Adam and Eve he copied afterwards, in the Vatican; and that, 
 in return for teaching the true principles of perspective to Fra. Bartolom- 
 meo, he acquired from that artist a better style of colouring. This new 
 knowledge he employed in his great picture, at Siena, of the Life and Actions 
 of Piccolomini, in which he was aided by Pinturecchio: he was then but 
 twenty years of age ; but his composition was more rich and free, and 
 in a far grander style than that of either his master, Pietro, or his assistant. 
 In the year 1508 he went to Rome, where his first study was the ancient 
 sculpture of Greece, and the second, to show with the pencil his own notions 
 of the beautiful in form, and the godlike in expression. Michel Angelo did 
 not observe Raphael's rise without emotion : conscious of the sublimity of 
 his own conception, to the grandeur of his outlines he called in the aid of 
 the glowing colours of F. Sebastiano, and expected to triumph: but Raphael, 
 alone and unaided, produced a serious of works combining unusual fertility 
 of invention, with calm ideal beauty, and a grace and loveliness new to Art. 
 These works represented not the common scenes of human life, nor the gross 
 actions of the heathen gods they embodied all that was lofty in science, 
 sacred in i*eligion, and heroic in human nature. 
 
 His first work adorned that apartment called by the Pope La Signatura : 
 on the ceiling he painted Religion, Philosophy, Poetiy, and Jurisprudence ; 
 and wrought on the faQades, illustrative of each, four grand historical pieces. 
 In that which accompanies Religion, he sees as in a vision the Evangelists, 
 the leading saints, and the chief of the sacred writers ; while the Trinity, 
 depicted in the air above, and the symbols explanatory of that divine mys- 
 tery below, connect faith with fact, and the visionary world with the sub- 
 stantial. With this work the Pope was so much pleased, that he caused the 
 paintings of other artists and some of them of no mean name to be 
 effaced, that the whole chamber might be embellished by his masterly hand. 
 It has been remarked, that the rapid improvement of the artist is visible 
 
XXXVl MODERN PAINTING. 
 
 when he adds the historical pictures illustrative of the other three figures : 
 in Philosophy he represents Socrates instructing Alcibiades ; and the morose 
 Diogenes stretched on the ground with his book in his hand ; and Archi- 
 medes instructing his scholars in geometry : in Jurisprudence he honours or 
 flatters the successors of Saint Peter, and places Gregory by the side of Jus- 
 tinian : to Poetry he dedicates Parnassus, and peoples the holy hill with the 
 ancient and modern masters of song ; of these Dante is the most striking 
 figure, and seems possessed with the Muse more- than any of his companions. 
 In this chamber the great painter has given examples of such dignity of 
 conception, such breadth and calm vigour of style, and such a happy dra- 
 matic handling of history, as no other artist had hitherto exhibited. 
 
 Whilst Raphael was at work in tliis first chamber, Michel Angelo was at 
 work in the Sistine Chapel ; and as the latter allowed no one to see what he 
 was doing, the creations of this great and daring spirit, when he threw the 
 doors open and admitted the people, struck Rome with wonder. It is allowed 
 by all, that Raphael wrought with a bolder hand after he beheld how much 
 freedom was tolerated in his great rival ; and this was manifested in his cele- 
 brated picture of Heliodorus driven from the Temple by the prayer of Onias 
 the high priest. In this production, the armed vision that appears to Helio- 
 dorus scatters lightning from his hand, while the startled neigh of the steed 
 is heard amidst the attendant thunder. In the numerous bands, some of 
 whom are plundering the riches of the Temple, ignorant of the cause of the 
 amazement and terror exhibited by their leader, consternation, joy, and 
 abasement are expressed. In the high priest Onias he has painted Pope 
 Julius the Second a judicious stroke of flattery, for the Pontiff was then 
 living ; but he was dead when the other chambers were painted : he who 
 succeeded loved flattery also. 
 
 This was Leo the Tenth, whose history is painted on the walls and ceil- 
 ings of the remaining chambers, with equal beauty and dignity. There 
 Raphael happily typifies the release of Leo from imprisonment in Ravenna, 
 by representing his predecessor, St. Peter, released from prison by the angel, 
 and exhibits an instance, ever since admired, of his intimate knowledge of 
 light : the soldiers grouped without the prison are shown by the mingled 
 beams of the moon and the light of a wavering and unsteady torch; while 
 from the Angel comes a stream of divine splendour, surpassing, without 
 resembling, all other lights. The same strain of epic flattery he pursues, in 
 the march of Attila checked by Leo the Great ; and also in the battle with 
 the Saracens off" Ostium, when Leo the Fourth turned the tide of victory in 
 favour of the Christians : but his most admired piece is the City on Fire, 
 miraculously extinguished by the same Pope. It is midnight ; the fire, 
 which has spread greatly, is increased by a violent wind that agitates the 
 flames, which leap from house to house. The aff'right and misery of the 
 inhabitants is carried to the utmost extremity : some rush on with water, 
 but are driven back by the flames ; others with naked feet, robes put on in 
 haste, and disordered hair, seek safety in flight. "Women turn with implor- 
 ing looks on the Pontiff^, and mothers clasp their children, and gaze on him 
 with hope. The portraits introduced into these compositions have found 
 many admirers : some praise them for their accuracy, some for their ease 
 and grace, but few or none for a rarer merit their harmony with the rest 
 of the subject : Raphael was nine years at work in thdSe three papal 
 chambers. 
 
SCHOOL OF ROME. XXXVU 
 
 He found leisure, amid these great works, to paint some of more moderate 
 dimensions : he ornamented the gallery of Agostini Chigi with the story of 
 Galatea ; and also, with the aid of his pupils, he painted the Marriage of 
 Psyche, at whose bridal banquet he collected the heathen deities, and 
 depicted each with such propriety of character, and elegance of form, as all 
 but rivalled the Greeks. His altar-pieces are numerous ; that of St. Cecilia, 
 who, charmed by a melody superior to her own, lets her musical instrument 
 drop from her hands, and that of Christ ascending Mount Calvary, are 
 among the most celebrated : his Madonnas brought a grace and a meek 
 divinity of expression to the aid of religion, which influenced all succeeding 
 Virgins ; and his Holy Families, when added to the legions which almost 
 choked the churches, were observed to rise above them all in that quiet 
 dignity which in the end affects more than the most startling postures. 
 His picture of St. Michael vanquishing the Dragon has been copied into 
 marble by Flaxman a kindred genius. 
 
 The crowning glory of all his compositions is the Transfiguration, painted 
 in emulation of that celebrated one by Michel Angelo and Fra. Sebastiano, 
 in the chapel of St, Peter. " This is a picture " (I use the words of Mengs), 
 " which combines more excellence than any of the previous works of 
 Raphael. The expression is more exalted and more refined, the chiaro- 
 scuro more correct, the perspective better understood, the pencilling finer; 
 and there is a greater variety in the drapery, more grace in the heads, and . 
 more grandeur in the style." This sublime picture realizes all that the 
 imagination, which mingles the devout with the poetic, can conceive of the 
 glory of heaven and the grandeur of earth : the Saviour appears in the 
 midst of a radiance altogether celestial ; the majesty of his form is forgotten 
 in the divine expression of his face, and that meekness which bids the 
 humblest to hope ; three of his favourite disciples are permitted to see him 
 hovering, more gracefully than a dove on the wing, between Mount Tabor 
 and heaven ; while, unconscious of this, a band of his disciples continue 
 the story of the divine mission, by casting out an evil spirit from a youth, 
 in whose fate a beautiful maiden and modest as she is beautiful is visibly 
 interested. Ere this sublime work was well finished, a mortal illness seized 
 on the painter, and deprived the world of his unrivalled genius, on his 
 birthday, the Good Friday of 1520, when he was but thirty-seven years 
 old. 
 
 This great artist was almost as beautiful in his person as he was in his 
 worka ; he was mild, too, and had none of the surly impetuosity of his 
 rival, Michel : he was no scholar; but with his pencil he was an historian 
 of a high order, and in his works one of the most classical of men. He did 
 not, indeed, more than any other modern artist, equal the exquisite geome- 
 ti-ical symmetry, the perfect unity, and the poetry breathing from the form 
 of the Grecian statues; but no sculptor, Heathen or Christian, ever endowed 
 a figure with the looks holding intercourse with the skies, and that tranquil 
 loftiness of expression, which belong to the heads of Eaphael. 
 
 His most distinguished scholar was Julio Romano, who resembled his 
 master less in delicacy than in force, and drew with more vigour than he 
 painted. Vasari insinuates that the heat of original conception cooled as he 
 laid on the colours. He excelled in martial subjects, and imitated Michel 
 Angelo more than was acceptable ; for, though his designs are of a lofty 
 order, and the whole mechanism of the human body is obedient to his hand, 
 
XXXVni MODERN PAINTING. 
 
 his motion is sometimes too vehement. His middle tints are reproached 
 with being too dark; but Poussin admired this asperity of colour in his 
 Battle of Constantine, as suitable to the subject. His Madonnas and Saints 
 are not so plentiful as his cabinet pictures, which are accused, with justice, 
 of being too free. Mantua regards him as the true founder of her school. 
 A boy, who was at first a servant in the studio of Raphael, became one of 
 his principal scholars : this was Gianfrancesco Penni, who painted, in the 
 gallery of the Vatican, the histories of Abraham and Isaac ; he had a happy 
 talent in landscape. But Perino del Vago was, in design, at the head of 
 all those, says Vasari, who assisted Raphael ; he was the true founder of 
 the School of Genoa, and shared in that variety of talent which distinguished 
 his great master. Polidoro da Caravaggio, from a mechanical labourer in 
 the Vatican, became an artist of high celebrity ; he excelled an art which 
 he learned from Raphael in the imitation of antique basso-relievos, and 
 painted them in chiaro-scuro, which the critics of Rome pronounced to 
 approach the ancients. He was scared from Rome by the plague, travelled 
 to Naples, and passed into Sicily, where he was murdered by his servant. 
 " With him," says Lanzi, " invention, grace, and freedom of hand seem to 
 have died." But of all the scholars of Raphael, he who resembled him most 
 in the air of his heads, and the grace of his attitudes, was Pellegrino da 
 Modena, whose History of Jacob has been called " the incomparable." 
 
 The style of Raphael was assumed by Girolamo Siciolante, who painted 
 Pepin bestowing Ravenna on the Church, when he took prisoner Astolfo, 
 king of the Lombards ; but his Scripture pieces are reckoned his best. His 
 manner of painting was bright and pleasant, and his execution happy. Of 
 the two brothers Zuccaro, Taddeo, the eldest, was reckoned the ablest : he 
 adopted a style which, though not very correct, was unconstrained and 
 engaging, and very attractive to such as did not look for grandeur of design. 
 Girolamo Mutiano excelled in painting military dresses, and, more than all, 
 in representing hermits and anchorites men of severe aspects, with bodies 
 attenuated by abstinence : his style inclines more to the dry than to the 
 florid, and something of the too strong anatomy of Michel Angelo has been 
 observed in his works. 
 
 The Roman School had exhibited symptoms of decline when it was 
 restored, but not to its original grandeur, by Frederigo Bart)Ccio of Urbino, 
 who was born in 1528, and, formed on the style of Corregio, sought to 
 bring back the true principles of Art, more particularly colouring and 
 chiaro-scuro, in which it was deficient. While embellishing the apartments 
 of Pius, his talents aroused that jealousy which, with artists, is not difficult 
 to rouse, and awakened those evil feelings to which Italy is too prone ; 
 under pretence of a friendly banquet, he was presented with a cup of poison 
 he drank, but did not die and fled, and painted at a distance from the 
 treacherous metropolis. Though he at first copied Corregio, he did not 
 finally use his style, but rather imitated it with the freedom of a master. 
 In the heads of his children, and of his female figures, he sometimes 
 approaches him closely; also in the natural fall and flow of his drapery, 
 and in his outlines, as well as the foreshortenings ; but he falls below him 
 in grandeur of design, and in the witchery of light and shade. *' It is, 
 however, delightful to see," says Lanzi, " the great variety of colours he 
 has employed, so exquisitely blended by his pencil ; and there is, perhaps, 
 no music more finely harmonized to the ear than his pictures are to the eye." 
 
THE NEAPOLITAN SCHOOL. XXXIX 
 
 He made use of clay models, in order to ensure natural attitudes, and secure 
 true light and shade ; and most carefully he copied them in, for he refrained 
 from introducing a line which was not justified by the model. From his 
 design he prepared a cartoon the size of the proposed picture, and traced 
 the outlines on his canvass ; he then proved the disposition of his colours 
 on a small scale, and proceeded to the work. His subjects, according to 
 Bellori, were chiefly of a religious hue : on the Perdono he consumed seven 
 years : the fine perspective, the beautiful play of light, the speaking faces, 
 and the colour and harmony of the work, cannot be imagined, says Lanzi, 
 by any one who has not seen it. He died in 1612. 
 
 Morigi da Caravaggio came from Milan, and sought to recall the Roman 
 School to force and truth, by drawing his forms from living nature, and 
 composing his colours of few tints. He was of a dark and melancholy 
 genius ; he let but little light upon his compositions, and overcharged them 
 with cloud and darkness. His men seem the occupants of caverns, into 
 which a solitary ray contrives to penetrate; yet there is a charm in the 
 very violence of liis contrasts. He declared that he had sought the beau- 
 ideal of artists in Nature, without finding it; he contented himself with the 
 heads and bodies of ordinary people, and sought to raise them into the 
 regions of poetry by placing them in strange positions, and showing them 
 by strange lights. He delighted in painting famished heads and wasted'^ 
 forms ; and some of his pictures were expelled from the churches, because 
 they excited disgust and loathing. He looked on the fine sculptures of 
 Greece, and said to the bystanders, " Nature has given me better models in 
 you than I can find in all these fine statues." When Annibale Caracci 
 looked on his pictures, he exclaimed, "God be praised! I have at last 
 found a painter in my lifetime." But Rome, that had hitherto found her 
 best artists beyond her walls, at last produced one within her own gates 
 whom she delighted to call son. This was Andrea Sacchi, born in 1 600 : 
 he studied under Albani, and grew skilful in design and in colour ; he was 
 anxious to excel : it was not so much the duty, he said, of an artist, to give 
 many, as to give perfect pictures to the world : acting on that maxim, his 
 works are rare. The figures in his compositions are few, but the attitudes 
 are ruled by the subject each takes its appropriate place, without crowding 
 or constraint. Grave heads, becoming attitudes, draperies neat and simple, 
 a chaste colouring, and a harmonious tone, Avhicli gives repose to the eye, 
 render him a favourite. He refused to descend to the minute, and pur- 
 posely, it is said, left some of the subsidiary parts of his productions un- 
 finished. Pietro da Cortona united landscape with historic design, and 
 supported, with his numerous disciples, the name, if not the fame, of the 
 Roman School for a time : but its descent from the eminence to which 
 Raphael and Julio Romano had raised it, was visible ; nor could the Rape 
 of the Sabines, nor the Battle of Alexander, both noble pictures in Pietro's 
 best manner, retard it. The light which had shone for centuries was, in 
 1713, obscured to a glimmer by the death of Carlo Maratti, who in his 
 works displayed a sense of the graceful and the beautiful, and a conception 
 reaching into the poetic. 
 
 For the Neapolitan School of Painting a lineage extending into 
 Greece has been claimed ; but Tommaso de' Stefani, who was contempo- 
 rary with Cimabue, and a Master Simone, who by his works won the per- 
 
Xl MODERN PAINTING. 
 
 sonal regard of Giotti, are the first whom ths industry of Lanzi can discover 
 as at all worthy of being called painters. Simone caught the air at least of 
 his Florentine friend, nd bestowed it on a picture of that patron of the Arts, 
 King Robert of Sicily, while his son, Francesco, painted a Madonna in 
 chiaro-scuro, in the church of St. Chiara, which has been extolled : but their 
 names were soon to be eclipsed by that of a young blacksmith, Antonio 
 Solario, who, out of love for an artist's daughter, forsook the labours of the 
 forge for the studies of the academy, and produced pictures, of which the 
 heads seemed alive : he embellished his historic compositions with land- 
 scape, and drew his draperies from nature. As love of beauty made hira 
 a painter, a sense of it found its way into his pictures ; some of his Madonnas 
 are very beautiful : he died in 1455, and left many followers. 
 
 The two brothers, Pietro and Polito del Donzello, are mentioned by 
 Vasari as painters of the Neapolitan School ; but he neglects to tell us 
 where they were instructed. " They distinguished themselves," says Lanzi, 
 "in the painting of friezes, and trophies, and subjects in chiaro-scuro, in 
 the manner of basso-relievos, an art which I am not aware any one prac- 
 tised before them . The portraits of Pietro had all the force of nature ; and 
 it is not long since, that, on the destruction of some of his pictures in the 
 wall of the palace of the Duke of Malalona, some heads were removed with 
 the greatest care, and preserved for their excellence." Bernardo Tesauro, 
 of whom little is certain but that he painted with skill, belongs to this 
 period: he made visible approaches to a high style, by more judicious 
 invention, and more nature, in his figures more expression and harmony 
 in composition, than any of his forerunners. Luca Giordano was so struck 
 when, for the first time, he saw the Seven Sacraments of Tesauro, that he 
 declared there were parts in it which no age had surpassed : gravity and 
 judgment were its characteristics. The rise of the Florentine and Roman 
 Schools, and indeed the wonderful impulse which was given generally to 
 the genius of Italy, had an influence on the School of Naples ; the style of 
 the earlier painters was abandoned, and a better and brighter one adopted. 
 
 The chief of this welcome reform was Andrea Sabbatini. Smitten with 
 the first picture which came to Naples of Pietro Perugino, he instantly set 
 out on foot for Perugia, to put himself under that eminent master; but on 
 the way, having overheard ti'avellers extol the pictures of Raphael, he 
 changed his purpose and walked to Rome. He studied with that illustrious 
 master but a little while, for the death of his father compelled his return ; 
 but that little while was sufficient to work the change which was necessary: 
 except Julio Romano, he is said to have been the happiest of his imitators ; 
 but he emulated Raphael rather than imitated him. His designs are cor- 
 rect ; his heads, postures, and colouring are excellent, but his muscles appear 
 stronger than either his sentiments or attitudes require. His frescoes, now 
 destroyed, are extolled as miracles of art by the judges of his day: in the 
 churches, some of his Madonnas, of an enchanting beauty, are still to be seen. 
 Giambernardo Lama painted a Pieta, which exhibited unusual vigour of con- 
 ception and accuracy of design ; his manner was soft and natural : in style 
 and colour, Lama was surpassed by Pompeo dell'Aquila, whose frescoes in 
 his native town, and his Deposition from the Cross at Rome, were numbered 
 among the works of genius and art. 
 
 The wealth as well as the taste of Naples, brought painters of all ranks 
 and of all places. " The flame-like rapidity of Tintoretto's style at Venice," 
 
THE NEAPOLITAN SCHOOL. xli 
 
 says Fuseli, " and, soon after, the powerful contrast of Caravaggio's method 
 at Rome, and the eclectic system of the Caracci at Bologne, divided Naples 
 into three parties of nearly equal strength, led by Corenzio, Ribera, and 
 Caraciolo differing from each other, but ready to unite against all foreign 
 competition." The first of these was, by birth, a Greek; he had ideas ever 
 ready, and a matchless celerity of pencil : he imitated Tintoretto ; embossed 
 his glories in dropping clouds, and bestowed an expression on his heads, such 
 as the Venetians seldom reached: the second was born a Spaniard, and imi- 
 tated Caravaggio, but surpassed him in invention, mellowness, and design : 
 he loved to exhibit the terrors of evil passions, features horrible or loath- 
 some, and paint the spasms of Ixion on the wheel, and St. Bartholomew 
 under the knife: the third was a follower of the Caracci, and one of their 
 ablest; and all three were men, violent, overbearing, and implacable. They 
 drove, by their united insults, Annibale Caracci back to Rome in the burn- 
 ing heat of summer : they attacked Cesari with a fury which induced him to 
 consult his safety, and retire to Cassino; and when the commissions which 
 they had left undone were given to Guido, he was warned to be gone or pre- 
 pare for death an intimation which was at once obeyed. To these distin- 
 guished masters Domenichino succeeded ; but the enemies of Guido were his 
 enemies also : they cried him down as a cold and insipid painter, harassed him 
 by calumnies, and finally compelled him to fly: he was induced to return; 
 but he returned to die, either by poison or vexation, or both. 
 
 From this dark passage in the History of Italian painting, I proceed, with 
 some relief of mind, to the history of succeeding artists. Of these, Massimo 
 Stanzioni is reckoned the best example of the Neapolitan School, or rather 
 the ablest of those who trod in the steps of the Caracci. He was a disciple 
 of Caraciolo, but studied also under Corenzio, who in his frescoes yielded 
 to few indeed, he had a little of many schools. On going to Rome, and 
 making acquaintance with Guido, he desired to unite the design of the 
 Caracci with the colouring of the other; in the latter of which he succeeded 
 so well, that he was called the Guido of Naples. Orta contributed three 
 members, all at the same period, to this academy: Domenico Finoglia had 
 fine expression, fertility, correctness, good arrangement, and a happy general 
 effect; Giacinto de Popoli is more admired in his composition than in his 
 figures; and Guiseppe Marullo, who left some beautiful productions at St. 
 Severino, and other churches. But few were so favoured by nature as Ber- 
 nardo Cavallino, who composed subjects, both profane and sacred, with great 
 judgment: his figures are full of expression and spirit, and have a grace and 
 simplicity all their own. In colouring he imitated Guido, and he sometimes 
 glanced at Rubens. He died in 1656 an example of genius and debauchery. 
 
 Salvator Rosa is the boast of Naples; and some have added Aniello Fal- 
 cone : the former was born in 1614, and brought up under Francenzano, a 
 relation as well as a painter : he began his cai'eer by painting battles, or 
 rather, wild landscapes, into which he turned " the current of a heady fight:" 
 he was distinguished early in life for a poetic elevation of soul, daring con- 
 ceptions, freedom of hand, and splendour of colouring. He delighted in 
 scenes of savage magnificence and ruined grandeur; his spirit loved, like that 
 of the poet's Satan, to stray in lonely glens, and to gaze on ruined castles. 
 The bloom of summer, the ripe abundance of autumn, or the bickering fires 
 or cheerful pastimes of winter, had no charms for him : he kindled his sum- 
 mer clouds with lightning ; he sent firebrands and whirlwinds among the 
 
xlii MODERN PAINTING. 
 
 Standing corn ; and brought winter, famished and gaunt, from the north, to 
 scatter hail and snow among the shivering children of men. " Savage 
 scenery," says Lanzi, " broken rocks and caves, wild thickets and desert 
 plains, are the kind of landscapes in which he generally delighted : his trees 
 are shattered, torn, and dishevelled; and in the atmosphere itself he seldom 
 introduced a cheerful hue, except occasionally a solitary sunbeam. His 
 style was original, and may be said to have been conducted on a principle of 
 savage beauty, as the palate of some persons is gratified with austere wines. 
 His pictures, too, were rendered more acceptable, from the small figures of 
 shepherds, mariners, or banditti, which he introduced in almost all his com- 
 positions : he was reproached by his rivals with having continually repeated 
 the same ideas, and, in a manner, copied himself." His style, his ideas, his 
 handling, were all his own he is like no one ; and our professors usually 
 warn students against imitating the dash of the savage Rosa, whose works 
 are a sort of will-o'wisps, which mislead and bewilder. 
 
 Of Aniello Falcone, the Neapolitans say less than they do of Rosa, though 
 the academicians admire him more. His battle pictures show great talent, 
 and are a sort of relief from that excess of scripture pieces which at first 
 adorned, and at last incommoded the church : " Animated," says Lanzi, 
 *' in his expression; select and natural in the figures and actions of his horses; 
 and intelligent in military affairs, though he had never been in the army, nor 
 seen a battle." He consulted probability in all things, and had a fine eye for 
 colours: he had many disciples : Salvator himself studied under him for a time. 
 
 The genius of Luca Giordano was considered by Maratti of the highest 
 order : he was born at Naples in 1629 ; studied under the fierce Ribera, 
 and afterwards with Cortona, and made himself master of the secrets of 
 light and shade, and the arts of composition. He had unequalled celerity 
 of hand, and an extraordinary talent for imitating every known manner; 
 he could work with equal skill like Albert Durer, Bassano, Titian, and 
 Rubens. At the court of Spain there is a Holy Family of his, so much 
 resembling Raphael, that whoever, as Mengs says, is not conversant with 
 the quality of beauty essential to the works of that great master, would be 
 deceived by the imitation of Giordano. He took from all ; his style is 
 made up from many ; he is neither natural in tone nor in colour, and still 
 less so in his chiaro-scuro ; in that he is ideal, and wholly arbitrary : he 
 pleased, notwithstanding, by a certain deceptive grace and attraction, which 
 none have found easy to imitate. The expulsion of the Money Changers 
 from the Temple is much admired ; his frescoes are looked on as wonders; 
 every beholder is forcibly struck with that historical piece, which represents 
 the Israelites suffering in the Desert, seeking relief from the image of the 
 Serpent. He travelled into Spain, where he painted much, and returned in 
 old age, laden with wealth. 
 
 Of the scholars of Giordano, the best was Paolo de' Matteis : when he 
 wrought with care, as in the Immaculate Conception, or in St. Girolamo 
 appearing and speaking to St. Saverio in a dream, he left little to desire, 
 either in his composition, the grace of his contour, or in the beauty of his 
 countenances. His colouring was delicate and soft ; but he wanted that 
 variety in design which marks the great master: with him and Francesco 
 Solimene, this school, which was widely famed for fancy and freedom, may 
 be said to have expired ; it continued to produce painters, but none of 
 commanding powers, though many of merit. 
 
THE VENETIAN SCHOOL. xliii 
 
 The history of the Venetian School occupies the whole of the third 
 volume of our translated Lanzi, wlio relates, with minute prolixity, the 
 stories and the trials of the barbarous artists who dwelt in the land before 
 those lights appeared, which announced the sun of Tintoretto and Titian to 
 be at hand. The oldest efforts of Venetian Art are believed to be at Verona; 
 they represent the mysteries of man's redemption ; there are some apostles ; 
 some martyrs; the righteous ascend, with the aid of the archangel Michael, 
 to heaven ; the wicked descend, without any help, to hell. These are sup- 
 posed to be of the eleventh century, and the works of the Christian Greeks ; 
 pictures and statues came in abundance from Constantinople, when that 
 eastern capital was stormed by the French and Venetians ; but Art was 
 not to be roused by foreign example. At last Giotti, of Florence, came in 
 person to Padua, and in some works of a scriptural nature, remarkable for 
 native grace and wild gi'andeur, kindled a love of elegance in the republic. 
 Of Giusto Padovano, who painted the history of John the Baptist ; or of 
 Guarentio, a Paduan, who in 1360 displayed, in the opinion of Zanetta, a 
 rich invention, spirit in his attitudes, and felicity in his draperies, we shall 
 say no more than that they preceded Lorenzo, who was paid, in 1358, 
 three hundred gold ducats for one altar-piece ; and Niccolo Semitecolo, who, 
 in 1367, painted the history of St. Sebastian, preserved in the Chapter 
 Library of Padua; of which the naked parts are tolerably well drawn, and 
 the proportions, though inclining to the extravagant, bold and free. Though 
 these men are supposed to have felt the influence of Giotti, there is little of 
 his manner in their compositions, nor any indication of the coming splen- 
 dour of the Venetian School. 
 
 The first artist whose works exhibit the rudiments of a better style is 
 Andrea da Murano, who lived in 1400 : he was hard indeed and dry ; but 
 he painted a St. Sebastian so remarkable for the beauty of its torso, that 
 Zanetti suspected it must have been copied from an ancient statue. He 
 taught his art to Bartolommeo and Antonio Vivarini, whose colouring was 
 warm and brilliant, and whose Madonnas and Saints had dignity with their 
 devotion. In the hands of Bartolommeo, Art took a long stride towards 
 eminence : he was the first of the school who painted in oils ; his last 
 picture, produced* in 1408, represents Christ risen from the Dead, and may 
 stand comparison with the best works of the time. Of the same family was 
 Luigi Vivarini, who painted St. Girolamo, in competition with Giovanni 
 Bellini, whom he equals, and Carpaccio, whom he excels ; he has pictured 
 the Saint caressing a lion, to the alarm of some monks, who huri-y away in 
 terror ; the composition is fine, the passions tolerably well expressed, the 
 colours soft and delicate, and the architecture solid, and in the ancient taste. 
 To Gentile da Fabriano, who painted one of the naval battles of Venice, 
 and raised several scholars, the origin of what is called the great Venetian 
 School is imputed: but it was less indebted for eminence to its founder 
 than to Giovanni Bellini, who in his earliest pictures desires to ennoble and 
 enlarge tlie national manner. Inspired by Giorgione, he conceived his sub- 
 jects boldly ; gave roundness to his forms, warmth to his colours, and, if he 
 had succeeded in acquiring greater delicacy in his contours, his works might 
 have been instanced as finished examples of what is called the modern style 
 of Art. Under Bellini, Giorgione Barbarelli, born in 1478 at Castle Franco, 
 studied till he excelled his master, and in his turn became at least his in- 
 spirer : from a certain grandeur, both of form and mind, he obtained the 
 
xliv 
 
 MODERN PxVINTING. 
 
 name of Giorgione. " Impelled by a spirit conscious of its powers," says 
 Lanzi, " he despised that minuteness in the art, which yet remained to be 
 reformed, and substituted for it a happy freedom and audacity of manner, in 
 which the perfection of painting consists." In this view he may be said to 
 be an inventor, no artist before his time having acquired that mastery of 
 pencil, so hardy and determined in its strokes, and producing such an effect 
 in the distance. From that period he continued to ennoble his manner, ren- 
 dering the contours more round and ample, the foreshortenings more graceful, 
 the expression of the countenance more warm and lively, as well as the mo- 
 tions of his figures. His draperies, with all the other accessories of the art, 
 became more select, the gradations of the different colours soft and natural, 
 and his chiaro-scuro more powerful and effective. This great artist died 
 young, but he lived long enough for immortality : other schools excelled in 
 design and in drawing, but he added that rich deep style of colouring, which 
 in the hands of Titian grew still more effective and memorable. How those 
 immortal tints were produced has been the wonder of all painters of all 
 schools ; on examination, Ridolfi declared that his colours bore little resem- 
 blance to those used by the ancient Greeks, and as little to the tawny brown 
 and azure colours employed by modern artists. The oil colours which he 
 used still retain their brilliant hues ; the cause of which, others than Lanzi 
 attribute to the strong mixture of colours, and to the full and liberal use of 
 the pencil. His works are chiefly of the scriptural kind: the Child Moses 
 rescued from the Nile, and presented to the daughter of Pharaoh, is reckoned 
 one of his happiest efforts ; nor is his Dead Christ, or the Tempest stilled by 
 St. Mark, less wonderful in design, sentiment, and colour. 
 
 The most distinguished of Giorgione's scholars was Sebastiano del Piombo, 
 the associate of IVIichel Angelo in his labours at Rome : he filled up, with the 
 glowing colouring of his Venetian master, the more than mortal outlines of 
 the great Florentine ; and the rare skill with which he accomplished this, 
 may be seen in the Raising of Lazarus, in the British Gallery. Sebastian 
 possessed no great original powers of invention ; he was quick to commence, 
 but slow and hesitating in composing his figures ; he was, as Thomson the 
 poet says of himself 
 
 "Fond to begin, Lut still to finish loth." 
 
 An altar-piece from his hand has been mistaken for the work of his master, 
 so happily did he imitate him ; but he wrought with a less timid pencil in 
 domestic pictures : these he dashed off in great numbers, and we nowhere 
 meet with more beautiful hands, or more natural hues, than in these hasty 
 compositions. In Rome, Vasari affirms that he was pronounced by Michel 
 Angelo superior to Julio Romano ; a judgment which remains to be confirmed 
 by posterity. Others of note followed : Lorenzo Lotto painted John the 
 Baptist embracing a Lamb, in a manner at once innocent and dignified ; 
 Jacopo Palma distinguished himself by the refinement and harmony of his 
 hues ; Rocco Marconi crowded much beauty into little space ; and Pordenone 
 surpassed, in the opinion of Vasari, all his predecessors in conception, in 
 design, in boldness, in the use of his colours, in grandeur of relief, and in every 
 other attribute of Art. The best work of the latter artist is the Marriage of 
 St. Catharine, a composition full of grace and grandeur. 
 
 Titian, who studied under Bellini, was born in 1480: at his outset he 
 imitated Giorgione, and wrought in his fine free unshackled manner, till he 
 
THE VENETIAN SCHOOL. xlv 
 
 found out a style of his own, less bold and clear indeed, but with all the 
 magic influence possessed by artlessness and truth. His first picture, in what 
 has ever since been called the Titian manner, was painted in 1507 ; it re- 
 presents the Archangel Michael, with Tobias at his side : his next work was 
 that of our Saviour, for the College of Cerita : to these we may add his 
 Bacchus and Ariadne, painted in 1514, and now in England three of his 
 grandest pictures, spared by accident and time. The deep and lustrous 
 colouring of these works has never been questioned by critics and artists, 
 who, in examining them, pronounce judgment on his genius ; and on no 
 painter has such various opinions been given. Mengs denies the right of 
 Titian to rank with good designers ; Michel Angelo obliquely condemns him, 
 when he laments that the art of design had not been sooner taught to the 
 painters of Venice ; and Fresnoy pronounces the figures of his men imper- 
 fect, and his draperies insignificant. On the other hand, Algarotti says, his 
 San Pietro Martire is free from every shade of defect ; Agostino Caracci 
 declares that his Bacchanal, and other pictures in the collection of the Duke 
 of Ferrara, are prodigies of art, and the finest paintings in the world ; Za- 
 nette assigns him the first rank in design amongst all the great colourists, 
 and adds, that he was uniformly elegant and correct in his female forms, and 
 elevated, great, and learned in those of his men ; and Reynolds in his dis- 
 courses affirms, that "although his style may not be altogether so chaste as 
 that of some other schools of Italy, it nevertheless possesses a certain air of 
 senatorial dignity, and he shone in his portraits as an artist of first-rate 
 character." His works are very various ; historical groups and single figures, 
 of a poetic or scriptural kind, and portraits, which in execution, if not in 
 conception, excel all that the Avorld ever saw. It is said that he had not 
 studied the exquisite statues of Greece, by which the Florentine and Roman 
 Schools were enabled to look so chaste and so stately ; yet there is a Venus 
 from his pencil, in the Gallery of Florence, which rivals, it is said, her name- 
 sake in Grecian marble ; his Venus, in our British collection, for roundness 
 and loveliness, looks at once both flesh and marble ; while some of his Bac- 
 chanals prove, that if he refrained from looking at the beauties of Greece, he 
 had a beauty in his own mind, which supplied him with all that he desired 
 of the graceful, the harmonious, and the lovely. There are six pictures at- 
 tributed to his hand in the private gallery at Blenheim, two of which are of 
 surpassing beauty ; they represent the Loves of the Gods, and are not un- 
 worthy of the name. 
 
 Of the exquisite colouring of Titian much has been written : artists have 
 endeavoured to penetrate into the mystery of his light and shade, while others 
 wonder at the effect, and are careless about how it is produced. One class 
 imagines that the secret resides in the colours themselves ; another avows, 
 that the sorcery arises from the brilliant hues of the varnishes vpith which 
 the paints were mingled or overlaid; while a third imputes. the deep abiding 
 lustre to the unrivalled slight of hand which laid them on. To discover the 
 secret, experiments have been made, old pictures dissected, and speculations 
 of all kinds hazarded, and it remains a secret still. " I have mentioned," 
 says Lanzi, " the lucid clearness predominating in the Venetian paintings, and 
 more especially in those of Titian, whom the rest adopted for their model : I 
 then pronounced it to be the result of very clear primary grounding, upon 
 which a repetition of colours being laid, it produces the effect of a transparent 
 veil, and renders the tints of a cast no less soft and luscious than lucid ; nor 
 
Xlvi MODERN PAINTING. 
 
 did he adopt any. other plan in his strongest shades, veiling them with fresh 
 colours when dry, renewing, invigorating them, and warming the confines 
 that pass into the middle tints. In his naked forms he cautiously avoided 
 masses of strong shades and bold shadows, although they are sometimes to 
 be seen in nature : for the most part he afFected.a deep and glowing light, 
 whence in various gradations of middle tints he formed the work of the lower 
 parts ; and, having resolutely drawn in the extremities stronger than in na- 
 ture, he gave to objects that peculiar aspect which is more lively and pleasing 
 than the truth. Thus, in his portraits he centres the chief power in the eyes, 
 the nose, and the mouth, leaving the remaining parts in a kind of pleasing 
 uncertainty, extremely favourable to the spirit of the heads and to the whole 
 effect." " Titian was the first," says Mengs, " who knew how to avail him- 
 self of the ideal of different colours." The making of colours was, in those 
 days, a part of the paintex*'s art, and the hand that formed and prepared them, 
 we may suppose to be cunning at laying them on : but neither the revelations 
 of artists, nor the conjectures of critics, have enabled any painter, since those 
 days, to give his pictures that fine transparency, which, while it veils the 
 nymphs and goddesses of Titian, exalts and adorns their beauty. 
 
 He was alike successful in his scenes of terror or of gaiety, and had the 
 skill to make his landscape illustrate the story. In the death of St. Peter he 
 has painted a terrific wood, which gives force to the sentiment ; and in his 
 Martyrdom of St. Lawrence he mingles the gross and wavering glare of the 
 torches with that supernatural splendour which falls from above upon the 
 Martyr. The character of the subject in his Bacchus and Ariadne accords 
 with the voluptuous outlay of colours ; the startled flight of the lady, and 
 the godlike agility of her pursuer, with the all but anxious gladsomeness of 
 old Silenus and his nymphs, correspond with the cold blue of the clouds, the 
 deep green of the trees, and the rose and lily lustre of the alarmed Ariadne. 
 His portraits have descended to us the theme of unmingled admiration: they 
 are, one and all, natural, expressive, and vigorous, and seem to breathe and 
 think ; on a distant view, they lose none of their force, and on a close look 
 the reality of character is manifest : in some of them, the hairs of the head 
 might be numbered, and the pores of the flesh counted, while over all is 
 breathed a veil of lucid gossamer, which, like the cestus of Venus, no one 
 can copy or paint. Fuseli, who was no great master in colour, and spoke 
 with contempt of its magic, when he desired to compliment a lady, swore that 
 her eyes were the eyes of Titian. He lived to a great age. Vasari saw him 
 painting in 1566, when in Titian he said he could no longer see Titian : but 
 he was not aware of the decline of his powers, and took commissions to the 
 last. 
 
 The followers and imitators of Titian were numerous. Girolamo Dante 
 caught his master's skill of hand, if he failed to reach his spirit : Bonafazio 
 made it, in some of his pictures, a matter of doubt whether they were from 
 his hand or that of Titian. Lodovico Fumicelli approached him closely, both 
 in design and colour : Moretto painted women and children into his history 
 pieces in Titian's best manner ; and Pietro Rosa, his favourite pupil, ex- 
 celled in clear and vigorous colouring. The most distinguished, however, of 
 all who studied under Titian, was Jacopo Robusti, the son of a Venetian 
 dyer, and for that reason surnamed Tintoret. His genius, it is said, was 
 soon perceived by his master, who, in a fit of jealousy, forced him, by ex- 
 pelling him from his studio, to become eminent. This did not damp the 
 
THE VENETIAN SCHOOL. xlvli 
 
 ardour of one proud of heart : his circumstances were low : he retired to an 
 humble apartment, but wrote over the door, " Michel Angelo's design, and. 
 the colouring of Titian." Nor did he fall far behind his boast : he copied the 
 best pictures ; he studied nature for himself, and he made small models in 
 wax, and, by the light of a lamp, produced strong shades, which helped him 
 in the use of a bold chiaro-scuro. In the art which he thus mastered, he 
 united an imagination fertile in new ideas, and a grasp which seized the 
 boldest of human passions, and held them till his pencil expressed them on 
 the canvass. 
 
 The genius of Tintoret is classed, by Vasari, with the stern and the terrible j 
 and travellers assert that his works are of the highest order. The Miracle 
 of the Slave, painted in his thirty-sixth year, is accounted one of the wonders 
 of the Venetian School. The colours are those of Titian ; the light and shade 
 extremely strong, the composition accurate, and the figures animated with 
 mind. Of the like rank is his Supper of our Lord, and the Crucifixion, 
 which, along with other merits, is remarkable for exhibiting something striking 
 and new, on a subject which has found painters by the thousand. His 
 colouring, though deep and transparent, scarcely reaches the excellence of 
 Titian. In his composition he aims at the startling, and in his figures more 
 at the lively and the animated, than the grave and serene, where thought 
 resides. His pictorial fire was admired by Pietro da Cortona, but Paul 
 Veronese reproached him for working in every style, as if he desired to un- 
 settle the principles of Art, He had vast power and rapidity of pencil, and 
 triumphed in play of light, in difficult foreshortenings, in harmony and relief, 
 and in the beauty of his tints. His son, Domenico Tintoretto, followed in 
 his father's steps but with hesitation and trembling. 
 
 Bassano composed a style which, while it reflected much of Titian and 
 Tintoret, contained the rudiments of that manner known by the name of the 
 Flemish : his baptismal name was Jacopo da Ponte ; he came of a race of 
 painters ; his ambition was to strike out a style which, like that of Titian, 
 should carry his name with it. His conceptions are lofty; his genius varied 
 and popular. His Samson slaying the Philistines, partakes of the boldness 
 of Michel Angelo; and the Return of Jacob, and the Adoration of the Shep- 
 herds, are works of a high order. His altar-pieces are, in some instances, 
 sublime, particularly his Entombing of Christ ; St. Roche interceding with 
 the Virgin for People infected with the Plague ; the Offering of the Wise 
 Men ; and the Seizure of Christ in the Garden. He painted from nature, 
 and his daughters were his Queens, his Magdalens, or his Madonnas. His 
 colours every where shine like gems ; his greens have an emerald tinge peculiar 
 to himself, and some of his pictures are largely imbued with the sweetness of 
 Titian. He sometimes descended from the loftiness of scriptural compositions, 
 and painted fireside scenes of no common beauty. 
 
 While Venice was rendered famous by Titian and his companions, Verona 
 rose into distinction through the talents of Paulo Cagliari the Paul Veronese 
 of the Academies, and of all to whom high Art is dear. He was the son of 
 a sculptor, and was born in 1532 ; attached himself to the manner of Titian ; 
 neglected the antique for the study of nature ; and delighted in large com- 
 positions, where he had room to display the magnificence of his invention. 
 The History of Esther, in the church of St. Sebastian in Venice, was the 
 first work which intimated a genius of the first order. In his Apotheosis of 
 Venice, he let his imagination fully loose. That Sea-Cybele is seated as an 
 
xlvlli 
 
 MODERN PAINTING. 
 
 immortal, crowned by Glorj, celebrated by Fame and Honour ; Freedom and 
 Peace are her attendants ; while beneath this splendid group are bevies of beau- 
 tiful ladies, warriors riding to battle, and the grave and venerable seigniors of 
 that warlike republic. His devotional pieces are of the same dignity : the 
 Marriage of Cana ; St. Gregorio feasting the Poor 5 the Supper prepared by 
 Matthew for our Lord ; the Feast of Simon all bear the impress of a mas- 
 terly hand, and show that he could unite beauty with dignity, and delicacy 
 with passion. " Were it given me," said Guido, " to choose which painter I 
 would be, I should prefer Paul Veronese ; in others, every thing appears the 
 effect of art ; he alone seems all nature." In Venice we meet with several 
 of his pictures yet glowing with the peculiar grace he shed over them : a 
 remarkable specimen is seen in that belonging to the noble house of Pisani, 
 exhibiting the family of Darius presented to Alexander, which surprises as 
 much by its splendour as it aifects us by its expression : equal admiration 
 was, before its decay and restoration, bestowed on his Rape of Europa, which 
 he drew in various groups. In the first, she appears among her virgins, 
 caressing the animal, and desirous of being borne by him; in the second, she 
 is seen carried along, applauded by her companions, as she enjoys the scene, 
 riding on the shore ; in the third, she cleaves the sea in terror, lamented by 
 her train of virgins. Numerous Nymphs, Madonnas, Goddesses, and Muses, 
 came from his hand, all displaying varied beauty of form. The Marriage 
 of St. Catharine was his favourite picture ; it is in the collection of Pitti. 
 He died in 1588 ; and though Venetian Art did not die with him, it lost 
 much of its glory, and gradually went to decay. 
 
 The School op Mantua is the oldest of the Schools of Upper Italy, and 
 claims to be the mother of those of Modena and Parma ; it shows relics, 
 indeed, but no miracles of ancient painting, and boasts of Madonnas, and 
 Saints, and Angels, in common with the other schools of the land. Andrea 
 Mantegna, of Padua, seems to have been the first who brought true Art to 
 the place; his picture of Victory, and that of the Virgin extending her pro- 
 tecting mantle over Francesco Gonzaga, have been largely commended : 
 though painted in 1495, the lustre of the latter work is not at all impaired. 
 " Each separate head " these are the words of Lanzi " might serve as a 
 school, from its character and vivacity, and not a few from imitation of the 
 antique ; while the design, as well in its naked as in its clothed parts, ex- 
 presses a softness which sufficiently repels the too general opinion, that the 
 'stiff style' and that of Mantegna are much the same thing." His master- 
 piece and in this we follow the opinion of Vasari is the Triumph of Cassar, 
 represented in different pictures, which fell a prey to the Germans on the 
 sack of the city. 
 
 The style of Mantegna influenced that of his age, and imitations of it spread 
 beyond his school : the science of foreshortening, attributed to Melozio, was 
 improved by the sons of Andrea, and others of his scholars ; among whom, 
 Francesco Monsignori painted animals Avith such skiU, that it is said he im- 
 posed upon a real dog with a dog of his own making : he also excelled in 
 architectural delineations. But the School of Mantegna had to yield to one 
 which, it is said, excited the envy even of Rome the School of Julio Ro- 
 mano. Frederick, Duke of Mantua, a prince of an enlarged mind, prevailed 
 on the great painter to reside at his court, and employ his fine talents in 
 embellishing the city, and establishing a school of that high art which had 
 
SCHOOL OF MODENA. xlix 
 
 rendered Florence and Rome so famous. He first collected such ancient 
 marbles as time and barbarians had spared in Mantua, and, uniting with 
 them the best pictures he could find, and the best drawings which could be 
 made of the antique statues in Rome, as well as the works of Raphael, he 
 arranged them and illustrated them by historical and critical remarks. Nor 
 was this all : when he prepared the cartoons for the Battles of Troy, the 
 History of Lucretia, and the War of the Giants, he caused his disciples to 
 delineate them on the walls, while, with his own hand, he corrected the de- 
 fects, added new beauties, and impressed his own peculiar character on the 
 whole. By this mode he instructed his followers, lessened his own labours, 
 and rendered the story which he painted consistent and continuous. For 
 hardihood of design, his War of the Giants approaches Michel Angelo : he 
 treated of war with the ardour of Homer, and of love with the softness and 
 elegance of Anacreon. But Julio Romano could only instruct he was un- 
 able to create genius. The fame of his school, and the creations of his pencil, 
 were as a halo to the city : but Mantua, at that time, bore no men-children 
 who were destined either to lead or command ; neither the excellence of 
 Gliizi in design, of Camillo in landscape, nor of Clovio in miniature, could 
 keep the body living when the soul had fled ; and the school fell, as well as 
 rose, with the great Julio. 
 
 The School of Modena became eminent through the influence of the 
 fame and works of Raphael ; but it boasts of a very respectable antiquity in 
 Art, wholly its own, and can exhibit a list of pictures of Saints and Madonnas 
 beyond the year 1300. Some resemblance to Giotti and his school has been 
 seen, or imagined, in an altar-piece of 1377. Vasari, who seems to have 
 inquired anxiously, says, that in every age there were excellent artists in 
 that place. The most distinguished of those eai-lier children of Modena was 
 Antonio Begarelli, a sculptor, who had a fine air in his heads, and whose 
 models appeared so excellent to Michel Angelo, that he exclaimed, " If this 
 clay were to become marble, woe betide the ancient statues ! " But Pellegrino 
 was the first who brought true Art to his native town. His earliest work 
 was an altar-piece, which found admirers : he then went to Rome, where he 
 became the disciple of Raphael, and aided him in the immortal works of the 
 Vatican. On his return to Modena he painted the Nativity of the Virgin, 
 which adorns St. Paolo; a work imagined with much of the grandeur, and 
 executed with all the elegance of his sublime master. He died too soon 
 for his country : he was mui'dered in the streets of Modena, by the friends 
 of a young man who had fallen in a duel with one of his sons : this was in 
 1523. Alberto Fontano, and Nicolo dell Abate, sustained the eminence of 
 the school : the latter has been the theme of praise to poets and to critics ; 
 but the Avorks which he left behind him scarcely support his reputation. The 
 style of Corregio succeeded to that of Raphael, which, in its turn, gave way 
 to that of the Caracci : in the latter school, Schidone is said, by Malvasio, 
 to have studied, when he contended with the younger Abate. It is more 
 certain that he painted the story of Coriolanus, and a figure of St. Geminiano 
 restoring a boy to life, in which the presence of the styles of Corregio and 
 the Caracci are recognised. Pellegrino seems the only man of Modena whose 
 reputation was destined to reach the present times, save Schidone, who stu- 
 died Corregio, as well as the Caracci, and left works behind him which are 
 not readily to be forgotten. The painters of Modena distinguished themselves 
 
 d 
 
1 MODERN PAINTING. 
 
 in architecture, and were inventors of that artificial marble, which supplies 
 to lands that produce but rough freestone, the place of the more solid, but 
 scarcely more splendid material. 
 
 While other schools of Upper Italy had to invite great artists from a dis- 
 tance, to show them the way to eminence, that of Parma produced a master- 
 spirit of its own, to lead it into light ; but many a clumsy Saint and dull 
 Madonna had to be painted before the coming of Corregio. The first produc- 
 ' tion in which something like the dawn of Art appeared, was a Baptismal 
 Font, which displays, it is said, some taste in the composition as well as in 
 the draperies: this was painted in 1260. Bartolommeo Grossi wrought in 
 a better style, in 1460, and his history of San Antonio Martire still exists, 
 Lodovico da Parma, besides manufacturing Madonnas, painted scripture- 
 pieces; and Cristofore Caselli produced, in 1499, a painting for the Hall of 
 the Consorziah, which historians have pronounced beautiful : he is said to 
 have been the master of Parmegianino. The state of Art was low, however, 
 in Parma, in spite of the claims which have been made in favour of the fa- 
 mily of the Mazzuoli, when Antonio Allegri da Corregio, a youth, as well as 
 a stranger, was called in to paint, on the cupola of the cathedral, the As- 
 sumption of the Virgin." 
 
 This great and very original genius was bom in 1494 : his parents were 
 poor, and his education limited : we have no notice where or with whom he 
 studied : he saw neither the works of Michel Angelo, nor the marbles of 
 Greece, but rose up, no one knows how, except by the force of nature and 
 self-discipline, to an eminence which few have reached. Art found him poor, 
 and always kept him so ; and, so struck was Annibale Caracci with the mere 
 report of his low estate, that he bewailed it with tears : yet Lanzi has in- 
 geniously striven to remove the reproach of extreme poverty, by describing 
 the profuse way in which he lavished upon his pictures the most valuable 
 colours the finest lake and green, with a strong body, and repeated re- 
 touches. Of his early works there is little known with certainty : in his 
 native town of Corregio he painted a small altar-piece of wood, with a skill 
 which induced a duke of Modena to covet it : on one of the compartments 
 was delineated a Repose of the Holy Family during the flight to Egypt, which 
 seems to have been present to the mind of Sir Joshua Reynolds, when he 
 tried his pencil on a similar subject. This not one of the most perfect of 
 his works was surpassed when, with powers grown more towards man's 
 estate, he painted the Virgin adoring the Divine Infant ; yet this, also, is 
 wanting in that perfect taste which is found in the later compositions of 
 Corregio. His Taking of Christ in the Garden has been praised for its 
 natural beauty ; his Christ's Agony in the Garden has a central and super- 
 natural light, which haunts all who but once look on it : it is now in the 
 collection of the victor of Vittoria, who found it on the field of battle. 
 
 The Assumption of the Virgin, in the cathedral of Parma, seems to have 
 been painted for people either ignorant or brutal : the canons of the church 
 disliked the work, and paid with reluctance the price, which was but small, 
 in copper money, by way of insult. When Titian beheld this vast and sub- 
 lime work, one of the dignitaries told him it was unworthy of notice, and was 
 intended soon to be defaced. " Take care what you do !" he exclaimed ; " for, 
 were I not Titian, I would wish to be Corregio." In this wondrous picture 
 the artist has surpassed all but Michel Angelo and Raphael ; and, as they 
 
SCHOOL OF PARMA. ll 
 
 could not be surpassed, he has fairly equalled them. " In the background," 
 says Lanzi, " the figures of the Apostles appear expressing feelings of sur- 
 prise or piety : in the upper part is represented a crowd of happy spirits 
 yet distributed in the finest ordei* with a number of angels, some employed 
 in assisting the ascent of the Virgin, others singing and dancing, and the rest 
 engaged in celebrating the triumph with songs, and torches, and the scattering 
 of flowers. All the faces beam with beauty and triumph a halo gives light 
 to the whole." He did not, however, always paint for holy places in this 
 holy manner: the adventure of Leda he indeed painted with astonishing 
 beauty and decorum ; but, in working for the abbess of St. Paolo, he ne- 
 glected not to observe that the nuns lived without grates, and made use of 
 their eyes, and pleased them with a naked Juno hung (indecorously, though) 
 from heaven, as Homer describes, and naked gods, and nude vestals, unbe- 
 coming the cloister. 
 
 Mengs, in his estimate of Italian genius, gives the first place to Eaphael ; 
 the third to Titian; and bestows the second on Corregio. Antonio has, in- 
 deed, imagined an ideal beauty, with not so much of heaven in it as appears 
 in Raphael, but surpassing that of nature, yet not too lofty for our love ; for, 
 in every lineament and limb, it reminds us of loveliness we have seen or 
 fancied on earth. He is one of the most delightful of painters: Art seems 
 to strive with Nature, and Nature to contend with Art, which shall give the 
 most charms, or bestow the greatest glory, on his compositions. " Thou alone, 
 Corregio, pleasest me !" was the exclamation of Algarotti, when he beheld his 
 St. Jerome in the Academy of Parma. He is charged with incorrect ex- 
 pression in some of his contours ; and it has been said that he wants the 
 variety of Raphael. " His youthful and infantine heads, in particular," says 
 Lanzi, "are greatly celebrated; the faces beaming with so much nature and 
 simplicity, as to enchant, and to compel us, as it were, to smile as they smile. 
 His colouring is equal to the beauty and grace of his designs ; it has a clear- 
 ness and a brilliancy rarely to be seen in others : the objects appear as if 
 viewed through a glass; and towards evening, when other paintings begin 
 to fade, in the decay of light, his are to be seen in greater vividness, and 
 like phosphoric beams shining through the darkness of the air. His master- 
 ing quality and distinction, above all other artists, is his knowledge of lights 
 and shades." 
 
 But when the light of Corregio was withdrawn at the brightest, another 
 appeared in Parma, and one scarcely less brilliant. This was Francesco 
 Mazzuoli, commonly called Parmegianino : he studied under two of his uncles, 
 and hesitated, for a time, between their style and that of Corregio : but ho 
 had too much confidence in his own powers to work in the manner of another, 
 when he was capable of forming one of his own ; and this he achieved by 
 meeting with Julio Romano at Mantua, and Raphael at Rome, and, inspired 
 by their works and his own meditation, formed a style which the world has 
 pronounced original. His style is, indeed, noble and dignified, with few 
 figures and wonderful grace of manner such grace as made critics say, that 
 the spirit of Raphael had passed into him. Among his designs are to be seen 
 repeated specimens of the same figure, drawn for the evident purpose of 
 reaching, as Lanzi observes, the highest degree of grace in the person, the 
 attitudes, and in the lightness of his drapery, in which he is admirable. It 
 is asserted, that he sometimes carried his desire to excel so far as to border 
 on effeminacy; and that, in pursuit of the graceful, he selected proportions 
 
lii MODERN PAINTING. 
 
 somewliat too long, no less in respect of body than in fingers and throat, as 
 may be observed in his celebrated Madonna at the Pitti palace, which has 
 obtained the name of " long neck." His colouring has been well pronounced 
 moderate and modest, as if the artist feared, by too much brilliancy, to otfend 
 the eye. If grace alone would save a name from forgetfulness, Parmegianino 
 is safe : he has that almost to excess a fault so rare, that it amounts to a 
 merit : he has been accused of neglecting expression. 
 
 His works are scriptural, historical, and poetic : of the latter, the picture 
 of Love making his Bow and Arrows has been justly celebrated: at the feet 
 of the god are two cherubs, one laughing, the other weeping an allusion 
 which all can feel and understand. Some of his saints belong to the region 
 occupied by Raphael: his St. Margarita, at Bologna, was often visited by 
 the Caracci ; and Guido declared in a transport, that it excelled Raphael's 
 St. Cecilia. He too, like Corregio, was early withdrawn from the world; 
 but his place was, in some degree, supplied by his cousin and pupil, Girolamo 
 Mazzuoli : he excelled in perspective, and could boast of ease and harmony, 
 and fine light and shade, but his figures incline to the careless ; his grace, to 
 affectation ; and his action, to violence. But though Corregio and Parme- 
 gianino raised the School of Parma into eminence, and left clever disciples 
 and expert imitators, and although sustained, for a while, by the new spirit 
 of the Caracci, it grew gradually less and less brilliant, and ceased, at last, 
 to produce works capable of fixing the admiration of mankind. 
 
 The School of Cremona, according to the historians of Italian Art, 
 produced its pictured legends, and Saints, and Madonnas, as early as the 
 year 1213; but it first began to emerge into light when, in 1497, Melone 
 and Boccaciano, two Cremonese artists, were employed on the frieze of 
 the new cathedral. The former painted several histories of the Passion, 
 and an altar-piece representing Christ descending into Hell, in which the 
 figures are numerous, and the colouring soft and vigorous. His knowledge 
 of the naked figure is beyond that of his age, combined with a grace of fea- 
 tures and of attitudes, which convey the idea of a great master. Boccaciano 
 is the Mantegna of Cremona : he studied Perugino, and, though less 
 regular in his composition, and less beautiful in the air of his heads, he 
 has more spirit in his attitudes, and more variety in his colours : but his 
 figures are too robust, and seem loaded with their draperies. The works of 
 these men wore the character of the times, and they seldom deviated from 
 the public path of scriptural composition, or religious legend. They were 
 succeeded by Giulio Campi, and Camillo, the son of Boccaciano. Camillo 
 was the leading genius of the Cremonese School: his style, which he formed 
 for himself, was at once strong and beautiful : Lamozza pronounces him able 
 in design, and a noble colourist. His Raising of Lazarus, and the Woman 
 taken in Adultery, are less to his credit than the Four Evangelists, in 
 which he has, without any knowledge of the works of Corregio, wrought 
 in his style with much feeling and taste. Giulio Campi has been called 
 the Lodovico Caracci of this school : he studied under his father ; but 
 from Julio Romano he derived his dignity of design, and his knowledge of 
 anatomy ; his variety and fertility of ideas were his own, though Lanzi 
 doubts it. He caught not a little of the high spirit of Raphael in a visit to 
 Rome ; nor did he fail to be touched with the glow of Titian, whose 
 colouring he imitated. His style partakes of the manner of many different 
 
SCHOOL OP MILAN. 
 
 lui 
 
 artists : in his Pentecost we have the vigour of Julio Romano ; in his Saints 
 Pietro and Marcellino, there is much of Titian ; and in his Holy Family, 
 at Milan, there is all the natural grace and skill required in a happy 
 imitator of Corregio. Two brothers and a nephew of this artist rose to 
 eminence in Cremona : of the latter it is said that he was the most timid, 
 but most correct of the name ; that he had not the magnificence of Julio 
 Romano, but more of ideal beauty, and of that nameless charm which cap- 
 tivates the heart. 
 
 Had the Campi united, they might have formed a lasting school ; but 
 they lived asunder ; each maintained a separate academy, and taught their 
 disciples rather how to imitate them individually, than the united excellence 
 of them all, as was taught by the Caracci : hence it arose, that while the 
 disciples of the latter distinguished themselves, as Guido and Guercino did, 
 by the novelty and originaUty of their manner, the students of Cremona 
 restricted themselves to the imitation of their several masters ; and, as their 
 range of observation was limited, so has been their fame. One of the most 
 remarkable of their disciples was Battista Trotti, who contended in Art with 
 Agostino Caracci, and executed works of great loveliness in the heads, and 
 of a graceful roundness in the figures : he is accused of want of variety in 
 design, and of a certain harshness, which the critics of Cremona have striven 
 to extenuate. After the death of Trotti, the school began to decline, and, 
 to give vigour to its exhausted powers, sought in foreign artists what it 
 could not pi'oduce for itself. The name of Cremona, like an expiring war- 
 cry, was heard once more in the land ; but the sound was faint, and soon 
 ceased. 
 
 The School of Milan can produce, like all others, its list of early artists, 
 and enumerate the processions of saints, the choirs of cherubs, and the Ma- 
 donnas, which they painted ; but the first who united sentiment to shape 
 seems to have been Vincenzio Foppa, who flourished about the year 1407, 
 and distinguished himself so highly, that Ridolfi calls him the real founder 
 of the Milanese School. Some of his works still exist, which, for the design 
 of the figures, the natural air of the heads, and the arrangement of the 
 draperies, are very commendable. When Bramante arrived at Milan, the 
 fame of his genius in architecture accompanied him, and made him resolve 
 to abandon the pencil. His paintings are yet to be found in the land : his 
 proportions are square, his countenances full, the heads of his old men 
 grand, and his colouring lively. His masterpiece is a St. Sebastiano, in 
 which scarcely a trace of the style of the fourteenth century is visible. One 
 of his pupils, Bartolommeo Suardi, painted with such skill as deceived the 
 eyes of animals ; but he had higher merit he painted a Dead Christ, the 
 legs of which, from whatever point they are viewed, are seen with equal 
 advantage an illusion of which he was, as Lanzi asserts, the inventor. 
 
 In the pictures and they were mostly of a devotional kind which Do- 
 nato Montorfano painted, a peculiar clearness has been observed in the 
 features, as well as natural ease in his attitudes: there is a delicate air, and 
 sometimes an earnest sentiment, in the heads. But the impulse given by 
 the presence of Leonardo da Vinci to the Milanese School was of a more 
 poetic order than it had yet received : he was unsurpassed in the grand eiFect 
 of his chiaro-scuro ; he instructed his pupils to regard light as a gem not to 
 lavish it too freely, but reserve it always for the best place : hence we find, 
 
liv MODERN PAINTING. 
 
 in the works of his disciples, that fine relief which makes the figures seem 
 to start from the canvass. He was the first who taught the art, which few 
 can reach, of being at once minute and sublime. " He was not satisfied," 
 says Lanzi, " with only perfecting the heads, counterfeiting the shining of 
 the eyes, the pores of the skin, the curls of the hair, and the beating of the 
 arteries ; he likewise displayed each separate garment, and every accessory, 
 with minuteness." He led the way to an enlarged and dignified style to 
 the source and nature of expression, the most philosophical and elevated 
 branch of the art and prepared the world for Raphael. 
 
 The disciples of Da Vinci learned from their master that dramatic unity 
 of action, which is a great charm in historic composition : the faces of their 
 figures became oval, their lips smiling, their outlines true, though inclining 
 to the dry, and their colouring temperate. Cesar da Sesto painted the head 
 of an old man in the Da Vinci manner with a force and truth which sur- 
 prised the beholder : he was long esteemed as a model in design, in attitude, 
 and in the art of employing his lights. His works are from scripture story, 
 and the legends of the church. He was content, it is said, with making oc- 
 casional efforts in the grand style of which he was master. Andrea Salai, 
 and Marco Uglone stand next in eminence among Da Vinci's immediate 
 disciples : the former wrought out with taste and feeling some of the divine 
 conceptions of his master ; and the latter, who had surprising variety and 
 spirit in his compositions, added an expression to which few Lombard 
 painters attained. He aimed, in his figures, at elegance of proportion : in 
 Pavia he copied the Last Supper of Leonardo with a skill which lessens, in 
 some degree, our regret for the fate of the original. But Da Vinci's last, 
 and some say his most successful imitator, was Bernardo da Luino : he 
 approached his master, both in design and colouring, and, out of Milan, 
 some of Luino's pieces passed for his. His heads seem to live ; their looks 
 and motions seem to expect a reply. In his Christ Scourged, the counte- 
 nance is full of humility and piety; all that he painted was consistent with 
 history or belief: ancient times were not permitted to shake hands with 
 later, as we see in too many pictures. 
 
 Gaudenzio Ferrari, commonly known as Gaudenzio Milanese, is said to 
 have departed from the Da Vinci style, and wrought in the more antique 
 spirit of Foppa : his reason for this has not been told : when he had studied 
 with Raphael and Julio Romano, the old dry manner in a great measure for- 
 sook him, yet still enough was left to give a harsh air to his figures, and 
 recall the memory of departed barbarism. He was, in spite of these defects, 
 a great artist. " He appears" these are the words of Lanzi " truly un- 
 equalled in his expression of divine majesty, the mysteries of religion, and 
 all the feelings of piety." He excelled in strong expression ; he avoided 
 excess of muscular power ; his attitudes were, as Vasari assures us, wild 
 and terrible wherever the terrible and the wild were required. In the 
 pictures of Lomazzo, who aimed at originality, we always discover original 
 traits ; he makes the infant Christ put the keys, in a playful way, into the 
 hands of St. Peter ; in his Sacrifice of Melchisedec he introduces a combat 
 in the distance, with perfect historic propriety ; but he sometimes mingled 
 the sacred with the burlesque, and may be accused of overloading his sub- 
 jects. Foreign artists, as native painters of note grew scarce, flocked into 
 Milan : of these, the Campi, and the Semini, and the Procaccini, introduced 
 new styles, and instructed many scholars : but in spite of the example of 
 
SCHOOL OF BOLOGNA. Iv 
 
 Camillo, Giulio Cesare, and Carlo Antonio, of the race and school of the 
 Procaccini, Art began to languish. It is true that the rare genius of Danielo 
 Crespi endeavoured to revive the glory of his native place. His colouring 
 is powerful ; his expression true ; his taste in selection pure : in the Church 
 of La Passione, where he painted his Grand Descent from the Cross, he 
 left some portraits of distinguished cardinals, composed in the best Titian 
 manner. His last pieces, consisting of Acts from the Life of St. Brunone, 
 at Milan, are, of all his works, the most admired. That of Parigino is par- 
 ticularly celebrated, in which, rising from the bier, he declares his state of 
 reprobation. " What desperation," says Lanzi, " he exhibits ! what horror 
 in the faces of the beholders! " Crespi died at the age of forty, in the year 
 1630, a victim to the plague; and with him we may close the page of 
 painting in Milan. 
 
 The Bolognese School claims to itself the artist Oderigo, who was 
 found by Dante in Purgatory, in the year 1300; but Franco, who approached 
 at a respectable distance Giotti of Florence, seems to be the first who left 
 any memorial of his powers, viz., the Virgin seated on a Throne, bearing 
 date 1313. An unknown artist, with a happier hand, left some scripture 
 pieces in the Madonna di Mezzaratta, displaying a fancy, fire, and style of 
 colouring which attracted the notice of Michel Angelo and the Caracci. 
 Jacopo Aranzi followed, and excelled in representing deeds of arms and acts 
 of a heroic kind : he wrought in the style of Giotti. Lippo di Dalmasio 
 painted Madonnas with a genius which Guido Rcni never ceased to admire. 
 " Lippo must have been aided," he used to say, " by some supernatural 
 hand, for he has excelled all the moderns in the majesty, sanctity, and sweet- 
 ness of the Virgin Mother." He painted the History of Elias in fresco with 
 great spirit. This was in 1409, after which period the school began to 
 decline through an influx of pictures from Constantinople, overcharged 
 with dark lines in the contours and folds, and as rigid and dry as mosaic 
 work. But a truer style was introduced by Marco Zoppo, who studied in 
 the Venetian School; and this was carried into excellence by Francesco 
 Francia, This great artist was born at Bologna in 1450: he was, till middle 
 age, a medallist; and the fame of his heads induced him to extend his skill 
 to larger compositions. Of these, his Madonnas made Raphael say that he 
 never beheld any more beautiful, more devotional in their expression, or 
 more finely composed, by any artist. His style partakes of Perugino's 
 choiceness and tone of colours, and of the fulness of outline and flow of 
 drapery of Bellini. In the composition of his pictures he sometimes takes 
 the infant Christ from the bosom of the Virgin, and puts him under the care 
 of a saint or an angel, on a distinct ground. His fame was so high, that, 
 on Raphael sending his Saint Cecilia to Bologna, he entreated Francia, if he 
 perceived any error in it, to correct it. This occurred in 1518; though Vasari 
 makes the Bolognese artist expire, from excess of passion, on beholding that 
 grand work, Malvasia proves that he died long afterwards, in a good old age. 
 He was equalled, some say surpassed, by his son Giacomo, who painted the 
 Nativity of our Lord, more soft in point of design, but with features less 
 beautiful, and in attitudes bordering on extravagance. In the progress of 
 study he acquired a manner more easy and free: his heads are animated, but 
 less select, less studied, and less beautiful than those of his father. 
 
 The School of the Francias produced several scholars, but they were sur- 
 
Ivi MODERN PAINTING. 
 
 passed by those artists who studied under other masters. Of these, Fran- 
 cesco Primaticcio, who completed his education under Julio Romano, car- 
 ried his talents to the court of France, where with Rosso the Florentine he 
 introduced Roman Art into that country with all the beau-ideal of ancient 
 painting and sculpture. In his forms, his motions, and his colouring, he is 
 easy and chaste; and some of his female figures have been called " altogether 
 enchanting." A painter of higher merit, namely, Pellegrino Tibaldi, though 
 born in the Milanese, learned all by which he became distinguished in 
 Bologna: he was the son of a mason; a love of Art came early upon him; his 
 style was formed on that of Michel Angelo, and was vast, and bold, and cor- 
 rect, and tempered with a softness which induced the Caracci to call him the 
 reformed Michel. His pictures from the Odyssey are the most perfect, in 
 Vasari's opinion, of his works; others prefer his Hercules the Monster-slayer, 
 where he approaches the terrible Michel without imitating him; while his 
 Entrance of Trajan into Ancona, and the Exploits of Scipio, are said by 
 Lanzi to be conceived in a more refined and graceful taste than is common 
 with Tibaldi. These are large compositions; but some of his pictures on a 
 small scale are wrought with all the exquisite finish of a miniaturist, and full 
 of a fine spirit, and vivid in their colouring. He was an accomplished engi- 
 neer, and a favourite with the Spanish Philip the Second, in whose court he 
 resided more than twenty years. 
 
 "While these distinguished painters were employed abroad, the School of 
 Bologna was not destitute of genius : Lorenzo Sabbatini became one of the 
 most graceful and delicate painters of the age; his pictures of a devotional 
 character have been taken by critics for the works of Raphael: he was 
 copious in conception, master of the subjects which he selected, and rapid in 
 execution. He excelled in Allegory, and his picture of Faith confounding 
 Infidelity, has had many admirers, both for the choice of subject and the skill 
 of the execution. His friend Orazio Samacchino followed his steps : in his 
 picture of the Purification there is a majestic yet tender expression of piety, 
 in the leading group ; while the infant figures conversing near the altar, and 
 the girl holding a basket with two doves, on which she is gazing, please us 
 with their mingled simplicity and grace. His saints and his prophets par- 
 take of the grand and the sublime in sentiment : he delighted in lofty com- 
 positions, and loved the daring. 
 
 But the fame of the Bolognese School was not yet at its height. The three 
 Caracci came to elevate it into a region of thought too lofty for other spirits 
 than those of the Florentine and Roman Schools. Lodovico, the eldest of 
 these illustrious men, was pronounced by his masters, Fontana and Tintoret, 
 to be too inactive of intellect to become a great painter; and, so little did his 
 fellow students understand his genius, that they called him " The Ox," because 
 he was, in their minds, slow and heavy; but he was, all the while, conscious 
 of his own merit: neither harsh taunts nor injurious opinions discouraged 
 him. While the other students blindly followed in the train of those who 
 had gone before them, and lay like slaves chained at the footstools of the 
 Romanes or the Titians, Lodovico went to nature, and studied her both in 
 shape and sentiment, with such ardour and success, that he was, in time, 
 prepared to challenge the opinion of the world, by a style of composition as 
 natural as it was new. He did not, however, wholly rely on his own fivncy, 
 or trust to nature alone : at Rome, and at Florence, he devoted himself to 
 study the excellence which he perceived in Corregio and Parmeglanino; ai>d, 
 
SCHOOL OF BOLOGNA. - ^ Ivii 
 
 having corrected his own notions, and confirmed his own views, he resolved 
 to return, and teach the artists of Bologna that a new master in Art had 
 appeared. 
 
 To accomplish this, he had been silently preparing his two cousins, An- 
 nibale and Agostino Caracci, to aid and assist him. These men, with souls 
 which sympathized with all that was beautiful in Art, were of very different 
 dispositions: Agostino was a fine scholar, and a poet; his manners were re- 
 fined, and his wit was polislied: Annibale considered that to read and write 
 was sufficient for Art, and neglected letters; he was blunt and morose, and, 
 when compelled to speak, his tone was contemptuous and satirical. The 
 firm temper and agreeable manners of Lodovico kept the turbulent Annibale 
 in awe, and enabled him to direct the different powers of each into one course, 
 and thus form a school of their own, which was destined to bear their name, 
 and render it famous over the earth. They were of humble origin, and at 
 first had to hold a twofold contest, both with prejudice and fortune. Their 
 first work was the History of Jason : it was regarded with scorn by the elder 
 brethren of the easel men commended by poets, and adorned with medals: 
 their next work, the History of ^neas, divided, like Virgil's Epic, into twelve 
 parts, and full of elegance and poetry, found more to praise, and fewer to 
 censure it; but, not content with this, they continued to produce, with astonish- 
 ing rapidity, great works, all vigour and truth, and to which the artists who 
 censured them could only oppose a visible feebleness and languor. Having 
 triumphed, as true genius should always triumph, the Caracci established an 
 academy of painting, and supplied it with casts of Grecian statues, designs 
 from the highest masters, and prints from the noblest pictures: they introduced, 
 too, the study of anatomy and the naked figure, and every requisite for high 
 Art. The value of such an establishment was soon seen, and the worth of 
 such instructors felt. Guido, Domenichino, and Albano, entered the studios 
 of the Caracci. When their histories in the grand hall of Magnani were 
 displayed, the whisperings of censurers ceased: Cesi said he would become 
 a disciple of their school; Fontana lamented that he was too gray-headed to 
 profit by it as he wished; but Calvart, an impetuous man, could not be mute 
 he murmured his disapprobation. The maxims of the School of the Caracci 
 are recorded in a sonnet by Agostino. " Let those," he said, " who desire 
 fame, keep ever in their mind the design of the Roman School: remember 
 Venetian action, and light and shade; never weary in imitating the colouring 
 of Lombardy; kindle at the fires of the terrible Michel; seize Titian's living 
 truth, Corregio's pure and crowning graces; aspire to the heavenly symmetry 
 of Raphael, and Tibaldi's solid sense; and neglect not to add Primaticcio's 
 learned thought, and Parmegianino's graceful SAveetness." 
 
 Lodovico had less fire than either of his cousins, but he excelled them in 
 grace and grandeur; in scripture works he was particularly great, and his 
 Madonnas have a wonderful sweetness : simplicity and elegance distinguish 
 all his compositions ; his touch is lively, and his expression lofty. His breadth 
 of light and shadow, the simplicity of his colouring, and the solemn effect of 
 that twilight, which seems diffused over his pictures, have been commended 
 by Reynolds. He died in 1619. Annibale had more fire, more boldness and 
 singularity of thought : his designs were more profound, his expression more 
 lively, and his execution firmer : he inclined more to profane and poetic sub- 
 jects, than to the sacred ; yet his Birth of the Virgin is beautiful, and his 
 Descent from the Cross very pathetic: he died in 1609. The pictures of 
 
Iviii MODEEN PAINTING. 
 
 Agostino are rare, for his time was much occupied in delivering lectures, and 
 in engraving ; one of the most celebrated of his pictures is the Communion 
 of St. Jerome : the style is great, the draperies are broad and elegant, and in 
 the heads there is a noble character. He was not lavish of his figures : twelve 
 he reckoned sufficient for any historical piece; and even in battles he was 
 frugal. In colouring he inclined to Tintoret ; Annibale to Corregio ; and 
 Lodovico to Titian. His picture of Poetry, in the Farnese gallery, and his 
 Cephalus and Galatea, seem conceived by a poet, and painted by an artist 
 of ancient Greece: he died in 1602. " The three Caracci," says Lanzi, " may 
 be almost said to define the boundaries of the golden age of painting in Italy. 
 They are her last sovereign masters." 
 
 Domenico Zampieri, otherwise Domenichino, is esteemed as the noblest 
 pupil of the Caracci. He was an enthusiast in Art : he shunned all society 
 at a time of life when others seek it, and devoted himself to study ; or, if 
 he now and then entered the market-place or the theatre, it was in order 
 that he might observe the passions of the people ; and in this school of 
 nature he acquired, says Bellori, that power in delineating the human soul, 
 in colouring like life, and raising those emotions with his pencil which are 
 awakened by the poetic wands of those enchanters, Tasso and Ariosto. His 
 style of painting is almost theatrical ; he in general lays the scene amid a 
 splendid architecture, which gives a character of reality to his compositions ; 
 and there he produces his actors: his forms are selected from the finest 
 models which nature, corrected by scientific art, can supply. He expresses 
 the virtues or the vices with equal truth and vivacity: the former have looks 
 sweet, sincere, and generous, and inspire love of the good ; the latter create, 
 with their guilty features, an aversion to vice. Even the light of his pic- 
 tures helps on their stories ; it brightens on the good, and darkens on the 
 bad. His Scourging of St. Andrew, his Communion of St. Jerome, and 
 the Martyrdom of St. Agnes, are productions of a high order. " In these 
 paintings one great attraction consists," says Lanzi, " in the glory of the 
 angels, exquisitely beautiful in feature, full of lively action, and so intro- 
 duced as to perform the most gracious offices in the pieces the crowning of 
 martyrs, the bearing of palms, the scattering of roses, and the waking of 
 sweet melodies." Yet, with all his merit, and the visible beauty of his works, 
 Domenichino was, for a time, decried to such a degree, that he was destitute 
 of commissions, and had thoughts of commencing sculptor : the spirit of party 
 passed away, and he at last took his place among the masters. 
 
 Francesco Albani aimed at the same object in Art as Domenichino, and 
 shared in his taste for select design, and in his powers of pathos : his female 
 forms, so natural and elegant, procured him the name of the Anacreon of 
 painting ; and, as the poet loved short odes, so he loved little agreeable points 
 in poetry or history, which required but one or two delicate and graceful 
 actors. His favourite themes were Venus in Slumber, Diana in the Stream, 
 Danae on her Couch, Galatea in the Sea, and Cupid Pointing or Tempering 
 his Darts. But by many, Guido, born at Bologna in 1574, is esteemed the 
 great genius of the school : he excited, from the first, it is said, both the 
 wonder and jealousy of the Caracci ; for they saw his rare genius for Art, 
 and his desire for high distinction. He studied Albert Durei', imitated the 
 Caracci, and aimed at giving relief, as well as accuracy, to the muscles. He 
 founded his style on one of the sayings of Annibale Caracci, who, pointing to 
 a picture by Caravaggio, said, " To that manner might be opposed one wholly 
 
SCHOOL OF FEEEARA. lix 
 
 contrary: in place of a confined and declining light, to exhibit one more full 
 and vivid ; to substitute the tender for the bold ; oppose clear outlines to his 
 indistinct ones; and introduce, for his low and common figures, those of a 
 more select and beautiful kind." The impression which these words made 
 were soon visible in his pictures. 
 
 Sweetness was the charm which Guide sought, and he sought it in com- 
 position as well as in colouring: he perceived, too, that ease was necessary 
 to obtain this; and that both sweetness and ease required beauty of form, and 
 serenity of sentiment. In grace he surpassed all others, and drew, as Passeri 
 says, faces of Paradise. His Fortune, his Aurora, his Helen, his Herodias, 
 and his Magdalen, are still regarded as wonders : the power of beauty he 
 sought in nature, in his own sense of loveliness, in the works of Raphael, 
 and the marbles of ancient Greece. To Guide the Medicean Venus was an 
 inspiration, and he never looked on the works of Paolo Veronese without 
 emotion : he aimed less at copying beautiful faces, from either art or nature, 
 than at stamping on the canvass those visions of ideal beauty which were 
 ever and anon presenting themselves to his mind. One of his pupils in- 
 quired in what part of heaven existed the beauteous features which he drew; 
 he pointed to the heads of the gods and goddesses of Greece, and said, " You 
 will find them there, if your skill is equal to the task." The variety of his 
 beauty is not more remarkable than the upward look which he loved to give 
 his countenances, increasing and fixing the sentiment by his artful confusion 
 of the headgear, and a certain disorder of the tresses. He died in his 
 native place in 1642 : his chief pupils were Semeneza and Gessi : the former 
 had learning and vigour ; the latter had spirit and rapidity. 
 
 Giovanni Francesco Barbieri, better known as Guercino, though born out 
 of the district, is included among the artists of Bologna, from a rumour that 
 he studied under the influence of the style of the Caracci, though his earliest 
 manner seems to incline to Caravaggio ; and, even in his second and best, 
 he loved, like that great artist, to obscure the outlines, not from ignorance, 
 but a desire of despatch. Ilis heads have graceful turns, his figures easy 
 attitudes, and his colouring is sound and juicy ; but he has been accused of 
 never reaching pure elegance or high dignity, either in shape or sentiment. 
 " Often," says Lanzi, who is fond of saying pretty things, " in comparing the 
 figures of Guido with Guercino's, one would say that the former had been 
 fed with roses, and the latter with flesh." Lionello Spada succeeded, and 
 became one of the leaders of the school : he claimed the honour of introducing 
 a new style, well studied in the naked parts, natural in colour, with good 
 relief in light and shade ; but too ruddy in the shadows, and often too start- 
 ling in design. He loved to paint the Death of John the Baptist, and Holy 
 Families, with heads fuller of expression than of beauty. Lorenzo Garbrieri 
 emulated Guido, whom he desired to humble : he abounded in ideas wild and 
 mournful ; and had both grandeur of form and vigour of expression. The spirit 
 of Lucio Massari was festive and joyous ; his works are in a happy vein, and 
 breathe of cheerfulness : his style resembles that of Annibale Caracci. Yet 
 he did not hesitate to paint subjects of a pathetic or tragic kind ; and he was 
 qualified to excel in them : his Slaughter of the Innocents, and his Fall of 
 Christ, show high feeling and pictoric fire. But though in these and other 
 artists the lights of the Caracci still shone, it was with a declining lustre 
 darkening, like day, as the sun descends. 
 
Ix MODEEN PAINTING. 
 
 Febrara acquired a fame far beyond what could be hoped from its limited 
 power and population : influenced by such poets as Boiardo and Ariosto, it 
 displayed a genius fervid and inventive, and established a school, which took 
 an honourable place beside those of higher, though not haughtier states. The 
 first of Ferrara's recorded works illustrates her poetic character. In 1240 
 Gelasio di Niccolo painted the fall of Phaeton, for the first lord of Ferrara ; 
 and, for its bishop, an Image of our Lady, and an Ensign of St. George. 
 From a visit of Giotti, too, Art may be supposed to have received some ad- 
 vantages ; but all the earlier paintings have perished, and a barren roll of 
 names alone connects antiquity with the year 1400, when Galasso Galassi 
 flourished. His woi'ks consist of a History of the Passion : the heads are 
 well studied for that period, and the beards and hair have a more natural 
 wave than customary in the old church pictures. " He produced some altar- 
 pieces, which boast," says Crespi, " a depth of colouring combined with archi- 
 tecture ; countenances and drapery not ill designed." He was living in 
 1450, when Antonio da Ferrara, and other painters, wrought for the state 
 or the church, and were admired to be forgotten, like Cosimo Tura, court 
 painter in the time of Borso d'Este, whose style was dry and mean ; or 
 Stefano da Ferrara, who is recorded by Vasari as an artist of a higher degree : 
 he painted the Miracles of St. Antonio, and an altar-piece in the Church of 
 the Madonnina. in a manner approaching the easy and natural. To these 
 names may be added that of Lorenzo Costa, who is said to have studied his 
 works with much care, and left disciples, all excellent designers and good 
 colourists. Of these, Ercole da Ferrara was the most celebrated, whose 
 Death of the Virgin, and Crucifixion of Christ, " display," according to 
 Vasari, " a novelty in the draperies a knowledge of foreshortening an 
 expression of passionate grief such as can scarcely be conceived." 
 
 But the most flourishing times of the Ferrara School were those of the 
 two Dossi and Benvenuto da Garofalo, whose talents were employed by 
 Alfonso d'Este, the patron of Titian and Ariosto. Dosso Dossi and Giovanni 
 Battista Dossi were born at Dosso, near Ferrara, and were disciples of Costa: 
 they were ten years at Rome, and resided four years in Venice, where they 
 studied the best masters, and, for subsistence, drew portraits from the life. 
 The latter was of a moderate genius, and of a nature spiteful and malevolent; 
 the former excelled in drawing and in design, and was of a nature candid 
 and open ; both were esteemed by Ariosto, who has immortalized them in his na- 
 tional poem ; for this, the elder made an agreeable return, by drawing the great 
 poet's portrait. The most remarkable of Dosso's works are his Four Doctors 
 of the Church, St John in Patmos, and Christ Disputing among the Doctors; 
 the head of St John is regarded as a masterpiece in expression ; and, in the 
 latter picture, the attitudes of the doctors express their surprise at the divine 
 sentiments of Jesus. " He has," says Lanzi, " the gracefulness, the tints, 
 and chiaro-scuro of a great master." Garofalo was born in 1481: he re- 
 ceived instructions from Panetti, and afterwards studied at Rome with 
 Raphael, who esteemed him so much, that he wished him to abide and per- 
 fect himself in Art ; but he listened to the solicitations of Duke Alfonso, and 
 returned to Ferrara, where he painted the Slaughter of the Innocents, from 
 clay models, real draperies, and living figures. He soon afterwards painted 
 the Resurrection of Lazarus, and, more celebrated still, his Taking of Christ: 
 these three great woi'ks were all finished before the year 1524, and no higher 
 productions came afterwards from his pencil: they exhibit, in a certain stiff- 
 
SCHOOL OF FERRARA. Ixi 
 
 ness of design, some remains of the fourteenth century ; but they are finely 
 composed, full of animation, and as softly as they are carefully coloured. 
 His St. Peter Martyr is admired for its force; his Helen for gracefulness 
 and ease; and his Madonnas for an air of that heavenly kind which men 
 say is found only in Raphael, though more or less visible in all who excelled 
 in representing the Virgin divinity. The eminence of the School of Ferrara 
 was also well sustained by Girolamo de Carpi, who took lessons from Garo- 
 falo, and who, it is said, w^as inspired in Art by a picture from the hand of 
 Corregio; though others assert that he loved Parmegianino more, and de- 
 rived from him his gracefully classed and fringed garments, and the air of 
 his heads. He wrought both for church and state : of works for the former, 
 he executed a Madonna and several Saints, full of grace, and partaking of 
 the Florentine and Roman manner: the Pentecost and the St. Antonio are 
 esteemed for the variety of their beauty : of works for the latter, we may 
 name the Sixteen Princes of Este : he loved the graceful and tender subjects 
 of poetry and history ; and, in his style of embellishing his pictures with 
 feigned bassi-relievi, he had no successors. He died in 1577. 
 
 While Garofalo and Girolamo were displaying the attractions of the Art, 
 a young man of the School of Michel Angelo appeared, who aspired after 
 the bold and the terrible a character all but new to Ferrara : this was Bas- 
 tiano Filippi. His first attempts were rude and uncouth, till, animated by 
 the genius of Michel, he was enabled to execute a Last Judgment, which 
 rises, it is said, nearer to the sublime art of his great master, than any work 
 Avhich the school can boast of. It displays grand design, great variety of 
 character, fine grouping, and that grand repose, which, in scenes of sorrow 
 and pain, the sculptors of Greece seem only to have known. He resembled 
 Michel too in other matters than sublimity ; he allowed his personal feelings 
 to mingle in his pictures: he flattered those he loved, by placing them with 
 the righteous, and satirized those he hated, by ranking them with the damn- 
 ed : nay, more, among the latter he limned a lady who had failed in her 
 vows to him, and, among the former, he pictured one who had been faithful, 
 and who regards the faithless one with looks of scorn. He was more care- 
 less than becomes a great painter. In a more pleasing spirit wrought Ippolito 
 Scarsellino, who, from his admiration as well as study of Paulo Veronese, 
 has been called the Paul of Ferrara. His style, though derived from that 
 source, presents such a diiFerence as a master-mind will bestow even in the 
 art of imitation; and his works are the offspring of an intellect well grounded 
 in the theory of the Art of a gay and animated fancy, and of a hand, though 
 unequal, always spirited and rapid. He seems, like other artists of high 
 name, to have seldom courted the merit of originality by a newness of sub- 
 ject: he contented himself with John the Baptists, Pentecosts, Annunciations, 
 Assumptions, and Marriages of Cana, and that class of scriptural pictures 
 on which the pencils of greater artists had performed their enchantments, 
 leaving little for lesser minds to do, than to make a scale by which to measure 
 their own inferiority. The year 1597 brought a change upon Ferrara : the 
 long reign of the Esti closed, and with them, much that was grand in the 
 School of Painting which they fostered, ceased. The followers of the Caracci 
 endeavoured to renovate the decaying grandeur of Art, and they succeeded 
 for a time ; but the vigorous beat of the native pulse had become faint, and 
 the infusion of the foreign blood served only to keep a body living, which 
 was unable to speak or walk. 
 
Ixii MODERN PAINTING. 
 
 The School op Genoa, though named last, can scarcely be called least 
 of the ancient Schools of Italy : it was late, indeed, in becoming eminent, 
 which is the more remarkable, since it was in the field with works as early 
 as the year 1101. The first name in the list of its artists is later. On the 
 edge of a painting of the Virgin, between two angels, there is written, 
 " Franciscus de Oberto, 1368." The style has nothing Giottesque in it ; the 
 artist's name fails to localize itself ; which cannot, it seems, be said of Isolo 
 d'Cybo the monk, a poet, historian, and artist, who loved to paint birds and 
 fish, ships and cities : the same may be said for Voltri, whose altar-pieces 
 were extant in the days of Soprani, who praises them without particularizing 
 their merits : but a native of Niza, Lodovico Brea, is regarded as the true 
 founder of the School of Genoa : he flourished from 1485 to 1513; his works 
 are numerous, and of a historic kind ; they are remarkable for the beauty 
 of the heads and vividness of the colouring ; they seem to belong to no known 
 school. His originality was inherited by two of his disciples, named Antonio 
 Semine, and Teramo Piaggia, who had for their patron the munificent Doge 
 Ottaviano Fregoso: they wrought conjointly, and inscribed both their names 
 on the works which they painted ; and in their Martyrdom of St. Andrew 
 they introduced both their own portraits. Brea's style may be traced, it is 
 said, in that still beautiful work ; but it is Brea's style purified, and rendered 
 correct and graceful. " There is a clearness," says Lanzi, " in the counte- 
 nances, which rivets attention an union of colouring that attracts." 
 
 While Art was thus advancing, the storming of Rome by the Constable 
 Bourbon scattered the School of Raphael, and drove Perino del Vaga to seek 
 shelter in Genoa, where he arrived in 1528, in a state of distress ; he was 
 welcomed by Prince Doria, who employed him to embellish his magnificent 
 palace; and this high task he executed with such skill and success, as to 
 make it doubtful, say the historians of Italian Art, whether Perino in Genoa, 
 or Julio in Mantua, have best sustained the style of Raphael. " In the War 
 of the Giants against the Gods," observes Lanzi, " we seem to behold in con- 
 flict the same persons whom Raphael has represented as banqueting in the 
 Casa Chigi. If the expression be not so noble, the grace so rare, it is because 
 that grand specimen of Art may be emulated by many, but excelled by none. 
 It may be added, that Perino's style is less finished than his master's, and 
 that in his drawing of the naked figure, he, like Julio, partakes of the style 
 of Michel Angelo." It must be mentioned, to the discredit of this artist, that 
 when he had made his designs, he gave them to his pupils to execute, and 
 seems not to have superintended or retouched them. He, however, raised 
 the art by his own labours as well as example ; and it is honourable to Genoa, 
 that many of its learned men studied painting which seems to account for 
 the true historic costume and character in the national pictures. 
 
 One of the first scholars of Perino was Lazzaro Calvi, who, associating 
 his elder bi'other, Pantaleo, in his studies, produced several historical com- 
 positions in colours and chiaro-scuro, of the best style: he was, however, 
 conceited and extravagant, and, worse still, he endeavoured to lessen the re- 
 putation of artists whom he was unable to excel: this was but too visible, 
 when he painted the Birth of St. John, in opposition to Luca Cambiaso : his 
 picture was a noble work, but he failed to crush his rival, whose productions 
 attracted the notice of Prince Doria, who employed Cambiaso to paint a 
 work for him in the Church of St. Matteo. This so exasperated Calvi, that 
 he threw down his pencil, nor lifted it again for twenty years. Meanwhile 
 
SCHOOL OE GENOA. Ixiii 
 
 Luca, who refused to seek instruction out of his native country, or frequent 
 any other school but the studio of his father, continued to keep the attention 
 up which he had awakened. His style shows a leaning to the Roman School ; 
 but his own genius impelled him often into an original track of his own. 
 " Where this originality appears," says Lanzi, " we^iould not wish Cambiaso 
 other than himself, and where it docs not appear, we should not wish him 
 any thing but an imitator." His Rape of the Sabines has been extolled as 
 worthy of Raphael ; the magnificence of the buildings, the beauty of the 
 horses, the alarm of the virgins, the ardour of the invaders, and the various 
 episodes, unite to form a picture, which the far-famed Rape of the Sabines 
 by Rubens, cannot induce the world to forget. 
 
 The two sons of Semini, Andrea and Ottavio, though they bowed to the 
 authority of Perino, resolved to drink at the fountains of Art ; and, repairing 
 to Rome, studied Raphael and the remains of antiquity, particularly the sculp- 
 tures of the Trajan Column. The talents of the elder were inferior to those 
 of the younger brother, who painted the Rape of the Sabines, in the Doria 
 palace, with a skill which induced Procaccino to believe it came from 
 Raphael : Andrea w^ants delicacy, and sometimes accuracy, yet he is, on the 
 whole, a painter of note, and a successful follower of one whom all must 
 follow, since none can excel. The school was supposed to be on the decline 
 when Giovanni Battisti Paggi came to enliven it by his talents, and adorn it 
 by his noble birth : he was born at Genoa in 1556, and studied under 
 Cambiaso, whose style he adopted. His genius was of a high order: his 
 Holy Family, and his St. Catherine of Siena, are works of merit : the latter 
 represents the liberation of a condemned person, and is considered a fine per- 
 formance, exhibiting a delicacy and grace which almost justify a comparison 
 with Corregio. He adorned Genoa with many grand pictures : the Slaughter 
 of the Innocents, which he painted in competition with Rubens, in 1606, is 
 regarded as one of his best. 
 
 On the death of Paggi, Domenica Fiasella became the chief instructor in 
 the School of Genoa : he studied the works of Raphael ; he had a felicity in 
 conceiving grand historic compositions, and gave great life to the heads, and 
 an admirable colour throughout. He, too, painted a Slaughter of the 
 Innocents, and Madonnas ; but these latter had great similarity of feature, 
 and were deficient in the ideal. Valerio Castello is one of the greatest of this 
 school : he was born in 1625, was Fiasella's disciple, and improved his taste 
 by a liberal study of the great masters : his Rape of the Sabines has gained 
 for him many admirers, and his Slaughter of the Innocents is reckoned a 
 careful, copious, and well-arranged composition ; but his best pictures are 
 the representation of battles, in which the heroic ardour of the men, the 
 spirit of the horses, and the stir and tumult of a heady fight, are painted to 
 the life. Giovanni Battista Carloni painted Moses Striking Water from the 
 Rock, the Israelites Passing the Jordan, and Joseph in Egypt giving au- 
 dience to his Brethren; this departure from the too often travelled track of 
 Saints and Madonnas, marks an originality of mind, at a time when origina- 
 lity was on the wane in Art ; and the painter justified his boldness by the 
 production of a series of pictures which realize those splendid events. " It 
 is not easy," says Lanzi, " to mention a work on so vast a scale, executed 
 with so much zeal and care ; compositions so copious and novel ; heads so 
 varied and so animated ; contours so well expi-essed, and so strongly relieved ; 
 colours so enchanting, so lucid and fresh, after such a lapse of years. The 
 
Ixiv MODERN PAINTING. 
 
 reds are as deep as purple ; the blues appear sapphires ; and the green, above 
 all, which is a wonder to artists, is bright as an emerald." It is true that 
 his splendid colours have been called crude by some, when compared with 
 those of Corregio and Andrea del Sarto ; but others have found a charm in 
 the difference so various is human taste, llatti, with the desire of being 
 useful, dissected Carloni's workmanship in fresco, and concluded, " that, in 
 decorating the ceilings and walls of rooms, he previously laid on the dry wall 
 a colour-ground to protect his work from the action of the lime. These 
 paintings he executed with the most elegant gradations, and the most sur- 
 prising harmony ; hence his frescoes have all the richness of oil colours." 
 He died in 1680. Painting, in Piedmont, produced no leading artists ; and, 
 though Lanzi gathers a few of its more distinguished professors together and 
 calls them a school, they can claim no peculiarity of style, no originality of 
 conception, no ruling token of either colour or composition to know them 
 by, or entitle them to stand apart from the rest of Italy, and challenge the 
 attention of the historian of Art. 
 
 The German School of Painting disputes with Italy the merit of first 
 lending to Religion the help of Art, and leading the way to the multitude of 
 Madonnas and Saints with which the world is swarming. But though no 
 one can doubt that the former was early in the field, the writer would be 
 hardy who asserted that the latter was ever even approached in the expres- 
 sion of divine beauty, or in sentiments and shapes which speak of heaven. 
 That the genius of Germany was equal to the magnificent creations of Italy, 
 no one will deny who knows the fine flights she has taken in poetry and ro- 
 mance. But Germany was denied the sight of those models of proportion 
 and beauty, the marbles of Greece, by the aid of which the genius of Italy 
 directed its steps to excellence : she had no better guide than such samples 
 as those Chinese Greeks, the artists of the eastern Empire, supplied to the 
 western market ; and these were saints and angels, painted in glaring colours 
 on a ground of gold, surrounded with silver glories, weak in outline, feeble 
 in sentiment, and wholly deficient in harmony and perspective. These eastern 
 compositions were employed by the priests to explain, to an illiterate people, 
 the sublime mission and story of Christ, the miraculous conception, and the 
 characters and actions of his chief disciples ; but when the priests of the west 
 no longer agreed with those of the east, the former acquired the mastery, 
 and, bending Art to their own purposes, filled Germany, as well as Italy, 
 and Spain, and France, with pictures of her equivocal saints and apocryphal 
 miracles. Art became here, as elsewhere, not so much the handmaid of Re- 
 ligion as of the views and ambition of the Church of Rome : the Pope was 
 installed, by the obedient hand of the painter, as the ti'ue successor of Saint 
 Peter ; and Christ was seen, in every church, giving him charge of his flock, 
 and delivering into his hands the symbolical key of dominion. 
 
 All Germany, in very early days, seems to have been one vast studio for 
 Saints, Angels, and Madonnas. In Austria the Abbot Reginbald awakened 
 a taste for these commodities about the year 900 : St. Thiemo, of Saltz- 
 burgh, aided ; Gisela, of Hungary, called on Art to help the Church ; and 
 several of the princes of the land accepted costly presents of pictures from 
 the Greek emperors : even the missionary priests used the pencil, it is 
 said, with skill ; and St. Methodius, who converted the Sclavonians, is 
 mentioned as a distinguished painter. To Bavaria and Franconia, the 
 
THE GERMAN SCHOOL. Ixv 
 
 love of Art was carried by the zealous divines : painting was made an 
 article of education in the monasteries of the Benedictines; and Alfrid and 
 Ariram distinguished themselves : in Ileilsbronn still exist paintings of 
 the time of Otho, the bishop of Bamberg, Avho died in 1139. But the 
 period which elapsed between 1150 and 1350, has been called the golden 
 age of German Art, as well as of poetry : painting then excelled, say the 
 historians, in purity of style, depth of expression, and quiet loveliness. 
 The scene where Painting performed these miracles was Cologne : the works 
 consisted of religious histories and legends of the saints ; they were painted 
 on linen, laid or glued on panel; the ground was richly gilt, and the 
 colours so excellent, as even at this distant day to be still bright and 
 fresh. The number of the works of art of those times is incredible : they 
 are of every shape and hue ; they appear in altar-pieces, ceilings, embel- 
 lished manuscripts, in needlework, in altar-cloths, and on that brittle 
 commodity, glass. But, in spite of the high commendations of historians 
 and travellers, we must, we fear, regard most of the earlier German works 
 of art as matters picturesque rather than pure, and old rather than 
 excellent. They are, one and all, deficient in that tranquil grandeur of 
 expression the fine unity of parts, and exquisite grace and accuracy of 
 drawing which were reached, and at a later period, by the master-minds 
 of Italy. There is, indeed, a certain wild air in some of those compositions, 
 which indicates original thought; but, when it is unaccompanied by science, 
 it is the offspring of accident rather than of study, and is always united 
 with such deficiency as no taste can overlook. There is as much 
 difference between one of these works and a production by Da Vinci, as 
 between Alaric and Hector the one all rudeness, and the other all 
 courtesy ; the first a warrior rough and terrible the other a hero in act, 
 and a god in look. 
 
 A brighter day for German Art was at hand ; a painter appeared 
 who was to extend, by his works, the fame of his country, for the first 
 time, to far lands. This was Albert Durer, descended from a Hungarian 
 family, and born in May, 1471, at Nuremberg, where his father was a 
 goldsmith. One Martin Haspe taught him drawing, and Michael Wolge- 
 muth, whose style was hard and dry, instructed him in painting. But, 
 like the other great artists of his time, he did not limit his education to 
 the pencil ; he made his mind familiar with history and science, and was 
 regarded as an accomplished person, when, at the age of twenty-six, he 
 ventured to exhibit his picture of the Three Graces. This was well 
 received, and his name induced IMai'k Antonio Franci to imitate Albert's 
 next work, the Life of Christ, on copper; this the Artist resented as an 
 inva'sion of his own right, and preferred his complaint, but obtained no 
 redress. His skill in engraving equalled at least his talent in painting, 
 and aided largely in diffusing his fame abroad ; the painters of Italy per- 
 ceived this advantage, and began to commit their works to copper, in 
 which they soon excelled. But Durer did not avail himself of his original 
 genius to get into a new track of tliought : he painted Adam and Eve ; 
 Christ bearing the Cross; the Offering of the Wise Men; the Passion; 
 the Assumption; and the Virgin, in which he took his own wife, who was 
 much of a scold, for his model. Neither did he communicate to these 
 stock-in-trade subjects a loftier beauty, or a more pathetic grace: his 
 imagination was indeed lively, his composition striking, and his execution 
 
Ixvi MODERN PAINTING. 
 
 happy; but the topics which he touched with his pencil had already 
 received all that high genius could do for them: it was hopeless to contend 
 with Da Vinci, or with Raphael, in matters of grandeur or grace. He 
 took nature too much as he found her, and wanted that taste of selection, 
 without which there is no close approach to pure beauty. He excelled, it 
 is true, the painters of his own land: their formal outlines, their heavy 
 draperies, their want of harmonious tints, and their harshness of expression, 
 were in his hands modified and improved; but that writer must be of a 
 strong faith who can believe with Fuseli, that his colouring excelled that 
 of Raphael, in juice, and breadth, and handling. He was the wonder of 
 Germany in his day, and justly so, for his genius was very varied: he sent 
 his own portrait to Raphael, painted on cloth, without colour, only 
 heightened with shades and white, yet exhibiting a vigour and elegance 
 which surprised the illustrious Roman. He died at Nuremberg in 1528. 
 
 Though the style of Lucas Kranach, born two years after Durer, is said 
 to be inclining to the gothic, there is an original air discerned amid the 
 stiifness and ill-defined extremities of his figures. His works are chiefly 
 portraits : he loved to delineate the heads of old men and old women, as 
 their characters were readily laid hold of; but he did not, though his style 
 was barbarous, hesitate to paint subjects of a nature not at all barbarous : 
 such are his pictures from the pages of the poets, and his Lucretia, large as 
 life, and naked, and of a beauty till then unknown in the land. He copied 
 the costume of his own time, and, like Albert Durer, became as widely 
 known for his engravings as his pictures. At the same time lived Hans 
 Burgmair, who wrought under Durer, and followed his style, both in paint- 
 ing and engraving: his historic pictures at Augsburgh have merit; but his 
 engravings on wood are beautiful, and still regarded with admiration. Both 
 Hans Baldung and John Schaeuflein studied under Durer, and distinguished 
 themselves by works of an historic order, and still more so by engravings 
 on wood; but the most successful of the disciples of Albert was Chris- 
 topher Amberger, a native of Nuremberg, where his name and works are 
 still held in esteem. Pie painted the History of Joseph in twelve pictures, 
 which have not wanted admirers; but his portrait of the Emperor Charles 
 the Fifth, was both well paid for and applauded : the critics likened it to 
 Titian, and Charles gave the artist thrice the amount of his price, and a gold 
 chain and medal. He wrought in wood from his own compositions. 
 
 In another order of artists stands Giulio Giorgio Clovio, who was born 
 in Croatia, in 1498. He gained the rudiments of his knowledge in Ger- 
 many, but he completed his studies at Rome under Julio Romano, where 
 he loved to gaze on the works of Raphael and Michel Angelo, till he 
 caught a little of their beauty and spirit. His pictures are mostly 'con- 
 fined to Italy. His Building of Babel is praised by Vasari, till language 
 seems to sink under the excess of his admiration; and yet the picture itself 
 is said to warrant the rapture of the critics, so curiously minute and elegant 
 is the composition; so delicate the naked figures; so correct the perspective. 
 His masterpiece is a Descent from the Cross, in Milan. His works de- 
 note an original turn of thouglit, which few of the German artists seem to 
 be without. 
 
 The name of Hans Holbein is familiar to all who love English histoiy; 
 for he has preserved the looks of some of the most eminent men in 
 this isle. He was born at Basil in ] 498, studied under his father, and 
 
THE GERMAN SCHOOL. Ixvii 
 
 painted our Saviour's Passion, Death's Dance, and a Peasant's Dance, 
 when a very young man. Erasmus, whose portrait he drew with a happy 
 skill, persuaded him to carry his talents to England, where he rose to high 
 favour with Henry VIII.; painted princes, princesses, and peers; resided in 
 the palace, and enjoyed a small pension. He was a man of a large and 
 vigorous mind, and excelled in many elegant arts. He was modeller, 
 painter, draughtsman, designer, and architect : his invention was fer- 
 tile, and his hand ever ready. There is a certain air of stiffness in his 
 historical compositions, as well as m his portraits; but it is more than 
 redeemed by tenderness and force by the reality of life, and a taste at 
 once neat and poetic. He died of the plague, in London, in the year 1554. 
 
 The works of the German School are obscured by allegory : from this 
 the pictures of John Rothenhamer seem to be free, but they are, never- 
 theless, open to the charge of repeating, at least in the choice of subject, 
 the works of others. He studied in Italy, and painted Annunciations, 
 groups of Saints, Magdalens, and Madonnas ; and, straying now and 
 then from the church into the regions of the muse, delineated Nymphs 
 and Gods. Though the air of his native land was visible in his works, 
 his attitudes were graceful, and his colouring agreeable. But the pain- 
 ter in whom his country fondly saw a second Raphael, was Christopher 
 Schwarts, born at Ingoldstadt in the year 1550. He had a genius for grand 
 compositions, which he encouraged by studying under Titian, at Venice ; 
 but he is accused of having neglected the force of fine drawing and high 
 expression for the charms of fine colouring. He united a certain German 
 vigour and originality to the attitudes and arrangements of the Roman and 
 Venetian Schools ; but he never fairly attained the high grace and simple 
 elegance of the great masters of Italy. He wrought chiefly for the churches. 
 His ! Entombing of Christ is in the Gallery of Dusseldorp. The fairs, 
 markets, sports, and buildings of Valhenburgh, are executed with a clear 
 and delicate touch, and in a lively tone of colouring. The figures which he 
 loved to introduce are correct and natural. The portraits of Daniel Block 
 are remembered in other countries than Germany, particularly those of 
 Christian IV. of Denmark, and the great Gustavus Adolphus of Sweden. 
 His colouring is agreeable, his postures easy, and his characters natural 
 and true. 
 
 Though Durer may be said to have founded a school, the artists of 
 Germany seem to have risen into distinction unaided by any thing like that 
 academic education and study which distinguish the painters of Italy. 
 The little instruction which they obtained, was sometimes confirmed and 
 heightened by visiting Florence and Rome. John Schoonfeld, born of a 
 noble family in Suabia, studied at Rome, where he corrected his taste by 
 the best models, and aspired to compositions of a scriptural and poetic 
 nature. A Descent from the Cross, by his pencil, is in the Senate House 
 of Augsburgh, in which both figures and expression are said to be fine. 
 Of a different nature were the works of John William Bouwer, who was a 
 native of Strasburgh, and born in IGIO: he trusted to nature; yet he re- 
 frained from studying her much, and he wanted patience to master the 
 antique. He was fond of picturing battles, and marches, and sieges, and 
 skirmishes : he wrought with spirit: his colouring was brilliant, but bis 
 drawing hurried and inaccurate. Gaspard Netscher, a native of Prague, 
 inclined to history, but, following the public taste, painted portraits in small 
 
Ixvili MODERN PAINTING. 
 
 with wonderful truth of expression and vividness of colour. In the Paris 
 collections there is one of his half-portrait and half-historic pieces a Musi- 
 cian instructing a Lady to play on the bass-viol charmingly painted. The 
 Gathering of the Manna, and the Last Supper, by Daniel Syder, are com- 
 mended by the Italian critics under whom he studied. Of a higher style 
 were the scriptural pictures of Matthew Elias, born at Cassel in 1658. 
 From watching cows on the wayside, he became a distinguished artist, and 
 painted Miracles, and Saints, and Resurrections, for the church, and por- 
 traits for the state. He seems to have sought out no " pastures new " for 
 his imagination, but contented himself with subjects exhausted by higher 
 minds and happier pencils. 
 
 Of Felix Meyer, who excelled in landscape, such marvels of his quick con- 
 ception and rapidity of hand were told, as brought work to hini from all those 
 princes who desired to have the walls of their galleries and palaces covered 
 with waving woods, crumbling towers, green hills, and foaming waterfalls. 
 He died in 1713. Wliile Meyer supplied the princes with landscapes, 
 Christian Reder furnished them with battles battles where the Christians 
 fought with the Saracens, and were always victorious. Of a similar taste 
 was Joachim Francis Beisch, a Swabian, who painted the wars waged in 
 Hungary by the Elector Maximilian against the Turks ; the landscape parts 
 of which he touched with tenderness and spirit. The like martial ardour 
 appears in the works of George Philip Rugendas : he delineated fights, both 
 with foot and horse, and, happening to witness the siege of Augsburgh, he 
 sketched the whole scene the assailants and the assailed with both life and 
 vigour : he has taken his place in the list by no means a numerous one of 
 the good painters of battles. Anthony Faistenberger loved softer and less stir- 
 ring scenes: he peopled his landscapes with shepherds and shepherdesses, and, 
 for cities under siege, gave temples and torrents, rough rocks, and unpruned 
 woods. John Rodolph Huber indulged his fancy at first with landscape ; but a 
 visit to Italy induced him to prefer human sentiment and emotion, and hepainted 
 many historical pieces for the Duke of Wirtemburg. His touch is light, his 
 colouring bold ; but he failed to equal the loftiness of sentiment visible in the 
 great artists whom he took for his models. In colouring, John Kupetzke 
 has been compared to Rembrandt, and, in drawing the human figure, to 
 Vandyke : he excelled in portraits, and finished his heads with great care. 
 Lambert Zustrus studied under Titian : his Christ baptized by John is 
 reckoned his best work, though it shows a little of what the Italians call the 
 Gothic style of Germany. Other names might be added ; but it may suffice 
 to say, that, save those of Mengs and Zoffany, they are little known out of 
 their fatherland. A new and a higher spirit has of late awakened in Ger- 
 many, and the poetic genius of the land has applied its quickening intelligence 
 to the Fine Arts. 
 
 The School of Spain has a roll of early artists, and a list of paintings to 
 produce, of a respectable antiquity ; but the former are without fame, and 
 the latter without shape or soul : the fountain of her art is muddy, nor is the 
 fuller stream perfectly pure and deep. Without referring to those who, in 
 barbarous times, wrought in stone and wood, or on parchment and glass, or, 
 when religion gave light to painting, produced the first Babes, and Virgins, 
 and Saints, we may briefly say, that Antonio del Rincon is allowed to be the 
 earliest who vindicated, by his productions, the genius of his country. He 
 
THE SPANISH SCHOOL. Ixix 
 
 was born at Guadalaxara in 14G1; caught a love of Art from the old 
 niechanical workmen of Spain ; carried his desire to excel to Rome, where 
 he studied under competent masters, and, returning home, was honoured by 
 the appointment of painter to the munificent Ferdinand and Isabella. His 
 works are of the kind called historic : he embodied the legends of the church, 
 nor did he hesitate to employ the portraits of the living to represent the dead 
 or the forgotten: time and accident have wasted his productions: those 
 which he expected to carry his name to future ages, perished when the palace 
 of the Prado was burnt: they had a shade of the Moorish character in them. 
 Bias de Prado carried the art a step farther towards excellence : his Descent 
 from tlie Cross shows talents akin, it is said, to those of Parmegianino: he 
 was also skilful in portraiture, and painted in Barbary the daughter of the 
 Emperor of Morocco, for which he was highly rewarded. The next painter 
 drew his inspiration from another source ; this was Fernando Gallegos, born 
 at Salamanca in 1500, and who became the scholar of Albert Durer : he 
 followed this German master with a success which procured him the 
 patronage of the Emperor Charles V. There is a touch of the gothic in all 
 his works. But Pedro Campana drank at a purer fountain ; he went to 
 Rome, and studied Raphael, and is now named with those who give as much 
 honour as they draw from the Roman School. He painted the triumphal arch 
 at Bologna for the reception of Charles V.; and in Seville executed his 
 famous pictures of the Nativity and Purification : he also painted a Descent 
 from the Cross. These artists seem to have trod carefully, as far as their 
 choice of subjects enable us to judge, in the footsteps of others : the next on 
 the list was of a more original turn of thought. 
 
 This was Luis Morales, the pupil of Pedro Campana, called, on account of 
 the pious subjects which he painted, El Divino Morales, but, as others with 
 more truth assert, because of the air of heaven shed over his performances. 
 He departed from the fixed and settled rules of both attitude and expression ; 
 lie painted the Virgin with a melancholy but heavenward look ; and our 
 Saviour meekly enduring, in his mortal part, the indignities of the world, but, 
 in thought, vindicating his divine descent and godlike mission. In sweetness 
 and expression he has been likened to Da Vinci : he died in 1586. The fine 
 symmetry of the figures of Pedro de Marmolija induced the biographers to 
 believe that, during his travels in Italy, he had studied under Raphael : bis 
 pictures are distinguished for a certain grandeur of style and sublimity of 
 character ; the moi'e admired, because not at all common to his country. 
 Gaspar Becerra was born in Andalusia in 1520 ; and, like the great artists 
 of Italy, was painter, sculptor, and architect. He is reported to have im- 
 proved himself, in these kindred though very distinct lines, under Michel 
 Angelo ; and aided in freeing Spanish Art from much of its barbarism, by 
 introducing a happier taste, and more scientific style. Sinking the painter 
 in the sculptor, he undertook to carve a Virgin fo;- Queen Isabella, whose 
 taste he found severe in matters of art : luckily, a vision of the Virgin came 
 to him by night : with this revealed form in his thoughts, he went to work, 
 and won the applause of both the queen and the church. It has not been 
 told that Luis de Carbajal, when he painted the History of the Virgin for 
 Toledo, had recourse to the poetic spirit of Becerra to sanction the form and 
 sentiment with which he endowed her ; nor are they such as to warrant a 
 descent from heaven, though they support the character of Spanish Art. He 
 died in 1591. 
 
Ixx MODERN PAINTING. 
 
 Pablo Cespedes was more remaAable for the modesty of his character 
 than for the originality of the subjects which he painted: but the church dic- 
 tated to Art in his day, and long afterwards; and it is always regarded as 
 heresy to refuse to repeat, in form and colour, the legends which the priests 
 had an interest in believing. Cespedes painted Annunciations, and Nativities, 
 and Lives of the Virgin, but in a way which proved the impulse Raphael and 
 Michel Angelo had given to Art: he had a spirit all his own when he found 
 room to exert it: he died with the reputation of one of the finest artists in 
 Spain. Of Miguel Barrosa, who studied under Becerra, little is known, save 
 that he painted the St. Paul preaching at Athens, in the Escurial a de- 
 parture fi'om the trodden track of Virgin-Mothers, or those doubtful legends 
 with which the churches of the world abound. Hitherto the genius of Spain 
 had deviated but little from the pattern-pictures required by religion; but 
 Francesco Padouanino hazarded something of another order : he painted a 
 scene from history, of two persons unjustly doomed to death, but saved by 
 the interposition of a saint: it is a fine work; capital both in drawing and in 
 colour, and pencilled with rare delicacy. This artist was born at Padua in 
 1552; and his son, Ottavio, painted pictures not unworthy of his father. Of 
 the merits of Bartolomeo Gonsalez in historical painting, little has been said 
 by the biographers: he was chief painter to Philip III.; and his pictures still 
 exist: but it would seem that Art had become insipid and mannered; for to 
 Francesco Herrera, born at Seville in 1576, the honour is assigned of lifting 
 into the vigour of nature the style of Spanish painting. His colouring was 
 transparent and bold, and his figures had great fire, both of character and 
 relief: he excelled in scripture pictures; but those of a more homely and 
 rural nature, such as fairs, marketings, and festivals, preserve his reputation 
 in Spain. He was also a sculptor and architect; and left a son, who ap- 
 proached, but did not equal him in art. Francesco Pacheco had the honour 
 of instructing Alonso Cano and Diego Velasquez; there is both dignity and 
 accuracy in his compositions, which are of the scriptural order : we are now 
 approaching the classic period of Spanish Art. 
 
 Giuseppe Ribera, known in Italian Art by the name of Spagnoletto, was 
 born at Xativa, near Valencia, in the year 1589: he was of small stature, 
 but his passions were gigantic, nor was his genius little : he studied at home 
 under Ribalta, and at sixteen travelled into Italy, where he alternately imi- 
 tated the very different styles of Corregio and Caravaggio, with a success 
 which was pronounced wonderful; but his gloomy nature inclined him, at 
 last, to the latter; and, like him, he delighted in subjects which excite dread 
 and horror; and these he painted with surprising force, both of drawing and 
 colour. To him, the flaying of St. Bartholomew, the stoning of St. Stephen, 
 the broiling of St. Lawrence, the murder of the Innocents, Prometheus tor- 
 tured, and Cato tearing out his bowels, were subjects in which his spirit 
 rejoiced: but Ixion on the wheel came quite up to his taste; and this he 
 painted with such distressing force, that a single look, it is said, misformed 
 a babe in the womb of its mother. He filled Naples with his compositions : 
 they are conceived with a freedom which is even painful to contemplate, and 
 executed with a force which puts nature on the rack; yet, when he forgot 
 himself, and deviated into postures graceful and easy, his expression was 
 noble, and the whole beautiful. 
 
 Nature was in a sweeter mood when she created Don Diego Velasquez : 
 he came of an ancient race; and was born at Seville in 1594, where he 
 
TH SPANISH SCHOOL. Ixxi 
 
 studied under Francesco Herrera, a rigid master, but of great ability. He 
 forsook the scriptural track and legendary highway to fame in painting, and 
 selected subjects from nature, which at first he treated in the manner of 
 Caravaggio; but, on seeing more graceful models, he changed his style, and 
 sought to unite that of Guido to the manner of Luis Tristan, whose happiest 
 works he called the best of all works. One of his earliest pictures a work 
 of wonderful nature and expression represents an old Aquador in a tat- 
 tered cloak, giving a drink of water to a boy; the figures were portraits: 
 this, or some other of his productions, attracted the notice of the prime 
 minister, Olivarez, who invited him to his house, sat himself, and persuaded 
 the king to sit for his portrait also. The prime minister praised this per- 
 formance, and all the court applauded it; and it merited their applause: the 
 king is in rich armour, and on horseback, with that serene and almost melan- 
 choly loftiness of look which distinguishes most of the portraits of this ancient 
 master. He studied the history of his country; and in his picture of the 
 Expulsion of the Moors, where he entered the lists against three rivals, suc- 
 ceeded so completely, that Philip increased his pension. To prepare him for 
 other efforts he was sent by the king to Rome : his studies, limited to eighteen 
 months, were visible in his picture of Jacob recognising the Coat of Joseph, 
 as well as in the Infidelity of Yenus, and the Crucifixion a woik sufficient 
 of itself for immortality. He was the friend of Rubens, who felt his genius; 
 and though he continued the friend of Olivarez after his disgrace, the king, 
 so far from resenting it, rather loved him the more for it, and continued to 
 heap commissions on him, and dealt out with a liberal halnd both gold and 
 commendation. He died suddenly of a fever, in the blaze of his fame. 
 
 At the same period lived Alonso Cano, called, from his talents for painting, 
 sculpture, and architecture, the Michel Angelo of Spain : he was a native of 
 Granada : though he studied under two masters, he seems to have owed more 
 to nature than to instruction, and excelled, with the exception of Velasquez, 
 all his contemporaries. He derived his fine drawing and simplicity from 
 the antique sculpture, and executed many historical compositions, in a fine 
 taste and feeling, for the embellishment of the church. He Avas of a noble 
 family, and of a noble mind, for he refused to accept pay for his productions, 
 declaring that he wrought for fame, not lucre. " Wretch! " said he to a law- 
 yer, who doubted the excellence of one of his works which he had executed 
 in twenty-five days, " Wretch !" he exclaimed, "I have been fifty years learn- 
 ing to make it in twenty-five days ! " He died poor and famous. With Cano 
 may be named Bartolomeo Roman, who studied under Velasquez, and whose 
 historical pictures Palomino declares equal to those of Rubens : also, Juan 
 Galvan, whose best picture is the Birth of the Virgin : and Francisco Lopez 
 Caro, who painted some of the Victories of Charles V., in the palace of the 
 Prado. 
 
 Of another order of painters was Francisco Collantes, bora at Madrid in 
 1599, who brought landscape into repute in Spain. He handled his scenes 
 in a masterly style, and filled them with decayed castles and temples in ruins, 
 contrasting the mouldering works of man's hands with the green hills, and 
 the running streams, and the ever-living beauties of nature. Juan de la 
 Corte lived at the same time, and distinguished himself in landscapes, into 
 which, instead of churches, and lawns, and running streams, he poured the 
 current of a heady fight. He also painted scripture-pieces. Of Antonio 
 Contreras, his contemporary, or of Gcronimo Espinosa, all that history enables 
 
Ixxii MODERN PAINTING. 
 
 US to record is, that they excelled in scripture painting, and that the latter, in 
 particular, executed an altar-piece of merit, representing the miracle of Tran- 
 substantiation. Little more can be said of Francesco, or of Antonio Fernandez, 
 than that they stood high in public esteem, and painted historical subjects with 
 applause. Pedro Nunez was an exquisite colourist : Garcia Reynoso painted 
 history well, and landscapes better : and Cristobal Salmeron exhibited his 
 powers in a bull-fight a national pastime which offers much to a painter of 
 genius. Something better may be said of the genius of Antonio Castillo, who 
 treated landscape, history, and portrait with equal success, and v*'hose works 
 are still in high esteem; his drawing is excellent, but his colouring wants 
 freshness and purity: nor should Don Juan Carreno be omitted in the list of 
 artists who did honour to this period ; his conceptions are good, his colours 
 brilliant, and his compositions rich: he embellished the palace of Philip IV. 
 with frescoes, and died at the head of a large school, in 1685. 
 
 The chief boast of Spain is Bartolomeo Estevan Murillo, born at Seville 
 in the year 1613 : at first he painted small pictures for exportation to South 
 America, and, gaining food and raiment from these, he took a wider look into 
 the realms of Art, and, resolving to work his way to Rome, the fountain- 
 head of intelligence, he reached Madrid, where he had the luck to meet with 
 Velasquez, who, perceiving his great powers, gave him employment in the 
 Escurial, and persuaded him to abide in Spain. He returned to Seville 
 after a three years' absence, and astonished the citizens by a picture of the 
 Cloister of St. Francis, where he put forth his strength both in colour and 
 expression. But his fame rose higher when he painted the Death of Santa 
 Clara, and St. James giving Alms ; in the first of which he equals Vandyke 
 in colouring, and in the second rivals Velasquez in expression. His celebrated 
 picture of the marriage of St. Catherine, for the grand altar of the Capuchins 
 at Cadiz, has, from its sweet colouring, and natural vigour of expression, been 
 pronounced his happiest work. His fame is well established in England, 
 where his pictures are in request : his Flower Girl, and Peasant Boy, in 
 Dulwich Gallery, are fine specimens of nature and truth ; while his Holy 
 Family, in the National Gallery, without reaching that elevation of sentiment 
 so conspicuous in Da Vinci, Raphael, and Corregio, more than approaches 
 them in sweetness of colouring and natural freedom of touch. He found in 
 his native country all the materials for the excellence which he attained: he 
 studied the flowers of the field, and painted them with a cunning till then 
 unknown in Spanish Art ; he stopt when he met a picturesque mendicant, 
 and a few movements of his pencil converted him into a saint ; and even the 
 commonest peasant presented to his eye a subject which he could render 
 interesting by the truth of his handling, and the vivid richness of his colours. 
 He is often coarse, but never mean; often incorrect in drawing, but never 
 weak in character; and the variety and vigour of his genius place him at the 
 head of Spanish Art: he died in 1682. 
 
 We are sensible of a serious descent from Murillo to Antonio Castrejon, 
 born in 1625, who had the merit of finding an untouched subject that of 
 St. Michael subduing the Dragon, which he painted for the Church of San 
 Miguel, in Madrid. Originality is a rare merit : the works of man abound 
 with repetitions, nor are the pictures of Juan Guevara an exception: he 
 painted, at Malaga, the Elevation of the Cross, the Ascension, and the 
 Assumption: in portrait he imitated Vandyke. In Juan de Valdez we find 
 more breadth of character: he was a sculptor and an architect: he painted. 
 
THE FRENCH SCHOOL. Ixxul 
 
 from the Old Testament, the History of Elijah, and from the New, the 
 Triumph of the Cross: we are not told by whom he was taught ; his pictures 
 have a touch all his own. Don Juan de Alfaro, born in 1640, is pronounced 
 one of the most ingenious painters that Spain ever bred : his picture of the 
 Guardian Angel proves, more than his picture of the Nativity, that he could 
 feel the value of a new subject: but he was so incensed by a tax on paintings, 
 that he threw down his pencil, and refused again to lift it. Of Juan de 
 Cabezalero it may be said in brief, that an Assumption and a Crucifixion 
 from his hand, have been commended by the critics: the same sort of praise 
 has been extended to Pedro Athanasio; and his Conversion of St. Paul is 
 singled out as his ablest work. The grandeur of the style of Matteo Gilarte 
 is spoken of by some, and his inaccurate drawing by others ; but all unite in 
 pi'aising his pictures from the Old Testament Esther in the presence of 
 Ahasuerus, and Jacob wrestling with the Angel : nor do critics hesitate to 
 speak well of one which he painted fi'om the New the Miracle of the Loaves 
 and Fishes. The design, the postures, and the colouring of Francesco Ca- 
 millo are much commended: his subjects of a devotional kind, and chiefly from 
 the New Testament, or church tradition, are still popular. The excellence 
 which Isadore Arredondo reached in historical painting, obtained from 
 Ciiai-les II. letters of nobility : his picture of the Incarnation has been extolled 
 by Palomino. This list may be closed with the name of Claudio Coello, 
 painter to Philip IV., who was employed in the Escurial, where he painted 
 an altar-piece representing the Communion of Saints, in a style not unworthy 
 of Titian, it is said, or of Rubens : he died in 1693. 
 
 More names might be given, and more pictures enumerated ; but this, 
 while it proved the extent, would fail to exalt the merits of the school, for 
 the days of its splendour were those of Velasquez and Murillo. It will have 
 been observed that the painters of Spain sought few subjects for the pencil, 
 in either the poetry or the history of their country ; they deviated sometimes, 
 indeed, into landscape and portraiture, and once or twice found matter worthy 
 of their best colours in the pastimes of the people : but the staple commodity 
 of manufacture was of a devotional kind ; processions of holy men ; suspicious 
 miracles of traditionary saints, and legends, real or imaginary ; and when 
 these fruitful sources failed, the History of Christ, and the Acts of the Apo- 
 stles, though painted a thousand times over by all the brushes of Italy, as 
 well as Spain, were ever ready to supply the want of imagination. The 
 natural ease and natural colouring of IMurillo, and the gloomier graces of 
 Velasquez, are excellences not to be forgotten, though not to be compared 
 with the high works of Italy. 
 
 The Fkexch School of Painting was, for centuries, only a figure of 
 speech: its professors were undistinguished men, who wrought in stone or 
 in wood, and stained glass or embellished parchments : or, if they ventured 
 into the regions of thought, it was but to trace some hereditary Madonna, or 
 established Apostle, with a timid and a servile hand. Even when the high 
 spirit of Italy began to be felt in the world, that of France seemed rebuked 
 under it ; and the colouring of Venice, the design of Florence, and the out- 
 line of Rome, were the words by which the progress of painting was known. 
 It was, indeed, long before the original genius of the nation asserted its dig- 
 nity before it triumphed in its unassisted strength; and this was not to be 
 accomplished till servile obedience to foreign example and precept began to 
 
Ixxiv MODERN PAINTIXG. 
 
 relax, and France discovered that she had subjects and scenes of her own 
 of a high order, and children capable of embodying and stamping them Avith 
 the peculiar character of her people. Though Italy had her centuries of light 
 before the day of France came, yet the latter had, nevertheless, longed for 
 the aid of true Art to her church, and desired that the courts of her princes 
 should have the help of its splendour: she purchased Madonnas and Saints 
 in the eastern market: some of her sons, on Avhom the love of painting fell, 
 repeated, with the accuracy of machines, the scripture heads and legendary 
 groups of the barbarous masters ; or furnished portraits, formal and death-like, 
 of the heads of the state or of the church: nothing better was done, though 
 kings lifted the pencil, and princesses applauded. 
 
 With the reign of Francis the First the artists of the land began to exhibit 
 something of life: they forsook their exhausted models and worn-out subjects, 
 and, fired by the presence of the accomplished Da Vinci, and guided by the 
 example of Rosso the Florentine, and Primaticcio of Bologna, aspired after 
 correct drawing and unexhausted sentiment. The veil was lifted up we 
 fear, but partially from the statues of Greece, and their truth, and grace, 
 and harmony, pointed out by those who felt or could emulate their excellence. 
 The French, a lively and imaginative people, obeyed this new impulse ; and 
 to tlQhn_Cousin, bnrrLJiear_Sen-SjjLl53.S is ascribed the honour of founding 
 the national school of painting. He was skilful in perspective, had, like all 
 the earlier painters, taste in architecture, and a correct, but not very vigorous 
 fancy for design. His large oil picture of the Day of Judgment was admired 
 for its sentiment as well as for its size. The fame of having raised the 
 character of the national painting must, however, be shared with Jacques 
 Blanchard, who flourished even earlier, and brought from Rome and Venice 
 the air and taste of the pictures of Italy. The force, and clear colouring of 
 his compositions, obtained for him the name of the French Titian ; his 
 Descent of the Holy Ghost, in the church of Notre Dame, is even at this 
 time esteemed. If to Cousin and Blanchard must be ascribed the honour of 
 founding the French School, with Simon Voue t must remain the fame of 
 furnishing it with the ablest scholars. He was born i g 158^ : his conception 
 was vigorous, his imagination fruitful, and he possessed a wonderful facility 
 both in composing and executing ; he had many qualities, but none in the 
 highest perfection ; for those who applauded his works sighed amid their 
 applause, and said he was not so elegant as Raphael, so pure as Domenichino, 
 and was less life-like than the Caracci. His compositions have unity, and 
 propriety, and expression he studied the affections of the soul. It was said 
 of him, that he only required one stroke of the pencil to express what he con- 
 ceived : he had the merit of aiding to destroy the insipid mechanical manner 
 of his country, and pointing, if he did not lead the way, to a better, because 
 a more natural and elevated taste. He excelled in portrait, and had a 
 pension from France, where he died in 1641. 
 
 With Simon Vouet flourished a greater name, though then of less influence 
 ^that of his rival, or, as some say, his enemy Nicolas Poussin. He was 
 born at Andelay, in Normandy, in 1594 : the civil wars had reduced the 
 circumstances of the family, once numbered with the nobles ; and the future 
 inventor of the Grand Historical Landscape went to Paris at the age of 
 eighteen, with a small sum of money in his pocket, to study an art to which 
 his own taste, as well as that of his father, had directed him. He first studied 
 under EUe, a Fleming; but when he saw the splendid compositions of the 
 
THE FRENCH SCHOOL. IxXV 
 
 Italian Scliools, and the Btatues of Greece, he made thein his masters, and 
 borrowing scenes from the one, and shapes from the other, united them both 
 in those marvellous landscapes, which breathe with perfect ease and nature 
 the true spirit of antiquity. He was at first employed by those wisest of the 
 sons of the church, the College of Jesuits, for whom he painted six large 
 pictures, now in Notre Dame, representing the History of the Virgin : and 
 then he accompanied Marino the poet to Rome, where he studied and 
 possessed himself of the very spirit of ancient sculpture. This he had an 
 opportunity of proving in his pictures of the Death of Germanicus, and the 
 Taking of Jerusalem by Titus works of a high kind, and which made his 
 name known to Louis the Thirteenth, who persuaded him to return to Paris, 
 where he gave him a pension, apartments in the Tuileries, and commissioned 
 him to paint the Last Supper for the altar of the Church of St. Germains. 
 Having completed this picture a work all dignity and vigour he was 
 desired to paint for the Louvre the Labours of Hercules : but this was too 
 much for the malignity of Simon Vouet, who, entering into apartnership cabal 
 with Fouquires, a landscape painter, so effectually embittered his existence 
 that he privately withdrew to Italy, and no persuasions and many were used 
 could induce him to return. He, however, painted for his country : his 
 pictures were eagerly purchased in Paris : he painted, too, for his adopted 
 land ; and his Massacre of the Innocents, the Annunciation, and the Flight 
 into Egypt, are still in the Italian collections. In England his fame is high, 
 from his Phocion washing his Feet at a public Fountain an emblem of the 
 purity and simplicity of his life ; his Silenus, with Nymphs, Satyrs, and 
 Centaurs sitting in a landscape truly classic ; his Bacchanalian Dance ; his 
 Cephalus and Aurora, in which the poet unites with the painter ; and that 
 most sublime and terrilic of all compositions, Phineus and his Followers 
 turned to Stone at the Nuptials of Andi'omeda. He died at Rome in 1665, 
 leaving a name not destined soon to be eclipsed in the grandeur of landscape, 
 or in the peopling of his scenes with groups historical and poetic : his colour- 
 ing is sometimes a degree too cold, and his drawing a shade too rigid ; but 
 his genius triumphs over all his faults. 
 
 To Gaspar Poussin, whose sister the celebrated Nicolas married, we owe 
 some landscapes of a high order : they are distinguished by the same beauties, 
 and by the same blemishes, as those of his illustrious brother-in-law. At the 
 same time lived Peter Valentino, whose pleasure it was to depict scenes in 
 the camp and in the tavern ; soldiers quarrelling in their cups, and gipsies 
 telling fortunes. There is some firmness in his pencilling, and his colouring 
 has both nature and force: though he painted scripture scenes for the church, 
 his heart Avas with humbler life, and he impressed no little of the spirit of 
 the nation in his pictures : he died in 1G32. The Poussins learned no little 
 from the antique sculpture, and Valentino owes much of his fame to his study 
 of Caravaggio : but Claude Lorraine owes his excellence to nature alone. He 
 was born in the year 1600 : he obtained some knowledge of perspective frOm 
 Paul Brill, together with tlic method of preparing colours ; but he sought in 
 the field and the forest, in the sunrise and sunset, and in the twilight, when 
 the air is clear and the dew falling, for those hues which form the glory of 
 his pictures, and which render a sight of them as refreshing to sad eyes as a 
 look at nature herself. He painted nothing for which he had not the sanction 
 of nature : as he walked in the fields he marked the different appearance of 
 the same prospect, as the day ascended or declined ; and he wrought at his 
 
Ixxvl MODERN PAINTING. 
 
 landscape till he brought it up to the image which he had in his mind, and 
 impressed upon it the result of his own observation. His pictures are all 
 very valuable : ten of them are in our National Gallery, and some of these 
 are his favourite compositions : the Embarkation of the Queen of Sheba ; the 
 Marriage of Isaac and Rebecca ; a Morning Landscape ; the Italian Seaport ; 
 and St. Ursula; are all distinguished from each other, not only by diversity 
 of scene, but by the hour of the day, and the influence of the heavens. His 
 genius w^as with unanimated nature-; his figures, though he laboured them 
 with much care, seldom rose into life: he died in 1682, and left a fame 
 second to none in the calm and lovely representation of the beauties of 
 nature. 
 
 Though Pierre Mignard, who. studied twenty years at Rome, sought to 
 infuse into his compositions, which were mostly of an historical order, the 
 excellence of Raphael and the Caracci, he found a seat but on the foot- 
 stool of the throne to which he aspired. He was recalled from Rome, and 
 painted the portraits of half the princes of Italy by the way; and when he 
 arrived, the king of France first sat to him, then ennobled him, and made 
 him his principal painter : he was remarkable for the grace of his style, and 
 the charm of his colouring. To Du Fresnoy, born in IGll, France is more 
 indebted for his poem on the Art of Painting than for his pictures; and 
 they are not without merit. The uncommon readiness of hand, the light 
 touch, the natural colouring, and graceful attitudes of Sebastian Bourdon, 
 all aided in making him famous in his day. His Dead Christ, and the 
 Woman taken in Adultery, are amongst his best works : his landscapes 
 seem of the fancy rather than of nature : he was born in 1616. With the 
 artists of this period may be named Chaveau, who was distinguished for the 
 fire and vigour of his compositions. Hitherto the historical works of 
 French artists were influenced by the religious and poetic pictures of Italy : 
 the heart of the country had so small a share in them that they could 
 hardly be called national ; their landscapes were more truly the offspring of 
 the soil. 
 
 We have said that Simon Vouet gave some good scholars to the world ; 
 the ablest of these were Le Sueur and Le Brun; they were both of an age, 
 both had the same love for the great masters, both desired to obtain the 
 applause of posterity, and both have obtained it. Eustache Le Sueur, 
 called by his country the French Raphael, was born at Paris in 1617, 
 and studied the pictures of the Roman School, and the beauty and expres- 
 sion of the antique marbles. Resolved to be bold and simple, he cast off, 
 as a garment that suited him not, the affectation and frippery which pre- 
 vailed too much in the national school; and, desirous of the high air, rather 
 than the exact costume of Raphael, he started at once in the race of origin- 
 ality, by painting St. Paul casting out a Demon. He ventured still further, 
 by undertaking to relate, in a series of pictures, the Histoiy of St. Bruno, 
 for the Carthusian Monastery of Paris: for the Louvre, too, he painted his 
 St. Paul preaching at Ephesus, and the Descent from the Cross; both fine 
 works. He never visited Italy, and his pictures are seldom too seldom 
 for his fame seen out of France. His works are of high merit; the con- 
 ception is poetic, the attitude simple and noble, the expression in harmony 
 with the subject; and though there is a certain hardness in his style, his 
 compositions have one and all an air of grandeur, such as true artists desire. 
 He died at the age of thirty-eight. ^Charles Le Brun, we are told, had 
 
THE FRENCH SCHOOL. Ixxvii 
 
 Scottish blood in his veins, and was born in 1619, at Paris, where his 
 father had some fame as a sculptor : his merit shown early obtained for 
 him the friendship of Poussin, the notice of Cardinal Mazarin, and the 
 patronage of the court. *From the first his works had the aim and mark 
 of high history: his Triumph of Alexander over the fortunes of Darius was 
 painted for the court, and it is said the king and his great minister loved to 
 sit and watch the pencil of the artist as it delineated that first great war 
 waged by Europe against Asia. Nor was Le Brun solicitous about his own 
 fame alone: he obtained from the court several new advantages for the 
 Royal Academy of Painting and Sculpture, and formed the plan of an 
 academy for French students at Rome. His works are numerous, and of 
 great merit : his Passions are in every student's hand, and may be accused 
 of having more of action than of mind: of his picture of the Magdalen some 
 one said, " She weeps." " That is not all," replied the artist, " I wish to 
 hear her sigh." Ilis genius was extensive and fruitful; his designs give the 
 dramatic stories of their subjects ; and he was happy in imitating the 
 agitation and rapture of battle. He had something of old Simon Vouet in 
 his colouring, which was too general in its character : his figures are now 
 and then short, and his heads have been accused of a sameness of both look 
 and expression. He died childless in 1690. 
 
 After Le Brun, the star of French Art ceased to ascend; yet pictures of 
 merit continued to be produced. Pietro Mola, born in 1621, formed from 
 the colouring of Guercino, and the design of Paul Veronese, a style at once 
 bold and beautiful, and employed it with success on his great picture of 
 Joseph and his Brethren. The battlepieces of Jacopo Corteso, a native 
 of Franche Compte, were produced at the same time. He prepared himself 
 for success in this line by presence in the field, and by study under Albano : 
 his scenes of war are painted with uncommon spirit: in beholding his pic- 
 tures we seem to hear the shouts of the men and the neighing of the horses. 
 Cain slaying Abel obtained distinction, while yet young, to Noel Coypel, 
 who loved to avoid subjects which other artists had exhausted ; and when 
 the king of France desired pictures from his hand, he painted Solon taking 
 leave of the Athenians; Trajan giving Audience; Ptolemy Ransoming the 
 Jews; and Alexander Severus distributing Corn to the Romans. Poussin 
 and Le Sueur were the objects of his imitation: he was rector of the 
 academy at Paris at his death, in 1707. His pictures of balls, masquerades, 
 comic conversations, and scenes of a grotesque kind, obtained a fame for 
 Anthony Watteau which has not yet declined. He is the artist of domestic 
 manners : all who desired to know how many rows of curls were in cour- 
 tiers' wigs, and how many flounces were in ladies' gowns; how they walked, 
 how they danced, how they ogled, and how they flirted, will find all that, 
 and more, reflected as clear as in a mirror, in the pictures of the laborious 
 Anthony. He died in 1721. 
 
 But before the death of Watteau, the School of France began to decline 
 in natural beauty and in lofty simplicity. The magnificent affectations 
 of Louis the Fourteenth aided largely in this : the pictures which gave to 
 Francis Boucher the name of the Anacreon of painters, finished what 
 royalty had begun, and the purity of Art was profaned and polluted. 
 Vernet, with his marine compositions, which have a sea savour about them, 
 and Claude Caylus, with his classic taste and national enthusiasm, laboured 
 to preserve a love of nature, and a respect for the pure and the lofty : in 
 
Ixxvill MODERN PAINTING. 
 
 this they were ably seconded by John Baptist Greuze, vvliom his country- 
 men call the painter of the Graces : he might with equal propriety be 
 called painter of the Virtues, for he loved to delineate moral and pathetic 
 subjects scenes of devout emotion and tender sentiment. Joseph Marie 
 Vien may be named as the last of that long line of artists who interpreted 
 scripture and prophecy for the church. He was born at Montpellier in 
 1716, and established his reputation in an age inclined to the licentious 
 and the loose by his pictures of St. Martha, the Centurion, the Miraculous 
 Draught of Fishes, and the preaching of St. Denis : he suffered by the 
 Revolution, which abated effectually that love of devout histories which 
 distinguished his country for centuries. 
 
 The storm of the Revolution purified and cleared the air; it swept away 
 the splendid affectations of the court, and restored society to something 
 like the simplicity from which it had fallen. The ridiculous etiquette, the 
 hollow courtesies, and the ceremonious frivolities, were abated by a stern 
 hand, and with them went much that could be spared both of costume and 
 manners : the dresses, caped and cuffed, laced, lappeted and lapelled, frog- 
 ged, frounced and frittered, gave place to the plain and simple attire of 
 republicanism; and Nature, taking the pencil from the hand of Fashion, 
 delineated scenes of heroism and glory in a style of simplicity real and 
 unaffected. The first step of France was in her own blood; but the second 
 was on the heads of her enemies; the march of her victorious armies was 
 to her painters a new inspiration; and Napoleon and his marshals took the 
 places of Saints and Madonnas : the one painted nearly as well as the other 
 fought, and continued longer in the field. The chief of this reformed 
 school was James Louis David, born at Paris in 1750 : he perceived in early 
 life the sad decline of historic painting, and desired, while his pictures wore 
 the severe air of Rome, that they should exhibit the poetic loftiness of Greece. 
 To accomplish this he studied the antique, and the fine harmonies of the 
 living figure : he infused an enthusiasm for the epic style of composition into 
 the minds of his disciples ; and though for a time driven from his high pur- 
 poses by the fervour of the Revolution, he resumed them when the land 
 grew tranquil, and produced a series of pictures of a high aim and order. 
 His best works are the Funeral of Patroclus, Belisarius, Death of Socrates, 
 Leonidas at Thermopylae, the Rape of the Sabines, the Oath in the Tennis 
 Court, and the Coronation of Napoleon, He bestowed the antique looks too 
 effectually, perhaps, on his works, for his figures resemble coloured sculpture: 
 the ideal of Art is strongly impressed on all he did, but it is cold, and, in 
 spite of all its simplicity, laboured and affected. As he dipt his hand in the 
 blood of his country while he dipt his pencil in its colours, he was numbered 
 with the regicides, and obliged to fly when the Lily succeeded the Eagle. 
 He died at Brussels in 1825. He left many disciples, and some of high 
 name: the principal events of the Revolution afforded subjects of historical 
 interest to their pencils ; every battle struck, and every peace dictated, were 
 celebrated by these recording angels of the Republican School : they also 
 entered the regions of poetry and dramatic romance with success ; and, 
 though not wholly inspired with the serene, sacred spirit of unaffected Art, 
 which is scarcely in keeping with the national character, they have produced, 
 and are still producing, works of dignity and sentiment. 
 
 TnE Flemish School was founded by Hubert Van Eyck, born on the 
 
THE FLEMISH SCHOOL. Ixxix 
 
 banks of tlie Meuse in 1366 ; but though there is, according to Sir Joshua 
 Reynolds, great truth and nature in his picture of the Apocalypse, the fame 
 of Hubert is lost in that of his younger brother, John Van Eyck, born in 
 1370, to whom is ascribed the honour of discovering the art of painting in 
 oil. This happened in 1410, and made a lasting change for evil, as some 
 great workers in distemper worded it for good, if we believe in the works 
 of Corregio, and Titian, and Raphael, and Rubens. The claim of the Fle- 
 mings in this great discovery has been severely examined, but not shaken, 
 by writers anxious for the fame of Italy in splendour of colours, as well as 
 grandeur of design ; but Vasari, and after him Lanzi, admit, that though oil 
 was used on walls, no proof could be found that it entered into the mate- 
 rials used in picture painting, till accident some say experiment produced, 
 in the hands of Van Eyck, that ingenious mixture which embodies the 
 conceptions of the mind, and the sentiments of the heart, in the brilliant 
 and enduring hues of nature. But though this discovery, when we write 
 of the British School, will be dated a century and more before the days of 
 the Fleming, yet it must probably be allowed that he was the first who used 
 oil-colours with the hand of genius, and employed them in full strength and 
 lustre to composition. Few of the works of Van Eyck exist: a picture 
 containing the Virgin and Child, with St. George and other saints, is in the 
 Cathedral of Bruges; this is in oil, and the colours are still fresh; but it has 
 little indication of the boldness of composition, vigour of drawing, and 
 brightness of colouring, which distinguish the Flemish School. 
 
 This was first intimated in the productions of Francis Floris, born at 
 Antwerp in 1520, who, as a sculptor, studied the statues of Greece; then, 
 changing his profession, carried his knowledge of drawing to the canvass, 
 and produced works which gained him the name of the Flemish Raphael. 
 He painted the Fall of Lucifer for the hall of St. Michael, at Antwerp 
 a work original and bold ; and an Assumption of the Virgin, of high design 
 and excellence of colour. His manner had nerve and grasp ; but his muscles 
 are reproached with being more massive than nature, and his attitudes are 
 said to incline to the extravagant. John Strada forsook the church for the 
 chase; he loved less to delineate Madonnas and Saints, than huntings of the 
 wild boar and the wolf. He painted the battles too, with both spirit and 
 power, of the heroic Don John of Austria. His picture of the Crucifixion 
 is called a noble performance, and his Ascension is said to be still finer : he 
 studied long in Italy; yet his native school continued visible in his Avorks. 
 He died in 1604, and in the same year died his countryman. Marten de Vos, 
 celebrated for his scripture pieces : his art of colouring surpassed his skill in 
 drawing. The same may be said of the merits of Bartholomew Sprangher, 
 born at Antwerp in 1546 : he had extraordinary lightness of hand, and great 
 sweetness of pencil ; he abstained from studying the antique, but could not 
 be induced to study nature ; and fancy failed to make up for these neglects : 
 his contours are constrained, and his outline ungraceful. 
 
 The introduction of true perspective into Flemish painting is attributed to 
 Henry Stenwyck, born in 1550 : he surpassed all his contemporaries in truth 
 and transparence ; his subjects were usually the interiors of churches and 
 convents, which he illuminated with flambeaux and tapers ; he was a thorough 
 master of light and shade. Into his landscapes, painted from nature, Denis 
 Calvart admitted groups, and figures of saints and hermits, which he studied 
 from Corregio and Parmegianino, and pencilled with great delicacy. The 
 
IXXX MODERN PAINTING. 
 
 landscapes of Paul Brill, born in 1554, are true to nature, and their colouring 
 tender and sweet; his distances are admired, and thetigures, the work of the 
 Caracci, augment greatly the value of his scenes. Of three Brueghels, the 
 most distinguished was John, born at Brussels in 1560 ; his landscapes were 
 admired bj Rubens : his trees are true to nature, both in leaf and branch, 
 and his flowers, though too abundant, are exact ; his brother Peter painted 
 witches and evil spirits, and delighted, but did not excel, in scenes of horror. 
 Roland Savery loved wild and unpruned subjects, and found in the Tyrol all 
 and more than he desired ; rough and jagged rocks, foaming rivers, and 
 abrupt mountains, were his delight : his last work is St. Jerome in the 
 Desert: he died in 1602. 
 
 To these artists succeeded Peter Paul Rubens, the boldest of modern pain- 
 ters in matters of majesty and pomp. He was born at Antwerp in 1577, 
 and soon became distinguished for vigour of conception, force of character, 
 and warmth of colouring. He studied the great artists of Italy in the places 
 where they rose to fame, and remarked their style of colour and their ex- 
 cellence of handling. He was deficient in that soft, but sublime inspiration, 
 so conspicuous in the best Italian artists ; and failed to feel as he ought, the 
 accuracy and simple beauty of the Greek sculpture : nor did he excel in 
 poetic loveliness of form, or in expression, which belongs to the austere and 
 the grand. But for living life, for magnificence, for grandeur of design, and 
 magic brilliancy of colour, who has excelled him ? He was a great national 
 painter, and the character of the people of Flanders is as plain in his pictures 
 as a written history ; their inordinate wealth, their love of show, and their 
 sensual splendour, are delineated with true gusto, by a voluptuous and vivid 
 pencil. He painted the body and the station, as much as the mind and soul ; 
 his princes and princesses are loaded with velvet and lace, and seem solici- 
 tous of looking well in the sight of all lovers of earthly show ; his saints are 
 fitter for winning a ram at a wrestling match than a crown of glory ; and 
 his Madonnas, the buxom daughters of substantial bura;hers, seem prepared 
 to be queens of May rather than queens of heaven. Religion, depicted by 
 Raphael, is meek, humble, simple, and sincere ; Religion, as exhibited by 
 Rubens, desires to be seen by men curious in matters of ceremony and 
 Brussels lace, loves to kneel before golden altars, on velvet cushions, and to 
 know how she looks when she prays. The Fleming was high priest to this 
 magnificent sensuality ; and it must be owned that he ministered with won- 
 drous decorum, as well as magical effect. There is an air of nobleness in 
 all his figures a strong, a natural, and national beauty, not founded so much 
 in form as in expression, which he found neither in the works of Greece 
 nor of Italy, but discovered in the land of which he was a native. His 
 works are said to amount to four thousand ; many were for churches, many 
 were for palaces, and not a few fur private collections : he found his subjects 
 in scripture, in history, and in the remarkable events of his own day; and, 
 various as they were, he handled them with a power as varied as it was 
 vigorous. How he treated a heathen subject, may be seen in the Rape of 
 the Sabines, which is in the National Gallery there the sorrowful is mingled 
 with the sensual: how he dealt with a scriptural one, may be observed in 
 his Christ nailed on the Cross, in the Church of St. Walburgh, Antwerp, 
 which Reynolds pronounces one of his chief works: how he managed a 
 courtly one, no happier evidence can be rendered than his History of Mary 
 de Medicis, in the gallery of the Luxembourg, where he heightens the flattery 
 
THE FLEMISH SCHOOL. IxXXl 
 
 by the admission of allegory, and bestows upon it all the fascination of his 
 pencil. He died in 1640, with a fame which has not waned. 
 
 Other painters of high name lived in the days of Rubens, but none that 
 equalled him in vigour and variety. Of these Francis Snyders, born in 
 1571, is still unrivalled for all that can be seen or imagined, in hunting, 
 with spear and dog, the wild boar or the wolf: in the landscapes of Jodocus 
 Mompert great freedom is to be seen united with great distance : the nicest 
 observation, and the truest perspective, characterize the paintings of Peter 
 Neess, whose gothic buildings are as accurate as geometric skill can render 
 them : Gasper Grayer approaches Rubens in the expression and colouring 
 of his historical pictui-es, and equals him, it is said, in the Centurion dis- 
 mounting from his Horse to receive Ghrist; and Gerard Segers, in the 
 Denial of St. Peter, the Adoration of the Magi, and the Elevation of the 
 Cross, is said to have blended the force of Carvaggio with the brighter tones 
 of Rubens. But James Jordaens surpassed all who took Rubens for a 
 model : he was a native of Antwerp, where he was born in 1594 : he studied 
 nature, compared it with the works of Carvaggio and Titian, and wrought 
 with extraordinary freedom : as his composition was rich, his colouring har- 
 monious, and his expression natural and strong, he wanted but a certain 
 dignity of invention to enable him to rank with the noblest artists. Besides 
 sculpture and church tradition, he painted subjects from poetry with equal 
 skill and spirit; of these, the Satyr and Man, blowing hot and cold; and 
 Pan and Syrinx, are the most remarkable. Abraham Janseens shares with 
 Jordaens in the fame of approaching Rubens in happy light and shade, and 
 life and spirit ; and there are not wanting writers who prefer his disciple, 
 Theodore Rombouts, for fertility of fancy and elegance of design. 
 
 But the Flemish School had other elements in its composition than the 
 splendid flattery and voluptuous magnificence of Rubens. The pictures of 
 David Teniers show an incredible power of expression and colour, a com- 
 mand over all the materials of his art, and a grossness in the choice of his 
 subjects, unknown to painters of his capacity. To him, elegance of form and 
 the beau-ideal were nothing; he moved the heai't by other means; he 
 selected subjects from the vulgar; sought coarse persons in low stations ; 
 frequented rude sports and pastimes, rustic bridals, and the carousals of 
 boors, and limned them with unrivalled vivacity and truth. The expres- 
 sion of his compositions is as striking as the clear transparence of his colours ; 
 his figures bear the reproach of being short and clumsy, but in that resides 
 part of the humour and drollery of his productions. He died in 1694. If 
 Teniers sought, by negligence of shape and oddity of look, to charm his 
 country, Anthony Vandyke accomplished it by dignity of form, gracefulness 
 of action, and that courtesy of expression which is called the chivalrous. He 
 was born at Antwerp in 1598, and studied under Rubens, who took pleasure 
 in cultivating talents so much like his own, and advised him to confine him- 
 self to portraits, and extend his studies among the great painters of Italy. 
 In his sitters he saw all that was dignified, graceful, and agreeable, and 
 communicated it to the canvass, with a felicity so rare in Art that he 
 has been named the king of portrait painters. The natural brightness of his 
 colours harmonizes well with his attitudes, which are redeemed on some 
 occasions from a charge of violence, by a happy treatment, which wins 
 them back to ease and beauty. But he was more than a first-rate portrait 
 painter; of his Christ crucified between the two Thieves, at Mechlin, Sir 
 
 / 
 
Ixxxii MODERN PAINTING. 
 
 Joshua Reynolds says, " This, perhaps, is the most capital of all his works, 
 in respect to the variety and extensiveness of the design, and the judicious 
 disposition of the whole. In the efforts which the thieves make to disengage 
 themselves from the Cross, he has successfully encountered the difficulty "of 
 the art. This picture, upon the whole, may be considered as one of the 
 finest pictures in the world, and gives the highest idea of Vandyke's powers; 
 it shows that he had truly a genius for history painting." He died in 1641. 
 The Flemish School continued to produce painters of fame and name, but 
 none to compare with Rubens in history, or Vandyke in portrait, or with 
 Teniers in scenes from humble life. When the church, involved in contro- 
 versy both with tongue and sword, ceased to require the aid of an art for which 
 she bore the reproach of idolatry, the pencil ceased to perform miracles. 
 
 The Dutch School owes none of its fame to dignity of subject, obedience 
 to the beau-ideal, or the grandeur of sentiment. To the eye, and not to the 
 mind, the artists of Holland addressed their works: their productions 
 require neither imagination to enjoy, nor study to understand. Boors dis- 
 puting over their drink ; tipsy rustics dancing to music, worthy of such feet ; 
 a market-woman skinning an eel; a man blowing a trumpet; the outside of 
 a church, and the inside of a gin-shop ; a crow flying over an acre of meadow, 
 where a cow stands chewing the cud; a young woman paring a turnip, and 
 an old one trimming her wheel; are among the subjects on which Art has 
 bestowed the most exquisite care of hand, and lavished hues of heaven. To 
 the Dutch, Ostade is a Raphael, and Rembrandt a Titian ; and boors quar- 
 relling at a fair, a scene in Paradise peopled with angels. This School arose 
 with Luke of Leyden, born in 1490, whose History of St. Hubert, and pic- 
 ture of a Bagpiper, are works of which the fame still survives. He was 
 followed, but at a distance, by Abraham Bloemart, who excelled in landscapes 
 with cattle and flocks ; by Cornelius Poelemburg, who painted small scenes 
 with delicacy and feeling; and by John Weenix, who, in addition to fine 
 natural landscape, painted game, with a reputation not yet extinct. These 
 artists, and others of equal name, supported the School, rather than raised 
 it: but its scope and style were soon to be carried as far as its nature 
 allowed. 
 
 At the head of the Dutch School stands, and that by universal consent, 
 Van Ryn Rembrandt. He was born in 1G04, and studied under Jacob 
 Pinas, from whom he is said to have acquired his taste for strong contrasts 
 of light and shade ; but, as he was the son of a miller, he more likely found 
 them in his father's mill, where he might see the sun pouring his beams 
 through narrow loophole and wicket, among the dim machinery. As he 
 seems not to have admired the graceful or the lovely in form, or looked on 
 any scene but by an uncommon light, he sought to found a style and win a 
 name, by endowing all his subjects with a singular force of character, and 
 refusing to see them save by a sort of wizard glare, or the fitful light of an 
 elf-candle. The experiment took, and his fame rose high. At first, he 
 bestowed great care on the finish of his pictui'es ; but he found his laborious 
 style took much time, and he saw that he could accomplish all that he 
 desired by dash and force by a rough vigour which sank detail in effect, 
 but which can only be attained by the practised hand of a great master. His 
 St. John in the Wilderness is an example of his early style: it is most care- 
 fully, nay, exquisitely finished ; yet touched with that marvellous predominant 
 
a 
 
 THE DUTCH SCHOOL. Ixxxiii 
 
 lirit, which triumphs in spite of want of fine drawing and fine sentiment. 
 The works in his second manner are very numerous and very valuable : they 
 are on all subjects, and of many sizes ; they are painted with a remarkably 
 full brush; touched here and there with the thumb, as sculptors touch their 
 clay often with the palette knife and stick; nay, some of them seem scrub- 
 bed upon the canvass with a scavenger's broom, while into them streams, 
 from a chink or cranny, a strong light, which lends lustre to the whole, and 
 is part of the magic of the composition. The rudest of his figures is full of 
 character ; the wildest of his lights is perfectly natural ; and his roughest 
 handling has a meaning which no polish can heighten. His colouring is as 
 fresh and lustrous as the moment it was laid on ; and the effect of his light 
 and shade has never been surpassed. He lowered the loftiness of the historic, 
 for he had no sense of its grandeur ; and in portrait he exhibited man as he 
 found him, without attempting to raise his form towards the beau-ideal, or 
 heighten his expression towards poetry. 
 
 The artist who stands next to Rembrandt in the date of birth, is Albert 
 Cuyp: he was born at Dort in 1606, and received lessons from his father, 
 an artist of reputation. He desired to walk in the footsteps of nature, 
 without forcing her to display her beauty by a strange, or, what has since 
 been called, a Rembrandt light. His landscapes of themselves are tranquil 
 and lovely: they reflect the time of the day the cool air of the morning, 
 the sultriness of noon, and the declining and dewy light of the gloaming, with 
 all the effect of nature ; while he has peopled his scenes with life and life, 
 too, in keeping with his fields and his trees sheep in clusters ; cows reposing; 
 horses released from labour ; boats gliding on quiet lakes ; or ships skirting 
 the coast, bringing their merchandise to port. If Cuyp found his subjects 
 at home, Gerard Terburg sought for his in France, England, and Italy: 
 obeying the demand of his country for pictures of a domestic nature, he 
 painted all manner of scenes from common life ; curious encounters ; odd 
 adventures; amusing groups; and single figures in postures of character. 
 Two fine pictures by Terburg are noticed by Reynolds, in his Dutch Tour ; 
 " the white satin of which," he says, " is remarkably well painted : he 
 seldom omitted to introduce a piece of white satin in his pictures." Of the 
 same order of talent, Adrian Brouwer distinguished himself in subjects of 
 low life, such as feats of rustics ; tipsy disputes ; peasants playing at cards ; 
 reluctant recruits ; and broils at feasts and fairs. He had a lively fancy 
 and a ready hand. His drawing is beautiful, and his colouring exquisite. 
 
 The boors of Adrian Ostade have made us as Avell acquainted with those 
 of Holland as if our dwelling-place had been among them, and we had 
 wrought Avith them in the field, chatted with them at their own firesides, and 
 helped them to get tipsy and break heads at fairs and festivals. They are 
 remarkable for their lifelike looks, their social glee, and that species of 
 drollery which belongs both to dress and expression. Ostade is to the Dutch 
 School what Teniers is to the Flemish : he ranks next him for brightness of 
 colouring, and stands sometimes above him in force. He was born in 1613. 
 The genius of Gerard Douw was of a gentle, a pleasing, and a humorous 
 kind. " He drew admirably, and coloured well," says Reynolds when speak- 
 ing of his merits: the same high authority will assist us to describe his com- 
 positions : " A woman asleep, a figure tickling her nose : a man lighting his 
 pipe, and a woman with a candle behind." Out of such humble scenes the 
 Dutch painters evoked a lasting reputation. The models, if not the masters 
 
Ixxxiv MODERN PAINTING. 
 
 of Gabriel Metzu, were Douw and Mieris; yet he differs from them both, in 
 the pencilling and the touch. His figures are unusually graceful ; and lie 
 painted feet as well as faces with care: his subjects are from common life; 
 but some of them are almost lifted into the upper air of poetry by his man- 
 ner of conception. A woman washing her hands in a silver basin ; a woman 
 reading a letter in the presence of the bearer; a woman writing a letter, and 
 glancing up in the face of a companion, as if consulting what to say : these 
 are three of his subjects ; but their truth of expression, and beauty of colour, 
 surpass description. 
 
 Nicholas Berchem, whose name stands high in the annals of landscape, 
 was born at Haerlem in 1624. His taste in selection was of a poetic order: 
 he bestowed on every object as much of the graceful as its nature would 
 admit; his trees are leafed, each according to its kind; his clouds float lightly, 
 as if really borne on the air ; and there is a true natural taste and grace in 
 the attitudes of his figures. One of his last pictures represents a mountain 
 scene, with goats and goat-herds. There is great variety of character in the 
 pictures of Philip Wouvermans. Pie painted all manner of scenes into which 
 horses could be introduced ; skirmishes of cavalry ; pillaging of villages ; 
 riding to the hawking ; sudden retreating : hasty advances: these groupings 
 he embellished with fountains, and temples, and castles, with wonderful truth 
 and taste. Reynolds thus describes a picture of his: "A Wouvermans, the 
 best I ever saw: a gentleman and lady on horseback ; he has an umbrella in 
 his hand, and is talking to another horseman, who has his hat off; a man 
 before them playing on a bagpipe, followed by a woman dancing." 
 
 Paul Potter is reckoned one of the ablest masters of this school : he painted 
 landscapes ; and his cows and calves are considered miracles of truth and 
 beauty ; they seem to breathe of their balmy pastures, while the scene around 
 is treated with that sort of negligence which mastery only dare use. He died 
 young. Of Francis Mieris it is recorded, that he rated his time at a ducat 
 per hour ; and his price for a picture was charged accordingly : this is a 
 mechanical mode of estimating; but his works are of a higher order than tlie 
 mechanical, for Gerard Douw, under whom he studied, called him prince of 
 his disciples : his subjects are of humble life, and his pictures are rarely to 
 be purchased. The merits of Jacob Ruysdael, as a landscape painter, rank 
 high here as well as in Holland: his scenes are chiefly on land; those of 
 William Vandervelde are chiefly at sea ; and they have that sort of maritime 
 complexion which only a hand familiar with the element could give. Between 
 1604, when Rembrandt was born, and 1636, the birth -year of Ruysdael, the 
 names most famous in this school are to be found: many have followed in 
 their footsteps, and added largely to the long list of their country's works of 
 art ; but none can be said to have equalled them. 
 
 The British School is distinguished for colour and expression, and the 
 variety of its excellence ; but these qualities were long in coming to maturity: 
 they struggled for many centuries with the barbarism of the people, and the 
 coldness of the nobles ; and when, at last, Art began to exhibit signs of life, 
 and desire to rank with our poetry, it found its worst enemy in that religion 
 from which we have obtained civil freedom and national greatness. Who 
 our earlier artists were, or from what school or nation they derived their 
 knowledge, there is no account: a natural taste for delineating the human 
 form, and shaping out remarkable deeds, both by chisel and pencil, seems 
 
I 
 
 THE BRITISH SCHOOL. IxXXV 
 
 common to most nations ; but how much of that rude art, the remains of 
 which may still be traced in the land, from the Stones of Stennis to Dover 
 Cliff, belongs to the original feeling of the people, or to our intercourse with 
 Greece and Italy, it is difficult to decide. The religious sculptures of Ely 
 Cathedral and others of our island churches, have the same character and 
 sentiment of the eai'ly sculptures and pictures of Italy; and display a taste 
 and a devout dignity, which, in the eyes of Flaxman, rank them with the 
 works of the Florentine Giotti, executed in the succeeding century. There 
 can be no doubt, and, if there were, it can be removed, that England had 
 her historic and her poetic pictures as early as any other of the Christian 
 nations: this can still be proved by examining the walls of our churches, 
 where the reformer's fire or purifying hand neglected, at the great change 
 of religion, to penetrate ; and better still for most of those samples of our 
 art are faded, or all but obliterated by the records of the nation, where, 
 luckily, many of our pictures are mentioned, the painters themselves named, 
 and the very materials with which they formed their compositions recorded. 
 
 AValpole claims for the reign of Henry III. the attention of all who are 
 curious in the history of British painting: he has instanced, from the national 
 records, some of the pictures which embellished the royal chapels and palaces ; 
 they are chiefly of a religious or legendary character. The figures of the 
 Four Evangelists, with St. Edmund on one side and St. Edward on the other, 
 were painted, it is not said by what hand, on the walls of the chapel of Wood- 
 stock in 1233 : three years afterwards, a Crucifixion, with Mary and John, 
 were painted near the seat of the queen, in the chapel of Westminster: about 
 the same time, the History of Joseph was painted nigh the king's seat, in the 
 same place: in 1247, the king commanded the sheriff of Wiltshire to cause 
 the Wheel of Fortune, and Jesse, to be painted over the mantel of his chamber 
 at Clarendon ; and in 1248 he enjoined the sheriff of Southampton " to cause 
 to be painted," in the chapel of the queen, at Winchester, the image of St. 
 Christopher bearing Christ in his Arms, and the figure of St. Edward the 
 King when he gave his ring to a pilgrim. The king likewise ordered that 
 the figures of the Apostles, and a representation of the Day of Judgment, 
 with the Blessed Virgin on a separate panel, should be painted round the 
 walls of the chapel of St. Stephen, Westminster : this was in the year 1251 ; 
 and in the following year the History of Antioch was ordered to be painted 
 in the King's Chamber, in the Tower; the Story of Dives and Lazarus, on 
 the window of the castle of Northampton ; and the History of Alexander 
 on the walls of the queen's chamber, in the castle of Nottingham. The same 
 prince likewise directed that a picture representing " The king Avho was res- 
 cued by his dogs from the seditions plotted against him by his subjects," 
 should be painted in the wardrobe room at Westminster, where he was 
 accustomed to wash his face: this order is dated 1256. 
 
 These notices, to which many more of the same reign might be added, 
 sufiiciently prove that England, in those infant days of Art in Italy and 
 elsewhere, had her scriptural pictures, her poetic pictures, and her historical 
 pictures : and that her artists not only sought in writings, profane as well 
 as sacred, but in the records of England itself, for subjects for the pencil. 
 Of the artists themselves it is more difficult to render an account : the names 
 of two are mentioned, viz. William, Monk of Windsor, and Master Walter, 
 of Westminster : they are both expressly called painters, and are ordered 
 by name the former, by that of William the Florentine to paint the pic- 
 
IxXXvl MODERN PAINTIXG. 
 
 tures of a religious and historical nature, at Windsor and Westminster. Of 
 the beauty of their productions as works of art, if we may judge from the 
 sculpture and the paintings which still remain of that time, they exhibited in 
 the dawn that divine sentiment which came to such perfection, and rose to 
 such glory in Italy, and which distinguished Christianity from Paganism, 
 and the scriptural pictures of Raphael from the statues of Greece. Concem- 
 ing the materials which entered into the compositions of our island pictures, 
 we promised to speak in our account of the Flemish School, when discussing 
 the discovery of oil colour by John Van Eyck. In our national records it 
 often happens, when a picture is ordered to be painted, that the various 
 colours, for the sake of stating their various prices, are also named, which 
 the artist employs in his work ; one of these entries, of which there are many, 
 may for the present suffice, to show that both oil and varnish were used in 
 their pictures by painters in England, one hundred and eighteen years at 
 least before the discovery of the Fleming. " Items of the account of Walter 
 the painter, for repairing the painting in the king's great chamber at West- 
 minster, 20th Edward I., A. . 1292. For three quarts of oil, ninepence ; 
 for one quart of green colour, a penny halfpenny ; for one quart of vermilion, 
 twopence halfpenny j for sinople, twopence halfpenny; for azure, threepence 
 halfpenny : for ochre, plaster, 8ec., twopence ; and for one pound weight of 
 varnish, fourpence." We may add, that Master Walter was paid one shil- 
 ling per day, or seven shillings per week, for his labour : a not unhandsome 
 salary, and much more than historic painters of our time have earned, whose 
 genius far transcended that of Master Walter of Westminster. 
 
 But though oil and varnish were used in English painting, and pictures, 
 whose subjects were of the historic kind, were largely ordered by our early 
 princes, that genius which unites lofty sentiment to fine form, and endows 
 them with living life and natural colour, was slow in its appearance. Through 
 the half-barbarous and half-stormy reigns of mostof the Edwards and Henries, 
 a Saint was painted here, a Madonna there, and something resembling a poetic 
 circumstance, or an historical event, was traced on the walls of our palaces 
 and chapels ; but the best of these productions did not take one step in ad- 
 vance of the works which Henry HI. so largely patronised ; nor was better 
 sentiment infused into the nation till the days of Henry VIII., when those 
 figures which surround the royal tomb in Henry VIL's chapel were carved, 
 and Holbein showed by example how the pencil could record mind as well 
 as body. But this sunrise of painting was soon to be overclouded : the re- 
 formation in religion for ever separated high Art from the church : pictures 
 and statues were cast out as things unclean and idolatrous ; and when James 
 and his son Charles tried, by the mind of Rubens and the hand of Vandyke, 
 to restore taste to the nation, the puritan flood arose, and, for a time, 
 swept away sceptre as well as pencil. It is true that a love of painting 
 lingered in the land, and that men dared even to indulge in the practice of 
 it : heads of no common elegance were traced in miniatures, by Oliver, by 
 Hilliard, and by Cooper, while Jamieson aspired to be the first who painted 
 portraits in Britain of the size of life. Nor was he wholly unworthy of the 
 name of the Scottish Vandyke, bestowed by his countrymen ; for his draw- 
 ing is correct, his postures graceful, and his expression natural and dignified. 
 The puritans and independents seemed desirous to banish all example of ele- 
 gance and beauty from the land : they sold the royal collection of pictures 
 by auction, and broke the public statues in pieces. 
 
I 
 
 THE BRITISH SCHOOL. IxXXvii 
 
 The taste for Art which Rubens and Vandyke had excited was passed and 
 gone from Britain, when the nation restored Charles II., and Charles tried 
 to restore Art. Art was restored, indeed, but it was of the harlequin kind ; 
 the gravity and upward look of devotion had forsaken it; and the Church, 
 with the bitter spirit of the first reformers in her, preached, and prayed, and 
 turned up the white of her eyes against all painted interpretations of " The 
 Word." Foreign painting came, and profaned the palaces of our kings, and 
 the mansions of our nobles, with the thousand times repeated actions of the 
 pagan gods, or with allegorical groups, traced with a feeble pencil, and co- 
 loured by cold and mechanical hands : these were dark riddles instead of clear 
 history, and excited the disgust of the learned and the wonder of the illiterate. 
 The chiefs of this art were Verrio and La Guerre : they painted by the 
 yard ; and, as their figurative monsters " lay floating many a rood " on wall 
 and ceiling, they made money. While these men waged war against nature 
 and originality, two other foreigners, but of a better order, Sir Peter Lely 
 and Sir Godfrey Kneller, were taking the likenesses of the heroes and 
 heroines of the last days of the Stuarts : and though they ventured to turn 
 loose dames into Junos and Dianas, and men with large wigs and lace 
 cravats into gods of war and verse, they aided in awakening a love of true 
 Art in a land about to have true artists of its own. 
 
 We have said that the Reformation pronounced a divorce between 
 painting and the church : Art Avas obliged to seek other roads to fame ; 
 neither the amours of the heathen gods, nor the frozen abstractions of 
 allegory, suited with the nation's taste ; nor was it fully gratified when 
 William Hogarth came to startle all who admired the magnificent imaginings 
 of the Italian paintings w^ith compositions which united morality to a dramatic 
 force and spirit, found elsewhere only in Shakspeare. He was born in Lon- 
 don in 1697; and London supplies the scene of all his pictures, and her 
 nobles and citizens the persons of his drama. He painted life as he saw it ; 
 and he saw it as a satirist: the beau-ideal of Art he disregarded: he cared 
 for neither the historian's page nor the poet's song: he desired but to limn 
 the folly of the moment, to brand the sin of the hour, in the garb in which 
 it was committed ; yet he has sentiment and story for all time. As high 
 moral sentiment is better than personal beauty, so are the pictures of Ho- 
 garth better than those low in moral aim, though with drawing akin to the 
 beau-ideal. 
 
 Richard Wilson, the great creator of British landscape, was born in 
 Montgomeryshire in the year 1713: in his youthful years he cultivated 
 portrait painting, which Hogarth sarcastically called the only flourishing 
 branch of the high tree of British Art: but both Zucarelli and Vernet, 
 charmed with the all but magical elFect of a scene which he had dashed in 
 to beguile an idle hour, prevailed upon him to turn his pencil from the face 
 of men to the grand fiice of nature. This happened in Rome ; but he found, 
 on his return to England, that the taste of neither of his friends had arrived 
 before him : he displayed his grandest poetic landscapes in vain ; few ap- 
 plauded, and far fewer bought, and he had the pain of seeing painters, with- 
 out a tithe of his talent, rise to fortune by painting the earth rough and raw 
 as they found it. His scenes are selected from poetic nature ; and the sun- 
 shine or the storm which adorns or disturbs them, takes part of the tale of 
 joy or of woe which he relates. The salary of Librarian to the Academy 
 saved this great painter from starvation : he died in 1782, and left composi- 
 
Ixxxviii MODERN PAINTING. 
 
 tions second to none for grandeur of conception, lustrous colouring, and 
 harmonious arrangement. 
 
 But though Hogarth and Wilson are of an earlier day than Sir Joshua 
 Reynolds, he is regarded as the " inventor of and maker " of the British 
 School. He was born at Plympton in 1723 ; shook off the mechanical 
 mode of painting, which he learned from Hudson, during his studies at 
 Rome, and, returning to England with his portfolio full of heads copied 
 from the chief masters, and with new intelligence and skill in the art of 
 colouring, astonished his native land by portraits living and breathing of 
 mind as well as life, and of a happy vigour of handling, and a power of 
 light and shade, unknown here since the days of Vandyke, His ignorance 
 of fine outline, and deficiency of imagination, hindered him from excelling in 
 historic composition ; but his correct taste, and his exquisite sense of the 
 proprieties of Art, are present in numerous pictures, which partake of the 
 nature of the real and the ideal, and belong to poetry. Those who desire to 
 see the highest, and the wisest, and the sweetest, and the loveliest, who lived 
 in the days of George II. and George III., will find them in the works of 
 Reynolds. An artist of equal natural power, and of greater variety of 
 talent, lived at the same time ; this was Thomas Gainsborough : he was 
 born in 1727, at Sudbury, in Suffolk. The woods, and vales, and streams 
 of his native country, were at once his subjects and his place of study ; and 
 with cattle grazing, peasants strolling, and children running wild about, he 
 peopled his landscapes. His scenes are selected with the truest taste, and 
 such as a poetic eye alone could find among the unmowed fields and unpruned 
 woods of England : there is a rustic grace, an untamed wildness, a sort of 
 joyous ruggedness, about the children which he lets loose into his landscapes, 
 which speak of ignorance of velvet caps and gold spoons. The negligent 
 dash of his pencil, and the bright vigour of his colours, suited rough land- 
 scape better than smooth portraiture ; yet some of his likenesses have an 
 ease, a sentiment, and a courtliness, worthy of Reynolds or Vandyke. 
 
 Wilson, Reynolds, and Gainsborough were members of the Royal Acad- 
 emy, established in the year 17G8, and of which Sir Joshua was the first 
 president ; but it did not include George Romney, who was born at Dalton, 
 in Lancashire, in the year 1746 : for this no reason has been assigned, for his 
 works were of the order recommended, at least by the example, if not by the 
 precepts, of the president himself. He was, nevertheless, largely patronised : 
 he painted many heads of distinguished men, vdth much vigour, if not with 
 elegance ; and he executed many pictures which were accounted historical, 
 but which were chiefly portraits, lifted a degree towards poetry by bestow- 
 ing classic names upon them, and putting them into action. To him the 
 handsome Lady Hamilton was at once inspirer and model ; she made her 
 appearance as Iphigenia, Cassandra, Bacchante, Calypso, and Joan of Arc ; 
 but when she left the land, the enchantment ceased, and the spell under 
 which Romney wrought was dissolved. In other words, his imagination 
 had no established forms of its own ; he was unable to work from shapes 
 of the fancy, and required the presence of flesh and blood to supply the defi- 
 ciency : he lived till the year 1802. 
 
 Hitherto, our artists had approached rather than reached the historical 
 or the poetic : Benjamin West boldly crossed the border, and invaded the 
 regions of the epic. In tliis he was encouraged by the discourses delivered 
 in the Academy, by the patronage of George III,, and by his own nature. 
 
THE BRITISH SCHOOL. IxxXlX 
 
 wliich seems to have dared at least as much as his head and hands could do. 
 He obtained apartments in the palace, and tried to realize, in the halls of 
 Windsor, the splendid actions of our Edwards and Henries ; while in his own 
 studio he sought to revive the scriptural epic, in all its beauty of form and 
 divinity of expression. Something of this was accomplished: the historic 
 tale was well and clearly told ; the forms of our warriors were tliere, and 
 much of the dignity of the court, and the heroism of the camp ; nor can it 
 be denied that, in the Pale Horse and his teri'ible Rider, he all but realized 
 the dread and awe which the fearful page of the Revelation inspires. But 
 that something, without which form is torpid, and action but a galvanic 
 start and quiver the living and informing soul was not, or but partially 
 present ; and his dramatic grouping and well-formed figures resembled the 
 men in the valley of dry bones, before the Spirit of God was breathed into 
 them. His death of General Wolfe must be saved from this censure : the 
 Indian chief, gazing calmly on the expiring hero, is a poetic thought, and be- 
 longs to America, where the artist was born in the year 1738. 
 
 It was now time for Ireland to dedicate one of her sons to Art ; and one 
 more ardent could not well be selected than James Barry, He was born 
 at Cork in the year 1741, and when yet very young turned liis mind to 
 painting: of the duties of his profession he had very lofty notions, nor were 
 these lowered by five years' study in Rome, where he gazed on the un- 
 approachable glories of the Vatican, and returned home to awaken, by his 
 enthusiastic tongue and ambitious pencil, a national love for epic composi- 
 tion. He found the nation much more drowsy than he expected ; his in- 
 vectives against the art of portraiture were listened to with unbelieving 
 ears ; his eloquence in favour of the true scriptural and historic style was 
 heard with a cold regard ; and when he put his pencil to the canvass, he 
 failed to realize, either by drawing or by colours, the visions of beauty and 
 majesty which he had induced his countrymen to expect. Yet it must be 
 owned, that the sentiment with which he endowed his compositions was of 
 a lofty kind, and that many persons in his drama exhibited both beauty 
 and energy ; but he failed in I'endering plain and clear a dark and difficult 
 history. The Progress of Human Improvement was the subject he selected, 
 and which he divided into six great pictures : ancient times shook hands 
 with latter ; and the second scene, where Ceres mingles in the dance with 
 the sons and daughters of Greece, seems as civilized as the fourth, where 
 Mercury embarks on the Thames with Drake and Raleigh ; or the fifth, 
 where the members of the Society of Arts distribute their medals amono- 
 the ingenious youth of the land. The citizens of London, then as well as 
 now, looked with wonder on the dark allegories and prodigious riddles of 
 the artist ; he grew soured in his temper, quarrelled with his friends, and 
 died enacting the part of a martyr in the great cause of historical paint- 
 ing, in the year 1806. 
 
 A painter with all the enthusiasm of Barry for high Art, and more than 
 his wildness of imagination, was born in the year 1741, at Zurich in 
 Switzerland. This was Henry Fuseli : how he obtained his knowledge in 
 Art he has but partly told us, for he came, a sort of adventurer in litera- 
 ture, to London, and took up the pencil, because, unlike his pen, it could 
 speak a general language. His fancy teemed with high undertakings ; 
 Michel Angelo, Raphael, and the great masters, were ever on his lips ; of 
 portrait he talked with scorn, and of landscapes with contempt ; and scarcely 
 
XO MODERN PAINTING. 
 
 reckoned that man a painter who had not dipped his pencil in the colours of 
 a Crucifixion or a Day of Judgment. Our island history afforded little which 
 rose to the altitude of his own conceptions, and he refused to touch poetic 
 scenes of humbler rank than the bright paintings of Shakspeare, or the 
 sublime visions of Milton. It must be owned that his works show no timid 
 adventurer in the realms of Art ; yet his imagination, though high, was not 
 calm enough to deal with the subjects which he tried to grasp. He was able, 
 indeed, to startle and astonish : the life and action of his figures are both in 
 excess ; he can do nothing without great effort; his kiss is a clamorous smack, 
 and his touch is a blow. Of the serene and tranquil proprieties of Art he 
 seems to have been ignorant. Yet a mind such as his could not work much 
 without accomplishing something great : his Lazar-house ; Satan aroused at 
 the Ear of Eve ; Hamlet's Ghost ; the Midsummer Night's Dream ; Mirth 
 the "goddess fair and free" of Milton ; Perseus starting from the Cave 
 of Gorgon ; the Infernal Knight, in Theodore and Honorio ; an Incantation, 
 from Theocritus ; are all works of a high rank. Fuseli rejoiced only in the 
 vast, the wild, and the wonderful : he loved to assemble around him the dim 
 and half-defined shapes of imagination, and brood over them till they came 
 forth in order and beauty. His colouring, like his conception, is original ; 
 it has a supernatural hue, which harmonizes with most of his subjects. He 
 died in the year 1825. 
 
 No descent can well be greater, than from the lofty subjects on which Fuseli 
 exhausted his fancy, to those which employed the pencil of David Allan. 
 He was boi'n in Scotland in the year 1744, and the genius which he displayed 
 when very young, was reckoned worthy of being matured in Rome ; but the 
 high Art of the Italian pencil had little influence on the pictures through 
 which his name is most worthily known : these were groupings from peasant 
 or pastoral life, on the banks of the Tweed or the Esk. His genius lay in 
 expression, in grave humour, and in rustic oddity ; his old men are fine, his 
 old women finer still shrewd of eye, and penetrating of brow. 
 
 Of all those who desired to raise British Art into the regions of the his- 
 torical, the most zealous was James Northcote. He was a native of 
 Devonshire, a district fertile in painters : he took lessons under Reynolds ; 
 improved his admiration of the grand style by studying in Rome, and of 
 brilliant colours by visiting Venice ; and he returned home in 1780, to ex- 
 hibit for the use of church and state, his knowledge and his powers in epic 
 composition. But though the splendid dome and extensive panels of St. 
 Paul's seemed to beg for the painter's hand. Religion refused the aid of an 
 art which Protestants had called profane ; while history, in her new philo- 
 sophic mood, declined to heighten her style, or brighten her narrative, with 
 pictures of actions either by flood or field. The creations, therefore, of 
 Northcote found few to admire, and fewer still to buy : his Prince of 
 Orange landing at Torbay, his Angels appearing to the Shepherds, or 
 his Prospero and Miranda, were displayed in vain ; more were added of the 
 same nature, with little better success, and the painter was soon to be found 
 in the ranks of those who said, that the grand style had come to Britain a day 
 too late, and that true taste for the historical had forsaken the land. This 
 was partly true ; yet little that could rank with epic composition had 
 hitherto been exhibited by our island painters, and the cold groups of 
 Northcote were not likely to charm the public mind. He related the story 
 of his picture well; he bestowed a dignity on his heads, which lifted them 
 
THE BRITISH SCHOOL. XCl 
 
 towards the historic ; and he put his figures into strong action, to redeem, by- 
 thews and sinews, what he could not accomplish by mind ; but defective 
 drawing, lack of right proportion, dull colouring, and the want of true life 
 and loftiness, prevailed against his merits : he died in 1831, in the belief that 
 here below he rivalled all but Titian. 
 
 Scotland, strong in her literature, had hitherto done little in painting, 
 though Allan Ramsay, son of the poet of the Gentle Shepherd, threatened 
 for a time to rival the highest in portraiture : what he left undone was per- 
 formed by Henry Raeburn, born at Edinburgh in 1756. He studied 
 under Martin, a master such as any city could readily supply; but he 
 escaped from his stiff starched style into the regions of free drawing, un- 
 consti'ained posture, and manliness of expression. He seldom deviated into 
 the historic style ; his portraits are numerous, and preserve for us the looks 
 of the talent of the north ; they are remarkable for vigour and dignity : he 
 desired to give the natural and kindly qualities of human nature, and pre- 
 ferred sentiment to detail. His portraits of Sir Walter Scott are the 
 triumph of his art : he died in the year 1823. Painters admit the name 
 of William Blake among them with reluctance ; but fine Art is not con- 
 fined to line colour, and his inventions rank him among the creators 
 rather than the copiers. There is a wild, original air about his works, 
 which confine them to the admiration of a few : some of his happiest 
 conceptions are suggested by the history of Job, a few by Blair's poem of 
 The Grave; but the greater portion of his designs were the offspring of his 
 own imagination, which was not always under the restraint of propriety or 
 true taste. He was born in London in 1757. John Opie, from the place 
 of his birth, the humility of his descent, and the vigour of his talents, was 
 called the Cornish Vfonder : he studied in the ever open and wide academy 
 of nature ; his works aspire to the historic, which they oftener approach 
 than reach ; for his original deficiency of imagination, neither the boldness 
 of his style, the simplicity of his compositions, his artless attitudes, nor his 
 vivid portraiture of individual nature, could atone. He saw the ordinary 
 but not the poetic aspects of his subjects ; he had no visions of the grand or 
 the heroic. The murder of James the First of Scotland, and the Death 
 of Rizzio, are numbered among his best pieces of history : he died in the 
 year 1807. Of George Morland, born in 1763, more is related than is 
 desirable to be known : his subjects are all vulgar life, and his own life was 
 less elevated than his subjects ; for while he painted boors in barns, 
 tinkers and their asses, rustics feeding pigs, or butchers bargaining for 
 them, with a vigour, and truth, and a force of colour truly wonderful, he 
 was generally under the influence of intoxication, and associating with the 
 coarse, the debauched, and the profligate. 
 
 All that Morland wanted, Sir Thomas Lawrence had : he was polite and 
 polished to excess : much of the man and his manners is visible in his pic- 
 tures. He began to assert his right to a high station in the British School, 
 when very young, by chalk portraiture ; and when, at a later period, he 
 wrought in oil, his fine drawings, his ease of attitude and graceful expression, 
 were strengthened by natural and agreeable colouring. He has been called 
 the second Reynolds ; but he had little of his breadth and vigour, though he 
 shared with him in the power of expression, and in the art of giving 
 beauty and dignity to his heads. The mouths of his men, and the eyes of 
 his women, are made only for eloquence and love : his genius lay in the polite 
 
XCll MODEEN PAINTING. 
 
 and the well-bred, rather than in the manly and the vigorous : almost all he 
 did had a leaning to the graceful and the soft. Forty years of the 
 great men and courtly beauties of England still live on the canvass of Rey- 
 nolds ; and forty years more of the rank, the genius, and loveliness of the 
 land will live in the portraits of Lawrence. He was born in 1769, and 
 died in 1830. Two followers of Reynolds and Lawrence distinguished 
 themselves by working in the spirit of their masters : these were John Jack- 
 son, born in 1778, and George Henry Harlow, born in 1787. The former, 
 though unequal, sometimes rivalled his master in vigour of expression and 
 glowing warmth of colour ; and, had the latter lived longer for he died very 
 young he would likely have saved Lawrence much labour of painting in 
 portraiture : we have not forgotten either Hoppner or Owen, who sustained, 
 with many fine portraits, the eminence of the British School. 
 
 AVilson and Gainsborough are, in their works, the glory and the example 
 of our art in landscape : they have been not unworthily succeeded by John 
 Constable and Richard Bonington. The former excels in truth, and the 
 latter in elegance ; the one in a natural vigour, which speaks of real 
 scenes of mill-streams, locks of canals, shaded pools and glens, where 
 cattle seek the shade at noon matters of fact rather than of fancy ; while 
 the other gives an air and a halo, not of England, to his landscapes, and 
 touches them with a light pencil, and steeps them in a sort of silvery 
 haze. Constable found his scenes at home, took his hues from nature, 
 and threw over all the moist atmosphere of his native Suffolk. Bonington, 
 seeking that health abroad which he lost at home, painted the purer air and 
 clearer skies of France, where he found a too early gi*ave. 
 
 "With three names, which shall surely live and not die, we shall conclude 
 this too brief account of the most eminent artists of our Island School, 
 viz. Stothard, Hilton, and Newton. The first, distinguished for scenes of 
 beauty and sweetness, supplied by our literature : the second, for pictures 
 beautiful both in drawing and expression, embodied from scripture and 
 poetry ; and the third, for the natural and graceful delineation of domestic 
 story. Thomas Stothard was born in London in 1755 : he caught the 
 inspiration of Art from some prints which he saw by accident, and his 
 skill in colour by experiments, while yet a boy, in the shop of a plough- 
 wright. The taste and feeling with which he entered into the scenes of 
 our poets, were soon perceived by the London booksellers : his pencil was 
 for fifty years much in demand ; and the pages of Chaucer, Spenser, Shak- 
 speare, and Burns, and of many of our Novelists, were associated with a 
 natural beauty akin to their own. His sense of female loveliness and 
 innocence is of the finest and loftiest kind: his postures are as graceful as 
 they are natural, and his groups are of accident, rather than of design. 
 His works are all of a very small size, and almost innumerable many of 
 them are in ink ; but when he used oil, his colours are rich, deep, and 
 harmonious. He died in 1834. William Hilton brought to the taste of 
 historical painting a correct eye, a clear notion of quantity, great skill in 
 colouring, and, what was rarer in England, unequalled accuracy in form. 
 These fine qualities are visible both in his scriptural and poetic compositions : 
 he enters into the spirit of the passages which he embodies ; he has a skill 
 in selecting his story, clear at once and calm, and his conception of character 
 rises with the occasion. His fine talents, however, only brought him forty 
 pounds a-year, and he was saved, perhaps from destitution, by being made 
 
THE BRITISH SCHOOL. XCUl 
 
 Keeper of the Eoyal Academy. Gilbert Stuart Newton was born at Halifax, 
 in Nova Scotia, in 1795 ; but his works by which his name will descend to 
 posterity, were painted in London. These were chiefly from our literature 
 Portia and Bassanio ; Lear and Cordelia ; Shylock and Jessica ; the 
 Vicar of Wakefield and his Daughter ; and Sir Walter Scott, in his out- 
 field trim at Abbotsford. For ease, and truth, and elegance, these composi- 
 tions are not surpassed in our School : they have, besides, a classic and 
 poetic grace of a superior order. Newton died in 1835, leaving works of 
 high promise unfinished. 
 
 The original spirit of Britain has entered but lately, save by fits and 
 starts, into Art ; for this the nation is scarcely to be blamed. Our painters, 
 dazzled for a century Avith grand historic composition, spread out their 
 scriptural conceptions over acres of cloth, forgetful that our houses, w^here 
 alone they would be received, were built for domestic comfort, and not to 
 accommodate works of art. These gigantic pictures excited more surprise 
 than admiration ; and the people turned coldly away from scriptural exposi- 
 tions and religious allegories, and agreed Avith the church, that the day was 
 gone by for shape and colour to interpret the ways of God to man. A 
 safer hand than that of Art had, since the Reformation, opened the sacred 
 volume to the world, and a new intelligence, wakened by the art of print- 
 ing, had taught men to tire of the hundred times repeated stories of classic 
 lore, as well as the thousand times told tale of scripture painting, and desire 
 to drink at the fresh and undisturbed fountains of thought. Our literature 
 obeyed the change of taste ; but our painters would not have done with the 
 worn-out gods of the Heathen, or the exhausted Saints and Madonnas of 
 the church : they continued to indulge in scriptural epics and historic 
 fancies, as artists did of old, when History was to the multitude a book shut, 
 and the Bible a work sealed, and painters were the world's historians. 
 Reynolds lectured, Barry stormed, West toiled, and Fuseli drew supernatural, 
 and Hilton natural shapes, in support and praise of the grand style ; but all 
 would not do. The heart of the country was not with them : more familiar 
 subjects, and, we must add, less lofty, were demanded subjects in which 
 the beau-ideal, like light on a landscape, dawned rather than shone, and 
 which more closely addressed our natural passions and sympathies. Our 
 painters have yielded at last to the taste which they could not control: 
 pictures of moderate dimensions are now numerous, which embody bright 
 passages from our poets ; incidents from domestic life ; daring acts by sea 
 and land ; landscapes, on which even the cold moist light of our isle loves to 
 shine ; and the likenesses of men whose talents are an honour to their 
 country. In all these, reality seems to be more desired than the poetic; 
 and in scenes from either history or fiction, the actors are expected to appear 
 in the garb and look which were theirs in life. This forbids Art, in high 
 works, to paint the mind rather than the form and outer shell of things ; 
 and excludes the grand poetic principle, on Avhich the sublimities of Greece and 
 Italy are founded that the noblest mind is lodged in the most perfect body. 
 
 In conclusion it may be remarked, that the characters of the different 
 Schools of Modern Painting may be read in those of the nations from which 
 tliey sprang. Italy breathed through all her Schools the loftiness to which 
 her Popes 
 
 Holy at Rome here Antichrist 
 
XCIV MODERN PAINTING. 
 
 laid claim, and inspired her painters with that divine expression which 
 eclipses the glory of Pagan genius. Germany owes the first impulse of true 
 Art to Italy ; but her own wild poetic fancy entered into the calm forms of 
 the other, and gave them a touch of the strange and the fantastic. The 
 mixed character of the Netherlands is written in their pictures as plain as in 
 a book devout and voluptuous selfish and magnificent ; their Saints desire 
 to be seen of men, and their Madonnas inquire how they look when they 
 pray. The spirit of Spain exhibits the restraint of superstition ; her pictures 
 are chiefly of a religious cast, and partake of that gloom which, in spite of a 
 bull-fight here, or a deed of chivalry there, darkens and defaces her fine 
 genius. The martial temper of France, and her love of show and splendour, 
 are visible in her works of art ; nor does she exclude domestic joy or classic 
 allusion : we wish her less affectation in her exuberance of spirit. The 
 frugal and the homely, as well as the tare-and-tret character of the Dutch, is 
 recorded in their pictures ; it seldom ascends, even accidentally, into the 
 poetic. The paintings of the British School show a very various people, in 
 whom there is much of every thing : while a part of the nation loves works 
 which elevate the mind with chivalrous feeling and poetic sentiment, another 
 prefers the low to the lofty, and the humble to the hei'oic : nor are we 
 without men who admire a cow sleeping in clover, to ideal beauty slumbering 
 in celestial sheets ; or a pollarded tree with a magpie on it, to Poesy piping 
 in her divinest mood on the summit of Parnassus. But if Painting has not 
 been to Britain either a mistress or a handmaid if she has neither inter- 
 preted religion nor illustrated history she has, nevertheless, honoured the 
 land by many tender, and lovely, and characteristic works of a domestic, a 
 national, and a poetic kind : she has lent to her sister, Poesy, a halo almost 
 as pure and bright as that of the Muse : she has given form, and hue, and 
 sentiment to our island manners, our peculiar sports, and our in-door enjoy- 
 ments ; nor has she failed to preserve for us the manly looks and the graceful 
 faces of the eminent and the beautiful. 
 Lower Belgrave Place, 1840. 
 
 Note. In the necessary brevity of this account of the Schools of painting, I have found room to 
 acknowledge few of my authorities save that of Lanzi, from whose great work on Italian Art I 
 have supplied myself witli much excellent matter. I have only to add, that for some valuable 
 extracts from the national records, illustrative of the early state of our ^t, I am indebted to my 
 friend Thomas Hudson Turner, Esq., of Symoud's Inn, whose accuracy is only equalled by his 
 knowledge in our antiquarian literature. 
 
I 
 
 CATALOGUE 
 
 PRINCIPAL AUTHORS AND WORKS 
 
 THAT HAVE BEEN CONSULTED IN THE COMPILATION OF 
 THIS DICTIONARY. 
 
 LATIN. 
 
 1 Franciscus Junius de Pictur& Veterum. Folio Amstel. 1 637. 
 
 2 Academia Artis Pictorise, &c. a Job. Sandrart. Folio 1683. Nuremberg. 
 
 3 Jul. CiEsaris Bulengeri, de Pictura, Plastice, Statuaria. Lugd. 1627. 8vo. 
 
 4 JEdes Barberinae ad Quirinalem, a Comite Hieron. Tetio descriptaj. Fol. 1642. 
 
 Koma;. 
 
 5 Delicise Batavicse varise elegantisquc Picture. Jac. Marcus collegit et edidit. 
 
 6 De Pictura, prsestantissima et nunquam satis laudata arte, &c. a Leone Baptista Al- 
 
 berti. Basil, 1649. 
 
 7 Museum Florentinum. 
 
 8 Lamberti Lombard! Vita, ab Ul Goltzio. 
 
 9 Gerardi de Lairesse pictoris Opus. Per Nic. Visscher editum. 
 
 10 De Arte Graphica. Poema Latinum, ab Car. Alphon. Du Fresnoy. 
 
 1 1 Theatrum Honoris, in quo nostri Apelles sa:culi, seu pictores qui patrum nostrorum 
 
 memoria vixerunt celebriores 
 
 ITALIAN. 
 
 1 Vite de piu ecccllenti Pittori di Giorgio Vasari. 
 
 2 Le Vite de' Pittori, Scultori, e Arcbitetti, le quali seguitano le Vite che fece Gior. Va- 
 
 sari. Scritte da Giov. Baglione. 
 
 3 Trattato della Pittura di Leonardo da Vinci, dato in luce da Eaffaclle du Fresno. 
 
 4 Trattato del' Arte de la Pittura, di Giovanni Paolo Lomazzo. 
 
 5 Idea del Tiompo della Pittura di Paolo Lomazzo, nclla quale egli discorre dell' on'gine 
 
 ed fondamento dellc cose contenute nel suo Trattato dell' Arte della Pittura. 
 Milan. 
 
 6 II medesimo, con le Trattato della forma delle Muse, cavata degli antichi Autori Greci 
 
 e Latini, opera utilissima a Pittori e Scultori, di P. Lomazzo. 
 
XCVl CATALOGUE OF AUTHORS. 
 
 7 II Microcosmo della Pittura di Fran. Scannelli da Forli. 
 
 8 II Claustro di St. Michele in Bosco di Bologna, dipinto dal famoso Lod. Caracci, e da 
 
 altri eccellenti maestri usciti dalla sua scola, descritto dal Cav. Malvasia. 
 
 9 Galeria nel Palazzo Farnese in Roma, dipinta da Annibale Caracci, intagliata da 
 
 Carlo Cesio, con le Argomento. 
 
 10 L'Idea de Pittori, Scultori, ed Architetti, di Federigo Zucchero. 
 
 11 La Pittura in Parnasso, opera di Giovanni Maria Crocchi. 
 
 12 Descrizione delle Pitture d' Ascoli, di Bald. Orsini. 
 
 13 Dialogo della Pittura Veneziana, dal Paolo Pino. 
 
 14 AbecedarioPittorico, dal Antonio Orlandi. 
 
 15 Eagionamenti di Vasavi sopra le inventione da lui dipintc in Firenze, nel Palazzo di 
 
 loroAltezze Sereniss. 
 
 1 6 Origine dell' Academia del Disegno, de Pittori, Scultori, ed Architetti di Roma. 
 
 17 Descrizione del Vaticano, di Agostino Taja. 
 
 18 Trattato de la Pittura, Scultura, e loro uso ed abuso. 
 
 19 Le Vite de Pittori Bergamuschi, di F. M. Tassi. 
 
 20 Vocabolario Toscano dell' Arte del Disegno, opera di Filip. Baldinucci. 
 
 21 II medesimo, con una Lettera di Filip. Baldinucci nella quale risponde ad alcuni 
 
 quesiti in materie di Pittura, 
 
 22 L'Immortalita e Gloria del Pennello di Agostino Sansovino. 
 
 23 Notizie degli Artefici Modenesi, di Tiraboschi. 
 
 24 Le Cronache di Cremona, di Antonio Campi. 
 
 25 Notizie Istoriche do' Pittori Cremonesi, di Giov. Bat. Zais. 
 
 26 La Pittura di Leon Battista Alberti, tradotta per Lod. Domenichi. 
 
 27 La carta delnavegar Pittoresco, di Marco Boschini. 
 
 28 Storia dell' Academia Clementina di Bologna, di Gio. Pietro Zanotti. 
 
 29 II Riposo di Raffaello Borghini, in qua della Pittura, e della Scultura, si favella, da 
 
 piu illustri Pittori ed Scultori, e delle piii famose opere loro si fa menzione, e le 
 cose principali appartenenti a dette arte s'insignano. 
 
 30 Della Pittura Veneziana, del Ant. Mar. Zanetti. 
 
 31 Trattato della Pittura, fondato nell' autoritk di molti excellenti in questa professione, 
 
 da Fran. Bisagno. 
 
 32 Le Publicche Pitture di Piacenza, descritte da Carlo Carasi. 
 
 33 L'Idea de Pittori, Scultori, ed Architetti, del Caval. Luccaro. 
 
 34 Memorie della Citta di Brescia, di Bald. Zamboni. 
 
 35 Descrizzione delle Imagini dipinte da Raft'aelle d'Urbino. 
 
 36 Guida di IMantova. 
 
 37 Le Vite di Carlo Cignani e Seb. Ricci. 
 
 38 Notizie de' Professor! del' Disegno, &c. di Filippo Baldinucci. 
 
 39 Vite de' Pittori Antichi, scritte ed illust. da Carlo Dati. 
 
 40 Le Vite de' Pittori, degli Scultori, ed Architetti Veroncsi, dal Fr. Bartolomeo Co. dal 
 
 Pozzo. 
 
 41 Vite de Pittori, &c. da Leone Pascoli. 
 
 42 Ravenna ricerata, &c. da Girolamo Fabri. 
 
 43 Retratti di alcuni celebri Pittori, da Ottavio Leone. 
 
 44 De veri precetti della Pittura, di Giov. Bat. Armenini da Faenza. 
 
 45 Felsina Pittrice ; vite de Pittori Bologuese, da Carlo Malvasia. 
 
ClATAIiOGUE OF AUTHORS. XCVU 
 
 4G Paver sopra la Pittura di Bernardino Campi. 
 
 47 Le Vite de Piii insigai Pittori, &c. dal Girolamo BarufFaldi. 
 
 48 Ristretto delle cose notabili, &c. di Giacomo Carlieri. 
 
 49 Bologna Perlustra, di Antonio Paolo Masini. 
 
 50 Vite de' Pittori, &c. Moderni, scritte da Giovanni Pietro Bellori. 
 
 51 Vite de' Pittori Pesaresi, di Giuseppe Montani. 
 
 52 Trattato della Pittura da Domenicho Bisagno. 
 
 53 Pitture e Sculture della Citta di Perugia, da Giovanni Morelli 
 
 54 Vite de' Pittore, Scultori, ed Architetti, del Gio. Bat. Passeri. 
 
 55 Bellezze della Citta di Firenze, &c. di Cinelli. 
 
 56 Vite de' Pittori Bolognesi, &c. del Luigi Crespi. 
 
 57 Eistretto della Storia Bresciana, del' Leon. Cozzando. 
 
 58 Storia Pittorica dell' Italia, del' Abate Luigi Lanzi. 6 vols. 8vo 
 
 59 Notizie sul le Pitture di Parma, dal Ireneo Affo. 
 
 60 Memorie Storiche su la Vita di Leonardo da Vinci, del' Carlo Amoretti. 
 
 61 Due Lezioni di M. Benedetto Varchi; nella prima delle quali si dichiara un sonnetto 
 
 di M. Agnolo; ncUa secondasi disputa quale sia piii nobile arte, la Scultura e la 
 Pittura, con una Lettera d' esso Mich. Agnolo sopra le questioni sopra dette. 
 
 62 Venezia descritta, di Francesco Sansovino. 
 
 63 Apparato degli Uomini illustri di Ferrara, di Agostino Superbi. 
 
 64 Notizie delle Pitture d' Italia, di Francesco Bartoli. 
 
 65 Le Vite de' Pittori, Scultori, et Architetti Genovesi, e de Forestieri che in Genova 
 
 operazono, con alcuni ritratti degli stessl, di RafFaele Soprani. 
 
 66 Vita di Francesco Mazzuoli, da P. Ireneo. 
 
 67 Guida di Milano, di Carlo Bianconi. 
 
 68 Le Finczze de Penelli, da Luigi Scaramuccia. 
 
 69 Guida di Brescia, di Giovanni Antonio Averoldi. 
 
 70 Delia nobilissima Pittura, &c. di Biondi. 
 
 71 Guida di Parma, di Clem. Rota. 
 
 72 Pitture e Sculture di Ferrara, di Cesare Benotti. 
 
 73 Indice del Parnasso de' Pittori, del S. Eesta. 
 
 74 Deir Pittura Friulina, del' Girol. Renaldi. 
 
 75 G. F. Morelli, Pitture e Sculture di Perugia, 
 
 76 Le Pitture e Sculture di Modena, del' G. F. Pagani. 
 
 77 Le Pompe Senesi, dal Padre Azzolini. 
 
 78 Memorie de' Pittori Messinesi, di Fil. Hacker t. 
 
 79 Le Ricche minore della Pittura Veneziana compendiosa informazione, di Marco Boschini. 
 
 80 Lettere Pittoriche Perugine, di Annibale Mariotti. 
 
 81 Raccolta de' Vite di Pittori Modenesi, di Lodov. Vedriani. 
 
 82 Indice del Tomo de disegni raccolte da S. R. intitolato I'Arte in tre Stati. 
 
 83 Le Belle Arti in lega con la Poesia per I'Academia del Disegno, celebrata in Campi- 
 
 doglio, il di Maggio. 
 
 84 Le Pitture di Bologna, di Gi. Pet. Zanotti. 
 
 85 Passagio per Italia, &c. del Federigo Zucchero. 
 
 86 Vite de Pittore, &c. di Giov. Bat Passeri, 
 
 87 Saggio sopra la Pittura, di Francesco Algarotti. 
 
 9 
 
XCVni CATALOGUE OF AUTHORS. 
 
 88 Dialogo di Pittura di Messer Paolo Pino. Venet. 
 
 89 Vita di Domenico Maria Vieni Pittore, scritta da Gioseffo Guidalotti. 
 
 90 Vita di Midi. Angelo Buonarroti, da Ascanio Condivi. 
 
 91 Vita del gran Michel Agnolo Buonarroti, scritta da M. G. Vasari. 
 
 92 Vita di Giacopo Eobusti, detto II Tintoretto, dccritta da Carlo Ridolfi. 
 9.3 Dialogo della Pittura di Lodovico Dolce. 
 
 94 La Teorica della Pittura, di Ant. Franchi. 
 
 95 Viaggio Pittoresco, descritto da Giacomo Barri. 
 
 96 Memorie Trevigiane, di M. Federigo. 
 
 97 Nuovo Studio di Pittura, Scultura, ed Architettura nelle Chiese di Roma, dell' Ab, 
 
 Filip. Titi. 
 
 98 Vite de' Pittori Napolitani, di Bernardo Dominici. 
 
 99 Le Pitture di Bologna che nelle pretosa, e remostata sin hora da altri maggiore an- 
 
 tichite, et impareggiabile eccellenza nella Pittura, con manifesta evidenza di fatto, 
 rendono il passeggiere disingannato ed instrutto del' Ascoro Academico Golato. 
 
 100 Storia dell' Arte, &c. di Giov, "Winckelmann. 
 
 101 Osservazioni sopra il Libro detto Felsina Pittrice per difisa di Kaffaello di Urbino, 
 
 del Caracci, e della loro Seuola. 8vo. 
 
 102 Vite de Pittore Genovesi, di Carlo Gio. Ratti, 
 
 103 J. Giuli Pittoreschi Virtuoso ornaraento della Citt^ di Vicenza, raccolta da Marco, 
 
 Boschini. 8vo. 
 
 104 Le Maraviglie dell' Arte, overo le Vite degl' illustri Pittori Veneti, e dello Stato, &c. 
 
 dal Cav. Carlo Ridolfi. 2 torn. 
 
 FRENCH. 
 
 1 Sentimens sur la distinction des diverses mani^res de Peinture, Dessein, et Gravure, 
 
 et des Originaux, d'avec leurs copies, par Bosse. 
 
 2 Le Peintre converty aux precises et universalles Regies de son Art, par Bosse. 
 
 3 Description de divers ouvrages de Peinture, faits pour Le Roy. 
 
 4 Les Monumens de Rome, par Raguenet. 
 
 5 L'Art de Peinture, par Du Fresnoy, enrichie de remarques, et augment6e d'un Dia- 
 
 logue sur le Coloris, par de Piles. 
 
 6 Dissertations sur les Ouvrages des plus fameux Peintres, par De Piles. 
 
 7 Abrege de la Vie des Peintres, avec des Reflexions sur leurs ouvrages, par M. de Piles 
 
 8 Cours de Peinture, par le meme. 
 
 9 Conversations sur la Connoissance de la Peinture, par le meme. 
 
 10 Description du Cabinet de Tableaux de'M. Myers a Rotterdam. 
 
 11 Sentimens des plus habiles Peintres sur la Pratique de la Peinture et Sculpture, mis 
 
 en Tables de Preceptes, avec plusieurs Discours Academiques, par Testelin. 
 
 12 Traitesur la Peinture, parB. D. De Grez. 
 
 13 Recueil de Testes de Caractere et de Charge, dessinee par Leonardo da Vinci. 
 
 14 Histoire de la Peinture, extraite de I'Hist. Naturelle de Pline, avec le texte Latin, et 
 
 eclaircie par des remarques nouvelles. 
 
 15 De rOrigine de la Peinture, et des plus excellens Peintres de I'Antiquite. 
 
 16 Idee de la Perfection de la Peinture, par Fre'art. 
 
I 
 
 CATALOGUE OF AUTHORS. 
 
 7 Conferences de TAcaclemie Eoyale de Teinture et do Sculpture, par Felibien. 
 
 18 Eatretiens sur les Vies et sur les Ouvragcs des plus excellens Peintres anciens ct 
 
 modernes, par M. Felibien. 5 vols. 4to. 
 
 19 Livre de Portraiture d' Annibal Carache. 
 
 20 Discours prononce dans les Conferences de I'Academie Koyale de Peinture et de 
 
 Sculpture, par Coypel. 
 
 21 Cabinet des Singularitez d'Architecture, Peinture, Sculpture, et Gravurc, par Le 
 
 Compte. 3 vols. 
 
 22 Traitc' de Peinture, par Dandre Bardon. 
 
 23 Description de I'Academie Koyale des Arts de Peinture et de Sculpture, par Guering. 
 
 24 Histoire des Arts qui ont rapport au Dessein, par Monier. 
 
 25 Reflexions Critiques sur la Poesie et sur la Peinture, par I'Abbe Du Bos. 3 vols. 
 
 2G Description des Tableaux du Palais Royal, avec la Vie des Peintres a la tete do leurs 
 Ouvrages, par De St. Gclais. 
 
 27 Charles Nicholas Cochin, Dissertation sur I'EfFet de la Lumicre et des Ombres, rela- 
 
 tivement a la Peinture. 12mo. 
 
 28 Voyage d'ltalie. 3 vols. 8vo. 
 
 29 Memoires de I'Academie Royale des Sciences. 
 
 30 Histoire de I'Academie Royale des Inscriptions et Belles Lettres. 
 
 31 Tables Historiques et Chronologiques, par A. F. Harms. 
 
 32 CEuvres de Montesquieu. 
 
 33 Anecdotes des Beaux Arts. 
 
 34 Dictionnaire Portatif des Beaux Arts, par M. La Combe. 
 
 35 La Vie des Peintres Flamands, AUemands, et HoUandois, par J. B. Descamps. 
 
 36 Nouveau Dictionnaire Historique, par L. M. Chaudon et F. A. Delandine. 30 vols. 
 
 37 Abrege de la Vie de fameux Peintres, par D'Argenville. 4 vols. 
 
 38 Le Cabinet des Beaux Arts, par Perrault. 
 
 39 Conference de I'Acad. Royale de Peinture et de Sculpture de Paris. 
 
 40 Histoire des raeilleurs Artistes de la Suisse, par J. G. Fuessli. 5 vols. Bvo. 
 
 41 Manuel des Amateurs de I'Art, par Huber et Eost. 
 
 42 Dictionnaire des Arts de Peinture, &c. par M. Watelet. 5 vols. 8vo. 
 
 43 Galerie des Peintres celebres, avec des Remarques, par C. Lecarpentier. 2 vols. 
 
 44 Abrege de la Vie des Peintres, par N. Alexandre. 
 
 45 Histoire de la Peinture en Italic, par le Comte Orloff. 2 vols. 8vo. 
 
 46 Histoire de la Peinture en Italic, par M. B. A. A. 2 vols. 8vo. 
 
 47 Le Peintre-Graveur, par Bartsch. 2 1 vols. 8vo. 
 
 48 Galerie des Peintres Flamands, Hollandais, et Allemands, par Le Brun. 3 vols, folio. 
 
 49 Voyage Pittoresque de Naples et de Sicile. 5 vols, folio. 
 
 50 Dictionnaire des Artistes qui ont laisse des Estampes, par Ileinecken. 4 vols. 8vo. 
 
 51 Vie et ffiuvres des Peintres, par Landon. 24 vols. 4 to. 
 
 52 Annales du Musee, par Landon. 25 vols. Bvo 
 
 53 Dictionnaire des Beaux Arts, par Millin. 3 vols. 8vo, 
 
 SPANISH. 
 ; i El Parnaso Espanol Pintoresco laureado, del Don Antonio Palomino y Velasco. 
 Folio. 3 vols. ^'^ -*' ^7'* ' " ' 
 
C CATALOGUE OF AUTHORS. 
 
 2 Arte de la Pintura su antiguedad y grandezas, del Francesco Pacheco. 
 
 3 Discursos Apologeticos, en que se detiende la ingenuidad del Arte de la Pintura, de 
 
 Don Juan de Burton. 
 
 4 Dialogos de la Pintura, su defensa, origen, o essencia, definicion, modos, y differencias, 
 
 por Vincentio Carduchio. 
 
 DUTCH. 
 
 1 Het Schilder Boeck, &c. door Carl Vanmander. 
 
 2 De Levens Beschrivingen de Konst Schilders, door J. Campo "Weyermens. 
 
 3 De Groote Schonburgh der Konst Schilders, &c. door Arnold Houbraken. 
 
 4 Het Gulden Cabinet, &c. door Cornelius de Bie. 
 
 5 Lives of the Painters, by Van Gool. 
 
 ENGLISH. 
 
 1 The Painting of the Ancients, in three books, written in Latin by Junius, and by him 
 
 translated into English. 4to. 1638. 
 
 2 Ereart's Idea of the Perfection of Painting, translated by Evelyn. 8vo, 1668. 
 
 3 Painting Illustrated, in three Dialogues, with the Lives of the most eminent Painters, 
 
 from Cimabue to Kaphael and Michel Angelo, by William Aglionby. 4to. 1685. 
 
 4 The Lives of the most eminent Painters, Sculptors, and Architects of the Flemish 
 
 School, by Cornelius de Bie. 4to. 1661. 
 
 5 The Art of Painting, by Du Fresnoy, translated into prose, by Dryden ; with a Pa- 
 
 rallel between Poetry and Painting. 8vo. 1695. 
 
 6 The Lives of the most eminent Painters, by Graham. 8vo. 1695. 
 
 7 Explanation of the famous and renowned Glass-work, or Painted Windows, at Gouda. 
 
 8vo. 1718. 
 
 8 Jonathan Richardson's Essay on the Theory of Painting. 8vo. 1715. 
 
 9 Two Discourses: 1. An Essay on the whole Art of Criticism 
 
 in Painting. 2. An Argument in behalf of the Science of a Connoisseur. 
 
 1 Account of some of the Statues, Bas-Reliefs, Drawings, and 
 
 Pictures in Italy. 1722. 
 ] 1 Anecdotes of Painting in England, by George Vertue ; and continued by Lord Orford. 
 
 5 vols. 4to. 1782; and 5 vols. 8vo. 1827. 
 
 12 Continuation of the same, by Edward Edwards. 4to. 1808. 
 
 13 Gambarini's Description of the Earl of Pembroke's Pictures. 8vo. 1731. 
 
 14 Roma lUustrata; or, a Description of the most beautiful Paintings, &c. in Rome. 
 
 8vo. 1723. 
 
 15 Lives of the Spanish Painters, Sculptors, and Architects, translated from Velasco. 
 
 8vo. 1739, 
 
 16 Anecdotes of Painting in Spain, by Richard Cumberland. 2 vols. 12mo. 1782. 
 
 17 Aretin; or, a Dialogue on Painting. 8vo. 
 
 18 The Art of Painting, by Gerard de Lairesse. 4to. 1738. 
 
 19 Treatise of Painting, by Leonardo da Vinci, translated from the original Italian. 8vo. 
 
 1721. 
 
Catalogue of authors. ci 
 
 20 The same, with his Life. 8vo. 1796. 
 
 21 The Art of Painting, after the Italian manner, with Observations on Colours, by 
 
 Elsum. 8vo. 1704. 
 
 22 Dialogues upon Colouring,' translated from De Piles. 8vo. 1711. 
 
 23 Lives of the Painters, by the same. Svo. 
 
 24 Turnbull's Treatise on Ancient Painting. Folio, 1740. 
 
 25 The Painter's Voyage to Italy, by Giacomo Barri. Svo. 1 679. 
 
 26 History of Painting, &c. from the French of Monier. Svo. 1699. 
 
 27 Samber's Description of the most beautiful Pieces of Painting, Sculpture, and Archi- 
 
 tecture, at and near Rome. Svo. 1723. 
 
 28 La Motte's Essay upon Poetry and Painting. Svo. 1730. 
 
 29 Du Fresnoy's Art of Painting, translated into English Verse, by William Mason. 
 
 4to. 1778. 
 
 30 Life of Hogarth, by John Nichols. Svo. 
 
 31 Letters from a young Painter to his Friends. 2 vols. Svo. 
 
 32 The Works of Sir Joshua Eeynolds, with his Life, by Edmund Malone. 3 vols. Svo. 
 
 33 The Life of Sir Joshua Reynolds, by James Northcote. 4to. 1813. 
 
 34 Correspondence between Poetry and Painting, by Daniel Webb. 12mo. 
 
 35 Enquiry into the Beauties of Painting, by the same. 12mo. 
 
 36 The Works of Antonio Mengs, with his Life, by the Chevalier Azara. 2 vols. Svo. 
 
 1796. 
 
 37 Letters from several parts of Europe and the East. 2 vols. Svo. 
 
 38 The Life and Writings of Michel Angelo Buonarroti, by Richard Duppa. 4to. 
 
 39 The Life of Raffaelle da Urbino, by the same. Svo. 
 
 40 Daulby's Descriptive Catalogue of the Works of Rembrandt. 4to. 1796. 
 
 41 English Connoisseur. 2 vols. 12mo. 
 
 42 Life of George Romney, by William Hayley. 4to. 
 
 43 The Works and Life of James Barry. 2 vols. 4to. 
 
 44 The Life and Studies of Benjamin West, Esq., President of the Royal Academy, by 
 
 John Gait. Svo. 
 
 45 The Life of George Morland, by George Dawe. 4to. 
 
 46 The Works and Life of Edward Dayes. 4to. 
 
 47 Lectures at the Royal Academy, by Henry Fuseli, Esq. Svo. 
 
 48 The Works and Life of John Opie, Esq. 4to. 
 
 49 The Life of Salvator Rosa, by Lady Morgan. 2 vols. 
 
 50 Catalogue of the Pictures of Charles I. 4to. 
 
 51 Catalogue of the Pictures of James H. 4to. 
 
 52 Catalogue of the Pictures of the Duke of Buckingham. 4to. 
 
 53 Catalogue of the Pictures in the Collection of Robert Strange. Svo. 
 
 54 Perry's Catalogue of the Pictures in the Gallery of the Marquis of Stafford. Svo. 
 
 55 Catalogue of the Pictures in the Collection of the late Noel Desenfans. 2 vols. 
 
 56 The Lives of the most Eminent British Painters, Sculptors, and Architects, by Allan 
 
 Cunningham. In six volumes. 
 
 57 Smith's Life of Nollekens. 2 vols, Svo. 
 
A VIEW 
 
 PAETICULAR PAETS WHICH CONSTITUTE THE AET OE PAINTING. 
 
 FKOM THE FEENCH OF WATELET. 
 
 IN THE AET OF PAINTING ARE TO BE CONSIDERED- 
 ITS ORIGIN. 
 
 Natdrai,. 
 The natural origin of Painting has for its 
 foundation a want, and an universal tendency, 
 which impels man to express what he feels, and 
 to design and imitate. Tliis want, and this ten- 
 dency, which form a part of the nature of man, 
 render the liberal arts indispensable to him ; and 
 those arts among which is Painting become 
 languages intellectually attached, especially to 
 the most noble of the institutions which are esta- 
 blished in societies: I mean the systems of 
 lleligion, of Heroism, and of Patriotism. 
 
 HiSTORICAIi. 
 
 The historical origin of Painting has for its 
 basis the monuments of antiquity; but those 
 monuments offer few ascertained facts, and go 
 back only to certain epochs. In the most an- 
 cient, which have treated of the history of the 
 arts, we find some circumstances and some de- 
 tails which interest curiosity. Now the major 
 part of them are no longer essentially necessary, 
 or infinitely useful to the progress of artists. 
 
 USEFUI/. 
 
 To Sciences and institutions 
 in general, by the representation 
 of the objects on which they are 
 employed, and the means which 
 they employ. 
 
 To History, by the repre- 
 sentation of facts, and by the 
 faithful representation of ob- 
 jects, monuments, resemblances, 
 and particular customs. 
 
 To Morality, by the repre- 
 sentation of laudable actions. 
 
 And, lastly 
 
 To Institutions, because 
 Painting renders them sensible 
 by bringing under the eyes the 
 facts which belong to those in- 
 stitutions, and the allegories 
 which are proper to them. 
 
 Useful and Agreeable. 
 
 To the Liberal Arts, by 
 the connection which Painting, 
 as being one of them, has with 
 
 To the Mechanical Arts, 
 by facilitating the understand- 
 ing, the execution, and the imi- 
 tation of all that human industry 
 invents; for, in this respect, the 
 Art of Painting is an universal 
 language. 
 
 Agreeable. 
 s an object of relaxation and 
 pleasure; or by the particular 
 satisfaction which is excited by 
 the productions of Painting, in 
 the imitations which they pro- 
 duce. 
 
 
 ITS PERFECTIBILITY. 
 
 
 By Theory. 
 
 By Means of Observations 
 
 By Practice. 
 
 By means of the concatena- 
 
 ON the Forms of Bodies. 
 
 Which comprises, 
 
 tion of the principles necessary 
 
 Their colo^irs. 
 
 The hxibUual exercise of Art, 
 
 to the Art. 
 
 The effects of light. 
 
 whence results the freedom and 
 
 By the aid which it derives 
 
 The effects of the Passims. 
 
 facility of working. 
 
 from parts of different sciences ; 
 
 The apparent movements of 
 
 The selecticnot the best means. 
 
 such as Anatomy, which demon- 
 
 Animated Bodies. 
 
 and of all the aid which Art can 
 
 strates Osteology and Myology to 
 
 The chanf/es of all kinds to 
 
 employ. 
 
 the Painter. 
 
 which animated nature is sub- 
 
 The perfecting of the utensils 
 
 By Mathematics, which a- 
 
 ject. 
 
 and materials, and the prepara- 
 
 lone can give laws of Perspective 
 
 
 tion of those materials, and a 
 
 and of Pondcratian. 
 
 
 perfect knowledge of the use 
 
 By History and Fable, 
 
 
 which we can and ought to 
 
 which contain the interesting 
 
 
 make of all these things. 
 
 facts, and the costume of the 
 
 
 
 time and the people, and also 
 
 
 
 the allegories. 
 
 
 
I 
 
 THE BALANCE OE THE PAINTEES. 
 
 FROM THE FRENCH OF DE PILES. 
 
 I HAVE (says De Piles) made this Essay rather for my own amusement than to bring over others 
 to my opinions. Judgments differ too much in this matter, for any one to pretend that he alone is 
 in tlie right. All that I ask is, the liberty of making known what I think, as I leave to others to 
 abide by the quite different ideas from mine which they entertain. 
 
 The use which I make of my Balance is this : I divide my weights into twenty degrees ; the 
 twentieth is the highest, and I attribute to it the sovereign perfection which we do not know in the 
 whole extent ; the nineteenth is for the highest degree of perfection that we know, which has yet 
 been reached by any one; and the eighteenth is for those who, in our judgment, have approached 
 most nearly to perfection ; so, in the same way, the lowest ciphers are for those who appear to be 
 the most distant from it. 
 
 A. 
 
 Albano, Fkancesco 
 
 B. 
 
 Baroccio, Fedekico 
 
 Bassano, Giacomo del Ponte . . 
 Bellini, Giovanni 
 
 BeERETINI, PlETRO DA COETONA 
 
 Bourdon, Sebastian 
 
 Brun, Charles LE 
 
 Buonarroti, Michel Angelo . . 
 
 Cagliari, Paolo (Paolo "Veronese) . . 
 Caraccis, Annibale and Lodovico 
 Caravaggio, Polidoro Caldara da 
 Cesari, Giuseppe (Arpino, Giosap-) 
 
 pino) ) 
 
 Corregio, Antonio 
 
 CoRTONA. {See Berbetini.) 
 
 DiEPENBECK, Abraham Van.. 
 
 Domenichino, Zampieri 
 
 DuREB, Albert 
 
 Gioegione, (Barbarelli del C 
 
 GuERCiNO, Giovanni FEANCEscoi 
 
 Barbieri I 
 
 GuiDo, Reni 
 
 Holbein, Hans.. 
 
 Mutiano, Gieolajh 
 
 Palma, Giacomo (The elder Palma) . 
 Palma, Giacomo (The younger ) . 
 Parmegiano (Francesco Mazzuoli) . . 
 Penni, Giovanni Francesco, {l\\ 
 
 Fattore) j 
 
 Perugino, Petruccio (Montanini) 
 
 Pietro) j 
 
 PiOMBO, Sebastian del 
 
 PORDENONE, GIOVANNI ANTONIO) 
 LiClNIO ]" 
 
 PouRBUs, Francis 
 
 PODSSIN, GASPAE 
 
 Peimaticcio, Francesco 
 
 R. 
 
 Raff AELLE, Sanzio 
 
 Rembrandt, Van Ruyn 
 
 Rubens, Petee Paul 
 
 S. 
 
 Salviati, Francesco Rossi 
 
 Sueur. Eustace LE 
 
 T. 
 
 Teniers, David 
 
 Testa, Pieteo 
 
 Tintoretto, Giacomo 
 
 Titian, Tiziano Vecelli 
 
 V. 
 
 Vaga, Pierino del (Buonaccorsi) . 
 
 Vandtck, Sir Anthony 
 
 Venius, or Van Veen, Otho 
 
 Veronese, Paolo 
 
 Vinci, Leonardo da 
 
 VOLTERRA, or RlCCIARELLI, DANI-) 
 
EXPLANATION 
 
 TERMS USED IN PAINTING. 
 
 Accessories. Those adjuncts which are introduced into a picture with- 
 out being absolutely necessary to the subject represented, and which yet 
 give relief and beauty to it, are commonly called accessories. 
 
 Aerial Perspective is such a degradation of the tones of colours as 
 throws off the distances of grounds and objects ; and which the judicious 
 artists practise, by diffusing a kind of thin vapour over them, so as to 
 deceive the eye agreeably. It shows the diminution of the colours of 
 objects, in proportion as they recede from the eye, by the interposition of 
 the air between the eye and the object, as if the latter was seen through a 
 column of air. 
 
 Antique. This term is applied to the paintings and sculptures which 
 were made at that period when the arts were in their greatest perfection 
 among the ancient Greeks and Romans; from the age of Alexander the 
 Great to the irruption of the Goths into Italy. But it is generally used for 
 statues, basso-relievos, medals, intaglios, or engraved stones. Though all 
 these remains of antiquity are not equally excellent, yet even in such as are 
 indifferent, there is a certain degree of beauty, which distinguishes them 
 from the works of the moderns. But it is the most perfect of the works of 
 the ancient great masters which are to be the objects of our taste and imi- 
 tation, as they continue to be those of our wonder and astonishment. 
 
 Attitude, in painting, is the posture or disposition of the limbs and mem- 
 bers of a figure, by which we discover the action in which it is engaged. 
 
CVl TERMS USED IN PAINTING. 
 
 and the very sentiment supposed to be in the mind of the person represented. 
 It comprehends all the motions of the body: but whatever attitude be given 
 to any figure, it must show the beautiful parts, as much as the subject will 
 permit, let it be what it may. It must, besides, have such a turn, as, with- 
 out departing from probability, or from the character of the figure, may 
 diflPuse grace over the action. The choice of fine attitudes constitutes one of 
 the greatest beauties of grouping. 
 
 Background. This term denotes the field or space round the groups 
 in historical pictures, or that which is placed to set off a single figure; and 
 it is likewise applied to the plans and building in the distances of land- 
 scapes. Sir Joshua Reynolds deemed the invention of backgrounds one 
 of the most difficult parts of painting. That Rubens also was of a similar 
 opinion is evident from this anecdote. Being desired to take under his 
 instruction a young artist, he was told, by way of recommendation, that the 
 student was already somewhat advanced in the art, and would be of imme- 
 diate assistance in his backgrounds. Rubens smiled, and said, " That if 
 the youth was capable of painting his backgrounds, he stood in no need of 
 his instructions." 
 
 Beauty, ideal. This term is made use of to express that degree of 
 perfection in a form, especially of the human figure, which does not actually 
 exist in nature, but only in the creative fancy of the "artist. " It is this 
 intellectual dignity," says Reynolds, " that ennobles the painter's art j that 
 lays a line between him and the mere mechanic ; and produces those great 
 effects in an instant, which eloquence and poetry are scarcely able to 
 attain." 
 
 Bentvogel Society. The Flemish painters who resided at Rome, 
 formed themselves into a Society, into which they received all those of their 
 own nation who, after their arrival, desired to be admitted as members. The 
 introduction was appointed to be at a tavern in the city, at the expense of 
 the person introduced ; and, after some whimsical ceremonies, a name was 
 given to the new brother, which expressed either the perfections or the 
 defects in the form or countenance of the person ; any remarkable peculiarity 
 in the style of his colouring or composition, or any thing very singular in 
 his character. The ceremony was continued for one entire night; and in 
 the morning they walked to a place some distance from Rome, called the 
 Tomb of Bacchus, where the whole concluded with a suitable libation. It 
 has been said that Raffaelle gave rise to this ludicrous institution. 
 
 Breadth. This term, as applied to a picture, denotes grandeur of ex- 
 pression or distribution, as opposed to contraction and meanness. Corregio 
 is the master in whose works breadth appears pre-eminently conspicuous. 
 
 Caktoons. These are the designs prepared by painters, and afterwards 
 intended to be executed in fresco, or worked in tapestry. 
 
 Casting of Draperies. By this term is implied the distribution of the 
 folds ; and draperies are said to be well cast, when the folds are distributed 
 
TERMS USED IN PAINTING. CVll 
 
 in such a manner as to appear rather the result of chance, than of art, study, 
 or labour. In that manner or style of painting which is called the Grand, 
 the folds of the draperies should be great, and as few as possible ; because 
 their rich simplicity is more susceptible of great lights. But it is an error 
 to design draperies that are too heavy and cumbersome; for they ought to 
 be suitable to the figures, with a combination of ease and grandeur. Order, 
 contrast, and variety of stuffs and folds, constitute the elegance of draperies ; 
 and diversity of colours in those stuffs contributes extremely to the harmony 
 of the whole in historical compositions. 
 
 Charged is a term used by artists to signify any thing that exceeds ; 
 such as exaggerating the outlines, in order to show a superior degree of skill, 
 and by that means going beyond the bounds of simplicity. Yet there are 
 charged outlines that please; because they are above the lowliness of ordinary 
 nature, and carry with them an air of freedom, with an idea of a great taste, 
 which deceives most painters, who call such excesses the grand manner. 
 And though, to such persons as have a true idea of correctness, simplicity, 
 and elegance of nature, these excesses may seem superfluous, as they only 
 adulterate the truth; yet one cannot forbear to commend some things that 
 are overcharged in great works, when the distance from whence they are 
 to be viewed softens them to the eye; or when they are used with such dis- 
 cretion as makes the character of truth more apparent. It is worthy of 
 remark, that in the- antique statues, which are allowed to be the rule of 
 beauty, nothing appears charged, nothing affected: nor is there any thing of 
 that kind in the works of those who have always imitated them ; as Raffaelle, 
 Domenichino, Nicolo Poussin, and others. 
 
 Chiaro-oscuro is the art of advantageously distributing the lights and 
 shadows in a picture ; as well for the repose and satisfaction of the eye, as 
 for the effect of the whole together. The word chiaro, meaning " clear or 
 transparent," implies not only any thing exposed to a direct light, but also 
 all such colours as are in their nature luminous. Oscuro, or dark, not only 
 implies all the shadows directly caused by the privation of light, but like- 
 wise all the colours which are naturally brown ; such as, even when exposed 
 to the light, maintain an obscurity, and are capable of grouping with the 
 shades of other objects : of Avhich kind are deep velvets, brown stuffs, or po- 
 lished armour, and the like, which preserve their natural or apparent ob- 
 scurity in any light whatever. By the chiaro-oscuro, objects receive more 
 relief, truth, and roundness ; and it particularly signifies the great lights and 
 shades, which are so collected as to conceal the artifice. The distribution of 
 the objects forms the masses of the chiaro-oscuro, when by an artful manage- 
 ment they are so disposed, that all their lights are together on one side, and 
 their darkness on the other. 
 
 Composition is the arrangement of objects, and the disposition of the parts, 
 so as to form an harmonious union of the whole : hence any thing extraneous, 
 that disturbs the connection and diverts the mind from the general subject, is 
 a vice. Composition, which is the principal part of the invention of a painter, 
 is by far the greatest difficulty he has to encounter. Every man that can paint 
 at all, can execute individual parts ; but to keep them in due subordination 
 
CVIU TEEMS USED IN PAINTING. 
 
 as relative to a whole, requires a comprehensive view of the art, that more 
 strongly implies genius than, perhaps, any other quality whatever. 
 
 Contour, or Outline, is that which terminates and defines a figure ; and 
 a great part of the skill of a painter consists in managing the contours judi- 
 ciously. 
 
 Contrast is an opposition in the position of two or more figures, contrived 
 to make a variety in painting. Thus, in a group of three figures, when one 
 appears in front, another shows his back, and a third is placed sideways, 
 there is said to be a contrast. A well-conducted contrast is one of the great- 
 est beauties of a painting. It is not only to be observed in the position of 
 the several figures, but also in that of the several members of the same figure. 
 If nature requires the painters and sculptors to proportion the parts of their 
 figures, it requires also that they contrast their limbs and different atti- 
 tudes. 
 
 Correctness is a term which implies a design that is without a defect in 
 its measures and proportions. 
 
 Costume is an Italian word, which signifies custom or usage ; and the 
 term implies that a painter, in representing some historical passage, action, 
 or event, must not only be exact in describing the particular fact, but also in 
 representing the sceneof action, the country where it occurred, whetheratRome 
 or Athens ; by the side of a river or on the seashore; in a palace or a field ; 
 in a fruitful or desert country ; observing to distinguish, by the dresses, cus- 
 toms, and manners peculiar to each people, whether they are of one country 
 or the other ; whether Greeks, Romans, Jews, or Barbarians. 
 
 Demi -Tints. This term implies the various gradations of which a colour 
 is capable. 
 
 Design implies the representation of one or more human figures or animals; 
 or some parts or members of either ; or a scene taken from nature ; a plant, 
 fruit, flower, insect or piece of drapery, all taken from the life, in order to be 
 inserted in some part of a picture ; and in this sense it is called a study. 
 It is also taken for the outline of objects, for the measures and proportions 
 of exterior forms. Design consists of several parts ; of which the princi- 
 pal are, correctness, good taste, elegance, character, variety and perspective. 
 
 Distemper is a preparation of colours without oil, only mixed with size, 
 whites of eggs, or any such proper glutinous or unctuous substance; with 
 which kind of colour, it is said, all the ancient pictures before the year 1410 
 were painted, as also are the celebrated cartoons of Raffaelle. 
 
 Dryness is a term by which artists express the common defects of the 
 early painters in oil, who had but little knowledge of the flowing contours, 
 which so elegantly show the delicate forms of the limbs, and the insertion of 
 the muscles; the flesh in their colouring appearing hard and stiff, instead of 
 expressing softness and pliancy. The draperies of those early painters, and 
 
TERMS USED IN PAINTING. CIX 
 
 particularly of the Germans, concealed the limbs of the figures, without 
 truth or elegance of choice ; and even in their best masters the draperies very 
 frequently either demeaned or encumbered the figures. 
 
 Elkgance, in a design, is a manner which embellishes and heightens 
 objects, either as to their form, or colour, or both, without destroying or per- 
 verting truth. It appears most eminently in the antiques, and next, in those 
 painters who have imitated them best, the principal of whom is Rafiaelle. 
 De Piles observes, that elegance is not always founded on correctness, as 
 may be seen in the works of Raffi\elle and Corregio : in the latter of whom, 
 notwithstanding his incorrectness of design, his elegance of taste, and the 
 turn which he has given to his actions, cannot but be admired. 
 
 Expression principally consists in representing the human body and all 
 its parts, in the action suitable to it; in exhibiting in the face the several pas- 
 sions proper to the figures, and marking the motions they impress on the other 
 parts. Frequently the term expression is confounded with that of passion; but 
 the former implies a representation of an object agreeably to its nature and 
 character, and the use or office it is intended to have in the work : but 
 passion in painting denotes a motion of the body, accompanied with certain 
 airs of the face, which mark an agitation of soul. So that every passion is 
 an expression, but not every expression a passion. 
 
 Foreshortening. When a figure, viewed lengthways, appears shorter 
 than it would be in an erect attitude, or fully extended, it is said to be fore- 
 shortened. This difficult mode of designing animal forms is chiefly adopted in 
 ceilings. 
 
 Fresco is a kind of painting performed on fresh plaster, or on a wall 
 covered with mortar not quite dry, and with water colours. The plaster is 
 only to be laid on as the painting proceeds, no more being to be done at once 
 than the painter can dispatch in a day. The colours being prepared with 
 water, and applied over plaster quite fresh, become incorporated with it, and 
 retain their beauty for a great length of time. 
 
 Grace principally consists in the turn that a painter gives to his objects, 
 to render them agreeable, even those that are inanimate. It is more seldom 
 found in the face than in the attitude ; for our manner is produced every 
 moment, and can create surprise. In a word, a woman can be beautiful but 
 one way, yet she can be graceful a thousand. Grace is neither found in con- 
 strained nor in affected manners, but in a certain freedom and ease between 
 the two extremes. Thus Milton, speaking of the mother of mankind, says, 
 " Gi*ace was in all her steps." 
 
 Grotesque. This term, now used in a ludicrous sense, was by the Italians 
 appropriated to that peculiar manner of composition and invention observed 
 among the antique monumental paintings discovered in the subterraneous 
 chambers that had been decorated in the times of the ancient Romans. And, 
 as the Itahans apply the word grotta to express every kind of cave or grot, 
 all paintings which were in imitation of the antique designs discovered in 
 
ex TERMS USED IN PAINTING. 
 
 those places which for ages had been covered with ruins, are now called gro- 
 tesca or grotesque ; implying a style in which the imagination and the wild- 
 ness of inventive fancy are principally exerted, without any strict adherence 
 to nature, truth, or probability. 
 
 Group is the combination or joining of objects in a picture, for the satis- 
 faction of the eye, and also for its repose. But though a picture may consist 
 of different groups, yet they should all tend to unity, and one only ought to 
 predominate. The subordination of groups creates that union and harmony 
 which is called the tout ensemble, or the whole together. By a predominant 
 group the eye is agreeably fixed ; and by means of the reposes caused by a 
 spread of lights and shades, neither the effect of the other groups nor that of 
 the subordinate objects is injured. 
 
 Harmony, as applied to a composition, means the same with union, in op- 
 position to any thing that disturbs the order and produces irregularity. So, 
 in a single figure, all the parts must be accordant, and in the countenance the 
 expression must be significant of one sentiment. The definition applies in a 
 similar manner to lights and shadows, actions and attitudes. 
 
 Invention. Sir Joshua Reynolds says, " The invention of a painter con- 
 sists not in inventing the subject, but in a capacity of forming it in his ima- 
 gination, in a manner best accommodated to his art, though wholly borrowed 
 from poets, historians, or popular tradition. For this purpose he has full as 
 much to do, and perhaps more, than if the story were invented ; for he is 
 bound to follow the ideas which he has received, and to translate, if I may 
 use the expression, into another art. In this translation the painter's inven- 
 tion lies ; he must, in a manner, new-cast the whole, and model it in his own 
 imagination ; and, to make it a painter's nourishment, it must pass through 
 a painter's mind. Having received an idea of the grand and pathetic in 
 intellect, he has next to consider how to make it correspond with what is 
 touching and awful to the eye, which is a business by itself. But here begins 
 what, in the language of painters, is called Invention, which includes not 
 only the composition, or the putting the whole together, and the disposition 
 of every individual part, but likewise the management of the background, 
 the effect of light and shadow, and the attitude of every figure or animal that 
 is introduced or makes a part of the work." 
 
 Local Colours are such as faithfully imitate those of a particular object, 
 or such as are natural and proper for each particular object in a picture. 
 And colour is distinguished by the term local, because the place it fills 
 requires that particular colour, in order to give a greater character of truth 
 to the several tints with which it is contrasted. 
 
 Linear Perspective is that which describes or represents the position, 
 magnitude, and form of the several lines or contours of objects; and ex- 
 presses their diminution in proportion to their distance from the eye. 
 
 Manner is that habit which painters have acquired, not only in the 
 management of the pencil, but also in the principal parts of painting, inven- 
 
TERMS USED IN PAINTING. CXI 
 
 tion, design, and colouring. It is by the manner in painting that a picture 
 is judged to be of the hand of Titian, Tintoret, Guido, the Caracci, and 
 others. Some masters have had a variety in their manners at different 
 periods of life; and others have so constantly adhered to one only, that 
 those who have seen even a {e\v of their pictures will immediately know 
 and judge of them, without the risk of mistake. The variety observable 
 among artists arises from the manners of the diiferent schools in which they 
 have received their instruction, or of the artists under whom they have 
 studied ; for young painters, feeling a partiality, in their own choice and 
 judgment, to those masters they have imitated, prefer what they have long 
 accustomed themselves to admire. Yet there are instances among the great 
 artists, of painters who have divested themselves of that early partiality, 
 and have altered it so effectually, as to fix on one abundantly more refined 
 and better adapted to their particular genius, by which means they have 
 arrived at excellence. Thus llaffaelle proceeded, and acquired a much more 
 elevated manner after he had quitted the school of Perugino, and seen the 
 works of Leonardo da Vinci. 
 
 Ordonnance is the placing regularly the figures in respect of the whole 
 composition ; or the particular disposition of figures as to the different groups, 
 masses, contrasts, decorum, and situation. 
 
 Outline is that which traces the circumference of objects in a picture. 
 The outline is to be drawn as thin and fine as possible, so as scarcely to 
 be discerned by the eye : and it ought to be observed, that a correct outline 
 may excite pleasure, even without any colouring ; but no colouring can afford 
 equal satisfaction to a judicious eye, if the outline be incorrect; for no com- 
 position, no colouring, can merit praise, where the outline is defective. 
 
 Passion, in painting, implies an emotion of the body, attended Avith cer- 
 tain expressive lines in the face, denoting a particular agitation of the mind. 
 
 Pasticcio. This term, which signifies pie or pasty, is applied in Italy 
 to those pictures which cannot be called either originals or copies : being 
 the works of some artists who have had the skill to imitate the manner 
 of design and colouring of other eminent masters, sometimes borrowing 
 part of their pictures, sometimes imitating their touch, their style of inven- 
 tion, colouring, and expression. Several painters of considerable reputation 
 for their own original performances, have made themselves remarkable in 
 this way; but none more so than David Teniers, who has counterfeited 
 Giacomo Bassano and others in such a manner as to deceive the most judi- 
 cious observers. The most effectual way to detect Pasticcios is by com- 
 paring them with the genuine works of the masters whose manner is the 
 object of imitation. 
 
 Relief, or Relievo, denotes those objects which are represented on a 
 plain surface, and yet appear to project from it. 
 
 Site, or Scite, in landscape, signifies the view, prospect, or opening of a 
 country ; derived from the Italian word sito, situation. 
 
CXll TERMS USED IN PAINTING. 
 
 Style. Sir Joshua Reynolds says, that " in painting, style is the same as 
 in writing; a power over materials, whether words or colours, by which 
 conceptions or sentiments are conveyed." This is true ; but it is not clear. 
 As in literary composition, so it is in painting ; one man makes use of the 
 same utensils with greater effect, or in a more powerful manner, than another. 
 Styles, therefore, vary in painting as in writing: some are grand, others 
 plain; some florid, and others simple. But in painting, another use of 
 the word has been adopted, and it has been applied to the subject in 
 which an artist has excelled, as well as to the peculiarity of his manner 
 of treating it. 
 
^^^ 
 
 of THl 
 
 TJiriVBRSlTTJ 
 DICTIONARY OF PAINTERS. 
 
 ABB 
 
 Abarca (Maria de), a Spanish lady, 
 who distinguished herself in the middle of 
 the seventeenth century by the peculiar 
 excellence of the portraits which she paint- 
 ed. She was contemporary with Rubens 
 and Velasquez, by whom she was much 
 esteemed. The time of her death is not 
 recorded. 
 
 Abate (Andrea), a Neapolitan painter 
 who excelled in representing inanimate 
 objects. His colouring was bold ; he gave 
 a noble relief to the vases and other orna- 
 . ments with which he enriched his designs; 
 and all his objects were grouped with 
 judgment. He was employed by the king 
 of Spain, at the Escurial, with Luca Gior- 
 dano, who commended his works, and 
 highly esteemed him. He died in 1732. 
 
 Abatini (Guido Ubaldo), an Italian 
 artist of the Roman school, was born at 
 Citta di Castello, about the year 1600. 
 His master was Giuseppe Cesari, on 
 leaving whom he became eminent as a 
 painter of sacred subjects in fresco: most 
 of his works are at Rome, where he died 
 in 1656. 
 
 Abbati (Nicolo), an historical painter, 
 was born at Modena in 1512. He was 
 the scholar of Antonio Beggarelli, a sculp- 
 tor of great eminence, whose models Cor- 
 regio is said to have often made use of for 
 his works. Little more is known of his 
 progress at Modena, than that, in partner- 
 ship with his fellow pupil, Alberto Fon- 
 tana, he painted the panels of the Butcher's 
 Hall at that place; and at the age of thirty- 
 five, for the church of the Benedictines, 
 the celebrated picture of the Martyrdom 
 of Sts. Peter and Paul, which was af- 
 terwards in the gallery of Dresden. He 
 also executed, in the Scandiano palace at 
 Modena, some fresco paintings, drawn 
 from Ariosto and the ^neid of Virgil. 
 These last were engraved by Cunego ; 
 
 ABB 
 
 but of his works at Bologna, whither he 
 removed, tradition has left a very distin- 
 guished account ; though little or nothing 
 exists of them now, except a large sym- 
 bolic picture, in the Via di St. Mamolo ; 
 a Nativity of Christ under the portico of 
 the Leoni palace; and four conversation 
 pieces and concertos of exquisite taste and 
 sweetness on the frieze of an apartment 
 in the Academical Institute ; which have 
 been engraved. It is remarkable that, 
 notwithstanding the excellence of this ar- 
 tist's style, he owes the permanence of his 
 reputation, and it is said even his very 
 name, to tlie connexion which he formed 
 with Francisco Primaticcio, who was abbot 
 of St. Martin, near Troyes. At the in- 
 vitation of that admirable painter, he went 
 to France in 1552, and there executed the 
 frescoes of the galleries and apartments 
 at Fontainebleau, after the designs of 
 Primaticcio. The subjects in the great 
 gallery were the Adventures of Ulysses, 
 and those above were representations of 
 the Gods in Council, from Homer. Of 
 all the works performed there by Abbati. 
 nothing remains but a few pieces of the 
 History of Alexander, which, with the Ad- 
 ventures of Ulysses, have been engraved 
 by Mantuano, Garnier, De Laulne, and 
 Van Tulden. Nicolo Abbati died at Paris 
 in 1572. He had a brother and a grand- 
 son, who were both excellent artists. The 
 former, called Pietro Paolo >li&af/, painted 
 battle-pieces Math admirable spirit. The 
 latter, Ercole Abbati^ was born at Modena 
 in 1563, and died in 1613. A picture of 
 his, of the marriage at Cana, is in the 
 gallery of Florence ; and in the Council 
 Hall of the same city are some others, 
 painted by Ercole Abbati, in conjunction 
 with Schedoni. Mr. Fuseli mentions an 
 artist named Abbati, who painted a picture 
 of a Carita, with energetic boldness, which 
 
ACH 
 
 ADR 
 
 is in the palace of the Zarabeccari, at 
 Bulog-na. It is most probable that this 
 painter was of the same family with the 
 preceding; and if so, the name, in all 
 likelihood, did not originate in the con- 
 nection of Nicolo with Primaticcio, 
 
 Abciati (FiLiFPo), an historical paint- 
 er, was born at Milan in 1640. He was 
 the disciple of Nuvolone, and proved very 
 eminent in his profession. His invention 
 was ready and fertile, nor vi'as he incorrect 
 in his design : he distinguished himself 
 by uncommon freedom of hand and light- 
 ness of touch, so that he became remark- 
 ably facile in his execution: he painted 
 with equal beauty in fresco and oil. One 
 of his principal works was a picture in 
 fresco of St. John in the Wilderness. He 
 died at his native place in 1715. There 
 was another Milanese of the same period, 
 named Joseph Ahhiati, who was both a 
 painter and an engraver, but not of much 
 reputation. 
 
 Abbot (Lemuel), a portrait painter: 
 he was born in Leicestershire. His like- 
 nesses possess the merit of faithful resem- 
 blance, but beyond that the painter seldom 
 reached : nor did he perhaps ever aim at 
 original excellence. He died in 1803, 
 aged about forty. His portrait of the poet 
 Cowper is well knotvn, and the best like- 
 ness of the heroic Nelson is from his hand. 
 
 Aberli (John Louis), a German artist, 
 was born at Winterthur in 1723, and died 
 in 1786. He studied under Henry Meyer, 
 and painted portraits and landscapes. 
 
 Abshoven (M.), a native of Antwerp, 
 and the scholar of the younger Teniers, 
 whose manner he closely imitated in paint- 
 ing rural sports, ale-houses, and the 
 shops of apothecai'ies. He died about the 
 year 1660. 
 
 AcH, or Van Achen (John), was born 
 at Cologne in 1556, and died in 1621. He 
 was at first the disciple of a portrait paint- 
 er called Jerrigh, under whom he con- 
 tinued six years, but afterwards he im- 
 proved himself considerably by studying 
 and copying the woi'ks of Spranger. 
 When, by diligent practice in his own 
 country, he had acquired a sufficient readi- 
 ness of hand, he travelled to Venice, 
 where he acquired the art of colouring 
 peculiar to that school ; from thence he 
 went to Rome for improvement in design, 
 but never quitted the style of Spranger. 
 At Rome he painted a Nativity for the 
 church of the Jesuits, and also a portrait 
 of the Madonna Vcnuita, a celebrated 
 performer on the lute, which is accounted 
 
 one of his best performances. His pro- 
 fessional talents and polite accomplish- 
 ments recommended him to several of the 
 greatest princes of Europe, and particu- 
 larly to the court of Bavaria, and that of 
 the emperor Rodolph. By the former he 
 was employed to paint the portraits of the 
 electoral iamily in one piece, the figures 
 as large as life ; and also a grand design 
 of the Discovery of the Cross by St. He- 
 lena. Those performances effectually es- 
 tablished his reputation ; the elector lib- 
 erally rewarded him for his work, and, as 
 a mark of his esteem, presented him with 
 a chain and medal of gold. By the em- 
 peror he was invited to Prague, where he 
 executed several compositions, particular- 
 ly a picture of Venus and Adonis, so much 
 to the satisfaction of that monarch, that 
 he retained him in his service as long as 
 he lived. John Van Ach was one of that 
 set of artists who, in the course of the six- 
 teenth century, captivated Germany and 
 its princes by the introduction of a new 
 style or manner, compounded from the 
 principles of the Florentine and Venetian 
 schools. 
 
 Achtschelling (Lucas), a landscape 
 painter of Brussels, who lived at the close 
 of the sixteenth and the former part of the 
 seventeenth century. He studied the prin- 
 ciples of his art under Lewis de Vadder, 
 whom he excelled in a close imitation of 
 nature. The scenery in his pictures is 
 delightfully grand, admirably diversified, 
 and so beautifully coloured as to he almost 
 transparent. 
 
 Adolfi (Giacomo), the son of a painter 
 at Bergamo, named Benedetto Adolfi. He 
 was born in 1682, and died in 1741. At 
 his native place are several of his works, 
 principally on religious subjects, in the 
 churches and monasteries. His brother, 
 Ciro Adolfi, painted some fine altar-pieces 
 at Bergamo, and other parts of the Vene- 
 tian states. One of his best performances 
 is a picture of the Death of John the Bap- 
 tist in Prison. He died in 1758. 
 
 Adrian, a Spanish monk, of the order 
 of the barefooted Carmelites, was born at 
 Cordova, in which city he resided all his 
 life, and died there in 1650. He amused 
 himself in his convent by painting religious 
 subjects. His chief composition is a Cruci- 
 fixion, in which he has introduced the 
 Virgin, St. John, and Magdalen, with 
 other figures in half length, after the 
 manner of Raffaelle Sadeler, to whom he 
 was greatly attached. This picture is in 
 the convent of Carmelites, to which Adriano 
 
A EL 
 
 AFE 
 
 belonged. The artist was so diffident of 
 himself, that he used to deface or de- 
 stroy his pictures as soon as he had executed 
 them ; in consequence of which practice, 
 his friends would intercede with him for 
 the preservation of his most valuable per- 
 formances, in the name of souls in pur- 
 gatory, by which holy exorcism many 
 exquisite paintings were rescued from 
 destruction. 
 
 Adriansen (Alexander), a Flemish 
 artist, was born at Antwerp, about the 
 year 1625. He was an exceedingly good 
 painter of fruit, flowers, vases of marble, 
 and the ornamental basso relievos with 
 which they are often decorated. Some of 
 the vases he represented as filled with 
 flowers, or embellished with festoons, in 
 an elegant taste. He also painted fish 
 admirably, giving them all the truth, 
 freshness, and character of nature. All 
 his objects are extremely well coloured, 
 with an agreeable eSiict, from the judicious 
 management of the chiaro-oscuro, and 
 with a remarkable transparency. 
 
 Aelst (Evert Van), a Dutch painter 
 of still life, was born at Delft in 1602. He 
 acquired a great reputation by his delicate 
 manner of representing those objects which 
 he chose for the subjects of his pictures. 
 He was particularly exact in copying 
 everything after nature, disposing with 
 elegance, and finishing with neatness and 
 transparence of colour. Whether he paint- 
 ed dead game, fruit, helmets with plumes 
 of feathers, or vases of gold or silver, to 
 each he gave a true and striking resem- 
 blance of nature, and an extraordinary 
 lustre to the metallic substances. He died 
 in 1658. 
 
 Aelst (William Van), called in Italy 
 Gulielmo. He was the nephew and dis- 
 ciple of Evert Van Aelst, and was born at 
 Delft in 1620 ; but he arrived at a much 
 higher degree of perfection than even his 
 instructor. His pencil was so light, and 
 his touch so delicate, that the objects he 
 painted seemed to be real. He followed 
 his profession in France for four years, and 
 in Italy seven, receiving tokens of esteem 
 from the principal noblemen of each coun- 
 try where he resided. In 1696 he returned 
 to Delft, but soon after settled at Am- 
 sterdam, where he found an encourage- 
 ment equal to his wishes, his works being 
 admired and bought at a large price. 
 When he visited Florence, he was era- 
 ployed by the grand duke, who, among 
 other marksoffavour, honoured him with a 
 chain and medal of gold. He died in 1679. 
 
 Aerts (Richard), a Dutch painter, 
 was born at Wyck, in North Holland, in 
 1482. When a boy, he lost one of his 
 legs, and while suiFering under the effects 
 of amputation, his only amusement was 
 drawing with chalk. In consequence of 
 this indication of genius, he was placed 
 with Jan Moestaert, an artist of repute at 
 Haerlem, under whom he made a rapid 
 progress. Among his first and best per- 
 formances were two pictures of Joseph 
 and his Brethi-en, on the folding doors of 
 an altar-piece, in the great church at 
 Haerlem, Aerts died at Antwerp, where 
 he was a member of the Academy, in 1577. 
 
 Aersten (Peter), called by the Italians 
 Pietro Longo, from his tallness, an histo- 
 rical painter, was born in 1519, at Amster- 
 dam, where his father was a stocking 
 weaver. Peter became a disciple of Alacrt 
 Claessen, an esteemed painter of portraits ; 
 but he did not remain long with him, for, 
 at the age of eighteen, he received great 
 improvement by studying and copying 
 several capital pictures in the cabinet of 
 Bossu, in Hainault. He had always a bold 
 and strong manner, peculiar to himself, to 
 which, indeed, he principally owed his re- 
 putation. His first subjects were kitchens, 
 and culinary utensils, which he executed 
 with such truth as to deceive the eye ; nor 
 could his colouring be excelled by any 
 master. When the lowness of his general 
 subjects is considered, it is not a little sur- 
 prising that he should be able to compose 
 and colour historical pieces, of a superior 
 style, so excellently as he often did. At 
 Amsterdam is an altar-piece by him, re- 
 presenting the Death of the Virgin, in 
 v/hich appears good design, and a warm 
 and true tone of colouring. The draperies 
 are so judiciously cast as to discover the 
 position and turn of all the limbs; nor 
 does anything of the kitchen painter show 
 itself throughout the whole composition. 
 At Delft he painted a Nativity, and an- 
 other picture of the Wise Men's Ofibring, 
 which are deemed excellent performances; 
 but his principal woi'k was an altar-piece 
 of the Crucifixion, at Alkmaer, which the 
 rabble destroyed in 1566. Aersten was 
 skilled in perspective and architectiire : ho 
 enriched his grounds with elegant orna- 
 ments and animals ; his figures were well 
 disposed; the attitudes had abundance of 
 variety, and the draperies were judiciously 
 chosen and properly cast. He died in 1566, 
 
 Afesa (Pietro), or Delia Basilicata, 
 from his being a native of the province of 
 that name in the kingdom of Naples. His 
 
AIK 
 
 AIK 
 
 works are wholly on religious subjects, 
 which he painted in a good style. He 
 lived in the middle of the sixteenth century. 
 
 Agae (Jacques d'), a French painter, 
 was born at Paris in 1640. He was the 
 pupil of Simon Vouet, whose style he 
 abandoned. On leaving his master, he 
 applied solely to portraits, and went to 
 Copenhagen, where he obtained consider- 
 able employment at court. He next came 
 to England, in his way to Italy, where he 
 painted his own portrait, which is in the 
 gallery of Florence. This artist died at 
 Copenhagen in 1716. 
 
 Agelio (Giuseppe), an Italian artist, 
 was born at Sorento, and became the pupil 
 of Pomeranio. He painted landscapes in 
 a good style, and was much employed by 
 his brethren of the historical department, 
 to enrich the back grounds of their pic- 
 tures. 
 
 Agresti da Form (Livio), an his- 
 torical painter, who was a disciple of 
 Pierino del Vaga. He is commended for 
 the richness of his invention, the goodness 
 of his colouring, and the correctness of his 
 design. Many of his works, both in fresco 
 and oil, are in the Vatican, where he was 
 employed by Gregory XIII. There are 
 also at Rome several altar-pieces of his 
 hand. He died in that city in 1580. 
 
 Agricola (Oiiristopher Ludwig), a 
 German painter and engraver, was born at 
 Ratisbon in 1 667. He excelled in portrait 
 and landscape, but is chiefly known by his 
 prints, particularly one on the subject of 
 Diana and Actajon. 
 
 Airman (William), a Scotch painter of 
 considerable merit, was the son of William 
 Aikman, of Cairney, in the shire of Aber- 
 deen, and born there, October the 24th, 
 1682. His father intended him for the law, 
 and gave liim a suitable education ; but his 
 predilection to the fine arts overcame the 
 parental view, and induced him to study 
 painting. He was also fond of poetry, and, 
 while at the college of Edinburgh, formed 
 an intimacy with Allan Ramsay, and after- 
 wards painted his portrait. He also be- 
 came acquainted with Thomson, and was 
 in fact his first patron, by introducing him 
 to Sir Robert Walpole. Mr. Aikman 
 having prosecuted his studies for some time 
 in England, went to Italy to form his taste 
 on the classic models of antiquity. Pre- 
 vious to his setting out, he sold his pater- 
 nal estate at Arbroath, in the county of 
 Forfar, that he might be unembarrassed 
 in his favourite pursuits. This was in 
 1707, and after residing at Rome three 
 
 years, he went to Constantinople; and from 
 thence to Smyrna, where the gentlemen of 
 the English factory wished him to forsake 
 the pencil, and engage in the Turkey trade. 
 That overture he declined, and returned 
 to Rome, to complete his studies. In 1712 
 he revisited Scotland, and immediately 
 entered upon his profession, though with 
 little success, as the people were either too 
 poor to encourage the arts, or had but little 
 taste for pictures. At length the great 
 Duke of Argyle, who equally admired the 
 artist and esteemed the man, prevailed on 
 him to remove with his family to London. 
 Hither he came in 1723, and under the 
 auspices of that nobleman, he formed an 
 intimacy with Kneller, whose studies and 
 disposition were congenial with his own. 
 The duke also recommended him to some 
 of the first families in the kingdom, par- 
 ticularly the Earl of Burlington, so well 
 known for his taste in architecture. The 
 earl engaged Mr. Aikman to paint a large 
 picture of the royal family : in the middle 
 compartment are all the younger branches 
 of the illustrious house, on a very large 
 canvas, and on one hand is a half length 
 of Queen Caroline ; but the portrait of the 
 king, which was intended to fill the opposite 
 niche, was never finished, owing to the 
 premature death of the artist. This pic- 
 ture came into the possession of the late 
 Duke of Devonshire, whose father married 
 the only daughter of the Earl of Burling- 
 ton. Mr. Aikman, towards the close of 
 his life, painted many portraits of noble 
 personages; particularly of the Earl of 
 Buckinghamshire, and some of the rela- 
 tions and friends of that nobleman. There 
 are, in Scotland, portraits painted by him, 
 in the houses of the Duke of Argyle, the 
 Duke of Hamilton, and others. In the 
 galleryof Florence is a portrait of Aikman, 
 painted by himself; and there is another 
 in the possession of Mr. Forbes of Edin- 
 burgh, the grandson of the artist. This 
 worthy and ingenious man died in London, 
 June 7, 1731. In his style of painting, he 
 seems to have aimed at the imitation of 
 nature in her pleasing simplicity; his lights 
 are soft, his shades mellow, and his colour- 
 ing mild and harmonious. His touch has 
 neither the force nor the harshness of Ru- 
 bens ; nor has he, like Reynolds, ever 
 adorned his portraits with the elegance of 
 adventitious grace. His compositions are 
 distinguished by a placid tranquillity, ra- 
 ther than a striking brilliancy of effect; 
 and his portraits may be more readily mis- 
 taken for those of Kneller than those of 
 
ALB 
 
 ALB 
 
 any other eminent artist. Mallet wrote 
 his Epitaph, and Thomson his Elegy. 
 
 AiROLA (Angelica Veronica), an in- 
 genious lady of noble origin at Genoa, in 
 the seventeenth century. She learned the 
 principles and practice of the art of paint- 
 ing from Dominico Fiasella ; after which 
 she executed some good pictures on reli- 
 gious subjects, most of them for the 
 churches and convents of her native city. 
 At the close of life she became a nun of 
 the order of St. Bartholomew della Oliv- 
 ella, at Genoa. 
 
 Aken (John Van), a Dutch painter 
 and engraver, in the early part of the 
 seventeenth century. Of his merits in the 
 former character we are not enabled to 
 judge, but his prints are executed in a 
 masterly style, particularly his landscapes. 
 
 Albano, or Albani (Francesco), was 
 born at Bologna, March 17, 1578. His 
 father was a silk merchant, and Intended , 
 to bring up his son to the same business; 
 but whenhis parent died, Francesco having 
 a strong inclination to painting, devoted ' 
 himself entirely to that art, though he was 
 then only twelve years old. He first studied 
 in the school of Denys Calvart, at the ; 
 same time that Guido was a disciple of 
 that master. As Guido had already made 
 some progress in the art, he in a friendly 
 manner assisted Albano while he was 
 learning to design. Calvart, in fact, drew 
 only one profile for his younger pupil, but 
 left him entirely to the care of Guido, 
 under whom he made a rapid improve- 
 ment. The two youths soon quitted Cal- 
 vart, and became fellow students under 
 the Caracci; but, after a little, their friend- 
 ship for each other began to cool, which 
 is supposed to have been owing either to 
 the pride of Albano, who could not endure 
 the superiority of Guido, or to the jealousy 
 of the latter, in finding Francesco make 
 so rapid a progress. That they endea- 
 voured to eclipse each other is certain, for 
 when Guido had set up a fine altar-piece, 
 Albano opposed to it a picture of his own 
 composition ; and yet, amidst this rival- 
 ship, they continued to speak of each other 
 with the highest esteem. Albano having 
 improved himself in the school of the Ca- 
 racci, went to complete his studies at Rome, 
 where he became one of the most eminent 
 painters of that day. There he married, 
 and intended to settle for life; but his 
 wife dying in childbed, he returned to 
 Bologna, and again entered into the state 
 of matrimony. His second wife was well 
 descended, and very handsome, but had 
 
 little fortune. Notwithstanding this, Al- 
 bano cherished for her the fondest affec- 
 tion, and made her the model for his graces, 
 nymphs, and other female forms, which 
 he took a particular delight in representing. 
 His wife brought him several boys, all so 
 extremely beautiful, that the fond father, 
 happy in his domestic enjoyments, intro- 
 duced them also into his pictures as Cupids ; 
 and it was from them that the sculptors, 
 Flamand and Algardi, modelled some of 
 their cherubic statues. But though Al- 
 bano had a delicate taste for lovely and 
 graceful objects, his figures of men were 
 usually lean, and without masculine beauty, 
 except in some of the heads. He under- 
 stood design well ; his colouring is fresh ; 
 his carnations are of a sanguine tint ; and 
 he finished highly, with a great neatness 
 of pencil. As for the chiaro-oscuro, and 
 union of colours, it is the opinion of De 
 Piles, that though he did not know them 
 as principles of the art, yet, by good sense, 
 or perhaps by chance, he was sometimes 
 directed to the use of them. For the most 
 part he painted in a small size, choosing 
 hissubjects from poetic or fabulous hi story, 
 in which he excelled ; though it is objected 
 to him that he was apt to preserve too 
 great a similitude in his figures, and in the 
 contour of his heads, which, however, was 
 owing to his always adopting the same 
 models. This, however, has given a cha- 
 racteristic feature to his pictures, so that 
 they may easily be known, by the family 
 likeness. " Albano did not," says Mal- 
 vasia, " feign Cupid heavy and sleeping, 
 as Guido did, but represented him majes- 
 tically seated on a throne ; now directing 
 the sportive exercises of the little Loves 
 shooting at a heart fixed on the trunk of 
 a tree ; now presiding over their sprightly 
 dances, round the marble monument of 
 Flora, crowned with a chaplet of bloom- 
 ing flowers ; and now surveying the con- 
 quests of the little winged boys over the 
 ruralFaunsand Satyrs." If he represented 
 a dead Adonis, he alwaysintroducedaband 
 of Cupids, some of whom, vievFing the 
 wound, drew back in the utmost horror ; 
 while others, exasperated, broke to pieces 
 their bows and arrows, as being no longer 
 of any use to them, since Adonis was no 
 more ; and others again appeared running 
 behind the wild boar, and brandishing 
 their darts with an air of vengeance. " Al- 
 bano," continues the same author, " was 
 of a cheerful temper and disposition ; his 
 paintings breathe nothing but content and 
 joy. Happy in a force of mind that over- 
 
ALB ( 
 
 came every uneasiness, his poetical pencil 
 carried him through the most agreeable 
 gardens to Paphos and Cythersea ; which 
 delightful scenes conducted him over the 
 lofty Parnassus to the delicious abodes of 
 Apollo and the Muses." Our ingenious 
 countryman, Sir Robert Strange, gives a 
 more sober character of this artist. " The 
 pictures of Albano," says he, "are ex- 
 ceedingly agreeable. His subjects are in 
 general of the poetical kind. We may be 
 almost sure of finding in any picture of 
 this master, beautiful figures of -women 
 and children, who seem as if they had been 
 nourished by the Graces. This artist, 
 bred in the school of the Caracci, could 
 not fail being an agreeable painter; and 
 if he was not always successful in express- 
 ing the stronger passions of the soul, he 
 knew how to touch and flatter the senses, 
 by offering to his spectators the most 
 pleasing and delightful images; where 
 reigns, with decency, an agreeable, and, 
 if I may be allowed the expression, even 
 a voluptuous pleasure. What conti'ibutes 
 to renfier his works inestimable is a pencil, 
 vrhose freshness of colour and delicacy of 
 truth are admirable ; but he may be repre- 
 hended for overfinishing many of his pic- 
 tures." Sir Robert engraved three of Al- 
 bano's pieces, viz. the three Marys at the 
 Sepulchre ; a Holy Family, with Angels ; 
 and another Holy Family. The style of 
 his landscapes is very agreeable, designed 
 in a good taste, and well adapted to his 
 subjects ; and for many of his scenes, as 
 vs'ell as the forms of his trees, he was in- 
 debted to nature, after which he always 
 studied. Yet all his pictures have not the 
 same force of colour, some being much 
 weaker than others, though pleasing and 
 delicate. One of his most capital per- 
 formances is a picture of the Four Ele- 
 ments, formerly in the palace of the King 
 of Sardinia, but removed from thence to 
 Paris. The design is excellent, the dra- 
 peries elegant, the colouring lovely, and 
 the whole conceived and executed with 
 the utmost spirit and correctness. The 
 composition, perhaps, is a little too dissi- | 
 pated, but that is a circumstance frequently 1 
 observed in the works of this artist. At | 
 Burghley House, the seat of the Marquis 
 of Exeter, are some fine tapestries from 
 his designs. Albano died October 4, 1660. 
 Ai.BANO (Giovanni Battista), the j 
 brother and disciple of Francesco, devoted 
 himself chiefly to landscape, which he de- 
 signed in an exquisite taste, touching the 
 trees with spirit, and giving them a great 
 
 ALB 
 
 sweetness of colour. His general style, 
 both in manner and colouring, resembled 
 that of his master. He died in 1668. 
 
 Alberici (Enhico), an historical pain- 
 ter, was born at Vilminore, near Bergamo, 
 in 1714. He studied under Cairo of Bres- 
 cia ; and afterwards became eminent for 
 his religious pieces. He died in 1775. 
 
 ALnEUEi^M (GiAcoMo), a native of 
 Venice, and a scholar of the younger 
 Palma. He painted historical subjects 
 with great credit, and many of his works 
 are in the churches and other public build- 
 ings at Venice. He died about the year 
 1650. 
 
 Alberti (Chebubino), a painter and 
 engraver, was born at Borgo San Sepol- 
 cro in 1552. He studied the art of design 
 under his father, Michael, who was a 
 painter of history; and by his instruc- 
 tions Cherubino became distinguished at 
 Rome by the works in fresco and oil which 
 he executed for the churches there. But 
 though his merits as a painter were con- 
 siderable, he became principally known 
 by his engravings, which are numerous 
 and valuable. He died at Rome in 1615. 
 
 Albekti (Giovanni), the brother of 
 Cherubino, was born in 1558. He re- 
 ceived his early instruction from his father, 
 Michael Alberti, after which he went to 
 Rome, where he studied geometry, and 
 applied diligently to the imitation of the 
 works of Buonarroti, and other great mas- 
 ters. He devoted his principal attention 
 to perspective and landscapes, being as- 
 sisted in the figures by his brother. Gio- 
 vanni arrived at great eminence in that 
 branch of the art which he adopted, and 
 gave a demonstrative proof of his abilities 
 in one of the papal palaces, where he 
 painted a design in that style, which pro- 
 cured him much applause. He died in 
 1601. His portrait is in the Academy of 
 St. Luke, at Rome. 
 
 Alberti (Durante), a painter, was 
 born at Borgo San Sepolcro in 1538. He 
 resided most of his life at Rome, where 
 he was employed in painting pictures for 
 the churches, both in fresco and oil. He 
 died there in 1613, and his funeral was 
 solemnized in a manner that evinced the 
 high opinion entertained of his talents. 
 His son, Pietro Francesco, born in 1584, 
 was also a good artist, both as a painter 
 and engraver. He painted historical sub- 
 jects. 
 
 Albertinellt (Mariotto), an histori- 
 cal painter of Florence, where he was 
 born in 1475, and died in 1520. He 
 
ALE 
 
 was the pupil of Bartolomeo dc Santo 
 Marco, and obtained a deservedly great 
 reputation by his works, which were 
 numerous, but almost wholly on sacred 
 subjects, as he was constantly employed 
 in painting for the churches and convents 
 at Rome, Florence, and other cities. 
 
 Albertxjs (H. C), a painter and en- 
 graver, who was born in Saxony. There 
 is extant a fine portrait of John Secken- 
 dorff, rector and professor of divinity at 
 Zwickaw, from a painting by Albertus 
 himself. He died about the year 1680. 
 
 Albini (A1.ESSANDR0), a Bolognese, 
 who studied under the Caracci, to whose 
 school he did great credit, by the excel- 
 lence of his designs. Many of the churches 
 of Bologna contain his productions. He 
 died about IGIO. 
 
 Alboresi (Gxacomo), another artist 
 of Bologna, where he was born in 1632. 
 He studied the principles of his art under 
 Agostino Metelli : but after applying to 
 historical subjects, he changed his style, 
 and took to the representation of architec- 
 tural pieces and landscapes. He worked 
 both in oil and fresco, but principally in 
 the latter. He died in 1677. 
 
 Alpegrajbf (Albert or Henry), a ce- 
 lebrated painter and engraver, was born in 
 1502, at Zoust, in Westphalia. He be- 
 came the scholar of Albert Durer, to 
 whose style in both arts he constantly ad- 
 hered through life ; but his bodies are more 
 muscular than those of his master. Alde- 
 graef at first applied to painting, and many 
 of his works are still to be seen in the 
 churches and convents of Germany. De 
 Piles mentions a Nativity by his hand, 
 which, according to him, is worthy the 
 admiration of the curious. After follow- 
 ing painting some time, he quitted it for 
 engraving, in which he attained an emi- 
 nent rank among those whom the French 
 distinguished by the name of the little 
 masters. Aldcgraef died in 1562. 
 
 Aldrovandini (Tommaso), a Bolog- 
 nese artist, was born in 1653, and died in 
 1736. He studied under his uncle, who 
 was an architect, but a man v/ell skilled 
 in the principles and practice of painting. 
 Tommaso excelled in representing archi- 
 tectural subjects, and landscape scenery 
 enriched with buildings; but the figures 
 were inserted by Franceschini and Cignai. 
 His principal performance is in the grand 
 council chamber at Genoa. 
 _ Alefodnder (John). This English ar- 
 tist practised portraiture some years in 
 Bow-street,Covent-gai'den;butafterwards 
 
 ALE 
 
 went to the East Indies, where he died 
 about the year 1790. 
 
 Alen, or OoLEN (John Van), a pain- 
 ter of Amsterdam, was born therein 1651. 
 He had no ready talent for invention; but 
 possessed an uncommon power of the pen- 
 cil, and an extraordinary talent for imi- 
 tation. In the touch, and peculiar tints 
 of colour, he could mimic the work of any 
 master and any style; but observing that 
 the pictures of Melchior Hondekoeter were 
 in the highest request, he applied himself 
 particularly to imitate and copy his works. 
 This he performed to such a degree of ex- 
 actness, that the most sagacious connois- 
 seurs have found it difficult to determine 
 whether a piece painted by Van Alen was 
 not a genuine production of Hondekoeter. 
 By this practice he gained money and re- 
 putation ; and it is owing to this that so 
 many pictures, bearing the name of Hon- 
 dekoeter, are to be met with in different 
 collections and sales, though it may rea- 
 sonably be doubted whether they are any- 
 thing more than imitations by this artist, 
 or perhaps by some other of inferior skill. 
 Van Alen died in 1698. 
 
 Aleni (Tommaso), a native of Cremo- 
 na, was born in 1500. He studied under 
 Galeazzo Campi, whose manner he follow- 
 ed so closely, that it is not easy to distin- 
 guish the pictures of the one from tlie 
 other. They both painted historical sub- 
 jects in fresco. He died about 1560. 
 
 Alesio (Matteo Perez de Alesio), 
 a native of Rome, who visited Spain in the 
 reign of Philip II. His great work in that 
 country was a magnificent fresco of St. 
 Christopher, in the Cathedral of Seville. 
 " It is sufficient for me to observe," says 
 Cumberland, in his Anecdotes of Painters, 
 " that Alesio, after residing some time in 
 Spain, where he was held in universal 
 estimation, departed for Italy, declaring 
 that a country possessing so great a master 
 as Luis de Vargas, could neither be bene- 
 fited by his talents, nor stood in need of 
 his assistance. So high, indeed, was his 
 opinion of the merits of Vargas, that one 
 day, while contemplating a picture of 
 Adam and Eve by that artist, he observed 
 upon the masterly fore-shortening of some 
 of the parts ' That single limb,' said he, 
 pointing to the leg of Adam, ' is of more 
 worth than my wliole St. Christopher.'" 
 He died at Rome in 1600. 
 
 Alexander (William). This artist 
 was born at Maidstone in 1768. At the 
 age of fifteen he came to London to study 
 the arts, and with such success, that in 1 792 
 
ALG 
 
 ALL 
 
 lie was pitched upon to go as draughts- 
 man with Lord Macartney to China. Many 
 of his drawings, illustrative of the scenery 
 and customs of that country, were made 
 use of for Sir George Staunton's Narrative 
 of the Embassy; and Mr. Alexander also 
 published a splendid work, entitled, The 
 Costume of China. On the formation of 
 the Royal Military College at Great Mar- 
 low, he was appointed teacher of drawing 
 in that seminary, but resigned the place 
 on being chosen, not long after, to the 
 office of Iceeper of antiques in the British 
 Museum. Here he made numerous draw- 
 ingsof the marbles and terra-cottas for the 
 work published by Mr. Taylor Combe, in 
 three quarto volumes. Mr. Alexander died 
 in 1816. 
 
 Alfani (Obazio), an Italian painter, 
 who was born at Perugia, about 1530. He 
 studied under Perugino, and perfected 
 himself by a diligent attention to the works 
 of Raffaelle, whose style he imitated so 
 very closely, that some of his pictures may 
 easily be mistaken for the productions of 
 that sublime genius. He died about the 
 year 1583. 
 
 Alfauo y Gamon (Don Juan dk), a 
 Spanish painter, was born at Cordova in 
 1640, His first master was Castillo ; on 
 leaving whom, he studied under Velas- 
 quez, to whose style he adhered, but in 
 his portraits he partly adopted the manner 
 of Vandyck. Two of his finest pieces are 
 a picture of the Nativity, and another of 
 the Guardian Angel. The personal his- 
 tory of Alfaro is tragical. He attached 
 himself to the Admiral of Castile, and 
 lived in his family on terms of friendship 
 till the time of that grandee's exile, which 
 event so affected the artist, that he left 
 Madrid, and retired to his native city in 
 1678. Here he lived in obscurity; and 
 when an edict was published, levying a 
 tax upon paintings, Alfaro, out of indigna- 
 tion, laid aside the penciL He suffered 
 great distress, till information reached 
 him, in 1680, that his patron was released. 
 Overjoyed at the news, he hastened to 
 Madrid, and immediately repaired to the 
 house of the admiral, but being refused 
 admission, he retired, and in a few days 
 died of a broken heart, at the age of forty. 
 Thus perished one of the most ingenious 
 and elegant artists that Spain ever pro- 
 duced ; and a man described to have been 
 of refined manners, and, as it well appears, 
 of a most tender and susceptible spirit. 
 
 Algarotti (Fkancesco), an ingenious 
 Italian nobleman, was born at Venice, 
 
 December 12, 1712. His father was a 
 wealthy merchant, who died when this 
 son was very young; but the care of him 
 devolved on his elder brother, who dis- 
 charged his trust with great care. Francis 
 received a liberal education at Rome and 
 Bologna, in which last city he became a 
 member of the Institute, to whose Me- 
 moirs he contributed several papers. In 
 1733, he published his " Newtonianism 
 for the Ladies." Algarotti also studied 
 the fine arts, and produced many excel- 
 lent specimens of painting and engraving, 
 particularly a set of heads in groups, 
 after the antique model. He likewise 
 travelled over Italy, accompanied by a 
 painter and draughtsman; and what he 
 has published on these arts discovers ex- 
 quisite taste. When Frederick the Great 
 ascended the throne of Prussia, he invited 
 Algarotti to Berlin, and conferred on him 
 the title of Count. Augustus III. of 
 Poland also gave him several marks of 
 royal favour, together with the title of 
 Privy Counsellor of War. The climate 
 of Germany having injured his health, he 
 returned to Italy, and died at Pisa, March 
 3, 1764. Among his works, which amount 
 to seventeen octavo volumes, are several 
 elegant pieces on the fine arts. His "Es- 
 says on Painting, and the Opera," have 
 been translated into English. 
 
 Aliberti (Giovanni Carlo), was born 
 at Asti, in Piedmont, in 1680. He paint- 
 ed several capital pieces in fresco, par- 
 ticularly two on the history of St. Au- 
 gustine, in a church dedicated to that 
 saint at Asti. These pictures are full of 
 figures, finely executed, and with a re- 
 markable force of expression in the heads. 
 This artist died in 1740. 
 
 Ai.iBBANDi (GiBOLAMo), a native of 
 Messina, in Sicily, born in 1470. His 
 first master was Bellini, and his second 
 Leonardo da Vinci, whose style he imi- 
 tated very closely. His works, thougli 
 numerous, are confined mostly to the 
 churches and convents of Messina. One 
 of the most attractive is a picture of the 
 Purification. This artist died in 1524. 
 
 Aliense, see Vasselacchi. 
 
 Alix (Jean), a French artist, who was 
 the disciple of Philip de Champagne. He 
 is little known as a painter, but some of 
 his etchings are admired. 
 
 Allan (David), a painter of history 
 and domestic subjects, was born at Alloa, 
 in Stirlingshire, February 13, 1744, where 
 his father held the situation of shore- 
 master. He received the rudiments of 
 
ALL 
 
 ALL 
 
 his art in the academy founded at Glas- 
 gow, by Robert and Andrew Foulis, the 
 printers. From thence he went to Italy, 
 and, in 1 773, gained the prize medal given 
 by the Academy of St. Luke for the best 
 specimen of historical composition. After 
 his return, in 1777, he resided some time 
 in London; but about the year 1780, he 
 went to Edinburgh, and was appointed 
 director and master of the academy es- 
 tablished in that metropolis by the trustees 
 for the manufactures and improvements, 
 Avith a view to the diffusion of the princi- 
 ples of the fine arts and of design in Scot- 
 land. Mr. Allan was much admired for 
 his talent in composition, the truth with 
 which he delineated nature, and the cha- 
 racteristic humour that distinguished his 
 paintings and etchings. There are several 
 engravings from his pictures ; one, the 
 Origin of Painting; and four in aquatinta, 
 by Paul Sandby, from drawings made by 
 Allan, when at Rome, representing the 
 sports during the Carnival. Several of 
 the figures introduced are real portraits. 
 Mr. AUan died August 6, 1796 ; and is 
 now best known by his illustrations to the 
 Gentle Shepherd, and by the commenda- 
 tions of Burns. 
 
 Allegbain (Etienne). This French 
 painter was born at Paris in 1655. He 
 excelled in landscapes, in which he was 
 followed by his son and pupil, Gabriel 
 Allegrain. The father died in 1736, and 
 the son in 1748. 
 
 Allegri, see Corregio. 
 
 Allegrini (Francesco), called like- 
 wise Da Gubbio, an Italian painter, was 
 born in 1587, and died in 1663. He 
 studied under Arpino, and painted his- 
 torical subjects, as well in oil as in fresco. 
 Hehadaschool at Rome, where he brought 
 up numerous scholars, besides his two 
 sons, Flaminio and Angelo, who were good 
 artists in the same line with their father. 
 Neither of these must be confounded with 
 Francesco AUegrini, a designer and en- 
 graver of Florence, who died about the 
 year 1775. 
 
 Alloisi (Baj.dassare), of Bologna, who 
 obtained the name of Galanino, was born 
 in 1578. He studied under the Caracci, 
 whose style he i-etained in all his com- 
 positions, lie was naturally of a melan- 
 choly turn, and of a retired disposition, 
 which made him avoid conversation, to 
 follow the study of his art. By this con- 
 duct he rendered himself so necessitous as 
 to be compelled to paint portraits for a 
 subsistence. In this line, however, his 
 
 success was astonishing, and he grew in- 
 to the highest esteem, not only for the re- 
 semblance visible at the first sight, and for 
 the beauty of his colouring, but also for a 
 new and unusual boldness of manner, by 
 which his figures appeared almost to 
 breathe. Hence he surpassed all his con- 
 temporaries, and the Italians have ranked 
 him with Vandyck. He died in 1638. 
 
 Allori (Alessakdro), called Bronzino, 
 a painter of history and portraits, was bom 
 at Florence in 1535. Having the misfor- 
 tune when five years old to lose his father, 
 he was taken under the protection of his 
 uncle, Agnolo Bronzino, a celebrated 
 artist, who treated him as a child of his 
 own, whence Alessandro obtained the 
 name of his patron, by which he is gene- 
 rally known in Italy. He was very stu- 
 dious, and applied himself diligently, not 
 only to the imitation of his master but to 
 the different works of other painters, who 
 were in the greatest reputation. His first 
 work was a Crucifixion, intended for an 
 altar-piece, in which he introduced nume- 
 rous figures, well grouped and disposed, 
 beautifully coloured, and with good ex- 
 pression. Being, however, solicited by the 
 nobility to paint their portraits, he re- 
 ceived such well deserved applause for his 
 performances, as induced him to devote 
 most of his time to that branch of the pro- 
 fession. Michael Angelo Buonarroti was 
 the master whose works he studied with 
 the greatest attention and pleasure; and 
 he designed a picture of the Last Judg- 
 ment, after the manner of that great 
 genius, which is still preserved at Rome. 
 He died in 1607. 
 
 Allori (Cristoforo), called Bronzino, 
 the son and disciple of the preceding 
 artist, was born at Florence in 1577. He 
 for some time followed the manner of his 
 father, but afterwards by studying design 
 from the works of Santi di Titi, and co- 
 louring from the tints of Cigoli, he formed 
 an original style of his own. He exe- 
 cuted several large altar-pieces ; yet he had 
 a particular felicity in painting small 
 pictures, in which he introduced a number 
 of minute figures, so correct in the draw- 
 ing, so relieved in the colouring, and 
 touched with so much delicacy, that it 
 seemed surprising how the eye or the hand 
 could design and perform them. He like- 
 wise painted portraits as large as life, 
 which were much valued, not only for the 
 happiness of the expression, but for the 
 propriety of the attitudes. He died in 
 1621. 
 
AMB 
 
 10 
 
 AMI 
 
 Almeloveen (Jan), a Dutch artist, 
 was born about the yeai* 1614. He paint- 
 ed portraits and landscapes, but is chiefly 
 known by the engravings which he exe- 
 cuted from his own pictures. 
 
 Altdorfer (Albrecht), a painter and 
 engraver, was born at Altdorf, in Bavaria, 
 in 1488. He is said to have studied under 
 Albert Durer, to whom, hov/ever, he was 
 much inferior in merit, though perhaps 
 his equal in industry. He is chiefly dis- 
 tinguished by his prints, engraved both in 
 wood and metal, though some of his pic- 
 tures are in the town-hall of Ratisbon, of 
 which city he became a senator. As an 
 engraver, he ranks among those called the 
 little masters. He died in 1558. 
 
 Alunno (Nicoi.o), an Italian artist, 
 was born at Fohgno about 1450: he paint- 
 ed in distemper; and in the church of St. 
 Nicholas, at his native place, is an altar- 
 piece of his performance, the subject of 
 which is the Virgin and Child, with at- 
 tendants, and another of the Pieta, on 
 which Vasari has bestowed high praise. 
 Alunno died about 1510. 
 
 Amalteo (Pomponio), a native of St. 
 Vito, in the Friuli. He was the disciple 
 of Pordenone, to whom he was related. 
 He painted several pictures on subjects of 
 Roman history, and others of religious 
 characters for churches and convents. He 
 died in 1576, aged seventy-two. His 
 brother, Oeronimo Amalleo, was also a 
 good painter of history. 
 
 Amato (Giovatsni Antonio), or, as he 
 is technically called, // Vecchio, was bom 
 at Naples about 1475. He studied under 
 Silvester Bruno, but afterwards applied 
 himself to the works of Perugino, whose 
 style he adoptal. His pictures are mostly 
 confined to the churches of his native city, 
 particularly that of St. Dominico Mag- 
 giore. He is not to be confounded with 
 Francesco Amato, a painter and engraver 
 of later date. His etchings are fine, but 
 of his pictures no particulars are recorded. 
 
 Amberger (Christopher), a German 
 painter, was born at Nuremberg about 
 1485, where the most capital of his paint- 
 ings are preserved, and held in high es- 
 teem. He was the disciple of Hans Hol- 
 bein, and his works are frequently mistaken 
 for those of his master. His invention 
 was fertile, his design good, and his 
 colouring very much like that of Holbein, 
 whom he also resembled in taste and 
 gracefulness. He gained great reputation 
 by a composition of the History of Joseph, 
 in twelve pictures ; and also by his portrait 
 
 of the Emperor Charles V., who accounted 
 it equal to any of those painted by Titian. 
 As a mark of his approbation, the emperor 
 paid the artist three times as much as he 
 expected, and honoured him with a chain 
 and medal of gold. Several of his pictures 
 are in the royal gallery at Munich. He 
 also engraved in wood, from designs of 
 his own composition. Amberger died in 
 1550. 
 
 Ambrogi (Domekico), a Bolognese 
 painter, who was also naxneA. Menichino del 
 Brizio, from the circumstance of his hav- 
 ing been instructed by Francesco Brizio. 
 He painted in fresco and oil, and executed 
 many church-pieces, particularly a picture 
 of the Guardian Angel, and another of 
 St. Francis of Padua; he likewise pro- 
 duced some fine landscapes and archi- 
 tectural views, with a strict regard to the 
 rules of perspective. Ambrogi published 
 some engravings in wood from his own 
 designs. He died about the year 1660. 
 
 Amico (Berwarbino), an Italian artist, 
 was a native of Gallipoli, in the kingdom 
 of Naples. He entered into the order of 
 St. Francis, and became prior of a convent 
 at Jerusalem, where he made drawings of 
 the holy city and its environs. On his 
 return to Italy he published a splendid 
 folio, entitled, " Trattato dclle piante e 
 imagini de' sacri edifizi di Terra Santa," 
 Rome, 1620, folio. The plates were en- 
 graved from Amico's designs, and under 
 his inspection, by Callot. The work is 
 uncommon and valuable. 
 
 Amiconi (Jacopo, or Giacomo), was 
 born at Venice in 1675. After painting 
 some landscapes in his native city, he went 
 to Rome, and next to Munich, where he 
 resided some years. In 1729 he came to 
 England, and obtained considerable em- 
 ployment among the people of fashion, so 
 that his works are to be found in several 
 houses of the nobility. At first he painted 
 staircases, but afterwards portraits with 
 more success. One author gives him the 
 praise of liveliness of imagination, readi- 
 ness of invention, and freedom of hand; 
 but Lord Orford characterizes his manner 
 as nerveless, and void of life. " His 
 women," says the noble connoisseur, " are 
 mere chalk, and his figures are so entirely 
 without expression, that his historical 
 compositions seem to represent a set of 
 actors in a tragedy, ranged in attitudes 
 against the drawing up of the curtain." 
 In 1736 he went to Paris with Farinelli, 
 to whom he was so much attached, that 
 he followed him to Spain, where he became 
 
AND 
 
 11 
 
 ANG 
 
 painter to the king. He died at Madrid 
 in 1758, leaving two daughters, one of 
 yvhom painted in crayons. 
 
 Amicom, or Amigoni (Ottavio). This 
 artist was born at Brescia in 1605, and 
 died in 1661. He was the disciple of 
 Antonio Gandini, and in several parts of 
 Italy he was much admired for some noble 
 compositions which he executed in fresco. 
 His expression, as well as his taste in 
 design, was elegant ; most of his pieces 
 being performed with a free, firm, and 
 masterly touch, and with figures as large 
 as life. In the church of the Carmelites 
 at Brescia is a fine work executed by him 
 and Bernardino Gandini, the subject of 
 which is the history of St. Alberto. 
 
 Amidano (Pomponio), a native of Par- 
 ma, who is supposed to have had Parme- 
 giano for his master. He painted historical 
 subjects in a fine style, and the heads of his 
 figures exhibit grandeur and taste. He 
 flourished about the year 1600. 
 
 Amman (Justus), a Swiss artist of ver- 
 satile talent, was born at Zurich in 1539, 
 and died at Nuremberg in 1591 . He exe- 
 cuted a vast number of designs on various 
 subjects, in wood and copper; besides 
 which, he painted with admirable spirit 
 and brilliant transparency of colour on 
 glass. His drawings, whether washed or 
 done with a pen, have much of the Italian 
 manner. 
 
 Amorosi (Antonio), an Italian painter, 
 was born near Ascoli, about the year 1685. 
 He practised his art at Rome, where he 
 was employed in painting for the churches ; 
 but his genius lay in fancy and grotesque 
 subjects, after the manner of Bamboccio. 
 He died about 1740. 
 
 Ancona (Andrea Liliod',ni-i.a Mae- 
 ca), a Roman painter, who was patronized 
 by Pope Sixtus V., and employed in the 
 Vatican, and the palace of St. John Later- 
 an. He painted some great designs in 
 fresco, from subjects of sacred history, par- 
 ticularly one of our Saviour washing the 
 Disciples' Feet, which picture is in the 
 church of St. Maria Maggiore. 
 
 Anderton (Henry), an English painter 
 of history and portrait. He studied under 
 Strcater, and improved himself by a resi- 
 dence in Italy. On his return he obtained 
 the patronage of Charles II., but died 
 young, about the year 1665. 
 
 Andre (Jean). This painter was born 
 at Paris in 1662. He took the habit of a 
 Dominican, and went to Rome, where he 
 received lessons from Carlo Maratti, and 
 studied also the works of Michael Angelo 
 
 and Raffaelle with considerable success. 
 He painted portraits, but chiefly historical 
 subjects, very happily: his pencil was 
 sweet, his touch large, and his design cor- 
 rect. He died at Paris in 1753. 
 
 Andrea (Maestro). This artist was 
 born at Salerno, in the kingdom of Naples, 
 in 1480. After receiving some instruction 
 in his own country, he went to Rome, 
 where he studied for some time, and on his 
 return to Salerno practised with reputation 
 both as a painter and architect. He died 
 in 1502, 
 
 Andreani (Andrea), a painter and 
 engraver, was born at Mantua about 1540, 
 and died about 1610. As a painter, he is 
 little known, but his prints are numerous 
 and valuable. 
 
 Andriesbens (PIendrick). This Flem- 
 ish painter was born at Antwerp in 1600, 
 and died in Zealand in 1655. His subjects 
 were mostly still life, which he painted with 
 great exactness, and his pictures are very 
 highly finished. 
 
 Anesi (Paulo), a native of Florence, 
 who was distinguished for the excellence 
 of his landscapes, which, however, are sel- 
 dom found out of Italy. The best of his 
 pictures are at Rome and Florence, where 
 he had several disciples. He died about 
 1750. 
 
 Angarano (Ottavio), a noble artist 
 of Venice, who painted history with de- 
 served reputation, in his native city, about 
 the year 1650. In one of the churches at 
 Venice, there is a fine picture by him of 
 the Nativity, of which he also executed an 
 etching. 
 
 Angeh (FiLipro d'), called Napoletano. 
 This artist was bom at Rome in 1600, and 
 obtained the name of Napoletano, by be- 
 ing carried to Naples when he was very 
 young. On his return to Rome, he studied 
 diligently after the antiques, but forsook 
 that school of instruction, to adopt the 
 manner of a Ilemish painter, called Mozzo, 
 or Stump, because, having lost his right 
 hand, he used the pencil with his left. 
 Filippo was most pleased with those sub- 
 jects that admitted of a great number of 
 figures, which he grouped with judgment, 
 and gave to each its proper action. His 
 favourite subjects were battles; but he 
 likewise painted landscapes in an agreeable 
 style, and he also frequently drew views 
 of public buildings, the areas and porticoes 
 before which he crowded with people, en- 
 gaged in sports or entertainments. He 
 died at Rome in 1640. 
 
 Angeuco da Fxesole (Giovanni), an 
 
ANG 
 
 Italian painter of historical subjects, was 
 born at Fiesole in 1387. He studied under 
 Giottino, but afterwards he became a monk 
 of the order of St. Dominic, in which cliar- 
 acter he was respected for his piety, as he 
 was admired for his painting. Pope Ni- 
 cholas V. employed him in his chapel to 
 paint large pictures, and soon after pre- 
 vailed on him to decorate several books 
 with designs in miniature, which he exe- 
 cuted neatly. Though his best pictures 
 were not without faults, he possessed the 
 skill of instructing pupils, of whom he had 
 a considerable number. Such was his 
 humility, that he refused the archbishopric 
 of Florence. He always painted religious 
 subjects, and died in 1455. 
 
 Angelis (Petkk), an eminent artist, 
 was born in 1685, at Dunkirk. He painted 
 landscapes with figures, and also conver- 
 sation pieces. About 1712 he came to 
 England, and, after residing here several 
 years, went to Rome, where his works were 
 eagerly sought for; yet, owing to his mo- 
 desty, he profited little in his fortune by 
 the popularity he acquired. On his return 
 from Italy, he settled at Rennes, in France, 
 where he died in 1734. His style is good, 
 and his execution neat and graceful, but 
 the colouring is feeble. 
 
 Angelo, see Buonarroti, Caravag- 
 Gio, and Campidoglio. 
 
 Angiolillo, or Roccadehame, an artist 
 of Naples, who studied under Solario, 
 called Lo Zingaro : he painted sacred sub- 
 jects, and in the church of Lorenzo, at 
 Naples, is afine picture by him representing 
 the Virgin and Child, attended by St. An- 
 thony of Padua, St. Francis d'Assisi, and 
 St. Louis. He died about the year 1458. 
 
 Angosciola (Sophonisba). This inge- 
 nious lady was born at Cremona, of a noble 
 family, in 1533. Her first instructor was 
 Barnardino Campi, but she learned colour- 
 ing and perspective from Bernardo Gatti, 
 called Sojaro. One of her first perform- 
 ances was the portrait of her father, placed 
 between his two children, with such strong 
 characters of life and nature, a pencil so free 
 and firm, and so lively a tone of colour, 
 as commanded universal applause. But 
 though portrait engrossed the greatest part 
 of her time, she also designed several histo- 
 rical subjects, the figures in which were of 
 a small size, touched with spirit and with at- 
 titudes easy, natural, andgraceful. In 1561, 
 Sophonisba, by which name she was al- 
 ways called, wentto Madrid, with her three 
 sisters, and, while there, she painted the 
 portrait of Queen Isabella, which the king 
 
 12 
 
 ANS 
 
 sent to Pope Pius IV. This picture was 
 accompanied by a letter to hisholiness from 
 Sophonisba, who was honoured with a gra- 
 cious answerin the pope's own hand, highly 
 complimentary to her talents, and assuring 
 her that he had placed her performance 
 among his choicest curiosities. Palomino 
 says that she died at Madrid in 1575 ; but 
 this is not true, for she returned to her 
 native place, where, by continual applica- 
 tion to her profession, she lost her sight. 
 In this state she was visited by Vandyck, 
 who used to say, that he had received 
 from a blind woman more practical know- 
 ledge of the principles of his art, than by 
 studying all the works of the best masters 
 in Italy. She died at Cremona in 1626. 
 At Lord Spencer's, at Wimbledon, is a 
 portrait of Sophonisba playing on the 
 harpsichord, painted by herself; an old 
 woman appears as her attendant, and on 
 the picture is written Jtissu Patris. And 
 at Wilton, in the Pembroke collection, is 
 the marriage of St. Catherine, painted 
 by Sophonisba. She had three sisters : 1st, 
 Lucia, who painted portraits with a repu- 
 tation not inferior to Sophonisba, as well 
 in regard to the truth and delicacy of colour- 
 ing, as in the justness of the resemblance. 
 2nd, Mro/>a Angosciola, from her infancy 
 manifested an extraordinary genius for the 
 art, and showed such taste and elegance in 
 her manner of design as procured her a de- 
 gree of applause almost equal to that be- 
 stowed upon her sister. 3rd, Anna Maria 
 Angosciola, who had also a similar taste, 
 but in an inferior degree. A portraitof one 
 of these sisters, painted on panel by Sopho- 
 nisba, was sold in 1801 at the sale of Sir 
 William Hamilton's pictures; and the late 
 Mr.Gough had a miniature portrait of this 
 celebrated lady, painted by herself, with the 
 following inscription: '^ Sophonisba An- 
 gussola, virgo, ipsius manu exspeculo de- 
 picta, CremonmP 
 
 An R A AT (Peter Van). The native 
 city of this master is not known, and when 
 the merit of his works is considered, it is 
 u naccoun table that so little of his life should 
 have been recorded. Houbraken mentions a 
 capital picture by him, the subject of which 
 is the Last Judgment: it contains a mul- 
 titude of figures, well designed, correct iu 
 the outline, and pencilled in a bold and 
 free manner. 
 
 Ansaldo (Giovanni Andrea), a na- 
 tive of Voltri, near Genoa, who was a 
 pupil of Cambiasi ; but, on studying the 
 works of Paul Veronese, he altered his 
 style in imitation of that master. His 
 
ANT 
 
 13 
 
 APP 
 
 principal performances are in the churches 
 and palaces of Genoa. Besides history, 
 he painted architectural subjects and land- 
 scapes. He died in 1 638, at the age of 
 fifty-four. 
 
 Ansaloni (Vincenzio), a native of Bo- 
 logna, who studied under LudovicoCaracci; 
 he painted sacred subjects in a good style, 
 but most of his pictures are confined to his 
 native city and its vicinity. 
 
 Anselmi (Michael Angelo), was 
 born at Siena in 1491, and died at Parma 
 in 1554. His master was Vercelli, but he 
 afterwards studied the works of Corregio 
 so very closely, that he caught no small por- 
 tion of that gz'eat painter's style. Seve- 
 ral of his pictures are in the churches of 
 Parma. 
 
 Antiquus (John), a painter of history, 
 was born at Oroningen in 1702. He was 
 at first a painter on glass, which occupa- 
 tion he followed till he was twenty years 
 old, when he became a scholar of John 
 Wassenberg, an eminent artist, whom he 
 left at the end of two years, because his 
 master would scarcely permit him to see 
 how he prepared his colours. Disgusted 
 with such conduct, he went to France, 
 and after viewing the best works there, 
 he travelled to Italy, in company with his 
 brother, Lambert, who was a painter of 
 landscape. Having encountered many 
 difficulties, John arrived at Florence, where 
 he had the good fortune to gain the pa- 
 tronage of the grand duke, who retained 
 him in his service six years. During his 
 residence at that court he painted a grand 
 composition of the Fall of the Giants, 
 which showed in the disposition, as well 
 as the design, equal judgment and taste ; 
 the sketch of it is still in the Florentine 
 Academy. He made several journeys to 
 Rome, where he contracted an intimacy 
 with many eminent artists, among whom 
 was Solimene. After quittina: Florence, 
 he visited different parts of Europe, re- 
 ceiving everywhere marks of respect, and 
 leaving beliind hira proofs of his genius. 
 His manner of design was good; he painted 
 with great facility; his colouring is agree- 
 able, and he acquired in the Roman school 
 that elegance which is observable in all 
 his compositions. He died in 1750. 
 
 Antonello, see Messina. 
 
 Antonilez (Joseph), a Spanish paint- 
 er, was born at Seville in 1636. His 
 master was Francisco Ricci, under whom 
 he made a great progress, particularly in 
 history and portrait, though he also paint- 
 ed some good landscapes. Two of his 
 
 best pictures are representations of the 
 Miraculous Conception, and Christ as the 
 Good Shepherd. This artist died at Ma- 
 drid in 1676. 
 
 Antonisze (Cornelius), aDutch paint- 
 er, was born in 1500 at Amsterdam, of 
 which city he executed a large picture in 
 1536. He excelled in perspective and 
 architectural views, which he also engraved 
 on wood ; but his prints are scarce. 
 
 Apollonio (Jacopo), an Italian artist, 
 was born at Bassano in 1584. He studied 
 under Jacopo da Ponte, who was his 
 grandfather, and to whose style he con- 
 stantly adhered, though inferior to him in 
 energy of expression and vigour of execu- 
 tion. Some fine pictures by him adorn 
 the churches of his native place, where he 
 died in 1654. 
 
 Appel (Jacob), was born at Amster- 
 dam in 1680, and died there in 1751. His 
 first master was Timothy de Graaf, on 
 leaving whom he placed himself under 
 Vander Plaas. Afterwards he studied the 
 works of Tempesta ; but he also copied 
 nature, and spent near two years in sketch- 
 ing the scenery about the Hague. His 
 greatest improvement, however, was ac- 
 quired by the observations he made on 
 attending Meyering, and seeing him paint 
 several landscapes. By this means he 
 learned a better manner of handling and 
 colouring, and particularly the art of 
 making the objects recede to remote dis- 
 tances. He also succeeded well in historical 
 subjects and portraits, both which he 
 painted in a good taste. He took a plea- 
 sure in introducing statues resembling 
 marble into his compositions. 
 
 Appelman (Bakent), a Dutch painter, 
 was born at the Hague in 1640. He 
 proved very excellent in painting land- 
 scapes, his scenes being mostly taken from 
 the views about Rome, Frescati, and other 
 parts of Italy ; but the figures in his pieces 
 are indifferent. On his return to Holland 
 he was employed by the Prince of Orange, 
 in the hall of whose palace, at Soesdyck, 
 are several landscapes by him, designed 
 in a good taste, finely pencilled, and well 
 coloured. In the same place also are 
 some of his portraits, which have been 
 much admired. Appelman sometimes as- 
 sisted John de Baan in enriching his back 
 grounds. He died in 1686. 
 
 Appiani (Francesco), a native of An- 
 cona, and the disciple of Simonetti. He 
 completed his studies at Rome, where he 
 painted a picture of the death of St. 
 Dominic, for Pope Benedict XIII., who 
 
ARC 
 
 14 
 
 ARE 
 
 rewarded him liberally. Most of his works, 
 however, are at Perugia, where he died in 
 1792, aged ninety. 
 
 Appiani (Andrea), a modern Italian 
 painter, born in the Upper Milanese, in 
 1754. He studied first under Cavalier 
 Guidei, and afterwards devoted himself to 
 his art with such ardour and success, that 
 he formed a graceful and original style, 
 almost rivalling that of Corregio. He 
 excelled in fresco, as well as in oil. His 
 best productions of this species are in the 
 church of St. Maria, at Milan, the Busca 
 palace, the castle of Monza, and the royal 
 palace at Milan. Among his oil paintings, 
 Rinaldo in the garden of Armida, Olympus, 
 and Venus and Love, are distinguished by 
 grace, purity of design, and perfect har- 
 mony. Napoleon sat to him, and appointed 
 him his painter. He was a member of 
 the Itahan Institute, and of the Legion of 
 Honour. He died in 1818. 
 
 Aquila (Pompeto del), an historical 
 painter, so called from the place of his 
 birth in Italy. He flourished about the 
 year 1580, and painted sacred subjects in 
 a grand style, both in fresco and in oil. 
 One of his best works is a Descent from 
 the Cross, of which there is an engraving. 
 
 Ae^vldi (Alexander), a native of 
 Parma, and the disciple of Giovanni Bel- 
 lini. He painted historical subjects, and 
 at Parma is a picture of the Annunciation 
 by him, upon which the critics have be- 
 stowed great praise. He died in 1528. 
 
 Arbasia (CiESARE), an Italian artist, 
 who visited Spain on the invitation of 
 Paulo de Cespedes, canon of Cordova, 
 with whom he had formed an intimacy 
 at Rome. He remained at Cordova long 
 enough to paint the ceiling of the cathe- 
 dral in that city, after which he returned 
 to his native country. He imitated the 
 style of Leonardo da Vinci, and painted 
 chiefly in fi-esco. He died about 1620. 
 
 Arcimboldi (Giuseppe), a native of 
 Milan, who lived about the year 1590. 
 He was in the service of the Emperor 
 Maximilian, for whom he painted kitchens, 
 with fruit, game, and grotesque figures, 
 which he represented with a great ad- 
 herence to nature. 
 
 Arco (Alokzo del), a Spanish artist, 
 was born at Madrid in 1625. He was 
 deaf and dumb, notwithstanding which he 
 acquired a deserved reputation by his skill 
 as a painter of history and portrait. In the 
 churches of Madrid are some fine pictures 
 of his design and execution. His master 
 was Antonio de' Pareda. He died in 1700. 
 
 Ardentb (Alexander), a native of 
 Piedmont. No particulars of his early 
 life are recorded, nor do we know who 
 was his instructor. His reputation, how- 
 ever, drew him to Paris, where he painted 
 a number of pictures in a noble style, and 
 died there in 1595. At Turin is a capital 
 painting of his, the subject of which is 
 the Conversion of St. Paul. 
 
 Arellano (Pedro). This Spanishartist 
 was born at Santorcas, in 1614, and stu- 
 died under Juan de Solis ; but making no 
 figure in historical painting, he changed 
 his style, and, after Mario di Fieri, repre- 
 sented flowers and fruits with considerable 
 success. He died in 1689. 
 
 Aretino, see Spinello. 
 
 Aretusi (Cesare), an Italian painter, 
 was, accordi ng to some, a native of Bologna, 
 while others make him a Modenese. After 
 learning the principles of his art, he im- 
 proved himself greatly by studying the 
 works of the greatest masters. Though 
 his invention was not fertile, he attained 
 eminence as a painter of portraits, in 
 which line he was much employed by the 
 noblest personages. His principal patron 
 was the Duke of Ferrara, whose favour he 
 lost by an act of indiscretion. That 
 prince, concluding that he had secured the 
 gratitude of the painter, told him that 
 there was a lady whose portrait he wished 
 to possess, but that it must be obtained 
 by stealth, without the knowledge of the 
 fair subject herself, or any of the familj'. 
 Aretusi promised diligence and fidelity; 
 and in the first respect he was as good as 
 his word. But having finished the picture, 
 he was so pleased with the performance, 
 that, out of vanity, he showed it to some 
 of his acquaintance. The secret soon 
 transpired, and the relations of the lady 
 were much enraged ; nor was the duke 
 less exasperated at the treachery of the 
 artist, whom he at first threatened with 
 death, but contented himself, when his 
 passion cooled, with banishing from his 
 dominions. In the church of San Gio- 
 vanni dell' Monte, at Bologna, is a fine 
 altar-piece by Aretusi, representing the 
 Virgin and Child, with two female figures 
 embracing each other. In his style he so 
 nearly resembled Corregio, that his pic- 
 tures have frequently been mistaken for 
 those of that great master. He flourished 
 in the early part of the seventeenth century. 
 
 AuEzzo (Spinello di). This old 
 artist was born at Florence, in 1352, and 
 died there in 1400. He painted in fresco 
 for the churches, but most of his pro- 
 
ARM 
 
 15 
 
 ASA 
 
 diictions are obliterated. There was 
 another painter of this name, Lazaro 
 Vasari (TArezzo, who was born at Flo- 
 rence in 1380, and died in 1452. He ex- 
 celled the preceding in the learning of his 
 art as well as in execution. 
 
 Arlaud (James Anthony), a portrait 
 painter, was born at Geneva in 1688. 
 His first practice was that of painting 
 ornaments in miniature for the jewellers, 
 after which he applied to portrait, in which 
 he became eminent. On settling at Paris, 
 he obtained the patronage of the Duke of 
 Orleans, who condescended to become his 
 pupil, and gave him apartments at St. 
 Cloud. While there, he copied a Leda 
 from the bass-relief of Michael Angelo, 
 or, as others think, from the famous pic- 
 ture of Corregio. Be that as it may, all 
 Paris was struck with the beauty of the 
 performance, for which the Duke de la 
 Force agreed to give 12,000 livres; but 
 happening to be a loser in the Mississippi 
 scheme, he returned it to the artist, with 
 4000 livres for the use of it. This picture 
 Arlaud brought to London, in 1721, when 
 lie came hither with letters of recommen- 
 dation from the Princess Palatine to 
 Caroline, Princess of Wales, whose (por- 
 trait he painted. During his residence 
 here, he was loaded with presents, and 
 sold a copy of his Leda for 600/., but re- 
 fused to part with the original. In 1738, 
 the painter, falling into a gloomy fit of 
 superstition, resolved to destroy this 
 chef d'csuvre of his art ; but out of tender- 
 ness, he cut the figure to pieces anatomi- 
 cally. This was done at Geneva, where 
 the two hands of Leda are still preserved 
 in the public library. Chamont, the 
 French resident there, obtained the head 
 and one foot, but it is unknown what be- 
 came of the rest. Arlaud died in his na- 
 tive city, in 1743. He had a brother, 
 Benedict, a portrait painter, who came to 
 England, and died in London in 1719. 
 
 Arlaud (Bernard, or Benjamin). 
 He was a native of Geneva, but resided 
 at two different periods in London, where 
 he met with encouragement as a painter of 
 portraits in miniature. In 1801 he re- 
 turned to his native city, where he suf- 
 fered much by the depredations of the 
 French. While in England, he was a 
 frequent exhibitor at the Royal Academy. 
 
 Armand (Jacques Feanqois). Fie 
 was born at Paris in 1730, and became a 
 reputable painter in history. He died in 
 1769. There was another painter of this 
 name, Charles Armand^ who was a native 
 
 of Bar-le-Duc, in Lorraine, and died 
 there in 1720. He is said to have been a 
 good artist, both in portrait and history. 
 
 Arnau (Juan), a native of Barcelona, 
 in Spain, who was the disciple of Eugenio 
 Caxes. Fie painted historical subjects, 
 principally for the churches and monas- 
 teries. He died in 1693, aged 98. 
 
 Arpino, see Cesari. 
 
 Artedondo (Isidroe), a Spanish 
 painter, was born in 1654. He studied 
 first under Garcia, and next became a 
 pupil of llicci. The excellence to which 
 he attained in historical subjects recom- 
 mended him to King Charles II., who ap- 
 pointed him his first painter, and gave 
 him letters of nobility. Palomino, in 
 enumerating his works, speaks with ad- 
 miration of one, the subject of which is 
 the Incarnation. Fie died in 1702. 
 
 Artevbldt (Andrew Van), a marine 
 painter of Antwerp, at the beginning of 
 the seventeenth century. His represen- 
 tations of storms and rocky shores are very 
 grand. Vandyck admired his works, and 
 painted his portrait, as a testimony of his 
 esteem for the artist. 
 
 Aetois (Jacques d'), an admired land- 
 scape painter, was born at Brussels in 
 1613. He is supposed to have been in- 
 structed by Wildens, but perfected him- 
 self by a studious observation of nature. 
 His landscapes have an agreeable solem- 
 nity, by the disposition of the trees, and 
 the touching of the grounds; the distances 
 are well observed, and die away info a 
 bluish range of remote hills; and the 
 figures are judiciously placed. The pencil 
 of this artist is soft, his touch light and 
 free, particularly in the leafing of his 
 trees, and there is generally a pleasing 
 harmony in the whole. It is said that 
 Teniers either painted or retouched the 
 figures in his pieces. He ornamented the 
 trunks of his trees with moss, ivy, or other 
 plants, the extremities of which are often 
 loosely hanging down. His pictures are 
 coloured with a force resembling those of 
 Titian, only they are sometimes a little 
 too dark. He died in 1665. 
 
 Arzere (Steeano dael') an Italian 
 painter, was born at Padua, where he prac- 
 tised his art with great reputation, being 
 employed in painting altar-pieces for the 
 churches and convents. The period when 
 he lived is unknown. 
 
 AsAM (CosMA Daman), an historical 
 painter, of whom we know no particulars, 
 except that he studied at Rome, and settled 
 I at Munich in Bavaria, of which city he is 
 
ASP 
 
 16 
 
 ASS 
 
 supposed to have been a native, and where 
 he died in 1739. He engraved some prints 
 from his own designs. 
 
 AscH (Peter Van), a painter of Delft, 
 in Holland, where lie was born in 1603. 
 He excelled in painting small landscapes, 
 which are much admired. It is related of 
 this artist, that, by paying an unremitted 
 attention to his aged and infirm parents, 
 who were long confined by sickness, he 
 neglected his profession, which is the rea- 
 son why his pictures are scarce. His 
 father, John Van Asch, was a portrait 
 painter, and lived in the sixteenth century. 
 AsHFiELD (Edmund), an English por- 
 trait painter, was the disciple of Michael 
 Wright, who lived in the reign of Charles 
 II. Although Ashfield was capable of 
 painting in oil, he accustomed himself to 
 crayons ; and having discovered the me- 
 thod of producing a variety of tints in 
 that manner of colouring, which answered 
 every complexion, and gave roundness and 
 strength to his heads, his works were so 
 rich and highly wrought, as to fetch ten 
 pounds a piece. Ashfield was the in- 
 structor of Lutterel, who became superior 
 to his master. 
 
 AsPER (John, or Hans), a Swiss 
 painter, was born at Zurich in 1499. He 
 painted portraits with so much life, nature, 
 and character, that his works were much 
 applauded, and his reputation was little 
 inferior to that of Holbein. He also drew 
 birds, fish, dead game, and flowers, with 
 great beauty of expression, in water co- 
 lours. To record his merit, a medal was 
 struck, having his head on one side, and 
 a skull on the obverse, wilh a character 
 of the painter in rhyme. He died poor in 
 1571. 
 
 AspEHTiNO (GuiDo), a native of Bo- 
 logna, was born about 1460, and died 
 about the year 1500. He was the scholar 
 of Ercole di Ferrara, and became an emi- 
 nent painter in history. In the cathedral 
 of Bologna is a fine picture by him of the 
 Crucifixion. 
 
 AspERTiNO (Amico), a youugcr brother 
 of the preceding, was born at Bologna in 
 1474. He learned the art of painting 
 from Francesco Francia ; and obtained 
 the name of Amico da due Penelli, because 
 he used both hands with equal readiness, 
 laying on the light colours with the one, 
 and the dark with the other. His pictures 
 had a good effect, being painted with a 
 strong body of colour, a free touch, and 
 in a grand style ; but this description only 
 applies to some of his performances, for 
 
 his imagination was at times whimsical 
 and extravagant; so that whatever sub- 
 jects he then designed were unworthy of 
 being compared with those which he exe- 
 cuted when his thoughts were undisturbed. 
 He died in 1572. 
 
 L.SSELYN (John), called Crabatje. He 
 was born at Antwerp in 1610; and was 
 the disciple of Esaias Vandenvelde, under 
 whom he became an excellent painter of 
 landscape. His companions nicknamed 
 him Crabatje, from a crooked turn in his 
 hand and fingers, which caused him to 
 hold his pallet in an awkward manner. 
 Notwithstanding this, by the lightness, 
 freedom, and spirit of his touch, it could 
 not be supposed that his hand had the 
 least imperfection. He was one of the first 
 Flemish artists who adopted the clear and 
 bright manner of landscape painting. He 
 studied after nature in the country about 
 Rome, improving his taste by the delight- 
 ful situations of towns, villas, antiquities, 
 figures, and animals, which he sketched 
 upon paper to make a proper use of them 
 in his designs. For his style in landscape, 
 he chose to imitate Claude Lorraine, but 
 in other parts he made Bamboccio his 
 model. He enriclied his pictures with the 
 vestiges of noble buildings, and the views 
 of such seats as were remarkably beauti- 
 ful in themselves, or delightfully situated. 
 His colouring is bright and clear ; his 
 skies are warm, his touch free and firm ; 
 his figures well drawn, and judiciously 
 disposed ; and his pictures justly merit 
 the approbation they have always received. 
 He also painted battle-pieces. He died 
 at Amsterdam in 1660. 
 
 AssERETo (GiovACCHiNo), an Italian 
 artist, was born at Genoa, in 1600. His 
 first master was Lucian Borzoni, whom 
 he soon left, to become the disciple of 
 Giovanni Andrea Ansaldi, by whose in- 
 structions he profited so well that, at the 
 age of sixteen, he painted a picture of the 
 Temptation of St. Anthony for the Monks 
 of that order. He afterwards painted 
 several altar-pieces for the churches and 
 convents at Genoa, where he died in 1649. 
 He had a son, named Oiuseppo Assereto, 
 who painted historical subjects in the style 
 of his father, but died young. 
 
 Assisi (Andrea Luigi di), called also 
 II Ingegno, an Italian artist, was born at 
 Assisi about the year 1470. He studied 
 under Pietro Perugino, whom he assisted 
 in painting the Salla del Oambio, and 
 other works. Assisi improved upon the 
 style of Perugino, by introducing a softer 
 
AUD 17 
 
 tint in colouring. It is melancholy to re- 
 late that, while displaying proofs of his 
 extraordinary talent in the frescoes which 
 adorned the Basilica of Assisi, he sud- 
 denly lost his sight, which he never re- 
 covered. He died in 1520. 
 
 AsTA (Andrea dell'), a Neapolitan 
 painter, was born in 1683. He studied 
 under Francesco Solimena, and on leaving 
 hira went to Rome, where he improved 
 himself greatly by a diligent attention to 
 the works of the first masters, particularly 
 RafFaelle. He then returned to Naples, 
 where he acquired a great reputation by 
 his pictures, most of which are on religious 
 subjects. The two best are a Nativity and 
 the Wise Men's Offering, in the Church 
 of St. Augustine. He died in 1721. 
 
 AsTLEY (John), an English artist, who 
 was more indebted to foriune than genius 
 for the distinction he obtained, was born 
 at Wem, in Shropshire, where his father 
 practised physic. At an early age lie was 
 sent to London, and placed as a pupil un- 
 der Thomas Hudson. He afterwards went 
 to Rome, and, on his return home, resided 
 some months in London, from whence he 
 removed to Dublin, where he practised as 
 a portrait painter three years, and with 
 such success as to realize 3000. In his 
 way back to London, he had the good for- 
 tune to become acquainted with the widow 
 of Sir William Daniel, who was the heiress 
 of the Duckenfield estates in Cheshire. 
 This lady married him, and thus having 
 entered into the possession of 5000 a- 
 year, he gave up painting, except for 
 amusement. He greatly improved Duc- 
 kenfield Lodge, and built some houses in 
 Pall-mall, by which he increased his pro- 
 perty considerably. He died November 
 14th, 1787, leaving one son. 
 
 Athanasio (Pedko), an historical pain- 
 ter, was born at Granada in Spain in 1638, 
 and died there in 1688. He was the dis- 
 ciple of Alonzo Cano, and painted a great 
 number of pictures for churches and con- 
 vents, not only in his native city, but at 
 Seville and Madrid. Among his best 
 productions is a Conversion of St. Paul, 
 in the Jesuits' church at Madrid. 
 
 Aumx (Gabriel Jacques de St.), a 
 French painter, was born at Paris in 1724, 
 and died about 1770. He excelled in histo- 
 rical subjects, some of which he also en- 
 graved in a spirited style. He had two 
 brothers, Augustus and Charles Germain, 
 both of them painters and engravers of con- 
 siderable merit, particularly the former. 
 
 AuDEBEBT (JoHK Baptist), a French 
 
 AVE 
 
 artist, born at Rochefort in 1759, first 
 practised miniature painting, but after- 
 wards distinguished himself in delineat- 
 ing subjects of natural history. He also 
 made great improvements in the art of 
 printing engravings in colours. He died 
 in 1802. 
 
 Audenaerd, or Oudenaerd (Robert 
 Van), an eminent painter and engraver, 
 was born at Ghent in 1663. He studied 
 painting under Francis Van Mierhop, and 
 afterwards under Hans Van Cleef; but 
 on visiting Rome he took instructions from 
 Carlo Maratti. By this means he became 
 a good painter of history; but having 
 etched some prints, which he showed to 
 Maratti, that great artist advised him to 
 adhere to the burin rather than the pencil, 
 and employed him to engrave a number 
 of his pictures. After his return to Ghent 
 he continued to engrave, but occasionally 
 produced some pictures for the churches; 
 one of the best of which is an altar-piece 
 in the Carthusian monastery at Ghent ; the 
 subject is St. Peter attended by a number 
 of monks of that order. He died in 1743. 
 
 AuDRAN (Claude). He was born at 
 Lyons in 1641, and studied successively 
 under Perrier and De Vairix. On going 
 to Paris, he was employed by Le Brun as 
 an assistant in painting the battles of 
 Alexander. In 1681 he became professor 
 in the Academy of Paris, where he died in 
 1684. He painted historical subjects very 
 correctly, and much in the manner of Le 
 Brun. 
 
 AvANzi (Jacopo), called from the place 
 of his birth. Da Bologna. He lived about 
 the year 1370, and had Franco da Bologna 
 for his instructor. Some of his works in 
 the churches of his native city were much 
 admired by Michael Angelo and the Ca- 
 racci. He is not to be confounded witli 
 Giuseppe Avanzi, a painter of the same 
 age, who was a native of Ferrara, which 
 city he adorned with several historical 
 pictures, particularly one of the marriage 
 of St. Catharine, in the church of St. 
 Dominico. 
 
 AvED (Jacques Antoine Joseph). 
 This artist was born at Douay in 1702. 
 He studied under Pickard, after which he 
 improved himself by visiting several parts 
 of Flanders and Holland. In 1721 he 
 went to Paris, and became the scholar of 
 Le Bel. In 1734 he was cliosen a member 
 of the Academy. He excelled in portraits, 
 upon which he bestowed great labour, 
 particularly the draperies and accessories. 
 He died at Paris in 17G6. 
 
AZZ 
 
 18 
 
 AvELLiNo (GiuLio), Called from the 
 place of his nativity, II Messinese, was 
 born at Messina about 1645. He is said 
 to have had Salvator Rosa for his instruc- 
 tor ; and his landscapes are certainly much in 
 the manner of that great artist. He resided 
 during the best part of his life at Ferrara, 
 where he was much employed by the no- 
 bility. His landscapes are enriched with 
 architectural pieces, ancient ruins and 
 figures, admirably designed and touched 
 with a masterly hand. He died at Fer- 
 rara in 1700. 
 
 AvELLiNO (Onufrio), a painter of 
 Naples, was born in 1674, He was the 
 scholar of Francesco Solimena; on leav- 
 ing whom, he went and studied at Rome, 
 where he was employed in executing some 
 works for the churches. He died in 1741. 
 
 AvERAKV (Giovanni Battista), a 
 painter of Bergamo, was born about 1508, 
 and died in 1548. He formed his style by 
 studying with success the works of Titian. 
 He painted usually in fresco, and some of 
 his pictures executed in that manner are 
 in the churches of Bergamo. 
 
 AvERBACH (John Gottfriei)), a por- 
 trait and historical painter. He was born 
 at Mulhausen in 1687, and died, in 1743, 
 at Vienna, where he was in the service of 
 the Emperor Charles VI. 
 
 AviANi, an Italian painter, was born at 
 Vicenza, and lived about the year 1630. 
 He painted landscapes, seaports, perspec- 
 tive views, and architectural subjects; but 
 the figures in his pictures were executed 
 by Giulio Carpioni. 
 
 AvoGRADo (PiETRo), an historical 
 painter, was born at Brescia, and became 
 the disciple of Pompeo Ghiti, to whose 
 style he adhered, though in some respects 
 he adopted that of the Venetian school, 
 particularly in his carnation tints. His 
 figures are remarkably graceful, and har- 
 mony prevails through all his pictures. 
 He lived about the year 1730. 
 
 AvoNT (Peter Vandex), a landscape 
 painter, was born at Antwerp about the 
 year 1620. He enlivened his pictures 
 with figures well sketched, and painted 
 with great animation. He was also a good 
 engraver. 
 
 AzzoLiNt (Giovanni Bernardino), a 
 native of Naples, who flourished at Genoa 
 about the year 1510. His works are almost 
 wholly confined to the churches of the 
 latter city; in that of St Joseph are two 
 pictures by him, one of the Annunciation, 
 and the other the Martyrdom of St. Apol- 
 lonia. 
 
 B. 
 
 Baan (John de). This eminent artist 
 was born at Haerlem, February 20, 1633. 
 He was instructed in painting by his uncle, 
 Piemans, who followed the manner of 
 Velvet Breughel. Afterwards De Baan 
 studied under Bakker, at Amsterdam, with 
 whom he practised assiduously everything 
 from which he could derive improvement, 
 spending the day at the pencil, and the 
 evening in design. At that time the works 
 of Vandyck and Rembrandt being most in 
 vogue, De Baan, after much hesitation 
 which to choose, at last gave the preference 
 to the former. His merit soon became 
 known, and Houbraken says that he was in- 
 vited by Charles II. to visit his court, where 
 he painted the portraits of the king, queen, 
 and many of the nobility. After remain- 
 ing some time in England, he went to the 
 Hague, and there painted a noble portrait 
 of the Duke of Zell, for which he received 
 1000 Hungarian ducats, amounting to near 
 500. He next painted some pictures for 
 the Duke of Tuscany, who placed the por- 
 trait of the artist in the gallery of Florence, 
 and sent him a handsome present in return 
 for it. The best performance of De Baan 
 is the portrait of Prince Maurice of Nassau, 
 on the execution of which the painter 
 exerted the utmost efforts of his pencil. 
 When Louis XIV. was at Utrecht, he sent 
 for De Baan, who declined the invitation 
 for political reasons ; which did not lessen 
 him in the opinion of that monarch, who 
 frequently consulted him on the purchase 
 of pictures. These marks of distinction 
 created him many enemies, and an artist 
 of Friesland actually attempted to assas- 
 sinate him in his room, but was prevented 
 from accomplishing his base design by the 
 fortunate entrance of a friend of De Baan's, 
 at the very moment that the arm of the 
 wretch was raised to plunge the poniard 
 into his side : the assassin made his escape, 
 and was never afterwards found. De Baan 
 was of an obliging disposition, and fond 
 of the pleasures of the table. He died at 
 Amsterdam in 1702. The portraits of De 
 Baan were much admired for the elegance 
 of their attitudes, and for their clear, natu- 
 ral, and lively tone of colouring. 
 
 Baan (Jacob de,) son of the preceding, 
 was born at theHague in 1673. He learned 
 the art of painting from his father; and 
 having such an able director and example, 
 he early became an artist of distinction. 
 In 1693 he came to England in the suite 
 
BAG 
 
 19 
 
 BAG 
 
 of William III. and while here painted 
 several portraits for the nobility, and 
 among the rest one of the young Duke of 
 Gloucester. He was solicited to remain 
 in London, but no inducement could pre- 
 vail with him to lay aside his intention of 
 visiting Rome, where, and at Florence, he 
 gained a great deal of money, which he 
 had not the prudence to keep. While in 
 the latter city, the grand duke treated him 
 with great kindness, and showed him the 
 portrait of his father, upon which he set 
 a great value. During his residence at 
 Rome, he for some time followed his studies 
 with diligence, but after^^ards fell into 
 habits of dissipation. His pictures are 
 finely handled, and he gave promise of 
 surpassing his father, in portraits as well 
 as in other branches of the art, when his 
 irregular course of living laid the founda- 
 tionof adisorder, of which he died in 1700. 
 
 Babeur or Baburen (Theodore Dirk). 
 The manner of painting which this master 
 generally practised was with figures as 
 large as life, and most of them at half 
 length. He had a free and firm pencil: 
 his drawingis tolerably correct; but though 
 his colouring is strong, it is not very pleas- 
 ing to the eye, in consequence of a yellow- 
 ish brown tint that predominates through 
 the whole. His expression is but indifferent 
 in any characters, except those which are 
 mirthful, and in some of those he has imi- 
 tated ungraceful nature with exactness. 
 Most of hispictures represent philosophers, 
 players at cards, and persons performing 
 on musical instruments. Houbraken says, 
 that he sometimes painted perspective 
 pieces in the manner of Neefs ; but if we 
 judge of Babeur by the pictures to which 
 his name is affixed, his touch and handling 
 appear to be the very reverse of the pen- 
 cilling and finishing of such delicate works 
 as rendered Neefs deservedly famous. 
 
 Baccarini (Jacopo), an Italian artist, 
 was born at Reggio about 1630 : his master 
 was Orazio Talami, to whose style he con- 
 stantly adhered through life. Among his 
 best works are two pictures at his native 
 place, one representing the Flight into 
 Egypt, and the other the Death of St. 
 Alessio. Baccarini died in 1682. 
 
 Bacchic, see Porta. 
 
 Bacicci, see Gauli. 
 
 Bacciochi (Ferrante), a monk of 
 Ferrara, of whom we have no other ac- 
 count than that of his having painted a 
 picture of the Death of Stephen, which is 
 in the church dedicated to that saint at 
 Ferrara; and another of a Holy Family, 
 
 in the church of St. Mary, in the same 
 city. 
 
 Bachiocci (Carlo), a native of Milan, 
 whose works abound in the churches and 
 monasteries of that city ; but no particulars 
 have been preserved of the artist, and even 
 the age when he lived is not ascertained. 
 
 Backer, or Bakker (Jacques). This 
 historical painter was born at Antwerp in 
 1530, and learned the principles of paint- 
 ing from his father, an artist who well 
 understood the theory of his profession, 
 though his own works were not much es- 
 teemed. On losing his parent. Backer 
 lived with Jacopo Palermo, a dealer in 
 pictures; who kept him incessantly em- 
 ployed, and sent his paintings to Paris to 
 be disposed of, where they were exceed- 
 ingly admired, and had a quick sale, at a 
 great price, while the artist continued in 
 a state of poverty and obscurity. He had 
 a clean, light manner of pencilling, and 
 a tint of colour that was very agreeable. 
 He died in 1560. 
 
 Backer, or Bakker (Jacob de), was 
 born at Harlingen in 1609, and died in 
 1651; but Descamps places his death in 
 1641. He spent the greatest part of his 
 life at Amsterdam, and became an extra- 
 ordinary painter, particularly of portraits, 
 which he executed with strength, spirit, and 
 fidelity. He was remarkable for an uncom- 
 mon readiness of hand, and freedom of 
 pencil; and his incredible expedition in 
 his manner of painting appeared in the 
 half length portrait of a lady of Haerlem, 
 which was begun and finished in one day, 
 though adorned with rich drapery, and 
 ornamental jewels. He also painted his- 
 torical subjects with success; and in that 
 style there is a fine picture of Cimon and 
 Iphigenia, which is accounted an excellent 
 performance. In designing academy figures 
 his expression was so just, and his outline 
 so correct, that he obtained the prize from 
 all his competitors; and his works still 
 fetch high prices. In the collection of the 
 Elector Palatine is an excellent head of 
 Brouwer, painted by this master ; and in 
 the cathedral church at Antwerp is pre- 
 served a picture of the Last Judgment, 
 which is both well designed and coloured. 
 
 Backer (Adrian de), a nephew of the 
 last mentioned artist, was born at Amster- 
 dam in 1643, and died in 1686. In his 
 youth he went to Italy, where he continued 
 several years, by which means he greatly 
 improved his taste. He then returned to 
 Amsterdam, where, among other fine 
 pictures, he painted one of the Judgment 
 
BAG 
 
 20 
 
 BAG 
 
 of Solomon, which is in the town-hall of 
 that city. 
 
 Backer (Nicholas db). He was born 
 at Antwerp in 1648, and after learning the 
 art of painting portraits in his own coun- 
 try, went to England, where he was much 
 employed by Sir Godfrey Kneller. He 
 died in London in 1689. 
 
 Backebeel, or Bacqubbelli (Wil- 
 tTAM), an historical painter, was born at 
 Antwerp. He is said to have studied 
 under Rubens, at the same time with Van- 
 dyck, to whom he was little if at all infe- 
 rior. This may be seen in an altar-piece by 
 Baekereel, which is in one of the churches 
 at Antwerp; where, though the two ar- 
 tists painted in competition, and both 
 were praised for their merit, the preference 
 was never determined in favour of either. 
 Baekereel had a good taste for poetry ; but, 
 exercising that talent too freely, in writing 
 satires against the Jesuits, that powerful 
 fraternity pursued him with so much re- 
 venge as to compel him to fly from Ant- 
 werp. Descamps says that he had a 
 brother, called Giles, who was a good 
 painter of landscapes, besides historical 
 pictures. Sandrart mentions seven or 
 eight artists of this name in his time, all 
 of whom were very eminent. 
 
 Backhuysen (Ludoeph). This emi- 
 nent master was born at Embden in 1631. 
 He received his earliest instruction from 
 Albert Van Everdingen ; but acquired his 
 principal knowledge by frequenting the 
 painting rooms of different masters, and 
 . observing their various methods of touch- 
 ing and colouring. One of these was 
 Henry Dubbels, whose understanding in 
 his art was not only extensive, but he 
 was remarkably communicative of in- 
 struction to others, so that from him 
 Backhuysen obtained more benefit than 
 from all the painters of his time. He had 
 not practised long when he became the 
 object of general admiration ; so that even 
 his drawings were sought after, and 
 several of them were bought up at 100 
 florins each. While painting, Backhuysen 
 would not suffer his most intimate friends 
 to have access to him, lest his fancy might 
 be disturbed, or the ideas he had formed 
 be interrupted. His favourite subjects 
 were sea pieces; and he studied nature 
 attentively in all her forms; in gales, 
 calms, storms, clouds, rocks, skies, lights, 
 and sliadows. He expressed every subject 
 with so sweet a pencil, and with such 
 transparence and lustre, as placed him 
 above all the artists of his time in tlmt 
 
 style, except the younger Vandervelde. 
 It was the custom of Backhuysen, when- 
 ever he could procure resolute mariners, 
 to go out to sea in a storm, in order to 
 store his mind with grand images, copied 
 from nature, of such scenes as would have 
 filled any other head and heart with ter- 
 ror ; and the moment he landed he impa- 
 tiently ran to his palette, to secure those 
 impressions, of which the traces might, 
 by delay, be obliterated. By his perfect 
 knowledge of the chiaro-oscuro, he gave 
 uncommon force and beauty to his ob- 
 jects ; he observed strictly the rules of 
 perspective, in the distances of his ves- 
 sels, the receding of the grounds on the 
 shores, and the different buildings which 
 he described in the seaports. His works 
 may easily be distinguished by the free- 
 dom and neatness of his touch; the 
 clearness, and natural agitation or qui- 
 escence of the water ; by a peculiar tint 
 in his clouds and skies ; and also by the 
 exact proportions of his ships, and the 
 gracefulness of their positions. For the 
 burgomasters of Amsterdam he painted a 
 large picture, with a multitude of vessels, 
 and a view of the city at a distance, for 
 which they gave him thirteen hundred 
 guilders, and a considerable present be- 
 sides. This picture was afterwards pre- 
 sented to the King of France, who placed 
 it in the Louvre. No painter was ever 
 more honoured by the visits of royal per- 
 sonages than Backhuysen : the King of 
 Prussia was one of the number ; and the 
 Czar Peter the Great took delight to see 
 him paint, and often endeavoured to draw 
 after vessels which he had designed. He 
 was remarkably assiduous, and yet it seems 
 astonishing to consider the number of 
 pictures which he finished, and the ex- 
 quisite manner in which they are painted. 
 He had a taste for poetry, and at his lei- 
 sure hours taught writing in the families 
 of eminent merchants. At the age of 71, 
 he engraved a series of views of the sea- 
 port on the river Y. He died in 1709. 
 
 Bacon (Sir Nathaniel), half-brother 
 to the celebrated Lord Verulam. He 
 travelled into Italy, where he studied 
 painting, but his manner and colouring 
 approach nearest to the style of the Flem- 
 ish school. At Culford in Suffolk, where 
 he lived, were some of his works, and at 
 Gorhambury, the family seat, was a large 
 picture in oil, representing a cook-maid 
 with dead fowls, admirably painted. In 
 the same house was also a whole length of 
 Sir Nathaniel, by himself, his sword and 
 
BAD 
 
 21 
 
 BAE 
 
 palette hung up ; and a half length of his 
 mother by his side. This is engraved in 
 Dallaway's Walpole. At Redgrave Hall, 
 in Suffolk, were two more of his pictures, 
 the one Ceres with fruit and flowers, the 
 other Hercules and the Hydra. In Tra- 
 descant's Museum was a small landscape, 
 given to him by Sir Nathaniel Bacon. lu 
 the chancel of Culford church are his 
 monument and bust, with his palette and 
 pencils ; but there is another monument 
 of him at Stiffley in Norfolk, which was 
 erected by himself in 1615, when he was 
 in his sixty-ninth year. The time of his 
 death is not recorded. 
 
 Badajlocchi (Sisto), an Italian paint- 
 er, whose family name was Rosa. He was 
 born at Parma in 1584, and studied in the 
 school of Annibal Caracci, whom he ac- 
 companied to Rome as an assistant in his 
 principal works. The chief paintings of 
 Badalocchi are two which he executed for 
 the Verospi Palazzo at Rome, both repre- 
 senting Polyphemus and Galatea. He pos- 
 sessed such a lively imagination, and sin- 
 gular readiness of hand, that he is much 
 better known by his engravings than by 
 his paintings. He died at Rome in 1650. 
 
 Badakacco (Gtiuseppe) called II Sordo, 
 from his being deaf. He was born at 
 Genoa, and studied under Andrea Ansaldi, 
 on leaving whom he went to Florence, 
 where he became enamoured of the works 
 of Andrea del Sarto, and from thence- 
 forward altered his style in imitation of 
 that master. He painted many pictures 
 for the churches, convents, and palaces of 
 Florence, where he died in 1657. 
 
 B.VDARAcco (Giovanni Raffaelle), 
 the son of the preceding artist, was born 
 at Genoa in 1648. He was instructed in 
 the principles of the art by his father, after 
 which he went to Rome, where he became 
 a pupil of Carlo Maratti ; but subsequent- 
 ly he imitated the style of Pietro da Cor- 
 tanza. His pictures possess the charm of 
 sweetness, and a great brilliancy of co- 
 louring. He painted historical subjects, 
 and died in 1726. 
 
 Badens (Fkancis). This painter was 
 born in 1571, at Antwerp, and learned 
 the first rudiments of the art from his 
 father, who was but an ordinary painter. 
 Francis, however, by visiting Rome, and 
 several parts of Italy, formed a good taste 
 of design, and a manner that was very 
 pleasing. On his return to his own country, 
 his merit procured him great employment, 
 and he was usually distinguished by the 
 name of the Italian painter. His touch 
 
 was light and spirited ; his colouring was 
 warm ; and in that respect he had the 
 honour of being the first who introduced 
 a good taste among his countrymen. He 
 died in 1603. Besides history and por- 
 trait, he painted conversation pieces in 
 good style. 
 
 Badens (John), the younger brother 
 of the preceding, was born at Antwerp in 
 1576. He received instructions from his 
 father, after which he went to Italy, where 
 he resided several years. From thence he 
 passed into Germany, and was honour- 
 ably entertained in the courts of several 
 princes ; but on his return towards his 
 native place, he was robbed and wounded 
 by banditti, of which ill treatment he died 
 in 1613. 
 
 Badiale (Alessandro). This artist 
 was born at Bologna in 1626, and studied 
 the principles of painting under Flaminio 
 Torri ; after which he was employed in 
 ornamenting several of the churches and 
 palaces in his native city. Besides his- 
 toric painting, he also practised the art of 
 engraving with success. He was killed 
 in 1671. 
 
 BadiliE (Antonio), a painter of his- 
 tory and portrait, was born at Verona in 
 1480. By great study and application he 
 acquired a more extensive knowledge of 
 the true principles of painting than any 
 of his predecessors. He was, indeed, a 
 most eminent artist; but he derived 
 greater honour from having two such dis- 
 ciples as Paolo Veronese, and Baptista 
 Zelotti, than even from hi:? own compo- 
 sitions. His colouring was admirable ; 
 his carnations beautiful; and his portraits 
 preserved the perfect resemblance of real 
 life ; so that he had no cause to envy the 
 merit of Titian, Giorgione, or the best of 
 his contemporaries. He died in 1560. 
 
 Baerstraet ( ). Though this 
 
 master was very eminent, and his works 
 are in good esteem, yet authors are silent 
 as to the place of his nativity, and the 
 year of his birth. He painted marine 
 subjects, and his pictures are easily dis- 
 tinguished by a general brightness diffus- 
 ed through the whole, particularly in the 
 skies. His drawing is correct, and his 
 perspective true ; he copied every object 
 introduced into his compositions from 
 nature, and was exact in his representa- 
 tions of seaports, ships of war, or vessels 
 of a smaller size, which he disposed judi- 
 ciously, and made the whole produce a 
 pleasing effect. Some of his best pictures 
 are representations of winter scenes, with 
 
BAI 
 
 22 
 
 BAL 
 
 persons skaiting, and other amusements 
 peculiar to that season in Holland. His 
 pencil is light and clean, his touch spirit- 
 ed, his colouring always transparent; 
 and in general, he finished his pictures 
 with abundance of neatness. He died in 
 1687. 
 
 Baglioni (Cesare), an historical paint- 
 er, was born at Bologna, and studied under 
 his father, an artist of little note ; but he 
 afterwards became a scholar of the Caracci, 
 whose general style he adopted, especially 
 in his landscapes. He painted historical 
 subjects, animals, fruit, and still life, in all 
 of which he excelled. His greatest works 
 are a picture of the Ascension, and another 
 of St. Anthony and Martha, both of Bo- 
 logna. He died at Parma about 1596. 
 
 Baglioni (Giovanni). This artist was 
 born at Rome in 1594, where he studied 
 under Francesco Morelli ; and was pa- 
 tronized by Pope Paul V. who employed 
 him in painting several pieces for the 
 churches. These pictures he executed in 
 fresco, and so much to the pope's satisfac- 
 tion, that he conferred on him the honour 
 of knighthood. Baglioni wrote the lives 
 of Roman artists who flourished from 1572 
 to 1642. He died in 1644. 
 
 Bagnacavallo (Bartolomeo). The 
 family name of this artist was Ramenghi, 
 but he obtained that of Bagnacavallo from 
 the place of his birth, a village near Bo- 
 logna. He was a disciple of Francesco 
 Francia, but imitated the manner of Giro- 
 lamo da Condigunola till he went to Rome, 
 where he studied the works of Raffaelle, 
 by whom he was employed to assist in some 
 of his compositions. Hisown performances 
 are at Bologna, where they gained the praise 
 of the Caracci. Bagnacavallo died in 1542. 
 He had a son called Giovanni Battista, who 
 went to France as an assistant to Prima- 
 ticcio. On his return to Bologna, he 
 became a distinguished artist, and was 
 president of the Academy in 1575. 
 
 Bailli (David). This artist was born 
 at Leyden in 1584. From his father, 
 Peter Bailli, a painter of some note, he 
 learned to draw and design, but he was 
 afterwards placed under Adrian Verburg, 
 with whom he continued for a time ; and 
 on quitting him, he studied six years to 
 greater advantage with Cornelius Vander- 
 voort, who was an excellent portrait paint- 
 er. As Vandervoort possessed many capi- 
 tal paintings of great masters, David copied 
 them with care and observation, particu- 
 larly one perspective view of the inside of 
 a church, originally painted by Stenwyck, 
 
 which he finished with such accuracy, 
 that even that artist himself could scarcely 
 determine which was the original, or which 
 the copy, when both were placed before 
 him. He travelled through several parts 
 of Italy, and for a few years resided at 
 Rome, where, as well as in his own coun- 
 try, the correctness of his drawing, and 
 the delicate handling and finishing of his 
 pictures, procured him employment, ad- 
 mirers, and friends. In the latter part of 
 his life he discontinued painting, and only 
 drew portraits with a pen on vellum, which 
 he heightened with black lead, and gave 
 them wonderful force and roundness. He 
 died in 1638. 
 
 Bailly (Jacques), a French painter, 
 was born at Gragay in 1629. He settled 
 at Paris, where he became a member of 
 the Academy of Painting, and distinguish- 
 ed himself by his portraits in miniature. 
 He died in 1682. 
 
 Bajardo (Giovanni Battista), a Ge- 
 noese artist, was born in 1620, and died of 
 the plague in 1657. He painted some 
 fine historical pictures, which are in the 
 churches of his native city. 
 
 Baker (John), a respectable English 
 artist, who painted flowers and fruit in a 
 natural style, and with a considerable 
 brilliancy of colouring, was originally a 
 coach-painter, and a fellow apprentice 
 with Charles Catton. He was one of the 
 first members of the Royal Academy, in 
 whose council chamber is a picture by his 
 hand. He died in 1771. 
 
 BjVlassi (Mario), was born at Florence 
 in 1604. He had for his first instructor 
 Jacopo Ligozzi ; but afterwards became 
 the disciple of Roselli and Passignano, 
 giving the preference to the manner of the 
 latter, whom he accompanied to Rome, not 
 only to be his assistant in the works which 
 he had undertaken at the command of 
 Urban VIII. but to improve himself by 
 the treasures of sculpture and painting 
 preserved in that city. During his resi- 
 dence there, Don Taddeo Barberini having 
 observed with what exact precision Balassi 
 in his touch and expression imitated his 
 master, concluded that such an imitative 
 talent would enable him to copy the work 
 of a superior artist with equal exactness : 
 he therefore tried the experiment, by em- 
 ploying him to copy the Transfiguration, 
 painted by Raffaelle, which Balassi ex- 
 ecuted, greatly to the surprise of the most 
 skilful persons at Rome. On the recom- 
 mendation of Piccolomini he was intro- 
 duced to the Emperor Ferdinand III., who 
 
B A L 23 
 
 received him in an honom-able manner, 
 and had his portrait painted by him, for 
 which Balassi was nobly rewarded. The 
 chief excellence of this painter consisted 
 in the imitation of the ancient masters : 
 and by his success he was deluded to think 
 that he was capable of equalling them in 
 a style of his own ; but he failed in the 
 attempt, and the new manner which his 
 vanity encouraged him to assume, met 
 with as much contempt as his former works 
 had of universal approbation. He died in 
 1667, but according to other accounts in 
 1670. 
 
 Baldi (Lazaro), a native of Pistoia, 
 in Tuscany, was born in 1623. He was 
 the disciple of Pietro da Cortona, by whose 
 instructions he obtained an elegant style 
 of invention and composition, a ready man- 
 agement of the pencil, and a beautiful 
 tone of colouring. He was employed by 
 Pope Alexander VII. to paint the gallery 
 on Monte Cavallo, at Rome, and he show- 
 ed the power of his genius and execution 
 in thedesigns which he finished for a chapel 
 in the church of St. John Lateran, com- 
 bining in them correctness and elegance 
 with great force, harmony, and beauty of 
 colouring. He died in 1703. 
 
 Batdini (Fra. Tiburzio), a painter at 
 Bologna. He was an ecclesiastic, and 
 lived about the year 1610. Several of his 
 pictures are in the churches and monasteries 
 of Brescia. Two of his best pieces are 
 the Marriage of the Virgin, and the Mas- 
 sacre of the Innocents. 
 
 Baldini (Pietro Paolo), a native of 
 Rome, who studied in the school of Pietro 
 da Cortona. One of his finest composi- 
 tions is a crucifixion, over the high altar 
 of St. Eustachio, at Rome. 
 
 Baldinucci (FiLippo), an artist and 
 writer of Florence, was born in 1624, and 
 died in 1 696. He was both a good painter 
 and sculptor, but chiefly distinguished him- 
 self by a biographical history of painting, of 
 which he only lived to publish three vo- 
 lumes. He was also the author of a treatise 
 on engraving, with biographical sketches of 
 artists, 1686, 4to. He was a member of the 
 Academy of Delia Crusca. 
 
 Baloovinetti (Alesio), a native of 
 Florence, was born in 1425, and died in 
 1499. He painted historical subjects and 
 portraits in oil and fresco. 
 
 Baldrighi (Giuseppe), an Italian artist, 
 was born at Pavia in 1722. He was the 
 disciple of Meuzzi, after which he obtained 
 the patronage of the Duke of Parma, in 
 which city he taught the principles of his 
 
 BAL 
 
 art with great success. As an historical 
 painter, he distinguished himself by a 
 grand picture on the subject of Prometheus ; 
 but his principal merit lay in portrait. 
 He died in 1802. 
 
 Balbucci (Giovanni). This painter, 
 who also obtained the name of Cosci, was 
 born at Florence, and was the disciple of 
 Battista Naldini. His patron was the 
 Cardinal de Medici, afterwards Pope Leo 
 XL, who emploj'ed him in executing se- 
 veral works at Rome and Florence. He 
 died at Naples in 1600. 
 
 Baldung (Hans), surnamed Griem, an 
 old German artist, was born about the year 
 1480, at Gemund, in Suabia. Some pic- 
 tures by his hand are in the cathedral of 
 Friburg, in which city he practised both 
 as a painter and an engraver on wood, and 
 died there about 1540. 
 
 B.ii.EN (Hendrick Van). This artist 
 was born at Antwerp in 1560. He was 
 a disciple of Adam Van Oort, but quitted 
 that master to acquire a better taste of de- 
 sign and composition at Rome, where he 
 resided a considerable time, copying the 
 antiques, and studying the works of the 
 most memorable artists. At his return 
 home, the visible improvement of his taste 
 recommended him to the favour and esteem 
 of the best judges. He distinguished himself 
 by a good manner of designing, and his 
 works were admitted into the cabinets of the 
 curious, among those of the principal paint- 
 ers. He particularly excelled in naked 
 figures, and gave to them so much truth, 
 roundness, and correctness of outline, that 
 few of his contemporaries could enter 
 into competition with him. Several fine 
 portraits by his hand are at the Hague ; 
 among which is one adorned with allegori- 
 cal figures of Wisdom and Justice. All 
 the historical subjects painted by Van 
 Balen have great merit. His designs of 
 the Deluge, of Moses striking the Rock, 
 and the Drowning of Pharaoh, are noble 
 compositions. Houbraken observes, that 
 Van Balen, with great judgment, has intro- 
 duced the Israelites in a clear light in 
 the back-ground, but the Egyptians in a 
 strong shadow in the fore-ground, which 
 has a fine effect ; the figures being well 
 designed, their attitudes and draperies 
 well chosen, and the number of them con- 
 siderable. Of this master's band also the 
 Judgment of Paris is accounted a master- 
 piece ; in which the figure of Venus is 
 so elegantly designed, so full of life, and 
 so rounded, that it seems to stand forth 
 from the surface. The landscapes and 
 
BAL 
 
 24 
 
 back-grounds of the pictures of Van Balen 
 were generally painted by Velvet Breughel. 
 He died in 1632. 
 
 Balen (John Van), the son of the 
 preceding, was born at Antwerp in 1611. 
 He derived his first knowledge of the art 
 from his father ; but, as soon as he had 
 made a competent progress, he went to 
 Italy, where he acquired a good taste for 
 design, though he was sometimes in- 
 correct. His particular merit was shown 
 in his naked figures of boys, Cupids, 
 nymphs bathing or hunting, of which 
 subjects he painted a considerable number, 
 and he also gained praise and riches by 
 his landscapes and histories. His pictures 
 are well handled, his trees touched with 
 spirit, and his herbage and verdure are 
 natural and lively. The carnations of his 
 figures are clear and fresh ; his colouring 
 in general is transparent ; and the forms 
 of his heads are much in the manner of 
 Albano. 
 
 Balestba (Antonio). He was born 
 at Verona in 1666, and at the age of 
 twenty-one went to Venice, where he 
 became a scholar of Antonio Bellucci, with 
 whom he continued three years. From 
 thence he visited Bologna and Rome, 
 and at the latter place studied under Carlo 
 Maratti. By the instructions of that mas- 
 ter, he made a very great proficiency, and 
 exerted himself for some hours of each 
 day in designing after the antiques, and 
 Raffaelle, Corregio, Annibal Caracci, and 
 other admired painters ; by which conduct 
 he so effectually confirmed his taste and 
 freedom of hand, that he obtained the prize 
 in the Academy of St. Luke, in 1694. 
 From that time his reputation was es- 
 tablished, and he was engaged to work 
 for most of the churches, as well as for the 
 palaces of the nobility ; besides which his 
 paintings were admired in every part of 
 Europe. His style is sweet and agreeable, 
 not unlike that of Maratti; and the judi- 
 cious observed, with a degree of delight, a 
 certain mixture in the works of Balestra, 
 of the several manners of Raffaelle, Cor- 
 regio, and Caracci. In the church of 
 Santa Maria Mater Domini, at Venice, is 
 one of the most capital performances of 
 Balestra, representing the Nativity. It is 
 designed in a grand style, and the com- 
 position is excellent, with considerable 
 grace ; the heads are peculiarly fine ; the 
 whole has a noble effect, and is remarkable 
 for its harmony. In a chapel belonging 
 to the church of San Geminiano, in the 
 same city, is a Dead Christ in the arms 
 
 of the Virgin, painted by him in a grand 
 taste : the composition consists of a few 
 figures only, but they are finely designed ; 
 and in every part of it there is sufficient 
 merit to justify applause. Balestra died 
 in 1740. 
 
 Balten (Peter) was born at Ant- 
 werp in 1540, and became a landscape 
 painter of considerable eminence among 
 the Flemings; in his style and manner 
 resembling Peter Breughel. His most 
 usual subjects were fairs, kermesses, and 
 conversations, in which his figures were 
 small, but touched with great spirit. He 
 painted equally well in water-colours and 
 in oil, and was allowed particularly to 
 excel in his drawings. A remarkable 
 incident happened to this artist at the 
 court of the emperor. That monarch 
 having engaged Balten to paint a land- 
 scape, with a number of figures, he chose 
 for his subject St. John preaching in the 
 Desert, which afforded him an opportunity 
 of filling his design with a numerous 
 variety of auditors, to each of whom he 
 gave a strong expression of attention to 
 the principal object; the eyes of every 
 individual being directed to the preacher. 
 But the emperor, from some motive or 
 other, ordered an elephant to be painted 
 in the place of the saint ; so that the 
 auditory seemed only to express an aston- 
 ishment at the bulk of the animal ; nor 
 was the picture ever altered. By some 
 it was conjectured that the emperor meant 
 this as a piece of humour; by others, it 
 was imputed to contempt for the artist ; 
 but by the ecclesiastics it was ascribed to 
 ridicule and impiety. Balten was a mem- 
 ber of the Academy of Antwerp, where he 
 died in 1611. 
 
 Bambini (Giacomo), an Italian artist, 
 who was born at Ferrara about 1560. He 
 painted historical subjects, chiefly for the 
 churches and convents, and died at his na- 
 tive place in 1622. He is to be distin- 
 guished from Nicolo Bambini, a native of 
 Venice, who was the first scholar of Mar- 
 atti, at Rome. He died in 1725. 
 
 Bamboccio, see Laar. 
 
 Bamestier (John). This German ar- 
 tist was born in 1500, and studied under 
 Lambert Lombard, after which he went to 
 Amsterdam, where, for some years, he en- 
 joyed a great reputation as a painter of 
 history; but in his latter days he fell into 
 disrepute. He died in 1598. 
 
 Bandiera (Benedetto), an Italian 
 painter of historical subjects, was born at 
 Perugia, and flourished about theyearl600. 
 
BAR 
 
 25 
 
 BAR 
 
 He painted in fresco, and chiefly for 
 churches and convents. 
 
 Baitdinelli (Baccio). He was born at 
 Florence in 1497, and was a disciple of 
 Giovanni Francesco Rustico, a sculptor. 
 He regularly proceeded through all the 
 studies requisite to form a painter; but his 
 pictures were never approved of, as his 
 colouring was hard, dry, and disagreeable, 
 his composition indifferent, and his bad 
 choice ofattitudes gave disgust, rather than 
 satisfaction, to the spectator. Yet his works 
 were more esteemed after his death tlian 
 they were during his life. Envy induced 
 him to imitate Michael Angelo as a painter, 
 but heonly copied his extravagance instead 
 of his excellency. Bandinelli, however, 
 was so mortified on hearing that his works 
 were treated contemptuously by Michael 
 Angelo, that he laid aside the pencil, and 
 adhered to sculpture, in which art he 
 deemed himself equal to Buonarroti; and 
 though the world did not approve of his 
 claim, no one has denied him the second 
 place, after that pre-eminent artist. Ban- 
 dinelli was an excellent designer, but too 
 fond of the terrible graces in his compo- 
 sitions. He died in 1559. 
 Baptist (John, Monnotee), see Mon- 
 
 NOYEK. 
 
 Baptist (John Gaspars), was born at 
 Antwerp, and was the disciple of Thomas 
 Willeborts Boschaert. During the civil 
 war he came to England, and entered into 
 the service of General Lambert; but after 
 the restoration he was engaged by Sir 
 Peter Lely to paint the postures and dra- 
 peries of his portraits, whence he obtained 
 the name of Lely's Baptist. Kneller also, 
 and Riley employed him for the same pur- 
 pose. He made good designs for tapestry, 
 and his drawing was generally correct. In 
 the hall of St. Bartholomew's Hospital is 
 a portrait of King Charles II. painted by 
 this artist, who died in 1691. 
 
 BARAnBiNo (Simone), a painter of 
 Genoa, who was born about 1581. He 
 was the pupil of Bernardo Castello, till that 
 master was so much alarmed at his profi- 
 ciency that he dismissed him from his 
 school. This piqued Simone so much, 
 that in his turn he painted a picture in 
 opposition to Castello, and great was his 
 satisfaction at finding the public divided 
 upon the merits of the two productions. 
 Barabbino after this settled atMilan,where 
 he gained abundant employment, and died 
 about 1640. 
 
 Barbalunga (Antonio Ricci), a Si- 
 cilian painter, who was a disciple of Do- 
 
 menichino. He resided at Rome, where 
 he was much esteemed and employed, 
 
 Barbarelli, see Giorgione. 
 
 Barbatelli (Beenardtno), called Poc- 
 cetti, was born at Florence in 1542. He 
 became the disciple of Ridolfo Ghirlan- 
 daio ; from whose school he went to Rome, 
 and studied there with uncommon assi- 
 duity, insomuch that he was frequently so 
 abstracted and engrossed by the objects 
 of his contemplation as even to forget 
 sleep and food. He was excellent in 
 painting every species of animals, fruit, 
 and flowers. His touch was free, light, 
 and delicate, and the colouring of his sub- 
 jects inexpressibly natural. Besides his 
 merit in his usual style of painting, the 
 historical pieces which he designed from 
 sacred or profane authors were much ad- 
 mired. He died in 1612. 
 
 Barbiani (Giovanni Battista), an 
 historical painter, was born at Ravenna, 
 and studied under Bartolomeo Cesi. He 
 painted mostly in fresco, but sometimes 
 in oil, and equally well in both. There 
 is a grandeur in his style, and an imposing 
 effect in his colouring. His best works 
 are at Bologna and Ravenna. He flour- 
 ished in 1640. 
 
 Barbiani (Andrea). This artist was 
 of the same family with the preceding, 
 and was born at Ravenna about 1684. 
 He was the disciple of Cesare Pronti, 
 whose manner he imitated. He painted 
 several fine pictures for the churches of 
 his native city, where he died in 1754. 
 
 Barbieri (Domenico del, or Fioren- 
 TiNo), was born at Florence about 1506. 
 He studied under Rosso, with whom he 
 went to France, and where, on the death 
 of Primaticcio, he was employed to finish 
 some frescoes which that master had 
 begun. Barbieri died about 1570. 
 
 Barbieri (Francesco), a painter of 
 history and landscape, who was the pupil 
 of Pietro Ricci, and by his instructions 
 became a good painter. He died at Ve- 
 rona in 1698. 
 
 Barbieri (Giovakntt), see Gtjercino. 
 
 Barbieri (Luca). This artist, who 
 was born at Bologna, excelled in perspec- 
 tive, architectural subjects, and land- 
 scapes. Most of his works are in the 
 palaces of Bologna and its vicinity. He 
 died about 1660. 
 
 Barbieri (Da Cento, Paolo Anto- 
 nio), was the brother of Giovanni Fran- 
 cesco Barbieri, better known as Guercino, 
 and was born at Cento, near Bologna, in 
 1596. His subjects were fruit, flowers. 
 
BAR 
 
 26 
 
 BAR 
 
 insects, and animals, but particularly fish, 
 which he painted after nature, with a 
 lively tint of colour, great tenderness of 
 pencil, and a strong character of truth and 
 life. He died in 1640. 
 
 Barca (Vicente Calderon de la), a 
 Spanish painter, was born at Guadalaxara 
 in 1762, and died at Madrid in 1794. He 
 studied under Francisco Goya, and, by 
 his instructions, became eminent both in 
 historical painting and portrait. 
 
 Barco (Alonzodel), another Spanish 
 painter, was born at Madrid in 1645, and 
 died there in 1685. He painted land- 
 scapes in an excellent style ; but though 
 numerous, few of them are to be seen out 
 of Spain. 
 
 Bardin (John), a French historical 
 painter, was born in 1732, at Montbar. 
 His parents sent him to Paris to be 
 brought up to some trade, but his genius 
 guided him to the profession in which he 
 lived to make a considerable figure. In 
 1764, while a pupil of Lagrenee, he 
 gained the prize of the Academy, on the 
 subject of Tullia driving her Chariot over 
 the Body of her Father. He also made a 
 beautiful design of the Rape of the Sa- 
 bines, and others of St. Charles Borromeo, 
 and the Massacre of the Innocents. He 
 spent four years at Rome, and on his re- 
 turn painted some pieces which established 
 his reputation. Among these are the Im- 
 maculate Conception ; the Apotheosis of 
 St. Theresa ; and St. Catherine disputing 
 with the Doctors ; which last procured 
 his admission into the Academy of Paint- 
 ing. In 1795 he was elected a member of 
 the National Institute, and he was also 
 professor of design in the Orleans Lyceum. 
 He died October 6, 1809. 
 
 Bardwell, (Thomas), an English ar- 
 tist, who painted a picture of the noted 
 empiric Dr. Ward relieving his sick and 
 lame patients, of which there is a print 
 by Baron, dated 1748. Bardwell also 
 painted aportraitof Admiral Vernon, and 
 some others, in the town-hall of Norwich. 
 He is, however, chiefly known by a 
 treatise, entitled "The Practice of Paint- 
 ing and Perspective made Easy," 4to. 
 printed first in 1756, and again in 1773. 
 Nothing more is known of the author. 
 
 Bakentsen (Dieterick). This artist 
 was born at Amsterdam in 1534, and 
 having received instruction from his fa- 
 ther, who was an inferior painter, he tra- 
 velled to Venice, where he was admitted 
 into the school of Titian, and became his 
 favourite disciple. He continued with 
 
 Titian several years, and painted a portrait 
 of him, by which he gained great reputa- 
 tion : with extraordinary success he also 
 imitated the touch, manner, and style of 
 colouring peculiar to that accomplished 
 genius. When he returned to Holland, 
 business crowded in upon him, and every 
 work he finished added to his honour ; 
 but the composition that most effectually 
 established his fame was a picture repre- 
 senting the Fall of Lucifer, which con- 
 tained a number of figures, naked, well 
 contrasted, and excellently coloured. He 
 died in 1582. 
 
 Bargone (Giacomo), an historical 
 painter, who was born at Genoa. He was 
 much admired for his taste in design, and 
 the elegance of his figures ; but his rising 
 eminence exciting the envy of another ar- 
 tist, the wretch took an opportunity of 
 poisoning him, while they sat together 
 over a flask of wine. 
 
 Barker (Samuel), an English painter, 
 who studied under John Vanderbank, but 
 afterwards adopted the manner of Baptist 
 Monnoyer, and became excellent in the re- 
 presentation of flowers. He died in 1727. 
 
 Barker (Robert), an' artist of consi- 
 derable ingenuity, who was the inventor 
 and patentee of the well known species of 
 exhibition called a Panorama, by which 
 bird's-eye views of large cities, and other 
 interesting scenery, taken from some ele- 
 vated situation, and painted in distemper 
 round the wall of a circular building, pro- 
 duce a striking effect, and a greater re- 
 semblance to reality than was ever before 
 discovered : a strong light being thrown 
 on the painting, whilst the place from 
 whence it proceeds is concealed. The 
 first picture of this kind was a View of 
 Edinburgh, exhibited in that city by Mr. 
 Barker in 1788, and in London the follow- 
 ing year, where, at first, it did not attract 
 much attention. The next performance 
 was a view of London, from the top of the 
 Albion Mills, which Mr. Barker exhibited 
 at a house in Castle-street, Leicester- 
 square : this picture was much praised by 
 Sir Joshua Reynolds, and other eminent 
 artists. Soon after, Mr. Barker was en- 
 abled to build a commodious house in Lei- 
 cester-square, calculated to give his exlii- 
 bitions every advantage. Success now 
 crowned his efforts, and many views have 
 been since exhibited, of Dublin, Constan- 
 tinople, and other cities, with representa- 
 tions of battles, &c. Mr. Barker died 1806 
 The same description of exhibition is con- 
 tinued by his son. 
 
BAR 
 
 27 
 
 BAR 
 
 Bablow (Francis). He was born in 
 Lincolnshire about the year 1626, and was 
 bred up under Sheppard, a portrait pain- 
 ter ; but his genius led him to design, after 
 nature, birds, fish, and every species of 
 animals, which he drew with great exact- 
 ness, and if his pencilling and colouring 
 had proved equal to the correctness of his 
 design, he would have been superior to 
 most of his contemporaries in those sub- 
 jects : he was also a good landscape paint- 
 er, and an excellent engraver. He died 
 in 1702. 
 
 Bebnuevo (Sebastian de Herkera), 
 a Spanish artist, was born in 1611 at Ma- 
 drid, where his father, Antonio Herrera, 
 was a sculptor, and intended to bring him 
 up to the same profession ; but Sebastian 
 having a stronger inclination to painting, 
 was placed with Alonso Cano, by whose 
 instructions he profited greatly. Many 
 of his pictures are in the churches and 
 monasteries of Madrid, where he died in 
 1671. 
 
 Baroccio (Federico). This painter 
 was born at Urbino in 1528, and was the 
 disciple of Battista Venezano, but he de- 
 rived his knowledge of perspective from 
 his uncle, Bartoloraeo Genga. In his 
 twentieth year he visited Rome, where he 
 pursued his studies incessantly, and proved 
 one of the most graceful painters of his 
 time. At his return to Urbino, he painted 
 several pictures, which procured him great 
 applause ; but that of St. Margaret raised 
 his reputation to the highest pitch, and 
 induced Pope Pius IV. to invite him to 
 Rome, where he employed him in the de- 
 corations of his palace of Belvedere, in 
 conjunction with Zucchero. He excelled 
 equally in history and portrait, but his ge- 
 nius inclined chiefly to the painting of re- 
 ligious subjects ; and his works sufficiently 
 evince that the utmost of his ambition 
 was to imitate Corregio in colouring, and 
 Raffaelle in design. But in the natural, 
 grand, and graceful, for which Corregio 
 is distinguished, Baroccio was far inferior, 
 though perhaps rather more correct in the 
 outlines. It is easy to observe, however, 
 that he endeavoured to resemble that il- 
 lustrious artist in the sweetness of his 
 tints, the harmony of his colouring, the 
 grace of his heads, and the disposition of 
 his draperies, though he was sometimes 
 apt to express the muscular parts of the 
 human body too strong. He rarely painted 
 any historical figure without either model 
 ling it in wax, or placing some of his dis- 
 ciples in such attitudes as he wished to 
 
 represent. In most of the works of Ba- 
 roccio it is not difficult to perceive who 
 were his favourite masters, so that he 
 seems to have had less of originality in 
 him than most of the principal painters. 
 He was a complete master of the chiaro- 
 oscuro, and by the skilful management of 
 his colours produced a charming effect. 
 In a church at Ravenna is a noble picture 
 of his, representing the Death of St. Vita- 
 lis, the design of which is correct, the 
 figures highly graceful, and there is an 
 elegance in the whole which conceals the 
 poverty of the subject. Baroccio died in 
 1612. 
 
 Barret (George), a landscape painter 
 was born at Dublin about 1732. It does 
 not appear that he ever received any re- 
 gular instructions in painting, though ac- 
 cording to some accounts he attended a 
 drawing-school in his native city. He 
 began his attempts in the humble line of 
 colouring prints for one Silcock, in Dub- 
 lin; and from this feeble commencement 
 he rose to considerable powers as a painter 
 of landscape, by studying from the scenes 
 of nature in the beautiful grounds of the 
 Earl of Powerscourt, which nobleman was 
 his first patron. About this time a pre- 
 mium was offered by the Dublin Society 
 for the best landscape in oil, which was 
 gained by Mr. Barret. In 1762 he visited 
 London, where, two years afterwards, he 
 gained a prize given by the Society for the 
 Encouragement of Arts. The establish- 
 ment of the Royal Academy was in a great 
 measure owing to the efforts of Mr. Barret, 
 who formed the plan, and became one of 
 its first members. He had two manners 
 of painting, with regard to colour and 
 touch : the first was rather heavy in both, 
 but the latter was much lighter. Few 
 painters have equalled him in the know- 
 ledge or characteristic execution of the 
 details of nature. His attention was 
 chiefly directed to the true colour of Eng- 
 lish scenery, its richness, dewy freshness, 
 and that peculiar verdure, especially in 
 the spring, which is so entirely different 
 from the style of those who imitate Italian 
 pictures. This sometimes tempted him to 
 use colours rich and beautiful when first 
 applied, but which no art can render per- 
 manent. The best pictures in his first 
 manner are in the possession of the Dukes 
 of Portland and Buccleugh ; and those of 
 his latter, at Norbury Park, in Surrey, 
 the seat of Mr. Lock, consisting of a large 
 room painted with a continued scene en- 
 tirely round. Barret also painted in water- 
 
BAR 
 
 28 
 
 BAR 
 
 colours, in which perhaps, he excelled. 
 As a man, he was very friendly, gentle, 
 and playful in his manners, with a great 
 flow of spirits, and a strong turn to wit 
 and humour. For the last ten years he 
 resided at Paddingtou, where he painted in 
 conjunction with the late Mr. Sawrey Gil- 
 pin. In the latter part of his life he had 
 the place of master painter to Chelsea 
 Hospital, an appointment conferred on 
 him by his old and esteemed friend Mr. 
 Burke. Barret left some etchings of his 
 works, the plates of which were purchased 
 by Paul Sandby. He died in March 1784. 
 
 Barkon (Hugh). He was the son of 
 an apothecary in London, and studied un- 
 der Sir Joshua Reynolds, on quitting 
 whom he practised as a portrait painter; 
 but in 1773 he went to Italy, in the suite 
 of the late Duke of Cumberland. In 
 1778 he returned to England, and settled 
 in Leicester-square; but met with little 
 success. His powers as a painter were 
 feeble; but he excelled in music. He 
 died in 1791, aged forty- five. His younger 
 brother, William Ai/gtistus Barron, was a 
 pupil of Mr. Tomkins, and practised land- 
 scape painting till he obtained a situation 
 in the Exchequer. Some engravings from 
 views taken by him have been published. 
 
 Babrosa (Miguel), a Spanish painter, 
 was born at Consuegra in 1538, and died 
 at Madrid in 1590. He studied under 
 Becerra the sculptor, and became distin- 
 guished not only as a painter, but as an 
 architect. He executed in the cloister of 
 the Escurial pictures of the Resurrection, 
 St. Paul preaching at Athens, and others, 
 with great ability. 
 
 Barry (James), a British artist, of 
 great originality, was born at Cork, Octo- 
 ber 11, 1741. His father was a builder, 
 and, in the latter part of his life, a coast- 
 ing trader, between England and Ireland. 
 James was at first intended for the same 
 profession ; but, discovering an inclination 
 for painting, he was suffered to follow the 
 bent of his genius. Though the rude be- 
 ginnings of his art cannot be traced, there 
 is reason to believe that, at the age of 
 seventeen, he had attempted oil painting ; 
 and before he was twenty-two, he finished 
 a picture, the subject of which was the 
 landing of St. Patrick. This piece being 
 exhibited at Dublin, procured the young 
 painter the acquaintance of Edmund 
 Burke, on whose invitation he repaired to 
 London. This was in 1764, and in the 
 year following, his great friend furnished 
 him with the means of visiting Italy, 
 
 where he surveyed the noble monu- 
 ments of art with the eye of a critic, 
 though, at the same time, it is to be re- 
 gretted that his residence was rendered 
 uncomfortable, by that capriciousness of 
 temper which imbittered almost the whole 
 of his life. After an absence of five years, 
 he returned to England in 1771, and claim- 
 ed the admiration of the public by his 
 Venus Anadyomene, and his Jupiter and 
 Juno, two pictures formed on the model 
 of the antique, which some have consider- 
 ed as his best performances, while others, 
 and those no mean judges, have treated 
 them with contempt. In 1776, he painted 
 a picture of the Death of Wolfe, which 
 failed, principally owing to his introduc- 
 tion of naked figures; this was his last 
 exhibition at the Royal Academy. He 
 had now conceived an aversion to portrait 
 painting, and thereby sacrificed one of the 
 most lucrative branches of the profession. 
 Such, indeed, was his contempt for it, that 
 when asked as a favour to paint a likeness, 
 he would bid the applicant go to the fellow 
 in Leicester-square, meaning the accom- 
 plished Sir Joshua Reynolds. When the 
 design was formed of decorating St. Paul's 
 with paintings and sculpture, Barry was 
 to have been employed ; and he chose for 
 his subject the Rejection of Christ by the 
 Jews in the presence of Pilate. The scheme 
 however failed, and the picture was never 
 completed. In 1775, Mr. Barry appear- 
 ed before the public as the author of" An 
 Inquiry into the Real and Imaginary Ob- 
 structions to the Acquisition of the Arts 
 in England." His object in this tract was 
 to vindicate the English artists from the 
 impertinent reflections of the Abbe Win- 
 kelmann, who had spoken of them with 
 contempt, and repeated the assertion of 
 Du Bos, and others, that our climate is 
 too cold for the fine arts. It is sufficient 
 to say, that Barry's performance is a com- 
 plete refutation of the foreign critics. 
 When the scheme of ornamenting St Paul's 
 was given up, it was proposed to employ 
 the same artists in decorating the great 
 room in the Adelphi, belonging to the 
 Society for the Encouragement of Arts ; 
 but this was refused by all of them except 
 Barry, who undertook to execute the whole 
 work gratuitously : his offer was accepted, 
 and he has been heard to say that, when 
 he began, he had only sixteen shillings in 
 his pocket; and that, in the prosecution of 
 his labours, he was often, after painting 
 all day, obliged to sketch or engrave at 
 night some design for the priutsellers, to 
 
BAR 
 
 29 
 
 obtain the means of his frugal subsistence. 
 Of his terms with the Society we only 
 know that the choice of subjects was left 
 to himself : but he soon found that he had 
 acted too disinterestedly, and that it was 
 impossible for him to complete his under- 
 taking without some assistance : he there- 
 fore addressed a letter to Sir George Sa- 
 ville, soliciting such a subscription as 
 would amount to 100 a-year. He com- 
 puted that he should finish the whole in 
 two years, and thereby be enabled to pay 
 back the sum of 200 by an exhibition of 
 the paintings. This proposal did not take 
 effect, and the work employed him seven 
 years ; at the end of which time the Society 
 granted him two exhibitions, besides voting 
 him, at different periods, fifty guineas, and 
 their gold medal, to which was afterwards 
 added another donation of 200 guineas. 
 Of this great undertaking, consisting of 
 a series of six pictures, representing the 
 Progress of Society and Civilization, it has 
 been said that it surpasses any work which 
 has been executed within these two cen- 
 turies. Upon this it is just to observe 
 that, as the performance of one man, it is 
 unquestionably entitled to high praise; 
 but that, as a work of art, it is open to 
 criticism, and no competent judge can 
 deny that it has all Barry's defects in 
 drawing and colouring. These pictures 
 were afterwards engraved by himself, but 
 what they produced is not known. In 1792, 
 he deposited 700 in the funds, and to 
 this stock he never afterwards made any 
 addition, so that his income seldom ex- 
 ceeded 60 a-year. In 1782, he was 
 elected professor of painting to the Royal 
 Academy ; but this appointment, honour- 
 able as it was, only brought upon him 
 misfortune and disgrace. Instead of con- 
 fining his attention to the principles of 
 the art, he wandered into extrinsic sub- 
 jects, made extravagant propositions, and 
 threw out both general and particular 
 censures, with so little regard to urba- 
 nity, that the members of the Academy 
 became indignant at his presumption. 
 He was remonstrated with, but this only 
 served to make him more irritable and perti- 
 nacious ; in consequence of which, the 
 council of the Academy appointed a com- 
 mittee to consider his conduct. After 
 hearing the charges and defence, a vote 
 passed for his removal from the chair, and 
 this was followed soon after by another of 
 expulsion. Barry suffered much, both in 
 temper and circumstances, by this degra- 
 dation ; he become hypochondriac and a 
 
 recluse, so that his appearance was not 
 much better than that of an ordinary labour- 
 er. In this state theEarl of Buchan, out of 
 compassion, set on foot a subscription, the 
 produce of which, amounting to about 
 1000/'.,hisfriendslaidoutinthepurchaseof 
 an annuity ; but unfortunately his death 
 shortly after prevented him from reaping 
 any benefit from this act of benevolence. On 
 the evening of February 6, 1806, he was 
 seized, ashe entered the house where heusu- 
 ally dined, with the cold fit of a pleuritic fe- 
 ver, of so intense a degree, that all his facul- 
 ties were suspended, and he was unable to 
 articulate ; some cordial was administered 
 to him, and on coming a little to himself, he 
 was taken in a coach to the door of his 
 house, the keyhole of which was plugged 
 up with stones by some wanton boys : the 
 night being dark, he suffered much 
 while the attempts were made to gain an 
 entrance; and this being found imprac- 
 ticable without breaking open the door, it 
 was resolved to take Mr. Barry to the 
 house of his friend, Mr. Bonomi, in Tich- 
 field-street. By the kindness of that 
 family, a bed was procured in a neigh- 
 bouring house; but the blow was struck, 
 and on the 22nd of the same month he ex- 
 pired. His remains, after lying in state 
 in the great room of the Society of Arts, 
 were removed to St. Paul's Cathedral, 
 and deposited near those of Sir Joshua 
 Reynolds. The character of Barry is 
 easily appreciated from the history of his 
 life. With undoubted talents, original 
 genius, and strong enthusiasm for his art, 
 he was never able to accomplish what he 
 projected, nor to practise all that he pro- 
 fessed. Few men appear to have had 
 more correct notions of the true principles 
 of painting, and few have departed more 
 widely from them. His ambition was to 
 excel no less as a theorist than as a prac- 
 tical artist ; and when he has failed in 
 either character, it may be attributed to 
 the peculiar turn of his mind, which, in 
 his early, as well as in his advanced years, 
 gave strong indications of derangement. 
 His literary works, equally controver- 
 sial and instructive, personal and poetical, 
 have been published, with a copious 
 memoir of him, by Dr. Fryer, in 2 vols. 
 4to. 
 
 Bartels (Gbrrabd). This Dutch artist 
 was born in 1570. He painted historical 
 subjects and portraits with some degree of 
 credit. His death was occasioned by the 
 fall of a heavy stone upon his head, but 
 the year is not mentioned. 
 
BAS 
 
 30 
 
 BAT 
 
 Baktooni (Giuseppe Maria), an 
 Italian painter, was born at Imola in 
 1657. He was the scholar of Lorenzo 
 Pasinelli, at Bologna, under whose in- 
 structions he profited considerably. 
 Several of his performances are in the 
 churches and other public buildings of his 
 native country, and one of the most val- 
 ued in an altar-piece at Imola, represent- 
 ing a miracle wrought by some modern 
 saint. He died about 1730. 
 
 Bartoli, see Perugino. 
 
 Bartolo (T add eg). He was a native 
 of Florence, and was considered as a 
 good painter of history in the time when 
 he flourished. He died in 1436. 
 
 Bartolo (DoMiNico). FromTaddeoto 
 his nephew and disciple Dominico is ad- 
 mitted to be a long step : in the Pilgrim's 
 Ward of Sienna Hospital he painted the 
 history of its foundation, and the dispen- 
 sing of Christian charity to the indigent, 
 the sick, and the dying. The old dryness 
 of style is gone, greater freedom is come, 
 and with it a more scientific manner of 
 composition. 
 
 Bartolomeo, see Breemberg. 
 
 Bartolomeo, see Porta. 
 
 Basaiti (jVLarco), an Italian painter, 
 was born in the Friuli, and studied his art 
 at Venice, where he was the successful rival 
 of Giovanni Bellini. In the church of 
 San Giobbo, at Venice, is an altar-piece 
 by this artist, the subject of which is the 
 Agony of Christ ; and in a convent of the 
 same city is another picture by him, re- 
 presenting the call of St. Peter and An- 
 drew. These pertbrmances were executed 
 between the years 1510 and 1530. 
 
 Basili (Pietro Angiolo), an historical 
 painter, was born at Gubbio about 1550, 
 and died in 1 604. He was suceesr-ively 
 the disciple of Damiani and Roncalli, upon 
 whose style he made considerable improve- 
 ments. He painted, both in fresco and in 
 oil, for the churches of Venice. One of 
 his finest pieces is a picture of the Preach- 
 ing of Christ. 
 
 Bassano, see Ponte. 
 
 Bassano (Leandro), denominated Ca- 
 valiere Leandro, from his having been 
 made a knight of St. Mark, by the Doge 
 of Venice, was born in 1558, and died in 
 1623. He painted history and portrait, and 
 was an artist of considerable reputation. 
 
 Basseporte (Madeeiene Frances), a 
 French lady, celebrated for her talent in 
 painting plants and animals, but par- 
 ticularly birds, in water-colours. She was 
 born in 1701, and received instructions 
 
 from the famous Robert. In 1732, she 
 succeeded Obriette, the painter of natural 
 history in the royal gardens, with a salary 
 of 100 pistoles a-year. She died in 1780. 
 Madame Basseporte also exercised the 
 burin, and produced some good engrav- 
 ings, which are in the celebrated Crozat 
 collection. 
 
 Bassetii (Marco Antonio), an Italian 
 artist, was born at Verona in 1588. He 
 was the disciple of Brusacorci; but on 
 going to Venice, he became enamoured 
 of the style of Tintoretto. After this he 
 removed to Rome, where he diligently 
 studied the works of the best masters. On 
 his return to his native city, he obtained 
 considerable employment in the convents 
 and churches, and was rising to great emi- 
 nence, when he died of the plague in 1630. 
 
 Bassi (Antonio), an historical painter 
 of Ferrara, of whose life no particulars are 
 recorded. In some of the churches of his 
 native city are good specimens of his ta- 
 lents in fresco, particularly one of a Flight 
 into Egypt, another of Christ at the Well 
 in Samaria, and one of the Holy Virgin 
 and her Family. 
 
 Bassi (Francesco), called the Elder, 
 was born at Cremona in 1642. He obtain- 
 ed a great and deserved reputation for his 
 landscapes. He enriched his pictures with 
 figures, buildings, and animals, well drawn 
 and spiritedly executed. He died about 
 1710. He is to be distinguished from 
 Francesco Bassi, named the Younger, who 
 was born at Bologna in 1664, and died in 
 1693. He studied under Pasinelli, and ob- 
 tained celebrity even in his early age, by 
 some good historical pictures, particularly 
 one of tlie Apotheosis of St. Anthony. 
 
 Bastard (Giuseppe del), a Roman 
 artist, who lived about the year 1690. He 
 was much esteemed by his contemporaries, 
 and obtained considerable employment as 
 an historical painter. His best pictures 
 are in the church of Santa Maria Mag- 
 giore at Rome. 
 
 Baston (Thomas), an English painter 
 of marine subjects. He lived about the 
 year 1720, and several of his pieces, re- 
 presenting ships of war and seaports, 
 have been engraved. 
 
 Battoni (Pompeo), an eminent artist 
 of the Florentine school, was born at 
 Lucca, February 5, 1708. His father was 
 a goldsmith, and intended him for the same 
 profession ; but though he worked at the 
 trade some time, he gave it up to follow 
 painting, under the patronage of some 
 eminent friends at Lucca, who sent him 
 
BAT 
 
 31 
 
 BAU 
 
 to Rome, where for some time he attended 
 Sebastian Conca, and Augustine Masucci. 
 Pompeo, however, took more dehght in 
 copying the antiques and the works of 
 Raffaelle, than in imitating the modern 
 masters ; and how well he profited by this 
 judicious choice appeared in the School of 
 Athens, and the copies which he made of 
 the Dispute on the Sacrament. He soon 
 became sensible of the method by which 
 Raffaelle and the ancients attained per- 
 fection. To catch nature in her movements 
 was their grand object, and in this Battoni 
 followed them. Hence in his paintings 
 we find no trace of the artificial composi- 
 tion of figures, which then so generally 
 prevailed ; nor does he concentrate the 
 light on one object to the detriment of the 
 rest, as Maratti does. It was the prac- 
 tice of Battoni to make numerous drawings 
 of the various motions of men and child- 
 ren, with the different folds of the drapery, 
 which sketches he afterwards used in 
 his paintings, and finished them not only 
 by the liveliest colouring, but also with 
 the finest forms. By these performances 
 he acquired considerable fame ; but it 
 being suggested that he was still deficient 
 in colouring, he applied to that branch with 
 his usual enthusiasm ; and having obtained 
 an order from the Marquis di Gubbio to 
 execute an altar-piece for the chapel of his 
 family in the church of St. Gregory at 
 Rome, he eagerly embraced that opportu- 
 nity of convincing the public of his im- 
 provement in that respect. Orders now 
 multiplied, and the Cardinal Furietti, who 
 had the superintendence of the church of 
 St. Celsus, gave him the picture of the 
 high altar to execute, in which commission 
 he gave universal satisfaction. In the Im- 
 maculate Conception, which has been so 
 often a subject for painters, Battoni suc- 
 ceeded so well for the church of the Philip- 
 pines at Chiari as to attract the admiration 
 of all good judges. His next piece was 
 the story of Simon Magus, for the church 
 of St. Peter at Rome ; and among his other 
 altar-pieces of extraordinary merit were 
 two at Brescia, one representing St. John 
 Nepomucene with Mary, and the second, 
 the Offering of the latter ; two others for 
 the city of Lucca, one of St. Catherine of 
 Sienna, and the other of St. Bartholomew ; 
 another, for Messina, of the Apostle James ; 
 and for Parma, John the Baptist preach- 
 ing in the Wilderness. Besides these he 
 painted many scriptural pieces, especially 
 the muchadmired ones in thepapal gardens 
 of Monte Cavallo, and others in private 
 
 collections. He likewise acquired fame 
 by his Choice of Hercules, which he paint- 
 ed first in the natural size, and afterwards 
 smaller, for the Marchese Ginosi. Nor 
 was he less admired for his picture of 
 Bacchus and Ariadne, painted for an 
 English gentleman. The group of Peace 
 and War, one of his finest productions, 
 was executed towards the close of his 
 life. Here Mars, sword in hand, is seen 
 rushing to the combat, while an exceed- 
 ingly beautiful virgin, casting on him 
 a look of sweetness and entreaty, offers 
 him a branch of palm, and places herself 
 directly in his way, as if to prevent his 
 sanguinary progress. The vivacity of his 
 fancy was not in the least enervated in 
 those years when the hand is seldom ca- 
 pable of following the impulse of the mind. 
 In his old age he painted, for a Russian 
 prince, Cupid returned from the Chase. 
 His game consists of hearts shot through 
 with arrows, which he lays in the lap of 
 Venus, while he extends his arms to em- 
 brace the goddess, who testifies her pleasure 
 by caresses. Commissions of this nature 
 were innumerable, and the Empress of 
 Russia purchased of him a picture of Thetis 
 receiving Achilles from Chiron ; and an- 
 other of the Continence of Scipio. Battoni 
 painted two pictures for the King of Po- 
 land, both taken from the story of Diana, 
 and one for the King of Prussia, the suhr- 
 ject of which is the Prostration of the 
 Family of Darius before Alexander. The 
 portraits which Battoni drew are innumer- 
 able ; and among them were those of three 
 popes, Benedict XIV., Clement XIII., 
 Pius VI., the Emperor Joseph II., and the 
 Empress dowager. This great painter was 
 devoted to religion, liberal to the poor, 
 friendly to his pupils, and such an enemy 
 to ostentation, that he seldom wore the in- 
 signia of knighthood which had been con- 
 ferred upon him by the pope. He died 
 February 4, 1787. The only enemy he 
 had was Mengs, who envied every living 
 artist that possessed greater genius than 
 himself. 
 
 Bauer, or Bouwer (John William). 
 He was born at Strasburg in 1610, and 
 was a disciple of Frederick Brentel. He 
 had g-reat genius ; but the liveliness of his 
 imagination hindered him from studying 
 nature, or the antique, in such a manner 
 as to divest himself of his German taste, 
 though he went to Rome to improve him- 
 self in the art. In Italy he applied himself 
 entirely to architecture, as far as it might 
 contribute to the enrichment of his laud- 
 
BAY 
 
 82 
 
 BEA 
 
 scapes, which were his favourite subjects ; 
 and for his scenes and situations, he studied 
 after the rich prospects about Frescati and 
 Tivoli, which afforded him the most de- 
 lightful sites, views, and incidents. He 
 was fond of introducing into his designs, 
 battles, marching of armies, skirmishes, 
 and processions ; but though he resided a 
 considerable time in and about Naples and 
 Rome, he never arrived at a grandeur of 
 design ; nor could he ever express tlie naked 
 but indiiferently. His pencil, however, was 
 light, his composition good, and his gene- 
 ral expression beautiful, but his figures 
 were somewhat heavy. He painted in 
 water-colours, on vellum, and was for 
 several years in the court of the Duke 
 Bracciano, for whom he finished some 
 perspective views of gardens, with statues 
 and fountains ; also of other elegant build- 
 ings, with a number of figures, coaches, 
 cattle, and horsemen, and it was remark- 
 able that he generally distinguished the 
 diflPerent nations of people by the national 
 dress of each. He painted with uncom- 
 mon freedom and delicacy, and his colour- 
 ingis glowing ; but his drawing is incorrect. 
 He etched from his own ideas numerous 
 designs from Ovid's Metamorphoses, very 
 much in the style and spirit of Callot. He 
 died at Vienna, in 1640. 
 
 Bauduins (Anthony Francis), a Fle- 
 mish painter and engraver, was born at 
 Dixmude, in Brabant, in 1640. He was 
 the scholar of Vandermeulen, and most of 
 his plates are engraven from the designs 
 of that master. Little is known of him 
 as a painter, but his prints are excellent. 
 He died at Paris, in 1700. 
 
 Bausa (GaEGORio), a Spanish artist, 
 was born at Mallorca, in the neighbour- 
 hood of Valencia, in 1596. He studied 
 under Francisco Rabalta, and became a 
 good painter of history. In the church of 
 the Carmelites at Valencia is a fine altar- 
 piece by him, the subject of which is the 
 Martyrdom of St. Philip the Apostle. He 
 died in 1656. 
 
 Bates y Subia s(FaASCEsc;o), a native 
 of Saragossa. He learned the principles 
 of design from an artist of little repute, 
 but profited so well by his instructions, as 
 to gain a prize given by the academy of 
 painting in his native city, by which in- 
 stitution also he was sent, on a pension, to 
 prosecute his studies at Madrid, where he 
 became a disciple of Antonio Gonzales 
 Velasquez. King Charles III. of Spain, 
 having seen some of his performances, em- I 
 ployed him in the royal palace at Aran- j 
 
 juez, and also at Madrid: besides which he 
 had a great number of engagements for 
 several of the nobility, as well as for the 
 monasteries and churches. In 1765, he 
 was chosen a member of the academy at 
 Madrid, of which, at length, he became 
 the president, and in 1788 obtained the 
 appointment of painter to the king. He 
 died in 1795. 
 
 Batbn (Raimond y Sdbias). This 
 artist was the brother of the preceding 
 painter, and was born at Saragossa in 
 1746. He received his instructions in the 
 art of design from his brother, to whom 
 he became an assistant in his great works. 
 He died at Madrid, in 1793. 
 
 Bazzani (Giuskppe), an Italian paint- 
 er, was born at Reggio in 1701. He 
 studied under Giovanni Canti, but was 
 his superior in fertility of invention and 
 power of execution. He was a great ad- 
 mirer of Rubens, whose style he imitated. 
 Many of his frescoes are in the churches 
 of Mantua, where he resided, and became 
 director of the academy. He died in 1769. 
 
 Bealb (Mary). This ingenious lady 
 was the daughter of a clergyman named 
 Cradock, and was born in Suffolk, in 
 1632 ; her instructor was Sir Peter Lely ; 
 and in painting portraits she proved very 
 little inferior to any of her contemporaries. 
 Her colouring was clear and strong, with 
 a great look of nature, and she worked 
 with a good body of colours. She had ap- 
 plied herself to copy some pictures of the 
 best foreign masters, which she procured 
 from the cabinets of noblemen, and also 
 from the collection of Sir Peter, by which 
 her taste and pencil were much improved, 
 and her portraits had a great deal of the 
 Italian air and style. She was amiable in 
 her conduct, assiduous in her profession, 
 and had the happiness to live in universal 
 esteem, and to receive every encourage- 
 ment. She married an obscure painter, 
 named Beale, by whom she had two sons, 
 who both exercised the same art for some 
 time ; but afterwards one of them became 
 a physician. Mrs. Beale died in 1697. 
 
 Beaubrun (Henry). This French 
 painter was born at Amboise in 1603, and 
 died at Paris in 1677. He excelled in 
 portraiture. His brother, Charles Beau- 
 brun, who was born at Amboise, in 1605, 
 became distinguished in the same line of 
 the art. He died in 1692. 
 
 Beaudouin (Pierre Antoinb). This 
 artist was born at Paris, in 1719, and died 
 there in 1769. He excelled in painting 
 portraits in miniature. , 
 
BEA 
 
 33 
 
 BEC 
 
 Beaumo>"t (CiiAUDio), commonly call 
 ed II Cavaliere Beaumont, was born at 
 Turin in 1694. He studied at Rome, 
 where he applied diligently to the copying 
 of the works of Raffaelle, Guido, and the 
 Caracci. The only modern artist that en- 
 gaged his notice was Trevisani, whose 
 style of colouring he imitated. On his 
 return to Sardinia, he was employed by 
 the king, who conferred on him the honour 
 of knighthood. He died in 1700. 
 
 Beaumont (Sik Geobge Uowland, 
 Baronet), descended from Prince Bohe- 
 mond of Antioch, who shook the throne 
 of the Emperor of Constantinople in the 
 battles of Uurazzo and Larissa, was born 
 on the 6th of November, 1753. While yet 
 young, he admired art, became acquainted 
 with some of its worthiest professors, and, 
 yielding to the impulse of nature, took up 
 the pencil, and, making his own shady 
 woods and green hills of Coleorton both 
 his study and academy, produced a land- 
 scape of great beauty and truth. Nor did 
 he confine himself to the scenes of his na- 
 tive land, nor, though Wilson was his 
 friend, limit his adoration to its artists. 
 He travelled into Italy, where landscapes 
 of a softer and sunnier beauty attracted 
 his pencil ; and into France, where he 
 studied Claude in his own romantic land, 
 and compared the dewy sunshine and clear 
 twilights of nature with those of the pain- 
 ter. In his own pictures, after this ex- 
 cursion, something both of England and 
 Italy appeared ; and it was his pleasure to 
 sit in the groves of Charnwood, and by the 
 stream of Grace-Dieu, and make tran- 
 scripts from nature, sometimes adding a 
 ruined temple, sometimes a gothic church, 
 as his taste inclined towards Italy or Eng- 
 land. Next to the pleasure of painting, 
 was that of being in the company of pain- 
 tors, of whom he had many anecdotes. 
 The walls of his house in Grosvenor Square 
 were covered with choice works of Wilson, 
 and Claude, and Reynolds, and his table 
 was commonly spread for men of genius, 
 for his taste extended to all the realms of 
 mind. He aided in the establishment of 
 the National Gallery, and gave it some of 
 its fairest pictures; and, among others, the 
 Narcissus of Claude, which he used to 
 carry with him like a household god from 
 Coleorton to London, and from London 
 to Coleorton. In his landscapes there is 
 less of the fine fresh glow of nature than 
 might be expected from the hand of one 
 trained in that academy ; yet he had the 
 soul and eye of a painter. His scenes are 
 
 finely imagined, and there are glimpses of 
 grandeur, but little that is wrought out in 
 the spirit of the conception : he was defi- 
 cient in the practical skill which his fine 
 fortune hindered him from acquiring from 
 that rough old teacher. Necessity. He 
 died 7th February, 1827, at Coleorton 
 Hall. 
 
 Beccafumi (Domenico). This painter, 
 who was also called Micarino, was born 
 at Siena in 1484. His original occupa- 
 tion was that of keeping sheep ; but dis- 
 covering a genius for drawing, he was 
 taken from that employment and placed 
 under an ordinary painter named Capanna; 
 though afterwards he is said to have re- 
 ceived instructions from Pietro Perugino. 
 The more he advanced in the knowledge 
 of his art, the more he perceived that he 
 only lost his time by continuing at Siena ; 
 and the universal applause given to the 
 works of Raffaelle and Michel Angelo 
 Buonarroti, excited in him an eager ambi- 
 tion to see them. He therefore travelled 
 to Rome, to study the productions of those 
 celebrated masters; and he spent two 
 years in close application, exerting him- 
 self not only to copy their works with ex- 
 actness, but also in designing after the 
 most curious antique statues and edifices. 
 His genius being hereby improved, and 
 his hand well formed, he returned to Si- 
 ena, where he was engaged in several 
 considerable works, not only in oil, but 
 also in distemper and fresco, which pro- 
 cured him reputation and honour. He had 
 a fine invention, his taste of design was 
 elegant, his expressioh good, and his tone 
 of colouring beautiful. He executed a 
 work in mosaic, in the cathedral of Siena, 
 and several pieces of sculpture. He was 
 also an engraver on copper and wood. 
 He died in 1549. 
 
 Beccaruzzi (Francesco), a native of 
 Conigliano in the Friuli, and the scholar 
 of Pordenone, who obtained considerable 
 credit as a painter both in fresco and in 
 oil. One of his principal works is a pic- 
 ture, which he executed for the Franciscan 
 church at Conigliano, representing the 
 founder of that order receiving the impres- 
 sions of the five wovmds, according to the 
 legendary story of the saint. 
 
 Becerra (Gaspar), a Spanish artist, 
 was born at Baeza, in Andalusia, in 1520. 
 He was a distinguished painter, sculptor, 
 and architect. It is said that he studied 
 under Michel Angelo, at Rome ; but cer- 
 tain it is that, on his return to Madrid, 
 he was employed by the Emperor Charles 
 
BEE 
 
 V. in some great works which he executed 
 in fresco, which gained him genei'al ap- 
 plause. He contributed to reform the 
 Spanish school of art, by the introduction 
 of a grand style founded on that of Mi- 
 chel Angelo. But great as were the 
 merits of Becerra in painting, he rose to 
 higher eminence as a sculptor, in which 
 profession he was much employed for the 
 churches and monasteries. Among his 
 works was one of the Virgin, carved for 
 Queen Isabella, who was extremely diffi- 
 cult to be pleased ; and, after many trials 
 to gratify her humour, Becerra was di- 
 rected, in a dream, to make one of the log 
 of wood lying on his hearth. He died " 
 1570, 
 
 Beduschi (Antonio), an Italian painter 
 of history, was born at Cremona 1576. 
 He studied under Antonio Campi, and 
 obtained honourable notice by an altar- 
 piece of the Stoning of Stephen, in the 
 church of St. Sepolcro, at Piacenza. He 
 died young. 
 
 Beechey (Sir William), distinguished 
 himself in portraiture. He was born 12th 
 December, 1753, at Burford, in Oxford- 
 shire, and educated for the law ; but love 
 of art triumphed over what has been 
 erroneously called a dry study, and at the 
 age of nineteen he appeared among the 
 students of the Royal Academy, where he 
 soon acquired a knowledge of drawing and 
 colour. In the year 1776, he ventured to 
 send two small-size heads to the exhibition 
 of the Academy; these were succeeded 
 by others of the same dimensions ; and in 
 1779 he hazarded a portrait of a gentleman 
 in whole length, and a conversation piece ; 
 to other exhibitions he sent a Lady play- 
 ing on a Harp ; and, venturing into the 
 regions of fancy, added a Witch of Endor, 
 and a Lavinia, from The Seasons of 
 Thomson. Some of these works were 
 painted in Norwich; but in 1788 he re- 
 moved to 20, Lower Brook Street, London, 
 and continued to paint and exhibit with a 
 success which brought, besides many sit- 
 ters, the notice of those who watch rising 
 merit, and, what is sometimes as much 
 desired, the commendations of the daily 
 and weekly critics. Six years afterwards, 
 the man who helped to people their walls 
 with portraits, was admitted by the Royal 
 Academy as an associate. This happened 
 in the same year that the sun of court fa- 
 vourshoneon him: Beechey was appointed 
 portrait painter to the Queen, and hence- 
 forth ladies of quality and men of high 
 degree were naaibored among his sitters. 
 
 34 BEE 
 
 Now and then he aspired to something be- 
 yond mere likeness, and presumed to mea- 
 sure himself with Reynolds, in one of 
 those half historic and half portrait works, 
 in which the latter excelled : this was Mrs. 
 Siddons with all the symbols of tragedy 
 about her. He still rose in court esteem, 
 and also in favour with the Royal Aca- 
 demy : in 1798 he painted George the 
 Third on horseback, reviewing, with the 
 Prince of Wales, the Horse Guards at 
 Hounslow, and was knighted; and the 
 same season, after having been twenty-six 
 years an exhibitor, he was elected Royal 
 Academician. These twofold honours 
 brought increase of employment; and 
 besides the royal family, who sat to him 
 through all its members, and ordinary 
 heads in hundreds, attracted to the easel 
 of a painter in full practice he painted 
 the Marquis Cornwallis, and Earl St. 
 Vincent John Kemble, and Anastasius 
 Hope David Wilkie, and Joseph Nolle- 
 kens names which will carry his own to 
 other days. Beechey, through all his long 
 life, had to contend with men his equals 
 or superiors in art : in his youth Reynolds, 
 in his manhood Lawrence; and in his 
 riper years Owen, Jackson, and Phillips, 
 more than divided the public, if they failed 
 to divide with him the favour of the court. 
 He supported the British school rather by 
 the respectability of his personal character, 
 and the uniform truth and nature of his 
 works, than raised it by productions of 
 rare grace or lofty vigour. Little of the 
 ideal appears in his compositions ; he 
 seized on his portraits with a vigorous 
 rather than a delicate hand ; neither did 
 he succeed in summoning mind to the 
 brow, or elegance to the air of his heads. 
 He died at his residence at Hampstead, 
 January 28, 1839, and was buried with 
 Academic honours. 
 
 Beek (David). He was born at Arn- 
 heim, in Guelderland, in 1621, and became 
 a disciple of Vandyck, from whom he 
 acquired a fine manner of pencilling, and 
 the sweet style of colouring peculiar to 
 that great master. He possessed, besides, 
 that freedom of hand, and readiness or 
 rather rapidity of execution, for which 
 Vandyck was so remarkably famous ; and 
 Charles I., when he observed the ex- 
 peditious manner of Beek's painting, was 
 so much surprised, that he told him it was 
 his opinion he could paint if he was riding 
 post. He was appointed painter and 
 chamberlain to Queen Christiana of Swe- 
 den, and by her recommendation most 
 
BEE 
 
 35 
 
 BEG 
 
 of the illustrious persons in Europe sat to 
 him for their portraits. He was agreeable, 
 handsome, and polite, and lived in the 
 highest favour with his royal mistress; 
 but, having an earnest desire to visit his 
 friends in Holland, and, leaving the court 
 of Sweden much against the queen's in- 
 clination, she apprehended that lie in- 
 tended never to return ; and, as he died 
 soon after at the Hague, it was strongly 
 suspected that he was poisoned. This 
 was in 1656. A singular adventure hap- 
 pened to this painter as he travelled 
 through Germany, which seems not un- 
 worthy of being narrated. He was sud- 
 denly taken ill at the inn where he 
 lodged, and, seeming to appearance quite 
 dead, was laid out as a corpse. His valets 
 expressed the strongest marks of grief for 
 the loss of their master, and while they 
 sat beside his bed, drank very freely by 
 way of consolation. At last one of them 
 became intoxicated, and said to his com- 
 panions, " Our master was fond of a glass 
 while he was alive ; out of gratitude let 
 us give him one now he is dead." As the 
 rest of the servants assented to the pro- 
 posal, he raised up the head of his master, 
 and endeavoured to pour some of the 
 liquor into his mouth. Aroused by the 
 fragrance of the wine, and probably, by a 
 small quantity that imperceptibly got 
 down his throat, Beek opened his eyes, 
 and the servant being excessively drunk, 
 and forgetting that his master was con- 
 sidered as dead, compelled him to swallow 
 what wine remained in the glass. The 
 painter gradually revived, and thus es- 
 caped premature interment. Beek re- 
 ceived from different princes, as an ac- 
 knowledgment of hi.s singular merit, nine 
 gold chains, and several medals of gold of 
 a large size. 
 
 Bekldemakeb (Hans), a Dutch artist, 
 was born at the Hague in 1636. His 
 master is not known ; but he painted, in a 
 spirited and natural style, hunting pieces, 
 particularly of the stag and fox. He had 
 a son, Francis Beeldemaker, born in 1669. 
 He was instructed by his father, but 
 afterwards applied to historical painting, 
 under William Dondyns, after which he 
 travelled to Italy, and on his return home 
 obtained much employment. He painted 
 also portraits, and became a member of 
 the academy at the Hague, where he died 
 about 1736. 
 
 Beer (Arnold de). This Flemish 
 painter was born at Antwerp in 1490. 
 He bore a high character as a good 
 
 designer in his daj-, and was much em- 
 ployed for the churches ; but his manner 
 was hard and gothic. He was a member 
 of the company of painters at Antwerp, 
 where he died in 1542. 
 
 Beer (Joseph db). He was born at 
 Utrechtin 1550, andstudied under Francis 
 Floris, by whose instructions he became a 
 good painter of history. His patron was 
 the bishop of Tournay, for whom he 
 painted several pictures, which did him 
 credit. He died in 1596. 
 
 Beebxsgs (Gregory). He was born 
 at Malines, in Flanders, in 1500, and 
 studied in Italy, where he acquired a fine 
 taste, and might have proved an admirable 
 artist, had he not fallen into indolence and 
 dissipation. He died in 1544. 
 
 Bkga (Cornelius), a Dutch painter, 
 was born at Haerlem in 1620. He was 
 the disciple of Adrian Ostade, and was 
 the ablest of his school, if not indeed his 
 equal. He gave a strict attention to every 
 precept of his master, observing his hand- 
 ling, as well as his manner of preparing 
 and blending his colours, with great 
 accuracy ; and took incessant pains to im- 
 prove himself in the knowledge and prac- 
 tice of his art, so that he scon gave public 
 proofs of being a considerable painter. 
 He set out in his profession with credit, 
 and proceeded in it for some years with 
 success ; but at last he grew too fond of a 
 dissipated life, and his morals were so 
 depraved that his father, a sculptor, after 
 many remonstrances, disowned him; for 
 which reason he cast ofFhis paternal name, 
 which was Begeyn, and assumed that of 
 Bega his early pictures being marked 
 with the one, and his latter works with 
 the other. He had a fine pencil, and a 
 delicate manner of disposing his colours, 
 so as to give them a look of neatness and 
 transparence, whence his performances 
 are so much esteemed in the Low Coun- 
 tries as to be placed among those of the 
 best artists. He caught the plague from 
 a woman to whom he was attached ; and 
 his affection was such, that, notwithstand- 
 ing the expostulations of his friends and 
 physicians, he attended her to the last 
 moment of her life, and followed her to 
 the grave soon after, in 1664. The sub- 
 jects of his pencil were, the amusements 
 of peasants, landscapes, and the inside of 
 cottages. 
 
 Begeyn (Abraham). Neither Hou- 
 braken nor Sandrarthave mentioned any 
 thing relative to the master under whom 
 this artist was instructed. After he had 
 
BEI 
 
 BEL 
 
 made a competent progress in painting, he 
 studied perspective and architecture, to 
 qualify himself more effectually for his 
 profession, and perfected himself in the 
 knowledge of both. His reputation pro- 
 cured him an invitation to the Prussian 
 court, where he was appointed principal 
 painter to the king, and was directed to 
 take views of the royal palaces, and the 
 most agreeable prospects of that country, 
 which he executed extremely to the satis- 
 faction of his royal patron. He likewise 
 finished several large designs for the de- 
 coration of the grand saloons and galleries 
 at Potsdam. His figures and animals are, 
 in general, well designed and coloured, 
 touched with great freedom, and much in 
 the manner of Berchera. Some of his 
 most capital pictures are at the Hague, 
 where they are highly esteemed. These 
 are landscapes, with views of rivers, ruins, 
 and pieces of architecture, enriched with 
 figures, and a variety of animals, finished 
 in a masterly manner. Begeyn was born 
 in 1650, and died about 1710. 
 
 Beham (Bartel), a German artist, was 
 born at Nuremberg about 1496. He stu- 
 died at Bologna and Rome, chiefly under 
 Raimondi, after which he became a resi- 
 dent at Munich, where he painted several 
 pictures for the Elector of Bavaria. But 
 he is chiefly known as an engraver, in 
 which art he had great merit, and executed 
 several fine plates. He died about the year 
 1540, as the last date of his prints is in 
 1535. He was a relation of Hans Beham, 
 one of the most celebrated engravers of 
 that age, who ranks among those called 
 the little masters. He died about 1550. 
 
 Beisch (Joachim rRA>-cis), a painter of 
 landscapes and battles, was born at Ravens- 
 burgh, in Swabia, in 1665. He was taught 
 the rudiments of the art by his father, who 
 practised painting only for his amusement. 
 But Joachim, by the force of his genius, 
 and an assiduous practice, proved at last 
 a good artist ; and was employed at the 
 court of Munich particularly, in painting 
 the battles which the Elector Maximilian 
 Emanuel fought in Hungary. While that 
 prince was absent on some of his expedi- 
 tions, Beisch took the opportunity of visit- 
 ing Italy, where he improved himself by 
 studying those famous models which have 
 deservedly been the admiration of the 
 whole world; and it is a sufficient testi- 
 mony of the perfection to which he arrived, 
 to say, that even Solimena copied several 
 of his landscapes. He had three diff'erent 
 manners : his first, before his journey to 
 
 Italy, was true, but too dark; his second 
 had more clearness and truth ; and his last 
 was clearer, but more weak. The scenes 
 of his landscapes are agreeably chosen and 
 picturesque; his touch is light, tender, and 
 full of spirit; and his style of compo- 
 sition frequently resembles that of Gaspar 
 Poussin, or Salvator Rosa. He etched 
 several pleasing views in a good taste; 
 but these prints are scarce. He died in 
 1748. 
 
 Bell (William), an English painter, 
 was a native of Newcastle-upon-Tyne. 
 He was one of the earliest students of the 
 Royal Academy, where he gained a prize 
 for the best picture on the story of Venus 
 applying to Vulcan to forge armour for 
 ^neas. He afterwards settled at New- 
 castle, where he painted portraits and 
 landscapes. He died there about 1804. 
 
 Bella (Stefano bella), a Florentine 
 artist, was born in 1 6 1 0. He was i ntended 
 for his father's profession, which was that 
 of a goldsmith ; but as his inclination led 
 him to painting, he was suflPered to follow 
 his genius, and had Cesare Dandini for a 
 master. After this, however, he relin- 
 quished the pencil to follow the art of en- 
 graving, in which he rose to pre-eminence, 
 and executed a great number of prints of 
 various degrees of excellence, and some of 
 them from his own designs. He died in 
 1664. 
 
 Bellaxge (Jacques), a French artist, 
 was born at Chalons about 1610. He was 
 first the disciple of Henriet, and next of 
 Vouet ; but he afterwards became an en- 
 graver, though his merit in either line was 
 not great. 
 
 Belle (Nicholas Simox Alexis). 
 This French painter of portraits was born 
 at Paris in 1674, and died there in 1734. 
 He had a considerable reputation and much 
 practice in his day. 
 
 Bellevois. This artist died in 1684 ; 
 but, except the description and commenda- 
 tion of his works, nothing is mentioned by 
 the writers on this subject, relative to the 
 place of his birth, education, or the year 
 of his nativity ; but he is known through 
 all parts of Europe as a good painter. 
 His subjects are views of seaports, shores, 
 calms, and storms at sea; but it is in his 
 calms that he shows peculiar excellence. 
 His vessels are neatly handled, and cor- 
 rectly drawn ; yet want that grace and ele- 
 gance which are always observable in those 
 of the younger Vandervelde and Back- 
 huysen. His touch is light, and his colour- 
 ing clear; the perspective of his seaports 
 
87 
 
 BE L 
 
 and buildings is true, and hath an agreeable 
 effect ; his skies are generally bright and 
 judiciously managed, and his colouring is 
 transparent. His figures are, however, 
 indifferent, nor have they much expression. 
 Pictures of this master are often in public 
 sales, and some of them, which seem of 
 his best style, are sold for tolerable prices. 
 
 Bellini (Giacomo or Jacopo), was 
 born at Venice about 1405, and studied 
 under Gentile da Fabriano; but proved no 
 extraordinary artist, though some Italian 
 writers say lie was one of the best of that 
 period. The secret of painting in oil was 
 communicated to him by Domenico and 
 Andrea del Castagno; and that important 
 discovery he explained to his sons. Gentile 
 and Giovanni, who had sufficient skill to 
 apply it in such a manner as to make them 
 considerable in their time, and memorable 
 to posterity. The reputation of this ancient 
 master was established by the portraits he 
 })ainted of Cornaro, and Lusignan, king 
 of Cyprus. He died in 1470. 
 
 Bellixi (Gentile), was the eldest son 
 of the preceding, and was born at Venice 
 in 1421. He was instructed by his father 
 in the art of painting in distemper, as well 
 as in oil. Such was his progress, that he 
 was accounted the most skilful painter of 
 his time, and was employed by the Doge 
 to paint the hall of the great council ; and 
 for others of the nobility he executed 
 several noble works. The Ottoman em- 
 peror, Mahomet II., having seen some of 
 his performances, invited him to Constan- 
 tinople, received him with great respect, 
 sat to him for his portrait, and engaged 
 him there for some time, during which he 
 gave him many presents, and other marks 
 of regard. But the Turkish monarch 
 having ordered the head of a slave to be 
 cut off, before the face of Bellini, to con 
 vince him of an incorrectness in a pic- 
 ture of tlie decollation of St John, he was 
 so terrified at the sight, that he never en- 
 joyed peace of mind till he obtained leave 
 to return to his own country. Mahomet 
 put a gold chain about his neck, and wrote 
 to the senate of Venice inhis favour; which 
 recommendation procured him a pension, 
 and the honourable order of St. ^lark. It 
 is proper to state that De Piles and other 
 writers represent the transaction of Gen- 
 tile at Constantinople agreeably to what 
 is here related ; but Vasari only says that 
 Mahomet II. had seen some of the works 
 of Giovanni Bellini, which he admired ex- 
 ceedingly, and desired that the painter 
 might be sent to him from Venice ; but 
 
 that the senate prevailed on Gentile to go 
 instead of Giovanni, as the latter was then 
 engaged in a large work, and the doge 
 was unwilling to deprive his country of so 
 famous an artist; Giovanni being esteemed 
 the best painter, not only of his own family, 
 who were all painters, but the ablest artist 
 of his time. Vasari mentions a sea fight, 
 painted by this master, which had extra- 
 ordinary merit, in the variety of figures, 
 the truth of the expressions, the propriety 
 of the attitudes, the perspective distances 
 of the vessels, and the grandeur of the 
 composition. He died in 1501. 
 
 Belles'i (Giovanni), was born at Venice 
 in 1422. He was the son of Giacomo, and 
 the brother of Gentile Bellini, but sur- 
 passed them both in every branch of the 
 art. He is considered as the founder of 
 the Venetian school, by introducing the 
 practice of painting in oil, and teaching 
 his disciples to copy nature. His manner 
 of designing was but indifferent, and fre- 
 quently in a bad taste, and before he knew 
 how to manage oil colours his painting 
 appeared dry ; but afterwards he acquired 
 more softness in his pencilling, showed a 
 greater propriety of colouring, and some 
 harmony, though he still retained too much 
 of his old style, except in his heads, which 
 were better than those of Giacomo or Gen- 
 tile. The school of Giovanni Bellini pro- 
 duced two memorable disciples, Titian 
 and Giorgione; and by observing their 
 works, Bellini improved his own manner 
 considerably ; so that in his latter pic- 
 tures the colouring is much better, and 
 the airs of his heads nobler, though his 
 design is a little gothic, and his attitudes 
 not well chosen. He died in 1512. 
 
 Bellini (Filippo), an historical painter 
 of Urbino, who lived about the year 1596. 
 He imitated the style of Federico Baroc- 
 cio very closely and happily ; of which 
 the proof is seen in his altar-pieces of the 
 Circumcision of Christ, and the Marriage 
 of the Virgin, both at Ancona. He also 
 executed fourteen good pictures of the 
 Works of Mercy, at Fabriano. 
 
 Bellini (Giacinto), an historical 
 painter of Bologna. He was a disciple 
 of Albano, after which he went to Rome 
 for improvement with Francesco Caracci. 
 While in that city, he obtained the pro- 
 tection of Cardinal Fonti, by whose inte- 
 rest he received the order of knighthood 
 from the pope. In his manner he ap- 
 proached Albano, and his pictures have 
 much of the grace of that master. 
 
 Belliniam (Vitto re), a Venetian artist 
 
BEL 
 
 BEN 
 
 who lived about 1525. He was the pupil 
 of Giovanni Bellini, and painted histo- 
 rical subjects, chiefly religious, for the 
 churches and convents of Venice and its 
 vicinity. 
 
 Bellobi (Pietro). This artist was a 
 native of Rome, where he practised por- 
 trait painting ; but he is chiefly known as 
 a biographer and antiquary. 
 
 Bellotti (Bernardo), a painter of 
 architectural and landscape pieces. He 
 was born in 1724 at Venice, and studied 
 under his uncle Canaletto. Afterwards 
 he went into Germany and Poland, in 
 both which countries he took some fine 
 views, of which he published engravings 
 executed by himself. He died at Warsaw 
 in 1780. 
 
 Bellotti (Pietro), was born at Venice 
 in 1625. He was the disciple of Michel 
 Forabosco, and became a portrait painter 
 of the first rank; but in the composition 
 of historical subjects he was not so eminent, 
 He was peculiarly happy in the imitation 
 of nature : the colouring of his portraits 
 appears to be real flesh ; the variety in the 
 hair of his heads is inconceivable ; in all 
 his attitudes there is much grace, and the 
 disposition of his figures is natural. In 
 1666 he was appointed painter to the court 
 of Munich; but afterwards returned to 
 Italy, where he died in 1700. 
 
 Bellucci (Giovanni Battista). He 
 was born at Rome in 1506. Besides be- 
 ing a good painter of histoiy, he displayed 
 considerable talents as an engineer. He 
 was slain in battle in 1541. 
 
 Bellucci (Antonio), a painter of por- 
 trait and history, was bom at Venice in 
 1 654. lie became the disciple of Domenico 
 Difinico, under whom he learned a good 
 manner of handling and colouring, an ele- 
 gant taste of historical composition, and 
 an expertness in painting portraits with 
 grace, expression, and faithfulness. When 
 he commenced artist, his performances 
 soon procured him general commendation 
 for their invention, elegance, and spirit ; 
 and he found immediate employment for 
 cabinet pictures and altar-pieces, as well 
 as for portraits. The Emperor Joseph I. 
 invited him to his court, and not only sat 
 to him for his portrait, but appointed him 
 his principal painter. After having con- 
 tinued for some years at Vienna, he ob- 
 tained permission to retire, and then entered 
 into the service of the Elector Palatine, 
 where he lived a long time, respected for 
 his personal accomplishments. He died 
 in the territory of Trcviso in 1726. 
 
 Belvedere (Andrea). This artist was 
 born at Naples in 1646. He was an ex- 
 cellent painter of flowers and fruits. He 
 died in 1689. 
 
 Bemmel (William Van), a landscape 
 painter, was born at Utrecht in 1630. He 
 was the disciple of Herman Sachtleven ; 
 and on leaving him, travelled to Rome, 
 sketching every beautiful scene that oc- 
 curred, or that pleased his imagination, in 
 the neighbourhood of thatcity,j)articularly 
 about Tivoli ; by which means he furnish- 
 ed himself with excellent materials for his 
 future compositions. On his return from 
 Italy he stopped at Nuremberg, where he 
 obtained considerable employment. His 
 colouring is lively and natural, though 
 sometimes a little too green; but his 
 figures, and the boats, barges, and other 
 vessels, which he always introduced on tlie 
 rivers, or stationed near the banks, are 
 well designed, and touched with spirit. 
 His trees, indeed, are somewhat stiff" and 
 formal ; but, in general, liis pictures have 
 a pleasing effect, as the distances are con- 
 ducted with judgment, and every part is 
 handled in a masterly manner. The lights 
 and shadows of liis landscapes are distri- 
 buted with singular skill, and his skies are 
 usually clear, warm, and natural. He 
 etched some plates from his own landscapes. 
 This artist died in 1703. John George 
 Van Bemmel, his son, was born at Nurem- 
 berg in 1669, and died in 1723. He painted 
 battle-pieces. 
 
 Benaschi (Giovanni Battista), called 
 Cavalier Benaschi, was born in Piedmont 
 in 1634. He studied at Rome under Pietro 
 del Po; and some authors affirm, that he 
 was afterwards the disciple of Lafranc, of 
 whose works he was certainly fond, and 
 devoted his whole thought and application 
 to design after and copy tlicm ; till at last 
 he became so thoroughly acquainted with 
 the style, manner, and touch of that mas- 
 ter, that many of the pictures of Benas- 
 chi are, at this day, mistaken for those 
 of Lafranc. He was an admirable de- 
 signer ; his lively invention furnished him 
 with a surprising variety; his thought 
 was noble ; and he was not only expedi- 
 tious but correct. As a public acknow- 
 ledgment of his merit, the honour of 
 knighthood was conferred upon him. lie 
 died in 1688. 
 
 Benavides (Vincente de). This Span- 
 ish artist was born at Oran in 1637, and 
 studied in the school of Francisco Ricci at 
 Madrid, where he actjuired a tine style of 
 painting architectural subjects, after which 
 
BEN 
 
 BEN 
 
 lie was much employed for the theatres. 
 He died at Madrid in 1703. 
 
 Bencovich (Federigo), a native of 
 Dalmatia, who studied the art of painting 
 at Bologna, after which he went to Ger- | 
 many, where he lived many years, and died I 
 about 1760. His manner of painting re- j 
 sembles that of his master, Carlo Cignani; 
 and one of his best performances is a re- 
 Tiresentation of the Martyrdom of St. An- 
 tirew, in a church at Bologna. 
 
 Bexebetxi (MATTLi.), a painter of 
 Reggio, who was the disciple of Orazio 
 Talami, and lived about the year 1702. 
 He painted in fresco as well as in oil, but 
 principally in the former department. 
 
 Benedetti (Domexico dk), a painter of 
 historical subjects, who was born in Pied- 
 mont in 1610. He studied at Naples, in 
 the school of Santafede, after which he 
 went to Rome, and became the pupil and 
 imitator of Guido. He returned again to 
 Naples, and was patronised by the king, 
 at whose command he executed several 
 fine pictures, as also for some of the 
 clmrches and convents. Among his 
 principal works may be mentioned a series 
 of pieces representing the History of the 
 Blessed Virgin, after the style of Guido. 
 He died in 1678. 
 
 Benedbito, see Castigliom!. 
 
 Benefiali (Masco), a Roman artist, 
 was born in 1684, and died in 1764. He 
 painted in the Palazzo Spade a saloon in a 
 fine style, and the academy of St. Luke 
 has a noble picture by him, the subject of 
 which is Christ at the Well of Samaria. 
 In the church of the Slimmata is an altar- 
 piece 01 the Scourging of Christ. His 
 manner was very irregular and capricious. 
 He received the honour of knighthood 
 from the pope. 
 
 Benezech (Charles). This artist was 
 the son of an engraver, and born in Lon- 
 don. He studied painting abroad, and 
 practised both history and portraiture. 
 One of his best performances is a picture 
 of the Murder of Louis XVI. He died in 
 1794. 
 
 Benfatto (LuiGi), a native of Verona, 
 who was the nephew, disci pie, and successor 
 of Paolo Veronese. He followed the style 
 of his master, and gained great honour, 
 not only by his teaching, but also by the 
 admirable works which he executed. The 
 most esteemed of his performances were 
 several paintings illustrative of the His- 
 tory of St. Nicholas, and his Assumption 
 into Heaven. He died, at the age of 60, 
 iu 1641. 
 
 Bejtnini (Sigismond), an Italian painter, 
 was bom at Cremona. He was the dis- 
 ciple of Angelo Massarotti, and distin- 
 guished himself by his skill in painting 
 landscapes. He graduated his distances 
 judiciously, and directed his lights and 
 shadows with great effect. If lie failed 
 in any thing, it was in his figures, which 
 for the most part are very indifferent. He 
 died about the year 1725. 
 
 Benozzo ( ). This artist was born 
 
 at Florence in 1539. He became a good 
 painter of history and portraits at his na- 
 tive place, wliere he died in 1617. 
 
 Benso (GiuLio), a Genoese artist, who 
 was the discipleof Giovanni BattistaPaggi. 
 He excelled in history, perspective, and 
 architectural rej)resentations. In the 
 higher branch of the art, he executed a 
 fresco for the church of the Nunziata, the 
 subject of which is the Coronation of the 
 Virgin. Another fine piece of his hand, 
 in the same manner, is a picture of St. 
 Domenico. He died, at the age of 67, in 
 1668. 
 
 Bent (John Vandek), a painter of land- 
 scapes, was born at Amsterdam in 1650. 
 He was at first a disciple of Philip Wou- 
 vermans, but afterwards of Adrian Van- 
 dervelde. His style approaches very closely 
 to that of Berchem, so that his pictures 
 may often be mistaken for those of that 
 master. His paintings are much esteemed 
 in the Low Countries, and the public 
 seemed to have high expectations of a still 
 greater improvement in his subsequent 
 works ; but, by the loss of four thousand 
 guilders, which were privately stolen from 
 him, his spirits were so depressed, that he 
 survived the misfortune only a short time, 
 and died by excess of grief in 1690. 
 
 Benvenuto (GiovaxisiBattista). This 
 painter, who was likewise named L'Or- 
 talano, was a native of Ferrara, where he 
 died in 1525, at the age of thirty-five. He 
 was the pupil of Bartolomeo Bagnacavallo 
 at Bologna, on leaving whom he returned 
 to Ferrara, where he obtained considerable 
 employment. His principal works are, 
 the Virgin and Child, in the church of St. 
 Nicolo ; the Nativity, for that of St. Maria 
 belonging to the Servites; and in the 
 churcli of St. Lorenzo, the Wise Men's 
 Offering. 
 
 Ben WELL (J. H.) The father of this 
 artist was under-steward to one of the 
 Dukes of Marlborough. Ti)e son was 
 placed with Mr. Saunders, a portrait pain- 
 ter, who lived in Great Russell Street, 
 Bloomsbury ; from v/hence he removed to 
 
BER 
 
 40 
 
 BER 
 
 Bath, where he taught drawing. Mr. 
 Benwell painted small pictures in a man- 
 ner peculiar to himself, being a combina- 
 tion of crayons and water colours, very 
 beautifully executed. He died of a con- 
 sumption, at the age of twenty-one, in 
 1785. There are some engravings after 
 his designs, particularly one of the Chil- 
 dren in the Wood, by Sharp. 
 
 Benwell (Mary). This lady lived a 
 long time in Warwick Court, Warwick 
 Lane, where she practised as a painter of 
 portraits, in oil colours, crayons, and 
 miniature, with considerable success. She 
 exhibited her works regularly from 1762 
 to 1783, but afterwards her name does not 
 appear in the catalogues. She married an 
 officer in the army named Coade, who died 
 at Gibraltar. When she died is notknown, 
 but she was living in 1800, at Paddington. 
 
 Berchem, or Berghem (Nicholas). 
 This charming painter of landscape and 
 cattle was born at Haerlem in 1624, and 
 was taught the first principles of paint- 
 ing by his father, Peter Van Haerlem, an 
 artist of mean abilities,whose subjects were 
 fish, confectionery, vases of silver, and 
 other objects of still life. Afterwards 
 Nicholas had the good fortune to be suc- 
 cessively the disciple of Grebber, Van 
 Goyen, Mojaart, Jan Wils, and Weeninx. 
 He had an easy, expeditious manner of 
 painting, and an inexpressible variety and 
 beauty in the choice of sites for his land- 
 scapes ; executing them with a surprising 
 degree of neatness and truth. He pos- 
 sessed a clearness and strength of judg- 
 ment, and a wonderful power and ease ir 
 expressing his ideas ; and though his sub- 
 jects were of the lower kind, yet his choice 
 of nature was judicious, and he gave to 
 every subject as much of beauty and ele- 
 gance as it would admit. The leafing of 
 his trees is exquisitely and freely touched ; 
 his skies are clear; and his clouds float 
 lightly, as if supported by air. The dis 
 tinguishing characters of his pictures are 
 the breadth and just distribution of the 
 lights ; the grandeur of his masses of light 
 and shadow ; a natural ease and simplicity 
 in the attitudes of his figures, expressing 
 their several characters ; the just grada- 
 tion of his distances; the brilliancy and 
 harmony, as well as the transparence of 
 his colouring; the correctness and true 
 perspective of his design ; and the ele- 
 gance of his composition : and, where any 
 of those marks are wanting, no authority 
 ought to be sufficient to ascribe any picture 
 to him. He painted every part of his sub- 
 
 ject so extremely well, as to render it very 
 difficult to determine in which he excelled ; 
 his trees, buildings, waters, rocks, hills, 
 cattle, and figures, being all equally ad- 
 mirable. One of his most capital pictures 
 was painted for the chief magistrate of 
 Dort, being a prospect of a mountainous 
 country, enriched with a variety of sheep, 
 oxen, goats, and figures, excellently pen- 
 cilled and beautifully coloured. While he 
 was employed in painting this picture, the 
 burgomaster bespoke also a landscape from 
 John Both, and agreed to pay eight hun- 
 dred guilders to each artist ; but to excite 
 an emulation he promised a considerable 
 premium for the performance which should 
 be adjudged the best. When the pictures 
 were finished, and placed near each other 
 for a critical examination, there appeared 
 such an equality of merit in them, that 
 the magistrate generously presented both 
 artists with ah equal sum above the price 
 which he had stipulated. Berchem was 
 curious in purchasing the finest prints 
 and designs of the Italian masters, as a 
 means of improving his taste ; and after 
 his death this collection sold for a large 
 sum. There was such a demand for 
 his works, that he was generally paid 
 beforehand ; and though he was so inde- 
 fatigable, tiiat very often he would nat 
 move from his easel, in the summer months, 
 from four in the morning till evening, yet 
 his pictures are rarely to be purchased, 
 and always fetch high prices. He died in 
 1689. Berchem also executed a number 
 of etchings, of which a catalogue was 
 printed at Amsterdam in 1767. He was 
 of so cheerful a temper as to be always 
 singing when at work. 
 
 Berchet (Peter), an historical painter, 
 was born in France in 1659. At the age 
 of fifteen he was placed under the care of 
 La Fosse, with whom his improvement 
 was so considerable, that in three years 
 he was qualified to be employed in some 
 of the royal palaces. In 1681 he came to 
 England, and worked under Rambour, a 
 French painter of architecture ; but after- 
 wards he was engaged in different works 
 for several of the nobility. The ceiling in 
 the chapel of Trinity College, Oxford, 
 representing the Ascension, was painted 
 by Berchet; also the staircase at the Duke 
 of Schomberg's, in London, and the sum- 
 mer-house at Ranelagh. His drawings in 
 the Academy were much approved; but 
 towards the latter part of his life he con- 
 fined himself to small pieces, the subjects 
 of which were mythological : his last per- 
 
BER 
 
 41 
 
 BER 
 
 formance was a Bacchanalian, to which 
 he affixed his name the day before he died, 
 in 1720. 
 
 Berg (Matthys V^vnde>'), a portrait 
 and historical painter, was born at Ypres 
 in 1615. He was a disciple of Rubens, 
 and of some distinction among those who 
 were trained up in that celebrated school. 
 He was correct in his drawing, and assi- 
 duous in designing after the life, as like- 
 wise after the best models ; but by study- 
 ing nature so constantly, his invention 
 being rarely exerted, he became poor; for 
 which reason, though many excellent 
 copies of his, after the finished pictures of 
 his master, abound in several parts of Eu- 
 rope, it is uncommon to meet with any of 
 his own designing that possess originality. 
 He died in 1687, but Descamps says in 
 1647. 
 
 Bergex (Dirk Vajtdex), a Dutch 
 painter of cattle, landscapes, and portraits, 
 was born at Haerlem about 1645. He was 
 the disciple of Adrian Vandervelde ; but 
 his colouring is more glowing than that of 
 his master, though his cattle and other 
 objects are neither designed nor drawn so 
 correctly as those of Adrian. His trees, 
 and taste of landscape, are also more heavy ; 
 but his cattle are frequently painted very 
 naturally, and with tolerable correctness. 
 Some years of his life were spent in Eng- 
 land ; but not meeting with much success, 
 he returned to his native country, where, 
 though he had sufficient employment, yet, 
 through bad economy, he left little behind 
 him, and was buried by contribution in 
 1689. 
 
 Bergex (Niciioi-as Van). This Dutch 
 painter was born at Breda in 1670. He 
 painted and designed historical subjects 
 very much in the manner of Rembrandt, 
 but died young, at Breda, in 1699. 
 
 Bergmuller (John George), a painter 
 and engraver, was born in Bavaria, and 
 became the pupil of Andrew Wolff. He 
 resided at Augsburg, in the churches of 
 which city are some of his paintings ; but 
 he is chiefly known by his prints, many of 
 which he engraved from his own designs. 
 He was born in 1687, and died in 1762. 
 
 Bergonzoni (Lorenzo), a native of 
 Bologna, who was the disciple of Giovanni 
 Battista Bolognini, and Guercino. He for 
 some time painted historical pieces, but 
 afterwards applied himself wholly to por- 
 traits, in which he had great merit. He 
 died about 1700, aged 54. 
 
 Bkrkhetdex or Breckbeug (Job). 
 This artist was born at Haerlem in 1637. 
 
 He studied after nature on the borders of 
 the Rhine, where there is a variety of 
 scenery truly picturesque; and he care- 
 fully sketched those views which appeared 
 to him sufficiently pleasing to be intro- 
 duced in his landscapes. After he had 
 made himself a competent master in that 
 style, he studied and practised the paint- 
 ing of figures, taking his models from na- 
 ture; but his subjects were of the lowest 
 kind, such as boors, husbandmen, shep- 
 herds, and innkeepers, with which he not 
 only furnished his landscapes, but like- 
 wise represented them at their feasts, 
 dances, or conversations, in the manner of 
 David Teniers. His pictures were well 
 handled, agreeably coloured, and some of 
 them were highly esteemed. Having heard 
 much of the munificence of the Elector 
 Palatine to several painters, he set out, in 
 company with his brother Gerard, for the 
 court of that prince. When he had spent 
 some time about the palace, and found it 
 difficult to procure an introduction, he fix- 
 ed upon a scheme which fortunately an- 
 swered his purpose. Having often observ- 
 ed the elector going out to the chase, he 
 took particular notice of all the nobility 
 in his train ; and then, in conjunction with 
 his brother, finished two pictures, con- 
 taining the portraits of the prince and 
 his principal attendants. When the pic- 
 tures were finished, Berkheyden prevailed 
 with an officer of the household to place 
 them in a gallery, through which his high- 
 ness passed at his return. The prince no 
 sooner observed them than he expressed 
 the greatest surprise and satisfaction at 
 the performance ; inquired after the artists, 
 and ordering them to be brought into his 
 presence, received them graciously, reward- 
 ed them nobly for their work, and made 
 them considerable presents besides ; among 
 which were two medals of gold. Job Berk- 
 heyden died in 1693. 
 
 Berkheyden (Gerard). This artist 
 was the brother of Job Berkheyden, and 
 was born at Haerlem in 1645. He painted 
 many pictures in conjunction with his 
 brother; but his usual subjects were views 
 of churches, convents, noblemen's houses, 
 and magnificent structures, which he 
 adorned with small figures, designed after 
 nature. His works were much esteemed, 
 particularly those in which he was assisted 
 by his brother; but, while his reputation 
 seemed to be rising, he was unfortunately 
 drowned in a canal as he returned home, 
 after spending the evening in festivity. 
 There is some diflference between Des- 
 
BER 
 
 42 
 
 BER 
 
 camps and Houbraken in their accounts 
 of these brothers ; for the former says, that 
 it was Job who was drowned, and not 
 Gerard, in 1693. 
 
 Bbbkmans (Henky), an historical and 
 portrait painter, was born at Klundert, 
 near Williamstadt, in Holland, in 1629. 
 He was successively the disciple of Philip 
 Wouvermans, Boschaert, and Jordaens; 
 after which he applied for some time to 
 historical subjects, but quitted that de- 
 partment for portraits, in which he had 
 great merit and success. One of his finest 
 works is a picture representing a Company 
 of Archers at Middleburg. He died about 
 1679. 
 
 Berlinghiebi (Camillo), an Italian 
 painter of history, who obtained the name 
 of II Ferraresino from the city of his nati- 
 vity. He studied under Carlo Bononi, 
 and died at Ferrara, in 1625, at the age 
 of forty. His performances are in most of 
 the churches in and about Ferrara, and 
 one of the best is a picture of the Miracu- 
 lous Descent of the Manna in the Wil- 
 derness. 
 
 Bebnabei (Pier Antonio). This ar- 
 tist was born at Parma, and the disciple 
 of Parmegiano, though in his style he 
 chose to imitate Corregio. He painted 
 in fresco in a grand style, and many of his 
 works are in the churclies of Lorabardy. 
 One of tlie finest is a picture of the Bea- 
 tification, consisting of numerous figures. 
 He died about 1660. 
 
 Bebnaebt (Nicasitjs.) Of this painter, 
 who was the disciple of Francis Snyders, 
 little is known. In his touch, spirit, and 
 colouring, he imitated his master, and as a 
 painter of animals he was very little * 
 ferior to him. He died, in 1663, at the 
 age of 70. 
 
 Bebnabd (of BRcrssEr.s). Nothing 
 memorable of this master is recorded, ex- 
 cept that he was a good designer, and an 
 excellent painter of field-sports and the 
 huntings of wild animals, to which he 
 gaveastrong andspirited expression. Mar- 
 garet, governess of the Netherlands, be- 
 came his patroness, and employed him to 
 design subjects for tapestries, which he 
 executed to his honour. He was also en- 
 gaged in the service of Charles V., and in 
 those hunting-pieces which he painted for 
 that monarch, he generally introduced tl\e 
 portraits of the emperor and his attendants. 
 Several of his portraits of the family of 
 Nassau were so much regarded, as to be 
 thought worthy of being copied by Jor- 
 daens of Antwerp. Sandrart, in mention- 
 
 ing a picture of the Last Judgment, paint- 
 ed by Bernard, says that he covered the 
 panel with leaf gold before he laid on his 
 colours, to preserve them from changing, 
 and also to add a greater lustre to his 
 tints; and the historian, who was himself 
 a skilful artist and competent judge, de- 
 clares that it produced a happy effect, 
 particularly in the sky. Bernard died in 
 1540. 
 
 Bernard (Samuel), a painter and en- 
 graver, was born at Paris in 1615. He 
 studied under Simon Vouet, and for some 
 time painted large portraits in oil and 
 fresco; but meeting with little success, 
 he devoted himself to miniature, and in 
 this branch obtained great celebrity. He 
 copied a number of the finest pictures in 
 history and landscape ; after which he re- 
 duced them to a small size with accuracy, 
 and finished them with delicacy. He also 
 engraved several plates, both in the line 
 manner and mezzotinto. His merit pro- 
 cured him a professorship in the Royal 
 Academy of Painting at Paris, where he 
 died in 1687, leaving a son, who became 
 the richest banker in Europe. 
 
 Bernard ( ). This painter was 
 
 born at Naples in 1680. He was one of 
 the best scholars of Solimena, whose man- 
 ner he adopted, and persevered in through 
 life with great success. He died at his 
 native place in 1734. 
 
 Bernardi (Fr^incesco), a native of 
 Brescia, who obtained eminence in ids own 
 country as a painter of historical subjects ; 
 but his pictures are confined to the place 
 of his birth and residence. The time when 
 he lived is not recorded. 
 
 Bernardo (da Siena), who flourished in 
 1370, painted saints and angels with taste, 
 and animals with an accuracy then new 
 to art : he paid uncommon attention to the 
 feet and hands. 
 
 Bebnasconi (Laubo). He was born 
 atRoraein 1622, and became distinguished 
 there as a painter of flowers, which he re- 
 presented with equal elegance and ac- 
 curacy. He died in 1675. 
 
 Beenazzano, an Italian artist, was bom 
 at Milan, where he studied painting, and 
 was exceedingly commended for the good- 
 ness of his style in landscape, and for an ex- 
 cellent manner of colouring and handling; 
 but as he had never accustomed himself 
 to design or paint figures, he associated 
 himself with Cesare da Sesto, who had 
 been a disciple of Leonardo da Vinci, and 
 whose merit was acknowledged by Raf- 
 faelle. Bernazzano likewise painted ani- 
 
BER 
 
 43 
 
 BER 
 
 tnals, fruit, and flowers, with great suc- 
 cess. He flourished about 1536. 
 
 Bekretini (Pietko da Coktona). 
 This excellent painter of history and land- 
 scape was born at Cortona in 1596. Ac- 
 cording to some writers, he was the dis- 
 ciple of Andrea Comraodi, though others 
 affirm that he was the scholar of Baccio 
 Carpi ; and the author of the Abrege says 
 he studied successively under both those 
 masters; however, he is allowed to have 
 had as great and enlarged a genius as any 
 of his profession, and to have painted more 
 agreeably than most of his contempora- 
 ries. He went young to Rome, and ap- 
 plied himself diligently to the study of tlie 
 antiques, the works of Rafi'aelle, Buo- 
 narroti, and Polidoro ; by which he so 
 improved his taste and his hand, as to ac- 
 quire pre-eminent distinction in a short 
 time. It seemed indeed astonishing that 
 two such noble designs, as the Rape of the 
 Sabines, and a Battle of Alexander, which 
 he painted in the Palazzo Sacchetti, could 
 be the product of so young an artist; 
 when it was observed, that for invention, 
 disposition, elevation of thought, and tone 
 of colour, they were equal to the perform- 
 ances of the best masters. He worked 
 with remarkable ease and freedom ; his 
 figures are admirably grouped, his dis- 
 tribution is truly elegant, and, though his 
 figures are frequently too heavy, thechiaro- 
 oscuro is judiciously observed. Nothing 
 can be grander than his ornaments, and 
 where landscape is introduced, it is de- 
 signed in a fine taste; and through his 
 whole compositions there appears an un- 
 common grace. But De Piles observes, 
 that it was not such a grace as was the por- 
 tion of Rafi'aelle and Corregio, but a ge- 
 neral grace, consisting rather in making 
 the airs of his heads always agreeable, 
 than in a choice of expressions suitable to 
 each subject. In his large compositions 
 the colouring has a good effect, but his 
 colouring in fresco is superior to what he 
 performed in oil ; nor do liis easel pictures 
 appear finished in such a manner as might 
 be expected from so great a master, when 
 compared with what he painted in a larger 
 size. Though frequently incorrect, and 
 not always judicious in his expressions ; 
 though irregular in his draperies, and apt 
 to design his figures too short and heavy ; 
 yet, by the magnificence of his compo- 
 sition, the delicate air of his figures, the 
 grandeur of his decorations, and the beauty 
 and gracefulness of the whole, he must be 
 allowed to have been the most agreeable 
 
 mannerist that any age hath produced. 
 Some of his most capital works are in the 
 Barberini palace at Rome, and the Pa- 
 lazzo Pitti at Florence. In the palace of 
 the King of Sardinia, at Turin, is a small 
 sketch representing tlie Annunciation of 
 the Virgin, which is touched with exquisite 
 skill and spirit ; and in the palace of the 
 Prince della Torre, at Naples, is an in- 
 comparable picture of the Flight into 
 Egypt, the design of which is much more 
 correct than usually appears in the works 
 of this master ; the heads are wonderfully 
 graceful, the composition is extremely fine, 
 and the colouring excellent. His best oil 
 painting is the altar-piece of the church 
 of the Capuchins at Rome, the subject of 
 which is the Restoration of Sight to Paul 
 by Ananias. This great artist died in 
 16G9. 
 
 Berretoni (NicoLo), an Italian pain- 
 ter of historical subjects, was born at 
 Montefeltro in 1627. He was the disciple 
 of Carlo Maratti, with whom he studied 
 design and colouring for som.e years, and 
 became a painter of such distinction, that 
 his merit excited even the jealousy and 
 envy of his master, who seemed appre- 
 hensive of finding a powerful competitor 
 and rival in his pupil. His early works, 
 after quitting Maratti, were in the style 
 and taste of Guide. He died in 1682. 
 
 Berruguette (Alonso), a Spanish 
 artist, was born at Parados de Nava, in 
 Castile. After studying some time in his 
 native country, he went to Rome, where 
 he had Michael Angelo for his master, and 
 Andrea Del Sarto, with other eminent 
 men, for his friends. On his return home, 
 he was employed by the Emperor Charles 
 V. as a sculptor, painter, and architect; 
 in all which capacities he left many ex- 
 cellent monuments of his genius, both at 
 Madrid, the Prado, and the Alhambra of 
 Granada. He died full of years, and co- 
 vered with honours, in 1545. 
 
 Bertoia (Giacinto). This painter of 
 the Lombard School was born at Parma 
 in 1515. He studied under Parmegiano, 
 whose manner he very closely imitated. 
 Most of his works are in the churches and 
 convents of his native place, where he 
 died in 1550. 
 
 Bertoja (Giacomo), an Italian painter, 
 was a native of Parma, and the disciple of 
 Parmegiano. He painted historical sub- 
 jects in fresco for the churches, and died 
 in 1558. 
 
 Bertin (Nicholas), an eminent French 
 painter, was born at Paris in 1667. His 
 
44 
 
 BEU 
 
 father was a sculptor, but died when Nicho- 
 las was a child. At an early age he 
 was placed under Jouvenet, but afterwards 
 became a pupil of Bon Boullogne. At 
 eighteen he gained the first prize adjudged 
 by the Academy of Painting; and soon 
 after he was sent to Rome for improvement, 
 on a royal pension. While there, an ad- 
 vantageous appointment was offered him, 
 which an affair of gallantry prevented him 
 from accepting. In 1703 he was elected a 
 member of the Royal Academy, and his 
 reputation was such, that not only Louis 
 XIV., but several foreign princes, ho- 
 noured him with commissions. For the 
 king he painted a picture of Vertumnus 
 and Pomona; but his greatest work was 
 an altar-piece of St. Philip and the Eu- 
 nuch, in the abbey of St. Germain des Pres. 
 His manner of designing was frequently 
 correct, but the outlines of his figures are 
 far from exact, and his expression is in- 
 different. His small pieces, however, in 
 which he excelled, are free from these 
 faults. The landscapes in his backgrounds 
 are agreeably designed, and well handled. 
 He died in 1736. 
 
 Bertolotti (Giovanni Lorenzo), an 
 historical painter of Genoa, who was born 
 in 1640, and studied under Francesco 
 Castiglione. One of the best pictures that 
 came from his pencil is a representation of 
 the Meeting of St. Elizabeth and the Holy 
 Virgin, of which piece it is said the com- 
 position is excellent, and the colouring 
 transparent. This artist died in 1721. 
 
 Bertusio (Giovanni Battista), a native 
 of Bologna, and the scholar of Denys Cal- 
 vart. When his fellow pupils, Guido and 
 Albano, removed to the school of the Ca- 
 racci, he followed them for improvement; 
 but though he partly succeeded, he could 
 never reach the sublimity of the art. He 
 also aimed to catch the manner of Guido, 
 but failed in the attempt. His composi- 
 tions exhibit correct drawing and graceful 
 figures, but the colour is weak and mealy. 
 
 Bertuzzi (Ercole Gaetano). This 
 artist was born at Bologna in 1669, and 
 died there in 1722, He was a good painter 
 of portraits. 
 
 Besenzi (Paolo Emilio), an artist of 
 Reggio, where he was born in 1624. He 
 emulated the style of Albano, but painted 
 sacred subjects for the churches. He was 
 also distinguished as a sculptor and archi- 
 tect. He died in 1666. 
 
 Besozzi (Ambrogio), a Milanese paint- 
 er, was born in 1648, and died in 1706. 
 He studied under Giuseppe Gandini, and 
 
 next under Giro Ferri. His talent lay in re- 
 presenting architectural subjects and orna- 
 ments. He was also an engraver. 
 
 Bettes (John and Thomas). Of these 
 two miniature painters, who were brothers, 
 and lived in England about the year 1596, 
 we know nothing further than that they 
 were employed by Queen Elizabeth, whose 
 portrait was painted by the elder Bettes, 
 with great credit to himself, and satisfac- 
 tion to his royal patroness. 
 
 Betti (Biagio), an Italian artist, was 
 born at Pistoia in 1545. He studied under 
 Daniello da Volterra, on whose death he 
 entered into the order of Theatines ; and 
 his pictures are confined to the monastery 
 of which he was a member. He died in 
 1615. 
 
 BETTiNi(DoMENico),aFlorentineartist, 
 was born in 1644. He was first instructed 
 by Jacopo Vignali, but afterwards he stu- 
 died at Rome, under Mario Nuzzi, with 
 unceasing diligence and complete success. 
 His subjects were fruit, flowers, insects, 
 animals, and still life, which he well dis- 
 posed, skilfully grouped, and gave them a 
 strong character of nature and truth. He 
 died in 1705. 
 
 Be VILA QUA, see Salimbene. 
 
 Bbville (Charles). This French ar- 
 tist was born at Paris in 1651, and died 
 there in 1716. In his day he had some re- 
 putation forhis taste in landscape painting, 
 but his pictures are now in little estima- 
 tion. 
 
 Beuckelaer or Buceltrar (Joachim), 
 a Flemish artist, was born at Antwerp in 
 1530, and died in 1610. He was the ne- 
 phew and scholar of Peter Aertsen, whose 
 manner of painting he adopted ; and his 
 pictures of kitchens, game, fruit, fish, and 
 other objects of still life, are well exe- 
 cuted. 
 
 Beurs (William). This painter, who 
 was born at Dort in 1656, by the force of 
 natural genius showed an extraordinary 
 expertness in drawing and designing, be- 
 fore he had received even the smallest 
 instruction from any professor of the art. 
 At the age of eighteen, however, he was 
 placed under the direction of William 
 Drillenburg, and made so rapid a progress, 
 that in a few years he almost equalled him 
 in the freedom of his hand and the clear- 
 ness of his colouring. He painted in the 
 style and manner of his master, but proved 
 somewhat superior in the correctness of 
 his design ; and he might have acquired 
 as great a reputation, and as large a pro- 
 portion of riches, as any of his conterapo- 
 
BIA 
 
 BIC 
 
 raries, if he had not impaired his consti- 
 tution by a negligent and dissolute course 
 of life. He painted landscapes, flowers, 
 and portraits. He died about 1690. 
 
 Bezozzi (Ambrogio). This artist of 
 the Lombard School was born at Milan, 
 in 1G48. He was the scholar of Giuseppe 
 Danedi, surnamed Montalto ; but after- 
 wards he went to Rome, where he studied 
 under Giro Ferri, whose manner he adopt- 
 ed with success. He died at Milan in 
 1706. 
 
 BiANCHi (Bajldassake), a Bolognese 
 artist, was born in 1614. His first master 
 was Giovanni Paderna; but he improved 
 himself considerably under the tuition of 
 Agostino Mitelli. Such was his reputa- 
 tion, that the Dukes of Modena and Man- 
 tua kept him almost constantly employed 
 in their palaces. He painted historical 
 subjects in a noble style, and had for an 
 assistant his daughter Lucretia. Bianchi 
 died in 1679. 
 
 Bianchi (Orazio), a native of Rome, 
 who painted historical pieces with repu- 
 tation. Though no particulars are re- 
 corded of his life, or of the time when he 
 died, critics speak advantageously of a 
 picture in the church of St. Joseph at 
 Rome, the subject of which is the Mar- 
 riage of the Virgin. 
 
 Bianchi (Francesco). This painter, 
 who also obtained the name of II Frari, 
 was born in 1447 at Modena, and is said 
 to have had the honour of being the mas- 
 ter of Corregio. His colouring was fine, 
 his attitudes graceful, and his invention 
 grand; but his compositions have some- 
 what of dryness, and his figures are in- 
 correct, especially in the eyes. He died 
 in 1510. 
 
 Bianchi (Fedekigo), a painter of Mi- 
 lan, who studied under his cousin, Giulio 
 Cesare Procaccini, and made so rapid a 
 progress, that at the age of seventeen he 
 executed three frescoes for a monastery in 
 his native city. The Duke of Savoy gave 
 him considerable employment, and bestow- 
 ed upon him, among other marks of royal 
 favour, a chain and medal of gold. 
 
 Bianchi (Pietro), a native of Rome, 
 was born in 1694. He gave the promise 
 of rising to eminence as an historical 
 painter, when he was cut off by a con- 
 sumption in the prime of his days, about 
 1740. 
 
 Bianchi (Isiboro), an historical painter 
 of Milan, who was probably a relation of 
 the preceding. He was born in 1626, and 
 studied his art under Mazzuchelli, or Mo- 
 
 razzone, whose manner he closely followed. 
 He painted in fresco and oil, but princi- 
 pally in the former. The Duke of Savoy 
 employed him in finishing the painting of 
 a saloon at Rivoli, which had been begun 
 by Mazzuchelli ; and this work so pleased 
 the prince, that he conferred on Bianchi 
 the honour of knighthood. He died about 
 1670. 
 
 BiANCUcci (Paolo), a native of Lucca, 
 and the disciple of Guido, to whose man- 
 ner of pencilling and colouring he adhered 
 through life. One of his most attractive 
 and original performances is a picture of 
 Purgatory, in a church at Lucca. He 
 died in 1653, aged 70. 
 
 BiniENA (Ferdinando Galli). He 
 was born at Bologna in 1657 ; and having 
 lost his father, Giovanni, who had been a 
 disciple of Albano, he was placed under 
 the direction of Carlo Cignani ; and this 
 artist, observing that the genius of his 
 pupil seemed to have a stronger tendency 
 to the painting of architecture than the 
 designing of figures, had him instructed 
 by Paradosso, Aldobrandini, and Antonio 
 Manini. On the recommendation of Cig- 
 nani he had an opportunity of displaying 
 his talents, and was particularly favoured 
 by the Duke of Parma, who appointed him 
 his principal painter of decorations and 
 architecture, with a pension ; which situa- 
 tion and grant were continued by Duke 
 Francesco Farnese. Afterwards, on the 
 invitation of the Emperor Charles VL, he 
 removed to Vienna, where that monarch 
 gave him a similar appointment, and pre- 
 sented him with a chain and medal of 
 gold . His easel pictures show^ a noble and 
 elegant oi-donnance, and a tone of colour 
 uncommonly beautiful. His perspectives 
 have an astonishing effect, by the judicious 
 masses of light and shadow, the result of 
 a thorough and perfect knowledge of the 
 chiaro-oscuro ; and the vestiges of mag- 
 nificent buildings, which he introduced 
 into his compositions, add a grandeur and 
 richness to all his performances. Most 
 of the decorations which appeared in Italy, 
 during his time, were executed from his 
 designs ; but the figures were inserted by 
 his brother Francesco. He died in 1743. 
 He had two sons, Giuseppe and Antonio, 
 who followed in their father's steps. The 
 first resided successively at Vienna, Prague, 
 Dresden, and Berlin. He died in 1756 : 
 the latter at Mantua, between 1770 and 
 1780. Giuseppe left a son. Carlo, also a 
 theatrical painter. 
 
 Bicci (Lorenzo di), a Florentine artist, 
 
BIL 
 
 46 
 
 BIR 
 
 who, according to Vasari, was born in 
 1400, and studied under Spinello. He 
 painted wholly in fresco ; and several of 
 his pictures, in the old formal style of his 
 age, once ornamented the churches of his 
 native city, where he died in 1460. 
 
 BiE (ADSLiif de). This artist, who 
 painted portraits and architectural orna- 
 ments, with small figures, was born at 
 Lierre in 1594. He learned the rudiments 
 of the arts from Wouter Abts ; but after- 
 wards he became the disciple of Rodolph 
 Schoof, a painter of reputation, at Paris. 
 When he had practised under that master 
 for a sufficient time to form his hand, he 
 sought to obtain still greater improvement 
 by travelling to Rome, where he spent six 
 years in studying the works of the best 
 masters. His industry was rewarded with 
 success ; and he found encouragement not 
 only at Rome, but in every part of Italy, 
 from persons of the first distinction. His 
 pencilling was so neat, and his touch and 
 colouring so delicate, that he was fre- 
 quently employed to paint on jasper, agate, 
 porphyry, and other precious materials. 
 He died about 1640. 
 
 BlEZBMNGEN (ChBISTLVN JaNS Van), 
 
 a Dutch painter, was born at Delft in 
 1558, and died in 1600. He had consi- 
 derable merit as a painter of portraits; 
 but his most memorable performance was 
 the one which he executed of the Prince 
 of Orange, after that prince had been as- 
 sassinated by Gerard. Although the 
 painter had only the lifeless corpse for his 
 model, the picture was allowed to possess 
 a much stronger character and resem- 
 blance of that illustrious hero, than any 
 other of the portraits which were painted 
 of him when alive. 
 
 BiGABi (ViTTOKio), a Bolognesc painter 
 of historical subjects. Of his age and 
 master we are not informed ; yet he pos- 
 sessed considerable merit, and was much 
 employed in ornamenting the churches 
 and palaces of his native city with pictures 
 of a large size, painted in fresco, and of 
 the execution of which some writers speak 
 in high terms. 
 
 BiGio (Francia). This old artist was 
 born at Florence in 1445. He excelled 
 in painting architectural pieces, animals, 
 and landscapes. He died in 1525. 
 
 BiLivEET (GiovAimi), a Florentine, 
 who flourished between 1576 and 1644. 
 He was a disciple of Cigoli, and a close 
 follower of his style, with which he blended 
 that of Paolo Veronese, and that of Titi. 
 He painted some fine church pieces in 
 
 fresco and oil, in all of which he displayed 
 great originality of conception and power 
 of expression. One of his best produc- 
 tions is a picture of Joseph and his Mis- 
 tress, in tlie ducal gallery at Florence. 
 
 BiLLONi (Giovanni Battista). He 
 was born at Padua in 1576, and studied 
 under ApoUodoro di Porcia. He painted 
 historical subjects, but excelled chiefly in 
 portrait. He died at Padua in 1636. 
 
 BiLTius ( ), aDutch painter, who 
 
 lived about the year 1651. His talent 
 lay in the representation of game, and 
 other subjects of still life, connected with 
 the exercise of sporting; all which he 
 painted on a white ground, in a manner 
 that gave the articles the appearance of 
 reality. 
 
 Bird (Edward), an artist educated 
 chiefly in the wide academy of nature, 
 was born at Wolverhampton, April 12, 
 1772, and served an apprenticeship to a 
 tea-tray maker, whose works it was his 
 business to embellish with fruits, flowers, 
 patches of landscape, groups of peasants, 
 and " vacant shepherds piping in the 
 dale." From tea-trays he ventured to 
 canvass; and his first successful work was 
 Good News, a scene he had witnessed 
 in an ale-house. The Blacksmith's Shop 
 was touched with the like social spirit; 
 and the Country Auction, which suc- 
 ceeded, was reckoned one of his ablest 
 works : the crowd which the auctioneer's 
 hammer called together, is full of varied 
 characters, and the colouring is mellow 
 and harmonious. The fame and merits of 
 Bird attracted the notice of the Academy 
 where he exhibited these pictures, and he 
 was elected a member ; a love of the his- 
 torical now came on him, and he painted 
 first. The Surrender of Calais ; secondly. 
 The Death of Eli ; and thirdly, the Field 
 of Chevy Chase after the Battle. This 
 last is the highest, as it is the happiest, of 
 his productions: a sorrowful subject, 
 touched with apathetic spirit: the heart 
 of the country was affected, and the tears 
 that were shed before it, said more for its 
 genius than the praise and it was not 
 wanting which critics bestowed upon its 
 natural grouping and chivalrous charac- 
 ter. But subjects of that sort cost him 
 much thought and labour and, moreover, 
 his heart was with scenes of a humbler 
 sort. To his earlier subjects he returned, 
 and painted the Gipsy Boy; the Young 
 Recruit; Meg Merrilies; the Game at 
 Put, and several more of the same class ; 
 all of which may be instanced as proofs 
 
BIS 
 
 47 
 
 BIS 
 
 of his tact in adapting living life to tlie 
 purposes of art. When he happened to 
 meet a ragged mendicant, a picturesque 
 peasant, a poetical-looking gipsy, or some 
 boor, as rough and ragged as the shaggy 
 team which he drove, Bird took a rude 
 sketch on the spot, went with his mind 
 full to his easel, and dashed in his picture 
 the quicker done, the happier the work. 
 In an evil hour he resolved to paint the 
 embarkation of the long exiled King of 
 France when recalled to Paris on the de- 
 thronement of Napoleon : this included 
 many portraits : the French lords, with 
 their king, true to national politeness, sat 
 not so the lords of England with their 
 king ; they were too well bred to refuse, 
 indeed, but had not the courtesy to sit 
 an incivility which helped the painter to a 
 too early grave. On tlie 2nd of Novem- 
 ber, 1819, he no longer sutfered from the 
 insolence of prince or peer. 
 
 BiscAiNO (Bartolomeo). This artist, 
 whose greatest forte was history, was born 
 at Genoa in 1632. His father was Gio- 
 vanni Andrea Biscaino, a landscape painter 
 in good repute, from whom Bartolomeo 
 learned the principles of drawing and de- 
 sign ; but he was indebted to Valerio 
 Castelli for his knowledge of colouring, 
 lie proved a good designer, and an excel- 
 lent engraver, and, by his early perform- 
 ances, afforded an expectation of his ar- 
 riving at the utmost perfection in the art; 
 but he was cut off by the plague, in the 
 flower of his age, in 1657. 
 
 Biscuop (Joirv de), a Dutch painter of 
 history and landscapes, and engraver, was 
 born at the Hague, in 1646, and died in 
 1686. He was an amateur artist, being an 
 advocate at the court of Holland. He was 
 allowed to have considerable merit in those 
 paintings which he finished in oil; but his 
 chief excellence consisted in drawing with 
 a pencil in a manner so uncommonly cu- 
 rious, that he could perfectly imitate the 
 style of the greatest master; and a ju- 
 dicious observer might, even at the first look , 
 determine whether he imitated Tintoretto, 
 Bassan, Caracci, Veronese, Rubens, or 
 Vandyck. For this reason his drawings 
 were much sought for ; and even at this 
 day they are highly prized on account of 
 their correctness and taste. 
 
 BiscHOP (Cornelius). This painter 
 was a native of Antwerp, according to one 
 account, and of Dort to another. He was 
 born in 1630, and was the disciple of Fer- 
 dinand Bol. His pencil, tint of colouring, 
 style, and manner, had a strong resem- 
 
 blance to those of hiy master; and, by 
 m^finy judges, he is esteemed not inferior 
 to him either in historical subjects or in 
 portrait. A painting by Bischop, consist- 
 ing of a few figures by candlelight, was so 
 much admired by Louis XIV., that he 
 purchased it at a high price ; and the King 
 of Denmark admitted his works among 
 those of the best masters. Notwithstand- 
 ing, however, the encomiums bestowed on 
 this artist by the French writers, an im- 
 partial judge may perhaps think that his 
 compositions are heavy, and without ex- 
 pression, and his works in general not 
 worthy of the applause which has been 
 lavished upon them. He died in 1674, 
 and left a son called Abraham, who, al- 
 though he was instructed by his father in 
 designing historical subjects and portraits, 
 preferred the painting of fowls, particu- 
 larly those of the domestic kind, to the 
 higher branches of the art. He designed 
 after nature, and usually painted in a large 
 size, such as ornamental furniture for 
 grand halls ; and every species of fowl 
 was so faithfully represented in attitude, 
 character, and plumage, that his works 
 obtained universal approbation. The time 
 of his death is unknown. 
 
 BiSET (Charles Emaxuel). This 
 painter was born at Mechlin in 1633. 
 Even in his early productions he showed 
 a lively and ready invention. He was 
 remarkable for introducing a multitude 
 of figures into his designs, with an extra- 
 ordinary variety of drapery, peculiar to 
 every nation. His general subjects were 
 conversations, balls', concerts, aud assem- 
 blies, correctly designed, and well colour- 
 ed ; though the actions and the attitudes 
 of the figures were sometimes indelicate. 
 His pictures had a strong effect at a dis- 
 tance; yet, when more nearly inspected, 
 they showed a neatness of pencil, a spirited 
 touch, and a good expression. 
 
 Bisi (Bonaventura), a Franciscan 
 m.onk. This artist was a native of Bo- 
 logna, and the disciple of Lucio Masari. 
 But his sole delight was in miniature 
 painting, and in that way he arrived at 
 great excellence. Instead, however, of 
 working from his own invention, or origi- 
 nal design, he employed himself in imitat- 
 ing on a small scale the pictures of Guido, 
 Corregio, Titian, and other great masters, 
 which he finished with grace, neatness, 
 and beauty. Several of his works are in 
 the gallery of the Duke of Modena, and 
 are highly valued. He died in 1662. 
 
 BissoNi (Giovanni Battista), a native 
 
of Padua, who painted history and por- 
 trait. He was the disciple of ApoUodoro ; 
 after which he improved himself at Rome, 
 and then settled in his native city, where 
 he was much employed for the monastic 
 institutions and churches. He died in 
 1636. 
 
 BizELLi (GiovANxi). He was the dis- 
 ciple of Alessandro AUori; and having 
 laid a good foundation of the knowledge 
 of design under that master, he visited 
 Rome, where he studied the most cele- 
 brated paintings and ancient sculpture. 
 His abilities were soon distinguished, and 
 he had continual employment as long as 
 he continued at Rome ; being engaged by 
 persons of the first rank to paint subjects 
 of his own invention, or others taken from 
 history, and likewise portraits. He died 
 in 1612, aged 56. 
 
 Blaceo (Bebnardino), a Venetian ar- 
 tist, who lived about the year 1560. His 
 subjects were wholly of a religious charac- 
 ter, as he was principally engaged in paint- 
 ing large pictures in fresco for churches 
 and convents. One of his most capi- 
 tal performances is a Madonna and Child, 
 in the church of St. Luke, at Udino. 
 
 Black ( ). This person was a 
 
 portrait and drapery painter. He lived, 
 about 1768, in Bol ton-street, Piccadilly. 
 He was then a member of the academy in 
 St. Martin's-lane ; and had a daughter 
 who acquired some reputation for her skill 
 in painting in crayons and oil, She oc- 
 casionally exhibited, but nothing more 
 is known either of the one or the other. 
 
 Blaix (Jean Baitiste). This French 
 artist was born at Caen in 1654, and ac- 
 quired the elements of painting from his 
 father, after which he went to Paris, 
 where he became the scholar of Monoyer. 
 He painted flowers and fruits in the style 
 of his master with great success. His 
 pencil was sweetly delicate, and his colour- 
 ing elegant ; he also painted insects with 
 great exactness, and gave a high finish to 
 all his subjects. He died at Paris in 
 1715. 
 
 Blaket ( ). Nothing more is 
 
 known of this artist than that he enjoj'ed 
 some celebrity in the middle of the last 
 century. He was much employed in mak- 
 ing designs for the booksellers ; and ap- 
 pears to have resided most of his life at 
 Paris. In 1747, he was engaged with 
 Hayman in painting pictures for a set of 
 prints illustrative of tlie History of Eng- 
 land; but the work was never completed. 
 
 Blake (William), an artist of singular 
 
 taste and flightiness of imagination. On 
 the 28th of November, 1757, he came into 
 a world which sympathized but little with 
 his fancies. He was born in London, 
 and designed by his family for a hosier; 
 but an ungovernable impulse drove him to 
 the pencil while almost a boy, and the first 
 fruits of his talents were The Songs of 
 Innocence, a work strange and beautiful, 
 containing lyrics of great sweetness, and 
 drawings of greater beauty. To these 
 succeeded a work equally wild and lovely, 
 called, The Gates of Paradise, a sort of 
 devout dream, and which, like a holy dream, 
 leaves impressions pleasant and abiding. 
 His pencil was now in request, and he 
 illustrated Young's Night Thoughts with 
 naked groups, which startled the serious ; 
 and he made designs for Blair's Grave, 
 much in the spirit of that very original 
 poem. These were fanciful creations, yet 
 full of feeling and delicacy ; and though 
 now and then a little too mystical for the 
 multitude, were looked on with wonder 
 or respect by the world. But his next 
 work, entitled Jerusalem, soared higher 
 than even romantic sympathy could fol- 
 low; and Blake would have been consi- 
 dered as visionary or mad, had he not 
 imagined his fine designs he called them 
 Inventions for the Book of Job. In 
 these he pictures the Man of Uz sustaining 
 his dignity amid the inflictions of the devil, 
 the reproaches of his friends, and the in- 
 sults of his wife. The Scripture overawed 
 his imagination, and he was too devout to 
 attempt more than a literal embodiment 
 of the most wondrous history ever unfolded 
 by genius. Blake goes step by step with 
 the narrative: always simple, and often 
 sublime, and never burthening the text 
 by the exuberance of his fancy. The 
 colours with which he gave brilliancy and 
 effect to these conceptions are so rare and 
 so lustrous, as to countenance the assu- 
 rance of the artist, that they were taught 
 him by the spirit of a deceased brother 
 whom he loved. But whatever world the 
 revelation came from, the secret has per- 
 ished with the artist himself, who died, 
 without revealing it, on the 12th of Au- 
 gust, 1828, in very straitened circum- 
 stances. His works are of small dimen- 
 sions; are all executed on paper; and 
 tinted in with a skill and an effect rivalled 
 only by those great artists who make 
 water-colours as splendid and lasting as 
 those in oil. 
 
 Blanchabd (Jean), This artist was 
 born at Paris in 1595, and died there 
 
BLE 
 
 in 1665. He was a tolerable painter of 
 history. 
 
 Blanchabd (Jacques), a French pain- 
 ter of portrait and history, was born at 
 Paris in 1600. He received his first in- 
 structions in the art from his uncle Nicho- 
 las Botteri ; but afterwards he spent some 
 time with Horace le Blanc at Lyons, and 
 then travelled to Italy, and studied for two 
 years at Rome and Venice. The works 
 of Titian and Tintoretto made him so 
 enamoured with the Venetian school, that 
 he followed it entirely, and, on his return 
 to France, the force and clearness of his 
 pictures gained him many admirers, and 
 the high-sounding appellation of the mo- 
 dern Titian. In the church of Notre 
 Dame, at Paris, is a picture of the Descent 
 of the Holy Ghost, by Blanchai-d, which 
 procured him reputation, and at this day 
 it is highly esteemed. He died in 1638. 
 
 Blanchkt (Thomas). This painter was 
 born at Paris in 1617, and died at Lyons 
 in 1689. At first his genius inclined him 
 to sculpture, but being dissuaded from 
 practising that art, on account of the weak- 
 ness of his constitution, he applied him- 
 self to painting; and having made some 
 progress in it, he travelled to Italy for 
 improvement. While at Rome, he had 
 the good fortune to receive some instruc- 
 tion from Nicolo Poussin and Andrea Sac- 
 chi, of which he afterwards made a happy 
 use in his historical subjects. He had a 
 ready genius, designed well, and under- 
 stood the principles of perspective and 
 architecture. He was rich in his compo- 
 sition, and his colouring had much the 
 appearance of nature. His boys were 
 well drawn, and though he was not always 
 correct, his errors were, perhaps, rather 
 imputable to the rapidity of his imagina- 
 tion and pencil, than to any want of ability. 
 
 Blankhof (John Teunisz). This ar- 
 tist was born at Alkmaar in 1628, and 
 received his first instruction from Arnold 
 Tierhng ; but afterwards he became suc- 
 cessively the disciple of Peter Scheyenburg 
 and Caesar Van Everdingen. When he 
 had spent some years with them, he went 
 to Rome, where he was studiously diligent 
 in copying the works of the best masters, 
 and was admitted into the society of Fle- 
 mish painters, called Bentvogels, who gave 
 him the name of Jan Maat, that is, mate 
 or companion, by which cognomen he is 
 generally known. His subjects were land- 
 scapes, with views of rivers, seashores, 
 and havens, which he executed with a 
 light, free pencil; and in the representation 
 
 of storms and calms, he copied nature 
 with great truth, exactness, and neatness 
 of handling. The pictures of this master 
 which are most commended are the Italian 
 seaports, with vessels lying before them. 
 He possessed a lively imagination, nor was 
 his hand less expeditious than his ideas ; 
 and it is commonly supposed, that if he 
 had either bestowed more labour on his 
 pictures, or finished them more highly, he 
 would have destroyed much of their spirit 
 and effect. His most capital performance 
 is a view of the seashore, with the waves 
 retiring at ebb tide, which is described by 
 Houbraken as wonderfully beautiful and 
 natural. He died in 1670. 
 
 Blanseki (Vittobio), a Venetian pain- 
 ter, who studied under Beaumont. He 
 resided all his life at the court of the King 
 of Sardinia, and was much employed, not 
 only in the palaces, but in executing large 
 pictures for the churches. He died in 
 1775. 
 
 Blekers. This artist, who painted his- 
 tory and landscape, was born at Ilaerlem 
 about the year 1635. He was patronised 
 by the Prince of Orange, who retained 
 him in his service several years. Among 
 a number of paintings which he finished 
 for the prince, one was an historical design 
 of the Triumph of Beauty; in which com- 
 position the figure of Venus was well 
 coloured and delicately designed. He also 
 painted a fine picture, the subject of which 
 is the story of Danae. 
 
 Bless (Henby). This painter was born 
 at Bovines, near Dinant, in 1480, and 
 obtained his skill in the art by the strength 
 of his natural genius, and a diligent study 
 of the works of Patenier, without any 
 other instructor : at last, however, he ren- 
 dered himself very eminent, particularly 
 by his landscapes. His style of historical 
 composition resembled that of the Flemish 
 artists of his time, and his pieces exhibit 
 numerous figures, finished with neatness ; 
 but he crowded several subjects into one 
 design. Thus, for instance, in his picture 
 of the Disciples at Emmaus, he represented 
 not only that incident, but in difierent 
 groups disposed in the background the 
 several parts of the Passion of our Saviour. 
 Notwithstanding this impropriety, his pic- 
 tures were so delicately pencilled, and his 
 landscapes so agreeably designed, full of 
 variety, and well executed, that even in 
 Italy his works were in great request, and 
 were distinguished by the appellation of 
 the Owl pictures ; that bird being his pe- 
 culiar mark, and by which his works are 
 
BLO 
 
 50 
 
 BLO 
 
 always known. His best performances 
 were bought by the Emperor Rodolph, and 
 are in the cabinet of Vienna. Bless died 
 in 1550. 
 
 Block (Daniel). This artist, who was 
 born at Stettin in Pomerania, in 1580, gave 
 such early proofs of genius, that his pa- 
 rents placed him with Jacob Scherer, a 
 master capable of giving him the best 
 directions. Block chiefly painted portraits, 
 in which he was very eminent, and had 
 the honour to paint those of Christian IV., 
 King of Denmark, and Gustavus Adol- 
 phus. King of Sweden. After this, the 
 Duke of Mecklenburg retained him in his 
 service forty-four years ; and, by order of 
 that prince, he painted the portraits of his 
 whole family at full length, as large as 
 life, and in the antique habit. The agree- 
 able manner of his colouring, and the easy 
 attitudes of his figures, rendered his paint- 
 ings so acceptable to persons of rank, that, 
 before the decline of life, he had acquired 
 a large fortune, which unfortunately he 
 lost by the irruption of a plundering party, 
 from whom he with great difficulty escaped 
 with his life. He died in 1661. 
 
 Block (Benjamin). He was the son 
 of the preceding artist, and was born at 
 Lubeck in 1631. The first specimen of 
 his genius was a drawing with a pen of 
 the Duke of Mecklenburg, which appeared 
 like a fine engraving; but he soon became 
 so excellent a painter, that his reputation 
 was spread over Germany. For his im- 
 provement, he resided some time at Rome, 
 Venice, and Florence ; where he procured 
 access to the most curious cabinets, and 
 spent several years in designing, by which 
 he acquired a good taste and pleasing tone 
 of colouring. These accomplishments in- 
 troduced him to the court of Saxony, 
 where he was employed to paint the por- 
 traits of the elector and his family, and 
 also those of the principal nobility; he 
 likewise executed a number of fine altar 
 pieces for the churches and convents of 
 Hungary. The most capital performance 
 of this master is the portrait of Kircher 
 the Jesuit, which was exceedingly admired, 
 even at Rome. 
 
 Block (Jacob Roger). This artist 
 was born at Gouda in 1580, and applied 
 himself to the painting of perspective and 
 architecture. Several years of his early 
 life were spent in Italy, where he imbibed 
 that taste of grandeur and elegance in his 
 compositions which raised him above all 
 his contemporaries. At his return to his 
 own country, his style of painting archi- 
 
 tectural subjects recommended him to the 
 patronage of the Archduke Leopold, who 
 gave him aconsiderable pension, and whom 
 he attended in all his campaigns, as he was 
 remarkably skilful in military engineering 
 and architecture ; but, in 1632, having 
 rode out with a reconnoitring party to 
 take a view of the fortifications of Saint 
 Vinox, in Flanders, in passing a small 
 rivulet over a temporary bridge of planks, 
 his horse made a wrong step, and threw 
 him into the stream, where he was unfortu- 
 nately drowned. While he lived at Gouda, 
 he was visited by Rubens ; and, when that 
 great artist had examined and thoroughly 
 considered his works, he declared that he 
 had not seen any painter in the Nether- 
 lands who could stand in competition with 
 him in his particular line. 
 
 Blockland (Anthony de Montfoet). 
 He was born of a noble family at Montfort 
 in 1532, and learned the art of painting in 
 the school of Francis Floris, whose man- 
 ner he always followed ; and became an 
 artist of great distinction. He understood 
 the principles of perspective thoroughly ; 
 he disposed his figures with judgment and 
 accuracy; the sty le of his colouring is agree- 
 able, and his pencil is mellow. He drew 
 every object after nature, and gave consi- 
 derable elegance to the contours of his 
 figures. He designed naked figures ex- 
 tremely well, and his draperies are in a 
 good taste; the heads of his figures are 
 well ornamented, the beards of his old men 
 are handled delicately, and the extremities 
 of his figures are correct. Though he 
 painted portrait, his genius was best adapt- 
 ed to grand compositions, of which he 
 designed many ; some at Delft, but more 
 at Utrecht. His design had grandeur, his 
 heads were noble, and the outlines of his' 
 females approached to the taste of Parme- 
 giano. Several of his works are in so 
 good a style, particularly a Venus, and a 
 picture, the subject of which is the History 
 of Joseph and his Brethren, that they seem 
 to have been painted by one educated in the 
 school of Florence. He died in 1583. 
 
 Bloemaekt (Abraham). This master 
 was born at Gorcum in 1564, according to 
 Houbraken, but Sandrart places his birth 
 in 1567. He lived mostly at Utrecht; 
 and in his youth he applied himself to de- 
 sign after the works of Francis Floris, but 
 afterwards he received instructions from 
 several artists of no great repute; notwith- 
 standing which, the power of his genius 
 proved his principal director. He formed a 
 manner peculiar to himself, making na- 
 
BLO 
 
 51 
 
 BLO 
 
 ture his model for many of the objects he 
 painted, particularly landscape and cattle, 
 in which he excelled. His invention was 
 ready, and in his compositions there ap- 
 pears great truth ; his draperies are broad, 
 simple, and have generally a good effect ; 
 his touch is free and spirited, and his works 
 show that he understood the chiaro-oscuro 
 well. His taste and style, however, are 
 too much in the Flemish manner; and 
 his figures seem to be the product of his 
 own fancy, without a sufficient attention 
 to real life. His historical picture of the 
 Death of Niobe and her Children gained 
 him great reputation, and was purchased 
 by tlie Emperor Rodolph at a good price. 
 The figures are as large as life. Many of 
 his pictures are in the churches at Brussels 
 and Mechlin. Bloemaert also etched a 
 number of pictures in a curious manner. 
 He died in 1647, leaving four sons : 
 
 Bloemaert (Henky). He was instruct- 
 ed by his father Abraham, but his genius 
 was heavy, his colouring bad, and his man- 
 ner of pencilling stiff and constrained. His 
 next brother, Adrian Bloemaert, proved 
 more eminent ; and when he had finished 
 his studies under his father, he travelled to 
 Italy, where he improved considerably in 
 composition and design. On his return 
 from Rome, he settled at Saltzburg; and 
 several of his paintings in the historical 
 style are in the convent of Benedictines 
 in that city. He was killed in a duel. 
 Frederick, the third son of Abraham, was 
 an engraver, as also was Cornelius, the 
 youngest. This last, who was an excellent 
 artist, died in 1680. 
 
 Bloemen (John Francis Van). This 
 celebrated painter, though a Fleming, is 
 considered as an Italian master, because 
 he studied at Rome, and always resided 
 there or in its vicinity. He was born at 
 Antwerp in 1656, but it is not known from 
 whom he learned the art of painting. On 
 going to Rome, he not only observed the 
 beautiful scenes in the environs of that city, 
 but studied also the works of the great 
 artists who before him had copied after 
 nature in the same place. Thus he took 
 every judicious means to improve his taste 
 and explore the secrets of his art. The 
 first of his performances exhibited at Rome 
 showed the greatness of his genius, and the 
 promise of that merit by which he was 
 afterwards distinguished. His name was 
 now changed by the Bentvogel Society to 
 Orizzonte, or Ilorizonti, on account of the 
 natural receding of the objects in his com- 
 positions, and his delicate manner of con- 
 
 ducting and extending his distances. His 
 works were highly admired, and bought up 
 at great prices, by the pope and other il- 
 lustrious personages. His first manner 
 resembled that of Vander Cabel, and his 
 next that of Poussin ; but he made nature 
 his grand model, and particularly in his 
 views about Tivoli. Those enchanting 
 scenes, which were the subjects of many of 
 his landscapes, he diversified with groves, 
 declivities of hills, and falls of water; 
 often representing, with extraordinary 
 beauty and truth, the mists arising from 
 the agitated surface of the river below. 
 His pictures are well designed and han- 
 dled, and those of his best days are consi- 
 dered as an ornament to the first cabinets 
 in Europe. Though he lived to the great 
 age of eighty-four, neither his imagination 
 nor power of execution failed with the in- 
 crease of years and infirmities. He died 
 in 1740. The Marquis of Hastings has a 
 fine landscape in the best manner of Oriz- 
 zonte, the figures of which are by Sebastian 
 Conca. 
 
 Bloemex (Peter Van). This artist 
 was born at Antwerp, and was the brother 
 of the preceding. He lived several years 
 at Rome, where he devoted his whole time 
 to the study of the works of the greatest 
 masters. When he found himself com- 
 pletely skilled in colouring, pencilling, 
 and designing, he returned to his native 
 city, and in 1699 was appointed director 
 of the academy. His composition i^ rich, 
 and his pictures are filled with figures. 
 His subjects are the marches of cavalry, 
 encampments, battles, Italian fairs, mar- 
 kets and festivals ; in representing which 
 he showed great correctness of design and 
 drawing, and an elegance in the manner 
 of dressing his figures, whom he frequently 
 arrayed in oriental habits. He also painted 
 horses in an admirable style, and gave them 
 abundance of spirit, graceful attitudes, and 
 an expression that was full of life. On 
 account of his peculiar style, and perhaps 
 to distinguish him from his brother, he 
 obtained the name of Standard. His land- 
 scapes are enriched with elegant architec- 
 ture, basso relievos, and mutilated statues, 
 in a noble taste; and rendered more pleas- 
 ing by a good tone of colour, with animals 
 and excellent figures. His best works are 
 universally admired, and fetch large prices ; 
 but some of his pictures are rather too 
 laboured, or stiff', and smell of the pa- 
 lette. 
 
 Bloemen(NorbertVas). This painter 
 was born at Antwerp in 1672. He v.as 
 
BLO 
 
 52 
 
 BOO 
 
 the younger brother of the two preceding 
 artists, and the reputation which they pos- 
 sessed at Rome invited him thither, though 
 he had already considerable employment 
 in his own country. While in Italy, he 
 devoted all his hours to study, but confined 
 his subjects principally to conversations 
 and portraits ; he would, however, have 
 made his pictures more valuable, if in his 
 colouring lie had shown a greater regard 
 to truth and nature, and less of the raw 
 and glaring; yet in other respects he had 
 some merit. 
 
 Blond (Chbistopheb le). He was 
 born at Frankfort in 1670 : little, however, 
 is known of him till he went to Rome in 
 1716, in the suite of Count Martinetz, the 
 French ambassador. But his reputation 
 as a good painter of portraits in miniature 
 was then so well established, that, at the 
 solicitation of Overbeke, he went to Am- 
 sterdam, where he was employed to paint 
 portraits for bracelets, rings, and snufiP- 
 boxes ; which, though done in water- 
 colours, yet the execution was as lively 
 and natural as if they had been painted in 
 oil. On finding his sight impaired by the 
 minuteness of his work, he discontinued 
 water-colour painting, and attempted large 
 portraits, in which he met with success. 
 After residing some years in the Low 
 Countries, he came to England, and set 
 up a new manufactory of painting, or of 
 impressing colours on paper with copper 
 plates^ which, though at first it seemed to 
 promise extraordinary advantages, proved 
 ruinous to the proprietor and his associates. 
 This scheme was to copy the most capital 
 pictures of the greatest masters in such a 
 manner as to give the prints the appear- 
 ance of paintings in oil; and Le Blond 
 imitated his models with so much skill and 
 resemblance, correctness of outline, simi- 
 larity of colour, and expression, that at 
 first they astonished every beholder who 
 viewed them at a proper distance. The 
 prints which Le Blond executed were dis- 
 posed of by a lottery in 1730. He also 
 published a book, in English and French, 
 descriptive of the process. Le Blond was 
 not the original inventor of this manner 
 of managing colours, but took it from Last- 
 man and others, who had before under- 
 taken it. After this, he set on foot another 
 scheme, that of imitating the cartoons of 
 RafFaelle in tapestry ; but this also failed, 
 and he went to Paris, where he died in 
 1741. 
 
 Blondeel (Lansloot). This Flemish 
 painter was bom at Bruges in 1500. He 
 
 had been a mason in his youth, and while 
 in that occupation amused himself with 
 drawing architectural designs, till he ac- 
 quired so much skill as to make the paint- 
 ing of those subjects his profession. He 
 delighted also in representing ruins and 
 towns on fire. He died at Bruges in 1559. 
 
 Bloot (Peter). The works of this 
 Flemish master are not frequently seen in 
 these kingdoms, nor easily purchased in 
 Holland, being carefully preserved in 
 private collections, and are highly esteem- 
 ed. The subjects he painted were taken 
 from the lowest life ; such as boors drink- 
 ing, feasting, dancing, or quarrelling; 
 shepherds piping, and sometimes the wed- 
 dings of villagers. He was a faithful, but 
 perhaps too servile an imitator of nature, 
 even in her coarsest forms ; never depart- 
 ing from the actions, attitudes, or dra- 
 peries of his models. He had a good 
 knowledge of the chiaro-oscuro and per- 
 spective, a delicate manner of pencilling, 
 and his colouring was mellow ; but he 
 was totally devoid of elegance. His figures 
 are generally short, gross, and ungraceful, 
 having neither commendable expression 
 nor a correct outline. Notwithstanding 
 this, his pictures have great merit, and his 
 defects seem rather imputable to the taste 
 of his country than to his genius ; some 
 of his works being, for lightness of touch, 
 neatness of handling, and transparence of 
 colour, equal to the best of his time. He 
 died in 1667. 
 
 BocANEGRA (Pbdbo Athanasio), a 
 Spanish painter of history, was born at 
 Granada in 1638. He studied under 
 Alonso Cano, after which he derived con- 
 siderable advantage in composition and 
 colouring from a diligent application to 
 the paintings of Vandyck. The Spanish 
 historians of the art speak highly of some 
 of his works in the churches and convents 
 of his native city, where he died in 1688. 
 
 Boccaccino (Boccaccio), an artist of 
 Cremona, was born in 1460. He is said 
 to have studied under Pietro Perugino, 
 and became himself an eminent instructor. 
 Among his principal works are, the Mar- 
 riage of the Virgin ; a Madonna ; a St. 
 Vincent; and St. Antonio, at his native 
 place, where also is a beautiful frieze, 
 representing the Birth of the Virgin. He 
 died in 1518. 
 
 BoccAcci Camillo (called II Bocca- 
 LiNi). This artist was the son of the pre- 
 ceding, and born at Cremona in 1511. He 
 received his first instructions from his 
 father, and for some time was obliged to 
 
BOC 
 
 53 
 
 BOD 
 
 conform himself to his style ; but on going 
 to Rome, he abandoned the dry manner of 
 colom'ing to which he had been accustomed, 
 and assumed a better taste in all his com- 
 positions. His application to his studies 
 was unwearied, and his improvement such, 
 that he was soon employed in several works 
 for the principal churches and convents. 
 He painted historical subjects and por- 
 traits. His best piece is a St. John among 
 the Four Evangelists, in the cupola of the 
 church of St. Sigismondo, at Cremona. It 
 is much in the style of Corregio. He died 
 in 1546. 
 
 BoccAcciNO (Fbakcesco). This artist 
 was descended from the same family with 
 the preceding painters, and was born at 
 Cremona in 1680. He was the scholar of 
 Carlo Maratti, and painted, in a good style, 
 historical pictures on a large and small 
 scale, but chiefly of the latter size for ca- 
 binets. He adopted the manner of Albano, 
 and, like him, was partial to fabulous sub- 
 jects. He died in 1750, 
 
 BoccHi (Faustino). He was born at 
 Brescia in 1659, and died in 1742. He 
 studied under Fiammingo, and was fond 
 of painting battles, the charges of cavalry, 
 and other warlike subjects, which he exe- 
 cuted in a small size, but with great ani- 
 mation. His landscapes are very beau- 
 tiful. 
 
 BocciARDO, called Clkmentone (Ci.e- 
 mente). He was born at Genoa in 1620, 
 and was the disciple of Bernardo Strozzi, 
 on leaving whom he went for improvement 
 to Rome ; where he studied ancient sculp- 
 tures, and tlie works of the most cele- 
 brated painters. By the force of genius, 
 and a most industrious application to 
 design, he discovered the art of uniting 
 and blending the antique and modern 
 styles in a manner that exhibited grace- 
 fulness and strength. Most of his works 
 are in the churches of Genoa, Pisa, and 
 other cities of Italy ; and in the gallery of 
 the Grand Duke of Florence is his own 
 portrait. He obtained the name of Cle- 
 mentone from his personal bulk. He died 
 in 1658. 
 
 BocciABDo (DoMENTCo). This painter 
 was born near Genoa about 1685, and 
 died about 1785. He studied under Gio- 
 vanni Morandi, and proved a tolerable 
 painter of historical subjects, but never 
 rose much above mediocrity. 
 
 BocKHORST (John Van). This artist, 
 who, on account of his stature, was called 
 Langen Jan, was born at Munster, about 
 1610, and learned the principles of design 
 
 and colouring in the school of Jacob Jor- 
 daens ; under whom he received every 
 advantage, as well from instruction as ex- 
 ample, and became so excellent an artist 
 as to equal some of the best of his con- 
 temporaries. He designed well, and the 
 heads of his women were graceful ; his 
 tone of colouring sometimes resembled 
 that of Rubens, but more frequently that 
 of Vandyck ; his pictures have much force 
 and harmony, and his management of the 
 chiaro-oscuro produces an agreeable effect. 
 A fine performance of this master is an 
 altar-piece in the church of St. James, at 
 Ghent, representing the martyrdom of 
 that saint ; and in another chuYch there is 
 a picture of the Annunciation, inscribed 
 1664. He also painted portraits, in a 
 style little if at all inferior to Vandyck. 
 
 BocKHORST (John Van). This Dutch 
 artist was born at Deutekora in Holland, 
 in 1661. He studied, in London, under 
 Kneller, on leaving whom he went to 
 Germany, and finally settled in his own 
 country, where he died in 1724. He 
 painted history well, but excelled in por- 
 trait and battles. 
 
 BoDEKKER (John Francis). This 
 painter was born in the duchy of Cleves 
 in 1660, and was bred a musician by his 
 father, who was eminent in that profession. 
 The son, however, quitted music for paint- 
 ing, making the latter his business, and 
 the other his amusement. He was a dis- 
 ciple of John de Baan ; after which, he 
 practised portrait painting with reputation 
 successively at Boi^-le-duc, Breda, and the 
 Hague, where he received many acts of 
 kindness from persons of the first rank. 
 At last he removed to Amsterdam, on ac- 
 count of the encouragement which his 
 performances experienced in that city. He 
 died there in 1727. 
 
 BODBWYNS, or BOUDEWTNS (NlCHOiAS), 
 
 and Bout (Francis). These two artists 
 are mentioned in conjunction, because 
 they constantly associated together in their 
 labours, though their talents were of a 
 different kind ; the merit of N. Bodewyns 
 consisted in painting landscapes, and that 
 of Francis Bout in figures. The latter 
 artist was born at Brussels in 1660. Many 
 of their pictures evince a fine pencil, a 
 light and neat manner of handling, and 
 an agreeable colouring; some of the 
 figures, which are touched with spirit and 
 freedom, resemble those of Velvet Brue- 
 ghel, and are not much inferior to that 
 master. But other pictures of theirs are 
 slight, negligently finished, and have, ia 
 
BOG 
 
 54 
 
 BOL 
 
 every respect, much less merit, as well in 
 design as execution. Their smallest pic- j 
 tures are to be preferred ; and those of 
 their best style have the trees well formed, 
 and handled in a masterly manner; the 
 figures of cattle are correctly drawn and 
 properly disposed. Bodewyns died at 
 Brussels in 1700. 
 
 BoEL (Peter). This artist was born 
 at Antwerp in 1625. He was at first a 
 scholar of Francis Snyders, and next of 
 his uncle, Cornelius de Waal ; after which 
 he went for improvement to Rome. Find- 
 ing that De Waal had settled at Genoa, 
 he also went thither, and obtained con- 
 siderable e'mployment. According to 
 D'Argenville, he settled finally at Paris, 
 and was nominated king's painter after the 
 death of Nicasius. His subjects were fruit, 
 animals, and flowers, which he copied from 
 nature, and finished with spirit, a free and 
 bold pencil, and a tint of colour that was 
 exceedingly beautiful. He died in 1680. 
 His best pictures are the Four Elements. 
 Boel also etched some fine prints of ani- 
 mals and birds of prey. 
 
 BoETTo (Giovaxile). Tliis painter was 
 a native of Turin, where he died about the 
 'ear 1683. He worked entirely in fresco, 
 (ut his performances were executed with 
 a perfect knowledge of design, great power 
 of expression, and elegance of form. His 
 subjects were mostly fabulous and allego- 
 rical. He was also an engraver. 
 
 BoGDANE (James). He was born in 
 Hungary, and his father had been a deputy 
 from the states of that country to the em- 
 peror. James was never regularly bred 
 to painting, and the progress he made in 
 the art was the result of his own natural 
 abilities. His favourite subjects were 
 fowls, fruit, and flowers, but especially 
 birds, foreign or domestic. He came to 
 England in the reign of Queen Anne, 
 and some of his paintings are still to be 
 seen in the royal palaces. He was exact 
 in copying nature, and imitated his models 
 accurately in the colouring, but he often 
 erred by drawing his birds too large; 
 which, though intended for a distant view, 
 and to allow for the height of the picture 
 above the eye of the spectator, did not an 
 swer in perspective proportion. By his 
 industry he acquired an easy fortune ; but 
 was persuaded to assign it over to his son, 
 who was deceived into a marriage with a 
 woman that pretended to high connexions 
 and great wealth . When the imposition was 
 detected, Bogdane fell into a violent disor- 
 der, and died in great affliction about 1720. 
 
 S 
 
 BoGLB (John), a miniature painter in 
 Glasgow, about the middle of the 18th 
 century. Some of his portraits are beau- 
 tiful ; one of Lady Eglinton, to whom 
 Allan Ramsay dedicated his Gentle Shep- 
 herd, in the possession of Mr. C. Kirk- 
 patrick Sharpe, is in the highest finish. 
 He died in the greatest poverty. 
 
 BoissiEu (Jean Jacques), a French 
 artist, was born at Lyons in 1725. He 
 painted portraits, but excelled in land- 
 scapes, which wene much in the manner 
 of Adrian Ostade. Though his merits 
 were considerable in the superior art, he 
 seems to have preferred the burin to the 
 pencil. His prints, which are numerous 
 and masterly, consist chiefly of landscapes, 
 after Berchem, Ruysdael, and Asselyn. 
 
 BoiT (Chakles), a Swedish artist, who 
 resided some time in England, and after- 
 wards at Paris, in both which countries 
 he practised enamel painting with great 
 success. He died in 1726. 
 
 BoE (Feedina>d). He was born at 
 Dort in 1611, and became a scholar of 
 Rembrandt. His principal forte was por- 
 trait, which he painted in a free, bold 
 manner, but not with that clearness of 
 flesh and relievo by whicli his master 
 was rendered so famous. His colouring 
 had frequently too great a tinge of brown 
 in the carnations ; notwithstanding which, 
 his portraits had a great look of life and 
 nature. As a painter of history, he showed 
 a good taste of composition, as well as a 
 tolerable expression in his figures ; but he 
 often wanted grace and elegance. Some 
 of his works evince correctness, with easy 
 and natural attitudes ; but in others, owing 
 perhaps to negligence, his outline is de- 
 fective, and the airs of his figures are not 
 delicate. He always adhered to the man- 
 ner of Rembrandt. In the council-cham- 
 ber at Dort, there are two capital pic- 
 tures by Bol, of which the subjects are 
 the Appointment of the Seventy Elders in 
 the Camp of Israel, and Moses breaking 
 the Tables ; both well designed and exe- 
 cuted. In the chamber of the burgo 
 masters there is another historical pic- 
 ture by him, of Fabricius in the Camp 
 of Pyrrhus, which is exceedingly admired. 
 He died in 1681. His etchings are 
 numerous, and executed with spirit and 
 taste. 
 
 BoL (Hans). This painter was born 
 at Mechlin in 1534. He received his 
 first instruction from an obscure artist, 
 with whom he continued for two years ; 
 but he afterwards studied at Heidel- 
 
BOL 55 
 
 berg, copying the works of some eminent 
 masters ; and with this assistance only he 
 became a good painter. His subjects 
 were views of cities and towns in the Low 
 Countries, particularly prospects of Am- 
 sterdam ; in which pictures the vessi Is 
 and the reflections of them in the water 
 were admirably executed. His invention 
 and composition were pleasing; there 
 appear great harmony and union in his 
 colouring, and his manner of sketching 
 and pencilling is broad and free. Van 
 Mander highly commends one of his 
 paintings in distemper, the story of which 
 is Da3dalus and Icarus. He died in 1593, 
 according to Sandrart, but Descamps 
 places the date ten years earlier. Bol 
 likewise etched from his own designs in a 
 spirited style. 
 
 Bol (Cornelius), a Dutch painter, 
 who lived in England at the time of the 
 great fire of London in 1666. Of that 
 tremendous conflagration he painted dif- 
 ferent views, as he also did of several 
 buildings in and about the metropolis. 
 Besides these pictures, which did him 
 credit, he etched some views of seaports. 
 
 BoLANGEB (John). He was born in 
 1606, and placed as a disciple with Guide, 
 in whose school he became so eminent, by 
 imitating the style of composition and 
 colouring of his master, that he was 
 appointed principal painter to the Duke 
 of Modena. His manner of design was 
 exceedingly pleasing, his taste of com- 
 position elegant, and his colouring deli- 
 cate. His subjects were taken from sacred 
 and profane history, which he executed in 
 a manner that suflSciently marked the 
 noble school that formed his taste and 
 directed his pencil. He died in 1660. 
 
 Bologna (Lattanzio de). This pain- 
 ter derived his professional name from the 
 place of his nativity. He was the disciple 
 of the Caracci ; after which he went to 
 Rome, where he obtained employment- in 
 the palace of St. John Lateran. Besides 
 his painting there, he also ornamented the 
 church of St. Maria Maggiore with a noble 
 representation of an Angelical Choir; and 
 that of St. Maria di Monti with a picture 
 of the Scourging of our Saviour. This 
 promising artist died at the age of twenty- 
 seven, about 1597. 
 
 BoLOGNESE, see Grimalpi. 
 
 BoLOGNiNi (Giovanni Battista), an 
 historical painter, was born at Bologna in 
 1611, and studied under Guido. The 
 churches of his native city exhibited many 
 admirable specimens of his abilities, much 
 
 BOM 
 
 in the manner of his excellent instructor. 
 He died at Bologna in 1688. There have 
 been some prints published from plates of 
 his etching, after the pictures of his master 
 and others. He had a nephew named 
 Giacomo Bologrdni, who learned the prin- 
 ciples of the art from his uncle, and be- 
 came a good painter of history. He died 
 about 1710. There was another artist of 
 the same period called Carlo Bolognini, 
 who studied first under Aldrovandini, and 
 next became a scholar of Giulio Troglio. 
 He excelled in architectural representa-^ 
 tions and perspective, which he practised 
 at Vienna, and died there about 1738. 
 
 BoLOGNESE (Caklo). He was born at 
 Bologna in 1665, and had successively for 
 his masters Moro Aldrovandini and Giulio 
 Trogli, surnamed 11 Paradosso. He be- 
 came a good painter in fresco, and his sub- 
 jects were arcliitecture and perspective. 
 He died in 1718. 
 
 BOLTKAFEIO (GlOVANNI AnTONIO). Tliis 
 
 artist was a native of Milan, and the dis- 
 ciple of Leonardo da Vinci, under whose 
 instructions, and by whose example, he 
 became a great historical painter in fresco. 
 One of his best pictures is an altar-piece, 
 representing the Virgin and Child, with 
 two Saints, which he painted in 1506. 
 
 Bom (Peter). This Flemish artist was 
 born at Antwerp in 1530, and in the year 
 1560 became a member of the company of 
 painters in bis native city. He excelled 
 in landscape, which he painted in distem- 
 per. He diedin 1572. 
 
 BoMBELLi (Sebastiano). This painter 
 was born at Udiila, according to some 
 accounts, and to others at BologRa,in 1635. 
 He was instructed in the school of Guer- 
 cino, and his progress under that able 
 instructor was remarkably rapid ; so that 
 in a short time he perfected himself in the 
 peculiar manner of his master. He then 
 went to Venice, in order to observe the 
 various styles of the artists of that school, 
 and while there, was so charmed by the 
 compositions of Paolo Veronese and Tin- 
 toretto, that he preferred them to all others ; 
 and the copies which he finished after the 
 works of those painters, as well as some of 
 his own original designs, were, by the 
 ablest judges, highly commended. San- 
 drart thinks that he would have arrived at 
 great eminence in history, if he had not 
 been allured from that branch of his pro- 
 fession, to devote his talents to portraits. 
 By a peculiar sweetness and mellowness of 
 colour in his pictures, by the graceful re- 
 semblance observable in the countcDances, 
 
BON 
 
 56 
 
 BON 
 
 and by the beauty of his carnations, equal 
 to life, he gained universal applause, and 
 was solicited for more than he could exe- 
 cute. He was invited by the Emperor to 
 Vienna, where he painted the portraits of 
 the imperial family ; and he was also em- 
 ployed by the Electors of Bavaria and 
 Brunswick, the King of Denmark, the 
 Dukes of Florence, Parma, and Mantua, 
 and by a number of princes in every part 
 of Europe. He died in 1685. 
 
 BoNAsoNE (GiuLio), an historical pain- 
 ter, was born at Bologna in 1498. He 
 studied under Sabbatini. There is a pic- 
 ture by him in the church of St. Stephen, 
 at Bologna, representing Purgatory, which 
 possesses great merit. Bonasone, however, 
 is chiefly known as an engraver after the 
 antique, and from the works of the best 
 masters, as well as his own designs. He 
 died about 1570. 
 
 Bon ATI (Giovanni), an historical pain- 
 ter, was born in 1635 at Ferrara, and be- 
 came the disciple of Guercino, and after- 
 wards of Francisco Mola. He painted 
 some capital works at Rome for the 
 churches and palaces, particularly the 
 gallery of the Capitol. He died in 1681. 
 
 BoNcuoaE (Giovanni Battista), an 
 Italian painter of history, was born at 
 Abruzzo in 1645. He became a disciple 
 of Albano, and painted with spirit ; nor 
 was he deficient in design, but his manner 
 is heavy, and his colouring indifferent. 
 His principal works are in the churches 
 at Rome, where he died in 1699. 
 
 Bond (Daniel). This artist is sup- 
 posed to have been a native of London, 
 where, in 1764, he gained a prize of twen- 
 ty-five guineas from the Society for the 
 Encouragement of Arts, for the second 
 best landscape, and the next year fifty 
 guineas for the first landscape of his paint- 
 ing. He afterwards went to Birmingham, 
 where he conducted the decorative depart- 
 ment of a manufactory till his death in 
 1804. 
 
 BoNEsi (Giovanni Girolamo). This 
 painter was born at Bologna in 1653. 
 He studied under Viani, but adopted the 
 manner of Carlo Cignani. He painted 
 mostly religious subjects for the churches 
 at Bologna, where he died in 1725. 
 
 Bone (Henry), the most celebrated of 
 British enamellists, was born at Truro, in 
 Cornwall, on the 6th of February 1755. 
 Feeling an early inclination for art, he 
 could see no better way of obeying it than 
 entering into the employment of a manu- 
 facturer of china at Plymouth, first, and 
 
 then at Bristol, where he acquired great 
 skill in drawing those landscapes and 
 groups, and roses and lilies, which em- 
 bellish china and porcelain ; and, better 
 still an art in which he afterwards ex- 
 celled that of rendering those pencillings 
 and paintings indelible by the operation 
 of fire. He removed to London in Au- 
 gust 1778, and painted ingenious devices 
 for ladies' lockets, and other matters of 
 elegance for the toilet: he also painted 
 miniatures in water colours ; but amidst 
 these labours for subsistence, he did not 
 neglect the art of enamel, and having suc- 
 ceeded in fixing the colours in all their 
 softness and lustre, he ventured to lay the 
 result before the public. His very first 
 picture, enamelled after the Sleeping Girl 
 of Reynolds, and which he exhibited in 
 1794, obtained general approbation; and 
 his enamel portrait of the Earl of Eglin- 
 ton was purchased by the Prince of Wales. 
 But the work on wliieh his fame will de- 
 pend, consists of enamels from the heroes 
 and heroines of the days of Queen Eliza- 
 beth and James, which he executed with 
 wonderful precision and beauty, from pic- 
 tures furnished readily from the royal, 
 as well as private galleries. That the looks 
 of such great men as Sidney, Spenser, 
 Shakspeare, Raleigh, Beaumont, Fletcher, 
 Ben Jonson, and Inigo Jones, will now 
 remain and endure. Bone has placed be- 
 yond all doubt. This splendid collection, 
 estimated worth ten thousand pounds, the 
 artist offered in vain to a nation parsimo- 
 nious in matters of taste, for four thousand 
 pounds ; nor did any of our wealthy col- 
 lectors hinder them to be scattered by 
 auction for some two thousand guineas, 
 after the death of the artist, which took 
 place on the 17th of December, 1834. He 
 was a member of the Royal Academy, and 
 enamel painter to George the Fourth. 
 
 BoNiTO (Giuseppe), a Neapolitan ar- 
 tist, was born in 1705, and died in 1789. 
 He was painter to the King of Naples, and 
 obtained a distinction both in history and 
 portrait. His master was Francesco Soli- 
 raena. 
 
 BoNFANTi (Antonio). This artist, 
 who obtained the cognomen of II Torri- 
 cella, was born at Ferrara, where most of 
 his paintings are to be seen. He worked 
 chiefly in fresco for the churches and 
 monasteries, and some of his pictures dis- 
 play a good taste and power of execution, 
 particularly one of the Holy Family, in 
 the church of the Trinity. The time 
 when he lived is not recorded. 
 
BON 
 
 BoNFiGLio (Benedetto). This painter 
 was born at Perugia, and acquired at the 
 period when he flourished, about 1505, 
 high distinction, which he seems to iiave 
 merited by some of his works yet extant 
 in the church of St. Domenico, at his 
 native place. 
 
 BoNi (GiAcoMo), an historical painter, 
 was born at Bologna in 1688. He studied 
 under Marco Antonio Franceschini, to 
 whom he became an assistant at Rome. 
 Boni also appears to have received instruc- 
 tions from Cignani, whose style, however, 
 he certainly imitated. He painted in 
 fresco; and in the Palavicini Palace is 
 a fine piece by him of the Infant Jupiter. 
 He died in 17G6. 
 
 Bonifacio (Francesco). This artist 
 was born at Viterbo in 1637. He was 
 the disciple of Pietro da Cortona, and be- 
 came, by his instructions, a good painter 
 of history. He died about 1700. 
 
 Bonifacio (Veneziano). This painter 
 was born at Venice in 1491, and died in 
 1553. There are different accounts of his 
 education; for according to some he was 
 the pupil of the elder Palma, while others 
 say he studied the works, if not in the 
 school, of Titian, so that his style partook 
 of the manner of each of those masters. 
 His most capital works are in the churches 
 and palaces of Venice. In the govern- 
 ment house, or ducal palace, is a noble 
 picture by him, representing Christ driv- 
 ing the Buyers and Sellers out of the 
 Temple. 
 
 BoNiNi (GiEOi/AMo). This artist was 
 born at Ancona, and became the pupil of 
 Francesco Albano, by whom he was em- 
 ployed in many of his works at Bologna. 
 He died about the year 1660. 
 
 BoNiNGTON (Richard Pabkes), a land- 
 scape painter, remarkable for poetic ele- 
 gance and vivid grace, was born at Arnold, 
 near Nottingham, on the 25 th day of 
 October, 1801. While yet a child, he 
 sketched not only works of art, but almost 
 every scene, particularly those of a rural 
 kind, which came under his observation ; 
 his father, obeying this early quickening 
 of intellect, conducted him into the fields, 
 and directed his eye to picturesque patches, 
 old towers, running streams, the light and 
 shade of the forest and the cloud, as fit 
 matters for his pencil. Thus early taught 
 to regard Nature as his model, he took 
 sittings of her at all times and seasons : 
 her varieties of loveliness he soon saw were 
 to be best learned in her own lap, and 
 there he studied, and stored his mind, and 
 
 disciplined his eye. It would seem that 
 though very young, he had a strong sense 
 of his own merits, which he considered as 
 slighted in his native land ; so at the age 
 of sixteen, with a portfolio of drawings, he 
 went to Paris, where he received the notice 
 injuriously withheld at home. On enter- 
 ing the French school, he excited the 
 wonder of his fellow-students by the ease 
 and grace with which he drew, and the 
 wonder of the professors at his disregard 
 of all academic precept and example ; for, 
 having mastered the drawing of the human 
 figure, he escaped to the fields, the river 
 banks, and the seashore, and drew or 
 painted their beauties with a spirit and 
 feeling that brought admirers and pur- 
 chasers. His favourite scene was the 
 bustle of drawing the net, and he loved 
 to look on the fish as they lay with their 
 white bellies and green backs quivering 
 with life on the pure gravel or sands. 
 From France he wandered into Italy, and 
 while he drew Venice, he said she was like 
 a city about to go to sea. From Italy he 
 turned his steps to England, where he 
 found that the fame of his merits had gone 
 before him. But slow consuming illness 
 had for some time been pressing him 
 down, and he began to fear that a too early 
 grave was to be his portion. He, how- 
 ever, still drew and painted, for hope and 
 youth were strong within him, till within 
 a few days of his decease, which happened 
 on the 23d of September, 1828. The merit 
 of Bonington's works seems well expressed 
 in the exclamation of one of his country- 
 men, when he saw his picture of Venice 
 in the British Gallery " A grand Cana- 
 letti sort of thing ! as beautiful as sun- 
 shine, and as real as Whitehall!" His 
 handling is delicate, his colouring clear, 
 and his composition harmonious. 
 
 BoNisoEi (Agostino), an historical 
 painter of Cremona, was born in 1633. 
 His genius surmounted all the disadvan- 
 tages of a defective education, and, by a 
 diligent application to the works of Paolo 
 Veronese, he acquired the reputation of 
 an excellent artist, and was much em- 
 ployed, not only in painting for the 
 churches, but also by the nobility. He 
 died in 1700. 
 
 BoNONE (Carlo). This historical 
 painter was born at Ferrara in 1569. His 
 master was Bastaruolo, and he became 
 the competitor of Scarzellino, whom he 
 equalled, though a powerful rival, in force 
 and dignity. Fie studied also in the school 
 of the Caracci, and afterwards improved 
 
BOO 
 
 58 
 
 himself at Rome. Bonone imitated Lu- 
 dovico Caracci successfully, and his skill 
 in fore-shortening, and knowledge of the 
 chiaro-oscuro, astonished the best painters 
 of his time. His small pictures are ex- 
 ceedingly fine ; but being professed imita- 
 tions, they have not raised the reputation 
 of the artist. He died in 1632. He had 
 a nephew named Lionello Bonone, who 
 gave some promise of being a good painter, 
 but destroyed, by the irregularity of his 
 life, the expectations that had been formed 
 of him. 
 
 BoNviciNo (Alessakdro) . Tins painter, 
 who was also called II Moretto, was born 
 at Rovate in 1514. He was the disciple 
 of Titian, under whose directionshe studied 
 diligently for some years ; but having acci- 
 dentally seen the designs of RafFaelle, he 
 felt an elevation of mind that he had never 
 before experienced, and therefore gave 
 himself up entirely to study those master- 
 pieces of art and genius ; and his observa- 
 tions were made with such judgment, as 
 well as attention, that his improvement 
 was truly surprising. His works were 
 extremely admired for the tenderness of the 
 pencilling, the correctness and spirited ex- 
 pression of the figures, the neatness of the 
 finishing, and the variety of his draperies, 
 which usually consisted of velvets, da- 
 masks, or satins, wonderfully executed. He 
 was also excellent in portrait, and by many 
 was placed in competition with Titian, 
 He died in 1564. 
 
 BoNTS (Andrew). He was born at 
 Hie res in Provence, in 1702, and died at 
 Paris in 1740. He was a good painter of 
 portraits. 
 
 BoNzi (Paolo). This artist is called 
 also II Gobbo Cortona, from the place of 
 his birth, and by others 11 Gobbo Caracci, 
 from the school where he was instructed 
 He was bom in 1580, and though he some- 
 times painted historical subjects and land- 
 scapes, his great strength lay in the repre- 
 sentation of fruits, which he executed in s 
 mannerthat to the eye seemed to rival na 
 ture herself. He also painted festoons of 
 flowers in a graceful style. He died in 1640. 
 
 Boon (Daniel). This painter, who was 
 a native of Holland, came to this country 
 and settled here in the reign of Charles II 
 His subjects were taken from nature in her 
 lowest and meanest forms ; and it seemed 
 to be the utmost of his ambition to excite 
 laughter by ugliness, grimace, and defor- 
 mity. He painted in both a large and 
 small size, and in some of his characters 
 expressed strongly much of droll hu- 
 
 mour and vulgar pleasantry. He died in 
 1698. 
 
 BooNEN (Arnold), a portrait painter, 
 was born at Dort in 1669. He was at first 
 a disci pie of Arnold Verbuis,but afterwards 
 placed himself under Godfrey Schalcken, 
 and continued with him six years ; at the 
 end of which time his master declared he 
 could teach him no further, and recommend- 
 ed him to study only nature. Boonen, 
 by carefully following his advice, obtained, 
 at the age of twenty-five, the reputation 
 of being a great painter. The sweetness 
 of his colouring, and neatness of his touch, 
 with a striking likeness in his portraits, 
 procured him a number of admirers. He 
 painted, in the manner of his masters, sub- 
 jects by candlelight, which were so delicate 
 and natural, that much more of his work 
 was applied for by the lovers of the art 
 than it was possible for him to undertake. 
 He painted the portraits of Peter the Great 
 of Russia, Frederick I. of Prussia, the 
 Duke of Marlborough, and many of the 
 princes of Germany. The small pictures 
 of IJoonen are most in the taste of hia 
 master, Schalcken ; but his excessive appli- 
 cation impaired his health. He died in 
 1729. His son, Gaspard Boonen, was also 
 a painter of portrait, but fell short of his 
 father. 
 
 Boonen (Gaspard). This artist was 
 the brother and disciple of Arnold Boonen, 
 whose style he imitated with great success, 
 especially in portraiture and night-pieces. 
 He died at his native place in 1729. 
 
 BoRCHT (Henry Vander). This artist, 
 who was both a painter and an engraver, 
 was born at Brussels in 1583, and was a 
 disciple of Giles Valkenburgh, but com- 
 pleted his studies in Italy, and at his re- 
 turn to his own country, his performances 
 were held in considerable estimation. He 
 was fond of antique curiosities ; on which 
 account the Earl of Arundel gave hira a 
 commission to purchase for him abroad 
 whatever rarities he could meet with; and 
 he discharged that trust to his own honour, 
 and the satisfaction of his noble employer. 
 He painted fruits and flowers in an agree- 
 able style, and during his residence in 
 England had considerable employment, 
 especially from Charles I., on whose death 
 he went to Antwerp, where he died in 1 660. 
 He is to be distinguished from Peter Van- 
 der Borcht, an artist of Brussels, who 
 painted landscapes, but is chiefly known 
 as an engraver. He lived about 1540. 
 
 BoRoiER, see Petitot. 
 
 BoRDONE (Paris). He was born at 
 
BOft 
 
 Sff 
 
 BOR 
 
 Trevigi in 1513, and at eight years of age 
 was con(lucted to Venice, where he was \ 
 carefully educated by one of his relaticns. ! 
 At a proper age he was placed with Titian, ; 
 under whom he did not continue many 
 years ; because he observed that his master 
 was not so communicative as he had reason 
 to expect. Preferring the manner of Gior- 
 gione to all others, he imitated his style, 
 and soon rose to such reputation that he 
 was appointed to paint a picture in the 
 church of St. Nicholas, when he was only 
 eighteen years old. Some time after, he 
 was invited to Vicenza, to adorn a gallery 
 in fresco; part of which had been formerly 
 enriche<l by the hand of Titian, with a de- 
 sign representing the Judgment of Solo- 
 mon. Bordone engaged in the undertak- 
 ing with an inward satisfaction, as his 
 work was to be contrasted with the work 
 of his master ; and he composed the His- 
 tory of Noah and his Sons, which he finish- 
 ed in such a manner that it was esteemed 
 not at all inferior to the work of Titian. 
 He completed several other pieces at Ve- 
 nice and Trevigi where he also painted the 
 portraits of many persons of distinction. 
 In 1538 he entered into the ser^'ice of the 
 King of France, and added continually to 
 his reputation by every subject on which 
 he was employed. On quitting France, he 
 visited the principal cities of Italy, and left 
 a number of memorable works as monu- 
 ments of his extraordinary abilities. His co- 
 louring has all the appearance of nature, nor 
 can any thing be more lively than the por- 
 traits of Bordone. Several of them are still 
 preserved in the Palazzo Pitti at Florence. 
 He died at Venice in 1588. 
 
 BoRGANi (Fkancesco). Of tliis artist 
 we have but very scanty information ; but 
 it is certain that he was a native of Man- 
 tua, and the disciple of Domenico Feti, 
 whose style he abandoned for that of Par- 
 megiano. His works are almost wholly 
 confined to the churches of his native city, 
 and afford convincing proofs of his genius. 
 
 BoRGHESE (Giovanni Ventura). This 
 artist was born at Citta da Castelle, and 
 became the disciple of Pietro da Cortona, 
 whom he assisted in his greatest works at 
 Rome, and afterwards completed those 
 which had been left unfinished by him at 
 his death. In the churches of Rome are 
 some fine altar-pieces by Borghese; par- 
 ticularly two in that of St. Nicolo, one of 
 the Annunciation, and the other the Coro- 
 nation of the Virgin. 
 
 BoRGHEsi (Ippolito), an historical 
 painter of Naples, who lived about the 
 
 year 1620. His master was Francesco 
 Ouria, and his principal performance is a 
 picture of the Assumption of the Virgin, 
 in the church of St. Lorenzo, at Perugia. 
 
 Borgianni (Orazio). He was bom at 
 Rome in 1580, and was instructed by his 
 brother, Giulio Borgianni, commonly call- 
 ed Scalzo ; but he received more improve- 
 ment by studying the performances of the 
 ancient and modern artists, which abound- 
 ed in his native city. On the invitation of 
 a nobleman he went to Spain, where he 
 had considerable employment in the Es- 
 curial, besides which he painted many pic- 
 tures fi.r the principal grandees. He also 
 married in Spain ; but after the death of 
 his wife, having then nothing to attach 
 him to that country, he returned to Rome, 
 and painted some historical subjects larger 
 than life; biit the figures, being above his 
 accustomed size, showed a want of correct- 
 ness in several of the members, which 
 made his pictures not very agreeable. He 
 was, however, engaged in some great 
 works for the chapels and convents, and 
 also in painting portraits, by which he ac- 
 quired honour, and lived in affluence. He 
 died in 1630, of vexation, occasioned by 
 the ill treatment which he received through 
 the envy of one Celio, a painter, who 
 proved a most malicious competitor, and 
 to whom he had often been preferred by 
 the best judges of painting at Rome. Bor- 
 gianni etched some prints in a correct and 
 finished style, the dates of some of which 
 being 1615, prove the incorrectness of the 
 former accounts of the period when this 
 artist lived. 
 
 Borgognone (Ambrogio). He was born 
 at Milan, and studied under Vincenzio 
 Zoppa. It reflects credit upon this master, 
 that he was one of the first of his country- 
 men who forsook the hard and dry manner 
 which had so long predominated among 
 the Italian painters, till the year 1500, the 
 period when he flourished. 
 
 BoKRONi (Giovanni Angelo). This 
 painter was born at Cremona in 1684. 
 He had for his masters, in succession, 
 Angelo Massarotti and Roberto Longo, 
 after which he obtained the patronage of 
 the family of Crivelli ; but though prin- 
 cipally employ ed in their palace, he pain ted 
 some pictures for the churches of Cre- 
 mona and Milan, particularly the latter, 
 where is one of his best performances 
 that of St. Benedict interceding for the 
 city. The Duke of Milan conferred on 
 him the honour of knighthood. He died 
 in 1772. 
 
BOS 
 
 60 
 
 BOS 
 
 BoBsuM (Adam Van). This Dutch 
 paiDter excelled in the representation of 
 animals with landscapes, in the manner of 
 Vander Neer and Paul Potter. His co- 
 louring is natural, with a touch firm and 
 free. He lived about 1666. . 
 
 BoEzoNB (Luciano). He was born at 
 Genoa in 1590, and studied under his 
 uncle, Filippo Bartolotti, and Oornelio 
 Corte. He excelled in portrait and his- 
 tory, but principally in the former, and 
 painted in miniature as well as in a large 
 size. His early manner was faulty and 
 incorrect, but his second was grand and 
 graceful; his figures were animated and 
 full of expression, his expression good, 
 and his colouring strong and natural. 
 Wljile painting the ceiling of a church at 
 Genoa, he fell from the scaffold and was 
 killed on the spot. This accident happened 
 in 1645. He left three sons : 1. Giovanni 
 Battista, who painted' perspective and his- 
 tory in a good and correct style. He died 
 in 1654. 2. Carlo, who painted portraits 
 with extraordinary reputation. He died 
 in 1657. 3. Francesco Maria, who was 
 born at Genoa in 1 625 . He was instructed 
 by his father, but applied wholly to land- 
 scape painting, in which he rose to great 
 eminence. He imitated both Claude Lor- 
 raine and Gaspar Poussin with success. 
 He painted landscapes, sea- views, tem- 
 pests, and shipwrecks. His composition 
 is good, his sites are pleasing, his trees 
 delicately yet freely touched ; his colour- 
 ing tender, fresh, and true ; and his pic- 
 tures have a fine effect. He generally in- 
 troduced into them views of the sea, and 
 shipwrecks. He resided several years at 
 Paris, where he was employed by Louis 
 XIV. He died at Genoa in 1679. Lu- 
 ciano Borzoni etched some plates from his 
 own designs. 
 
 Bos (Jkeom). This extraordinary artist 
 was born at Bois-le-duc about 1470. He 
 had a peculiar jdeasure in painting spec- 
 tres, devils, and enchantments ; and though 
 he possessed considerable powers as a 
 painter, as well in the freedom of his touch 
 as the strength of colouring, yet his pic- 
 tures rather excite horror, mixed with 
 surprise, than real delight. When he saw 
 tiie Escurial in Spain, and considered the 
 wonderful performances of the great mas- 
 ters with which that palace was enriched, 
 he despaired of producing any thing com- 
 parable to them, and therefore fixed upon 
 a style differing from them all, and which 
 was full of fancy, whim, and wild imagi- 
 nation. The most remarkable painting 
 
 of this master's hand, among several 
 others in the Escurial, is an allegory of 
 the Pleasures of the Flesh, in which he 
 represents the principal figure in a car- 
 riage drawn by monstrous forms, preceded 
 by demons, and followed by death. His 
 manner, however, was less stiff than that 
 of most of the painters of his time ; and 
 his draperies were in a better taste than 
 those of his contemporaries. He painted 
 on a white ground, which he so managed 
 as to give a degree of transparence to 
 his. colours, and the appearance of more 
 warmth. He laid on his colours lightly, 
 and so placed them, even at the first touch 
 of his pencil, as to give them a proper 
 effect, without dissonance, and his touch 
 was full of spirit. Though his subjects are 
 disagreeable, his pictures have always 
 been much esteemed, and yield consider- 
 able prices. Bos, however, with all his 
 extravagance, could paint serious subjects 
 with sobriety ; and in the church of Bois- 
 le-duc is a picture by him of the Flight 
 into Egypt, which is well executed. He 
 engraved a number of plates, all of which 
 exhibit his fanciful humour. He died 
 about 1530. 
 
 Bos (Louis Janssen). He was born at 
 Bois-le-duG about 1450, and having been 
 instructed in painting by the artists of his 
 native city, applied himself entirely to 
 study after nature, in which he rendered 
 himself very eminent for the truth of his 
 colouring, and the neatness of his hand- 
 ling. His favourite subjects were flowers, 
 fruits, and plants, which he usually repre- 
 sented as grouped in glasses, or vases of 
 crystal, half filled with water; and gave 
 them so lovely a look, that it seemed 
 scarce possible to express them with greater 
 truth or delicacy. It was his practice to 
 represent the drops of dew on the leaves 
 of his flowers with uncommon transpa- 
 rence ; and he embellished his subjects 
 with butterflies, bees, wasps, and other 
 insects, admirably executed. He likewise 
 painted portraits with great success, and 
 showed as much merit in that style as he 
 did in his compositions of still life. He 
 died in 1507. 
 
 Bos (Gaspar Vanden), a Dutch marine 
 painter, was born at Hoorn in 1634. He 
 showed an early genius for the art of 
 painting; and as he advanced in know- 
 ledge, he distinguished himself by the* 
 goodness of his composition, by a light 
 free touch, a pleasing tint of colour, and 
 an artful manner of handling. He worked 
 with indefatigable application, which pro- 
 
BOS 
 
 61 
 
 BOS 
 
 bably impaired his health, for he died in 
 1666, universally regretted. 
 
 Bosch (Balthasar Vauden). He was 
 born at Antwerp in 1675, and was placed 
 under one Thomas, whose subjects were 
 apartments with figures, in the manner of 
 Teniers; and the insides of those apart- 
 ments he decorated with busts, vases, pic- 
 tures, and other curiosities. Bosch studied 
 the same manner of painting, and with 
 great success ; but his friends advised him 
 to employ his pencil on objects, of a more 
 elevated kind, because it seemed absurd 
 to see apartments designed with magnifi- 
 cence and richly ornamented, occupied by 
 persons so mean in their appearance as 
 the figures which he painted. Bosch pro- 
 fited by this advice, and acquired a better 
 styleof design and elegance in composition. 
 He also painted portraits with reputation, 
 particularly one of the Duke of Marl- 
 borough on horseback, which gained him 
 considerable applause; the horse, how- 
 ever, was painted by Van Bloemen. The 
 pictures of Bosch rose at last to an ex- 
 travagant price, and became dearer than 
 those of Teniers or Ostade. Some of them 
 have true merit, being well composed, 
 designed, and coloured. The forms of 
 his figures were more elegant than those 
 of most of his contemporaries. His pencil 
 is light, his touch spirited, and his figures 
 arrayed in the mode of the time. He 
 died in 1715. 
 
 Bosch (Jacob Vandbn). This artist 
 was born at Amstei-dam in 1636, and 
 painted fruits of various kinds, as peaches, 
 pears, apples, plums, nectarines, and 
 cherries, with extraordinary neatness of 
 pencil. He drew all his objects after 
 nature, and imitated them with so much 
 truth and delicacy, such natural and trans- 
 parent colour, that they appeared delicious, 
 and almost real. He died in 1676. 
 
 BoscHAERT (Nicholas). This painter 
 was born at Antwerp in 1696. He stu- 
 died under Crepu, a painter of flowers, 
 but Boschaert soon excelled his master, 
 and rose to great eminence in that line of 
 art. He also painted fruits in a natural 
 style, and gave to all his objects great 
 delicacy and beauty of expression. He 
 died about 1746. 
 
 BoscHi (Fabeicio), a Florentine artist, 
 who was the disciple of Domenico Pas- 
 signano. Before he was twenty he painted, 
 in fresco, a large group illustrative of the 
 history of St. Bonaventure ; but his best 
 works are the Death of St. Peter and St. 
 Paul, in a church at Florence, and another 
 
 picture of the Assumption of the Virgin, 
 for the Dominicans of St. Lucia. He 
 died in 1642. 
 
 BoscHi (Francesco), a painter of his- 
 torical subjects, was born at Florence in 
 1619, and died there in 1675. He was 
 instructed in the principles and practice 
 of painting by his uncle, Matteo Rosselli, 
 whose works he completed. Boschi had 
 no small degree of taste in composition, 
 but his greatest merit lay in portrait. 
 
 BoscHiNi (Marco). This artist was 
 born in 1613 at Venice, and had the 
 younger Palnia for his instructor, whose 
 style he forsook to imitate Tintoretto. 
 Among his principal works may be reck- 
 oned a representation of the Last Supper, 
 in the church of St. Girolamo, at Venice. 
 He was also an engraver, and the author 
 of a Practical Guide to the Art of Paint- 
 ing, which was printed in 1660. 
 
 BoscoLi (Andrea). This painter was 
 born at Florence in 1553, and was the 
 disciple of Santi di Titi. He became dis- 
 tinguished by his skill in the chiaro-oscuro, 
 which before him was but imperfectly' 
 known in tlie Florentine school, though 
 Giorgione at Venice, and also Titian, had 
 established it as a principle of art, and 
 made the happiest use of it in their works, 
 some years before. Boscoli had a great 
 freedom of hand, with a surprising force 
 of colour ; and the grandeur of his style 
 in design and composition resembles that 
 of his master. He studied after nature, 
 and wherever he travelled, had always a 
 book with blank paper to sketch any par- 
 ticular objects that gave him pleasure, 
 in order to preserve clear ideas of them, 
 whenever he wanted to introduce them in 
 his designs. But happening at Loretto to 
 survey the fortifications of that city with 
 attention, while he was busy in drawing a 
 sketch of them, he was seized by the officers 
 of justice, and condemned to be hanged ; 
 which sentence would have been executed, 
 if Signior Bandini had not interposed in 
 his behalf, and explained to the magistrate 
 the innocent intention of the painter. He 
 died in 1606. 
 
 BosELLi (Antonio). This painter was 
 born in the Bergamese territory, and lived 
 about the year 1510. He painted several 
 pictures for the churches in his native 
 country, besides which he exercised the 
 profession of a sculptor. 
 
 BoSSCHAERT (ThOMAS WiLLEBORTS). 
 
 He was born at Bergen-op-Zoom in 1613, 
 and at first was instructed by an ordinary 
 painter in that city; but having too great 
 
BOT 
 
 BOT 
 
 a natural genius to be content with such a 
 master, he quitted him and went to study 
 at Rome, where he became the disciple of 
 Gerrard Segers, and lived with hira four 
 years. He had a fine taste in design, and 
 was very correct; his touch was free and 
 full of spirit, his colouring had trans- 
 parence and truth, and his carnations had 
 so much of softness and life, that he was 
 thought to approach near to Vandyck in 
 portrait and history. This recommended 
 him to the Prince of Orange, who retained 
 him in his service several years. The 
 large picture at the Hague, which emble- 
 matically represents War and Peace, and 
 the Martyrdom of St. George in the great 
 church, which were painted by him, are 
 highly commended for goodness of expres- 
 sion, excellent colouring, and an exqui- 
 site finishing. He became director at the 
 Academy at Antwerp, and died there in 
 1656. 
 
 BoTELLi (Felice). He was born in 1650 
 at Piacenza, and studied under Giuseppe 
 Nuvolone. After practising history for 
 some time without much success, he took 
 for his subjects, animals, birds, and fish, 
 which he represented with spirit and 
 beauty. He died in 1732. 
 
 Both (John and Akdrew). As some 
 confusion has taken place among biogra- 
 phers respecting these celebrated brothers, 
 it has been deemed right to bring them 
 into one article. John Both was born at 
 Utrecht in 1610, and was the disciple 
 of Abraham Bloemaert, who at the same 
 time instructed Andrew; but to perfect 
 themselves in design, they went together 
 to Rome, and resided there a great many 
 years. The genius of John directed him 
 to landscape, in which he rose almost to 
 the highest perfection, making the style 
 of Claude Lorraine his model; and by 
 many, his works are even mentioned in 
 competition with those of that great mas- 
 ter. The warmth of his skies, the judicious 
 and regular receding of the objects, and 
 the sweetness of his distances, afford the 
 eye a degree of pleasure, superior to what 
 we feel on viewing the works of almost 
 any other artist. John and Andrew had 
 different talents, and each was admirable 
 in his own way. If the former excelled 
 in landscape, the latter inserted the figures, 
 which he designed in the manner of Bam- 
 boccio; and those figures were so well 
 adapted, that every picture seemed only 
 the work of one master. The works of 
 thesebrothers, therefore, are justly admired 
 through all Europe, are universally sought 
 
 for, and purchased at large prices. Most . 
 of their pictures are between two and five 
 feet long ; but in the smaller ones, there 
 is exquisite neatness. They generally 
 express the sunny light of the morning 
 breaking out from behind woods, hills, or 
 mountains, and diffusing a warm glow 
 over the skies, trees, and the whole face 
 of nature ; or else a sunset, with a lovely 
 tinge in the clouds, every object beau- 
 tifully partaking of a proper degree of 
 natural illumination. And it is observed, 
 that even the different hours of the day 
 are perceptible in the landscapes of John 
 Both, from the propriety of the tints which 
 he uses. By some connoisseurs he is 
 censured for having too much of the tawny 
 in his colouring, and that the leafing of 
 his trees is too yellow, approaching to 
 saffron ; but this is not a general fault in 
 his pictures, and though some perhaps 
 may accidentally be liable to that criticism, 
 he corrected the error. Besides, many of 
 his pictures are not more tinged with those 
 colours than truth and beauty of nature 
 will justify; and his colourin'g obtained 
 for him the distinction, which he still 
 possesses, of being called Both of Italy. 
 Descamps says that John painted land- 
 scapes, and Andrew figures, in the manner 
 of Bamboccio; and yet in a following 
 paragraph he asserts, that Andrew was 
 drowned in a canal at Venice, and that 
 John returned to Utrecht ; in which ac- 
 count he appears to follow Sandrart, though 
 other writers agree that it was the land- 
 scape painter who was drowned. Hou- 
 brakeu mentions a picture of John Both, 
 which is six feet high, and esteemed his 
 masterpiece ; the figures are large, and the 
 story represented is that of Mercury and 
 Argus ; the back part is exceedingly clear, 
 the verdure true nature, and the whole 
 admirably handled. The two brothers 
 mutually assisted each other, till the un- 
 fortunate death of John in 1650, when 
 Andrew left Italy, and settled at his na- 
 tive place, where he painted portraits and 
 landscapes in the manner of his brother, 
 and conversations with players at cards, in 
 the style of Bamboccio. Both these mas- 
 ters had extraordinary readiness of hand, 
 and a free, light, sweet pencil; and that 
 they were expeditious is evident from the 
 number of pictures which they finished. 
 Andrew, during the remainder of life, had 
 as much employment as he could execute; 
 but he was so affected by the melancholy 
 death of his brother, that he survived him 
 only a few years, dying in 1656. Not- 
 
BOT 
 
 BOU 
 
 withstanding the authority of Houbraken, 
 a late compiler chooses to follow Des- 
 camps, in saying that Andrew perished 
 in Italy in 1645, and John returned to 
 Utrecht, where he practised his art, and em- 
 ployed Polemburg in painting the figures. 
 
 BoTicELLO (Sandro, Called Filipepi). 
 He was born at Florence in 1437 ; and, 
 being the disciple of Filippo Lippi, he 
 imitated that master, both in his design 
 and colouring. He executed several works 
 at Florence and Rome, by which he gained 
 great reputation; at the former a Venus 
 Rising from the Sea, and another picture 
 of the same goddess adorned by the Graces ; 
 and at the latter, he painted sacred sub- 
 jects, which at that time were much com- 
 mended. He obtained great honour by 
 his performances in the chapel of Sixtus 
 IV., forwhich hewasvery amply rewarded; 
 and for the family of the Medici he finished 
 some portraits, with historical composi- 
 tions. It was customary with him to in- 
 troduce a number of figures in all the 
 subjects he designed; he disposed them 
 with tolerable judgment and propriety; 
 and in one of his ])ictures, representing 
 the Adoration of the Magi, the variety and 
 multitude of these accessories is astonish- 
 ing. Though Boticello received large 
 sums for his works, he lived extrava- 
 gantly,and died in poverty in 1515. Baccio 
 Baldini engraved a series of plates for the 
 edition of Dante with Landino's commen- 
 tary, from the designs of Boticello; and 
 this was long regarded as the first book 
 in which engravings from metal plates 
 were introduced. 
 
 BoTscHiLD (Samuel), a painter of his- 
 tory, was born at Sangerhausen in Saxony, 
 in 1640. He obtained the situation of 
 keeper of the royal gallery at Dresden, 
 and also formed a school of painting in 
 that city. Some prints were etched by him 
 from his own designs. He died in 1707. 
 
 BoTTA (Marco Antonio). He was 
 born at Genoa in 1572, and had Bernardo 
 AzzoUno, of Naples, for his instructor; 
 after which he went to France, where he 
 painted history and portrait with reputa- 
 tion. He died at Genoa in 1648. 
 
 BoTTALA (Giovanni Maria). This 
 artist was born near Genoa in 1613, and 
 died at Milan in 1644. He was the scholar 
 of Pietro da Cortona, and obtained the 
 patronage of Cardinal Sacchetti. His re- 
 putation was such as to procure him the 
 honourable appellation of Raffaellino, to 
 whose style his works bear no resemblance, 
 llis best picture is one of the Reconcilia- 
 
 tion of Esau and Jacob, in the papal gal- 
 lery of the Capitol. 
 
 BoTTANi (Giuseppe). This painter was 
 born at Cremona in 1717, and became 
 the scholar of Masucci at Rome; after 
 which he settled in the city of Mantua, 
 where he died in 1784. He painted land- 
 scapes in the manner of Gaspar Poussin, 
 but he also occasionally employed his pencil 
 on historical subjects. 
 
 BoTTONi (Alessandko). He was bom 
 at Rome in 1662, and died there in 1706. 
 His talent lay in history, and he became 
 a member of the Academy of St. Luke. 
 
 Boucher (Francis). This artist was 
 born at Paris in 1704, and received his 
 instructions from Le Moine, after which 
 he went to Rome. On his return, he 
 employed himself in every species of his 
 art, but especially in the light and agree- 
 able. His Infant Jesus sleeping is finely 
 coloured, and designed with a flowing 
 outline. The Shepherd sleeping on the 
 knees of his Shepherdess is a little piece 
 of merit : and his other landscapes are 
 peculiarly happy. His most noted pro- 
 ductions are pastoral pieces for tapestry ; 
 the Muses, the Four Seasons, a Hunt of 
 Tigers. On account of the gaiety of his 
 subjects he was called the Anacreon of 
 painters. He died in 1770. His elder 
 brother John, who was born at Bourges, 
 was both a painter and engraver, but not 
 above mediocrity. 
 
 BoucQUET (Victor), an historical and 
 portrait painter, was born at Furnes in 
 Flanders, in 1619. He learned the rudi- 
 ments of the art from his father, who was 
 an artist of little merit. It appears, that 
 afterwards Victor went to Italy, where he 
 improved himself considerably, and on his 
 return home obtained much employment 
 for the churches, as well as for private 
 persons. In the church at Nieuport is a 
 fine picture by him, representing the death 
 of St. Francis; and in the town-house 
 another of the Judgment of Cambyses on 
 Sisamnes. He died about 1660. 
 
 BoujAs (Juan Antonio), a Spanish 
 painter of history, who was born at San- 
 tiago about 1672. He was the disciple 
 of Luca Jordano, at Madrid ; but after 
 remaining there some time, he returned 
 to his native place, where he obtained 
 much employment for the monasteries and 
 churches. He died about 1726. 
 
 BouLLONGNE (Louis, the Elder). This 
 master was born at Paris in 1609. He 
 was principally distinguished for his abi- 
 lity in copying the works of the most 
 
BOU 
 
 64 
 
 BOU 
 
 celebrated ancient painters ; and the simi- 
 litude between his pictures and the origi- 
 nals has often surprised and confounded 
 some of the best judges. He painted 
 some historical subjects of his own design, 
 particularly three in the church of Notre 
 Dame at Paris, the subjects of which are 
 St. Paul at Ephesus, the Martyrdom of 
 that Apostle, and the Presentation in the 
 Temple. BouUongne became senior pain- 
 ter to the king, and professor of the Royal 
 Academy at Paris. He died in 1674. He 
 etched three plates from two of his own 
 pictures, and one after Guido. 
 
 BouiiLONGNE (Bon), the eldest son of 
 the preceding, was born at Paris in 1649. 
 He acquired the principles of painting 
 from his father, whom he resembled in 
 the skill of copying the works of great 
 masters ; proofs of which he gave in his 
 imitations of a picture by Guido, and 
 another by Pierino del Vaga, done so ex- 
 actly as to deceive the best judges. After 
 a residence of five years at Rome, he re- 
 turned to Paris, and was admitted a mem- 
 ber of the academy, of which ultimately 
 he becan>e a professor. He excelled in 
 history and portrait; his designs were 
 correct, and his colouring good. Besides 
 his paintings in fresco, in two of the cha- 
 pels of the Invalids, he executed several 
 for the churches and public buildings of 
 Paris. We have also some etchings done 
 by him from his own compositions. He 
 died at Paris in 1717. 
 
 BouLLONGNE (Louis, the Youngek). 
 He was the younger son of Louis, and was 
 bom at Paris in 1654. He received in- 
 structions from his father, and improved 
 so rapidly, that at the age of eighteen he 
 obtained the first prize in the academy ; 
 on which account he was sent to Rome, 
 where he studied for five years, and em- 
 ployed his time in sketching the works of 
 the greatest masters, particularly those of 
 RaflFaelle ; and several of his copies from 
 that divine genius were afterwards used 
 for the Gobelin tapestries. In 1680, he 
 was received into the academy, and his 
 works in the churches of Notre Dame and 
 the Invalids, but particularly his frescoes 
 in the chapel of St. Augustine, procured 
 him a pension and the order of St. Michael; 
 whence he is commonly designated the 
 Chevalier. After the death of Coypel, 
 the king appointed him his principal pain- 
 ter, and gave him a patent of nobility for 
 himself and his descendants. He was 
 also chosen designer of medals to the aca- 
 demy of inscriptions; and lastly, director 
 
 of that of painting. He excelled in histo- 
 rical and allegorical subjects ; and in all 
 his performances it might easily be ob- 
 served that he had studied the ancient 
 masters with care. His colouring was 
 strong; his composition in a good style; 
 the airs of his heads had expression and 
 character; and his figures were correctly 
 designed. He died in 1734. 
 
 BouLLONGNB (Magdelaine de). This 
 ingenious lady was born at Paris in 1644. 
 She painted history, but excelled in flowers 
 and fruits. She died in 1710. Her .sister, 
 Genevieve BouUongne^ painted in the same 
 style, and with equal merit. She died, 
 at the age of sixty-three, in 1708. 
 
 Bourdon (Sebastian). This painter 
 was born at Montpelier in 1616. The 
 first rudiments of the art were taught him 
 by his father, who was a painter on glass, 
 but afterwards he studied under an indif- 
 ferent artist at Paris ; and yet by the force 
 of his own genius amply supplied himself 
 with those powers which he could not 
 procure from his preceptors. At the age 
 of fourteen, he painted the ceiling of a 
 nobleman's seat near Bordeaux, and then 
 went to Toulouse, but being unemployed, 
 he enlisted into the army. His captain, 
 however, having some taste, and perceiv- 
 ing his genius, gave him his discharge; 
 on which he travelled into Italy, where 
 he became acquainted with Claude Lor- 
 raine, whose manner he imitated with 
 great success, as he also did the several 
 styles of Sacchi, Caravaggio, and Bam- 
 boccio. His memory also was such, that 
 he could copy a picture from mere recol- 
 lection. After a residence of near three 
 years at Rome, he had some dispute with 
 another painter, who threatened to inform 
 against him as a Protestant, upon which 
 he instantly removed to Venice, and from 
 thence to France. At the age of twenty- 
 seven, he painted the Crucifixion of St. 
 Peter for the church of Notre Dame at 
 Paris, which established his reputation. 
 In 1652, Bourdon went to Stockholm, 
 where Queen Christina appointed him her 
 first painter. After continuing in Sweden 
 some time, he returned to France, and ob- 
 tained abundant employment. Among 
 his best performances at this period were 
 a Dead Christ, and the Woman taken in 
 Adultery. He died at Paris in 1671. He 
 had an uncommon readiness of hand, 
 though frequently incorrect, particularly 
 in the extremities of his figures. As a 
 proof of his expeditious manner of paint- 
 ing, it is reported, that in one day he 
 
BOU 
 
 BOY 
 
 drew twelve portraits after life as large as 
 nature, and those not the worst of his per- 
 formances. His touch is extremely light, 
 his colouring good, Jiis attitudes are full 
 of variety, and generally graceful, and his 
 expression is lively and animated ; how- 
 ever, his conceptions were often extrava- 
 gant, nor will many of his compositions 
 stand a critical examination. His land- 
 scapes are in the taste of Titian, but seem 
 rather designed from imagination than 
 nature ; yet several of them have a beau- 
 tiful effect; and he usually enriched his 
 pastoral scenes with a number of figures 
 and animals. His pictures are seldom 
 finished, and those which appear most so, 
 are not always his best. Sir Joshua 
 Reynolds had his Return of the Ark, of 
 which he thought very highly. Bourdon 
 was also a good engraver, and his prints 
 are etched in a masterly style. 
 
 BOURGUIGNON, See CORTESI. 
 
 Bourgeois (Constant), an eminent 
 French painter, whose works are to be 
 seen in most of the galleries of Europe, 
 He died at Paris, aged 75, in July 1843. 
 
 Bourgeois (Francis). This artist was 
 born in London, of Swiss parents, in 1 756. 
 His early destination was the army, under 
 the patronage of Lord Heathfield, who 
 was his father's friend ; but evincing a 
 taste for painting, he was placed under 
 Loutherbourg, whose style he adopted in 
 his landscapes and sea-pieces. In 1776 
 he went to Italy, and on his return exhi- 
 bited several specimens of his talent at 
 Somerset House. In 1791 he was ap- 
 pointed painter to the King of Poland, 
 who conferred on him the honour of 
 knighthood. Three years afterwards, his 
 late Majesty George III. nominated liim 
 his landscape painter; previous to which 
 he had been admitted a member of the 
 Royal Academy. Some time before his 
 death, by the bequest of Mr. Noel Des- 
 enfans, he became possessed of a noble 
 collection of pictures, which, by his own 
 last will, he left to Dulwich College, with 
 10,000 to keep them in preservation ; 
 2000 for tlie repair of the gallery, and 
 1000 to the masters and fellows of that 
 foundation. Sir Francis died January 8, 
 1811; and his remains, with those of his 
 friend Desenfans, were interred in the 
 chapel of Dulwich College. As an artist, 
 he belongs to the second class, and was a 
 close imitator of Loutherbourg. His con- 
 ception of his subject, as well as the 
 grouping of his figures, was hapi)ily con- 
 formable to nature; but he was defective 
 
 in his finishing, and so much a mannerist 
 in his colouring, that his paintings may 
 be recognised at a glance. 
 
 Bout (Francis), see Bodewyns. 
 
 BouTEUx (Pierre le). This French 
 artist was born at Paris in 1692. He pro- 
 fessed history, but never rose above medio- 
 crity. He died in 1750, 
 
 BoviNi (Francesco) . This artist appears 
 to have been a native of Ferrara ; but all 
 the knowledge we have of him is from his 
 works, the principal of which are two altar- 
 pieces in the above city, one of the Wise 
 Men's Offering, and the other, of the Im- 
 maculate Conception. 
 
 Bower (Edward), an English portrait 
 painter in the reign of Charles I. All our 
 information of him is from Lord Orford, 
 who says that he painted the likenesses of 
 John Pym, General Fairfax, and Lord 
 John Fairfax, The two last were engraved 
 by Hollar. 
 
 BouYS (Andrew), a French artist, who 
 was born in Provence about the year 1681. 
 He studied under Francis de Troy, and 
 afterwards professed portrait painting at 
 Paris. He also engraved in mezzotinto, 
 and died about 1730. 
 
 Bouzonnet (Antony). He was born at 
 Lyons in 1694, and studied under Stella, 
 who was his maternal uncle ; but though 
 he aimed to imitate his manner, it was with 
 little success. He died in 1682. 
 
 BoYDELL (Josiah). Hc was the 
 nephew and successor of the celebrated 
 Alderman John Boydell, and was born at 
 Stanton in Shropshire, about 1750, Being 
 sent for by his uncle, and discovering some 
 turn for painting and engraving, he was 
 regularly instructed in both arts. In the 
 former he painted some portraits, and a 
 few of the pictures for the edition of Shak- 
 speare ; but they are feebly designed, and 
 indifferently coloured. On the death of the 
 alderman, he was chosen unanimously to 
 the vacant gown by the Ward of Cheap ; 
 but afterwards, in 1809, resigned it, on ac- 
 count of ill health. He died at Halliford, 
 in Middlesex, March 27, 1817. 
 
 BoYERMANS (Theodore), a Flemish 
 painter, was born at Antwerp, and the dis- 
 ciple of Rubens, to whose style he devoted 
 himself. He was a correct designer, an 
 excellent colourist, and a perfect master of 
 the chiaro-oscuro. Most of his works are 
 in the churches and public buildings of 
 Antwerp, and other parts of Flanders. 
 One of the best is a picture of Francis 
 Xavier converting the Indians, in the 
 church of the Jesuits at Ypres, 
 
BRA 
 
 66 
 
 BRA 
 
 Bbacelli (Giovanni Battista), a 
 Genoese artist, who was the pupil of Gio- 
 vanni Battista Paggi, whose style of paint- 
 ing he followed. His subjects were histo- 
 rical ; but he had also a taste for architec- 
 ture, and engraved some plates in that line. 
 He died in 1609. 
 
 Bkaccioli (Giovanni Francesco). He 
 was a native of Ferrara, and studied suc- 
 cessively under Parolini and Crespi, at 
 Bologna. His performances are mostly 
 confined to the churches and religious 
 edifices of his native city ; and the best of 
 them are an Annunciation ; a Scourging 
 of Christ; and the Crowning with Thorns. 
 He died, at the age of 64, in 1762. 
 
 Bbakenbukg (Rainier). He was born 
 at Haerlem in 1649, and became the dis- 
 ciple of Mommers ; but it is supposed that 
 he studied afterwards underBernard Schen- 
 del. His subjects were like those of 
 Brouwer, and he resembled that master, 
 not only in his genius and style of compo- 
 sition, but also in his dissolute manner of 
 life. In some of his pictures he seems to 
 have aimed at an imitation of Ostade. He 
 designed his figures after nature, and repre- 
 sented them in the habit of the time. His 
 subjects were the feasts of boors, the amuse- 
 ments of villagers, dancings, and con- 
 versations ; in which love and wine were 
 never omitted. His compositions are in- 
 genious, and full of variety in their actions 
 and attitudes, though the forms of his 
 men and women are invariably the same, 
 and always copied from vulgar life. His 
 colouring is strong and natural, and his 
 touch vigorous and firm ; but it is to be 
 regretted that he had not a better taste 
 of design. The pictures of his latter time 
 are not so carefully executed, particularly 
 in the extremities. 
 
 Bbambiixa (Giovanni Battista), a 
 modern artist of Piedmont, who studied 
 painting under Carlo Delfino, after which 
 he became distinguished in the historical 
 department at Turin, where he executed 
 an altar-piece of the Death of St. Dalma- 
 tius. He lived about the year 1772. 
 
 Brameb (Leonard). He was born at 
 Delft in 1596, and learned the art of paint- 
 ing in the school of Rembrandt, whos( 
 manner he imitated in small. In his 
 eighteenth year, he went to Rome for im- 
 provement; but though he continued in 
 Italy for some years, and acquired some 
 grace, he could never divest himself of the 
 Flemish style. He had a good taste in 
 design ; his expression is commendable, 
 and in some of his compositions noble. His 
 
 pencil is delicate, and his colouring pecu- 
 liar in the tints, being also remarkably 
 thin in many parts, so as barely to cover 
 the panel ; yet, by great skill in the ma- 
 nagement of the chiaro-oscuro, the tone 
 is bright, bold, and full of lustre, particu- 
 larly in the vases, which he was fond of 
 introducing, because he knew how to give 
 them a rich and fine relievo. He also 
 accustomed himself to paint with a thin 
 body of colour, especially in the browns 
 and shadowy parts, in order to give his 
 pictures a greater transparence. In many 
 cities of Italy, as well as at Rome, he left 
 proofs of his merit, whicli rendered his 
 name famous; so that his works, being 
 rarely to be met with out of that country, 
 fetch considerable prices. One of his most 
 capital pictures is the Raising of Lazarus, 
 which exhibits a charming opposition of 
 light and shadow. Another is the Denial 
 of St. Peter, and both are painted in his 
 bestmanner, bright, transparent, and finely 
 pencilled. In the palace of Ryswick are 
 several valuable paintings by this master ; 
 but none of his pictures can be more ad- 
 mired than a small one on copper, repre- 
 senting the story of Pyramus and Thisbe. 
 
 Brand (John Christian), a German 
 artist, was born at Vienna in 1723. He 
 became a professor in the Imperial Aca- 
 demy, and was distinguished as a painter 
 of landscapes. He also engraved some 
 prints in a good style : he died about 1793. 
 His brother, Frederick Augustus Brand, 
 was born at Vienna in 1730. He became 
 a member of the Imperial Academy, and 
 painted both historical subjects and land- 
 scapes. Some of his prints are also well 
 executed. 
 
 Brandel (Peter). This artist was 
 bora in 1660, at Prague, where he was 
 placed under John Schroeter, painter to 
 the court. After he had been with him 
 about four years, his rising merit excited 
 the jealousy of Schroeter, and in a short 
 time they separated. The immediate oc- 
 casion of the rupture was this : Brandel 
 had received an order from his master to 
 paint a small altar-piece, and when Schroe- 
 ter, in the evening, came to see how the 
 work went on, and found Brandel amusing 
 himself, he began to abuse him for his 
 idleness, without observing that the pic- 
 ture was already finished. Justly resent- 
 ing this treatment, the young man quitted 
 his master, and began to practise the art on 
 his own account. Most of the churches 
 at Prague and Breslaw possess his works ; 
 and the Prince of Harzfcld gave him one 
 
BRA 
 
 67 
 
 BRE 
 
 hundred ducats for a picture of St. Jerome 
 at half length. He spent the greatest part 
 of his life at Prague, where he wasted his 
 acquisitions by irregular conduct ; he 
 therefore died very poor, and -was buried, 
 in 1739, by charitable contributions. A 
 proper respect, however, was paid to his 
 talents ; for his funeral was attended by a 
 solemn procession, in which three hundred 
 wax tapers were carried before the corpse 
 by ecclesiastics. Brandel had a good 
 genius, and consulted nature ; his inven- 
 tion was ready, his manner of painting ex- 
 peditious, and he avoided loading his com- 
 positions. His colouring is natural, though 
 in his shadows he is sometimes too black. 
 
 Brandenberg (John), a painter of his- 
 torical subjects and battle-pieces, was born 
 at Zug in Switzerland, in 1660, and died 
 at Zurich in 1729. He studied under his 
 father, Thomas Brandenberg, a painter, 
 on whose death he went to Italy, where he 
 copied the works of Giulio Romano ; and 
 when he returned to Switzerland, he ob- 
 tained much employment in the churches 
 and convents of the Catholic cantons ; 
 and he also painted some pastoral pieces 
 in fresco, on the ceiling of the assembly- 
 rooms at Zurich. His composition was 
 good, and his colouring lively. His paint- 
 ings of military subjects were also much 
 admired. 
 
 Brandi (Giacinto). He was born at 
 Poli, near Rome, in 1623, and was the 
 scholar of Lanfranco, whose style he fol- 
 lowed for some time. Having acquired a 
 considerable reputation by his composition 
 and colouring, he was employed in many 
 of the churches and palaces at Rome and 
 the neighbouring cities; but though he 
 had merit in his profession, yet, from his 
 eagerness to gain Avealth, and undertaking 
 more than he could properly execute, he 
 became contemptible. He had indeed a 
 lively genius and a free pencil, but he was 
 exceedingly incorrect, and his colouring 
 was weak and disagreeable. His daughter 
 married Rosa di Tivoli, of whom Giacinto 
 conceived a mean opinion, because he 
 painted nothing but cattle. This behaviour 
 made so strong an impression on Rosa, 
 that, to requite it, he bought all sorts of 
 clothes proper for his bride, and laid them 
 in her apartment; then rising very early 
 on the morning after his marriage, he col- 
 lected every article that his wife had worn, 
 and sent them back to her father, with this 
 message, " That a good painter of beasts 
 was as likely to grow rich as a bad painter 
 of men." Brandi died in 1691. 
 
 Bbandmulleb (Gregory). This artist, 
 who was born at Basle in 1661, acquired 
 the knowledge of design by studying and 
 copying good prints, in consequence of 
 which he was placed with Casper Meyer. 
 After studying some time under that artist, 
 he went to Paris, where he became a scho- 
 lar to Le Brun, who was so much delighted 
 with the progress he made, that he intrust- 
 ed him with the execution of several de- 
 signs under his own immediate inspection. 
 This, however, excited the envy and jea- 
 lousy of the otherstudents to such a degree, 
 that Brandmuller thought it prudent to 
 retire to his own country, though not before 
 he had obtained the prize in the Royal 
 Academy. He excelled in history and 
 portrait, and his genius resembled that of 
 Le Brun, his subjects being full of fire, 
 and treated with elevation and grandeur. 
 His design is correct, and his expression 
 just and animated. He had a good method 
 of colouring, laying on each mass in so 
 proper a manner as to avoid breaking or 
 torturing his tints, which made his colours 
 retain their original beauty and strength, 
 without fading. He was fond of painting 
 portraits in an historical style, and was 
 commended for the resemblance of the 
 persons who were his models, and for the 
 agreeable taste in his compositions. He 
 died in 1691. 
 
 Bray (Solomon de). This painter was 
 born at Haerlem in 1597, or, according to 
 Descamps, in 1579. He was reckoned 
 among the best artists of his time, and 
 painted a number of portraits, in a small 
 as well as in a large size, for persons of 
 the greatest distinction. He died in 1664. 
 His son, Jacob de Bray, distinguished 
 himself by his drawings as well as hispaint- 
 ings. At Amsterdam is a picture by him, 
 of David playing before the Ark, which 
 is spoken of in high terms. It is finished 
 with a clean touch, and the colouring ap- 
 pears as fresh as if it had but newly come 
 from the easel. He had uncommon skill 
 in designing naked figures ; and his draw- 
 ings on vellum and paper are extremely fine : 
 they are finished in red and black chalk. 
 He was living in 1680. 
 
 Brea (Lodovico). This old painter was 
 born at Nizza, and flourished from 1483 to 
 1513. He is considered as the founder of 
 the Ligurian school of painting, and many 
 of his works are at Genoa. The heads in his 
 pieces are fine, and the colour still lively ; 
 the folds of his draperies graceful, the at- 
 titudes of his figures proper, and the com- 
 position correct. He painted on a small 
 
BRE 
 
 BRE 
 
 scale ; and among the best of his works 
 are a Massacre of the Infants, and a St. j 
 John. 
 
 Brkbiette (Pierre), a French artist, ] 
 who was born at Mante on the Seine, in , 
 1596. Of his paintings we know nothing 
 more than that he stood in a respectable 1 
 class among his contemporaries ; but, as an 
 engraver, he is esteemed for the spirit with [ 
 which he executed plates; some after his ; 
 own designs, and others from the works of 
 great masters. He also painted and en- 
 graved his own portrait. 
 
 Breda, or Bredael (Peter Van). 
 This artist was born at Antwerp in 1630. 
 He studied landscape after nature, and 
 adoi'ned his designs with figures correctly 
 drawn and judiciously grouped. His 
 grounds are well broken, and the trees and 
 waters, which he always sketched upon 
 the spot, have not only truth, but are re- 
 markable for clearness and good handling ; 
 and his scenes are generally enriched with 
 Roman buildings, fountains, monuments, 
 and ruins. Though his style resembled 
 that of John Brueghel, he is far inferior 
 to that master. He became director of 
 the academy at Antwerp, where he died in 
 1681. 
 
 Breda (John Van). He was born at 
 Antwerp in 1683, and till the age of 
 eighteen was instructed by his father, 
 Alexander Van Breda, an artist who was 
 much esteemed for landscapes, views of 
 Italian scenery, fairs, and markets, with 
 animals and figures. Among the variety 
 of capital paintings at that time in the 
 possession of John de Witt, at Antwerp, 
 Breda made those of Velvet Brueghel his 
 particular study; and he also employed 
 himself in copying the pictures of several 
 other great masters with such exactness, 
 as scarcely to leave it in the power of any 
 person to distinguish the one from the 
 other. Having established his reputation, 
 Breda visited London with Rysbrack the 
 sculptor; and, while here, rose to such 
 esteem as to be patronised by persons of 
 the highest rank, particularly the un- 
 fortunate Earl of Derwentwater. After 
 residing some years in England, he re- 
 turned to Antwerp, where he was hon- 
 oured with a visit by Louis XV., who 
 purchased four of his pictures, of which 
 the subjects were, Christ at the Sea of 
 Tiberias ; Christ performing Miracles ; 
 and two landscapes, with a number of 
 figures, exquisitely drawn and finished. 
 Breda approached nearer to Brueghel and 
 Wouvcrmans than any other artist of his 
 
 time. His landscapes are in the style of 
 the former, and his conversations, figures, 
 fairs, skirmishes, or battles, in that of the 
 latter. His colouring is good, his touch 
 neat, his skies and distances natural, his 
 taste of design agreeable ; his grounds are 
 well broken, and his figures properly 
 placed. In short, he was a painter of such 
 rank, that the value and estimation of his 
 works must always increase ; and it may 
 fairly be said, that in some of his pictures 
 he shows as much fire as Brueghel, though 
 there are critics who speakcontemptuously 
 of his skies and distances as too blue and 
 gaudy. He died in 1750. 
 
 Breemberg (Bartholomew). He was 
 born at Utrecht in 1620, but went early 
 to Rome, whei'e he obtained the name of 
 Bartolomeo, which was given him by the 
 society of Flemish painters called Bent- 
 vogels. He studied landscape after nature 
 in the environs of that city, and acquired 
 an elegant and charming taste. The 
 number of ruins which he continually 
 beheld, afforded him a variety of beautiful 
 objects with which to adorn his pictures, 
 and the trees and shrubs about Tivoli and 
 Frescati are admirably adapted to paint- 
 ing, both in their form and colour. The 
 figures he introduces are well executed, 
 and disposed with propriety ; and so are 
 the animals, which he touched with ex- 
 traordinary spirit and freedom. He mostly 
 painted in a small size, and whenever he 
 attempted a larger, his figures proved less 
 correct. His first manner was rather too 
 black, but his second is better coloured 
 and finished, particularly on account of 
 the ultra-marine, which he used in the 
 latter part of his life. The taste of Breem- 
 berg was entirely of the Roman school ; 
 he embellished his landscapes with his- 
 torical subjects, and his works are always 
 distinguished by elegant architecture or 
 noble ruins. The figures in his composi- 
 tions are gracefully proportioned and 
 designed, their draperies easy and orna- 
 mental ; and even in his smallest figures 
 the expression is lively, sensible, and 
 natural. He died in 1660. Breemberg 
 etched several plates, from his own designs, 
 in a spirited style. 
 
 Brekelbkkamp ( ). This painter 
 
 was a native of Holland, and the disciple 
 of Gerard Douw, to whose style he did 
 not strictly adhere, but formed one of his 
 own, in which there appears a palpable 
 imitation of Rembrandt. His subjects are 
 the inside of cottages, with conversations, 
 which he painted with spirit, and a strict 
 
BRE 
 
 BRI 
 
 attention to the chiaro-oscuro. He lived 
 about 1650. 
 
 Bkentana (Simone), an historical pain- 
 ter of Venice, was born in 1656, and died 
 at Verona about 1726. He was an imi- 
 tator, but not a servile one, of Tintoretto. 
 Most of his pictures are in the churches of 
 Italy, or in the palaces of its princes. 
 
 Bkentel (Frederic). He was born 
 at Strasburgh in 1570, and died in 1622. 
 He painted historical subjects and land- 
 scapes. 
 
 Brescia (Giovanni Maria da). This 
 painter was born at Brescia about 1460. 
 He was originally a goldsmith ; after which 
 he took to painting and engraving, follow- 
 ing both arts till he became a Carmelite. 
 Notwithstanding this, he still exercised his 
 pencil and burin, and painted some reli- 
 gious subjects in his monastery. He died 
 about 15 io. 
 
 Brescia (Leonardo). He was born at 
 Ferrara, in the religious edifices of which 
 city are most of his works, the best being 
 the Assumption of the Virgin ; an Annun- 
 ciation ; and the Resurrection. He lived 
 about 1540. 
 
 Bresciano, or Bresciannio (Giovita), 
 a painter of history, who was the disciple 
 of Lattanzio Gambara, and died about 
 the year 1599. He painted religious sub- 
 jects in oil and fresco. 
 
 Breydel (Charles). This artist was 
 born at Antwerp in 1677. He was the 
 scholar of Rysbrack, the landscape painter, 
 with whom he continued three years, and 
 then travelled for improvement. His 
 brother Francis being settled at the Court 
 of Hesse- Cassel, he went thither, and was 
 retained in the service of the same prince 
 some time. After this he went to Am- 
 sterdam, where he copied several views of 
 the Rhine from the designs of Griffier, 
 by which his colouring, pencilling, and 
 taste were much improved. He was cu- 
 rious enough to survey those prospects of 
 the Rhine on the spot, which he had copied 
 before ; so that the works of Griffier were 
 his second and best school. At last he 
 settled at Ghent, where he might have 
 enriched himself if he had acted with dis- 
 cretion ; but, to gratify his extravagance, 
 he only studied how to earn money expe- 
 ditiously ; for which purpose he often 
 painted slight pictures, the value of which 
 was barely proportioned to the prices he 
 was to receive for them. For some years 
 before his death, he was afflicted with the 
 gout ; and though he worked in the inter- 
 vals of ease, he did not paint with the same 
 
 spirit, delicate finishing, and firmness of 
 touch, as in his early days. In his works 
 may be observed two manners. While 
 the ideas and the style of Griffier were his 
 models, his pictures had true merit and 
 excellent colour. His subjects then were 
 views of the Rhine, with boats, and a 
 number of figures and animals, well de- 
 signed and neatly executed. This manner 
 he suddenly changed to imitate Velvet 
 Brueghel, and his subjects in this style 
 are battles, sieges, and encampments, 
 which procured him the name of Cheva- 
 lier. Though he was a copier of the prints 
 of Vandermeulen, sometimes taking whole 
 figures as well as designs from that mas- 
 ter, yet he afterwards composed readily 
 in that style, without being indebted to 
 any other artist. Some of his pictures 
 are too laboured, but others are full of 
 harmony. He died in 1744. 
 
 Breydel (Francis). This artist was 
 brother of the preceding, and born at 
 Antwerp in 1679. It is supposed that he 
 was a scholar of Rysbrack, though he 
 chose different subjects. At an early time 
 of life, his portraits procured him the ap- 
 pointment of painter to the court of Hesse- 
 Cassel. He also painted conversations, 
 feasts, assemblies, and carnivals; which 
 subjects he observed to be very attractive, 
 and on that account he was induced to 
 execute many pictures in that style. From 
 levity of temper, he quitted the court of 
 Hesse, and came to England, and con- 
 tinued here several years with his friend 
 Vandermyn. His conversations and other 
 compositions are finely executed, agree- 
 ably coloured, and well disposed; and 
 those pictures of his hand are mostly pre- 
 ferred, where he has endeavoured to give 
 a proper variety to his figures. The dresses 
 are in the mode of the time ; the persons 
 represented are of different ranks and oc- 
 cupations, mixed with some of the military 
 order, and through the whole there is an 
 appearance of nature, truth, and spirit. 
 He died in 1750. 
 
 Bril (Matthew). This painter was 
 born at Antwerp in 1550, and learned the 
 rudiments of his art in that city; after 
 which he went to Rome, and in a few 
 years displayed so much merit in landscape 
 and history, that Pope Gregory XIII. 
 employed him to work in the Vatican, and 
 allowed him an honourable pension till 
 his death, in 1584. 
 
 Bril (Paul). This excellent artist was 
 the brother of the preceding, and born at 
 Antwerp in 1554. He studied under 
 
BRI 
 
 70 
 
 Daniel Voltelmans, and afterwards found 
 employment in painting the cases of harp- 
 sichords ; but hearing of the fame which 
 his brother had acquired in Italy, he re- 
 solved to go thither and try his fortune. 
 Accordingly, though his finances were 
 low, he set out for Rome, travelling all the 
 way on foot, and supporting himself by 
 the occasional exercise of his talents. On 
 his arrival, he was well received by hig 
 brother, who gave him instructions. Hi- 
 therto his manner had been stiff, his pic- 
 tures had a predominant brown and yel- 
 low tinge, and his design and colouring 
 were equally indifferent; but when he 
 saw the works of Titian, he altered his 
 style entirely, and fixed upon one that was 
 abundantly pleasing, with a charming 
 tone of colour. The pension and employ- 
 ment which his brother had enjoyed at the 
 Vatican was also conferred upon Paul, 
 who not only surpassed him, but rose to 
 be the first in his profession. Annibal 
 Caracci frequently painted the figures in 
 his landscapes. His manner of painting 
 was true, sweet, and tender ; the touching 
 of his trees firm, and yet delicate; his 
 scenery, situations, and distances are ad- 
 mirable, most of them being taken from 
 nature, and the masses of his light and 
 shadow are strong and judicious ; though, 
 in some of his small easel pictures, he may 
 by some be accounted rather too green. 
 In the latter part of his life he painted 
 landscapes on a small size on copper, but 
 beautiful and exquisitely finished. The 
 works of this master are rarely met with, 
 especially those of the larger size, and 
 they afford extremely high prices in every 
 part of Europe. Fifty years ago, one of 
 his landscapes was sold in Holland for 
 160, and another, at an auction in Lon- 
 don, for more tlian 120 guineas, and yet 
 they were reckoned cheap. The author 
 of this book had a large landscape in the 
 best manner of Paul, with figures by one 
 of the Caracci, the scene being taken from 
 nature, on the banks of the Tiber; but 
 the greatest of his works is the landscape, 
 sixty-eight feet wide, in the Sala Clemen- 
 tina at Rome, which was painted by order 
 of Pope Clement VIII., and in it is intro- 
 duced the saint of that name thrown into 
 the sea. Paul Bril etched several land- 
 scapes from his own designs. He died in 
 1626. 
 
 Brinckman (Philip Jerome). Tliis 
 artist was born at Spires in 1709. Ilis 
 master was Delham, a landscape painter ; 
 \>ut he also executed occasionally some 
 
 historical pieces, in which he imitated 
 Rembrandt. Brinckman became painter 
 to the Elector of Mentz, and keeper of the 
 gallery in that city. He also etched some 
 plates from his own designs. He died 
 about 1751. 
 
 Brize (Cornelius), a Dutch painter, 
 whose talent lay in the representation of 
 bas-relief, armour, shields, weapons, and 
 volumes lying open, finished in a manner 
 that was really curious ; and grouped with 
 all the art, elegance, and judgment, that 
 the nature of his subjects would admit. 
 There is a picture in the Old Man's Hos- 
 pital, at Amsterdam, which has extraordi- 
 nary merit ; the subject of it is Old Age 
 persecuted by Poverty : the figures are 
 painted by Grebber, and the still life by 
 Brize. 
 
 Brizio (Francesco), an Italian artist, 
 was born at Bologna in 1574. He re- 
 ceived his first instruction in the school 
 of Passerotti, but afterwards he became 
 the disciple of Ludovico Caracci. He 
 indefatigably studied the principles of per- 
 spective and architecture, and arrived at 
 such a degree of excellence in his compo- 
 sitions in that style, that his works ob- 
 tained universal approbation. His pictures 
 were not only admired for the truth of 
 the perspective, and the beauty of the 
 colouring, but also for the grandeur of the 
 ideas, the majestic style of the architec- 
 ture, the elegance of the ornaments, and 
 the noble taste of landscape which he 
 introduced to set off his buildings. Brizio 
 was also an engraver in the manner of his 
 instructor in that art, Agostino Caracci. 
 He had a son called Filippo, who was 
 the scholar of Guide, and painted some 
 fine altar-pieces at Bologna. 
 
 Broeck (Crispin Vanden). This artist 
 was born at Antwerp about 1530, and 
 studied under Mauri Floris, after which 
 he painted history for some time. He 
 was also an architect and engraver, in 
 which last capacity he worked both on 
 wood and copper. He had a daughter, 
 Barbara, who was born at Antwerp in 
 1560, and distinguished herself by engrav- 
 ing from her father's designs. 
 
 Broeck (Elias Vandbn). He was of 
 the same family with the preceding, and 
 born at Antwerp in 1657. He was first 
 the disciple of Ernest Stuven, but after- 
 wards of Mignon, and painted fruit, flowers, 
 frogs, and reptiles, in a loose, easy, and 
 natural manner. From his manner of 
 handling, it seems very probable that he 
 had been partly instructed by De Heem, 
 
BRO 
 
 71 
 
 BRO 
 
 or at least that he studied the works of 
 that master diligently. He designed and 
 coloured every object after nature ; and 
 that he might have his models alv^ays 
 ready, he furnished his garden with all 
 the species that he was accustomed to 
 imitate. He died at Amsterdam in 1711. 
 
 Broers ( ). Though the subjects 
 
 which this Dutch artist chose were of the 
 lowest kind, he executed them with truth, 
 liveliness, and humour. He was parli- 
 cularly attentive to express the manners, 
 dress, and unpolished forms of the boors 
 in his own country, and he performed it 
 with a strong character of nature. He liad 
 alight, clean touch, with a free manner of 
 pencilling, and he always grouped his 
 figures with skill. His keeping was re- 
 markably good in the backgrounds, trees, 
 and distances ; and the whole of his com- 
 positions produced an agreeable effect. 
 
 Brompton (Robert), an English artist. 
 He was the pupil of Benjamin Wilson, 
 after which he went to Italy, where he 
 studied some time under Mengs. When 
 Lord Northampton went ambassador to 
 Venice, he was accompanied by Brompton, 
 who, while there, painted the portraits of 
 Edward Duke of York, and others of the 
 English nobility, in one piece. This pic- 
 ture was exhibited at the rooms in Spring 
 Gardens in 1767. Not finding here the 
 encouragement he expected, he went to 
 Petersburg, where he died about 1790. 
 
 Bronchorst (John). He was born at 
 Leyden in 1648, and had no particular 
 master but the power of his own genius ; 
 yet his incessant application enabled him 
 to distinguish himself as one of the most 
 eminent painters of his time in water- 
 colours. His subjects were birds and ani- 
 mals of all kinds, wild and tame, which 
 he copied, after nature, with uncommon 
 life, exactness, and expression. He died 
 in 1723. 
 
 Bronckhorst (Peter Van). He Was 
 born at Delft in 1588, and learned the art 
 of painting in that city, though his master 
 is not mentioned. His subjects were views 
 of ancient and modern churches, filled with 
 historical figures, which he executed in a 
 manner that gave his pictures great effect. 
 In the Council Chamber at Delft are two 
 fine paintings by this master, one repre- 
 senting the Judgment of Solomon, and 
 the other Christ driving the Money- 
 changers out of the Temple. He died in 
 1661. 
 
 Broxkhorst (JohnVan). He was born 
 at Utrecht in 1603, and was placed under 
 
 John Verburg, a painter on glass, before 
 he was eleven years of age. He went 
 afterwards to Brabant, in order to proceed 
 to France, but stopped on his journey with 
 Peter Mattys, an artist in the same line 
 at Verburg, with whom he continued some 
 time. At his return home he was much 
 employed, and yet was dissatisfied with 
 his own productions, because they ap- 
 peared inferior to those ideas which he 
 had formed of his art. At last, on meet- 
 ing with Cornelius Poelemburg, he was so 
 charmed with his taste of design, pencil- 
 ling, and colouring, that he immediately 
 devoted himself to the study of his manner. 
 This was in his thirty-sixth year, and from 
 that time he relinquished his old business 
 for oil painting, and by the neatness and 
 high finishing of his works, as well as by 
 the elegant choice of his subjects, he ob- 
 tained a lasting reputation. In the choir 
 of the new church at Amsterdam, there 
 are three of his paintings on glass, which 
 are shown as curiosities ; and in the same 
 church, on the folding-doors of the organ, 
 are three fine historical paintings in oil: 
 the Triumph of David over Goliath ; the 
 Anointing of Saul ; and the attempt of 
 Saul to kill David. He etched some land- 
 scapes after his own designs, and those of 
 Poelemburg. 
 
 Brokzino, see Allori. 
 
 Bronzini (Agnolo). He was born at 
 Florence in 1511, and was the disciple of 
 Pontormo, with whom he continued several 
 years, till he so effectually acquired his 
 style and manner, that the works of the 
 one were frequently mistaken for those of 
 the other. It seemed surprising that 
 Bronzini should succeed so happily in the 
 imitation of his master, as the general 
 behaviour of that artist to his pupils was 
 morose, and he rarely permitted any of 
 them to see him finish his pictures. But 
 the industry and good-nature of Bronzini 
 subdued the reserve of Pontormo so far, 
 that he loved him as much as if he had 
 been his own son, and afforded him those 
 opportunities of improvement which he 
 denied to others. Among his paintings 
 at Florence, a Nativity is mentioned as an 
 incomparable performance ; and also a 
 Venus embracing Cupid, attended on one 
 side by mirthful Loves, and on the other 
 by Jealousy, Fraud, and other allegorical 
 figures. This last picture was sent to the 
 French king, Francis I. Pontormo dying 
 without having finished the chapel of St. 
 Lorenzo at Florence, the duke appointed 
 Bronzini to complete that work; in the 
 
BRO 
 
 72 
 
 execution of which commission he evinced 
 a judgment superior even to that of his 
 master. Bronzini also painted portraits, 
 and among others vrhich he produced, were 
 those of Andria Doria, Dante, Boccaccio, 
 and Petrarch; he likewise painted the 
 portraits of the illustrious persons of the 
 house of Medici. His works at Florence, 
 Pesaro, and Pisa, are lasting monuments 
 of his merit ; and the many amiable qua- 
 lities of his mind engaged the affections of 
 all as long as he lived, and made his me- 
 mory respected after his death. His taste 
 in design was grand, though his figures 
 were frequently too tall. His pencil was 
 neat, but free ; his colouring resembled 
 that of Pontormo; and in his draperies 
 he imitated Michel Angelo Buonarroti. 
 He died in 1580. 
 
 BROOKiifG ( ). This ingenious 
 
 artist was born about 1 720. He had some 
 situation in the dockyard at Deptford, 
 and having a taste for drawing, applied 
 his talent to the painting of marine sub- 
 jects, in which he rose to an eminence 
 little inferior to Vandervelde or Back- 
 huysen. Unfortunately for the art, he 
 lived in obscurity, and died in 1759. 
 
 Bbouwer, or Bkatjwer (Adrian). 
 This famous artist was born, according 
 to one account, at Oudenarde in Flanders, 
 but to others, at Haerlem in Holland, in 
 1608. His parentage was mean, and his 
 mother sold to the peasants bonnets and 
 handkerchiefs, which Adrian, while a 
 child, painted with flowers and birds. 
 These being noticed by Frank Hals, he 
 was so pleased with the performance, that 
 he proposed to take the boy as an appren- 
 tice, and Brouwer gladly accepted the offer. 
 His master, on discovering his superior 
 genius, separated him from his companions, 
 that he might profit by his talents. He 
 locked him up in a garret, and though he 
 made him work hard, nearly starved him. 
 This cruelty exciting the pity of Adrian 
 Van Ostade, who was also a pupil of Hals, 
 he advised Brouwer to make his escape. 
 This counsel he followed, and took refuge 
 in a church, but was soon recognised, and 
 conveyed back to his master, who for some 
 time behaved more kindly; but his avarice 
 and tyranny returning, compelled Brouwer 
 to run away again, with more success than 
 . before. He got to Amsterdam, where he 
 had the pleasure to find that his name was 
 already known, and that his works bore a 
 good price. A picture-dealer with whom 
 he lodged, gave him one hundred ducatoons 
 for a painting representing gamesters; and 
 
 Brouwer, who had never possessed so much 
 money in his life, spent the whole in ten 
 days. He then returned to his employer, 
 and on being asked what he had done with 
 his money, he answered that he had got 
 rid of it, that he might be more at leisure. 
 This unfortunate propensity to alternate 
 work and dissipation marked the whole 
 of his life, and involved him in many ex- 
 traordinary adventures. When he had 
 finished any piece, he offered it for sale, 
 and if it did not produce the expected price, 
 he would burn it and begin another. Pos- 
 sessing a vein of low humour, and desirous 
 of new scenes, he went to Antwerp, where 
 he was taken up as a si)y, and sent to the 
 prison in which the Duke d'Aremberg 
 was confined. That nobleman lived in 
 friendship with Rubens, who often went 
 to visit him in his confinement ; and the 
 duke having observed the genius of Brou- 
 wer, without knowing who he was, desired 
 Rubens to bring with him, at his next visit, 
 a palette and pencils for a painter who was 
 in custody along with him. These mate- 
 rials were given to Brouwer, who took for 
 his subject a Group of Soldiers playing 
 at cards in a corner of the prison. When 
 the picture was finished, and shown to 
 Rubens, he cried out that it was painted 
 by Brouwer, whose works he had often 
 seen and admired. The duke, delighted 
 with the discovery, set a proper value on 
 the performance ; and though Rubens 
 offered six hundred guilders for it, the 
 duke refused to part with it, but presented 
 the painter with a much larger sum. 
 Rubens lost no time in procuring the en- 
 largement of Brouwer, and took him into 
 his own house ; but the levity of his tem- 
 per was such, that he considered his situa- 
 tion as a place of confinement. He there- 
 fore quitted Rubens, and went to France, 
 but after leading a wandering life some 
 time, he returned to Antwerp, where he 
 was taken ill, and died in an hospital, in 
 1640. He was buried in an obscure man- 
 ner; but when Rubens knew it, he had 
 the body re-interred with funeral pomp 
 in the church of the Carmelites ; and he 
 intended also to have had a superb monu- 
 ment erected to his memory, had he lived 
 to see it executed ; though Sandrart 
 says there was a magnificent one over his 
 grave, with an epitaph to perpetuate his 
 honour. Such were the talents and such 
 the end of Brouwer, who attained distin- 
 guished eminence in his style of painting. 
 His subjects were taken from low life, and 
 copied after nature, such as droll conver- 
 
BRO 
 
 73 
 
 BRU 
 
 sations, feasts, taverns, drunken quarrels, 
 boors playing at cards, or surgeons dress- 
 ing wounds. His expression is so lively 
 and characteristic, the management of his 
 colours so surprising, and the truth united 
 with such exquisite finishing, correctness 
 of drawing, and transparence, that his 
 pictures are inestimable; several of his 
 designs have been engraved, and some 
 were etched by himself. 
 
 Brown (Robert). This artist was a 
 native of London, and the scholar of Sir 
 James Thornhill, under whom he worked 
 in the cupola of St. Paul's. After this he 
 became a painter of portraits and historical 
 subjects. In the latter department, he 
 painted the altar-piece in the church of 
 St. Andrew, Undershaft; the Transfigu- 
 ration, in St. Botolph, Aldgate; for St. 
 Andrew's, Holborn, the figures of St. 
 Andrew and St. John ; and in the chapel 
 in Bedford-row, St. John the Baptist and 
 St. John the Evangelist. He died about 
 1770. 
 
 Brown (John), a Scotch artist, was 
 the son of a watchmaker at Edinburgh, 
 and born there in 1752. We are not told 
 by whom he was instructed in the art 
 which he professed ; but in 1771 he went 
 to Italy, and during the space of ten years 
 that he spent there, was never a day 
 without the pencil or the crayon in his 
 hand, and Michel Angelo in his imagi- 
 nation. By continued practice he obtained 
 a correctness of outline not often sur- 
 passed; but he unfortunately neglected 
 the mechanism of the palette, till his taste 
 was so refined that Titian, Murillo, and 
 Corregio, made him tremble when he 
 touched the canvass. While in Italy he 
 formed an acquaintance with Mr. Townley 
 and Sir William Young, whom he accom- 
 panied in their tour to Sicily, where he 
 took some beautiful drawings. On his re- 
 turn home, he resided some time at Edin- 
 burgh, where he was befriended by Lord 
 Monboddo, In 1786 he came to London, 
 and obtained employment as a painter of 
 small portraits in black-lead pencil, which 
 were always correctly drawn, and with 
 remarkable taste. Unfortunately, how- 
 ever, his life was short, and incessant 
 application brought on a pulmonary com- 
 plaint, which compelled him to return to 
 Scotland, where he died, September 5, 
 1787. Mr. Brown was a man of mild 
 manners and excellent understanding. 
 He was not only well acquainted with the 
 principles of painting, but with sculpture 
 and music, of which sufficient evidence 
 
 appeared after his death, in a volume of 
 "Letters on the Poetry and Music of the 
 Italian Opera," published for the benefit 
 of his widow in 1789. He left some highly- 
 finished portraits in pencil drawing, and 
 many good sketches of Italian scenery in 
 the same manner. 
 
 Bru (Mosen Vicente), a Spanish artist, 
 who was born at Valencia in 1682, He 
 studied under Juan Conchillos ; and at the 
 age of twenty, painted several altar-pieces, 
 but died shortly after, to the great loss of 
 the art, in 1703. 
 
 Brueghel, or Breughel, (Peter), 
 called the Old, to distinguish him from 
 his son, from whom descended a family of 
 artists. He was born at Brueghel, a 
 village near Breda, in 1510, and learned 
 the first principles of his art from Peter 
 Cock, or Koeck, whose daughter he after- 
 wards married. Having acquired all the 
 knowledge which his master could impart, 
 he set out for Italy, and in his route stu- 
 died nature amidst the mountains of the 
 Tyrol, and the magnificent scenery of the 
 Alps : besides which, he also availed him- 
 self of the finest works that could be found 
 in Rome. On his return to his own country, 
 he resided some time at Antwerp, from 
 whence he removed to Brussels ; but while 
 employed by the magistrates in taking 
 views of the canal which falls into the 
 Scheldt, he sickened and died in 1570. 
 Before his death, he caused all his licen- 
 tious and satirical designs to be burnt in 
 his presence. Brueghel excelled in land- 
 scapes and droll subjects, resembling those 
 of Teniers, and he was particularly fond of 
 representing the marches of armies, rob- 
 beries, gipsies, skirmishes, sports, dances, 
 weddings, and drunken quarrels ; for 
 the better observation of which he often 
 assumed the habit of a peasant, and joined 
 the meaner boors in their feasts and amuse- 
 ments. His figures were correct, and the 
 draperies well chosen ; the heads and hands 
 were touched with spirit, and his expres- 
 sion, though not elegant, was faithful to 
 nature. Sir Joshua Reynolds says, he was 
 totally ignorant of all the mechanical art 
 of making a picture ; yet there is in his 
 Slaughter of the Innocents, which Sir 
 Joshua saw in his travels, much thinking-, 
 and a variety of distress sufficient for 
 twenty modern pictures. His best perform- 
 ance is in the imperial collection at Vienna, 
 the subject of which is the Building of the 
 Tower of Babel. Brueghel, for his amuse- 
 ment, engraved some landscapes and gro- 
 tesque pieces. 
 
BRU 
 
 74 
 
 BRU 
 
 Beueghel (Peter Petebsz). This 
 painter, who was called the Young, to 
 distinguish him from his father, Peter 
 Brueghel the Elder, was born at Brussels, 
 and is universally known by the name of 
 Hellish Brueghel, on account of the sub- 
 jects which he delighted to paint. He 
 was the scholar of Gilles Coningsloo ; but 
 his compositions ratherexcite disgust than 
 pleasure, his human figures being little 
 more elegant than his infernal, and, though 
 freely pencilled, and not ill coloured, yet 
 few persons can feel any pleasure in look- 
 ing upon them. Besides his fondness for 
 describing imaginary forms of horror, he 
 scarcely ever designed any historical sub- 
 ject, except those that admitted of witches 
 and devils ; as Orpheus charming Pluto 
 and Proserpine to procure the deliverance 
 of Eurydice, surrounded with horrible 
 shapes and appearances; Saul and Samuel 
 at Endor ; or St. Anthony's Temptations. 
 He died in 1642. 
 
 Bkueghel (John, called Vbi,vet Brue- 
 ghel). He was the son of Peter Brueghel 
 the Old, and was born at Brussels in 1560. 
 He learned the first principles of the art 
 from his father, and after his death was 
 taught to paint in miniature by Peter 
 Koeck Van Aalst ; but his last master was 
 Peter Goekindt, by whom he was instruct- 
 ed in oil painting. He began with paint- 
 ing fruit and flowers after nature, which 
 he executed with incredible neatness ; but 
 when he went to Italy, he altered his sub- 
 jects to landscapes, seaports, and markets, 
 with a number of figures, wonderfully 
 exact, and correctly drawn, though of a 
 small size. His touch is delicate, his 
 figures are correct, and the carriages, 
 which he was fond of introducing into his 
 landscapes, are admirably represented ; 
 but his distances have rather too bluish a 
 tinge in some of his works. Rubens ad- 
 mired him so much that he desired him 
 to insert the landscape scenery in several 
 of his pictures ; in return for which, he 
 often painted the figures in those of his 
 friend. One of their finest joint perform- 
 ances was the picture of Adam and Eve 
 in Paradise. Brueghel also assisted, in a 
 similar manner, Steenwyck, Mompert, 
 Rothenamer, and Van Balen. Houbraken 
 mentions a picture, three feet high and 
 four broad, painted by Brueghel, and 
 speaks of it as being the admiration of 
 every beholder. So great is the variety 
 of fruits, flowers, and trees, on the fore- 
 ground, that the eye is perfectly bewil- 
 dered ; and though the proportions of the 
 
 objects are but of a small size, yet to the 
 observer they seem like nature itself; par- 
 ticularly a fig-tree in a large garden pot, 
 which appears wonderfully exact in the 
 colouring of the stem, branches, and fruit. 
 This picture was sold at Amsterdam for 
 2825 guilders (above 280 sterling) : the 
 figures in it, Vertumnus and Pomona, were 
 painted by Rubens. In the gallery of the 
 archiepiscopal palace at Milan is a lovely 
 landscape of this master, representing a 
 Desert, in which Giovanni Battista Crespi 
 painted the figure of St. Jerome; and 
 among a greater number, preserved in the 
 Ambrosian Library in that city, is an oval 
 picture of the Virgin by Rubens, encom- 
 passed with a garland of flowers by Brue- 
 ghel. This artist, on account of the 
 peculiarity of his dress, obtained the name 
 of Velvet Brueghel, or Feuweeler. He 
 died in 1625, but according to others, in 
 1642. 
 
 Brueghel (Abraham), called the Nea- 
 politan. This artist was born at Antwerp 
 in 1672. He went to Italy when young, 
 and acquired such a reputation there, that 
 his works were eagerly sought for, and 
 purchased at large prices. He painted fruit 
 and flowers, in which he made nature his 
 model; his objects are represented with 
 elegance and truth, with a warm and na- 
 tural colouring, and abroad and free touch, 
 so that his works were highly esteemed. 
 He resided several years at Naples, where 
 he acquired a considerable fortune ; but, 
 confiding it to the care of a merchant who 
 proved dishonest, he lost the whole, and 
 with it his life, through grief, in 1690. 
 
 Bbun (Augustine). This German pain- 
 ter was born at Cologne in 1570, and died 
 there in 1622. He was deemed a good 
 artist in history, correct in his design, and 
 able in execution. 
 
 Brun (Charles le). This great painter 
 was born at Paris in 1619. He was of 
 Scotch extraction, and his father was a 
 statuary of reputation. At three years of 
 age Charles drew figures with charcoal, 
 and at twelve the portrait of his uncle. 
 His father being employed in the gardens 
 of the Chancellor Seguier, took his son 
 with him, and that great minister was 
 so pleased with his genius, that he 
 placed him under Simon Vouet, who was 
 no less surprised at his progress. The 
 chancellor sent him next to Rome, where 
 he resided six years. On his return, Le 
 Brun contracted an intimacy with Poussin, 
 and this friendship lastedduring their lives. 
 Cardinal Mazariu, a good judge of the art, 
 
BRU 
 
 75 
 
 BRU 
 
 took Le Brun ander his protection, often 
 sat by him while at work, and recommend- 
 ed him to the king, who made him liis first 
 painter, and conferred on him the order of 
 St. Michael. His majesty employed two 
 hours every day in looking over him, while 
 he was painting the family of Darius, at 
 Fontainebleau. It was about the year 1662 
 when he began his first five large pictures 
 of the History of Alexander the Great ; 
 in which, say his biographers, he has set 
 the hero in a more glorious light than 
 Quintus Curtius has done in his work. I*e 
 Brun procured several advantages for the 
 Royal Academyof Paintingand Sculpture ; 
 besides which, he formed the plan of another 
 for French students at Rome. By the inte- 
 rest of Colbert he obtained the direction of 
 the king's works, particularly of the royal 
 manufactory at the Gobelins. He was also 
 made director and chancellor of the Royal 
 Academy. Le Brun possessed in a greatde- 
 gree that enthusiasm which excites to great 
 efforts. Some one said before him, of his 
 picture of the Magdalen, that the penitent 
 appeared to weep : " That is all, perhaps, 
 you can see," replied the artist; " but I can 
 hear her sigh." This great painter died, 
 without any children, in 1690. He was 
 the author of a treatise on Physiognomy, 
 and of another on the Characters of the 
 Passions. Le Brun had a most extensive 
 genius, a fruitful invention, and knew how 
 to give a proper expression to every cha- 
 racter. He always had a high opinion of 
 the design peculiar to the Roman school, 
 though he did not imitate that taste, but 
 in his manner seemed rather to follow 
 the manner of Annibal Caracci. His 
 attitudes are well chosen, natural, and ex- 
 pressive ; and his draperies agreeable, 
 though without variety. The manner of 
 colouring which he acquired in the school 
 of Vouet he never could shake off, not hav- 
 ing allowed himself sufficient time to study 
 the tints of the Venetian artists; and there- 
 fore he always retained those that were 
 too general. His lights and shadows were 
 often not happily distributed, and he was 
 indiscreet in not making the foregrounds 
 of many of his pictures sufficiently dark, 
 by which means they hajic an unequal 
 effect. Le Brun showed grandeur in the 
 disposition of his subject ; in all his com^ 
 positions he endeavoured to depict the pas- 
 sions agreeably to nature, and he was an 
 exact observer of costume ; yet his figures 
 are frequently too short, and there is too 
 much sameness in his expression, di'a- 
 pcries, and attitudes. His pencil is light 
 
 and mellow, but his local colours are cen- 
 sured by some as indifferent ; and, indeed, 
 through his whole pictures, one tint seems 
 to predominate too much, except in a few 
 of his capital performances. The airs of 
 his heads are almost always the same, 
 though well chosen, often graceful, and 
 full of elegance. His brother, Gabriel 
 Le Brun, who was born at Paris about 
 1625, was both a painter and an engraver, 
 but never rose to eminence. 
 
 Bru> (Madam ViGEE Le). This lady, 
 who was an artist of considerable talent, 
 and a member of the academy of painting, 
 died in 1842. 
 
 Bbunktti (Sebastiano). He was a native 
 of Bologna, and became the disciple of 
 Lucio Massari and Guido Reni. But 
 though he had a good taste, and designed 
 well, his colouring was sombre and heavy. 
 He painted several altar-pieces at Bologna, 
 where he died young. 
 
 Bbuni (Domenico). This artist was 
 born at Brescia in 1591. He studied under 
 Sandrini, and became a good painter of 
 architectural subjects and perspective. He 
 died at his native place in 1666. 
 
 Bruni (Giulio), a Genoese painter, 
 who was first the scholar of Lazzaro Ta- 
 varoue, and next of Giovanni Battista 
 Paggi. He became eminent in history 
 and portrait, but we have little account 
 either of his life or his works. 
 
 Bbuni AS (Augustine). This painter 
 was a native of Italy, and after residing 
 in London some time, went to Dominica, 
 in the West Indies. He painted orna- 
 ments for ceilings and panels, also land- 
 scapes ; and in the exhibitions of the Royal 
 Academy, in the years 1777 and 1 779, were 
 some views in the island of Dominica 
 painted by him. He was also an engraver. 
 
 Bbuyn (Cornelius de). This artist 
 was born at the Hague in 1652. He 
 travelled, when young, into Italy, and re- 
 sided some time at Rome with Robert 
 Duval; after which he went to Venice, 
 where he studied under Carlo Lotti. He 
 painted portraits ; and having spent some 
 years at Venice, went into Persia and In- 
 dia, of which journey he published an in- 
 teresting account at Amsterdam, illustrated 
 by plates from his own designs. He died 
 in 1611. 
 
 Bbuyn (T. de). This artist was either 
 a native of France or Switzerland. He 
 came to England about 1760, and painted 
 landscapes with figures and cattle ; but 
 was principally eminent for his skill in the 
 imitations of basso-relievos, in which he 
 
BUG 
 
 76 
 
 BUN 
 
 produced surprising effects of deception, 
 particularly in the chapel of Greenwich 
 Hospital. He died in Castle- street, Ox- 
 ford-market, in 1804, leaving a son, who 
 was a student of the Royal Academy. 
 
 Brusasorci, see Riccio. 
 
 Brussels (Rogee of), see Vander 
 Weyde. 
 
 BuDD (George). This artist is sup- 
 posed to have been born in London, where, 
 for some time, he carried on the business 
 of a hosier, but quitted it to teach drawing. 
 He also painted portraits, landscapes, and 
 still life. There is a raezzotinto by M'Ar- 
 dell, after a picture by him of Timothy 
 Bennett, the patriotic shoemaker of 
 Hamptonwick, who successfully opposed 
 the old Princess Amelia in obtaining a 
 passage through Bushy-park. 
 
 BuFEALMAcco (BuoNAMico). He was 
 born at Florence in 1262, and was the 
 disciple of Andrea Tassi. He had a sin- 
 gular talent for humour, and is remark- 
 able for being the first who advised the 
 use of a label, drawn from the mouth of 
 a figure, to represent it as speaking, instead 
 of the sentences written over them, as had 
 been before practised by Cimabue. Vasari, 
 among other instances of the drollery of 
 this painter, tells us that, being engaged 
 to paint a picture of a Madonna and Child, 
 for a citizen of Florence, his employer dis- 
 puted the payment when the painting was 
 finished, on which BufiFalmacco went away, 
 and prepared some water colours, with 
 which, early the next morning, he effaced 
 the child, and painted a young bear in its 
 stead, on the lap of the Virgin ; which 
 excited so much ridicule against the em- 
 ployer, that he supplicated earnestly to 
 have the work restored to its original con- 
 dition ; and, when he had paid the stipu- 
 lated sum, Buffalmacco -washed away the 
 additional bear with a wet sponge. He 
 died in 1340. 
 
 BuroNi (PoMPEo). This artist was 
 born at Rome in 1634, and died there in 
 1679. He painted heads in a fine style, 
 and his pictures of historical subjects were 
 highly finished. 
 
 BuGiARDiNi (GiULiANo), a painter of 
 history and portraits, was born at Florence 
 in 1481. Having received some instruction 
 from Bertoldo, a sculptor, he was indebted 
 to Michel Angelo Buonarroti for his further 
 improvement, and he was exceedingly be- 
 loved by that great artist. Some of his 
 works were well esteemed, but his taste 
 in design and composition was imperfect; 
 he was also incorrect in his drawing, and 
 
 apt to express the muscular parts of the 
 human body too hard ; besides which, his 
 colouring was dry and disagreeable. In 
 the church of St. Francesco, at Bologna, 
 is a picture by him of the Marriage of St. 
 Catherine. He died at Florence in 1556. 
 
 BuLLiNGER (John Balthasar). This 
 artist was born at Langnau, in the canton 
 of Zurich, in 1713. His first master was 
 John Simler;but afterwards he went to 
 Venice, where he studied under Giovanni 
 Battista Tiepolo, an historical painter. 
 Bullinger, however, quitted that line for 
 landscape painting, which he adopted, after 
 the manner of Both as well as of Berchem. 
 He also etched some plates from his own 
 designs and those of others. 
 
 BuNBURY (Henry William). He was 
 the youngest son of Sir William Bunbury, 
 of Mildenhall, Suffolk, and was educated 
 at Westminster-school, from whence he 
 removed to Catherine -hall, Cambridge. 
 He distinguished himself at an early period 
 of life by his attachment to the arts, par- 
 ticularly in caricature painting, in which 
 he became very popular by his Directions 
 to Bad Horsemen, and other published 
 works of considerable humour. Sir Joshua 
 Reynolds said of one of these pictures, that 
 it exceeded, in drawing, every thing of the 
 kind he had ever seen. Mr. Bunbury died 
 in May 1811, aged about sixty-one, near 
 Keswick, in Cumberland. 
 
 BuNEL (Jacques). He was born at 
 Blois, in 1558, and studied at Rome under 
 Zucchero. He painted with great repu- 
 tation at Rome and Paris; and in the 
 church of the Augustines, in the latter 
 city, is a Descent of the Holy Ghost by 
 him, which Nicolo Poussin did not scruple 
 to prefer to all the pictures in that city. 
 
 Bunk (James). This artist was chiefly 
 employed in ornamenting clocks, and other 
 machinery. He painted candlelight pieces, 
 landscapes, and still life. He was an ex- 
 hibitor with the Society of Artists, before 
 the institution of the Royal Academy, and 
 is supposed to have died about the year 
 1780. 
 
 Bunnick (Joun Van). This artist, who 
 painted landscape and history, was born at 
 Utrecht in 1654. He was a disciple of 
 Herman Sachtleven ; and when he had 
 followed his profession some years, he 
 painted, in conjunction with Gerard Hoet, 
 several pictures ; but being desirous to en- 
 large his ideas, he set out for Rome. In 
 his passage through Genoa he formed an 
 acquaintance with Tempesta, in conse- 
 quence of which he remained there some 
 
BUO 
 
 77 
 
 BUO 
 
 time, and painted several pictures that 
 gained him great credit. On his arrival 
 at Rome he was introduced to Carlo Ma- 
 ratti, Abraham Genoels, and Ferdinand 
 Voet, from whose works and conversation 
 he obtained great improvement. Having 
 completed his studies there, he went to 
 Modena, where the duke engaged him in 
 his service, with a pension, and retained 
 him for eight years at his court. On his 
 return to Holland, he was employed by 
 William IH. to ornament his palace of Loo. 
 He died in 1727. He designed well, dis- 
 posed his figures with elegance and pro- 
 priety, and was correct in his outline. 
 
 BuNNicK (Jacob Van). He was the 
 brother of John, and accompanied him to 
 Italy, where he studied with great appli- 
 cation, and became an excellent painter. 
 His subjects were battles, in which he dis- 
 tinguished himself greatly ; but though in 
 this choice he differed from the taste of 
 his brother, yet in the manner of handling 
 and colouring he imitated him closely. He 
 died in 1725. 
 
 BuoNACoKsi, see Vaga. 
 
 BuoNAMico (Cristofano). This old 
 artist was born at Florence in 1272, and 
 had Andrea Taffi for his instructor. He 
 was a good painter in history, and laboured 
 some time in company with Boccaccio and 
 Calendrino. He died in 1 340. 
 
 Buonarroti (Michel Angelo). This 
 extraordinary man was born in the Castle 
 of Caprese, in Tuscany, March 6, 1474, 
 and was descended from the noble family 
 of the Counts of Canosa. At a proper age, 
 Michel Angelo was sent to a grammar 
 school at Florence, where he contracted a 
 fondness for drawing, which at first 
 alarmed the family pride : but his father, 
 perceiving that it was hopeless to stem his 
 inclination, suffered his genius to take its 
 course, and placed him under Domenico 
 Ghirlandaio. This was in 1488, and he 
 remained with that master three years, 
 but reaped little benefit from his instruc- 
 tions, as Ghirlandaio, out of jealousy, 
 depressed, instead of fostering his talents. 
 While, however, he was in this school, 
 Lorenzo de Medici established a semi- 
 nary for the advancement of sculpture, 
 and permission was granted to the scholars 
 of Ghirlandaio to study there. Among the 
 rest, Michel Angelo took a pleasure in visit- 
 ing the Medicean garden; and one day 
 observing a person modelling some figures 
 in clay, he felt an inclination to do the 
 same. In this employment he was noticed 
 by Lorenzo, who gave him so much en- 
 
 couragement, that soon after he was 
 tempted to try his skill in marble. His 
 first essay was on a mutilated old head, or 
 rather mask, representing a Laughing 
 Faun, which he finished in a few days. 
 Lorenzo, on visiting his garden, found 
 Michel polishing his mask, which he 
 thought a surprising work for so young 
 an artist, but said, " You have restored to 
 the old man all his teeth, when you ought 
 to know that a person of that age has 
 generally some wanting." Upon this, when 
 Lorenzo departed, Michel Angelo broke a 
 tooth from the upper jaw, and drilled 
 a hole in the gum, to indicate its having 
 fallen out. This incident procured him 
 the patronage of Lorenzo, who adopted 
 him into his family, and treated him as a 
 son. For his illustrious patron Michel 
 Angelo executed a basso-relievo in marble, 
 the subject of which was the Battle of the 
 Centaurs, of which it is sufficient to say 
 that in later life it met with his own ap- 
 probation, attended with the remark, that 
 he regretted his not having devoted him- 
 self wholly to sculpture. In 1492, Lorenzo 
 died ; and though his brother Pietro con- 
 tinued to show the artist favour, there was 
 little honour in his patronage, for he used 
 to boast that he had two extraordinary 
 men in his house, Michel Angelo the car- 
 ver, and a Spaniard who could outrun a 
 horse. When the disturbances broke out 
 in Florence, Michel Angelo retired to 
 Bologna, where he was entertained hospi- 
 tably by Aldrovandi, one of the members 
 of the senate. During his stay there, he 
 finished two statues. for the church of the 
 Dominicans. At the end of a year he re- 
 turned to his father, and, under his roof, 
 produced the statue of a Sleeping Cupid, 
 which, by the advice of a friend, was sent 
 to an agent at Rome, who pretended to 
 have dug it up in a vineyard, and sold it 
 to Cardinal St. Georgio for two hundred 
 ducats. Soon after this, Michel Angelo 
 went to Rome, and made several statues, 
 which raised his reputation very high. He 
 also,duringhis residence there at that time, 
 painted, in distemper, a cartoon of St. 
 Francis receiving the Stigmata. On 
 the advancement of Pietro Soderini to the 
 perpetual Gonfaloniere of Florence, Michel 
 Angelo returned thither, and introduced 
 himself to that magistrate by a colossal 
 statue of David, another figure in bronze, 
 and a group of David and Goliath. These 
 were well received, and the Gonfaloniere 
 ordered him to paint an historical picture 
 to ornament one end of the hall of the ducal 
 
BUO 
 
 78 
 
 BUO 
 
 palace, while Leonardo da Vinci executed 
 another for the opposite end. The subject 
 chosen by Michel Angelo was an event in 
 the war between the Florentines and Pi- 
 sans ; that of Leonardo, a battle of cavalry. 
 Both were admirable performances, and 
 that of Michel Angelo long continued an 
 object of study to foreign artists as well as 
 natives. On the accession of Pope Julius, 
 Michel was one of the first invited to the 
 papal court, where he received a commis- 
 sion to make a mausoleum. The plan was 
 a parallelogram, and the superstructure 
 was intended to consist of forty statues, 
 many of which were to be colossal, inter- 
 mixed with ornamental figures, and basso- 
 relievos in bronze, besides the architecture. 
 When this superb design was composed, 
 it met with the pope's approbation, and 
 Michel Angelo was desired to inspect St. 
 Peter's, for the purpose of finding a place 
 where it could be erected. The artist fixed 
 upon a spot; but the church itself being old, 
 and ill adapted to such a magnificent 
 structure, the pope determined to pull it 
 down, and build a new one. Such is the 
 origin of this celebrated edifice, the com- 
 pletion of which took one hundred and 
 fifty years; and while it was going on, the 
 Roman Catholic religion experienced a 
 blow that shook its foundation. The work 
 had not proceeded far before Michel An- 
 gelo, having experienced ill treatment 
 from the officers of the pope, left Home in 
 disgust, and returned to Florence. After 
 some time, at the intercession of friends, 
 the artist consented to go back to Rome, 
 where he found that thepope had altered his 
 mind, and that, instead of completing the 
 mausoleum, he had determined to ornament 
 the walls of the Sistine Chapel. The build- 
 ing was already decorated with historical 
 paintings, which were now to be obliterated 
 and replaced by others from the hand of 
 Buonarroti, who had little inclination to 
 the work, and, besides, was rather diffident 
 of his powers. He would have recom- 
 mended Raffaelle, but the pope's mind was 
 made up, and Michel Angelo was forced 
 to yield. He accordingly prepared his 
 cartoons, and endeavoured to procure per- 
 sons capable of working in fresco, but 
 none sufficiently qualified were to be found. 
 Thus disappointed, he began with the 
 ceiling, which he painted without assist- 
 ance, to the surprise of his friends, and 
 the mortification of his enemies. The 
 whole was finished in twenty months, and 
 the chapel was opened on All Saints-day, 
 1512, by a solemn mass, at which the pope 
 
 officiated in person. Three months after 
 the pope died, and was succeeded by Leo 
 X., who made professions of attachment 
 to Michel Angelo, but failed in giving 
 proper employment to his talents. The 
 artist had received instructions to con- 
 struct a monument for Julius H. on a 
 smaller scale than the mausoleum already 
 mentioned, and he was anxious to complete 
 the work, when he was called from it by 
 the pope, who insisted upon his going to 
 Florence to build the faqade of the church 
 of St. Lorenzo. He would have remon- 
 strated, but was compelled to submit, and 
 while at Carrara procuring the marble, 
 he received a letter from Leo, ordering 
 him to go to the quarries of Pietra Santa 
 for that purpose. Buonarroti complied, 
 but reported that the marble there was 
 of a bad quality, and that there was no way 
 of conveying it to Florence without making 
 a road over mountains and marshes to the 
 sea. The pope, however, persisted, and 
 commanded him to proceed ; the conse- 
 quence of which was, that the talents of 
 this great man were buried in those moun- 
 tains during the whole pontificate of Leo, 
 in raising stone out of a quarry and making 
 a road. 
 
 During the reign of Adrian VL, who 
 succeeded Leo, the fagade of St. Lorenzo 
 was laid aside, and Michel Angelo en- 
 deavoured to renew his labours on the 
 monument of Pope Julius, for which the 
 heirs of that pontiff were very impatient, 
 and threatened to make the artist account 
 for the monies already expended. He 
 would have been much troubled had it 
 not been for his friend Cardinal Giuliano 
 de Medici, who commissioned him to build 
 a library and sacristy for the church of 
 St. Lorenzo, to serve as a mausoleum for 
 his family. These, and two monuments 
 for the Dukes Giuliano and Lorenzo, took 
 up the whole of Buonarroti's attention 
 during this pontificate, which ended in 
 1523. Under Clement VII., formerly 
 Giuliano de Medici, he went on with the 
 chapel and library already mentioned, be- 
 sides which he executed a statue of Christ, 
 of the natural size, to be placed on the 
 altar in the church of Santa Maria sopra 
 Minerva, at Rome. In the war which 
 followed soon after, he was employed at 
 Florence as superintendent of the fortifi- 
 cations ; but hearing of some plots for the 
 destruction of the republic, he went to 
 Venice. Soon after, however, he returned, 
 at the desire of the citizens; but when 
 Florence surrendered to the pope, he se- 
 
BUO 
 
 79 
 
 BUO 
 
 crcted himself till he received a pardon, 
 on condition of his finishing the monu- 
 ments which he had begun. Peace being 
 restored, Michel Angelo was called by the 
 Duke of Urbino to complete the mau- 
 soleum of Julius II., and while engaged 
 upon it, he was again interrupted by the 
 pope, who ordered him to paint the two end 
 walls of the Sistine Chapel. At length, 
 after many vexatious delays, he was per- 
 mitted to complete his task, and the monu- 
 ment was placed, not in St. Peter's, as 
 intended, but in the church of St. Pietro 
 in Vinculo. Michel Angelo now began 
 the great work of the Last Judgment in 
 the Sistine Chapel, which was finished in 
 1541, and the edifice itself opened with 
 great solemnity on Christmas- day. This 
 performance gave such satisfaction to Pope 
 Paul III., that he settled a pension on the 
 artist, amounting to six hundred pounds 
 a-year of our money. Near to the Sistine 
 Chapel, Antonio de San Gallo, the archi- 
 tect, built another, called the Paoline, in 
 honour of the pope, who directed Buo- 
 narroti to paint two large pictures for it. 
 This he accomplished ; and though an old 
 man, produced in a short time two pieces, 
 the subjects of which were the Martyrdom 
 of St. Peter, and Conversion of St. Paul. 
 The pope often consulted Michel Angelo 
 on his buildings; and when San Gallo 
 died, in 1546, his holiness conferred upon 
 him the title of architect, which he would 
 ordy accept on the condition of having no 
 salary. He was now called upon to carry 
 on the great work of St. Peter's, in execut- 
 ing which he deviated from the Sara- 
 cenic model of San Gallo, to adopt a more 
 Christian and superb one of his own, 
 in the form of a Greek cross. Having 
 commenced his labours on this edifice, it 
 advanced with great activity, and, before 
 the end of the pontificate of Paul, had 
 assumed a general form and character. 
 As, in the progress, he had chosen his own 
 workmen and dismissed others, the latter, 
 naturally enough, raised cabals against 
 him ; and the most malicious reports were 
 circulated to his disadvantage. These 
 machinations went so far that efforts were 
 made to remove him from his situation ; 
 but fortunately Julius III., the successor 
 of Paul, proved his friend, and shielded 
 him effectually from his enemies. This 
 pope prosecuted no work without con- 
 sulting him. What was done in the Vati- 
 can, or at his villa in the Flaminian- 
 way, was with Michel Angelo's advice and 
 superintendence. In 1555, that pontiff 
 
 died ; and it would have been happy for 
 Buonarroti if he had ended his life at the 
 same time. He was now eighty years 
 old, and the remainder of his days was 
 harassed by fatigue, caprice, and opposi- 
 tion. Under all these trials, however, he 
 went on with his vast undertaking, and 
 even finished designs for other works with 
 the alacrity of a youthful mind. Notwith- 
 standing this, his adversaries multiplied ; 
 and Buonarroti, finding that he had lived 
 too long, wished to retire from the scene 
 of vexation ; but the pope refused to ac- 
 cept his resignation, and he retained the 
 place, which he had so long and hon- 
 ourably sustained, till his death, Fe- 
 bruary 17, 1563. He was then eighty- 
 eight years, eleven months, and fifteen 
 days old, which yet was not the life of 
 his father, who reached the age of ninety- 
 two.' The last words of this wonderful 
 man were these: "My soul I resign to 
 God, my body to the earth, and my worldly 
 possessions to my nearest of kin." Then, 
 turning to those around him, he said, " In 
 your passage through this life, remember 
 the suffering of Jesus Christ." Three 
 days after his death, his remains were 
 deposited with great pomp in the church 
 of St. Apostoli, at Rome, but afterwards 
 were removed to the church of Santa 
 Croce, at Florence. Michel Angelo was 
 of a middle size, bony make, and rather 
 broad over the shoulders. His complexion 
 was good, his forehead square, his eyes 
 small, and his nose flat, being disfigured 
 by a blow which he received when a youth, 
 from his fellow student, Torrigiano. In his 
 childhood Michel Angelo was of a weakly 
 constitution, and to guard his health with 
 peculiar care he was very abstemious, sel- 
 dom partaking of the pleasures of the 
 table; for he used to say, " However rich 
 I may have been, I always have lived as 
 a poor man." Many years before his death 
 he was afflicted with stone and gravel, 
 and, when advanced in years, with the 
 cramp in his legs. In the early part of 
 his life, he not only applied to sculpture 
 and painting, but to every branch of know- 
 ledge connected with the arts. Among 
 the authors he studied and delighted in 
 most, were Dante and Petrarch, whose 
 poems it is said he had by heart, and many 
 of his own sonnets show how closely he 
 imitated the bard of Vaucluse. He also 
 studied diligently the Holy Scriptures, and 
 was well acquainted with ancient history. 
 His acquirements in anatomy are observ- 
 able throughout his works ; and he once 
 
BUO 
 
 80 
 
 BUR 
 
 intended to have written on that sub- 
 ject a treatise adapted to painters and 
 sculptors. The love of wealth made no 
 part of his character, and when oflFered 
 lucrative commissions, he generally de- 
 clined them, being more stimulated by 
 friendship than the desire of gain. He 
 had a great love of the arts which he pro- 
 fessed, and was laudably actuated by the 
 desire of fame. He had no children, and 
 was never married, often saying, "My 
 works must supply the place of posterity ; 
 and, if they are good for any thing, they 
 will live hereafter." He continued to 
 study to the end of h^ long life, but never 
 was satisfied with any thing he did ; and 
 when he saw any imperfection that might 
 have been avoided, he became disgusted, 
 choosing rather to begin anew than to 
 attempt an amendment. Cardinal Farnese 
 one day found Michel Angelo walking 
 alone in theColiseum,and on expressing his 
 surprise at seeing him among those ruins, he 
 answered, " I yet go to school that I may 
 learn something." Conformably tothisfeel- 
 ing, he sketched, a little before his death, 
 a design representing an old man with a 
 long beard, in a child's go-cart, an hour- 
 glass before him, and on a scroll overhead, 
 Ancora Imparo, signifying that no state 
 of decay was incompatible with mental 
 improvement. His merits as an artist 
 have been long the subject of discussion ; 
 but perhaps the happiest view of them is 
 that which Mr. Fuseli has given. " Sub- 
 limity, conception, grandeur of form, and 
 breadth of manner," says he, " are the 
 elements of Michel Angelo's style ; and 
 by these principles he selected or rejected 
 the objects of imitation. As painter, 
 sculptor, or architect, he attempted, and 
 above any other man succeeded, to unite 
 magnificence of plan and endless variety 
 of subordinate parts, with the utmost sim- 
 plicity and breadth. His line is uniformly 
 grand. Character and beauty were ad- 
 mitted only as far as they could be made 
 subservient to grandeur. The child, the 
 female, meanness, deformity, were by him 
 stamped with grandeur. A beggar rose 
 from his hand the patriarch of poverty ; the 
 hump of his dwarf is impressed with dignity; 
 his women are moulds of generation ; his 
 infants teem with the man ; and his men are 
 a race of giants. This is the terrihil via 
 hinted atbyAgostinoCaracci. To give the 
 most perfect ease to the most perplexing 
 difficulty was his exclusive power. He is the 
 inventor of epic painting in the sublime 
 compartments of the Sistine Chapel. He 
 
 has personified motion in the groups of the 
 Cartoons at Pisa, embodied sentiments on 
 the monuments of St. Lorenzo, unravelled 
 the features of meditation in his Prophets 
 and Sibyls; and in the Last Judgment, 
 with every attitude that varies the human 
 body, traced the master-trait of every pas- 
 sion that sways the human heart. In 
 painting, he contented himself with a 
 negative colour, and as the painter of 
 mankind, rejected all meretricious orna- 
 ment. The fabric of St. Peter's, scattered 
 into infinity of jarring parts by his pre- 
 decessors, he concentrated, suspended the 
 cupola, and to the most complex, gave the 
 air of the most simple of edifices. Such 
 was Michel Angelo, the salt of art : some- 
 times he had moments and perhaps periods 
 of dereliction, deviated into manner, or 
 perplexed the grandeur of his forms with 
 futile and ostentatious anatomy ; both met 
 with herds of copyists, and it has been his 
 fate to have been, and still to be, censured, 
 for their folly." 
 
 BuoNcoNsiGLi (Giovanni). This artist 
 was born at Vicenza, and lived about the 
 year 1500. In the church of St. Cosimo, 
 at Vicenza, is a painting by him, the sub- 
 ject of which is a Madonna and Child, 
 with the patron Saint of the edifice, at- 
 tended by Saint Damiano. 
 
 BuoNi (BuoNO de), a Neapolitan pain- 
 ter, who lived as early as 1430. He was the 
 disciple of Colantonio del Fiore, and assist- 
 ed him in several of his works, which are 
 in the churches of Naples, where he died 
 about 1465. His son and successor, Sil- 
 vestro deBiioni, was the scholar of Antonio 
 Solario, under whom he became a good 
 historical painter, and some of his altar- 
 pieces at Naples exhibit favourable proofs 
 of his talents. He died in 1480. 
 
 BuoNTALENTi (Bebnakdo) . This artist, 
 who was also called Girandole^ was born 
 at Florence in 1536. He learned design 
 and colouring from Salviati and Bronzino, 
 but the art of painting in miniature he 
 acquired from Giulio Clovio, sculpture 
 from Michel Angelo, and architecture 
 from Giorgio Vasari. His works were 
 soon the objects of public admiration, not 
 only for the beauty of the colouring, but 
 also for the dignity of expression in his 
 portraits, and especially his Madonnas. 
 To his various talents he added those of 
 being an engineer, mechanic, and mathe- 
 matician. He died in 1606. 
 
 BuKGMAiK (Hans), a German artist, 
 who was born at Augsburg in 1 474. He 
 studied under Albert Darer, whose friend- 
 
BUR 
 
 BYS 
 
 ship he enjoyed, and whose style he imi- 
 tated both in painting and engraving. 
 In the latter capacity he is better known 
 than in the former, though some pictures of 
 his at Augsburg are said to possess merit. 
 His engravings in wood are very valuable. 
 He flourished about the year 1520. 
 
 BuRiNi (Antonio). He was born at 
 Bologna in 1660, and studied under 
 Domenico Canuti, by whose instructions 
 he proved a respectable painter of history. 
 
 BuRiNi (Barbara) . This female artist 
 was born at Bologna in 1700, and learned 
 the principles and practice of painting 
 from her father, Antonio Burini, who 
 died in 1721. She acquired a fine taste, 
 and executed several historical works, as 
 well as portraits, with reputation. She 
 died at Bologna in 1752. 
 
 Burnet (James), a landscape painter of 
 no common powers, was born at Mussel- 
 burgh in the year 1788. As he had a taste 
 for art while a boy, he was apprenticed to 
 a wood carver ; but while he ornamented 
 chairs, and couches, and cabinets by day, 
 he studied in the academy under Graham 
 at night, where his eyes were opened to 
 higlier matters, and in correct drawing 
 and accurate perspective he saw surer 
 guides to eminence than the roses and lilies 
 of his trade for we can scarcely call it 
 profession. He came to London in 1810 
 and renewed his studies: inCuypand Potter 
 he saw much after his own heart, and in 
 nature more ; and, instead of setting up 
 his easel in the Royal Academy, he took a 
 sketch-book and pencil in his hand, and 
 noted down bits of beautiful landscape, 
 where cattle of all colours were grazing, 
 and husbandmen the humblest the best 
 were pursuing their avocations. The 
 first fruit of these preparations was his pic- 
 ture of Cattle going out in the Morning ; 
 his second. Cattle returning home in a 
 Shower ; his third. Crossing the Brook ; 
 his fourth, Breaking the Ice; his fifth. 
 Milking Time, with several more, all 
 marked by an original spirit of observation, 
 a happy and graceful handling, and co- 
 loured according to the scene, the season, 
 and the hour of the day. The beautiful 
 churchyard of Lee, in Kent, was to him 
 a sort of school of study ; there, and in the 
 woody nooks and sloping fields around, he 
 loved to meditate and draw, and there he 
 now lies buried ; for a consumption car- 
 ried him off in the 28th year of his age. 
 Burnet had considerable poetic feeling and 
 the taste which belongs to it ; his nature 
 is select, his trees well grouped, his cows 
 
 beautiful. Those skilful in matters of the 
 dairywill pronounce them bountiful in milk 
 and butter ; his milkmaids have an air- of 
 rustic elegance, and his cow-boys are not 
 without grace. His colouring is clear and 
 vivid. 
 
 BuscA (ANTONio), an historical painter 
 of Milan, where he was born in 1625. He 
 studied under Ercole Procaccini, to rival 
 whom he painted a Crucifixion in the 
 church of St. Marco, at Milan ; but, excel- 
 lent as this picture was, Busca never after 
 equalled his own production. He died in 
 1686. 
 
 Buso (AuRELio), an historical painter 
 of Cremona, who lived about 1520. He 
 was the scholar successively of Polidoro 
 de Caravaggio, and II Matunino, at Rome, 
 where he was employed with them in many 
 great works, as he was also at Vienna. 
 
 BuTi (LoDovico), a native of Florence, 
 who lived about 1600. His master was 
 Santi di Titi, on leaving whom, he became 
 an admirer of Andrea del Sarto, to whose 
 manner he adhered through life. Several 
 of his paintings are in the churches and 
 public buildings at Florence. One of the 
 best is a picture of the Miracle of the 
 Loaves and Fishes. 
 
 BuTTERi (GioY^usxi Maeia). He was a 
 native of Florence, and the disciple of 
 Agnolo Bronzino. He painted historical 
 subjects for the churches and convents ; 
 but his compositions are incorrectly drawn, 
 and the colouring indiffei'ent. He died in 
 1606. 
 
 BuYTENWEG (WiixiAM de), a Dutch 
 artist, was born at Rotterdam about 1600. 
 He painted conversation pieces and land- 
 scapes with great credit ; but his principal 
 work was a picture of the Triumph of 
 William, Prince of Orange. He etched 
 some plates from his own designs. 
 
 Bye, or Bib (Mark de). This artist was 
 born at the Hague in 1612. HehadVander 
 Does for a master, in whose manner of 
 painting animals and landscapes he ex- 
 celled ; but he is best known by his engra- 
 vings after Paul Potter and Mark Gerrard. 
 Bylart, or Bylert (Jan), a Flemish 
 artist, was born at Utrecht in 1603. He 
 was instructed solely by his father, who 
 was a painter on glass ; and, though he 
 had no other tutor, he acquired reputation 
 in historical composition. His pictures are 
 of a small size, and delicately coloured. 
 
 Byss (John RoDOLrii), a Swiss artist, 
 was born at Soleure in 1660. He adopted 
 a manner made up of the different styles 
 of Lairesse and Vanderwerf. His subjects 
 
CAC 
 
 82 
 
 CAG 
 
 were mostly allegorical and mythological, 
 which he executed as well in fresco as oil. 
 He painted also flowers and landscapes, 
 the former with the spirit of Van Huy- 
 sum, and the latter with the correctness of 
 Brueghel. He died in 1738. 
 
 c. 
 
 Cabel, or Kabel (Adrian Vandek). 
 He was born at Ryswick in 1631, and be- 
 camethediscipleof John Van Goyen, under 
 whom he made a rapid progress. He paint- 
 ed figures, animals, and buildings, as well 
 as views of seaports and landscapes, which 
 subjects he studied from nature before he 
 inserted them in his compositions. His 
 name was originally Vander Touw, but it 
 was altered by his master to Vander Cabel, 
 by which he is now universally known. 
 Indesigning animals and figures, he formed 
 his taste after Castiglione; but in landscape, 
 he made Salvator Rosa his model. His 
 manner is great, and much in the style of 
 the Italian school. The touching of his 
 trees is excellent ; his figures correct and 
 marked with spirit. But all his pictures 
 are not of equal merit, some being more 
 negligently executed than others, though 
 the freedom of his hand, and firm touch of 
 his pencil, appear in every one of his com- 
 positions. In his colouring he strove to 
 imitate the Caracci and Mola; but in- 
 dulged himself too much in painting with 
 a deep brown tone, by which the beauty of 
 his design and composition is often destroy- 
 ed. He also etched plates from his own 
 pictures. Van Cabel died in 1695. 
 
 Cabezalero (Juan Martin de). This 
 artist was born at Almenden, near Cordova, 
 in Spain, in 1633, and died in 1673. He 
 studied under Juan Carrenno, and became 
 an historical painter of great merit. His 
 chief works are at Madrid, where he painted 
 for the churches and convents. Critics 
 speak well of an Assumption of the Virgin, 
 and a Crucifixion by this master. 
 
 Caccia (Guglielmo), a Piedmontese 
 painter, who went by the name of Mon- 
 calvo, from his long residence at that place. 
 He was, however, a native of Novara, in 
 Montferrat, and was born in 1568. Of 
 his education, and particular studies, or 
 the school in which he was bred, no ac- 
 count is preserved. Yet he was an excel- 
 lent artist, and his small Madonnas have 
 uncommon beauty, much in the Roman 
 and Florentine manner. He also painted 
 
 some large pictures for churches and con- 
 vents, as a Resurrection of Lazarus, in a 
 chapel of St. Domenico at Ohieri ; and 
 the miracle of the Loaves and Fishes, in 
 the same place, of which good judges 
 speak in high terms, for the composition, 
 expression, attitude, and correctness of 
 design. Moncalvo had two daughters, 
 who assisted him in his works in fresco, 
 being the only women ever known to have 
 practised that branch of the art. Orsola, 
 the eldest of these females, distinguished 
 her pictures by a flower, and Francesca 
 by a bird. The former founded the con- 
 servatory of the Ursulines at Moncalvo. 
 The father died about 1625, 
 
 Caccianemici (Vicenzo). He was a 
 native of Bologna, and studied under Par- 
 megiano, but painted only for his amuse- 
 ment, about the year 1530. Among his 
 works is a Decollation of St. John, in the 
 church of St. Petronio, at Bologna. This 
 gentleman etched some plates in a good 
 style. There was another artist of this 
 name, Francesco Caccianemici, who was 
 also born at Bologna. He belonged to 
 the school of Primaticcio, by whom he 
 was much esteemed, and taken to the 
 court of France, where he worked in the 
 palace of Fontainebleau. 
 
 Cacciakiga(Fra>'cesco). This artist 
 was born at Milan in 1700, and studied 
 under Franceschini at Bologna. On 
 leaving that school, he went to Rome, 
 where he obtained the favour of the Prince 
 Borghese, for whom he executed several 
 works. His chief performances, however, 
 are at Ancona, consisting of altar-pieces, 
 the best of which are the Marriage of the 
 Virgin, and the Last Supper. 
 
 Cacciuoli (Giovanni Battista), an 
 artist of Bologna, was born in 1635. He 
 studied under Domenico Maria Canuti, 
 and became eminent in painting historical 
 subjects for the churches and palaces. He 
 died in 1675. 
 
 Cagli^vei, or Caliari (Paolo), called 
 Paolo Veronese. Tliis great painter was 
 the son of a sculptor at Verona, and born 
 there in 1532. He studied painting under 
 Antonio Badile, his uncle; but among all 
 the eminent artists of his time, he attach- 
 ed himself most to the manner of Titian. 
 He seems, however, to have neglected the 
 antique, and to have known little of the 
 true principles of thechiaro-oscuro,though 
 in several of his works he seems happily 
 to have hit upon it, from the dictates and 
 guidance of his own genius. His taste 
 was better adapted to large than small 
 
CAG 
 
 83 
 
 CAG 
 
 compositions ; for though in the latter his 
 merit in colouring and design was evident, 
 yet in the former he displayed all the fire 
 of his imagination, and the fertility and 
 magnificence of his invention. In most 
 of his large works, he was either the 
 associate or competitor of Tintoretto ; nor 
 was the pre-eminence of either ever de- 
 termined. If Tintoretto was allowed to 
 imitate nature with superior force and vi- 
 vacity, and more truth of colour, Veronese 
 was acknowledged to have a finer inven- 
 tion, more grace in his figures, more dig- 
 nity in his characters, and more elegance. 
 His composition is grand, his design noble, 
 and executed with truth and spirit ; yet 
 some critics think there is a want of deli- 
 cacy in his expression, either of the sub- 
 ject in general or of the passions, though 
 taken from nature. The draperies of his 
 figures are modern, after the fashion of 
 his time, or the modes of such eastern 
 people as resorted to Venice ; but they are 
 grand, rich, lively, and diversified; and 
 Sandrart observes, that in the distribution 
 of the folds he adhered in some degree to 
 the manner of Dura, whose designs he 
 had studied in his youth. His heads are 
 often graceful ; but in the extremities of 
 his figures, and the outlines of his naked 
 forms, he is often incorrect, nor are his 
 attitudes always well chosen. His works, 
 however, display a lively imagination, 
 fertile conception, a light and pleasing 
 pencil, and a firm and spirited execution. 
 He painted a great number of pictures ; 
 and though his predominant passion was 
 the love of glory, yet in many of his works 
 he betrayed negligence, adapting the 
 composition, as well as the finishing, to 
 the rank of the persons by whom he was 
 employed. His designs for cathedrals or 
 palaces were as elegant as he could make 
 them ; but the pictures which he painted 
 for private persons, or chapels, were in- 
 ferior to his other productions, and even 
 to those of minor artists. His pictures 
 show a good knowledge of the local colours, 
 and his carnations are natural, yet not so 
 fresh as those of Titian, nor so vigorous 
 and sanguine as those of Tintoretto ; but 
 there is a delightful harmony in his tints, 
 particularly in his draperies. It was his 
 misfortune not to have been more conver- 
 sant with the antique ; for when he went 
 to Rome in the train of the Venetian am- 
 bassador, Grimani, and there saw the 
 works of Raffaelle and Michel Angelo, 
 he acquired an improvement in his style 
 that raised his reputation so high, as to 
 
 procure him the honour of knighthood 
 from the Doge. Whenever his subject 
 admitted of architecture, he gladly intro- 
 duced it in a grand style, so as to add both 
 beauty and richness to his design; but 
 those embellishments were generallypaint- 
 ed by his brother Benedetto. The most 
 capital performance of this master is the 
 Marriage at Cana, twenty-five feet wide, 
 once in the refectory of the Convent of 
 St. George at Venice, but now in the 
 Louvre ; in which Sandrart says, there are 
 at least one hundred and fifty heads. An 
 exceedingly fine picture of his hand is at 
 Pesaro, representing the calling of St. 
 Andrew to the Apostleship. Another fine 
 picture, in his peculiar and best manner, 
 is one of the Feast of Simon, wliich the 
 state of Venice presented to Louis XIV. 
 In the Pisani palace was another excellent 
 one of the Presentation of the Family of 
 Darius to Alexander. He was fond of 
 painting subjectswherenumbersof persons 
 appear at table, thence called Cene. The 
 procurators of St. Mark proposed a premi- 
 um of a large gold chain forthe best picture 
 painted by the six artists, Giuseppe 
 Salviati, Battista Franco, Schiavone, 
 Zelotti, Frasina, and Paolo Veronese. The 
 pei-sons appointed to be judges were Titian 
 and Sansovina, who awarded the prize in 
 favour of Paolo ; and such was his pride 
 that he usually wore the chain in public. 
 It seems probable that many pictures as- 
 cribed to Paolo are not really his, as they 
 appear more rough than his genuine works, 
 and want that union and harmony for 
 which he is so deservedly famous. They 
 may, perhaps, have been the production 
 of his brother Benedetto, or his son Car- 
 letto, since both imitated his manner. 
 One of the great faults of Paolo Veronese 
 was that of overloading his pictures with 
 ornaments, and those frequently without 
 due regard to the subjects represented. 
 He died in 1588. Paolo executed a few 
 etchings in a spirited manner. 
 
 Cagliaki (Carletto). He was tlie 
 son of Paolo, and was born at Venice in 
 1570. He gave early proofs of a lively 
 genius, and, by the care of his father, pro- 
 duced some extraordinary performances, 
 that gained him a high reputation, when 
 he was only eighteen years of age. It was 
 indeed imagined that he would have been 
 equal, if not superior, to his father, had he 
 lived a few years longer ; but by incessant 
 application he impaired his constitution, 
 and died of an imposthume in his breast, 
 at the early age of twenty- six, in 159G. 
 
CAI 6 
 
 He and his brother were employed to finish 
 several works which were left imperfect 
 by their father ; and those pictures which 
 were of their own design and execution 
 are frequently ascribed to Paolo ; nor are 
 some of the best of them easily distinguished 
 from his performances. 
 
 Cagltari (Gaurikle). He was also a 
 son of Paolo, and was born at Venice in 
 1568. Hehadnotaverypromisinggenius, 
 and turned his attention principally to com- 
 merce ; though occasionally he employed 
 himself in painting historical pictures and 
 portraits, but especially the latter. He died 
 in 1631. 
 
 CAGLiARr (Benedetto). He was the 
 brother of Paolo Veronese, and was born 
 at Verona in 1538. He painted much in 
 the style of his brother, but his peculiar 
 excellence consisted in architectural sub- 
 jects, with which he enriched the composi- 
 tions of Paolo. Though uncommonly 
 industrious, his modesty prevented him 
 from courting distinction ; however, there 
 aremany of his paintings in Venice, which 
 are truly excellent and worthy of admira- 
 tion. He died in 1598. 
 
 Cagnacci (Guido). According to 
 some writers, this painter was born at Castel 
 Durante, but others make him a native of 
 Archangeli. The time of his birth was 
 the year 1600, and he had Guido Reni for 
 a master, with whom he continued several 
 years. He took great pains to observe the 
 method of handling and colouring which 
 his master practised ; bu t, with all his efforts, 
 he failed in his endeavours to reach the 
 sublimity of the art. Notwithstanding this, 
 he had great merit, and met with much 
 encouragement at the imperial court, where 
 he resided the greater portion of his life. 
 At Bologna is an emblematical representa- 
 tion of Human Life by him, in which, 
 though the design is indifferent, the heads 
 are in good taste, and well coloured. There 
 is also in the Palazzo Isolani a Lucretia, 
 the figures of the natural size ; and in the 
 Colonna a David , which has been often copi- 
 ed by artists. This painter died in 1680. 
 
 Cairo (Cavaliere Francesco). He 
 was born at Milan in 1598, and instructed 
 by Morazzone, whose style he adopted, 
 but altered his manner on going to Rome, 
 where he learned to compose with judg- 
 ment, and to give correctness, grace, and 
 harmony to his compositions. Being de- 
 sirous of farther accomplishments, he went 
 to Venice, to study the excellences of that 
 school, and copy the works of the famous 
 masters there, by which method he acquir- 
 
 4 CAL 
 
 ed a strong and lively manner of colouring, 
 and such a pencil as hath occasioned se- 
 veral of his pictures to be ascribed to 
 Titian or Paolo Veronese, particularly his 
 portraits, which have life and nature. 
 Thus he had three different manners of 
 painting; theMilanese, Roman, and Vene- 
 tian, which variety recommended him so 
 much to all the lovers of the art, that he 
 received considerable applause. Victor 
 Amadeus, Duke of Savoy, invited him to 
 his court, allowed him a pension, conferred 
 on him the order of knighthood, and pro- 
 cured him one of the ladies of the court for 
 a wife. In the church of Barefoot Car- 
 melites, at Venice, is a picture of St. The- 
 resa by him, which is much admired; 
 though somewhat incorrect, the colouring 
 is agreeable, and the expression good. In 
 a chapel of the Chartreux, at Pavia, is a 
 picture representing the Virgin, St. Cathe- 
 rine of Siena, and another Saint, painted 
 by Cairo, well designed, and beautifully 
 coloured, in a style resembling that of 
 Rubens. He died in 1674. 
 
 Cairo (Ferdinando). He was born 
 at Casal Monferrato in 1666, and was in- 
 structed by his father, who was a painter 
 of mediocrity. Afterwards, F'ernando be- 
 came apupilof Franceschini, at Bologna, 
 and profited so well as to be engaged in 
 painting the ceiling of the church of St. 
 Antonio at Brescia. He died in 1682. 
 
 Calabrese, see Preti. 
 
 Calandra (GiovAisNi BattistaJ. This 
 painter acquired celebrity by his skill in 
 mosaic work, and the performances which 
 he executed in St. Peter's at Rome. Du- 
 ring the pontificate of Urban VIII. it was 
 found that the paintings were injured by 
 damp ; on which it was resolved to remove 
 some of the most capital ones, and replace 
 them by copies in mosaic. The first piece 
 was that of St. Michael, by Arpino, and 
 the copy of it was made by Calandra. 
 
 Calaxdrucci (Giacixto), This artist 
 was born at Palermo in 1646, and became 
 the scholar of Carlo Maratti at Rome. 
 After some years of study and practice, 
 under the direction of that great painter, 
 he became an artist of considerable emi- 
 nence, and executed several noble works in 
 the churches and convents of his native 
 city, where he died in 1707. His inven- 
 tion was ready, his style of composition 
 correct, his pencil free, firm, and delicate, 
 his touch light, and in the tints of his colour- 
 ing he. imitated the manner of his master. 
 
 Calavrese (Maria). She was born at 
 Rome in 1486, and was deemed a good 
 
85 
 
 CAL 
 
 painter in history, as well in oil as in fresco. 
 She worked for some time at Naples, but 
 died at Rome in 1542. 
 
 Calcar, or Kalckeb (John). He was 
 born at Calkar, in the duchy of Cleves, in 
 149y. He was the principal scholar of 
 Titian, by whose admirable example and 
 precepts he made such progress that several 
 of his designs and paintings have been 
 mistaken, bj' good judges, for the work of 
 that great master. Even Goltzius, when 
 at Naples, took many of the portraits paint- 
 ed by the pupil for those of Titian ; nor 
 was he undeceived till he saw the name of 
 Calcar inscribed on others which were 
 equally excelle"nt. It is also said that he 
 imitated the works of Ratfaelle with an 
 exactness that made many of his paintings 
 be esteemed as the work of that immortal 
 genius. Vasari says it is impossible to 
 observe, in the works of this master, the 
 smallest traces of the Flemish taste. He 
 designed all the heads for the works of 
 that author, and also the anatomical figures 
 in those of Vesalius. Rubens possessed a 
 Nativity, painted by Calcar, in which the 
 light proceeded from the Infant. This 
 capital picture was purchased, after the 
 death of Rubens, by Sandrart, who sold it 
 to the Emperor Ferdinand. Calcar died 
 at Naples in 1546. 
 
 Calcia (Giuseppe). This artist was 
 a native of Piedmont, and obtained the 
 name of Genovesino, which ascription has 
 occasioned some confusion, in mistaking 
 him for Marco Genovesini, of Milan. Calcia 
 executed four good altar-pieces for church- 
 es at Turin and Alessandria; but he is 
 best known by his cabinet pictures, one 
 of which, Christ in the Garden, is 
 spoken of in high terms. He lived about 
 1675. 
 
 Calderari (Giovanni Maria). This 
 painter was born at Pordenone about 1500. 
 He became the disciple of Giovanni An- 
 tonio Licenio, better known by the name 
 of Pordenone, and adopted his style so 
 completely, that the works of the pupil 
 could not be distinguished from those of 
 the master. He painted in fresco for the 
 churches, and died in 1564. 
 
 Calesse (Cesare). This artist was a 
 Neapolitan, but of his master, or early life, 
 we have no accounts. He rose, however, 
 to eminence in the historical department 
 of painting, and had both a correct know- 
 ledge of the chiaro-oscuro, and great taste 
 in composition. In the church of St. 
 Giovanni Battista at Naples, is a Descent 
 from the Cross by this painter, which is 
 
 full of pathos and expression. He lived 
 about the year 1595. 
 
 Caeetti (Giuseppe). This painter, 
 who obtained the name of Cremonese, was 
 born at Ferrara about 1600. Who was 
 his instructor we are not told, but he be- 
 came a diligent imitator of the works of 
 Titian, particularly in mythological sub- 
 jects of the cheerful cast. In these he 
 came very near to the powerful expression 
 and glowing colour of his favourite master, 
 insomuch that many of Caletti's pictures 
 were mistaken by judges of competent skill 
 for the works of Titian. Caletti, however, 
 took care to leave a criterion by which the 
 deception might be discovered, for he intro- 
 duced anachronisms and incongruities into 
 his pictures, of which Titian could never 
 be guilty. That Caletti was capable of 
 greater things appears in his painting of 
 the Four Doctors of the Church, and that 
 of St. Mark at Ferrara. He died in 1660. 
 
 Caliavari (Luca). He was born at 
 Udina in 1665, had no particular master, 
 but acquired his skill by studying and copy- 
 ing the works of eminent painters. His 
 subjects were seaports and landscapes, 
 embellished with elegant figures ; he espe- 
 cially took views about Rome and Venice, 
 which hedesignedand executed with truth, 
 nature, elegance, and abundance of merit. 
 He published a volume of perspective views 
 of Venice, etched with aquafortis, which 
 exhibit his taste and abilities. He died 
 in 1715. 
 
 Calici (Achilles). This artist was 
 born at Bologna about 1565. He studied 
 under Prospero Fontana, but choosing 
 rather to adopt the manner of Ludovico 
 Caracci, he became his scholar, and paint- 
 ed with great credit two side pieces of the 
 grand altar in the church of St. Michael 
 at Bologna. 
 
 Calimbekg (Giuseppe). A German 
 artist, who was born about 1505. He 
 settled at Venice, where some of his works 
 yet remain, particularly one of the Battle 
 of Constantine. His style was heavy and 
 sombre, but ingenious. He died at Venice 
 in 1570. 
 
 Call (John Van). A Dutch painter, 
 was born at Nimeguen in 1655. He was 
 almost wholly self-taught, and first ac- 
 quired the elements of his art by copying 
 the landscapes of John Brueghel, Paul 
 Bril, and William Van Nieulandt. He 
 afterwards went to Italy, and resided some 
 years at Rome, round which city he drew 
 many sketches of designs. On his return 
 home he settled at the Hague, where he 
 
C AL 
 
 86 
 
 CAL 
 
 died, in 1703. His drawings are more 
 valued than his pictures. 
 
 Calvan (Dos Juan). This Spanish 
 painter was born at Saragossa in 1600. 
 He became very eminent at his native 
 place, where most of his performances are 
 to be seen in the churches and monasteries- 
 He died in 1658. 
 
 Calvabt (Denis). He was born at 
 Antwerp in 1555, and at first employed 
 himself in painting landscapes, having 
 accustomed himself to retire to groves and 
 fields, to study such scenes and objects 
 after nature as might be useful to him in 
 that branch of his profession. But being 
 desirous of obtaining a better manner of 
 designing figures to adorn his landscapes, 
 he determined to travel to Italy. In his 
 journey he stopped at Bologna for some 
 time, and became the disciple of Prospero 
 Fonlana. In this situation Calvart applied 
 himself diligently to his studies, carefully 
 examining and copying the works of Cor- 
 regio and Parmegiano; and when he quit- 
 ted the school of Fontana, he placed him- 
 self under Lorenzo Sabattini, with whom 
 he travelled to Rome, where he perfected 
 himself in design, perspective, architec- 
 ture, and anatomy. He acquired an ex- 
 cellent manner of pencilling, by endeavour- 
 ing to imitate the great masters, whom 
 he had chosen for his models ; and he so 
 far divested himself of the Flemish taste, 
 that his compositions appeared like those 
 of an Italian artist. His figures were 
 well disposed and grouped, his draperies 
 judiciously cast, his touch delicate, and 
 the tone of his colouring exceedingly 
 pleasing. At his return to Bologna, he 
 opened an academy; and his extraordinary 
 merit procured him a number of disciples, 
 among whom were Guido, Albano, and 
 Domenichino. In the Palazzo llanuzzi 
 at Bologna is a fine picture by Calvart, 
 representing two Hermits, which is cor- 
 rectly designed, beautifully coloured, and 
 delicately pencilled ; and in the Pembroke 
 collection at Wilton, is a Nativity painted 
 by this master. He died in 1619. 
 
 Calvi (Lazzako). This artist, remark- 
 able for his genius, crimes, and longevity, 
 was born at Genoa, where his father, 
 Agostino, was one of the best painters 
 and reformers of the old style. Lazzaro 
 and his brother Pantaleo were the scholars 
 of Perino del Vaga, on leaving whom they 
 worked in conjunction at Genoa, Monaco, 
 and Naples. In tlie Palavicini palace 
 they painted the Continence of Scipio, in 
 a style which might have rivalled that of 
 
 their master. Such was the vanity of 
 Lazzaro, that he could not endure a com- 
 petitor, which perhaps was the reason why 
 his brother Pantaleo claimed no share of 
 the praise due to him, for the works which 
 they performed together. Envy worked 
 so strongly in the breast of Lazzaro, that 
 he had recourse to the foulestartsto avenge 
 himself of those who were his equals or 
 superiors in painting. Among those who 
 fell victims to his unprincipled spirit was 
 Giacomo Bargone, whom he poisoned ; 
 and against other artists he contrived the 
 basest machinations, in order to effect 
 their ruin. At length he was employed 
 to paint, in connexion with Andrea Semini 
 and Luca Cambiasi, a picture of the Birth 
 of John the Baptist; but though Calvi 
 exercised his best powers, he fell short of 
 Cambiasi, to whom Prince Doria gave so 
 decided a preference, that Lazzaro, in a 
 fit of mortification, abandoned the palette 
 and went to sea. He followed that occu- 
 pation twenty years, and then returned 
 to his original profession, which he prac- 
 tised till his eighty-fifth year. His talents, 
 though somewhat enfeebled, retained much 
 of their pristine vigour; as also did his 
 bodily stamina, which he preserved to the 
 extraordinary age of one hundred and five 
 years. He died in 1606. 
 
 Calvi (Giumo), called II Coronato. 
 This artist was born at Cremona, about 
 1570. He studied under Giovanni Battista 
 Trotti, whose manner he closely imitated, 
 but died young, in 1596. 
 
 Calza (Antonio). He was born at 
 Verona in 1653, and studied under Carlo 
 Cignani at Bologna ; but after his return 
 to his own country, and seeing some of 
 the battle-pieces of Bourgognone, he was 
 so charmed with his manner, that he went 
 to visit him at Rome, where he copied 
 the works of that master, and had the 
 happiness of receiving additional improve- 
 ment from his personal instructions. He 
 afterwards devoted himself to paint battles 
 and landscapes ; the former in the style 
 of Bourgognone, and the latter in that of 
 Gaspar Poussin. He died at Bologna, in 
 1714. 
 
 Calze (Edward Fkancis). He was 
 a native of Lucca, and came to England 
 under the patronage of Lord Lyttleton. 
 He painted in crayons, but was soon obli- 
 ged to quit this country, owing to his 
 profligate conduct. He then went to 
 Berlin, which place also he was obliged 
 to quit, after which no more was heard of 
 him. 
 
0AM 
 
 87 
 
 CAM 
 
 Camassei (Andrea). He was born at 
 Bevagna in 1G02, and had for his first 
 instructor Domenichino, but afterwards 
 he studied under Andrea Sacchi. He was 
 employed at St. Peter's at Rome, as also 
 at St. John Lateran ; and his works are 
 extremely admired for sweetness of colour- 
 ing, elegance of design, and delicacy of 
 pencil. He died in 1648, in the bloom of 
 life, when his reputation was daily advan- 
 cing. At St. John Lateran are, by his 
 hand, the Battle of Constantine and Max- 
 entius, and the Triumph of Constantine, 
 which afford proofs of the felicity of his 
 invention, and the correctness of his exe- 
 cution. At Wilton, the seat of the Earl 
 of Pembroke, is a picture of Venus with 
 the Graces, said to be by Camassei. 
 
 Cambera (Lactanzio). This artist 
 was born at Cremona in 1584, and studied 
 under Antonio Campo. He became an 
 excellent colourist, and had a good genius 
 for liistory, with much spirit in his com- 
 position. He died at Venice in 1616. 
 
 Camerata (Giuseppe), a miniature 
 painter and engraver, was born at Venice, 
 about 1724. His father was an artist of 
 some merit, but the son exceeded him both 
 in painting and engraving. In 1751 he 
 went to Dresden, where he was employed 
 in the gallery, became principal engraver 
 to the court, and afterwards a professor in 
 the academy. 
 
 Camillo (Francesco), a Spanish artist, 
 whose father, Domenico, a native of Flo- 
 rence, settled at Madrid, where his son was 
 born about 1635. Francesco became a 
 scholar of Pedro de las Cuevas, and proved 
 himself a good historical painter. Among 
 his works, mention is made in commenda- 
 tory terms of one representing St. Mary 
 the Egyptian presented to the Virgin; 
 another of San Carlo Borromeo ; and a 
 Descent from the Cross; but his best is a 
 picture of Our Lady, in the church of St. 
 John, at Madrid. His design was good, 
 his attitudes graceful, and his colouring 
 sweetly harmonious. He died in 1671. 
 
 Campagnola (Giulio), an artist of 
 Padua, who lived about 1500. He paint- 
 ed in miniature, and some pictures in 
 oil, in a good taste. He also engraved 
 in a style approaching to what is now 
 called dotting. 
 
 Campagnoea (Domenico), also called 
 Dalle Greche. He was the son of Giulio, 
 and a disciple of Titian, who is said to 
 have looked upon his progress with some 
 portion of jealousy. Many of the oil 
 paintings and frescoes of Campagnola, 
 
 will indeed bear a comparison with the 
 works of Titian, and good judges think 
 that he surpassed that great master, in 
 his representation of the Evangelists on 
 the ceiling of the Scuola del Santa. He 
 excelled in painting the naked figure, and 
 his landscapes are little, if at all, inferior 
 to those of Titian. He was also a good 
 engraver. He died about 1551. 
 
 Campalastro (Lodovico), an his- 
 torical painter of Ferrara, in two of the 
 churches of which city are some good 
 pictures by his hand, as a Nativity ; a 
 Flight into Egypt ; the Wise Men's 
 Offering ; and St. Francis. Of his age 
 and personal history nothing is recorded. 
 
 Campana (Tommaso), a native of 
 Bologna, and the pupil of Guido, whose 
 style he imitated successfully, as ap- 
 pears abundantly in two pictures illus- 
 trative of the life of St. Cecilia, painted 
 for the church of St. Michael, in Bologna. 
 
 Campana (Pedro). This artist was 
 born of Spanish parents at Brussels, in 
 1503. At an early age he went to Rome, 
 where it is said he became a scholar of 
 Raffaelle. Whether this be so or not, 
 he certainly approved himself an orna- 
 ment of the Roman school, and imitated 
 the manner of Raffaelle with some success. 
 In 1530, he was at Bologna, where he 
 painted the triumphal arch erected for 
 the reception of Charles V. On the in- 
 vitation of that monarch, he went to 
 Spain, and executed there many capital 
 works, the chief of which are in the cathe- 
 dral of Seville, particularly his famous 
 pictures of the Nativity and Purification. 
 In the church of San Lorenzo he painted 
 a Descent from the Cross in a grand 
 style. He died at Brussels in 1570. 
 
 Camphuysen (Dirk Theodore Ra- 
 phael). This painter was born at 
 Gorcura in 1586. He was instructed by 
 Diedric Goverts, whom he very soon sur- 
 passed. H studied nature with judgment, 
 and his subjects were landscapes, mostly 
 small, with ruinous buildings, huts of 
 peasants, or villages on the banks of 
 rivers, with boats, which he generally 
 represented by moonlight. His pencil is 
 tender and soft, his colouring transparent, 
 and his skill in perspective is seen in the 
 proportional distances of his objects. He 
 painted with a thin body of colour, but 
 pencilled with singular neatness and 
 spirit. He practised in his profession 
 only till he was eighteen, when he became 
 tutor to the sons of the Lord of Nieuport, 
 which nobleman afterwards made him his 
 
CAM ) 
 
 secretary. He excelled in drawing with 
 a pen, and the designs which he finished 
 in that manner are exceedingly valued. 
 One of his best performances, a view 
 of a village on the bank of a river, with 
 vessels passing and repassing by moon- 
 light, was in the possession of the author 
 of this book. The pictures of Camp- 
 huysen, for the cause already stated, as 
 well as for their intrinsic merit, are 
 scarce and dear. 
 
 Campi (Galeazzo). He was born at 
 Cremona in 1475, and is said to have 
 been a disciple of Boccaccino ; which 
 however is questionable, on the ground 
 of the disparity between the style of these 
 two artists. In a picture of the Virgin 
 and Child, by Campi, dated 1518, he ap- 
 pears to have imitated Perugino though 
 very unequally, both in the design and 
 expression. His greatest performance is 
 his own portrait, which obtained a place 
 in the gallery of painters at Florence. By 
 those who have critically examined that 
 picture it is described as being designed 
 in a more elegant style, with a bolder 
 relief, and a greater knowledge of the 
 chiaro-oscuro, than any of Jiis other 
 works. He died in 1536. 
 
 Campi (Giulo). This artist was the 
 son of Galeazzo Campi, and born at 
 Cremona in 1500. He was taught by 
 Giulio Romano, and by his instructions 
 acquired a noble style ; after which he 
 went to Rome, where he improved him- 
 self still more by studying the works of 
 RafFaelle, and the remains of antiquity. 
 By his native genius and assiduity he 
 attained a distinguished rank among the 
 artists of his time, and may justly be 
 regarded as the founder of a school. In 
 the church of St. Margaretta, at Cremona, 
 are several of his pictures, and there are 
 others at Mantua, all of which are mani- 
 fest proofs of his fertile conception and 
 vigorous execution. He died in 1572. 
 
 Campi (Antonio) was the younger 
 brother and scholar of Giulio. He was 
 born at Cremona, and became both an 
 architect and painter, but excelled in the 
 former profession. Several of his paint- 
 ings in fresco and oil, however, show 
 that, had he devoted himself solely to that 
 art, he would have been eminent in it. 
 His principal pictures are St. Paul raising 
 Eutychus, of which there is an engraving 
 by Agostino Caracci, and the Nativity, 
 an altar-piece in the church of St. Paolo, 
 at Milan. Campi failed in his fresco 
 paintings by the afifectation of imitating 
 
 8 CAM 
 
 Corregio. His genius was greater than 
 his judgment. 
 
 Campi (Vincenzio), the younger son 
 of Galeazzo Campi, excelled in portrait 
 painting and still life, though he some- 
 times attempted history. He died in 
 1591. 
 
 Campi (Bernardino). This artist was 
 of the same family with the preceding, 
 and was born at Cremona in 1522. He 
 successively became the disciple of Giulio 
 Campi, and Hippolito Costa. The prin- 
 cipal works of this master are at Mantua, 
 Cremona, and Milan, where several of 
 his compositions are in great esteem, 
 particularly a picture of St. John in tlie 
 Wilderness, preserved in the Ambrosian 
 Library, which is mentioned with great 
 honour to the artist, and said to be ex- 
 tremely well executed. His manner re- 
 sembles that of Giulio Romano in great- 
 ness of design, a perfect delineating of the 
 naked figure, magnificent architecture, 
 power of expression, and felicity of com- 
 bination. He died in 1584. 
 
 Campidoglto (Micheij Angelo). 
 He was born at Rome in 1610, aud was 
 particularized by the name of Campido- 
 glio on account of an office which he held 
 in the Capitol. He was a scholar of 
 Fiovianti, and had a most happy talent 
 for painting fruit and flowers ; which 
 subjects he designed, and finished in a 
 style superior to any artist of his time. 
 His objects are well disposed, and judi- 
 ciously chosen ; his pencil is free and 
 firm ; his colouring strong, natural, and 
 agreeable ; and, by proper masses of light 
 and shadow, his pictures have a charming 
 force and relief. He died in 1670. 
 
 Campiglia (Giovanni Domenico). 
 This artist was born at Lucca in 1692, 
 and studied at Florence, under Tommaso 
 Redi, and Lorenzo del Moro ; after which 
 he went to Bologna, where he received 
 instructions from Giuseppe del Sole. He 
 painted historical subjects and portraits, 
 among which was his own, for the gallery 
 at Florence. His principal employment 
 was drawing after the antique, and for 
 the engravers. He himself also etched, 
 particularly portraits. 
 
 Camping (Giovanni). He was born 
 at Camerino about 1590, but studied the 
 principles of painting at Antwerp, under 
 Abraham Janssens. After remaining 
 there some years, he returned to Italy, 
 and for some time resided at Rome, where 
 he painted several pictures, which pro- 
 cured him an invitation from the court of 
 
CAN 
 
 CAN 
 
 Spain, and it is supposed that he died in 
 that country. 
 
 Campolo (Placido), a Sicilian artist, 
 who was born at Messina in 1693. lie 
 was the scholar of Sebastian Conca, at 
 Rome, in which city he applied very 
 diligently to the study of the ancient 
 marbles, and the works of Raffaelle. On 
 his return to his native place, he professed 
 historical and portrait painting with great 
 reputation. He died of the plague at 
 Messina in 1743. 
 
 Campoba (Francesco). He was born 
 at Genoa in 1712, and had Donienico 
 Parodi for his instructor. He became an 
 able artist in history, as well for his com- 
 position as his colouring. He died at 
 Genoa in 1763. 
 
 Canal, or Canaletto (Antonio). 
 This artist was born at Venice in 1697. 
 His father was a scene-painter, and An- 
 tonio was brought up to the same branch 
 of the profession, in which he acquired a 
 vividness of conception, and facility of 
 execution, that subsequently enabled him 
 to despatch a number of works in a short 
 time. When young he went to Rome, 
 where he painted views from nature, and 
 the remains of antiquity. On his return 
 to Venice he continued the same course, 
 and drew several fine views of that city 
 and neighbourhood. His finest perfor- 
 mance was that of the great canal, but he 
 introduced into his picture the Rialto, in 
 the room of the present bridge, with the 
 Basilic of Vicenza rising in the middle. 
 Canaletto used the camera-obscura for 
 accuracy of representation and of outline, 
 but afterwards corrected its defects in the 
 air tints. This artist, by the advice of 
 Amiconai, came to England, and remained 
 here about two years, during which he 
 painted a perspective view of the inside of 
 King's College Chapel, Cambridge, which 
 is at Strawberry Hill. Several of his 
 pictures are in Buckingham-house, which 
 are even superior to his views of Venice. 
 He died in 1768. His nephew and 
 scholar, Bernardo Canaletto, after com- 
 pleting his studies at Rome, went to 
 Dresden, where he assumed the title of 
 Count Bellotti. He practised both paint- 
 ing and engraving, and died at Warsaw 
 in 1780. 
 
 Candari (Giuseppe). He was born 
 at Rome in 1630, and died in 1682. He 
 was deemed one of the best of the scholars 
 of Carlo Maratti, whose style he closely 
 followed. His works are mostly in the 
 churches and public buildings of Rome. 
 
 Candido, see Wit. 
 
 Cane (Carlo). He was born at Gal- 
 larate, near Milan, in 1618, and studied 
 first under Melchior Gillardini, after 
 which he became the scholar of Moraz- 
 zone. He adopted the manner of the 
 latter artist in his principal works; but 
 besides historical subjects, he also painted 
 landscapes and animals, with spirit and 
 originality. He died at Milan in 1688. 
 
 Cangiagio (Giovanni). A Genoese 
 painter who was born in the Valley of 
 Polcevera, near the capital of that state, 
 in 1495. He was a disciple of Antonio 
 Semini, and the contemporary of Pierino 
 del Vaga and Pordenone, with whom he 
 contributed to reform the Gothic style of 
 painting which had long prevailed. 
 
 Cangiagio, or Cambiaso (Lodovico). 
 This eminent artist, who also went by 
 the name of Luchetto, was born at 
 Moneglia, near Genoa, in 1527. His 
 manner was spirited, and his expedition 
 such that he worked equally well with 
 both hands ; by which unusual power he 
 I executed more designs, and finished 
 ' more grand works with his own pencil, 
 and in a shorter time, than most other 
 artists could do nvith several assistants. 
 At the age of seventeen, he was employed 
 in painting the front of an elegant house 
 in fresco ; but at his entering on the 
 scaffold, the other artists, who were 
 Florentines, when they observed his 
 youthful appearance, concluded he could 
 be nothing more than a grinder of 
 colours ; and therefore, as soon as he 
 took up the palette and pencils, they 
 determined to prevent him from using 
 them, being apprehensive that he would 
 spoil the work. But after a few strokes 
 of his pencil, they formed a very diflFerent 
 opinion, acknowledging their own mistake 
 and his uncommon abilities. Cangiagio 
 had three different modes of painting, at 
 different periods of his life. His first was 
 gigantic and unnatural ; in his second, 
 which was his best style, he seemed con- 
 scious of his own imperfection, and 
 therefore consulted nature with greater 
 attention, and digested his thoughts in 
 sketches before he began to paint. The 
 third was distinguished by a rapidity of 
 pencilling, which he adopted to provide 
 for the support of his family. In the 
 royal collection at Paris is a Sleeping 
 Cupid, as large as life, and likewise 
 Judith with her Attendant, both painted 
 by Cangiagio, in his best manner ; and 
 in the Pembroke collection is a picture 
 
CAN 
 
 90 
 
 CAN 
 
 reputed to be his work, representing 
 Christ bearing his Cross. His performances 
 are numerous at Genoa, and he was also 
 employed at the Escurial, in Spain, where 
 he died in 1585. 
 
 CA^fGiAGio (Ohazio), the son and 
 scholar of the last-mentioned artist, was 
 born at Genoa. He accompanied his 
 father to Spain, where Philip the Second 
 conferred on him marks of distinction, 
 and a liberal pension. 
 
 Oanini (Giovanni Agnolo). This pain- 
 ter was born at Rome, in 1617, and became 
 thescholarof Domenichino, but afterwards 
 of Barbalunga. He painted historical 
 subjects with such credit as to be elected 
 in 1 650 a member of the academy at Rome. 
 Queen Christian of Sweden gave him 
 several commissions, and he also painted 
 some fine altar-pieces at Rome. He died 
 in 1666. 
 
 Cano (Alonzo), a Spanish artist who 
 obtained the proud distinction of being 
 called theMichelAngelo of Spain, because 
 he excelled alike in painting, sculpture, 
 and architecture. He was born in 1600 
 at Granada, where his father being an 
 architect, brought him up to his own 
 profession, but afterwards he applied 
 himself to the study of sculpture, and 
 made an uncommon progress in a short 
 time. He next went to Seville, where he 
 studied under Pacheco, and next under 
 Juan del Castillo, in whose academy he 
 executed many noble paintings for the 
 public edifices in Seville, and at the same 
 time gave specimens of his excellence in 
 statuary, particularly a Madonna and 
 Child, in the great church of Nebrissa, 
 and two colossal figures of San Pedro 
 and San Pablo. Count Olivarez invited 
 bim to Madrid, where he was made royal 
 architect, king's painter, and preceptor 
 to the Prince, Don Balthazar Carlos of 
 Austria. Here, as architect, he projected 
 several additional works to the palaces, 
 some public gates to the city, and a tri- 
 umphal arch erected on the entrance of 
 Mariana, second queen of Philip IV. 
 As a painter, he executed many celebrated 
 compositions in the churches and palaces 
 of Madrid. While in the height of his 
 fame, an event happened which involved 
 him in much trouble. Returning home 
 one evening, he discovered his wife mur- 
 dered, and his house robbed, while an 
 Italian journeyman, on whom suspicion 
 fell, had escaped. The magistrates having 
 discovered that Cano had been jealous of 
 this Italian, and was also attached to an- 
 
 other woman, acquitted the fugitive, and 
 condemned the husband. On this he fled 
 to Valencia, and took refuge in a Carthu- 
 "an convent ; but afterwards was so im- 
 prudent as to return to Madrid, where he 
 was apprehended, and put to the torture, 
 which he suftered without uttering a 
 word. The king, hearing of this, re- 
 ceived him again into favour; and as Cano 
 saw there was no safety out of the pro- 
 tection of the church, he solicited the 
 king's permission, which was granted, 
 and he was named residentiary of Gra- 
 nada. The chapter objected to his nomi- 
 nation, but were obliged to submit, and 
 their church profited by the appointment, 
 in receiving from him many sculptures 
 and paintings. The last years of his life 
 he spent in acts of devotion and charity. 
 When he had no money to bestow in 
 alms, he would give a beggar a drawing, 
 directing him where to take it for sale. 
 To the Jews he bore an implacable anti- 
 pathy. On his deathbed, he would not 
 receive the sacrament from a priest, be- 
 cause he had administered it to a convert- 
 ed Jew ; and from another, he would not 
 receive the crucifix in his last moments, 
 because it was so bungling a piece of 
 work that he could not endure the sight 
 of it. In this manner died Alonzo Cano, 
 in 1676. In his early days, as he was of a 
 noble family, he disdained to accept pay 
 for his productions, declaring that he 
 worked for fame and practice, and that he 
 considered himself as yet so imperfect in 
 his art, that he could not in conscience 
 admit of any recompense. As he advanced, 
 however, he had no scruple in accepting 
 the just reward of his merit ; and the 
 following anecdote, related by Mr. 
 Cumberland, will show his spirit in de- 
 manding what was his due. A counsellor 
 of Granada having refused to pay the sum 
 of one hundred pistoles for an image of St. 
 Antony of Padua, which Cano had made 
 for him, he dashed the saint into jneces 
 on the pavement of his academy, while 
 the counsellor was reckoning up how 
 many pistoles per day Cano had earned 
 whilst the work was in hand. " You 
 have been twenty-five days carving this 
 image of St. Antony," said the counsellor, 
 " and the purchase- money demanded 
 being one hundred, you have rated your 
 labour at the exorbitant price of four 
 pistoles per day ; whilst 1, who am a 
 counsellor, and your superior, do not 
 make half your profits by my talents." 
 " Wretch 1" cried the enraged artist, " to 
 
CAN 
 
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 CAP 
 
 talk to me of your talents : I have been 
 fifty years learning- to make this statue in 
 twenty-five days !" and so saying, flung it 
 -with the utmost violence upon the jjave- 
 ment. The terrified counsellor escaped 
 out of the house in terror. For this pro- 
 fanation, however, of the image of a saint, 
 Cano was suspended from his function by 
 the chapter of Granada, and was not 
 restored by the king until he had finished 
 a magnificent crucifix, which the queen 
 had ordered, but which he had long 
 neglected. In Mr. Fuseli's opinion, 
 Cano excelled as a painter, with the 
 single exception of Velasquez, all his 
 contemporaries, and yet seems to have 
 owed his superiority entirely to nature. 
 His design is correct, his arrangement 
 happy, and his colour charming. As a 
 sculptor, he gives evident proofs of having 
 studied the antique, by the dignity of his 
 forms, the grandeur of liis drapery, and 
 elegance of taste. In architecture, he 
 was too loaded, too ornamental, and 
 swayed by the fashion of the day. With 
 such talents he connected a whimsical 
 character ; and, as the master of a school, 
 scarcely left a pupil that rose above medi- 
 ocrity. A catalogue of his nearly endless 
 works may be found in Bermudez. 
 
 Cantarini (Simone), an Italian artist, 
 called, from his native place, Pesarese, 
 was born in 1612. He was at first a 
 pupil of Pandolfi, and afterwards of Guide, 
 but more as a rival than a disciple. His 
 overbearing violence, however, was such, 
 that he was soon obliged to quit Bologna 
 and repair to Rome, where for some time 
 he studied RafFaelle and the antiques. On 
 his return to Bologna, he professed to 
 teach pupils, but not succeeding to his 
 wish, he removed to the court of Mantua. 
 His prospects now seemed to brighten, 
 when another cloud came over him, oc- 
 casioned Ijy his failure to give satisfaction 
 in the portrait of the duke. Mortified 
 and disappointed in his views, he went to 
 Verona, where he died in 1648, not with- 
 out susj)icion of having been poisoned by 
 a painter of Mantua, whom he had 
 injured. Cantarini, though inferior to 
 Guide, approached very near him in ori- 
 ginality of conception and power of 
 execution. What he wanted in dignity 
 he made up in gracefulness ; and if he was 
 subordinate in knowledge, he had more 
 correctness, and stood without a rival in 
 the finishing of the extremities. The heads 
 of his Saints have been called prodigies 
 of beauty and expression. Sir llobcrt 
 
 Strange had a picture of Cantarini's, Our 
 Saviour standing on the Globe, attended 
 by Cherubim, which he says is nothing 
 inferior to Guido ; it is inimitably 
 coloured, the composition extremely 
 agreeable, and the whole apparently 
 painted with great facility. Cantarini 
 also etched with great spirit. 
 
 Canti (Giovanni), a native of Parma, 
 who, however, resided mostly at Mantua, 
 and obtained great distinction by his land- 
 scapes and battle-pieces. He also made 
 occasional efforts in history, but with little 
 success. He died in 1716. 
 
 Cantofoli (Ginevha), a female artist, 
 was born at Bologna, and was the pupil 
 of Elizabetta Sirani. She practised his- 
 torical painting with success ; and in the 
 church of St. Procolo, in her native city, 
 is a picture by her of the Last Supper, of 
 which good judges speak favourably, as 
 they also do of some other altar-pieces by 
 her, particularly of St. Tommaso di Vil- 
 lanuovo, in St. Giacomo Maggiore. Her 
 personal history is unknown. 
 
 Canuti (Domenico Makia). He was 
 born at Bologna in 1620, and was in- 
 structed by Guido, of whose school he was 
 a brilliant ornament; so that even this 
 great master could not forbear admiring 
 the produce of his fine imagination, and 
 very frequently commended the judgment 
 and taste that were visible in his com- 
 positions. He was employed in many 
 magnificent works at Rome, Padua, and 
 Bologna ; in the church of the Olivetans, 
 at the latter place, is a Descent from the 
 Cross, by him, represented as occurring 
 by moonlight, the effect of which is ex- 
 traordinary. This picture is called the 
 Notte del Canuti. In the church of St. 
 Bernardino is a noble piece of the Virgin 
 and Saints; and in the palace of the 
 Pepoli family are two saloons of his paint- 
 ing, which are universally admired. Canuti 
 also etched several plates in the style of 
 Guido. He died in 1678. 
 
 Capitelli (Bernardixo). This artist 
 was born at Siena about 1617. He 
 studied first under Alessandro Casolani, 
 and next under Rutilio Maneti ; but he is 
 less known as a painter than an engraver. 
 He died about 1660. 
 
 Capolongo (Antonio), a native of the 
 city of Naples, who was a scholar of 
 Giovanni della Lama, and lived about the 
 year 1490. He painted the grand altar- 
 piece in the church of St. Diego at Naples, 
 the subject of which is the Immaculate 
 Concep'.ion. There is also another pic- 
 
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 92 
 
 CAR 
 
 ture in the church of St. Nicolo, of which 
 judges speak well, representing the Virgin 
 and Child with a glory. 
 
 Cappella (Simon). This artist was 
 born at Naples in 1591, but studied at 
 Rome under AnnibaleCaracci; after which 
 he returned to his native place, where he 
 painted sacred subjects with great success. 
 He died in 1641. 
 
 Cappelli (Giovanni Antonio). He 
 was born at Brescia, in 1664, and had for 
 his first master Pompeo Ghiti; but on 
 going to Bologna he became a pupil of 
 Lorenzo Pasinelli, on leaving whom he 
 went to the city of Rome, where he studied 
 under Baccici. He painted historical sub- 
 jects, and worked chiefly in fresco, with 
 great reputation. 
 
 Cappelli (Francesco). He was born 
 at Sassuolo, in the duchy of Modena, and 
 received .his education in the school of 
 Corregio ; after which he settled at Bo- 
 logna, where he was principally employed 
 by private families ; whence it is that few 
 of his performances are to be seen, except 
 a Madonna in the church of St. Sebastiano, 
 at Sassuolo. This picture is so perfectly 
 Corregiesque, tliat it is to be regretted 
 more from the same hand are not to be 
 found. 
 
 Cappellini (Gabbielle). He was ori- 
 ginally a shoemaker, whence he obtained 
 the name of II Caligarino. He was born 
 at Ferrara, and was persuaded to attempt 
 painting by Dosso Dossi, who perceived 
 his genius, from his taste as a workman 
 in his own craft. In the church of St. 
 Francesco, at Ferrara, is a picture by him 
 of St. Peter and St. James, and in that 
 of St. Giovannino, a Madonna with Saints, 
 painted in a noble style. 
 
 Cappellino (Giovanni Domenico). 
 This artist was born at Genoa in 1580. 
 His master was Giovanni Battista Paggi, 
 whose style he closely and successfully 
 imitated, though he did not equal him in 
 dignity. His best performances are the 
 picture of the Death of St. Francis, in the 
 church of St. Nicolo, at Genoa ; and a St. 
 Francesco Romano, in that of St. Stefano. 
 He died in 1651. 
 
 Capukbo (Francesco), a Genoese pain- 
 ter, who was the pupil of Domenico 
 Fiasella, on leaving whose school he went 
 to Rome and Naples, at which last city he 
 became the scholar of Spagnoletto; but 
 just as he was giving promise of rising 
 eminence, he died of a malignant fever at 
 Genoa. 
 
 Cakacci (Annibale). By the con- 
 
 current testimony of most writers, this 
 illustrious artist was the son of a tailor at 
 Bologna, and born there in 1560. He was 
 the disciple of his cousin Lodovico, from 
 whom he imbibed not only the best prin- 
 ciples of the art of painting, but also an 
 ambition to reach the utmost perfection 
 in every branch of it ; for which purpose 
 he studied the works of Titian, Tintoretto, 
 and Paolo Veronese, at Venice, and those 
 of Corregio at Parma. His early per- 
 formances at Bologna afforded manifest 
 proofs of extensive genius, surprised the 
 ablest artists of his time, and raised a 
 general expectation of that excellence to 
 which he afterwards attained. The fame 
 of the Caracci family having extended 
 itself to Rome, Anuibalewasinvited thither 
 by the Cardinal Farnese, who employed 
 him to paint the famous gallery which 
 goes by his name. It will be for ever the 
 glory of Annibale, but it must likewise be 
 the eternal disgrace of his patron, who 
 rewarded such eminent talents, and the 
 labour of ten years, in so meanly and so 
 unworthily sordid a manner; for that 
 wealthy ecclesiastic, influenced by the ad- 
 vice of his favourite, Don Gio, presented 
 the painter with only five hundred crowns, 
 for a work which merited more than as 
 many thousands. He went, with singular 
 satisfaction, to Rome, as he had for a long 
 time desired to see the antique statues, the 
 basso-relievos, and also the compositions of 
 Raffaelle; and the observations he made 
 in that city induced him to change his 
 Bolognese manner, which had very much 
 of Corregio in it, to assume one that was 
 more learned, but more dry, and less 
 natural, both in design and colouring. It 
 is observed, that the manner of all the 
 Caraccis is the same ; the only difference 
 that can be perceived among them seems 
 to arise from their diversity of temper and 
 disposition. Annibale had more fire, more 
 boldness, and singularity of thought than 
 the others ; and his designs were more 
 profound, his expression more lively, and 
 his execution firmer. His genius was 
 better adapted to poetical and profane 
 subjects than sacred, though, when he 
 attempted the latter, he generally suc- 
 ceeded. His taste of composition was 
 considerably promoted by his studies at 
 Rome, as appears in the Farnesian gallery ; 
 and though the design is loaded, yet it 
 has so much elegance, that it often pleases 
 even those whose critical judgment pre- 
 vents them from approving it. His man- 
 ner shows a mixture of the antique, of 
 
CATl 
 
 CAR 
 
 nature, and of the manner of Buonarroti. 
 He forsook that of Bologna, and adopted 
 the Roman manner entirely ; the former 
 was soft and mellow, and the latter more 
 exact, but less delicate in the colouring; 
 so that the pencilling in the last works of 
 Annibale is neither so tender nor so agree- 
 able as in his first. He had an admirable 
 genius for landscape ; the forms of his trees 
 are fine, and in all his objects after nature, 
 there is a character that distinguishes them 
 strongly. He seems, however, not to have 
 well understood the chiaro-oscuro, nor are 
 his local colours commendable ; but, upon 
 the whole, no painter seems to have been 
 more universal, easy, or certain in every 
 thing he did, nor more generally approved, 
 than Annibale. In the gallery at Munich 
 are two pictures of this master, for each 
 of which jMaximilian I., Elector of Bavaria, 
 is said to have paid forty thousand guil- 
 ders. And at Loretto is preserved a piece 
 by Annibale, representing the Birth of 
 the Virgin, which is exceedingly beautiful. 
 In the Dresden gallery is a noble painting 
 of St. Roche distributing his Wealth to 
 the Poor, by Annibale ; and the Earl of 
 Carlisle has a most pathetic picture of 
 this master, the subject of which is the 
 Descent from the Cross. Annibale Ca- 
 racci engraved about twenty plates in a 
 style worthy of his talents. He died in 
 1609. 
 
 Cabacci (LoDovico). He was born at 
 Bologna in 1555, and became a disciple 
 of Prospero Fantana; but rose to that high 
 degree of reputation which he possessed, by 
 studying the works of Titian, Tintoretto, 
 and Paolo Veronese, at Venice; of Pas- 
 signano, and Andrea del Sarto, at Flo- 
 rence; of Giulio Romano at Mantua; and 
 of Parmegiano and Corregio at Parma. 
 But above all those masters he admired 
 Corregio, and always endeavoured to imi- 
 tate his manner. It is remarkable that, 
 notwithstanding the pre-eminence which 
 this great master attained, he was so un- 
 promising at first as to receive the nick- 
 name of the Ox from his fellow-students. 
 If he had less fire in his compositions than 
 Annibale or Agostino, he surpassed them 
 in grace, grandeur, and sweetness. In re- 
 ligious subjects particularh', he excelled 
 them both ; and after the manner of 
 his favourite, Corregio, he gave a won- 
 derful grace to his Madonnas. Simplicity 
 and elegance distinguish all his designs ; 
 his touch is lively, his expression good, 
 the airs of his heads are graceful, his 
 figures are marked with a fine outline, 
 
 and his general composition is sublime. 
 In conjunction with Agostino and An- 
 nibale, he laid the foundation of that 
 school, which has been so highly celebra- 
 ted, and even to this time distinguished 
 by the title of the Academy of the Ca- 
 racci ; and thither all students who gave 
 hopes of their becoming masters resorted 
 to be instructed in the true principles of 
 painting. The Caracci taught freely those 
 things that were proportionable to the ta- 
 lents and qualifications of their disciples. 
 They established well-chosen models of 
 men and women; and Lodovico, having 
 collected at Rome a number of fine casts 
 from the best figures, some antique sta- 
 tues, and curious basso-relievos, he sent 
 them to Bologna. He also procured the most 
 capital designs of great masters ; purchas- 
 ed instructive books on all subjects rela- 
 tive to the art; and had the assistance 
 of a noted anatomist, Anthony de la Tour, 
 who taught the pupils whatever was ne- 
 cessary, relative to the jvmction of the 
 bones and the insertion of the muscles. 
 Thehappyeffectofthis institution isproved 
 by the many great artists who were formed 
 in it ; among whom were Guido, Domeni- 
 chino, Albano, Lanfranc, Guercino, and 
 others. At Bologna, in a chapel belong- 
 ing to the church of La Madonna di Ga- 
 liera, is a picture painted in fresco by Lo- 
 dovico Caracci, representing an Ecee 
 Homo, in which Pilate appears washing 
 his hands. The design is excellent, 
 the colouring good, and the whole has 
 a fine effect. In the church of St. Leo- 
 nardo, the grand altar-piece is by the 
 hand of this master. The subject is the 
 Martyrdom of St. Ursula and St. Leo- 
 nardo, and is a grand composition, consist- 
 ing of a number of figures in good atti- 
 tudes, grouped with singular skill, and 
 adorned with elegant draperies; the heads 
 and hands being correctly designed, and in 
 a good taste. But it is grown dark by 
 time, as most of the paintings of Lodovico 
 are now, which greatly diminishes their 
 eflFect. In the same city is a capital pic- 
 ture of St. John the Baptist, painted by 
 this master. The dignity that appears 
 in the whole figure is astonishing ; it com- 
 mands reverence, attention, and love ; and 
 the countenance looks inspiration. The 
 graceful air and attitude, as well as the 
 union of simplicity and dignity in the cha- 
 racter, are heightened by the judicious 
 mixture of strength and softness in the 
 colouring. There are also many other ex- 
 cellent pictures in Bologna by his hand. 
 
OAR 
 
 94 
 
 CAB 
 
 particularly aTransfiguration, andthecon- 
 version of St. Paul, and a great number 
 are in the churches and religious commu- 
 nities in all parts of Lombardy. Sir Joshua 
 Reynolds says of Lodovico, that " his 
 breadth of light and shadow, tlie simplicity 
 of his colouring, and the solemn effect of 
 that twilight which seems diffused over his 
 pictures, is better suited to the grave and 
 dignified subjects he generally treated, 
 than the more artificial brilliancy of sun- 
 shine which enlightens the pictures of Ti- 
 tian." Lodovico etched a few engravings, 
 from his own designs, in masterly style. 
 He died in 1619. 
 
 Cabacci (Agostino). This eminent 
 artist was born at Bologna in 1558. He 
 was the elder brother of Annibale, the 
 disciple of Lodovico, and in many respects 
 not inferior to either. At first he studied 
 in the school of Prospero Fontana, and 
 next under Passerotti ; but it was the in- 
 struction of Lodovico that gave him the 
 taste and knowledge by which he render- 
 ed himself considerable. As well in the 
 disposition as execution of the memorable 
 Farnesian gallery, he assisted Annibale; 
 but he had not the assiduity of his brother, 
 and devoted much time to engraving, in 
 which he was so excellent, that his etch- 
 ings were almost as much valued as his 
 paintings. Few of his pictures are to be 
 met with, and it is thought that several of 
 those which he did finish pass for the 
 works of his brother Annibale. One of the 
 most celebrated of his works is the Com- 
 munion of St. Jerome, at the Certosa in 
 Bologna, which he executed after his re- 
 turn from Venice : it is designed and com- 
 posed in a grand style, the draperies are 
 broad and elegant, and in the heads there 
 is a noble character. This fine piece form- 
 ed part of the spoils carried off by the 
 French, in their invasion of Italy. Another 
 of his designs is in the ducal palace at 
 Parma, but by the death of the artist it 
 was left unfinished. It was, however, so 
 highly esteemed by the duke, that he 
 never would permit any other painter to 
 work upon it, thinking it impossible to 
 find a master equal to such an undertak- 
 ing. The plates of this great artist are 
 very numerous and valuable. Agostino 
 died in 1602. 
 
 Caracci (Antonio), called // Gobbo. 
 He was the natural son of Agostino, and 
 born at Venice in 1583. Having been in- 
 structed by Annibale in the art of paint- 
 ing, he appeared to have a lively and 
 promising genius, and, even in the few 
 
 things which he painted, gave such tokens 
 of an enlarged capacity, as made the short- 
 ness of his life to be much regretted. In 
 all his compositions he displayed an excel- 
 lent taste; and in those pictures which he 
 finished, he showed the spirited touch and 
 pencilling, as well as beautiful expression, 
 of Annibale ; and if a judgment might be 
 formed of his talents by those fresco paint- 
 ings with which he enriched the three 
 chapels belonging to the Church of San 
 Bartolomeo nell' Tsola, it seems probable 
 that he might perhaps have even surpassed 
 the whole family of the Caracci. He died 
 at Rome in 1618. 
 
 Caracci (Francesco), called Fran- 
 cescMiio. He was the brother of Annibale 
 and Agostino, and the disciple of Lodovico 
 Caracci; by whose precepts he proved in 
 a short time an eminent designer of 
 naked figures, and was accounted by his 
 master superior to any of his other scho- 
 lars in freedom of hand, correctness, and 
 truth. But growing vain by the applauses 
 he received for his real excellences, he ne- 
 glected colouring, and thereby lessened his 
 reputation, which otherwise he might have 
 effectually established. He died in 1622. 
 Francesco engraved some plates after the 
 designs of Lodovico and Annibale. 
 
 Caracciuolo (Giambattista). This 
 artist was born at Naples in 1591. His 
 first master was Francesco Imparato, 
 whom he soon left to study under Michel 
 Angelo Caravaggio, whose vigorous style 
 and powerful light and shadow he follow- 
 ed, till, on going to Rome, he altered his 
 manner by contemplating the works oi 
 Annibale Caracci. On his return to his 
 native city, he painted several pictures so 
 much in the Caraccian style, that they 
 were by some mistaken for those of Anni- 
 bale. The best of his works were a St. 
 Cecilia, St, Antonio de Padua, the Death 
 and Assumption of the Virgin, and a St. 
 Carlo. He died at Naples in 1641. 
 
 Caeaglio (Giovanni Giacomo), an 
 Italian artist, was born at Verona about 
 1512. He was an excellent designer, and 
 studied under Antonio Raimondi; but is 
 chiefly known for his engravings. His 
 drawing is correct, his heads have a fine 
 expression, and the whole of his perform- 
 ances exhibit great knowledge and taste. 
 He was also much employed in engraving 
 of gems. He died about 1560. 
 
 Caravaggio, (Michel Angelo Ame- 
 RiGi da). This extraordinary character 
 was born in the village of Caravaggio, in 
 the Milanese, in 1569. His father was a 
 
CAB 
 
 95 
 
 OAR 
 
 mason, and employed him in making paste 
 for the fresco painters at Milan ; and this 
 connexion with the artists inspired him 
 with a similar taste. Thus, without a 
 teacher, he became a skilful painter, 
 and at first applied to the taking of like- 
 nesses, in doing which he adhered strictly 
 to nature, which he followed with servile 
 obedience, copying even her very defects, 
 and appearing to despise all that was grace- 
 ful or elegant. On being shown some fine 
 antiques, he said, pointing to the bystand- 
 ers, " See how many more models nature 
 has given to me than all your statues ! " 
 Then going into a public- house, he drew 
 the portrait of a Gipsy so accurately that 
 no defect could be found in it. Being of 
 a quarrelsome temper, it was almost im- 
 possible for any one, especially artists, to 
 keep upon good terms with him ; so that 
 it was no wonder he should have multiplied 
 enemies wherever he came. He had not 
 been long at Milan before he was obliged 
 to remove from thence to Venice, where 
 he adopted the style of Giorgione ; but his 
 stay there was short, and he went to Rome 
 in such poor circumstances that he was 
 forced to work for Josepino, who employed 
 him in painting fruit and flowers. This 
 not being to his taste, he left that artist to 
 execute figures for Prospero, a painter 
 of grotesque. Prospero saw his merit, 
 sounded his praises every where, and made 
 considerable advantage by his labours. A 
 picture, the subject of which was the 
 Gamester, painted by Caravaggio, so 
 highly pleased Cardinal del Monte, that 
 he took the artist into his service, and re- 
 warded him liberally. All the walls of 
 the workroom of Caravaggio were blacken- 
 ed, that the shades of objects might have 
 no reflection, and all day long the light 
 only entered from the uppermost window. 
 Thus he succeeded in giving his pictures 
 that dimness and force which at first sight 
 excited surprise, and eclipsed the works of 
 other masters ; and even Rubens acknow- 
 ledged Caravaggio to be his superior in 
 the chiaro-oscuro. He gave to all his ob- 
 jects so striking and powerful a truth as 
 could not be exceeded ; but these beauties 
 disappeared in largecompositions, in which 
 his manner was hard and repulsive. He 
 placed all his figures in the same plane, 
 without gradation or perspective ; and the 
 light upon bis objects was uniformly the 
 same. All the painters of the time com- 
 bined at first against Caravaggio, objecting 
 to him that he was not only devoid of genius 
 and grace, but that he had not discernment 
 
 nough to make a proper selection of ob- 
 jects. This censure was just in the main ; 
 for he made choice of porters as models, 
 whom he drew without their heads, which 
 he afterwards put on according to the cha- 
 racters he had to represent, whether saints 
 or heroes. The altar-pieces executed by 
 him were in consequence often obliged to 
 be taken down again, on account of their 
 vulgarity: this was the case with a St. 
 Matthew, who, instead of being a wrinkle- 
 faced old man, was depicted as a jolly clown; 
 and, what was worse, Caravaggio painted 
 the Holy Virgin as a drunken drab. So 
 capricious, however, was popular taste, 
 that the manner of Caravaggio, which 
 originally gave offence, afterwards became 
 fashionable, and the body of artists follow- 
 ed his example. When x\nnibale Caracci 
 came to Rome, Caravaggio was so forcibly 
 struck with his colouring, that he exclaim- 
 ed, " God be praised ! at last I have found 
 one painter in my lifetime." Notwith- 
 standing this, he took occasion to quarrel 
 with Annibale, and challenged him to 
 fight, but the other very properly refused 
 to measure weapons with such an anta- 
 gonist. Caravaggio next challenged Jose- 
 pino, who excused himself because his 
 adversary was not a knight. To remove 
 this difficulty he went to Malta, and there 
 got himself dubbed a serving knight, or 
 Cavaliere Serviente, which was a degree 
 below the dignity of Josepino. Soon after 
 this, Caravaggio having a dispute with a 
 young gentleman at Rome, stabbed him, 
 and again fled to Malta, where he procured 
 the favour of the grand master by paint- 
 ing an altar-piece in the church of St. 
 John, and other pictures. For these he 
 received a chain of gold and two slaves as 
 attendants; but happening to have a dis- 
 pute with one of the knights, he was 
 thrown into prison, from whence he made 
 his escape, and got first to Sicily, and next 
 to Naples. Here he endeavoured to ap- 
 pease the grand master by sending him a 
 picture of John the Baptist, and at the 
 same time he solicited his pardon of the 
 pope, in which, through the interest of 
 Cardinal Gonzaga, he succeeded. Upon 
 this he ventured to return to Rome; but 
 as he was leaving his inn, some persons 
 attacked and severely wounded him in the 
 face. This did not prevent his embarka- 
 tion ; but on landing from the felucca, he 
 was seized by a Spanish guard, who, mis- 
 taking him for anotherperson, hurried him 
 to prison. On recovering his freedom, and 
 going to seek for his baggage, he found 
 
CAR 
 
 CAR 
 
 that some persons had carried it away, 
 Thus, deprived of all he had in the world, 
 he wandered about upon the shore, and at 
 length in the extreme heat of the sun 
 reached Porto Ercole, where his courage 
 entirely forsook him; a violent fever ensu- 
 ed, of which he died in 1609. The great 
 excellence of Caravaggio as a painter 
 consisted in truth of colour; and so faith- 
 ful was he in his representation of what- 
 ever objects he undertook, that he obtained 
 the name of the Naturalist ; and Annibale 
 Caracci used to say that he did not paint but 
 grind flesh. At the Spada Palazzo is a 
 picture of St. Anne with the Virgin by her 
 side, employed in female work, but the 
 figures are as mean as their dress. Another 
 picture of the Virgin with two Pilgrims, 
 at Loretto, has the same characteristics, 
 but is vigorously executed in his peculiarly 
 sombre manner. In the palace of the 
 Borghesi was the Supper at Emmaus; a 
 St. Sebastian in the Campidoglio ; and in 
 the Pamphili collection, Hagar and Ish- 
 mael. But his masterpiece is the Entomb- 
 ing of Christ, formerly in the Chiesa 
 Nuova at Rome, and afterwards at the 
 Louvre.. 
 
 Caravaggio (Polidoro Caldara da). 
 This eminent artist was a native of the 
 Milanese, and born in the village from 
 whence he derived his name, in 1495. His 
 origin was so low, that at Rome, whither he 
 went for employment, he became a common 
 labourer. Happening to be engaged in that 
 humble occupation in the Vatican, where 
 Maturino and Giovanni da Udina were 
 employed in executing the designs of Raf- 
 faelle, he was stimulated to imitate them. 
 This attracting the notice of Raffaelle, he 
 was encouraged by him to follow the pur- 
 suit to which his genius led him, and he 
 became one of the most distinguished dis- 
 ciples of that school. He directed his 
 attention principally' to the study of the 
 antique sculptures, in imitating which he 
 rose to pre-eminent excellence. Raffaelle 
 in consequence appointed him to paint the 
 friezes for his works in the Vatican ; and 
 he discharged this honourable trust entire- 
 ly to the satisfaction of his illustrious pa- 
 tron and master. Polidoro was a rigid 
 observer of the forms and costumes of the 
 ancients, so that his works appeared with 
 all the character of Athenian art, in the 
 heads, draperies, and attitudes of his figures. 
 Though he despised colouring to such a 
 degree as to give a sameness to his repre- 
 sentations, yet, by skilful management and 
 the elegance of his forms, he imparted a 
 
 dignity to all his works. It is to be re- 
 gretted, however, that, from the exposure 
 of his frescoes to the atmosphere, they have 
 been for the most part destroyed, and no 
 remembranceof many of them is preserved, 
 except what is afforded by the engravings 
 of Albert!, Goltius, and Galestruzzi. When 
 Rome was taken by the Spaniards in 1527, 
 Caravaggio fled to Naples, where, and in 
 Sicily, he obtained much employment; 
 but while preparing to leave that island 
 in 1543, he was murdered by his servant 
 for the sake of his property. During his 
 residence at Messina, he painted the tri- 
 umphal arches erected there, in honour of 
 the return of the Emperor Charles V. from 
 his African expedition. His other works 
 were the ornaments in the Vatican, the 
 history of Niobe, two subjects of the Life 
 of Magdalen, with a beautiful landscape, 
 and an oil picture of Christ bearing his 
 Cross. This last is in the great church 
 at Messina. 
 
 Caravoglia (Bartolomeo). He was 
 born in Piedmont, and is said to have been 
 a pupil of Guercino; which, however, is 
 doubtful, as there is nothing in his style 
 to warrant the conjecture. His best per- 
 formance is the Last Supper, in the church 
 of Corpus Christi, at Turin. He lived 
 about 1670. 
 
 Carbajal, or Carvajal (Luis de), a 
 Spanish painter, was born at Toledo in 
 1534, and studied under Don Juan de Vil- 
 loldo. He was employed by Philip II. in 
 painting the Escurial, where he had a prin- 
 cipal part of the cloisters for the exercise 
 of his talent, and the subject which he 
 chose was the History of the Virgin. He 
 also painted the Nativity for the grand altar 
 of the Infermeria. He died at Madrid in 
 1591. 
 
 Carbone (Giovanni Bernardo). He 
 was born at Genoa in 1614, and studied 
 under Giovanni Andrea de Ferrari. He 
 painted history in a good style, but he ex- 
 celled in portraits, which were much in the 
 manner of Vandyck. He died in 1667. 
 
 Carboni (Francesco). This artist 
 was a native of Bologna, the scholar of 
 Alessandro Tiarini, and a proud and suc- 
 cessful imitator of Guido. His principal 
 performances are at Bologna, where, in the 
 church of St. Martin Maggiore, is a cruci- 
 fixion ; in that of St Paolo an Entombing 
 of Christ ; and in that of the Servites the 
 Death of St. John the Baptist. 
 
 Cardenas (Bartolomeo de). This 
 painter was a Portuguese by birth, but was 
 brought up in Spain, where he acquired 
 
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 97 
 
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 great and deserved reputation. He paint- ' 
 ed the principal part of the cloisters of 
 Nuestra Senora d'Atocha at Madrid. But 
 his best worlss are at Valladolid, where he 
 resided the greater part of his life. lie 
 died in 1606, aged 59 years. 
 
 Cardi (LoDovico), called Cigoli and 
 Civoli. This master of the Florentine 
 school was named Cigoli from the castle 
 where he was born, in 1559. He was the 
 disciple of Santo di Titi, butnever followed 
 his style, choosing rather to form one of 
 his own. He drew well, and his style of 
 designing was elevated, the attitudes of his 
 figures were natural, just, and expressive, 
 and his outline was correct. Bat notwith- 
 standing his merit, there are some offensive 
 particularities in all his compositions, such 
 as a multiplicity of folds in his draperies, 
 and a singular form of the hair in all his 
 figures. At Florence he studied the an- 
 tique statues, together with the works of 
 Michel Angelo Buonarroti, and Andrea 
 del Sarto. He also applied himself to per- 
 spective and architecture, in the school of 
 Bernardo Buontalenti. But having seen 
 some of the works of Baroccio, he grew 
 so passionately fond of his style, that he 
 afterwards endeavoured to imitate it ; till, 
 on finding that Baroccio had derived his 
 taste from the works of Oorregio, he de- 
 termined to seek improvement at the foun- 
 tain-head. From thenceforward he devoted 
 himself entirely to form his taste of colour- 
 ing and design on the principles of that 
 great master ; and as he possessed a lively 
 imagination, joined to an acute understand- 
 ing, anda judgment capable of discerning 
 all the excellences in the works of Cor- 
 regio, it is not surprising that he should 
 have copied him with exactness, or that 
 he should be distinguished by the name of 
 the Florentine Corregio, which he obtained 
 by his picture of the Martyrdom of St. 
 Stephen. But unquestionably his best 
 performance was that of St. Peter healing 
 the Cripple, in the Vatican ; which work 
 has been destroyed, partly by damp, and 
 partly by the ignorance of cleaners. He 
 died in 1613. 
 
 Cabdisco (Marco), called II Cala- 
 brese, from the country of his birth, 
 though of what town in Calabria is not 
 mentioned. He is supposed to have been 
 a scholar of Polidoro da Oaravaggio, and 
 rose to considerable eminence in his pro- 
 fession. In the church of St. Pietro ad 
 Aram, at Naples, is a Descent from the 
 Cross by this artist, which does credit to 
 his pencil ; but his best work is a Dispu- 
 
 tation between St. Augustine and the 
 Manichees, in the church of that saint. 
 He died 1542. 
 
 Carducci (Bartolomeo). This great 
 artist was born at Florence in 1560, and 
 had Federigo Zucchero for his master, 
 whom he assisted in painting the great 
 cupola of the cathedral of his native city. 
 Fie also, while young, executed two fine 
 altar-pieces for the church of the Jesuits, 
 the subjects of which were the Immaculate 
 Conception, and the Nativity. When 
 Zucchero went to Spain, he was accom- 
 panied by Carducci, who was employed 
 in the Escurial, and, in conjunction with 
 Perugino Tibaldi, painted the famous 
 ceiling of the library, his portions of which 
 were the figures of Aristotle, Euclid, 
 Archimedes, and Cicero. Part of the 
 frescoes in the cloisters are of his painting, 
 and he gave such satisfaction to the king, 
 that he rewarded Carducci with two hun- 
 dred ducats over and above his salary. 
 When this painter was invited into France, 
 the Spanish monarch expressed great re- 
 gret, and prevented his departure by an 
 \ apology to His Most Christian Majesty. 
 I Carducci, therefore, continued in Spain, 
 ' particularly at Valladolid, where several 
 ; of his pictures remain. He also painted 
 some for the Palace at Madrid ; and, 
 I among the rest, one of the Last Supper, 
 I and another of the Circumcision ; but the 
 ! performance which, above all others, 
 established his reputation in Spain, is the 
 Descent from the Cross, in the Church of 
 St. Philip el Real, a piece that some have 
 not scrupled to class with the best of Raf- 
 faelle's. After the death of Philip II., 
 Carducci was appointed to paint a gallery 
 in the palace of the Prado, the subject of 
 which was to be taken from the history 
 of Charles V. He began this work, but 
 died before he had made any great pro- 
 gress, in 1610. Bartolomeo was not only 
 an excellent painter, but also a good 
 statuary and architect. 
 
 Carducci (Vincenzio), the brother of 
 the preceding painter, was born at 
 Florence in 1568. He received his in- 
 struction from Bartolomeo, and followed 
 him to Spain, where, after the death of 
 his brother, he was employed to finish 
 the gallery in the Prado ; but, instead of 
 the Life of Charles V., he chose the 
 History of Achilles, which he executed 
 so much to the satisfaction of Philip III. 
 that he was made king's painter. He 
 executed a great number of pictures for 
 
 the churches and palaces ; and among 
 
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 his bests works may be mentioned the 
 Warning to St. Joseph, and a San Antonio 
 in the convent Del Rosario ; a picture of 
 the Preaching of St. John, in the refectory 
 of the Franciscans ; and a St. Gennario, 
 in the church of Alcala de Henares. This 
 was his last performance, and it was not 
 tinished at his death in 1638. Vincenzio 
 Oarducci published a work entitled " Dia- 
 logos de las Excellancias de la Pintura," 
 printed at Madrid in 1633. 
 
 Cariani (Giovanni). This artist was 
 born at Bergamo about 1510. He ac- 
 quired a reputation by his skill in portraits 
 but he was also an excellent painter of 
 historical subjects ; and in the church 
 of St. Gotardo, at Bergamo, is a noble 
 picture by him, representing the Virgin 
 and Child in the Clouds, surrounded by 
 worshipping Angels; it is composed in a 
 charming style, and admirably coloured. 
 
 Cablevabiis (Luca). This artist was 
 born at Udina in 1665. He painted land- 
 scapes, sea-pieces, and perspective views ; 
 but though he had great merit in that 
 style, he excelled principally, and is best 
 known, as an engraver. He etched one 
 hundred views of Venice, in a neat and 
 spirited manner. He died in that city 
 in 1729. 
 
 Carlieri (Alberto). He was born 
 in 1672 at Rome, and at first studied 
 under Giuseppe de Marchi, but after- 
 wards became a scholar of Padre Andrea 
 Pozzo. His talent lay chiefly in painting 
 architectural subjects, which he enriched 
 with historical figures, designed in an 
 admirable taste. 
 
 Carlisle (Anne). This ingenious 
 lady lived in the reign of Charles II., and 
 is said by Walpole to have obtained great 
 credit by her copies of the works of emi- 
 nent Italian masters, as well as by her 
 portraits taken from the life. She died 
 about the year 1680. 
 
 Carloni (Giovanni), a native of 
 Genoa, was born in 1590. He was the 
 son of a sculptor, and the pupil of Pas- 
 signano. He became eminent in fresco 
 painting at Rome, Florence, and Milan, 
 where he died in 1630, He was an ele- 
 gant designer, and composed with facility. 
 
 Carloni (Giovanni Bittista). He 
 was the younger brother of the preceding 
 artist, and was born at Genoa in 1594. 
 He received his education under Passi- 
 gnano, after which he became a coadjutor 
 of his brother in painting the three naves 
 of the cathedral at Genoa. The middle 
 one represents the Adoration of the Wise 
 
 Men; the Entrance of Christ into Jeru- 
 salem ; the Resurrection ; the Ascension ; 
 the Feast of Pentecost ; and the Assump- 
 tion of the Virgin. In the same church, 
 he painted the Presentation in the Temple, 
 and Christ disputing with the Pharisees. 
 He died in 1680. 
 
 Carloni (Anbrea). He was the son 
 of Giovanni Battista, and was born in 
 1 639. After receiving instructions from 
 his father, he went to Venice to improve 
 himself in colouring, and then returned 
 to Genoa. Among his performances were 
 some pictures for the churches of Perugia, 
 and a St. Feliciano at Foligno, in which 
 he displayed talents, though inferior to 
 his father. On going to Rome he altered 
 his manner for one more dignified and 
 spirited. He died in 1697. 
 
 Carloni (Carlo). This artist, who 
 was both a painter and engraver, was born 
 at Como in 1686. He was the son of a 
 sculp tor, who intended him for the same pro- 
 fession ; but he chose rather to follow 
 painting, and was therefore placed under 
 Giulio Qualio. He afterwards studied at 
 Rome, and finally settled in Germany, 
 where he died in 1775. 
 
 Carnio (Antonio). This Italian artist 
 was a native of Portogruaro, in the Friuli, 
 and was instructed by his father, who was 
 an artist of no celebrity. Afterwards he 
 studied at Venice the works of Tintoretto 
 and Paolo Veronese ; and his own perfor- 
 mances, in the opinion of competent 
 judges, might have been ranked with those 
 of Pordenone. His composition was in- 
 genious, and his design elevated; his co- 
 louring, particularly in his carnation tints, 
 soft and harmonious ; but some of his best 
 paintings have been spoiled by retouch- 
 ing and cleaning. He executed many fine 
 nieces for churches and private collections. 
 He died about 1690. 
 
 Carnovale (DoMENico). Hcwasbom 
 at Modena, and flourished about the year 
 1564. His talent lay chiefly in painting 
 architectural views, which he enriched 
 with figures properly introduced and cor- 
 rectly drawn. 
 
 Carnuli (Fra Simone da). This artist 
 was a monk of the order of St. Francis 
 at Genoa, and lived there about the year 
 1520. He painted several pictures for 
 his convent, particularly two, the sub- 
 jects of which were the Last Supper, and 
 the Preaching of St. Anthony. His man- 
 ner was hard, but his architectural pieces 
 and perspectives are entitled to praise. 
 
 Card (Francesco Lopez), a Spanish 
 
CAR 
 
 painter, who was born at Seville in 1592, 
 and studied under Pablo de las Roelas. 
 He excelled in portrait, and painted seve- 
 ral pictures of the victories of Charles V. 
 in the palace of the Prado. He died at 
 Madrid in 1662. His son Francesco, 
 born at Seville in 1627, became a scholar 
 of Alonso Oano. His principal works are 
 the pictures of the History of the Virgin 
 Mary, which he painted for the chapel of 
 San Isidoro, and the celebrated Porciun- 
 cula of St. Francis, in thfe church of that 
 saint at Segovia. He died at Madrid in 
 1667. 
 
 CaeoijI (Pietro Francesco). This 
 artist was born at Turin in 1638. He went 
 first to Venice, thence to Florence, and 
 lastly to Rome, where his merit introduced 
 him into the Academy of St. Luke, of 
 which he became perpetual professor. 
 The subjects of his pencil were the inte- 
 rior views of churches, correctly designed 
 and admirably coloured, with remark- 
 ably fine figures. He died in 1716. 
 
 Caroselli (Angiolo). He was born 
 atRomeinl573,and studied under Michel 
 Angelo Caravaggio, whose powerful co- 
 louring and bold effect of light and shade 
 he closely imitated, but added a grace which 
 that master wanted. He was principally 
 employed in easel pictures and portraits 
 for the gallery of the Cardinal Gessi. One 
 of his qualities was that of an extraor- 
 dinary felicity in copying the best works 
 of great masters, and in painting close 
 imitations of their style. His principal 
 performance is a picture of St Gregory 
 the Great celebrating Mass. He died at 
 Rome in 1651. 
 
 Caroto (Giovanni Francesco). He 
 was born at Verona in 1470, and learned 
 the principles of painting from Liberale 
 Veronese ; bu t having an opportunity of see- 
 ing some of the works of Andrea Mante- 
 gna, he went to Mantua to study under that 
 celebrated master. He there applied him- 
 self industriously to improve his genius, 
 and acquired such a readiness in design 
 and freedom of hand, that many of his 
 compositions were taken for those of An- 
 drea. At first he delighted to paint in a 
 small size ; but some who envied his merit 
 having asserted that he was incapable of 
 painting in large, he confuted them by 
 finishing a noble design in the chapel of 
 the Virgin at Verona, with figures as large 
 as life, which was allowed to excel all his 
 former works. He died in 1546. 
 
 Caboto (Giovanni). He was the bro- 
 ther of the preceding, by whom he was 
 
 CAR 
 
 instructed, and whose manner he success- 
 fully imitated, though his merit did not 
 entitle him to the same reputation. After 
 applying himself some years to his profes- 
 sion he went to Venice, in order to obtain 
 a more perfect knowledge of colouring, 
 and returned to Verona about the time of 
 his brother's decease. There he found 
 sufficient employment for historical sub- 
 jects as well as portraits, painting many 
 altar-pieces for the churches and con- 
 vents, as also easel pictures for the princi- 
 pal nobility. He designed the curious re- 
 mains of antiquity in and near Verona, par- 
 ticularly the famous amphitheatre, which 
 were afterwards engraved and published. 
 He was a good architect, and had for his 
 disciple Paolo Veronese. He died about 
 1550. 
 
 Cabpaccio (Vittorio). This artist 
 flourished at Venice about the year 1500, 
 and worked in competition with Bellini for 
 the public buildings, civil andecclesiastical, 
 of that city. His early manner was hard, 
 dry, and gothic ; but in his latter days he 
 improved his style considerably, particu- 
 larly in the contour and expression of his 
 heads. Some of his pictures are still to be 
 seen at Venice, and at Ferrara is one of 
 the Death of the Virgin. 
 
 Carpaccio (Benedetto). He is sup- 
 posed to have been a son or a nephew of 
 the preceding artist ; and in the church 
 of the Rotonda in Capo d'lstria, is a fine 
 picture by him, the subject of which is the 
 enthronization of the Virgin ; it is dated 
 1537, and in that of the Osservanti is 
 another, dated 1541. 
 
 Cabpentier (Adrian). This artist 
 was a native of France, and about the year 
 1760 settled in London as a portrait pain- 
 ter, where he practised many years. He 
 was a frequent exhibitor with the Society 
 of Artists in Spring-gardens ; and one of 
 his best productions was a half-length 
 portrait of Roubiliac the sculptor, from 
 which there are two engravings, one in 
 mezzotinto by Martin, and the other in 
 line by Chambers. He died about 1774. 
 
 Carpi (Ugo da). This artist was not 
 considerable as a painter, but made him- 
 self remarkable by discovering the art of 
 printing in chiaro-oscuro, which he per- 
 formed with two pieces of boxwood, one 
 marking the outlines and shadows, and the 
 other impressing whatever colour was laid 
 upon it, leaving some parts of the paper 
 uncoloured, as masses of light. In this 
 manner he struck off prints of several de- 
 signs, and the cartoons of Rafiaelle, par- 
 
100 
 
 CAR 
 
 ticularly one of the Sibyl ; a Descent from 
 the Cross ; the History of Simon the Sor- 
 cerer, and the Death of Ananias. This 
 art was brouglit to a higher perfection by 
 Balthasar Peruzzi of Siena, and by Par- 
 megiano, who published several designs 
 in that manner. Ugo died about 1530. 
 
 Carpi (Girolamo da). This painter, 
 who was born at Ferrara in 1501, became 
 a disciple of Garofolo, and proved the best 
 student of that academy ; but when he 
 quitted that master, he devoted his whole 
 attention to the works of Corregio, which 
 he copied witli the most critical care and 
 observation. In this labour he spent 
 several years at Parma, Modena, and other 
 cities of Italy, where the best works of 
 tliat exquisite painter were preserved. He 
 succeeded so well in the imitation of Cor- 
 regio's style, that many paintings finished 
 by hira were taken for originals of that 
 master, and were eagerly purchased by the 
 connoisseurs. Nor is it improbable that 
 several of the paintings of Girolamo da 
 Carpi pass at this day for the genuine 
 works of Corregio himself. He died in 
 1556. 
 
 Carpi (Giuseppe). He was born at 
 Bologna in 1664, and died in 1713. He 
 painted architectural subjects and views 
 in perspective with great taste and accu- 
 racy. 
 
 Cabpinoni (Domenico). This artist 
 was born at Clusone, in Bergamo, in 1566. 
 He studied at Venice under the younger 
 Palma, whose works he copied, as he also 
 did those of Bassano ; but afterwards he 
 painted some of his own composition, 
 which are well coloured and accurately 
 designed. In the church of Clusone are 
 two of his pictures, the Birth of the Bap- 
 tist, and a Descent from the Cross. In 
 another church is a picture of the Trans- 
 figuration, and in tliat of the Osservanti 
 at Lovere is the Wise Men's Oflfering. He 
 died in 1658. His grandson, Marziale 
 Carpinoni was instructed by him, and 
 afterwards by Giro Ferri, at Rome. He | 
 became an historical painter of reputation ; i 
 and in the church of Clusone is a Nativity ' 
 by him, together with another picture of 
 the Baptism of Christ. He also painted 
 altar-pieces for different churches in Bres- 
 cia. He died in 1722. 
 
 Carpioni (Giulio). He was born at 
 Venice in 1611, and was a disciple of Ales - 
 aandro Varotari, called Paduanino, under 
 whom he made a great proficiency, and in 
 a short time acquired a considerable repu- 
 tation for design, invention, and tint of 
 
 colouring. His genius directed him to 
 paint in a small size, and therefore he chose 
 subjects which admitted of a number of 
 figures, such as Bacchanals, sacrifices, and 
 triumphs, in which he had no competitor. 
 The demand for his works was extraor- 
 dinary even in his lifetime, and now they 
 are exceedingly rare, and highly valued. 
 He died in 1674. 
 
 Carpioni (Carlo). He was the son of 
 the preceding, by whom also he was edu- 
 cated, and whose style he adopted in some 
 of his works ; but he chiefly painted por- 
 traits. In the council chamber at Vicenza, 
 and the convent of the Servites, are some 
 excellent groups of the portraits of magis- 
 trates by him, which to the character of 
 faithful resemblance add grace and dignity. 
 
 Caril^i (Baldassare). This artist 
 was a native of Ravenna, and lived about 
 the year 1512. He was the scholar of Ni- 
 colo Rondinello, and his principal perform- 
 ance is a picture of St. Bartholomew in 
 the church of St. Dominico, at Ravenna. 
 
 Carre (Francis). This artist Avas born 
 in Friesland in 1630, and died at Amster- 
 dam in 1669. He was first painter to the 
 Stadtholder, William Frederick, Prince 
 of Orange, and excelled in landscapes and 
 village sports; but his pictures are little 
 known. 
 
 Carre (Henry). This painter was born 
 at Amsterdam, according to Weyerman 
 and Descamps, in 1656 ; but, according to 
 Houbraken and the Chronological Tables, 
 in 1658. He was a disciple first of Ju- 
 rian Jacob of Hamburgh, and next of 
 Jacques Jordaens. Soon after his public 
 appearance as an artist, he found employ- 
 ment at the court of Friesland, where he 
 was appointed state painter, and adorned 
 the palace with several fine paintings, par- 
 ticularly landscapes, introducing into them 
 huntings of the wild boar and other ani- 
 mals; in which subjects his manner re- 
 sembled that of Snyders. The principal 
 part of his life was, however, spent at 
 Amsterdam and the Hague, where his 
 works were in general esteem. Besides his 
 representation of the chase, he painted 
 peasants attending flocks of sheep, or 
 herds of cattle, and sometimes conversa- 
 tions. He had an agreeable style, and a 
 good manner of colouring ; his figures and 
 animals were well designed, and touched 
 with spirit, though many of his pictures 
 are rather too dark. He died in 1721. 
 
 Carre (Mich.vel). He was the younger 
 brother of the preceding, and was born at 
 Amsterdam in 1666. He studied under 
 
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 Henry, and for improvement became the 
 disciple of Nicholas Berchem. When he 
 had improved his taste and his hand con- 
 siderably under that master, he quitted 
 him, and most unaccountably preferred 
 the style of Vander Leevs', though it had 
 neither so much truth, beauty, nor delicacy 
 as that of Berchem. Having followed his 
 profession some time in his own country, 
 he visited London, where he resided for 
 several years, but found little encourage- 
 ment, because he changed his first agree- 
 able manner, and persisted in another not 
 so acceptable to the taste of the English. 
 This disappointment made him return to 
 his native city, from whence he was invited 
 to the Prussian court, where he had a 
 good appointment, and was liberally re- 
 munerated. He had great readiness of 
 hand, and a neat manner of pencilling in his 
 easel pictures ; but his inclination led him 
 to embellish grand saloons, halls, and large 
 apartments. In his compositions of this 
 size, he was fond of introducing subjects 
 that excited terror storms, with light- 
 ning destroying castles and towers, and 
 tearing up trees by the roots. He died in 
 1728. 
 
 Carrenno de Miranda (Don Juan), 
 an eminent Spanish painter, descended 
 from an ancient family, was born at Abi- 
 les in 1614, and learned the elements of 
 his art at Madrid, in the school of Pedro 
 de las Cuevas. He afterwards finished his 
 studies with such success under Bartolo- 
 meo Roman, that he was soon considered 
 as one of the best Spanish artists, and was 
 charged with decorating in frescoes some 
 apartments in the royal palace, which 
 pleased Philip IV. so much, that he nomi- 
 nated him painter to the court about 1651. 
 He acquired a surprising facility of exe- 
 cution ; his design is tolerably correct ; 
 his colour, which is brilliant and seducing, 
 resembles the tones of Vandyck ; his con- 
 ception was vigorous; and his composition 
 is rich. Madrid, Toledo, Alcala de Hen- 
 ares, and Pampeluna, possess Miranda's 
 works. The patronage of Philip IV. was 
 continued to him by his successor Charles 
 11. He died at the head of a large school 
 about 1685. 
 
 Caeretti (Domenico). This artist was 
 born at Bologna, but it is not known who 
 was his master. He painted a number of 
 easel pictures on historical subjects, as 
 well as large ones for churches. The prin- 
 cipal of his works is a picture of the Vir- 
 gin and Child, and St. Theresa, in the 
 church of St Pietro, in Olavito. 
 
 Carriera (Rosalba), an eminent female 
 artist, was born at Chiozza in 1675, and, 
 having shown an early taste for painting, 
 her father placed her with an artist from 
 whom she learned to paint in oil ; but she 
 afterwards practised crayon painting, and 
 carried it to a high degree of perfection. 
 Orlandi also celebrates her miniatures. 
 Her crayon painting frequently arrives at 
 the strength of pictures in oil. Her por- 
 trait=, which are spread over all Europe, 
 are elegant and graceful in conception and 
 attitude, and fresh, neat, and alluring in 
 colour. Her Madonnas and other sacred 
 subjects rise from grace to dignity, and 
 even to majesty. Equal and incessant ap- 
 plication deprived her of sight during the 
 last ten years of her life. She died in 1757. 
 
 Carrticci, see Pontone. 
 
 Carstens (Asmus Jacob). This artist 
 was born in 1754, at St. Gurgen, a village 
 near Sleswick. He was apprenticed to a 
 wine-merchant, and at his leisure hours 
 practised drawing with such success as to 
 paint several portraits without having any 
 instruction. On quitting his master he 
 went to Copenhagen, where he obtained 
 access to the Royal Gallery, by which he 
 improved his knowledge considerably. He 
 also visited the gallery of Count Moltke, 
 for whom he painted an Adam and Eve 
 from Milton; but that nobleman demur- 
 ring to the price of the picture, it was pur- 
 chased by the Crown Prince for one hun- 
 dred crowns. He now became a student in 
 the Academy; but the professor Abild- 
 gaard behaved so ill to him, that Carstens, 
 in 1783, left Copenhagen for Italy. His 
 finances, however, were not sufficient to 
 bear his expenses further than Milan, and 
 he set out with his brother on foot for 
 Germany. Carstens remained five years 
 at Lubec, supporting himself by portrait 
 painting. From Lubec he removed to 
 Berlin in 1788, and during two years sub- 
 sisted by giving lessons in drawing, and 
 making designs, mostly allegorical, for the 
 booksellers. Having the good fortune to 
 be employed in ornamenting the principal 
 apartment of the Dorville palace, he be- 
 came known to the minister, who pre- 
 sented him to the king. The consequence 
 was, that he obtained a pension, and leave 
 to visit Rome, where he arrived in Sep- 
 tember, 1792. His whole attention in that 
 capital was devoted to the works of Raf- 
 faelle and Michel Angelo, but particularly 
 the former, in imitation of whom he pro- 
 duced several large pictures, the subjects 
 of which were taken from classical mytho- 
 
CAS 
 
 CAS 
 
 logy. His last finished work was a 
 painting of GEdipus Tyrannus, from So 
 phocles; but about the same time he form- 
 ed a magnificent design, suggested by the 
 reading of Hesiod's description of the 
 Golden Age, the execution of which was 
 prevented by his death, May 25, 1798. 
 
 Carter (George). This singular cha- 
 racter was born of poor parentage, at Col- 
 chester, in Essex. After receiving an or- 
 dinary education in the free-school of his 
 native town, he became shopman to a 
 mercer in London. In a few years he was 
 taken into partnership, but the concern 
 failing. Carter turned painter. He next 
 travelled to Rome, Petersburgh, and Gib- 
 raltar, and lastly made a voyage to the 
 East Indies. Though a very indifferent 
 artist, he contrived to realize a fortune, 
 with which he retired to Hendon, where 
 he died in 1795. He presented a picture 
 for an altar-piece to the church of St. 
 James, at Colchester, the subject of which 
 is the Adoration of the Shepherds, but it 
 is a wretched performance. In 1785, he 
 made an exhibition of his own paintings 
 in Pall-mall; and, in order to push him- 
 self into notice, he published some engrav- 
 ings from those paintings. He affected 
 likewise to be an author, and printed a 
 Narrative of the Loss of the Grosvenor In- 
 diaman, in the title to which he styles 
 himself historical painter. 
 
 Carver (Robert). He was born in 
 Ireland, and was an excellent painter of 
 landscapes and marine views. He also 
 painted scenes for the theatres of Drury- 
 lane and Co vent-garden. He died in 1791. 
 
 Casali (Andrea). This artist was 
 born at Civita Vecchia about 1720, and is 
 supposed to have been a scholar of Sebas- 
 tian Conca. At the age of thirty he came 
 to England, and was much employed by 
 the nobility. He painted historical sub- 
 jects, and also engraved some plates, one 
 a Madonna after Raffaelle, and the others 
 from his own designs. He died about 
 1770. 
 
 CASALTTa (Lucia). This ingenious lady 
 was born at Bologna in 1677, and became 
 a pupil of Giuseppe dal Sole. She at first 
 practised historical painting, but left it for 
 portraits, in which she became celebrated. 
 Her own picture is in the Florentine 
 gallery. She died in 1721. 
 
 Casaxova (Fraxcesco). He was born 
 in London, of Venetian parents, in 1732. 
 When young he was sent to Venice, where 
 he became a pupil of Francesco Simonini, 
 a painter of battles, and the imitator of 
 
 Borgognone. Casanova adopted the same 
 style, and obtained great reputation in it; 
 but besides battle-pieces, he also painted 
 landscapes with figures and cattle, marine 
 and pastoral subjects. He resided some 
 years at Dresden, next at Paris, and lastly 
 at Vienna, where his works were much 
 esteemed. He etched some plates from 
 his own designs. Loutherbourg was his 
 scholar. 
 
 Casaubon (Frederick). This artist 
 was born at Solingen, in Germany, in 
 1623 ; but was brought up to painting at 
 Amsterdam, after which he went to Paris, 
 and studied under Charles Le Brun; from 
 thence he travelled to Italy, where he con- 
 tracted a friendship with Nicolo Poussin, 
 whose style he attempted. At the close 
 of life he came to England, and, not suc- 
 ceeding in historical subjects, he applied 
 to portrait. He died in London, in 1690. 
 Casembrot (Abraham). He was a 
 native of the Netherlands, and lived about 
 the year 1650. The latter part of his life 
 was spent in Sicily, where he distinguished 
 himself by painting landscapes and sea- 
 pieces, as storms and havens, but he also 
 attempted history ; and among his produc- 
 tions in that line were three pictures re- 
 presenting the Sufferings of Christ, which 
 were in the church of St. Giovacchino, at 
 Messina. He also etched several views 
 of the principal seaports of Sicily. 
 
 Cases (Peter James), a painter, was 
 bom at Paris in 1676, where he also died 
 in the month of June, 1754. He had for 
 masters in his art, Ilouasse, and afterwards 
 Bon Boullongne. He obtained the grand 
 prize of painting in 1699, aVid was received 
 member of the academy in 1704. Cases 
 ma}' be considered as one of the first pain- 
 ters of the French school. His drawing 
 is correct, and in the grand style; his 
 compositions bear marks of genius; he 
 excelled in his draperies, and possessed a 
 knowledge of the chiaro-oscuro to a very 
 high degree. His strokes are mellow, and 
 his pencil brilliant; there is also much 
 freshness in his tints. This artist worked 
 with great industry, but his performances 
 are not all of equal beauty. Towards the 
 latter end of his life, the coldness of age 
 and the weakness of his organs occasioned 
 him to produce pictures which betray the 
 decline of his powers. Some of his works 
 may be seen at Paris, in the church of 
 Notre Dame; in the college of Jesuits; 
 at the House of Charity ; at the Petit St. 
 Antoine ; at the chapel of La Jussienne ; 
 at the Abbey of St. Martin ; and particu- 
 
CAS 
 
 103 
 
 CAS 
 
 larly at St. Grermain des Pres ; where he 
 has represented the lives of St. Germain 
 and St. Vincent. A Holy Family at St. 
 Louis de Versailles is much admired, and 
 is one of his best productions. Cases 
 mostly excelled in pictures with horses. 
 The King of Prussia has two fine pieces 
 by this painter, which have been compared 
 for their execution with the works of 
 Corregio. The celebrated Le Moine was 
 u scholar of Cases. 
 
 Casolain I ( Alessandro) . He was born 
 at Siena in 1552 ; and studied under 
 Cavaliere Roncalli, by whose instructions 
 and indefatigable practice he became a 
 good painter of history. His composition 
 is ingenious, his figures correct and well 
 grouped, and the general effect of his pic- 
 tures is pleasing. His works are chiefly 
 confined to the churches of Siena, where 
 one of them, the subject of which is St. 
 IJartholomew's Martyrdom, attracted the 
 admiration of Guido Reni, who said it was 
 the production of a true painter. He died 
 in 1606. 
 
 Casolani (Illakio, or Ckistofano). 
 He was the son of the preceding, and 
 was brought up in the school of Roncalli ; 
 after which he assisted his father in his 
 works, and finished some of those that 
 were left uncompleted at his death. He 
 painted several large pictures in oil and 
 fresco for the churches at Rome, where 
 he died in the flower of his age. 
 
 Cassana (Giovanni Fkancesco). This 
 painter was born at Genoa in 1611. He 
 studied under Bernardo Strozzi, and 
 painted historical subjects, but principally 
 portraits. He died at Venice in 1691. 
 
 Cassana (Nicolo), called Nicoletto, 
 the son of the preceding, was born at 
 Venice in 1659, and studied under his 
 father, whom he assisted in his works. 
 The Grand Duke of Tuscany invited Ni- 
 coletto to his court ; and he there painted 
 the portraits of that prince, and the Prin- 
 cess Violante his consort, which procured 
 him great applause, as well as a noble 
 gratuity ; after which he was employed of 
 course by the principal nobility of Florence. 
 Of the historical subjects painted by him 
 while he resided in that city, the principal 
 was a picture of the Conspiracy of Catiline ; 
 it consisted of nine figures as large as life, 
 down to the knees, and the two principal 
 figures were represented as with one hand 
 joined in the presence of their companions, 
 and in the other holding a cup of blood. 
 Nicoletto came to England in the reign of 
 Queen Anne, whose portrait he painted so 
 
 happily, that her majesty distinguished 
 him by many marks of favour ; but he died 
 in London soon after, universally regret- 
 ted, in 1713. 
 
 Cassana (Giovanni Agostino), called 
 L'Abate Cassana. He was the younger 
 brother of the preceding, and was born at 
 Venice in 1664. He was brought up to 
 painting by his father ; but though a good 
 artist in portrait and history, he chose to 
 represent animals and fruits, in which style 
 he arrived at a high degree of excellence, 
 imitating nature with exactness, beauty, 
 and truth; expressing the various plumage 
 of birds and the hair of different animals 
 with such tenderness and delicacy, as ren- 
 dered them estimable to all judges of the 
 art ; and his works have been admitted 
 into the first collections. Led by ambition, 
 he went to Genoa, where, by his prodi- 
 gality, he fell into poverty, and died there, 
 in 1720. 
 
 Cassana (Giovanni Battista). He 
 was the youngest brother of the two pre- 
 ceding artists ; but though a good painter 
 of history, he applied to the representation 
 of fruit, flowers, and still life. 
 
 Cassana (Maria Vittoria) . This lady 
 was the sister of the three preceding 
 artists, and painted small pictures on 
 devotional subjects, for private collections. 
 She died at Numise, in 1711. 
 
 Cassentino (Jacopo di). He was born 
 at Cassentino, in 1276, and learned the 
 art of painting from Taddeo Gaddi. He 
 was considered in his time as an artist of 
 considerable merit, as well in fresco as in 
 distemper, and performed a great number 
 of works in his native city, Arezzo, and 
 Florence, where in 1350 he became the 
 founder of the academy. His most me- 
 morable work was that which he painted 
 in the chapel of the academy, representing 
 St. Luke drawing the portrait of the Vir- 
 gin, in which he introduced on one side 
 all the academicians, who were ten, and 
 on the opposite side all their wives. This 
 artist died in 1356. 
 
 Cassiani (Padre Stefano). Thisartist, 
 who was also called 11 Cestosino, was born 
 at Lucca, and lived about the year 1670. 
 He was a monk of the Carthusian order, 
 whence he obtained his cognomen. He 
 painted in fresco the cupola of the church 
 of the Carthusians at Lucca, and two 
 altar-pieces, the subjects of which were 
 taken from the legendary history of the 
 Virgin. His style resembles that of Pietro 
 da Cortona. 
 
 Casta GNo (Andrea del). He was 
 
CAS 
 
 CAS 
 
 born at a small village called Castagno, 
 in the territory of Tuscany, in 1409, 
 and being deprived of his parents, was 
 employed by his uncle to attend the herds of 
 cattle in the fields; but having accidentally 
 seen an ordinary painter at work in the 
 country, he observed him for some time 
 with surprise and attention, and after- 
 wards made such efforts to imitate him as 
 astonished all who saw his productions. 
 This extraordinary genius having become 
 a topic of discourse in Florence, so far ex- 
 cited the curiosity of Bernardetto de 
 Medici, that he sent for Andrea, and, per- 
 ceiving his promising talents, placed him 
 under the care of the best masters. 
 Andi'ea diligently pursued his studies, and 
 in a few years made so great a progress, 
 that he found as much employment as he 
 could execute. He painted only in dis- 
 temper and fresco, with a manner of 
 colouring that was not very agreeable, 
 being rather dry and hard, till he learned 
 the secret of painting in oil from Dome- 
 nico Veneziano. Andrea was the first of 
 the Florentine artists who painted in this 
 new manner ; but though he was in the 
 highest degree indebted to Domenico for 
 disclosing the secret, yet he secretly 
 envied the merit of the man who taught 
 him the art ; and, because his own works 
 seemed to be much less admired than those 
 of his friend, he determined to assassinate 
 him. He executed his foul design most 
 treacherously, by stabbing him at the 
 corner of a street, and then escaped un- 
 observed and unsuspected to his own 
 house, where he composedly sat down to 
 work, and thither Domenico was soon 
 after conveyed, to die in the arms of his 
 murderer ; nor was the real author of this 
 transaction ever discovered, till Andrea, 
 through remorse of conscience, confessed 
 it on his deathbed. He finished several 
 considerable works at Florence, by which 
 he gained great riches, and as great a re- 
 putation ; but when his villainous conduct 
 became public, his memory was held in 
 the utmost detestation. The most noted 
 work of this master is in the Hall of 
 Justice at Florence, representing the 
 Execution of the Conspirators against the 
 House of Medici. He died in 1480. 
 
 Casteels (Pkter). He was born at 
 Antwerp in 1684, painted birds and 
 flowers with some success, and in 1726 
 published twelve plates of those subjects, 
 designed and etched by himself. He had 
 been settled in England many years, 
 when he retired, in 1735, to Tooting, to 
 
 design for calico-printers. He died at 
 Richmond, May 16, 1749. 
 
 Castello (Beknardo). This painter, 
 who was born at Genoa in 1557, became 
 successively the disciple of Andrea Semini 
 and Lodovico Cangiagio. Though he 
 had genius, a good tone of colouring, and 
 a correct taste of design, yet, by neglect- 
 ing to study nature, his works were in 
 many respects defective, and he became 
 a mannerist. He painted portraits, how- 
 ever, with success, and some of his com- 
 positions in history display elegance, and 
 are coloured in an agreeable manner. The 
 picture which he painted in the church of 
 St. Peter at Rome, representing that 
 apostle walking on the water, is of this 
 description ; but, after all, Castello is 
 more indebted for his fame to the praises 
 of Tasso and other poets, than to his 
 own merits. He died in 1629. 
 
 Castello (Valerio). He was the 
 son of the preceding, and was born at 
 Genoa in 1625. He studied in the school 
 of Domenico Fiasella ; but he owed his 
 principal knowledge to the studies he 
 made at Milan and Parma, after the 
 works of the most celebrated masters, by 
 which he improved his taste in design, 
 composition, and colouring. His merit was 
 distinguished as soon as his works became 
 known ; and he acquired such a reputation 
 for drawing, colouring, and the elegance 
 of his figures, as placed him in a rank far 
 superior to his father. His favourite sub- 
 jects were battles, which he composed with 
 spirit, and executed with such a pleasing 
 variety and freedom of hand as gained 
 him universal applause. His horses are 
 admirably drawn, and with attitudes that 
 are natural and becoming, full of motion, 
 action, and life. In this style he dis- 
 played all the fire of Tintoretto, united 
 with the taste of Paolo Veronese. His 
 works are not very frequent, but they 
 are deservedly held in high esteem. 
 The cupola of the church of the An- 
 nunciation at Genoa, which is entirely 
 by his hand, is described as a noble com- 
 position, displaying excellence of inven- 
 tion, expression, and design. And at 
 Florence, in the palace of the grand duke, 
 is a noble painting, of which the subject 
 is the Rape of the Sabines, by this master. 
 The composition is full of life, the figures 
 are well grouped, and the colouring has 
 abundance of force, by a strong opposition 
 of light and shadow. Yet the design is 
 not correct : the hands of the figures are 
 too small, and, in general, there appears 
 
CAS 1 
 
 throughout too much of the mannerist. 
 In the collection of the Earl of Pembroke 
 is a picture by this artist, representing 
 Christ taken down from the Cross ; and it 
 is believed that a greater number of the 
 easel pictures of Valerio Castello are in the 
 collections of the nobility and gentry of 
 England than in any other part of Europe. 
 He died in 1659. 
 
 Castello, or Castelli (Giovanni 
 Battista). This eminent painter, the 
 companion of Luca Cambiaso, is com- 
 monly called II Bergamasco, in contra- 
 distinction to Giovanni Battista Castelli, 
 a Genoese, who was a miniature painter. 
 The present artist was born at Bergamo 
 in 1500, and. being conducted to Genoa by 
 Aurelio Busso of Crema, a scholar of Poli- 
 doro, was, at his sudden departure, left by 
 him in that city. In this state he found 
 protection in the Pallavicini family, who 
 assisted him, sent him to Rome, and re- 
 ceived in him, at his return, an architect, 
 sculptor, and painter, not inferior to any 
 of the artists of the day. Whatever master 
 he may have had, his leading principles 
 were those of Luca, which is evident on 
 comparison in the church of St. Matteo, 
 where they painted together. We discover 
 the style of RaiFaelle verging already to 
 practice, but not so mannered as that 
 which prevailed at Rome under Gregory 
 and Sixtus. We recognise in Cambiaso 
 greater genius, and more elegance of de- 
 sign ; in Castello more diligence, deeper 
 knowledge, a better colour, and one nearer 
 allied to the Venetian than the Roman 
 school. It may, however, be supposed, 
 that in such fraternal harmony each as- 
 sisted the other, even in those places where 
 they acted as competitors, where each 
 claimed his work, and distinguished it by 
 his name. Thus at the Nunziata di Por- 
 toria, Luca on the panels represented the 
 Final Doom of the Blessed and the Rejected 
 in the Last Judgment ; whilst Giovanni 
 Battista, on the ceiling depicted the Judge 
 in an Angelic Circle receiving the Elect. 
 His attitude and resemblance speak the 
 celestial welcome with greater energy than 
 theadjoinedcapitalsof the words, "Venite 
 Benedicti." It is a picture studied in all 
 its parts, of a vivacity, a composition, and 
 expression, which give to the panels of 
 Luca the air of a work done by a man half 
 asleep. Frequently Castelli painted alone ; 
 such was the case with respect to the St. 
 Jerome, surrounded by monks, frightened 
 at a lion, in the church of St. Francesco 
 di Castello, and the crowning of St. Sebas- 
 
 )5 CAS 
 
 tian after martyrdom, in his own church ; 
 a picture as rich in composition as studied 
 in execution, and superior to all praise. 
 That a man of such powers should have 
 been so little known in Italy excites equal 
 indignation and surprise, unless we sup- 
 pose that his numerous works in fresco at 
 Genoa prevented him from painting for 
 galleries. This artist passed the last years 
 of his life at Madrid, as a painter to the 
 court. After his death in 1570, or, as 
 some say, 1580, Luca Cambiaso was sent 
 for to finish the larger historic subjects ; 
 but the ornamental parts, and the gro- 
 tesque, interspersed with figures, remain 
 ed to his two sons, Fabrizio and Granello, 
 whom he had carried with him to Spain 
 as his assistants. Palomino, and the writers 
 on the Escurial, enumerate these works 
 with praise of their variety, singularity, 
 and beauty of colour. 
 
 Castello (Anxibale). He wasanative 
 of Bologna, and lived about the year 1607. 
 He studied under Pietro Faccini, whose 
 manner he imitated, and thereby rendered 
 his compositions heavy and incorrect. 
 His principal work is the Resurrection of 
 Lazarus, at Bologna. 
 
 Castello (Fkancesco da). This artist 
 was born in Flanders, of Spanish parent- 
 age, in 1586. When young he went to 
 Rome, where he applied to historical 
 subjects, but generally painted them of a 
 small size ; though he also executed some 
 on a more extended scale for the churches, 
 particularly in that of Giacomo degli Spa- 
 gnuoli, where is a fine altar-piece by him, 
 the subject of which is the Assumption 
 of the Virgin. He died at Rome in 1636. 
 
 Castello (Avanzino da Oitta di). 
 He was born in the Papal States in 1552, 
 and studied under Nicolo Pomerancio. 
 He painted a number of pictures for the 
 churches at Rome, the best of which are 
 three of the history of St. Paul, one repre- 
 senting his Shipwreck at the Island of 
 Melita, another his Vision, and a third his 
 Martyrdom. He died in 1629. 
 
 Castello (Castellino). This painter 
 was born at Turin in 1579, and studied 
 under Giovanni Battista Paggi. His pic- 
 ture of the Descent of the Holy Ghost, in 
 the Church dell'Spirito Santo, at Genoa, is 
 much admired. Castello was also a good 
 portrait painter; and Vandyck, when at 
 Genoa, expressed the highest satisfaction 
 at contemplating his works. He died in 
 1649. 
 
 Castello (Felix), a Spanish artist, 
 was born at Madrid in 1602. He was the 
 
CAS 
 
 106 
 
 CAS 
 
 scholar of Vincenzio Carducci,and painted 
 historical subjects with reputation. He 
 died in 1656. 
 
 Castellucci (Salvi), lie was born 
 at Arezzo in 1608, and had for a master 
 Pietro da Cortona, of whose style he was 
 a close imitator. Some of his pictures in 
 the churches of Arezzo are spoken of with 
 praise; as are also his easel pieces, of 
 which he executed a great number. He 
 died in 1672, leaving a son, who was a 
 painter of little merit. 
 
 Castiglione (Giovajwi Benedetto), 
 called Grechetto. This artist was born 
 in 1616 at Genoa, where he was at first a 
 disciple of Battista Paggi, and afterwards 
 of Giovanni Andrea de Ferrari ; but his 
 principal improvement was derived from 
 the instructions of Vandyck, who at that 
 time resided in Genoa. He formed to 
 himself a grand manner of design, in every 
 branch of his art, and succeeded equally 
 well in all in history, landscape, cattle, 
 and portrait, executing every one with 
 truth, freedom, and spirit. But though 
 his genius was so universal, his predomi- 
 nant turn was to rural scenes, pastoral 
 subjects, markets, and animals, in which 
 he had no superior. He had great readi- 
 ness of invention, a bold and noble tint of 
 colouring, and abundance of nature, in all 
 his compositions. His drawing is elegant 
 and generally correct, his touch judicious, 
 and his pencil free and firm ; he had a 
 thorough knowledge of the chiaro-oscuro, 
 which he very happily applied to all his 
 works. In a chapel of St. Luke's church 
 at Genoa, is. an excellent picture by this 
 master. The composition and design are 
 good, the heads of the figures extremely 
 fine, the draperies well chosen and judi- 
 ciously cast, the animals lively and cor- 
 rect, and the manner through the whole 
 grand and delicate, but the colouring is 
 rather a little too red. In the Palazzo 
 Brignol^ is a grand composition, the 
 figures being eighteen or twenty inches 
 high, which is admirably finished, though 
 perhaps a little too dark. And at the 
 Palazzo Caregha, in the same city, is an 
 historical picture of Rachel concealing the 
 Teraphimfrom Laban,in which the figures 
 and animals are exceedingly fine. He 
 painted a considerable time at Rome, 
 Naples, Florence, Parma, and Venice, in 
 which cities, although he left very striking 
 instances of his skill, his fortune was not 
 equal to his reputation. He found liberal 
 patrons, however, in the Venetian senator 
 Sacredo, and the Duke of Mantua, in 
 
 whose service he lived, and died in 1670. 
 The etchings of this celebrated artist, 
 which are numerous, are spirited, free, 
 and full of taste; and their effect is, in 
 general, powerful and pleasing. Among 
 his most estimable plates, Strutt reckons 
 the following, all from his own composi- 
 tions : viz. Animals coming to the Ark ; 
 Laban searching for his Gods in the Tent 
 of Jacob ; the Angel appearing to Joseph 
 in a Dream ; the Nativity of our Saviour ; 
 the Flight into Egypt ; the Resurrection 
 of Lazarus ; Diogenes with his Lantern ; a 
 Magician with several Animals : the Little 
 Melancholy ; a Ruin with a Vase and Two 
 Men, one of them pointing to a tomb ; two 
 Rural Subjects, with Fauns "and Satyrs, 
 and two Sets of Heads. He died in 1670. 
 
 Castiglione (Salvatobe). He was 
 the brother of Giovanni Benedetto Cas- 
 tiglione, by whom he was instructed in 
 painting. His favourite subjects were 
 landscapes and pastoral pieces. He also 
 etched a plate representing the Resur- 
 rection of Lazarus. 
 
 Castiglione (Francesco). He was 
 the son and disciple of Benedetto, and 
 was born at Genoa. He inherited much 
 of the extraordinary talents of his father, 
 and imitated his style and manner exactly, 
 in composition, handling, and design. 
 Benedetto was not a more universal pain- 
 ter than Francesco ; but the latter was not 
 in every respect equal to his father, 
 though in history, landscape, and animals, 
 his exquisite taste, freedom of hand, and 
 spirited pencil, procured him an established 
 reputation. It is thought that many good 
 paintings which are ascribed to Bene- 
 detto, and are frequently seen at sales or 
 in modern collections, are only copies by 
 his son Francesco, or perhaps originals of 
 the latter. 
 
 Castillo (Augustin del), a Spanish 
 artist, who was born at Seville, in 1565. 
 He painted several pictures for the churches 
 at Cordova, but many of them have 
 perished by damp and neglect. Among 
 his best works is the Conception, in the 
 church of Nuestra Senora de los Libreros. 
 He died in 1626. 
 
 Castillo (Juan del). He was the 
 brother of Augustin, and was born at 
 Seville, in 1584. He studied under Luis 
 de Vargas, and by his instructions proved 
 a good painter of history. His chief works 
 are at Seville and Granada. Murillo, 
 Alonzo Cano, and Pedro de Moya, were 
 his disciples. He died at Cadiz in 1640. 
 
 Castillo y Saavedra (Antonio del), 
 
CAS 
 
 a Spanish painter, was born at Cordova 
 in 1603. After the death of his father, 
 Augustin Castillo, whose disciple he was, 
 he repaired to Seville, for the purpose of 
 improving himself in the school of Fran- 
 cesco Zurbaran. On his return to his 
 native place, he acquired great reputation 
 by his works, which was so well es- 
 tablished, that even to this day no one is 
 considered as a man of taste who does not 
 possess some pieces by this great artist. 
 He treated history, landscape, and portrait, 
 with equal success. His drawing is ex- 
 cellent ; but his colouring is deficient in 
 grace and purity. It is said, that on his 
 return to Seville he was seized with such 
 a fit of jealousy at seeing the pictures of 
 the young Murillo, of a freshness and 
 colouring much superior to his, that he 
 died of vexation shortly after, in 1667. 
 He once marked one of his pictures with 
 the whimsical inscription, Non pinxit 
 Alfaro, to ridicule the vanity of that 
 pupil, noted as the most conceited artist 
 of his day, who never suffered a picture to 
 quit his hand without stamping it with 
 the words, Alfaro pinxit. The best works 
 of Castillo are at Cordova, 
 
 Castrejon (Antonio). He was born 
 at Madrid, in 1625. Though he painted 
 some large pictures for churches, he was 
 chiefly distinguished by his cabinet pic- 
 tures. Of the former description, his 
 greatest performance is a representation 
 of St. Michael subduing the Dragon, in 
 the church of San Miguel, at Madrid. He 
 died in that city, in 1690. 
 
 Castro (Giacomo di). This artist 
 was born at Sorrento, about 1597, and 
 studied under Giovanni Battista Carac- 
 cioli, but afterwards he became a pupil of 
 Domenichino. Some of his pictures are 
 in the churches of Sorrento, particularly 
 one of the Marriage of the Virgin. He 
 died in 1687. 
 
 Castro (Pietro de). The subjects 
 which this artist chose to paint were those 
 called still life, as vases, shells, musical 
 instruments, gems, vessels of gold, silver, 
 and crystal, books, and rich bracelets ; in 
 which his choice and disposition were 
 elegant, and his execution admirable. No 
 colouring could have moreof truth, nature, 
 or transparence than his, nor any pencil- 
 ling be more free, though neat and deli- 
 cate. He showed peculiar judgment in 
 grouping a variety of objects in such a 
 manner as to give union and harmony to 
 the whole. Every separate article is ex- 
 act when critically examined; and each 
 
 object contributes by judicious arrange- 
 ment to form one mass of light and shadow. 
 That he was expert in the principles of 
 perspective, and the chiaro-oscuro, his 
 works sufhciently demonstrate; and for 
 transparence and truth he was equal, if 
 not superior, to the best of his contempo- 
 raries. He died in 1663. 
 
 CATAI.ANI (Antonio). This painter, 
 who obtained the name of II Romano^ was 
 born at Bologna in 1596. He had Albano 
 for an instructor, and became a faithful 
 imitator of his master's style. He painted 
 several pictures for the churches of his 
 native city, and more for private collections. 
 In the church of La Madonna del Grada 
 are four of his pictures, representing the 
 Patron Saints of Bologna; and in the 
 church Del Gesii is a picture of St. Peter 
 healing the Lame Man in the Temple. 
 
 CATALAJfi (Antonio). This artist, who, 
 byway of distinction, is called The Sicilian,, 
 was born at Messina in 1560. He studied 
 at Rome the paintings of Baroccio, and 
 among his works mentioned with applause 
 is a Nativity, in the church of the Capu- 
 chins at Gesso. He died in 1630. 
 
 Catena (Vincknzio). He was a native 
 of Venice, and lived there about the year 
 1500, being considered as a disciple of 
 Giorgione, of whose manner he was a 
 close imitator. He painted historical sub- 
 jects and portraits, but chiefly the latter, 
 in a good style. He was also employed 
 for the churches, and many fine altar- 
 pieces are still shown of his performance 
 in and about Venice. 
 
 Catenaro (Giovan^'i Battista). This 
 artist was both a painter and engraver ; 
 but little is known of him except that he 
 resided partly in London, and partly in 
 Madrid. He etched the portrait of Luca 
 Giordano ; and engraved the print of a 
 Woman seated in a Landscape, with 
 Children. 
 
 Cati (Pasquale da Jesi). This artist 
 resided at Rome about the year 1590, and 
 was employed in the Vatican, where he 
 painted the Passion of Our Saviour, and 
 some friezes. He also executed some paint- 
 ings for the churches in Rome, where he 
 died at a very advanced age. 
 
 Cattanio (Costanzo). He was born 
 at Ferrara in 1602, and had for his mas- 
 ters Ippolito Scarsellino, and Guido Reni 
 at Bologna. The character of Cattanio 
 somewhat resembled that of Michel Angelo 
 Caravaggio, being continually engaged in 
 quarrels, which compelled him to lead a 
 wandering life. This disposition appeared 
 
CAV 
 
 108 
 
 CAV 
 
 in his works, the general subjects of which j 
 are soldiers and banditti. That he was, 
 however, capable of better things, appear- 
 ed in his paintings of the Flagellation of 
 Christ; the Ecce Homo; Christ praying 
 on the Mount; and his Annunciation; 
 which have much of Guido's style. He 
 died in 1665. 
 
 Cattapani (Luca). He was born at 
 Cremona in 1570, and was instructed by 
 Campi. His execution was uncommonly 
 rapid, and he copied the productions of his 
 master in a manner that deceived the best 
 judges. Of his own works the best is the 
 Decollation of the Baptist, in the church 
 of St. Donato, at Cremona. He was not 
 so successful in fresco as in oil. 
 
 Catton (Charles). This English artist 
 was born at Norwich, and served his time 
 to a coach-painter in London. Afterwards 
 he became a student in the academy in St. 
 Martin's-lane, where he acquired a good 
 taste in drawing the human figure. He 
 was the first heraldic painter who intro- 
 duced a good style in that branch of the art, 
 particularly in the manner of designing 
 the supporters to the coats of arms. A 
 collection of animals was engraved and 
 published from his designs. At the founda- 
 tion of the Royal Academy he was chosen 
 one of the original members. In 1784 he 
 became master of the company of painter- 
 stainers. Mr. Catton died in 1798. His 
 son, Charles Catton^ was also a good artist, 
 and painted landscapes, but never followed 
 that or any other branch of the ])rofession. 
 About the year 1800 he went to New York, 
 and died there in 1819. 
 
 Caula (Sigismondo). This artist was 
 born at Modena in 1637. He studied under 
 John Bolanger, and afterwards applied to 
 the works of Titian and Tintoretto. He 
 painted altar-pieces, and cabinet pictures 
 for private collections. The best of his 
 works of the large size has for its subject 
 the Plague of the Israelites, in the church 
 of St. Carlo, which has great force of ex- 
 pression and originality of conception. His 
 last performances are inferior to those 
 which he produced in his youth. 
 
 Cavagna (Giovanni Paolo). Hewa; 
 born at Borgo di San Leandro, in the ter- 
 ritory of Bergamo, in 1560. It is supposed 
 that he received instructions in the school 
 of Titian; but on his return from Venice 
 he became a scholar of Moroni, from 
 whom he acquired delicacy of colouring, 
 and a firm mode of pencilling. He after- 
 wards adopted the style of Paolo Veronese. 
 He particularly excelled in representing 
 
 old men and children, and his best work 
 in fresco is an Assumption, in the church 
 of St. Maria Maggiore, at Venice. His 
 oil paintings are also much admired, espe- 
 cially two pictures of the Nativity, and 
 Esther ; but his most capital performance 
 is a Crucifixion, in the church of St. Lucia 
 at Venice. He died in 1627. 
 
 Cavagna (Francesco). This artist 
 was called CavagnuolOy to distinguish him 
 from the preceding painter, who was his 
 father, but fell short of him in reputation. 
 His best piece is a Madonna, in the church 
 of the Padri Zoccalanti del Romacolo, at 
 Venice. He died young in 1630. 
 
 Cavallini (Pietro). He was born at 
 Rome in 1279, and became the disciple of 
 Giotto. He rendered himself considerable 
 by a multitude of paintings which he 
 finished, to the number (according to some 
 writers) of 1300; and he was no less re- 
 markable for his piety than his industry, 
 being on that account esteemed a saint. 
 His principal works are at Rome, where 
 he assisted Giotto in the celebrated mosaic 
 which is over the grand entrance into the 
 church of St. Peter; and in St. Paul's was 
 a crucifix, said to be by his hand, which 
 the superstitious affirm to have miracu- 
 lously talked to St. Bridget. But his best 
 performance in fresco was in the church 
 of Ara Cceli ; in which he represented the 
 Virgin and Child above, surrounded with 
 glory, and below was the figure of the Em- 
 pei'or Octavian, and that of the Sibyl, di- 
 recting his eye to the figures in the air. 
 Vertue thinks it highly probable that the 
 shrine of Edward the Confessor, and the 
 crosses erected to the memory of Queen 
 Eleanor, were constructed from the designs 
 of Pietro Cavallini, by Abbot Ware; and 
 he supposes Cavallini to be the inventor 
 of mosaic, alleging that Giotto was twenty 
 years younger than the other. These sup- 
 positions, however, seem hardly support- 
 able ; for, by the testimony of Vasari and 
 other writers, and also by the Historical 
 Tables of Ancient and Modern Painters, 
 published by Anthony Harms at Bruns- 
 wick, it appears that Giotto was three 
 years older than Cavallini, instead of being 
 twenty years younger; and was really his 
 instructor in the art of mosaic, as may be 
 evident from the dates of their birth ac- 
 cording to Vasari ; for Giotto was born in 
 1276, and Cavallini was born in 1279. 
 Vasari, indeed, does not mention the precise 
 year of the birth of Cavallini ; but as he 
 says that he died in 1364, at the age of 85, 
 he determines the year of his birth in 1279. 
 
CAV K 
 
 Nor can the other supposition of Abbot 
 Ware's constructing those crosses and 
 shrine from the designs of Cavallini be any 
 ways established ; for, according to Ver- 
 tue, Ware was at Rome in 1260, and there 
 saw a shrine that had been erected in 
 1254, and the abbot himself died in 1283, 
 which was eight years before the death of 
 Queen Eleanor, who died in 1291. Now, 
 as it appears that Giotto was born in 
 1276, he could have been but seven years 
 old at the death of Ware ; and Cavallini 
 being three years younger than Giotto, it 
 is impossible that he should have been a 
 designer for Ware, as that abbot died 
 when Cavallini was only four years old. 
 
 Cavallino (Beknardo). He was born 
 at Naples in 1622, and studied under 
 Massimo Stanzioni. He painted easel pic- 
 tures in a superior manner, and chose his 
 subjects from sacred and profane history, 
 which he treated in the style of Poussin, 
 and the brilliant colouring of Rubens. He 
 gave the promise of great distinction as 
 an artist, which was not realized; for by 
 dissipation and debauchery he shorten- 
 ed his days at Naples in 1656. 
 
 Cavallucci (Antonio). This artist 
 was born atSermonetain 1752, and died in 
 1795. HeresidedatRome, of which school 
 he was considered the principal ornament, 
 after Mengs and Battoni. His principal 
 paintings are St. Bona distributing his 
 Wealth among the Poor; St. Francesco 
 da Paolo in the Basilica of Loretto ; and, 
 above all, his Venus and Ascanius, in the 
 Palazzo Cesarini at Rome. 
 
 CAVAKAzzr (Bartolomeo), called Cres- 
 cenzi. This artist was born at Viterbo 
 about 1590. He studied under Roncalli 
 or Pomerancio, and on leaving that master, 
 was taken into the noble family of Cres- 
 cenzi, from whom he received the appella- 
 tion by which he became known. He 
 painted many pictures for his protector, 
 and others for the churches in Rome, par- 
 ticularly St. Carlo Borromeo kneeling 
 with a Choir of Angels, in St. Andrea della 
 Valle. In St. Ursula he has painted 
 that saint with the famous legend of the 
 eleven thousand virgins ; and in the con- 
 vent of St. Anne, the Holy Family. He 
 died at Rome in 1625. 
 
 Cavazza (Giovanni Battista). He 
 was born at Bologna about 1620, and 
 studied under Cavedone and Guido. He 
 painted several pictures for the churches 
 of his native city, and he also engraved 
 some plates from his own designs. He 
 is to be distinguished from Pietro Fran- 
 
 9 CAV 
 
 cesco Cavazza, a native of Bologna, and 
 the scholar of Domenico Viani. He 
 painted history, and executed several 
 altar-pieces for the churches of Bologna. 
 He died in 1733. 
 
 C AVAzzoNi (Francesco) . He was born 
 at Bologna in 1559, and was at first a 
 pupil of Bartolomeo Passerotti, and next 
 of Lodovico Caracci. His performances 
 are mostly in the churches of Bologna, the 
 chief being a Magdalen, a Crucifixion, 
 and St. John preaching in the Wilder- 
 ness. 
 
 Cavedone (Giacomo). This master 
 was born at Sassuolo, near Modena, in 
 1577, and was educated in the Academy 
 of the Caracci, where he learned design, 
 but attended the schools of Baldi and 
 Passerotti to study the naked figures. 
 To acquire a proper knowledge of colour- 
 ing, he visited Venice, where he carefully 
 examined the productions of Titian ; and 
 at his return home the best judges of the 
 art were much pleased with his works, as 
 they seemed to possess an agreeable mix- 
 ture of the style of the Caracci and the 
 tints of Titian. For some time at Bologna 
 his paintings were esteemed equal to the 
 compositions of Annibale Caracci ; and it 
 is recorded, that in the King of Spain's 
 chapel there is a picture representing the 
 Visitation of the Virgin, which Rubens, 
 Velasquez, and Michel Angelo Colonna 
 supposed to be the performance of that 
 master, though it was really the work of 
 Cavedone. His best manner was strong 
 and free, and his tints were natural and 
 beautiful ; but some good judges observe 
 that he had three different manners, at 
 three different periods of his life. His 
 first was excellent ; his second indifferent ; 
 and his last feeble, and miserably bad. But 
 then, in the latter part of his days, he was 
 depressed by sickness and poverty ; and a 
 few years before his death he received a 
 violent shock by the fall of a scaffold ; and 
 to increase his unhappiness he lost his 
 only son, who had given strong proofs of 
 a promising genius. At Bologna, in the 
 church of St. Salvadore, are several capital 
 performances of Cavedone. The Prophets, 
 and Four Doctors of the Church, are ex- 
 tremely good ; and in a chapel belonging 
 to the church of St. Paolo are some excel- 
 lent paintings, very much in the manner of 
 Caravaggio as to the colouring, and the 
 heads of the figures are in a fine style. But 
 one of his best performances is in the church 
 of the Mendicants in Bologna, which repre- 
 sents Petronius and another Saint on their 
 
CAY ] 
 
 knees in the lower part of the picture, 
 and the Virgin and Child in the clouds, 
 attended by Angels. The Virgin is in a 
 grand taste, and the composition excellent ; 
 the colouring in some parts resembles that 
 of Titian, and in others the touch and 
 manner of Guido. The heads are exceed- 
 ingly fine ; the draperies nobly executed, 
 in that style which is particularly admired 
 in Guido; the shadowing shows all the 
 force of Caravaggio ; and the whole is 
 finished with great freedom of hand and a 
 masterly pencil. Cavedone died in 1660. 
 
 Caxes (Patrizio). He was a native of 
 Arezzo, and in the reign of Philip II. 
 went to Madrid, where he was made king's 
 painter, and employed in the royal palaces, 
 particularly in the (jueen's gallery of the 
 Prado. The subject which he chose was 
 the chastity of Joseph; but it was destroyed, 
 with many other choice pieces, when that 
 edifice was burned in 1718. Caxes died 
 in 1625. 
 
 Caxes (Edgenio), the son and scholar 
 of the preceding, was born at Madrid in 
 1577. He assisted his father in several of 
 his works, and became painter to the court 
 in 1612. He was much employed for the 
 churches as well as the palaces, and paint- 
 ed in conjunction with Vincenzio Caducci. 
 He died in 1642. 
 
 Oatlus (Anne Claude Phimp, Count 
 de), a celebrated amateur and patron of 
 the arts, was born at Paris, October 31, 
 1692. He was the eldest of the two sons 
 of John Count de Caylus, and of the Mar- 
 chioness de Villette. He lost his father 
 at twelve years of age, and when he was 
 seventeen entered into the military service, 
 in which he distinguished himself till the 
 peace of Rastadt left him in a state of 
 inactivity. He now travelled into Italy, 
 where he imbibed that love of antiquities 
 and the fine arts which he cherished 
 through life. After the absence of a year 
 he returned to Paris ; but the knowledge he 
 had acquired made him desirous of further 
 attainments. Accordingly he went, about 
 eight months after, into the Levant, where 
 he explored ancient Greece, the Troad, 
 and the classical remains of Asia Minor. 
 On his return from the East, the count 
 fixed his residence at Paris, which he sel- 
 dom left, except to make excursions to 
 London and other places, on his favourite 
 pursuits. He here applied himself to 
 music, drawing, and painting; and he also 
 wrote some works of the lighter kind, 
 which discovered spirit and ingenuity. In 
 order to judge of the works of art, he had that 
 
 CAT 
 
 instinct of taste which is superior to study, 
 surer than reasoning, and more rapid than 
 reflection ; so that with a single glance he 
 was able to discover the defects and beau- 
 ties of a piece. The Academy of Painting 
 and Sculpture admitted him as an honor- 
 ary member in 1731; and the count, who 
 did not love empty titles, spared neither 
 labour nor fortune in promoting the arts 
 and benefiting its professors. He wrote 
 the lives of the most celebrated painters 
 and engravers who had been ornaments of 
 the institution; but his principal work was 
 entitled " Tableaux tires de I'lliade et de 
 rOdyssde," in which he has exhibited the 
 entire scenes of events contained in those 
 poems, designed each piece, and disposed 
 every figure with pictorial accuracy. The 
 zeal of writers is not always disinterested; 
 they pay themselves for the instructions 
 which they communicate. But the count 
 loved the arts on their own account, as 
 plainly appeared from the many instances 
 of his generosity to those who were pos- 
 sessed of talents, but wanted the goods of 
 fortune. To these he extended his bene- 
 volence, and, though his income was much 
 inferior to his rank, he was rich for the 
 artists. Besides the presents which he made 
 from time to time to the Academy, he 
 founded an annual prize in it, for such of the 
 pupils as should succeed best in drawing or 
 modelling a head after nature, and in giving 
 the finest expression of the characteristic 
 features of a passion. He encouraged the 
 study of anatomy and perspective by gene- 
 rous rewards; and it was his intention, a 
 little before his death, to have founded a 
 new prize for those subjects exclusively. 
 Such was his passion for antiquity, that he 
 wished to have had it in his power to bring 
 the whole of it to life. He saw with re- 
 gret that the works of the ancient painters, 
 which have been discovered in our times, 
 are destroyed almost as soon as they are 
 drawn from their subterraneous deposi- 
 tories. A fortunate accident furnished him 
 with the means of showing the composition 
 and colouring of the pictures of ancieat 
 Rome. The drawings which Bartoli had 
 taken from antique paintings falling into 
 his hands, he had them engraved and pub- 
 lished at his own expense. This work is 
 perhaps one of the most extraordinary that 
 has ever appeared ; and all the subjects are 
 painted with a purity and precision that 
 is inimitable. There were only thirty 
 copies printed; so that, of course, the work 
 is almost inaccessible. The count was en- 
 gaged at the same time in another enter- 
 
CAY 
 
 111 
 
 CEL 
 
 prise still more honourable to his talents. 
 In the preceding age, Desgodetz, under 
 the auspices of Colbert, published the An- 
 tiquities of Rome. The work was admired 
 through all Europe, and gave birth to that 
 emulation which carried ingenious travel- 
 lers to Athens, Spalatro, Balbec, and Pal- 
 myra, in order to view and take drawings 
 of the famous ruins of ancient grandeur, 
 Colbert had framed the design of engra- 
 ving the Roman antiquities that are still 
 remaining in the south of France ; and by 
 his orders Mignard had made drawings of | 
 them, which Count Caylus, having the ! 
 good fortune to recover, determined to I 
 finish the work ; and, though prevented 
 from carrying the design into effect, he re- 
 commended it warmly in his last illness to ' 
 his friend Mariette, by whom it was partly j 
 executed. The confidence which all the 
 learned in Europe placed in the knowledge ! 
 of the count, proved a powerful instru- 
 ment for the furtherance of great designs, 
 and many artists were indebted to him for 
 patronage and the display of their talents. 
 In 1742 he was admitted into the Acad- 
 emy of Inscriptions and Belles Lettres, 
 after which he devoted more time to liter- 
 ary pursuits, but confined himself to sub- 
 jects connected with the arts. His know- 
 ledge of drawing enabled him to explain 
 many passages in Pliny which were obscure 
 to those who were unacquainted with the 
 rules of art ; and hence he developed, in 
 several memoirs, those expressive strokes 
 which that author has employed with 
 brevity, to describe the works of celebrat- 
 ed painters and sculptors. But nothing 
 seemed more flattering to him than his 
 discovery of encaustic painting : a de- 
 scription of Pliny's (but too concise to give 
 him a clear view of this matter) suggested 
 the idea of it ; and he availed himself of 
 the friendship of Majault, a physician of 
 Paris, and an excellent chemist; and by 
 repeated experiments found out the secret 
 of incorporating wax with different tints 
 and colours, of making it obedient to the 
 pencil, and thus rendering paintings im- 
 mortal. Mr. Muntz afterwards made ex- 
 periments to bring this art to perfection, 
 and published in English a book entitled 
 " Encaustic, or Count Caylus's Method of 
 Painting in the Manner of the Ancients : 
 to which is added, A sure and easy 
 Method of Fixing of Crayons," 8vo, 1760. 
 The entry to the house of the count had 
 the appearance of ancient Egypt : the first 
 object that presented itself was a fine statue 
 as large as life ; the staircase was adorned 
 
 with medallions and curiosities from China 
 and America. In his apartment for an- 
 tiques he was seen surrounded with gods, 
 priests, Egyptian magistrates, Etruscans, 
 Greeks, Romans, and Gauls. When he 
 wanted room for more, he sent whole colo- 
 nies to the royal depository of antiquities, 
 and this occurred twice in his lifetime. In 
 order that the world might partake of these 
 treasures, he had them engraved, with de- 
 scriptions, in seven quarto volumes. This 
 extraordinary man died of a mortification 
 in his leg, September 5, 1765. Besides the 
 works already mentioned, he published, 
 1. Nouveaux Sujets de Peinture et de 
 Sculpture, 1755. 2. Memoires sur la Pein- 
 ture a I'Encaustique, 1755. 3. Description 
 d'un Tableau representant le Sacrifice 
 d'lphigenie, 1757. 4. Histoire de I'Her- 
 cule le Thebain, 1758. 5. Discours sur 
 les Peintures Antiques. 6. The Lives of 
 Mignard, Le Moine, and Bouchardon. 
 
 Ceccabini (Sebastiako). lie was born 
 at Urbino about 1700, and studied under 
 Agostino Castellacci. He painted histori- 
 cal subjects at Rome, and among the rest 
 the.story of St. Urbano, in the church de- 
 dicated to that saint; but his principal 
 works are at Faro, where he dwelt, and 
 consistchieflyof pictures taken from sacred 
 or ecclesiastical history. He died in 
 1780. 
 
 Celesti (Cavaliere Andrea). He 
 was born at Venice in 1637, and learned 
 the principles of design and colouring from 
 Matteo Ponzoni. He had a beautiful style 
 of painting in history, as well as in land- 
 scape; but he principally practised the 
 latter. His situations are natural, and his 
 choice elegant; his colouring pleasing; 
 his skies are luminous and clear; his build- 
 ings and other objects well relieved ; and 
 every part is agreeable to the eye. He 
 painted the most beautiful views about 
 Venice, and other cities of Italy, in a large 
 size, and also in small; and his works, 
 being scarce, are highly prized. Two 
 historical compositions of Celesti, are in 
 the chapel of Madonna della Pace at 
 Venice : the subject of the one is St. Luke 
 painting the portrait of the Virgin ; and the 
 otherthe Adoration of the Magi. These are 
 excellent performances; the composition is 
 ingenious, the style grand, and the whole 
 is executed with a flowing bold pencil. 
 In the chapel of Spedaletto is another of 
 his pictures, representing St. Jerome with 
 the Virgin and some Saints, which is well 
 designed, soft, and delicately coloured, but 
 rather too ruddy. He was fond of using 
 
CER 
 
 CER 
 
 a purplish tint, not unlike the manner of 
 Rubens, but he was sometimes apt to use 
 it in the extreme, particularly in his car- 
 nations. He died in 1706. 
 
 Ceho (Gaspak Cavalieke). He was a 
 native of Rome, and a disciple of Circi- 
 gnani, called Dalle Pomerance. His works 
 are chiefly in the churches at Rome, among 
 which are, in St. Giovanni Laterano, a 
 St. Michael defeating the Rebel Angels ; 
 in St. Carlo, a St. Charles Borromeo; in 
 the Mendicanti, St. Francis receiving the 
 Stigmata; andin the Gallery of the Palazzo 
 Mattel, the Passage of the Israelites 
 through the Red Sea. Celio died at Rome 
 in 1640. 
 
 Ceresa (Carlo). He was born at 
 Bergamo in 1609, and studied under 
 Danielo Crespi at Milan, where he soon 
 became distinguished by his style of de- 
 sign and colouring. His figures are grace- 
 fully disposed, and there is an agreeable 
 expression in his heads ; but his works are 
 chiefly confined to churches. In the cathe- 
 dral of Bergamo is a picture of St. Vin- 
 cenzio carried up to heaven ; and in the 
 cupola of St. Francesco, the Four Evan- 
 gelists. One of his best productions is the 
 Resurrection, in the church of St. Peter. He 
 also excelled in portrait. He died in 1 679. 
 
 Cerezo (Matted). This artist was 
 born at Burgos, in Andalusia, in 1635. 
 He studied at Madrid, in the school of 
 Don Juan Carrenno, after which he painted 
 some fine pictures for the churches of 
 Madrid and Valladolid. He was also 
 employed in the royal palaces, and his 
 most esteemed piece is Christ with the 
 Disciples at Emmaus. He died in 1685. 
 
 Cerquozzi (Michel Angelo). This 
 artist, who obtained the appellatives of M. 
 A. di Battaglia, from his excellence in 
 painting battles, and Bambocciate, from 
 his turn for painting markets, fairs, &c., 
 was born at Rome in 1600 or 1602. His 
 father, a jeweller, perceiving his disposition 
 for the art, placed him with James d'Ase, 
 a Flemish painter then in credit at Rome; 
 but, after three years' study with him, he 
 went to the school of P. P. Cortonese, 
 whom he quitted to become the disciple 
 and imitator of Bamboccio. He surpassed 
 all his fellow-students in taste, and had a 
 manner of painting peculiar to himself. 
 His cheerful temper appeared in his pic- 
 tures, in which ridicule was strongly repre- 
 sented. The facility of his pencil was such, 
 that, on the recital of a battle, a shipwreck, 
 or any uncommon event, he could express 
 it directly on canvass. His colouring was 
 
 vigorous, and his touch light. He never 
 made designs or sketches, but only re- 
 touched his pictures, until he had brought 
 them to all the perfection of which he was 
 capable. Such was his reputation, that 
 he could hardly supply the commissions 
 he received, and he became so rich that 
 the cares of wealth began to perplex him. 
 He on one occasion took all his money to 
 a retired place, in order to bury it, but 
 when he arrived, he was so alarmed lest it 
 should be found, that he brought it back 
 with much trouble; and having been two 
 nights and a day without sleep or sus- 
 tenance, this, it is said, injured his health, 
 and brought on a violent fever, which 
 proved fatal, in 1660. His personal 
 character is highly praised. Mr. Fuseli 
 says, " that he differs from Bamboccio in 
 the character and physiognomy of his 
 figures ; and, instead of Dutch or Flemish 
 mobs, he painted those of Italy. Both 
 artists have strong and vivid tints. Bam- 
 boccio is superior to him in landscape, and 
 he excels Bamboccio in the spirit of his 
 figures." One of his most copious works 
 is in the palace of Spada, at Rome, in 
 which he has represented an army of fana- 
 tic Lazzaroni, who shout applause to 
 Masaniello. 
 
 Cerrini (Giovanni Domenico). This 
 artist, called II Cavaliere Perugino, was 
 born at Perugia in 1606, and received his 
 first instructions from Guido, but after- 
 wards he became a disciple of Domeni- 
 chino. From these two celebrated masters 
 he acquired a beautiful tone of colouring, 
 a graceful disposition of his figures, and 
 particularly excelled in the elegant and 
 noble airs of his heads. His best work is 
 in fresco, in the cupola of La Madonna 
 della Vittoria, representing St. Paul's 
 Vision. He died in 1681. 
 
 Cerva (Giovanni Battista). He was 
 a native of Milan, and practised as an his- 
 torical painter about the year 1550. He 
 was the scholar of Gaudenzio Ferrari, but 
 only one of his works is at present known, 
 which is a picture of the Incredulity of 
 St. Thomas, painted in an admirable style 
 of design and colouring. 
 
 Cerveeli (Federigo). This artist was 
 born at Milan, and was the scholar of Pie- 
 tro Ricchi, called 11 Lucchese, whom he 
 rivalled in the freedom of pencilling, and 
 surpassed in correctness. One of his best 
 works is a picture of St. Theodore. He 
 flourished about 1700. 
 
 Cervi (Bbrnardo). He was a native 
 ' of Modena, and a disciple of Guido. At 
 
CES 
 
 113 
 
 CHA 
 
 the time when the most lively expectations 
 were formed of his rising greatness, he 
 was cut off by the plague, at his native 
 place, in 1630. He principally worked 
 in fresco for the churches of Modena. 
 
 Cesari (Giuseppe), commonly called 
 Arpino^ and sometimes Ginseppino^ was 
 born at Rome in 1560. His father, Cesari, 
 was a painter, and a native of Arpino, in 
 the kingdom of Naples, which accounts for 
 the cognomen by which he is commonly 
 distinguished. While yet in his thirteenth 
 year, his father placed him with the artists 
 employed by Gregory XIII. in painting 
 the lodges of the Vatican, whom he served 
 in the humble employment of preparing 
 their palettes and colours. But in this 
 situation he discovered such talents, that 
 the pope gave orders to pay him a golden 
 crown a-day so long as he continued to 
 work in the Vatican. Pope Clement VIII. 
 distinguished him by adding new and 
 higher favours to those of Gregory XIII. 
 He made him Knightof the orderof Christ, 
 and appointed him director of St. John 
 Lateran. In 1600 he followed the Cardinal 
 Aldobrandini, who was sent legate to 
 France on occasion of the marriage of 
 Henry IV. with Mary de Medicis. The 
 conduct of Caravaggio, his enemy and 
 rival, has been already noticed in the 
 article relative to that artist. Arpino died 
 at Rome in 1640, at the age of fourscore. 
 He was an artist of showy rather than solid 
 talents, whence he acquired great popu- 
 larity in his time, because his pictures 
 astonished the multitude. His long prac- 
 tice was distinguished by two methods, 
 that of fresco and that of oil. In the for- 
 mer, he was fertile, vigorous, delight- 
 ful, and uncommonly animated. In the 
 second, his principle was despatch, whence 
 he became free, loose, and careless. He 
 had a numerous school of artists, but had 
 none of any great distinction. His battle- 
 pieces attract the eye by the activity which 
 appears in them, and, above all, by the 
 spirit of the horses. He was much assisted 
 by his brother, Bernardino Cesari, who 
 painted a large fresco work in the church 
 of St. John de Lateran. He died in the 
 prime of life. 
 
 Cesi (Bartoi-omeo). He was born at 
 Bologna in 1556, and had for his instructor 
 Giovanni Francesco Bezzi, called Nosa- 
 della, but he afterwards studied the works of 
 Pelegrino Tibaldi. He lived in great 
 friendship with the Caracci, though he 
 painted in competition with them, and not 
 unsuccessfully. He was correct in his 
 
 design, delicate in his tints, and sweet in 
 his style of composition. He rather ex- 
 celled in his frescoes than his oil paintings, 
 but displayed great merit in both, as his 
 pictures at Bologna sufficiently evince. 
 His principal works were in the churches 
 of that city; particularly a Virgin and 
 Child ; a Crucifixion ; the Adoration of the 
 Magi ; the Descent of the Holy Ghost ; 
 Christ praying in the Garden; and a Taking 
 down from the Cross. He also painted ten 
 frescoes of subjects taken from the life of .iE- 
 neas, in the Palazzo Favi. Hediedinl627. 
 
 Cesi or Cesio (Carlo), a painter and 
 engraver, was born at Antrodocco, in the 
 ecclesiastical teri-itory, in 1626. He 
 studied under Pietro da Cortona, and was 
 employed in several public works at Rome 
 during the pontificate of Alexander VII. 
 He painted historical subjects, particularly 
 the Judgment of Solomon, in St. Maria 
 Maggiore. He was also an excellent en- 
 graver, and his plates are executed in a 
 masterly style. He died in 1686. 
 
 Cespedes (Pablo). He was born at 
 Cordova in Spain, about 1535, and was 
 brought up to the church, in which he 
 rose to eminence. As an artist he also 
 shines among the most distinguished of 
 his countrymen : and to perfect himself 
 in the art, he travelled to Rome twice, that 
 he might contemplate the works of Michel 
 Angelo, and other masters. In the Trinitk 
 di Monti he painted the Annunciation 
 and Nativity, and in the vault of the same 
 chapel, several subjects taken from the 
 Life of the Virgin. He was the intimate 
 friend of Federigo Zutchero, who had for 
 him the highest respect; as a proof of 
 which he refused a commission from Spain, 
 saying, " that while that country possessed 
 Cespedes, it need not send to Italy for ar- 
 tists." His works are chiefly at Cordova, the 
 principal of which is, the Last Supper. 
 Cespedes was as remarkable forhis humility 
 as his talents. He died at Cordova in 1608. 
 
 Chalmers (Sir George). This gen- 
 tleman was a native of Edinburgh, and 
 studied painting under Allan Ramsay, 
 after which he went to Rome. In early 
 life he was patronised by General Blake- 
 ney, at Minorca, and he there painted a 
 portrait of that officer, from which picture 
 an engraving was published. He suc- 
 ceeded to the title of baronet, but not to the 
 estate of his ancestors, which had been for- 
 feited by their attachment to the family of 
 Stuart. Sir George, therefore, continued 
 to follow painting as a profession, first at 
 Hull, and nextin London. He died in 1791. 
 
CHA 
 
 114 
 
 CHA 
 
 Chamberlain (William) . This artist 
 was born in London, and became a student 
 of the Royal Academy, after which he 
 studied under Mr. Opie, and followed 
 portrait painting with considerable success. 
 He died at Hull in Yorkshire, in the 
 prime of life, leaving a widow and six 
 children, in 1807. 
 
 Chamberlain (Mason). This English 
 painter had the credit of being agood artist, 
 in the line of portrait. He was one of the 
 first members of the Royal Academy, and 
 died in 1787. 
 
 Champagne (Philip de). He was 
 born at Brussels in 1602, and on dis- 
 covering an inclination to painting in his 
 youth, was placed successively under 
 Bouillon, Michel Bourdeaux, and Fouquier, 
 from which last he learned to paint land- 
 scape. In all other branches of his art, 
 nature was his master, and he is said to 
 have followed her very faithfully. At 
 nineteen he set out for Italy, taking France 
 in his way, but proceeded no farther than 
 Paris, where he lodged in the college of 
 Laon, at the time when Nicolo Poussin 
 dwelt there, with whom he contracted a 
 friendship. Du Chesne, painter to Mary 
 de Medicis, being then employed in the 
 palace of the Luxembourg, engaged the 
 two artists as his assistants. Poussin did 
 a few small pieces in the ceiling, and 
 Champagne drew the pictures in the 
 queen's apartment. Her majesty liked 
 these last so well that Du Chesne grew 
 jealous of Champagne, upon which he, 
 who loved quiet, returned to Brussels, 
 with an intent to go through Germany 
 into Italy. He had scarcely got there, 
 however, when a letter came to him from 
 the Abbot of St. Ambrose, who was sur- 
 veyor of the Buildings, to advertise him 
 of Du Chesne's death, and to invite him 
 back to France. He accordingly returned 
 thither, and was made director of the 
 queen's paintings, and had settled on him 
 a yearly pension of 1,200 livres, together 
 with lodgings in the Luxembourg palace. 
 Being a lover of his business, he went 
 through a great deal of it. There are 
 numbers of his pieces, not only in the 
 capital, but in diflPerent parts of the king- 
 dom; among other places, some of his 
 pictures are in the chapter-house of Notre 
 Dame at Paris, and in several churches 
 in that city ; without reckoning an infinity 
 of portraits, which are noted for their 
 likenesse-i, as well as for being finished to 
 a high degree. The queen also ordered 
 him to paint the vault of the Carmelite 
 
 church in the suburb of St. James, where 
 his picture of the Crucifixion is much 
 esteemed; but the best of his works is 
 thought to be the ceiling in the king's 
 apartment at Vincennes, composed on 
 the subject of the peace in 1659. After 
 this he was made director of the Royal 
 Academy of Painting, which office he 
 exercised many years. He had been a 
 long time famous in his profession, when 
 Le Brun arrived at Paris from Italy ; but 
 though that artist soon attained the supe- 
 riority, and was made principal painter to 
 the king, Champagne showed no disgust 
 at the preference that was given to his 
 own detriment. There is another instance 
 upon record of his goodness of disposition 
 and integrity: Cardinal Richelieu had 
 offered to make his fortune, if he would 
 quit the queen-mother's service; but 
 Champagne refused. The Cardinal's chief 
 valet-de-chambre assured him further, that 
 whatever he would ask his eminence 
 would grant him ; to which Champagne 
 replied, " If the cardinal could make me 
 a better painter, the only thing I am am- 
 bitious of, it would be something; but, as 
 that is impossible, the only favour I have 
 to beg of his eminence is the continuance 
 of his good graces." It is said the cardi- 
 nal was highly affected with the integrity 
 of the painter ; who, though he refused to 
 enter into his service, did not refuse to 
 work for him. Among other things he 
 drew his picture, and it is supposed to be 
 one of the best pieces he ever painted. 
 Sir Robert Strange had his portrait of 
 Colbert, which, in his opinion, ranked 
 with the finest of Vandyck's. Champagne 
 died in 1674, much beloved by all that 
 knew him, both as an excellent painter 
 and a truly good man. Among other 
 works, he painted a picture of Louis XIII. 
 kneeling before the Virgin, the colouring 
 of which is more brilliant than that of his 
 other pieces, and the general effect much 
 admired. It is remarked of Champagne, 
 that he always refused to paint the por- 
 traits of the first nobility on a Sunday, 
 though he was exceedingly fond of money. 
 Champagne (John Baptist). He was 
 nephew of Philip, and was born at Brussels 
 in 1645, according to some writers, but 
 others say in 1643. He was instructed 
 by his uncle; but when he found himself 
 qualified to visit Italy, he travelled thither 
 to study the great masters. He painted 
 in the style and manner of his uncle, nor 
 did he deviate from it after having such 
 opportunities of refining and improving 
 
CHA 
 
 115 
 
 CHA 
 
 his original taste. At his return from 
 Italy he was appointed professor in the 
 Royal Academy at Paris. He was not 
 equal to Philip, either in design or execu- 
 tion, but he proved a good imitator of 
 him : and if he had many of the perfections 
 of his uncle, he had also many of his 
 defects. He died in 1688. 
 
 Chardin (Simox). He was born at 
 Paris in 1701, and distinguished himself 
 as a painter of conversation pieces, of the 
 domestic description, which he represented 
 with great truth, simplicity, and beauty 
 of finish. He is compared by his country- 
 men to Gabriel Metzu. He was a member 
 of the Royal Academy at Paris, and one 
 of the portrait painters to the king. He 
 died in 1779. 
 
 Ohastillon (Louis be). This artist, 
 who was a painter in enamel and miniature, 
 as well as an engraver, was born at St. 
 Menehould, in Champagne, in 1639. Of 
 his paintings we know little or nothing, 
 but his prints are numerous, and in the 
 style of Gerard Audran. 
 
 Chatel (Francis du). The native city 
 of this painter was at Brussels, where he 
 was born in 1625. He was the disciple of 
 David Teniers the younger ; who, obsei'v ing 
 the genius of his pupil, took great pains 
 to improve him, and by that means Uu 
 Chatel became an honour to his instructor. 
 He adhered to the manner which he had 
 so happily acquired in the school of Teniei's; 
 and his subjects were of the same kind as 
 those of his master, but sometimes more 
 elevated. Like Teniers, he painted corps- 
 de-garde, &c. ; but he also represented con- 
 versations, and assemblies of persons of 
 rank, which compositions consisted of a 
 number of figures, correctly designed, and 
 habited in the mode of the time. His 
 colouring was good, and his pictures were 
 remarkable for the truth of their perspec- 
 tive, and for the effect produced by his 
 skill in the chiaro-oscuro. The most capi- 
 tal work of this master is in the Town-hall 
 at Ghent, being near twenty feet long, and 
 fourteen high. The subject is the King 
 of Spain receiving the Oath of Fidelity 
 from the States of Flanders and Brabant, 
 in 1666. In the background is a view of 
 one of the principal places in Ghent, adorn- 
 ed with triumphal arches and other de- 
 corations ; and it is said that the number 
 of figures amounts to above a thousand, 
 with an abundant variety of characters, 
 and through the whole, the groups are so 
 disposed that there is not the smallest 
 appearance of confusion. 
 
 ChatelxVin (J. B.). He was born in 
 England, of French parents, about 1710. 
 His genius was great, but his manners 
 were so depraved, that his talents were in 
 a great measure lost. He designed land- 
 scapes in an admirable style, either from 
 nature or from fancy. Those which he 
 engraved himself are admirably executed. 
 Many are from his own drawings, and 
 others after Poussin. He died in London, 
 in 1744. 
 
 Chavankes (Pierre Domachin de). 
 This French painter was born at Paris, 
 in 1672. He became so eminent in land- 
 scape as to be employed at the Gobelins, 
 where he died in 1744. 
 
 Chaveau (Francis). This artist was 
 born at Paris in 1613, and died there in 
 1676. His first performances were some 
 engravings from the pictures of Laurence 
 de la Hire, who was his master ; but the 
 liveliness of his imagination not comporting 
 with the tardiness of the graving tool, he 
 began to delineate his own thoughts in 
 aquafortis. If his works have not the 
 delicacy and mellowness that distinguish 
 the engravings of some other artists, yet 
 he threw into them all the fire, all the force 
 and sentiment, of which his art was sus- 
 ceptible. He worked with surprising fa- 
 cility. His children used to read to him 
 after supper the passages of history he in- 
 tended to draw. He instantly seized the 
 most striking part of the subject, traced 
 the design of it on the plate of copper with 
 the point of his graver, and, before he went 
 to bed, fitted it for being corroded by 
 aquafortis the next day, while he employed 
 himselfin engraving or drawingsomething 
 else. He supplied not only painters and 
 sculptors with designs, but also carvers 
 and goldsmiths, jewellers and embroiderers, 
 and even joiners and smiths. Besides 
 4000 pieces engraved by his own hand, 
 and 1400 executed from his designs, he 
 painted several small pictures which were 
 much admired, and many of them were 
 purchased by Le Brun. The multitude of 
 works in which he was employed brought 
 authors to his house, and their frequent 
 meetings and conversations there termina- 
 ted in the establishment of the French 
 Academy. He was admitted into the 
 Royal Academy of Painting and Sculpture 
 in 1663, and obtained a pension for en- 
 graving the plates of the Carousel. His 
 small plates, Mr. Strutt says, are executed 
 in a style much resembling that of Le 
 Clerc, founded upon that of Callot. In 
 his large prints, he approaches near to that 
 
116 
 
 CHI 
 
 coarse, dark style, which was adopted by 
 his tutor, La Hire. Among the sets of 
 prints executed from his own compositions, 
 are those for the Bible History ; the His- 
 tory of Greece; the Metamorphoses of 
 Benserade ; the Jerusalem of Tasso ; the 
 Fables of La Fontaine ; Alaric, or Rome 
 conquered ; and several Romances. A- 
 mong the prints engraved from other mas- 
 ters, are Christ with the Disciples at 
 Emmaus, from Titian ; a Concert, from 
 Domenichino ; the Life of St. Bruno, from 
 Le Sueur; Apollo and Daphne, from N. 
 Poussin; a Virgin and Child with St. 
 John and Angels, finely etched, and finish- 
 ed with much taste; and Meleager pre- 
 senting the Head of the Boar to Atalanta. 
 Cheron (Elizabeth Sophia). She 
 was born at Paris in 1648. Her father 
 was Henry Cheron, a painter in enamel ; 
 who, observing hef to be passionately fond 
 of the art of painting, and to give an early 
 appearanceofgenius, took pains to instruct 
 her in design and colouring. She soon 
 rose into general esteem by her perform- 
 ances, and particularly by the portraits 
 which she painted; for, besides their having 
 a striking resemblance, they were elegantly 
 disposed, well coloured, and neatly finished; 
 and, as she had a singular talent for paint- 
 ing history, her usual manner of portrait 
 painting was in the historical style. Her 
 manner of designing was excellent, her 
 colouring had the lively look of nature, 
 her pencil was free, her touch delicate, 
 her draperies were always well cast, and 
 there appeared a deal of union and harmony 
 in her paintings. She was presented to 
 the Academy of Paris by Le Brun in 
 1676, and was received with every mark 
 of respect and distinction. She died in 
 1711. She also engraved some plates 
 from the ancient gems and other subjects. 
 Chebox (Louis). He was the brother 
 of Elizabeth Cheron, and was born at 
 Paris in 1660. Having been taught the 
 rudiments of the art in his own country, 
 he travelled to Italy, where his sister 
 supplied him with a competency to enable 
 him to prosecute his studies for eighteen 
 years. During his continuance in Italy, 
 he made the works of Raffaelle and Giulio 
 Romano the principal objects of his studies, 
 in consequence of which his compositions 
 had always an air of the antique, though 
 he had no great portion of grace, and his 
 figures were frequently too muscular. 
 Two of his pictures are in the Church of 
 Notre Dame at Paris; the one representing 
 Herodias with the head of St. John the 
 
 Baptist ; the other, Agabus foretelling the 
 Persecutions of St. Paul. Being a Cal- 
 vinist, Cheron was compelled to quit his 
 native country and settle in London, where 
 he found many patrons among the nobility 
 and gentry; particularly the Duke of 
 Montague, for whom he painted the 
 Council of the Gods, the Judgment of 
 Paris, and other compositions taken from 
 fabulous history. He died there in 1713. 
 He engraved some plates from his own 
 designs, with taste and spirit. 
 
 Chiappe (Battista). He was born at 
 Novi, in 1723, and received his education 
 at Rome, though under whom is not 
 stated. He afterwards settled at Milan, 
 here he painted, among other consider- 
 able works, a picture of St. Ignatius in 
 the church of that saint, with considerable 
 reputation. This artist died in 1765, being 
 the last of the Genoese painters of note. 
 
 Chiaki (Fabrizio). This artist, who 
 was both a painter and engraver, was born 
 at Rome in 1621. He executed some fres- 
 coes in the palaces of that city ; but he is 
 best known by his etchings, which are 
 spirited. One of them is dated 1635, 
 when he was only fourteen years old. 
 
 Chiari (Giuseppe). He was the son 
 of Stefano Chiari, and born at Rome in 
 1654. While an infant he was seized 
 with the plague, but, by the tender care 
 of his mother, he recovered from that 
 distemper, though his constitution re- 
 mained very weak for many years. At 
 first he was instructed by one Galliani, a 
 painter and dealer in pictures ; but after- 
 wards he becameascholarof Carlo Maratti, 
 who treated him with paternal afiection ; 
 and observing the respect, deference, and 
 assiduity of his disciple, thought himself 
 obliged in gratitude to promote him, and 
 afford him the means of raising his repu- 
 tation and his fortune. For that purpose 
 he appointed him to execute several public 
 works, which he performed to the satis- 
 faction of the best judges. Every new 
 undertaking added considerably to his 
 fame; and his works were universally 
 esteemed, as well for beauty of colouring 
 as elegance of design. He painted easel 
 pictures and frescoes with equal success ; 
 and so high was the esteem in which Carlo 
 Maratti held him, that being rendered 
 incapable of finishing the Cartoons, which 
 he had already begun, for one of the domes 
 of St. Paul's Church at Rome, he intrusted 
 the completion of them to Chiari, who 
 finished them to the entire approbation of 
 Pope Clement XI. He was continually 
 
CHI 
 
 117 
 
 CIA 
 
 employed in grand works for the churches 
 and palaces of the nobility ; and painted 
 an extraordinary number of subjects from 
 sacred and profane history, as well as 
 compositions that were the product of 
 imagination and fancy, and which spread 
 his reputation, not only through all Italy, 
 but in every part of Europe. His touch 
 was delicate, his colouring agreeable, and 
 his designs correct and elegant. He died 
 at Rome in 1727. 
 
 Chiabini (Marco Antonio). This 
 artist was born at Bologna in 1652, and 
 studied under Francesco Quaino, with 
 whom he continued four years, and then 
 became a pupil of Domenico Santi. He 
 painted architectural views, in which the 
 figures were inserted by SigismondoCaula. 
 His performances were much valued, and 
 are still esteemed. 
 
 Ohiavistelli (Jacopo). This master 
 was born at Florence in 1621, and his 
 father, perceiving a strong inclination in 
 him to learn the art of painting, placed 
 him under the direction of Fabricio Bos- 
 chi, an artist of good credit. But as Bos- 
 chi was of a whimsical temper, which 
 seemed every day to grow more disagree- 
 able, Jacopo left his school, and became a 
 disciple of Baccio del Bianchi, a famous 
 painter, architect, and engineer, who had 
 opened an academy at Florence for the 
 improvement of youth in civil and military 
 architecture. By the instruction of that 
 eminent artist, Jacopo made extraordinary 
 progress, became superior to all his com- 
 petitors, and showed a genius far beyond 
 what could be expected from his years 
 or experience. Being accomplished in 
 the principles of perspective and archi- 
 tecture, and having also great readiness 
 of invention and freedom of hand, he 
 listened to the advice of his friends, who 
 wished him to devote his talents entirely 
 to fresco painting : with this he complied, 
 and studied the works of Michel Angelo 
 Colonna, after which he went to Bologna, 
 to examine the compositions of Girolamo 
 Curti, and Agostino Metelli. At his re- 
 turn home, he gained universal esteem for 
 the variety and delicacy of his invention, 
 the beauty of his colouring, and the ele- 
 gance of his compositions ; and in his per- 
 spective designs he showed the utmost 
 perfection of the art, delighting the eye by 
 the truth and exactness of his drawing, 
 and enriching his architecture by statues 
 of exquisite taste and bold relief. He was 
 employed by the Grand Duke of Tuscany, 
 and by his indefatigable application ac- 
 
 quired an opulent fortune. Though he 
 lived to a very advanced age, he continued 
 to work upon a variety of designs ; but in 
 the decline of life, his colouring wanted 
 much of that lustre which recommended 
 and distinguished his early performances. 
 He died in 1698. 
 
 Chirinos (Juan de). This painter was 
 born at Madrid in 1564, and died in the 
 same city in 1620. He was the scholar of 
 Tristan, and, in conjunction with Barto- 
 lomeo Cardenas, painted most of the pic- 
 tures in the convent of Nuestra Senora de 
 Atocha, at Madrid. He died in 1620. 
 
 Christophe (Joseph). He was born at 
 Verdun in 1663. He painted history at 
 Paris, where he died in 1748. 
 
 CiAFFERi (PiETRo). This artist was 
 born at Pisa about the year 1654. He re- 
 sided at Leghorn, where he was much 
 employed in painting shipping and sea 
 views, which he ornamented with figures 
 very neatly executed, and correctly drawn. 
 He also painted architecture and perspec- 
 tive. 
 
 Cialdebi (Girolamo). He was born 
 at Urbino in 1593, and studied under 
 Claudio Ridolfi. His best work is the 
 Martyrdom of St. John, in the church of 
 St. Bartolomeo, at Urbino. He painted 
 landscapes also in an excellent style, and in- 
 troduced architectural pieces into his back- 
 grounds with taste and judgment. 
 
 CiAMBERLANo (Lu^a). He was born at 
 Urbino about 1580. His original pro- 
 fession was the civil law, in which he pro- 
 ceeded to his doctor's degree, but quitted 
 that practice for painting and engraving. 
 He resided at Rome, where he made de- 
 signs, and executed a number of engravings, 
 in a neat style, after Raffaelle, Baroccio, 
 and the Caracci. 
 
 Ciampolli (Agostino). He was born 
 at Florence in 1578, and was a disciple of 
 Santi di Titi, from whom he obtained a 
 good taste of design, and gradually rose to 
 such esteem, that he was employed in the 
 church of St. John Lateran in the 
 Vatican, and the most considerable church 
 in Rome. He worked equally well in 
 fresco and in oil, and was so distinguished 
 an architect, that he presided over the 
 building of St. Peter's church. His designs 
 in architecture are allowed by the connois- 
 seurs to be as exquisite in taste as in 
 drawing. He died in 1640. 
 
 Ciarpi (Baccio). This artist was born 
 at Rome in 1578, and studied under Santi 
 di Titi. He painted history in a manner 
 that entitled him to distinction in his pro- 
 
CIG 
 
 118 
 
 CIG 
 
 fession. Pietro da Cortona was his scholar. 
 He died in 1642. 
 
 CiCERi (Bernardino). He was born 
 at Pavia in 1650, and had Carlo Sacchi 
 for his instructor ; after which he went 
 to Rome, where he prosecuted his studies 
 with assiduity. On his return to Pavia 
 he had great employment, both in painting 
 for churches and private collections. 
 
 CiEZAR (Miguel Geronimo). This 
 artist was born at Granada in Spain, and 
 studied under Alonso Cano. He painted 
 history with great reputation, chiefly 
 in his native city, where he died in 
 1677. 
 
 Ciezar (Joseph de). He was the 
 scholar, if not the son, of the preceding 
 painter, and excelled in history, landscape, 
 and flowers. He died in 1696. 
 
 CiGNANi (Carlo). This celebrated mas- 
 ter of the Lombard school was born at 
 Bologna, of a noble family, in 1628. He 
 received his first instruction from Battista 
 Cairo, but afterwards he became the dis- 
 ciple of Albano ; and though the first 
 proofs of his genius while he was with 
 Albano were exceedingly admired, yet, 
 to improve himself in correctness of design, 
 and the force and relief of his figures, he 
 studied RatFaelle, Annibale Caracci, Ca- 
 ravaggio, Corregio, and Guido ; and as- 
 siimed a manner of his own, in which 
 were combined the diSerent excellences of 
 those incomparable masters. On his return 
 to Bologna, he was employed by Cardinal 
 Farnese to ornament his palace, where 
 he painted the entry of Paul III. and the 
 passage of Francis I. into that city. The 
 reputation he acquired by his performances 
 excited envy, and some of his brother 
 artists, not content with maligning him, 
 defaced several of his works. Cignani 
 had the honour of founding the Clementine 
 Academy at Bologna; soon after which 
 he was appointed to paint the cupola in 
 La Madonna del Fuoco, at Forli, which 
 great work took him up twenty years of 
 his life ; and so highly was he esteemed, 
 that the members and students of the 
 academy followed to that place, where the 
 school was continued till his death. He 
 is accounted happy in his taste of com- 
 position, and excellent in the disposition 
 of his figures ; but he has been censured 
 for bestowing so much labour in the finish- 
 ing of his pictures as to diminish their spirit, 
 and also for affecting too great a strength 
 of colouring, whereby he gave his figures 
 too bold a relief, and made them appear 
 as if they were not united with their 
 
 grounds, and larger than they really were. 
 His ideas were beautiful, his imagination 
 fine, and his invention fertile ; whence he 
 is deservedly admired for the force and 
 delicacy of his pencil, for the correctness 
 of his design, for a distinguished elegance 
 in his compositions, and also for the 
 mellowness of his colours. The draperies 
 of his figures are in general easy and free ; 
 his expression of the passions judicious 
 and natural ; and there appears a remark- 
 able grace in his figures. Cardinal San 
 Caesareo passing through Forli, where 
 Cignani resided with his family, desired 
 to have one of his productions ; and Carlo 
 showed him a picture of Adam and Eve, 
 which he had painted for his own use. 
 On viewing it, the Cardinal was pleased 
 beyond measure, gave him five hundred 
 pistoles, and politely said, that he only 
 paid him for the canvass, and accepted 
 the painting as a present. In the Palazzo 
 Arnaldi at Florence, is an admirable pic- 
 ture by this master, the subject of which is 
 the Temptation of Joseph by his Mistress. 
 The composition is extremely good, full 
 of fire, taste, and expression, and in a 
 broad manner. The naked, in the female 
 figure, is marked with great truth and 
 delicacy ; the heads are fine, the colour- 
 ing charming, and the whole has a strik- 
 ing effect, though his choice of subject 
 cannot be commended. In the Palazzo 
 Zambeccari at Bologna, is a Sampson, 
 painted by Cignani in a noble and grand 
 style; in the collection of the Duke of 
 Devonshire, is another picture of the 
 Temptation of Joseph by his Mistress. 
 But, unquestionably, the performance on 
 which his fame principally rests, is the 
 Assumption of the Virgin at Forli. Cig- 
 nani died in 1719. 
 
 Cignani (Felice). He was the son and 
 pupil of Carlo Cignani, and was born at 
 Bologna in 1660. By a natural genius 
 and the instructions of his father, he be- 
 came a respectable painter in history; but 
 as his fortune was large, he only exercised 
 the art occasionally, and by way of amuse- 
 ment. In the church of the Carita at 
 Bologna, is a Holy Family by him ; and 
 at the Capuchins, an admired picture of 
 St. Francis receiving the Stigmata. He 
 died in 1724. 
 
 Cignani (Paolo) . He was the nephew 
 of Carlo Cignani, and was born at Bologna 
 in 1709. He studied under his cousin, 
 and executed some considerable works, 
 particularly a picture of St. Francis ap- 
 pearing to St. Joseph de Copertino. This 
 
CIM 
 
 CIM 
 
 is a candlelight piece, and has a striking 
 effect. He died in 1764. 
 
 CiGNAKOLi (Martino). He was a na- 
 tive of Milan; but was brought up in the 
 principles and practice of painting at Ve- 
 rona, in the Academy of Carpioni, by 
 whose instruction he became an excel- 
 lent artist in landscapes of a small size. 
 He lived about 1720. 
 
 CiGNAROLi (SciPio). He was the son 
 of the preceding artist, and was born at 
 Milan. After receiving instructions from 
 his father, he became the disciple of Tem- 
 pesta, whom he left to visit Rome, where 
 his application was chiefly directed to the 
 works of Salvator Rosa and Gaspar Pous- 
 sin ; and by the force of genius, strength- 
 ened by diligence, he proved a most ex- 
 cellent painter of landscapes, in a style 
 that perceptibly resembled each of those 
 great masters. His merit and reputation 
 recommended him to the Duke of Savoy, 
 who invited him to his court, where he 
 lived several years in the highest esteem; 
 but the time of his death is not recorded. 
 
 CiGXAROM (GiovAxxi Bettino). He 
 was born at Verona in 1709, and had for his 
 first master Santo Primati, at Venice; but 
 afterwards he studied under Antonio Ba- 
 lestra. He is accounted one of the best 
 painters of the modern Venetian school; 
 and his pictures were so much admired, 
 that he was not only employed for the 
 churches, but received invitations from 
 several of the princes in Italy, which he 
 declined accepting, preferring a residence 
 at Venice to all the honours flatteringly 
 held out to him. At Pontremoli is a pic- 
 ture by him of St. Francis receiving the 
 Stigmata; and another fine one of the 
 Flight into Egypt is at Parma. This last 
 has much of the style and beauty of Carlo 
 Maratti in expression. The backgrounds 
 of this artist are enriched with rich land- 
 scape scenery, and pieces of architecture. 
 He died in 1770. 
 
 CiGOM (LoDovico). This artist, and 
 Gregorio Pagani, when young men, about 
 the year 1580, infused a bolder system of 
 colouring into the then languid style of 
 the Florentines. These artists sought to 
 add to high design and scientific perspec- 
 tive, the fine light and shade and bright 
 colouring of Corregio. 
 
 CiMABUE (Giovanni). At that period 
 when learning, arts, and sciences were 
 almost extinct in Italy, by the perpetual 
 wars and contests in that country, and 
 when the knowledge of painting, in parti- 
 cular, seemed totally lost, it was revived 
 
 by Giovanni Cimabue, who from thence 
 obtained the name of the Father of Modern 
 Painters. He was born of a noble family 
 at Florence in 1240; but while at school, 
 instead of endeavouring to advance himself 
 in literature, he spent most of his hours in 
 drawing human figures, horses, buildings, 
 or any objects that presented themselves to 
 his imagination. At that time, the go- 
 vernor of Florence invited some Greek 
 artists to that city, who were employed in 
 one of the churches to repair the decayed 
 paintings ; and Cimabue, already pre- 
 possessed in favour of the art, spent whole 
 days in observing their manner of working, 
 to the neglect of his scholastic exercises. 
 So strong an attachment to those painters, 
 prevailed with his father to indulge him 
 in a study to which his genius directed 
 him, and he placed Cimabue with them 
 as a scholar, flattering himself with the 
 hope that he would one day render himself 
 remarkably eminent. He received the 
 instructions of his masters with such de- 
 light, and applied himself so incessantly 
 to practice, that in a short time he proved 
 superior to his directors in design and 
 colouring, and painted with equal readi- 
 ness in fresco and distemper; executing 
 not only historical subjects, but also por- 
 traits after the life, which was then con- 
 sidered as a wonderful effort of art. It is 
 indeed astonishing, that, in the infancy of 
 painting, and with no other models to 
 imitate than the poor compositions of the 
 Greeks of that age, Cimabue should have 
 arrived at the degree of elegance which 
 appears in some of his works, so good a 
 manner of designing the naked figures, 
 and so great a propriety as he showed in 
 his draperies. We find that one of those 
 pictures which he painted at Florence was 
 considered as such a curiosity, that it was 
 carried from his house in procession to the 
 Church of the Virgin, attended by a num- 
 ber of performers on various musical in- 
 struments, and amidst the loudest applauses 
 of the citizens. Vasari testifies, that he 
 saw a picture by Cimabue after it had been 
 painted little short of three hundred years, 
 which, for grandeur of design, richness of 
 composition, and the disposition of the 
 whole, excited wonder, considering the 
 age of darkness and ignorance in which it 
 was produced. An old commentator on 
 Dante tells us, that Cimabue was so soli- 
 citous to render his paintings perfect, that 
 if he perceived any defect in his work 
 when it was finished, or if one was dis- 
 covered by others, though the fault might 
 
CIP 
 
 CIR 
 
 have been occasioned by the badness of 
 the materials, or by an injudicious method 
 of applying them, he defaced the whole of 
 it. He was highly honoured at Florence, 
 and the king of Naples, on coming to 
 that city, favoured him with a visit. 
 Cimabue wanted the art of managing his 
 lights and shadows, and was totally un- 
 acquainted with the rules of perspective, 
 though he understood architecture. He 
 died in 1300. Some of his works are still 
 preserved as reliques of art in the church 
 of Santa Croce in Florence. 
 
 CixciXNATo (RoMULo) . This artist was 
 born at Florence about 1525. He studied 
 under Francesco Salviati; and in 1567 
 went to Spain, where he was employed by 
 Philip H. in ornamenting the Escurial. 
 His principal works there are in the great 
 cloister and the church of St. Lorenzo, the 
 subjects of which are St. Jerome in his 
 Study, and the same saint Preaching to 
 his Disciples ; with two frescoes of San 
 Lorenzo. In the church of the Jesuits at 
 Cremona is a picture of the Circumcision, 
 and there are some mythological paintings 
 in the palace of the Duke del Infantado at 
 Guadalaxara. He died in 1600, leaving 
 two sons, Diego and Francesco, who were 
 good artists. The former was sent to 
 Rome by Philip IV. to paint the portrait 
 of Pope Urban VIII., by whom he was 
 knighted,, and presented with a chain and 
 medal of gold. Francesco was also chiefly 
 employed in portrait painting. 
 
 CioNE, see Andhea Okcagno. 
 
 Cipriani (Giovanni Battista). This 
 celebrated artist, who is justly claimed by 
 the English School, not only from his long 
 residence in London, but from his educa- 
 tion, was born at Pistoia about the year 
 1727. He received his first instruction 
 from an English artist of the name of 
 Heckford (who had settled in that city), 
 but afterwards he went under the tuition 
 of Gabbieani, by the study of whose works 
 he became an excellent designer. Italy 
 possesses few of his pictures, but Lanzi 
 mentions two, painted for the Abbey of 
 St. Michael, at Pelago, in the neighbour- 
 hood of Pistoia ; the one of St. Tesauro, 
 the other of Gregory VII. In 1750 he 
 went to Rome, where he had much em- 
 ployment, but chiefly in drawing. In 
 1755 he came to England with Mr. Wilton 
 and Sir William Chambers, who were then 
 returning from the continent. His repu- 
 tation having preceded him, he was pa- 
 tronised by Lord Tilney, the Duke of 
 Richmond, and other noblemen. When, 
 
 in 1758, the latter nobleman opened the 
 gallery at his house in Privy-gardens as a 
 school of art, Wilton and Cipriani were 
 appointed to visit the students, the former 
 giving them instructions in sculpture, and 
 tlie latter in painting ; but this scheme 
 was soon discontinued. At the founda- 
 tion of the Royal Academy, Cipriani was 
 chosen one of the founders, and was 
 also employed to make the design for 
 the diploma which is given to the aca- 
 demicians and associates at their admis- 
 sion. For this work, which he executed 
 with great taste and elegance, the presi- 
 dent and council presented him with a 
 silver cup " As an acknowledgment for 
 the assistance the Academy received from 
 his great abilities in his profession." The 
 original drawing of this diploma was pur- 
 chased at the Marquis of Lansdowne's sale 
 of pictures, drawings, &c., in 1806, for 
 thirty-one guineas, by Mr. George Baker. 
 Among other public engagements, he was 
 employed to clean and repair the pictures 
 of Rubens on the ceiling of Whitehall 
 chapel, which he completed with great 
 success in 1778. He had before repaired 
 the paintings of Verrio, at Windsor, 
 assisted by Mr. Richards ; and there is a 
 ceiling at Buckingham -house, in the an- 
 tique style, the compartments of which he 
 painted. We may also notice a room, 
 decorated with poetical subjects, in the 
 house of the late Sir William Young, at 
 Standlynch in Wiltshire. Some of the 
 few pictures he left are at the seat of Mr. 
 Coke at Ilolkham, and four are in the 
 ceiling of the library of the Royal Aca- 
 demy. But his greatest excellence was in 
 his drawings ; where, Mr. Fuseli says, the 
 fertility of his invention, the grace of his 
 composition, and the seductive elegance 
 of his forms, were only surpassed by the 
 probity of his character, the simplicity of 
 his manners, and benevolence of his heart. 
 These designs were disseminated over all 
 Europe by the graverof Francis Bartolozzi 
 and his pupils, and bought up with avidity. 
 He died December 14, 1785, and was 
 buried in the cemetery at Chelsea, adjoin- 
 ing the King's Road. He left two sons, 
 one of whom, Philip, became a clerk in 
 the Treasury, and died in 1821. 
 
 CiRciGNANi (NicoLo), Called Dalle Po- 
 marance. He was born at Pomarancio, in 
 the territory of Tuscany, in 1516, and 
 from the place of his nativity received his 
 surname. He studied painting at Rome, 
 and proved an excellent artist; being much 
 esteemed for his composition, and also for 
 
CIV l: 
 
 a firm and expeditious manner of working. 
 Several of his paintings are in the churches 
 and palaces of Rome, where they are ex- 
 ceedingly admired. Among others is 
 preserved the Martyrdom of St. Stephen, 
 which is accounted a capital performance; 
 and at Loretto is an altar-piece, represent- 
 ing the Crucifixion, on which the pos- 
 sessors set an immense value. He died 
 in 1588. 
 
 OiRciGx.v>.'i (Antonto). He was the 
 son of Nicolo, and was born at Pomarancio 
 in 1560. His manner of painting was 
 exactly in the style of his father, whom he 
 assisted in several grand works at Rome, 
 by which the reputation of both artists 
 was effectually established. The general 
 character of Antonio is, that he had a ready 
 invention, and a remarkable freedom of 
 hand. He died in 1620. 
 
 CiTTADiNi (Pier Fkaxcesco), called II 
 Milanese, was born at Milan in 1616. He 
 had Guido for his master, under whom he 
 profited considerably ; though he possessed 
 great powers, as appears in his Stoning 
 of Stephen ; Christ praying in the Garden ; 
 the Flagellation; the Ecce Homo; and St. 
 Agatha ; in the churches of St. Stefano 
 and St. Agatha, at Milan. He very unac- 
 coiintably chose to devote his talents to sub- 
 jects of still life, as dead game, fruit, and 
 flowers. He died in 1681. He had two 
 sons, Giovanni Battista and Carlo, who 
 also painted animals, birds, fruit, and 
 flowers. Gaetano Cittadini, the son of 
 Carlo, excelled in painting landscapes with 
 small figures, drawn correctly, and with 
 spirit. He died in 1725. 
 
 CivALLi (Francesco). He was born 
 at Perugia in 1660, and studied under 
 Giovanni Andrea Carloni ; on leaving 
 whose school he went to Rome, where he 
 became a pupil of Baccici, and proved a 
 good painter of history ; but his chief 
 practice and merit lay in portrait. He 
 died in 1703. 
 
 CivERCHio (ViNCENzio). This artist 
 was born at Crema, in the state of Venice. 
 He was a painter, engraver, and architect. 
 In the great church of Crema is a picture 
 by him of the Annunciation ; but the 
 painting most to his praise was one for- 
 merly in the council chamber of his native 
 city, representing Justice and Temper- 
 ance. This was sent to Francis I. King 
 of France, at the time when Crema fell in- 
 to the hands of his troops. Civerchio was 
 chiefly distinguished as a portrait painter. 
 He died about 1540. 
 
 CivoLi, see Cardi. 
 
 U CLE 
 
 Claessoon (Arnom)). This painter 
 was born in 1498 at Leyden, and was in- 
 structed by Cornelius Engelbrechtsen, 
 whose manner he quitted for that of John 
 Schoreel. He painted historical subjects 
 with a ready invention, and great facility 
 of execution. Two of his best pictures 
 are a Crucifixion, and Christ bearing the 
 Cross. He died in 1564. 
 
 Claude, see Lorraine. 
 
 Cleef, or Cleeve (Joseph, or Joas, 
 Van). He was born at Antwerp about 
 1500, and was instructed by his father, 
 William Van Cleef, a painter of whom 
 nothing more is known than that he was 
 a member of the academy of his native city. 
 Joseph Van Cleef was regarded as the best 
 colourist of his time ; and in this respect 
 his works have often been equalled with 
 those of the best masters of Italy, though 
 it does not appear that he was ever in that 
 country. He painted, in the style of 
 Quintin Matsys, portraits, misers, and 
 bankers counting or weighing money; but 
 it was allowed that he gave more force and 
 life to his pictures than that artist, and his 
 colouring was also far superior, and as 
 natural as life itself. He likewise painted 
 historical subjects with success; and might 
 have found encouragement in England, if 
 some of the works of Titian had not ar- 
 rived here at the time when Cleef came 
 hither with Antonio More, who introduced 
 him to Philip II. On seeing the works 
 of Titian preferred to his own, Cleef went 
 distracted, and poured out his wrath upon 
 More as the cause of his disgrace. An 
 altar-piece in the church of Notre Dame 
 at Antwerp, by this master, representing 
 St. Cosmo and St. Damian, is esteemed 
 as more in the taste of the Roman School 
 than of the Flemish. At Amsterdam is 
 a remarkable picture, by Van Cleef, of a 
 Bacchus with grey hair ; the countenance 
 of the figure is youthful and ruddy, and it 
 seems as if the painter by this design in- 
 tended to convey a moral instruction to 
 the spectator, that excess of wine hastens 
 old age. This painting is much esteemed, 
 as well for the design as the excellence of 
 the colouring. He died, in the prime of 
 life, in 1536. 
 
 Cleef (Henry and Martin Van). 
 These brothers were born at Antwerp, but 
 Henry resided several years at Rome, 
 where he became a good painter of land- 
 scape. The most agreeable views which 
 occurred to him in his travels he sketched, 
 and reserved them as studies for future 
 compositions. He was often employed to 
 
CLE 
 
 122 
 
 OLE 
 
 paint the backgrounds for Francis Floris ; 
 and several paintings which were left im- 
 perfect by that master, he finished with so 
 much art, as to make the whole appear 
 the work of one hand. His principal merit 
 consisted in the lightness of his pencil and 
 the harmony of his colouring. He was 
 admitted into the academy at Antwerp in 
 1535, and died at the age of seventy-nine, 
 in 1589. He engraved several plates of 
 landscapes and views near Rome. Martin 
 was a disciple of Francis Floris, and had 
 competent abilities to compose historical 
 subjects in great, though his inclination 
 directed him to paint in small. The back- 
 grounds of his pictures were always paint- 
 ed by his brother Henry ; and several land- 
 scape painters, among whom was Coninx- 
 loo, employed him to insert the figures in 
 their works. Martin died at the age of fifty. 
 Oleef (John Van). He was born at 
 Venloo in 1646, and became a disciple of 
 Gentile at Brussels ; but being soon dis- 
 gusted with the temper of that master, he 
 placed himself under Gaspar de Crayer. 
 To his last instructor he showed the most 
 affectionate attachment ; and when Grayer 
 discontinued painting, because his business 
 seemed to decline at Brussels, Van Cleef 
 went with him to Ghent, where he lived 
 several years, and became so good a pain- 
 ter, that after the death of Crayer he was 
 thought qualified to finish the works which 
 he had left imperfect, particularly the Car- 
 toons for the tapestry intended for Louis 
 XIV. Van Cleef painted a great number 
 of pictures, having employment from almost 
 every part of Europe ; and in Ghent most 
 of the altar-pieces are of his hand. His 
 manner was not like that of Crayer, but 
 peculiar to himself; it was grand and noble, 
 and his pencil was free and flowing. His 
 taste of composition resembled that of the 
 Roman School; his subjects were all well 
 chosen, and as well disposed ; and though 
 full of figures, there appeared not any thing 
 like confusion. He enriched his composi- 
 tions with grand pieces of architecture, 
 which he thoroughly understood ; and was 
 as superior to Crayer in design, as unequal 
 to him in colouring. The heads of some 
 of his female figures had a good deal of 
 grace; his draperies were thrown into large 
 folds, and elegantly cast ; but one of his 
 chief excellences consisted in designing 
 and painting boys. One of his most es- 
 teemed works is in the chapel of the con- 
 vent of Black Nuns at Ghent, representing 
 those Sisters administering relief to the 
 Sick of the Plague. He died in 1716. 
 
 Clbmentone, see Bocciardo. 
 
 Clennell (Luke), was one of those 
 born artists who force their way to emi- 
 nence through all obstacles ; he was the 
 son of a farmer near Morpeth in North- 
 umberland, and came into the world out 
 of which he went in a truly melancholy 
 way on the 30th of March, 1781. A love 
 of art came to him, no one knows how, or 
 when, whilst a boy ; and having learned 
 drawing when he should have instructed 
 himself in learning, and moreover made a 
 caricature of his uncle, who had under- 
 taken to teach him his trade of a tanner, 
 there was no remedy but to indulge him, 
 and he was placed under Bewick, the cele- 
 brated wood-engraver, in whose art he 
 soon grew skilful. While working in wood 
 he pursued his studies with the pencil, and 
 produced the Arrival of the Mackerel Boat, 
 and, better still. The Day after the Fair, a 
 picture as happy in colour as in delinea- 
 tion of rustic character. The exhibition of 
 these, and others of the like or higher 
 quality, remarkable for expression and 
 light and shade, made his picture of the 
 Decisive Charge by the British Life 
 Guards at Waterloo, less of a wonder than 
 it really was: many a heart throbbed, and 
 many an eye kindled at beholding the long 
 regular line of blue sharp steel advancing 
 on the French, through the smoke of 
 battle. It is a true heroic work, full of 
 dash and fire, yet tranquil in its strength. 
 The fame of this fine performance brought 
 Clennell many commissions, and, amongst 
 others, that one of The City of London 
 entertaining the Allied Kings and Nobles 
 and Generals, which had such a sad in- 
 fluence on his life. That he was more than 
 equal to this, no one doubted ; but the task 
 of persuading the high-born to sit, the fears 
 that some of them expressed lest their 
 position at the table should not be impor- 
 tant enough, or that, in other hands than 
 those of a regular portrait painter, they 
 would not have all the graces and courte- 
 sies of their nature limned and set in ap- 
 propriate fight, proved too much for a man 
 not accustomed to meet and smooth down 
 such difficulties ; and the consequence was 
 a mad-house, where he ended a life, so 
 brightly begun, in the fifty-ninth year of 
 his age. He had great readiness of com- 
 position, spirit of touch, power of execu- 
 tion, and an art shared with few, of seiz- 
 ing the true points of character. 
 
 Clerc (Sebastian le), an historical 
 painter, was the son of the celebrated en- 
 graver of the same name, who died in 
 
CLE 
 
 123 
 
 CLO 
 
 1714. He was born at Paris in 1677 ; and 
 studied under Bon BouUongne. There is 
 an altar-piece by him at the abbey church 
 of Paris, the subject of which is the Death 
 of Ananias. He was a member of the 
 Royal Academy of Paris, and died in that 
 city in 1703. 
 
 Clerc, orKLEKCK (Henkt de). This 
 artist was born at Brussels in 1570, and 
 is supposed to have been a scholar of 
 Henry Van Balen. He painted historical 
 subjects, and there are several of his works 
 in the churches of the Low Countries ; but 
 his small pictures are most valued. In 
 the church of Notre Dame, at Brussels, 
 are a Holy Family and Resurrection by 
 his hand, of which connoisseurs speak 
 highly. 
 
 Clerc (John le), called le Chevalier. 
 He was born at Nanci in 1587, but stu- 
 died in Italy, where he resided twenty 
 years, and was a disciple of Carlo Vene- 
 ziano, Avith whom he worked a long time. 
 Though he had an opportunity of examin- 
 ing the productions of the greatest artists, 
 he preferred the manner of his master to 
 all others ; and so effectually studied and 
 imitated his style of painting and colour- 
 ing, that several of the pictures which were 
 finished by Le Clerc were taken for the 
 work of Veneziano. He was remarkable 
 for freedom of hand and lightness of pen- 
 cil. He was highly esteemed at Venice 
 for his extraordinary merit, and, as a token 
 of public respect, was made a knight of 
 St. Mark. lie died in 1633. 
 
 Clerisseau (C). This painter was 
 born at I'aris, and came to England Avith 
 Robert Adam the architect ; but when 
 that gentleman became bankrupt, Cleris- 
 seau returned to France, and in 1783 was 
 appointed architect to the Empress of 
 Russia. He is supposed to have died about 
 1810. He painted views in perspective, 
 and his drawings in water-colours were 
 much admired. 
 
 Clevely (John). This marine pain- 
 ter was born in London about 1745. He 
 was brought up in the dockyard at Dept- 
 ford, but afterwards became a lieutenant 
 in the navy, and accompanied Lord Mul- 
 grave in his voyage of discovery to the 
 North Pole. He also went with Sir Joseph 
 Banks to Iceland. He sometimes painted 
 in oil, but generally in water-colours. 
 He died in London, in 1786. Many of 
 his drawings have been engraved. 
 
 Cleyn (Francis de). He was born at 
 Rostock, but travelled to Rome, and stu- 
 died there four years. Among other 
 
 branches of knowledge acquired by him 
 in that city, was a taste for beautiful and 
 ornamental grotesque, in which he arrived 
 at great excellence. In the reign of James 
 I. he came to England, and, on the recom- 
 mendation of Sir Henry Wotton, received 
 a pension from the Crown. He was em- 
 ployed to draw designs for tapestry in Sir 
 Francis Crane's manufactory at Mortlake, 
 and lived in great favour with his patron. 
 Some of the paintings of this master are 
 in Holland-house ; where is one ceiling 
 in grotesque, and there are small compart- 
 ments on the chimneys, somewhat in the 
 style of Parmegiano. He was commended 
 for the readiness of his invention, and 
 made several good designs for painters, 
 sculptors, and engravers. He also etched 
 some plates himself, in the manner of 
 Hollar. He died in 1658. 
 
 Oeosteeman (John), He was the son 
 of a painter at Osnaburg, and born there 
 in 1656. In 1679 he went to Paris, and 
 was employed by Troyes. In 1681 he 
 came to England, and at first painted 
 draperies for lliley ; on the death of whom, 
 Closterman finished many of his pictures, 
 which recommended him to the favour of 
 the Duke of Somerset. He spent the 
 greatest part of his life in London, and 
 received great encouragement, though he 
 was but a moderate artist. His colouring 
 was strong, but heavy ; and his portraits 
 were servile imitations of the originals. 
 In 1696 he was invited to Spain, to paint 
 the portraits of the king and queen, who 
 rewarded him liberally; and he might 
 have enjoyed affliient circumstances, had 
 it not been for his connexion with a worth- 
 less girl. This young woman, who had 
 taken care to persuade him that she was 
 attached to his person and interest, watched 
 a proper opportunity, and robbed him of 
 all his money, plate, jewels, and every 
 costly moveable, and fled out of the king- 
 dom. This misfortune affected Closterman 
 so violently, that he fell into a state of 
 despondency, and died in 1710. 
 
 Clovio (Giulio (Jiorgio). This artist 
 was born in Croatia, in 1498. After 
 acquiring the elements of design in his 
 own country, he went to Rome, where he 
 spent three years to perfect his hand in 
 drawing, and then devoted himself entirely 
 to painting in miniature. He obtained his 
 knowledge of colouring from Giulio Ro- 
 mano, and his taste of composition and de- 
 sign was founded on his study of the works of 
 Michel Angelo Buonarroti. By these means 
 he arrived at such excellence in portrait 
 
coc 
 
 124 
 
 COE 
 
 and history, that in the former he was 
 accounted equal to Titian, and in the 
 latter not inferior to Michel Angelo. His 
 works are valuable, and numbered among 
 the curiosities of .Rome. Vasari enume- 
 rates many of his pieces, and seems to be 
 almost at a loss for language to express 
 their merit. He mentions two or three 
 pictures on which the artist had bestowed 
 the labour of nine years ; the principal one 
 was a representation of the Building of 
 Babel, and was so exquisitely finished and 
 perfect in all its parts, that it seemed in- 
 conceivable how the eye or pencil could 
 execute it. He says it is impossible to 
 imagine any thing so admirably curious, 
 whether one considers the elegance of the 
 attitudes, the richness of the composition, 
 the delicacy of the naked figures, the 
 perspective proportion of the objects, the 
 distances, scenery, buildings, or other 
 ornaments ; for every part is beautiful and 
 inimitable. He also notices a single ant, 
 introduced into one of the pictures of this 
 artist, which, though exceedingly small, 
 is so perfect that even the most minute 
 member was as distinct as if it had been 
 painted of the natural size. These minia- 
 tures were mostly confined to books in the 
 possession of princes; but the most ex- 
 traordinary work of Clovio is the Pro- 
 cession of Corpus Domini at Rome, paint- 
 ed in twenty-six pictures, which took up 
 nine years. In the Cistertian convent at 
 Milan, is a Descent from the Cross by this 
 painter, which is a masterpiece of art. 
 He died in 1578. 
 
 Cochin (Chakles Nicholas), called 
 the Elder, a French artist, was born at 
 Paris, in 1688. He studied painting until 
 his twentieth year, when he devoted him- 
 self wholly to engraving; so that in reality 
 he would not probably have a place in 
 this work, were it not for the ingenuity of 
 his designs. The same may be said of his 
 son, Charles Nicholas CocAm, the younger, 
 who was both a designer and an engraver. 
 He published Reflections on the Works of 
 Painting and Sculpture in thecities of Italy, 
 which he had observed when travelling 
 through that country. 
 
 CocHRAx (William). This Scotch 
 artist was born in 1738, at Strathern, in 
 Clydesdale. Having early shown a taste 
 in design, he was placed in the academy of 
 painting at Glasgow, founded by the two 
 celebrated printers, Robert and Andrew 
 Foulis. After some time spent there, he 
 went to Italy in 1761, where he studied 
 five years under Gavin Hamilton. He then 
 
 returned to Glasgow, and there followed 
 his profession for the maintenance of an 
 aged mother. In portraits of a large size 
 he excelled, and in miniature he also had 
 great merit ; his drawing was correct, and 
 he rarely failed in producing an exact 
 likeness. In historj^ some pieces done by 
 him are now in Glasgow, particularly 
 Daidalus and Icarus, and Diana and En- 
 dymion ; both essay performances, which 
 he painted at Rome. Such was his 
 modesty, that he would never exhibit his 
 works, or affix his name to them. He 
 died at Glasgow in 1785, and was interred 
 in the cathedral there, where a monument 
 was erected to his memory, with the en- 
 comium, that "The works of his pencil 
 and this marble bear record of an eminent 
 artist and a virtuous man." 
 
 Cock, or Kock (Matthew). He was 
 born at Antwerp about 1500, and was one 
 of the first painters of landscape in that 
 country who abandoned the Gothic style 
 for the imitation of nature. He had a 
 brother, Jerome, who was both a painter 
 and engraver, and etched several of his 
 landscapes. Matthew died in 1554, and 
 Jerome about 1570. 
 
 Coda (Benedetto). This painter was 
 a native of Ferrara, and a disciple of Gio- 
 vanni Bellini. He painted some pictures 
 for the churches, which display his talents 
 to advantage ; and his principal perform- 
 ances are, the Marriage of the Virgin in 
 the dome of the great church at Rimini, 
 and the Rosary in the churfch of the Do- 
 minicans, in the same city, where he died 
 about 1520. 
 
 Coda (Babtolomeo). He was the son 
 of the preceding artist, and lived about 
 the year 1540. He surpassed his father, 
 and a picture by him of the Virgin and 
 Child at St. Roche, in Pesaro, is praised 
 in high terms. 
 
 CoDAGOEA (Viviano). He studied in 
 the Roman Academy, and excelled in 
 painting architectural ruins and perspec- 
 tive views. He is sometimes confounded 
 with Ottavio Viviani of Brescia, but much 
 to his injury ; for he was by far a superior 
 artist. Codagora gave a fine colour of 
 antiquity to his pictures, which are also 
 executed in a graceful style; hut the figures 
 are the works of Domenico Guarginoli and 
 other artists. He lived about 1655. 
 
 CoECK (Peter), called likewise P. Van 
 Aelst^ from the place of his nativity, a 
 town in Flanders, was, if we may judge 
 from the writers who have spoken of him, 
 or from the admirable prints remaining 
 
COE 1 
 
 after his designs, one of the greatest pain- 
 ters -which either Germany or Flanders 
 produced in his age. After he had been 
 some time instructed in the school of 
 Bernard of Brussels, he went to Rome to 
 complete his studies, and soon proved 
 himself an excellent designer, and a bold 
 and spirited painter, as well in fresco as 
 in oil. At his return to his own country 
 he married, but his wife soon dying, he 
 once more travelled, and at the solicitation 
 of a merchant, a friend of his, accompanied 
 him to Constantinople in 1531. Having 
 stayed some time with the Turks, and 
 drawn some mostanimated representations 
 of their customs and ceremonies, which 
 he afterwards cut in wood, he once more 
 arrived in the place of his nativity, and 
 took a second wife. Towards the latter 
 part of his life he wrote some excellent 
 treatises upon geometry, architecture, and 
 perspective. His pictures of history, as 
 well as his portraits, were much esteemed. 
 He was made painter to the Emperor 
 Charles V., and died at Antwerp in 1550. 
 After his death, the prints which he had 
 made of Turkish costumes were published 
 by his widow. This admirable work 
 consists of seven large pieces, which, when 
 joined together, form a frieze, divided into 
 compartments by caryatides. On a tablet 
 in the first block is written in old French, 
 " Les moeurs et fachom de faire de Turcz, 
 avecq les regions y appertenantes ont est 
 au vif contrefaicetze, par Pierre Coeck 
 d'Alost, luy estant enTurque Fan de Jesu 
 Christ MDXXXni lequel aussy de sa 
 main propre a pourtraict ces figures duy- 
 santes a I'impressiondy' celles;" and on the 
 last is this inscription : " Marie ver hulst, 
 vefue du diet Pierre d'Alost tres passe en 
 Fan MDL. a faict imprimer les diet figures 
 soubez grace et privilege d'limperialle 
 majeste en Fan MCCCCCLIH." These 
 prints are very rare. 
 
 CoELLo (Alonso Sanchez). He was 
 a native of Portugal, and was born in 
 1515. He lived chiefly at Madrid, where 
 he was employed by Philip H. in orna- 
 menting the Escurial, wherehe represented 
 several of the saints ; but his chief work 
 is the Martyrdom of St. Sebastian, in the 
 church of San Geronimo at Madrid, which 
 is a powerful and masterly performance. 
 He painted the portrait of Philip H. so 
 much to his satisfaction that he called Co- 
 ello his Portuguese Titian . He died in 1590. 
 
 CoELLo (Claudio). Hc was born at 
 Madrid, in which city he received his in- 
 struction fi-om Francesco Ricci, but he 
 
 afterwards improved himself by studying 
 the works of Titian, Rubens, and other 
 masters. He was made painter to Philip 
 IV., by whom he was employed in the 
 Escurial, where he painted a famous altar- 
 piece, representing the Communion of 
 Saints, in a magnificent style, which would 
 have done honour to Titian or Rubens. 
 He died in 1693. 
 
 CoiGNET (Giles), called Giles of Ant- 
 icerp. This painter was born at Antwerp 
 in 1530, and lived for some time with 
 Antonio Palermo, till he went to Rome, 
 accompanied with one Stella, in which 
 city they worked as associates, and both 
 were soon distinguished for their merit. 
 As their reputation increased, they were 
 engaged in several other cities of Italy, 
 particularly at Temi, where they finished 
 many historical subjects, and some in the 
 grotesque style, in fresco as well as in oil. 
 Coignet, after traveUing through Naples 
 and Sicily, returned to his own country, 
 where he could scarcely execute the works 
 which he was solicited to undertake, for 
 the churches and for the nobility. He 
 frequently employed Cornelius Molenaer 
 to paint his backgrounds with landscapes 
 or architecture. Sometimes he delighted 
 to paint historical pictures in small, which 
 generally contained a number of minute 
 figures, illumined by the light of the moon, 
 or by that of flambeaux, lustres, or fires. 
 But his figures had neither elegance in 
 their forms nor taste in their disposition ; 
 and though he took pains to finish his 
 pictures highly, with a free touch and 
 firm pencil, yet, after all his labour, his 
 manner seemed dry and hard. His great- 
 est fault was in employing his scholars to 
 copy his works, which he afterwards re- 
 touched, and sold them for originals, so 
 that it is not easy to know his genuine 
 pieces; and the imperfections observable 
 in many of his pictures are of necessity 
 ascribed to himself, to the diminution of 
 his credit. He died in 1600. 
 
 Cola (Gexako di). This artist was 
 born at Naples in 1320. He studied 
 under Maestro Simone, and painted en- 
 tirely in his style. His principal works 
 are the altar-piece in the church of St. 
 Maria della Pieta, the subject of which is 
 the Mater Dolorosa with the Dead Christ, 
 and attending Angels holding the instru- 
 ments of the Passion ; and in a chapel of 
 the same church is a picture of Mary 
 Magdalen ; and in the tribune of St. 
 Giovanni, the Annunciation and Nativity. 
 He died in 1370. 
 
COL 
 
 126 
 
 COL 
 
 CoLANTOxiNO (Marzio di). This artist 
 was born at Rome in 1662. He painted 
 grotesque and ornamental subjects, and 
 died in 1701. 
 
 CoMGNxcoLA (Gebonimo Di), a Romau 
 painter who was born in 1599, and died 
 at Bologna in 1559. He was a good 
 artist both in history and portrait. 
 
 OoLL^ijfTKs (Fbaxcisco). He was bom 
 at Madrid in 1599. His subjects were 
 history and landscapes, but especially the 
 latter, which are painted in a fine and 
 masterly style, somewhat resembling that 
 of Rubens, filled with romantic prospects, 
 and richly coloured. The principal of 
 his works in history are a Resurrection 
 and a San Geronimo, in the Bueno-Retiro. 
 He died in 1556. 
 
 CoLLEONi (GiBOLAMo). Hc was bom 
 at Bergamo, and most of his works are in 
 that place and neighbourhood. In the 
 Church of St. Erasmus is a picture painted 
 by him, representing the Virgin and In- 
 fant, with Mary Magdalen, St. John, and 
 St. Erasmus. Another picture by him of 
 the Marriage of St. Catherine has been 
 attributed to Titian. Not finding proper 
 encouragement in his own country, he 
 resolved to leave it, and, previous to his 
 departure, painted on the fagade of his 
 house a fine horse with this inscription, 
 " Nemo propheta accepius in putrid sud." 
 He then went to Spain, where he was liber- 
 ally encouraged and employed in the 
 Escurial. This was about the year 1556. 
 
 Collet (John). This artist was born 
 in London about the year 1725, and be- 
 came a scholar of John Lambert. He 
 painted various subjects, but his favourite 
 ones were pieces of humour, somewhat in 
 the manner of Hogarth, but of inferior 
 merit. Many plates have been engraved 
 from his pictures, and he also etched some 
 himself, particularly two caricatures of 
 Antiquaries. He died at Chelsea in 1780. 
 
 CoLOMBiEN, see Valentine. 
 
 CoLOMBEL (Nicholas). He was born 
 at Sotteville, near Rouen in Normandy, in 
 1646. His master was Eustache le Sueur; 
 after which he went to Italy, and studied 
 several years at Rome, though, with all 
 his opportunities, he still adhered to his 
 French manner. He became a member 
 of the Academy of Paris in 1694, and was 
 chosen professor of that institution in 1705. 
 One of his principal productions is Or- 
 pheus playing on the Lyre, in the Royal 
 Menagerie. He died at Paris in 1717. 
 
 CoLONi (Adam), called the Old. He 
 was born at Rotterdam in 1634 ; but in 
 
 the latter part of his life he resided in 
 London, where he was particularly noticed 
 for his compositions in small, of land- 
 scapes, country wakes, fairs, markets, 
 rural subjects, and cattle. Several pictures 
 of the Bassans were copied by him, after 
 the originals in the royal collection, and 
 others in the cabinets of the English no- 
 bility ; but though he supported his repu- 
 tation while he lived, at present his works 
 are not in much esteem. He died in Lon- 
 don in 1685. 
 
 CoLONi (Heney Adrian), called the 
 Young. This painter was the son of the 
 preceding artist, and was born in 1668. 
 He received instructions from his father, 
 and his brother-in-law. Van Diest ; but 
 he also took pains to improve himself in 
 design, by studying after good models, 
 and the best casts he could procure ; by 
 which application he acquired a great 
 freedom of hand in drawing, and gained 
 reputation by a number of academy designs 
 which he finished. He frequently painted 
 the figures in the landscapes of Van Diest; 
 and though some were indififerently de- 
 signed, incorrect in the drawing, and 
 neither judiciously contrived nor elegantly 
 disposed, yet such figures as he painted in 
 imitation of Salvator Rosa were an ad- 
 ditional ornament to the landscapes of his 
 employer. He had a lively and ready 
 invention, and great quickness of execu- 
 tion ; but at present he holds no consider- 
 able rank among artists. He died in 
 1701. 
 
 CoLONNA (Michel Angelo). He was 
 born at Como in 1600, and at first was a 
 scholar of Gabriel Ferrantino, but after- 
 wards of Girolamo Curti, called Dentone, 
 an eminent painter of perspective and 
 architecture, by whose instructions he 
 arrived at considerable eminence. He 
 was associated with him in several impor- 
 tant works, particularly the beautiful per- 
 spective of St. Michael in Bosco, a saloon 
 in the Palazzo Grimaldi, and the magni- 
 ficent decorations of the theatre at Ferrara. 
 He was invited to the court of Spain by 
 Philip IV., who rewarded him liberally, 
 and he was also highly esteemed at Mo- 
 dena, Florence, Parma, and Paris. His 
 principal works are in the churches, pal- 
 aces, and convents of Italy. He died in 1687. 
 Colonna was the best fresco painter of his 
 time, and he was a spirited designer of 
 'i the human figure and animals. It is said, 
 i that with whatever artist he worked he 
 had the extraordinary talent of adapting 
 I himself to the style and manner of his coad- 
 
CON 
 
 CON 
 
 jutor, so as to make the whole performance 
 appear like the production of one hand. 
 
 CoLTELLiNi (Michele). He was a na- 
 tive of Ferrara, and flourished about the 
 year 1520. It is supposed that he was the 
 scholar of Lorenzo Costa, but in his heads 
 he is superior to that artist. In the sa- 
 cristy of the Augustines at Ferrara is a 
 picture of St. Monica, with four saints of 
 that order ; in the church of St. Andrea 
 is a Madonna ; and in that of St. Maria 
 della Rosa is St. Francis receiving the 
 Stigmata. 
 
 CoLYNs (DAviD),a Dutch painter who 
 was born at Amsterdam in 1650. He 
 painted history in a small size, with a 
 number of figures well grouped; and his 
 pictures are touched with spirit and neat- 
 ness; particularly two, the subjects of 
 which are, Moses fetching Water from 
 the Rock, and the Israelites fed with Manna. 
 
 CoMODi (Andrea). He was born at 
 Florence in 1560, and was a disciple of 
 Lodovico Cardi, called Cigoli; after which 
 he studied anatomy, architecture, and 
 perspective, and also the art of modelling. 
 When he had completed himself in these 
 branches, he travelled to Rome to enrich 
 his mind by observations on the best works 
 of ancient and modern artists, and thus 
 became one of the most esteemed painters 
 of his time for correctness and truth. One 
 of his greatest performances was the pic- 
 ture which he painted for Pope Paul V., 
 the subject of which was the fall of Luci- 
 fer : into this piece he introduced a multi- 
 tude of figures, designed with taste and 
 judgment, and remarkable for the variety 
 of difficult and fine attitudes, as also for 
 terrible expression. After continuing for 
 some years at Rome, he returned to his 
 native city ; and as he had a great power 
 of imitating every style with incredible 
 exactness, whether landscape or history, 
 he was almost perpetually employed in 
 copying the most valuable paintings of an- 
 cient masters, which were preserved in the 
 churches and convents, and in the collec- 
 tions of the grand duke and the nobility 
 of Florence. Pietro da Cortona was the 
 disciple of Comodi, who died in 1638. 
 
 CoNCA (SEnvsTiAj.), CavuHere. He 
 was born at Gaeta in 1676, and became a 
 scholar of Francesco Solimena, who soon 
 perceived in him such talents as would 
 qualify him to make a great progress ; on 
 which account he not only atforded him 
 the best instructions, but often employed 
 hira to sketch after his own designs, took 
 him to Monte Cassino, where he was to 
 
 paint a chapel in fresco, and there made 
 hira acquainted with that manner of paint- 
 ing. Ou his return to Naples, Conca 
 entered on a project to advance his income, 
 and add to his expertness. This was, to 
 paint portraits in a small size and at a low 
 rate, by which scheme all ranks of persons 
 crowded to him ; and, beside the pecuniary 
 advantages resulting from it, he acquired 
 an extraordinary freedom of hand in pen- 
 cilHng and colouring, a good habit of imi- 
 tating nature, and great diversity in his 
 heads, which acquisitions were of extra- 
 ordinary use to him in his future works. 
 Though he was nearly thirty when he 
 visited Rome, yet he spent five years in a 
 constant study of the antiques, and the 
 works of Buonarroti, Raffaelle, and the 
 Caracci. His abilities soon became 
 known, and procured him the patronage 
 of Cardinal Ottoboni, who rewarded him 
 liberally for a picture of Herod and the 
 Wise Men, the figures of which were as 
 large as life. The cardinal entertained 
 him in his own palace, and introduced 
 him to Pope Clement XL, who appointed 
 Conca to paint the picture of the prophet 
 Jeremiah, in the church of St. John Late- 
 ran, which he executed with applause. On 
 that occasion the pope, in a general as- 
 sembly of the aeademicians of St. Luke, 
 conferred on him the order of knighthood, 
 and the cardinal presented him with a 
 rich diamond cross, which Conca, out of 
 respect to his patron, always wore at his 
 bosom. From that time he was incessantly 
 employed, and his works were solicited by 
 most of the princes of Europe. Thechurches 
 and chapels of every part of Italy have 
 some of his compositions, of which he paint- 
 ed an incredible number, as he lived to a 
 very advanced age, and never discontinued 
 his labours. Philip V. of Spain invited 
 him to his court, but Conca could not be 
 prevailed upon to leave Rome. He paint- 
 ed two pictures for the King of Poland, 
 with figures as large as life ; one repre- 
 sented Alexander presenting Bucephalus 
 to his father ; the other, the Marriage of 
 Alexander and Roxana. On visiting 
 Naples he received, in the royal presence, 
 a snuff-box of great value; and in 1757, 
 the king ennobled him and his descendants. 
 He understood perspective and architec- 
 ture thoroughly, and added to it a know- 
 ledge of the chiaro-oscuro. His style of 
 composition is imposing, his design cor- 
 rect, his disposition ingenious, his atti- 
 tudes and expression full of truth, and his 
 colouring excellent. Yet, according to 
 
CON 
 
 CON 
 
 some critics, the merits of Conca were 
 more showy than solid. He died in 1764. 
 The history of Diana and Actseon, by 
 Conca, is in Lord Pembroke's collection 
 at Wilton. 
 
 CoxDivi (AscANio). This person, who 
 lived about the year 1553, was the friend 
 and biographer of Michel Angelo Buonar- 
 roti; but it is not certain that he was an 
 artist himself, though, from his manner of 
 writing, the probability is that he was 
 either a painter or a sculptor, and most 
 likely both. His life of Michel Angelo 
 was printed in 1553, and was republished 
 by Goriat Florence, in 1740, folio. 
 
 CONEGLIANO (GlOVAXXI BaTTISTA). 
 
 This painter's name was Cima, but he is 
 generally called by the place of his birth, 
 Conegliano, a town in the Venetian states. 
 He lived about the year 1495, and adopted 
 the style of Giovanni Bellini; but, though 
 equal to him in colour and expression, he 
 was inferior to himin suavity and harmony. 
 Among his best works was a Madonna re- 
 ceiving the homage of the Baptist, in the 
 dome of the great Church at Parma, but 
 removed to Paris when the French invaded 
 Italy. In the Church of St Giovanni at 
 Venice is a fine picture by this master, 
 the subject of which is the Baptism of 
 Christ. His son. Carlo Cima, painted in 
 the same style. 
 
 CoNiNCK (David). This artist was 
 born at Antwerp in 1636, and had Jan 
 Fyt for his instructor; on quitting whom 
 he travelled into France, Germany, and 
 Italy, where he obtained the name of 
 Bommelaer. His pictures are much in 
 the manner of his master, Fyt; and the 
 subjects he chose were flowers, fruit, and 
 animals. His touch is firm and free, his 
 colour natural and vigorous. He died in 
 Italy in 1689. 
 
 CoNiNCK, or KoNiNCK (Solomon). a 
 Dutch painter, was born at Amsterdam 
 in 1 609. He studied under David Colyns, 
 and afterwards became a scholar of Nicholas 
 Mostaert; but he subsequently adopted 
 the manner of Rembrandt. He painted 
 historical subjects of a small size, well 
 composed, admirably coloured, and merit- 
 ing a place in the choicest collections. 
 They are, however, very rare, and seldom 
 seen out of Holland. Coninck also etched 
 some neat plates from his ow n design s , d ated 
 in 1663. He is not to be confounded with 
 Cornelius Coninck, a designer and en- 
 graver of Haerlem, who flourished at the 
 same period. He excelled in portrait. 
 
 CoNiNGSLOO, or CoNiNXLOO (Egidius, 
 
 or GiLLEs). This master was born at 
 Antwerp in 1544, and at first was placed 
 under Peter Van Aelst the younger, with 
 whom he continued some years; but after- 
 wards he became a disciple of Leonard 
 Kroes, who painted history and landscape 
 in distemper, and he also received some 
 instructions from Giles Mostaert. For 
 several years he worked at Paris and Or- 
 leans, after which he travelled to Rome, 
 where he studied a considerable time. His 
 taste in landscape was so greatly admired, 
 that his paintings were eagerly bought by 
 the dealers, who sent them to different 
 parts of Europe, where they brought a 
 good price. The emperor purchased many 
 of them, which were placed among the 
 most capital paintings in his collection. 
 The touching of his trees is free and mas- 
 terly, his pencil very light, and the variety 
 in the disposition and breaking of his 
 grounds shows the richness of his genius. 
 His colouring is pleasant, though fre- 
 quently too green, and his scenes are gene- 
 rally crowded and encumbered. There is, 
 however, such transparence in his colour, 
 and such freedom in the handling, that, 
 upon the whole, the pictures have a very 
 agreeable effect. The figures in his land- 
 scapes were usually painted by Van Cleef ; 
 and as Coningsloo was justly esteemed 
 one of the best masters of his time in his 
 peculiar style, so he was studiously imitated 
 by many artists. He died at Antwerp in 
 1609. 
 
 Constable (John), a follower but in 
 a style of landscape all his own of Wil- 
 son and Gainsborough, was born at Ded- 
 ham in Essex, in the year 1776; his 
 father was a miller, which, as the eminent 
 artist loved to say, accounted for the many 
 mills, and streams, and dams, and wears 
 of his pictures. Though he felt the 
 beauty of the scenes where Gainsborough 
 loved to muse, at an early age, he was in 
 his twenty-fourth year before he contrived 
 to make art the business of his life ; for he 
 was only admitted a student of the Royal 
 Academy in June 1800, and three years 
 afterwards we find him residing in Ameri- 
 ca-square, and the painter of a landscape 
 in the exhibition of the Academy, in which 
 his peculiar love of moist airs and deep 
 green leaves brought sharp censure and 
 high praise. From this time till 1820, 
 when he was elected an Associate of the 
 Academy, he continued to exhibit land- 
 scapes annually, and with increased repu- 
 tation ; for though his colouring startled 
 ; the adorers of Claude and Cuyp, his com- 
 
129 
 
 COO 
 
 positions were felt to be full of thought ; 
 and those who had made nature in all its 
 seasons and moods their study, perceived 
 that his conceptions were in accordance 
 with the humid looks of the climate of 
 England. He was, indeed, a true islander, 
 both as a man and an artist ; he desired 
 not to seek abroad for what he could find 
 at home ; he declared, and with truth, that 
 Britain abounded in scenes which might 
 vie even in beauty with the fairest of 
 France or Italy ; and he did not hesitate 
 to say, that those who sought abroad for 
 subjects, felt unable to delineate those at 
 home. As he preached so he practised. 
 A Landscape in Moonlight ; Scenes from 
 the romantic Lakes of Cumberland ; a 
 Churchyard ; a Water-mill ; a Landscape 
 after a Shower; a Scene on the River 
 Stour ; Salisbury Cathedral ; a Boat 
 threading a Lock ; a Mill at Gillingham 
 in Dorsetshire; and last, and loveliest, 
 Hampstead-heath, over which a thunder 
 shower is rushing, and driving a group 
 of gipsies, with their asses and paniers, 
 and tawny children, to the rough shelter 
 of a gravel pit were among the favourite 
 subjects of Constable's pencil. In his 
 latter days fortune unexpectedly befriend- 
 ed him, and enabled him to smile at those 
 who censured a style, which, like all that 
 is founded deep in nature, is coming into 
 favour ; he was elected a member of the 
 Royal Academy in 1829, and died sudden- 
 ly and without pain, at his house. No. 63, 
 Upper Charlotte-street, on the 30th 
 March 1837. 
 
 CoNSTANzio (P1.ACID0). He was born at 
 Rome in 1660, and became a good painter 
 of history. His pictures, however, were 
 much laboured. He died in 1713. 
 
 CONTARINI (CaVALIERE GlOVANNi). 
 
 He was born at Venice in 1549, where he 
 applied himself industriously to study and 
 copy the works of Titian, by which means 
 he became excellent in colouring, and 
 painted portraits with great force, sweet- 
 ness of tint, and strong resemblance ; he 
 also painted history with remarkable taste 
 and coi'rectness of design. When his re- 
 putation was well established, he travelled 
 into Germany, and met with great en- 
 couragement from the princes and nobility. 
 His manner was lively and pleasing, and 
 through all his compositions might be ob- 
 served his imitation of Titian. He painted 
 a number of easel pictures, the subjects of 
 which were taken from fabulous history. 
 In the Church of Delia Orooe, at Venice, 
 is a fine picture of the Crucifixion, by this 
 
 master ; but his principal work is a Ma- 
 donna and Child, formerly in the ducal 
 palace of Venice, and afterwards in the 
 Louvre at Paris. Contarini was knighted 
 by the Emperor Rodolphus II. He died 
 in 1605. 
 
 Contakini (Simon). He was born at 
 Pesaro in 1612, and became successively 
 the pupil of Giacomo Pandolfi, Claude 
 Ridolfi, and Guido Reni, after which he 
 went to Rome, where he studied the works 
 of Raffaelle. His subjects were chiefly 
 taken from sacred historj', and composed 
 with judgment and taste. He died at 
 Verona in 1648. See Cantarini, 
 
 CoNTE (Jacopino dal). This master 
 was born at Florence in 1510. He was a 
 disciple of Andrea del Sarto ; but though 
 he practised historical composition princi- 
 pally, while he was under the care of that 
 master, yet his inclination directed him 
 mostly to the painting of portraits, in 
 which branch he arrived at a high degree 
 of excellence. His portrait of Pope Paul 
 III. gained him not only extraordinary 
 applause, but the patronage of that pontiff; 
 so that most of the cardinals employed and 
 generously rewarded him. But his talent 
 was not confined to portrait; his reputation 
 as an historical painter being equally great. 
 In his compositions, he generally intro- 
 duced a great number of figures, with at- 
 titudes that were natural and elegant : his 
 outline was correct, his taste noble, and 
 his colouring beautiful. His principal 
 historical works are St. John preaching ; 
 the Descent from the Cross ; a Dead 
 Christ; and St. Francis receiving the 
 Stigmata. He died at Rome in 1598. 
 
 CoNTi (Cesaee and Vikcenzio), These 
 artists were brothers, and were much em- 
 ployed at Rome, the one for grotesque 
 ornaments, and the other for the figures. 
 In the Church of St. Spirito in Sassia is 
 the History of St. Giacomo del Zucehi, 
 and in that of St. Cecilia, a St. Agnes, 
 with the Martyrdom of Santo Urbino. 
 
 OoxTRERAS (AxTosio), E Spanish 
 artist, was born at Cordova in 1600. 
 Cespedes was his instructor, and he be- 
 came one of the most celebrated painters 
 in history and portrait of his day. He 
 died in 1654. 
 
 CooKJE (Hexry), an English artist, was 
 born in 1642. Having a taste for histori- 
 cal painting, he travelled to Italy, for the 
 purpose of improving himself in this 
 branch of the art, and studied under Sal- 
 vator Rosa; but, on his return to England, 
 he met with so little encouragement, that 
 
coo 
 
 130 
 
 COP 
 
 for many years he remained in want and 
 obscurity, and at last was obliged to fly 
 for a murder which he committed on a 
 person who courted one of his mistresses. 
 On his return, when this affair was for- 
 gotten, his talents gained him notice, and 
 he was employed by King William to re- 
 pair the Cartoons; he likewise finished 
 the equestrian portrait of Charles II. at 
 Chelsea College; painted the choir of 
 New College Chapel, Oxford, as it stood 
 before the late repairs ; and the staircase 
 at Ilanelagh- House, besides many other 
 works mentioned by Lord Orford. He is 
 also said to have tried portrait painting, 
 but to have given it up, disgusted with 
 the caprices of those who sat to him. He 
 died in 1700. 
 
 Cool (Laukbxce Van). This artist 
 was born at Delft, in Holland, in 1520, 
 and died there in 1 615. He painted equally 
 well historical subjects and portraits. He 
 is to be distinguished from Peter\Van Cool, 
 an engraver, who flourished about 1690. 
 
 Cooper (Samukl). This celebrated 
 miniature painter was born in Lomlon 
 in 1609, and bred imder Mr. John Hos- 
 kins, his uncle ; but he derived the greatest 
 advantages from his observations on the 
 works of Vandyck, insomuch that he was 
 commonly styled the miniature Vandyck. 
 His pencil was generally confined to a 
 head only, and, indeed, below that part 
 he was not always so successful as could 
 be wished. But, for a face, and all the 
 dependencies of it, namely, the graceful 
 and becoming air, the strength, relievo, 
 and noble spirit, the softness and tender 
 liveliness of flesh and blood, and the loose- 
 ness and gentle management of the hair, 
 his talent was so extraordinary, that, for 
 the honour of our nation, it may without 
 vanity be affirmed he was at least equal 
 to the most famous Italians. The high 
 prices of his works, and the great esteem 
 in which they were held at Rome, Venice, 
 and France, were abundant proofs of their 
 great worth, and extended the fame of the 
 artist throughout Europe. He so far ex- 
 ceeded his instructor, Hoskins, that the 
 latter became jealous of him ; and, finding 
 that the court was better pleased with his 
 nephew's performances than with his, he 
 took him into partnership ; but his jealousy 
 increasing, he dissolved it, leaving our 
 artist to set up for himself, and to carry, 
 as he did, most of the business of that 
 time before him. He drew Charles II. 
 and his Queen, the Duchess of Cleveland, 
 the Duke of York, and most of the 
 
 court. But his two most famous pieces 
 were those of Oliver Cromwell, and of one 
 Swingfield. The French king offered one 
 hundred and fifty pounds for the former, 
 but was refused ; and Cooper, carrying the 
 latter with him to France, it was much 
 admired there, and introduced him to the 
 favour of that court. He likewise did 
 several large limnings, in an unusual style, 
 for the court of England, for which his 
 widow received from the Crown a pen- 
 sion during her life. This widow was sister 
 to the mother of the celebrated Pope. 
 Answerable to Cooper's abilities in paint- 
 ing was his skill in music, and he was 
 reckoned one of the best lutenists, as well 
 as the most excellent limner, of his time. 
 He spent several years of his Ufe abroad, 
 was personally acquainted with the great- 
 est men of France, Holland, and his om'h 
 country, and by his works was known in 
 all parts of Europe. He died at London, 
 May 5, 1672, and was buried in Pancras 
 Church, where is a marble monument over 
 him, with a Latin inscription. 
 
 Cooper (Alexander). He was the 
 elder brother of Samuel Cooper, and had 
 the same instructor. But though he be- 
 came a good artist in portrait painting, he 
 was in no degi'ee equal to Samuel. He 
 followed his profession in several cities of 
 the Low Countries, particularly at Am- 
 sterdam, from whence he was invited to 
 Sweden, where he had the honour of being 
 appointed painter to Queen Christina. 
 He also painted landscapes in water- 
 colours extremely well, and had a correct 
 manner of drawing. 
 
 Copley (John Singleton), painter of 
 the Death of the great Chatham ; King 
 Charles, ordering the Arrest of the Five 
 Members of Parliament ; and the Death 
 of Major Pierson ; was born at Boston, in 
 America, 3d July, 1737. He was self- 
 educated for Boston had then no aca- 
 demies of art and first made himself 
 known to the world, by a picture of a Boy 
 and a Squirrel, exhibited in the Royal 
 Academy, London, which drew the atten- 
 tion of lovers of art towards him; it was 
 then discovered that he was a portrait 
 painter of considerable repute, had tried 
 liis pencil with success on works half-his- 
 toric and half-portrait, and had mastered, 
 no one could divine how, the mystery of 
 colour as well as the art of drawing the 
 human figure. From Boston, Copley made 
 his way to Rome in the year 1774, where 
 he studied the great masters of Italy, and 
 contemplated the genius of Greece in her 
 
COQ 1 
 
 glorious marbles, and arrived in London, 
 by way of France, in the year 1775, where 
 he set up his easel in George-street, 
 Hanover-square. Two years afterwards, 
 he was admitted an Associate of the Aca- 
 demy, and when he displayed his powers 
 in the Death of Chathajp, he was thought 
 worthy of being elected Royal Academi- 
 cian. This picture, which represents the 
 great Earl expiring at his post in the House 
 of Lords, amid a throng of noble and 
 anxious faces, brought Copley praise from 
 all quarters; but none was more welcome 
 than that which came from his own land 
 of the far west. Matthew Ryles, a vene- 
 rable citizen of Boston, wrote in its praise, 
 and reminded the artist that he was 
 numbered amongst his earliest friends. 
 His other works of an historic stamp are 
 numerous ; the Assassination of Bucking- 
 ham ; King Charles signing Stratford's 
 Death Warrant; King Charles addressing 
 the Citizens of London; the Five Im- 
 peached Members brought back in triumph 
 to Westminster; The Speaker thanking 
 the Sheriffs for protecting the Impeached 
 Members; the House of Commons visiting 
 the Army on Hounslow ; the six Alder- 
 men of London visiting General Monk; 
 the Lord Mayor presenting a Gold Cup to 
 Monk; Monk conducting the excluded 
 Members back to Westminster Hall ; the 
 King's Escape from Hampton Court, and 
 the Siege of Gibraltar. Some of his works 
 are reproached with want of warmth and 
 life, and their colouring for being heavy 
 and cold ; and this is truer of his later 
 than his early productions. He died on 
 the ninth of September, 1815. 
 
 CoppA (Cavaliere). This master 
 was born in 1596, and learned design and 
 colouring in the school of Guido ; where 
 he acquired a delicate taste of composition, 
 as well as a beautiful tint of colour. His 
 style of design and manner of handling 
 resembled that of his master, and his prin- 
 cipal works are in the churches and chapels 
 of Verona, where he served the court and 
 obtained the honour of knighthood. He 
 died in 1665. 
 
 CoQUEs (GoxZiViEs). He was born at 
 Antwerp in 1618, and was a disciple of 
 old David Ryckaert, under whose direc- 
 tion he diligently cultivated his talents, 
 not only by practising the rules of his in- 
 structor, but by studying nature with 
 singular application. On viewing the 
 works of Vandyck, he was struck with 
 surprise at beholding such elevation of 
 mind, force of colour, life, expression, and 
 
 il COR 
 
 handling, as were visible in the composi- 
 tions of that great master ; and as that 
 manner seemed most conformable to his 
 own genius, he fixed on Vandyck as his 
 model, and so far succeeded in his attempt, 
 that, next to that inimitable artist, he was 
 esteemed equal to any painter of his time. 
 In the school of Ryckaert he had been 
 accustomed to paint conversations, and 
 subjects of fancy, like Teniers, Ostade, 
 and his master. Into these compositions 
 he introduced an agreeable style of por- 
 trait painting, which procured him both 
 reputation and riches. In this way he 
 executed several fine pictures for Charles I. 
 of England, the Archduke Leopold, and 
 the Prince of Orange ; which latter prince 
 presented him with his bust, in a medal- 
 lion of gold, suspended by a rich chain of 
 the same metal. Coques had an excellent 
 pencil, his portraits were well designed, 
 with easy and natural attitudes, he disposed 
 the figures in his compositions without con- 
 fusion, he gave an extraordinary clearness 
 of colour to his heads and hands, and his 
 touch was free, firm, and broad, and though 
 his portraits are remarkably small, they 
 have great freedom and animation. He 
 died in 1684. 
 
 CoRADO (Carlo). This artist was born 
 at Naples, in 1693. He was the scholar 
 of Solimena, and on leaving him went to 
 Rome, after which he was invited to Ma- 
 drid, where the king settled on him a pen- 
 sion. Towards the close of his life, he 
 returned to his native city, and died there 
 in 1768. He designed well, his composi- 
 tions are ingenious and variegated, his pen- 
 cil is sweet and free, in the manner of his 
 master, and his colouring brilliant. 
 
 CoRENzio (Belisario). This painter 
 was born at Accaja in Greece, in 1558. 
 After learning the rudiments of art in his 
 own country, he went to Venice at the 
 age of twenty-two, and became the scholar 
 of Tintoretto, under whom he made a 
 rapid progress. His expedition was so 
 great, that it is said he could work faster 
 than four artists. This power he displayed 
 in his large picture of the Miracle of the 
 Loaves and Fishes, which he painted for 
 the refectory of the Benedictines, and fin- 
 ished it in forty days. After a residence 
 of five years, he left Venice, and went to 
 Naples, where he executed many capital 
 works for the churches and public build- 
 ings. He painted almost wholly in fresco, 
 but produced some pictures in oil. His 
 principal performances at Naples are the 
 ceiling of the chapel De Catalani, in the 
 
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 132 
 
 COR 
 
 Chnrch of St Giacorao, where he also has 
 painted, in nine compartments, the History 
 of the Virgin, replete with grace; and in 
 the angles he has inserted the four Sibyls. 
 In the Church Delia Trinita is a picture 
 by him of the Virgin crowned by the 
 Trinity, with two side-pieces of the Visi- 
 tation and Presentation in the Temple. 
 Corenzio died in 1643. 
 
 CoKioLANo (Bartolomeo). He was 
 the son of Christopher Coriolano, a Ger- 
 man engraver, who died at Bologna about 
 1600. Bartolomeo was born in that city 
 in 1585, and was brought up in the school 
 of the Caracci, where he became an able 
 designer, and also an engraver on wood. 
 His drawing is masterly and spirited, and 
 the portraits which he executed in his 
 peculiar manner are finely expressive. 
 Pope Urban VHI. conferred on him the 
 honour of knighthood. 
 
 Coriolano (Giovaxni Battista). He 
 was the younger brother of the preceding 
 artist, and was born at Bologna, in 1590. 
 He studied painting under Giovanni Lodo- 
 vico Valesio, but not succeeding in that 
 profession, he applied to engraving both 
 on wood and copper. There are, however, 
 some altar-pieces of liis painting at Bo- 
 logna. 
 
 CoRNARA (Carlo). He was born at 
 Milan in 1605, and studied under Caraillo 
 Procaccini. Although his works are few, 
 they are designed in a good taste, particu- 
 larly his easel pictures. Among the best 
 of his productions is the picture of St. 
 Benedict, in the Carthusian monastery at 
 Pavia. He died in 1673. 
 
 CoRNEiLLE (Michael, the Elder). This 
 artist was born at Orleans in 1603, and 
 studied under Simon Vouet, to whose style 
 he adhered through life; and in which 
 manner he painted several works for the 
 churches. He was one of the original 
 members of the French Academy. He 
 etched some pieces after the pictures of 
 RafFaelle, the Caracci, and other masters. 
 
 CoRNEiLLE (Michael, the Youvgei-). 
 He was the son of the preceding artist, 
 and was born at Paris in 1642. After 
 going through his studies under his father, 
 and in the Academy, where he obtained a 
 prize, he went to Italy with a royal pension. 
 While at Rome he took the works of An- 
 nibale Caracci for his examples ; though 
 not without diligently profiting by the 
 productions of other great masters. On 
 his return to Paris he was admitted into 
 the Academy, when he painted for his re- 
 ception the model of the picture which he 
 
 afterwards executed for the church of 
 Notre Dame; and the subjectof which is the 
 Calling of St. Peter and St. Paul to the 
 Apostleship. He painted, in the chapel 
 of the Invalids, the Life of St. Gregory, 
 in six pictures; besides which, he was 
 employed in ornamenting the palaces of 
 Versailles, Trianon, and Fontainebleau. 
 Comeille also engraved several plates in 
 the manner of the Caracci. He died in 
 1708. 
 
 CoRNEiLLE (John Baptist). He was 
 the younger brother of the last-mentioned 
 painter, and was born in 1646. After 
 being instructed by his father, he went to 
 Rome, where he studied some years, and 
 in 1676 was received into the Academy. 
 Though not equal to his brother, he had 
 respectable talents, of which he gave proofs 
 in the works executed by him for the 
 churches of Paris. In that of Notre Dame, 
 he painted St. Peter's Deliverance from 
 Prison, and at the Carmelites, the Vision 
 of St. Theresa. He also engraved some 
 prints from his own designs. He died in 
 1695. 
 
 CoRNELis or CoRNELisz (LucAs), callcd 
 the Cook. He was born at Leyden in 1493, 
 became the disciple of Cornelius Engel- 
 brecht, and was reputed an extraordinary 
 artist in his time, being equally excellent 
 in distemper and in oil. Owing to the 
 troubles which ravaged his native country, 
 he was under the necessity of following 
 the profession of a cook; but at length he 
 came to England, and Henry VIII. gave 
 him a gracious reception, and appointed 
 him his principal painter. Here, therefore, 
 he settled with his wife and children, and, 
 under the sunshine of royal favour, ac- 
 quired honour and affluence. He died in 
 1552. At Leyden, a picture of his, repre- 
 senting the Woman taken in Adultery, is 
 highly admired ; and at Penshurst, in 
 Kent, are the portraits of the Constables 
 of Queenborough castle from the reign of 
 Edward III. to the third year of Henry 
 VIIL 
 
 CoRNELisz (James). This painter was 
 born at Oost-Sanen, in Holland, about 
 1471, and the city of Amsterdam boasts 
 much of his remarkable genius and talents. 
 In the old chnrch there is preserved a 
 Descent from the Cross by him. It is an 
 altar-piece, in which Mary Magdalen is 
 represented as sitting at the foot of the 
 cross. At Haerlem is a picture of the 
 Circumcision, painted in 1517, which is 
 highly commended. Van Mander also 
 praises in high terms a painting of this 
 
COR 
 
 master in the church at Alkmaar, the 
 subject of which is the Passion of our 
 Saviour: the composition of the whole is 
 good, and the actions and expressions are 
 natural and strong ; particularly the ma- 
 lignity of the executioners who are extend- 
 ing Christ upon the cross. Cornelisz 
 died at Amsterdam in 1567. 
 
 Cornelisz (Cornelius). He was born 
 at Ilaerlem in 1562, and from his youth 
 gave such tokens of genius, and such a 
 taste for painting, that he was placed with 
 Peter le Long the younger, under whom 
 he made so rapid a progress, that he was 
 distinguished by the appellation of Corne- 
 lius the Painter, and more commonly by 
 that of Cornelius van Haerlem. On quit- 
 ting his master, he would have gone to 
 Italy, though only seventeen years of age ; 
 but his project was disconcerted, and he 
 was allured to Antwerp by the fame of the 
 artists in that city. On his arrival he 
 placed himself with Francis Pourbus, and 
 afterwards with Giles Coignet; and by 
 their instructions he corrected his first 
 manner, which was raw and hard, and 
 acquired a more soft, neat, and agreeable 
 style of colouring and pencilling. As a 
 testimony of respect, he presented Coignet 
 with a Flower-piece of his painting, copied 
 from nature, touched in a masterly man- 
 ner, and delicately finished; and likewise 
 a composition, consisting of naked Female 
 Figures, well designed, and beautifully 
 coloured. Ilis colouring was fine ; the 
 disposition of his figures good, and often 
 elegant; the hands and extremities well 
 designed, and the expression noble. As 
 he had no opportunities of studying the 
 antique at Rome, he formed his taste from 
 the best casts and models that he could 
 procure, carefully imitating nature in all 
 his performances. He painted equally 
 well in large and small; but though he 
 finished a number of pictures, they are not 
 often to be purchased. One of his largest 
 designs was the Battle of the Giants; 
 and another the Deluge, in which the 
 naked figures, and their different ages, 
 are admirably expressed. He died in 
 1638. 
 
 COBRADI (DOMENICO), SeC GlIIR- 
 LANDAIO. 
 
 CoRBADi (OcTAvio). This painter was 
 born at Bologna, and studied under Gia- 
 como Cavedone ; but his principal merit 
 consisted in copying the works of other 
 artists of eminence, which he executed to 
 the greatest perfection, many of his copies 
 being, even in his own time, accounted 
 
 originals of those masters whom he imi- 
 tated. He died in 1643. 
 
 Corona (Leonardo). This artist was 
 the son of a miniature painter, and was 
 born at Murano, in the Venetian territory, 
 in 1561. His first master was Rocca da 
 St. Silvestro, an ordinary painter, who 
 employed him in copying the works of 
 eminent masters. From this practice, and 
 studying the performances of Titian and 
 Tintoretto, he became an eminentdesigner. 
 He painted the Annunciation in the Church 
 of St. Giovanni, and also the Assumption 
 of St. Stephen, which last is an admirable 
 production. In the Church of St. Fantino 
 he painted a Crucifixion so much in the 
 manner of Tintoretto, as to be easily mis- 
 taken for one of that admirable master's 
 best works. Corona was rising in fame 
 when he died, in 1605. 
 
 CoRREA (Diego). This artist was a 
 native of Spain, and lived about the year 
 1560. In the convent of Bernardines at 
 Valdeiglesias are some of his performances, 
 descriptive of the Passion ; and at Placen- 
 zia are two pictures of subjects from the 
 Life of the Virgin. 
 
 CoRBEGio (Antonio), so called from 
 the place of his nativity, but his family 
 name was Allegri or Leti. The year of his 
 birth is uncertain, some placing it in 
 1490, and others in 1494. It cannot be 
 doubted that he was descended of poor pa- 
 rentage, and that his education was very 
 contracted. We have no account of his 
 early life that can be depended upon, nor 
 is the name of his master recorded ; yet he 
 must have made a rapid progress, and have 
 acquired distinction in his art when young, 
 for his genius was original, and he seems 
 to have been indebted to his own concep- 
 tions for the eminence he attained. He saw 
 none of the classical remains of Grecian 
 and Roman art, nor any of the works of 
 the established schools of his native 
 country. Nature was his guide, and to 
 express the facility with which he followed 
 her dictates, he used to say, that he 
 always had his thoughts at the end of his 
 pencil. The agreeable smile and the pro- 
 fusion of grace which he imparted to his 
 madonnas, saints, and children, have been 
 called unnatural; but it cannot be denied 
 that they are delightfully seductive. An 
 easy and flowing pencil, union and har- 
 mony of colouring, and a perfect know- 
 ledge of the chiaro-oscuro, give such a 
 surprising relief to all his pieces, as to 
 have made them the admiration of every 
 age. Annibale Caracci, who lived about 
 
COR 
 
 COR 
 
 fifty years after him, studied and imitated 
 his manner in preference to that of any 
 other master. That great painter, writing 
 to his cousin Lodovico, speaks thus of the 
 impression made upon him on first behold- 
 ing the works of Corregio : " Every thing 
 that I see astonishes me, particularly the 
 colouring and beauty of the children, who 
 live, breathe, and smile with so much 
 sweetness and vivacity, that it is impossible 
 to refrain from partaking in their enjoy- 
 ment. My heart, however, is ready to 
 break when I reflect on the unhappy fate of 
 poor Corregio, and think that so wonder- 
 ful a man, who ought rather to be called an 
 angel, should have finished his days mi- 
 serably in a country where his talents were 
 never known." From want of curiosity or 
 of patronage, says one of his biographers, 
 Corregio never visited Rome, but remain- 
 ed at Parma, where the art of painting 
 was little esteemed and poorly revt-arded. 
 This concurrence of unfavourable circum- 
 stances at last occasioned his premature 
 death, of which tradition gives the follow- 
 ing account : He was employed to paint, 
 in the cupola of the cathedral of Parma, 
 a representation of the Assumption of the 
 Virgin. This task he executed in a man- 
 ner that has long been the object of ad- 
 miration, for the grandeur of its design, 
 the boldness of the foreshortening, and 
 general excellence. On going to receive 
 payment for his labour, the canons of the 
 church, through ignorance or avarice, 
 found fault with the work; and though the 
 price originallyagreed upon was moderate, 
 they reduced it to less than one half, which 
 they paid in copper money. To carry home 
 this unworthy load to his indigent 
 family, poor Corregio had to travel seven 
 or eight miles; and the weight of his bur- 
 den, the heat of the weather, and the de- 
 pression of his spirits, threw him into a 
 pleuritic fever, which in three days put an 
 end to his life, in 1534. This masterpiece 
 of the art would have been lost to the 
 world, had it not been for Titian, who, on 
 passing through Parma, hastened to the 
 church for the purpose of beholding it. 
 While engaged in rapturous contemplation 
 of its various beauties, one of the digni- 
 taries told him that the performance did 
 not deserve his notice, and that it was in- 
 tended soon to be defaced. The artist 
 started with horror at the profanation, and 
 cried out, " Take care what you do : for 
 were I not Titian, I would wish to be 
 Corregio !" The exclamation of Corregio, 
 upon viewing a picture by Raffaelie, has 
 
 been often told, but it is too good and cha- 
 racteristic to be here omitted. After ex- 
 amining the piece with fixed attention 
 some time, he broke silence by saying, 
 " Well, and 1 also am a painter!" Giulio 
 Romano, on seeing some of Corregio's 
 pictures, declared they were superior to 
 any thing in the art he had ever beheld. 
 Dufresnoy says, that he struck out certain 
 natural and unaffected graces for his 
 female figures and children, which were 
 peculiar to himself. His manner, design, 
 and execution are all great, though in- 
 correct. He had a most free and delight- 
 ful pencil, and he painted with a strength, 
 relief, sweetness, and force of colouring 
 which nothing ever exceeded. Heunder- 
 stood how to distribute his lights in such 
 a manner as was not only original, but 
 gave great roundness to his figures. This 
 manner consists in extending a large light, 
 and then causing it to lose itself insensi- 
 bly in the dark shadowings which he drew 
 out of the masses ; and these gave them 
 this relief, without the beholder being able 
 to perceive from whence the effect pro- 
 ceeds, or to account for the vast pleasure 
 which it affords. It appears that in this 
 point the rest of the Lombard School 
 copied Corregio. He had no great 
 choice of graceful attitudes, or distribution 
 of beautiful groups. His design often ap- 
 pears lame, and his positions are not al- 
 ways well chosen ; the look of his figures 
 is sometimes unpleasing, but his manner 
 of sketching the heads, hands, feet, and 
 other parts, are well deserving of imita- 
 tion. In tiie conduct and finishing of a 
 picture, he succeeded wonderfully ; for he 
 painted with so much union, that his 
 principal works seem to have been finish- 
 ed in the course of one day, and appear as 
 if v/e saw them in a mirror. His land- 
 scapes are equally beautiful with his 
 figures. Sir Joshua Reynolds says, " The 
 excellency of Corregio's manner has just- 
 ly been admired by all succeeding painters. 
 This manner is in direct opposition to 
 what is called the dry and hard manner 
 which preceded him. His colour and 
 mode of finishing approach nearer to per- 
 fection than those of any other painter ; 
 the gliding motion of his outline, and the 
 sweetness with which it melts into the 
 ground ; the clearness and transparency 
 of his colouring, which stops at that ex- 
 act medium in which the purity and per- 
 fection of taste lies, leaves nothing to be 
 wished for." Mr. Fuseli's judgment is to 
 the same effect, but it is expressed in a 
 
COR 
 
 135 
 
 COR 
 
 style so vigorous and descriptive, that we 
 cannot refuse ourselves the pleasure of en- 
 riching this article with the extract. 
 " Another charm," says this classical 
 critic, " was yet wanting to complete the 
 round of art harmony. It appeared with 
 Antonio Leti, called Corregio, whose 
 works it attended like an enchanted spirit. 
 The harmony and the grace of Corregio 
 are proverbial ; the medium which, by 
 breadth of gradation, unites to opposite 
 principles the coalition of light and dark- 
 ness, by imperceptible transition, is the 
 element of his style. This inspires his 
 figures Avith grace ; to this their grace is 
 subordinate; the most appropriate, the 
 most elegant attitudes were adopted, re- 
 jected, perhaps sacrificed to the most 
 awkward ones ; in compliance with this 
 imperious principle, parts vanished, were 
 absorbed, or emerged in obedience to it. 
 This unison of a whole predominates over 
 all that remains of him, from the vast- 
 ness of his cupolas to the smallest of his oil 
 pictures. Theharmony of Corregio, though 
 assisted by exquisite hues, was entirely in- 
 dependent of colour : his great organ was 
 chiaro-oscuro, in its most extensive sense; 
 compared with the expanse in which he 
 floats, the efforts of Leonardo da Vinci 
 are little more than the dying rays of 
 evening, and the concentrated flash of Gior- 
 giene, discordant abruptness. The bland 
 central light of a globe, imperceptibly 
 gliding through lucid demi-tints into rich 
 reflected shades, composes the space of 
 Corregio, and affects us with the soft 
 emotions of a delicious dream." The 
 famous Notte, or rather Dawn, of Corregio, 
 is in the Dresden gallery, together with 
 the Magdalen reading, and some other oil 
 pictures of this great painter. The two 
 allegorical pieces called Leda and Danae, 
 once belonging to Christina, Queen of 
 Sweden, passed into France, and with the 
 picture of lo were sadly mangled by bigo- 
 try. A duplicate of the latter, and a 
 Ganymede, are at Vienna. Spain possesses 
 a Christ praying in the Garden, and 
 Mercury teaching Cupid to read. On the 
 back of a small picture, representing the 
 marriage of St. Catherine, which was 
 formerly in the Dresden gallery, is this 
 inscription : Laus Deo per Donna Matil- 
 da d'Esta^ Antonio Lieti da Corregio fece 
 il presente quadro per sua devozione, anno 
 1517. By far the greatest work of Cor- 
 regio is the fresco in the cupola of Parma, 
 where, in the lower part, is seen the Virgin 
 surrounded by a choir of the blessed, and 
 
 an immense number of angels, some in the 
 act of scattering incense, others singing 
 and adoring; the heads of the v.hoie 
 heavenly congregation expressing joy and 
 festivity of the most rapturous and holy 
 character. Notwithstanding the accumu- 
 lation of smoke and dirt, this sublime 
 painting still possesses attractive charms, 
 and excites the admiration of every judi- 
 cious spectator. In the dom.e of the 
 Church of St. Giovanni, at Parma, is an- 
 other fine picture by Corregio, represent- 
 ing the Ascension of our Saviour. Of the 
 oil paintings of this great master, the 
 principal are his St. Jerome, which exhi- 
 bits the Virgin seated, with the Child on 
 her knee, Mary Magdalen kneeling and 
 embracing the Infant's feet, while St. 
 Jerome offers a scroll to the attending 
 Angel. For the Church of St. Giovanni, 
 Corregio painted two altar-pieces, one a 
 Descent from the Cross, and the other the 
 Martyrdom of St. Placido: these last, with 
 the St. Jerome, were carried off by the 
 Vandals of Republican France, in spite of 
 the remonstrances of the artists of their 
 own country, who stated, in a memorial 
 to the Convention, the injury which art 
 would receive by the removal. It is dis- 
 puted whether Corregio ever executed any 
 engravings, but there are certainly some 
 etchings bearing his name. He left a son, 
 Pomponio AUegri Corregio, who after his 
 father's death studied under Francesco 
 Maria Rondani. In the cathedral of 
 Parma is a fresco painting by him of 
 Moses delivering the Law to the People. 
 He was born in 1522. 
 
 CoRso (NicoLo). He was born at 
 Genoa, and lived about the year 1504. 
 His productions are mostly in the monas- 
 tery of the Olivetans at Quarto, near 
 Genoa, and the best of them is a piece 
 exhibiting a subject taken from the history 
 of St. Benedict. His genius was fertile, 
 and his colouring lively. 
 
 CoHso (Giovanni Vincenzio). This 
 artist was born at Naples about 1490, 
 and had for his first master Giovanni 
 Antonio Amato ; but afterwards he went 
 to Rome, where he became a scholar of 
 Pierino del Vaga. The greatest portion 
 of his works are in the churches of Naples ; 
 and the best is one of Christ bearing his 
 Cross, and another of the Offering of the 
 Wise Men. 
 
 CoRTB (Valeric). He was born at 
 Venice in 1530, and studied under Titian, 
 His excellence lay in portrait painting-, 
 which he practised at Genoa with great 
 
COR 
 
 COS 
 
 success, but ruined himself by seeking 
 after the philosopher's stone. He died in 
 1580. 
 
 CoRTE (Cesabe). This artist, who was 
 the son of Valerio, was born at Genoa in 
 1554. He received his instruction from 
 his father, and became one of the best 
 portrait painters of his time. He is said 
 by some foreign writers to have visited 
 England in the reign of Queen Elizabeth, 
 and to have painted her portrait, as well 
 as those of several of the nobility. His 
 best historical works are St. Peter at the 
 feet of the Virgin ; a Mary Magdalen ; a 
 St. Simeon, and St. Francis, in the 
 churches of Genoa. 
 
 CoRTE (JuAx DE la), a Spanish painter, 
 who was born at Madrid in 1587. He 
 distinguished himself by landscapes, bat- 
 tles, and perspective views, as well as 
 in historical subjects taken from the 
 Scriptures. He was painter to Philip HI. 
 and his successor, who employed him in 
 the palaces of Buen-lletiro, and El Sa- 
 loncete. He died at Madrid in 1660. 
 
 CoBTESB (Jacopo), Called 11 Borgo- 
 gnone. He was born at St. Hippolyte, in 
 Franche-Comte, in 1621. His father, an 
 obscure painter, taught him the first prin- 
 ciples of the art, after which, at the age 
 of fifteen, he went to Milan, where he 
 entered into the French military service, 
 which he followed for some time, and was 
 present in many battles : at the expiration 
 of three years he quitted the army and 
 went to Bologna, where he became ac- 
 quainted with Guido and Albano, by 
 whoseinstructionshe profited considerably. 
 After this he visited Rome, and there 
 painted some historical works, as a Mag- 
 dalen, in the Church of St. Martha, and 
 the Murder of the Innocents, with the 
 Adoration of the Magi, in that of II Gesu. 
 On viewing the Battle of Constantino, by 
 Giulio Romano, he devoted himself to 
 that species of the art, aud carried it to 
 the height of perfection, insomuch that 
 Michel Angelo delle Battaglie himself 
 proclaimed his merits. While enjoying 
 this popularity, he was accused of having 
 murdered his wife, upon which he entered 
 into the order of Jesuits. His love of the 
 art, however, continued, and he painted 
 the same subjects as before. His battle- 
 pieces are painted with uncommon spirit, 
 and display the ardour of a mind delighted 
 with the scene upon which it was engaged. 
 In beholding his pictures, says an intelli- 
 gent writer, we seem to hear the shouts 
 of war, the neighing of the horses, and 
 
 the cries of the wounded. There are also 
 some etchings of similar subjects by this 
 great artist, and all exhibiting the same 
 spirit. He died at Rome in 1676. 
 
 CoBTESE or COUKTOIS (GuGLIELMo). 
 
 He was the brother of the preceding, and 
 born in 1628. When young he went to 
 Rome, where he became a scholar of Pie- 
 tro da Cortona, whose style he forsook for 
 that of Carlo Maratti, to which he added 
 an imitation of the manner of Guercino 
 in his reliefs and backgrounds. It is said 
 also, that he studied some time under 
 Claude Lorraine. He painted, by order 
 of Pope Alexander VII., in the gallery of 
 his palace in Monte Cavallo, the Battle of 
 Joshua, for which his holiness gave him 
 a chain and medal of gold. In this pic- 
 ture he was assisted by his brother. His 
 other works of most note are a Madonna 
 and Saints, in the church of the Trinita di 
 Pellegrini; the Crucifixion, in St. Andrea, 
 at Monte Cavallo ; and some paintings in 
 the Church of St. Mark at Venice. He 
 died at Rome in 1697. 
 
 CORTESI (GlOVANNA MaRMOCCHINi). 
 
 This ingenious woman was born at Flo- 
 rence in 1670, and was instructed by Livio 
 Mehus, and Pietro Dandini ; but, by order 
 of the grand duchess, she was afterwards 
 taught to paint in miniature, by Hippolito 
 Galantini. In that style she, in a few 
 years, became very eminent for a pleasing 
 and natural tint of colouring, a pencil 
 singularly neat and tender, and a lively 
 and striking resemblance of the persons 
 whose portraits she drew. She usually 
 worked in oil, but also painted equally mcU 
 with crayons, and gave to her pieces all 
 the tenderness and warmth of life. She 
 died in 1736. 
 
 Cortona (Pietro da), see Bebketini. 
 
 CosiERS (John). This artist was born 
 at Antwerp in 1603, and studied under 
 Cornelius de Vos, with whom he continu- 
 ed some years, and proved happy in his 
 taste of design and colouring. His re- 
 putation procured him employment from 
 the King of Spain, and several other prin- 
 ces, who bestowed on him particular 
 marks of their favour. His composition 
 is good, his figures well designed and 
 grouped, and there appears a judicious 
 variety in the attitudes. His backgrounds 
 are much enriched with architecture, and 
 his manner of painting is broad, easy, and 
 free. His drawing is generally correct, 
 and his colouring tolerable, though some- 
 times it partakes too much of a yellowish 
 tint. At Mechlin are two noble designs 
 
COS 
 
 COT 
 
 of this master; one, of the Crucifixion, and 
 the other the Presentation in the Temple. 
 He was appointed director of the Academy 
 at Antwerp in 1639. 
 
 CosiMO (PiKTKo da). Hc was born at 
 Florence in 1441, and was a disciple of 
 Cosimo Iloselli, whom he soon surpassed 
 in force of application and sprightliness 
 of genius. Roselli being invited to Rome 
 to paint one of the Pope's chapels, was 
 accompanied by Pietro, who assisted him, 
 and gave such proofs of his skill that he 
 was employed in the Vatican, and so effec- 
 tually recommended himself to the favour 
 of his holiness and the nobility, that he 
 painted for them a number of historical 
 designs, as well as portraits. He had 
 many disciples, who became eminent, 
 among whom were Andrea del Sarto, and 
 Francisco da San Gallo. As he advanced 
 in life he grew whimsical, altered his style, 
 and took a delight in painting fantastical 
 subjects, as harpies, satyrs, monsters, and 
 bacchanals. He died in 1521. 
 
 CossAi>E, or CozzALE (Gkazio.) He 
 was a native of Brescia, and lived about 
 the year 1606. According to some writers, 
 he had great facility of invention and exe- 
 cution. His style somewhat resembled 
 Palma's, but without servile imitation. 
 His chief works are the Wise Men's Offer- 
 ing, in the Church of DelleGrazie at Bres- 
 cia ; and the Presentation in the Temple, 
 in that of Le Miracoli. He was killed ac- 
 cidentally about 1610. 
 
 Costa (Lokeinzo), the Elder. He was 
 born at Ferrara, and studied under Fran- 
 cesco Francia. He is supposed to have died 
 about the year 1530. Ilis best works are 
 at Bologna, and the subjects are, the Re- 
 surrection, in St. Maria Mascarella; the 
 Madonna, in the chapel of Bentivoglio ; a 
 St. Girolamo, in St. Petronio; a Madonna 
 and Child, with Saints, in the same church ; 
 and at Ferrara, in the Carthusian convent, 
 aPieta; andin St. Guglielrao, the Assump- 
 tion of the Virgin. 
 
 Costa (Ippolito), son of the preceding, 
 was born at Mantua. He lived about the 
 year 1540, and studied with Girolamo da 
 Carpi, and also under Giulio Romano, 
 whose style he adopted. He was the master 
 of Bernardino Campi. 
 
 Costa (Lorenzo), the Younger. He 
 was the son of Ippolito Costa, from whom 
 he received his knowledge of the princi- 
 ples of painting, in which he attained dis- 
 tinction. There are several pictures bear- 
 ing his name at Mantua, where he lived 
 about the year 1570. 
 
 Coster (Adam). He was a native of 
 Antwerp, and according to some writers 
 studied under Theodore Rombouts. He 
 painted equally well in history and por- 
 trait ; but his favourite pursuit was that 
 of depicting gallant assemblies and public 
 festivals, which he executed in a very lively 
 manner. There is a fine print, represent- 
 ing a Concert, engraved after a picture of 
 Coster's painting. 
 
 CoswAY (Richard). This ingenious 
 artist, who was one of the oldest members 
 of the Royal Academy, was chiefly distin- 
 guished as a painter in miniature ; but all 
 his works were marked by a superior taste, 
 correctness, elegance, and beauty. At one 
 period of his life he maintained an ascen- 
 dcncyin his peculiar province of art, which 
 bade defiance to all attempts of rivalry. 
 The same spirit and delicacy also appeared 
 in his oil paintings, and he made a collec- 
 tion of drawings, so large as to excite won- 
 der, considering that they were performed 
 in the intervals of a very active profession. 
 These drawings may rank in excellence 
 and variety with the similar remains of the 
 most celebrated old masters. Mr. Cosway 
 possessed a sound understanding, well im- 
 proved by study, and a turn for humour 
 that rendered him an agreeable companion. 
 A short time before his death, he sold the 
 greatest part of his collection of ancient 
 pictures and other effects ; after which he 
 removed from Stratford-place to Edge- 
 ware-road, where he died at a very ad- 
 vanced age, July 4, 1821 . He left a widow 
 of congenial taste and talent, whose works 
 are well known to' the public. Towards 
 the close of her life she settled in France, 
 where shebecame thesuperior of aconvent, 
 in the vicinity of Lyons. 
 
 Cotes (Francis), an English artist, 
 and one of the founders of the Royal Aca- 
 demy, was the son of Robert Cotes, an 
 apothecary in Cork- street, Burlington - 
 gardens, and born therein 1726. Francis 
 became the pupil of Knapton, but in the 
 sequel much excelled his master. He was 
 particularly eminent for his portraits in 
 crayons, in which branch of the art he 
 surpassed all his predecessors ; and a fine 
 specimen of his talent is now in the coun- 
 cil-room of the Royal Academy, close to 
 the portrait of Sir Joshua Reynolds. The 
 picture in question is a portrait of old 
 Mr. Robert Cotes. He also painted with 
 considerable ability in oil colours ; and at one 
 time Hogarth declared him to be superior 
 to Sir Joshua Pteynolds an opinion, how- 
 ever, \Yluch must have arisen from strong 
 
COT li 
 
 prejudice, for that great painter had even 
 then produced some of his best portraits. 
 But though the pictures of Cotes deserved 
 not this high character, they were very 
 pleasing, well finished, coloured with great 
 spirit, and, by the aid of Mr. Toms's dra- 
 peries, were justly ranked with some of 
 the best of that day. His greatest excel- 
 lence, however, was in crayons, which were 
 much improved under his hands, both in 
 their preparation and application. Lord 
 Orford says, that his pictures of the Queen 
 holding the Princess Royal, then an infant, 
 in her lap; of his own Wife; of Polly 
 Jones, a woman of pleasure ; of Mr. 
 O'Brien, the comedian ; of Mrs. Child of 
 OsterlyPark; and of Miss Wilton, after- 
 M^ards Lady Chambers are portraits 
 which, if they yield to Rosalba in softness, 
 excel hers in vivacity and invention. Mr. 
 Cotes was very early in life afflicted with 
 the stone, and before he attained the age 
 of forty-five fell a victim to that disease. 
 He died at his house in Cavendish-square, 
 July 20, 1770, and was buried at Rich- 
 mond in Surrey. 
 
 Cotes (Samuel). He was the younger 
 brother of Francis Cotes, and brought up 
 to his father's profession, which, however, 
 he abandoned to study painting. Tiie 
 result answered the expectations of his 
 friends ; and, if he did not rival his brother 
 and preceptor, it was because the talents 
 of the latter were of that superior character 
 which nature refrains from putting forth 
 in profusion, especially in the same family. 
 Notwithstanding this, the works of Samuel 
 Cotes, in crayons, were highly and de- 
 servedly esteemed, and he became also the 
 first miniature and enamel painter of his 
 day. He was twice married; first, to a 
 daughter of Mr. Creswick, an East India 
 director, and next to Miss Sarah Sheppard, 
 whose talents in painting were of a superior 
 order. She died in 1814, and Mr. Cotes 
 in 1818, having quitted the profession 
 some years. 
 
 COTIGNOLA (GiROLAMO MaRCHESI DA). 
 
 This artist was born at Cotignola, near 
 Bologna, in 1475. His master was 
 Francesco Francia, by whose instructions 
 he became one of the most eminent por- 
 trait painters of his time. He also pro- 
 duced many historical pictures, some of 
 which are still extant in the churches of 
 Bologna and its neighbourhood. Though 
 his design partakes of the gothic style of 
 the age when he lived, his colouring is 
 good, and his expression animated. His 
 best work is the Marriage of the Virgin, 
 
 18 COX 
 
 in the Church of St. Giuseppe at Bo- 
 logna. 
 
 Cotignola, or Zaganelli (Francesco 
 da). This painter, who lived at Parma 
 about the year 1520, was the disciple of 
 Nicolo Rondinello. He is praised for his 
 colouring, but is deficient in design and 
 composition. His best pictures are the 
 Resurrection, at Cassano; the Baptism of 
 Christ, at Faenza; and a Madonna, at 
 Parma. 
 
 Cousin (John). This painter was born 
 at Soucy near Sens, in 1538. He was 
 originally a glass-stainer, but afterwards 
 applied so diligently to historical painting 
 as to be ace ou n ted the founder of the Fren ch 
 School. His principal performance in this 
 line was a picture of the Last Judgment, 
 formerly in the convent of the Minimes, 
 and now in the Louvre. This work is 
 executed in a grand taste, and partakes 
 much of the style of Parmegiano. He 
 also painted the windows of the church be- 
 longing to the same convent; and those 
 in the Church of St. Gervais, at Paris. 
 The subjects of them are the Death of 
 St. Laurence; Christ and the Woman of 
 Samaria; and our Saviour healing the 
 Paralytic. Cousin had a competent know- 
 ledge of perspective and architecture. He 
 died at Paris in 1601. 
 
 CovTN (Renier). This painter was 
 born in Brabant, and studied after nature. 
 His usual subjects were plants, vegetables, 
 market-women with baskets of eggs, fruit, 
 and dead game. He also painted, in some 
 of his compositions, girls engaged in do- 
 mestic employments, and likewise conver- 
 sations. The time when he lived is not 
 recorded; nor were his merits above me- 
 diocrity. His brother, Isaac Covyn, paint- 
 ed historical subjects and portraits; but 
 his latter works fell short of those which 
 he executed in his early days. 
 
 COUWENBERCH, SBC ThIELEN. 
 
 CoxciE, or Ooxis (Michael). He was 
 born at Mechlin in 1497, and received 
 his first instructions in painting from Ber- 
 nard Van Orlay of Brussels; but, quitting 
 his own country, he travelled to Rome, 
 and there became a disciple of Raffaelle, 
 under whom he worked several years; and 
 in that school acquired the taste of design 
 and colouring peculiar to his master, as 
 also the power of imitating his manner so 
 far, as to be qualified to design his own 
 female figures with grace and elegance. 
 He had, indeed, no great invention, nor 
 did he possess a liveliness of imagination ; 
 and therefore, when he left Rome to re- 
 
COY 1 
 
 turn to his native country, he carried with 
 himaconsidorablenumberofthedesignsof 
 RafFaelle, and other masters, which he used 
 afterwards as his own compositions, and by 
 that means gained a reputation to which he 
 was not entitled. But when Jerome Cock 
 brought from Italyinto Flanders the School 
 of Athens, designed by llatfaelle, and 
 other works of the great artists, the pla- 
 giarism of Coxis was discovered, and his 
 credit consequently decreased. In the 
 Church of St. Gudule, at Brussels, is a Last 
 Supper painted by him, which is much 
 commended; and in that of Notre Dame, 
 at Antwerp, are a St. Sebastian; a Cruci- 
 fixion; the Death of the Virgin; with 
 several fine portraits. In the Chapel of 
 St. Luke, at Mechlin, he painted two 
 folding-doors, and an altar-piece, which 
 the Archduke Matthias purchased for a 
 large sum ; and in the abbey of St Gertrude 
 is a picture of the Crucifixion, by Coxcie, 
 which is painted much in the manner of 
 Raffaelle. He died at Antwerp in 1592. 
 
 CoYPEi. (Noel). He was born at 
 Paris in 1628. His first tutor was Pon- 
 cct of Orleans ; but at the age of fourteen 
 he became the scholar of Guillerier, and 
 his proficiency afterwards gave him em- 
 ployment under Charles Errard, who at 
 that time presided over the works at 
 the Louvre. His merit introduced him 
 into tlie academy in 1659, and for his 
 reception he produced the picture of Cain 
 slaying Abel. About this time he paint- 
 ed the Martyrdom of St. James in the 
 Church of Notre Dame, which is consi- 
 dered a masterpiece. Having thus attained 
 the distinction of an able artist, he was, 
 in 1672, appointed by the king Director 
 of the French Academy at Rome, where 
 he resided three years. Here he painted 
 four easel pictures for the King of France; 
 the subjects of which were, Solon taking 
 leave of the Athenians ; Trajan giving 
 audience ; Ptolemy ransoming the Jews ; 
 and Alexander Severus distributing corn 
 to the Romans. Poussin and Le Sueur 
 were the objects of Coypel's imitation, 
 and he has copied them with taste. In 
 1676 he returned to Paris, where he was 
 employed in fresco paintings at the 
 Tuileries. His last and best work was 
 the Vault of the Sanctuary of the Invalids. 
 Before his death, which happened in 1707, 
 he was appointed Rector of the Academy 
 of Paris. Noel Coypel etched some 
 plates. 
 
 CoYPiiii (Antoise), the son and pupil 
 of the preceding, was born at Paris in 
 
 \9 COZ 
 
 1661. He accompanied his father to 
 Rome, where he is said to have studied 
 the works of Raffaelle, Buonarroti, and 
 the Caracci ; but it is certain that he did 
 not profit by those great models ; and no 
 wonder ; for at the age of eighteen he 
 returned to Paris, and in the following 
 year obtained admittance into the Aca- 
 demy, on which occasion he painted a 
 picture of the Assumption. Soon after 
 he became painter to the court, and 
 gained a greater degree of popularity than 
 he merited. He was graceful in his 
 heads, and painted children well, but his 
 attitudes were all copied from the stage. 
 His principal works are Christ disputing 
 with the Doctors; the Assumption, in 
 Notre Dame ; Christ restoring sight to 
 Bartimeus ; Jephtha and his daughter ; 
 and a Crucifixion. He also executed 
 some engravings. Anthony Coypel was 
 in high esteem at court, and became 
 Director of the Academy. He died in 
 1722. 
 
 Coypel (Noel, Nicholas). He was 
 the brother of Anthony, and the younger 
 son of Noel Coypel by a second marriage. 
 He was born at Paris in 1692. He re- 
 ceived his first instructions from his 
 father, whom he lost at the age of fifteen ; 
 after which he studied in the Academy, 
 and in 1728 became a member of that 
 institution. His picture of reception 
 was the story of Neptune and Amymone. 
 His principal performances are the ceiling 
 of the chapel of the Virgin in the Church 
 of St. Saviour, and the altar-piece there 
 representing the Assumption. He also 
 etched some plates, and died at Paris in 
 1735. 
 
 Coypel (Charles Antoine). He was 
 the son of Antoine Coypel, and was born 
 at Paris in 1694. He at first painted 
 historical subjects, but quitted them for 
 portraits, conversations, and rustic amuse- 
 ments. He also was an engraver. He 
 died in 1752. 
 
 CozExs (Alexander). This artist was 
 a native of Russia, and settled as a land- 
 scape painter in London, but chiefly sub- 
 sisted by teaching drawing. His manner 
 of instruction was uncommon, and appears 
 to have been adopted from a hint thrown 
 out by Leonardo da Vinci, M'ho recom- 
 mends selecting the outlines of landscapes 
 from the stains of a plastered wall. Pur- 
 suant to this idea, Cozens would dash 
 out upon pieces of paper a number of 
 blots and loose flourishes, from which he 
 selected forms, and sometimes by chance 
 
CRA 
 
 140 
 
 CRA 
 
 elicited grand objects, but they were in 
 general too indefinite in their execution, 
 and unpleasing in colour, lie published a 
 tract upon this process ; and another en- 
 titled, " The Principles of Beauty, rela- 
 tive to the Human Head," with plates by 
 Bartolozzi. He was also the author of 
 a work called, " Various Species of Com- 
 position in Nature." He was for some 
 years drawing-master at Eton school, and 
 gave some lessons to Greorge IV. when 
 Prince of Wales. He died in 1786, 
 leaving a son, John Cozens, who excelled 
 him as a landscape painter; rejecting the 
 fortuitous blots and dashes of his father's 
 plan, and following nature. His works 
 possess great merit, and his drawings 
 were sold at Christie's, in 1805, for 510. 
 He died in a state of mental derangement, 
 in 1799. 
 
 CozzA (Francesco). This artist was 
 born in 1605, at Palermo, in Sicily, but 
 according to Lanzi he was a native of 
 Calabria. Having studied the first prin- 
 ciples of painting, he went to Rome, where 
 he entered the school of Domenichino, 
 under whom he continued several years, 
 and conceived so just an opinion of the 
 merit of his director, that he constantly 
 endeavoured to imitate his manner and 
 style, and his endeavours were attended 
 with success. He became the companion 
 of Domenichino, and after his death com- 
 pleted those works which his friend and 
 preceptor had left unfinished. At Rome he 
 was employed in several grand works in 
 fresco, as well as in oil, which did honour 
 to his instructor as well as to himself. 
 He died in 1 682. 
 
 CozzA (Giovanni Battista). This 
 painter was born at Milan in 1676 ; but 
 his master is not mentioned. He practised 
 chiefly at Ferrara, where he painted for 
 the churches. His principal works are, 
 the Immaculate Conception, in the Ca- 
 thedral ; the Holy Family, in the Ogni- 
 santi; the Annunciation, in St. Lucia; 
 and the Assumption of the Virgin, in St. 
 Guglielmo. He died in 1742. 
 
 CozzA (Cablo). He was the son of 
 Giovanni Battista, and was born at Ferrara, 
 about 1700. He received his instructions 
 in painting from his father, whose style 
 he imitated. His best works are in the 
 churches of Ferrara, where he died in 
 1769. 
 
 Orabbetje, see Asselyn. 
 Cbabeth (Adrian). This Dutch ar- 
 tist was born at Gouda in 1550, and 
 studied under John Schwartz, to whom 
 
 he proved very superior. On leaving his 
 master he set out for Rome, but, taking 
 France in his way, he stopped at Autun, 
 to finish some commissions which he 
 received there. He died, very much re- 
 gretted, at that place in 1581. 
 
 Cbabeth (Dibk and Woutee). These 
 brothers were incomparable painters on 
 glass. By some writers they are said to 
 have been natives of France, and by 
 others of Germany ; but it is certain 
 that they were born at Gouda, in Holland. 
 Wouter is said to have visited France and 
 Italy, and by all judges is allowed to have 
 been superior to his brother in drawing, 
 and in transparency and brilliancy of 
 colouring. The works of Dirk, however, 
 had greater strength in the tints, and, by 
 his bold and strong manner, he produced 
 an eflfect equal to the clearness and deli- 
 cacy of the other. Both were great 
 masters, as well in large as in small, and 
 they wrought with incredible freedom. 
 The most beautiful performances of these 
 artists, and perhaps the finest of the kind 
 in Europe, were painted by them in 1567, 
 at Gouda, in the great church. The sub- 
 jects are Christ driving the Traders out 
 of the Temple ; the Nativity ; the Death 
 of Holofernes ; and the Destruction of the 
 Temple by Heliodorus. Though these 
 artists lived in the closest connexion and 
 friendship, they were so cautious of having 
 their secret discovered, or were so jealous 
 of each other, that one brother would not 
 suffer the other to see him at work ; and 
 Wouter always covered his design when- 
 ever Dirk came into his room. 
 
 Cbabeth (Fbancis). He was born at 
 Mechlin, in 1500 ; and painted historical 
 subjects in the manner of Lucas Van Ley- 
 den. In the Church of the Recollets, in 
 his native city, is an altar-piece by him, 
 the subject of which is the Crucifixion ; 
 and on the folding-doors he has painted 
 the History of the Passion ; he died in 
 1548. 
 
 Cbabeth (Walter). He was born at 
 Gouda in 1570, and had Cornelius Ketel 
 for his instructor. He became the most 
 celebrated painter on glass in his day. He 
 died at Gouda in 1624. 
 
 Cbadock (Luke). This artist was born 
 at Ilchester in Somersetshire, about the 
 year 1660. He had no instructor, except 
 in house painting; notwithstanding which, 
 by the force of genius, he became an ac- 
 curate and spirited designer of birds, ani- 
 mals, and dead game. He died in 1717. 
 
 CbvVesbecke (Josse Van). This artist 
 
CBA 
 
 141 
 
 ORA 
 
 was born at Brussels, in 1608. He was 
 originally a baker ; but on contracting an 
 intimacy with Brouwer at Antwerp, he 
 became his scholar, and though thirty years 
 old, he made a rapid progress in the art. 
 His invention was lively, but his subjects 
 were mean, and often unchaste ; yet his 
 touch was delicate, and his colouring clear 
 and transparent. His general subjects 
 were taverns, inns, corps-de-garde, and 
 drunken quarrels, which were full of hu- 
 mour and drollery. One of his most capi- 
 tal designs is a representation of some 
 drunken boors fighting ; the tables, chairs, 
 pots, men, women and children tumbled 
 together, and one of the combatants 
 stretched out as dead. This picture is of 
 Craesbecke's best time, and entirely in the 
 manner of Brouwer. The following 
 whimsical incident, related of this artist, 
 shows that he resembled Brouwer in more 
 points than one. Craesbecke took it into 
 his head to be jealous of his wife ; and, to 
 judge whether she really loved him, he one 
 day stripped his breast naked, and painted 
 the appearance of a mortal wound on his 
 skin ; his lips and cheeks displayed a livid 
 colour; and on his palette near him he 
 placed his knife, exhibiting on the blade the 
 appearance of blood. Every thingbeingpre- 
 pared, he roared out as if he had been killed, 
 and lay still. His wife ran in, and seeing him 
 in that condition, showed so many tokens 
 of natural passion and grief, that he rose 
 up, convinced of her affection, and freely 
 told her his motive for the contrivance. 
 He was in the habit of practising grimaces 
 before a glass, and frequently painted his 
 own portrait with a patch on one eye, and 
 a countenance full of humour. He died 
 in 1668. 
 
 Cramer (Nicholas). He was born at 
 Leyden in 1670, and at first was a dis- 
 ciple of William Mieris, but afterwards of 
 Karl Moor, wliose style of design, and 
 manner of colouring, he constantly follow- 
 ed. An uncommon affection subsisted 
 between Moor and his scholar; nor was 
 there a stronger resemblance in their man- 
 ner of painting than in their natural tem- 
 pers. The subjects of Cramer were small 
 portraits and conversations, which were 
 beautifully coloured, and delicately finish- 
 ed. He had a good taste for design, a 
 judicious disposition of the figures, and his 
 portraits had great force as well as per- 
 fect resemblance. Cramer died in 1710, 
 much regretted, and deservedly admired. 
 
 Cranach, or Kuanach (Lucas). He 
 was born at Kranach, in the bishopric of 
 
 Bamberg, in 1472, and in his time was 
 accounted a considerable artist. The 
 Elector of Saxony employed him several 
 years ; whence the greatest and best part 
 of his works are in the palace of that prince. 
 For the most part he painted portraits, 
 and figures at half length ; though he also 
 at times exercised his pencil on historical 
 and poetical subjects. He was fond of 
 painting the heads of old men and women ; 
 and the draperies of his figures, in all his 
 compositions, were imitated from the 
 modes of the time. The elector and his 
 court valued him highly, and liberally re- 
 warded him for his labours. Sandrart says, 
 that Cranach designed with grace and ele- 
 gance ; of which, however, there is little 
 or no appearance in his general works. 
 His manner of designing, on the contrary, 
 was gothic, and his composition irregu- 
 lar ; and though he finished the heads of 
 his figures with care, yet the hands and 
 extremities are stiff, and often incorrectly 
 drawn, as well as badly proportioned. 
 This master, however, is not without his 
 admirers, who seem to imagine that the 
 antiquity of a painting compensates for any 
 deficiency of taste, grace, or correctness. 
 His most capital painting is a naked Lu- 
 cretia, as large as life,' in an erect posture, 
 which is preserved with great care, and 
 highly valued. He diedin 1553. Cranach, 
 however, is better known as an engraver 
 than a painter, but his woodcuts are most 
 esteemed. He had a son of the same name, 
 who was both a painter and engraver, and 
 followed his father's style. He died in 
 1586, aged twenty-six. 
 
 Cranch (John). This self-taught 
 artist was a native of Devonshire, and 
 the friend of Sir Joshua Reynolds. He 
 resided many years at Bath, where he 
 practised portraiture; but produced also 
 one historical picture, the subject of which 
 was the death of Chatterton, now in the 
 possession of Sir James Winter Lake, 
 baronet. Mr. Cranch died at Bath, in Feb- 
 ruary, 1821, aged seventy. 
 
 Craxsse (John). This artist was born 
 at Antwerp in 1480. He distinguished 
 himself as a painter of historical subjects, 
 and in 1523 became a member of the aca- 
 demy in his native city. In the Church 
 of the Virgin Mary at Antwerp, is a fine 
 altar-piece by him, representing Christ 
 washing the feet of his Disciples. 
 
 Crayer (Caspar). He was born at 
 Antwerp in 1582, and was a disciple of 
 Raffaelle, the son of Michael Coxis, but far 
 urpassed his master, and therefore soon 
 
ORE 
 
 142 
 
 CRE 
 
 quitted him. Afterwards he studied the 
 particular excellences of the greatest 
 masters to which he had any access, and, 
 taking nature for his director, formed a 
 pleasing manner for himself. The work 
 which established him in the favour of 
 the court at Brussels was a portrait of 
 Cardinal Ferdinand, brother to the King 
 of Spain, which he painted at full length, 
 and as large as life. This picture being 
 sent to Madrid, gave so much satisfaction 
 to the king, that he presented the artist 
 with a pension, and a chain and medal of 
 gold. The finest picture of this artist is 
 that which he painted for the Abbey of 
 Affleghera, representing the Centurion 
 dismounting from his Horse to worship 
 Christ. When Rubens saw this piece, 
 he said, " Crayer, nobody will ever surpass 
 you." Vandyck also had the highest 
 opinion of Crayer, and painted his por- 
 trait. Though Crayer had less fire in his 
 works than Rubens, his design is frequently 
 more correct. His composition generally 
 consisted of a small number of figures ; 
 and he avoided encumbering his design 
 with any thing that did not contribute to 
 its elegance or probability. He grouped 
 his figures with skill, and his expressions 
 have all the truth of nature. There is 
 great variety in his draperies, and much 
 simplicity in their folds ; and his colouring 
 is admirable. He principally painted 
 religious subjects ; and though he lived to 
 a great age, yet his temperance and regu- 
 larity preserved to him the full use of his 
 faculties; and to the last month of his 
 life, his pencil retained the same force and 
 freedom which it possessed in its most 
 vigorous time. Among his numerous 
 works may be mentioned Christ appearing 
 to Mary Magdalen, in the Church of 
 Notre Dame, at Brussels; the Assumption,' 
 in the Cathedral at Ghent ; the Descent of 
 the Holy Ghost in the Church of St, 
 Michael ; and the Resurrection, in the 
 Church of the Jesuits, both in the latter 
 city, where Crayer died, in 1669. 
 
 Ckedi (Lorenzo). He was born at 
 Florence in 1452, and was a disciple of 
 Andrea Verocchio, at the same time that 
 Pietro Perugino and Leonardo da Vinci 
 studied in the school of that master. As 
 he had perpetual opportunities of observ- 
 ing that grandeur of style which appeared 
 in the compositions of Leonardo, and that 
 exquisite manner of pencilling, which far 
 surpassed that of hisinstructor, Verocchio, 
 he gave himself up entirely to imitate him 
 in his taste of design, handling, and the 
 
 management of his colours. He also 
 copied the paintings of that eminent genius 
 with such exactness, similarity of colour, 
 and freedom of touch, that it seemed 
 almost impossible for the ablest judges to 
 distinguish the copies from the originals. 
 Credi, however, had merit of an original 
 order, especially in painting Madonnas 
 and Holy Families, which established his 
 reputation high at Florence, where he had 
 great employment, and acquired much 
 ^vealth. His most considerable work is 
 the Wise Men's Offering. He died in 
 1530. 
 
 Cbeetex (Charles), a German artist, 
 was born at Prague in 1625. He studied 
 at Rome, where he obtained the name of 
 V Espadron. His excellence lay in his- 
 tory and portrait, which he painted with 
 great accuracy and elegance. He died at 
 Prague in 1681. 
 
 Ckumona (Nicolo da). He was a 
 native of Cremona, and lived about the 
 year 1520. In the Church of St. Maria 
 Maddalena Monache, at Bologna, is an 
 altar-piece by his hand, representing the 
 Descent from the Cross. 
 
 Cremonese (Giuseppe). This artist 
 was born at Ferrara in 1610. He had no 
 instructor, but acquired a knowledge of 
 the principles and practice of painting by 
 studying the works of Dosso Dossi, and 
 Titian. There are several of his works in 
 the churches at Ferrara; and there are 
 also in print some of his etchings. 
 
 Cremonini (Giovanni Battista). He 
 was born at Cento about 1560, and died 
 in 1610. He principally excelled in paint- 
 ing perspective, and in representing wild 
 animals. But he also executed some altar- 
 pieces at Bologna in a good style ; among 
 which were the Annunciation, the Death 
 of St. Francis, and the Assumption of the 
 Virgin. He had the honour to instruct 
 Guercino. 
 
 Crepu (Nicholas). This artist was 
 born in 1680. He was a Fleming, who, 
 without any instructor, and by only study- 
 ing after nature, arrived at a great degree 
 of merit in flower painting. He was ori- 
 ginally bred to the military profession, 
 and had the rank of lieutenant in the 
 Spanish service ; but while encamped, or 
 in garrison, he amused himself by design- 
 ing after nature such objects as were 
 agreeable to his fancy. At the age of 
 forty he left the army, and settled at Ant- 
 werp, where he began to practise paint- 
 ing for a maintenance. His works were 
 soon noticed by the artists, who readily 
 
CRE 
 
 CRE 
 
 acknowledged his superiority. His pictures 
 were also much sought for, brought con- 
 siderable prices, and were carried to every 
 part of Eurojje. He died in 1742. 
 
 Crescenzio (Don Juan Baptist). This 
 artist was born at Madrid in 1611. He 
 excelled in painting fruit, flowers, and 
 architecture. The King of Spain was so 
 highly pleased with his works, that he be- 
 stowed upon him a pension, and the order 
 of St. James. He died in 1660. 
 
 Crespi (Giovanni Battista). He was 
 born at Ccrano, in the Milanese, in 1557. 
 His education was liberal, but though in- 
 tended for a learned profession, he devoted 
 himself to painting; and, after studying 
 at Rome and Venice, he fixed his residence 
 at Milan, where he became director of the 
 Academy, and practised also as an archi- 
 tect and sculptor. His manner has 
 abundant spirit, and his colouring pos- 
 sesses great harmony; but there is much 
 affectation in his design and composition ; 
 nor is his drawing correct, especially in the 
 naked figure. Still his beauties may be 
 said to overbalance his defects; and his 
 pictures of the Baptism of St. Augustine, 
 in the Church of St Marco, is a masterly 
 performance. He also excelled in paint- 
 ing animals and birds of a small size. He 
 died in 1633. 
 
 Crespi (Danieeo). This artist was 
 born at Milan in 1590, and studied first 
 under Giovanni Battista Crespi, but after- 
 wards under Giulio Cesare Procaccini; 
 equalling the latter, and surpassing the 
 former. The grace and variety in his 
 heads, and the propriety of action and 
 character in his figures, accompanied with 
 a beautiful tone of colour, procured him 
 the favour of the great, and so much em- 
 ployment in fresco painting, as well as oil, 
 that he became rich. Besides history, he 
 painted portraits in a style superior to 
 most of his contemporaries. He and all 
 his family died of the plague in 1630. At 
 Pavia are several paintings by Crespi, as 
 Christ among the Doctors ; the Presenta- 
 tion in the Temple ; the Adoration of the 
 Magi ; the Baptism of our Saviour; and 
 the Preaching of St. John ; which are all 
 excellent performances. And at Wilton 
 there is a picture painted by this master, re- 
 presenting the Virgin encircled with Flow- 
 ers, with Christ leaning on her bosom. 
 
 Crespi (Giuseppe Maria). This 
 painter, who was also called 11 Spagnuolo, 
 on account of the splendour of his dress, 
 was born at Bologna in 1665, and received 
 his earliest instruction from Angelo Toni, 
 
 a very moderate artist, whom he soon quit- 
 ted, and successively studied under Dome- 
 nico Canuti and Carlo Cignani. Having 
 obtained great improvement from the pre- 
 cepts of these masters, he applied himself 
 to study and to copy the works of Baroccio, 
 after which he acquired the principles of 
 colouring at Venice, from the paintings of 
 Titian, Tintoretto, and Paolo Veronese. 
 His merit becoming known to the Grand 
 Duke Ferdinand, he immediately engaged 
 him in several noble compositions, which 
 he executed with such success as to be ap- 
 pointed painter to the prince. In portrait 
 he was particularly excellent; and to those 
 who sat to him he gave elegant attitudes, 
 with a strong and graceful resemblance. 
 His imagination was lively, but he took a 
 delight in caricatures; frequently amusing 
 himself with designing comic and bur- 
 lesque fancies, which he expressed with 
 abundance of humour. Sometimes he 
 etched those designs with aquafortis, select- 
 ing his subjects from the writings of 
 facetious poets. He was also singular, 
 in accustoming himself to paint in a dark- 
 ened chamber, but so contrived as to ad- 
 mit a ray of the sun, or the light of a 
 flambeau, to enable him to give a greater 
 roundness and relief to his paintings, by a 
 nice observation of the force of natural 
 light and shadow. He died in 1747. There 
 are several of his works in the churches 
 and palaces of Bologna. He also etched 
 some plates from his own designs. 
 
 Cresti (Domenico), called Cavaliere 
 Passignano. This painter, accounted one 
 of the best masters, of his time, was born 
 at the village of Passignano, near Florence, 
 in 1558. He was instructed in painting 
 by Macchietti, and afterwards by Battista 
 Naldini; but at Florence he became a 
 disciple of Zucchero, in conjunction with 
 whom he executed several works, which 
 established his reputation. He had un- 
 common abilities, a fruitful invention, a 
 noble taste for grand compositions, skill 
 to introduce a multitude of figures in his 
 designs, and an accurate judgment for the 
 disposition of them. Yet he frequently 
 painted with too thin and fluid a body of 
 colour, which prevented his pictures from 
 having a proper degree of force; and 
 when his pencil did not produce the de- 
 sired effect, it discomposed his mind, and 
 disordered his work. He was also cen- 
 sured for not adorning his figures with 
 suitable draperies, though in other respects 
 they were correct, and the attitudes easy. 
 He died in 1638. 
 
CRI 
 
 144 
 
 CRO 
 
 Creti (Dosato). He was born at 
 Cremona in 1671, and studied at Bologna 
 under Lorenzo da Passinelli, to whose style 
 he added an imitation of the works of 
 Cantarini da Pesaro. Hence his colouring 
 is harsl), and his designs are often un- 
 natural. Two of his best performances 
 are the Crowning of the Virgin, and the 
 Offering of the Wise Men, in some of the 
 churches at Bologna. In the public palace 
 are also four of his paintings, from the 
 Life of Achilles. He died at Bologna in 
 1747. 
 
 Criscuolo (Giovanni Filippo). He 
 was born at Gaeta about 1495. After 
 studying under Andrea da Salerno, he 
 went to Rome, where he had Pietro Peru- 
 gino for his master, but applied himself 
 chiefly to the works of Raffaelle. He tlien 
 fixed his residence at Naples, where he 
 was much employed for the churches, and 
 died there in 1584. 
 
 Criscuolo (Giovanni Asgelo). This 
 artist was the younger brother of the pre- 
 ceding, and was brought up to the pro- 
 fession of the law, which he abandoned 
 for the pencil, and studied under Marco 
 da Siena. There are some good paintings 
 of his in the churches at Naples, where he 
 died about 1580. 
 
 Crisevolo (Maria Angela). This 
 female artist was born at Naples in 1548, 
 and died there in 1606. She excelled in 
 historical subjects and portraits. 
 
 Crispi (Scipione). He was born at 
 Tortoni, in Piedmont, about 1550. His 
 merits were of a superior order in elegance 
 of design and power of execution, though 
 little is known either of his personal his- 
 tory or his works; the chief of these are 
 a Visitation of the Virgin and Elizabeth, 
 and an altar-piece of St. Francis and St. 
 Dominic. He died about 1600. 
 
 Cristofane ( ). This old artist 
 
 was born at Bologna in 1349. He painted 
 with ability, considering the period in 
 which he lived; but few vestiges of his 
 works exist. He died at Bologna in 1387. 
 
 Cristofori (Fabio). This artist 
 worked in mosaic, which art he carried 
 to a high state of perfection in the Church 
 of St. Peter at Rome, where he was as- 
 sisted by his son, Pietro Paolo, about the 
 year 1710. 
 
 Ceistona (Giuseppe). He was born 
 at Pavia in 1664, and studied under Ber- 
 nardino Ciceri. His excellence lay in 
 landscapes and views in and about Rome, 
 which he designed well, and with great 
 accuracy. 
 
 Crivelli (Carlo). This ancient pain- 
 ter was a native of Venice, and the scholar 
 of Jacobello Florio. There exist two pic- 
 tures by him at Venice, one representing 
 St. Fabian, and the other the Marriage 
 of St Catherine. He died about 1500. 
 
 Crivelli (Angelo Maria.) He was 
 a native of Milan, and excelled in paint- 
 ing animals, particularly huntings, which 
 he executed with uncommon spirit. The 
 time when he lived is unknown. 
 
 Crock (Baldassaro). This artist was 
 born at Bologna in 1553. In the time 
 of Pope Gregory XIII. he was employed 
 at the Vatican, where he painted both in 
 oil and fresco. There are many of his 
 works in the- churches and palaces of 
 Rome which do honour to his judgment 
 and taste. He died there in 1628. 
 
 Crome (John), a landscape painter, 
 was born at Norwich on the 21st of 
 December, 1769. As his parents were 
 poor, they heard with dismay that their 
 son desired to become an artist, and they 
 could see no better way of pleasing him 
 than to let him learn the trade of coach 
 painting, which at least put pencils and 
 colours into his hands. These he em- 
 ployed so well and so wisely, during his 
 hours of remission from ordinary labour, 
 that he soon produced a number of pic- 
 tures, transcribed from natural scenes 
 around. He did not so soon succeed, how- 
 ever, in impressing a sense of the truth 
 and beauty of his landscapes on any of 
 his companions : a quiet forest scene, a 
 greensward valley, with a purling stream, 
 or an old fantastic tree, round which the 
 fairies of old, and rustics now, loved to 
 dance, failed to captivate the eye, or bring 
 purchasers. Some sagacious friend stept 
 in and advised Crome, when he gave up 
 coach painting, and was likely to starve 
 upon landscape, to give lessons in paint- 
 ing. This took : it introduced him be- 
 sides to many generous families; put 
 money into his pocket, and enabled him 
 to pursue his labours in landscape with- 
 out fear of want. His works are remark- 
 able for their truth : a woody lane ; a 
 winding hedge-row; a cottage, in the last 
 stage of the picturesque ; or a sketch of 
 a forest from all scenes wliich owned 
 trees and streams Crome could evoke a 
 landscape. He studied trees and herbs 
 with the eye of a botanist ; leafed them, 
 not with masses of green, as some artists 
 even of name have done; but gave to 
 each tree the leaf which belonged to it ; 
 for he perceived that a grove of trees had 
 
CUE 
 
 145 
 
 CUR 
 
 a variety of characters, as surely as a 
 crowd of men. His landscapes are chiefly 
 scenes of his native district ; he seems to 
 have had no desire to be known beyond 
 the bounds of Norwich and its inhabitants, 
 among whom he introduced a taste for 
 art, and founded a school whose scholars, 
 since the death of their master, in April 
 1821, continue to woi'k in his taste and 
 spirit. 
 
 Ckonb (Robert). This artist was 
 born at Dublin, where he learned the art 
 of painting from a person of the name of 
 Hunter; he afterwards went to Rome, and 
 there studied for some time under Ricliard 
 Wilson. Wliile in that city he fell from 
 a scaflbld in an epileptic tit ; and, though 
 he survived that misfortune, .another 
 stroke carried him ofFin London, in 1779. 
 His landscapes are scarce, but excellent ; 
 and there are some of his drawings in the 
 royal collection. 
 
 Cross (Michael). He was an English 
 artist, who lived in the reigns of Charles 
 I. and H., but he was only remarkable 
 for copying, in which he is said to have 
 had extraordinary skill. It is reported of 
 this painter (though with what degree of 
 truth is uncertain), that being employed 
 by Charles I. to copy some of the works 
 of the best masters of Italy, when at Ve- 
 nice he contrived to bring away the ori- 
 ginal of the Madonna of llaffaelle in the 
 church of St. Mark, and left the copy in 
 its stead. The deception was not im- 
 mediately discovered, and the detection 
 was too late to regain the picture ; for 
 though several messengers pursued Cross 
 expeditiously, they could not overtake 
 him. It is said that the Spanish ambas- 
 sador, in the time of Cromwell, bought 
 the original picture, and the twelve Cajsars 
 by Titian, for the King of Spain, who 
 placed them in the Escurial. 
 
 Cruz (Juan Pontoja de za). This 
 artist was born at Madrid in 1560, and 
 became the scholar of Alonso Sanchez 
 Coello. He excelled in portrait, but also 
 painted historical subjects in a good taste. 
 He died in 1610. 
 
 CuEVAs (Pedro de jlas). This artist 
 was born at Madrid in 1558. He was 
 employed in painting for private persons 
 more than public buildings ; and was al- 
 ways better esteemed as an instructor of 
 others than for his own performances. 
 His disciples were numerous, and some of 
 them rose to eminence. He died in 1635. 
 His son, Eugenia de las Cuevas, born at 
 Madrid in 1623, proved a good portrait 
 
 painter in the small size, and was appoint- 
 ed by Philip IV. to instruct Don John of 
 Austria in drawing. He died in 1667. 
 
 CuiT (George). This artist was born 
 at Moulton, near Richmond, in Yorkshire, 
 in 1743, Having given early proofs of 
 genius, he was patronised by Sir Law- 
 rence Dundas, who sent him to Rome, 
 where he remained six years, studying 
 the works of the best masters, and taking 
 sketches of the beautiful scenery around 
 that city. On his return home, he was 
 much employed by his friend Sir Law- 
 rence and otlier gentlemen in painting 
 landscapes, which branch he practised 
 till his death, February 3, 1818. Having 
 for a number of years secluded himself 
 from the world of art, he contracted a 
 style peculiar to himself, working his pic- 
 tures as near as he could to approach the 
 effect which the camera-obscura throws 
 upon paper. It is the daily effect of na- 
 ture, without any poetic licence of form 
 in compositions or violent contrast in 
 colouring. Five of his pictures are in 
 the possession ofMr. Compton of Wood - 
 End, near Thirsk. They are all views of 
 local scenery. 
 
 Cunningham (Edmund Francis), a 
 Scottish painter, born about 1742, and 
 believed to have been a native of Kelso. 
 His father withdrew to Italy after the de- 
 feat of the Pretender. Edmund sedulously 
 studied painting; copied the compositions 
 of Corregio, Parmegiano, and other great 
 masters ; and attained a high degree of 
 excellence. He visited England, France, 
 Prussia, and Russia,' and every where met 
 with patronage; but the fortune which he 
 gained by his talents, he wasted by his 
 dissipation ; he was always involved in 
 difficulties, and at length died poor, in 
 1793, in the British metropolis. 
 
 Cuquet (Pedro), a Spanish artist, was 
 born at Barcelona in 1596. He excelled 
 in historical subjects of a religious charac- 
 ter, but his works are confined to the 
 churches and monasteries of his native 
 place. He died in 1666. 
 
 Curia (Francesco). lie was born at 
 Naples in 1538, and studied under Gio- 
 vanni Filippo Criscuolo, after which he 
 went to Rome, where he improved him- 
 self by the works of Raflfaelle. On his 
 return home he was much employed in 
 painting for the churches and convents. 
 One of his best worjis is a picture of the 
 Circumcision in the Church Delia Piet^. 
 He died in 1610. 
 
 CuRRADi (Francesco) . He was born at 
 
GUY 
 
 146 
 
 Florence in 1570, and became the scholar 
 of Battista Naldini, under whom he made 
 so great a proficiency in colouring and 
 design, that his master took him for an 
 assistant in some of his works; and, being 
 frequently afflicted with the gout, he con- 
 fided the finishing of his compositions to 
 Cnrradi and Balducci, who executed them 
 with a spirit and beauty equal to their 
 master. Curradi is allowed to have had 
 a delightful manner, great correctness of 
 design, an excellent disposition of his 
 figures, attitudes full of life and expres- 
 sion, and a thorough understanding of 
 the chiaro-oscuro. ilis heads are studied 
 with unusual exactness, and he gave a 
 graceful and angelic air to particular 
 figures in his historical compositions, but 
 particularly to those in his designs from 
 sacred history, which were mostly the 
 subjects he chose to paint. To oblige 
 his friends he often painted portraits, 
 which were admired for the life and 
 nature infused into them by his pen- 
 cil ; for the roundness and relief of his 
 colouring; and for their resemblance to 
 the persons who sat to him. He died in 
 1660. 
 
 CuRTi (GiROLAMo), Called likewise II 
 Dentone, was born at Bologna in 1576. 
 He was the scholar of Lionello Spada, but 
 afterwards studied perspective from the 
 designs of Giacomo Baroccio. He then 
 went to Rome, where he improved him- 
 self greatly by the works of art which 
 abound in that city. He perfectly under- 
 stood the chiaro-oscuro, and thereby 
 gave his works a great power of illusion. 
 He died in 1632. 
 
 CuYLENBURG ( ). This artist is 
 
 supposed to have been a disciple of 
 Poelemburg ; but his taste of design and 
 style of composition do not warrant the 
 conjecture. His subjects are caves with 
 figures, nymphs bathing, bacchanals, or 
 stories from fabulous history, and some- 
 times designs of fancy. He usually paint- 
 ed in a larger size than Poelemburg, and 
 wanted that clearness of tint and lustre 
 of colouring so remarkable in the genuine 
 works of that painter. A predominant 
 brown also prevails through Cuylenburg's 
 pictures, and makes an evident difference 
 between the colouring of the two artists. 
 Neither is Cuylenburg so delicate in his 
 female forms, so correct in his drawing, 
 80 elegant in his taste, or so neat in his 
 finishing, as Poelemburg; nor is he, in 
 general, equal to Vertangen. 
 
 CcYP, see KcYP. 
 
 D. 
 
 Dach (John). This painter, who is to 
 be distinguished from John Van Ach, was 
 born at Cologne in 1566, and had for his 
 instructor an obscure artist named Bar- 
 tholomew ; on leaving whom he went to 
 Rome, and on his return stopped at Vi- 
 enna, where he was retained in the service 
 of the Emperor Rodolphus II., for whom 
 he executed several works, and which gave 
 such satisfaction that the monarch sent 
 him to Italy to collect pictures, and to 
 make drawings from pieces of antiquity. 
 He died at Vienna, very old and wealthy, 
 about 16.46. 
 
 Daddi (Bernardo). He was born at 
 Arezzo, and was the disciple of Spinello 
 Aretino, after which he settled at Florence, 
 where he became a member of the com- 
 pany of painters. There are some of his 
 works in the churches at Florence, where 
 he died in 1380. 
 
 Daddi (CosiMo). This artist was a na- 
 tive of Florence, and was the pupil of Bat- 
 tista Naldi. He painted history; and in 
 the Church of St. Michael, in his native 
 city, is an altar-piece of that angel defeat- 
 ing the Apostate Angels. He died of the 
 plague in 1630. 
 
 Uaele (John Van). This artist was 
 born in Holland in 1530, and died in 1601 . 
 He excelled in landscapes and marine 
 views, particularly where the shores are 
 rocky and the scenery romantic. 
 
 Dagiu, or Iii Capella (Francesco). 
 He was born at Venice in 1714, and stu- 
 died under Giovanni Battista Piazetta. 
 He became a member of the academy at 
 Venice, and painted historical subjects 
 with credit. Most of his pictures are in 
 the churches of Bergamo and its vicinity. 
 He died in 1784. 
 
 Dahl (Michael). This portrait pain- 
 ter was born at Stockholm in 1656, and, 
 after learning the principles of the art from 
 Ernstruem Klocke, came to England, on 
 his way to Italy. While at Romehe painted 
 the portrait of Christina, Queen of Swe- 
 den. In 1688 he returned to this country, 
 and continued here till his death, in 1743. 
 He was patronised by Queen Anne, and 
 her husband, Prince George of Den- 
 mark, whose portraits he painted. His 
 charge for a full length of Queen Anne, in 
 1712, was fifty pounds. 
 
 Dalens, Dirk (or Theodore). This 
 artist was born at Amsterdam in 1659, 
 
DAL 
 
 and learned the principles of the art from 
 his father, William Dalens, a landscape 
 painter, whom he soon surpassed. In 1 672, 
 Dirk retired to Hamburgh, to avoid the 
 war, and happening to meet with Jon 
 Voorhout, they associated together, and 
 jointly applied themselves to study, and 
 to improve themselves in their profession. 
 Dalens, on his return to Amsterdam, met 
 with great encouragement, and would pro- 
 bably liave made a considerable figure, if 
 he had not been cut off in the prime of life, 
 in 1688. In the collection of the Elector 
 Palatine is a fine landscape by this master, 
 the scene of which is a marshy ground, 
 with ducks and other wild-fowl, much in 
 the manner of Hondekoeter. 
 
 Dall (Nicholas Thomas). This 
 painter was a native of Denmark, but re- 
 sided in London, where he excelled in 
 landscape. He was employed very much 
 in scene-painting for Covent garden thea- 
 tre, which prevented him from executing 
 many small pictures. In 1768 he gained 
 the first prize given by the Society of Arts 
 for the best landscape. He became an as- 
 sociate of the Royal Academy in 1771, 
 and died in 1777. 
 
 Dallamano (Giuseppe). He was born 
 at Modena in 1679, and acquired the prin- 
 ciples and practice of painting by his own 
 unassisted genius, being even ignorant of 
 the alphabet, and to appearance little 
 raised above idiocy. Notwithstanding 
 these disadvantages, he became distin- 
 guished by his skill in taking architec- 
 tural views, many of which are in the 
 first collections at Turin. He died in 
 1758. 
 
 Daxmasio (Lippo Scannabecchi). 
 This painter was the disciple of Vitale da 
 Bologna, of which city he was also a native, 
 and resided there from about 1376 to 1410. 
 He obtained the name of Lippo della Ma- 
 donna, from the beauty which he gave to 
 the head of the Virgin whenever he made 
 it the subject of his pencil. His paintings 
 rise surprisingly above the formal and 
 hard manner of his time. It is said that 
 he also painted in oil, which, however, is 
 contrary to the story that Van Eyck was 
 the first discoverer of that practice. 
 
 Dalton (Richard). He was born about 
 1720, at Deane, in Cumberland, of which 
 parish his father was rector. At an early 
 age he was placed with a coach painter in 
 London; but, on the expiration of his 
 apprenticeship, he went to Rome, where 
 he became acquainted with some English 
 noblemen, by one of whom. Lord Charle- 
 
 mont, on his return, he was introduced to 
 the Prince of Wales, who, on his acces- 
 sion to the throne, sent him to collect 
 paintings in Italy, and made him his 
 librarian, which place he changed for 
 that of keeper of the royal cabinet of 
 drawings and medals. He died in 1791. 
 Mr. Dalton exhibited at some of the 
 meetings of the Royal Academy, and also 
 published a volume of prints illustrative of 
 Egyptian customs, from drawings made 
 by himself. 
 
 Damery (Simon). This Flemish pain- 
 ter was born at Liege in 1597. After 
 learning the rudiments of the art in his 
 native city, he went to Italy, where he 
 studied, and practised historical painting. 
 He settled at Milan, and died there in 
 1640. He is not to be confounded with 
 Walter Damery, a native of Liege, who 
 was the scholar of Berlin. He also went 
 to Italy, and returned to his own country, 
 where he painted history, and died there 
 about 1670. 
 
 Damiani (Felice). He was born at 
 Gubbio, in the Papal States, and lived 
 about the year 1610. His works combine 
 the Roman style with that of the Venetian 
 School. One of the principal is the 
 Martyrdom of St. Paul at Castel Nuova. 
 He also painted several other fine pictures 
 for the churches and chapels of his native 
 country. 
 
 Damini (PiETEo). This painter was 
 born at Castelfranco in 1592, and studied 
 under Giovanni Battista Morelli. He 
 was rising so high in his profession, that 
 many scrupled not to place him on a foot- 
 ing with Titian, when he died of the 
 plague at Venice in 1630. His principal 
 works are, Christ giving the Keys to St 
 Peter, in the Church of Clemente at 
 Padua; and the Crucifixion, in that of II 
 Santo at the same place; which last is 
 truly an admirable performance for ex- 
 pression and harmony. This artist had a 
 brother named Giorgio, who was an excel- 
 lent portrait painter, as well as of history. 
 He died of the same dreadful maladv as 
 Pietro, in 1630. 
 
 Dance (George), the elder brother of 
 Sir Nathaniel Holland, w^as by profession 
 an architect, but is entitled to a place in 
 this work, as the delineator of " Portraits 
 sketched from the Life since 1793," en- 
 gravings from which were published, in 
 two volumes folio, by Daniells. Mr. 
 Dance was the last surviving member of 
 the original forty Royal Academicians. 
 He died in 1825, at the age of eighty-four. 
 
DAN 
 
 148 
 
 DAN 
 
 D.VNCE, see Holland. 
 
 Dasckebt, or Dankebs (Henry). This 
 artist was born at the Hague about 1630. 
 He was originally an engraver, but aban- 
 doned that art as a profession, for painting, 
 which he studied in Italy. On his return 
 from thence he settled in England, where 
 Charles II. employed him in taking views 
 of the royal palaces, and prospec-ts of the 
 seaports, particularly on the coast of 
 Wales. He also engraved a few plates, 
 among which was a portrait of his royal 
 patron. 
 
 Danckert (John). He was a native 
 of Amsterdam, where he resided about the 
 year 1660. He painted historical subjects, 
 and etched some plates, particularly one 
 after Titian, representing Venus in a re- 
 cumbent posture. 
 
 Dandini (Cesake). This painter was i 
 born at Florence in 1595, and successively I 
 studied under Curradi, Passignano, and 
 Christofano Allori : from whom he acquir- 
 ed a pleasing but evanescent manner of co- 
 louring. He was very correct in his draw- 
 ing, and laboured his pictures extremely. 
 Some of the best altar-pieces in the 
 churches of Florence are by him ; and one 
 in the chapel L'Annonciata is particularly 
 admired. At Ancona is another fine one 
 of St. Carlo, with several saints. He died 
 in 1658. 
 
 Dandini (Vincenzio). This artist was 
 the brother of Cesare, and was born at 
 Florence in 1607. After having been 
 taught the first rudiments of his art by 
 his brother, he studied some time at 
 Rome under Pietro da Cortona, and 
 copied with the greatest assiduity the 
 masterpieces of art in the palaces and 
 temples of that city. He was considered 
 one of the best of Cortona's scholars, and 
 met with ample encouragement from the 
 grand duke, as well as from private per- 
 sons, on his return to Florence. One of 
 his best altar-pieces, which are frequent 
 at Florence, is the Conception of the 
 Virgin, in the Church of Ognisanti. 
 
 Dandini (Pietro). He was nephew 
 to the preceding, was born at Florence 
 in 1646, and received his first instruction 
 in the art of painting from Valerio Spada, 
 who excelled in small drawings with a 
 pen. Whilst he was under the tuition of 
 that artist, he gave such evident proofs 
 of genius, that he was then placed as a 
 disciple with his uncle Vincenzio. He 
 afterwards travelled through most of the 
 cities of Italy, studying the works of those 
 who were most distinguished and re- 
 
 sided for a long time at Venice, with Paolo 
 Veronese. He next visited Parma and 
 Modena to study the works of Corregio, 
 omitting no opportunity that might con- 
 tribute to improve his hand or his judg- 
 ment. When he returned to Florence, the 
 Grand Duke Cosmo III., the Grand 
 Duchess Victoria, and the Prince Ferdi- 
 nand, kept him perpetually employed in 
 fresco painting as well as in oil. His 
 subjects being taken not only from sacred 
 or fabulous history, but from his own 
 invention and fancy, frequently gave to 
 his compositions the extravagance of 
 whimsical caricature. He died in 1712. 
 This master had an extraordinary talent 
 for imitating the style of the most cele- 
 brated ancient painters of every school, 
 particularly Titian, Veronese, and Tin- 
 toretto ; and with a force and elegance 
 equal to his subjects of history, he painted 
 portraits, landscapes, architecture, flowers, 
 fruit, battles, animals of all kinds, and 
 likewise sea-pieces, proving himself an 
 universal artist, and excelled in every 
 thing he undertook. Mr. Fuseli, how- 
 ever, says that the avidity of gain led him 
 to dispatch, and a general mediocrity 
 compensated by little more than the ad- 
 mirable freedom of his pencil. He ex- 
 erted his powers according to the price 
 he received for his works, which are seen 
 to advantage in the cupolas of St. Maria 
 Maddalena, in various frescoes of the 
 ducal palace and villas, and in the public 
 hall of Pisa, where he represented the 
 taking of Jerusalem. There are likewise 
 altar-pieces which show his merit; that 
 of St. Francis, in St. Maria Maggiore; 
 and another of St. Piccolomini saying 
 Mass in the Church of the Servi, which 
 last is a pleasing and animated perform- 
 ance. 
 
 Dandini (Ottaviano"*. He was the 
 son of Pietro Dandini, and painted in the 
 same style. In the cloister of St. Spirato 
 at Florence are some of his fresco paint- 
 ings, which exhibit proofs that he did 
 honour to his family. 
 
 Danedi (Giovanni Stefano). This 
 painter, who was also called Montalto, 
 was born at Treviglio, in the Milanese, 
 in 1608. He studied under Morazzone, 
 after which he became eminent as a painter 
 of history at Milan, where he executed a 
 number of altar-pieces, and other pictures 
 for the churches. Among his best pro- 
 ductions is the Martyrdom of St. Justina. 
 He died in 1689. 
 
 Danedi (Giuseppe). He was the bro- 
 
DAN 
 
 149 
 
 DAV 
 
 ther of the preceding artist, and was born 
 at Treviglio in 1618. He became the 
 disciple of Guido Reni, on leaving whom 
 he settled at Turin, where he obtained 
 considerable employment for the churches 
 and palaces. In that of St. Sebastiano is 
 a fine altar-piece by him of the Murder of 
 the Innocents. He died there in 1688. 
 
 Daniiauer. This artist was a German, 
 and born in Suabia in 1675. He was the 
 scholar of Bombelii, and after studying 
 historical and portrait painting in Italy, 
 settled at Petersburg, where he died in 
 1733. 
 
 Daniell (Thomas), elected Royal 
 Academician in 1799, and who died on the 
 19th of March, 1840, at the age of ninety 
 years, first made himself known in art 
 by views of Cowley the poet's house at 
 Chertsey, and by pictures ft-om the Fairy 
 Queen, one of which, Una and the Red 
 C'ross Knight, is still remembered for its 
 delicacy of colour, and exhibiting much 
 of the spirit of the poet. To these may 
 be added some landscapes of merit, viz. ; 
 a View of Bremham Crags, near Ripon : 
 a View of Blenheim ; a Waterfall, near 
 Craven ; a Sunset and a Moonlight. The 
 skill with which these were painted was 
 found of use, when in the year 1784 he 
 sailed to the East, and tried his pencil on 
 the magnificent temples and scenery of 
 Hindostan. That he was at work with 
 spirit and effect there, was manifested 
 here by the exhibition in the Royal Aca- 
 demy, of a succession of scenes in which 
 the East was as clearly reflected as the 
 moon in the lake ; and which, with the 
 exception of the pictures of Zoffany, first 
 made us acquainted with the beauty of 
 our eastern empire. The earliest of these 
 was a gate leading to a Hindoo Temple 
 at Tritchenore ; another was. The Hindoo 
 Temple at Trincomalee; a third, Hindoo 
 Temples at Bindrabund ; fourthly, a 
 Tiger Hunt ; and finally, the British 
 Resident at Poonah, concluding a Treaty 
 in Durbar with the Prince of the Mah- 
 rattas. While engaged on these pictures, 
 he was employed at intervals in arranging 
 his Oriental Scenery, a grand work which 
 he published in 1808, in six volumes folio, 
 exhibiting scenes in India from Cape Oo- 
 morin to Serinagur, in the Himalayas. 
 This artist has increased our enjoyment 
 by bringing scenes to our firesides, too 
 distant to visit, and too singular to be 
 imagined. 
 
 Daniell (William), was the nephew 
 of Thomas, and a member of the Royal 
 
 Academj-; he accompanied him to India, 
 and, under his eye, acquired such skill 
 that he aided him in his eastern scenes, 
 and painted others from his own observa- 
 tions, of great merit, but wliich rather 
 approached than equalled the productions 
 of his uncle. His view of Fyzabad, in 
 Oude; the Mosque at Jaunpore; the Hunt- 
 ing the Wild Elephant; the Dead Ele- 
 phant; with views of Hindoo Temples, 
 several of which are in the possession of 
 James Walkinshaw, Esq., together with 
 many others, with the East stamped legibly 
 and beautifully on them, will keep him in 
 remembrance with all, and they are many, 
 who love India. He died in London 16th 
 August, 1837, in the sixty-fourth year of 
 his age. 
 
 Danks (Francis). This painter was 
 born at Amsterdam in 1650. He went 
 to Rome, where he obtained the name of 
 Tortue; and after studying there some 
 time, he returned to Amsterdam, and 
 practised historicial painting and portrait 
 with success. He died in 1703. 
 
 Danloux (Peter). This artist was 
 born in 1745 at Paris, and died there in 
 1 809. During the early part of the French 
 Revolution he resided in England, where 
 he painted many pictures and portraits; 
 among thel atter was the likeness of Delille 
 the poet, of whom he was a friend, and 
 who has celebrated him in his poem La 
 Pitie. The Punishment of a Vestal, to 
 which Delille alludes, is one of Danloux's 
 
 St pictures. 
 
 Danti (Theobora) . This female artist 
 was born at Perugia in 1498, and died 
 there in 1573. She painted small pictures 
 in the manner of Pietro Perugino, and in 
 an excellent style of design and colouring. 
 
 Danti (Antonio). He was born at 
 Rome in 1634, and died there in 1675. 
 His talent, which appears to have been 
 but moderate, lay in history and portrait. 
 
 David (Lodovico Antonio). He was 
 born at Lugano in 1648, and studied at 
 first under the Cavaliere Cairo, and Ercole 
 Procaccini, after which he went to Bologna, 
 where he became the pupil of Carlo Ci- 
 gnani. He rose to some eminence in his 
 profession as an historicalpainter, of which 
 he left proofs in the churches and monas- 
 teries of Milan and Venice. He also paint- 
 ed portraits in a superior style. When 
 he died is not mentioned. 
 
 David (James Louis). This artist, 
 on whom some of his countrymen confer 
 the honourable title of " restorer and head 
 of the French School," was born at Paris 
 
DAY 
 
 150 
 
 DAY 
 
 in 1750, and studied under Vien. Before 
 the French Revolution he had risen into 
 reputation as a painter ; but during that 
 tremendous event he acquired a celebrity 
 of another and less honourable kind. He, 
 as a member of the Convention, voted for 
 the death of Louis XVI. ; became the de- 
 voted friend and panegyrist of Marat and 
 Robespierre, and participated in all the 
 atrocities committed by the Committee of 
 Public Safety. It is but justice, however, 
 to say, that he appears to have been hon- 
 est and disinterested in his principles, vio- 
 lent as they were, and to have been under 
 the influence of a kind of political insanity. 
 After the fall of Robespierre, David was 
 imprisoned, but vi^as not long confined. 
 Thenceforth he devoted himself to his art, 
 and produced many compositions which 
 are the admiration and pride of France, 
 On the second restoration of Louis XVIIL, 
 David was driven into exile by the decree 
 against the regicides, and he died at Brus- 
 sels in December 1825. Among iiis most 
 celebrated pictui'cs must be numbered the 
 Oath taken in the Tennis Court; Be- 
 lisarius; the Funeral of Patroclus ; the 
 Death of Socrates ; Leonidas at Thermo- 
 pyliB ; Brutus ; the Horatii ; the Rape 
 of the Sabines; and the Coronation of 
 Napoleon. "I wish," said David, "that 
 my works may have so completely an an- 
 tique character, that, if it were possible 
 for an Athenian to return to life, they 
 might appear to him to be the productions 
 of a Greek painter." In accomplishing 
 this object, David has not been whoU; 
 unsuccessful ; but he has attained it at 
 the expense of nature. It has not unaptly 
 been said of him and some of his pupils, 
 that their pictures are " coloured statu- 
 ary." His figures have the ideal beauty 
 of the ancient sculpture, but they are too 
 often cold and inexpressive, and excite no 
 sympathetic interest in the beholder. This 
 was not the fault of his powers, but of his 
 system ; for, when he pleased, he could 
 give a striking air of reality to the crea- 
 tions of his pencil. With all his defects, 
 he must be acknowledged to be entitled 
 to rank high among the artists of modern 
 times. 
 
 Davy (Robeet). He was born at Col- 
 lumpton,in Devonshire, but it is notknown 
 who was his instructor. He went, however, 
 to Rome, from whence he returned to 
 London about the year 1760. He chiefly 
 painted portraits, but with so little suc- 
 cess, that he became underdrawing mas- 
 ter of the academy at Woolwich, besides 
 
 which he attended ladies' schools in the 
 same capacity. He died in 1793. 
 
 Dawes (Philip). He was a native of 
 London, and had Hogarth for his instruc- 
 tor, but never rose to any eminence. He 
 painted an historical picture of the con- 
 finement of Mortimer in Nottingham Cas- 
 tle by Edward III. This was in the first 
 exhibition of the Royal Academy. After- 
 wards he exhibited two more pictures, one 
 of which, Bobadil Cudgelled, from Ben 
 Jonson's Every Man in his Humour, has 
 been engraved. He died about 1780. 
 
 Dawe (George), was elected an Asso- 
 ciate of the Royal Academy in 1810, where 
 he exhibited an historic picture of Andro- 
 mache imploring Ulysses to spare the life 
 of her Son ; in the year preceding he sent 
 two portraits to the Academy ; in the year 
 following he painted a portrait of Cole- 
 ridge the poet ; and in 1813, a Child res- 
 cued by its Mother from an Eagle's nest; 
 in all of these a merit which promised 
 higher excellence was visible ; and the 
 Roj^al Academy seemed to be of the 
 same opinion, for they admitted him, in the 
 year 1814, into their ranks as a member. 
 His works had not hitherto brought the 
 reputation which he desired ; the country 
 then, as now, looked coldlj' upon pictures 
 which aimed at the scriptural and the his- 
 toric ; while in portraiture, Lawrence and 
 Jackson, and Shee and Phillips, were in 
 full employment ; and with none of these 
 could Dawe hope successfully to compete. 
 He suddenly left England, and no one 
 heard of him, till rumour first, and then 
 the assurance of travellers told us. that he 
 was in high fame and fortune at St. Peters- 
 burgh ; where, in a palace belonging to 
 the Emperor, he painted four hundred por- 
 traits of those chiefs and leaders of the Rus- 
 sian army, who had with the assistance 
 of the snow vanquished Napoleon. After 
 an absence of ten years, Dawe returned 
 with a vast increase of fortune, if not of 
 true fame, which he was not destined long 
 to enjoy, for within six weeks after his ar- 
 rival he died, on the 15th of October, 
 1829. His portraits are reckoned fair 
 likenesses, but with more of the outer man 
 than of the inner mind ; he wrote a life of 
 Morland the painter, from which he could 
 derive but little reputation. Those who 
 desire to know of his whims and his habits, 
 will find more than enough to satisfy all 
 rational curiosity, in the Essays of his 
 sarcastic acquaintance, Charles Lamb. 
 
 Dates (Edward). This artist was the 
 scholar of William Pether.and in the early 
 
DEL 
 
 151 
 
 DEL 
 
 part of his life painted in miniature. He 
 also scraped in mezzotinto, but afterwards 
 practised landscape drawing, and was ap- 
 pointed designer to the Duke of York. lie 
 was much employed in taking views for the 
 booksellers; but being embarrassed in his 
 circumstances, he put an end to himself, 
 in May 1804. The year following came 
 out a volume, called " The Works of Ed- 
 ward Dayes, containing an Excursion 
 through Derbyshire and Yorkshire, with 
 Professional Sketches." At the time of his 
 death he had in the exhibition a pleasing 
 view of Shrewsbury. Ilis principal work 
 was a picture of the royal procession to 
 St. Paul's, after the late king's illness in 
 1789, of which Sir Joshua Reynolds 
 thought highly. 
 
 Dean (Hugh). He was a native of 
 Ireland, and became a good painter of 
 landscape. His patron was Lord Palmer- 
 ston, wlio enabled him to visit Rome; but 
 afterwards that nobleman renounced him, 
 on account of the impropriety of his con- 
 duct. In 1780 he made an exhibition of 
 his paintings, among which was a trans- 
 parency of Mount Vesuvius. Not long 
 after this, the artist turned Methodist 
 preacher, and he is supposed to have died 
 in 1784. 
 
 Deijlieck (Daniel). This artist was a 
 native of Holland, and flourished about 
 1650. He was a good painter of archi- 
 tectural subjects, particularly churches, 
 both the exterior and interior. 
 
 Dkcker (P'kancis). This artist was a 
 native of Holland, and painted landscapes 
 in a style approximating to that of Ruys- 
 daol, with great freedom of pencilling and 
 harmony of colouring. The time when he 
 lived, and the particulars of his history, 
 are equally unknown. 
 
 Dei.en, Dirk (or Theodore) Vax. 
 Neither the year of the birth or death of 
 this artist is mentioned; but it is recorded 
 that he was born at Heusden, and that he 
 was a disciple of Frank Hals, in whose 
 school he practised those subjects which 
 were most esteemed by that master, such 
 as portraits and conversations. But his 
 predominant inclination led to architec- 
 tural views and perspective, which he 
 studied with so much care, as to make his 
 works admired through the Low Countries. 
 His favourite subjects were the insides of 
 churches filled with figures ; grand 
 temples; magnificent saloons and galleries, 
 with assemblies of people at concerts, 
 feasting, or dancing, all which he finished 
 highly. His architecture w^as in a noble 
 
 taste; but the figures, which were well 
 designed and judiciously grouped, were 
 inserted by Van Harp and Wouvermans. 
 He died about 1680. 
 
 Delfino (Carlo). This artist, who was 
 a native of France, resided so many years 
 at Turin, as a painter to the court, that he 
 was considered an Italian. He executed 
 several pictures for the churches, but all 
 in a bad taste. He lived about 1670. 
 
 Delft (James William), a Dutch 
 artist, was the son of Jacob Delft, a por- 
 trait painter of the city of that name, and 
 born there in 1580. He practised the same 
 branch of the art that his father professed, 
 but became chiefly distinguished as an 
 engraver. He married the daughter of 
 Mireveldt, and engraved many of the por- 
 traits painted by his father-in-law. He 
 died about 1640. 
 
 Delft (James V/illiam), the son of 
 the preceding, was born in 1619, and 
 received his instructions from his grand- 
 father Mireveldt, whose style be followed 
 with success. He was also a good engraver 
 of portraits. He died in 1661. 
 
 Deliberatore (Nicolo). This painter 
 was born at Forli, and obtained a great 
 reputation in his time, though his manner 
 was extremely Gothic. For one of his 
 pictures he received one hundred and fif- 
 teen golden ducats. Another, of the 
 Crucifixion, was painted on a golden 
 ground. He lived about the year 1490. 
 
 Dello ( ). This artist was born at 
 
 Florence in 1603, and died in Spain, 
 whither he had been invited to assist in 
 the works of the Escurial, in 1658. He 
 painted historical subjects in small size. 
 
 Delmont (Diodato). He was born at 
 St. Tron, in Flanders, in 1581, of a good 
 family, who gave him an education suit- 
 able to his fortune, had him instructed in 
 all the polite languages, and placed him as a 
 disciple of Rubens, whom he accompanied 
 to Italy. During his continuance at Rome, 
 he studied with such industry that he ob- 
 tained the reputation of being an excellent 
 painter and architect. For a long time he 
 was employed at the court of Newburgh, 
 where the duke conferred on him the order 
 of knighthood. Several paintings by this 
 master are preserved in the churches and 
 convents of Italy, and there are three 
 capital performances of his at Antwerp, 
 which are proofs of his extraordinary 
 talents. In the Church of Notre Dame is 
 a fine picture of the Transfiguration; in 
 the Church of the Jesuits is another, re- 
 presenting Christ carrying his Cross; and 
 
DEN 
 
 152 
 
 DEN 
 
 in a cloister is the Adoration of the Magi, 
 painted for the altar-piece, which is grand 
 in the design, exquisitely pencilled and 
 coloured, and in a free and firm style. In 
 all his subjects the composition is elevated, 
 the design correct, and the colouring and 
 pencilling excellent. Rubens himself was 
 profuse in his praise, and the approbation 
 of that incomparable judge is sufficient to 
 secure the approbation of posterity. Del 
 mont died in 1630. 
 
 Dei.po (Giacomo). He was born at 
 Naples in 1709, and was the disciple of 
 an artist named Dominique. He excelled 
 in architectural subjects as well as history, 
 and died in 17o4. 
 
 Delvito (Nicolo). Another Neapo- 
 litan artist, who was born in 1435, and 
 died in 1498. He was the scholar of 
 Antonio Solario, and painted historical 
 pictures in the same style. 
 
 Denner (Balthas.vr). He was born 
 at Hamburgh in 1685, and after learning 
 the rudiments of his art at Altona and 
 Dantzic, he greatly improved himself by 
 copying the best pictures in the latter city, 
 besides which he studied diligently living 
 models. His first great attempt was the 
 portrait of Duke Christian Augustus, ad- 
 ministrator of Holstein-Gottorp, which he 
 executed in miniature, and performed it 
 with such success, tliat it established his 
 credit at that court, where he also painted 
 in a large picture twenty-one portraits of 
 the family of that prince, and introduced 
 his own. He was principally employed 
 by the princes of Germany, the King of 
 Denmark, and George I. of England. 
 This last monarch invited him to his 
 court, but he succeeded so ill in the pic- 
 tures of two of the King's favourite ladies, 
 that he did not meet with the encourage- 
 ment he had contemplated. His fame, 
 however, rose very high on his exhibiting 
 the head of an old woman, about sixteen 
 inches high, and thirteen wide, in which 
 the grain of the skin, the hairs, the down, 
 and the glassy humour of the eyes were 
 represented with the most exact minute- 
 ness ; but it gained him more applause 
 than custom, for a man could not execute 
 many works who employed so much time 
 upon the finishing of one. The Emperor 
 Charles VI. gave him six hundred ducats 
 for this picture, and a like sum for the 
 portrait of an old man to match it. Den- 
 ner finished the portraits of himself, his 
 wife, and children, with such circumstan- 
 tial detail, that the pores of the skin ap- 
 peared visible. This faculty of imitation 
 
 and force of patience constituted the whole 
 merit of Denner, who died at Hamburgh 
 in 1747. 
 
 Denon (Bahox, Dominic Vincent). 
 This artist, a great part of whose hfe was 
 spent in courts, and in diplomatic occu- 
 pations, was born at Chalons sur Saohe, 
 in Burgundy, in 1747. He was one of 
 the train of artists, literary men, and 
 scientific characters, who accompanied 
 Bonaparte to Egypt. While there, he 
 alternately wielded the pencil and the 
 sword, and both with equal dexterity. 
 His great work on the Egyptian expedi- 
 tion, the numerous and fine drawings for 
 which were made by himself, would alone 
 be sufficient to immortalize his name. 
 Napoleon was warmly attached to him, 
 gave him the superintendence of the mu- 
 seums, and consulted with him on all 
 affairs that were connected with the arts. 
 He died at Paris in 1825, universally be- 
 loved for his good qualities, and admired 
 for his talents and the purity of his taste. 
 
 Denys (Jacques). This artist was 
 born at Antwerp in 1647. He was a dis- 
 ciple of Erasmus Quellinus; but went 
 young to Rome and Venice, where he 
 spent some years in copying the works of 
 Raffaelle, Giulio Romano, Guido, and 
 Titian, and formed his taste of design and 
 colouring from those celebrated masters ; 
 by which method his composition showed 
 all the elegance of the Roman and Vene- 
 tian Schools. The archduchess of Mantua 
 took him into her service ; and not long 
 after, the Duke of Tuscany obtained per- 
 mission for him to visit Florence, where 
 he painted the portraits of that prince and 
 his family, for which he gave him, among 
 other valuable presents, a gold chain and 
 medal. At his return to Mantua, Denys 
 finished several grand historical composi- 
 tions, and adorned the principal apart- 
 ments of the palace with works that en- 
 titled him to rank among the most able in 
 his profession. The archduchess wished 
 to engage him in other designs, in order 
 to detain him longer in her service ; but 
 the love of his native country prevailed 
 over all other considerations, and he re- 
 turned to Antwerp, where he was received 
 with distinguished honour, which he en- 
 joyed but a short time, dying soon after, 
 extremely regretted. Most of his works 
 are in Italy ; but at Antwerp is an Ecce 
 Homo of his painting, which, both in de- 
 sign and colouring, is in the style of Van- 
 dyck. There is also in the same city a 
 portrait, beautifully coloured, and painted 
 
DER 
 
 with great freedom and force. He was 
 remarkable for correctness of design 
 his colouring is bold, and his manner 
 has more of the School of Italy than of 
 Flanders. 
 
 Denys ( ), a modern painter, a 
 
 native of France, settled at Naples, where 
 he died some years since. He was a very 
 able landscape painter, and executed a 
 number of beautiful pictures for the court 
 of Naples, as well as for private persons 
 there. He is reproached with having an 
 extraordinary predilection for painting 
 cows ; for there is not one of his pictures 
 in which he has not contrived to introduce 
 one or more of tiiese animals. The tone 
 of his colouring is also charged with being 
 too yellow, and spoiling his landscapes; 
 notwithstanding this, his pictures have a 
 very fine effect ; and his accuracy was so 
 great, that a botanist could determine the 
 character of all the plants which he intro- 
 duced : he was enabled to do this by hav- 
 ing made them his particular study. His 
 reputation was gradually increasing when 
 he died. 
 
 Dekvet (Claude). This artist was 
 born at Nancy, in Lorraine, in 1600. He 
 studied under Claude Henriet, and became 
 the intimate friend of Callot, whose style 
 of engraving he imitated. He was also a 
 good historical and portrait painter. 
 
 Dekyck, or Derick (Peter Cornelius). 
 He was born at Uelft in 1568, and was a 
 disciple of Hubert Jacobs, on leaving 
 whom he went to Italy, where he studied 
 the different styles of the most eminent 
 masters, and at last fixed on Bassan as his 
 model. In copying and designing, he 
 spent fifteen years at Rome, Venice, and 
 other cities of Italy, where he painted a 
 number of pictures in a large, as well as 
 small size. His portraits were much ad- 
 mired, and his landscapes were commend- 
 ed for the goodness of design, firmness 
 and freedom of touch, and the spirit of the 
 animals introduced into them. His pecu- 
 liar excellence lay in the imitation of the 
 style, manner, and tint of colouring of 
 Bassan, and that imitation he pei'formed 
 with such exactness, that even good judges 
 are frequently deceived by the pictures of 
 Ueryck. He died in 1630. 
 
 Deryke (William). He was born at 
 Antwerp in 1635, and was bred a jeweller; 
 but afterwards applied himself to painting 
 with tolerable success. His compositions 
 were historical subjects, with figures as 
 large as life, and executed with a full bold 
 pencil; but though there is merit in some 
 
 parts, yet liis outline was frequently in- 
 correct ; and in respect of grace, and an 
 agreeable variety, he was very deficient. 
 In the reign of King William III. he came 
 to England, and died here in 1697. 
 
 Desani (Pietro). He was born at 
 Bologna in 1595, and had for his master 
 Lionello Spada, by whose instructions he 
 became a good painter of history. His 
 works abound in the churches and public 
 buildings of Reggio. His compositions 
 are excellent, his design correct, but his 
 colouring is not equal to the rest of his 
 performance. He died in 1647. 
 
 Desbarres( Bona venture). This artist 
 was born at Paris in 1700. He painted 
 history in the artificial taste of his time 
 and country, without rising above medi- 
 ocrity. He died in 1729. 
 
 Descamps (John Baptist), a native of 
 Dunkirk, born in 1714, and died in 1791 ; 
 he was not without merit as an artist, 
 both in historical composition, and in 
 families and village scenes ; but he is bet- 
 ter known by his works on painting, and 
 particularly by his Lives of Flemish, 
 Dutch, and German painters. 
 
 Deshayes (Jean Baptiste). This 
 painter was born at Rouen, in 1729. He 
 studied the principles of his art under his 
 father, an artist of no reputation, after 
 which he became successively the scholar 
 of Colin de Vermont, Restout, and Bou- 
 cher. He next went for improvement to 
 Rome, and on his return to Paris painted 
 historical subjects with reputation. He 
 died in 1765. 
 
 Desportes (Francis). This French 
 painter was born at Champignon, in 
 Champagne, in 1661, and studied under 
 Nicasius Berneart, the disciple of Snyders. 
 The subjects in which he delighted were 
 flowers, insects, animals, or representa- 
 tions of the chase ; and those he designed 
 and coloured with abundance of truth, 
 his local colours being good, and the 
 aerial perspective well managed. He 
 was mostly employed in the service of 
 Louis XI v., for whom he painted many 
 pictures, representing the chase of dif- 
 ferent animals, in which the action and 
 attitudes of the dogs were full of spirit, 
 lature, and life. When the Duke d'Au- 
 mont came as ambassador to England, 
 he was accompanied by Desportes, who 
 brought with him some of his paintings, 
 and, during his continuance here, ex- 
 perienced the most generous encourage- 
 ment. He died in 1743, leaving a son, 
 Claude Francis^ who became a good 
 
DEV 
 
 154 
 
 DEV 
 
 painter of animals. He died at Paris in 
 1774, aged seventy-eight. 
 
 Despbez (Louis Jony), a French 
 painter and architect, was born at Lyons 
 about the middle of the eighteenth cen- 
 tury. After having folloveed his profes- 
 sion at Lyons and Paris, he went into 
 Italy, and while there, took part in the 
 Voyage Pittoresque de Naples^ which was 
 published by the Abbe de St. Non. Hav- 
 ing seen him at Rome, Gustavus IIL of 
 Sweden engaged him as his painter and 
 architect. In Sweden he acquired a high 
 reputation, and contributed greatly to 
 spread correct principles and a love of 
 the fine arts. One of his best pictures 
 is a representation of the battle of 
 Svenksund. He had a fertile and bril- 
 liant imagination, and a vigorous style. 
 He died at Stockholm in 1804 
 
 DESuBLKO,or Sobleo(Michele). This 
 artist was a native of Flanders, but lived 
 chiefly at Bologna and Venice. He was 
 educated in the school of Guido Reni, 
 whose style he imitated very closely, 
 adding to it somewhat of the force of 
 Guercino. One of his finest performances 
 is a Crucifixion, in the Church of the 
 Carmelites at Venice. 
 
 Devis (Arthur). This English art- 
 ist was born at Preston, in Lancashire, 
 about 1711, and studied with Peter Tille- 
 raans. He painted portraits and conver- 
 sation-pieces, particularly one represent- 
 ing a group of the Pretender's friends; 
 and, what is remarkable, this artist had 
 so strong a resemblance to the Pretender, 
 that at this period of political ferment, he 
 was obliged to quit Preston incognito. 
 Though he exhibited at the rooms of the 
 Society of Artists in the Strand, he never 
 joined the Royal Academy. He died at 
 Brighton in 1787. He had a brother, 
 named Anthony Devis, who excelled in 
 landscape, several specimens of which are 
 at Albury, Surrey, where he died a bache- 
 lor, aged eighty-seven, in 1817. 
 
 Devis (Arthur William), was born 
 on the 10th of August, 1762. He evinced 
 a genius for painting from early child- 
 hood, and received his first instruction 
 from his fatlier. Sir Joshua Reynolds 
 had a great predilection for this artist, 
 and he had the honour to receive a silver 
 medal from that president of the Royal 
 Academy, at a much earlier age than it 
 was usually given to students. Wlien in 
 his twentieth year, he was appointed 
 draughtsman, by a private committee of 
 the East India Company, to undertake a 
 
 voyage round the world, in the Antelope, 
 Captain Wilson. The intention of this 
 voyage was in some measure frustrated, 
 by the wreck of the vessel on the coast 
 of the Pelew Islands. The ship was 
 totally lost, but the crew saved. Provi- 
 dentially they met with a kind reception 
 from the friendly inhabitants of one of 
 those islands, from w hence, in consequence 
 of this visit, came the unfortunate but 
 amiable Prince Le Boo. It was by tlie 
 greatest exertions, and at the risk of their 
 lives, that the crew, including Mr. Devis, 
 who it was asserted was one of the most 
 active, collected from the wreck materials 
 sufficient to construct a craft capable of 
 conveying them to Macao, where they 
 arrived in safety. Mr. Devis was wound- 
 ed on the Malay coast, by arrows that 
 were aimed at the small vessel, one of 
 which caused him a locked jaw, by which 
 he suffered to the last moment of liis life. 
 This wound, with another in the side, 
 prevented his return to England with 
 Captain Wilson, as he at first intended. 
 Mr. Devis remained one year at Canton, 
 where he received the greatest kindness 
 from the Danish consul. From Canton 
 he sailed to Bengal, where he established 
 himself. He pursued his professional 
 studies with great respectability, as his 
 works painted in that country will testify, 
 particularly the Manufactures of India, 
 and an historical painting of Lord Oorn- 
 wallis receiving the two Sons of Tippoo 
 Saib as hostages. Mr. Devis had the 
 honour of being particularly distinguished 
 by the late Sir William Jones, Lord 
 Cornwallis, Lord Teignmouth, and Gene- 
 ral Lord Harris, as well as by gentlemen 
 of the first rank in India. He. became a 
 member of the Asiatic Literary Society, 
 and a freemason of the Lodge of Bene- 
 volence. On Mr. Devis's return to his 
 native land in 1705, he continued his 
 profession, and was favoured by the 
 patronage of many of the nobility and 
 gentry. He painted two historical pic- 
 tures; the first was the Conspiracy of 
 Babington, in the reign of Queen Eliza- 
 beth; and the other, Cardinal Langton 
 instigating the Barons to force King John 
 to sign Magna Charta; in which last 
 picture are the portraits of the actual 
 descendants of the barons who were pre- 
 sent on that occasion. After the battle 
 of Trafalgar, Mr. Devis went to meet his 
 Majesty's ship, the Victory, to collect in- 
 formation, and take a likeness of Lord 
 Nelson. He likewise took a fac-simile 
 
DEY 
 
 155 
 
 DIE 
 
 of the cockpit of the Victory, and the 
 portraits of all the officers and attendants 
 who were present during the dying mo- 
 ments of the hero. The commemorative 
 picture of the amiable Princess Charlotte 
 of Saxe-Coburg gained Mr. Devis much 
 applause, and established him as an artist 
 of the first talent. After a life full of 
 vicissitudes, tliis man of genius fell a vic- 
 tim to the most distressing of all attacks 
 a stroke of apoplexy. He was remark- 
 able for facility with his pencil, the har- 
 mony of his colours, his taste in the 
 grouping of figures, and the exquisite 
 finishing of his works, which have been 
 extolled by most of his brother artists. 
 He died on the 11th of February, 1822, 
 at his house in Caroline-street, Bedford- 
 square, leaving two orphan girls to de- 
 plore his loss. 
 
 De Wit, see Wit. 
 
 Djeynum (John Baptist Van). He 
 was born at Antwerp in 1620. His 
 subjects were portraits in miniature, and 
 also history and landscapes in water- 
 colours, which he executed with neatness, 
 judgment, and taste. The greater part 
 of his performances were purchased by 
 the Emperor and the King of Spain ; and 
 his works were admired for the delicacy 
 of touch, the sweetness of colouring, the 
 exquisite mannerin which they were finish- 
 ed, and for elegance of composition. He 
 died at Antwerp in 1669. 
 
 Detster (Louis). He was born at 
 Bruges in 1656, and studied under John 
 Maes, a painter of portrait and history, 
 after which he perfected himself in the 
 knowledge of the true principles of design 
 and colouring, by studying the antiques 
 and best modern productions at Rome, 
 from whence he removed to Venice, where 
 he spent six years in copying the beauti- 
 ful compositions of the greatest masters 
 of that school. On his return to his own 
 country, he led so retired a life, that he 
 was scarce known even in his own city, 
 though he had abundant merit, and his 
 works were generally admired. At last 
 necessity compelled him to engage in 
 several performances for the public, which 
 introduced him to the world, and both 
 enriched him and raised his re])utation. 
 At Bruges, he painted two excellent pic- 
 tures ; the one, Rebecca with Abraham's 
 servant at the Well ; and the other, Judith 
 and Holofernes. But his best composi- 
 tions are three pictures in the Church of 
 St. James, the subjects of which are the 
 Crucifixion ; the Resurrection ; and the 
 
 Death of the Virgin. Deyster composed 
 in a grand style, and much in the taste of 
 the Italian school ; he gave great elegance 
 to the hairs of his heads, and to the ex- 
 tremities of his figures ; his draperies ar- 
 loose and light, so as to make the naked 
 of the limbs perceptible, and the folds are 
 large and well chosen ; his colouring is 
 warm, and the shadows were glazed, in 
 the finishing, with a composition called 
 sphaltum. In his carnations he resem- 
 bled Vandyck, and in his manner he rose 
 above all the Flemish painters of his time. 
 He died in 1711, leaving a daughter, 
 Anna Deyster^ who painted landscapes ; 
 but was chiefly remarkable for the exact- 
 ness with which she imitated the woiks 
 of her father. Some historical pictures 
 painted by her are in the churches of 
 Bruges, where she died at the age of 
 fifty, in 1746. 
 
 Diamantini (Giuseppe Cavaliere). 
 He was born in Romagna about 1660, 
 and resided most of his life at Venice, 
 where he became distinguished, not only 
 as a painter, but also as an engraver. In 
 the Church of St. Moyse is a picture by 
 him, the subject of which is, the Wise 
 Men's Offering, well designed and ad- 
 mirably executed. His plates, however, 
 are more numerous than his paintings. 
 
 DiEPENBECK (Abraham Van). This 
 artist was born at Bois-le-Duc in 1607; 
 and at first practised painting on glass, in 
 which art he was supposed to be superior 
 to any of his time. Some of his perform- 
 ances in that line are still admired, parti- 
 cularly the Works of Mercy in the win- 
 dows of the Cathedral at Antwerp. After 
 going to Italy, he quitted his profession 
 for oil painting, and, to perfect himself, 
 became the scholar of Rubens. His in- 
 vention was fertile, his genius great, and 
 his execution spirited. His great fault 
 was that of undertaking too many things; 
 for such was his rapidity, that the pub- 
 lishers continually applied to him to fur- 
 nish designs for their works, among which 
 was the celebrated Temple of the Muses. 
 As a painter he imitated Rubens closely, 
 his colouring was good, and he had a great 
 knowledge of the chiaro-oscuro. In the 
 Church of the Carmelites at Antwerp is 
 a fine picture by him, of the Virgin in the 
 Clouds, with St. Elias; and in that of the 
 Recollets there ai;e others said to be equal 
 to those of Vandyck. He came to England 
 in the reign of Charles I., and made designs 
 for the Duke of Newcastle's book on Horse- 
 , manship. He died at Antwerp in 1675. 
 
DIE 
 
 DOB 
 
 DiEPRAAM (Abraham). He was born 
 at the Hague, in 1655. This artist was 
 at first instructed by Dirk. Stoop, the 
 father of Peter Stoop, the battle painter ; 
 but afterwards he studied under Hendrick 
 Zorg; though his principal improvement 
 was derived from the precepts of Adrian 
 Brouwer, whose style of design, manner 
 of colouring, and handling, he imitated 
 very closely. But, unhappily, he copied 
 his master Brouwer, not only in his pencil, 
 but also in his morals; and by that means 
 his time was unprofitably consumed, his 
 substance dissipated, and the talents with 
 which nature had liberally endowed him 
 were impaired. His first pictures were 
 much esteemed, and deservedly ; some of 
 them being as transparent in their colour, 
 and as well composed as many of Brouwer's. 
 But when he gave himself up to a vicious 
 course of life, his hand forgot its former 
 execution, and even his ideas were con- 
 fused. His irregularities reduced him to 
 great poverty, and he died in an hospital, 
 though he had abilities which, properly 
 exerted, would have rendered him happy 
 and famous. 
 
 DiEST (Abrian Van). He was born 
 at the Hague in 1655, where he was in- 
 structed by bis father, who was a painter 
 of sea-pieces. At the age of seventeen he 
 came to England, and was employed by 
 the Earl of Bath in taking views on the 
 coast of Devon and Cornwall, by which 
 he acquired a fine taste for landscape. He 
 wanted, however, that excellence at which 
 he might have arrived had he seen the 
 beautiful scenery of Italy, and the works 
 of the great masters who were eminent 
 in the style which he cultivated. Some 
 of his pictures, finished in his best manner, 
 have great clearness and transparence in 
 the colouring, and a peculiar tenderness 
 . in the distances; they are truly fine in the 
 skies, have an uncommon freedom in the 
 clouds, and an agreeable harmony through 
 the whole. But, as he was often obliged 
 to paint for low prices, there is a great 
 disproportion in his works. The narrow- 
 ness of his circumstances depressed his 
 genius, and rendered him inattentive to 
 fame, being solely anxious to provide for 
 his family. The figures in his landscapes 
 were frequently inserted by Adrian Coloni, 
 his brother-in-law. Van Diest etched 
 some landscapes from his own designs. 
 He died in London, in 1704. 
 
 Dietrich, or Dietricy (Christian 
 William Ernest). He was born at 
 Weimar in Saxony, in 1712, and received 
 
 the first rudiments of the art from his 
 father, who was a painter of moderate 
 talents. Afterwards Christian studied 
 under a landscape painter named Alex- 
 ander Thiele; and in 1742 he went to Italy, 
 as a pensioner of the Court of Dresden. 
 His chief merit lay in successful imitating 
 the works of Rembrandt, Ostade, Poelern- 
 burg, and Salvator Rosa, though he had 
 much original excellence. He painted 
 historical subjects, enriched with land- 
 scapes, in a good style. He was also an 
 engraver, and produced anumber of capi- 
 tal prints, some of which are very rare. 
 He died at Dresden in 1774. 
 
 DiETZscH (John Christopher). He 
 was born at Nuremburg in 1710, and be- 
 came both a painter and engraver of con- 
 siderable merit. He excelled in landscape, 
 his etchings of which are much in the 
 style of Waterloo. He had a brother, 
 John Albert Dietzsch, who engraved seve- 
 ral views in Germany about the year 1760. 
 
 DiscEPOLi (Giovanni Battista). This 
 artist was born at Lugano in 1590. Being 
 a cripple he obtained the name II Zoppo 
 di Lugano: but he was an excellent painter, 
 and his works in the Churches of Milan 
 show that he was a master of design, 
 composition, and colouring. His principal 
 performance is the picture of St. Teresa 
 at Como. He died in 1660. 
 
 DoBSON (William). This eminent 
 artist was born in London in 1610. His 
 father was master of the Alienation Office, 
 but by his extravagance reduced his family 
 to poverty, so that this son was under the 
 necessity of becoming an apprentice to 
 Peak, a stationer and picture-dealer. In 
 this situation he gave proofs of his genius 
 in some portraits, which he painted after 
 life, in which, however, he had some in- 
 structions from Francis Cleyn. He had 
 also the advantage of copying some of the 
 works of Titian and Vandyck. By this 
 course of study and practice he improved 
 so remarkably, that a picture of his, being 
 exposed in the window of a shop on Snow- 
 hill, so much caught the eye of Vandyck 
 in passing, that he inquired after the pain- 
 ter, and found him at work in a garret. 
 Vandyck soon relieved him from a situa- 
 tion so unworthy of his merit, and fur- 
 nished him with every thing requisite for 
 his appearance in a character suitable to 
 his talents. He afterwards recommended 
 him to Charles I., who took him into his 
 service, kept him at Oxford as long as he 
 continued there, sat to him often for his 
 portrait, and distinguished him by the 
 
DOE 
 
 157 
 
 DOE 
 
 name of the English Tintoret. While at 
 Oxford, he also painted the portraits of 
 the Prince of Wales, Prince Rupert, and 
 many of the nobility. It is to be lamented 
 that an artist born with such talents and 
 genius should have wanted those advan- 
 tages whicjli might probably have raised 
 him to the highest excellence, had he been 
 furnished with an opportunity of examin- 
 ing the productions of the illustrious 
 masters of Rome and Venice. He was 
 certainly one of the most eminent painters 
 of his time, and an equal honour to the 
 art and to his native country. His man- 
 ner is bold and free, and has abundance of 
 sweetness, with a charming tone of colour; 
 and though inferior to Vandyck in the 
 gracefulness of his figures, yet he gave 
 life, dignify, and sentiment to liis portraits; 
 and for truth, character, and resemblance, 
 few have surpassed him. At Wilton there 
 is a picture of the Decollation of St. John, 
 byDobson, which isinagood style, though 
 the colouring is rather cold; the idea of 
 St. John is said to have been taken from 
 Prince Rupert; and at Blenheim, Nor- 
 thumberland-house, and Chatsworth, are 
 several capital pictures of this artist, who 
 died poor, in St. Martin's-lane, in 1646. 
 
 Does (Jacob Vandek, the Old). He 
 was born at Amsterdam in 1623, and was 
 the disciple of Nicholas Moyaert, on leav- 
 ing whom he quitted Holland, and travelled 
 to Italy, where he arrived in a very neces- 
 sitous condition, and was supported by 
 the Bentvogel Society. He spent several 
 years at Rome, designing and painting 
 with incessant application, and at last 
 adopted the manner of Bamboccio, whose 
 works he made the model of his perform- 
 ances. He was so diffident of his own 
 abilities, as to be often displeased with 
 his work, after exerting his utmost pains 
 and industry; and frequently he grew 
 melancholy, by imagining that he observed 
 others arrive at greater perfection than 
 himself. This morose and fretful temper 
 rendered him disagreeable to all his ac- 
 quaintance in Italy, and compelled him 
 to return to his own country. The only 
 friend who did not forsake him was Karel 
 du Jardin ; yet these two painters were as 
 opposite in their style as they were unlike 
 in disposition : Jardin loved to paint what 
 was clear and cheerful ; Vander Does was 
 fond of the brown and dark, and his pic- 
 tures seemed to partake of the gloominess 
 of his mind. Yet in the composition of 
 his landscapes his taste was noble, and the 
 small figures with which he adorned them 
 
 were well designed, and touched with 
 spirit ; the animals also, which were chiefly 
 sheep or goats, were painted with truth 
 and delicacy. He understood well the 
 chiaro-oscuro, and grouped hisfigures with 
 judgment. After his return to Holland 
 he married a person of fortune, and ob- 
 tained considerable wealth by his profes- 
 sion. His pictures brought higher prices 
 during his life than after his death, though 
 many of them have extraordinary merit. 
 Vander Does etched several landscapes 
 from his own designs. He died at Am- 
 sterdam in 1673. 
 
 Does (Simon Vander). He was the 
 eldest son of the preceding, and was born 
 at Amsterdam in 1653. He was in- 
 structed by his father, and chose the same 
 subjects, style, and manner of painting. 
 He went first to Frizeland, in order to 
 follow his profession in that country; but 
 not receiving sufficient encouragement, 
 he determined to visit England, where he 
 resided about a year, and then returned 
 to the Hague. In that city he found em- 
 ployment equal to his desire, but became 
 depressed in his circumstances as well as 
 in his spirits, by the extravagance of his 
 wife, who squandered away all that his 
 industry could procure; and when she 
 died, left him involved in debts and 
 misery. Though he excelled in landscape 
 and cattle, he sometimes painted portraits, 
 which, in the touch and colouring, re- 
 sembled those of Gaspar Netscher; and, if 
 he had not indulged himself in a retired 
 course of life, that branch of the art 
 would have proved more advantageous to 
 him than the usual subjects of his pencil. 
 There is something extremely pleasing in 
 all his pictures; and though his figures 
 generally want elegance, and his colour- 
 ing rather inclines to the yellow and light 
 brown, there is so much correctness in his 
 cattle, such freedom and ease in his touch, 
 such agreeable distances, such pleasing 
 forms in his trees, such transparence and 
 delicacy in his colouring, and such a look 
 of nature, with the simplicity of rural life 
 in his pastoral subjects, as must always 
 render his works valuable. Simon Vander 
 Does etched some plates of landscapes 
 with cattle. He died very poor in 1717. 
 Does (Jacob Vander, the Young). 
 He was the second son of old Jacob 
 Vander Does, and was born at Amster- 
 dam in 1653. He studied first under 
 Karel du Jardin, with whom he continued 
 till that painter went to Rome; and then 
 he became a disciple of Netscher, on 
 
DOL 
 
 DOM 
 
 quitting whom he sought improvement 
 from the instruction of Gerard Lairesse. 
 We are told that when Vander Does had 
 spent three or four weeks on a particular 
 picture, and did not thoroughly like it, 
 though it was admired and commended by 
 those who saw it, particularly his brother, 
 he cut it in pieces, and began another of 
 the same subject, in which he was so suc- 
 cessful, that Mr. de Graaf, to whom it 
 was presented, appeared wonderfully 
 struck with the beauty of the performance, 
 made large presents to the artist, and re- 
 commended him to the favour of Mr. 
 Heemskirk, ambassador from the States 
 of Holland to the King of France. Van- 
 der Does was highly pleased at the pro- 
 spect of displaying his talents at Paris; 
 and it is probable that he might have 
 raised his fortune and reputation to a high 
 degree, if he had lived to finish the works 
 which the nobility of that kingdom had 
 commissioned him to execute. He died 
 in 1693. 
 
 DoLABELLA (ToMMASo). This artist 
 was born at Belluno about 1579. He be- 
 came the pupil of Antonio Vassillacchi, 
 called Aliense^ and excelled in portrait 
 painting, which he practised at the court 
 of Sigismond, the third king of Poland. 
 He sometimes painted historical subjects. 
 
 DoLci (Caklo or Carlino). This 
 master was born at Florence in 1616, and 
 was a disciple of Jacopo Vignali. His 
 first attempt was a whole figure of St. 
 John, painted when he was only eleven 
 years of age, which received extraordinary 
 approbation. Afterwards he painted the 
 portrait of his mother, which gained 
 general applause, and from that time his 
 new and delicate style procured him much 
 employment at Florence and other parts 
 of Italy. He was particularly fond of 
 painting sacred subjects; and his works 
 are easily distinguished, not so much by 
 any superiority to other great artists in 
 design or force, as by the delicacy with 
 which he perfected all his compositions, 
 by a pleasing tint of colour, improved by 
 a judicious management of the chiaro- 
 oscuro, which gave his figures a surpris- 
 ing relief, by the graceful hairs of his 
 heads, and a general harmony, accom- 
 panied with exquisite finishing. His 
 pencil was tender, his touch inexpressibly 
 neat, and his colouring transparent, though 
 he has often been censured for the ex- 
 cessive labour bestowed on his pictures ; 
 and also for giving his carnations more 
 of the appearance of ivory than the look 
 
 of flesh. In his manner of working he 
 was remarkably slow ; and it is reported 
 of him, that his brain was afiected by 
 seeing Luca Giordano dispatch more busi- 
 ness in four or five hours than he could 
 have done in as many months. In the 
 Palazzo Corsini, at Florence, k a picture 
 of St. Sebastian, painted by Carlo Dolci, 
 the figures in which are half the natural 
 size. It is extremely correct in the de- 
 sign, and beautifully coloured ; but too 
 much laboured. In the Palazzo Ricardi 
 is another picture of the Four Evangelists, 
 tlie figures as large as life, at half length ; 
 it is a lovely performance, nor does there 
 appear in it that excessive finishing which 
 distinguishes his other works, 'i'he two 
 best figures are St. Matthew and St. 
 John, particularly the latter, which is ex- 
 cellent in the design, the character ad- 
 mirable, and the whole well executed. 
 The Marquis of Exeter has a fine picture 
 by this master, of Christ breaking the 
 Bread ; and there is another in the Pem- 
 broke collection at Wilton, of which the 
 subject is the Virgin ; it is ornamented 
 with flowers, painted by Mario da Fiori, 
 The Madonnas of Carlo Dolci exhibit un- 
 common delicacy and pathetic emotion ; 
 and the colouring in all his pictures is 
 svyeetly harmonious. Carlo died in 1686, 
 leaving a daughter, named Agnese, who 
 also painted some historical pictures, but 
 excelled chiefly in copying those of her 
 father. 
 
 DOMENICHINO, or DOMENICO (ZaM- 
 
 piERi). This admired master, whose 
 family name was Zampieri, was born at 
 Bologna in 1581. He received his first 
 instruction in painting from Denis Cal- 
 vart; but afterwards he became a disciple 
 of the Caracci, and continued in that 
 school for a long time. The great talents 
 of Domenichino did not unfold themselves 
 so early as in other painters ; he was stu- 
 dious, thoughtful, and circumspect; which, 
 by his companions, was misunderstood for 
 dulness. But the intelligent Annibale 
 Caracci, who observed his faculties with 
 more attention, and knew his abilities 
 better, testified of Domenichino, that his 
 apparent slowness of parts would in time 
 produce what would be an honour to the 
 art of painting, lie persevered in the 
 study of his art with incredible applica- 
 tion, and daily made such advances, as 
 enabled him at last to appear in an ho- 
 nourable light, even among the most 
 famous artists that have ever appeared. 
 It is acknowledged generally, that his 
 
DOM 
 
 DOM 
 
 thoughts Avere judicious from the begin- 
 ning, and that they were afterwards ele- 
 vated, so as to want but little of reaching 
 the sublime; and whoever will consider 
 the composition, design, and expression in 
 his Adam and Eve, his Communion of 
 St. Jerome, and in the picture of the 
 Death of St. Agnes, at Bologna, will readily 
 perceive that they must have been the re- 
 sult of genius, as well as of just reflection; 
 though M. de Piles says he is in doubt 
 whether Domenichino had any genius or 
 not. That ingenious writer seems willing 
 to attribute every degree of excellence in 
 Domenichino's performance to labour or 
 good sense, or any thing but genius ; yet 
 how any artist could, according to his 
 own estimate, in the scale of painters, be 
 on an equality with the Caracci, Nicolo 
 Poussin, and Leonardo da Vinci, in com- 
 position and design, and far superior to 
 them all by several degrees in expression, 
 and approach near to the sublime, without 
 having a genius, or even without having 
 an extraordinary good one, seems not 
 easily reconcilable. If the productions 
 of an artist must always be tlie best evi- 
 dence of his having or wanting a genius, 
 the compositions of Domenichino must 
 ever afford sufficient proofs in his favour. 
 As to correctness of design, expression of 
 the passions, and simplicity and variety 
 in the hairs of his heads, he is allowed to 
 be little inferior to Ilaffaelle ; and yet his 
 attitudes are but moderate, his draperies 
 rather stiff, and his pencil heavy. How- 
 ever, as he advanced in years and experi- 
 ence, he advanced proportionably in merit, 
 and the latest of his compositions are the 
 best. There is undoubtedly in the works 
 of this eminent master what will always 
 claim applause, what will for ever main- 
 tain his reputation, and place him among 
 the number of the most excellent in the 
 art of painting. One of the chief excel- 
 lences of Domenichino consisted in his 
 landscapes ; and in that style the beauty 
 arising from the natural and simple ele- 
 gance of his scenery, his trees, his well 
 broken grounds, and in particular the 
 character and expression of his figures, 
 gained him as much public admiration as 
 any of his other performances. The Com- 
 munion of St. Jerome, and the Adam and 
 Eve, are too well known to need a descrip- 
 tion, and they are universally allowed to 
 be capital works, especially in the expres- 
 sion. In the Palazzo della Torre at Naples 
 there is a picture by Domenichino, repre- 
 senting a Dead Christ on the knees of the 
 
 Virgin, attended by Mary Magdalen and 
 others. The composition of this picture 
 is very good, and the design simple and 
 true ; the head of the Magdalen is full of 
 expression, the character excellent, and 
 the colouring tolerable ; buf, in other 
 respects, the pencilling is dry, and there 
 is more of coldness than harmony in the 
 tints. In the Church of St. Agnes, at 
 Bologna, is an altar-piece which is con- 
 sidered as one of the most accomplished 
 performances of this master, and shows, 
 in a true light, his taste, judgment, and 
 genius. The subject is the Martyrdom 
 of St. Agnes, and the design is extremely 
 correct, without any thing of manner. 
 The head of the Saint has an expression 
 of grief, mixed with hope, that is wonder- 
 fully noble ; and he has given her a 
 beautiful character. There are three fe- 
 male figures grouped on the right, which 
 are lovely, with an uncommon elegance 
 in their forms, admirably designed, and 
 with a tone of colour that is beautiful. 
 Their dress, and particularly the attire of 
 their heads, is ingenious and simple ; one 
 of this master's excellences consisting in 
 that part of contrivance. In short, it is 
 finely composed, and unusually well pen- 
 cilled, though the general tone of the 
 colouring partakes a little of the greenish 
 cast, and the shadows are rather too dark ; 
 yet that may probably have been occa- 
 sioned or increased by time. Some writers, 
 however, give a lower character of this 
 master, and charge him with being too 
 much of a mannerist, and as wanting 
 dignity; yet it is admitted even by the 
 severest of these critics, that the Cure of 
 the Demoniac Boy, among the frescoes, at 
 Grotto Ferrata, manifests a sublimity of 
 conception little, if at all, inferior to 
 RafFaelle. How closely he imitated his 
 instructors, appeared in the Communion 
 of St. Jerome, where he took Agostino 
 Caracci for his pattern ; and in the Dis- 
 tribution of Alms, in the picture of St. 
 Cecilia, he had Annibale Caracci for his 
 model. Domenichino was made chief 
 architect of the apostolical palace by Pope "" 
 Gregory XV. He was also well versed 
 in music, but loved solitude ; and it was 
 observed, that as he went along the streets 
 he was in the habit of noticing the atti- 
 tudes and expressions of persons, and 
 sketching them in his pocket-book. He 
 was of a mild temper and courteous de- 
 portment; notwithstanding which he could 
 not avoid envy and malice. At Naples 
 he was so ill used by some of his own 
 
DON 
 
 160 
 
 DON 
 
 profession, that they persecuted him by 
 the basest arts, and wearied him out of 
 life. He died (not without suspicion of 
 poison) in 1641. 
 
 Domini (Girolamo). This artist was 
 born at Cbrregio in 1681. He became 
 successively the scholar of Francesco 
 Stringa, Giuseppe del Sole, and Carlo 
 Cignani. He obtained much employment, 
 not only for altar-pieces, but for easel pic- 
 tures ; all of which he executed in a mas- 
 terly style. He died in 1739. 
 
 Dominique (Jean). This painter was 
 a native of France, and a disciple of 
 Claude Lorraine. He lived mostly at 
 Rome, and was remarkable for his wonder- 
 ful exactness in imitating the style and 
 colouring of his master. He died in 1684. 
 
 Dominic (Cavaliere). He was a na- 
 tive of Rome, and studied under Pomer- 
 anio, whose manner he followed. The 
 pope, for some of his works, conferred on 
 him the honour of knighthood. He died 
 at the age of forty -five, in 1640. 
 
 Dominici (Francesco). This artist 
 was a native of Trevigi," and died about 
 1600. He painted an ecclesiastical pro- 
 cession in the dome of the great church 
 of his native city ; and he also excelled in 
 portrait. He died in the prime of life. 
 
 Dominici (Bernardo). He was born 
 at Naples, and studied landscape under 
 Joachim Francis Beisch, a German pain- 
 ter ; but Dominici also excelled in the style 
 of Bamboccio. He wrote two volumes of 
 a work entitled, "Vite de Pittori, Scultori, 
 ed Architetti Napolitani," printed at that 
 place in 1741. 
 
 Donaldson (Johnj This artist was 
 born in 1737, at Edinburgh, where his 
 father was a glover in low circumstances, 
 much addicted to metaphysical reveries, 
 of which his son unfortunately inherited 
 a double portion, but without his father's 
 prudence, who never suffered his abstrac- 
 tions to interfere with his business. While 
 a child, young Donaldson was constantly 
 occupied in copying every object he saw, 
 with chalk, on his father's cutting-board. 
 ' This propensity was encouraged, and at 
 the age of twelve or thirteen, young Don- 
 aldson had acquired some reputation as a 
 drawer of miniature portraits in Indian 
 ink, by which he was enabled to contri- 
 bute to his own support and that of his 
 parents. At the same time he was ad- 
 mired for his skilful imitations of the old 
 engravers, which he executed with a pen 
 so correctly as sometimes to deceive the 
 eye of a connoisseur. After passing seve- 
 
 ral years in Edinburgh, he came to Lon- 
 don, and for some time painted portraits 
 in miniature with success ; but unfortu- 
 nately he began to fancy that the taste, 
 policy, morals, and religion of mankind 
 were all wrong, and that he was born to 
 set them right. His profession now became 
 a secondary object, and whether from 
 jealousy or insanity, he used to declare 
 that Reynolds must be a dull fellow to 
 devote his life to the study of lines and 
 tints. The consequence was a neglect of 
 business, which of course soon left him 
 none to mind. In the mean time, he pub- 
 lished a volume of poems and an Essay 
 on the Elements of Beauty, in both which 
 merit was discoverable. Before he took 
 a disgust to his profession, he made an 
 historical drawing, the subject of which 
 was the Tent of Darius ; it was honoured 
 ' with a prize by the Society of Arts. He 
 also painted two subjects in enamel, the 
 Death of Dido, and Hero and Leander, 
 which likewise obtained rewards from that 
 institution. Among his various pursuits 
 he cultivated chemistry, and discovered a 
 method of preserving not only vegetables 
 of every kind, but the lean of meat, so as 
 to remain uncorrupted during the longest 
 voyages. For this discovery he obtained 
 a patent; but want of money and native 
 indolence, with a total ignorance of the 
 affairs of life, prevented his deriving any 
 advantage from it. The last twenty years 
 of his life were years of suffering. His 
 eyes and business failing, he was often in 
 want of common necessaries. He died at 
 Islington, Oct. 11, 1801. Mr. Edwards 
 attributes to him, but erroneously, an 
 anonymous pamphlet entitled, " Critical 
 Observations and Remarks upon the Pub- 
 lic Buildings of London." 
 
 Donati (Bertolo). This artist was 
 born at Venice in 1540, and died there in 
 1601. He painted historical subjects in 
 a correct style, and with considerable 
 power of execution in colouring and de- 
 sign. 
 
 Donato ( ). This ancient painter 
 
 was born at Venice, in 142^. He studied 
 under Jacobello, and acquired some dis- 
 tinction in his day for historical subjects. 
 He died in 1478. 
 
 Doncker (John). This painter was 
 born at Gouda in 1610, and proved a very 
 excellent artist ; but died in the flower of 
 his age. His great abilities may be 
 judged of by one picture, preserved in his 
 native city, in which are several portraits 
 of persons of distinction at Gouda, and it 
 
DON 
 
 161 
 
 DOU 
 
 is painted with so much freedom of pencil, 
 and such strength of colour, that it looks 
 more like the work of an experienced and 
 accomplished master, than the perform- 
 ance of so young a professor of the art. 
 
 DoNCKER (Peter). He was born at 
 Gouda in 1612, and was a disciple of 
 Jacques Jordaens, with whom he continued 
 till he had made a good progress in the 
 knowledge of colouring and pencilling; 
 but being desirous of acquiring a better 
 taste of design, he determined upon going 
 to Rome, where he resided seven years, 
 studying after the antiques, and the most 
 celebrated paintings. At his return to 
 his own country, his improvement was so 
 visible as to procure him sufficient em- 
 ployment from persons of the highest 
 rank. He painted historical subjects, and 
 died in 1668. 
 
 DoNDUcci (GiovANxi Andrea). This 
 painter, who is sometimes called II Mas- 
 teletta^ was born at Bologna in 1576, and 
 studied first in the academy of the Caracci ; 
 but being of an intractable disposition, 
 and impatient of restraint, he left that 
 seminary, and affected a new style of his 
 own invention, founded partly, however, 
 on that of Parmegiano. This novelty had 
 some followers for a time, and Donducci 
 obtained considerable employment at Bo- 
 logna. He also painted landscapes in the 
 manner of his old masters, which did him 
 credit. There are several historical pic- 
 tures by him in the churches of Bologna, 
 at which city he died in 1655. 
 
 Don I (Adone, or Done). He was 
 born at Assisi in 1472, and studied under 
 Pietro Perugino,whora he greatly excelled. 
 In the Church of St. Francesco, at Pe- 
 rugia, is a painting by him of the Last 
 Judgment, which exhibits great truth and 
 force of colouring. He died at Rome in 
 1560. 
 
 DoNosA (Josepho). This Spanish ar- 
 tist was born in 1628. He studied under 
 his father, who was a painter of moderate 
 talents, but afterwards he became a scho- 
 lar of Francesco Fernandez, at Madrid, 
 on leaving whom he went to Italy, to per- 
 fect himself in design and colouring. He 
 excelled in perspective and architecture. 
 He died at Madrid in 1686. 
 
 DoNZELLi (Pietro and Polito dal). 
 These two brothers are mentioned by 
 Vasari, as painters of the Neapolitan 
 School. They distinguished themselves 
 (says Lanzi) in the painting of friezes and 
 trophies, and subjects in chiaro-oscuro, 
 in the manner of basso-relievos. The 
 
 portraits of Pietro had all the force of 
 nature. 
 
 DoKiGNY (Michael). He was born at 
 St. Quintin in France, in 1617, and 
 had for his master Simon Vouet, whose 
 daughter he married. He adopted the 
 manner of Vouet in painting historical 
 subjects ; but he is chiefly known by his 
 engravings, which were mostly after the 
 pictures of his father-in-law, to whom he 
 was much attached. He died at Paris in 
 1665. His eldest son Nicholas was an 
 admirable engraver, and in 1711 came to 
 England, where he executed the plates of 
 the Cartoons after Raffaelle, for which he 
 was knighted by George I. He died at 
 Paris in 1746. 
 
 DoRiGNY (Louis). He was the son of 
 the preceding, and was born at Paris in 
 1654. The rudiments of the art he receiv- 
 ed from his father till he was ten years 
 of age; but being then deprived of his 
 instructor, he became a disciple of Le 
 Brun. In that school he made a consi- 
 derable progress ; but being disappointed 
 of the first prize at the academy, he went 
 to Italy, and studied for several years at 
 Rome, Venice, and Verona, which last 
 city he chose for his residence. He is 
 praised by the French writers for his 
 ready genius, lively colouring, and spirited 
 pencil ; yet even they acknowledge that a 
 sketch for a ceiling which he produced at 
 Paris, representing the fall of Phaeton, 
 was so much discommended, that in dis- 
 gust he returned to Verona, where he died 
 in 1742. The principal work of this 
 painter is the dome of the great church at 
 Trent. He also engraved about forty 
 plates in a good style, some after Raffaelle, 
 and others from his own designs. 
 
 Dossi (Dosso). He was born at or 
 near Ferrara in 1490, and became the 
 disciple of Lorenzo Costa, after which he 
 visited Rome and Venice with his brother, 
 and continued there eleven years, studying 
 the works of the best masters. The two 
 brothers painted in conjunction, and were 
 much employed by the Duke of Ferrara. 
 Dossi excelled in portrait and historical 
 subjects, and among the rest painted the 
 likeness of Ariosto, who in return has 
 celebrated the praises of the two brothers. 
 The churches of Ferrara possess several 
 of Dosso's works, and there are also some 
 in the Dresden gallery. He died at Fer- 
 rara in 1560. Giovanni Battista excelled 
 in landscapes, the figures in which were 
 painted by his brother. 
 
 DoUDYNs, or DoBOENS (William). 
 
DOU 
 
 162 
 
 DOU 
 
 This artist was born at the Hague in 1630, 
 and learned to draw and design from 
 Alexander Petit, an inconsiderable artist ; 
 but as soon as lie had acquired a compe- 
 tent degree of skill, and a tolerable readi- 
 ness of hand, to complete his knowledge 
 he went to Italy. He continued at Rome 
 twelve years, copying and designing such 
 works of the best ancients and moderns 
 as could most conduce to his improvement, 
 particularly the statues and basso-relievos, 
 by which method he formed a style of 
 composition that was much admired. On 
 his return to the Hague he met with an 
 honourable reception, was employed in 
 several grand works, and appointed direc- 
 tor of the academy. Doudyns had a grand 
 manner of designing and composing his 
 subjects : the correctness of his outline in 
 the naked figures is remarkable, and he 
 also gave them elegant and delicate forms. 
 His draperies are well cast, broad, light, 
 and natural, and his pencil is free and 
 firm ; so that his pictures have been consi- 
 dered by many as the product of an Italian 
 invention, taste, and design. Among 
 many excellent works of this master at the 
 Hague, is one, the subject of which is the 
 Wisdom of Solomon. Doudyns was one 
 of the founders of the academy at the 
 Hague, where he died in 1697. 
 
 DouFFiiEST (Gerard), a Flemish pain- 
 ter, was born at Liege in 1594. He stu- 
 died under John Taulier, and then went 
 to Antwerp, where he became the scholar 
 of Rubens; after which he travelled to 
 Italy. By his assiduity he obtained a 
 correct style, designed well, and executed 
 some good historical pictures at Liege, 
 where he died in 1660. 
 
 Doughty (William). This artist was 
 born in the city of York, where he prac- 
 tised portrait painting with considerable 
 success, about the year 1780. He also 
 scraped several plates in mezzotinto, 
 among which were some portraits from 
 the paintings of Sir Joshua Reynolds. 
 
 DouvEN (John Fraxcis). He was born 
 at Ruremonde in 1655, and was the 
 scholar of Gabriel Lambertin of Liege. 
 After learning design and colouring from 
 that master, be studied under the direction 
 of Christopher Puitlink, a nephew of 
 Lambertin's, who excelled in landscape 
 and animals. Soon after this he obtained 
 the patronage of Don John de Velasco, 
 superintendent of the finances at Rure- 
 monde for Charles II., King of Spain. 
 That nobleman, who possessed a valuable 
 collection of the works of the best masters, 
 
 employed Douven for three years in copy- 
 ing the principal pictures of his cabinet ; 
 by which he improved his knowledge, and 
 acquired a sounder judgment, purer taste, 
 a more elegant style of composition, and 
 a better manner of handling than he had 
 before. Douven would probably have 
 pursued the historical style if he had not 
 been invited to the court of Dusseldorp, 
 where his first work was to paint the por- 
 traits of the duke and other noble person- 
 ages. Proving successful beyond his 
 expectations, he became attached to that 
 branch of painting. He afterwards at- 
 tended his patron to Vienna, where he 
 painted the portraits of the emperor and 
 empress, for which he was ampl}' rewarded, 
 besides receiving a chain and medal of 
 gold. He was likewise employed at the 
 courts of Portugal, Denmark, Modena, 
 and Tuscany ; and at the latter, the grand 
 duke ordered the portrait of Douven, paint- 
 ed by himself, to be placed in the gallery 
 of painters. His pictures are not only 
 well coloured and well pencilled, but have 
 great force and spirit, with a strong like- 
 ness, and an amiable and majestic air, 
 principally occasioned by his placing the 
 eyes of his figures with so much judgment, 
 that they give dignity, life, thought, and 
 expression to every character. He also 
 painted history in small, in which style 
 his composition is good, his design correct, 
 and much in the taste of the Italian school. 
 In the collection of the King of France 
 are two of his pictures ; one is a Holy 
 Family ; and the subject of the other is 
 Susanna and the Elders. He died in 1727. 
 Douw (Gerhard). This admirable 
 artist was the son of a glazier, and was 
 born at Leyden in 1613. He received his 
 first instructions in drawing from Do- 
 lendo, an engraver; and next from Peter 
 Kowenhoorn, a painter on glass; but at 
 the age of fifteen he became a disciple of 
 Rembrandt, in whose school he continued 
 three years, and then found himself quali- 
 fied to study nature. From Rembrandt 
 he learned the true principles of colour- 
 ing, and obtained a complete knowledge 
 of the chiaro-oscuro; to which he added a 
 delicacy of pencil, and a patience in work- 
 ing up his colours to the highest degree 
 of neatness, superior to any other master. 
 He, therefore, was more pleased with 
 those pictures of Rembrandt which were 
 painted in his youth, than those by which 
 he was distinguished in his more ad- 
 vanced age ; because the first seemed 
 finished with greater care, the latter with 
 
DOU 
 
 163 
 
 DOU 
 
 more boldness, freedom, and negligence, j 
 But though his manner appears so diffe- 
 rent from that of his master, yet it was to 
 Rembrandt alone that he owed his excel- 
 lence in colouring, by which he triumphed 
 over all the artists of his time. His pic- 
 tures are usually of a small size, with 
 figures so exquisitely touched, transparent, 
 and delicate, as to excite both astonish- 
 ment and pleasure. He designed every 
 thing after nature, and with such exact- 
 ness that each object appears as perfect 
 as nature itself, in colour, freshness, and 
 force. His general manner of painting 
 portraits was by the aid of a concave 
 mirror, and sometimes by looking at the 
 object through a frame with many squares 
 of fine silk. But the latter custom is dis- 
 used, as the eye of a good artist seems a 
 more competent rule, though the use of 
 the former is still practised by painters in 
 miniature. It is incredible what vast 
 suras have been given, and still are, for 
 the pictures of Douw, not only in liis own 
 country, but also in Italy, and every part 
 of Europe; for he was exceedingly curious 
 in finishing them, and patient beyond 
 example. Of that patience Sandrart gives 
 a strong proof. Having once, in com- 
 pany witli Bamboccio, visited Douw, they 
 could not forbear admiring the prodigious 
 neatness of a picture which he was then 
 painting, in which they took particular 
 notice of a broom; and on expressing their 
 surprise at the accurate finishing of that 
 minute object, Gerhard told them he 
 should spend three days more in working 
 on it before he should think it complete. 
 In a family picture of Mrs. Spiering, the 
 same author says, that the lady had sat 
 five daj^s for the finishing one of her 
 hands, leaning on an arm-chair. For this 
 reason, not many would sit to him fur 
 their portraits; and he therefore indulged 
 himself mostly in works of fancy, in which 
 he could introduce objects of still life, 
 and employ as much time on them as 
 suited his inclination. Houbraken tes- 
 tifies, that his great patron, Mr. Spiering, 
 allowed him a thousand guilders a-year, 
 and paid beside whatever lie demanded for 
 his pictures, some of which he purchased 
 for their weight in silver; but Sandrart, 
 with more probability, assures us tliat the 
 thousand guilders were paid to Gerhard 
 on condition that the artist should give 
 him the option of every picture he painted, 
 Douw was incontestably the most won- 
 derful in his finishing of all the Flemish 
 masters. Every thing that came from his 
 
 pencil is precious, and his colouring has 
 exactly the true and lovely tints of nature; 
 his colours neither appear tortured, nor is 
 their vigour lessened by his patience; for 
 whatever pains he took, there is nothing 
 of labour or stiffness in his pictures, 
 which besides are remarkable not only for 
 retaining their original lustre, but for 
 having the same beautiful effect at a pro- 
 per distance as when brought to the 
 nearest view. The most capital picture 
 of Douw, in Holland, was not long since 
 in the possession of the widow Van Iloek, 
 at Amsterdam; it was of a size larger than 
 usual, being three feet high, by two feet 
 six inches broad, within the frame. In it 
 two rooms are represented; in the first 
 (where there appears a curious piece of 
 tapestry, as a separation of the apart- 
 ments) is a figure of a woman giving suck 
 to a child ; at her side is a cradle, and a 
 table covered with tapestry, on which is 
 placed a gilt lamp, and some pieces of 
 still life. In the second apartment is a 
 surgeon's shop, with a countryman under- 
 going an operation, and a woman stand- 
 ing by him, with several utensils. The 
 folding- doors show on one side a study, 
 and a man making a pen by candlelight ; 
 and on the other side is a school, with 
 boys writing and sitting at different 
 tables; the whole lighted in an agreeable 
 and surprising manner; every object being 
 expressed with beauty, truth, and astonish- 
 ing force. It was his peculiar talent to 
 show., in a small compass, more than other 
 painters could express in a much larger 
 extent. At Turin were several pictures 
 by Gerard Douw, wonderfully beautiful; 
 especially one of a Doctor attending a 
 sick Woman, and examining a Urinal. 
 The execution of that painting is astonish- 
 ingly fine ; and although the shadows ap- 
 pear a little too dark, the whole has an 
 inexpressible effect. This, with many 
 others, fell a prey to the French plun- 
 derers, who carried the whole to Paris. 
 In the gallery at Florence is a night-piece 
 by candlelight which is exquisitely finish- 
 ed; and inthesameapartmentisaMounte- 
 bank. attended by a number of figures. 
 Of this picture Sir Joshua Reynolds did 
 not think very highly ; tlie heads, he says, 
 have no character, and the only humorous 
 incident in it is of a dirty description, 
 being that of a woman clouting her child. 
 The same great and candid judge deemed 
 the single figureof awoman holding a hare, 
 which picture was in Mr. Hope's collec- 
 tion, more valuable than the boasted per- 
 
DRI 
 
 164 
 
 DRO 
 
 formances of Douw's, which seem to have 
 excited admiration on account of their la- 
 bour. This excellent artist died very rich 
 in 1674. 
 
 DoTEN (Gabriel Francis). This ar- 
 tist, born at Paris in 1726, was a pupil of 
 Vanloo, and subsequently spent several 
 years in Italy, sedulously studying the 
 works of the great masters at Rome, Na- 
 ples, Bologna, Venice, and other places. 
 On his return to his native land, he ac- 
 quired a high reputation as an historical 
 painter. His picture of the Death of 
 Virginia, gained him admission into the 
 French Academy. At the beginning of 
 the Revolution, the Empress Catherine 
 prevailed on him to settle in Russia; and 
 he continued to reside in that country 
 till his decease, which took place in 
 1806. 
 
 DOZELLO (PlETRO IpPOLITO DEL). This 
 
 artist was born at Naples in 1405, and stu- 
 died under Cola Antonio. lie distin- 
 guished himself both in painting and ar- 
 chitecture. He died at Naples in 1470. 
 
 Draghi (Giovanni Battista). He 
 was born at Genoa in 1657, and studied 
 under Domenico Piola, whose style he 
 imitated very successfully. Most of his 
 works are at Parma and Placenzia. Though 
 his frescoes are fine, and evince the genius 
 of a master, his paintings in oil are supe- 
 rior. In the convent of the Franciscans 
 at Placenzia is a painting by him of the 
 Death of St. James, of which good judges 
 speak in high terms. He died in 1712. 
 
 Drillenburg (William Van). This 
 artist was born at Utrecht in 1625, and 
 learned landscape painting, for his amuse- 
 ment, from Abraham Bloemart; but made it 
 afterwards his whole study, and practised it 
 as a profession. On quitting Bloemart, he 
 imitated the style of John Both, in the 
 choice of his subjects and situations, his 
 trees, skies, and distances ; and he might 
 have stood in competition with hira, if his 
 colouring had more of the look of nature, 
 or if his touch had been as light, free, and 
 delicate, as the touch of that excellent ar- 
 tist. But with all his industry he could 
 never arrive at that beauty of colouring 
 which distinguishes the landscapes of 
 Both. He was very assiduous at his work, 
 and generally drew those designs at night 
 which he intended to paint the next day ; 
 and he took so much delight in the 
 practice of his art, that he often suffered 
 a whole month to pass away without once 
 walking abroad. Houbraken was the 
 scholar of this master. 
 
 Drolling (Martin). This artist was 
 born at Berghem, near Colmar, Septem- 
 ber 19, 1752. He was early distinguished 
 for his great taste for drawing ; and, in 
 order to improve himself in this art, he 
 went to Paris, with a view of working 
 under the ablest masters, and studying the 
 best models. He first became a portrait 
 painter, in which line he succeeded very 
 happily. The penchant of Mr. Drolling 
 attracted him towards the imitation of na- 
 ture; and this sentiment of truth, the first 
 germ of talent, was seasoned by the sight 
 of some little Dutch pictures. Struck 
 with the manner in which familiar sub- 
 jects were represented in these paintings, 
 he attempted to imitate them. His first 
 efforts were successful, and he continued 
 to improve in that class till his death, in- 
 somuch that his last picture was perhapshis 
 masterpiece. Correct in his design, faithful 
 in his colouring, his touch firm and animat. 
 ed, yet free ; his choice of objects, though 
 taken from common life, never contained 
 any thing ignoble. Siich was the general 
 outline of his talent; and the productions 
 of his pencil have always been much es- 
 teemed by amateurs: the Charitable Lady, 
 the Confessional, the Milkmaid, the 
 Foreign Merchant, the Orange Vender, 
 and Schoolmistress, will ever occupy a 
 distinguished place in the finest collec- 
 tions. He died at Paris, in April, 1807. 
 
 Droogsloot ( ). Some affirm that 
 
 this artist was born at Dort in 1650, and 
 others say he was a native of Gorcum ; 
 but certainly the greater part of his life 
 was spent at the former place, where he 
 was very much encouraged and employed. 
 He is supposed to have been the scholar 
 of Henry Mompers, and his subjects were 
 all taken from nature, being views of towns, 
 villages, or cities, which are represented 
 with so much truth and exactness, as to 
 make them readily known at a first view. 
 He painted also fairs, markets, and village 
 revels, with a multitude of figures, or pa- 
 rades of military exercises. His landscape 
 is pleaant in the colouring, the skies clear, 
 the distances well observed, and the per- 
 speetiveofthebuildingstrue;buthisfigures 
 are mostly disagreeable forms, though 
 there is much of nature in their actions, 
 attitudes, and occupations. 
 
 Drost ( ). This painter was born 
 
 at Amsterdam in 1638, and studied under 
 Rembrandt, whose manner he followed 
 with a bold pencil and strong colouring. 
 On quitting the school of Rembrandt, he 
 went to Rome, and lived there for several 
 
DUG 
 
 165 
 
 DUL 
 
 years in a thorough intimacy with Carlo 
 Lotti, and other eminent painters, by 
 whose instructions, and an attention to 
 the finest productions of art, he acquired 
 a taste of design far superior to that of 
 his master. A capital picture by him is 
 one of St. John preaching in the Wilder- 
 ness, which consists of a great number of 
 figures, witli good expression, well group- 
 ed, and excellently coloured. He died in 
 1690. 
 
 Druyvesteyn (Arkold Jansse). This 
 artist was born at Haerlem in 1564, and, 
 according to the testimony of Van Mander, 
 he was a fine painter of landscapes, with 
 smallfigures, and different kinds of animals. 
 Beinga person of fortune, he studied paint- 
 ing merely as an amusement, and practised 
 it out of love to the art, and not to make it 
 a profession. He died in 1636. 
 
 DuBBELLS (John). This Dutch painter 
 was a scholar of Backhuysen, whose style 
 he followed closely, and with great suc- 
 cess. He was living in 1720. 
 
 DoBois (Edward). He was born at 
 Antwerp in 1622, and became the scholar 
 of an indifferent painter named Groen- 
 wegen, after which he went to Italy. On 
 visiting Turin, he was taken into the ser- 
 vice of the court; but in the reign of King 
 William he came to England, and though 
 very old, practised landscape and portrait 
 painting with great success. He died in 
 London in 1699. 
 
 Ddbois (Simon). He was born at 
 Antwerp, and was the younger brother of 
 the preceding, whom he excelled. His 
 instructor was Philip Wouvermans; after 
 which he came to England, where he 
 painted portraits of a small size, which are 
 commonly distinguished by the laced cra- 
 vats, the fashion of that time. Originally 
 he painted small battle-pieces, in the taste 
 of the Roman School, and afterwards 
 horses and cattle. Whenever he painted 
 figures, the faces were always neatly fin- 
 ished. He sold several pictures of his own 
 painting for originals of Italian masters, 
 saying that, since the world would not 
 do him justice, he would take care to do 
 it to himself. He had such a demand for 
 his works, that he grew rich, and married 
 the daughter of Vandervelde. He died in 
 1708. 
 
 Due (John le). This painter was born 
 at the Hague in 1 636. He was the scholar 
 of Paul Potter, whose style he imitated so 
 well, that many of his pictures were mis- 
 taken for those of his master. After some 
 time he left off painting cattle, to repre- 
 
 sent conversation subjects, assemblies, and 
 military parades. He also quitted the pen- 
 cil to become a soldier, and obtained the 
 rank of captain ; but after serving with 
 bravery, he returned to his former profes- 
 sion and was made Director of the Aca- 
 demy of Painting at the Hague, where he 
 died in 1695. 
 
 DucART (IsjVac). He was born at 
 Amsterdam in 1630, and painted flowers 
 generally on satin, giving thereby to his 
 objects great lustre and beauty, and re- 
 presenting every object as exact as it ap- 
 pears in its natural bloom, no artist before 
 him having brought that kind of painting 
 to so great a degree of perfection. He 
 resided for a long time in England, and 
 afterwards returned to Holland, where he 
 practised his art with extraordinary suc- 
 cess. He died there in 1697. 
 
 Ddccio (di Boninsegna). This artist 
 flourished at Florence in the year 1311, 
 at which lime he was engaged in painting 
 the grand altar-piece of the Cathedral of 
 Sienna. For this work, which occupied 
 the artist tliree years, he was paid more 
 than three thousand scudi of gold. The 
 front of this painting represented in a large 
 size the Madonna and Saints; and on 
 the sides were various designs from sacred 
 history. To this painter is ascribed the 
 revival of inlaid mosaic work, some of 
 which still remains in the floor of the same 
 church. Duccio is said to have died in 
 1360. 
 
 Duchemin (Catherine). This female 
 artist was born at Paris in 1630, and died 
 there in 1698. She excelled in painting 
 flowers and fruits, which she finished in 
 a natural and elegant style. 
 
 DuFAu (Fortune), a French painter, 
 born at St. Domingo, was a pupil of David, 
 and painted historical subjects with con- 
 siderable success, lie died in 1821. Ugo- 
 lino in Prison, St. Vincent de Paul, and 
 a Meditating Philosopher, are among his 
 best productions. 
 
 Dufresne(OharlesLouis). a French 
 painter, who was born at Nantes in 1635, 
 and died at Argentin in 1711. He was 
 equally skilful in portrait and historical 
 subjects. 
 
 Duiven (John). A Dutch artist who 
 was born at Gouda in 1600, and studied 
 under Walter Crabeth; by whose instruc- 
 tions he became a good painter of portraits. 
 He died in 1640, 
 
 DuLiN (Peter). This French painter 
 of history was born at Paris in 1670, and 
 died there in 1748. Nothing more is said 
 
DUR 
 
 166 
 
 DUR 
 
 of him by the biographers of the arts, and 
 his merit is little known. 
 
 DuLiiAERT (Heyma.n). He was born | 
 at Rotterdam in 1636, and from his infancy 
 showed a strong genius to painting. His 
 father, who was a picture-dealer, observing 
 Avith satisfaction the promising talents of 
 his son, placed him with Rembrandt, whose 
 manner of colouring, and style of design, 
 he happily imitated. A capital picture of 
 this artist is a Hermit on his Knees, which 
 is executed with so much spirit, that it 
 might have been accounted the work of 
 Rembrandt, if the name of DuUaert had 
 not been marked upon it. Another picture 
 of his, representing Mars in armour, was 
 sold at a public sale at Amsterdam, in 1696, 
 for an undoubted painting of Rembrandt. 
 He usually painted cabinet pictures in 
 history and i)ortrait, all of which displayed 
 suavity, vigour, and a great knowledge of 
 chiaro-oscuro. He died at Rotterdam in 
 1684. 
 
 DuNz (John). This artist was a native 
 of Berne in Switzerland, and was born in 
 1645. He became a good painter of flowers 
 and fruits. He died in 1736. 
 
 DupoisT (Gainsborough). This artist 
 was the maternal nephew of the celebrated 
 Thomas Gainsborough, in imitation of 
 whom he painted landscapes and portraits. 
 His principal performance is a picture re- 
 presenting the Masters of the Trinity- 
 house, which is in their court-room on 
 Tower-hill, and for which the painter was 
 paid five hundred pounds. He died very 
 young in 1797. 
 
 Dupuis (Peter). A French artist who 
 was born at Montfort Lamauri in 1608, 
 and died in 1682. He excelled in paint- 
 ing flowers and fruits. 
 
 DuREK (Albert). Tiiis extraordinary 
 artist was ciescended from an Hungarian 
 family, but his father was a goldsmith at 
 Nuremberg, where Albert was born May 
 20, 1471. His first instructions he re- 
 ceived from Martin Hapse, who taught 
 him a little of drawing and engraving. 
 Afterwards he became a pupil of Michael 
 Wolgemuth, with whom he continued 
 three years. He was also instructed in 
 arithmetic, geometry, and perspective, and 
 at the age of twenty-six ventured to ex- 
 hibit his works to the public. His first 
 performance was a piece of the Three 
 Graces, represented by as many female 
 figures, having over their heads a globe, 
 on which was inscribed the date of the 
 year, 1497. He also engraved on wood 
 the Life of Christ, in thirty-six pieces, 
 
 which were so highly valued, that Mark 
 Antonio Franci imitated them on copper, 
 and sold them as the genuine productions 
 of Durer. The latter hearing of this fraud, 
 was so exasperated, that he set out for 
 Venice, where he complained tothegovern- 
 ment of the wrong that had been done to 
 him by the plagiarist, but could obtain no 
 other satisfaction than a decree prohibiting 
 Franci from affixing Albert's name to 
 these copies in future. Though Durer 
 did not shine with equal lustre in painting 
 and engraving, his pictures were numerous 
 and much valued. That of Adam and 
 Eve, in the palace at Prague, is one of 
 the best, and there is still to be seen in 
 the same collection a picture of Christ 
 bearing his Cross, which the city of Nu- 
 remberg presented to the emperor. Durer 
 also painted the Wise Men's Offering; two 
 pictures of the Passion, and an Assump- 
 tion, for the monastery at Frankfort, the 
 beauty of which last proved a good income 
 to the monks, by the presents they received 
 for showing it. The people of Nuremberg 
 still carefully preserve in the public hall 
 his portraits of Charlemagne, and some 
 emperors of the house of Austria, with the 
 Twelve Apostles, whose drapery was re- 
 markable. Durer sent his own portrait 
 to Raffaelle, painted on canvass, without 
 any colouring, or touch of the pencil, only 
 heightened with shades and white, yet 
 exhibiting such strength and elegance, 
 that the great artist to whom it was pre- 
 sented expressed the utmost surprise at 
 the sight of it. This piece came afterwards 
 into the possession of Giulio Romano, who 
 placed it among the curiosities of the pa- 
 lace of Mantua. Vasari says, that when 
 the prints of Durer were brought into 
 Italy, they incited the painters there to 
 perfect themselves in that kind of art, and 
 to make them their model. As Albert 
 could not execute all his designs while he 
 worked on copper, he bethought himself 
 of working on wood. One of his best 
 pieces in this style is a St. Eustachius 
 kneeling before a stag, which has a Cru- 
 cifix between its horns. This cut is won- 
 derful, and particularly for the beauty of 
 the dogs, which are represented in various 
 attitudes. John Andreas, a doctor in 
 divinity, sent this piece to a prince of the 
 house of Brunswick, who wrote him a let- 
 ter, in which he says, "You have extremely 
 obliged me by your new present, a cut 
 which merits a nobler metal than brass, 
 done by the celebrated painter of Nurem- 
 berg, and which I think wants nothing 
 
DUR 
 
 167 
 
 DUS 
 
 unless Zeuxis or Parrhasius, or some per- 
 son equally favoured by Minerva, should 
 add colours, and the native form." An- 
 dreas, in answer, says, "I could easily 
 guess that the Eustachius of Durer would 
 not fail to prove an acceptable present to 
 you, from whatever quarter a performance 
 of that admirable artist came. It is very 
 surprising in regard to that man, that in 
 a rude and barbarous age he was the first 
 of the Germans who not only arrived at 
 an exact imitation of nature, but has like- 
 wise left no second, being so absolute a 
 master of it, in all its parts, in etcliing, 
 engraving, statuary, architecture, optics, 
 symmetry, and the rest, that he bad no 
 equal except Michael Angelo Buonarroti, 
 his contemporary and rival, and left 
 behind him such works as were too much 
 for the life of one man." He lived always 
 in a frugal manner, and with the appear- 
 ance of poverty. The Emperor Maxi- 
 milian had a great esteem for Durer, and 
 gave him a considerable pension, with let- 
 ters of nobility ; and Charles V., as well as 
 his brother Ferdinand, King of Hungary, 
 followed that monarch's example in favour 
 and liberality. Durer died at Nuremberg, 
 April 6, 1528. lie was married, and had, 
 it is said, a termagant wife; yet some say, 
 that in his representations of the Virgin 
 he took her face for his model. xVibert 
 wrote several books in the German lan- 
 guage, which were translated into Latin, 
 and published after his death. The prin- 
 cipal are, " De Symmetria partium in 
 reetis formishumanorum corporum," folio, 
 printed at Nuremberg in 1532: 2. "De 
 Varietate Figurarum, et flexuris partium, 
 et Gestibus Imaginum," 1534. The 
 figures in these books are from wooden 
 plates, and admirably executed. As an 
 engraver he is generally allowed to have 
 been the best of his time ; but, as a pain- 
 ter, it is observed that he studied only 
 nature in her unadorned state, without 
 attending to those graces which that study 
 might have afforded him, by a judicious 
 choice. His imagination, however, was 
 lively, his composition grand, his execution 
 happy, and his pencil delicate. He fin- 
 ished his works with exact neatness, and 
 was particularly excellent in his Madonnas ; 
 but would have done better if he had not 
 encumbered them with heavy draperies. 
 Though he surpassed the painters of his 
 own nation, he could not avoid their de- 
 fects, such as dryness and formality in 
 the outlines ; the want of a just degrada- 
 tion of the tints; an expression without 
 
 agreeableness; and draperies broad in their 
 folds, but stiff in the forms. He was no 
 observer of propriety of costume in any 
 degree, nor was he acquainted with aerial 
 perspective. Besides the pictures already 
 mentioned, there exist of his, one at Munich, 
 of the battle between Alexander and Da- 
 rius; at Venice is an Ecce Homo; and in 
 the gallery at Florence, besides his own 
 portrait, are the representation of St Philip 
 and St. James : and an Adam and Eve. It 
 is observed by Mr. Fuseli, that the colouring 
 of Durer went beyond his age, and that 
 in easel pictures it as far excelled the oil 
 colour of Raffaelle in juice, and breadth, 
 and handling, as Raffaelle excelled him in 
 every other quality. Durer designed on 
 wood, for others to engrave upon the 
 practice of artists to this day. 
 
 DuRxo (James). This artist was born 
 in England, but in what county we know 
 not, about the year 1750. His first master 
 was Andrea Casali, and afterwards he 
 studied under the late Mr. West. In 1774 
 he went to Italy, where he died in 1795. 
 He painted two pictures for Boydell's 
 Shakespeare. 
 
 DusART (Cornelius). He was born 
 at Haerlem in 1665, and became a disciple 
 of Adrian Van Ostade, whose style he 
 closely imitated. He observed the man- 
 ners, customs, and passions of the boors 
 and peasants, at their sports, faire, drink- 
 ings, and quarrellings ; and thus rendered 
 his compositions very entertaining, in a 
 lively representation of nature, as it ap- 
 peared in the characters, amusements, and 
 expressions of persons in low life. The 
 imagination of Dusart was remarkably 
 strong, and his memory amazing ; for 
 whenever he saw a striking figure which 
 he thought capable of being introduced 
 into a design, he could, at any distance 
 of time, recall the idea of it, and retain 
 every trace of it so distinctly, as to de- 
 scribe it with the same attitude, humour, 
 and natural turn, as if the object were then 
 present before his eyes. He was naturally 
 of a weak constitution, which was still 
 more impaired by constant application. 
 He was of a retired turn of mind, being 
 no farther fond of company than as it 
 might promote discourse on his favourite 
 topics of painting, drawing designs, or 
 prints, of which latter he had a curious 
 collection. His most intimate friend was 
 Adara Dingemans, who was also a great 
 joUector of prints and drawings, and a 
 constant visiter of Dusart. Dingemans 
 having one day sat with him for some time, 
 
D U V 168 
 
 and leaving hira only while he went home 
 to fetch a curious drawing, at his return 
 found Dusart lying dead on his bed. This 
 sight atfeeted Dingemans so violently, 
 that he died the same day, and the two 
 friends were interred together in the 
 same church. Dusart had great merit: 
 his colouring is of the school of Ostade ; 
 but though he had rather more dignity 
 and spirit than his master, he never could 
 arrive at his general excellence, either in 
 composition or handling. His subjects 
 are full of humour, and they are all real 
 pictures of nature in low life. His figures, 
 as well as those of Ostade, want elegance ; 
 but there is abundance of truth in his 
 characters, and a competent degree of 
 transparence in his tints ; his perspective 
 is exact, and his local colours true. He 
 died at Haerlem in 1704. Dusart etched 
 some good prints, and scraped others in 
 mezzotinto. 
 
 Dotal (Nicholas). He was born at 
 the Hague in 1644, and received his in- 
 structions from Nicholas Wieling, a pain- 
 ter of history. On quitting him, he tra- 
 velled to Italy, and continued at Rome 
 some time, studying the beauties of the 
 antiques, and the compositions of the 
 great modern artists. From thence he 
 went to Venice, where he acquired addi- 
 tional improvement, by studying the nu- 
 merous works of art in that city. In Italy 
 he became a disciple of Pietro da Cortona, 
 to whose style and manner of composition 
 and colouring he ever after adhered ; and 
 returned to his own country with the re- 
 putation of being an excellent painter. 
 His merit introduced him to King William 
 III., who employed him in several works 
 at Loo, and intrusted to him the cleaning 
 and repairing of the Cartoons of Raffaelle 
 at Hampton Court. He was for this ap- 
 pointed Director of the Academy at the 
 Hague. The accession of fortune damped 
 his ardour, and hence it is that his works 
 are comparatively but few. In taste and 
 design Duval resembled his master Cor- 
 tona ; and in the saloon of the academy 
 at the Hague is a ceiling of his, which 
 sufficiently shows his genius. He died in 
 1732. 
 
 Duval (Philip). This artist was a 
 native of France, and studied under Cor- 
 nelius Le Brun, after which he improved 
 himself by a residence in Italy. In the 
 reign of Charles II. he came to England, 
 and painted some historical pictures, par- 
 ticularly one for the Duchess of Richmond, 
 representing Venus receiving from Vulcan 
 
 DYE 
 
 the arms of iEneas. This was painted in 
 1672. Duval died in London in 1709. 
 
 DuvENEDE (Marc Van). This painter 
 was born at Bruges in 1674. He went 
 to Italy when very young, and there be- 
 came a scholar of Carlo Maratti, with 
 whom he continued four years. On his 
 return to his own country, he was em- 
 ployed in several grand works for the 
 churches and convents ; but in a few years 
 he grew indolent, by having an easy income 
 independent of his profession; and for 
 several years before his death, he executed 
 nothing of consequence. His pictures, as 
 to composition and colouring, were entirely 
 in the manner of Maratti; he had a good 
 taste of design, an easy and broad manner, 
 full offeree; but those which he painted 
 soon after his return from Italy are easily 
 distinguished from those of his latter time, 
 by their superior merit. At Bruges, in 
 the Chapel of St. Christopher, is a capital 
 picture of this artist, representing the 
 Martyrdom of St. Lawrence, and in that 
 city is another fine composition of the 
 Idolatry of Solomon. He died in 1729. 
 
 Dyck (Daniel Vanden). He was a 
 native of Flanders, and studied in Italy, 
 where he became a painter to the Duke of 
 Mantua, who also appointed him keeper 
 of his gallery. He excelled in portrait, 
 but also painted historical subjects in a 
 good style. Besides painting, he occa- 
 sionally amused himself with engraving 
 from his own designs. He died about 
 1670. 
 
 Dvek (John). He was born at Aber- 
 glasney, in Caermarthenshire, in 1700, 
 and received his education at Westminster 
 school, after which his father, who was in 
 the Jaw, intended him for his own profes- 
 sion ; but being fond of drawing, he rather 
 chose to become a painter. Accordingly, 
 he was regularly instructed in the art, and 
 became, as he says, an itinerant painter 
 about South Wales, and the parts adjacent. 
 In 1 725, he published the poem of Grongar 
 Hill, one of the most reflective and lovely 
 of all our descriptive and local poems. 
 About this time he went to Italy, where 
 he studied the remains of antiquity; and 
 how well he inspected the wonders which 
 he met with, appeared in his poem of the 
 lluins of Rome, a picturesque piece, full 
 of noble sentiments and elegant descrip- 
 tion. After his return he entered into the 
 church, and obtained the living of Cal- 
 thorpe in Leicestershire, which he ex- 
 changed for that of Belchford in Lincoln- 
 shire. He was afterwards presented to 
 
Coningsby, with Kirkby-on-Bane, but did 
 not long enjoy these preferments, dying of 
 a consumption, July 24, 1758. There 
 are several of his landscapes at the seat of 
 his family in South Wales, as well as in 
 other parts of the kingdom. Besides the 
 poems already mentioned, he wrote 
 another of a didactic character, called 
 the Fleece. 
 
 E. 
 
 ECKHARBT, or EcKARDT (JoHN GiLEs). 
 
 This artist was a native of Germany, but 
 came to England when young, and was 
 instructed in painting by John Baptist 
 Vanloo, after which he obtained consider- 
 able employment in portrait, about the 
 period when Reynolds arose : he was much 
 patronised by Horace Walpole. Among 
 others painted by him, were the portraits 
 of Mrs. Wotfington and Dr. Middleton. 
 He is supposed to have died at Chelsea in 
 1779. 
 
 Edema (Gerard). This painter was 
 born at Amsterdam in 1652. He was a 
 pupil of Albert Van Everdingen, under 
 whom he made a good proficiency in the 
 study of the principles of the art; but im- 
 proved himself still more by observation 
 of the works of nature amidst the moun- 
 tains of Switzerland and Norway. The 
 scenes he chose to represent were tracts 
 of rude and uncultivated countries, inter- 
 spersed with rocky hills, cliflfs, cascades, 
 and torrents, which he expressed with 
 great force and eflFect. He next went to 
 Surinam, for the purpose of drawing the 
 insects and plants of that fertile region; 
 after which he visited the English colonies 
 of North America and Newfoundland, and 
 while there painted several pictures, which 
 he brought with him to London about 1679. 
 Whatever he put out of hand was much 
 in the manner of his master, broad and 
 bold ; with skies of a fiery description, and 
 therefore not very agreeable to the eye; 
 yet his compositions are striking, well 
 coloured, and finished with spirit. The 
 figures were generally inserted by Wycke. 
 He shortened his life by intemperance, and 
 died in England about 1700. 
 
 Edridge (Henry). This amiable ar- 
 tist was born at Paddington, in Middlesex, 
 in 1768. His father, who was a tradesman, 
 died at the age of forty-four, leaving a 
 widow with five children very inade- 
 quately provided for, of whom the subject 
 of this article was the youngest but one. 
 
 Showing an early attachment to the arts, 
 he was placed with Pether, the mezzotinto 
 engraver and painter of landscape; and 
 two years after his apprenticeship he be- 
 came a student of the Royal Academy, 
 where in 1766 he obtained a medal for the 
 best drawing of an academy figure. While 
 in this situation he was noticed by Sir 
 Joshua Reynolds, who was so much pleased 
 with a miniature drawing by him, that he 
 desired to have it. This of course was 
 gladly complied with; but Sir Joshua in- 
 sisted upon paying for it, and some time 
 afterwards made the young artist a further 
 acknowledgment. Mr. Edridge now laid 
 aside engraving for miniature painting, 
 and established himself in that line near 
 Golden-square. His earliest works were 
 on ivory, but afterwards he made his 
 portraits on paper, with black lead and 
 Indian ink, to w hich he added backgrounds, 
 beautifully diversified, and drawn with 
 great taste. After continuing this practice 
 some years, he left oft" Indian ink, and 
 adopted water colours, still finishing his 
 drawings slightly, except the heads, which 
 were always remarkable for their force, 
 brilliancy, and truth. It was only latterly 
 that he made those elaborately high- 
 finished pictures on paper, uniting the 
 depth and richness of oil paintings with the 
 freshness of water colours, for which he 
 became so remarkable. His acquisition of 
 this style is to be attributed to the study of 
 Sir Joshua Reynolds's works, which he 
 omitted no opportunity of copying. In 
 1801, Mr. Edridge removed to Margaret- 
 street, Cavendish-square, where he con- 
 tinued the rest of his life. He had always 
 a fine taste for landscape, but the extent 
 of his practice as a portrait painter pre- 
 vented him from applying so much to that 
 branch as he wished. At length, however, 
 he was enabled to indulge his inclination ; 
 and in two excursions to France, one in 
 1817, and the other in 1819, he found 
 ample materials for the exercise of his 
 powers, in the picturesque views about 
 Paris, and the interesting scenery of Nor- 
 mandy; the drawings of which he exhi- 
 bited at the Royal Academy in 1820 and 
 the following year. The late Mr. Hearne 
 was the master from whom he acquired 
 the skill in sketching landscape sce- 
 nery; but he excelled that fine artist in 
 bold effect, and strong transitions of the 
 chiaro-oscuro. About two years before 
 his death, Mr. Edridge painted three pic- 
 tures in oil colours, two of which were 
 small landscapes, and the third a copy of 
 
EDW 
 
 170 
 
 p:dw 
 
 Teniers. In November, 1820, he was 
 elected an Associate of the Royal Academy; 
 but he did not long enjoy the honour, 
 being taken off by an asthmatic complaint, 
 April 23, 1821. 
 
 Edwards (Edward). This ingenious 
 artist was born March 7, 1738, in Castle- 
 street, Leicester-fields, where his father 
 was a chair- maker and carver. At the 
 age of fifteen, his father, who had intended 
 him for his own business, discovering in 
 him some inclination to drawing, permit- 
 ted him to take lessons under a master, 
 and in 1759, young Edwards was admitted 
 a student in the Duke of Richmond's gal- 
 lery. On the death of his father in the 
 following year, he found himself without 
 employment; and witli a view to his sup- 
 port, and that of his mother, with a brother 
 and sister, he opened an evening school. 
 In 1761, he was admitted a member of the 
 academy in St. Martin's lane, where he 
 studied the human figure, and made such 
 progress as to obtain from the Society for 
 the Encouragement of Arts a premium 
 for a drawing. In 1763, he was employed 
 by Mr. John Boydell to make some draw- 
 ings for his publication of engravings from 
 the old masters; and in 1764, he obtained 
 another premium from the Society of Arts, 
 for the best historical picture in chiaro- 
 oscuro. He now became a member and 
 frequent exhibitor of the incorporated 
 Society of Artists. In 1770, he was em- 
 ployed by the Society of Antiquaries to 
 make a large drawing from the picture at 
 Windsor, of the Interview between Henry 
 VIII. and Francis I. at Calais. In 1771, 
 he exhibited at the Royal Academy, which, 
 two years afterwards, elected him an As- 
 sociate. Having about this time been 
 employed by Mr. Udny, that gentleman 
 enabledhimtovisitltalyin 1775. Thistour 
 occupied thirteen months, during which 
 he profited by the careful inspection of 
 whatever was most remarkable botli in 
 nature and art in that celebrated country. 
 On his arrival in London, he again 
 established himself in his profession; but 
 though his opinions, which were given 
 with undeviating integrity, were always 
 respected, his productions seldom excited 
 much observation. In 1781, he obtained 
 a premium from the Society of Arts for a 
 landscape painting ; and the same year he 
 presented to the Royal Society a paper on 
 the storm at Roehampton, accompanied 
 by drawings made by himself of its 
 singular effects. In June, 1782, he was 
 employed at Bath to paint three arabesqne 
 
 ceilings in the house of the Honourable 
 Charles Hamilton. This was one of the 
 greatest'commissions he ever received, and 
 occupied him very agreeably and advan- 
 tageously till March, 1783. He soon after 
 met with less liberal treatment from Mr. 
 Horace Walpole, who gave him some com- 
 missions till 1784, when their intercourse 
 ceased, not much to the credit of the 
 amateur. Of Mr. Edwards's commissions 
 after this, we shall only notice his picture 
 of a Hunting Party for Mr. Eastcourt, in 
 1786; a Collection of Etchings, fifty-two 
 in number, published by Leigh and 
 Sotheby in 1799; his Commemoration of 
 Handel in Westminster-abbey; and 
 his picture from the Two Gentlemen of 
 Verona, for Boydell's Shakspeare. To 
 enumerate further would be only an ac- 
 count of various small commissions which 
 always gave satisfaction ; but they were 
 not attended by the fame or profit of his 
 more successful brethren. In 1788, he was 
 appointed teacher of perspective in the 
 Royal Academy, and was continued in 
 that situation during the remainder of his 
 life. For this he had qualified himsel f by long 
 study, the fruits of which were given to 
 the public in a Treatise on Perspective, 
 1803, 4to, with forty plates. In 1800, he 
 lost his motlier at the age of ninety-three, 
 whom he had hitherto maintained with true 
 filial piety. His sister continued to reside 
 with him ; and his prudence, aided by her 
 economy, enabled him to subsist with 
 credit upon a very small income. The 
 employment of his latter years was pre- 
 paring for the press his Anecdotes of 
 Painters, intended as a supplement to 
 Lord Orford's work. For this he had long 
 been collecting materials ; and though his 
 criticisms may not always accord with 
 the general opinion, he is accurate in his 
 facts, which he took much pains to procure, 
 from an acquaintance with the members 
 of his profession for nearly half a century. 
 He died rather suddenly, December 19, 
 1806, and his funeral, at St. Pancras, was 
 attended by many members of the Royal 
 Academy, who paid an unfeigned respect to 
 the memory of his useful andblamelesslife. 
 Edwards (Sydenham). This ingenious 
 artist was distinguished as the first bo- 
 tanical painter of his time, nor was he less 
 eminent in his representations of animals. 
 He constantly drew from nature, and his 
 performances were both accurate and 
 highly finished. He died at Queen's Elms, 
 near Brompton, February 8, 1819, aged 
 fifty-one. 
 
EEC 
 
 171 
 
 EHR 
 
 Eeckhout (Gerbrant Vaisder). This 
 artist was born at Amsterdam in 1621. 
 He was the disciple of Rembrandt, whose 
 manner of designing, colouring, and 
 pencilling, he imitated with wonderful 
 exactness. But though it is not easy to 
 distinguish between some of his perform- 
 ances and those of his master, he surpassed 
 Rembrandt in the extremities of his figures. 
 The principal employment of Eeckhout 
 was in portraits, and he excelled all his 
 contemporaries in the power of painting 
 the mind in the countenance. That 
 which he drew of his own father had so 
 much force and expression as even to as- 
 tonish Rembrandt himself. Eeckhout, 
 however, notwithstanding the encourage- 
 ment which he experienced in this line, 
 was more disposed to historical painting, 
 and not less happy in the execution of 
 the pictures of that description which he 
 produced. Ilis composition is rich and 
 full of judgment, the distribution of his 
 masses of light and shadow truly excellent; 
 and in the opinion of good judges, he had 
 more transparence in his colouring, and 
 better expression than Rembrandt. His 
 backgrounds are also generally clearer; 
 yet if in this and other respects he attain- 
 ed to the perfections of his master, it is 
 also certain that he shared his defecis, 
 being often incorrect in design, elegance, 
 and grace, and totally negligent of pro- 
 priety of costume. In the collection of 
 the Elector Palatine was a picture of this 
 master, which is described as having a 
 strong and admirable expression ; the 
 subject is Christ among the Doctors ; the 
 principal figure being represented with a 
 charming air, countenance, and attitude. 
 There is also another picture of this mas- 
 ter, representing Simeon with Christ in 
 his arms, which is a most excellent per- 
 formance; and Sir Robert Strange had 
 another of a Guard-room, which he highly 
 valued. He also produced some etchings. 
 Eeckhout died July 12, 1674. 
 
 Eeckhout (Anthony Vander). He 
 was born at Brussels in 1656, but it is 
 not ascertained from what master he learn- 
 ed the art of painting. He travelled to 
 Italy in the company of his brother-in-law, 
 Lewis Deyster, with whom he painted in 
 conjunction during the whole time of his 
 continuance abroad ; Deyster painting the 
 figures, and Eeckhout the fruit and flow- 
 ers. Yet in the works of those artists 
 there appeared such a perfect harmony 
 and union, that the diiference of their 
 pencils was quite imperceptible, the co- 
 
 louring and touch seeming to be of the 
 same hand. When Eeckhout returned to 
 Brussels he received many marks of re- 
 spect and distinction, and also an appoint- 
 ment to a very honourable situation ; yet 
 he soon forsook friends, honours, and 
 wealth, to return to Italy, where he wished 
 to spend the remainder of his d ay s. Chance, 
 however, conducted him to Lisbon, where 
 his pictures sold for an exceeding high 
 price, as he painted all his subjects in the 
 taste of Italy, where, during his residence, 
 he had taken pains to sketch so many ele- 
 gant forms of fruits and flowers, that he 
 had a sxifficient number for all his future 
 compositions. He had not lived at Lisbon 
 above two years, when a lady of quality 
 and great fortune married him ; but this 
 success excited the envy and jealousy of 
 some rivals, who shot him as he was taking 
 the air in his coach, nor could the assassins 
 everbediscovered. This happened in 1695. 
 
 Egerton (Mr.) This artist, who gain- 
 ed much reputation by his painting of 
 Mexican landscapes, was murdered at a 
 village, a few miles from Mexico, in 
 1842. 
 
 Eginton (Frascis), an artist who 
 may be considered as the reviver of the 
 art of painting on glass, lie died in 
 1805, at Handsworth, in Shropshire, in 
 the sixty-eighth year of his age. Ilis 
 colouring is brilliant, his lights and shades 
 are skilfully managed, and his execution 
 is delicate. There exists nearly fifty of 
 his productions : among which may be 
 mentioned, two Resurrections in Salis- 
 bury and Lichfield cathedrals, from Sir 
 Joshua Reynolds; the banquet given by 
 Solomon to the Queen of Sheba, from 
 Hamilton, in Arundel Castle ; and a Christ 
 bearing the Cross, from Stead Church. 
 
 Egjio^t (Justus Van). This painter 
 was born at Leyden in 1602. He was 
 brought up in the school of Rubens, whom 
 he assisted in several of his works. After- 
 wards he went to France, where he was 
 taken into the service of the Crown, and 
 was one of those masters who were em- 
 ployed in the establishment of the Royal 
 Academy of Painting and Sculpture at 
 Paris, in 1648. He assisted Vouet in 
 many of his undertakings, and painted 
 historical subjects in large as well as in 
 small; being highly regarded by Louis 
 XIV., who liberally rewarded him for 
 his works. He died at Antwerp in 
 1674. 
 
 Ehret (George Dionysius). The fa- 
 ther of this ingenious botanical painter was 
 
EHR 
 
 ELI 
 
 gardener to the Prince of Baden-Durlach. 
 George was born in 1710, and early 
 showed a taste for drawing and painting 
 the flowers of the garden. Although he 
 received no instructions, yet such was his 
 proficiency, that whilst very young he had 
 painted five hundred plants with a skill 
 and accuracy that was almost unexampled, 
 under the disadvantages of a want of in- 
 struction. His merit, however, remained 
 obscure, till it was discovered by a gentle- 
 man who visited the garden of which his 
 father was superintendent. Fortunately 
 for Ehret, this stranger was a physician, 
 and the friend of Dr. Trew of Nurem- 
 berg, to whom he justly supposed these 
 paintings would be acceptable. Ehret by 
 this means was introduced to Dr. Trew, 
 who immediately purchased all his paint- 
 ings, and generously gave him double 
 the price at which the young artist had 
 modestly valued them. This liberality, by 
 which Ehret gained 4000 florins, inspired 
 him with confidence in his own abili- 
 ties, and such a share of ambition as 
 inclined him to gratify the desire he had 
 to see the world. It happened, however, 
 that he was too much elated with his suc- 
 cess, and, having soon dissipated his 
 money, found himself at Basle with 
 only a few florins in his pocket. Ne- 
 cessity now obliged him to exert himself, 
 and he was so successful, that though he 
 exhibited numerous specimens of his art, 
 and put a good price upon them, the de- 
 mand was beyond what he could supply. 
 Having by this means recruited his finan- 
 ces, he went to Montpellier, where he 
 taught his art to a lady of fortune, who 
 rewarded him generously. He next visited 
 Paris, and there became known to Jus- 
 sieu, who employed him in drawing the 
 plants of the royal gardens. After some 
 time he came to London, but not succeed- 
 ing to his mind, soon returned to the con- 
 tinent, and in 1736, was employed in the 
 garden of Mr. Clitford, where Linnaeus 
 found him, and gave him some instruc- 
 tions. His fine taste and botanical accu- 
 racy appear to have been first publicly dis- 
 played in the figures of the " Hortus Clif- 
 fortianus," which appeared in 1737. 
 About 1740 he returned to England, 
 where he spent the remainder of his days. 
 His principal patrons, for whom he paint- 
 ed many hundred plants, were Mr. Taylor 
 White; Dr. Mead ; Sir Hans Sloane; Dr. 
 FothergiU; and Ralph WiUet, Esq. of 
 Merly. Many of these paintings were 
 executed on vellum ; and engravings were 
 
 made from his paintings for various works, 
 particularly Dr. Trew's Plantar Selectaj, 
 and Brown's History of Jamaica. His 
 ingenuity and knowledge of nature pro- 
 cured him the distinction of being chosen 
 a Fellow of the Royal Society. Besides 
 the profits accruing from the numerous 
 exhibitions of his works, he applied with 
 great assiduity to the business of teach- 
 ing; and if his ingenuity did not meet 
 with a reward equal to his merit, yet his 
 labours in the end proved sufficiently 
 lucrative to afford him a moderate inde- 
 pendence, though to the last he ceased 
 not to employ his pencil. He died in 1770. 
 
 Elbucht (John Van). He was born 
 at Elburg, near Campen, in Holland, in 
 1500, and became a member of the aca- 
 demy of Antwerp in 1535. He painted 
 historical subjects, landscapes, and sea- 
 pieces. In the cathedral at Antwerp is a 
 picture by him of the Miraculous Draught 
 of Fishes. 
 
 Elias (Matthew). He was born in 
 the village of Peene, near Cassel, in 1658. 
 His mother, who was a widow, lived by 
 washing linen, and her whole wealth be- 
 sides consisted in a cow, which her little 
 boy used to lead to pick up its pasture by 
 the sides of the ditches. One day Corbeen, 
 a painter of landscape and history, going 
 to put up some of his pictures at Cassel, 
 as he went along the road took notice of 
 this lad, who had made a fortification of 
 mud, and little clay figures attacking it. 
 Corbeen, struck with the regularity and 
 taste that was evident in the work, stopped 
 and put several questions to the boy, whose 
 answers increased his astonishment, and 
 his figure and countenance added to the 
 impression. The painter asked him 
 whether he would go and live with him, 
 and he would endeavour to put him in a 
 way of getting his bread : Elias said he 
 would willingly accept of his offer, if his 
 mother would but agree to it. Corbeen 
 then fixed the time for their answer, and 
 Elias did not fail to be at the same place 
 on the day appointed, accompanied by his 
 mother. He ran before the chaise, and 
 Corbeen told the woman to bring her son 
 to him at Dunkirk, where he lived. The 
 boy was received, and the master put him 
 to school, where he learned the languages, 
 while he himself taught him the elements 
 of design. The scholar surpassed his 
 fellow students, acquired the esteem of 
 the public, and gained the favour of his 
 master to such a degree, that he sent him 
 to Paris at the age of twenty, whence 
 
ELI 1' 
 
 EHas transmitted his works to his patron. 
 After being some time at Paris he married, 
 and then made a journey to Dunkirk for 
 the purpose of visiting his master. While 
 there he painted a fine picture for the altar 
 of St. Barbara's chapel, in which he repre- 
 sented the martyrdom of that saint. On 
 his return to Paris, he was appointed 
 Professor of the Academy, and successively 
 obtained several other situations. He was 
 much employed, and composed several 
 subjects taken from the life of St. Jean 
 Baptiste de la Barriere, author of the Re- 
 form of the Feuillants. All these subjects 
 were painted on glass by Simpi and Michu, 
 and are in the windows of the cloister. 
 Elias, on the loss of his wife, took a jour- 
 ney to Flanders, in hopes of dispelling his 
 grief. On his arrival at Dunkirk, the 
 brotherhood of St. Sebastian engaged him 
 to paint their principal brethren in one 
 piece, which great picture he executed, 
 with a number of figures as large as life, 
 and some of smaller dimensions. The com- 
 pany of tailors having built a chapel in 
 the principal church, Elias was employed 
 to paint the picture for the altar, in which 
 he represented the Baptism of Christ, and 
 in the foreground is St. Louis at prayers 
 for obtaining the cure of the sick. When 
 about to return to Paris, he was so ear- 
 nestly solicited to remain in his native 
 country, that he yielded to the entreaties 
 of his numerous friends. He now executed 
 a grand picture for the high altar of the 
 Carmelites, being a votive piece of the 
 city to the Virgin Mary. This picture 
 is a fine composition, and of a style of 
 colouring more true and warm than was 
 usual with Elias, who, as is often the prac- 
 tice, has introduced into it his own portrait. 
 Besides painting an altar-piece for the 
 parish church of Dunkirk, he executed a 
 Transfiguration for that of the church of 
 Bailleul, and in that of the Jesuits at Cas- 
 sel, a miracle of St. Francis Xavier, &c. 
 The abbot of Bergues St. Winox employed 
 him in ornamenting the refectory of his 
 house. Among his great works he painted 
 some portraits in a capital manner. In 
 his greatest successes, Elias never made 
 any change in his conduct, but always 
 continued to lead the same regular life : 
 he was seen nowhere but at church and 
 in his work-room ; into which he rarely 
 admitted visiters. Instead of being desi- 
 rous to obtain scholars, he rather dissuaded 
 young men from cultivating an art that 
 was attended with so much trouble. He 
 continued working till his death, which 
 
 3 ELL 
 
 happened at Dunkirk, April 22, 1741. 
 He had but one son, who died at Paris, a 
 doctor of the Sorbonne ; neither had he 
 more than one pupil, Carlier, who was 
 living at Paris in 1760. Elias, on his first 
 coming to Paris, was very defective in 
 colouring; but he afterwards improved 
 considerably : his draperies are likewise 
 more ample, and approach nearer to nature 
 than those of his early time ; his drawing 
 is sufficiently correct ; he composed well, 
 but with a patience truly astonishing; he 
 was long in producing a sketch, and it 
 was in order to conceal this labour that 
 he could not endure to have any body near 
 him when at work. Some of his portraits 
 are well executed, and great likenesses, 
 excepting his women, whom he dressed 
 without selection or taste. The pictures 
 which he produced about ten years before 
 his death are formal, and the figures far 
 from agreeable. This blemish is seen in 
 the two pictures in the Church of the Car- 
 melites at Dunkirk ; one of St. Louis set- 
 ting out for the Holy Land ; the other the 
 Sacrifice of Elijah. The best of his pic- 
 tures are at Dunkirk, in the Church of the 
 Capuchins, consisting of the Guardian 
 Angel conducting a Child in the path of 
 Virtue ; and on the two sides of the altar 
 are a Benediction of the Bread, and the 
 Distribution. The altar-piece of the Poor 
 Clares represents the angel appearing to 
 Joseph in a Dream. At Menin, in the 
 monastery of the Capuchins, is a St. Felix 
 resuscitating a Dead Child. At Ypres, in 
 the Church of the Carmelites, are four 
 large pictures, one representing the Manna; 
 the others, Moses striking the Rock ; the 
 Distribution of Bread ; and the Resurrec- 
 tion of Lazarus. In the refectory of the 
 abbey of Bergues St. Winox is Christ 
 fastened to the Cross, with Magdalen at 
 the feet; on one side the Brazen Ser- 
 pent worshipped by the Israelites; and on 
 the other the miracle of the Manna, with 
 St. Benedict and Totila; St. Winox dis- 
 tributing Bread to the Hungry ; and the 
 Sacrifice of Abraham. In the quarter of 
 the abbey are several portraits, and two 
 whole length figures, one of the Abbot, 
 Vander Haege ; and the other of Rycke- 
 waert. 
 
 Elmger (Ottomar). This artist was 
 born at Gottenburg, September 18, 1633. 
 His father, who was a physician, centred 
 all his views in making his son a scholar, 
 and therefore put him to study the lan- 
 guages. It was soon perceived, however, 
 that he relaxed in his progress in the clas- 
 
ELL 
 
 ELS 
 
 sics in proportion as his taste for painting 
 became unfolded, and that even in school- 
 hours he was secretly practising with the 
 crayon. To correct this propensity, chas- 
 tisement was employed, but proved inef- 
 fectual. A lucky accident delivered him 
 at last from this restraint. Oneday a poor 
 person desired to speak in private with 
 the physician, to whom the mendicant 
 displayed his extreme distress in several 
 languages. The mother of Ottomar being 
 present at this conversation, said to her 
 husband, " Since I see that there are men 
 of learning in indigence, as well as pain- 
 ters, I think it altogether indifferent to 
 which profession my son applies ; let him, 
 therefore, indulge his own inclination." 
 Eiliger was accordingly placed at Ant- 
 werp, in the school of Daniel Seghers, 
 where he learned to paint flowers and 
 fruit, and at length equalled his master. 
 On leaving Seghers, he was invited to the 
 court of Berlin, where he was highly 
 honoured for his talents, and the Elector 
 of Brandenburg, Frederick William, ap- 
 pointed him his principal painter. This 
 prince found great amusement in convers- 
 ing with Eiliger ; and his smart replies on 
 all occasions pleased him so much, that 
 he made frequent visits to his lodgings. 
 In this agreeable course Eiliger spent the 
 remainder of his days, without any inter- 
 ruption of his tranquillity, or declension 
 of his reputation. He died at Berlin in 
 1688. Elliger's works, which are as much 
 sought after as those of his master Seghers, 
 are principally in Germany, where they 
 are preserved with the utmost care. 
 
 Elliger (OfTOMAR). Hc was the son 
 of the preceding, and was born at Ham- 
 burgh in 1666. He learned of his father 
 the first elements of painting ; after which 
 he went to Amsterdam, and studied under 
 Michael Van Musscher ; but being struck 
 with the works of Lairesse, he obtained 
 admission into his school in 1686. None 
 could be more assiduous than Eiliger in 
 following the lessons of his master, whether 
 in copying his works and those of others, 
 or in painting from nature. This genius 
 was encouraged by Lairesse so much, 
 that by one year of his instructions Eiliger 
 was qualified for composing freely, with- 
 out following the manner of any one. His 
 own style is grand and noble, his back- 
 grounds are of a fine architecture ; and 
 among them are to be found representa- 
 tions of the most valuable remains of the 
 Egyptians, Greeks, and Romans. When | 
 the scene of his composition was to be laid 
 
 in one of these countries, he took care to 
 introduce bas-reliefs suitable to the period 
 of the story depicted. He was a man of 
 learning, and had a mind well stored with 
 literature, and therefore his pictures are 
 interesting both to painters and scholars. 
 At Amsterdam he painted several ceilings 
 and large subjects, as ornaments for the 
 public halls and grand apartments. The 
 elector of Mentz took so much pleasure in 
 contemplating his works, that he ordered 
 of him two large pictures, one representing 
 the Death of Alexander, the other the 
 Nuptialsof Thetis and Peleus; which are 
 both highly celebrated and admired. The 
 Elector was so pleased with them, that he 
 not only amply paid the artist, but made 
 him a rich present besides; he would also 
 have appointed him his principal painter, 
 but that title Eiliger refused, as well as 
 the pension attached to it, preferring his 
 liberty, as he said, to an honourable 
 bondage; and soon after retired to his own 
 country. He was so much employed in 
 making designs for the booksellers and 
 printers, that he had but little time for 
 a])plying to greater works. He painted 
 pictures, however, in a small size, not un- 
 worthy of being placed in the first cabinets. 
 Eiliger might likewise justly boast of the 
 Banquet of the Gods, a large picture, 
 sufficient of itself to immortalize his name. 
 But this man, so estimable for his talents, 
 fell at last into intemperate habits, and 
 sunk into contempt, so that his works no 
 longer resembled those of his former years, 
 and scarcely any of them rose above 
 mediocrity. He died November 24, 1732. 
 In the cabinet of M. Half-Wassenaer, at 
 the Hague, was lately his very fine picture 
 representing the Death of Alexander. 
 
 Elmer (Stephen). This painter was 
 a native of Farnham, in Surrey, where he 
 carried on the business of a maltster, and 
 at the same time exercised his pencil in 
 the representation of dead game and still 
 life. In that line he exhibited several 
 good pictures, and became an Associate 
 of the Royal Academy. He died in 1798, 
 and the year following there was a public 
 sale of his works in the Haymarket, the 
 title to thecatalogue being Elmer's Sports- 
 man's Exhibition. It contained one 
 hundred and forty-eight pictures, among 
 which were six heads. In 1801, some of 
 these paintings were burned, together with 
 a collection of the works of WooUett, in 
 a fire that broke out in Gerard street, Soho. 
 
 Elsheimer, or Elzueimek (Adam). 
 This painter was born at Frankfort on the 
 
ELS 
 
 175 
 
 EMP 
 
 Maine in 1574. His father was a tailor, 
 by whom he was placed with Philip 
 UfFenbach ; but proving in a short time a 
 much better artist than his master, he de- 
 termined to complete his studies at Rome, 
 to acquire that knowledge which was not 
 so readily obtained in his own country. 
 In Italy he formed an intimacy with Pinas, 
 Lastman, Ernest 'i'homas of Landau, and 
 other eminent painters ; and after examin- 
 ing the greatest curiosities of Rome, in 
 the works of the best ancient and modern 
 artists, he fixed upon a style of painting 
 peculiar to himself, of designing landscapes 
 with historical figures iu small, and finish- 
 ing them in so neat and exquisite a manner 
 as to be without a competitor; and, indeed, 
 far superior to any painter of his own tim.c, 
 or perhaps of any subsequent period. He 
 designed entirely after nature, and was re- 
 markable for a most retentive memory ; be- 
 ing capable of recollecting every incident 
 that pleased liim,andmakingabeautiful use 
 of it in his compositions. But this ex- 
 cellence did not enable him to pursue his 
 profession with comfort or affluence; for, 
 notwithstanding his incomparable merit, 
 his work went on so slowly, by the neat- 
 ness of his finishing, that he could scarcely 
 support his family, which was very large. 
 The embarrassments hereby produced in- 
 volved him in debt, and he was cast into 
 prison, where he did not long remain. 
 The misfortune, however, preyed upon 
 his spirits, and he died soon after, in 1620. 
 His death was exceedingly regretted, even 
 by the Italians, who honoured and esteemed 
 him; and all the world lamented the 
 severe fortune of a genius who deserved 
 more felicity than he enjoyed. It is im- 
 possible to conceive any thing more ex- 
 quisite than the productions of the pencil 
 of Elsheimer; for, whether we consider 
 the fine taste of his design ; the neatness 
 and correctness of the drawing in his 
 figures; the admirable management and 
 distribution of his lights and shadows ; the 
 airiness, spirit, and delicacy of his touch; 
 or the excellence of his colouring ; we are 
 astonished to observe such combined per- 
 fections in one artist ; in whose works even 
 the minutest parts will endure the most 
 critical inspection, and the whole together 
 is inexpressibly beautiful. His figures 
 have much of the manner of Raffaelle's best 
 characters, and the illumination thrown 
 over his pictures gives them that grandeur 
 which marks the works of I'itian. Old 
 Teniers and Bamboccio studied the works 
 of Elshe'mer accurately; and thereby ar- 
 
 rived at that high degree of merit for which 
 they are so celebrated. He understood 
 the principles of the chiaro-oscuro to per- 
 fection ; and he showed the solidity of his 
 judgment in the management of his sub- 
 jects, which for the most part were night- 
 pieces by candlelight or torchlight, moon- 
 light, sunsetting, or sunrising; and in all 
 of them he showed his combined powers 
 of knowledge and execution. While alive 
 his pictures bore an excessive price, which 
 was amazingly enhanced after his death : 
 and Houbraken mentions one of them, 
 representing Pomona, that was sold for 
 eight hundred German florins. Sandrart 
 describes several of his performances; 
 among which are, Latona and her Sons, 
 with the Peasants turned into Frogs; the 
 Death of Procris ; and his most capital 
 picture of the Flight into Egypt, which 
 needs no description, as there is a print of 
 it extant, engraved by Goudt, the friend 
 and benefactor of Elsheimer. Some of his 
 works are in the Florentine gallery, but 
 the best collection of them is in the pos- 
 session of the Earl of Egremont, at Pet- 
 worth, in Sussex. There are ten pictures 
 by him, eight of which are of one size, 
 namely, about four inches high by two 
 and a half wide. The subjects are a St. 
 Peter ; St. Paul ; and St. John Baptist ; 
 Tobit and the Angel ; an Old Woman and 
 Girl; an Old Man and a Boy; and a 
 Capuchin Friar, with the model of a con- 
 vent in his hand. The figures in all these 
 are about three inches high, yet their 
 characters and expressions are just and 
 excellent ; and the drawing and the dra- 
 peries in the best style of art. Another 
 picture represents the Interior of a Brothel 
 by fire and candle light, in which there are 
 ten or more figures, gaming with all the 
 licentiousness of such a place; and ex- 
 pressed in a manner that has never been 
 surpassed. The last is the Visit of Nicc- 
 demus to Christ, which is of an inferior 
 description. 
 
 Emelraet ( ). This artist was 
 
 born at Antwerp in 1612. He studied 
 many years at Rome, and afterwards 
 settled in his native city, where he ob- 
 tained distinction as a painter of land- 
 scapes, which he executed in a style of 
 superior beauty, insomuch that he was 
 often employed by other artists in enrich- 
 ing the backgrounds of their pictures. 
 Several of his best works are in the Church 
 of the Carmelites at Antwerp, where he 
 died in 1668. 
 
 E?jpoli (Jacopo da). He was born at 
 
ENG 
 
 176 
 
 ERR 
 
 Empoli, near Florence, in 1554, and 
 learned design and colouring in the school 
 of Tommaso Manzuoli di San Friano; but 
 after the death of his master, being desirous 
 of improving his style, he studied the works 
 of Andrea del Sarto, and endeavoured to 
 imitate not only the taste of that artist. 
 but also his correctness. Nor did he fail 
 of success ; for by that means he acquired 
 an excellent manner of design, and an 
 agreeable tone of colouring. He had a 
 fine imagination ; the airs of his heads are 
 beautiful and elegant, and his compositions 
 are full of life and spirit. Besides his 
 merit in designs of his own invention, he 
 had a peculiar power in copying the works 
 of the most celebrated masters so perfectly 
 and with so free a touch, as to make it 
 difficult for even good judges to distinguish 
 between the originals and the copies. 
 Having had the misfortune to fall from a 
 scaffold, he had recourse to oil painting : 
 one of his best vrorks is a picture of St. 
 Ivo, in the gallery at Florence. He died 
 in 1640. 
 
 Enghelbbechtsen (Cornelius). He 
 was born at Leyden in 1468, and formed 
 his style of painting by imitating John 
 Van Eyck ; being the first of his country- 
 men who painted in oil. He was excel- 
 lently skilled in his profession, and worked 
 with equal reputation both in oil and 
 distemper. He had a commendable taste 
 of design ; disposed his figures with judg- 
 ment ; and his draperies were rich, well 
 cast, and less hard and dry in the folds, 
 than in the works of any contemporary 
 artist. By the ablest connoisseurs of his 
 time, Enghelbrechtsen was accounted a 
 master of the first rank among the Flemish 
 artists. His works which escaped the 
 public disturbances of his country, were 
 preserved with respect by the people of 
 Leyden in their town-hall. These were 
 two altar-pieces with side pictures, which 
 have since been put up in the church of 
 Notre Dame ; one representing a Cruci- 
 fixion ; another Abraham's Sacrifice; and 
 the third a Descent from the Cross. In 
 the same church is a cartoon in water 
 colours, representing the Adoration of the 
 Magi. The principal work of Enghel- 
 brechtsen was a picture designed for the 
 chapel of the Lockhorst family, in the 
 Church of St. Peter at Leyden, but re- 
 moved from thence to Utrecht in 1604. 
 The subject is the Vision of the Lamb in 
 the Revelation, with a multitude of figures 
 well disposed and admirably expressed ; , 
 the countenances noble and full of ex- 
 
 pression, and the pencilling extremely 
 delicate. Enghelbrechtsen died at Ley- 
 den in 1533. 
 
 Engelraems (Cornelius). He was 
 born at Mechlin in 1527. Though he 
 has chiefly left pictures in distemper, yet 
 he is allowed to have been a very able 
 artist. His principal works are in the 
 Church of St. Rombout at Mechlin, where 
 he has represented on a large canvass the 
 Seven Works of Mercy, consisting of a 
 multitude of figures well designed ; and 
 among them he is said to have distin- 
 guished, with great spirit, the poor that 
 deserve compassion from those that do not. 
 His pictures are dispersed in several parts 
 of Germany; and at Hamburgh, in the 
 Church of St. Catherine, is a grand and 
 learned composition by him, representing 
 the Conversion of St. Paul. He painted 
 for the Prince of Orange, in the castle of 
 Antwerp, the history of David, from the 
 designs of Lucas Van Heere. De Vries 
 painted the architecture of it, the friezes, 
 the terms, and other ornaments. The 
 whole was executed in water colours. 
 Engelraems died in 1583. 
 
 Epifanio (Raimondo). This old artist 
 was born at Naples in 1440, and studied 
 tinder Silvester Buono. He excelled in 
 history, but his works are now little known. 
 He died in 1482. 
 
 Eremita (di Monte Senabio), see 
 Steffaneschi. 
 
 Ermels (John Francis). This artist 
 was born at or near Cologne in 1641; 
 but fixed his residence at Nuremberg, 
 where he painted for the Church of St. 
 Sebald an altar-piece of the Resurrection : 
 but his chief talent lay in landscapes, in 
 the style of John Both. He was also an 
 
 graver, and etched some views in a good 
 taste. He died at Nuremberg in 1693. 
 
 Errante (Giuseppe). This painter 
 was born at Trapani in Sicily, in 1760. 
 After studying in his own country he re- 
 paired to Rome, where he formed an 
 intimacy with several persons of eminence. 
 He also there distinguished himself by 
 imitating the great masters, as Raffaelle, 
 Titian, the Caracci, Domenichino, and 
 above all, Corregio, His merit was much 
 appreciated by the King of Naples; but 
 circumstances preventing his profiting by 
 the royal protection, he went to Milan, 
 where he attained a permanent reputation. 
 Among his best works are Artemisia 
 weeping over the Ashes of Mausolus ; the 
 Death of Count Ugolino ; the Competition 
 of Beauty ; Endymion and Psyche. Some 
 
ETT 
 
 of these were engraved by his pupils. 
 Errante published a new method of re- 
 storing pictures; and two memoirs, one 
 on the colours employed by the most cele- 
 brated Italian and Flemish artists ; the 
 other, an Essay on Colours. He had in- 
 tended also to have written a treatise on 
 the study of muscular motion in a living 
 body, but death prevented him from com- 
 pleting that and other works. He died at 
 Rome in 1821 ; and a memoir of him was 
 published by his friend the Abate Can- 
 cellicri. 
 
 Errard (Chari.es). a French pain- 
 ter, who was born at Nantes in 1606. He 
 excelled in historical subjects and archi- 
 tectural views, which he executed with 
 spirit. He became Director of the Aca- 
 demy at Paris, and of that at Rome, where 
 he died in 1689. 
 
 EscALANTK (JuAX Antonio). This 
 artist was born at Cordova in Spain, in 
 1630. He studied under Francisco Ricci, 
 and became an excellent painter of histori- 
 cal subjects. Several of his pictures are 
 in the churches at Madrid, particularly 
 one of St. Catalina ; and an altar-piece of 
 the Dead Christ, in the style of Titian. 
 He died in 1670. 
 
 ESPAGNOLETTO, SCe RiBERA. 
 
 EsPINOSA (GlACINTO GeRONIMO DE). 
 
 This Spanish painter was born at Valencia 
 in 1600; and became the scholar of 
 Francisco Ribalta, by whose instructions 
 he profited so well as to acquire a manner, 
 which, for originality of design and force 
 of colouring, came near to Guercino. One 
 of his greatest works is an altar-piece in 
 the Church of the Carmelites, representing 
 the Transubstantiation. He also painted 
 a number of small pictures. He died at 
 Valencia in 1680. 
 
 Ess (James Van). This Flemish pain- 
 ter was born at Antwerp in 1570. He 
 painted flowers, birds, and fish, in an ad- 
 mirable style, with great liveliness, and 
 his shellfish particularly exhibit uncom- 
 mon accuracy. Hife colouring is good, 
 and his works are finished with the utmost 
 care and transparence. He died in 1621. 
 
 Etty (William). This eminent mo- 
 dern painter was born at York, on the 10th 
 of March 1787. Like Rembrandt and 
 Constable he was a miller's son, and made 
 his first sketches with chalk on the mill 
 floor. He served a seven years' appren- 
 ticeship to Mr. Peck, a printer at Hull; 
 but, when he was freed from this thraldom, 
 he came to London, and devoted himself 
 to an artist's life, under the fostering and 
 
 liberal patronage of a mercantile city firm, 
 Messrs. Bodley, Etty (the painter's uncle), 
 and Bodley. Young Etty now became a 
 pupil of Sir Thomas Lawrence. After 
 years of untiring industry and perseve- 
 rance, Etty's talents became of note in the 
 Academy, and attracted public attention. 
 He obtained much praise for his picture 
 of Cleopatra, which stimulated him to 
 cultivate his genius; and he consequently 
 travelled and studied in Rome, Florence, 
 Naples, and France. He returned to 
 England in 1824, a finished and exquisitely 
 graceful painter. The life of F^tty was 
 one course of devotion to his admirable 
 art. He died on the 14th of November 
 1849, in his native city of York. He wrote 
 an autobiography, which does not appear 
 to have been published. Etty was a mem- 
 ber of the Royal Academy. 
 
 EVERDISGEN (C^SAR Van). Hc WaS 
 
 born at Alkmaarin 1606, and became the 
 disciple of John Van Bronkhorst, who 
 observed inhimastrengtli of genius supe- 
 rior to all those who were under his direc- 
 tion. He designed with great readiness, 
 possessed a lively imagination, and excelled 
 equally in history, landscape, and portrait. 
 His colouring had abundance of force, and 
 his pencil was free and firm. He was 
 also a good architect ; and among a number 
 of fine pictures by him, is one noble com- 
 position, representing the Victory of Da- 
 vid, painted on the folding-doors of the 
 organ in the great church at Alkmaar, the 
 sketch of which is in the council-chamber 
 of that city, and dated 1648. Another is 
 a picture of the principal persons of the 
 artillery comi)any, whose portraits are as 
 large as life; it is extremely well designed, 
 pencilled, and coloured. He died in 1679. 
 EvERDiNGEX (Aldret Vax). Tliis 
 artist was the nephew, or, as some say, the 
 biother of Caesar Van Everdingen, and 
 was born at Alkmaar in 1621. His first 
 instructor was Roland Savery, and after- 
 wards he became a discipleof Peter Molyn ; 
 to both of whom he became very superior. 
 He possessed a general knowledge of every 
 branch of the art, but excelled chiefly in 
 landscapes, which, as well as his figures, 
 animals, and buildings, were usually 
 sketched after nature. He managed his 
 distances with singular judgment, and 
 gave to his trees so natural and easy a 
 form, that they appeared from his pencil 
 the same as from the hand of nature. In 
 the expression of the impetuosity of tor- 
 rents, cataracts, and storms at sea, his 
 invention and execution were conspicuous; 
 
EYC 1 
 
 nor did he omit the thin light vapours and 
 mists that are excited by the violent agita- 
 tion of the waters; in all these he was 
 unrivalled. He was most pleased with 
 describing the wildness of romantic nature, 
 which he had observed in a voyage made 
 up the Baltic, and on the coast of Norway, 
 where he was shipwrecked; and his repre- 
 sentations of the scenery observed in that 
 country procured him the name of the 
 Northern Salvator Rosa. He also fre- 
 quently painted solemn scenes, such as 
 groves and forests, where the eye is pleas- 
 ingly deluded to distances exceedingly 
 remote, through extensive vistas; and his 
 compositions recommend themselves by 
 their agreeable variety. He finished an 
 abundance of drawings, which display a 
 good invention, and great freedom of hand ; 
 but it is to be lamented that he was so 
 often engaged in painting large pictures; 
 because those in a small size are much 
 superior in the pencilHng and finishing, 
 and are very highly valued. Everdingen 
 also engraved several fine plates of land- 
 scapes, and fifty-six prints for the old 
 German book called Reynard the Fox. 
 He was closely imitated by Ruysdael. He 
 died in 1675. 
 
 EvEBUiNGEN (JoHX Van). He was 
 the youngest brother of Cajsar Van Ei 
 dingen, and was born at Alkmaar, where 
 he painted subjects of still life, more for 
 the delight he had in that kind of objects, 
 which he carefully copied after nature, 
 than from any prospect of advantage, as 
 he had been educated to the law. He died 
 in 1656. 
 
 EvERDYCK (Cornelius), a Dutch pain- 
 ter, who was born at Tergoes in 1610. It 
 is not said under whom he studied ; but 
 he was a good artist in historical subjects. 
 He died in 1652. 
 
 ExiMENO (Joachim). This artist was 
 born at Valencia in Spain, in 1674, and 
 died in 1754. He excelled in painting 
 flowers, fruits, birds, fish, and subjects of 
 still life, which he executed with spirit 
 and accuracy. 
 
 Etck (Hubert Van). This memorable 
 artist was born at Maaseyk, on the border; 
 of the Meuse, in 1366. He is considered 
 the founder of the Flemish School, and 
 was much esteemed for several masterly 
 performances in distemper, before the use 
 of oil was discovered, when he becami 
 celebrated also for his extraordinary and 
 curious paintings in that way. One work 
 of Hubert, painted in conjunction with his 
 brother Jolm, was long preserved in a 
 
 EYC 
 
 church at Ghent, and beheld with admi- 
 ration and astonishment. Sir Joshua 
 Reynolds, who saw it there, says that it 
 is a representation of the Lamb, taken 
 from the Apocalypse; that it contains a 
 great number of figures, in a hard manner, 
 but there is a great character of truth and 
 nature in the heads, and the landscape is 
 well coloured. This venerable production 
 of ancient art, was carried off' by the uni- 
 versal spoilers, and deposited in the Lonvre, 
 at Paris. In its former situation, the relic 
 was so much valued, that it was only ex- 
 posed to view on great festivals. Philip 
 I. of Spain wished to purchase that paint- 
 ing, but finding it impracticable, he em- 
 ployed Michael Coxis to copy it, who spent 
 two whole years on the work, and received 
 four thousand florins from the King, by 
 whom it was placed in the Escurial. 
 Hubert Van Eyck died in 1426. 
 
 Eyck (JoHsr Van ). This painter, who 
 was the younger brother and scholar of 
 Hubert Van Eyck, was born at Maaseyk 
 in 1370. As an artist he possessed great 
 talents; he copied his heads from nature; 
 but his figures were not often well drawn 
 or composed. He produced, however, a 
 surprising richness of positive colours, and 
 laboured his performances with infinite 
 pains, particularly the ornaments. The 
 landscapes which he introduced were 
 adorned with trees and plants, copied from 
 nature, and exquisitely delineated. In 
 the Louvre is a picture by John Van Eyck, 
 of the Eternal Father, represented by an 
 old man with a long beard, crowned with 
 a tiara, seated in a chair, and having golden 
 circles of Latininscriptionsroundhis head, 
 but devoid of dignity, and apparently as 
 inattentive as the divinity of Epicurus. 
 In tlie Pembroke collection is a small pic- 
 ture, which does him more credit; the 
 subject is the Nativity, with the Adoration 
 of the Sliepherds. This composition, 
 which consists of four figures, besides the 
 Infant and four Angels, has in the back- 
 ground a choir of the heavenly host ap- 
 pearing to the keepers of the flocks in the 
 fields of Bethlehem. This piece is in oil, 
 and the colours are, for the greater part, 
 very pure, except those of the flesh. The 
 garment of Joseph is very rich, being 
 thickly glazed with red lake, as fresh al- 
 most as if it were new. All the draperies 
 are glazed with different colours, which 
 still retain their freshness, and are still 
 clear, except that of the Virgin, which, 
 instead of being blue, is turned to a dark 
 green. The glory surrounding the heads 
 
EYC 
 
 FAB 
 
 of the Madonna and Child is of gold. In 
 the collection of the Duke of Orleans was 
 a picture by him, representing the Wise 
 Men's Otfering; and it is said that a 
 capital painting by John Van Eyck, of 
 the Lord Clitford and his family, was at 
 Chiswick, in the collection of the late 
 Earl of Burlington. But great as his 
 merits were, he is more indebted for the 
 fame he has acquired, to his supposed in- 
 vention of oil painting. This discovery 
 is said to have been made in 1410, in the 
 following manner: John Van Eyck paint- 
 ed a picture in distemper, and having var- 
 nished it, set the piece to dry, exposed to 
 the sun, by the heat of which it was cracked 
 and spoiled. He therefore deliberated 
 how to prevent such accidents in future; 
 and his first thought was to make a var- 
 nish that would dry in the shade. After 
 many experiments, he found that the oil 
 of linseed and of nuts proved of a more 
 drying quality than any others, and that 
 these, when boiled with other ingredients, 
 made the varnish so much desired. He 
 afterwards found that mixing these oils 
 with colours gave them a hardness, and 
 that in drying they not only equalled the 
 water colours, but acquired more brilliancy 
 and force. The fame of this great disco- 
 very soon spread over Flanders, and into 
 Italy ; but Van Eyck did not communicate 
 the secret till he was far advanced in years, 
 and then he imparted it to several pain- 
 ters. Such is the traditionary account of 
 the origin of oil painting ; and yet there 
 is evidence upon record, that the art was 
 known and practised long before the time 
 of Van Eyck. In the Exchequer Rolls 
 are bills of charges on account of oil for 
 the painters, a century at least previous 
 to the period in question; and the learned 
 Raspe has exhibited proof's that the method 
 was practised, even in Italy, as early as 
 the eleventh century. In justice, however, 
 to Van Eyck, it should be observed, that 
 he was the first who rendered oil painting 
 general, and improved its process. He 
 died in 1441. Besides the works already 
 mentioned, John Van Eyck painted, after 
 the death of his brother, a picture repre- 
 senting the Virgin and Child, with St. 
 George, St. Donatus, and other saints. 
 It is in the cathedral of Bruges. 
 
 Eyck (Gaspab Van). He was born at 
 Antwerp in 1625. His talent lay in re- 
 presenting marine views and sea-fights, 
 which he painted with uncommon spirit, 
 and his figures were both well drawn, and 
 touched with a neat pencil. 
 
 Eyck (Nicholas Van). This artist is 
 said to have been the brother of the pre- 
 ceding; but instead of marine fights, he 
 chose battles by land, and attacks of cavalry, 
 in which he acquired great distinction. 
 
 Eyckens (Peter), called the Old. He 
 was born at Antwerp in 1599, and became 
 eminent for his style of composition in 
 historical subjects. His designs are full 
 of spirit; his figures have some degree of 
 elegance ; his draperies are broad, and the 
 backgrounds of his pieces are enriched 
 with architecture and landscape, in a 
 good taste. As he constantly studied and 
 copied nature, his colouring was warm, 
 agreeable, and natural, and to his carna- 
 tions healways gave a great deal of delicacy, 
 particularly to those of his nymphs and 
 boys. He painted subjects in one colour, 
 such as basso-relievos, and vases of mar- 
 ble, extremely well; and frequently he was 
 employed to insert figures in the landscapes 
 of other masters, as he designed them 
 correctly, and adapted them to the difi'er- 
 ent scenes with propriety and judgment. 
 The principal of his works are, a Last 
 Supper, in St. Andrew's Church, at Ant- 
 werp; St. John preaching in the Desert, 
 in another church; and St. Catherine dis- 
 [)Uting with the Pagans, in the cathedral 
 of the same city. At Mechlin were two 
 fine pictures by him, of the Miracles of 
 St. Francis Xavier. He died in 1649. 
 Descamps has strangely divided Eyckens 
 into two persons, and given erroneous 
 dates in his accounts of both. 
 
 Eyckens (John and Fkancis Van). 
 The.-!e two Flemish painters were brothers, 
 and natives of Antwerp, being the sons of 
 the preceding artist. John was born in 
 1625, and Francis in 1627. They were 
 educated by their father, and became emi- 
 nent in representing fruits and flowers. 
 John died in 1669, and Francis in 1673. 
 
 Eyniiouedts (Rombout). He was 
 born at Antwerp about 1605 ; but though 
 a painter of portraits in a forcible manner, 
 he is chiefly known by his engravings, 
 most of which were after Rubens, Schut, 
 and other Flemish artists. 
 
 Fabek (John). This artist was a 
 native of Holland, and at first practised 
 portrait painting on vellum, but after- 
 wards he applied to mezzotinto, in which 
 line he executed a number of plates. He 
 
FAC 
 
 FAC 
 
 resided many years in England, and died 
 at Bristol in 1721, leaving a son, who 
 became more eminent than his father as 
 an engraver. He died in 1756. 
 
 Fabbiano (Gentile da). This master 
 is supposed to have been born at Verona 
 about 1360. In that early age of painting 
 he rendered himself famous, and was em- 
 ployed to adorn a number of churches and 
 palaces at Florence, Urbino, Sienna, 
 Perugia, and Rome, particularly in the 
 Vatican : and one picture of his, repre- 
 senting the Virgin and Child, attended by 
 Joseph, which is preserved in the Church 
 of St. Maria Maggiore, was highly com- 
 mended by Michel Angelo, who was ac- 
 customed to say that the hand of Gentile 
 corresponded with his name. By order of 
 the Doge and Senate of Venice, he paint- 
 ed a picture in the great council-chamber, 
 which was considered as so extraordinary 
 a performance, that his employers granted 
 him a pension for life, and conferred on 
 him the privilege of wearing the habit of 
 a noble Venetian. His best works were 
 those he executed in the early and middle 
 part of his life; for in the decline of his 
 years he grew paralytic, and his pencil 
 became unsteady. Giacomo Bellini was 
 his disciple. He died about 1440. 
 
 Fabricius (Charles). He was born 
 at Delft in 1624, and was esteemed the 
 best artist of his time in perspective; 
 besides which he was also accounted a 
 good painter of portrait. From his pro- 
 mising genius there was every reason to 
 believe that he would have proved an 
 ornament to his profession ; but, un- 
 happily, his house at Delft, standing near 
 the powder magazine, suddenly blew 
 up, and he was killed in his chamber, 
 while intent on his work, with Matthias 
 Spoors, his pupil. This melancholy ac- 
 cident happened in 1654. 
 
 Fabrizzi (Antonio M.vria). He was 
 born at Perugia in 1594, and received his 
 first instructions from Annibale Caracci, 
 but lost his valuable preceptor when very 
 young, notwithstanding which he had no 
 other master. His imagination was so 
 active and erratic, that he fell into great 
 irregularities of design and execution. He 
 died at Rome in 1649. 
 
 Fachebis (Agostino). Of this pain- 
 ter nothing more is known than that he 
 executed a picture in 1528 for the Church 
 of the Holy Trinity at Borgo, in the 
 Bergamese territory, the subject of which 
 is St. Augustine and two Angels. 
 
 Fachktti (Pxetro). He was born at 
 
 Mantua in 1535, and went to Rome to 
 study after the works of the great masters, 
 whose paintings embellish and enrich that 
 city. His genius directed him principally 
 to portrait painting, and he gradually 
 arrived at so eminent a degree of merit in 
 that branch, that he might almost be com- 
 pared with Scipio Gaetano. Most of the 
 nobility of Rome, and particularly the 
 ladies, had their pictures painted by him, 
 and his portraits were generally com- 
 mended for lively resemblance, elegance 
 of design, and the lovely taste with which 
 they were executed. He died in 1613. 
 
 Pacini (Pietbo). He was born at 
 Bologna in 1560, where he became the 
 disciple of Annibale Caracci by a singular 
 accident. In passing the house of Anni- 
 bale, he had the curiosity to go into the 
 academy of that famous master, to see 
 the scholars drawing and designing, and 
 while attentively engaged in observing 
 their work, he was so absorbed in medi- 
 tation, that one of the scholars drew a 
 caricature likeness of him with black 
 chalk. The drawing being handed about, 
 produced universal mirth, to the morti- 
 fication of him who was the object of it. 
 But the caricature being shown to Pacini, 
 he seized a piece of charcoal, and, though 
 he had never learned to draw, sketched, 
 and in so ludicrous a manner, the likeness 
 of the person who had turned him to 
 ridicule so strongly, that the subject for 
 laughter was changed, and Annibale, 
 struck with admiration at such an effort 
 of genius, offered to be his instructor in 
 the art. He soon made a wonderful pro- 
 gress under his preceptor, and in a short 
 time surpassed all the other pupils, so as 
 to become the object of their envy, as 
 much as he had been before of their con- 
 tempt. He possessed a lively invention ; 
 his colouring was pleasing, his touch free, 
 and his attitudes were just and well 
 chosen ; the airs of his heads were grace- 
 ful, and in some of his compositions he 
 showed great skill in disposing a number 
 of figures in proper groups, and giving 
 them spirited action, the whole being re- 
 lieved by judicious masses of light and 
 shadow ; yet he was sometimes incorrect, 
 and had too much of the mannerist. Anni- 
 bale Caracci said of his colouring, that, 
 in his carnations, Pacini seemed to have 
 mixed his colours with human flesh ; a 
 high compliment, but, when the pictures 
 of the artist are examined, it will be found 
 not an unmerited one. The master, how- 
 ever, became jealous of his scholar, and 
 
HnEe latter, ou 
 
 FAI 
 
 8 latter, out of revenge, not only set up 
 an academy in opposition to him, but laid 
 snares for his life. After enjoying some 
 popularity for a time, Facini sank in the 
 public estimation, and it was discovered 
 that, though in some points his style was 
 great, and his colouring equal to Tin- 
 toretto, yet he failed in the character and 
 expression of his figures. His principal 
 works at Bologna are, the Martyrdom of 
 St. Lawrence; the Crucifixion; the Mar- 
 riage of St. Catherine, attended by the 
 four guardian Saints of Bologna, with 
 Angels, which are finely painted, and in a 
 beautiful colour. This last is the altar- 
 piece in the Church of St. Francesco ; and 
 in that of St. Andrew, in the same city, 
 is a fine picture of the Crucifixion. At 
 Wilton, the seat of the Earl of Pembroke, 
 is a piece by Facini, the subject of which 
 is, Christ and three Disciples, with Mary 
 weeping for the loss of lier brother Lazarus. 
 This artist died in 1602. 
 
 Face (Raimond de la). This self- 
 taught genius was born in 1648, at Lisle- 
 en-Albigeois, in Languedoc. He drew 
 with the pen or Indian ink, and arrived 
 at such eminence in that branch as to be 
 complimented upon it by Carlo Maratti. 
 On visiting that painter, he was received 
 with politeness, and Maratti offered him 
 his pencil, which he declined, saying, that 
 he had never practised painting. " I am 
 glad to hear it," said the artist; " for if I 
 may judge from your drawings of the pro- 
 gress you would have made in painting, I 
 must certainly have given place to you." 
 Fage lived irregularly, generally drawing 
 at a public-house, and sometimes paying 
 his bills by a sketch produced upon the 
 occasion. He died in 1690. Audran, 
 Simonneau, and others, engraved a col- 
 lection of one hundred and twenty-three 
 prints from his designs, and Strutt men- 
 tions some prints engraved by himself. 
 
 Faistenberger (Anthony). He was 
 born at Inspruck in 1678, and learned the 
 art of painting from one Bouritch, who 
 lived at Saltzbourg; but he made the 
 works of Caspar Poussi n and J oh n Glauber 
 his models, and for his furtlier improve- 
 ment studied nature accurately. He was 
 invited by the emperor to Vienna, where 
 for a number of years he was employed, 
 and greatly respected. On quitting that 
 city, he was employed successively by 
 several of the princes of the empire. His 
 landscapes are pleasing, particularly for 
 the elegance of the buildings, which are 
 designed in the Roman taste. His scenes 
 
 n FAL 
 
 are often solemn, and enlivened by cascades 
 of water, rivers, and rocks ; his trees are 
 natural, the foliage is touched with spirit, 
 and the colouring is real nature. Not being 
 expert at designing figures, he made use 
 of Hans Graaf and Van Bredael, to insert 
 them in those landscapes which he paint- 
 ed for the emperor, and also in the easel 
 pictures which he executed for other 
 cabinets. He died at Vienna in 1722. He 
 had a brother, Joseph Faistenberger, who 
 was his scholar and assistant, and the style, 
 pencilling, and colouring of the two artists 
 were so similar, that there is scarce any 
 discernible difference in their works. 
 
 Falcieri (Biagio). He was born at 
 St. Ambrogio, near Verona, in 1628, and 
 studied at Venice under Pietro Liberi, 
 whose style he imitated very closely. He 
 painted a large picture of the Council of 
 Trent, in which he introduced St. Thomas 
 Aquinas conquering the Heretics. He 
 died in 1703. 
 
 Faeco (Juan Conciiielos). This 
 Spanish artist was born at Valencia in 
 1651, and became the scholar of Estevan 
 Mario. He proved one of the best de- 
 signers in history of his time and country, 
 and had a good manner of colouring, with 
 a pencil free, sweet, and delicate. He 
 died in 1711. 
 
 Falcone (Anieelo). He was a native 
 of Naples, born in 1600, and educated 
 under Ribera, after which he went to 
 Rome, where he became a good painter 
 of battles, the marchings of armies, and 
 soldiers in camp. He designed and com- 
 posed with great spirit, his colour was 
 clear and vigorous, and his figures were 
 admirably drawn. On his return to Na- 
 ples, he imitated the manner of Salvator 
 Rosa. He died in 1680. 
 
 Falconet (Pierre). He was born 
 at Paris, being the son of Falconet the 
 sculptor, who executed the equestrian 
 statue of Peter the Great at St. Peters- 
 burgh. He resided some years in London, 
 but returned to Paris about 1773. He 
 practised history and portraiture, and he 
 also painted ornaments. He was remark- 
 able for drawing likenesses in black lead, 
 with a mixture of colouring ; and among 
 those which he executed in this manner 
 were twelve of English artists, and one 
 of Granger, the author of the Biographical 
 History of England. In 1766 he obtained 
 a premium of twenty guineas from the 
 Society of Arts, for a painting in chiaro- 
 oscuro ; and in 1768, another for an histo- 
 rical picture. 
 
FAR 
 
 182 
 
 FAR 
 
 Falconetto (Giovanni Makia). He 
 was born at Verona in 1461, and became 
 the scholar, first of his father, and after- 
 wards of his brother Giovanni Antoni( 
 Falconetto, of Verona, under whom he 
 became eminent in history and portrait 
 painting. He was also a good architect, 
 and died in 1534. 
 
 Faldoni (Giovanni Antonio). This 
 artist was born at Ascoli, in the Trevi- 
 sano, about 1690. His first study wai 
 landscape, which he learned from An- 
 tonio Luciano ; but afterwards he quitted 
 that profession for engraving, in which 
 he imitated the style of Giles Sadeler. 
 
 Falens (CiLiRLES Van). This Flem- 
 ish painter was born at Antwerp in 1684. 
 and died at Paris in 1733. He painted 
 well, in the style and manner of Wou- 
 vermans. 
 
 Fano (Bartolomeo da). He flou- 
 rished in 1534, in which year he painted 
 an altar-piece of the Resurrection of 
 Lazarus, for the Church of St. Michel, 
 in his native city of Fano ; but it is of an 
 inferior description. His son Pompeo had 
 a better taste, and painted some pictures 
 of great merit. Zucchero was his scholar. 
 
 Fanone (Stefano). This old artist 
 was born at Naples in 1318. He became 
 a great favourite with Robert, King of 
 Naples, who showered upon him many 
 favours, but his works are of an inferior 
 order. He died in 1387. 
 
 Fanzone (Fekrando). This painter 
 was born at Faenza in 1562, and studied 
 at Rome under Vanni, after which he 
 executed several of the frescoes in the 
 Churches of St. John de Lateran, the 
 Scala Santa, and St. Maria Maggiore. 
 At Ravenna are some fine pictures by 
 him, one a Descent from the Cross, in the 
 convent of Dominicans ^ and a Probal- 
 tici, in the confraternity of St. John, both 
 which have much of the style of Lodovico 
 Caracci. The design of Fanzone is ele- 
 vated and correct, with great sweetness of 
 colouring. He died in 1645. 
 
 Fabelli (Giacomo). This artist was 
 born at Naples in 1624, and had Andrea 
 Vaccaro for his instructor. When very 
 young, he gave an early proof of his talent, 
 in a painting of St. Bridget, for the church 
 dedicated to her at Naples; but subse- 
 quently he altered his manner in an at- 
 tempt to rival Domenichino, and thereby 
 lowered his own reputation. He died in 
 1706. 
 
 Fabinato (Paoi.o deglx Uberti). He 
 was born at Verona in 1522, and succes- 
 
 sively became the disciple of Antonio 
 Badile and Nicolo Golfino. His taste in 
 design was excellent, his imagination fruit- 
 ful, and he had a fine invention; so that 
 in many respects he was an admirable 
 master; but he was not often happy in 
 his colouring; yet the picture which he 
 painted for the Church of St. George, at 
 Verona, is much superior in that respect 
 to,most of his performances, and in many 
 particulars is accounted not inferior to 
 the work of Paolo Veronese. The subject 
 is the Miraculous Feeding of the Five 
 Thousand, in which there are numerous 
 figures, correctly designed, judiciously dis- 
 posed, and with easy and becoming atti- 
 tudes. This picture was designed and 
 executed when he was seventy-nine years 
 old; and what is worthy of remark is, 
 that he possessed the lively powers of his 
 imagination, and usual freedom of hand, 
 at so advanced a period of his life, and 
 that he retained the use of all his faculties 
 till his death, in 1606. In the Palazzo 
 Sagredo at Venice, is an Ecce Homo by 
 Farinato, in which the head of Christ 
 hath a character inimitably fine. And at 
 Verona, in the Church of St. Giovanni 
 in Monte, is a picture representing the 
 Baptism of Christ, which is in a grand 
 style and broad manner; but the design 
 is not very correct, and the colouring is 
 too brown. Besides those works may be 
 mentioned, St. Michael defeating the rebel 
 Angels ; and two pictures of the Murder 
 of the Innocents, and the Tyranny of He- 
 rod, in the Church of St. Maria Organo; 
 a St. Onofrio, in the Church of St. Tom- 
 maso ; and a Taking down from the Cross, 
 in the Capuchin convent. Farinato has 
 also left some etchings, executed in an ex- 
 cellent style. 
 
 Farinato (Orazio). He was born at 
 Verona, and was the son and disciple of 
 Paolo, whose style and manner he studi- 
 ously imitated ; and by the promptness of 
 his genius, he composed with so much 
 spirit and elegance, that the best judges 
 conceived the most sanguine hopes of his 
 arriving at a high degree of perfection ; 
 but he died very young, and universally 
 regretted. In the Church of St. Stephen, 
 at Verona, are several noble paintings by 
 him, which are extremely admired, par- 
 ticularly one of the Descent of the Holy 
 Ghost. Orazio etched some plates from 
 the designs of his father. 
 
 Farington (George). This ingenious 
 artist was the fourth son of the Rev. Wil- 
 liam Farington, Rector of Warrington, 
 
FAT 
 
 FER 
 
 and Vicar of Leigh, in Lancashire, and 
 was born at the former place in 1754. 
 He received his first instructions in the 
 art from his brother Joseph, one of the 
 royal academicians; but his inclination 
 leading him to the study of historical 
 painting, he acquired further assistance 
 from Mr. West. He was for some time 
 employed by Alderman Boydell, for whom 
 he made several excellent drawings from 
 the Houghton collection. He studied long 
 in the Royal Academy, and obtained a 
 silver medal in 1779, and in 1780 that 
 of gold, for the best historical picture, the 
 subject of which was the AVitch or Cal- 
 dron Scene in Macbeth. In 1782 he went 
 to India, where he painted many pictures; 
 but his principal undertaking was a large 
 work, representing the court of the Nabob 
 
 Fattore (II), see Penni. 
 
 Fava (II Conte Pietro). This no- 
 bleman was a native of Bologna, and born 
 in 1669. He became a scholar of Passi- 
 nelli, and one of the members of the Cle- 
 mentine Academy. In the Church of St. 
 Tommaso del Mercato, at Bologna, is an 
 altar-piece by him, representing the Vir- 
 gin and Child, attended by several Saints ; 
 and at Ancona are two of his pictures, 
 the subjects of which are the Wise Men's 
 Offering, and the Resurrection. He was 
 a close imitator of the Caracci. He died 
 in 1744. 
 
 Faucus (George). This French artist 
 was born at Chateaudun in 1647, and died 
 in 1708. He excelled in painting land- 
 scapes. 
 
 Favanse (Henry). Of this painter we 
 
 of Moorshedabad. Whilst employed on ^ know nothing more than what is stated in 
 this work, he imprudently exposed him- i a French compendium on the arts, where 
 self to the night air, to observe some cere- i he is said to have been a native of London, 
 monies of the natives, in order to complete ; but to have been instructed at Paris, under 
 a series of drawings begun for that pur- Houasse; after which he returned home, 
 pose, when he was suddenly seized with ' next made a voyage to Spain, and died at 
 a complaint, which in a few days unfortu- Paris in 1752. He is there said to have 
 
 nately terminated his life in 17i 
 
 Fasolo (Giovanni Antonio). He v/as 
 born at Vicenza in 1528, and had for his 
 first master Battista Zelotti, from whom he 
 removed to the school of Paolo Veronese, 
 and under him made a rapid progress. In 
 the Church of St. Roche, at Vicenza, is a 
 painting by him, representing the Pool of 
 Bethesda, which is a noble composition. 
 
 been esteemed a good painter of historical 
 subjects. 
 
 Feddes (Peter). This Dutch painter 
 was born at Harlingen in 1588, and died 
 in 1634. He was deemed a good artist 
 in historical subjects, as well as portrait. 
 
 Fehi;ing (Henry Christopher). He 
 was born at Sangerhausen in Germany, 
 
 1653, and became the pupil of his rela- 
 
 with several ^oups of figures, disposed ' tive, Samuel Botschild, with whom he 
 and expressed in an admirable style. In I visited Italy, where he resided some years, 
 the Church of the Servites is another On his return to his native country he fixed 
 picture by Fasolo, of the Adoration of the his residence at Dresden, and, on the death 
 Wise Men. He also painted some fine j of his friend Botschild, was appointed 
 pieces, the subjects taken from the Roman ! keeper of the gallery. He was much em- 
 history. He died in 1572. 1 ployed in adorning the palaces of the 
 
 Fassolo (Bernardino). This painter j Elector of Saxony, and his works gave 
 was born at Pavia, and lived about the : general satisfaction. He died in 1725. 
 year 1520. A picture of his, of the Virgin I Fei (Alessandro, or del Barbiere). 
 and Child, in the manner of Leonardo da He was born at Florence in 1538, and 
 Vinci, was carried from Rome to Paris in I studied successively under Ghirlandaio, 
 the time of the Revolution, and deposited ' Pietro Francia, and Tommaso Manzuoli 
 in the gallery of the Louvre. It is an ex- I di St. Friano. He became a good painter 
 quisite performance. of history in fresco, and enriched his works 
 
 Fator (Fray Nichoeas). He was born with noble pieces of architecture. Among 
 at Valencia in Spain, in 1522. When j his principal pictures is one of the Scour- 
 
 young, he became a monk of the order of 
 St. Francis, and acquired notice by his 
 Latin poetry, to which he added a good 
 taste in the fine arts ; but his pictures are 
 all confined to his monastery. The chief 
 of these are, St. Michael defeating Lu- 
 cifer ; the Flagellation of Christ ; and a 
 Madonna and Child. He died in 1583. 
 
 ging of Christ, in the Church of St. Croce 
 at Florence. 
 
 Ferdinand (Louis). This French 
 artist was the son of Ferdinand Elle, a 
 painter, but why he dropped his surname 
 is not known. He acquired credit as a 
 painter of portraits, and became a member 
 of the Academy of Paris. He also etched 
 
FER 
 
 FER 
 
 several plates in a good style, between 
 1640 and 1650. 
 
 Feret (JexVn Baptiste). This French 
 painter was born at Evreux in 1674, and 
 died at Paris in 1737. He excelled in 
 landscape, but also attempted historical 
 subjects. 
 
 Ferg, or Fergxie (Paul FRixcis"^, 
 .This eminent painter was born at Vienna 
 in 1689, and was the son of an artist of 
 ordinary abilities, who placed him with 
 another of the profession not much better 
 than himself, under whom Ferg patiently 
 practised for four years; till his father, 
 suspecting the inability of his tutor, took 
 him under his own care, and set him to 
 design and compose historical subjects. 
 He was particularly fond of the prints of 
 Callot and Le Clerc, from which he re- 
 ceived considerable improvement; but he 
 was diverted from that attachment by per- 
 sons of judgment, who observed that the 
 figures in those prints were too minute for 
 a young artist to study, and that it would 
 conduce more to his advantage to form his 
 hand for designing figures in a large than 
 a small size. He learned afterwards from 
 Hans Graaf, at Vienna, the manner of 
 designing figures; but preferred Orient, 
 a painter of landscape, to Graaf, and lived 
 with him three years. In 1718 he went 
 to the court of Bamberg, where his merit 
 procured him employment, and afterwards 
 he visited Dresden in company with 
 Alexander Thiele, in Avhose pictures Ferg 
 inserted the figures and animals, which 
 added extremely to their value. From 
 Germany he came to London, where he 
 might have lived in affluence, if an indis- 
 creet marriage had not involved him in 
 difficulties. Tlie necessities which arose 
 from his domestic troubles compelled him 
 to lower the price of his paintings to pro- 
 cure an immediate support; and as those 
 necessities increased, his pictures were still 
 more depreciated, though not in intrinsic 
 value. By a series of misfortunes he was 
 overrun with debts, and, to avoid his 
 creditors, was constrained to secrete him- 
 self in different parts of London. The 
 climax of misery was completed in a 
 melancholy manner, for he was found dead 
 before the house where he lodged, ap- 
 parently exhausted by cold and want to 
 such a degree, that it seemed as if he had 
 wanted strength to open the door of liis 
 wretched apartment. This was in 1738, 
 or, according to another account, in 1740. 
 His style was much in the taste of Berchcm 
 and Wouvermans; and his subjects were 
 
 the amusements, feasts, or employments 
 of peasants, and sometimes markets in 
 public streets, or seashores ; he adorned 
 his landscapes with elegant ruins, selected 
 and executed in a grand taste; and he 
 was often so exact as to express percepti- 
 bly the difference between the hewn stone 
 and the polished surface of the marble. 
 His colouring, in his first time, had all 
 the force and strength of tlie Italian 
 masters; but after he had studied nature 
 more closely, he avoided the appearance of 
 a mannerist, and in his imitations adhered 
 to that only which seemed to have the 
 greatest truth. His. colouring is always 
 sweet, clear, and agreeable; his touch light 
 and delicate; his compositions full of 
 spirit; and every figure has expression 
 and elegance. His design is correct; but 
 his horses are not equal to those of 
 Wouvermans. He etched well with aqua- 
 fortis, and his prints of that kind are in 
 much request. The greater part of his 
 works are in London and Germany. 
 
 Fergio>'e (Bernardixo). This Italian 
 artist, who was distinguished as a painter 
 of marine views and seaports, lived at 
 Rome about the year 1720; but no par- 
 ticulars are related of his personal history. 
 
 Ferguson (William). He was a native 
 of Scotland, and learned the rudiments of 
 the art in his own country, after which he 
 spent several years in France and Italy. 
 The subjects which he generally painted 
 were dead fowls, particularly pigeons and 
 partridges; and sometimes dead animals, 
 as hares and rabbits, besides other objects 
 of still life. No painter in that style 
 could have a neater pencil, or finish his 
 pictures with greater transparence. His 
 objects haveabundanceof truth and force, 
 nature being his perpetual model; they 
 are also grouped witli ease and skill ; and 
 by his knowledge of the chiaro-oscuro, he 
 distributed his lights in a powerful, and 
 frequently in a surprising, manner. He 
 died about 1690. 
 
 Ferguson (James). This ingenious 
 astronomer and mechanic was also a pain- 
 ter, and drew portraits with some credit. 
 He was entirely self-taught, and executed 
 all the drawings for his various works. 
 There are several of his portraits at Bris- 
 tol. He died in 1776, at the age of 
 sixty-six. 
 
 Fernandez (Luis). He was born at 
 Madrid in 1594, and studied under 
 Eugenio Caxes, by whose instructions he 
 became a respectable painter of history, 
 both in oil and in fresco. He died in 1 654. 
 
FER 
 
 FER 
 
 Febnatji>ez (Fbancesco). Another 
 Spanish painter, who was born at Madrid 
 in 1604, and had Bartolomeo Carduccifor 
 his master. He became very eminent, 
 and was much employed by Philip IV. in 
 his palaces, as well as by the ecclesiastics 
 in the churches and convents. One of 
 his finest pictures is a representation of the 
 Death of St. Francis de Pabloa in the con- 
 vent de la Vittoria. Fernandez lost his 
 life in a quarrel with Francesco de Barras 
 in 1646. 
 
 Fernandez (Antonio DB Arias). He 
 was born at Madrid in 1604, and became 
 the scholar of Pedro de las Cuevas, and 
 made so rapid a progress, that at the age 
 of fourteen he painted an altar-piece for 
 the Church of Carmen Calzada at Toledo ; 
 and before he was twenty-five he was ac- 
 counted one of the best painters in Spain. 
 He had a good taste in design, was an 
 excellent colourist, and worked with great 
 facility. In the Augustine convent at 
 Madrid are eleven pictures by him, the 
 subjects of which are the different scenes 
 in the history of the Passion. He died in 
 1684. 
 
 Ferracuti (Giovanni Domenico). 
 This Italian painter was a native of Ma- 
 cerata, and flourished about the year 1650. 
 lie excelled in landscapes, and chiefly in 
 the representation of winter scenery, to 
 which he gave a fine effect. 
 
 Ferrada (Chhistoval). He was a 
 native of Anieva, in the Asturias, and born 
 in 1620. After studying painting under 
 a regular instructor, whose name is un- 
 known, he entered into the monastic order 
 of St. Maria de las Cuevas. He painted 
 a number of pictures for the altars and 
 cloisters of his convent at Seville, where 
 he died in 1678. 
 
 Ferkajuoei (Nunzio). This painter, 
 who also obtained the name of Delli 
 Afflitti, was born at Nocera de Pagani, in 
 the kingdom of Naples, in 1661. His 
 first master was Luca Giordano, on leav- 
 ing whom he studied under Giuseppe del 
 Sole; but his genius directed him to the 
 study of landscape painting, and enabled 
 him to arrive at the greatest excellence in 
 it. Under that great master he learned 
 to design historical figures with remark- 
 able correctness; and he adorned his own 
 pictures with figures of an elegant design, 
 which he disposed with taste and pro- 
 priety. He also studied the different 
 beauties of Paul Bril, Albano, Poussin, 
 Salvator Rosa, and Claude Lorraine ; and 
 by a commendable ambition to imitate 
 
 those admired artists, he formed a style 
 of his own that was exceedingly agree- 
 able, and became universally admired for 
 sweetness of colouring, lovely situations 
 and distances ; for a pleasing mixture of 
 tenderness and force; for the beauty of the 
 skies, and the transparence of the waters. 
 
 Ferramola (Fiovante). He was born 
 at Brescia, and his works are mnch 
 esteemed in his own country. The prin- 
 cipal is a picture of St. Jerome in his 
 study, in the Church of Maria delle Grazie. 
 He died in 1528. 
 
 Ferrantini (Gabriello), called like- 
 wise Degli Occhiati. He was a native of 
 Bologna, and the scholar of Denis Calvart, 
 by whose instructions he became a good 
 painter of history, as well in oil as in 
 fresco. Most of his best works are in the 
 churches of Bologna, particularly a pic- 
 ture of St. Francis in that of St. Bene- 
 detto ; a St. Girolamo, in St. Mattia ; St. 
 Francis receiving the Stigmata, in La 
 Carita; and, in the convent of the Ser- 
 vites, a Descent from the Cross; with 
 another of the Birth of the Virgin. 
 
 Ferraba (Antonio da). This artist, 
 as his name imports, was born at Ferrara, 
 and lived about the year 1500. He stu- 
 died under Angiolo Gaddi, and became 
 an eminent historical painter at Urbino 
 and Citta di Castello. 
 
 Ferrari (Gaudenzio), commonly called 
 Gaudenzio Milanese. He was born at 
 Valdugia, in the Milanese territory, in 
 1484. There are different accounts of 
 his professional education ; some making 
 him apupilof PietroPerugino, and others 
 of Scotto and Luini ; but it is admitted 
 that he profited most from studying the 
 works of Leonardo da Vinci. When 
 young he went to Rome, where he assisted 
 Raffaelle in the Farnesian palace. By this 
 connexion he obtained a great accession 
 of knowledge, and acquired an elevation 
 of design, and strength of colouring, to 
 which he was before a stranger. The 
 principal of his works are the dome of the 
 great church at Novara ; and the cupola 
 of St. Maria, near Savona, which last has 
 been compared with Corregio's St. John, 
 at Parma; another sublime production of 
 his genius is the picture of St. Christopher, 
 at Vercelli, which has much of the air of 
 Raffaelle. At the same place are some 
 paintings of the Life of Christ ; and a fine 
 one of the Conversion of St. Paul, which 
 has been compared with the picture of 
 Michel Angelo, of the same subject. At 
 Milan, Ferrari painted some pieces of the 
 
FER 
 
 FER 
 
 Passion of Christ, in rivalship with Titian. 
 He died in 1550. 
 
 Febbari (Giovanm Andbea). He was 
 born at Genoa in 1599, and was a disciple 
 of Bernardo Castelli ; but afterwards he 
 studied under Bernardo Strozzi. His ap- 
 plication was attended with success, and 
 he at last attained to such a degree of 
 excellence, as to be equally expert in 
 painting history, landscape, fruit, animals, 
 and flowers; which subjects he finished 
 in a small size, but with extraordinary 
 beauty and exactness. Of his works in 
 the higher class, the principal are the 
 composition of Theodosius, in the Church 
 del Gesu at Genoa; the Nativity, in the 
 dome of the cathedral of the same city ; 
 and the Birth of the Virgin, at Voltri. 
 This last appears to be his masterpiece. 
 He died in 1669. 
 
 Febrabi (Luca de). This artist was 
 born at Reggio in 1605, and became the 
 scholar of Guido Reni, whose manner of 
 painting, particularly in the airs of his 
 figures, he happily imitated. Among his 
 various works, one of the best is a Pieta, 
 in the Church of St. Antonio at Padua, 
 admirably expressed, and beautifully co- 
 loured. Another fine picture by him is 
 that of the plague, in the convent of the 
 Dominicans in the same city. He died 
 in 1654. 
 
 Febkabi (Gbegobio de). He was born 
 at Porto Maurizio, in the Genoese repub- 
 lic, in 1644, and studied under Domenico 
 Fiasella; but after leaving him, he imi- 
 tated the works of Corregio at Parma, 
 where he took an exact copy of the cele- 
 brated painting in the cupola of the great 
 church. His style was now modelled en- 
 tirely after that of Corregio, and though 
 necessarily inferior, yet he acquired great 
 merit in composition and colouring. One 
 of his best works is the picture of St. 
 Michael, in the Church of Madonna delle 
 Vigne at Genoa. He obtained also con- 
 siderable employment at Turin and Mar- 
 seilles. He died in 1726. 
 
 Febbari (Abate Lobenzo). He was 
 born at Genoa in 1680, and received his 
 instructions in painting from the preced- 
 ing artist, who was his father. He also, 
 though at a humble distance, became an 
 assiduous imitator of the works of Cor- 
 regio, and proved an excellent painter. 
 In some respects he equalled Carlini, and 
 in the gallery of the Palazzo Carega is a 
 series of fine pictures by him, taken from 
 the ^neid. He was an ecclesiastic, and 
 died in 1744. 
 
 Febbabi (Obazio). He was born at 
 Voltri in 1606, and studied under Gio- 
 vanni Andrea Ansaldi, after which he 
 obtained the protection of the Prince of 
 Monaco, who employed him several years. 
 He and all his family died of the plague 
 at Genoa in 1657. His principal work is 
 a picture of the Last Supper, in the Church 
 of St. Siro at Genoa. 
 
 Febbabi (Leonabdo, or Leonaedino). 
 He was born at Bologna, and studied 
 under Lucio Massari. His principal ta- 
 lent lay in the representation of carnival 
 amusements, but he also painted some 
 historical pictures for the churches of 
 Bologna and Padua. 
 
 Febbato, see Salvi. 
 
 Febretti (Giovanni Domenico, 
 dTmola). He was born at Florence in 
 1692, and studied with Giuseppe del Sole. 
 He painted historical subjects with great 
 credit, and his works are mostly in the 
 churches of Pisa, Bologna, Florence, and 
 Pistoia. 
 
 Febbi (Cibo). This painter was born 
 at Rome in 1634, and was a disciple of 
 Pietro da Cortona, in whose school he 
 soon displayed an elevated and noble 
 genius. He was indefatigable both in 
 study and practice, and uncommonly at- 
 tentive to improve his mind by reading 
 history, sacred and profane ; by employing 
 his hand incessantly in design and colour- 
 ing; and also by treasuring up every 
 observation of his master. His designs 
 are very correct, and his ordonnance very 
 grand; his taste, style, ideas, composition, 
 and colouring, are entirely like those of 
 Cortona; of which he gave a sufficient 
 proof, by finishing one of that master's 
 designs, left imperfect in the palace of 
 Pitti at Florence ; and, indeed, his works 
 are frequently taken for the hand of Cor- 
 tona. He received high prices for his 
 paintings, which was a public acknow- 
 ledgment of his merit; and he had also as 
 much employment as he could possibly 
 execute. His works, as well as his repu- 
 tation, were spread through every part of 
 Europe ; and they are a principal orna- 
 ment of the churches, as well as of the 
 cabinets and apartments of the nobility. 
 By the Duke of Tuscany he was engaged 
 in many considerable designs for ceilings 
 and saloons ; and he was employed to 
 finish several noble compositions begun 
 by Cortona ; which he executed so much 
 to his master's honour and his own, that 
 the whole appear to be only by one hand. 
 The principal works of Ciro Ferri are the 
 
FEV 
 
 187 
 
 FIA 
 
 Immaculate Conception, in the Church of 
 St. Mark at Rome ; St. Ambrose healing 
 the Sick, in the same city ; the Annun- 
 ciation, in the gallery of the pope at 
 Monte Cavallo; and the cupola of St, 
 Agnes, at Rome. He died in 1689. 
 
 Ferroni (GiROLAMo). This artist was 
 born at Milan about 168 1. He painted a 
 picture of the death of St. Joseph for the 
 Church of St. Eustazio in his native city, 
 after which he went to Rome, where he 
 became a scholar of Carlo Maratti ; after 
 whose designs he executed souie engrav- 
 ings. 
 
 Ferrucci (Nicodemo). He was born 
 at Florence, and studied under Doraenico 
 Passignano, whose style he adopted with 
 great success, and accompanied him to 
 Rome as an assistant in most of his works. 
 He excelled in fresco, and many of his 
 paintings are at Florence and Fiesole. 
 He died in 1650. 
 
 Feti (Domenico). He was born at 
 Rome in 1589, and became a disciple of 
 Lodovico Cigoli; but afterwards he went 
 to Mantua, where he obtained the patron- 
 age of the Cardinal Gonzaga, who, on his 
 coming to the dukedom of that state, 
 appointed him his principal painter. Un- 
 fortunately, however, the artist by his 
 intemperance shortened his days, and died 
 at Venice in 1624. Feti adopted the style 
 of Giulio Romano, without the abject ser- 
 vility of a mere imitator: his colouring is 
 forcible, and the expression of his figures 
 animated. His works, though chiefly of 
 a small size, are very scarce. Among his 
 principal pictures are Christ praying in 
 the Garden ; an Ecce Homo ; the Crown- 
 ing with Thorns ; the Entombing of the 
 Saviour ; and the Miracle of the Loaves 
 and Fishes. The first four are in the 
 Palazzo Corsini at Florence, and the last 
 in the Academy of Painting at Mantua. 
 There is great force in his pictures ; and 
 though he sometimes is too black, yet he 
 expressed the passions in a strong manner, 
 and had a pleasing mellowness in his 
 colouring. 
 
 Fevre (Roland le). This artist was 
 born at Anjou in 1608, and obtained the 
 name of Le Fevre de Venice ; but he was 
 in no great esteem either for his attitudes 
 or likenesses in portrait. He was accounted 
 a better designer than painter, and was 
 most remarkable for his curious method of 
 staining marble. In the reign of Charles 
 II. he came to England, and was patron- 
 ised by Prince Rupert. He died in 1677. 
 
 Fevre (Claude le). He was born at 
 
 Fontainebleau in 1633, and had for his in- 
 structors, Eustache le Sueur and Charles 
 le Brun. By the advice of the latter he 
 followed portrait painting, and became one 
 of the most eminent among his country- 
 men. He also painted flowers extremely 
 well, and sometimes historical subjects, 
 but his greatest merit was in portrait, 
 which profession he followed in London 
 with good success some years, and died in 
 that city in 1675. 
 
 FiALETTi (Odoardo). He was born at 
 Bologna in 1573, and after studying there 
 under Giovanni Battista Cremonini, he 
 went to Venice, and became the scholar 
 of Tintoretto. He painted a number of 
 pictures for the churches, particularly the 
 Crucifixion, in that of Santa Croce. He 
 also etched several plates from his own 
 designs, in an admirable style. He died 
 at Venice in 1638. 
 
 FiAMMiNGO (Arrigo). He was a Flem- 
 ing, and obtained the name of Fiammingo, 
 in Italy, on that account. He lived at 
 Rome in the pontificate of Gregory XIII., 
 by whom he was employed in the Vatican. 
 He painted also a picture of the Resurrec- 
 tion in the Sistine Chapel ; and in the 
 Church Delia Madonna degli Angeli, 
 another of our Saviour and Mary Mag- 
 dalen at the house of Simon the Pharisee. 
 In the same church is a noble piece by 
 him, of St. Michael defeating Lucifer. 
 He died, at the age of 78, about the year 
 1601. 
 
 Fiammingo (Enrico). This artist was 
 also, as his name imports, a native of 
 Flanders. He studied first under Ribera, 
 and afterwards had Guido Reni for an 
 instructor. Some of his works in the 
 churches at Bologna are much in the style 
 of Guido, but much more dark in the 
 shadows. 
 
 Fiasella (Domenico), called also Sar- 
 zana. He was born near Genoa in 1589, 
 and was called Sarzana from the place of 
 his nativity. At first he was a disciple of 
 Aurelio Lomi, and afterwards of Battista 
 Pagi ; but he went to Rome for improve- 
 ment, and there studied after the best 
 masters and the remains of antiquity. By 
 this method he obtained an excellent taste 
 of design, which enabled him to paint in 
 conjunction with Passignano and Arpino. 
 His greatest excellence, however, lay in 
 painting portraits, which he executed with 
 remarkable justness of character and force 
 of resemblance. In colouring he is supe- 
 rior to most of the Genoese School ; his 
 design has great elevation, and his com- 
 
FIL 
 
 188 
 
 FIN 
 
 ] 
 
 position is correct and judicious. In the 
 Church of St. Vincenzio at Piacenza, he 
 painted a noble picture of St. Bernard; 
 in the dome of the church of Sarzana, the 
 Murder of the Innocents; and at St. 
 Agostino, in Genoa, a picture of St. 
 Thomas. He died in 1669. 
 
 FiCHKBELLi (Felice). This painter, 
 who obtained the name of Felice Riposo, 
 was born at Florence in 1605, and had 
 Jacopo Empoli for his instructor. The 
 name of Iliposo was given to him on 
 account of his habitual reserve and in- 
 dolence ; yet he was an excellent painter, 
 as his works evince. The principal are 
 Adam and Eve driven from Paradise, and 
 a picture of St. Antonio. He copied 
 Andrea del Sarto very closely. He died 
 in 1660. 
 
 FiEsoLE, see Angelico. 
 
 FiGiNO (Ambrogio). This artist was 
 born at Milan, and studied under Gio- 
 vanni Paolo Lomazzo; but though he 
 learned historical composition from him, 
 and was well qualified to shine in that 
 style, he preferred portrait painting, in 
 which he eminently excelled, as well for 
 the resemblance as for the expression and 
 colouring of his pieces. Such was his 
 merit that Marino the poet celebrated his 
 praises, and the greatest potentates wished 
 to have their pictures painted by his hand. 
 His works in history are also good ; the 
 two principal of which are an Assumption 
 in the Church of St. Fidele, and an Im- 
 maculate Conception in that of St. An- 
 tonio at Milan. At Wilton, in the collec- 
 tion of the Earl of Pembroke, there is a 
 Descent from the Cross, painted by this 
 master. He died in 1590. 
 
 FiLicus (John). This painter was 
 born at Bois-le-Duc in Holland, in 1660, 
 and had Peter Van Slingelandt for his 
 master, whose style he adopted very suc- 
 cessfully. His pictures are of conversa- 
 tions, and portraits of a small size, which 
 he executed in a spirited manner. He had 
 a good taste in composition, designed cor- 
 rectly, and was an excellent colourist ; but 
 he did not labour so much in the finishing 
 of his pictures as Slingelandt. He died 
 at Bois-le-Duc in 1719. 
 
 FiLippi (Camielo). He was born at 
 Ferrara, and studied under Dosso Dossi, 
 from whose instructions he learned to paint 
 history in a good style of composition. 
 Two of his best pictures are one of the 
 Annunciation, and another of the Trinity ; 
 both at Ferrara, wliere he died in 1574. 
 
 FiLiPPi (Sebastiaxo). He was the son 
 
 of the above, and was born at Ferrara in 
 1532. After receiving instructions from 
 his father, he went to Rome, and became 
 a pupil of Michel Angelo Buonarroti, 
 whose elevated style he approached much 
 nearer than any artist of his day. There 
 is a proof of this in his picture of the Last 
 Judgment, in the Cathedral of Ferrara, on 
 which great work he was employed three 
 years. By an unfortunate mistake, this 
 sublime production has been materially 
 injured in the cleaning, owing to the 
 blunder of the persons engaged upon it, 
 in not knowing that it was painted in 
 fresco. Still there are performances suflH- 
 cient, and in a perfect state, in the churches 
 of Ferrara, to show that Filippi was a 
 worthy disciple of his great master. He 
 acquired the name of Gratella, from his 
 practice of squaring large works to reduce 
 them to a small size. The great fault of 
 this artist is sameness, and a perpetual 
 copying of himself. Among his principal 
 works, besides the one already noticed, 
 are the Martyrdom of St. Catherine ; the 
 Wise Men's Offering; St. Cristofano; a 
 Dead Christ supported by Angels; the 
 Virgin and Child, with St. John ; and a 
 Circumcision. He died at Ferrara in 1602. 
 
 FiEippi (Cesare). This artist was the 
 younger brother of Sebastiano, by whom 
 he was instructed. His talent lay in 
 painting grotesques; but he occasionally 
 attempted historical subjects. The best 
 of these is the Crucifixion in the Church 
 Delia Monte at Rome. 
 
 FiLOCAMo (Antonio and Paolo). Two 
 brothers, who wet-e natives of Messina, 
 and pupils of Carlo Maratti. On finishing 
 their studies at Rome, they formed an 
 academy in their native city, and painted 
 a number of works for the churches. They 
 died of the plague in 1748. 
 
 Finney (Samuel). He was born at 
 Fulshaw in Cheshire, and obtained some 
 celebrity in his day as a miniature painter, 
 both in enamel and water colours. lie 
 was appointed enamel painter to the late 
 Queen Charlotte, and in 1765 exhibited 
 two pictures, one of which was a portrait 
 of her majesty. He died about 1807, 
 having long before given up painting as 
 a profession. 
 
 FiNOGLiA (Paolo Domenico). He was 
 anativeof Orta, in the kingdom of Naples, 
 and had Massimo Stanzione for his pre- 
 ceptor, under whom he acquired a correct 
 taste of design and power of execution. 
 His invention was uncommonly fertile, 
 and his manner had considerable force. 
 
FLA 
 
 189 
 
 FLA 
 
 The principal of his worlcs are in the 
 churches and convents of Naples, where 
 he died in I606. 
 
 FioKAvANTi ( ). The subjects paint- 
 ed by this Italian artist were carpets, vases, 
 musical instruments, and objects of still 
 life ; and he imitated them with such great 
 truth, resemblance of nature, exactness of 
 colour, and such roundness and relief, 
 that he was esteemed one of the best in 
 his profession in that style of painting. 
 When he died is unknown. 
 
 FiORE (Cola Antomo da). He was 
 born at Naples in 1352, and received his 
 instructions in painting from Francesco 
 Simone. He executed several altar-pieces 
 in the churches of his native city, one of 
 which bears the date of 1375. This pic- 
 ture represents the Enthronization of the 
 Virgin; and on the laterals are the Ascen- 
 sion, and the Descent of the Holy Ghost. 
 But the best work of Fiore is St. Jerome 
 extracting a Thorn from the Foot of a 
 Lion, painted when the artist was near 
 eighty. He died in 1444. 
 
 FioRi (Cesar), a native of Milan, was 
 born in 1636, and died in 1702. He paint- 
 ed portrait and architectural subjects. 
 
 Fioki (ALvkio di). He was a native of 
 Penna, in the kingdom of Naples, and was 
 born in 1603. Hestudiedunder his uncle 
 Tommazzo Salini, after which he went to 
 Rome, where his works were much es- 
 teemed. He painted flowers with an 
 astonishing resemblance to nature, and in 
 an elegant disposition. He died at Rome 
 in 1673. 
 
 FioRiNi (Giovanni Battista). He 
 was a native of Bologna, and lived about 
 the year 1590. He painted, in conjunc- 
 tion with Cesare Aretusi, several pictures 
 for the churches of Bologna and Brescia; 
 among which was one of the Birth of the 
 Virgin ; and another of the Mass celebrated 
 by Pope Gregory the Great. 
 
 Flameel, or F1.EMAEL (Bertholet). 
 He was born at Liege in 1614, and was 
 placed by his parents under a musician; 
 but, turning his mind to painting, he re- 
 ceived some instruction from an indifferent 
 artist; after which he became the pupil of 
 Gerard Douffleist, who had just returned 
 from Italy. At the age of twenty-four he 
 visited Genoa, Milan, Florence, and several 
 other cities ; but his arrival at Rome amply 
 recompensed him for the labour of his 
 journey. In that city he studied to great 
 advantage, and copied the works of the 
 best masters; by which he acquired a taste 
 so elevated, that it recommended him to 
 
 the court of Florence, where the grand 
 duke employed him in several great works, 
 which procured him general applause. 
 After remaining some years in the service 
 of his illustrious patron, he went to Paris, 
 where he was employed in ornamenting 
 some of the apartments of Versailles. He 
 also painted the cupola of the Church of 
 the Carmelites in that city, where he re- 
 presented the Assumption of Elijah ; and 
 in the sacristy of the Augustines, the Wise 
 Men's Offering. In 1647, after an absence 
 of nine years, he returned to Liege, where 
 he soon after painted a grand picture of 
 the Crucifixion, for the collegiate Church 
 of St. John. In 1670 he went again upon 
 invitation to Paris, and painted the ceiling 
 of the royal chamber of audience, choosing 
 for his subject an emblematical represen- 
 tation of Religion. While there he be- 
 came a member, and afterwards a professor, 
 of the Royal Academy. He also embraced 
 the clerical profession, and though he did 
 not understand Latin, was made a canon 
 of St. Paul by papal dispensation. But 
 notwithstanding these favours, and the 
 wealth he acquired, a deep melanclicly 
 seized him, and continued till his death, 
 which happened at Liege in 1675. He is 
 said to have been one of the victims of the 
 Marchioness of Brinvilliers, who destroyed 
 several persons by poison. Flameel had 
 an excellent genius, a lively imagination, 
 and a noble taste for historical composi- 
 tions. He was skilled in antiquities, and 
 in all his designs strictly attended to cos- 
 tume. His pictures are usually enriched 
 with porticoes and colonnades, for he was 
 an accomplished architect. His choice of 
 nature was elegant, his expression lively, 
 and his pencil delicate. His colouring 
 was good, and his taste of design was en- 
 tirely of the Roman School. At Liege 
 are several grand altar-pieces, among 
 which, one in St. Paul's Church describes 
 the Conversion of that Saint; in the cathe- 
 dral is the Resurrection of Lazarus; and 
 in other places, the Elevation of the Cross ; 
 the Assumption of the Virgin; and the 
 Crucifixion ; which last has a vast number 
 of figures. 
 
 FeAiMen (Albert). This artist was a 
 native of Flanders, and lived about the 
 year 1665. He excelled in painting land- 
 scapes, fish, birds, and insects ; of which 
 also he engraved several plates in an ad- 
 mirable style. 
 
 Featman (Thomas). This poet and 
 artist was born in London about 1633, 
 and had his education in Winchester 
 
FLI 
 
 190 
 
 FLO 
 
 school, after which he went to New Col- 
 lege, Oxford, but left the university with- 
 out a degree, to study the law in the Temple, 
 where he was called to the bar. It does 
 not appear, however, that he made any 
 figure in that profession; but having a turn 
 for the arts, he indulged his inclination, 
 and in one of his poems speaks of himself 
 as a painter. He drew portraits in 
 miniature, and, according to Granger, one 
 of his heads is worth a ream of his Pin- 
 darics. He died in London in 1688. 
 
 F1.1NK (Go vert). He was born at 
 Cleves in 1614, and was intended by his 
 father for the mercantile profession ; but, 
 after serving some time in a counting- 
 house at Amsterdam, he relinquished com- 
 mercial pursuits to follow his inclination 
 for painting. His first master was Lam- 
 bert Jacobs, under whom he made an ex- 
 traordinary proficiency, by studious dili- 
 gence, by a strong natural genius, and 
 also by his emulation to excel Backer, who I 
 happened to be the disciple of Jacobs at | 
 the same time. On quitting his master, 
 he entered the school of Rembrandt; where 
 he became so captivated with the excel- 
 lences of that great artist, that he incessant- 
 ly studied his style of composition, manner 
 of colouring, and pencilling; and at last 
 showed himself not only a good imitator 
 of him, but in some respects his equal, and 
 in freedom of hand rather his superior. 
 Many of his pictures have indeed been 
 sold for those of Rembrandt. His reputa- 
 tion soon procured him continual employ- 
 ment, in painting the portraits of princes 
 and illustrious personages, though his 
 genius was more inclined to historical 
 subjects, and several of his performances 
 in that style were admired for the goodness 
 of the design, and the beauty of the colour- 
 ing. But as the Italian taste began to be 
 more esteemed after the death of Rem- 
 brandt, Flink took great pains to alter his 
 first manner; for which purpose he made 
 a large collection of the finest casts that 
 could be procured from Rome, of the best 
 drawings and designs of the artists of Italy, 
 as also of several of their paintings; which 
 he made his principal studies. When he 
 imagined himself to be competently im- 
 proved, he finished a noble design for the 
 great hall of the senate-house at Amster- 
 dam, representing Solomon praying for 
 Wisdom; in which his disposition and man- 
 ner of grouping figures appear excellent, 
 and the tone of the colouring is strong and 
 lively. He likewise painted a grand his- 
 torical composition for the artillery com- 
 
 pany at Amsterdam, consisting of portraits 
 of the most distinguished persons of that 
 body. The figures were well disposed, 
 and every j)art of the picture was painted 
 by Flink, except the faces, which were by 
 Vander Heist. He died in 1660, much 
 regretted; and his collection of prints and 
 drawings were sold for twelve thousand 
 florins. It is observed that in the paint- 
 ing-room of this master the light was 
 admitted from above, through a kind of 
 dome. 
 
 Floriano (Flaminio). This artist was 
 a native of Venice, and a successful imi- 
 tator of Tintoretto. Among his principal 
 performances, the best is a painting of St. 
 Lorenzo, in the church dedicated to that 
 saint ; but of the personal history of the 
 artist, or the date of his birth and death, 
 we are not informed. 
 
 Florigorio (Bastiano). He was bom 
 at Udina, and lived about the year 1540. 
 He studied under Pelegrino da S, Daniello, 
 and became a respectable painter of his- 
 tory, chiefly in fresco; but his works of 
 that kind have perished. Ofhis oil pic- 
 tures there exist one of St. George and the 
 Dragon, and a Last Supper, both at Udma. 
 
 F1.0RIS (Francis). He was bom at 
 Antwerp in 1520, and practised as a 
 sculptor till he was twenty, when he 
 changed his profession, and studied paint- 
 ing under Lambert Lombard, whose 
 manner he always followed, and imitated 
 him so well, that it is no easy matter to 
 distinguish the work of the one artist 
 from that of the other. He afterwards 
 travelled to Rome, and there designed 
 after the antiques; but principally applied 
 to the works of Buonarroti, whose Last 
 Judgment he copied in a free and bold 
 manner. His contours were finely marked; 
 and those designs which he made at Rome, 
 though sometimes too sharp, and divided 
 into too many minute parts, were often 
 very delicate. At his return to Antwerp, 
 his manner of composition, so different 
 from that of his countrymen, gained him 
 the honourable distinction of the " Raf- 
 faelle of Flanders," though not very ap- 
 propriately, as his style more resembled 
 that of Buonarroti. His works were in 
 great esteem; he grew rich, and might 
 have been employed by most of the princes 
 of Europe, if his love of drinking had not 
 sunk him into contempt. He generally 
 gave great roundness to his figures ; and 
 though they were so well handled as to 
 bear a near inspection, yet, at a distance, 
 new beauties are frequently discoverable. 
 
Ks readinei 
 Piis pencil s( 
 
 FOL 
 
 s readiness of hand was remarkable, and 
 Sis pencil seemed as quick as his inven- 
 tion, of which he gave a proof at the entry 
 of Charles V. into Antwerp, when he was 
 engaged to paint the triumphal arches for 
 that grand ceremony, and having seven 
 figures as large as life to finish, he exe- 
 cuted them in as many hours. He paint- 
 ed for the confraternity-hall of St. 
 Michael at Antwerp, a noble design, the 
 subject of which is the Fall of Lucifer; 
 and it is highly celebrated for the good- 
 ness of the composition and handling, for 
 the variety of attitudes in the apostate 
 angels, and for the strong expression of 
 the muscles in the naked figures. This 
 picture was latterly in the Louvre, at 
 Paris. At Antwerp is preserved an As- 
 sumption of the Virgin, equally excellent 
 in design, colouring, and the draperies. 
 He had a bold and strong manner; but, 
 like Buonarroti, he was apt to make the 
 muscular parts too full; yet his tone of 
 colouring was very pleasing. He invented 
 and composed with ease; but he had 
 something dry in his manner, and his 
 figures have somewhat of stifihess, though 
 they have also an agreeable turn. Floris 
 etched some prints in a slight but spirited 
 manner. He died in 1570. There was 
 another Francis Floris, who was a Vene- 
 tian, and a painter of history. He died 
 in 1416, aged forty-six. There was also 
 another artist, named Cornelius Floris, a 
 native of Antwerp, who was both a sculptor 
 and painter. He died in 1602, at the age 
 of 52. 
 
 FoLDSONB (John). This artist painted 
 small portraits in oil, of no great merit, 
 but with sufficient likeness to procure him 
 much employment at a small price. His 
 practice was to attend sitters at their own 
 houses. He commonly began in the 
 morning, generally dined with them, and 
 finished his work before night. He died 
 young, about 1784. His eldest daugliter 
 practised miniature painting, but was un- 
 fortunate in her marriage. 
 
 FoLER (Antonio). He was born at 
 Venice in 1526, and lived in great friend- 
 ship with Paolo Veronese ; whose style he 
 imitated very happily in his colouring, 
 though he was somewhat defective in de- 
 signing. His easel pictures are by far 
 the best of his productions, and come 
 nearest to the manner of Veronese. In 
 the abbey of St. Gregorio, at Venice, are 
 three pictures by him, the subjects of 
 which are, the Assumption of the Virgin; 
 the Scourging of Christ; and the Cruci- 
 
 11 FON 
 
 flxion. In the Church of St. Barnabas is 
 the Birth of the Virgin ; and in that of St. 
 Catherine, Christ praying in the Garden; 
 and the Resurrection. He died in 1616. 
 
 FoLLi (Skbastiano). This artist was 
 born at Sienna, and lived about the year 
 1610. He studied under Alessandro Ca- 
 solani, and obtained considerable credit 
 by his frescoes in the churches of his 
 native city, especially in the cupola of St. 
 Martha ; and the History of Sebastiano, 
 in the church dedicated to that saint. He 
 was much employed at Rome, by Cardinal 
 de Medici, afterwards Pope Leo XL 
 
 FoNTANA (Prospeko). He was born 
 at Bologna in 1512, and was instructed 
 bylnnocenzio Francucci, called da Imola; 
 but afterwards he studied the manner of 
 Giorgio Vasari, though he was more in- 
 correct and negligent than that master. 
 Fontana had an inventive genius, and a 
 design that was extremely bold ; but being 
 of an extravagant disposition, he was 
 obliged to paint in a hurry, to raise 
 money for the gratification of his passions. 
 At Citta di Castello he painted, in a few 
 weeks, a saloon representing the principal 
 events in the history of the Vitelli family. 
 Other productions were despatched by 
 him in a similar manneV at Rome, in the 
 villa Giulia, and the Palazzo Toscano. 
 His best performances are the Wise Men's 
 Oflering; and the Annunciation, in the 
 Church of St. Maria della Grazie, at Bo- 
 logna; in that of La Morte, a Descent 
 from the Cross ; and in that of St. Gio- 
 vanni Battista, a Madonna and Child, 
 with attending Saints. Fontana was also 
 eminent in portrait. lie was the master 
 of Lodovico and Annibale Caracci. This 
 artist died at Bologna in 1597. There 
 was also an artist of the name of Domenico 
 Maria Fontana, who was the contem- 
 porary of Prospero, and lived at Bologna, 
 where he practised as an engraver. He 
 had a daughter who engraved wood-cuts 
 in a neat style; besides these, we have an 
 account of Giovanni Battista Fontana, 
 who was a designer and engraver at Ve- 
 rona. He lived about the year 1580. 
 
 Fontana (Lavinia). This lady was 
 the daughter of Prospero Fontana, and 
 was born at Bologna in 1552. She learned 
 the art of painting from her father; but 
 her inclination led her principally to por- 
 trait ; and, having had the honour of paint- 
 ing that of Pope Gregory XIII., she suc- 
 ceeded so well as to obtain the patronage 
 of his holiness, which of course procured 
 her an abundance of emplovment from 
 
the nobility at Rome. She also painted colouring as for his exquisite touch and 
 historical subjects admirably ; and in the freedom of hand. He had great power in 
 
 churches at Bologna are some of her pic- 
 tures, executed in the style of her father. 
 The principal of these are the Crucifixion; 
 the Miracle of the Loaves and Fishes; 
 St. Francis raising a Dead Man ; and the 
 Annunciation. She died at Rome in 1614. 
 FoxTANA (Alberto), He was a native 
 of Modena, and studied under Antonio 
 Begarelli, having for his fellow pupil 
 Nicolo del Abate, in conjunction with 
 whom he painted the interior of the 
 butchers' hall at Modena. He died in 
 1558. 
 
 FoNTEBAsso (Francesco). This artist 
 was born at Venice in 1709. He studied 
 under Sebastiano Ricci ; but his works as 
 a painter are less known than his engrav- 
 ings, some of which are from the designs 
 of his master, and others from his own. 
 
 FoNTEnuo:Ni (Anastasio). He was 
 born at Florence, and had Domenico 
 Fassignano for his instructor, but im- 
 proved himself materially at Rome, where 
 he painted some pictures for the churches. 
 In that of St. Giovanni at Florence, are 
 two of his best performances, representing 
 the Birth and Death of the Virgin, He 
 died in the prime*of life. 
 
 FoNTENAY (Jean Baptist Blain de) 
 He was born at Caen in Normandy, ir 
 1654, and was instructed by John Baptist 
 Monnoyer, whose style he followed 
 painting fruit, flowers, and insects, 
 which he added vases ornamented with 
 figures in bas-relief. These vases he like- 
 wise decorated with festoons of flowers, 
 in an elegant taste, and grouped with 
 great judgment. He was employed by 
 Louis XIV. at the Gobelins, and died in 
 the service of that monarch in 1715. 
 
 Foppa (ViNCENzio). This ancient 
 painter was born at Brescia, and is con- 
 sidered as the father of the Milanese 
 School. He painted a picture of the Cru- 
 cifixion in 1455 ; but his best works were 
 a representation of the Trinity, and St. 
 Ursula, at Brescia ; and the Death of St. 
 Sebastian, at Milan. He was also a writer 
 on the theory and practice of his art. He 
 died in 1492. As a painter he is praised 
 for the expression in his heads, the cor- 
 rectness of his outline, and the harmony 
 of his colouring. 
 
 Forabosco, or Ferabosco (Girolamo). 
 He was born at Venice, though others 
 say at Padua, about the year 1600, and 
 was esteemed an admirable artist, as well 
 for the lively and natural tint of his 
 
 portrait painting, and his pictures were 
 so surprisingly coloured and finished that 
 they were said to be worked by magic. 
 Several historical comjjositions, and some 
 of his portraits, are preserved in Venice 
 as curiosities. The best of his perform- 
 ances were, a portrait of the Doge Con- 
 tarini, painted in 1655 ; and another of 
 the Doge Pesaro, in 1659. In the Pa- 
 lazzo Sagredo at Venice, among a number 
 of capital paintings by the best masters, 
 is an Old Man's Head, which seems to 
 be a portrait of some person of eminence, 
 painted by Forabosco; and it is in every 
 respect admirable as to colouring, finish- 
 ing, and character, full of nature, truth, 
 and expression. He died about 1660. 
 
 FoRBiciNi (Heliodoho). He was born 
 at Verona in 1686, and practised at Venice, 
 where he died in 1739. He excelled in 
 painting grotesques, which he executed 
 with great spirit. 
 
 FoRLST (Jean Baptiste). He was 
 born at Paris in 1636, and received his 
 first instructions from his father, who was 
 an ordinary artist. After this he went to 
 Rome, and placed himself as a disciple 
 with Pietro Francesco Mola; afterwards 
 he imitated the works of Titian and 
 Giorgione. On his return to France he 
 obtained the reputation of being one of 
 the best landscape painters of his day, and 
 in 1674 was elected a member ot the 
 Academy of Paris. He studied diligently, 
 and formed his taste of landscape originally 
 on the manner of Mola; but his trees were 
 designed and touched in a masterly style, 
 and most of his situations and scenes were 
 taken from nature; his colouring was by 
 no means agreeable, being often too black, 
 though his pencilling was free and bold. 
 He died at Paris in 1712. 
 
 FoRMELLo (DoNATO da). This artist 
 was a native of Formello, in the duchy of 
 Bracciato. He studied under Vasari, and 
 became one of the painters employed by 
 the pope in decorating the Vatican, where 
 he rose far above his master. The sub- 
 jects which he there executed in fresco 
 were from the life of St. Peter. He died 
 in the ))rime of life. 
 
 FossATO (David Antonio), This ar- 
 tist was a native of Venice, and lived about 
 the year 1620. He is not much known 
 by liis paintings, but he etched a number 
 of plates after various masters, in a good 
 style. 
 
 Fosse (Charles DE la). This painter 
 
FOU 
 
 was the son of a goldsmith, and born at 
 Paris in 1640, He became the scholar of 
 Le Brun, who allowed him to paint occa- 
 sionally for him in some of his most capital 
 works. After remaining with Le Brmi 
 some years, he went on a royal pension 
 to Italy, and on his return was employed 
 to paint the dome of the Hotel des Inva- 
 lides. In this work he gave such satisfac- 
 tion that his pension was enlarged, and 
 he was admitted into the academy, of 
 which he became a professor, and after- 
 wards rector. His fame was so extended, 
 that the Earl of Montague invited him to 
 London, where he was employed in paint- 
 ing his magnificent house, which is now 
 the British Museum. King William, on 
 seeing the pictures which he painted there, 
 offered him a handsome establishment in 
 this country ; but La Fosse chose rather 
 to return to France, where he died in 1716. 
 La Fosse was most admired in his day as 
 a colourist, and was deemed excellent both 
 in landscape and history. He was always 
 fond of grand compositions, and his abili- 
 ties in that way procured him consider- 
 able employment in the royal palaces, as 
 w^ell as in the seats of the nobility. He 
 wanted, however, grandeur in his taste, 
 and correctness in his design ; his style of 
 composition is rather heavy and loaded ; 
 his figures usually are too short, and his 
 draperies^indifferently cast. The principal 
 merit of La Fosse consists in his colour- 
 ing, as in that particular part he aimed 
 at an imitation of Veronese and Rubens ; 
 yet even in this he had but a very remote 
 resemblance to that look of nature which 
 is always observable in the works of those 
 great artists. 
 
 FoucHiER (Bertram de). He was 
 born at Bcrgen-op-Zoom in 1609, and 
 studied at first under Anthony Vandyck, 
 at Antwerp ; but that master not having 
 sufficient leisure to attend to the careful 
 instruction of his pupils, by his incessant 
 employment, Fouchier went to Utrecht, 
 and became the scholar of John Bylart, 
 with whom he continued two years. He 
 next travelled to Rome, where he examin- 
 ed the productions of ancient and modern 
 art, and attached himself to the taste of 
 Tintoretto. He would probably have 
 reaped more advantage by his studies at 
 Rome, if he and another Dutchman had 
 not been compelled, by the dread of the 
 Inquisition, to fly from that city and retire 
 to Florence. When he returned to his 
 own country, and followed his profession, 
 he soon perceived that the manner of Tin- 
 
 toretto, in which he painted, was not so 
 acceptable to his countrymen as it was in 
 Italy, and therefore he changed it entirely, 
 and assumed the style and manner of Os- 
 tade and Brouwer, in which he had extra- 
 ordinary success ; and his pictures of rus- 
 tic festivals, drunken peasants, and assem- 
 blies,were much esteemed. He died in 1674. 
 
 FouQuiERES (Jacques, Chevalier). 
 lie was born at Antwerp in 1580, and 
 became successively the disciple of Jodo- 
 cus Mompert and John Brueghel ; but he 
 formed a manner more true than that of 
 either of his masters, and more like nature, 
 lie became an incomparable painter of 
 landscape, and his pictures are by some 
 considered as worthy of standing in com- 
 petition with those of Titian; the principal 
 difterence consisting in the difference of 
 the scenery, rather than in any disparity 
 of colouring or handling. The genius of 
 Fouquieres was excellent ; his figures were 
 correctly designed, and in an elegant taste; 
 and he introduced them in his landscapes 
 with grace and truth. He painted equally 
 well in a large and a small size ; he studied 
 and imitated nature happily; and his 
 paintings show a fine effect, great force, 
 and considerable judgment; though at 
 times he was a little too green in his land- 
 scapes. Rubens employed him occa- 
 sionally in painting the backgrounds of 
 his pictures. He was also much engaged 
 at the court of the Elector Palatine, and in 
 1621 he went to Paris, where he painted 
 several pictures in the gallery of the 
 Louvre, for which Louis XIII. conferred 
 on him the honour of knighthood. This 
 mark of distinction made him insolent, 
 and his conduct was so bad to Nicolo 
 Poussin, as to compel that incomparable 
 artist to leave France. Fouquieres him- 
 self fell afterwards into disgrace, and died 
 in poverty at Paris, in 1659. He had re- 
 sided for several years at Rome and Ve- 
 nice, where he acquired that excellent 
 style of colouring and design for Mhich 
 he became so deservedly distinguished. 
 
 Fox (Charles), an English portrait 
 and landscape painter, was born at Fal- 
 mouth in 1749. His productions are not 
 much known. In 1797 he published a 
 volume of poems, entitled "The Plaints, 
 Consolations, and Pleasures of Achmet 
 Ardbeli, a Persian Exile." These pieces 
 are original, though professing to be trans- 
 lations. He died at Bath in 1809. 
 
 Fragonark (IIonore). This modern 
 artist was born at Grasse in Provence, 
 in 1732, and died at Paris in 1807. He 
 
FRA 
 
 194 
 
 FRA 
 
 studied originally at the French academy 
 in Rome, on a pension from the king, and 
 became distinguished by the gaiety of 
 his subjects, particularly bacchanals and 
 nymphs. One of his pictures, the subject 
 of which was Callirhoe, gained his elec- 
 tion into the Academy of Paris in 1765. 
 He excelled, however, chiefly in landscape, 
 in which he imitated Ruysdael. His trees 
 are touched with taste, and he represented 
 the different seasons in his pictures with 
 accuracy. The figures which he intro- 
 duced are delicate, especially the females, 
 and all the accessories are delineated with 
 judgment and spirit. He left a son, who 
 is also a good painter in the style of his 
 father. Fragonard engraved some plates 
 from his own designs. 
 
 Fbancesca (Pietro BELLA). This 
 painter, who, from the place of his nativity, 
 is called Pietro Borgfiese, was born at i 
 Borgo San Sepolcro, in the province of' 
 Umbria, in 1398, His first study was the , 
 mathematics ; after making a considerable ! 
 progress in which he applied to painting, | 
 under an unknown artist ; but by the force of i 
 native genius, he rose to such a distinction j 
 in the art as to be employed by the Duke 
 of Urbino. Afterwards he went to Rome, 
 where he painted a large picture of Pope 
 Nicholas V., and several of the cardinals 
 and bishops. At his native place is a 
 picture of St. Louis by him, in the public 
 palace; and in the Church of St. Chiara, 
 an Assumption of the Virgin. This last 
 is a fine composition, and much in the 
 style tliat Raffaelle subsequently carried 
 to perfection. The battles of this ancient 
 master have uncommon spirit in the atti- 
 tudes of his horses, as well as his figures, 
 each of them having g-ood action, good 
 expression, and a very judicious disposi- 
 tion. One of the most celebrated of his 
 paintings is a night-piece, in which he 
 represents the Emperor Constantino as 
 asleep in his pavilion, attended by his 
 chamberlain, and a few of his guards; and 
 an angel appearing to him as in a vision, 
 showing him that sign under which he 
 should fight and conquer. The light is 
 diffused from the angelic glory, and distri- 
 buted with the utmost judgment; so that 
 the whole has a fine effect, and every thing 
 preserves the appearance of truth and na- 
 ture. Francesco was an author as well 
 as an artist, and wrote several treatises on 
 geometry, and other branches of the ma- 
 thematics, which are in the library of the 
 Duke of Urbino. He became blind before 
 his death, which happened in 1484. 
 
 Franckschi (Paolo). This painter 
 was born in Flanders in 1540; whence 
 the Italians gave him the name of Paolo 
 Fiammingo. He studied at Venice under 
 Tintoretto, and fixed his residence in that 
 city, where he painted landscapes as well 
 as historical subjects ; two of his best 
 productions of the latter class are, a De- 
 scent from the Cross; and St. John 
 preaching in the Wilderness. He was 
 much employed by the Emperor Rodol- 
 phus H. He died at Venice in 1596. 
 
 Franc ESCHiNi (Cavalierb Marc An- 
 tonio). He was born at Bologna in 1648, 
 and was a disciple of Giovanni Battista 
 Galli ; after which he studied under Carlo 
 Cignani, who soon discerned the talents 
 of his pupil, and took pains to form him to 
 an elegant taste of composition, correct- 
 ness of design, and goodness of colouring. 
 To confirm his judgment, he set before 
 him several models of human figures, the 
 works of different masters of eminence, 
 that he might habituate his eye to what 
 was truly beautiful and elegant. By this 
 method of instruction, aided by genius 
 and assiduity, Franceschini became an 
 excellent artist in fresco as well as in oil, 
 being equally applauded for his correct 
 design and his admirable colouring, in the 
 manner of Cignani. He was employed in 
 embellishing many churches and convents 
 at Bologna, and in other parts of Italy ; 
 particularly Modena, where he painted the 
 hall of the ducal palace so much to the 
 satisfaction of that prince, that he would 
 have retained him at his court by a large 
 pension, and all the honours due to his 
 merit. But, preferring freedom and in- 
 dependence to the greatest acquisitions, 
 Franceschini declined the offer. At Genoa 
 he painted, in the great council chamber, 
 a design that manifested the fertility of 
 his invention and the grandeur of his 
 ideas ; for most of the memorable actions 
 of the republic were there represented, 
 with a multitude of figures nobly designed, 
 judiciously grouped and disposed, and 
 correctly drawn. In the Palazzo Monti 
 at Bologna is a small gallery painted by 
 him, of which the colouring is exceedingly 
 lovely, though the figures appear to want 
 roundness ; but his design is always cor- 
 rect, and truly excellent. His other works 
 of most note are a fine piece of the An- 
 nunciation ; the Death of St. Joseph ; St. 
 John in the Isle of Patmos ; St. Francis de 
 Sales in the action of prayer ; a St. Tom- 
 maso da Villanuova distributing charity; 
 the Founders of the orders of Servi, in 
 
fSf 
 
 FRA 
 
 195 
 
 FRA 
 
 one grand piece; and a Pieth, at Imola. 
 His figures had as much of nature and 
 truth as possibly could be described ; and 
 in all his works one sees a prevailing 
 elegance, united with a great force of 
 colour and much sweetness. No painter 
 seems to have comprehended the beau- 
 tiful forms of nature better than Frances- 
 chini, nor to have expressed the passions 
 of the soul with more exactness and truth. 
 He preserved the powers of his mind and 
 his pencilunaltered, at a very advanced age; 
 and when he was even seventy-eight years 
 old, he designed and coloured his pictures 
 with all that fire and spirit for which he 
 had been distinguished in his best time. 
 He died in 1729. 
 
 Francesciiini (Giacomo). He was the 
 son and pupil of the pret-eding painter, 
 and was born at Bologna in 1672. His 
 style resembled that of his father; and 
 some good pictures by him are in the 
 churches of his native city. He died in 
 1745. 
 
 Fbanceschini (Baldassare, called 
 Volterrano). He was born at Volterra 
 in 1621, and derived his first knowledge 
 of the art of painting from Matteo So- 
 rella ; but afterwards he became a disciple 
 of Roselli, and successfully imitated the 
 graceful taste of design, as well as the 
 colouring and pencilling, of that master. 
 But having observed somewhat still more 
 engaging in the colouring of Giovanni da 
 San Giovanni, he studied under him for 
 some time, and at last completed his know- 
 ledge, by carefully copying the works of 
 Corregio at Parma, He was employed 
 in a vast number of grand designs for 
 religious houses and chapels ; and was 
 allowed to have a fine invention both for 
 historical and poetical subjects, a sensible 
 and strong expression, and an agreeable 
 manner of colouring, with a thorough 
 knowledge of the chiaro-oscuro and fore- 
 shortening, so that he gave uncommon 
 life and dignity to his compositions. He 
 also painted portraits in a noble style; 
 and his landscapes were universally ad- 
 mired for their delightful situations, and 
 the elegance of the figures, which are 
 introduced with singular judgment and 
 propriety. His easel pictures, though 
 not numerous, are excellent. He died in 
 1689. 
 
 Fbancesciiino, see Francesco Caracci. 
 
 Fra?jceschitto( ). This Spanish 
 
 artist was brought up under Luca Gior- 
 dano, whom he accompanied to Italy, and 
 at Naples he painted a noble altar-piece 
 
 for the Church of St. Maria del Monte, 
 representing St. Paschali surrounded by 
 an assemblage of angels, and beneath is a 
 beautiful landscape. He died very young. 
 
 Francesco (called Franceschieli.o 
 DELLA Mura). He was the disciple of 
 Solimena, and spent several years under 
 his direction ; but he did not acquire many 
 of the excellences of that master. Though 
 his manner of design was correct, and his 
 touch spirited, his colouring was indif- 
 ferent and tasteless. Three paintings by 
 Francesco are in the great Church at Ca- 
 pua, and the most considerable is the al- 
 tar-piece, representing the Annunciation, 
 which has many imperfections, though 
 several parts are worthy of praise. The 
 attitudes and dress of his figures show 
 ingenuity and elegance ; the folds of the 
 draperies are large and full, and the groups 
 are well connected ; yet the colouring is 
 too gaudy, and too much like fan-painting, 
 a common defect in the works of modern 
 Italian artists. 
 
 Franchi (Lorenzo). He was born at 
 Bologna in 1582, and had Camillo Pro- 
 caccini for his instructor; but he left the 
 manner of that master to imitate in small 
 the grand style of the Caracci. He died 
 in 1630. 
 
 Franchi (Antonio). He was born at 
 Lucca in 1634, and was at first a disciple 
 of Pietro Paolini, a painter of that city; 
 but when he had studied for some time 
 under him, he preferred the style of Ro- 
 selli and Pietro da Cortona to that of his 
 master, and made their works the objects 
 of his studious attention ; when, from a 
 desire to improve himself still farther, he 
 went to Florence, to profit by the direction 
 of Baldassare Franceschini. There he 
 acquired a fine taste for design, correct- 
 ness of outline, a lovely and natural tint 
 of colouring, and rendered himself a dis- 
 tinguished painter both of portrait and 
 history. At Florence he was employed 
 to paint the pictures of the grand duke 
 and duchess, the latter of whom honoured 
 him with the title of her principal painter. 
 He also painted several altar-pieces for 
 the churches of that city, particularly one 
 of St. Josepli ; and Christ giving the Keys 
 to Peter. This artist had a literary turn, 
 and wrote a work on the theory of paint- 
 ing. He died in 1709. 
 
 Francia (Francesco). The real name 
 of this ancient master was Francesco Rai- 
 bolini, though he was generally called 
 Francia. He was born at Bologna in 
 1450, and was originally bred a goldsmith ; 
 
but his genius directed him to painting, 
 and by constant application he arrived at 
 a great degree of perfection in the art, 
 so as to be esteemed one of the best artists 
 of his time. Being a contemporary of 
 llaffaelle, he impatiently desired to see the 
 works of that sublime genius ; but his age 
 and infirmities prevented hira from taking 
 a journey to Rome. At last he had an 
 opportunity of gratifying his curiosity ; 
 for Ratfuelle, having painted a St. Cecilia 
 for the Church of St. Giovanni del Monte 
 at Bologna, wrote a letter to Francia, re- 
 questing him to see it properly fixed. Th< 
 letter was received with rapture, and the 
 picture, with all possible expedition, was 
 taken out of its case ; but the sight of 
 much perfection in design, grace, expres- 
 sion, and exquisite finishing, struck Fr 
 cia with astonisliment, and threw him into 
 a state of melancholy, on finding how 
 much Raffaelle, was superior not only to 
 himself but to all others. This stroke, it 
 is said, occasioned his death in 1518. The 
 reputation of this master was established 
 by a picture of St. Sebastian ; in which 
 the true and elegant proportion of the 
 limbs, the gracefulness of the attitude, 
 and the delicacy of the colouring, were 
 equally admired ; and it was highly com- 
 mended by Annibale Caracci. 
 
 Feancia (Louis) a painter of great skill 
 and spirit in water-colours. He was of 
 a French fanaly, but the time of his birth 
 and death is not exactly known; though 
 both must have taken place within this 
 century. He was a pupil of Girtin ; but 
 his morals were inferior to his skill, as he 
 deserted his wife and child. 
 
 Fbancisquk, see Mir.E. 
 
 Fbanck, or Franckdn (Jerome). He 
 was born at Herenthals, near Antwerp, in 
 1540, and became a scholar of Francis 
 Floris, after which he went to Paris where 
 he was employed by Henry HI., whose 
 portrait he painted. After this he pur- 
 sued his journey to Rome, and, on his 
 return to Antwerp, opened an academy 
 with considerable success. In the Cathe- 
 dral of that city is a picture painted by 
 hira, representing one of the miracles of St. 
 Goambald. to which the date of 1607 is 
 affixed. The grand altar-piece of the 
 Church of the Cordeliers at Paris, repre- 
 senting the Nativity, is the production of 
 this artist; but this was painted in 1585. 
 He died at Antwerp in 1611. 
 
 Fbanck or Fbancken (Francis), called 
 the Old. This painter was the brother 
 of Jerome, and is supposed to have been 
 
 born at Antwerp in 1544 or 1546. He 
 also studied under Francis Floris, and in 
 1581 obtained a place in the academy of 
 his native city, where he acquired distinc- 
 tion by his pictures, the subjects of which 
 were mostly taken from the Old or New 
 Testament. He was remarkable for intro- 
 ducing a great number of figures into his 
 compositions, which he had the skill to 
 express very distinctly. He had a fruitful 
 invention, and composed readily ; but he 
 wanted grace and elegance in his figures, 
 and was apt to crowd too many histories 
 into one scene. His touch was free, and 
 the colouring of his pictures generally 
 transparent; yet a predominant brown or 
 yellowish tinge appeared over them, which 
 had neither a natural look, nor was agree- 
 able. But in his best performances the 
 colouring is clear and lively, the design 
 good, the figures tolerably correct, and 
 the whole together very pleasing. Van- 
 dyck often commended the works of this 
 master, and many of them are frequently 
 seen at public sales, which render his 
 name familiar, though some are occasion- 
 ally met with which are unjustly ascribed 
 to Franck. Among his best performances 
 are Christ disputing with the Doctors; 
 and the Baptism of St. Augustine; with 
 the Miracle of the M'idow of Sarepta. 
 These are in the Cathedral of Antwerp. 
 His easel pictures, however, are deemed 
 most valuable. He died in 1616. 
 
 Franck or Fbancken (Francis), called 
 the YoiiTig. He was the son of the pre- 
 ceding, and was born at Antwerp in 1580. 
 He learned the art of painting from his 
 father, whose style and manner he imitated 
 in a large and small size; but, being 
 desirous ofimprovement, he wentto Venice, 
 and there perfected his knowledge of co- 
 louring by studying and copying the works 
 of the most eminent artists. While in 
 that country he took a pleasure in repre- 
 senting the humours of the carnival, and 
 other scenes of a like description. But at 
 his return to Antwerp, his works were 
 greatly admired, as being superior to those 
 of his father, in colouring, design, ex- 
 pression, and finishing. The taste of 
 composition was the same in both, and 
 they appeared to have similar ideas and 
 defects, multiplying too many historical 
 incidents in one subject, and representing 
 a series of actions rather than one principal 
 event. The subjects of both were usually 
 taken from the Old and New Testament, 
 or the Roman History, and it might have 
 been wished that each had observed more 
 
FRA 
 
 197 
 
 FRA 
 
 order and propriety in the disposition of 
 them. Young Franck had the peculiarity 
 of touching the white in the eyes, so as 
 to give the appearance of a small lump of 
 unbroken white, put on with the point of 
 a fine pencil, which circumstance, well 
 attended to, may be a means of determin- 
 ing the hand of this master. It ought to 
 be observed, that from the similarity of 
 taste, style, and colouring of the father 
 and son, their works are often confounded, 
 the one for the other. The most capital 
 performances of this painter are a 
 scriptural subject in the Church of Notre 
 Dame, at Antwerp, representing Christ's 
 Dispute with the Pharisees; and an excel- 
 lent pict; ire, in the small size, of Solomon's 
 idolatry, in which that king is represented 
 as kneeling before an altar on which is 
 placed the statue of Jupiter. There is a 
 noble expression in the figure of Solomon, 
 and the drapery of the figure is broad and 
 flowing; the altar is enriched with a fine 
 bass-relief in the Italian style, and ex- 
 quisitely finished ; the pencilling is neat, 
 the colouring clear and transparent, and 
 the whole picture appears to have been 
 painted on leaf gold. He died in 1642. 
 
 Fhanck, or Fhancken (Sebastian), 
 the elder son of old Francis, was born at 
 Antwerp in 1573. He was a disciple of 
 Adam Van Oort, and generally painted 
 landscapes, in which he inserted figures 
 and cattle. He also frequently painted 
 historical subjects on copper, and the sub- 
 ject of one, which was executed with ex- 
 traordinary neatness, was the Prophet 
 Elisha insulted by the Children: the out- 
 line of the figures in that composition is 
 correct, the attitudes are agreeable, and 
 the draperies loose. He had a peculiar 
 genius to paint battles, and succeeded well 
 in all subjects where horses could be 
 introduced; but his chief merit was seen 
 in his landscapes, as he had a light touch, 
 and an agreeable style of colouring. Two 
 fine pictures of this master's hand are in 
 the cabinet of the Elector Palatine; the 
 one represents the works of Mercy, and 
 the other is a Conversation. 
 
 FiL\^NCK, or Francken (John Baptist). 
 This painter was the son of Sebastian 
 Franck, and was born at Antwerp in 1600, 
 At first he painted in the manner of his 
 father, but having afterwards studied the 
 works of Vandyck and Rubens, he made 
 them his models, and by that means cor- 
 rected his style, and improved his colour- 
 ing. His first subjects were historical, 
 but, after finishing several compositions of 
 
 that kind, he painted easel jjictures, re- 
 presenting the insides of galleries, or grand 
 apartments, furnished with statues, bustos, 
 paintings, and other ornaments, with per- 
 sons in conversation, at play, or engaged 
 in concerts of music. Those subjects he 
 designed extremely well: his colouring 
 was agreeable, and he finished his works 
 with a neat and delicate pencil; but he 
 did not judiciously distribute his light and 
 shadow, so as to afford a pleasing repose 
 to the eye of a spectator; giving the whole 
 too equal a degree of brightness. His 
 best performance is described by Hou- 
 braken as being truly excellent. It 
 represents a grand apartment, or cabinet, 
 decorated with busts, and other ornamental 
 furniture elegantly disposed ; and arranged 
 along the wall are pictures hung up, which 
 are so admirably finished, that the different 
 style of each master, whose works they are 
 supposed to be, may be distinguished by 
 the peculiar design, composition, and co- 
 louring. There are only two figures in 
 that apartment, Vandyck and Rubens, 
 who seem engaged in playing at tables, 
 and the likeness of each is admirable. 
 
 Franck (Maximilian and Gabriel). 
 These two brothers appear to have been 
 related to John Baptist Franck, Avhose 
 style they imitated, though with unequal 
 steps. Gabriel became director of the 
 Academy of Antwerp, where he died in 
 1648, and Maximilian in 1651. 
 
 Franck, or Francken (Ambrosk). He 
 was the brother of Jerome Franck, and 
 was born at Antwerp about 1549. His 
 master was Francis Floris; and in the 
 Cathedral of Antwerp is an altar-piece by 
 him, representing the Death of St. Crispin. 
 There is also in the same church a picture 
 of St. Luke painting a Portrait of the 
 Virgin, by him. 
 
 Franck (Constantinb). He was also 
 a native of Antwerp, and was born about 
 the year 1660. His talent lay in painting 
 battles, sieges, and charges of cavalry, in 
 representing which he possessed great 
 merit. The finest of his performances 
 was a p'cture of the siege of Namur, in 
 which he has introduced William III. and 
 his principal generals, drawn with accu- 
 racy and spirit. 
 
 Franco (Battista). This painter, who 
 is also called 11 Semolei^ was born at Venice 
 in 1498. After learning to draw and 
 design in his native city till he was twenty 
 years old, he went to Rome; where, 
 having examined and considered the works 
 of the principal masters, he devoted him- 
 
FRA 
 
 198 
 
 self entirely to the style of Michel Angelo 
 Buonarroti. He next visited Florence, for 
 the purpose of copying all the productions 
 of that great artist that he could meet with 
 in that city, whether pictures, statues, or 
 drawings. But though his manner of 
 designing was like that of Buonarroti, 
 whom he imitated successfully in correct- 
 ness of outline, and in a strong expression 
 of the muscular parts of the human body, 
 yet in his colouring he was so dry, black, 
 and hard, that his pictures seemed to have 
 no other merit to recommend them than 
 the taste of drawing and composition, 
 which, in particular parts, appeared very 
 masterly. He executed in fresco the choir 
 of the Cathedral at Urbino; and in the 
 same church, a painting in oil of the Vir- 
 gin and Child, attended by St. Peter and 
 St. Paul; and in the Cathedral of Osimo 
 are several small pictures representing the 
 life of Christ. Battista was also an 
 engraver, and his plates are etched in a 
 masterly style. He died in 1561. 
 
 Francois (Lucas), called the Old. He 
 was born at Mechlin in 1574, and for six 
 years was employed by the kings of France 
 and Spain; in which countries many excel- 
 lent paintings of his hand are still pre- 
 served, and well esteemed. He was 
 equally eminent for history and portrait; 
 and by his profession secured affluence, 
 and established his reputation. In the 
 abbey of St. Martin, at Tournay, is a pic- 
 ture by him of St. Placide and St. Maurice; 
 and in the Church of St. Lawrence, at 
 Mechlin, is another, representing the 
 Martyrdom of that Saint. Fran9ois died 
 at his native place in 1643. 
 
 Franqois (Peter). This artist was 
 the son of the preceding, and was born at 
 Mechlin in 1606. He received the first 
 instructions in the art of painting from 
 his father, after which he became the 
 scholar of Gerard Seghers, who was at 
 that time in high reputation. He gener- 
 ally painted in a small size, and finished his 
 works with singular neatness. He also ap- 
 plied him self to portrait with great success, 
 and obtained the patronage of the Archduke 
 Leopold of Austria, who conferred on him 
 many marks of favour. He also visited the 
 court of France, where he spent four years, 
 and was much esteemed for his talents and 
 manners. He had a general knowledge of 
 the polite arts, and was particularly dis- 
 tinguished by his skill in music. As a 
 painter he composed well, his designs were 
 correct, and his tone of colouring was clear- 
 and natural. He died in 1654. 
 
 ! Franqois (Simon). He was born at 
 ; Tours in 1606, and had no instructor ; 
 , but obtained the knowledge of the art of 
 painting by great labour, exerted in copy- 
 ing the works of eminent masters. He 
 j studied for several years in Italy ; and at 
 j Bologna contracted an intimacy with 
 i Guido Reni, v/hose portrait he painted. 
 On his arrival at Paris, he di*ew the por- 
 trait of the young Dauphin, in which be 
 gave so much satisfaction that he flatter- 
 ed himself it would prove the means of 
 establishing his fortune; but being dis- 
 j appointed, he retired from the world, to 
 enjoy a life of privacy and quiet. In this 
 ' state of seclusion he died in 1671. 
 I Frangipane (Nicolo). This painter 
 ; is said by some to have been born at 
 ! Padua, but others make him a native of 
 I Udina. At the former city is a picture 
 i by him of St. Francis ; and at Pesaro is 
 another of St. Stephen ; but his most capi- 
 tal performance is the Assumption of the 
 Virgin, in the Conventual Church at 
 Rimini. He flourished in the year 1588. 
 Franquaekt (Jacques). This artist 
 was born at Brussels in 1596. When 
 young, he went to Italy to acquire the 
 principles and practice of painting and 
 architecture, in which he made a great 
 progress ; and on his return home obtain- 
 ed the patronage of the Archduke Albert, 
 and the Princess Isabella, who employed 
 him in several works of importance. He 
 built the church of the Jesuits at Brus- 
 sels, and furnished it with some pictures 
 of his painting. He died about 1666. 
 
 Frans (Nicholas). He was born at 
 Mechlin in 1539, and became a good his- 
 torical painter. In the collegiate church 
 of Mechlin is a picture by him of the 
 Flight into Egypt ; and at Ilanswyck, 
 near that city, are two more ; one of the 
 Annunciation, and the other a Visitation. 
 He was a correct designer, and a good 
 colourist. 
 
 Frari (il), see BiANCHi. 
 Fratellini (Lorenzo Maria). He 
 was the son of Giovanna Fratellini, and 
 was born at Florence in 1690. He re- 
 ceived his first lessons in drawing from 
 his mother, who next placed him with 
 Domenico Gabbiani, whose admirable 
 method of instruction she had herself 
 sufficiently experienced, when she studied 
 under his direction. He continued with 
 Gabbiani for several years ; and with close 
 application, not only copied the works of 
 the best masters,but like wise designed after 
 the naked in the academy. Having form- 
 
FRE 
 
 199 
 
 FRE 
 
 c(l himself, by the precepts of his master 
 and his own industry, to handle the pencil 
 with ease and freedom, to design correctly, 
 and paint in oil, Giovanna taught him to 
 paint in miniature, and with crayons, and 
 he became eminent in both. His general 
 subjects were portraits, which he finished 
 in a delicate style ; but he also designed 
 historical subjects, in which his figures 
 were well disposed, and had great variety 
 in their actions and attitudes : he like- 
 wise painted animals, flowers, and land- 
 scapes, with equal elegance. By too as- 
 siduous an application, and having a 
 delicate constitution, he fell into a decline, 
 and died in 1729. 
 
 Fkatellini (Giovanna). This cele- 
 brated lady was born in 1666 at Florence, 
 where, when very young, she was taken 
 under the protection of the Archduchess 
 Vittoria, who caused her to be educated 
 at court. Giovanna discovered such readi- 
 ness of apprehension and quickness of 
 parts in learning music and drawing, that 
 the princess engaged Ippolito Galantini, 
 a painter in miniature, to instruct her in 
 that art. Her proficiency being superior 
 to expectation, the princess ordered that 
 she should study design, and the art of 
 painting in oil, under Antonio Domenico 
 Gabbiani ; and crayon painting under 
 Domenico Tempesta. In a short time 
 she acquired such a command of the pen- 
 cil, that she surpassed her instructors, as 
 well in elegance as in beauty of colouring ; 
 and to all her other accomplishments 
 added that of painting delicately in en- 
 amel. Her works rendered her famous, 
 not only in Italy, but in every part of 
 Europe; for she was constantly employ- 
 ed by the Grand Duke Cosmo and his 
 Duchess, in painting the portraits which 
 they transmitted to different courts. At 
 tlie commandof her patrons she also paint- 
 ed several scriptural subjects as,the Bap- 
 tism of Christ; the Last Supper; and the 
 Crucifixion, in water-colours; and in oil, 
 she copied in a large size an Ecce Homo, 
 after a fine painting of Baroccio. She 
 also painted many portraits of the most 
 distinguished persons at the Florentine 
 court ; and of those musicians, or comic 
 performers, who were public favourites. 
 In crayon painting she was equal to Ros- 
 alba: and one of her best works is a picture 
 of herself and son in the ducal gallery of 
 Florence, in which city she died in 1731. 
 
 Freebaik^ (Robekt). An English 
 landscape painter, was born in 1765. He 
 was the youngest and last pupil of the 
 
 ; celebrated Wilson, who died before his 
 I education was completed. Soon after that 
 ' event Mr. Freebairn went to Italy to pursue 
 his studies, and remained there ten years, 
 during which he profited greatly by con- 
 templating the rich scenery of that delight- 
 ful country, as well as by the works of 
 the best masters. There also he formed a 
 style of his own, from which he never 
 willingly deviated. His intention seemed 
 to be to produce beauty, and, when his 
 subjects admitted it, as much grandeur 
 as was consistent with that primary qua- 
 lity. Hence his pictures usually excite 
 pleasing, rather than the stronger, sensa- 
 tions. While abroad, he obtained the 
 patronage of the second Lord Clive, which 
 was continued on his return to England, 
 and strengthened with the additional 
 friendship of the Earl of Suflblk, Mr.Penn 
 of Stoke Park, and other distinguished 
 persons. As his style of painting was 
 finished, his productions were not nume- 
 rous; and he was principally employed in 
 painting pictures for his patrons. This 
 ingenious man died of decline, in the New 
 Road, Mary-le-bone, January 23, 1808, 
 leaving a widow and four children. 
 
 Fkeminet (Le Chevalier Martin). 
 He was born at Paris in 1567, and was 
 instructed by his father, who was but an 
 indifferent artist; notwithstanding which, 
 Martin profited so well by the lessons he 
 received, as to paint a picture of St. Se- 
 bastian for the Church of St. Josse, at 
 Paris. After producing this performance, 
 he went to Rome, where he studied several 
 years, and devoted most of his attention 
 to the works of Michel Angelo Buonarroti. 
 From thence he went to Florence and 
 Parma, in which last city he studied very 
 diligently the paintings of Parmegiano. 
 On his return to France he was appointed 
 painter to Henry IV., who employed him 
 in ornamenting the chapel of Fontaine- 
 bleau. The successor of that great mon- 
 arch, Louis XIII., continued Freminet in 
 his situation, and rewarded him with the 
 order of St. Michael. Freminet had a 
 ready invention, and was bold in his de- 
 signs; but in imitating Buonarroti he be- 
 came extravagant ; and, though he under- 
 stood anatomy and perspective, he gave 
 to his figures unnatural movements and 
 violent actions. The most considerable 
 of his works are representations of Noah 
 and his Family entering the Ark, and the 
 Annunciation, in which he has imitated 
 the style of Parmegiano. He died at 
 Paris in 1619. 
 
FRE 
 
 Fhkbbs (DiKK or Theodore). This 
 artist was born at Enkhuysen in Hol- 
 land, in 1643, and went early to Rome, 
 where he devoted his whole time to study 
 and practice, and acquired an excellent 
 manner of designing the naked figure. 
 After a long stay in Italy, he returned to 
 his native country with a valuable collec- 
 tion of drawings from the antique, and 
 the finest productions of eminent masters. 
 He soon became distinguished by his ta- 
 lents, and was employed in several works, 
 particularly in painting the ceiling of the 
 Stadthouse at Amsterdam, and some of 
 the palaces of the Prince of Orange. Sir 
 Peter Lely encouraged him to visit Lon- 
 don, in the expectation that he would 
 have been employed at Windsor ; but 
 Freres, soon after his arrival, finding the 
 preference given toVerrio, returned again 
 to Holland, where he had just finished 
 painting the townhouse at Enkhuysen, 
 when he died, in 1693. He had a free 
 and fine taste of composition, and an ele- 
 gance of design ; but his colouring was 
 indifferent. 
 
 Fbesnoy (Charles Alphonse du). 
 This celebrated French poet and painter 
 was born at Paris in 1611. His father, 
 who was an apothecary, intended him for 
 his own profession ; but while at college, 
 his inclination for poetry was heightened 
 by the prizes which he gained ; and his 
 earliest performances showed that he was 
 capable of attaining very considerable 
 fame in this pursuit, if his love of paint- 
 ing had not divided his time and atten- 
 tion. At las^t he laid aside all thoughts 
 of the study of physic, and declared for 
 that of painting, notwithstanding the op- 
 position of his parents. He was near 
 twenty when he began to learn to design 
 under Francis Pcrrier, and having spent 
 two years in tlie school of that painter, 
 and of Simon Vouet, he went to Italy. 
 Upon his arriving at Rome, he began to 
 paint landscapes, buildings, and ancient 
 ruins ; but for the first two years he had 
 the utmost difficulty to support himself, 
 being abandoned by his parents, and the 
 little stock of money which he had pro- 
 vided before he left France proved scarce 
 sufficient to defray the expenses of his 
 journey. Being destitute, therefore, of 
 friends and acquaintance at Rome, he was 
 reduced to such distress, that his chief 
 subsistence for the greatest part of that 
 time was bread and cheese. But he di- 
 verted the sense of uneasy circumstances 
 by an indefatigable application to paint- 
 
 ing, until the arrival of Peter Mignard, 
 who had been his fellow pupil under 
 Vouet, set him more at ease. They im- 
 mediately engaged in the strictest friend- 
 ship, lived together, and were commonly 
 known by the name of the Inseparables. 
 They were employed by the Cardinal of 
 Lyons in copying the select works of 
 Annibale Caracci in the Farnesian gal- 
 lery. But the principal objects of their 
 study were the works of RafFaelle, to- 
 gether with the antiques ; and they were 
 constant in their attendance at the aca- 
 demy, where they designed after the best 
 models. Mignard had superior talents 
 in practice ; but his friend was a greater 
 master of the principles of the art. Du 
 Fresnoy, having penetrated into the secrets 
 of his profession, formed a design of writ- 
 ing a poem upon it, which he did not 
 finish till many years afterwards, when 
 he had consulted the best writers, and ex- 
 amined with the utmost care the most 
 admired works in Italy. During his re- 
 sidence there he painted several pictures, 
 of which the following were the princi- 
 pal : The Ruins of the Campo Vaccino ; 
 a young Athenian at the Tomb of her 
 Lover ; the Filial Piety of .S^neas ; Mars 
 finding Lavinia sleeping; and the Birth 
 of Venus and Oupid. In 1653 Du Fres- 
 noy left Rome to return to France ; but 
 taking Venice by the way, he and Mig- 
 nard stopped there eighteen months, most 
 of which time was employed in studying 
 the works of Titian. While there, Du 
 Fresnoy painted some pictures in the style 
 of that great master. In 1656 he arrived 
 at Paris, where he produced a picture of 
 St. Margaret for the church of that saint, 
 and four landscapes, the figures of which 
 were painted by Mignard. He now la- 
 boured incessantly upon his poem, though 
 he thought it improper to print the Latin 
 without a French translation, which was 
 at length made by De Piles. The author 
 had just commenced a commentary upon 
 it, when he was seized with a palsy, of 
 which he died, at Villiers-le-Bel, four 
 leagues from Paris, in 1665. His poem 
 was not published till three years after- 
 wards, accompanied by the French version 
 and notes. This work has justly been ad- 
 mired for its elegance, perspicuity, and 
 the utility of the instruction it contains. 
 In 1694 Dryden translated it into English 
 prose ; and another version, in blank 
 verse, was published by Mr. Wills, a 
 painter ; but both have been superseded 
 by Mr. Mason, who gave the poem an 
 
FRU 
 
 FRY 
 
 elegant dress in 1782. This translation 
 has been rendered still more valuable by 
 the excellent notes of Sir Joshua Rey- 
 nolds. Thus, by the union of the talents 
 of two men eminent above most of their 
 contemporaries, the poem of Du Fresnoy 
 is rendered inestimable to the English 
 reader. Du Fresnoy, to his other quali- 
 fications, added a fine taste in architec- 
 ture, of which he gave proofs in his 
 designs for some magnificent hotels at 
 Paris. At the Louvre are some of his 
 paintings. 
 
 Fkeundweiler (Henry), a native of 
 Zurich, born in 1755, died there in 1795. 
 He is highly esteemed in Switzerland for 
 his paintings commemorative of the events 
 in history of his own country. He was 
 also a painter of portraits. 
 
 Fri-Ino, see Manzuoli. 
 
 Frits, or Fritz (Pkter). He was born 
 at Deli't in 1635, but studied at Rome, 
 where he resided for a long time. His 
 imagination was lively, but the subjects 
 which he generally chose were appari- 
 tions, and the extravagances of a wild 
 imagination, such as the temptations of 
 St. Anthony, and ships and barks filled 
 with spectres; in which subjects he showed 
 a whimsical variety of forms and figures. 
 Sometimes he painted emblematical de- 
 signs, which were held in good esteem. 
 In his return from Italy to his own coun- 
 try, he visited several courts of Europe, 
 where the singularity of his compositions 
 rather excited laughter than approbation. 
 At last he settled at Delft, but his works 
 found few ptircliasers, though executed 
 with a great deal of force and spirit, in 
 the manner of Jerome Bos. He died in 
 1G82. 
 
 Frost (George). This artist was a 
 native of Ousden, in Suffolk, and was bred 
 a builder, but afterwards obtained a situa- 
 tion at Ipswich in the coach-ofBce. At 
 an early age he evinced a taste for draAv- 
 ing, and by practice he became distin- 
 guised for the excellence of his landscapes, 
 both in oil and in water-colours. He was 
 a most ardent admirer, and a close imita- 
 tor of his countryman Gainsborough, of 
 whose pictures and drawings he had a 
 large collection, executed indifferent ways, 
 but principally with black chalk and lead 
 pencil. The last yjerformancc of Mr. 
 Frost was a copy of Gainsborough's large 
 view of the Mall in St. James's Park, of 
 which he possessed the original. He died 
 in July 1821, aged seventy-seven. 
 
 Fbutet (Feancisco). This artist was 
 
 a native of Flanders, but lived and died 
 at Seville in Spain, where he executed a 
 fine composition of Christ bearing the 
 Cross; the Crucifixion; and the Entomb- 
 ing ; to which Avere added a Madonna and 
 St. Bernard. These esteemed works are 
 in the Chapel of St. Cosmo, at Seville, 
 and were painted about the j'^ear 1548. 
 The style of Frutet had more of the Roman 
 than the Flemish School. 
 
 Fruytibrs (Philip). He was born at 
 Antwerp in 1 620. Though he was at first 
 taught to paint in oil, he soon discontinued 
 it, and preferred painting in distemper and 
 water-colours, in which he became so ex- 
 cellent, that it was doubted whether any 
 contemporary artist equalled him, parti- 
 cularly in design. His invention was 
 ready, and he composed his subjects ex- 
 tremely well ; the airs of his heads have a 
 considerable degree of grace; his draperies 
 are broad, and the folds are in good taste. 
 Rubens had a high opinion of Fruytiers, 
 and employed him to paint the portraits 
 of himself and family in one picture, in 
 which the composition, attitudes, and co- 
 louring, were worthy even of that great 
 master himself. Before Fruytiers aban- 
 doned oil painting, he executed in that 
 manner a fine altar-piece of the Virgin 
 and child seated on a globe, surrounded 
 by angels. He coloured admirably, and' 
 composed with taste. He also etched 
 some plates, principally portraits, in a 
 good style. He died at Antwerp in 1677. 
 
 Frye (Thomas). This artist was bom 
 in Ireland in 1710, but came very early 
 to London, where he practised portrait 
 painting in oil, crayons, and miniature. 
 In 1734 he had the honour to paint a full- 
 length likeness of Frederick, Prince of 
 Wales, which is now in Saddlers'-hall, 
 Cheapside. His genius, however, was not 
 confined to this art; and, it is said, that 
 he was the inventor and first manufac- 
 turer of porcelain in England, and that he 
 spent fifteen years in bringing it to per- 
 fection, at Bow ; during which, his con- 
 stitution being impaired by constantly 
 working in furnaces, he retired into 
 Wales, where his health was perfectly re- 
 stored. He then returned to London, 
 and resumed his profession, to which he 
 now added mezzotinto engraving, and had 
 considerable employment. He died of a 
 decline, brought on by intense applica- 
 tion, in April, 1762. In the first exhibi- 
 tion, in 1760, there was a half-length por- 
 trait of Leveridge the singer, painted by 
 Frye, and which possessed considerable 
 
F U E !2( 
 
 merit. In the following year he also ex- 
 hibited pictures in all the different pro- 
 cesses of colours, crayons, and miniature. 
 Of his mezzotinto productions, there are 
 six heads as large as life ; one of them the 
 portrait of the artist himself; to which 
 may be added, two of George II. and his 
 Queen. About the same period he issued 
 proposals for twelve heads in that man- 
 ner ; but his illness prevented his com- 
 pleting more than six, in which he showed 
 rather more industry than judgment ; for 
 no branch of engraving is suited to por- 
 traits of such magnitude. 
 
 FuEssLi (Matthias). This artist was 
 born at Zurich in Switzerland, in 1598. 
 He was instructed by Gotthard Ringli, on 
 leaving whom he went to Venice, and 
 afterwards visited other parts of Italy. He 
 had great talents, but his disposition 
 was unsettled; so that he seldom had 
 patience to complete any work in which 
 he engaged. He painted historical sub- 
 jects, portraits, and landscapes ; but chief- 
 ly battles, sieges, conflagrations, and storms. 
 He died in 1665. 
 
 FuEssi.1, or FusELi (John Gaspard). 
 This learned artist was born at Zurich in 
 1706. After acquiring the elements of 
 painting in his own country, he went, at 
 the age of eighteen, to Vienna, where he 
 associated himself with Sedelmeier. From 
 thence he went to Radstadt, on the invita- 
 tion of the Prince of Schwarzenburg, with 
 whom he became a particular favourite. 
 Among others whose portraits he painted, 
 was the Margrave of Durlach, who had a 
 great affection for him, and advised him 
 to go to Ludwigsburg, which he did, with 
 letters of recommendation to the Duke of 
 Wirtemberg, who immediately took him 
 into his service. Here he passed his time 
 agreeably, making occasional excursions 
 to paint the portraits of persons of distinc- 
 tion, until the war of Poland, when the 
 entrance of the French into Germany 
 threw every thing into confusion. Fuessli 
 then removed to Nuremberg, and his 
 highness at parting presented him with a 
 gold watch, and requested him to return 
 when the state of public affairs became 
 tranquil. At Nuremberg he had a strong 
 desire to see the celebrated artist Kupet- 
 zki, of whose manners he had imbibed an 
 unfavourable impression, but he was agree- 
 ably disappointed, and they became friends 
 at their first interview. After remain- 
 ing six months at Nuremberg, the Duke 
 of Wirtemberg died, upon which Fuessli 
 returned to his own country, where he 
 
 2 F U L 
 
 married. This union produced three sons, 
 John Rodolph, who settled at Vienna, 
 where he died in 1806; Henry, afterwards 
 so well known in England as a member of 
 the Royal Academy, and a writer of no 
 ordinary talent ; and Caspar, who died in 
 the prime of life, who was an entomologist. 
 Fuessli's talents and reputation procured 
 him the friendship of the greatest artists 
 of his time, particularly Mengs, who sent 
 him his Treatise on the Beautiful, which he 
 published with a preface. His taste for 
 poetry also procured him the acquaintance 
 and correspondence of Kliest, Klopstock, 
 Wieland, Bodmer, and Breitingher. Such 
 was his liberality, that he gave gratuitous 
 lessons to many young persons, and made 
 collections to assist them in their studies. 
 In 1740 and 1742 he lost his two friends, 
 Kupetzki and Rugendas, whose memoirs 
 he wrote, which employment was the 
 foundation of his Biographical History of 
 the Artists of Switzerland, a work that 
 displays elegance and critical acumen. He 
 died at Zurich in 1781. His two 
 daughters, who died before him, were 
 good painters of flowers and insects. 
 
 Fuessli (John Rodolph), of the same 
 family as the subject of the preceding 
 article, was born at Zurich in 1709, in 
 which city he died in 1786. He was a 
 pupil of Melchior Fuessli, and the elder 
 Loutherbourg, and painted in miniature. 
 He published a Dictionary of Artists, 
 which was continued by his son. 
 
 FuLco (Giovanni). He was born at 
 Messina in 1615, and studied at Naples 
 under Stanzione. His chief excellence lay 
 in the representation of children ; but he 
 also painted some altar-pieces in oil and 
 fresco, as the Birth of the Virgin, and 
 other sacred subjects. Most of his works 
 were destroyed in the dreadful earthquake 
 of 1783. Fulco died at Messina about the 
 year 1680. 
 
 Fuller (Isaac). This English painter 
 flourished in the reign of Charles II., but of 
 his family or masters we have no account, 
 except that he studied many years in 
 France under Perrier. In historical com- 
 positions he has left little to admire, his 
 colouring being raw and unnatural, and 
 far from being compensated by disposition 
 or invention ; but in portrait his pencil 
 was bold, strong, and masterly. In the 
 latter he was much employed, particularly 
 at Oxford. His own portrait in the gal- 
 lery there, is touched with great force and 
 character. The altar-piece of Magdalen 
 College was also painted by him, though 
 
FUN 
 
 FUS 
 
 it has not been much approved ; nor could 
 the Latin poem of Addison raise it in the 
 public estimation. It is a feeble imita- 
 tion of Michel Angelo, but falls short of 
 the sublime imagination of that great 
 artist, nor is the colouring harmonious. 
 Some of tile figures, however, are correct- 
 ly drawn; and he has at least copied Buonar- 
 roti with success, in introducing among 
 the damned the portrait of an hostler at 
 an inn, near the college, who had offended 
 him. At Wad ham College is an altar-cloth 
 painted by Fuller, which is just brushed 
 over for the lights and shades, and the 
 colours melted in with a hot iron. Soon 
 after the Restoration, he was engaged in 
 painting the circumstances of the escape 
 of Charles II., which he executed in five 
 large pictures. These were presented to 
 the parliament-house in Dublin, where 
 they remained many years ; but some time 
 in the last century, the house undergoing 
 a thorough repair, they lay neglected 
 until rescued by the late Earl of Clan- 
 brasil, who obtained possession of them, 
 and had them cleaned and conveyed to his 
 seat at Tullymore Park, in the county of 
 Down. Lord Orford speaks slightingly 
 of these, which he had never seen, and 
 probably with as much justice as of the 
 altar-piece at All-Souls' College, which he 
 attributes not to Thornhill but to Fuller. 
 This painter died in Bloomsbury-square, 
 July 17, 1672, and left a son, an inge- 
 nious, but idle man, chiefly employed in 
 coach-painting, who died young. 
 
 FuMiAM (Giovanni Antomo). He 
 was born at Venice in 1643, and received 
 his education at Bologna ; after which he 
 studied the works of Paolo Veronese, but 
 fell far short of the excellence of that mas- 
 ter in colouring and expression. His best 
 performance is the picture of Christ 
 disputing with the Doctors. He died in 
 1710. 
 
 FuMicELLi (LoDOVico). He was born 
 at Trevigi, and is supposed to have been 
 a scholar of Titian, whose style he success- 
 fully imitated. He painted, in 1536, an 
 altar-piece in the Church of the Padres 
 Ereniitani at Padua, representing the 
 Virgin and Child in the clouds, and three 
 saints beneath. In that of the Servites at 
 Trevigi is an altar-piece of St. Liberale 
 and St. Catherine, with two laterals of 
 St. Sebastian and St. Filippo. This 
 painter quitted the pencil to become an 
 officer of artillery. 
 
 FuNGAi (Bernardino). He was born 
 at Siena, and in the year 1512 painted 
 
 there a Virgin and Child, with several 
 Saints. There exists also an Enthroniza- 
 tion of the Virgin, by this artist, at Fonte 
 Giusta. 
 
 FuRiNi (Francesco). This artist was 
 born at Florence in 1604, and received his 
 first instruction from his father, Pippo Scia- 
 merone, a portrait painter of no contemp- 
 tibletalents;buthewasfartherimprovedby 
 Passignano and Roselli, till he went to 
 Rome. While there, he pursued his studies 
 with such diligence, that he acquired a fine 
 taste for design, and associated with Gio- 
 vanni di San Giovanni. He was fond of de- 
 signing naked figures, in which he showed 
 great delicacy ; and he principally chose 
 to paint those subjects where they could be 
 introduced with elegance and propriety; 
 such as Adam and Eve; Lot and his 
 Daughters ; Noah's Intemperance ; the 
 Three Graces ; the Death of Adonis ; 
 Diana and her Nymphs bathing; the 
 Judgment of Paris ; and Nymphs carried 
 off by Satyrs. These subjects constituted 
 his easel pictures, which have always been 
 much admired. But he also painted large 
 works for churches, as St. Francis re- 
 ceiving the Stigmata, at St. Lorenzo, near 
 Florence; and the Miraculous Conception 
 of the Virgin, in the same church ; yet it 
 is observed that even his Madonnas have 
 too voluptuous an air. His drawing was 
 elegant, and he combined the beauty of 
 Guido with the grace of Albano. He died 
 in 1646. 
 
 Ft'SELi, or FuESSLi (Henry). This dis- 
 tinguished artist, the son of John Gas- 
 pard Fuessli, was a native of Switzerland. 
 He came to England at an early age, with 
 the intention of making literature, and 
 not art, his pursuit. Having, however, 
 shown some of his drawings to Sir Joshua 
 Reynolds, and asked his candid opinion 
 of them, he replied, " Young man, were I 
 the author of these drawings, and offered 
 ten thousand a year not to practise as an 
 artist, I would reject it with contempt." 
 This encouragement fixed the decision of 
 Fuseli, and he thenceforth devoted himself 
 to painting. The opening of his Milton 
 gallery, in 1798, first made the full extent 
 of his genius known to the public. His 
 performances are numerous, and all of 
 them display, in many points, the mind 
 of a master. The imagination of Fuseli 
 was lofty and exuberant; but, in aspiring 
 to the sublime, which he often reaches, 
 he sometimes falls into extravagance and 
 distortion. Still, his extravagance is that 
 of a man of genius. His anatomical 
 
GAA 
 
 GAB 
 
 knowledge was extensive. It must, how- 
 ever, be owned that, in some instances, 
 he displayed it too ostentatiously, so as to 
 give to his figures rather the forms seen 
 in the dissecting-room than those whicli 
 characterize the living subject. For 
 twenty years he Avorthily filled the offices 
 of professor of painting, and keeper of the 
 Royal Academy. Fuseli was a classical 
 scholar, and enjoyed the friendship of his 
 most eminent literary contemporaries ; 
 and his domestic character was truly 
 estimable. lie died in April, 1825, at 
 the advanced age of eighty-seven, but in 
 the vigorous possession of his faculties. 
 
 Fyt (John). He was born at Antwerp 
 in 1625, and excelled in painting all kinds 
 of animals, but chiefly dogs, to which he 
 gave a natural, bold, and elegant expres- 
 sion. He studied nature incessantly, and 
 imitated her with the utmost truth and 
 exactness. His colouring is strong, and 
 his touch firm; and in all his pictures we 
 see a wonderful freedom of hand, and a 
 manner of pencilling peculiar to himself; 
 so that his works are easily distinguished 
 from those of any other artist. He fre- 
 quently painted in conjunction with Ru- 
 bens, Janssens, and Jordaens; and what- 
 ever subject he chose to represent in the 
 style which he adopted, was always de- 
 signed and finished in a masterly manner. 
 His general subjects were, live and dead 
 game, wild boars, hares, dogs, fruits, 
 flowers, and birds, particularly partridges, 
 which he represented with surprising 
 truth, nature, and strength. He also 
 imitated successfully the basso-relievos on 
 vases of marble or porphyrj', and gave 
 uncommon freshness to his fruits and 
 flowers ; and in objects of the animal kind, 
 he described even the hair of the animals, 
 and the plumage of his birds, with wonder- 
 ful spirit, exactness, and freedom. Fyt 
 also etched some plates in the style and 
 spirit of his paintings. He died at Ant- 
 werp in 1671. 
 
 G. 
 
 Gaai. (Barent). He was born at 
 Ilaerlem in 1650, and became a discijjle 
 of Philip Wouvermans, by carefully 
 studying whose works, as well as by 
 diligently practising his precepts, lie be- 
 came a painter of considerable distinction. 
 His subjects were battles, huntings, fairs, 
 inns, and landscapes. He had a good 
 manner of penciiling, understood the 
 
 principles of perspective, coloured well, 
 and managed his lights and shadows with 
 judgment. His figures and cattle are 
 correctly designed and disposed ; but as 
 he drew his figures from mean models, 
 they usually want grace and elegance. 
 There is much freedom in his trees, and 
 many of his pictures are touched with 
 spirit; the skies are clear and pleasant, 
 and his grounds are well broken. He 
 was the associate of Isaac Koene, the 
 landscape painter, for whom he always 
 inserted the figures ; and though he cannot 
 be accounted an artist of the first class, 
 yet his works have great merit, and are 
 generally esteemed. He died in 1671. 
 
 Gabbiani (Antonio Domenico). He 
 was born at Florence in 1652, and was 
 first intended for the profession of physic; 
 but his father observing his inclination to 
 designing, placed him, while young, first 
 under Valerio Spada, who excelled in 
 drawing with a pen, and next with Remi- 
 gio Cantagallina, a miniature painter. 
 After this he successively became a dis- 
 ciple of SubtermansandVincentioDandini, 
 by whose instructions he soon acquired a 
 readiness and correctness in designing, 
 which astonished his preceptors. To im- 
 prove his hand, Dandini caused him to 
 copy all the compositions of Pietro da 
 Cortona which were in the Palazzo Pitti 
 at Florence. While thus emjiloyed, the 
 Grand Duke Cosmo III. happening to see 
 his performances, condescended to become 
 his patron, and sent him to the Florentine 
 .\cademy at Rome, under the direction of 
 Giro Ferri, with whom he continued three 
 years. At the expiration of that period 
 he visited Venice, to obtain a thorough 
 knowledge of colouring, and while there, 
 the compositions which he exhibited to 
 public view were purchased by the prin- 
 cipal nobility, on the recommendation of 
 Sebastian Bombelli, a very eminent painter, 
 with whom Gabbiani had formed an inti- 
 mate friendship. At his return from 
 Venice, where he had particularly studied 
 portrait painting after Titian and Tinto- 
 retto, the Grand Duke Ferdinand sat to 
 him for his picture, as also did the Prin- 
 cesses Violante and Anna Louisa. He 
 likewise finished several noble altar-pieces 
 for the churches of Florence, which so 
 effectually established his reputation that 
 he was invited to the court of Vienna, 
 where he painted the portraits of the Em- 
 peror and the King of the Romans, besides 
 some historical pictures for the imperial 
 gallery. As the climate of Germany 
 
GAB 
 
 GAE 
 
 disagreed with his constitution, lie re- 
 turned to Florence, and was employed in 
 the palaces of the first nobility, every new 
 work adding to his fame, which spread 
 through every part of Italy. Of his 
 numerous works the following are parti- 
 cularly mentioned as capital performances : 
 the Rape of Ganymede ; Ermini alight- 
 ing from her Steed ; a Repose in Egypt ; 
 each of Avhich is exceedingly beautiiul in 
 the colouring, and correct and elegant in 
 the design. But his greatest performance 
 is an altar-piece ; the subject is the As- 
 sumption of the Virgin, who ^)pears 
 above, surrounded with glory ; and below 
 are represented the Apostles, larger than 
 life, with a wonderful variety of graceful 
 and proper attitudes. Another fine pic- 
 ture by him is that of St. Filippo, in the 
 Church of the Oratorians. His easel 
 ])ictures, which are also very beautiful, 
 are mostly in the Florentine gallery and 
 private collections. The ideas of Gabbiani 
 were elevated ; his invention was noble ; 
 his disposition judicious; his design ex- 
 tremely correct ; his attitudes well chosen, 
 and full of dignity and character. He 
 had a lively imagination, and an extra- 
 ordinary readiness in his execution; his 
 pencil being free, yet delicate, and his 
 touch spirited. His greatest defect lies 
 in his draperies ; and, though his colour- 
 ing is true, mellow, and harmonious, it is 
 sometimes languid. He excelled in paint- 
 ing the sports of genii, and children. He 
 was unfortunately killed by a fall from a 
 scaffold, while painting the cupola of Cas- 
 telloin 1726. 
 
 Gabrielli (Camij.lo). This artist was 
 a native of Pisa, and the disciple of Ciro 
 Ferri. He is said to have first rendered 
 the style of Pietro da Cortona familiar to 
 the artists of his country. Some of his 
 oil paintings are in the convent of the 
 Carmelites at Pisa, but his principal works 
 are the frescoes in the great saloon of the 
 Palazzo Alliceta. 
 
 Gabriello (Onufeto). He was born 
 at Messina in 1616, and had for his mas- 
 ter Antonio Ricci, called Barbalunga^ 
 after which he went to Rome, and became 
 the scholar of Pietro da Cortona; on 
 leaving whom he travelled for further im- 
 provement to Venice. On his return to 
 Sicily he obtained considerable employ- 
 ment for the churches and convents, as 
 well as for the nobility. He also painted 
 portraits with great success ; but when 
 the revolution of 1674 broke out, he went 
 to Padua, where he resided many years. 
 
 being called Onufrio da Messina. In 
 the Palazzo di Borromeo at Padua were 
 some of his finest performances. Pie died 
 in 1706. 
 
 Gabron (William), He was born at 
 Antwerp in 1625, where he learned the 
 rudiments of the art; but his principal 
 instruction and improvement he received 
 in Italy, particularly at Rome, in which 
 city he resided many years. He was 
 much admired for his delicate imitation 
 of gold and silver vases, cups, and dishes, 
 china and porcelain ware, fruits, flowers, 
 and insects, which subjects he expressed 
 with such truth as to afford the eye a very 
 pleasing deception. He died at Antwerp 
 in 1679. 
 
 Gabdi (Gaddo). He was born at 
 Florence in 1239, and was one of the first 
 painters who imitated Cimabue, or de- 
 signed in the Grecian taste, being also an 
 expert artist in works of mosaic. He de- 
 signed better than all the painters of his 
 time, and performed several great works 
 at Rome, and other parts of Italy, but 
 chiefly in mosaic. One of his pictures, 
 representing the Crucifixion, is in the 
 Florentine gallery, and affbrds an honour- 
 able proof of his merits. He died in 1312. 
 
 Gaddi (Taddeo). He was the son of 
 the preceding, and born at Florence in 
 1300. He was at first instructed by his 
 father, but afterwards he became a dis- 
 ciple of Giotto. He had a good genius, 
 which he strengthened by application, 
 and acquired such a manner of colouring 
 as rendered him superior to his master. 
 His figures were lively, and his expression 
 commendable, considering the early age 
 in which he painted ; his invention was 
 ingenious, and his designs were executed 
 with freedom and ease. The most memo- 
 rable j)icture of this artist is the Passion 
 of our Saviour, which is preserved in the 
 Church of the Holy Ghost at Arezzo. 
 He was living in 1352. 
 
 Gadbi (Agnolo). He was the son of 
 Taddeo, and was born at Florence in 1324. 
 He received his first instruction from his 
 father, but afterwards was assisted in his 
 studies by Giotto. His manner of paint- 
 ing was like that of Taddeo, though he 
 was more solicitous to express the passions 
 with propriety. In the Church of San 
 Pancrazio at Florence, is a Madonna by 
 him, which was judiciously composed and 
 designed, and also well coloured for its 
 age. He died in 1387. 
 
 Gaelen (Alexander Van). This 
 painter was born at Haerlem in 1670, and 
 
GAI 
 
 206 
 
 GAI 
 
 was instructed by John Van Huchtenburg, 
 who, besides his profession as a painter, 
 was also a considerable dealer in pictures ; 
 and Van Gaelen, before they were ex- 
 posed to sale, used to copy such as were 
 of the best class and value. Yet he did 
 not content himself with observing these 
 imitations, but studied nature itself in 
 other countries as well as in his own. | 
 His taste of composition and design was 
 formed from the works of eminent artists ; 
 and he obtained so great a freedom of 
 hand, and such a correctness of outline, 
 that his pictures rose into high esteem. 
 His subjects were usually huntings of the | 
 fox, stag, or wild boar, full of animation, 
 and faithfully represented. The Elector of 
 Cologne employed him for a long time ; 
 and he also visited England, where his 
 paintings procured him many marks of 
 favour. While in this kingdom he painted 
 a picture of Queen Anne, drawn in a 
 coach by eight horses, and attended by 
 her guards, which subject he executed in 
 a manner that contributed to the advance- 
 ment of his fortune as well as of his repu- 
 tation. He was also engaged by a noble- 
 man to paint three battle-pieces, repre- 
 senting engagements between Charles I. 
 and OHver Cromwell, and a large design 
 of the battle of the IBoyne. He died in 
 1728. 
 
 Gaetako (SciPio), see Pulzone. 
 
 Gagliardi (Cav-4j.iebe Bernardino). 
 He was born at Citta di Castello in 1609. 
 His instructor was Avancino Nucci; 
 but, on visiting Rome, he quitted his 
 master, to study the works of the Caracci 
 and Guido. In the dome of the church 
 at his native place, he painted the mar- 
 tyrdom of St. Crescenziano; besides which, 
 he also appeared to advantage in two pic- 
 tures of the history of Tobit and theAngel; 
 but his best work is the altar-piece of St. 
 Pellegrino, in the Church of St. Marcello 
 at Rome. He died in 1660. 
 
 Gagmardi (Bartolemo). He was 
 born at Genoa in 1555 ; but though we 
 are told that he stood in great estimation 
 as a painter of historical subjects, we 
 know nothing of the productions of his 
 pencil. Several of his engravings, how- 
 ever, are extant, and possess great merit. 
 
 Gainsborough (Thomas). This ex- 
 cellent artist was born in 1727, at Sud- 
 bury, in Suffolk, where his father was a 
 clothier. He early discovered a propen- 
 sity to painting ; but nature was his 
 teacher, and the woods his academy, where 
 he would pass his mornings alone, mak- 
 
 ing sketches of an old tree, a marshy brook, 
 a few cattle, a shepherd and his flock, or 
 any other objects that casually came in 
 view. From drawing he proceeded to 
 colouring, and after painting several land - 
 scapes, quitted Sudbury and went to Lon- 
 don, where he received instructions, first 
 from Gravelot, and next from Hayman. 
 After quitting his master he resided in 
 Hatton-garden, and practised both land- 
 scape painting and portrait in a small size. 
 He married a young lady, who had an 
 annuitj' of two hundred a year ; soon after 
 which he went to Bath, where he began 
 to paint portraits for five guineas, which 
 price he gradually raised to one hundred. 
 In 1774 he left Bath, and settled in Pall- 
 mall ; happy, as it might seem, in the pos- 
 session of fame and fortune. In this 
 situation he was disturbed by a complaint 
 in his neck, which was not much noticed 
 upon its first attack, being supposed to be 
 nothing more than a swelling in the glands 
 of the throat, but it soon put on the dread- 
 ful appearance of a cancer, which baffled 
 all surgical skill, and carried him off, 
 August 2, 1788. His last words were 
 extremely characteristic: "We are all 
 going to heaven, and Vandyck is of the 
 party." His remains, by his own direc- 
 tion, were deposited near those of his friend 
 Kirby, in Kew churchyard, where a sim- 
 ple gravestone records his name and 
 merit. Gainsborough was a man of ec- 
 centric manners, but very generous in his 
 disposition. If he selected for the exer- 
 cise of his pencil, a child from a cottage, 
 all the inhabitants of the humble dwelling 
 were sure of participating in tlie profits 
 of the picture. Of his capriciousness 
 many anecdotes are related. Soon after 
 he settled in London, Sir Joshua Reynolds 
 paid him a visit, which Gainsborough did 
 not return for a long time, and then he 
 asked Sir Joshua to sit for his portrait : 
 assent was given, and he sat once, but was 
 soon after taken ill, and obliged to go to 
 Bath. On his return to London he sent 
 Gainsborough word, and received for an- 
 swer that he was glad to hear of Sir 
 Joshua's recovery, but never afterwards 
 had any intercourse with him till he was on 
 his deathbed, when he desired to see him, 
 and thanked him for the very liberal man- 
 ner in which he had spoken of his works. 
 Sir Joshua had indeed proved the high 
 opinion which he had of his talents, by 
 giving one hundred guineas for his pic- 
 ture of a Girl attending Pigs, though 
 1 Gainsborough asked only sixty for it. On 
 
GAI 
 
 the i^gtitution of the Royal Academy, 
 Gainsborough was chosen one of the first 
 members ; but being resident at Bath, he 
 was too far distant to attend any of the 
 meetings ; and when he came to London 
 lie never complied with any of their invi- 
 tations. In 1 784 he sent to the exhibition 
 a whole-length portrait, which he ordered 
 to be placed almost as low as the floor ; 
 but as this was contrary to the by-laws, 
 the council remonstrated with him on the 
 impropriety of his demand. Gainsborough 
 returned for answer, that if they did not 
 choose to place the picture as he wisiied, 
 they might send it back, which they did 
 immediately. Soon after this, he had an 
 exhibition of his own works, which, how- 
 ever, did not answer his expectation. His 
 style of execution, as well as his choice of 
 subjects, was original, though much in 
 the manner of Watteau, particularly in 
 his landscapes. His pictures are wrought 
 in a slight manner, with great freedom of 
 hand, and little colour, which gives a great 
 airiness of effect. Sir Joshua Reynolds 
 says of this manner, " that the portraits 
 of Gainsborough were often little more 
 than what generally attends a dead colour 
 as to finishing or determining the form or 
 the features ; but as he was always atten- 
 tive to the general eflFect or whole together, 
 this unfinished manner appeared to con- 
 tribute even to the striking resemblance 
 for which his portraits are so remarkable." 
 The same great master of the art said of 
 him soon after his death, " that if ever 
 this nation should produce genius suffi- 
 cient to acquire for us the honourable 
 distinction of an English School, the name 
 of Gainsborough would be transmitted to 
 posterity in the history of the art, among 
 the first of that rising name." Whether 
 he most excelled in portraits, landscapes, 
 or fancy pictures, it is difficult to deter- 
 mine; whether his portraits were most 
 admirable for exact truth of resemblance, 
 or his landscapes for a portrait-liiie repre- 
 sentation of nature, such as we see in the 
 works of Rubens, Ruysdael, or others of 
 those schools. In his fancy pictures, 
 when he had fixed upon his object of imi- 
 tation, whether it was the mean and vul- 
 gar form of a woodcutter, or a child of an 
 interesting character, as he did not attempt 
 to raise the one, so neither did he lose any 
 of the natural grace and elegance of the 
 other; such a grace and such an elegance as 
 are more frequently found in cottages than 
 in courts. This excellence was his own, 
 the result of his particular observation and 
 
 taste. For this he certainly was not in- 
 debted to any schools ; for his grace was 
 not academical or antique, but selected by 
 himself from the great school of Nature, 
 where there are yet a thousand modes of 
 grace unselected, but which lie open in 
 the multiplied scenes and figures of life, 
 to be brought out by skilful and faithful 
 observers. Upon the whole, we may 
 justly say, that whatever he attempted, 
 he carried to a high degree of excellence. 
 It is to the credit of his good sense 
 and judgment, that he never attempted 
 that style of historical painting for which 
 his previous studies had made no pre- 
 paration." Nothing could have enabled 
 Gainsborough to reach so elevated a point 
 in the art, without the most ardent love 
 for it. Indeed his whole mind appears to 
 have been devoted to it, even to his dying 
 day ; for then his principal regret was his 
 leaving the art, when, as he said, " he 
 saw his deficiencies, and had endeavoured 
 to remedy them in his last works." In 
 the time of health he was continually re- 
 ferring to this subject; pointing out to 
 those who happened to be about him 
 whatever peculiarity of countenance, acci- 
 dental combination of figures, and happy 
 effects of light and shadow occurred, 
 either in prospects in the sky, in walking 
 the streets, or in company. If, in his 
 excursions, he found a character that he 
 liked, and whose attendance was to be 
 obtained, he ordered him to his house; 
 and from the fields he also brought into 
 his painting room, stumps of trees, weeds, 
 and animals of various kinds; and de- 
 signed them, not from memory, but im- 
 mediately from the objects. He even 
 framed a kind of model of landscapes on 
 his table, composed of broken stones, 
 dried herbs, and pieces of looking-glass, 
 which he magnified and improved into 
 rocks, trees, and water ; all exhibiting the 
 solicitude and extreme activity that he 
 had about every thing relative to his art ; 
 so that he wished to have every thing im- 
 bodied as it were, and distinctly before 
 him, neglecting nothing that could con- 
 tribute to keep his faculties alive; and 
 drawing fruits from every sort of com- 
 bination. He was also in the constant 
 habit of painting by night ; a practice 
 very advantageous to an artist, for by this 
 means he may acquire a new perception 
 of what is great and beautiful. Another 
 of his peculiarities was to paint on the 
 whole together, wherein he differed from 
 some, who finish each part separately, 
 
GAL 
 
 GAL 
 
 and by that means are frequently liable 
 to produce inharmonious combinations. 
 Though Gainsborough never had the 
 benefit of seeing foreign countries, he 
 made use of their productions, particularly 
 those of the Flemish School. He fre- 
 quently made copies of Kubens, Teniers, 
 and Vandyck, which it would be no dis- 
 grace to accurate connoisseurs to mistake 
 at first sight for originals. The subjects 
 he chose for representation were generally 
 very simple. In his landscapes, a rising 
 ground, and a few figures seated upon or 
 near it ; with a cow or some sheep graz- 
 ing, and a slight marking of distance, 
 sufficed for the objects : his charm was 
 the purity of tone in the colour ; the free- 
 dom and clearness of touch ; with a judi- 
 cious combination of forms ; and with 
 these common materials he never failed 
 to produce a fascinating picture. The 
 same simple taste prevailed in his fancy 
 pictures, which generally consisted of a 
 cottage girl, a shepherd's boy, a woodman, 
 with some slight accessories for the back- 
 ground ; and all these were managed by 
 him with character and elegance. Among 
 the attempts which he made in portrait, 
 and failed, were Foote and Garrick; but 
 his excuse was valid, for he said they had 
 every body's face except their own. Gains- 
 borough etched three prints, one for his 
 friend Kirby's Perspective ; the second an 
 oak-tree, with gipsies ; and the third a 
 man ploughing on the side of a rising 
 ground. This last is very scarce, for 
 Gainsborough spoiled the plate in the 
 application of the aquafortis. He also 
 attempted two or three plates in aquatinta, 
 but with little success. 
 
 Galaniko, see Alloisi. 
 
 Galantini (HipPOLiTo). This artist, 
 who was also called Cappuccivo, and 
 Prete Genovese, was born at Genoa in 
 1627. He was instructed in miniature 
 painting by Stefaneschi ; and became very 
 eminent in that style, nor less so in his 
 larger compositions. He was called 
 Cappuccino from his having entered into 
 the order of Capuchins at Florence ; after 
 which he went to India as a missionary, 
 on which account he is called Prete 
 Genovese. On his return to Europe, he 
 spent some time at Paris, whei-e he was 
 introduced to Louis XIV., who employed 
 him to paint several pictures. He had 
 wonderful patience and application, and 
 was remarkable for correctness and ele- 
 gance ; his style was agreeable, his colour- 
 ing delicate, and his expression animated 
 
 and accurate. In the ducal gallery at 
 Florence is an admirable picture by him, 
 in which the figures are only at half 
 length, but as large as life. The subject 
 is the Payment of the Tribute Money, and 
 it is executed with uncommon freedom and 
 neatness of pencil ; the colouring is lively, 
 true, and has great force ; and, though tlie 
 tints are bright and clear, the whole has 
 abundant harmony. The design is in a 
 fine taste ; the heads, especially those of 
 the old men, are excellent ; the shadows 
 have all the force of Valentino without 
 the blackness ^ and the countenance of a 
 boy seems real nature. This artist died 
 in 1706. 
 
 Gal^\ssi (Galasso). He was born at 
 Ferrara about 1380, and painted several 
 pictures for the cluirches, particularly at 
 Bologna, where some remains of his skill 
 are still shown, with the date of 1404. 
 The principal are an Annunciation ; a 
 Madonna; and a Crucifixion; designed 
 in the old manner, but well finished and 
 strongly coloured. 
 
 Galeotti (SEnASTiANo). He was born 
 at Florence about 1676, and had Ales- 
 sandro Gherardini for his first master, 
 but afterwards he studied under Giovanni 
 Giuseppe dal Sole. He was a good 
 designer, and executed several works in 
 fresco at Placcnzia, Parma, and Turin, in 
 which last city he became director of the 
 academy, and died there in 1746. 
 
 Galestruzzi (Giovanni Battista). 
 He was born at Florence in 1618, and 
 had Francesco Furini for his instructor, 
 after which he went to Rome, where he 
 became a student of the Academy of 
 St. Luke. He is, however, less known 
 as a painter than an engraver, in which 
 last capacity he executed some fine plates. 
 He died about 1678. 
 
 Galetti (Filippo Maria). He was an 
 ecclesiastic, of the order of Theatines, 
 born in 1664, and was a disciple of Giro 
 Ferri, He became excellent in those 
 branches of the art which he usually 
 practised, and painted a great number of 
 historical pictures and portraits in every 
 part of Italy ; but particularly at Florence, 
 where he was employed by the grand duke, 
 and gained universal -commendation for 
 the neatness of his finishing and the 
 beauty of his colour. lie died in 1742. 
 
 Galizia (Feda). This female artist 
 was a native of Trent, and lived about the 
 year 1620. Her father, Annunzio Galizia, 
 was a miniature painter at Milan, and 
 froni him she received her instructions in 
 
GAL 
 
 209 
 
 GAM 
 
 that line of art; she afterwards painted 
 landscapes and historical subjects in a 
 very agreeable manner. Among her best 
 performances is the Appearance of Christ 
 to Mary Magdalen in the Garden. 
 
 Gallegos (Feknando). This Spanish 
 painter was born at Salamanca in 1500. 
 He became the scholar of Albert Durer, 
 whose style he imitated, and constantly 
 followed, insomuch that it was not easy to 
 distinguish his pictures from those of his 
 master. He became a great favourite of 
 the Emperor Charles V., and some of his 
 works are still at Salamanca, where he 
 died in 1550. 
 
 Galli, see Bibiexa. 
 
 Galu (Francesco). He was the bro- 
 ther of Ferdinando Galli, called Bihiena, 
 and was born at Bologna in 1659. His 
 first instructor was Lorenzo Passinelli, on 
 leaving whom he became the scholar of 
 Carlo Cignani, by whose instructions he 
 proved an excellent designer. He was 
 also a proficient in architecture and per- ; 
 spective. As a painter he adopted similar 
 subjects to those of his brother, but was | 
 his inferior in sublimity and facility. ! 
 After practising with reputation at Rome, i 
 and other cities in Italy, he went to | 
 Madrid, where he was appointed architect ! 
 to the king. He died there in 1739. I 
 
 Gali.inari (Pietro, or Pietro del ' 
 SiGNORE GuiDo). He was a native of 
 Bologna, and the scholar of Guido Reni, ; 
 who had so great an affection for him that 
 most people called him by his master's 
 name. He excelled in history, and paint- 
 ed in Guido's manner, by whom his pic- 
 tures were sometimes improved. He died 
 very young, in 1669. 
 
 Galloche (Louis). This artist was 
 born at Paris in 1670, and studied under 
 Louis BouUongne, after which he went to 
 Rome, and, on his return to France, 
 became a member of the Academy, his 
 ])ictiire for reception being Hercules re- 
 storing Alcestis to her Husband. In the 
 Church of Notre Dame is a piece by him 
 of the Departure of St. Paul for Jerusalem. 
 He died in 1761. 
 
 Galvan (Juan). This painter was 
 born at Loesia, in the kingdom of Arragon, 
 in 1598. After learning the principles of 
 his art in Spain, he went to Rome for 
 farther improvement, and on his return 
 settled at Saragossa, where he painted the 
 cupola of the Church of Santa Justa by 
 Rufina, and a picture of the Trinity, in 
 that of the Carmelites; but his best per- 
 formance is the Birth of the Virgin, in the 
 
 Cathedral of his native city. He died in 
 1658. 
 
 Gambara (Lattanzio). He was born 
 at Brescia in 1541. His father, a tailor, 
 being obliged to leave his native city and 
 go to Cremona, had great difficulty in 
 supporting his family, so that Lattanzio 
 was compelled to work at the same trade. 
 His genius, however, could not be re- 
 strained, and he frequently employed him- 
 self in drawing, which produced quarrels 
 between him and his father. At length, 
 Antonio Campi, a painter of Cremona, 
 observing the boy's talent, took him into 
 his service, and at the age of eighteen 
 placed him in the academy of Girolamo 
 Romano, who gave him his daughter in 
 marriage. Such was his progress, that 
 he soon excelled both his instructors in 
 the grandeur of his compositions and the 
 beauty of his colouring, which last came 
 very near that of Pordenone. His attitudes 
 are uncommonly animated, his foreshorten- 
 ing is admirable, and the relief of his 
 figures perfectly captivating. At Brescia 
 are some fine fresco paintings by Gambara, 
 particularly in the cloisters of the Bene- 
 dictine convent, the subjects of which are, 
 Moses and the Brazen Serpent; Cain and 
 Abel; Samson and Dalilah; Judith and 
 Holofernes; Jael and Sisera; and a De- 
 scent from the Cross. But the most 
 laboured of his works are in the dome at 
 Parma, representing subjects taken from 
 the history of Christ. Of his oil pictures, 
 the best are the Birth of the Virgin at 
 Brescia; and a Pieta at Cremona. He 
 was killed by a fall from a ladder, in 1574. 
 
 Gambarini (Giuseppe). This artist 
 was born at Bologna in 1680, and was 
 educated first in the school of Lorenzo 
 Passinelli, with whom he made consider- 
 able progress in design and handling; 
 but on the death of that master, he became 
 the pupil of Cesare Gennari, and when he 
 was qualified to improve himself farther, 
 he went to Rome and Venice, where he 
 acquired a more correct taste of composi- 
 tion and colouring. He worked with 
 reputation in several parts of Italy, espe- 
 cially Rome; where, in the Chapel of St. 
 Petronius, is to be seen one of his most 
 capital performances. In many respects 
 he was highly esteemed, but he was princi- 
 pally regarded for the excellence of his 
 colouring, which had beauty and force. 
 He died in 1764. 
 
 Gamberucci (Cosimo). This artist 
 was born at Florence in 1610, and had for 
 ills instructor Battista Naldini. His best 
 
GAN 
 
 GAR 
 
 performance of a large size, is the picture 
 of St. Peter healing the Lame Man, in the 
 Church of St. PietroMaggioreat Florence. 
 He also painted some easel pictures, which 
 are in private collections. 
 
 Gandini (Giokgio), called likewise, 
 from his mother's family, Del Grano, was 
 born at Parma, where he died very young, 
 in 1538. He is supposed to have been a 
 scholar of Corregio, who touched some of 
 his pictures, among which the grandest 
 was the altar-piece in the Church of St. 
 Michel; a sublime composition, in which 
 there is a beautiful display of colouring, 
 with a suavity of pencilling, and a high 
 relief in the figures. 
 
 Gandiki (Antonio). This artist was 
 a native of Brescia, and the scholar of 
 Paolo Veronese, whose manner he closely 
 imitated. His greatest work is the Cruci- 
 fixion, in the dome of the great Church at 
 Brescia, where he died in 1613. 
 
 Gandolfi (Gaetano). This artist 
 was born at St. Matteo della Decimea, 
 near Bologna, in 1734. His principal 
 works are the Assumption of the Virgin; 
 the Marriage at Cana; and the Martyrdom 
 of St. Pantaleone at Naples. He also 
 etched a print of the Nativity in an elegant 
 style. He died in 1802. 
 
 Gandy (James). This artist was a 
 native of Exeter, where he was born in 
 1619. Of his early life little is known, 
 but his family was respectable, and he had 
 the benefit of being instructed by Vandyck, 
 whom he imitated with success. His 
 patron was the great Duke of Ormond, 
 who took him to Ireland, which country 
 being at that time in an unsettled state, 
 the merit and memory of the painter would 
 have been lost, if some of his performances 
 had not preserved his name from oblivion. 
 There are at this time in Ireland many 
 portraits painted by him, of noblemen and 
 persons of fortune, which are very little 
 inferior to Vandyck, either for expression, 
 colouring, or dignity; and several of his 
 copies, after that great master, which were 
 in the Ormond collection, were actually 
 sold as original paintings of Vandyck. 
 He died in Ireland in 1689, leaving a son 
 named William, who settled at Exeter 
 about the year 1700, and became an 
 itinerant painter of portraits in Devonshire 
 and Cornwall. He is supposed, from the 
 works which he executed, to have been 
 equal, if not superior to his father. But 
 from habits of dissipation he sank into 
 contempt. Sir Godfrey Kneller, on seeing 
 one of his pictures, and hearing of his 
 
 obscurity, would willingly have patronised 
 him in London ; but Gandy's pride was as 
 great as his talents, and he died in a state 
 of wretchedness. 
 
 Gakuieri (Lorenzo, or ii- Nipote). He 
 was bom at Bologna in 1580, and was a 
 disciple of his uncle Lodovico Caracci, 
 whose taste of design he studiously en- 
 deavoured to imitate; but being of a grave 
 and phlegmatic disposition, he always chose 
 those subjects that gave the mind of the 
 spectator a melancholy turn ; such as 
 pestilences, martyrdoms, and massacres. 
 However, he had a bold manner of design- 
 ing, nor were his figures without grace, 
 whenever his subject required it. He 
 united the style of Caravaggio with that 
 of the Caracci. In the (Jhurch of the 
 Bamabites at Bologna, he painted the 
 Plague of Milan, with St. Charles Bor- 
 romeo giving the Communion to the Sick. 
 At Fano is an excellent picture of St. 
 Paul restoring Eutychus to Life ; and at 
 Mantua is another picture of the Martyr- 
 dom of St. Felicita and the Seven Virgins : 
 at Bologna is a noble piece of the Death 
 of St. Joseph ; and in the convent of the 
 Capuchins, in the same city, is a Cruci- 
 fixion. He died in 1654, leaving a son. 
 Carlo Garhieri, who painted historical 
 pictures in the style of his father. In the 
 Church of St. Giovanni del Monte, at 
 Bologna, is a picture of his, representing 
 the Death of St. Mary the Egyptian ; and 
 in the Church of St. Paolo, in the same 
 city, is another of the Assumption of the 
 same saint. 
 
 Gaebo (Raffakllino del). He was 
 born at Florence in 1476, and learned the 
 principles of design from Filippino Lippi, 
 to whom he soon became superior, and 
 gave promising signs of rising to great 
 celebrity. When his instructor went to 
 Rome to paint the Capella della Minerva, 
 he took Raffaellino with him, and while 
 there he introduced some angels into his 
 master's work, which figures were more 
 admired than the rest of the picture. On 
 his return to Florence, he painted a beauti- 
 ful piece for the Clmrch of Monte Oliveto, 
 the subject of which was the Resurrection. 
 This performance was much admired; the 
 figures were well designed, the characters 
 of the soldiers judiciously marked, the 
 airs of the heads were graceful, and the 
 whole composition full of spirit; but he 
 afterwards altered so much for the worse, 
 that all his latter productions were the 
 objects of contempt, the cause of which 
 decline was the poverty of his circum- 
 
GAR 
 
 211 
 
 GAR 
 
 stances. In his best time his pictures ! 
 were higlily kiboured, and the tint of his 
 colouring, in fresco as well as in oil, was 
 soft and pleasant. He died in 1534. 
 
 Gardner (Daniel). He was a native 
 of Kendal, in Westmoreland, and became 
 a student in the Royal Academy. He , 
 was intimate with Sir Joshua Reynolds, 
 and by that means picked up as much 
 information as enabled him to become a 
 fashionable portrait painter in a small 
 size. He realized a considerable fortune 
 by his practice, and retired from the pro- 
 fession some years before his death, which 
 happened in 1805. He etched the portrait 
 of Philip Egerton, Esq., from a picture 
 painted by himself. 
 
 Gargiuoli (Domenico). This artist, 
 who was also called Micio Spadaro, was 
 born at Naples in 1612. He was the 
 companion of Salvator Rosa in the Aca- 
 demy of Aniello Falcone. His principal 
 talent lay in landscape painting, though 
 he also produced some historical pictures 
 in the churches. He likewise occasionally 
 enriched with figures the architectural 
 pieces of Viviano Codagosa. He died in 
 1679. 
 
 Garofaijno (Giacente). This artist 
 was born at Bologna in 1666, and received 
 his instructions from Marco Antonio 
 Franceschini, who was his uncle. He 
 painted history in the manner of his mas- 
 ter, with tolerable success. He died in 
 1724. 
 
 Garofalo (Benvenuto). The real 
 name of this Italian painter was Tisio, 
 but he obtained that of Garofalo, from the 
 circumstance of his painting a gillyflower 
 in the corner of his pictures. He was 
 born of a good family at Ferrara in 1481, 
 and was first instructed in the art of paint- 
 ing by Domenico Panetti, after which he 
 became a pupil of Boccaccino Boccaccini, 
 at Cremona, with whom he remained two 
 years, and then, at the age of nineteen, 
 went to Rome, where he studied inces- 
 santly, devoting the whole day, and the 
 greater part of the night, to designing, 
 under Giovanni Baldini, a Florentine; on 
 leaving whom he travelled to Mantua, and 
 continued there two years with Lorenzo 
 Costa. At the expiration of that time he 
 returned again to Rome, where he acquired 
 the friendship of Raffaelle, who taughthim 
 the true principles of design and colour- 
 ing. In 1507 he returned to Ferrara, and 
 was immediately em})loyed by the duke in 
 several works of great magnitude, which 
 he executed in a manner that gave uni 
 
 versal satisfaction, and some of his com- 
 positions appeared worthy of Raffaelle 
 himself. In a chapel of the Church of St. 
 Francis, he painted the Resurrection of 
 Lazarus; which, for the variety and cor- 
 rectness of the figures, as well as for the 
 beauty of the colouring, was greatly ad- 
 mired; as also was another subject in the 
 same chapel, representing the Murder of 
 the Innocents; in which the attitudes, 
 actions, and expression of the figures are 
 admirable. Of that performance it has 
 been observed, that one would certainly 
 call it RafFaelle's, for there is so much of 
 the spirit and manner of that great master 
 in it, that the mistake would almost do 
 honour to the person who made it. The 
 most capital work of Garofalo, in oil 
 colours, is in the Church of St. George, 
 near J-errara. The subject is the Adora- 
 tion of the Ma<ii; and the excellence of 
 the painting established his fame, and 
 procured him as n)uch employment as he 
 could possibly execute. He had the mis- 
 fortune to lose the sight of one of his eyes, 
 and yet he painted with as much delicacy 
 as ever, till his sixty- ninth year, when he 
 was totally deprived of his sight, and in 
 that state he lived nine years. In the 
 Palazzo Zampieri, at Bologna, are two 
 landscapes painted by Garofalo, in a fine 
 taste, and with abundance of force, though 
 rather too dark. In correctness of design 
 and expression, Garofalo approaches Raf- 
 faelle very closely, but his colouring is 
 warmer, and his shadows deeper. His 
 Madonnas are graceful, and the heads of 
 his old men are venerable. The small 
 pictures of this master are only found in 
 choice collections, and rarely out of Italy. 
 He died in 1559. 
 
 Gakzi (Lodovico). He was born at 
 Rome in 1640; but Pascoli, who is fol- 
 lowed by different biographers, says that 
 he was born at Pistoia in 1638, and that 
 he went to Rome when he was fifteen 
 years old. The best accounts, however, 
 make him a native of Rome, whence he 
 obtained the distinction of Lodovico Garzi 
 Romano. He studied under Andrea 
 Sacchi, and in some respects possessed 
 a great deal of the merit of his master. 
 The airs of his heads had grace and ele- 
 gance not inferior to those of Carlo Ma- 
 ratti, of whom he was the rival; and he 
 was deservedly placed in competition with 
 that master, their style and taste in oom- 
 I position being very similar. Lodovico 
 designed correctly, and for invention and 
 I colouring might be compared with any 
 
GAS 
 
 212 
 
 GAT 
 
 master. He united the sobriety of Sacehi 
 with the vivid force of Pietro da Cortona. 
 His figures are finely turned, his draperies 
 are natural and elegantly cast, and his 
 groups of boys and angels are singularly 
 excellent. After })ainting some fine pic- 
 tures at Rome, he went to Naples, where 
 he was employed on the vault of St. 
 Catherine del Formello; and at Pescia, 
 in Tuscany, he executed a large picture 
 of the Assumption, which is deemed his 
 best performance. He died 1721. His 
 son, Mario Garzi, died before him, after 
 giving a fair prospect of becoming eminent i 
 in his profession. His style of composi- 
 tion, design, and colouring, resembled that 
 of his father. 
 
 Garzoni (Giovasna). This lady was 
 born at Ascoli, but lived at Rome, where 
 she was celebrated for her skill in painting 
 flowers, and portraits in miniature. She 
 died in 1673, and left all her property to 
 the academy of St. Luke, where a marble 
 monument was erected to her memory. 
 
 Gascar (Henry). This artist was a 
 native of France, and came to England 
 with Louisa Queronaille, who became 
 Duchess of Portsmouth. By her in- 
 fluence he was enabled to realize ten 
 thousand pounds, with which he returned 
 to his own country. He not only painted 
 portraits, but scraped some in mezzotinto, 
 though without much merit in either art. 
 Gasparini (Gaspare). He was a na- 
 tive of Macerata, and the scholar of 
 Girolamo di Sermoneta, whose style he 
 adopted, though in an inferior degree. 
 His best performance is a picture of St. 
 Peter and St. John healing the Lame Man 
 in the Temple. This is a noble composi- 
 tion, but an evident imitation of Ratfaelle. 
 He also painted a fine piece of St. Francis 
 receiving the Stigmata. He lived about 
 1590. 
 
 Gaspars (John Baptist). He was 
 born at Antwerp, and studied under Tho- 
 mas Willeborts Bosschaert. During the 
 great rebellion in England, he came 
 hither, and was patronised by General 
 Lambert, who was himself an artist. 
 After the Restoration he became an as- 
 sistant to Sir Peter Lely, as he also was to 
 Kneller. He had an excellent taste for 
 drawing, particularly in making designs 
 for tapestry. He painted two portraits of 
 Charles II., one for Painters' Hall, and 
 the other for St. Bartholomew's Hospital. 
 He died in London in 1691. 
 
 Gast (Michael db). He was born at 
 Antwerp in 1510, and, after learning the 
 
 elements of the art in his native city, 
 went to Italy, where he painted several 
 views in the neighbourhood of Rome, with 
 the remains of ancient architecture. He 
 enriched his landscapes also with figures 
 and animals. He died at Antwerp, where 
 he was a member of the academy, in 
 1564, 
 
 Gatti (Bernardo). Of the birthplace 
 of this painter, who is also called Sojaro, 
 there is no certain account; some writers 
 saying that he was born at Pavia, and 
 others at Vercelli, while a third statement 
 fixes his birth at Cremona. He studied 
 under Corregio, and was one of his best 
 scholars. His works give ample proof of 
 his genius, and show how well he had 
 profited by the instructions and example 
 of his master. A Riposo by him displays 
 all the characteristics of Corregio, in 
 sweetness of expression and illusory force 
 of relief. The same may be said of his 
 picture of the Nativity at Cremona; and 
 of his Pieta at Parma. Gatti completed 
 the work which Pordenone had left un- 
 finished in St. Maria di Campagne at Pia- 
 cenza; and another great performance by 
 him in the Cupola della Stoccata at Parma, 
 wherein the Madonna is singularly beauti- 
 ful. In the refectory of the Lateran 
 Fathers at Cremona is a capital piece of 
 the Loaves and Fishes, containing a num- 
 ber of figures, admirably drawn, and 
 beautifully coloured. He died in 1575. 
 
 Gatti (Gervasio), called Sojaro. He 
 was a native of Cremona, and the nephew 
 of the preceding artist, by whom he was 
 instructed. He was an assiduous imitator 
 of Corregio, and how well he profited by 
 the study, appeared in his picture of St. 
 Sebastian, painted for the Church of St. 
 Agatha at Cremona, in 1578. In the 
 Church of St. Pietro in the same city, is 
 a noble piece of the Death of St. Cecilia, 
 very much in the manner of Corregio. It 
 is evident, from an examination of these 
 works, that the artist had adopted the 
 style of the Caracci very successfully in 
 some respects. He was also a good portrait 
 painter. 
 
 Gatti (Uriele). He is supposed to 
 have been the brother of the last-men- 
 tioned painter. In the year 1601, he 
 painted a picture of the "Crucifixion, in 
 the Church of St. Sepolcro at Piacenza. 
 Though inferior to the performances of 
 the preceding artist, it is a work of merit. 
 Gatti (Tommaso). He was born at 
 Pavia in 1642, and studied under Carlo 
 Sacehi; on leaving wliom he went to 
 
G AU 
 
 213 
 
 Venice, where he profited considerably, 
 and at his return to Pavia was much em- 
 ployed in the churches. 
 
 Gatti (Girolamo). He was born at 
 Bologna in 1662, and studied under Marc 
 Antonio Franceschini. He painted a great 
 number of pictures for the churches and 
 palaces of his native city, where he died 
 m 1726. One of his best performances is 
 the Coronation of Charles V. by Pope 
 Clement VII. 
 
 Gatti (Oliviero). He was born at 
 Parma in 1598, and had for his instructor 
 in painting Giovanni Lodovico Valesio; 
 but he is principally known by his engrav- 
 ings, which art he is supposed to have 
 learned from Agostino Caracci. He be- 
 came a member of the Academy of Bo- 
 logna in 1626. 
 
 Gaud, see Goudt. 
 Gaudenzio, see Ferrari. 
 
 Gaulli (Giovanni Battista), called 
 Baccici. He was born at Genoa in 1689, 
 where he was instructed in design and 
 colouring. Under the protection of the 
 Genoese envoy, in whose train he was 
 taken to Rome, he became known to Ber- 
 nini and Mario Nuzzi da Fiori, who not 
 only directed him in obtaining a better 
 knowledge of his art, but promoted him 
 by their recommendation, and laid the 
 foundation of his fortune and reputation. 
 He was for a considerable part of his life 
 employed very much in painting portraits, 
 in the number of which were those of 
 seven popes, and all the cardinals of his 
 time. His greatest merit, however, lay in 
 historical compositions, in which he had 
 a good invention ; his tone of colour was 
 livelyand agreeable,and his touch spirited. 
 He understood the art of foreshortening 
 his figures in a wonderful degree, and 
 gave them such force that they seem to 
 come forth from the ceilings which he 
 painted. Those works which he finished 
 in the angles of the dome of St. Agnes, in 
 the Palazzo Navona, had such strength of 
 colouring as to make those of Ciro Ferri 
 look feeble; and it is reported that the 
 death of that great artist was occasioned 
 through chagrin, on seeing GauUi's per- 
 formances exceed his own. But though 
 he had great merit in many parts of his 
 art, he is sometimes incorrect and heavy, 
 and his draperies have too much formality 
 in their folds. One of his greatest works 
 is the vault of the Church del Gesii, at 
 Rome, representing the Assumption of 
 St. Francis Xavier. This performance, 
 for sublimity of conception, harmony of 
 
 colouring, and management of the lights, 
 is considered as one of the finest of the 
 kind in Rome. Another great picture of 
 his, is that of St. Anne kneeling before 
 the Virgin and Child ; and in the Church of 
 St. Andrea is an altarpiece of the Death 
 of St. Savero, He died in 1709. 
 
 Gavasio (Giovanni Gracimo). He 
 was bom in the territory of Bergamo 
 in 1512. Of his instructor we have no 
 account; but there are two pictures by 
 him, which afford honourable proof of his 
 talents ; one is in the Church of St.Alles- 
 sandro at Bergamo, representing the Ma- 
 donna and Child, with a group of Angels ; 
 the other is of the same subject, with St. 
 Joseph and St. Elizabeth, in a private 
 collection. There was another artist of 
 this name, Agostino Gavasio, and sup- 
 posed to have been his son. He painted 
 a Madonna and Child for a church at 
 Piazzatore, dated 1527. 
 
 Gavasetti (Camillo). He was born 
 at Modena, and lived about the year 1625. 
 He painted historical subjects with credit, 
 chiefly at Piacenza, where is a fresco of 
 his representing a subject from the Reve- 
 lation, composed in a noble style, and 
 executed with spirit. It is sufficient to 
 say of its merit, that Giiercino thought it 
 the finest picture in that city. 
 
 Gazzoli (Benozzo). This ancient 
 master was born at Florence in 1400. He 
 was the disciple of Giovanni Angelico da 
 Fiesole, who esteemed him much for his 
 facility of execution, the copiousness of 
 his invention, and the superiority of his 
 designs. He gave sufficient proofs of his 
 abilities in historical composition, by de- 
 signing the principal subjects of the Bible; 
 and by the multitude and variety of his 
 figures he evidenced the extensiveness of 
 his genius, as well as the goodness of his 
 taste. He painted all subjects with equal 
 ease; and gained a general approbation 
 by his performances, not only in history, 
 but in portrait, landscape, animals, per- 
 spective, and ornaments of architecture, 
 : in which he was employed at Rome, Flo- 
 rence, Milan, and other parts of Italy. 
 j His principal work is in the dome of the 
 j great Church at Pisa, in which he has 
 , represented Christ disputing with the Doc- 
 ; tors. This picture contains a great num- 
 ber of figures, well designed, and with 
 good expression. He died in 1478. 
 
 Gebbo (Andrea del). This artist 
 was born at Milan in 1492, and was the 
 contemporary of Corregio, but the name 
 of his master is unknown. He painted 
 
GEL 
 
 214 
 
 GEL 
 
 historical subjects in a good taste, and was 
 an excellent colourist. He died at Pavia 
 in 1551. 
 
 Geel (John Van). This Dutch pain- 
 ter, who lived about the year 1660, was 
 the scholar of Gabriel Metzu, and imitated 
 his style with such exactness, that the 
 works of the one frequently pass for those 
 of the other. Houbraken describes a pic- 
 ture of Van Geel, in which he has repre- 
 sented a Woman sitting, with a Child in 
 her lap. The figures are judiciously dis- 
 posed, and the draper}', which is of yellow 
 satin, falls in easy natural folds, painted 
 with a thin delicate colour; and the touch 
 is light, neat, and spirited. There are 
 also seaports bearing the name of John 
 Van Geel, which are coloured with a 
 strong character of nature and truth, ex- 
 cellently designed, well pencilled, and very 
 transparent. The figures, which are in- 
 troduced with propriety and judgment, are 
 neatly handled, though sometimes they 
 appear rather out of proportion ; not- 
 withstanding v.'hich, the whole together 
 is pleasing and masterly. 
 
 Geldee (Arent, or Arnold i>e). He 
 was born at Dort in 1645, and learned 
 design in the school of Samuel Van Hoog- 
 straten ; but afterwards he went to Amster- 
 dam, and became a disciple of Rembrandt, 
 under whom he made so great a proficiency 
 as to approach very near that famous ar- 
 tist. Nor is it any way surprising that, in 
 his colouring, handling, and freedom of 
 pencil, he should so exactly imitate his 
 master, since he resembled him also in his 
 manner of thinking; and though many 
 of Rembrandt's disciples quitted his style 
 on quitting his school, De Gelder con- 
 stantly adhered to it as long as he lived. 
 He spent two years under Rembrandt, 
 but he accomplished himself in his art by 
 a sedulous study of nature. In imitation 
 of his master, he had a repository of ob- 
 jects which he might have occasion to 
 paint, as armour and old draperies ; and 
 the walls of his room were covered with 
 stuffs, silks, or ensigns, tattered and whole; 
 from which antique stores he dressed his 
 figures, and furnished the backgrounds of 
 his pictures. When he represented fringes 
 or embroideries, he frequently laid on a 
 mass of colour, and only broke it into the 
 form he designed with the stick of his 
 pencil, which generally produced a bold 
 and good effect, if viewed at the proper 
 distance. Among his principal works are 
 mentioned the dying scene of David, when 
 Bathsheba requests him to make Solomon 
 
 his successor ; and Jacob, the patriarch, 
 blessing his Cliildren. One of the most 
 curious of his pictures is the Interior of a 
 Jewish Synagogue, with a great number 
 of figures. At Dort is Solomon on his 
 Throne, attended by Courtiers and Sol- 
 diers. His last works were the Sufferings 
 of Christ, in twenty-two pieces, which 
 have a true and strong expression, a sur- 
 prising variety of figures, and an excel- 
 lent chiaro-oscuro. He died at Dort in 
 1727. 
 
 Gelder (Peter de). This painter 
 was a native of Holland, and the disciple 
 of Rembrandt, whose manner he happily 
 imitated, with a light touch, and a good 
 style of colouring. He was cut oflp in the 
 prime of life, about 1655. 
 
 Geldersman (Vincent). This painter 
 was born at Mechlin in 1539. He de- 
 signed correctly, and his colouring is good, 
 especially the carnations. The best of his 
 works are Susannah and the Elders, and 
 a Descent from the Cross; both in the 
 cathedral of his native city. 
 
 Geldorp, or GuALDORP (Gortzius). 
 This painter was born at Louvain in 
 Brabant, in 1553, and studied at Ant- 
 werp under old Francis Francks, on whose 
 death he became the disciple of Francis 
 Pourbus. His principal employment was 
 to paint portraits, in which he received 
 great encouragement, and was reckoned 
 among the good artists of his time ; yet 
 Sandrart says, he was not capable of 
 drawing a whole figure, and, being in- 
 expert in designing the hands and extremi- 
 ties, was assisted therein by other painters. 
 It is affirmed, however, by some writers, 
 particularly Descamps, that he composed 
 historical subjects with credit, and that 
 his heads had great merit. At Cologne 
 is a Danae of his design, which is much 
 praised ; and two heads, one of Christ, 
 and the other of the Virgin ; which by 
 some connoisseurs have been esteemed 
 little inferior to Guido. But his best 
 work is a painting of the Four Evange- 
 lists. One might be almost tempted to 
 believe there must have been two dif- 
 ferent painters of this name, as the merit 
 ascribed to the paintings of Gortzius, by 
 writers who had seen them, and were 
 competent judges, seems to be incompa- 
 tible with the character given of him by 
 Sandrart and De Piles. He died in 1618. 
 
 Gellig (Jacob). He was born at 
 Utrecht about 1636. His favourite sub- 
 jects were fish, and still life; and as he 
 never painted by the strength of imagina- 
 
tion or memory, but always copied every 
 object as it was placed before him, his 
 imitations were proportionably exact; and 
 he designed them with a great deal of 
 truth, and gave them the colour of nature. 
 He had, however, no great elegance in the 
 disposition, nor any remarkable transpa- 
 rence in his colouring ; though he had a 
 free, firm manner of pencilling. On the 
 irruption of the French into Holland in 
 1672, he found so small a demand for his 
 pictures, that he applied himself entirely 
 to portrait painting. 
 
 Gemignano (Vincentio di San), called 
 Vincentino. He was born at San Gemi- 
 gnano in Tuscany, in 1490, and became 
 the disciple of RafFaelle, whose style he 
 successfully imitated in his taste of design 
 and composition, as well as in his colour- 
 ing. He was employed also by him in 
 many of the works in the Vatican, as well 
 as in those which were painted in fresco 
 in the pope's palace. Several of his own 
 compositions, which he painted at Rome, 
 were designed in the manner of Raffkelle, 
 and delicately coloured ; yet when he 
 quitted that city in 1527, when it was 
 sacked by the Spaniards, he did not per- 
 form any thing worthy of the reputation 
 which he had acquired. He died in 1530. 
 
 Gemignano, or Gkminiam (Giacinto). 
 He was born at Pistoia in 1611, and was 
 the disciple, first of Nicolo Poussin, and 
 next of Pietro da Cortona, under whom he 
 proved an historical painter of singular 
 merit. He continued at Rome some years, 
 and finished several fine compositions for 
 the churches and convents, by which he 
 gained an established credit, and then re- 
 turned to his native city, where he died in 
 1681. In the baptistery of St. John de 
 Lateran at Rome, he painted, in conjunc- 
 tion with Camassei and Maratti, some 
 subjects from the life of Constantine, in 
 fresco. In the ducal gallery at Florence 
 is a fine picture of St. Leandro by him, 
 which has been often taken for the pro- 
 duction of Guercino. He also etched some 
 plates. 
 
 GEMrGNANo,or Gemixiani(Luigi). He 
 was the son and disciple of Giacinto, and 
 was born in 1644. He had the reputation 
 of being an excellent artist ; for he not 
 only designed and composed with much 
 greater spirit than his father, but was 
 superior to him in the beauty of his 
 colouring, although he was not quite so 
 correct in his design. There are several 
 of his works in the churches at Rome, 
 where he died in 1697. 
 
 5 GEN 
 
 Genoa (Girolamo). He was born at 
 Urbino in 1476, and at the age of fifteen 
 was placed in the school of Luca Signor- 
 elli of Cortona, under whom he studied 
 for several years, and assisted his master 
 in most of his undertakings in different 
 parts of Italy, but particularly at Orvieto, 
 being acknowledged the best disciple of 
 that school. Afterwards he spent three 
 years with Pietro Perugino, at the same 
 time with RafFaelle; wliich intercourse 
 laid the foundation of a cordial friendship 
 between them, that continued through 
 life. As he had made perspective and 
 architecture his particular studies, he ex- 
 celled in both, and was employed by the 
 Duke of Urbino to paint the scenery of 
 his theatre, which he executed in an ad- 
 mirable manner. His extraordinary abili- 
 ties in the several branches of his art, 
 procured him also ample employment at 
 Rome and Florence, where his perform- 
 ances were held in great esteem. The 
 principal of his works was a fine picture 
 of the Resurrection, in the Church of St. 
 Catherine at Florence. He died in 1551, 
 leaving a son, Bartolomeo Genga, who 
 painted historical pictures in the style of 
 his father. He was also a sculptor and an 
 architect. He died in 1558, aged forty. 
 
 Gennari (Giovanni Battista). He 
 was born at Cento, near Ferrara, and was 
 the brother-in-law and instructor of 
 Guercino. In the Church of St. Biagio 
 at Bologna, is a fine picture by him of 
 the Virgin, with several saints and angels. 
 It bears the inscription of 1606. 
 
 Gennari (Bartolomeo). Another 
 painter of the same family, and a native 
 also of Cento. He was born in 1589, and 
 lived on terms of the greatest friendship 
 with Guercino, whose style he adopted. 
 There is a noble picture by him of the 
 Assumption, in a Church at Bologna, 
 where he died in 1658. 
 
 Gennari (Benedetto), who is com- 
 monlj' called Benedetto. This painter was 
 born at Cento in the Papal States, in 1633, 
 being the nephew and disciple of Guer- 
 cino, under whose direction he learned 
 colouring and design. Pie devoted his 
 whole study to the style of his uncle; and 
 his application was attended with such 
 success, that it is difficult to distinguish 
 his copies from the originals. For several 
 years he continued with Guercino, assist- 
 ing him in his works ; but when he in- 
 troduced himself to the world by his own 
 compositions, he received ample marks of 
 public approbation. In the reign of Louis 
 
GEL 
 
 214 
 
 GEL 
 
 historical subjects in a good taste, and was 
 an excellent colourist. He died at Pavia 
 in 1551. 
 
 Geei. (John Van). This Dutch pain- 
 ter, who lived about the year 1660, was 
 the scholar of Gabriel Metzu, and imitated 
 his style with such exactness, that the 
 works of the one frequently pass for those 
 of the other. Houbraken describes a pic- 
 ture of Van Geel, in which he has repre- 
 sented a Woman sitting, with a Child in 
 her lap. The figures are judiciously dis- 
 posed, and the drapery, which is of yellow 
 satin, falls in easy natural folds, painted 
 with a thin delicate colour; and the touch 
 is light, neat, and spirited. There are 
 also seaports bearing the name of John 
 Van Geel, which are coloured with a 
 strong character of nature and truth, ex- 
 cellently designed, well pencilled, and very 
 transparent. The figures, which are in- 
 troduced with propriety and judgment, are 
 neatly handled, though sometimes they 
 appear rather out of proportion ; not- 
 withstanding which, the whole together 
 is pleasing and masterly. 
 
 Geldeb (Arent, or Arnold de). He 
 was born at Dort in 1645, and learned 
 design in the school of Samuel Van Hoog- 
 straten ; but afterwards he went to Amster- 
 dam, and became a disciple of Rembrandt, 
 under whom he made so great a proficiency 
 as to approach very near that famous ar- 
 tist. Nor is it any way surprising that, in 
 his colouring, handling, and freedom of 
 pencil, he should so exactly imitate his 
 master, since he resembled him also in his 
 manner of thinking; and though many 
 of Rembrandt's disciples quitted his style 
 on quitting his school, De Gelder con- 
 stantly adhered to it as long as he lived. 
 He spent two years under Rembrandt, 
 but he accomplished himself in his art by 
 a sedulous study of nature. In imitation 
 of his master, he had a repository of ob- 
 jects which he might have occasion to 
 paint, as armour and old draperies ; and 
 the walls of his room were covered with 
 stuffs, silks, or ensigns, tattered and whole; 
 from which antique stores he dressed his 
 figures, and furnished the backgrounds of 
 his pictures. When he represented fringes 
 or embroideries, he frequently laid on a 
 mass of colour, and only broke it into the 
 form he designed with the stick of his 
 pencil, which generally produced a bold 
 and good effect, if viewed at the proper 
 distance. Among his principal works are 
 mentioned the dying scene of David, when 
 Bathsheba requests hira to make Solomon 
 
 his successor ; and Jacob, the patriarch, 
 blessing his Children. One of the most 
 curious of his pictures is the Interior of a 
 Jewish Synagogue, with a great number 
 of figures. At Dort is Solomon on his 
 Throne, attended by Courtiers and Sol- 
 diers. His last works were the Sufferings 
 of Christ, in twenty-two pieces, which 
 have a true and strong expression, a sur- 
 prising variety of figures, and an excel- 
 lent chiaro-oscuro. He died at Dort in 
 1727. 
 
 Gelder (Peter de). This painter 
 was a native of Holland, and the disciple 
 of Rembrandt, whose manner he happily 
 imitated, with a light touch, and a good 
 style of colouring. He was cut off in the 
 prime of life, about 1655. 
 
 Geldersman (Vincent). This painter 
 was born at Mechlin in 1539. He de- 
 signed correctly, and his colouring is good, 
 especially the carnations. The best of his 
 works are Susannah and the Elders, and 
 a Descent from the Cross; both in the 
 cathedral of his native city. 
 
 Geldorp, or GuALDOBP (Gortzics). 
 This painter was born at Louvain in 
 Brabant, in 1553, and studied at Ant- 
 werp under old Francis Francks, on whose 
 death he became the disciple of Francis 
 Pourbus. His principal employment was 
 to paint portraits, in which he received 
 great encouragement, and was reckoned 
 among the good artists of his time ; yet 
 Sandrart says, he was not capable of 
 drawing a whole figure, and, being in- 
 expert in designing the hands and extremi- 
 ties, was assisted therein by other painters. 
 It is affirmed, however, by some writers, 
 particularly Descamps, that he composed 
 historical subjects with credit, and that 
 his heads had great merit. At Cologne 
 is a Danae of his design, which is much 
 praised; and two heads, one of Christ, 
 and the other of the Virgin ; which by 
 some connoisseurs have been esteemed 
 little inferior to Guide. But his best 
 work is a painting of the Four Evange- 
 lists. One might be almost tempted to 
 believe there must have been two dif- 
 ferent painters of this name, as the merit 
 ascribed to the paintings of Gortzius, by 
 writers who had seen them, and were 
 competent judges, seems to be incompa- 
 tible with the character given of him by 
 Sandrart and De Piles. He died in 1618. 
 
 Gellig (Jacob). He was born at 
 Utrecht about 1636. His favourite sub- 
 jects were fish, and still life; and as he 
 never painted by the strength of imagina- 
 
GEM 2 
 
 tion or memory, but always copied every 
 object as it was placed before him, his 
 imitations were propoi'tionably exact; and 
 he designed them with a great deal of 
 truth, and gave them the colour of nature. 
 He had, however, no great elegance in the 
 disposition, nor any remarkable transpa- 
 rence in his colouring ; though he had a 
 free, firm manner of pencilling. On the 
 irruption of the French into Holland in 
 1672, he found so small a demand for his 
 pictures, that he applied himself entirely 
 to portrait painting. 
 
 Gemignano (Vincentiodi San), called 
 Vincentino. He was born at San Gemi- 
 gnano in Tuscany, in 1490, and became 
 the disciple of Raffaelle, whose style he 
 successfully imitated in his taste of design 
 and composition, as well as in his colour- 
 ing. He was employed also by him in 
 many of the works in the Vatican, as well 
 as in those which were painted in fresco 
 in the pope's palace. Several of his own 
 compositions, which he painted at Rome, 
 were designed in the manner of Raffaelle, 
 and delicately coloured ; yet when he 
 quitted that city in 1527, when it was 
 sacked by the Spaniards, he did not per- 
 form any thing worthy of the reputation 
 which he had acquired. He died in 1530. 
 
 Gemignano, or Gkminiani (Giacinto). 
 He was born at Pistoia in 1611, and was 
 the disciple, first of Nicolo Poussin, and 
 next of Pietro da Cortona, under whom he 
 proved an historical painter of singular 
 merit. He continued at Rome some years, 
 and finished several fine compositions for 
 the churches and convents, by which he 
 gained an established credit, and then re- 
 turned to his native city, where he died in 
 1681. In the baptistery of St. John de 
 Lateran at Rome, he painted, in conjunc- 
 tion with Camassei and Maratti, some 
 subjects from the life of Constantine, in 
 fresco. In the ducal gallery at Florence 
 is a fine picture of St. Leandro by him, 
 which has been often taken for the pro- 
 duction of Guercino. He also etched some 
 plates. 
 
 Gemignano, or Geminiani(Luigi). He 
 was the son and disciple of Giacinto, and 
 was born in 1644. He had the reputation 
 of being an excellent artist ; for he not 
 only designed and composed with much 
 greater spirit than his father, but was 
 superior to him in the beauty of his 
 colouring, although he was not quite so 
 correct in his design. There are several 
 of his works in the churches at Rome, 
 where he died in 1697. 
 
 5 GEN -' 
 
 Genga (Girolamo). He was born at 
 Urbino in 1476, and at the age of fifteen 
 was placed in the school of Luca Signor- 
 elli of Cortona, under whom he studied 
 for several years, and assisted his master 
 in most of his undertakings in different 
 parts of Italy, but particularly at Orvieto, 
 being acknowledged the best disciple of 
 that school. Afterwards he spent three 
 years with Pietro Perugino, at the same 
 time with Raffaelle; which intercourse 
 laid the foundation of a cordial friendship 
 between them, that continued through 
 life. As he had made pei'spective and 
 architecture his particular studies, he ex- 
 celled in both, and was employed by the 
 Duke of Urbino to paint the scenery of 
 his theatre, which he executed in an ad- 
 mirable manner. His extraordinary abili- 
 ties in the several branches of his art, 
 procured him also ample employment at 
 Rome and Florence, where his perform- 
 ances were held in great esteem. The 
 principal of his works was a fine picture 
 of the Resurrection, in the Church of St. 
 Catherine at Florence. He died in 1551, 
 leaving a son, Bartolomeo Genga, who 
 painted historical pictures in the style of 
 his father. He was also a sculptor and an 
 architect. He died in 1558, aged forty. 
 
 Gennari (Giovanni Battista). He 
 was born at Cento, near Ferrara, and was 
 the brother-in-law and instructor of 
 Guercino. In the Church of St. Biaglo 
 at Bologna, is a fine picture by him of 
 the Virgin, with several saints and angels. 
 It bears the inscription of 1606. 
 
 Gennari (Baktolomeo). Another 
 painter of the same family, and a native 
 also of Cento. He was born in 1589, and 
 lived on terms of the greatest friendship 
 with Guercino, whose style he adopted. 
 There is a noble picture by him of the 
 Assumption, in a Church at Bologna, 
 where he died in 1658. 
 
 Gennari (Benedetto), who is com- 
 monly called Benedetto. This painter was 
 born at Cento in the Papal States, in 1633, 
 being the nephew and disciple of Guer- 
 cino, under whose direction he learned 
 colouring and design. He devoted his 
 whole study to the style of his uncle; and 
 his application was attended with such 
 success, that it is difficult to distinguish 
 his copies from the originals. For several 
 years he continued with Guercino, assist- 
 ing him in his works ; but when he in- 
 troduced himself to the world by his own 
 compositions, he received ample marks of 
 public approbation. In the reign of Louis 
 
GER 
 
 them, that he took Christoforo under his 
 own care, admitted him as one of his dis- 
 ciples, and directed his hand and his 
 judgment till he proved a very eminent 
 painter. Christoforo spent some years in 
 the army, but forsook the military life to 
 devote himself to painting, and became a 
 universal artist, not only in historical sub- 
 jects, but also landscapes, birds, beasts, 
 fishes, and particularly in grotesque. He 
 finished a great number of works at Rome, 
 Naples, and Florence, which are greatly 
 admired, and, in conjunction with Giorgio 
 Vasari, he executed many noble designs 
 in fresco as well as in oil. He died in 
 1556. 
 
 Gerabds, or Garrard (Mark). This 
 artist was born at Bruges in 1561. He 
 practised history, landscape, portrait, and 
 architecture. He also engraved, illumin- 
 ated, and designed for glass painters. His 
 etchings for ^sop's Fables, and his 
 View of Bruges, were much esteemed. 
 About the year 1580 he came to England, 
 and was appointed painter to Queen 
 Elizabeth, whose procession to Hunsdon- 
 house, in 1584, he drew in a good style. 
 His works are numerous, being neatly 
 handled and well coloured ; but his flesh 
 colours are thin, and tend to a bluish tinc- 
 ture. His draperies are neat, but the 
 habits are stiff, and richly set off with 
 pearls and other jewels. He died in 
 1635. 
 
 Gerbeb (Sir Balthasar). He was 
 born at Antwerp in 1591, and arrived at 
 a considerable degree of eminence in mini- 
 ature painting. In the reign of James I. 
 he came to England with the celebrated 
 George Villiers, Duke of Buckingham, to 
 whom he became a retainer, and accom- 
 panied him to Spain when the negotiation 
 for a marriage was on foot between the 
 Prince of Wales and the Infanta. Gerber 
 afterwards had a diplomatic situation at 
 Brussels, on which occasion he obtained 
 the honour of knighthood. He painted 
 a number of portraits of the royal family, 
 and of the principal nobility of England; 
 and so high was he in favour, that he 
 entertained the duke and a large party at 
 supper, the expense of which is said to 
 have been one thousand pounds. But in 
 the civil war he was reduced so low as to 
 be obliged to keep a school. He next 
 went to Surinam, where he was seized and 
 sent to Holland, out of jealousy, by the 
 government. At the restoration of Charles 
 II. he returned to England, and was em- 
 ployed in preparing triumphal arches for 
 
 that event. He also practised as an archi- 
 tect, and gave designs for Hempsted-hill, 
 the seat of Lord Craven, He died in 
 1667. 
 
 Gericault (John Louis Theodobe 
 Andrea), a French historical painter, the 
 pupil of Guerin, was born in 1792, and 
 died in 1824. Among his best pictures 
 are the Shipwreck of the Medusa; a 
 Wounded Cuirassier ; and a Village Forge. 
 He also produced several spirited designs 
 and lithographic engravings. 
 
 Germyn (Simon). He was born at 
 Dort in 1650, and was a disciple of God- 
 frey Schalcken, though afterwards he 
 studied under Lodowick Smits, called 
 Hartcamp^ of whom he learned a peculiar 
 manner of painting fruit ; and made great 
 advantages by his works in that style at 
 the beginning, as his master, Smits, had 
 done before him. However, the success 
 was not of any long continuance; for by 
 his method of scumbling, blending, and 
 torturing his colours, mixing those that 
 were durable with those that were perish- 
 able, his paintings, like those of his mas- 
 ter, soon faded, and lost their original 
 lustre, and his pictures sank into disesteem ; 
 for which reason he applied entirely to the 
 painting of landscapes, which he practised 
 till his death in 1719. 
 
 Gerraud (of Haerlem). Tliis old 
 Dutch artist was born at Haerlem about 
 1460, and was a disciple of Albert Van 
 Ouwater, one of the first, after John Van 
 Eyck, who painted in oil ; and when he 
 had practised under that master for a short 
 time, he showed such freedom of hand, so 
 firm an outline, and such an expeditious 
 manner of colouring, thathis master used 
 to say he was born a painter. In many 
 parts of his profession he was equal to 
 Ouwater, and in design, expression, and 
 the disposition of his subjects, he was far 
 superior. He understood perspective well, 
 and was an admirable colourist. For the 
 church of St. John at Haerlem, he painted 
 a Descent from the Cross, which was 
 esteemed an exquisite performance. The 
 expression of the different passions in the 
 coimtenances of the Virgin and Apostles 
 is admirable; and the whole is very beau- 
 tiful. Albert Durer, who went to Haerlem 
 to see the works of Gerrard, said that he 
 must have been a remarkable favourite of 
 nature, who in his youth could arrive at 
 so great a degree of perfection. He died 
 in 1488. 
 
 Gerrards (Gerard Pietersz Van, 
 called Zyl). This artist was born at 
 
GES 
 
 GHE 
 
 Amsterdam, as some writers affirm, or at 
 Leyden, according to others, in 1607. 
 He learned the art of painting in his own 
 country, after which he came to England, 
 where he cultivated the friendship of 
 Vandyck. Having this opportunity of 
 observing the pencillingof that admirable 
 master, he studiously attempted to imitate 
 his manner of handling and colouring, 
 and proved so happy in his endeavours, 
 that on his return to Amsterdam he was 
 distinguished by the name of the second 
 Vandyck. His usual subjects were por- 
 traits, which he generally designed in the 
 historical style, after the manner of con- 
 versations; and he always gave his figures 
 such draperies as were suitable to the 
 modes of the times. The hands of his 
 women were particularly excellent, as 
 well for their roundness and fine outline, 
 as for the delicacy of the colouring. One 
 of his pictures is the Prodigal Son, which 
 has a sensible and strong expression, 
 and is excellently coloured. He died in 
 1667. 
 
 Gessi (Francesco). This artist was 
 born at Bologna in 1588. He studied in 
 the school of Guido Reni, who is said to 
 have been jealous of his promising talents ; 
 and certainly his early productions ap- 
 proached very near to the perfections of 
 that great master. Some of his pictures, 
 indeed, have been mistaken for those of 
 Guido, particularly the Assumption; a 
 Martyrdom of St. Catherine; and a St. 
 Francis; all of which are in the churches 
 of Bologna. In the latter part of his life, 
 however, he declined into a cold and in- 
 sipid manner. He died in 1649. 
 
 Gessneb (Solomon). This ingenious 
 person was born at Zurich in 1730. His 
 father was a bookseller, and destined him 
 for the same profession, on which account 
 he was placed with one of that trade at 
 Berlin. Young Gessner, however, out of 
 dislike to the business, eloped, which so 
 irritated his father that he stopped his 
 remittances. At this juncture, after he had 
 secreted himself some time in a hired room, 
 he waited on Hempel, the King of Prussia's 
 painter, whose friendship he had already 
 gained, and requested him to pay a visit 
 to his lodgings. Hempel did so, and 
 found the walls covered with paintings 
 which he had just finished, entirely from 
 his own invention. Hempel complimented 
 him on his genius, but told him that ex- 
 perience and study would be necessary to 
 render him an accomplished artist. Soon 
 after this, a reconciliation was eftected 
 
 between him and his father, who consented 
 to his remaining some time longer at Ber- 
 lin. In 1754 he produced some of his 
 Pastorals, which were followed by the 
 Death of Abel, works that have made his 
 name famous all over Europe. About his 
 thirtieth year he became acquainted with 
 Heidegger, a man of taste, who had a 
 large collection of paintings and engrav- 
 ings, and whose daughter he married. 
 From this time he appears to have carried 
 on the occupations of poet, painter, en- 
 graver, and bookseller; the latter depart- 
 ment, however, was chiefly conducted by 
 Mrs. Gessner. With him, painting and 
 engraving engaged the hours which were 
 not devoted to poetry, and his mode of 
 life was marked by cheerfulness and inno- 
 cence. In 1765 he published ten land- 
 scapes, etched and engraved by himself. 
 These were followed by twelve other 
 pieces of the same nature ; and he after- 
 wards executed ornaments for publications 
 that issued from his press. The reputation 
 he acquired by his pencil was scarcely 
 inferior to that arising from his pen, and 
 he was reckoned among the best artists of 
 his country. He died on March 2, 1788. 
 
 Ghedini (Giuseppe). He was born 
 at Ferrara about 1710, and studied under 
 Giacomo Parolini. He painted several 
 good pictures for the churches of his native 
 place, the principal of which is the miracle 
 of the Loaves and Fishes. He died about 
 1770. 
 
 Gheest (James de). He was born at 
 Antwerp in 1570, and died there in 1612. 
 He was a good painter of history. 
 
 GiiEEST (Wybrand de), Called the 
 noble Frieslander. This Dutch artist was 
 born in Friesland about 1591. He went 
 to Rome when young, and made drawings 
 there after the antiques and great pictures 
 of eminent masters, which fixed his style, 
 and gained him a considerable reputation 
 on his return home to his own country. 
 Some prints have been engraved from his 
 designs. He died in 1643, at Antwerp. 
 Another artist of the same name was a 
 native of Antwerp, and died there in 1672. 
 He excelled in history. 
 
 Ghebakdi, or Doceno (Cristoforo). 
 He was born at Borgo St. Sepolcro in 
 1500, and studied under Raffaellino dal 
 Colle. He painted both in oil and fresco, 
 but chiefly in the latter. His best works 
 are the Visitation of the Virgin to Eliza- 
 beth; and some grotesque pieces in the 
 CasaVitelli. He died in 1552. 
 
 Gherardi (Filifpo). This artist was 
 
GHE 
 
 220 
 
 GHI 
 
 born at Lucca in 1643, and learnt the 
 elements of painting from his father, 
 Bastiano Gherardi ; but afterwards he 
 went to Rome, and studied in the academy 
 of Pietro da Cortona. He next visited 
 Venice, and improved himself greatly in 
 colouring, by contemplating the great 
 masters of that school. While there, he 
 painted some pictures in the library of St. 
 Giorgio Maggiore; but was recalled to 
 Rome by his old master, to assist him in 
 the cupola of St. Maria in Campitelli. 
 He also painted two pictures of the Battle 
 of Lepanto, and the Triumph of Marc 
 Antonio Colonna, for the Colonna gallery. 
 He died in 1704. 
 
 Gherardini (Alessandro). He was 
 born at Florence in 1655, and received his 
 instructions in painting from Alessandro 
 Rosi. He painted historical subjects well, 
 both in oil and fresco. His greatest works 
 are the Crucifixion, in the Augustinian 
 convent, at Florence; and the Life of 
 Alexander, in the Casa Orlandini. He 
 died in 1723. 
 
 Gheyn (James). He was the son of 
 James Gheyn, an eminent engraver at 
 Antwerp, of which city he was a native. 
 He studied at first under his father, after 
 which he went to Italy, where he had 
 Tempesta for his instructor. He painted 
 landscapes and flowers, and died in 1630. 
 He also practised engraving with reputa- 
 tion. 
 
 Ghezzi (Sebastiano and Giuseppe). 
 These artists were father and son. The 
 former was born near Ascoli, and had 
 Guercino for his master. One of his finest 
 pictures is St. Francis receiving the Stig- 
 mata. The latter studied under Pietro 
 da Cortona, and became secretary to the 
 Academy of St. Luke, at Rome, where he 
 died in 1721. 
 
 Ghezzi (Cavalier Pier Leone). He 
 was born at Rome in 1674, and was in- 
 structed by his father, Giuseppe Ghezzi, 
 whom he soon excelled. There are several 
 paintings executed by him in his early 
 time, in which may be seen an exact 
 observance of those rules that are custom- 
 arily practised by the best and most cor- 
 rect artists of the Roman School. His 
 merit recommended him to the protection 
 of Cardinal Albani, who employed him i 
 several considerable works; and when the 
 same great prelate was elected pope, he 
 appointed Ghezzi to adorn the gallery of 
 Castel Gandolfo, as also to paint the 
 Prophet Micah, one of the twelve in the 
 Church of St. John Lateran. By these 
 
 and other performances, his reputation 
 was so eifectually established through all 
 Italy, that the Duke of Parma engaged 
 him in his service, and was so well pleased 
 with his performances, that he created him 
 a count, and conferred on him the order 
 of the Golden Spur. If at any time he 
 painted portraits, he undertook them un- 
 willingly; and yet those which he did 
 finish might stand in competition with the 
 productions of the best artists in that style. 
 He had a remarkable turn for caricature, 
 and his works of this description are 
 numerous. He also etched some prints 
 in a good style, after his own designs, and 
 those of his father. His principal works 
 are in the apartments and chapels of the 
 pope, cardinals, and nobility of Rome, 
 by whom he was held in the highest 
 esteem. He died in 1755. 
 
 Ghiberti (Lorenzo de). He was born 
 at Florence in 1454, and obtained a con- 
 siderable reputation in his time, for the 
 grandeur of his design in historical com- 
 position. He died in 1528. 
 
 Ghigi (Teodoro), or as he is some- 
 times called, from the place of his na- 
 tivity, Teodoro Mantuano. He was a 
 scholar of Giulio Romano, on whose death 
 he was employed to finish those works 
 which that great master had left imper- 
 fect. He lived about the year 1450. 
 
 Ghirlandaio (Domenico). He was 
 born at Florence in 1449 : his family 
 name was Corradi, but he obtained that 
 of Ghirlandaio, from the profession of his 
 father, who was a maker of artificialflowers 
 for garlands. Domenico was originally 
 bred a goldsmith ; but having a strong 
 natural inclination to painting, and a 
 good taste, he applied himself with singu- 
 lar industry to that art, and became a 
 disciple of Alessio Baldovinetti. After 
 some years spent in close application, he 
 proved a very eminent artist, and gradu- 
 ally increased his reputation, till he was 
 considered as one of the best painters of 
 his time. The first work by which he 
 distinguished himself, was in a chapel 
 belonging to the Vesputian family, in 
 which he introduced the portrait of the 
 celebrated navigator, Americus Vesputius, 
 after whom the western world is named. 
 Vasarienumeratesa multitude of his works 
 at Florence, Rome, Pisa, Lucca, and 
 Siena, in all which cities he was highly 
 esteemed. But, considerable as his merits 
 were, he derived greater honour from his 
 being the master of Michel Angelo 
 Buonarroti. Ilis invention was fertile and 
 
GHI 
 
 GHI 
 
 ready; his composition judicious; and he 
 painted architecture well. But he had 
 something dry and stiff in his manner, 
 with which the eye of a connoisseur must 
 ever be displeased. He rarely painted any 
 historical subject without introducing 
 portraits after the life; and some {)arts in 
 his compositions that were represented in 
 perspective had a good effect, allowance 
 being made for the time in which he 
 flourished. He was fond of designing the 
 antiquities of Rome, as tlie baths, columns, 
 obelisks, arches, aqueducts, and amphi- 
 theatres ; which he drew so exactly, only 
 by looking at them, that the proportions 
 of every single part, or member, had as 
 true a proportion to the whole, as if he 
 had executed the drawing by the scale and 
 compasses. And it is mentioned as an 
 extraordinary instance of his accuracy, 
 that having made a drawing of the Co- 
 losseum, he designed one upright figure in 
 such true proportion to the building, that 
 when that object and the building were 
 measured by the rule, the whole and every 
 part was found to correspond with the 
 proportion of the figure. Ghirlandaio 
 had the merit of exploding the frippery 
 commonly introduced by painters previous 
 to his time, as ornaments to their pic- 
 tures. He was employed by Sixtus IV. 
 in the Sistine chapel, where he painted 
 two pictures ; one of the Resurrection, and 
 the other the Vocation of St. Peter and 
 St. Paul. One of his best works is the 
 Wise Men's Offering, in the Church of the 
 Holy Trinity at Florence. He died in 
 1493. 
 
 Ghirlaxdaio (Rodolfo). He was born 
 at Florence in 1485, and after receiving 
 instructions from his uncle, David Ghir- 
 landaio, in design and colouring, he went 
 to Rome, where he had the singular fortune 
 of obtaining the friendship and advice of 
 the two greatest masters of the age, Raf- 
 faelle and Buonarroti. The advantages 
 which he derived from this association 
 were manifest in his improvement; so 
 that, at his return to Florence, he was ac- 
 counted one of the best designers of his 
 time. Though his colouring was excellent, 
 he acquired that perfection, not from the 
 instruction or example of his uncle, but 
 from having been the disciple of Barto- 
 lomeo di San Marco. At Rome he was 
 much admired, and constantly employed 
 by the pope and the principal nobility ; 
 and in Florence also he was as highly 
 favoured by the grand duke, in whose 
 palaces are several noble compositions by 
 
 Rodolfo. It is a sufficient proof of his 
 merit, that RafFaelle employed him to com- 
 plete his picture of the Virgin and Child ; 
 after which he invited Rodolfo to assist 
 him in the works at the Vatican. This, 
 however, he declined, and chose rather to 
 continue at Florence, where he died in 
 1560. 
 
 Ghisi (Giovanni Britano). This 
 artist, who also obtained the name of 
 Mantuano, from the place of his nativity, 
 was born in 1500. He was the scholar of 
 Giulio Romano, but he is not so much 
 known by his paintings as by his engrav- 
 ings, which art he is supposed to have 
 learned under Marc Antonio llaimondi. 
 His son, Giorgio Ghisi, was also an artist, 
 and memorable for engraving an extremely 
 large print, after Michel Angelo's painting 
 of the Last Judgment. All his works are 
 very rare. Giovanni Britano had another 
 son, Adamo, who was also a good en- 
 graver; and a daughter named Dzawa, who 
 was equally excellent in the same art. 
 
 Ghislandi (Domenico). He was born 
 at Bergamo, and flourished about the year 
 lo65. His subjects were architectural 
 views in fresco, and historical pieces. He 
 had a son called Vittore, who, on becom- 
 ing an ecclesiastic, took the name of Fra 
 Paolotto. He proved himself an excellent 
 portrait painter, but sometimes attempted 
 historical subjects. He had Sebastiano 
 Bombelli for his master. He died in 1743, 
 aged eighty-eight. 
 
 GmsoLFi, or Gisolfi (Giovanni). This 
 painter was born at Milan in 1623, and 
 received his first instruction in painting 
 from Girolamo Chignolo ; after which he 
 learned architecture and perspective from 
 Antonio Volpini, though he was indebted 
 chiefly to Salvator Rosa for his taste and 
 method of pencilling. He gave the first 
 proof of his abilities, by designing and 
 painting the triumphal arches for the 
 reception of the Archduchess of Austria, 
 on her passing through Milan ; soon after 
 which he went to Rome, where he de- 
 signed all the beautiful remains of anti- 
 quity, as the edifices, ruins, columns, and 
 theatres. Of these sketches he made an 
 elegant use in his own compositions, and 
 introduced historical figures suitable to 
 the vestiges of ancient magnificence, or to 
 the different situations which he had 
 chosen ; so that the whole appeared full of 
 harmony, and every part was excellent. 
 The lightness and grandeur of his build- 
 ings, the beauty of the perspective, the 
 judicious disposition of the figures, the 
 
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 222 
 
 GIB 
 
 correctness and taste of his design, and 
 tlie truth, nature, and force of his colour- 
 ing, rendered his works much valued in 
 every part of Europe. He painted some 
 historical pictures and altar-pieces, but 
 excelled chiefly iu perspective views and 
 seaports. He died in 1683. 
 
 Ghissoni (Ottavio). He was bom at 
 Siena, and received his education in the 
 art of painting from Cherubino Alberti, 
 at Rome; but in 1610 he went to Genoa, 
 where he became the pupil of Ventura 
 Salirabine. He painted chiefly in fresco ; 
 but his works, though well coloured, 
 evince no great genius in design and com- 
 position. 
 
 Ghiti (Pompeo). He was born at 
 Marone, near Brescia, in 1631, and studied 
 successively under Ottavio Amigoni, and 
 Giovanni Battista Discepoli. He then 
 settled at Brescia, where he executed many 
 considerable works in fresco and oil. His 
 invention was fertile, and his design cor- 
 rect, but his colouring was vapid and 
 tame. He was, in truth, a better in- 
 structor than artist. He died in 1703. 
 
 Ghizzi (Andkea). This painter was 
 born at Bologna in 1570, and studied 
 successively under Massari and Dentone. 
 He became eminent in painting archi- 
 tectural pieces and views in perspective. 
 He died in 1618. 
 
 GiAciNTo (II Cavaliere). This artist 
 . was born at Populo, in the kingdom of 
 Naples, and became the scholar of Massino, 
 under whom he profited so well as to ac- 
 quire the reputation of being one of the 
 best painters of history in his time. His 
 talents procured him the honour of knight- 
 hood. He died at Naples in 1684. 
 
 GiAu>isi ( ). This artist was a 
 
 native of Parma, but died at Cremona 
 about the year 1730. He painted flowers, 
 fruits, carpets, with musical instruments, 
 books, and other objects of that kind, 
 which he represented with great faithful- 
 ness, and an excellent colour. 
 
 GiAMPELLi (Agostino.) He was born 
 at Florence in 1578. On settUng at Rome, 
 he became the favourite artist of Pope 
 Clement VIH., who appointed him super- 
 intendent of the building of St. Peter. He 
 died at Rome in 1640. 
 
 GiANNETTi (FiLippo). Hc was born 
 at Messina in the island of Sicily, and 
 studied under Abraham Casembrot. He 
 excelled in landscape painting, and to 
 such a degree as to be called the Luca 
 Giordano of that style. He lived about 
 the year 1690. 
 
 GiAQuiNTo (CoHKADo). He was born 
 at Molfetta, and studied under Francesco 
 Soliraena, but afterwards improved him- 
 self in the school of Sebastiano Conca. 
 He was a correct designer, but too much 
 of a mannerist. He died in 1765, at 
 Madrid, whither he had been invited by 
 the king to ornament his palaces. 
 
 GiBERTONi (Paolo). He was born at 
 Modena, but lived at Lucca, where he 
 practised his art, and painted in a good 
 style grotesque subjects in fresco. He 
 introduced into his pictures small animals, 
 which were represented with great truth 
 and spirit. He also painted landscapes 
 of considerable merit. He died about 
 1770. 
 
 Gibson (Richard). This extraordi- 
 nary person, who is commonly called the 
 Dwarf, is supposed to have been a native 
 of Cumberland. He was originally servant 
 to a lady at Mortlake, who, observing his 
 genius for painting, placed him under De 
 Cleyn, at that time master of the tapestry 
 works there. Gibson profited well by his 
 instructions, and he also increased his re- 
 putation by the copies which he made of 
 Sir Peter Lely's portraits. He was greatly 
 in favour with Charles I., who honoured 
 his marriage by his presence, and Waller 
 wrote a poem on the occasion. Gibson's 
 wife was as diminutive as himself, each 
 measuring three feet ten inches in height; 
 yet they had nine children, five of whom 
 attained maturity, and the ordinary stand- 
 ard of mankind. Gibson not only painted 
 his royal master, to whom he was page, 
 but also Oliver Cromwell, several times. 
 He had likewise the honour to instruct in 
 drawing the Princesses Mary and Anne, 
 daughters of the Duke of York, and after- 
 wards successively queens of England. 
 Gibson died in Covent-garden, in his 
 seventy-fifth year, in 1690, and his wife 
 in 1709, at the age of eighty-nine. His 
 nephew, William Gibson^ was instructed 
 in the art of painting both by him and 
 Sir Peter Lely. He attained considerable 
 eminence in miniature; but his excellence 
 lay chiefly in copying after Sir Peter, 
 though he was a good limner, and drew 
 the portraits of several persons of rank. 
 His great industry was much to be com- 
 mended, not only for purchasing Sir Peter 
 Lely's collection after his death, but like- 
 wise for procuring from the continent a 
 great variety of valuable works. He died 
 in 1702, aged fifty-eight. He had a rela- 
 tion, Edward Gibson, who was instructed 
 by him, and first painted portraits in oil, 
 
IHHbt aftervvai 
 "^^"irly age. 
 
 GIL 
 
 Jilt afterwards in crayons. He died at an 
 iarly age. 
 
 GiLAKDi (PiETRo). He was born at 
 Milan in 1679, and had for his instructors 
 Federigo Bianchi, and Marc Antonio 
 Franceschini, but afterwards he studied 
 under Giovanni Giuseppe del Sole. He 
 excelled in fresco on a large scale, and was 
 much employed in painting cupolas, ceil- 
 ings, and vaults. He composed well, and 
 was a good colourist. 
 
 GiLAHTii; (Matteo). This Spanish 
 artist was born at Valencia in 1647. His 
 preceptor was Francesco Ribalta, by whose 
 instructions hebecame an excellent painter 
 of history, as well in oil as in fresco. 
 Most of his works are at Murcia, and the 
 principal of them are Esther in the presence 
 of Ahasuerus ; Jacob wrestling with the 
 Angel ; St. Dominic ; and the miracle of 
 the Loaves and Fishes. These pictures 
 are composed in a style of grandeur, but 
 they are defective in drawing and expres- 
 sion. He died in 1700. 
 
 Giles, or Gyles (Henry). This artist 
 was a painter on glass, which he practised 
 at York, where he resided from 1640 to 
 1700. Among his performances is the 
 east window of the University College, 
 Oxford, painted in 1687. 
 
 GiLioLi (GiAciNTo). He was born at 
 Bologna in 1584, and received his educa- 
 tion in the academy of the Caracci, where 
 he acquired the true principles of design, 
 which he evinced in the historical works 
 painted by him for churches. The prin- 
 cipal of these are, the Death of St. Joseph, 
 in the Church of St. Matthias ; and David 
 with the Head of Goliath, in that of St. 
 Salvatore. He died in 1665. 
 
 GiLLAHDiNi (Melchiob). He was born 
 at Milan, and studied under Giovanni 
 Battista Crcspi, on whose death he finished 
 those pictures which were left by him un- 
 completed. He likewise painted several 
 grand pieces for the churches, one of the 
 best of which is a St. Catherine of Siena, 
 in the Church of St. Celso, near Milan. 
 He also etched some plates from his own 
 designs, of battles, and other subjects, in 
 the manner of Callot. He died at Milan 
 in 1675. 
 
 GiLLEMANS ( ). He was born at 
 
 Antwerp about 1672, and studied after 
 nature those objects which he delighted 
 to imitate. His subjects were fruits of 
 various kinds, particularly grapes, which 
 he always painted in a small size, but 
 with great truth and relief. He had a 
 free and spirited touch ; his objects were 
 
 3 GIL 
 
 well grouped, and his colouring was 
 frequently very lively; but being of a 
 smaller dimension than that which the 
 eye is accustomed to see in nature, his 
 pictures have not an effect equal to the 
 neatness of his handling. 
 
 GiLLOT (Claude). This French artist 
 was born at Langres in 1673, and studied 
 under John Baptist Comeille. His 
 talent lay in painting fauns, satyrs, and 
 grotesque pieces, which he executed in a 
 superior manner, and in 1715 became a 
 member of the Academy. He is, however, 
 better known as an engraver than a pain- 
 ter, and his plates are in much esteem. 
 He died at Paris in 1722. 
 
 Gilpin (Saweey). This excellent artist 
 was born at Carlisle in 1 733, from whence, 
 after having acquired some relish for the 
 art from his father, who was a captain in 
 the army, he came to London, and was 
 articled to a ship-painter. His first in- 
 teresting works were composed of some 
 market groups, which struck his eye from 
 his window. Soon after, he went to 
 Newmarket, being encouraged by William, 
 the great Duke of Cumberland, for whom 
 he executed many compositions which 
 might have vied with Hogarth's in regard 
 to character. In the duke's stud he ac- 
 quired that knowledge of the horse which 
 he afterwards displayed with such superior 
 spirit and beauty ; and when we see with 
 what felicity he applied it to the higher 
 departments of the art, to historic com- 
 positions, in the triumph of Camillus, the 
 election of Darius, the story of Phaeton, 
 we must lament that such talents should 
 have been drawn aside to the meaner 
 employment of horse-portrait painting, 
 which occupied too much of his valuable 
 life. His drawings of animals, in pencil 
 and water-colours, display a degree of taste 
 and skill seldom attained. Many of his 
 most capital pictures are in the possession 
 of noblemen and collectors ; his chef 
 (Toeuvre, a group of tigers, is in the pos- 
 session of Samuel Whitbread, Esq. The 
 etchings of cattle which accompany his 
 brother's descriptive writings, are his pro- 
 ductions. As a man, he was equally 
 esteemed for probity of character and 
 simplicity of manner, and as a member 
 of the Royal Academy, he did honour to 
 the institution. He died at Bromy)ton, 
 March 8, 1807. The late Rev. William 
 Gilpin^ vicar of Boldre, his brother, had 
 also a fine taste for landscape drawing, as 
 his works on picturesque beauty sufficient- 
 Ij' evince. 
 
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 GIO 
 
 GiJfASsi (Caterixa). This ingenious 
 lady was born of a noble family at Rome 
 in 1590, and the Cardinal Domenico 
 Ginassi was her uncle. She studied 
 painting under Giovanni Lanfranco, from 
 whose designs she executed several pic- 
 tures in the convent of St. Lucia. She 
 died in 1660. 
 
 GioNiMA (Antonio). He was born at 
 Padua in 1697, and received his first in- 
 structions in drawing from his father, 
 Simone Gionima, but afterwards he be- 
 came the scholar of Aureliano Milani. 
 He painted several altar-pieces for the 
 churches in and about Bologna, where he 
 died in 1732. 
 
 Giordano (Luca), called Ltica Fa 
 Presto. This master was born at Naples 
 in 1629, though some say in 1632, and at 
 first was the discipleofGiuseppedeRibera, 
 called Spagnoletto ; but he studied after- 
 wards under Pietro da Cortona. The 
 appellation of Luca Fa Presto was acci- 
 dentally applied to Giordano, not on 
 account of the fame he had acquired by 
 his expeditious manner of painting, but 
 from the mercenary eagerness of Antonio 
 Giordano, his father, who sold at a high 
 price the designs of Luca, which he made 
 after the compositionsof the great masters, 
 while he pursued his studies. The father 
 of Luca scarcely allowed him time to re- 
 fresh himself, but still said to him, while 
 at his meals as well as at his work, Luca, 
 fa presto! or, Luca, make haste! from 
 which expression, perpetually uttered, his 
 companions gave him the nickname of Fa 
 Presto. When he quitted Cortona, he 
 went to Lombardy to examine the pro- 
 ductions of Corregio, and then travelled 
 to Venice, to improve himself by studying 
 the colouring and compositions of the best 
 artists of that school. There the works 
 of Titian and Paolo Veronese principally 
 engaged his attention ; from the former 
 he learned the force of the chiaro-oscuro, 
 and from the latter the grandeur and 
 majesty of style, which he united with the 
 harmonious colouring of Cortona ; but he 
 chiefly took Veronese for his model. He 
 had a fruitful and fine imagination, with 
 a surprising readiness and freedom of 
 hand ; his tone of colouring is agreeable, 
 and his design correct. He studied the 
 manners and peculiarities of the greatest 
 masters with such care and judgment, 
 and possessed so happy a memory, that 
 he not only retained in his mind a distinct 
 idea of the style of each, but had the skill 
 and power to imitate them with such 
 
 critical exactness as to deceive even the 
 ablest connoisseurs; whence he has been 
 called " the bee," which collects honey 
 from every flower. Giordano, when em- 
 ployed at the Spanish court, was shown 
 by the king a picture painted by Giacomo 
 Bassan, for which that monarch seemed 
 desirous to have a companion. According- 
 ly, Luca painted one so completely in the 
 manner of Bassan, that the king appeared 
 equally pleased and surprised. For this 
 extraordinary performance, as also on ac- 
 count of a number of other excellent 
 paintings, he received the honour of 
 knighthood, and was favoured with several 
 valuable employments. During his resi- 
 dence at Madrid, where he arrived in 1 692, 
 and continued ten years, he executed a 
 great number of works. Among all his 
 frescoes, that representing the famous 
 battle of St. Quentin, and the taking of 
 Montmorency, is in the highest estimation. 
 It forms a magnificent display of colour 
 and design, though neither the lights nor 
 the architecture set it off" to advantage. 
 In 1 702 Giordano accompanied Philip V. 
 to Naples, where he found it difficult to 
 perform the orders which he received, 
 though his rapidity of execution was so 
 great, that he painted a fine picture of St. 
 Francis Xavier, for the Jesuits, in a day 
 and a half ! He died very rich, in 1704. 
 It is rather singular that in this master 
 we should see so true a genius stoop to 
 become a mimic of others. In his early 
 time it might have been the effect of study, 
 and an attempt to arrive at excellence; 
 but the same disposition is observed in 
 those pictures which he painted in the 
 best periods of his life, many of them 
 being in the peculiar manner of Titian, 
 Tintoretto, Guido, and Bassan. His imi- 
 tations were so well executed, that in the 
 most capital collections in England, there 
 are some called Titian's which are in- 
 contestably no more than the sportings of 
 Giordano's pencil. In the gallery of the 
 Marquis Peralta, at IMilan, are several 
 heads by Giordano, in the diffierent man- 
 ners of the Italian masters, which are 
 extremely fine, particularly one of St. 
 Gregory, in the style of Guido. The 
 grand altar-piece in the Church of the 
 Ascension at Naples, is accounted one of 
 the best performances of Giordano : it 
 represents the Battle of the Angels, and 
 the Fall of Lucifer ; St. Michael stands 
 in a noble attitude, with his feet upon 
 Lucifer, both figures being supported by 
 the air ; two of the evil spirits seem loaded 
 
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 GIO 
 
 with the throne of their prince, which is 
 tumbling along with them towards the 
 abyss; and there are numerous figures 
 below, which appear already driven into 
 punishment. The colouring of this pic- 
 ture is wonderfully beautiful, fresh, and 
 brilliant, and has a striking effect, by the 
 brightness of the local tints. There are 
 likewise, in the Palazzo Durazzo, a Dying 
 Seneca in the Bath ; the Martyrdom of a 
 Saint; and the contest between Perseus 
 and Demetrius ; which justify all the 
 honours and riches bestowed by monarchs 
 on this great painter. Giordano etched 
 some plates in a very spirited manner from 
 his own designs. 
 
 GioRGETTi(GiAcoMo). He was a native 
 of Assisi, and the pupil of Lanfranco, 
 under whom he acquired a good taste in 
 colouring, though he was somewhat de- 
 fective in design. His principal works 
 are in the churches of his native place, 
 where he died about 1670. 
 
 GioRGioNE (called Burbarelli del 
 Castel-Franco). He was born at Castel- 
 Franco, in the Venetian territory, in 1478, 
 and learned the art of painting from 
 Giovanni Bellini, though in a few years 
 he proved far superior to his master. He 
 carefully studied and designed from the 
 works of Leonardo da Vinci, and from 
 them derived his first notions of the fofce 
 of well adapted lights and shadows, to add 
 life and spirit to the figures; till, by fre- 
 quent experiments, he produced such a 
 new and animated style of colouring, as 
 rendered him more admired than all the 
 artists who had gone before him ; and he 
 still added to his taste and judgment by a 
 diligent study of nature, which he imi- 
 tated with remarkable fidelity in all his 
 compositions. He was one of the first who 
 observed the powerful effect of strong 
 lights opposed by strong shadows, which 
 he practised with astonishing success; 
 and from himTitian studied and improved 
 that enclianting part of painting, till he 
 excelled Giorgione. His taste of design 
 is delicate, somewhat resembling that of 
 the Roman School, though he frequently 
 seems more attentive to the roundness 
 than the correctness of his figures. De 
 Piles justly remarks, " that it is a matter 
 of wonder to consider how, all of a sudden, 
 he soared from the low and dry manner of 
 Bellini's colouring, to the supreme height 
 to which he raised that lovely part of 
 painting, by joining extreme force with 
 extreme sweetness." Yet, when we reflect 
 that nature and Da Vinci were his models, 
 
 and that he had a genius happily qualified 
 to study them judiciously, we may more 
 easily account for that excellence by which 
 he was distinguished. His pencil was 
 light, easy, and free; his knowledge of 
 the chiaro-oscuro extensive ; and his car- 
 nations had more the appearance of real 
 flesh, than of being a fine imitation of it. 
 He frequently painted portraits at half- 
 length ; and those of the Doges Lnredano 
 and Barbarigo, are excellent ; his figures, 
 indeed, cannot but be admired for their 
 bold relief, as well as for the harmony of 
 his colouring, and the charming force of 
 light and shadow. His landscapes also 
 are exquisite; and he found out some 
 secret to keep his colours fresh and lively, 
 especially the greens. His works are 
 held in the highest esteem : the greatest 
 part of them were grand compositions in 
 fresco, but his easel pictures were few, 
 and, as well on account of their scarcity 
 as tlieir merit, are exceedingly valuable. 
 At Venice there is a picture by Giorgione, 
 representing Christ bearing his Cross, 
 which is held in veneration ; in the Palazzo 
 Sagredo, in the same cily, is preserved a 
 portrait, painted in a style that is wonder- 
 fully grand ; at Trevigi is a picture of St. 
 Mark allaying a Tempest ; and at Milan is 
 a fine picture of the finding of Moses. He 
 died of the plague in 1511. 
 
 GiosEPPiNo, see Cksaki. 
 
 GioTTiNo, see Stefaso. 
 
 Giotto (di Bondini). This celebrated 
 artist was born in 1276, at Vespignano, a 
 village near Florence, of parents who 
 were plain country people. When a boy, 
 he was sent to keep sheep in the fields, 
 where he used to amuse himself with 
 drawing his flock after the life, upon sand, 
 in the best manner he could. Cimabue, 
 travelling that waj% found him at this 
 work, and thence conceived so good an 
 opinion of his genius, that he prevailed 
 with his father to let him go to Florence, 
 and be brought up under him. He had 
 not applied himself long to designing be- 
 fore he began to shake off' the stiffness of 
 the Grecian masters. He endeavoured to 
 give a finer air to his heads, and more of 
 nature to his colouring, with proper 
 actions to his figures. He attempted 
 likewise to draw after the life, and to ex- 
 press the different passions of the mind ; 
 but could not come up to the liveliness of 
 the eyes, the tenderness of the flesh, or 
 the strength of the muscles, in naked 
 figures. What he did, however, so far 
 exceeded what had been done for two 
 
GIO 
 
 GIO 
 
 centuries, that his reputation reached Pope , 
 Benedict IX., who sent a person into I 
 Tuscany, to bring him a just report of j 
 Giotto's talents ; and also to procure a ! 
 design from each of theFlorentine painters, 
 that he might have some notion of their 
 skill. When he came to Giotto, he told 
 him of the pope's intentions, which were 
 to employ him in St. Peter's Church at 
 Rome, and desired him to send some 
 design by him to his holiness. Giotto, 
 who was a pleasant man, took a sheet of 
 white paper, and, setting his arm to his 
 hip to keep it steady, drew with one stroke 
 of his pencil a circle so exactly, that 
 " round as Giotto's O" became a proverb. 
 Then presenting it to the gentleman, he 
 told him that there was a piece of design 
 which he might carry to his holiness. 
 The messenger replied, " I ask for a de- 
 sign." Giotto answered, " Go, sir, I tell 
 you his holiness asks nothing else of me." 
 The pope, who' understood something of 
 the art, easily comprehended by this, how 
 much Giotto excelled the other painters 
 of his time ; and accordingly sent for him 
 to Rome, where he executed many pieces, 
 and amongst others a ship in mosaic, 
 which is over the three gates of the portico 
 in the entrance to St. Peter's Church, 
 and is known by the name of Giotto's 
 vessel. Pope Benedict was succeeded by 
 Clement V., who transferred the papal 
 court to Avignon, whither he was followed 
 by Giotto. After some stay there, having 
 perfectly satisfied the pope by many fine 
 specimens of his art, he was largely re- 
 warded, and returned to Florence, in 1316, 
 full of riches and honour. He was soon 
 invited to Padua, where he painted anew 
 built chapel very curiously; thence he 
 went to Verona, and next to Ferrara^ 
 from whence, on the invitation of Dante, 
 he removed to Ravenna, where, among 
 other performances, he drew that poet's 
 portrait. In 1322, he was invited by 
 Robert, King of Naples, to his court, 
 where he painted several pictures in the 
 presence of his royal patron, who was 
 pleased with his wit. One day, it being 
 very warm, the king said to him, " If I 
 were you, Giotto, I would leave ofiF working 
 this hot weather." *' And so would I, 
 sir," says Giotto, " if I were you." He 
 returned from Naples to Rome, and from 
 Rome to Florence, leaving monuments of 
 his art in almost every place through 
 which he passed. There is a picture of 
 his in one of the churches of Florence, 
 representing the Death of the Virgin, 
 
 with the Apostles about her ; the attitudes 
 of which, Michel Angelo used to say, 
 could not be better designed. Giotto, how- 
 ever, did not confine his genius altogether 
 to painting ; he was both a sculptor and 
 an architect. In 1327, he formed the 
 design of a magnificent and beautiful 
 monument for Guido Tarlati, bishop of 
 Arezzo; and in 1334, he undertook the 
 famous tower of Santa Maria del Fiore ; 
 for which work, though it was not finished, 
 he was made a citizen of Florence, and 
 rewarded with a yearly pension. His 
 death happened in 1336 ; and the city of 
 Florence erected a marble statue over his 
 tomb. He enjoyed the esteem and friend- 
 ship of most of the greatest men of the 
 age, and, among the rest, of Dante and 
 Petrarch. Giotto is said to have been 
 the inventor of mosaic work, and of cruci- 
 fixes. The former has been disproved in 
 the Archseologia, and the latter rests on a 
 story, which we hope has as little founda- 
 tion, but which it is necessary to mention. 
 Giotto intending one day to draw a crucifix 
 to the life, persuaded a poor man to sutFer 
 himself to be bound to a cross for an hour, 
 at the end of which he was to be released, 
 and receive a considerable reward for it; 
 but, instead of this, as soon as he had 
 fastened him, he stabbed him dead, and then 
 fell to drawing. When he had finished 
 his picture, he carried it to the pope, who 
 liked it so well that he was resolved to 
 place it over the altar of his own chapel. 
 Giotto told him, as he liked the copy so 
 well, he would show him the original. 
 "What do you mean?" said the pope: 
 " will you show me Jesus Christ on the 
 cross in person ?" " No," said Giotto, 
 " but I will show your holiness the original 
 from whence I drew this, if you will ab- 
 solve me from all punishment." The pope 
 promised this, which Giotto believing, 
 attended him to the place where it was ; 
 as soon as they were entered, he drew 
 back a curtain, which hung before the 
 dead man on the cross, and told him what 
 he had done. The pope, troubled at so 
 barbarous an action, retracted his promise, 
 and told Giotto that he should surely be 
 put to an exemplary death. Giotto, with 
 seeming resignation, only begged leave to 
 finish the piece before he died, which was 
 granted him, and a guard set upon him 
 to prevent his escape. As soon as the 
 picture was delivered into his hands, he 
 took a brush, and, dipping it in a sort of 
 stuff ready for that purpose, daubed the 
 picture all over with it, so that nothing of 
 
GIB 
 
 227 
 
 GIR 
 
 the crucifix could be seen. His holiness 
 was so incensed, that he threatened to 
 put Giotto to the most cruel death unless 
 he drew another equal to the former; if 
 so, he would not only give him his life, but 
 also an ample reward in money. Giotto, 
 as he had reason, desired this under the 
 pope's signet, that he might not be in 
 danger of a second apjeal. This was 
 granted to him ; and, taking a wet sponge, 
 he wiped off all the varnish he had daubed 
 on the picture, so that the crucifix ap- 
 peared the same in all respects as it did 
 before. Upon this, the pope remitted his 
 punishment, and they say that this crucifix 
 is the original from which the most fa- 
 mous crucifixes in Europe are drawn. 
 Vasari says, that his works were univer- 
 sally admired for the correctness of the 
 figures, for their proper disposition, and 
 for easy, natural attitudes. In a chapel 
 at Padua, there are several subjects taken 
 from the New Testament, particularly a 
 Crucifixion ; and the Casting Lots for the 
 Vesture of Christ ; which are painted in 
 fresco. Nothing of the stiff manner of 
 Cimabue, or ofthe Greek painters, appears 
 in this work; the attitudes are just, and 
 many of them graceful ; but the naked 
 figures are by no means equal to those 
 that are clothed. 
 
 GiovANNiNi (GiAcoMO Mabia). This 
 artist was born at Bologna in 1651, and 
 studied under Antonio Roli. There are 
 several of his paintings in the churches 
 of his native city, particularly one of a 
 ]\Iagdalen worshipping the Cross. But 
 he is best known by his engravings after 
 Corregio and the Caracci. 
 
 GiovANNiNi (Carlo). This artist, who 
 was also a native of Bologna, painted 
 historical subjects in a respectable man- 
 ner. His best pictures are of St. Anne 
 teaching the young Virgin to read ; the 
 Expulsion of Adam and Eve from Para- 
 dise ; and Christ giving the Keys to Peter. 
 He flourished about 1710. 
 
 GiovENONE (GiKOLAMo). Hc was bom 
 at Vercelli, and lived about the year 1520. 
 He painted, in the church belonging to 
 the Augustine convent at Milan, a noble 
 picture of the Resurrection, as an altar- 
 piece, with two laterals representing St. 
 Margaret and St. Cecilia. 
 
 Girandole, see Buoxtalenti. 
 
 Girodet-Troison (Anne Louis). This 
 artist, one of the most eminent of modern 
 French painters, was born at Montargis 
 in 1767, and was a pupil of David. At 
 thirteen years old he painted a portrait of 
 
 his father, and at twenty-two he gained 
 the highest academical prize. Rome com- 
 pleted his education in the pictorial art. 
 While there he produced his excellent 
 pieces of Endymion sleeping, and Hippo- 
 crates refusing the Presents of Artaxerxes. 
 After his return to France, he rose to 
 the highest rank in his profession. His 
 Scene of the Deluge carried off the palm 
 from the Sabines of David, in the competi- 
 tion for the great prize to the best histo- 
 rical painting. He died in 1824. 
 
 GiRTiN (Thomas). This ingenious 
 artist was born in London, Feb. 18, 1773, 
 and received his first instructions from 
 Mr. Fisher, a drawing-master in Alders- 
 gate-street, but afterwards he was for a 
 short time the pupil of Mr. Dayes. He 
 early made nature his model ; but the first 
 master that struck his attention forcibly 
 was Canaletti, and in the latter part of 
 his life he sedulously studied the colouring 
 of Rubens. He was the first who intro- 
 duced the custom of drawing upon cart- 
 ridge paper ; by which means he avoided 
 that spotty glittering glare, so common in 
 drawings made on white paper ; and some 
 of his latter productions have as forcible 
 and spirited an effect as an oil picture, 
 and are much more clear. In his first 
 manner he made the outline with a pen, 
 but afterwards he did away that hard 
 outline, which gives so edgy an effect to 
 drawings that are not, in other respects, 
 destitute of merit; and having first given 
 his general forms with Indian ink, he 
 finished his work by putting on his dif- 
 ferent tints. This, if judiciously ma- 
 naged, is certainly a great improvement 
 in the art. It has been said, that he made 
 great use of the rule, and produced some 
 of his most forcible effects by trick, but 
 this was not the case. His eye was pecu- 
 liarly accurate, and by that he formed his 
 judgment of proportions. Whoever in- 
 spected his palette would find it covered 
 with a greater variety of tints than were 
 usually employed by his contemporary 
 artists. Mr. Moore was his first patron, 
 and with him he went a tour into Scot- 
 land. The prospects he saw there gave 
 that wildness of imagery to the scenery 
 of his drawings, by which they are so pre- 
 eminently distinguished. He also went 
 with Mr, Moore through several of the 
 midland counties, visiting every place re- 
 markable for rich scenery in nature or 
 architecture. Mr. Moore had a view of 
 Exeter Cathedral, which was principally 
 coloured on the spot where it was drawn ; 
 
GLA 
 
 GLA 
 
 for Girtin was so indefatigable, that when 
 he had made a sketch of any place, he 
 never wished to quit it till he had given 
 it all the proper tints. He was early 
 noticed by the present Lord H^-ewood, 
 and his father, and also by Dr. Monro ; in 
 whose collections are some of those fine 
 specimens of the arts, by the study of 
 which he formed his taste. The doctor 
 has in his possession some of his earliest, 
 and many of his finest drawings. Girtin 
 painted two pictures in oil ; the first was 
 a view in Wales, which was exhibited and 
 much admired in 1801 ; and the second 
 was the Panoramic View of London, ex- 
 hibited in Spring Gardens. About twelve 
 months before his death be went to France, 
 where he stayed some time ; and his last, 
 as well as best, drawings, were the views 
 of Paris, which were purchased by Lord 
 Essex, and from which aquatinta prints 
 have since been made. This promising 
 young artist died November 9, 1802, of 
 an asthmatic disorder. 
 
 GiSMDNDi (Paoix>), or, as he is some- 
 times called, from the place of his birth, 
 Paolo Perugino. He received his edu- 
 cation at Rome, in the school of Pietro 
 da Cortona, and attained so much dis- 
 tinction in history, as to be admitted a 
 member of the academy of St. Luke in 
 1668. His best works are in the churches 
 at Rome. 
 
 GiusTi (Antonio). He was born at 
 Florence in 1624, and became successively 
 the scholar of Cesare Dandini and Mario 
 Balassi. His invention was fertile, and 
 his genius universal ; for with equal 
 spirit and beauty, he painted landscapes, 
 animals, and history ; and in the latter, 
 his figures were not only elegant, but 
 correctly designed and admirably coloured, 
 with a free and firm pencil. He died in 
 1705. 
 
 Glaubek (John). He was born at 
 Utrecht in 1646, and became the disciple 
 of Nicholas Berchem, under whom he 
 made a very rapid progress. Yet he was 
 not more charmed with the works of his 
 celebrated master than with the landscapes 
 of the great artists of the Italian School, 
 which he had an opportunity of seeing 
 with Vylenbourg, who traded in pictures. 
 With him, therefore, Glauber spent some 
 years in studying and copying the works 
 of the best painters of Italy, particularly 
 Gaspar Poussin. He then determined on 
 a journey to Rome, and took with him a 
 younger brother, who was only fifteen 
 j-ears of age. In his way he stopped at 
 
 Paris, and stayed one year with Picart, a 
 flower painter; and at Lyons, he spent 
 two years with Adrian Vander Cabel ; nor 
 would he have quitted the latter, for some 
 time longer, if the great concourse of 
 people who were going to the jubilee had 
 not drawn him directly to Rome, where 
 he received from the Bentvogel Society 
 the name of Polidore. In that city he 
 studied two years, neglecting nothing that 
 could conduce to his improvement ; and 
 he continued as long at Venice, to perfect 
 himself in colouring. On his return to 
 his own country, he settled at Amsterdam, 
 where he lodged with Gerard Lairesse ; 
 and those two artists having a similarity 
 of genius, improved by travelling, became 
 united in the firmest bonds of friendship ; 
 and there are some beautiful landscapes of 
 Glauber painted at that time, which are 
 enriched with figures by Lairesse. Glau- 
 ber was certainly one of the finest land- 
 scape painters among the Flemings : his 
 taste and manner are entirely of the Italian 
 School; his scenes are generally taken 
 from the lovely views in the neighbour- 
 hood of Rome, and sometimes from situa- 
 tions near the Alps. His colouring is 
 warm, true, and excellent ; his invention 
 fertile ; and though his pictures are ex- 
 quisitely finished, they do not appear 
 laboured, as there is such an appearance 
 of ease and freedom in them. His touch 
 is so particularly neat, that every distinct 
 species of trees or plants may be distin- 
 guished by the exactness of the leafing ; 
 and, by a happy management of the aerial 
 perspective, his distances recede in a 
 natural and pleasing manner. Many of 
 his paintings are in the style of Gaspar 
 Poussin ; after whose designs as well as 
 those of Nicholas Berchem, Lairesse, and 
 his own, he etched several plates in a 
 slight but lively manner. He died in 
 1726. 
 
 Glaubek (John Gottlieb). He was 
 the younger brother and disciple of John 
 Glauber, and born at Utrecht in 1656. 
 He accompanied his brother in his journey 
 to Italy, and while at Paris took instruc- 
 tions from Jacob Knuyf, an architectural 
 and landscape painter of reputation in that 
 city. He rejoined his brother at Lyons, 
 and continued with him all the time he 
 remained at Rome, diligently observing 
 whatever he thought worthy of his study 
 or imitation. Afterwards he visited Ve- 
 nice, where he devoted all his hours to 
 his improvement, painting after nature, 
 and copying the best pictures of the most 
 
GOE 
 
 eminent masters. At his return to Hol- 
 land his works M'ere soon noticed, and 
 much admired, as well for their taste of 
 design as the excellence of their finishing ; 
 and his pictures are often mistaken for 
 those of his brother. He had a neat touch, 
 and a delicate pencil, when he employed 
 himself on cabinet pictures ; and he also 
 showed a noble freedom of hand, and a toucli 
 full of spirit, in the large works which he 
 executed for grand halls and saloons. One 
 of his capital landscapes is in the palace 
 of the Prince of Orange at Soesdyk, which 
 is exquisitely designed and finished, tiie 
 figures being painted by Lairesse. For 
 several years he followed his profession at 
 Vienna, and afterwards at Prague, but 
 finally he settled at Breslau ; so that the 
 greatest part of his easel pictures are in 
 different parts of Germany. In his land- 
 scapes, his situations are pleasant and 
 well chosen, and generally taken from 
 nature. The Italians were so fond of his 
 designs, that they gave him the name of 
 Alyrtillo, on account of the pastoral sub- 
 jects in which he delighted. He frequent- 
 ly painted seaports in the manner of 
 Knuyf ; and likewise pieces of architecture, 
 which he adorned with figures correctly 
 designed and well disposed : his colouring 
 is warm and true. He died in 1703. 
 
 Glauber (Diana). She was the 
 sister of John and Gottlieb Glauber, and 
 was born at Utrecht in 1650. She learnt 
 the principles and practice of painting 
 from her brother John, but devoted her- 
 self chiefly to portrait, in which style she 
 rose to a degree of distinction ; but she 
 also designed historical subjects till she 
 was rendered incapable of handling the 
 pencil, by being accidentally deprived of 
 her sight. She died at Hamburgh about 
 1720. 
 
 Gnocchi (Pietko). He was born at 
 Milan, and became the disciple of Amelio 
 Luini, to whom he proved vastly superior 
 in correctness of design and elegance of 
 expression. His finest picture is one of 
 Christ giving the Keys to St. Peter, an 
 altar-piece in the church of St. Victor at 
 Milan. He lived about the year 1600. 
 
 GoBBO (PiETRo Paolo), see BoNzt. 
 
 GoBBo (Andrea). This artist was 
 born at Milan about the year 1470. His 
 real name was Andrea Solari, but he com- 
 monly went by that of Del Oohbo, and 
 sometimes by that of Andrea Milanese. 
 Hewas contemporary with Corregio,and is 
 celebrated for his agreeable manner of 
 colouring, for the neatness of his pencil, 
 
 and the labour he bestowed in finishing 
 his pictures very highly. One of his best 
 is that of the Assumption, in the Carthu- 
 sian convent at Pavia. He died in that 
 city in 1527. 
 
 GoBBo (Antonio), see Caracci. 
 
 GoDEWYCK (Margaretta). She was 
 born at Dort in 1627, and was instructed 
 in design and drawing by Nicholas Maas, 
 by whose instruction she acquired a fine 
 taste in painting landscapes, which she 
 ingeniously diversified withviews of rivers, 
 cascades, villages, groves, and distant 
 hills, that rendered her composition very 
 pleasing. This lady was not more ad- 
 mired for her paintings in oil than for her 
 needlework ; executing the same kind of 
 subjects which she expressed with her 
 pencil, and with an equal appearance of 
 nature and truth, in embroidery. She 
 died in 1677. 
 
 GoEBouw (Axthony). This artist 
 was born at Antwerp in 1625. After 
 learning the elementary principles of the ^ 
 art in his own country, he went to Rome, ^P 
 where he continued a long time ; and on 
 his return to Antwerp painted several 
 historical pictures with great credit ; 
 but he excelled chiefly in representing 
 rustic scenes, as festivals and other sports, 
 in the manner of Teniers and Ostade. 
 His performances are scarce and valu- 
 able. 
 
 Goedaert (John). This Dutch pain- 
 ter was born at Middleburgh in 1618. 
 He excelled in the representation of 
 flowers, fruits, birds, and insects, which 
 he painted with surprising truth. He 
 died in 1668. 
 
 Goes (Hugo Vander). He was horn 
 at Bruges, and was the disciple of John 
 Van Eyck, from whom he learned the art 
 of painting in oil. He had an extra- 
 ordinary genius, and gave elegance and 
 grace to the heads of his figures, espe- 
 cially the females; he also finished his 
 pictures with inexpressible neatness of 
 pencil. The foregrounds of his paintings 
 are usually enriched with plants, pebbles, 
 and herbage of various kinds, imitated 
 from nature, in a curious and exact man- 
 ner. Many of his works are preserved 
 at Bruges, particularly a picture of Abi- 
 gail in the presence of David ; in which 
 the composition and expression are 
 wonderfully fine, and the becoming 
 modesty of the women cannot be suffi- 
 ciently admired. Vander Goes also paint- 
 ed a beautiful picture of the Holy Family, 
 in which the head of the Virgin was ex- 
 
GOL 
 
 GOL 
 
 tremely fine. At Bruges, in the Church 
 of St. James, is a Descent from the Cross 
 by him, and in the monastery of Sion, 
 near Brussels, are two, the Resurrection 
 and Transfiguration. Vander Goes died 
 about 1480. 
 
 GoETZ (Gottfried Bernakd). This 
 modern artist was born at Kloster Wel- 
 cbrod, in Moravia, in 1708. He had 
 Eckstein for his first master, on leaving 
 whom he became the scholar of John 
 George BergmuUer, at Augsburg. We 
 know less of him as a painter than as 
 an engraver in mezzotinto, in which most 
 of his works are portraits from pictures 
 painted by himself and Bergmuller. 
 
 GoLTzius (Hubert). He was born at 
 Venloo in 1520, and was the disciple first 
 of his father, and next of Lambert Lom- 
 bard ; but having copied several designs 
 from the antique, under the direction of 
 his master, it inspired him with an am- 
 bition to study after the originals, and for 
 that purpose he travelled to Rome, where 
 he resided a considerable time. That 
 city furnished him with ample materials 
 for future compositions in painting, and 
 added abundantly to his literary know- 
 ledge, which enabled him to investigate 
 many curiosities in coins and medals, and 
 he afterwards learnedly digested and 
 published them, with critical annotations. 
 At Antwerp he painted the history of 
 Jason ; but his pictures are exceedingly 
 rare, though it is believed that he painted 
 a great number. He also engraved several 
 plates for his learned works on antiquity. 
 He died at Bruges in 1583. 
 
 GoLTzuis (Henry). He was born at 
 Mulbrecht, in the duchy of Juliers, in 
 1558, and at first was instructed by his 
 father, who painted on glass, though after- 
 wards he learned design from Jacques 
 Leonhard ; but his own genius and appli- 
 cation raised him to that considerable 
 rank which he held among the best artists 
 of his time for painting, and also for en- 
 graving. He travelled through several 
 parts of Italy, having an eager desire to 
 accomplish himself by his studies at 
 Rome ; and on his arrival there, assumed 
 the name of Henry Bracht, in order to 
 avoid interruption, till he could think 
 himself capable of appearing to advantage. 
 He was indefatigable in examining, study- 
 ing, and designing the finest of the 
 antiques, to which point he devoted his 
 whole attention. That he might omit 
 nothing that could contribute to his im- 
 provement, he frequently sailed in the 
 
 galleys to observe the actions of the 
 muscles, and turn of the limbs of the men 
 who laboured at the oar; and he also 
 made designs after Raffaelle and Polidoro. 
 Notwithstanding all this assiduity, his 
 invention cannot be much commended ; 
 his taste of design is neither elegant nor 
 natural; and there is often somewhat 
 irregular and wild in his manner. His 
 colouring is clear, but cold; and the ex- 
 tremities of his figures are either extrava- 
 gant, or singular and constrained, as well 
 as his attitudes. Though he did not be- 
 gin to paint till he was above forty, it is 
 incredible what a number of pictures he 
 finished. He had an art, peculiar to 
 himself, of giving a delicate glazing and 
 transparence to his colours, and he after- 
 wards touched them in such a manner as 
 to give them a great effect. His picture 
 of Danae is spoken of in high terms ; it 
 is a group of three figures, Danae, Mer- 
 cury, and an old Woman ; in which the 
 naked is well understood, and the colour- 
 ing is natural. Another of his pictures 
 entitled to praise is the Crucifixion, with 
 the Virgin and St. John ; it is remarkable 
 for the brilliancy of the colouring and the 
 boldness of the design. As his works 
 were numerous, his execution must have 
 been remarkably ready ; for it is thought 
 that no artist, in so few years, ever drew 
 an equal number of designs. He en- 
 graved several prints after his own paint- 
 ings, and imitated in that way the styles 
 of many different masters; as Floris, 
 Hemskerck, Blockland, and Sprangher; 
 and, after the latter, he engraved the 
 grand composition of the Banquet of the 
 Gods. A memorable adventure of this 
 artist will afford the reader some evidence 
 of his talents and spirit. Goltzius having 
 been told that some persons would not 
 allow his works to be compared with 
 those of Albert Durer, felt so much 
 piqued by the censure, that he engraved 
 a design of the Circumcision in the style 
 and manner of Albert, and took care not 
 to lose a single proof. When the plate 
 was finished, he struck off only one copy, 
 which he discoloured with smoke, to give 
 it an appearance of age, then burned the 
 part where the mark of the engraver is 
 usually fixed, and this print he sent, 
 among others, to the fair at Frankfort. 
 The connoisseurs saw it with surprise, 
 and immediately concluded it to be of 
 Albert's own hand; declaring that the 
 set of his works was incomplete without 
 it. When Goltzius had sufficiently amused 
 
GON 
 
 231 
 
 GOU 
 
 himself with their conjectures and de- 
 clarations, he showed them the plate of 
 his own engraving, to let them see what 
 incompetent judges they were of the works 
 of artists, and how imperfect their boasted 
 discernment must now appear to all the 
 world. Among his numerous engravings 
 were six plates, in imitation of Raftaelle, 
 Parmegiano, Bassano, Albert Durer, 
 Lucas Van Leyden, and Baroccio. These 
 plates are called his masterpieces. He 
 died at Haerlem in 1617. 
 
 Gomez (Vicente Salvador). This 
 artist was born at Valencia in Spain, 
 about 1645, and studied under Espinosa 
 with such advantage, that at the age of 
 fifteen he had performed some works in 
 fresco, the subjects of which were taken 
 from the life of Ignatius Loyola. Besides 
 history, he painted landscapes, animals, 
 and architecture. He instituted a school 
 of art at Valencia. 
 
 GoMEZi (Sebastian). This artist was 
 the servant of Murillo, and a mulatto. 
 He may be said to have stolen the art at 
 his leisure hours, by contemplating the 
 works of his master ; though, from the 
 character of Murillo, it is not improbable 
 that he gave both encouragement and 
 lessons to his humble and fathful attendant. 
 After the death of his master, he obtained 
 considerable employment at Seville, in the 
 churches of which city are several of his 
 works, particularly one of the Virgin and 
 Child ; and another of the Flagellation of 
 Christ. 
 
 Go>zAXEz (Bartolomeo). This Spanish 
 painter was born at Valladolid in 1564, 
 and studied in the school of Patricio 
 Caxes, at Madrid. He excelled in history 
 and portrait, but particularly in the latter. 
 By Philip IH. he was made his chief 
 painter, and he executed several great 
 works for the royal palaces, as well as for 
 the churches. He died in 1627. 
 
 Gonzalez (Juan Giacchinetti). This 
 artist, who obtained the name of // 
 Borgognone dalle Teste, was born at Ma- 
 drid in 1630. He was a studious imitator 
 of Titian, and became very eminent in 
 portrait painting, which he practised 
 chiefly at Venice and Bergamo, in which 
 last city he died in 1696. 
 
 Gonzalez de Vega (Diego). He was 
 born at Madrid in 1622, and had Francesco 
 Ricci for his instructor, to whose manner 
 he continually adhered. He painted in 
 the Franciscan convent of Madrid a 
 number of pictures of the life and suffer- 
 ings of our Saviour ; and, in that of the 
 
 Religiosas Mercenarias, some subjects of 
 the history of the Virgin. He was a 
 correct designer, and a good colourist. 
 He died in 1697. 
 
 Gonzalez (Pedro Ruiz). This pain- 
 ter was born at Madrid in 1633, and 
 studied under Antonio Escalante, whose 
 manner he afterwards quitted for that of 
 Juan Carrenho. He executed several 
 great works for the churches of Madrid, 
 particularly a Nativity ; the Death of St. 
 Joseph; Christ before Pilate; and the 
 Entombing of our Saviour. He died in 
 1709. In colouring, Gonzalez approached 
 very near Titian and Paolo Veronese. 
 
 GooL (John Van). This Dutch ar- 
 tist was born at the Hague in 1685. He 
 had a firm manner of design, and was an 
 excellent colourist. He painted laud- 
 scapes with cattle, in the manner of Paul 
 Potter, but at a very remote distance. 
 He was also an author, and wrote the 
 lives of Dutch painters. He died in 1757. 
 
 GoKTzius (GuALDORp). This Flemish 
 artist was born at Louvaine in 1553, and 
 studied successively under Francis Franck, 
 and Francis Pourbus. He painted his- 
 tory and portrait with reputation, at 
 Cologne, where he died in 1611. 
 
 GoTTi (ViNCENzio). He was born at 
 Bologna, and studied under Denys Cal- 
 vart, having for his fellow pupil Guide 
 Reni, whom he accompanied to Rome, 
 where he exercised his art with such cre- 
 dit that he was invited to Naples. During 
 his residence in that kingdom he painted 
 above two hundred pictures for public 
 buildings, besides those which are net 
 enumerated in the list of his works. He 
 died in 1636. 
 
 GouDA (Cornelius Van). He was 
 born at Gouda in Holland, in 1510, and 
 studied under Martin Hemskerck, being 
 one of his best and most favoured pupils. 
 He imitated the manner of Hemskerck 
 very closely, and proved an excellent artist 
 in that style. He died in 1550. 
 
 GouDT, or Gaud (Henry Count Van). 
 This nobleman was born at Utrecht in 
 1585. Early in life he evinced a strong 
 inclination to the fine arts, which he in- 
 dulged by taking a journey to Rome, 
 where he became a student in the academy 
 of St. Luke, and designed after the living 
 model as well as the antiques. In that 
 city he formed an intimacy with Adam 
 Elsheimer, to whom he proved a constant 
 friend, and purchased most of his works, 
 of which he engraved several plates him- 
 self, in an excellent style. 
 
GOY 
 
 GOY 
 
 GouPY (Joseph). This painter was 
 born at Nevers, in France, but came to 
 England when very young, and practised 
 as a drawing-master and engraver. He 
 was patronised by Dr. Brook Taylor, 
 "with whom he made several excursions 
 for the purpose of sketching landscapes 
 after nature. By this means he became 
 known to Frederick Prince of Wales, who 
 employed him very much at Kew and 
 Cliefden-house. On the accession of 
 George III., Goupy had a small pension 
 allowed him, which, however, he did not 
 long enjoy, as he died at an advanced age, 
 in 1763. His landscapes are much in the 
 style of Salvator Rosa. 
 
 GoYEN (John Van). He was born at 
 Leyden in 1596, and was first instructed 
 by one Schilperoot, a landscape painter, 
 and next by Isaac Nicolai, but afterwards 
 he successively became the disciple of 
 William Garretsen and Esaias Vander- 
 velde. By these advantages, and liis own 
 genius and industry, Van Goyen soon 
 rose into general esteem, and his works 
 became spread through all Europe. In 
 painting he was indefatigable, and he 
 possessed an uncommon readiness of hand 
 and freedom of pencil. It was his con- 
 stant practice to sketch views of villages 
 and towns on the banks of rivers or canals; 
 of the seaports in the Low Countries ; and 
 sometimes of inland villages, where the 
 scenes around appeared pleasing or pic- 
 turesque. Those he afterwards used as 
 subjects for his future landscapes, enrich- 
 ing them with cattle, boats, and figures 
 in character, just as the liveliness of his 
 imagination directed. He understood 
 perspective well, and also the principles 
 of the chiaro-oscuro, which enabled him 
 to give his pictures a strong and agreeable 
 effect. His style of painting was natural, 
 and his usual subjects were sea- pieces, or 
 landscapes with views of rivers, enlivened 
 with figures of peasants either ferrying 
 over cattle, drawing their nets in still 
 water, or going to market. Sometimes 
 he represented cottages on the banks of 
 rivers, with overhanging trees, and a 
 beautiful reflection of their branches from 
 the transparent surface of the waters. 
 These were the subjects of his best time, 
 which he generally marked with his name 
 and the year ; but as he painted numerous 
 pictures, some are slight, some ton yellow, 
 and some negligently finished, though all 
 have merit, being marked with a free, 
 expeditious, and easy pencil, and a light 
 touch. His pieces frequently have a gray- 
 
 ish cast, which arose, not from any mis- 
 management of the tints, or want of skill 
 in laying on the colours, but was occa- 
 sioned by his using a colour called Haer- 
 lem blue, much approved of at that time, 
 though now laid aside as being apt to 
 fade into that grayish tint ; and it has also 
 rendered the pictures of this master ex- 
 ceedingly difficult to be cleaned, without 
 injuring the finer touches of the finishing. 
 His best works are valued so highly, espe- 
 cially in the Low Countries, that they 
 fetch large prices, being ranked in Holland 
 with the pictures of Teniers ; and at this 
 time they are not easily procured, particu- 
 larly when undamaged, though his slighter 
 performances are sufficiently common. 
 The rapid execution of this master appears 
 from a story related by Hoogstraten. He 
 tells us that Van Goyen, Knipbergen, and 
 Parcelles, had agreed to paint a picture 
 in one day, in the presence of other artists, 
 for a considerable wager; and that the 
 artists were to determine which was the 
 best. As soon as Van Goyen took the 
 panel, without making any sketch, he 
 laid on the light colour for the sky, and 
 then rubbed on different shades of brown, 
 laying masses of light in the foreground 
 in several spots. Out of that confused 
 appearance, he touched every part with 
 wonderful celerity and spirit, so as to pro- 
 duce trees, buildings, water, distant hills, 
 vessels lying before a seaport, and boats 
 filled with figures properly employed. He 
 finished it perfectly, before the limited 
 time, to the astonishment of the spectators, 
 who declared it an excellent performance. 
 Knipbergen proceeded in a different man- 
 ner; for, instead of beginning to colour 
 his canvass, he sketched on his palette the 
 design which he had formed in his imagi- 
 nation, and took pains to give it as much 
 correctness as he possibly could ; every 
 rock, tree, waterfall, or other object, was 
 disposed in the manner it was intended 
 to be finished in the painting, and he ven- 
 tured no farther than to transfer each part 
 from the sketch to the canvass. This 
 picture also was executed within the time, 
 and was allowed to be extremely good, as 
 well for design as for the colouring and 
 handling. But the method observed by 
 Parcelles differed from both ; for when he 
 took his palette and pencils in his hand, 
 he sat ruminating and reflecting on his 
 subject; being of opinion that thought 
 and reflection were full as requisite, before 
 an artist began his work, as the manage- 
 ment of the pencil was afterwards. His 
 
GRA 
 
 283 
 
 GRA 
 
 composition was a sea-piece, admirably 
 designed and delicately finished, within 
 the time appointed. The judges having 
 deliberated, gave their united voices in 
 favourot'Parcelles ; observing, that though 
 the other pictures were full of spirit, taste, 
 and good colouring, yet in that of the lat- 
 ter, there was equal merit in the handling 
 and colouring, and more truth, as being 
 the result of attentive thought and judi- 
 cious premeditation. A lovely picture by 
 Van Goyen, of his best time and manner, 
 on which his name and the year are in- 
 scribed, is in the possession of Lord Kings- 
 land. It represents a river or canal ; the 
 water, which is remarkably transparent, 
 affords a beautiful and natural reflection 
 of the trees, huts, and other objects on the 
 banks, so that the whole scene is still and 
 solemn. In different parts are introduced 
 boats filled with cattle, or fishermen draw- 
 ing their nets ; but they are kept down so 
 judiciously, that, instead of disturbing the 
 eye, they contribute to its repose. Van 
 Goyen etched some small landscapes in a 
 good style. Hedied at the Hague in 1656. 
 
 GozzoLi (Benozzo). He was born at 
 Florence in 1400, and had Fra Angelico 
 da Fiesole for his instructor in painting, 
 but his own style approached nearer to 
 that of Masaccio. He resided most part 
 of his life at Pisa, where, as well as at 
 Florence, he executed several great works. 
 At the latter place are two of his pictures, 
 one of the Nativity; and the other the 
 Wise Men's Offering; both overloaded 
 with ornament. At the former place, in 
 the Oampo Santo, are several paintings 
 of scriptural subjects in a superior taste. 
 His picture of St. Thomas Aquinas, in 
 the cathedral, is also highly praised. He 
 died in 1478, and a monument was erected 
 to his memory at the public expense. 
 
 Graaf (John). This artist was born 
 at Vienna in 1680, and studied under Van 
 Alen. His subjects were public places 
 of resort, as markets and fairs, the repre- 
 sentation of which afforded him an oppor- 
 tunity of introducing a vast variety of 
 figures, with horses and other animals. 
 He had also a good taste for landscape. 
 He died in 1734. 
 
 Gkaat (Bare.nt or Bernakd). He 
 was born at Amsterdam in 1628, and was 
 instructed by his uncle, a painter of ani- 
 mals, who was known by the name of 
 Master John. Graat soon showed the 
 strength of his genius by his proficiency, 
 and was indefatigable in his studies after 
 nature. He spent manj- hours in the 
 
 fields, observing the different effects of 
 light on all the objects around him, either 
 at sunrising, at noon, or the close of the 
 day. He designed every animal with care 
 and exactness, especially horses, sheep, 
 and goats; and the ideas with which his 
 mind was thus furnished were so strongly 
 impressed, that he composed nis subjects 
 with ease, and designed every thing with 
 spirit, correctness, and truth. He preferred 
 the style of Bamboccio to all others, and 
 studied the manner of that master in his 
 animals, trees, and rural scenery, with 
 such accuracy, that his paintings fre- 
 quently passed for the works of that 
 master. And it is related by Houbraken 
 and Weyerman, that a picture was pub- 
 licly bought, and allowed by all the con- 
 noisseurs to be indisputably one of Bam- 
 boccio's, till the inscription, B. Graatfecit, 
 was discovered in a corner of it. Not- 
 withstanding the applauses he received 
 for the performances in his first manner, 
 he quitted it for history, and to accom- 
 plish himself determined to visit Rome; 
 but, having married in his own country, 
 that plan of improvement was disconcert- 
 ed. To compensate in some degree for 
 this loss, he provided the best drawings, 
 prints, and designs of the great Italian 
 masters, and all his subsequent composi- 
 tions, as well in portrait as history, were 
 evidences of the refinement of his taste. 
 He held an academy in his house, to which 
 the best artists of his time resorted, to 
 study after the naked from living models. 
 One of his most capital pictures is that of 
 David and Bathsheba; and at the council- 
 room at Amsterdam he painted an alle- 
 gorical composition of Time discovering 
 Truth. He also painted portraits with 
 great credit. He died in 1709. 
 
 Graaw, or Gratjw (Henry). He was 
 born at Hoorn, in North Holland, in 
 1627, and received his first instruction 
 from Peter Grebber, but afterwards he 
 became the disciple of Jacob Van Cam- 
 pen, with whom he continued eight years, 
 and improved so much, that Prince Mau- 
 rice of Nassau engaged him to paint se- 
 veral ceilings in his palace, in the Wood, 
 near the Hague. But, not content with 
 the knowledge which he had hitherto ac- 
 quired, he travelled to Rome, where he 
 I studied three years, endeavouring to re- 
 fine his taste by designing after and copy- 
 ing the works of the great masters, and 
 the antiques. He succeeded so well that 
 Nicolo Poussin, looking over some of his 
 studies, declared that he never saw a 
 
GRA 2 
 
 Fleming of whom he had higher expecta- 
 tions, nor one of more promising talents. 
 At his return from Italy, he lived alter- 
 nately at Amsterdam andUtrecht, enriched 
 by his works, which were exceedingly ad- 
 mired. He painted for the Bronkhorst 
 family some fine pictures, among which 
 were the Triumph of Julius Caesar, and 
 the Education of Bacchus. He had a fine 
 invention ; his manner of composing was 
 grand ; and his disposition showed taste 
 and judgment. His draperies were large, 
 his colouring good, his design correct, and 
 he particularly excelled in naked figures, 
 in which his choice was elegant, and the 
 contours graceful. He died in 1682. 
 
 Grace (Mks.) The maiden name of 
 this ingenious woman is not known. She 
 was the daughter of a shoemaker, and 
 never had any regular instruction, yet be- 
 came so correct in painting portraits, as 
 to support her husband and realize twenty 
 thousand pounds by her pencil. She fre- 
 quently exhibited with the Society of 
 Artists, and in 1767 produced an histori- 
 cal picture, the subject of which was 
 Antigonus,Seleucus,and Stratonice. After 
 residing several years in the city, she 
 removed to Homerton, and died there 
 about 1786. 
 
 Grammatica (Antiveduto). He was 
 born near Rome in 1571, and studied 
 under Domenico Perugino, by whose in- 
 structions he profited so well as to be- 
 come a considerable painter of history and 
 portrait. In the churches at Rome are 
 several fine pictures by his hand, and his 
 eminence was such, that he was chosen 
 president of the academy of St. Luke's, 
 but was dismissed with disgrace, for at- 
 tempting to sell a picture of Raffaelle's 
 belonging to that institution, and sub- 
 stituting a copy of his own in its place. 
 He died of chagrin after, in 1626. 
 
 Granacci (Fbakcesco). He was 
 born at Florence in 1477, and studied in 
 the school of Domenico Ghirlandaio, at 
 the same time with Michel Angelo Buo- 
 narroti. This produced a firm friendship 
 between him and that great artist, which 
 proved of essential benefit to Granacci, 
 who improved his style, and enlarged his 
 knowledge, by the lessons and example q^ 
 his companion. His greatest works area 
 Virgin and Child in the clouds, and an 
 Assumption, both which exhibit the sub- 
 lime taste of Michel Angelo. He died in 
 1544. 
 
 Gbandi (Ebcoi.e). He was born in 
 1491 at Ferrara, and was the scholar of 
 
 $4 ORE 
 
 Lorenzo Costa, but far exceeded him in 
 power of design and execution. His 
 works were mostly confined to his native 
 city, where he obtained the name oiErcole 
 da Ferrara. The principal are repre- 
 sentations of St, Sebastian, St. Peter, and 
 St. John the Evangelist, painted in imi- 
 tation of Pietro Perugino, and a Holy 
 Family. He died in 1531. 
 
 Gbassi (Giovajsni Battista). He was 
 a native of Udina, and studied painting 
 under Pordenone, though others think 
 that he was a disciple of Titian ; and it is 
 probable that they are both right, since 
 nothing was more common than for a stu- 
 dent to pass from one school to another. 
 The pictures of Grassi, however, have 
 more affinity to the Titian style than to 
 that of any master of his time. His 
 principal works are in the Cathedral of 
 Cremona, the subjects of which are the 
 Assumption of Elijah ; the Vision of Eze- 
 kiel; and the Annunciation. He died about 
 1570. 
 
 Gbati (Giovanni Battista). He was 
 born at Bologna in 1681, and studied under 
 Giovanni Giuseppe dal Sole. His design 
 was correct, his composition chaste, and 
 his colouring good. He painted mostly 
 for the churches of Bologna; and the 
 principal of his works are a Virgin and 
 Child, with St. Francis, St. Joseph, and 
 St. Gaetano, surrounded by a Choir of 
 Angels, and St. Anne teaching the Virgin 
 to read. He died in 1758. 
 
 Graziani (Ercole). This artist was 
 born at Bologna in 1688. He was taught 
 by Donato Creti, upon whose style he 
 made considerable improvements in design 
 and colouring. He produced a great 
 number of works, the chief of which are, 
 St. Peter consecrating St. ApoUinarius, 
 at Rome ; the Baptism of Christ ; the Mar- 
 riage of St. Catherine ; St. Anne teaching 
 the Virgin ; an Annunciation ; and an 
 Ascension. He died in 1765. 
 
 Gbazzini (Giovanni Paolo). This 
 painter was born at Ferrara about 1570. 
 He was originally a goldsmith, but re- 
 linquished that profession for the fine arts, 
 and, though advanced in life, practised 
 painting with great success. He took 
 eight years in executing a picture of St. 
 Eligio^BishopofNoyon,towhichhisfriend, 
 Carlo Bonone, added a glory of Angels ; 
 and Sarsellino appended to it other repre- 
 sentations of a correspondent character. 
 He died in 1632. 
 
 Gbebber (Peteb). He was born at 
 Haerlem about 1590, and was taught the 
 
 1 
 
GRE 
 
 235 
 
 GRE 
 
 first principles of the art by his father, 
 Francis Peter Grebber ; but he was after- 
 wards a disciple of Henry Goltzius, and 
 became an artist of considerable esteem in 
 his native city, where many of his perform- 
 ances are still much admired. It is not 
 certain whether this painter was ever in 
 Italy ; but by his taste of design, it appears 
 that herausthave been conversant with ex- 
 cellent models. He was the master of 
 several distinguished artists, whose reputa- 
 tion reflected honour on their instructor. 
 Grebber painted historical subjects and 
 portraits in a noble style. His sister, or, 
 as some say, bis daughter, Maria, excelled 
 in painting perspective and architectural 
 pieces, which she performed with great 
 truth and elegance. 
 
 Geechetto, see Castiglione. 
 
 Grecchi (Marc Antonio). He was 
 born at Siena, but nothing moreis known 
 of him than the single circumstance of his 
 having painted, in 1634, a Holy Family, 
 for a church at Foligno, which is exe- 
 cuted respectably in the manner of the 
 Bolognese School. 
 
 Greco (Domenico Teotocopoli, called 
 U). This artist was a native of Greece, 
 and the scholar of Titian, whom he ac- 
 companied to Spain, where he spent the 
 residue of his life, and performed his 
 greatest works, both as a painter and 
 architect. He came so near to the 
 manner of Titian, that many of his 
 pictures passed under the name of his 
 master. Domenico, however, not satisfied 
 with this, aimed at a style of his own, in 
 which he only incurred ridicule. When 
 he departed from Titian he deviated from 
 nature, and became extravagant both in 
 colouring and drawing. This was evinced 
 in his paintings for the convent of Donna 
 Maria de Arragon, at Madrid; and in the 
 picture of the Martyrdom of St. Mauricio, 
 which he drew for the Escurial, by order 
 of Philip II. That monarch was too good 
 a judge not to see the defects of the com- 
 position, and refused it a place in his col- 
 lection. Domenico solicited leave to make 
 some corrections in his performance, after 
 which it was with some difficulty admitted. 
 In the Cathedral of Toledo are some pic- 
 tures by him, which are admirably exe- 
 cuted, particularly a grand composition 
 of the Parting of the Raiment of our 
 Saviour at his Crucifixion ; and it is so 
 completely in the manner of "^I'itian, that 
 his reputation would not suffer by the 
 adoption. In the same place are the 
 Twelve Apostles by the same master, but 
 
 n an inferior style. In the Church of 
 Santo Thoma is a capital picture by 
 Domenico, the subject of which is the In- 
 terment of Don Gonzalo Ruiz, of Toledo, 
 and the founder of an Augustine convent 
 in that city. This picture cost the Arch- 
 bishop of Toledo two thousand ducats. 
 The church of the hospital de la Caridad, 
 at Illescas, was designed by Domenico, 
 together with its ornaments. He also en- 
 graved some cuts in wood, after the designs 
 of Titian. This ingenious person died at 
 Madrid, in his eightieth year, in 1635 ; or, 
 according to Palomino, in 1627. 
 
 Greenhill (John). This artist was 
 born of a good family, at Salisbury, in 
 1649, and became a disciple of Sir Peter 
 Lely, whose style of painting he imitated 
 successfully, in crayons as well as in oil. 
 He was accounted little inferior to his 
 master, and might have stood in competi- 
 tion with him, if Sir Peter would have 
 allowed him free access to his painting- 
 room, and permitted him to see his method 
 of using his colours and manner of pen- 
 cilling. But it is said that Lely grew 
 jealous of his abilities, and considered him 
 as a rival. Greenhill, however, prevailed 
 upon Sir Peter to draw his wife's picture, 
 and then took the opportunity of observ- 
 ing how he managed his pencil, which was 
 the great object he aimed at in the request. 
 He had a very promising genius, and 
 copied so well the picture which Vandyck 
 painted of Killigrew with a dog, that it 
 M'as mistaken for the original; and his 
 portraits in crayons were also much ad- 
 mired. At first he was very industrious, 
 but afterwards he gave himself up to an 
 irregular and dissolute course of life, and 
 died by an accidental fall, as he returned 
 from the tavern, May 19, 1676. In the 
 toM'n-hall of Salisbury is the portrait of 
 Bishop Ward, by Greenhill, who had a 
 taste for poetry as well as painting. 
 
 Greenwooi) (John). lie was a native 
 of Boston, in New England, where he 
 studied painting without a master. From 
 thence he went to Surinam, and next to 
 Holland, in which country he formed a 
 connexion with an English merchant who 
 dealt in pictures. About 1763, he came 
 to London, and practised both as a painter 
 and a mezzotinto engraver. In 1764, he 
 exhibited a view of Boston, and he con- 
 tinued to produce some of his perform- 
 ances till 1773, when he turned auctioneer. 
 He died at Margate in 1792, aged sixtj'- 
 three. He was the father of Mr. Green- 
 wood, the scene-painter. 
 
GRI 
 
 236 
 
 Gresse (John Alexander). This ar- 
 tist was born in London in 1741, and 
 became successively the pupil of Scotin 
 the engraver, Cipriani, and ZuceherelH. 
 He studied for some time in the gallery 
 of the Duke of Richmond, and next in the 
 academy in St. Martins-lane; but after 
 following the profession of painting for 
 some time, he relinquished it to become a 
 teacher of drawing. Of his pictures we 
 know nothing, but his etchings are valu- 
 able. He died in 1794. 
 
 Gbeuze (John Baptist), one of the 
 most distinguished painters of the modern 
 French School, was born at Tournus in 
 1726. He displayed pre-eminent talent in 
 domestic, moral, and affecting subjects. 
 His heads, however, bear too great a re- 
 semblance to each other, and his draperies 
 are, generally, in bad taste. Notwith- 
 standing this, his merits far outweigh his 
 defects. His pictures are numerous, and ; 
 most, if not all, of them have been en- ! 
 graved. Greuze has been called the j 
 Lachaussee of painters. He died in 1805, | 
 leaving two daughters, who inherited a 
 considerable portion of his talents. j 
 
 Griffier (John, called the Old). This ' 
 artist was born at Amsterdam in 1645, ' 
 and was at first the scholar of a flower 
 painter; but having a turn for landscape, 
 he became a disciple of Roland Roghman. | 
 By his industry and genius he gained the \ 
 affection of his master, and also of all ; 
 those artists who were intimate with 
 Roghman, among whom were Rembrandt, } 
 Ruysdael, Adrian Vandervelde, and Ling- [ 
 lebach, who allowed Griffier the liberty of 
 seeing their works, and added to that kind- 
 ness their advice and instruction. He 
 made several attempts to be admitted into 
 the school of Rembrandt, but that master 
 still objected that he would not deprive his 
 friend Roghman of any of his pupils. He 
 early observed, that in landscape clearness 
 is commendable; and seeing that Adrian ! 
 Vandervelde and Linglebach gave a fresh- 
 ness and brightness to their pictures, 
 which made them appear more like nature, 
 he quitted the dark and dusky manner of 
 his master, and studied the works of those 
 two excellent painters so well, that he 
 imitated them with great success, and ex- 
 cited some envy in Roghman. About 
 1667 he visited England, where his friend 
 Loten was settled, and much esteemed as 
 a painter of landscapes. Griffier, encour- 
 aged by this example, fixed his residence 
 in London, where he followed his profession 
 with advantage. The subjects he generally 
 
 painted were Italian ruins ; or views of 
 tlie Rhine, and the Thames; prospects of 
 London, and the scats in the environs; 
 which he executed with a rich look, and 
 neatness in the colouring, enlivening his 
 landscapes with elegant small figures and 
 cattle, boats and different kinds of vessels, 
 well designed and correctly drawn. He 
 had an uncommon command of his pencil, 
 which enabled him to adapt it to the style 
 of several distinguished masters. Some- 
 times he imitated Rembrandt, and at other 
 times Poelemburg, Ruysdael, and Teniers, 
 just as his fancy directed; and in all his 
 imitations he showed extraordinary merit 
 and good observation, so that many of his 
 works have been sold for the genuine paint- 
 ings of those masters, particularly those 
 which he copied after Teniers, or painted 
 in imitation of his manner. He seemed 
 to have a very unsettled turn of mind, by 
 which he almost I'uined his fortune and 
 his family; for he bought a yacht, in which 
 he sailed to Holland, having embarked on 
 board it all his paintings, his substance, 
 and family; but unfortunately the vessel 
 was cast away near the Texel, whereby he 
 lost all his effects, and would have been 
 reduced to beggary if he had not been re- 
 lieved by the discretion of his daughter, 
 who prudently sewed up some guineas in 
 her girdle. In another voyage Griffier 
 was thrown upon a sand-bank, where he 
 stuck for eight days, till a high tide provi- 
 dentially cleared him from the dangerous 
 situation. When in England he used to 
 paint in his boat, sailing up and down the 
 Thames, between Windsor and Gravesend. 
 His greatest patron in England was the 
 Duke of Beaufort. He died Here in 1718. 
 He etched some prints of birds, and other 
 animals after the designs of Barlow. 
 
 Griffier (Robert, called the Yowng). 
 He was the son of the preceding, and vvas 
 born in London in 1688. He learned the 
 art of painting from his father, to whom 
 he was esteemed not inferior, either in 
 taste, design, or colouring and pencil. 
 When his father returned to London, after 
 his shipwreck, Robert went to settle at 
 Amsterdam, where he followed his pro- 
 fession with great reputation. His sub- 
 jects were similar to those of old Griffier ; 
 but he distinguished himself extremely by 
 his Views of the Rhine, in which he intro- 
 duced a number of figures, delicately 
 touched, in the mannerof Herman Sacht- 
 leven. He was living in 1713. 
 
 Grignon (Charles). This ingenious 
 artist was the son of a watchmaker in 
 
GRI 
 
 GRl 
 
 Russell-street, Covent-garden, and born 
 there in 1 754. He manifested a predilec- 
 tion for painting at a very early age, 
 and when fifteen gained the silver palette 
 from the Society of Arts, for the best 
 drawing of the human figure. He was at 
 that time a pupil of Cipriani, and in 1769 
 became a student of the Royal Academy, 
 where, in 1780, he gained a gold medal 
 for the best historical composition, the ', 
 subject of which was the Choice of Her- | 
 cules. The trial sketch which he made 
 on this occasion, according to the rules of i 
 the academy, was the appearance of the 
 Angels to Abraham. After this he was j 
 sent to Rome for three years' study, where j 
 he soon executed a large composition of i 
 the Death of Captain Cook. His most 
 capital undertaking, however, was Pro- 
 metheus chained to the Rock, for Lord 
 Clive; but the picture was never com- I 
 pleted, though the study exists. For 
 Lord Berwick, he engaged in a painting 
 of Homer reciting his Poems at the Tomb 
 of Achilles, but this also was left un- \ 
 finished, owing to the irruption of the 
 French into Italy. While at Rome, he 
 made a great number of drawings for 
 English noblemen and gentlemen, par- 
 ticularly some pastoral subjects, which 
 were engraved by Soiron in the dotted 
 manner. Latterly, Grignon devoted much 
 of his time to landscape, in which he at- 
 tained distinguished excellence. Com- 
 pelled at last to quit Rome in 1798, he 
 went to Naples, and thence to Palermo, 
 where he became acquainted with Lord 
 Nelson, who sat to him for his portrait, 
 and took care of his cases of pictures, 
 among which were two of Claude, that 
 afterwards fetched seven thousand guineas. 
 In August, 1799, Mr. Grignon arrived at 
 Leghorn, where he continued to pursue 
 his studies, and began an altar-piece for 
 a church, the subject of which was the 
 Assumption of Elijah. This, however, 
 he did not live to finish, being carried off 
 by a bilious fever, November 4, 1804, and 
 the next day was interred in the ground 
 of the English Factory. 
 
 Grimaldi (Giovanni Francesco). 
 This celebrated artist, who obtained the 
 name of Bolos^nese, from the city of his 
 nativity, was born in 1606. He studied 
 under Annibale Caracci, to whom he was 
 related. He proved a good designer of 
 figures, but excelled principally in land- 
 scape, which he painted in the grand style 
 of his instructor. On leaving that school 
 he went to Rome, where he was employed 
 
 by Pope Innocent X. in the Vatican, and 
 also in the churches. His holiness was 
 so much pleased with his conversation and 
 genius, that he frequently visited and 
 talked with him while at work. The 
 reputation of Grimaldi having reached 
 Cardinal Mazarin at Paris, that great 
 minister sent for him, settled on him a 
 large pension, and employed him for three 
 years in ornamenting his own palace, and 
 the Louvre. But the troubles of the state 
 obliged Grimaldi to seek the protection of 
 the Jesuits, for whom he painted a picture 
 of the Exposition of the Sacrament, which 
 so pleased Louis XIII. that he ordered the 
 artist to execute one on the same subject 
 for his chapel. Having discharged this 
 commission, he returned to Rome, where 
 he followed his profession as long as he 
 lived. His great power lay in landscape, 
 though he designed figures well, and his 
 pencil equalled his design, being light and 
 flowing, with a considerable depth of 
 colour, though somewhat too green. In 
 the gallery of Colonna are several of his 
 pictures, which are painted in a good style. 
 Grimaldi was also well acquainted with 
 architecture, and he etched forty-two land- 
 scapes, some of which were after Titian. 
 In his disposition he was amiable and 
 charitable, of which the following anecdote 
 is a proof. A Sicilian gentleman, who had 
 retired from Messina with his daughter 
 during the troubles of that country, was 
 reduced to the misery of wanting bread. 
 As they lived opposite to him, Grimaldi 
 was soon informed of the distressing situa- 
 tion of his neighbours ; and in the dusk 
 of the evening, knocking at the Sicilian's 
 door, without making himself known, 
 tossed in a purse of money and withdrew. 
 This benevolence he repeated several 
 times, which raised the Sicilian's curiosity 
 to know his benefactor. Accordingly, 
 planting himself close to his door, he at 
 last seized the opportunity of catching his 
 unknown friend by the coat, and embraced 
 him. Grimaldi, on recovering from his 
 confusion, took the Sicilian and his daugh- 
 ter home to his house, where they remained 
 till the state of affairs changed for the better, 
 and theyreturned toMessina. Thisworthy 
 man died of a dropsy in 1680. He left six 
 children, among whom Alessandro only 
 was distinguished as an artist. He painted 
 landscapes in the style of his father, and 
 executed also some engravings in a spirited 
 manner. 
 
 Grimai^di (Francesco). This painter 
 was a native of Naples, and the disciple 
 
GRI 
 
 238 
 
 GUE 
 
 of Domenichino. He was ingenious in 
 his composition, a good colourist, and liad 
 an excellent taste in architecture. He 
 died at the age of fiity-nine, in 1609. 
 
 Grimani (Hubert, or Hubert Ja- 
 coBsz). This painter was horn at Delft 
 in 1599. Having learned the principles 
 of the art in his own country, he travelled 
 to Venice when he was very young, and 
 studied there after the best masters of that 
 celebrated school. His patronymic was 
 originally Hubert Jacobsz, but on being 
 taken into the family of the Doge Grimani, 
 he assumed the name of his patron, which 
 his own posterity retained ever after. He 
 studied the works of Titian with uncom- 
 mon diligence, and became an admirable 
 colourist. His talent lay wholly in portrait 
 painting, which he followed with great 
 success at Venice ; but at the expiration 
 of nine years he returned to Holland, 
 where his latter performances fell short 
 of those which he executed in Italy. He 
 died at the Brill in 1629. 
 
 Grimm (Samuel Henry). This artist 
 was a native of Berghoff, in the canton of 
 Berne, in Switzerland, where he acquired 
 the principles of painting. He possessed 
 great talents for landscape, and designed 
 after nature with spirit and effect. He 
 also drew his figures well, and disposed 
 them judiciously, though he finished them 
 in the Flemish manner. He resided most 
 part of his life in England, to which he 
 came about 1768. He was much employed 
 by the Society of Antiquaries in drawing 
 architectural views. His pictures are 
 mostly in water colours, there being but 
 few in oil. One of his greatest per- 
 formances was a drawing after an ancient 
 picture preserved in Windsor Castle, the 
 subject of which is the Departure of Henry 
 VIII. for Boulogne. SirW.Busrel employ- 
 ed him for his intended survey of Sussex. 
 He died in June, 1794, and was buried in 
 the churchyard of St. Paul's, Covent- 
 garden. 
 
 Grimmer (Jacob). He was born at 
 Antwerp in 1510, and was instructed, first 
 by Matthew Kock, and afterwards by 
 Christian Queburg. He painted land- 
 scapes, and, to qualify himself effectually 
 for that branch of art, applied diligently 
 to the study of nature, which he imitated 
 with success. His distances and skies 
 were admirably coloured, his trees touched 
 with spirit and freedom, and his buildings 
 well chosen. He had a ready manner of 
 finishing, and the whole together had a 
 natural and pleasing effect. He became 
 
 a member of the Academy at Antwerp, 
 where he died in 1546. 
 
 Grimoux ( -). This French artist 
 
 was born at Paris in 1688. He acquired 
 the art of painting solely by his own ap- 
 plication in copying the works of Van- 
 dyck and Rembrandt. He painted both 
 history and portrait, but in an inferior 
 style, for the want of good instructions. 
 He died at Paris in 1740. 
 
 Grisoni (Giuseppe). He was born at 
 Florence about 1701, and studied under 
 Tommaso Redi, who is said to have been 
 so much affected by the promising talents 
 of his scholar, that it occasioned his death. 
 Grisoni became an excellent painter of 
 history and portrait, but chiefly in the 
 latter department. His own picture, 
 painted by himself, is in the gallery at 
 Florence. He died in 1769. 
 
 Grobber (Francis). He was born at 
 Haerlem in 1579, and studied under Ro- 
 land Savery, at Utrecht, by whose instruc- 
 tions he became a tolerable artist in history 
 and portrait. He died at Haerlem in 1636. 
 
 Gropallo (Pietro Maria). This 
 painter was born at Genoa in 1610, and 
 became the scholar of Giovanni Battista 
 Paggi, under whom he became a good 
 artist in historical composition. He died 
 in 1672. 
 
 Gros (Jean le). This French artist 
 was born at Paris in 1671, and died at St. 
 Germain in 1745. His practice was con- 
 fined to portrait painting, in which he had 
 considerable success. 
 
 Guarana (Giacomo). This artist was 
 born at Venice in 1716, and studied suc- 
 cessively under Sebastiano Ricci, and 
 Giovanni Battista Tiepolo. Most of his 
 pictures are in the churches and palaces 
 of Venice. He was also an engraver, and 
 etched some mythological subjects after his 
 own designs. 
 
 GuARDi (Francesco). He was born 
 at Venice in 1712, and had Canaletto for 
 his master, whose style he followed so 
 successfully, that it is not easy to distin- 
 guish the works of the one from those of 
 the other. Guardi had a perfect know- 
 ledge of perspective, and managed his 
 lights and shadows so as to produce an 
 admirable effect. He died in 1793. 
 
 GuERCiNO, or Giovanni Francesco 
 Barbieri. This celebrated painter, who 
 obtained his popular name from the cir- 
 cumstance of the loss of an eye, was born 
 at Cento, a village near Ferrara, in 1590. 
 He acquired the elementary principles of 
 his art, first from Giovanni Battista Cre- 
 
 
GUE 
 
 GUI 
 
 monini, and next from Benedetto Gernari ; 
 after which it is said that he studied in the 
 school of the Caracci ; but this is scarcely 
 credible, since his style is totally differ- 
 ent from that of either of those great 
 masters. Guercino had three manners, 
 neither of which have a resemblance to 
 the style of the Caracci. His first and 
 least known seems to be an imitation of 
 Caravaggio, full of deep shades and strong 
 lights ; tiesh of a yellow tinge, and a gen- 
 eral colour that was far from being har- 
 monious. His second and best period 
 was compounded of the Roman, Venetian, 
 and Bolognese Schools, blended, however, 
 with somewhat of Caravaggio's bold oppo- 
 sition of light and shade. His last manner 
 was a palpable imitation of Guido, and in 
 this he lost not only his originality, but 
 his power and elegance. The pictures in 
 his first manner are mostly at Bologna 
 and Cento ; the second were at Rome, in 
 fresco or in oil, and the principal of them 
 are an Aurora, in the villa of Ludovisi ; a 
 St. Petronilla, which the French carried 
 off to Paris ; and a Dido, in the Spada 
 gallery. Of this style also is the cupola 
 of Piacenza, painted by Guercino. The 
 pictures of his third manner are, or were, 
 mostly at Bologna. Guercino went to 
 Rome on the invitation of Pope Gregory 
 XV. ; but after spending two years there, 
 during which he executed a number of 
 great works, he returned to Bologna, nor 
 could any temptations or advantageous 
 offers draw him again from thence. Chris- 
 tina, Queen of Sweden, in her passage 
 through -that city, visited him, expressing 
 the pleasure she felt at taking into her 
 own hand that which had painted one 
 hundred and six altar-pieces, one hundred 
 and forty-four pictures for persons of the 
 first rank in Europe, and had besides 
 designed ten works of merit. Guercino 
 received the honour of knighthood from 
 the Duke of Mantua. He acquired great 
 riches by his profession, but bestowed 
 them liberally in acts of charity, building 
 of chapels, and founding hospitals. He 
 died in 1666. To the works already men- 
 tioned should be added his celebrated 
 pictures of St. Philip Neri, in the Chiesa 
 Nuova at Rome; the Resurrection, at 
 Cento ; and St. Helena, at the Mendi- 
 cants in Venice. Guercino also etched 
 some prints in a style of excellence. 
 
 GuERKiERE (Giovanni Fkancesco). 
 He was a native of Fossombrone, in the 
 papal territory, and painted in the manner 
 of Caravaggio and Guercino. His princi- 
 
 pal works are a picture of St. Carlo Bor- 
 romeo at Fano, with two laterals, repre- 
 senting different subjects in the life of that 
 prelate ; and another of St. Sebastian, by 
 torchlight, which has a beautiful effect. 
 He lived about the year 1670. 
 
 Guevara (Juan Ninno de). This 
 Spanish artist was born at Malaga in 
 1631, and studied under Miguel Man- 
 rique, who had been a pupil of Rubens ; 
 but afterwards Guevara became the scho- 
 lar of Alonso Cano, whose style he chiefly 
 followed. His chief works are at Malaga, 
 Granada, and Cordova. At the former 
 place is a noble picture by him, of the 
 Elevation of the Cross ; the Ascension ; 
 and the Assumption. At Cordova are 
 some portraits much in the manner of 
 Vandyck. He died at Malaga in 1698. 
 
 GuiDo Reni. This memorable artist was 
 born at Bologna in 1574, and when very 
 young became the scholar of Denis Cal- 
 vart, but he afterwards entered the school 
 of the Caracci, being considered as the 
 principal disciple of that celebrated semi- 
 nary, with the exception of Domenichlno. 
 Plis masters, we are confidently told, were 
 so jealous of his extraordinary talents and 
 uncommon progress, that Lodovico at- 
 tempted to keep down his aspiring genius, 
 by setting Guercino against him as a 
 rival; while Annibale, in the same un- 
 generous spirit, censured Albano for 
 bringing Guido among them. Notwith- 
 standing this, the young artist pursued 
 his course with unremitting ardour ; nor 
 did he adopt the style of the Caracci, but 
 examined for himself the several excel- 
 lences of other great painters, with the 
 view of profiting by them all, and thus 
 forming a manner of his own. He at 
 one time appeared to imitate Passerotti, 
 and at another Caravaggio ; but he took 
 care to avoid their defects, and whatever 
 he found good in either, he improved, 
 both in expression and colouring. The 
 tender, the pathetic, and the devout, were 
 the characters in which he peculiarly 
 excelled, and are those which not only 
 distinguish him from every other painter, 
 but almost give him precedence of all. 
 In expressing the different parts of the 
 body he had a remarkable peculiarity, 
 for he usually designed the eyes of his 
 figures large, the nostrils somewhat close, 
 the mouth small, the toes rather too much 
 joined, and without any great variety. 
 His heads are accounted little inferior to 
 Raffaelle's, either in correctness of design 
 or engaging propriety of expression ; and 
 
GUI 
 
 240 
 
 GUI 
 
 it has been justly observed, that the merit 
 of Guido consisted in that moving and 
 persuasive beauty, which does not so much 
 proceed from a regularity of features, as 
 from the lovely air which he gave to the 
 mouth, and the modesty which he placed 
 in the eye. Yet there is somewhat thea- 
 trical in his attitudes, whence it seems 
 that he confined all his power to the ex- 
 pression of the countenance. His drape- 
 ries are always disposed with large folds, 
 in a grand style; and with singular judg- 
 ment they are contrived to fill up the void 
 spaces, free from stiffness or affectation, 
 yet noble and elegant. Though he under- 
 stood not the chiaro-oscuro, he sometimes 
 practised it, by the force of genius. His 
 pencil was light, and his touch free, but 
 delicate; and though he laboured his 
 pictures highly, he generally gave some 
 bold strokes to his work, in order to con- ! 
 ceal the toil and time he had bestowed 
 upon it. His colouiing is generally very 
 clear and pure; but latterly his pictures 
 had a grayish cast, which changed into a 
 livid colour, and his shadows partook of 
 the green. Many of his latter performances 
 are not to be placed in competition with 
 tliose which he painted before he fell into 
 distressed circumstances, by an inordinate 
 passion for gaming ; when, as his neces- 
 sities compelled him to work for immediate 
 subsistence, he contracted the habit of 
 painting in a slight and negligent manner, 
 without any attention to his honour or 
 fame. In the church of St. Philip Neri, 
 at Fano, is a grand altar-piece by Guido, 
 representing Christ delivering the Keys 
 to St. Peter. The head of our Saviour is 
 exceedingly fine, that of St. John admir- 
 able, and the other Apostles are in a 
 grand style, full of elegance, with a strong 
 expression, and the whole well preserved. 
 In the arehiepiscopal gallery at Milan is 
 a St. John, wonderfully tender in the 
 colouring, and the grace* diffused through- 
 out the design excite the admiration of 
 every beholder. At Bologna, in the 
 Palazzo Tanaro, is a most beautiful pic- 
 ture of the Virgin, the Infant Jesus, and 
 St. John ; in which the heads are exqui- 
 sitely graceful, and the draperies in a 
 grand style. But in the Palazzo Zampieri is 
 preserved one of the most capital paintings 
 of Guido. The subject is, the Penitence 
 of St. Peter, with one of the Apostles 
 seeming to comfort him. The figures are 
 as large as life, and the whole of an 
 astonishing beauty ; the painter having 
 shown, in that single performance, the 
 
 art of painting carried to its highest per- 
 fection. The heads are nobly designed ; J 
 the colouring clear and warm, and the 1 
 expression inimitably just and natural. * 
 There was also in the collection of the 
 Marquis of Hastings, but afterwards of 
 Mr. West, a fine head by Guido, repre- 
 senting Christ crowned with Thorns, 
 painted in a style nearly approaching to 
 perfection, blending in the expression all 
 that can possibly be imagined of pious 
 resignation and sublimity of character. 
 This exquisite picture has been admi- 
 rably engraved by Sharp. Great were the 
 rewards and honours which this accom- 
 plished artist received from popes and 
 princes, as well as from cardinals and 
 nobles of various countries ; notwithstand- 
 ing this, he abandoned himself to gaming 
 so entirely as to be reduced to poverty, j 
 which brought on a dejection of spirits, 
 and a languishing disorder, of which he 
 died at Bologna in 1642. Guido was so 
 extremely handsome in his person, that 
 Lodovico Caracci, in painting his angels, 
 always took him for his model. Arpino, 
 when asked by the pope his opinion of 
 Guide's performances in the Capella 
 Quirinale, replied, " Our pictures are the 
 works of men's hands, but these are made 
 by hands divine." 
 
 GuiDOBONO (Bartolomeo). This 
 painter was born at Savona in 1654, and 
 was instructed by his father. He after- 
 wards copied some of the works of Bene- 
 detto Castiglione so exactly, that it was 
 difficult to discover one from the other. 
 Having studied at Venice and Parma, he 
 went to Genoa, where he settled, and 
 employed himself generally in painting 
 animals, fruits, and flowers. He had a 
 perfect management of the chiaro-oscuro, 
 designed accurately, and coloured well. 
 He also executed some historical subjects 
 in an excellent taste, particularly one 
 of Lot and his Daughters. He died in 
 1709 
 
 GuiDOTTi (Cavaliekb Paolo). He 
 was born at Lucca in 1569, and when 
 young went to Rome, where he attained 
 distinction by studying after the antiques, 
 and the works of the greatest masters. 
 Pope Sixtus V. employed him in the 
 Vatican, the Scala Santa, and St. John 
 de Lateran. He was also an excellent 
 sculptor, in which branch of art he gave 
 such satisfaction to Paul V. that he con- 
 ferred on him the order of knighthood. 
 His principal works are a picture of St. 
 Matthew; and an Assumption of the 
 
G Y Z 2 
 
 Virgin. He painted chiefly in fresco, and 
 died at Rome in 1629. 
 
 GuiXACciA (Deodato), He was born 
 at Messina in Sicily, about 1515; and 
 studied under Polidori di Caravaggio, 
 after whose death he was employed to 
 finish his picture of the Nativity. In the 
 Church of the Pelligrini, at Rome, is a 
 picture of the Trinity; and in that of St. 
 Salvatore de Greci, another of the Transfi- 
 guration, by Deodato ; both in the man- 
 ner of Polidori. 
 
 GuiRBo (Francisco). This Spanish 
 painter was born at Barcelona in 1630. 
 Several of his paintings are in the churches 
 and convents of his native city, where he 
 died in 1700. 
 
 GuisoNi (Fermo). This Italian artist 
 was a native of Mantua, and the scholar 
 of Giulio Romano, with whom he became 
 a great favourite. Guisoni painted the 
 Calling of St. Peter and St. Andrew, after 
 the cartoons of his master, for the Cathe- 
 dral of Mantua ; and in the Church of 
 St. Andrea, in the same city, is a fine 
 picture by him of the Crucifixion. He 
 died about 1590. 
 
 GuTTENBRUxN (L.). Hc was bom at 
 Dresden, and came to England about the 
 year 1789. He exhibited three successive 
 years at the Royal Academy ; but in 1792 
 went to Petersburgh, where he realized a 
 fortune, with which he retired to Berlin. 
 He was a member of the Academy of 
 Florence, and painted both portraits and 
 history. Some prints have been published 
 from his drawings. 
 
 GuYABD (Adelaide Labiile). This 
 lady was born at Paris in 1749, and ac- 
 quired a merited reputation by her por- 
 traits in miniature, crayons, and oil. She 
 married M. Vincent, a distinguished 
 artist ; but is best known by her maiden 
 name. Her death, which took place in 
 1803, was accelerated by grief, occasioned 
 by some of the revolutionary fanatics 
 having destroyed a picture which had 
 cost her the labour of several years. 
 
 Gyzen (Peter). He was born at 
 Antwerp in 1636, and became the disciple 
 of John Breughel, whose manner he 
 imitated. His subjects were views of 
 villages on the banks of rivers, especially 
 of the Rhine, in the style of Sachtleven ; 
 and he adorned his landscapes with figures, 
 well designed, and neatly pencilled. In 
 his larger pictures he was not so happy 
 as in those of a small size, like his mas- 
 ter; which occasioned the latter to be 
 abundantly more esteemed, as they were 
 
 d H A C 
 
 touched with spirit, and without his 
 general dryness. Had this painter pos- 
 sessed the art of uniting his colours, he 
 might have equalled John Breughel; but 
 the reds, greens, and yellows, predominate 
 so much as to destroy the effect and har- 
 mony of his pictures. 
 
 H. 
 
 Haansbergen (John Van). This artist 
 was born at Utrecht in 1642, and was the 
 scholar of Cornelius Poelemburg, in whom 
 he had the double advantage of sound 
 instruction, accompained by excellent 
 example. He for some time followed the 
 manner of his master very closely, having 
 the same taste of landscape, figures, back- 
 grounds, and ornaments, so that a few of 
 his works at first sight were taken, even 
 by good judges, for those of Poelemburg. 
 At length, however, Haansbergen's pic- 
 tures lost their credit in the comparison ; 
 for though there appeared a strong re- 
 semblance in the compositions, yet he was 
 accounted inferior to his master in correct- 
 ness of drawing, in the delicacy of his 
 figures, and in the neatness of his touch ; 
 he was therefore advised by his friends to 
 undertake portrait painting, to which his 
 genius seemed to have a natural direction ; 
 especially for female forms, as the tint of 
 his colouring was exceedingly well adapted 
 to delicate complexions ; and accordingly 
 he applied himself entirely to that branch, 
 and his success was answerable to the most 
 sanguine expectations. The subjects of 
 his first time were the same as those of 
 Poelemburg, naked figures of Nymphs or 
 Deities, with which he enriched the scenes 
 of his landscapes ; his designs were taken 
 from true as well as fabulous histories, 
 and he always finished them with neatness 
 and care. He died in 1705. 
 
 Hackaert, or Hakkert (John). This 
 painter was born at Amsterdam in 1636 ; 
 his master is unknown, but he proved 
 an excellent artist, and was highly ad- 
 mired for the delicate manner of handling 
 in his landscapes. The scenes he chose 
 for his subjects, were broken grounds, 
 with caverns, grottoes, and mountainous 
 views, which he designed after nature ; 
 and, to furnish himself with such objects 
 as had an agreeable wildness, he travelled 
 through the most romantic parts of Ger- 
 many and Switzerland, sketching every 
 thing that pleased his taste, or that could 
 
II AC 
 
 242 
 
 be introduced into his future compositions. 
 By this means his pictures recommended 
 themselves to all the lovers of painting, as 
 affording the spectator a view of whatever 
 was grand, uncommon, and pleasing, and 
 at the same time a true and exact repre- 
 sentation of nature. One peculiarity 
 which distinguishes the works of this 
 artist is the extraordinary representation 
 of the solar light penetrating through 
 rocky chasms and the opening of woods. 
 While roaming about the mountains and 
 vales of Switzerland, it happened that 
 some of the peasants and miners observed 
 him sketching his designs; and, being 
 surprised at the novelty of those charac- 
 ters which were struck out by his pencil, 
 they concluded him to be a magician ; 
 and, as such, dragged him before a 
 magistrate, who, knowing Hackaert and 
 his profession, dismissed the ignorant 
 multitude, and took the artist under his 
 protection. On his return to Holland he 
 associated with Adrian Vandervelde, who 
 generally painted the figures for him; 
 and by that means the pictures of this 
 master acquired additional value. Hac- 
 kaert etched six admirable landscapes 
 from his own designs. He died in 1699. 
 Hackert (James Philip). This artist 
 was born at Prentzlau, in Prussia, in 
 1734, and received his first instructions 
 from his father, who was a portrait pain- 
 ter ; but on discovering a turn for land 
 scape, he was placed under Le Sueur. For 
 his improvement in studying after nature, 
 he visited Sweden and Norway, and in 
 1766 he went to Rome, where he lived 
 several years. On visiting Naples, the 
 king gave him a pension, and retained 
 him in his service. Some of his land- 
 scapes, taken from the scenery he had 
 viewed in the north and south, are ex- 
 ceedingly fine, nor are his etchings of the 
 same subjects less admired. Hackert 
 made a singular bargain with the king : 
 he engaged to paint all the pictures for 
 his majesty, at the rate of six Neapolitan 
 ducats for every square foot. In order to 
 gain his money more easily, he contrived 
 to make the skies of those pictures two or 
 three times larger than their proportions 
 required. The consequence is, that this 
 glaring fault is to be found in all that he 
 painted for the king, which remain so 
 many monuments of his avarice and bad 
 faith. He died about 1794. His brother 
 George was also an artist, and settled at 
 Naples as an engraver and dealer in prints 
 and pictures. 
 
 Hackekt (John). He was a native 
 of Germany, but studied at Rome with 
 his three brothers. He came to Eng- 
 land, and in 1773 exhibited some pic- 
 tures at the Royal Academy, but died 
 soon after at Bath. He excelled in paint- 
 ing animals. 
 
 Haeblem (Theodore, or Dihk Van). 
 He was born at Haerlem about 1410, and 
 by studying nature diligently, rendered 
 himself a painter of distinction. And, 
 that he had considerable merit for the age 
 in which he flourished, a competent proof 
 exists in a picture of his painting at 
 Utrecht. It is less hard and dry than 
 most of the works of his contemporai-y 
 artists, and is highly laboured in the 
 finishing. It is an altar-piece represent- 
 ing Christ, and on the folding-doors are 
 the figures of St. Peter and St. Paul, as 
 large as life. This ancient picture has 
 the following inscription in golden letters : 
 Theodorus Hacrlemens fecit we, Lovanii, 
 anno 1462. This painter died at Haerlem 
 in 1470. 
 
 Hagen (John Van). This painter 
 was born at the Hague, according to one 
 account, and to another in the duchy of 
 Cleves. Most of his works consist of 
 views and scenes, which he sketched after 
 nature, in the neighbourhood of Cleves 
 and Nimeguen. His manner was pleas- 
 ing, and his colouring natural ; but his 
 pictures have lost much of their value by 
 the fading of the blues and greens, owing 
 to some defect in the colours, and the too 
 free use of sphaltum or Haerlem blue, by 
 which means they are turned black. The 
 designs which he made after natui'e are 
 highly esteemed ; most of them are mark- 
 ed between the years 1650 and 1662, as 
 also are some of his best paintings. One 
 of his principal performances in the 
 Louvre is a representation of a village, 
 having in the foreground a sportsman, 
 with a servant and dogs. 
 
 Haid (John Jacob). This artist was 
 born at or near Wirtemberg, in 1703. At 
 an early age he went to Augsburg, where 
 he studied under Ridinger, and became an 
 excellent portrait painter. He also distin- 
 guished himself byhis platesin mezzotinto, 
 consisting of the portraits of eminent 
 German noblemen and artists. He had 
 two sons, John Gottfried Haid, who 
 came to England, and was much employ- 
 ed as a mezzotinto engraver by the late 
 Alderman Boydell ; and John Elias^ who 
 was also a good artist in the same line at 
 Augsburg. 
 
 ; I 
 
II A L 
 
 243 
 
 HAL 
 
 Hakewei.l (John). The father of this 
 artist was foreman to Mr. Thornhill, ser- 
 geant-painter to George II. John stu- 
 died under Samuel Wale, and received 
 several premiums from the Society of 
 Arrs, particularly one for a landscape, 
 and another for a figure. After giving 
 such promise he turned house-painter; 
 but he also executed many decorative 
 subjects in the arabesque or grotesque 
 style, particularly at Blenheim. Occa- 
 sionally he painted some landscapes. He 
 died in 1791. 
 
 Hainzelman (John). He was born at 
 Augsburg in 1641, and though bred an 
 engraver under Francis Pouillyat Paris, he 
 also painted portraits in a good style. Se- 
 veral of these were afterwards engraved by 
 himself. 
 
 Hal (Nicholas Van). This painter 
 was born at Antwerp in 1668. We are 
 not informed under whom he was in- 
 structed, but in his early life he painted 
 historical subjects, with reputation for 
 genius, colour, and correctness. He was 
 also employed by Hardime in painting the 
 figures of Nymphs and Genii in his pic- 
 tures. In his latter days, however, his 
 style and execution failed, so that his 
 works no longer possessed any value. He 
 died in 1738. 
 
 Halle (Claude Gui). This painter 
 was born at Paris in 1651, and received 
 his instructions in the art from his father, 
 Daniel Halle. He painted history well, 
 his composition was good, his colouring 
 agreeable, his design correct, and he had 
 a perfect knowledge of the chiaro-oscuro. 
 He died at Paris in 1733. His principal 
 works are Christ driving the Money- 
 changers out of the Temple; and an 
 Annunciation; both in the Church of 
 Notre Dame. He was a member of the 
 Royal Academy at Paris. His son, Noel 
 Halle^ was also an historical painter. He 
 executed some pictures for the churches, 
 and a few etchings after his own designs. 
 
 Hals (Franck). He was born at 
 Mechlin in 1584, and was a disciple of 
 Karl Van Mander. He had a lively and 
 prompt genius, and applied himself dili- 
 gently to the study (jf nature, as well 
 as to the true principles of his art, in 
 regard to colouring and pencilling till he 
 so effectually confirmed his hand and his 
 judgment, that he became an admirable 
 painter of portraits, so that no artist 
 of his time was superior to him in that 
 branch, except Vandyck, and but very few 
 could be admitted into competition with 
 
 him. He painted in a beautiful manner, 
 and gave his portraits a strong resem- 
 blance, a lively expression, and a true 
 character. His colouring was extremely 
 good and natural ; and he mixed his tints 
 in a peculiar manner, so as to give a sur- 
 prising force to his pictures, by the free- 
 dom and boldness of his pencil ; it being 
 his opinion that an artist ought to conceal, 
 as much as possible, the labour and exact- 
 ness requisite in portrait painting. Van- 
 dyck had conceived so high an opinion of 
 the merit of Hals by seeing several of his 
 performances, that he went to Haerlem, 
 where he then lived, purposely to pay him 
 a visit, but introduced himself as a gen- 
 tleman on his travels, who wished to 
 have his portrait painted, and had only 
 two hours to spare. Hals, who was hur- 
 ried away from the tavern, took the first 
 canvass that lay in his reach, and sat 
 down to work in a very expeditious man- 
 ner. In a short time he liad proceeded 
 so far that he desired the sitter to look at 
 what he had done ; but though Vandyck 
 seemed much pleased, he told Hals that 
 such work seemed so very easy, he was 
 persuaded he could do it himself. Imme- 
 diately he took the palette and pencils, 
 made Franck sit down, and spent a quarter 
 of an hour in painting his portrait ; but 
 the moment Hals cast his eyes on it, he 
 cried out in astonishment, that no hand 
 except that of Vandyck could work so 
 wonderfully, and he embraced him with 
 a degree of transport not to be described. 
 Vandyck endeavoured to prevail on hira 
 to go with him to England, and engag- 
 ed to enrich him ; but Hals declined the 
 proposal, and told him that his happiness 
 consisted solely in the enjoyment of his 
 friends and his bottle, and that while he 
 possessed them he was fully content with 
 his condition and his country. Those 
 two artists quitted each other with mu- 
 tual regret; and Vandyck used to say, 
 that Hals would have been the best in 
 his profession, if he had given more ten- 
 derness to his colours, for, as to his pencil, 
 he knew not one who was so perfectly 
 master of it. His principal work is a 
 large picture in the hall belonging to the 
 Society of Archers at Delft, consisting of 
 the portraits of all the members at the 
 time when the painting was executed. 
 He died in 1666. 
 
 Hals (Dirk, or Theodore). He was 
 the brother of Franck Hals, and was 
 born at jNIechlin in 1589. He became 
 the scholar of Abraham Bloemart, under 
 
HAM 
 
 244 
 
 HAM 
 
 whose direction he principally practised 
 the painting of animals ; but when he 
 quitted that master, he chose for his gen- 
 eral subjects drolls, conversations, feasts, 
 or merry-makings, which he designed 
 with a great deal of low humour and spirit; 
 but he was in no degree comparable with 
 his brother, either in correctness, colouring, 
 orexcellence of handling. He died in 1656. 
 Hamilton (Gavin). This painter was 
 descended from the ancient family of the 
 Hamiltons of Murdieston, originally of 
 Fife, but now of Lanarkshire in Scotland. 
 He was born at Lanark, and having dis- 
 covered from his infancy a great predilec- 
 tion for historical painting, went young 
 to Rome, where he became the scholar of 
 Agostino Massuchi. With the exception 
 of a few occasional visits to his native 
 country, he resided the whole of his life 
 at Rome, and died therein 1797. If he had 
 not the talent of invention, yet by the ad- 
 vantages of liberal education, and a clas- 
 sic taste in the choice of his subjects, he 
 became equal to many of his most cele- 
 brated contemporaries. The subjects which 
 he painted from the Iliad bear ample tes- 
 timony to this, such as Achilles embracing 
 the corpse of Patroclus, and the Body of 
 Hector dragged by the victor round the 
 walls of Troy, which are chaste and vigo- 
 rous compositions : but in the expression 
 of character he is not always happy, 
 as in Achilles dismissing Briseis, where 
 we see more of the gesticulation of an 
 actor than the dignity of a hero. Of his 
 women, the Briseis, in the same subject is 
 the most attractive. Neither Andromache 
 mourning over Hector, nor his Helen, in 
 the same picture, or in thescene with Paris, 
 reach our ideas of elevated deportment 
 and true pathos. Though Hamilton was 
 well acquainted with the antique, his forms 
 have neither correctness nor character- 
 istic purity ; something of the modern 
 principle prevails throughout the whole of 
 his works ; and his composition frequently 
 exhibits ordinary conceits and habits. He 
 was extremely solicitous about colour, and 
 yet he had no harmony; for, instead of sim- 
 ple hues, and natural tones, he exhibits 
 muddy grays, repulsive blues, and coarse 
 greens, which destroy his breadth, and 
 cloud his chiaro-oscuro. Most of the 
 latter part of Mr. Hamilton's life was em- 
 ployed in the discovery of antique monu- 
 ments. For this purpose he opened caves 
 in various places of the Roman state, par- 
 ticularly at Centumcellse, Velletri, Ostia, 
 and Tivoli, in which labour he met with 
 
 great success, and thereby made ample 
 amends to art for the loss which paint- 
 ing, perhaps, might have suffered by the 
 intermission of his practice. In the Cle- 
 mentine Museum, next to the treasures of 
 the Belvidere, the contributions of Hamil- 
 ton in statues, busts, and basso-relievos, 
 were by far the most important to learn- 
 ing ; and the best collections scattered 
 over Russia, Germany, and this country, 
 owe many of their principal ornaments to 
 his researches. Nor was he less attentive 
 to modern art, for he published his Schola 
 Italica Picturae, to trace the progress of 
 its styles from Leonardo da Vinci to the 
 successors of the Caracci. Mr. Hamil- 
 ton was not more estimable for his talents 
 than for his liberality, benevolence, and 
 humanity. 
 
 Hamilton (William). This histori- 
 cal painter was the son of a Scotch gen- 
 tleman who resided at Chelsea, as assistant 
 to Mr. Robert Adam, the architect. 
 William was born there in 1750, and, 
 under the patronage of Mr. Adam, went 
 to Italy, where he had Zucchi, the painter 
 of arabesque ornaments at Rome, for his 
 instructor. On his return to England, 
 he became a student in the Royal Aca- 
 demy, and by assiduous attention to his 
 professional pursuits, obtained consider- 
 able employment. He practised chiefly 
 in history, but sometimes in arabesque, 
 of which last kind he executed some orna- 
 ments for the Marquis of Bute at his seat 
 in Hampshire. He also occasionally 
 painted portraits, but his manner was not 
 well adapted to that department of the 
 art ; yet his picture of Mrs. Siddons in the 
 character of Lady Randolph possessed 
 merit. For Alderman Boydell he per- 
 formed several works, particularly for the 
 Shakspeare ; he painted some for Mack- 
 lin's Bible, and Poets; and a series for 
 Tomkins's edition of Thomson's Seasons. 
 His Woman of Samaria, and the Queen 
 of Sheba's Visit to Solomon, were among 
 his best pictures. This last was a design 
 for a window in Arundel Castle. His 
 manner was light, airy, and pleasant, and 
 to his ornaments he gave a classical pro- 
 priety. His coloured drawings resemble 
 the fulness of his oil paintings, but with 
 more freshness, and are finished with 
 taste. He was chosen an associate of the 
 Royal Academy in 1784, and an acade- 
 mician in 1789. He died December 10, 
 1801, much regretted by the public, on 
 account of his talents, and lamented by 
 his friends for his virtues. 
 
IHr 
 
 HAR 
 
 Hansan ( ). He was a native of 
 
 Scotland, and served his apprenticeship 
 to a cabinet-maker. On quitting his 
 master he devoted himself wholly to paint- 
 ing, and was patronised by Lord le De- 
 spenser, who employed him in decorating 
 his seat at West Wycombe, in Bucking- 
 hamshire, where he painted several ceil- 
 ings, and one from the design of Cipriani. 
 He died there in 1775. His name occurs 
 in the exhibition catalogue of 1769. 
 Woollett executed some engravings from 
 his landscapes. 
 
 Hasneman (Adrian). He was born 
 at the Hague in 1611 ; and, according to handled, with an agreeable tone of colour- 
 some writers, was a disciple of Vandyck; [ ing, and are well finished. Terwesten 
 but others, with much more probability, employed him to paint flowers and fruits 
 say that his master was John llavesteyn. in his compositions, which before had 
 However, he formed his taste and manner j been executed by Verbruggen. When 
 of pencilling by studying and copying j the public taste began to alter, and works 
 
 t5 HAR 
 
 He followed the same line of art as his 
 preceptor, but far exceeded him in the 
 beauty of his pieces. At the age of nine- 
 teen he went to the Hague, and soon esta- 
 blished his reputation, so that his works 
 were spread through all the Low Coun- 
 tries. In the monastery of the Bernar- 
 dines, near Antwerp, in 1718, he painted 
 four large designs, representing the Sea- 
 sons, in which he introduced all the fruits 
 and flowers peculiar to each. This is 
 deemed the best of his performances ; the 
 objects are well grouped, the fruits and 
 flowers are fine imitations of nature, freely 
 
 the works of Vandyck, observing parti 
 cularly the hairs of the heads, which he 
 very happily imitated ; and in the tints of 
 his carnations he had somewhat so ex- 
 tremely soft and delicate as to give them 
 an appearance little inferior to those of 
 that great master. Several of Hanne- 
 man's copies after Vandyck's works showed 
 such exactness and freedom of hand, that 
 they were frequently mistaken for origi- 
 nals. Though he was usually employed 
 in portrait painting, he sometimes de- 
 signed historical and allegorical subjects. 
 Of the latter kind is a large picture in the 
 hall of the States of Holland, representing 
 Peace under the figure of a beautiful 
 woman, seated on a throne, holding a dove 
 on her knees, and crowned with wreaths 
 of laurel by two genii. The composition 
 is rich, and painted with great force, the 
 carnations approaching very near to the 
 tints of Vandyck. Hanneman came to 
 England in the reign of Charles I., and 
 met with great encouragement, but re- 
 turned to Holland at the commencement 
 of the rebellion, and settled at his native 
 place, where he became the director of 
 the academy. He drew there a portrait 
 of Charles 11. before his restoration, and 
 the Princess Mary of Orange appointed 
 him her painter. He died in 1680. 
 
 Hakdime (Simon). This Flemish artist 
 was born at Antwerp in 1672. He painted 
 flowers and fruits in an excellent taste, 
 well disposed, and with a strong resem- 
 blance to nature. He settled in London, 
 and died there in 1737. 
 
 Hardime (Peter). This painter, who 
 was the brother and scholar of the pre- 
 ceding, was born at Antwerp in 1678. 
 
 of this kind were not so much in fashion 
 as they had been, Hardime grew melan- 
 choly, and in that state of dejection died 
 at Dort in 1748. 
 
 Harling (Daniel). This Dutch painter 
 was born at the Hague about the year 
 1636. He painted portraits very much in 
 the style of Netscher, and with consider- 
 able success. He became director of the 
 academy of his native place, and died 
 therein 1706. 
 
 Harlow (George Henry). This in- 
 genious artist was born in St. James's 
 Street, Westminster, June 10, 1787. His 
 father was the English resident at Can- 
 ton, but died a few months before the 
 birth of this child, the care of whom, with 
 five daughters, devolved on the widow, 
 then only twenty-seven years old. Mrs. 
 Harlow, however, discharged her mater- 
 nal duties with the utmost assiduity, and 
 when the son manifested a strong inclina- 
 tion for the arts, he was placed under a 
 landscape painter named De Cort, next 
 with Mr. Drummond, and lastly with Sir 
 Thomas Lawrence. His progress was 
 rapid, and he gave every promise of being 
 an ornament to his country. His first 
 historical picture was Bolingbroke's Entry 
 into London, which, however, was never 
 exhibited. The first which appeared at 
 Somerset-house was the portrait of his 
 mother, who died in 1809. 'i'he next was 
 a representation of the quarrel between 
 Queen Elizabeth and the Earl of Essex. 
 This was followed by a picture of Hubert 
 and Prince Arthur, taken from Shak- 
 speare's King John; and the next was 
 his capital piece of the Kemble Family, 
 in the characters of King Henry, Queen 
 
HAY 
 
 246 
 
 HAY 
 
 Catherine, Wolsey, &c. This picture was 
 originally begun on a small scale ; but the 
 artist becaraeso enamoured with his subject 
 that he enlarged his plan, and produced a 
 grand composition, which he sold to Mr. 
 Webb for no more than one hundred 
 guineas. The last great work exhibited 
 by Mr. Harlow, was that of Christ heal- 
 ing the woman who had an issue of blood. 
 It possessed merit, but fell short of his 
 former productions. He obtained well- 
 earned and high reputation by his excel- 
 lent portraits upon a small scale, two of 
 the best of which are those of Fuseli and 
 Northcote. In June 1818, he went to 
 Italy, where he made many friends, and 
 received distinguished honours from the 
 various academies. During his residence 
 at Rome, he made an entire copy of Raf- 
 faelle's Transfiguration, and executed, 
 besides, a composition of his own, of fifteen 
 figures, which, at the desire of Canova, 
 was exhibited, first at his house, and after- 
 wards at the academy of St. Luke. On 
 the 13th of January, 1819, Mr. Harlow 
 landed at Dover, but soon after his arrival 
 in London he was attacked with a disorder 
 in his throat, which carried him off in 
 fifteen days. 
 
 Harp (Van). This artist, whose 
 Christian name and place of birth are 
 unknown, was the disciple of Rubens, and 
 a happy imitator of his manner of colour- 
 ing, as well as in design. He copied 
 some of his master's greatest works on a 
 reduced scale, so closely, that good judges 
 have taken them for the genuine produc- 
 tions of Rubens. His own pictures are 
 mostly representations of farm-houses, 
 and the festivities of the peasantry, com- 
 posed admirably, and well coloured. 
 
 Haktcamp, see Smits. 
 
 Haktzoeker (Dirk, or Theodore). 
 This artist was born at Utrecht in 1696. 
 He stf.died the principles of his art under 
 Balestra, at Rome, where he became a 
 good painter of history, which, together 
 with portrait, he practised at his native 
 place till his death in 1740. 
 
 Haydox, (Benjamin Robert), was the 
 son of a bookseller, and was born on the 
 26th of January 1786. At a very early 
 period, he evinced a love for art; and, be- 
 fore he reached his eighteenth year, thepe- 
 rusal of Sir Joshua Reynolds's Discourses, 
 rendered him an enthusiast in high art. 
 His first work, " Joseph and Mary resting 
 with our Saviour," was produced at the 
 age of twenty- one. His next work was i 
 his " Dentatus," which did not receive fair I 
 
 play in the placing of it in the exhibition ; 
 and this circumstance set him at en- 
 mity with the Royal Academicians. Se- 
 veral of his pictures were, however, pur- 
 chased by amateurs at liberal prices. His 
 next production was his " Christ's Entry 
 into Jerusalem," which was exhibited in 
 Bond Street. His debts at length con- 
 signed him to the King's Bench prison, 
 and while there he painted his celebrated 
 works of the "Mock Election," and the 
 " Chairing of the Members," and a Scrip- 
 ture subject. "The Great Banquet at 
 Gruildhall, on the passing of the Reform 
 Bill;" but in this he failed. His neces- 
 sities at length became so pressing that 
 he could no longer bear up against them, 
 and died on the 19th of June 1846. It is 
 deeply to be regretted that he did not bear 
 in mind, and follow the wholesome advice 
 which was given to him by his friend, the 
 gifted poet Wordsworth. 
 
 SONNET, 
 nigh is our calling, Friend ! Creative Art 
 (Whether the instrument of words she use. 
 Or pencil pregnant with ethereal hues,) 
 Demands the service of a mind and heart 
 Tliough sensitive, yet in their weaker part 
 Heroically fashion'd to infuse 
 Faith in the whispers of the lonely Muse, 
 While the whole world seems adverse to desert. 
 And oh I when nature sinks, as oft she may. 
 Through long-lived pressure of obscure distress, 
 Still to be strenuous for the bright reward. 
 And in the soul admit of no decay. 
 Brook no continnance of weak-mindedness- 
 Great is the glory, for the strife is hard ! 
 
 Hatls (John). This artist was a na- 
 tive of England, and the rival of Sir Peter 
 Lely. At Woburn, the seat of the Duke 
 of Bedford, are several portraits of the 
 Russell family, painted by him in a good 
 style. He also painted those of the father, 
 of Secretary Pepys, and of Flatman the 
 poet. He died in 1679. 
 
 Hayman (Francis). This artist was 
 born in 1708, at Exeter, and was the 
 scholar of John Brown, a portrait painter 
 in London ; on leaving whom he was 
 much employed by Fleetwood, in furnish- 
 ing scenes for Drury-lane theatre. In 
 the pursuit of his profession he was ex- 
 tremely assiduous, and though he was more 
 convivial than studious, yet he acquired a 
 considerable degree of power in his art, 
 and was the best historical painter in the 
 kingdom before the arrival of Cipriani. 
 It was this superiority of talent that in- 
 troduced him to the notice of Mr. Jonathan 
 Tyers, the founder and proprietor of Vaux- 
 
247 
 
 II EC 
 
 hall, by whom he was employed in decora- 
 ting those well-known gardens with his- 
 torical pictures. He also painted four 
 subjects taken from Shakspeare, for what 
 was called the Prince's pavilion in Vaux- 
 hall; but Mr. Tyers had such a high 
 opinion of tliem, as to remove them to 
 his own residence, and place copies in 
 their room. His reputation procured him 
 much employment from the booksellers, 
 whom he furnished with drawings for the 
 editions of Moore's Fables, Congreve's 
 Works, Newton's Milton, Hanmer's 
 Shakspeare, Smollett's Don Quixote, 
 Pope's AVorks, &c. These drawings have 
 in general great merit. When the artists 
 were incorporated by charter, Mr. Lam- 
 bert was appointed the first president; 
 but he dying shortly after, Hayman was 
 chosen in his stead, in which station he 
 remained till 1768, when, owing to the 
 illiberal conduct of the majority of the 
 members of that Society, he was no longer 
 continued in it. For this exclusion, how- ; 
 ever, he was amply recompensed on the ; 
 foundation of the Iloyal Academy, of which ' 
 he was chosen a member, and soon after [ 
 librarian. This place he held till his death, | 
 Feb. 2, 1776. As a painter, Hayman 
 was not devoid of merit, but he was a 
 strong mannerist, and his figures are ex- 
 tremely coarse. In his private character 
 he possessed good qualities, but blended 
 with vehement passions, that rendered his 
 society disagreeable. He was fond of 
 athletic exercises, and once, when the great \ 
 Marquis of Granby came to sit for his j 
 portrait, he and Hayman had a set-to in j 
 the true pugilistic style, before the paint- 
 ing was begun. ' _ j 
 Head (Gut). This artist was a native ; 
 of Carlisle, where his father was a butcher. \ 
 Guy became a student of the Royal Aca- I 
 demy, where his performances attracted ! 
 the notice of Sir Joshua Reynolds, who, ! 
 on his setting out for the continent, gave \ 
 him letters of recommendation to several \ 
 gentlemen abroad. He was in consequence j 
 employed in painting the portraits of some j 
 of tlieir families, and allowed to copy their i 
 most valuable pictures. He resided some ' 
 years at Rome; but, on the breaking out 
 of the Revolution, he returned to his na- | 
 tive country, with a large collection of j 
 drawings, designs, and copies of some of 
 the finest paintings in the Vatican. With 
 these he intended to have made an exhi- 
 bition ; but was cutoif prematurely, while 
 preparing a room for that purpose, in 
 December, 1800. 
 
 Hearnb (Thomas). This artist was 
 born in 1744, at Brinkworth, in Wiltshire. 
 He came to London when young, and 
 was first intended for trade; but having 
 a turn for tlie arts, he was articled to Mr. 
 Woollett the engraver, with whom he 
 continued six years, and assisted him in 
 many of his works. He did not long, 
 however, continue the practice of engrav- 
 ing ; for, soon after leaving Mr. Woollett, 
 he engaged as a draughtsman to the first 
 Lord Lavington, then Sir Ralph Payne, 
 when appointed Governor of the Leeward 
 Islands, and accompanied him to the West 
 Indies, where he remained nearly five 
 years. On his return to England in 1776, 
 his fondness for antiquity led him to the 
 study of Gothic architecture, combined 
 with landscape ; and in 1 778, he associated 
 with the late Mr. Byrne in that valuable 
 work, the Antiquities of Great Britain, 
 for which he executed the whole of the 
 drawings. He also made several for 
 I other publications, but it is in private col- 
 ; lections that his works are chiefly to be 
 ' found ; and, though not remarkably nume - 
 [ rous, they are eminently distinguished for 
 I some of the best qualities of the art. He 
 seldom attempted the bolder effects of 
 nature ; but for truth, a chaste and mild 
 tone of colouring, and an admirable judg- 
 ment in the arrangement of the wliole, 
 they have seldom been surpassed ; and it 
 is not too much to say, that he was the 
 father of all that is good in that species of 
 art, namely, landscape in water colours, 
 which has so widely and conspicuously 
 diffused itself, and is peculiar to this 
 country. His worics in pencil are a match- 
 less combination of accuracy and tasteful 
 execution. As a man he was highly re- 
 spectable ; he possessed a vigorous under- 
 standing, joined to a memory remarkably 
 retentive and correct; his integrity was 
 unimpeachable, and his manners were 
 agreeable, gentlemanly, and modest. He 
 died in Macclesfield-street, Soho, April 
 13, 1817. 
 
 Heck (John Van). He was born at 
 Quaremonde, near Oudenarde, about 1625, 
 and went early to Rome, where he indus- 
 triously pursued his studies, and resided 
 several years. Tlie Duke of Braceiano 
 engaged him for a considerable time in 
 his service ; and most of the cardinals and 
 princes at Rome were solicitous to procure 
 some of his works. He drew flowers and 
 fruit in a good style, and finished them 
 with neatness ; he also painted landscapes, 
 which he designed after the beautiful 
 
H E E 24 
 
 scenes in the neighbourhood of Rome, and 
 enlivened them by small figures, correctly 
 and delicately designed. He likewise 
 painted vases of silver, agate, porphyry, 
 marble, or bronze, in imitation of the an- 
 tique, and other objects of still life, in 
 which he showed an agreeable choice, and 
 good composition. Notwithstanding the 
 encouragement he met with in Italy, he 
 returned in 1660 to Flanders, and fixed 
 his residence at Antwerp, where he lived 
 in high esteem, and had considerable em- 
 ployment. He died in 1669. He etched 
 several plates of animals and landscapes 
 from his own designs. 
 
 Heck (Nicholas Vandee). This pain- 
 ter was born at the Hague about the year 
 1580, and learned the art of painting from 
 John Naeghel. He distinguished himself 
 as a good composer of historical subjects 
 but his greatest excellence was in land- 
 scapes. His manner of pencilling was 
 strong and firm, his colouring natural 
 and lively, and by his knowledge of the 
 chiaro-oscuro, he gave to his pictures a 
 bold and striking effect. Three historical 
 compositions of his are in the town-house 
 at Alkmaer. The first represents the 
 Beheading of the Bailiff of South Holland, 
 for an act of oppression against a poor 
 peasant ; the subject of the second is the 
 punishment of an unjust judge, who was 
 flayed alive by order of Cambyses; and 
 the third is the Judgment of Solomon. 
 These paintings show a good invention 
 and design , and are extremely well executed . 
 He died in 1638. 
 
 Heck (Maetix Hemskerk Vander). 
 He was the son of Nicholas Vander Heck, 
 by whom he was taught the principles of 
 drawing and design, and the art of colour- 
 ing ; but though he had the advantage of 
 so able an instructor, he had neither the 
 genius nor execution of that eminent artist, 
 and in landscape was considerably his 
 inferior. His most frequent subjects were 
 old castles, and other antiquated buildings, 
 in the style of Roland Roghman ; and he 
 was particularly fond of painting the cas- 
 tle of Egmont in its different views. 
 
 Heckell (G. Van). This Dutch artist, 
 who lived about the year 1670, is supposed 
 to have been a scholar of Gerard Douw, 
 whose style he imitated very closely, 
 though he did not labour his subjects so 
 minutely as that great painter; yet he 
 designed well, and coloured admirably. 
 
 Heede (Vigor and William Van). 
 These painters were brothers. Vigor was 
 born at Furnes in 1659, and William in 
 
 8 HEE 
 
 1660; but by their having lived for a long 
 time in Italy, where they perfected them- 
 selves in the knowledge of their profession, 
 they have left few of their best works in 
 their own country. Vigor returned to 
 Furnes before his brother, but William 
 continued longer at Rome, where, by close 
 application, he improved to such a degree 
 as to occasion an extraordinary high price 
 to be given for his pictures. And, indeed, 
 whoever deliberately examines the works 
 of this artist, which are at Rome, Venice, 
 and Naples, will find an evident proof that 
 the high commendations they received were 
 justly due to their merit. Such was his 
 reputation that he was invited by the 
 Emperor to Vienna, and he was also en- 
 gaged to work for other princes of Ger- 
 many, who would gladly have detained 
 him at their courts. In the Church of 
 St. Walburg at Furnes is a capital picture 
 of this master, representing the Martyrdom 
 of a Saint. It is designed in the manner 
 of Lairesse, full of spirit and genius in the 
 composition, with a very natural tone of 
 colouring, and the chiaro-oscuro judi- 
 ciously observed. The works of these 
 brothers are rarely met with, even at 
 Furnes, where they both lived man} 
 years ; whence it is concluded, that they 
 were purchased by strangers, who knew 
 how to prize their merit better than their 
 own countrymen. Vigor Van Heede died 
 in 1708, and William in 1728. 
 
 Heem (John David de). This in- 
 genious artist was born at Utrecht in 
 1600, and received his instructions in 
 painting from his father David, who ex- 
 celled in the representation of fruits and 
 flowers. The son, however, soon sur- 
 passed him, and rose to the height of 
 perfection in the particular line which he 
 adopted. His favourite subjects were the 
 same as.those of his father, enriched be- 
 sides with vases of gold and silver, musical 
 instruments, carpets, and other articles of 
 I still life. But he particularly distinguished 
 j himself by the deceptive force which he 
 gave to transparent bodies, such as glass, 
 crystal, and gems. He grouped all his 
 objects admirably, coloured them ex- 
 ' quisitely, and gave them the highest fin- 
 ! ishing. His pencil is uncommonly delicate, 
 and he had a perfect knowledge of the 
 I chiaro-oscuro. His works were much 
 prized in his lifetime, nor have they since 
 lost their value, which many have taken 
 advantage of, by obtruding upon the public 
 pictures in the name of De Heem which 
 , he never executed, and which in fact were. 
 
 I 
 
HEE 
 
 HE I 
 
 unworthy of his pencil. The insects in- 
 troduced by him among his fruits and 
 flowers are so faithfully drawn, and beaii- 
 tifidly coloured, as to have the appearance 
 of reality. John de Heem painted a gar- 
 land of flowers for John Vander Meer, 
 who refused two thousand guilders for it, 
 but he afterwards presented it to King 
 William, by whom he was rewarded with 
 a post of considerable value, and carried 
 the picture to England. He died in 1674. 
 
 Heem (Coknelius de). This artist 
 was the son of the preceding, and was 
 born at Utrecht in 1623. He painted in 
 the same style as his father, but in a very 
 inferior degree, though many of his pic- 
 tures have passed for those of John David. 
 He had a brother named John, who also 
 painted fruits and flowers, but in a man- 
 ner still less Hke the father. 
 
 Heerb (Lucas de). He was born in 
 1534 at Ghent, being the son of John de 
 Heere, the best statuary of his time, and 
 Anne Smyters, who had a most surprising 
 genius for painting landscapes in minia- 
 ture. Van Mander says that she painted 
 a piece representing a windmill, with the 
 sails bent; the miller appeared mounting 
 the stairs, loaded with a sack; upon the 
 terrace where the mill was fixed was seen 
 a cart and horse, and on the road several 
 peasants : the whole was highly finished, 
 and pencilled with wonderful delicacy and 
 neatness, and was also accurately distinct, 
 yet so amazingly minute, that the surface 
 might be covered with one grain of corn. 
 Having been instructed in the principles 
 of design and pencilling by his parents, 
 De Heere was placed under Francis Floris ; 
 with whom he improved so expeditiously 
 as to become in some respects his equal, 
 while in composition and invention he 
 proved his superior. On quitting Floris, 
 he travelled to France, where he was em- 
 ployed some years by the court in drawing 
 designs for tapestry ; and while at Fon- 
 tainebleau, he studied after the antique 
 statues preserved in that palace, though 
 he never made that improvement in his 
 subsequent compositions which might 
 have been expected from his genius. On 
 his return home he painted a number of 
 portraits with applause ; and he was re- 
 markablefor having so retentlveamemory, 
 that if he saw any person but once, he 
 could draw his likeness as well as if he 
 had the model before his eyes. For the 
 Church of St. Peter at Ghent he painted 
 an altar-piece, representing the Descent 
 of the Holy Ghost ; and on the folding- 
 
 doors is a picture of the Last Supper. In 
 the Church of St. John is a painting of 
 the Resurrection ; while the doors exhibit 
 Christ and his Disciples at Emmaus, and 
 his appearance in the garden to Mary 
 Magdalen. In the reign of Queen Eliza- 
 beth, De Heere came to England, where 
 he painted her majesty's portrait, and was 
 much employed by the nobility. The 
 picture of the queen is at Kensington, 
 He died at Ghent in 1584. His manner 
 was stiff, resembling that of his master; 
 but in the colouring of the heads of his 
 portraits there is a great deal of nature 
 and clearness, and he is to be praised for 
 his high finishing, as well as for giving a 
 fulness to his draperies. 
 
 Hefele ( ). This artist was a 
 
 native of Germany, and a soldier in the 
 army of King William, but procured his 
 discharge from the service, after which he 
 settled in England, and died here in the 
 reign of Queen Anne. His subjects were 
 landscapes, flowers, and insects, which he 
 drew in water colours. 
 
 Heil (Daxiel Van), He was born at 
 Brussels in 1604, and studied after nature. 
 As a painter of landscapes he had a great 
 reputation ; but he discontinued those 
 subjects for those of terror, such as con- 
 flagrations of cities, villages, or palaces ; 
 which he represented with abundance of 
 truth, and an awful exactness. The pic- 
 tures of this master are very frequent, and 
 some of them are extremely well coloured, 
 and freely and firmly pencilled. Among 
 his capital performances are the Destruc- 
 tion of Troy, the Burning of Sodom, and 
 some excellent winter-pieces. He had a 
 light touch, a natural tone of colouring, 
 great variety in the scenes of his land- 
 scapes, and possessed a perfect knowledge 
 of the chiaro-oscuro. He died in 1662. 
 
 Heil (John Baptist Van). He was 
 born at Brussels in 1609, and was the 
 younger brother of Daniel Van Heil. He 
 principally devoted himself to sacred and 
 poetical subjects, but sometimes he painted 
 portraits. His invention was fertile and 
 lively ; he had a good manner of pencil- 
 ling, and was accounted superior to either 
 of his brothers. Several of his pictures 
 are in the churches of his native city. 
 
 Heil (Leonard Van). He was the 
 brother of the preceding artists, and was 
 born at Brussels in 1603, His subjects 
 were flowers and insects, which he copied 
 from nature, and described with the ut- 
 most exactness. He generally painted in 
 a small size, but in an exquisite manner, 
 
II EL 
 
 250 
 
 II EL 
 
 and with a neat and delicate pencil. He 
 was also an architect and an engraver. 
 
 Heins ( ), a German artist, who 
 lived many years at Norwich, where h< 
 practised as a portrait painter and an en 
 graver. His son, who was born at Nor. 
 wich about 1740, became a better artist 
 than his father, both in oil and miniature. 
 He also engraved in a good style, but died 
 young at Chelsea, in 1770. 
 
 Heintz (Joseph). This artist was a 
 native of Berne, in Switzerland, but tlie 
 time of his birth is unknown, nor are we 
 made acquainted with the name of his in- 
 structor. He became, however, a good 
 painter of history, and successfully imi- 
 tated the style of Correglo. The Emperor 
 Rodolphus II. invited him to Prague, and 
 then sent him to Italy, where he improved 
 himself greatly. On his return to Ger- 
 many he painted several pictures of merit, 
 particularly Jupiter and Leda ; the Rape 
 of Proserpine; and Diana and Actaeon. 
 
 Heiss (Ohristopheb Julias). He was 
 born at Memmingen, in Suabia, in 1670. 
 Though he painted portraits well, he was 
 mostly distinguished by his mezzotintos, 
 which he executed on an uncommonly 
 large scale, some of his plates being three 
 feet high by two feet wide. 
 
 Helmbrkker (Theodore). This pain- 
 ter was born at Haerlem in 1624. His 
 father was a musician, and intended him 
 for the same profession; but his genius 
 leading him to painting, he was placed 
 under Peter Grebber, on whose death he 
 went to Italy, and at Venice found a gene- 
 rous patron In the Senator Loredano, for 
 whom he executed several works. From 
 thence he repaired to Rome, where also 
 he met with a liberal protector in the 
 Cardinal de Medici. Afterwards he 
 visited Florence, Naples, and other cities, 
 receiving every where marks of respect. 
 Having thus improved himself by a long 
 residence in the seat of the arts, he re- 
 turned to Haerlem, yet could not be in- 
 duced by the most Importunate solicitations 
 of his friends to continue there for any 
 length of time, but went again to Rome, 
 where he spent the principal part of his 
 life. He had an excellent manner of 
 painting; his invention was lively; his 
 composition good; his figures were de- 
 signed with taste and elegance ; they had a 
 fine expression, and good relief; his subjects 
 were disposed with singular judgment; 
 and his colouring was agreeable. His 
 landscapes have abundance of truth, varie- 
 ty, and nature, producing a striking effect; 
 
 and the animals or figures are finished 
 with a delicate and free pencil, and a 
 skilful management of the chlaro-oscuro ; 
 so that the harmony, variety, and spirit of 
 liis compositions, afford the eye singular 
 pleasure. His genius qualified him not 
 only to compose sacred subjects, which he 
 always painted with success, but also con- 
 versations, fairs, beggars, and the march- 
 ings of troops. He sometimes painted in 
 the style of Bamboccio, and was accounted 
 not Inferior to him; but the tints of his 
 colouring were ratlier more clear, es- 
 pecially those of his latter time. As he 
 made Rome his residence for so many 
 years, the Italians possess most of his per- 
 formances, and value them so highly as to 
 retain them in their own country; for 
 which reason his works are very rarely to 
 be met with in any other part of Europe. 
 He frequently painted in large, but his 
 most admired pictures are those of the 
 smaller size. At Rome, in the Church of 
 the Jesuits, is a noble landscape, in which 
 is introduced the Temptation of Christ in 
 the Desert. At Naples, in the refectory 
 of the Jesuits' college, are three sacred 
 subjects, admirably executed; Christ in 
 the Garden; Christ carrying his Cross; 
 and Christ Crucified. At Amsterdam is 
 an incomparable picture, representing a 
 convent, of which the architecture is in 
 the Italian taste, excellently designed and 
 highly finished; and before the building 
 appear a number of men, women, and 
 children, who are served with victuals by 
 monks. The whole Is admirably handled, 
 with good expression, a free and neat 
 pencil, and very agreeable colouring. 
 Helmbreker died at Rome in 1694. 
 
 IlEiiMONT (Matthew Van). He was 
 born at Brussels in 1653, but it is not 
 mentioned by what master he was in- 
 structed ; yet it is supposed that he tra- 
 velled through Italy, from the taste observ- 
 able in his compositions. His subjects 
 were markets, fairs, shops with fruits and 
 vegetables, or the laboratories of chemists, 
 in the Italian style. His works were very 
 much prized by Louis XIV., for whom he 
 painted some of his best pictures. He 
 died at Antwerp in 1719. 
 
 Helmont (Segres James Van). He 
 was the son of the preceding, and born at 
 Antwerp in 1683. Ills father took great 
 pains in instructing him, and had the satis- 
 faction to see him possessed of great 
 abilities, at an age when others only begin 
 to learn. The loss of this excellent parent 
 was irreparable, but young Helmont did 
 
 J 
 
HEL 
 
 251 
 
 II E M 
 
 not relax in his application after that : 
 melancholy event, neither did he seek any 
 other tutor ; but, by the knowledge which 
 he had already acquired, and by the 
 strength of his genius, he was enabled to j 
 study nature, and toimprovehimself by de- 
 signing after the noblest models, of which 
 the city of Brussels afforded him an ample 
 number. His compositions are in the 
 grand style; his colouring is true, his 
 design correct, and among the Flemish 
 artists he is considered as a painter of 
 distinction. The great altar-piece in the 
 Church of the Carmelites at Brussels, is 
 accounted one of his most capital perform- 
 ances; the subject is Elijah's Triumph 
 over the Priests of Baal. In the Church 
 of St. Mary Magdalen, in the same city, 
 is another fine picture by him, of the 
 Martyrdom of St. Barbara ; and in that 
 of St. Michael is the Triumph of David. 
 He died at Brussels in 1726. 
 
 Helst (Bartholomew Vandeb). He 
 was born at Haerlera in 1613, and was 
 accounted one of the best portrait painters 
 of his time. He sometimes employed his 
 pencil on historical subjects, and the land- 
 scapes which he introduced into those 
 compositions, are always in a good taste, 
 and designed with great truth and nature. 
 But his chief merit consisted in portraits, 
 which he designed in an agreeable style, 
 with a light, free touch, and a mellow 
 pencil, with broad draperies and beautiful 
 colouring. Many of his countrymen do 
 not hesitate to compare him with Vandyck; 
 but when the works of both are impartially 
 compared, they cannot certainly be ad- 
 mitted to stand in any degree of competi- 
 tion. Several paintings of Vander Heist 
 are to be seen at Amsterdam, which are 
 exceedingly admired ; one of the most 
 capital is in the Chamber of Justice in the 
 town-house, and represents the principal 
 officers of the train-bands, as large as life : 
 the carnations, attitudes, and draperies, 
 are finely designed and executed ; the local 
 colours are good, and the ornaments, with 
 the vases of gold and silver, are delicately 
 finished, and imitated to great perfection. 
 Sir Godfrey Kneller was profuse in his 
 commendation of this painting, and a bet- 
 ter judge, Sir Joshua Reynolds, says, 
 "that this is perhaps the finest picture of 
 portraits in the world, comprehending 
 more of those qualities which make a per- 
 fect portrait than any other I have seen ; 
 they are correctly drawn, both heads and 
 figures, and well coloured, and have great 
 variety of action, characters, and counte- 
 
 nances ; and those so lively, and truly 
 expressing what they are about, that the 
 spectator has nothing to wish for." Van- 
 der Heist died at Amsterdam in 1670. 
 
 Hemmelinck (John). He was born at 
 Damme, near Bruges, about 1450. We 
 are not told who was his master, but a 
 curious circumstance is related of his per- 
 sonal history. Being of a wild character, 
 he enlisted for a soldier, and happening to 
 fall sick, he was taken into the hospital of 
 St. John at Bruges. Here he was brought 
 to repentance, and when he recovered, he 
 communicated his profession to the fra- 
 ternity, offering at the same time to paint 
 a picture for their chapel. His proposal 
 was accepted, and he accordingly painted 
 an altar-piece, the subject of wliich was 
 the Nativity, with the Adoration of the 
 Shepherds; and on the folding-doors were 
 representations of the Infant in the Cradle ; 
 and the Presentation in the Temple. This 
 fine performance is dated 1479, and is still 
 held in great veneration. In the chapel 
 of St. Julian he painted a picture of St. 
 Christopher, which in the late revolution 
 was carried to France. 
 
 Hemmessen (John Van). This Fle- 
 nrrish painter lived about the year 1550. 
 He studied at Rome, and was such a dili- 
 gent imitator of Leonardo da Vinci, that 
 many of his pictures, especially those of 
 children, have been mistaken for the works 
 of that master. In the Dusseldorf gallery 
 is an Ecce Homo, painted by Van Hem- 
 messen in 1544; and in the Louvre is 
 another picture of Tobit restoring Sight 
 to his Father. 
 
 Hemskekck (Martin). The real name 
 of this painter was Van Veen, but he ob- 
 tained that of Hemskerck from the place 
 of his birth, a village near Haerlem. He 
 was born in 1498, and was first instructed 
 by John Lucas; but afterwards became a 
 disciple of John Schoreel. His beginnings 
 were unpromising and heavy ; yel, by in- 
 dustry and assiduity, he overcame every 
 difficulty and discouragement, and obtained 
 the character of being a very considerable 
 artist. On quitting Schoreel, he imitated 
 the manner of that painter entirely, and 
 finished a picture for the chapel of the 
 artists at Haerlem, representing St. Luke 
 painting the portrait of the Virgin, which 
 was so exactly in his style, that it seemed 
 impossible to determine whether it had not 
 really been executed by that master. After 
 this he went to Rome, where he applied 
 to the study of the antique, and the works 
 of Michel Angelo Buonarroti, and he also 
 
copied many of the ruins in the environs of spirit, and his expression admirable, 
 of that city, intending those designs for Some of his pictures appear rather too 
 his future compositions. After an applica- | dark, particularly in the backgrounds; 
 tion of three years he returned to his native though perhaps that defect was occasioned 
 country, with a perfect change of his | by the colours having changed from their 
 manner, though by many able judges his original tint, or from the bad treatment of 
 early style, after Schoreel, was preferred to unskilful cleaners and varnishers. But 
 his latter ; the muscular parts not being ! his genuine works, when well preserved, 
 expressed so sharp in his first designs as I have a clearness and force equal to any of 
 they were afterwards. His invention was j the Flemish artists. The reputation of 
 fruitful, which qualified him to paint all Hemskerck hath excited so great a num- 
 kinds of subjects ; and his design, though ber of painters either to imitate his man- 
 dry, was easy and learned. Hiscomposi- ner or to copy his works, that many 
 tion was good, and he was fond of intro- fictitious pictures are sold for his perform- 
 ducing pieces of architecture in his back- ances. A picture of a Sick Woman, in 
 grounds ; but he wanted grace in the the possession of the author of this book, 
 countenances of his figures, and in the airs affords a proof of the merit of Hemskerck. 
 of his heads; the muscles of the body were The patient is represented in her bed- 
 abundantly too hard and dry, especially i chamber, attended by a nurse, a boy in 
 in the naked; his figures are generally too j great affliction, and a physician examin- 
 long, his draperies heavy, and his works \ ing the urinal. The background is clear, 
 "" ' ' -. ' ,,,..., ^j^^ perspective and furniture very exact, 
 
 and the principal figure is unusually 
 bright. On the right hand is the bed, at 
 the side of which the woman is placed in 
 an elbow-chair, resting her hands on its 
 arms. Sickness and pain appear in the 
 limbs, and the whole body expresses 
 feebleness and lassitude. Her form is 
 designed in a style superior to the Flemish 
 taste ; it is easy, elegant, and graceful, 
 and she turns her eyes with a melancholy 
 anxiety on the doctor, as if waiting his 
 opinion, and at the same time dreading it. 
 The light is judiciously thrown on the 
 principal figures, and the limbs and 
 attitude of the woman are worthy of any 
 artist of the Roman School. He died 
 about 1680. 
 
 Hemskerck (Egbert, called the 
 Youiig). He is supposed to have been the 
 son of the preceding, and was born at 
 Haerlem in 1645. He studied under 
 Peter Grebber, but imitated the manner 
 of Brouwer, and the elder Hemskerck. 
 He quitted his own country to settle in 
 London, where, for a long time, his 
 pictures were highly esteemed, though 
 now they are much sunk in value. He 
 had great humour, with a lively imagina- 
 tion, which caused him to delight in wild, 
 fanciful, and uncommon subjects; such 
 as the nocturnal intercourse of witches, 
 devils, and spectres, and the temptations of 
 St. Anthony. He also painted drunken 
 scenes and rural sports, which he repre- 
 sented in a very spirited mannner. His 
 drawing was tolerably correct, and in 
 some of his compositions extremely good ; 
 but though his colouring was generally 
 
 sufficiently prove that he had little or 
 knowledge of the chiaro-oscuro. One of 
 his principal works is an altar-piece at 
 Amsterdam, the subject of which is the 
 Crucifixion, and on the folding-doors are 
 representations of the several parts of the 
 history of the Passion. Hemskerck was 
 also an engraver, but his prints are more 
 valued for their rarity than beauty ; yet 
 Michael Angelo is said to have prized one 
 of them highly. This artist died in 1574. 
 Hemskerck (Egbert, called the Old). 
 This painter was born at Haerlem about 
 1610; but it is not known under whom 
 he received his education. The taste of 
 his compositions was low, for he took his 
 subjects from nature, and persons of mean 
 occupations employed in low pursuits, 
 whose figure, dress, actions, and manners 
 furnished the imagination with no ideas of 
 elegance; and he studied no farther than 
 to express the variety of humours observ- 
 able in the characters of that class of 
 people with whom he was most conver- 
 sant. To study nature in its undisguised 
 appearances, and to trace every passion of 
 the human mind in the lineaments of the 
 face and the attitudes of the body, seems 
 to have been the utmost of his ambition ; 
 for which purpose he frequented inns, 
 taverns, gaming-houses, fairs, feasts, or 
 merrj'-makings ; and by that means ac- 
 quired a surprising power of expressing 
 every incident that promoted mirth or 
 amusement. He designed and drew cor- 
 rectly, his colouring is natural and trans- 
 parent, and his pictures have a strong 
 eflfect, from his management of the chiaro- 
 oscuro. His touch is free, firm, and full 
 
HER 
 
 253 
 
 HEU 
 
 commendable, it sometimes appears dis- 
 agreeable by its foulness. It was custom- 
 ary with Hemskerck to introduce his own 
 portrait among the droll scenes and con- 
 versations which he designed ; and for 
 that purpose he had always a small look- . 
 ing-glass placed near his easel, though 
 his countenance was far from being \ 
 handsome. He died in London in | 
 1704. j 
 
 IIenkiet (Israel). This French 
 painter was born at Nancy in 1607. He 
 was the son of Claude Henriet, an ordinary 
 artist, from whom he learned the rudi- 
 ments of his art ; after which he went to 
 Italy, and studied under Antonio Tem- 
 pesta. He then returned to PVance, and 
 settled at Paris ; but not succeeding as a 
 painter, he turned printseller and engra- 
 ver. His talent lay in landscape and views. 
 He died in 1661. 
 
 Herder ( ). This Dutch artist 
 
 was born at Groningen in 1550. He went 
 to Italy, and improved himself at Rome, 
 by studying the works of the best masters; 
 after which he returned to Groningen, 
 where he practised as a painter of history 
 with some reputation, and died there in 
 1609. 
 
 Herregouts (Henry). He was born 
 at Mechlin in 1666, and learned the 
 principles of painting in his native city ; 
 but formed his manner by studying the 
 works of the best masters, and improving 
 his knowledge after nature. In his compo- 
 sitions he showed a fertile invention and 
 a ready genius ; his style of painting was 
 grand, his design full of spirit, and his 
 colouring agreeable. His figures had ex- 
 pression and character, and his draperies 
 were easy and natural ; he painted with 
 great freedom of pencil, and his touch was 
 broad and firm. His general subjects 
 were designed in a large size, and in some 
 of his compositions the figures were much 
 larger than life. He was frequently em- 
 ployed to insert the figures in the land- 
 scapes of other artists, particularly those 
 of John Asselyn. Most of the churches 
 at Antwerp, Louvain, and Bruges, are 
 adorned with the paintings of this master; 
 but his most capital performance is in the 
 Church of St. Anne, in the latter city, the 
 subject of which is the Last Judgment; 
 and the composition and execution are 
 sufficient evidence of the merit of the 
 painter. In the cathedral at Antwerp he 
 painted the martyrdom of St. Matthew, in 
 a style of colouring resembling Vandyck. 
 He died in that city in 1724. 
 
 Herregouts (John Baptist). He was 
 the son of the last- mentioned artist, and 
 was born in 1700. He painted historical 
 subjects in the style of his father, but in 
 an inferior degree. His best works are 
 the Virgin and Child, in the Church of 
 St. Anne at Bruges ; the Presentation in 
 the Temple, in that of the Carmelites ; 
 and the Virgin and Saints, in the same 
 church. He also etched some prints in a 
 pleasing manner. 
 
 Herrera (Francesco de). This 
 Spanish artist, who is called the Elder, 
 was born at Seville in 1576. He studied 
 under Luigi Fernandez, and had the 
 honour of reforming the insipid style of 
 his country. His colouring was trans- 
 parent and bold, and his figures had great 
 force of relief. One of his best works is 
 a picture of the Last Judgment, in the 
 Church of San Bernardo, at Seville. He 
 ])ainted a number of frescoes also at 
 Madrid, for the churches ; besides which 
 he excelled in representing fairs, markets, 
 and carnivals. Herrera etched some plates 
 from his own designs ; and to his other 
 qualifications he added those of being an 
 excellent architect and sculptor. He died 
 in 1656. 
 
 Herrera (Francesco). He was the 
 son of the preceding, and was born at 
 Seville in 1622. After studying under his 
 father, he went for improvement to Rome, 
 and at the end of six years returned to 
 Seville, where he became sub-director of 
 the academy ; but not succeeding to the 
 presidentship, which was conferred upon 
 Murillo, he went to Madrid, and became 
 painter to the king. His chief perfor- 
 mances are in that city, where he died in 
 1685. Besides historical compositions, he 
 painted flowers and fish, on which last 
 account he was called by the Italians // 
 Spagnuolo degli Pesci. 
 
 Herrera (Don Sebastian de). This 
 artist was born at Madrid in 1610, and 
 had Alonso Cano for his instructor. He 
 became a good painter of history and por- 
 trait ; besides which, he was an excellent 
 sculptor and architect. He died at Ma- 
 drid in 1671. 
 
 Heusch (William de). He was born 
 in 1638 at Utrecht, where he learned the 
 rudiments of painting, but went early to 
 Rome, and became the disciple of John 
 Both, under whom he made a great pro- 
 ficiency. He adhered to the beautiful man- 
 ner of his master, not only in the tints of 
 his colouring, but also in the handling, 
 and agreeable choice of his subjects. He 
 
II EU 
 
 designed after nature, and sketched views 
 of the Rhine and the Tiber, of Frescati and 
 Tivoli, from which he composed his land- 
 scapes, always representing such scenes 
 and situations as were uncommonly strik- 
 ing and beautiful ; so that his pictures were 
 exceedingly admired in Rome, and bought 
 at large prices. He enriched his land- 
 scapes with excellent figures, and animals 
 of diflferent kinds, which were elegantly 
 designed, and finished with neatness ; and 
 he generally chose for his subjects, hunt- 
 ings, harvest scenes, and shepherds and 
 villagers, employed in different occupa- 
 tions or amusements. He died at Utrecht 
 in 1702. 
 
 Heusch (Jacob de). This painter 
 was nephew to William de Heusch, and 
 was born at Utrecht in 1657. He was 
 instructetl by his uncle, whom he very 
 much resembled in his taste of design, 
 touch, and colouring, so that there was 
 hardly any perceptible difference in their 
 works. When he had for some time 
 painted in this style, he went to Rome, 
 and there attended the academy to im- 
 prove himself in drawing and design. He 
 also studied the works of the great mas- 
 ters, examining their perfections and 
 defects ; but preferring Salvator Rosa, he 
 fixed on him for his model, particularly 
 in his small figures: and to impress on his 
 mind strong ideas of that master's manner 
 of design, he viewed every scene around 
 Rome and its neighbouring villages. At 
 last he surpassed his uncle, and his works 
 were eagerly bought by persons of the 
 best taste in Rome and Venice. His 
 landscapes are faithful representations of 
 nature ; his sites are agreeably chosen ; 
 the grounds and trees well coloured, and 
 touched with freedom; and the figures, 
 sheep, oxen, and other animals, are design- 
 ed with abundance of truth, correctness, 
 and spirit. He also etched some plates 
 from his own designs in a pleasing style. 
 He died in 1701. 
 
 Heusch (Abkaham de). He was born 
 at Utrecht about 1650, and was instructed 
 by Christian Striep. His favourite sub- 
 jects were plants, insects, serpents, and 
 reptiles ; all which he copied from nature 
 with singular neatness and truth. It is 
 impossible to behold such exactness of 
 imitation and exquisite finishing as he 
 bestowed on his pictures, without being 
 astonished at his patience, as well as the 
 skill which he showed in the disposition 
 of his objects. His works, however, are 
 scarce, as he spent much time in finishing 
 
 them, and at last quitted painting for a 
 commission in the navy. He executed 
 some etchings after his own designs. 
 Abraham de Heusch died at Leerdam in 
 1712. 
 
 Heuvick (Gaspard). This Flemish 
 artist was born at Oudenarde in 1550. 
 At an early age he went to Italy, and 
 became the scholar of Lorenzo Costa, by 
 whose instructions he proved a good 
 painter of history on a large scale, for 
 churches and other public buildings. He 
 died in 1611. 
 
 Hetden (Johx Vandeb). This artist 
 was born at Gorcum in 1637, and obtained 
 his early knowledge of designing from an 
 ordinary painter on glass ; but his genius 
 enabled him to improve, by studying after 
 nature, and his taste directed him to the 
 choice of subjects very rarely seen in such 
 perfection as they have been represented 
 by his pencil. He painted churches, 
 palaces, ruins, and views of cities, with 
 great precision ; and added new beauties 
 to them by the landscapes, trees, and 
 lovely distances which he introduced. 
 His pictures are finished with uncommon 
 neatness and patience; and he painted 
 his buildings so exactly, that even the 
 stones or bricks may be counted. All 
 his objects, however, form admirable 
 masses of light and shadow ; the chiaro- 
 oscuro is well kept; the perspective is 
 excellent ; and the union and harmony are 
 preserved throughout. Though several 
 painters have finished their works as 
 highly, few have possessed, in an equal 
 degree, the art of uniting mellowness with 
 high finishing. Nothing appears laboured 
 or servile, hard, stiff, or dry; but the 
 more critically his paintings are examined, 
 the more astonishment is excited by the 
 taste and management observable through 
 the whole. He painted a view of the 
 Royal Exchange and Monument, in 
 London ; the Town-house, at Amsterdam; 
 Rome, Cologne, and Delft; and many 
 churches and palaces, which are filled 
 with a multitude of figures, judiciously 
 disposed. These figures were painted by 
 Adrian Vandervelde till his death, and 
 afterwards by Lingelbach. It is recorded 
 of Vander Heyden, that he painted a 
 Bible, lying open, only of the size of a 
 man's palm, in which the writing was 
 exceedingly small, and yet so clear, that 
 every letter was distinctly legible. He 
 etched some views from his own designs. 
 He died in 1712. 
 
 Hidalgo (Joseph Garcia). This 
 
HIG 
 
 HIL 
 
 artist was born at Murcia in 
 1656, and had successively for his in- 
 structors Matteo Gilarte, and Nicholas 
 Vellasis. He next went to Rome, where 
 he ^studied some time under Giacomo 
 Brandi. On his return to Spain, he 
 settled at Madrid, and was much employed 
 by Charles II. particularly in painting 
 the cloisters of San Filipe del Real. 
 When he died is unknown. He was the 
 author of a work entitled " Principios 
 para estudier el nobilissimo Arte de la 
 Pintura," 
 
 HiGHMORB (Joseph). This painter 
 was born in the parish of St. James, 
 Garlick-hill, London, June 13, 1692, 
 being the son of Edward Highmore, an 
 eminent coal merchant. His uncle was 
 sergeant-painter to King William, not- 
 withstanding which it was thought proper 
 by the family to overrule the inclination of 
 Joseph for the same profession, and he 
 was articled to an attorney. At his leisure 
 hours, however, he applied to drawing, 
 and the study of those sciences connected 
 with the fine arts, as geometry and per- 
 spective; besides which he attended tlie 
 anatomical lectures of Cheselden, and 
 entered himself a member of the Painters' 
 Academy in Great Queen-street, where 
 he was noticed by Kneller, who used to 
 call him " the young lawyer." On the 
 expiration of his clerkship he adopted 
 painting as a profession, with suillcient 
 encouragement. He made the drawings 
 for Cheselden's Anatomy, also those of 
 the procession of the Knights of the Bath, 
 on the revival of that order in 1725, 
 which circumstance procured him con- 
 siderable employment as a portrait painter. 
 He drew the Duke of Richmond at full 
 length, with his three esquires, in the 
 costume of the Order of the Bath, and a 
 view of Henry VII.'s chapel. He was 
 also employed to paint the portrait of 
 William Duke of Cumberland, from 
 which Smith scraped a mezzotinto. In 
 1732, Mr. Highmore made an excursion 
 to the Continent, with the design of 
 examining the Dusseldorf gallery, and 
 two years afterwards he went with a 
 similar view to Paris. In 1742, he paint- 
 ed the portraits of the Prince and Princess 
 of Wales, besides others of the royal 
 family. On the publication of Richard- 
 son's Pamela, he painted a set of pictures 
 taken from that story, of which engravings 
 were published. These brought him 
 acquainted with Richardson, for whom he 
 painted his portrait, and that of Dr. 
 
 Young, which last is in All Souls College, 
 Oxford, and is the only one ever drawn of 
 that excellent poet. In 1754, Mr. High- 
 more published a Critical Examination of 
 the Paintings of Rubens on the Ceiling 
 of the Banqueting-house at Whitehall. 
 His principal historical pictures were 
 Ilagar and Ishmael, a present to the 
 Foundling Hospital; theGood Samaritan; 
 the Finding of Moses ; the Harlowe 
 Family, taken from Clarissa ; the Graces 
 unveiling Nature; the Clementina of 
 Grandison ; and the Queen, mother of 
 Edward IV., with her younger son, taking 
 shelter in Westminster Abbey. His princi- 
 pal literary work connected with the arts, 
 is the Practice of Perspective, on the 
 principles of Dr. Brook Taylor, published 
 in 1763, in one volume quarto. This 
 ingenious and estimable man died March 
 9, 1780, and was buried in Canterbury 
 cathedral. His abilities as an artist ap- 
 pear in his works, which are improved 
 by time. His idea of beauty was of the 
 highest kind, and his knowledge of per- 
 spective gave him great advantage in his 
 family pieces. He could take a likeness 
 by memory as well as by a sitting, of 
 which there is a proof in his picture of the 
 Duke of Lorraine, afterwards emperor; 
 and those of George II., Queen Caroline, 
 the two Misses Gunning, &c. 
 
 HiLL,iARD (Nicholas). This English 
 painter was born at Exeter in 1547. His 
 father, Richard, was a gentleman of for- 
 tune, and served the office of sheriff of the 
 county in 1580. Nicholas, being a younger 
 son, was apprenticed to a goldsmith; 
 but his inclination leading him to painting 
 in miniature, he studied and copied the 
 works of Hans Holbein, without having 
 any instructor. He still carried on the 
 business to which he had been bred, and, 
 by the interest of Sir Walter Raleigh, was 
 appointed goldsmith, carver, and portrait 
 painter to Queen Elizabeth ; on which he 
 settled in London, where he was much 
 employed at court, and his works were 
 greatly admired. The Queen sat to him 
 several times, as also did most of her 
 ladies. Dr. John Donne has thus cele- 
 brated the merit of this artist in his poem 
 of the Storm : 
 
 " An hand or eye 
 By Hilliard dra^vn, is worth a history 
 By a worse painter made." 
 
 The favour which he received from 
 Elizabeth was continued by her successor, 
 who appointed him by patent his principal 
 
HIL 
 
 HIL 
 
 drawer of small portraits, and embosser 
 of medals in gold. But though Hilliard 
 had merit, and was a studious imitator of 
 Holbein, he could not acquire the force 
 and manner of that great painter. He 
 could not arrive at any strength of colour- 
 ing ; his carnations were always pale, and 
 void of any variety of tints ; yet his 
 pencilling was exceedingly neat, the jewels 
 and ornaments of his portraits were ex- 
 pressed with lines incredibly slender, and 
 even the hairs of the head and beard were 
 almost distinctly to be counted. He was 
 exact in describing the dress of the 
 times, but he rarely attemjited more than 
 a head. His portrait of Mary Queen of 
 Scots gained him universal applause. But 
 one of his most capital pieces was a whole- 
 length of Queen Elizabeth in her robes, 
 sitting on her throne ; and two other 
 pictures are mentioned in high terms of 
 commendation, the one being the portrait 
 of his father, and the other of himself. 
 Hilliard was the instructor of Isaac Oliver, 
 and died on the 7th Januarj^, 1619, 
 
 Hilton (William) the last of a long 
 line of artists, who, from the days of 
 Barry, desired to restore the high historic 
 style of painting was born at Lincoln in 
 1786, where his father, a native of New- 
 ark-upon-Trent, then lived and practised 
 the painting of portraits. He studied 
 under his father, and, in the school of the 
 Academy in London, improved his know- 
 ledge of outline and colour, where the 
 lectures of the professors, and the example 
 of the president, excited that wish to excel 
 in historic composition, which was with 
 him to the last hour of his life. He shut 
 his eyes on the fact, that neither religion 
 nor history, now, since general intelligence 
 had opened their pages to all, required art 
 as an interpreter, and that the nation de- 
 sired the magic of colours and the graces 
 of outline to be employed on unexhausted 
 and original topics. Hogarth, in one of 
 his satiric works, represents British paint- 
 ing as a tree with three branches, on which 
 the shower of patronage falls ; the bough 
 of Landscape is only moistened, and grows 
 not ; the bough of Portrait is drenched, 
 and flourishes ; but not one drop falls on 
 the bough of theHistoric, which is parched 
 and withered. Hilton took shelter under 
 the historic bough, and discovered, before 
 he died, the deep truth of the caricature. 
 He prepared himself well for the task ; 
 and, besides a skill in outline unknown 
 then in the land, and the art of filling up 
 his sketch gracefidly with colours, he made 
 
 himself acquainted with history and with 
 poetry, and, going beyond Northcote in 
 this, read more than* the mere passage 
 which his pencil selected to embody. He 
 studied the calm grandeur of expression 
 with that dramatictact of natural grouping 
 so well known to Raphael and desired, 
 in his figures and faces, to impersonate 
 the action which he had to represent. This 
 was taking high ground ; but a series of 
 fine paintings from scripture, history, and 
 poetry, vindicated his boldness. From 
 the year 1806, when he painted his first 
 work, till the year 1814, when his merits 
 opened the doors of the Royal Academy, 
 and he was elected Associate, he exhibited 
 eight pictures : 1, Cephalis and Procris, 
 from Ovid ; 2. Venus carrying the wound- 
 ed Eneas from Battle, pursued by Diomed; 
 3, Ulysses and Calypso; 4. The Good 
 Samaritan ; 5. John of Gaunt reproving 
 Richard the Second ; 6. Christ restoring 
 Sight to the Blind; 7. Mary anointing 
 the Feet of Jesus; 8. Miranda and Fer- 
 dinand bearing the Log. These were, 
 one and all, large pictures ; they possessed 
 much dignity of expression, were finely 
 drawn, skilfully arranged, and softly and 
 harmoniously coloured : those from verse 
 were the most lovely ; there wanted nothing 
 to hinder their taking a place in the highest 
 regions of art, but a touch that some- 
 thing diviner still, not of the body, but of 
 the soul, which must breathe through 
 every member, and glow in every face of 
 the true poetic. Hilton had done enough, 
 however, to satisfy the world of art that 
 a new star had arisen ; critics affected to 
 spare his blemishes, while they praised 
 his drawing and his style of colour, for 
 the sake of his boldness in lifting the ban- 
 ner of the historic ; and nobles and, it 
 is said, priests lamented that the walls 
 ofneither their mansions nor their churches 
 could aflford room for some of these com- 
 positions. He painted and exhibited three 
 other pictures : the Raising of Lazarus, 
 Una with the Satyrs, and Ganymede, 
 when the Royal Academy thought he had 
 done enough for all the honours of the 
 institution, and in the year 1819 he was 
 numbered among the Forty. Una and the 
 Satyrs is a fine work, and shares in the 
 spirit of the poet, and that largely. This 
 symptom of approbation by his brethren, 
 had, we fear, little effect on the world; 
 for it continued cold, and Hilton continued 
 to paint ; but when, in 1821, he exhibited 
 his very vivid and poetic picture of " Na- 
 ture blowing Bubbles for her Children," 
 
HIL 
 
 257 
 
 HIR 
 
 it was thought that the tide of opinion 
 had turned in his favour, for every eye 
 was on it, and commendations were on 
 all lips. lie followed this up by four 
 great pictures: I.Venus, in search of 
 Cupid, surprises Diana at her Bath ; 2. 
 Comus with the Lady in the Enchanted 
 Chair, a scene worthy of Milton, whose 
 page inspired it ; 3. Love taught by the 
 Graces, called by the critics of the day, a 
 most pleasing performance; 4. Christ 
 crowned with Thorns. This fine work was 
 bought by the British Institution in the 
 year 1825; for, though the subject was 
 exhausted, and had ceased to excite sur- 
 prise, the meekness and beautiful resigna- 
 tion of the Saviour were in strict keeping 
 with Scripture^ and welcome to thousands. 
 The Academy, to its honour, felt that the 
 world refrained from using Ililton accord- 
 ing to his merits, and, on the resignation 
 of Thomson, who had succeeded the cap- 
 tious Fuseli, he was made keeper, an 
 office to which a small pension and good 
 apartments are attached; both of which 
 were found useful by one whose only shel- 
 ter had hitherto come from the scanty 
 and parched bough of the tree of art. 
 Ililton was nowin "modest independence," 
 and might pursue the " historic" without 
 dread or fear of want. From 1826 till 
 1839 he painted and exhibited ten pictures, 
 four of which were scriptural, one histo- 
 rical, and the rest poetic. These were, 
 1. The Crucifixion; 2. Cupid and a 
 Nymph ; 3. Abraham's Servant meeting: 
 Rebekah ; 4. The Angel releasing Peter: 
 from Prison ; 5. Sir Calepine rescuing 
 Serena; 6. Una seeking shelter in the Cot- 
 tageofCorecea; 7. Rebekah and Abraham's 
 Servant; 8. Edith and the Monks finding 
 the body of Harold ; 9. Nymph and Cupid; 
 10. The Infant Warrior. The Infant War- 
 rior was exhibited in 1836; and frorn this 
 period Hilton is believed to have finished 
 nothing, though he designed and drew 
 much ; for a slow and wasting illness had 
 robbed him of his sure delicacy of touch, and 
 pressed down, in no gentle way, that vigour 
 of spirit so necessary for success in great 
 undertakings. He died in his apartments 
 at the Royal Academy, on the 30th of 
 December 1839, and most of the mem- 
 bers and the students attended his body 
 to the grave. His principal pictures were 
 exhibited at the British Institution in 
 1840. To the task of historical painting 
 Hilton brought an accurate eye, a clear 
 sense of shape and quantity, a hand con- 
 versant with light and shade, and un- 
 
 equalled knowledge of drawing. His con- 
 ceptions were high and noble, both in 
 poetry and history, and he always reached 
 the sense of the subject on which he em- 
 ployed his pencil. Spenser was his fa- 
 vourite poet; and his finest pictures are 
 from the Faery Queen, whose author he 
 resembled in his flights in middle air, and 
 in tranquil composure of thought and ex- 
 pression. With these high qualities ho 
 hM a little of that alloying lameness to 
 which allusion has been made, and, at the 
 first look, we are apt to accuse him of 
 being something cold when he should be 
 fervent, and to desire a touch of greater 
 vitality a more visible throb of the pulso 
 of thought. 
 
 Hike (Laurence be la). He was 
 born at Paris in 1606, and was educated, 
 first by his father, Stephen de la Hire, an 
 historical painter of some reputation, but 
 afterwards he became a pupil of Simon 
 Vouet. He was the only artist of his 
 time in France, who did not endeavour to 
 imitate the style of that master, though 
 the one which he assumed was not at all 
 superior, and he continued a mannerist. 
 His taste was but indifferent, and if it was 
 more natural and finished than that of 
 Vouet, it was still far from agreeable. 
 His landscapes were the most pleasing of 
 his works, for he finished them with great 
 care; but his figures were not natural, 
 either ip the airs of the heads, tlie contours 
 of the limbs and bodies, or in the fingers, 
 which were too long and contorted. The 
 keeping in his pictures was exceedingly 
 faulty, from an injudicious use of the 
 aerial perspective; for, instead of making 
 his objects apparently die away, the dis- 
 tances were involved in a confused misti- 
 ness; and his figures, in proportion as 
 they receded from the base line, were 
 clouded and indistinct. This defect ren- 
 dered the works of De la Hire generally 
 less estimable, though they are still com- 
 mended by many of his countrymen. 
 Among his best pictures are, the Entry 
 of Christ into Jerusalem, and his Ap- 
 pearance at the Sepulchre to the three 
 Maries. He also etched some plates in a 
 neat style. He died at Paris in 1656. 
 
 Hire (Philip de la). He w.a3 the 
 grandson of the preceding, and was born 
 at Paris in 1677. It is uncertain under 
 what master he studied, but he closely 
 imitated the style of Watteau. lie also 
 painted the same kind of subjects with 
 great success, and some of his pictures 
 have considerable merit. After following 
 
HOB 
 
 HOE 
 
 painting for some time, he quitted that 
 profession to study and practise physic. 
 He died in 1719. 
 
 HoABE (William). This ingenious ar- 
 tist was born at Eye, in Suitblk, about 
 1707. He received a liberal education, 
 after which he was placed under Grisoni, 
 an Italian painter in London, on leaving 
 whom he went abroad, and at Rome at- 
 tended the school of Francesco Imperiale, 
 the disciple of Carlo Maratti. Here he 
 formed an acquaintance with Pompeo 
 Battoni, which ripened into a friendship 
 that lasted through' life. While at Rome, 
 Mr. Heare made many copies from the 
 best works of the great painters, and at 
 the expiration of nine years returned to 
 London, enriched with knowledge, and 
 furnished with designs. Finding little or 
 110 encouragement for historical painting, 
 he had recourse to portrait, which he prac- 
 tised at Bath, where he was held in high 
 esteem by the first persons of quality in 
 the kingdom. He there painted an altar- 
 piece of Our Saviour bearing the Cross, 
 for the church of St. Michael ; and for the 
 Octagon chapel he did another, the subject 
 of which was the Pool of Bethesda. He 
 now turned his attention to crayon paint- 
 ing, which he carried to high perfection. 
 On the formation of the Royal Academy 
 he was chosen one of its first members, 
 and was a constant exhibitor many years. 
 He died in 1792, leaving several children, 
 one of whom, the late Mr. Prince Hoare, 
 was the author of Arethusa, and himself 
 a painter. 
 
 HoBBEMA (MmDERHOUT). This eminent 
 painter was born at Haerlem about 1629. 
 He is said to have had Solomon Ruysdael 
 for his master, but it is certain that he 
 studied principally, if not wholly, after 
 nature, sketching every scene that afforded 
 him pleasure, and his choice was exceed- 
 ingly picturesque. His grounds are always 
 agreeably broken, and he was particularly 
 fond of describing slopes diversified with 
 shrubs, plants, or trees, which conducted 
 the eye to some building, ruin, grove, or 
 piece of water, and frequently to a delicate 
 remote distance, every object perspectively 
 contributing to delude our observation to 
 that point. The forms of his trees are not 
 unlike those of James Ruysdael, and in 
 all his pictures he shows an admirable 
 knowledge of the chiaro-oscuro. His co- 
 louring is extremely good, and his skies 
 evidently show that he made nature his 
 principal director, by the airy forms and 
 graceful disposition of his clouds, as also 
 
 by the peculiar tints, expressing the rising 
 and setting of the sun, the morning and 
 evening. His touch is light, free, and 
 firm, and his pictures have a very striking 
 effect, by the happy distribution of his 
 light and shadow. In some of them he 
 has happily introduced the solar beams 
 penetrating ' the thick and umbrageous 
 scenery of a forest, thereby illuminating 
 the objects upon which the light falls, with 
 a beautiful effect. The figures which he 
 designed are indifferent, but this was a 
 defect common to Claude Lorraine and 
 Caspar Poussin, as well as to Hobbema ; 
 but the latter, conscious of his inability 
 in that respect, admitted but few into his 
 designs^ and those he usually placed at a 
 distance from the front line. Occasion- 
 ally, however, he was assisted in this re- 
 spect by Ostade, Teniers, Vandervelde, 
 and other artists of eminence. The works 
 of Hobbema are now exceedingly scarce, 
 and a very fine landscape by him, the pro- 
 perty of the late Mr. Edward Coxe, sold a 
 few years ago for seven hundred pounds. 
 He died at Haerlem in 1699. 
 
 Hodges (AVilliam). He was born in 
 London in 1744, and for some time was 
 the scholar and assistant of Wilson, under 
 whom he acquired a good taste for colour- 
 ing, and great boldness of execution ; but 
 he was defective in his forms and inaccu- 
 rate in general design. When Captain 
 Cook went on his second voyage of dis- 
 covery, Hodges accepted the proposal of 
 accompanying that great navigator as 
 draughtsman, and in that capacity gave 
 satisfaction to his employers. He next 
 made a voyage to India, where, under the 
 patronage of Warren Hastings, he drew a 
 number of views of the local scenery in a 
 grand and imposing style, from which 
 engravings were made, and published after 
 his return to England. By some unfor- 
 tunate speculations in commerce he lost 
 his property, which depressed his spirits, 
 and hastened his death in 1797. 
 
 HoECK, orHouK (John Van). He was 
 born at Antwerp in 1600, and, after re- 
 ceiving a liberal education, was placed 
 under the direction of Rubens, in whose 
 school he rose to high distinction, and be- 
 came one of his best and most esteemed 
 disciples. On leaving that great master 
 he went to Italy, where he studied some 
 years, and was much employed by the 
 nobility in painting portraits. After his 
 return to Flanders, he was invited by the 
 Emperor Ferdinand II. to Vienna, Avhere 
 he was employed in painting the portraits 
 
II OE 
 
 259 
 
 HOE 
 
 of the imperial family, and in adorning the 
 churches, convents, and cabinets of the 
 nobility with a variety of excellent com- 
 positions. He next accompanied the 
 Archduke Leopold to Brussels as his 
 principal painter, but died soon after, in 
 1650, universally regretted. His portraits 
 were remarkable for their resemblance, 
 and are deemed little inferior to those of 
 Vandyck. His composition was good, his 
 manner of designing ingenious, his colour- 
 ing strong, clear, and natural, and his pen- 
 cil, though delicate, was yet equal to the 
 grandest works in which he was employed. 
 The portraits of the Archduke Albert, 
 and Isabella, in the cabinet of Prince 
 Charles of Lorraine, at Brussels, are proofs 
 of his merit in that style ; and the altar- 
 piece in the church of Notre Dame at 
 Mechlin, representing a Dead Christ, with 
 the figures of the Virgin, St. John, and 
 Mary Magdalen, sufiiciently evinces his 
 genius for historical subjects. 
 
 HoECK (Robert Van). He was born 
 at Antwerp in 1609, but it is not known 
 by whom he was instructed. However, 
 he acquired distinction, and was favoured 
 by the King of Spain, who appointed him 
 surveyor of the fortifications in Flanders. 
 The pictures which he painted were gene- 
 rally of a small size, with abundance of 
 figures, and he particularly excelled in 
 those subjects which admitted of intro- 
 ducing the greatest number of them, such 
 as battles, plundering of villages, march- 
 ings of armies, or encampments. His 
 works are estimable : his design is correct, 
 his touch neat, and his colouring delicate. 
 In all his compositions, he designed an 
 inconceivable multitude of figures in a 
 small compass, so that it seemed difficult 
 even to the eye to observe the variety, 
 though, upon examination, they all ap- 
 peared distinct and accurate. He also 
 painted historical subjects, particularly 
 twelve pictures of the Apostles, and the 
 circumstances of the martyrdom of each, 
 ibr an abbey near Dunkirk. He died in 
 1668. 
 
 HoEFNAGEL (Geokgk). This painter 
 was born at Antwerp in 1546. After 
 learning the principles of design in his 
 native place, he went to Italy, where he 
 took drawings of the finest monuments 
 of antiquity, and on his return to Ant- 
 werp published a volume of engravings 
 from those designs. He next chose for 
 the subjects of his pencil, animals, plants, 
 and insects, which he executed in a 
 spirited style. When Antwerp fell into 
 
 I the hands of the Spaniards, Hoefnagel 
 ! fled to Bavaria, where he obtained the 
 protection of tlie elector ; but he was 
 afterwards in the service of the Emperor 
 I Rodolph, who gave him a considerable 
 ; pension. Hoefnagel was also an engraver ; 
 I and among other performances in that 
 I line, was a plan or view of Bristol : whence 
 it should seem that he visited England. 
 He died in 1600. His son James was 
 also a good engraver. 
 
 HoET (Gebakd). This painter was 
 born at Bommel in 1648. His father was 
 a glass painter, from whom he received 
 his first instructions, but afterwards he 
 became the pupil of Warner Van Rysen, 
 who had been a scholar of Poelemburg. 
 In a short time, however, Gerard was 
 obliged to leave that master, in conse- 
 quence of the death of his father, whose 
 business he v/as called upon to continue. 
 In 1672, when the French took Bommel, 
 he fled to the Hague, where he obtained 
 employment, as he afterwards did at Am- 
 sterdam. From thence he went to Utrecht, 
 and, on the restoration of peace, to France, 
 but not meeting with encouragement there, 
 he returned to the former city, where he 
 fixed his residence, and experienced ample 
 encouragement under the patronage of 
 M. Van Zuylen. He there succeeded in 
 establishing an academy, of which he was 
 appointed director, and conducted it with 
 great honour to himself and advantag^e to 
 his pupils. He had a lively imagination, 
 a ready invention, a fine genius for com- 
 position, and a strict adherence to cos- 
 tume. His manner of painting was clean 
 and neat, and he was thoroughly master 
 of the true principles of the chiaro-oscuro. 
 His figures are designed with elegance, 
 and drawn with correctness; his colour- 
 ing is lively, natural, and full of harmony, 
 from the judicious opposition of his light 
 and shadow ; his touch is light and firm, 
 and his pictures have great transparence. 
 His small easel paintings are delicate in 
 the touch and the finishing, and his larger 
 works are always pencilled with a freedom 
 suitable to such grand compositions. Iii 
 Holland, and also in England, several 
 charming pictures of Hoet are preserved, 
 some of them in the manner of Poelem- 
 burg, and others in the style of Karl du 
 Jardin. He died in 1733. 
 
 HoEY (John de). This artist was born 
 at Ley den in 1545. When young he 
 went to France, where he studied the art 
 of painting, and settled at Paris. Henry 
 IV. esteemed him highly, appointed him 
 
HOG 
 
 superintendent of the roj'al collection of 
 pictures, and valet of his bedchamber. He 
 painted historical subjects with reputa- 
 tion, lie died in 1615. 
 
 HoFMAN (Samuel). This artist was 
 the son of a clergyman in the canton of 
 Zurich in Switzerland, and born in 1589, 
 He studied, first in hi^ own country, under 
 Gotthard Ringli, and next in the school 
 of Rubens at Antwerp. He made rapid 
 progress, and became equally eminent in 
 history and portrait, but chiefly pursued 
 the latter branch of the art. Ilis style 
 was noble, his colouring excellent, and 
 his expression of character uncommonly 
 striking. He also painted fruit, vegetables, 
 dead game, fish, and culinary articles, in 
 an admirable manner. He died at Frank- 
 fort on the Maine in 1648. 
 
 Hogarth (William). This original 
 genius was descended from a family in 
 Westmoreland; but his father was a 
 schoolmaster in the Old Bailey, London, 
 where this son was born in 1697, or 1698. 
 Though his father taught Latin, and 
 published a hook of exercises for the use 
 of his school, it does not appear that he 
 paid much attention to the education of 
 William, who was at an early age ap- 
 prenticed to an engraver of arms on plate. 
 While in that employ, his genius for paint- 
 ing discovered itself in a remarkable man- 
 ner. Going out one Sunday with some 
 companions to Highgate, the weather 
 being hot, they went into a public-house, 
 where they had not been long before a 
 quarrel arose between some persons in the 
 same room. One of the disputants struck 
 the other on the head with a quart pot, 
 which cut him very much ; and the blood 
 running down the man's face, gave him a 
 singular appearance. This, with the con- 
 tortions of his countenance, afforded a 
 striking object to Hogarth, who drew out 
 his pencil, and sketched the scene in an 
 exact and ludicrous manner. The first 
 piece, however, which he executed as a 
 painter, was a representation of Wanstead 
 Assembly; and the figures therein were 
 sketched from the life. The faces are 
 said to have been faithful resemblances, 
 and the colouring better than what ap- 
 peared in his later performances. His 
 first employment appears to have been 
 the engraving of shop bills, and his next, 
 the execution of prints for publications. 
 As a painter, he seems to have begun 
 with conversation pieces and portraits. At 
 Ravenhill, in Essex, is a family picture 
 by him, exhibiting Mr. Western, the 
 
 30 HOG 
 
 owner of the mansion, with his Mother, 
 Chancellor Hoadley, Archdeacon Plump- 
 tre, Mr. Cole of Milton, and his curate 
 Mr. Henry Taylor. This picture was 
 painted in 1736. Mr. Cole had also a 
 whole-length portrait of Mr. Western in 
 his academical dress, painted by Hogarth, 
 who introduced a cat, to indicate the place 
 where the chimney stood. It was his 
 practice to sketch on the spot any re- 
 markable face that struck him ; and one 
 evening at the Bedford Coffee-house, a 
 friend observing him pencilling something 
 on the back of his nail, asked what it was, 
 when Hogarth showed him the lineaments 
 of a whimsical countenance then in the 
 room. In the early part of his life, a 
 nobleman, who was very ugly, sat to him 
 for his portrait. Hogarth did him more 
 justice than he wished, in consequence of 
 which the picture was never demanded. 
 The painter made several applications for 
 liis money ; but without effect. At last 
 hesent to hislordshipthefoUowingnote: 
 " Mr. Hogarth's dutiful respects to Lord 
 
 : finding that he does not mean 
 
 to have the picture which was drawn for 
 him, is informed again of Mr. H.'s neces- 
 sity for the money; if, therefore, his 
 lordship does not send for it in three days, 
 it will be disposed of, with the addition of 
 a tail and other appendages, to Mr. Hare, 
 the wild-beast man, Mr. Hogarth having 
 given that gentleman a conditional pro- 
 mise of itfor an exhibition, on hislordship's 
 refusal." This had the desired effect; the 
 money was sent; the picture taken home, 
 and immediately consigned to the flames. 
 In 1730, Hogarth married the only daugh- 
 ter of Sir James Thornhill, by whom he 
 had no issue. This was a stolen match, 
 and very much against the inclination of 
 the lady's father. Soon after, however, 
 when Hogarth began his Harlot's Pro- 
 gress, Lady Thornhill advised him to lay 
 some scenes of it in the way of his father- 
 in-law. This was done, and when Sir 
 James knew who had executed them, he 
 was pleased, and said, " Very well ; the 
 man who can furnish representations like 
 these, can maintain a wife without a por- 
 tion." But after some time he became 
 perfectly reconciled to the match, and 
 proved very friendly to Hogarth, who 
 occasionally furnished him with assistance. 
 Not long after his marriage, Hogarth being 
 intimate with Mr. Tyers, suggested to him 
 the improvement of Vauxhall Gardens, 
 of which that gentleman was proprietor, 
 by embellishing them with paintings. The 
 
HOG 
 
 261 
 
 HOG 
 
 ^ hint was adopted, and our artist, for his 
 I numerous sketches, was rewarded with a 
 
 gold ticket of admission for himself and 
 his friends. In 1733, the genius of Ho- 
 garth began to be publicly known by the 
 publication of the third scene of his Har- 
 lot's Progress, which made him extremely 
 popular. It was the complaint of Du Bos, 
 that no history painter had gone through 
 a series of actions, and thus depicted the 
 successive fortune of a character from the 
 cradle to the grave. What the critic 
 wished to see, Hogarth performed. He 
 launches his young adventurer as a sim- 
 l)le girl into the world, and conducts her 
 through all the vicissitudes of wretched- 
 ness to a premature death. This was 
 painting to the understanding; and no 
 artist before Hogarth ever made the pencil 
 subsei-vient to the purposes of moral 
 instruction. Nor was his success con- 
 fined to his figures. One of his excellen- 
 ces consisted in what might be termed the 
 furniture of his pieces ; for as, in sublime 
 representations, the less the trivial cir- 
 cumstances are permitted to direct the 
 spectator's attention from the principal 
 objects, the greater is their force; so, in 
 scenes copied from familiar life, a proper 
 variety of little images contributes to 
 throw a degree of verisimilitude upon the 
 Avhole. Thus, in the present instance, 
 the rake's levee room, the nobleman's 
 dining room, the apartments of husband 
 and wife, in Marriage a la Mode; the 
 alderman's parlour, the bedchamber, and 
 many others, are illustrative of the man- 
 ners of the times. The novelty of Hogarth's 
 performances soon tempted the needy 
 artists and print-dealers to avail them- 
 selves of his designs, and to rob him of 
 the profits by obtruding miserable copies 
 upon the public. To put a stop to these 
 depredations, he procured an act of par- 
 liament to be passed, for the protection of 
 designers and engravers, on the principle 
 of literary copyright. In 1745, finding 
 that, great as the sale of his prints might 
 be, the public were not inclined to take 
 his pictures off his hands, he had recourse 
 to an auction for that purpose ; but the 
 scheme did not equal his expectations. 
 In the same year he published his six 
 prints of Marriage a la Mode. He had 
 also projected a contrast to this, in a set 
 of pictures representing a Happy Mar- 
 riage. A design for the first of his plates 
 was completed, but the work never went 
 beyond it. Some idea of the painter's 
 view may be formed from the account of 
 
 what he executed. The time supposed 
 was immediately after the return of the 
 parties from church ; the scene lay in the 
 hall of an old country mansion ; on one 
 side the married couple were represented 
 sitting; behind was a group of young 
 friends, breaking a bride-cake over their 
 heads. In front stood the father of the 
 lady, grasping a bumper, and drinking 
 to the future happiness of his children ; 
 by his side appeared a table covered 
 with refreshments. Under the screen, 
 several rustic musicians, with servants 
 and tenants, were arranged. Through 
 tlie arch by which the room was entered, 
 the eye was led along into the kitchen, 
 where, before a dripping-pan, stood a 
 well-fed divine, in his gown and cassock, 
 with a watch in his hand, giving direc- 
 tions to a cook, who was employed in 
 basting a haunch of venison. The clergy- 
 man and his associate were the most 
 laboured parts of the picture ; whence it 
 has been ludicroiisly observed, that Ho- 
 garth, finding himself out of his element 
 in the parlour, hastened in quest of ease 
 and amusement to the kitchen. Soon 
 after the peace of Aix-la-Chapellein 1748, 
 he went to France, but was taken into 
 custody at Calais, while sketching a draw- 
 ing of the gate of the town. His confine- 
 ment, however, was short, but he was 
 soon sent out of the country, which occa- 
 sioned his print of " O the Roast Beef of 
 Old England." In 1753, Hogarth ap- 
 peared before the world as an author, in 
 a quarto volume, entitled " The Analysis 
 of Beauty," written with a view of fixing 
 the fluctuating taste. In this performance 
 he shows, by a variety of examples, that 
 a curve is the line of beauty, and that 
 round swelling figures are most pleasing 
 to the eye ; and the truth of this opinion 
 has been supported and illustrated since, 
 by many good writers on the subject. In 
 the literary composition of this work he 
 was assisted by Dr. Benjamin Iloadley, 
 Dr. Thomas Morell, and the Rev. Mr. 
 Townlcy. Hogarth had the common fail- 
 ing of most people who obtain wealth and 
 eminence without a liberal education. 
 He affected to despise every kind of know- 
 ledge which he did not possess. Having 
 established his fame with little obligation 
 to literature, he either conceived it to be 
 needless, or decried it because it lay out 
 of his reach. Till he commenced author 
 he did not seem to have discovered that 
 even spelling was a necessary qualifica- 
 tion, Before the time cf this publication, 
 
HOG 
 
 262 
 
 HOG 
 
 one of his common topics of discourse 
 was the uselessness of books to an artist ; 
 and in his print of Beer-street, among 
 other volumes consigned to the pastry- 
 cook, is " Turnbull on Ancient Painting;" 
 a work which he should have understood 
 before he condemned. Kneller was not 
 fonder of flattery than Hogarth; and 
 Horace Walpole obtained from the latter 
 one of his scarcest performances, by as 
 hyperbolical a compliment as ever was 
 paid by Pope. The following story is 
 well authenticated, and it is highly cha- 
 racteristic. Hogarth being at dinner with 
 Cheselden and other company, was told 
 that Freke, the surgeon, had said in the 
 coffee-house, that Greene was as great 
 a composer as Handel. " That fellow 
 Freke," replied Hogarth, "is always shoot- 
 ing his bolt absurdly ! Handel is a giant 
 in music ; Greene is only a light Florimel 
 kind of a composer." "Ay," said the 
 other, " but Freke declared that you were 
 as good a portrait painter as Vandyck." 
 " There he was in the right," rejoined 
 Hogarth, " and so I am ; give me my 
 time, and let me choose my subject." 
 Hogarth was the most absent of men. At 
 table he would sometimes turn round his 
 chair as if he had finished, and as suddenly 
 he would turn about and commence eating 
 again. He once directed a letter to Hoad- 
 ley, thus, -'To the Doctor at Chelsea;" 
 the epistle, however, luckily came to hand, 
 and was preserved by the chancellor of 
 Winchester as a pleasant memorial of his 
 friend's inattention. Soon after he set 
 up his carriage, he had occasion to pay a 
 visit to the Lord Mayor. When he went 
 the weather was fine ; but while there, a 
 violent shower came on, during which 
 Hogarth was let out by a different door 
 from the one which he entered, and seeing 
 the rain, he began to call for a coach : 
 none, however, appeared; and off he sallied 
 for Leicester Fields, without bestowing a 
 thought on his own carriage, till asked 
 by Mrs. Hogarth where he had left it. 
 A specimen of his propensity to merri- 
 ment is observable in one of his cards, 
 requesting the company of Dr. King to 
 dine on a venison pasty at the Mitre 
 tavern. Within a circle, to which a knife 
 and fork are the supporters, the written 
 part is contained. In the centre is a pie, 
 with a mitre on the top of it ; and the 
 invitation concludes with these Greek let- 
 ters, " to Eta, Beta, Pi." In one of the 
 early exhibitions at Spring Gardens, a 
 small picture by Hogarth made its ap- 
 
 pearance. It was painted for Lord Charle- 
 mont, and was entitled " Picquet, or 
 Virtue in Danger," and shows a young 
 lady, who during a tete-d-tete had just lost 
 all her money and jewels to a handsome 
 young officer. He is drawn in the act of 
 offering her the contents of his hat, in 
 which are bank notes, jewels, and triniiets, 
 with the hope of exchanging them for 
 another acquisition. Over the chimney 
 is a timepiece, with a figure of Old Time, 
 and this motto. Nunc. Hogarth has 
 caught his heroine at this critical moment 
 struggling with herself, and marked her 
 feelings with uncommon success. In the 
 Miser's Feast, Hogarth thought proper 
 to pillory Sir Isaac Shard, a gentleman 
 proverbially avaricious. The son of Sir 
 Isaac, hearing this, called at the painter's 
 to see the picture, and then asked whether 
 that odd figure was intended for any par- 
 ticular person. Hogarth replied that it 
 was thought to be very like one Sir Isaac 
 Shard: upon which the visiter drew his 
 sword, and slashed the canvass to tatters. 
 Hogarth appeared in great wrath, but the 
 young gentleman justified what he had 
 done, saying, that "this was a very unwar- 
 rantable licence ; that he was the injured 
 person's son; and that he was ready to 
 defend any suit at law ;" which, however, 
 was never instituted. About the year 
 1757, Hogarth became sergeant painter to 
 the king, on the resignation of his bro- 
 ther-in-law ; and this was the only public 
 favour or honour he ever received. The 
 last memorable event in his life was his 
 quarrel with Wilkes. When that mock 
 patriot made a noise, Hogarth published 
 his print of the Times, which produced 
 a severe paper against him in the North 
 Briton. On this the painter engraved a 
 caricature of Wilkes's person ; and then 
 Churchill took up the cudgels, in an 
 Epistle to Hogarth. The artist was not 
 behindhand, but retorted in a caricature 
 of Churchill, who was represented as a 
 canonical bear, with a ragged staff and 
 pot of porter. While this unequal contest 
 was carrying on, with little credit on 
 either side, the health of Hogarth declined 
 fast. In 1762, he complained of an inward 
 pain, which continued till October 25, 
 1764, when he died at his house in Lei- 
 cester Fields, from whence his remains 
 were removed for interment to the church- 
 yard at Chiswick. It may be justly said 
 of this great artist, that all his powers of 
 delighting were restrained to his pencil. 
 Having been rarely admitted into polite 
 
HOL 
 
 263 
 
 HOL 
 
 circles, none of his asperities had been 
 rubbed off by elegant intercourse. The 
 slightest contradiction transported him 
 into a passion; and he had a ridiculous 
 portion of vanity. Yet he was honest, 
 liberal, and a most punctual paymaster. 
 He made one essay at sculpture; for, 
 wanting a sign to distinguish his house 
 in Leicester Fields, and thinking none 
 more proper than the Golden Head, he 
 made up, out of a mass of cork, the bust 
 of Vandyck, which he gilt, and placed 
 over his door. When this fell into decay, 
 he made another of Sir Isaac Newton. He 
 likewise also modelled a resemblance of 
 Vandyck in clay ; which has also perished. 
 There are three large pictures by Hogarth 
 over the altar in the Church of St. Mary 
 IledclifFe, at Bristol. Mr. Theodosius For- 
 rest had a sketch in oil of our Saviour, 
 designed for a painting on glass ; and 
 several drawings descriptive of the acci- 
 dents during a tour of five days. His fa- 
 vourite picture was Sigismonda, of which 
 Lord Orford gives a ludicrous and severe de- 
 scription : " Not to mention the wretched- 
 ness of the colouring," says he, " it was the 
 representation of a maudlin strumpet, just 
 turned out of keeping, with her eyes red 
 with rage and usquebaugh, tearing off the 
 ornaments her keeper had given her. To 
 add to the disgust raised by such vulgar 
 expression, her fingers were blooded by 
 her lover's heart that lay before her. None 
 of the sober grief, no dignity of sup- 
 pressed anguish, no involuntary tears, no 
 settled meditation on the fate she meant 
 to meet, no amorous warmth turned holy 
 by despair; in short, all was wanting that 
 should have been there; all was there 
 that such a story should have banished 
 from a mind capable of conceiving such 
 complicated woe." He set the price of 
 four hundred pounds on it, and had it 
 returned on his hands by the person for 
 whom it was painted. His other pictures 
 of the historical kind were Danae, and 
 the Pool of Bethesda; to which similar 
 objections may be made. 
 
 Holbein (Hans, or John). This ex- 
 cellent artist was born, according to some 
 accounts, at Basil, in 1498 ; but Charles 
 Patin places his birth three years earlier, 
 thinking it improbable that he could have 
 arrived at such perfection in painting as he 
 showed in 1516, if he had been born 
 in 1498. He learned the rudiments of 
 painting from his father, John Holbein; 
 but the superiority of his genius soon 
 raised him above his master. He painted 
 
 Our Saviour's Passion, in the to v/n -house 
 of Basil ; and in the fish-market of the 
 same town, a Dance of Peasants, and, it 
 is said, the Dance of Death in the court- 
 house attached to the Dominican church. 
 These pieces procured the artist the 
 friendship of Erasmus, who requested 
 Holbein to draw his picture. Holbein, 
 however, bad neither elegance nor deli- 
 cacy of manners, but was given to wine 
 and revelling, for which he m.et with the 
 following gentle rebuke from Erasmus. 
 When that author published his Moriaj 
 Encomium, or Panegyric upon Folly, he 
 sent a copy of it to Holbein, who was so 
 pleased with the descriptions of folly there 
 given, that he designed them all in the 
 margin ; and, wliere he had not room to 
 draw the whole figures, he pasted a piece 
 of paper to the loaves. He then returned 
 the book to Erasmus, who, seeing that he 
 had represented an amorous fool by the 
 figure of a fat Dutch lover, hugging his 
 bottle and lass, wrote under it, " Hans 
 Holbein, "and so sent it back tothe painter. 
 Holbein, to be revenged, drew the picture 
 of Erasmus as a musty bookworm, who 
 busied himself in scraping together old 
 manuscripts, and wrote under it " Ada- 
 gia." An English nobleman seeing some 
 of Holbein's performances at Basil, in- 
 vited him to this country, where his art 
 was in high esteem, and promised him 
 great encouragement ; but the painter was 
 too much engaged in his pleasures to 
 listen to the proposal. A few years after, 
 however, moved by the necessities to 
 which an increased family, and his own 
 mismanagement, had reduced him, as well 
 as by the persuasions of Erasmus, he con- 
 sented to go to England; and the more 
 readily, as he did not live on the happiest 
 terms with his wife, who is said to have 
 been a termagant. In his journey hither 
 he stayed some days at Strasburg, and, 
 applying to a painter for work, was ordered 
 to give a specimen of his skill. Holbein 
 finishedapiecewith great care, and painted 
 a fly upon the most conspicuous part of it ; 
 after which he withdrew privately, and 
 pursued his journey. When the painter 
 returned home, he was astonished at the 
 elegance of the drawing; and especially 
 at the fly, which at first he took for a real 
 one, and endeavoured to remove it with 
 his hand. He then sent all over the city 
 for his journeyman, who was now missing; 
 but after many enquiries he found that he 
 had been thus deceived by Holbein. This 
 story has been somewhat difiercntly told, 
 
HOL 
 
 264 
 
 HOL 
 
 as if the painting was a portrait for one of 
 his patrons at Basil ; but the effect was 
 tlie same, for before he was discovered he 
 had made his escape. After almost beg- 
 ging his way to England, he found an 
 easy admittance to Sir Thomas More, 
 having brought with him Erasmus's pic- 
 ture, and letters recommendatory to that 
 great man. Sir Thomas received him with 
 joy, and kept him in his house between 
 two and three years ; during which time 
 he drew tlie portrait of his patron, and 
 the likenesses of many of his friends and 
 relations. One day, Holbein happening 
 to mention the nobleman who had some 
 3'ears before invited him to England, Sir 
 Thomas was very solicitous to know who 
 he was. Holbein replied that he had 
 forgot his title, but remembered his face 
 so well, that he thought he could draw 
 his likeness ; and this he did so strongly, 
 that the nobleman was immediately known 
 by it. This peer, some think, was the Earl 
 of Arundel, otliers, the Earl of Surrey. 
 The chancellor having now enriched his 
 apartments with Holbein's productions, 
 adopted the following method to introduce 
 him to the king. He invited the monarch 
 to an entertainment, and hung up all 
 Holbein's pieces, disposed in the best 
 order, in the great hall of the house. The 
 king, upon his first entrance, was so 
 charmed with the sight, that he asked 
 \yhether such an artist were now alive, 
 and to be had for money? On which Sir 
 Thomas presented Holbein to his majesty, 
 who immediately took him into his service, 
 with a yearly salary of thirty pounds. 
 The king manifested the great value he 
 had for him, and, upon the death of Queen 
 Jane, sent him into Flanders, to draw the 
 picture of the Duchess DoAvager of Milan, 
 widow of Francis Sforza, whom the em- 
 peror had recommended to him for a 
 fourth wife ; but the king's defection from 
 the see of Rome happening about that 
 time, he rather chose to match with a 
 Protestant princess. Cromwell, then his 
 prime minister, (for Sir Thomas More had 
 been removed and beheaded,) proposed 
 Anne of Cleves to him ; but the king was 
 not inclined to the match, till her picture, 
 which Holbein had drawn, was presented 
 to him ; and in which she was represented 
 as so very charming, that Henry imme- 
 diately resolved to marry her ; and thus 
 the painter was unwittingly the cause of 
 the ruin of his patron, who lost his head 
 not long after. A singular circumstance 
 occurred to Holbein while at the English 
 
 court, which had like to have proved of 
 fatal consequence, if the king had not 
 protected him. A nobleman of the first 
 quality, out of curiosity, went one day to 
 gee him when he was drawing a figure 
 after the life. Holbein, in answer, begged 
 his lordship to defer the honour of liis 
 visit to another day ; which the nobleman 
 taking for an affront, broke open the door, 
 and rudely went up stairs. Holbein hear- 
 ing a noise, left his chamber, and, meet- 
 ing the lord at his door, fell into a passion, 
 and pushed him backwards from the top 
 of the stairs to the bottom. Reflection 
 instantly gave him alarm, and, escaping 
 from the tumult, he made the best of his 
 way to the king. The nobleman, mneh 
 hurt, was there soon after him ; and upon 
 opening his grievance, the king ordered 
 Holbein to ask his pardon. But this only 
 irritated the proud peer, who declared 
 that he would not be satisfied till he had 
 the plebeian's life. Upon this the king 
 sternly replied, " My lord, you have not 
 now to do with Holbein, but with me : 
 whatever punishment you may contrive 
 by way of revenge against him, shall 
 assuredly be inflicted upon yourself: re- 
 member that I can, whenever I please, 
 make seven lords of seven ploughmen, 
 but I cannot make one Holbein out of 
 seven lords." Soon after the accession of 
 George the Second, a noble collection of 
 the drawings of Holbein was found in a 
 bureau at Kensington, amounting to 
 eighty-nine. These, which are of exquisite 
 merit, have been admirably engraved by 
 Bartolozzi, in a work published by John 
 Chamberlain, F.R.A., which is one of the 
 most interesting collections of portraits 
 ever executed. Holbein painted equally 
 well in oil, water-colours, and distemper, 
 in large and in miniature : but he had 
 never practised the latfer method till his 
 residence in England, when he learned it 
 from Lucas Cornelisz, though he after- 
 wards carried it to perfection. His paint- 
 ings of that kind have all the force of oil 
 colours, and are finished with the utmost 
 delicacy. In general he painted on a 
 green ground, but in his small pictures 
 frequently on a blue. His invention was 
 surprisingly fruitful, and often poetical ; 
 his execution remarkably quick, and his 
 application indefatigable. His pencil was 
 exceedingly tender, his colouring had 
 force, he finished his pictures with ex- 
 quisite neatness, and his carnations were 
 life itself. His genuine works are always 
 to be distinguished by the fine round imi- 
 
Hilation of 1 
 
 fiOL 
 
 2(55 
 
 HON 
 
 ,tion of flesh visible in his portraits. As 
 an historical painter, he is not so much 
 known in England as on the Continent. 
 He executed, however, two compositions 
 for the Steelyard Company ; and Taddeo 
 Zucchero was so charmed with them, that 
 he took copies of them in Indian ink. For 
 the Company of Surgeons he painted a 
 noble picture, representing Henry VIII. 
 incorporating that body by a royal charter; 
 and in the hall of Bridevs^ell is another 
 fine piece of Edward VI. granting that 
 palace to the Lord Mayor of London for 
 an hospital. Ilolbein painted with his 
 left hand, which Horace Walpole, on mere 
 conjecture, takes upon him to doubt, 
 though the fiict is supported by unques- 
 tionable authority. He designed, as did 
 Durer before him, on wood, for others to 
 engrave upon : but, as it is now pretty 
 well proved, was not the engraver, or even 
 the designer, of the famous Dance of 
 Death, printed at Lyons in 1538. In the 
 Florentine gallery are the portraits of 
 Holbein, Luther, Sir Thomas Morie, aiid 
 Richard Southwell, all painted by this 
 master; and in the royal cabinet of 
 France, besides several portraits, there is 
 an historical subject by Holbein, repre- 
 senting the sacrifice of Abraham, which 
 is a fine performance. Holbein's designs 
 of our Saviour's Passion came into the 
 hands of Rubens, and afterwards into the 
 possession of William Young Ottley, Esq., 
 who caused them to be engraved. Hol- 
 bein died of the plague, in London, in 
 1554. 
 
 Holland (Sir Nathaniel). This artist 
 was the third son of Mr. Dance, the city 
 surveyor, who built the Mansion House, 
 and died in 1768. The subject of this 
 article was born in 1730, and studied 
 under Francis Hayman; after which he 
 visited Rome, where he painted landscapes 
 and portraits. On his return to England 
 he practised his profession with great cre- 
 dit, till his marriage with Mrs. Drummer, 
 a Hampshire heiress of great fortune. 
 He afterwards changed his name to Hol- 
 land, but was by no means anxious to 
 obliterate the recollection of his original 
 profession, as he was in the habit of send- 
 ing, as an amateur, to the successive 
 exhibitions of the Royal Academy, sub- 
 jects of landscapes, which would have done 
 honour to any artist. A report which had 
 been circulated, of his endeavouring to 
 purchase, for the purpose of destroying, 
 the early productions of his pencil, has 
 been contradicted from the best authority. 
 
 He represented the borough of East Grin- 
 stead in parliament for many years, and 
 in 1800 was created a baronet. He died 
 suddenly at Winchester in 1811. His 
 fine painting of Timon of Athens was at 
 Buckingham House. There is an excellent 
 engraving of this, as well as of his paint- 
 ing of Garrick, and of the portrait of 
 Omai. 
 
 HoLSTEiN (CoKNELius). Hewasbom 
 at Haerlem in 1653. His father was Peter 
 Holstein, a painter on glass, by whose 
 instruction he became an artist of con- 
 siderable eminence. Among his best 
 pictures, Houbraken mentions one of the 
 Triumph of Bacchus ; and several naked 
 figures, particularly boys, which he de- 
 scribes as being well composed, correctly 
 drawn, and pleasingly coloured, The 
 same writer also notices the ceiling of the 
 treasury at Amsterdam as exceedingly 
 well designed and painted. Holstein 
 engraved some plates from his own pic- 
 tures and those of others. He died in 
 1691. 
 
 IIoLZER (John). This artist was born 
 at Burgriess, in the Tyrol, in 1708. He 
 was instructed by BergmuUer, at Augs- 
 burg, and became a good painter of his- 
 tory, chiefly in fresco, for the public 
 buildings of the latter city. He also 
 etched some spirited prints from his own 
 designs, and those of other artists, par- 
 ticularly his master BergmuUer. 
 
 HoNDEKOETER (GiLEs). IIc was bom 
 at Utrecht in 1583, and imitated the style 
 and manner of colouring of Roland Savery 
 and David Vinckenbooms; but studied 
 after nature those views which he intended 
 for his landscapes. The forms and foliage 
 of his trees are more in the taste of Vincken- 
 booms than of Savery, but well handled 
 and firmly pencilled, though sometimes 
 too brown or yellow. He also painted 
 fowls with truth and exactness; and fre- 
 quently filled his small landscapes with no 
 other objects ; but he finished them highly, 
 and with great transparence of colouring. 
 
 HoNDEKOETER (Gysbrecht). He was 
 born at Utrecht in 1613, and was the son 
 of Giles Hondekoeter, from whom he 
 learned design and colouring. The sub- 
 jects he painted were domestic fowls, 
 which he described in a lively and strong 
 manner, giving his objects agreeable atti- 
 tudes, and colouring them exactly after 
 nature. The works of this master are 
 often passed for those of his son, to which 
 they are greatly inferior. He died in 1653. 
 
 Hondekoeter (Melchiok). He was 
 
HON 
 
 HON 
 
 the son of the preceding, and was born at 
 Utrecht in 1636. He chose the same sub- 
 jects, but in his manner of painting them 
 surpassed not only his master, but even 
 the best of his contemporaries. Till he 
 was seventeen years of age, he practised 
 under the direction of his father, and ac- 
 customed himself to paint several sorts of 
 birds, particularly cocks, hens, ducks, 
 chickens, and peacocks, which he depicted 
 in an elegant variety of actions. After 
 the death of his father, he received some 
 instructions from his uncle John Baptist 
 Weeninx; but his principal guide was 
 nature, which enabled him to give to every 
 animal great truth, force, expression, and 
 life. Ilis pencil was neat and delicate, 
 his touch light, his colouring transparent ; 
 and the feathers of his fowls were expressed 
 with a swelling softness, that agreeably 
 deceived the eye of the spectator. He is 
 said to have trained up a cock to stand in 
 any attitude he wanted ; and it was his 
 custom to place this bird near his easel, 
 so that, at the motion of his hand, the 
 creature would fix itself in the proper 
 posture, and continue in it without altera- 
 tion for several hours. The landscapes 
 which he introduced as the backgrounds 
 of his pictures are well adapted, admirably 
 finished, and harmonize perfectly with 
 his subjects, to which they give additional 
 beauty. His touch was singular, in imita- 
 ting the natural plumage of the fowls he 
 painted; which not only produced a 
 charming effect, but also may prove ser- 
 viceable to the observer, in assisting him 
 to ascertain the genuine pictures of this 
 master. The works of Hondekoeter are 
 in great estimation, and generally obtain 
 a large price. He died in 1695. 
 
 HoNDius (Abkaham). This painter 
 was born at Rotterdam in 1638 ; though 
 Descamps, without authority, fixes his 
 birth in 1650. He appears to have been 
 a universal master, painting with equal 
 readiness landscapes, animals of all kinds, 
 particularly dogs, huntings of wild beasts, 
 as boars, deer, wolves, and foxes ; but he 
 also represented conversations and fowls, 
 though his favourite subjects were of the 
 chase. His manner was peculiar to him- 
 self, being bold and free; and, except 
 Rubens and Snyders, few have painted 
 animals in a nobler style, or with more 
 spirit. There is great fire in his composi- 
 tions, but his colouring is often extrava- 
 gant, and his drawing incorrect. In 
 general his pencilling was harsh, and he 
 delighted in a fiery tint ; yet some of his 
 
 small pictures are neatly finished. There 
 is a great inequality in his works, some 
 being abundantly superior to others ; but 
 there is scarcely any artist whose com- 
 positions are so easily distinguishable as 
 those of Hondius, by certain particularities 
 in his touch, taste of design, and colour- 
 ing. His pictures of dogs are much ad- 
 mired, especially one in which he repre- 
 sented thirty different species of those 
 animals, all well designed, and each 
 animal .characterised by some peculiar 
 air, action, expression, or attitude. As 
 Hondius suffered much from the gout, his 
 latter works are more negligently executed 
 than those which he finished in his early 
 days. His most capital picture is the 
 Burning of Troy, in which are numerous 
 figures, many of them well designed and 
 disposed with judgment. Houbraken also 
 mentions a candlelight by him, in which 
 appeared a fine opposition of light and 
 shadow, and the figures were extremely well 
 designed and coloured. Hondius lived 
 many years in London, and died there in 
 1695. He executed some etchings in a 
 very spirited style, but they are very scarce. 
 
 Hone (Nathaniel). This painter was 
 a native of Dublin. He came to England 
 in the early part of life, and practised as 
 an itinerant artist in several parts of the 
 country, particularly York, where he 
 married a person of some property. A 
 short time after this he settled in London, 
 and continued to follow his profession 
 with reputation, both as a painter in oil 
 and in miniature, but chiefly in enamel; 
 and after the death of Zincke, he ranked 
 among the first artists of his day in that 
 branch. He was chosen a member of the 
 Royal Academy at its first institution, 
 but took offence at one of his pictures, 
 intended as a satire on Sir Joshua Rey- 
 nolds, being rejected from the exhibition. 
 Another was also objected to, as contain- 
 ing a very profane allusion, which he 
 altered with a substance easily washed 
 away, and the picture was again brought 
 forth to public view, in its original state, 
 at an exhibition of his own in 1775. As 
 a painter in oil, he was by no means an 
 inferior artist ; yet the colouring of his 
 pictures was too red for the carnations, 
 and the shadows were not sufficiently 
 clear. He died August 14, 1784. 
 
 HoNTHORST (Gerard). He was born 
 at Utrecht in 1592, and was the disciple 
 of Abraham Blocmart, on leaving whom 
 he travelled to Italy, and pursued his 
 studies so ha{)pily as to be accounted one 
 
HON 
 
 267 
 
 II 
 
 of the best artists of his time. He con 
 tinued at Rome several years, being em 
 ployed there by Prince Justiniani and 
 other persons of high rank. He excelled 
 in representing figures by candlelight, 
 which usually were as large as life ; 
 whence he obtained the name of Gerardo 
 dalle Notte. Even Rubens professed 
 himself an admirer of his paintings in that 
 style; and Sandrart highly commends a 
 picture of the Decollation of St. John by 
 torchlight, which he saw at Rome, in the 
 church of Madonna della Scala. He also 
 mentions another, in the Justiniani gal- 
 lery, the subject of which is Christ brought 
 before Pilate. In this composition, the 
 light proceeding from the flambeaux and 
 torches produces an uncommon lustre and 
 bold effect; and the figures are contrasted 
 withadmirable dignity of expression. Soon 
 after his return to Holland, he visited 
 London, and obtainedthe favour of Charles 
 the First, by several grand performances 
 and portraits ; especially by one allegori- 
 cal picture, in which he represented the 
 King and Queen in the characters of two 
 deities, and the Duke of Buckingham as 
 Mercury, introducing the liberal arts to 
 that monarch and his consort. For this 
 composition, which was both well drawn 
 and coloured, the king presented him with 
 three thousand florins, a service of plate 
 for twelve persons, and a beautiful horse. 
 Honthorst had afterwards the honour to 
 instruct the Queen of Bohemia and her 
 daughters in drawing. His pencil is free 
 and firm, and his colouring has great force, 
 though sometimes it is not pleasing, owing 
 to the predominancy of the yellow and 
 brown tints. Honthorst would have been 
 a greater painter, if he had known how 
 to give more grace and correctness to his 
 figures. At his return from London to 
 Holland, he adorned the pleasure-houses 
 of the Prince of Orange with many 
 poetical subjects, which he executed both 
 in fresco and oil ; but he was principally 
 employed in painting portraits, to which 
 he gave great expression, and extraor- 
 dinary life and force, by broad masses of 
 light contrasted by as strong shadows, 
 lie died in 1660. Honthorst etched a 
 fine print of the Triumph of Neptune. 
 
 Honthorst (William). This painter, 
 who was brother to Gerard Honthorst, 
 was born at Utrecht in 1604. He also 
 was instructed by Abraham Bloemart ; 
 but though he sometimes painted his- 
 torical subjects, he excelled chiefly in 
 portraits. lie died in 1683. 
 
 HooFT (Nicholas). This Dutch artist 
 was born at the Hague in 1664, He 
 studied first under Daniel Mytens, and 
 next became successively the scholar of 
 Doudyns and Terwesten. He excelled 
 both in history and portrait, and was 
 chosen Director of the Academy at the 
 Hague, where he died in 1748. 
 
 HooGE (Peter de). Tliis Dutch artist 
 was born in 1643, and studied under 
 Nicholas Berchem ; but his manner came 
 nearest to that of Mieris, Melzu, and 
 Slingelandt, although in the finishing of 
 his pictures he did not arrive at the per- 
 fection of either of those great artists. 
 The heads and hands of his figures have 
 sometimes a degree of force, scarce un- 
 worthy of being compared to Vandyck ; 
 ])ut though his touch is more broad and 
 free than that of either Metzu or Mieris, 
 he falls far short of their exquisite neat- 
 ness. His pencil is light and firm, his 
 design correct, and in good taste, as if he 
 had been instructed in some celebrated 
 school. His usual subjects were large 
 apartments, and parties in conversation, 
 in which the draperies of his figures were 
 taken from the modes of the times, and 
 his colouring was extremely good, natural, 
 and strong. He had the peculiar ex- 
 cellence of representing the sun shining 
 through a window, so as to produce a 
 charming effect in illuminating the objects 
 upon which it fell. He died in 1708. 
 
 Hooghekbueg (John). This artist 
 was born at Cologne in 1500, and died at 
 Malines in 1544. He was a good painter 
 of history, 
 
 HooGSTADT (Gerard Van). This pain- 
 ter was born at Brussels in 1625 ; but it 
 is not known who was his instructor. His 
 works, however, show that he was an 
 artist of considerable power in design and 
 execution. Several of his pictures are in 
 tlie churches of his native city, particularly 
 some of the Passion in that of St. Gudule. 
 He died in 1675. 
 
 HOOGESTRAETEN (DiRK, Or ThEODOKB 
 
 Van). He was born at Antwerp in 1586, 
 and at first was bred a goldsmith and en- 
 graver; but having gained the friendship 
 of some Flemish painters, who instructed 
 him in the rudiments of the art, he ac- 
 quired such a proficiency, that he quitted 
 his original profession, and devoted him- 
 self entirely to the pencil. He had a free 
 manner of handling, and designed his 
 subjects in a good taste, distinguishing 
 himself above many of those artists who 
 had been regularly educated. He painted 
 
HOO 
 
 HOR 
 
 historical subjects, but chiefly landscapes, 
 which he designed after nature, and 
 represented them with great truth and 
 exactness. He died in 1640. 
 
 HOOGESTRAETEN (SaMUEL Van). He 
 
 was the son of the preceding, and was 
 born at Dort in 1627. He learned the 
 rudiments of the art from his father, who 
 took all possible care of his education ; 
 and for his greater improvement placed 
 him under Rembrandt. For some time 
 he adhered to the manner of that master, 
 particularly in his portraits, which he 
 painted with success; but he disused it 
 gradually, and adopted another, from 
 which he never departed. In whatever 
 subjects he saw others excel, he was 
 solicitous to imitate thm, and felt an 
 ambition to arrive at an equal degree of 
 eminence in every particular branch, 
 whether landscapes, animals, architecture, 
 calms at sea, storms, fruit, or flowers. 
 He was employed at Vienna by the em- 
 peror, to whom he presented three pictures: 
 one a portrait; another Christ crowned 
 with Thorns; and the third a piece of 
 still life, highly finished ; with which that 
 monarch was so well pleased that he 
 honoured him with a chain and medal of 
 gold. From Germany he went to Rome, 
 and after some time spent there for im- 
 provement, he visited Englandabout 16G3, 
 and met with such encouragement as in- 
 duced him to continue here a considerable 
 time. Vertue saw a picture painted by 
 him, representing objects of still life, 
 among which was an English almanac. 
 In a few years he returned to Dort, where 
 he died in 1678. His portraits were re- 
 markable for good handling, for an agree- 
 able likeness, and a good tone of colouring, 
 as well as for retaining their original 
 strength and lustre. The historical pic- 
 tures of bis hand are well designed, but 
 the colour of his draperies is far from 
 pleasing, and there is somewhat dry and 
 stiff in his manner. One John Van 
 Hoogsiraeicn, an historical painter, and a 
 native of Holland, died at Vienna in 1688, 
 at the age of forty. 
 
 HooGZAAT (John). He was born at 
 Amsterdam in 1654, and studied under 
 Gerard Lairesse, being accounted one of 
 the best artists formed in thatschool. Lair- 
 esse was profuse in his praise, and recom- 
 mended him to the favour of the principal 
 persons of Holland ; in consequence of 
 which he was employed to paint the 
 ceiling of the Burghers' hall at Amster- 
 dam. He also performed several works for 
 
 the palace of King William at Loo. His 
 designs were correct, and the execution 
 spirited. He died in 1712. 
 
 HoppNER (John). This artist was 
 descended from a German family, but 
 was born in England in 1759. His style 
 of portrait painting was founded upon 
 that of Sir Joshua Reynolds ; but he was 
 not a servile imitator of that great master, 
 nor of any other. What he borrowed he 
 knew how to make his own by original 
 graces ; and, but for the narrowness of 
 his circumstances, he might have risen 
 to the highest eminence in his art. His 
 natural genius led him to landscape paint- 
 ing, but prudence restrained him to por- 
 trait as the only sure means of subsistence. 
 Of his exquisite taste, however, in the 
 former line, the backgrounds of his pic- 
 tures afford an ample proof. In this 
 department he resembled Gainsborough, 
 as he also did in other respects. As a 
 portrait painter he excelled in representing 
 the female form and countenance, to- 
 gether with children. His colouring is 
 natural, chaste, and powerful, and his 
 tones are generally mellow and deep ; his 
 pencilling is full, and his carnations fresh 
 and transparent. Mr. Hoppner was a 
 member of the Royal Academy, and very 
 estimable in private life. He died January 
 23, 1810. 
 
 IIoRiJERG (Peter), a Swedish artist, 
 the son of a Sudermanian peasant, was 
 originally a shepherd. While employed 
 in this occupation, he learned the violin 
 without assistance, and amused himself 
 with drawing on pieces of birch bark. 
 Having heard of the Academy of Painting 
 at Stockholm, he visited the Swedish 
 capital, found patrons there, laboured 
 assiduously, and became a painter of con- 
 siderable reputation in his native country. 
 In his latter days he obtained a pension 
 from Gustavus IV. He died, at an 
 advanced age, in 1814. 
 
 HoRFELiN (Antoxio). This Spanish 
 painter was born at Saragossa in 1587. 
 He learned the principles of his art from 
 his father Pedro, a painter of no repute. 
 After this he went to Rome, where he 
 principally directed his studies to the 
 works of Buonarroti and Raffaelle, by 
 which he enlarged his ideas, and formed 
 a noble manner of designing, as well as a 
 richness of colouring. His chief work is 
 a picture of St. Joseph in the Augustine 
 monastery at Saragossa. He died in 
 1660. 
 
 IIoKST (Nicholas Vaitdeb). This 
 
E 
 
 HOU 
 
 'tist was born at Antwerp in 1598, and 
 studied under Rubens : after which he 
 travelled to Italy, and on his return to 
 Flanders settled at Brussels, where he 
 practised historical and portrait painting 
 with great credit. He became also one of 
 the painters to the archduke, for whom he 
 executed several works. He died in 1646. 
 
 HoKREBouTS (Gekard). This Fle- 
 mish artist v/as born at (Jhent in 1498. 
 In his style he resembled Holbein, whom 
 he followed to England, and became 
 painter to the court of Philip and Mary. 
 He died there in 1558. 
 
 HosKiNS (John). Of this English 
 artist no particulars are recorded, except 
 that he lived in the reign of Charles I., 
 and was for some years a painter of por- 
 traits in oil, but afterwards in miniature, 
 in which he succeeded best. The king, 
 the queen, and many of the nobility sat 
 to him; and he had the satisfaction to 
 form two distinguished disciples, Alex- 
 ander and Samuel Cooper, who were his 
 nephews. In the heads painted by Hos- 
 kins, there is a great character of nature 
 and truth; but the carnations want variety of 
 tints, and appear too much of a brick colour. 
 Lord Orford, how^ever, mentions one work 
 of his, which he says may be accounted 
 perfect : it is a portrait of a man, rather 
 young, in which he thinks the colouring 
 equal to Oliver, and says that the hair is 
 touched with exquisite freedom. John 
 Iloskins died in 1^64. He had a son, 
 who also painted in miniature. 
 
 HoTJAssE (Rene Antoine). This 
 French painter was born at Paris in 1645. 
 He was the disciple of Le Brun, and be- 
 came a reputable painter of history. He 
 was first a professor, and afterwards 
 director of the Academy at Rome; but 
 died in his native city in 1710. His son 
 Michel Angela Houasse painted in the 
 same style as his father and preceptor. 
 He died at Arpajon in 1730. 
 
 HouBRAKEN (Arnold). Thjs inge- 
 nious artist was born at Dort in 1660. 
 After receiving a good education, he was 
 placed under William Van Drillenburg, 
 from whom he passed to the school of 
 Samuel Van Iloogestraeten. He painted 
 portraits and small pieces of historical 
 subjects; but in the latter he had little 
 merit, either for design or colouring. He 
 came to England to copy the portraits of 
 Vandyck. Houbraken was also an engraver, 
 but he is best known by his great theatre 
 of the Dutch and Flemish painters, with 
 their portraits, 3 vols., folio. He died at 
 
 9 HOU 
 
 Amsterdam in 1719. He was the father 
 of Jacob Houbraken^ the celebrated en- 
 graver. 
 
 Houseman, or Huysman (Cornelius), 
 He was born at Antwerp in 1648, but 
 lived mostly at Mechlin, for which reason 
 he is distinguished by the appellation of 
 Houseman of Mechlin. When young he 
 lost his father, who was an architect; 
 upon which his uncle placed him with 
 Gaspar de Witt; but while under the 
 direction of that master, happening to see 
 some of the works of Artois, they affected 
 him to such a degree, that he went to 
 Brussels and became his pupil. However, 
 he made nature his guide, and studied 
 very much in the forest of Soignies, where 
 he sketched a number of beautiful views. 
 Having completed his engagement at 
 Brussels, he returned to Mechlin, where 
 he was held in high esteem as a landscape 
 painter. Vander Meul^n was so struck 
 with hisperformances, that he endeavoured 
 to draw him to Paris ; but Houseman de- 
 clined all his offers, and continued at 
 Mechlin till his death, which happened 
 in 1727. Houseman is considered as one 
 of the best among the Flemish painters of 
 landscape ; his style is much in the Italian 
 taste; his colouring is bold, his touch free 
 and excellent; and in most of his pic- 
 tures he is fond of introducing a strong 
 warm mass of light breaking on some part 
 of his foreground, which is usually en- 
 riched with plants and herbage. He 
 always painted the figures and animals in 
 his own landscapes, and designed them so 
 well, that he was frequently employed by 
 Minderhout, Achtschellings, and Artois, 
 to adorn their works in the same manner. 
 He likewise painted the landscapes in the 
 backgrounds of historical pictures for 
 other artists of eminence. In all his com- 
 positions he produced a fine effect, by a 
 judicious opposition of his lights and 
 shadows, and he had a remarkable skill 
 in representing the hilly grounds, or dis- 
 tant mountains. His buildings, trees, 
 and skies, were all copied from nature, 
 and will always afford pleasure, as having 
 abundance of truth and excellent pencil- 
 ling. 
 
 Houseman, or Huysman (James). He 
 was born at Antwerp in 1656, and studied 
 under Giles Backereel. But that artist, 
 being persecuted by the Jesuits, and 
 obliged to flee his country. Houseman 
 went to England, and painted both his- 
 tory and portrait, in which last he was 
 a successful rival of Lely; and among the 
 
HUB 2 
 
 Beauties at Windsor, is the portrait of a 
 lady, equal to any of that popular artist. 
 He also painted a fine portrait of the 
 Duchess of Richmond; but the one which 
 he most admired himself was that of 
 Catherine of Portugal, queen of Charles 
 II. Houseman also painted the altar- 
 piece in the queen's chapel at St. James's. 
 He excelled in the representation of Cu- 
 pids. He died in London in 1696. 
 
 HowiTT (Samuei.). This self-taught 
 artist was distinguished by his skill in the 
 representation of wild animals, and the 
 huntings of them, which he designed and 
 executed with great accuracy and spirit. 
 He also etched several prints from his 
 own drawings of sports, in a free and 
 animated style. He died suddenly, in 
 Somer's-town, in 1822. 
 
 HvBER (John Rodolph). He was 
 born at Basle, in Switzerland, in 1668, 
 and learned the^udiments of the art from 
 Gaspar Meyer, whom he soon surpassed, 
 and then became the scholar of Joseph 
 Werner, upon which he changed his early 
 manner, and, by studying after the antique, 
 proved a good designer. At the age of 
 nineteen he went to Italy, and stopped 
 first at Mantua, where he copied the works 
 of Giulio Romano. At Verona and Venice 
 he studied Titian, and while in the latter 
 city became intimate with Tempesta, for 
 whom he painted the figures in his land- 
 scapes. He also copied many of the works 
 of Bassan, Titian, Tintoretto, and Paolo 
 Veronese, during three years which he 
 spent with Tempesta; and he likewise 
 critically observed the peculiarity of taste, 
 colouring, or pencil, which constituted 
 the excellence of each. From Venice he 
 visited Rome, where he improved still 
 more by the productions of RafFaelle, 
 Guide, and Caracci. Here also he ob- 
 tained the friendship of Carlo Maratti, 
 who, pleased with his manner of colour- 
 ing and design, took a delight in assisting 
 him with his advice, and, observing him 
 inclined to paint portraits in miniature, 
 dissuaded him from it, and recommended 
 him to adopt works of a nobler character. 
 After a residence of six years at Rome, 
 which he spent in designing the antiques, 
 attending the academy, and pursuing his 
 studies with unweared diligence, he re- 
 turned to his native city, where his merit 
 soon procured him distinction. His first 
 remarkable work was a family-piece for 
 the Margrave of Durlach, of a large size, 
 by which he gained great applause, and 
 his reputation was spread through all 
 
 ro HUG 
 
 Germany. In 1696 he was employed by 
 the Duke of Wirtemberg in several his- 
 torical compositions for his grand apart- 
 ments; and there was hardly a prince in 
 Germany who did not seem solicitous to 
 possess some of his performances. Huber 
 painted three thousand and sixty-five por- 
 traits, besides a great number of historical 
 pictures, all finished by his own hand; 
 so that, on account of his facility, he was 
 called the Tintoret of Switzerland, His 
 colouring is bold and strong, his touch 
 light, and he had great freedom and readi- 
 ness of hand. Yet, among his paintings, 
 there are several of very inferior merit, 
 which was probably occasioned by the 
 prodigious number which he executed. 
 He designed correctly, and the vigour of 
 his genius continued to the last year of 
 his life, which ended in 1748. 
 
 Hudson (Thomas). This artist was 
 born in Devonshire in 1701. He was the 
 scholar and son-in-law of Richardson, 
 and enjoyed for many years the chief 
 business of portrait painting in the me- 
 tropolis, after the death of Jervas and his 
 master. He was indeed opposed by Van- 
 loo and Liotard; but nothing could shake 
 the popularity of the English painter 
 among the country gentlemen, who were 
 fond of his honest similitudes, and with 
 the fair tie-wigs, blue velvet coats, and 
 white satin waistcoats, which he liberally 
 bestowed on his customers. Reynolds 
 was his pupil, and on the rising of that 
 star, Hudson prudently retired to his villa 
 near Twickenham, where he died, con- 
 tented and rich, in 1779. 
 
 HuGFORD (Ignazio). This artist was 
 either an Englishman, or born of English 
 parents, who lived at Florence. He 
 painted an altar-piece for the church of 
 St. Felicite in that city, representing the 
 angel Raphael; besides which, he has 
 some pictures in the ducal gallery; but 
 most of his works are at the Vallombrosa 
 at Forli, where he had a brother, who was 
 a monk of that house, and had also a 
 talent for painting. Ignazio died at Flo- 
 rence in 1778. 
 
 HuGTENBURGH (James Van). He was 
 bom at Haerlem in 1639, and studied 
 under Nicholas Berchem ; after which he 
 went to Rome, where his talents as a 
 landscape painter were highly prized. He 
 died in the prime of life. 
 
 HuGTENBURGH (JoHN Van), theyoungcr 
 brother of the preceding, was born at 
 Haerlem in 1646. After receiving some 
 instruction from his father, he became 
 
II UL 2 
 
 the scholar of John Wyck, on leaving 
 whom he went to his brother in Italy ; 
 but when he lost that valuable assistant 
 in his studies, he returned to Holland by 
 the way of Paris, where he spent some 
 time with Vander Meulen, to whom he 
 was indebted for much valuable instruc- 
 tion. On his arrival at Haerlem he ob- 
 tained considerable employment; and such 
 was his reputation, that Prince Eugene 
 engaged him to paint the battles and 
 sieges in which he and the Duke of Marl- 
 borough had commanded in conjunction. 
 In 1711, Hugtenburgh was invited to the 
 court of the Elector Palatine, for whom 
 he painted several pictures, and was re- 
 warded with a chain and medal of gold. 
 This artist had an elegant taste of com- 
 position and design ; he studied nature 
 accurately, and not only gave correctness 
 to his figures and cattle, but the expres- 
 sion, action, motion, and attitudes that 
 best suited every character and every 
 object. The countenances of his figures 
 are properly diversified, according to the 
 different people which his subject required 
 him to represent; thefeaitures of a Turk, 
 a Sclavonian, or a Cossack, being as dis- 
 tinguishable in his paintings as their 
 costume. His pencil is delicate, his col- 
 ouring transparent, his keeping good, and 
 by the aerial perspective, his distances are 
 as beautifully thrown off as those of Wou- 
 vermans. His skies are lucid, but pleas- 
 ing; he managed the chiaro-oscuro with 
 extraordinary skill; and heis justly deemed 
 one of the best battle-painters of his age 
 and country. Hugtenburgh engraved a 
 great number of plates from his own de- 
 signs and those of Vander Meulen. He 
 died in 1733. 
 
 HuLST (Peter Vander). He was born 
 at Dort in 1652, and, having been in- 
 structed in his native city, went to Rome, 
 where, finding his genius lay neither to 
 portrait nor the historical style, he 
 adopted that of Mario da Fieri, who ex- 
 celled in the representation of flowers, 
 insects, and reptiles. He chose to paint 
 a wilder sort of flowers than those of De 
 Heem or Seghers ; and among them he 
 generally introduced toads and frogs, 
 particularly lizards and serpents, with 
 insects of various kinds. His colouring 
 is lively and agreeable, his touch free, and 
 his design chaste. Though his works are 
 not so highly finished as those of Mignon 
 or De Heem, they show a genius in the 
 style, character, and disposition rarely 
 seen among the Flemish painters of the 
 
 1 HUS 
 
 same subjects. It is reported that a per- 
 son once proposed to give a diamond 
 worth three hundred florins as a prize for 
 the best picture. The competitors were 
 Jardin, Potter, Slingelandt, Vander Hey- 
 den, Weeninx, and Vander Hulst, and it 
 is said that the prize was adjudged to the 
 latter. This story, however, stands upon 
 very slender authority, and is exceedingly 
 improbable. Vander Hulst died in 1708. 
 
 lIuMPHRT (OziAs). This artist was 
 born at Honiton, in Devonshire, Septem- 
 ber 8, 1742. At the age of fourteen he 
 was sent to the drawing school kept by 
 Mr. William Shipley in London ; but after 
 three years' study he was obliged to return 
 to his native place, and was then placed 
 as an apprentice to Samuel Collins, a 
 miniature painter of Bath, whom he suc- 
 ceeded in that city, till 1764, when he re- 
 moved to London, under the auspices of 
 Sir Joshua Reynolds. In 1766 he exhi- 
 bited at Spring Gardens a portrait of 
 John Mealing, the living model of the 
 Royal Academy, which picture was uni- 
 versally admired, and purchased by the 
 late king for one hundred guineas. Soon 
 after this, Mr. Humphry had the honour 
 of painting a miniature of Queen Char- 
 lotte. In 1773 he went to Italy with 
 Romncy, and resided at and near Rome 
 about four years. On his return to Eng- 
 land he began to practise painting in oil, 
 and continued to do so till 1785, when he 
 went to India, where he adopted minia- 
 ture again, as the most acceptable line in 
 that country. While in the East he 
 painted the portraits of several of the 
 native princes as well as Europeans; but 
 in 1788, the state of his health compelled 
 him to return to England, and two years 
 afterwards he was elected a member of 
 the Royal Academy. At this period he 
 was employed by the late Duke of Dorset 
 in reducing to a miniature size the portraits 
 in his collection at Knolle. By this 
 labour he very much injured his sight, on 
 which he devoted himself chiefly to 
 crayons. His last performances were the 
 portraits of the Prince and Princess of 
 Orange. He died at Knightsbridge, 
 March 9, 1810. 
 
 HussET (Giles). This singular artist 
 was descended from a very ancient family, 
 and born at Marnhull, in Dorsetshire, 
 February 10, 1710. At seven years of 
 age he was sent to Douay for his educa- 
 tion, where he continued two years, and 
 then was removed to St. Omer's, where 
 he pursued his studies for three years 
 
II us 
 
 272 
 
 Huy 
 
 more. Notwithstanding this liberal edu- 
 cation, he was designed for trade; but, 
 after some opposition, his father permitted 
 him to follow the bent of his genius, and 
 for that end placed him under the tuition 
 of Richardson the painter, with whom he 
 continued scarcely a month, revolting at 
 the proposal of being an apprentice for 
 seven years. He then commenced pupil 
 at large, imder Damini, a Venetian artist, 
 esteemed one of the best painters at that 
 time in England, with whom he con- 
 tinued nearly four years. During this 
 time he was principally employed in copy- 
 ing pictures, and finishing those of his 
 master, whom he assisted in painting the 
 ornaments of the cathedral of Lincoln. 
 During their work on a scaffold, nearly 
 twenty feet high, as Mr. Ilussey was 
 drawing back to see the effects of his 
 pencil, he would have fallen, had not 
 Damini saved him, at some risk to him- 
 self. Mr. Hussey entertained such a 
 sense of this kindness, that he could not 
 bear the thought of being separated from 
 his master, and therefore requested per- 
 mission of his father for Damini to attend 
 him whilst pursuing his studies in Italy. 
 This he obtained, ^nd under the direction 
 of the Venetian, tlie inexperienced youth 
 set out for the seat of science and genius, 
 bending first his course to Bologna : but 
 soon after their arrival, poor Hussey found 
 that one act of friendship is by no means 
 a sure pledge of another; for Damini in 
 a few days decamped, taking with him all 
 his pupil's money and the best of his ap- 
 parel. Mr. Hussey was, however, kindly 
 relieved from this distress by Signor 
 Gislonzoni, who had been ambassador 
 from the state of Venice to the court of 
 London, and now became his protector. 
 Mr. Hussey prosecuted his studies at 
 Bologna for three years and a half, and 
 then removed to Rome, where he was re- 
 ceived with the most obliging courtesy by 
 Ercole Letti, who imparted to him, in the 
 most friendly manner,. all that he knew of 
 the art. This did not entirely satisfy Mr. 
 Hussey, who seems to have aimed at esta- 
 blishing some fixed principles; whence 
 he was led into a search after theory, 
 which ended in his adopting the ancient 
 hypothesis of musical or harmonic pro- 
 portions, as being the governing principle 
 of beauty in all forms produced by art, 
 and even by nature. Delighted with this 
 discovery, as he thought it, he continued 
 his studies at Rome with increasing plea- 
 sure and reputation. At length, in 1737, 
 
 he returned to England, but did not 
 settle in London till 1742, when he sub- 
 mitted to the drudgery, as he used to call 
 it, of painting portraits for his subsistence. 
 Whilst thus employed, our artist is said 
 to have met with much opposition from 
 his professional brethren, whose envy was 
 excited by his masterly, elegant, and 
 graceful performances. This treatment 
 affected liis spirits, and in 1768 he left 
 London for his native place, where, in 
 1773, by the death of his eldest brother, 
 he succeeded to the family estate. He 
 led a private life, chiefly indulging him- 
 self in gardening, till June 1788, when 
 he died at Beeston, near Ashburton, in 
 Devonshire. The great merit of Hussey's 
 pencil drawings from life, lay in his pre- 
 serving the characteristic likeness; and 
 with respect to those of mere fancy, per- 
 haps no man ever exceeded him in accu- 
 racy, elegance, and simple beauty. His 
 academical drawings at Bologna are still 
 shown there, on account of their superior 
 excellence. Hussey has had a zealous 
 eulogist in Barry, who spoke of him wiliii 
 enthusiasm ; but judges of more calmness 
 and discernment speak of his genius in a 
 lower style. His excellence lay in por- 
 traiture, which he himself despised, to 
 follow history, in which he failed. The 
 Duke of Northumberland offered him a 
 liberal establishment in his house, but he 
 refused it, unless he might have a Romish 
 priest resident with him as his confessor. 
 
 HuYsuM (Justus Van), called the Old. 
 He was born at Amsterdam in 1659, and 
 was a disciple of Nicholas Berchem. 
 While young, he gave early proofs of 
 genius, but he did not adhere to the style 
 and colouring of his master. Owing to 
 an unaccountable levity of temper, and 
 through an ambition to excel in several 
 branches as history, portrait, battles, 
 sea-pieces, landscapes, and flowers he 
 attained distinction only in the latter. 
 His landscapes were laboriously finished, 
 and his scenery was pleasing and pictu- 
 resque ; but there was rather an appear- 
 ance of stiffness in his manner, with too 
 great a predominancy of a yellowish tint, 
 and his trees and shrubs have often too 
 pale or too bright a verdure. He died in 
 1716, leaving three sons, who were very 
 eminent artists ; and a fourth, who taught 
 the art of drawing and design. 
 
 HuYSUM (Justus Van), called the 
 Young. He was born at Amsterdam in 
 1684, and learned the principles of painting 
 from his father, the preceding artist. He 
 
HUY 
 
 painted battles, both in a large and small 
 size, with astonishing facility, and with- 
 out having recourse to any models, com- 
 posing his subjects merely by the power 
 of his imagination, and disposing them 
 with equal judgment and taste. He died 
 at Amsterdam in 1706. 
 
 HuYsuM (John Van). This eminent 
 painter was born at Amsterdam in 1682, 
 and was the disciple of Justus Van Huy- 
 sum, his father. But having studied the 
 pictures of Mignon, and other artists of 
 distinction who had painted in his own 
 style, he tried which manner would soonest 
 lead him to imitate the lightness and sin- 
 gularbeautiesof each flower, fruit, orplant, 
 and then fixed on a manner peculiar to 
 himself. His pictures are finished with 
 inconceivable truth ; for he painted every- 
 thing after nature, and was so exact as to 
 watch even the hour of the day in which 
 his model appeared in its greatest perfec- 
 tion. He had greater freedom than Mi- 
 gnon or Breughel ; more tenderness and 
 nature than Mario da Fiori, Michel An- 
 gelo di Campidoglio, or Seghers; more 
 mellowness than De Heem ; and griater 
 force of colouring than Baptist. Hence 
 his reputation rose to such a height that 
 he fixed immoderate prices on his works ; 
 so that none but persons of fortune could 
 become purchasers. One of his flower 
 pieces sold for fourteen hundred and fifty 
 guilders ; a fruit-piece for a thousand and 
 five guilders, and the smaller pictures for 
 nine hundred. This encouragement made 
 Van Huysum redouble his endeavours : no 
 person was admitted into his room while 
 he was painting, not even his brothers; 
 and his method of mixing the tints and 
 preserving the lustre of his colours was 
 an impenetrable secret, which he never 
 would disclose. From the same principle 
 he would never take any pupils, except 
 one lady, named Haverman, and he grew 
 envious and jealous even of her merit. 
 Domestic disquiets at last soured his tem- 
 per; he grew morose, fretful, and with- 
 drew himself from societj'. Yet he con- 
 tinued indefatigable in his profession, and 
 excelled all who painted fruit and flowers 
 before him, by the confessed superiority | 
 of his touch, by the delicacy of his pencil, ' 
 and by an exquisite manner of finishing. 
 The care which he took to purify his oils 
 and prepare his colours, and the various 
 experiments he made to discover the most 
 lustrous and durable, is another instance 
 of his extraordinary care and capacity. 
 From an observance of some of his works 
 
 73 HUY 
 
 that were perfectly finished, some only 
 half finished, and others only begun, the 
 principles by which he conducted his 
 process may perhaps be discoverable. His 
 cloths were prepared with the greatest 
 care, and primed with white with all pos- 
 sible purity, to prevent his colours from 
 being obscured, as he laid them on very 
 lightly. He glazed all other colours except 
 the clear and transparent, not omitting 
 even the white ones, till he found the exact 
 tone, over which he finished the forms, 
 lights, shadows, and reflections, which 
 are all executed with precision and warmth, 
 without dryness or negligence. The 
 greatest truth united with the greatest 
 brilliancy, and a velvet softness on the 
 surface of his subjects, are visible in every 
 part of his compositions, and his touch 
 looks like the pencil of nature. When he 
 represented flowers placed in vases, he 
 always painted the latter after some ele- 
 gant model, and the bass-relief is as ex- 
 quisitely finished as any of the other parts. 
 Through the whole he shows a delicate 
 composition, complete harmony, and a 
 happy effect of light and shadow. Those 
 pictures which he painted on a clear 
 ground are preferred to the others, as 
 having greater lustre, and being finished 
 with more care and exactness ; yet there 
 are some on a darkish ground, in which 
 more force and harmony are apparent. 
 In the grouping of his flowers, he generally 
 designed those which were brightest in 
 the centre, and gradually decreased the 
 force of his colour from thence to the ex- 
 tremities. The birds' nests and their eggs, 
 feathers, insects, and drops of dew, are 
 expressed with the utmost truth, so as even 
 to deceive the spectator. It must be 
 owned, however, that sometimes his fruits 
 appear like wax or ivory, without that 
 peculiar softness and warmth which is 
 constantly observable in nature. Van 
 Huysum also painted landscapes in a good 
 taste. They are well composed ; and 
 though hehadnever seen Rome, he adorned 
 his scenes with the nobleremainsof ancient 
 magnificence which are in that city. His 
 pictures in that style are well coloured, 
 and every tree is distinguished by a touch 
 that is proper for the foliage. The grounds 
 are well broken, and disposed with judg- 
 ment: the figures are designed in the 
 manner of Lairesse, highly finished, and 
 touched with spirit ; and through the 
 whole composition, the Italian scenery 
 prevails in the trees, clouds, and skies. 
 He died in 1749. 
 
IMP 
 
 IRI 
 
 HuTSUM (Jacob Van). He was born 
 at Amsterdam in 1687, and died in Lon- 
 don in 1746. His merit chiefly consisted 
 in imitating the works of his brother John; 
 which he did with such exactness as fre- 
 quently to deceive the most sagacious 
 connoisseurs. His customary price for 
 each copy was twenty guineas. He also 
 composed subjects of his own invention, 
 in the same style, which were much prized ; 
 and increased in their value. 
 
 I. 
 
 Ibbetson (Julius C^sas). This artist 
 was a native of Masham, in Yorkshire. 
 He was liberally educated, and studied 
 painting for amusement ; but rose to such 
 eminence in it that his landscapes were 
 eagerly sought for by collectors of the first 
 rank. The late Mr. West very appro- 
 priately called him the Berghem of Eng- 
 land. He also painted some historical 
 pictures. He died at his native place in 
 1817. 
 
 Imbert (Joseph Gabriel). This 
 painter was born at Marseilles in 1666, 
 and studied under Charles Le Brun ; but 
 afterwards became a pupil of Vander 
 Meulen, though without adopting the 
 style of either. At the age of thirty- 
 four he entered among the Carthusians, 
 after which he employed his pencil wholly 
 in altar-pieces. He died in 1749. 
 
 Imola (Inxoceszio Fraxcucci da). 
 This artist obtained the name by which he 
 is commonly known, from Imola, where 
 he was born. He resided, however, at 
 Bologna, where he was tlie pupil of Fran- 
 cesco Francia,though afterwards he studied 
 some time under Manitto Albertinelli at 
 Florence. He painted a great number of 
 pictures for the churches of Bologna, the 
 principal of which are the frescoes and 
 altar-piece in St. Michael in Bosco. Some 
 of his paintings appear to have been exe- 
 cuted from the designs of Raftaelle. The 
 Dome at Faenza is painted in a magnifi- 
 cent style ; and the small pictures which 
 he placed under his large ones are designed 
 with elegance. He died of the plague, 
 about 1550. 
 
 Imparato (Francesco). This artist 
 was born at Naples, and studied succes- 
 sively under Criscuolo and Titian. On 
 leaving the last great master, he settled in 
 his native city, where he painted several 
 fine pictures for the churches : the prin- 
 
 cipal of which are the Martyrdom of St. 
 Andrew; another of St. Peter; and one 
 of the Annunciation. He lived about the 
 year 1570. 
 
 Imparato (Girolamo). He was the 
 son of the preceding artist, and lived at 
 Naples about the year 1630. After learning 
 the rudiments of the art from his father, 
 he went to Venice, from whence he tra- 
 velled to Parma, to study the works of 
 Corregio. He was not, however, equal 
 to his father; though his picture of La 
 Madonna del Rosario, in the church of 
 St. Tommaso at Naples, is conceived and 
 executed in a great style. 
 
 lNDiA(TuLLioand Bernardino). These 
 artists were father and son. Tullio was 
 a native of Verona, and painted in fresco. 
 His talent lay in portrait. Bernardino 
 was born at Verona in 1535, and died 
 there about 1590. He appears to have 
 studied and imitated the works of Giulio 
 Romano. His works are mostly in the 
 churches of Verona. 
 
 Inghen (William Van). He was 
 born at Utrecht in 1651, and had for his 
 instructor Anthony Grebber ; after which, 
 he went for improvement to Rome, in 
 the retinue of the vicar-general of the 
 Netherlands, who, on his arrival at that 
 city, recommended him to the care of 
 Carlo Maratti. Although Inghen con- 
 tinued only one year in that school, yet 
 by close study he became capable of exe- 
 cuting several grand works in the 
 churches at Rome, which so pleased his 
 preceptor that he did him every friendly 
 ofBce in his power. His drawing was 
 firm; his design had great elegance; and 
 the tone of his colouring was pleasing ; 
 yet Descamps speaks in less favourable 
 terms of his merit as an artist, and Lanzi 
 docs not even mention his name. He 
 died at Amsterdam in 1709. 
 
 Ikgoli (Matteo). He was born at 
 Ravenna in 1587, and studied at Venice 
 under Luigi del Friso. His greatest 
 performance is a Last Supper, in the 
 church of St. ApoUinare at Ravenna. 
 He died of the plague in 1631. 
 
 Irace (Severoj. Tliis artist was born 
 at Naples about 1500, and studied under 
 Marco Cardisco or Calabrese. In the 
 church of the N nziata, at Naples, is an 
 altar- picture by him, representing the 
 Virgin and Child, with a choir of angels, 
 while beneath them are the apostles Peter 
 and Paul in the attitude of devotion. It 
 bears the date of 1534. 
 
 Iriabte (Ingazio de). This Spanish 
 
275 
 
 JAM 
 
 painter was a native of Biscay, and born 
 in 1620. He studied at Seville under the 
 elder Ilerrera, but he left his style for 
 landscape, which he painted in an excel- 
 lent taste. He died in 1685. 
 
 Isaacs (Petek). This artist was born 
 at Helvezor, in Holland, in 1569, and had 
 first Cornelius Ketel, of Amsterdam, for 
 his instructor : after which he became a 
 pupil of John Van Achen, witii whom he 
 went through Germany and Italy. He 
 painted history, but excelled in portrait, 
 which he practised at Amsterdam many 
 years with great success. His heads are 
 graceful, and his hands correct. He died 
 in 1618. 
 
 J. 
 
 Jackson (John), who for a time di- 
 vided with Lawrence the wide dominions 
 of portraiture, was of the little village of 
 Lastingham in Yorkshire, where he was 
 born on the 31st of May, 1778. His first 
 attempts in art were at the village school ; 
 his companions were his sitters, and his 
 boyish outlines had a rude freedom, which 
 spoke of an original turn of mind. One 
 of his neighbours, a house painter, pleas- 
 ed with his likenesses, supplied him with 
 colours to fdl up his outlines, which he 
 accomplished with a success which at- 
 tracted the eye of Lord Mulgrave, who 
 sent him to continue his studies in Lon- 
 don ; where, under the kind and munifi- 
 cent care of Sir George Beaumont, he ob- 
 tained patronage and distinction. His 
 hand had, in 1804, attained such mastery 
 in portraiture, that he ventured to exhibit 
 some of its productions; and as these 
 were likenesses of people of note and con- 
 dition, others flocked to his easel, charm- 
 ed alike with the force of expression, the 
 freedom of posture, the brightness of his 
 colours, and the rapidity of his execution. 
 In his happiest hours, when his hand was 
 in, and the sitters to his liking, he pro- 
 duced portraits, which fairly rivalled 
 those of Reynolds, in all their varied ex- 
 cellence ; but when his hand was out, and 
 the sitters not to his wish, he sank far below 
 that great master, and was heavy in 
 colour, and corpse-like in posture, and 
 expression. His portraits are numerous, 
 and include one-half of the nobility of 
 rank, or of mind, in the kingdom ; among 
 the former are the Duke of Devonshire, 
 Earl Mulgrave, Earl Grey, Earl Grenville, 
 
 Lord Braybrooke, the Marquis of Chan- 
 dos, and the Duke of Wellington : of the 
 latter are Canova, Flaxman, Chantrey, 
 Stothard, West, Shee, Thomson, Nolle- 
 kens. Of these, the portrait of Canova 
 is a work of wonder ; nor should that of 
 Jackson himself be omitted, nor yet that 
 of Lady Dover ; the fame of which was 
 borne over the world by a masterly en- 
 graving. Jackson wrought with aston- 
 ishing ease and rapidity; and it would 
 have been better for his fame now, had he 
 taken more leisure, and studied all his 
 heads with the care he bestowed on that 
 of Canova. It is needless to add, that 
 such a likeness painter was made a mem- 
 ber of the Royal Academy : he caught 
 cold at the funeral of Lord Mulgrave, and 
 died in the fifty-third year of his age. 
 
 Jacobs (Simon). This Dutch painter 
 was born at Gouda in 1520, and studied 
 under Charles d'Ypres. He excelled in 
 portrait, in which his colouring was 
 clear, the touch firm, the drawing correct, 
 and the expression animated. He was 
 killed at the siege of Haerlem in 1572. 
 
 Jacobs, see Leyden. 
 
 Jacobsz (Julian). He was born at 
 Hamburgh in 1610, and became the dis- 
 ciple of Francis Snyders. At first he 
 imitated the style and manner of his mas- 
 ter, painting huntings, and chases of 
 wild animals, with great success ; but 
 afterwards he applied to portraits and 
 history ; and in all the latter subjects, the 
 animals he introduced, and the manner 
 of his designing and pencilling, show the 
 spirit and taste of Snyders. The history 
 of Venus and Adonis, and some other 
 compositions of Jacobsz, are highly com- 
 mended : he was engaged in several grand 
 designs, when he and all his family were 
 cut off by the plague at Amsterdam, in 
 1664. 
 
 Jacone ( ). This artist was a 
 
 native of Florence, and the assistant of 
 Andrea del Sarto. lie was a bold but 
 extravagant designer, and died in 1555. 
 Most of his works are in the churches of 
 Cortona. 
 
 James (William). He was a land- 
 scape painter, and a dealer in pictures, in 
 Maiden-lane, Covent-garden ; but had 
 not much merit. When Canaletti was in 
 England, James became his pupil or as- 
 sistant. In the exhibition of 1768 he 
 produced some oriental views, which are 
 
 pposed to have been copies. 
 
 James (Geoegk). He was born in 
 London, and studied some time at Rome, 
 
JAM 
 
 276 
 
 JAN 
 
 On his return, he settled in Dean-street, seems to have inherited a portion of her 
 Soho, as a portrait painter ; but meeting father's genius, several specimens of her 
 with little encouragement, he went to needlework remaining ; particularly 
 Bath, where he was not more fortunate. ' Jephtha's rash Vow ; Susannah and the 
 He then went to France, and during the ' Elders, &c. probably from a design of her 
 revolution was thrown into prison, where father's : these now adorn the east end of 
 he died in 1794. He was an early associ- } St. Nicholas' church, Aberdeen. Though 
 ate of the Royal Academy; but though I Jamesone was little known in England, 
 he occasionally exhibited, his pictures were and was not noticed by any English 
 
 never above mediocrity. 
 
 Jamesone (George). This Scotch 
 artist was the son of Alexander Jamesone, 
 an architect, and was born at Aberdeen 
 in 1586. At what age he went abroad is 
 not known, but he studied under Rubens, 
 with Vandyck, and in 1628 returned to 
 Scotland, where he applied with indefati- 
 gable industry to portrait painting, though 
 
 writer on the arts till Ilorace Walpole 
 gave him a place in his anecdotes, his 
 character, as well as his works, were 
 highly esteemed in his own country. 
 Arthur Johnston, the poet, addressed to 
 him an elegant Latin epigram, on the 
 picture of the Marchioness of Huntly ; 
 and David Wedderburne honoured his 
 memory with an elegy in the same Ian- 
 
 he sometimes practised in history and guage. The portrait of Jamesone is in 
 landscape. His largest portraits were the Florentinegallery; and thedistinction 
 somewhat less than life ; and his excel- ' which has been bestowed upon him, of 
 lence is said to consist in delicacy and being the Vandyck of Scotland, is not 
 softness, with a clear and beautiful colour- ' undeserved. 
 
 ing. When Charles I. visited Scotland | Janson (Jacob). This artist was a 
 in 1633, the magistrates, knowing his native of Holland, and lived at Leyden 
 majesty's taste, emploj^ed Jamesone to about the year 1784. He painted land- 
 make drawings of the Scottish monarchs, | scapes and cattle, much in the manner 
 with which the king was so much pleased, I of Paul Potter. He also etched some 
 that he sat to him fora full-length picture, ' plates from his own designs. 
 presented him with a diamond ring from | Jansex, or (Johnson Coknelixjs). He 
 his own finger, and on account of a com- was born at Amsterdam in 1590. After 
 plaint in his eyes or head, the king allowed obtaining considerable credit in his own 
 himtobecovered,aprivilegewhichheever ' country, he came to England in 1618; 
 after used, and commemorated by always and was engaged in the service of James 
 painting his own portrait with his hat on. I., of whom, and his family, he painted 
 But then it should be observed that in j several excellent portraits, as also of the 
 this he imitated his master Rubens. The ' principal nobility of his court. His style 
 greatest collection of Jamesone's works of colouring is clear, lively, and natural ; 
 is at Taymouth, the seat of the Earl of. his touch light; his pencil delicate; his 
 Breadalbane ; Sir John Campbell, of j carnations soft and sweet; and his pic- 
 Glenorchy, his lordship's ancestor, having tures are finished with remarkable neat- 
 been the earliest patron of the painter, I ness. Though Janserr had neither the 
 who attended him on his travels. In freedom of hand nor the grace of Van- 
 
 diiferent gentlemen's houses in the county 
 of Aberdeen there are portraits by Jame- 
 sone, as well as in the halls of Marischal 
 and King's Colleges. But the most inte- 
 resting of his pictures is that belonging 
 to the Earl of Findlater, at Cullen-house. 
 This piece represents Jamesone himself, 
 as large as life, with a round hat on his 
 head. He is dressed in a black jacket, 
 with a white falling band; and in the 
 background are ten squares, one a sea- 
 piece and the others portraits, some of 
 which are full-lengths. Jamesone died 
 at Edinburgh in 1644, and was interred 
 in the churchyard of the Gray Friars, but 
 without any monument. He left a widow 
 and several children, of whom Mary 
 
 dyck, yet in other respects he was deemed 
 his equal, and in the finishing of his 
 pictures superior. His paintings are 
 easily distinguished by their smooth, 
 clear, and delicate tints; and by that 
 character of truth and nature with which 
 they are strongly marked. He generally 
 painted on board, and, for the most part, 
 his draperies are black ; probably, be- 
 cause the opposition of that tint made 
 his flesh colours appear more beautifully 
 bright, especially in his female figures. 
 The same kind of draperies may be ob- 
 served in many of the portraits of Rubens 
 and Vandyck, which seem to add round- 
 ness, relief, and liveliness to the figures. 
 It is said that Jansen used a quantity of 
 
JAN 
 
 277 
 
 ultra-marine in the black colours, as well 
 as in his carnations, which may be one 
 cause of their original lustre continuing 
 to this day. He irequently painted in a 
 small size in oil, and often copied his own 
 Avorks in that manner. His fame began 
 to be somewhat obscured on the arrival 
 of Vandyck in England; and the civil 
 war breaking out some time after, induced 
 him to return to his own country, where 
 his paintings were in high esteem. His 
 pass is recorded in the Journals of the 
 Commons, on the 10th October, 1648. 
 One of his finest pictures, still at Straw- 
 berry Hill, is a portrait of Sir George 
 Villiers, the father of the celebrated 
 Duke of Buckingham. He is represented 
 with his hand on a greyhound, which 
 animal is admirably painted. Another 
 fine piece, by Janseii, is the portrait of 
 Princess Elizabeth, who married the 
 Elector Palatine, and is commonly called 
 the Queen of Bohemia. Jansen died at 
 Amsterdam in 1065. 
 
 J^VKssENs (Abkaham). Hc WES bom 
 at Antwerp in 1569, and was the compe- 
 titor of Rubens, to whom in many parts 
 of painting he was accounted not inferior. 
 It is reported, that having wasted his 
 time and substance by dissipation, and 
 falling into necessitous circumstances, 
 which he imputed more to ill fortune than 
 to his own neglect, he grew envious of 
 the success of Rubens, and with peevish 
 insolence challenged him to paint a pic- 
 ture in competition with him, only for 
 fame. Rubens, however, rejected the 
 proposal, answering him with modesty, 
 that he freely submitted to him, and that 
 the world would certainly do justice to 
 them both. In colouring, Janssens had 
 no superior, except Rubens ; his composi- 
 tions have abundance of spirit, and as he 
 designed after living models, his figures 
 were correctly drawn, and had a striking 
 appearance of truth and nature. His 
 design is elegant, his touch free, his dra- 
 peries are well cast, and his disposition 
 commendable ; the whole together having 
 a strong effect, by a judicious manage- 
 ment of the chiaro-oscuro. Sandrart 
 assures us that he not only gave a fine 
 roundness and relief to his figures, but 
 also such a warmth and clearness to the 
 carnations, that they had all the look of 
 real flesh; and his colouring was as 
 durable as it was beautiful, retaining its 
 original lustre for a number of years. 
 His paintings in the church of the Car- 
 melites, at Antwerp, give a just idea of 
 
 his merit. The subject of one is the 
 Virgin, with the Infant in her arms, at- 
 tended by other figures ; the other is the 
 representation of Christ laid in the Tomb. 
 The composition in both is extremely 
 rich and grand ; the figures are larger 
 than life, and the design and colouring 
 are equally excellent. In the cathedral 
 at Ghent are an Ecce Homo, and a De- 
 scent from the Cross, worthy of Rubens, 
 and it is often taken for his work ; but 
 his most capital performance is the Re- 
 surrection of Lazarus, in the collection of 
 the Elector Palatine. He died at Ant- 
 werp in 1631. 
 
 Janssens (Victor Hoorius). lie 
 was the son of a tailor, and born at Brus- 
 sels in 1664. He had for his master one 
 Volders, under whom he continued seven 
 years. By study and practice he became 
 a good pa'nter, and was received into the 
 service of the Duke of Holstein, with a 
 pension of eight hundred florins. At the 
 end of four years he obtained leave to go 
 to Italy for improvement, and on his 
 arrival at Rome he studied the works of 
 Raffaelle, designed after the antiques, and 
 sketched the beautiful scenes round that 
 city. He also associated with Tempesta 
 a considerable time, and painted the 
 figures in his landscapes. Janssens com- 
 posed historical subjects, both in a small 
 and a large size ; but principally in the 
 former, as they were most in request. He 
 chose Albano for his model, and in that 
 style was not equalled by any of his con- 
 temporaries. During his residence at 
 Rome, which was eleven years, he was 
 continually employed, and could scarcely 
 execute the commissions which he receiv- 
 ed. On his return to Brussels, his per- 
 formances were as much admired as they 
 had been in Italy : but the increase of 
 a large family compelled him to change 
 his manner of painting in small, and to 
 undertake only those of the large kind, 
 as more lucrative, expeditious, and agree- 
 able to his genius and inclination. He 
 adorned most of the churches and palaces 
 in the Netherlands, and his extraordinary 
 readiness of execution appeared in the 
 number of pictures which he finished at 
 Brussels and its vicinity. His invention 
 was fruitful : he designed correctly ; his 
 colouring is natural and pleasing ; his 
 pencil free ; and the airs of his heads 
 have beauty and elegance. His large and 
 small paintings, in correctness and taste, 
 were equal in merit; but the colouring 
 of the former appears more raw and cold 
 
JAR 
 
 278 
 
 JEN 
 
 than that of the latter. In 1718, he was 
 invited to Vienna, when he was made pain- 
 ter to the emperor; and he is said also 
 to have visited England. He died in 
 1739. 
 
 Janssens (Peter). This artist was 
 born at Amsterdam in 1612. He was the 
 pupil of John Van Bronkhorst, and be- 
 came eminent as a painter on glass, in 
 which line he drew his own designs cor- 
 rectly, and executed them in an elegant 
 manner. He died in 1672. 
 
 Jardyn, or Jardin (Karl du). He 
 was born at Amsterdam in 1640, and was 
 the best of all the disciples of Nicholas 
 Berchem ; on leaving whose school he 
 travelled to Italy. At Rome he gave 
 himself up alternately to study and dissi- 
 pation ; and if he spent the day in form- 
 ing his hand and improving his taste, the 
 night was wasted in pleasure and extra- 
 vagance among the joyous companions of 
 the Bentvogel Society, who gave him the 
 name of Barbe de Bouc. Yet amidst this 
 irregularity, his proficiency in the art 
 was surprising, and his paintings rose into 
 such repute that they were bought at great 
 prices, as the Italians preferred his taste 
 to that of every other artist of his country. 
 In his way home he stopped at Lyons, 
 where he had much encouragement. But 
 the profits which arose from his paintings 
 were not proportionable to his profusion, 
 by which means he was so encumbered with 
 debts, that in order to extricate himself 
 from them he married his hostess, who 
 was old and disagreeable, but very rich. 
 Mortified and ashamed at what lie had 
 done, he returned to Amsterdam, accom- 
 panied by his wife ; and there for some 
 time followed his profession with great 
 success, notwithstanding which he again 
 set out for Italy, and died at Venice, soon 
 after his arrival there, in 1678. This pain- 
 ter, in his colouring and touch, resembled 
 Berchem ; but to that manner he added 
 a force which distinguishes the great mas- 
 ters of Italy ; and most of his pictures 
 seem to express the warmth of the sun, 
 and the light of mid-day. His pictures 
 are not much encumbered ; a few figures, 
 some animals, and a little landscape for 
 the backgrounds, generally comprise the 
 whole of his composition. However, some 
 of his subjects are often more extensive, 
 contain more objects, and have a larger 
 design. In all his compositions he show^ed 
 genius and taste, with correctness and 
 spirit ; and his works are so much valued, 
 that they are difficult to be met with. 
 
 He understood the true principles of the 
 chiaro-oscuro extremely well ; and in 
 some scriptural subjects, particularly in 
 a picture of the Crucifixion, he has shown 
 abundance of merit, as well in the light 
 and shadow, as in the clearness of the 
 colouring, and the powerful force and 
 etfect which it produces. A capital paint- 
 ing of Jardyn is at Amsterdam ; the sub- 
 ject is a Mountebank, standing among a 
 crowd of spectators, who are attentively 
 listening to his harangue. All the figures 
 are well designed, grouped with judgment, 
 and handled in a neat and masterly man- 
 ner. Jardyn etched about fifty-two ex- 
 cellent plates of landscapes, figures, and 
 animals. 
 
 Jean (Gherabd de St.). This old 
 Dutch painter was bom at Haerlem in 
 1366, and studied under Albert Ouwater, 
 to whom he proved superior in many 
 respects, particularly in composition. He 
 died in 1394. 
 
 Jean (Philippe). This artist was a 
 native of Jersey, and was bred to the sea 
 in the royal navy ; but at the close of the 
 American war he studied painting, and 
 acquired some distinction by his portraits, 
 both in oil and miniature. He resided 
 some years in Bond-street, and died at 
 the age of forty-seven, in 1802. 
 
 Jeaubat (Stephen). This artist was 
 a native of France, and was admitted into 
 the Academy of Paris in 1743. He painted 
 historical subjects, and conversational 
 pieces of domestic life. He is not to be 
 confounded with Edme Jcaurat, the en- 
 graver, who was the scholar of Picart; 
 but they were related, and the one some- 
 times drew designs for the other. 
 
 Jeffebies (James). He was bom at 
 Maidstone, in Kent, about 1756. He 
 became the scholar of WooUett, the en- 
 graver; but on leaving him he quitted 
 the burin for the pencil, and studied in 
 the Royal Academy, where, in 1773, he 
 gained the gold medal for the best histo- 
 rical composition. Two years afterwards 
 he went to Rome on a pension ; and in 
 1779 returned to England. In 1783 he 
 exhibited a fine picture of the siege of 
 Gibraltar, of which there is an engraving 
 by Woollett. He died in 1784. 
 
 Jenkins (Thomas). He was a native 
 of Devonshire, and studied painting in 
 London under Hudson, after which he 
 went to Rome with Richard Wilson ; but 
 not finding that he had talent suflicient 
 to enable him to attain any eminence in 
 the art, he turned banker and dealer in 
 
p^^^tetiquities. 
 
 JOL 
 
 itiquities. By these means he acquired 
 . considerable fortune; but upon the 
 irruption of the French into Italy, he left 
 Rome, and hastened to England, where 
 he died soon after his arrival in 1798. 
 
 Jervas (Charles). This painter, who 
 is better known by the praises of Pope, 
 who took instructions from him, than for 
 any merits of his own, was a native of 
 Ireland, and studied for a year under 
 Kneller. Norris, the keeper of the pic- 
 tures to King AVilliam and Queen Anne, 
 was the first who essentially served him, 
 by allowing him to study and copy the 
 pictures in the royal collections. At 
 Ilampton-court he made small copies of 
 the cartoons, and those he sold to Dr. 
 Clark of Oxford, who became his patron, 
 and enabled him to visit France and Italy. 
 Pope speaks of him with more enthusiasm 
 than felicity, and perhaps the unhappiest 
 lines in his poems are in the short epistle 
 to Jervas. This artist, though praised 
 by the poet for his drawing, colouring, 
 and composition, was grossly deficient in 
 all those qualities, and even in that most 
 necessary, and perhaps most easy, talent 
 of portrait painting likeness. In general, 
 his pictures are of a light, flimsy kind of 
 fan painting, as large as life. His vanity, 
 inflamed perhaps by the undeserved praise 
 he received from the wits, was ridiculously 
 extravagant. On one occasion, having 
 copied a picture of Titian, he looked alter- 
 nately at the two, and at last exclaimed, 
 " Poor little Tit, how he would stare ! " 
 He affected to be violently in love with 
 Lady Bridgewater; yet, after dispraising 
 the form of her ear, as the only faulty 
 part about her, he ventured to display his 
 own as a complete model of perfection ! 
 When Kneller was told that Jervas had 
 set up a carriage with four horses, " Ah, 
 mine Cot !" said he, " if his horses do 
 not draw better than he does, he will 
 never get to his journey's end!" Jervas 
 died about 1740. 
 
 Johnson (Robert), born in 1770 at 
 Shorley in Northumberland, the painter 
 or designer of many of the admirable little 
 tail-pieces to Bewick's British Birds. He 
 died at Kenmore, Taymouth ,on the 29th 
 October, 1796. 
 
 JoM (Antonio). He was born at Mo- 
 dena in 1700, and when young, became 
 the scholar of Giovanni Paolo Paniti, at 
 Rome. He distinguished himself as an 
 excellent painter of perspective and archi- 
 tecture, particularly for theatres. He 
 died in 1777. 
 
 9 ^ J OR 
 
 Jong (Ludolph e). He was born at 
 Overschie, near Rotterdam, in 1616. His 
 father, who was a shoemaker, intended 
 him for his own trade ; but Ludolph being 
 treated with severity, ran away, and be- 
 came a disci))le of Cornelius Sachtleven. 
 Afterwards he studied under Anthony 
 Palamedes, a portrait painter at Delft, 
 who took so little pains to instruct him 
 that he quitted him and went to Utrecht, 
 where he had John Bylaert for a master, 
 by whose directions he made a good pro- 
 gress, and qualified himself to appear with 
 credit in his profession. On leaving 
 Bylaert, he visited Paris, in hope of meet- 
 ing encouragement, and had the good 
 fortune to find business enough to detain 
 him there seven years. He then retired 
 to Rotterdam, where he obtained much 
 employment, and gained reputation and 
 riches. In the apartment of the artillery 
 company there is a capital picture by 
 him, representing the members of that 
 society ; and in the council hall is another 
 of the burghers. He also frequently 
 painted battles and huntings, in a small 
 size, which pieces are well pencilled and 
 well designed. He died in 1697. 
 
 JoRDAENS (Jacques). This celebrated 
 artist was born at Antwerp in 1594, and 
 was the disciple of Adam Van Oort, but 
 he was indebted to Rubens for the prin- 
 cipal part of his knowledge in painting. 
 He had always a longing desire to see 
 Rome, in order to refine his taste, and 
 acquire the best manner of designing; 
 but was prevented from carrying that 
 project into execution, by an early mar- 
 riage with the daughter of his master, 
 Van Oort ; and he had then no resource 
 but to study and copy the best pictures 
 he could procure of the greatest Italian 
 masters, which he did with indefatigable 
 assiduity. With an observant eye he 
 examined the works of Caravaggio, Paolo 
 Veronese, Bassan, and Titian, particularly 
 the latter, to discover the peculiar excel- 
 lence of each of those masters ; and having 
 a ready genius, he received so much im- 
 provement, that it became evident he only 
 wanted to have seen Rome, to make him 
 equal to the best among the Flemish 
 artists. Sandrart, who is followed by De 
 Piles and other authors, asserts that Ru- 
 bens, jealous of the colouring of Jordaens, 
 and apprehensive of being rivalled in a 
 point wherein his own excellence consisted, 
 employed him to paint for tapestries de- 
 signs in distemper, after his sketches; so 
 that thereby the latter weakened his powers,. 
 
and enfeebled his tints, which before were 
 strongs, and wonderfully natural. But 
 this story is palpably erroneous and unjust, 
 for when Jordaens worked in distemper, 
 he was young, and all those paintings on 
 which his fame is founded, or at least the 
 major part of them, must have been sub- 
 sequenttothetimewhen Rubens employed 
 him, and yet are admired for their beau- 
 tiful, strong, and admirable colouring. 
 Besides, even those worlds of Jordaens, 
 which he finished at a very advanced age, 
 are allowed not to be inferior in colouring 
 to Rubens. It must be acknowledged 
 that, notwithstanding the opportunities 
 he had of refining his taste, by studying 
 the designs of the distinguished masters 
 of Italy, his Flemish style prevailed ; 
 though, could he have been a little more 
 correct in his composition, more elegant 
 in his characters, and more elevated in iiis 
 invention, he niiglit have been i-anked with 
 the most eminent in his art. Rubens him- 
 self, however, was not without several of 
 the same imperfections, although for other 
 parts of painting he is so justly admired. 
 Rubens had a finer imagination, more 
 genius, and much nobler ideas in his 
 characters ; but Jordaens had better ex- 
 pression, and more truth. He painted 
 with extraordinary freedom, ease, and 
 expedition ; there is a brilliancy and har- 
 mony in his colouring, and a good under- 
 standing of the chiaro-oscuro ; his com- 
 position is rich, his expression natural and 
 strong, but his design wanted elegance 
 and taste. He studied and copied nature, 
 yet he neither selected its beauties nor 
 rejected its defects. He knew how to 
 give his figures a good relief, though he 
 is frequently incorrect in the outlines; 
 but his pencil is always excellent; and, 
 for a free and spirited touch, hardly any 
 painter can be accounted his superior. 
 His works are numerous, and abound in 
 the churches of the Netherlands. In that 
 of the Augustines at Antwerp, is a 
 Martyrdom of St. Apollonia; in St. Wal- 
 burg, at Furnes, is Christ and the Doctors; 
 which has been often mistaken for a 
 painting of Rubens. In the Palace of the 
 Wood, near the Hague, is the Triumph 
 of Henry Prince of Nassau ; the gallery 
 at Dusseldorp has the famous picture of 
 the Merrymaking; and in the Orleans 
 Collection were the no less celebrated 
 ones of the Satyr and Man blowing cold 
 and hot ; as also the story of Pan and 
 Syrinx; which, although the figures are 
 fts large, as life, and the whole admirably 
 
 executed, were finished in six days. Jor- 
 daens also etched some spirited pieces, 
 particularly one of Saturn devouring his 
 Children. This excellent artist died at 
 Antwerp in 1678. 
 
 Jordaens (John). This painter was 
 born at Uelft in 1616. He resided many 
 years in Italy, where he was greatly ad- 
 mired for his talents. On his return to 
 Holland, he settled at the Hague, and 
 obtained considerable employment. His 
 style resembled that of Rottenhamer, and 
 he painted historical subjects with un- 
 common facility. He died in 1669. 
 
 JoKDANS (John). He was born at 
 Antwerp in 1539, and had Martin Cleef 
 for his instructor. He painted history, 
 landscapes, village festivals, fires, and 
 moonlight pieces with great success. He 
 died at Delft in 1599. 
 
 JoRis (Augustine). This painter was 
 born at Delft in 1525, and was taught the 
 art of designing by James Mondt, but 
 after three years he went to Paris, and on 
 his return obtained considerable employ- 
 ment for the churches. His principal 
 work is a representation of the Virgin and 
 Child. He was drowned at Delft in 
 1552. There was another artist of this 
 name, and of the same place, who was a 
 good painter on glass. He died in 1537. 
 
 JouE (Jacques la). This French 
 artist was born at Paris in 1687, and died 
 therein 1761. He excelled in architec- 
 tural subjects, and decorations of the 
 theatre. 
 
 JouvENET (Jean). He was born at 
 Rouen in 1644, and his father, Laurent 
 Jouvenet, who was a painter, taught him 
 the first principles of the art; but his 
 greatest improvement was derived from 
 the instructions of Nicolo Poussin, and by 
 studying the works of that master. At 
 the age of twenty-eight, he produced his 
 celebrated picture of Christ Curing the 
 Paralytic, for the church of Notre Dame; 
 and in the hospital of the Invalids he 
 painted the Twelve Apostles, each figure 
 being fourteen feet high. In 1675 he be- 
 came a member of the Academy, on which 
 occasion he painted Esther before Ahas- 
 uerus. About this period he executed 
 four pictures for the church of St. Martin 
 in the Fields, the subjects of which were 
 Mary Magdalen washing our Saviour's 
 Feetf Christ Driving the Money-changers 
 out of the Temple ; theDraught of Fishes; 
 and the Resurrection of Lazarus. But 
 his greatest work is the Taking down from 
 the Cross, in the Capuchin church at 
 
KAL 
 
 281 
 
 KAM 
 
 Paris. lie had a ready invention, a fruit- 
 ful genius, a taste for grandeur in his 
 composition, correctness in his design, 
 and an elegant manner in distributing his 
 draperies. In France his merit is univer- 
 sally allowed ; yet some judges condemn 
 his taste of design as being too much 
 loaded, and his colouring as having too 
 predominant a tint of yellow in the car- 
 nations. This artist, being deprived of 
 the use of his right hand by a paralytic 
 disorder, ever after painted with his left. 
 He died in 1717. Jouvenethad a brother 
 named Francis, who became his scholar, 
 and was a good painter of portraits. He 
 died at Paris, aged eighty, in 1749. 
 
 JuANES (Juan Battista). This artist, 
 who is called the Spanish Raffaelle, was 
 born at Valencia in 1523, and studied at 
 Rome ; after which he settled in his native 
 city, where only his works are to be found, 
 which is much to be regretted, since, ac- 
 cording to the testimony of those who 
 have seen them, and were competent 
 judges of their merit, they deserve a better 
 fate than to be buried in convents. In 
 the sacristy of St. Pedro is a noble picture, 
 the subject of which is the Entombing of 
 Christ ; and in the Augustine monastery i 
 are three fine ones, representing the 
 Nativity ; the Martyrdom of St. Agnes ; 
 and the 13urial of a holy Monk ; but his 
 chief work is the Baptism of Christ, in 
 the cathedral. He died in 1579. 
 
 K. 
 
 Kabel, see Cahel. 
 
 Kagek (Matthew). He was born at 
 Munich in 1566, and when young went 
 to Rome, where he applied to his studies 
 with indefatigable diligence. On his 
 return to Bavaria, the duke appointed him 
 his principal painter, with a pension. At 
 the close of his life, however, he resided 
 at Augsburgh, where he painted the Last 
 Judgment, for the senate-house. He also 
 etched some j)lates from his own designs. 
 He died in 1634. 
 
 Kalf (William). He was born at 
 Amsterdam in 1630: and was the pupil 
 of Hendrick Pot, who painted portrait 
 and history. But though he continued 
 with that master several years, and em- 
 ployed his pencil on the same subjects, he 
 afterwards changed h^s manner, and con- 
 fined himself to objects of still life, in 
 which he succeeded very happily. He 
 
 finished his pictures with a touch that was 
 remarkably neat ; his colouring was true ; 
 and had an uncommon transparence. His 
 usual subjects were vases of gold, silver, 
 or crystal gems, glasses, and agates, which 
 he copied delicately ; and gave them an 
 extraordinary lustre, as well as an agree- 
 able effect, by a proper distribution of his 
 lights and shadows. He died at Amster- 
 dam in 1693. 
 
 Kalraat (Abraham Van). He was 
 born at Dort in 1643, and received the 
 first instructions in drawing from his 
 father, who was a sculptor, on whose 
 death he applied to the painting of flowers 
 and fruits, under Samuel Hulp. His 
 pictures are composed with judgment, and 
 his representations of nature are ex- 
 tremely agreeable. He died in 1699. 
 
 Kalraat (Barent Van). This artist 
 was born at Dort in 1650, and was in- 
 structed first by his brother, Abraham ; 
 but afterwards he studied under Albert 
 Kuyp, whose charming style he followed 
 for some time ; but finding that he had 
 no chance of equalling his master, he 
 changed his manner for that of Herman 
 Sachtleven. His frequent walks along 
 the borders of the Rhine inspired him 
 with a desire to copy that beautiful 
 variety of villages, falls of water, rocks, 
 hills, and trees, which the windings of it 
 perpetually offer to the view ; and though 
 he was not equal to Sachtleven, yet he ap- 
 proached very near to the merit of that 
 painter. Some of his pictures are ex- 
 cellently and highly finished, and his 
 landscapes are adorned with figures and 
 animals well designed, delicately pencilled, 
 and pleasingly coloured. Sometimes he 
 represented in his pictures persons going 
 abroad with dogs to the chase, or tra- 
 vellers at the doors of inns and such 
 subjects ; which are neatly handled and 
 transparently coloured. He died in 1721. 
 
 Kampen (Jacob Van). He was born 
 at Haerlem in ] 658 ; he was styled Lord of 
 Rambroeck, and by some authors he is 
 said to have been a disciple of John Van 
 Bronkhorst, to whose manner of paint- 
 ing he came very near, as well as to that 
 of John Bylaert, so that the particular 
 merits which are ascribed to those masters 
 may with equal justice and propriety be 
 ascribed to him. He travelled through 
 a great part of Italy, where he greatly 
 improved his taste in design and colour- 
 ing. In the historical subjects which 
 he painted, the figures were as large 
 as life, well designed, and well handled. 
 
KAU 
 
 282 
 
 KEI 
 
 with a tone of colour lively and natural. 
 But after some time he relinquished 
 painting for architecture, and several 
 public buildings and palaces were erected 
 by him in Holland and the Netherlands. 
 
 Kappelle (John Vas). This Dutch 
 painter was the scholar of the younger 
 Vandervelde, and imitated his style with 
 considerable success ; though he could 
 never come up to the beauty of his 
 master's performances. He flourished 
 about 1710. 
 
 Kappen (Francis Vander). He was 
 a native of Antwerp, and completed his 
 studies in Italy, where he was much es- 
 teemed as a painter of history. He lived 
 about the year 1660. 
 
 Kauffman (Maria Angelica). This 
 ingenious lady was born in 1742 at Coire, 
 the capital of the Grisons, and was in- 
 structed in the elements of painting by 
 her father, who, observing her genius, 
 conducted her to Milan when she was 
 fourteen years old. From thence she was 
 removed to Rome, where her talents and 
 personal accomplishments rendered her 
 an object of general admiration. In 1764 
 she went to Venice, and the next year 
 accompanied Lady Wentworth, the wife 
 of the British ambassador, to England. 
 In this country, enjoying royal favour, 
 decorated with the honours of the aca- 
 demy, and in full employment, she miglit 
 have enjoyed all that could be wished to 
 render her life happy. Unfortunately, 
 however, she was deceived by the foot- 
 man of a German count, who passed 
 himself off for his master, and married 
 her. The cheat was discovered, and the 
 villain was at last obliged to decamp, 
 after using her very ill, and getting 
 possessionof threehundredpounds. Seven 
 years afterwards, Angelica married Signior 
 Zucchi, an Italian artist; but, notwith- 
 standing this change in her condition, she 
 still went by her maiden name. After 
 having resided seventeen yearsin England, 
 she went to Rome, and died there in 
 1807. Angelica painted poetical subjects 
 in a fascinating manner that was pecu- 
 liarly her own ; and she had the good 
 fortune to meet with an engraver in 
 Bartolozzi, who did ampla justice to her 
 designs. Angelica had a fine taste; she 
 drew well, and coloured sweetly ; but her 
 forms are invariably the same, and the 
 masculine figures differ little from the 
 females, except in dross. She etclied in a 
 spirited style, sometimes after her own 
 designs, and at others after Corregio. 
 
 Kat, or Ket (William). This pain- 
 
 " was born at Breda in 1520, and became 
 the disciple of Lambert Lombard at Liege, 
 at the same time with Francis Floris. 
 His portraits are little inferior to those of 
 Antonio More, and his works in general 
 are carefully finished, sweetly delineated, 
 well pencilled, and clearly and naturally 
 coloured. His copipositions in the his- 
 torical style show skill and judgment ; 
 and though he had not as much fire as 
 Francis Floris, yet his paintings are good, 
 and justly prized. He resided most part 
 of his life at Antwerp, where he became a 
 member of the academy. His death was 
 remarkable. The Duke of Alva sat to 
 him for his portrait ; but whilst at work 
 on the picture, the criminal judge waited 
 on that tyrant to receive his orders respect- 
 ing the fate of the Counts Egmont and 
 Hoorn. The duke, with a terrible 
 austerity of countenance, ordered their 
 immediate execution ; and Kay, who loved 
 the nobility of his country, was so vio- 
 lently affected by the piercing look and 
 peremptory command, that he went home, 
 fell sick, and died through terror and grief. 
 This happened in 1568. One of his most 
 capital performances is the portrait of 
 Cardinal Granville, which is very highly 
 commended, and another, a large design, 
 in which he introduced portraits of the 
 principal magistrates of Antwerp, at full 
 length, and as large as life. It was placed 
 in the town-hall, but was destroyed, with 
 that building, in the fire of 1576. 
 
 Keeble (William). Of this English 
 portrait painter we only know that he 
 was a member of the academy in St. 
 Martin's-lane in 1754. There is a whole- 
 length of Sir Crisp Gascoyne, lord mayor 
 of London, engraved by M'Ardell, after 
 a picture painted by Keeble. 
 
 Keisar (William de). He was born 
 at Antwerp about 1647, and by profession 
 was a jeweller; but having a great incli- 
 nation to painting, devoted all his spare 
 time to the attainment of that art, as well 
 in miniature and enamel as in oil. After 
 painting some pieces for the churches of 
 ins native city, he went to Dunkirk, where 
 he executed a picture for the English 
 nunnery. This procured him an invitation 
 to London, but the Revolution happening 
 soon after, ruined all his prospects. To 
 complete his misery, he had recourse to 
 alchymy, in the chimerical hope of finding 
 the philosopher's stone. He died about 
 1693, leaving a daughter, who painted 
 small portraits in oil, and copied pictures 
 
KER 
 
 283 
 
 with great success. Kei?ar, the father, 
 painted St, Catherine for tlie chapel of 
 the Queen Dowager of Charles II. at 
 Somerset-house. He also drew his own 
 portrait in water-colours. 
 
 Kent (William). This artist was 
 born in Yorkshire in 1685, and put ap- 
 prentice to a coach-painter, but feeling 
 the superiority of his talents, he left his 
 master and came to London. In 1710 
 he was sent, by the munificence of some 
 gentlemen, to Rome, where he studied 
 under Loti, and in the academy gained 
 the prize of the second class. He there 
 became acquainted with Lord Burlington, 
 wlio, on his return to England in 1719, 
 lodged him in his own house, and gave 
 him substantial marks of his friendsliip. 
 By the interest of that nobleman he ob- 
 tained considerable employment, both as 
 a painter of iiistory and portrait. In 
 the latter branch, however, he failed ; his 
 colouring was bad, and his drawing was 
 defective. He designed some of the orna- 
 ments for Gay's Fables, Spenser's Faery 
 Queen, and Pope's Works. In archi- 
 tecture, however, he was more admired, 
 and he is considered as the inventor of 
 modern gardening. By the patronage of 
 the Dukes of Grafton and Newcastle, he 
 was made master- carpenter, architect, 
 and keeper of the pictures to George II., 
 and on the death of Jervas he became 
 painter to the crown. He died at Burling- 
 ton-house in 1748. 
 
 Kercrhove (Joseph Vanden). He 
 was born at Bruges in 16G9, and was 
 the scholar of the younger Quellinus, on 
 leaving whom he went to France, where 
 he found great encouragement, and in a 
 few years returned to his own country with 
 an established reputation. He adhered 
 constantly to the style of his master : his 
 colouring is warm, and his design correct; 
 his composition is generally in a grand 
 taste, and he introduced nothing super- 
 fluous to embellish his subject. He had 
 thoroughly studied perspective, and the 
 backgrounds of his pictures are enriched 
 with architecture. On the ceiling of the 
 town-hall at Ostcnd he painted the Coun- 
 cil of the Gods, in which there is an in- 
 genious and learned disposition of the 
 figures, and a masterly execution. At the 
 Dominican convent at Bruges are fifteen 
 pictures by him, representing the circum- 
 stances of the Passion ; and in the col- 
 legiate church in the same city are four of 
 the Works of Mercy, and a noble pain tin; 
 of the Resurrection. He died in 1724. 
 
 Kessel (John Van). He was born at 
 Antwerp in 1626, and excelled in fruits 
 and flowers, but was likewise eminent for 
 portraits. In this manner he resembled 
 Velvet Breughel, and very nearly equalled 
 him in his landscapes, birds, plants, and 
 flowers. He studied entirely after nature, 
 and faithfully imitated all the beauties 
 which that field brought to his observation. 
 He designed correctly, had a complete 
 knowledge of colour, and finished his pic- 
 tures with taste and elegance. Philip IV., 
 King of Spain, admired the performances 
 of Van Kessel to such a degree, that he 
 purchased as many as he could procure, 
 and at last invited the artist to his court, 
 where he was appointed painter to the 
 queen, on whose death he returned to 
 Antwerp, where he died in 1708. His 
 portraits were painted with a light, free 
 touch, and a tone of colour that very much 
 resembled Vandyck; nor are his works in 
 that style considered in Spain as inferior 
 to those of that great master, either in 
 respect to resemblance, the look, the 
 gracefulness of the attitudes, or the relief 
 of his figures. It was the custom of Van 
 Kessel to make sketches after nature, and 
 studies at the different seasons of the 
 year, when his objects were in full bloom 
 and beauty; some of these he only de- 
 signed, others he coloured, and of some 
 he took models, so that his materials were 
 ready for any work he intended to under- 
 take. 
 
 Kessel (Ferdinand Van). He was 
 the son of John Van Kessel, and was born 
 at Breda in 1660. He was instructed in 
 painting by his father, whose style and 
 manner he ever afterwards followed. 
 John Sobieski, King of Poland, invited 
 him to his court, and ordered a cabinet 
 to be built in his palace, entirely for the 
 reception of his works. The first subjects 
 he designed were the Four Elements, 
 which he painted on copper. Air was re- 
 presented by a boy supported on the wings 
 of an eagle, surrounded by birds; Earth 
 was described by a boy on the back of 
 a lion, and the ground v/as diversified 
 with a variety of plants, fruits, and 
 flowers; Fire was represented by a boy 
 surveying arms, helmets, and corslets, 
 with drums, ensigns, and other imple- 
 ments of war; and Water, by a boy sup- 
 ported on a conch at the edge of the sea, 
 the shore being strewed with corals, 
 shells, and petrifactions, with a number 
 of fishes of various kinds, excellently imi- 
 tated a.^ter nature, and well grouped. 
 
KET 
 
 KET 
 
 But after abundance of pains had been 
 exerted in finishing those paintings, they 
 were consumed by a fire, which destroyed 
 the greatest part of the building. Van 
 Kessel was then employed by his patron 
 to paint those subjects a second time, for 
 which he was gratified with many rich 
 presents, and the order of knighthood. 
 He designed landscapes in an agreeable 
 style, and every plant, fruit, flower, or 
 animal, which he introduced, was well 
 coloured, and well finished. But being 
 deficient in designing figures, tliey were 
 usually inserted by Eykens, Maas, Van 
 Opstal, and Biset ; in return for which he 
 painted in their compositions those objects 
 in which he particularly e.'^celled. At 
 Dusseldorp, in the gallery, are four pic- 
 tures by him, representing the four parts 
 of the world, in which the plants, animals, 
 trees, and flowers, peculiar to each climate, 
 are delicately painted. He died at Breda 
 in 1696. 
 
 Kessel (Nicholas Van). This artist, 
 who was the nephew of Ferdinand Van 
 Kessel, and born at Antwerp in 1684, 
 would probably have been equal to the 
 rest of his family, if he had not given 
 himself up to a dissolute course of life. 
 He adopted the style of David Teniers 
 with great felicity, and approached very 
 near to the excellence of that distinguished 
 artist, so that his pictures were much 
 valued at Paris, where he resided. His 
 subjects were the rustic conversations, 
 feasts, and merry-makings, which he had 
 observed among the peasants of his own 
 country. He designed his figures with 
 admirable freedom and readiness, in the 
 manner of Le Fage ; and through all his 
 compositions there appears every where 
 great spirit and character of nature. 
 Though he inherited a considerable for- 
 tune from his uncle Ferdinand, he dissi- 
 pated the whole in a short time, and at last 
 was reduced to misery. In the latter part 
 of his life he painted portraits, but with 
 no success. He died at Antwerp in 1741. 
 
 Ketel (Cornelius). He was born at 
 Gouda in 1548, and received his first in- 
 structions from his uncle, who was a 
 painter, but took more care to teach his 
 nephew polite literature than to form his 
 hand to the pencil. Afterwards, Cor- 
 nelius was placed with Anthony Block- 
 land at Delft, with whom he continued 
 long enough to qualify him for appearing 
 with credit in his profession, though he 
 studied under his direction only one year. 
 When he quitted Blockland, he went to 
 
 Paris, and was employed at the palace of 
 Fontaiuebleau in conjunction with Jerom 
 Franck, Francis de Mayer, and Denis 
 d'Utrecht, who were surprised to see his 
 proficiency. But those works being dis- 
 continued, and the troubles in Holland 
 subsisting, he came to England, and was 
 much employed in painting portraits, 
 though his genius led to historical sub- 
 jects." He had the honour to paint the 
 portrait of Queen Elizabeth and several 
 of the nobility ; many of his pictures were 
 at full length, well drawn, and with a 
 good expression. In 1581 he went to 
 Amsterdam, where he painted a large 
 picture of the principal officers of the 
 trainbands, among which he introduced 
 his own portrait. The disposition of the 
 figures, and the resemblance of the persons, 
 were remarkably good, and the different 
 stuffs of the draperies were admirably 
 imitated. Sandrart says that Ketel visited 
 Venice and Rome, but returned to Am- 
 sterdam, where he died in 1602, while 
 employed in painting the portrait of the 
 King of Denmark. This artist, at the 
 latter period of his life, distinguished him- 
 self by imitating Ugo da Carpi, in paint- 
 ing with the ends of his fingers instead 
 of brushes. He tried the experiment on 
 his own portrait, and succeeded so well, 
 that he afterwards painted several others 
 in the same manner, which were applauded 
 at that time for their force and strong 
 expression, as well as for the clearness 
 and beauty of their colouring. It is also 
 reported that he worked with the fingers 
 of his left hand as readily as with those of 
 his right. Two subjects of those pictures, 
 which he painted only with the points of 
 his fingers, were Democritus and Hera- 
 cHtus : the former was his own portrait, 
 and was purchased by the Duke de 
 Nemours at a large price; the latter 
 was a portrait of Signor Morosini, a Ve- 
 netian, who had naturally a solemn and 
 gloomy countenance. When asked why 
 he attempted to paint without pencils, he 
 answered, it was only to show that genius 
 can never want tools to work with. He 
 afterwards tried to paint with his toes. 
 Most of his pictures were strongly coloured 
 with a full pencil, and his figures were 
 for the most part as large, or sometimes 
 larger than life. A good whole-length 
 portrait of Sir Christopher Hatton, by 
 him, is in the possession of the Earl of 
 Lichfield. lie also painted for Sir Chris- 
 topher an allegorical piece, of Wisdom 
 overcoming Strength. 
 
I 
 
 KIC 
 
 Kettle (Tii.ly). This English pain- 
 ter was the son of a house painter in Lon- 
 don, and born about 1740. He studied 
 in the Academy of St. Martin's-lane, and 
 also in the Duke of Richmond's gallery. 
 After this he adopted portrait painting, 
 and went to the East Indies. He returned 
 from thence in 1777, but left England 
 again with the intention of travelling 
 overland to the East. Being taken ill at 
 Aleppo, he died there in 1798. 
 
 Keulex (Janssen, or Janson Van). 
 This painter is said to have been born in 
 London, of Dutch parents; and before the 
 arrival of Vandyck he was employed by 
 Charles I., wlio held his paintings in great 
 esteem, which royal favour procured him 
 considerable employment among the prin- 
 cipal nobility. Though Vandyck was 
 superior to him by many degrees, and was 
 also engaged in the same line, yet he and 
 Van Keulen lived together in great friend- 
 ship. Houbraken says that Vandyck, one 
 day observing him to look melancholy, 
 and enquiring the cause of it, was told 
 that he had been exceedingly mortified by 
 a lady whose portrait he was painting, 
 and whose capricious humour rendered her 
 incapable of being pleased. Vandyck, 
 smiling, desired him not to be affected by 
 such treatment, which was generally the 
 result of vanity and folly, and that he 
 ought not to fret himself at the ignorance 
 of his employers; for he himself had often 
 experienced the same behaviour from 
 ladies who sat to him, and that he reaped 
 one great advantage by it, which was, that 
 it taught him the art of patience, though 
 it did not improve him in that of painting. 
 Van Keulen is supposed to have left Eng- 
 land in the great rebellion, for in the 
 town-hall, at the Hague, is a picture by 
 him, representing fourteen of the magis- 
 trates. It is dated 1647, and is in the 
 style of John Van Rovaslyn. He died at 
 the Hague in 1665. 
 
 Kick (Cornelius). He was born at 
 Amsterdam in 1635, and, according to 
 Houbraken, learned design and colouring 
 from his father, who was a portrait pain- 
 ter, though Weyerman says he was a 
 statuary. Cornelius became eminent for 
 painting portraits, as the likeness was re- 
 markably strong, and he finished them 
 very highly ; but when he observed the 
 great demand for subjects of still life, 
 particularly fruits and flowers, and saw 
 the works of De Ileem in prodigious re- 
 quest, he directed his study to that branch 
 of art, and succeeded so well that he 
 
 !3 KIR 
 
 desisted from portraits, and devoted his 
 pencil ever after to the painting of fruit 
 and flowers, his pictures of which sold for 
 considerable prices. As he accustomed 
 himself always to paint after nature, he 
 was so curious that he filled particular 
 beds in his garden with the choicest 
 flowers that could be procured, and planted 
 fruit-trees of the most valuable kinds, that 
 he might possess the most beautiful models 
 of his own. His manner of painting was 
 light and delicate, his touch tender, and 
 his colouring brilliant, showing all the 
 freshness of nature. His favourite flowers 
 were tulips and hyacinths, which he de- 
 signed admirably. He died in 1675, 
 
 KiERiNGs, or KiERiNcx (James). This 
 painter, who is called Alexander by Des- 
 camps, was born at Utrecht in 1590. He 
 excelled in landscapes, which he finished 
 in a manner peculiarly neat; yet he was 
 never capable of designing figures with 
 elegance, for which reason he procured 
 Poelemburg to insert them in most of his 
 pictures, and thereby increased their value. 
 His views and objects were copied from 
 nature, and he finished them with amazing 
 patience, even the bark and the fibres of 
 the trees being distinctly marked, and he 
 had so peculiar a manner of touching 
 the leaves that every species might be 
 readily distinguished. In the reign of 
 Charles I. he came to England, and 
 accompanied that monarch to JScotland, 
 where he drew several views, which were 
 in the royal palaces. Kierings died at 
 Amsterdam in 1646. 
 
 KiLLiGREw (Anne), This lady, the 
 daughter of Dr. Henry Killigrew, master 
 of the Savoy, was born in London in 1659, 
 and became maid of honour to the Duchess 
 of York, whose portrait, as well as that of 
 the Duke, she painted. She also executed 
 some historical subjects and pieces of still 
 life. Besides her skill in the arts, she had 
 a fine taste for poetry, and a volume of 
 her productions was published, with a 
 portrait engraved from a picture of her 
 own painting. She died of the small-pox 
 in 1685, and is now best remembered by 
 the praise of Dryden, in an exquisite ode. 
 
 King (Thomas). This artist was the 
 scholar of Mr. Knapton ; but though pos- 
 sessed of some talents as a painter of por- 
 trait, he disgraced himself by his intempe- 
 rate conduct. He died in 1769. There 
 is an engraving from a picture by him of 
 Matthew Skeggs, a publican, playing 
 upon a broomstick. 
 
 KiRBY (John Joshua). This worthy 
 
person was born at Parham, in Suffolk, in 
 1716, and was bred a house painter, which 
 business he carried on at Ipswich, where 
 he became intimate with Gainsborough ; 
 the contemplation of whose works im- 
 proved his taste, though he had little 
 leisure for its cultivation. One of his 
 favourite studies was perspective, to which 
 he was led by the perusal of Dr. Brook 
 Taylor's book on that subject. In 1754, 
 he read lectures on perspective, at the 
 desire of the Society of Arts ; and about 
 this period he published his work, entitled 
 " Dr. Brook Taylor's Method of Perspec- 
 tive made Easy." He next removed to 
 London, where he obtained the patronage 
 of the Earl of Bute; in consequence of 
 which he was made clerk of the works at 
 Kew, and in 1761 published his Perspec- 
 tive of Architecture, 2 vols, folio. Previous 
 to this he had printed a defence of Dr. 
 Taylor's system from the charge of being 
 a plagiarism from Sirigatti. Mr. Kirby's 
 talents procured him admission into the 
 Royal and Antiquarian Societies, and he 
 was for a short time president of the Society 
 of Artists. He died June 20, 1 7 74, leaving 
 a daughter, who became the wife of Mr. 
 Trimmer, of Brentford, and is well known 
 by her religious works. Mr. Kirby painted 
 landscapes in a correct style ; and his 
 View of the old Kitchen at Glastonbury 
 Abbey was exhibited at Spring Gardens 
 in 1770. 
 
 KiTCHENMAN (John). This English 
 artist painted portraits in miniature and 
 in oil. He was much attached to nautical 
 pursuits, and in 1777 gained the silver cup 
 given by the late Duke of Cumberland to 
 the best navigator on the Thames. He 
 painted four pictures in allusion to his 
 favourite amusement, from which engrav- 
 ings were made by Pouncey. He studied 
 in the Royal Academy, where he drew a 
 good figure ; and he obtained also several 
 premiums from the Society of Arts. His 
 death was occasioned by debauchery in 
 1782. 
 
 Klass (Frederic Christian). This 
 artist was born at Dresden in 1752. He 
 was a pupil of Casanova, and became a 
 member of the Electoral Academy. He 
 painted landscapes, and also engraved 
 several from his own designs. 
 
 Klexghel (John Christian). He was 
 born at Kesseldorff, in Saxony, in 1731, 
 and studied under Dietricsy, whose style 
 he closely imitated. He became a member 
 of the academy at Dresden, and was much 
 admired in his own country for his his- 
 
 torical pictures as well as landscapes. He 
 engraved also in a spirited manner. He 
 was living in 1791. 
 
 Klercic (Henry). This painter was 
 born at Brussels in 1570, and had Martin 
 de Vos for his instructor, whose style he 
 followed. Several of his works are in the 
 churches of his native city, and in the 
 neighbouring parts. The principal are a 
 Crucifixion, v/ith the three Maries and St. 
 John ; a Holy Family ; and the Martyr- 
 dom of St. Andrew. He died in 1629. 
 
 Klocker, or Klockner (David.) He 
 was born at Hamburgh in 1629, and was 
 instructed by George Jacob, a Dutch ar- 
 tist, who painted animals and huntings. 
 The first attempts of Klocker were in 
 portrait; but being invited to the court 
 of Sweden, he found the king so desirous 
 to have some grand historical subjects 
 painted in his palace, that, in order to 
 qualify himself for such an undertaking, 
 he went to study at Venice, where he 
 acquired a bold and strong tone of colour- 
 ing. From thence he travelled to Rome, 
 and studied there for five years, to improve 
 himself in design and composition. On 
 his return to Sweden he was immediately 
 employed at the palace; and his works 
 were beheld with applause. He also 
 painted the portraits of the royal family, 
 and of the greatest part of the nobility, 
 besides many historical and poetical sub- 
 jects. He had great freedom of hand, 
 and observed a strict propriety in his 
 characters. He was fond of introducing 
 a number of figures into his compositions, 
 and his designs were adorned with agree- 
 able landscapes and pieces of ai'chitecture, 
 which he had copied from the vestiges of 
 the antique buildings about Rome. His 
 colouring was excellent, especially in the 
 naked, and liis drawing very correct. He 
 died at Stockholm in 1698. 
 
 Klomp (Albert). This Dutch artist, 
 who flourished about 1680, painted land- 
 scapes with cattle, in the manner of Paul 
 Potter. He coloured indifferently: but his 
 design was extremely correct and lively. 
 
 Knapton (George). He was born in 
 1698, in London, where his father and 
 uncle carried on an extensive trade as 
 booksellers. At an early age he was 
 placed under Jonathan Richardson, and 
 applied himself chiefly to the painting of 
 portraits in crayons. In 1740 he went to 
 Italy, where he wrote an interesting ac- 
 count of the discoveries of Herculaneura. 
 On his return to England he associated 
 with Arthur Pond, in engraving and 
 
KNE 
 
 KNE 
 
 publishing prints from the drawings of 
 eminent masters. In 1765 he became 
 painter to the Dillettanti Society, and 
 afterwards obtained the situation of sur- 
 veyor and keeper of the king's pictures. 
 lie died in 1788. 
 
 KNELLER(SiRGoi>rKEY), This eminent 
 painter was born at Lubeck about 1648. 
 His father was surveyor-general of tlie 
 mines, and inspector of Count Mansfeldt's 
 revenues. At first Godfrey was destined 
 for a military life, and was sent to Leyden, 
 where he applied to mathematics and 
 fortification ; but nature determining him 
 to painting, his father placed him under 
 Bol, at Amsterdam, and he had also some 
 instructions from Rembrandt. He visited 
 Italy in 1672, and remained some time at 
 Venice, where he painted some of the 
 first families, and amongst them, Cardinal 
 Bassadonna. It is probable that he here 
 learned that free, loose style of execution 
 in which he delighted, but by no means 
 excelled ; though his heads exhibit a per- 
 fect mastership of the pencil. In 1674 he 
 came to England, without intending to 
 reside here; but being recommended to 
 Mr, Banks, a Hamburg merchant, he 
 painted him and his family. Mr. Vernon, 
 secretary to the Duke of Monmouth, seeing 
 the pictures, sat to Kneller, and persuaded 
 the duke to do the same. His grace was 
 delighted, and engaged the king his father 
 to have his porti-ait painted by the new 
 artist, at a time when the Duke of York 
 had been promised the king's picture by 
 Lely. Charles, to save trouble, proposed 
 that both artists should paint him at the 
 same time. Lely, as the established painter, 
 chose his light and station. Kneller took 
 the next best he could, and performed his 
 task with so much expedition, that he had 
 nearly finished his piece when Lely's was 
 only dead-coloured. This gained Kneller 
 great credit; and Lely obtained no less 
 honour, for he had the candour to acknow- 
 ledge and admire the abilities of his rival. 
 This success fixed Kneller here ; and the 
 immense number of portraits he executed 
 prove (he stability of his reputation. He 
 was equally encouraged by Charles, James, 
 and William : and had the honour of 
 painting the portraits of ten sovereigns, 
 viz., Charles II., James II. , and his Queen, 
 William and Mary, Anne, George I., 
 Louis XIV., the Czar Peter the Great, 
 and the Emperor Charles VI. a list that 
 Lawrence did not live to rival. His best 
 friend was King William, for whom he 
 painted the beauties of Hampton Court, 
 
 and by whom he was knighted in 1692, 
 and presented with a gold medal and chain 
 wofth 300. In his reign he also painted 
 several of the admirals for Hampton 
 Court, and the Kit-Kat Club. He lived to 
 paint George I., and was made a baronet 
 by him. In 1722, Sir Godfrey was 
 seized with a violent fever, from the im- 
 mediate danger of which he was rescued 
 by Dr. Mead. He languished, however, 
 some time, and died in October 1723. His 
 body lay in state, and was buried at his 
 country-seat at Whitton ; but a monument 
 was erected to him in Westminster Abbey, 
 for which he left 300, and gave parti- 
 cular instructions for the execution of it, 
 by Rysbrack. After the death of Lely, 
 in 1680, Kneller stood at the head of the 
 professors of his art in this country, and 
 that most conspicuously. It is not there- 
 fore surprising that he experienced the 
 encouragement he did. He has left some 
 few good pictures behind him, as proofs 
 of the natural powers he possessed ; but 
 his most sincere admirers, w ho are judges, 
 acknowledge that the far greater portion 
 of those he allowed to pass into the world 
 under his name, are a disgrace to him and 
 his patrons. His picture of the converted 
 Chinese at Windsor he is said to have 
 been most proud of, as justly he might be. 
 It proves that he really knew what was 
 good, and could produce it if he chose. 
 According to his own doctrine, he did as 
 much, and no more than was necessary to 
 pass current among his employers. 
 " History painters," he said, " make the 
 dead live, and don't begin to live till they 
 are dead. I paint the living, and they 
 make me live." There is a singular 
 paucity of imagination in Kneller's pic- 
 tures. He indulged indeed in an ideal 
 drapery for women, instead of the mon- 
 strous dresses they wore at the time ; but 
 his ingenuity does not appear to have 
 assisted his figures much, so that there is 
 a ridiculous mixture of positive formality 
 in the stiff neckcloths and wired skirts of 
 the coats of the men, and of an afifected 
 flow and grace in the loose robes of the 
 women, which consist of nothing more 
 than a chemise thrown open and dis- 
 covering the bosom, and a robe-de-cham- 
 bre loosely drawn over it. All that 
 Kneller can be justly praised for, gene- 
 rally speaking, is, that his heads have a 
 good deal of liveliness and gentility. It 
 seldom amounts to character in the ge- 
 neral run of his portraits. Now and then 
 the master-hand appears, when the subject 
 
KNI 
 
 288 
 
 KOB 
 
 or the moment was favourable. There is 
 at Petworth a head of Sir Isaac Newton, 
 that would be an honour to any man to 
 have produced ; and portraits of branches 
 of the Seymour family, which are a dis- 
 grace to the name they bear. In our 
 days, happily, the weaknesses as well as 
 the merits of Kneller are duly appreciated, 
 and hundreds of his works are consigned 
 to the oblivion he probably wished they 
 might experience. A rapid pencil, and a 
 ready talent of taking likenesses, were the 
 foundation of his reputation ; and a most 
 fortunate ignorance of the art among even 
 the best informed of the public by whom 
 he was employed, aided his progress 
 Not but that he was equal to the pro- 
 duction of good works, if he had been 
 more carefully trained, and had lived 
 amongst those who knew how to value 
 works of art upon just principles ; but he 
 was one of the vainest of mankind, and 
 had no regard whatsoever for that pi 
 humous fame which leads men to sacrifice 
 present enjoyments to future glory. His 
 motto was, " to live while he lived ;" and 
 consequently to make money was a mat- 
 ter of greater moment with him than to 
 make good pictures ; and he succeeded 
 fully ; for although he lost 20,000 by 
 the South Sea speculation, he left at his 
 death an estate of 2000 a year. His 
 prices, whilst he painted here, were fifteen 
 guineas for a head ; twenty if with one 
 hand ; thirty for a half, and sixty for a 
 whole length. Sir Godfrey was a man 
 of wit, not unmixed with profaneness, of 
 which Lord Orford has given some in- 
 stances that might as well have been sup- 
 pressed. The following is of another 
 stamp. In Great Queen-street, Lincoln's- 
 Inn- Fields, he lived next door to Dr. Rat- 
 clifFe. Kneller was fond of flowers, and 
 had a fine collection. As there was great 
 intimacy between him and the physician, 
 he permitted the latter to have a door 
 into his garden; but Ratcliffe's servants 
 gathering and destroying the flowers, 
 Kneller sent him word he must shut up 
 the door. RatcliflFe replied peevishly, 
 " Tell him he may do any thing with it 
 but paint it!" "And I," answered Sir 
 Godfrey, " can take any thing from him 
 but physic." John Zachary Kneller^ the 
 brother of Sir Godfrey, painted architec- 
 ture and objects of still life both in fresco 
 and in oil. He died in London in 1702. 
 
 Knipbebgen, or Ksibekg (N.) Of 
 this Dutch painter of landscapes nothing 
 more is known than that of his being a 
 
 successful imitator of the style and man- 
 ner of Paul Bril. He studied after na- 
 ture, but principally sketched the scenes 
 which he intended for his future subjects 
 among the mountainous parts of Germany 
 and Switzerland. He had an uncommon 
 freedom of hand, and a fine pencil ; the 
 expeditious manner in which he painted 
 the trees, skies, mountains, cascades, and 
 the figures introduced into his composi- 
 tions, was truly surprising ; yet, notwith- 
 standing this quickness in working, every 
 object appeared well finished, and touched 
 with spirit. He wanted elegance in the 
 choice of his subjects, and also in the 
 forms and attitudes of his figures ; his 
 distances are not always well kept, and 
 sometimes his backgrounds appear too 
 encumbered ; but the leafing of his trees 
 is loose, free, and competently bright, 
 though in general somewhat too green ; 
 as also are occasionally his grounds and 
 hills. The clouds in his pictures are re- 
 markably light and floating, and his 
 foregrounds are well broken and agreeably 
 diversified. 
 
 Knupfer (Nicholas). He was born 
 at Leipsic in 1603, and at first was in- 
 structed by Emanuel Nysens, a painter of 
 no great note, with whom he spent two 
 years ; but being treated unkindly by that 
 artist, he quitted him, and went to 
 Utrecht, to procure instruction from Ab- 
 raham Bloemart. That master observing 
 the genius of his pupil, accommodated 
 him in his own house, and took so much 
 pains with him that Knupfer soon became 
 a considerable artist. The King of Den- 
 mark employed him to paint three pic- 
 tures of battles, representing the victories 
 of some of his ancestors ; wliich subjects 
 he executed to the entire satisfaction of 
 his royal patron and the ablest judges. 
 The figures in all his subjects were of a 
 small size, but correct, and designed with 
 nature and truth. Weyerman describes 
 a pastoral picture of a shepherd and shep- 
 herdess, which he saw at the Hague, 
 painted by Knupfer, that was equally 
 admired for the design and expression ; 
 but one of his greatest compositions is an 
 Assembly of the Gods. Knupfer died in 
 1660. 
 
 KoBEEL (Fekdinand). This artist 
 was born at Manheim in 1740. He 
 became landscape painter to the Elector 
 of Bavaria ; and besides his pictures, he 
 etched several plates of the same subjects 
 as his pencil, in a neat style. His son, 
 William Kohell, born at Manheim about 
 
KOE 
 
 1765, was also a good landscape painter 
 and engraver. 
 KocK, see Cock. 
 
 KoEBEKGEK (Wenceseaus). He was 
 born at Antwerp in 1554, and was the 
 disciple of Martin de Vos, under whom he 
 continued several years, and made a pro- 
 portionable progress; but happening to 
 fall in love with the daughter of his mas- 
 ter, and finding it impossible to obtain a 
 suitable return, he determined on a jour- 
 ney to Rome to cure himself of his passion, 
 and by that means shook it off effectually. 
 After studying some time at Rome, he 
 went to Naples, where an intimate friend- 
 ship commenced between him and a 
 Flemish painter called Franco, whose 
 daughter was esteemed one of the most 
 beautiful women at Naples. Koeberger 
 fell in love with her, and succeeded. He 
 now pursued his studies in Italy with un- 
 wearied application, and the merit of his 
 paintings procured him constant employ- 
 ment. His reputation extended to his 
 own country, whither he was solicited to 
 return ; but he was too much pleased with 
 his situation to quit Naples at that time; 
 though some years after he went and 
 settled at Brussels. On his arrival, Duke 
 Albertappointed him hisprincipalpainter, j 
 and regarded him higlily, not only for 
 his professional merit, but for his know- \ 
 ledge in medals. In the church of Notre I 
 Dame at Antwerp, is a composition by j 
 Koeberger, representing the martyrdom 
 of St. Sebastian ; which was originally 
 painted for the confraternity of that saint. . 
 The colouring is fine, the design excellent, 
 the disposition judicious, the taste ele- j 
 gant, and the appearance of the whole ' 
 admirable. Some envious persons, how- I 
 ever, who were mortified at the applauses 
 which the public bestowed on the artist, I 
 cut out two of the heads to deface the ' 
 work, so that the possessors of the picture 
 were constrained to send it to Naples, | 
 where Koeberger then resided, in order 
 to have the damage repaired., lie did so; ; 
 but the inserted heads were not so happily 
 executed as those of the first performance. 
 He was also an eminent architect, and ! 
 was appointed by the archduke superin- ; 
 tendent of the buildings and decorations 
 at the castle of Terveer, near Brussels. 
 He died in 1634. Vandyck painted his I 
 portrait, which is among the number of | 
 his illustrious heads. 
 
 Koene (Isaac). This artist was born 
 at Haerlem in 1650, and studied under 
 Jacob Ruysdael, whose style ho imitated j 
 
 in painting landscapes and falls of water; 
 but the figures were inserted by Barent 
 Gawl. He died at Haerlem in 1713. 
 
 Koenraat ( ). This Dutch 
 
 artist was born at the Hague in 1678, and 
 had Constantine Netscher for his instruc- 
 tor. His subjects were flowers, which he 
 painted with a fine colour, and great 
 resemblance to nature. He died at the 
 Hague in 1747. 
 
 Koerten, or Block (Joanna). This 
 ingenious lady was born at Amsterdam 
 in 1650, and from her youth showed a 
 strong inclination to drawing, painting, 
 and embroidery ; and arrived at an aston- 
 ishing excellence in all. But she princi- 
 pally employed herself in cutting on paper 
 the representation of landscapes, birds, 
 fruits, and flowers, which she executed 
 with incredible exactness and delicacy. 
 The lines with which she expressed her 
 objects, though done with scissors, were 
 as exquisitely nice as those of engraving. 
 In this way she executed all kinds of sub- 
 jects ; but seapieces, animals, architecture, 
 and still life, were her favourite ones; and 
 she also cut portraits on paper, with as 
 striking a resemblanpe as if painted in oil. 
 When the Czar Peter I. was at Amsterdam 
 he paid her a visit; and the Elector Pala- 
 tine offered, for three small pictures of her 
 cutting, a thousand florins, which she 
 refused. At the request of the Empress 
 of Germany, she designed a trophy with 
 the imperial arms, ornamented with 
 laurel crowns, garlands of flowers, and 
 other subjects, which she executed with 
 such correctness of drawing and design, 
 such wonderful tenderness and beauty, as 
 is scarcely to be credited. For this per- 
 formance she received a present of four 
 thousand florins. She also cut the portrait 
 of the Emperor, which is in the imperial 
 cabinet at Vienna. Her maiden name 
 was Koerten, and she became the wife of 
 Adrian Block, the artist. She died in 
 1715. 
 
 KoETs (Roelof). He was born at 
 Zwoll in 1655, and was instructed first by 
 his father, who was a painter, but after- 
 wards he was placed with Gerard Ter- 
 burg, under whom his progress was so 
 rapid that he soon surpassed all his 
 fellow students. The praise bestowed upon 
 him by Terburg excited so much envy, 
 that Koets found it necessary to leave 
 the school at the age of eighteen, after 
 which he made nature his sole guide. 
 Having succeeded in painting the portrait 
 of Count Dalwigh, that nobleman recom- 
 
KOU 
 
 290 
 
 KRA 
 
 mended him to Henry Casimir, stadtholder 
 of Friesland, who received him into his 
 favour. He afterwards painted portraits 
 of King William III., the Earl of Portland 
 and his family, and most of the English 
 and German nobility who attended that 
 monarch at Loo. It is said that he painted 
 five thousand portraits with his own hand, 
 all of which were well finished, and with- 
 out any assistance from olher artists. He 
 had great freedom and readiness; an 
 agreeable choice of attitudes ; agooJ man- 
 ner of designing; and was strictly attentive 
 to nature. He died in 1725. 
 
 KoNiNCK (David de), see Coninck. 
 KoNixGH (Philip dk). He was born 
 at Amsterdam in 1619, and was instructed 
 in the school of Rembrandt, to which 
 academy he did honour by his perform- 
 ances. He painted historical subjects and 
 portraits with great reputation, but ex- 
 celled in the latter branch. His composi- 
 tions were remarkable for the great charac- 
 ter of nature which appeared in them all ; 
 for the choice and variety of the attitudes; 
 and for striking resemblance. The pic- 
 ture of himself, which he painted for the 
 Grand Duke of Tuscany, and which is in 
 the Florentine gallery, is a sufficient evi- 
 dence of his merit. His colouring is clear, 
 and his works have a lively and striking 
 effect: they are not loaded with heavy 
 shadows approaching to blackness; in that 
 respect he was accounted superior to his 
 master, Rembrandt, and to approach in 
 delicacy to Vandyck. He died in 1689. 
 
 KooGEN (Leonard Vander), This 
 artist was born at Haerlem in 1610, and 
 was a disciple of Jacques Jordaens at 
 Antwerp. His contemporary in that 
 school was Cornelius Bega; and such a 
 friendly intimacy arose between them as 
 induced them to study together after 
 nature, and to become emulous to excel 
 each other, which proved very advantage- 
 ous to both. Koogen designed well; and 
 in his touch, penciUing, and manner of 
 colouring, he resembled Bega; but painted 
 in a different size, some of his pictures 
 having the figures as large as life. As he 
 j)Ossessed an affluent fortune, he only 
 painted for his amusement; on which ac- 
 count his works are not numerous, though 
 they are much coveted, and extremely ad- 
 mired. His general subjects were boors 
 drinking, and conversations, painted with 
 great life and expression. He also etched 
 some fine engravings in the manner of 
 Salvator Rosa. He died in 1681. 
 
 KoBWBNBUUGH, or Kauwexburgh 
 
 (Christian Van). This painter was born 
 at Delft in 1604, and was the scholar of 
 John Van Ess: but the taste which he 
 manifested in his paintings was acquired 
 in Italy; where he so far improved him- 
 self by studying after the best models, that 
 he In a great measure shook off his Flemish 
 manner. His subjects were for the most 
 part historical, with figures as large as 
 life, and he particularly excelled in design- 
 ing the naked. His colouring was ex- 
 ceedingly natural, his design correct, and 
 his composition was in a beautiful and 
 grand style. Many fine pictures by his 
 hand are in the royal palaces in the Nether- 
 lands. He died in 1667. 
 
 Kraiie (Lambert). Tliis artist was 
 born at Dusseldorp about 1730, at which 
 city he died in 1790. At the time of his 
 decease he was head inspector of the elec- 
 toral picture gallery. That gallery con- 
 tains several of his productions. He 
 received the rudiments of his pictorial 
 education in Germany, and completed it 
 at Rome, under Subleyras and Benefiali. 
 Krahe was an enthusiastic lover of his 
 art, and an aflFectionate and active friend 
 to young artists of promising talents. 
 
 Krans (George Melchior). He was 
 born at Frankfort in 1727, and studied 
 under Tischbein at Cassel, but afterwards 
 went to Paris, where he became the scholar 
 of Greuze. His talent in painting land- 
 scapes procured him the patronage of the 
 Duke of Saxe- Weimar, for whom he drew 
 several fine views round his capital. He 
 was also a good engraver. 
 
 Krause (Francis). He was born at 
 Augsburg in 1706, where his parents 
 lived in great poverty; but his genius 
 surmounted all difficulties. A gentleman 
 on his travels to Italy took him in his 
 suite, and, on his arrival at Venice, placed 
 him as a disciple with Giovanni Battista 
 Piazetta, under whose direction he studied 
 with indefatigable application, and his 
 improvement was such tiiat, after some 
 time, even his master was deceived by his 
 work, and mistook the paintings of his 
 disciple for his own. On leaving Venice 
 he went to Paris; where he presented to 
 the academy a picture representing the 
 Death of Adonis. The composition might 
 perhaps have succeeded, had not his own 
 vanity too strongly appeared; for, not 
 content with magnifying his own works, 
 he depreciated those of others; which 
 conduct gave disgust, and his application 
 was rejected. He then went to other cities 
 of France, where he found employment, 
 
KUN 
 
 KUY 
 
 particularly for the churches and convents. 
 His most capital perfonnance is in the 
 refectory of the Carthusians at Dijon, of 
 whicli the subject is Mary Magdalen 
 anointing the feet of Christ. After all 
 his labours, finding himself in low circum- 
 stances, he undertook to paint portraits in 
 crayons, which he practised with success. 
 Notwithstanding the vanity of this painter, 
 he possessed considerable talents. His 
 design was good, and he excelled in the 
 extremities of his figures; though his 
 genius was not fertile, his colouring 
 had force and brilliancy; his pencil- 
 ling had great freedom, but was unecjual, 
 sometimes appearing dry, and at others 
 full of spirit. Occasionally he has too 
 great a degree of blackness, by endea- 
 vouring to make his lights more lively 
 and striking; and his colouring appears 
 much changed from its original tint 
 Wlien his paintings were new from the 
 pencil, they had an uncommon and sur- 
 prising lustre; but all that brightness and 
 beauty is succeeded by paleness in one 
 part, and additional darkness in another. 
 At Lyons he painted some pictures for the 
 churches, and died there in 1754. 
 
 Kryxs (Evekard). He was born at 
 the Hague in 1568, and studied under 
 Charles Vanmander, after which he tra- 
 velled to Home, where he greatly improved 
 his style both in design and colouring. 
 He painted history and portrait. He 
 died in Holland in 1627. 
 
 KuiCK (John Van). He was born in 
 1530 at Dort, where he was accounted a 
 fine painter on glass, as well as in oil- 
 colours ; and his composition was allowed 
 to be judicious and masterly. Having 
 given some offence to the Jesuits, they 
 accusx:d him of heresy, and got him im- 
 prisoned. He was kept in irons a long 
 time, though John Van Boudewinze, the 
 chief justice, endeavoured to procure his 
 enlargement; for which Kuick, out of 
 gratitude, painted a picture representing 
 the Judgment of Solomon, in which he 
 designed the portrait of his benefactor as 
 the head of the principal figure. This 
 picture gave new offence to the Jesuits; 
 who contrived means to increase the 
 miseries of his imprisonment, and never 
 ceased their persecution of him, till they 
 extorted against him a final sentence of 
 death, which was immediately executed ; 
 and he was burnt alive in 1572. 
 
 KussT (Cornelius). He was born at 
 Leyden in 1493, and studied the art of 
 painting under his fathei'-in-law, Cor- 
 
 nelius Engelbrechtsen. He excelled in 
 history ; his design was correct, his ex- 
 I pression forcible, and his colouring warm. 
 He died at Leyden in 1544. 
 
 Kltetzki (John). This artist was 
 the son of a weaver at Porsina, in Bo- 
 hemia, and born there in 1667. His 
 fcither compelled him to work at his own 
 trade, contrary to his inclination, on which 
 account he ran away at the age of fifteen, 
 and begged his bread. A nobleman took 
 compassion on him, and gave him an 
 asylum in his castle, where a painter, 
 named Claus,was then employed. Kupetzki 
 observed him attentively, and then began 
 to imitate his work, which excited the 
 astonishment of the artist and the count. 
 The latter, struck with this indication of 
 genius, directed Claus to give him in- 
 struction, and in a short time Kupetzki 
 became his assistant. He accompanied 
 his master to Vienna, and from thence he 
 went to Venice, where he studied under 
 Cavaliere Liberi. He next visited Rome, 
 and obtained the patronage of Prince 
 Stanislaus Sobieski, who enabled him to 
 travel into Lombardy, for the purpose of 
 improving himself by the works of Corregio 
 and the Caracci. At the end of twenty- 
 two years Kupetzki returned to Venice, 
 where he was made painter to the emperor. 
 Afterwards he visited most of the other 
 courts of Germany, and when at Han- 
 over, was invited by George II. to Eng- 
 land, but that honour he declined on 
 account of his age. He died in 1740. In 
 colouring, Kupetzki resembled Rem- 
 brandt, and in drawing the human figure 
 he has been compared to Vandyck. He 
 excelled in portraits, and took uncommon 
 pains in finishing his heads, which he 
 would sometimes have spoiled by this ex- 
 cessive labour, if they had not been taken 
 out of his hands. 
 
 KuYP, or Old Cuyp (Jacob Gekritze). 
 He was born at Dort in 1578, and studied 
 under Abraham Bloemart, by whose in- 
 struction he became an extraordinary 
 good painter of landscape. He sketched 
 after nature the views in the environs of 
 Dort ; always introducing pieces of water, 
 or rivers, with oattle on the banks, and 
 particularly cows . and sheep. He also 
 frequently painted battles ; and the march- 
 ings or encampments of armies. He had 
 a good pencil, a broad and free touch, a 
 sweet and agreeable tone of colouring, an 
 outline generally correct, with great tran: - 
 parence in his water, and good keeping. 
 His memory is held in just esteem at Dorr, 
 
KUY 
 
 for being the founder of the academy of 
 St. Luke, in that city, which he establislied 
 in concurrence with Isaac Van Hasselt, 
 Cornelius Tegelberg, and Jacques Grief, 
 in 1642. He died in 1G49. 
 
 Kuyp, or Cuyp (Albert). lie was 
 the eldest son of the preceding, and was 
 born at Dort in 1606. lie received no 
 instruction but from liis father, though 
 his manner was very different, being 
 abundantly neater, nor was his pencilling 
 so rough and bold. The father principally 
 adhered to one or two species of animals ; 
 but to Albert, oxen, sheep, cows, horses, 
 fruit, landscape, smooth water, or ships 
 and boats, were all equally familiar. He 
 excelled in every thing that he attempted 
 to represent, and painted every object in 
 the same free and natural manner ; always 
 lovely and true in his colouring, as well 
 as clear and transparent. He observed 
 attentively even the particular times of 
 tlie day, to express the various diffusions 
 of light on his objects with all the truth 
 of nature ; and in his pictures, the morn- 
 ing attended with its mists and vapours, 
 the clearer light of noon, and the saffron- 
 coloured tints of the evening, may readily 
 be distinguished. He likewise excelled 
 in moonlight pieces ; some of them being 
 so admirably expressed, that the glittering 
 reflection of the lunar beams on the sur- 
 face of the water appears more like real 
 nature than an imitation of it. But 
 though he painted well every variety of 
 scenery, whether of land or water, he en- 
 chanted most by his winter-pieces. The 
 principal performance of this master is 
 the representation of the cattle- market at 
 Dort, and the square where the troops 
 and soldiers exercise. In that picture he 
 has painted the most beautiful horses that 
 appeared on the parade, so like, that every 
 one of them miglit be as distinctly known 
 in the painting as in their evolutions. His 
 studies were entirely after nature, and 
 most of his landscapes were sketched from 
 scenery in or about the city of Dort. He I 
 left a number of drawings and designs 
 heightened with water-colours, which, i 
 together with his etchings, are much 
 valued as curiosities. He died at Dort in 
 1667. 1 
 
 Kuyp (Benjamin), the younger brother j 
 of Albert, was born at Dort in 1608. He 
 adopted the manner of Rembrandt, and 
 painted small historical pictures, with 
 admirable force of colour, and an excellent 
 management of the chiaro-03ci.ro. 
 
 L. 
 
 Labrador (Juan). This painter was 
 born at Badajoz in 1530, and died at 
 Madrid in 1600. He is said to have been 
 the pupil of Morales, but did not follow 
 his style, choosing rather to jjaint flowers, 
 fruit, and still life. His pictures are 
 mostly in the King of Spain's cabinet, 
 and have been extravagantly euh)gized by 
 Mr. Cumberland. 
 
 LaCalleja(Andresde). This Spanish 
 painter, born at llioja in 1705, was a 
 pupil of Jerome d'E>quera, and studied 
 history-painting with success. To him 
 was intrusted thefinishingfrom thedesigns 
 of Miguel Menendez, the pictures which 
 that artist had begun for the convent of 
 St. Philip el Real. In 1752 he was ap- 
 pointed painter to Ferdinand VI. and 
 Director of the Academy of Fine Arts at 
 Madrid. Subsequently he was nominated 
 director-general of that of St. Ferdinand. 
 The latter part of his life was occupied in 
 repairing the royal collection of paintings ; 
 a task which he performed in a masterly 
 manner. He died at Madrid in 1785. 
 
 Lacour ( ), a French artist, born 
 
 at Bourdeaux in 1746, was a pupil of 
 Vien, and subsequently studied at Rome. 
 On his return to France, he was appointed 
 professor to the Academy of Drawing at 
 his native place, and several eminent 
 painters were formed by his lessons. He 
 employed his pencil on history, landscape, 
 sea-pieces, and familiar scenes, and pro- 
 duced many excellent compositions. He 
 died in 1814. 
 
 Laenen (Christopher Vander). He 
 was born at Antwerp about 1570. He 
 was the disciple of Rubens, and excelled 
 in conversa: ion- pieces, and those of the 
 amorous kind ; but his works are seldom 
 seen out of his own country. He died in 
 1628. 
 
 Laer, or Laar (Peter Van). This 
 eminent artist was born at Laeren, in 
 Holland, in 1613. He obtained in Italy 
 the name of Bamboccio, on account either 
 of the uncommon shape of his body, the 
 lower part being- one-third longer than 
 the upper, and his neck buried between 
 his shoulders ; or, as some conjecture, he 
 might have acquired this name from the 
 branch of painting in which he excelled : 
 his usual subjects were the sports of the 
 populace, and transactions of vulgar life ; 
 harvest homes, drolleries, &c., being by 
 
LAE 
 
 293 
 
 LAG 
 
 tlie Italians comprised under the term 
 Barnhocciate. Supposing the former ac- 
 count correct, he had an ample amends 
 for the unseemlines^s of his limbs, in the 
 superior beauties of a mind endowed with 
 extensive powers of perception and imita- 
 tion. He resided at Rome sixteen years, 
 during whicii he was held in the highest 
 esteem by all ranlcs, as well as by those of 
 his own profession, not only for his abili- 
 ties, but for the amiable qualities of his 
 mind. lie studied nature incessantly, 
 observing with a curious exactness every 
 effect of light at different hours of the 
 day; and whatsoever incident afforded 
 pleasure to his imagination, his memory 
 perfectly retained. His style of painting 
 is sweet and true, and his touch delicate, 
 with great transparency of colouring. 
 His figures are of a small size, well pro- 
 portioned, and correctly designed ; and 
 though his subjects are taken but from 
 the lower kind of nature, such as plun- 
 derings, playing at bowls, inns, far- ! 
 riers' shops, cattle, or conversations, yet i 
 whatever he painted was so excellently 
 designed, so happily executed, and so j 
 highly finished, that his manner v.as 
 adopted by many of the Italian painters, j 
 His w^orks are still vmiversally admired, j 
 and he is justly ranked among the first j 
 class of eminent masters. His hand j 
 was as quick as his imagination, so that 
 he rarely made sketches or designs for 
 any of his works, only marking the subject 
 with a crayon on the canvass, and finishing 
 it without delay. His memory was ama- 
 zing; for whatever objects he saw, if he 
 considered them with an intention to in- 
 sert them in his compositions, the idea of 
 them was so strongly impressed on his mind, 
 that he could represent them with as much 
 truth as if they were then before his eyes. 
 Sandrart observes, that although painters 
 who are accustomed to a small size are 
 frequently inaccurate in the disposition 
 of the different parts of their subjects, 
 seeming content if the whole appears na- 
 tural, yetBamboccio was as minutely exact 
 in having his figures, trees, grounds, and 
 distances, determined with the utmost pre- 
 cision and truth of perspective, as the best 
 masters usually are in pictures of the 
 largest size; which is one circumstance 
 that causes the eye to be so agreeably 
 deluded by his pieces. At the earnest 
 request of his family, he returned to Hol- 
 land in 1639, after which he resided for 
 some time at Amsterdam and Haerlem, 
 where his works were as much admired as 
 
 in Italy, which throws a doubt upon IIou- 
 braken's assertion, that he became jealous 
 of the popularity of Wouvermans. Bam- 
 boccio, however, was a bad manager, and 
 often in distress; and in the latter part of 
 his life he was afflicted with an asthmatic 
 complaint, which became insupportable, 
 and brought on fits of melancholy, during 
 one of which he threw himself into a 
 canal, and was drowned. This happened 
 in 1675. His disciples are not known, 
 except Andrew Both, who imitated his 
 manner. 
 
 Laek, or L^VjVb (Roeland Van). He 
 was the elder brother of the preceding, 
 and was born at Laeren in 1610. He 
 painted in the same style and manner as 
 Peter, being not much inferior to him 
 either in colouring, pencil, or design. He 
 travelled to Italy along with Peter, and they 
 resided together at Rome for several years ; 
 Roeland painting the same subjects, and 
 following his profession with very great 
 success. He left Rome to visit Genoa, 
 perhaps with a view to avoid all competition 
 with his brother; and it is highly probable 
 that he would have made a considerable 
 figureif hehadnot been cut oft'in theprime 
 of his years in that city, in 1640. 
 
 Lagrenee (Louis Joun Francis). He 
 was born at Paris in 1727, and died about 
 1787. He painted historical subjects and 
 ])ortraits, for which he was elected into the 
 Academy of Paris. Besides his paintings, 
 he etched several plates from his own de- 
 signs, and after the pictures of great 
 masters. 
 
 Laguerre (Louis). This painter was 
 born at Paris in 1663, and had Louis XIV. 
 for his godfather ; the father of Laguerre 
 being master of the royal menagerie. At 
 first he was intended for the church; but, 
 on exhibiting some taste in drawing, the 
 king recommended to his parents to bring 
 him up to painting. He accordingly 
 studiedin the school of Le Brun, and in the 
 Academy of Paris; where he made such a 
 progress that, at the age of twenty, became 
 to England, and was employed by Verrio 
 upon the large work at St. Bartholomew's 
 Hospital. After this he obtained consider- 
 able employment on his own account, and 
 painted a great number of ceilings, halls, 
 and staircases, in ihehouscsof the principal 
 nobility. King William gave him lodgings 
 at Hampton Court, where he painted the 
 Labours of Hercules, and repaired the large 
 pictures called the Triumphs of Caesar, by 
 Andrea Mantegna. His talents were not 
 of a cast to demand very high respect, but 
 
LAI 
 
 294 
 
 LAI 
 
 they were fully equal to the mode in which 
 they were employed. Lord Orford says 
 that he was selected, by the commissioners 
 for building St. Paul's, to decorate the 
 cupola of that church, but that he was set 
 aside for Sir James Thornhill. He was 
 employed by Kneller in painting his house | 
 at Whitton, in the execution of Avhich he 
 surpassed his former works. Laguerre j 
 also engraved in a good style, and among \ 
 his performances in this way was a print of j 
 the Judgment of Midas. In a few years j 
 it is probable his name will repose for 
 perpetuity on the records of history, and 
 the unlucky satire of Pope, " Where sprawl 
 the saints of Verrio and Laguerre." He 
 died in 1721, and in a place very seldom 
 disturbed by such an event, viz.. in the 
 theatre of Drury-lane. He had gone there 
 to see the Island Princes acted, for the 
 benefit of his son who was newly entered 
 upon the stage as a singer; but before the 
 play began, he was seized with an apoplexy, 
 and carried away senseless. 
 
 Laguerre (John), the son of the pre- 
 ceding artist, was born in London, and 
 received his instructions in the art from 
 his father; but afterwards quitted the pen- 
 cil for the stage and music. At last he 
 returned to painting, and executed several 
 scenes for the theatre. He also engraved 
 several plates of dramatic subjects. He 
 died in 1748. 
 
 Lairessb (Gerard). Tliis eminent 
 Flemish painter wasborn at Liegein 1640. 
 His father, who was a tolerable painter, 
 put his son first to study the belles-lettres, 
 poetry, and music, to the last of which 
 Gerard dedicated a day in every week ; and 
 after that he was taught to design, being 
 made to copy the best pictures, particularly 
 those of Bertholet Flamael. At the age of 
 fifteen, Gerard began to paint portraits, 
 and some historical pieces for the Electors 
 of Cologne and Brandenburg, which con- 
 tributed to make him known. The ease, 
 however, with which he got his money 
 tempted him to part with it as freely, and 
 run into expenses. He was fond of dress, 
 and making a figure in the world; he had 
 also an ambition to please the ladies, and 
 fancied that the liveliness of his wit would 
 compensate for the deformity of his person . 
 But one of his mistresses, whom he had 
 turned off,having, out of revenge, wounded 
 him dangerously with a knife, he aban- 
 doned gallantry, and married. While at 
 Utrecht, he was seized with a contagious 
 distemper, and his wife lying in at the 
 same time, he was so reduced as to offer a 
 
 picture for sale, which was bought by 
 Vylenburg, a dealer at Amsterdam, who 
 engaged him to go to that city. There 
 the reputation of Lairesse rose so high, 
 that the Hollanders esteem him the best 
 historicalpainter of their country. In his 
 manner he approached the nearest to Ni- 
 cole Poussin, and the old French School. 
 His method of working was very singular; 
 for when his employer placed an easel with 
 a palette and pencils before him, expecting 
 to see him begin to design, Lairesse sat 
 down, and, after meditating for a few 
 minutes, pulled out a violin, and began to 
 play. Then suddenly laying aside the 
 instrument, he sketched a design of the 
 Nativity, and immediately resumed the 
 violin; till having relaxed his mind awhile 
 with music, he pursued his work, painting 
 and playing alternately, and in two hours 
 completed the heads of Mary, Joseph, and 
 the Infant, as also the Ox, and all so well 
 finished as to astonish those who were 
 spectators of the transaction. In his 
 I)ainting he was wonderfully quick and 
 expeditious, having a readiness of pencil 
 that corresponded with the liveliness of 
 his imagination and the sprightliness of 
 his ideas : and his extraordinary power of 
 hand is sufficiently evidenced by the 
 number of his compositions. Of his 
 quickness he also gave a proof, by laying a 
 wager that he would finish in one day a 
 large picture of Apollo and the nine 
 Muses. This wager he won, though he 
 also painted the portrait of a person who 
 stood admiring his work, as the head of the 
 principal figure. He laboured to fix the 
 attention of the spectators on the chief 
 characters in his subject; though other 
 masters have injudiciously neglected that 
 object. All his paintings are, however, 
 by no means equal, either in composition, 
 correctness, or invention. Perhaps that 
 inequality of merit might have been partly 
 occasioned by the languor of his spirits at 
 particular times, and partly by the multi- 
 plicity of his undertakings; but in all his 
 pictures there are appearances of genius. 
 His expression is generally lively, his co- 
 louring good, and a light, firm touch gives 
 a beauty to every thing he painted. In 
 tiis draperies may be observed the taste of 
 the best masters of Italy ; they are light, 
 broad, simple, and in very natural folds ; 
 but those of his women were of silks that 
 admitted of different reflections of light, 
 and sometimes gave them a look of rich- 
 ness, as in his picture of Stratonice. His 
 figures usually were well turned, though 
 
LAM 
 
 295 
 
 LAN 
 
 sometimes rather too short, and frequently 
 theatrical. He had the unhappiness to 
 lose his sight several years before he died ; 
 but even then he was constantly attended 
 by the artists and lovers of painting, to 
 receive instruction from him, of which he 
 was remarkably communicative. The 
 treatises on design and colouring which 
 pass under his name, were only collected 
 from his observations, and published after 
 his death by the Society of Artists. When- 
 ever the backgrounds of his pictures 
 required architecture, he designed it in as 
 grand a style as if the ruins of Athens or 
 Rome had been his models. His most 
 ciipital performances are the History of 
 Heliodorus, at Amsterdam ; Moses tramp- 
 ling on the Crown of Pharaoh ; Polyxena ; 
 Germanicus ; and Antony and Cleopatra. 
 He died at Amsterdam in IVIL Lairesse 
 is also known as an engraver, having pro- 
 duced several plates, executed in a bold 
 and masterly style. He had two sons who 
 were painters, .dira^am, who died in 1739, 
 and JoAn, who died in 1728 ; but neither of 
 them rose to any degree of eminence. 
 
 Laikesse (Ernest). He was the brother 
 of Gerard, and was born at Liege about 
 1635. After receiving the elementary 
 principles of the art from his father, he 
 went to Rome at the expense of the Prince 
 of Liege, who on his return took him into 
 his service, in which he continued all his 
 life. He excelled in painting animals and 
 huntings. He died in 1675. There were 
 two other brothers of this family, John and 
 James: the former painted animals, and 
 the latter flowers. 
 
 Lai^lemant (Philippe). This French 
 artist was born at Ilheims in 1629. He 
 painted history with some reputation, and 
 died at Paris in 1716. 
 
 L,\ma (GrovANNi Behnardo). He was 
 born at Naples in 1508, and was instructed 
 by his father, Matteo Lama; but after- 
 wards he became the scholar of Giovanni 
 Antonio Amato, and in 1527 he profited 
 by tlie instructions of Polidoro da Cara- 
 vaggio, who then came for refuge to 
 Naples. In tlie church of St. Marcellino 
 is a picture by him of the Transfiguration ; 
 in that of St. Lorenzo another fine one of 
 the Martyrdom of St. Stephen ; and in 
 St. Giacomo is a Descent from the Cross ; 
 which last has been taken for the work of 
 Polidoro. He died in 1579. 
 
 Lama (Giovanni Battista). Another 
 Neapolitan artist, who was born in 1650. 
 He studied under Luca Giordano, and ex- 
 celled in painting mythological subjects 
 
 of a small size. His style was elegant, 
 and his colouring harmonious. 
 
 Lambert (George). This English 
 artist was born about 1710, and became 
 the scholar of a painter named Hassell, 
 but afterwards he imitated the style of 
 Wootton, to whom he was much superior. 
 He painted landscapes in the manner of 
 Gaspar Poussin ; but chiefly excelled in 
 decorations for the theatre. He and 
 Samuel Scott painted six large views of 
 our eastern settlements for the India-house ; 
 but one of the most capital works of Lam- 
 bert is a landscape, at the Foundling Hos- 
 pital. He died in 1765. Several of his 
 landscapes have been engraved, and he 
 also etched one in an upright form, of 
 ruins with figures. He was the founder 
 of the Beef- Steak Club. 
 
 Lamberti (Bonaventura). He was 
 born at Carpi about 1651, and died in 
 1721. He had Carlo Cignani for his in- 
 structor, and painted some pictures for 
 the church of St. Peter at Rome, which 
 have been executed in mosaic. One of 
 his finest works is St. Francis raising a 
 Dead Child. 
 
 Lawbertixi (Michele). a native of 
 Bologna, who flourished about 1450. He 
 painted a picture in the hall of the Fish 
 Market at Bologna, which was remarkable 
 for its suavity and delicacy of colouring. 
 
 Lami (Charles). This French painter 
 of history was born at Montagne-au- 
 Perche in 1679, and died at Paris in 1733. 
 His talents were of an inferior descrip- 
 tion. 
 
 Laminots (Simon). Another French 
 artist, who was born at Noyon in 1620, 
 and died at Urigny in 1683. He excelled 
 in painting battles. 
 
 Lana (Lodovico). He was born in the 
 duchy of Modena in 1597, and received 
 his education at Ferrara, under Ippolito 
 Scarsellino. One of his finest works is a 
 picture representing the deliverance of the 
 city of Modena from the plague, in the 
 church del Voto. It is admirably designed, 
 and strongly coloured. Lana united much 
 of the taste of Guercino with the powerful 
 manner of Tintoretto. He died in 1646. 
 
 Lance (Michel). This French artist 
 was born at Rouen in 1613, and died at 
 Paris in 1661. His talent lay in the re- 
 presentation of flowers, fruits, and animals. 
 
 Lanchares (Antonio de). This artist 
 was born at Madrid in 1586, and studied 
 under Eugenio Caxes. In a convent of 
 his native city is a noble picture by him, 
 of the Virgin surrounded by Angels; and 
 
in the church of La Santa Cortesa da Paula 
 are an Ascension, and the Descent of the 
 Holy Ghost. He died in 1658. 
 
 Lanconello (Cristoforo). He was 
 born at Faenza, and lived about the year 
 1588. From his manner it is conjectured 
 that he was the scholar of Federigo Baro- 
 ccio. In the Palazzo Ercolano at Bologna 
 is a Madonna by him, in which the ex- 
 pression is admirably delicate, and the 
 colouring rich and harmonious. 
 
 Lancret (Nicholas). He was born at 
 Paris in 1690, and was successively the 
 scholar of Claude Gillot and Anthony 
 Watteau. Under the latter he made an 
 extraordinary progress ; and so well imi- 
 tated the style and manner of his master, 
 that some of his works are frequently taken 
 for the genuine paintings of Watteau. 
 But though it cannot be truly said that 
 he arrived at the excellence of his master, 
 either in the spirit and delicacy of design, ' 
 or the beauty of his colouring and hand- 
 ling, yet his paintings are lively and 
 agreeable. He finished a great number 
 of pictures; all exhibiting great truth and 
 nature; good composition and execution; 
 groups of figures well disposed, and agree- 
 ably turned ; and the whole handled with 
 a light pencil. He was a member of the 
 Academy of Paris, and died there in 1743. 
 
 Lancrixck (Prosper Henry). This 
 artist was born about 1628. His father, 
 a soldier of fortune, came into the Nether- 
 lands ; and that country being then em- 
 broiled in war, he procured a colonel's 
 commission, which he enjoyed but a few 
 years, dying a natural death at Antwerp. 
 His widow so managed her small fortune 
 as to maintain herself suitably to her hus- 
 band's quality, and gave her son a liberal 
 education, designing him for the church ; 
 but on disco .ering his turn for painting, 
 she placed him with an artist, from whom 
 he learned the rudiments; but his chief 
 instruction was derived from the Academy 
 of Antwerp. His advances in the science 
 were great, especially in landscape, in 
 which he had the advantage of Mr. Van 
 Lyan's collection, where, as his favourite 
 models, he selected Titian and Salvator 
 Rosa. On the death of his mother he 
 came to England, and met with a recep- 
 tion suitable to his merit. Sir Edward 
 Spragge recommended him to several 
 persons of quality, among whom was Sir 
 William Williams ; whose house being 
 not long after burnt, there are but very 
 few of Lancrinck's pieces remaining, he 
 .having bestowed the greatest part of his 
 
 time while in England in that gentleman's 
 employ. He was also much courted by 
 Lely, who employed him in painting the 
 grounds, landscapes, flowers, ornaments, 
 and sometimes the draperies of his prin- 
 cipal pictures. Lancrinck's performances 
 in landscape were admired for invention, 
 harmony, colouring, and warmth, and he 
 was particularly successful in his skies. 
 Besides the specimens in the possession 
 of Mr. Henley, and Mr. Austen, the 
 father of which last was his great friend 
 and patron, he painted a ceiling at the 
 house of Mr. Lent, at Corsham, in Wilt- 
 shire, which was much admired. He 
 practised also drawing after the life, and 
 succeeded well in small figures, which 
 were a great ornament to his landscapes. 
 Lancrinck died in 1692, leaving a well 
 chosen collection of pictures, drawings, 
 prints, antique heads, and models, most of 
 which he brought from abroad. 
 
 Landon (C. p.), a French artist, died 
 in 1826. He painted several pictures of 
 merit ; but is much better known to the 
 world as the projector and editor of the 
 Annales du Musee, et de VEcole Moderne 
 des Beaux Arts, in 34 vols. 8vo. ; Vies et 
 (Euvres des Peintres les plus celehres, 22 
 vols. 4to.; Galerie Historique des Hommes 
 les plus celebres, 13 vols. 12 mo. ; and 
 other works of the same kind. 
 
 liANDRiANi (Paolo Camillo). He 
 was a native of Milan, and studied under 
 Ottavio Sanini, by whose instructions he 
 became a considerable artist in historical 
 composition. He painted several altar- 
 pieces for the churches of his native city, 
 particularly a Crucifixion, and a Nativitj-. 
 He died in 1619. 
 
 Landulfo (Pompeo). This painter 
 was born at Naples, and died there in 
 1590, aged seventy-five. He had Gio- 
 vanni Bernardo Lama for his instructor, 
 and made so great a progress, that in his 
 youth he was employed to paint an altar- 
 piece for the church of St. Matteo. The 
 subject of this picture is the Virgin and 
 Child, surrounded with a glory, and wor- 
 shipping angels. He afterwards painted 
 a noble piece of the Holy Family for the 
 church of La Pieta. 
 
 Lanfbanco (Giovanxi). This emi- 
 nent painter was born at Parma in 1581. 
 His parents being poor, carried him to 
 Piacenza, to enter him into the service of 
 the Count Orazio Scotto. While there, 
 he was always drawing with coal upon 
 the walls, paper being too small for him 
 to scrawl his ideas on. The count, ob^ 
 
LAN 
 
 LAN 
 
 serving his disposition, placed him under 
 Agostino Caracci ; after whose death he 
 went to Rome, and became the scholar of 
 Annibale, who set him to work in the 
 church of St. Jago, and the Farnesean 
 palace; in which Lanfranco has left it 
 doubtful whether the work be his or that 
 of his master. His genius led him to 
 grand compositions, in fresco as well as 
 in oil, as appeared by his performances, 
 especially the cupola of St. Andrea della 
 Valle, where are figures of above twenty 
 feet in height, which have a noble effect. 
 The subject is a representation of the 
 saints in glory; and he aimed in it at an 
 imitation of the grace of Corregio, but 
 never could arrive at that excellence ; his 
 greatest power consisting in his composi- 
 tion and foreshortening, forhe was deficient 
 in correctness, and his colouring was fre- 
 quently too dark. His figures are well 
 grouped, and his draperies have an un- 
 common elegance : but though his taste 
 of design, in imitation of his master, is 
 always grand, yet he could not preserve 
 the same correctness ; nor is his colouring, 
 or the tint of his carnations, comparable 
 to those of Annibale, his shadows fre- 
 quently assimilating to the style of Cara- 
 vaggio. Though not well skilled in th( 
 management of the chiaro-oscuro, he 
 sometimes practised it, rather from the 
 felicity of his genius, than from any know- 
 ledge of the art. However, he had abun- 
 dant merit in his profession, and his best 
 works will always support their great and 
 deserved reputation. Pope Urban VIH. 
 employed him to paint in the church of 
 St. Peter at Rome, the representation of 
 that saint walking on the water, in which 
 he gave the pope so much satisfaction that 
 he conferred on him the honour of knight- 
 hood. One of the best pictures of Lan- 
 franco is in the church of St. Anne at 
 Naples. It represents the Virgin and 
 Child, with St. L)ominic,and St. Januarius. 
 The composition is fine, the colouring 
 admirable, the effect beautiful and bril- 
 liant, and the head of the Virgin is in a 
 grand style, and with a character full of 
 majesty and dignity. In the same city, 
 in the Palazzo della Torre, is another fine 
 picture by him ; the subject of which is 
 St. Francis dying, attended by angels, 
 who are assisting and comforting him in 
 his last moments ; the figures are as large 
 as life. Some of the heads of the angels 
 are in the taste and style of Domenichino, 
 the colouring is strong, the manner of 
 design grand, and the head of the expiring 
 
 saint is particularly sweet and amiable. 
 He joined with Sisto Badalocchi in etch- 
 ing the histories of the Bible, after Raf- 
 faelle's paintings in the Vatican ; which 
 work Lanfranco dedicated to Annibale 
 Caracci. Lanfranco was happy in his 
 family : his wife brought him several 
 children, who, being grown up, and de- 
 lighting in poetry and music, made a sort 
 of Parnassus in his house. His eldest 
 daughter sang finely, and played well on 
 several instruments. He died in 1647. 
 
 Langetti (Giovanni Battista). He 
 was born at Genoa in 1635, and had for 
 his masters, successively, Pietro da Cor- 
 tona, and Giovanni Battista Cassana. He 
 excelled in painting the heads of old men, 
 particularly hermits and philosophers. 
 There is, however, a good picture of the 
 Crucifixion by his hand in the church of 
 St. Teresa at Genoa. He died at Venice 
 in 1676. 
 
 Laniere (Nicholas). This artist, of 
 various talents, was born in Italy, and 
 appears to have come over to England in 
 the time of James I. He had a great 
 share in the purchases of pictures made 
 for the royal collection. He drew for 
 Charles I. a picture of Mary, Christ, and 
 Joseph ; and liis own portrait, done by 
 himself, with a palette and pencils in his 
 hand, and musical notes on a scrap of 
 paper, is in the music- school at Oxford. 
 He also employed himself in etching ; but, 
 alter all, his fame was most considerable 
 as a musician. Laniere died at the age 
 of seventy-eight, and was buried in St. 
 Martin's in the Fields, November 4, 1646. 
 Lanisi (Bernardino). He was born 
 at Vercelli about 1522, and studied under 
 Gaudenzio Ferrari, of whose manner he 
 became a successful and exact imitator, 
 so that a work of his in one of the churches 
 at Milan was often taken for the perform- 
 ance of his master. He afterwards adopted 
 a more independent style, and in a picture 
 of St. Catherine came near to Titian. At 
 Novara he painted some subjects of the 
 life of the Virgin, in which he introduced 
 the Sybils with great effect. In some of 
 his works it appears that he was emulous 
 of ri vailing I^onardo da Vinci, particularly 
 in a picture of the Flagellation of our 
 Saviour. He died about 1578. Lanini 
 had two brothers, named Gaudenzio and 
 Girolamo^ who imitated his manner, but 
 in a very unequal degree. 
 
 Lanzano (Andrea). He was born at 
 Milan about 1645, and was the di-ciple 
 of Lodovico Scaramuccia; on leaving 
 
LAR 
 
 LAS 
 
 whom he entered the school of Carlo 
 Maratti, by whose instructions he became 
 a painter of distinguished note; and was 
 much esteemed for the goodness of his 
 composition and design, for the beauty of 
 his colouring, and for the grace and dig- 
 nity of his figures. He afterwards quitted 
 the manner of Maratti for that of Lan- 
 franco. His principal work is a picture 
 of St. Carlo Borroraeo. He died in 1712. 
 
 Lapis (Gaetano). He was born at 
 Cagli, in the Ecclesiastical State, in 1704, 
 and had Sebastian Conca for his instructor. 
 In the Borghese palace at Rome is a fine 
 picture by him of the Birth of Venus. 
 He died in 1776. 
 
 Lappoli (Giovanni Antonio). He 
 was born at Arezzo in 1492, and studied 
 successively under Domenico Pecori and 
 Pontormio. At Rome he became intimate 
 with Perino del Vaga, and obtained the 
 patronage of Pope Clement VH. ; but 
 when that city was sacked in 1527, he 
 fled to his native place, where he died in 
 1552. Most of his paintings are in the 
 churches of Arezzo. 
 
 Lakgilliere (Nicholas de). He was 
 born at Paris in 1656, and at first was 
 intended for a commercial business by his 
 father, who settled at Antwerp as a mer- 
 chant ; but, on discovering a genius for 
 painting, he was placed with Francis 
 Gobeau, an artist of some note. Although 
 taught in thatschoolto paintfruits, flowers, 
 fish, landscapes, animals, and subjects of 
 low life, in the manner of Bamboccio and 
 Jan Miel, he had more elevated ideas, and 
 applied himself to the historical style and 
 portraits. In the reigu of Charles II. he 
 visited London, where he gained the 
 friendship of Sir Peter Lely, and became 
 known to the king, for whom he painted 
 several pictures. At his return to Paris, 
 Vandcr Meulen and Le Brun having seen 
 some of his performances, encouraged him 
 to continue there, and by their recommen- 
 dation Louis XIV. sat to him for his 
 portrait, as also did James II. and his 
 queen, Maria d'Este. His reputation was 
 now established, and he became a member 
 of the Academy of Paris. He had a good 
 genius, composed well, was correct in his 
 design, and distributed his draperies judi- 
 ciously ; his principal excellence, however, 
 consisted in his colouring, particularly in 
 his portraits, of which the heads and hands 
 were remarkably well executed, with a 
 light and spirited pencil. His tint was 
 clear and fresh, and by his manner of lay- 
 ing on his colours, without breaking or 
 
 torturing them, they have long retained 
 their original freshness and beauty. His 
 most capital historical work is the Cruci- 
 fixion of Christ, in the church of St. 
 Genevieve at Paris. He was appointed 
 director of the academy as a public 
 acknowledgement of his merit ; in which 
 station he preserved that esteem which his 
 talents had so justly procured him. He 
 died in 1746. 
 
 Laroon (Marcellcs). He was born 
 at the Hague in 1653, and was instructed 
 in painting by his father, whom he accom- 
 panied to England; where he was placed 
 with La Zoon, a portrait painter, and after- 
 wards with Flechiere: yet his real im- 
 provement was derived from his own 
 assiduity. When he began to work for 
 himself, as he had di ligently studied nature, 
 he copied it closely, so that his manner 
 was entirely his own. He drew correctly, 
 and painted drapery far superior to any 
 of his contemporaries; on which account 
 he was employed by Kneller to clothe his 
 portraits. The greatest merit of Laroon 
 consisted in his being able to imitate the 
 different styles of eminent masters. Oneof 
 his principal performances in this way was 
 an imitation of Bassan, in the Houghton 
 collection. Laroon also painted conversa- 
 tion's, in a large as well as in a small size. 
 His etchings are in the manner of Ostade. 
 He died in London in 1705. 
 
 Larraga (Apollinario). This artist 
 was born at Valencia in Spain, and be- 
 came a faithful imitator of Pedro Orrente. 
 Most of his pictures are confined to the 
 churches and convents of his native city, 
 where they are much valued. He died 
 in 1728. 
 
 Lastman (Peter). He was born at 
 Haerlem in 1581, and had Cornelius 
 Cornelisz for his master; after which he 
 travelled to Italy, and improved himself 
 in taste of design and handling. His 
 manner of composing was with a number 
 of figures, which he grouped with pro- 
 priety, and often disposed judiciously. 
 His naked figures are usually well de- 
 signed, his draperies flowing and full, and 
 his colouring strong ; but all his studies 
 from the antique, or the great masters, 
 could not divest him of his national taste, 
 or give him grace or elegance. One of 
 his most capital paintings is a picture of 
 St. Paul at Lystra, in which the characters 
 are well distinguished, particularly the 
 priests, who have an air of solemnity and 
 dignity. He was exact in observing cos- 
 tume, not only in the draperies of his 
 
LAU 
 
 299 
 
 LAU 
 
 figures, but even in the vases and instru- 
 ments used by the ancients in their sacri- 
 fices. He was tlie master of Rembrandt, 
 as well as of other considerable painters. 
 Lastman etched some prints, which are 
 very scarce. He died at Haerlem in 1649 ; 
 leaving a son, named Nicholas, who be- 
 came an engraver. 
 
 Latour (Maukice Quentix de). This 
 artist was born at St. Quentin in 1705. 
 His active genius displayed itself at an 
 early period, and the margins of his school- 
 books were embellished v.ith the effusions 
 of his juvenile fancy. Frequent floggings 
 rewarded the striking caricatures of the 
 pedagogue, which appeared in various 
 places. On leaving school his father suf- 
 fered him to follow the bent of his inclina- 
 tion, and he was placed with a master to 
 learn the art of painting. His first ap- 
 pearance, after leaving his preceptor, was 
 at Cambray, where he painted the portrait 
 of the English ambassador, who took him 
 to London, and procured him considerable 
 employment. On his return to France, 
 he left ofl" painting in oil for crayons, 
 which method he greatly improved. At 
 the age of thirty-three he was admitted 
 into the Academy of Paris, and he rose 
 into high favour with Louis XV., who 
 was amused by his wit, as well as gratified 
 by his productions. M. de Latour painted 
 the portraits of all the royal family, and 
 such was his modesty that he twice re- 
 fused the Order of St. Michael. He 
 founded an annual prize in the Parisian 
 Academy for the best piece of linear and 
 aerial perspective, and another at Amiens 
 for the most useful discovery in the arts. 
 He also endowed two establishments for 
 the 'support of indigent children; and at 
 St. Quentin he founded a free school for 
 drawing. He died there in 1788. 
 
 Lavesque (Jacob). He was born at 
 Dort in 1624, and studied in the school 
 of Rembrandt; yet he did not adhere to 
 the manner of that great master, but 
 chose to imitate that of John de Baan. 
 While with Rembrandt, he painted one 
 picture, which, in the pencilling and 
 colouring, so strongly resembled the work 
 of that great art'st, that it might have 
 been readily mistaken for his performance. 
 Tills picture Lavesque always kept tena- 
 ciously, as a proof of his ability in his 
 profession, and yet endeavoured to imitate 
 an artist who was greatly inferior to Rem- 
 brandt. His talent lay wholly in portrait. 
 nediedinl674. 
 
 Lauka, or Lalri (R.vltiiasak). This 
 
 painter was born at Antwerp about 1/570. 
 At an early age he went to Rome, where 
 he became the scholar of Paul Bril, by 
 whose instructions and his own genius he 
 became a good painter of landscapes. 
 
 Lauka (Francesco). He was the son 
 of the preceding, and was born at Rome 
 in 1610. He studied under Andrea Sac- 
 chi, on leaving whom he travelled over 
 Italy and Germany for improvement ; but 
 after giving promising hopes of shining 
 in his profession as an historical painter, 
 he died prematurely in 1635. 
 
 Laura, or Lauri (Fieippo). He was 
 the younger son of Balthasar Lauri, and 
 was born at Rome in 1623. From his 
 father he learned the rudiments of his 
 art, but afterwards studied under Angelo 
 Caroselli, who was his brother-in-law; 
 and proved in a short time so great a pro- 
 ficient, that he far surpassed his instructor 
 in design, colouring, and taste. He ap- 
 plied to historical subjects in a small size, 
 of which he enriched the backgrounds 
 with landscapes. But though he mostly 
 delighted to paint in small, he finishedseve- 
 ral grand compositions for the churches, 
 particularly one of Adam and Eve in 
 paradise. He designed well, and had 
 considerable grace in iiis compositions. 
 The style of his landscapes is always 
 pleasing ; and though they have not all 
 equal merit, some of them being a little 
 too strong, and some too faint, yet they 
 have in general a lively freshness. He 
 had a fertile invention, and an accurate 
 judgment; his usual subjects were histo- 
 ries, fables taken from Ovid, bacchanals, 
 and landscapes, with delicate figures, all 
 painted in a small size ; and his works 
 are now extremely valued for correctness 
 of outline, for the delicacy of his touch, 
 and for that spirit which enlivened all his 
 compositions. He died in 1694. 
 
 Laurati (Pietro). He was born at 
 Sienna in 1282, and had Pietro Bartolo- 
 meo Bologhini for his instructor, under 
 whom he became one of the best painters 
 in fresco of his age, particularly in. the 
 forms of his figures. He died at Sienna 
 in 1340. 
 
 Lauretti (Tommaso). This painter, 
 who, from his native island was called 
 11 Siciliann, was born at Palermo. He 
 had Sebastiano del Piombo for his in- 
 structor; after which he went first to 
 Bologna, and next to Rome; in which last 
 city he became the second president of 
 the academy of St. Luke, and died there 
 at the age of eighty, about 1610. His 
 
LAW 
 
 LAW 
 
 principal works at Bologna are, the Mar- 
 tyrdom of the Saints Vitale and Agrico ; 
 a Resurrection; and the Coronation of 
 the Virgin. At Rome he painted in fresco 
 the saloon in the Oampidoglio, and the 
 history of Brutus. 
 
 Lauri, or Lauriek (Peter). He was 
 a Frenchman by birth, but lived chiefly 
 at Bologna, where he studied under Guido. 
 He painted numerous pictures, mostly for 
 the churches of Bologna ; and two of his 
 best performances are the Virgin present- 
 ing the Child to St. Felice ; and the re- 
 presentation of St. Anthony of Padua. 
 
 Lauko (Giacomo). He was born at 
 Venice, and became the scholar of Paolo 
 Veronese; after which he went to Trevigi, 
 where he died very young in 1605. In 
 the Dominican church of Trevigi is a fine 
 picture by him, representing St. Roche 
 interceding for the sick of the plague. 
 
 Lawrence (Sir Thomas), takes rank 
 next to Reynolds in the numerous band 
 of British portrait painters. He was born 
 at Bristol on the 4th of May, 1769, and 
 his father, who was a hotel-keeper, with 
 aomething of a taste, taught him to recite 
 poetry, and encouraged him to draw; and 
 the consequence was, that when seven 
 years old he was pronounced a prodigy. 
 That he learned to draw without models, 
 and without teachers, mast be placed to 
 the account of natural genius: his first 
 works were in chalk; and it must be 
 confessed, that when some sixteen years 
 old, he drew portraits with a grace and 
 accuracy which, in riper years, he cannot 
 be said to have much surpassed. He was 
 very handsome; his voice was low and 
 musical, and he had a winning courtesy 
 of manner, as well as a flattery of hand, 
 which attracted sitters of all ranks and 
 degrees. A rich person of the name of 
 Harpur desired to adopt him as his son ; 
 and Hoare, the painter, thought his looks 
 so angelic that he wished him to sit for a 
 Christ ! 
 
 Lawrence came to London in 1787, 
 and^ found his fame before him ; he en- 
 tered as a student at the Royal Academy; 
 and while some smiled at his comely look, 
 and his flowing hair, others perceived 
 that he drew the Fighting Gladiator, and 
 the Apollo of Belvedere, with a skill and 
 beauty that defied competition. To the 
 studio of Reynolds he went, he said, with 
 fear and trembling, and submitted s6me 
 heads for his inspection. "Young man," 
 said Sir Joshua, " you have been looking 
 at the old masters, I see ; but my advice 
 
 is, study nature study nature." On 
 looking at the portraits of the principal 
 artists, Lawrence saw, that in oil-colours 
 alone he must place his hopes, and they 
 were then high ; and to oil-colours he ap- 
 plied himself, with a happy diligence, that 
 soon mastered them sufficiently for vire- 
 sent fame. His first portrait, that of Mi-s 
 Farren, afterwards Countess of Derby, 
 gave all the fascination of her looks, and 
 was well received by all, save the critics, 
 who, in ridiculous pain for Reynolds, and 
 in no idle fears for Hoppner, spoke with 
 unsparing rigour of her naked arms, muff, 
 and winter cloak. The patronage ex- 
 tended to him from the throne placed him 
 for a time beyond criticism. In 1788, he 
 painted the Queen and the Princess 
 Amelia ; but the Royal Academy were In 
 a sad flutter for their honour and their 
 laws, when, after an idle show of resist- 
 ance, they were obliged by the king to 
 elect the young painter an associate, be- 
 fore the stipulated age of twenty-four : 
 and we may as well add, that he was 
 made a Royal Academician in December 
 1795. 
 
 It appears that Lawrence was nettled 
 on being called a mere face painter, and 
 resolved to vindicate his claim to higher 
 rank. lie had, while young, tried his- 
 toric com[)osition ; his skill was now, he 
 thought, equal to the task, and he painted 
 the Satan of the Paradise Lost, calling 
 on his fallen legions to arise. The 
 grandeur of the outline, the splendour of 
 the colouring, and the godlike heroisiu of 
 the fiend, were largely commended. At 
 a later time of life, he painted John 
 Kemble, as Hamlet a picture of the kind 
 called half historic, and half portrait, and 
 of great merit in either sense. But his 
 strength lay in portraiture, and in por- 
 traiture of the soft and lovely kind, so 
 to that he returned, and painted much of 
 the beauty of his times. Among his 
 sitters were Mrs* Byng? Sophia Upton, 
 Carolina Upton, Lady Templeton, the 
 Marchioness of Exeter, Lady Conyngham, 
 Lady C. Hamilton, Miss Lambe, Mrs. 
 Thelluson and Child, and Mrs. Williams ; 
 to these he afterwards added the Princess 
 of Wales, the Princess Charlotte, and 
 Mrs. Siddons. In the heads of men he 
 was not accounted so happy, though sur- 
 passing other artists; and yet his portraits 
 of Curran, Erskine, Wyndham, and Sir 
 William Grant, reflect their original cha- 
 racters as well as looks ; nor can much 
 less be said of those of Lord Grey, Lord 
 
hAW 
 
 Amherst, Lord Ellenborough, Sir Joseph 
 Banks, the Earl of Aberdeen, William 
 Pitt, Lord Castlereagh, and George Can- 
 ning. Nor did he confine his pencil and 
 colours to men of rank, or political sta- 
 tion ; the portraits of Thomas Campbell, 
 Walter Scott, Robert Southey, Benjamin 
 West, and Henry Fuseli, stood all at one 
 time in his painting room. 
 
 In the year 1802, the artist's price for 
 a three-quarters sized portrait was thirty 
 guineas, for a half length sixty guineas, 
 and for a whole length one hundred and 
 twenty guineas. His prices advanced 
 with his increase of fame; in 1806, the 
 three-quarters rose to fifty guineas, and 
 tlie whole length to two hundred ; in 1808, 
 he raised the small size to eighty guineas, 
 and the whole size to tliree hundred and 
 twenty; and in 1810, when Hoppner died, 
 he increased his heads to one hundred, 
 and full lengths to four hundred guineas : 
 the growing crowds of sitters told him 
 that his advance in price was not ill re- 
 ceived. 
 
 When that victorious year, 1814, opened 
 the gates of Paris to the allies, Lawrence 
 was called on by the Prince Regent to 
 limn a few of the conquerors ; the Em- 
 peror of Russia, the King of Prussia, 
 Prince Blucher, the Ilettman Platoff, and 
 the Duke of Wellington. To this list he 
 in later years added the Emperor of 
 Austria, the Archduke Charles, Pope 
 Pius VIL, Cardinal Gonsalvi the Pitt, 
 as he was called, of the Vatican and the 
 soft and graceful Canova ; others of our 
 own land, such as are not doomed to be 
 soon forgotten, may be mentioned : of 
 these. Lord Brougham, Sir H. Davy, 
 Wilsim Croker, Thomas Moore, Sii 
 Robert Peel, and Lord Francis J.evesor 
 Gower, are present to our memory. The 
 names of the ladies of beauty, or of rank, 
 or both, whose portraits came from his 
 easel, would fill several pages ; of all 
 these, tlie most lovely was that of Lady 
 Peel, painted as a comj)anion to the Straw 
 Hat iBeauty by Rubens, and quite its 
 match in truth and expression. There is 
 much elegance, and a good deal of vigour 
 in the male heads of Lawrence ; over most 
 of them, and over all his ladies, he sheds 
 a soft splendour of colour, which, like 
 sunshine in dew, is as pleasant as lustrous 
 the eyes of his women are all mildnes: 
 and love ; the force of admiration could, 
 with Fuseli, go no further, when he swore 
 in German, that his eyes were the eyes 
 of Titian. His method of painting a 
 
 portrait resembled that of Holbein : he 
 drew in true outline and complete detail 
 and expression in black, white, and red 
 chalks ; then transferred a correct copy 
 of it to the canvass, and laid on his colours, 
 keeping the chalk drawing beside him for 
 his guide, both in outliiic and detail, in 
 the absence of the sitter. He died sud- 
 denly, on the 7th of January, in the year 
 1830. 
 
 Lauzano (Andrea). This artist was 
 born at Milan in 1654, and studied suc- 
 cessively under Luigi Scaramuccia, and 
 Carlo Maratti. On leaving the latter, 
 he went to Vienna, where he was much 
 employed by the emperor, who conferred 
 on him the order of knighthood. He ex- 
 celled in history and portrait. He died 
 in 1712. 
 
 Lazzari (Donato). This artist is 
 better known as an architect than a 
 painter, though he was great in both re- 
 spects. He was born at Castel Durante, 
 in the duchy of Urbino, about 1450. He 
 first studied painting under Fra Bartolo- 
 meo Corradini, and excelled in history 
 and portrait. His style resembled that 
 of Andrea Mantegna, but most of his 
 fresco works are destroyed. He became 
 principal architect to Pope Julius IL, 
 and died at Rome in 1514. 
 
 Lazzarini CGhegorio). He was born 
 at Venice in 1654, and had for his master 
 Francesco Rosa, whose gloomy style he 
 quitted for one of a more natural and airy 
 character. Carlo Maratti bestowed a fine 
 compliment upon him; for when the Ve- 
 netian ambassador proposed to have a 
 picture painted by a Roman artist, to 
 adorn the Sala dello Scrutinio of his native 
 city. Carlo refused the offer, saying it 
 would be an act of injustice, while Venice 
 possessed such a painter as Lazzarini. 
 The latter was accordingly employed, and 
 chose for his subject the Triumph of the 
 Morosini. His best performance, however, 
 is a picture of St. Lorenzo Giustiniani, 
 in the patriarchal church. He died about 
 1720. 
 
 Leal (Simon de Leon). This Spanish 
 artist was born at Madrid in 1610, and 
 had Pedro de las Cuevas for his instructor. 
 He became eminent both in history and 
 portrait, in which last he came near to 
 Vandyck for chaste and harmonious colour- 
 ing. His principal historical works are a 
 set of pictures representing the early part 
 of our Saviour's life. He died at Madrid 
 in 1687. 
 
 Leblond (Jean). He was born at 
 
LEE 
 
 LEE 
 
 Paris in 1635, and died there in 1709. 
 He was, by his countrymen, accounted a 
 good painter of history. 
 
 Lecce (Matteo da). This painter 
 was a native of Rome, where he attempted 
 to reach the style of Buonarroti, but with- 
 out accomplishing his object. Some of 
 his best performances are, a Transfigura- 
 tion, in the Chiesa Nuova; and a Virgin 
 and Child, in the church of St. Eligio. 
 
 Ledesma (Joseph de). He was born 
 in Old Castile in 1630, and became a 
 scholar of Juan Carenho at Madrid, where 
 he continued to practise his art, and died 
 there in 1670. His greatest performance 
 is a Descent from the Cross, in the church 
 of the RecoUets of St. Augustine. 
 
 Leepe (John Anthony Vandeb). He 
 was born at Bruges in 1664, of a distin- 
 guished family. His first ideas of painting 
 were formed by observing the embroideries 
 of a young lady ; and he accustomed him- 
 self to imitate by drawing what she worked 
 with her needle. Afterwards he added to 
 his knowledge and taste, by copying prints, 
 and good designs of eminent masters in 
 water-colours; till, by the assistance of 
 genius, and sedulous application, he ac- 
 quired an expertness in oil painting. He 
 sketched landscapes after nature; and 
 views of the sea, in storms and in calms : 
 which subjects he was so desirous of de- 
 scribing agreeably to truth, that he con- 
 stantly took his observations on the shore; 
 and designed the prospects, the diversified 
 appearances of the water, and every object 
 that engaged his attention, with the ut- 
 most precision, adapting afterwards his 
 skies with extraordinary skill, so as to 
 render them suitable to his designs. He 
 finished a large sea piece that had a sur- 
 prisingly grand effect; and he also painted 
 a landscape, with figures, representing 
 the Flight into Egypt; in which the trees, 
 foliage, and plants were beautifully co- 
 loured, and touched in the style of a mas- 
 ter. This last is in the church of St. Anne, 
 at Bruges. The ambition of Vander Leepe 
 was to visit Italy ; but he was prevented 
 by the remonstrances of his parents, and 
 also by his having married early, and hold- 
 ing some honourable and lucrative em- 
 ployments, which demanded his personal 
 attendance: and he continued to paint 
 merely from the pleasure he derived from 
 the practice of his art, and not from any 
 motive of emolument. His landscapes 
 are much in the taste of Genoels, and 
 frequently in the style of Gaspar Poussin. 
 He painted with extraordinary readiness 
 
 and ease, having alight free touch, and a 
 good tone of colouring, though sometimes 
 the latter appears too gray : bis sea pieces 
 are more valued than his land scenes. 
 The figures in his pictures were generally 
 painted by Duvenede and Kerckhove. 
 Vander Leepe died in 1720. 
 
 Leeuw (Gabriel Vander). He was 
 born at Dort in 1643, and learned the art 
 of painting from his father, Sebastian 
 Vander Leeuw, who was a painter of ani- 
 mals, having been bred in the school of 
 Jacob Gerritze Kuyp. Gabriel, however, 
 soon surpassed his instructor, and then 
 went to Amsterdam, from whence he 
 travelled to France, where he spent four 
 years. He next visited Italy, and con- 
 tinued in that country ten years, during 
 which he met with great encouragement. 
 While at Rome he studied most of the 
 works of Benedetto Castiglione, and Rosa 
 da Tivoli ; particularly the latter, whom 
 he imitated happily in the freedom of his 
 touch, and the readiness or rajndity of his 
 hand. Houbraken asserts that he had 
 seen a picture of his, in the manner of 
 Rosa da Tivoli, representing a drove of 
 oxen, sheep, cows, and other cattle, which 
 was painted with extraordinary spirit, and 
 with great boldness and freedom of pencil. 
 He studied his scenes and every object 
 after nature, spending whole days in the 
 fields, to observe the forms, actions, and 
 attitudes of the animals which he intend- 
 ed for his subjects ; by which means he 
 not only acquired the habit of designing 
 correctly, but also furnished himself with 
 a variety of sketches proper to be inserted 
 in his future compositions. On his 
 return to Holland, his works were ex- 
 tremely popular ; but as he pjainted ex- 
 peditiously, and finished his pictures sur- 
 prisingly fast, the number of them 
 proportionably diminished the price, and 
 he felt severe mortification on observing 
 that the demand decreased. This dis- 
 couragement made him resolve to return 
 to Italy ; from which design he was 
 prevented by death, in 1688. Leeuw had 
 a fine genius; his invention was lively 
 and ready, and his hand was as expeditious 
 as his thought. His pencil was free, 
 broad, and firm, and his colouring had 
 the style of the Roman School, but that 
 tone was not agreeable to the Flemish 
 taste. 
 
 Leeuw (Peter Vander). He was the 
 younger brother of Gabriel Vander Leeuw, 
 and was born at Dort in 1644. He was 
 instructed by his father Sebastian, and 
 
LEI 
 
 LEL 
 
 painted the same subjects as his brother, 
 and with abundance of merit; but his 
 manner of pencilling and colouring was 
 different from that of Gabriel, and better 
 adapted to the taste of his countrymen ; 
 for he finished his pictures neatly, and 
 took the utmost pains to render them 
 transparent. Of all the Flemish artists 
 he most admired Adrian Vandervelde, 
 and made him his model; being so am- 
 bitious of imitating liim, that whenever 
 he sat down to paint any design of his 
 own, he always (daced a picture of that 
 master before him, by which means he 
 approached very near to his manner of 
 composition, as well as to his tone of 
 colour and design. Notwithstanding his 
 acknowledged merit, he had an odd, 
 whimsical, and disagreeable humour, 
 which often gave offence to those who 
 were best inclined to become his friends 
 and benefactors. This peevish temper 
 prevented all persons of taste from visit- 
 ing him ; excited a general dislike : and 
 compelled him to dispose of his works at 
 a low rate, far below their value. He died 
 at Dort in 1705. 
 
 Legnano (Stkfano Maria), called 
 Legnanino. This master was born near 
 Bologna, or, according to Lanzi, at Milan, 
 in 1660. He received his early instruction 
 from his father Cristoforo Legnano, a 
 portrait painter; but afterwards he became 
 a disciple of Carlo Cignani, under whom i 
 he learned design and colouring. Having 
 made a great progress under that master, 
 he went to Rome, and placed himself with 
 Carlo Maralti, with whom he continued 
 three years ; during which time he applied 
 himself diligently to copy the works of 
 the best artists, and formed an extremely 
 pleasing style ; in which he blended the 
 different manners of the Roman, Milanese, 
 and Bolognese painters. His subjects \ 
 were historical, both sacred and fabulous, ! 
 which he executed with success, compos- 
 ing them with elegance and taste. Some ! 
 of his best works at Milan exhibit a beau- ; 
 tiful imagination ; a fine turn of thought 
 and invention ; a cliarming diffusion of j 
 light ; an excellent management of the ' 
 chiaro-oscuro ; a bold relief; and the 
 whole touched with a free and sweet pencil. \ 
 One of his principal pieces is a fresco, i 
 representing a battle gained under the 
 protection of St. James. He died in 1715. 
 
 Leigh (Jared). This amateur artist 
 was a proctor in Doctor's Commons, and 
 painted landscapes and sea views for his 
 amusement. He exhibited very fre- 
 
 quently at the Society's rooms in Spring 
 Gardens. He died about 1769. 
 
 Leisman (John Antony). This artist 
 was born in Germany in 1604. He be- 
 came a painter without any instructor, 
 merely by studying the best pictures to 
 be seen in his own country. After some 
 years spent in close application, he tra- 
 velled to Venice, and pursued his studies 
 there so assiduously, after the works of 
 Titian, Tintoret, and Paolo Veronese, that 
 he rose into high esteem. The principal 
 nobility in that city kept him constantly 
 employed, and his paintings were admired 
 for their spirited and lively touch, also for 
 the delicate colouring in his seaports, 
 landscapes, architecture, and historical 
 compositions; all which subjects he paint- 
 ed with truth, nature, and elegance. 
 Two of his pictures are mentioned as par- 
 ticularly excellent. One is a landscape 
 with dreary mountains and solemn woods; 
 out of which issues a gang of robbers pre- 
 paring to assault some unfortunate tra- 
 vellers. The other is a seaport, enriched 
 with lovely views of magnificent build- 
 ings, antiques, and other beautiful and 
 elegant objects. Both are finished with 
 wonderful dehcacy, a free pencil, and a 
 light touch, and have a very pleasing ef- 
 fect. He died in 1698. 
 
 Lelli (Giovanni Antonio). This 
 artist was born at Rome in 1591, and had 
 Lodovico Cardi, called Cigoli, for his in- 
 structor. He painted chiefly in a small 
 size for cabinets ; but there are some large 
 pictures by him in the churches of Rome, 
 particularly one of the Annunciation ; and 
 another of the Visitation of the Virgin 
 Mary. He died in 1640. 
 
 Lelli (Ercole). He was born at 
 Bologna, and studied under Giovanni 
 Pietro Zanotti. His principal works are 
 a Virgin and Child ; with St. Anthony 
 and St. Chiusa, at Bologna; and a St. 
 Fidele at Piacenza. This artist distin- 
 guished himself as a teacher of design, 
 and a modeller of anatomical subjects in 
 wax. 
 
 Lely (Sir Peter). This celebrated 
 painter was born at Soest, in Westphalia, 
 in 1617. His family name was Vander 
 Faes; but his father, an officer in the 
 army, being lodged in the house of a 
 perfumer, the sign of whose shop was a 
 lily, obtained the appellation of Captain 
 du Lys, or Lely, whence the son came to 
 be so called, and ever after retained that 
 name. He was first instructed in the art 
 of painting by Peter Grebber of Haer- 
 
LEL 
 
 304 
 
 LEO 
 
 lera, with whom he continued only two 
 years ; having, at the age of twenty, made 
 a sufficient progress in portrait and land- 
 scape, to enter upon the profession. In 
 1641 he came to England, where he suc- 
 ceeded Vandyck, and rose into great 
 credit, both among the royalists and re- 
 publicans. In 1643 he painted the por- 
 trait of Charles I., and, after the death 
 of that monarch, he was called to paint 
 that of Oliver Cromwell; who said to 
 him, " Mr. Lely, I desire you will use 
 all your skill to paint my picture truly 
 like me, and not flatter me at all ; but re- 
 mark all these roughnesses, pimples, 
 warts, and every thing as you see me, 
 otherwise I will never pay you a farthing 
 for it." After the restoration, Lely was 
 appointed state painter to Charles II., 
 who also conferred on him the honour of 
 knighthood. His practice was so great 
 that he acquired a considerable fortune, 
 and deported himself in a manner that 
 was worthy of his success. He laid out 
 a large portion of it in collecting pictures 
 and drawings, which, at his death, were 
 sold by auction, and produced twenty-six 
 thousand pounds. The sale lasted forty 
 days. Besides this property he left an 
 estate to his family of nine hundred a 
 year. Sir Peter died of an apoplexy, 
 while in the act of painting the portrait of 
 the Duchess of Somerset, in 1680, and 
 was buried in the church of St. Paul, Covent 
 (Jarden. His pencil was light and free ; 
 his colouring lovely: the airs of his 
 heads and liis figures amiable and grace- 
 ful ; his attitudes were easy, natural, 
 and well chosen, with an inexhaustible 
 variety. His draperies have such an 
 agreeable negligence, with broad folds, 
 that his works in that respect, as well as 
 in other particularities, are easily distin- 
 guishable from those of all other artists; 
 and they have become models for imita- 
 tion. He had, however, a peculiar ex- 
 pression in the eyes of his female figures; 
 a tender languishment; a look of blended 
 sweetness and drowsiness, unatterapted 
 before his time by any master, and which 
 he certainly conceived to be graceful. 
 But though in some particular forms it 
 might have a fine effect, yet, as his ex- 
 pression is the same in all, he is justlj 
 deemed a mannerist. The hands of his 
 portraits are fine, and elegantly turned; 
 and he frecjuently painted landscapes for 
 the backgrounds of his pictures, in a style 
 peculiar to himself, and suitable to his 
 subjects. He likewise excelled in crayon 
 
 painting; nor are his portraits in that way 
 held in less estimation, than those which 
 he finished in oil. Being so much em- 
 ployed in portrait painting, he produced 
 few historical pictures. At Windsor is a 
 Magdalen, and a Sleeping Venus. The 
 Duke of Devonshire has the picture of 
 Jupiter and Europa; Lord Pomfret that 
 of Cimon and Iphigenia; and the Marquis 
 of Exeter, Susanna and the Elders. His 
 only disciples were Greenhill and Buck- 
 shorn; but he appeared so jealous of hav- 
 ing a rival in either of them, that he would 
 not permit them to see in what manner 
 he mixed or laid on his colours, nor how 
 he marked and distributed them with his 
 pencil; yet each of them copied the works 
 of their master to great perfection. 
 
 Lemaire (John). This French artist 
 was born at Dammartin in 1597. He 
 became the scholar of Vignon ; after which 
 he travelled to Rome, where he studied 
 the ancient remains, and applied chiefly 
 to architecture and perspective. He died 
 at Gaillon in 1659. He is not to be con- 
 founded with Francis Lemaire, who was 
 born at Maison-Ilouge in 1627, and died 
 at Paris in 1688. He painted portraits, 
 and was a good colourist. 
 
 Lemens (Balthasar Van). He was 
 born at Antwerp in 1637, and visited 
 London after the Restoration, but he was 
 not so fortunate as to find encouragement, 
 or sufficient employment. He therefore 
 was constrained to gain a livelihood by 
 making sketches for other painters. He 
 painted small historical subjects, which 
 were pleasing and well coloured; and he 
 had a free pencil, with a ready invention ; 
 sometimes showing a degree of elegance 
 in his figures. He died in 1704. 
 
 Lengele (Martin). This Dutch pain- 
 ter was born at the Hague in 1604. He 
 became rector of the academy in his na- 
 tive place in 1656, and died there in 1661. 
 He painted historical subjects with repu- 
 tation. 
 
 Lens (Bernard). This artist was the 
 son of an engraver, who died in London 
 in 1725. Bernard became a painter in 
 miniature, and a teacher of drawing, in 
 which capacity he had the honour of in- 
 structing William, Duke of Cumberland. 
 His principal excellence lay in copying 
 the works of Rubens, Vandyck, and other 
 masters, in water-colours. He died at 
 Knightsbridge in 1741. 
 
 Leonardo (Fra. Agostino). This 
 Spanish painter and ecclesiastic was born 
 at Madrid in 1580, He painted severa] 
 
LEU 
 
 LEY 
 
 pictures for the churches and convents, 
 particularlyfor the monastery of Our Lady 
 of Mercy, to which he belonged. One of 
 his principal works, is a representation of 
 the Miracle of the Loaves and Fishes, 
 which is at Toledo. He died in 1640. 
 
 Leonardoni (Francesco). He was 
 born at Venice in 1654. At the age of 
 twenty-six he went to Madrid, where he 
 painted several pictures for the churches; 
 the principal of which are two of the death 
 and burial of St. Joseph, and an altar- 
 piece of the Incarnation. Leonardoni, 
 though he had a grand manner of design 
 in history, excelled chiefly in portrait. 
 He died at Madrid in 1711. 
 
 Leone (Arto), called Coriario. He 
 was born in 1498, and was a disciple of 
 Cornelius Engelbrechtsen. The style in 
 which he designed was grand; and his 
 figures were usually as large as life, and 
 often larger. His subjects were historical, 
 either sacred or poetical, in which he was 
 particularly fond of introducing superb 
 architecture, or pieces of bas-relief, which 
 he designed and executed with great free- 
 dom of hand and elegance of taste. He 
 died in 1564. 
 
 Leoni (Cavaliers Ottavio). He 
 was born at Rome about 1585, and was 
 taught the principles of his art by his 
 father. He became distinguished both in 
 history and portrait. In the former de- 
 partment he painted several altar-pieces, 
 as the Madonna; St. Carlo; St. Francesco; 
 and St. Nicholo; and in the latter he 
 drew the popes and cardinals of his time 
 so well, that he received the military 
 order of Christ, and was made principal 
 of the academy of St. Luke. Leoni was 
 also an excellent engraver, and executed 
 a series of portraits of eminent painters. 
 He died in 1659. 
 
 Leur (Nicholas Vander). This ar- 
 tist was born at Breda in 1667, and went 
 to Rome before he had attained his twen- 
 tieth year; while there, he obtained the 
 patronage of a cardinal, who procured 
 him access to the richest collections of 
 paintings. He devoted his whole time to 
 improvement, and was as diligent in his 
 studies after nature, as he was in copying 
 from the best models. He designed well, 
 and on his return home received consider- 
 able applause for several of his composi- 
 tions. But though he had merit in draw- 
 ing and colouring, understood perspective 
 and architecture, and might be esteemed 
 a good painter of history, yet his imagina- 
 tion was cold, and his invention slow and 
 
 difficult ; so that it was rather a labour 
 than a pleasure to him to undertake a 
 composition. He excelled, however, in 
 portraits, and might have been without 
 a competitor in that branch, if he had 
 confined himself to it. His best historical 
 performance is the altar-piece in the 
 church of the Recollets at Breda. He 
 died in 1726. 
 
 Leyden, or HuTGENS (Lucas Van). 
 This ancient artist, who was born at 
 Leyden in 1404, was instructed by his 
 father Hugo Jacobs, a painter of some 
 note. From his infancy he was exceed- 
 ingly studious, even in the night as well 
 as in the day ; and by his industry, he 
 produced such works at the age of nine 
 and twelve, as excited the admiration and 
 astonishment of all the artists of that 
 time. He painted not only in oil, but in 
 distemper, and on glass ; and was equally 
 eminent in engraving. After he had 
 been taught the rudiments of the art by 
 his father, he became the disciple of Cor- 
 nelius Engelbrechtsen ; in whose school 
 he so far perfected himself as to be able 
 to follow his profession without having 
 any other master. Before he was fifteen 
 he painted the history of St. Hubert, 
 which procured him the greatest applause 
 and honour. His tone of colouring is 
 good, his attitudes, allowing for the stiff 
 German taste of the time, are tolerable, 
 his figures have considerable expression, 
 and his pictures are highly finished. He 
 endeavoured to proportion the strength 
 of his colouring to the different degrees 
 of distance at which his objects were 
 placed ; for at that time the principles of 
 perspective were but little known, and 
 the practice was much less regarded ; as 
 is evident from the works of Albert 
 Durer himself, who did not observe the 
 rules of the science with any tolerable 
 exactness, though he wrote a treatise ex- 
 pressly upon the subject. But as Lucas 
 had no instructor to direct him in the 
 knowledge of that branch, he was conse- 
 quently incorrect with regard to the pro- 
 portional height of his figures to their 
 distances, and the receding of his other 
 objects, so that he appeared a mannerist. 
 His draperies are too stiff, and broken 
 into too many folds; and in his heads 
 there is too great a similarity, as well as 
 want of elegance and grace. The writers 
 of his life mention a very famous print of 
 his engraving, the subject of which is a 
 Bagpiper; and it has been sold for a 
 hundred ducatoons, or about twenty 
 
LIA 
 
 pounds sterling. In the town -hall at 
 Leyden the most capital picture of Lucas 
 is preserved with great care, the magis- 
 trates having refused very large sums 
 which have been offered for it. The 
 picture represents the Last Judgment, 
 and contains a prodigious number of 
 figures. Another of his pictures is Christ 
 curing the Blind Man of Jericho ; besides 
 wi)ich, there are preserved the Virgin 
 and Infant, at Vienna; and a Descent 
 from the Cross, at Paris. The com- 
 position is good, the female figures are 
 delicately painted, and the carnations 
 have great truth ; though it is to be re- 
 gretted that he had not a proper taste to 
 study nature in her beautiful forms more 
 effectually. Lucas, however, excelled 
 chiefly as an engraver, in which he was 
 the friendly rival of Albert Durer. He 
 died in 1533. 
 
 Leyssens (Nicholas). He was born 
 at Antwerp in 1661, and was the pupil of 
 Peter Eykins, after which he went to 
 Rome, where lae employed himself studi- 
 ously in observing those admirable works 
 of nature and art which occur in that ce- 
 lebrated city and its environs. But though 
 distinguished by uncommon marks of 
 esteem while in Italy, he quitted all his 
 prospects of fame and wealth from 
 motives of filial piety. Ilis father was 
 poor and aged ; and he left Rome with 
 no other view than to support him, and to 
 render his life comfortable : and Pro- 
 vidence rewarded his goodness of heart ; 
 for he had more employment than 
 all the painters of Antwerp, and even 
 more of unsolicited work than those 
 who exerted all their interest, skill, 
 and industry to procure business. Except 
 it was to attend the duties of his profes- 
 sion, or religion, he never absented him- 
 self from liis parent, nor sought for any 
 other companion ; and, on every occasion, 
 always treated him with the most duteous 
 respect. He had a good taste in designing 
 historical subjects ; particularly nymphs, 
 boys, and statues, which he drew with 
 extraordinary correctness, and an agree- 
 able colouring. He was much employed 
 by Hardime, Bosschaert, and Verbrug- 
 gen, to adorn their pictures with figures 
 adapted to their subjects. He died in 
 1710. 
 
 Liang (Phiijp). This painter was 
 born at Madrid in 1575, and studied 
 under Alonzo Sanchez Coello. His ta- 
 lent lay in painting small portraits, which 
 he performed with such exquisite taste. 
 
 and faithfulness of resemblance, as to be 
 called the Miniature Titian. He died in 
 1625. 
 
 LiBERALE (Veronese), or Liberale of 
 Verona. He was born at Verona in 1451, 
 and was a disciple of Vincenzo di Stefano ; 
 but he imitated the style of Giacomo 
 Bellini of Venice, and also of Mantegna. 
 He finished his pictures with unparalleled 
 neatness and patience, so as to give them 
 the appearance of miniatures; and in 
 most of his compositions he designed a 
 multitude of figures. Vaari mentions 
 one, representing the Adoration of the 
 Magi, consisting of an infinite number of 
 small figures, horses, dogs, camels, and 
 other animals ; in which the heads were 
 carefully and highly finished ; the whole 
 looked like miniature, rather than oil 
 painting. On account of this extraordi- 
 nary art in finishing, he was much em- 
 ployed in illustrating missals. His prin- 
 cipal works are at Verona, where he 
 painted many altar-piecesfor the churches, 
 and a number of easel pictures for the 
 nobility. A very high commendation is 
 given to a picture by him, representing 
 theMarriageof St Catherine; in which the 
 composition is good, and the heads are 
 graceful, with a natural and delicate ex- 
 pression. He died in 1536, 
 
 LiBERi (Cavaliere Pietro). This 
 painter was born at Padua in 1605, and 
 was the scholar of Alessandro Vasotari. 
 He afterwards travelled through the prin- 
 cipal parts of Italy, to study the works of 
 the most eminent masters. He had an 
 enlarged genius, which enabled him to 
 discern the essential beauties and par- 
 ticular excellences of every painter on 
 whose works he employed his observa- 
 tions. While he resided at Rome, his 
 attention was wholly engrossed by the 
 grand style and compositions of Raftaelle ; 
 at Parma he devoted his studies to Cor- 
 rcggio and Parmegiano ; and at Venice 
 to Titian and Tintoretto. Fromthediffer- 
 ent manners and the beautiful variety 
 perceptible in the works of those artists, 
 he formed a style of his own, full of spirit, 
 judicious, and consisting of a pleasing 
 mixture of them all ; though it must be 
 allowed that his tone of colouring was too 
 redinsomeof hiscompositions. In the Pa- 
 lazzo Zambeccari at Bologna, is an excellent 
 picture of the story of Job, which is much 
 admired, and shows a mixture of the 
 styles of Caravaggio and Calabrese. In 
 the cathedral of Vicenza is an ingenious 
 composition of the Destruction of Pharaoh, 
 
c 
 
 LIE 
 
 which is designed in a grand style, and 
 finely painted ; and in the church of St. 
 Maria Maggiore, at Bergamo, is one of 
 his most capital performance?, the sub- 
 ject of whicli is Moses striking the Rock ; 
 and it is much better coloured than those 
 which he usually finished for the churclies. 
 He was, however, more employed in 
 fabulous than sacred subjects, and he 
 treated them so licentiously as to obtain 
 the name o{ Liberiiiio. lie died in 1687. 
 
 LiBEKi (Marco). He was the son of 
 Pietro Liberi, and was born at Venice in 
 1650. He received his instructions in 
 painting from his father, whose manner 
 he adopted, and copied his works with 
 uncommon accuracy. His best perform- 
 ances are some of a small size, the sub- 
 jects of which are taken from mythology. 
 
 LiBRi (GiROLAMo da). This artist 
 was born at Verona in 1474. His father 
 was a miniature painter, and illuminator 
 of missals, whence he obtained the name 
 of Da Libri. The son gave such early 
 signs of genius, that when no more than 
 sixteen he painted a Descent from the 
 Cross for a church at Verona. His most 
 capital performance is one of a Virgin 
 and Child, with two Saints, in the church 
 of St. Giorgio, in the same city. He died 
 I 1555. 
 
 placed under the direction of Joris Van 
 Schooten; but afterwards he became the 
 scholar of Peter Lastman, with whom he 
 continued two years. At the age of twelve 
 he copied two figures of Deraocritus and 
 Ileraclitus, after the paintings of Cornelius 
 Van Haerlem, so exactly, that his pieces 
 might have been mistaken for the originals. 
 He principally emplo)'ed himself in study- 
 ing after nature, and in a short time dis- 
 tinguished himself greatly; particularly 
 by a portrait of his mother, which is 
 described as a wonderful performance. 
 He also painted historical pictures with 
 success ; among the number of which 
 compositions, tlie Continence of Scipio 
 is celebrated in high terms. Another 
 performance of Lievens, applauded by 
 the poets as well as the artists of his 
 time, was the representation of a Student 
 in his Library, the figures being as large 
 as life. This picture was purchased by 
 the Prince of Orange, who presented it 
 to King Charles I., in consequence of 
 which Lievens visited England, where he 
 had the honour to paint the portraits of 
 the royal family, and of a number of per- 
 sons of the first rank among the nobility. 
 After a stay of three years, he went to 
 Antwerp, and was engaged there con- 
 stantly in executing large pieces for the 
 
 LiEMAKER (Nicholas). This artist, ! churches, or smaller paintings for private 
 who obtained the name of i?ose, was born cabinets. In the council-house at Amster- 
 at Ghent in 1573. He had for his first ' dam is a picture by Lievens, placed be- 
 master Mark Garrard, after whose death | tween one of Govert Flink's, and another 
 he became the scholar of Ottovinius, by Ferdinand Bol, all so well done as to 
 having Piubens for his fellow-student. | make it difficult to say which is the best. 
 On leaving that seminary he went to the \ Two of the next most celebrated pictures 
 court of Paderborn, where he continued i of this artist are, the History of Abraham 
 till the state of his health compelled him j offering up Isaac, and the representation 
 to return to Ghent. Rubens having been ' of David and Bathsheba. Each of them 
 applied to for an altar-piece to be placed ' is a sufficient proof of his genius for com- 
 inthechapelof a convent at Ghent, replied : position, of the sweetness of his colour- 
 by observing, that, " possessing so fine a ' ing, and the excellence of his pencil, 
 rose, they might dispense with flowers of j At Brussels is a fine altar-piece by 
 foreign growth." In the church of St. ! him, of the Visitation of the Virgin; 
 Nicholas, in that city, are two pictures, ! and in the church of St. James, at Ant- 
 one representing the Fall of Lucifer, and I werp, is another of the Holy Family, 
 t^ie other the Good Samaritan ; and in the This artist was also an excellent engraver, 
 church of St. James is a fine composi- ' in the style of Rembrandt. He died at 
 lion by him of the Last Judgment. He ' Antwerp in 1663. 
 died at Ghent in 1647. j Ligario (Pietro). He was born at 
 
 LiERRE (Joseph Van). This Fleni- i Sondrio, in the Valteline, in 1686. After 
 jsh artist was born at Brussels in 1530. - - 
 
 He was a good painter of landscapes, 
 with figures executed in a neat manner, 
 and well adapted to the subjects. He 
 died at Swindrecht in 1583. 
 
 Lievens (John). He was born in 1607 
 
 learning the elementary principles of the 
 art in his own country, he went to Rome, 
 where he studied some time under Lazzaro 
 Baldi, and then travelled to Venice, to 
 improve himself in colouring. On his 
 return to his native place, he painted 
 
 at Leyden, and, when very young, was some pictures for the churches, as well as 
 
LIN 3( 
 
 for private collections, in a good style. 
 He died in 1742. 
 
 LiGHTFOOT (William). This English 
 artist united in himself the qualifications 
 of painter, architect, and engraver. In 
 the first capacity he has left no specimens 
 of his skill ; but in the second, the old 
 Royal Exchange exhibited many proofs 
 of his talents ; and as an engraver, he is 
 placed by Evelyn on a footing with Wier- 
 ninx. He died about 1671. 
 
 LiGORio (PiERo). He was born at 
 Naples in 1493, and became a disciple of 
 Giulio Romano ; but he was much more 
 eminent as an architect than as a painter. 
 His designs of antique buildings, temples, 
 monuments, and trophies, gained him an 
 established reputation ; and he left several 
 volumes of them, which are in the posses- 
 sion of the King of Sardinia, and are 
 accounted invaluable. He was appointed 
 principal architect to Popes Paul IV. and 
 Pius IV. His chief works, as a painter, 
 are some frescoes at Rome, where he died 
 in 1573. 
 
 LiGozzi (Jacopo). This master was 
 born in 1543, and learned design from 
 a Veronese painter of good repute, named 
 Giovanno Ermanno. He painted in fresco 
 as well as in oil ; in the former he painted 
 the Triumph of Paulus Emilius, and also 
 battles, which he executed in a grand 
 style, and with abundance of spirit ; and 
 in oil he finished a number of excellent 
 compositions at Florence, being for many 
 years employed by the grand duke ; and 
 several of the churches and convents of that 
 city are adorned with his performances. 
 He died in 1627. 
 
 LiMBURG (Hexry Van). This Dutch 
 artist was born at Rotterdam in 1675, 
 and had Adrian Vanderwerf for his in- 
 structor. He excelled in painting small 
 historical subjects and portraits, in the 
 style of his master. One of his principal 
 performances is a Holy Family, now in 
 the Gallery of the Louvre. 
 
 LiNDAER (GiACOMo). This artist was 
 born at Florence in 1488, and studied 
 under Ghirlandain, but afterwards quitted 
 his manner to improve himself by copying 
 the works of Michel Angelo. He designed 
 in a grand style, and painted historical 
 subjects well. He died at Rome in 1556. 
 
 LiNGLEBACH (John). He was born 
 at Frankfort on the Maine in 1625, and 
 learned the art of painting in Holland ; 
 but he afterwards went to Paris, where 
 he resided two years^ and met with such 
 encouragement that he was enabled to 
 
 8 L I N I 
 
 proceed to Rome. He spent six years 
 in that seat of art, applying himself studi- 
 ously to the works of the great masters, 
 and the remains of antiquity. In 1650 
 he returned to Holland, and settled at 
 Amsterdam, where he followed his profes- 
 sion with reputation, industry, and success. 
 His usual subjects were fairs, mounte- 
 banks, sea prospects, naval engagements, 
 and landscapes ; which he composed and 
 executed exceedingly well. His land- 
 scapes are enriched with antiquities, ruins, 
 animals, and elegant figures; his sea- 
 fights are full of expression, exciting pity 
 and terror; and all his objects are well 
 designed. His skies are generally light, 
 and thinly clouded, and his management 
 of the aerial perspective is extremely judi- 
 cious; his keeping is usually good, his 
 distances of a clear bluish tint; the whole 
 producing an agreeable effect. In paint- 
 ing figures or animals he had uncommon 
 readiness, and on that account he was 
 employed by several other artists, to adorn 
 their landscapes with those objects; which 
 were always excellently adapted to the 
 scene. His pencil was free, his touch 
 clean and light, and his compositions are 
 in general esteem. He was particularly 
 fond of introducing into most of his pic- 
 tures pieces of architecture, the remains 
 of elegant buildings, or the gates of the 
 seaport towns of Italy, embellished with 
 statues, placed sometimes on the pedi- 
 ments and cornices, and sometimes in 
 niches. He also excelled in representing 
 Italian fairs, and markets, inserting in 
 those subjects abundance of figures, well 
 grouped and designed, in attitudes suit- 
 able to their different characters and occu- 
 pations; and though he often repeated 
 the same subjects, yet the liveliness of 
 his imagination, and the readiness of his 
 invention, always enabled him to give 
 them a remarkable variety. We have a 
 few etchings by this ingenious artist, who 
 died in 1687. 
 
 LiNSCHOTEN (Adrian Van). This artist 
 was born at Delft in 1590. He learned 
 the elements of his art in his own country, 
 and then went to Rome, where he had 
 Spagnoletto for an instructor; and, like 
 him, studied the works of Michel Angelo 
 Caravaggio, whose masculine style he 
 adopted with success. Two of his best 
 works are, Peter denying Christ ; and the 
 Repentance of the same saint. He died 
 in 1678. 
 
 LiNSEN (John). He was a Flemish 
 master, of considerable reputation, who 
 
LIN 
 
 learned the art of painting in his own 
 country, but completed his studies in Italy. 
 His principal performance is a picture 
 describing the action in which he was 
 taken captive by a corsair of Salee ; the 
 figures in which are well designed, the 
 colouring is pleasing, and is touched with 
 spirit. The public had conceived grea* 
 hopes of this artist ; but he was cut off in 
 the vigour of life by a companion with 
 whom he was gaming; and who, exas- 
 perated at losing, murdered Linsen on the 
 spot. 
 
 Lint (Peter Van). He was born at 
 Antwerp in 1609. While a youth he 
 travelled to Rome, where he studied in 
 the academy, and also after nature, till he 
 became a distinguished painter in history 
 and portrait. His subjects in the former 
 line were taken from sacred and profane 
 history ; and he painted in distemper as 
 well as in oil, in a large or small size, 
 with equal merit. For seven years he 
 was retained in the service of the cardinal- 
 bishop of Ostia, during which time he 
 worked for no other person. Some grand 
 compositions by him are at Ostia, and 
 others in the church of Madonna del 
 Popolo, at Rome. After ten years' absence 
 he returned to his native citj^, where he 
 had ample employment for the churches, 
 and the King of Denmark. His manner 
 of composition was grand, his design 
 correct, and his colouring good. One of 
 his most capital performances is in the 
 church of the Carmelites at Antwerp, 
 representing the Virgin making a gift to 
 the monks of that order. It is much in 
 the manner of Vandyck. He died at 
 Antwerp in 1668. 
 
 Lint (Hendrick Van), called Studio. 
 This artist was the son and scholar of the 
 preceding painter, who sent him at an 
 early age to Rome, Avhere he spent all his 
 leisure hours in studying after nature the 
 beautiful scenes about that city ; as the 
 rocks, rivers, villas, cascades, and land- 
 scapes ; which employment usually en- 
 gaged him during the summer, and part 
 of the autumnal months. On this account 
 he was named Studio by the Bentvogel 
 Society at Rome, and this appellation he 
 ever afterwards retained. In one cf his 
 excursions he went to Ronciglione, ac- 
 companied with another painter, to sketch 
 some of the views about that village. 
 The ignorant peasants, seeing them make 
 marks on paper, which were totally 
 unintelligible, took them for magicians ; 
 in consequence of which, a multitude 
 
 assembled around them in a short time ; 
 and a romantic building, which stood near 
 the extremity of a rock, happening to fall 
 just at that instant, it was unanimously 
 agreed that the accident could only have 
 been occasioned by magic ; for which 
 reason the artists were seized, and hurried 
 away before the magistrate. That officer 
 having discovered the truth, discharged 
 the painters, and took care to have them 
 protected from further insults; though 
 the country people persisted in giving 
 them the most opprobrious language, 
 continually calling them sorcerers, as 
 long as they continued in sight. Two 
 pictures of this artist are in the collection 
 of the Marquis of Hastings : one is a 
 View of the Campo Vaccino; and the 
 other a View of the ancient Amphitheatre 
 of Titus, called the Colosseum. Hend- 
 rick Van Lint etched some landscapes in 
 1680. 
 
 LlNTMEYER, Or LiNDMEYER (DaNIEl). 
 
 He was a native of SchafFhausen, in 
 Switzerland, and was distinguished as a 
 painter on glass, in which he excelled by 
 the excellence of his designs, as well as 
 the brilliancy of his colouring. He died 
 
 I about 1600. 
 
 I LiOTARD (John Stephen), This pain- 
 ter, who went by the name of the Turk, 
 
 I was born at Geneva in 1702. He was 
 intended for trade ; but his father, disco- 
 
 ! vering his genius, allowed him to study 
 painting. In 1725 he went to Paris, 
 where he practised in miniature, after 
 which he accompanied the Marquis de 
 Puiseux to Rome, and while in that city 
 became acquainted with the Earls of 
 Sandwich and Bessborough, who engag- 
 ed him to accompany them to Constan- 
 tinople. There he was introduced to our 
 ambassador. Sir Edward Faulkener, on 
 whose recommendation he came to Eng- 
 land, and remained in this country two 
 years. He painted admirably in enamel, but 
 better still in crayons. His portraits, 
 however, failed to please, on account of 
 their rigid fidelity; for Liotard was so 
 scrupulous, that he would on no account 
 suppress any blemish that he perceived in 
 the sitter's countenance. Such an artist 
 could not be long a favourite ; and there- 
 fore, finding his business decline, he went 
 abroad, but returned hither again, some 
 years afterwards, with a collection of pic- 
 tures, which were sold by auction. Lio- 
 tard also painted some curious pieces on 
 glass, exhibiting a surprising effect of light 
 and shade ; but it was necessary to darken 
 
LIP 
 
 310 
 
 LIP 
 
 the room before they could be seen to ad- 
 vantage. He stayed two years, also, on 
 this visit, and then returned to the con- 
 tinent, and spent his latter days in his 
 native place. He died after the year 
 1776 ; but the exact time of his decease 
 is notknown. While at Vienna he painted 
 the portraits of the emperor and empress, 
 and, by the imperial command, he drew 
 his own picture, which is in the Floren- 
 tine Gallery. When Liotard went to 
 Constantinople, he was so pleased with 
 the dress of the country, that he adopted 
 it, and would never wear any other. One 
 of his pictures in enamel is above seven- 
 teen inches by thirteen. His colouring in 
 that line, as also in crayon and miniature, 
 was excellent, with an astonishing force 
 and beauty of tint, and an exact imitation 
 of life. Liotard etched some plates of 
 portraits, among which was that of him- 
 self, with a long beard and turban. He 
 had a brother named John Michael, who 
 became an engraver at Paris. 
 
 Lippi (Francesco Filippo), called the 
 Old. He was born at Florence about 
 1421. At the age of sixteen, being then 
 a noviciate in the convent of Carmelites, 
 he had an opportunity of seeing Masaccio 
 at work, painting the chapel, which in- 
 spired him with an eager desire to learn 
 the art. He accordingly became a disciple 
 of that master, and studied design with 
 inexpressible assiduity, making so rapid 
 a progress, that he was called the spirit 
 of Masaccio. The praises given him by 
 his friends and instructor wrought so 
 strongly on his mind, that he threw off 
 the religious habit, and devoted himself 
 entirely to painting. Before he left the 
 convent, however, he painted for that 
 house a picture of the Virgin and Child, 
 with a glory, and some other religious 
 pieces of a small size. He endeavoured 
 to obtain as much instruction as possible 
 from Masaccio, and very happily imitated 
 his manner ; yet the course of his studies 
 was for some time interrupted by an ac- 
 cident which detained him in Barbary 
 for a year and a half. While amusing 
 himself, in the company of some of his 
 friends, on board a felucca in the Medi- 
 terranean, a corsair, who was cruising 
 near the shore, took them prisoners, and 
 carried them into captivity. But Lippi 
 having one day drawn the portrait of his 
 master, with a piece of charcoal on a wall, 
 gave so much pleasure to the person whom 
 it represented, by the novelty of the perfor- 
 mance, and exactness of resemblance, that, 
 
 after obliging Lippi to paint the portraits 
 of a few other persons, he generously 
 restored him to his liberty. At his return 
 to Florence, he was employed by the grand 
 duke, as well as by the principal nobility 
 and ecclesiastics; which last engaged him 
 to paint several noble compositions for 
 their churches and convents. He was 
 the first of the Florentine painters who 
 attempted to design figures as large as 
 life, and the first who remarkably diver- 
 sified the draperies, or gave his figures 
 the air of the antiques. Being, however, 
 a man of loose morals, he seduced a nun 
 to elope with him from the convent of 
 Prato, where she sat to him as a model 
 for a picture of the Virgin ; and though 
 all his friends severely reproached him 
 for his misconduct, yet he afterwards 
 engaged in a fresh intrigue, for which he 
 was poisoned by the parents of the lady. 
 Other accounts state, that he died of 
 poison at Spoleto, administered to him by 
 a person in that city, with whose wife he 
 held a criminal conversation, while em- 
 ployed in painting the altar-piece of the 
 cathedral, the design of which picture 
 was exceedingly grand, though it was left 
 unfinished, by the death of the artist in 
 1469. His principal works are, the De- 
 collation of St. John the Baptist, and the 
 Martyrdom of St. Stephen, in the church 
 of Prato. His colouring was extremely 
 agreeable, and his manner, like that of 
 Masaccio, was grand and elegant; his 
 draperies were broad and loose, and his 
 figures had a competent degree of grace, 
 with a good expression. 
 
 Lippi (Filippino), called the Young. 
 He was the natural son of Filippo Lippi, 
 and was born at Florence in 1460. He 
 studied under Sandro Boticelli. He had 
 a lively genius and a good invention; and 
 several of liis compositions showed great 
 elegance, with a pleasing tone of colour- 
 ing. His chief excellence consisted in 
 painting the ornaments of architecture, 
 especially the friezes, in the true taste of 
 the antique, with a perfect knowledge of 
 the chiaro-oscuro. His works in history 
 are, St. Bernardo, in the abbey of that 
 order at Florence; the Offering of the 
 Wise men, in the ducal gallery ; two pic- 
 tures of St. John and St. Philip, in St. 
 Maria Novella; an Assumption; and 
 some pieces taken from the life of St. 
 Thomas Aquinas, at Rome. He died in 
 1505. 
 
 Lippi (Lorenzo). He was born at 
 Florence in 1606, and was instructed by 
 
LIS 
 
 nv 
 
 Matteo Roselli. He had a genius for 
 music and poetry, as well as painting; 
 and in the latter his proficiency was so 
 remarkably great, that some of his com- 
 positions in the historical style were taken 
 for those of his master. At last he grew 
 dissatisfied with the manner of Roselli, 
 and adopted that of Santi di Titi, who 
 was excellent in design and invention ; and 
 api)eared to have more of simple nature 
 and truth in his compositions than any 
 other artist of that time. At Florence he 
 executed many grand designs for the cha- 
 pels and convents, and at the court of 
 Inspruck he painted several portraits, 
 which were deservedly admired. His 
 works are held in high eiteem for the 
 graceful airs of the heads, the correctness 
 of the outline, and the elegant disposition 
 of the figures. Among his principal per- 
 formances are a Crucifixion, in the ducal 
 gallery of Florence; and the Triumph of 
 l)avid, in the palace of Angiolo Galli. He 
 died in 1664. 
 
 Lis, orLTS (John Vaxder). He was 
 born at Oldenburgh in 1570, and studied 
 at Haerlem under Henry Goltzius. He 
 soon distinguished himself in that school, 
 and imitated the manner of his master 
 with great success; so as to make it no 
 easy matter to distinguish the work of the 
 one from that of the other. He adhered 
 to the style of Goltzius till he went to 
 Italy; but on seeing the performances of 
 Titian, Tintoretto, Paolo Veronese, and 
 Domenico Fetti, he improved his taste 
 and judgment, and altered his manner 
 entirely. He soon received marks of ap- 
 probation, and his compositions became 
 universally admired for their good expres- 
 sion, lively and natural colouring, and the 
 sweetness and delicacy of the pencilling ; 
 though he could never totally divest him- 
 self of his Flemish taste. His general 
 subjects were histories taken from the 
 Bible, or the representation of rural sports, 
 marriages, balls, and carnivals, all which 
 he painted in a small as well as a large 
 size, with a number of figures, well de- 
 signed, and touched with delicacy. He 
 also painted naked figures admirably, 
 with natural and elegant attitudes. A 
 capital picture by him is, Adam and Eve 
 mourning over the Body of Abel; which 
 is extremely admired, not only for the ex- 
 pression, but also for the beauty of the 
 landscape ; and in the church of St. Ni- 
 cholas, at Venice, is a celebrated painting 
 of his hand, representing St. Jerome in 
 the Desert, with an Angel sounding a 
 
 Trumpet. The colouring of this last is 
 rather too red, but it is designed in a 
 fine style, and is charmingly pencilled. 
 Houbraken also mentions a picture of the 
 Prodigal Son, to which there is only 
 one objection, that the habits are too 
 modern. He died in 1629. 
 
 Lis, or Lys (John Vaj;der). He was 
 born at Breda in 1600, and was the dis- 
 ciple of Cornelius Poelemburg, whose 
 manner he imitated in the tints of his 
 colouring, neatness of pencil, and choice 
 of subjects. There are some paintings 
 by him, which, though they appear to 
 have somewhat less freedom and lightness 
 of touch, are frequently taken for those of 
 Poelemburg. At Rotterdam is a delicate 
 picture, representing Diana in the Bath, 
 attended by her Nymphs ; but the most 
 capital performance of Vander Lys, in 
 England, is said to be in the possession 
 of Lord Middleton. The portrait of Van- 
 der Lys, painted by himself, is at Straw- 
 berry Hill, and is worked up equal to the 
 smoothness of enamel. He died at Rot- 
 terdam in 1657. 
 
 LiTEBiNi (Agostino). He was born 
 at Venice in 1642, and received his in- 
 structions in the art of painting from 
 Pietro de la Vecchia. His genius was 
 considerable, and he painted historical 
 subjects correctly and with spirit. He 
 died at Venice in 1692. 
 
 LivERSEAGE (Henry), was bom at 
 Manchester in the year 1803 ; he was, 
 from his birth, deformed and weakly, 
 and, as he was neglected by his father, 
 his lot might have been sorrowful but for 
 a tender-hearted uncle, who watched over 
 both his health and education, and was 
 rewarded by seeing him rise to notice. 
 His first attempt in art was in what 
 Barry contemptuously calls face-painting, 
 but his touchy sensibility was in the way 
 of eminence in a line which requires 
 courtesy as well as talent ; and he turned 
 from the real to the ideal, and executed a 
 series of pictures of a dramatic kind, which 
 brought him both money and distinction. 
 The first of these was Adam Woodcock, 
 from Scott's Romance of the Abbot, which 
 hit the ridiculous in that good-humoured 
 worthy ; then followed Isabella and the 
 Recluse, from the Black Dwarf; the In- 
 quiry succeeded ; a scene of quiet humour, 
 representing a simple country lad, with a 
 leash of moor-game in his hand, inquiring 
 his way of a swollen turkey-cock-looking 
 porter at a great man's door. The Cob- 
 bler is of the same stamp : he is reading 
 
LOD 
 
 LOM 
 
 Cobbett's Register, and spelling his way 
 with a look of pondering sagacity. Percie 
 Shafton and Mysie Happer is another of 
 his little happy hits. These, and others 
 of the like character, found purchasers, 
 but the artist was already marked for the 
 grave : his life had been something of a 
 continued disease, and it was scarcely a 
 surprise to his friends when he expired 
 suddenly on the morning of the 13th of 
 January, 1832 ; his two favourite authors, 
 Shakspeare and Scott, lay on the table at 
 which he was found dead. As an artist 
 his power lay in delineation of character ; 
 and he has left it doubtful whether he ex- 
 celled most in seriousness or in humour. 
 
 Llorente (Bernardo Germano) . This 
 Spanish painter was born at Seville in 
 1685. He acquired the elements of the 
 art from his father, and made such a pro- 
 gress, that when Philip V. visited Seville, 
 he was appointed to paint the portrait of 
 the heir-apparent, in which he gave uni- 
 versal satisfaction. But, notwithstanding 
 the honours that were paid to him, he 
 took the resolution of retiring from the 
 world, and turning hermit. In his seclu- 
 sion, however, he continued to practise 
 painting on religious subjects, and, among 
 other pictures, produced one of the Vir- 
 pn, in the character of a Shepherdess, 
 le died in 1757. 
 
 Lloyd (Mary). She was the daughter 
 of Mr. George Michael Moser, and distin- 
 guished herself so much as an admirable ar- 
 tist in flower painting, that she was elected 
 a member of the Royal Academy. After 
 her marriage she practised her art solely 
 for amusement. She died May 2, 1819. 
 
 LocA (Battista). This artist was a 
 native of Naples, and studied under Gio- 
 vanni Antonio da Amato, but afterwards 
 adopted the style of Andrea de Salerno. 
 His principal work is a picture of the 
 Conversion of St. Paul, in the church of 
 the Holy Spirit, at Naples. This piece 
 was painted in 1543. 
 
 Lodge (William). He was born at 
 Leeds, in Yorkshire, in 1649. He received 
 a liberal education, being first a student 
 of Jesus College, Cambridge, and after- 
 wards of Lincoln's Inn ; but the law had 
 no attractions for him, and he went with 
 Lord Bellasyse to Venice, where he studied 
 painting, and drew a number of views. 
 On his return to England, he assisted Dr. 
 Martin Lister in drawing rare shells and 
 fossils. He also etched a number of 
 views from his own designs, as well as 
 portraits. He died at Leeds in 1689. 
 
 fi 
 
 Loir (Nicholas). He was born at 
 Paris in 1624, and studied under Sebas- 
 tian Bourdon ; on leaving whom, at the 
 age of twenty-three, he went to Italy. 
 He wanted neither genius to invent, nor 
 talent to execute, and yet he was but a 
 moderate artist. Nothing can be ob- 
 served in his compositions that looks like 
 sublimity of thought, nor any particular 
 character that has much elevation. He 
 composed with readiness, had a good taste 
 of design, his pictures were neatly handled, 
 and he disposed his figures agreeably ; but 
 he painted too hastily to bring any work 
 to perfection. This method he pursued, 
 not only by a habit which he had acquired, 
 but also by a retentive memory, which 
 could readily recall the images of those 
 objects which he had seen in Italy, where 
 he had for some time resided. Every 
 part of his works was equally well painted 
 figures, landscapes, architecture, and 
 ornaments; and he particularly excelled 
 in designing women and boys. He was 
 employed by Louis XIV. at Versailles 
 and the Tuilleries, and in 1663 became 
 a member of the academy, of which in- 
 stitution, at the time of his death, in 1670, 
 he was professor. One of his best pic- 
 tures is the Marriage of St. Catherine, in 
 the church of St. Bartholomew. He 
 etched ; great number of plates from his 
 own designs. Nicholas Loir had a younger 
 brother, named Alexis^ who was bred a 
 goldsmith, but quitted that profession for 
 engraving. 
 
 LoLi (Lorenzo). This artist was born 
 at Bologna about 1612. He studied in 
 the school of Giiido, with whom he was 
 so great a favourite that he obtained the 
 name of Reni. He painted some altar- 
 pieces, the principal of which was St. 
 Antonio da Padua, in the church of St. 
 Catherine at Bologna. He also distin- 
 guished himself by his engravings in the 
 manner of Guide. 
 
 Lomazzo (Giovanni Paolo). This 
 artist was born at Milan in 1538, and 
 was instructed by Giovanni Battista della 
 Cerva. He rose to eminence for com- 
 posing historical subjects, and was ac- 
 counted full as excellent in landscape as 
 in portrait; but becoming blind, and 
 rendered incapable of following his pro- 
 fession, he had recourse to his genius, and 
 wrote two works on painting and archi- 
 tecture, published at Milan in 1584 and 
 1590. 
 
 Lombard (Lambert). He was born 
 at Liege in 1500, and having acquired 
 
LOM 
 
 LOO 
 
 the rudiments of the art in his own coun- 
 try, travelled to Italy, where he became 
 the disciple of Andrea del Sarto. He 
 studied every thing that could conduce to 
 his improvement, not only in painting, 
 but in perspective and architecture ; and 
 to those branches of knowledge he added 
 a diligent study of the antique. On his 
 return to Liege, he introduced a style of 
 painting among his countrymen, different 
 from that to which they had been accus- 
 tomed ; he taught them a better taste of 
 design, bysubstituting the antique instead 
 of the gothic ; and enabled them to dis- 
 tinguish the simplicity and elegance of 
 the one, when compared with the unna- 
 tural stiffness of the other. But though 
 he designed well, and was tolerably cor- 
 rect, and had his mind filled with the 
 images of those beautiful objects which 
 he had studied in Italy, yet he could never 
 thoroughly shake off his early manner ; 
 and his works partook of the same dry 
 stiffness which he censured in others. He 
 is ranked, however, among the best pain- 
 ters of his time, and a Last Supper of his 
 painting is exceedingly commended, as 
 deservedly estimable for the design, and 
 also for having an admirable effect. Seve- 
 ral of his works have been engraved by 
 Lambert Suavius, whence it has happened, 
 that the two artists have been by some 
 writers confounded and made one person. 
 Lambert Lombard died in 1560. 
 
 LoMBARUi (Giovanni DoMENico). This 
 artist was boi-n at Lucca in 1682. He 
 had Pietro Paolini for his instructor, on 
 whose style he made considerable improve- 
 ment, by studying the works of the 
 Caracci, and the painters of the Venetian 
 School. His chief works are two lateral 
 pieces in the choir of the Olevitani, repre- 
 senting St. Bernard relieving the Sick. 
 He died in 1752. 
 
 LoMi (AuHELio). He was born at 
 Pisa in 1556, and studied successively 
 under Bronzino and Cigoli ; the style of 
 both being blended in the frescoes which 
 he executed in the dome of the cathedral 
 of his native city. His most striking 
 novelty was in richness of colour, and a 
 gorgeous parade of drapery and ornament. 
 His works, however, were much admired, 
 and of course he had many imitators. 
 His principal performances are the Last 
 Judgment, in the church of St. Maria di 
 Carignano ; and St. Antonio da Padua, 
 in the Franciscan monastery at Genoa; 
 and a St. Girolamo at Pisa. He died 
 about 1620. 
 
 London ID (Fkancesco). This artist 
 was born at Milan in 1723. He painted 
 historical subjects, but excelled chiefly in 
 landscapes and pastoral scenery. He was 
 also an engraver in the same line of study. 
 He died in 1783. 
 
 Longhi (Luca). He was born at Ra- 
 venna, where are several of his works, a; 
 well as at Ferrara and Mantua. Thu 
 principal is a picture of the Circumcision 
 in the church of St. Benedetto at Ferrara. 
 He was also a good painter of portraits. 
 He lived about the year 1590, and had a 
 son named Francesco Lovghi, who painted 
 in the same style, but was not equal to 
 his father. 
 
 Longhi (Alessandko). This artist 
 was born at Venice in 1700, and studied 
 under Giuseppe Nogari. He distinguished 
 himself both as a painter and engraver of 
 portraits; besides which, he published the 
 lives of Venetian artists. He died in 
 1744. 
 
 LoNi (Alessandro). He was born 
 at Florence in 1655, and was a disciple 
 of Carlo Dolce, whose style he imitated 
 in the neatness and high finishing of his 
 works. He was employed and exceed- 
 ingly favoured by the Grand Duke of 
 Tuscany, who retained him in his service 
 several years; and among the celebrated 
 paintings in the Florentine collection is a 
 picture by him, which, though of a very 
 small size, contains near one hundred 
 figures ; all well disposed, judiciously 
 grouped, and most delicately pencilled and 
 coloured. He died in 1702. 
 
 Loon (Theodore Van). This artist 
 was born at Brussels in 1630. He studied 
 in Italy some years, and many of the 
 historical pictures of his painting are still 
 preserved in the churches and palaces at 
 Rome and Venice. While in the former 
 city, he contracted an intimacy with Carlo 
 Maratti; and was peculiarly fond of his 
 manner. The two friends drew after the 
 works of Raffaelle with an amicable com- 
 petition, from whence each of them ac- 
 quired those beauties which appear in 
 their compositions. All the works of 
 Van Loon are much in the style and man- 
 ner of Maratti ; the same taste of design, 
 the same dignity in portraits, the same 
 elevation of thought in composition, being 
 observable in both. The colouring of 
 Van Loon is generally good, though not 
 equal in sweetness to that of Carlo; being 
 sometimes too black, and the shadows 
 frequently too hard and heavy. Two 
 capital pictures by him are in a church at 
 
LOR 
 
 LOR 
 
 Mechlin : the subject of one is, the Wise 
 Men's Offering ; and that of the other, 
 the Salutation of the Virgin. In the 
 church of St. Gery at Brussels, is a series 
 of pictures representing the Passion. But 
 his best works are seven pictures of the 
 History of the Virgin. He died at Brussels 
 in 1678. 
 
 LoRENZETTi (Ambrogio). This an- 
 cient master, who was born at Siena in 
 1257, is said to have been a disciple of 
 Giotto. He painted in fresco, and gained 
 a high reputation for the skilful manage- 
 ment of his colours, and the grandeur of 
 his taste in composition; in which there 
 appeared somewhat noble and elegant, 
 united with ease and freedom. Vasari 
 mentions him as the first who attempted 
 to describe, in landscapes, storms of wind, 
 tempests, and rain ; which he represented 
 with great success. His imagination was 
 lively, his mannerof disposing the figures 
 judicious, and his invention very ready. 
 For the most part he painted in a large 
 size; but sometimes in small, as the his- 
 tory of St. Nicholas, in a chapel at Flo- 
 rence. He had also a taste for polite 
 literature ; and was equally esteemed for 
 his learning, and his abilities in painting. 
 He is reported to have finished tliirteen 
 hundred pictures before his death. He 
 died in 1340. 
 
 LouENZETTi (PiETBo) is said,by Vasari, 
 to have executed in 1335, pictures with 
 a better design, and in a superior manner 
 to any thing in Tuscany ; and he adds, 
 that he became abetter master than either 
 Cimabue or Giotto. He was one of the 
 Siena School of painters. 
 
 LoRENZiNi (Era Antonio). This artist 
 was born at Bologna in 1665, and had 
 Lorenzo Pasinelli for his instructor in 
 painting, bnt he is less known in that 
 line than as an engraver. His etchings 
 are numerous and valuable, and executed 
 after the first productions of art. In 
 1699 he was employed, with others, to 
 engrave the pictures in the Florentine 
 gallery. He was an ecclesiastic, and died 
 about 1735. 
 
 LoRENZiNO ( ). This painter was 
 
 born at Bologna in 1504. He excelled in 
 history; and, on going to Rome, was 
 much employed by Pope Gregory XIII., 
 who appointed him superintendent of the 
 pictures in the Vatican. He died in that 
 city in 1577. 
 
 LoBMB (Antony de). This painter 
 was a native of France, and was distin- 
 guished for his skill in architectural sub- 
 
 jects, especially the interior of churches 
 and ancient edifices of the gothic style. 
 He lived about the year 1660. 
 
 Lorraine (CiiAUDE, or more properly, 
 Claude Gelee), was born at Lorraine in 
 1600, and served an apprenticeship to a 
 pastrycook. In the early part of his life 
 he showed no symptoms of that astonish- 
 ing genius which, in his more advanced 
 years, attracted the admiration of the 
 world. He was very little indebted to 
 any master for instruction, except Agos- 
 tino Tassi, the scholar of Paul Bril, from 
 whom Claude learned some of the rules 
 of perspective, and the method of prepar- 
 ing his colours. But though at first he 
 withdifficulty comprehended the rudiments 
 of the art, yet in the progress of his studies 
 his mind expanded, his ideas improved, 
 his imagination became more lively, and 
 his industry was indefatigable. Hesearch- 
 ed for true principles by an incessant 
 examination of nature, usually studying 
 in the open fields, where he frequently 
 continued from sunrise till the dusk of the 
 evening, sketching whatever he thought 
 beautiful or striking. Every curious 
 tinge of light on all kinds of objects he 
 marked in his sketches with a similar 
 colour ; by which means he gave his land- 
 scapes such an appearance of nature as 
 has rarely been equalled by any artist. 
 Sandrart relates that Claude, with all the 
 precision of a philosopher, used to explain 
 to him as they walked through the fields, 
 the causes of the different appearances of 
 the same prospect at different iiours of the 
 day, from the reflections or refractions ot 
 light, from dews or vapours in the even^ 
 ing or morning. He worked on his piwr 
 tures with great care, endeavouring to 
 bring them to perfection, by touching 
 them over and over again ; and if the per- 
 formance did not answer his idea, he 
 would alter, deface, and repaint it several 
 times, till it corresponded with the image 
 pictured in his mind. But whatever 
 struck his imagination while he observed 
 nature abroad, was so strongly impressed 
 on his memory, that on his return home 
 he never failed to make the happiest use 
 of it. His skies are warm and full of 
 lustre, and every object is properly illu- 
 mined. His distances are admirable, and 
 in every part a delightful union and har- 
 mony never fail to excite our admiration. 
 His invention is pleasing, his colouring 
 delicate, and his tints have such an agree- 
 able sweetness and variety, as to have been 
 imperfectly imitated by the best subse- 
 
 J 
 
LOR 
 
 LOT 
 
 quent artists, and were never equalled. 
 He frequently gave an uncommon tender- 
 ness to his finished trees by glazing ; and 
 in his large compositions which he painted 
 in fresco, he was so exact, that the distinct 
 species of every tree might readily be 
 distinguished. Among his performances 
 in that manner, one was on the four lofty 
 walls of a nobleman's saloon at Rome. 
 On the first side he represented the ves- 
 tiges of an ancient palace, bounded by a 
 grove, incomparably expressed as to the 
 forms, stems, barks, branchings, and 
 foliage of the trees, the proportional gran- 
 deur of which, as well as the length of 
 the grove, were beautifully set off by the 
 shrubs and plants with which the ground 
 was diversified. From thence the eye was 
 pleasingly conducted to the second wall, 
 which seemed, by contrivance, to be only 
 a continuation of the scene, the same 
 elevation of the horizontal line being ob- 
 served through the whole work. On the 
 second side, he showed an extensive plain, 
 interspersed with mountains and falls of 
 water; avarietyof trees, plants, travellers, 
 and animals : this part was connected 
 with the third wall, on which the length- 
 ened prospect showed a seaport at the 
 foot of some high hills, with a view of the 
 ocean, and vessels labouring amongst the 
 waves, which appeared in violent agita- 
 tion. On the fourth wall were repre- 
 sented caverns among rude rocks, ruins 
 of buildings, and fragments of antique 
 statues. This composition, though di- 
 vided into so many parts, constituted but 
 one entire connected prospect, the beauty, 
 truth, and variety of which the power of 
 language cannot express. The figures 
 painted by himself are very inditierent; 
 though Sandrart assures us that he spent 
 a great deal of time and labour u];on them, 
 and that he drew for some years in the 
 academy at Rome, after living models, as 
 well as after statues. He was so conscious, 
 however, of his deficiency in this respect, 
 that he usually engaged other artists to 
 paint for him; amongwhomwere Courtois 
 and Fili ppo Laura. Hi s pictures are scarce, 
 especially such as are undamaged, and 
 they are so valued, that no price is thought 
 to be superior to their merit. There are 
 some of uncommon excellence in this 
 country ; and, a few years ago, the sum of 
 near seven thousand guineas was given 
 for two of them. In the Angers tein col- 
 lection, now, by the royal munificence, 
 made the basis of a National Gallery, are 
 five capital pictures by Claude, viz. the 
 
 Embarkation of the Queen of Sheba ; the 
 Marriage of Rebecca and Isaac ; a Morn- 
 ing Landscape; an Italian Seaport in the 
 Kvening; and the Embarkation of St. 
 Ursula. To avoid a repetition of the same 
 subject, and to detect such copies of his 
 works as might be injurious to his fame, 
 by being sold for originals, it was his cus- 
 tom to draw the designs of all those 
 pictures which were transmitted to differ- 
 ent countries; and on the back of the 
 drawings he wrote the name of the person 
 who had been the purchaser. One of 
 those books, which is entitled Libro di 
 Verita, is now in the possession of the 
 Duke of Devonshire, and the sketches 
 have been engi-aved by Earlom. Another 
 book of the same description was lately 
 purchased in Spain, and brought to this 
 country. Claude etched twenty-eight 
 landscapes from his own compositions. 
 They are slight, but spirited, and abun- 
 dantly testify the hand of the master. He 
 died in 1682. 
 
 Lorraine (Louis Joseph de). This 
 artist was born at Paris in 1715, and 
 learned the art of painting from Dumont; 
 after which he went to Petersburgh, 
 where he was employed in executing orna- 
 ments for the theatres. He also engraved 
 some plates from his own designs. The 
 time of his death is not stated. 
 
 LoTEN (John). This painter was born 
 in Switzerland, but some writers say he 
 was a native of Holland. About the year 
 1670 he came to England, and continued 
 here all his life. He was a landscape 
 painter of considerable merit, always 
 studied after nature, and had great suc- 
 cess in romantic beauty, as well as in the 
 variety of the scenes which he painted. 
 He excelled in delineating rocks that were 
 craggy, solemn, and dreary ; cataracts 
 and torrents dashing and foaming with 
 the impetuosity of their fall ; and land- 
 storms attended with rain. Sometimes 
 he represented lawns diversified with 
 groves, in which he rarely omitted the oak 
 tree, so much the ornament of the woods 
 and forests of England ; and those sub- 
 jects also he painted with truth, nature, 
 and force. But the effect of his composi- 
 tions would have been greater if he had 
 been less cold and dark in his colouring. 
 His touch is free and spirited, and the 
 masses of light and shadow in his pictures 
 are well understood. His works are 
 mostly of a large size. He died in 1681. 
 
 LoTi, or Loth (Cavaliere Carlo). 
 He was born at Munich in 1611, and was 
 
316 
 
 LOU 
 
 the son of John Ulriek Loth, a painter, 
 who had studied under an Italian master. 
 After receiving some parental instruc- 
 tions, he went to Venice, where he became 
 the scholar of Cavaliere Pietro Liberi. 
 In that school Carlo continued for some 
 years; yet he did not entirely adopt the 
 manner of Liberi, but aimed at a bolder 
 style, with a more natural and delicate 
 expression of the naked ; and, in a short 
 space, he distinguished himself by a noble 
 invention, by the correctness of his design, 
 and by a degree of grace diffused through 
 his compositions. After painting some 
 historical pictures at Venice, he was in- 
 vited to the imperial court, where he was 
 received with uncommon marks of favour. 
 He painted the portrait of the emperor in 
 an admirable style, which procured him 
 considerable employment in that line; 
 and during his residence at Vienna he 
 produced several historical pieces for the 
 palaces and cabinets of the most illus- 
 trious persons, some of the subjects being 
 sacred, and others taken from the poets. 
 In the church of the Lesser Hospital at 
 Venice is a picture by Carlo Loti, repre- 
 senting a Dead Christ. It is a beautiful 
 performance, well designed, in a broad 
 manner, and the heads are excellent, but 
 the colouring is rather too red. In the 
 church of St. John Chrysostom is an 
 altar-piece representing the Death of St. 
 Joseph; which, though perhaps a little 
 too dark, is well coloured ; the composition 
 and design are good, and the heads and 
 expression remarkably fine. In the Ducal 
 Gallery at Florence is a picture of the 
 Death of Abel, which is said to be one of 
 his best works. He died in 1698. 
 
 Lotto (Lorenzo). He was born at 
 Bergamo in 1508, though other accounts 
 place his birth in 1490. He had Andrea 
 Previtali for his instructor, but afterwards 
 he studied at Venice under Giovanni 
 Bellini, whose manner he followed, till he 
 was drawn from it by the works of 
 Giorgione, which so filled him with ad- 
 miration, that he immediately adopted the 
 same style, and devoted himself to imitate 
 that great painter as long as he lived. 
 He not only excelled in history, but like- 
 wise in portraits, of which several are 
 preserved in Venice. Vasari mentions 
 two ; the one of Andrea Adoni, the other 
 of Marco Loredano, which he introduced 
 in a fine composition of a Nativity, 
 illumined by a glory proceeding from the 
 Child, while Loredano was represented as 
 a whole figure, adoring the Saviour. A 
 
 capital painting by Lotto is in the church 
 of the Carmelites at Venice. The sub- 
 ject is St. Nicholas in his pontifical habit, 
 elevated in the air, supported by three 
 angels, and attended by other saints. 
 Below is a beautiful landscape, with a 
 number of figures, and, among the rest, 
 St. George combating with the Dragon. 
 But his best picture is a Madonna and 
 Child, with St. John embracing a Lamb, 
 in the church of St. Spirito. He died 
 in 1560. 
 
 LOUTHERBOURG (PhILIP JaMES De). 
 
 This ingenious artist was born at Stras- 
 burg in 1740. His father, who was 
 principal painter to the Prince of Hanau- 
 Darmstadt, had been a scholar of Lar- 
 gilliere; but though an artist himself, he 
 destined his son for the engineer depart- 
 ment of the army, while his wife was intent 
 upon bringing him up to the ministry in 
 the Lutheran church. In the mean time 
 the youth received a liberal education in 
 the college of Strasburg, where he studied 
 the languages and mathematics. While 
 there, his genius led him to painting, 
 which propensity his parents wisely suf- 
 fered him to indulge, and sent him to 
 Paris, where he had Carlo Van Loo for 
 his instructor, under whom he made so 
 great a progress, that at twenty-two, he 
 was elected a member of the Academy of 
 Painting, contrary to the standing regula- 
 tions, which prescribed thirty as the age 
 of a candidate for admission. Not long 
 after this, he left France for Germany, 
 Switzerland, and Italy, in which last 
 country he did not confine his pencil to 
 portrait or landscape, but painted with 
 equal facility battles, sea-pieces, and still 
 life. In 1771 he came to England, and 
 immediately received employment from 
 Mr. Garrick, as the painter of scenery at 
 Drury-lane. This led him to plan a series 
 of moving pictures, which should unite 
 the machinist and the painter, by giving 
 natural action to perfect resemblance. 
 The result was an exhibition which he 
 produced in 1782, under the name of the 
 Eidophusikon, or a representation of 
 nature; but though music was called in 
 to its assistance, the novelty soon ceased 
 to attract spectators. In the same year 
 Mr. Loutherbourg was admitted a mem- 
 ber of the Royal Academy, of which he 
 afterwards became a visitor, and one of 
 the council. Besides a number of land- 
 scapes, he painted some pictures com- 
 memorative of public events, as the Review 
 of Warley Camp, now in the royal collec- 
 
LUB 
 
 317 
 
 LUI 
 
 tion; the Victory of Lord Howe; and the 
 Siege of Valenciennes. His excellence, 
 however, lay in landscape, in which his 
 scenery is fascinating, though the colour- 
 ing is often too glaring. He died at 
 Chiswick in 1812. 
 
 Lowe (Mauritius). This artist was 
 a natural son of Lord Sutherland, who 
 left him an annuity. He was the pupil of 
 Cipriani, and next became a student of 
 the Royal Academy, under whose patron- 
 age he was sent to Rome, in consequence 
 of his having gained the gold medal in 
 1771. He never rose, however, to any 
 eminence in the art, and a picture of his, 
 representing the Deluge, was rejected 
 from the exhibition in 1783. On that 
 occasion Dr. Johnson wrote a letter in 
 his favour to Sir Joshua Reynolds, in 
 consequence of which the unfortunate 
 piece was admitted and exhibited in an 
 empty room, where it excited general 
 contempt. He died in an obscure lodging 
 in Westminster, in September, 1793. 
 
 LoYEB (Nicholas). He was born at 
 Antwerp in 1625, and died therein 1681. 
 He painted historical subjects with con- 
 siderable credit. 
 
 LuBiENETZKi (Theodore). He was 
 born at Cracow in 1653, of a noble family, 
 and learned the art of painting as an ac- 
 complishment, and not with a view of 
 making it a profession. He was taught 
 by Jurian Stur, of Hamburgh; on leaving 
 whom he went to Amsterdam, where he 
 became the scholar of Gerard Lairesse; 
 and soon imitated that artist so happily, 
 that the ideas, colouring, and pencilling 
 of the master were seen in the compositions 
 of the disciple. After some years' stay in 
 the Low Countries, he visited Italy, and 
 was invited to Florence by the grand duke, 
 from whom he received many marks of 
 honour and esteem, as he afterwards did at 
 the court of Brandenburg, where he was 
 made Director of the academy. He etched 
 a set of landscapes, with figures, in 1698; 
 and died in 1716. 
 
 LuBiENETZK.1 (Christopher). He was 
 the younger brother of the preceding, 
 and was born at Stettin in 1659. He also 
 was instructed by Jurian Stur ; and after- 
 wards by Adrian Bakker, of Amsterdam, 
 wliere he made painting his profession, 
 and rose into great credit ; the historical 
 pictures of his hand being highly com- 
 mended for invention and composition, cor- 
 rectness of design, and an agreeable tone 
 of colouring. He also succeeded well in 
 portrait. He died in Poland about 1720. 
 
 LucATELLi (Andrea). This artist 
 was born at Rome in 1540. He became 
 celebrated by his skill in painting the 
 views and ancient monuments about his 
 native city. He was also the first who 
 imitated the various shades of colour pro 
 duced by time upon stone and marble. 
 He had a great knowledge of the chiaro- 
 oscuro, and expressed admirably the light 
 of the sun upon objects at different hours 
 of the day. The bark and foliage of his 
 trees were characterized with the great- 
 est accuracy. His representations of 
 storms were striking, and the waterfalls 
 which he introduced had a fine effect. 
 His figures also were correct, and properly 
 dressed. He died in 1602. 
 
 LucATELLi (PiETRo). Hc was bom 
 at Rome in 1660, and studied under 
 Pietro da Cortona. He excelled in paint- 
 ing historical subjects for the churches 
 at Rome, and became a member of the 
 academy of, St. Luke in that city, where 
 he died in 1717. 
 
 LuiGHi (Antonio). This artist was 
 born at Bologna about 1685, and studied 
 under Giovanni Giuseppe del Sole. He 
 painted mostly for the churches, and 
 among his works are noticed as excellent, 
 Christ appearing to Mary Magdalen, and 
 St. Rita. He died in 1757. 
 
 LuiKEN, or LuYKEN (John). Hc was 
 born at Amsterdam in 1649, and learned 
 design and colouring under Martin Zaag- 
 moelen. He painted historical subjects 
 with success, and introduced a number of 
 figures in all his compositions, to which 
 he gave more expression than grace : but 
 his pictures are rarely to be met with in 
 these kingdoms, because he applied chiefly 
 to designing and engraving for the book- 
 sellers. He died in 1712; leaving a son 
 named Caspar, who was also an eminent 
 engraver at Amsterdam. 
 
 LuiNi, or LoviNi (Bernardino). This 
 artist derived his name from the place of 
 his birth, a town in the Milanese territory. 
 He is supposed to have been a pupil of 
 Leonardo da Vinci, whose style he closely 
 and successfully imitated. He painted 
 some capital pictures, tvro of which 
 namely, Mary Magdalen, and St. John 
 with a Lamb, in the Arabrosian Gallery at 
 Milan, may vie with the works of his 
 master, in sweetness, beauty, and expres- 
 sion. There is also a set of pictures by 
 him, the subjects of which are the life of 
 the Virgin, in which he has approached 
 very near to Raffaelle. These are in oil , 
 and his best work in fresco is an Ecce 
 
LUT 
 
 MAA 
 
 Homo in the Collegio del Sepolcro, at 
 Milan. He flourished between 1500 and 
 1550. 
 
 LuiNi (AuRELio). He was the son of 
 the preceding. He was born at Milan in 
 1530, and died there in 1593. His prin- 
 cipal painting is a representation of the 
 Baptism of Clirist, in the church of St. 
 Lorenzo. 
 
 Ldini (Tommaso). He was born at 
 Rome about 1597, and became an admirer 
 and imitator of Michel Angelo da Cara- 
 vaggio. His principal works are, St 
 Philip performing a Miracle, and the 
 flight into Egypt ; both exhibiting a bold 
 contrast of light and shadow. He died 
 young. 
 
 LuTi (Cavaliere Besedetto). This 
 painter was born at Florence in 1666, of 
 parents who were in low circumstances ; 
 yet, directed by his natural genius, he 
 amused himself with drawing, and became 
 so expert, without any instructor, that his 
 performances appeared surprising to 
 several artists. Some of his designs 
 having fallen under the observation of 
 Antonio Domenico Gabbiani, he soon dis- 
 cerned the talents of Luti, and asked 
 him if he were desirous to become a pain- 
 ter? The young man answering that it 
 was the utmost of his ambition, Gabbi- 
 ani took him as his pupil, and recom- 
 mended him to a nobleman, who became 
 his patron, and maintained him while he 
 pursued his studies. By the instructions 
 of Gabbiani, and his own application, he 
 made a rapid progress ; devoting all his 
 hours to study, and discoursing with his 
 master on such points as might best pro- 
 mote his knowledge of the true principles 
 of his art. He likewise accustomed his 
 eye and judgment to distinguish what 
 was most commendable in the taste and 
 style of different masters. This method 
 was attended with improvement ; and as 
 soon as he was qualified to commence 
 artist, he received the highest applause 
 from the judicious, for the elegance of 
 his design, the fine taste that appeared in 
 his compositions, and for his judicious 
 management of the cliiaro-oscuro. The 
 two first pictures which he offered to 
 public inspection were a Bacchanal, and 
 Endymion, as large as life. In his twenty- 
 fifth year he went to Rome, where he 
 studied the works of the most famous 
 among the ancients and moderns; and 
 afterwards painted, in a large size, the 
 Death of Abel. This picture was ex- 
 hibited to public view on the festival of 
 
 St. Bartholomew, and effectually esta- 
 blished his reputation. By order of the 
 pope he was appointed to paint a picture 
 of the ^prophet Isaiah, for the church of 
 St. John Lateran ; and he finished a 
 grand design, representing Mary Magdalen 
 anointing the Feet of Christ, which, in 
 the opinion of the best judges, had cor- 
 rectness in the design, harmony and 
 beauty in the colouring, variety in the 
 attitudes and airs of the heads, and an 
 elegant expression of the passions. He 
 received the order of knighthood from the 
 pope, and a valuable diamond cross from 
 the Elector of Mentz. His own portrait, 
 painted by himself, is in the Florentine 
 Gallery. He died in 1724. 
 
 LuTTEREL (Henry). He was born at 
 Dubhn about 1650, but was bred to the 
 law in London, which profession he 
 quitted to become the scholar of Ashfield, 
 the portrait painter in crayons. He soon 
 surpassed his master, and is said to have 
 almost equalled Holbein. He also found 
 out a method of drawing portraits with 
 crayons on copper, and touched every 
 part of his subject with so much softness, 
 as well as spirit, that many of his pictures 
 had a freedom of touch, like fine pencilling 
 in oil. A great part of his life was spent 
 in Dublin, where his paintings were ex- 
 ceedingly admired, but he returned again 
 to London, and practised mezzotinto en- 
 graving, in conjunction with Isaac Becket. 
 He died about 1710. 
 
 M. 
 
 Maas (Dirk, or Theodore). This 
 artist was born at Haerlem in 1656. At 
 first he was a disciple of Hendrick Mom- 
 mers, who commonly painted Italian mar- 
 kets, and particularly excelled in still life, 
 wliich subjects he introduced, such as 
 herbs, roots, fruits, and plants. But after 
 some time spent in practising under that 
 master, Maas, disliking his manner and 
 subjects, placed himself under Nicholas 
 Berchem, with whose style he was de- 
 lighted ; and in which he might have 
 made a considerable figure, if his attention 
 had not been withdrawn by seeing some 
 of the works of Huentenburg, which in- 
 spired him with a desire to imitate him ; 
 and from that time he gave himself up 
 entirely to paint battles, the chase, and 
 processions with cavalcades. He studied 
 horses after nature., and with great care 
 
MAB 
 
 MAC 
 
 observed all their motions, actions, and 
 attitudes, till he designed them with great 
 readiness, and with such a character of 
 truth, that he gained the reputation of 
 being a good painter in that particular 
 line. He came to England in the reign 
 of King WiUiam, and, while here, painted 
 a picture of the Battle of the Boyne for 
 the Earl of Portland. He also etched 
 some plates in a fine style. He died at 
 Haerlern in 1715. 
 
 Maas (Arnold Van). He was born 
 at Gouda in 1620, and became a disciple 
 of David Teniers the Younger, from 
 whom he acquired the art of imitating 
 simple nature. The meetings, dances, 
 weddings, and conversations of villagers 
 and boors, were his subjects, which he 
 executed with spirit and humour. Having 
 an earnest desire to improve his taste, he 
 travelled to Italy, and studied there for 
 some years ; but before he could reap the 
 fruits of his labour, he died, in 1664, on 
 his way home to his own country. A 
 great number of his drawings and designs 
 are still preserved in the collections of 
 the curious. 
 
 Maas (Nicholas). He was born at 
 Dort in 1632, and instructed in the school 
 of Rembrandt ; but soon quitted the man- 
 ner of that master, on finding the ladies 
 of his time too delicate to approve of so 
 dark a style of colouring in their portraits, 
 though it displayed abundant force. He 
 bad a ready pencil, and a spirited touch, 
 that proved very advantageous to him in 
 portrait painting, to which he confined 
 himself; and he was so much employed 
 in that way, that it was accounted a 
 favour to procure a picture painted by 
 him. It is recorded of this artist, that, 
 happening one day to pay a visit to Jor- 
 daens, in order to take a view of his pro- 
 ductions, and, being exceedingly struck 
 with the beauty of them, Jordaens asked 
 him what were the subjects he painted ? 
 Maas answered, that he was a designer of 
 portraits. To which the other replied, 
 " I pity you most sincerely for being a 
 martyr to that style of painting; in 
 which, let your merit be ever so great, 
 you are condemned to suffer the whim, 
 folly, impertinence, and ignorance of such 
 a number of both sexes." Maas died in 
 1693. 
 
 Maat, see Blanckhoff. 
 
 Mabuse, or Matjueuge (John de). He 
 was born at Maubeuge, a village in Hai- 
 nault ; according to one account, in 1492, 
 and to another in 1499 ; but, as he was 
 
 certainly in England before the year 
 1502, neither of those dates is correct. 
 It is not known from what master he de- 
 rived his knowledge of painting; but in 
 his youth he was laborious, and his prin- 
 cipal studies were after nature, by which 
 heacquired great truth in his compositions. 
 To improve himself he went to Italy, and 
 thereby became the first to show the 
 Flemish masters how to treat historical 
 and allegorical subjects in their composi- 
 tions, and also the art of representing the 
 naked in their figures, which, before his 
 time, had never been practised among 
 them. He bad a good pencil, and finished 
 his pictures highly ; yet, notwithstanding 
 his advantages in Italy, and the correct- 
 ness of his design, he never could arrive 
 at the elegance of the Roman School. 
 His manner was dry, stiff, and laboured, 
 but he was exceedingly industrious in 
 giving a polished smoothness to his colour- 
 ing. Our Henry VII. employed him to 
 paint the portraits of some of his children, 
 which gained him great reputation, as he 
 finished them delicately, and gave them 
 spirit and liveliness. While in England 
 he painted several others for the nobility. 
 One of the most capital of his works is 
 the altar-piece of the great church of 
 Middleburg, representing the Descent 
 from the Cross. That picture was so 
 highly commended, that it raised the cu- 
 riosity of Albert Durer, who took a journey 
 to Middleburg purposely to see it, and,, 
 after viewing it with fixed attention, he 
 expressed his satisfaction in strong terms. 
 But the chef-d'oeuvre of Mabuse is the 
 Virgin with the Infant, which he finished 
 while in the service of the Marquis of 
 Veren ; and in that subject he contrived 
 to pay an extraordinary compliment to 
 his patron, by making the heads of his 
 lady and son the models for both his 
 figures. He was immoderately given to 
 drinking; and it is said that, having re- 
 ceived, by order of the marquis, a piece of 
 brocade for a dress to appear in before the 
 Emperor Charles V., he sold it at a tavern, 
 and painted a paper suit so exceedingly 
 like it, that the emperor could not be con- 
 vinced of the deception till he felt the 
 paper, andexamined itwithhisown hands, 
 Mabuse died, it is thought, in 1562. 
 
 Macchi (Florid), a disciple of Lodo- 
 vico Caracci. He executed many pictures 
 at Bologna, among which, those of the 
 Crucifixion, in the church of St. Andrea 
 del Mercato, and the Raising of Lazarus, 
 in La Mort,may be deemed chefs-d'oeuvre. 
 
MAD 
 
 MAG 
 
 His principal work, however, is a grand 
 fresco, representing the Annunciation, in 
 the church of II Spirito Santo. Orlandi, 
 in his Abecedario, speaks of Macchi as an 
 engraver also, without giving any account 
 of the productions of his burin. Malvasia 
 states that this artist was born at Bologna, 
 and that he flourished about the year 
 1620. 
 
 Macchibtti (Girolamo), denominated 
 del Crocifissajo, from his father being a 
 manufacturer of crucifixes, was a native 
 of Florence, and was born in 1535. He 
 pursued his studies under Michele Ridolpo 
 del Ghirlandajo, and was subsequently 
 the scholar of Giorgio Vasari, whom he 
 assisted when painting the palace of the 
 Grand Duke at Florence. Macchietti re- 
 paired to Rome, where he continued for 
 two years, and on his return gained great 
 renown by producing the pictures of the 
 Adoration of the Magi, and the Martyr- 
 dom of St. Lawrence. Naples, Pisa, and 
 Benevento contain the principal produc- 
 tions of this artist. 
 
 Macerata (Giuseppino da), was born 
 at Macerata in 1600, and is reported to 
 have studied under Agostino Caracci. 
 His picture in the college at Fabriano, 
 representing the Annunciation, and his 
 frescoes at Venanzio, delineating several 
 miracles of the Apostles, exhibit strong 
 proofs of the Caracci school, as they dis- 
 play grandeur of style, and great chastity 
 of composition. At the Carmelites of 
 Macerata is a Virgin and Infant Jesus, 
 together with Saints Nicola and Girola- 
 mo ; at the Cappuccini is also a Christ 
 delivering the Keys to Peter, so much 
 like Guido's performance on that subject, 
 as to be a complete resemblance. 
 
 Machelli (Rolando). He was born 
 at Genoa in 1664, and died there in 1728. 
 He was a good painter of history and 
 portrait. 
 
 Macouet (C). He was a portrait 
 painter both in oil and miniature. One 
 of his best pictures is a three-quarter 
 portrait of Morier, the animal painter, 
 which has great merit. Macourt was a 
 German, and died in 1768. He belonged 
 to the chartered Society of Artists. 
 
 Maddeksteg (Michael). He was 
 born at Amsterdam in 1659, and was a 
 scholar of Ludolph Backhuysen, whose 
 manner he imitated with extraordinary 
 success, and proved one of the best artists 
 of that school. He spent a great part of 
 his life at the court of Berlin, and most of 
 his works are in that city, or in other 
 
 parts of Germany. lie died in 1709. 
 His sea-pieces and storms are painted with 
 great spirit, and in exact conformity to 
 nature. 
 
 Maes (Godfrey). He was born at 
 Antwerp in 1660, and instructed in the 
 art of painting by his father. But when 
 he was capable of further improvement, 
 he copied the most capital paintings in 
 the churches and cabinets of Antwerp, to 
 which he had free access ; and he likewise 
 studied after nature with equal assiduity 
 and care. At Brussels he made several 
 grand designs for tapestry, filled with 
 figures correctly drawn, well coloured, 
 and with a good expression, which gained 
 him so much credit, that he was even con- 
 sidered as a competitor with Rubens. He 
 was constantly employed for the churches, 
 and the palaces of the nobiUty, as also for 
 several foreign princes ; and his uncom- 
 mon talents procured him, in 1682, the 
 honourable office of Director of the Aca- 
 demy at Antwerp. In the church of St. 
 George he painted the history of the 
 Martyrdom of that Saint, for the great 
 altar-piece, which is accounted a noble 
 composition. For historical subjects he 
 was as eminent as any of his contempo- 
 raries. He dressed the heads of his figures 
 elegantly, and was a strict observer of 
 costume. His backgrounds were enriched 
 with architecture, landscapes, and the 
 vestiges of ancient magnificence ; his dra- 
 peries are simple, well cast, and in broad 
 folds ; his touch free and firm ; and his 
 colouring good. He died at Antwerp in 
 1722. 
 
 Maffei (Francesco) was a student 
 under Santo Peranda, but subsequently 
 adopted the manner of Veronese. Bos- 
 chini says, that Maffei was guilty of ex- 
 travagance, and a great mannerist, from 
 which that writer calls him " the painter 
 of giants." The works, however, of this 
 artist display such originality and grace, 
 that he may stand acquitted from this 
 imputation* In St. Michele's, at Vicenza, 
 is a St. Anna, and other productions in 
 the palace, which display all the vigour 
 of fancy, and exhibit the true glow of 
 Venetian colouring. Maffei, however, 
 did not finish in a manner calculated to 
 prolong his fame; many of his pictures 
 being now almost eff'aced. The true date 
 of this painter's birth is not ascertained ; 
 but it is conjectured that he lived in 
 1640. 
 
 Maganza (Giovanni Battista), the 
 Elder, received his education in the school 
 
MAG 
 
 M A L 
 
 of Titian, whose manner he imitated to 
 perfection. He did not, however, prove 
 so happy in historical as in portrait paint- 
 ing though specimens of the former are 
 handed down, combining peculiar chastity 
 and refinement of feeling. Maganza 
 equally shone as a poet in his day ; the effu- 
 sions of his muse appearing under the title 
 of Magagno. This artist, a native of Vi- 
 cenza, was born in 1509, and died in 1589. 
 Maganza (Alkssandro), a native of 
 Vicenza, was son of the foregoing. After 
 studying in the school of his parent, he 
 became the eleve of Antonio Fasolo, when 
 he applied himself to the manner of Ze- 
 lotti and Veronese. The Martyrdom of 
 St. Giustina, and the Adoration of the Magi, 
 both preserved at Vicenza, are the prin- 
 cipal works of this artist, who died at the 
 age of seventy-four, in 1640. 
 
 Maganza (Giovanni Battista), the 
 Younger, studied under his father, Ales- 
 sandro, and painted history in his manner, 
 proving nearly his equal in a delineation 
 of St. Benedetto, preserved at Padua. 
 This artist also assisted his father in 
 several performances executed at Vicenza, 
 in which city he received his birth, and 
 also became a victim to the plague in his 
 fortieth year, a. d. 1617. 
 
 Maggi (Giovanni), though a painter of 
 landscapes and architectural subjects, 
 figures more as an engraver. Having as- 
 sociated himself with Domenico Parasachi, 
 he executed a series of plates, representing 
 the most conspicuous fountains in Rome, 
 which work appeared in 1618. Independ- 
 ent of this, Maggi announced his intention 
 of giving, on a very extended scale, the 
 plan of Rome and its celebrated edifices; 
 this plan, however, failed, as amateurs 
 were not found to support the undertaking. 
 Maggi lived at the commencement of the 
 seventeenth century, and claimed Rome as 
 the place of his nativity. He died there 
 in 1679. 
 
 Maggiotto (IJoMENico). Thisartist was 
 born at Venice in 1677, and died there in 
 1719. He was much esteemed for his taste 
 in painting historical subjects. 
 
 Magistris (SiMONE de), flourished in 
 the Ecclesiastical States in the year 1585. 
 He was born at Caldarola, and proved 
 clever both as a painter and sculptor. His 
 pictures of St. Philip and St. James are 
 better composed than executed. At a later 
 period of his proficiency, he painted his 
 Madonna del Rosario, in" St. Domenico, at 
 Ascoli, which is much approved of by 
 Orsino. 
 
 Magnani (Cristofano), was a pupil of 
 Bernardino Campi. He painted history 
 and portraits with considerable success, 
 and was blessed by nature with so good a 
 memory, that he could sketch the portraits 
 of persons he had only once seen. His 
 works in fresco are beautiful, in which he 
 was assisted by Cavaliere Malosso and 
 Mainardi. This painter was born at 
 Pizzighettone, a castle in the environs of 
 Cremona, and arrived at his greatest ex- 
 cellence in the year 1580. 
 
 Magnasco (Albssandro), denominated 
 Lissandrino, was born at Genoa in 1681. 
 He was the son of a painter little known, 
 called Stefano Magnasco, a pupil of Va- 
 lerio Castelli. He painted and received his 
 education at Milan, being instructed by 
 Filippo Abbiati; aiid although he practised 
 in a style less bold than his master, he still 
 acquired much of his spirit and fire. Ma- 
 gnasco was fond of painting military 
 evolutions, public processions, and was 
 partial to what the Italians call the Bam- 
 bocciate. Lanzi distinguishes it by the 
 title of the M. A. della liattaglia, belong- 
 ing to the Genoese School. Many pic- 
 tures of this artist are to be seen in the 
 Palazzo Pitti at Florence, where he was 
 much noticed by the Grand Duke Gio- 
 vanni Guastone. Magnasco died in 1747. 
 
 Mainardi (Andrea), by some called 
 [I Chiaveghino, was brought up in the 
 school of Bernardino Campi, and proved 
 one of his best pupils. He executed, with 
 his nephew Marc Antonio Mainardi, many 
 considerable works at Cremona. His pic- 
 ture of the Marriage of St. Anna, in the 
 church of the Eremitani, is exquisite; 
 the beauty of the vestments, the symmetry 
 of the forms, and the harmony of the 
 colouring, with a little more touch of the 
 chiaro-oscuro, would have made it com- 
 plete. This painter did not always finish 
 well, and was often negligent and hasty. 
 He excelled most from the year 1590 to 
 1613. 
 
 Majoli, or Majola (Clejviente). This 
 artist was born at Ferrara in 1640, and 
 studied under Pietro da Cortona. He was 
 an historical painter; many of his pictures 
 embellish the churches at Ferrara; while 
 some in the Ilotonda at Rome are equally 
 admirable. Onein the church of St. Paolo, 
 at Ferrara, represents St. Maria Maddalena 
 de Pazzi; and in St. Giuseppe is St.Nicolo 
 da Tolentino, supported by an Angel. 
 
 Malagavazzo (Corioiano), born at 
 Cremonain 1555, was apupilof Bernardino 
 Campi, and aided hitn in the painting of 
 
MAL 
 
 322 
 
 MAN 
 
 some of his finest works in the church of 
 St. Gismondo. His best production is a 
 picture representing the Virgin and Child; 
 together with St. Francis and Ignatius; 
 which Lanzi mentions to have been de- 
 signed by Bernardino, in the church of St. 
 Silvestro at Cremona. He is more ac- ' 
 knowledged as the assistant of Bernardino 
 than on account of any productions of his 
 own. 
 
 Malinconico (Andrea), born at Naples 
 in 1600, was one of the best pupils of 
 Cavaliere Massimo Stanzioni. His fresco 
 works are not much known ; but Dominici 
 states, that the churches at Naples contain 
 numerous paintings in oil from the pencil 
 of this artist. In that of Miracoli are the 
 Four Evangelists, and the Doctors of the 
 Church ; considerably better than most of 
 his works, which are frequently charac- 
 terized by negligence. 
 
 Malo (Vincenzio). This artist was at 
 first a disciple of David Teniers, but after- 
 wards received improvement from the 
 precepts of Rubens. Under those eminent 
 artists he acquired a tint for colouring 
 that was exceedingly beautiful, which re- 
 commended his works to all the lovers of 
 the art; and at Genoa, Florence, Rome and 
 other parts of Italy, his performances rose 
 so high in estimation, that scarcely any 
 cabinet was without some picture of his 
 painting. He died at the age of forty-five. 
 
 Malombra (Pibtro). This artist was 
 a pupil in the school of Giuseppe Porta 
 whom some call Salviati. His designs 
 are more studied and laboured than those 
 of most of the Venetian painters. He 
 copied Palma, but avoided the meanness 
 of an imitator; and his pictures of the 
 Miracles of St. Francis de Paula, in the 
 church of that name at Venice, fully ex- 
 press his style. The historical subjects 
 of this artist are admirable; particularly 
 those of the easel size. He was equally 
 capitalinportrayingthe architectural views 
 of noted places in Venice, embellishing 
 them with figures, beautifully arranged, 
 and imagined with considerable ease and 
 symmetry. Malombra also produced many 
 portraits. He was born at Venice in 1556, 
 and died in 1618. 
 
 Maltese ( ). No particulars re- 
 lative to the birth, the country, or instructor 
 of this master are mentioned by Sandrart, ' 
 or any of the biographers; but the subjects 
 which he painted were fruit, jewels, shells, 
 or musical instruments, placed upon tables 
 covered with rich carpets or tapestry; and 
 as he understood the chiaro-oscuro tho- 
 
 roughly, he gave every object a roundness 
 and relief that is wonderfully strong, by a 
 judicious distribution of the masses of 
 light and shadow. His touch is bold and 
 free, and his tone of colouring natural ; 
 but many of his compositions appear 
 crowded and encumbered; nor has he 
 always the most agreeable choice and dis- 
 position. The manner of his pencilling 
 was particular; for in the carpets which 
 he painted, he left the touchings as rough 
 almost as the real carpets; but his work 
 had generally a striking effect, and was 
 excellent in its kind. 
 
 Man, or De Maan (Cornelids de). 
 He was born at Delft in 1621, and having 
 learned the principles of tlie art in his own 
 country, determined to improve himself 
 by travelling to Italy. In his progress lie 
 passed through Paris, directing his course 
 to Florence, where he was detained two 
 years, being importuned to work there for . 
 a nobleman. But as soon as he arrived at 
 Rome, he diligently sought the most cele- 
 brated paintings, and studied them without 
 intermission, being solicitous to obtain a 
 good taste for design. To perfect himself 
 in colouring, he next went to Venice, to 
 study the works of Titian. After residing 
 there some years, he returned to Delft 
 with many accomplishments, and gave 
 such incontestable proofs of his merit, that 
 he received all possible encouragement. 
 In the great hall of the physicians and 
 surgeons, he painted one picture, which is 
 accounted equal almost to any master of 
 the first rank. The subject is a repre- 
 sentation of the portraits of the most 
 eminent members of the faculty of that 
 time, disposed in an historical style. It 
 is much in the manner of Titian, and is 
 still esteemed an admirable model for all 
 painters of portraits. Man died in 1706. 
 
 Manaigo (Silvester). This master 
 was excellent in composition and design, 
 having studied with attention, not only the 
 antique but nature also, with intelligent 
 observation. His figures are correct and 
 well grouped, and many of his characters 
 have a just and strong expression, with 
 considerable grace. The extensive genius 
 of this painter may be estimated by one 
 historical composition, of which the subject 
 is Joseph sold by his Brethren. In that 
 design the characters are marked with 
 judgment; the dejection of Joseph is ap- 
 parent at the first view, but the expression 
 of Reuben, or Judah, standing behind him, 
 is true nature, and worthy of the greatest 
 painter. There is a print after tlxis paint- 
 
r 
 
 MAN 
 
 323 
 
 MAN 
 
 ' ing, the original of which was in the pos- 
 session of Giuseppe Pedrini, at Venice. 
 In the church of St. Felix, in the same 
 city, is a capital design of Manaigo, repre- 
 senting Our Saviour driving out the 
 Buyers and Sellers from the Temple, which 
 is extremely admired: also in the church 
 of St. Eustachius is the picture of St. 
 Matthew, painted in a very grand style, 
 though the colouring partakes rather too 
 much of the gray. 
 
 Manchetti (Miciiele), studied at Na- 
 ples, and was the pupil of Marco di Pino^ 
 Domenico says he was born at Genoa in 
 1550, and acquired great merit in painting- 
 historical subjects. There is a picture in 
 the church of St. Agnelio at Naples, of 
 the Virgin and Child, with St. John, Mary 
 Magdalen, and St. Lucia, which he painted 
 about the year 1586. 
 
 Mandtn (John). He was born at Ilaer- 
 lem in 1450; and became celebrated for his 
 ingenuity in painting grotesque subjects, 
 after the manner of Jerome Bos. He died 
 at Antwerp about 1510. 
 
 Manetti (RuTiLio). He was born at 
 Siena in 1571, and received his instruction 
 in the school of Francesco Vanni, in that 
 city; he exerted himself in imitating the 
 manner of his master, and at last succeeded 
 so happily, as to resemble him strongly in 
 his colouring and graceful ideas, but his 
 manner of pencilling was different. He 
 painted excellently in fresco as well as in 
 oil; and his works were so highly esteemed 
 in Florence and Pisa, that few chapels 
 were without some of his performances. 
 He had a fine invention, an elegant disposi- 
 tion of his figures, and considerable grace, 
 which were improved by a pleasing tone 
 of colour. He died in 1639. 
 
 Manetti (Domenico). He was par- 
 ticularly famous for painting historical 
 subjects of the easel size, many of which 
 are in private collections at Siena. He 
 is supposed to have been related to the 
 preceding painter. One of Manelti's pic- 
 tures is particularly noticed by Lanzi in 
 the Casa Magnoni, being a spirited de- 
 lineation of the Baptism of Constantine. 
 
 MANrBEDi (Baetolomeo). He was 
 born at Mantua in 1574, and at first was 
 a disciple of Pomerancio; but afterwards 
 being delighted with the style of Cara- 
 vaggio, he became a disciple of that master, 
 and afterthe practiceof afewyearsimitated 
 his manner with such exactness, that some 
 of his paintings have been taken for the 
 work of Caravaggio. His general subjects 
 were corps-de-garde, soldiers, or peasants 
 
 gaming with cards and dice, or fortune- 
 tellers; and he usually painted his figures 
 as large as life, and no lower than the 
 middle, in imitation of the master whom 
 he admired. Manfredi had a free, firm 
 pencil; his colouring possessed great force; 
 and his skill in the chiaro-oscuro enabled 
 him to give his pictures a striking effect, 
 by broad masses of light and shadow; 
 though sometimes his colouring appears too 
 black. This artist shortened his days by 
 a dissolute and irregular life; and as he 
 died young, his paintings are exceedingly 
 scarce, and rarely to be purchased. His 
 most capital picture is the story of Her- 
 cules delivering Tityus from the Vulture. 
 
 Manglard (Adrian), was born at Lyons 
 in 1 696, and met with great success at Rome, 
 whither ho went very young. He was 
 particularly clever at landscapes and sea- 
 pieces, which he painted for the Albani 
 Villa, as also for the Palazzo Colonna and 
 Rospigliosi. There are many beautiful 
 etchings from Manglard's productions of 
 sea-pieces, as well as landscape scenery, 
 designed by himself. This painter died at 
 Rome in 1760. 
 
 Maxini (Gaetano). He was a native 
 of Milan, and on visiting England, 
 assumed the title of Cavalier, to which he 
 certainly had no claim on account of his 
 pictorial talents. His pictures weregaudy, 
 but ridiculous. He exhibited with the 
 chartered Society of Artists in 1775, and 
 is supposed to have died about 1790. 
 
 Mannozzi (Giovanni), called Giovanni 
 da San Giovanni. He was born in 1590, 
 and instructed in design and colouring by 
 Matteo Roselli, with whom he studied 
 several years, and distinguished himself as 
 an excellent artist, and one of the best 
 fresco painters in Italy. His extraordinary 
 merit recommended him to the favour of 
 Cardinal BentivoglioatRome, by whom he 
 was employed to paint a picture of Night, 
 as a contrast to the Aurora of Guide. Such 
 an undertaking, though deemed suitable 
 to his genius and abilities, rendered him an 
 object of envy among the painters of an 
 inferior class. As soon, therefore, as he 
 had made a considerable progress in his 
 work, and received applause for his effort, 
 he found the whole paintingalmost defaced 
 and destroyed when he returned to finish 
 it in the morning. The cardinal expressed 
 a proper indignation at this malice, and 
 took every method to discover the crimi- 
 nals, but without effect. At last his 
 eminence being prevailed on to permit 
 Mannozzi to begin a new picture, he de- 
 
MAN 
 
 MAN 
 
 ter mined to find out the person who had 
 been guilty of the injury, communicated 
 his intention to a friend, and both agreed 
 to conceal themselves at night on the 
 scaffold, being persuaded that the same 
 person would make a second attempt. 
 About midnight, when all was silent, two 
 persons approached, one of whom had a 
 lantern in his hand. Mannozzi suffered 
 them to ascend the ladder, but just as they 
 reached the scaffold, he and his friend 
 Furini threw them off, by which they were 
 so dreadfully bruised, as to be rendered 
 incapable of stirring till daylight, when 
 they were discovered to be two French 
 painters who worked in the same palace. 
 After this Mannozzi proceeded in his 
 labour without disturbance, and obtained 
 the highest praise for the taste, judgment, 
 and beauty of his performance. He had 
 great freedom of hand ; was correct in his 
 design and outline; and remarkable for 
 having an agreeable as well as a new 
 manner of composition. He is liable, 
 however, to censure on account of his 
 extravagant flights, and especially for the 
 introduction of female angels among his 
 celestial characters. He died in 1636. 
 
 Mantegxa (Andrea), called Cuvaliere. 
 This great artist was born at or near Padua 
 in 1431. His origin was low, and in the 
 early part of his life he was employed to 
 attend cattle; but his genius being dis- 
 covered by Squarcione, he adopted him as 
 his son, and gave him a good education. 
 Such was his proficiency, that at the age 
 of seventeen he painted a picture for the 
 grand altar of St. Sophia at Padua, which 
 acquired him great commendation ; as it 
 had not the least appearance of a juvenile 
 composition or execution, but looked like 
 the performance of an experienced master. 
 He studied the antique with a kind of 
 enthusiasm, and preferred the knowledge 
 he derived from thence to every other 
 branch of science in that art; but by this 
 means he neglected to add the truth and 
 tenderness of nature to the taste he had 
 formed from the antique sculptures; con- 
 tenting himself with mixing a few portraits 
 among the figures of his compositions. 
 However, some of his paintings have real 
 merit in particular parts; though his 
 manner is rather dry, and his pencil stiff. 
 His draperies are usually deficient in 
 elegance, by being broken into too many 
 small folds, which was perhaps in a great 
 measure owing to the manner practised by 
 the painters of that time; but for correct- 
 ness of design his pictures may be com- 
 
 pared with those of the best masters. The 
 keeping is excellent; and the skill he had 
 in perspective, which branch was either 
 not well understood, or much neglected 
 by his contemporaries, gave his works an 
 additional recommendation, by infusing 
 into them an appearance of truth as well 
 as an air of novelty; his perspective being 
 at the same time true and ornamental. 
 Mantegna showed particular excellence in 
 the foreshortening of tliose figures which 
 were placed in a position to require it. 
 In this respect good painters are often 
 faulty, and, even when correct, are apt to 
 be ungraceful; but more perfect truth in 
 figures of that kind than in those of Man- 
 tegna cannot be produced ; added to which, 
 they uniformly abound in peculiar grace. 
 His most capital work is the Triumph of 
 Julius Caesar; consisting of several pic- 
 tures which enriched the royal collection 
 at Hampton Court. That work was per- 
 formed for the Marquis of Mantua, who, 
 out of regard to this painter's merit in 
 that composition, conferred on him the 
 honour of knighthood, and loaded him with 
 considerable presents. This master is also 
 accounted by the Italians the inventor of 
 the art of engraving. He died at Rome 
 in 1517. 
 
 Mantegna (Francesco). The most 
 perfect pupils of Andrea Mantegna were his 
 two sons, one of whom was Francesco. 
 The father left many frescoes unfinished, 
 which they completed, particularly the 
 Camera degli Sposi at Mantua; the dome 
 of the castle displaying this work, which 
 excites great admiration, owing to the 
 peculiar grace of its figures. Francesco 
 also painted two laterals to complete the 
 altar in St. Andrea's church, which per- 
 formance was begun by his father. 
 
 Mantuano, see Marcello Venusti. 
 
 Mantuano (Rinaldo), was born at 
 Mantua; and in the church of St. Agnese, 
 of that city, is a picture of the Virgin and 
 Child by this painter, together with Sts. 
 Agostino and Girolamo. There is a sub- 
 limity in the compositions of Mantuano far 
 beyond his age, and his premature death is 
 therefore much to be regretted, as he 
 was considered the most complete artist 
 of his time. So eminent were the talents 
 of this painter, that it was even supposed 
 he borrowed his outlines from his master 
 Giulio Romano. 
 
 MANzuoLi(MAso),bysomedenominated 
 Maso diSan Friano, was a disciple of Pier 
 Francesco da Jacopo, and subsequently of 
 Carto Portelli. He was born at Florence 
 
MAR 
 
 MAR 
 
 in 1536, and considered equally eminent 
 with Battista Naldini, and Alessandro 
 AUori. This praise will not appear ex- 
 aggerated to those wlio have inspected 
 his beautiful work of the Virgin's Visit to 
 St. Elizabeth, heretofore in the church of St. 
 Peter at Florence, but subsequently trans- 
 ported to the Vatican at Rome. This 
 admirable painting was executed when 
 Manzuoli was only thirty years old ; it is 
 the best of his compositions, and the most 
 finished painting from the School of 
 Florence of that period. This painter 
 died in 1575. 
 
 Makacci (Giovanni). He was born at 
 Lucca in 1637, and taught the principles 
 of design by Tietro Paolini; but at the age 
 of fourteen he went to Rome and entered 
 the academy of Pietro da Cortona. By 
 the precepts and admirable example of that 
 excellent master, the proficiency of his 
 pupil appeared surprising; and Maracci 
 having experienced the advantages to be 
 derived from so able a director, continued 
 with him eleven years. At his return to 
 Lucca he found immediate employment, 
 and his works were uncommonly applauded. 
 The judicious commended him highly, as 
 well for the excellence of his taste and 
 design, which was entirely of the Roman 
 School, as for the goodness of his invention 
 and expression ; the elegant disposition of 
 his figures; the graceful airs of the heads; 
 and a tint of colour that was exceedingly 
 agreeable. He d'ed in 1704. 
 
 Maratti (Carlo), Cavaliere. This emi- 
 nent painter was born at Camerino, in 
 the marquisate of Ancona, in 1625, and 
 was the disciple of Andrea Sacchi; with 
 whom he pursued his studies for a great 
 many years, and was so fondly attached 
 to that great master, that nothing but the 
 death of Andrea could separate them. 
 The most admired statues of the ancients, 
 and celebrated paintings of the best of his 
 predecessors, were the objects of his per- 
 petual attention and imitation ; till he had 
 made himself master of the most beautiful 
 forms, and graceful attitudes and airs of 
 heads. Those he sketched with the utmost 
 facility, and conveyed such dignity, beauty, 
 and elegance to his own compositions, as 
 surpassed the works of all his contem- 
 poraries. Maratti's manner of designing 
 was grand, and his mode of thinking and 
 composing truly noble as well as judicious ; 
 his ordonnances were rich and magnificent, 
 and his expression lively and atFecting. 
 His colouring generally displays uncom- 
 mon clearness and brilliancy, and his 
 
 carnations are tender and delicate, especi- 
 ally in his early and middle time of painting ; 
 but many of his pictures appear at this 
 day rather too strongly tinted with red, 
 which takes off considerably from the lustre 
 of his colouring. His touch is lively and 
 exquisite, and his draperies have a noble 
 variety, being managed w ith peculiar art 
 and j udgment. In the attire and ornamen ts 
 of the heads of his figures, and in the dis- 
 tribution of the hair, there is somewhat 
 that looks great, and at the same time 
 natural, easy, and becoming ; and although 
 in several of his compositions an accidental 
 incorrectness may be found in the ex- 
 tremities, yet, generally speaking, they 
 are correct and elegantly turned; and the 
 tout ensemble displays a grace that can 
 scarcely be enough admired. As his first 
 performances were principally Madonnas, 
 the contemporary artists, who began very 
 early to observe and envy his merit, gave 
 him the nickname of Carluccio delle Ma- 
 donnine, as if his genius in composition 
 was limited to that one subject, and could rise 
 no higher. However, he soon gave such 
 manifest proofs of an extensive and en- 
 larged genius as convinced the world of 
 the superiority of his talents. Marattf. 
 received the honour of knighthood as a 
 public testimony of his merit, and he has 
 been more respected and admired than any 
 of the modern painters. While he was 
 alive his works were sold at prodigious 
 prices, and they still retain their value in 
 every part of Europe: they are in the 
 greatest esteem with the present age, and 
 are hkely to be equally sought after by 
 posterity. The last work of Carlo is in 
 the Carthusian convent at Naples, repre- 
 senting the Baptism of Christ. It is finely 
 designed, yet one cannot help observing 
 the decay of that masterly hand in the 
 style of its execution. A very capital pic- 
 ture by Maratti is in the cathedral church 
 of Siena; its subject is the Visitation of 
 the Virgin ; theprincipal figure, equally with 
 that of St. Anne, being extremely beautiful ; 
 the draperies are elegantly cast in broad 
 folds, the colouring good, while abundance 
 of grace appears in the airs and attitudes. 
 There are, however, defects in the feet and 
 head of another of the figures in the com- 
 position, though, upon the whole, it is 
 an excellent performance. In the same 
 church also, is a Flight into Egypt, by 
 this master, in which the head of the 
 Virgin is in a fine taste, and of a noble 
 character, but that of Joseph cannot be 
 commended. In the Palazzo Arnaldi at 
 
M A R 
 
 MAR 
 
 Florence is preserved a very pleasing pic- 
 ture, representing Venus on a couch. The 
 figure is lovely, and the attitude graceful, 
 though the colouring is a little too red. 
 He died at Rome in 1713. 
 
 Marc (Estevan), was born at Valencia, 
 in Spain. He painted many historical 
 subjects, as well as battles, the latter being 
 his best performances. Palomino says 
 he was a pupil of Pedro Ornento; there is 
 an altar-piece by him of the Last Supper, 
 in the church of San Juan de Marcado, at 
 Valencia, much admired; he also executed 
 a large painting of the Marriage at Cana, 
 for the Bueno Retiro; and some battle- 
 pieces are also to be seen in the above place. 
 This painter lived to an old age, and died 
 in 1660. 
 
 Marc (Miguel), painted battles, as 
 well as history, though far inferior in ex- 
 cellence to his father, the foregoing artist. 
 His most complete picture is the Death 
 of St. Francis, which may be seen at the 
 Franciscan church at Valencia. Marc 
 was born in 1633, and died at Valencia in 
 1670. 
 
 Makca (Giovanni Battista Lombar- 
 DELLi), was a pupil of Marco Marchetti 
 daFaenza. Baglioni observes that, during 
 the time of Gregorj' XHL, he closely 
 followed the works of Raffaellino da 
 Reggio, in conjunction with whom he 
 painted some frescoes in the Vatican. 
 Marca also completed several pictures 
 descriptive of the Life of St. Francis, be- 
 longing to the church of St.Pietro Mon- 
 torio. There is, besides, another from his 
 pencil, displaying the Resurrection, at St. 
 Maria de Monti ; while many more of his 
 paintings are to be found in churches at 
 Montenuovo. This artist was fifty-five 
 at the period of his death, which occurred 
 about the year 1587. 
 
 Marcel (N.). He was born at Frank- 
 fort in 1628, and became the disciple of 
 George Flegel, or Vlughels, whosemanner 
 he imitated, but proved far his superior 
 in the subjects which he painted, such as 
 vases filled with different kinds of fruit 
 and flowers, and curious shells, all which 
 he copied exactly from nature, and finished 
 highly, with a light touch and natural 
 colouring. He died in 1683. 
 
 Marcei.ltis (Otiio). There is con- 
 siderable difficulty in endeavouring to as- 
 certain to whom this Dutch painter was 
 pupil, his excellence being of a singular 
 description, extending itself to extraor- 
 dinary ramifications of the art, as he de- 
 lineated plants, insects, and reptiles, which 
 
 were imitated with such peculiarexactitude, 
 that they excited universal admiration. 
 Marcellus visited Paris, upon which occa- 
 sion his abilities received from the French 
 queen the most ample remuneration. He 
 also repaired to Florence, where innumer- 
 able favours were conferred upon him by 
 the grand duke, and at which city he re- 
 mained some time. This painter copied 
 only from nature, and was consequently 
 obliged to keep by him all kinds of scarce 
 animals, and every species of curiosity. 
 His pictures are particularly prized in 
 Holland, as there is scarcely any good 
 collection without them. Marcellus was 
 born at Amsterdam in 1613, and died 
 there in 1673. 
 
 Marchesi (Giuseppe il Sansone). 
 This artist was born at Bologna about 
 the year 1 699. He commenced his career 
 under Marc Antonio Franceschini and 
 subsequently practised with Aureliano 
 Milani ; he combined the brilliant colour- 
 ing of Marc Antonio with the perfect out- 
 line of Milani, and painted many beautiful 
 pictures for the churches of Bologna. 
 There is also a fine performance of St. 
 Ambrose resisting the Entrance of the 
 Emperor Theodosiusinto the Temple. The 
 Nativity of the Virgin in La Madonna di 
 Galeria, as well as that of the Resurrection 
 in St. Croce, are finished after the best 
 manner of Franceschini : his celebrated 
 picture of the Martyrdom of St. Prisca, in 
 the church of Rimini, seems to be an imi- 
 tation of the St. Agnes of Domenichino. 
 The Four Seasons, by this painter, are 
 considered by Lanzi as the most complete 
 specimens of the Bolognese School. 
 
 Marchesiki(Alessandro). This artist 
 was a native of Verona, and born, says 
 Orlandi, in 1664. He was in the first in- 
 stance a pupil of Biagio Falaeri, and, when 
 young, received some instructions from 
 Carlo Cignani at Bologna. This artist was 
 very successful in historical pieces, and 
 composed several works for the churches 
 of La Madonna della Scala, Biagio, and 
 other buildings. Marchesini lived for a 
 period at Venice, and employed himself on 
 historical and other subjects, which par- 
 took of more celerity in execution than 
 neatness or merit in style. He died in the 
 year 1740. 
 
 Marchetti (Marco da Faenza), so 
 named by Baglioni, lived at Rome during 
 the pontificate of Gregory XIH. He 
 was very eminent in grotesque and 
 arabesque designs, and painted the loggie 
 of the Vatican in that style; this artist was 
 
M A R 
 
 MAR 
 
 also clever in other branches of the art, 
 particularly historical subjects, which 
 were well imagined and ably executed. 
 There is a picture by Marchetti in the 
 Vatican, representing Herod's Slaughter 
 of the Innocents and several others of the 
 History of St. Francis di Paola, in Trinita 
 di Monti; he also painted for some time 
 in the Palazzo Vecchio at Florence, for 
 Cosmo I. He died in 1588. 
 
 MABCni(GlUSEPPEFlUPPoLlBERATl). 
 
 This worthy man was a native of Rome, 
 where he became the pupil of Sir Joshua, 
 then Mr. Reynolds, and accompanied him 
 to England. The first picture exhibited 
 in London by that great artist was a por- 
 trait of Marchi, in a Turkish dress, of 
 which there has been an engraving. About 
 1770 he attempted business on his own 
 account, first in the metropolis, and next 
 in Wales; but not meeting with success as a 
 portrait painter, he returned to Sir Joshua, 
 and continued to live M'ith him till 
 his patron's death. Marchi died in 1808 : 
 he engraved some plates after the pictures 
 of Sir Joshua ; but as a painter he never 
 rose above mediocrity. 
 
 Marciiis (Alessio de), was a painter 
 in the year 1710, and born at Naples. He 
 imitated Salvator Rosa, and produced land- 
 scapes, towns in flames, and views of sea- 
 ports. The works of Marchis, at Perugio 
 and Urbino, are much extolled ; and he 
 was so fond of following nature, that he 
 caused a barn to be fired for the purpose 
 of copying the conflagration ; which act 
 being traced to him he was condemned to 
 slavery for some years; but under Pope 
 Clement XI. he was released, and adorned 
 the palace of Urbino M'ith many of his 
 best paintings. In the Palazzo Semproni 
 is preserved a beautiful picture of this 
 artist, being a most masterly representa- 
 tion of the Burning of Troy, which very 
 justly holds a distinguished place in that 
 collection. 
 
 Marcilla, or Marsiolia (Gugi.ielmo 
 da), was born at Marseilles, and became 
 a monk, when very young, in consequence 
 of having been engaged in a rencontre, 
 which proved fatal to one of the parties. 
 He afterwards fled from the monastery, 
 and was secularized in Italy, where he 
 made himself famous at Arezzo by his 
 wonderful paintings on glass, for which 
 he was invited to Rome by Julius II. This 
 artist painted for his patron several pic- 
 tures in fresco, and many on glass. He 
 also designed and finished the Evangelists, 
 in the manner of M. A. Buonarroti. Ilis 
 
 frescoes, like his master's, are deficient in 
 brilliancy and tone; but his performances 
 on glass, when opposed to the sun, produce 
 all the glowing tints of the most exquisite 
 colouring. Marcilla was born in 1475, 
 and died in 1537. 
 
 Marconi (Rocgo), was born at Tre- 
 vigi, and painted about the year 1505. 
 Zanetti observes, with great probability, 
 that he was a pupil of Giovanni Bellini; 
 but Ridolphi classes him with the scholars 
 of Palma. Marconi was famous as a 
 colourist, and a good designer, but hard in 
 his figures, and mean in characteristics. 
 One of his first works is preserved in tho 
 church of St. Nicolo, bearing date 1505 ; 
 but his most perfect figure is the Adul- 
 teress before Christ, in the Georgio Mag- 
 giore. 
 
 Marcucci (Agostino) was educated at 
 Bologna, though a native of Siena, and 
 brought up in the school of Caracci. He 
 attached himself, however, to a rival esta- 
 blishment under the management of Pietro 
 Pacini. Some of the works of this painter 
 arein the churches at Bologna, the subject 
 of one being the Death of the Virgin. 
 
 Marescotti (Bartolomeo). This ar- 
 tist was born at Bologna in 1591, and 
 educated in the school of Guido Reni, 
 whom he attempted to copy, without suc- 
 cess. Some of his pictures are preserved 
 in the churches at Bologna; the Martyr- 
 dom of St. Barbara is in St. Maggiore ; 
 in the church of St. Stefano, the Virgin 
 Crowned; and the Condemnation of St. 
 Sigismond adorns the edifice dedicated to 
 that saint. He died at Bologna in 1630, 
 
 Margaritone ( ). This ancient 
 
 master was born at Arezzo in 1198, and 
 painted in the taste and manner of those 
 Greek artists who contributed to the revival 
 of painting in Italy. He worked in fresco 
 and distemper ; painted in a small as well 
 as a large size ; and was eminent also as 
 a sculptor and architect. The art of gild- 
 ing with leaf-gold upon Armenian bole 
 was first invented by him ; and at Pisa he 
 painted the legendary history of St. Francis, 
 with a number of small figures, on a gold 
 ground. Many of his- works were at St. 
 Peter's, and in the church of St. John 
 Lateran, at Rome: several were likewise 
 in his native city, and others at Florence 
 and Pisa ; by which he gained the reputa- 
 tion of being the best painter of his time. 
 When Pope Gregory X. died at Arezzo, 
 Margaritone was appointed to erect his 
 monument, and to adorn the chapel where 
 he was interred ; by which means, a lucky 
 
MAR 3 
 
 opportunity was afforded him of displaying 
 his abilities ; for lie not only sculptured 
 the statue of the Pope, which was placed 
 on his tomb, but he also decorated the 
 chapel with the portrait of that pontiff, and 
 many other paintings. He died in 1275. 
 
 Mabi (Alessandro), was a native of 
 Turin, and born in 1650. He studied 
 first under Domenico Piola, of Genoa, 
 and afterwards at Venice, with Cavaliere 
 Liberi. He then visited Bologna, and 
 spent some time in the school of Lorenzo 
 Pasinelli ; many of his works adorn the 
 churches, of that city ; the Crucifixion, 
 find Martyrdom of St. Sebastian, in St. 
 Barbaziano, being the most admirable of 
 his performances. This painter resided 
 principally at Milan, and gained great 
 success in imitating the ancient masters. 
 He died at Madrid in 1707. 
 
 Makia (Cavaliere Ebcole), some- 
 times named Ercollino di Guido, was born 
 at Bologna, and became a very able pupil 
 of Guido Reni, whose works he copied 
 with such astonishing fidelity and judg- 
 ment, that his master frequently mistook 
 them for his own performances. Guido 
 having left a picture unfinished, Maria 
 imitated it so exquisitely, that, placing the 
 canvass upon the easel, Guido prepared to 
 finish the design without discovering the 
 imposition. His talents, although limited 
 to copying, acquired him great patronage 
 at Rome, where Urban VI H. signalized 
 and knighted him. Maria died at the 
 above city in 1640, quite young, thougli 
 his age is not ascertained. 
 
 Maria (Francesco di), a Neapolitan, 
 was born in 1623. He was a pupil of 
 Domenichino, and studied the same sub- 
 jects as his master with the greatest atten- 
 tion. He endured with patient fortitude 
 the insults of contemporary painters, who 
 accused him of a want of energy, and 
 these revilings followed this artist to the 
 grave. His pictures are not numerous, 
 but those identified as being from his 
 pencil are highly valued, and sometimes 
 taken for the works of Domenichino. 
 Maria was also an excellent portrait 
 painter; and Lanzi observes, that one 
 performance by him, shown at Rome, 
 with two others from the pencils of Van- 
 dyck and Rubens, claimed the preference 
 from the fiat of Nicolo Poussin, Andrea 
 Sacchi, and Pietro da Cortona. This 
 painter died in 1690. 
 
 Mariaxi (Giovanni Maria), lived 
 about the year 1655, and was born at 
 AscolijWhenValerioCastellipaintedunder 
 
 !8 M A R 
 
 Domenico Fiasella; when he joined with 
 him, and acquired great fame at Genoa, 
 both in fresco and oil painting. In St. 
 Jacopo is a picture of the Chi-istening 
 of that saint, considered a very good 
 specimen of the time. Mariani resided 
 for a period at Rome, and was admitted a 
 member of that academy in 1650. He 
 painted some historical subjects, which are 
 still extant at Genoa and Florence; and an 
 admirable picture of the Rape of the Sab- 
 ines is also in the GalK ry of the latter city. 
 
 Marienhof ( ). This artist was a 
 
 Dutchman, and born at Gorcum in 1650. 
 He entirely employed himself in imitating 
 the works of Rubens, and resided chiefly 
 at Brussels, wliere he painted many his- 
 torical pictures after the school of that 
 master, and several good ones, from his own 
 designs, in small. He died at Brussels, 
 in 1712. 
 
 Marieschi (Michelb), was a Venetian 
 artist, who painted in perspective, and 
 acquired great celebrityin sketching archi- 
 tectural plans. He resided in Germany 
 for a considerable time; but on his return 
 to Venice, executed many beautiful views, 
 some of which he etched in a very superior 
 manner. 
 
 Marieschi (Jacofo), was a native of 
 Venice, and son of Michele: he received 
 the first rudiments of the art from his 
 father, and was afterwards pupil of Gas- 
 pard Diziani; his forte, like his father's, 
 consisted in architectural designs, and 
 scenes in Venice, and he also copied Cana- 
 letti. Jacopo was born in 1711, and 
 died in 1794. 
 
 Marinari (Onorio.) He was bom ia 
 1627, and was the disciple of Carlo Dolce, 
 by whose instruction, and his own assiduity 
 in studying the works of the old masters, 
 he acquired a good taste and great cor- 
 rectness of design. His ambition was to 
 imitate the style of his instructor, and his 
 endeavours were attended with a success 
 equal to his wishes. There appeared so 
 great a similitude in the colouring and 
 high finishing of these two artists, that it 
 proved no easy matter to distinguish their 
 pencils; though, in the choice of his 
 subjects, in disposing them with elegance, 
 and in giving them harmony and expres- 
 sion, Marinari was thought to have the 
 superiority. In portrait painting his 
 style was excellent, and the resemblances 
 a:^tcnishing: his colouring was life itself; 
 and he showed an equal degree of merit 
 in historical compositions. Two charming 
 pictures painted by him are the Judgment 
 
MAR 
 
 of Paris, and Diana with her Nymphs 
 Bathing. These are said to have been sent 
 to England. After the death of Carlo 
 Dolce, Marinari finished sevei'al pictures 
 which were left imperfect by that master, 
 and executed them with exact similarity 
 of touch and colour. He possessed a 
 fruitful and fine invention, and was uni- 
 versally esteemed for the beauty of his 
 colouring, the happy distribution of his 
 liglits, the noble airs of his heads, the de- 
 cency and grace of his naked figures, 
 and the correctness of his design. He 
 died in 1715. 
 
 Marinas (Enkico te las). This 
 Spanish painter was born at Cadiz in 1610, 
 and obtained the name of Marinas from 
 his subjects, which were ships, boats, 
 storms, and calms with views of seaports, 
 which he painted with great spirit and 
 exactness. He died at Rome in 1680. 
 
 Marini (Benedktto). This artist was 
 born at Urbino, and was apupil of Claudio 
 Ridolfo. He resided some time at Pia- 
 cenza, where he combined the Lombard and 
 Venetian Schools, in wluch st^le he de- 
 signed several altar-piece?. Tliat of the 
 Loaves and Fishes is the most perfect of 
 his pictures, and combines the greatest 
 skill and art ; which performance decorates 
 the refectory of the Conventuali. This 
 picture was painted in 1625, and aiFords 
 incontestable proof that his genius was 
 more brilliant than that of his master, 
 although in the principles of the art he 
 was not so perfect. 
 
 Mario (da Fiori), see Nuzzi. 
 
 Mariotti ( ). We believe this 
 
 painter was an Italian, who etched, as 
 well as designed, in a very spirited man- 
 ner. He has prefaced a book, containing a 
 set of altar-pieces, by an etchingadmirably 
 executed ; the original design of which is 
 by Ciro Ferri. 
 
 Marmocchini, see Cortesi. 
 
 Marmolija (Pfdro de Villegas). 
 This artist was a Spaniard, and born at 
 Seville about 1520. It was erroneously 
 supposed, from the grandeur of his style, 
 that he had been a pupil of Raffaelle, 
 whose death, however, was coeval with the 
 birth of Marmolija, who improved himself 
 considerably by travelling to Italy. Many 
 of this artist's pictures are preserved in 
 the churches, and some in the Hospital of 
 St. Lazaro, at Seville, being uniformly 
 eminent for symmetry in the figures, and 
 a sublimity of character. His death oc- 
 curred in 1599. 
 
 Maeoli (Domekico). This artist, born 
 
 in 1622, was a disciple of Antonio Ricci; 
 and, on quitting his instructor, travelled 
 to Venice, and devoted all his attention to 
 that school. Being a native of Messina 
 he returned to Sicily, where he acquired 
 the complete art of colouring : the delicate 
 tints of his carnations are exquisite, and 
 the contour of his heads finely charac- 
 teristic. His pictures of the Nativity, in 
 Chiesa della Grotta at Messina, and the 
 Martyrdom of St. Placido, in St. Paolo, 
 express the great powers of this painter. 
 While at Venice, Maroli undertook some 
 pastoral pieces after Giacomo Bassano, 
 which were very highly extolled. This 
 celebrated painter unfortunately suffered 
 under the revolutionary anarchy which 
 spread through Sicily in 1674. 
 
 Maron (Theresa da), a sister of the 
 celebrated Raphael Mengs, was possessed 
 I of pictorial skill. From her earliest youth 
 she excelled in enamel, miniature, and 
 crayons; and she retained her talents in 
 full vigour till her death, which took place 
 in 1806, at the age of eighty. She was 
 the wife of the Cavalier Maron, an Italian 
 artist of merit. 
 
 Marone (Jacopo), painted from the 
 year 1431 till 1484. Though born at 
 Alessandria, his residence was mostly at 
 Genoa, where he designed many altar- 
 subjects for churches; he also produced 
 in distemper a fine painting of the Na- 
 tivity, which is in the church of St. Jacopo 
 at Savona; and there are two in St. Bri- 
 gida at Genoa, which bear the dates of 
 1481 and 1484. 
 
 Marotte (Francois). He was born 
 at Paris in 1668, and had for his instructor 
 Charles de la Fosse, whose manner he 
 constantly followed. He died at Paris 
 in 1719. 
 
 Martin (David). He was born in 
 Scotland, and studied under Allan Ram- 
 say, with whom he went to Italy. On 
 his return he attended the drawing aca- 
 demy in St. Martin's-lane, and obtained 
 some premiums. He afterwards practised 
 both as a painter and engraver in mezzo- 
 tinto. In the latter department were a 
 portrait of Roubilliac the sculptor; a whole 
 length of Lord Bath; and another of Lord 
 Mansfield. He died at Edinburgh in 1797. 
 His best picture was a half-length of Dr. 
 Franklin, from which there was a mezzo- 
 tinto print published in 1775. He was 
 the Scottish Hudson, if that is any dis- 
 tinction or merit. 
 
 Martinelli (Giovanni), was a Floren- 
 tine artist, and figured during the middle 
 
MAS 
 
 332 
 
 MAS 
 
 Massaki (Annibal), was born at Bo- 
 logna in 1569, and having studied in the 
 school of Passerotti, removed to that of 
 Lodovico Caracci, after which he com- 
 pleted his studies at Rome. On his return 
 to Bologna, he adorned the cloister of 
 St. Michael in Bosco, and many of the 
 churches and palaces of that city, with 
 his performances ; whereby he obtained 
 an established reputation. His works did 
 honour to the academy of the Caracci, par- 
 ticularly the copies he painted after some 
 of the finest compositions of Lodovico ; 
 and which have such an uncommon spirit, 
 freedom, and exactness, as to make several 
 of them pass for originals of that illus- 
 trious artist. Massari died in 1633. 
 
 Massako (Nicolo), was born at Naples, 
 and studied under Salvator Rosa: he 
 painted landscapes in the style of his mas- 
 ter, adopting his forms and the sublime 
 picturesque, more than his colouring, 
 which was tame and vapid. Not suc- 
 ceeding in the outline of the human figure, 
 he had recourse to other painters, in order 
 to complete his compositions, among whom 
 was Antonio di Simone, an artist very 
 little known. Massaro died in 1704. 
 
 Massarotti (Angelo), was a native of 
 Cremona. He visited Rome, where he 
 became the pupil of Carlo Cesi; previous 
 to which he had been under Agostino 
 Bonisoli. He painted an altar-piece for 
 St. Salvatore in Lauro,and, notwithstand- 
 ing his long residence at Rome, was more 
 partial to the Cremonese than the Roman 
 School. Seldom influenced by imagina- 
 tion, he usually painted from a portrait 
 before him, which subservient taste caused 
 him to be considered a mere copyist. 
 His picture of St. Agostino distributing 
 his Regulations to the different Orders is 
 in the church of the saint of that name. 
 Massarotti died in 1723. 
 
 Masse (Samuel). He was born at 
 Tours in 1671, and became a good painter 
 in miniature, at Paris, where he died in 
 1753. 
 
 Massi (John Baptist), born at Paris 
 in 1681, was a miniature painter and en- 
 graver : when young, he studied the latter 
 art; but, as he executed miniatures with 
 considerable success, he entirely adopted 
 that branch, though he had acquired so 
 much eminence as an engraver, that he 
 was admitted a member of the Academy 
 at Paris. He superintended the engrav- 
 ing of the pictures of Le Brun at Ver- 
 sailles, of which many of the designs were 
 from the pencil of this master. 
 
 Massei (Gikolamo), was a native of 
 Lucca, and, according to Baglione, flour- 
 ished at Rome, under Paul V., and com- 
 posed many works for the public buildings 
 and churches. An altar-piece of the 
 Martyrdom of St. Sebastian is in St. 
 Luigi de Francesi, and the Life and Mira- 
 cles of St. Francis de Paula, in the Trinitk 
 di Monti. Massei is mentioned by Agos- 
 tino Taja, in his Descrizione del Vaticano, 
 to have been one of the painters appointed 
 by Fra Ignazio Danti, guardian of the 
 works that adorn the loggie of the Vatican, 
 upon which he was several years engaged. 
 At the close of his life he returned to 
 Lucca,, and died there, at the age of 
 eighty. 
 
 Massolino (Panicale da), born at 
 Florence in 1413, was at first a disciple 
 of Lorenzo Ghiberti ; but, at the age of 
 eighteen, he learned the art of colouring 
 from Gherardo della Stamina at Florence, 
 and afterwards went to Rome to finish his 
 studies. There he improved himself con- 
 siderably, and soon met with encourage- 
 ment ; but the air of that city not agreeing 
 with his constitution, compelled him to 
 return to Florence. In that city he un- 
 dertook a grand design of the History of 
 St. Pete'r, in the different parts of which 
 he introduced all the memorable incidents 
 in the life of that apostle. This per- 
 formance gained him great honour ; as it 
 not only pleased by the novelty of the 
 design, but by the excellence of the 
 keeping. It was painted in the manner 
 of Giotto; the figures had much grace, 
 and every part of the work possessed 
 grandeur of taste, union, and harmony in 
 the colouring, with very good relief; 
 but it was much lamented that, by the 
 death of this artist, some part was left 
 unfinished. Massolino had an extraordi- 
 nary genius, a good invention, and an 
 expeditious manner of working. He was 
 superior to any of his contemporaries in 
 the dignity of his characters, and the 
 disposition of his draperies; in that sweet- 
 ness of countenance which he gave to his 
 female figures; and in the agreeable turn 
 of the limbs, and the life which he diffused 
 through the eyes ; in his knowing how to 
 manage his lights and shadows so properly, 
 as to give his objects a commendable 
 relief; andin his knowledge of perspective. 
 He died in 1450. 
 
 Masucci (i\GOSTiNo), was born at 
 Rome in 1691, and became the pupil of 
 Carlo Maratti. As a painter he did not 
 possess much strength or power, but his 
 
K^' -Pk: 
 
 MAS 
 
 331 
 
 MAS 
 
 enice, and another of Christ and his 
 Disciples at Emmaus, bearing date 1506, 
 adorns the Contarini collection, which 
 prove this artist to have been still living 
 at the last mentioned period. 
 
 Masaccio (Tomaso), called Da San 
 Giovanni. This ancient painter was born 
 at St. Giovanni di Valdarno in 1401. 
 He was the disciple of Masolino da Pani- 
 cale, but proved superior to his master, 
 and is accounted the principal artist of 
 the second or middle age of modern 
 painting, from its revival under Cimabue. 
 His genius was extensive, his invention 
 ready, and his manner of design had 
 unusual truth and elegance. He con- 
 sidered painting as the art of repre- 
 senting nature with truth, by the aid of 
 design and colouring; and therefore he 
 made nature his most constant study 
 till he excelled in its perfect imitation. 
 He was the first who, from judicious ob- 
 servations, removed the difficulties that 
 impeded the knowledge of the art, by 
 setting painters an example in his own 
 works of that beauty which arises from a 
 proper and agreeable choice of attitudes 
 and motions ; and likewise from such a 
 s{)irit, boldness, and relief, as appears 
 truly just and natural. He was also the 
 first who studied to give the draperies of 
 his figures more dignity, by omitting the 
 multitude of small folds practised by pre- 
 ceding artists, and designing them with 
 greater breadth and fulness. He was 
 likewise the first who endeavoured to 
 adapt the colour of his draperies to the 
 tint of his carnations, so as to make them 
 harmonize with each other. His colour- 
 ing was agreeable, his draperies loose 
 and broad, and the actions of his figures 
 much more graceful than any of his pre- 
 decessors. He was skilled in perspective, 
 and performed several designs in that 
 way, which excited general admiration ; 
 particularly a painting of the Annuncia- 
 tion, in the church of St. Nicholas, at 
 Florence, in which the eye is pleasingly 
 deceived by the receding of every object, 
 with abundance of truth and artifice. 
 His works procured him universal ap- 
 probation ; and his death, which hap- 
 pened in 1443, or, according to Sandrart, 
 in 1446, was much regretted, at a time 
 when there was the highest expectation 
 of his arriving at perfection as he advan- 
 ced in years. But the same merit which 
 promoted his fame, produced envy; and 
 he died, not without strong suspicions of 
 having been poisoned. The most capital 
 
 work of Masaccio is the representation of 
 Christ curing the Demoniacs. He may 
 be considered as one of the great fathers 
 of modern art, for he led the way to every 
 excellence to which it has since arrived. 
 He was so absoi-bed in the pursuit of his 
 art, that he acquired the name of Masa- 
 ccio^ from his total neglect of dress, his 
 person, and all the common concerns of 
 life. He was as remarkable for diligence 
 and industry, as for the natural faculties 
 of the mind, and was a signal instance 
 of what well-directed dihgence will do 
 in a short time. Vasari gives a long 
 catalogue of painters and sculptors who 
 formed their taste, and learned their art, 
 by studying his works ; among whom 
 he enumerates Michel Angelo, Leonardo 
 da Vinci, Pietro Perugino, Bartolomeo, 
 Andrea del Sacchi, II Rosso, Pierino del 
 Vaga, and Rafikelle. Two noble figures 
 were adopted by the latter painter from 
 the designs of Masaccio ; one of which he 
 took for St. Paul preaching at Athens, 
 and the other for the same saint when 
 chastising the Sorcerer Ely mas. Ano- 
 ther figure in the same work, whose head 
 is sunk on his breast, with his eyes shut, 
 appearing deeply wrapt up in thought, 
 is introduced among the listeners to the 
 preaching of St. Paul ; as is also the pro- 
 consul Sergius Paulus. For the sacrifice 
 at Lystra he took the whole ceremony. 
 Masaccio carried the art so far beyond 
 what it had before attained, that he 
 appears to stand as a model for his suc- 
 cessors. 
 
 Mascagni (Donato), denominated Fra 
 Arsenio, was a Florentine, born in 1579, 
 and one of the best pupils of Jacopo 
 Ligozzi. After quitting his master, he 
 entered a monastery, and became a monk 
 of the Servi, taking the name of Fra Ar- 
 senio, by which he is commonly known. 
 He executed many altar-pieces for his 
 monastery, and the churches at Florence. 
 Lanzi gives a partial account of a fine 
 picture by this master, in the library of 
 the Servi at Vallombrosa : it is a beautiful 
 work, and represents Matilda, Countess 
 of Ferrara, resigning her princely honours 
 to the Romish see. This painter is more 
 eminent for exactness and precision than 
 graceful design, or softness of colouring. 
 He died in 1636. 
 
 Massac, or Masse (Je4n Baptist). 
 This artist was born at Paris in 1687. 
 He excelled in miniature painting, arid 
 copied in that size the large pictures of 
 Le Brun, at Versailles. He died in 1767. 
 
332 
 
 MAS 
 
 Massari (Annibal), was born at Bo- 
 logna in 1569, and having studied in the 
 school of Passerotti, removed to that of 
 Lodovico Caracci, after which he com- 
 pleted his studies at Rome. On his return 
 to Bologna, he adorned the cloister of 
 St. Michael in Bosco, and many of the 
 churches and palaces of that city, with 
 his performances; whereby he obtained 
 an established reputation. His works did 
 honour to the academy of the Caracci, par- 
 ticularly the copies he painted after some 
 of the finest compositions of Lodovico ; 
 and which have such an uncommon spirit, 
 freedom, and exactness, as to make several 
 of them pass for originals of that illus- 
 trious artist. Massari died in 1633. 
 
 Massako (Nicolo), was born at Naples, 
 and studied under Salvator Rosa: he 
 painted landscapes in the style of his mas- 
 ter, adopting his forms and the sublime 
 picturesque, more than his colouring, 
 which was tame and vapid. Not suc- 
 ceeding in the outline of the human figure, 
 he had recourse to other painters, in order 
 to complete his compositions, among whom 
 was Antonio di Simone, an artist very 
 little known. Massaro died in 1704. 
 
 Massarotti (Angelo), was a native of 
 Cremona. lie visited Rome, where he 
 became the pupil of Carlo Cesi; previous 
 to which he had been under Agostino 
 Bonisoli. He painted an altar-piece for 
 St. Salvatore in Lauro, and, notwithstand- 
 ing his long residence at Rome, was more 
 partial to the Cremonese than the Roman 
 School. Seldom influenced by imagina- 
 tion, he usually painted from a portrait 
 before him, which subservient taste caused 
 him to be considered a mere copyist. 
 His picture of St. Agostino distributing 
 his Regulations to the different Orders is 
 in the church of the saint of that name. 
 Massarotti died in 1723. 
 
 Masse (Samuel). He was born at 
 Tours in 1671, and became a good painter 
 in miniature, at Paris, where he died in 
 1753. 
 
 Ma88I (John Baptist), born at Paris 
 in 1681, was a miniature painter and en- 
 graver : when young, he studied the latter 
 art; but, as he executed miniatures with 
 considerable success, he entirely adopted 
 that branch, though he had acquired so 
 much eminence as an engraver, that he 
 was admitted a member of the Academy 
 at Paris. He superintended the engrav- 
 ing of the pictures of Le Brun at Ver- 
 sailles, of which many of the designs were 
 from the pencil of this master. 
 
 Massei (Girolamo), was a native of 
 Lucca, and, according to Baglione, flour- 
 ished at Rome, under Paul V., and com- 
 posed many works for the public buildings 
 and churches. An altar-piece of the 
 Martyrdom of St. Sebastian is in St. 
 Luigi de Frances!, and the Life and Mira- 
 cles of St. Francis de Paula, in the Trinith 
 di Monti. Massei is mentioned by Agos- 
 tino Taja, in his Descrizione del Vaticano, 
 to have been one of the painters appointed 
 by Fra Ignazio Danti, guardian of the 
 works that adorn the loggie of the Vatican, 
 upon which he was several years engaged. 
 At the close of his life he returned to 
 Lucca,, and died there, at the age of 
 eighty. 
 
 Massolino (Panicale da), born at 
 Florence in 1413, was at first a disciple 
 of Lorenzo Ghiberti ; but, at the age of 
 eighteen, he learned the art of colouring 
 from Gherardo della Stamina at Florence, 
 and afterwards went to Rome to finish his 
 studies. There he improved himself con- 
 siderably, and soon met with encourage- 
 ment ; but the air of that city not agreeing 
 with his constitution, compelled him to 
 return to Florence. In that city he un- 
 dertook a grand design of the History of 
 St. PeteV, in the different parts of which 
 he introduced all the memorable incidents 
 in the life of that apostle. This per- 
 formance gained him great honour ; as it 
 not only pleased by the novelty of the 
 design, but by the excellence of the 
 keeping. It was painted in the manner 
 of Giotto; the figures had much grace, 
 and every part of the work possessed 
 grandeur of taste, union, and harmony in 
 the colouring, with very good relief; 
 but it was much lamented that, by the 
 death of this artist, some part was left 
 unfinished. Massolino had an extraordi- 
 nary genius, a good invention, and an 
 expeditious manner of working. He was 
 superior to any of his contemporaries in 
 the dignity of his characters, and the 
 disposition of his draperies; in that sweet- 
 ness of countenance which he gave to his 
 female figures; and in the agreeable turn 
 of the limbs, and the life which he diffused 
 through the eyes ; in his knowing how to 
 manage his lights and shadows so properly, 
 as to give his objects a commendable 
 relief; andin his knowledge of perspective. 
 He died in 1450. 
 
 Masucci (Agostino), was born at 
 Rome in 1691, and became the pupil of 
 Carlo Maratti. As a painter he did not 
 possess much strength or power, but his 
 
MAT 
 
 MAT 
 
 finergies were sufficient for the subjects 
 he selected, which usually consisted of the 
 Virgin, and Holy Families. He was 
 equal to his master in small pictures, and 
 the features of his Madonnas are beauti- 
 fully composed. The most excellent of 
 his works at Rome are, St. Anna, in the 
 church II Nome di St. Maria, and the 
 Holy Family, in St. Maria Maggiore. 
 There is an admirable picture of St. 
 Francesco, in the Observanti at Macerata; 
 but his most finished composition is a St. 
 Bonaventura, at Urbino. Lanzi speaks 
 of his productions in the highest strain of 
 panegyric. He died in the year 1758. 
 
 Mathias (Gabriel). This artist was 
 the brother of Vincent Mathias, a gentle- 
 man of distinction at court. He went to 
 Rome, and in the exhibition of 1761, in 
 the Strand, there were some pictures by 
 him one of a Sailor Splicing a Rope, 
 of which M'Ardell engraved a print. 
 He continued to exhibit after this ; but, 
 having a respectable office in the royal 
 household, he was released from following 
 the profession. He afterwards became 
 deputy paymaster to the Board of Works. 
 He died at Acton in 1804, at an advanced 
 age. 
 
 Mathyssens (Abkaham), was a Fle- 
 mish artist, and born at Antwerp in 
 1570. He was a respectable painter of 
 landscape and historical subjects ; the 
 Death of the Virgin, in the cathedral at 
 Antwerp, and an altar-piece of the Virgin 
 and Child, with St. Francis, in the church 
 of the Recollets, being the best of his 
 performances. He died at Antwerp 
 1619. 
 
 Mattei (Paolo da), called Paoluccio, 
 was born at Naples in 1661, and for some 
 time studied at Rome; but afterwards 
 became a disciple of Luca Giordano; from 
 whom he acquired an expeditious hand, 
 and a free pencil; resembling him also in 
 that wonderfulexpertnessof imitating Raf- 
 faelle, Guido, Titian, Corregio, Caracci, 
 and other famous painters, so exactly as 
 to deceive even good judges. Several of 
 his original works are much esteemed, 
 being well composed, and correctly de- 
 signed ; but there is a remarkable inequa- 
 lity in his performances, some being 
 abundantly better than others. His fault 
 was that of not well adapting his lights 
 and shadows to the production of a strik- 
 ing effect; those parts which demanded 
 a strength of shadow being perhaps a 
 small degree deeper in the tint than the 
 lighter parts which they were intended to 
 
 oppose; by which means the beauty of 
 the colouring is in a great measure de- 
 stroyed, and the whole appears weak. 
 Yet he was a considerable master; and 
 his works in the churches at Rome and 
 Naples are highly commended, and will 
 always afford a proof of the grandeur of 
 his taste and the freedom of his pencil. 
 In the church of St. Xavier, at Naples, is 
 a fine composition by him, of which some 
 parts are deservedly admired. The figure 
 representing the Deity is ingeniously 
 disposed, and in a becoming attitude ; 
 but the head of the Saint is very indif- 
 ferent, as well as the Boys on the ground. 
 Most of the ceilings of the same church 
 are likewise by this master ; but though 
 exceedingly well composed, and possessing 
 great harmony, yet, from a want of broad 
 masses of light and shadow, they have 
 but feeble effect. He died in 1728. 
 
 Matthieu (Pierre). This French 
 artist was born at Dijon in 1657. He 
 painted history with some degree of cre- 
 dit, though his pictures now are as little 
 known as valued. He died at Paris in 
 1719. 
 
 Matsts (Quintin). He was born at 
 Antwerp in 1460, and followed the trade 
 of a blacksmith or farrier till he was in 
 his twentieth year. Authors vary in their 
 accounts of the cause of his quitting his 
 first occupation, and attaching himself to 
 painting. Some affirm that the first un- 
 folding of his genius was occasioned by 
 the sight of a print, which was shown to 
 him by a friend, who came to pay him a 
 visit while in a declining state of health 
 from the labour of his former employ- 
 ment; and that by his copying the print 
 with some degree of success, he was ani- 
 mated with a desire to learn the art of 
 , Others say he fell in love with a 
 young woman, the daughter of an artist, 
 and they allege that this passion alone 
 wrought the miracle, as he had no prospect 
 of obtaining her, except by merit in the 
 profession of painting. He applied him- 
 self therefore with incessantlabour tostudy 
 and practise the art, till he became so emi- 
 nent as to be entitled to demand her in 
 marriage, and succeeded. Whatever truth 
 may be in these accounts, it is certain 
 that he had an uncommon genius: his 
 manner was singular, not resembling that 
 of any other master; and his pictures are 
 strongly coloured, and carefully finish- 
 ed, though somewhat dry and hard. By 
 competent judges it was believed, when 
 they observed the strength of expression 
 
in some of his compositions, that if he 
 had studied in Italy, and acquired a 
 knowledge of the antique, and the great 
 masters of the Roman school, he would 
 have proved one of the most eminent 
 painters of the Low Countries. But he 
 only designed from ordinary life, and 
 seemed more inclined, or qualified, to 
 imitate the defects than the beauties of 
 nature. Some historical compositions of 
 his deserve commendation ; particularly 
 a Descent from the Cross, which is in 
 the cathedral at Antwerp, and justly ad- 
 mired for its spirit, skill, and delicacy. 
 Sir Joshua Reynolds says there are heads 
 in this picture equal to any painted by 
 Raffaelle. But the most remarkable and 
 best known picture of Matsys is that of 
 the Two Misers, in the Gallery at Wind- 
 sor, which has been engraved, a duplicate 
 of which is at Hagley, the seat of Lord 
 Lyttleton. He died in 1529. 
 
 Matsys (John), was the son of Quin- 
 tin Matsys, and born at Antwerp. He 
 painted in the same style and manner as 
 his father, but not with a reputation equal 
 to him ; though many of his pictures are 
 sold to unskilful purchasers for the paint- 
 ings of Quintin. His most frequent 
 subject was the representation of misers 
 counting their gold, or bankers examining 
 and weighing money. 
 
 Maturing ( ), was born at Flo- 
 rence in 1490, and was the disciple of 
 Raffaelle, who not only instructed him 
 in the principles of the art, but afterwards 
 employed him in executing several of his 
 grand designs. He studied the antique 
 statues and basso-relievos so etfectually, 
 that from them he imbibed a taste for 
 elegant and graceful nature; proved a 
 master of the first rank, and associated 
 with Polidoro da Caravaggio, who had 
 been his fellow disciple in the same school. 
 Those two artists lived together, as inse- 
 parable in their affection as their labours ; 
 their taste of composition and choice of 
 subjects being similar; and even their 
 ideas, as well as their handling, had so 
 great a resemblance, that it seemed im- 
 possible to determine the pencil of the 
 one from the other in their united per- 
 formances. No painters could better 
 design the ancient habits, vases, cha- 
 racters, arms, or sacrifices, than Maturino 
 and Polidoro ; and though they borrowed 
 the hints from the most celebrated of the 
 Grecian sculptors, yet even the imitation 
 of the true antique taste appeared original 
 in their compositions ; a peculiar air of 
 
 14 MAY 
 
 antiquity was observable in them all, and 
 they were usually painted only in two 
 colours, resembling the bas-relief carved 
 on marble. As the knowledge and advan- 
 tage of the chiaro-oscuro began about that 
 time to be discovered, Maturino took great 
 pains to obtain a competent power of 
 using it in his own works; he had the 
 happiness to find himself successful in 
 his endeavours, and would probably have 
 brought that part of the art to a much 
 higher degree of perfection, if his life had 
 been prolonged. But the troubles which 
 involved Rome in distress compelled him 
 to flee from thence, and tore him away 
 from his beloved companion Polidoro, 
 though Vasari says their souls were so 
 united by a sincere friendship that they 
 were determined to live and die together : 
 Maturino was carried off by the plague, 
 when he had only arrived at the age of 
 thirty-seven, in 1527. 
 
 Mauperche (Henry), was born at 
 Paris in 1606, and acquired considerable 
 encomium as a landscape painter. He 
 designed several works in fresco for the 
 apartments at Fontainebleau, and was 
 received into the academy at Paris in 
 1655 ; there are also some etchings from 
 his own designs, and others executed after 
 Swanevelt. 
 
 Maurer (Christopher), was born at 
 Zurich in 1558. He was initiated in the 
 first rudiments of the art by his father, 
 Joshua Maurer, who was an artist of con- 
 siderable genius. Maurer exercised his 
 talents under Tobias Stimmer, at Stras- 
 burg, whose manner he imitated, and 
 painted well, both on glass and in dis- 
 temper, although more celebrated as an 
 engraver on copper and wood. Maurer 
 published some animals of the chase in 
 conjunction with Stimmer ; and executed 
 many woodcuts for the Bible, which are 
 remarkable for their correctness : he also 
 etched a set of emblems, in 1622, which, 
 after his death, were made public, under 
 the title o{ JEmblemala Miscellanea Nova, 
 Maurer died at Zurich in 1614. 
 
 Mayno (Juan Baptista), a Spanish 
 artist, was born at Toledo in 1594. He 
 studied under Domenico delle Grecche, 
 or Domenico Teotocopoli, from whose 
 tuition he acquired great excellence. This 
 painter became a monk of the order of 
 Predicatores at a very j'outhful period; 
 but retirement did not preclude the exer- 
 cise of his genius, and he ranked as one 
 of the best artists of that period. Mayno 
 was drawing-master to Philip IV., and 
 
MAZ 
 
 MAZ 
 
 designed, for the monastery of San Pedro 
 the Martyr, four beautiful works, viz. : 
 the Nativity ; the Resurrection ; the 
 Descent of the Holy Ghost ; and the 
 Mystery of the Trinity: there is also 
 another fine picture by this artist in the 
 same church, representing the Repentance 
 of St. Peter. Philip IV. engaged Mayno 
 to paint his grand battle-piece in the 
 Bueno Retire, wherein the Duke d'Oli- 
 varez is delineated in the act of encoura- 
 ging the troops to conquer, by displaying 
 the portrait of King Philip. Mayno died 
 at Toledo, in 1654. 
 
 Mato, see Vekmeyen. 
 
 Mazo (Don Juan Baptista), born at 
 Madrid in 1620, was tlie pupil of Don 
 Diego Velasquez. Palomino says he was 
 a general artist, equally clever in portrait, 
 landscape, and historical painting: he 
 imitated with admirable talent the works 
 of different masters, more especially those 
 of Paul Veronese, Tintoretto, and Titian; 
 and was ordered by Philip IV. to make 
 copies from the royal collection of all the 
 finest Venetian pictures, which he per- 
 formed with so masterly a hand that it 
 was impossible to discriminate them from 
 the originals of those masters. He died 
 at Madrid in 1670. 
 
 Mazza (Damiano). He was born at 
 Padua, where he acquired the rudiments 
 of painting; but afterwards travelled to 
 Venice, and became a disciple of Titian, 
 whose manner he carefully studied, and 
 imitated with success. Having in a few 
 years improved himself under that incom- 
 parable master, he returned to Padua, 
 and was employed to paint the history of 
 Ganymede; which subject he designed 
 with so much elegance, and with such a 
 charming tint of colour, that it might 
 deservedly be taken for the composition 
 and hand of Titian. But while he was 
 thus giving promise of being one of the 
 greatest masters of Italy, he was cut oft' 
 in the flower of his age. 
 
 Mazzieki (Antonio di Domino). 
 This artist was a Florentine, and pu])il of 
 Francia Rigio ; he rendered himself con- 
 spicuous in painting battle-pieces and 
 landscapes, which he executed with great 
 vigour and strength of colouring. He 
 lived about 1520. 
 
 Mazzochi (Paolo), see Ucceli.o. 
 
 Mazzolini (Ludovico), denominated 
 Mazzolini di Ferrara, was born at Fer- 
 rara in 1481. The reader must not mis- 
 take this artist for Mazzolino, a Milanese, 
 spoken of by Lomazzo in his Idea del 
 
 Tempio della Pittura. Mazzolini di Fer- 
 rara is mentioned by Barrufaldi to have 
 been the pupil of Lorenzo Costa ; he was 
 more successful in his easel pictures than 
 in those of a larger size, the former of 
 which Lanzi greatly extols. An altar- 
 piece of Christ disputing with the Doc- 
 tors ; and another of the Nativity, much 
 smaller, are in the church of St. Fran- 
 cesco at Bologna. Mazzolini's works are 
 in general very fine compositions, and 
 executed with the greatest accuracy. In 
 the Gallery at Florence there is a Holy 
 Family by this artist, finely finished. He 
 died in 1530. 
 
 Mazzoni (Giulio). This painter was 
 born at Piacenza, but studied the art, and 
 was a disciple under Daniele di Volterra, 
 at Rome. He flourished in the year 1568, 
 and Vasari speaks of him in the highest 
 strain of panegyric. Mazzoni's best pic- 
 ture is in the dome of Piacenza, the sub- 
 ject representing the Four Evangelists. 
 Though incorrect in foreshortening, this 
 artist was nevertheless a great painter. 
 
 Mazzoni (Cesare). This painter was 
 born at Bologna in 1678, and studied suc- 
 cessively under Lorenzo Pasinelli, and 
 Giovanni Giuseppe dal Sole. There are 
 many of his pictures in the public build- 
 ings and churches at Bologna, which 
 clearly prove him to have been a good 
 historical painter. Among the best per- 
 formances of Mazzoni are an altar-piece 
 of the Virgin and Child, in St. Colom- 
 bano; the Crucifixion, in St. Tommaso 
 di Strada Maggiore ; and St, Peter taken 
 out of Prison, in St. Giovanni in Monte. 
 He died in the year 1763. 
 
 Mazzuccheli (Pier Francesco), Ca- 
 valiere, called Morazzone. This painter 
 was born at Morazzone, in the Milanese, 
 in 1571 ; but his origin was so poor that 
 he was unable to procure a master to in- 
 struct him in painting, to which art his 
 genius prompted him. However, he took 
 every opportunity, by seeing artists at 
 their work, to gain some knowledge of 
 design. He next took pains to improve 
 himself by studying after the antiques 
 which were open to his observation, and 
 the grand paintings in the churches; by 
 pursuing which course for some years he 
 formed his taste and perfected his hand, 
 so as to appear an expert and ingenious 
 artist, working equally well in fresco and 
 in oil. He might have risen to the highest 
 excellence, if his morals had been more 
 correct; but when his reputation was 
 almost established, he was unhappily 
 
MAZ 3; 
 
 stopped in his progress by an indiscreet 
 amour, which compelled him to flee pre- 
 cipitately from Rome to Venice, where 
 he added considerably to his knowledge, 
 and united the colouring of that school 
 with true taste of design. Several grand 
 altar-pieces at Milan from his hand are 
 much admired, and procured him the es- 
 teem of the Duke of Savoy, who took him 
 into his service, bestowed on him many 
 gratuities, and finally honoured him with 
 the title of Chevalier. In the Chartreuse 
 at Pavia, is a noble altar-piece by Moraz- 
 zone, which is composed in an exceedingly 
 grand style, and is charmingly coloured. 
 His Epiphany, in the church of St. 
 Antonio, at Milan, is a masterpiece for 
 colour, design, and breadth. It is clear 
 that he was an imitator of Tintoretto, as 
 well as of Titian and Paolo Veronese. 
 He died in 1626. See Moeazzonb. 
 ; Mazzuoli (Francesco), see Paeme- 
 
 GIANO. 
 
 Mazzuoli (Gieolamo), called Parme- 
 gianino. He was a native of Parma, and 
 the cousin and scholar of Francesco Maz- 
 zuoli, whose style and manner he happily 
 imitated, and executed a great number of 
 elegant designs for the churches of Parma, 
 Pavia, Mantua, and other cities. He was 
 an excellent painter, although he did not 
 give to his figures that lovely air and 
 grace which distinguished the works of 
 his master; but he sufficiently evidenced 
 the greatness of his abilities, by finishing 
 some of the works of Parmegianino, which 
 had been left unfinished at his death. 
 There is reason to believe that many pic- 
 tures which pass under the name of Fran- 
 cesco, were the production of his cousin, 
 who, however, was more attached to the 
 style of Corregio than to that of Francesco, 
 of which he gave a proof in the Marriage 
 of St. Catherine, in the church of the 
 Carmelites at Milan. In the refectory of 
 the convent belonging to the monks of 
 St. John the Evangelist, in Parma, he 
 painled a piece of perspective in fresco, 
 and a Last Supper in oil, both admirably 
 designed and executed; and in the chapel 
 of the Franciscans he painted a noble 
 piece of the Conversion of St. Paul. He 
 lived to a great age, and died about 1590. 
 
 Mazzuoli (Alessaxdbo), was the 
 pupil and son of the foregoing master: 
 his historical pictures were after the man- 
 ner of his father, though he proved greatly 
 his inferior. Alessandro was engaged in 
 1571 to adorn the dome of the cathedral 
 at Parma, in fresco. 
 
 16 MED 
 
 Mazzuoli (Giuseppe), denominated 
 II Bastaruolo, from his father being a 
 dealer in grain. This artist was born at 
 Ferrara in the year 1525, and was, con- 
 jointly with Giovanni Francesco Surchi, 
 pupil of Dosso Dossi. With the exception 
 of not adhering to perspective, a defect 
 which is extremely palpable in his pro- 
 ductions, he may be ranked with the best 
 artists of the school of Ferrara. As he 
 advanced in life, he corrected this fault, 
 and adopted a softness in his colouring 
 which imitated the chastity of Titian, and 
 a comprehension of the chiaro-oscuro equal 
 to the excellence of Corregio. Mazzuoli's 
 pictures were so highly prized that there 
 is scarcely a public building at Ferrara 
 which is not adorned by some of his works. 
 The cathedral at Ferrara presents a fine 
 painting of the Virgin and Child crowned 
 by Angels; for the church of the Capu- 
 chins in St. Maureho, the Ascension is a 
 beautiful composition : a finished picture 
 of the Madonna and Bambino; with Mary 
 Magdalen and St. John; as also the An- 
 nunciation, is in II Gesu; but his most 
 admirable piece of art is in the Conser- 
 vatorio of St. Barbara, portraying that 
 Saint and St. Ursula, with a group of 
 figures, designed and executed with un- 
 equalled elegance and chastity. This 
 astonishing painter was drowned while 
 bathing, in 1589. 
 
 Meghan (James), was born at Leip<ic 
 in 1748, being a German painter and en- 
 graver of modern date. He studied in 
 the academy at Leipsic, though previou-ly 
 he had been a disciple of Bernard Rode at 
 Berlin. He gained much repute in Ger- 
 many as a landscape and historical painter, 
 but is more universally recognised for his 
 productions as an engraver. Of this 
 artist there are a considerable number of 
 aquatintas, comprising Italian scenery, 
 with many etchings from his own designs, 
 and he also managed the burin with great 
 adroitness. 
 
 Medici (Pietro), was born of an 
 illustrious family at Florence in 1586, 
 and learned design and colouring from 
 Cigoli ; by whose instruction he acquired 
 a strong and pleasing manner of colour- 
 ing, a correctness of outline, and an ex- 
 pression that was truly natural. He died 
 in 1G48. 
 
 Medina (Giovanni Battista), Che- 
 valier^ was born at Brussels in 1660; his 
 father was a Spanish officer. After having 
 learned the principles of design under the 
 direction of Du Chatel, he made consider- 
 
MED 
 
 able progress, and applied himself to 
 study the works of Rubens ; making that 
 eminent master his particular model, in 
 preference to all other painters. He was 
 indefatigable in his studies, through an 
 ardent desire to imitate the beautiful 
 tints of Rubens, especially in his car- 
 nations, to acquire his judicious manner 
 of adapting the draperies of his figures to 
 the difference of nations and times, and 
 to habituate himself to that grandeur of 
 thought and that variety of attitudes, dis- 
 cernible in the works of that famous 
 artist. By that method of conducting 
 his studies, his subsequent works procured 
 him great reputation throughout Flanders, 
 and recommended him to persons of tlie 
 best taste in England, where his perform- 
 ances were considered not far inferior to 
 those of Rubens. They produced such 
 prices as did honour to the artist; and 
 were esteemed, not onlj' for the invention, | 
 but for the harmony that subsisted through- I 
 out the whole. He also excelled in por- 
 traits: painting those subjects with re- ! 
 markable freedom of touch, and producing : 
 a strong resemblance of the person. Most 
 of the princes of Germany held him in ; 
 extraordinary esteem, and distinguished 
 his merit by several marks of honour. In 
 the year 1686 he came to England, where 
 his abilities were already well known, and 
 was amply encouraged during his resi- 
 dence in London. By the favour of the 
 Earl of Leven, who procured for him a 
 subscription of five hundred pounds, he 
 was at last induced to visit Scotland, j 
 where he painted the portraits of the 
 principal nobility. He might have en- | 
 riched himself by the variety of historical j 
 pictures and portraits which he finished i 
 at the different courts where he was em- 
 ployed, if the largeness of his family, and 
 perhaps some want of necessary economy, 
 had not prevented it. By order of the 
 Grand Duke of Tuscany, the portrait of 
 Medina, painted by himself, was placed 
 in the Gallery at Florence, among those 
 of the most memorable artists ; and as 
 a public acknowledgment of the merit 
 he possessed in his profession, he was 
 knighted by the Duke of Queensberry, 
 then lord high commissioner ; being the 
 last knight made in Scotland before the 
 union of the two kingdoms. He died in 
 1711. His portraits, many of which are 
 in Scotland, are much in Kneller's style, 
 never equalling his best nor sinking so 
 low as his worst. He drew, in general, 
 extremely well. 
 
 Meeb (Gerard Vander). This old 
 artist was born in 1450, and died in 
 1512. 
 
 Meerex, or Meer (John Vander). 
 This painter, who is called the Old^ was 
 born in 1627 ; but the master under whom 
 he learned the art of painting is not 
 mentioned. His subjects were sea-pieces 
 and landscapes, which he designed with 
 great truth, sketching every scene after 
 nature. The situations of his landscapes 
 are agreeably chosen, frequently solemn, 
 and generally pleasing. The forms of 
 his trees are easy and natural, his dis- 
 tances well observed, and the whole 
 scenery has a striking effect, by a happy 
 opposition of his lights and shadows. He 
 perfectly understood the construction of 
 ships, and represented their natural ap- 
 pearance in every position, so that his 
 performances in that style are in high 
 esteem. The figures which he inserted 
 in his landscapes are well designed ; and 
 though they may want elegance, yet they 
 are placed with judgment, and well adapted 
 to their situations. His battle-pieces are 
 alsoina good styleof composition, touched 
 with spirit, and have considerable trans- 
 parence in the colouring. The fault of 
 Vander Meer, is that in some of his pic- 
 tures the backgrounds are too blue, and 
 his landscapes have rather a yellowish 
 tint. He died in 1690. 
 
 Meeben, or Meer (John Vander). 
 This artist, also surnamed De Jonghe, is 
 supposed to have been the son of old John 
 Vander Meer, and to have learned the 
 rudiments of the art from that painter, 
 being partly instructed by him ; but be- 
 fore he had made any great progress, he 
 became a scholar of Nicholas Berchem, 
 and was accounted the best of those who 
 were educated in the school of that ad- 
 mired master. He not only applied 
 himself with assiduity to imitate the style 
 of Berchem, but also took care to study 
 nature with attention. In the manner of 
 his master, he painted landscapes and 
 cattle, and his usual subjects are cottages, 
 with peasants at their occupations and 
 diversions, or tending flocks of sheep and 
 goats, which are excellently designed, 
 drawn with correctness, and delicately 
 finished. His skies, trees, and figures 
 are in a good taste, and his grounds are 
 diversified and broken with judgment and 
 skill ; but it is observed that he rarely 
 introduced cows, horses, or any other 
 species of animal, except goats and sheep ; 
 the latter of which are so highly finished, 
 
that one would imagine the wool might ' adne, which he painted in concurrence with 
 
 be felt, by its softness. His touch 
 scarcely perceptible, and yet the colours 
 are admirably united. The genuine 
 works of this painter bear a high price, 
 and are esteemed even in Italy, where 
 they are admitted into the best collections; 
 their scarcity, however, has occasioned 
 many moderate copies after his works to 
 be passed on the undiscerning for origi- 
 nals. He died in 1688. 
 
 Mker (John Vander), was born at 
 Schoonhoven in 1650, and was taught- 
 design and colouring at Utrecht ; but he 
 went to Rome very early, accompanied by 
 Lievin Versclmur. For some time he 
 studied under Drost and Carlo Loti at 
 Rome, where he painted historical sub- 
 jects, with figures as large as life, as well 
 as portraits ; having a strong, firm, and 
 bold style of painting. Possessing an 
 ample fortune, he was not very attentive 
 to the profits that might arise from his 
 
 Giro Ferri, his fellow pupil under Cortona, 
 is accounted admirable. The history also 
 of Hagar and Ishmael; the Engagement 
 of Achilles with the Trojans; the Triumph 
 of Ignorance; and others from his hand, are 
 esteemed excellent performances. In the 
 chamber of Flemish artists in the ducal 
 palace at Florence is a grand composition 
 of Mehus, the figures of which are as 
 large as life, representing the Sacrifice of 
 Abraham. Some connoisseurs say it was 
 painted in imitation of Lanfranc, but it 
 seems rather in the taste of Salvator Rosa, 
 the composition having the character of 
 that master's spirit and force, designed 
 also in an elevated style, and with con- 
 siderable fire; the expression throughout 
 the whole being good, particularly in the 
 figure of Isaac. His pencil is broad and 
 free, the colouring strong, and every part 
 shows the execution of a great master; 
 though it were to be wished the contours 
 
 profession ; and was apparently much had been more distinct and perceptible. 
 
 more anxious to acquire a lasting repu' 
 tation than riches. He died at Utrecht 
 in 1711. His son, John Vander Meer, 
 was born at Utrecht in 1665, and became 
 the disciple, first of his father, and after- 
 wards of Berchem. He died at Haerlem 
 in 1722. 
 
 Mehus, or Meus (Livio). This 
 painter was born at Oudenarde in 1630; 
 but his family being forced to flee from 
 that country on account of the wars, he 
 accompanied his parents to Milan, where 
 he discovered his genius for painting, 
 which made him desirous to go to Rome, 
 but he was obstructed by several inci- 
 dents, and particularly by the poverty of 
 his friends. At last, however, he had the 
 good fortune to obtain admittance into 
 the school of Pietro da Cortona at Flo- 
 rence ; under whom he practised design 
 and colouring for some years, and became 
 a good proficient. Having gained such a 
 degree of skill in the art as might qualify 
 him for further improvement, he went to 
 
 Mehus seldom painted for churches, but 
 was principally employed by the court and 
 nobility. He had but little of Cortona in 
 his manner of composition, nor of the 
 Venetian school in his colouring. His 
 tints are moderate, his attitudes animated, 
 his shadows transparent, and his genius 
 conspicuous. He died in 1691. 
 
 Mei (Bernardino), was born at Siena, 
 and rendered himself most conspicuous 
 from the year 1636 until 1653. Padre 
 della Valle says he much resembles the 
 Caracci, though his master remains un- 
 known. Many of his pictures adorn the 
 churches of Siena; and he also painted a 
 beautiful ceiling in fresco, of Aurora, which 
 is pres^erved in the Bandinelli Casa. 
 
 Meire (Gerard Vander). This an- 
 cient artist was born at Ghent, and proved 
 one of the first painters in oil, in the style 
 of Van Eyck, having flourished in the year 
 1450. Van Mander eulogises a painting 
 by this artist, of the Death of Lucretia, 
 
 hich, according to that writer, was well 
 
 Rome, in company with Stefano della designed, beautifully coloured, and admi: 
 Bella ; and by observing the variety of ably finished, 
 
 works in that city, formed a style of his 
 own, correct and firm, with a peculiarity 
 of pencilling that was free and agreeable. 
 He adorned many of the chapels at Flo- 
 rence with historical compositions, and the 
 grand duke having employed him in several 
 works, was so highly satisfied with his 
 performances, that he ordered his portrait, 
 painted by himself, to be placed in his Gal- 
 lery. The 'picture of Bacchus and Ari- 
 
 Mei.ani (Giuseppe and Francesco). 
 These artists were born at Pisa. Giu- 
 seppe becam.e a disciple of Camillo 
 Gabrielli, and was agood historical painter, 
 which is clearly proved from his oil 
 picture of the Death of St. Ranieri, that 
 adornsthedomeof Pisa. Lan zi states th at 
 the performance in question, although not 
 the first in that collection, is, notwith- 
 standing, a beautiful labour of the artist, 
 
^sT-n 
 
 M E L 
 
 and more free from mannerism than ap- 
 pears in the works of most of his com- 
 petitors. Melani painted best in fresco, 
 and more particularly in the figures sketch- 
 ed for the architectural views of his brother 
 Francesco ; in fact, they combined a com- 
 plete imitation of the brilliant style of 
 Pietro da Cortona, and as a perspective 
 painter, Francesco was inimitable. The 
 vault of St. Matteo at Pisa is conjointly 
 the work of these brothers, and admirably 
 executed. Francesco died first, in 1742, 
 and Giuseppe soon after, in 1747. 
 
 Melchioki (Giovanni Paolo). This 
 historical painter was born at Rome in 
 1664, and became a disciple of Carlo 
 Maratti, to whose school he proved an 
 ornament, as he had a lively and fertile 
 invention, and possessed all the grandeur 
 and sweetness of his master's style; to 
 which accomplishments he added a sin- 
 gular correctness of design, and an ex- 
 pression full of propriety and spirit. He 
 died at Rome in 1721. 
 
 Melder (Gerakd), was born at Am- 
 sterdam in 1693, and had so early a ten- 
 dency to painting, that he devoted even 
 the playful time of life to practise after 
 prints and books of designs. He painted 
 many pictures in oil with success; but, by 
 the advice of his friends, afterwards ap- 
 plied himself to miniature, as the branch 
 which would probably procure him more 
 employment and fewer competitors. Hav- 
 ing met with some paintings of Piosalba, 
 he improvedhis taste by copying them, and 
 they were sold as dear as the originals. 
 He also imitated the works of Rothenhamer 
 and Vander Werf with equal success; and 
 designed historical and allegorical subjects 
 in so good a taste, that his works were 
 purchased at large prices. The land- 
 scapes of Melder are composed in an 
 agreeable style, with figures elegantly de- 
 signed, and pleasingly introduced; and 
 for the King of Poland he painted a con- 
 siderable number of pictures. He is ac- 
 counted one of the best artists in the 
 miniature style. He designed well; his 
 composition is agreeable, and his colouring 
 beautiful and true. He painted in enamel 
 as well as water colours ; but discontinued 
 that branch of the art, from an appre- 
 hension that it would be prejudicial to his 
 sight. He died in 1740. 
 
 Melissi (Agostino). This artist was 
 born at Florence in 1658, and was a pupil 
 of Bilivet. Baldinucci says he was en- 
 gaged by the grand duke to paint cartoon 
 tapestry, after the manner of Andrea del 
 
 Sarto, and that writer particularly praises 
 his picture of Peter denying Christ, in the 
 Palazzo Gaburri, which was executed after 
 his own design. He died in 1738. 
 
 Melone (Altobello), was born at 
 Cremona in the year 1497. Vasari says, 
 that for the churches of Cremona he 
 composed legendary pictures of our Sa- 
 viour's Passion, which the same author 
 describes as eminently excelling those of 
 all contemporary artists of his country. 
 Melone's frescoes are by no means so good 
 as his oil paintings; Christ's Descent from 
 the Cross, in the church del Sacramento, 
 ranks among his most perfect works, being 
 composed of numerous figures, and though 
 not accurately designed, is well coloured, 
 and possesses a softness and elegance in 
 the display of the forms, quite foreign 
 to the school of Cremona at the period 
 when this artist flourished. 
 
 Melozzo (da Forli). Lanzi believes 
 the Christian name of this artist to have 
 been Francesco^ and adds, with some pro- 
 bability, that he was a pupil of Ansovino 
 da Forli, though he is conjectured by 
 many to have been a disciple of Pietro 
 della Francesca. According to Vasari, 
 he was born at Forli, where he was best 
 known in the year 1472. Scannelli, in 
 II Microcosm) della Pittura, declares that 
 he was of a distinguished and rich family, 
 but the ardent wish he entertained of 
 cultivating and acquiring the highest 
 excellence in his art, induced him to 
 descend to .the mean office of becoming 
 colour-grinder to some of the great pain- 
 ters of that period. This ancient artist 
 first invented foreshortening, which was 
 afterwards so successfully followed by 
 Corregio. Pietro della Francesca con- 
 siderably improved the art of perspective 
 after its first introduction by Paolo Uc- 
 cello, a Florentine: but the sublime idea 
 of figures in perspective on domes and 
 vaults, which renders deception so sub- 
 lime, was perfected and completed by the 
 pencil of Melozzo. He lived at Rome a 
 short time before the year 1472, and Va- 
 sari speaks of a work executed about that 
 period, painted in fresco, for Cardinal 
 Riario, nephew of Sixtus IV., on the dome 
 of his chapel in the church of the Apostles, 
 on the subject of the Ascension, the effect 
 of which was wonderful in the extreme. 
 This picture, in the year 1711, was care- 
 fully separated from the wall when the 
 chapel was taken down, and arranged in 
 the pope's palace at Monte Cavatlo, witti 
 : the following inscription: Opus Melotii 
 
MEM 
 
 340 
 
 Foroliviensis^ qui summos fornicespingendi 
 artem vel primus invenit vel illustravit. 
 Melozzo's manner greatly resembles that 
 of Andrea Mantegna, being eminently 
 correct in design, and the heads nobly j 
 distinguished. This sublime painter was | 
 livingin 1494, according to Luca Paccioli's \ 
 account, called Summa d' Aritmetica e \ 
 Geomctria, published in the same year, in 
 which he states that Melozzo da Forli, 
 among other conspicuous painters, was 
 still in existence. 
 
 MEMMf (Simone), was born at Siena, 
 in 1285, and taught by Giotto, whose man- 
 ner he afterwards imitated, and was em- 
 ployed by him as an assistant in the 
 mosaic paintings which he undertook for 
 the church of St. Peter, at Rome. He 
 there rose into high favour with the pope, 
 who retained him in his service while he 
 resided at Avignon: and at that court he 
 had the opportunity of painting the Laura 
 of Petrarch, for which that poet celebrated 
 Memmi in such a manner as has rendered 
 his name immortal. On his return to 
 Siena, he was employed to execute a pic- 
 ture for the cathedral, of which the subject 
 was the Virgin and Child, attended by 
 Angels. The air and attitude of the Vir- 
 gin is lovely, and the composition and 
 ornaments are in a grand style. He 
 finished many portraits of the pope, car- 
 dinals, and other illustrious persons of 
 that age, among which was that of Pe- 
 trarch; and as he spent the major part of 
 liis life at Florence, many of his greatest I 
 works are in the churches of that city. I 
 The chief excellence of this master con- 
 sisted in his fresco painting; and Vasari 
 testifies that though he was not a good 
 designer, his principal attention being 
 engaged in studying nature, and painting- 
 portraits, yet the airs of his heads were 
 good, and his colouring agreeable. He 
 died in 1345. The following inscription 
 is on his tomb, '''Simoni Memmio, piciorum 
 omnium omnis cetatis celeherrimo. Vixit 
 ann. 60, mensibus duobus, diebus tribus.^' 
 
 Memmi (Lippo), was born at Siena in 
 1300. He was the pupil, and a near re- 
 lation of the before-mentioned artist. 
 Inferior to Simone Memmi in design, he 
 was an able copyist of his manner, and, 
 by the assistance of his productions, com- 
 posed several works, which would have 
 passed for those of Simone, had not Lippo 
 Memmi affixed his signature to tliem. 
 Unassisted by Simone, his works proved 
 deficient in the component parts, although 
 the colouring was brilliant. From a Latin 
 
 inscription on a picture in St. Ansano di 
 Castel Vecchio at Siena, but lately in the 
 Gallery at Florence, inscribed a.d. 1333, 
 it is supposed that Lippo worked conjointly 
 with his relative. At Assisi are also some 
 pictures finished by Lippo Memmi, which 
 appear to have been commenced by Si- 
 mone; and at Ancona there are many of 
 the joint works of these artists. 
 
 Menageot (Francis William.) This 
 artist, the son of French parents, was 
 born at London in 1744, but went to 
 France when six years of age. He studied 
 under Augustin, Deshayes, Boucher, and 
 Vicn, and afterwards proceeded to Rome. 
 On his return to France he became a mem- 
 ber of the Royal Academy, and was sub- 
 sequently sent again to Rome, as director 
 of the French Academy in that city. In 
 1800, he finally settled in his native 
 country, where he deservedly acquired 
 fame by his talents, and affection by his 
 disposition and manners. His pictures, 
 principally historical, are numerous, and 
 are much valued. He had a remarkable 
 talent for allegorical subjects. Menageot 
 died in 1816. 
 
 Mengs (Antonio Raffaelle). This 
 eminent artist, a native of Auszig, in 
 Bohemia, was born in 1728. Ishmael 
 Mengs, his father, a miniature painter of 
 little note, gave him the first instruction 
 in geometrical figures, and took him to 
 Dresden, while still a youth. This artist 
 sought every method of perfecting himself 
 by application, and studying the perform- 
 ances of the ablest masters in that famous 
 gallery. In the year 1741, when only 
 thirteen, Mengs went to Rome, where he 
 copied in miniature some works of Raf- 
 faelle, by command of Augustus III., 
 King of Poland, that were greatly ex- 
 tolled at Dresden, to which place they were 
 sent. He continued at Rome three years, 
 and was appointed painter to the elector 
 and king, upon his return to Saxony, with 
 a considerable annuity, and the monarch's 
 consent to his revisiting Rome, where he 
 again continued four years, and, during 
 that period painted a beautiful picture of 
 the Holy Family, which gained him the 
 greatest applause. As Mengs married at 
 Rome, he became solicitous of entirely 
 fixing his abode in that city ; but not being 
 suffered to follow his inclinations, he was 
 under the necessity of revisiting Saxony, 
 which occurred in 1749. A.fter continuing 
 three years at Dresden, the insupportable 
 conduct of his father destroyed his spirits 
 and health, and he obtained the king's 
 
MEN 
 
 341 
 
 MER 
 
 leave to return to Rome. The circum- 
 stances of Mengs at this period became 
 extremely embarrassed, from the stoppage 
 of his pension, in consequence of the 
 elector and king's treasury being reduced 
 by the war. He laboured at low prices 
 for mere support, and was then engaged 
 by the Duke of Northumberland to make 
 a copy of the School of Athens, by Rat- 
 faelle. At this epoch he painted the vault 
 of the church of St. Eusebius, and soon 
 after composed his beautiful fresco of 
 Mount Parnassus, in the Albani villa, so 
 finely engraved by Raphael Morghen. 
 Mengs performed a journey to Naples for 
 the Elector of Saxony, wherehewas noticed 
 by the king, subsequently Charles III. 
 of Spain; who, on his accession to the lat- 
 ter throne, invited Mengs to Madrid, and 
 granted him a considerable salary. The 
 ceiling of the king's antechamber, repre- 
 senting the Graces, was his first essay ; 
 and in the queen's apartment are many of 
 his most admirable pictures, comprising 
 the Aurora, which is a most splendid com- 
 position. The air of Spain being inimical 
 to his health, Mengs obtained the king's 
 permission to revisit Rome for its re- 
 establishment ; and, immediately upon his 
 arrival there, he was engaged in the Vati- 
 can by Clement XIV., where he painted 
 his picture, representing Janus dictating to 
 History, wlio appears in the act of writing; 
 as well as a Holy Family. He resided three 
 years at Rome, and was loaded with fa- 
 vours upon his return to Madrid, by his 
 royal patron. On arriving in the latter 
 city, he commenced his celebrated work in 
 the dome of the grand saloon in the palace 
 at Madrid, where the Apotheosis of the 
 Emperor Trajan is executed with the most 
 wonderful judgment, every component 
 part being highly felicitous in its exe- 
 cution, while the colouring and effect 
 of this splendid work are matchless. The 
 frescoes of Mengs are infinitely superior 
 to his oil pictures; the finest being his Na- 
 tivity, in the royal collection of Spain. It is 
 in the style of the famous Notte, by 
 Corregio, in which the glory emanates 
 from the Infant Jesus. This work was so 
 much prized by the king, that he com- 
 manded for it a covering of glass, in order 
 to preserve the performance from injury. 
 Mengs, throughout his whole career, gave 
 himself up to the attainment of the science 
 of painting, neglecting the necessary care 
 of his health, and totally abandoning all 
 society and rest. In consequence of this, 
 two years after his return to Madrid, 
 
 continued toil, combined with an unhealthy 
 climate, rendered it absolutely necessary 
 that he should seek the Italian tem- 
 perature, his disposition always inclining 
 him to that centre of all art and science. 
 With the sincerest gratitude he ac- 
 knowledged his patron's goodness on being 
 permitted to revisit Rome, after having 
 been favoured with an addition to his 
 salary, and receiving signal proofs of that 
 monarch's bounty. The emaciated con- 
 stitution of Mengs seemed to experience 
 returning health as he approached Rome, 
 and his spirits revived at the prospect of 
 passing the remainder of his life in that 
 renowned asylum of the Muses. This 
 perspective was, however, blighted by the 
 death of his wife, whom he dearly loved ; 
 which event plunged him into the deepest 
 affliction, so that, his mind desponding, 
 illness returned with increased suffering. 
 When debilitated to the last extreme, he 
 unfortunately consulted an ignorant 
 quack, who accelerated his death, in 1779. 
 
 Mentox (Francis). Van Mander says 
 this artist was born at Alkmaer about 
 1550, and was a pupil of Francis Floris. 
 His works are well designed, and his 
 composition just : he painted portraits and 
 historical sul)jects; but being much admir- 
 ed and sought after as a portrait painter, 
 he too much neglected the study of the 
 latter. Those, however, which he did 
 execute were finished with a considerable 
 degree of merit. He died in 1609. 
 
 Merano (Giovanni Battista), was 
 born at Genoa in 1632, and was a pupil 
 of Valerie Castelli. One of his beitt 
 compositions is the Massacre of the 
 Innocents, preserved at Genoa ; of which 
 performance Lanzi speaks as being a most 
 harmonious composition, characteristi- 
 cally expressive, and beautifully coloured. 
 Merano died in 1700. 
 
 Merano (Giovanni Battista), called 
 Molinaretto. He was born at Genoa in 
 1666, and became eminent as a painter of 
 portraits, landscapes, and sea-views. He 
 died in 1712. 
 
 Merano (Francisco), surnamed Paggio. 
 He was born at Genoa in 1710, and became 
 the scholar of Domenico Fiasella, whose 
 style he followed with success. He died 
 at Genoa in 1764. 
 
 Merc ATI (Giovanni Battista), was a 
 native of Florence, and an engraver as 
 well as painter. He was born at Citta 
 San Sepolcro, in the year 1600, andclosely 
 followed Pietro da Cortona in historical 
 subjects. At his birthplace he painted two 
 
MER 
 
 MES 
 
 pictures of the Virgin ; and an altar-piece 
 in San Lorenzo, portraying that saint, 
 and many others, much after the manner 
 of the Oaracci. There are some etchings 
 by this artist, most of which are from 
 his own designs. 
 
 Mercier (Philip). Tliis artist sprang 
 from a French family, though born at 
 Berlin in 1689, and received his education 
 at t!ie academy of that city. He travelled 
 to France and Italy, and subsequently 
 to Hanover, when Frederic, Prince of 
 Wales, appointed him his portrait painter, 
 and took him to England, where he was 
 afterwards named one of the royal suite. 
 Mercier painted several of the princesses, 
 which performances were mezzotintoed 
 by I. Simon. After a lapse of time he 
 lost the prince's patronage, and resided in 
 Covent-garden, executing portraits in the 
 manner of Watteau. He died in the 
 year 1760. 
 
 Merian (Matthew, Junior)^ born at 
 Basle in the year 1621, was son of Matthew 
 Merian, an engraver and glass painter, 
 and supposed to have been the pupil of 
 Vandyck, Rubens, and Sandrart, alter- 
 nately. He was clever as a portrait painter, 
 as well as in designing historical subjects ; 
 his outline being sufficiently correct, his 
 tone and colour vigorous, while in dignity 
 of conception he has very seldom been 
 surpassed. Merian's Artemisia mixing 
 the Ashes of Mausolus in her Cup, in the 
 possession of Joseph Werner, his scholar ; 
 and the Martyrdom of St. Lawrence, for 
 the cathedral of Bamberg, are the most 
 admirable of his historical pictures. This 
 artist was employed by the most distin- 
 guished persons in Germany; his equestrian 
 portraits, particularly that of Count Serini 
 in an Hungarian dress, with his right arm 
 bared, and a sabre in his hand, is the most 
 conspicuous, uniting the depth of Rem- 
 brandt with the tone of Rubens. 
 
 Merian (Maria Sibylla). She was born 
 at Frankfort in 1647, being the daughter 
 of Matthias Merian, an engraver and 
 geographer. Showing an early fondness 
 for painting, she was instructed by Abra- 
 ham Mignon, from whom she learned 
 neatness of handling, and delicacy of 
 colour. Her genius particularly led her 
 to paint reptiles, flowers, and insects, 
 which she designed after nature, and 
 studied every object with an inquisitive 
 observation ; so that her works rose every 
 day in reputation. She frequently paint- 
 ed her subjects in water-colours on vellum; 
 and finished an astonishing number of 
 
 designs, being as indefatigable in her work 
 as in her enquiries into the curiosities of 
 nature. She drew the flies and caterpillars 
 in all the variety of changes and forms in 
 which they successively appear, from their 
 quiescent state till they become butterflies; 
 and also drew frogs, toads, serpents, ants, 
 and spiders, with extraordinary exactness. 
 She even undertook a voyage to Surinam, 
 to paint the insects and reptiles peculiar 
 to that climate ; and, at her return, pub- 
 lished two volumes of engravings after 
 her designs. Her daughter, Dorothea 
 Henrietta Graff, who painted in the same 
 style, and accompanied her to Surinam, 
 published a third volume, collected from 
 the designs of Sibylla ; which work has 
 always been admired by the learned, as 
 well as by the professors of painting. 
 This ingenious lady published lier ac- 
 count and description of European insects 
 before her departure from Holland. She 
 died at Amsterdam in 1717. 
 
 Merz (James), the son of a Swiss 
 peasant, in the canton of Zurich, was 
 born in 1783, and, when very young, 
 manifested a fondness for drawing. His 
 talent was encouraged by a clergyman of 
 the name of Veith, whose patronage ena- 
 bled him to acquire instruction. Merz 
 made a rapid progress both in painting 
 and engraving. He then went to Vienna, 
 where he met with warm friends, and 
 continued his career of improvement. 
 His genius and his amiable disposition 
 made his death, at the early age of twenty- 
 four, a subject of deep regret. He left 
 several pictures and portraits, meritorious 
 for correctness of design and delicacy of 
 expression. 
 
 Mesa (Alonzo de). Palomino says 
 this artist was a native of Spain, and born 
 at Madrid in the year 1628 ; he was a 
 pupil of Alonzo Cano, and composed se- 
 veral works for the public buildings at 
 Madrid. He was also an historical painter 
 of considerable genius ; his legendary Life 
 of St. Francis, in the monastery of the 
 Franciscans, is his best performance. 
 He died in 1668. 
 
 Messina (Antonello da), was a native 
 of Messina, who, while studying in Sicily, 
 having acquired the praises of Masaccio, 
 the latter invited him to visit Rome, where 
 be practised for a considerable period, and 
 from thence proceeded to Naples. The 
 discovery of oil painting by John of Bruges 
 caused an insurmountable desire in Mes- 
 na to possess that mystery; wherefore, 
 armed with this resolution, he proceeded 
 
I 
 
 MET 3- 
 
 to Bruges, and, gaining the fuvour of Van 
 Eyck, who was then very old, acquired 
 from him the process of the art, and was 
 the first, upon revisiting Italy, who painted 
 in oil colours. Domenico Veneziano is 
 also said to have learned from this painter 
 the secret in question. Tiiis account is, 
 however, considered as questionable, al- 
 though Vasari appears to regard it as 
 correct. We have but a short list of the 
 works of Messina ; two altar-pieces being 
 noticed by Lanzi, and some pictures of the 
 Virgin, in select hands ; he also mentions 
 a portrait in the possession of Signer 
 Martinengo, with the following inscrip- 
 tion : Antonellus Messenius me fecit, 1 494 ; 
 and a Pieta, signed Antonius Messeniensis. 
 
 Messina (Salvo da), lived in the year 
 1511. Haskert observes, that he was 
 most probably the nephew of Antonello ; 
 that he imitated Raffaelle ; and makes 
 mention, with great encomium, of a picture 
 painted by him for the cathedral at Messina, 
 portraying the Death of the Virgin. 
 
 Metelm (Agostino), was born at 
 Bologna in 1609, and was a disciple of 
 Gabriello d'Occhiali. His excellence con- 
 sisted in painting perspective and archi- 
 tecture, and, in conjunction with Michel 
 Angelo Oolonna, he executed several 
 magnificent works, which contributed 
 highly to their honour. The friezes, foli- 
 ages,and other ornaments of architecture, 
 were performed by Metelli, in a grand style 
 of design, and painted in a free and elegant 
 manner. Metelli and Colonna were also 
 jointly employed at the Bueno- Retire, and 
 other palaces in Spain, by Philip IV., 
 during several years ; and received there 
 remarkable instances of the favour of that 
 monarch, who was so delighted with their 
 painting that he frequently went on the 
 scaffold to see them at work. Metelli 
 died in 1660. 
 
 Metrana (Anna). This lady lived in 
 the year 1718, and is men t ioned by Orlandi 
 as an eminent painter of portraits. 
 
 Metzu (Gabriel), was born at Leyden 
 in 1615, but the artist under whom he 
 firststudiedisnot mentioned. Themasters 
 he chose for his models were Gerard Douw 
 and Mieris ; and he endeavoured to imitate 
 them, as well in their style of composition 
 as colouring : yet there is a remarkable 
 difference in the touch and pencilling, 
 which readily distinguishes the works of 
 those painters from the labours of Metzu. 
 Hehad, however, generally, such exactness 
 in his drawing, such nature, truth, and 
 delicacy, in his design and pencil, such a 
 
 :3 MET 
 
 pleasing tone of colouring, and so good an 
 expression, that his pictures are in uni- 
 versal esteem. He approached near to 
 Vandyck in his manner of designing the 
 hands and feet of his figures ; the coun- 
 tenances had usually infinitegrace,adistin- 
 guishing character, and strong expression ; 
 and his pictures have abundance of har- 
 mony. His subjects were usually taken 
 from low life, but they were designed after 
 nature, and surprisingly well represented : 
 such as women selling fish, fowls, or 
 hares ; sick persons attended by the doctor, 
 chemists in their laboratories, dead game, 
 painters' rooms, shops, and drawing- 
 schools hung with prints and pictures ; all 
 which subjects he composed well, and 
 finished with neatness, as he also did his 
 portraits. He spent much time on his 
 pictures, which has occasioned their scar- 
 city ; and it is said that the Dutch prevent 
 their being carried out of their own 
 country as much as possible. On this 
 account the paintings of Metzu, which are 
 sometimes seen in collections, are either 
 obtained by chance, or purchased at large 
 prices. The value set upon the works of 
 this master has induced several painters 
 to endeavour to imitate him, whose 
 productions others have circulated abroad, 
 and, being a little mellowed by time, they 
 are called originals. Metzu commonly 
 painted in a small size. The subject of his 
 largest picture is a number of Men and 
 Women in a Mercer's Shop. It is describ- 
 ed as being excellent in the disposition, 
 and correct in the design ; the naked flesh 
 being so soft and melting, and the colour- 
 ing so clear, that it is admirable: the silks 
 and stufts are curiously and neatly distinct, 
 and their different texture and folds 
 represented with such truth and ease, that 
 the painting aff'ords entertainment to 
 examine it. The attitudes of the figures 
 are well chosen, and everything appears so 
 natural, that nothing seems wanting to its 
 perfection. Another picture of Metzu, 
 representing a Lady washing her Hands in 
 a Silver Basin, held by her Woman, is an 
 exquisite performance, and thought to be 
 painted in his best time. But one still 
 more capital is, a Lady tuning her Lute : 
 the face is beautifully formed, and painted 
 with the utmost delicacy, the flesh and life 
 being imitated with uncommon force and 
 spirit; and, if the hands had been more 
 correct, the whole would not have been 
 unworthy of Vandyck. By confining him- 
 self to a sedentary life, with little intermis- 
 sion, he Avas severely afflicted with the 
 
MEU 
 
 344 
 
 MEY 
 
 stone ; and, having consented to undergo 
 the operation of cutting, he was of too 
 feeble a constitution to survive it, and 
 died in 1658. 
 
 Meulen (Anthony Francis Vander). 
 This artist, born at Brussels in 1634, 
 was a disciple of Peter Snyders, a battle- 
 painter, by whose instructions he made 
 such a rapid progress that several of his 
 juvenile pictures were excellent perform- 
 ances. While he followed his profession 
 at Brussels, some of his compositions 
 happened to be carried to France, and were 
 shown to M. Colbert, who invited him to 
 Paris, where he was employed by Louis 
 XIV., and had a pension of two thousand 
 livres, besides a remuneration for his work. 
 He attended the king in most of his 
 expeditions, and designed on the spot the 
 sieges, attacks, encampments, and march- 
 ings of the royal armies, also taking views 
 of the cities and towns rendered memorable 
 by success ; from which sketches he com- 
 posed the paintings that were intended to 
 perpetuate the remembrance of those 
 exploits. In his imitation of nature he 
 was exact and faitliful ; his colouring is 
 excellent, and in his landscape the skies 
 and distances are clear and natural ; and 
 though his figures are dressed in the mode 
 of the times, they are well designed, and 
 grouped with so much judgment that his 
 pictures have always a striking effect. 
 His design is generally correct ; his touch 
 free and full of spirit; and, in the dis- 
 tribution of his lights and shadows, there 
 appears so good an understanding, that the 
 eye of the spectator is constantly enter- 
 tained. The works of Vander Meulen 
 have not, perhaps, the spirit and fire of 
 Borgognone andParrocel, but they appear 
 to have more sweetness ; nor could any 
 painter excel him in describing the various 
 motions, actions, and attitudes of horses, 
 as he carefully studied every object after 
 nature, and knew how to express them 
 with truth and elegance. His principal 
 works are at Versailles and Marli ; but 
 many of his easel pictures are dispersed 
 through England, France and Flanders. 
 He died in 1690. 
 
 Meulen (Peter Vander). This painter 
 was a relation and pupil of Anthony 
 Vander Meulen. He was first intended 
 for a sculptor, but relinquished that study 
 for the pencil. He painted scenes of the 
 chase and battlepieces, and came to 
 England in 1690, when he was engaged 
 to delineate the warlike feats of King 
 William. There was a likeness of this 
 
 painter executed by Largilliere, from 
 which a print has been engraved. 
 
 Meusnier (Philip), was born in 1655, 
 and was a disciple of Jacques Rousseau. 
 He became an eminent painter of archi- 
 tecture, having spent several years at 
 Rome to complete his knowledge of that 
 art ; and, by carefully examining the 
 magnificent buildings about that city, 
 ancient and modern, and likewise design- 
 ing after the works of those masters who 
 excelled in that particular branch, he 
 acquired a considerable elegance of taste. 
 His style of composition is of the Roman 
 School ; his colouring good, and he had a 
 great felicity in managing his shadows and 
 lights, so as to produce an extraordinary 
 effect ; he was also remarkable for a 
 freedom of hand, and displayed abundant 
 spirit in his touch. He died in 1734. 
 
 Meyer (Felix), was born at Wln- 
 tertlmr in 1653, and received his first 
 instructions from a painter at Nuremberg; 
 after which he became a disciple of Ermels, 
 a landscape painter, whose manner he 
 followed, though he did not neglect the 
 study of nature. In search of improvement 
 he travelled to Italy , but the climate not 
 agreeing with his constitution, he retired 
 to Switzerland, where there are abundant 
 materials to aid the imagination, and 
 improve the taste of an artist, by the 
 infinite variety of prospects of plains, 
 mountains, craggy rocks and precipices, 
 with rivers and falls of water, sufficient to 
 furnish the fancy of a painter with subjects 
 for compositions. Being indefatigable in 
 surveying the beauty, wildness and mag- 
 nificence of nature in those romantic 
 regions, he made a multitude of noble 
 designs, which procured him high repu- 
 tation, and amply supplied his demands. 
 His freedom of hand, and singular readi- 
 ness of execution, equalled the vivacity 
 of his imagination, of which he gave a 
 remarkable proof at the abbey of St. 
 Florian, in Austria, while on his travels. 
 The abbot being desirous to have two 
 grand apartments painted in fresco, and 
 consulting another artist, who seemed 
 very dilatory, applied to Meyer for his 
 advice in what manner he should have it 
 executed. Meyer for a few minutes 
 viewed and considered the place, and then, 
 taking a long stick, to which he fastened 
 a piece of charcoal, immediately began to 
 design, saying, " Here I would have a 
 tree," which he marked out as quick as 
 possible ; " at the remote distance I would 
 represent a forest, as thus : here a fall of 
 
I 
 
 MET 
 
 345 
 
 MEY 
 
 crater, tumbling from great rocks, and 
 so on." As fast as he spoke he designed, and 
 deprived the abbot of the power of expres- 
 sing his approbation, so much was he lost 
 in astonishment, to behold a design exe- 
 cuted with such elegance and taste, with- 
 out any time allowed for reflection. At 
 the abbot's request, Meyer undertook to 
 finish the sketch; the other painter was 
 dismissed, and the whole work completed 
 during the same summer. This adventure 
 spread his reputation throughout all Ger- 
 many; and he was thenceforward con- 
 tinually emplo^^ed by the first nobility 
 and princes in Europe. But, at the latter 
 part of his life, by endeavouring to fix on 
 a manner still more expeditious and pleas- 
 ing than that of a former period, his works 
 had neither the same ease, freedom nor 
 semblance of nature, though they might 
 produce more immediate profit. Ilis first 
 performances, however, deserve to be rank- 
 ed with those of the best painters of land- 
 scape. He was not expert at delineating 
 figures, and those which he inserted in 
 his pictures are very indifferent: such, 
 therefore, of his landscapes as were embel- 
 lished by Rons, or Rugendas, are most 
 esteemed. Meyer died in 1713. 
 
 Meyer (Andrew). This painter was 
 born at Zurich, in Switzerland, as men- 
 tioned by professor Christ. He also en- 
 graved some towns and cities, and his 
 monogram generally accompanies his 
 views. 
 
 Meyer (Diktrich). This artist was 
 an engraver, as well as painter, and born 
 at Zurich, in Switzerland, in 1571. He 
 acquired great repute by his historical 
 pictures and portraits, of which latter there 
 are a considerable number, representing 
 the most celebrated characters in Switzer- 
 land, which are generally distinguished 
 by hi>! initials. 
 
 Meyer (John). This painter, sup- 
 posed to have been related to the foregoing 
 artist, resided for the most part at Nurem- 
 berg, and there also exist various prints 
 engraved from his own sketches. Of these 
 the principal are his battles, finished in 
 a very peculiar and beautiful manner. 
 Meyer likewise produced several engrav- 
 ings of the fountains at Rome, which were 
 published at Nuremberg in the year 1600. 
 
 Meyer (Rodolph). This painter, a 
 native of Zurich, the son and pupil of the 
 foregoing artist, was born in 1605, and 
 more celebrated as an engraver than a 
 painter. Notwithstanding this, Rodolph 
 acquired great repute by his historical 
 
 pictures aud portraits. Among his etch- 
 ings, we have the Dance of Death, after- 
 wards engraved by his brother Conrad, 
 as well as a series of emblems, and many 
 portraits, which were subsequently pub- 
 lished. 
 
 Meyer (Conrad). This painter stu- 
 died at Frankfort, and after being the 
 scholar of his father, became the pupil of 
 Matthew Merian. Conrad was junior 
 brother of Rodolph, and the youngest son 
 of Dietrich Meyer. He was chiefly era- 
 ployed in painting portraits, the colouring 
 of which is highly esteemed; and, with 
 respect to his engravings, he was regarded 
 as the most industrious artist of his time. 
 There are a vast quantity of his prints 
 which were collected together by Caspar 
 Fuessli, who made every attempt to have 
 them completed; he could, however, as- 
 semble together no more than nine hundred 
 impressions from his plates. This artist 
 was born at Zurich in 1618, and died at 
 the same place in 1 689. His multifarious 
 engravings consist of emblems, landscapes, 
 and scenery. 
 
 Meyer, or Meyerle (Francis An- 
 thony). This artist was a native of 
 Prague; but it was at Turin, where he 
 resided some time, that he acquired the 
 appellation of F?'ancesco Antonio Meyerle. 
 He was born in 1710, according to Lanzi. 
 He was remarkable for his diminutive 
 pictures, and always chose domestic scenes; 
 some few portraits, however, exist, which, 
 although beautifully painted, did not meet 
 with so much success as those executed 
 in smaller dimensions. Several of his pro- 
 ductions are at Vercelli, where he remained 
 the best part of his life; and his per- 
 formances are highly valued. This artist 
 died in 1782. 
 
 Meyers (Jeremiah). At the age of 
 fourteen this painter came to England, 
 and studied under Zinck, who at that 
 period had acquired great fame as a painter 
 of miniatures, and particularly excelled in 
 enamelling. Meyers was considered one 
 of the first of his period, and appointed 
 miniature designer to the queen. He was 
 a native of Tubingen, and one of the first 
 who patronized the Royal Academy in the 
 year 1768. He was born in 1728, and 
 died in 1789. 
 
 Meyering (Albert), was born at Am- 
 sterdam in 1645, and learned the art of 
 painting fromhis father, Frederick Meyer- 
 ing, an artist of some abilities; but when 
 he had acquired a certain knowledge of his 
 profession, he vvent to Paris, where he con- 
 
MEY 
 
 MIE 
 
 linued a few years, finding little en- 
 couragement, and labouring very hard for 
 subsistence. From thence he travelled to 
 Rome, as the only place where he could 
 hope for realimprovement. There, though 
 in a necessitous situation, he pursued his 
 studies industriously; and, having met 
 with his friend John Glauber, they as- 
 sociated together, and visited most of the 
 cities and towns of Italy, making observa- 
 tions in every place, on such parts of nature 
 as might be most useful to them in their 
 performances. After an absence of ten 
 years, Albert returned to Holland, and 
 was immediately employed on several con- 
 siderable works. In Italy he had acquired 
 a free pencil, and a ready manner of paint 
 ing, which was particularly useful to him, 
 as his designs were usually of a large size, 
 for halls, saloons, and grand apartments; 
 though he often painted easel pictures, 
 which were excellently handled. His 
 compositions had a striking effect; his sub- 
 jects were well disposed; and, in some of 
 his pictures, he designed an abundance of 
 figures. In general, the grandeur of his 
 taste in trees and buildings, the richness 
 of many of his ornaments, and a peculiar 
 transparency in his representation of water, 
 gave singular satisfaction to the beholder. 
 Meyering died in 1714. 
 
 Meyssens (John), born at Brussels in 
 1612, was taught the principles of painting 
 by Anthony Van Opstal; he afterwards 
 became a disciple of Nicholas Vander 
 Horst. When he commenced painter, he 
 undertook both history and portrait; but 
 the latter seems to have been his principal 
 employment; and by having successfully 
 executed the portraits of Count Henry of 
 Nassau, the Countess of Slirum, the Count 
 de Bentheim, and other noble personages, 
 his reputation in that style was effectually 
 established. His remarkable excellence 
 consisted in his producing a striking re- 
 semblance ; in finishing his pictures with 
 great care; and giving them a lively and 
 good expression. He died at Brussels in 
 1666. 
 
 Meyssoxien (Justus Aubelius). Ba- 
 san speaks of this artist, as not only ex- 
 celling in painting, but in the different 
 branches of sculpture, architecture, gold- 
 working, and engraving. He was a native 
 of Turin, and born in 1695. At Paris, 
 where he lived some time, he was appointed 
 gold-worker to the king, frona whom he 
 received a brevet, and was nominated chief 
 draughtsman of his cabinet. He left 
 several ornamental plates, various designs 
 
 of architecture, and plans for gold- workers, 
 which Haquier afterwards engraved. 
 
 Mezzandri (Antonio). This artist 
 was born at Bologna, and lived about 1688. 
 Lanzi states that he so particularly ex- 
 celled in fruits and flowers, that the famous 
 Gobbo of the Caracci was scarcely su- 
 perior to many productions of this painter. 
 
 MicHALLON (Achilles Etna). This 
 artist was born at Paris in 1796, studied 
 under David, and other eminent painters, 
 and when only twelve years old produced 
 a painting of such merit, that Prince 
 Youssupoff rewarded him with a yearly 
 pension. After. having gained several 
 prizes, he proceeded to Rome, to complete 
 his studies. His Orlando at Roncesvalles, 
 the Combat of the Centaurs and Lapithse, 
 the Ruins of the Circus, and a "View in the 
 Environs of Naples, were much admired. 
 He died at the age of twenty-six. 
 
 MiCHAu (Theodore). This artist 
 painted landscapes, and low scenes of 
 merriment. He was a native of Brussels, 
 and born in 1676. He studied under 
 Francis Bout, and endeavoured to copy 
 the manner of the younger David Teniers, 
 but neither succeeded in the softness of his 
 landscapes, nor the peculiar characteristics 
 of his boorish groups. He was living in 
 1730. 
 
 Michele (Pabrasto). This artist was 
 a Venetian, and lived about 1590. He 
 studied under Paolo Veronese, whose taste 
 and manner he succeeded in imitating. 
 Rodolfi makes mention of his paintings, 
 some of which are in the churches at 
 Venice. 
 
 Miel (Jan), called Giovanni della Vite. 
 This eminent artist was born in Flanders 
 in 1599. He was first a disciple of Gerard 
 Seghers, in whose school he made a dis- 
 tinguished figure ; but he quitted it, and 
 went to Italy for further improvement 
 in the taste of design, and to obtain a 
 more extensive knowledge of the several 
 branches of his art. At Rome he parti- 
 cularly studied and copied the works of 
 Corregio and the Caracci, and was ad- 
 mitted into the academy of Andrea 
 Sacchi, where he gave i)roofs of such 
 extraordinary genius, that he was invited 
 by his master to assist him in a grand 
 design, which he had already begun. 
 Miel, however, through some disgust, 
 rejected those elevated subjects which at 
 first had engaged his attention, refused 
 the friendly proposal of Sacchi, and chose 
 to imitate the style of Bamboccio, as 
 having more of that nature which pleased 
 
MIE 
 
 jSIIE 
 
 liis own imagination. His general sub- 
 jects are huntings, carnivals, gipsies, 
 beggars, pastoral scenes, and conversa- 
 tions ; and of these he composed his easel 
 pictures, which are the finest of his per- 
 formances. But he also painted history 
 in a large size in fresco and in oil ; and 
 though his pieces seem to want elevation 
 of design, and more grace in the heads, 
 yet they appear superior to what might 
 be expected from a painter of such low 
 subjects as those which he was fond of 
 representing. His pictures of huntings 
 are most admired ; the figures, and animals 
 of every species being designed with un- 
 common spirit, nature, and truth. The 
 transparence of his colouring, and the 
 clear tints of his skies, enliven his com- 
 positions; nor are his paintings in any 
 degree inferior to those of Bamboccio in 
 force or lustre. Charles Emanuel, Duke 
 of Savoy, invited him to his court, ap- 
 pointed him hisprincipal painter, honoured 
 him with the order of St. Mauritius, and 
 made him a present of a cross set with 
 diamonds, of great value. Many capital 
 pictures of this master, in his best style, 
 are said to be in the imperial collection at 
 Vienna; and at Turin, in a grand saloon, 
 called the hunting-room, are several of 
 his noblest performances. They represent 
 the chase of various animals, in difi"erent 
 views; some pursued, others killed, and 
 the huntsmen returning from the sport. 
 In those compositions there are numerous 
 figures ; which, though dressed in the 
 mode of the times, yet the subject is 
 treated in a grand style, and the colouring 
 is lively and strong, though somewhat 
 darkened by time. Miel died in 1664. 
 
 MiERHOP (Fkancis van Ouyck db). 
 This painter was of high birth, and born 
 at Bruges in 1640. He, in the first 
 instance, merely designed for recreation; 
 but from the natural taste he had imbibed 
 for painting, he persevered, and met with 
 considerable success; when adversity, 
 having unfortunately overtaken his fa- 
 mily, he experienced the benefit arising 
 from his cultivation of the art. The 
 feelings of this painter, on receiving such 
 a shock, obliged him to leave Bruges, 
 and he repaired to Ghent, where he 
 acquired very great repute. He followed 
 the style of Francis Snyders, and pro- 
 duced compositions of fish, fruits, game, 
 and animals, many of which greatly 
 resemble the works of that master. At 
 Ghent, in the monastery of the Alexines, 
 is a beautiful painting by this artist, 
 
 portraying dogs, fish, and dead game; 
 and, so exquisitely finished is this per- 
 formance of his pencil, that it has very 
 frequently been mistaken for one of the 
 best pictures of Snyders. He died at 
 Ghent in 1701. 
 
 MiEHis (Francis), called the Old. 
 This admirable painter was born at 
 Leyden in 1635, and not at Delft, as 
 Descamps asserts. He was first placed 
 under Abraham Toorne Vliet, one of 
 the best designers of the Low Coun- 
 tries; under whom he made remarkable 
 progress, and next entered the school 
 of Gerard Douw, where in a short time 
 he surpassed all his companions, and was 
 by his master called the prince of his 
 disciples. Being eager for improvement 
 in pencilling, he went to study with Adrian 
 Vanden Tempel ; but finding his expecta- 
 tions were not realized, he returned to 
 Douw, whose taste and genius corres- 
 ponded more nearly with his own ; and he 
 continued with him, till he wanted no far- 
 ther instruction, except in studying after 
 nature. He had an unusual sweetness of 
 colouring, a neat and wonderfully deli- 
 cate touch, and the same transparency 
 that characterizes the paintings of Douw, 
 to whom he was superior in many 
 other respects, being more delicate 
 and extensive in his design, and cor- 
 rect in his drawing. His colouring is 
 more clear, his touch more animated, 
 and his pictures have more freshness 
 and force. His manner of painting 
 silks, velvets, stuffs, or carpets, was so 
 singular, that the different kinds and 
 fabric of any of them might easily be 
 distinguished. His pictures are rarely 
 to be met with, and, of course, fetch high 
 prices. Besides portraits, his general 
 subjects were conversations, persons 
 performing on musical instruments, pa- 
 tients attended hy the doctor, chemists at 
 work, mercers' shops, &c. The usual 
 valuation he set on his pictures was at 
 the rate of a ducat an hour. Houbraken 
 mentions an incident in his life, which, 
 as it tends much to his honour, may not 
 be unacceptable to the reader. Mieris 
 had conceived a real friendship for Jan 
 Steen, and delighted in his company, 
 though he was by no means so fond of 
 drinking freely, as Jan was accustomed to 
 do every evening at the tavern. Not- 
 withstanding this, he often passed whole 
 nights with his friend, in a joyous man- 
 ner, and frequently returned very late to 
 his lodging. One evening, when it was 
 
MIE 
 
 348 
 
 MIE 
 
 very dark, and almost midnight, as Mieris 
 strolled home from the tavern, he un- 
 luckily fell into the common sewer, which 
 had been opened for the purpose of being 
 cleansed, and the workmen had left it 
 unguarded. There he must have perished, 
 if a cobbler and his wife, who worked in 
 a neighbouring stall, had not heard his 
 cries, and instantly run to his relief. 
 Having extricated Mieris, they took all 
 possible care of him, and procured the 
 best refreshment in their power. The 
 next morning, Mieris, having thanked his 
 preservers, took his leave; but particularly 
 remarked the house, that he might know 
 it another time. The poor people were 
 totally ignorant of the person who had 
 been relieved by them, but Mieris had too 
 grateful a spirit to forget his benefactors ; 
 and having painted a picture in his best 
 manner, he brought it to the cobbler and 
 his wife, telling them it was a present 
 from the person whose life they had con- 
 tributed to save, and desired them to 
 carry it to his friend Cornelius Plaats, 
 who would give them the full value for it. 
 The woman, unacquainted with the real 
 worth of the present, concluded she 
 might receive a moderate gratuity for the 
 picture ; but her astonishment was inex- 
 pressible when she received the sum of 
 eight hundred florins! The finest por- 
 trait from this master's hand is that 
 painted for the wife of Cornelius Plaats, 
 which is still preserved in that family, 
 though great sums have been offered for 
 it. In the possession of the same person 
 was another picture of Mieris, represent- 
 ing a lady fainting, and a physician ap- 
 plying the remedies to relieve her. For 
 that performance he was paid fifteen 
 hundred florins, and the grand duke of 
 Tuscany, who wished to purchase it, 
 offered three thousand, but they were not 
 accepted. That prince procured several 
 of the pictures of Mieris, which are still 
 an ornament to the Florentine collection 
 one of the most curious being a Girl 
 holding a Candle in her Hand ; a per- 
 formance that is accounted inestimable. 
 This artist died in 1681. 
 
 MiEKis (John), was the eldest son of 
 Francis Mieris, born at Leyden in 1660, 
 and learned the art of painting from his 
 father. He was stimulated to exert the , 
 utmost efforts of his genius to arrive at j 
 eminence in his profession, by having the 
 example of his father perpetually before j 
 him, and the abilities of his younger j 
 brother to excite his industry. Yet John 
 
 neither imitated the manner of the one nor 
 the other ; for he could not hope to pos- 
 sess the patient perseverance which his 
 father showed, in finishing his pictures as 
 highly as he did ; and as his brother 
 painted in small, he determined to paint 
 in a large size, to avoid competition. 
 Francis appeared very desirous to place 
 John with some very eminent historical 
 painter, particularly with Lairesse, whose 
 works he held in the highest esteem. 
 But as he knew him to be a man of dis- 
 solute life and corrupt morals, he was 
 unwilling to risk those of his son, who 
 might perhaps be deluded into vice by 
 the power of bad example ; and therefore 
 undertook that employment himself, af- 
 fording him all the aids in his power, and 
 laid before him those models from which 
 he had formed his own successful manner. 
 The young artist, unhappily, was much 
 afflicted with the gravel and stone ; and 
 those complaints greatly impeded him in 
 the progress of his studies. But after the 
 death of his father, he travelled to Ger- 
 many, and from thence to Florence, where 
 the fame of his father's merit procured 
 him a most honourable reception from the 
 grand duke, who, wheu he saw some of 
 his paintings, endeavoured to retain him 
 in his service; but Mieris declined the 
 offer, and proceeded to Rome, where his 
 abilities were already well known, and 
 his works exceedingly coveted. In that 
 city his malady increased ; yet during the 
 intervals of ease, he continued to work 
 with his usual application, till the violence 
 of his distemper ended his days in 1690. 
 
 Mieris (William), called the Young 
 Mieris, was the younger son of Francis 
 Mieris, and born at Leyden in 1662. 
 During the life of his father, he made 
 remarkable progress ; but being deprived 
 of his director when only nineteen, he had 
 recourse to nature, as the most instructive 
 guide, and, by studying with diligence 
 and judgment, he approached near to the 
 merit of his parent. At first he took his 
 subjects from private life, such as trades- 
 men in their shops, or a peasant selling 
 vegetables and fruit, and sometimes a 
 woman looking out at a window, all which 
 he copied minutely after nature, nor did 
 he paint a single object without his model. 
 One of his first attempts was the picture 
 of a Woman feeding her Child, and an- 
 other standing by, encouraging it to eat ; 
 the father sits by the fire, attentive to the 
 actions of other children, and the chamber 
 is neatly furnished. The whole is finished 
 
r- 
 
 MIE 
 
 with exquisite art and delicacy, and that 
 single picture established his reputation. 
 Mieris having observed the compositions 
 of Lairesse, and other historical painters 
 with delight, attempted to design subjects 
 in that style ; and began with the story 
 of Rinaldo sleeping on the Lap of Armida, 
 surrounded with the Loves and Graces, the 
 foreg-round being enriched with plants 
 and flowers. This work proved a new 
 addition to his fame, being sold for a very 
 great price ; and it was so highly admired, 
 that he was prevailed on to repeat the 
 same subject, for three other persons of 
 distinction, though in every picture he 
 took care to make some alteration. He 
 also painted landscapes and animals with 
 equal truth and neatness ; and modelled in 
 clay and wax in so sharp and accurate a 
 manner, that he might justly be ranked 
 among the most eminent sculptors. In 
 the delicate finishing of his works he imi- 
 tated his father, as he likewise did in the 
 lustre, harmony, and truth of his paint- 
 ings, which makes them almost as highly 
 prized ; but they are neither equal in 
 design nor effect, neither is his touch so 
 exquisite as that of his father. The works 
 of the elder Mieris are better composed, 
 the figures better grouped, and they have 
 less confusion; yet theyounger Mieris isac- 
 knowledged to be an artist of extraordinary 
 merit, though inferior to his parent, who 
 indeed had scarcely his equal. He died 
 in 1747. 
 
 Mieris (Francis), called the Young 
 Francis^ was the son of William, and the 
 grandson of Francis Mieris, and born at 
 Leyden in 1689. He learned the art of 
 painting from his father, whose manner 
 and style he imitated ; choosing the same 
 subjects and endeavouring to resemble 
 him in his colouring and pencil. But, 
 with all hisindustry, he proved far inferior, 
 and most of those pictures which, at sales, 
 are said to be of Young Mieris, and many 
 also in private collections, ascribed to the 
 elder Francis, or William, were perhaps 
 originally painted by this artist, or are only 
 his copies after the works of those excellent 
 painters, as he spent abundance of time 
 in copying their performances. 
 
 MiERS ( ). He was a native of 
 
 Holland which country he was obliged to 
 leave, for having engaged too deeply in the 
 revolutionary troubles there in 1788. He 
 then came to London, where he acquired 
 a reputation by his landscapes, in which 
 the figures, cottages, and trees were finished 
 with care and neatni'ss. He evidently 
 
 9 M I G 
 
 aimed at an imitation of Ostade, but with- 
 out approaching his model. He executed 
 several drawings, or rather pictures, in 
 water-colours, in which the extreme neat- 
 ness of handling is the more observable, 
 being produced by the process generally 
 called body-colours. He died in 1793. 
 
 MiGLioxico (Andrea). This artist 
 painted historical subjects, which acquired 
 him great repute. Dominici says he was 
 born at Naples, and studied under Luca 
 Giordano, whom he did not long survive. 
 There are many paintings of this artist in 
 the different churches of his birthplace, 
 the most celebrated being that of the 
 Descent of the Holy Ghost, which adorns 
 the church of St. Nunzio. 
 
 MiGNARD (Nicolas), called of Avignon, 
 was born at Troves in 1608, and instruct- 
 ed in design and colouring by the best 
 painter in that city, to whom Mignard 
 proved himself much superior in a short 
 time. He, therefore, to acquire a greater 
 degree of knowledge, and an improved 
 taste, studied after the antiques at Fon- 
 tainebleau, and the paintings of Prima- 
 ticcio and Rosso, preserved in that palace. 
 But he finished his studies at Rome, 
 where he resided two years ; being aided 
 in his practice by the advice of Fresnoy, 
 and his brother Peter Mignard. He 
 painted a number of portraits; but his 
 genius inclined him more strongly to his- 
 torical compositions, particularly poetic 
 subjects. Though he had a good inven- 
 tion, he had no great fire of imagination, 
 which defect was compensated in some 
 degree by the correctness and neatness of 
 his pictures. His colouring was agreeable, 
 his carnations lively, his ideas sometimes 
 elevated, and abundance of union and 
 harmony appeared in his works. He 
 resided several years at Avignon, but left 
 that city on being invited to the court of 
 France; and at the time of his death, in 
 1668, he was rector of the Royal Aca- 
 demy at Paris. Several of his works are in 
 the palace of the Thuilleries. 
 
 Mignard (Pierre), called the Romari, 
 was the younger brother of Nicholas 
 Mignard, and born at Troyes in 1610. 
 He was a disciple of Vouet; but, having 
 an opportunity of seeing some capital 
 paintings of the Italian masters, he quitted 
 that school, and went to Rome, to study 
 after Raffaelle, Buonarroti, and Annibale 
 Caracci; endeavouring to transfuse into 
 his compositions whatever appeared to 
 him excellent in each of those artists. He 
 studied at Rome twenty-two years, which 
 
M I a 
 
 MIL 
 
 circumstance, with his manner of design- 
 ing so much in the taste of the Italian 
 School, procured him the name oftheiio- 
 man. He possessed a finer genius than 
 Nicolas; and had the honour of painting 
 the portraits of Popes Urban VIII. and 
 Alexander VII., besides many of the no- 
 bility at Rome. Being invited to Paris 
 by Louis XIV., he returned through Tus- 
 cany, Modena, and Parma, in all which 
 courts he painted theportraits of theprinces 
 and their families. In France, his patron 
 sat to him ten times, and had such a re- 
 spect for his talents and accomplishments, 
 that he ennobled him; and, after the death 
 of Le Brun, appointed him principal pain- 
 ter, and director of the manufactories. 
 The colouring of Mignard was in general 
 good; he was rich in his ordonnances; and 
 those paintings which are at St. Cloud 
 are honourable proofs of his being an ar- 
 tist of eminence. He died in 1695. 
 
 MiGNAED (Paul). This artist, who 
 was born at Paris in 1666, was the son 
 and disciple of Nicolas Mignard, and be- 
 came a good painter of portraits. He died 
 at Lyons in 1691. 
 
 MiGNON, or MiNJOHN (Abkaham). 
 This delicate painter was born at Frank- 
 fort in 1639. His father having been 
 deprived of the greater part of his substance 
 by losses in trade, left his son in very ne- 
 cessitous circumstances, when he was only 
 seven years of age. From that melancholy 
 situation he was rescued by the friendship 
 of James Mural, a flower painter, who 
 took Mignon into his own house, and 
 instructed him in the art till h3 was seven- 
 teen. Mural, observing an uncommon 
 genius in Mignon, took him with him to 
 Holland, where he placed him as a disciple 
 with David de Heem, whose manner he 
 imitated, and ever afterwards adhered to; 
 only adding daily to his improvement, by 
 studying nature with exact observation. 
 When we consider the paintings of Mi- 
 gnon, we are at a loss whether most to 
 admire the freshness and beauty of bis 
 colouring, the truth in every part, the 
 bloom on his objects, or the perfect resem- 
 blance of nature visible in all his perform- 
 ances. He always displays a beautiiul 
 choice in those flowers and fruits from 
 which his subjects are composed, and he 
 groups them with uncommon elegance. 
 His touch is exquisitely neat, though ap- 
 parently easy and unlaboured; and he 
 was fond of introducing insects among 
 fruits and flowers, so wonderfully finished, 
 that even the drops of dew appear as round 
 
 and translucent as nature itself. Wyer- 
 man, who had seen many admired pictures 
 of Mignon, mentions one of a most capital 
 kind. The subject is, a cat having thrown 
 down a pot of flowers, which lie scattered 
 on a marble table. This picture is so 
 wonderfully natural, that the spectator 
 can scarcely persuade himself that the 
 water spilled from the vessel is not really 
 running down from the marble. This 
 picture is distinguished by the title of 
 Mignon's Cat. He died in 1679. 
 
 Milanese (Felice). It is supposed 
 that this artist was a painter. There is 
 an etching by him of the Virgin and 
 Child, with several children, and a bishop 
 in front of the female figure. This pro- 
 duction is marked Felice Milanese fee. 
 
 MiLANi (GiULio Cesake). This artist 
 was a native of Bologna, and born in the 
 year 1621 : he copied Flaminio Torre, 
 and completely succeeded. There are se- 
 veral of his pictures in different churches 
 at his native place; and his principal 
 works are, St. Antonio di Padova, in the 
 church of St. Maria del Castello; the 
 Marriage of the Virgin, in Giusepi)e; 
 and, at the Servi, a painting of the Holy 
 Family, accompanied by St. John. He 
 died in 1678. 
 
 MiLAxi (AuRELiANo). This artist was 
 a native of Bologna, and nephew to Giu- 
 lio Cesare Milani. He was born in the 
 year 1675, and studied under Cesare 
 Gennari, as well as Lorenzo Basinelli. 
 He was attracted by the school of the 
 Caracci, and paid little attention to the 
 style of his master ; so that he came closer 
 to the rules of that school than any other 
 artist, with the exception of Carlo Ci- 
 gnani. The abilities of this painter main- 
 tained the superiority of the Bolognese 
 School, and his best pictures are, the 
 Girolamo, in St. Maria della Vita ; St. 
 Stephen Stoned, in St. Maria; andatMas- 
 canella, the Resurrection, in La Purita. 
 He died in the year 1749. 
 
 MiLANi (Giuseppe Maria). This 
 master was born in 1678, and learned 
 design from Camillo Gabrielli, who was 
 the disciple of Pietro da Cortona. When 
 he quitted the school of Camillo, he applied 
 himself to study perspective, and made 
 designs after the most magnificent build- 
 ings, ancient and modern, that merited 
 his attention in Pisa, and otlier cities of 
 Italy. These he applied occasionally in 
 his compositions, and gained great repu- 
 tation by the truth and grandeur of the 
 architecture, which he introduced into his 
 
MIL 
 
 MIN 
 
 paintings. His figures were designed in 
 an elegant stj'le ; but he seemed to bor- 
 row so much from Pietro da Cortona, as 
 to be accounted a plagiarist. His colour- 
 ing was in a good taste, his disposition 
 judicious, his perspective fine, and he had | 
 much union and harmony. At Pisa, in 
 the church of St. Matthew, is a grand 
 ceiling painted by this master; the compo- [ 
 sition is noble, and has great effect ; the 
 disposition of the several groups is good, I 
 and the architecture excellent. But many | 
 of the figures are taken from Cortona ; 
 and the glory which is represented in the 
 design, appears too yellow. Though 
 particular parts, however, may justly be 
 censurable, the whole is striking and beau- 
 tiful. 
 
 Mile, or Mille (Fkancesco), called 
 Francisque, was born at Antwerp in 1644, 
 and at an early age placed under Lau- 
 rentius Franck, with whom he studied | 
 industriously, and showed so apt a genius, j 
 that, in a few years, lie became equal to ' 
 his master. Plaving contracted a friend- \ 
 ship with Genoels, they studied together | 
 after nature, and increased each others i 
 ardour by a friendly emulation, and un- 
 reserved communication of ideas, senti- j 
 ments, and observations, which, in the 
 end, rendered both very eminent. Mile \ 
 was remarkable for a most tenacious ! 
 memory ; so that, whatsoever scene he | 
 observed in nature, or whatever designs ", 
 of any other master engaged his attention, \ 
 they became ever after so strongly im- 
 pressed on his memory, as never to be 
 forgotten. But, what was more extra- 
 ordinary, he could readily recollect the 
 shape and form of any particular cloud, 
 or those tints in the skies, and evanes- 
 cent beauties, which pleased his eye and 
 imagination, so as to represent them at j 
 any distance of time, with all the truth 
 and force of nature. He travelled through j 
 England, Holland, and France; and, in 
 each country, left sufficient evidence of 
 his excellence in the art. His landscapes 
 show that he had made Poussin his model, 
 most of them being designed in the style 
 of that master ; and he adorned them with I 
 figures elegantly designed and judiciously ; 
 disposed. His favourite study was heroic 
 landscape, like Nicolo Poussin ; and, 
 whatever subject he represented, he took 
 pains to adapt the scenery to it with skill 
 and propriety. His pencil is light, his 
 tone of colouring agreeable in many of 
 his pictures, and his manner pleasing ; 
 yet his works generally have no great 
 
 effect, by not having a proper body of 
 light, or, at least, the light is so managed 
 that they usually appear too brown, and 
 of one colour. His best works, however, 
 possess much merit in taste and correct- 
 ness of design, in freedom of pencil, 
 pleasing tints of colouring, as also in the 
 figures and keeping; and it was a loss to 
 the art, and to the world, that he was 
 poisoned by some of his own profession, 
 who envied his merit. He was for some 
 time deprived of his reason, and soon 
 after of his life, in 1680. A very agreeable 
 landscape of Mile, and perhaps one in 
 his best style, is in the collection of the 
 Marquis of Hastings. 
 
 Mind (GoxTrRiED). This singular 
 artist was a native of Berne, in Switzer- 
 land, where he studied under Feuden- 
 berger. His favourite subjects were ani- 
 mals, and particularly cats, which he 
 painted in a great variety of attitudes. 
 When at work he had always a favourite 
 puss at his elbow; and even at his meals 
 he was attended by a number of the feline 
 race, old and young, to which he was much 
 attached. Madame Le Brun, the cele- 
 brated female painter of Paris, purchased 
 many of his pictures, and conferred on him 
 the title of the Raffaelle of Cats. Mind 
 also painted bears and other animals with 
 equal accuracy and spirit. He died at 
 Berne in 1814. 
 
 MiNDEKHouT ( ). Tliis iugenious 
 
 artist was born at Antwerp about 1637, 
 but followed his profession at Bruges, 
 where he was admitted into the society of 
 painters in 1662. His subjects were sea- 
 ports and harbours, with a number of 
 vessels and figures, especially the prospects 
 of different ports in the Netherlands. He 
 also painted particular views of Antwerp 
 and Bruges. He seemed to take a sin- 
 gular dehght in studying the construction 
 of every kind of shipping; and the draw- 
 ing and design of all the vessels he painted 
 appear to be copied from real objects, with 
 great precision. Being very industrious, 
 he painted a number of pictures, which in 
 general, had a good effect, though not 
 I always an equal proportion of merit; for 
 : some of them cannot be too highly prized, 
 whilst others are so slight as to be little 
 more than unfinished sketches, and the 
 figures, as well as the skies, are indifferent. 
 He died at Bruges in 1696. 
 
 MixGOT (Teodosio), was a Spaniard, 
 born in Catalonia, in the year 1551, and 
 became a pupil of Gaspar Becerra. Palo- 
 mino has very incorrectlv advanced, that 
 
MIR 
 
 this artist studied under Buonarroti, who 
 died when Mingot was only thirteen years 
 old. It is supposed he went to Italy, where 
 he perfected himselfin design, and became 
 a good colourist. He was engaged by 
 Philip II. in the palace of the Prado, where 
 his best pictures were burnt in the fire 
 which destroyed that building. He died 
 in 1590. 
 
 MiNzoccHi (Francesco), denominated 
 II Vecchio di San Bernardo. This artist's 
 birthplace was Forli. He first practised 
 in the manner of Marco Parmegiano, and 
 a defect in grace is extremely p:ilpable in 
 his early productions, especially in his 
 picture of the Crucifixion, at the Osser- 
 vanti. He afterwards improved himself 
 in the school of Girolamo Genga, and 
 coloured well, after tlie manner of Por- 
 denone. The Sacrifice of Melchisedeck. 
 and the Miracle of the Manna, are his best 
 works in fresco, preserved in the Basili 
 de Loretto, in which the prominent figures 
 have a characteristic brilliancy of colour- 
 ing. Minzocchi was inimitable as a copy- 
 ist of Pordenone, though, in other pictures, 
 he is found wanting in the grandeur and 
 correctness which the subjects demanded. 
 Scannelli highly extols a fresco painting 
 by this artist, in the church of St. Maria 
 della Gratia, at Forli, representing the 
 Trinity; the whole being well coloured, 
 excellently foreshortened, and claiming 
 more praise than is generally bestowed 
 upon his productions. His two sons, 
 Fietro Paolo, and Sehastiano Minzocchi, 
 were historical painters, but far behind 
 him in the pictorial art. In the churches 
 of St. Agostino, and the Franciscans, at 
 Forli, are some very mediocre works from 
 the pencils of these artists. 
 
 MiRADORo (LuiGi), was a Genoese, 
 stated by Lanzi as having been most con- 
 spicuous from 1639 till 1651. Studying 
 the first rudiments of the science at Genoa, 
 he afterwards travelled to Cremona, at 
 the commencement of the seventeenth 
 century, where he imitated Panfilo Nu- 
 volone. He then adopted the Caracci 
 style, but without much exactness in his 
 figures, or expression in his characters. 
 Bold in design, and delicate in colouring, 
 this painter was highly prized in Lombardy 
 and at Cremona, although he is totally 
 passed over by Orlandi. Miradoro selected 
 and acquired the greatest success in all 
 terrifying subjects. His best pictures are 
 a Dead Christ in the Virgin's Lap, in the 
 hall at Piacenza, and St. Giovanni Dama- 
 scene, in St. Clement's, at Cremona. 
 
 MiREVELT (Michael Jansen). This 
 painter of history and portrait, born at 
 Delft in 1568, was a disciple of Anthony 
 Blochland, and for some time employed 
 his time in painting historical subjects ; 
 but finding a continual demand and a 
 profitable return for portraits, he gradu- 
 ally discontinued the former, and adhered 
 to the latter. He studied and imitated 
 nature happily, gave a strong resemblance 
 to his portraits, finished them highly and 
 designed them in a good taste. His pencil 
 is free, his touch has neatness, and the 
 merit of his performances so effectually 
 spread his reputation, that he was invited 
 to the court of London by Charles I.; but 
 the plague raging at that time through 
 London, he was prevented from accepting 
 the offer. He lived entirely at Delft and 
 never quitted that city except at particular 
 times, when he went to the Hague to paint 
 the portraits of some of the princes of 
 Nassau, by whom he was much esteemed. 
 It may readily be conjectured that the 
 works of Mirevelt must have been extre- 
 mely admired when theextraordinary num- 
 ber of his paintings is considered, amount- 
 ing to five thousand ; for the smallest of 
 which he never was paid less than one 
 hundred and fifty guilders about fifteen 
 pounds sterling; and for those of a larger 
 size, half or whole lengths, his price was 
 proportionably enlarged. Sandrart, and 
 after him, Descamps, with the author of 
 the Abr6ge, aflarm that Mirevelt painted 
 above ten thousand portraits an incredi- 
 ble number for one hand to finish; but 
 Houbraken, with greater probability, limits 
 the number to five thousand. Sandrart 
 also says that he lived to be ninety years 
 of age, though all other writers agree that 
 he died at seventy-three. The author of 
 the Abrege de la Vie des Peintres, vol. iii. 
 p. 102, fixes the birth of Mirevelt in 1588, 
 and then says he died in 1641, at the age 
 of seventy-three ; which must be an over- 
 sight ; for, according to those dates, he 
 could have been only fifty-three in the 
 year 1641; and, supposing him to die at 
 seventy-three, he must have died in 1661. 
 contrary to the testimony of all writers. 
 
 Mirevelt (Peter), was the son of Mi- 
 chael Mirevelt, and born at Delft in 1596. 
 In his manner of design, in his style of 
 colouring, and in the dehcacy of his pencil 
 he resembled his .father; and by the best 
 judges of that time was accounted in no 
 degree inferior to him. He died in 1632. 
 MiRUOLi (Girolamo). Vasari states 
 this painter to have been born at Roma- 
 
MIT 
 
 MOD 
 
 gna, and best known in the year 1570. 
 He was a tolerable historical artist, and a 
 scholar of I'ellegrino Tibaldi. lie com 
 posed fresco works for the church of the 
 Servi, at Bologna, being also well known 
 at Parma and Modena. He died under 
 the patronage of the grand duke. 
 
 MiTELLi (Agostino), a Celebrated pain- 
 ter, was born at Bologna in the year 1()09. 
 Eminent as an artist in perspective and 
 architectural scenery, he was by no means 
 deficient in the human figure, which sci- 
 ence he acquired in the Caracci school. 
 He frequently designed the figures, and 
 often the perspectives, conjointly with 
 Michel Angelo Colonna, in the deco- 
 rations of the arcliiepiscopal palace at 
 Ravenna: he, however, ultimately gave up 
 his mind completely to perspective, in 
 which he excelled. However inferior the 
 compositions of Mitelli may be to those of 
 II Dentone, as regards force and strength, 
 they enchant by the ease and beauty of 
 his selections, and the softness of his col- 
 ouring. His decorations were always 
 elegantly adapted to the style of the build 
 ing he had to ornament, and he correetb 
 adhered to the sombre magnificence of the 
 cathedral, the gracefulness of the saloon, 
 and the brilliancy of the theatre. In all 
 these he was supported by M. A. Colonna, 
 with whom he formed a friendsliip, which 
 existed twenty-ibur years, and only ter- 
 minated with the death ofMitolli. The 
 most admired of their combined works are 
 in the Capella del Rosario, and the Pa- 
 lazzo Caprara saloon at Bologna. They 
 rendered themselves equally eminent at 
 Parma, Modena, and Genoa. In 1653 they 
 repaired to the court of Philip the Fourth 
 of Spain, where they decorated the palaces 
 with many of their most finished com- 
 positions, especially a fine saloon, in which 
 Colonna painted the story of Pandora. 
 Mitelli died at Madrid in 1660. 
 
 Mitelli (Gtiuseppb Maria), a native of 
 Bologna, born in 1634, was the son of the 
 preceding painter. After gaining some 
 knowledge from his father, he studied 
 in the academy of Flaminio Torre. He 
 was a tolerable historical painter, and 
 frequently placed figures in the perspective 
 views of Agostino. There are many works 
 of this artist in the churches at Bologna ; 
 the best of which are, St. Riniero curing 
 the Sick, in St. Maria della .Vita; a Pieta, in 
 the Annunciata ; and Christ taken in the 
 Garden, at the Capuccini. Mitelli was, 
 however, better known as an engraver 
 than a painter, and etched many plates 
 
 designed by himself, after the best of the 
 Italian painters; they are executed in a 
 very weak style, and the drawing is very 
 faulty. Tliis artist, notwithstanding, 
 possessed great genius, and his works are 
 worthy of the consideration of amateurs. 
 
 MOCETTO (GiROLAMO), Or HlERONYMUS 
 
 MociTus. This painter was a Veronese, 
 and born about the year 1454. He studied 
 under Giovanni Bellini ; but his works are 
 little known. One picture from his pencil 
 is mentioned by Lanzi, in St. Nazario e 
 Celso, at Verona. Mocetto was alio a 
 neat, though stiff, engraver; and his works, 
 which are extremely difficult to be met 
 with, appear to possess no other merit 
 than their rarity. 
 
 Modena (Munari Pellegrino), deno- 
 minated Da. This artist was frequently 
 called Aretusi, but more commonly recog- 
 nised by the name of Pellcgrino da Modena, 
 that city being the place of his nativity, 
 which occurred about the year 1585. 
 It is uncertain who was his master at 
 Modena; but, in the year 1509, when 
 young, he composed an altar-piece for the 
 church of St. Giovanni, which procured 
 him considerable applause. The great 
 reputation of RaflPaelle, then at its climax, 
 induced Modena to visit Rome, when he 
 became a pupil of that sublime master. 
 His genius being quickly develojjed to 
 that exquisite painter, he was appointed to 
 assist him in the grand works in which 
 he was engaged in the Vatican. He 
 executed, from the designs of Raffaelle, 
 the Lives of Jacob and Solomon, in a 
 capital style, and, upon the deniise of 
 Raffaelle, painted from his own composi- 
 tions for the churches at Rome, and in St. 
 Giacomo degli Spagnuoli, the History of 
 St. James, in fresco. Upon his return 
 to Modena he was engaged to paint for 
 many of the public buildings; and his 
 picture of the Nativity of the Virgin, 
 which adorns St. Paolo, is imagined with 
 all the elegance and grandeur of his gieat 
 preceptor. This admirable painter, who 
 stood so high in popular estimation, was 
 snatched from the world by a dreadful 
 and calamitous event. His son, engaging 
 in a quarrel, a fatal duel ensued, which 
 finished by Pellegrico's offspring killing 
 his adversary, when the father, running 
 to the succour of his child, was attacked 
 by the relatives of the deceased, who, 
 wreaking their fury upon him, put an end 
 to his existence. This shocking cata- 
 strophe occurred about 1323. Pellegrino 
 was the only pupil of Raffaelle who came 
 2 A 
 
MOI 
 
 354 
 
 MOL 
 
 near him in sublimity of style and chastity 
 of design. 
 
 MoDiGLiANi (Francesco). This artist 
 was born at Forli, and lived about the 
 year 1600. Lanzi speaks of his being called 
 Francesco da Forli, at Urbino, in con- 
 sequence of some pictures painted by him 
 in that city, and several frescoes in the 
 church of St. Lucia. His best composi- 
 tions are at the Osservanti at Forli, and 
 in the church of St. Maria del Rosario, 
 the subjects of which are taken from the 
 Bible; namely, Adam and Eve driven 
 from Paradise ; the Deluge ; the Tower 
 of Babel ; together with many more. 
 
 MoELART (Jacob), was born at Dort in 
 1649, and learned the art of painting from 
 Nicholas Maas, with whom he continued 
 several years. Neither labour nor study 
 were wanting in this master to acquire a 
 competent knowledge in his profession: 
 he observed nature with care; and at 
 length was esteemed a good painter, both 
 of history and portrait, lloubraken men- 
 tions two compositions of Moelart; the 
 one, Pharaoh and his Host drowned in the 
 Red Sea; and the other, Moses striking 
 the Rock; both deserving commendation. 
 He died in 1727. 
 
 Moi (Peter Van), born at Antwerp in 
 1590, was a disciple in the academy of 
 Rubens, and painted historical subjects 
 for several of the churches in Flanders, 
 as well as Brabant. In the cathedral at 
 Antwerp is the Adoration of the Magi, 
 beautifully executed in the style of Rubens ; 
 and a Christ after Crucifixion, with the 
 Maries, Joseph of Arimathea, and St. 
 John, also adorns the Gallery of the 
 Louvre. Peter Moi died in 1650. 
 
 MoiNE (Pierre Aktoine le). He was 
 born at Paris in 1605. His talent lay in 
 painting fruit-pieces, which were remark- 
 able for their beauty of colouring and 
 liveliness of expression. He died at Paris 
 in 1665. 
 
 MoiNE (Jean le). He was born at 
 Paris in 1635, and died there in 1713. 
 He had some merit as a painter of history. 
 MoxNE (Francis le), was a native of 
 France, and born at Paris in the year 
 1688. He was a pupil of Louis Galloche, 
 under whom he acquired great eminence, 
 and obtained the best prize at the academy. 
 The poverty of his parents, and the 
 difficulty of the times, precluded his enjoy- 
 ing the advantage of studying under the 
 king's pension ; but a constant attention 
 to the best originals in his native place 
 very soon gained him great reputation, 
 
 and he was admitted a member of the 
 Academy at Paris, about 1718. His pass- 
 port to this honour was his picture of 
 Hercules and Cacus, which, though by 
 no means his most perfect production, 
 was remarkable for correctness in the 
 design. Le Moine was invited, in 1724, 
 to accompany M. Berger to Italy, which 
 offer he accepted with avidity ; but he 
 did not continue there long enough to fix 
 his studies or principles in the art. During 
 the short stay he made at Rome, he seems 
 to have been more enclianted with the 
 grandeur of Pietro da Cortona, and the 
 celerity of Lanfranco, than the sublime 
 talent of Michel Angelo, or the elegance 
 and grace of Raff'aelle. He was chosen at 
 Paris to paint the dome of the Virgin's 
 Chapel in St. Sulpice, when he made 
 himself conspicuous by the grouping of 
 his figures, and the beauty of his colour- 
 ing. This labour, which occupied him 
 three years, crowned his reputation, and 
 lie was appointed by Louis XV. to paint 
 the vault of the grand saloon at Versailles, 
 portraying the Apotheosis of Hercules; an 
 immense undertaking, deemed the largest 
 in Europe, being sixty-four feet by fifty- 
 four. The subject is composed of nine 
 divisions, and was completed in four years. 
 At the death of Louis de BouUongne, 
 Le Moine was appointed painter to the 
 king, with a large salary ; and although 
 so highly favoured, he became melancholy 
 and dejected, which affliction his friends 
 in vain endeavoured to assuage. On one 
 occasion, being called upon by his patron, 
 M. Berger, for the purpose of inviting 
 him to his country seat, he imagined the 
 officers of justice were coming to seize 
 him, and, snatching up his sword, inflicted 
 so many wounds upon liis body, that he 
 fell dead as his friend entered the apart- 
 ment, in the year 1737. 
 
 MoE A ( PiETRo Francesco) . This great 
 painter was, according to some writers, 
 born at Lugano in 1609; but others make 
 him a native of Coldra, in the district of 
 Corao, in 1621. The former account, both 
 in regard to place and date, is however 
 the most correct. He was at first 
 instructed by Giuseppe d'Arpino, and 
 afterwards became the most distinguished 
 disciple of Albano; but having observed, 
 with admiration, the grand effect pro- 
 duced by the colouring of Guercino, he 
 went to Venice, and applied himself with 
 ardour to study the works of Titian, Tin- 
 toretto, Bassan, and Paolo Veronese. He 
 formed for himself a peculiar style, at once 
 
I 
 
 MOL 
 
 elegant, bold, and beautiful, which spread 
 his reputation through all Italy. He 
 studied colour with intense application, 
 and excelled alike in fresco and oil. At 
 Rome, several churches and chapels were 
 enriched with historical pictures, designed 
 by him from the sacred writings; and for 
 Pope Alexander VII. he painted the His- 
 tory of Joseph and his Brethren, for which 
 he received the greatest encomiums, be- 
 sides a noble recompense. Though Mola 
 painted history with such success, yet his 
 genius principally inclined him to land- 
 scape, in which he was uncommonly ex- 
 cellent. His scenes are generally solemn, 
 his trees designed in a grand style, and his 
 distances conducted with judgment, and 
 a look of true nature. His design is cor- 
 rect, and the figures with which he has 
 adorned his landscapes are in a fine taste, 
 and have a good expression; though some- 
 times the dark parts of his pictures are 
 rather too black. Ills imagination w 
 lively, his invention ready and fertile, and 
 inhisdesign,as well as pencilling, heshows 
 abundant spirit and freedom. Two noble 
 pictures by Mola are in the church of 
 SantaMariadellaVittoria,at Milan: oneis 
 the representationof St. John in the Desert, 
 in which the figure is designed with na- 
 ture and truth, and finely coloured ; the 
 other represents St. Paul the Hermit, a 
 truly fine production; the landscape has a 
 |. charming effect, and the trees are painted 
 
 i in a grand taste, with large spreading 
 
 '* branches, in the style of Salvator Rosa. 
 
 He died in 1665. 
 
 Mola (GiovaksiBattista). Thisartist 
 who was brother to Francesco Mola, was 
 born in 1620, and also received his in- 
 struction in the school of Albano. He 
 proved a good painter in history, as well 
 as in landscape; but was far inferior to his 
 brother in style, dignity, taste, and colour- 
 ing. Giovanni Battista, in his manner, 
 had more resemblance to his master Albano, 
 than to tiiat of Francesco; yet his figures 
 are rather hard and dry, and want the 
 mellowness of Albano. There are, how- 
 ever, four of his pictures in the Palazzo 
 Salviati, at Rome, which are universally 
 taken for the works of Albano. He died 
 at Rome in 1678. 
 
 MoLiNAKB (John), was a Dutch artist 
 of considerable merit, whose subjects 
 were generally low mirth, the colouring 
 of which is fine, and the component parts 
 are so admirably expressive, as nearly to 
 vie in perfection with the productions of 
 Adrian Ostade. 
 
 ;o3 M O L 
 
 I MoLiNAER (Nicholas Mixs). He was 
 : born at Amsterdam in 1627, and in his 
 style came very near to Adrian Ostade. 
 He painted the interior of"farmhouses, 
 with rustic sports and employments, which 
 he represented admirably. He died at 
 Amsterdam in 1686. 
 
 MoLixAER (Nicholas). He was related 
 to the preceding, and was born at Amster- 
 dam in 1629. His subjects were land- 
 scapes. 
 
 MoLYN (Peter), the Elder, was born in 
 1600, at llaerlem. He was a beautiful 
 landscape painter, and his ethereal tints 
 and perspectives are executed with chastity 
 and airy gracefulness. He etched many 
 clever designs in the manner of Vander- 
 velde, those plates being mostly signed 
 with his name. 
 
 MoLTN (Peter). This artist, who was 
 also called Cavaliere Tempesta, and Fietro 
 MuHer, was born at Haerlemin 1637, but 
 the chronological tables fix his birth in 
 1640. At first he imitated the manner of 
 Francis Snyders; and while he continued 
 in his own country, painted huntings of 
 different animals, as large as life, with 
 singular force and success. Afterwards 
 he changed his style, and followed the 
 impulse of his natural genius, which in- 
 clined him to paint tempests, storms at sea, 
 and shipwrecks, with such circumstances 
 as are apt to excite pity and terror. These 
 subjects he executed in such a free, natural 
 and spirited manner, as procured him the 
 technical appellation of Peter Tempesta. 
 He travelled through Holland, to observe 
 the works of the best Flemish artists, and 
 then went to Rome, where he changed his 
 religion from Calvinism to Popery. This, 
 with his professional merits, recommended 
 him to the favour of many of the nobility, 
 and secured him the friendship of the Count 
 Bracciano, who became his patron. Per- 
 sons of the first rank employed him in- 
 cessantly, for whom he painted his usual 
 subjects of animals and landscapes with 
 the utmost applause. At last he grew 
 rich, and received the title of Cavaliere, 
 with a chain of gold. Having spent 
 several years at Rome, he went to Genoa, 
 where he met with a most honourable re- 
 ception, and obtained as much work as he 
 could execute. There he might have lived 
 in affluence, superior even to his hope, if 
 he had not, unhappily, grown dissolute 
 and vicious. He fell deeply in love with 
 a Genoese lady, and left no art untried 
 to debauch her; but finding all his at- 
 tempts ineffectual, he proposed to marry 
 
her, though it was sufficiently linown that 
 he had been married at Rome a consider- 
 able time before, and that his wife was 
 then alive. When that objection was 
 urged by the lady and her friends, he was 
 exceedingly mortified, and resolved to 
 have his wife assassinated, to remove the 
 obstruction. A person proper for the 
 villanous purpose was soon engaged, and, 
 to conceal the transaction as much as 
 
 Italian views, with figures and fruits. He 
 died in Holland in 1708. 
 
 MoMPERT (Joos, or JoDoccs), was born 
 in 1580; but authors are silent in regard 
 to the place of his nativity ; nor do any 
 of them mention the master by whom he 
 was instructed, though his works are 
 sufficiently known in many parts of 
 Europe. He studied after nature, and 
 became a considerable painter of land- 
 
 possible from public notice, Tempesta ' scape ; his pictures show great freedom of 
 wrote an affectionate letter to his wife by j pencil, and his grounds are frequently well 
 that messenger, requesting her to accom- ! broken; but there is a stiffness in his 
 pany the bearer to Genoa. As she had compositions, which cannot be pleasing 
 a real atFection for her husband, and to a judicious eye, though in several other 
 wished to be with him, she readily respects he is justly commendable; and 
 obeyed his commands, and was murdered such of his works as are carefully finished 
 on the road. Notwithstanding the secrecy [ have many admirers. Though some of 
 with which this deed was perpetrated, the his paintings are well handled, and pen- 
 affair became suspected, and Tempesta cilled with transparency and neatness, 
 was seized, imprisoned, and, after full yet, in general, his pictures are neither 
 conviction, sentenced to be hanged. But, laboured nor highly finished, but are in- 
 by the interest and application of the tended to produce a good effect at a com- 
 nobility, who regarded him for his extra- j peteut distance from the eye. His land- 
 ordinary talents, the severity of the scapes show an immense tract of country, 
 sentence was mitigated, and he was re- and the imagination is often agreeably 
 tained in prison a long time, nor would he j amused with the extensiveness of the 
 probably have ever been released, had it prospect, which is always well conducted, 
 
 not been effected by a critical accident 
 for when Louis XIV. bombarded Genoa, 
 all the prisons were set open, and Tem- 
 pesta seized that opportunity to escape to 
 Placentia, after a confinement of sixteen 
 years. From this affair he was nicknamed 
 Pietro MuUer, or De MuUeribus, by which 
 he was ever after known through Italy. 
 It was observed, that the pictures which 
 he painted in prison, where he diligently 
 followed his profession, were accounted 
 more excellent in taste, composition, and 
 colouring, than any of his preceding per- 
 formances. A capital picture of this 
 master, in the possession of Count 
 Algarotti, was a representation of Noah 
 leaving the Ark. The animals in this 
 picture, though numerous, are well de- 
 signed, as likewise are the figures, and 
 the expression is exceedingly good. It 
 is difficult to meet with any of the genuine 
 works of Tempesta, most of them being 
 preserved, and highly valued, in Italy, 
 where they generally bring large prices. 
 This artist died in 1701. 
 
 MoMMEBS (Henry). This Dutch pain^ 
 ter was born at "Haerlem in 1650, and 
 became the disciple of Karl du Jardin, 
 on leaving whom he went to Italy, where 
 he improved himself considerably, but still 
 adhered to the style of his master. His 
 subjects were landscapes with animals, 
 
 The freedoai of his touch seems, to most 
 observers, to have too much the appearance 
 of negligence ; and, therefore, his works 
 are not in an equal degree of esteem with 
 those of many of the Flemish painters, 
 who not only express the distances in their 
 compositions agreeably and naturally, but 
 render them more beautiful, by careful 
 and exquisite finishing. The pictures of 
 this master are very unequal : sometimes 
 he appears worthy of being admired, and 
 at others seems inferior to himself, and 
 contemptible. The figures in his land- 
 scapes were frequently inserted by Breu- 
 ghel; and Teniers often retouched the 
 landscapes, thereby adding to their value. 
 He died in 1638. 
 
 MoNA, otherwise Monxa (Domenico). 
 This artist, born at Ferrara, in 1550, was 
 the pupil of Giuseppe Mazzuoli, denomi- 
 nated II Bastaruolo. Mona was as clever 
 in executing, as he was quick at invention ;' 
 this is verified by his numerous perform- 
 ances in the churches of Ferrara. There 
 is, however, considerable difference in his 
 works, which is proved in his pictures of the 
 Nativity of the Virgin, and the Birth of 
 Christ. Lanzi ascribes this palpable de- 
 viation to mental derangement, and also 
 states that Mona unfortunately killed an 
 officer, which obliged him to seek refuge 
 in flight. He died in the year 1602. 
 
MON 
 
 357 
 
 MON 
 
 MoNANY (Peter). This artist, who 
 was an excellent delineator of sea-pieces, 
 was born in Jersey ; and, from the views 
 and circumstances of his family, had little 
 reason to expect the fame he afterwards 
 acquired. He learned the first rudiments 
 of drawing from a sign-painter residing 
 on London-bridge: but where nature 
 endows with talents, they burst forth in 
 the lowest situations; and the shallow 
 waves which rolled beneath his window 
 enabled him to imitate the turbulence of 
 the ocean, and taught him those truths 
 which his master did not possess the art 
 of dispensing. In the Painter-stainers' 
 Hall is a large picture by this artist, 
 painted in 1726. He died in 1749. 
 
 MoNANNi (MoNANNo). This painter 
 was a Florentine, and a scholar of Cris- 
 tofano Allori. He visited Home at an 
 early age, where he became a good his- 
 torical painter and a member of the 
 academy in 1652. St. John Baptizing 
 Christ, from the hand of this master, is 
 preserved in the church of St. Giovanni 
 at Rome. 
 
 MoNDiNi (FuLGENzio), was bom at 
 Bologna, and distinguished himself about 
 the year 1658. He excelled in delineating 
 historical subjects, and studied under 
 Guercino. Malvasia speaks of Mondini 
 in terms of commendation, and there is 
 no doubt that he would have attained the 
 highest walk of his profession had the 
 period of his life been prolonged. The 
 churches at Bologna abound in specimens 
 of this artist, and, among many others 
 worthy of notice, are two frescoes from 
 the subject of St. Antonio di Pad ova, in 
 St. Petronio. Thispainterdied at Florence 
 in the prime of life. 
 
 MoNERi (Giovanni). This artist was 
 born at Piedmont in the year 1637, and 
 was the scholar of Romanelli at Rome. 
 Upon his return to Acqui, he painted for 
 that cathedral a picture of the Assump- 
 tion ; and, at a later period of life, and 
 with increased abilities, he produced an 
 admirable picture of the Presentation in 
 the Temple. He died in 1714. 
 
 MoNNicKS, or MoNNix. According to 
 some writers, this painter was a native of 
 the Hague, but others affirm that he was 
 born at Bois-le-Duc, in 1606, and that, 
 after learning the principles of his art in 
 his own country, where he made a tolerable 
 progress in design and colouring, he 
 travelled through Italy to study the works 
 of the most eminent artists, and at last 
 settled at Rome. There he refined his 
 
 taste of composition and design, and 
 gradually divested himself of the greatest 
 part of his Flemish ideas and style. He 
 particularly attended to perspective, and 
 acquired a great degree of elegance in 
 that branch ; but he likewise studied after 
 nature, till he became distinguished as an 
 artist of great merit. The pope, having 
 seen some of his works, was so much 
 pleased with them, that he took him into 
 his service, with an honourable appoint- 
 ment, and retained him as his painter 
 thirteen years. At Home, and through 
 all Italy, his pictures were universally 
 esteemed, not only for their being well 
 executed, but because they represented the 
 principal palaces, squares, churches, 
 monumentsof antiquity, and grand edifices 
 of modern architecture, which he copied 
 exactly from nature; and in the areas 
 before them introduced figures employed 
 in different occupations and amusements. 
 His subjects were, views of the noted parts 
 of Rome, the Oampo Vaccino, the streets 
 where the pillars of Antoninus and Trajan 
 stand, and the adjacent buildings, the 
 public fountains, the Colosseum, and 
 other noble fabrics; together with the 
 representation of herb or fruit markets, 
 sports, carnivals, or processions. In the 
 choice of his scenes he showed an elegance 
 of taste; the perspective part is firmly 
 and truly executed ; his pencilling is free, 
 and in many parts delicate; and his 
 colouring transparent, showing also a 
 good knowledge of the chiaro-oscuro. His 
 figures are well designed and grouped; 
 but exhibit in their air and countenances 
 some remains of the Flemish ideas of the 
 artist. His paintings are somewhat scarce 
 in these kingdoms, as most of his works 
 were produced in Italy; though in the 
 latter part of his life he followed the pro- 
 fession in his own country, to which he 
 returned when he was advanced in years ; 
 but many of his later paintings are not 
 equal in merit to those which he per- 
 formed in the early or middle time of 
 life. He died in 1686. 
 
 MoNNOYER (John Baptist), otherwise 
 denominated Baptist. This artist was 
 born at Lisle about the year 1635, and 
 after studying at Antwerp, commenced 
 historical painting; but finding his ta- 
 lents were differently directed, he ap- 
 plied himself to fruits and flowers, in 
 which branch he acquired great fame. 
 When young, Monnoyer went to Paris, 
 and became a member of that academy 
 in 1663. He adorned the palaces of 
 
MON 
 
 358 
 
 MON 
 
 Trianon, Marly, Meudon, and Versailles. 
 At the invitation of Lord Montague, then 
 our ambassador to France, he accompanied 
 that nobleman to England, where the first 
 essay of his talents was displayed in paint- 
 ing fruits and flowers for Montague- house, 
 which are the finest of his works. He 
 executed many pictures while he resided in 
 London, occupying a period of nearly 
 tvventy years, which are mostly in the 
 collections of the nobility. His pictures 
 are not so exquisitely finished as those of 
 Van Huysum, but his composition and 
 colouring are in a bolder style. His flowers 
 have a remarkable freedom and looseness, 
 as well in the disposition as in the pencil- 
 ling, with a tone of colouring almost as 
 lively as nature itself. The disposition of 
 his objects is surprisingly elegant and 
 beautiful; and in that respect his composi- 
 tions are easily known and distinguished 
 from the works of others. A celebrated 
 work of this artist is a looking-glass in 
 Kensington palace, which he decorated 
 with a garland of flowers, for Queen Mary 
 II., who sat by him during the greater part 
 of the time that he was engaged in paint- 
 ing it. For the Duke of Ormond he 
 painted six pictures of East Indian birds, 
 after nature. They are painted in water- 
 colours, on vellum; and nothing can be 
 more delicate in the colouring, pencilling, 
 or spirited expression of every species. 
 He died in the year 1699. 
 
 MoNNOTER (Anthony), by some named 
 Young Baptist, was the pupil and son of 
 the preceding painter. He copied his 
 father tolerably well, but was far his 
 inferior in excellence. 
 
 MoxosiLLio (Salvatobe). This artist 
 was a native of Messina, and flourished 
 about the year 1700. He was a pupil of 
 Sebastiano Conca, at Rome, whose manner 
 he copied with great success. Many of 
 his pictures adorn the public buildings in 
 that city, and he also painted the dome in 
 St. Paolo della Regola. One of his best 
 works is the Conversion of St. Paul. The 
 period of this artist's death is unknown. 
 
 MossiGNORi (Francesco,) was born at 
 Verona in 1455, and studied under Andrea 
 Mantegna, by whose precepts he acquired 
 a good taste for historical composition, and 
 an excellent manner of painting portraits. 
 His extraordinary talents procured him the 
 patronage of the Marquis of Mantua, who ' 
 allowed him a large pension, and employed 
 him several years. That prince was not j 
 only a lover of the art, but had also a critical j 
 judgment, which enabled him to examine j 
 
 the beauties and defects of a composition 
 with taste. He was accustomed to amuse 
 himself often in observing Monsignori at 
 work, and, one day, taking particular 
 notice of a picture representing the Death 
 of St. Sebastian, the marquis acknowledged 
 every part of the painting to be elegant, 
 but objected that the expression of the 
 figure was not natural, as neither in the 
 look, the limbs, nor attitude, appeared the 
 agony of a person in such a situation, 
 bound with cords, and pierced with arrows. 
 The painter asserted the truth of his figure, 
 and endeavoured to justify it, by affirming 
 that he had taken every part from nature, 
 iiaving engaged a porter for bis model, who 
 was tied in the posture described in the 
 painting. The marquis desired to see the 
 porter in the proper position the next day, 
 that it might be determined which of 
 them judged best, according to truth and 
 nature. As soon, therefore, as the marquis 
 was informed that the apparatus was ready, 
 he rushed suddenly into the room, having 
 in his hand a cross-bow fixed for execution ; 
 and with a countenance distorted with 
 fury, cried aloud to the porter, " Traitor! 
 prepare for death! you shall die instantly !" 
 As he approached, the terrified porter 
 struggled, and strained every muscle, joint, 
 and limb, to disengage himself, each line 
 of his face expressing the agony of his mind. 
 " Now," said the marquis to the painter, 
 "compare your two models; what he was 
 yesterday, while unterrified; and what he 
 is now, under the dread of execution; and 
 do you determine which has most of nature 
 and which expression is most suitable to 
 the situation of Sebastian." The painter 
 profited by the experiment, confessed the 
 justice of the observation, altered his 
 design, and improved it so much that 
 it was allowed to be the most capital of 
 all his performances. Monsignori copied 
 animals with such astonishing accuracy, 
 that he is said to have imposed upon a 
 real dog with one of his own making 
 He died in 1519. 
 
 MoNsiGSORi (GiBOLAMo), was bom at 
 Verona about tlie year 1460. When young 
 he became a Dominican monk, and com- 
 posed several altar-pieces for that mon- 
 astery. He was a painter of great merit, 
 and his copy of the Last Supper of Leon- 
 ardo da Vinci, in the great library of St. 
 Benedetto, is perhaps the best that remains. 
 He died in 1540. 
 
 Mont (Deodato del), was born at St. 
 Tron in 1581, of a noble family, and 
 educated in a manner suitable to his rank ; 
 
MON 
 
 MON 
 
 having, from his infancy, been instructed 
 in every branch of polite literature, 
 in astronomy, geometry, natural philo- 
 sophy, and tlie languages. As his genius 
 inclined him to painting, he became the 
 disciple of Rubens, with whom he lived 
 some time in the closest connexion of 
 friendship, and accompanied him to Italy, 
 till by the advantage he derived from so 
 accomplished a companion and director, 
 and also by his own studious application, 
 he proved an extraordinary artist. Rubens 
 gave him a most honourable testimonial 
 under his hand, expressing how high an 
 opinion he entertained of his abilities, 
 which introduced him to the favour of 
 Duke Albert and the Infanta Isabella, who 
 received him into their service, appointing 
 him their principal painter and architect, 
 with the title of chevalier. His style of 
 composition was elevated and grand; his 
 design correct ; and in his colour and pencil 
 he resembled his master. In the church 
 of Notre Dame, at Antwerp, is a Trans- 
 figuration excellently designed and co- 
 loured; and in the church of the Jesuits, 
 in the same city, is a representation of 
 Christ bearing his Cross, both by the hand 
 of Del Mont, and accounted capital per- 
 formances. He died in 1634. 
 
 MONTAGNA (II), SBC PlATTEN. 
 
 MoNTAGNA (Benedetto), was born at 
 Vicenza, and figured about the year 1500. 
 He painted many pictures for the churches 
 at Vicenza, so much after the manner of 
 Giovanni Bellini, that they are frequently 
 confounded. Montagna engraved as well 
 as painted; and although his execution is 
 very deficient, and his design incorrect, he 
 is worthy of attention, from being one of 
 the first who practised the art in the Vene- 
 tian states. It is supposed the works of 
 Marc Antonio induced Montagna to at- 
 tempt engraving, then little known in 
 Italy, although Marc Antonio had not at 
 that time arrived at his zenith. There are 
 many prints by Montagna, which are very 
 rarely to be met with. 
 
 Mo]STAGNA (Marco Tullio). This 
 artist was born at Rome, and flourished 
 during the pontificate of Clement VIII. 
 He studied under Federigo Zuccaro, and 
 succeeded in fresco as well as oil painting. 
 He executed the dome of St. Cecilia and 
 an altar-piece from the life of St. Nicolas 
 in Carcere. The time of his death is 
 unknown. 
 
 MoNTAGNANo (Jacopo), was bom at 
 Padua, and arrived at his zenith between 
 1495 and 1508. It appears that he was 
 
 sometimes called Jacopo Montagna, but 
 his right appellation was Montagnano, as 
 there appears on a picture painted by him 
 of the Resurrection, in the Vescovada, at 
 Venice, the signature Jacopus Monta- 
 gnano, 1495 . There is also a work of this 
 artist from the history of Rome, under 
 which some author of the time wrote a 
 very flattering Latin epigram. It is a 
 beautiful composition, and from the cor- 
 rectness of the costume and design, might 
 be ascribed to Andrea Mantegna. The 
 time of his death is unknown. 
 
 MoNTANiNi (Pietro), Called Petruccio 
 Perugino, was born at Perugia in 1619, 
 and at first instructed by his uncle, Pietro 
 Barsotti; but he was afterwards placed 
 with Ciro Ferri. He did not long adhere 
 to the manner of either of those masters, 
 choosing to study under Salvator Rosa; 
 whose style he imitated with great success. 
 The taste of his landscapes was generally 
 admired; the rocks, situations, torrents, 
 and abrupt precipices, were designed with 
 spirit, and in a grand style ; his figures 
 recommended themselves to the eye by 
 their correctness, propriety, and elegance; 
 and the whole of his composition appeared 
 to be greatly in the manner of Salvator. 
 He died in 1689. 
 
 MoNTEHo (Don Lorenzo). This 
 Spanish artist was born at Seville in 1640. 
 He was an excellent painter of flowers, 
 fruits, architecture, and landscape. He 
 died in 1710. 
 
 MoNTiLATici (Francesco), by some 
 denominated II Cecco Bravo, was a Flo- 
 rentine, and born about the year 1600. On 
 the authority of Orlandi we learn that he 
 was a disciple of Giovanni Bilinert, and 
 combined the manner of his master with 
 the taste of Dominico Cresti. This artist 
 was accurate in his designs, and bold in 
 his colouring. He acquired the appel- 
 lation of II Cecco Bravo from an irritable 
 and testy disposition which he possessed 
 in fomenting feuds and strife. There are 
 two good pictures from the pencil of this 
 artist at Florence, one in the church of 
 theTeatini, delineating the Fall of Lucifer, 
 and another in St. Nicolo Vescovo, of St. 
 Simone. He died at Inspruck in 1661. 
 
 MoNTEMEzzANO (Francesco). This 
 artist, a native of Verona, was born in 
 1555, and although he acquired under 
 Paolo Veronese some of that artist's 
 capaciousness of style and brilliancy of 
 costume, he is nevertheless languid and 
 inefficient in colouring and effect. His 
 picture of the Annunciation, in the Osser- 
 
MON 
 
 3G0 
 
 MOO 
 
 vanti allaVigna, at Venice, and another of 
 the Magdalen, in St. Giorgio, in Verona, 
 are his best works. He died in the year 
 1600. 
 
 MONTEEO DE RoXAS (JuAn). ThlS 
 
 artist was born at Madrid in 1613, and 
 became a pupil, in Italy, of Pedro de las 
 Cuevas. Palomino speaks highly of his 
 Assumption of the Virgin, in the church 
 of the College de Atocha; as well as of 
 his Destruction of the Host of Pharaoh, 
 in the convent de la Merceda. This 
 artist died in 1683. 
 
 Monti (Giovanni Battista). This 
 artist was born at Genoa in the year 1610, 
 of very poor parents. When quite a youth, 
 he manifested a great genius for painting, 
 by frequently delineating subjects upon 
 the walls of buildings, which being noticed 
 by a noble Genoese, !Monti was placed by 
 him as a scholar under Luciano Borzoni. 
 His abilities expanding under this master, 
 he ultimately became a good historical 
 designer, but as a portrait painter lie 
 greatly exceeded his efforts in the former 
 branch. Monti unfortunately caught the 
 plague, of which he died in 1657. 
 
 Monti (Francesco), denominated II 
 Bresciano delle BattogUe, was born in 
 1646, at Brescia, and was successively the 
 pupil of Pietro Ricchi and II Borgognone. 
 The genius of Monti was particularly 
 directed towards painting horses and 
 battles, which he executed with a vigour 
 and spirit very uncommon. Some of his 
 pictures are at Parma and Rome, where 
 they are much valued. He died in 1712. 
 
 Monti (Francesco Bolognese), was 
 a pupil of Giovanni Giuseppe dal Sole, 
 one of whose finest pictures was composed 
 for the Count Ilanuzzi, his patron, being 
 a representation oftheRapeoftheSabines, 
 Invited by the court of Turin to that city, 
 his first picture was the Triumph of 
 Mordecai, which is admirably finished. 
 There are many of this artist's paintings 
 in the Madonna gallery. He was born 
 in the year 1685, and died in 1768. 
 
 MoNTicEELi (Andrea), was born at 
 Bologna in 1640, and became a disciple 
 of Agostino Metelli. Of those subjects 
 which suited his fancy and genius, he was 
 esteemed a good painter, working with 
 equal expertness in oil and in distemper. 
 He painted fruit, vases, carpets, flowers, 
 landscapes, perspective, and scenery, 
 which subjects he executed with a free 
 pencil, and natural colouring. 
 
 MoNTicELLi (Michel Angelo), was 
 born at Bologna in 1G78, and learned the 
 
 principles of his art fron Domenico Maria 
 Viani, a Bolognese painter. His favourite 
 subjects were battles and landscapes, which 
 he finished with great mellowness of 
 colour, and a light free touch, usually 
 filling his compositions with a number of 
 figures, well designed and excellently 
 
 MONTORFANO (GlOVANNI DoNATO), WaS 
 
 born at Milan, and arrived at his zenith 
 about the year 1495. He painted a fine 
 picture for the convent of the Dominicans, 
 of the Crucifixion, which would have 
 acquired him greater fame, had it not been 
 placed in competition with the Last 
 Supper of Leonardo da Vinci, to whose 
 superiority the finest artists might yield. 
 There is good keeping in the heads of his' 
 figures, and had he attended a little more 
 to the gracefulness of contour he would 
 have been unrivalled. He has introduced 
 into it a group of soldiers gaming, whose 
 different countenances are all strongly 
 expressive of the ardent desire of gain. 
 The perspective, architecture, and grada- 
 tion of distances, are not less happily 
 rendered. 
 
 MoNTPETiT (Armand Vincent de), a 
 French artist, born at Macon in 1713 and 
 died at Parisin 1800, was a portrait painter 
 in considerable estimation. He invented a 
 mode of painting in miniature, to which 
 he gave the name of Eludoric. His know- 
 ledge of mechanics was also extensive, and 
 he produced several valuable inventions. 
 
 MoNVERDE (Ltjca). This artist, who 
 followed the style of Pellegrino di San 
 Daniello, was a native of Udina, and born 
 in the year 1501 . He painted a beautiful 
 picture for the altar in the church of St. 
 Maria delle Grazie, his native place, the 
 subject of which was a Virgin and Child, 
 with St. Gervasio e Protasio. It is sup- 
 posed that, had this painter lived, he would 
 have acquired great fame; but he was not 
 long allowed to enjoy the fruitsof his study. 
 He died at the early age of twenty-one, 
 greatly regretted by all his contemporaries. 
 
 MoNY (Louis de). He was born at 
 Breda in 1698, and studied successively 
 under Van Kessel, Emanuel Biset, and 
 Philip Vandyck; but painted in the style 
 of Gerard Douw. His pictures are executed 
 with spirit, and highly finished, with a 
 good colour, and due regard to the chiaro- 
 oscuro. 
 
 Moojaert, or Moonyaert, (Nicholas) 
 born in the year 1600 at Amsterdam, was 
 an engraver as well as painter, of whom 
 several plates exist, executed from his own 
 
MOO 
 
 MOR 
 
 works. It is also said that he instructed 
 Jacob Vander Does, John Baptist Weenix, 
 Solomon de Coninck, and several others, 
 in the art of engraving. In his pictures 
 he copied Adam Elsheimer, mingling 
 figures with his landscapes, after the style 
 of that artist. 
 
 Mock, (Chevalier Karl, de,) was 
 born at Leyden in 1G56, and at first was 
 the disciple of Gerard Douw, with whom 
 he continued a considerable time; but 
 ])laced himself afterwards with Abraham 
 Vanden Tempel. The death of that master 
 disconcerted Moor, and compelled him to 
 return to Leyden from Amsterdam, where 
 he studied some time with Francis Mieri; 
 and at last went to Dort, to practise with 
 Godfrey Schalcken. At the period when 
 he repaired to the latter master, he was 
 superior to liira as a designer, but wished 
 to learn Schalcken's manner of handling. 
 When Moor began to follow his profession, 
 the public soon did justice to his merit ; 
 and he took the most effectual method to 
 establish his reputation, by working with 
 a much stronger desire to acquire fame 
 than to increase his fortune. He painted 
 portraits in a beautiful style, in some of 
 them imitating tlie taste, dignity, force, 
 and delicacy of Vandyck ; and in others, the 
 striking effect and spirit of Rembrandt. 
 In his female figures, the carnations were 
 tender and soft; and in his historical 
 compositions, the airs of his heads had 
 variety and grace. His draperies are well 
 chosen, elegantly disposed in natural folds, 
 and appear light, flowing, and uncon- 
 strained. His pictures are always neatly 
 and highly finished ; he designed them 
 excellently, and grouped the figures of his 
 subjects with skill. His works were 
 universally admired, and some of the first 
 princes of Europe wished to employ his 
 pencil. The Grand Duke of Tuscany 
 desired to have the portrait of De Moor, 
 painted by himself, to be placed in the 
 Florentine gallery ; and, on the receipt of 
 it, sent him a chain and medal of gold. 
 The imperial ambassador, Count Zinzen- 
 dorf, by order of his master, engaged him 
 to paint the portraits of Prince Eugene 
 and the Duke of Marlborough on horse- 
 back; in which performances the dignity 
 and expression of the figures, and the 
 attitudes of the horses, appeared so mas- 
 terly, that tliey were regarded with 
 admiration, and produced many Latin 
 poems in honour of the artist, who was 
 rewarded by the emperor with the order 
 of knighthood. He likewise painted the j 
 
 portrait of Peter the Great, and a number 
 of other portraits, for which he received 
 large prices. The picture of Pyramus 
 and Thisbe, by this master, is accounted 
 a capital piece; as also the History of 
 Brutus condemning his Sons ; wiiich 
 subject he chose for the grand council hall 
 atLeyden. This last is esteemed admirable, 
 not less for the strong, natural, and true 
 expression in every figure, than for the 
 beauty of the design, colouring, and 
 finishing. Though he was mostly employed 
 on large works, he often painted small 
 easel pictures, with subjects of history, or 
 conversations; which are exceedingly 
 valued, having all the merit of neat pen- 
 cilling and sweet colouring, added to an 
 elegant taste of design. He died in 1738. 
 
 MooTEJL, (John), was born at Leyden 
 in 1650, and painted those particular 
 subjects in which he delighted, in an 
 exquisite manner. Every kind of fruit and 
 flower he studied carefully after nature, 
 and they appeared from his pencil so fresh, 
 round, blooming, and relieved, that every 
 object seemed to be real nature. Yet not- 
 withstanding his merit, in delicacy of 
 touch and clearness of colouring, he 
 neither equalled Mignon in fruit, nor John 
 Van Huysum in flowers. He died in 1 7 1 9. 
 
 Morales (Luis), called ElDivino. This 
 artist was a Spaniard, and born in 1509, 
 at Badajos, in Estremadura. He was a 
 pupil of Pedro Campana, and as all his 
 pictures were of a religious nature, he 
 was styled El Divino Morales. Most of 
 his works portray the head of the Virgin 
 in sorrow, or that of our Saviour wearing 
 a crown of thorns. In many respects his 
 pictures resemble those of Leonardo da 
 Vinci from the peculiar softness with 
 which they are executed ; neither is the 
 expressive force of his works in any way 
 lessened on that account, being finished 
 with the utmost spirit. It is supposed 
 that Morales scarcely ever designed whole- 
 length pictures. His beautiful painting 
 of Ecce Homo displays the acme of suffer- 
 ing endured with more than mortal 
 resignation ; while his Mater Dolorosa is 
 expressive of the greatest anguish. He 
 died, aged seventy -seven, in 1586. His 
 works are dispersed all over Spain, and 
 at the chapel of our Lady of Soledad ; 
 there is also a Santa Veronica in the 
 Trinitarian convent at Madrid, and a 
 representation of Ecce Homo in the con- 
 vent of Corpus Christi in the same city. 
 
 MoRANDi (Giovanni Maria). This 
 master was born at Florence in 1625, 
 
MOR 3( 
 
 and his first instructor was Sigismund 
 Coccapani, whom he quitted for the 
 academy of Antonio Biliverti. As soon 
 as he found himself qualified to pursue 
 his studies with advantage at Rome, he 
 travelled thither, and after he had cur- 
 sorily surveyed the marvellous works 
 of art treasured in that city, he deli- 
 berately fixed on those from which he 
 could hope for the greatest improvement, 
 and endeavoured, by judiciously studying 
 their particular excellences, to impress 
 the idea of their perfections so firmly on 
 his memory, as to keep them perpetually 
 present to his imagination. By this method 
 of studying, and diligent practice, he 
 distinguished himself to such a degree, 
 that the Emperor Leopold I. invited him 
 to his court, where he painted the portrait 
 of that monarch so well, that all the im- 
 perial family sat to him ; and their ex- 
 ample was followed by most of the German 
 princes. He possessed the excellent parts 
 of his art in a high degree ; correctness 
 of design; elegance and nature in his 
 figures, whether historical or portraits ; a 
 fine taste in his composition ; and a beauti- 
 ful tone of colour. He died in 1715, or 
 according to others, in 1717. 
 
 MoBANDiNi (Francesco), called II 
 Poppi. This artist was a pupil of Giorgio 
 Vasari, whose manner he copied. He 
 was born in a little town called Poppi, in 
 the vicinity of Florence, in 1544. Most 
 of his pictures portray mirth and gaiety. 
 There are, notwithstanding, several of his 
 paintings in different churches in Florence. 
 Vasari speaks highly of a much admired 
 picture by this painter, representing the 
 Visitation of the Virgin to St. Elizabeth, 
 in St. Nicolo ; and that of the Conception, 
 in St. Michelino. 
 
 MoRAzzoNE (Pier Francesco Maz- 
 zucHELLi), was a Milanese, and born in 
 1571 at Morazzone, and from his birth- 
 place was styled 11 Morazzone. In his 
 youth he lived at Rome, and painted the 
 Assumption of the Virgin, with the 
 Apostles, for the church of St. Maria 
 Maddalena, at Corso ; and the Adoration 
 of the Magi, in St. Silvestro in Capite. 
 He then repaired to Venice, and followed 
 the style of Paolo Veronese, Tintoretto, 
 and Titian, which was the means of his 
 improving himself in colouring ; and upon 
 his return to Milan, he painted a beauti- 
 ful picture for the church of St. Antonio 
 Abate, representing the Adoration of the 
 Kings, but in a manner so different from 
 that executed at Rome upon the same 
 
 2 MOR 
 
 subject, as scarcely to appear by the same 
 master. Morazzone was engaged at Pia- 
 cenza, in 1626, to paint the cupola of the 
 cathedral, but dying that year, without 
 finishing the work, it was afterwards com- 
 pleted by Guercino. In the church of 
 St. Giovanni, at Oomo, is a beautiful 
 painting of St. Michael defeating the 
 rebellious Angels. The King of Sardinia 
 was his patron, and from that monarch's 
 hands he received the honour of knight- 
 hood. 
 
 More (Chevalier Antonio). This 
 eminent artist was born at Utrecht in 
 1519. He became the disciple of John 
 Schooreel, and, having made a consider- 
 able progress under that master, went to 
 Rome to improve himself in design, afte^ 
 which he visited Venice, to discover the 
 true principles of colouring, for which 
 that school is so deservedly famous. He 
 imitated nature closely, and often happily ; 
 his manner is strong, true, and firm ; and 
 his portraits have character and life. He 
 seemed to study Holbein, but never arrived 
 at the delicacy of finishing which is ob- 
 servable in the works of that great master, 
 though he finished his pictures with care 
 and neatness. He designed with accuracy, 
 and his colouring has all the truth of 
 nature itself; yet in strength and force it 
 is not equal to that of Titian ; nor have 
 his paintings that spirit which appears in 
 the works of some other artists, there 
 being something hard and dry in his 
 manner. However, he excelled in many 
 historical compositions, though they were 
 not designed in a grand style ; and one of 
 them, the subject of which is the Resur- 
 rection, was publicly exhibited at St. 
 Germains, before it became the property 
 of the Prince of Conde. He was parti- 
 cularly esteemed by the Emperor Charles 
 v., who sent him to the court of Portugal, 
 to paint the portraits of the king, the 
 queen, and their daughter, who afterwards 
 became queen of Spain. For these three 
 portraits he received six hundred ducats, 
 besides many valuable presents, with the 
 honour of knighthood ; and the Portuguese 
 nobihty presented him, in the name of 
 that order, with a chain of gold, valued 
 at a thousand ducats. Most of the princes 
 of Europe employed him, and at every 
 court his paintings were beheld with 
 applause ; but at none more tlian those of 
 England and Spain. While here, he was 
 highly honoured by Queen Mary, who 
 presented him with a chain of gold, and 
 allowed him a pension of one hundred 
 
MOR 
 
 MOR 
 
 pounds a year. When he returned to the 
 court of Spain, Philip II. treated him 
 with such familiarity, that More, one day, 
 while the king put his hand on his 
 shoulder, smeared it with some carmine. 
 The monarch withdrew his hand, the 
 courtiers were petrified, and More re- 
 collecting himself, fell upon his knees to 
 beg forgiveness. Philip only smiled, but 
 the painter never enjoyed rest till he got 
 out of the kingdom, nor could any in- 
 ducement prevail upon him to return. 
 While he was in Spain, he copied some 
 portraits of illustrious women, which had 
 been originally painted by Titian; and 
 they were thought to approach near to 
 the beauty of the originals. The portrait 
 oTMore, painted by himself, in the Gallery 
 of Painters at Florence, is charmingly 
 coloured, and fall of life and nature, yet 
 it is not without somewhat of that stiff- 
 ness, of which he could never divest him- 
 self. His last work was the Circumcision, 
 intended for the cathedral church at 
 Antwerp ; but he left it unfinished at his 
 death, in 1575, 
 
 More (Jacor), a native of Scotland, 
 was born in 1740, and placed in the aca- 
 demy for designing that was established 
 at Edinburgh, where he studied under 
 Alexander llunciman. In the year 1 770 
 he repaired to Italy, where he reaped 
 great fame as a landscape painter. More 
 selected Claude Lorraine for his model, 
 and his subjects, after the style of that 
 eminent artist, usually represented the 
 Campagna and suburbs of Rome. A 
 reasonable admirer of his works must 
 allow that his scenery is beautiful, and 
 his figures well selected ; but there were 
 many English noblemen in Italy, by 
 whom More was engaged, that were so 
 indiscreet as to rank the talents of the 
 latter artist as equal to those of Claude. 
 There is, however, a poverty of colouring 
 in his tints, which leaves him far behind 
 that admirable master. Jacob More ended 
 his days at Rome, in the year 1795. 
 
 MoREELZE (Paul,), was born at Utrecht 
 in 1571, and was a djsciple of Michael 
 Mirevelt, whose manner he imitated in 
 portrait painting ; but his ambition lead- 
 ing him to paint history, he went to Rome, 
 and there improved himself considerably 
 in his style and taste, by studying design, 
 and sketching the compositions of eminent 
 artists. Yet he afterwards found so much 
 employment in the portrait line, that very 
 little leisure was allowed him either to 
 study or to practise history. However, 
 
 by observing the magnificent buildings at 
 Rome, and other cities of Italy, as also 
 applying himself to the study of per- 
 spective, he became a good painter of 
 architecture : the gate of St. Catherine, 
 at Utrecht, was erected from one of his 
 designs. He died in 1638. 
 
 MoRELL, (Nicholas). This painter 
 was born at Antwerp in 1664, and studied 
 under Verendael, an excellent painter of 
 fruit and flowers; from whom he learned 
 the art of imitating nature beautifully, 
 and he always painted in the manner of 
 his master. When he had sufficiently es- 
 tablished his reputation at Antwerp, he 
 removed to Brussels, where the court at 
 that time resided ; and soon became known 
 to those of the highest rank, so as to have 
 employment from every quarter. He lived 
 to a very advanced age, but the precise 
 year of his death is not mentioned. He 
 composed his subjects well, and in his pic- 
 tures appeared a great deal of harmony ; 
 his manner is broad, and shows freedom 
 of hand and facility of execution ; his touch 
 is full of spirit, his colouring true to nature, 
 and suitalale to the subjects he represents. 
 In some respects he was rather superior to 
 his master, particularly in the foliage of 
 his plants and flowers. Two cajatal 
 flower-pieces of this master are painted on 
 the folding-doors of the cabinet where the 
 tapestries belonging to the church of the 
 Abbey of St. Peter, at Ghent, are pre- 
 served. They are composed in a grand 
 style, and are well executed. He died at 
 Brussels in 1732. 
 
 MoEELM (Bartolomeo), sumamcd II 
 Sianon. This artist was a native of Sia- 
 nona, not far distant from Bologna, to which 
 city he repaired in the year 1629, and 
 became the pupil of Francesco Albano. 
 He acquired great fame by his historical 
 works, and especially his frescoes. Crespi 
 states that many of his paintings were 
 equal to those of Albano. He died at 
 the age of sixty-three, in the year 1683. At 
 Bologna there are several of his works, of 
 which we may particularly remark his 
 pictures of the Resurrection, in Buon 
 Gesu; and the St. Teresa, in the church of 
 ! La Madonna delle Grazie. His principal 
 I work, however, is in the chapel of the 
 church of St. Bartolomeo di Porta, which 
 is almost equal to his master, from the 
 grace which is displayed in the design and 
 delicacy of the colouring. 
 I MoEETTo (Le), see Bonvicino. 
 I MoRiEB (David). This painter was 
 ' born at Berne in 1705, and, visiting 
 
MOR 
 
 MOR 
 
 England immediately subsequent to tlie 
 battle of Dettingen, procured, through 
 the interest of Sir Edward Faulkener, an 
 introduction to the Duke of Cumberland, 
 who settled upon him a salary of 200 per 
 annum. In battles, horses, and portraits, 
 he eminently distinguished himself, and 
 was amply recompensed, by experiencing 
 the greatest encouragement. He died in 
 1770. 
 
 MoRiN (John). This artist, born at 
 Paris in 1612, was equally clever in en- 
 graving as in painting. He was a pupil 
 of Philip de Champagne, and painted a 
 great many portraits, besides other sub- 
 jects : he, however, relinquished that branch 
 of study, and became an engraver. 
 
 MoBiNA (GiuLio), was born at Bologna, 
 and was a pupil of Lorenzo Sabbatini. He 
 acquired great fame by his historical 
 works, and from the expression he con- 
 veys in his countenances, appears to have 
 been anxious to emulate Corregio. There 
 are several of his paintings in the churches 
 of Bologna, of which the principal are, a 
 Presentation in the Temple, at the Servi; 
 the Visitation of the Virgin to St. Eliza- 
 beth, in St. Uomobono; and the Cruci- 
 fixion, in St. Sebastiano e Rocco. 
 
 MoRLAND (Henry Robert). He was 
 the son of a painter in St. James's Scjuare, 
 London, by whom he was instructed : he 
 painted portraits both in oil and crayons, 
 besides which he scraped in mezzotinto, 
 and was much employed as a picture- 
 cleaner. In 1760 he exhibited a boy's head 
 in crayons, which was one of his best 
 performances. By embarking in picture- 
 dealing he ruined his affairs, and became a 
 bankrupt. The common subjects of his 
 pencil were conversations, and servants 
 employed in domestic purposes. He died 
 in December, 1797, aged about seventy- 
 three. He was the father of that extra- 
 ordinary artist, George Morland. 
 
 MoRLAND (George). This celebrated 
 English artist was born about the year 
 1764; and exhibited, when very young, the 
 greatest proofs of eminent talent. His 
 father was his only master, to whom 
 he was apprentice, and he closely ap- 
 plied to the science during that period. 
 On the conclusion of his articles, he quit- 
 ted his father's mansion, when a liie of 
 superior talent, combined with the most 
 flagrant intemperance, followed; so that 
 we admire, while at the same time we 
 condemn, a man whose conduct was so 
 licentious and derogatory to human nature. 
 The different epochs of Morland's talents 
 
 were from the commencement to their 
 zenith progressively short ; the whole being 
 comprised in a period of about six years, du- 
 ring which he produced those compositions 
 that completely stamped his fame. His 
 biographers state that in 1790 he arrived 
 at the climax of his abilities, devoting to 
 his pictures all the time and thought re- 
 quisite to render them perfect. Morland 
 selected the subjects best suited to his 
 talents ; for as his knowledge of anatomy 
 was very circumscribed, and he possessed 
 no mental refinement from nature, he 
 perhaps lost the little inherent feeling he 
 possessed, by frequenting low company, 
 and indulging in slothful inebriety. He 
 matured a happy combination of figure 
 and character ; but his large pictures were 
 generally deficient, as he never fixed upon 
 any subject suflBcientlyenergetic to employ 
 characteristically all his objects. In por- 
 traying the broad and vulgar walks of 
 life, he was inimitable ; but his landscapes 
 were not always critically exact, nor was 
 his colouring uniformly good, as he had 
 not sufficient knowledge of nature to give 
 energy, or time to improve his labours, 
 and cultivate the native talent he possessed: 
 his animals were exquisite, but the designs 
 are frequently wanting in extension of 
 landscape. Never having visited romantic 
 scenery, except in Derbyshire, he seldom 
 attempted the sublime. His fields, hedges, 
 ponds, and clay -banks are well portraj'ed; 
 his storms are good, though not terrific ; 
 but the combination of common incidents, 
 and consequent events, claim considerable 
 commendation. Morland painted land- 
 scape only as a concomitant to his figures; 
 in his distances, however, he was often 
 extremely clever. His most admirable 
 pictures are those comprising inland 
 scenery, sheep, pigs, and asses; dwarf- 
 trees he greatly excelled in, and he gene- 
 rally selected old and clumsy horses, being 
 little acquainted with the anatomy of that 
 noble animal. The pig is, however, the 
 animal he has oftenest introduced in his 
 subjects, and is always inimitable ; neither 
 are his sheep less^ admirably portrayed. 
 His youthful productions display a know- 
 ledge of human nature that is rarely to be 
 met with ; but in the decline of his abili- 
 ties, brought on by excesses, his paintings 
 lost all their energies; added to this, he 
 frequently copied his early productions, 
 without displaying either their force or 
 character; so that his dying genius may 
 bo traced throughout his latter works. 
 He died in the year 1806. 
 
MOR 
 
 365 
 
 MOR 
 
 MoRo (Marco), and Giulio (d'An- 
 GELi), There is in the church of St. 
 Apollinari, at Venice, the Quatro Coro- 
 nati, by the last-mentioned painter; and 
 likewise a picture of Paradise, in the 
 church of St. Bartolomeo. He died at 
 an early period of life, but the date is not 
 ascertained. 
 
 MoKONi (DoMENico). This painter 
 was a native of Verona, and received 
 instructions in the art from several of the 
 pupils of Stefano Veronese. There is an 
 altar-piece in the church of St. Bernardino 
 at Verona, from the pencil of this artist, 
 which is very highly spoken of. 
 
 Moroni (Pietro). From the authoriiy 
 of Averoldi, this painter was first a pupil 
 of his father, the preceding artist, and 
 subsequently a scholar of Paolo Veronese. 
 He was considered one of the ablest artists 
 of the Venetian School, and proved equally 
 excellent with his competitors in the 
 clearness of his colouring. His picture 
 of Christ bearing the Cross, and many 
 works in the public buildings at Brescia, 
 are unrivalled. He died in the year 
 1625, 
 
 Moroni, or Moronb (Giovanni Bat- 
 tista), was born in 1528, and instructed 
 by Alessandro Bonvicino, who took un- 
 usual care to form his taste of design and 
 colouring, by directing him to copy the 
 works of the most celebrated painters; in 
 which practice he spent several years 
 with great industry. When he had esta- 
 blished himself in the knowledge of his 
 art, he composed historical subjects with 
 success, but afterwards applied him- 
 self to the painting of portraits, in which 
 he arrived at such perfection, that even 
 Titian allowed the portraits of Moroni to 
 be the nearest in merit to those of his own 
 hand. He died in 1578. 
 
 Moroni (Francesco). This artist was 
 born at Verona in 1474, and was the son 
 of Domenico Moroni, a Veronese painter, 
 very famous, in his time, for working 
 equally well in fresco and oil. Francesco 
 inherited the ta^te of design and the sci- 
 ence of his father, but proved far superior 
 to him in the grace of his figures, and in 
 the union and harmony of his colouring. 
 He spent the greatest part of his life at 
 Rome, and died in that city, where many 
 of his best performances are still preserved 
 in the churches and convents, of which 
 they are accounted a principal ornament. 
 He died in 1529. 
 
 MoRosiNi (Francesco), denominated 
 11 Monte Palciano, a Florentine artist, 
 
 is stated by Baldinucei to ha\e been the 
 pupil of Orazio Fidano, after whose man- 
 ner he composed a work on the Conver- 
 sion of St. Paul, at Florence. 
 
 Mortimer (John Hamilton), was born 
 at Eastbourne, in Sussex, about the year 
 1739. His uncle being a respectable 
 artist, he imbibed at a very early period a 
 great inclination for the science, and soon 
 gained a sufficient proficiency in drawing 
 to render him capable of sketching any 
 thing that interested his fancy. In his 
 youth he was much attached to sublime 
 and romantic scenery, which gave his ge- 
 nius a turn for the terrible ; and the hordes 
 of savage robbers which abounded on the 
 coast, opened a fine field for his inventive 
 pencil. Upon his arrival in London, he 
 became a scholar of Hudson, under whom 
 he acquired but little addition to his na- 
 tural talent. The Duke of Richmond's 
 gallery afforded him the greatest improve- 
 ment, being constantly open for the ad- 
 mission of all artists who wished to study 
 from that nobleman's collection. Cipriani 
 conduced, in the kindest manner, towards 
 his improvement, and used every endea- 
 vour to gain the patronage of the duke, 
 who invited Mortimer to become a mem- 
 ber of his family. His historical picture 
 of St. Paul converting the Britons, pro- 
 cured him the premium of one hundred 
 guineas, bestowed by the Society for the 
 Encouragement of Arts. Dr. Bates after- 
 wards possessed that picture, and gave it 
 to the church of Chipping-Wycombe, in 
 Buckinghamshire. Mortimer's fame being 
 established, he augmented his reputation 
 by his pictures of Magna Cliarta, the 
 Battle of Agincourt, and Vortigern and 
 Rowena. He became a member of the 
 Society of Artists, when an exhibition 
 was established at the Lyceum in 1769, 
 and, without any application, was ap- 
 pointed royal academician, by order of 
 his Majesty. He died in Norfolk-street, 
 in the Strand, February 4th, 1779. 
 
 MoRTO (da Feltro,) was born in 
 1468, at Florence, where he learned the 
 first principles of painting; but went to 
 Rome when young, and applied himself, 
 with singular diligence, to search out 
 every thing that was curious among the 
 antiquities, which were scattered through 
 every part of that city and its vicinity. 
 As his genius directed him to paint in 
 the grotes(]ue style, he explored all the 
 antique works of that kind in the vestiges 
 of baths, monuments, temples, grottoes, 
 sepulchres ; and so effectually studied the 
 
MOS 
 
 MOU 
 
 elegance of taste in the diflFerent orna- 
 ments, that he became exceedingly emi- 
 nent in that manner of designing, being 
 also the first of the modern artists who 
 painted in that style. Nor can there be 
 a better testimony of his abilities than his 
 being employed by Giorgione to paint 
 the ornaments of his grandest composi- 
 tions. He died in 1513. It may be 
 proper to observe here, that the term 
 grotesque was introduced by the Italians, 
 and appropriated to that peculiar manner 
 of composition and invention observed in 
 the antique ornamental paintings, which 
 were discovered in the subterraneous 
 chambers at Rome, Puteoli, Cumse, or 
 Bajaj, which had been decorated in the 
 times of the ancient Romans ; and as the 
 Italians apply the word grotta to express 
 every kind of cavern, cave, or grot, all the 
 modern paintings, which were in imita- 
 tion of the antique designs discovered in 
 those chambers, which for ages had been 
 concealed under rubbish and ruins, were 
 called by i\i(i\n grottesche, and from thence 
 grottesque, or grotesque, implying a style 
 of painting in which the imagination, 
 fancy, and invention, are principally ex- 
 erted, without any strict adherence to 
 nature or truth. 
 
 MosEB (George Michael), was born 
 in Switzerland, but coming very young 
 to England, he followed the profession of 
 a gold-chaser, painting also in enamel, 
 and, upon the institution of the Royal 
 Academy, was appointed to the office of 
 keeper. This situation gave him consi- 
 derable insight as to the structure of the 
 human figure, owing to his contemplation 
 of, and the instruction he gave the students 
 respecting, the antique statues. He was 
 a man of most unblemished character, and 
 died about the year 1783. 
 
 Moses, called Little Moses. This 
 master is, by some authors, supposed to 
 have been a disciple of Poelemburg, be- 
 cause he always painted in the style and 
 manner of that artist, as well in design as 
 in colouring and pencilling. His subjects 
 were Ian Iscapes, in which he introduced 
 historical figures, representing memorable 
 stories from the Roman, Greek, or fabu- 
 lous writers. His touch was extremely 
 delicate, his colouring agreeable, and his 
 pictures are frequently taken for the works 
 of Poelemburg. He died in 1650. 
 
 MosNiEE (John). According to Feli- 
 bien, this painter was born at Blois, about 
 1600, where his father was a painter 
 on glass, and initiated by him into the 
 
 principles of painting. Visiting Florence, 
 Mosnier became a pupil of Cristofano 
 AUori, and, upon returning to his native 
 country, acqiiired considerable fame as an 
 historical designer. In St. Martin's church 
 at Paris are some of the best efforts from 
 the pencil of this artist, who died in that 
 city in 1656. 
 
 MosTAEBT (John), was born at Haerlem 
 in 1499, of an honourable family, and was 
 instructed in the art of painting by Jacques 
 de Haerlem. His personal accomplish- 
 ments, and the politeness of his address, 
 added to his distinguished merit in his 
 profession, procured him the esteem of 
 persons in the highest stations, particu- 
 larly Margaret, sister to Philip I., King 
 of Spain, in whose service he was retained 
 eighteen years. He painted many por- 
 traits of the nobility, which were much 
 applauded. lie also designed landscape 
 in a neat manner, with a number of small 
 figures, which were well designed ; and 
 all his works have great spirit and judg- 
 ment. A Nativity, by this master, is 
 preserved in the church of the Jacobins 
 at Haerlem, which is highly commended ; 
 and in the same city is a Banquet of the 
 Gods, which is described as a grand com- 
 position, full of good expression, and 
 extremely beautiful. He died in 1555. 
 
 MosTAERT (Francis and Giles). These 
 Flemish artists were twins, and born at 
 Hulst, near Antwerp, in 1520. Francis 
 became the scholar of Henry de Bles, and 
 his brother of John Mandyn. Francis 
 excelled in landscape, and Giles in figures, 
 which they pain ted for each other. Francis 
 died in 1557, and Giles.in 1579. The 
 latter was a good painter of history. 
 
 IMoucHERON (Frederick), called the 
 Old, was born at Embden in 1633, and a 
 disciple of John Asselyn, called Crabatje, 
 who, observing the genius of his pupil, 
 took the utmost care to instruct him in 
 the best principles of design and colour- 
 ing. When he was at the age of twenty- 
 two, he went to Paris, and there had the 
 good fortune to recommend himself to the 
 best judges of the art, by the beauty of 
 his landscapes. Every scene and object 
 he painted after nature, whenever he 
 observed what suited his taste or pleased 
 his imagination ; but his choice in some 
 was far preferable to that of others. He 
 was careful to sketch the trees, plants, 
 buildings, and sometimes the entire pro- 
 spects of romanticdwellings,almostburied 
 in groves, or surrounded with picturesque 
 plantations, and by that means was en- 
 
MOU 
 
 867 
 
 MUG 
 
 abled to give a great air of truth to his 
 compositions. His foregrounds are gene- 
 rally clear and well finished, but his 
 distances have frequently the appearance 
 of mistiness or vapour. His trees are 
 loosely and tenderly handled, and wherever 
 he introduces watei", the reflections of 
 bodies in it are transparent. His situations 
 are natural and pleasing, the buildings 
 are usually well adapted to the scenes, 
 and his distances have a good keeping. 
 His touch is free and light, and his 
 colouring good, except that in some of 
 his landscapes he is too yellow or too 
 green; and, either by time, or using some 
 perishable colours, many of his pictures 
 have acquired too dark a tint, which les- 
 sens their effect and value. But, on the 
 whole, his compositions are well designed, 
 agreeably coloured, extremely pleasing, 
 and highly finished. From Paris he went 
 to Amsterdam, and, duringhis continuance 
 in that city, the figures in his landscapes 
 were painted by Adrian Vandervelde, 
 as, during his residence in France, they 
 were inserted by Theodore Helmbreker. 
 He died in 1686. 
 
 MoucHERON (Isaac), called the Youngs 
 was the son of Frederick Moucheron, and 
 born at Amsterdam in 1670. Though 
 deprived of his father when he was only 
 sixteen years of age, even at that time he ; 
 was qualified to enter upon the profession | 
 with credit. At the age of twenty-four ; 
 he travelled to Rome, where he made i 
 designs from every beautiful scene round 
 tliat city; and particularly sketched | 
 each lovely spot about Tivoli, so remark- 
 able for the pleasing variety of its views, 1 
 and the elegant wildnesses of nature. By 
 this method of study and practice, he de- 
 signed his subjects with extraordinary 
 readiness, ease, and expedition; and having 
 nature constantly as his guide, he was 
 enabled to exhibit truth in all his compo- 
 sitions. Having made a multitude of 
 choice designs, he returned to Amsterdam, 
 where he executed them in grand halls, 
 saloons, and the apartments of noble edi- 
 fices, always having his landscapes en- 
 riched with figures and animals, though 
 frequently those figures were painted by 
 other artists. In style, taste, and execu- 
 tion, he surpassed his father, besides which, 
 he was a perfect master of architecture 
 and perspective. The leaves of his trees 
 are touched with ease and spirit, and their 
 branches are elegantly interwoven. His 
 pictures are generally filled, in an ample 
 manner, with objects of every kind, and 
 
 the eye is furnished with an agreeable 
 variety of buildings, hills, rivers, and 
 plants, copied from nature. His colouring 
 appears extremely natural, and, with its 
 freshness, has abundance of harmony and 
 union. Verkolie and De Witt most fre- 
 quently inserted the figures in his land- 
 scapes; but for some of them he employ- 
 ed other masters. His paintings are ex- 
 ceedingly prized in Holland, and much 
 esteemed in all parts of Europe. He died 
 in 1744. 
 
 MoYA (PiEDKO DE),was a Spaniard, and 
 bom about the year 1610. His ardent 
 wish to view the productions of the artists 
 of the Flemish School, as also those of 
 Rubens, caused him to visit Antwerp, 
 where he was enchanted by the pictures 
 of Vandyck, who resided at that time in 
 England. Moya, therefore, formed the 
 resolution of immediately going to Lon- 
 don, to commence his studies under that 
 great master : these wishes, however, were 
 frustrated by the death of Vandyck short- 
 ly after. Upon his return to Spain he 
 composed several pictures for the churches ; 
 an altar-piece of the Conception being 
 one of his best performances. He died 
 at Granada in the year 1666. 
 
 MoYART (Christian Louis). This ar- 
 tist, born at Amsterdam in the year 1600, 
 was a painter and engraver. Some alle- 
 gorical plates of Mary de Medicis are en- 
 graved by Moyart. 
 
 MuDO (Hernandez el). This singular . 
 artist from his infancy was deaf and dumb ; 
 and having afforded sufficient tokens of an 
 earnest desire to learn the art of painting, 
 he was placed as a disciple with Titian, 
 and arrived at a high degree of perfection 
 in colouring and design. He successfully 
 imitated the manner of his master, and 
 gained a considerable reputation; so that, 
 for several years, he was employed by 
 Philip II., King of Spain, to work in the 
 Escurial, and his performances in that 
 j palace procured him a noble recompense 
 i and distinguished honour. His principal 
 ! work is the representation of the Four 
 Evangelists, which he painted in fresco. 
 
 MuGELio (Andrea Delcastagne di). 
 lie was born at Venice in 1655, and was 
 deemed a good painter of history. He 
 died in 1726. 
 
 MuGNoz (Sebastian). A Spanish artist 
 and a discifde of Claudio Coello, was born 
 at Naval-Carnero in 1654. He visited 
 Italy in 1 680, and practised in the academy 
 of Carlo Maratti, and, on his retui-n to 
 isa, Mugnoz, conjointly with Coello, 
 
MUR 
 
 MUR 
 
 executed some considerable works. In 
 1688 he was appointed painter to the 
 King of Spain, wlien he composed frescoes 
 for the palaces, selecting for his subjects 
 incidents from the story of Cupid and 
 Psyche. IIo c^niei the light manner of 
 the more moilprn Italian School, where 
 much is given to lloridness of colour, 
 being divested of all f'egard to the graver 
 composition of characteristic figure. He 
 was killed by a fall from a scaffold in 1690. 
 MuNEBO (Giovanni Battista). He was 
 born at Genoa in 1613,and had Luziano 
 Bonzoni for his instructor. He excelled 
 in portraiture, and died in 1657. 
 
 MuNTz (J. H.) This artist resided some 
 time with Lord Orford, at Strawberry-hill, 
 and was much employed by him in making 
 drawings for that villa. In the Exhibition 
 at Spring-gardens, in 1762, he had a land- 
 scape in encaustic, on which process he 
 published a volume in octavo. His last 
 exhibition was in 1763. 
 
 MuRA (Francesco de), denominated 
 FrancesckieUo,vfa,?ihorn at Naples in 1696. 
 He was a pupil of Francesco Solimena^ 
 and subsequently adorned the public 
 buildings at Naples. His best works are 
 the frescoes in the palace at Turin, repre- 
 senting the life of Achilles, and the Olym- 
 pic Games. He died in 1759. 
 
 MuRANO (Natalino da). Ridolphi says 
 this artist was a pupil in the school of Titian, 
 and lived about 1538. He excelled as a 
 painter of portraits, but occasionally exe- 
 cuted some historical subjects. 
 
 MuRANT (Emanuel), was born at Am- 
 sterdaminl622, and wasadiscipleof Philip 
 Wouvermans, from whom he acquired the 
 warmth and brilliancy of colouring, and 
 exquisite pencil, which have rendered him 
 deservedly eminent. His subjects were, 
 views in Holland, villages, towns, cities, 
 ruins of houses, and decayed castles, all of 
 them sketched after nature, and so aston- 
 ishingly neat in the finishing, that every 
 minute part of a building was perfectly 
 discernible, and even every particular 
 stone or brick might be counted by the 
 assistance of a convex glass. His pa- 
 tience and application can scarcely be 
 imagined, being in that respect equal to 
 Vander Heyden. But his inexpressible 
 neatness in finishing every object de- 
 manded so much time, that it was im- 
 possible for him to paint many pictures; 
 on which account they are exceedingly 
 scarce, and sold for such prices as must 
 place them out of the reach of ordinary 
 purchasers. He died in 1 700. 
 
 MuRAToBi (DoMENico Maria). This 
 artist was a pupil of Lorenzo Pasinelli, 
 and born at Bologna in 1662. His prin- 
 cipal residence was at Rome, where he 
 painted many pictures for the public 
 buildings in that city. His Christ crowned 
 with Thorns was so universally esteemed 
 as to ensure him the appointment of paint- 
 ing one of the prophets for St. John de 
 Lateran. An altar-piece in the church of 
 the Apostoli, portraying the Martyrdoms 
 of St. Philip and St. James, is finished 
 in a masterly manner, and considerably 
 larger than any picture in Rome. Lanzi 
 considers his Miracle of St. Ranieri his 
 best work. There are a few capital etch- 
 ings by this master, who died in 1749. 
 
 MuBATORi (Teresa), was born at 
 Bologna in 1662. This lady early evinced 
 a taste for the fine arts, particularly music 
 and drawing. She was the daughter of a 
 physician, and successively the scholar of 
 Emilio Taruffi, Lorenzo Pasinelli, and 
 Giovanni Giuseppe dal Sole. She com- 
 posed many works for the churches at 
 Bologna; the most admirable of which 
 are, a Dead Chili restored to Life; the 
 Disbelief of St. Thomas ; and the Annun- 
 ciation. She died in 1708. 
 
 MuRiLLo (Bartolomeo-Estevan), the 
 greatest of all the Spanish painters, was 
 born at Seville on the 1st of January, 
 1613. He received his first instructions 
 in the art from his relation, Juan del 
 Castillo: but the latter having gone to 
 settle at Cadiz, Murillo was obliged, for 
 the means of subsistence, to have recourse 
 to painting banners and small pictures for 
 exportation to America. In that line he 
 obtained full employment, and began to 
 distinguish himself as an able colourist. 
 He was still very young, when he hap- 
 pened to see some works of Pedro de 
 Moya, who was passing through Seville, 
 on his way to Cadiz, which, being painted 
 in the style of Vandyck, inspired him with 
 the desire of imitating that great artist, 
 under whom De Moya had studied shortly 
 before his decease. The time he Avas able 
 to avail himself of Moya's instructions 
 was very short, and he resolved afterwards 
 to repair to Italy for improvement. But 
 his means were totally inadequate to meet 
 the expenses of such a journey. Collect- 
 ing, however, all his resources, he bought 
 a quantity of canvass, divided it into a 
 number of squares, upon which he painted 
 subjects of devotion and flowers, and, with 
 the produce of the sale of these, set out 
 upon his journey, unknown to his relations 
 
MUR 
 
 3()9 
 
 MUS 
 
 and friends. On his arrival at Madrid, 
 ho waited upon Velasquez, his country- 
 man, and communicated his plans to him. 
 Struck with the zeal and talents of the 
 young artist, Velasquez treated him with 
 the greatest kindness, and diverted him 
 from his project of the journey to Rome, 
 by assisting him in a more effectual way, 
 procuring him full employment at the 
 Escurial, and in the different palaces of 
 Madrid. Murillo returned to Seville in 
 1645, after an absence of three years: the 
 following year he finished painting the 
 little cloister of St. Francis; and the man- 
 ner in which he executed it produced 
 sentiments of tlie greatest astonishment 
 among his countrymen. His picture of 
 the Death of Santa Clara, and that of St. 
 James distributing Alms, served to crown 
 his reputation. In tlie first he showed 
 himself a colourist equal to Vaudyck, and 
 in the second a rival of Velasquez. They 
 obtained him a multitude of commissions, 
 which were not long in procuring him an 
 independent fortune. Ilis success, how- 
 ever, never led him to be careless of his 
 reputation; he gradually perfected his 
 manner, by giving more boldness to his 
 pencil, and without abandoning that 
 sweetness in his colouring which dis- 
 tinguished him from all his rivals, in- 
 creasing its strength, and giving greater 
 freedom to his touch. It is impossible 
 within our limits to mention all the works 
 with which he enriched the churches and 
 convents of Seville, and other cities of 
 Spain. Having been invited to Cadiz to 
 paint the grand altar of the Capuchins, 
 he there executed his celebrated picture 
 of the Marriage of St. Catherine. As he 
 was about to finish it, he wounded himself 
 so dreadfully on the scaffolding, that he 
 continued to feel the effects of it until his 
 death, which happened at Seville, in April 
 1682. To the. greatest merit as an his- 
 torical painter, Murillo joined that of equal 
 excellence in flowers and landscape. All 
 his works afford incontestable proofs of 
 the perfection to which the Spanish School 
 had attained, and the real character of its 
 artists ; for, as Murillo never quitted his 
 native country, he could not be influenced 
 by any foreign style: and this originality 
 of talent places him in the first rank among 
 the painters of every school. He has 
 neither the charming dignity of Raffaelle, 
 the grandeur of Caracci, nor the gi-ace of 
 Corregio ; but, as a faithful imitator of 
 nature, if he is sometimes vulgar and 
 incorrect, he is always true and natural ; 
 
 and the sweetness, brilliancy, freshness, 
 and harmony of his colouring, make us 
 forget all his defects. 
 
 Murray (Thomas). He was born in 
 Scotland about 1666, but went to London 
 to place himself as a disciple with Riley, 
 state painter to Charles 11. He studied 
 nature carefully, and in his colouring and 
 style imitated his master. He painted 
 portraits with great credit ; and had the 
 honour of being employed by the royal 
 family, as also by many of the nobility, 
 from whom he received particular marks 
 of respect and esteem, and, by their pro- 
 tection and favour, was enabled to acquire 
 a considerable fortune. The portrait of 
 Murray, painted by himself, has a place 
 in the Gallery of Painters at Florence. 
 This artist died in 1724. 
 
 Muss (Charles), an enamel painter, 
 who ranked high in that branch of the art, 
 and also in the department of painting on 
 glass. His Holy Family, after Parmegiano, 
 is the largest enamel that was ever painted. 
 He died in 1824. 
 
 MusscHEB (Michael Van), was born 
 at Rotterdam in 1645, and instructed by 
 Martin Zaagmoolen, an indifferent painter ; 
 but in a short time he quitted him, and 
 became a disciple of Abraham Vanden 
 Tempel, an artist of superior abilities, 
 under whom he studied with remarkable 
 application, and afterwards successively 
 resorted to the schools of Ostade and 
 Metzu; yet he derived more advantage 
 from the force of his own genius and 
 assiduity, than the instructions of his 
 different masters He went through the 
 various schools of Holland with too much 
 rapidity, and too unsettled a turn of mind, 
 which perhaps prevented him from pro- 
 fiting as much as he ought to have done 
 had he deliberately attended to the in- 
 structions which he might have received 
 from a single artist. However, from each 
 he acquired something; from one an ex- 
 ceeding good manner of colouring; from 
 another neatness of pencil ; and from the 
 rest beauty of finishing ; so that some of 
 his pictures are worthy of being placed in 
 competition with Metzu or Jan Steen. 
 In Amsterdam, where he spent the great- 
 est part of his life, there are many ex- 
 cellent portraits from his hand ; but the 
 most capital of all his performances in 
 that style is his own family-piece repre- 
 senting himself, his wife, and children, 
 which was sold for above a thousand flo- 
 rins. As every master under whom he 
 studied painted subjects of conversations 
 2 B 
 
MUT 
 
 MYN 
 
 in the manner of Bamboccio, taken from 
 characters in low life, Musscher did the 
 same, which sufficiently evinced the great- 
 ness of his abilities ; and his works were 
 so eagerly coveted, that he found it im- 
 possible to finish the pictures which were 
 bespoke. In general he was not very 
 correct, nor was the disposition of his 
 figures extraordinary ; yet, in some degree, 
 he compensated for those defects by the 
 brightness and beauty of his colouring, 
 by the truth of his imitations of nature, 
 and by the surprising resemblance in his 
 portraits ; but he is said to have had the 
 art of flattering his employers, whose 
 vanity could not remain insensible to the 
 favourable touches of his pencil, which, 
 perhaps, may have been one great cause 
 of his constant employment. He died in 
 1705. 
 
 Musso (NicoLo), was born at Casal- 
 monferrato, and arrived at his zenith 
 about 1618. In his early youth he be- 
 came a pupil in the academy of Michel 
 Angelo Caravaggio, when, after a long 
 residence at Rome, he repaired again to 
 Casalmonferrato, where he composed 
 many pieces for the churches. Lanzi 
 particularly speaks of his St. Francis 
 paying Homage to a dead Christ, in which 
 he has imitated Caravaggio; being, how- 
 ever, more perfect than that artist in 
 his figures and heads. 
 
 MuTiANO (GiROLAMo), was bom in 
 1528, at Aquafi-edda, in the territory of 
 Brescia, where he was taught the prin- 
 ciples of design and colouring by Giro- 
 lamo Romanino. Afterwards he tra- 
 velled to Rome, to improve himself in 
 design, and there studied the works of 
 Buonarroti and Titian. He also worked 
 for some time with Taddeo Zucchero, and 
 became a distinguished master. His 
 manner of design is great ; his colouring 
 good, both in fresco and in oil ; and the 
 heads of his figures have an elegant and 
 fine expression. He studied nature with 
 care and judgment; he painted land- 
 scapes and portraits in a noble style, and 
 adorned his historical subjects with land- 
 scapes, which are always excellently 
 understood, and happily introduced. It 
 was observed, as a remarkable singularity 
 in Mutiano, that the touchings of his trees 
 were somewhat in the Flemish manner, a 
 circumstance rarely known or practised in 
 the Roman School. At Rheims is a cele- 
 brated picture of his composition in a 
 grand style, and the figures as large as 
 life. It is painted in distemper, on can- 
 
 vass; the subject is Christ washing the 
 Feet of his Disciples. It is worthy of any 
 master, and is universally admired, as well 
 for the design as for the correctness and 
 handling. In the church of St. Peter, at 
 Rome, are four pictures, representing St. 
 Anthony, St. Paul the Hermit, St. Basil, 
 and St. Jerome; and in the church of San 
 Martino del Monti is a picture of St. 
 Albert, in which Mutiano has introduced 
 a charming landscape. This master is 
 likewise memorable for being the first 
 projector of the Academy of Painting at 
 Rome, which, through his solicitation, 
 was founded by Pope Gregory XIII. He 
 died in 1590. 
 
 Muzio (Antonio). He was born at 
 Verona in 1600,and became an imitator 
 of Flamingo. Being invited to Madrid, 
 where he was much employed for the 
 churches and palaces, he settled, and died 
 there, in 1648. 
 
 Myn (Herman Vander). This painter 
 was born at Amsterdam in 1684, and a 
 disciple of Ernest Stuven, a good painter 
 of fruit and flowers ; but when he had for 
 some time studied under that master, and 
 at last surpassed him, he grew ambi- 
 tious of appearing in a higher character, 
 as a painter of history and portrait. In 
 each of those branches he practised for 
 some years, with great application; and 
 then astonished all the artists and connois- 
 seurs at the Hague with a picture of 
 Danae, of his own painting, which was 
 designed in a fine taste, extremely well 
 coloured, and had great elegance of 
 expression; but, as he fixed a most immode- 
 rate price on that performance, it remain- 
 ed unsold for two or three years, although 
 exceedingly admired. He also painted 
 the history of Amnon and Tamar, in a 
 noble style, as well for composition as ex- 
 pression, and other subjects of sacred and 
 profane history with equal beauty and 
 delicacy. Yet his vanity and avarice 
 concurred to make him expect such exor- 
 bitant sums for each picture, that few, 
 among even persons of fortune, could 
 think of becoming purchasers. The most 
 capital performance of Vander Myn is the 
 Denial of St. Peter, but, unluckily, it was 
 much injured by an accident. In pursuit 
 of encouragement he visited London, and, 
 while there, painted the portraits of seve- 
 ral of the nobility, particularly a whole- 
 length of the Duke and Duchess of Chan- 
 dos, for which he was paid five hundred 
 guineas. The design of this fine piece 
 represented a painter's chamber, in which 
 
371 
 
 M Y T 
 
 the duchess appeared as sitting before an 
 easel, employed in painting the portrait 
 of the duke; the whole being intended as 
 a compliment to her taste in the arts. 
 The vanity of Vander Myn was excessive: 
 he was extremely covetous; and yet, when 
 he found himself in affluence, he was pro- 
 fuse and prodigal. He was a good painter 
 of liistory, and his fruits and flowers 
 were in much esteem; but his greatest 
 excellence consisted in portraits, which 
 were agreeably coloured, and had great 
 force, without his appearing a mannerist, 
 as he always adapted his tints exactly 
 to the complexions of his models. His 
 draperies are natural, and well disposed 
 in the folds ; but in those he was fre- 
 quently assisted by other artists, though 
 he always retouched them with great care. 
 The historical pictures of this master have 
 great merit, but, in colouring, they are 
 inferior to his portraits, the carnations 
 being rather too red> and sometimes too 
 gray. His design is not very correct ; but 
 it shows that he had copied nature, though 
 he did not study it effectually. He lived 
 in London splendidly, supported by his 
 vast business and acquisitions ; but, by an 
 indiscreet conduct, and an imprudent 
 marriage, he sacrificed his fortune and re- 
 putation, and died there, reduced to con- 
 tempt and necessity, in 1741. 
 
 Mytbns (Arnold), was born in 1541, at 
 Brussels, where he learned the rudiments 
 of his art ; but travelled to Italy for im- 
 provement, and visited Rome, Venice, and 
 ?Japles, applying himself with so much 
 diligence, that he was engaged for several 
 grand worksineachofthosecities, and lived 
 in high esteem. His style was entirely 
 in the Roman School with figures usually 
 as large as life, and sometimes of grander 
 proportion. At Naples he painted an 
 altar-piece, representing the Four Evan- 
 gelists; and another of the Virgin crush- 
 ing the Head of the Serpent; which 
 were of wonderful beauty, and exceedingly 
 admired for the design as well as colour- 
 ing. At Abruzzo he finished a grand 
 composition, representing Christ crowned 
 with Thorns, by the light of flambeaux ; 
 the lights being judiciously and happily 
 distributed, and the tone of colouring 
 warm, and full of force. He died at 
 Rome in 1602. 
 
 Mytens (Daniel), was born at the 
 Hague in 1636, and went to Rome when 
 very young, studying there under William 
 Doudyns, and Vander Schuur. On quit- 
 ting those masters, he employed himself 
 
 in designing after the antiques, copying 
 the most celebrated paintings of the best 
 artists, and adding considerably to his 
 improvement by the instructions of Ma- 
 ratti and Loti, with whom he established 
 an intimacy. Had the morals of this 
 painter been as good as his genius, he 
 would have made a great figure in his 
 profession ; but his attention was too much 
 engrossed by the love of pleasure and ex- 
 travagance. He had a lively imagination; 
 his composition was good, his colouring 
 agreeable; and he designed with great 
 ease and readiness. But all those emi- 
 nent qualities appeared only in such of 
 his works as were painted while he resi- 
 ded in Rome, and within a few years after 
 his return to the Hague; for latterly, by- 
 negligence, dissipation, and intemperance, 
 his works became less estimable. He 
 sketched a noble design for a ceiling of 
 the Painters'-hall at the Hague, which 
 gained him extraordinary credit. The 
 work was begun, but unfortunately he left 
 it for some years unfinished; and when he 
 returned to the work he spoiled it. This 
 thoughtless character died in 1688. 
 
 Mytens (Daniel the elder), was 
 principal painter to Charles I. before 
 the arrival of Vandyck in England ; but 
 afterwards exerted himself to imitate that 
 artist, and proved so successful, that 
 several of the pictures of Mytens have 
 been taken for the work of that famous 
 master. Some portraits of the princes of 
 Brunswick, at full length, by this artist, 
 are at Hampton Court; and one of Hud- 
 son, the dwarf, holding a dog in a string, 
 is at St James's; the landscape part being 
 freely touched, and warmly coloured. 
 When Vandyck came to London, Mytens 
 modestly wished to retire; but the king 
 continued him in his service some years 
 longer, and he then returned to his native 
 country. 
 
 Mytens (John). This painter was born 
 at Brussels in 1612, where he at first 
 learned the art of painting from Anthony 
 Van Opstal, and afterwards from Nicho- 
 las Vander Horst. He had an apt genius, 
 and practised with singular assiduity, so 
 that he gradually became an eminent 
 painter of portraits. The prince of Orange 
 and many of the nobility of the first rank, 
 sat to him, and he had the good fortune to 
 acquit himself in all his performances to 
 the satisfaction of his employers, and the 
 approbation of the public. 
 
 Mytens (Martin). This artist was 
 born at Stockholm in 1695, and at eleven 
 
MYT 
 
 372 
 
 NAN 
 
 years of age showed such an extraordi- 
 nary genius for painting, that several of 
 his designs were beheld with surprise by 
 many of the best judges and principal 
 nobility of that court. But when he had 
 practised for some years, and observed 
 that he could not receive a competent 
 knowledge of the art by staying in his 
 own country, he determined to seek im- 
 provement at Rome, and in his progress 
 to examine every thing curious in other 
 cities of Europe. His first excursion 
 was to Holland, and from thence he pro- 
 ceeded to London, where he practised 
 miniature and enamel painting, for which 
 he had always a strong tendency; and 
 by his performances gained a sufficiency 
 to maintain himself, without being an 
 incumbrance to his parents. He was 
 naturally studious, devoting all his hours 
 to design after the works of Vandyck, 
 and other eminent masters, avoiding every 
 thing that might impede his proficiency 
 in the art which he loved. In 1717 he 
 visited Paris, where he obtained the favour 
 of the Duke of Orleans, and had the 
 honour of painting the portrait of that 
 prince, and tho^e of Louis XV. and the 
 Czar Peter. The latter monarch made 
 him large offers to induce him to settle at 
 Petersburgh, which he politely declined, 
 being determined to see Italy. In 1721 
 he arrived at Vienna, where he was gra- 
 ciously received, and painted the portraits 
 of the imperial family. After a residence 
 of above two years, he proceeded to 
 Venice, where his merit soon distinguish- 
 ed him, and he might have had abund- 
 ance of employment ; but as he only went 
 thereto learn beauty and harraonyof colour- 
 ring, he spent his whole time in that study; 
 and then visited Rome, to acquire a grand 
 style of composition and correctness of 
 design. There he exerted all his industry 
 and skill to paint after the antiques, and 
 to copy the most excellent modern pro- 
 ductions, forming his hand to delineate in 
 large, full as readily as he had already done 
 in small, and in oil as well as in minia- 
 ture. Having finished his studies at 
 Rome, he went to Florence, where the 
 grand duke showed him many marks of 
 esteem, engaged him for some time in his 
 service, made him considerable presents, 
 and placed his portrait among the illus- 
 trious artists in his Gallery. He also 
 received public testimonies of favour from 
 the king and queen of Sweden ; each of 
 them presenting him with a chain of gold 
 and a medal, when he visited that court, 
 
 after his return from Italy. He finally 
 settled at Vienna, where he became pain- 
 ter to the court, and died, universally re- 
 spected, in 1755. A capital picture from 
 this master's hand is the history of Esther 
 and Ahasuerus. 
 
 N. 
 
 Nadaltno (del Murano), was a pupil 
 of Titian, and obtained great celebrity 
 by the beauty of bis colouring. His 
 manner much resembled that of his master. 
 He resided many years in England, ac- 
 cording to the authority of the writers on 
 this subject, where he met with encour- 
 agement, and hadconsiderableemployment, 
 but he ultimately quitted the kingdom, 
 and afterwards spent several years in the 
 Low Countries. 
 
 Nain (Le), was born in France, and 
 portrayed groups of countrymen and 
 village pastimes in all the simplicity of 
 truth, nature, and exquisite colouring. 
 The date of his birth and death is un- 
 known. 
 
 Naiwinck (Henry), was born at 
 Utrecht in 1620. This Dutch artist 
 painted landscape after the manner of 
 Waterloo, and was also well known as an 
 expert engraver. 
 
 NALDiNr (Battista), was born at Flo- 
 rence in 1537, and was a disciple of Gia- 
 como Pontormo. After the death of that 
 master, he studied design at Rome with 
 extraordinary application, and continued 
 to practise with so much fervour that his re- 
 putation was thoroughly established before 
 he left that city. He finished several very 
 noble works at Florence, in concurrence 
 with other eminent painters. In the 
 chapel of the Black Monks is a fine com- 
 position by Naldini, representing Christ 
 bearing the Cross; and in many other 
 performances he displays the genius, in- 
 vention, and execution of an able artist. 
 He was living in 1590. 
 
 Nanni (Giovanni), see Giovanni da. 
 Udino. 
 
 Nanni (Girolamo), was born at Rome, 
 and figured in 1642, under Sixtus V., 
 who employed him on many works. Ex- 
 tremely assiduous in study, but slow in 
 action, Giovanni da Modena reproving 
 him for his apparent sloth, he replied, 
 " Faccio poco e buono;'^ by which name 
 he was afterwards known. There are 
 many fine works of Nanni at Rome, but 
 
E 
 
 have no authority that points out the 
 period of his decease. 
 
 Nanteuii, (Robert). This artist, 
 born at Rheims in 1630, was equally 
 eminent in painting and engraving as in 
 crayons. He received a good education 
 from his father, a merchant ; but having 
 no partiality for the classics, he resolved 
 upon following the natural bent of his 
 inclination for design, and eventually 
 adopted it as a profession. Instructed by 
 Nicholas Reynesson, he became a cele- 
 brated artist, and his excellent talent, as 
 a portrait painter in crayons, obtained 
 him the patronage of Louis XIV., who 
 gave him a pension. His portraits are 
 exquisite. Nanteuil died at Paris in 1678. 
 Nappi (Francesco). From the au- 
 thority of Baglioni, this artist was a 
 Milanese, and resided at Rome under the 
 pontificate of Urban VIII., by whom he 
 was employed to adorn many of the public 
 buildings. His Resurrection; the Virgin's 
 Assumption ; and the Annunciation, in 
 the Monastery della Umilita, are his best 
 works ; but these never procured him any 
 great eminence. There is no authority for 
 the date of the birth or death of this artist. 
 Nardi (Angelo). Palomino speaks 
 of this artist as an Italian ; but, residing 
 mostly in Spain, he gained the appoint- 
 ment of painter to Philip IV. He followed 
 the style of his master, Paolo Veronese, 
 and composed many works for the churches 
 in Madrid: the Nativity; the Concep 
 tion, in the Franciscans; St. Michael 
 and the Guardian Angel, in the Carmel- 
 ites ; with the Annunciation, in St. Justo 
 are his best works. He died in 1660. 
 
 Naselli (Francesco), flourished in 
 1610, and was born at Ferrara. He 
 studied in the schools of Caracci and 
 Guercino, and imitated their style with 
 great success ; he, however, ultimately 
 caught the manner of Giuseppe Mazzuoli, 
 and became a good historical painter. 
 Many of his works are in the churches 
 at Ferrara, in which city he died in 1630. 
 Nasini (Giuseppe Nicolo), was born 
 about thirty miles i'rom Siena, in 1664, 
 and learned design from his father, Fran- 
 cesco Nasini, under whose direction he 
 practised till he was eighteen years old, 
 at which period he was sent to Rome, and 
 placed as a disciple with Ciro Fcrri. 
 Under the care of that master he continued 
 for two years ; and acquired such a com- 
 mand of the pencil, and so good a taste 
 
 soon prepossessed all the judicious in his 
 favour. Ciro Ferri used every effort to 
 ensure his advancement, and being 
 requested by the Grand Duke Cosmo HI., 
 to send him a young artist qualified to 
 copy the designs of Pietro da Cortona, in 
 the Palazzo Pitti, Ciro recommended 
 Nasini to that prince, when he executed 
 the commission to his own honour, as 
 well as that of his master, and the entire 
 satisfaction of the duke. Nasini was in 
 consequence not only munificently reward- 
 ed, but, by order of the duke, admitted 
 into the Florentine Academy at Rome, of 
 which Ciro Ferri was at tliat time prin- 
 cipal director. During his continuance 
 in the above city, he gained three prizes 
 at the Academy of St. Luke for his paint- 
 ings, and one for sculpture ; and having 
 perfected his studies, he visited Venice, 
 where he spent some time with Carlo 
 Loti; and then returning to Tuscany, 
 was appointed to an employment of con- 
 siderable profit and honour at that court. 
 From the above period he was constantly 
 engaged in the service of his patron, but 
 permitted to work for most of the princes 
 of Europe ; his pictures being tmiversally 
 admired for elegance of design, correct- 
 ness of outline, beauty of colouring, and 
 an expression truly excellent. Among 
 many fine performances of Nasini are the 
 Death of Cato, and a Lucretia ; both of 
 them full of nature, truth, and elegance, 
 and displaying wonderful expression. 
 Nasini died in 1736. 
 
 Nasmyth (Alexander), the father of 
 landscape painting in Scotland, was born 
 at Edinburgh, in the year 1750; but 
 from Allan Ramsay, in London, he learned 
 all that he ever knew of the mystery of 
 colour and perspective, or the art of call- 
 ing up into his compositions what critics 
 call the sentiment of the scene. He tried 
 his hand, too, on portrait, in which he 
 executed several successful heads; and 
 literature is much in his debt for his like- 
 ness a small size in an oval Ibrm of the 
 poet Burns, which he painted out of 
 love for song. His merits are much more 
 conspicuous in Scottish landscape : he has 
 left few picturesque points of the " land of 
 the mountain and the flood " uuhonoured 
 by his pencil ; he particularly excelled in 
 craggy mountains, shaggy ravines, wild 
 torrents, and castles hoary and rent, 
 perched on the banks of some howling 
 stream, or beetling clifl", such as the 
 
 for design, as to appear in the w^orld with eagles love. His scenes are rough and 
 the most promising talents ; so that he j vigorous, yet they are not deficient in the 
 
374 
 
 NEC 
 
 delicacies or properties of high landscape ; 
 and as the subjects which he chose 
 were selected with a poetic eye, he had 
 nut to call much on fancy for help, but 
 dash in the scene as it was offered to his 
 sight. His illustrations of the Scottish 
 scenes in the Waverley Novels, are as 
 " Highland as heather," as the proverb 
 words it, and quite northern and national. 
 When Nasmyth, for the first time, ex- 
 hibited in the Royal Academy of London, 
 A View in Scotland, in 1813, he found that 
 his son Patrick was before him, and wel- 
 come for his own merit, as well as for his 
 father's sake. He died at Edinburgh, on 
 the 10th of April, in the year 1840. 
 
 Nasmyth (Patrick), son of the pre- 
 ceding, was born at Edinburgh, 7th 
 January, 1787, and named after Patrick 
 Miller, the inventor of steam navigation. 
 He studied with his father, and, like him, 
 painted landscape; but his accurate tran- 
 scripts of nature were deficient in those 
 attractions which bring purchasers and 
 wealth ; nor did he mend his fortune 
 much by coming to England and adding 
 groups of rustics, and tippling mechanics, 
 and public-house revelry to his delinea- 
 tions of woods and streams. His life was 
 shortened by depression of spirits, or b^ 
 dissipation: he was buried in the church- 
 yard of Lambeth, in August 1831 ; and 
 the Scottish artists in London placed a 
 g-ravestone over him, recording his 
 country, his kindred, and his talents. His 
 landscapes are tasteful in selection, and 
 vivid in colour. 
 
 Natali (Carlo), denominated 11 
 GuardoUno, was a native of Cremona, and 
 born in 1590. He successively became 
 the pupil of Andrea Mainardi, and Guido 
 Reni. Many of his works are at Genoa 
 and Cremona, at which places he distin- 
 guished himself as a good architect. His 
 picture of St. Fnincesco Romagna, in St. 
 Gismondo, at Cremona, is his best work. 
 Natali died at the great age of ninety- four. 
 Natali (Giovanni Battista), was the 
 son of Carlo Natali, and born in 1630, at 
 Cremona. He was a good painter as well 
 as engraver, who, after having received 
 his father's instructions, went to Rome, 
 where he placed himself under Pietro da 
 Cortona. Upon revisiting Cremona, he 
 established a school, in which he incul- 
 cated the manner of Cortona. His picture, 
 ornamented with architectural designs, in 
 the church of the Predicatori, of St. Patri- 
 arca destroying heretical books, is worthy 
 the pupil of da Cortona. He died in 1700. | 
 
 Natoire (Charles), was born in 1700, 
 at Nisraes, and became a pupil of Francis 
 le Moine, whpse works he finished after 
 the death of that artist. Natoire com- 
 pleted several pictures for the chapel of 
 the Enfans Trouves, which are now 
 scarcely visible. He became director of 
 the French Academy at Rome, in which 
 city he died in 1775. Natoire also 
 finished some good etchings from his own 
 designs. 
 
 Naitier (Marc). He was born at 
 Paris in 1642, and died there in 1705. He 
 excelled in portrait, and was the father 
 and instructor of Jean Marc Naitier, the 
 historical painter. 
 
 Nattier (John Mark), was a French 
 portrait^ painter, and born in 1685. He 
 became a member of the Royal Academy 
 at Paris, and composed many designs for 
 the Gallery of the Luxembourg, after- 
 wards painted by Rubens. He died in 
 1767. 
 
 Nazzari (Bartolomeo), was born in 
 the Bergamese in 1699, and became suc- 
 cessively the scholar of Angelo Trevisani, 
 Benedetto Luti, and Francesco Trevisani. 
 He was a good historical painter, but 
 excelled mostly in portraits, in which 
 latter walk he gained considerable em- 
 ployment in the German courts. He died 
 in 1758. 
 
 Nebcia (Cesari), born at Orvieto in 
 1536, was the best pupil of Girolamo 
 Muziano, whose manner he copied, and 
 assisted that master in many works for 
 the Vatican, during the pontificate of 
 Gregory XIH. Sextus V. also appointed 
 him to overlook the works in the palaces 
 of St. John Lateran, during which 
 labour Giovanni Guera da Modena af- 
 forded him considerable assistance. He 
 possessed great manual ability and quick- 
 ness, and died at Rome in 1614. 
 
 Neck (John Van), born at Naarden in 
 1635, was a disciple of Jacob Bakker, 
 whose freedom of pencilling and strong 
 manner of colouring he studied with so 
 much assiduity, that, by copying his works 
 with care and observation, he completely 
 succeeded, and was accounted equal to his 
 master. He excelled in designing naked 
 figures, and therefore chose those subjects 
 which admitted them with propriety, such 
 as nymphs bathing or hunting ; while in his 
 historical pictures the figures are designed 
 with elegance, and the draperies distri- 
 buted in easy and natural folds. There is a 
 picture painted by this master in the 
 Romish church at Amsterdam, represent- 
 
NEE 3/ 
 
 ing Simeon with Christ in his arms ; it is 
 described as a capital performance. He 
 died in 1714. 
 
 Nedeck (Peter). Tliis Dutch artist 
 was born at Amsterdam in 1616, and stu- 
 died under Peter Eastman. lie became a 
 good painter of landscape, and died at 
 Amsterdam in 1678. 
 
 Neefs (Peter), called the Old. This 
 painter was born at Antwerp in the year 
 1570, and was a disciple of Henry Sten- 
 wyck. He imitated the manner of his 
 master, painting churches and convents ; 
 particularly the interior views ; and was 
 fond of Gothic architecture. He studied 
 after nature with such nice observation, 
 that every scene and building might be 
 recognised at first sight, upon the most 
 cursory view. He was also thoroughly 
 skilled in perspective, and described the 
 rich decorations, and every architectural 
 order, with such neatness of pencilling, 
 truth, and patience, as render them objects 
 of wonder rather than imitation. Neefs 
 died in 1651. 
 
 Neefs (Peter), called the Youvg, the 
 son of the preceding, was born at Antwerp 
 in 1601, and learned the art of painting 
 from his father. He designed in the same 
 style and manner, and chose similar sub- 
 jects to those of his parent ; but he was 
 much his inferior, and rather injured his 
 reputation, by atfording the dealers in 
 pictures an opportunity of imputing many 
 of his performances to Old Neefs. He 
 died at Antwerp in 1658. 
 
 Neer (Arnold Yander), was born at 
 Amsterdam in 1619, and is well known to 
 connoisseurs, by a peculiarity of style, 
 and the transparency of his landscapes. 
 His subjects are villages, or tJie huts of 
 fishermen on the banks of rivers and 
 canals, by moonlight; which are finished 
 with remarkable neatness of pencilling. 
 His touch is extremely light, free, and 
 clean, and his imitation of nature true ; 
 particularly in the lustre of his skies 
 about the moon, and its reflected beams 
 on the surface of the water. His figures 
 are well designed, but, being representa- 
 tions of low nature, they do not boast 
 much elegance ; yet their actions and 
 attitudes are well adapted to their occu- 
 pations. He died in 1683. 
 
 Neer (Eglon Hendrick Vander), born 
 at Amsterdam in 1643, was the son and 
 disciple of Arnold Vander Neer; who 
 carefully communicated his acquirements 
 to Eglon, which laid the foundation of 
 that_ excellence to -which he afterwards 
 
 NEE 
 
 arrived in several branches of his art, as 
 he proved an admirable painter of history 
 and landscape, being equally distinguish- 
 ed for the delicacy of his pencil, and those 
 beautiful scenes of nature which he 
 designed. As his genius inclined him 
 to study portrait painting and historical 
 composition, he was placed under the 
 direction of Jacob Vanloo, who particu- 
 larly excelled in naked figures; under 
 whom he applied himself with such ardour, 
 as obtained him so competent a knowledge 
 of design and colouring that he needed 
 no further instructor than nature. On 
 first setting out in his profession, he was 
 employed by Count d'Hona,^ in whose 
 service he continued four years, when his 
 reputation was firmly established, particu- 
 larly as a painter of portraits, which he 
 finished in miniature as well as of the 
 natural size. One of the latter descrip- 
 tion was the portrait of the Princess of New- 
 burg, painted by order of the King of 
 Spain, who expressed so much satisfac- 
 tion, that he rewarded the artist in a 
 princely manner, and appointed him state- 
 painter; but Eglon declined accepting 
 that mark of the royal favour, and con- 
 tinued at the court of the Elector Palatine, 
 for whom he finished several cabinet 
 pictures, which were extremely admired. 
 Besides portraits, Vander Neer produced 
 many historical designs from sacred 
 writings and fabulous history : the latter 
 representing nymphs, or different deities of 
 the mountains, or rivers ; always enrich- 
 ing his scenes with groves, rocks, or 
 beautiful distant hills. His figures are 
 correctly drawn, and disposed with re- 
 markable skill ; and it was observable of 
 this painter that, in the last year of his 
 existence, the efforts of his pencil were 
 equal to those produced in the vigour 
 of life. Eglon likewise painted con- 
 versations in the manner of Terburg, 
 sometimes in modern dresses, and at 
 others in the ancient costume ; and 
 also landscapes, designed in a good taste, 
 and possessing agreeable variety. He 
 was fond of diversifying the foregrounds 
 with different roots, which he copied after 
 nature; for which purpose he preserved 
 a collection of plants in his garden. Ob- 
 serving, however, that the plants, when 
 taken from their beds, lost a considerable 
 portion of their beauty and lustre, he con- 
 trived a portable house, in which he used to 
 sit and paint every object as it grew in the 
 utmost perfection. In the celebrated 
 collection of the Elector Palatine are se- 
 
NES 
 
 veral paintings of this master; particu- 
 larly Hagar in the Wilderness. Houbraken 
 also particularises a Ceres in search of 
 Proserpine; which he describes as being 
 admirably designed and highly finished. 
 Eglon had the honour of being the master 
 of Vander Werf, who derived a great 
 share of his merit from the precepts and 
 observations of this artist, as well as from 
 his excellent example. The portrait of 
 Vander Neer, painted by himself, is pre- 
 served in the Gallery of eminent painters 
 at Florence, upon which is the following 
 inscription, Es;lon Hendric Vander Neer, 
 f. 1696. He died in 1703. 
 
 Negri (Pier Martire), figured about 
 the year 1600, and was a native of Cre- 
 mona. Zaist says he was the scholar of 
 Giovanni Battista Trotti, under whose in- 
 struction he became a good historical as 
 well as portrait painter. He visited 
 Rome, and was admitted into the Aca- 
 demy of St. Luke. Lanzi speaks highly 
 of a fine composition by this master at 
 Cremona ; the subject of which is Christ 
 causing the Blind to see ; and another of 
 St. Joseph. 
 
 Negri (Giovanni Battista). He was 
 bom at Bologna in 1680, and obtained the 
 name o(Ritratti, on account of his facility 
 in painting portraits from memory. He 
 died in 1748. 
 
 Negbone (Pietro), was born at Ca- 
 labria in 1495. He studied successively 
 under Giovanni Antonio d'Amato, and 
 Marco Calabrese. He painted the Wor- 
 shipping of the Magi, and the Scourging 
 of Christ; and died in 1565. 
 
 Nbixi (Suor PiiAUTiixA), a Florentine 
 lady of noble extraction. A natural ge- 
 nius induced her to copy the works of 
 Bartolomeo di St. Marco, and she became 
 in consequence an excellent painter. After 
 taking the veil of St. Catherine, at Flor- 
 ence, she composed the Descent from the 
 Cross, and herpicturespossess great merit. 
 She died, aged sixty-five, in 1588. 
 
 Neroni (Bartolomeo), a native of 
 Siena, acquired celebrity about the year 
 1573. He was a pupil of Giovanni An- 
 tonio Razzi, painting historical subjects 
 with great success, being alike clever at 
 perspective and architecture. 
 
 Nes, or Nkes (John Van), born at 
 Delft, displayed a very early genius for 
 painting, and was placed as a disciple with 
 Michael Mirevelt; in whose school his 
 proficiency was so extraordinary, that he 
 proved one of the best disciples of that 
 famous master, and was soon qua- 
 
 lified to set up in his profession, Mirevelt, 
 however, who discerned the promising 
 talents of his pupil, advised him to study 
 nature, and travel to Rome and Venice, 
 where he might perfect himself in design 
 as well as colouring. He followed the 
 advice of his director, and in those cities 
 studied so industriously, that he acquired 
 respect and esteem, not only on account 
 of his great abilities, but also for his 
 amiable qualities and uniform good con- 
 duct. It was much to be regretted 
 that, with a genius and talents so fitted 
 for eminence in historical compositions, 
 Nees should have applied himself solely to 
 portraits, though in that stj'le his pictures 
 are incomparably fine. He designed with 
 great correctness, his resemblances are 
 expressive, and his colouring is very nat- 
 ural and lively. This painter died in 
 1650. 
 
 Netscher (Gaspard), a native of 
 Prague, was born in 1636, though Hou- 
 braken states his native place to have been 
 Heidelberg, and that his birth took place 
 in 1639. His father dying during the 
 war, his mother was left in most deplor- 
 able circumstances, with three children, 
 and obliged to quit Heidelberg, when she 
 retired to a fortified town, to avoid, if 
 possible, the calamities of war ; but seeing 
 two of her children perish in her arms by 
 famine, she determined to exert all her 
 strength to escape with her only son Gas- 
 pard, then about two years of age. She 
 at length arrived safe at Arnheim, where 
 she was supported by the contrJbuti<ms of 
 the charitably disposed in that city. A 
 very wealthy physician, named Tulle- 
 kens, conceiving a fondness for Gaspard, 
 adopted him as his son, and had him edu- 
 cated, with a view of establishing him in 
 his own profession. Being, however, at 
 last convinced that the genius of the lad 
 was more strongly inclined to painting, he 
 so far indulged that propensity as to place 
 him with one Koeter, a painter of fowls 
 and dead game ; and afterwards had him 
 instructed by Gerard Terburg, of Dev- 
 enter. When Gaspard found himself 
 capable of following his profession, he at 
 first worked for the picture-dealers in Hol- 
 land ; but they imposed on him, paying 
 very inconsiderable sums for those pic- 
 tures, which they sold at very high prices; 
 Netscher, therefore, quite discouraged 
 by the smallness of his gains, resolved 
 to quit that country immediately, and 
 travel to Italy. He embarked with that 
 intention; but the ship having put into 
 
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 377 
 
 NET 
 
 Bourdeaux, he married there, laid aside all 
 thoughts of proceeding further, and in 
 consequence returned, and established 
 himself at the Hague. On his arrival in 
 that city, he painted liistorical subjects in 
 a small size ; and although they were ex- 
 cellently finished, and eagerly bought up, 
 the prices he received were in no degree 
 proportionable to the time he had expend- 
 ed on them. Notwithstanding his pre- 
 valent inclination to paint history, he, in 
 consequence, resolved to apply himself to 
 portraits, which required less labour, and 
 were abundantly more lucrative. In that 
 style he proved a most admirable artist ; 
 and his reputation rose so high, that very 
 few of the foreign ambassadors and minis- 
 %;rs who visited the Hague, or the con- 
 siderable families who resided there, were 
 without some of the works of Netscher. 
 He was one of the best painters of the 
 Flemish School in a small size; his man- 
 ner of designing was correct, but he 
 always retained his national taste; though 
 frequently the heads of his portraits have 
 a graceful air and expression that is na- 
 tural and becoming, more especially in 
 those of his female figures. His colouring 
 is the genuine tint of nature, his localities 
 are true, and he had a peculiar power in 
 representing white satin, silks, linen, and 
 Turkey carpets, so as to give them an un- 
 common beauty and lustre. He perfectly 
 understood the principles of the chiaro- 
 oscuro, and used them judiciously ; hisout- 
 line is generally correct, his draperies are 
 thrown into large and elegant folds, and 
 his touch is so inexpressibly delicate as to 
 be scarcely perceptible. Charles II. invited 
 him to London, with the intention of ad- 
 vancing his fortune ; but the artist's love of 
 liberty proved far superior to his ambition, 
 his stay being of short duration ; and he 
 returned to the Hague, to enjoy the hap- 
 piness of an established reputation in his 
 own country. In the royal collection at 
 Paris there are two pictures of Netscher, 
 charmingly painted : one is a Musician 
 instructing a Lady to play on the Bass 
 Viol ; the other is a Lute-player perform- 
 ing on that instrument. He also painted 
 the portraits of Lord Berkeley and his 
 Lady, which bear the date 1663. Netscher 
 died at the Hague in 1684. 
 
 Netscher (Theodore), born at Bour- 
 deaux in 1661, was the eldest sou and 
 disciple of Gaspard Netscher, and, at the 
 early age of nine years, was the best pro- 
 ficient in the school of that master. At 
 eighteen he commenced painter, and, 
 
 being induced by Count d'Avaux to ac- 
 company him to Paris, his merit gained 
 him many friends in that city, and con- 
 siderable encouragement. He took agree- 
 able likenesses, and on that account was 
 appointed to paint the portraits of the 
 principal persons about the court, par- 
 ticularly the ladies. He continued in that 
 city for twenty years, getting rich, and in 
 high estimation. But the affluence in 
 which he lived led him into some indiscre- 
 tions, and induced him to refuse to paint 
 any but persons of the first distinc- 
 tion; nor was he, even to those, at all 
 times complaisant. After his return to 
 Holland, Frederick I. of Prussia having 
 desired him to paint his portrait, Netscher 
 began it, and the king seemed exceedingly 
 pleased with the likeness, the air, and the 
 expression; the painter, however, could 
 never be prevailed upon to finish it, but, 
 from some unaccountable caprice, secreted 
 himself till the king quitted the Hague. 
 In the year 1715 Netscher visited London, 
 as paymaster to the Dutch forces, and 
 was introduced at court by Sir Mat- 
 thew Dekker. He had the honour of 
 being graciously received, and acquired 
 incredible sums of money by his paintings 
 while he continued in England, a period 
 of six years, although Lord Orford makes 
 no mention of his having been a resident 
 in this country. On his return to the 
 Hague, having lost a considerable sum on 
 account of his employment, he retired in 
 disgust to Hulst, and died in that city in 
 1732. 
 
 Netscher (Constatstise), was born at 
 the Hague in 1670, being the younger son 
 of Gaspard Netscher, by whom he was 
 carefully instructed in his art ; but when 
 only fourteen years of age, he was deprived 
 of his father, and thus lost the advantage 
 he might have derived from the precepts of 
 so able a director. Constantine, however, 
 took pains to improve himself by the 
 studies of Gaspard, copying several of the 
 portraits painted by his father, which he 
 found to be the finest models of neatness 
 of touch and delicacy of colouring. The 
 exactness of the copies he made, so effect- 
 ually formed his hand, and his knowledge 
 was improved by such an attentive study 
 after nature, that he very soon distin- 
 guished himself as an artist of great emi- 
 nence. Constantine painted portraits of 
 the same size as Gaspard, and had the 
 felicity to give them a striking resemblance, 
 though, at the same time, he embellished 
 nature, by ])roducing a pleasing and flat- 
 
NEW 
 
 NEW 
 
 tering likeness, especially in the portraits 
 of females, which had unusual freshness 
 and life. The Duke of Portland, whose 
 portrait he painted, earnestly solicited that 
 he would accompany him to England 
 but every tempting offer proved ineffect- 
 ual, as he was very infirm, and often in- 
 terrupted in his works by attacks of the 
 gravel, which at last carried him off, uni- 
 versally regretted. He certainly did not 
 arrive at the excellence of his father, 
 though he is deservedly esteemed as a fine 
 painter of portraits. One of his most 
 capital performances is a family picti 
 of the Baron Suesso, consisting of seven 
 or eight figures, in which a dog is intro- 
 duced that was painted by Vander Does. 
 In 1699 he became a member of the 
 Society of Painters at the Hague, of which 
 he was subsequently named director. He 
 died in 1722, 
 
 Neve (Francis de). This artist was 
 born in 1625, at Antwerp, and imitated 
 the style of Vandyck and Rubens. He 
 lived for some time at Rome, and upon 
 revisiting his native city, produced many 
 fine specimens of his genius in the science 
 of historical painting. He combined an 
 exquisite taste with great versatility of 
 invention, and his grouping and orna- 
 ments are delicately managed. He died 
 at Antwerp in 1681. 
 
 Neveu (Mathys), born at Leyden in 
 1647, was first a disciple of Toorn Vliet, 
 who instructed him in design ; but he 
 afterwards studied under Gerard Douw. 
 The subjects chosen by this master were, 
 merry-makings, concerts of music, shops 
 with various kinds of goods, ladies and 
 gentlemen at tea, cards, or different sports 
 and amusements, which were well designed, 
 extremely neat in the finishing, and ex- 
 cellently coloured. A very capital com- 
 position of this master, mentioned by 
 Houbraken, is tlie Seven Works of Mercy, 
 consistingof a number of figures, disposed 
 in proper attitudes. The airs of many of 
 the heads are elegantly designed, and have 
 an appropriate expression ; the colouring 
 is clear, and the whole highly finished, 
 possessing a great degree of spirit and 
 harmony. It must, however, beaclcnow- 
 ledged that, notwithstanding the apparent 
 merit of this master's works, they are not 
 divested of an appearance of negligence, 
 and display want of accuracy in parti- 
 cular parts. He died at x^msterdam in 
 1721. 
 
 Newton (Francis Milneb), born in 
 Loudon in 1720, was an eminent portrait 
 
 painter, a member of the Royal Academy 
 and ultimately elected secretary of that 
 institution, which situation he gave up in 
 1788. He died in 1794. 
 
 Newton (Gilbert Stuart), was born 
 in Halifax, Nova Scotia, 2nd September, 
 1795, where his father held a post in the 
 commissariat department of the British 
 army : he studied, while yet a boy, with 
 Gilbert Stuart his maternal uncle, at 
 Boston ; quitted him on some question, it 
 is said, of temper, and, after visiting' 
 Rome, where he admired, but refrained 
 from copying, the wonders of Italian 
 art, he arrived in London some time in the 
 year 1817. He came well prepared to 
 excel ; he had a knowledge in the use of 
 colours, a skill in drawing, and a taste 
 in expression, surprising in one so young, 
 and whose models had not been the most 
 refined ; he came, too, with a heart and 
 mind stored with well selected subjects 
 from domestic story, and the incidents 
 recorded by our best authors, in verse and 
 prose. He had little that spoke of Ame- 
 rica about him, and has been accused, but 
 we happen to know erroneously, of hav- 
 ing little love for his parent land. His 
 heart and taste were with incidents of a 
 soft and affecting kind ; nor was he averse 
 to mix a little quiet, happy, humour as 
 seasoning to his compositions. The skill 
 with which he selected his subjects, ar- 
 ranged his groups, and embodied them in 
 bright and glowing colours, won him tlie 
 public favour at once ; nor were his works 
 liked the less for being of a size fitter for 
 a cabinet than a cathedral. The Royal 
 Academy of London admitted him into its 
 ranks ; and this distinction he more than 
 deserved by his pictures of Portia and 
 Bassanio ; Lear with Cordelia and the 
 Physician; Jessica and Shylock ; and the 
 Vicar of Wakefield restoring Olivia to 
 her Mothei-. The expression of these 
 works is^ said to have been found in living 
 models, which he bent and touched to his 
 own will: they arealldistinguishedforease 
 and nature, of an elegant and poetic cast. 
 His sketches often surpassed his finished 
 compositions ; elaboration and detail 
 seemed to injure them ; some of these are 
 still remembered with both pleasure and 
 regret by his friends. Christ blessing 
 Little Children; Lear in the Storm; 
 Miranda and Prospero looking from a 
 Rock on the Shipwreck of Ferdinand; 
 Falconbridge upbraiding Hubert with the 
 Murder of Arthur ; La Fleur taking leave 
 of his Sweetheart ; and the Nurse lament- 
 
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 ing over Juliet ; Bardolph moralizing to 
 Falstaff; and Edie Ociiiltree making 
 Tops and Totums for Children, contained 
 the germ of so many pictures abounding 
 in pathos or humour of the truest, high- 
 est kind ; but of which, madness first, and 
 in the end death, deprived the world 
 on the 5th of August, 1835. He some- 
 times painted portraits; his likeness of 
 Sir Walter Scott, though inclining to the 
 hedger and ditcher, is excellent. 
 
 Neyn (Peter de). He was born at 
 Leyden in 1597, and studied under Esaias 
 Vandervelde, by whose instructions he 
 became a good painter of landscape. He 
 was appointed architect to the city of 
 Leyden, where he died in 1639. 
 
 NicAsius (Bernard). He was born at 
 Antwerp in 1618, and had Francis Sny- 
 ders for his master, in whose manner he 
 painted huntings; also landscapes, with 
 fruit. He improved himself by travelling 
 into Italy, and on his return settled at 
 Paris, where he died in 1678. 
 
 NicoLAY (Isaac). He was born at 
 Leyden in 1539, and died there in 1597. 
 He was a correct designer, and gave 
 great animation to his figures. He had 
 two sons who were artists: 1. Nicolas 
 Isaac Nicoluy, born at Leyden in 1566 : 
 he painted history in the style of his 
 father, and died at Amsterdam in 1640. 
 2. James Isaac Nicolay, born at Leyden in 
 1569, and died at Utrecht in 1639. He 
 also painted in the manner of his father, 
 under whom he studied, but greatly im- 
 proved himself in Italy. 
 
 NicoLETTO, see Oassana Nicolo. 
 
 NicoLO (da Modexa), Messes, and 
 
 DEL AUBATE, SBC AuBATI. 
 
 NiEULANT (John). This artist was 
 born at Antwerp in 1569, and studied 
 under Peter Fransz and Francis Badens. 
 He painted history and landscape in a 
 small size, and his pictures were highly 
 finished. He died at Amsterdam in 1628. 
 
 NiEULANT (William Van), born at 
 Antwerp in 1584, was first a disciple of 
 Rowland Savery, who taught him design 
 and colouring, under whose direction he 
 studied till qualified to follow his profession 
 with credit. Being very desirous to extend 
 his knowledge, he travelled to Home, and 
 lived with his countryman, Paul Brill, 
 for three years, during which time he 
 employed himself in designing the 
 most curious remains and monuments 
 of antiquity, tlio triumphal arches, baths, 
 and ruins of magnificent edifices about 
 that city, all of which he afterwards intro- 
 
 duced agreeably in his future compositions. 
 During his continuancein Italy,he painted 
 in the manner of Brill : but on returning 
 to Holland greatly altered his manner. 
 His colouring is pleasine: and natural, 
 though sometimes rather too green ; his 
 situations are generally taken from nature ; 
 his distances judiciously managed ; his 
 pencil free and masterly ; and his figures, 
 though not in the taste of the Italian 
 School, are designed with tolerable cor- 
 rectness. He died in 1635. 
 
 NiKKELEN (John Van), was born at 
 Haerlem about the year 1649, and learned 
 the art of design from his father, who was 
 a good painter of perspective, in the man- 
 ner of Van Vliet, and particularly chose 
 for iiis subjects the insides of churches. 
 As soon as Nikkelen had perfected his stud- 
 ies under his father, he no longer adhered to 
 that style of painting, but employed his 
 pencil in landscapes, and equally distin- 
 guished himself by an unusual method of 
 representing flowers painted on satin, 
 which had a lively and pleasing effect. 
 His works which are much admired, pro- 
 cured him the favour of the Elector Pala- 
 tine, and the Prince of Hesse- Cassel, for 
 whom he finished a great number of pic- 
 tures, being retained at those respective 
 courts in constant employment. He died 
 in 1716. 
 
 NiLSON (John Elias). This miniature 
 painter was born in 1721 at Augsburgh. 
 He finished many portraits, but none proved 
 above mediocrity. 
 
 NiMEGXJEN (Elias Van, and Tobias 
 Van), brothers. Tiie first of these was 
 born at Nimeguen in 1667, and the 
 second in 1670. Their father died when 
 Elias was very yoimg, and his elder 
 brother, who had some notion of portrait 
 and flower painting, undertook the in- 
 struction of his junior brother, whom he 
 initiated in the first principles of the art. 
 By the death of his father, Elias was 
 deprived of all assistance in his profession, 
 and reduced to the necessity of providing 
 for the rest of his family. In that uncom- 
 fortable situation, he and Tobias, his 
 younger brother, applied themselves to 
 studying after nature ; and practised with 
 such success, that their wonderful profi- 
 ciency surprised the best judges, and all 
 contemporary artists. The first proof of 
 their abilities was displayed in a work 
 executed for Baron de Wachtendonk. 
 The composition was noble and extensive; 
 the ceilings were adorned with historical 
 figures in some of the compartments, 
 
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 NOR 
 
 while others were embellished with flowers 
 and bas-reliefs; and the colouring and 
 design of the whole so effectually raised 
 their reputation, that itrecommended them 
 to the patronage of tlie Princess of Orange, 
 who employed tiiem to paint several designs 
 in the apartments of her palace. Tobias 
 was invited to the court of the Elector 
 Palatine, and retained in the service of 
 that prince ; but Elias went to settle at 
 Rotterdam, where he had as much em- 
 ployment as he could undertake, and was 
 ultimately assisted in the execution of his 
 works by his nephew and his son. Those 
 young artists had been carefully educated 
 under the direction of Elias ; and it was ob- 
 servable that the preceptor and his pupils 
 were so similar in their touch, style, and co- 
 louring, thatthose workswhich theyjointly 
 performed, seemed to have been the pro- 
 ductions of a single hand. Elias painted 
 history, landscape, and flowers, with 
 infinite success ; but he excelled in per- 
 spective and architecture. His colouring 
 is clear and bright ; his pencil light and 
 firm; his figures are well designed, 
 though not always elegant ; and his com- 
 position is extremely rich. Elias died 
 in 1745. It is not known when Tobias 
 died. 
 
 NiNFE (Cesare della), a Venetian 
 artist, born at Venice in 1659, was the 
 pupil of Tintoretto, whose manner he 
 followed. He managed the pencil with a 
 dexterous hand ; his colouring was beau- 
 tiful; but he proved deficient in design. 
 He painted landscapes in the style of Sal- 
 vator Rosa. He died in 1699. 
 
 Noblesse ( ). Basan states this 
 
 artist to have been of French extraction, 
 and that he lived mostly at Paris. His 
 pen-and-ink drawings, in the style of Cal- 
 lot, are beautifully executed. 
 
 NocRET (Jean). He was born at 
 Nancy in 1617, and died there in 1672. 
 He painted history with reputation. His 
 son and scholar Charles Nocret^ was born 
 at Nancy in 1647. He painted portraits 
 with success, and died in 1719. 
 
 Nog ARi (Paris) . This artist was born 
 at Rome in 1512, and gained considerable 
 reputation under the pontificate of Gre- 
 gory XHI. He adopted for his model 
 Raffaellino da Reggio, and painted many 
 pictures for the Vatican. He also adorned 
 the churches with performances in oil and 
 fresco. He died at Rome in 1577. 
 
 NoLLET (DoMiNiauE,) was bom at 
 Bruges about the year 1640, and distin- 
 guished himself so much in his profession 
 
 that he was appointed principal painter to 
 Maximilian, Duke of Bavaria. He some- 
 times painted historical subjects, but his 
 greatest forte was in battles and land- 
 scapes. The former he executed with 
 peculiar truth and spirit, and in the latter 
 his trees were touched with a masterly 
 pencil, and well coloured. It was cus- 
 tomary with this artist to lay on a strong 
 body of colours, which at a proper distance, 
 produced a very good effect, combining 
 harmony and warmth. He designed cor- 
 rectly, and in his taste of composition 
 resembled Vander Meulen, but he was not 
 equal to that master. NoUet's most 
 capital performance is the representation 
 of a Battle, preserved at Bruges, which 
 has frequently been accounted the work 
 of Vander Meulen, and is not unworthy 
 of that painter. He died at Paris in 1736. 
 
 NOLLEKENS (JoSEPH FkANCIS). This 
 
 artist, born in 1706, at Antwerp, was the 
 son of a painter, who had resided a long 
 time in England. Joseph came over here 
 when young, studying first under Tille- 
 mans, and afterwards copying Paulo Pan- 
 ini. He was employed by Lord Cobhara, 
 at Stowe, and also by Lord Tilney; and 
 died in St. Anne's parish, Soho, in 1748, 
 leaving a wife and a numerous family. 
 
 NoLPE (Peter), a Dutch artist, was born 
 in 1601 at the Hague. He is little known 
 as a painter, however, except by some 
 prints of his landscapes, which evince 
 that he possessed a masterly hand. 
 
 Nop (Gerrit). He was born at Haer- 
 lera in 1570, and after receiving instruc- 
 tion in his own country, went to Germany 
 and Italy. He painted history and por- 
 trait. He died in 1622. 
 
 Nohtucote (James), desired to be 
 written critic, fabulist, biographer, and 
 historic painter ; but much of his criticism 
 is erroneous, most of his fables borrowed, 
 his biographical narrative is torpid and 
 cold, and his historic pictures want the 
 calm beauty and loftiness of thought, 
 necessary to such compositions. He was 
 born at Devonport, onthe22nd of October, 
 1746, and, obeying an impulse towards 
 art, came to London, while yet young, 
 and, in the studio of Reynolds, partly 
 mastered the use of colours, and the prin- 
 ciples of the profession ; and, having paint- 
 ed one or two pictures with applause, he 
 went to Rome in 1777, to see if fame 
 reported truly of the prime works of the 
 chiefs of the calling. He found that re- 
 port had not reached to the whole truth, 
 and that the great and enduring works of 
 
NOR 
 
 381 
 
 NUV 
 
 the Italians were founded alike in science 
 and poetry ; and that, compared to the 
 scriptural and historic Epics of Angelo 
 and Raphael, the finest portraits were gross 
 and unrefined. " If you desire to live, 
 you must invent something," was a truth 
 pressed on him by the contemplation of 
 the sculptures of Greece and the pictures 
 of Home, and he returned to England to 
 invent and hve. But original flights were 
 beyond his power; beau-ideal beauty, the 
 soul of the historic, he could feel, but 
 could not delineate: the characters which 
 act in the drama of his pictures incline to 
 the ordinary and the heavy: they have 
 dignity, but not enough for the parts they 
 have to play; they have life, but it is 
 without graceful ease, or heroic ardour. 
 His works seem all to have come bit by 
 bit, head by head, and limb by limb, to 
 his fancy; his scenes want unity; and his 
 figures, like men in a mob, seem not 
 moved by one soul, or animated by one ' 
 feeling. This is true of them all, or with I 
 but few exceptions. In 1786 he painted 
 Edward V. and Richard, Duke of York, 
 murdered in the Tower; and the death of | 
 Prince Leopold of Brunswick: these were j 
 of merit enough to warrant his admission 
 as an associate to the Royal Academy. 
 Wat Tyler was painted to please the citi- 
 zens of London. The rebel is struck from 
 his horse by the mace of Walworth the 
 mayor; and, with the exception of his ar- 
 chers, who are stooping as they bend 
 their bows, the composition has both life 
 and truth. The fame which this picture 
 brought, was sustained by the Burial of 
 the Murdered Princes in the Tower ; and 
 by his Hubert and Arthur, a picture 
 thoughtful and touching. These works 
 had their influence. On the 13th of Feb- 
 ruary, 1787, Northcote was elected a 
 member of the Academy, and was wel- 
 comed to liis station by his master and 
 friend, the President. 
 
 Having now arrived at the honours of 
 the profession, he resolved to deserve 
 them by higher efforts. Though his Gre- 
 cian Girl, and his Dominican Friar, were 
 scarcely of the historic stamp, yet they 
 may be alluded to as illustrating his 
 own assertion, that " portrait often runs 
 into history, and history into portrait, 
 without our knowing it." The Landing 
 of the Prince of Orange ; Jacob blessing 
 the Sons of Joseph; the Angels ap- 
 pearing to the Shepherds ; Romulus and 
 Remus ; Death of the Earl of Argyll ; 
 and Prospero and Miranda, are all worthy 
 
 of notice, from the clear and dramatic way 
 in which they illustrate their own proper 
 history, and from the circumstance that 
 the living models which he wrought from, 
 have left too much of their shape and ex- 
 pression, both in form and look, to entitle 
 these pictures to rank with epic works, 
 where high mind is summoned into the 
 face, and all coarseness and errors of pro- 
 portion are softened into the graceful and 
 becoming. 
 
 His literary productions are not entitled 
 to much considerati(m ; yet we owe to them 
 some characteristic anecdotes of Reynolds 
 and his ways. Northcote resolved to be 
 more prudent about the future in biogra- 
 phy than his great master ; and wrote an 
 account of himself and his works, and 
 bequeathed it to his friend. Lady 
 Knighton, in the belief that it would be 
 published as soon as he was dead, and aid 
 his paintings in keeping his fame in the 
 air. He died on the 13th of July, 1831, 
 but his Memoirs are still in manuscript. 
 
 NoTHNAGEL (JoHN Andrew), was bom 
 at Buch, near Saxe-Ooburg, in 1729. 
 He lived at Frankfort many years, and 
 painted landscapes with great succes?, as 
 well as jovial meetings, after the manner 
 of Teniers. He likewise copied Rem- 
 brandt's style of engraving, with great skill. 
 Nunez (Pedro). Ihis artist, born at 
 Seville in 1614, became a pupil of Guer- 
 cino, and resided a considerable time at 
 Rome. He painted history as well as 
 portraits, and was employed by the kings 
 of Spain in the theatre of Madrid. He 
 designed well, coloured exquisitely, and 
 was bold in execution. He died in 1654. 
 NuvoLONE ( Panfilo). This artist, a 
 native of Cremona, was in his zenith in 
 1608. He painted historical subjects in 
 the manner of his master, Battista Trotti, 
 whose best scholar he was. Nuvolone's 
 most perfect work is the Rich Man and 
 Lazarus, in the church of the Passion. 
 
 NuvoLONE (Carlo Francesco), eldest 
 son of the preceding, was born in 1608 
 at Milan, and became the pupil of his 
 father, whose instructions he gave up for 
 those of Giulio Procaccini. Renouncing 
 also this master, he became attached to 
 the style of Guido Reni, whose pictures 
 he so exquisitelj' imitated in elegance and 
 grace, that the name of the Lombardy 
 Guido was commonly applied to Nuvolone. 
 There are several of his works at Piacen- 
 za, Cremona, and Parma. He was so 
 good a portrait painter, that the Queen 
 of Spain, upon coming to Milan, appoint- 
 
OBR 
 
 ODE 
 
 ed him to paint her portrait. He died in 
 1661. 
 
 NuvoLONE (Giuseppe), the younger 
 son of Panfilo, was born in 1619 at Milan. 
 He possessed a quick and brilliant imagi- 
 nation: his pictures are numerous; but his 
 best works are the Dead Man restored to 
 Life, and some other pictures in St. Domi- 
 nick's church, at Cremona. He painted 
 till a very old age, but his genius became 
 poor and weak. He died in 1703. 
 
 Nuzzi (Mario), called ilfan'o da Fiori, 
 was born at Penna, a village in the king- 
 dom of Naple, in 1603, and was the dis- 
 ciple of Tomaso Salini, his uncle. Nature 
 was his incessant study, and he imitated 
 her with such exactness that it is im- 
 possible to behold his paintings without 
 feeling the same pleasure that every ob- 
 ject would excite if viewed in its full per- 
 fection. His pencil is inexpressibly light, 
 though his colouring has an extraordinary 
 force and truth, with a character of ele- 
 gant nature in his choice and disposition. 
 His earliest productions having been pur- 
 chased by a dealer in pictures, and sold at 
 Rome for a very high price, induced him to 
 visit that city, where he received so many 
 proofs of the esteem of the ablest judges 
 of painting, that he was soon in affluent 
 circumstances. This master omitted 
 no labour or study that could contribute 
 to perfection ; and his success was equal 
 to his hope. He selected the most beau- 
 tiful flowers for his subjects, imitating 
 them with amazing lustre and brilliancy ; 
 and he obtained the honour of being 
 ranked among the greatest artists in that 
 style of painting. A capital picture by 
 Mario da Fiori is in the church of St. 
 Andrea della Valle, at Rome. It is a 
 wreath of flowers, encircling the portrait 
 of St. Gaetano, which was painted by 
 Andrea Oamassei. He died at Rome in 
 1673. 
 
 0. 
 
 Obkegon (Pedbo de) . This artist was 
 born at Madrid in 1598. He studied un- 
 der Vincenzio Carducci, and gained great 
 repute in historical painting, especially in 
 his works of an easel size. Palomino 
 speaks of a beautiful picture of this master, 
 in the refectory of the convent de la 
 Merced, representing the Trinity; and in 
 the church of Santa Cruz there is another, 
 of the Conception. He died in 1658. 
 Tb' i-e are several of his works at Madrid. 
 
 OciioA (Francisco). This artist studied 
 under Murillo, whoso manner he success- 
 fully followed, many of his pictures 
 having been taken for those of his instruc- 
 tor, even by the first connoisseurs. This 
 artist was a native of Seville, and 
 born in the year 1644. The time of his 
 death is unknown. 
 
 OcHTERVELT ( ). This artist was 
 
 born in Holland about the year 1655. In 
 his works he much resembled Gerard 
 Terburg. His pictures are generally 
 subjects of domestic life; females at their 
 dressing-tables, parties engaged at music, 
 and studies. He finished highly, particu- 
 larly in the satin draperies in which he 
 was equal to his master. 
 
 OcTAviAN (Francesco). He was born 
 at Rome in 1690. He painted historical 
 subjects with distinction at Paris, where 
 he died in 1736. 
 
 Odazzi (Giovanni), was born at Rome 
 in 1663, and was the disciple of Giro 
 Ferri, after whose death he became the 
 pupil of Giovanni Battista Gauli, called 
 Baccici. The liveliness of his genius, 
 assisted by singular industry, rendered 
 him eminent, and he gained great fame 
 by a noble composition painted in the 
 church dei Santi Apostoli, representing 
 the Fall of Lucifer and his Angels, His 
 merit recommended him so highly, that 
 he was one of the twelve artists selected to 
 paint the Prophets, in fresco, in the church 
 of St. John Lateran, above the twelve 
 marble statues of the Apostles. The pro- 
 phet produced by Odazzi was Hosea, 
 which was exceedingly commended, par- 
 ticularly for the correctness of design. 
 He was indefatigable at his work, had 
 great freedom of pencil, and painted ex- 
 peditiously; but that quick manner of 
 finishing frequently occasioned some in- 
 correctness, though the contours of his 
 figures were extremely good. He died in 
 1731. 
 
 Oddi (Mauro), This painter was 
 born in 1639, at Parma, where he received 
 his first instructions. He repaired to 
 Rome, and was a disciple of Pietro da 
 Cortona. Upon his return to his native 
 place his genius procured him the patron- 
 age of the Duchess of Parma, for whom 
 he worked in the palace and the Villa di 
 Colorno. There are several altar-pieces 
 of his painting in the churches of Parma, 
 Piacenza, and Modena. He was also a 
 good architect. He died at Parma in 
 1702. 
 
 Oderico (Giovanni Paolo). This 
 
OLI 
 
 383 
 
 OLI 
 
 aTtist was a Genoese, and of noble extrac- 
 tion. Soprani says he studied under 
 Doraenico Fiasella, and gained great re- 
 pute as an historical artist, though he 
 chiefly succeeded in portrait painting. 
 His compositions possess great spirit and 
 force. He was born in 1613, and died 
 in 1657. Of all his historical compositions, 
 his best is a work in the church of the 
 Padri Scolopi, at Genoa, portraying the 
 Guardian Angel. 
 
 Oeki (Peter). This painter was a 
 native of Zurich, and born in 1637. Ac- 
 cording to a biography of the artists of 
 Switzerland, his manner of designing was 
 very spirited and graceful. He resided in 
 Italy six years, and then returned to his 
 native country, where it is said that for want 
 ofemployment,herelinquishedpaintingfor 
 the trade of a gold-worker. 
 
 Oeser (Frederick). This artist was 
 a native of Presburg, and born in 1717. 
 His first master was one Kamauf, who 
 made him copy prints, on which account 
 Oeser ran away from him, and went to 
 Venice, where he procured a subsistence 
 by his sketches, and gained a prize in the 
 academy for his picture of Abraham's 
 Sacrifice. He was likewise very skilful 
 in engraving, and at an early period went 
 to Vienna, at the academy of which city 
 he gained the first prize. He received 
 great encouragement from a celebrated 
 sculptor called Raphael Donver who tu- 
 tored him in the art, and the ancient style 
 of dress, and also instructed him in mo- 
 delling. In 1739 he repaired to Dresden, 
 where several artists of repute then resided, 
 by whom he was greatly favoured and 
 esteemed. But his most intimate friend 
 was the eminent Winkelman, who men- 
 tions him in the most flattering terms in 
 the progress of his works. In 1764 he 
 was nominated director of the academy at 
 Leipsic for architecture, sculpture, and 
 painting, and resided there several years, 
 executing many subjects, both in oil and 
 fresco. Some of his principal works are 
 in the church of St. Nicholas, at Leipsic. 
 He died in 1799. His son, Frederic 
 Louis, who died in 1792, at the age 
 of forty, was a landscape painter of merit. 
 
 Olis (John). This Dutch artist paint- 
 ed conversations, flowers, and kitchens 
 with culinary utensils, in a manner very 
 lively and agreeable. He flourished about 
 1670. 
 
 Oliver (Isaac). He was born in Eng- 
 land in 1556, and studied under Nicholas 
 Hilliard; but received some further in- 
 
 j structions from Federigo Zucchero, and 
 became a painter of great eminence. His 
 principal employment was in portrait 
 painting, and in that style he worked for 
 the most distinguished personages of his 
 time ; but he also painted historical sub- 
 jects with great success. He was a good 
 designer, and very correct; his touch 
 was neat and delicate, and although he 
 generally worked in miniature, yet he 
 frequently painted in a large size. His 
 drawings are highly finished, and much 
 valued, many being copies after Parme- 
 giano. Several very fine miniatures of 
 this master are in the collections of the 
 English nobility and gentry ; among 
 which are portraits of himself. Queen 
 Elizabeth, Mary Queen of Scots, Prince 
 Henry, and Ben Jonson ; which are all 
 admirably finished. There is also a whole- 
 length of Sir Philip Sidney, wherein the 
 handling is excessively neat, and nature 
 truly as well as beautifully, imitated. 
 Rubens and Vandyck painted James I. 
 after a miniature of this master, which is 
 a sufficient testimony of his merit; and 
 his works are still in high estimation. In 
 the closet of Queen Caroline, at Kensing- 
 ton, is a capital drawing, by Oliver, of 
 the Entombing of Christ ; and another 
 drawing, after Raflkelle's design, of the 
 Murder of the Innocents, which possesses 
 infinite merit. He sometimes worked in 
 oil, as well as water colours ; but the latter 
 productions are not so generally approved. 
 He died in 1617. 
 
 Oliver (Peter), the son and disciple 
 of Isaac, was born in 1601, and, from the 
 precepts and example of his father, arrived 
 at a degree of perfection in miniature 
 painting confessedly superior to his in- 
 structor, or any of his contemporaries, as 
 he did not confine his subjects to heads 
 only. In the collection of King Charles 
 I. and James II. there were thirteen his- 
 torical subjects painted by Peter Oliver, 
 seven of which are still preserved in the 
 closet of Queen Caroline, at Kensington ; 
 a capital portrait of his wife was also in 
 the possession of the Duchess of Portland. 
 He died, it is said, in 1660. 
 
 Oliver (Johx). This artist was born 
 in 1616. He particularly excelled in 
 painting on glass, and followed it till he 
 was very old. There is a window painted 
 by him at Christ-church, Oxford, the 
 design of which is the Angel setting St. 
 Peter free from Prison. It is also said 
 that he engraved some plates of heads, and 
 other compositions. 
 
OOR 
 
 OOS 
 
 Olivikr (M.). This artist was a native 
 of Paris; and in 1772 exhibited at the 
 Royal Academy, in London, six pictures, 
 two of which were historical; namely, 
 one the Massacre of the Innocents, and 
 the other the Death of Oleopatra, but 
 possessing little merit. He did not re- 
 main here long, but went to Spain, and 
 was living there in 1783. 
 
 OiiiviERi (DoMENico). This artist was 
 born at Turin in 1679. Delia Valle says 
 he was remarkable for portraying festi- 
 vals, dances, and country wakes, and, in 
 some degree, copied Bamboccio in his 
 peculiar taste for caricature. There are 
 two of his principal works in the Gallery 
 of the court at Turin ; but the most fa- 
 mous is the representation of a Country 
 Fair, in which he has grouped the peas- 
 antry in a very characteristic and spirited 
 manner. Although he chiefly painted in 
 what is styled Bambocciate, yet he was 
 perfectly competent to historical subjects ; 
 as a proof of which, he was employed to 
 execute the Miracle of the Sacrament in 
 the sacristy of Corpus Domini, in his na- 
 tive city. 
 
 Ommeganeii ( ), one of the most 
 
 celebrated of modern landscape and animal 
 painters, was a native of Antwerp, at 
 which city he died in 1826. His perfor- 
 mances were eagerly sought for, and even 
 when exhibited in the Louvre, by the side 
 of those of the great Flemish masters, 
 they continued to be viewed with admira- 
 tion. Ommeganeii was a member of the 
 Royal Institute of the Netherlands, and a 
 knight of the Belgic Lion. He was called 
 the Racine cles Moutons. 
 
 Onofeio (Cresce^zio di). This painter 
 was a native of Rome, and born in 1650. 
 He studied under Caspar Poussin, and in 
 landscape painting very much resembled 
 his instructor. He took up his residence 
 at Florence, and was greatly patronized 
 by the court, though many of his works 
 were in private hands. He etched several 
 spirited landscapes in a beautiful and pe- 
 culiar manner. The time of his decease 
 is not exactly known. 
 
 OoLEN (John Van), see John Van 
 Alen. 
 
 Oort(LambrechtVan). This painter, 
 says Descamps, was a native of Amersfort, 
 and born in 1520. He acquired great 
 fame as an historical artist, yet eminently 
 distinguished himself in architecture. 
 He entered the school at Antwerp in the 
 year 1547, where he chiefly resided after- 
 wards. 
 
 OoRT (Adam Van), son of the preced- 
 ing, was born at Antwerp in 1557. Adam 
 was instructed by his father, and afforded 
 proofs of an enlarged genius, so that he 
 soon rose into esteem, not only as a painter 
 of history, but also of landscape and por- 
 traits. The greatest honour of Van Oort, 
 however, originated in his having been 
 the first m.aster of Rubens, whose works 
 have eternized his master's memory with 
 his own. He was naturally of a rough 
 temper, which occasioned him to lose the 
 love of his disciples and friends, among 
 whom he totally forfeited the esteem of 
 Rubens, his best pupil. Jordaens was the 
 only person who accommodated himself 
 to the savage manners of his master; but 
 it appears probable that he only conde- 
 scended to endure his morose behaviour, 
 out of affection to the daughter of Van 
 Oort, whom Jordaens afterwards married. 
 In his style of painting he neglected na- 
 ture, and was entirely a mannerist ; nor 
 did he seem to have any regard to paint- 
 ing as a tine art, considering it merely as 
 a means of acquiring wealth. In his best 
 time his compositions were agreeable, and 
 his designs correct : but at a later period 
 his works had nothing to recommend 
 them except the freedom of handling and 
 the goodness of colouring. Nevertheless, 
 with all his defects he was accounted a 
 good painter. Rubens used to say that 
 Van Oort would have surpassed all his 
 contemporaries if he had seen Rome, and 
 formed his taste by studying after the best 
 models. He painted numerous subjects 
 for the altars of churches in Flanders, 
 which have a great share of merit, and 
 are still contemplated with pleasure by 
 good judges. He died at Antwerp in 
 1641. 
 
 OosT (Jacob Van), called the Old, 
 was born at Bruges about the year 1600, 
 and learned the art in his native city, 
 though it is not ascertained by what 
 painter he was instructed. He travelled 
 to Italy and studied the great masters, 
 copying every thing that pleased his taste, 
 or might contribute to his improvement. 
 However, among all the famous artists, 
 he attached himself particularly to the 
 style of Annibale Caracci, and imitated 
 him so as to surprise the most able con- 
 noisseurs at Rome. With a well-esta- 
 blished reputation he returned to his own 
 country; and, as he was indefatigable in 
 business, even to the last day of his exist- 
 ence, and had his pencil continually in 
 his hand, the number of paintings which 
 
oos 
 
 385 
 
 OPS 
 
 he finished is almost incredible, particu- 
 larly if it be considered that they were 
 always of large dimensions. He possessed 
 many of the accomplishments required in 
 a great painter. His touch and colouring- 
 are good ; he introduces few figures, to 
 avoid encumbering his subject; and dis- 
 poses them with great skill and elegance, 
 robing them in such draperies as are sim- 
 ple and natural. He designed in a good 
 taste ; and though his style of composition 
 resembled that of Annibale Caracci, it 
 was less charged than the productions of 
 that master. In his carnations his colour- 
 ing is fresh, and like nature ; but he is 
 not so commendable in the hues of his 
 draperies, which are sometimes so broken 
 as to give the stuffs an appearance of 
 hardness. He understood perspective 
 and architecture extremely well, but was 
 not fond of painting landscape ; his back- 
 grounds, for the most part, consist of 
 buildings, columns, arches, and different 
 pieces of architecture, which give his 
 compositions a grand effect. The most 
 admired picture of Van Oost is in the 
 church of the Jesuits at Bruges ; the sub- 
 ject being a Descent from the Cross ; in 
 which the design, disposition, expression, 
 colour,and chiaro-oscuroareworthy of the 
 highest commendation. He died in 1671. 
 
 Oost (Jacob Van), called the Young, 
 was born at Bruges in 1637, and received 
 instructions from his father ; and, as he 
 afforded manifest proofs of a promising 
 genius in the art of painting, he was per- 
 mitted to visit Rome. While in that 
 city, he devoted his whole time to the 
 examination of the antiques, after which 
 he designed. On returning to his native 
 country, he painted for the churches at 
 Bruges, and then settled at Lisle, at which 
 place his works principally abound : they 
 consist of history and portraits, being so 
 famous in the latter as to be comparable 
 to Vandyck. His historical subjects par- 
 take of the talent of his father, having 
 less of the Flemish than the Roman 
 School. The Martyrdom of St. Barbara, 
 at Lisle, and the altar-piece of the Trans- 
 figuration, in St. Saviour's, are esteemed 
 his finest productions. He died in 1713. 
 
 OosTERWYCK (Maria Van). This 
 lady was born at Naaldorp in 1630; and 
 exhibiting, at a very early age, great 
 marks of genius for flower painting, her 
 father, who was a clergyman, selected the 
 best masters of the time to instruct her ; 
 and under David de Heem she acquired 
 so much celebrity as to stand in competi- 
 
 tion with her tutor. Her favourite sub- 
 jects were flowers and still life, which she 
 touched with great delicacy and freedom 
 of hand. She imitated the freshness and 
 bloom of flowers, and the richness of 
 fruits, with inexpressible harmony. King 
 William gave her nine hundred florins for 
 one picture, and the King of Poland be- 
 came her most munificent patron. She 
 died in 1693. 
 
 Opie (John). This celebrated Eng- 
 lish artist was born near Truro, in Corn- 
 wall, in 1761. He appears to have shown 
 early marks of genius, which his father 
 endeavoured to crush, by bringing him up 
 to his own business, which was that of a 
 master carpenter. His uncle, however, 
 fortunately encouraged his propensity for 
 drawing, and Opie's love for the science 
 determined him upon professionally fol- 
 lowing the art. Untaught, he gained 
 proficiency in portrait painting; and 
 chance throwing him under the observa- 
 tion of Dr. Wolcot (Peter Pindar), he 
 patronized him to the full extent of his 
 power, and brought him into considerable 
 notice. About the year 1777, he was 
 patronized by Lord Bateman, and a few 
 years after arrived in London, under 
 the particular introduction of Dr. Wolcot. 
 Scorning flattery as a portrait painter, 
 the novelty of his appearance soon sub- 
 sided, but not being circumscribed in tal- 
 ent, he gained great success in various 
 branches; and Boydell's Shakspeare, 
 Macklin's Poets, and Bowyer's edition of 
 Hume, soon afforded ample scope for 
 Opie's abilities, who produced upon these 
 occasions some of the best specimens of 
 the English School. His best pictures 
 possess great expansion, his colouring is 
 chaste, and his chiaro-oscuro perspicuous. 
 Among his best pictures is Arthur sup- 
 plicating Hubert; the Death of David 
 Rizzio ; and the Presentation in the Tem- 
 ple. Mr. Opie's moral as well as profes- 
 sional character stood high in public 
 opinion, and it is to be regretted that he 
 was snatched so early from a situation he 
 highly adorned. He died in 1807. 
 
 Opstal (Gaspar James Van), an his- 
 torical as well as portrait painter, was 
 born in 1660 at Antwerp. In the 
 churches of Brabant and Flanders are 
 many good pictures by Opstal. He copied, 
 at the desire of Marshal Villeroy, Rubens's 
 Descent from the Cross, wherein the 
 touch and colouring of that master are 
 admirably imitated. Many of his por- 
 traits are preserved at Antwerp, and very 
 2c 
 
ORL 
 
 386 
 
 ORS 
 
 much admired. He died at Antwerp 
 1714. 
 
 Oram (William), was an architect and 
 landscape designer, in which art he ac- 
 quired considerable fame. He was much 
 patronized by Sir Robert Walpole. 
 
 Obazi (Alessandro). This artist of the 
 Lombard School was born at Bologna in 
 1400. He painted historical subjects in 
 fresco for the churches, and died at 
 Bologna in 1449. 
 
 Orcagna (Andrea), denominated Di 
 Clone. This artist, born at Florence in 1329, 
 was a good architect as well as painter. 
 He was the pupil of his elder brother, 
 Bernardo Orcagna, and they conjointly 
 painted many frescoes. The figures in 
 their pictures were mostly portraits, and 
 in painting the Last Judgment, they de- 
 lineated their friends as being in heaven, 
 aridtheir enemies amidst the wicked in the 
 infernal regions. Orcagna died in 1389. 
 
 Orlay (Bernard Van), called Ber- 
 nard of B7'ussels, was born at Brussels 
 about the year 1490, and went to Rome 
 when very young, where he had thegooc 
 fortune to become a disciple of the illus- 
 trious RafFaelle; in whose school he 
 proved such a proficient, that be was em- 
 ployed in finishing many of the grand 
 compositions of his inimitable master; as 
 he equally excelled in history, landscape, 
 and animals. At his return to Brabant, 
 he was appointed principal painter To the 
 governess of the Netherlands, and 
 ployed for several years by the Emperor 
 Charles V., being considered one of the 
 best painters of his time. He had a 
 noble taste for design, with an agreeable 
 tone of colouring; and to give lustre to 
 his tints, he usually painted on a ground 
 of leaf gold, which preserved his colours 
 fresh. The scenes of his huntings and 
 landscapes were generally taken from the 
 forest of Soignies, which furnished him 
 with elegant variety, for delineating the 
 portraits of the Emperor Charles, and 
 the nobility of his court. The Prince of 
 Nassau engaged him to paint sixteen car- 
 loons, as models for tapestries, intended 
 for the decoration of his palace at Breda. 
 Each consisted only of two figures a 
 knight and a lady on horseback being 
 representations of the Nassau family. 
 The design was exceedingly correct, and 
 in a style of grandeur worthy a disciple 
 of RafFaelle : they were afterwards copied 
 by Jordaens in oil. A celebrated picture 
 from this master's hand is in the chapel 
 of a cloister at Antwerp; the subject 
 
 being the Last Judgment; which is 
 painted on a gold ground, that gives the 
 sky much clearness and transparency. He 
 died in 1560. 
 
 Orlay (Richard Van), born at Brus- 
 sels in 1652, was the son of Peter Van 
 Orlay, an indifferent painterof landscapes, 
 from whom he learned the rudiments of 
 the art ; but was further instructed by 
 his uncle, a better artist than Peter, 
 though neither had talents equal to the 
 genius of their disciple, who, in a short 
 time, surpassed his directors. He dili- 
 gently studied design, and applied himself 
 to practise painting in miniature; in 
 which he proved so successful, that he 
 composed historical subjects, which pro- 
 cured him honour and employment. He 
 finished a prodigious number of designs 
 and portraits; and his compositions in 
 history might induce one to imagine he 
 had spent his whole life in Italy, from the 
 strong resemblance his style bears to that 
 of Albano, Pietro da Cortona, and fre- 
 quently to that of Nicolo Poussin. The 
 back grounds of his pictures are orna- 
 mented with elegant architecture and fine 
 perspectives ; and his figures are so dis- 
 posed and grouped as to satisfy the eye, 
 and appear distinct and without confusion. 
 He designed correctly, and excelled in 
 etching and engraving, as well as in 
 painting. He died in 1732. 
 
 Orlay (John Van). This artist was 
 born in 1656 at Brussels, and manj' of his 
 performances are in the churches of the 
 Netherlands. A fine picture of the Re- 
 surrection, as well as another of the Wor- 
 ship of the Magi, are thought to be his 
 best productions. 
 
 Orrente (Pedro). This artist was a 
 native of Murcia, and born in 1560. He 
 imitated Giacomo Bassano, whose disciple 
 he became on visiting Rome. There is 
 a Nativity by this artist in the church of 
 Los Reyes Nuevos, admirably executed. In 
 the king's Gallery, Orpheus playing to the 
 Beasts, and several landscapes, are also con- 
 sidered eminent pictures. He died in 1642. 
 
 Orsi (Lei.io), denominated Lelio da 
 Novellare. This artist was born in 1511, 
 and settled at Novellara, having been ban- 
 ished from Reggio, his native place. It is 
 believed that he had been a scholar of 
 Corregio, from the elegance of his heads 
 and the imitation of his style, which is 
 extremely conspicuous in his copy of Cor- 
 regio's Notti. Several writers, however, 
 assert that he was instructed by Buonar- 
 roti. Orsi's pictures in the different 
 
churches are all destroyed. He died in 
 1587. 
 
 Orsi (Prospero). This painter was 
 born at Rome, and flourished under Pope 
 Sixtus v., for whom he worked, and 
 painted two ceilings at the palace of St. 
 John Lateran ; the subject of one is 
 the Children of Israel passing the 
 Red Sea; the other, Jacob blessed by 
 Isaac. He died at the age of seventy-five, 
 at Rome, under the pontificate of Urban 
 VIII. Orsi was leagued in the strictest 
 friendship with Cavaliere Giuseppe Cesari 
 d'Arpino, whose style of painting he 
 faithfully copied. 
 
 Orsi (Benedetto), was born at Pescia, 
 and figured in 1660. Lanzi thinks this 
 artist was a pupil of Baldassare Frances- 
 chini, and speaks of a ])erformance of his, 
 representing St. John in the church of 
 St. Stefano, at Pescia, with the highest 
 encomiums. He also painted many other 
 pictures for La Compagnia de' Nobili, 
 which are highly prized. 
 
 Orsini (Antonio). He was born at 
 Rome in 1656 ; and painted history with 
 some reputation. He died in 1708. 
 
 Os (Van), a Dutch artist, was born in 
 1744, in the province of Zealand. He 
 excelled in flower painting. Though he 
 is surpassed b)' Van Huysum in the tranS' 
 parent tints of his flowers and fruits, his 
 colouring is nevertheless beautiful and 
 delicate. His sea-pieces and landscapes 
 are not of equal merit. After the death 
 of his wife, to whom he was tenderly 
 attached, he seems to have paid less 
 attention to his art. Van Os was also 
 a poet, and wrote several pieces which 
 manifest talent. He died in 1818, leaving 
 two sons, who are both distinguished 
 artists. 
 
 Osoaio (Francisco Meneses). This 
 artist was born at Seville, and studied 
 under Murillo, whose manner he success- 
 fully followed. There are several of his 
 works in different convents and churches 
 at Seville. He lived in 1725, at which 
 epoch flourished another of Murillo's 
 pupils, named Juan Garzan. 
 
 OssENBEECK (N.), was bom at Rotter- 
 dam about the year 1627, and there initi- 
 ated in the principles of his art ; but he 
 accomplished himself in Rome, where he 
 spent the greater part of his life, and 
 painted in the style of Baraboccio, design- 
 ing his figures, horses, and other animals, 
 with abundance of nature and correctness. 
 His pictures are generally adorned with 
 fragments of antiquity (particularly the 
 
 backgrounds), such as ruins of antique 
 edifices, vestiges of superb monuments, 
 caves, and waterfalls, so exactly imitated 
 after nature, as to justify an observation 
 made by Sandrart and others, that he 
 transported Ropie to his own country. 
 He usually selected for his subjects, fairs, 
 markets, and riding-schools, as they 
 aftbrded him an opportunity of introduc- 
 ing a variety of animals and figures, which 
 he designed extremely well ; and in his 
 compositions were seen the elegance and 
 correctness of the Roman School, com- 
 bined with the colouring and high finish- 
 ing of the Flemish. Ossenbeeck etched 
 many subjects with considerable ability, 
 and engraved some of the plates in the 
 gallery of Teniers. He died in 1678. 
 
 Ostade (Adrian Van), was born at 
 Lubeck in 1610, and was a disciple of 
 Francis Hals, in whose school Brouwer 
 was his contemporar}', with whom he 
 contracted an intimate friendship. He had 
 a lively genius, and adopted a manner and 
 style peculiar to himself, in which he be- 
 came equal to the best masters of his own 
 country, and superior to most. Nature 
 guided his pencil, and it is impossible not 
 to be charmed by the truth, life, and ex- 
 cellence of his works. When Ostade 
 commenced painter, he lived with one 
 Constantine Senneport a great encourager 
 of the art, at Amsterdam, where he found 
 an tincommon demand for his paintings, 
 and received unusually high prices : yet, 
 although he was extremely industrious, 
 he could scarcely finish a sufficient 
 number to satisfy the eager curiosity of 
 the public. The subjects of this painter^ 
 were always of the low kind, having the 
 same ideas as Teniers ; yet, though 
 Ostade copied nature as it appeared in 
 the lower class of mankind, there is 
 so much spirit in his compositions, such 
 truth, nature, life, and delicacy of pencil, 
 that even while many of his objects are in 
 some respects disgusting, a spectator 
 cannot forbear to admire his genius and 
 execution. His pictures are so transparent 
 and highly finished that they have the 
 lustre and polish of enamel, being at the 
 same time warm and clear. They have 
 frequently a force superior to Teniers, and 
 are always more highly finished ; though 
 it must be acknowledged that Teniers 
 grouped his objects better, and showed 
 more skill in the disposition of his design, 
 than Ostade. He perfectly understood 
 the principles of chiaro-oscuro, and in- 
 troduced his lights and shadows with so 
 
much judgment that every figure seems 
 animated ; it might however, be -wished 
 that he had not designed his figures so 
 short. His tone of colouring is exquisi- 
 tely pleasing and natural ; his touch light 
 and wonderfully neat; and throughout 
 all his works there is a peculiar and un- 
 common transparency. The figures of 
 Ostade were so universally admired for 
 their lively expression, that several of the 
 most eminent among his contemporary 
 artists solicited him to paint the figures in 
 their landscapes ; which at the present 
 day contribute greatly to their value. His 
 works are very scarce, especially those of 
 his best time and manner; and when 
 the genuine productions of Ostade are to be 
 purchased, no price is accounted too exor- 
 bitant. This artist produced many etch- 
 ings from his own designs, that are 
 deservedly admired, and finished in a 
 manner that would not disgrace the hand 
 of Rembrandt. He died in 1685. 
 
 Ostade (Isaac Van), was born at 
 Lubeck in 1613, and brother of Adrian 
 Van Ostade, from whom he learned the 
 art of painting, entirely imitating the 
 style and taste of his instructor. He was, 
 however, far inferior to that great artist, 
 though several of his original composi- 
 tions, and some of his copies after Adrian, 
 are very unjustly ascribed to the elder 
 Ostade, and imposed on the injudicious 
 for the genuine works of that ma^er. 
 The disparity in the paintings of Adrian 
 and Isaac is easily perceptible, the latter 
 being deficient in transparency ; the pen- 
 cilling not so delicate ; nor can his works 
 be compared, in force, warmth, or spirit, 
 with the paintings of the former. He died 
 before he had arrived at the perfection 
 which he might have acquired from year# 
 and experience. He died at Amsterdam 
 in 1671. 
 
 Otho (Venus), see Venus. 
 
 Ottini (Pasquale). This artist who 
 was born in 1570 at Verona, studied under 
 Felice Ricco, and conjointly with Ales- 
 sandro Turehi, completed many works 
 left unfinished by their master. He stu- 
 died for some time at Rome, and on his 
 return to Verona became eminent as an 
 historical painter. The Massacre of the 
 Innocents in St. Stefano, at Verona, is a 
 picture that excites universal admiration ; 
 and he is reckoned to have been one of 
 the best imitators of Paolo Veronese. He 
 died in 1630 
 
 OucHE (Andrea), see Sacciii. 
 
 Oudenakde (Robert Van), was born 
 
 3 CUD 
 
 at Ghent in 1663, and at first was in- 
 structed byMierhop; but afterwards studied 
 under Van Cleef, and several other masters, 
 till he was in his twenty-second year. At 
 that age he obtained liberty to travel to 
 Italy, being supplied with letters of re- 
 commendation to some persons of distinc- 
 tion at R{ me ; and soon after his arrival 
 in that city he became the disciple of 
 Carlo Maratti. Being happily fixed 
 under the guidance of so eminent a master. 
 Carlo discovered that his pupil had an 
 apt genius and good judgment ; andOude- 
 narde, by showing himself unwearied in 
 practice and study, not only acquired the 
 favour of his instructor, but also distin- 
 guished himself above most of the disciples 
 in that school. However, he was for some 
 time stopped in his progress by a trifling 
 incident, which was very near occasion- 
 ing the loss of Carlo's friendship for 
 ever. It was the usual custom of Oude- 
 narde, at his hours of leisure, to practise 
 engraving, in which art he was a tolera- 
 ble proficient; and, wanting a subject, he 
 happened to fix on a sketch of the Mar- 
 riage of the Virgin, painted by his master. 
 When the plate was finished several im- 
 pressions were struck off, which circulated 
 through different hands; and one of them 
 happened to be noticed by Carlo, as he 
 passed by a printseller's shop. This was 
 considered by Maratti as an unpardonable 
 offence, and he expressed the most violent 
 resentment against his pupil, for publish- 
 ing any of his designs without his appro- 
 bation ; and, on account of that indiscre- 
 tion, he excluded him from his academy. 
 Yet after some time Carlo pardoned the 
 fault, and received Oudenarde into his 
 school, and they continued closely con- 
 nected in friendship as long as Maratti 
 lived. This artist spent above thirty 
 yeai-s at Rome, in great esteem with 
 all orders of people, and was particu- 
 ularly patronized by Cardinal Bar- 
 barigo, bishop of Verona. He painted 
 entirely in the taste and manner of Carlo, 
 in a style of colouring that had a great 
 deal of force and spirit, and with correct- 
 ness of design. At last he visited his 
 native city, though with a resolution of 
 returning to Italy after a short stay in his 
 own country; but that project was dis- 
 concerted by the death of the cardinal, 
 his protector and his friend. He there- 
 fore settled at Ghent, where he was per- 
 petually engaged in grand works for the 
 churches, convents, and palaces of the 
 nobility ; and also for painting portraits, 
 
OVE 
 
 r 
 
 ^^^pe died at Ghent in 1743. 
 ^^^V' OuDRY (John Baptist), born in Paris 
 ^^^^n 1686, was equally distinguished as a 
 painter and engraver. Under the tuition 
 of his father, and afterwards of Largil- 
 liere, he became a tolerable proficient in 
 painting historical subjects and portraits. 
 His Adoration of the Magi, in the chapter 
 of St. Martin des Champs, and a Nativ- 
 ity, in the church of St. Leu, are speci- 
 mens of his talent. He painted animals, 
 flowers, fruits, architectural pieces, and 
 landscapes, as well as history. The king 
 settled on him a pension, and gave him 
 apartments in the Thuilleries. He was 
 also professor in the academy at Paris. 
 He died at Beauvais in 1755. 
 
 OuwATER (Albert Van), was born at 
 Haerlem in 1444, and painted in a grand 
 style, principally in oil. He had a free 
 and masterly manner of handling, with a 
 good expression, and a natural and lively 
 tint of colouring. He was particularly 
 exact in the extremities of his figures, 
 and in the disposition of his draperies ; 
 and wherever he introduced landscape in 
 his designs, it was accounted to be in a 
 style superior to any of his contempora- 
 ries. In the church of Haerlem he paint- ' 
 ed a picture for the great altar, in which 
 (according to Sandrart) he introduced two | 
 figures as large as life, of St. Peter and St. i 
 Paul. It was adorned with landscape, de- 
 signed in an elegant taste; and in several 
 parts of the scene he represented Pilgrims in 
 a variety of actions and attitudes ; some I 
 walking, some reclining under the shades \ 
 of large trees, and others at their repast ; 
 and from the skill shown in painting the 
 heads, hands, feet, and draperies of the i 
 figures so correctly, and in so good a 
 style, it must appear conclusive that he 
 was a very eminent artist in his time. 
 
 Ovens (Jurien). He was born at ] 
 Amsterdam in 1620, and educated in the 
 profession of painting in the school of 
 Rembrandt, under whom he became an 
 artist of considerable distinction ; and his 
 colouring being bold and strong, pro- 
 duced a noble etfect. He painted histori- 
 cal subjects and portraits extremely well; 
 but his principal pleasure was in design- 
 ing night-pieces, which he executed with 
 a true resemblance of nature, combined 
 with remarkable force. In the tholsel, or 
 town-hall at Amsterdam, is preserved a 
 beautiful performance of this master, re- 
 presenting Julius Civilis in the conse- 
 crated grove, exhorting and animating 
 
 PAC 
 
 the Batavians to shake off the Roman 
 yoke, and fight for the support of their 
 liberties. And as the consultation of the 
 Batavians was held in the night, it afford- 
 ed the painter an opportunity of exerting 
 his genius in his favourite style of paint- 
 ing, by representing the transaction with 
 the light of flambeaux and fires. This 
 single performance is accounted sufficient 
 to establish his reputation as a great 
 master. He was invited in 1665 to the 
 court of the duke of Holstein, and there 
 continued to exert his talents until the 
 period of his death. He died in 1668. 
 
 OvERBECK (Bona VENTURE Van). This 
 painter was born at Amsterdam in 1660, 
 under the happiest circumstances, and 
 received an education which, strengthened 
 by his own assiduity, caused him to rise 
 rapidly in his profession. A great desire 
 to acquire the science of painting urged 
 him to place himself under Gerard Lair- 
 esse, and he journeyed to Rome, where he 
 studied drawing, and made a numerous 
 collection of antique casts, &c. with which 
 he revisited Amsterdam. Upon his return, 
 Lairesse offered him his warmest friend- 
 ship, and he received considerable benefit 
 from the advice of that celebrated artist. 
 Overbeck was a good historical painter, 
 and his pictures on these subjects are 
 much admired. The premature death 
 
 I of this painter, brought on by excesses, 
 doubtless deprived posterity of many ad- 
 mirable productions. He quitted the 
 world in 1706. 
 
 I Owen (William). This artist, a na- 
 
 \ tive of Wales, was a pupil of Catton, and 
 attained considerable eminence as a por- 
 trait painter. He coloured well, and had 
 
 ': a bold and vigorous style ; but the draw- 
 ing of his heads and hands was sometimes 
 feeble; and he was not so successful in 
 
 \ his female as in his male portraits. Mr. 
 
 j Owen was a royal academician. He died, 
 nearly in his sixtieth year, in 1825. 
 
 Pacchiarotti (Jacopo). He was born 
 at Siena; but it is not known under 
 whom he studied, though he became a 
 close imitator of the style of Pietro Peru- 
 gino, till he saw the works of Raffaelle, 
 when he acquired a better manner. Most 
 of his performances are in his native city, 
 particularly St. Catherine contemplating 
 the Body of St. Agnes. Having embroil- 
 
PAD 
 
 390 
 
 ed himself in some political concerns, he 
 was obliged to leave Siena, and retire 
 to France, where he is supposed to have 
 died. 
 
 Pacheco (Francisco). This artist was 
 born at Seville in 1580, and studied under 
 Luis Fernandez ; after which he went to 
 Italy, where he continued a considerable 
 time. There is great dignity in his 
 figures, and his compositions are re- 
 markably correct. He painted some 
 pictures in the church of the Barefooted 
 Carmelites, where he had Alonso Ve- 
 lasquez for his competitor, by whom he 
 was exceeded. Pacheco was the master 
 of Alonso Cano, and Diego Velasquez. 
 He died at Madrid in 1654. 
 
 Paderxa (Giovanni). He was bnrn 
 at Bologna about 1600, and died in 1640. 
 Girolamo Curti, called Dentone, was his 
 instructor; and he became, like him, 
 eminent for his skill in painting per- 
 spective and architectural subjects. 
 
 Paderna (Paolo Antonio). He 
 was born at Bologna in 1649, and at first 
 was a disciple of Guercino; after whose 
 death he studied in the school of Carlo 
 Cignani. While there he employed him- 
 self principally in historical compositions; 
 but his greatest delight was to paint 
 landscapes, in the manner of Guercino; 
 and those were extremely commended 
 for the goodness of the design, and for 
 the freedom of touch with which they 
 were fini.shed. He died in 1708. 
 
 Padouanino (Francesco). He was 
 born at Padua in 1552, but his master is 
 not mentioned. However, he became 
 an artist of great eminence, and in tlte 
 historical subjects which he executed, 
 showed an excellent genius and a grand 
 taste. His invention was fertile, and 
 bis style correct and elegant. He was 
 also an admirable painter of portraits, to 
 which he gave such dignity, expression, 
 and colouring, as rendered them equal 
 to the performances of the greatest mas^ 
 ters ; and those of the Earl and Countess 
 of Arundel are proofs of his extraordinary 
 merit. In the church of Madonna del 
 Carmen, at Venice, is a picture by him, 
 which represents two persons condemned 
 to death, but saved by the interposition 
 of a saint. It is a beautiful performance, 
 with good colouring and elegant figures, 
 and pencilled with wonderful tenderness 
 and delicacy. He died in 1617. 
 
 Padouanino (Ottavio). He was the 
 son of Francesco, who taught him the 
 principles of design and colouring; and 
 
 I when he had made a competent progress, 
 he was sent to Rome, where he studied 
 several years. He pointed in the manner 
 [ of his father, but was inferior to him in 
 invention and elegance : though in many 
 parts of his profession he deserved com- 
 mendation, and particularly in poi'traits. 
 He died in 1634, aged fifty-two. 
 I Padouano (Lauro) This artist was 
 ; a native of Padua, and had Francesco 
 Squarcione for his instructor; but he 
 distinguished himself chiefly by his close 
 imitation of the manner of Mantegna. 
 His best works are a set of pictures on 
 ; the life of St. John, in the church of La 
 Carita, at Venice. He lived about the 
 j year 1465. 
 
 ! Pagani (Francesco). He was born 
 at Florence, but studied at Rome with 
 Polidoro and Maturino, and made a 
 remarkable proficiency, so that when 
 he returned to Florence he found im- 
 mediate employment, and acquired great 
 reputation. Pontormo having attentive- 
 ly examined some of his paintings, de- 
 clared, that if he had not known them 
 to be of his hand, he should without 
 hesitation have concluded that they were 
 the work of Michel Angelo Buonarroti. 
 This promising artist died, at the early 
 age of thirty, in 1561. 
 
 Pagani (Ghegorio). He was the son 
 of the preceding painter, and was born 
 at Florence in 1558. He became the 
 scholar of Lodovico Cardi, commonly 
 called Cigoli, whose style he successfully 
 i imitated, particularly in a picture of 
 the Finding of the Cross, painted for 
 I the church of the Carmelites. This 
 I painting, however, was destroyed when 
 I that church was burnt. Some of his 
 i frescoes are in that of St. Maria No- 
 I vella at Florence, where he died in 
 I 1605. 
 
 I Pagani (Paolo). He was born at 
 I Valsolda, near Milan, in 1661, and stu- 
 I died the art of painting at Venice, where 
 i he resided several years, and made a 
 considerable figure as a good designer 
 and colourist. One of his most capital 
 j works is on the staircase of the Scuola 
 Grande della Misericordia, at Venice, 
 \ representing the Clothing of the Naked. 
 i The manner in this performance is com- 
 i mendable, the lights are broad, there 
 i appears a grand taste in the design, and 
 1 the composition is extremely good. He 
 1 died at Milan in 1716. Some of his 
 
 pictures are in the Dresden gallery, 
 
 Pagakini (Guglielmo Capodoro). 
 
TAG 
 
 391 
 
 PAL 
 
 This painter was born at Mantua in 1670, 
 and had Antonio Calza for his instructor; 
 but on seeing the works of Borgoguone, 
 he studied his manner, and became a 
 good artist in the representation of battles 
 and encampments. 
 
 Paggi, or (Pagi GrIovA^NI Battista). 
 He was born at Genoa in 1556, and was 
 a disciple of Luca Cangiagio or Cambiasi, 
 whose style and manner he closely and 
 successfully adopted. He possessed an 
 uncommon power of pencil, and an extra- 
 ordinary freedom of hand; by which talents 
 lie was enabled to imitate the touch of 
 almost any master. It is recorded of him, 
 that he copied a picture of a celebrated 
 painter with such exactness and precision, 
 that it was impossible even for the nicest 
 eye or judgment to determine which was 
 the original. The portraits which he 
 painted were admirable, as well for the 
 design as the resemblance ; and the his- 
 torical compositions of this artist are 
 commended for their disposition, expres- 
 sion, and agreeable tone of colouring. 
 His principal works are, a Holy Family, 
 and Transfiguration, at Florence; and 
 some pictures of the Passion of Christ, at 
 Pavia. Having had the misfortune to 
 kill a man in a quarrel, he was obliged to 
 leave Genoa, and retire to Florence, 
 where he resided twenty years with great 
 reputation. At length he returned to 
 (ienoa, and executed there some line 
 pictures, one of which, the Murder of the 
 Innocents, he painted in competition with 
 Rubens. He died in 1629. 
 
 Paglia (Francesco). This artist was 
 born at Brescia in 1636, and received his 
 instruction in the school of Guercino ; by 
 whose precepts and example he proved a 
 disciple worthy of him, his abilities re- 
 flecting an honour on the academy where 
 he was taught. lie painted portraits 
 with every degree of excellence of which 
 that kind of painting is capable; grace, 
 resemblance, dignity of attitude and won- 
 derful relief, which he produced by a tone 
 of colouring like nature and life. In his 
 composition of historical subjects, he v,'as 
 equally admired for invention, correctness 
 of design, elegance of taste, and lovely 
 colouring. The best of his historical 
 works are at Brescia, and of his portraits, 
 at Venice. He died about 1700. 
 
 Pagni (Benedetto). This Italian 
 painter was a native of Pescia, and a 
 disciple of Giulio Romano, whom he ac- 
 companied to Mantua, where he became 
 eminent as a painter of history. His 
 
 principal works are, the Martyrdom of St. 
 Lawrence, and the Marriage of Cana. 
 
 Paladini (Arc hang ela). This lady 
 was born at Pisa in 1599, and was the 
 daughter of Filippo Paladini, an artist of 
 eminence in that city, who instructed her 
 in the principles of design and colouring. 
 She arrived at great excellence in portrait 
 painting, and to that perfection added 
 other accomplishments, for which she was 
 equally admired, as embroidery and vocal 
 music. These talents, united with an 
 agreeable person, procured lier the favour 
 of Maria Magdalen a, archduchess of 
 Austria, at Florence, in whose court she 
 ! lived, universally esteemed, as well for 
 her paintings as her other perfections. 
 I She died there in 1622. 
 
 Paladini (LiTTERio). This artist was 
 j born at Messina, in Sicily, in 1691. He 
 learned the principles of jjainting at Rome, 
 under Sebastian Conca; and, on his return 
 to his native city, obtained considerable 
 employment in the churches. The princi- 
 pal of his works is the ceiling of the 
 church of Monte Vergine. He died of 
 the plague in 1743. 
 
 Paeenieb (Joachim). This Flemish 
 painter was born at Dinant in 1490. He 
 excelled in landscapes with small figures. 
 In 1515 he became a member of the 
 academy of Antwerp, and died there in 
 1548. 
 
 Pa LEADING ( Adrian o). He was born 
 at Cortona in 1610, and studied painting 
 under Pietro Berretini, whose style he 
 imitated with success. Most of his works 
 are in the churches and public buildings 
 of Cortona, where he died in 1680. 
 
 Pallajuolo, or Pollajuolo (Antonio 
 and Pietro). These brothers were born 
 at Florence, of low parentage; Antonio 
 in 1426, and Pietro in 1428; and as their 
 father was unable to give them a liberal 
 education, Antonio was placed with Barto- 
 luccio Ghiberti, an eiminent goldsmith, and 
 Peter became a disciple of Andrea del 
 Castagno. Antonio followed his trade 
 with credit, and designed extremely well 
 in metals and wax. But, as Peter had at 
 the same time rendered himself consi- 
 derable, and was in great reputation for 
 his performances in oil colours, his brother 
 quitted his original profession, to learn 
 Bsign and colouring from him, and they 
 rer after associated in all those works 
 hich they executed in Florence and other 
 cities of Italy. Peter had been taught 
 the secret of preparing colours with oil by 
 his master, and having communicated 
 
PAL 
 
 that knowledge to Antonio, they improved 
 it by their practice, and distinguished 
 themselves exceedingly in portrait paint- 
 ing as well as history. Peter in particular 
 painted the portrait of Poggio, the histo- 
 rian of Florence, and of many of the 
 nobility, in a size as large as life, which 
 procured him great applause, as also 
 did his picture of the Martyrdom of St. 
 Sebastian. Among the historical subjects 
 which the two brothers jointly executed, 
 are mentioned some of the Labours of 
 Hercules, painted in the Medicean palace, 
 one of which is Hercules killing Antaius. 
 The principal figure in that design is 
 admirable; the strength of every limb, 
 and the exertion of every muscle and 
 nerve, in squeezing Antaeus to death, are 
 incomparably expressed, nor is the figure 
 of Antaeus expiring in any respect inferior. 
 The other Labours are, Hercules killing 
 the Nemaean Lion, and destroying the 
 Hydra; the latter being so well designed 
 and coloured, that it had all the appearance 
 of life. These brothers lived in high 
 esteem and great affluence, and both died 
 in 1498, equally rich in their fortune as 
 in reputation. Few months intervened 
 between the death of the one and of the 
 other; and they were both buried in the 
 same tomb, in the church of St. Pietro in 
 Vincula, at Rome. Antonio Pallajuolo 
 was also an engraver, and executed some 
 fine prints from his own designs. 
 
 Pallierb (Vincent Leon), a native 
 of Bordeaux, sprang from a family of 
 artists, and gave early promise of excel- 
 lence, but was cut off in 1809, in his 
 twenty-third year, by a consumption, the 
 consequence of excessive labour. At the 
 age of only fifteen, he produced a picture 
 of great merit, Ulysses slaying the Suitors 
 of Penelope. He subsequently matured 
 his talent by studying several years at 
 Rome. The Scourging of Christ; a 
 Sleeping Shepherd; St. Peter curing a 
 Cripple; and Tobias restoring his Father's 
 Sight, are his chief compositions. 
 
 Palambdes, see Stabvbrts. 
 
 Palma (Giacomo, or Giacopo), called 
 II Vecchio, or Old Palma. This eminent 
 painter was born at Serinalto, in the 
 territory of Bergamo, about the year 
 1540, or 1548, but the year is very uncer- 
 tain, owing to the contradictory accounts 
 of biographers. It is commonly believed 
 and asserted that he was the disciple of 
 Titian; but his first style rather resem- 
 bled that of Bellini, and afterwards he 
 approached the manner of Giorgione. Of 
 
 this description are his Last Supper, at 
 Venice ; and a Holy Family, at Vicenza. 
 Some writers say that he was appointed 
 to finish a Descent from the Cross, which 
 Titian had begun, but left imperfect. 
 His colouring had extraordinary strength 
 and brightness, occasioned by the frequent 
 retouchings of his pictures ; for it is 
 remarked of him, that he usually put his 
 colours on undisturbed, and then touched 
 upon them, and glazed them, giving them 
 the appearance of high finishing, without 
 any semblance of labour. The paintings 
 of Palma are in great esteem for the noble 
 taste of his composition, for an expression 
 that is natural and pleasing, for the union 
 and harmony of his colours, for his patience 
 in finishing, and for the graceful airs of 
 his heads, though in his design he was 
 not always correct. Vasari describes, in 
 high terms, a composition of his at Venice, 
 representing the ship in which the body 
 of St. Mark was brought thither from 
 Alexandria. In that design, the vessel 
 struggling against the fury of an impe- 
 tuous tempest is expressed with the utmost 
 judgment; the distress of the mariners, 
 the violent bursting of the waves against 
 the sides of the ship, the horrid gloom, 
 only enlivened with flashes of lightning, 
 and every part of the scene filled with 
 images of terror, are so strong, lively, 
 and naturally represented, that it seemed 
 impossible for the power of colour or 
 pencil to rise to a higher pitch of truth and 
 perfection. Sandrart, however, ascribes 
 this picture to young Palma. Another 
 of his capital paintings at Venice is a St. 
 Barbara; and in the Palazzo Zampieri, 
 at Bologna, is a St. Jerom, which is 
 designed with an admirable character, 
 exceedingly well painted, and the colour- 
 ing excellent, though perhaps a little too 
 much inclining to the yellow cast. But 
 oneof his most original performances is the 
 Adoration of the Magi, in the Isola di 
 St. Elena. It is observed, that if Palma 
 had died soon after he had painted a few 
 of those pictures which were justly cele- 
 brated, he would have deserved to be 
 ranked in the first class of eminent artists; 
 but he showed a very inferior degree of 
 merit in his subsequent works, though the 
 imperfections of his latter performances 
 may be overlooked, on account of the 
 excellence of those of his earlier time. 
 Some place his death in 1588, others in 
 1596, and others in 1623. 
 
 Palma (Giacopo), called the Young. 
 He was the nephew of the preceding, and 
 
PAL 
 
 393 
 
 PAN 
 
 was born at Venice in 1544. After 
 learning the rudiments of the art from 
 his father Antonio, who was an indifferent 
 painter, he became the disciple of Tinto- 
 retto, and in his style, at first, he resembled 
 that of his master ; but having afterwards 
 studied the works of Titian, his taste and 
 style in most of his grand compositions 
 showed a combination of the manners of 
 those two great painters. He also studied 
 at Rome the works of Raffaelle, Buonar- 
 roti, and Polidoro da Caravaggio, and 
 improved himself so effectually, that his 
 reputation was raised to such a pitch, that 
 the pope appointed him to paint an apart- 
 ment, and also one of the galleries of the 
 Vatican. After the death of Tintoretto 
 and Giacomo Bassan, he held the first 
 rank at Venice among the artists of his 
 time, and every day added to his honour 
 and fortune. His touch is light, his 
 carnations are lovely, his draperies judi- 
 ciously and happily disposed, with large 
 and elegant folds ; and in those respects 
 he is preferred to his uncle. In the latter 
 part of his life he changed his manner, 
 and assumed one more expeditious, but 
 proportionably less excellent. His hand 
 was as ready and his pencil as free as 
 Tintoretto's, and, like that master, he 
 seemed in his declining years abundantly 
 more studious to increase his riches than 
 his reputation. The works of this painter 
 are scarce, and, when exposed to sale, 
 bring large prices, especially if they are 
 of his best time and manner. At Venice 
 there is an exceedingly fine composition, 
 charmingly coloured, representing Venus 
 in her Chariot, attended by several naked 
 nymphs ; and in the church of St. Maria 
 Formosa is an altar-piece by him ; the 
 design is a Dead Christ, attended by 
 Angels, with the figures of St. John, St. 
 Augustin, and a Pope: it is an incom- 
 parable work. His other works of merit 
 are, the altar-piece at St. Como; the 
 Naval Fight of Francesco Bembo, at 
 Venice; the St. ApoUonia, at Cremona; 
 the Finding of the Cross, at Urbino; St. 
 Ubaldo and the Annunciation, at Pesaro ; 
 but one of the most extraordinary is the 
 Plague of the Serpents, at St. Bartolomeo, 
 which is equal to Tintoretto. He died in 
 1628. The younger Palma produced 
 several etchings in a spirited style. 
 
 Palmegiam (Marco da Fokli). This 
 artist was a native of Forli, and studied 
 under Francesco Melozzo. Several of his 
 works are in the churches of the Venetian 
 states ; and in the Palazzo Vicentini, at 
 
 Vicenza, is a noble composition by him, 
 of a Dead Christ attended by Nicodemus 
 and Joseph. He died about 1540. 
 
 Palmiebi (Giuseppe). This artist 
 was born at Genoa in 1 674. He painted 
 history, but excelled in the representation 
 of animals. In the former line, his 
 principal work is a Resurrection, in the 
 church of St. Dominic, at Genoa. He 
 died in 1740. 
 
 Palombo (Bartolomeo). He was born 
 at Rome about 1610, and studied under 
 Pietro da Cortona. In the church of St. 
 Giuseppe, at Rome, is an altar-piece re- 
 presenting the death of that saint ; and in 
 that of the Carmelites, is a picture of 
 Mary Magdalen ; both respectable per- 
 formances. 
 
 Palomino, see Velasco. 
 
 Paltronieri (Pietro), surnamed II 
 Mirandolese. He was born at Bologna 
 in 1673, and died there in 1741. He 
 excelled in painting perspective and archi- 
 tectural subjects. 
 
 Pancotto (Pietro). This painter 
 was born at Bologna, and studied in the 
 school of the Caracci. His chief per- 
 formance is the Last Judgment, executed 
 in fresco, in the church of La Madonna 
 di St. Colombano, at Bologna. He died 
 about 1630, 
 
 Pandolfi (GiANGiACOMo). He was 
 born at Pesaro, and had Federigo Zuc- 
 chero for his instructor, whose style he 
 very happily imitated. Among his works 
 the principal are, several sacred subjects 
 iu fresco, painted in the Oratorio de 
 Nome di Dio ; and his pictures of St. 
 George and St. Carlo, in the dome of 
 Pesaro. He flourished about 1640. 
 
 Pandoli-q, see Reschi. 
 
 Panetti (Domenico). He was born 
 at Ferrara in 1460, and died in 1530. 
 His master is unknown, but he had for a 
 pupil Benvenuto da Garofalo, who, on his 
 return from Rome, where he had studied 
 in the school of Raftaelle, became the 
 instructor of his early preceptor. Panetti 
 now altered his manner, and became a 
 great artist, as his works evince. The 
 principal are, a Descent from the Cross ; 
 a picture of St. Andrew ; and the Visi- 
 tation of the Virgin. These are in the 
 churches of Ferrara. 
 
 Panicale (Masolino da). This artist 
 obtained his name from Panicale, in 
 Tuscany, where he was born in 1378. 
 He studied successively under Lorenzo 
 Ghiberti and Gherardo Stamina, both of 
 whom he exceeded in elegance of design 
 
PAN 
 
 394 
 
 PAO 
 
 and vigour of expression. His chief pic- 
 tures are, the Four Evangelists ; the Call- 
 ing of St. Peter; the Fall of the same 
 Apostle ; and the Miraculous Cure of the 
 Lame Man in the Temple. Panicale was 
 the instructor of Masaccio. He died at 
 Florence in 1415. 
 
 Panicciagi (Jacopo). This artist was 
 born at Ferrara about 1510; and studied 
 under Dosso Dossi, whose style he closely 
 followed. He died in 1540. 
 
 Panico (Antonio Makia). He was 
 born at Bologna, and had Annibale 
 Caracci for his preceptor, whom he at- 
 tended to Rome, where Panico obtained 
 the patronage of Mario Farnese. His 
 principal painting is the Celebration of 
 the Mass, in which he is supposed to have 
 had the assistance of his master. He died 
 in 1652. 
 
 Panini (Cavaliere Giovasm Paolo). 
 This painter was born at Piacenza in 
 1691. From his youth he possessed a 
 most happy genius for painting, which he 
 cultivated by studying at Rome, where he 
 had Lucatelli for his instructor, under 
 whom he acquired a perfect knowledge of 
 perspective and architecture. He designed 
 every vestige of ancient magnificence, 
 the ruins of superb edifices, cenotaphs, 
 columns, baths, arches, and obelisks, as 
 also some of the most entire buildings 
 which are the ornaments of modern Rome. 
 The works of Ghisolfi formed his taste, 
 style, and manner, and his strongest 
 ambition was to imitate him ; so tliat he 
 soon surpassed all his contemporaries. 
 His composition is rich ; the truth of his 
 perspective is critically exact ; and his 
 paintings are universally esteemed, for the 
 grandeur of the architecture, the clearness 
 ^ of his colouring, the beautiful figures 
 which he introduced, and the elegant taste 
 with which he disposed them. He al- 
 ways designed them correctly, and set 
 them off with suitable attitudes and ex- 
 pression. This description, however, must 
 be confined to his early per.'"ormances ; for 
 in his latter time, his pictures, thougli 
 distinguishable by a free and broad touch, 
 were feeble in their colouring and effect. 
 He was apt to design his figures too large 
 for the architecture, which diminished the 
 grandeur of the most magnificent parts of 
 his composition, and was quite contrary 
 to the practice of Ghisolfi, whose works 
 must perpetually afford a pleasing decep- 
 tion to the eye, by the proportions observed 
 between the figures, buildings, and dis- 
 tances. At Rivoli, a pleasure -house 
 
 belonging to the King of Sardinia, are 
 several of Panini's views of that fine re- 
 treat and its environs. They are beauti- 
 fully coloured, well handled, and with a 
 touch full of spirit, though in some parts 
 the yellow seems a little too predominant, 
 and the lights are not always so distributed 
 as to produce the most striking effect. 
 One of his finest pictures is a representa- 
 tion of Christ driving the Traders out of 
 the Temple. It is in the church of the 
 Signori della Missione, at Piacenza. He 
 died in 1758. 
 
 P^VNNEELs (William). This artist was 
 born at Antwerp about 1600. He had 
 Rubens for his instructor in painting; 
 but he is chiefly known by his engravings, 
 which are executed with great freedom 
 and spirit. 
 
 Panzacchia (Maria Elena). This 
 lady was born at Bologna in 1668, of a 
 noble family. She learned design under 
 Emilio Taruffi, and in a few years ac- 
 quired great readiness in composition, 
 correctness of outline, and a lovely tint 
 of colouring. Besides history, she also 
 excelled in painting landscapes, and by 
 the beauty of her situations and distances, 
 allured and entertained the eye of every 
 beholder. The figures which she inserted 
 had abundance of grace ; she designed 
 them with becoming attitudes, and gave 
 them a lively and natural expression. Her 
 merit was incontestably acknowledged, 
 and her works were so much prized as to 
 be exceedingly scarce, few being found 
 out of Bologna. She died in 1709. 
 
 Paoletti (P.U)lo). He was born at 
 Padua, and had a fine taste for painting 
 flowers, fruit, fish, game, and other objects 
 of still life. His pictures are highly 
 valued, but seldom met with out of Italy. 
 He died about 1750. 
 
 Paolini (Pietro). This artist was 
 born at Lucca in 1603, and received his 
 education at Rome under Angelo Caroselli. 
 His design was correct, and his colouring 
 approached much nearer to the Venetian 
 than the Roman School; and it appears 
 evident that he aimed at uniting the 
 richness and harmony of Pordenone and 
 Titian. Two of his best works are the 
 Martyrdom of St. Andrew, in the church 
 of St. Michael, at Lucca ; and Gregory 
 the Great entertaining Pilgrims; which 
 last is in the library of St. Fediano. This 
 painter also excelled in representing con- 
 versations and village amusements. He 
 died at his native place in 1681. 
 
 Paolini (Pig). He was born at 
 
PAR 
 
 395 
 
 r A R 
 
 Udina, and became the disciple of Pietro 
 da Cortona, at Rome, -where he painted 
 historical subjects with great reputation, 
 and in 1678 was elected a member of the 
 academy of St. Luke. Among his various 
 works, honourable mention is made of 
 the ceiling of a chapel in St. Carlo al 
 Corso, at Rome. 
 
 Paoluccio, see Paolo da Mattet. 
 
 Papa (Simon e), called // VeccJno. He 
 was born at Naples about 1430, and 
 studied under Antonio Solario, named 
 // Zingaro. His greatest work is a 
 representation of the Fall of Lucifer, 
 with his host; and the Tnumy)h of St. 
 Michael over the Apostate Spirits. This 
 is in a private chapel at Naples, and in 
 tlie church of St. Nicholas, in the same 
 city, is a picture of the Annunciation by 
 him ; and in that of St. Lorenzo is another, 
 of the Virgin and Child. He died in 
 1488. 
 
 Papa (Simone), called, by way of dis- 
 tinction, II Ginvine, or the Young. He 
 was born at Naples in 1500, and was 
 intended by his father, who was a gold- 
 smith, for the same profession ; but his 
 genius leading him to painting, he was 
 placed under Giovanni Antonio de Amato. 
 His principal works are, an Assumption 
 of the Virgin ; and an Annunciation, in 
 the church of St. Maria la Nuova of his 
 native city, where he died in 1569. 
 
 Pabasox-E (Bernakdino). This pro- 
 mising artist was the son of Leonardo 
 Parasole, an engraver on wood, at Rome, 
 and had for his instructor in painting 
 Giuseppe Cesari; but he was cut off in 
 the flower of his age, after executing some 
 historical works which were much ad- 
 mired. He also engraved some prints on 
 wood. His sister Hieroniraa, together 
 with her mother, practised the art of en- 
 graving with reputation. 
 
 PapvCelx^ks (John), called the Old. 
 He was born at Leyden in 1597, and be- 
 came the disciple of Cornelius de Vroom. 
 His manner of painting was slow, but he 
 finished his pictures with extreme neat- 
 ness. At first he only lightly touched his 
 designs, till the whole composition was 
 completed ; and then worked freely, though 
 with uncommon care, giving the utmost 
 transparence to his colours. His general 
 subjects were sea-pieces; either calms, 
 which are clear and excellently handled; 
 or sea shores, crowded with mariners, 
 or with fishers casting or drawing their 
 nets. In these every figure was touched 
 with spirit, and every object showed 
 
 the genuine character of truth and 
 nature. But his chief excellence was 
 in representing storms with lightning, 
 shipwrecks, waves in violent agitation, and 
 vessels in the utmost distress. These 
 scenes he described with all the force of 
 real nature, and enriched his subjects with 
 figures that were remarkably good, as 
 well for their propriety of action and 
 character, as for their expression. Par- 
 celles also produced some etchings of 
 marine subjects, lie died at Leyerdorp 
 in 1641. 
 
 Pakcelles (Julius), called the Young. 
 He was the son of the preceding, and was 
 born at Leyerdorp about 1628. He was 
 instructed by his father; whose style and 
 manner of colouring he so exactly imitated, 
 that his works are very frequently mis- 
 taken for those of John Parcelles, especially 
 as both artists marked their pictures with 
 
 I the same initial letters, J. P. The paint- 
 
 I ings of Jidius, however, are not equal to 
 those of John, but they have great force 
 
 I of nature in the prospects and tints; his 
 shores, and sand hills, with the small 
 vessels lying near the edge of the water, 
 are well exjiressed and correctly designed. 
 
 : For an anecdote of this artist, see the 
 article of John Van Gojjen. 
 
 i Pareja (Juan de). This artist was 
 born in Mexico in 1610, and rendered 
 
 i himself remarkable by discovering a 
 
 ' genius for painting, and arriving at a 
 great degree of excellence in it from the 
 
 J lowest station in life. He was a Mestizo, 
 which is a name given to those who are 
 born in the West Indies, of a Spanish 
 father by an Indian mother. Happening 
 to become the slave of Diego Velasquez, 
 that great artist employed him in grinding 
 his colours, and the opportunities which 
 he thus enjoyed unfolded his talents. He 
 spent whole nights in drawing, denying 
 himself the necessary refreshment of rest 
 and sleep, in endeavouring to imitate his 
 master. Notwithstanding this assiduity, 
 he was under perpetual apprehension of 
 being discovered by Velasquez, whose 
 pride he knew would make him account 
 it a disgrace to see a performer in his own 
 way of so mean and servile a condition. 
 However, Pareja proceeded in his private 
 studies till he had made a considerable 
 proficiency. It was the custom of Philip 
 IV. who often resorted to the apartments 
 of Velasquez, to order those pictures which 
 were placed with the painted side to the 
 wall, to be turned to his view; on observ- 
 ing which, Pareja fixed one of his own 
 
PAR 
 
 PAR 
 
 painting in that position, which the king's 
 curiosity caused to be turned, and in that 
 instant the slave fell on his knees, and 
 supplicated his majesty to obtain his par- 
 don from his master, for having presumed 
 to practise painting without his approba- 
 tion. Philip, agreeably surprised at the 
 address, and being pleased with the work, 
 bid Pareja rest contented ; and told Velas- 
 quez, that the man who showed such a 
 genius, and possessed such talents, ought 
 no longer to be a slave. Pareja was, of 
 course, emancipated; yet such was his 
 gratitude, he would never quit his master, 
 and after the death of Velasquez, he con- 
 tinued to serve liis daughter with the same 
 fidelity. He excelled in painting portraits, 
 which he executed so much in the taste, 
 style, colouring, and pencilling of his 
 master that they could not easily be dis- 
 tinguished from the works of Velasquez. 
 He died at Madrid in 1670. 
 
 Pabicoia (Masolina da). This artist 
 was born at Florence in 1403, and died 
 there in 1440. He was a good painter of 
 history in fresco, according to the style of 
 that age. 
 
 Parker (John). Of this English artist 
 we know very little more than that he 
 studied at Rome, where he painted an 
 altar-piece for the church of St. Gregorio, 
 the subject of which was the history of 
 St. Silvia. About 1762 he returned to 
 London, and the next year exhibited in 
 the Strand two pictures, one of the Assas- 
 sination of Rizzio, and the other his own 
 portrait. He died at Paddington in 1765. 
 There was another JoA?* Parker, who was 
 a student in tlie Duke of Richmond's 
 gallery, and had been a pupil of the Smiths 
 of Chichester. In 1774 he was at Rome, 
 but soon after returned to his native 
 country, where he practised landscape 
 painting. 
 
 Parmegiano, or properly Francesco 
 MazzuoU. He was born at Parma in 1503; 
 and being deprived of his father while he 
 was very young, his uncles took care of 
 his education. They were both painters ; 
 and observing the strong tendency of their 
 nephew to drawing, they took delight in 
 teaching him design, and instructing him 
 in the best principles of the art ; though 
 he owed the excellence to which he after- 
 wards arrived, not to their precepts, but 
 to the works of that inimitable painter 
 RafFaelle, which he carefully studied. At 
 the age of sixteen he gave such proofs of 
 an elevated genius, as seemed astonishing 
 to the ablest judges; and at nineteen, he 
 
 finished several fine compositions at 
 Parma, in fresco as well as in oil, which 
 raised his reputation to the highest pitch. 
 He now began to be possessed with an 
 eager desire to see Rome; and having 
 communicated his intention to his uncles, 
 they complied with his proposal. They 
 also advised him to take with him some 
 of his own works, as they might afford him 
 a proper introduction to the acquaintance 
 of the nobility and the artists at Rome ; 
 and for that purpose, he painted three 
 pictures, which were designed with great 
 skill, and beautifully coloured. One of 
 them was his own portrait, which he 
 painted on a wooden panel, of a convex 
 form, in imitation of a convex mirror. 
 The surface was so wonderfully painted, 
 that it had all the appearance of glass; 
 and the portrait of the artist, as well as 
 every part of the furniture, and windows 
 of the chamber, in which he was supposed 
 to sit, were so artfully diminished, and 
 happily imitated, that the whole appeared 
 like bodies naturally reflected from a 
 glassy or polished surface. While at Rome 
 he studied the antique statues, and the 
 works of the best painters, but particularly 
 attached himself to the compositions and 
 style of Raffaelle, Michel Angelo, and 
 Giulio Romano. His reputation now- 
 made him known to Pope Clement VIL, 
 who gave him employment, expressed the 
 utmost admiration of his performances, 
 and loaded him with favours. In return, 
 Parmegiano painted a Circumcision, which 
 he presented to the pope, who prized it as 
 one of the most capital works in his 
 palace. That picture was not only excel- 
 lent for the composition, colouring, and 
 execution, but remarkable for the intro- 
 duction of three difi'erent lights, without 
 destroying the harmony of the whole. 
 The light diffused on the principal figure 
 was from the irradiation of the Infant 
 Jesus; the second was illuminated by a 
 torch carried by one who attended the 
 sacrifice; the others were in the open air, 
 enlightened by the early dawn, which 
 showed a lovely landscape, diversified with 
 a number of cottages and villas. In 1527, 
 when Rome was sacked by the Emperor 
 Charles V., this artist, like Protogenes at 
 Rhodes, was so intent on his work as to be 
 insensible of the confusion till the enemy 
 entered his apartments; when they were so 
 struck with the beauty of his paintings, and 
 the composed conduct of the artist, that 
 they retired withoutoffering him the small- 
 est injury; though soon after he was robbed 
 
PAR 
 
 397 
 
 PAR 
 
 of a great part of what he possessed. The 
 picture on which he was then employed 
 was the famous Vision, which the Mar- 
 quis of Abercorn purchased in Italy for 
 1500, and sold to Mr. Hart Davis, of 
 Bristol, for 3000 guineas. It is now the 
 property of Mr. Miles, a merchant of 
 Bristol. Parmegiano had a truly fine and 
 admirable genius: his invention was 
 ready, and his taste of design very learned 
 yet there is rather too much of manner in 
 it; but he had a peculiar talent in giving 
 beauty, elegance, grace, and sweetness to 
 his figures. He excelled in portrait as 
 much as in history; his figures are light 
 and graceful, and the airs of Jiis heads 
 uncommonly lovely. He affected to make 
 the extremities delic:ite, or rather lean; 
 ana the contrast of his attitudes, which 
 always show the most beautiful parts, are 
 so judicious, as to give life and motion to 
 his figures. His outline is true and firm; 
 and the light easy flow of hisdraperiesgives 
 an inexpressible beauty to his pictures. 
 His carnations receive a remarkable lustre 
 from the yellow and green draperies near 
 them, which he generally used; and his 
 boys and angels are so exquisitely designed 
 and executed, as to appear truly celestial. 
 In the vaulted ceilings of the two principal 
 chapels in the church of St. John, at 
 Parma, are some capital performances of 
 Parmegiano, which have great force in 
 the colouring, are composed in a noble 
 style, designed and painted in an exquisite 
 taste and executed with singular freedom. 
 In the church of the Dominicans, at Cre- 
 mona, is a Dead Christ, attended by the 
 Virgin overwhelmed with sorrow, which 
 is an incomparable work. The principal 
 figure is finely designed, and the character 
 of the head of the Virgin, as well as the 
 expression, is exceedingly beautiful. In 
 the Houghton collection, now in Russia, 
 was another very capital picture by Par- 
 megiano, representing Christ laid in the 
 Sepulchre; but his greatest work is an 
 altar-piece at St. Marguerite, at Bologna, 
 which composition was studied by the 
 Caracci, and preferred by Guido to the 
 Cecilia of Raffaelle. The best of his per- 
 formances was Moses breaking the Tables 
 of the Law, at Parma, of which Sir Joshua 
 Reynolds says, we are at a loss which to 
 admire most, the correctness of drawing, 
 or the grandeur of the conception. Par- 
 megiano had a fine taste for music, and if he 
 did not invent etching, he was at least the 
 first who practised that art in Italy. He 
 also engraved some of his designs; but it 
 
 is to be regretted, that with such talents 
 he should have wasted his time and pro- 
 perty in the study of alchymy, with a view 
 to the discovery of the philosopher's stone. 
 He died of a fever in 1 540. 
 
 Parmegiano (Fabrizio). Of this ar- 
 tist little is known, except that he was a 
 native of Parma, and resided at Rome, 
 where he painted landscapes of a large 
 size in fresco. His subjects were con- 
 ceived with sublimity, and touched with 
 freedom. He died at the age of forty- five, 
 about 1530. 
 
 Parmentier (Dents). This painter 
 was born at Paris in 1612, and died in 
 that city in 1672. He excelled in paint- 
 ing flowers and fruits. 
 
 Parmentier (James). This artist was 
 born at Paris in 1658, and was nephew 
 to Sebastian Bourdon; from whom he 
 received the first instructions in the art 
 of painting. When his uncle died, he 
 came to England, and was employed at 
 Montague-house, by La Fosse, to lay his 
 dead colours, and likewise to assist him 
 in other parts. King William sent him 
 to Holland, to paint in his palace at Loo; 
 but Parmentier having a dispute with the 
 master of the works, soon returned to 
 England, and went to settle at Hull, in 
 Yorkshire, where he painted historical 
 subjects as well as portraits. An altar- 
 piece in the principal church at Hull, and 
 another in St. Peter's church, at Leeds, 
 representing Moses receiving the Law, 
 are of his hand. His best work is on the 
 staircase at Worksop; and at the Painters' 
 Hall, in London, is a picture presented 
 by him to that company, of which the 
 subject is Diana and Endymion. On the 
 death of Laguerre he returned to London, 
 and died there in 1720. 
 
 Parodi (Ottavio). He was born at 
 Pavia in 1659, and studied under Andrea 
 Lanzano, after which he went to Rome, 
 where he continued several years. On 
 his return to his native city, he executed 
 some historical works for the churches 
 with great reputation. He died about 
 1720. 
 
 Parodi (Domenico). He was born at 
 Genoa in 1666, and was the son of Gia- 
 como Filippo Parodi, a famous sculptor; 
 who observing in him vivacity and quick- 
 ness of apprehension beyond his years, 
 bestowed on him the best education, and 
 had him instructed by the ablest masters 
 in polite literature. But though Dome- 
 nico had a great delight in learning, his 
 eagerness to acquire a knowledge of paint- 
 
PAR 
 
 P A R 
 
 ing was still greater ; and having received 
 from his father some instructions in that 
 art, he went to Venice, where he became 
 the pupil of Bonitelli, and improved him- 
 self further by studying the works of 
 Tintoretto and Paolo Veronese. From 
 thence he proceeded to Rome, and there 
 applied assiduously to the works of the 
 ancient and modern masters, particularly 
 Carlo Maratti, till he so effectually formed 
 his taste and confirmed his pencil, that 
 his productions were applauded by the 
 best judges. His compositions in history 
 had great elegance, and were remarkably 
 correct in the design. His taste was 
 grand ; his colouring good, his pencil free, 
 yet delicate; his draperies were in a noble 
 style, broad, easy, and loose; and his por- 
 traits were highly esteemed for their lively 
 and spirited resemblance, as also for that 
 air of dignity which he diffused through 
 them all, as well as for their relief and 
 roundness. He had a thorough skill in 
 the chiaro-oscuro; and some of his paint- 
 ings in imitation of bass-relief were so 
 well performed, that almost at the nearest 
 approach it could scarcely be determined 
 whether they were executed with a chisel 
 or a pencil. Many grand altar-pieces, 
 for churches and chapels in different parts 
 of Italy, were painted by him in fresco, 
 as well as in oil; and at Genoa he painted 
 the portraits of the duke and the most 
 illustrious persons, which added to his 
 fame. Parodi likewise excelled in statuary, 
 and carved an admirable figure in marble 
 of the King of Portugal; also several sta- 
 tues of the same royal family, and nobility, 
 which were justly admired by all the 
 artists, and accounted worthy of being 
 immortalized in the poems of the best 
 writers of his time. One of his principal 
 paintings is a picture of St. Francis de 
 Sales, at Genoa. He died in 1740. 
 
 Paroltni (Giacomo). He was born 
 at Ferrarain 1663, and had the Cavaliere 
 Penezzini, of Turin, for his first instructor, 
 after which he became a pupil of Carlo 
 Cignani, of Bologna. On his return to 
 Ferrara, he obtained considerable employ- 
 ment, both for churches and private col- 
 lections. His principal works are, a Last 
 Supper, in the cathedral of Ferrara; and 
 the Assumption of St. Sebastian, in the 
 church of that saint. The favourite sub- 
 jects of Parolini, however, were bacchanals 
 and festive scenes, in which his female 
 figures and children are elegantly drawn 
 } nd coloured. He died in 1733. 
 
 Pabone (Feancesco). This artist was 
 
 a Milanese, and received his instructions 
 from his father, an obscure painter; but 
 afterwards he went to Rome, where he 
 profited so well by studying the works of 
 the best masters, as to obtain the patronage 
 of the Marquess Giustiniani, for whom 
 he painted several pictures. His principal 
 public performance is the Martyrdom of 
 St. Romualdo, in the church of that saint, 
 at Rome. He died young, in 1634. 
 
 Parkocel (Joseph), called the Old. 
 He was born at Brignoles, in Provence, 
 in 1648, and learned the rudiments of the 
 art from his father, Bartholomew Parrocel, 
 who died when his son was only fourteen 
 years old.j Joseph, however, had no other 
 instructor, but went to Paris, where he 
 profited considerably by examining the 
 best pictures ; and then travelled to Italy. 
 On his arrival at Rome, he became the 
 scholar of Borgognone, whose style he 
 closely imitated, and painted battles in 
 the same taste, which gained him great 
 reputation; for although his works could 
 not stand in competition with those of 
 Borgognone, yet they had so much 
 merit iu the composition, so much judg- 
 ment in the design, and such spirit in the 
 execution, as placed him on an equality 
 with any other artist of his time. When 
 he quitted the school of Borgognone, he 
 went to Venice, and spent several years 
 in that city, studying the works of those 
 artists who were most eminent for colour- 
 ing; and the happy effect of the observa- 
 tions he then made was seen in all his 
 performances. Parrocel made it a rule 
 to consult nature in every object he de- 
 signed : he worked with readiness and 
 ease; was careful in the preparation of 
 his colours; and that freshness which ap- 
 pears in his paintings is a lasting evidence 
 of his singular skill. In his battles every 
 part is in motion; his figures and horses 
 have attitudes perfectly natural and full 
 of fire, and the variety of passions are 
 sensibly, and often feelingly, expressed. 
 But his genius was not confined to those 
 subjects; for he painted history and por- 
 trait with an equal degree of merit; and 
 the picture in the church of Notre Uame 
 at Paris, representing St. John in the 
 Desert, affords an indubitable proof of his 
 ability in historical composition, as also 
 of his agreeable manner of colouring. He 
 certainly had an excellent genius for com- 
 position, and his tints had an imusual 
 clearness; his touch was free and clean; 
 his design elegant; and the happy distri- 
 bution of his lights produces a pleasing 
 
P A R 
 
 399 
 
 PAS 
 
 effect. In 1675 he became a member of 
 the academy of Paris, on which occasion 
 hej)ainted the Siege of Maestricht. The 
 minister Louvois employed him on the 
 public works at Versailles. Louis XIV. 
 appointed him state painter. He died in 
 1704. Parrocel also executed some good 
 etchings, among which were forty- eight 
 prints of the Life of Christ. 
 
 Parbocel (Charles). He was born at 
 Paris in 1688, and was instructed by his 
 father, Joseph Parrocel ; but being de- 
 jirived of so able a preceptor at the age 
 of sixteen, he became the scholar of La 
 Fosse, on leaving whom he went to Italy, 
 where he studied some years ; and, on his 
 return to Paris, he was received into the 
 academy, on which occasion he painted a 
 grand battle-piece of cavalry and infantry. 
 In 1743 he became professor of painting 
 in that institution, and the same year ac- 
 companied the king to Flanders, to take 
 sketches of his conquests. He died in 1753. 
 The pictures of Charles Parrocel, though 
 painted Avith accuracy and spirit, are not 
 equal to those of his father, and yet the 
 productions of the two artists areoften mis- 
 taken by good judges. There was also a 
 nephew of Joseph, named Ignatius Par- 
 rocel, who painted battle-pieces very much 
 in the manner of his uncle. He died in 
 1722,at the age of forty-five. There was 
 also a Stephen Parrocel, a painter and en- 
 graver, born at Paris about 1720. He 
 etched some spirited bacchanalian pieces 
 from his own designs. 
 
 Parry (William), The father of this 
 painter was blind, and famous as a per- 
 former on the harp. He was a native of 
 the county of Flint, but, under the pa- 
 tronage of Sir Watkin Williams Wynne, 
 came to London, where this son was born 
 in 1742. He received his instruction in 
 drawing from Mr. Shipley, who kept a 
 school for that branch of art in Holborn. 
 After this. Parry studied in the Duke of 
 Richmond's gallery; he became also a 
 scholar of Sir Joshua Reynolds, and 
 occasionally attended the academy of 
 painting in St. Martin's-lane. In 1770 
 he went to Italy, where, by the liberality of 
 Sir Watkin, he was enabled to prosecute 
 his studies four years. While at Rome, 
 he copied for his patron, Raffaelle's pic- 
 ture of the Transfiguration. In 1775 he 
 returned to London, and soon after was 
 elected a member of the Royal Academy; 
 but not meeting with employment, he 
 went again to Rome, and continued there 
 some years. In 1791 he revisited his na- 
 
 tive country, but died soon after his arrival. 
 In early life he obtained some premiums 
 from the Society of Arts. Mr. Parry drew 
 and engraved a portrait of his father play- 
 ing on the harp. 
 
 Pars (William). This artist was born 
 in London about 1742, and studied first in 
 Mr. Shipley's drawing school ; after which 
 he entered the academy of painting in St. 
 Martin's-lane, where, in 1764, he obtained 
 the premium of twenty guineas for an 
 historic composition. When the Dillet- 
 tanti Society sent Dr. Chandler to explore 
 the antiquities of Greece, Mr. Pars was 
 employed to attend him as the draughts- 
 man. This service took up three years, 
 and on his return he accompanied Lord 
 Palmerston in a tour through Switzerland 
 and Italy. In 1770 he was chosen an 
 associate of the Royal Academy; and in 
 1774 the Dillettanti Society sent him to 
 Rome to pursue his studies there for a cer- 
 tain number of years. He continued in 
 Italy till the end of 1782, when he died of 
 a fever. Several of his views in Greece 
 have been engraved by Byrne, and those 
 in Switzerland and Italy by Sandby. 
 
 Parsons (Francis). This artist lived 
 in London, where he practised as a por- 
 trait painter, and in 1763 exhibited at the 
 Spring Garden rooms two pictures, one 
 of the Indian Cherokee who was then in 
 England, and the other of Miss Davis, a 
 celebrated singer, in the character of 
 Madge, in Love in a Village. These por- 
 traits, however, were indifferently exe- 
 cuted, though M 'Ardell engraved the first. 
 Parsons afterwards turned picture dealer 
 and cleaner. He died in 1804. 
 
 Parsons (William). He was born in 
 Bow-lane, Oheapside, in 1736, and was 
 educated at St. Paul's school. At the age 
 of fourteen he was apprenticed to an ar- 
 chitect, and while in that employ dis- 
 tinguished himself by his drawings, for 
 which he obtained several premiums from 
 the Society of Arts. Wlien out of his 
 time he took to the stage, and became one 
 of the most popular comedians of his time.* 
 He died February 3, 1795. Mr. Parsons 
 never relinquished the pencil, and many 
 of his pictures are still in the possession 
 of his friends. They consist of architec- 
 tural subjects, landscapes, and fruit-pieces. 
 These last are truly excellent. 
 
 Pasinelli (Lorenzo). He was born at 
 Bologna in 1629, and received his earliest 
 instructions in painting from Simon Con- 
 tarini, after which he studied under 
 Flarainio Torre; but did not continue 
 
PAS 4 
 
 with him long, having a desire to visit 
 Venice, where he became enamoured of 
 the majestic style of Paolo Veronese, in 
 consequence of which he changed his first 
 manner, but without any servile imitation 
 of the great master whose works he ad- 
 mired. At his return to his own country 
 he was eagerly employed by the nobility 
 and principal ecclesiastics, for whom he 
 painted historical subjects in a small as 
 well as in a large size, from sacred as well 
 as profane writers, and his works were 
 universally admired. In the Palazzo 
 Ranuzzi, at Bologna, is an excellent paint- 
 ing by Pasinelli, representing Ooriolanus ; 
 and in the Palazzo Zarabeccari, in the same 
 city, is a grand design of the Martyrdom 
 of St. Ursula and her Companions, which 
 is extremely well composed, and very love- 
 ly in the colouring; the heads are beauti- 
 ful, and have great expression. His other 
 principal performances are, the Entry of 
 Christ into Jerusalem, in the Carthusian 
 monastery of Bologna ; a Holy Family, in 
 the Carmelites' church ; a Resurrection, in 
 the church of St. Francisco ; and St. John 
 in the Desert. Pasinelli etched this last 
 piece in a very fine style, and he also pro- 
 duced some other good prints. He died in 
 1700. 
 
 Pasquali (Fir.ipo), He was born at 
 Bologna, and became a pupil of Carlo 
 Cignani, after which he associated himself 
 with Franceschini in painting several 
 fresco works in the portico of the convent 
 of the Servites, and some pictures in the 
 church of St. Victor, at Ravenna. He 
 died about 1690. 
 
 Pasqualini (Giovanni Battista). 
 This artist was born at Cento, near Bo- 
 logna, in 1600; and was the scholar of 
 Giro Ferri, though he is little known as a 
 painter, having devoted himself chiefly to 
 engraving. 
 
 Pasqualino, see Rossi. 
 
 Passeri (Andrea). This artist was born 
 at Como, and lived about the year 1510. 
 In the cathedral of Como is a picture of 
 ' the Madonna and Saints, painted by him, 
 of various degrees of merit ; for though 
 the heads of the principal figures are ani- 
 mated, the composition is poor, and the 
 general effect feeble. It was painted in 
 1505. 
 
 Passeri (Giovanni Battista). He 
 was born at Rome in 1610, and is sup- 
 posed to have had Domenichino for his 
 preceptor ; but it is certain that he was a 
 diligent imitator of that great painter. 
 Besides historical subjects, he delighted 
 
 OO PAS 
 
 in those of still life, as game, birds, and 
 fruit, which he happily expressed and 
 touched with spirit. He painted the gor- 
 trait of Domenichino for the academy of 
 St. Luke, and in that assembly he deliv- 
 ered a funeral oration on his friend. In 
 the church of St. Giovanni at Rome, is a 
 fine picture by him of the Crucifixion. 
 Passeri was also celebrated for his literary 
 talents, and compiled a work entitled 
 " Vite dei Pittori, Scultori, ed Architetti 
 che hanno averato in Roma, e che son 
 morti del 1641 al 1673." This was 
 printed in 1772. Besides this, he wrote 
 sonnets, of no great merit, though one 
 of them is said to have promoted his for- 
 tune. He died at Rome in 1679. 
 
 Passeri, or Passari (Giuseppe). He 
 was born at Rome in 1654, and was at 
 first instructed in the art of painting by 
 Giovanni Battista Passeri, his uncle ; but 
 he afterwards became the disciple of Carlo 
 Maratti, who, observing his genius, di- 
 rected him to copy the most curious 
 paintings of the best artists, and then, by 
 comparing the work with its original. 
 Carlo judiciously pointed out the most 
 beautiful parts of each performance in 
 respect to drawing, design, grace, atti- 
 tude, and expression, to form the taste of 
 his disciple, and establish his judgment. 
 From this singular and excellent method 
 of instruction, Passeri learned to compose 
 subjects for himself, with elegance and 
 dignity : his works were beheld with 
 pleasure, and received with applause. His 
 style of composition was grand, his co- 
 louring like that of his master, his inven- 
 tion fruitful, and his expression natural 
 and agreeable. Being desirous of trying 
 his ability in portrait painting, he began 
 with that of his father, which succeeded 
 beyond his most flattering hopes, and even 
 gave general satisfaction. Commissions 
 now increased, and he had incessant em- 
 ployment, so that most of the churches 
 and palaces at Rome were decorated with 
 his paintings. His principal performances 
 are, the Conception, in the church of St. 
 Thomas ; and one of the laterals to the 
 picture of the Baptism of Christ, by Ma- 
 ratti, in the Vatican ; the subject being the 
 Conversion of the Centurion and his 
 Household by St. Peter. At Pesaro is a St. 
 Jerome meditating on the Last Judgment. 
 Passeri lived in such general esteem, that 
 his house was frequented by persons of 
 the first rank for taste and literature ; not 
 only for the entertainment they might 
 derive from his paintings but also from 
 
PAS 
 
 PAT 
 
 his conversation, which was polite, inge- 
 nious, and edifying. He died at Rome in 
 1714. 
 
 Passebo, or Passari (Bernardino). 
 This artist, who lived at Rome about the 
 year 1590, was both a painter and engra- 
 ver. In the former line he studiously 
 imitated Taddeo Zucchero. His prints 
 are more numerous than his pictures, and 
 are executed with spirit; but they are 
 chiefly of sacred subjects. 
 
 Passebotti (Babtolomeo). He was 
 born at Bologna about 1540, and at first 
 was a disciple of Jacopo Barozzi, called 
 Vignola, with whom he travelled to Rome, 
 and improved his taste of design by study- 
 ing the antiques; but he afterwards 
 became the disciple of Taddeo Zucchero, 
 and never quitted that master till he was 
 qualified to appear with credit in his pro- 
 fession. He composed historical subjects 
 readily, and in a good style, particularly 
 designs taken from sacred history, of 
 which kind he painted many for the 
 chapels of Bologna ; yet his manner was 
 too expeditious, and he did not sufficiently 
 attend to truth and nature. He devoted 
 himself, however, principally to portrait 
 painting, in which he became remarkably 
 eminent ; and was highly commended for 
 the bold relief of his figures, their life and 
 spirit, and graceful attitudes. The prin- 
 cipal of his historical works are, the Mar- 
 tyrdom of St. Paul, in the church of that 
 saint, at Rome; the Adoration of the 
 Wise Men, in the church of St. Pietro ; 
 the Annunciation, in St. Martin ; and the 
 Virgin and Saints, and St. Giacomo 
 Maggiore, at Bologna. He founded a 
 school at Bologna, which produced a 
 number of great masters, among whom 
 were Vanni and Agostino Caracci. He 
 composed a book on Symmetry, and Ana- 
 tomy. The pictures of Passerotti are 
 distinguished by a sparrow, in allu- 
 sion to his name. He died in 1595. 
 
 Passebotti (Tiburzio). He was the 
 son of Bartolomeo, and was born at Bo- 
 logna in 1575. He painted in the style 
 and manner of his father, being also much 
 admired for his compositions. His prin- 
 cipal works are, an Assumption, in the 
 church of St. Maria Mascarella; St. 
 Francis and St. Jerome, with the Virgin, 
 in St. Cecilia ; the Annunciation in St. 
 Christiana ; and the Death of St. Cath- 
 erine, in St. Giacomo Maggiore, at Bo- 
 logna; where he died in 1612. Besides 
 his taste in painting, he was remarkable 
 for his curious collection of rare and 
 
 scarce books, medals, gems, cameos, and 
 uncommon natural productions. 
 
 Passerotti (Ventura). He was born 
 at Bologna in 1586, and was the young- 
 est son of Bartolomeo, from whom he 
 learned the principles of design and col- 
 ouring; but for his best improvement he 
 was indebted to his brother Tiburzio. His 
 greatest delight consisted in drawing with 
 a pen or crayon such subjects as occurred 
 to his imagination, in which he studied 
 to express the proportions of the naked, 
 and the swell of the muscles, in the 
 strong or terrible style of Michel Angelo 
 Buonarroti, which he always admired, 
 and endeavoured to imitate. But, for the 
 most part, he painted portraits, with a 
 very natural tone of colouring, and with 
 as great a degree of resemblance and 
 relief as any of his contemporaries. 
 
 Passignano, see Cresti. 
 
 Patel (Peter). This French painter 
 was born in 1654, but the place of his 
 birth is unknown. He was a disciple of 
 Simon Vouet, and had for the companions 
 of his studies, Mignard, Du Fresnoy, Le 
 Brun, and Le Sueur. By the latter he was 
 much esteemed, and employed in orna- 
 menting his pictures with landscape 
 scenery and architecture. Many of the 
 pictures of Vouet also exhibit similar de- 
 corations from the hand of Patel. In his 
 own country he is called the French 
 Claude, for he seems to have taken that 
 master as his model, and in many respects 
 has imitated him with success. The forms 
 of his trees are elegant and loose, his 
 scenery is rich, and hisbuildings, and other 
 ornaments, are designed in a very pleasing 
 taste. His skies are judiciously adapted, 
 having always that remarkable warmth 
 which characterizes the climate of Italy. 
 The breaking of his ground shows skill 
 and judgment; his distances are finely 
 observed ; and the antique buildings, 
 vases, monuments, and ruinous aqueducts, 
 introduced into his compositions, give 
 them richness and variety. His works 
 suflSciently show that he studied nature 
 with close observation, and his choice 
 was always agreeable. In one respect 
 he was superior to Claude, for his figures 
 are usually designed in a delicate taste, 
 and drawn with correctness. His touch is 
 light and firm ; his colouring generally is 
 clear and natural ; and his sites are ex- 
 ceedingly pleasing. He was much em- 
 ployed at the Louvre, and in the Hotel 
 Lambert, in Notre Dame ; but his paint- 
 ings in the latter place have mostly gone 
 2 
 
PAU 
 
 to decay, through negligence. He was 
 killed in a duel, in 1703. Two of his 
 pieces have been engraved by Sir Robert 
 Strange. The French call him le bon 
 Patel, and also Patel le tue^ to distinguish 
 him from his son, Patellejeune^ an artist 
 of merit, but not equal to his father. 
 
 Patetsier (Joacbim). H.e was born at 
 Dinant in 1480, but learned his art at 
 Antwerp, where he was received into the 
 Academy of Painters in 1515. His prin 
 cipal subjects were landscapes, which he 
 painted in an excellent style, with charm- 
 ing distances, and figures exquisitely touch- 
 ed and designed. There appears a peculiar 
 neatness in the foliage of his trees, and 
 their trunks and branches have all the 
 freedom of nature. His works even in 
 his lifetime, were held in such high 
 esteem, that they were industriously 
 sought for, and eagerly purchased. He 
 consumed, however, the largest portion of 
 his time in taverns, and other kinds of 
 dissipation, by which he not only impov- 
 erished himself, but also deprived the 
 world of many valuable productions which 
 he might have finished. He also painted 
 battles and huntings with extraordinary 
 spirit ; and his compositions in that style 
 were filled with a number of figures, well 
 designed, and finished with exactness 
 When Albert Durer was at Antwerp, the 
 works of this artist afforded him so much 
 satisfaction, that he painted his portrait, 
 in order to preserve the memory of so 
 eminent an artist. 
 
 Pater, or Paterre (Johx Baptist). 
 He was born at Valenciennes in 1695, 
 and was the disciple of Anthony Watteau. 
 He became, like his master, an excellent 
 colourist ; and when he painted views of 
 particular buildings, or real scenes after 
 nature, they were executed in a pleasing 
 and masterly manner. Yet he too much 
 neglected the study of nature and cor- 
 rectness in design ; consulting his imme- 
 diate advantage more than the establish- 
 ment of his reputation. His subjects 
 were balls, assemblies, and pastorals; 
 but his figures are not always spirited, 
 and his heads often want expression, 
 though there is some spirit in his compo- 
 sitions which renders them pleasing. 
 He died in 1736. 
 
 Paton (Richard). Ofthis English artist 
 nothing more is known than that he was 
 eminent as a painter of marine subjects, 
 and particularly engagements at sea, of 
 which some have been engraved. He also 
 etched a few himself. He lived about 1770. 
 
 Pauditz (Christopher). This artist 
 was born in Lower Saxony about 1620, 
 and became a disciple of Rembrandt. On 
 quitting that school, of which he was one 
 of the principal ornaments, he was em- 
 ployed by the bishop of Ratisbon, for 
 whom he painted several historical designs, 
 as well as portraits ; but afterwards he 
 spent some years in the service of the 
 Duke of Bavaria, where his works were 
 held in great estimation. While he re- 
 sided at that court, one Roster, a painter, 
 lived at Nuremberg, who being envious 
 of the reputation of Pauditz, proposed to 
 paint a picture, on any subject, in com- 
 petition with him. The two artists 
 appear to have painted in a different style : 
 Roster was most considerable for his high 
 finishing, the other for force and freedom 
 of pencil, in the manner of his master, 
 Rembrandt. The subject agreed on was, 
 a Wolf tearing a Lamb. Pauditz showetl 
 in his work a great superiority in the 
 design, and also more truth, force, and 
 expression, which secured to him the ap- 
 probation of the best judges. But the 
 neatness with which the wool of one 
 animal, and the hairs of the other, were 
 finished, with a competent transparence 
 of colour, so far prevailed with the 
 majority of those who accounted them- 
 selves connoisseurs, that the preference was 
 given to the picture painted by Roster. 
 A declaration so unexpected by Pauditz 
 depressed and preyed upon his spirits, 
 and affected his mind with such violence 
 that he died soon after, universally re- 
 gretted. 
 
 Paulutz (Zechariah). He was born 
 at Amsterdam in 1600, and died there in 
 1657. He painted portraits. 
 
 Pauly (Nicholas). He was born at 
 Antwerp in 1660, and became a good 
 miniature painter, at Brussels, where he 
 died in 1748. 
 
 Paulyn, or Paling (Isaac). He was 
 born at Amsterdam about 1630, and was 
 the disciple of Abraham Vanden Tempel, 
 after which he visited England, where 
 he resided for several years, and found 
 sufficient employment. But in 1682 he 
 returned, and settled at the Hague, where 
 he painted portraits with great encourage- 
 ment. 
 
 Paolyn (Horatics). This painter, 
 who is supposed to have been born about 
 1643, resided at Amsterdam : but the 
 master under whom he studied is not 
 known. He had a lively imagination, 
 composed readil}', and designed well; 
 
^*But 
 
 403 
 
 PEL 
 
 lut his greatest excellence consisted in his 
 colouring; for his pencil was so ex- 
 ceedingly neat, and the tone so sweet and 
 delicate, that it was capable of deluding 
 any lover of the art to admire, what 
 morality and modesty must compel him 
 to detest : for Paulyn too frequently 
 prostituted his art to represent indecent 
 subjects ; which lessened him consider- 
 ably in the public esteem. One of his 
 small pictures, excellently finished, was 
 valued at a hundred pounds; though, 
 probably, that price was fixed on it rather 
 on account of its immodesty than for any 
 intrinsic merit in the performance. 
 
 Pavia (Giacomo). He was born at 
 Bologna in 1655, and had Antonio Crespi 
 for his master, under whom he acquired a 
 fine taste of composition. He was much 
 employed in painting altar-pieces, the 
 principal of which are, St. Anne teaching 
 the Virgin, in the church of St. Silvester; 
 and the Nativity, in that of St. Giuseppe. 
 He afterwards went to Spain, where he 
 was much esteemed. He died in 1740. 
 
 Peacham (Henry). This person was 
 born at North Mimms, in Hertfordshire ; 
 and studied at Trinity College, Cam- 
 bridge, where he took the degree of master 
 of arts. He became distinguished by his 
 skill in music, painting, and engraving, 
 though he was not a professed artist. He 
 says himself that he could take likenesses, 
 and that on one occasion he drew that of 
 James I. as he sat at dinner. Lord 
 Orford mentions his engraving of a good 
 print of Sir Thomas Cromwell, after 
 Holbein. Peacham published a quarto 
 volume, entitled " The Complete Gentle- 
 man ;" in which, among other subjects, he 
 gives rules for drawing and painting in 
 oil. He was also the author of another 
 volume, with the title of " The Gentle- 
 man's Exercise; or, an Exquisite Prac- 
 tice, as well for drawing all manner of 
 Beasts in their true Portraiture, as also 
 the making of Colours for Limning, 
 Painting, Tricking, and Blazoning of 
 Coats of Arms. 1630. 4to." He is sup- 
 posed to have died about 1650. 
 
 Pearson (Margaret). This ingenious 
 lady was the daughter of Samuel Patcrson, 
 an eminent book auctioneer. She dis- 
 covered early a fine taste for the arts, and on 
 marrying Mr. Pearson, a painter on glass, 
 she devoted herself to that branch of the 
 art, in which she attained peculiar ex- 
 cellence. Among other fine specimens of 
 her skill in this line were two sets of the 
 cartoons of RafFaelle, one of which was 
 
 purchased by the Marquis of Lansdowne, 
 and the other by Sir Gregory Page 
 Turner. She died February 14, 1823. 
 
 Pedretti (Giuseppe). This artist was 
 born at Bologna in 1694, and had Mark 
 Antonio Franceschini for his instructor. 
 He afterwards went to Poland, and when 
 
 returned to his native city, was much 
 employed in painting altar-pieces, and 
 other pictures for the churches. His 
 principal performances are, the Death of 
 St. Peter, in the church of St. Petronius ; 
 Christ carrying his Cross, in that of St. 
 Joseph ; and St. Margaret, in the An- 
 nunziata. He died in 1778, 
 
 Pee (Theodore, or Dirk Van). He 
 was born at Amsterdam in 1669, and 
 studied under his father, a painter of tliat 
 city ; after which he came to England, 
 and resided here some time. He died in 
 his own country in 1731. 
 
 Pellegrini (Antonio). He was born 
 at Venice in 1674, and was instructed by 
 a painter named Genga ; but afterwards 
 he became the pupil of Sebastian Ricci. 
 He had also the good fortune to obtain the 
 favour of Paolo Pagani, by whose in- 
 structions he improved coHsiderably, and 
 through his interest became known to 
 some noblemen, particularly Angelo 
 Cornaro, for whom he executed several 
 designs in fresco, which procured him 
 applause, and occasioned his being en- 
 gaged by others in the same kind of work, 
 as well as paintings in oil. On the in- 
 vitation of the Duke of Manchester he 
 came to London, where he painted a 
 staircase for that nobleman ; and for others 
 of the English nobility and gentry he 
 painted different pieces, particularly the 
 Earl of Burlington and Sir Andrew 
 Fountaine. While in England, he finished 
 a number of historical designs of a mid- 
 dling size ; but his pictures, though they 
 show a ready pencil, a free touch, and 
 sometimes a good taste of design, are not 
 much valued, because the colouring is 
 generally cold ; and one peculiar tint so 
 predominates through all his works, that 
 they want force. From England he went, 
 in 1719, to Paris; and, after spending 
 some time at the courts of the electors 
 Palatine and Brunswick, he returned to 
 Venice, where he followed his profession 
 with great credit. In the church of the 
 Capuchins di Castello at Venice, one of 
 the ceilings is painted by Pellegrini. The 
 design represents the Israelites gathering 
 Manna in the Desert. The composition 
 is good, and it is well handled, but the 
 
PEL 
 
 404 
 
 PEN 
 
 colouring is weak and feeble, and, by the 
 effect, scarcely appears to be any thing 
 more than a sketch : and in a church 
 dedicated to Moses, in the same city, is a 
 painting by him, the subject of which is, 
 the Brazen Serpent in the Wilderness. 
 It is an excellent composition, executed in 
 a broad and beautiful manner, the design 
 correct, and the landscape part particularly 
 fine ; yet the masses of light are so weakly 
 opposed by proper shadows, that the whole 
 appears flat and feeble. He died in 
 1741. 
 
 Pellegrini (Felice). This painter 
 was born at Perugia in 1567, and studied 
 under Federigo Baroccio, by whose in- 
 structions he became distinguished in 
 historical works, and was employed in 
 the Vatican. He died in his native city 
 in 1630. 
 
 Pellegrini (Vincenzio). He was the 
 brother of the preceding, and was born at 
 Perugia in 1575. He was also instructed 
 by Baroccio, and painted several pictures 
 for the churches of Perugia, and other 
 places. 
 
 Pellegrini (Francesco). This artist 
 was a native of Ferrara, and studied 
 under Giovanni Battista Cozza. In the 
 cathedral of his native city is a picture 
 representing St. Bernard ; and in the 
 church of St. Paul, is a Last Supper by 
 him. He lived about 1745. 
 
 Pellegrino, see Modena and Tibalbi. 
 
 Pellegrino da San Daniello. He was 
 born at Udina, and became the disciple 
 of Giovanni Bellini; who, perceiving 
 his promising genius, gave him an appel- 
 lation of distinction, by changinghis name 
 from Martin of Udina to Pellegrino da 
 San Daniello, by which only he is now 
 known. At Udina he painted many fine 
 compositions, particularly a design in oil, 
 in the chapel of St. Giuseppe, which was 
 excellently coloured. The picture re- 
 presented Joseph in an amiable attitude, 
 and a meditating posture, with the child 
 Jesus near him, and St. John, in the habit 
 of a shepherd, looking with fixed atten- 
 tion on the infant Saviour. This per- 
 formance was exceedingly admired, and, 
 from the merit that appeared in every 
 part of it, and its being equal to the best 
 works of Bellini, it was concluded by 
 some connoisseurs that Pellegrino had 
 painted it in concurrence with his master. 
 But the style and handling of his other 
 works proved that no pencil but his own 
 had been employed on that celebrated 
 picture. He also painted at Udina a 
 
 noble design of Judith with the head of 
 Holofernes, and an altar-piece for the 
 church of Santa Maria; in which the 
 heads of the figures are remarkably grace- 
 ful. The Duke of Ferrara held him in 
 high esteem, not only for his professional 
 merit, but his various accomplishments ; 
 and while Pellegrino continued at the 
 court of that prince, he was loaded with 
 favours, and received many valuable 
 presents. He had a great genius, with a 
 ready and fertile invention, and in many 
 respects was superior to Bellini. He 
 painted in fresco and in oil with equal 
 merit ; his taste of design was grand, and 
 his colouring very agreeable. He had two 
 pupils, Bastiano Florigerio, a painter of 
 merit; and Luca Monverde, who died 
 young, after giving the promise of being 
 an admirable artist. 
 
 Penni (Giovanni Francesco), called II 
 Fattore. He was born at Florence in 
 1488, and when young went to Rome, 
 where he became the disciple of Raffiielle, 
 who soon observed the promptness of his 
 genius, the integrity of his heart, and 
 his passionate fondness for painting ; 
 which qualifications recommended him so 
 strongly to the atfection of his master, 
 that he not only took all possible care 
 of his instruction, but also intrusted 
 his domestic concerns to his manage- 
 ment; from whence he got the name 
 of II Fattore, or the Steward, which 
 he retained ever after. His manner of 
 designing was in imitation of RaflFaelle, 
 which he never altered; and in his finish- 
 I ing and colouring, his master was his 
 t only model. The first work in which he 
 i was employed by Raft'aelle was in the 
 Loggie of the Vatican, where Giovanni 
 da Udina, Pierino del Vaga, and other 
 admirable artists, were associated wilh 
 him. There, on the histories of Abraham 
 and Isaac, he exerted his great talents and 
 displayed that excellence of taste which 
 he had imbibed from his inimitable 
 director, and showed such grace and exe- 
 cution as were worthy of the school in 
 which he was formed. The genius of 
 Penni was universal; but his favourite 
 subjects were landscapes and buildings. 
 He was an excellent designer, and coloured 
 extremely well in oil, distemper, and 
 fresco. He also painted portraits in an 
 exquisite style, and had such happy 
 natural talents, as enabled him with ease 
 to discover all that was curious or desirable 
 in the art. By such superior powers, he 
 proved a useful assistant to Ratfaelle, and 
 
PEN 
 
 painted a part of the cartoons for the 
 tapestries of the pope's chapel, and the 
 consistory; so that his master conceived a 
 degree of affection for him far surpassing 
 what lie felt for any other of his disciples; 
 and at his death left him joint heir to his 
 fortnne with Giulio Romano. After this 
 he painted many pictures at Rome of his 
 own design, particularly in the palace of 
 Chigi ; with such a close resemblance to 
 the style, pencil, colouring, and grace of 
 Raffkelle, that they might have been easily 
 mistaken for those of his master. In con- 
 junction with Giulio and Pierino del Vaga, 
 he finished the celebrated designs of the 
 battles of Constantine, and several others 
 which had been left imperfect by Raffaelle; 
 but having some dispute about a copy of 
 the Transfiguration, which the pope 
 intended for the King of France, the 
 association was dissolved. Giulio engaged 
 himself with the Marquis of Mantua, and 
 Penni went to Naples, to enter into the 
 service of the Marquis del Vasto; to 
 whom he sold a copy which he had made 
 of RaflPaelle's Transfiguration ; but the air 
 of that country disagreeing with his con- 
 stitution, he died very soon after his 
 arrival in that city, in 1528. 
 
 Penni (Luca). He was the brother of 
 Giovanni Francesco Penni, and v/as born 
 at Florence about 1500. As he had a 
 close connexion with Pierino del Vaga, 
 who had married his sister, he worked 
 with him some years at Genoa, Lucca, 
 and other cities of Italy, with great credit. 
 Afterwards he visited England, and was 
 employed by Henry VIII., for whom he 
 painted several designs. From hence he 
 removed to France, where he was employed 
 with II Rosso in ornamenting the palace 
 of Fontainebleau. On his return to Italy 
 he quitted painting for engraving. He 
 died about 1550. His prints are mostly 
 after the works of II Rosso and Prima- 
 ticcio. 
 
 Penny (Edward). This English artist 
 was born at Knutsford, in Cheshire, in 
 1714. At an early age he was placed 
 under Thomas Hudson, in London, on 
 leaving whom he went to Italy, and at 
 Rome became a pupil of Marco Benefial. 
 When he returned to England, he joined 
 the Society of Artists, and was chosen 
 vice-president of that institution. On the 
 foundation of the Royal Academy, he was 
 one of the original members, and the first 
 professor of painting, in which situation 
 he continued till 1783, when the declining 
 state of his health obliged him to resign 
 
 the chair. He then Avent to reside at 
 Chiswick, where he died in 1791. His 
 principal employment was painting small 
 portraits in oil; but he also occasion- 
 all}' exhibited some moral and histo- 
 rical pictures. One of the latter was 
 the Death of General Wolfe, of which 
 there is an engraving ; as there is also of 
 his portrait of the Marquis of Granby. 
 Two other pictures by him, entitled 
 Virtue Rewarded, and Profligacy Pun- 
 ished, have likewise been published by the 
 same means. 
 
 Pentz, or Peins (George Gregory). 
 This artist was born at Nuremberg in 
 1500, and had Albert Durer for his in- 
 structor, both in painting and engraving. 
 On leaving his master he went to Italy, 
 where, in conjunction with Marc Antonio, 
 he engraved several plates from the works 
 of Raffaelle. As a painter he is little 
 known, but his prints are numerous. He 
 died about 1550. 
 
 Pepin (Martin) . This artist was born 
 at Antwerp in 1578. After learning the 
 principles of painting in his native place, 
 he went to Italy, where he became so 
 much distinguished for his grandeur of 
 composition, con-ectness of design, and 
 vigorous tone of colouring, that Ru- 
 bens regarded him with jealousy, and 
 dreaded his return to Antwerp. In the 
 church of the hospital of that city are 
 two altar-pieces by him, one representing 
 the Baptism of St. Augustine, and the 
 other St. Elizabeth distributing Alms. 
 The folding doors of these pictures were 
 also painted by him in an admirable style. 
 Another piece of his, representing the 
 Descent from the Cross, is spoken of in 
 terms of great admiration. He resided 
 chiefly at Rome, where most of his per- 
 formances remain, and where he died in 
 1641. 
 
 Perac (Stephen du). This French 
 artist was born at Paris about 1540; but 
 went to Rome when very young, and there 
 studied painting, architecture, and engrav- 
 ing. On his return to his native country 
 I he was appointed royal architect, but he 
 i painted some fine pieces of perspective for 
 i the palace of Fontainebleau. He etched 
 , two prints after Michel Angelo, and one 
 I after Raffaelle, besides others of inferior 
 I value. 
 
 I Peranda (Santo). He was born at 
 I Venice in 1566, and was instructed by 
 i the younger Palma; but he afterwards 
 I studied under Leonardo Corona, of Mu- 
 1 rano. His first style was that of Palma, 
 
PER 
 
 but on visiting Rome he formed one of 
 his own, more correct and animated, by 
 studying and designing the antique statues, 
 and copying the best paintings of the great 
 masters. By this method, having per- 
 fected his taste of design, he returned to 
 Venice; and being better qualified to ob- 
 serve the wonderful effect of the works 
 of Titian, Tintoretto, and Paolo Veronese, 
 he carefully studied their style of colour- 
 ing, and gradually became as accomplished 
 in that branch of the art as he had before 
 rendered himself considerable in design. 
 He finished some noble compositions in 
 the palace of the doge: and for the prin- 
 ces of Mirandola and Modena he painted 
 many designs, which were generally ad- 
 mired. He handled his pencil with care 
 and delicacy; and, by a judicious manner 
 of managing his tints, gave them great 
 force and good relief. His best perform- 
 ance is a Descent from the Cross, in the 
 church of St. Procolo at Venice; where 
 he died in 1638. 
 
 Peeignon (Nicholas). This artist, 
 who was both a painter and engraver, was 
 born at Paris in 1730, and died about 
 1 800. He excelled in painting landscapes 
 and flowers, besides which he etched plates 
 of the same subjects from his own designs. 
 
 Peking, see Vaga. 
 
 Peroni (Giuseppe). He was born at 
 Parma about 1700, and had Fehce Torelli 
 and Donato Creti for his instructors, till 
 he went to Rome, where he studied some 
 time under Agostino Masucci. In his 
 manner of design, however, he chose to 
 imitate Carlo Maratti, as appears in his 
 picture of the Miraculous Conception, for 
 the convent of Oratorians at Turin. He 
 painted, in competition with Pompeo 
 Battoni, the Crucifixion, for the church 
 of St. Antonio Abbate at Turin, which 
 is his best work. He died in 1776. 
 
 Perkier (Francis). This French ar- 
 tist was born at Mascon, in Burgundy, 
 in 1590. His father, a goldsmith, in- 
 tended him for his own profession; but 
 Francis being determined to follow his 
 inclination for the arts, set out for Rome, 
 and having no money, joined a blind beg- 
 gar, to whom he acted as a guide. On 
 his arrival in that city, he obtained an 
 introduction to Lanfranco, who admitted 
 him into his school, where he studied 
 some years, and became a close imitator 
 of his master's style. His colouring, 
 however, is too dark, and the airs of his 
 figures want grace. On his return to 
 France, he spent some time at Lyons, and 
 
 406 PER 
 
 painted there a set of pictures for the Car- 
 thusian convent. From thence he went 
 to Paris, where Simon Vouet, who was 
 then at the height of the profession, em- 
 ployed him to paint the chapel of the 
 chateau of Chilly. Not succeeding, how- 
 ever, to his wish in the French capital, 
 Perrier, in 1635, returned to Rome, and 
 there applied to engraving the antiques 
 and bass-reliefs, as well as some prints 
 after the pictures of the great masters. 
 On the death of Vouet, he again visited 
 Paris, and was employed to paint the 
 gallery of the Hotel de la Vrilliere. He 
 was also chosen a member of the academy. 
 He died at Paris in 1650. Francis Perrier 
 had a nephew named William, who paint- 
 ed in the same style as his uncle, and 
 also executed in his manner several spi- 
 rited etchings. Having killed his antago- 
 nist in a duel, he took refuge in a convent 
 at Lyons, where he painted some pictures 
 for the sacristy. He died in 1655. 
 
 Perroneau ( ). This French artist, 
 
 who painted in crayons, came to England 
 about the year 1760, and the next year 
 exhibited four portraits; but they were 
 not equal to the productions of Mr. Cotes. 
 He returned soon after to Paris, where he 
 was living in 1783. 
 
 Perugino (Pietro Vannucci), called II, 
 was born at Citta della Pieve, near Peru- 
 gia, in 1446. His parents, being in lo.T 
 circumstances, placed him with a painter, 
 who, though no great proficient in the art, 
 had discretion enough to animate his 
 pupil with an eager desire to obtain 
 knowledge. Pietro applied himself with 
 singular patience and industry to practise 
 what appeared conducive to his advantage; 
 he spent not only all the day, but the 
 greater part of the night in study, and at 
 the same time struggled with severe hard- 
 ships, having, for several months, no 
 other bed to lie on than a large chest. 
 Yet his laborious perseverance in draw- 
 ing and designing qualified him to im- 
 prove more readily under a superior master. 
 At that period of time the fine arts were 
 cultivated and flourished eminently at 
 Florence; which induced Perugino to 
 seek for instruction in that city, where, 
 according to the most common accounts, 
 he had Andrea Verocchio for his instruc- 
 tor; but others say that he had never any 
 other master than Benedetto Bonfigli of 
 Perugia. His first work of reputation 
 was a picture of St. Jerome contemplating 
 a Crucifix; in which the figure of the 
 saint appeared so mortified, emaciated, 
 
PER 4< 
 
 and natural, as if designed after a living 
 model. His next performance of merit 
 was a Descent from the Cross, painted 
 for the church of St. Chiara, at Florence. 
 In this picture the colouring is beautiful, 
 the heads of the aged persons have a 
 graceful turn, and the air of the Virgin 
 is eminently distinguished, as well by the 
 dignity of character as by the peculiar 
 expression of sorrow. In one part of the 
 design he introduced a landscape, which 
 was accounted admirable; and the whole 
 composition was pronounced by the best 
 judges uncommonly excellent. A Flo- 
 rentine merchant olfered treble the sum 
 that had been paid for it; but the proposal 
 was rejected, because Perugino declared 
 himself incapable of finishing another so 
 well. The celebrity he acquired by this 
 line piece procured him an invitation from 
 Pope Sixtus IV. to visit Rome, where he 
 executed several works for that pontiff's 
 chapel, particularly one, the subject of 
 which was Christ giving the Keys to St. 
 Peter. On his return to Florence, where 
 Michel Angelo Buonarroti was at that 
 time in high esteem, he quarrelled with 
 that great man out of envy, for which he 
 was so severely satirized by the poets, as 
 to be obliged to retire to his native place. 
 Perugino designed his heads with a grace- 
 ful air, particularly those of his female 
 figures. His pencil is light, and he finished 
 his pictures highly; but his manner was 
 dry and stiff, and his outline was often 
 incorrect. His highest honour consisted 
 in being the instructor of Raffaelle; who, 
 with his father Giovanni, assisted him in 
 many of his works. Vasari relates the 
 following story of this artist. The monks 
 of a monastery at Florence had engaged 
 Perugino to paint in fresco a piece of 
 sacred history in their chapel; and the 
 prior, who had agreed to supply the ultra- 
 marine for the work, being of a suspicious 
 disposition, always attended while it was 
 used, lest some of it should be embezzled. 
 When Perugino perceived that the prior's 
 constant inspection of the work was only 
 occasioned by distrust of his honesty, he 
 placed a pot of water near him, in which 
 he often dipped his pencil after he had 
 loaded it with ultramarine; and the colour, 
 by its weight, instantly fell to the bottom, 
 The prior, observing the rapid consump- 
 tion of his colour, expressed his astonish- 
 ment; but Perugino desired him neither 
 to torment his own mind, nor indulge an 
 unjust opinion of artists, who generally 
 acted upon principles of honour; then 
 
 PER 
 
 pouring off the water gently, he restored 
 to him the ultramarine, which had sub- 
 sided. Notwithstanding this, Perugino 
 was extremely avaricious; and having 
 accustomed himself to carry always with 
 him a box, in which he kept a quantity of 
 gold, the prospect of such a treasure in- 
 duced a villain to rob him of it; and 
 though, by the activity of his friends, the 
 greater part was recovered, yet the vexa- 
 tion he endured was thought to have been 
 the principal cause of his death, which 
 happened in 1524. The most capital 
 work of Perugino, in oil colour, is in the 
 church of St. Peter, at Perugia. It is an 
 altar-piece, of which the subject is the 
 Ascension of Christ, with the disciples in 
 different attitudes, directing their eyes up 
 to heaven after their Lord. The design 
 is excellent, and the whole well executed. 
 In a chapel belonging to the church of St. 
 Giovanni in Monte, is a picture of a 
 Virgin, attended by several saints, which 
 is esteemed one of his best performances; 
 but though it has merit, the composition 
 is indifferent. One of his cabinet pictures 
 is a Holy Family, in the church of St. 
 Pietro, at Perugia. 
 
 Pekugiuo (PETRUccio),see Montakini. 
 
 Peruzzi (Baldassare). This painter 
 is said to have been born at Siena; but 
 Vasari asserts that his father, Antonio 
 Peruzzi, was a rich citizen of Florence, 
 who, to avoid the miseries of civil war, 
 retired from that city to Volterra, where 
 Baldassare was born in 1481 ; and that in 
 a few years after he went to settle at 
 Siena, where he continued during the 
 remainder of his life. A more authentic 
 account, however, states the birthplace of 
 Peruzzi to have been Accuyano, in the 
 territory of Siena, and that his parents 
 were in very low circumstances. Bal- 
 dassare, who early showed a lively genius 
 for painting, learned design from a gold- 
 smith of Siena, and pursued his studies 
 by the instruction of some eminent artists, 
 till, having gained a competent degree of 
 knowledge, he applied himself with in- 
 credible diligence to practise after the 
 works of the most celebrated masters, 
 which he imitated with so much exactness 
 and truth as seemed wonderful to the 
 ablest connoisseurs. From Siena he 
 went to Rome, where he was employed 
 by Alexander VI., in whose palace, as 
 also in several chapels and convents, he 
 painted many grand designs in fresco, 
 which were commended for their grace 
 and style. His genius inclined him par- 
 
PER 
 
 408 
 
 PES 
 
 ticularly to paint perspective and architec' 
 ture; and, as he understood the essential 
 principles of the chiaro-oscuro in a degree 
 far superior to any of his contemporaries, 
 he managed it in such a manner as to pro- 
 duce surprising effects. His usual subjects 
 were views of streets, palaces, corridors, 
 porticos, and the interior of magnificent 
 apartments, in which he represented every 
 cornice, frieze, bass-relief, or suitable 
 ornament; and by a judicious distribution 
 of his lights and shadows, gave them a 
 roundness and projection as natural and as 
 strikingas if they were real. A nobler testi- 
 mony of the powerful effect of this master's 
 painting cannot be given than to say, it sur- 
 prised and pleased even Titian, who, when 
 he viewed some of the perspective works 
 of Peruzzi, was so deceived, that no argu- 
 ments could persuade him to believe that 
 any of the objects he saw were produced 
 by the pencil, till he at last changed his 
 point of view : he then expressed a much 
 greater degree of astonishment at the 
 beauty of the performance than at the 
 deception it created. He also excelled in 
 painting scenes for theatres, in which 
 subjects he introduced, with extraordinary 
 taste and judgment, all those decorations 
 peculiar to the stage, and he is accounted 
 the first who practised that style of paint- 
 ing. He likewise studied architecture, 
 and became eminent in it, having received 
 some instructions from Bramante, the 
 friend of RafFaelle. He wrote a treatise 
 on the antiquities of Rome, and a com- 
 mentary on Vitruvius; but unhappily 
 died before they were published, being 
 poisoned, in 1536, by some one who was 
 envious of his talents. The frescoes of 
 Peruzzi are said to approach the style of 
 Raffaelle, particularly two of them, namely, 
 the Judgment of Paris, at Belcaro, and 
 the Sibyl, at Siena. But his great 
 strength lay in architecture, and he was 
 employed in that capacity to superintend 
 the building of St. Peter's, for which he 
 was ill paid. 
 
 Pebuzzini (Giovanni). He was born 
 at Ancona in 1629, and studied under 
 Simone Cantarini, commonly called Pesa- 
 rese. In some of the churches of Ancona 
 are several paintings by him, the prin- 
 cipal of which are, the Death of John the 
 Baptist, and St. Teresa. At Bologna he 
 executed some fine works, as a Descent of 
 the Holy Ghost, and a St. Cecilia. After 
 this he went to Turin, where he received 
 the order of knighthood. He died there 
 in 1694. 
 
 Pesako (Nicolo Tkometto, or NiroLO 
 da). He was, as his name imports, a native 
 of Pesaro, but went to Rome at a very 
 early age, and there became a pupil of 
 Federigo Zucchero, whose style he closely 
 and constantly followed. His principal 
 works in the churches at Rome are, the 
 Nativity, in the Basilica; a Pieta, in St. 
 Francesco ; and two pictures of the Birth 
 and Circumcision of Christ, in St. Maria da 
 Ara CceU; but his best performance is 
 the Last Supper, in the Chiesa del Sacra- 
 mento, at Pesaro. He died at Rome about 
 1615. 
 
 Pescia (Mariano da). This artist was 
 called Oratiadei, but obtained the name of 
 Peseta from the place of his nativity, a 
 city of Italy, where he was born in 1525. 
 He studied under Ghirlandaio, and became 
 his assistant in many of his works. Of 
 his own composition, the principal is an 
 altar-piece, in the chapel of della Signorio, 
 in the Palazzo Vecchio at Florence, 
 where he died in the prime of life in 1550. 
 
 Peselli (Pesello). He was born at 
 Florence in 1404, became a disciple of 
 Andrea del Castagno, whose style and 
 manner he imitated, and continued with 
 him till he was thirty. He was fond of 
 painting animals, studying every species 
 after nature with singular care ; and, that 
 he might be able to represent them after 
 the life with greater exactness, he con- 
 stantly kept a variety under his own roof 
 to serve him as models. He also painted 
 historical subjects, both in fresco and in oil ; 
 and finished several fine designs for the 
 chapels and palaces at Florence. The 
 principal of his works in that line is the 
 Wise Men's OflPering, which is still kept 
 in the ducal gallery at Florence. He died 
 in 1481. He had a son, named Francesco 
 Peselli, called, by way of distinction, Pe- 
 sellino. He gave proofs of rising talents 
 in a set of frescoes representing the lives of 
 St. Cosmo, St. Damiano, St. Antonio, and 
 St. Francesco; but died young in 1457. 
 
 Pesne (Anthony). This artist was the 
 son of Charles Pesne, an eminent engraver, 
 and was born at Paris in 1710. He 
 learned the principles of drawing from his 
 father, and next studied under Charles de 
 la Fosse, after which he went to Italy, 
 where he made a great proficiency in co- 
 louring and design. He was correct in 
 historical composition, but excelled chiefly 
 in portraits. On going to Berlin, he was 
 appointed painter to the great Frederic, 
 who gave him a considerable pension. He 
 died in that city in 1770. 
 
PET 
 
 PET 
 
 Peteks (Geraed). He was born at 
 Amsterdam in 1580, and at first studied 
 under Jacques Lenards, who painted on 
 glass; but afterwards he was instructed 
 by Cornelius Van Haerlem, being the first 
 and best disciple of that master. No ar- 
 tist in the Netherlands was equal to him in 
 designing the naked, and giving his 
 figures an air of elegance. He spent 
 some years at Rome, and on his return to 
 his native city obtained constant employ- 
 ment, for conversations, landscapes, and 
 portraits in a small size, which he finished 
 highly, and with extraordinary truth and 
 nature. Govaerts, who proved an excel- 
 lent landscape painter, was the disciple of 
 this master. 
 
 Pkters (Bonaventure). He was born 
 at Antwerp in 1614, and became one of 
 the most eminent painters in the Low 
 Countries, though his master is not 
 known. The subjects he delighted to 
 represent were storms at sea, in which he 
 displayed, in a lively, natural, and pathetic 
 manner, every circumstance that could fill 
 the imagination with pity and terror. The 
 raging of the waves, the impending tem- 
 pest, the darkened sky, with flashes of 
 lightning, vessels foundering, or dashed 
 in pieces against rocks, or mariners per- 
 ishing in the deep, or seeming to dread a 
 more lingering death on a desert shore, 
 were expressed by his pencil with the 
 utmost truth. He also painted calms with 
 equal merit, and likewise prospects of 
 towns and castles on the sea-coast. His 
 pencil is light, his touch neat, and full of 
 spirit; his colouring exceedingly trans- 
 parent, and his water, whether agitated or 
 still, has great truth and delicacy. His 
 pictures, however, are not] all equally 
 good, nor equally valuable; for in some 
 the figures are extremely well designed 
 and exquisitely finished, while in others, 
 the colouring of the whole is too light, 
 and the draperies interspersed with tints 
 which do not harmonize with the rest. He 
 died in 1652. 
 
 Peters (John). This painter was the 
 brother and scholar of the preceding, 
 and born at Antwerp in 1625. He painted 
 the same subjects for which Bonaventure 
 was so deservedly famous, and many of 
 the works of the one pass for those of the 
 other, being as finely touched, as well co- 
 loured, as transparent, and adorned with 
 excellent figures. John frequently painted 
 sea-fights, which were much admired for 
 the goodness of design, as well as clear- 
 ness of the colouring ; and he also drew 
 
 views of villages, towns, and fortified cities 
 on the banks of rivers, which he designed 
 after nature, generally making an agi-ee- 
 able choice, and finishing them with re- 
 markable neatness. He died in 1677. 
 
 Peters (Francis Lucas). He was 
 born at Mechlin in 1606, and received his 
 first instruction from his father, an artist 
 of no celebrity, but afterwards he became 
 the disciple of Gerard Seghers. He quit- 
 ted historical painting, however, for land- 
 scapes, with small figures, which he exe- 
 cuted with great correctness, and touched 
 with exceeding delicacy. The beauty and 
 merit of his paintings recommended him to 
 the favour of the Archduke Leopold, who 
 retained him in his service many years, so 
 that as Peters hardly painted for any one 
 else, his pictures are very scarce, and rarely 
 to be purchased. He died at IJrussels in 
 1654. 
 
 Peters (William). This ingenious 
 artist was a native of the west of England, 
 and after a liberal education became a 
 student of Exeter College, Oxford, where, 
 in 1788, he took the degree of bachelor of 
 civil law. Previously to this he studied 
 painting with great assiduity, and obtained 
 a place in the Royal Academy. But on 
 taking orders, he relinquished the pencil, 
 except by way of amusement, and to 
 oblige some particular friends. He paint- 
 ed historical subjects and portraits with 
 great credit; among the latter was a 
 whole-length of George the Fourth, when 
 Prince of Wales, for Freemasons' Plall, in 
 Great Queen Street, London. Several 
 engravings have been published from his 
 paintings, particularly one of the Soul of 
 an Infant carried to heaven by Angels. 
 Mr. Peters was presented by the late Duke 
 of Rutland, his patron, to a valuable living, 
 and the Bishop of Lincoln gave him a 
 prebendal stall in his cathedral. He died 
 at Brasted Place, in Kent, in April, 1814. 
 
 Peterzano (Simone). This artist was 
 born at Venice, and was the scholar of 
 Titian. In a picture of the Pieta, in the 
 church of St. Fidele, at Milan, he has thus 
 subscribed his name, Titiani Discipulus. 
 This was painted in 1590. One of his 
 finest performances is an Assumption, in 
 the Chiesa di Brera, at Milan ; and in 
 that of St. Barnabas he painted in fresco 
 some pictures of the history of St. Paul. 
 
 Pether (Abraham). This artist was 
 born at Chichester in 1756. He evinced 
 so remarkable a genius for music, that at 
 the age of nine years he actually played 
 the organ in one of the churches of his 
 
PET 
 
 410 
 
 PET 
 
 native city. Afterwards he took a turn 
 for painting, and obtained instructions 
 from George Smith. He excelled in 
 moonlight pieces, and his landscapes were 
 remarkable for sweetness and luxuriance ; 
 the colouring is transparent, and the dis- 
 tances well observed ; but he was not 
 happy in the management of his light and 
 shade, nor did he break his grounds with 
 judgment. Pether, besides his skill in 
 music and 'painting, was also a good 
 mechanic and mathematician. He im- 
 proved several optical instruments, and 
 occasionally read lectures in experimental 
 philosophy. He died, April 13, 1812. 
 There was also one William Pether, of 
 Chichester, who painted and engraved in 
 mezzotinto. Among others he painted 
 and scraped the portraits of the three 
 Smiths of Chichester. 
 
 Petitot (John). This celebrated pain- 
 ter in enamel was born in 1607 at Geneva, 
 where his father, who was a sculptor and 
 architect, after having passed part of his 
 life in Italy, settled in considerable credit. 
 The son was bred a jeweller; in which 
 business he applied to enamelling, and by 
 frequent employment acquired so fine a 
 taste, and such a precious tone of colour- 
 ing, that Bordier, who afterwards became 
 his brother-in-law, advised him to make 
 portraiture his sole study, thinking that 
 by so doing he might push his art in that 
 line to the height of perfection. He did 
 so; and though the two artists, who 
 wrought in conjunction, wanted several 
 colours to bear the fire, yet they succeeded 
 to admiration. While Petitot painted the 
 heads and hands, in which his colouring 
 was excellent, Bordier executed the hair, 
 draperies, and grounds. The two friends, 
 thus agreeing in their work and projects, 
 set out for Italy; where, during their long 
 stay, by frequenting the best chemists, 
 they improved themselves greatly in the 
 preparation of their colours ; but the com- 
 pletion of their success is to be ascribed 
 to a journey they afterwards made to 
 England. Here they became acquainted 
 with Sir Theodore Mayerne, physician 
 to Charles I., who was a great chemist, 
 and had, by his experiments, discovered 
 the principal colours to be used for enamel, 
 and the proper means of vitrifying them. 
 These by their beauty surpassed all the 
 enamelling of Venice and Limoges. Dr. 
 Mayerne not only imparted his discovery 
 to Petitot, but introduced him to the 
 king, who retained him in his service, and 
 gave him a lodging in Whitehall. Here 
 
 he painted several portraits after Vandyck, 
 in which he was guided by the personal 
 instructions of that excellent master. The 
 king, who had a fine taste for the arts, 
 often went to see him at work; and Petitot 
 painted the monarch and the whole royal 
 family several times. The distinguished 
 favour shown him by that prince was only 
 interrupted by his unhappy and tragical 
 end. This was a terrible stroke to Petitot, 
 who did not quit the royal family, but 
 followed them in their flight to Paris, 
 where he was regarded as one of their 
 faithful servants. During the four years 
 that Charles II. continued in France, he 
 visited Petitot, and often dined with him. 
 Hereby the name of the artist became 
 eminent, and all the court of France grew 
 fond of being painted in enamel. When 
 Charles returned to England, Louis XIV. 
 retained Petitot in his service, gave him a 
 pension, and a lodging in the gallery of 
 the Louvre. These new favours, added 
 to a considerable fortune he had already 
 acquired, encouraged him to marry in 
 1661. Bordier about the same time 
 married the sister of Petitot, and the 
 two families continued to live together 
 till the increase of each obliged them to 
 separate. Their friendship was founded 
 on harmony of sentiments and reciprocal 
 merit much more than interest. They 
 had gained, as a reward for their disco- 
 veries and labours, a million of livres, 
 which they divided at Paris ; and continued 
 friends without ever having a quarrel or 
 misunderstanding in the space of fifty 
 years. Petitot copied at Paris several 
 portraits of Mignard and Le Brim; yet 
 his talent did not consist only in imitating 
 a portrait exactly, for he also designed a 
 head perfectly after nature. To this he 
 also joined a softness and liveliness of 
 colouring which will ever render his works 
 valuable. He painted the portraits of 
 Louis XIV., Maria Anne of Austria, his 
 mother, and Maria Theresa, his wife, 
 several times. As he was a zealous pro- 
 testant, and full of apprehensions at the 
 revocation of the edict of Nantz in 1685, 
 he demanded the king's permission to re- 
 tire to Geneva; on which, Louis finding 
 him urgent, and fearing he would escape, 
 caused him to be arrested and sent to 
 Fort I'Eveque, where the Bishop of Meaux 
 was appointed to convert him ; but neither 
 the eloquence of Bossuet, nor the terrors 
 of a dungeon, could prevail. Petitot was 
 too well grounded in the principles of his 
 religion to be drawn aside; yet the con- 
 
PET 
 
 411 
 
 PFE 
 
 finement threw him into a fever, of which 
 the king being informed, ordered him to 
 be released; and he no sooner found him- 
 self at liberty, than he escaped with his 
 wife to Geneva, after a residence at Paris 
 of thirty-six years. His children, who 
 remained in that city, fearing the king's 
 resentment, threw themselves on his mer- 
 cy, and implored his protection. The 
 king received them favourably, and told 
 them he could forgive an old man the 
 whira of desiring to be buried with his 
 fathers. When Petitot returned to Ge- 
 neva, he cultivated his art with great 
 ardour. The King and Queen of Poland, 
 desirous to have their pictures copied by 
 him, sent the originals to Paris, believing 
 him to be there; and the gentleman who 
 was charged with the commission went on 
 to Geneva. The queen was represented 
 on a trophy holding the king's picture. 
 As there were two heads in the same piece, 
 they gave Petitot a hundred louis-d'ors ; 
 and he executed it, though then above 
 eighty, as well as if he had been in the 
 flower of his age. The concourse of his 
 friends, and the resort of the curious who 
 came to see him, was so great, that he was 
 obliged to quit Geneva, and retire to Vevay, 
 in the canton of Berne, where he worked 
 in quiet. He was about the picture of his 
 wife, when a distemper carried him off in 
 one day, in 1691. His life was always 
 exemplary, and his end was the same. lie 
 had seventeen children by his marriage; 
 of whom only one of his sons, John, applied 
 himself to painting, who settled in London ; 
 but though his works possess merit, they 
 are not equal to those of his father. He 
 died many years- ago, and his family re- 
 moved to Dublin. The elder Petitot may 
 be called the inventor of painting in ena- 
 mel ; for though Bordier, his brother-in- 
 law, made several attempts before him, 
 and Sir Theodore Mayerne had facilitated 
 the means of employing the most beautiful 
 colours, it was left for Petitot to complete 
 the work ; which, under his hand, acquired 
 such a degree of perfection, as to surpass 
 miniature, and even equal painting in oil. 
 He made use of gold and silver plates, and 
 rarely enamelled on copper. When he 
 first came in vogue, his price was twenty 
 louis a head, which he soon raised to forty. 
 His custom was, to carry a painter with 
 him, who painted the picture in oil ; after 
 which Petitot sketched out his work, which 
 he always finished after the life. When 
 he painted the King of France, he took 
 those pictures that most resembled him 
 
 for his patterns ; and the king afterwards 
 gave him a sitting or two to finish his 
 works. He laboured with great assiduity, 
 and never laid down his pencil but with 
 reluctance, saying that he always found 
 new beauties in his art to charm him. 
 Bordler's fame is swallowed up in that of 
 his colleague, and the only separate work 
 known of his is a painting of the Battle 
 of Naseby, which he executed by order of 
 the Long Parliament, to be presented to 
 their general, Fairfax. 
 
 Pktrazzi (Astoi.pho). This artist was 
 born at Siena, and studied under Fran- 
 cesco Vanni. Among his numerous works, 
 the principal is the Communion of St. 
 Jerome, in the church of the Augustines, 
 at Siena. He excelled in painting chil- 
 dren, and in four pictures of the Seasons 
 he has grouped these interesting objects 
 in a very pleasing manner. Hedied i n 1 665 . 
 
 Peuteman (Peter), He was born at 
 Rotterdam in 1650, and was a good painter 
 of inanimate objects ; but the most memor- 
 able particular relative to him was the 
 incident which occasioned his death. Be- 
 ing requested to paint an emblematical 
 picture of mortality, representing human 
 skulls and bones, surrounded with rich 
 gems, and musical instruments, to express 
 the vanity of this world ; that he might 
 perform his work with the greater exact- 
 ness, he went into an anatomical lecture- 
 room, where several skeletons hung by 
 wires from the ceiling, and bones, skulls, 
 &c., lay scattered on the floor. While 
 thus employed, either through fatigue or 
 study he fell asleep, but was suddenly 
 roused by a shock of an earthquake, on the 
 18th of September, 1692. The moment 
 he awoke, he observed the skeletons move 
 about in different directions, while the 
 loose skulls rolled from one side of the 
 room to the other; and, being totally 
 ignorant of the cause, he was struck with 
 such a horror, that he threw himself down- 
 stairs, and ran into the street half dead. 
 His friends endeavoured to eSkce the 
 impression made on his mind, by acquaint- 
 ing him with the real cause of the agitation 
 of the skeletons ; yet the transaction af- 
 fected his spirits in so violent a manner 
 that it brought on a disorder, which soon 
 ended his days. His general subjects were 
 allegorical or emblematical allusions to the 
 shortness and misery of human life. 
 
 Pfenniger (Henry). This artist was 
 born at Zurich in Switzerland, in 1749, 
 and studied painting under John Balthasar 
 Buliinger, after which he removed to Dres- 
 
PIA 4 
 
 den, where he improved himself by at- 
 tending the electoral gallery. Rembrandt 
 and Vaudyck were his models, and by 
 diligent application he became a distin- 
 guished painter of portraits. He was also 
 eminent as an engraver, in which capacity 
 he etched several portraits and views in 
 Switzerland ; but his chief employment 
 was in designing and engraving the plates 
 for Lavater's Physiognomy. He died 
 about 1809. 
 
 Phillips (Thomas), a portrait painter 
 of high reputation, was born at Dudley 
 in Warwickshire, on the 18th of October, 
 1770. At an early age, he was placed 
 with Mr. Edgington, of Birmingham, to 
 learn the art of painting on glass. In 
 1790, he came to London, with a letter of 
 introduction to Mr. West, and from 
 him obtained employment on the glass 
 painting in St. George's chapel, at Wind- 
 sor. In 1792, he began to exhibit histo- 
 rical pictures at Somerset House. About 
 the year 1796, he directed his attention 
 towards portrait painting, in which he 
 was so successful that he devoted himself 
 almost wholly to that branch of the art. 
 In 1808, he became a member of the 
 Royal Academy, and in 1 824 he succeeded 
 Fuseli in the professorship. He deliver- 
 ed ten lectures, which were subsequently 
 published. He also wrote several articles 
 on painting in Rees' Cyclopaedia. He 
 died April 20, 1845. 
 
 PiAGGiA. (Teramo). This painter 
 was born at Zoagli, in the territory of 
 Genoa, and had Lodovico Brea for his in- 
 structor. He afterwards painted, in con- 
 nexion with Antonio Semini, several 
 pictures for the churches of Genoa, par- 
 ticularly one of the Martyrdom of St. 
 Andrew, which has been deservedly ad- 
 mired for the elegance of the design and 
 the sweetness of the colouring. He flour- 
 ished about 1550. 
 
 PiATTi (Francesco). He was born at 
 Teggio, in the Valteline, in 1650; but it 
 is not known who was his instructor. 
 He painted many altar-pieces for the 
 churches, and also pictures for the con- 
 vents of his neighbourhood. One of his 
 principal pieces is a Cleopatra, in a pri- 
 vate gallery at Delebio. 
 
 Piazza (Calisto). He was born at 
 Lodi, and lived about the year 1560, 
 being one of the best disciples of the 
 school of Titian, several of his works 
 having been mistaken for those of his 
 master. Of these the chief are, the Passion; 
 the History of the Baptist ; and the Life 
 
 [2 PIC 
 
 of the Virgin, at Lodi. But he attempted 
 also the style of Giorgione, a proof of 
 which appears in his picture of the 
 Virgin and Child with a group of 
 Saints, in the Franciscan church at 
 Brescia. Another remarkable performance 
 of this painter is the Marriage at Cana, in 
 the refectory of the Cistertian convent at 
 Milan, painted in 1545 ; and in the mon- 
 astery of St. Maurice, in the same city, 
 are two pictures by him, representing the 
 Wise Men's Offerings, and the Bap- 
 tism of Christ : these were executed in 
 1556, but the year of his death is not re- 
 corded. 
 
 Piazza (Padbe PAOiiO Cosxmo). He 
 was born at Castel Franco in 1557, and 
 studied under the younger Palma, whose 
 style, however, he did not follow, but 
 adopted one of his own, which, though 
 deficient in strength, was pleasing and 
 sweet. After leaving his master, he 
 turned capuchin, and took the name of 
 Padre Cosimo, but still continued to ex- 
 ercise his powers as a painter at Rome, 
 Vienna, and Venice, for the pope, the empe- 
 ror, and the doge. He died in the latter city, 
 in 1621. One of his principal works is a 
 Descent from the Cross, in the Campi- 
 doglio at Rome ; and in the Palazzo Bor- 
 ghese he painted the history of Antony 
 and Cleopatra. 
 
 Piazza (Cavaliere Andbea). This 
 artist was the nephew and scholar of 
 Padre Cosimo, whom he accompanied to 
 Rome, where he applied to his studies, 
 after the works of the great masters, with 
 unwearied ardour. The Duke of Lor- 
 raine became his patron, and conferred on 
 him the honour of knighthood; but after 
 residing at that court some years, he went 
 to Venice, where he died in 1670. He 
 painted a picture of the Marriage at Cana, 
 which is his best work. 
 
 PiAzzETTA (Giovanni Battista). This 
 artist was born at Venice in 1682. His 
 father, a sculptor in wood, taught him the 
 principles of design, but afterwards he 
 became a scholar of Molinari ; and, on 
 visiting Bologna, he adopted the style of 
 Guercino. One of his finest pictures is 
 the Beheading of St. John the Baptist, at 
 Padua. He died at Venice in 1754. 
 
 PiccioNi (Matted). This artist was 
 born at Ancona about 1630, and in 1665 
 became a member of the academy of St. 
 Luke, at Rome. He painted historical 
 subjects, but is chiefly known by his en- 
 gravings after the works of great masters, 
 such as Raffaelle and Paolo Veronese. 
 
PIE 
 
 413 
 
 Pjella (Fkancesco Aktonio). This 
 painter was born at Bologna in 1661. 1 
 He excelled in landscapes and the repre- j 
 sentation of seaports. He died in 1719. 
 
 PiEMONT (Njcholas). This Dutch ar- 
 tist was born at Amsterdam in 1659, and 
 studied successively under Martin Sag- 
 molen and Nicholas Molenaer, after which 
 he travelled to Italy, and there became 
 eminent for his talent in painting land- 
 scapes. After a long stay in Rome, he 
 returned to his native country, and ac- 
 quired a great reputation by his views, 
 which were mostly taken from the scenery 
 of Italy, and much resembled the pictures 
 of John Both. He died in 1709. 
 
 PiEKCE (Edwakd). This English pain- 
 ter flourished in the time of the civil wars, 
 but survived the Restoration, and was then 
 employed in repairing the ravages com- 
 mitted on the altars of the churches by the 
 Puritans. But unfortunately most of his 
 works in this line perished in the great 
 fireof London, inl666. He also excelled in 
 landscape and architectural pieces. Lord 
 Orford says that he etched eight plates 
 of frieze work, published in 1640. 
 
 PiEREE (John Baptist Maria). This 
 French painter was born at Paris in 1715. 
 It is not stated who was his instructor ; 
 but when young he went to Rome, where 
 he studied some years, and on his return 
 to France became eminent for his talent 
 in history. One of his finest pieces is a 
 picture of St. Nicholas and St. Francis, 
 in the church of St. Sulpice. He became 
 a member of the Parisian academy, and 
 principal painter to tlie king. He died in 
 1789. Pierre also produced some spirited 
 etchings from his own designs and those 
 of others. 
 
 PiERi (Stefaxo). He was born at Flo- 
 rence, and studied under Battista Naldini. 
 On going to Rome he found a patron in 
 Cardinal Alessandro Medici, for whom he 
 painted some pictures of the Apostles, and 
 the Annunciation, in the church of St. 
 Prassede. In that of St, Maria in Via is 
 also a fine work by him, of the Assump- 
 tion of the Virgin ; and in the Palazzo 
 Pitti, at Florence, is a Sacrifice of 
 Isaac. 
 
 PiERSON (Christopher), He was born 
 at the Hague in 1631, and studied under 
 Bartholomew Meyburg, with whom he 
 travelled to Germany: in his return, 
 happening to visit the Swedish camp, he 
 was engaged by General Wrangel to paint 
 his portrait, and those of the principal 
 officers of the army. These performances 
 
 were so much admired for the resem- 
 blance, clearness of colouring, relief, and 
 neatness of pencilling, that the general 
 endeavoured to prevail on him to go to 
 the court of Sweden, where he was assured 
 of being appointed principal painter ; but 
 he declined that honour, out of a desire to 
 return to his own country. He employed 
 himself some years in painting historical 
 subjects and portraits, for which he found 
 a constant demand at Gouda ; but having 
 observed that the pictures of Leemans, 
 representing the utensils used in hunting, 
 and other rural amusements, such as guns, 
 nets, bird-calls, pouches, powder-horns, 
 &c.,were exceedingly admired, he applied 
 himself entirely to that manner, and with 
 such success that he has never been 
 equalled. These subjects he usually paint- 
 ed on a white ground, and gave them so 
 just a degree of light and shadow, that 
 every object seemed to project from the 
 canvass. He accustomed himself to study 
 after nature, and in historical composition 
 showed a good taste : his colouring was 
 agreeable and natural, his pencil delicate, 
 and he grouped his objects of still life 
 with singular judgment. Those objects 
 indeed were but low, yet they had abun- 
 dance of merit for their fidelity, and the 
 striking effect produced by his masses of 
 light and shadow. The latter works of 
 Pierson were superior to those of his 
 earlier time, and he continued to paint 
 equally well till the last year of a very 
 long life. He died in 1714. 
 
 Pjeters (Peter). This artist was the 
 son of Peter Aertsen, commonly called 
 Peter the Long, and was born at Ilaerlem 
 in 1541. Under the instruction of his 
 father he became a good painter of portrait 
 at Amsterdam, where he died in 1603. 
 He had two brothers, Arnold and Dirck, 
 who excelled in the same branch of the 
 profession. The first died at Amsterdam 
 in 1614, and the latter at Fontainebleau 
 in 1602. 
 
 Pieters (John). This painter was 
 born at Antwerp in 1667, and, after 
 studying under Peter Eykens, came to 
 England, where he met with much en- 
 couragement in history and portrait. He 
 excelled in copying the works of Rubens, 
 and was employed by Kneller to paint 
 his draperies and backgrounds. He died 
 in London in 1727. 
 
 I PiETKi (Pietroda). According to the 
 ' testimony of some writers, this painter was 
 born at Rome in 1665, but other accounts 
 I make him a native of Premia, in the state 
 
PIL 
 
 PIN 
 
 of Novara, while some again say that he 
 was born in Spanish Navarre in 1663. 
 Be this as it may, he went to Rome early 
 in life, and became successively the pupil 
 of Ghezzi, Massarotti, and Carlo Maratti. 
 He painted in the style of the latter, but 
 not with an equal degree of beauty in re- 
 gard to colouring, nor with so exquisite a 
 pencil : he proved, however, a very good 
 designer, and sometimes gave an amiable 
 and graceful air to his figures. He be- 
 came an excellent copyist of the works of 
 Raffaelle and other great masters ; nor are 
 his own paintings devoid of merit. He 
 died at Rome, according to one account, 
 in 1708, and to another, in 1716. 
 
 PiGNONE (Simone). Hc was bom at 
 Florence in 1612, and at first was in- 
 structed by Fabrizio Boschi, whose school 
 he quitted to become a pupil of Passignano, 
 but afterwards he studied under Francesco 
 Furini, whose manner he closely imitated. 
 This was extreraelj' indiscreet; for the 
 peculiar turn of Furini consisted in design- 
 ing naked figures, in doing which he was 
 too often guilty of licentiousness. Pignone 
 next went to Venice, and there studied 
 with great assiduity the colouring of 
 Titian, Albano, and Guido, in their naked 
 figures, which best suited his own fancy; 
 but he determined principally to imitate 
 the tender and lovely manner of the latter. 
 However, after his return to Florence, he 
 altered the tone which he had assumed at 
 Venice, and, by a judicious mixture of 
 ultramarine, rendered his carnations more 
 delicate and beautiful, so that his works 
 were universally admired for the charming 
 forms of the figures, excellent disposition, 
 and admirable colouring. The best of his 
 large pictures are, St. Michael defeating 
 the Rebel Angels, and St. Luigi distri- 
 buting his Riches to the Poor. These are 
 in the churches of the Nunziata and St. 
 Felicita, at Florence. But his most ad- 
 mired ones are sacred subjects, of a small 
 size, in the cabinets of the principal 
 nobility. Pignone died in 1698, very 
 penitent, and lamenting much the prosti- 
 tution of his pencil to indecent subjects. 
 
 Piles (Roger de), better khown as a 
 writer on art than as an artist, though 
 not unworthy of notice in the latter 
 capacity, was born in 1635 at Clameci, in 
 France. He was tutor to the son ofi 
 President Amelot, and afterwards ac- j 
 companied him as secretary in several ! 
 embassies. He died in 1709. He was a j 
 master of the chiaro-oscuro, had a good j 
 taste in colouring, and possessed a re- [ 
 
 markable talent for imitation. Rubens 
 was his pictorial idol. Of his portraits 
 the best are said to be those of Boileau 
 and Madame Dacier. His Lives of the 
 Painters, and works on painting, are well 
 known. 
 
 PiLLEMENT (John). Of this Frcnch 
 artist nothing more is known than that he 
 came to London after the peace of 1763, 
 and painted several landscapes in a glaring 
 style. He succeeded better in his water- 
 colour drawings of the same subjects, and 
 in his etchings of flowers, which possess 
 merit. 
 
 PiLOTTo (GiHOLAMo). He was born 
 at Venice, and lived about the year 1600. 
 The younger Palma was his instructor, 
 and he proved a close imitator of his style. 
 Among his performances, one of the best 
 is a painting of St. Biagio celebrating 
 mass at Rovigo, and there is another ad- 
 mired picture of his in the ducal palace 
 at Venice, representing the ceremony of 
 the Marriage of the Adriatic. 
 
 PiNAGiER (Thomas). Of this French 
 artist we know nothing more than that he 
 was born at Paris in 1616, and died there 
 in 1653, He is said to have been a good 
 painter of landscapes. 
 
 Pin AS (John). He was bom at Haerlera 
 about 1597, and in his native city learned 
 the first rudiments of the art of painting; 
 afterwards he travelled to Italy, and 
 studied there several years with Peter 
 Lastman. On his return to his native 
 country, he became eminent as a painter 
 of history, portrait, and landscape. His 
 style of colouring was strong, but rather 
 inclining too much to the deep brown or 
 blackish tint, in which manner he had many 
 admirers, and some imagine that even Rem- 
 brandt in that respect imitated the style 
 of Pinas. An extraordinary fine picture, 
 by this artist, is the History of Joseph 
 sold by his Brethren, which is highly 
 commended, as well for its design as for 
 its general good effect. He died in 1660. 
 
 Pinas (Jacques). He was the brother 
 of John Pinas, and was born at Haerlera 
 in 1599. As he had not the opportunity 
 of improving himself by visiting Italy, he 
 w^as in no degree equal to John ; but, after 
 the return of his brother, he received con- 
 siderable advantage from his directions ; 
 and his works, particularly his landscapes, 
 were much valued. He died at Amster- 
 dam in 1659. 
 
 Pine (Robert Edge). This painter 
 was the son of John Pine, an eminent 
 engraver, who died in 1756. Robert was 
 
PIN 
 
 415 
 
 PIO 
 
 born in London in 1742, and received his 
 instructions from his father. In 1760 he 
 gained the prize, given by the Society of 
 Arts, of one hundred guineas, for the best 
 historic picture on the subject of the Siege 
 of Calais ; and he was equally successful 
 in 1762. After this he followed portrait 
 painting at Bath, where he was much 
 employed. Among others whom he paint- 
 ed was a whole-length of Dr. Oswald, 
 bishop of Kaphoe, which did him great 
 credit. In 1782, he exhibited a set of j 
 pictures, the subjects of which were taken 
 from Shakspeare, Afterwards he went , 
 to America, where he died in 1790. I 
 
 Pineda (Antonio Perez de). This ; 
 Spanish artist was born at Seville about | 
 1640. He had Murillo for his instructor, 
 and imitated his style with great ability. I 
 Most of his works are in the churches and I 
 monasteries of his native city, where he | 
 died about 1710. 
 
 PiNELLi (Antonia). This ingenious 
 lady was born at Bologna, and obtained 
 the knowledge which she possessed of the 
 art of painting from Lodovico Caracci, to 
 whose style she adhered. Her principal 
 performances are, the Guardian Angel, 
 in the church of St. Tommaso ; St. Philip 
 and St. James, in the church dedicated to 
 those saints ; and St. John the Evangelist, 
 in tliat of the Annunziata at Bologna. 
 She died in that city in 1640. 
 
 Pino (Marco da). This Italian artist 
 was born at Siena about 1520, and had 
 first Domenico Beccafumi for his in- 
 structor; but afterwards he became suc- 
 cessively the scholar of Volterra and 
 Baldassare Peruzzi. He next went to 
 Rome, where he obtained instruction from 
 Buonarroti, and in that city painted some 
 valuable pictures, the best of which was a 
 Dead Christ, in the Church of St. Maria 
 di Ara Coeli. After this he visited 
 Naples, where he painted a great number 
 of pieces for the churches, among which 
 are mentioned with applause a Descent 
 from the Cross ; an Annunciation ; an 
 Assumption ; and the Wise Men's Offer- 
 ing. He died there in 1587. 
 
 PiNTURiccuio (Bernardino). He was 
 born at Perugia in 1454, and was a dis- 
 ciple of Pietro Perugino, who employed 
 him on many occasions as his assistant. He 
 principally painted history and grotesque, 
 but he also excelled in portraits, which he 
 designed well, and coloured with great 
 liveliness and nature. Among his best 
 portraits are those of the Popes Pius II. 
 and Innocent VIII., Giulia Farnese, 
 
 Ceesar Borgia, and Queen Isabella of 
 Spain. He executed numerous works at 
 Rome, and other cities of Italy, and was 
 much employed ; though his manner was 
 singular, in bestowing extraordinary care 
 on the high finishing of his pictures, and 
 endeavouring to add an unusual splendour 
 to them, by introducing a richness of 
 gilding in several parts, blended with 
 ornaments of architecture in relievo, quite 
 unsuitable to the true taste of elegant 
 simplicity in a picture. The most memor- 
 able performance of Pinturicchio is the 
 history of Pope Pius II., painted in ten 
 compartments in the library at Siena. 
 In this undertaking Raffaelle, who was 
 then very young, assisted him in sketching 
 many parts of the composition , and making 
 cartoons of the most material incidents of 
 the history. The last work in which he 
 was engaged was a Nativity, for the 
 monastery of St. Francis, at Siena; and 
 the monks being desirous to accommodate 
 him in the best manner, appropriated a 
 chamber to his particular use, where he 
 might work without interruption. But, as 
 Pinturicchio was naturally of a peevish 
 and impetuous temper, he insisted that 
 every thingshould be cleared. The monks, 
 to gratify him, removed all the furniture 
 as expeditiously as possible, except a large 
 old chest, almost decayed by time, which 
 could not be moved from the spot without 
 being broken in pieces. The painter, 
 however, being positive for its removal, 
 the monks went to work, when there fell 
 out five hundred ducats, which had been 
 secreted in the chest many years. Some 
 say it was a suit of old rusty armour in 
 which the money was concealed ; but this 
 is improbable. If the discovery proved 
 an inexpressible joy to the monks, it was 
 an equal mortification to the artist, who, 
 thinking that he had lost the treasure by 
 his obstinacy, became so depressed in his 
 spirits that it occasioned his death in 
 1513. 
 
 PioLA (Pellegro). This artist was 
 born at Genoa in 1617, but it is not 
 known who was his master. His talents, 
 however, were of the first order, and a 
 Madonna, painted by him, was ascribed 
 to Andrea del Sarto, while another 
 picture, representing St. Ehgio, has been 
 mistaken for the work of Lodovico Caracci. 
 He was murdered by a rival painter in 
 1640. 
 
 PiOLA (Domenico). He was the 
 younger brother of the preceding, and 
 was born at Genoa in 1628. He learned 
 
PIO 
 
 416 
 
 PIP 
 
 the elements of painting from Pellegro, 
 after whose death he became the scholar 
 of Giovanni Domenico Capellini. On 
 leaving: that master, he associated himself 
 with Valerio Castelli in painting some 
 historical works for the public buildings 
 at Genoa. He adopted the style of Pietro 
 da Cortona, and was felicitous in painting 
 children. One of his best works is the 
 Healing of the Lame Man by St. Peter, 
 and it is deemed little inferior to a picture 
 of the same subject by Guercino. He 
 died in 1703. 
 
 PiOMBo (Sebastian del), called also 
 Veneziano. He was born at Venice in 
 1485, and at first was bred to music ; but 
 having a stronger inclination to painting, 
 he learned the rudiments of the art from 
 Giovanni Bellini ; and afterwards became 
 the disciple of Giorgione, whose beautiful 
 style of colouring he carefully studied, 
 and imitated with the greatest success. 
 His first attempts were in portrait ; and 
 the approbation he received afforded him 
 so much encouragement that he arrived 
 at the utmost perfection in that branch of 
 painting. His pictures were not only 
 admired for their strong resemblance, but 
 also for the sweetness of the manner of 
 colouring, and the roundness and bold 
 relief of the figures ; in all which parts he 
 so happily imitated Giorgione, that several 
 of his portraits were mistaken for those of 
 his master. Nor could any artist be more 
 celebrated than he was for the portrait of 
 Giulia Gonzaga, the favourite mistress of 
 Cardinal Hippolito de' Medici, which was 
 called a divine performance. No master 
 of his time had greater excellence in 
 designing the heads and hands of his 
 figures, and his draperies were natural 
 and exquisitely finished. Agostino Chighi, 
 a rich merchant of Siena, who traded at 
 Venice, persuaded Sebastian to accompany 
 him to Rome, where he found a new scene 
 to display his talents : and as his style 
 was soft and delicate, like that of Gior- 
 gione, and very different in many respects 
 from that which was usually practised by 
 the eminent artists of that city, his works, 
 as well in fresco as in oil, were exceed- 
 ingly admired. He distinguished himself 
 equally in history and portrait, and was 
 allowed to have an exceeding good manner 
 of designing, with great grace in his airs 
 and attitudes. His reputation was much 
 advanced by the friendship of Michel 
 Angelo Buonarroti, who favoured him on 
 all occasions, preferring him before all 
 the disciples of Raffaelle, and zealously 
 
 advanced his interest. As Raffaelle had 
 painted the celebrated picture of the 
 Transfiguration, which was placed as an 
 altar-piece in the church of St. Peter at 
 Montorio, Michel Angelo, out of envy, 
 advised Sebastian to paint, in the same 
 church, a grand composition of the Resur- 
 rection of Lazarus, to stand in competition 
 with it. When the work was finished, for 
 which Michel Angelo furnished the de- 
 sign, the abilities of Sebastian were con- 
 fessed by the best judges; and though the 
 wonderful composition of the Trans- 
 figuration was accounted inimitable for 
 design, expression, and grace, yet the 
 work of Piombo was exceedingly admired. 
 This picture afterwards became aprincipal 
 ornament of the Orleans collection. 
 Piombo lived in great esteem with Clement 
 VIII., whose portrait he drew with an 
 amazing resemblance ; and he also painted 
 the famous satirist Aretin, in an equal 
 degree of perfection. That portrait was 
 afterwards placed in the council chamber 
 of Arezzo, not only as an honour to the poet, 
 but to the city which produced such a 
 genius. But none of the pictures of this 
 master obtained greater encomiums than his 
 Martyrdom of St. Agatha, which he paint- 
 ed for the cardinal of Arragon. It was 
 beautifully designed, charmingly coloured, 
 and admirably finished ; and accounted in 
 no respect inferior to the best works of 
 Raffaelle, Titian, or other great masters. 
 The pope rewarded him with a valuable 
 benefice, and appointed him keeper of the 
 seal of his chancery, on which occasion 
 he received the name of Del Piombo, 
 having before been called Veneziano. 
 After the death of Raffaelle he was con- 
 sidered the first painter in Rome, where 
 he died in 1547. He was the inventor of 
 the art of painting upon walls with oil, 
 which he performed by a plaster com- 
 posed of lime, pitch, and mastic. In the 
 Angerstein collection, now the National 
 Gallery, is a fine picture by Piombo, the 
 subject of which is, the Raising of 
 Lazarus. 
 
 Piper (Francis i.e). This comic 
 painter was the eldest son of a Kentish 
 gentleman, but descended from a Wal- 
 loon family. His father, having a good 
 estate, gave his son a liberal education, 
 and would have had him bred a scholar or 
 a merchant ; but his genius leading him 
 wholly to designing, he could not fix to 
 any particular business. Drawing took 
 up all his time, and, being of a gay 
 humour, his manner partook of it. He 
 
PIP 
 
 417 
 
 PIS 
 
 delighted in sketching ugly faces, and had 
 a talent so particular for it, that he could, 
 by a transient view of any remarkable 
 countenance he met in the street, retain 
 the likeness so exactly in his memory, 
 that it might be supposed the person had 
 sat several times for the picture. It was 
 said of him that he would steal a face, 
 and a man who was not handsome enough 
 to desire to see his picture, sat in danger 
 in his company. He had a singular fancy 
 in his travels ; for he would often go away 
 without letting his friends know of his 
 departure, and make the tour of France 
 and the Netherlands on foot, and once 
 his frolic carried him as far as Grand 
 Cairo. He never advertised his friends of 
 his return any more than he did of his 
 absence, delighting to baffle their con- 
 jectures, or tantalize their feelings. In 
 this manner he travelled, at several times, 
 through Italy, France, Germany, the 
 Netherlands, and Holland, in all which 
 countries he examined the works of the 
 several painters, and formed to himself a 
 manner of design which no man, in that 
 kind, ever excelled. Having a good 
 fortune of his own, and being generous, 
 he would never take any thing for his 
 pictures. He drew them commonly over 
 a bottle, which he loved so well, that he 
 spent great part of his hours in a tavern. 
 This was the occasion that some of his 
 best pictures were to be found in those 
 houses, particularly at the Mitre, in 
 Stock's-market, where there was a room 
 called the Amsterdam, adorned with his 
 pictures in black and white. The room 
 took its name from his drawings, which, 
 representing a Jesuit, a Quaker, and other 
 preachers of most sects, was called the 
 Amsterdam, as containing an image of 
 almost as many religions as were professed 
 in that city. He drew also other pieces 
 of humour for a Mr. Shepherd, at the 
 Bell, in Westminster, which Mr. Holmes, 
 of the Mitre, purchased, to make his col- 
 lection of this inaster's productions the 
 more complete, as the benefit of showing 
 them was not a little advantageous to his 
 house. Piper drew also a piece, repre- 
 senting a constable with his myrmidons, 
 in very natural and ludicrous postures. 
 He seldom designed after the life, and 
 neglected colouring; yet he sometimes, 
 though very rarely, coloured some of his 
 performances, and is said not to have been 
 unsuccessful in it. He was a great ad- 
 mirer and imitator of Agostino Caracci, 
 Rembrandt, and Heemskirk, and was 
 
 always in raptures when he spoke of 
 Titian's colouring. He drew the pictures 
 of several of his friends in black and 
 white, and maintained a character of truth, 
 which showed that if he had bestowed 
 time to perfect himself in colouring, he 
 would have rivalled the best portrait 
 painters of his time. He drew some 
 designs for Mr. Isaac Becket, who 
 copied them in mezzotinto. These were 
 generally done at a tavern ; and, when- 
 ever he pleased, he could draw enough in 
 half an hour to furnish a week's work 
 for the engraver. His invention was 
 fruitful, and his drawing bold and free. 
 He understood landscape painting and 
 performed it to perfection, being a great 
 master of perspective. In designing his 
 landscapes, he had a manner peculiar to 
 himself. He always carried an oblong 
 book about with him, which, when he had 
 a mind to draw, he opened, and looking 
 through it, made the lower corner of the 
 middle of the book his point of sight, by 
 which, when he had formed his view, he 
 directed his perspective, and finished his 
 picture. His hand was ready, his strokes 
 bold, and, in his etching, short. He 
 etched several things himself, generally 
 on oval silver plates, for his friends, who 
 being most of them as hearty lovers of 
 the bottle as himself, put glasses over 
 them, and made lids of them for their 
 tobacco-boxes. He drew several of the 
 grand seignors' heads for Sir Paul Rycaut's 
 History of the Turks, which were en- 
 graved by Elder. In the latter part of 
 his life he applied himself to the modelling 
 of wax in basso-relievo ; in which manner 
 he did abundance of things with good 
 success. Some time before his death, 
 another estate fell to him by the decease 
 of his mother ; when, giving himself new 
 liberty on this enlargement of his fortune, 
 he fell into a fever, and, employing a 
 surgeon to let him blood, the man un- 
 luckily pricked an artery, which proved 
 mortal; especially as Piper was very 
 corpulent. He died in Aldermanbury, 
 London, about 1740. 
 
 PiSANEiLO (Vittore). This old artist 
 was a native of St. Vito, in the princi- 
 pality of Verona, and is said by some to 
 have been the scholar of Andrea del Cas- 
 tagno ; but with little probability. Most 
 of his works have fallen a prey to the 
 ravages of time, but in the sacristy of the 
 convent of St. Francesco, at Perugia, are 
 some small pictures by him of the life of 
 St. Bernardino, highly finished, though 
 2e 
 
PLO 
 
 designed in the gothic manner of his age. 
 He lived about 1480. 
 
 PiSTOJA (Leoxabdo iia). This pain- 
 ter whose real name was Grazia, was a 
 native of Pistoja, and the scholar of 
 Giovanni Francesco Penni, called II Fat- 
 tore. He painted historical subjects and 
 portraits, but chiefly the latter. One of 
 his principal performances is an Annuncia- 
 tion, in a church at Lucca. 
 
 PisTOJESE (Fra Paolo). This painter 
 who was a monk, and a native of Pistoja, 
 flourished about the year 1530. He 
 RtudiedunderFraBartolomeodi St. Marco, 
 who left him the principal part of his de- 
 signs, and made him promise to finish the 
 works which he had begun. Fra Paolo 
 executed his engagement, and painted also 
 some pictures for the church of St. 
 Domenic, at Pistoja. 
 
 PiTTONi (GiovANKi Battista). Hcwas 
 born at Vicenza in 1690, and was in- 
 structed by his uncle, Francesco Pittoni, 
 after which he studied at Venice, and 
 thereby became an admirable colourist 
 and a correct designer. His invention 
 was good, and his compositions ingenious, 
 but his figures are diminutive, and far from 
 elegant. His principal performances are, 
 the Death of St. Thomas, in the church 
 of St. Eustace, at Venice ; and the Miracle 
 of the Loaves, at St. Cosmo dellaGuidecca. 
 He also etched some spirited prints. He 
 died at Venice in 1767. 
 
 Plaas (Uavjd Vandee). He was born 
 at Amsterdam in 1647, and had a manner 
 of painting peculiar to himself. He spent 
 several years in Italy, where he studied 
 Titian, whose works'he made his model ; 
 and in his style seemed desirous to imitate 
 the effect produced by the colouring of 
 that eminent artist, though he attempted 
 it by a different manner of pencilling, for 
 he laid on his colours with a strong body, 
 and by a proper skill in the chiaro-oscuro 
 his lights and shadows were so placed as 
 to produce a lively and natural effect, 
 without breaking the masses, or scumb- 
 ling his colours together. That method 
 not only gave more force to his figures, 
 but it also preserved his colours from 
 fading, and gave them a lasting beauty. 
 Though his pictures cannot admit of a 
 near inspection, yet, when viewed at a com- 
 petent distance, they have the appearance 
 of life and nature. One of his most capital 
 performances is the portrait of Admiral 
 Van Tromp : in which is a fine expression of 
 fortitude, spirit, fire, and resolute boldness. 
 Vander Plaas died at Amsterdam in 1704. 
 
 Plaas (Petek Vander). This artist 
 was born in Holland about 1570; but he 
 resided most part of his life at Brussels, 
 where he painted historical subjects with 
 great reputation, and died there in 1626. 
 
 Place (Francis). Thisamateurartist 
 was born of a good family at Dimsdale, 
 in the county of Durham. He was arti- 
 cled to a solicitor in London, with whom 
 he continued till the year 1665,when the 
 great plague obliging him to leave the 
 capital, he at the same time quitted the 
 law to indulge his inclination for the arts, 
 which he followed at York till his death, 
 in 1728. He practised painting, designing, 
 etching, and engraving in mezzotinto. 
 As a painter he excelled in landscape, and 
 the representation of fowls, flowers, and 
 fish. Charles II. offered hira a pension 
 of five hundred a year, to draw pictures of 
 the royal navy; but he declined the flat- 
 tering proposal, because he could not bear 
 confinement. His plates are mostly por- 
 traits and views, which last are much 
 valued. 
 
 PL.VTTEN, or Plattenburg (Matthew 
 Van). He was born at Antwerp in 1600, 
 and in that city learned the principles of 
 design and colouring; after which he 
 visited Italy, to improve his taste, by 
 studying nature, and observing the works 
 of the best masters. He resided for a 
 long time at Florence, with John Asselyn, 
 called Crabhatje, and the two artists paint- 
 ed in conjunction several landscapes and 
 sea-pieces. Van Flatten excelled in de- 
 scribing calms at sea, and the reflections 
 of bodies on a transparent surface, and he 
 was equally happy in representing tempests 
 on land or water: but in his land storms 
 especially, the skies, clouds, and trees 
 were wonderfully expressive of true nature. 
 His landscapes are remarkable for their 
 lovely situations, perspective truth, the 
 beauty of the distances, elegant pieces of 
 architecture, and colouring, which last 
 was extremely pleasing. On visiting 
 Paris, he altered his name to Montagne, 
 and so inscribed his pictures, and those 
 prints which he etched in a spirited style. 
 
 Pl^ATTENBURG (NICHOLAS Van). He 
 
 was the son of the foregoing artist, and 
 was born at Paris in 1631. He became 
 the scholar of Philip Champagne, and 
 distinguished himself both in history and 
 portrait. In 1681 he became a member 
 of the academy at Paris, where he died in 
 1706. He also engraved several prints. 
 
 Plott (John). This painter was born 
 at Winchester in 1732. He was bred to 
 
POE 
 
 419 
 
 POE 
 
 the profession of the law, which, on the 
 expiration of his articles, he quitted, and 
 in 1756 he became a pupil of Richard 
 Wilson; but having more genius for 
 portrait than landscape, he left that admir- 
 able artist, to become a pupil of Nathaniel 
 Home. lie afterwards turned his atten- 
 tion to miniature, in enamel and water 
 colours. He also studied natural history, 
 and his drawings in that line possess great 
 merit. He died a member of the Cor- 
 poration of Winchester in 1803. We are 
 told that he scraped in mezzotinto his own 
 portrait, from a picture painted by him- 
 self. 
 
 Po (PiETRO del). This Sicilian pain- 
 ter was born at Palermo in 1610, and 
 studied at Naples under Domenichino. 
 After practising as an historical painter 
 some time at his native place, he went to 
 Rome, where he distinguished himself by 
 some altar-pieces for the churches; but 
 excelled in easel pictures and engraving. 
 He died at Naples in 1692. 
 
 Po (GiAcoMo del). He was the son 
 of the preceding, and was born at Rome 
 in 1654, where he received his first instruc- 
 tions from his father, but afterwards be- 
 came the scholar of Nicolo Poussin. On 
 settling at Naples he was much employed 
 by the nobility in ornamenting their 
 palaces with allegorical and fabulous sub- 
 jects. He died in 1726. 
 
 Po (Teresa del). This lady was the 
 sister of the last mentioned artist. She 
 painted both in oil and in miniature, be- 
 sides which, she etched some plates, par- 
 ticularly one of Susanna and the Elders, 
 after the Caracci. 
 
 PoccETTi, see Barbatelli. 
 PoDESTA (Andrea). This artist was 
 born at Genoa, about the year 1620, and 
 studied at Rome under Giovanni Andrea 
 Ferrari; but his merit as a painter is little 
 known, as he devoted himself chiefly to 
 engraving, in which art he acquired con- 
 siderable distinction, and some of his 
 prints were executed from his own de- 
 signs. 
 
 Poel (Egbert Vander). This Dutch 
 artist was nearly related to, if not a pupil 
 of, Brouwer, whose manner, and that of 
 Teniers, he adopted and practised with 
 success. His favourite subjects were 
 conflagrations and representations of fire- 
 works, with numerous figures, well de- 
 signed and coloured. He lived about 1690. 
 PoELEMBURG (Cornelius). He was 
 born at Utrecht in 1586, and studied under 
 Abraham Bloemart; but as soon as he 
 
 had made a reasonable proficiency in the 
 art, he quitted him and travelled to Rome. 
 His first determination was to adopt the 
 manner of Adam Elsheimer, but he found 
 himself so affected on contemplating the 
 works of Raffaelle, that he resolved to aim 
 at an imitation of that incomparable mas- 
 ter, particularly in the naked figure. He 
 accordingly studied some of Raftaelle's ex- 
 cellences, but he did not sufficiently 
 attend to design, which constitutes Raf- 
 faelle's highest merit. Poelemburg formed 
 for himself a style that was entirely new, 
 and in many respects preferable to the 
 Flemish taste; but it did not resemble 
 that of any Italian master, except in the 
 ruins of the antique buildings, with which 
 he adorned his landscapes ; and which he 
 with great care copied after nature. He 
 surpassed all his contemporaries in the 
 delicacy of his touch, in the sweetness of 
 his colouring, and in the choice of objects 
 and situations. His skies are clear, light, 
 and transparent, his backgrounds are often 
 ornamented with the vestiges of magnifi- 
 cent Roman edifices, which always con- 
 tribute to the harmony of the composition ; 
 and his female figures, which he generally 
 represented naked, are beautiful and ele- 
 gant. He excelled in painting small 
 pictures, but those which he executed in 
 the larger size are not so deserving of 
 commendation. The Italians were so 
 much pleased with the works of Poelem- 
 burg, that some of the cardinals attended 
 him frequently while he was painting, to 
 observe his manner of working, of which 
 they expressed their admiration in the 
 strongest terms. On leaving Rome, he 
 visited Florence, where he received dis- 
 tinguished honours from the grand duke, 
 as he also did in every city through which 
 he travelled, as well as in his native place. 
 Not long after his arrival, Rubens paid 
 him a visit, and having expressed a sin- 
 gular pleasure in examining his works, 
 purchased several for his own cabinet, 
 and bespoke others; by which generous 
 conduct, he instructed the lovers of the 
 art to estimate the merit of Poelemburg as 
 highly as himself, and at the same time 
 advanced the fortune and the reputation 
 of the artist. King Charles I. invited 
 him to London, where he painted the por- 
 trait of the king, as well as several curious 
 pictures, among which are those of the 
 Palatine family, for which he was nobly 
 recompensed; and that monarch endea- 
 voured earnestly to induce him to continue 
 in England; but his fondness for his own 
 
POK 
 
 country prevailed over all other consi- 
 derations, and he returned to Utrecht. 
 Several eminent artists procured him to 
 paint the figures in their vrorks, particu- 
 larly Steenvryck and Kierings ; and the 
 excellent perspectives of the former are 
 sometimes rendered still more estimable 
 by the pencil of Poelemburg. The genuine 
 works of this artist are, however, exceed- 
 ingly scarce; but his disciple, John Vander 
 Lis, imitated his manner so successfully, 
 that his paintings are very often taken for 
 the works of his master. Poelemburg 
 died at Utrecht in 1660. 
 
 PoERsoN (Charles Francis). He 
 was the son of Charles Poerson, a native 
 of Metz, who resided at Paris, where he 
 practised historical painting with reputa- 
 tion, and died there in 1667. His son 
 was born at Paris in 1653, and was first 
 instructed by his father, on whose death 
 he became a disciple of Noel Coypel, by 
 whose instruction he proved a considerable 
 painter in history and portrait. His pro- 
 mising talents procured him the patronage 
 of Mansard; by whose recommendation 
 he was introduced to Louis XIV., and 
 appointed to paint the portrait of that 
 monarch ; in which he succeeded so well, 
 that he was honoured with the order of 
 St. Lazarus. He was also employed to 
 paint some historical subjects, at the Hos- 
 pital of the Invalids; but the work gave 
 so little satisfaction, that Mansard caused 
 it to be entirely obliterated, and replaced 
 by the frescoes of Bon Boullongne, which 
 obtained universal applause. Mansard, 
 however, found out a means to raise his 
 spirits, by prevailing on the king to ap- 
 point him director of the French academy 
 at Rome, which station he filled with great 
 honour, and died president of that of St. 
 Luke, to which he was elected on the 
 death of Carlo Maratti. He died at Rome 
 in 1725. 
 
 Poindre (Jacques de). This Flemish 
 artist was born at Malines in 1527, and 
 had Marc Willems for his instructor. He 
 painted history, but attached himself 
 chiefly to portrait, in which he acquired a 
 deserved reputation. He died in Den- 
 mark in 1570. 
 
 PouDORE, see Glauber. 
 
 PoLiDORO, see Caravaggio. 
 
 PoLiDORO (Veneziano). This artist 1 
 was born at Venice in 1515, and studied j 
 under Titian, notwithstanding which he [ 
 never rose to eminence, and his paintings 
 in the churches of his native city exhibit 
 very moderate talents. He died in 1565. i 
 
 Polo (Diego). This Spanish artist 
 was born at Burgos in 1560, and became 
 the scholar of Patricio Caxes, at Madrid, 
 by whose instructions he proved a re- 
 spectable painter of history. His works 
 in the Escurial show that he was a correct 
 designer and an harmonious colourist. 
 He died at Madrid in 1600. 
 
 Polo (Diego). This painter was the 
 nephew of the preceding artist, and was 
 born at Burgos in 1620. He studied under 
 Antonio Lanchares; but profited more 
 by a diligent application to the works of 
 Titian. He painted several capital pic- 
 tures for the churches and convents of 
 Madrid; and among his works, two are 
 particularly noticed, the Baptism of Christ, 
 and the Annunciation. He died in 1655. 
 
 PoLVERiNO (RoMUALDo). This painter 
 was born at Naples in 1701, and studied 
 the principles of his art under Francesco 
 Solimena. He became a respectable artist 
 in history; but died young, at his native 
 place, in 1731. 
 
 PoMERANCio, see CiRciGNANi and RON- 
 
 CALLI. 
 
 PoxcHiNO (Giovanni Battista), com- 
 monly called II Bozzato. He was born 
 at Castel Franco in 1500, and had Titian 
 for his master. He became a distinguished 
 painter of history, and his picture of the 
 Limbus Patrum, in the church of St. 
 Liberale at his native place, ranks next to 
 the works of Giorgione. He died about 
 1570. 
 
 Pond (Arthur). Of this English 
 artist we possess scarcely any particulars. 
 He painted portraits, as well in oil as in 
 crayons, and, together with George Knap- 
 ton, published a collection of the heads 
 of illustrious persons, engraved by Hou- 
 braken and Vertue, but the memoirs were 
 written by Dr. Birch. The two artists 
 also engraved ninety-five plates from the 
 drawings of the first Italian masters, in 
 imitation of the originals. Pond pub- 
 lished on his own account twenty-five 
 caricatures, after Ghezzi, and other pain- 
 ters; and he also etched some portraits 
 in the manner of Rembrandt. This artist 
 died in Great Queen-street, Lincoln's- 
 Inn Fields, London, September 9, 1758. 
 He was a member of the Royal and Anti- 
 quarian Societies. 
 
 PoNTE (Giovanni da). He was born 
 at Florence in 1306, and died there in 
 1365, with the reputation of being one 
 of the greatest historical painters of his 
 time. 
 
 PoNTE (Francesco da). This head of 
 
PON 
 
 a family and school of artists was born at 
 Vicenza about 1475 ; but after studying 
 painting at Venice, he went and settled 
 at Bassauo on the Brenta, from which 
 town he and his descendants obtained 
 their name. He is supposed to have been 
 a scholar of Giovanni Bellini, and in the 
 early part of his life he was a close imitator 
 of his manner, as appears in his picture of 
 St. Bartholomew in the principal church 
 of Bassano; but afterwards he adopted a 
 style of greater freedom, and a respectable 
 proof of this change was evinced in the 
 Descent of the Holy Ghost, which he 
 painted for the village church of Olero ; 
 a composition of great power of concep- 
 tion, sweetness of colouring, and fine 
 expression of the countenances. He died 
 about 1530. 
 
 PoNTE (GiAcoMo da), commouly called 
 // Bassano. This artist was the son of 
 the preceding, and was born at Bassano 
 in 1510. After learning the elementary 
 principles, and much of the practice of 
 painting from his father, he went to Venice, 
 where he became a pupil of Bonifazio 
 Veneziano, a master so jealous of the 
 secrets of his profession, that Bassano 
 learned little more of him than what he 
 could observe through a keyhole. The 
 short time of his stay at Venice, therefore, 
 was devoted to a study of the designs of 
 Parmegiano, but more particularly of 
 Titian, whose scholar he is also said to 
 have been, and not without probability, 
 for in his second style he approached near 
 to that great master, as was evident in his 
 picture of the Flight into Egypt, painted 
 for the church of St. Girolamo; and a Na- 
 tivity. At this time his conceptions were 
 lofty, and he gave proofs of the grandeur 
 of his ideas in the history of Samson slay- 
 ing the Philistines, painted in fresco on 
 the front f the house belonging to the 
 family of Micheli. The principal figure 
 in this work was worthy of Michel Angelo; 
 but Bassano did not long retain this mas- 
 culine energy; for when the death of his 
 father obliged him to return to his native 
 place, he changed his style to one natural, 
 simple, and pleasing, in the representation 
 of rural objects, markets, and fairs, farm- 
 yards, and the occupationsof husbandmen. 
 These pictures he and his pupils produced 
 in abundance, and publicly sold them at 
 Venice and other towns. His scriptural 
 pieces also are usually diversified with 
 animals, as Noah's Ark; the Return of Ja- 
 cob; and the Adoration of the Shepherds; 
 but some of his altar-pieces are uncom- 
 
 Jl PON 
 
 monly sublime, particularly the Entomb- 
 ing of Christ, in the church of St. Maria 
 in Vanzo, at Padua; a Nativity, now in 
 the Louvre, at Paris ; St. Roche interced- 
 ing with the Virgin for a people infected 
 with the plague, at Vicenza; the Wise 
 Men's Offering ; and the Seizure of Christ 
 in the Garden. Bassano painted for the 
 Emperor Rodolph, the Twelve Months, 
 and the Four Seasons ; but he declined 
 accepting the invitation of that monarch 
 to settle at his court. He had a large 
 family, and his daughters generally sat 
 to him for his females, whether queens, 
 Madonnas, Magdalens, or peasant girls. 
 His figures are commonly below the na- 
 tural size, and without much vigour of 
 appearance. In the management of his 
 pencil he had two methods ; one of high 
 finish, with mixed tints, decided by a few 
 bold touches ; the second was formed of 
 simple strokes and dashes of gay colours, 
 laid on promiscuously, so as to appear, on 
 a close view, a mass of confusion, while, 
 at a proper distance, they exhibited a 
 charming effect. The heads of Bassano, 
 though they have no peculiar dignity, 
 are painted with great truth ; but as he 
 was defective in the representation of the 
 naked, he encumbered his figures with 
 heavy, and often incongruous draperies. 
 The leading fault of his landscapes arose 
 from his ignorance of perspective ; yet, 
 taken upon the whole, he was a great 
 artist, and merited the approbation of 
 the public as well as the esteem of his 
 contemporaries, Titian, Tintoretto, An- 
 nibale Caracci, and Paolo Veronese. He 
 died at Bassano in 1592. 
 
 PoNTE (Francesco ba), called the 
 Younger Bassano, was the eldest son of 
 the preceding, and born in 1548. He 
 received his education in the school of 
 his father, after which he settled at Venice, 
 here he was employed in painting a set 
 of pictures, illustrating the history of the 
 republic, for the ducal palace, which works 
 obtained general approbation. He also 
 produced several altar-pieces for the 
 hurches, which were equally admired. 
 One of the principal of these ecclesias- 
 tical performances is a picture of St. 
 Apollonia, in the church of St. Afra, at 
 Brescia. Francesco, in a fit of insanity, 
 threw himself out of a window, and was 
 killed on the spot, in 1591. 
 
 PoNTE (Giovanni Battista). This 
 was the second son of Giacomo da Ponte: 
 he was born at Bassano in 1553. His 
 principal excellence lay in copying the 
 
PON 
 
 422 
 
 PON 
 
 -works of his father, which he performed 
 so well that his productions could scarcely 
 be distinguished from the originals. One 
 picture only of his own painting is known, 
 and that is an altar-piece in the church 
 of St. Gallio. He died in 1613. 
 
 PoNTE (Leaxdro da). This was the 
 third son of Giacomo da Ponte, and was 
 born at Bassano in 1558. He received 
 his education from his father, whose style 
 he followed for some time, but afterwards 
 devoted himself almost wholly to portrait 
 painting. The best of his works in his- 
 tory are, the Birth of the Virgin, in the 
 church of St. Sophia, at Venice ; and the 
 Resurrection of Lazarus, in that of La 
 Charita. For his portrait of the Doge 
 Grimani he was rewarded with the order 
 of knighthood. He died in 1623. 
 
 PoNTK (GiHoiAMo da). This was the 
 youngest son of Giacomo da Ponte, and 
 was born at Bassano in 1560. He [)ainted 
 an altar-piece of St. Barbaro and the 
 Virgin, for the church of St. Giovanni, 
 at Bassano ; but he chiefly employed 
 himself in making copies of his father's 
 performances. He died in 1622. 
 
 Pontons (Paoi.o). This Spanish ar- 
 tist was born at Valencia in 1606, and 
 studied under Pedro Orrente. In the 
 churches and monasteries of his native 
 city are most of his works, particularly 
 some pictures illustrative of the history 
 of St. Pedro de Nola, in the Carthusian 
 church ; and a Nativity, and the Wise 
 Men's Offering, in that of St. Maria de 
 Morella. He died in 1670. 
 
 PONTORMO (GlACOMO CaRUCCI DA). 
 
 This artist, whose family name was Ca- 
 rucci, obtained that of Pontormo, from a 
 town in the state of Florence, where he 
 was born in 1493 ; and, happening to 
 lose his parents when he was thirteen 
 years old, a relation took him to Florence, 
 and, perceiving his genius, placed him 
 under Leonardo da Vinci; but afterwards 
 he became successively the scholar of 
 Pietro Cosimo, Mariotto Albertinelli, and 
 Andrea del Sarto. His earliest perfor- 
 mance was a picture of the Annuncia- 
 tion, which he painted while a pupil of 
 Albertinelli; but the person for whom 
 it was painted dying before it was finished, 
 Pontorrao's master showed it, for the 
 honour of the young artist, to all the 
 men of genius who frequented his house ; 
 and, among the rest, to Raffaelle, who 
 commended it strongly, and foretold the 
 future eminence of Pontormo from this 
 specimen of his abilities. Nor was he 
 
 less praised by Michel Angelo, who, on 
 seeing some of his works in fresco, before 
 he was twenty, said that such a genius 
 would carry the art of painting to its 
 highest pitch. The approbation of these 
 illustrious artists so animated Pontormo 
 that he exerted all his powers to arrive at 
 perfection. His taste of design was grand, 
 and his colouring excellent ; he had a 
 ready invention, and considerable ele- 
 gance ; but his compositions were not 
 without dryness. His last master, Andrea 
 del Sarto, soon discovered the great talents 
 of his pupil, and made use of his assist- 
 ance in many of his grand undertakings ; 
 but on seeing some extraordinary proofs 
 of his excellent taste of design and colour- 
 ing, he became envious, and dismissed 
 him from his school. Pontormo, on the 
 contrary, had a different manner of think- 
 ing and acting; for though he laboured 
 to excel, he neither envied nor depreciated 
 his competitors or their works. He was 
 naturally too diffident of his abilities, and 
 was often in danger of losing his own 
 graceful manner, by imitating others who 
 were his inferiors. Thus, when the prints 
 and paintings of Albert Durer became 
 popular at Florence, Pontormo determined 
 to imitate that manner, only blending the 
 German with the more refined style of 
 the Italian School ; and he would have 
 lost his own taste, which was infinitely 
 preferable to that of Albert, if he had not 
 been dissuaded from a conduct so very 
 injudicious. Those pictures, therefore, 
 which he painted after his attachment to 
 Durer are less esteemed than those of his 
 earlier time. In general he designed and 
 coloured almost entirely in the manner 
 of Andrea del Sarto, and he composed his 
 subjects with sufficient readiness; but he 
 might have been more expeditious and 
 commendable, if he had takenless pains 
 to alter, improve, and finish his works. 
 He, however, had the idea of perfection 
 in his mind, so that he could never pre- 
 vail on himself to believe any of his per- 
 formances complete, even whilst they were 
 highly applauded by others; and from 
 that principle he would have defaced 
 several of his paintings, out of a desire to 
 improve them, if his friends had not pre- 
 vented him, and compelled him to desist. 
 He painted equally well in fresco and in 
 oil, and was as famous for his portraits 
 as for his historical subjects. Pontormo 
 had this peculiarity, of choosing rather to 
 employ his pencil for the middling class 
 of people, who could afford to give him 
 
POO 
 
 POR 
 
 but a moderate price for his pictures, 
 than to paint for persons of high rank, 
 who would have paid him liberally. The 
 last work of this master was in the chapel 
 of St. Lorenzo, at Florence, which he 
 undertook at the request of the grand 
 duke; and in that work he purposed to 
 surpass all his predecessors and contem- 
 poraries. His subjects were, the History 
 of Adam and Eve ; the Death of Abel ; 
 the Deluge ; Noah leaving the Ark ; the 
 Resurrection and Final Judgment : but 
 after he had spent eleven years on the 
 composition, it appeared to be far inferior 
 to his other productions. The disappoint- 
 ment occasioned by the reception of these 
 performances was supposed by some to 
 have accelerated his death, though, in 
 fact, he was then in a dropsy, which car- 
 ried him oif in 1558. The most cele- 
 brated paintings of Pontormo were, a St. 
 Cecilia ; the Visitation of the Virgin ; the 
 Resurrection of Lazarus ; and the History 
 of Joseph receiving Jacob and his family 
 in Egypt; which last composition, for 
 design, colouring, and spirit, was generally 
 accounted his masterpiece. There is also 
 an altar-])iece, which is one of his most 
 capital performances : it represents the 
 Holy Family, with the Virgin sitting, 
 and presenting to Joseph the young Sa- 
 viour, who is distinguished by such an 
 expressive, amiable smile, as conciliates 
 love, admiration, and reverence beyond 
 description. In the church of La Nun- 
 ziata at Florence, is a fine piece "of the 
 Visitation of the Virgin ; in that of St. 
 Michael, a Holy Family; and in that of 
 St. Clement, a picture of St. Augustine 
 giving tlie benediction. 
 
 PoNzosEO (Matted). This painter was 
 a native of Venice, and the disciple of 
 Santo Peranda. He excelled in history, 
 and most of his works are in the churches 
 and public buildings of his native place. 
 He was superior to Peranda in sweetness 
 of colouring, but fell short of him ii 
 vigour of ideas and elegance of design. 
 
 Pool (Rachel Van). This ingenious 
 lady was born at Amsterdam in 1664. 
 Her father was the famous professor of 
 anatomy, Ruysch, and her instructor in 
 the art of painting was William Van 
 Aelst, whom, in a few years, she equalled 
 in the representation of flowers and fruit. 
 She studied nature with a curious and 
 penetrating eye, and imitated her pro- 
 ductions in so lovely a manner, that she 
 was considered almost as a prodigy, and 
 allowed to be the most able artist of her 
 
 time in that line. Her choice of subjects 
 was judicious ; her manner of painting 
 them exquisite ; and she contrasted them 
 in all her compositions with unusual 
 beauty and delicacy ; so that her reputa- 
 tion was spread throughout Europe. She 
 was appointed painter to the Elector 
 Palatine, who, as a testimony of respect 
 for her merit, sent her a complete set of 
 silver furniture for her toilet, consisting 
 of twenty-eight pieces, and six candle- 
 sticks of wrought plate for wax-tapers. 
 He also engrossed the greater part of her 
 works ; and not only paid for them with 
 a princely liberality, but always made her 
 some additional present. In early life she 
 married Juria Van Pool, an eminent 
 painter of portrait, with whom she lived 
 happily, and yet continued to paint to the 
 last period of a very long life ; and her 
 pictures, at the age of eighty, were as 
 neatly pencilled, and worked up as highly, 
 as those which were painted when she 
 was thirty. She composed her subjects 
 with extraordinary skill ; finished them 
 with a degree of transparence; and her 
 colouring was not only beautiful, but 
 showed so much nature, that every plant, 
 flower, or insect might deceive the eye 
 with the semblance of reality. Her pic- 
 tures are uncommonly rare, being trea- 
 sured up as curiosities in Holland and 
 Germany, in the cabinets of princes, or in 
 the collections of connoisseurs. She died 
 at Amsterdam in 1750. 
 
 Pool (Juria Van). He was born at 
 Amsterdam in 1666, and was the husband 
 of the preceding lady. He excelled in 
 painting portraits, and his singular merit 
 in that style recommended him to the 
 esteem of Rachel, preferably to several 
 other competitors of much greater conse- 
 quence and fortune. He enjoyed the 
 favour of tlie elector Palatine; after 
 whose death he quitted his profession to 
 follow merchandise. He died in 1745. 
 
 PORDENONE (GlOVANNI AnTONIO Li- 
 
 cinio). He was born at Pordenone, a village 
 in the Friuli, about twenty-five miles from 
 Udina, in 1484: and without any particu- 
 lar instructor, but merely by the strength 
 of natural genius, arrived at a high degree 
 of perfection, having only studied carefully 
 the works of Giorgione. But to accom- 
 plish himself more efi'ectually, he applied 
 himself to study nature : he designed 
 human figures after living models ; and 
 sketched every action, air, and attitude 
 that his eye or judgment approved ; and 
 he endeavoured to imitate the effects of 
 
FOR 
 
 424 
 
 FOR 
 
 light and shadow, so as to give every ob- 
 ject a natural and becoming relief. By 
 this method he became an artist of the 
 first rank, and was universally considered 
 as one of the best painters of his time. 
 At first he painted in fresco, and executed 
 several grand compositions in that man- 
 ner at tJdina, Vicenza, Mantua, and Ve- 
 nice ; but he also painted in oil, with an 
 equal degree of excellence ; .and distin- 
 guished himself above all his contempo- 
 raries in the art of foreshortening his 
 figures. His invention was fertile; his taste 
 of design good ; his colouring like that of 
 Titian ; and his works united great force 
 with an appearance of ease. A strong 
 emulation perpetually subsisted between 
 Pordenone and Titian ; and the former 
 painted a chapel in the church of St. 
 Roche, professedly in competition with 
 the latter; with which performance the 
 senate of Venice were so highly pleased 
 that they appointed him a pension during 
 his life, as a public reward of his merit. 
 But though it was no inconsiderable hon- 
 our to him to contend with so great a 
 master ; and though partiality, prejudice, 
 and want of competent judgment, might 
 occasion many to decide in his favour, yet 
 posterity, which is always impartial, has 
 determined the contest in favour of Titian. 
 Vasari aflirms that the works of Forde- 
 none are far inferior to those of Titian ; 
 and that it was only from a spirit of envy 
 and malignity that Pordenone was, by some 
 judges, placed on an equality with him. 
 It is said thatwhen this artist worked in the 
 same town with Titian, he was so afraid 
 of his jealous temper, that he always car- 
 ried arms about him for his protection. 
 When Prince Doria employed Pierinodel 
 Vaga to decorate some of the grand 
 apartments in his palace at Genoa, and 
 observed him to be too dilatory in the exe- 
 cution, he engaged Pordenone to proceed 
 with the work, and he accordingly paint- 
 ed there the fable of Jason sailing in 
 search of the Golden Fleece. The prince, 
 however, was so greatly dissatisfied with 
 the performance that he immediately dis- 
 missed him, and he returned to Venice. 
 From that city he was invited to Ferrara 
 by the duke, who showed him many 
 marks of his favour and esteem ; but as 
 he died there soon after, it was supposed 
 that his death was occasioned by poison, 
 administered to him by some of his own 
 profession, out of envy : this occurred in 
 1540. The greatest oil painting of For- I 
 denone is the picture of St. Lorenzo Gius- ! 
 
 tinensis, over the high altar of the church 
 of St. Maria del Orto, at Venice. It is a 
 most vigorous performance, and some of 
 the figures appear to start from the can- 
 vass. The frescoes of Fordenone are nume- 
 rous at and about Venice, but the best are 
 -at Fiacenza and Cremona. 
 
 FOKDENONE (GlULIO LiciNio). He 
 was born at Venice in 1520, and was the 
 nephew as well as the disciple of Giovanni 
 Antonio Fordenone, whose manner he 
 imitated, and painted so like him that 
 their works are often mistaken. His 
 principal performance is a painting in 
 fresco on the front of a house in Augs- 
 burg, which is sufficient to ascertain the 
 style and merit of this artist, who died in 
 1570. 
 
 FoKTA (Baccio Bella, or Fka Bar- 
 TOLOMEO Di St. Marco). This cele- 
 brated painter was born in the territory 
 of Savignano, near Florence, in 1469. At 
 an early age he was placed under Cosimo 
 Roselli, at Florence, who happening to 
 live near the gate of St. Peter, that cir- 
 cumstance was the occasion of giving to 
 his pupil the name of Baccio della Forta. 
 Here he continued some years studying 
 with great diligence not only the works of 
 his master but those of Leonardo da 
 Vinci, in whom he greatly admired his 
 grandeur of relief and beautiful chiaro- 
 oscuro. The early performances of Forta 
 were small, but exquisitely finished ; and 
 two of these, the subjects of which are the 
 Nativity and Circumcision, are in the 
 Gallery at Florence. Afterwards he ex- 
 erted his genius on works of a superior 
 character, and gave a noble proof of his 
 powers in the fresco of the Last Judgment, 
 painted for the chapel of St. Maria Nuova. 
 About this time he contracted an intimacy 
 with the famous monk Jerom Savanarola, 
 whose preaching had such an effect upon 
 Porta, that he destroyed all those studies 
 which he had before made from the naked 
 figure. The artist was painting in the 
 convent of St. Mark, when his friend was 
 seized by order of the pope. Soon after- 
 wards Savanarola suffered at a stake, and 
 the painter was so much affected by the 
 catastrophe, that in 1500 he took the 
 habit of St. Dominic, upon which he was 
 commonly called 11 Frate. In 1504, 
 Raffaelle became acquainted with Fra 
 Bartolomeo, who imparted to him instruc- 
 tions in colouring, for which in return he 
 received some lessons in the principles of 
 perspective. Not long after this he went 
 to Rome, where the works of Michel 
 
POR 4!; 
 
 Angelo and Raffaelle both astonished and 
 depressed him, insomuch that he was al- 
 most ready to abandon his art, in despair 
 of being able to rival such excellence. 
 While in that city he only painted the 
 two figures of St. Peter and St. Paul, 
 which were long preserved in the Quiri- 
 nal palace. On his return to Florence, 
 however, his spirits revived, and he exe- 
 cuted several noble altar-pieces for the 
 churches of his order, in an improved 
 style. His design approximated to that 
 of Raffaelle, and he was even superior to 
 that divine master in boldness of relief 
 and strength of colouring. Bartolomeo, 
 with all his modesty and merit, could not 
 escape the shafts of envy ; and his com- 
 petitors at Florence, in order to depreciate 
 his talents, maintained that he was igno- 
 rant of anatomical proportions, and incap- 
 able of designing the human figure cor- 
 rectly on a large scale. To refute their 
 calumnies, he painted two pictures, one 
 of St. Sebastian, which, for accuracy and 
 beauty, was never surpassed ; and the 
 other of St. Mark, in the Florentine gal- 
 lery, which actually appears to start from 
 the canvass. Several of Bartolomeo's 
 works, during the late wars occcasioned 
 by the French Revolution, were carried 
 off, to decorate the National Gallery at 
 Paris ; but most of them have since been 
 returned. Among these were the Mar- 
 riage of St. Catherine, one of his grandest 
 compositions; and the Four Evangelists. 
 Another sublime production of Fra Bar- 
 tolomeo is the Assumption of the Virgin, 
 at Lucca. The late Mr. West had in his 
 possession a considerable part of the 
 studies mentioned by Vasari as having 
 been left to his scholar, a nun of St. 
 Catherine, at Florence ; and among them 
 several drawings of figures, draperies, and 
 limbs, studied from nature with great 
 care, and exhibiting uncommon industry. 
 He died in his convent of St. Mark, in 
 1517. 
 
 Porta (Giuskppk), called Salviati. 
 He was born at Castel-Nuovo in 1535, 
 and being sent young to Rome, to the 
 care of his uncle, who was secretary to 
 the Archbishop of Pisa, he was placed 
 as a disciple with Francesco Salviati; 
 under whose direction he acquired such 
 an excellent taste of design, with a beauti- 
 ful style of colouring, that he was ever 
 after distinguished by the name of his 
 master. Salviati, being invited to Venice, 
 took Porta with him, who, finding great 
 encouragement in that city, made it his 
 
 POR 
 
 place of residence, and executed several 
 works there for the churches and palaces. 
 He had a good taste of design, a ready 
 and fine invention, and a tone of colouring 
 not much inferior to that of the greatest 
 masters ; but his compositions would have 
 been more pleasing, if he had marked 
 the muscular parts of his figures less 
 strongly. His most capital performances 
 at Venice are in the palace of St. Mark, 
 of which the subjects are, the Sibyls; 
 Prophets ; Cardinal Virtues ; and a Dead 
 Christ. In the church of the Servites 
 is an Assumption ; and in the chapel of 
 the Incurables, an Annunciation, by his 
 hand. At Murano is a fine picture of 
 the Descent from the Cross ; and at Rome 
 is a painting of the Emperor Frederick 
 doing homage to Pope Alexander III, 
 This great artist died in 1585. He also 
 engraved several pieces in wood, in a 
 pleasing style. 
 
 Porta (Andrea). This painter was 
 born at Milan in 1656. He studied the 
 works of Legnanino, and formed for him- 
 self a style of colouring so vigorous and 
 agreeable, by the proper distribution of 
 the lights, as to excite general admiration. 
 He died at Milan in 1714, leaving a son, 
 named Ferdinand, who painted history 
 in the manner of his father with success. 
 He died, at the age of fifty-four, in 1744. 
 
 Porter (Sir Robert Ker). This 
 gifted and amiable artist, one of a family 
 distinguished for talent (his sisters, Jane 
 and Anna Maria, having distinguished 
 themselves as novel writers), was born at 
 Durham, and was educated at Edinburgh. 
 Showingan early fondness for drawing, and 
 an obvious genius for it, he was, about the 
 year 1790, entered as a student of the 
 Royal Academy. So rapid was his 
 progress that, in 1793, he received a 
 commission to paint an altar-piece for 
 Shoreditch church. His success in this 
 picture gained for him other commissions 
 of the same kind. These works were 
 followed by the three panoramas of the 
 Storming of Seringapatam, the Siege of 
 Acre, and the Battle of Agincourt. In 
 1804 he visited Russia, and was appointed 
 historical painter to the Emperor. In 
 1811 he married the Princess Mary 
 Sherbatoff, and in 1813 he was knighted 
 by the Prince Regent, and subsequently 
 was created a Knight Commander of the 
 Hanoverian Order, by William IV. For 
 some years he was British Consul at 
 Venezuela. He died of apoplexy, at St. 
 Petersburgh, on the 3rd of April, 1842. 
 
POS 45 
 
 lie was no less active with the pen than 
 w^ith the pencil. He published Travels 
 in Persia ; Travelling Sketches in Russia 
 and Sweden; a Narrative of the Campaign 
 in Russia; and Letters from Portugal 
 and Spain; the last of these works con- 
 tains a narrative of the toils and sufferings 
 of Sir John Moore's army, in all of which 
 the artist bore a part. 
 
 PossENTi (Benedetto). He was born 
 at Bologna, and studied in the academy 
 of the Caracci. His talent lay in painting 
 landscapes, marine views, the embarkation 
 of troops, and battles, all wiiich subjects 
 he executed in an admirable manner. He 
 died in 1656. 
 
 PossENTi (Giovanni Pietro). This 
 artist was the son of the preceding, and 
 was born at Bologna in 1618. He excelled 
 in the representations of battles, both of 
 infantry and cavalry ; but he also painted 
 some reputable altar-pieces, particularly 
 one of St. Lorenzo, for the church of that 
 saint at Padua. 
 
 Post (Francis). He was born at 
 Haerlem about 1621, and received his 
 first instructions in design and colouring 
 from his father, John Post, a painter on 
 glass. By the interest of his eldest 
 brother, who was an architect in the 
 service of Maurice of Nassau, Francis 
 accompanied that prince to Surinam, 
 where he sketched numerous views of 
 that country after nature, and, at his 
 return to Holland, scarcely ever painted 
 any other subjects. His works, in his 
 lifetime, were greatly admired, not only 
 on account of the novelty of the scenery, 
 but also for their execution. The situa- 
 tions in his landscapes are generally 
 agreeable and well chosen, his skies are 
 clear, and his distances remarkably blue ; 
 his figures have neither elegance in their 
 forms, nor correctness of outline, yet fill 
 their places with propriety, and show the 
 dress, manners, sports, employments, or 
 amusements of the natives of those coun- 
 tries very distinctly. In most of his 
 pictures, the plants, fruits, fishes, and 
 animals, are delineated with truth and 
 nature, his trees are touched freely, and 
 some of them are loose, and finished with 
 a masterly pencil. His works, however, 
 would have a more pleasing effect, if the 
 foregrounds were not so frequently too 
 dark, and the verdures too green, by 
 which means the harmony of the whole 
 is often destroyed. There is also a great 
 inequality in his landscapes, many being 
 worthy of commendation, and some very 
 
 6 POT 
 
 indifferently and slightly finished. He 
 died at Haerlem in 1680. Francis Post is 
 also known by several spirited engravings 
 of views in South America. 
 
 Pot (Henby). This Dutch painter 
 was born at Haerlem in 1600, but it is 
 not known from whom he received his 
 instructions. He was, however, a good 
 artist in history and portrait, as appeared 
 in a picture of Judith with the Head of 
 Holofernes; the Triumph of the Prince 
 of Orange; and a large piece, representing 
 the Archers of Haerlem. He died in 
 that city in 1656. 
 
 Potma (James). This artist was born 
 at Etikhuysen, in Holland, about 1610. 
 He studied under Wybrant de Gheest, 
 and painted history, portrait, and land- 
 scape, which last he illustrated with sub- 
 jects taken from the Scriptures. Some 
 prints have been engraved from his works ; 
 as the Four Seasons ; and the Elements ; 
 the Prophet Elijah and the Widow ; and 
 St. Paul the Hermit in the Wilderness. 
 He died at Vienna in 1684. 
 
 PoTTEB (Peteb). This artist was born 
 at Enkhuysen, in Holland, about 1595. 
 He painted landscapes with sacred sub- 
 jects, one of which was, a St. Paul the 
 Hermit in the Desert, attended by an 
 Eagle. He is, however, better known by 
 the fame of his son than by his own 
 professional merits. 
 
 Potter (Paul). He was th6 son of the 
 preceding, and was born at Enkhuysen 
 in 1625. He had no other instructor 
 than his father; yet, by the power of 
 genius, his improvement was so extra- 
 ordinary, that he was considered as a 
 prodigy, and appeared an expert master 
 in his profession at the age of fifteen. His 
 subjects were landscapes, with different 
 animals, but principally cows, oxen, sheep, 
 and goats, which he painted in the highest 
 perfection. His colouring is soft, agree- 
 able, transparent, and true to nature ; his 
 touch is free , and delicate ; and his out- 
 line very correct. His skies, trees, and 
 distances, show a remarkable freedom of 
 hand, with a masterly ease and negligence ; 
 and his animals are exquisitely finished, 
 and touched with abundance of spirit. 
 He was certainly one of the best painters 
 of the Low Countries, not only for the 
 delicacy of his pencil, but for his exact 
 imitation of nature, which he incessantly 
 studied, and represented in a lovely man- 
 ner. His only amusement was walking 
 in the fields, for the purpose of sketching 
 every scene and object on the spot, and 
 
POU 
 
 POU 
 
 he afterwards not only composed his 
 subjects from his drawings, but frequently 
 etched them, and the prints are deservedly 
 very estimable. The paintings of Potter 
 bear a high price, because, besides their 
 intrinsic merit, the artist having died 
 young, and not having finished a great 
 number of pictures, they are now rare. 
 One landscape which he painted for the 
 Countess of Solms, was afterwards sold to 
 Jacob Van Hoeck for two thousand florins. 
 The correctness of the animals of Potter, 
 in their various actions and attitudes, the 
 natural verdure of his trees, and the care- 
 less manner of his leafing, are sufficient 
 marks of his genuine works. There was, 
 in the collection of the Prince of Orange, 
 and afterwards in the Louvre, the picture 
 of a Herdsman and Cattle, as large as 
 life, painted by Potter. He died in 1654. 
 
 PouRBL's (Petek), called the Old. lie 
 was born at Gouda in 1510, but spent the 
 greatest part of his life at Bruges, where 
 he was instructed in the art of painting. 
 He was very successful in historical com- 
 position, and also in portrait ; in which 
 last style his most capital picture is the 
 portrait of the Duke of Alengcn which is 
 accounted excellent in the resemblance, as 
 well as for handling and colour. He 
 painted also a number of historical pic- 
 tures for the churches and convents ; 
 particularly one of St. Hubert, in the 
 great church at Gouda. It represents 
 that saint baptizing two catechumens, 
 attended by two persons who hold wax 
 tapers, and the background is a perspec- 
 tive view of the inside of a temple, execu- 
 ted with great elegance. Another fine 
 piece by him was a Crucifixion, in the 
 church of Notre Dame at Bruges, where 
 he died, in 1583. 
 
 PouKBus (Francis), the Elder. He 
 was born at Bruges in 1540, and received 
 his first instruction from his father, Peter 
 Pourbus; but afterwards he studied under 
 Francis Floris, who was so conscious of 
 his superiority, that he used to call him 
 his master. And, in truth, he far excelled 
 Floris in colouring, as he also did his 
 father in every branch of the profession. 
 He painted animals extremely well, and in 
 his landscapes was so exact, that every 
 species of fruit or forest trees might 
 readily be distinguished. But his greatest 
 excellence lay in portrait, which he painted 
 with life, spirit, a strong likeness, and 
 admirable colouring. He resided chiefly 
 at Antwerp, where, in 1564, he was 
 admitted a member of the academj'. One 
 
 of his principal works is the Wise Men's 
 Offering, at Oudenarde; and in the cathe- 
 dral at Antwerp is an altar-piece of the 
 Circumcision of Christ. He died in 1580. 
 
 Pourbus (Francis), the Younger. 
 This artist was the son of the preceding, 
 and born at Antwerp in 1570. He ac- 
 quired his knowledge of painting from 
 his father, whom he surpassed in several 
 branches of his art. After travelling 
 through different parts of Europe, he set- 
 tled at Paris, where he found great en- 
 couragement as a portrait painter, in 
 which line he gave his figures a good 
 expression, and disposed his draperies 
 with a noble simplicity. In the historical 
 subjects which he designed, he was re- 
 markably correct, and in all his works 
 showed a pleasing tone of colouring. 
 His own portrait, painted by himself, is 
 in the Florentine gallery ; and in the 
 royal collection at Paris are preserved his 
 portraits of Henry IV. and Mary de Me- 
 dicis. In the church of the abbey of St. 
 Martin, at Tournay, is a Crucifixion, by 
 Pourbus, which is highly commended ; 
 as also are the Annunciation, in the church 
 of the Jacobins; and a Last Supper, now 
 in the Louvre, at Paris. In the Hotel de 
 Ville of the same city are two paintings 
 of the minority and majority of Louis 
 XIII. by Pourbus. He died at Paris in 
 1622. 
 
 PoussiN (Nicholas). This eminent 
 painter was born at Andelay, in Normandy, 
 in 1594. His family, though originally 
 noble, was considerably reduced, owing to 
 the civil wars of France; and John 
 Poussin, the father of the painter, after 
 serving in the army, settled on a small 
 paternal inheritance, where he cultivated 
 scientific pursuits. Nicholas learned the 
 first principles of drawing from Quintin 
 Varin, an artist ; but at the age of eigh- 
 teen he went to Paris for further improve- 
 ment, and there studied a few months 
 under Ferdinand Elle, a Flemish portrait 
 painter. His next instructor was Lalle- 
 mant, with whom, however, he continued 
 only a few weeks, and then devoted him- 
 self entirely to the study of the finest 
 paintings to which he could obtain access. 
 He also drew after casts of ancient sta- 
 tues; and such was his diligence, that, by 
 these helps, he acquired a fine taste and 
 a readiness at composition, which pro- 
 cured him employment from the capu- 
 chins of Blois and at the chateau of Chi- 
 verny. For the former he painted sacred 
 subjects, and for the latterbacchanals and 
 
POU 
 
 satyrs. These talents procured Poussin 
 the esteem of several men of eminence, 
 and, among the rest, of Marino, the 
 Italian poet, who happened to be then at 
 Paris. Marino became his friend, and 
 strongly urged him to accompany him to 
 Rome; an invitation which Poussin would 
 gladly have accepted, had he not then 
 been engaged on some commissions ^of 
 importance. Among these were six large 
 pictures in distemper for the college of 
 Jesuits, and the Death of the Virgin, for 
 the church of Notre Dame. Having 
 completed his engagements, he set out for 
 Rome, and arrived there in 1624, but 
 soon afterwards he had the misfortune to 
 lose his friend Marino, though not till he 
 had been previously introduced by him to 
 the patronage of Cardinal Barberini. The 
 protection of his eminence, however, was 
 of little advantage to the stranger, for 
 about the same time he quitted Italy on 
 an embassy. Poussin was now left with- 
 out assistance, and in very embarrassed 
 circumstances ; notwithstanding which, 
 he studied and worked with great industry, 
 though he was obliged to sell his produc- 
 tions for sums which scarcely defrayed the 
 expense of the materials. Happening to 
 have for his fellow-lodger Francis du 
 Fresnoy, the sculptor, an intimate con- 
 nexion commenced between the two artists, 
 and they proved mutually .beneficial to 
 each others studies; and Poussin, in 
 imitation of his friend, took models of 
 the principal statues and bass-reliefs. 
 At first he copied several of the pictures 
 of Titian, and thereby improved his style 
 of colouring; but afterwards he applied 
 almost wholly to the works of Raffaelle 
 and Domenichino, from whose perform- 
 ances, aided by his taste for the antique, 
 he imbibed that correct taste of design 
 and truth of expression, which animate 
 and adorn all his compositions. His 
 principal attention, however, was di- 
 rected to the remains of ancient sculpture; 
 for it seemed as if he was persuaded that 
 every grace and beauty of the human 
 form was comprised in those productions. 
 When Cardinal Barberini returned to 
 Rome, he employed Poussin on some 
 works, the principal of which were, the 
 Death of Germanicus, and the Capture of 
 Jerusalem by Titus; which gave such 
 satisfaction, that the prelate procured him 
 an order to paint a large piece for the 
 church of St. Peter, representing the 
 Martyrdom of St. Erasmus. These per- 
 formances extended his reputation, and 
 
 brought him acquainted with the Cava- 
 liere del Pozzo, for whom he painted his 
 first set of pictures, representing the 
 Seven Sacraments, which are now in the 
 possession of the Duke of Rutland. He 
 afterwards executed another series of the 
 same subjects, which came into the col- 
 lection of the Duke of Orleans, and from 
 thence to the gallery of the Marquis of 
 Stafford. In 1639, Poussin was invited 
 to France by Louis XIII., who gave hiin 
 a pension and apartments in the Thuil- 
 leries. Soon after his arrival, he was 
 directed to paint the Last Supper, as an 
 altar-piece for the chapel of St. Germain- 
 en-Laye; and he performed this commis- 
 sion in an admirable manner; for the 
 design is noble, the composition accurate, 
 the expression strong and elegant, and 
 the whole full of animation. Having 
 completed this fine picture, he was em- 
 ployed to paint a similar one for the 
 Jesuits, and at the same time he was 
 engaged to ornament the Louvre with the 
 Labours of Hercules. But while thus 
 honourably exercised, his patience was 
 put to a severe trial by the intrigues of a 
 faction, consisting of Vouet and his ad- 
 herents, with whom Fouquieres, the 
 landscape painter, became associated, out 
 of envy of Poussin's superior talents. 
 The machinations of this cabal proved 
 too much for his temper, and he conceived 
 a complete dislike to Paris, where, indeed, 
 the tumultuous mode of living never 
 agreed with his retired habits. For these 
 reasons, he secretly resolved to return to 
 Rome, for the sake of a quiet prosecution 
 of his studies. This design he carried 
 into effect, by pretending to go thither 
 for the settlement of his affairs, and to 
 fetch his wife; but when he crossed the 
 Alps, no inducement could ever prevail 
 with him to revisit his native country, or 
 even to leave Rome, for the rest of his 
 days. One of his first works after his 
 return was the Massacre of the Innocents, 
 which he painted for Prince Giustiniani. 
 It is an admirable performance, but one 
 calculated to excite in the beholder no 
 other emotions than pity and terror. Two 
 other noble compositions of this period 
 were the Annunciation, and the Flight 
 into Egypt, which passed into the gallery 
 of Prince della Torre, at Naples. But 
 Poussin's time now was chiefly occupied 
 on easel pieces, which were sent almost 
 as soon as finished to Paris, where they 
 were eagerly purchased, and valued next 
 to the productions of Raffaelle. He never 
 
POU 
 
 429 
 
 POU 
 
 made any words about the price of his 
 pictures, but affixed the sum at the back 
 of the canvass, and it was always paid. 
 Poussin was a man of very unassuming 
 manners, and moderate in his style of 
 living. Bishop Mancini, who was after- 
 wards a cardinal, staying once on a visit 
 with him till it was dark, the painter took j 
 the candle in his hand, and lighted him ; 
 downstairs; at which the prelate seemed 
 surprised, and said, " I very much pity 
 you. Monsieur Poussin, that you have not 
 one servant!" To which the painter 
 replied, "And I pity you, my lord, for 
 having so many." Poussin married the 
 sister of Gaspar Dughet, but never had 
 any children, and his estate amounted to 
 no more than sixty thousand livres. He 
 died of a palsy, at Rome, in 1665. The 
 first subjects Poussin painted in Italy 
 were taken from fabulous or poetical 
 history, and chiefly from Ovid. These 
 he introduced into his landscapes, enrich- 
 ing the scene with elegant buildings, 
 designed after the magnificent edifices 
 that abound in Rome and its environs. 
 But afterwards his subjects were taken 
 from the Bible, though oftener from 
 profane history; in the management of 
 which he always observed the costume 
 strictly, and with equal judgment and 
 learning. At first he endeavoured to 
 imitate the colouring of Titian, but 
 when he became an enthusiastic admirer 
 of RaS'aelle and the antique, his tone 
 altered, and his carnations had no longer 
 the warmth which distinguished his early 
 productions. His invention was as happy 
 as it was lively, and he designed with 
 spirit and correctness ; though he was not 
 always happy in the disposition of his 
 figures, which too often were distributed 
 in the same line, owing to his having ne- 
 glected the study of the chiaro-oscuro. 
 In perspective and architecture he was 
 perfectly accomplished; and this enabled 
 him to give a captivating air of grandeur 
 to his landscapes, the scenes and situations 
 of which were highly pleasing, and re- 
 ceived peculiar beauty from the novelty 
 of the objects introduced, the variety of 
 the trees, buildings, and other ornaments; 
 every part being lightly and delicately 
 touched, and exhibiting equal truth and 
 judgment. By his predominant attach- 
 ment to the antique, the historical com- 
 positions of Poussin are very accurate, 
 and the airs and attitudes of his figures 
 are also generally beautiful, though not 
 always graceful; for, by neglecting to 
 
 study nature with due attention, his forms 
 want that variety which alone gives enter- 
 tainment and delight. The colouring of 
 Poussin, as already remarked, did not 
 correspond with his other powers; it is 
 cold, feeble, and hard, more resembling 
 the marble of the ancient statues, which 
 he admired, than real flesh, or the tints of 
 other great painters. This is the more 
 surprising, as it is evident that he could 
 feel the full force of the colouring of 
 Titian and Guido. There is a remarkable 
 difference in his performances; for many 
 of those which he executed in the decline 
 of life are much inferior to those of his 
 prime and middle age. The same taste 
 and the same genius appear in all, but the 
 handling discovers an unsteadiness that is 
 not observable in his earlier works. Upon 
 the whole, however, he is allowed to have 
 been an admirable artist, and the high 
 price which his pictures produce in every 
 part of Europe, is an incontestable proof 
 of his established merit. In addition to 
 these observations, it is remarked by a 
 judicious critic, that, "though Poussin 
 abstracted the theory of his proportions 
 from the antique, he is seldom uniform 
 and pure in his style of design, ideal only 
 in parts, and oftener so in female than in 
 male characters. He supplies antique heads 
 and torsos with limbs and extremities 
 from the model. As a colourist he was 
 extremely unequal. Into the Deluge, and 
 the Plague of the Philistines, he trans- 
 fused the very hues of the elements, whose 
 ravages he represented, whilst numbers 
 of his other pictures are deformed by 
 crudity and patches. His excellence in 
 landscape is universally acknowledged, 
 and, when it is the chief object of his 
 picture, precludes all censure ; but consi - 
 dered as the scene or background of an 
 historic subject, the ease with which he 
 executed, and the predilection which he 
 had for it, often made him give it an im- 
 portance which it ought not to have: it 
 divides our attention, and from an acces- 
 sory becomes a principal." To the pictures 
 of this celebrated painter, already noticed, 
 we have now to add, a Bacchanalian 
 Triumph, in his earliest and best manner, 
 which formed part of the Angerstein col- 
 lection, and at present is one of the Bri- 
 tish National Gallery. 
 
 Poussin (Gaspak). The family name 
 of this artist was Dughet; but he took 
 that of Poussin in consequence of his 
 alliance with the preceding artist, who 
 married his sister. He is said to have 
 
POU 
 
 430 
 
 POZ 
 
 been born in France in 1600, but better 
 accounts place his birth at Rome in 1613. 
 On the marriage of his sister, he became 
 the pupil of his brother-in-law, who at 
 first only employed him to prepare his 
 palette, pencils, and colours; but by the 
 instructive precepts and excellent example 
 of that eminent master, he became so 
 great a proficient, that he gradually rose 
 into the highest reputation. It is beyond 
 doubt that he was one of the most cele- 
 brated painters of landscape that ever ap- 
 peared, and it is generally thought no 
 artist ever studied nature to better pur- 
 pose, or represented the effects of land- 
 storms more happily than he did : every 
 tree shows a proper and natural degree of 
 agitation, and every leaf is in motion. 
 His scenes are always beautifully chosen, 
 as also are the sites of his buildings, 
 which last have a pleasing effect, by a 
 mixture of simplicity and elegance. His 
 distances recede from the eye with true 
 perspective beauty ; his grounds are 
 charmingly broken, and his figures, trees, 
 andotherobjects, are so judiciously placed, 
 nd proportioned to the distance, as to 
 create a most agreeable deception. He 
 had a free and delicate manner of pencil 
 ling, and was exceedingly expeditious ii 
 his work; for his imagination was scarcely 
 more ready to invent than his hand was 
 to execute : and it is confidently asserted 
 that he finished a large landscape, and 
 inserted all the requisite figures, within 
 the compass of one day. By some con- 
 noisseurs it has been observed that the 
 pictures of Gaspar have sometimes too 
 great a verdure; that his masses are often 
 too much of one colour, and that fre- 
 quently there is too much blackness in the 
 foregrounds of some of his compositions; 
 but notwithstanding such small imper- 
 fections, his paintings are always beautiful. 
 Gaspar had three manners in his pain tings, 
 which are distinguishable without any 
 great nicety. The first was rather dry; 
 and the last, though agreeable, was un- 
 equal to that of his middle time. His 
 second manner was by many degrees his 
 best, as it was more simple and learned ; 
 and his colouring appeared so lovely, 
 fresh, and full of truth and nature, that 
 no eye can behold one of his landscapes 
 of that period without admiration. He 
 designed human figures indifferently, for 
 which reason he frequently prevailed on 
 Nicolo to paint them for him ; and they 
 
 stowed on the works of Gaspar that can 
 seem superior to their desert; and the 
 great prices they fetch show how de- 
 servedly they are esteemed in every nation 
 where the art of painting is cultivated 
 or understood. His pictures generally 
 represent the finest prospects about Rome, 
 Tivoli, and Frescati; and they uniformly 
 exhibit beauty and grandeur. In the 
 Angerstein collection, now the basis of 
 the National Gallery, are two of his finest 
 pieces; one of Abraham and Isaac, with 
 a richly extended scene; and the other a 
 Land Storm. This great artist produced 
 a few spirited etchings of landscapes. He 
 died at Rome in 1675. 
 
 Poussix (John Dughet). He was the 
 younger brother of Gaspar Poussin, and 
 was born at Rome about 1615. He first 
 studied and practised painting; but not 
 meeting with success adequate to his ex- 
 pectations, he turned his thoughts to 
 engraving, and executed several good 
 prints after the works of his brother-in- 
 law, Nicolo Poussin, particularly the Seven 
 Sacraments. 
 
 Pozzi (Giovanni Battista). He was 
 born at Milan, but went to Rome at an 
 early age, and there obtained employ- 
 ment in the palace of St. John Lateran, 
 and also in the library of the Vatican. 
 In the Sistine chapel of St. Maria Mag- 
 giore, he painted the Visitation of the 
 Virgin, and the Dream of St. Joseph. He 
 died at the age of twenty-eight. 
 
 Pozzi (Stepuano.) This artist was 
 born at Rome, and studied successively 
 under Carlo Maratti and Agostino Ma- 
 succi ; to both of whom he proved superior 
 in grandeur of design and vigour of 
 colouring. In the Palazzo del Monte 
 Cavallo is a picture of his, representing 
 St. Gregory; and in the church of II 
 Nome di St. Maria is an altar-piece, the 
 subject of which is the death of St. Joseph. 
 He died at Rome in 1768. 
 
 Pozzo (Andrea). He was born at 
 Trent in 1642, and had for an instructor 
 an artist of mean abilities, who, observing 
 the superiority of his genius, set him to 
 imitate the best pictures that were to be 
 seen in that city. By continual applica- 
 tion to these studies, Pozzo made a num- 
 ber of good designs, even while young. 
 Afterwards he became the scholar of an 
 artist, who had studied several years at 
 Rome, and whose works showed a much 
 better taste, and greater elegance, than 
 
 were always introduced with the utmost any of the painters who practised at Trent, 
 propriety. No commendation can be be- [ On the removal of this person to Milan 
 
POZ 431 
 
 Pozzo accompanied hira, but was treated 
 by him there very harshly, and prevented 
 from following his inclination of visiting 
 Rome or Venice. However, he found a 
 patron at Milan, who was a lover of the 
 art, and whose liberality afforded him the 
 opportunity he desired of pursuing his 
 favourite studies of perspective and archi- 
 tecture. But now, unhappily, on getting 
 plenty of money, he fell into vicious com- 
 pany, and grew extremely dissolute; till 
 he was so atfected by the discourse of an 
 eminent preacher, that he resolved to re- 
 tire from the world; and accordingly, at 
 the age of twenty-three, he was admitted 
 'nto the society of Jesuits. These fathers 
 having observed the talents of Pozzo, and 
 being always attentive to what might 
 conduce to the benefit of their order, 
 placed him under Lodovico Scaramnccia, 
 by whose precepts he acquired a grand 
 and magnificent style of composition, and 
 painted several subjects taken from sacred 
 history, in fresco as well as in oil. After 
 executing some noble designs at Turin, 
 he was called to Rome, where he studied 
 accurately the most superb structures in 
 that city; and performed many admirable 
 works which astonished all who beheld 
 them by their variety, elegance, and 
 grandeur. No painter could possess a 
 more extensive knowledge of perspective 
 than Pozzo; on which science he published 
 some elaborate and judicious treatises. 
 He excelled in history, landscape, and 
 portrait, and almost in every branch of 
 the art; though his expression was not 
 equal to his elevated ideas; but in archi- 
 tecture and perspective he was critically 
 and wonderfully exact. The Emperor 
 Leopold I. invited him to his court, sat to 
 him for his portrait, and appointed him 
 to paint that of the Archduke Joseph; 
 which last was extremely applauded, as 
 well for the likeness as the spirit and dig- 
 nity of the attitude. Among a number 
 of historical subjects which he painted at 
 Vienna, that of the Wise Men's Offering, 
 in the chapel of the empress, was much 
 admired. His facility of working was 
 so great, that Giro Ferri used to say, the 
 horses of other painters moved at a slow 
 pace, but those of Pozzo were always on 
 the gallop. While at Genoa he painted 
 four pictures of the life of Christ, in imi- 
 tation of Rubens; but his principal per- 
 formances are the picture of St. Francesco 
 Borgia, in the church del Gesu at Rome, 
 and the ceiling of that of St. Ignazia, in 
 the same city. The first is in oil, and 
 
 PRE 
 
 the latter in fresco. Pozzo died at Vienna 
 in 1709. His portrait, painted by him- 
 self, is in the Florentine gallery. 
 
 Pozzo (Isabella dal). This lady was 
 a native of Turin, where, in the church 
 of St. Francesco, is a picture painted by 
 her, representing the Virgin and Child, 
 with several saints. The date of this 
 piece is 1666, and it is highly spoken of 
 for design and composition. 
 
 PozzosEKRATo (LoDovico). Thisartist, 
 who, from the place of his usual residence, 
 has obtained the name of da Trevigi, was 
 a native of Flanders, and a contemporary 
 of Paul Brill. He painted landscapes, 
 and particularly storms, with great vigour 
 and effect; his skies and distances are 
 most correctly tinted, and nothing can be 
 finer than his representation of the rising 
 and setting of the sun. 
 
 Phado (Blas de). This Spanish artist 
 was born near Toledo in 1497, and had 
 Alonzo Berruguete for his instructor. At 
 Madrid are preserved some pictures by 
 him, particularly an altar-piece in the 
 church of St. Pedro, representing the 
 Descent from the Cross, which shows 
 superior talents, and is much in the man- 
 ner of Parmegiano. When young, this 
 painter was invited to the court of the 
 Emperor of Morocco to paint the portrait 
 of that monarch's daughter, for which he 
 was well remunerated. He died at Toledo 
 in 1557. 
 
 Pratt (Matthew). This painter was 
 a native of Philadelphia, and came to 
 London in 1764. He resided, all the 
 time he was in England, with his country- 
 man, Mr. West; and in 1766 exhibited a 
 picture called the American School, con- 
 sisting of portraits of himself, Mr. West, 
 and others. He returned soon after to 
 Philadelphia, 
 
 Preciado, or Preziado (Francisco). 
 This painter was born at Seville in 1713, 
 and studied in his own country under 
 Dominigo Martinez, after which he went 
 to Rome, where he became the scholar of 
 Sebastian Conca. Among other works 
 in that city he painted a Holy Family, in 
 the style of his master. He was appointed 
 painter to Ferdinand VL and director of 
 the Spanish academy at Rome, where he 
 died in 1789. 
 
 Preister (John Justin). He was born 
 at Nuremberg in 1698. After being in- 
 structed by his father, he went to Italy, 
 and on his return painted a fine picture 
 of the Entombing of Christ, for one of 
 the churches of his native place. Not- 
 
PRE 
 
 432 
 
 PRI 
 
 withstanding this proof of his talents, he 
 devoted the rest of his life to engraving. 
 His brother was a painter of portraits. 
 
 Prenner (Gaspar). This painter was 
 born about 1722, at Vienna. His father 
 was an eminent engraver, from whom he 
 received instruction in that art; after 
 which he went to Italy, and studied at 
 Rome with great diligence many years. 
 He painted there an altar-piece for the 
 church of St. Dorotea, and other pictures; 
 besides which he occasionally practised 
 engraving, in conjunction with his bro- 
 ther, John Joseph, who executed some 
 plates for the Museum Florentinum. 
 
 Prestel (John Gottlieb). Tills ar- 
 tist was born at Grunebach, in Suabia, in 
 1739. He studied painting at Venice 
 under Giuseppe Nogari; but on settling 
 at Nuremberg he devoted himself almost 
 wholly to engraving, in which he was 
 assisted by his wife, who afterwards sepa- 
 rated from him, and died in London in 
 1791. 
 
 Prkti (Cavaliere Mattia), called 
 Calabrese. He was born at Taverna, in 
 Calabria, in 1613, but studied at Rome, 
 where he principally attended to the an 
 tique statues, and the works of Raffaelle, 
 Buonarroti, and Annibale Caracci. He 
 also became a scholar of Lanfranco, but 
 afterwards removed to the school of Guer- 
 cino, at Cento, where he learned a firm 
 manner of colouring, and a remarkable 
 freedom of pencil. Being ambitious of 
 further improvement, he visited Venice, 
 Bologna, Parma, Milan, and Genoa, to 
 observe the works of the most celebrated 
 painters in those cities; and he also con- 
 tracted an intimacy with Rubens, to ob- 
 tain the advantage of his conversation. 
 By this method he qualified himself to 
 appear with honour in his profession, and 
 his paintings were exceedingly admired 
 at Rome, where he settled about 1657. 
 Calabrese had a ready and rich invention; 
 his style of composition was grand, his 
 manner of colouring bold and full of force, 
 and his management of the chiaro-oscuro 
 equalled his master Guercino, by which 
 his pictures had a great effect; yet fre- 
 quently he was incorrect, and not only 
 wanted grace, but elegance of selection. 
 The academy of St. Luke having appointed 
 the Triumph of Osiris, the conqueror of 
 Egypt, as a subject for an historical pic 
 ture, and proposed a considerable premium 
 for the best performance, the superiority 
 was adjudged to Preti, though among his 
 competitors were some artists of the first 
 
 rjink. In the Palazzo Zambeccari at Bo- 
 logna, is a half-length figure of Homer by 
 him, as large as life. It is painted in a 
 strong manner; the head and the hands 
 are beautiful; but the shadows are too 
 black, and the colouring rather blue. And 
 in the Palazzo Ratta, of the same city, is 
 a picture by this master, representing a 
 Saint coming out of a Tomb, which is 
 composed in the style of Paolo Veronese, 
 and is admirably executed. The shadows 
 of the principal figure are, however, some- 
 what too dark, according to his general 
 manner; but altogether the colouring has 
 a fine effect, and the design is agreeable. 
 At the invitation of the grand master, he 
 went to Malta, where he painted some 
 pictures, the subjects of which were taken 
 from the life of John the Baptist, and the 
 execution gave such satisfaction, that he 
 was rewarded with the order of knight- 
 hood. He next went to Naples, and 
 painted there some works in fresco in the 
 Carthusian church. Calabrese usually 
 chose terrible subjects, particularly mar- 
 tyrdoms; and his dark colouring suited 
 the scenes which he represented. He died 
 at Malta in 1699. 
 
 Previtale (Andrea). He was born 
 at Bergamo, and was the disciple of Gio- 
 vanni Bellini, under whom he became a 
 considerable painter of history. He at 
 first followed the manner of his master, 
 but afterwards adopted a better style, as 
 appeared in his picture of the Preaching 
 of St. John, in the church of the Holy 
 Spirit; and that of St. Benedict, in the 
 cathedral of Bergamo. His greatest work, 
 however, is the Annunciation at Ceneda, 
 which Titian very much admired. He 
 died about 1528. 
 
 Priest (Thomas). Of this English 
 artist nothing more is known than that 
 he lived about 1740, at Chelsea, where he 
 painted several views on the Thames, of 
 which he published eight etchings. 
 
 Primaticcio (Francesco). He was 
 born in 1490 at Bologna, of a noble family. 
 Being a younger son, he was intended for 
 commerce; but having too elevated a mind 
 to follow that occupation, and prompted 
 by natural genius, he began to learn design 
 and colouring from Innocenzio da Imola, 
 and Bagnacavallo ; so that in a short time 
 he gave proofs of his extraordinary talents. 
 He then quitted his native city, and went 
 to Mantua, where he became a disciple 
 of Giulio Romano; who was then, with 
 several of his scholars, engaged on 
 some works in the ducal palace. Pri- 
 
.'IIJIRSI^ 
 
 PRI 
 
 ^^. 
 
 -PRtT^ i 
 
 maticcio continued under the direction of 
 Giulio six years, and by indefatigable 
 application acquired an excellent know- 
 ledge of colouring, and a fine taste of 
 composition. He worked in fresco as well 
 as in oil, in so distinguished a manner, 
 that he was accounted superior to all his 
 fellow pupils, and by his performances in 
 one of the grand apartments, he gained 
 the favour of the duke; who, when Fran- 
 cis I. applied to him for an artist to 
 ornament his palace of Fontainebleau, 
 readily recommended Primaticcio. He 
 accordingly set out for France, where he 
 was not less fortunate and successful with 
 the king than he had been with the duke: 
 his works were approved of and admired, 
 and he adorned Fontainebleau, and most 
 of the royal residences, with his composi- 
 tions. At this time II Rosso, commonly 
 called Maitre Roux, was superintendent 
 of the royal buildings, and between him 
 and Primaticcio a violent dissension arose, 
 which proceeded so far, that the king, to 
 put an end to it, gave our artist a com- 
 mission to purchase antiques and other 
 curiosities for him at Rome. This trust 
 he discharged with credit, and returned 
 laden with valuable statues, casts, and 
 busts. On his arrival, Maitre Roux was 
 dead, and Primaticcio was appointed to 
 finish the works which that painter had 
 begun in the great gallery and apartments 
 at Fontainebleau. Here also he represented, 
 in fifteen compartments of the ceiling, the 
 deities of the Iliad, and on the walls the 
 adventures of Ulysses. But in these works 
 Primaticcio was materially assisted by 
 Nicolo Abate. It is to be lamented that 
 these noble specimens of genius no longer 
 exist, having been obliterated in 1738, 
 when the palace underwent repairs and 
 alterations; so that nothing remains of 
 Primaticcio's designs there but the history 
 of Alexander the Great. For these per- 
 formances the artist was rewarded with 
 the abbey of St. Martin, at Troyes, which 
 he enjoyed as long as ha lived. He com- 
 posed well, and was accounted the best 
 designer of the school of Giulio Romano. 
 His attitudes were well understood, and 
 in those he seemed to imitate the style of 
 Parmegiano. His touch was light, and 
 his colouring lively; yet his pictures, in 
 many parts, are not equal to what could 
 be either wished or expected; for the ex- 
 peditious manner which he adopted occa- 
 sioned him to neglect correctness and 
 nature. He died at Paris in 1570. 
 Pkince (John Baptist le). This artist 
 
 was born at Metz in 1733, and studied 
 painting at Paris in the school of Francis 
 Boucher, where he spent some years, after 
 which he accompanied the Abbe Chappe 
 to Siberia, when that astronomer went to 
 make his observations on the transit of 
 Venus. In that frozen region, Le Prince 
 drew a number of views and sketches 
 of the people, with their manners and 
 customs. On visiting Petersburg, he 
 painted a large picture of that city, of 
 which, on his return to Paris, he pub- 
 lished an engraving. He also executed 
 many other plates, both in etching and 
 aquatinta, taken from the pictures which 
 he had drawn during his travels in the 
 north. He was now admitted a mem- 
 ber of the Royal Academy of Paris, on 
 which occasion he painted for his reception 
 a picture representing the ceremony of 
 Baptism in Russia. Le Prince excelled 
 in conversation pieces, the interior of 
 guard-rooms, pastorals, and rural festivi- 
 ties; most of which he also engraved 
 himself in a very pleasing style. He died 
 in 1781. 
 
 Priwitzer (John). This artist was 
 a native of Hungary, and came to Eng- 
 land in the reign of James I., at whose 
 court he was entertained, and painted the 
 portraits of many of the nobility. At 
 Woburu Abbey, the seat of the Duke of 
 Bedford, is a whole length by him of Sir 
 William Russel, in the robes of the order 
 of the Bath, attended by a dwarf. It is 
 dated 1627. Nothing more is known of 
 this painter. 
 
 Procaccini (Ercole). This artist 
 was born at Bologna in 1520. On account 
 of the opposition which he met with at 
 his native place he went to Milan, where 
 he opened a school with great success. 
 He imitated Corregio happily, except in 
 his colouring, which is feeble; yet he 
 established a high reputation as an in- 
 structor. His principal works are an 
 Annunciation; the Conversion of St. Paul; 
 Christ's Agony; St. Michael combating 
 the Rebel Host; and a Descent from the 
 C'ross; all of which are in the churches 
 of Bologna. He died about 1600. 
 
 Procaccini (Camillo). He was born 
 at Bologna in 1546, and studied under his 
 father, Ercole Procaccini, after which he 
 went to Rome, where he became particu- 
 larly attached to the style of Buonarroti, 
 though he also strove to imitate the grace 
 displayed in the figures of Parmegiano. 
 By aiming at the terrible and gigantic 
 forms of Michel Angelo, he lost sight of 
 2f 
 
PRO 
 
 PRO 
 
 nature, whence the arms and extremities 
 of his figures are frequently out of pro- 
 portion; but when he allowed himself 
 time to revise his work, and study it with 
 proper care, he was capable of drawing 
 correctly : his best pictures were well es- 
 teemed, and seemed as different from 
 those which were negligently performed, 
 as if they had not been the work of the 
 same hand. Camillo had a ready genius, 
 a strong manner of colouring and an ex- 
 traordinary power of pencil and freedom 
 of hand: his draperies were cast in a noble 
 taste, the airs of his heads were elegant, 
 and his best works generally showed a 
 good expression; so that in many respects 
 he was accounted equal to Lodovico 
 Caracci, with whom he painted in com- 
 petition, in the cathedral at Piacenza. 
 There is a Last Supper by him, on the 
 facade of the cathedral at Genoa, which 
 is in a grand style of painting. The 
 figures are considerably larger than life, 
 and their size adds a majesty to the 
 composition. It is remarkable for a 
 happy invention, and for having greater 
 beauty in the disposition than appears 
 either in the works of his father, or his 
 brother Giulio Cesare. The figures in 
 this picture also are much more correct 
 than his general designs. His style is 
 always great, and the spirit and invention 
 in his works scarcely leave a spectator 
 room to dwell on the want of lesser per- 
 fections. In a chapel belonging to the 
 church of St. Dominick, at Genoa, is a 
 noble picture of the Circumcision of Christ, 
 painted by Procaccini. The composition 
 is grand, the design and disposition are ex- 
 tremely good, the heads of the figures are 
 in a fine taste, though the form of the 
 Virgin cannot he called beautiful, and the 
 colouring is bold, producing an excellent 
 effect. This picture is by some ascribed 
 to Giulio, but by most to Camillo, whose 
 most esteemed works are at Milan, in the 
 cathedral of which city he painted in fresco 
 the History of St. Agnes. At Reggio is 
 a fine piece by him of the Last Judgment; 
 and in the same place is a noble picture 
 of St. Roch, which has been wrongly 
 ascribed to Annibale Caracci. He died 
 at Milan in 1626. Camillo Procaccini 
 etched several prints of sacred subjects 
 from his own designs. 
 
 Pkocaccini (Giulio Cesare). He was 
 the younger brother of Camillo, and was 
 born at Bologna in 1548. After receiv- 
 ing instructions in the school of his father, 
 he applied to sculpture; which art, how- 
 
 ever, he quitted, as it is said, to become 
 a pupil of the Caracci. But this cir- 
 cumstance does not appear probable, when 
 his age is considered. At all events, when 
 he devoted himself wholly to painting, he 
 soon proved the best artist of his family, 
 and far superior to his brother Camillo, 
 not only in the strength and boldness of 
 his figures, but also in the purity and cor- 
 rectness of his outline. It is very clear 
 that he had carefully studied Corregio, 
 Raffaelle, and Titian; but particularly the 
 first, the imitation of whose style is per- 
 ceptible in all his paintings. He resided 
 some time at Rome, where he improved 
 greatly by contemplating the finest pro- 
 ductions of Raffaelle and other masters. 
 On settling at Milan, he rose into high 
 distinction, and his extraordinary merit 
 procured him the friendship of the first 
 nobility. The public buildings of that 
 city possess most of his capital pieces, the 
 principal of which are the Transfigura- 
 tion, in the church of St. Celsus; the 
 Wise Men's Offering; and St. Francis 
 receiving the Stigmata, at the Padri Zoc- 
 colanti; and tlie Annunciation, in the 
 church of St. Antonio. In the French 
 church of St. Luigi, at Rome, is a Ma- 
 donna, much in the manner of Corregio, 
 which is often mistaken for the work of 
 that great master; and at Genoa is a 
 Last Supper, in the church of the Annun- 
 ciation, finely executed, designed in a 
 grand style, and coloured with great force 
 and beauty. In the Palazzo Durazzo, of 
 the same city, is a lovely picture, repre- 
 senting the Woman taken in Adultery, 
 designed in a grand taste, and wonderfully 
 well coloured ; and in the Palazzo Caregha 
 is a picture of the Virgin and Child, beau- 
 tifully designed and admirably coloured. 
 He died at Milan in 1626. 
 
 PfiocAcciNi (Caelo Antonio). He 
 was the third son of Ercole Procaccini, 
 and was born at Bologna aboiit 1555. 
 After learning the principles of his art 
 in the school of ^p father, he quitted his- 
 torical composition to paint landscapes, 
 flowers, and fruit, in the representation 
 of which objects he attained great emi- 
 nence. He died at Milan about 1628. 
 
 Procaccini (Ercole), called the Young. 
 He was the son of the preceding, and 
 was born at Milan in 1596. Giulio 
 Cesare Procaccini was his instructor, and 
 he followed his style generally, though he 
 also painted flower-pieces in such perfec- 
 tion, that for one of his performances in 
 that line, he was honoured with a chain of 
 
PRU 
 
 gold. His principal work in history is 
 an altar-piece, the subject of which is the 
 Assumption of the Virgin, in the church 
 of St. Maria Maggiore, at Bergamo. On 
 the death of his uncle Giulio, he became 
 superintendent of the Academy. He 
 died in 1676. 
 
 Pbocaccini (Andrea). This artist 
 was born at Rome in 1671, and had his 
 education in the school of Carlo Maratti, 
 whose style he constantly followed. He 
 resided many years at the court of Madrid, 
 where he executed several works of repu- 
 tation. He died in 1734. 
 
 Pkonti (Padre Cesark). This artist 
 was born at Rimini in 1626, and had 
 Guercino for his instructor. He became 
 a monk of the order of St. Augustine, 
 but still continued to paint altar-pieces 
 for the churches, and he executed them 
 in an admirable manner, generally en- 
 riching the backgrounds with the repre- 
 sentations of buildings. He died at 
 Ravenna in 1708. 
 
 Pkou (James). This artist, who was 
 both a painter and engraver, was born at 
 Paris about 1640. He studied under 
 Sebastian Bourdon, in whose style he 
 painted landscapes. He published several 
 prints, some after his own designs, others 
 after Bourdon, and others after Agostino 
 Caracci. He died about 1700. 
 
 Provenzale (Mahcello da Cento). 
 He was born at Cento in 1575, and was 
 a disciple of Paolo Roselli, under whom 
 he became eminent as a painter of history 
 and portrait ; but his superior merit con- 
 sisted in mosaic work, which he executed 
 with astonishing beauty and neatness. In 
 the palace of Cardinal Borghese at Rome, 
 is Orpheus playing on the Lyre, and 
 above all the rest, a portrait of Pope Paul 
 V. in mosaic by him, which is wrought 
 with inimitable art and judgment. Though 
 composed in imitation of the mosaic 
 works of the ancients, it excels them. 
 The face alone consists of more than two 
 millions of pieces, many being no larger 
 than a grain of sand ; and it is therefore 
 deservedly esteemed as one of the greatest 
 curiosities in Rome. Together with 
 Roselli, he executed several others in the 
 church of St. Peter, after the cartoons of 
 Roncalli. He died at Rome in 1639. 
 
 Pbddhon (Peter Paul). This artist 
 was born in 1760, at Clunyin Burgundy. 
 At the age of eighteen he gained the 
 prize given by the states of Burgundy. 
 This success entitled him to be sent as a 
 student to Rome, and in that city he re- 
 
 mained from 1783 to 1789. On his 
 return to France, he acquired high repu- 
 tation ; but his happiness did not equal 
 his fame. An unhappy marriage irnbit- 
 tered eighteen years of his life, and his 
 latter days were clouded by the loss of 
 Mademoiselle Mayer, one of his pupils, to 
 whom he was tenderly attached. He died 
 in 1823. His design was sometimes in- 
 correct,bu t his defects were redeemed by the 
 excellence of his composition and colour- 
 ing. He has been denominated the French 
 Corregio. His productions are numerous. 
 Crime pursued by Justice and Celestial 
 Vengeance ; Psyche borne away by the 
 Zephyr sporting over a Brook ; an As- 
 sumption ; and a Dying Christ; are 
 among the most celebrated of his pictures. 
 
 Puget (Peter Paul). This artist was 
 born at Marseilles in 1623. He was famous 
 as a sculptor and architect, as well as 
 a painter, in which last capacity his style 
 of design and colouring is said to resem- 
 ble the manner of Buonarroti ; and 
 those pictures which are of his hand are 
 much valued and admired in France. In 
 the cathedral at Aix is an altar-piece 
 painted by Puget, representing the An- 
 nunciation ; in which the design is correct, 
 and there appears an ease in the cast of 
 the draperies, a bold relief, with consider- 
 able grace in the figures ; and a good ex- 
 pression in their countenances ; but the 
 colouring is cold. In the church of the 
 Jacobins at Toulon is another picture of 
 the same subject, but much in the taste of 
 Pietro da Cortona. He died at Marseilles 
 in 1695. 
 
 PuGH (Herbert). This artist is said 
 to have been a native of Ireland; but 
 from both his names, it seems more 
 probable that he was a Welshman. He 
 came to London about the year 1759, and 
 obtained some reputation as a painter of 
 landscapes, though his style is very affect- 
 ed. He made some attempts to imitate 
 Hogarth, but without success ; and died 
 in obscurity, about 1775. 
 
 PuGLiA (Giuseppe), called 11 Bastaro. 
 This painter was born in 1620 at Rome, 
 where he produced several works of merit, 
 the chief of which are the Presentation in 
 the Temple, in the cloister of the Padri 
 della Minerva; and the Assumption of 
 the Virgin, in the Basilica of St. Maria 
 Maggiore. He died in 1682. 
 
 PuEiGo (Domenico). He was jorn at 
 Florence in 1475, and was a disciple of 
 Ghirlandaio ; in whose school he not only 
 became superior to all his companions, 
 
PYN 
 
 436 
 
 QUA 
 
 but was esteemed equal to his master. 
 He formed a strict intimacy with Andrea 
 del Sarto, by which he was greatly im- 
 proved, and might have reaped much 
 more advantage from that connexion, if 
 his love of pleasure had not rendered him 
 so necessitous, that, to supply his 
 demands, he painted more for immediate 
 gain than to advance his reputation. He 
 had a commendable taste of composition 
 and design, and was excellent in his col- 
 ouring. But his principal talent lay in 
 painting portraits and Madonnas, which 
 he executed with applause. He also 
 painted historical subjects, among which 
 are particularly mentioned, a Descent 
 from the Cross; a Lucretia; and the 
 Death of Cleopatra. He died in 1527. 
 
 PuLzoNE (Scipione), Called also Ga- 
 etano. This artist was born at Gaeta in 
 1550, and studied under Jacopino del 
 Conte. He was a distinguished painter 
 of history and portrait, but excelled in the 
 latter department of the art. His atti- 
 tudes are very graceful, and the expres- 
 sion of his figures is uncommonly ani- 
 mated. Among the many distinguished 
 personages who sat to him, were Pope 
 Gregory XIII , Cardinal de Medicis, and 
 the Archduke Ferdinand. The princi- 
 pal of his works in history are, the 
 Assumption, in the church of St. Silvester 
 at Rome ; a Pieta, in that of del Gesu ; 
 and the Crucifixion, in St. Maria Valli- 
 cella. In the Borghese palace is a beau- 
 tiful piece by him, representing the Holy 
 Family. He designed correctly, and his 
 colouring is sweetly harmonious. He 
 died at Rome in 1588. 
 
 PupiNi (BiAGio). This artist was 
 born at Bologna, and lived about 1540. 
 He studied under Francesco Francia, to 
 whose style he constantly adhered. The 
 principal of his works are at Bologna, 
 where, in the church of St. Giuliano, is 
 the Coronation of the Virgin ; in that of 
 St. Giacomo Maggiore, a Madonna and 
 Child, with St. Ursula; in that of St. 
 Maria della Baroncella, St. John in the 
 Desert; and at the Institute, a Nativity. 
 
 Ptnakeb (Adam). He was born at 
 the village of Pynaker, between Schiedam 
 and Delft, in 1621. Under whom he 
 received his instructions is unknown, but 
 he went for improvement to Rome, where 
 he continued for three years, and chose 
 the works of the great masters for his 
 models; besides which, he also studied 
 after nature the beautiful scenes, ruins, 
 views, and buildings, in and about that 
 
 iity. By this happy application of his 
 time and talents while in Italy, he re- 
 turned home an accomplished painter, 
 and his works rose into high esteem. 
 He had a judicious method of distributing 
 his lights and shadows, and managed them 
 in his compositions in such a manner as 
 to please and relieve the eye by their 
 agreeable oppositions. His small pictures, 
 however, are preferable to those which he 
 painted in a large size; and are admitted 
 into the cabinets of the curious among 
 the paintings of the greatest masters. 
 He was generally fond of a strong morn- 
 ing light, which allowed him to give a 
 more lively verdure to his trees. His 
 distances die away by proper breakings 
 of the ground, are diversified with hills 
 and valleys, extending the view as far as 
 the eye can be supposed to reach; and 
 his landscapes are usually enriched with 
 elegant ruins, or pieces of architecture, 
 together with figures correctly designed, 
 and extremely well adapted to the sub- 
 jects and situations. He died in 1673. 
 
 Pyne (W. H.) He had very consider- 
 able skill in water colours, and his prac- 
 tice enabled him to become possessor of 
 an elegantly furnished house in Baker- 
 street, Portman square. 
 
 Q. 
 
 Qtjagua (Giulio). He was born at 
 Como, and lived about the year 1690. 
 It is supposed that he was a scholar of 
 Recchi ; and his principal works, which 
 are at Udina, display fertility of concep- 
 tion, great taste of composition, and a 
 dexterity of handling above most of the 
 artists of his time and country. 
 
 QuAiNi (Francesco). This artist was 
 born at Bologna in 1611, and studied 
 under Agostino Mitelli, by whose instruc- 
 tions he became eminent in perspective 
 and architecture. Most of his works are 
 in the palaces of Bologna, where he died 
 in 1680. 
 
 QuAiNi (LoDOVico). He was the son 
 of the preceding, and was born at Bologna 
 in 1643. After receiving instructions 
 from his father, he became the scholar of 
 Guercino, whom he left, to study under 
 his relation, Carlo Cignani. At this time 
 Marc Antonio Franceschini was a pupil 
 of Cignani, and the two youths were ein- 
 ployed by their master as his assistants in 
 
QUE 
 
 QUE 
 
 some of his greatest works. The land- 
 scape, architecture, and other ornaments, 
 were painted by Quaini, who, in these 
 respects, excelled his master; Frances- 
 chini was employed on the figures, and 
 Cignanl superintended and directed the 
 whole. After the death of their precep- 
 tor, the two artists continued to work 
 together in the same spirit of amity, their 
 united powers being employed in executing 
 many imjjortant works, not only at Bolo- 
 gna, but in other cities, particularly Rome, 
 where they painted the cartoons for a 
 cupola in the church of St. Peter, which 
 was afterwards completed in mosaic. 
 Quaini also painted by himself some his- 
 torical pictures entirely from his own de- 
 signs, as a Visitation ; the Dead Saviour 
 supported by the Virgin; and the Im- 
 prisonment of St. Nicholas, as an altar- 
 piece. The liveliness of his imagination 
 enabled him to compose his subjects with 
 great ease, and in an elegant taste. He 
 died in 1717. 
 
 QuAST (Peter). This artist was born 
 at the Hague in 1602. He painted hu- 
 morous subjects, as beggars, and the 
 festive assemblies of peasants ; which he 
 represented in a very spirited manner, 
 though not without vulgarity. He also 
 engraved the same kind of subjects, in the 
 manner of Callot. He died about 1670. 
 
 QuELLiNus (Ebasmus). He was born 
 at Antwerp in 1607, and received so libe- 
 ral an education as to be appointed pro- 
 fessor of philosophy in the college of his 
 native city. On becoming acquainted 
 with Rubens, he renounced the chair, to 
 devote himself to painting under the di- 
 rections of that great master. His progress 
 was rapid, and in a short time he rose to 
 distinction among the artists of his coun- 
 try. He studied architecture and per- 
 spective, and employed his knowledge of 
 those branches very successfully in all his 
 future compositions, so that his works rose 
 into such reputation that he found con- 
 stant employment. His manner of de- 
 signing was good, his touch free and 
 spirited, and the beauty of his colouring 
 sufficiently showed the school in which he 
 imbibed his knowledge. He painted both 
 landscape and history in a very agreeable 
 style ; and his great, as well as small 
 compositions, are allowed to have abun- 
 dance of merit ; but in the latter his pen- 
 cilling was more neat, and his colouring 
 more transparent. His taste of design, 
 though considerably tainted with the 
 Flemish manner, is tolerably correct ; and 
 
 in many respects his ideas are just, learned, 
 and elevated, though his drawing is some- 
 times inaccurate. There is a celebrate(l 
 picture of this master at Antwerp, of which 
 the subject is, Christ in the House of tho 
 Pharisee, and Mary Magdalen washing 
 his Feet; in which composition he has 
 shown a fine disposition, good pencilling, 
 and a pleasing tone of colour. In the 
 church of St. Peter, at Mechlin, is a 
 Nativity by Quellinus, which has been 
 mistaken for the work of Vandyck; in 
 that of St. Andrew, at Antwerp, is the 
 Guardian Angel ; and, at Ghent, an altar- 
 piece representing the Flight into Egypt. 
 All these are admirable performances. 
 He was also an excellent painter of por- 
 trait ; much in the manner of Vandyck. 
 He died at Antwerp in 1678. He etched 
 some prints, chiefly after Rubens. 
 
 QuEu^iNUS (John Erasmus), called the 
 Young. He was the son and scholar of 
 Erasmus, and was born at Antwerp in 
 1629. Having often heard his father 
 regret that he had never been in Italy, he 
 resolved to go thither, and this object he 
 accomplished at the age of twenty-one, 
 first visiting Venice, where he studied the 
 works of Paolo Veronese, whose style he 
 adopted. From thence he went to Naples, 
 Florence, and Rome, in all which places 
 he obtained considerable employment, and 
 executed some grand works, which ex- 
 tended his reputation. At the desire of 
 his father he returned to Antwerp, where 
 he received numerous commissions for the 
 decoration of the churches and convents, 
 as well as for private collections. His 
 design was correct, his draperies were 
 large, noble, and flowing ; and his back- 
 grounds were enriched with obelisks, 
 monuments, or magnificent architecture. 
 His figures are disposed with propriety 
 and judgment; his expression is lively; 
 and his colouring agreeably heightened 
 by afineefifectof thechiaro-oscuro. Many 
 of his works are improperly ascribed to 
 his father; though, whoever observes the 
 productions of both artists, cannot but 
 perceive at first sight that the son was far 
 superior to Erasmus, as well in the taste 
 of design and the disposition of his sub- 
 jects, as in the correctness of his figures 
 and the elegance of their forms. His 
 most capital painting is in the church of 
 the abbey of St. Michael, at Antwerp. 
 The figures are as large as life, and the 
 subject is Christ healing the Sick. _ It is 
 a large, or rather a vast, composition; 
 and is so much in the style of Veronese, 
 
RAD 
 
 RAD 
 
 that it might be easily ascribed to that 
 great painter. The ornamental architec- 
 ture is admirable ; and though the com- 
 position consists of a prodigious number 
 of figures, the whole is without confusion. 
 In the refectory of the same abbey, he 
 painted the four Repasts, mentioned in 
 the Go pels; in the church of Notre Dame, 
 at Meciilin, is a Last Supper, all painted 
 by the younger Quellinus in an admirable 
 manner. This artist ranks in the Flemish 
 School next to Rubens and Vandyck; but 
 his colouring is in the Venetian style. He 
 died at Antwerp in 1715. 
 
 QuiLLARD (Peter Akthony). This 
 artist was born at Paris in 1711. He had 
 Anthony Watteau for his master; after 
 which he went to Portugal, where he was 
 appointed painter to the queen, and elected 
 a member of the academy of Lisbon. He 
 also practised engraving, but died young, 
 about 1741. 
 
 Rabel (John). This artist, who was a 
 native of France, practised both painting 
 and engraving, but chiefly the latter, both 
 on wood and on copper. His son, Daniel 
 Jlabel, was a landscape painter, and pub- 
 lished several etchings from his own 
 designs. The father lived about 1586, 
 and the son in 1620. 
 
 Rabon (Peter). This French painter 
 was born at Havre-de- Grace, in Nor- 
 mandy, in 1616, and died at Paris in 
 1684. He excelled in portrait; but his 
 son, Nicholas Rabon, who was born at 
 Paris in 1644, distinguished himself in 
 history. He died at Hermant in 1686. 
 
 Racchetti (Bernardo). This painter 
 was born at Milan in 1639, and studied 
 under his uncle Giovanni Ghisolfi, who 
 took care to guide him in that method 
 which was most likely to render him emi- 
 nent. For a considerable time he practised 
 perspective and architecture ; and at last 
 painted so well in the style and manner 
 of his master, that his pictures are fre- 
 quently mistaken for those of Ghisolfi. 
 His usual subjects are seaports, enriched 
 with superb buildings, which he executed 
 with spirit and judgment. His perspec- 
 tive is remarkably true, and none of his 
 contemporaries exceeded him in the artful 
 management of the chiaro-oscuro. He 
 died at Milan in 1702. 
 
 Rademaker (Gerard). He was born 
 at Amsterdam in 1672 ; and after learning 
 
 the principles of drawing and perspective 
 from his lather, who was an architect, he 
 became the pupil of Van Goor, a portrait 
 painter. On the death of that artist, 
 Gerard undertook to teach drawing and 
 design, in which capacity he had the good 
 fortune to be employed as the instructor 
 of the niece of the Bishop of Sebasto. 
 That prelate was so pleased with his agree- 
 able behaviour, that he took him in his 
 suite to Rome, where he spent three years 
 in studying every thing that could con- 
 tribute to his improvement. On his return 
 to Holland, his merit procured him friends, 
 favour, and employment : his works were 
 eagerly purchased by persons of the first 
 rank ; he was engaged in several consi- 
 derable undertakings ; and the fertility of 
 his genius, as well as the facility with 
 which he painted, enabled him to finish 
 abundance of designs in a short time. 
 He is esteemed one of the good masters 
 of the Dutch School ; and his style of 
 composition shows, not only the exten- 
 siveness and grandeur of his ideas, but 
 also a genius well cultivated, by studying 
 the best models. In architecture and 
 perspective he was equalled by few of his 
 contemporaries; and his view of St. Peter's 
 at Rome, is accounted a masterpiece, as 
 well for the handling as for the truth and 
 exactness of the design. But he also 
 painted historical subjects with great 
 ability, and in the stadthouse, at Amster- 
 dam, is a picture by him, representing 
 the regency of that city. He was fond of 
 introducing bass-relief and embossedwork 
 into most of his compositions, which he 
 designed with singular art, truth, and 
 elegance. He died at Amsterdam in 1711. 
 Rademaker (Abraham). He was born 
 at Amsterdam in 1675, and is supposed 
 to have been a younger brother of the 
 preceding. This, however, is doubtful, 
 especially as we are confidently told that 
 he became eminent in his profession with- 
 out the assistance of any master. At first 
 he spent whole days and nights in draw- 
 ing and copying with Indian ink, till he 
 arrived at great perfection in that manner 
 of painting ; and he also practised water 
 colours, which he managed with full as 
 .much freedom of touch as if he had painted 
 in oil ; to the surprise, as well as the 
 approbation, of all the artists of his time. 
 He excelled in landscapes, and the views 
 of towns in Holland. His invention was 
 remarkably fertile, and he was never at a 
 loss to furnish an endless variety of scenes 
 and subjects, from the power of his active 
 
RAE 
 
 RAF 
 
 imagination, without having recourse to 
 nature. He composed readily and agree- 
 ably, and filled his pieces with suitable 
 figures, and animals, well designed and 
 grouped. And as he had applied to the 
 study of architecture and perspective, he 
 usually adorned his designs with elegant 
 ruins, or the vestiges of ancient edifices. 
 His colouring is bright, strong, and of a 
 very pleasing tone, which compensates for 
 the appearance of a little dryness observ- 
 able in his larger works ; which defect, it 
 is supposed, he contracted by a habit of 
 painting in small. He went to reside at 
 Haerleni, where he was admitted into the 
 society of artists ; but unhappily, while on 
 his work a number of peasants assaulted 
 his house, >mder the persuasion that he 
 was contriving some scheme against their 
 religion, and it was with difficulty that he 
 escaped out of their hands ; but the terror 
 he endured from the circumstance preyed 
 upon his spirits, and hastened his death in 
 1735. This artist's drawings and designs 
 in water colours and Indian ink are to be 
 seen frequently in the collections of the 
 curious, and are much valued for the 
 neatness and delicacy with which they are 
 finished. He also engraved from his own 
 designs three hundred ancient remains in 
 Holland and the Low Countries. These 
 were published at Amsterdam in 1731. 
 
 Raeburn (Henry). This ingenious 
 artist was a native of Edinburgh, but 
 received his instruction in Italy. On his 
 return home he became distinguished as a 
 portrait painter, though he also exhibited 
 a few historical pieces at the Royal Aca- 
 demy in London, of which he was a 
 member. Of that of Edinburgh he was 
 chosen president, and when George the 
 Fourth visited his northern capital, the 
 honour of knighthood was conferred upon 
 him, and he subsequently received the 
 appointment of first portrait painter to the 
 king in Scotland. He, however, enjoyed 
 this honour only a few months, dying at 
 his house near Edinburgh, July 6, 1823. 
 Sir Henry was also a member of the 
 academy of painting at Florence, and of 
 that at New York. In portrait he was 
 second to Sir Thomas Lawrence alone, in 
 the peculiar chasteness, depth of colouring, 
 and faithfulness of resemblance. His fuU 
 length pictures of the late Earl of Hope 
 town. Lord Frederick Campbell, Sir David 
 Baird, Adam Holland of Glengarry, and 
 many more, might be adduced as proofs 
 that he was equally remarkable for cor- 
 rectness of drawing, freedom of pencilling, 
 
 brilliancy of colouring, and a personifica- 
 tion of character not less vigorous than 
 graceful. He possessed the rare faculty 
 of producing in every instance the most 
 striking and agreeable likeness, and of 
 indicating intellectual expression and 
 dignity of demeanour wherever they 
 appeared in the original ; often approach- 
 ing in his portraits to the elevation of 
 historical painting. His modesty was 
 equal to his talents ; and in his intercourse 
 with the young candidates for public 
 favour, he was uniformly kind, communi- 
 cative, and liberal. He was not only an 
 artist, but a patron of the arts, and his 
 gallery and study were always open to 
 young aspirants. 
 
 Raffaelle, or Raffaeixo (Sanzio). 
 This prince of painters was the only child 
 of Giovanni Sanzio, an ordinary artist of 
 Urbino, and was born in that city, on 
 Good Friday, March 28, 1483. Having 
 been instructed in the rudiments of draw- 
 ng by his father, he was taken to Perugia, 
 and there placed as a pupil with Pietro 
 Vanucci, commonly called Perugino, who 
 is said from the beginning to have pre- 
 dicted his future eminence. In this school 
 he studied with indefatigable diligence, 
 and imitated his master so closely, that 
 their works could hardly be distinguished 
 one from the other ; a circumstance, how- 
 ever, which only served to rivet the 
 affection of Perugino more firmly for his 
 scholar, while RafFaelle strove to repay his 
 regard, by unwearied assiduity and en- 
 deavours to excel. In 1499, being then 
 only sixteen years old, he quitted Perugino, 
 and began soon after to execute some 
 designs of his own for the churches, and 
 private persons. Among those early pro- 
 ductions of his genius are mentioned, the 
 Crowning of the Virgin, in the convent of 
 the Eremitani ; the Crucifixion, in the 
 Dominican church, at Cilta di Castello ; 
 and a Holy Family, at Formo, in which 
 the Virgin, is represented as lifting a veil 
 from the Infant, who is asleep. This last 
 picture has an initial inscription, to the 
 following effect: Ruffuelle Sajicttus, JJrhi- 
 nas, anno cetatis XVII. pinxit. His next 
 picture was the Marriage of the Virgin, 
 painted for the church of St. Francis, at 
 Citta di Castello ; and in all these per- 
 formances the dawn of his greatness was 
 visible, though the manner of Perugino 
 was predominant. About this time, his 
 fellow pupil, Pinturicchio, being employed 
 by Cardinal Piccolomini to ornament the 
 library at Siena, requested RafFaelle to 
 
RAF 
 
 440 
 
 RAF 
 
 become his coadjutor in that work. He 
 assented ; and the two artists began there 
 ten large pictures, illustrative of the 
 history of Pope Pius II. Difficult and 
 novel as the enterprise was, Ratfaelle bent 
 his mind upon it, and drew the sketches 
 and cartoons for the whole work. Previous 
 to the completion of these paintings, how- 
 ever, he went to Florence, where the per- 
 formances of Masaccio and Leonardo da 
 Vinci attracted his attention, and contri- 
 buted to his improvement. In this city 
 he had also the good fortune to become 
 acquainted with Fra Bartolomeo di St. 
 Marco, who instructed him in the true 
 principles of colouring and the chiaro- 
 oscuro, for which in return Raffaelle 
 taught his friend the rules and practice 
 of perspective. After a short stay at 
 Florence, the death of his father obliged 
 him to return to TJrbino, where the duke 
 engaged him to paint for his palace four 
 pictures, which were much valued. In 
 1505 he removed to Perugia, being com- 
 missioned there to paint the chapel of St. 
 Severo; and a Crucifixion, in the Camal- 
 dolian monastery. The latter he executed 
 himself, but the former work he left to be 
 completed by his old master ; being re- 
 solved to return to Florence for the con- 
 tinuance of his studies, well persuaded 
 that he had yet much to learn in fore- 
 shortening, and the representation of 
 beauty. He remained at Florence near 
 two years, during which period he painted 
 the Virgin with the Infant and St. John, 
 which is in the ducal gallery; and the 
 Entombing of Christ, for the Franciscan 
 church at Perugia, but now in the Palazzo 
 Borghese. This last is deservedly styled 
 by Vasari a most divine picture ; the heads 
 command veneration, and the sorrow 
 manifested in the countenances cannot 
 fail to excite sympathetic emotions in the 
 most indifferent beholder. Tlie reputation 
 which Raffaelle acquired by these pro- 
 ductions having reached Rome, he was 
 invited thither by Pope Julius II., who 
 was at that time engaged in ornamenting 
 the Vatican. At the beginning of 1508, 
 the young Raffaelle presented himself to 
 the pontiff", by whom he was cordially 
 received, and immediately employed in 
 decorating a superb suite of apartments 
 called La Segnatura. Here he began 
 a set of emblematical pictures of Theo- 
 logy, Philosophy, Poetry, and Juris- 
 prudence; the design of which gave so 
 much satisfaction to the pope, that he 
 ordered all the paintings on the walls of 
 
 his palace to be obliterated, and re- 
 placed by the productions of Raffaelle. 
 The mandate was instantly put in execu- 
 tion, and the works of former masters 
 disappeared, with the exception of one 
 painted by Perugino, which was saved 
 through the earnest intercession of Raf- 
 faelle, out of respect to his old friend 
 and preceptor. In the first compartment 
 Raffaelle has represented tlie four Evange- 
 lists ; the four great Fathers of the Latin 
 church, and the principal doctors ; above, 
 is a picture of the Trinity, and below, an 
 altar with the Eucharist upon it, whence 
 this piece has erroneously obtained the 
 name of the Dispute on the Sacrament. 
 On the other end of the apartment is a 
 representation of Philosophy, in which 
 are introduced Socrates instructing Alci- 
 biades; Pythagoras surrounded by dis- 
 ciples; Plato and Aristotle delivering 
 lectures; Zoroaster, Archimedes, and 
 Diogenes. This picture, which con- 
 tains fifty-two figures, is denominated the 
 School of Athens. The third compart- 
 ment represents Jurisprudence, in the 
 persons of Justinian delivering the Civil 
 Law to Trebonianus, and Pope Gregory 
 IX. communicating the Decretals to an 
 advocate ; while above are the emblematic 
 figures of Prudence, Temperance, and 
 Fortitude. The fourth piece is devoted 
 to Poetry, wherein are introduced Apollo 
 and the Muses on Parnassus, surrounded 
 by Greek, Latin, and Italian bards; Ho- 
 mer being placed between Virgil and 
 Dante. In the second apartment, the 
 painting of which was begun in 1512, 
 Raflaelle has taken for one of his subjects, 
 the Vision of Heliodorus in the Temple 
 at Jerusalem, and the saving of the sacred 
 edifice by the interposition of an angel. 
 On the other side of the same apartment 
 are, the Miracle of the Mass ; the deliver- 
 ance of St. Peter from Prison, and St. 
 Leo the Great stopping the progress of 
 Attila. While engaged on these pictures, 
 Pope Julius died, and was succeeded by 
 Leo X., a zealous friend to the arts, and 
 therefore readily disposed to patronise 
 RaflTaelle, who went on in his work with 
 alacrity. In the third apartment, he 
 painted four pieces, one representing the 
 defeat of the Saracens by Pope Leo at 
 Ostia; the second describes the confla- 
 gration of the Borgio Vecchio, and its 
 miraculous cessation by the same pontiff; 
 the third is a picture of the Coronation of 
 Charlemagne: and the fourth exhibits 
 Leo III. vindicating himself by an ap- 
 
RAF 
 
 441 
 
 RAF 
 
 peal to the Gospels. These important 
 works, which occupied nine years, were 
 completed in 1517, and the rooms thus 
 ornamented obtained the name, which 
 they still retain, of the Stanze of Raffaelle. 
 Besides these performances, he within the 
 same period painted the principal events 
 in the history of Constantine; twelve 
 whole-length figures of the Apostles : and 
 several small pictures for the ceilings of 
 the palace. He also found time to study 
 architecture under his uncle Bramante, 
 whom he succeeded in 1515, as super- 
 intendent of the building of St. Peter's 
 church, with a salary of three hundred 
 golden crowns, which is more than what 
 Sir Christopher Wren had, near two 
 centuries afterwards, for designing and 
 directing the great work of St. Paul's, in 
 London. The same year Raffaelle accom- 
 panied the pope to Florence, where he 
 constructed a design for the facade of the 
 church of St. Lorenzo; and another of 
 a palace for the Bishop of Troja. He 
 also designed the Caffarelli palace at 
 Rome; one for the Marquis Giovanni 
 Battista della Salticella ; a villa for Cardi- 
 nal Giulio de' Medici; a set of stables for 
 Prince Ghigi ; and a chapel in the church 
 of St. Mario del Popolo. To return to 
 the paintings of this illustrious artist. 
 When he had completed the ornaments 
 of the three principal apartments of the 
 Vatican, his powers were directed to the 
 decoration of tlie arcades of the same 
 palace, now known by the name of the 
 Loggie, the architecture of which, though 
 begun by Bramante, was finished by his 
 nephew. Here Raffaelle and his assistants 
 painted thirteen ceilings, each containing 
 four subjects taken from sacred history ; 
 but the whole were designed and harmo- 
 nized by himself. The entire series has 
 been engraved, and goes commonly by 
 the title of Raffaelle's Bible. About the 
 same period of his active life, he also 
 designed the celebrated cartoons for the 
 tapestry hangings of the papal chapel, 
 representing the leading events recorded 
 in the four (rospels, and Acts of the 
 Apostles. These designs, after having 
 been wrought in Flanders, came to this 
 country, and have long formed a part of 
 the royal collections. They have been 
 engraved in the first style of art, by Mr. 
 Holloway, after the laborious application 
 of many years. Besides his works in 
 the Vatican, Raffaelle executed a num- 
 ber of frescoes, and other admirable per- 
 formances, particularly in the Farnesina, 
 
 where he painted the Triumph of Galatea, 
 and designed a set of pictures of the Loves 
 of Cupid and Psyche. Of his pieces in 
 oil, the principal are, a St. Cecilia, painted 
 for the church of St. Giovanni in Monte, 
 at Bologna; Christ carrying the Cross, 
 which is, or was, in the royal collection 
 at Madrid ; St. Margaret and St. George, 
 formerly in the possession of our Charles 
 I., and now in the Louvre ; St. John in 
 the Desert ; and a Holy Family, in the 
 same repository ; and a Virgin with the 
 Child in her lap, at Loretto, which cannot 
 be looked on without a feeling of awe, 
 as well as admiration, the grandeur of the 
 objects excluding all idea of the artist. 
 There appears in the face of the Virgin 
 somewhat more than mortal; and the child, 
 though in the innocent posture of throwing 
 up the legs and arms, with all the air of 
 infancy in the face, has divinity stamped 
 throughout. The look of the Saviour is 
 sweeter than that of a human face ; and 
 yet with all the grace that is diffused 
 through it, there is in it an air that 
 impresses the beholder with veneration. 
 The disposition in this picture has an 
 inimitable dignity and ease, the drapery 
 of the Virgin has a noble simplicity, and 
 the attitude of the head has such an incon- 
 ceivable grace and softness, as not only 
 charms but astonishes the spectator. The 
 last, and perhaps the greatest work in oil 
 of this immortal artist, is the Transfigura- 
 tion of Christ, which he painted for Car- 
 dinal de' Medici. At the foot of Mount 
 Tabor is an assembled multitude, among 
 whom are the disciples of our Lord, 
 endeavouring in vain to relieve a youth 
 from the dominion of an evil spirit. The 
 various emotions of the different parties 
 in this group are most characteristic of 
 horror, doubt, anxiety and pity ; but the 
 mind is soon carried beyond the touching 
 scene below to the more sublime one 
 above, where Christ appears elevated in 
 the air, surrounded with glory, between 
 Moses and Elias, while the three favoured 
 apostles kneel in devout astonishment on 
 the ground. With this great work the 
 labours and life of the painter terminated ; 
 for while engaged upon it he was attacked 
 by a fever, which, for want of proper 
 treatment, carried him off, on Good Friday, 
 April 7, 1520, when he had just completed 
 his thirty-seventh year. His body lay in 
 state in the room where he had been 
 accustomed to study, and the picture of 
 the Transfiguration was placed nigh the 
 bier, for the conteipplation of those who 
 
RAF 
 
 RAF 
 
 came to pay their respects to the last 
 remains of the illustrious artist. The 
 funeral was performed with great pomp 
 at the Pantheon, and Cardinal Bembo, by 
 the desire of the pope, wrote the follow- 
 ing inscription for the tomb, which was 
 soon afterwards erected to the memory of 
 RaflFaelle: 
 
 PICTOKI I 
 COirTEHPLABE, 
 
 VEIERUMQUE JE 
 
 Raffaelle was never married, though 
 Cardinal di Bibbiena offered him his 
 niece, which high alliance he is said 
 to have declined, because the honours 
 of the purple were held out to him by 
 the pope, with wliom he was a great 
 favourite, and who made him groom 
 of his chamber. In early life he became 
 attached to a young woman, the daughter 
 of a baker at Rome, thence called, by 
 way of distinction. La Bella Fornarina, 
 and she liecame liis mistress. To her 
 he was solely and constantly attached, 
 and he left her by his will enough to 
 maintain her in a state of independence. 
 The rest of his property he bequeathed 
 to a relation at Urbino, and to two of 
 his scholars, Giulio Romano and Fran- 
 cesco Penni, appointing an intimate 
 friend, Turini da Fascia, his executor. 
 Raffaelle was not only eminent as a 
 painter and an architect, but he strove 
 to emulate his great contemporary, 
 Michel Angelo, in being a sculptor 
 also. We are informed that with his 
 own hand he executed some statues, 
 but only one is referred to with cer- 
 tainty, and that was the statue of a 
 child, which came into the possession of 
 Giulio Romano. That this piece of 
 sculpture was the production of Raffaelle 
 is proved by a letter of Count Castiglione, 
 written in 1523; but it is not known what 
 became of it after the death of Giulio. 
 There is, however, in the Chigi chapel, 
 in the church of St/. Maria del Popolo, 
 at Rome, a marble statue of Jonah, exe- 
 cuted from a model by Raffaelle, and under 
 his particular inspection, by Lorenzetto. 
 It should be observed also that this extra- 
 ordinary man was likewise a poet; and 
 
 there is extant an affecting sonnet in Ita- 
 lian, written by him only a day or two 
 before his death, in which he compares 
 himself to a sinking vessel, abandoned by 
 all her crew. Every accomplishment and 
 qualification necessary to form an illus- 
 trious painter were combined in Raffaelle; 
 sublimity of thought, a fruitful and rich 
 invention, remarkable correctness of draw- 
 ing and design, and a wonderful disposition 
 and expression. His attitudes are noble, 
 natural, and graceful, and contrasted with- 
 out the smallest appearance of affectation 
 or constraint, and to the elegance and 
 grandeur of the antique he added the sim- 
 plicity of nature. For though he admired 
 the antique statues highly, yet he studied 
 nature with equal assiduity; from which 
 combined attention resulted that amazing 
 variety and elegance in the forms, actions, 
 and attitudes of his figures, and those 
 delicate and graceful airs of the heads 
 which distinguish his compositions from 
 all others, and in wliich he surpassed all 
 the great masters who have flourished 
 since the revival of the art. It has been 
 objected to him that, by too nice a regard 
 to the purity and correctness of his out- 
 line, it often became hard; but whatever 
 small imperfections may be imputed to 
 this inimitable artist, he is allowed to 
 have diffused through all his works more 
 truth, grace, and sublimity, than any 
 painter who has appeared before or since. 
 Corregio alone could enter into a compe- 
 tition with him for grace; but he was 
 unequal to Raffaelle in every thing else. 
 At different periods of his life Raffaelle 
 had very different manners. His first 
 was derived from the school of Perugino, 
 which he retained a long time, and it is 
 the opinion of some that he never entirely 
 abandoned it. But when he contemplated 
 the cartoons of Buonarroti and Leonardo 
 da Vinci, he in a great measure divested 
 himself of the dryness of his first master, 
 and, blending the boldness of Michel 
 Angelo with his own graceful ideas, he 
 formed a style of design more perfect than 
 his model, and at last struck out a manner 
 peculiar to himself, and superior to all 
 others, full of grace, dignity, ease, and 
 elegance, which he retained as long as he 
 lived. He excelled in portrait as well as 
 in history, and by his pencil immortalized 
 the Popes Julius II. and Leo X. with 
 many of the cardinals; representing them 
 with such life and nature, dignity of cha- 
 racter and expression, as surpasses the 
 power of description. The portrait of 
 
RAF 4 
 
 the first of these popes is now in the Bri- 
 tish National or Royal Gallery. He 
 finished his pictures, especially those in 
 oil, exquisitely, and took every care to 
 give them the utmost perfection, and yet 
 he is said to have been very expeditious 
 in his method of vrorking. From the 
 time that he shook ott" the dry taste of 
 Perugino, his draperies were cast in a 
 most noble style, disposed with an elegant 
 mixture of simplicity and grandeur, and 
 always so placed, that the finer parts of 
 the naked, particularly about the joints, 
 were discernible in every figure. It is 
 remarkable that the frescoes of Raffaelle 
 in the Vatican do not strike the beholder 
 immediately with that surprise which 
 might be expected from the fame of the 
 painter and the excellence of the work. 
 This effect is supposed by De Piles to be 
 occasioned by the want of a strength of 
 colouring proper for each object, that 
 colouring not being sufficiently supported 
 by a powerful chiaro-oscuro. But Mon- 
 tesquieu accounts for it in a better manner. 
 He observes that the works of RafiFaelle 
 strike little at first sight, because nature 
 is so well imitated, that a spectator is no 
 more surprised than he would be on seeing 
 the object itself, which would excite no 
 degree of surprise at all. On the other 
 hand, an uncommon expression, strong 
 colouring, or odd and singular attitudes 
 by an inferior artist strike us at first sight, 
 because we have not been accustomed to 
 them. To illustrate this point, he com- 
 pares Raffaelle to Virgil, as sublime, easy, 
 natural, and majestic; and the Venetian 
 painters, with their constrained attitudes, 
 he conjpares to Lucan. Virgil, who is 
 the poet of nature, strikes us at first less, 
 in order to impress us afterwanis more 
 sensibly: Lucan strikes immediately, but 
 the effect is soon lost. But let us hear 
 Sir Joshua Reynolds on this subject: " It 
 has frequently happened," says he, " as I 
 was informed by the keeper of the Vatican, 
 that many of those whom he had conducted 
 through the various apartments of that 
 edifice, when about to be dismissed, have 
 asked for the works of Raffaelle, and 
 would not believe that they had already 
 passed through the rooms where they are 
 preserved, so little impression had those 
 performances made upon them. One of 
 the first painters now in France once told 
 me that this circumstance happened to 
 himself, though he now looks upon Raffa- 
 elle with that veneration which he deserves 
 from all painters and lovers of the art. I 
 
 [3 RAF 
 
 remember very well my own disappoint- 
 ment when I first visited the Vatican ; 
 but on confessing my feelings to a brother 
 student, of whose ingenuousness I had a 
 high opinion, he acknowledged that the 
 works of Raffaelle had the same effect 
 upon him, or rather, that they did not 
 produce the effect which he expected. 
 This was a great relief to my mind, and, 
 on enquiring further of other students, I 
 found that those persons only who, from 
 natural imbecility, appeared to be incapable 
 of ever relishing thosedivine performances, 
 made pretensions to instantaneous raptures 
 on first beholding them. In justice to 
 myself, however, I must add, that though 
 disappointed and mortified at not finding 
 myself enraptured with the works of this 
 great master, I did not for a moment con- 
 ceive or suppose that the name of Raffaelle, 
 and those admirable paintings in particular, 
 owed their reputation to the ignorance 
 and prejudice of mankind; on the contrary, 
 my not relishing them, as I was conscious 
 I ought to have done, was one of the 
 most humiliating circumstances that ever 
 happened to me. I found myself in the 
 midst of works executed upon principles 
 with which I was unacquainted; I felt my 
 ignorance, and stood abashed. All the 
 indigested notions of painting which I had 
 brought with me from England, where 
 the art was in the lowest state it had 
 ever been in (it could not indeed be 
 lower), were to be totally done away 
 with, and eradicated from my mind. It 
 was necessary, as it is expressed on a very 
 solemn occasion, that I should become as 
 a little child ; notwithstanding my disap- 
 pointment, I proceeded to copy some of 
 those excellent works. I viewed them 
 again and again ; I even affected to feel 
 their merit, and to admire them more than 
 I really did. In a short time a new taste 
 and new perception began to dawn upon 
 me, and I was convinced that I had ori- 
 ginally formed a false opinion of the per- 
 fection of the art, and that this great painter 
 was well entitled to the high rank which 
 he holds in the estimation of the world. 
 The truth is, that if these works had 
 really been what I expected, they would 
 have contained beauties, superficial and 
 alluring, but by no means such as would 
 have entitled them to the great reputa- 
 tion which they have so long and so 
 justly obtained. Having since that period 
 frequently revolved this subject in my' 
 mind, I am now cleai'ly of opinion that a 
 relish for the higher excellences of the 
 
RAF 4 
 
 
 
 art is an acquired taste, which no man 
 ever possessed without long cultivation, 
 and great labour and attention. On such 
 occasions as that which I have mentioned, 
 we are often ashamed of our apparent 
 dulness, as if it were expected that our 
 minds, like tinder, should instantly catch 
 fire from the divine spark of Raffaelle's 
 genius. I flatter myself that now it 
 would be so, and that 1 have a just and 
 lively perception of his great powers; 
 but let it be always remembered, that the 
 excellence of his style is not on the surface, 
 but lies deep, and at first view is seen 
 but mistily. It is the florid style which 
 strikes at once, and captivates the eye for 
 a time, without ever satisfying the judg- 
 ment. Nor does painting in this respect 
 differ from other arts; a just poetical 
 taste, and the acquisition of a nice dis- 
 criminative musical ear, are equally the 
 work of time. Even the eye, however 
 perfect in itse]f,is often unable todistinguish 
 between the brilliancy of two diamonds, 
 though the experienced jeweller will be 
 amazed at its blindness, not considering 
 that there was a time when he himself could 
 not have been able to pronounce which 
 of the two vras the most perfect, and that 
 his own power of discrimination was ac- 
 quired by slow and imperceptible degrees." 
 The prodigious number of works in which 
 Raffaelle was engaged constrained him to 
 procure young artists to assist him in the 
 execution of his designs, by which means 
 many eminent painters were formed under 
 his direction; but he was so particularly 
 careful, that he corrected with his own 
 hand whatever he found imperfectly exe- 
 cuted by his scholars, and gave those 
 finishing touches to the whole which have 
 rendered these performances the admira- 
 tion of the world. In the church of St. 
 Augustine, at Rome, RafiFaelle painted in 
 fresco the prophet Isaiah, intended as the 
 commencement of a series of pictures to 
 ornament that edifice ; but some dispute 
 arising concerning the expense, the fathers 
 of the order relinquished their original 
 design : a loss much to be regretted, as 
 the style of this piece is equal to any of 
 his works. This dispute concerning the 
 price is said to have been referred to 
 Michel Angelo to adjust, who settled 
 it in one word, by telling the monks that 
 the knee alone was worth more money. 
 The subsequent conduct of Buonarroti, 
 in setting up Sebastiano del Piombo as a 
 competitor with Raffaelle, was less to his 
 credit, and certainly originated in a spirit 
 
 [4 RAF 
 
 of envy. When Raffaelle exhibited his 
 design of the Transfiguration, Michel 
 composed one of the Resurrection of 
 Lazarus, the painting of which was in- 
 trusted to Sebastiano, who produced a 
 very fine picture, but by no means worthy 
 of a comparison with that which it was 
 intended to rival. This piece of Piombo's 
 formed part of the Orleans collection, 
 from whence it was purchased by the late 
 Mr. Angerstein for two thousand guineas, 
 and is now in the British National Gallery. 
 Some of the admirers of Michel Angelo 
 have endeavoured to disparage the extra- 
 ordinary merits of Raffaelle, by insinua- 
 ting that he was indebted for his grandeur 
 of style to the designs of Buonarroti in 
 the Sistine chapel, to which he obtained 
 access by the means of his relative Bra- 
 mante. This pitiful calumny, ho^wever, 
 carries its own refutation with it; for 
 Raffaelle not only began his great "works 
 in the Vatican, but had actually executed 
 the best part of them, long before Michel 
 Angelo was employed in the Sistine chapel. 
 Extended as this article is, we cannot fore- 
 go the pleasure of extracting the character 
 of this great painter, as drawn by the 
 masterly hand of Mr. Fuseli. " General 
 opinion," says he, "has placed Raffaelle 
 at the head of his art, not because he pos- 
 sessed a decided superiority over every 
 other painter in every branch, but because 
 no other artist ever united with his own 
 peculiar excellence all the other parts of 
 the art in an equal degree with him. 
 The drama, or the representation of cha- 
 racter in conflict with passion, was his 
 sphere; to represent which, his invention 
 in the choice of the moment, his compo- 
 sition in the arrangement of his actors, 
 and his expression in the delineation of 
 their emotions, were, and perhaps ever 
 will be, unrivalled. To this he added a 
 style of design dictated by the subject, a 
 colour correspondent thereto, all the grace 
 which propriety permitted or sentiment 
 suggested, and as much chiaro-oscuro as 
 was compatible with his desire of per- 
 spicuity. It is, therefore, only when he 
 forsook the drama to make excursions 
 into the pure epic or sublime, that his 
 forms became inadequate, and inferior to 
 those of Michel Angelo. It is only in 
 subjects where colour becomes the ruling 
 principle, that he is excelled by Titian ; 
 and he yields to Corregio only in that 
 grace and chiaro-oscuro which is less the 
 minister of propriety and sentiment than 
 its charming abuse or voluptuous excess, 
 
RAF 4^ 
 
 and sacrifices to tiie eye what is claimed 
 by the mind. Michel Angelo appears to 
 have had no infancy ; his earliest works 
 equal in principle and elements of style 
 the vigorous offspring of his virility. 
 Raffaelle we see in his cradle, we hear him 
 stammer, but propriety rocked the cradle, 
 and character formed his lips. Even in 
 the trammels of Pietro Perugino, dry and 
 servile in his style of design, formal in his 
 composition, he yet traced what was es- 
 sential, and separated it from the accidental 
 in figure and subject. The works of 
 Leonardo, and the cartoon of Pisa, invi- 
 gorated his eye, but it was the antique that 
 completed the system which he had begun 
 to establish on nature. From thence he 
 learned discrimination and propriety of 
 form. He found that, in the construction 
 of the body, the articulation of the bones 
 was the true cause of ease and grace in the 
 action of the limbs, and that to their 
 knowledge of this the ancients were in- 
 debted for their superiority. Rediscovered 
 that certain features were fittest for par- 
 ticular expressions, and were peculiar 
 to certain characters; that such a head, 
 such hands, and such feet, are the stamina 
 of such a body; and thus, on physiog- 
 nomy he established a uniformity of parts. 
 When he designed, his attention was 
 immediate!}' decided to the primary inten- 
 tion and motive of his figure, next to his 
 general measure, then to the bones and 
 their articulation, from thence to the 
 principal muscles, then to their attendant 
 nerves, and at last to the more or less 
 essential minutiae; but the characteristic 
 part of the subject is infallibly the dis- 
 tinguishing part of his design, whether it 
 be a rapid sketch, or a more finished draw- 
 ing. The strokes of his pen or pencil are 
 themselves characteristic, following the 
 direction and texture of the part flesh in 
 their rounding, tendons in straight, and 
 bones in angular lines. Such was the fe- 
 licity and propriety of Raffaelle when em- 
 ployed in the dramatic evolutions of charac- 
 ter ; but both suffered when he attempted 
 to abstract the forms of sublimity and 
 beauty. His gods never rose above pro- 
 phetic or patriarchal forms; and if the 
 finger of Michel Angelo impressed the di- 
 vine countenance oftener with sternness 
 than awe, the divinities of Raffaelle are 
 sometimes too affiible and mild. But though 
 he was chiefly made to walk with dignity 
 on earth, he soared above it in the Con- 
 ception of Christ on Mount Tabor, and 
 still more in the frown of the angelic 
 
 RAG 
 
 countenance that withers the strength of 
 Heliodorus. Of ideal beauty, though he 
 himself, in his letter to Count Castiglione, 
 says that, from its scarcity in life, he made 
 attempts to reach it by an idea formed in 
 his own mind, he certainly wanted that 
 standard which guided him in character; 
 his goddesses and mythologic females are 
 no more than aggravations of the generic 
 forms of Michel Angelo. Roundness, 
 mildness, sanctity, and insipidity, compose 
 in general the features of his Madonnas, 
 transcri pts of the nursery, or some favourite 
 face. The Madonna del Impanato, the 
 Madonna della Sedia, and Madonna Bella, 
 are of this character, which arises chiefly 
 from the high, rounded, smooth forehead, 
 the shaven vacuity between the arched 
 semicircular eyebrows, their elevation 
 above the eyes, and the ungraceful deci- 
 sion and scanty growth of hair. This in- 
 deed might proceed from his desire not to 
 stain the virgin character of sanctity with 
 the most distant tint of meretricious charms ; 
 for in his Magdalens he throws the hair 
 about with luxuriant profusion, and sur- 
 roimds the breasts and shoulders with un- 
 dulating waves and plaits of gold. The 
 character of Mary Magdalen met his own, 
 for it was that of passion. It is evident 
 from every picture or design in which she 
 had a part, that hesupposed her enamoured. 
 When she follows the body of the Saviour 
 to the tomb, or throws herself dishevelled 
 over his feet, or addresses him when he 
 bears his cross, the cast of her features, 
 her mode and action, are the character of 
 love in agony. When the drama inspired 
 Raffaelle, his women became at once defi- 
 nitions of grace and pathos. Such is the 
 exquisite love and turn of the averted half- 
 kneeling female with two children among 
 the spectators of the punishment inflicted 
 on Heliodorus ; her attitude, the turn of 
 her neck, supplies all face, and intimates 
 more than he ever expressed by features." 
 
 Raffaelle da Rhegio, seeRiiEGio. 
 
 Raff AELLiNo (del Colle). This painter 
 was born at Citta St. Sepolcro, and studied 
 successfully under Raffaelle and Giulio 
 Romano, to whom he became an assistant 
 both in the Vatican and at Mantua. His 
 principal works are two pieces at his na- 
 tive place, one representing the Resurrec- 
 tion,in the church of St. Roche ; and the 
 other the Assumption of the Virgin, in 
 the Conventuali. These are admirable 
 performances. He lived about 1550. 
 
 Raggi (P]etko Paolo). He was born 
 at Vienna about 1650, but was educated 
 
RAM 4 
 
 at Genoa, though his instructor in paint- 
 ing is not known. His principal works 
 are at Genoa and Bergamo, in which last 
 city he long resided, and died there in 
 1724. As an historical painter he produ- 
 ced a St. Bonaventure, in the Nunziatadel 
 Guastato, at Genoa ; and at Bergamo, 
 two fine pictures, one of St. Lorenzo, and 
 the other of the Death of St, Mary Mag- 
 dalen. He was also a good painter of 
 landscapes, which he adorned with shep- 
 herds and satyrs, in the style of Castigli- 
 one and Carpioni. 
 
 Rahart (Florent Delamere). This 
 French artist was born at Bayeux in 1630, 
 and died at Versailles in 1718. He was 
 esteemed a good painter of portraits. 
 
 Raimeri (Francesco). This Italian 
 artist was born at Mantua about 1680, and 
 had Giovanni Canti for his instructor in 
 painting, whose manner he imitated, and 
 nearly equalled. He painted landscapes 
 and battle-pieces, in which the figures are 
 superior to those of his master. He died 
 in 1758. 
 
 Rama (Camillo). This Italian painter 
 was a native of Brescia, and the scholar 
 of young Palma, whose style he followed 
 with great success. In the convent of the 
 Carmelites, at Brescia, are some fine pro- 
 ductions of his pencil; and there are others 
 in the churches of the same city. 
 
 Rambaldi (Carlo). He was born at 
 Bologna in 1680, and had Domenico 
 Viani for his instructor. He became 
 eminent in history, and among his works 
 the following are mentioned as worthy of 
 notice: the Death of St. Joseph, in the 
 church of St. Gregorio, at Bologna; the 
 Visitation of the Virgin, in St. Giuseppe; 
 and St. Francis Xavier, in St. Lucia. He 
 died in 1717. 
 
 Ramelli (Padre Felice). He was 
 born at Asti, in Piedmont, in 1666, and 
 learned the art of painting from Padre 
 Abbate Danese, but finished his studies at 
 Rome, where he became an ecclesiastic, 
 and one of the canons in the church of 
 St. John Lateran. He was truly excellent, 
 and painted historical subjects and por- 
 traits with equal delicacy, in miniature, 
 which procured him an invitation from 
 the king of Sardinia to visit Turin, where 
 he executed for that monarch the pictures 
 of the most celebrated masters in small, 
 from originals done by themselves: some 
 of these he copied in the Florentine Gal- 
 lery. He finished his pieces with incredible 
 neatness, and in a small compass gave 
 every portrait the look of nature and life. 
 
 16 RAM 
 
 These works are preserved in the cabinet 
 of the King of Sardinia; and among the 
 heads of the artists he has taken care to 
 perpetuate his own, which he has repre- 
 sented in the habit of his order. His 
 style of painting was beautiful, and his 
 colouring lively. Most of his perform- 
 ances, however, are at Rome, the usual 
 place of his residence, and are held there 
 in the highest estimation. He died in 
 1740. 
 
 Ramirez (Joseph). This Spanish 
 artist was born at Valencia about 1625. 
 He studied under Geronimo de Espinoso, 
 whose style he imitated. His principal 
 works are in the convent of St. Felipe 
 Neri, in his native city, and the best is a 
 picture of the Virgin. He died at Valencia 
 in 1686. 
 
 Ramsay (Allan). This artist was the 
 son of Allan Ramsay the poet, and was 
 born at Edinburgh in 1709. At the age 
 of twelve he began the study of painting, 
 after which he became a pupil of one Mr. 
 Hyssidge, in London; but in 1736 he 
 went to Italy, where he continued three 
 years, and resided chiefly at Rome. After 
 his return he practised for some time at 
 Edinburgh, from whence he repaired to 
 London, and acquired a considerable 
 degree of reputation in his profession. 
 By the interest of Lord Bute he was in- 
 troduced to the Prince of Wales, after- 
 wards George III., whose portrait he 
 painted, in whole length, and in full-face 
 and profile. These were engraved in line. 
 There are also mezzotinto prints, after 
 pictures which he painted of some of the 
 principal nobility. On the death of Mr. 
 Shakelton, in 1767, he was appointed 
 principal painter to the king, a situation 
 which he retained till his death, though 
 he retired from practice about eight years 
 after his appointment. He visited Rome 
 four dilFerent times, and on his return 
 from his last tour, in which he was accom- 
 panied by his son. Major-general Ramsay, 
 he died, a few days after landing, at Dover, 
 August 10, 1784. Mr. Ramsay's portraits 
 possess a calm representation of nature, 
 that much exceeds the affectation which 
 prevailed among his contemporary artists ; 
 and it must be allowed that he was one of 
 the first of those who contributed to im- 
 prove the degenerate style of portrait 
 painting. Rouquet, in his treatise en- 
 titled " The present state of the arts in 
 England," published in 1755, mentions 
 Mr. Ramsay as " an able painter, who, 
 acknowledging no other guide than nature, 
 
RAN 
 
 447 
 
 RAV 
 
 brought a rational taste of resemblance 
 with him from Italy. He showed, even 
 in his portraits, that just steady _ spirit 
 which he so agreeably displays in his con- 
 versation." He was a man of much 
 literary taste, and in 1754 founded, at 
 Edinburgh, the "Select Society," to which 
 all the eminently learned men of that city 
 belonged. He wrote some ingenious 
 pieces on controverted topics of iiistory, 
 politics, and criticism, published in one 
 volume, under the title of the " Investi- 
 gator." He also wrote a pamphlet on the 
 subject of Elizabeth Canning, which at- 
 tracted much attention at the time, and 
 was the means of opening the eyes of 
 the public, and even of the judges, 
 to the real truth and explanation of that 
 mysterious event. Mr. Ramsay was a 
 good Latin, French, and Italian scholar, 
 and, like Cato, learned Greek in his old 
 age. He is frequently mentioned by Bos- 
 well as being of Dr. Johnson's parties, 
 who said of him, " Yon will not find a 
 man in whose conversation there is more 
 instruction, more information, and more 
 elegance, than in Ramsay's." 
 
 Ranc (John). This French portrait 
 painter was born at Monfpelier in 1674, 
 and had Hyacinth Rigaud for his pre- 
 ceptor, whose manner he followed very 
 happily. The following anecdote is told 
 of Ranc, though we ajjprehend that it 
 has been also related of some others. 
 Having painted the portrait of a person 
 of distinction, on which he had exerted 
 all his powers, he was greatly mortified 
 at hearing the friends of the gentleman 
 declare that it was not at all like him. 
 The painter promised to alter the picture, 
 but instead of doing so, he prevailed with 
 the gentleman to place his head through 
 a perforated canvass, so as to make it 
 appear like a picture. The critics were 
 still dissatisfied, and said it had no resem- 
 blance to the original; on which the gen- 
 tleman opened his lips, and exclaimed, 
 " You are mistaken, gentlemen, for 'tis I 
 myself!" In 1724 Ranc went, on invita- 
 tion, to the court of Madrid, where he 
 was appointed principal painter to the 
 king. He also painted the portraits of 
 the royal family of Portugal. He died at 
 Madrid in 1735. 
 
 Randa (Antonio). This artist was a 
 native of Bologna, and successively the 
 scholar of Guido and Massari ; after which 
 he became painter to the Duke of Modena. 
 His principal works are in the churches 
 of Bologna and Ferrara, particularly the 
 
 latter city, where are St. Felipe Neri, in 
 the church of St. Stephen ; and an altar- 
 piece in that of St. Libera, representing 
 the Virgin and Child with St. Francis. 
 He died about 1640. 
 
 Raoux (John). He was born at Mont- 
 pelier in 1677, and was the disciple of 
 Bon Boullongne; but on obtaining the 
 prize at the academy, he was sent to pur- 
 sue his studies in Italy, on a royal pension. 
 He continued at Rome and Venice ten 
 years, and acquired there a good manner 
 of colouring, after which he followed his 
 profession in several parts of Italy with 
 credit. He painted historical subjects 
 and portraits; and, on his return to 
 France, was received into the academy, 
 but afterwards removed to England, where 
 he was employed by Sir Andrew Foun- 
 taine. The principal work of this master, 
 in France, was the representation of the 
 different Ages of Man, comprised in four 
 pictures, which he painted for the prior 
 of Vendome. He also painted a picture 
 of Telemachus in tlie Island of Calypso; 
 and another of a Sleeping Venus; both of 
 which have been engraved. He died at 
 Paris in 1734. 
 
 Rathbone (John). This English land- 
 scape painter was born in Cheshire about 
 1750. He was wholly self-taught; not- 
 withstanding which, by a constant study 
 of nature, he became a considerable artist, 
 except in figures, which were mostly in- 
 serted in his pictures by other painters. 
 He died in 1807. 
 
 Ratti (Giovanni Agostino). He was 
 j born at Savona in 1699, but studied at 
 Rome under Benedetto Luti. He painted 
 historical subjects, but excelled in decora- 
 tions for the theatre, and caricatures. Of 
 his greater works, the best is the Death of 
 j John the Baptist, in the church of that 
 ! saint at Savona. He died at Genoa in 
 1775. 
 
 Ravesteyn (John Van). He was 
 born at the Hague in 1580; and, though 
 it is uncertain to what master he owed 
 his instruction, his works are evidences 
 of his extraordinary merit. He was 
 confessedly superior to any of his pre- 
 decessors among the Flemings, and, 
 with the exception of Rubens and Van- 
 dyck, equal, at least, to the best of his 
 contemporaries. His composition is good, 
 and full of spirit ; his attitudes are easy, 
 and have an agreeable variety; liis lights 
 and shadows are judiciously distributed; 
 his colouring is remarkably clear, and his 
 touch is broad and firm. His knowledge 
 
RAV 
 
 448 
 
 REA 
 
 in perspective, particularly the aerial, 
 was extensive; nor was there any painter 
 of his time who showed more skill in the 
 harmonious mixture of his colours. Se- 
 veral large pictures of his painting are in 
 the Banqueting Hall at the Hague. One 
 of them is fifteen feet long, and represents 
 the magistrates of that city seated at a 
 table. It contains twenty-six portraits 
 of the principal persons, and all the figures 
 are as large as life. The disposition is 
 judicious, the attitudes are well contrast- 
 ed, and the resemblances are said to have 
 been surprisingly strong. There is also 
 in the Hall of the Archers, of the same 
 city, a picture of portraits as large as life. 
 In the Town-house is another, of the 
 Burgomasters in the costume of their 
 office. He died at the Hague in 1649. 
 
 Ravksteyn (Arnold Van). He was 
 the son and pupil of the preceding, and 
 was born at the Hague in 1615. Though 
 not equal to his father, he excelled all the 
 other portrait painters of his time and 
 country. He became the President of 
 the Society of Artists at the Hague, and 
 died therein 1661. 
 
 Ravestetn (Hubert Van). He was 
 born at Dort in 1647, and became a 
 painter of great reputation, making al- 
 lowance for the meanness of his subjects, 
 They were all taken from the lowest life, 
 such as the houses of peasants, and 
 generally the insides of those miserable 
 habitations where sheep were slaughtered, 
 or maids were busied in scouring kitchen 
 utensils, boys blowing up bladders of ani- 
 mals, heaps of sausages, stables, and such 
 objects. But it must be confessed that 
 every thing he painted showed a wonder- 
 ful neatness in the execution. The tints 
 of his colouring had truth and nature; 
 his drawing was correct ; his pictures 
 evinced a fine understanding of the chiaro- 
 oscuro, and were remarkably transparent. 
 
 Ravestbyn (Nicuolas Van). He was 
 born at Bommel in 1661, and was origin- 
 ally educated for a literary profession ; but 
 his father, Henry Ravesteyn, who was a 
 good painter, gave him some instruction 
 in drawing and design. On being de- 
 prived of his parent while pursuing his 
 classical studies, he determined to make 
 painting his profession, and accordingly 
 placed himself under William Doudyns, 
 but he afterwards studied with John de 
 Baan. Though he imitated the manner 
 of both his masters, he took care to add 
 to his other knowledge that of nature, to 
 which he perpetually attended ; not per- 
 
 mitting even the most minute object to 
 pass unnoticed, or without endeavouring 
 to design after it. His first appear- 
 ance as an artist was in his native city, 
 where he was soon overwhelmed with 
 commissions. What increased his repu- 
 tation was, his painting the portrait of 
 the Princess of Waldeck, after her death, 
 in 1694, for which purpose he had been 
 invited to the court of Kuilenburg. As 
 no painter had been able to take her like- 
 ness while alive, Ravesteyn himself had 
 small hopes of success ; yet he was so 
 happy as to give complete satisfaction to 
 his employers, who rewarded him liber- 
 ally. Although his excellence lay in 
 portrait, he also distinguished himself as 
 a painter of history, in which he showed 
 great genius and elevation. He designed 
 in a good taste, had a free and easy man- 
 ner of handling, and a pleasing tone of 
 colour. For the most part, he painted 
 his portraits historically, and his figures 
 were not only striking resemblances, but 
 elegantly disposed. He painted to the 
 last year of his long life ; and in his latest 
 performances no traces could be discerned 
 of the weakness or infirmities of old age. 
 He died in 1750, 
 
 Razzi (Cavaliere Giovanni Antonio). 
 This painter, who obtained the name of 
 11 Sodoma, was born at Vercelli, in the 
 Piedmontese territory, in 1479. His 
 master is said to have been Giacomo delle 
 Fonte, but he formed his style on that of 
 Leonardo da Vinci. At the age of twenty- 
 three, he painted a set of pictures illus- 
 trative of the history of St. Benedict ; and 
 on going to Rome obtained immediate 
 employment in the Vatican ; but his works 
 there were obliterated, to make room for 
 those of Raffaelle. Agostino Chigi next 
 engaged him to paint the History of Alex- 
 ander the Great, in the Farnesian palace. 
 From Rome he went to Siena, where he 
 painted a noble picture of the Wise Men's 
 Offering, in the church of St. Augustine; 
 a Flagellation of Christ, in the Franciscan 
 Monastery; and a St. Catherine of Siena, 
 in the Dominican church. These pic- 
 tures were distinguished by an approxi- 
 mation to the manner of Leonardo da 
 Vinci, Michel Angelo Buonarroti, and 
 Raffaelle. He died in 1554. 
 
 Read (Catherine). This lady dis- 
 tinguished herself by portrait painting, 
 both in oil and crayons. One of her first 
 and most capital performances was the 
 likeness of Queen Charlotte, painted im- 
 mediately after her arrival in England. 
 
RED 
 
 449 
 
 REI 
 
 Another reraarkableportraitof her painting 
 was that of the celebrated female historian, 
 Mrs. Macaulay, represented in the charac- 
 ter of a Roman Matron weeping over the 
 lost Liberties of her Country. About the 
 year 1770, Miss Read went to the East 
 Indies, where she resided some years, but 
 on her return home, still continued tlie 
 exercise of her profession to the extremity 
 of old age. She died about 1786. Several 
 mezzotiuto prints have been published 
 from her paintings. 
 
 Recco(Cavaliere Giuseppe). He was 
 born at Naples in 1634, and studied un- 
 der Aniello Falcone. His talent lay in 
 the representation of game, huntings, fish, 
 and various objects of still life. He died 
 at Naples in 1695. 
 
 Reclam (Frederick). This German 
 painter was born at Magdeburg in 1734, 
 and studied at Paris under Pierre ; but in 
 1755 he went to Rome, where he con- 
 tinued seven years, employed chiefly in 
 taking views round that city. On his 
 return to Germany, he settled at Berlin, 
 where he practised both landscape paint- 
 ing and portraiture. He also etched some 
 prints, chiefly Italian views, after his own 
 designs. He died in 1774. 
 
 Reder (Christian). This artist was 
 born in Saxony in 1656. After learning 
 the principles of the artin his own country, 
 he went to Rome, where he distinguished 
 himself by his battle-pieces, chiefly the 
 representations of contests between the 
 Turks and Christians. He died in 1729. 
 
 Redi (Tommaso). He was born at 
 Florence in 1665, and became the dis- 
 ciple of Domenico Gabbiani, but soon left 
 him, to improve his talents in the Floren- 
 tine Academy at Rome, which was at that 
 time conducted by Ciro F'erri and Carlo 
 Maratti. On his return to his native 
 place, his merit procured him the patron- 
 age of the Grand Duke, Cosmo HI., who 
 employed him in his palace ; and he was 
 also solicited to adorn many of the churches, 
 convents, and houses of the nobility. He 
 composed a number of subjects, sacred 
 and profane, and several from poetic or 
 fabulous history; as also some allegorical 
 pieces, all which were eagerly purchased 
 by the Florentines. A few of the historical 
 compositions of Redi were bought by 
 English noblemen, whose names are not 
 mentioned, though the subjects of some 
 of the pictures are noticed ; particularly 
 the Appearance of Cissar to Brutus ; Cin- 
 cinnatus leaving the Plough, to assume 
 the office of Dictator ; and the Continence 
 
 of Scipio. He painted portraits in an 
 excellent style, and very accurately de- 
 signed most of the antique monuments 
 of Tuscany, which last were afterwards 
 engraved. Peter the Great having in his 
 travels seen some of his performances, 
 sent four young men to Florence, to be 
 instructed by him ; and, at their return 
 to Moscow, he was so pleased with their 
 proficiency, that he determined to erect an 
 academy in his capital, offering a pension 
 of twelve hundred crowns to Redi, besides 
 other emoluments, to induce him to un- 
 dertake the direction of it; which flatter- 
 ing proposal he, at the entreaty of his 
 friends, declined accepting. Redi designed 
 with elegance and correctness ; his style 
 of colouring is sweet, being an agreeable 
 mixture of the tints of his two masters, 
 Carlo Maratti and Ciro F'erri. His atti- 
 tudes, in general, are well chosen ; his 
 portraits happily express the character of 
 his models ; and in all parts of his profes- 
 sion he showed a ready invention, great 
 freedom of hand, and a good disposition 
 of his figures. He died in 1726. 
 
 Redmond (Thomas). He was the son 
 of a clergyman of Brecknock, in Wales, 
 and served his apprenticeship to a house 
 painter at Bristol, Irom whence he re- 
 moved to London, and became a student 
 in the academy in St. Martin's-lane. His 
 residence after this was at Bath, where 
 he practised as a portrait painter in minia- 
 ture with success. He died in 1785. 
 
 Reiner (Wenceslaus Laurent). He 
 was born at Prague in 1686, and was in- 
 structed in drawing by his father, who 
 was a sculptor ; but his chief knowledge 
 was derived from the directions of Peter 
 Brandel, a painter of some repute in that 
 city. As Reiner grew desirous of greater 
 improvement, he served an apprenticeship 
 of three years to a very indiflerent artist, 
 from whom it was impossible for him to 
 acquire what he most anxiously sought 
 for; and, finding his time unprofitably 
 wasted, he determined to trust to his 
 own genius. He therefore diligently 
 studied after the best models he could 
 procure, adhered to nature, and thereby 
 rose to distinction. He painted history, 
 landscapes, animals, and battles with 
 great credit, and worked as expertly in 
 fresco as in oil ; so that he was employed 
 on several grand designs at Vienna, Bres- 
 lau, and in Bohemia, for the altar-pieces 
 of churches and convents, which he exe- 
 cuted with satisfaction. The compositions 
 of this master are filled with a number of 
 2q 
 
REM 4^ 
 
 figures, and his design and colouring are 
 commendable. His landscapes are strong- 
 ly coloured, and show great truth and na- 
 ture ; and the figures, as well as the ani- 
 mals which he introduces, are much in 
 the style and manner of Van Bloemen. 
 Some of his paintings were placed in the 
 gallery of Augustus, King of Poland, and 
 others were in the collection of the late 
 Count Bruhl. He died in 1743. 
 
 Reinagle (Philip), member of the 
 Royal Academy, studied in London under 
 Allan Ramsay, and excelled in pictures 
 of dead game, hunting or sporting dogs, 
 and shaggy ponies; neither was he un- 
 known in portrait or in landscape. He 
 first solicited attention by exhibiting a 
 female portrait in 1776 : it attracted little 
 notice; but after labouring for twelve 
 years on birds, alive or dead, on portraits 
 ia a martial or civil costume, and on 
 landscapes, which included farm-houses 
 and barn-door fowls, his merits were re- 
 warded by the academy ; and in 1 788 he 
 wrote himself Associate. From this time 
 till 1812, when he became a member of 
 the academy, he exhibited pictures of the 
 same kind and character as before, with 
 this exception, that he painted the Cow- 
 thorpe Oak, near Harrowgate, and Essex 
 County Hall, including a part of Chelms- 
 ford. It required great force of drawing 
 and brightness of colours to raise such 
 themes as these into works worthy of 
 being recorded ; nor were either of these 
 qualities altogether Avanting. Reinagle 
 may be numbered with those who increas- 
 ed the quantity of the pictures, without 
 adding any thing to the original lustre of 
 his school, from which he was withdrawn 
 by death on the 27th of December, 1834. 
 
 Rembrandt (Van Ryn). He was the 
 son of a miller, and was born at a village 
 near Leyden, in 1606. His real name was 
 Gerretsz, but he obtained that of Van 
 Ryn from the place where he spent the 
 youthful part of his life, which was on 
 the borders of the Rhine. He was at first 
 placed under Jacob Van Swanenburg, 
 v/ith whom he continued three years; 
 and gave such proofs of uncommon talents 
 as surprised his instructor. After this 
 he studied under Peter Lastman, but 
 stayed no longer than six months with 
 him; and for the same length of time he 
 was the scholar of Jacob Pinas ; from 
 whom, it is said, he acquired that taste 
 for strong contrasts of light and shadow, 
 which he ever after so happily cultivated. 
 He, however, formed his own manner 
 
 REM 
 
 entirely, by studying and imitating nature, 
 which he copied in its most simple dress, 
 without any attention to elegance of 
 choice. But though it was not his talent 
 to select what was most beautiful or 
 graceful, yet he had an amazing power in 
 representing every object with such truth, 
 force, and life, as nothing but nature it- 
 self can equal. By the advice of a friend, 
 Rembrandt was prevailed on to carry one 
 of his first performances to the Hague ; 
 where he offered it to a dealer, who in- 
 stantly gave him a hundred florins for the 
 picture. This incident laid the founda- 
 tion of his fortune ; for it not only served 
 to make the public acquainted with his 
 abilities, but contributed to make him 
 more sensible of his own merit. He soon 
 after this settled at Amsterdam, that he 
 might follow his profession with advan- 
 tage. Business crowded on him immedi- 
 ately, so as scarcely to allow him time 
 to gratify the general demand for his 
 paintings ; but he had such a number of 
 pupils that wealth flowed in plentifully. 
 As most of his scholars were the sons of 
 people of condition or fortune, he received 
 from each a hundred florins a year for 
 their instruction ; and he had sagacity 
 enough to raise also a considerable sum 
 by the sale of the copies they made after his 
 pictures and designs ; which he always 
 retouched in several parts to increase their 
 value, and to make purchasers believe they 
 were his own. By this traflSc, and an 
 artful management of the sale of his etch- 
 ings, he gained at least every year two 
 thousand five hundred florins. His style 
 of painting, in the first years of his prac- 
 tice, was very different from that of his 
 latter time; for his early performances 
 were finished highly, and with a neat 
 pencil, resembling those of Mieris ; but 
 he afterwards assumed a style of colouring 
 and handling as opposite to it as possible 
 strong, bold, and with a degree of as- 
 tonishing force, in which he has not been 
 excelled by any artist, though Itlckhout, 
 and some of his best disciples, have ap- 
 proached very near him. In his first 
 manner are the historical pictures of 
 Ahasuerus, Esther, and Ilaman ; the 
 Woman taken in Adultery ; and St. John 
 preaching in the Wilderness ; which are 
 exquisitely finished, and yet touched with 
 inexpressible fire and spirit. As he ad- 
 vanced in the art, he took liberties with 
 the pencil, wrought with all the broad 
 fulness of the brush, and left the touch 
 undisturbed : he even employed the stick. 
 
R E M 
 
 451 
 
 REM 
 
 the palette-knife, or his fingers, accord- 
 ingly as they were most capable of pro- 
 ducing the efl'ect he desired when seen at 
 a proper distance. The invention of 
 Rembrandt was very fertile, and his 
 imagination lively and active; but his 
 composition, notwithstanding its remark- 
 able strength of expression, was destitute 
 of grandeur, and though his genius was 
 full of fire, yet he wanted elevation of 
 thought, and had little or no notion of 
 grace or elegance. It has been said, that 
 if he had visited Rome, his taste would 
 have been proportionably refined, and that 
 the knowledge of the antique, added to 
 his other eminent qualifications, might 
 have produced a master equal to the most 
 exalted character. This conclusion, how- 
 ever, may be doubted, when the prevalence 
 of habit is considered, and that his mind 
 was stored with gross ideas of objects, to 
 which he had been familiarized from his 
 infancy. It deserves observation also, that 
 though he furnished himself with the finest 
 Italian prints, drawings, and designs, 
 many of them taken from the antiques, he 
 never improved his taste by the study of 
 them. lie had indeed more delight in 
 contemplating his own repository of old 
 draperies, armour, weapons, and turbans, 
 which he jocularly called his antiques, 
 than he ever felt from surveying the works 
 of the Grecian artists, or the compositions 
 of Raffaelle. His colouring is surprising, 
 and his carnations are as true, fresh, and 
 perfect as those in the works of Titian, or 
 any other master; with this difference, 
 that the colouring of Titian will admit of 
 the nearest inspection, whereas that of 
 Rembrandt must be viewed at a convenient 
 distance; and then an equal degree of 
 union, force, and harmony may be 
 observed in both. His portraits are con- 
 fessedly excellent; but, by his being 
 accustomed to imitate nature exactly, and 
 the nature he imitated being always of 
 the heavy kind, his portraits, admirable in 
 respect to likeness and the look of life, 
 want grace and dignity in the airs and 
 attitudes. In regard to other particulars, 
 he was so exact in giving the true resem- 
 blance of the persons who sat to him, that 
 he distinguished the predominant feature 
 and character in every face, without en- 
 deavouring to improve or embellish it. 
 Many of his heads display such a minute 
 exactness, as to show even the hairs of 
 the beard, and the wrinkles of old age; 
 yet, at a proper distance, the whole has 
 an astonishing effect, and every portrait 
 
 appears as if starting from the canvass. 
 Thus, a picture of his maid-servant, 
 placed at the window of his house in 
 Amsterdam, is said to have deceived the 
 passengers for several days. De Piles, 
 when he was in Holland, not only ascer- 
 tained the truth of this fact, but purchased 
 the portrait, which he esteemed one of 
 the finest ornaments in his cabinet. His 
 local colours are extremely good ; he 
 perfectly understood the principles of the 
 chiaro-oscuro ; and it is said, that he 
 generally painted in a chamber, so con- 
 trived as to admit but one ray of light, 
 and that from above. The lights in 
 his pictures were painted with a body of 
 colour unusually thick, as if the artist 
 had an intention rather to model than to 
 paint; but he knew the nature and pro- 
 perty of each particular tint so thoroughly, 
 that he placed everyone in its proper place, 
 by which means he avoided the necessity 
 of breaking and torturing his colours, and 
 preserved them in full freshness, beauty, 
 and lustre. One of his greatest defects 
 appeared in his designing the naked, in 
 which figures he was excessively incorrect, 
 the bodies being either too gross or too 
 lean, the extremities too small or too great, 
 and the whole generally oiit of proportion. 
 But in other parts, such as colouring, 
 expression, and the force produced by 
 lights and shadows happily and harmo- 
 niously opposed, he had few equals, and 
 no superiors. His genuine works are 
 rarely to be met with, and afford incre- 
 dible prices. Many of them, however, 
 are preserved in the collections of the 
 English nobility; some are in the ducal 
 palace at Florence, where the portrait of 
 Rembrandt, painted by himself, is placed 
 in the gallery of artists; a few of his 
 works are at Genoa, some at Turin, and 
 several in the royal cabinet of France. In 
 the British National Gallery is the Woman 
 taken in Adultery, purchased from the 
 Orleans collection by the late Mr. Anger- 
 stein; and in the same repository is a 
 Nativity by Rembrandt, but very inferior 
 in value. The etchings of Rembrandt 
 are exceedingly admired, and collected 
 with great care and expense for the cabi- 
 nets of the curious in mostpartsof P^urope; 
 but it is remarked, that none of his prints 
 are dated earlier than 1628, nor later than 
 1659, though there are several of his paint- 
 ings dated in. 1660, and particularly the 
 portrait of a Franciscan Friar. He had 
 the same spirit in every stroke of the 
 graver as in the markings of his pencil : 
 
452 
 
 there seems not to be a single touch that 
 does not produce expression and life. 
 There is, perhaps, no branch of collector- 
 ship that exhibits more caprice than that 
 of prints in general, or those of Rembrandt 
 in particular. Instances of this may be 
 adduced in the Juno without the crown; 
 the Ooppenol with a white background; 
 the Joseph with the face unshaded, and 
 the Good Samaritan, with the horse's tail 
 white, which are regarded as inestimable ; 
 whilst the same subjects without these 
 distinctions are considered as of little com- 
 parative value. Strutt says, that in con- 
 sequence of a commission from an eminent 
 collector, he bid forty- six guineas for 
 the Coppenol with the white background, 
 that is, in its unfinished state; though at 
 the same sale he bought a beautiful im- 
 pression of thatplate in a perfect condition, 
 for fourteen guineas and a half. In this 
 last instance, he exceeded his commission 
 by half a guinea, but the former he could 
 not reach by twenty guineas. Rembrandt 
 is supposed to have taken advantage of 
 this humour in collectors, by altering and 
 obliterating parts of his plates, to render 
 them objects of enquiry. He also suffered 
 himself to be solicited before he would 
 consent to part with his works; and it is 
 a fact, that the print of Christ Healing 
 the Sick, usually denominated the " hun- 
 dred guilders," was so called because he 
 refused to sell it under that price. At pre- 
 sent a good impression is worth from fifty 
 to sixty guineas. The rarest and most ex- 
 pensive of Rembrandt's portraits are those 
 of Utenbogard, called the Gold Weigher, 
 and in France, the Banker; Van Tol, the 
 advocate; and the Burgomaster Six, each 
 of which is estimated at fifty guineas. 
 Strutt gives three hundred and forty as the 
 number of Rembrandt's prints; but De 
 Burgy, at the Hague, collected six hun- 
 dred and fifty-five, including the varieties. 
 This great artist died at Amsterdam in 
 1674, or, according to other accounts, in 
 1688. His personal character was far 
 from being amiable; he being avaricious, 
 and not very scrupulous in the means of 
 getting money. He was also fond of low 
 company, by which his taste and principles 
 became degraded. 
 
 Remsdyke ( ). He was a native 
 
 of Holland, and painted portraits, but with 
 no great excellence. He lived several 
 years at Bristol, and was much employed 
 in drawing subjects of natural history and 
 anatomy for Dr. William Hunter. He 
 had a son, in conjunction with whom he 
 
 published, in 1778, a volume of subjects 
 etched from originals in the British Mu- 
 seum. 
 
 Renakd (Simon de St. Andre). This 
 artist was born at Paris in 1614; and 
 studied under Louis Bobrun. He became 
 a good painter of portraits, but was chiefly 
 distinguished by his engravings, some after 
 his own designs, and otliers after Lebrun. 
 He died about 1690. 
 
 Reni, see Guido. 
 
 Ren NELL (Thomas). This artist was 
 born at Chudleigh, in Devonshire, in 
 1718. After receiving a grammatical 
 education, he was apprenticed to Hudson 
 in London, and on leaving him, returned 
 to his native county, where he practised 
 portrait painting, and also landscape, first 
 at Exeter, next at Plymouth, and lastly at 
 Dartmouth. His portraits were much 
 admired, but he was so indolent, that if 
 a picture was completed in twelve months, 
 he might be considered as very expeditious. 
 He has been known to lie in bed for a 
 week together, with no other subsistence 
 than bread and water. Only one print 
 has been published from his works, and 
 that is a portrait of Dr. John Iluxham, 
 scraped in mezzotinto by Fisher. Rennell 
 had also a good genius for music and 
 poetry. In the former art he was an in- 
 ventor, and constructed an instrument 
 containing sixty strings, moved by the 
 foot, and modulated by keys. He died 
 at Dartmouth in 1788. 
 
 Rendu (Anthony), at once a painter 
 and an author, was born at Paris in 1731. 
 His Christ in the midst of the Doctors, 
 which he painted in 1766, made him an 
 Associate of the French Academy ; and his 
 Aurora, in 1781, gave him the title of 
 Academician. He also became perpetual 
 secretary of that body. As an author, he 
 produced the tragedy of Tereus and Phi- 
 lomela, a verse translation of Dufresnoy 
 on Painting, and some other works. He 
 died in 1806. 
 
 Resani (Arc ANGELA). This artist was 
 born at Rome in 1670, and had Giovanni 
 Battista Boncuore for his master, under 
 whose instructions he acquired an excellent 
 taste in painting animals, particularly 
 those of the chase. His portrait, sur- 
 rounded with dead game, is in the ducal 
 gallery at Florence. He died about 1735. 
 
 Res'chi (Pandoleo). This painter was 
 born at Dantzic in 1643; but studied in 
 Italy under Giacomo Bourgognone; in 
 whose style he represented battles with 
 considerable ability, and he also drew 
 
REY 
 
 453 
 
 REY 
 
 landscapes much in the mannjer of Salva- 
 tor Rosa. He was likewise skilled in 
 painting perspective views and architec- 
 tural subjects, many of which are in the 
 collections at Florence. He died in 1699. 
 Restout (John). This French artist 
 was born at Rouen in 1692. He had 
 Jouvenet for his instructor, who was his 
 uncle, and he approximated very near to 
 him in liis style of painting. On being 
 chosen a member of the academy at Paris, 
 he painted a picture of Aretiiusa flying 
 to Diana for deliverance from Alpheus; 
 but his chief works are the death of Ana- 
 nias, and the Pool of Bethesda, in the 
 church of St. Martin des Champs, and 
 the ceiling of the library of the Abbey of 
 St. Genevieve. He died at Paris in 1768. 
 Reuvex (Peter). He was born at 
 Leyden in 1650, and studied at Antwerp 
 under Jacob Jordaens, by whose instruc- 
 tion, and his own application, he became 
 very considerable in his profession. He 
 was mostly employed in great works, such 
 as the ceili ngs of magnificen t halls, saloons, 
 and grand apartments. He designed the 
 triumphal arches for the reception of Wil- 
 liam III. at the Hague; and in that work, 
 the merit of the composition, as well as 
 the execution, procured him great ap- 
 plause. The finest apartments at Loo 
 were also painted by Reuven, whose com- 
 positions are remarkable for their variety, 
 readiness of execution, and freedom and 
 firmness of pencil. It is inconceivable, 
 to those who observe the care with which 
 his works are finished, how they could be 
 accomplished in so short a time as in 
 reality they were, considering the good- 
 ness of the colouring, and the number of 
 figures introduced. One of his best pro- 
 ductions is a ceiling in the hotel of M. de 
 la Court Vandervoort, at Leyden. He 
 died in 1718. 
 
 Reyn, or Rheni (Jan de). This painter 
 was born at Dunkirk in 1610, and had 
 Vandyck for his instructor; under whom 
 he distinguished himself in such a manner 
 as to be esteemed the best artist in his 
 school. He was so attached to his master 
 that he followed him to London ; where he 
 continued several years. No painter ap- 
 proached so near to Vandyck as he did in 
 every respect ; for he strongly resembled 
 him in the lovely tone of his colour, in the 
 spirit of his touch, and in the delicacy of 
 his pencil. His design is correct, and 
 the hands of his figures have that elegant 
 turn and exactness which are observable 
 in all the works of his master. His com- 
 
 position is usually in a noble style, though 
 according to some it is rather encumbered 
 and confused ; but in general his manner 
 was extremely grand. His draperies are 
 broad and well cast, and in all his paint- 
 ings he shows a perfect knowledge of the 
 chiaro-oscuro. It is imagined that the 
 scarcity of the pictures of De Reyn is 
 occasioned by many of them being sold 
 for the performances of Vandyck ; which, 
 if true, is more to his honour than any 
 thing that could be said in his com- 
 mendation. Among theindisputable works 
 of this artist, are mentioned the Baptism 
 of Totila, in a church at Dunkirk ; in the 
 Hall of the Jesuits, in the same city, are 
 the figures of several saints, larger than 
 life; and in the church of St. Martin, 
 at Bergues, is Herodias with the head 
 of St. John the Baptist, which is exceed- 
 ingly admired. He died at Dunkirk in 
 1678. 
 
 Reyna (Fhancisco de). This artist 
 was born at Seville, in Spain, and had 
 the elder Herrera for his master. He 
 painted a fine altar-piece of an Angelical 
 choir, and the Recej)tion of the Blessed, 
 in the church of All Saints, at Seville, 
 where he died young, in 1659. 
 
 Reynoxj3s (SiK Joshua). This illus- 
 trious artist was born at Plympton, in 
 Devonshire, July 16, 1723. His father, 
 the Reverend Samuel Reynolds, M,A., 
 was master of Plympton School, and a 
 man of considerable learning, but very 
 taciturn, and as remarkable for absence 
 of mind as Parson Adams. It has been 
 said, that the name of Joshua was given 
 to the son on account of its singularity ; 
 which is not true, for he was christened 
 after his uncle, a tradesman of Exeter, 
 who was his godfatiier. All the education 
 he received was in the school of his father, 
 who was far enough from being a dis- 
 ciplinarian. At the early age of eight 
 years, Joshua gave proofs of his genius, 
 by making himself master of the rules 
 contained in the Jesuits' Perspective, which 
 he exemplified in a drawing of Plympton 
 School. It was, however, the accidental 
 perusal of Richardson's Treatise on Paint- 
 ing that gave a decided turn to the mind 
 of the young artist, and determined him 
 to follow RafFaelle, whose character, as 
 there drawn, enchanted him. By the 
 advice of a friend, his father consented 
 that he should become a painter ; though 
 his original intention was to bring Joshua 
 up to the medical profession. That design 
 being now overruled, Joshua, in 1741, was 
 
KEY 
 
 placed under the tuition of his country- 
 man, Thomas Hudson, then the most 
 popular portrait painter in London, but 
 an artist of very inferior merit. Hudson, 
 instead of directing his pUpil to study 
 from the antique models, set him to copy 
 Guercino's drawings, which, however, he 
 did so well as to excite the jealousy of his 
 master. Though Reynolds continued 
 only two years Avith this inefficient pre- 
 ceptor, he made so rapid a progress in that 
 time as to feel himself competent to paint 
 portraits, and he actually did so in 
 Devonshire with great credit. One of his 
 first performances at this period was the 
 picture of a boy reading by a reflected 
 light, which painting, fifty years after- 
 wards, was sold for thirty-five guineas. 
 He now practised at Plymouth Dock, and 
 while there, obtained an introduction to the 
 noble family of Mount Edgecombe, through 
 which connexion he became acquainted 
 with Captain, afterwards Admiral Lord 
 Keppel. That officer being about to sail, 
 in 1749, for the Mediterranean, offered 
 Reynolds to take him thither, which in- 
 vitation he gladly accepted. While at 
 Minorca he was much employed in paint- 
 ing portraits, by which means he in- 
 creased his finances sufficiently to enable 
 him to visit Rome, where his time was 
 judiciously employed, in such a manner 
 as might have been expected from a stu- 
 dent of his talent and taste. But though 
 sensibly alive to the beauties which 
 surrounded him in that seat of the arts, 
 he was not at first struck by the per- 
 formances of Raffaelle. This may be 
 accounted for by the previous education 
 of Reynolds, and the low state of paint- 
 ing in England. Raffaelle possessed a 
 acrene dignity, and his pictures do not 
 display either those allurements of co- 
 lour, or the great effects of light and 
 shade, which are apt to make an instant 
 impression upon the beholder. It is only 
 by close and persevering attention that 
 the sublimities of this great master are 
 comprehended; because, to appreciate 
 them rightly, it is necessary to under- 
 stand the principles out of which they 
 arose. Mr. Reynolds at length felt the 
 force of this truth, and then, from the 
 moment that he began to study Raffaelle, 
 his mind became enlarged, and the ex- 
 tension of knowledge increased hisadmira- 
 tion. Yet we are told, that at this period 
 he actually ventured to parody in bur- 
 lesque Raffaelle's School of Athens, in 
 about thirty figures, representing most of 
 
 the English gentlemen then at Rome. 
 After remaining in Italy about three years, 
 he returned homewards by the way of 
 France, and at Paris met with his friend, 
 Sir William Chambers, the architect, 
 accompanied by his wife, whose portrait 
 he there painted. On his arrival in 
 England, in October, 1752, he went to 
 Plymouth, where he drew the picture of 
 Mr. Zachary Mudge, the rector of St. 
 Andrew's, in that town. Of this fine 
 portrait there is an engraving. At the 
 end of the same year he returned to the 
 metropolis; and the first specimen he 
 then gave of his improvement was in the 
 head of his pupil, Giuseppe Marchi, 
 painted in a Turkish dress. The picture 
 attracted so much notice, that Hudson 
 came to see it, and after examining it for 
 some time, he burst out with an oath, 
 "Reynolds, you don't paint so well as 
 you did when you left England." Not- 
 withstanding this invidious remark, and 
 the depraved state of public taste, Rey- 
 nolds quickly rose into high reputation as 
 a portrait painter, and the whole-length 
 of his friend. Commodore Keppel, gained 
 him great popularity. Soon after this, 
 he added to his celebrity by his picture of 
 Miss Greville and her brother, as Psyche 
 and Cupid, executed in a style which 
 had not been seen in England since the 
 days of Vandyck. He was in conse- 
 quence employed to paint several ladies 
 of high quality, whose portraits the polite 
 world flocked to see; so that he became 
 not only the most distinguished artist 
 in England, but in Europe. The desire 
 tO])erpetuate the form of self-complacency 
 crowded his sitting-room with women 
 who wished to appear as angels, and 
 with men who coveted immortality as 
 heroes or philosophers. At this time 
 he resided in Newport-street, where he 
 formed that friendship with Johnson, 
 which continued unabated till the death 
 of the sage, who sincerely loved Rey- 
 nolds for ills virtues, while the latter 
 regarded the doctor as his guide in 
 wisdom. In one of Johnson's letters 
 to Rennet Langton, written in 1758, he 
 says, " Mr. Reynolds has this day raised 
 his price to twenty guineas a head." In 
 the following year, the periodical paper, 
 The Idler, exhibited three very valuable 
 essays by Reynolds, on subjects of his 
 l)rofession. The first of these examines 
 and exposes, with considerable strength, 
 and some humour, the false principles 
 of critics in the arts. The second is on 
 
REY 
 
 REY 
 
 what is called the grand style in painting, 
 and the imitation of nature ; and the third 
 is a disquisition on the true idea of beauty. 
 Soon after the accession of George the 
 Third to the throne, Mr. Reynolds, by the 
 increase of his practice, found himself 
 enabled to purchase a house in Leicester 
 Fields, where he constructed a splendid 
 gallery, and about the same time set up 
 his carriage. Johnson, writing to Baretti 
 at this period, says, " Reynolds is without 
 a rival, and continues to add, as he de- 
 serves, thousands to thousands." In 1762 
 he produced his celebrated picture of 
 Garrick between Tragedy and Comedy, 
 for which the Earl of Halifax paid three 
 hundred guineas. On the institution of 
 the Royal Academy, in 1768, the presi- 
 dentship was unanimously conferred on 
 Reynolds, who, at the same time, received 
 the honour of knighthood ; a mark of 
 distinction which it were to be wished had 
 always been as appropriately bestowed. 
 The task of delivering public discourses 
 was no part of the duty attached to this 
 office, yet Sir Joshua voluntarily under- 
 took it, and the first was pronounced 
 by him on New Year's day, in 1769; 
 and the fifteenth, which was the last, 
 on the 10th of December, 1790. These 
 admirable performances are before the 
 world, and are too well known to stand 
 in need of either analysis or commenda- 
 tion. As attempts have been made to 
 deprive the excellent author of the merit 
 of the composition of them, by ascribing 
 them to Johnson or Burke, a word or 
 two on the subject may be proper in this 
 place. With regard to the former, Sir 
 Joshua, speaking of his Discourses, says, 
 " Whatever merit they have, must be 
 imputed, in a great measure, to the educa- 
 tion which I may be said to have had 
 vmder Dr. Johnson. I do not mean to 
 say, though it certainly would be to the 
 credit of these Discourses if I could say 
 it with truth, that he contributed even a 
 single sentiment to them ; but he qualified 
 my mind to think justly. No man had, 
 like him, the faculty of teaching inferior 
 minds the art of thinking. Perhaps other 
 men might have equal knowledge, but 
 few were so communicative. His great 
 pleasure was to talk to those who looked 
 up to him. It was here he exhibited his 
 wonderful powers. In mixed company, 
 and frequently in company that ought to 
 have looked up to him, many thinking 
 they had a character for learning to 
 support, considered it as beneath thera to 
 
 enlist in the train of his auditors, and to 
 such persons he certainly did not appear 
 to advantage, being often impetuous and 
 overbearing. The desire of shining in 
 conversation was in him, indeed, a pre- 
 dominant passion ; and, if it must be 
 attributed to vanity, let it at the same 
 time be recollected, that it produced that 
 loquaciousness from which his more inti- 
 mate friends derived considerable advan- 
 tage. The observations which he made 
 on poetry, on life, and on every thing 
 about us, I applied to our art, with 
 what success others must judge." As to 
 Burke, his language, in a letter to Mr. 
 Malone, is decisive; for no one would 
 write as he did of productions in which 
 he had any share. " I have read over," 
 says he, " some part of the Discourses 
 with an unusual sort of pleasure, partly 
 because, being faded a little in my me- 
 mory, they have a sort of appearance of 
 novelty ; partly by reviving recollections 
 mixed with melancholy and satisfaction : 
 he is always the same man, the same 
 philosophical, the same artist-like critic, 
 the same sagacious observer, with the 
 same minuteness, without the smallest 
 degree of trifling." Mr. Malone men- 
 tions a work which Sir Joshua had pro- " 
 jected but never executed, which is much 
 to be lamented. It was intended to be a 
 History of his Mind, so far as concerned 
 his art; and of his progress, studies, 
 and practice; together with a view of 
 the advantages he had enjoyed, and the 
 disadvantages he had laboured under, in 
 the course that he had run; a scheme 
 from which, however liable it might be 
 to the ridicule of wits and scoffers, he 
 conceived the students might derive some 
 useful documents for the regulation of 
 their own conduct and practice. On the 
 26th of April, 1769, was the first exhibi- 
 tion of the Royal Academy, and from that 
 time to the year 1790, Sir Joshua sent in 
 no less than two hundred and forty-four 
 pictures. He now raised his price to 
 thirty-five guineas for a head, and com- 
 missions accumulated so fast in that line, 
 as to prevent him from painting historical 
 subjects. However, in 1773, he finished 
 his fine piece of Count Ugolino, which 
 was bought by the Duke of Dorset for 
 four hundred guineas, and is now at the 
 family seat in Kent. Of this piece the 
 late Dr. Joseph Warton observes: "Sir 
 Joshua Reynolds, whose mind is stored 
 with great and exalted ideas, has lately 
 shown, by his picture of Count Ugolino, 
 
REY 4i 
 
 how qualified he is to preside at a Royal 
 Academy, and that he has talents which 
 ought not to be confined to portrait paint- 
 ing." Soon after this, he gave to the 
 world another historical subject of great 
 merit, the Infant Jupiter, now in the 
 possession of the Duke of Rutland. In 
 the same year that his Ugolino was com- 
 pleted, Sir Joshua received two flattering 
 marks of distinction ; one in being elected 
 mayor of his native town, and tlie other 
 in being created doctor of laws, by the 
 university of Oxford. This last honour 
 he enjoyed in conjunction with Dr. Beat- 
 tie, for whom he cherished a great regard, 
 and whose portrait he painted soon after, 
 in an allegorical manner. Close to the 
 doctor is an Angel, holding in one hand 
 a pair of scales, as if weighing Truth in 
 the balance, and with the other pushing 
 down three hideous figures, supposed to 
 represent Sophistry, Scepticism, and Infi- 
 delity; in allusion to Dr. Beattie's Essay 
 on Truth, which was the foundation of 
 his fame. The likeness of Dr. Beattie 
 is most striking, and nothing can exceed 
 the beauty of the angel. The whole com- 
 position, as well as execution of the pic- 
 ture, is in the best manner of the artist, 
 and it has had the good fortune not 
 always the ca.se Avith Sir Joshua's per- 
 formances of perfectly preserving the 
 colouring, which is as beautiful now as 
 when first painted. This piece, however, 
 brought a shower of abuse upon the pain- 
 ter from the whole tribe of unbelievers, 
 who fancied that two of the allegorical 
 figures were intended for Hume and Vol- 
 taire. About this time a project was set 
 on foot by Sir Joshua, for the introduction 
 of paintings into St. Paul's cathedral, to 
 be executed by himself, and the other 
 leading artists of the day. But though 
 the idea was encouraged by Dr. Newton, 
 dean of St. Paul's, it was rejected through 
 the prejudices entertained against it by 
 Bishop Terrick. In 1775, Sir Joshua 
 Reynolds was chosen a member of the 
 Imperial Academy at Florence, on which 
 occasion he sent his portrait, drawn in his 
 academical dress, to be placed in the gal- 
 lery of painters in that city. In 1779, he 
 finished a painting for the ceiling of the 
 library of the Royal Academy at Somer- 
 set-house. In the centre is Theory, 
 seated on a cloud, holding a scroll in her 
 hand, with this inscription, " Theory is 
 the knowledge of what is truly Nature." 
 Besides this picture there are two por- 
 traits in the council-room of the Aca- 
 
 6 REY 
 
 demy, of George III. and his Queen in 
 their coronation robes. It was in this 
 year that Sir Joshua raised his charge 
 for a head to fifty guineas, which continued 
 to be his regular price during the remain- 
 der of his life. In 1780 he began his 
 designs for the celebrated window in New 
 College chapel, Oxford, consisting of 
 seven compartments in the lower range, 
 each twelve feet high, and three wide, 
 containing the allegorical figures of the 
 four cardinal, and three Christian virtues, 
 with their several attributes. Above, on 
 a scale of ten feet by eighteen, is the 
 Nativity, in which the painter has adopted 
 the idea of Corregio, in his famous Notte, 
 of making the light proceed from the 
 Divinity. This last design was sold to 
 the Duke of Rutland for twelve hundred 
 guineas. The painting on glass was 
 executed by Mr. Jervis, whose portrait 
 Sir Joshua has introduced, as well as his 
 own, among the adoring shepherds. In 
 the summer of 1781, Sir Joshua, accom- 
 panied by a friend, made a tour in Holland 
 and the Netherlands, chiefly with a view 
 to examine the works of the celebrated 
 masters of the Dutch and Flemish 
 Schools. Two years afterwards, on the 
 suppression of some of the religious 
 houses in the Low Countries, he again 
 visited Flanders, where he purcliased 
 some pictures by Rubens. In 1784, two 
 deaths afi'ected him in different ways : by 
 that of Allan Ramsay, he succeeded to the 
 office of principal painter to the king, 
 and by that of Dr. Johnson, the charge 
 of executorship devolved upon him, in 
 conjunction with Lord Stowell and Sir 
 John Hawkins. In the autumn of the 
 next year. Sir Joshua again paid a visit to 
 Flanders, to attend a sale of pictures col- 
 lected from the dissolved monasteries ; of 
 which, particularly those of Rubens, he 
 purchased many of great value. About 
 the same time he was employed on a 
 commission from the Empress of Russia, 
 to paint for her an historical picture, the 
 subject of which being left to himself, he 
 chose that of the Infant Hercules strang- 
 ling the Serpents. In return for this |)iece, 
 the empress sent him fifteen hundred gui- 
 neas, and a gold box, with her picture set 
 in diamonds. When Alderman Boydell 
 undertook his splendid edition of Shak- 
 speare, his first object was to gain the 
 assistance of Sir Joslma Reynolds, who 
 painted for that work three pictures; 
 namely, Puck, in the Midsummer Night's 
 Dream ; the Witches, in Macbeth ; 
 
REY 
 
 REY 
 
 and the Death of Cardinal Beaufort. 
 Besides these historical pictures, he paint- 
 ed for Mr. Boydell the portrait of Lord 
 Heathfield, which afterwards came into 
 the possession of Mr. Angerstein, and is now 
 in the National Gallery'. For a long 
 period Sir Joshua had enjoyed an almost 
 uninterrupted state of good health, except 
 that in 1782 he was for a short time 
 affected by a slight paralytic stroke. But 
 in July, 1789, while painting the portrait 
 of Lady Beauchamp, he found his sight 
 so much affected, that it was with ditfi- 
 culty he could proceed on the picture ; 
 and, notwithstanding every assistance 
 that could be procured, he was in a kw 
 months deprived of the use of his left eye. 
 Upon this he determined to paint no more, 
 lest he should lose the remaining eye. 
 This, of course, was his last female por- 
 trait, as that of Lord Macartney was of 
 the other sex. An unhappy diflference 
 soon after arose between him and the 
 members of the Royal Academy, owing 
 to his being thwarted in the choice of a 
 candidate to succeed Mr. Meyer as an 
 associate of the institution. Thinking 
 himself ill used on that occasion, he not 
 only resigned the clvair as president, but 
 his seat as a member of the Academy. 
 This was an unexpected blow, and it was 
 more severely felt, when it appeared that 
 even the interposition of the king had 
 proved ineffectual in overcoming the reso- 
 lution of Sir Joshua. At length, how- 
 ever, the unpleasant breach was healed, 
 and he resumed the chair, which he held 
 for the short remainder of his life. In 
 October, 1791, his spirits began to fail 
 him, and he became dejected, from an 
 apprehension that an inflamed tumour 
 which took place over the darkened eye 
 would occasion the loss of the other. 
 Meanwhile he laboured under a more 
 dangerous disease, which deprived him of 
 energy and appetite. During tliis period 
 of affliction, his malady was supposed by 
 many to be merely hypochondriasis ; but 
 appearances soon convinced his medical 
 friends that the seat of his complaint was 
 the liver, and that the disease was incur- 
 able. He bore his sufferings with uncom- 
 mon fortitude, and closed his mortal 
 career, in the full possession of his men- 
 tal powers, February 23, 1792. On the 
 2nd of March, the body was removed 
 from Leicester Fields to Somerset-house, 
 where it lay in state till the next day, 
 when it was conveyed with great solem- 
 nity to St. Paul's cathedral, and there 
 
 interred, near the tomb of Sir Christopher 
 Wren. In stature, Sir Joshua Reynolds 
 was rather under the middle size, of a 
 florid complexion, round features, and a 
 pleasing aspect. With manners uncom- 
 monly polished and agreeable, he pos- 
 sessed, till near his end, a constant flow 
 of animal spirits, which rendered him a 
 most desirable companion; and though he 
 had been deaf almost ever since his return 
 from Italy, yet, by the aid of an acoustic 
 instrument, he was enabled to enjoy the 
 conversation of his friends without incon- 
 venience. He was fond of literary society, 
 and qualified to shine in it; though he 
 never appeared obtrusive, or aimed at the 
 display of extraordinary knowledge. The 
 Literary Club, of which he was a mem- 
 ber, originated in a great measure with 
 him, as also did that held at the British 
 Cofffee-house, which has been commemo- 
 rated so well by Goldsmith, in his charac- 
 teristic and admirable epitaphs on the 
 respective members. Sir Joshua was also 
 a member of the Royal and Antiquarian 
 Societies of London, as well as of various 
 other institutions at home and abroad. 
 In all respects, both as a man and a 
 painter, he cannot be too much praised. 
 His incessant industry was never wearied 
 into despondency by miscarriage, nor 
 elated into neglect by success. Whether 
 in his study or his parlour, his mind was 
 devoted to the charms of his profession ; 
 nature and art may be said to have con- 
 stituted his academy, and his genius was 
 ever in exercise for objects of improve- 
 ment. With taste to perceive all the 
 varieties of the picturesque, judgment to 
 select, and skill to combine whatever 
 would serve his purpose, few have ever 
 been gifted by nature to do more from the 
 fund of their own good sense, and none 
 ever endeavoured more to profit by the 
 labours of others. He formed a splendid 
 collection of works of art, which, after 
 his death, was sold for 16,947, 7*. 6d., 
 and the whole of his property amounted 
 to about 80,000, the bulk of which he 
 left to his niece, who married Lord Inchi- 
 quin, afterwards Marquis of Thomond. 
 Sir Joshua was never married himself, 
 but his sister, Mrs. Frances Reynolds, 
 conducted his domestic afl^airs. She was 
 a very ingenious lady, painted miniatures 
 in a good style, and was much esteemed 
 by Dr. Johnson for her literary powers. 
 She died in 1807. In summing up the 
 professional character of this great artist, 
 we must necessarily be brief. It has been 
 
RHE 
 
 RIB 
 
 well observed, tliat, after Kneller, painting 
 fell in England into a state of barbarism, 
 each artist wandering in darkness, till 
 Reynolds, like the sun, dispelled the gloom, 
 and threw splendour on the department of 
 portraiture. Hence it may justly be said, 
 that the English School was of his founda- 
 tion. To the grandeur, truth, and sim- 
 plicity of Titian, and the daring strength 
 of Rembrandt, he united the chasteness 
 and delicacy of Vandyck. Delighted with 
 the picturesque beauties of Rubens, he was 
 the first that gave a bright and gay back- 
 ground to portraits. In his representation 
 of children, he was peculiarly happy, and 
 indeed unrivaUed. His female portraits 
 also are designed with exquisite taste and 
 elegance. His works in history are com- 
 paratively few; but those few are precious, 
 and show what he was capable of per- 
 forming, had he been permitted to devote 
 more of his time to that department. Tlie 
 colouring of Sir Joshua has been the 
 subject of the highest admiration, and the 
 severest censure. By the witty and en- 
 vious it was said that he came ofiF with 
 flying colours ; and some accused him of 
 injuring his pictures, by making experi- 
 ments on the materials. In the pursuit 
 of excellence he certainly was not content 
 wdth the common round of practice; and 
 as he thought for himself, so he endea- 
 voured to discover new methods of em- 
 bodying his ideas, and of facilitating his 
 operations. That he sometimes failed 
 was no more than natural; but it was 
 well observed by Gainsborough, that Sir 
 Joshua's pictures, in their most decayed 
 state, were better than those of any other 
 artist of his time in their best. We can- 
 not conclude this article better than in 
 the words of Burke : " His talents of every 
 kind, powerful from nature, and not 
 meanly cultivated by letters; his social 
 virtues, in all the relations and all the 
 habitudes of life, rendered him the centre 
 of a very great and unparalleled variety 
 of agreeable societies. He had too much 
 merit not to excite some jealousy, too 
 much innocence to provoke any enmity." 
 
 Reynoso (Don Antonio Garcia). 
 This Spanish painter was born at Cabra, 
 in Andalusia, in 1623. He acquired the 
 art of painting from the instructions of 
 Sebastian Martinez, at Jaen; and his 
 principal work is a representation of the 
 Trinity, in the church of the Capuchins, at 
 Andujar. He also painted landscapes in a 
 good style. He died at Cordova in 1677. 
 
 Rhegio (RArFAEULrE da), Called Raffael- 
 
 lino. He was born at a village near 
 Rhegio in 1552. His parents being poor, 
 he was employed in servile offices while 
 young, which gave him a disgust to that 
 kind of life, and induced him privatelj' to 
 quit the place of his nativity. The im- 
 pulse of his genius directed him to paint- 
 ing, which, being observed by some artists, 
 tliey gave him instruction. Afterwards 
 he became the scholar of Frederick Zuc- 
 chero, under whom he made such incre- 
 dible progress, that, in the compass of 
 nly one year, his performances were 
 accounted equal to those of his master. 
 He was now employed in the principal 
 churches at Rome, and in many of the 
 palaces of the nobility, where he worked 
 with equal beauty in fresco and in oil, in 
 portrait and history, and rose into the 
 highest esteem ; so that most of the young 
 artists of his time admired his style, and 
 industriously studied to imitate his man- 
 ner. His design was spirited and cor- 
 rect ; there appeared great union and 
 harmony in his colouring ; he had also a 
 considerable portion of grace, and his 
 pictures had a bold relief, by the deepness 
 of his shadowings, which were managed 
 with so much skill ae to give a lustre to 
 the brighter tints. Among the capital 
 works of this painter, two are particularly 
 mentioned ; the subject of one is the Lame 
 Man healed by St. Peter and St. John ; 
 the other is St. Andrew conducting Peter 
 to Christ. They are both excellent com- 
 positions, correctly drawn, and finely co- 
 loured ; the draperies are broad and in a 
 grand taste, and the trees and landscape 
 in the latter are beautifully executed. He 
 died at Rome in 1580. 
 
 Rheni (Remi Van). This Flemish 
 artist was born at Brussels in 1560. He 
 was a good painter of portrait and his- 
 tory, and died at his native city in 1619. 
 RiBALTA (Francisco). This Spanish 
 artist was born at Castillon de la Plana, 
 in Valencia, in 1551. He is supposed to 
 have been a scholar of Juan Baptista 
 Juanes, after which he went to Rome, 
 where he resided a considerable time. On 
 leaving Italy he settled at Valencia, where 
 he was much employed in the churches. 
 He also made copies of the pictures of 
 Sebastiano del Piorabo in the royal col- 
 lection at Madrid. His finest performance 
 is a Last Supper, in the patriarchal church 
 of Valencia, where he died in 1 628. He 
 had a son named Juan Ribalta, who, at 
 the age of eighteen, painted a fine picture 
 of the Crucifixion. He died young. 
 
R I C 4c 
 
 RiBEEA, see Spagnoletto. 
 
 RiccHi (PiETKo). This painter, who 
 obtained the name of Lucchese, from the 
 place of his nativity, was born in 1606. 
 He studied first under Passignano, and 
 next became the scholar of Guido. His 
 style partook of the manner of each of his 
 masters, and his abilities were evinced in 
 several pictures which he painted for the 
 churches of Lucca and Udina. He died 
 in the latter city in 1675. 
 
 RiccHiEDO (Makco). This artist was 
 a native of Brescia, but the time when 
 he lived is unknown. He painted his- 
 torical subjects with reputation ; and in 
 the church of St. Thomas at Brescia is a 
 tine picture of the incredulity of that 
 apostle, by his hand. 
 
 Ricci (Camillo). He was born at 
 Ferrara in 1580, and studied painting 
 under Scarsella, commonly called Lo 
 Scarmllino, whose style he followed, but 
 whom he excelled in sweetness of colour- 
 ing. His principal works are, the pic- 
 tures of St. Vincent and St. Margaret, in 
 the cathedral of Ferrara ; the Annuncia- 
 tion, in the church of the Holy Spirit; 
 and a set of paintings representing the 
 history of St. Nicholas, in the church of 
 that saint in the same city, where he died 
 in 1618. 
 
 Ricci (Giovanni Battista). This ar- 
 tist was born at No vara in 1545. He 
 studied at Rome under Raifaellino da 
 Rhegio, on leaving whom he was employed 
 in the palace of St. John de Lateran, and 
 the library of the Vatican. Pope SixtusV. 
 appointed him also inspector of the paint- 
 ings in the palace of Monte Cavallo ; and 
 Clement VIH. continued to favour him 
 with his patronage. His chief works are, 
 the Visitation, the Ascension, and As- 
 sumption of the Virgin, in the church of 
 St. Maria Maggiore ; the History of the 
 Virgin, and the Crucifixion, in the church 
 of St. IVIarcellus ; and the Consecration 
 of the church of St. John de Lateran, in 
 that edifice. He died in 1620. 
 
 Ricci (Lorenzo). This painter was 
 born at Florence in 1550. He excelled 
 in historical subjects, and died at his 
 native place in 1605. 
 
 Ricci (Francisco). He was born at 
 Madrid in 1617, and studied imder Vin- 
 cenzio Carducci, after which he was em- 
 ployed by Philip IV. and Charles II., 
 kings of Spain, for whom he executed 
 many works with reputation, both in 
 painting and architecture. His compo- 
 sitions are incorrect, but his colouring is 
 
 9 RIC 
 
 vigorous, and his draperies are remarkably 
 flowing and elegant. He died at the 
 Escurial in 1684. 
 
 Ricci (Sebastiano). He was born at 
 Belluno, in the Venetian States, in 1659, 
 and, discovering an early genius for 
 painting, was placed under Federigo 
 Crivelli, at Venice, with whom he con- 
 tinued nine years. He afterwards im- 
 proved himself at Bologna, and other 
 cities of Italy, by coj)ying the works of 
 the great masters, and in his progress 
 obtained the patronage of the Duke of 
 Parma, for whom he finislied some grand 
 designs at Piacenza. By the liberality of 
 that prince he was enabled to prosecute 
 his studies at Rome, where he established 
 his taste, and formed that manner which, 
 for a time, made him popular, and pro- 
 cured him esteem. Having quitted Rome, 
 and finished some designs at Milan, he 
 returned to Venice, vihere his style of 
 colouring attracted general attention, and 
 he was so eagerly solicited for his paint- 
 ings that he could hardly satisfy the de- 
 mands, or take time for his refreshment. 
 His fame consequently spread through 
 every part of Europe, and he received an 
 invitation from the emperor to adorn his 
 palace of Schoenbrunn, by which work 
 he added to his reputation and his fortune. 
 From Vienna he came to London, where 
 he was immediately employed by the court, 
 the nobility, and persons of fortune. He 
 resided there ten years, during which 
 time he painted a great number of works, 
 and, having increased his wealth, he re- 
 turned to Venice, where he settled for the 
 remainder of his hfe. He had a fruitful 
 imagination, a ready execution, and his 
 tone of colouring is agreeable, though 
 sometimes a little too black. Among his 
 works in this country is an altar-piece at 
 Chelsea, and some paintings in the British 
 Museum ; but his best performances are 
 those which he executed in imitation of 
 Paolo Veronese. There are three of his 
 pictures in the church of St. Cosmo, at 
 Venice, the subjects of which are, David 
 bringing back the ark in triumph ; the 
 Dedication of the Temple by Solomon ; 
 and Moses fetching Water out of the 
 Rock ; which last is enriched with an 
 admirable landscape, painted by his 
 nephew, Marco Ricci. Sebastian died at 
 Venice in 1734. 
 
 Ricci (Marco). He was the nephew 
 and scholar of the preceding, and equally 
 eminent for painting history and archi- 
 tecture ; but his chief excellence lay in land- 
 
scape. He studied and designed the most colouring, though much injured by time, 
 beauiiful edifices, ruins, and scenes, in and Riccio excelled in frescoes of a large size, 
 about Home, of which materials he made ! lie died in 1567. 
 
 an elegant use in his landscapes. In the ; Riccio (Felice). He was bom at 
 choice of his scenes and situations, in the Verona in 1550, and received his in- 
 breaking of his grounds, and conducting structions from his father, the preceding 
 
 his distances, he was superior to most 
 of his contemporaries. Though his co- 
 louring has not that force and lustre 
 which seem necessary to satisfy the eye 
 of the spectator, tlie grandeur of his ideas 
 and the elegance of his taste must ever 
 afford delight. He painted both in oil 
 and in distemper, but principally in the 
 latter. At Burlington-house some of the 
 ceilings were painted by him, and also a 
 piece of Ruins, in the style of Viviano ; 
 and at Bulstrode, the seat of the Duke of 
 Portland, he painted in the chapel the 
 Last Supper, in which composition he 
 has absurdly introduced his own portrait 
 in a modern habit. He died at Venice 
 in 1730. 
 
 RiCCIAKELLI, see VOLTEBRA. 
 
 Riccio (DoMENico), called Brusasorci. 
 He was born at Verona in 1494, and was 
 a disciple of Giovanni Francesco Caroto, 
 or, as other accounts say, of Nicolo Giol- 
 fino. Being, however, ambitious of a more 
 extensive knowledge of the art, he went 
 to Venice, where he studied the works of 
 Giorgione and Titian. To discover the 
 peculiar excellences of those great ar- 
 tists, he was indefatigable in making 
 observations, and as diligent in endea- 
 vouring to imitate what he approved. 
 At last he arrived at such perfection that 
 his works were generally admired for 
 the beauty of the colouring, and the at- 
 titudes of the figures, which appeared 
 full of life and motion. Cardinal Gon- 
 zaga invited him to Mantua, and during 
 his residence in that city, he had the 
 honour of painting in competition with 
 Paolo Veronese and Paolo Farinato. In 
 the church of St. George, at Verona, is a 
 picture by him, representing the Gather- 
 ing of the Manna in the Wilderness, which 
 is accounted a fine composition, and, in 
 respect to colouring, has more force than 
 a famous piece by Farinato, which is in 
 the same place. In the church of the 
 Augustines at Verona, is a painting of 
 St. Roche by Riccio, which is very much 
 in the manner of Titian; but his greatest 
 work is the entry of Pope Clement VIII. 
 and the Emperor Charles V. into Bo- 
 logna. At Parma, in the ducal palace, 
 is a picture of the Fall of Phaeton, which 
 is admirable for the foreshortening and 
 
 artist, whence he is commonly called 
 Brusasorci the Younger. On the death 
 of Domenico, he pursued his studies un- 
 der Jacopo Ligozzi, at Florence, after 
 which he settled at his native place, where 
 he was much employed in painting for 
 private persons, as well as churches. His 
 Madonnas and Angels have great beauty 
 of expression, but one of his best pictures 
 is that of the Cyclops. He died in 1605. 
 RiccoLiNO (Michel Angelo). He was 
 born at Rome in 1654, and practised in 
 that city with considerable reputation, 
 till his death in 1715. His picture, painted 
 by himself, is in the Florentine gallery. 
 
 Richardson (Jonathan). This Eng- 
 lish painter, and writer on the art, was 
 born about 1665. He was articled origin- 
 ally to a scrivener, with whom he lived 
 six years ; but being released by the death 
 of his master, he was enabled to follow 
 the bent of his inclination for painting. 
 He then became the scholar of Riley, 
 with whom he continued four years, and 
 married his niece. Tiie degree of skill 
 he attained by no means corresponded 
 with the ideas he had formed of the art, 
 and which were certainly of a just and 
 elevated kind. There is, however, great 
 boldness in the colouring of his heads, 
 which are drawn and marked in the man- 
 ner of Kneller, with freedom and firmness, 
 though the attitudes, draperies, and back- 
 grounds, are tasteless. It is a curious 
 circumstance that a man who could write 
 well upon the art, should so ill apply 
 to his own practice the rules he gave to 
 others. Full of theory, profound in re- 
 flections, and possessed of a numerous 
 collection of drawings, he appears to have 
 possessed not the smallest invention, as 
 applicable to the painter's art, and drew 
 nothing well below the head. Thus much, 
 however, must be said of him, that, when 
 Kneller and Dahl went off the stage, he 
 stood at the head of portraiture in this 
 country, andpractisedin it suflBciently long 
 to acquire a tolerable competency. He 
 quitted his occupation some years before 
 his death, when Hudson, who had mar- 
 ried one of his daughters, maintained the 
 family honours for a while. Richardson 
 himself, by temperance, enjoyed a life, 
 protracted, amidst the blessings of domes- 
 
RIO 
 
 461 
 
 RIE 
 
 tic friendship, to the advanced age of 
 eighty, and died May 28, 1745. He had 
 a son, with whom he lived in great har- 
 mony, as appears by the joint works they 
 composed. The father, in 1719, published 
 two discourses: 1. An Essay on the Art 
 of Criticism, as it relates to Painting. 
 2. An Argument in behalf of the Science 
 of a Connoisseur. In 1722, came out, 
 An Account of some Statues, Bas-reliefs, 
 Drawings, and Pictures, in Italy, &c. 
 The son made tlie journey, and from his 
 observations and letters this work was 
 compiled. In 1734, they published, in 
 conjunction, Exjdanatory Notes and Re- 
 marks on Milton's Paradise Lost, with the 
 Life of the Author. In apology for this 
 last performance, and for not being very 
 conversant in classic literature, the father 
 said, " that he had looked in them through 
 his son." Hogarth, in consequence, drew 
 the old man peeping throueh the nether 
 end of a telescope, with which his son was 
 perforated, at a Virgil aloft on a shelf; 
 but the caricaturist destroyed the plate 
 soon afterwards, and recalled the prints as 
 far as he could. The sale of Richardson's 
 collection of drawings in 1747, lasted 
 eighteen days, and produced about two 
 thousand and sixty pounds, and his pic- 
 tures about seven hundred pounds. The 
 son died in 1771, at the age of seventy- 
 seven. 
 
 RicHARDus (Martin). This Flemish 
 artist was born at Antwerp in 1591. He 
 painted landscapes in a good style, and 
 died at his native place in 1636. 
 
 RiciiiERi (Antonio). He was a native 
 of Ferrara, and had Giovanni Lanfranco 
 for his master, whom he accompanied to 
 Naples and Rome. He executed several 
 frescoes from the designs of that artist, 
 and etched some plates after his paint- 
 ings. 
 
 RicHTER (Christian). This painter 
 was born at Stockholm, and on coming 
 to England in 1702, was much employed 
 in portrait, which he executed in oil and 
 miniature. He closely imitated the man- 
 ner of Michael Dahl; but at the close of 
 life he practised enamelling. He died 
 here in 1732. 
 
 RiCKE (Bernard de). This artist was 
 born at Courtray about 1520. He painted 
 historical subjects, in a good style, and 
 there aretwo pictures by him in thechurch 
 of St. Martin, at Courtray, which exhibit 
 his talents to advantage: one, his Christ 
 bearing his Cross ; and the other, the 
 Martyrdom of St. Matthew. He became 
 
 a member of the academy at Antwerp, 
 and died there in 1579. 
 
 Ridinger(JohnElias). He was born 
 at Ulm, in Suabia, in 1695, and was in- 
 structed by Christopher Resch, after 
 which he settled at Augsburg, where he 
 distinguished himself as a painter of ani- 
 mals. He was also an excellent engraver, 
 and published a number of engravings 
 from his own pictures. 
 
 RiDOLFi (Claudio). This artist was 
 born at Verona in 1560, and learned de- 
 sign and colouring from Dario dal Pozzo; 
 but after he had spent a few years un- 
 der that master, he went to Venice, and 
 entered the school of Paolo Veronese; 
 where he exerted himself in copying the 
 compositions of that famous painter, and 
 in forming his practice entirely by his 
 precepts. By this method he established 
 his taste, and, to perfect himself, visited 
 Rome and Urbino. In the former city, 
 by studying the works of the ancient 
 artists of Greece and Italy, he gained a 
 correct manner of designing, and likewise 
 the habit of introducing judiciously one 
 broad mass of light in the principal part 
 of his pictures, which produced an ex- 
 traordinary fine effect. At Urbino, by 
 spending some time with Federigo Baro- 
 ccio, he acquired a delicate touch, a sweet- 
 ness of colouring and pencilHng, and the 
 art of giving graceful airs to the heads of 
 his figures. In that city he executed some 
 fine pictures, as an Annunciation; the 
 Birth of John the Baptist; and a Pre- 
 sentation in the Temple. At Rimini 
 is a Descent from the Cross by him; and 
 at Rome he painted several portraits, re- 
 markable for the dignity of attitude as 
 well as for expression and striking resem- 
 blance. He died in 1644. 
 
 RiDOLFi (Cavaliere Carlo). He 
 was born at Vicenza in 1602, and had 
 Antonio Vassilacchi for his instructor, 
 lie painted historical subjects and por- 
 traits. Of the former, the principal is a 
 Visitation of the Virgin, in a church at 
 Venice, where he died in 1660. Ridolfi 
 wrote a history of Venetian artists, pub- 
 lished in 1648, with this title, Le Mara- 
 viglie dell' Arte, ovvero le Vite degli 
 illustri Pittori Venetie, &c. 
 
 RiETER (Henry), a Swiss artist, pro- 
 fessor of drawing in the public school at 
 Berne, died in 1818, at the age of sixty- 
 seven. He excelled in landscape. In con- 
 junction with Aberli, he undertook a series 
 of the most romantic views in Switzerland. 
 This series was continued by his son. 
 
RIG 
 
 RiETSCHOoF (John Klaasz). He was 
 born at Hoorn in 1652, and was at first 
 instructed by Abraham Leidts, but after- 
 wards perfected himself in the school of 
 Ludolf Backhuysen; whose manner of 
 handling and design he imitated with 
 such great success, that he is deservedly 
 ranked among the most esteemed painters 
 in that style. He was not only remark- 
 ably modest and diffident in regard to his 
 own performances, but extremely liberal 
 in his commendation of other artists. He 
 excelled in the representation of storms ; 
 but his pictures of calms are also fine, 
 and very much resemble those of William 
 Vandervelde. He died in 1719. 
 
 RiETSCHoop (Henry). He was the 
 son of the preceding, and was born at 
 Hoorn in 1678. He was instructed by 
 his father, whose manner he followed very 
 closely; though sometimes he made the 
 works of Backhuysen his model, and 
 copied several of them with astonishing 
 exactness. The subjects which he mostly 
 painted were tempests, with lightning, and 
 shipwrecks, which he represented with 
 great truth and nature. He died in 17"28. 
 
 RiGAUD (Hyacinthe). He was born 
 at Perpignan, in the province of Langue- 
 doc, in 1659, and received his knowledge 
 of the rudiments of the art from his father, 
 Matthias Rigaud, a painter of little note, 
 who died when his son was only eight 
 years of age. Hyacinthe was then placed 
 under a portrait painter at Montpellier, 
 with whom he continued till he was eigh- 
 teen, when he went to Lyons, where he 
 practised with great success. In 1681 he 
 went to Paris, and the year followinggained 
 the prize at the academy. He was now de- 
 sirous of visiting Italy, from which design 
 he wasdissuaded by LeBrun, who prevailed 
 on him to continue at Paris, and perfect 
 himself there in portrait paijiting, as the 
 surest means of establishing his reputation 
 and fortune. He pursued this advice, and 
 soon distinguished himself in such a man- 
 ner, that the king, royal family, and no- 
 bility, with many foreign princes, sat to 
 him for their portraits, which procured 
 him great applause. In 1700 he became 
 a member of the academy, and in 1727, 
 Louis XV. honoured him with the order 
 of St. Michael, to which was added a 
 considerable pension. He had a free and 
 spirited pencil, with a lively tone of colour- 
 ing; but his draperies are too violently 
 agitated to be natural, for the person is 
 represented as under cover in an apart- 
 ment, and at the same time the hair and 
 
 the garments appear as if he was abroad 
 in a storm. He is, however, accounted 
 one of the best portrait painters of his 
 country, and has been called the French 
 Vandyck. Of his works in history, the 
 principal are, a Nativity; and the Mar- 
 tyrdom of St. Andrew. He died in 1743. 
 
 Rigaud (John). This artist was re- 
 lated to the preceding, and was born at 
 Paris about 1700. He excelled in paint- 
 ing landscapes and views in perspective, 
 some of which last were of places in Eng- 
 land. He etched also several plates in an 
 excellent style. He died about 1760. 
 
 RiGHETTi (Mario). He was born at 
 Bologna in 1590, and studied under Lucio 
 Massari. Most of his works are in the 
 churches of Bologna ; the principal being 
 Michael defeating Lucifer, in that of St. 
 Guglielmo; Christ appearing in the Gar- 
 den to Mary Magdalen, in St. Giacomo 
 Maggiore; the Adoration of the Magi, in 
 St. Agnes; and the Nativity, in St. Lucia. 
 He died about 1650. 
 
 Rii.EY (John). He was born in the 
 parish of Bishopsgate, in London, in 1646, 
 and was instructed in the art of painting 
 by Fuller and Zoust, Lord Orford asserts 
 that he was one of the best native painters 
 that had flourished in England; and that 
 there are draperies and hands painted by 
 him, which would do honour either to Lely 
 orKneller; the portrait of the Lord Keeper 
 North, at Wroxton, being in every re- 
 spect a capital performance. After the 
 death of Sir Peter Lely, he advanced in 
 the esteem of the public, and had the 
 honour to paint the portrait of Charles 
 II., who, on looking at the picture said, 
 " Od's fish! if it's like me, I am an ugly 
 fellow." Riley was also in favour with 
 James II., whose portrait, as well as that 
 of his queen, Mary of Modena, he painted. 
 At the Revolution he was appointed state 
 painter to William and Mary, whose 
 portraits he also painted. He made na- 
 ture his principal study, without adopting 
 the manner of any master, and, as far as 
 he thought it prudent, he improved or 
 embellished it in his pictures; but, like 
 many other men of parts, he seems to 
 have been more respected by posterity 
 than by the age in which he flourished. 
 He was an humble, modest man, of which 
 he gave a proof by the diffidence he always 
 expressed of his own powers; and with a 
 quarter of Kneller's vanity, he might have 
 persuaded the world that he was a great 
 artist. He died of the gout in 1691, and 
 was buried in Bishopsgate church. 
 
RIN 
 
 463 
 
 RIV 
 
 Riley (Charles Reuben). This artist patience of Job, which may bear compari- 
 was born in London about 1756, and ac- son with the best works of Spagnoletto. 
 quired the principles of painting from This artist left some valuable designs drawn 
 
 Mortimer. In 1778 he gained the gold 
 medal at the Royal Academy, for the best 
 painting in oil, the subject of which was 
 Iphigenia. After ornamenting the Duke 
 of Richmond's seat, at Goodwood, in Sus- 
 sex, he went to Ireland, but soon returned 
 to London, where he was much employed 
 in making designs for the booksellers. 
 He died in 1798. 
 
 lliMiNALDi (Obazio). IIc was born at 
 Pisa in 1598, and at first was a scholar of 
 Orelio Lomi; but afterwards he became 
 thediscipleof Orazio Gentileschi, at Rome. 
 To the instructions of that master he 
 added an incessant application in the study 
 of the antiques, and a diligent observation 
 of the excellences of the different great 
 masters; so that, on his return to his na- 
 tive city, he found encouragement and 
 employment beyond his expectation. The 
 principal pictures of this artist are, Sam- 
 son destroying the Philistines ; the Serpent 
 in the Wilderness; and the Assumption 
 of the Virgin ; by which he firmly estab- 
 lished his reputation, not only on account 
 of the composition, but for the beauty of 
 the design, the elegance of the attitudes, 
 and the free and firm style of the colouring. 
 He died of the plague in 1630. 
 
 RiNCON (Antonio del). This old 
 Spanish artist was born at Guadalaxara 
 in 1446, but he studied at Rome, and on 
 his return to his native country was em 
 ployed by Ferdinand and Isabella, who 
 appointed him state painter. For his 
 portraits of their majesties he received the 
 order of St. Jago, and the appointment 
 of groom of the chamber. Most of his 
 works were destroyed with the palace of 
 the Prado, in the fire of 1608. Rincon, 
 who is considered as the founder of the 
 Spanish School, died in 1500. 
 
 RiNGGLi (Gottiiard). This Swiss 
 artist was born at Zurich in 1575; but it 
 is not known who was his instructor. He 
 rose, however, to considerable notice, by 
 being employed to paint the senate-house 
 and cathedral of Berne, for which he had 
 the freedom of the city conferred on him. 
 The pictures which he executed were of 
 a large size, and represented the most 
 prominent events of the early history of 
 Berne. He also painted, in the public 
 library of Zurich, an allegorical piece, 
 allusive to the Reformation. His easel 
 
 ith a pen, and washed with Indian ink. 
 He also etched several prints in an agree- 
 able manner. He died in 1635. 
 
 RisvENNo (Jose). This Spanish artist 
 was born at Granada in 1640. He had 
 Alonzo Cano for his instructor, and 
 learned from him both the principles of 
 painting and sculpture. Most of his pic- 
 tures are in the churches and convents of 
 his native city, where he died in 1721. 
 
 RivALz (Anthony). He was born at 
 Toulouse in 1667, and was the son of 
 John Peter Rivalz, a painter and architect 
 of some note, from whom he received his 
 first knowledge in the art of painting; but 
 his greatest improvement in design and 
 composition he obtained under La Fage; 
 after which he went to Rome, where he 
 gained the prize given by the academy of 
 St. Luke, for a picture representing the 
 Fall of Lucifer. Having completed his 
 studies at Rome, he returned to Toulouse, 
 and continued there for the rest of his 
 life. One of the chief excellences of 
 Rivalz consisted in copying the works of 
 the great masters; and, by order of Cardi- 
 nal Janson, the French ambassador at 
 Rome, he copied RafFaelle's Holy Family, 
 which performance is at present in the 
 royal collection at Paris. His style was 
 bold, his invention ready, and his design 
 correct; his local tints were true, and he 
 gave his pictures great force by the depth 
 of his shadows, in the manner of Cara- 
 vaggio and Valentino; but his colouring 
 was unequal. He left a number of draw- 
 ings in the manner of La Fage, and he 
 also executed some spirited etchings. He 
 died at Toulouse in 1735. Rivalz had a 
 nephew and scholar, named Bartholomew, 
 who engraved some plates after his uncle's 
 designs. 
 
 Rivarola (Alfonso). This artist was 
 born at Ferrara in 1607, and studied under 
 Carlo Bononi, on whose death he finished 
 the picture of the Marriage of the Virgin, 
 which his master had begun in the church 
 of St. Maria del Vado. The best of his 
 own compositions are, the Baptism of St. 
 Augustine, in the church of that father; 
 the Resurrection, in the convent of the 
 Theatines; the Brazen Serpent, in St. 
 Nicolo; and the Death of St. Catherine, 
 in St. Guglielmo. He died in 1640. 
 Rive (Peter Louis de la), a landscape 
 
 pictures were but few; and one of the ' painter, was born in 1753, at Geneva, at 
 most remarkable is a representation of the which place he died in 1815. Afterhaving 
 
ROB 
 
 464 
 
 ROE 
 
 received lessons from Fassin, he went to 
 Italy to perfect himself in his art. He 
 then traversed the whole of Switzerland 
 and Savoy, and delineated the many pic- 
 turesque scenes of those countries. His 
 performances are numerous and highly 
 valued. One of the most celebrated of 
 them is a view of Mont Blanc, taken from 
 Salenches, which is in Prince Gallitzin's 
 collection at St. Petersburgh. 
 
 RivERDiTi (Makc Antonio). He was 
 born at Alessandro della Paglia, and was 
 taught the principles of painting at Bo- 
 logna, where he proved himself a close 
 imitator of Guido Reni. He painted 
 both history and portrait with great suc- 
 cess: in the former department, his best 
 works are the Conception, in the church 
 of the Padri Camaldolesi; and St. Francis, 
 in that of St. Maria de Foschetari. He 
 died in 1744. 
 
 RoBATTO (Giovanni Stefano), This 
 artist was born at Savona in 1649, and 
 studied at Rome, under Carlo Maratti. 
 His best works are in the churches and 
 monasteries at Genoa. He died in 1733. 
 
 Robert (Nicholas). This French 
 artist was born at Orleans in 1610, His 
 talent lay in representing animals, insects, 
 and plants, in miniature; and many of 
 his performances are preserved in the royal 
 library at Paris, where he died about 1680. 
 He also etched several plates of animals 
 and vases. 
 
 Robert (Paul Pontius Anthony). 
 He was born at Paris about 1680, and, 
 after studying under Peter James Cazes, 
 went to Italy. On his return, he painted 
 for the church of the Capuchins a fine 
 picture of the Martyrdom of St. Fidelis. 
 He also etched several of the plates in the 
 Crozat collection. He died about 1750. 
 
 Robert (Hubert). This painter was 
 born at Paris in 1733. After learning 
 the elements ofhis artinhisnativecountry, 
 he went to Italy, where he resided several 
 years, chiefly devoting himself to the study 
 of the remains of ancient architecture. 
 On his return to France, he was elected 
 a member of the Parisian Academy, when 
 he painted for his reception a noble pic- 
 ture of the Pantheon at Rome. He had 
 a fine taste, and a perfect knowledge of 
 aerial perspective. During the horrors 
 of the Revolution he was thrown into prison, 
 where he beguiled the hours of his con- 
 finement by drawing and painting in 
 water colours. His principal talent lay 
 in the representation of antiquities, which 
 he executed with great ability and spirit. 
 
 He also etched a set of views, entitled Les 
 Soirees de Rome. Robert, after enjoying 
 an uninterrupted share of health, died of 
 an apoplexy, April 14, 1808. 
 
 Robertson (George). This artist was 
 born in London about 1742, and received 
 his instruction in the drawing school of 
 Mr. William Shipley; after which he 
 travelled to Italy, where he applied to 
 landscape painting. On his return he 
 made a voyage to Jamaica, and drew 
 several views in that island, some of which 
 were in the exhibition of the Royal Aca- 
 demy in 1775. Latterly he practised as 
 a drawing master, and died in 1788. 
 
 Robinson ( ). This artist was a 
 
 native of Bath, and the pupil of John 
 Vanderbank. He became a respectable 
 portrait painter, though his colouring 
 was feeble. He died at the age of thirty, 
 in 1745. 
 
 Rode (Christian Bernard). This 
 artist was born at Berlin in 1725. After 
 acquiring the elements of the art in his 
 native place, he went to Paris, where he 
 profited by the instructions of Vanloo 
 and Restout. He next improved himself 
 by visiting Rome, and on his return to 
 Prussia was much employed, both in 
 history and portrait. He painted some 
 altar-pieces at Berlin; and was engaged 
 by Frederick the Great in ornamenting 
 his palace of Sans Souci. Rode also 
 etched several plates from his own designs. 
 He died about 1795. 
 
 RoDRiGUEs (Giovanni Luigi). This 
 Sicilian artist was born at Palermo in 
 1597, and studied his art under Belisario 
 Corenzio at Naples, where he settled, and 
 proved a respectable painter of historical 
 subjects. He died in 1620. 
 
 RoELLAs (Juan de las). This Spanish 
 painter, who is called by Palomino Doctor 
 Pablo Roellas, was born at Seville in 1560, 
 and took his degree as doctor of physic, but 
 afterwards abandoned that profession for 
 painting, which he studied at Venice. 
 On his return to Spain, he was employed 
 at Seville in adorning the churches with 
 pictures, which were remarkable for har- 
 mony of colouring, correctness of design, 
 and vigour of expression. One of his 
 best works is the Death of St. Andrew, 
 in the college of St. Thomas. He died 
 at Seville in 1620. 
 
 Roepel (Conrad). He was born at 
 the Hague in 1679, and became the 
 scholar of Constantine Netscher, the por- 
 trait painter; but Roepel being of a 
 weakly constitution, and ordered, for the 
 
11 O E 
 
 465 
 
 ROG 
 
 benefit of his health, to reside in the 
 country, took so much delight in his 
 garden, that he became fond of repre- 
 senting plants and flowers, in which he 
 succeeded to admiration. One of the 
 greatest florists at the Hague furnished 
 him with the most beautiful flowers in 
 his collection, to serve him as models, 
 in order to have a picture painted after 
 them for his own pleasure; and Roepel 
 disposed every object so agreeably, and 
 finished the whole with so much truth, 
 nature, and clearness of colour, that it 
 established his reputation and fortune. 
 This success determined him to devote 
 himself entirely to that style of painting- ; 
 and, in a short time, he was considered 
 as being equal to the best artists of that 
 country, with the exception of Van Huy- 
 snm and Rachel Ruysch. At the desire 
 of Count Schaesbergen, he went in 1716 
 to the court of the Elector Palatine, 
 carrying with him one of his pictures, 
 with which the prince was so pleased, that 
 he paid him generously for it, employed 
 him immediately, and honoured him with 
 a chain and medal of gold. On the death 
 of the elector, he returned to the Hague, 
 where his reputation was increased by 
 the honours he had received at Dussel- 
 dorp, and his works rose high in estima- 
 tion. The plants, fruits, and flowers, 
 from which he composed his subjects, 
 were cultivated in his own gai-den, where 
 he was visited by persons of the first rank. 
 Temperance and innocent amusements 
 prolonged his life beyond all expectation, 
 though he was naturally of a tender and 
 weakly constitution; and, at his death, 
 in 1748, he was director of the academy 
 of painting at the Hague, having been a 
 member of that society thirty years. 
 
 RoEB (James Vander). This Dutch 
 artist was born at Dort in 1648, and 
 studied under John de Baan, by whose 
 instructions and example he proved a 
 good painter of portrait. In the reign of 
 Charles II. he visited England, but died 
 at his native place in 1699. 
 
 RoESTRAETEN (Peter). He was born 
 at Haerlem in 1627, and became the 
 disciple and son-in-law of Francis Hals, 
 whose manner he followed principally in 
 painting portraits. But his genius inclined 
 him more to subjects of still life, in which 
 style he showed himself equal to any 
 artists of his time. Nothing could appear 
 with stronger characters of nature and 
 truth than the objects he painted ; he 
 grouped them with skill, and contrived 
 
 to place the darker ones so as to give 
 a striking lustre to those that were 
 more bright or pellucid, and by an art- 
 ful management of the chiaro-oscuro, he 
 produced a suitable roundness and relief. 
 His general subjects were musical instru- 
 ments, gold, silver, or crystal vases, china- 
 ware, agates, and shells ; which he exe- 
 cuted Avith great accuracy. In the reign 
 of Charles II. he came to England, and 
 : was introduced to the king by Sir Peter 
 ' Lcly. His paintings, for the neatness of 
 ' pencilling and delicacy of colour, were 
 I superior to those of his contemjioraries in 
 I that line ; and many of them are said to 
 ' have been sold for forty and fifty pounds 
 j each. Descamps upon this tells an im- 
 j probable tale, that Sir Peter diverted 
 Roestraeten from painting portraits, out 
 j of envy and jealousy, lest he should prove 
 too powerful a rival, and therefore pre- 
 vailed with him to apply to subjects of 
 still life, as more likely to succeed. The 
 fame of Lely, however, was then suffi- 
 ciently established ; nor have we any ac- 
 count of Iloestraeten's extraordinary 
 merit, except in the peculiar style he pur- 
 sued. With just the same regard to truth, 
 Descamps says that the paintings of Roes- 
 traeten are extravagantly esteemed by the 
 English, when, on the contrary, they had 
 long before fallen in value. He died in 
 London in the year 1698. 
 
 Roger (of Bruges). This ancient 
 Flemish artist was born at Bruges in 
 ] 366, and studied under John Van Eyck. 
 His works were on a grander scale than 
 those of his master, and the figures were 
 well designed. He died at Bruges in 
 1418. 
 
 Roger (Eugene). A French artist, 
 whose talents promised much ; but he 
 was cut off" in 1840, at the age of thirty- 
 three. Among his works is an excellent 
 picture of St. John preaching in the Wil- 
 derness. 
 
 Roger (of Brussels), see Vandeb 
 Wetde. 
 
 Rogers (George). This gentleman, 
 who painted for his amusement, resided 
 J in the Isle of Wight, and married a daugh- 
 I ter of Mr. Jonathan Tyers, the proprietor 
 of Vauxhall. He painted landscapes, 
 someof which were exhibited in the Spring 
 Gardens rooms. He died about 1786, 
 
 Rogiimax (Roi>and). He was born at 
 Amsterdam in 1597, and learned the art 
 of painting in his native city ; but formed 
 his manner by studying after nature, 
 without attending to the style of any par- 
 2 H 
 
ROM 
 
 ROM 
 
 ticular master. He travelled through 
 several parts of Germany, to furnish him- 
 self with materials for future compositions, 
 designing every scene that pleased his 
 imagination, as ruins, castles, villages, or 
 buildings, together with figures and cattle, 
 which he generally sketched on tlie spot. 
 He had a firm and free manner of paint- 
 ing ; his keeping was tolerably good, and 
 some of his pictures have a pleasing effect; 
 but his colouring is often raw ; his 
 grounds and trees are frequently too 
 brown and dusky to be natural; and 
 though his figures are usually much la- 
 boured, they want elegance and character. 
 The choice of his situations, also, cannot 
 be commended ; nor is there sufficient 
 variety in the forms of his trees to allure 
 the eye agreeably ; but in many parts his 
 merit was considerable. His pictures are 
 usually views in Germany and Holland. 
 He executed some etchings of landscapes 
 and views in a fine style. Roghman was 
 the intimate friend of Rembrandt and 
 Eeckhout. He died in 1686. 
 
 RoKES, see Soegh, 
 
 RoLi (Antonio). This painter was bom 
 at Bologna in 1643. He had Pietro da 
 Cortona for his master, and became a 
 good artist in architectural representa- 
 tions and views in perspective. He died 
 in 1696. 
 
 Ron (Giuseppe). He also was a na- 
 tive of Bologna, and was born in 1654. 
 Domenico Maria Canuti was his instruc- 
 tor, on leaving whom he went to Ger- 
 many, where he continued some years. 
 On his return to Bologna he was em- 
 ployed in painting for the churches ; be- 
 sides which, he executed some etchings 
 after Lodovico Caraeci, and other Bolo- 
 gnese artists. He died there in 1713. 
 
 Roma (Spiridone). He was a native 
 of Italy, but practised some years in Eng- 
 land as a painter, though his principal 
 employment was that of cleaning pictures. 
 He, however, obtained a commission to 
 paint a ceiling at the East India House, 
 which is very feebly executed. He died 
 suddenly, in 1786. 
 
 Roman (Babtolomeo). This Spanish 
 artist was born at Madrid in 1598 ; and 
 studied successively under Carducci and 
 Velasquez. Ilis works are confined to 
 the churches and convents of Alcala and 
 Madrid ; and Palomino does not scruple to 
 compare some of them to the paintings 
 of Rubens. He died at Madrid in 1659. 
 
 RoMANELxi (Giovanni Francesco), 
 He was born at Viterbo in 1617, and was 
 
 a disciple of Pietro da Cortona, who re- 
 garded him not only for his genius and 
 diligence, but for the amiable disposition 
 of his mind. He proved, indeed, the best 
 and most favourite scholar of Cortona. 
 His style and handling were in imitation 
 of that eminent artist ; nor were his ideas, 
 or his composition, any way inferior to him ; 
 and he was even accounted more correct, 
 though his colouring was colder than that 
 of his master. His invention was easy and 
 agreeable, his drawing accurate, and he 
 generally gave considerable grace to the airs 
 of his heads. He painted in oil and fresco 
 with equal freedom and spirit, but he was 
 particularly excellent in the latter. For se- 
 veral years he was employed by the King of 
 France, who honoured him with the order 
 of St. Michael ; and in that court he 
 acquired a plentiful fortune, as well as 
 reputation. Having finished with applause 
 the grand designs in which he had been 
 engaged, he returned to Rome, and spent 
 the remainder of his life in that city, 
 beloved for his virtues, and admired for 
 his talents. His works are dispersed 
 through most parts of Europe, and are 
 accounted ornaments to the richest collec- 
 tions. Two of his best performances 
 were sent from Italy to Charles I.: one, 
 a Bacchanal, and the other, a Banquet of 
 the Gods. In the church of St. Ambro- 
 gio at Rome is a fine picture by him of 
 the Descent from the Cross, which excited 
 the jealousy of Cortona so much, that he 
 painted his piece, of the Stoning of Ste- 
 phen, in opposition to it. For the church 
 of St. Peter, in the same city, Roma- 
 nelli painted the Presentation in the Tem- 
 ple, which has been executed in mosaic. 
 Cardinal Barberini was his patron, and it 
 was that prelate who introduced him to 
 Louis XIV., for whom he painted, in the 
 old Louvre, a set of pictures taken from 
 the ^neid. He died at Viterbo in 1662. 
 
 RoMANELLi (Urbano). Hc was the 
 son and scholar of the preceding artist, 
 and was born at Viterbo in 1638. Though 
 he painted in the manner and style of his 
 father, he was far inferior to him. Yet 
 some of his copies and also some of his 
 own compositions, have been ascribed to 
 Giovanni, though a judicious eye will 
 readily discern the difference, especially 
 in those which were designed by Urbano, 
 as they are very deficient in the correct- 
 ness and grace which distinguished the 
 works of the elder Romanelli. He died 
 in 1682. 
 
 RoMANiNO (GiKOLAMo). He was born 
 
R {) M 
 
 4G7 
 
 ROM 
 
 at Brescia about 1504; but it is not ascer- 
 tained by what mu'^ter he was instructed. 
 He studied some time at Rome, and then 
 went to Venice, to perfect himself in the 
 knowledge of colouring. Having spent 
 several years there, he returned to Bre- 
 scia, where he followed his profession with 
 applause. He had a fine invention, his 
 design was correct, and his colouring, in 
 force and beauty, was not unlike the style 
 and tint of Titian. He executed a number 
 of designs for the churches, convents, and 
 palaces at Brescia, both in fresco and in 
 oil; but his most capital performance was 
 a scriptural subject, which he painted for 
 the grand altar in the church of St. 
 Francis, in that city. In the old Louvre, 
 at Paris, and principally in the apart- 
 ments of Anne of Austria, and the 
 gallery of Apollo, were several of his 
 paintings in fresco, which, though some 
 of his earliest essays, evinced more than 
 the promise of an exalted genius. He 
 died in 1566. 
 
 RoMAxo (GiuLio). This celebrated 
 painter, whose family name was Pippi, 
 was born at Rome in 1492. He became 
 the principal scholar of Raffaelle, who 
 intrusted him with the execution of several 
 of his greatest works, and left to his care 
 those which were unfinished at the time 
 of his death. He possessed all the energy 
 of his master's character, but delighted 
 chiefly in heroic subjects, which he treated 
 with spirit and learning. During the life 
 of Raffaelle he designed little of his own ; 
 but when that immortal genius passed 
 away, Giulio put forth his strength, and 
 gave full proof of extraordinary powers. 
 Instead, however, of the graces which 
 emanated from the delicate taste of Raffa- 
 elle, he exhibited figures tending to strike 
 awe and terror into the beholder; his 
 colouring also was discordant and gloomy, 
 and his draperies, though classical, were 
 often inelegant and formal. With these 
 defects, he possessed great and original 
 merit; and after the death of Raffaelle, 
 who appointed him one of his heirs, he 
 was employed to finish, with Giovanni 
 Panni, the History of Constantine, in the 
 Vatican. For the church of the Trinity 
 at Rome he painted a picture of Christ 
 appearing in the Garden to Mary Mag- 
 dalen; and for that of St. Andrea, the 
 Marriage of St. Catherine. In the church 
 of St. Christopher at Mantua is a gigantic 
 figure of that saint, with the Infant on his 
 shoulders; but the masterpiece of Giulio 
 in this department is the Martyrdom of 
 
 St. Stephen, in the church di St. Stefano 
 alle Porte dell' Arco, at Genoa. While 
 he continued at Rome he practised as an 
 architect; in which profession he gave 
 such satisfaction, as to be invited to Man- 
 tua, where he was employed by the duke 
 in rebuilding the Palazzo del T, as it is 
 called, and in ornamenting it with his 
 designs. Here he painted, in two grand 
 saloons, the Fall of the Titans, and the 
 Loves of Cupid-Kind Psyche. Aft^ com- 
 pleting these fine frescoes, he executed a 
 set of pictures, the subjects of which were 
 the principal incidents in the history of 
 the Trojan war. On the death of San 
 Gallo he was invited to Rome, to super- 
 intend the building of St. Peter's church; 
 but, while preparing to set out for that 
 capital, he was taken suddenly ill, and 
 died at Mantua in 1546. He left a son, 
 named Raffaelle Pippi, who was cut off 
 in the prime of life, in 1560, after exhibit- 
 ing promising talents. 
 
 RoMBOTJTS (Theodore). He was born 
 at Antwerp in 1597, and was a disciple of 
 Abraham Janssens, under whom he made 
 a great progress. In his twentieth year 
 he travelled to Rome, where, soon after 
 his arrival, he was engaged to paint two 
 scriptural subjects, which proved the 
 means of making his merit known, and 
 introduced him to the favour of the great; 
 so that he had abundant employment. 
 From Rome he went to Florence, on the 
 invitation of the grand Duke of Tuscany, 
 for whom he executed several noble com- 
 positions, with so much satisfaction that 
 he was not only honourably rewarded, but 
 received also many valuable presents be- 
 sides, as marks of the particular esteem 
 of that prince. At his return to Antwerp 
 he found Rubens in the height of his glorj% 
 and soon saw that his own abilities, though, 
 in reality, very great, were much obscured 
 by the perfection of that eminent master. 
 This excited in Rombouf s a strong emula- 
 tion, probably not unattended with a 
 degree of envy, that urged him to paint 
 some historical pictures in competition 
 with Rubens. Among these were, St. 
 Francis receiving the Stigmata; Abraham 
 offering up Isaac; and an emblematical 
 picture of Justice, for the court-house of 
 Ghent. This last is said to have excited 
 theastonishmentand admiration of Rubens 
 hinsself. Rombouts had a lively genius, 
 a fertile imagination, and considerable 
 elegance in his style of composition. His 
 figures generally are nearly as large as 
 life, and well designed; his pencil is free; 
 
ROM 
 
 4G8 
 
 ROM 
 
 his colouring warm; and his expression 
 excellent. It was to be regretted that he 
 should have debased his pencil by painting 
 such subjects as mountebanks, taverns, 
 and soldiers playing at cards, which he 
 did merely to get money; they were, 
 however, well executed, and much valued. 
 He died in 1637. 
 
 ROMEGIALLO (GlOVANNI PlETRo). He 
 
 was born at Montegno, in the Valtelin( 
 in 173p, and was instructed by Agostin 
 Masucci at Rome, where he copied the 
 works of Guercino, Guido, and Cortona. 
 His pictures are mostly at his native place, 
 in the churches and private collections. 
 
 Romeo (Don Joseph). This Spanish 
 artist was born at Cervera, in Arragon, 
 in 1701. He became the scholar of Agos- 
 tino Masucci, at Rome, and on his return 
 to Spain was much employed, first at 
 Barcelona, and next at Madrid, where he 
 died in 1772. 
 
 RoMEYN (William Van). Of this 
 Dutch painter of landscapes and cattle 
 we know nothing but by his works, 
 which are much in the manner of Karl 
 du Jardin. 
 
 RoMNET (George). This eminent ar- 
 tist was born at Dalton, in Lancashire, 
 December 26, 1734. His father was a 
 builder; and George, in his twelfth year, 
 was taken from the village school, to 
 superintend the workmen. His leisure 
 hours he employed in carving; and, being 
 fond of music, made a violin for himself, 
 which he preserved till his death. He was 
 first tempted to draw from seeing some 
 ordinary prints in a magazine, which he 
 imitated with success; and his first 
 attempt at portrait was from memory, in 
 endeavouring to represent the features of 
 a stranger whom he had seen at church. 
 After some attempts by his father to place 
 him in trade, he consented to let him 
 become a painter; and his first master 
 was an artist of the name of Steele, who 
 barely taught him the knowledge and use 
 of the materials of the art. On leaving 
 his master he married, and began to prac- 
 tise as an itinerant portrait painter ; but 
 being ambitious to try his fate in the 
 metropolis, as soon as he had acquired 
 nearly one hundred guineas, he took thirty 
 for his travelling expenses, and, leaving 
 the remainder with his wife, set out for 
 London in 1762. He first resided in the 
 City, where he painted portraits at five 
 guineas ahead, and acquired considerable 
 business, through the assistance of Mr. 
 Daniel Braithwaite, the comptroller of 
 
 the foreign post-office. In 1764 he visited 
 Paris, and, on his return, settled in Gray's 
 inn, where his business increased, espe- 
 cially among the gentlemen of the long 
 robe. In 1763 he gained the second 
 premium from the Society for the En- 
 couragement of Arts and Sciences, for a 
 picture of the Death of General Wolfe ; 
 and, two years after, he earned the first 
 prize for an historical picture of the death 
 of King Edmund. In 1768 he removed 
 to Great Newport street, still increasing 
 in practice and fame; but, conscious of 
 the necessity of cultivating his taste by an 
 inspection of the great works of art in 
 Italy, he set out thither in 1773, with Mr. 
 Ozias Humphrey. He spent two years 
 abroad ; and on his return, in July, 1775, 
 took a house in Cavendish-square, where 
 he resided until 1798, when he retired to 
 Hampstead. During the preceding twen- 
 ty years he enjoyed uninterrupted success 
 in his profession ; to which he was so ar- 
 dently attached, that his whole delight 
 was in it. His talents, in return, were 
 highly encouraged, and in one year only 
 he painted portraits to the value of 3635. 
 It is very remarkable, however, that he 
 never became a member of the Royal 
 Academy, nor once exhibited in its rooms. 
 When Boydell's Shakspeare was projected, 
 Romney contributed his aid to the work. 
 He had a quick relish for the beauties of 
 that poet ; although his own fancy was so 
 volatile, and his mode of reading so de- 
 sultory, that it may be questioned if he 
 ever went through two acts of any of the 
 plays that he most admired. After he 
 had finished his fine picture for the Tem- 
 pest, he was induced, in 1790, to visit 
 Paris again, with two friends ; but on his 
 return, in 1791, resumed his labours for 
 the Shakspeare Gallery, and painted some 
 pictures for King George the Third. In 
 1797 he felt aslight paralytic stroke, which 
 prevented him from continuing his pro- 
 fessional labours. Finding his health 
 decline, he revisited his native place in 
 1799, and continued there till his death, 
 November 15, 1802. Of Romney, as an 
 artist, it is by no means easy to appreciate 
 the just character. That he possessed 
 genius and talents in an eminent degree, 
 no one can deny. One critic says, that 
 " he was made for the times, and the 
 times for him." But another observes, in 
 contradiction of the remark, that "he 
 was made for better times tlian those in 
 which he lived." The taste he imbibed 
 for simplicity and grandeur, on seeing, 
 
 i 
 
ROM 
 
 469 
 
 RON 
 
 an advanced period, the works of the an- 
 cient artists, prove what might have been 
 expected of him, had he been sooner ini- 
 tiated into the mysteries of his art. 
 Without this aid, Romney had to separate 
 for himself the partial from the general 
 effects of nature; and the inequality with 
 which he, in this point, met the rivalry of 
 more fortunate artists, is evident in most 
 of his productions. Frequently his chi- 
 aro-oscuro is ill conducted, and his har- 
 mony of forms and colours imperfect, even 
 in pictures produced when enjoying the 
 height of his intellectual power, and at 
 the happiest period of his executive skill. 
 At the same time they display great fer- 
 tility of invention, with sweetness and 
 delicacy of sentiment. He was happily 
 endowed with an inquisitive mind, that 
 delighted in science, and he pursued it 
 warmly with the best means he had ; pos- 
 sessing also a versatility of genius, which 
 is exemplified by the variety of subjects 
 he chose for representation. Both the 
 comic and serious impressions of the mind 
 had charms for him. Early in life he 
 painted two pictures from Tristram Shan- 
 dy; one, of the arrival of Dr. Slop at 
 Shandy-hall, after the unlucky cata- 
 strophe he met with on the road, which 
 afforded scope for sentimental comic hu- 
 mour ; the otlier, from the affecting story 
 of the Death of Le Fevre. The works of 
 fancy he produced after his return from 
 Italy exemplify the use he made of the two 
 years he spent among the unrivalled pro- 
 ductions of art he there met with. The 
 purity and perfection of ancient sculpture 
 appear to have made the deepest impres- 
 sion upon his mind, and he afterwards 
 assiduously cherished the taste he then 
 imbibed, by procuring a collection of casts 
 from the best models of ancient statues, 
 groups, basso-relievos, &c., which he 
 would sit by the hour to contemplate, ex- 
 amining their appearances under all 
 changes of sunshine and common day- 
 light ; and with lamps, prepared on pur- 
 pose, he would try, with rapturous delight, 
 their efifects in various modes of illumina- 
 tion. Hence, grandeur and simplicity 
 became the principal objects of his am- 
 bition. He perceived these qualities dis- 
 tinctly, and employed them judiciously, 
 even whilst imitating nature in his occu- 
 pation of portrait painting. It is not a 
 little surprising that, amidst his continual 
 labours in that branch of the art, he should 
 have found time to produce so great a 
 number of fancy pictures as he left beiiind 
 
 him. He also frequently spent his even- 
 ings in making large cartoons in charcoal; 
 among which was one of the Dream of 
 Atossa, from .^schylus, which was con- 
 ducted with the taste and feeling of the 
 ancient Greek artists. His style of co- 
 louring was simple and broad. In that 
 of his flesh he was very successful, ex- 
 hibiting a great variety of complexion, 
 with much warmth and richness. It was 
 not always, however, that his pictures 
 were complete in the general tone ; but 
 crude discordant colours were sometimes 
 introduced in the backgrounds, which 
 not being blended or broken into unison 
 with the hue of the principal figures, in- 
 terrupted the harmony of the whole. The 
 executive part of his works was free and 
 precise, without being trifling or minute, 
 possessing great simplicity, and exhibiting 
 a purity of feeling consonant with the 
 style of his compositions. He aimed at 
 the best of all principles in the imitation 
 of nature, that of generalizing its effects ; 
 and he even carried it so far as to subject 
 himself to the charge of negligence in the 
 completion of his forms ; but the truth of 
 his imitation is sufficiently perfect to 
 satisfy those who regard nature syste- 
 matically, and not individually, or too 
 minutely. 
 
 RONCALLI (CavALIERE ChKISTOFORO), 
 
 called Pomerancio. He was born at Po- 
 merancio, in Tuscany, in 1552, and was 
 a disciple of Circignano; but his greatest 
 improvement arose from his designing 
 after the antique statues and the best 
 paintings of illustrious masters. As soon 
 as his works were known, they engaged 
 the public attention and esteem ; and he 
 was employed by the principal nobility of 
 Rome, and also for the churches and 
 chapels. His performances gained him 
 the highest applause for elegance of taste 
 and correctness of design, and he was de- 
 servedly ranked among the most famous 
 artists of his time. His engagements in 
 some of the principal cities of Italy de- 
 tained him there for several years, and his 
 labours were repaid with honour and 
 riches. He was also invited to different 
 courts of Europe, and he visited Germany, 
 England, Flanders, and France; meeting 
 every where with distinction, and increas- 
 ing his reputation by his works. At Rome 
 he painted the death of Ananias and 
 Sapphira ; and the Baptism of Constan- 
 tine : for which Pope Paul V. conferred 
 on him the honour of knighthood. Two 
 other pictures by him in that city are, the 
 
RON 4 
 
 Visitation of the Virgin, and Michael de- 
 feating the Rebel Angels ; and at Naples is 
 a fine altar-piece of tlie Nativity, by Ron- 
 calli. He usually enriched his pieces 
 with landscapes, painted in a beautiful 
 style. He died at Rome in 1626. 
 
 RoNDANi (Fkakcesco Mabia). This 
 painter was born at Parma about 1504, 
 and is said to have been a disciple of Cor- 
 regio, -whom he assisted in some of his 
 principal works. In the church of Maria 
 Maddalena, at Parma, is a noble picture 
 by him, of the Virgin and Child, which 
 has been often ascribed to^ Corregio. 
 Another fine performance of his hand is a 
 picture of St. Augustine and St. Jerome, 
 in the church of the Eremites. He died 
 at Parma about 1550. 
 
 RoNDiNELLo (NicoLo). Hc was born 
 at Ravenna about 1468, and studied under 
 Giovanni Bellini, to whom he became an 
 assistant. His paintings ai"e chiefly in the 
 churches and convents of Ravenna ; but 
 he was far inferior to Bellini in expression 
 and colouring. He died about 1528. 
 
 RoNTBouT (N.) He was born in Flan- 
 ders, and learned the art of painting in 
 his native country; but as the Nether- 
 lands could not supply him with such a 
 variety of scenes as suited his genius, he 
 determined to search for them in other 
 countries. He directed his course to 
 Italy, through several parts of Germany 
 and Switzerland ; and as he studied 
 entirely after nature, he sketched every 
 romantic object thatoccurred tohim in his 
 travels, designing most of the delicious 
 views which are in the neighbourhood of 
 Rome ; and from these designs he gene- 
 rally composed his landscapes. His pic- 
 tures are incomparably painted ; his pen- 
 cil is free and firm ; his skies are clear 
 and charmingly adapted ; his colouring is 
 extremely good, particularly his local tints. 
 His figures, though not altogether ele- 
 gant, are yet introduced with judgment 
 and propriety; and, by a skilful manage- 
 ment of the chiaro-oscuro, his pictures 
 have a striking effect. His paintings, 
 which are rarely met with, may readily 
 be known by the richness and warmth of 
 the tints in the foreground, by their fine 
 perspective, by an uncommon transpar- 
 ence of colour, by the firmness and free- 
 dom of handling, united with delicate fin- 
 ishing, and by a peculiar form in many of 
 his trees. An excellent landscape painted 
 by Rontbout, and inscribed with his name, 
 was in the possession of Thomas Cobbe, 
 Esq. It represents a View of a Bridge 
 
 R O O 
 
 between two high Hills ; and in perspec- 
 tive, under the grand arch, is an agreeable 
 prospect of a river, a distant range of hills, 
 and an antique tower on the border of the 
 stream, which has a fine effect. 
 
 RooDTSEUS (John and James). These 
 two Dutch painters were natives of Hoorn. 
 John was born in 1590, and died in 1648. 
 He painted portraits with great credit. 
 James was his son, and born in 1619. 
 After studying under his father, he be- 
 came the scholar of John David de Heem. 
 His works are much esteemed. He died 
 at Utrecht in 1669. 
 
 RooDTSEUs (John Albertz). He was 
 the son of Albert Roodtseus, a painter, 
 and born at Hoorn in 1615. He studied 
 under Peter Lastman, by whose instruc- 
 tions he became a good painter of portraits, 
 and was held in almost as great esteem as 
 Vander Heist. He had a beautiful and 
 sweet manner of colouring, and finished 
 his pictures with neatness and spirit. 
 The figures which he designed were 
 always as large as life;* and he particu- 
 larly excelled in representing archers, in 
 which subjects the attitudes and actions 
 were very natural; and his paintings in 
 that style are much commended and ad- 
 mired. He died in 1674. 
 
 RooKEB (Michaee). This English 
 artist was born in 1743, and after being 
 taught engraving by his father, Edward 
 Rooker, who was very eminent for his 
 architectural subjects, he was placed un- 
 der Paul Sandby, to be instructed in 
 drawing and landscape painting. As an 
 engraver, he gave early proofs of ability, 
 which were confirmed by his mature pro- 
 ductions, excellent specimens of which 
 may be seen in a view of Wolterton Hall, 
 Nottinghamshire, and in many other 
 prints which he produced. But his tal- 
 ents were not confined to the graver, for 
 he also employed the pencil, and in 1772 
 exhibited a view of Temple Bar, as it 
 then stood, which had considerable merit. 
 He was for many years employed as prin- 
 cipal scene painter for the Little Theatre 
 in the Ilaymarket; and in the summer 
 season generally visited some part of the 
 country, where he selected views, of 
 which he afterwards made finished draw- 
 ings. He engraved the head-pieces to the 
 Oxford Almanacks, for each of which he 
 received fifty pounds; a large sum in those 
 days, although not unsuitable to his merit, 
 or the liberality of his employers. But 
 this engagement he relinquished some 
 years before his death, because he took a 
 
ROO 
 
 471 
 
 ROO 
 
 dislike to the practice of engraving. The 
 Oxford views were executed from his own 
 drawings, and exhibit some of the best 
 and most accurate that were ever taken 
 of that city. He died March 3, 1801, 
 and was buried in the cemetery of St. 
 Giles-in-the-Fields. His drawings, of 
 which he left a large collection, produced, 
 at a sale of four days, the sum of 1240. 
 Rooker was one of the first elected asso- 
 ciates of the Royal Academy. 
 
 RooRE (James de). He was born at 
 Antwerp in 1686, and received his first 
 instructions in painting from Lewis Van- 
 den Bosh; but afterwards he studied for 
 two years under Vander Schoor, and last- 
 ly with Van Opstal. He distinguished 
 himself by his imitations of the best mas- 
 ters; and being appointed to copy the St. 
 Christopher of llubens, which was in- 
 tended for the court of France, he did it 
 with such exactness, that it gave Van 
 Opstal as much surprise as satisfaction, 
 and he only slightly retouched it in a few 
 places. He coniposed first in the taste 
 of Van Orlay, and afterwards in that of 
 Teniers, with so much spirit, that in a 
 few years his works were in general es- 
 teem ; and though he was very laborious, 
 he found it impossible to answer the de- 
 mands made for his performances. At 
 Leyden, in a grand saloon, he painted the 
 History of Achilles; and on the ceiling 
 the Apotheosis of that hero, which added 
 considerably to his reputation. Several 
 other historical subjects of his composition 
 are mentioned with great commendation; 
 among which are, Brennus besieging the 
 Capitol, and Antony presenting a Crown 
 to Julius Caesar. But one of his greatest 
 works was a picture, of which the subject 
 was the history of Pandora. At the age 
 of twenty he was elected a member of the 
 Academy of Antwerp, where he died in 
 1747. Do Roore had a good genius and 
 a ready invention ; he composed with ease, 
 but he wanted that elegant taste of design 
 which he might have acquired if he had 
 visited Rome. His colourinac generally 
 is agreeable, and his easel pictures are 
 finished with delicacy, especially those 
 which he painted in his latter time, when, 
 by observing the works of the great mas- 
 ters, he had acquired more freedom in his 
 manner of handling. 
 
 Rocs (John Hendrick). He was 
 born at Otterburg, in the Palatinate of 
 the Rhine, in 1631, and at the age of nine 
 years was apprenticed to Julian du Jar- 
 dyn, at Amsterdam, for seven years; but 
 
 he afterwards studied with Adrian de Bie, 
 and profited so well by the precepts of 
 that master, that he soon rose to eminence. 
 His genius directed him to painting land- 
 scapes and cattle, as horses, cows, sheep, 
 goats, and camels, which he represented 
 with the utmost accuracy, after nature; 
 and he habituated himself to such exact- 
 ness, that in the animals which he paint- 
 ed, the males and females were distinguish- 
 able at the first sight. His landscapes 
 had great variety in the breakings of the 
 grounds, the cottages of shepherds, the 
 rocks, ruins, mountains, and falls of 
 water, which he introduced with great 
 propriety ; always adapting his scenes to 
 the historical subject he intended to de- 
 scribe. For the most part he chose those 
 kinds of subjects which admitted of the 
 largest number, and the greatest variety 
 of cattle ; such as Jacob leaving Laban, 
 and driving his flocks and herds; Esau 
 meeting his brother; and Moses tending 
 the flock of Jethro. He was employed 
 some time at the court of the Elector 
 Palatine, where his talents were nobly 
 rewarded. He was also distinguished in 
 portrait, and painted that of the Elector 
 of MentZ; who was so well pleased, that 
 he rewarded him liberally for the perfor- 
 mance, and presented him with a chain 
 and medal of gold. At several other 
 courts in Germany he received similar 
 marks of distinction. The portraits of 
 Roos were rendered particularly agreeable 
 by the introduction of landscapes into the 
 backgrounds in such a manner as gave 
 force to the principal object; some scene 
 diversified with a distant prospect of 
 groves and hills; groups of cattle charm- 
 ingly disposed and designed ; or incidents 
 taken from sacred or profane histoiy, 
 which enlivened his pictures surprisingly. 
 By this means he acquired a considerable 
 fortune, and an extensive reputation. The 
 end of this estimable artist was very mel- 
 ancholy. In 1685, a dreadful fire broke 
 out near his residence at Frankfort, and, 
 as it happened during the stillness of the 
 night, it spread so rapidly, that the dwel- 
 ling of Roos was in a short time sur- 
 rounded with flames. He might have 
 escaped unhurt; but in endeavouring to 
 save a vase of porcelain that had a golden 
 cover, he dropped it when he was nearly 
 out of the house, and, stooping down to 
 search for the cover, was suddenly suffo- 
 cated. Besides painting, he also occas- 
 ionally amused himself with engraving, 
 and produced several plates of animals 
 
ROO 
 
 472 
 
 and landscapes, executed in an admirable 
 manner. 
 
 Roos (Theodore). Tiiis painter was 
 the younger brother of the preceding, and 
 was born at Wesel in 1638. He was first 
 instructed by Adrian de Bie, and next by 
 his brother, to whom he became an assis- 
 tant, till 1659, when Theodore entered 
 into the service of the court of Manheim, 
 where his first performance was a large 
 painting for the council chamber of the 
 city, containing tlie portraits of the chief 
 magistrates. The Elector Palatineappoint- 
 ed him to paint the portraits of the Duke 
 and Duchess of Orleans, for which he was 
 well remunerated, besides receiving a 
 chain and medal of gold. His manner 
 was broad and free, and his colouring 
 lively and strong; but he was defective in 
 the principles of design, and never ac- 
 quired correctness. He died in 1698. 
 Theodore Roos etched some small prints 
 of landscapes with ruins. 
 
 Roos (Philip), called Rosa di Tivoli. 
 This artist, who obtained in Italy the 
 name of Rosa di Tivoli, was the second 
 son of John Hendrick Roos, and born at 
 Frankfort in 1655. From his infancy 
 lie showed an extraordinary genius for 
 painting; and by the instruction he re- 
 ceived from his father, he made such a 
 progress as procured him the patronage 
 of the Landgrave of Hesse, who sent him 
 with a pension to pursue his studies in 
 Italy. At his first entrance into Rome, 
 he observed some young artists employed 
 in sketching the basso-relievos on the 
 arch of Titus, when, taking a crayon and 
 paper from one of them, in half an hour he 
 produced a design, finished with incredible 
 correctness and elegance, to the astonish- 
 ment of them all. The diligence of Roos 
 in his studies was very remarkable : he 
 laboured incessantly, devoted his whole 
 time to his improvement, and omitted 
 nothing that might perfect him in his 
 profession ; by which practice he obtained 
 such a surpi'ising readiness of hand, that, 
 on account of iiis expeditious manner of 
 painting, as well as the liveliness of his 
 imagination, the Bentvogel Society called 
 him Mercurius. He studied every object 
 after nature, as the sites of his landscapes, 
 the cattle, ruins, buildings, figures, rocks, 
 and rivers ; and to fertilize his fancy, he 
 chose to live at Tivoli, which furnished 
 him with a lovely variety of scenes, and 
 gave him a professional name. It was 
 his custom to keep several animals, which | 
 ho intended for models ; and, on account 
 
 of the number and variety of these, his 
 house was called Noah's Ark. Notwith- 
 standing this, his morals were indifferent; 
 and though he married a beautiful wo- 
 man, the daughter of Hyacintho Brandi, 
 changing even his religion to obtain her, 
 yet neither her charms nor amiable quali- 
 ties could restrain him from a life of extra- 
 vagance and dissipation, which rendered 
 him continually necessitous. Whenever 
 his purse was exhausted, it was customary 
 with him to ride from Rome to Tivoli, 
 attended by his servant, and alighting at 
 the first tavern he saw, he sat down to 
 paint, and having in a short time finished 
 a picture, sent it directly to be sold. 
 But by this expedient he increased the 
 number of his pictures to such a degree, 
 that the prices they afforded were far 
 below their value. His servant, therefore, 
 possessing more discretion than his mas- 
 ter, usually paid him the highest prices 
 that were ofi'ered by the dealers, and 
 reserved the pictures till they became 
 scarce, by which he acquired a consi- 
 derable fortune. Though Roos painted 
 such a number of pictures, there is a 
 variety in all his compositions, either in 
 the scenes, buildings, cattle, or figures ; 
 in which respect he was superior to the 
 Bassans, who repeated the same objects 
 in most of their designs. As an instance 
 of the incredible power of Roos in execu- 
 tion and invention, it is recorded that the 
 imperial ambassador, Count Martinetz, 
 laid a wager with a Swedish general that 
 Roos would paint a picture of a three- 
 quarter size while they were playing a 
 game at cards ; and in less than half an 
 hour the picture was finished, though it 
 consisted of a landscape, with two or three 
 sheep and goats, and one figure. This 
 wonderful proof of his readiness and genius 
 was amply rewarded by the ambassador. 
 Roos designed his subjects in a grand 
 style, and always correct; his colouring 
 is full of force ; his touch is remarkably 
 free, firm, and spirited ; his scenery is 
 elegant ; his lights and shadows are dis- 
 tributed with judgment ; his figures and 
 cattle are skilfully grouped, and the hair 
 and wool of his animals have a strong 
 look of nature, and a bold effect, by the 
 broad manner of his pencilling; his skies, 
 backgrounds, situations, and distances 
 exhibit masterly observation, and are 
 most delightfully painted. At Wilton, 
 the seat of the Earl of Pembroke, is 
 a capital picture by Rosa di Tivoli, 
 representing a herdsman with cattle. 
 
ROS 
 
 11 O S 
 
 as large as life. He died at Rome in 
 1705. 
 
 Roos (John Melchiok). He was a 
 younger brother of Philip Roos, and was 
 born at Frankfort in 1659. After learning 
 the principles of the art from his father, 
 he went to Italy, where he studied some 
 years, and, on his return to his native 
 country, settled at Nuremberg. At first he 
 painted historical subjects and portraits ; 
 but afterwards devoted himself to land- 
 scapes and cattle, in the style of his 
 brother. His subjects were similar to 
 those of Philip, yet his colouring was 
 extremely ditFerent ; for the pencil of the 
 one was free, flowing, and agreeable, but 
 Melchior laid on his colours with such a 
 body, that he seemed as if he intended 
 rather to model than to paint. His pic- 
 tures, however, though not equal to those 
 of Rosa di Tivoli, possessed sufficient 
 merit to procure for this artist the favour 
 of the Landgrave of Hesse, by whom he 
 was employed many years. He died in 
 1731. 
 
 Roos (Joseph). This artist was born 
 at Vienna in 1728. He painted land- 
 scapes and cattle with credit, whence 
 there is reason to think that he was a 
 relative, if not a son, of John Melchior 
 Roos. He became a keeper of the impe- 
 rial gallery at Vienna, and he was also 
 much employed by the Elector of Saxony, 
 He died in 1780. 
 
 Roper ( ). This artist is supposed 
 
 to have been a native of London. He 
 painted sporting subjects, as racing horses, 
 dogs, and game. Some of his performances 
 were exhibited in Spring Gardens in the 
 year 1761 and 1762, but he died soon after. 
 
 Rosa (Salvatok). This famous painter 
 was born at Naples in 1614. He was 
 brought up under Francesco Francan- 
 zano, a painter, to whom he was related 
 but while with him, was forced for a 
 livelihood to sell his drawings about the 
 streets. One of these happening to fall 
 into the hands of Lanfranco, he sought 
 out the artist, and enabled him to enter 
 the academy of Ribera, with whom 
 lived till he was twenty. At that time 
 his father died, and he accompanied his 
 master to Rome, where he continued four 
 years, and found a patron in Cardinal 
 Brancacci, who took him to Viterbo, and 
 gave him employment. After this he 
 returned to Na;.!es; but the attractions 
 of Rome drew him thither again, and be 
 there became known to Prince Giovanni 
 Carlo de' Medici, who took him to Flo- 
 
 rence, where he staid nine years, dividing 
 his time between poetry, painting, and 
 music. The literati of P'lorence were 
 delighted with his conversation, so that 
 his house was a sort of academy, where 
 plays, written by himself, were often 
 acted, and he regularly took a part in the 
 representation. He painted many pic- 
 tures for the grand duke, who rewarded 
 him nobly, as also did the Maffei family, 
 whose palace in Volterra he ornamented 
 with several fine pieces. While there he 
 composed his Satires, which have passed 
 through several editions. After his re- 
 turn to Rome, he would sell none of his 
 paintings but at an exorbitant price; 
 and though his talent lay chiefly in land- 
 scape, he affected to despise it, being ambi- 
 tious of shining in historical composi- 
 tion. He painted several pictures for the 
 churches, which showed that his genius 
 was equally great in that high department 
 of the art. His business, however, was 
 frequently interrupted by his turn for 
 poetic satire, which he often interspersed 
 with songs. Yet in his manner of living 
 he assumed the gravity of a philosopher, 
 and even his paintings always conveyed 
 a moral sentiment. Salvator was much 
 of a humourist, and fond of a joke. The 
 painters of Rome having refused him 
 admittance into the academy, he, on the 
 anniversary of St. Luke, contrived to 
 place a caricature of his own in the 
 church where the paintings were exhibited. 
 However, he concealed his manner, and 
 afterwards said "that it was done by a 
 surgeon, to whom the painters had acted 
 very ill in refusing a place in their 
 academy, though they stood in great 
 need of one, to set the limbs, which they 
 daily dislocated or distorted." Another 
 time, finding a harpsichord, on which he 
 sat down to play, good for nothing, 
 " I'll make it," said he, " worth at least 
 one hundred crowns." He then painted 
 on the top a piece which immediately 
 fetched the sum he mentioned. A gen- 
 tleman being desirous of having the 
 portraits of his friends painted for his 
 gallery, applied to Salvator, who made 
 caricatures of the whole; but as he inserted 
 his own among them, no offence was taken. 
 A person of great wealth had been long 
 treating with him for a large landscape, 
 and every tim.e he came, Salvator raised 
 the price one hundred crowns. The gen- 
 tleman expressed his surprise ; but Salvator 
 told him that, with all his riches, he could 
 not purchase it, and to put an end to his 
 
ROS 4' 
 
 importunities, destroyed the picture before 
 his face. After a long residence at Rome, 
 he was attacked by tlie dropsy, and during 
 his illness married his mistress, who had 
 brought him several children. He died 
 in 1673. In both the sister arts of poetry 
 and painting, he was esteemed one of the 
 most excellent masters that Italy produced 
 in the seventeenth century. In the first, 
 his province was satire; in the latter, 
 landscapes, battles, and seaports with 
 figures, which bring high prices; and at 
 Sir Mark Sykes's sale, one of his pieces, 
 though not the best, produced the enor- 
 mous sum of two thousand one hundred 
 guineas. It was purchased by Mr. Lamb- 
 ton, after a hard contest with Earl Gros- 
 venor. Though the talent of Salvator 
 was principally adapted to small pictures, 
 he filled one of a large size with strikingly 
 sublime objects, of which the conspiracy 
 of Oataline, in the Gallery at Florence, is 
 a proof. But his great excellence lay in 
 landscape; and he delighted in represent- 
 ing scenes of desolation, solitude, and 
 danger gloomy forests, rocky shores, 
 lonely dells leatling to caverns of banditti; 
 Alpine bridges, trees scathed by lightning, 
 and skies lowering with thunder. His 
 figures are wandering peasants, forlorn 
 travellers, shipwrecked sailors, or robbers 
 intent upon prey. He also painted sor- 
 cerers and apparitions, of which kind the 
 principal is the Witch of Endor. It has 
 been observed that Salvator was also fond of 
 music, and in 1770 some of his manuscript 
 compositions in that science were purchas- 
 ed at Rome of his great grand daughter. 
 
 Rosa (Cristoforo). This artist was 
 born at Brescia about 1520, and died of 
 the plague, at Venice, in 1576. He was 
 the friend of Titian, and distinguished 
 himself by his paintings of architectural 
 subjects and perspective views. 
 
 Rosa (Pietro). He was the son of the 
 preceding artist, and the scholar of Titian, 
 to whom he came very near in his colour- 
 ing. His principal works are in the 
 cathedral of Brescia, and in the churches 
 of St. Francesco and Le Grazie, in the 
 same city. He died of the plague at the 
 same time with his father. 
 
 Rosa (Francesco Pacicco di). He 
 was born at Naples about 1600, and had 
 Massinio Stanzione for his instructor. 
 Besides his altar-pieces, he painted nu- 
 merous easel pictures, which possess great 
 merit, especially in the expression of the 
 heads and the suavity of the colouring. 
 He died in 1654. 
 
 4 ROS 
 
 Rosa (Anna di). This lady was born 
 at Naples in 1648, She obtained the name 
 of Annella di Mussina, and painted his- 
 tory with such success as to receive the 
 applauses of the greatest artists of her 
 time. She died in 1694. 
 
 Rosa (di Tivoli), see Philip Rocs. 
 
 llosALBA (Carriera). This lady was 
 born in 1675, at Chiozza, near Venice, 
 and was instructed by Giovanni Diamen- 
 tini, from whom she learned design, and 
 also the art of painting in oil. In that 
 kind of colouring she copied several of the 
 works of the best masters, but at last ap- 
 plied herself to miniature with extraordi- 
 nary diligence, being ambitious to arrive 
 at such a degree of perfection in it, as 
 might enable her to contribute to the 
 support of her parents. She succeeded 
 to her wish; but after practising miniature 
 painting with great reputation, she quit- 
 ted it for crayons, which she carried to a 
 degree of perfection that few artists have 
 ever been able to attain. In 1709, Fre- 
 derick IV., King of Denmark, passing 
 through Venice, sat to Rosalba for his 
 portrait, of which, by his order, she made 
 several copies, very highly finished. Soon 
 after, the same monarch employed her to 
 paint twelve portraits of Venetian ladies, 
 which she performed so much to his satis- 
 faction, that he showed her particular 
 marks of his favour, and, besides gifts of 
 great value, paid her with a truly royal 
 munificence. She visited France in com- 
 pany with Pellegrini, who had married 
 her sister, and at Paris had the honour 
 to paint the royal family, with most of 
 the nobility, and other persons of high 
 distinction. During her residence there, 
 she was admitted into the academy, to 
 which she presented a picture of one of 
 the Muses. On her return to Venice, she 
 continued her profession till she was 
 seventy, when, by incessant application, 
 she lost her sight. She died in 1757. 
 The portraits of Rosalba are full of life 
 and spirit, exceedingly natural, with an 
 agreeable resemblance to the persons re- 
 presented. Her colouring is soft, tender, 
 and delicate, her tints clear and well 
 united, and she generally gave a graceful 
 turn to the heads, especially to her female 
 figures. 
 
 Rose (Susan Penelope). She was 
 the daughter of Richard Gibson, the cele- 
 brated dwarf, by whom she was instructed 
 in the art of miniature painting, which 
 she practised in a larger size than is cus- 
 tomary. Her pictures are well executed. 
 
ROS 
 
 She married a jeweller, and died at the 
 age of forty-eight, in 1700. 
 
 RosEL (John Augustus). This artist, 
 who was both a painter and an entomolo- 
 gist, was descended of a noble family, and 
 born near Arnstadt in 1705. He at first 
 practised as a miniature painter at Nurem- 
 berg, but afterwards devoted himself to 
 the representation of insects, which he 
 drew with uncommon accuracy after na- 
 ture. He also wrote some works on that 
 branch of natural history, illustrated with 
 plates. He died in 1759. 
 
 RosELLi (NicoLo). This artist was 
 born at Ferrara, and is supposed to have 
 been instructed in the academy of the 
 Dossi; but he evidently imitated Ben- 
 venuto Garofalo. In the churches of his 
 native city are some altar-pieces by him, 
 particularly one in the cathedral, repre- 
 senting the Virgin and Child surrounded 
 with a glory, while below are St. John 
 and St. Anthony. He lived about 
 1570. 
 
 RosER (M.) He was born at Heidel- 
 berg, in the Palatinate, in 1737. Nature 
 made him a painter; but after he had 
 practised drawing landscapes for some 
 time, he became a scholar of Louther- 
 bourg. At the age of twenty-seven he 
 went to Paris; but there he quitted land- 
 scape painting, to devote himself to the 
 repairing of pictures, in which he had 
 great success, even with the works of 
 Corregio, Raffaelle, and Titian. Among 
 the paintings which he restored was the 
 Virgin of Foligno, by Raffaelle. He also 
 copied several of the principal pictures of 
 the Flemish School. He died at Paris in 
 1804. 
 
 RosETTi (DoMEXico). He was born at 
 Venice about 1690, and distinguished 
 himself as a painter of architectural pieces 
 and perspective views. He was also an 
 engraver, and at Dusseldorf executed 
 twelve large plates of the history of Alex- 
 ander, after Lairesse. He died about 
 1760. 
 
 Rosi (Alessandro). He was born 
 at Florence in 1627, and had Cesare 
 Dandini for his instructor. In the cathe- 
 dral at Prato is a picture by him of St. 
 Francesco di Paolo, which is very much 
 admired; and in the ducal palace are two 
 Bacchanals, painted with great spirit. He 
 died in 1697. 
 
 RosELLi (CoTMo). He was born at 
 Florence in 1416, and became an artist of 
 some note in that city, by successfully 
 
 475 ROS 
 
 painting the portraits of Picus Mirandola, 
 and several of the nobility, as well as 
 some historical designs in the convents 
 and chapels. Sixtns IV. invited him to 
 Rome with Sandro Boticello, Pietro Peru- 
 gino, and Domenico Ghirlandaio, to or- 
 nament his chapel. The subjects pitched 
 upon by the pope for the exercise of the 
 talents of the artists, were the Drowning 
 of Pharaoh, the Last Supper, and Christ 
 preaching near the Sea of Tiberias ; and 
 his holiness, at the same time, promised 
 an honorary premium for the best per- 
 formances. Roselli, who seems to have 
 had but a mean opinion of the taste of 
 Sixtus, being conscious that he could have 
 no hope of surpassing his competitors in 
 colouring and design, thought he might 
 conceal those defects by giving his pictures 
 an uncommon brilliancy ; he therefore used 
 the most glaring colours in every part of 
 his painting, and illuminated the trees, 
 draperies, and principal objects with gold, 
 so as to dazzle the eye at the first sight ; 
 thus endeavouring to compensate for his 
 want of taste by the glittering richness of 
 the general appearance. But, to his great 
 mortification, when the pope went to his 
 chapel to observe the works of the different 
 artists, those of Roselli were condemned, 
 and ordered to be retouched by the other 
 painters. The best of his productions 
 was the Preaching of Christ; but in this 
 he was assisted by his pupil, Pietro di 
 Cosimo, who executed the landscape. Ro- 
 selli died in 1484. 
 
 Roselli (Matted). He was born at 
 Florence in 1578, and studied successively 
 under Pagani and Passignano. He ac- 
 companied the latter to Rome, where he 
 greatly improved himself by copying the 
 works of Raffaelle and Polidoro da Cara- 
 vaggio. He then returned to Florence, 
 and was employed by the grand duke, for 
 whom he decorated the Villa di Coggio 
 with frescoes, the subjects of which were 
 events in the history of the Medici family. 
 In the cloister of the Nunziata is a fine 
 picture by him of Pope Alexander IV. 
 approving the Order of the Servites. Ro- 
 selli died at Florence in 1650. 
 
 Rossetti (Giovanni Paolo). He was 
 born at Volterra, and studied at Rome 
 under his uncle, Daniel Ricciarelli, on 
 whose death he returned to his native 
 place, where he painted some good altar- 
 pieces, particularly a Descent from the 
 Cross, in the church of St. Dalmazio. He 
 lived about the year 1570. 
 
47() 
 
 ROS 
 
 Rossi (Muzio). lie was born at Naples 
 in 1626, and studied first under Stanzione ; 
 but on going to Bologna, he became the 
 scholar of Guido, by whose instructions 
 and example he profited so well, that at 
 the age of eighteen he was chosen to paint 
 a picture of the Nativity for the Carthusian 
 convent of that city. On his return to 
 Naples, he executed some fine works in 
 the church of St. Pietro ; but was cut oF 
 in the prime of his days, in 1651. 
 
 Rossi (GiBOLAMo), called De Ruheis. 
 He was born at Rome in 1630, and 
 studied at Bologna under Simone Can- 
 tarini ; but though a good historical 
 painter, he devoted his talents chiefly 
 to engraving after the Oaracci and other 
 
 Rossi (Pasquale), called Pasqualino. 
 This painter was bom at Vicenza in 
 1641. He was entirely self-taught; and 
 yet, by copying and studying the finest 
 works of the great masters, he acquired 
 a fine taste, and great facility of exe- 
 cution. He painted several pictures for 
 the churches, particularly an altar piece 
 at Matelica, representing St. Gregory 
 praying for the souls in purgatory. He 
 also painted conversations and assem- 
 blies in a gay style. He died in 1700. 
 
 Rossi (Giovanni Stefano). He was 
 born at Genoa in 1719, and studied 
 successively under Semini, Sorri, and 
 Strozzi. He distinguished himself as a 
 painter of history, and died at Genoa in 
 1769. 
 
 Rossi (Antonio). This painter was 
 born at Bologna in 1700, and was in- 
 structed by Franceschini, who esteemed 
 him so much, on account of his abilities 
 and diligence, as to employ him in exe- 
 cuting several of his designs. One of 
 his best performances is the Death of 
 St. Andrew, in the church of St. 
 Domenico, at Bologna. He died in 1773. 
 
 Rosso (II), called also Maitre Roux. 
 He was born at Florence in 1496 ; and, 
 without any regular instruction, by the 
 efforts of his own genius arrived at a 
 considerable degree of eminence as an 
 artist. While young, he painted some 
 scriptural subjects, which indicated great 
 talent, especially in the countenances and 
 attitudes of the Apostles, although the 
 draperies were rather too heavy. After- 
 wards he improved himself by studying 
 the works of Michel Angelo Buonarroti ; 
 and he attended so accurately to anatomy, 
 that he wrote two treatises on that sub- 
 
 ject for the use of artists. Rosso showed 
 great truth in his manner of designing 
 the human body ; his naked figures were 
 beautiful, and their attitudes proper and 
 expressive. The countenances of his old 
 men were remarkably well represented in 
 many of his works ; and he had such a 
 flow of invention, that his compositions 
 were always properly filled, nor did any 
 part seem destitute of a suitable ornament 
 or decoration. The style of this master 
 was very singular; and although he 
 derived his greatest knowledge from the 
 works of Buonarroti, yet he did not make 
 him a model for his own imitation. He 
 had somewhat of wildness and irregularity 
 in his ideas, and the readiness with which 
 he invented and designed hindered him 
 from a careful studying of nature, or the 
 antique, which occasioned the defects 
 observable in all his works. He had, 
 however, a thorough knowledge of the 
 proper mixture of colours, and of the best 
 distribution of lights and shadows, so as 
 to produce a good relief; but in other 
 respects he followed the dictates of fancy, 
 rather than of judgment, or the rules of 
 art ; and he was sometimes guilty of such 
 extravagancy as injured his reputation. 
 At an early period of his life, he painted 
 a large fresco of the Assumption of the 
 Virgin, in the cloister of La Nunziata, at 
 Florence; after which he went to Rome, 
 where, in the church of St. Salviati, is 
 a picture of the Decollation of St. John 
 by him ; and an altar-piece in St. Maria 
 del Pace. In 1527, when Rome was 
 sacked by the imperialists, II Rosso fled 
 to Volterra, where he painted a noble 
 picture of a Descent from the Cross, for 
 the church of St. Carlo. He next went 
 to Venice, and there painted for Peter 
 Aretine a famous picture of Mars and 
 Venus, of which there is an engraving. 
 Soon after this he went to France, and 
 was employed in painting the palace of 
 Fontainebleau, in which he gave such 
 satisfaction as to be appointed super- 
 intendent of the royal buildings. The 
 world was deprived of this artist by a 
 singular circumstance. Francesco da 
 Pellegrini, a Florentine painter, having 
 paid him a visit, and Rosso soon after 
 missing a great sum of money, suspected 
 and prosecuted his friend, who was put to 
 the torture, which he endured with forti- 
 tude, and was declared innocent. Pellegrini 
 then published an account of his case, 
 and appealed for justice; upon which 
 
ROT 
 
 Rosso, out of remorse, poisoned liimself 
 in 1541. Of his works in the gallery of 
 Fontainebleau, being originally twenty- . 
 four pictures, only thirteen remain, the ; 
 rest having been destroyed by his rival , 
 Primaticcio. The existing paintings are ] 
 allegorical representations of the principal ; 
 events in the life of Francis I. j 
 
 RoTARi (OoNTE FiETRo). He was born 
 in 1707, at Verona, of a noble family, and 
 was at first taught design only as an 
 accomplishment ; but at lenglh he grew 
 so passionately fond of the profession, that 
 he became the disciple of Antonio Balestra, 
 who, observing the pregnancy of his 
 genius, took unusual care to instruct him, 
 and foretold the excellence to which he 
 afterwards arrived. He next went to 
 Venice, and continued there two years, 
 studying the works of Titian and Paolo 
 Veronese; but, for his further improve- 
 ment, he travelled to Rome, and spent 
 four years in copying the antiques and 
 other curiosities of art, under the direc- 
 tion of Francesco Trevisani. From Rome 
 he went to Naples, to profit by the advice 
 of Solimena, with whom he resided three 
 years, with equal satisfaction and ad- 
 vantage. By this course of study, he 
 gained an elegant taste of composition and 
 design, and a singular degree of correct- 
 ness in his drawing, with a style of colour- 
 ing that was exceedingly beautiful; so 
 that, on his return to his native city, his 
 works were highly admired, not only by 
 his own countrymen, but by foreigners 
 from all parts of Europe. For some lime 
 he declined employment, but at last found 
 it impossible to resist the solicitations of 
 the princes and dignitaries, who were 
 eager to have their palaces and churches 
 adorned by his pencil. He therefore 
 executed several grand designs in different 
 cities of Italy, and having finished those 
 works with applause, visited most of the 
 courts of Germany, meeting every where 
 with the respect due to his talents. At 
 Dresden he painted the portraits of the 
 electoral and imperial family ; and at 
 Vienna, the emperor was so pleased with 
 his performances, that he ordered his 
 portrait to be placed in the Florentine 
 gallery, among the most famous artists. 
 Rotari next visited Petersburgh, where 
 he painted the portraits of the Empress 
 Catherine, the Grand Duke Peter, and 
 his consort, Sophia Augusta ; and for the 
 empress he finished several pictures from 
 sacred and profane history. The subject 
 
 of one of these pictures is the Continence 
 of Scipio : it is composed with great 
 judgment and taste, full of elegance and 
 truth in the expression, and exceedingly 
 beautiful in the colouring. The empress 
 was so pleased with his works that she 
 appointed him her principal painter, and 
 he continued at that court till his death 
 in 1762. His principal works in Italy 
 are, an Annunciation, at Guastalla; and 
 the Birth of the Virgin, at Padua. Rotari 
 produced also several etchings, some of 
 which were from his own designs, in a 
 free and animated style. 
 
 Roth (William). This English artist 
 painted portraits both in oil and miniature. 
 He was an exhibitor with the chartered 
 Society in 1768, when the subject he 
 produced was a girl looking at herself in 
 a mirror. It was painted in a heavy 
 manner, and gave no promise of better 
 things. In 1770, Mr. Roth practised at 
 Reading and its neighbourhood. 
 
 RoTHENHAMEK (John). This painter 
 was born at Munich in 1564, and was 
 instructed by an artist named Donouwer, 
 whom he soon left, to seek improvement 
 at Rome. Here he painted historical 
 subjects in a small size on copper, deli- 
 cately pencilled and agreeably coloured ; 
 but soon after he finished, for one of the 
 churches, a picture of large dimensions, 
 representing the saints in glory. This 
 piece, which added greatly to his reputa- 
 tion, showed a good invention, excellent 
 colouring, elegance in the heads, and 
 variety in the draperies ; so that it appeared 
 extraordinary how he could adapt his pen- 
 cil to compositions of such different sizes. 
 From Rome he went to Venice, to improve 
 himself; and there made Tintoretto his 
 model, not only in colouring, but in taste 
 of design and the manner of disposing his 
 figures. He painted both in fresco and 
 in oil, but more in the former than in the 
 latter; because it afforded him the oppor- 
 tunity of painting in large, for which he 
 had a strong inclination, though his small 
 pieces on copper were in greater esteem, 
 and even in his lifetime sold for a higher 
 price. While at Venice, he painted the 
 Annunciation, in the church of St. Bar- 
 tolomeo; and St. Cristina, in the Incura- 
 bili. For the Duke of Mantua he painted 
 several fine pictures, particularly one 
 representing a Dance of Nymphs. From 
 Italy he removed to Augsburg, where, 
 among other works, he painted a grand 
 picture of the saints, for the high altar of 
 
ROU 
 
 478 
 
 the church of the Holy Cross; but though 
 he had spent so many years at Rome and 
 Venice, by which he had learned to de- 
 sign with more elegance, and with a nearer 
 approach to the graceful than most of his 
 countrymen, he could never totally divest 
 himself of the German taste. He was 
 fond of designing naked figures, in some 
 of which he was very successful. He had 
 a ready invention, and his design was 
 tolerably correct, his attitudes were usu- 
 ally graceful, his tone of colouring agree- 
 able, and his pictures well finished; but 
 he sliowed his greatest excellence in his 
 small paintings, in which he was assisted 
 by Paul Bril and Velvet Brueghel, who 
 executed the landscapes and backgrounds. 
 For the Emperor Rodolph II. he painted 
 the Banquet of the Gods, in which he in- 
 troduced a multitude of figures, and gained 
 a high reputation by the performance. 
 Owing to his extravagance, Rothenhamer, 
 notwithstanding his professional merit, 
 and the great prices which he received 
 for his works, died very poor in 1 606. 
 
 Rousseau (James). This artist was 
 born at Paris in 1630. After learning 
 the elements of painting in his own coun- 
 try, he went to Rome, where he improved 
 himself in perspective and architecture. 
 Here also he married the sister of Herman 
 Swanefeldt; which connexion proved very 
 fortunate to him, as he had thus an oppor- 
 tunity of acquiring a fine taste in land- 
 scape painting from that artist, who had 
 been the scholar of Claude Lorraine. On 
 his return to Paris he was employed by 
 Louis XIV. in ornamenting the palace of 
 Marli; but the protestants being at that 
 time under a rigorous persecution, Rous- 
 seau, who was of that religion, quitted his 
 country, and, on the invitation of the 
 Duke of Montague, visited London, where 
 he was employed by that nobleman in 
 adorning his house, which is now the 
 British Museum. Besides his paintings 
 there, he also executed several at Hampton 
 Court palace. In the choice of his scenes 
 he shows remarkable elegance; his grounds 
 are well broken, his distances are properly 
 conducted, his skies are finely imagined, 
 as well as judiciously adapted, and there 
 appears great harmony in most of his 
 compositions. He ornamented his land- 
 scapes with edifices and ruins, in the Ro- 
 man taste, after the manner of Poussin ; 
 his figures were placed in such perspective 
 proportions as deluded the eye agreeably 
 to the proper point of sight, and in his 
 
 architecture we see elegance of fancy 
 united withnatureand truth. His pictures 
 are not frequently to be purchased, and 
 when they are, their estimation is high. 
 He was a man of probity, piety, and bene- 
 volence; and at his death, in 1694, he 
 bequeathed the greatest part of his sub- 
 stance to relieve his countrymen in Eng- 
 land, who, like himself, were refugees on 
 account of religion. Rousseau had been 
 a member of the academy of Paris; but 
 when he left France, such was the spirit 
 of bigotry and intolerance, that his name 
 was expunged, by order of the court. 
 
 RovERE (Giovanni Mauro). This 
 painter, who obtained also the name of 
 Fiammingo, was born of Flemish parents 
 at Milan in 1570. He was educated un- 
 der the Procaccini, whose style of painting 
 he followed with great success. One of 
 his finest performances is an altar-piece 
 of the Last Supper, in the church of St. 
 Angelo, at Milan. He died in 1640. 
 
 RozEE (Mademoiselle). This extra- 
 ordinary lady was born at Leyden in 1632. 
 Houbraken says, he cannot tell how she 
 managed her work, nor with what instru- 
 ments; but that she painted on the rough 
 side of the panel, in such tints, and in 
 such a manner, that, at a competent dis- 
 tance, the picture had all the effect of the 
 neatest pencil and high finishing. Other 
 writers, however, affirm that she neither 
 used oil nor water colours in her perfor- 
 mances; and only worked on the rough 
 side of the panel, with a preparation of 
 silk floss, selected with inexpressible care, 
 and disposed in different boxes, according 
 to the several degrees of bright and dark 
 tints, out of which she applied whatever 
 colour was requisite for her work; and 
 blended, softened, and united them with 
 such inconceivable art and judgment, that 
 she imitated the warmth of flesh, with as 
 great a glow of life as could be produced 
 by the most exquisite pencil in oil. Nor 
 could the nicest eye discern, at a proper 
 distance, whether the whole was not the 
 work of the pencil, till it was more nearly 
 examined. But, by whatever art her pic- 
 tures were wrought, they were exquisitely 
 beautiful, and perfectly natural. Her 
 portraits were remarkably faithful, and 
 every object was a just imitation of the 
 model, whether her subject was animal 
 life, architecture, landscape, or flowers. 
 As her manner of working could not well 
 be accounted for, she was distinguished 
 by the name of the Sorceress. One of 
 
RUB 
 
 479 
 
 RU H 
 
 lier landscapes is said to have been sold 
 for five hundred florins, and though the | 
 subject was only the trunk of an old tree 
 covered with moss, and a large spider finish- 
 ing its web among the leaves and branches, i 
 every part displayed so great a degree of 
 force, relief and expression, that it was 
 beheld with astonishment. One of her 
 principal performances is in the cabinet 
 at Florence, for which she received a large 
 gratuity, and it is considered as a singular 
 curiosity in that collection. She died in 
 1682. 
 
 Rubens (Peter Paul). This admired 
 artist was, according to one account, a 
 native of Antwerp; but others say, that 
 his father being under the necessity of 
 removing to Cologne, to avoid the calami- 
 ties of civil war, his son was born there 
 in 1577. His family was honourable, 
 and gave him a very liberal education. 
 Manifesting an early turn for painting, 
 he was placed under Tobias Vestraecht, 
 an artist who excelled in landscape and 
 architecture, at Antwerp; but in a short 
 time Rubens left him, to become a scholar 
 of Adam Van Oort, from whom, on ac- 
 count of his morose temper, he soon parted. 
 He then attached himself to Otho Venius, 
 or Octavio Van Veen, who was a man of 
 learning, an accomplished artist, and of 
 an amiable disposition. From this pre- 
 ceptor Rubens acquired that taste for 
 allegory which distinguished him so re- 
 markably through life, though it certainly 
 did not constitute his highest merit. After 
 continuing with this instructor four years, 
 he was told very candidly by Venius, that 
 he could teach him no more, and that no- 
 thing remained for his improvement but 
 a journey to Italy. This was agreeable 
 to the wish of Rubens; but of the means 
 by which he accomplished it, different 
 accounts have been given. Sandrart, who 
 was intimately acquainted with Rubens, 
 and accompanied him when he travelled 
 through Holland, tells us that the Arch- 
 duke Albert, governor of theNetlierlands, 
 conceived so high an opinion of him, from 
 the accounts he had received of his supe- 
 rior talents, that he engaged him in his 
 service, employed him to paint several 
 fine designs for his own palace, and recom- 
 mended him in the most honourable man- 
 ner to the Duke of Mantua, that in his 
 court he might have constant access to 
 an admirable collection of paintings and 
 antique statues, and thus have an oppor- 
 tunity of improving himself by studying. 
 
 as well as copying, the former, and de- 
 signing after the lattCTi* Ori his arrival 
 at Mantua, he was received with a degree 
 of distinction worthy of his merit; and 
 while he continued there, added consider- 
 ably to his knowledge, though he attached 
 himself in a more particular manner to 
 the style of colouring peculiar to the 
 Venetian School. On leaving Mantua 
 he went to Rome, Venice, and other 
 cities of Italy, and studied the works of 
 the greatest painters, from the time of 
 Raffaelle to his own; and accomplished 
 himself in colouring, by the accurate ob- 
 servations he made on the style of Titian 
 and Paolo Veronese. However, he ne- 
 glected to refine his taste as much as he 
 ought, by the antiques, though most of 
 the memorable artists in painting had 
 sublimed their own ideas of grace, expres- 
 sion, elegant simplicity, beautiful propor- 
 tion and nature, principally by making 
 them their perpetual study and models. 
 On his return to Mantua he painted three 
 magnificent pictures for the church of 
 the Jesuits, which, in point of execution, 
 freedom, and force of effect, rank among his 
 best productions. The Duke of Mantua 
 being desirous of having copies of some of 
 the most celebrated pictures at Rome, sent 
 Rubens thither for that purpose, by which 
 commission he not only added to his re- 
 putation, but to his improvement. In 
 1605, his patron employed him on an 
 embassy to the court of Spain, where he 
 painted the picture of Philip the Third 
 and received from that monarch the most 
 flattering marks of distinction. On the 
 death of his mother, he formed the design 
 of settling in Italy ; but at the earnest 
 request of the Archduke Albert, he re- 
 turned to Antwerp, where he married, 
 and built a splendid mansion, which he 
 furnished with numerous antiques and 
 pictures. His great popularity naturally 
 created enemies, the principal of whom 
 were Abraham Janssens, Schut, and 
 Rombouts. The first of these challenged 
 Rubens to a trial of skill ; but he answer- 
 ed, that he would contend with him when 
 Janssens should show himself worthy of 
 the honour. With respect to the others, 
 all the return he made them for their 
 abuse was by giving them employment, and 
 relieving their necessities. In 1620, 
 Rubens received a commission from Mary 
 de Medicis, to adorn the gallery of the Lux- 
 embourg with a series of paintings, illustra- 
 ting the principal events in herown history. 
 
Tt U P. 
 
 These admired performances he completed 
 in three years; soon after which he became 
 acquainted with George Villiers, Duke of 
 Buckingham, who gave him ten thousand 
 pounds for his museum of antiques 
 and paintings. In 1628, Rubens was sent 
 by the Archduchess Isabella on a political 
 mission to Madrid, where he performed 
 the part of a diplomatist with as mucli 
 skill as that of an artist. The Duke de 
 Olivares had just founded a convent of 
 Carmelites at Loeches, near Madrid ; and 
 the king, as a mark of favour to that 
 minister, directed Rubens to paint four 
 pictures for the church, which he executed 
 in his grandest style, and the richest glow 
 of colouring. He also painted eight 
 grand pictures for the saloon of the palace 
 at Madrid, the subjects of which were, 
 theRapeof the Sabines; the Battle between 
 the Romans and Sabines; the Bathing of 
 Diana and her Nymphs; Perseus and 
 Andromeda; the Rape of Helen; the 
 Contest between Juno, Minerva, and 
 Venus, with the Judgment of Paris; and 
 the Triumph of Bacchus. He likewise 
 painted an equestrian portrait of the king, 
 and a picture of the Martyrdom of St. 
 Andrew, for which he was well rewarded, 
 dignified with the order of knighthood, 
 and appointed gentleman of the royal bed- 
 chamber. In 1629 he returned to Flan- 
 ders, and the same year was sent on 
 another political mission to England. 
 While here, Charles I. engaged him to 
 paint the Apotheosis of his father, in the 
 Banqueting-house at Whitehall; for which 
 he received three thousand pounds. He 
 also painted Charles in the character of 
 St. George; and Henrietta Maria as 
 Cleodelinde; with a view of Richmond, 
 and the Tliames in the distance. For 
 these works he was knighted, on the 21st 
 of February, 1630. Rubens, having 
 accomplished the object for which he had 
 been sent to the English court, returned 
 to the Netherlands, and was received with 
 all the honours due to his extraordinary 
 services. He had now attained his fifty- 
 eighth year, when he was attacked with 
 violent fits of the gout, which obliged him 
 to abandon large works, and confine his 
 pencil to easel pictures. Yet he continued 
 to practise his "art, and to instruct pupils, 
 until his death, in 1640. He was buried, 
 with great funeral pomp, in the church 
 of St. James, at Antwerp, where his 
 widow and children erected a monument 
 to his memory, with the following inscrip- 
 tion : 
 
 TOPARCIIA, 
 I, QUIBUS AD 
 
 OMNIUMQUE 
 
 M PKINCIPOMQUE VI 
 
 10 AKAMQUE, AC TABULAM, DEIPAK^ 
 iECKATUM MKMOBI 
 SI DEDICABIQDE CI 
 
 The extensive knowledge of Rubens, in 
 classical and polite literature, qualified 
 him to excel in allegorical and emblema- 
 tical compositions, as appeared by his 
 paintings in the Luxembourg gallery, and 
 which are too well known to require a 
 particular description. His style of colour- 
 ing is lively, glowing, and natural, his 
 expression noble and just, and his inven- 
 tion amazingly fertile. His pencil is 
 mellow, his execution free, and his pic- 
 tures are finished in such a manner as to 
 produce a pleasing and striking effect. 
 He is generally allowed to have carried 
 the art of colouring to its highest pitch; 
 for he so thoroughly understood the 
 chiaro-oscuro,and so judiciously managed 
 it, that he gave the utmost roundness, 
 relief, and harmony to each particular 
 figure, and to the whole together; and 
 his groups were disposed with such skill, 
 as to attract and compel the eye of the 
 spectator to the principal object. His 
 draperies are simple, but grand, broad, 
 and well placed; and his carnations have 
 the look of nature and the warmth of life. 
 The greatest excellence of Rubens ap- 
 peared in his grand compositions; for as 
 they were to be seen at a distance, he laid 
 on a proper body of colours, with un- 
 common freedom, and fixed all his tints 
 in their proper places, never impairing 
 their lustre by breaking or torturing 
 them, but touching them only in such a 
 manner as to give them a lasting force, 
 beauty, and harmony. As the demand 
 for his works was incredibly great, he in- 
 structed a number of disciples, who as- 
 sisted him in the execution of his designs. 
 He sketched in small what they were to 
 paint in large, and afterwards he inspected 
 
RUB 
 
 481 
 
 RUG 
 
 the whole, pointed out to them their im- 
 perfections, directed them in the manage- 
 ment of their colours, and by his own free, 
 spirited, and judicious retouching, gave 
 the whole an appearance of being only the 
 work of one hand. But though this 
 method of expediting grand undertakings 
 could not fail to enrich Rubens, it did 
 not increase his reputation; because many 
 of these works were necessarily inferior to 
 those which proceeded from his own pencil. 
 He painted landscapes in a style scarcely 
 inferior to Titian, with unusual force and 
 truth, though the forms of his trees are 
 not always elegant. It is remarkable, 
 however, that, notwithstanding his extra- 
 ordinary talent for painting landscapes and 
 animals, yet, where.those subjects were to 
 be introduced into his compositions, he 
 rarely executed them with his own hand, 
 but employed Wildens and Van Uden for 
 the former, and Snyders for the latter, 
 who finished them from the designs of 
 their master. Though this great artist 
 possessed many excellences and accom- 
 plishments, it is generally allowed that 
 he wanted correctness in his drawing and 
 design; his figures being frequently too 
 short and heavy, and the limbs in some 
 parts very inaccurate in the outline. And, 
 though he had spent several years in Italy, 
 where he studied the antiques so critically, 
 as not only to perceive their beauties, but 
 even to write a dissertation on their per- 
 fections, and the proper use an artist ought 
 to make of them, yet he could never wholly 
 divest himself of his national taste. Al- 
 garotti says that he was more moderate 
 in his movements than Tintoretto, more 
 soft in his chiaro-oscuro than Caravaggio; 
 but not so rich in his compositions, or so 
 light in his touches, as Paolo Veronese; 
 and that his carnations are always less 
 true than those of Titian, and less deli- 
 cate than those of Vandyck. Yet he 
 contrived to give his colours the utmost 
 transparency, and no less harmony, not- 
 withstanding their extraordinary depth; 
 and he had a strength and grandeur of 
 style peculiarly his own. The paintings 
 of Rubens, in public and private col- 
 lections, are exceedingly numerous. There 
 are many in England, and the National 
 gallery has two; one, the Rape of the 
 Sabines, and the other a Holy Family, 
 with a landscape. Rubens occasionally 
 occupied himself in etching, and his prints 
 are very fine, but scarce. 
 
 RUBENSTEIN, Or RiEBENSTEIN. This 
 
 artist was a native of Germany; but came 
 
 to England when young, and died in 
 London about 1763. He belonged to the 
 Society in St. Martin's-lane, and excelled 
 in the representation of game and still 
 life, but occasionally painted portraits. 
 
 RuBiALEs (Pedro de). This artist 
 was born in the province of Estremadura, 
 in Spain, about 1545 ; but studied paint- 
 ing in Italy, where he had Francesco 
 Salviati for his instructor. He resided 
 chiefly at Rome or Florence, and became 
 an assistant of Vasari. One of the best 
 of his works is the Conversion of St. Paul, 
 in the church of the S])irito Santo at 
 Rome. 
 
 RuGENDAS (George Philip). He was 
 born at Augsburg in 1666, and was in- 
 structed by Isaac Fischer, a painter of 
 history, with whom he continued five 
 years; but afterwards, on meeting with 
 some of the works of Borgognone, he 
 altered his style, to paint battles, and the 
 skirmishes of cavalry. Owing to some 
 weakness in his right hand, he was almost 
 disqualified for following his profession ; 
 but by patience and application he ac- 
 quired so much power with his left, that 
 he ever after used it as readily as the 
 other. After some years, a bone, which 
 from his infancy had disabled him, dis- 
 charged itself without any assistance of 
 art, and he gradually regained the perfect 
 use of his right hand, so as to work easily 
 with both. He had gained a considerable 
 share of knowledge in design and colour- 
 ing, under the direction of Fischer ; but 
 his principal improvement was derived 
 from Giovanni Battista Molinaro, at Ve- 
 nice ; and he also added to his knowledge 
 by visiting Rome, and studying the works 
 of the great masters, whose style suited 
 his genius. When he had finished his 
 studies in Italy, he returned to Augsburg; 
 which city happening, in 1703, to be 
 besieged, he had an opportunity of de- 
 signing actual engagements from personal 
 observation ; and he frequently ventured 
 abroad, to sketch the encampments and 
 skirmishes of the armies, from which he 
 composed his subjects with great truth 
 and exactness. He also scraped mezzo- 
 tinto prints of battles with success ; but 
 after practising that art for some years, 
 he relinquished it, and resumed the pen- 
 cil. Rugendas deserves to be ranked 
 among the good painters of battles. He 
 was correct in his design, disposed his 
 subjects with judgment, and, by the aerial 
 perspective, threw off his distances in a 
 natural manner. His colouring is gene- 
 2i 
 
RUN 
 
 482 
 
 RUS 
 
 rally commendable ; he executed his work 
 with freedom and ease ; and, though he 
 had a lively imagination, he represented 
 only such objects, expressions, or actions, 
 as he had observed in life. He had three 
 different manners : his first pleased by the 
 colouring and freedom of his pencil, 
 though the design was indifferent ; his 
 second had more of nature, but was less 
 agreeably coloured ; but in his third and 
 best manner he attended to the expres- 
 sion, disposition, spirited action, and at- 
 titudes ; and he strove also to set his 
 designs off with a suitable colouring. He 
 died at Augsburg in 1742. 
 
 RuGGERi (GuiDo). He was born at 
 Bologna, and studied under llaibolini; 
 after which he went to France with Pri- 
 matticcio, to whom he became a useful 
 assistant in his works at Fontainebleau, 
 He also engraved several plates after the 
 paintings and designs of that artist. He 
 lived about the year 1560. 
 
 RuGGiEKi (Giovanni Battist a), called 
 likeNvise Del Gessi. This artist was born 
 at Bologna in 1595, and was the scholar 
 of Domenichino, whom he left, to study 
 under Francesco Gessi. He accompanied 
 the latter to Naples, and assisted him in 
 his principal works ; after which he went 
 to Rome, where he painted for the 
 churches, and the palaces of the nobility. 
 His chief performances there are, the 
 Nativity, in St. Maria della Minerva; 
 and Mary Magdalen, and St. Catherine, 
 in the church dedicated to the latter 
 saint. At Bologna he painted the As- 
 sumption of the Virgin, the Wise Men's 
 Offering, and the Descent of the Holy 
 Ghost, in the Church of St. Barbariano. 
 These last are much in the manner of 
 Guido, and little inferior to the works of 
 that master. Ruggieri died at Rome in 
 1659. He had a brother, called Ercole 
 Ruggieri, who was also a scholar of 
 Francesco Gessi, whose style he imitated 
 so closely that their works cannot easily 
 be distinguished. At Bologna he painted 
 the Death of St. Joseph, and the Virgin 
 and Child, with several other saints. He 
 died young. 
 
 RuiscH, see Pool. 
 
 RuNciMAN (Alexandeh). This artist 
 was born at Edinburgh in 1736. He 
 learned the principles of drawing from 
 his father, who was an architect, after 
 which he is said, by Mr. Fuseli, to have 
 served his apprenticeship to a coach pain- 
 ter ; but another account states that he 
 was articled to two brothers, named Nor- 
 
 ris, who were landscape painters. He 
 followed that branch till 1760, when he 
 attempted historical subjects, and in 1766 
 went to Rome with his younger brother 
 John, who was also an artist of promising 
 expectations. John died at Rome ; but 
 Alexander continued his studies there 
 under the patronage of Sir James Clerk 
 of Pennycuik ; and on his return to Scot- 
 land he was employed in ornamenting 
 that seat with pictures, the subjects of 
 which were taken from Ossian. Ilis other 
 principal performances are, Ulysses sur- 
 prising Nausicaa at play with her maids 
 painted at Rome, partly in the manner of 
 Giulio Romano, and partly in that of 
 Tintoretto; the Ascension, an altar-piece, 
 in an episcopal chapel at Edinburgh; Lear 
 and his Daughters ; and Agrippina carry- 
 ing the Ashes of Germanicus. He died 
 atEdinburgh, October 21, 1785. Mr.Run- 
 ciman etched two prints, one of Sigismunda 
 weeping over the Heart of Tancred, and 
 the other a View of Edinburgh. 
 
 RuoppoLi (Giuseppe). This painter 
 was born at Naples in 1600. He studied 
 under Giovanni Baptistello, and painted 
 flowers and fruits in an excellent taste, 
 and with great elegance. He died at 
 Naples in 1659. 
 
 Russell (John). This artist was born 
 in 1744, at Guildford, in Surrey, and at 
 a proper age became the pupil of Francis 
 Cotes. He also for some time attended 
 the drawing academy in St. Martin's- 
 lane. He followed the manner of Cotes, 
 both in oil colours and crayons, but chiefly 
 in the latter, in which process he painted 
 many good portraits; though his colouring 
 was often unnatural. In 1776, Mr. Rus- 
 sel published a pamphlet in quarto, en- 
 titled Elements of Painting with Crayons, 
 of which there have been at least two 
 editions; and it is certainly a valuable 
 performance. He was also fond of astro- 
 nomy, and constructed a model, showing 
 the appearances of the moon, for which he 
 obtained a patent. Of this machine, which 
 he called the Selenographia, he published 
 a description, and engraved the plates 
 himself. He still, however, continued his 
 profession of portrait painting, and in 
 1788 was elected a royal academician, 
 after having been an associate fifteen 
 years. He died April 21, 1806. 
 
 RusTici (Francesco). This artist was 
 born at Siena about 1596, and had 
 Francesco Vanni for his instructor. He 
 at first imitated Michel Angelo Caravag- 
 gio, and afterwards painted torchlight 
 
RUY 
 
 RYC 
 
 pieces in the manner of Gerard llonthorst; 
 but he was no servile copyist, and his 
 pictures evince both originality of design 
 and felicity of execution. His finest pic- 
 ture is the Annunciation, in a church at 
 Siena : in the cabinet of the Grand Duke 
 of Tuscany is an expiring Magdalen; and 
 in the Palazzo Borghese, at Rome, is a 
 St. Sebastian, by Riistici, admirably 
 painted. He died in 1625. 
 
 RuviALE (Francesco, or Ir, Polido- 
 RiNo). This painter vi^as born in Spain, 
 but educated at Naples, vrhere he studied 
 under Polidoro da Caravaggio; whence 
 he obtained his technical name. Ilis 
 chief performances are, an altar-piece, 
 representing the Descent from the Cross; 
 and another, of the Entombing of Christ; 
 both at Naples, where he lived about the 
 year 1560. 
 
 RuYSDAEL (Jacob). This celebrated 
 painter was born at Haerlem in 1636 ; 
 and though the master by whom he was 
 instructed is not ascertained, yet it is 
 afiirmed that at the age of twelve some of 
 his productions surprised the best artists. 
 He was bred to surgery, which he practised 
 some years, till his acquaintance with Ber- 
 chem revived his love of the art, and he 
 was induced by the advice of his friend to 
 devote himself wholly to it. Though he 
 could not fail to profit by such a connec- 
 tion, nature was his principal instructor as 
 well as his guide, and he studied her in- 
 cessantly. The trees, skies, waters, and 
 grounds, of which his subjects were com- 
 posed, were all sketched upon the spot, 
 just as they allured his eye or delighted 
 his imagination. Some assert that both 
 Ruysdael and Berchem improved their 
 taste in Italy, particularly by the beauti- 
 ful variety of scenery in the environs of 
 Rome ; but others maintain that neither 
 one nor the other was ever in that country. 
 The merits of Ruysdael as a landscape 
 painter are of the highest description. 
 His grounds are agreeably broken; his 
 skies are clear; his trees are delicately 
 handled ; every leaf is touched distinctly, 
 and with great spirit. He perfectly under- 
 stood the principles of the chiaro-oscuro 
 and perspective; his distances have always 
 a fine effect, and his masses of light and 
 shadow are distributed with such judg- 
 ment, and contrasted with such harmony, 
 that the eye and the imagination are 
 equally delighted. His works are distin- 
 guished by a natural and pleasing tone of 
 colour; a free, light, firm, and spirited 
 pencil, and an agreeable choice of situa- 
 
 tions. His general subjects were views 
 of the banks of rivers ; hilly grounds, with 
 natural cascades ; a country interspersed 
 with cottages and huts ; solemn scenes of 
 woods and groves, with roads through 
 them ; windmills and watermills : but he 
 rarely painted any subject without a 
 river, brook, or pool of water, which he 
 expressed with truth and transparency. 
 He likewise excelled in representing 
 torrents and impetuous falls of water, in 
 which subjects the foam of the one, and 
 the pellucid appearance of the other, were 
 depicted with force and grandeur. As he 
 could not design figures with elegance, 
 he was frequently assisted by Ostade, 
 Adrian Vandervelde, and Wouvermans. 
 Most of the choice collections in England 
 are adorned with the works of this master; 
 and in the Palazzo Ricardi, as well as in 
 the cabinet of the grand duke at Florence, 
 are some of his best landscapes. He 
 died in 1681. Jacob Ruysdael etched 
 some prints in a spirited style, but they 
 are extremely rare. 
 
 Ruysdael (Solomon). He was the 
 brother of the preceding, and was born at 
 Haerlem in 1616. He also painted 
 landscapes ; but he was in every respect 
 far inferior to Jacob ; and the best com- 
 mendation given of him is, that he was a 
 cold imitator of Schoeft and Van Goyen, 
 Although his pictures have somewhat 
 that is plausible, sufficient to engage the 
 attention of those who are prejudiced 
 in favour of the name of Ruysdael, yet to 
 persons of true judgment and taste they 
 are in no great estimation ; and the eye is 
 disgusted with too predominant a tint of 
 yellow, which is diffused through the 
 whole. He rendered him self, however, con- 
 siderable, by discovering the art of imitat- 
 ing variegated marbles with surprising 
 exactness; and he gave to his composition 
 an appearance so curiously similar to the 
 real marble, that it was scarcely possible 
 to discern any difference, either in the 
 weight, the colour, or the lustre of the 
 polish. He died in 1670. 
 
 Ry (Peteb Daxkers Van). This 
 Dutch painter was born at Amsterdam 
 in 1605. He excelled in portrait, and on 
 going to Stockholm, was appointed pain- 
 ter to the king. He died there in 1659. 
 
 Ryck (Peter Cornelius Van). This 
 artist was born at Delft in 1566, and 
 studied first under James Willems, but 
 afterwards he became the scholar of 
 Hubert Jacobs, on leaving whom he went 
 to Italy, where he adopted the style of 
 
RYC 
 
 RYX 
 
 Giacomo Bassano. He painted historical 
 subjects, with landscapes and cattle, in 
 an excellent taste. He died at Delft in 
 1628. 
 
 Ryckaert (Martin). He was born at 
 Antwerp in 1591, and, discovering a 
 genius for painting, was placed under 
 Tobias Verhaecht; on leaving whom he 
 went to Italy, where he spent several years, 
 employed in designing the most elegant 
 objects which offered themselves to his 
 observation ; and in sketching the beauti- 
 ful scenes, ruins, and edifices of Rome 
 and its vicinity. On his return to Ant- 
 werp, he painted his pictures from those 
 designs which he had studied after nature, 
 and gained extraordinary applause, as well 
 for the elegance of his choice as for 
 the goodness of the execution. While 
 taking a view of the castle of Namur, 
 which he intended as an ornament to one 
 of his landscapes, a curious circumstance 
 occurred to this artist. The soldiers of 
 the garrison, on seeing him thus employ- 
 ed, naturally enough apprehended him as 
 a spy, and conducted him to the governor, 
 who gave him his liberty on being made ac- 
 quainted with his profession and character. 
 He was much esteemed by Vandyck, 
 who painted his portrait. The works of 
 Ryckaert are rarely to be purchased. He 
 died at Antwerp in 1636. 
 
 Ryckaert (David). He was the son 
 of the preceding artist, and was born at 
 Antwerp in 1615. He studied and paint- 
 ed after nature ; and his first subjects 
 were landscapes, with cottages of shep- 
 herds and peasants, which he represented 
 with truth, and disposed his figures with 
 judgment. Afterwards he imitated the 
 style of Brouwer, Teniers, and Ostade; 
 and the value set on these performances 
 was a sufficient inducement to him to 
 persevere. He continued therefore to 
 paint conversations, but succeeded best 
 in subjects that were bright, having a 
 peculiar art of managing his lights, so as 
 to give them an extraordinary effect ; for 
 which reason, he was fond of represent- 
 ing figures by a candle or flambeau. At 
 a more advanced period of life, he altered 
 his style of design, and grew fond of re- 
 presentingimaginaryandwhimsicalforms, 
 with a fruitful wildness of fancy ; as ap- 
 paritions, assemblies of witches and 
 devils, and temptations of St. Anthony, 
 in the manner of young Peter Bru- 
 eghel. Notwithstanding the disagree- 
 ableness of these subjects, yet by the 
 spirit of his touch, pencilling, and 
 
 colouring, and by the liveliness of his 
 imagination, he gave to his figures such 
 a variety and humour of expression, that 
 they had many admirers, and were eagerly 
 purchased even by princes. His first 
 works were not so well coloured as those 
 of his latter time; the former being 
 rather too gray, but afterwards his pic- 
 tures had remarkable warmth. The 
 heads of his figures were painted with 
 great art and precision ; but he was negli- 
 gent of the hands and extremities. He died 
 at Antwerp in 1677. 
 
 Rtsbraeck, or Rysbrechts (Peter). 
 He was born at Antwerp in 1657, and 
 became the scholar of Francis Mil6, under 
 whom he imbibed an attachment to the 
 works of Nicolo Poussin, which he ever 
 afterwards retained. He studied them in- 
 cessantly, and with such success, that seve- 
 ral of his pictures were sold for the paint- 
 ings of Poussin. During his residence at 
 Paris he was much employed, and solicit- 
 ed to settle there ; but he declined those 
 offers, and returned to Antwerp, where, 
 in 1713, he was chosen director of the 
 academy. His manner of painting was 
 expeditious, with a free and firm pencil, 
 and a good tone of colour ; his figures 
 and trees are well designed, and he fin- 
 ished his pictures with spirit; yet his 
 landscapes want variety, and are too mo- 
 notonous to be pleasing. He died in 1716. 
 The works of this artist must not be con- 
 founded with those of another person of 
 the same name, who lived at Brussels, 
 and painted landscapes of no esteem. 
 
 Rysen (Barnard Van). He was born 
 at Bommel in Holland, about 1600, and 
 studied under Cornelius Poelemburg ; 
 after which he went to Italy, and on his 
 return home became an eminent painter 
 of landscapes, with historical figures. 
 After practising that art for some time 
 with reputation, he turned dealer in 
 jewels, which profession he carried on in 
 Spain. 
 
 Ryx (Nicholas). This artist was born 
 at Bruges in 1637. Having learned the 
 elements of painting, he embarked for the 
 Mediterranean and travelled through 
 many of the eastern countries, observing the 
 habits of the different nations through 
 which he journeyed, and particularly at- 
 tending to the manner of travelling pecu- 
 liar to the caravans. He spent some 
 years in Palestine ; where he sketched 
 the views of memorable places, which he 
 intended for the subjects of his future 
 landscapes ; and when he returned to 
 
SAO 
 
 SAC 
 
 Bruges, his compositions were much 
 sought for, as they represented the pro- 
 spects of Jerusalem and the neighbouring 
 country, enriched with figures, horses, 
 and camels, touched with spirit, and 
 finished with great freedom and good colour- 
 ing. His design was much in the manner 
 of Vander Kabel, but more perspicuous. 
 In 1667 he was admitted into the academy 
 of Bruges, where he died in 1695. 
 
 s. 
 
 Sabbatini, or Da Salerno (An- 
 dkea). This artist was born at Salerno, 
 in the kingdom of Naples, about 1485. 
 He received his education under Raimondo 
 Epifanio; but soon left him to visit Rome, 
 where he entered the school of Raffaelle ; 
 by whom, in a short time, he was qualified 
 to execute from his designs some of the 
 frescoes in the Vatican. On his return 
 to Salerno, he painted an altar-piece for 
 the church of the Benedictines, repre- 
 senting the Virgin and Child with two 
 Saints ; after which he was employed by 
 the Franciscans to paint their patron saint 
 kneeling down before the Virgin and In- 
 fant Saviour, with a choir of angels. He 
 now settled at Naples, where he executed 
 a number of frescoes, most of which are 
 destroyed; but his oil pictures that remain 
 are proofs of his merit. The best are, 
 the Assumption of the Virgin, in the 
 cathedral ; the Wise Men's Offering, in 
 St. Spirito; and the Madonna and Child 
 with St. Elizabeth, in St. Domenico Mag- 
 giore. He died in 1550. 
 
 Sabbatini (Lokenzo). This painter 
 was born at Bologna about 1540. It is 
 not known under whom he studied ; but, 
 on visiting Rome, he greatly improved 
 himself, by contemplating diligently the 
 works of Raffaelle. In his smaller pieces 
 he imitated with success Parmegiano. 
 Pope Gregory XIII. became his patron, 
 and employed him in the Vatican, where, 
 with Federigo Zuccaro, he painted some 
 pictures of the history of St. Paul. At 
 Bologna are, by him, a Crucifixion; an 
 Assumption ; St. Joachim, and St. Anne; 
 Michael defeating Lucifer; the Four 
 Evangelists; and Four Doctors of the 
 Church. He died at Rome in 1577. 
 
 Sacchi, or OucHE (Andrea). This 
 painter was born at Rome in 1600, and, 
 after learning the rudiments of the art 
 from his father, he became the disciple of 
 
 Francesco Albano, with whom he spent 
 several years; till he was accounted his 
 superior in taste of design and correctness 
 of drawing. He devoted great part of 
 his time to the study of the antiques ; and 
 improved himself by a close application 
 to the works of Raffaelle and other illus- 
 trious artists. By this method, and hav- 
 ing an accurate judgment to discern the 
 excellences of the great masters, he formed 
 a manner which had no resemblance to 
 any of them, and which he never altered. 
 He distinguished himself so much by his 
 paintings in fresco, that he was accounted 
 to have no superior in that line. There 
 was, however, a strong competition be- 
 tween him and Pietro da Cortona both 
 men of genius, and equally ambitious of 
 immortalizing themselves by their works. 
 It is probable, that by this contest each 
 artist arrived at a higher degree of per- 
 fection than he would otherwise have at- 
 tained. The ideas of Sacchi were grand 
 and elevated ; and he gave to his figures 
 a beautiful and fine expression. The 
 choice of his draperies is judicious, and 
 the disposition of them is delicate, with a 
 remarkable union of elegance and sim- 
 plicity. His works are finished with 
 uncommon care, and have great merit in 
 taste of composition, correctness of draw- 
 ing, and force of colouring. In the church 
 of St. Peter, at Rome, is a picture of St. 
 Augustine; and in St. Joseph is an altar- 
 piece representing the Angel appearing 
 to that saint. In the Palazzo Barberini 
 are several capital productions of Sacchi, 
 especially an allegorical picture, repre- 
 senting Divine Wisdom, which cannot be 
 too highly praised for invention, grandeur, 
 and sweetness. He was a perfect master 
 of perspective, and executed some fine 
 compositions, with a multitude of figures, 
 and elegant architecture, at Rome, which 
 procured him as much honour as any of 
 his other performances. One of these 
 paintings, representing the military sports 
 of the Roman youth on horseback, was 
 publicly exhibited by order of the pope. 
 But the most distinguished piece of this 
 artist is his picture of St. Romualdo, 
 which the French carried off from the 
 church of that saint at Rome. It has 
 been since restored. He died in 1661. 
 
 Sacchi (Carlo). This artist was born 
 at Pavia in 1617, and was instructed by 
 an obscure painter, named jRosso; after 
 which he improved himself in design and 
 colouring at Rome and Venice. One of 
 his finest works is a Miracle performed by 
 
SAC 
 
 SAL 
 
 St. James, painted in the style of Paolo 
 Veronese. He died in 1706. 
 
 Sachtleven, or Zaitleven (Cokne- 
 Lius). He was born in 1606, at Rotter- 
 dam, where he learned the art of painting; 
 but improved himself by studying after 
 nature, and carefully sketching every 
 object which lie intended to insert in his 
 future comj)ositions. He was the elder 
 brother of Herman Sachtleven; but was 
 far inferior to him, as well in the choice 
 of his subjects, as in the tone of his colour- 
 ing, most of the pictures of Cornelius 
 being too yellow. He painted landscapes, 
 the insides of farmhouses, and tlie recrea- 
 tions of villagers, in imitation of Teniers 
 or Brouwer. The rustic sports, in which 
 he endeavoured to resemble the former, 
 are well designed, and executed with a 
 free pencil; and, when lie imitated the 
 latter, he gave his pictures great force. 
 His representations of corps-de-garde are 
 well grouped; and his conversations have 
 a strong character of truth, humour, and 
 expression. On the foregrounds of his 
 pictures, which represented soldiers in 
 their guard-room, he usually placed hel- 
 mets, drums, armour, embroidered belts, 
 and implements of war, which he copied 
 exactly, and disposed in such a manner 
 as to produce an agreeable effect. Cor- 
 nelius Sachtleven executed some spirited 
 etchings from his own designs. He died 
 in 1673. 
 
 Sachtleven, or Zaftleven (Hekjvian). 
 He wa the younger brother of the pre- 
 ceding, and was born at Rotterdam in 
 1609. He learned the principles of paint- 
 ing from John Van Goyen, but did not 
 confine himself to the manner of that 
 master, attending principally to nature, 
 as being the most unerring director. 
 For his improvement he made numerous 
 sketches, drawings, and designs, on the 
 borders of the Rhine; where, by the wind- 
 ings of the river, the antique edifices, the 
 woods, the waterfalls, and grounds dif- 
 ferently broken, the views were more 
 picturesque, and more capable of affording 
 him agreeable materials for his landscapes 
 than the scenes in Holland. It is also 
 said that he profited by visiting Italy; 
 but this is denied by those who possessed 
 the best means of information. He finished 
 his pictures with extraordinary neatness ; 
 and by a light, free touch, as well as by a 
 skilful management of the aerial perspec- 
 tive, he gave to his hills, grounds, and 
 trees, a pleasing effect. His skies and 
 distances are generally clear ; all his ob- 
 
 jects recede with perspective truth; and 
 though many of the scenes which he copied 
 from nature were not well chosen, yet he 
 had the skill so greatly to improve, vary, 
 and enrich them, by figures and buildings, 
 as to render his pictures very agreeable. 
 The paintings of Sachtleven, in his best 
 manner, though not very common, may 
 be known by a neatness of touch in the 
 figures and buildings; by an endeavour 
 to express the vapour between the eye 
 and the remote objects, like Berchem and 
 Wouvermans; and by a pleasing bluish 
 tint in his distances. His drawings are 
 also much valued, and likewise the few 
 prints which he etched. He died at 
 Utrecht in 1685. 
 
 Sailmaker (Isaac). This English 
 marine painter was in such reputation in 
 the time of Cromwell, as to be employed 
 by that usurper in taking a view of his 
 fleet. We are told, also, that the same 
 artist painted a picture of the combined 
 fleet, under the command of Sir George 
 Rooke, engaging the French, of which 
 last there was an engraving, published in 
 1714. Sailmaker died in 1 72 1 , at the age 
 of eighty-eight. 
 
 Saiter, or Seiter (Daniel). He was 
 born at Vienna in 1649, and studied at 
 Venice under Carlo Loti. He afterwards 
 went to Rome, and next to Turin, where 
 he settled, and attained a considerable 
 reputation by his works. He died in 1705. 
 His principal pictures are, the Preaching 
 of St. John the Baptist, an altar-piece at 
 Rome; the Death of Lucretia, in the 
 Spada palace; and a Pieta, in the royal 
 gallery at Turin. 
 
 Salaert (Anthony). This Flemish 
 artist was born at Brussels, about 1571. 
 He painted several pictures in the churches 
 of his native city, and some for private 
 collections. One of the latter, a Proces- 
 sion of the Company of Archers, was 
 carried by the French to Paris in the re- 
 volutionary war. Salaert was also an 
 engraver on wood. He died in 1632. 
 
 Sali (Carlo). This artist was born 
 at Verona in 1688, and studied succes- 
 sively under Alessandro Marchesi and 
 Antonio Balestra. He became a good 
 painter of history, and was much esteemed 
 for his abilities and virtues, at Rome, 
 where he died in 1747. 
 
 Salimbeni (Arcangiolo.) This artist 
 was born at Siena about 1500, and is said 
 to have had Federigo Zuccaro for his 
 instructor, though he did not follow the 
 style of that painter; and indeed his man- 
 
487 
 
 SAL 
 
 ner savours of that of Perugino. His 
 principal works are, a Crucifixion, at 
 Lusignaoo ; and a St. Peter at Siena. 
 
 Salimbeni (Cavaliere Ventura), 
 called Bevilaqua. He was the son of 
 the preceding, and was born at Siena 
 in 1557. Having learned the elements 
 of the art from his father, he travelled 
 through Lombardy, and improved him- 
 self exceedingly by the works of Oorregio 
 and Parmegiano. But when he arrived 
 at Rome, he improved himself still further 
 by studying the antiques; and acquired 
 a good style and manner of painting, 
 which very much resembled that of his 
 half-brother, Francesco Vanni. He had 
 a good invention, great harmony in his 
 colouring, and elegance in his figures. 
 While at Genoa, he associated with Agos- 
 tino Tassi, who frequently painted the 
 backgrounds of his pictures in a noble 
 style. Salimbeni was fortunate in having 
 for his patron the Cardinal Bonifacio 
 Bevilaqua, who permitted him to assume 
 his name, The principal works of this 
 painter are in the churches and convents 
 of Rome, Siena, Florence, Genoa, Fo- 
 ligno, and Perugia. At Wilton, in the 
 collection of the Earl of Pembroke, is a 
 picture representing the Descent of the 
 Holy Ghost, by this master. He died at 
 Siena in 1613. Salimbeni etched several 
 prints from his own designs. 
 
 Salini (Tommaso). He was born at 
 Rome in 1575, and studied under Baccio 
 Pintelli, a painter of no repute. On 
 leaving him, Salini applied with such 
 diligence to his profession as to obtain 
 considerable employment for the churches. 
 His chief works are, St. Agnes ; and St. 
 Thomas da Villanova distributing Alms 
 to the Poor. He also painted flowers and 
 fruit in an agreeable style. He died at 
 Rome in 1625. 
 
 Salts (Carlo). This artist was born 
 at Verona in 1680, and successively 
 studied under Giuseppe dal Sole and 
 Antonio Balestra. One of his best works 
 is, a picture of St. Vincent healing the 
 Sick, in the church of that saint, at 
 Bergamo. He died in 1763. 
 
 Salm (Van). Neither Houbraken nor , 
 Weyerman mention any particulars rela- j 
 tive to the time when this artist was | 
 born or died ; but his style of painting 
 makes it probable that he was a disciple 
 of Cornelius Bonaventure Meester. He 
 had a remarkable manner of painting in 
 black and white, in imitation of drawings | 
 with a i)en ; nor is it easy to conceive 
 
 how he managed his pencil, so as to give 
 every line the resemblance of the stroke 
 of the graver. His only subjects were 
 marine pieces and seaports, with a dis- 
 tant view of cities and towns, which he 
 handled with neatness. His ships are 
 correctly designed, but want the elegance 
 of Vandervelde and Backhuysen, nor are 
 they equal to those of Meester. In his 
 representation of storms, the agitation of 
 the waters is tolerably well expressed, 
 though the waves often appear hard : in 
 his calms, however, the vessels are agree- 
 ably disposed. Some of his pictures are 
 finished with so much truth and spirit, 
 that, at first sight, they have all the 
 appearance of excellent drawings. 
 
 Salmeggia (Enea). This painter was 
 born at Bergamo in 1556. He received 
 his first instruction under Campi, after 
 which he became the scholar of Procaccini, 
 at Milan ; on leaving which place he went 
 to Rome, where he studied the works of 
 Raffaelle with great success. A picture 
 of his, representing St. Victor, in the 
 convent of the Olivetans, at Milan, is so 
 much in the manner of Rafiaelle, as to have 
 passed for the performance of that great 
 master. He died at Bergamo in 1626. 
 
 Salmeron (Cristobal Garcia). This 
 Spanish painter was born at Cuen9a in 
 1603. He had Pedro Orrente for his 
 instructor, and acquired a good taste in 
 painting history, and also animals. In 
 the former department his best work is a 
 Nativity, at Cuenga; and in the latter, 
 the picture of a Bull-fight, painted by 
 order of Philip IV. He died in 1666. 
 
 Saltarello (Luca). He was born at 
 Genoa in 16 10, and had Domenico Fiasella 
 for his preceptor; on leaving whom he 
 painted an altar-picture for the church of 
 St. Stefano, in his native city, the subject 
 of which was, St. Benedict raising a Dead 
 Person to Life. Soon after this promising 
 specimen of talent, he went to Rome, and 
 died there about 1635. 
 
 Salvi (Giovanni Battista). This 
 artist, who is also called Sassoferrato, 
 was born at the castle oi' that name, near 
 Urbino, in 1605, and received his instruc- 
 tions from his father, Tarquinio Salvi, 
 an obscure painter, who sent him to Rome, 
 where he studied and imitated the works 
 of the great masters, particularly Raf- 
 faelle. His pictures are mostly repre- 
 sentations of the Virgin and Child, or 
 Female Saints. He died at Rome in 1685. 
 
 Salviati (Giuseppe), see Potra. 
 
 Salviati (Fr^vncesco Rossi). He was 
 
SAL 
 
 488 
 
 SAN 
 
 born at Florence in 1510. His parental 
 name was Rossi; but on being taken 
 into the service of Cardinal Salviati, he 
 was permitted to bear that of his patron. 
 He was the fellow-student of Giorgio 
 Vasari, first under Andrea del Sarto, and 
 next in the school of Baccio Bandinelli. 
 The two youths contracted a close friend- 
 ship, and assisted each other in their 
 studies. On going to Rome, Salviati 
 soon rose into high reputation, and was 
 not only employed by his patron the 
 cardinal, but also at the pope's palace. 
 He painted with as much success in fresco 
 and distemper as in oil, and acquired 
 extraordinary honour by the cartoons, 
 which he designed for tapestry, represent- 
 ing the memorable actions of Alexander 
 the Great. Nor did his pencil appear to 
 less advantage in portrait than in history. 
 Many of the nobility of Rome, and other 
 cities of Italy, were painted by him ; and 
 . he gained extraordinary applause by the 
 picture of Aretine the satirist, which was 
 sent to Francis I., King of France. His 
 invention was rich and copious, but he 
 seemed to want elevation of genius, and 
 to have too great a luxuriance of fancy. 
 His carnations were delicate, particularly 
 in his naked figures, which he designed 
 with grace and correctness. In others, 
 his draperies were full and broad, elegantly 
 marking the turn of every limb. His 
 style of colouring was lively, and he gave 
 his figures easy and becoming attitudes ; 
 but he was defective in design. Though 
 the talents of Salviati procured him many 
 friends, he frequently lost them by his 
 capricious temper; and Sandrart observes, 
 that many who were desirous of having 
 his works were restrained from employing 
 him, because he always appeared dissa- 
 tisfied, even when largely overpaid. On 
 the invitation of the Cardinal de Lorraine, 
 he went to France, where he painted a 
 fine altar-piece of the Descent of the 
 Cross, in the church of the Celestines. 
 He was also employed in the palace of 
 Fontainebleau, but soon quarrelled with 
 his associates, and returned to Rome, 
 where he fell into new contentions with 
 Daniel da Volterra, Pietro Ligorio, and 
 most of the artists of the time. These 
 disputes brought on a fever, of which he 
 died in 1563. Many poetical subjects 
 were painted by Salviati in oil, for Lodo- 
 vico Farnese, and he also finished several 
 altar-pieces for the churches of Rome 
 and Florence. In the Palazzo Vecchio, 
 at the latter place, he represented the 
 
 Victory of Furius Caraillus, composed 
 with great spirit. It is remarked, that 
 some of his pictures painted only in two 
 colours are accounted his best. 
 
 Salvioni (Rosalba Maria). This 
 ingenious lady was born at Rome in 1658. 
 She studied the art of painting under 
 Sebastian .Conca, but devoted herself 
 wholly to portraiture, in which she at- , 
 
 tained a style of great fidelity and excel- J 
 
 lence. She died in 1708. 
 
 Samacchini (Orazio). lie was born 
 at Bologna in 1532, and had Pellegrino 
 Tibaldi for his preceptor ; but his greatest 
 improvement was derived from a dihgent 
 study of the works of Corregio. After 
 painting in fresco the chapel in the cathe- 
 dral of Bologna, he went to Rome, where 
 he was employed by Pope Pius IV. in 
 ornamenting the Sala Regia. Having 
 completed that engagement, he returned 
 to his native city, and executed there a 
 great number of designs for the churches, 
 particularly the Coronation of the Virgin; 
 a Presentation in the Temple ; a Last 
 Supper ; and a Cr\icifixion. These per- 
 formances received great applause from 
 Agostino Caracci ; and our artist deserved 
 not less for his Fall of Icarus, in the 
 Lambertini palace, and a series of pic- 
 tures of the Prophets, in the church of St. 
 Abondio, at Cremona. He died in 1577. 
 Sameling (Benjamin). This Flemish 
 artist was born at Ghent in 1520, and 
 had Francis Floris for his instructor. He 
 painted history and portrait in the manner 
 of his master ; and died in 1571. 
 
 Sandby (Paul). This ingenious artist 
 was born at Nottingham in 1732. At 
 the age of fourteen he came to London, 
 and was admitted into the drawing-room 
 in the Tower, where he had made such 
 progress, that, in 1748, he was appointed 
 draughtsman under General Watson, 
 with whom he travelled through the 
 Highlands of Scotland. During his stay 
 at Edinburgh he made a number of etch- 
 ings of the designs he had sketched, 
 which, on his return to London, were 
 published in a folio volume. In 1752 he 
 went to reside at Windsor, where he 
 drew above seventy views of the scenery 
 in that neighbourhood. The accuracy, 
 taste, and spirit with which they were 
 marked, so forcibly struck Sir Joseph 
 Banks, that he purchased them all at a 
 liberal price. Mr. Sandby soon after 
 accompanied that gentleman in a tour 
 through Wales, where he sketched a 
 great number of interesting and romantic 
 
SAN 41 
 
 scenes. Under the patronage of Sir 
 Watkin Williams Wynne, also, he took 
 many more views in the northern part of 
 the principality, prints of which were 
 published in imitation of drawings in 
 bistre or Indian ink. The first part of 
 the process by which this effect is given 
 to an engraving, Mr. Sandby is said to 
 have received from Mr. Charles Greville, 
 a gentleman of great taste in the fine 
 arts. Profiting by this hint, Mr. Sandby 
 so far improved upon it, as to bring aqua- 
 tinta to a degree of perfection never before 
 known. About 1753, this artist and 
 several members of an academy formed 
 in St. Martin's-lane, wishing to extend 
 their plan, held several meetings, for the 
 purpose of making new regulations, in 
 which they were thwarted by the perti- 
 nacity of Hogarth, who treated his 
 brethren so roughly that they began to 
 retaliate. When, therefore, he published 
 his Analysis of Beauty, Mr. Sandby pro- 
 duced six or eight prints to ridicule his 
 system; but afterwards he professed his 
 regret for what he had done. On the 
 institution of the Royal Academy, he 
 was elected one of the first members, and 
 the same year was appointed chief draw- 
 ing-master of the Military Academy at 
 Woolwich; which situation he held till 
 his death, November 7, 1808. Mr. 
 Sandby contributed much to the reputa- 
 tion of the English school of landscape 
 painting; and in many of his exquisite 
 delineations, uniting fidelity with taste, 
 the beautiful scenery of this island is dis- 
 played as in a mirror. For force, clear- 
 ness, and transparency, it may be truly 
 said, that his paintings in water-colours 
 have not yet been equalled. 
 
 Sandrart (Joachim de). He was 
 born at Frankfort on the Maine in 1606, 
 and had for his first masters Theodore 
 de Bry, Matthew Merian, and Giles 
 Sadeler, the engraveis; but afterwards 
 he became the disciple of Gerard Hont- 
 horst, who is said to have brought him to 
 England, where he remained till 1627, 
 and executed several works for Charles I. 
 Wliile here, according to the same ac- 
 count, by having access to the royal 
 collection of paintings, Sandrart laid the 
 foundation of his subsequent merit; for 
 he studied and copied some of the finest 
 productions of Titian, Corregio, Guido, 
 Veronese, and Vandyck; and two capital 
 works are particularly mentioned by the 
 writer of Sandrart's life, by which he was 
 principally improved: the one was Mer- 
 
 9 SAN 
 
 cury teaching Cupid to read, at the re- 
 quest of Venus, 'by Corregio; the other, 
 Titian's Twelve Caesars, as large as life, 
 which, after the death of the Duke of 
 Buckingham, were purchased by the 
 Emperor Ferdinand HI., at an immense 
 price. He also established his reputation, 
 during his continuance in England, by 
 copying Holbein'spictures of Henry Vni., 
 Sir Thomas More, and Erasmus, for the 
 Earl of Arundel : the imitation being so 
 exact, as to make it no easy matter to 
 determine which were the originals. From 
 England he went to Venice, and next to 
 Rome, where he resided some years; 
 being much employed by Prince Giusti- 
 niani, who appointed him to superintend 
 the engraving of the statues in his gallery. 
 A picture of St. Jerome, and another of a 
 Magdalen, procured Sandrart the favour 
 of Cardinal Barberini, who obtained for 
 him the honour of painting the portrait of 
 Pope Urban VIII.; and the King of 
 Spain having sent an order to Rome, for 
 twelve pictures of the same dimensions, 
 to be executed by twelve of the most 
 eminent masters in Italy, Sandrart was 
 appointed one of the number, the others 
 being Guido, Sacchi, Guercino, Giuseppe 
 D'Arpino, Cortona, Lanfranc, Domeni- 
 chino, Nicolo Poussin, Massimi, Valen- 
 tino, and Gentileschi. Their perform- 
 ances were exhibited at a grand proces- 
 sion on a public festival; and, perhaps, 
 it may not prove unentertaining to the 
 reader to know the subjects of those me- 
 morable paintings. The subject of Guido's 
 picture was the Rape of Helen ; in which 
 he represented that fair fugitive conducted 
 to the sea-shore by Paris, with a few 
 female attendants; and in every part of 
 the composition such genius, invention, 
 and disposition were displayed, as made 
 it doubtful whether art, nature, or grace 
 had the superiority. Guercino's design 
 was Dido stabbing Herself on the Funeral 
 Pile; in which the expression of the 
 principal figure, and the variety of pas- 
 sions in the spectators, were strong, lively, 
 and natural. The genius and fine inven- 
 tion of Pietro da Cortona were nobly 
 manifested in his composition, which 
 represented Romulus giving the Signal 
 for the Rape of the Sabines; in which he 
 showed such a variety of actions, attitudes, 
 and passions, such eager resoluteness in 
 the Romans, such a mixture of timidity 
 and resentment in the women, as made 
 that performance be considered as one of 
 the most capital designs of that master. 
 
SAN 
 
 490 
 
 SAN 
 
 Andrea Sacchi's picture was emblematical, 
 and represented Divine ' Wisdom seated 
 on a throne, surrounded by several Vir- 
 tues; but the excellence of the composi- 
 tion, the skill and taste in the design, and 
 its singular correctness, were more ap- 
 plauded than the colouring. The subject 
 of Lanfranc's design was the Discovery of 
 Calisto, and the Death of Action ; which 
 seemed to be principally admired for its 
 strong character of truth and nature. 
 That of Domenichino represented Diana 
 appointing Prizes for her Companions 
 who excelled in Rural Sports and Exer- 
 cises; in which composition were seen 
 nymphs exerting themselves in the chase; 
 others returning triumphantly with the 
 game, or refreshing their limbs in the 
 bath after their toil, while their hounds 
 were drinking at the brook, or lying in 
 different postures, expressive of fatigue. 
 This performance was universally ad- 
 mired. Nicolo Poussin took for his 
 subject the Plague of the Philistines at 
 Ashdod; in which he represented some 
 sickening, others pining and languishing 
 under the distemper, or attended by phy- 
 sicians; some dying, and many dead ; but 
 with such abundant variety, and admirable 
 expression, as gained him the greatest 
 honour. Valentino chose for his subject 
 the Five Senses, which he described by 
 figures in a banqueting- room : some eating 
 and drinking, others engaged at cards, 
 or amusing themselves with the smell of 
 flowers; some listening to others who 
 performed on musical instruments; and 
 some fighting and wounding each other. 
 This work ^ was only esteemed for the 
 elegance of the colouring. The design 
 of Sandrart's picture was, Seneca in the 
 Bath, meeting death with a jjhilosophical 
 firmness of mind, discoursing with his 
 wife Paulina, and his friends Demetrius 
 and Philo; in which the expression was 
 natural, the figures correctly designed, 
 and the colouring extremely good. The 
 pictures of Gentileschi, D'Arpino, and 
 Massimi, being unfinished, were not ex- 
 hibited. After a long stay at Rome, 
 Sandrart went to Naples, thence to 
 Sicily and Malta, returning by the way 
 of Lombardy to Frankfort, where he 
 married. From that city he went to 
 Augsburg; and lastly to Nuremberg, 
 where he established an academy of 
 painting. Here also he published his 
 Academia Artis Pictoriae, 1683, in folio; 
 being an abridgement of Vasari and Ri- 
 dolfi, for what concerns the Italian 
 
 painters, and of Charles Van Munder for 
 the Flemings of the seventeenth century. 
 This, however, is but part of a larger 
 work, which he produced before, with the 
 title Academia Toresca della Architettura, 
 Scultura, Pittura, 1697, 2 vols, folio. 
 He published also Iconologia Deorum, 
 folio; Admiranda Sculptural Veteris 
 Vestigia, folio ; and Romse Antiquse et 
 Novae Theatrum, 1685, folio. Sandrart 
 died at Nuremberg in 1688. The 
 sketches he drew of buildings, antiquities, 
 statues, and views after nature, together 
 with his pictures and curiosities, produced 
 twenty-two thousand seven hundred and 
 twenty-one florins. Many of his paint- 
 ings are in Italy, Germany, and the Low 
 Countries; but his most capital perform- 
 ance is the representation of the Last 
 Judgment; containing a multitude of 
 figures, well designed and coloured. 
 
 Sandkino (Tommaso). He was born 
 at Brescia in 1575, but his instructor is 
 not ascertained. He became, however, 
 an excellent painter of perspective views 
 and architectural subjects, nor was he 
 deficient in history. His principal works 
 are at Milan and Ferrara. He died in 
 1631. 
 
 San Felice (Ferdinanbo). This ar- 
 tist was born at Naples in 1700, and 
 studied under Francesco Solimena. He 
 painted some altar-pieces for the churches 
 of his native city, and he also became 
 eminent for his landscapes andfruit-pieces. 
 He died in 1759. 
 
 Santa Cboce (Fkancesco Rizzo da). 
 This painter was born in the territory of 
 Bergamo, at a town, the name of which 
 he assumed instead of Rizzo. He studied 
 at Venice, under Carpaccio, and acquired 
 a fine taste, as appeared in his altar-pieces 
 at Murano, representing the Virgin and 
 Child with a glory. He died about 1530. 
 
 Santa Cboce (Gieolamo Rizzo da). 
 He is supposed to have been the brother 
 of the preceding; but in his style he ap- 
 proached Giorgione and Titian. One of 
 his finest works is an altar-piece at Venice, 
 representing the Last Supper. It was 
 painted in 1538. 
 
 Santa Fede (Francesco). He was 
 born at Naples, and received hisinstruction 
 under Andrea Sabbatini ; after which he 
 obtained considerable employment in the 
 churches of his native place. One of his 
 best works is, the Coronation of the Vir- 
 gin, in St. Maria la Nuova. He was 
 eclipsed by his son, Fabrizio Santa Fede, 
 who was bom at Naples in 1560; and, 
 
SAR 
 
 SAR 
 
 after studying under Francesco Curia, 
 went to Rome, where he remained two 
 years. On his return home he painted 
 several great works, as a Nativity, and 
 the Adoration of the Shepherds, in the 
 church of the Nunziata; and the Wise 
 Men's Offering, in St. Maria de Constan- 
 tinopoli. lie died in 1636. 
 
 Santagostino (Giacomo Antonio). 
 He was born at Milan in 1588, and had 
 Giulio Cesare Procaccini for his instructor, 
 and became eminent in historical compo- 
 sition. He died in 1648. 
 
 Santerke (Jean Baptiste). This 
 painter was born at Magny, near Pon- 
 toise in 1651, and was the scholar of 
 Bon Boulongne, under whom he made a 
 considerable proficiency ; but his greatest 
 improvement was from the study of nature, 
 by which he was enabled to produce 
 some estimable works, though he possessed 
 but a moderate portion of genius, and his 
 pencil was slow in execution. Perceiving 
 that his invention was sufficient for his- 
 torical composition, he employed himself 
 in painting heads, and half-length pictures, 
 from imagination, or after the life, and 
 he finished them with care and delicacy. 
 He designed with tolerable correctness, 
 and had merit in the attitudes and ex- 
 pression of his portraits; but his dra- 
 peries were neither well chosen, nor judi- 
 ciously disposed. He, however, took pains 
 to acquire the knowledge of anatomy and 
 perspective; and, being anxious to discover 
 the means of rendering his tints bright 
 and durable, he spent many hours in ob- 
 serving the paintings on the signs in the 
 streets, to remark what colours endured 
 best the air, sun, and wet: and his labour 
 was rewarded; for his pictures, especially 
 in the carnations, showed an uncommon 
 transparence. It is mentioned, as a sin- 
 gularity in Santerre, that he never put 
 any varnish on his pictures in less than 
 ten years after they were finished. The 
 best of his works are, Susanna and the 
 Elders; and St. Theresa; both in the royal 
 collection at Paris, where he died in 1717. 
 
 Santi (Domenico). He was born at 
 Bologna in 1621, and was the scholar of 
 Agostino Mitelli, to whom he proved 
 nearly equal in perspective and architec- 
 tural subjects. He painted both large 
 and small pictures, but the figures were 
 inserted by other artists, chiefly Domenico 
 Maria Canuti. He died in 1694. 
 
 Santo, see Titi. 
 
 Sababia (Joseph). This artist was 
 born at Seville, in Spain, in 1618. He 
 
 studied in the school of Zurbaran, and 
 became an eminent painter of history. 
 His principal pictures are, the Miraculous 
 Conception, in the convent of St. Francis, 
 and the Fhght into Egypt, in that of La 
 Vittoria, in Cordova, where he died in 
 1669. 
 
 Saeacino (Carlo). This painter was 
 called, from the ydace of his birth, Vene- 
 ziano, but studied at Rome under Mariani. 
 However, he became an imitator of Mi- 
 chel Angelo Caravaggio, and with con- 
 siderable success. After painting several 
 great works for the churches and palaces 
 of Rome, he returned to Venice, where he 
 began a grand piece in the council cham- 
 ber, but left it unfinished at his death, in 
 1585. 
 
 Sarezana see Fiasella. 
 
 Sarti (Ercole, or II Muto di Ficau- 
 OLo). This extraordinary genius was 
 born at Ficarolo, in the duchy of Ferrara, 
 in 1593; and though deaf and dumb from 
 his nativity, he manifested an early incli- 
 nation to painting. At the age of fifteen 
 he placed on the front of his father's 
 house a picture of the Wise Men's Offer- 
 ing, executed without instruction or assist- 
 ance. This attracted much attention, 
 and he was subsequently placed under 
 Carlo Bononi, at Ferrara, whose style he 
 successfully imitated, as also that of Scar- 
 selliuo. His works are mostly confined 
 to Ferrara and Ficarolo, where he died in 
 1637. 
 
 Sarto (Andrea del, or Andrea Va- 
 NuccHi). This celebrated painter was 
 the son of a tailor at Florence, whence 
 he obtained the name of Del Sarto, that 
 of his father being Vanucchi. He was 
 born in 1488, and received his first instruc- 
 tion from Giovanni Basili, a mean artist, 
 with whom he spent three years with in- 
 tense application, at the end of which 
 period he became the disciple of Pietro 
 Cosimo. His perseverance under that 
 master rendered him in a short time very- 
 eminent, but the morose temper of Cosimo 
 compelled Andrea to quit him, and to en- 
 deavour to perfect himself by attending 
 to the works of other famous artists. 
 While with him, he had appropriated every 
 holiday to design after the paintings of 
 Vinci and Buonarroti to which he could 
 gain access, and he continued to persist 
 in this practice, by which he formed an 
 admirable taste, and signalized himself 
 above most of the young men of his time 
 and country. Andrea having formed a 
 friendship with Francesco Bigio, they 
 
SAR 
 
 492 
 
 SAR 
 
 determined to live together, and accord- 
 ingly painted, in conjunction, several 
 pieces for the churches and convents of 
 Florence ; so that the reputation of Andrea 
 was daily advanced, and his improvement 
 promoted by every work he finished, either 
 in fresco or in oil. At last his fame was 
 raised to its highest pitch by that noble 
 design which he executed alone for the 
 Carmelites at Florence, representing the 
 Preaching of St. John. The attitude and 
 air of the head of the Baptist were exceed- 
 ingly fine, the countenance full of spirit, 
 and strongly expressive of his character, 
 and the sunburnt tint of his flesh properly 
 suited to his life in the desert. The ex- 
 pression of the auditors was also natural, 
 with abundant variety; some were atten- 
 tively listening, in admiration and aston- 
 ishment; and others, with a look of appro- 
 bation and conviction : the whole perform- 
 ance was indeed admirable, for colouring, 
 correctness of outhne, disposition, and 
 simplicity united with elegance. Notwith- 
 standing his employment at Florence, he 
 could not resist the impulse to see the 
 works of Raffaelle at Rome, whither he 
 went, and examined every thing with at- 
 tention. He studied the manner of that 
 inimitable master carefully, and also ob- 
 served with a critical eye the grandeur 
 of style in the compositions of Buonarroti ; 
 nor did he neglect the antiques, but re- 
 ceived from them considerable improve- 
 ment, so that his manner was altered much 
 for the better after this journey. He did 
 not, however, continue there sufficiently 
 long to examine things with such exact- 
 ness as he ought; and it is not doubted 
 that, if he had resided for some years at 
 Rome, and devoted more of his study and 
 practice to the antiques and the works of 
 Raffaelle, he would have surpassed all 
 the artists of his time. He painted with 
 great freedom ; his colouring in fresco, as 
 well as in oil, was full of sweetness and 
 force, and his carnations were beautiful; 
 his draperies are easy, graceful, and touched 
 with spirit; the airs of his heads have an 
 elegant variety, and his boys, as also the 
 extremities of his figures, are little in- 
 ferior to those of Raffaelle. The naked 
 in his compositions is excellently designed; 
 but, from timidity, his figures seem to 
 want that fire and vivacity which animate 
 the works of other great painters, though 
 they possess correctness, truth, and sim- 
 plicity. The excellence of Andrea's pencil, 
 and his power of imitation, cannot be more 
 strongly illustrated than by the follow- 
 
 ing incident. Raffaelle having painted the 
 portrait of Leo X. seated between Cardi- 
 nals Medici and Rossi, the picture was so 
 much admired by the Duke of Mantua, that 
 he begged it of the pope. Upon this Leo or- 
 dered Ottavian de Medici to send it to Man- 
 tua, instead of which, he directed Andrea 
 del Sarto to copy it, which he did so 
 exactly, that when his work came to Man- 
 tua, Giulio Romano could with difficulty 
 be persuaded of the deception, though he 
 had himself executed the draperies of the 
 original. The French king, Francis I., 
 on receiving some of his works, invited 
 him to his court, defrayed the expenses of 
 his journey, and made him many valuable 
 presents. The first piece on which he 
 was employed after his arrival, was a por- 
 trait of the dauphin, and he was rewarded 
 for the performance with three hundred 
 crowns in gold. Afterwards he painted 
 an incomparable picture of Charity, and 
 a multitude of designs for the principal 
 nobility. Amidst this flow of good for- 
 tune, he was employed by the queen 
 mother to paint a picture of St. Jerome, 
 but before it was finished, he received 
 letters from his wife, soliciting his return 
 to Florence; upon which, to indulge her 
 desire, he requested a few months' absence, 
 promising to return with his family, and 
 settle in France. The king confided in 
 his integrity, and not only made him 
 several presents, but intrusted him with 
 a large sum to purchase statues, paintings, 
 and other curiosities. Andrea, however, 
 soon forgot his engagements, and violated 
 every tie of honour after he arrived at 
 Florence, by squandering away the king's 
 money, as well as his own, and never 
 returned to his royal benefactor. At last 
 he sunk into poverty by his prodigality, 
 and after suffering a variety of difficulties 
 and distresses, died of the plague, aban- 
 doned by his wife, and by the companions 
 of his extravagance. His death happened 
 in 1530. Tiie works of Andrea abound 
 in the churches, convents, and palaces at 
 Florence, and in them his merit is shown 
 in a proper light; for they are far prefer- 
 able to what is seen of his hand, either in 
 Rome or any other part of Italy. In the 
 Palazzo Pitti is an admirable picture, the 
 subject of which is, the Virgin and Child, 
 with St. John and St. Francis; the colour- 
 ing has an extraordinary force, the style 
 is exquisitely delicate, the draperies are 
 cast in a grand taste, and look unusually 
 fresh, and the heads are excessively fine, 
 though that of the Virgin has more beauty 
 
I 
 
 SAV 
 
 493 
 
 SCA 
 
 than dignity of character. A remarkable 
 circumstance is recorded, which places 
 the excellence of this artist in a strong 
 point of view. In 1529, when the soldiers 
 took Florence, and entered the monastery 
 of the Salvi, they were so struck with the 
 picture of the Last Supper, in the refec- 
 tory there, that they felt an indescribable 
 awe, and retired without committing any 
 violence. Another fine picture by Andrea 
 is the Flight into Egypt, in which Joseph 
 is represented resting on a sack of corn. 
 It has been engraved by Morghen. 
 
 Sassoferrato, see Salvi. 
 
 Saveby (jAcauBs). He was born at 
 Courtray about 1545, and had John Bol 
 for his master. He painted landscapes 
 and animals very exactly, and with great 
 labour, but in a stiff manner. He died at 
 Amsterdam in 1602. 
 
 Savery (Roland). He was the son 
 of the preceding, and was born at Court- 
 ray in 1576. He was instructed by his 
 father and elder brother, though some say 
 that he was a disciple of Paul Bril, while 
 others are of opinion that he only studied 
 the works of that artist, and endeavoured 
 to imitate his manner of handling and 
 colouring. He painted landscapes, adorned 
 with historical figures, and animals of 
 different kinds, also insects and reptiles, 
 touched with great spirit. The Emperor 
 Rodolph, having seen some of his works, 
 engaged him in his service, settled on him 
 a considerable pension, and sent him into 
 the Tyrol, to improve his taste, and fur- 
 nish his imagination with objects, by 
 surveying nature in all its wildness, among 
 the vales, hills, mountains, and precipices 
 of that Alpine country. He spent two 
 years there, sketching after nature those 
 scenes which appeared most agreeable and 
 romantic, as rocks, rivers, and stupendous 
 falls of water; and having collected a 
 large volume of designs, which proved of 
 the utmost benefit to him in his future 
 compositions, he returned to Prague, 
 where he painted several pictures for his 
 patron, on whose death he went to settle 
 at Utrecht, and died there in 1639. He 
 had a delicate pencil, and touched his 
 pieces with great spirit and freedom; the 
 scenes which he describes are grand and 
 solemn; he shows a pleasing opposition 
 in his lights and shadows; his subjects are 
 full of an agreeable variety, and his pic- 
 tures are generally executed in a masterly 
 manner. His drawing, however, is some- 
 times incorrect, and the tone of his colour- 
 ing is not always agreeable; sometimes the 
 
 blue tint predominates too much, and the 
 green appears too vivid. Yet he was an 
 excellent artist, and his works are highly 
 esteemed, particularly his small easel pic- 
 tures, which are accounted little inferior 
 to those of Paul Bril, or Brueghel, in 
 neatness of finishing. His most capital 
 performance in the gallery of the emperor 
 is a landscape, with a figure of St. Jerome 
 in the Desert; and one of his best pictures 
 in the Low Countries is a landscape, with 
 Orpheus surrounded by Animals. Roland 
 had a nephew, named John Savery, who 
 painted landscapes in the manner of his 
 uncle, and also etched several prints from 
 his own designs. He died at Utrecht in 
 1655. 
 
 Savoldo (Girolamo). This amateur 
 artist was born of a noble family at Bres- 
 cia. He studied the works of Titian, and 
 painted some altar-pieces, as well as easel 
 pictures, in the style of that master, with 
 great credit. His principal performances 
 are, a Nativity, Christ with Four Saints, 
 and a Transfiguration. This last is in 
 the Florentine gallery. He died about 
 1590. 
 
 Savonanzi (Emilio). This artist was 
 bom at Bologna in 1580, and studied 
 successively under the Caracci and Guide 
 Reni; which last he approached so very 
 near, that his works have been frequently 
 mistaken for those of his master. He was 
 thoroughly conversant with anatomy, per- 
 spective, and architecture. On going to 
 Spain he experienced much encourage- 
 ment, but returned to his native city, 
 where he died in 1638. 
 
 Savoyen (Charles Van). This Flem- 
 ish painter was born at Antwerp in 1619. 
 It is not known under whom he studied; 
 but he became a good artist in historical 
 subjects, and painted naked figures with 
 credit. He died at Antwerp in 1669. 
 
 ScAcciATi (Andrea). This artist was 
 born at Florence in 1642, and studied 
 successively under Mario Balassi and Lor- 
 enzo Lippi, by whose advice he applied to 
 the representation of animals, fruit, and 
 flowers, in which department he became 
 very eminent. He died at Florence about 
 1712. 
 
 Scaligeb (Bartolo). This painter 
 was born at Verona in 1550, and had 
 Dario Varotari for his preceptor, under 
 whose instructions he became eminent in 
 historical composition, which he executed 
 correctly, and with a good colouring. 
 He died in 1608. 
 
 ScALiGEBi (Lucia). This ingenious 
 
SCA 
 
 494 
 
 SCH 
 
 lady was born at Venice in 1637. She 
 became distinguished by her knowledge 
 of the learned languages, her skill in 
 music, and also by her taste in painting, 
 the principles of which she learned from 
 Alessandro Varotari, Several of her 
 pictures are in the churches of Venice, 
 where she died in 1700. 
 
 SoALVATi (Antonio). He was born 
 at Bologna in 1559, and studied under 
 Giacomo Lauretti, with whom he went to 
 Rome, and became his assistant in paint- 
 ing the hall of Constantine, in the Vatican. 
 After this Scalvati was employed in 
 ornamenting the library, and other works. 
 He was also a good portrait painter. He 
 died in 1622. 
 
 ScAMiNossi (Raffaelle). He was born 
 at Borgo St. Sepolcro, and had Raffael- 
 lino del CoUe for his instructor. He 
 painted historical subjects with great 
 credit, but is best known by his engrav- 
 ings. He died about 1620. 
 
 Scannavini (Maurelio). This artist 
 was born at Ferrara in 1655, and studied 
 successively under Francesco Ferrari, and 
 Carlo Cignani, His best works are four- 
 teen pictures of the life of St. Dominic, 
 in the refectory of the convent of that 
 order at Ferrara; an Annunciation, in 
 the church of St. Stefano; St. Tommaso 
 di Villanova relieving the Poor, in the 
 Augustinian monastery; and St. Bridget, 
 supported by an Angel, in St. Maria delle 
 Grazie, in the same city. He died at 
 Ferrara in 1698. 
 
 ScABPAcciA (Victor). This artist was 
 born at Venice in 1410, and became a 
 good painter of history and portrait for the 
 age in which he lived. He is also said to 
 have been conversantwith the principles of 
 perspective. He died at Verona in 1469. 
 
 ScARBAMUCciA (LuiGi), Called from 
 the place of his birth, 11 Perugino, was 
 born in 1616. He learned the rudiments 
 of the art from his father, who was but 
 an indifferent painter. Afterwards he 
 became the scholar of Guido, and it is 
 said that he also studied under Guercino. 
 He rose to eminence in his profession, and 
 executed some fine pictures in the churches 
 and other public buildings at Perugia, 
 Milan, and Bologna. In the palace of the 
 latter city he painted the Coronation of 
 the Emperor Charles V. in a style of 
 grandeur. Of his religious pieces the 
 best are, the Presentation in the Temple, 
 at Perugia; and a St. Barbara, at Milan. 
 He also etched some prints with great 
 spirit. He died at Pavia in 1680. 
 
 ScARSELLA (SiGiSMONBo). This artist, 
 who obtained the diminutive name of 
 Mondino, was born at Ferrara in 1530, 
 and became the scholar of Paolo Veronese. 
 He painted in the church of St. Gabriele, 
 at his native place, a picture of the Con- 
 version of St. Paul ; and in that of Santa 
 Croce, a Visitation of the Virgin, both in 
 the manner of his master. He died in 
 1614. 
 
 ScARSELLA (IpponTo). This painter, 
 who was the son of the preceding, and 
 obtained the name of Lo Scarsellino, was 
 born at Ferrara in 1560. After being 
 instructed by his fatlier, he went to Ve- 
 nice, where he studied under Giacomo 
 Bassano, but improved himself by the 
 works of Paolo Veronese. Having fin- 
 ished his professional education, he re- 
 turned to Ferrara, where he obtained 
 considerable employment for the churches 
 and convents. In St. Maria Nuova he 
 painted the Annunciation, the Visitation 
 of the Virgin, and her Assumption. At 
 the Benedictines is a fine picture of the 
 Marriage of Cana, and in other edifices 
 are many excellent compositions of this 
 artist, distinguished by richness of colour- 
 ing, fertility of invention, and the beauty 
 of the landscapes in the backgrounds. He 
 also painted portraits with great success. 
 He died in 1621. 
 
 ScAVALTi (Antonio). This painter 
 was born at Bologna in 1559, and studied 
 under Giacomo Lauretti, by whose in- 
 structions he acquired a good taste in his- 
 torical composition. He died in 1622. 
 
 ScHAEUFLEiN (John). This German 
 artist, who was born at Nuremberg about 
 1490, is supposed to have been a pupil of 
 Albert Durer. At Nordlingen he painted 
 an altar-piece of the Descent from the 
 Cross, which was much admired. He was 
 also an engraver, both on wood and 
 copper. He died about 1560. 
 
 SciiAGEN (GiLLES Van). He was born 
 at Alkraaer in Holland, in 1616, and was 
 a disciple of Solomon Van Ravesteyn, 
 whom he quitted for Peter Verbeck. To 
 improve himself, he travelled through 
 Germany, and at Elbing contracted an 
 intimacy with Strobel, through whom he 
 was introduced to Stanislaus, King of 
 Poland, and painted his portrait ; but the 
 beauty of the work excited so much jea- 
 lousy in his brother artist, that he now 
 became his enemy. Schagen then went 
 to Paris, where he painted a great number 
 of portraits and other subjects, and lived 
 in affluence. He acquired reputation by 
 
SCH 
 
 SCH 
 
 copying a picture of Christ and St. John, 
 after Michel Angelo Buonarroti, and a 
 Virgin and Child, after Rubens ; in the 
 latter of which he showed a free pencil, 
 great power of execution, and a tone of 
 colour little inferior to the original. One 
 of his most remarkable compositions was 
 the representation of the sea engagement 
 between Van Tromp and Oquendo, the 
 Spaniard, which he sketched during the 
 fight, by order of the Dutch admiral. 
 Schagen also painted pictures of kitchens 
 and conversations, in the manner of Os- 
 tade. He died at Alkmaer in 1668. 
 
 SCHALCKEN (GODFREY, Or ScALKEn). 
 
 He was born at Dort in 1643, and learned 
 the first principles of painting from Sa- 
 muel Van Hoogstraeten ; but afterwards 
 became the disciple of Gerard Douw, with 
 whom he studied some years. On enter- 
 ing upon his profession, he soon gained a 
 considerable reputation, and was much 
 employed in painting portraits. One cele- 
 brated picture is that of a lady in the 
 character of a nymph sleeping under a 
 tree. Though his colouring was not 
 clear at first, he considerably improved in 
 that respect afterwards. He was also re- 
 markable for painting in a variety of 
 manners, and excelled in every one of 
 them. He principally delighted, however, 
 in night subjects, because he knew how 
 to distribute the light of a flambeau or 
 taper with so much skill, as to diffuse a 
 brightness over his object by a proper op- 
 position of shadow, which only nature 
 could equal ; and in that line he was 
 without a competitor. Houbraken men- 
 tions a picture of this artist, which was 
 exceedingly admired ; the subject was St. 
 Peter denying Christ ; and the maid is 
 represented as holding up a light to the 
 face of the apostle. This piece is described 
 as having better expression, a greater as- 
 semblage of figures, more correctness of 
 design, and greater harmony, than usually 
 occur in the works of Schalcken; for 
 though in his pencilling he might almost 
 be compared to Mieris, or Vanderwerf, yet 
 in his drawing he was far inferior. To 
 give efiect to his candlelight scenes, he 
 placed the object he intended to paint 
 with a taper in a dark room, and then 
 looking through a small aperture, he drew 
 by daylight what he saw in the darkened 
 chamber. After the Revolution he came 
 to England, where he attempted to enter 
 into competition with Kneller, by paint- 
 ing portraits in a large size, but without 
 success ; on which he returned to his ac- 
 
 customed manner, and might have profit- 
 ed, if his behaviour had been more cour- 
 teous. He was not so successful in the 
 portraits of women as in those of men; 
 because he wanted elegance in his choice. 
 He copied nature exactly, without flattery, 
 and witliout studying to add even a graceful 
 air to his subjects; not considering that his 
 female models would have been more 
 pleased to see charms and graces in their 
 portraits, than a mere faithful resemblance 
 without embellishments. While in Lon- 
 don, he had the honour to paint the por- 
 trait of William III., who chose to be 
 represented by candlelight. Schalcken 
 having presented to the king a taper, 
 that he might hold it in a proper position, 
 the wax melted in such a manner as to 
 drop on the fingers of the monarch, who 
 endured it with great composure, being 
 unwilling to disconcert the artist ; while 
 Schalcken, with perfect indifference, went 
 on with his work. Another instance of 
 his rudeness is thus related. A lady, who, 
 though not handsome, had a fine arm, sat 
 to Schalcken for her portrait, which he 
 executed with his wonted fidelity of like- 
 ness. The face being completed, she 
 asked when she should sit for her hands. 
 " Oh, as for that," said the painter, 
 "there is no occasion; I always draw 
 them from my housemaid." An artist of 
 this cast was not likely to be popular; 
 and therefore Schalcken went back to the 
 Hag ue,wherehe found a prodigious demand 
 for his small paintings, which he sold at 
 a high rate. His pencil was soft, mellow, 
 and delicate; his pictures are finished 
 with exceeding neatness; and show the 
 chiaro-oscuro in great perfection. He 
 imitated nature with singular exactness, 
 as well in the truth of his colouring as in 
 the masses of his light and shadow ; but 
 he had no idea of elegance, either in de- 
 sign or the forms of his figures. He died 
 in 1706. 
 
 ScHEiTz (Matthew). This artist was 
 born at Amsterdam about 1648, and be- 
 came the scholar of Philip Wouvermans, 
 whose style he quitted for that of David 
 Teniers. He painted landscapes, and the 
 sports of rustics and children. He also 
 practised engraving. 
 
 ScHELLiNCKs (Wjlliam). He was 
 born at Amsterdam in 1632, and learned 
 the art of painting in that city ; but, to 
 improve himself, he travelled through 
 several parts of Europe, particularly Eng- 
 land, France, and Italy. While here, he 
 sketched ships, seaports, and views after 
 
SCH 
 
 496 
 
 sen 
 
 nature ; and in Italy, he observed every 
 thing curious in the buildings, prospects, 
 monuments of antiquity, ports, or other 
 objects which merited his notice, and de- 
 signed them on the spot. His manner of 
 painting resembled that of Karl du Jar- 
 dyn, and the perspective parts, represent- 
 ing vessels lying at the wharfs, or at 
 anchor, were in the style of, but superior 
 to, those of Linglebach. He had an ex- 
 cellent touch, with great freedom of hand, 
 and his design was in general correct He 
 usually painted in a small size, finished 
 his pictures very highly; and in some of 
 them the figures and horses have a great 
 resemblance to Wouvermans'. Houbraken 
 mentions a capital composition of Schel- 
 lincks, representing the embarkation of 
 Charles II. on his return to England, at 
 the Restoration. On the shore were re- 
 presented a multitude of figures well 
 grouped, soldiers, both horse and foot, 
 coaches, and other carriages, with a dis- 
 tant view of the fleet waiting to convoy 
 the monarch to his dominions. The whole 
 was well designed and judiciously exe- 
 cuted. He died in 1678. 
 
 ScHELLiNCKS (Daniel). Hc was the 
 younger brother of the preceding, and was 
 born at Amsterdam in 1633. He was 
 instructed by William Schellincks, in 
 whose manner he painted landscapes, and 
 sometimes views of places, with the re- 
 putation of being an extraordinarily good 
 artist. He died in 1701. 
 
 ScHiAvoNE (Andrea). He was born 
 at Sebenico, in Dalmatia, in 1522, and 
 when young was sent by his parents, 
 who were very poor, to Venice, where he 
 became servant to a house-painter ; which 
 low occupation, however, proved the 
 means of eliciting his genius. His know- 
 ledge of design was derived from copying 
 the etchings of Parmegiano, and his taste 
 of colouring from the works of Giorgione 
 and Titian. The study of those masters 
 gave him a peculiar manner and style, 
 which raised him gradually to the highest 
 reputation, and rendered him superior to 
 most of his contemporaries, in delicacy of 
 pencilling and richness of colour. At his 
 first setting out, he had to struggle with 
 many difficulties ; being obliged to en- 
 gage in any kind of work that offered, 
 and painting at his leisure hours for the 
 picture dealers. Some of these per- 
 formances fell under the observation of 
 Titian, who, seeing the merit of Schia- 
 vone, and being informed of the wretch- 
 edness of his situation, took him under 
 
 his care, and employed him, with Tin- 
 toretto and others, as an assistant, in the 
 grand works which he had undertaken 
 for the library of St, Mark. There 
 Schiavone had an opportunity of display- 
 ing his talents ; and three entire ceilings 
 of his painting are still to be seen in that 
 celebrated repository. He painted soon 
 after, in competition with Tintoretto, a 
 piece for the church of Santa Croce, the 
 subject of which was the Visitation of the 
 Virgin. This did not create any envy in 
 that great artist, who always acknow- 
 ledged the merit of Schiavone, and kept a 
 picture of his constantly before him in his 
 painting room, to profit by the colouring. 
 Schiavone was indeed one of the finest 
 colourists of the Venetian School : his 
 manner was lively and pleasing; he 
 showed an elegant choice in the attitudes 
 of his figures, and contrasted them with 
 judgment ; and the graceful taste of his 
 draperies was generally admired. The 
 heads of his old men are touched with 
 spirit, and those of his women are no less 
 charming. He was, notwithstanding, 
 incorrect in his design ; which, consider- 
 ing that he was self-taught, ought to 
 excite no surprise. He painted with ease ; 
 had a neat pencil ; and by a skilful man- 
 agement of his tints gave his carnations 
 such truth, freshness, and warmth, that 
 they had all the look of real life. Not- 
 withstanding his defects, the beauty of his 
 colouring, the fine distribution of his lights 
 and shadows, and the delicate and natural 
 relief of the figures, will always make his 
 works valuable. The history of Perseus 
 and Andromeda, by this master, is in the 
 royal palace at Windsor ; and in the same 
 collection is another picture, representing 
 the Apostles at the Sepulchre. Two of 
 his most esteemed productions are a Nati- 
 vity and an Assumption, in the chui'ch of 
 the Theatine Order, at Rimini. Schiavone 
 also etched several prints after his own 
 designs, and the works of great masters. 
 He died at Venice in 1582. 
 
 SCHIDOXE, or SCHEDONE (BaRTOLO- 
 
 MEo). He was born at Modena in 1560, 
 and learned design and colouring under 
 the Caracci; on quitting whose academy, 
 he devoted himself to the study of Raffaelle, 
 but chiefly of Corregio, imbibing so 
 strongly the graces of that wonderful 
 artist, that none ever imitated his style 
 more happily. Having given an early 
 promise of excellence, he was taken into 
 the service of Ranuccio, Duke of Modena, 
 who appointed him his principal painter. 
 
SCH 
 
 sen 
 
 He finished for that prince several com- 
 positions of sacred subjects, and some 
 taken from tiie Roman writers, in the 
 taste of Corregio ; but his principal em- 
 ployment was to paint the portraits of his 
 patron and family; in which he showed 
 such an amiable variety of airs and 
 attitudes, as well as such delicacy of 
 colouring, as caused him to be numbered 
 among the best masters of Italy. The 
 genius of Schidone was noble and elevated ; 
 his style of painting is exceedingly ele- 
 gant; his touch light, delicate, and ad- 
 mirable; and, though not always criti- 
 cally correct in his outline, his heads are 
 remarkably graceful, and his pictures are 
 all finished in an exquisite manner. His 
 paintings, as well as his designs, are ex- 
 ceedingly scarce, and are frequently mis- 
 taken for those of Corregio, or Parme- 
 giano. The most valuable of his works 
 are a Pieta in the academy at Parma ; and 
 the Conception, in St. Francesco, at 
 Piacenza. In the collection of the Duke 
 of Orleans there was a Holy Family, in 
 which the Virgin is teaching Christ to 
 read. Unhappily he grew fond of gam- 
 ing, to which passion is to be attributed 
 the great scarcity of his works. It is 
 also said that, having in one night lost a 
 sum of money beyond his means to pay, 
 it affected him so violently as to occasion 
 his death in 1616. 
 
 ScHOEN (Martin). This artist was 
 born at Culmbach, in Franconia, about 
 1420. In the church of the Hospital, at 
 Colmar, are two of his productions ; one 
 representing the Nativity, and the other 
 the Wise Men's Offering, both of which 
 have been engraved by himself. He died 
 in 1486. He was the founder of a family 
 of engravers. 
 
 ScHOEVARTS (M.) This artist was a 
 native of Flanders, but no particulars 
 are recorded of his personal history, or 
 of the period when he lived. He painted 
 rustic amusements and the cottages of 
 peasants, in the style of Teniers. 
 
 ScHNEBUKLiE (Jacob). This artist was 
 the son of a Swiss officer, who came to 
 England, and became a confectioner, in 
 the parish of St. Martin-in-the-Fields, 
 where Jacob was born in 1760, He was 
 brought up in his father's business, to 
 which he succeeded, and carried it on for 
 some time ; but then abandoned it, to 
 teach drawing; and, though entirely self- 
 taught, he obtained considerable en- 
 couragement. While taking a view in 
 Hertfordshire, he attracted the notice of 
 
 the Earl of Leicester, who became his 
 patron, and employed him in painting 
 several landscapes from nature. In 1781 
 he began a set of views of St. Augustine's 
 monastery, one of which he etched him- 
 self; and in 1788 he published four views 
 of the town and Abbey of St. Alban's, 
 drawn and engraved with his own hand. 
 Soon after this, he set on foot a work 
 entitled The Antiquary's Museum ; and 
 became an associate with Mr. Moore, in 
 the Monastic Remains. He was then 
 engaged by the Society of Antiquaries, for 
 their Vetusta Monumenta ; by Mr. Gough, 
 for his Sepulchral Monuments of Great 
 Britain; and by Mr. Nichols, for the 
 History of Leicestershire. He had also 
 intended to publish a work of his own, 
 under the title of Antique Dresses since 
 William the Conqueror; but was pre- 
 vented by his various engagements. He 
 died in 1792. 
 
 ScHooNjANS (Antiioky). He was born 
 at Antwerp in 1655, or, according to 
 Descamps, in 1650; and, while young, 
 was placed as a disciple with Erasmus 
 Quellinus, under whom he made an ex- 
 traordinary progress. At the age of nine- 
 teen he went to Italy, and continued at 
 Rome ten years, devoting his time to the 
 study of tlie antiques, and the works of the 
 most celebrated masters. He also painted 
 there some pictures for the churches, 
 which procured him an invitation to the 
 imperial court, whither he removed in 1678, 
 and experienced a flattering reception 
 from Leopold I., who took him into his 
 service, appointed him his cabinet painter, 
 and honoured him with a present of a 
 gold chain and medal. His portraits, of 
 which he painted several of the imperial 
 family, were much admired, not only on 
 account of their striking likeness, but for 
 the expression, character, and liveliness 
 which he gave to his subjects. He had a 
 thorough knowledge of the principles of 
 the chiaro-oscuro, by which he distributed 
 his lights and shadows so judiciously, as 
 to give his figures a natural roundness 
 and relief. In the historical style he 
 painted several grand altar-pieces for the 
 churches and convents of Germany, but 
 his principal works are at Vienna. In the 
 reign of King William he visited England, 
 and was much employed here in painting 
 portraits, as well as in ornamenting the 
 houses of the nobility. On his return to 
 Germany, he executed a few designs for 
 the Elector Palatine, for which that prince 
 presented him with a chain and medal of 
 2k: 
 
SCH 
 
 gold ; and would have employed him in 
 larger works, if the other engagements of 
 Schoonjans had not compelled him to 
 hasten to Vienna, where he died in 1726. 
 Lord Orford had the portrait of Schoon- 
 jans, painted by himself. 
 
 ScUOOJiEFELD Or ScHOENEFELD, (JoHN 
 
 Henky). He was born at Biberach, in 
 Suabia, in 1619, of a noble family, and 
 learned the art of painting from John 
 Sichelbein ; but he afterwards went 
 through Germany to improve himself, 
 and in a few years gave evident proofs 
 of an elevated genius. He next travel- 
 led to Rome, where, by studying the 
 most celebrated pieces of painting, archi- 
 tecture, and sculpture, he refined his 
 taste ; obtained a perfect idea of design 
 and composition ; and distinguished him- 
 self by an uncommon readiness of inven- 
 tion, as well as freedom of execution. He 
 showed grace in all his compositions, and 
 possessed so fertile a conception, that his 
 pencil, though exceedingly expeditious, 
 was scarcely active enough to express what 
 the liveliness of his imagination dictated. 
 He excelled equally in historical subjects, 
 landscapes, seaports, architecture, ruins 
 of grand edifices, and animals of every 
 species. His figures were designed with 
 elegance, and all his subjects disposed 
 with judgment. At Augsburg, in the 
 church of the Holy Cross, are two capital 
 paintings by him : one of Christ conducted 
 to his Execution ; the other, a Descent 
 from the Cross, in which the figures and 
 dispositions are excellent ; and in the 
 senate-house of the same city is a fine 
 composition, representing the race of 
 Hippomenes and Atalanta, which deserves 
 the highest commendation. He also 
 etched some prints in a slight manner. 
 He died at Augsburg in 1689. 
 
 ScHooR (Nicholas Van). This paint- 
 er was born at Antwerp in 1666 ; but we 
 are not told by whom he was instructed. 
 He painted nymphs and children, chiefly 
 taken from fabulous history, which were 
 represented in a lively style. His chief 
 employment was in making designs for 
 the weavers of tapestry in Flanders. He 
 died in 1726. 
 
 ScHOKEL, or ScHOREEL (John). He 
 was born at the village of Sehorel, near 
 Alkmaer, in Holland, in 1495 ; and was 
 at first placed under William Cornelius, 
 an indifferent painter, with whom he con- 
 tinued three years; after which he studied 
 under James Cornelius, a much abler ar- 
 tist, and more expert in design. The fame 
 
 of John Mabuse, who then lived at Utrecht, 
 induced Sehorel to remove thither for the 
 benefit of his instruction ; but, as he coidd 
 not endure his dissipated habits, he left 
 him, and went to Nuremberg, where he 
 resided some time with Albert Durer. He 
 also made some stay at Spires, to study 
 perspective and architecture; and in every 
 city through which he passed, visited the 
 most eminent artists, to observe their dif- 
 ferent manners. Soon after his arrival at 
 Venice, he was prevailed on to undertake 
 a pilgrimage to Palestine; and in the 
 voyage designed the most pleasing views 
 of Cyprus, Rhodes, and other islands of 
 the Levant, with such ancient buildings, 
 castles, ruins, rocks, or scenery, as had an 
 appearance of elegance or grandeur in 
 their construction or situation. On his 
 arrival in Palestine, his principal employ- 
 ment was to sketch the prospects of the 
 country near Jerusalem, and the parti- 
 cular views of the city itself; of which 
 sketches he made a judicious use when he 
 returned to his native country, by com- 
 posing his subjects from sacred history. 
 Proofs of this appeared in a picture which 
 represented the passage of the Israelites 
 over Jordan ; and in another, of Christ 
 entering into Jerusalem. While in the 
 holy city, he presented to the convent a 
 picture of the Increduhty of St. Thomas. 
 On his return to Europe he visited Rome, 
 where he studied the antiques, the works 
 of RafFaelle, and the compositions of Mi- 
 chel Angelo Buonarroti, as well as other 
 great masters; designing also the most 
 magnificent ruins in that city and its en- 
 virons. He was the first of tSe Flemish 
 painters who introduced the Italian taste 
 into his own country ; and prepared them 
 for receiving further improvement from 
 Francis Floris and others, who after his 
 time studied at Rome. During his resi- 
 dence in that city, Sehorel was much dis- 
 tinguished by Pope Adrian VI., whose 
 portrait he painted, and who employed 
 him in the Belvidere. When he returned 
 to Holland, he settled at Utrecht, where 
 he died in 1562. His manner was rather 
 dry, but the airs of his heads had grace; 
 his landscape was always adapted to the 
 history which constituted the principal 
 subject; and his colouring, though not 
 excellent, was far from unpleasing. His 
 picture, at Haerlem, of St. John baptizing 
 Christ, is one of his finest performances. 
 
 ScHOOTEN (George Van). He was 
 born at Leyden in 1587, and studied under 
 Conrad Vander Maes, whom he surpassed. 
 
SCH 
 
 both as a painter of history and portrait. 
 His works are, however, very little known. 
 He died in 1658. 
 
 ScHOUMAN (Artus). This person, of 
 whose history little is known, was born 
 at Dort in 1710, and had Adrian Vander 
 Berg for his instructor. He painted his- 
 torical subjects and portraits, besides 
 which, he engraved some plates in mezzo- 
 tinto, but of no great merit. He died 
 about 1780. 
 
 ScHUPPEN (Peter Van). This artist 
 was the son of a Flemish engraver of 
 eminence, who settled at Paris, where 
 Peter was born, in 1673. He became the 
 scholar of Nicholas de Largilliere, after 
 which he went to Vienna, where he was 
 appointed painter to the emperor, and di- 
 rector of the academy. He excelled in 
 history and portrait. He died in 1751. 
 
 ScHDRMAN (Anna Maria). This ex- 
 traordinary lady was born of a noble fa- 
 mily at Cologne, in 1607. From her 
 infancy she discovered an uncommon 
 facility in acquiring various accomplish- 
 ments, as cutting with her scissors, out of 
 paper, all sorts of figures without any 
 model ; designing flowers, embroidery, 
 painting, sculpture, and engraving, and 
 succeeded equally in all those arts. Her 
 handwriting was also beautiful, and many 
 curious persons preserved specimens of 
 it in their cabinets. She was likewise 
 deeply conversant in the Greek, Latin, 
 Hebrew, Syriac, Arabic, Chaldaic, and 
 Ethiopic languages ; besides English, 
 French, and Italian. She drew portraits 
 upon glass with the point of a diamond, 
 and painted her own picture by means of 
 a mirror; she also found out the art of 
 forming artificial pearls, so like natural 
 ones, that they could not be distinguished 
 but by pricking them vvith a needle. She 
 modelled in wax, sculptured several busts, 
 and, among otiier plates, engraved her 
 own portrait, in a neat style, dated in 
 1640. Her works in Latin, French, He- 
 brew, and Greek, have been printed in 
 one volume. She died, unmarried, at 
 Altona, in 1678. 
 
 ScHUT (Corneous). Tills painter was 
 born at Antwerp in 1600. He was the 
 disciple of Rubens, and having a fruitful 
 genius and lively imagination, showed 
 himself worthy of the school from whence 
 he derived his instruction, and rendered 
 himself considerable as a painter of his- 
 tory. Vandyck painted his portrait among 
 the eminent artists of his time ; but the 
 superior merit of Rubens prevented him 
 
 from being so much distinguished or em- 
 ployed as he deserved. This disappoint- 
 ment inspired him with an implacable 
 enmity to his master, who, instead of ex- 
 pressing any resentment, was only more 
 active to procure him employment, by a 
 generous commendation of his perfor- 
 mances. He had a poetic imagination, 
 and generally chose to paint subjects of 
 the fabulous kind ; but though his com- 
 position was ingenious, and showed a 
 spirited fancy, yet his works were depre- 
 ciated by a grayish tint in the colouring, 
 an incorrectness of design and outline, 
 and a want of studying nature. However, 
 he had a free and firm pencil, and his 
 style of colouring plainly indicated the 
 school of Rubens. He was sometimes 
 engaged by other artists to insert figures 
 in their pictures, particularly by Daniel 
 Segers, for whom he frequently painted 
 the bas-reliefs, and figures coloured in 
 imitation of marble, which are seen in the 
 middle of the flower-pieces of that master. 
 The cupola of the chufch of Notre Dame 
 at Antwerp was painted by him ; and in 
 a chapel of the same edifice is an altar- 
 piece, of which the subject is the Martyr- 
 dom of St. George ; but one of his most 
 capital performances is in the church of 
 the Jesuits at Ghent, representing the As- 
 sumption of the Virgin. Schut also etched 
 several plates from his own designs in a 
 spirited style. He died at Antwerp in 
 1660. 
 
 ScHDTZ (Christian George). Tins 
 German artist was born at Floersheim, in 
 the electorate of Mentz, about 1725. He 
 painted small views of the Rhine, and 
 landscapes in the same size, exquisitely 
 finished. He also etched some plates of 
 the same subjects from his own designs. 
 
 ScHUUR (Theodore Vander). He 
 was born at the Hague in 1628, and went 
 young to Paris, where he became the 
 scholar of Sebastian Bourdon, with whom 
 he made a great progress in the theory 
 and practice of his art. In 1651 he tra- 
 velled to Rome, applying himself inces- 
 santly to his studies ; and there copied the 
 compositions of RaSaelle and Giulio Ro- 
 mano, in which he succeeded so happily, 
 that his performances engaged the notice 
 and approbation of the ablest judges. 
 Queen Christina of Sweden, who then re- 
 sided in that city, honoured him with her 
 patronage, employed him in several con- 
 siderable designs, and rewarded him 
 liberally. On his return to the Hague, he 
 acquired extraordinary honour by a grand 
 
SCH 
 
 SCO 
 
 composition, which he painted on a ceiling 
 of the town-house, in the hall of the burgo- 
 masters; being an allegorical represen- 
 tation of Justice, Temperance, and Forti- 
 tude. Another fine picture of his painting 
 there, is a group of portraits of officers. 
 His works have more of the Italian than 
 the Flemish taste. He had a good manner 
 of design, a perfect knowledge of perspec- 
 tive and architecture, and always enriched 
 his backgrounds with Greek and Roman 
 antiquities. He died in 1705. 
 
 ScHWABT (John). He was born at 
 Groningen, in Holland, in 1480, and 
 went for improvement to Italy. He 
 painted history and landscapes equally 
 well, particularly the latter, which was 
 much in the manner of Schorel. He 
 died in 1541. 
 
 ScHWABTs (Christopheb). This pain- 
 ter, who obtained the high appellation of 
 the German Raffaelle, was born at Ingol- 
 stadt, or, according to other accounts, at 
 Munich, in 1550. He learned the first 
 principles of the*?lrt in his own country, 
 but finished his studies at Venice, in the 
 school of Titian. After spending some 
 years there, he returned to Germany, 
 where his works v/ere much admired, on 
 account of their novelty. The elector 
 of Bavaria was so well pleased with them, 
 that he invited Schwarts to his court, 
 and appointed him his principal painter. 
 He had a genius for grand compositions ; 
 but though he shook off some of his 
 national taste during his residence at 
 Venice, he could never entirely divest 
 himself of it. His colouring was lively 
 and natural; he had also a light, free 
 pencil, which enabled him to work with 
 great ease and readiness; but he was 
 incapable of giving his figures either the 
 elegance, the grace, or the correctness of 
 the Italian masters. He gave up his 
 whole attention to colouring, and seemed 
 to despise other branches of his art, which 
 were at least as essential, if not more so. 
 Even to the last he retained a mixed man- 
 ner, participating of the Roman, Vene- 
 tian, and German styles. In the attitudes 
 and disposition of some of the figures, 
 he approached the two former schools. 
 but in the airs of his heads, countenances, 
 and expression, he seemed totally German. 
 His most capital works, as well in fresco 
 as in oil, are in the palace at Munich, 
 and in the churches and convents ; parti- 
 cularly in the grand hall of the Jesuits, 
 there is a picture of the Virgin and Child, 
 in which the air of the maternal head is 
 
 noble, and the countenance shows such 
 an expression of modesty and innocence, 
 as is truly worthy of the character, and 
 also a degree of grace rarely observable 
 in his figures. One of his best per- 
 formances is a picture of the Entombing 
 of Christ, in the gallery of Dusseldorp. 
 He died at Munich in 1594. 
 
 ScHWEiCKHABDT (H. W.) This Dutch 
 artist came to England in 1786, and set- 
 tled here for the rest of his life. He 
 painted landscapes and cattle, but excelled 
 in the representation of winter scenes. 
 He also etched a set of plates of animals 
 in 1788; and was patronised by Benja- 
 min West. 
 
 SCHYNDAL, or ScHBNDEL (BeRNARD). 
 
 He was born at Haerlem in 1659, and 
 became a disciple of Mommers. His sub- 
 jects were natural, but copied from low 
 life, such as conversations, merry-makings, 
 and feasts, with the interior of the huts 
 of shepherds and peasants. He had a 
 neat manner of pencilling, and in his 
 style of design and colouring imitated 
 Ostade ; and, though inferior to that mas- 
 ter, he was on an equality with Braken- 
 burg. He died in 1716. 
 
 Scilla (Agostino). This painter was 
 born at Messina in 1629, and studied 
 under Antonio Ricci, or Barbalunga, who 
 solicited and obtained for him a pension 
 from the senate, that he might be enabled 
 to visit Rome. He there availed himself 
 of the instructions of Andrea Sacci, and 
 after a residence of four years in that 
 great seat of art, he returned to Messina, 
 highly accomplished in paintingand litera- 
 ture. He then established an academy 
 in his native city ; but when the revolu- 
 tion broke out there in 1674, he fled to 
 Rome, where he died in 1 700. He painted 
 both in fresco and in oil ; his most ad- 
 mired performance in the latter being a 
 picture of the Death of St. Hilary. 
 
 ScoLABi (Giuseppe). He was born at 
 Vicenza, and had Giovanni Battista Ma- 
 ganza for his preceptor. He painted 
 historical subjects both in fresco and in 
 oil; many of his pictures being in the 
 churches of Vicenza, Verona, and Venice. 
 He also engraved, but in a rude manner, 
 on wood. He lived about 1590. 
 
 ScoBZA (SiNiBALDo). He was born 
 in 1589, at Voltaggio, near Genoa, and 
 studied under Giovanni Battista Paggi. 
 He painted landscapes with figures and 
 animals in an admirable style, well com- 
 posed, and touched with spirit. Besides 
 these pictures, which are most valued, he 
 
SEG 
 
 501 
 
 SEG 
 
 produced some historical subjects orna- 
 mented with landscape. He died in 1 63 1 . 
 
 Scott (Samuel). This celebrated 
 marine painter was born in London about 
 1710. He was second only to young 
 Vandervelde in sea views, and excelled 
 him in the representation of ports and 
 buildings. His views of London Bridge, 
 and of the Custom-house Quay, were 
 admirably painted ; nor were his washed 
 drawings inferior to his finished pictures, 
 of which Sir Edward Walpole had several, 
 executed in a fine style. He died in 1772. 
 
 Sebastiano, see Piombo. 
 
 Secano (Geronimo). This Spanish 
 artist was born at Saragossa in 1638; 
 but it is not known by whom he was 
 instructed. His principal works are in 
 the churches of his native city, and are 
 both in oil and fresco. He died in 1710. 
 
 Seccaute (Sebastiano). He was born 
 at Udina, and was the scholar of Pompo- 
 nio Amalteo, by whose instructions he 
 became a reputable painter of history 
 and portrait. His best picture is Christ 
 bearing the Cross, an altar-piece in the 
 church of St. George, at Udina, where he 
 lived about 1580. 
 
 Secchiari (Giuiiio). He was bom at 
 Modena, but had his professional educa- 
 tion in the school of the Carracci at 
 Bologna; after which he went to Rome, 
 where he studied with great application. 
 His merit recommended him to the Duke 
 of Mantua, for whom he painted several 
 fine pictures, which were destroyed or 
 carried off when that city was taken in 
 1630. There is, however, a noble altar- 
 piece by him, of the Death of the Virgin, 
 in the cathedral. He died in 1631. 
 
 Segala (Giovanni). He was born at 
 Venice in 1663, and had Antonio Zanchi 
 for his preceptor. There is a noble 
 composition by him in the Scuola della 
 Carita at Venice, representing the Mira- 
 culous Conception. He died in 1720. 
 
 Segers, or Seghers (Gerard). He 
 was born at Antwerp in 1589, and was 
 successively the scholar of Henry Van 
 Balen and Abraham Jansens ; after which 
 he travelled to Italy, to perfect himself 
 in his profession. At Rome he copied 
 some of the most celebrated paintings ; 
 but principally imitated the manner of 
 Manfredi, with broad lights opposed by 
 strong shadows, which gave his figures 
 a look of life, and an astonishing relief 
 and roundness, in the style of Michel 
 Angelo Caravaggio, of whom that painter 
 had been a disciple. The subjects which 
 
 he painted, when he returned to Antwerp, 
 were generally soldiers playing at cards, 
 or musicians performing on various instru- 
 ments, with half-length figures; which 
 had so great an appearance of an Italian 
 master, that his works were exceedingly 
 commended. By the constant employ- 
 ment of his pencil in those kinds of compo- 
 sitions, as well as pictures for churches 
 and convents, he was enabled to live 
 splendidly, and to expend sixty thousand 
 florins in the purchase of the works of 
 great masters. At the desire of Cardinal 
 Zapata, the Spanish ambassador at Rome, 
 he went to Rome, where his eminence 
 recommended him to the king, for whom 
 he painted several grand designs, so much 
 to the satisfaction of the monarch, that 
 he loaded Segers with presents, and would 
 have retained him in his service; but he 
 preferred the pleasure of revisiting his 
 native city to the most alluring prospects 
 of honour and riches. The historical 
 pictures painted by him for the churches 
 had figures as large as life, and the merit 
 of those compositions consisted in the 
 justness and strength of the expression. 
 He gave a remarkable proof of his ability, 
 by his representations of the Crucifixion, 
 and the Martyrdom of some of the Apos- 
 tles : in which the expression was so affect- 
 ing, lively, and pathetic, as to call forth 
 tears from the eyes of the spectators. At 
 first he avoided glaring tints, being care- 
 ful to preserve a general harmony in his 
 colouring; and yet his pictures had so 
 great a degree of force, that they made 
 most other paintings look weak and faint. 
 But in the latter part of his life he adopted 
 a brighter tone, being compelled to do so 
 by the taste of the public, who preferred 
 the colouring of Rubens and Vandyck to 
 that of the best artists of Rome or Venice. 
 Segers composed his subjects well; he 
 was correct in his designs, excellent in ex- 
 pression ; his colouring was warm and full 
 of force ; and the opposition of his lights 
 and shadows evinced a perfect understand- 
 ing of the chiaro-oscuro. One of his most 
 capital designs is a picture representing 
 the Denial of St. Peter ; and another cele- 
 brated work is the Marriage of the Virgin, 
 over the grand altar in the church of the 
 Barefooted Carmelites at Antwerp. In 
 the church of the Jesuits is the Elevation 
 of the Cross ; and in the cathedral is the 
 Adoration of the Magi, both admirable 
 performances. Gerard Segers died in 
 1651. 
 
 Segers, or Skgueks (D.iniel). He 
 
SEG 
 
 502 
 
 SEM 
 
 was the younger brother of the preceding, 
 and was born at Antwerp in 1590. He 
 was at first instructed by Gerard; but 
 afterwards became the pupil of Velvet 
 Brueghel, who at that time was in high 
 reputation for painting flowers. As the 
 genius of Segers directed him to the choice 
 of the same subjects, he studied nature 
 diligently, and imitated his models with 
 extraordinary truth, exactness, and deli- 
 cacy. At the age of sixteen, however, he 
 entered into the Society of the Jesuits; 
 and soon after was permitted by his 
 superior to visit Rome, in order to his 
 improvement. Wherever he travelled, he 
 was curious in observing the flowers, 
 fruits, plants, and insects, peculiar to each 
 place; and he designed after them so 
 accurately, that on his return to Antwerp 
 he had a sufficient supply to furnish him 
 with beautiful objects for his future 
 compositions. His usual manner of 
 disposing l)is subjects was in garlands 
 or festoons round elegant vases of marble, 
 on which were represented historical 
 designs, inserted by Rubens, Schut, 
 and other artists. His pencil was light, 
 his touch free and delicate, his flowers 
 have all the freshness and bloom of 
 nature, and he finished every object with 
 uncommon neatness. He had a particular 
 excellence in painting lilies and roses; and 
 in all his pictures showed a fine style of 
 colouring. His tints were transparent 
 and natural; and the insects which he in- 
 troduced among the flowers seemed as 
 perfect as life. Two of his most exquisite 
 pictures were presented to the Prince of 
 Orange, by the Society of which Segers 
 was a member, for which they were 
 splendidly repaid. But his most capital 
 performance was in the Jesuits' church 
 at Antwerp. The picture was a garland, 
 composed of flowers and fruits, in which 
 seemed to be collected and combined 
 every thing beautiful in nature, of those 
 kind of objects as well as insects ; and in 
 the middle was the picture of the Virgin 
 and Child, painted by Rubens. Many 
 pictures are ascribed to this master which 
 were unworthy of his pencil. He died 
 in 1660. 
 
 Segers, or Zegbrs (Hercules). This 
 Dutch painter was born in 1629, and 
 excelled in landscape. He had a fine 
 invention, a ready genius, and a clear 
 judgment. His composition was rich, and 
 full of a pleasing variety of mountains, 
 valleys, and villages ; his grounds were 
 well broken, and by a judicious manage- 
 
 ment of his tints, improved by a skilful 
 opposition of light and shadow, his dis- 
 tances appeared exceedingly remote, and 
 the scene of his landscape uncommonly 
 extensive. His rocks and moimtains were 
 touched with great spirit, and for sweet- 
 ness of colouring he was scarcely inferior 
 to any of the artists of his time. He in- 
 vented a method of stamping landscapes 
 on cloth, in which every object appeared 
 in its natural colour; but his project was 
 not attended with success, and he con- 
 tinued, till his death in 1675, oppressed 
 by poverty. Afterwards, however, his 
 works rose considerably in value. 
 
 Sementi, or Semenza (Giovanni Gia- 
 coMo). He was born at Bologna in 1580, 
 and studied successively under Denys 
 Calvart and Guido Reni. He was a close 
 imitator of the style of the latter, as ap- 
 peared in the paintings which he executed, 
 of the Death of St. Cecilia; the Marriage 
 of St. Oatherine ; and the Crucifixion, in 
 three of the churches at Bologna. On 
 going to Rome he obtained the patronage 
 of the Cardinal of Savoy; and he painted 
 there some frescoes, as well as pictures in 
 oil, particularly one for an altar, the 
 subject of which was the Virgin and Child 
 with St. Gregory and St. Francis. He 
 died in 1638. 
 
 Semini (Antonio). He was born at 
 Genoa in 1485, and had Lodovico Brea 
 for his preceptor; but afterwards he 
 adopted the manner of Pietro Perugino. 
 One of his finest performances was a Na- 
 tivity, in the church of St. Dominico, at 
 Savona. He also excelled in landscape. 
 He died at Genoa in 1549. 
 
 Semini (Andrea). He was the son of 
 the preceding, and was born at Genoa in 
 1510. After receiving instruction from 
 his father, he became the scholar of Perino 
 del Vaga, by whose advice he went to 
 Rome, where he resided eight years. On 
 his return to his native city, he met with 
 considerable employment for the churches 
 and convents. His best works were, the 
 Nativity, and the Wise Men's Offering, 
 in both of which he imitated Raffkelle. 
 He also painted portraits. He died in 
 1578. 
 
 Semini (Ottavio). He was the 
 younger son of Antonio Semini, and was 
 born at Genoa in 1515. He studied under 
 Perino del Vaga, and accompanied his 
 brother to Rome, where he applied dili- 
 gently to the works of Raffaelle and the 
 antiques. On his return to Genoa he 
 became the associate of Andrea, till he 
 
SES 
 
 SHI 
 
 was invited to Milan, where he spent the 
 remainder of his life in great reputation. 
 His picture of the Rape of the Sabines, in 
 the Palazzo Doria, at Genoa, has been 
 deemed worthy of Raffaelle; and in the 
 church of St. Angelo, at Milan, is a piece 
 by him of the Funeral of St. Girolamo, 
 painted in a noble style. He died in 1604. 
 
 Sepp(John CHRisxrAN). Of this Dutch 
 artist we know nothing more than that he 
 was a native of Amsterdam, where he 
 painted insects with astonishing accuracy, 
 spirit, and neatness. He also published 
 a work on entomology, which was con- 
 tinued by his son. 
 
 Seppezzino (Feancesco). This artist 
 was born at Genoa in 1530. He studied 
 successively under Luca Cangiagis, and 
 Giovanni Battista Castelli, by whose 
 instructions he became a respectable 
 painter of history. He died in 1579. 
 
 Serafina (Serafino da). Of this old 
 artist we know nothing more than that he 
 painted in the cathedral at Modena a 
 Coronation of the Virgin, executed in the 
 style of Giotto. It bears the date of 1 385. 
 
 Sebenabi (Gaspaeo). This painter 
 was born at Palermo, in Sicily, and stu- 
 died at Rome, in the school of Sebastian 
 Conca. On his return to Palermo he 
 distinguished himself as a painter in oil 
 and fresco. He lived about 1760. 
 
 Serbes (Dominic). This marine pain- 
 ter was born at Auch, in Gascony, and 
 came to England about the year 1765. 
 When the Royal Academy was instituted 
 in 1768, he was chosen one of the first 
 members; and some time afterwards re- 
 ceived the appointment of marine painter 
 to the king. In 1792 he succeeded Mr. 
 Wilton, as librarian to the Royal Aca- 
 demy. He died in 1793. Mr. Serres 
 was a respectable artist, though very much 
 inferior to Vernet, who thought him only 
 excellent in detail. One of his best paint- 
 ings was a picture of Lord Howe's Victory 
 over the combined fleets of France and 
 Spain, in 1782. 
 
 Servandoni (Cavaliebe Giovanni 
 Geronimo). This artist was born at 
 Florence in 1695, and had Giovanni Paolo 
 Panini for his instructor; to whose man- 
 ner he adhered through life. On going 
 to Paris he was employed to paint the 
 decorations of the opera-house, and other 
 works, for which he received the order of 
 knighthood. He died at Paris in 1766. 1 
 
 Sesto (Cesabe da). He was born at | 
 Milan about 1480, and studied in the ' 
 school of Leonardo da Vinci, where he ' 
 
 distinguished himself above all the dis- 
 ciples of that famous master. On quit- 
 ting Leonardo he went to Rome, where 
 he improved himself by the study of the 
 antiques, and was employed by the pope 
 and principal nobility. His composition 
 was learned, his taste elegant, and he 
 designed historical figures with grace. 
 It is a proof of his merit that he enjoyed 
 the friendship of Raffaelle, whose style he 
 imitated. He died at Milan in 1524. 
 
 Setti (Ercole). This artist was a 
 native of Modena, and painted some altar- 
 pieces for the churches there, about the 
 year 1560. He also engraved several 
 historical pieces and architectural sub- 
 jects. 
 
 Sevb (Gilbert de). This French 
 artist was born at Moulins in 1615, and 
 painted historical subjects with success. 
 He died at Paris in 1698. His brother, 
 Peter de Seve, was distinguished in the 
 same branch of art. He died in 1695. 
 
 Seymoue (James). This painter was 
 born in London in 1702. His instruc- 
 tor is not known; but it is probable that 
 he learned the principles of the art from 
 his father, who was a banker, and the 
 friend of Lely. James Seymour became 
 distinguished by his skill in designing a 
 horse, in which he was thought superior 
 to Wootton. The proud Duke of Somer- 
 i?et once employed Seymour to paint a 
 room at his seat in Sussex, with the 
 portraits of his running horses. Having 
 admitted the artist to his table, he one day 
 drank to him, saying, " Cousin Seymour, 
 your health." The painter replied, " My 
 lord, I really believe that I have the honour 
 of being of your grace's family." This 
 hurt the pride of the duke so much that 
 he rose from the table, and ordered his 
 steward to pay Seymour and dismiss him. 
 Finding, however, that no one in England 
 could complete the pictures, he conde- 
 scended to send for his cousin, who re- 
 torted in these words, " My lord, I will 
 now prove that I am of your grace's family; 
 for I won't come." He died in 1752. 
 
 Shaw (James). This artist was a 
 native of Wolverhampton, and the scholar 
 of Mr. Penny. He painted portraits, but 
 not with much reputation, first in Covent- 
 garden, and next in Charlotte-street, Rath- 
 bone-place, London, where he died about 
 1784. Tiiere was another artist of this 
 name, who exhibited at the fii-st establish- 
 ment of the Royal Academy as a painter 
 of horses. He died about 1772. 
 
 Shipley (William). This artist was 
 
SIE 
 
 SIL 
 
 born in London, and kept a drawing school 
 several years. The Society for the En- 
 couragement of Arts, Manufactures, and 
 Commerce, originated with hira ; and in 
 1758 he received a gold medal, as a com- 
 pliment for his public spirit, which gave 
 rise to the institution. He is said to have 
 been instructed by a poor person named 
 Phihps, who painted portraits. There is 
 a print by Faber, of a man blowing a fire- 
 brand, marked with the name of Shipley 
 as the painter, who is supposed to be the 
 subject of this article. He settled latterly 
 at Maidstone, and died there in 1804, at 
 the age of ninety. Dr. Jonathan Shipley, 
 bishop of St. Asaph, was his brother. 
 
 SiBRECHT, or Sybrecht (John). He 
 was born at Antwerp in 1625, and learned 
 the rudiments of the art from his father ; 
 but afterwards studied the works of Ni- 
 cholas Berchem and Carl du Jardin, which 
 he so happily imitated, that some of his 
 copies have been supposed originals of 
 those great artists. He was invited to 
 England by John Sheffield, Duke of 
 Buckingham, who employed him at Clif- 
 den-house for three or four years ; after 
 which he found sufficient encouragement 
 from the nobility and gentry to settle in 
 London, where he painted a number of 
 pictures in oil, but more in water colours. 
 His usual subjects were landscapes, and 
 views on the Rhine. He died there in 
 1703, and was buried in St. James' church. 
 
 SiCIOLANTE, or DA SbRMONETA (GiRO- 
 
 liAMo). He was born at Sermoneta in 
 1504, and received his first instruction from 
 Leonardo da Pistoia ; but acquired greater 
 improvement under Perino del Vaga. His 
 mannerofpaintingwasbrightand pleasant, 
 his composition good, and his design 
 elegant ; for he made Raffaelle his model, 
 whom, in all his works, he endeavoured 
 to resemble. He was employed by Pope 
 Gregory XIII. to adorn some of his pa- 
 laces ; and in the chapel of Sixtus IV. he 
 designed the history of Pepin King of 
 France givingRavenna to the church ; and 
 in that of La Pace he painted a Nativity, 
 which is accounted a grand performance, 
 the airs of the heads being extremely fine, 
 and the whole tolerably well coloured. 
 Of his other works, the principal are, the 
 Martyrdom of St. Lucia ; and the trans- 
 figuration, at Rome ; and at Ancona, the 
 enthronization of the Virgin. He also 
 painted portraits in an excellent style. He 
 died in 1550. 
 
 Siena (Matteo da). He was born at 
 Siena about 1533, and on going to Rome 
 
 obtained employment in the Vatican ; his 
 department being the landscape and archi- 
 tecture, while Pomerancio painted the 
 figures. He died in 1588. 
 
 SiGNOKELLi (Luca). He was bom at 
 Cortona in 1439, and was the disciple of 
 Pietro della Francesca, under whom he 
 profited so much, that it was difficult to 
 distinguish the work of the one from that 
 of the other. Luca, however, surpassed 
 his master considerably. No artist of his 
 time was more admired for designing naked 
 figures, giving them elegant forms, and a 
 just character of nature. His merit was 
 acknowledged by Michel Angelo, who not 
 only commended his works, but borrowed 
 his ideas. Signorelli worked equally well 
 in fresco and in oil, and showed as great 
 excellence in portrait as in history ; and 
 in his celebrated design of the Dissolution 
 of the World, which he painted in the 
 cathedral at Orvieto, he introduced the 
 likenesses of many of his friends and bene- 
 factors. It was to this picture that 
 Buonarroti was indebted for many of the 
 figures in his Last Judgment, painted in 
 the chapel of Sixtus IV. The invention 
 of Signorelli was ready and fertile; he 
 gave great grace to the airs of his heads ; 
 and the disposition of them showed equal 
 judgment and taste. This character is 
 exemplified in his picture of the Commu- 
 nion of the Saints at Cortona. Other works 
 of his are at Arezzo, Perugia, Siena, Lo- 
 retto, and Florence, from which the artists 
 of his time derived much benefit. It is 
 recorded as an instance of his uncommon 
 fortitude, that when his son was killed at 
 Cortona, he ordered the body to be laid 
 naked in his painting room, where, without 
 shedding a tear, he painted a striking 
 likeness of the youth, whom he loved for 
 his promising talents. Signorelli died in 
 1521. 
 
 SiLVESTRE (Louis). This French artist 
 was the son of Israel Silvestre, an eminent 
 engraver at Paris, where he was born in 
 1644. He studied under Bon Boullongne, 
 after which he went to the court of Augus- 
 tus III., King of Poland, who pensioned 
 him, and conferred on him the honour of 
 knighthood. On his return to Paris he 
 became the director of the academy. He 
 died there in 1728. Silvestre painted both 
 portraits and landscapes. 
 
 Silvio (Giovanni). He was born at 
 Venice, and is conjectured to have been a 
 pupil of Titian, which supposition ismerely 
 founded on a picture bearing his name, in a 
 church near Padua, representing St. Peter, 
 
SIN 
 
 505 
 
 SIR 
 
 St. Paul, and St. Martin, with three An- 
 gels. It is dated 1532. 
 
 SiMBERT (John). This artist was born 
 at Edinburgh, where he served his ap- 
 prenticeship to a house painter ; but by 
 the forceof genius he rose above that occu- 
 pation, and went to Italy. On his return 
 he obtained employment in his native city, 
 where he lived on terms of intimacy with 
 Allan Ramsay. When Dean, afterwards 
 Bishop Berkeley, formed his project of a 
 collegeatBermuda,Simbert embarked with 
 him, but left him at Rhode Island, to go 
 to Boston. There he married, and con- 
 tinued usefully employed as a portrait 
 painter till his death, in 1751. 
 
 SiMONE (Maestro). This ancient paint- 
 er was a Neapolitan, and had Filippo 
 Tesaurofor his first master; but he after- 
 wards followed the style of Giotto. One 
 of his best works was a picture of the De- 
 scent from the Cross. He lived about the 
 year 1350. 
 
 Simmons (John). This hitherto un- 
 noticed artist was born at Nailsea, in 
 Somersetshire, about 1715, and served his 
 apprenticeship to a house and ship painter 
 at Bristol. lie carried on the same busi- 
 ness in that city till his death, which 
 happened Jauary 18, 1780. Simmons 
 painted many portraits, from some of which 
 engravings were made ; but his principal 
 works were the altar-piece in All Saints' 
 church, Bristol ; and another in St. John's 
 church at Devizes. The subject of the 
 first is the Annunciation, and is a very 
 creditable performance ; that of the latter 
 is the Resurrection. Hogarth thought 
 very highly of the talents of Simmons, 
 whose portrait of Ferguson, the astro- 
 nomer, was in one of the early exhibitions 
 of the Royal Academy. 
 
 SiMONiNi (Francesco). He was born 
 at Parma in 1689, and hadllario Spolverini 
 for his preceptor. He painted warlike 
 pieces in an excellent style, and with un- 
 common spirit. He died at Venice about 
 1760. 
 
 SiNGHER (John). This artist was born 
 at Hesse Cassel in 1510, but practised as 
 a landscape painter with great credit at 
 Antwerp, where, in 1543, he became a 
 member of the academy. His principal 
 employment was in making designs for 
 the weavers of tapestry. He died in 1558. 
 Singleton (Heney), painter of poetic 
 and domestic subjects, and a member of 
 the Royal Academy, died in London on 
 the 15th of September, 1839, aged seventy- 
 three years. His first work, a conversa- 
 
 tion-piece, was exhibited at the Academy 
 in 1784 : he then lived in 33, Union-street: 
 his Julia, from the Two Gentlemen of 
 Verona, and a family composition, were 
 in the succeeding exhibitions; and, in 
 1787, he painted Tancred and Sigismun- 
 da, and also Sigismunda, Guiscardo and 
 the Priest, from the versified tale of Boc- 
 caccio, by Dryden. From that period 
 till late in life Singleton continued to ex- 
 hibit, almost annually, pictures of a poetic 
 nature from our literature; and he also 
 lent his pencil to increase the attractions 
 of books, in which he might be considered 
 successful, as he was largely employed by 
 the London publishers. His pictures have 
 few faults and few beauties: they give 
 shape to the imagery of the poets ; they 
 illustrate, rather than reflect, mind and 
 feeling : few bards consider that vigour is 
 added to their thoughts, or loveliness to 
 their forms, by the pencil of the artist. 
 Yet his memory will be esteemed by all 
 who reflect, that he helped to lend the 
 wings of embellishment to much of our 
 literature, and open the eyes of readers of 
 little fancy to the mystical parts of an 
 author's meaning. 
 
 SiRANi (Giovanni Andrea). He was 
 born at Bologna in 1610, and was in- 
 structed in the school of Guido. He 
 usually painted in a large size, and in a 
 grand style, like that of his master; but 
 his manner was strong, and rather too 
 dark, though his composition is good, 
 with considerable grace in his attitudes, 
 and the airs of his heads. At Rome is a 
 Last Supper by him, which alone would 
 be sufficient to prove him a very distin- 
 guished painter; and at Bologna are the 
 Feast of Simon the Pharisee, and the 
 Marriage of the Virgin, much in the man- 
 ner of Michel Angelo da Caravaggio. 
 Sirani etched some good prints from his 
 own designs. He died in 1670. 
 
 Si RANI (Elisabetta). She was the 
 daughter of the preceding, and was born 
 at Bologna in 1638. Having learned the 
 principles of painting under her father, 
 she made so rapid a progress in the art 
 as to be accounted a prodigy, as well for 
 invention as execution, before she arrived 
 at her fifteenth year. She painted in the 
 manner of her father, but not with the 
 same freedom of hand, though her works 
 were very numerous and excellent. In 
 the church of St. Leonardo, at Bologna, 
 is an admired picture painted by her, of 
 which the subject is, St. Anthony of 
 Padua kissing the feet of the Infant Jesus. 
 
SIR 
 
 SLU 
 
 It is a beautiful composition, and execut- 
 ed in a firm manner ; the heads of the 
 figures are full of grace, and the whole is 
 excellently coloured. In the Carthusian 
 monastery at Bologna, is the Baptism of 
 Christ ; and in the church of St. Maria 
 di Galiera is a noble picture of St. Anne 
 contemplating tlie Infant sleeping; in the 
 Palazzo Zambeccari are three paintings, 
 one of the Virgin; another a Magdalen, 
 which is extremely fine; and a third, a 
 representation of St. Jerome. Besides 
 these admired performances, which are 
 much in the style of Guide, this accom- 
 plished lady painted about one hundred 
 and fifty other historical pictures and 
 portraits. She also etched some prints 
 from her own designs. She was poisoned 
 by her servant, in 1664. 
 
 SiRiES (VioLANTB Beatbice). This ! 
 ingenious lady was born at Florence in ' 
 1710, and was instructed by Giovanni 
 Fratellini, who painted in crayons and 
 water-colours. At the age of sixteen she 
 went to Paris with her father, who was 
 appointed goldsmith to the King of 
 France; and in that city she learned the 
 practice of painting in oil from a Flemish 
 artist. She continued at Paris five years, 
 during which time she painted the por- 
 traits of several persons of rank. These 
 performances were so much admired, that 
 flattering offers were made to induce her 
 to continue there, under the royal patron- 
 age. Her father, however, being recalled 
 to Florence by the grand duke, she chose 
 to return thither, where she continued to 
 improve in her profession by the assist- 
 ance of Francesco Conti, an artist of 
 reputation, from whom she learned to 
 design correctly, with elegance of taste, 
 and a beautiful tone of colouring. The 
 grand duke honoured her with his patron- 
 age, and ordered her portrait to be placed 
 in the gallery of artists at Florence ; on 
 which occasion Violante took the oppor- 
 tunity of introducing the likeness of her 
 father into the same picture ; an amiable 
 proof of her filial piety and distinguished 
 merit. Her pencil is light, delicate, and 
 free; her carnations are natural, and full 
 of warmth and life; and, as she understood 
 perspective and architecture thoroughly, 
 she made an elegant use of that know- 
 ledge, by enriching her pictures with 
 magnificent ornaments. Her draperies 
 are generally well chosen, full of variety, 
 and remarkable for a noble simplicity. 
 One of her most capital performances is 
 a picture containing the portraits of the 
 
 imperial family. The design consists of 
 fourteen figures, in a superb apartment, 
 of the richest architecture, and through- 
 out the whole composition appears a fine 
 taste of design, a judicious disposition 
 and lovely colouring, and the dresses of 
 the figures have a becoming grandeur, 
 suitable to the dignity of the persons. 
 Most of her paintings are in oil, in which 
 she frequently painted historical subjects, 
 as also fruits and flowers ; and she ex- 
 ecuted every subject with extraordinary 
 taste, truth, and delicacy. She died about 
 1770. 
 
 Slingelandt (John Pbteb Van). He 
 was born at Ley den in 1640, and was the 
 scholar of Gerard Douw, whose manner 
 he always imitated; and, in the opinion 
 of some judges, he even surpassed him in 
 the delicate and high polish which he gave 
 to his pictures; yet his figures are much 
 more stiff. The neatness of his pencil- 
 ling compelled him to work exceedingly 
 slow ; and, as an instance of his laborious 
 patience, it is recorded that he spent three 
 years upon one family picture. By this 
 manner of working, it was not possible 
 for him to grow rich ; for, although he 
 received large prices for his paintings, 
 yet he was, in reality, but poorly paid 
 for the time he employed about them. 
 He imitated nature exactly, but without 
 any delicacy of choice. His colouring 
 was nature itself, and the chiaro-oscuro 
 in his works has a charming effect, but 
 his taste of design was indifferent. Yet 
 he is justly ranked among the best Fle- 
 mish painters, and his pictures are often 
 mistaken for those of Mieris and Gerard 
 Douw. A remarkable performance of 
 Slingelandt is the representation of a Girl 
 holding a mouse by the tail, and a cat 
 jumping at it, which is exquisitely finish- 
 ed, very naturally coloured, and as trans- 
 parent as the best productions of Douw, 
 or Mieris. Another remarkable piece 
 mentioned by Houbraken is, the portrait 
 of a Sailor, with a woollen cap on his 
 head, which is so minutely wrought, that 
 every thread in the weaving is distin- 
 guishable. He died in 1691. 
 
 Sluts (Jacob Vandbk). He was born 
 at Leyden in 16<30, and was bred up in 
 the Orphans' Hospital of that city ; where 
 his demeanour and genius recommended 
 him to the favour of the governors, who 
 caused him to be instructed in the art of 
 painting, for which he expressed a par- 
 ticular inclination. At first he was placed 
 under the care of Ary de Voys, and after- 
 
SMI 
 
 507 
 
 SMI 
 
 wards with Peter Van Slingelandt. In 
 a short time he grew expert in copying 
 the works of his master, and made so 
 happy a progress, that he readily com- 
 posed those subjects which pleased his 
 own fancy, but always adhered to the 
 manner of Slingelandt. His subjects 
 were sports, conversations, assemblies, and 
 entertainments, in which he introduced 
 persons of both sexes, and spread cheer- 
 fulness over every countenance. He was 
 attentive to the neatness of his finishing; 
 but his design, as well as that of his mas- 
 ter, wanted elegance, thongh there is al- 
 ways great harmony in his colouring. 
 He died at Leyden in 1736. 
 
 Smirke (Robert), was born in 1751, 
 and was originally a painter of coach pan- 
 els. " He was," says the writer of a 
 sketch of his life, " one of the most dis- 
 tinguished of the English genre painters, 
 and had indeed no great rival before the 
 time of Wiikie." His favourite author 
 was Cervantes, and a great proportion of 
 his pictures are from Don Quixote. For 
 fifty-three years he was a member of the 
 Royal Academy. He died, in his ninety- 
 fourth year, at his house in Osnaburgh 
 street, Regent's Park. 
 
 Smith (William, George, and John). 
 These three brothers are said in most ac- 
 counts to have been natives of Chichester ; 
 but it has been since stated that they were 
 all bornat Guildford, in Surrey: William, 
 in 1707, George, in 1714, and John, in 
 1717. They appear to have been entirely 
 self-taught. William was a painter of 
 portraits, but occasionally produced fruit 
 and flower-pieces, and landscapes. He 
 was deformed, and is said to have greatly 
 resembled the celebrated Locke in his 
 countenance : he and his brother John 
 both died at Chichester in 1764. George 
 gained two prizes given for the best land- 
 scapes by the Society of Arts; one of 
 them was taken in 1760. It was subse- 
 quently engraved by Woollet. George 
 ciied at Chichester in 1766. William 
 Petherpainted and engraved in mezzotinto 
 the likenesses of these three brothers, 
 grouped together in one piece ; the eldest 
 being represented as reading a lecture 
 upon landscape to the two younger, who 
 are listening to him with great attention. 
 Several of the landscapes of George and 
 John Smith have been engraved by Wool- 
 let and other artists. 
 
 Smith (Thomas). Another landscape 
 painter, who, to distinguish him from the 
 preceding, is usually called Smithof Derby, 
 
 of which town he was a native. He also 
 was wholly self-taught, and yet attained 
 distinction in the line which he followed. 
 Several prints have been engraved by 
 Vivares from his pictures. He died in 
 1769, leaving a son, the subject of the 
 following article. 
 
 Smith (John Raphael). He was the 
 son of Thomas Smith, the landscape paint- 
 er, of Derby, from whom he received in- 
 struction in drawing; but losing him at 
 an early age, he had no other teacher. He 
 practised portrait painting in crayons, and 
 rose to pre-eminence in that line, as 
 appeared in his whole-lengths of Charles 
 Fox and Earl Stanhope. He also became 
 distinguished as a mezzotinto engraver, 
 and scraped a great number of fine prints 
 from the works of Sir Joshua Reynolds. 
 Among his scholars were the two Wards, 
 Hilton, and De Wint. Mr. Smith was 
 the first who brought into public notice 
 that eccentric genius George Morland. 
 He died in 1812. 
 
 Smith (Francis). This artist is said 
 by Edwards to have been a native of Italy, 
 though his name speaks the contrary. He 
 was much connected with Lord Baltimore, 
 and travelled with him in Turkey, where 
 he painted several views, particularly one 
 of Constantinople, which was exhibited at 
 the Royal Academy in 1770. Two years 
 afterwards he exhibited views taken on 
 the Thames. He died in London about 
 1779. Some prints from his drawings of 
 the Turkish costume, and ceremonies in 
 the seraglio, have been published. 
 
 Smits, or Hartcamp (Lodowick). He 
 was born at Dort in 1635, and painted 
 history and fruit pieces. He was remark- 
 able for a singular manner of handling, 
 by breaking and scumbling his colours; 
 but he did it so as to produce a good and 
 natural effect, and his fruit pieces in par- 
 ticular were in considerable request. 
 However, his paintings soon lost their 
 original beauty, which depreciated his 
 works in a short time, and when reproach- 
 ed with that defect, he only answered, that 
 his pictures lasted much longer than the 
 money he received for them. He died in 
 1675. 
 
 Smits (Nicholas). He was born at 
 Breda in 1672, and became a good painter 
 in history. He designed well, and was a 
 good colourist ; his compositions also dis- 
 play genius. He died in 1731. 
 
 Smitz (Caspar), called Magdalen 
 Smith. Of this artist we have no other 
 account than what Graham, in his Lives 
 
SNE 
 
 508 
 
 SNY 
 
 of the Painters, and Vertue, in his Anec- 
 dotes, have recorded. According to them, 
 he came from Holland to this country at 
 the Restoration. That he was here in 
 1662 is certain ; for in that year he pre- 
 sented to the Painters' Company in Lon- 
 don a small picture of a Magdalen. This 
 was his favourite subject, in which he ex- 
 celled, and on which account he obtained 
 the technical appellation of Magdalen 
 Smith. He also painted portraits in oil, 
 of a miniature size, and they were esteem- 
 ed for the resemblance, the expression, 
 and also for a pleasing tone of colour, full 
 of life and nature. His figures are well 
 drawn, and beautifully coloured ; and the 
 airs of the heads, as well as attitudes, have 
 a deal of grace. He generally gave a 
 solemn and engaging expression of grief 
 to his penitential subjects, and for the 
 most part introduced a thistle in the fore- 
 ground : an Englishwoman, who passed 
 for his wife, was his model for his Mag- 
 dalens. Besides his excellence in portrait 
 and historical figures, he painted fruit and 
 flowers in perfection, and they were in 
 such esteem, that a picture of a bunch of 
 grapes by him was sold for forty pounds. 
 He also practised as a drawing-master, 
 and having instructed an Irish lady, she 
 persuaded him to go to Dublin, where he 
 met with considerable employment, and 
 was paid liberally for his works ; notwith- 
 standing which, owing to dissipation, he 
 died in extreme distress, in 1707, though 
 Graham says in 1689. 
 
 Snayers (Peter). He was bom at 
 Antwerp in 1593, and was the scholar of 
 Henry Van Balen. He distinguished 
 himself not only by his excellent manner 
 of painting history and portraits, but also 
 battles, huntings, and landscapes, in all 
 which he was equally eminent. His taste 
 of design was good ; his animals have 
 considerable spirit ; his pencil is free and 
 delicate ; and his colouring approaches to 
 that of Rubens. The Archduke Albert 
 appointed him his principal painter, with 
 a large pension. The churches and many 
 of the grand apartments at Brussels, are 
 ornamented with his pictures, which were 
 commended by the two best artists of his 
 time, Rubens and Vandyck, the latter of 
 whom painted his portrait. He died in 
 1670. 
 
 Snellincks (John). He was born at 
 Mechlin in 1544, and is mentioned by 
 Van Mander with honour for his skill in 
 painting history and battles. His excel- 
 lence principally consisted in the represen- 
 
 tation of horses, and giving them grace- 
 ful and spirited attitudes, with a firm, 
 correct outline in every member. The 
 figures in his compositions were disposed 
 in agreeable groups; he expressed the 
 hurry and confusion of an engagement 
 with singular judgment; and contrived 
 the darkness arising from the clouds of 
 smoke in so artful a manner, as to relieve 
 and animate his figures. The greatest 
 personages employed him, and he received 
 the highest honour by the approbation of 
 Vandyck, who esteemed him one of the 
 best painters in the Low Countries, and 
 testified that esteem by painting and etch- 
 ing his portrait. SneUincks died at Ant- 
 werp in 1638. 
 
 SifYDERS, or Snbyders (Francis). He 
 was born in 1579, at Antwerp, where he 
 became a disciple of Henry Van Balen. 
 His first subjects were fruits and still life; 
 but afterwards his genius prompted him 
 to paint animals, in which line he sur- 
 passed all his contemporaries. He studied 
 nature accurately, and his objects were 
 copied with equal exactness and judgment. 
 It has been said that he went to Italy, and 
 improved himself there by the works of 
 Castiglione, which is palpably erroneous ; 
 for Snyders was an old man when that 
 artist began to be known. The probability 
 is that Snyders never was out of his own 
 country, being constantly employed at 
 Antwerp and Brussels, in the numerous 
 commissions which he received. His 
 usual subjects were huntings, and combats 
 of wild beasts ; also kitchens, with fruit, 
 and vegetables, and dead game. Every 
 animal had an expression, suitable to the 
 species or situation ; the landscape was 
 always designed in a fine taste, and the 
 whole composition was admirable. When 
 his designs required figures of a larger 
 size, they were generally inserted by 
 Rubens or Jordaens, which gave an addi- 
 tional value to his works. His touch is 
 light, yet firm ; his style of composition 
 rich, and full of variety; his colouring 
 remarkable for truth, nature, warmth, and 
 force ; his animals are designed in a grand 
 taste ; their actions, attitudes, and all their 
 motions having life, spirit, and expression ; 
 and he was so exact, that he gave the ap- 
 pearance of reality to the skin and hair. 
 The Archduke Albert, governor of the 
 Netherlands, appointed Snyders his prin- 
 cipal painter ; the King of Spain adorned 
 his palaces with several of his hunting 
 pieces, and so did the Elector Palatine. 
 Rubens, though he painted animals and 
 
SOL 
 
 SOL 
 
 landscapes so well himself, employed Sny- 
 lers frequently to paint the backgrounds 
 of his pictures, as also did Jordaens. This 
 artist etched sixteen plates of animals in 
 a masterly style; but they are, like his 
 pictures, very rare. He died at Antwerj) 
 in 1657. 
 
 SoENS (John). This Dutch artist was 
 born at Bois-le-Duc in 1553, and succes- 
 sively studied under James Boon and Giles 
 Mostaert, after which he went to Italy, 
 where his landscapes were greatly admired. 
 From Rome he went to Parma, and 
 painted a number of pictures for the duke. 
 His scenery is grand ; his distances well 
 managed ; and the figures introduced are 
 executed with spirit. He died at Parma 
 in 1611. 
 
 SoEST, or ZoEST (Gekaru). He was 
 born in Westphalia in 1637, and learned 
 the art of painting in his own country. 
 About the year 1656 he came to England, 
 and soon grew into esteem for his portraits, 
 which had force, nature, and warmth of 
 colouring to recommend them; and, i 
 though highly finished, yet they show 
 freedom, spirit, and good expression. The 
 portraits of his men were often excellent, 
 but his female forms wanted grace and 
 elegance. His draperies were commonly 
 of satin, in the manner of Terburgh ; but 
 when he became conversant with the 
 works of Vandyck, his ideas enlarged, and 
 his taste improved. Soest was one of the 
 rivals of Lely. He died in 1681. 
 
 SoGGi (NicoLo). He was born at 
 Florence in 1474, and studied under 
 Pietro Perugino, whose manner he fol- 
 lowed, though with more stiffness in his 
 figures. In the great church at Arezzo 
 is a picture of the Nativity by Soggi, 
 painted in a laboured style. He died there 
 in 1554. 
 
 SoGi.iANi (Giovanni Antonio). This 
 painter was a native of Florence, and 
 studied under Lorenzo di Credi ; but after- 
 wards he aimed at an imitation of the 
 style of Bartolomeo di St. Marco, though 
 not very successfully. His best works are 
 a picture of Cain and Abel, at Pisa ; and 
 the Death of St. Arcadio, at Florence. He 
 died at Pisa about 1560. 
 
 SoLARio, or Lo ZiNGARo (Antonio). 
 This painter was a native of Abruzzo, in 
 the kingdom of Naples. He was origin- 
 ally a blacksmith, but falling in love with 
 the daughter of an artist, he was told that 
 he should have her when he became a 
 good painter. Upon this he became the 
 scholar of Dalmasio, and under him made 
 
 so great a progress, that he obtained the 
 promised reward. There are several of 
 his frescoes in the churches of Naples, 
 where he died about 1455. 
 
 Soldi (Andrea). He was born at 
 Florence about 1702. On going into the 
 East, he became noticed by the English 
 factory at Aleppo, in consequence of 
 which he obtained letters of recommenda- 
 tion to a gentleman in London, where he 
 practised portrait painting till about 1768, 
 when he died. There is a print of Dr. 
 Ducarel, the antiquary, engraved after a 
 picture painted by Soldi; and Edwards 
 mentions a portrait of a lady, painted by 
 him in 1739, which he praises as being 
 drawn in a bold and masterly manner. 
 
 Sole (Antonio Maria dal). He was 
 born at Bologna in 1597, and was a dis- 
 ciple of Francesco Albano; after which 
 he applied to landscape painting, and in 
 that branch became eminent. His situa- 
 tions were beautifully chosen, his distances 
 are pleasing, the perspective receding of 
 his objects is conducted with skill and 
 judgment, his colouring is bold and lively, 
 and his landscapes are ornamented with 
 groups of elegant figures. He painted 
 and wrote with his left hand, of which he 
 had full as much command as others have 
 of their right. He died in 1677. 
 
 Sole (Giovanni Giuseppe dal). He 
 was thesonofthepreceding artist, and bom 
 at Bologna in 1 654. After studying some 
 time under his father, he was placed with 
 Domenico Maria Canuti, whom he quitted 
 to become the disciple of Lorenzo Pasinelli, 
 by following whose directions and example 
 he gradually rose into reputation. He 
 imitated the agreeable style of Pasinelli 
 with great success, and even imparted to 
 it new and peculiar graces. He painted 
 history, landscapes, and architecture, in 
 a fine taste, and his portraits were as 
 highly esteemed as any other part of his 
 compositions. Three of the pictures of 
 this master were particularly admired for 
 the beauty of the expression. One was 
 the Death of Priam, with the Distress of 
 Hecuba; another, the story of Queen 
 Artemisia, about to drink the wine min- 
 gled with the ashes of her husband; and 
 the third, Andromache and JEneas. For 
 some time Giuseppe imitated his master 
 Pasinelli, though he proved in several 
 respects his superior; afterwards his mo- 
 dels were the Caracci and RafFaelle, from 
 whom he acquired correctness of design 
 and elegance; but latterly he seemed to 
 attend more to Guido and Lodovico Ca- 
 
SOL 
 
 SOL 
 
 racci. A picture of Diana and Actseon, 
 by Giuseppe dal Sole, is in the Pembroke 
 collection at Wilton. In the churches at 
 Bolognaarethe Incredulityof St. Thomas; 
 the Annunciation; and some frescoes. 
 He died in 1719. 
 
 SoJLEEi (Georgio). This artist was 
 born at Alessandria, and is supposed to 
 have been a scholar of Bernardino Lanini, 
 whose daughter he married. He painted 
 history and portrait; of the former branch 
 his best works are, the Virgin protecting 
 Alessandria; and a picture of St. Law- 
 rence paying his devotions to the Virgin. 
 These pieces are much in the style of 
 Corregio. He died in 1587. 
 
 SoLiMENA (Francksco). Hc was the 
 son of Antonio Solimena, a painter of 
 some note, and was born at Nocera de 
 Pagani, near Naples in 1657. Being de- 
 signed for the law, he received a suitable 
 education, but devoted so much time to 
 drawing as gave his father much uneasi- 
 ness. Cardinal Orsini, afterwards Pope 
 Benedict XIIL, in passing through No- 
 cera, visited the elder Solimena, and was 
 pleased with the progress which Francesco 
 had made in his learning. This induced 
 the father to complain of his son's misap- 
 plication of his time, and to request the 
 cardinal to remonstrate with the youth 
 on the subject. Instead of this, the pre- 
 late desired to look at some of his perfor- 
 mances, on the sight of which he desired 
 the father not to thwart the son's inclina- 
 tion, but to allow him to follow a profession 
 for which nature had evidently designed 
 him. Antonio adopted this advice, and 
 began to instruct his son with great care; 
 so that in a short time Francesco designed 
 after the naked with taste and correctness. 
 Thus prepared, he was sent to Naples, 
 and placed as a disciple with Francesco 
 di Maria, who had been bred in the Roman 
 School, and who taught his pupils accord- 
 ing to the best rules and principles, restrain- 
 ing the wildness of their imaginations, 
 and directing them to study truth and 
 elegance. In this academy Solimena de- 
 signed after living models, and copied the 
 works of the most celebrated artists. At 
 first he imitated the manner of his father, 
 but afterwards chose to follow Luca Gior- 
 dano, for the spirited action of his figures; 
 Lanfranco,for the exactness of his outlines, 
 and the judicious placing of his objects; 
 Pietro da Cortona for expression and har- 
 mony of colouring; and Calabrese, for the 
 management of the chiaro-oscuro. Nor 
 did he omit the imitation of Carlo Maratti, 
 
 in the graceful airs of the heads, and the cast 
 of the draperies. To all these he added 
 the study of nature, observing the various 
 effects of light on different bodies, and the 
 tints diffused over objects by reflection and 
 refraction; which method of acquiring 
 knowledge rendered him one of the most 
 admired painters of his time. The first 
 public work of Solimena was a composi- 
 tion representing the Assumption of the 
 Virgin, which was received with applause. 
 Soon after this he went to Rome; and 
 though his stay there was short, he left 
 nothing that was curious of the ancient 
 or modern artists unobserved. But his 
 particular attention was employed on the 
 works of Raffaelle, Domenichino, Guido, 
 Lanfranco, the Caracci, and Carlo Ma- 
 ratti. At his return to Naples, he finished 
 an incredible number of paintings for the 
 king, the nobility, and many of the prin- 
 ces of Europe ; but his chief employment 
 was for the churches and convents. The 
 King of Naples entertained such an esteem 
 for him, that he desired to have a picture 
 painted, representing him in familiar con- 
 versation with Solimena. He sat to him 
 for his own portrait, which was in every 
 respect admirably executed, and that of 
 the painter was a no less striking likeness. 
 Towards the latter part of his life, owing 
 to the failure of his sight, his paintings 
 were very inferior to his more early per- 
 formances, though even in those which 
 are least to be commended, somewhat of 
 the great master is discernible. Solimena 
 painted in a small size as well as in a large, 
 in fresco and in oil, and excelled equally 
 in history, landscape, portraits, animals, 
 perspective and architecture, fruit and 
 flowers. His figures are elegant, correct, 
 and graceful ; his pencil is soft and spirit- 
 ed, and his draperies are broad and nobly 
 disposed. His skies, grounds, and trees, 
 have an admirable tint; and in his colour- 
 ing, tenderness and force are harmoniously 
 united. His taste was exquisite, his com- 
 position rich, and his imagination lively, 
 fruitful, and elevated. It was observed 
 of him, that he chose as often as possible 
 to paint after nature, lest too fond an at- 
 tachment to the antique should damp the 
 fire of his fancy and invention. Solimena 
 took delight in the instruction of youth. 
 He pointed out to them, in the most easy 
 and familiar manner, every observation he 
 had made in the principles or practice of 
 his art. He also took pains to make his 
 disciples acquainted with the perfections 
 of the most celebrated masters, which 
 
SON 
 
 SOR 
 
 knowledge he himself had acquired by . 
 study and reflection, and he constantly ^ 
 inculcated the necessity of seeking out 
 beautiful forms, and the fine proportions 
 of nature, to unite with them the elegance 
 of the antique. Of the numerous works 
 of Solimena, the Last Supper, in the Con- 
 ventual i, at Assisi, is reckoned one of the 
 most original. He died at Naples in 
 1747. 
 
 S01.1S (Francisco de). He was the 
 son of Juan de Solis, a painter at Madrid, 
 and born there in 1629. After receiving 
 instructions from his father, he entered 
 upon his profession without further assist- 
 ance, and became a respectable artist. 
 His best picture is a St. Teresa, in the 
 church of St. Michael, at Madrid, where 
 he died in 1684. 
 
 SoLVYNs (Fbancis Balthasar), a na- 
 tive of Antwerp, was born in 1760, and 
 began his career as a marine painter. A 
 view of Ostend, from his pencil, is now 
 in the imperial palace at Vienna. His 
 fondness for travelling led him to visit 
 India; and while there, he studied closely 
 the manners and customs of the natives. 
 On his return to Europe, he published a 
 work, consisting of two hundred and 
 eighty-eight coloured plates, engraved by 
 himself, representing the festivals, occu- 
 pations, and costumes of the Hindoos. 
 This great undertaking met with scanty 
 patronage, and involved its author in em- 
 barrassments. Solvyns died at Antwerp 
 in 1824. 
 
 SoMEBEN (Bernard and Paul, Van). 
 These two Flenjish artists were brothers, 
 and born at Antwerp ; Bernard in 1579, 
 and Paul in I08I. The former went to 
 Italy, and on his return settled at Amster- 
 dam with his brother, as painters of 
 history and portrait. They were both 
 men of talent, and much esteemed. Ber- 
 nard died in 1632, and Paul in 1641. 
 
 Son, or Van Zoon (Jobis Van). He 
 was born at Antwerp in 1622 ; but the 
 master under whom he studied is not as- 
 certained. He excelled in painting flowers 
 ^nd fruit-pieces, which are generally well 
 grouped and designed, touched with a 
 light pencil, and in a clear natural tone of 
 colour. He died at Antwerp in 1676. 
 
 Son, or Van Zoon (John Van). He 
 was the son of the preceding, and was 
 born at Antwerp in 1661. In his choice 
 of subjects, as well as in his handling and 
 colour, he followed his father, and became at 
 last, much his superior. He sketched every 
 object after nature, and, by a diligent ob- 
 
 servation of what viras beautiful in fruits 
 and flowers, he gave his representations 
 an uncommon appearance of truth, and 
 furnished himself with almost an endless 
 variety. In early life he came to England, 
 and, on marrying the niece ;of Kobert 
 Streater, succeeded to most of his busi- 
 ness. It was his custom to sketch out 
 several designs before he took the pains 
 to finish a single picture, by which means 
 he left at his death abundance of rough 
 drafts, and the first markings of his ideas, 
 which other artists endeavoured to finish, 
 but without success. His subjects were 
 flowers, fruits, dead game, Turkey carpets, 
 vases, and curtains ornamented with gold 
 or silver, which he disposed with so much 
 skill as to make each part in the compo- 
 sition contribute to the general harmony. 
 He gave a richness to his pictures in bril- 
 liancy of colouring, and finished them 
 with the utmost neatness. His pieces, 
 both large and small, show judgment and 
 genius ; his flowers have great truth, 
 variety, and delicacy ; nor could any of 
 his contemporaries surpass him in repre- 
 senting bunches of grapes; for he finish- 
 ed them with so great a degree of trans- 
 parence and truth of colour, that the light 
 seemed to be transmitted through them, 
 so that even the pulp and the seeds were 
 perceptible. John Van Son died in 
 London, in 1700. 
 
 Soprani (Raffaelle). This painter 
 was born at Genoa in 1612, and studied 
 successively under Giulio Bensi and Sini- 
 baldo Scorza ; after which he applied to 
 landscape, by the instruction of Godefroi 
 Vals. He was also a good painter of 
 perspective views and architectural sub- 
 jects. He died at Genoa in 1672. 
 
 Sophonisba, see Angusciola. 
 
 SoRGH, or ZoRGH, (Hendrick Mar- 
 tenze). He was born at Rotterdam in 
 1621, and was the son of Martin Rokes, 
 who was master of a barge which carried 
 merchandise between Dort and Rotterdam, 
 and obtained the name of Zorg, or the 
 Careful, on account of his industry and 
 diligence ; and the appellation descended 
 to all the family. Hendrick was at first 
 the disciple of Teniers the younger, and 
 from his pencilling and colouring it is 
 easy to observe the school whence he de- 
 rived his knowledge ; but he afterwards 
 studied under William Buytenweg, who 
 was esteemed an excellent painter of con- 
 versations, in a style of composition 
 rather more elevated than that of Teniers. 
 Though Sorgh perfected himself under 
 
SPA 
 
 these two artists, obtaining from Teniers 
 a delicate manner of colouring, and from 
 the other an agreeable style of design, 
 yet he frequently varied his manner, 
 sometimes painting in that of each of 
 those masters, and sometimes in that of 
 Brouwer. Houbraken mentions two pic- 
 tures painted by Sorgh; one an Italian 
 Fair, with a multitude of figures; and 
 the other a Fish-market: in the former 
 is a basket of ducks and other fowls, and 
 in the latter, different kinds of fish, all 
 copied after nature, in an exquisite 
 manner ; and the figures, as well as the 
 backgrounds, are cleanly and lightly 
 handled, somewhat resembling the manner 
 ofWycke. Sorgh died in 1621. 
 
 SoBBi (PiETBo). He was born at 
 Siena in 1556, and learned the first 
 principles of the art from Archangelo 
 Salimbeni ; but afterwards he became the 
 disciple of the Cavaliere Passignano, 
 whom he accompanied to Venice, and 
 whose daughter he married. At Venice 
 he acquired additional improvement, by 
 studying the grand compositions of Paolo 
 Veronese; and at his return to Florence 
 he received the highest marks of appro- 
 bation and applause, for the beauty of his 
 colouring, and the elegance of his taste in 
 composition and design, in which qualities 
 he excelled Passignano. He painted land- 
 scape and portrait, as well as history : he 
 had a ready and fine invention ; his pencil 
 was free and masterly; his imitation of 
 nature beautiful and just ; and his ideas 
 were grand and elevated. In the cathedral 
 at Pisa is an altar-piece, by him, of Christ 
 disputing with the Doctors. He died in 
 1622. 
 
 SoTOMATOB (Louis db). He was born 
 at Valencia, in Spain, about 1644, and 
 became the scholar, first of Estevan Marc, 
 and next of Juan Carrenho. His works 
 are mostly in the churches and convents 
 of Valencia, where he died in 1673. 
 
 SouTMAN (Peter). This artist is said, 
 in one account, to have been a native of 
 Haerlem; but another states that he was 
 born at Antwerp in 1590, and had Rubens 
 for his master. He practised historical 
 painting and portrait at Berlin, where he 
 vyas much respected by the Elector of 
 Brandenburg, who retained him in his 
 service. Soutman also distinguished him- 
 self as an engraver, and had some eminent 
 scholars. He died in 1653. 
 
 Spada (Ltonello). He was born at 
 Bologna in 1576. At a very early age he 
 was employed in the school of the Caracci 
 
 as a colour-grinder; but in that situation 
 he could not avoid admiring the display 
 of genius by which he was surrounded, 
 nor of feeling a desire to imitate the mo- 
 dels that appeared before him. His sketches 
 being observed by his masters, they took 
 him into the academy, and his progress 
 was rapid under their instruction. His 
 first public performance was a picture of 
 St. Francis and St. Dominic kneeling be- 
 fore the Virgin; which, drawing from 
 Guido some sarcastic remark, provoked 
 Lionello to enter into a competition with 
 that great artist ; and for that purpose he 
 adopted the style of Caravaggio. This 
 emulation, though it fell short of its ob- 
 ject, carried Spada farther than he other- 
 wise would have reached ; and his works 
 after this were admirable, particularly the 
 Miraculous Draught of Fishes, painted 
 for the refectory of St. Procolo, and the 
 altar-piece in the church of St. Dominic, 
 representing that saint burning the pro- 
 hibited books. Spada 4ied at Parma in 
 1622. 
 
 Spadabino (Antonio). This Roman 
 artist was born in 1600, and became 
 a good painter of history. He died in 
 1648. 
 
 Spaendonck (Gebabd Van), a cele- 
 brated flower-painter, was born at Til- 
 burgh, in Holland, in 1746, and studied 
 under Herreyns. When, however, he 
 established himself in the French capital, 
 at the age of twenty-four, he practised as 
 a miniature painter; but he devoted every 
 leisure moment to perfecting himself in 
 his favourite branch of the art. As soon as 
 his exquisite talent for delineating flowers 
 became known, every person of fashion 
 was eager to obtain his performances. 
 This popularity he retained till his de- 
 cease, which took place in 1822. His 
 colouring, expression, and arrangement, 
 are excellent. Some of his best pictures 
 are in the Louvre, and the gallery of St. 
 Cloud. 
 
 Spagna (Giovanni Spagnxjolo). Of 
 this Spanish painter we know not the 
 family name ; that by which he is distin-. 
 guished being a technical appellative given 
 to him in Italy, where he studied under 
 Perugino. He became a very able artist, 
 and some of his works are in the churches 
 of Spoleto and Assisi. He died about 
 1540. 
 
 Spagnoletto (Giuseppe Ribera, call- 
 ed). This great painter was born at 
 Xativa, about nine or ten leagues from 
 Valencia, in Spain, in 1589. His parents, 
 
SPA 
 
 513 
 
 SPE 
 
 though in low circumstances, and unable 
 to give him those advantages of education 
 which his early genius seemed to demand, 
 placed him under Francesco Ribalta, with 
 whom he continued about two years. 
 At the age of sixteen he travelled to Italy, 
 supporting himself during the journey 
 by the exercise of his talents. In 1 606 
 he arrived at Naples, where he obtained 
 an introduction to Michel Angelo Cara- 
 vaggio, who gave him instruction very 
 liberally ; and Ribera made such a pro- 
 gress in the art as to obtain notice, and 
 the name of II Spagnoletto, or the Little 
 Spaniard. From Naples he went to 
 Parma, where he was smitten by the works 
 of Corregio, some of which he copied, and 
 studied his manner so well as to imitate 
 him with success. There is, it is said, a 
 picture of his in the chapel of St. Maria 
 at Biancha, at Parma, which has more 
 the appearance of Corregio than of 
 Spagnoletto. His next removal was to 
 Rome, where the grandeur of Raifaelle 
 affected him ; but the impression was not 
 long, and he returned to the style of 
 Caravaggio. Like that master, he paint- 
 ed with bold broad lights and shadows, 
 and gave so surprising a degree of force 
 to his pictures, that the works of most 
 other artists, when placed near them, 
 appear comparatively weak and feeble in 
 their effect. However, he was sometimes 
 censured as being rather too black and 
 dry ; and although in his tints he might 
 be equal to Caravaggio, and even superior 
 to him in correctness of desig-n, yet he 
 wanted his sweetness and mellowness of 
 pencil. Finding little chance of employ- 
 ment at Rome, he returned to Naples, 
 where he rose high in reputation, and 
 obtained the patronage of the viceroy, 
 who kept him constantly at work for the 
 King of Spain, and the public edifices. 
 He frequently painted historical figures, 
 as well as portraits at half-length, and 
 was exact to an extraordinary degree in 
 anatomical precision and force of ex- 
 pression. His easel pictures are dispersed 
 throughout Europe, but he rarely worked 
 for the churches or convents. His natural 
 turn was to describe subjects which excite 
 horror, such as Martyrdoms, the Flaying 
 of St. Bartholomew, St. Lawrence on the 
 Gridiron, the Murder of the Innocents, the 
 Torments of Prometheus, or Cato tearing 
 out his own Bowels. He was also parti- 
 cularly fund of designing emaciated limbs, 
 and bodies of old men supposed to be 
 reduced to that condition by mortification 
 
 and abstinence as hermits and saints in 
 the desert ; which subjects were extremely 
 I agreeable to the Spaniards and Neapo- 
 j litans, and were admirably executed. 
 Sandrart mentions a picture of Ixion on 
 ! the Wheel, painted by Spagnoletto, which 
 j was in the possession of Mr. Uffel, at Am- 
 j sterdam ; in which pain and agony were 
 so powerfully expressed, and made so 
 j strong an impression on the imagination 
 I of the wife of that gentleman, when in a 
 state of pregnancy, that her child, at its 
 birth, had all the fingers distorted, exactly 
 as those in the picture, which, on that 
 account, though a capital piece, was sent 
 to Italy. The strength of his expression, 
 and the force of his colouring, which gives 
 extraordinary relief to his figures, makes 
 his works universally esteemed, and they 
 generally produce large prices. In the 
 palace of Prince della Torre at Naples is 
 a noble picture by Spagnoletto, represent- 
 ing St. Peter and St. Paul ; the figures 
 being at half-length, somewhat larger 
 than life. The heads are extremely fine, 
 and touched with great spirit ; the hands 
 are well designed, and the whole is natural 
 and beautiful. Another admirable com- 
 position of this master is preserved in the 
 Palazzo Corsini at Florence. The sub- 
 ject is St. Peter taking the money out of 
 the mouth of the fish to pay the* tribute. 
 The colouring is striking and full offeree ; 
 the heads of the figures are fine ; and it is 
 finished in a broad, free, and spiiHted 
 manner. His principal works at Naples 
 are, the Martyrdom of St. Januarius, St. 
 Jerome, St. Bruno, and a Descent from 
 the Cross. Spagnoletto executed also 
 about twenty etchings in a bold style. 
 He died in 1656, at Naples, full of wealth 
 and honour. 
 
 Spao'uolo, see Crespi. 
 
 Spalthof (N.) This Dutch painter 
 was born at Haerlera in 1636 ; and after 
 learning the elements of the art in his 
 own country, he went to Italy, travelling 
 all the way on foot. He spent several 
 years at Rome, where he painted a num- 
 ber of pictures, the general subjects of 
 which were Italian markets, with a variety 
 of cattle and other figures ; also stalls and 
 shops where vegetables are exposed to 
 sale; which objects he copied exactly 
 after nature, and gave them great round- 
 ness and relief. He died in 1691. 
 
 Spelt (Adriax Vander). This artist 
 was born at Leyden in 1530. He went 
 to Brandenburg, where he was well re- 
 ceived by the elector, and lived there a 
 2l 
 
SPI 
 
 SPI 
 
 long time. He died at Leyden in 1574. 
 He excelled in flower painting. 
 
 Spenceb (Jarvis), a painter in ena- 
 mel and miniature. He was originally 
 a gentleman's servant, but occasionally 
 amused himself by drawing. It happened 
 that one of the family where he lived sat 
 to a miniature painter ; and when the por- 
 trait was completed, Spencer observed, 
 that he thought he could copy it. Though 
 his master expressed sm-prise and doubt, 
 he gave him permission, and the copy 
 was considered so well done, that he 
 received encouragement to make painting 
 his profession. He died in 1763. 
 
 Speranza (Giovanni Battista). He 
 was born at Rome in 1610, and had 
 Francesco Albano for his instructor, whose 
 style he greatly improved by studying the 
 finest works of Raffaelle and other illus- 
 trious artists. He excelled in fresco ; and 
 in the church of St. Catherine, at Siena, 
 painted a set of pictures in that manner, 
 of the Life of the Virgin; and on the 
 ceiling of the Orfanelli, the Passion of 
 our Saviour is represented. He died at 
 Rome in 1640. 
 
 Spezzini (Francesco). This painter 
 was born at Genoa, and studied succes- 
 sively under Cambiasi and Castelli ; but, 
 for his improvement, he went to Rome, 
 where he derived great benefit from the 
 works of Raffaelle, Giulio Romano, and 
 Michel Angelo. On his return home he 
 was much employed in the churches, but 
 died young, about 1590. 
 
 Spiceb (Henry). This English artist 
 was much distinguished by his portraits 
 in miniature and enamel. He died in 
 1804, aged about sixty. 
 
 Spierings (Nicholas). He was born at 
 Antwerp in 1633, and proved a good pain- 
 ter of landscapes, by travelling through 
 Italy and France; and in the latter 
 country he had the honour to be employed 
 by Louis XIV. His manner of designing 
 was agreeable, his trees are well chosen, 
 his touch is delicate, and his colouring 
 true. His foregrounds are enriched with 
 plants, which he copied from nature; and 
 his compositions have a pleasing effect. 
 He was a successful imitator of Salvator 
 Rosa, and his pictures were often mistaken 
 by connoisseurs for the works of that 
 great master. Spierings, however, was 
 deficient in painting figures, which were, 
 therefore, inserted in his landscapes by 
 other artists. He died at Antwerp in 
 1691. 
 
 Spiers (Albert Van). He was born 
 
 at Amsterdam in 1666, and proved one of 
 the best disciples of William Van Ing- 
 hen, under whose direction he practised, 
 till he was qualified to appear with credit 
 in his profession. On leaving that school 
 he went to Rome, where he examined all 
 the productions of the great masters, parti- 
 cularly the works of Raffaelle, Giulio 
 Romano, and Doraenichino. After pass- 
 ing seven years in that city, he visited 
 Venice, to improve his knowledge of 
 colouring; for which purpose he chose 
 the works of Paolo Veronese for his 
 guide, but attended, also, carefully to 
 the manner of Carlo Loti. In 1697 he 
 returned to Amsterdam, where he painted 
 a great number of beautiful ceilings, and 
 several magnificent apartments. He died 
 in 1718. 
 
 Spilberg (John). He was born at 
 Dusseldorf in 1619, and received his first 
 lessons from his father, who was a glass 
 painter; but afterwards he became the dis- 
 ciple of Govaert Flink, instead of Rubens, 
 under whom he was intended to have 
 been placed, but whose death altered the 
 design. With Flink he continued seven 
 years, at the expiration of which time the 
 fame ,of his performances procured him 
 the patronage of the Count Palatine, who 
 made him his principal painter, and gave 
 him, with other presents, a medal of gold, 
 for the portraits of his family. He also 
 painted at Dusseldorf several altar-pieces, 
 and in the castle, the Labours of Her- 
 cules, with figures as large as life. At 
 the same place is an allegorical picture, 
 representing the Alliance between Music 
 and Poetry; in which the female figures 
 have great elegance, and are grouped with 
 judgment. His patron engaged him to 
 paint a set of pictures representing the 
 Life of Christ; but death put a stop to 
 the execution of the work. He died at 
 Dusseldorf in 1690. Spilberg coloured 
 well, designed correctly, and finished his 
 pieces with a bold and free pencil. 
 
 Spilbobg (Adriana). She was the 
 daughter of the preceding, and was born 
 at Amsterdam in 1646. She learned the 
 principles of painting from her father, 
 and excelled in painting portraits with 
 crayons, as well as in oil. Her works 
 were much esteemed for the neatness 
 and delicacy of the handling, and their 
 lively and natural colour. She resided at 
 Dusseldorf, where she received every mark 
 of respect, and became the wife of Eglon 
 Vander Neer. 
 
 Spilimbergo (Irene di). This accom- 
 
515 
 
 3 PR 
 
 plished female, who was born of a noble 
 family at Venice, is said to have been in- 
 structed by Titian, whose style she cer- 
 tainly followed, both in correctness of 
 design and harmonious splendour of co- 
 louring. She painted, however, for mere 
 amusement; and Titian, who lived on 
 terms of friendship with her family, drew 
 her portrait. She flourished about the 
 year 1560. 
 
 Spilman (Henry). This Dutch artist 
 was born at the Hague about 1 740. He 
 painted portraits and landscapes with 
 credit, and he also engraved some views 
 in Holland, and other places. 
 
 Sfinello (Abetino). He was born at 
 Arezzo in 1328 ; and in his infancy, with- 
 out the assistance of any director, gave 
 such proofs of a lively and strong genius, 
 that his early performances were superior 
 to those produced by persons of a more 
 advanced age, with the advantage of able 
 instructors. Afterwards he studied under 
 Jacopo di Casentino, and, at the age of 
 twenty, proved superior to his master. 
 His uncommon abilities procured him 
 abundant employment at Florence, as well 
 as in his native city, which extended his 
 fame through all Italy ; and he was ad- 
 mired, not only for his invention, but also 
 for the manner of disposing his figures; 
 for the simplicity of his style, united with 
 elegance; and for a peculiar neatness in 
 his finishing. He gave to his figures an 
 air of unaffected modesty, but to his Ma- 
 donnas one that was divine and inexpres- 
 sible. His compositions showed genius 
 and judgment. He was allowed to equal 
 Giotto in design, and to surpass him in 
 the force and beauty of his colouring. He 
 gained great applause by the portraits of 
 Innocent IV. and Gregory IX. In the 
 chapel of St. IMaria Maggiore, at Flo- 
 rence, he painted in fresco several his- 
 torical incidents relative to the life of the 
 Virgin. He discovered a happy method 
 of mixing his colours, by which means 
 many of his works retained their original 
 lustre for an incredible length of time. 
 He died in 1400. 
 
 Spinello (Paris, or Caspar). He 
 was the son of the preceding, and was 
 born at Arezzo in 1366. After learning 
 the rudiments of the art from his father, 
 he was placed with Lorenzo Ghiberti, at 
 Florence. His principal excellence was 
 in fresco, though he also painted in oil and 
 distemper, and acquired credit by the nu- 
 merous compositions which he executed 
 in the churches, chapels, and convents in 
 
 several parts of Italy. Though extrava- 
 gant in his design, his colouring was ex- 
 cellent ; nor was he less admired for the 
 variety and elegance of the attitudes of his 
 figures, than for the force and fine effect 
 of his paintings. He died about 1426. 
 
 Spisano (Vincenzio). This artist, who 
 obtained the technical name, on what ac- 
 count we know not, of Lo Spisanello, was 
 born at Orta, in the duchy of Milan, in 
 1595. He was brought up in the school 
 of Denys Calvart, to whose style he con- 
 stantly adhered. He painted numerous 
 works for the churches of Bologna, but his 
 easel pieces are preferred to his large pic- 
 tures. He died in 1662. 
 
 Spolverino (Ilario). He was born at 
 Parma in 1657, and liad Francesco Monti 
 for his instructor. He painted historical 
 pieces, but chiefly delighted in the repre- 
 sentation of battles, the attacks of ban- 
 ditti, and similar subjects. He died in 
 1734. 
 
 Sprangheb (Bartholomkw). He was 
 born at Antwerp in 1546, and successively 
 studied under John Madyn, Mostaert, 
 Van Dalen, and other masters in his own 
 country; after which he went to Paris, 
 and next to Parma, where he resided 
 three years with Bernardo Sojaro, who 
 had been the disciple of Corregio. Spran- 
 gher went afterwards to Rome, and found 
 a patron in Cardinal Farnese, who era- 
 ployed him in his palace of Caprarola, 
 where he painted some landscapes in 
 fresco. The cardinal also recommended 
 him to Pope Pius V., who appointed 
 him his painter, and employed him in the 
 Palazzo Belvidere, where he spent near 
 three years in painting a Last Judgment, 
 on a plate of copper six feet high, and 
 containing five hundred heads. This 
 performance was so highly valued, that on 
 the death of the pope it was placed over 
 his monument. In 1575, Sprangher went 
 to Vienna, on the invitation of the Em- 
 peror Maximilian II., who made him his 
 principal painter. The next year that 
 monarch died; but Rodolph, his successor, 
 continued to patronise Sprangher, on 
 whom, in 1588, he conferred the rank of 
 nobility, at the same time placing a chain 
 of gold, of three rows, round his neck. 
 He painted in large, as well as small; and 
 at Vienna finished several grand altar- 
 pieces, with figures nearly as large as life ; 
 and also a number of easel pictures for the 
 imperial palaces. He received but little 
 improvement at Rome, by neglecting to 
 design after the antiques, and trusting too 
 
STA 
 
 516 
 
 much to his memory. He had, however, 
 an extraordinary lightness of hand, and 
 great sweetness of pencil, which always 
 procured him admirers; but he never 
 ^could be induced to study after nature, 
 and only worked by the assistance of imagi- 
 nation. His designs, therefore, showed 
 nothing of the Roman taste ; his contours 
 are constrained and unnatural ; and his out- 
 line is hard, stiff, and ungraceful. Most of 
 his attitudes are afiPected, and the extre- 
 mities of his figures contorted. With these 
 defects, his works show a free pencil and 
 spirit ; and in those of his latter time are 
 to be seen a more natural tone of colour and 
 fewer extravagances. Sprangher executed 
 some etchings in a slight but agreeable 
 manner. He died at Prague in 1628. 
 
 Spkong (Ghebabd). This Dutch 
 painter was born at Haerlem in 1600, and 
 studied under his father, whom he soon 
 surpassed. He excelled in portraiture, 
 and died in 1651. 
 
 Squakcione (Francesco). He was 
 born at Padua in 1394, and became a 
 painter of eminence, by forming his taste 
 on the study of the most beautiful antiques. 
 Notwithstanding his being perpetually 
 employed, and highly esteemed, at Flo- 
 rence and other cities of Italy, yet, out of 
 a desire to cultivate the art of painting in 
 the most effectual manner, he quitted all 
 the advantages of his profession, and 
 travelled through Greece, to make designs 
 after the finest models in statuary, sculp- 
 ture, or architecture. These drawings and 
 designs he brought to Padua, where he 
 opened a school for painting, which rose 
 so high in reputation, that at one time he 
 had one hundred and thirty-seven disciples 
 under his direction, which procured him 
 the appellation of the Father of Painters. 
 He possessed a great number of bas- 
 reliefs, paintings, and designs, for the in- 
 struction of his scholars; and he was fre- 
 quently honoured with the visits of sove- 
 reign princes, cardinals, and popes. In 
 the Carmelite church at Padua was a pic- 
 ture of St. Girolamo, finely coloured, and 
 correct in the perspective, painted by 
 Squarcione in 1452. He died in 1474. 
 
 Staben (Henry). He was born at 
 Antwerp in 1578, where he learned the 
 first principles of the art ; after which he 
 travelled to Venice, and became the scho- 
 lar of Tintoretto; but the death of that 
 great painter, which happened when 
 Staben was not seventeen years of age, 
 deprived him of the advantages which he 
 might have gained under so famous a 
 
 master. Soon after this he left Italy, and 
 settled at Paris, where he painted in a 
 small size with astonishing neatness, and 
 in his compositions showed a good inven- 
 tion. Though he preserved somewhat of 
 the Flemish taste, his manner of designing 
 was agreeable, and the disposition of his 
 figures judicious. One of his best pro- 
 ductions is a representation of the Gallery 
 of a Virtuoso, in which are placed cabinets, 
 and other curious pieces of ornamental 
 furniture. Above, are several pictures of 
 different subjects, arranged in regular 
 order ; every object being exquisitely fin- 
 ished, and placed in such exact perspec- 
 tive, that they afford a most agreeable 
 deception. He died in 1658. 
 
 Staevarts, or Stevers (Palamedes). 
 Though this artist is reckoned as belong- 
 ing to the Dutch School, he was born in 
 London in 1607 ; his father, who was a 
 Fleming, being then resident here as an 
 engraver in agate, jasper, and other pre- 
 cious stones, to James I. From hence he 
 removed to Delft, where his son discovered 
 his genius for painting ; in which, with- 
 out any other assistance than by studying 
 and imitating the works of Esaias Vander- 
 velde, he acquired a manner of pencilling, 
 and a tone of colour, much resembling 
 his model; while in the execution and 
 finishing of his pictures, he was, by good 
 judges, accounted far superior to that 
 artist. He excelled in representing en- 
 campments, battles of hoi'se and foot, 
 robbers, the plundering of villages, and 
 country fairs. His compositions are full 
 of spirit, and well disposed; nature is 
 closely imitated and truly represented; 
 the distances are justly observed, and 
 the figures well proportioned, though in 
 the Flemish taste. His skies are clear ; 
 his pencil is free and neat ; and his pictures 
 are distinguished by a remarkable trans- 
 parence of colouring. But they are very 
 scarce, as the painter died young in 1638. 
 
 Staevarts, or Stevers (Anthony 
 Palamedes). This artist, who was born 
 I at Delft in 1604, painted portraits ; but 
 , his general subjects were conversations, 
 I persons engaged at cards, entertainments, 
 concerts of vocal and instrumental music, 
 or feasts and dances. Of these he painted 
 a prodigious number, which are, how- 
 ever, in little esteem. He died in 1680. 
 i Stalbert (Adrian). He was born at 
 Antwerp in 1580; and, though it isnot 
 known who was his instructor, he obtained 
 a place in the first rank among the Fle- 
 mish painters. His style was landscape, 
 
STA 
 
 517 
 
 STE 
 
 with small figures, which he executed 
 neatly, with a free and spirited touch, in 
 imitation of Velvet Brueghel, whose works 
 he made his model. His scenes were 
 pleasingly chosen, and frequently solemn ; 
 his figures are properly introduced ; and 
 his trees are well formed, with great ap- 
 pearance of nature, though sometimes 
 they seem a little too green. In the reign 
 of Charles I. he came to England, and, 
 among other views, painted a very fine 
 one of Greenwich. While here, Vandyck 
 painted his portrait, of which there has 
 been an engraving by Pontius. He died 
 at Antwerp in 1660. 
 
 Stampart (Francis). He was born 
 at Antwerp in 1675, and studied under 
 the younger Tyssens, whose style he fol- 
 lowed, but improved upon it by examining 
 the works of Vandyck, and attending to 
 nature. Having gained credit by his por- 
 traits, he was invited to the imperial court, 
 where he was honoured with the title of 
 cabinet painter. He contrived a method 
 of painting in an easy and expeditious 
 manner the portraits of the nobility, who 
 had neither leisure nor patience to sit for 
 a sufficient length of time. He therefore 
 only marked the features with white, 
 black, and red crayons, which was soon 
 executed, and then at his leisure he worked 
 on the portrait with colour ; and only at 
 the last finishing touched up the features 
 after nature. Another custom of his was, 
 to lay upon his canvas a quantity of flesh 
 colour, in proper places, before he began 
 to work, which contributed to lessen his 
 labour, and to produce a good eft'ect. He 
 died at Vienna in 1750. 
 
 Stanzione (Cavaliere Massimo). He 
 was born at Naples in 1585, and studied 
 first under Giovanni Battista Caraccio- 
 lo, after which he learned to paint in 
 fresco from Belisario Corenzio ; but he 
 derived some benefit, also, from the lessons 
 of Lanfranco and Santa Fede. With tlie 
 same sedulous desire of knowledge, he 
 visited Rome, where he studied the works 
 of Annibale Caracci, and profited con- 
 siderably by the intimacy which he formed 
 with Guido, whose manner of colouring 
 he imitated so well, as to be called the 
 Guido Reni of Naples. On his return 
 home, he practised with such reputation 
 as excited the envy of Spagnoletto, who 
 basely contrived to spoil a fine picture of 
 his painting in the Carthusian monastery, 
 the subject of which was the Descent from 
 the Cross. In the same place is a large 
 picture by Stanzione, of St. Bruno giving 
 
 the Rules of his Order to the Monks, 
 Besides his large works in the churches 
 and convents, there are many easel-pieces 
 of this artist in the private collections at 
 Naples. He died in 1656. 
 
 Starrenberg (John). This artist 
 was born at Groningen, and painted his- 
 torical subjects, chiefly on ceilings, in 
 fresco, which he composed well, and ex- 
 ecuted with felicity. He lived about the 
 year 1660. 
 
 Starnina (Gherardo). He was bom 
 at Florence in 1354, and was the disciple 
 of Antonio Venetiano ; on quitting whom, 
 the first works in which he was employed 
 were so highly admired for the elegance 
 of the style, that the King of Spain invited 
 him to his court, engaged him in several 
 grand designs, and loaded him with 
 presents. Among his compositions at 
 Florence, the principal is, the Dying St. 
 Jerome exhorting his Disciples ; some of 
 whom are represented writing down his 
 last precepts ; others listening to his dis- 
 course ; and some expressing the efiect 
 produced in their hearts by the doctrines 
 of their expiring master. Starnina died 
 at Florence in 1403. 
 
 Stayeren (John Van). He was a 
 scholar of Gerard Douw, and imitated 
 his style very closely, but excelled chiefly 
 in painting hermits and old men, the heads 
 of which he finished with wonderful neat- 
 ness. He lived about 1680. 
 
 Steen (Jan). This extraordinary ar- 
 tist was the son of a wealthy brewer at 
 Leyden, and born there in 1638. On 
 evincing a genius for painting, he was 
 placed under Nicholas Knuffer, but after- 
 wards he became a scholar of John Van 
 Goyen, whose daughter he ultimately 
 married. About this time, his father, 
 thinking that painting would not support 
 a family, established his son in a breweiy 
 at Delft, which only failed by his intem- 
 perance. After this he opened a tavern, 
 which confirmed his habit of dissipation, 
 and accelerated his ruin. He drank more 
 than his customers ; and the wonder is, 
 how he could continue the exercise of his 
 pencil. But now he was constrained to 
 live solely by his genius, which enabled 
 him to produce pictures of singular merit 
 in their way, though the subjects were of 
 the lowest description. Few painters have 
 animated their figures more than Jan 
 Steen, or equalled him in the strength of 
 expression. His drawing might some- 
 times be censurable, but his design was 
 generally correct, his figures well dis- 
 
STE 
 
 518 
 
 STE 
 
 posed, and his characters strongly marked; 
 his touch is light, easy, and free ; and his 
 colouring appears always lively and na- 
 tural. A capital picture of his painting 
 is a Mountebank, attended by a number 
 of spectators, in which the countenances 
 are wonderfully striking, full of humour 
 and variety. Another of his remarkable 
 pieces represented a Wedding: it con- 
 sisted of the old parents, the bride, the 
 bridegroom, and a notary. Every person 
 in the composition was exceedingly na- 
 tural, with surprising expression in the 
 old as well as the young. The notary is 
 described as engaged in attending to the 
 words which he was to write down ; the 
 bridegroom appears in a violent agitation, 
 as if dissatisfied with the match ; and the 
 bride seems to be in tears. The subject 
 of another picture was the Funeral of a 
 Quaker ; in which each face was distin- 
 guished by so strong, so droll, and so 
 humorous a cast of features, as to excite 
 mirth in the beholder. His works did 
 not bear an extraordinary price during 
 his life, as he painted only when he was 
 necessitous, and sold his pictures to answer 
 liis immediate demands. But after his 
 death they rose amazingly in value, and 
 are now rarely to be purchased. He died 
 in 1689. 
 
 Steenree (George). This painter of 
 the Dutch School was born in 1600 at 
 Utrecht, where he studied under his uncle, 
 Cornelius Poelemburg, whose style he 
 followed with reputation. He died in 
 1648. 
 
 Steeve>'s (Peter). This Flemish ar- 
 tist -was born at Malines in 1550. On 
 going to Prague he was patronised by the 
 emperor, who appointed him his painter. 
 He excelled in history, and was considered 
 a good designer. He died at Prague in 
 1604. 
 
 Stefaneschi (Giovanni Battista). 
 This artist was a monk, and, from his 
 order, !s generally called St. Eremiti di 
 Monte Senario. He was born at Rarta, 
 near Florence, in 1582; and, in his youth, 
 gave such tokens of genius, as to recom- 
 mend him to Andrea Commodi, who took 
 him under his care, pointed out to him 
 the best rules for his improvement, and 
 made him so thoroughly acquainted with 
 the true principles of his art, that, in a 
 short time, he rendered himself very con- 
 siderable by the correctness of his design 
 and a lively tone of colouring. He also 
 acquired additional knowledge from the 
 instructions of Pietro da Cortona, and 
 
 became an excellent painter, both in oil 
 and miniature. He executed for Ferdi- 
 nand II., Duke of Tuscany, several sacred 
 subjects in small, four of which were of 
 exquisite beauty, being painted after ori- 
 ginals of Raffaelle, Corregio, Titian, and 
 Del Sarto. The figures of Stefaneschi 
 were lovely, his style was grand, his touch 
 delicate, and the chiaro-oscuro was hap- 
 pily and judiciously managed. He died 
 in 1659. 
 
 Stefani (Tommaso). This artist was 
 born at Naples about 1230, and is said 
 to have painted several pictures in the 
 churches there, beforethetimeofCimabue; 
 but the monuments of his skill are lost by 
 the ravages of time. He died in 1310. 
 
 Stefaxo, called II Fiorentino. He was 
 born in 1301, at Florence, where he be- 
 came thedisciple of his grandfather Giotto, 
 and painted principally in fresco. He 
 was accounted superior to any artist of 
 his time, not excepting his master, in 
 colouring and design. Stefano had a 
 ready invention, was rich in composition, 
 designed his figures with proper attitudes, 
 and gave to his heads graceful airs. He 
 was the first who attempted to show the 
 naked under the draperies, which were 
 loose, easy, and delicate. He received 
 also the greatest applause for a painting 
 in perspective, the rules of which were 
 then little known or understood. The 
 subject of the picture was, Christ deliver- 
 ing a Demoniac: the scene of the transac- 
 tion was represented as a magnificent 
 building; the grandeur of which, the 
 elegant form and proportion of the co- 
 lumns, and other parts of the architecture, 
 the perfect deception to the eye, and the 
 grand effect of the whole, showed such 
 taste, skill, and invention, as well as 
 judgment, that it was considered an inimi- 
 table performance. Most of his works 
 have perished : there remains one at Pisa, 
 representing the Virgin and Child. He 
 died there in 1350, leaving a son, called 
 Tommaso Stefano, who adhered so closely 
 to the style of Giotto, as to obtain the 
 appellation of 11 Giottino. He died at 
 the age of thirty-two, in 1356. 
 
 Stefano >'E (Maestro). This artist 
 was born at Naples about 1320, and had 
 Gennaro di Cola for his master, with whom 
 he was associated in some of his frescoes 
 for the churches. Stefanone also painted 
 in oil, and of his pictures in that line 
 there is one existing, which is a Dead 
 Christ, in St. Maria della Pieta. He 
 died in 1390. 
 
STE 
 
 519 
 
 STE 
 
 Stella (James). He was the son of 
 Francis Stella, a painter of Lyons, and 
 was born there in 1596. When he was 
 nine years old he lost his father, who had 
 given him instructions in drawing, by 
 which he profited so well, that he could 
 design correctly even at that early age, 
 nor had he ever any other master. In his 
 twentieth year he went to Italy, with an 
 intention to complete his studies at Rome; 
 but passing through Florence, he was en- 
 gaged by Cosmo de Medici, the grand 
 duke, and continued in his service seven 
 years. He then proceeded to Rome, where 
 he studied the antiques, the works of 
 Raffaelle, and the compositions of other 
 great masters, with such success, that he 
 obtained an excellent taste of design, and 
 performed several works in large, as well 
 as in small, which effectually established 
 his reputation. At Rome he contracted 
 an intimacy with Nicolo Poussin, which 
 contributed greatly to his improvement. 
 Having received invitations from the 
 court of Spain, he determined to visit that 
 kingdom; but taking France in his way, 
 he could not resist the solicitations of 
 Cardinal Richelieu, who recommended 
 him to the king, procured him a pension 
 of one thousand livres, the employment of 
 state painter, apartments in the Louvre, 
 and the order of St. Michael. Stella 
 had an extensive genius, and painted all 
 kinds of subjects with equal ease. His 
 invention is noble, his attitudes are natural, 
 and his outline is correct; but his expres- 
 sion is not striking, nor are his local 
 colours sufhciently determined; his car- 
 nations are too red, and the same kind of 
 tint predominates through them all ; though 
 his pictures, taking the whole together, 
 are very agreeable. The subjects in 
 which he excelled were of the pastoral 
 kind. He showed great skill also in paint- 
 ing boys, perspective, and architecture, 
 though after all he is accounted a manner- 
 ist. His easel pictures are better than 
 his altar-pieces, of which there are several 
 at Paris, where he died, in 1647. Stella 
 also etched a few prints from his own 
 designs. 
 
 Stella (Francis). He was the brother 
 and disciple of the preceding, and was 
 born at Lyons in 1601. He travelled 
 with his brother to Italy, but never could 
 equal him in any branch of his profession. 
 In the church of the Augustines at Paris 
 is an altar-piece by him, representing a 
 Dead Christ, with the Virgin and St 
 John. He died in that city in 1661. 
 
 Stella (Anthont Bocssonet). He 
 was the nephew of the preceding artists, 
 and was born at Lyons in 1630. His 
 uncle James was his instructor; under 
 whom he became a good painter of his- 
 tory, and was admitted a member of the 
 academy of Paris, where he died in 1682. 
 He had two sisters, who distinguished 
 themselves by their ingenuity in design 
 and engraving. 
 
 Stenwyck, or Steenwyck (Henry), 
 called the Old. He was born at Steen- 
 wyck, in Holland, in 1550, and was the 
 disciple of John de Vries, who excelled in 
 painting architecture and perspective. 
 Stenwyck chose the same subjects, but 
 surpassed his master and all his contem- 
 poraries, in the truth, neatness, trans- 
 parence, and delicacy of his pictures. 
 His subjects were the insides of gothic 
 churches and convents, and generally 
 representations of them ilhiminated by 
 flambeaux or tapers, which gave them a 
 magnificent appearance. He was a 
 thorough master of the chiaro-oscuro, 
 and distributed his lights and shadows 
 with such judgment, as to produce the 
 most astonishing effects. The reflections 
 of his lights are charming; and every 
 column, cornice, or other member of his 
 architectural pieces, is painted with the 
 utmost truth. His pencil is delicate, his 
 touch light and sharp; but the figures 
 were inserted by Brueghel, Van Tulden, 
 and Franck. The genuine pictures of the 
 elder Stenwyck are extremely scarce, and 
 highly valued. He died in 1603. 
 
 Stenwyck, or Steenwyck (Henry), 
 the Young. He was born at Antwerp in 
 1589, and was instructed by his father, 
 the preceding painter, whose manner he 
 imitated, but generally on a larger scale, 
 Vandyck, who admired his works, brought 
 him to England, and introduced him to 
 Charles I. Here he met with great en- 
 couragement, and continued to be em- 
 ployed several years. His usual subjects 
 were the insides of churches and grand 
 edifices ; but he at last quitted the dark 
 manner of his father. He sometimes 
 painted the backgrounds of Vandyck's 
 pictures with ornamental architecture; 
 and that great master gave the portrait 
 of Stenwyck a place in his collection of 
 distinguished artists. He died in London ; 
 and his widow, who practised perspective 
 painting, retired to Amsterdam, where 
 she painted in the style of her husband 
 and his father, with great credit. 
 
 Stenwyck (Nicholas). This artist 
 
STE 
 
 520 
 
 STO 
 
 was born at Breda in 1640; and his excel- 
 lence lay in representing vases, musical 
 instruments, books, also allegorical em- 
 blems of mortality, composed with spirit 
 and well grouped. He died at Breda ii 
 1698. 
 
 Stephajjoff (Filetek). This painter 
 was a native of Russia, but it is not 
 known where he received his education, 
 nor when he came to England. He re- 
 sided here, however, many years, and 
 frequently exhibited at the Royal Aca- 
 demy. He sometimes painted portraits, 
 at others decorations for ceilings, and 
 occasionally scenes for the theatres. 
 Stephanoff was a man of talent, but of a 
 melancholy temper, and in a fit of in- 
 sanity put an end to himself about 1 790. 
 He left a widow, who was also an artist, 
 and in 1783 exhibited two pictures of a 
 pheasant and a hare. She was by birth 
 a German, but resided many years in 
 England, and became distinguished by 
 her skill and taste in painting flowers and 
 still life, in which art she occasionally 
 instructed some young ladies. She died 
 at her house in Brompton-row, Knights- 
 bridge, in January 1808. She had two 
 sons, one of whom, the present F. P. Ste- 
 phanoff, has distinguished himself greatly 
 by his historical compositions, both in 
 oil and in water colours. 
 
 Stern (Ignazio). He was born in 
 Bavaria about 1696, and studied at Bo- 
 logna under Carlo Cignani. While in 
 Lombardy, he painted some pictures of 
 great merit for the churches, particularly 
 an altar-piece in the church of Piacenza, 
 representing the Annunciation. On leav- 
 ing Bologna he went to Rome, where he 
 continued several years, and painted, in 
 the Basilica of St. John de Lateran, a 
 picture of the Assumption. Besides his- 
 torical subjects, he painted conversations 
 and concerts in the manner of Bamboccio. 
 He died in 1746. 
 
 Stextler (William). This Swiss ar- 
 tist was born at Berne, and studied under 
 Felix Meyer, at Zurich, but on going to 
 Paris he learned the art of painting in 
 miniature from Joseph Werner. Here, 
 also, besides that practice, he was much 
 engaged in designing historical subjects 
 for the booksellers, and he accompanied 
 Charles Palin to Holland and Italy, as a 
 draughtsman for his publications on an- 
 tiquities. He died in 1708. 
 
 Stevens (John). This English artist 
 is supposed to have been a scholar of Van 
 Diest, whose style of landscape he imi- | 
 
 tated ; but he also painted small pictures 
 for chimney ornaments. He died in 
 1722. 
 
 Stimmer (Tobias). He was born at 
 SchalFhausen, in Switzerland, in 1544; 
 but it is not known by whom he was in- 
 structed. He was much employed in 
 painting in fresco at Frankfort and Baden ; 
 but all his works have perished, except 
 the wood -cuts which he designed and 
 executed for the Bible published at Basle 
 in 1586, and which prints received the 
 commendation of Rubens. 
 
 Stoccade (Nicholas de Helt). He 
 was born at Nimeguen in 1614, and was 
 instructed by Martin Ryckaert, whose 
 daughter he married. He first practised 
 landscape painting, but afterwards applied 
 to historical composition; to acquire im- 
 provement in which department of the art 
 he went to Rome, and from thence to 
 Venice, that he might study the style of 
 colouring in that famous school. In pass- 
 ing through France to his own country, 
 he received so much encouragement as 
 induced him to continue at Paris, where 
 he was appointed painter to the king. 
 Most of the paintings of this artist are 
 preserved at Venice and Rome, where he 
 resided many years. The historical pic- 
 tures which he painted are of a large size, 
 and his figures are designed in a good 
 taste. He had a broad and free manner 
 of pencilling, with a remarkable sweet- 
 ness of colour; and showed an ingenious 
 singularity in expressing the actions and 
 passions of his characters, in a manner 
 very different from other designers. Thus, 
 while, in the story of Andromeda, many 
 painters represented her as almost dying 
 with fearful apprehension of her danger 
 from the monster; Stoccade, on the con- 
 trary, described her in modest confusion, 
 as blushing more from the consciousness 
 of being exposed naked, than terrified at 
 the horrors with which she was threaten- 
 ed. This picture, and those of Clelia, 
 and Joseph distributing the Corn in 
 Egypt, were highly celebrated by the 
 best poets of the Low Countries. Stoc- 
 cade was also eminent in portraiture. He 
 died in 1669. 
 
 Stock (Ignatius Vander). This 
 Dutch artist, who lived about the year 
 1625, was a landscape painter of eminence, 
 and also an engraver of ability; but no 
 particulars are known of his life. 
 
 Stone (Henry). This artist was the 
 son of Nicholas Stone, master mason to 
 James I. He is commonly called 01^ 
 
STO 
 
 STO 
 
 Stone, to distinguish him from John^ his 
 younger brother. Henry was an excel- 
 lent copier of the works of Vandyck, and 
 other masters. He died in London in 
 1653. John Stone followed the profession 
 of a statuary, but occasionally he also 
 copied the paintings of the best artists, 
 and he likewise designed and engraved 
 some plates. He survived the Restoration. 
 
 Stoop (Dirk or Theodore). This 
 Dutch painter was born about 1610, and 
 followed the manner of Bamboccio very 
 closely. His subjects werehunters, farriers, 
 shops, and inns ; which he painted with 
 great spirit. He also etched some prints 
 in a free and masterly style. 
 
 Stoop (Peter). He is supposed to 
 have been the brother of the last-mention- 
 ed artist, and to have been born in Hol- 
 land about 1613. He excelled in the 
 representation of battles, seaports, and 
 processions. On completing his profes- 
 sional education, he went to Lisbon, where 
 he assumed the name of Roderigo. He 
 accompanied the Infanta Catherina to 
 England, and continued here till his death, 
 about 1685. He etched several plates, 
 among which were those of Ogilby's 
 
 Stoppeiaeb (Michael). He was a 
 native of Ireland, and became both a 
 portrait painter and an actor, though in 
 neither capacity could he ever rise above 
 mediocrity. He was retained at Covent- 
 garden theatre many years, where his 
 highest characters were the Gravedigger 
 in Hamlet, and Ben Budge in the Beggar's 
 Opera. Michael drew the portrait of Joe 
 Miller, of which there is an engraving. 
 He was noted for his bulls and witticisms. 
 He had a brother, who also practised 
 portrait painting with as little reputation 
 as the performer, 
 
 Stober (Christopher). He was a 
 native of Constance, and studied at Milan 
 under Ercole Procaccini. Though a 
 painter of historical subjects, he is best 
 known by his engravings. He died at 
 Milan, aged sixty, in 1671. 
 
 Stork (Abraham). He was born at 
 Amsterdam in 1650, but his instructor 
 is not mentioned. He studied asslduoBsly 
 after nature, and sketched every vessel 
 and scene which he intended to introduce 
 in any of his compositions from the real 
 objects; by which means his seas, rocks, 
 havens, and ships, have a strong character 
 of truth. His usual subjects are the re- 
 presentations of vessels at sea in calm or 
 storms, or in harbour at anchor; also 
 
 views of seaports, with a variety of boats, 
 barges, and ships, exhibiting a number 
 of figures occupied in different employ- 
 ments. His colouring is pleasing, his 
 touch spirited, and his pencil clean, neat, 
 and delicate. His figures, though small, 
 are correctly designed ; and his compo- 
 sitions are generally full of them. A 
 capital picture of this master is a repre- 
 sentation of the Reception of the Duke of 
 Marlborough in the river Amstel, with a 
 procession of vessels, barges, and yachts, 
 superbly decorated, and crowded with 
 figures in a variety of habits, adapted to 
 their different dignities, ranks, and condi- 
 tions. Though the composition is im- 
 mense, it is disposed without confusion, 
 and every part of it is neatly handled and 
 delicately finished. He had a brother, 
 who was a landscape painter, and for the 
 most part painted views of the Rhine; but 
 he did not arrive at the excellence of 
 Abraham, who died at Amsterdam in 
 1708. 
 
 Stothard (Thomas), the most natural, 
 graceful, and unaffected of British painters, 
 was the son of a coachmaker, who lived in 
 Long-acre, and was born there in the 
 month of August 1755. An only child, 
 and an ailing one, he was sent, when five 
 years old, to Acomb, a small village, near 
 York, where he recovered health, and 
 gained vigour, through the almost motherly 
 care of an old Scotch lady, in whose house 
 a love of painting found him. She had 
 the Blind Belisarius, and other engravings, 
 some of them from the hand of Strange, 
 which she regarded as household deities, 
 and preserved in her chamber, from all 
 eyes save her own. One day she had left 
 the door unlocked, and, on her return, 
 was surprised to find the boy standing on 
 a chair, and gazing his soul away on the 
 prints: he had a paper and pencil in his 
 hand, and had traced a very fair resem- 
 blance to the Belisarius upon it; she saw 
 this, smiled, and, passing her hand over 
 his head, said, " Go on, Thomas; you are 
 really a queer boy." He continued in the 
 country till he was eight years old, and 
 left it a confirmed painter; he had not 
 only made many little sketches from scenes 
 both of life and still nature, but tried to 
 paint them with the coarse oil colours 
 supplied from a plough-wright's shop. 
 " I painted a man," he said, alluding to 
 these early studies, "in black paint, and 
 then tried with the white and red to work 
 it into the colours of life: it was a sad 
 daub, but I learned something from it : 
 
STO 
 
 522 
 
 STO 
 
 I learned to handle my brush, and lay on 
 my colours." Such are often the circum- 
 stances, remembered or forgot, to which 
 genius owes its aim and its excellence. 
 
 His first recorded work is a Holy Fa- 
 mily, painted in small, like almost all his 
 pictures: it was exhibited in the Royal 
 Academy in 1778: he was then twenty- 
 three years old; and, though an early 
 beginner, his modesty equalled his talents, 
 and he did not hurry, as many do, his 
 first crude gropings after beauty before 
 the public. In the following year he ex- 
 hibited a little picture of Banditti, and 
 afterwards the retreat of the Greeks with 
 the body of Patroclus; the death of Sir 
 Philip Sydney; King Richard returning 
 from Palestine; King Richard's treatment 
 of Isaac King of Cyprus; and Britomart, 
 from Spenser. The last of these intimates 
 his commencement of that series of works, 
 from our poetic and prose literature, which 
 extend to several thousands, and exhibit 
 the heroism, the pathos, the humour and 
 the spirit of the island genius, in a man- 
 ner as easy, as graceful, and as brightly, 
 as it shines in the purest prose, or the 
 most vivid verse. In 1792 he was elected 
 an associate of the Royal Academy; two 
 years afterwards, he was admitted into 
 the ranks as Royal Academician; he 
 moved at the same time from 39, East- 
 street, to 28 Newman-street a neigh- 
 bourhood much frequented by the brethren 
 of his art. 
 
 Of all our poets, Spenser was his favour- 
 ite, and from his pages, and those of Chau- 
 cer and Shakspeare, he has embodied scenes 
 and groups sufficient for his fame. To 
 ensure the presence of nature in his com- 
 positions, it was his custom to walk fre- 
 quently in the streets, and look at the men 
 and women, girls and boys, the rich and 
 the poor, and the high and the humble, as 
 they hurried or loitered along. He used 
 to say, as he transcribed their looks or 
 their air, from his memory into his studies, 
 that he never met with two faces or two 
 forms alike. He loved to extend his walks 
 as far as the Tower, and often farther, to 
 study the heads of foreign mariners, who 
 crowd the Thames from every point of the 
 compass; and of these he loved the seamen 
 from the Mediterranean most, for their 
 ancient Grecian-like cast of countenance; 
 and the Chinese and low Irish least, from 
 their coarse looks and unpoetic airs. In 
 all his pictures there is a natural action 
 and a classic grace the fruit of these 
 studies and his fine poetic talents. This 
 
 is visible in his numerous scenes from the 
 Grecian and Italian poets, over which the 
 air of antique beauty is warmly, sometimes 
 too glowingly, breathed : these consist, 
 chiefly, of nymphs wandering in shady 
 forests, reposing by falling streams, sing- 
 ing to the lute by silent fountains, walking 
 with their favourite knights, or bathing 
 singly, or in clusters, in lonely streams, 
 with nothing save a song-bird or a wild 
 fawn to see them. 
 
 The Pilgrim's Progress, and Robinson 
 Crusoe, were the sources from whence he 
 frequently drew inspiration : Christiana 
 and her Children was in the exhibition of 
 1797, Christian the Pilgrim followed, and 
 both were admired for their simplicity and 
 beauty; while Robinson Crusoe, on his 
 lonesome isle, scared with the print of a 
 man's foot on the sand, can never pass 
 away from the memory. The illustrations of 
 these romantic compositions tell the story, 
 of themselves : in a small compass, and at 
 a glance of the eye, we find the bloom and 
 the essence of the great originals. There 
 is scarcely an author of any mark whose 
 pages he has left unembellished ; nor is 
 there a poet whose peculiar excellence he 
 can be accused of not perceiving and feel- 
 ing-. In his scene from the Canterbury 
 Pilgrimage, where he musters at sunrise 
 his motley, yet select, devotees, and directs 
 their march to the shrine of Thomas a 
 Becket, at Canterbury, we read in their 
 looks the various characters described by 
 Chaucer ; and no man who has seen that 
 fine picture, glowing with truth and life, 
 can say he is unacquainted with the poet, 
 though he only knows him by name. The 
 same may be said of those fine pictures, 
 which he has hung like summer garlands 
 on the muse of Rogers ; and of his illus- 
 trations to the Tales of Boccacio; in both 
 of which he has shown a fancy teeming 
 with images of innocence and loveliness. 
 The sun never shown on mOre pure and 
 lovely creatures; yet now and then, here 
 and there, he has exhibited a touch of 
 what puritans call the Old Adam, and has 
 just intimated, in some of his nymphs, 
 that they feel their steps unsteady, and the 
 grftss under their feet a little slippery. 
 
 The chief excellence of Stothard lies in 
 expressing virgin innocence and matron 
 grace in depicting images of female 
 loveliness, and rural or chivalrous life. 
 He has humour of a quiet kind, and a deep 
 sensibility; he is without laboured shapes 
 or constrained postures ; all with him is 
 easy, graceful, and unaffected. He is th 
 
STO 55 
 
 painter of thought rather than of form ; 
 and yet, where are fairer forms to be 
 found than in his clusters of nymphs and 
 bevies of ladies ? His colouring is often 
 briglit and clear. He is very unequal, 
 and what is called mannered ; his smallest 
 pictures are his best, and luckily these are 
 very numerous. He had been long in a 
 declining way ; yet his end was unlocked 
 for by his friends, when he died at his 
 house in Newman-street, on the 27th of 
 April, 1834. He had been out in the fields 
 only a few days before, looking for dragon 
 moths and mottled butterflies, and lament- 
 ing that they were not come. 
 
 Stotharo (Charlks Alfred), the son 
 of Thomas Stothard, R.A., was born in 
 London, July 5, 1787. His education 
 was liberal, and on leaving school he be- 
 came a student of the Royal Academy, 
 where he soon attracted notice for the 
 chaste feeling and accuracy with which 
 he drew from the ancient sculptures. In 
 1802 he accompanied his father to Bur- 
 leigh, the seat of the Marquis of Exeter, 
 and while there made several drawings 
 of the monuments in the neighbouring 
 churches; which laid the foundation of the 
 great work that afterwards occupied his 
 time and cost him his life. In 1811, he 
 exhibited at Somerset-housea spirited pic- 
 ture, representing the murder of Richard 
 II. at Pomfret Castle ; in which the cos- 
 tume of the time was strictly observed, 
 and the portrait of the monarch taken 
 from his effigy in Westminster Abbey. 
 In the same year Mr. Stothard finished 
 the first number of his Monumental Effi- 
 gies of Great Britain ; a work of great 
 importance to antiquaries and artists. To 
 this undertaking he now directed his sole 
 attention, under the auspices of the Society 
 of Antiquaries, of which he became a 
 member, and was appointed the historical 
 draughtsman. In 1816 he was deputed 
 by tliat body to commence his drawings 
 from the famous tapestry at Bayeux; and 
 while thus engaged, he visited the Abbey 
 of Fontevraud, where he discovered the 
 effigies of the Plantagenets, the existence 
 of which, after the revolutionary tempest, 
 had become doubtful. In 1818 Mr. Sto- 
 thard married Miss Kempe, a very inge- 
 nious lady, who afterwards accompanied 
 him in his journey to France, and, while 
 abroad, wrote an account of her tour, in 
 a series of letters to her mother, which was 
 soon afterwards printed. In 1819, Mr. 
 Stothard made ch-awings for the Society, 
 from the pictures then lately discovered 
 
 3 STR 
 
 on the walls of the Painted Chamber, in 
 which specimens of his talent he exhibited 
 a recovery of the long lost art of raising 
 gold as embossed on the surface of the 
 material, which contributed so much to 
 the rich splendour of the old illuminated 
 manuscripts. Having been solicited by 
 Mr. Lysons to make some drawings for 
 the Account of Devonshire in the Magna 
 Britannia, Mr. Stothard left London in 
 May, 1821, and, after traversing some 
 part of that interesting country, came to 
 Bere Ferrers on the 27th of that month. 
 The next day he began, by means of a 
 ladder, to make tracings of thfe stained 
 glass on the windows of the church, when 
 his foot slipped, and he was killed on the 
 spot, by his head striking on a monument 
 in the chancel. 
 
 Strada, or Stradatsus (John). He 
 was born at Bruges in 1536, of an illus- 
 trious but reduced family, and in that city 
 studied the first principles of painting 
 under his father, who was an artist of no 
 eminence. To complete his knowledge, he 
 went, when very young, to Italy, and for 
 some time found employment at Florence 
 in the palace of the Duke. From thence 
 he proceeded to Rome, where he studied 
 the antiques, with the works of Raffaelle 
 and Buonarroti. Before he quitted Rome, 
 he painted, in conjunction with Daniel da 
 Volterra, and Francesco Salviati, some of 
 the ornaments of the palace of the Belvi- 
 dere. By this association he acquired 
 much of the manner of Salviati, which he 
 ever afterwards retained. From Rome he 
 was invited to Naples by Don John of 
 Austria, to paint his military exploits, in 
 which he gave great satisfaction. His 
 next employment was at Florence, in the 
 ducal palace and the churches. In that 
 city are still to be seen some noble per- 
 fornaances of Stradanus, which will per- 
 petuate his reputation. In the church of 
 the Nunziata is a painting of the Cruci- 
 fixion, which is a grand composition, con- 
 sisting of a number of figures rather larger 
 than life. In St. Croce is a fine piece of 
 tlie Ascension; in St. Maria Nuova is the 
 Baptism of Christ ; and in the chapel of 
 the Palazzo Pitti are two altar-pictures, one 
 of the Nativity, and the other of the Wise 
 Men. Besides the subjects taken from 
 sacred history, he delighted to paint ani- 
 mals, huntings of the wild boar, and bat- 
 tles ; all which he executed in a noble 
 style, with a ready band, and firm pencil. 
 Notwithstanding his long residence in 
 Italy, he always retained much of the 
 
STR 55 
 
 Flemish manner. He had, however, a 
 good taste of design, and an agreeable tone 
 of colouring. Strada was a member of 
 the academy at Florence, where he died in 
 1604. 
 
 Strada (Vespasiano). This artist, who 
 was of Spanish origin, was born at Rome, 
 where he received his instruction from his 
 father, a painter of no distinction. Strada 
 worked principally in fresco, and was 
 employed in ornamenting several of the 
 churches and convents, but died in the 
 prime of life, about 1615. He also en- 
 graved in a good style several subjects 
 illustrative of the life of Christ. 
 
 Streater (Robert). This English 
 painter was born in 1624, and being a 
 person of great industry as well as capa- 
 city, arrived to an eminent degree of per- 
 fection in his art. He excelled particularly 
 in history, architecture, and perspective ; 
 and showed his skill in the truth of his 
 outlines, and the foreshortening of his 
 figures. He also painted landscapes and 
 still life; and there are some fruit-pieces 
 of his which possess great merit. At the 
 Restoration he was made sergeant-painter 
 to Charles II., who had a great regard for 
 him ; and when Streater resolved to be cut 
 for the stone, the king procured a surgeon 
 from France to perform the operation, 
 which, however, the patient did not sur- 
 vive. He died in 1680. His principal 
 works were in the theatre at Oxford ; the 
 chapel in All Souls' College ; some ceilings 
 at Whitehall, which last are now burned ; 
 the battle of the Titans, at Sir Robert 
 Clayton's ; and the altar- pictures of Moses 
 and Aaron, in St. Michael's church. Corn- 
 hill. His property he left to a niece, who 
 married John Van Son, the painter. 
 
 Streek (Jurian Van). He was bom 
 at Amsterdam in 1632, and painted por- 
 traits, but chiefly objects of still life, as 
 dead game, musical instruments, books, 
 and vases, which he represented in a very 
 agreeable manner. He imitated nature 
 in all his compositions, and grouped his 
 objects with so much judgment that they 
 harmonized very pleasingly together. He 
 understood the chiaro-oscuro well, and 
 by that means gave his pictures great 
 force, relief, and truth. He died in 1678. 
 
 Streek (Henry Van). He was the 
 son of the preceding, and was born at 
 Amsterdam in 1659. At first he was 
 instructed by his father ; but afterwards 
 became a disciple of Emanuel de Wit, 
 under whom he studied several years, and 
 assumed his manner and style of colour- 
 
 4 STR 
 
 ing. His inclination, however, leading 
 him to architecture, he gained consi- 
 derable reputation by his performances in 
 that style, which were usually views of 
 the insides of churches, convents, palaces, 
 town-halls, and other buildings, with 
 figures executed by able artists. He died 
 in 1713. 
 
 Streten, or Straeten (Henry Van- 
 der). He was bom in Holland in 1680, 
 and had an extraordinary genius, with a 
 very lively imagination; by which he 
 made a remarkable progress in the art 
 of painting, at an early time of life. 
 Nature was his principal study ; and by 
 diligent practice he acq'iired an uncom- 
 mon freedom of hand ; so that at his first 
 setting out in his profession, he made a 
 considerable figure among the best land- 
 scape painters of his time. But though he 
 gained much by his works, he squandered 
 the whole away in dissipation as fast as 
 it came. About 1690 he came to Eng- 
 land, and met with great encouragement ; 
 but would rarely paint till compelled by 
 necessity, and then laboured with uncom- 
 mon despatch. As an instance of his 
 facility of execution, he painted ten pic- 
 tures in one day, full of agreeable variety, 
 with views of mountains, forests, water- 
 falls, and other pleasing incidents. Those 
 pieces were fixed up in taverns, where 
 he too frequently consumed his time ; yet 
 even there they excited the curiosity of 
 many connoisseurs, who resorted thither 
 to see them. His style resembles that of 
 Ruysdael and Hobbema; but this descrip- 
 tion rather belongs to his early than his 
 later performances. 
 
 Stringa (Francesco). He was born 
 at Modena in 1635, and had Lodovico 
 Lara for his instructor, but improved his 
 style by studying the works of Guercino. 
 He executed several good compositions 
 in the churches and palaces at Modena, 
 as well as at Venice. He died in 1709. 
 
 Sthozzi (Bernardo). This painter, 
 who is also named II Cappucino, and 
 sometimes II Prete Genovese, from his 
 monastic and ecclesiastical character, was 
 born at Genoa in 1581. He studied 
 painting under Pietro Lorri ; and though 
 he turned Capuchin, he still followed the 
 profession, only choosing sacred subjects. 
 One of his finest works is a representation 
 of Paradise, in the church of St. Dome- 
 nico at Genoa ; and in the Palazzo Brig- 
 nole is a noble piece of the Unbelief of 
 St. Thomas. Strozzi excelled in the 
 drawing of old men. He died in 1644. 
 
STU 
 
 Stbudei. (Peter). He was born in 
 the Tyrol in 1680, and went early to 
 Venice, where he became the scholar of 
 Carlo Loti, by whose precepts and example 
 he soon showed himself superior to his 
 fellow pupils. The Emperor Leopold 
 invited him to Vienna, where he was 
 employed in adorning the palaces with 
 several grand compositions ; for which he 
 was honoured with the title of baron. 
 Many of his pictures are in the churches 
 and convents of Germany, and evince 
 great originality of taste and conception. 
 He studied nature with judgment. His 
 colouring is strong, his design correct; 
 and he had a peculiarly graceful manner 
 of painting boys. He died at Vienna 
 in 1717. 
 
 Stubbs (Geokge). This excellent 
 artist was born in 1724, at Liverpool, 
 where, in early life, he was distinguished 
 by his anatomical pursuits. At the age 
 of thirty he went to Rome for improve- 
 ment, and on his return settled in the 
 metropolis. In 1766, he published the 
 Anatomy of the Horse; all the plates 
 of which were drawn and engraved by 
 himself. As a painter of animals, parti- 
 cularly the race- courser, he was not 
 excelled by any of his contemporaries, 
 and his pictures of the Lion and Horse, 
 and the Lion and Stag, were deservedly 
 applauded. Mr. Stubbs was also the 
 inventor of a species of painting land- 
 scapes on large plates of enamel ; and he 
 published several prints, chiefly of ani- 
 mals. At the time of his death he was 
 employed on a work entitled, A Compara- 
 tive Anatomical Exposition of the Struc- 
 ture of the Human Body, with that of a 
 Tiger and Common Fowl. He was a 
 man of such muscular strength, that he 
 has more than once carried a dead horse 
 on his back up two pair of stairs to hi 
 dissecting room on the attic floor. He 
 was an associate of the Royal Academy 
 and died in 1806. 
 
 Stuven (Ernest). He was born at 
 Hamburgh in 1657, and was taught the 
 rudiments of the art by an obscure painter 
 named Hins ; but at the age of eighteen 
 he Avent to Amsterdam, and spent some 
 time under the direction of John Voor- 
 hout, and William Van Aelst. He first 
 adopted portraiture; but on perceiving 
 that his genius led to the painting of fruit 
 and flowers, he placed himself as a disciple 
 with Abraham Mignon. His works soon 
 recommended him to the favour of the 
 public, and he was considered as a very 
 
 excellent painter in the style of his master. 
 He copied his subjects from nature with 
 beautiful exactness, grouped them agree- 
 ably, finished his pictures with a light 
 touch, and gave them such a transpa- 
 rence, as well as truth, as must always 
 render them estimable. He died in 1712. 
 
 SuAKDi (Baktoix)meo). This artist 
 was born at Milan, and had Bramante 
 Lazzeri for his instructor; whence he 
 obtained the name of Bramantino. He 
 was both a painter and architect, in which 
 capacities he proved a valuable assistant 
 to his master at Rome. In that city 
 Suardi also improved himself in painting, 
 and produced some fine pictures, as he 
 afterwards did at Milan, where he died, 
 about 1530. 
 
 SuAvius, see Lombard. 
 
 Subletbas (Peter). He was born at 
 Usez, in Languedoc, in 1699, being the 
 son of an inditferent painter, who taught 
 him the first principles of drawing and 
 design. But at the age of fifteen, he 
 became the scholar of Anthony Rivalz, 
 at Toulouse. Having profited suflSciently 
 under that master, he repaired to Paris, 
 where he gained the first prize in the 
 academy, for a picture of the Brazen 
 Serpent. He was in consequence sent to 
 Rome with a royal pension, and there he 
 settled for life, being employed by the 
 pope, the cardinals, and the principal 
 nobility. He painted a grand composi- 
 tion for the church of St. Peter, which 
 was afterwards executed in mosaic; the 
 subject is St. Basil celebrating mass 
 before the Emperor Valens. He finished 
 also several easel pictures for private per- 
 sons ; and had the honour to paint the 
 portraits of Benedict XIV. and many 
 cardinals and princes. He was remark- 
 able for the delicacy of his pencil, for the 
 goodness of his colouring, and for a judi- 
 cious manner of disposing his subjects. 
 He died at Rome in 1749. Subleyras 
 etched some prints from his own designs. 
 
 SUBTERMANS, Or SuTERMANS (JuSTUs). 
 
 He was born at Antwerp in 1597, and 
 was the disciple first of William de Vos, 
 and afterwards of Francis Pourbus. By 
 practising under these masters, he formed 
 an elegant style, and in his colouring 
 and disposition, equalled the best of his 
 contemporaries. Having established his 
 reputation in his own country, he travelled 
 to Italy, visiting the principal cities, and 
 accurately studying every thing that could 
 conduce to the advancement of his taste 
 or knowledge. At Florence he was 
 
SUE 
 
 SUV 
 
 appointed painter to Cosmo II., Grand 
 Duke of Tuscany; and when Vandyck 
 came thither, he expressed the greatest 
 admiration of the works of Subtermans, 
 whose portrait he painted. The inven- 
 tion of this artist was admirable, and he 
 had an elevated manner of thinking and 
 composing; his attitudes were just and 
 natural; his draperies broad, and well 
 cast; his colouring strong, lively, and 
 pleasing ; showing a powerful eflfect from 
 the management of the chiaro-oscuro ; 
 and his expression was excellent. One 
 of his greatest performances is in the 
 ducal gallery, and represents the homage 
 sworn to Ferdinand II. by the nobility. 
 It is a grand composition, the colouring 
 is wonderfully true, and the figures are 
 all portraits, designed judiciously, with 
 their characters well marked. He died 
 in 1681. 
 
 SuEUK (Eustace lb). This artist, who 
 obtained the appellation of the French 
 Raffadle, was born at Paris in 1 6 1 7 . He 
 was the scholar of Simon Vouet, but 
 owed his excellence more to the study of 
 the antiques, and the best works of the 
 Roman School, than to the instructions 
 of his master. Though he never visited 
 Italy, and was deprived of the advantage 
 of studying theworks of Raffaelle at Rome, 
 he was an enthusiastic admirer of that 
 great master, and in the laudable ambition 
 of imitating him, he threw aside the frip- 
 pery and affected style of his country. In 
 1640, he was admitted into the academy 
 of Paris, on which occasion he painted, 
 for his reception, St. Paul casting out a 
 Demon. The invention of Le Sueur was 
 easy and fertile; his compositions grand 
 and judicious; his draperies unite sim- 
 plicity and grandeur; and in the manner 
 of his folds he endeavoured to observe the 
 order of the antique. Yet this close at- 
 tention to his models contributed in a 
 great measure to give a hardness and 
 dryness to his works. He never quite 
 divested himself of the manner of colour- 
 ing which he had acquired under Vouet, 
 and knew but little either of the chiaro- 
 oscuro, or of local colours. Though Le 
 Sueur had extraordinary merit, it was 
 blended with great imperfections; so that 
 in some parts of every picture painted by 
 him he appears unequal to himself. His 
 taste of design, and the airs of his heads, 
 are justly to be admired; but his naked 
 figures are faulty in the disposition as 
 well as in the action of the muscles. The 
 distribution of his lights and shadows is 
 
 far from judicious; his colouring is ten- 
 der, but wants force; and there is too 
 much strength in proportion to the design. 
 His attitudes, however, are always noble, 
 simple, and natural; his expression is 
 great, and well adapted to his subject, 
 and he was ingenious in the choice of his 
 objects. Upon the whole, he had an uncom- 
 mon mixture of the elegances and defects 
 of painting : he excelled in the superior 
 and most difiicult parts of his profession, 
 and erred in those which are least impor- 
 tant. The principal work of this painter 
 is the life of St. Bruno, in twenty-two 
 pictures, preserved in the cloister of the 
 Carthusian monastery at Paris; which 
 paintings employed him three years. In 
 the Louvre are two fine pictures by him: 
 one of St. Paul preaching at Ephesus; 
 and the other a Descent from the Cross, 
 He died in 1655. 
 
 Sullivan (Luke). This artist was 
 born in Ireland, but came yoimg to Lon- 
 don, and served his apprenticeship as an 
 engraver, to Thomas Major. He, how- 
 ever, studied painting also, and became 
 distinguished by his portraits in miniature. 
 Sullivan still practised engraving, and 
 became an occasional assistant to Hogarth. 
 He died about 1776. 
 
 SuNMAN (N.) This Dutch portrait 
 painter came to England in the reign of 
 Charles II., and after the death of Lely 
 obtained much employment, till he was 
 supplanted by Riley ; upon which he went 
 to Oxford, where he was engaged in paint- 
 ing the founders of the colleges, for the 
 picture gallery. He died in London in 
 1707. 
 
 SuRCHi (GriovANNi Francesco). He 
 was born at Ferrara, and studied in the 
 school of the Dossi, to whom he became 
 an assistant in some of their greatest 
 works. He excelled in history, grotesque 
 ornaments, and landscapes. He died in 
 1590. 
 
 SuvEE (Joseph Benedict), a Flemish 
 artist, bom at Bruges in 1743, was a pupil 
 of Bachelier, and early displayed very 
 considerable talent. In 1780 he was 
 received amember of the French Academy, 
 and in 1801 went to Rome as director of 
 the French School in that city. He died 
 in the Roman capital in 1807. His pictures 
 are rather characterised by grace and har- 
 mony than by vigour of colouring. A 
 Descent of the Holy Ghost ; the Death of 
 Coligni; an Adoration of the Kings; a 
 Birth of the Virgin; an 1 a Resurrection; 
 are among his most esteemed productions. 
 
SYD 
 
 TAF 
 
 SwAiNE (Francis). This artist painted 
 sea views, and worked mostly for the 
 shops. When the Society for the En- 
 couragement of Arts offered premiums for 
 marine subjects, he gained tAvo prizes of 
 tlie second rate. He died in Westminster 
 about 1782. 
 
 SwASTEVELDT (Herman), Called the 
 Hermit of Italy. He was born at Woer- 
 den, in Holland, in 1620, and is said to 
 have been the disciple of Gerard Douw; 
 but he went very young to Italy; and his 
 genius prompting him to landscape paint- 
 ing, he became the scholar of Claude 
 Lorraine. He studied nature incessantly, 
 and very frequently, with Claude, observed 
 the tinging of the morning light on the 
 surfaces of different objects, mountains, 
 rocks, trees, skies, and waters, and the 
 various effects of light at noon and even- 
 ing ; which gave his works so much 
 beautiful truth and nature, as will for 
 ever render them extremely estimable. 
 Herman also took great delight in fre- 
 quenting the elegant remains of antiquity 
 about Rome, to observe and design after 
 the finest ruins, in which entertainment 
 he spent all his leisure hours; and from 
 this studious and retired manner of life, : 
 obtained the name of the Hermit of Italy. 
 His pictures have the sweetness and ten- 
 derness of Claude, but they want his 
 warmth, and are not so striking in their 
 effect ; yet his figures and animals are far 
 superior to those of his master, both in 
 design and outline. The forms and the 
 touching of his trees are evident i)roofs of 
 the delicacy of his pencil; and as his 
 paintings approach nearest to the style 
 and manner of Claude, they have always 
 been highly valued. He also produced 
 several beautiful etchings of landscapes 
 and animals. He died at Rome in 1690. 
 
 SwiTZER (Joseph). He was born at 
 Berne in 1570, and went to Rome with 
 Van Achen, under whom he studied, and 
 became a good artist in the manner of his 
 master. He died at Rome in 1629. 
 
 Syder (Daniel), called Cavaliere Dani- 
 ello. He was born at Vienna in 1647, 
 and there received his education; after 
 which he went to Venice, and studied 
 painting under Carlo Loti ; whose manner 
 he imitated so well, that many of his 
 pictures have been taken for those of his 
 master. From Venice he removed to 
 Rome, where, to improve his taste in 
 drawing and design, he became the scholar 
 of Carlo Maratti, who was so well pleased 
 with his conduct, that he recommended 
 
 him to the Duke of Savoy. That prince 
 accordingly engaged him in his service, 
 showed him many public marks of his 
 regard, and conferred on him the honour 
 of knighthood. Two capital pictures of 
 this artist are at Rome: one in the Chiesa 
 Nuova, and the other in the church of St. 
 Filippo Neri ; the subjects of which are, 
 the Gathering the Manna in the Wilder- 
 ness, and a Last Supper. In both, the 
 disposition is good, the drawing and design 
 correct, and the expression of the passions 
 forcible. He sometimes painted portraits ; 
 and when the Duke of Savoy sat to be 
 painted, Syder appeared in some con- 
 fusion, having mislaid his maulstick; upon 
 which the prince offered him his walking- 
 cane, richly set with diamonds, and asked 
 him whether that would answer his pur- 
 pose. The painter made use of it while 
 the duke sat, and presented it to him as 
 soon as he arose; but the courtiers, having 
 previously received their directions, pre- 
 vented him from returning it, observing, 
 that their master never resumed a gift 
 which he had voluntarily bestowed. Sy- 
 der died at Rome in 1721, 
 
 T. 
 
 Taccone (Innocenzio). This artist 
 was born at Bologna, and studied under 
 Annibale Caracci, whom he accompanied 
 to Rome, and assisted him in several of 
 his great works. In the church of St. 
 Mario del Popolo he painted three large 
 pictures of the enthronization of the 
 Virgin; the appearance of Christ to Peter; 
 and the Vision of St. Paul. He also 
 painted the History of St. Andrew, in the 
 chapel of that apostle. He died at Rome 
 in the prime of life. 
 
 Taffi (Andrea). He was born at 
 Florence in 1213, and was the first who 
 introduced among his countrymen the 
 true knowledge of the art of working in 
 mosaic. Andrea having heard of some 
 Greek artists who painted mosaic in the 
 church of St. Mark at Venice, went thi- 
 ther, and cultivated an acquaintance with 
 one of them, called Apollonius, andfinally 
 prevailed on him to become his instructor, 
 and to accompany him to Florence. In 
 that city they executed several works, 
 which were exceedingly admired; but the 
 performance which secured the fame of 
 Andrea was a Dead Christ, finished en- 
 tirely with his own hand, in a chapel at 
 
TAR 5: 
 
 Florence; and the execution cost him 
 abundance of care and labour, as the de- 
 sign was seven cubits long. He died in 
 1294. 
 
 Tagliasacchi (Giovanni Battista). 
 This artist was a native of Donnino, near 
 Piacenza, and the pupil of Giuseppe dal 
 Sole; upon whose style he improved by 
 studying the works of Corregio, Parme- 
 giano, and Guido. In the cathedral of 
 Piacenza is an altar-piece by him, of the 
 Holy Family. He died there in 1737. 
 
 Tal-ami (Orazio). He was born at 
 Keggio in 1625, and studied first under 
 Pietro Desani, and next at Rome, where 
 he applied diligently to the works of An- 
 nibale Caracci. He afterwards settled at 
 his native place, and acquired credit as 
 an historical painter. He died in 1699. 
 
 Tamburini (Giovanni Maria). He 
 was a native of Bologna, and became suc- 
 cessively the scholar of Pacini and Guido. 
 His best works are, the History of St, 
 Antony of Padua, and the Annunciation, 
 at Bologna. He lived about the year 
 1650. 
 
 Tanckedi (Filifpo). This painter was 
 born at Messina, in Sicily, in 1655. After 
 learning the elements of the art at Naples, 
 he went to Rome, and became the scholar 
 of Carlo Maratti. On leaving that mas- 
 ter, he returned to his native island, and 
 settled at Palermo, where he died in 1725. 
 His design was correct, and his colouring 
 harmonious. 
 
 Tanzi (Antonio). He was born at 
 Alagna, near No vara, in 1574'; but his 
 master is not kiiown. He painted several 
 great works at Milan and Novara, par- 
 ticularly one of the Battle of Sennacherib, 
 in the church of St. Gaudenzio, at the 
 latter place, where he died in 1644. 
 
 Taraboti (Oaterixa). This lady was 
 born at Venice in 1582, and was taught 
 the art of painting by Alessandro Varotari. 
 She profited so well by his instructions, 
 as to be distinguished in her native city 
 above many of the most considerable ar- 
 tists in history. She died there in 1631. 
 
 Taricco (Sebastiako). He was born 
 at Cherasco, in Piedmont, in 1645, and 
 died at Turin in 1710. He imitated 
 Domenichino and Guido in his composi- 
 tions and colouring, as is evident in his 
 pictures, which, however, are only to be 
 found at Turin. 
 
 Taruffi (Emilio). He was born at 
 Bologna in 1632, and studied under Fran- 
 cesco Albano with Carlo Cignani, who 
 became his associate in several great 
 
 !8 TAV 
 
 works at Bologna and Rome. ' The taste 
 of Taruffi in landscape was beautiful, 
 and he had a most agreeable choice of his 
 scenes and situations ; his figures are ele- 
 gant, and placed with judgment; in his- 
 torical composition, also, he had a lively 
 and pleasing manner of painting and 
 designing. At Bologna he painted, for 
 one of the churches, the Virgin present- 
 ing a rosary to St. Domenico ; and for 
 another, the Virgin with a glory. In the 
 Wilton collection is a picture by him, 
 representing one Cupid taking his bow 
 from another. He died in 1694. 
 
 Tasca (Cristoforo). This painter 
 was born at Bergamo in 1667, and died 
 at Venice in 1737. He worked chiefly 
 for the churches, and his best pictures are 
 the Birth of the Virgin; the Nativity; 
 the Death of Joseph ; and the Baptism of 
 Christ. He imitated the manner of Carlo 
 Loti. 
 
 Tassi (Agostino). The family name 
 of this artist was Buonamici. He was 
 born at Perugia in 1566, and after learn- 
 ing the rudiments of the art in his own 
 country, he went to Rome, where he 
 studied under Paul Bril, and imitated 
 him in his landscapes both in style and 
 colouring. He was much admired for the 
 freedom of his pencil, and the spirit of his 
 touch in the leafing of his trees, and the 
 plants with which his foregrounds were 
 usually decorated. He was also distin- 
 guished as a painter of architecture and 
 perspective, in which he had considerable 
 employment, till, for some offence, he was 
 sent to the galleys. During his confine- 
 ment he amused himself by painting 
 marine subjects, as seaports and calms, 
 with fishing-boats and shipping; but he 
 was not equally successful in the repre- 
 sentation of storms at sea, of which, how- 
 ever, he etched some prints. Agostino 
 was the instructor of Claude Lorraine, 
 and the associate of Ventura Salimbeni. 
 He died in 1642. 
 
 Tavarone (Lazarro). He was born 
 at Genoa in 1556, and was a disciple of 
 Luca Cangiagio, or Cambiasi, whom he 
 accompanied to Spain as his assistant in 
 painting the grand designs in the Escurial. 
 While thus employed, Cangiagio died, 
 and the paintings which he left unfinished 
 were completed by Tavarone, who con- 
 tinued at Madrid nine years, during which 
 he executed many works of his own com- 
 position, to the satisfaction of the king, 
 who rewarded him liberally. He excelled 
 in fresco painting, and was also distin- 
 
TEL 5: 
 
 guished for his portraits. He died at 
 Genoa in 1641. 
 
 Tavella (Carlo Antonio). This 
 artist was born at Milan in 1668, and 
 studied under Peter Molyn, called II 
 Tempesta, whose manner he followed, and 
 thence obtained the name of II Solfurola. 
 But afterwards he adopted a softer style 
 of painting landscape, which he orna- 
 mented with figures by Domenico, Piola, 
 and Magnasio. lie died at Genoa in 1738. 
 
 Taverner (William). This gentle- 
 man was a proctor in Doctors' Commons, 
 and practised landscape painting as an 
 amusement. Lord Orford mentions some 
 pictures by him in the possession of the 
 Earlof Harcourtand Mr. Fauquier, which 
 would have done credit to Gaspar Poussin. 
 He died in 1772. 
 
 Ta VERNIER (Francis). He was born 
 at Paris in 1659, and died there in 1725. 
 He painted historical subjects with some 
 reputation. 
 
 Taylor (Simon). This artist was in- 
 structed in the drawing-school of Mr. 
 William Shipley, and obtained several 
 premiums. About 1760 he was taken by 
 the Earl of Bute to paint botanical sub- 
 jects, in which department he gave proofs 
 of considerable talent. His large collec- 
 tion of the pictures of plants, on vellum, 
 painted for Lord Bute, was sold by auction 
 in 1794. Mr. Taylor was also employed 
 by Dr. Fothergill, for whom he painted a 
 collection of plants, which was sold after 
 the death of that physician to the Empress 
 of Russia for two thousand pounds ; but 
 they cost the doctor much more, as the 
 usual price which Taylor charged for 
 drawing a single plant was three guineas. 
 He died about 1797. 
 
 Tellier (Jean le). This French 
 painter was a native of Rouen ; but nei- 
 ther the year of his birth nor of his death 
 is recorded. Felibien says, that he was 
 the nephew and scholar of Nicolo Poussin, 
 whose manner he adopted, but settled at 
 llouen, where he painted several fine pic- 
 tures for the churches, and also smaller 
 ones for private houses. The Augustine 
 church at Rouen possesses two noble 
 pieces by him ; one a Holy Family, and 
 the other a representation of the miracles 
 performed at the tomb of the patron saint 
 of the order. Another excellent compo- 
 sition of this painter is the Death of St. 
 Alexis, in the church at Gravelines. Le 
 Tellier, whose merit has been so strangely 
 overlooked, was also an excellent painter 
 of portraits. 
 
 19 TEN 
 
 Tempel (Abraham Yanden). He was 
 born at Leyden in 1618, and had George 
 Van Schooten for his instructor. He 
 painted historical subjects, conversations, 
 and portraits in a small size. Francis 
 Mieris the elder was his scholar. He died 
 at Amsterdam in 1672. 
 
 Tempesta (Antonio). He was born 
 at Florence in 1555, and was a disciple of 
 John Strada ; but proved in many respects 
 superior to his master, particularly in fer- 
 tility of invention, and the variety of his 
 figures. The subjects in which he most 
 delighted were animals, huntings, pro- 
 cessions, and battles ; which he expressed 
 with much liveliness and nature, though 
 he neglected delicacy of colouring. He 
 composed with ease, had a ready execu- 
 tion, and his touch was free and firm ; 
 but his chief excellence consisted in com- 
 bats and horses, which he designed with 
 spirit. He also painted historical sub- 
 jects ; and in the church of St. Stefano, 
 at Rome, is a fine picture by him of the 
 Murder of the Innocents. Tempesta was 
 likewise much employed in grotesque or- 
 naments; and he etched, besides, above 
 eighteen hundred prints. He died in 1630. 
 
 Tempesta, or Tempesting (Domenico). 
 This painter was born at Florence in 1652, 
 and was instructed by Franceschini, called 
 Volterrano. His pencil was employed on 
 landscapes and portrait, but he chiefly 
 devoted himself to engraving. 
 
 Teniers (David), the Old. He was 
 born at Antwerp in 1582, and became 
 the disciple of Rubens, who highly es- 
 teemed him for his promising genius. 
 From the school of that celebrated painter, 
 Teniers went to Rome, where he attached 
 himself to Adam Elsheimer, and continued 
 with him six years. Between the styles 
 of his two masters, he formed an original 
 one of his own, which his son afterwards 
 v,ery happily cultivated and carried to 
 perfection. The subjects of his pictures, 
 which were usually small, were the shops 
 or laboratories of chemists, conversations, 
 rural festivities, temptations of St. An- 
 thony, fairs, fortune-tellers, and mounte- 
 banks, which he executed with so neat 
 a pencil, and so much nature, that his 
 pieces procured him great honour and 
 continual employment; every lover of 
 the art being eager to possess some of his 
 works. But though his colouring, touch, 
 design, and distribution of the lights and 
 shadows, deservedly received universal 
 applause, yet his performances were soon 
 ' by those of his son. The elder 
 2 M 
 
TEN 
 
 530 
 
 TER 
 
 Teniers etched a few prints from his own 
 designs. He died in 1649. 
 
 Teniers (David), the Young. He was 
 bom at Antwerp in 1610, and was prin- 
 cipally instructed by his father, David, 
 whose taste of design he always followed ; 
 but he was afterwards the disciple of 
 Adrian Brouwer, and had also the ad- 
 vantage of receiving great improvement, 
 particularly in colouring, from Rubens. 
 At first his merit was so little regarded, 
 that he was often under the necessity of 
 going to Brussels to dispose of his pic- 
 tures ; on which occasions he was some- 
 times mortified to find the paintings of 
 inferior artists preferred to his own. But 
 this cloud dispersed when the Archduke 
 Leopold William, chancing to see some 
 of his pieces, was so struck with them 
 that he immediately appointed Teniers 
 his principal painter, made him one of the 
 gentlemen of his bedchamber, presented 
 him with a chain and medal of gold, and 
 gave him the direction of his gallery, 
 the pictures in which Teniers afterwards 
 copied in a small size, and published 
 prints of them in a folio volume. Some 
 of the works of this extraordinary genius 
 having been transmitted to the King of 
 Spain, he expressed uncommon pleasure 
 in beholding them, invited the artist into 
 his service, employed him for several 
 years, and ordered a gallery to be built 
 as a particular repository for his paintings. 
 He received also marks of honour from 
 Don John of Austria, and Christina 
 Queen of Sweden. He studied nature in 
 every form; and as he generally com- 
 posed his subjects from persons in low 
 stations, he accustomed himself to fre- 
 quent their meetings, at sports, feasts, 
 and pastimes ; by which means he had an 
 opportunity of remarking the simplicity 
 of their manners, and the various actions, 
 attitudes, characters, and passions, of 
 every age, and of both sexes. Teniers 
 had a lively invention and ready execu- 
 tion ; his pencil is free and delicate ; the 
 touching of his trees is light and firm ; 
 his skies are admirable, and, although 
 not much varied, are clear and brilliant ; 
 and the expression of his figures, whether 
 mirthful or grave, in anger or good hu- 
 mour, is uncommonly striking. His pic- 
 tures are generally clear in all their parts, 
 with a beautiful transparence ; and he had 
 the art of relieving his lights by the dis- 
 position of others, without employing deep 
 shadows ; which yet produced the intended 
 effect very happily. This practice he is 
 
 supposed to have derived from Rubens, 
 who remarked that strong oppositions 
 were not always necessary to produce ef- 
 fect in a picture ; which observation that 
 great artist knew to be just, from his 
 studying the colouring and tints of Titian. 
 Teniers was remarkable for another ex- 
 cellence, and that was the power of imi- 
 tating the works of the greatest painters 
 that Italy or any other country produced. 
 The power of his pencil was incredible ; 
 he knew how to adapt it to a variety of 
 eminent artists, whose touch and colour- 
 ing were exceedingly different ; and yet 
 he gave to his imitations so strong a cha- 
 racter of originality, as to leave it doubtful 
 whether they were not really painted by 
 the very artists of whose manner of think- 
 ing, composing, and pencilling, they were 
 only an imitation, or what the Italians 
 call Pastici. His principal subjects are 
 landscapes with small figures, corps-de- 
 garde, merry-makings, kermesses, fairs, 
 shooting at butts, playing at bowls, and 
 the diversions, sports, or occupations of 
 villagers ; but his small pictures are pre- 
 ferable to his large ones. Some con- 
 noisseurs have objected to Teniers that 
 his figures are short and clumsy, with too 
 much sameness in their countenances and 
 habits ; but it ought to be considered that, 
 as he designed every object after the life, 
 and formed his ideas from scenes with 
 which he was most conversant, his forms 
 are exactly those of his models. He was 
 remarkably expeditious, and could finish 
 a picture full of figures, and of the middle 
 size, in one day. This accounts for the 
 great number of his works, which, how- 
 ever, fetch extraordinary prices. The 
 landscape painters of his time were much 
 indebted to Teniers for enriching their 
 pieces with exquisite figures. Though 
 he generally painted in small, he was 
 capable of executing large works; and 
 Descamps mentions an altar-piece in 
 the church of Meerbeck, near Mechlin, 
 painted by him, of which the subject is 
 the Temptation of St. Anthony, the figures 
 being as large as life. It is thus inscribed, 
 David Teniers^ junior, fecit, 1666. He 
 also etched several prints in a spirited 
 manner. He died at Brussels in 1694. 
 
 Tenieks (Abraham). This painter 
 was the brother of the preceding, and was * 
 born at Antwerp in 1618. He painted 
 conversations and merry-makings in the 
 style of his brother, though not with 
 equal excellence. He died in 1691. 
 
 Tebbukg (Gerard). This Dutch 
 
TER 
 
 TER 
 
 painter was born at Zwoll, near Overys- 
 sel, in 1608, and learned the art of paint- 
 ing from his father, who had spent some 
 years at Rome. With no other instruc- 
 tion, he made a considerable figure in the 
 Low Countries, and was accounted a good 
 portrait painter before he set out on liis 
 travels. After visiting Italy, England, 
 and France, he went, in 1648, to Mun- 
 ster, tlien the seat of a congress for the 
 settlement of peace. There he painted 
 the portraits of the plenipotentiaries in a 
 grand picture, which procured him an 
 invitation from Count Pigoranda, the 
 Spanish minister, to go to Madrid, where 
 the king conferred on him the honour of 
 knighthood, and presented him with a 
 chain and medal of gold. Though Ter- 
 burg had sufficient opportunities of ob- 
 serving the finest productions of ancient 
 and modern artists, he never improved 
 his taste of design, nor altered his original 
 manner of composition. Tlie subjects 
 which he generally painted were conver- 
 sations, persons engaged at different 
 games, performers on musical instruments, 
 droll adventures, and domestic incidents, 
 all copied from nature, but without that 
 embellishment which is the result of ele- 
 gance of choice. He finished his pictures 
 highly, with a light and agreeable touch ; 
 his colouring is lively and transparent; 
 and he shows a pleasing and skilful ma- 
 nagement of the chiaro-oscuro ; but he 
 wanted a better taste of design. He was 
 remarkable for introducing white satin in 
 all his compositions, and, as he painted 
 that article of dress perfectly well, he 
 always took care to dispose it in such 
 places as caused it to receive the principal 
 light. His greatest excellence consisted 
 in portraiture, in which style his colour- 
 ing was natural, the resemblance striking, 
 and the character well marked. He died 
 at De venter in 1681. 
 
 Terenzi (Tekenzio, da Urbixo). This 
 painter, who obtained the name of Ron- 
 dolino, was born at Urbino, and became 
 the scholar of Baroccio, after which he 
 went to Rome, where he obtained the 
 patronage of Cardinal IMontalto. He 
 had an extraordinary art of imitating the 
 works of the great masters, so as to deceive 
 some of the best judges. This practice, 
 however, proved his ruin ; for, having 
 attempted to impose upon his patron, the 
 cheat was discovered, and he was dis- 
 carded. He died in 1620. 
 
 Terlee (M.) This Dutch painter was 
 born at Dort in 1636, and died there in 
 
 1687. His talent lay in historical com- 
 position, in which he attained great credit 
 for his design and colouring. 
 
 Termisano (Dezio). He was born at 
 Naples, and had for his preceptor Gio- 
 vanni Filippo Criscuolo. In the church 
 of St. Maria Chiazza, at Naples, is a 
 picture of the Last Supper, painted by 
 him, dated 1597. 
 
 Terwesten (Augustine). He was born 
 at the Hague in 16i9, and, without any 
 instructor, acquired such a knowledge of 
 desien, as to be employedby the goldsmiths 
 in chasing in gold and silver. This pur- 
 suit he followed till he was twenty years 
 of age, when, resolving to make painting 
 his profession, he placed himself under 
 one Wieling, an artist of some repute. At 
 the expiration of two years he became a 
 scholar of Dodoens, with whom he con- 
 tinued the same space of time, and, having 
 improved himself in pencilling and colour- 
 ing, travelled to Italy. At Rome he ex- 
 erted himself to design after the finest 
 antiques, and also to study and copy the 
 works of Raffaelle; but at Venice he 
 devoted his attention to the colouring of 
 Titian and Tintoretto ; and by a close ap- 
 plication during six years which he spent 
 in Italy, he made such improvement as 
 procured him honour and employment on 
 his return to his own country. Among 
 other accomplishments, Terwesten gained 
 an uncommon freedom of hand and readi- 
 ness of pencil, which enabled him to finish 
 several grand compositions in saloons and 
 magnificent apartments in a short space of 
 time; by v/hich works he established his 
 reputation effectually through the Low 
 Countries. The subjects which he painted 
 were usually taken from Ovid, but he 
 composed many from sacred as well as 
 profane history. He had a good genius, 
 a lively invention, and rapid execution; 
 his colouring is natural, his draperies well 
 cast, and his design correct. Of his ex- 
 peditious manner of painting, aninstance is 
 related byHoubraken,from his own know- 
 ledge. He tells us that, having paid a 
 visit to Terwesten, while he was painting 
 the hall of the burgomaster Slingelandt, 
 at Uort, he observed the outline of a 
 design sketched only with a crayon on the 
 chimneypiece. He then invited the artist 
 to suspend Tiis work, and walk abroad 
 with him; but Terwesten said he had 
 somewhat that would engage him for two 
 hours, and if his friend would call on him 
 at that time, he would cheerfully attend 
 him. Iloubraken returned at the ap- 
 
TER 
 
 532 
 
 TES 
 
 pointed hour, and then saw with astonish- 
 ment that, in the interval, the chimney- 
 piece was entirely finished, although it 
 consisted of three or four figures. lie was 
 the principal reviver of the academy at the 
 Hague, and by his abilities it was restored 
 to its former lustre. At last he was in- 
 vited to the court of Brandenburg, where 
 he was employed to adorn the grand 
 apartments of Orangeburg, for which the 
 elector appointed him his principal painter, 
 and made him director of the Academy of 
 Berlin. He died in that city in 1711. 
 
 Tekwesten (Eli as). He was the 
 brother of the preceding artist, and was 
 born at the Hague in 1651. He became 
 the scholar of Augustin, and proved emi- 
 nent for painting flowers, animals, and 
 fruit. Being desirous to improve himself 
 by examining the works of the best artists 
 of Italy, he travelled to Rome, where he 
 settled for life. The Elector of Bran- 
 denburg employed him to procure the 
 finest casts from the antique statues, for 
 the use of the academy at Berlin, and he 
 also purchased for that prince the valuable 
 curiosities collected by Bellori. He died 
 at Rome in 1724. 
 
 Terwesten (Matthew). He was the 
 younger brother to the two preceding pain- 
 ers, andwas born at the Hague in 1670. 
 Augustin instructed him carefully in the 
 rudiments of the art, but afterwards he 
 became successively the disciple of William 
 Dodoens and Daniel Mytens, under whom 
 he made such a progress, that he distin- 
 guished himself by several good compo- 
 sitions, and finished some noble ceilings 
 which his brother had left incomplete at 
 his going to Berlin. After this, Matthew 
 visited Venice and Rome, to obtain a true 
 knowledge of colouring, and elegant taste 
 of design, in both which respects he proved 
 successful; so that, on his return to Hol- 
 land, he found immediate employment, 
 and was admitted into the academy of the 
 Hague, of which he afterwards became 
 director. Though he was chiefly occupied 
 in ornamenting ceilings and grand apart- 
 ments with historical subjects, he fre- 
 quently painted altar-pieces for the 
 churches, particularly one for that of the 
 Jansenists, at the Hague, representing the 
 Agony in the garden. He died in 1735. 
 
 Terzi (Francesco). He was born at 
 Bergamo about 1520, and studied under 
 Giovanni BattistaMorani. When young, 
 he painted two pictures for the church of 
 St. Francesco at Bergamo: one of the 
 Nativity; and the otherof the Assumption. 
 
 These performances procured him the 
 patronage of the Emperor Maximilian H., 
 who appointed him his principal painter. 
 He died in 1600. 
 
 Terzi (Cristoforo). He was born 
 at Bologna, and had Giuseppe Maria 
 Crespi for his preceptor. One of his best 
 works is St. Petronio kneeling down 
 before the Virgin, in the church of St. 
 Giacomo, at Bologna, where he died, in 
 1743. 
 
 Tesauro (Fxixippo). An ancient artist, 
 born at Naples about 1250. He had 
 Tommaso de Stefani for a master, under 
 whom, but chiefly by his own application, 
 he became one of the greatest painters of 
 his day. His principal performance is a 
 representation of the Life of St. Nicholas 
 the Hermit. He died at Naples in 1320. 
 
 Tesauro (Bernardo). He was born 
 at Naples in 1440, and studied under 
 Silvestro Buono. He is said to have 
 shaken off^, in a great measure, the gothic 
 style of that age, and to have approached 
 the modern manner. In the church of 
 St. John the Evangelist, at Naples, is a 
 picture of his, the subject of which is the 
 Assumption. 
 
 Tesauro (Raino Epifanio). He was 
 the son of the last-mentioned painter, 
 from whom he learned the principles of 
 his art. In the church of St. Nunziata is 
 a picture by him of the Visitation of the 
 Virgin ; and in that of St. Lorenzo, the 
 VirginandChild,withthe Saints Anthony, 
 Jerome, and John the Baptist. This last 
 was painted in 1494. 
 
 Testa (Pietro). He was born in 1611, 
 at Lucca, whence he obtained the name of 
 II Lucchesino. He is supposed to have had 
 Pietro Paolini for his first master; on 
 leaving whom, being desirous of further 
 improvement, he assumed the pilgrim's 
 habit, and travelled to Rome, where he 
 studied first under Domenichino, and 
 afterwards in the school of Pietro da 
 Cortona. Having, however, given offfence 
 to the latter, he was dismissed, on which 
 he became indefatigable in designing the 
 antique statues, bassi-relievi, and mag- 
 nificent ruins about Rome, as also in at- 
 tending to the worksof the most celebrated 
 painters ; and gave himself up so entirely 
 to those studies, that he suffered extreme 
 poverty, being destitute of all assistance, 
 except what he could procure for his 
 sketches and designs. Sandrart found 
 him in this condition among the ruins; and, 
 compassionating his distress, took him to 
 his house, where he clothed and entertain- 
 
THI i 
 
 etl him ; and not only procured him em 
 ployment in the gallery of Prince Giusti- 
 niani, but recommended him to other 
 personages of rank. But although he had 
 spent so much time in designing after the 
 antiques as enabled him to draw any of 
 them even by his memory, and though he 
 had all the assistance which might have 
 been derived from a thorough intimacy 
 with the most admirable productions of 
 human skill, he seems not at any time to 
 have produced many things worthy of 
 commendation; his pencil being extremely 
 hard, his genius licentious, and his figures 
 extravagant in their proportions. He was 
 drowned in the Tiber while drawing on 
 its bank, in 1650. In the church of St. 
 Martino a Monti, at Rome, is a picture by 
 him of the Death of St. Angelo; and in 
 the Spada palace, one of the Sacrifice of 
 Iphigenia ; but most of his works are at 
 Lucca. Testa was also an engraver of 
 great merit. He had a nephew, Giovanni 
 Cesare Testa, who united the two pro- 
 fessions of painting and engraving, in the 
 manner of his uncle, 
 
 Testelin (Louis), a French artist, was 
 born at Paris in 1605, and died there in 
 1655. He was a scholar of Vouet, a 
 member of the academy, and painted 
 history with distinction. His principal 
 works are the Restoration of Tabitha, and 
 the Scourging of St. Paul, in the church 
 of Notre Dame. He also etched several 
 plates. There were two other painters of 
 this name, Louis and Henry ; the former 
 died at Paris in 1656, and the latter at 
 the Hague in 1695. They both painted 
 historical subjects. 
 
 Theolon (Stephen). This French 
 artist was born at Aigues-Mortes in 1739, 
 and received his professional education in 
 the school of Joseph Vien, whose manner 
 he quitted for one of his own, and painted 
 conversations in a small size. He was 
 admittedintotheacademyof Paris in 1774, 
 and died there in 1780. The time which 
 he took in finishing his pictures, and the 
 delicacy of his health, will sufficiently ac- 
 count for the rarity of his productions, 
 which even in his lifetime produced a great 
 price. 
 
 Thiele (John Alexander) . He was 
 born at Erfurt, in Saxony, in 1695, and 
 had his professional education from an 
 obscure painter of landscape; but owed 
 his improvement to a diligent study of 
 nature. He drew views of the Elbe, and 
 other rivers of Germany, which gave him 
 the appointment of painter to the court of 
 
 i3 T H O 
 
 Dresden. He was also the master of 
 Dietricsy; and died about 1755. 
 
 Thielen (John Philip Van). He was 
 born at Mechlin in 1618, of a noble family, 
 and was lord of Couwenberg. After re- 
 ceiving a liberal education in every branch 
 of polite literature, he placed himself un- 
 der Daniel Seghers, whose style and man- 
 ner he imitated with great success. He 
 composed his subjects usually in the taste 
 of Seghers, in garlands of flowers around 
 some historical design, or in festoons that 
 encircled vases enriched with bas-relief. 
 He copied every object after nature, se- 
 lected them when they appeared in their 
 fullest bloom, and grouped them with 
 elegance. His pictures are well composed, 
 and very highly finished, with a light 
 touch, a neat pencil, and as much trans- 
 parence as those of Seghers ; but they were 
 not equal in spirit to the works of that 
 artist, nor disposed with so much grace. 
 He was much employed by the King of 
 Spain, and most of his finest performances 
 are in the collection of that monarch. But 
 there are two capital pictures of his at 
 ]\Iechlin, representing garlands of flowers, 
 with a number of insects distributed 
 among the leaves, and exquisitely finished ; 
 the figure of St. Bernard is painted in the 
 centre of one piece, and in the other St. 
 Agatha. Weyerman also mentions, with 
 great commendation, a garland of flowers 
 by VanThielen, within which are a nymph 
 sleeping, and a satyr watching her, the 
 figures being painted by Poeleraburg. 
 Van Thielen generally marked his pictures 
 with J. or P. Couwenburg, the title of 
 his seigniory. He died in 1667. John 
 Van Thielen had three daughters, all of 
 whom acquired from him the same taste 
 in design, and elegance in execution. 
 Maria Theresa^ the eldest, was born in 
 1640. She painted portraits and flowers 
 in so excellent a manner, that one writer 
 says her pictures were worth their weight 
 in gold. Anna Maria, the second daughter, 
 was born in 1641, and equalled her sister 
 in both branches of the art. Francesca 
 Catherina, born in 1645, proved not at 
 all inferior to her sisters, either in delicacy 
 of pencilling or softness of colouring. 
 
 Thomas (James Eknest). He was 
 born at Hagelstein in 1588, and learned 
 the principles of design at Landau; but 
 the name of his instructor is not recorded. 
 When he was only seventeen, he went to 
 Italy, and spent fifteen years at Rome, 
 Naples, and Genoa. At the former place 
 he associated with Elsheimer, Lastman, 
 
THO 5; 
 
 and Pinas; and, in their company, studied 
 nature in the environs of that city; ob- 
 serving accurately the varying tinges of 
 light on all objects at the different hours 
 of the day, from sunrising to sunset. He 
 also studied the manner of the most emi- 
 nent masters; but particularly devoted 
 himself to the style of Elsheimer, with 
 whom he lived on terms of the closest 
 friendship. He therefore made that a 
 brated painter his model, and acquired a 
 neat, delicate, and beautiful manner of 
 touching his trees, skies, and figures, 
 which procured him universal admiration 
 He entered so completely into the spirit 
 of this artist, that the copies which he 
 painted after the pictures of that master, 
 as well as many of his own compositions, 
 have been accounted the work of Elshei- 
 mer himself. On the death of his friend 
 he returned to Germany, and settled at 
 Landau, where he was appointed painter 
 to the emperor. He usually painted land- 
 scapes in a small size, and introduced into 
 them historical figures, well designed and 
 coloured. He died in 1653. 
 
 Thomas (Johx). He was born at 
 Ypres in Flanders, in 1610, and received 
 his education under Rubens, after which 
 he went with Diepenbeke to Italy. On 
 his return he settled in Germany, and be- 
 came principal painter to the emperor. 
 In the church of the Carmelites, at Ant- 
 werp, is a picture by him, representing 
 St. Francis kneeling before the Virgin 
 and Infant. Thomas engraved some 
 plates in an animated style. He died at 
 Vienna in 1673. 
 
 Thomson, (the Rev. John). A na- 
 tive of Ayrshire, died on the 28th of 
 October 1840, at the age of 63. He was 
 an excellent artist, and excelled in deli- 
 neating stormy seas and murky skies. 
 
 Thomson (William). This artist was 
 a native of Dublin, and practised portrait 
 painting in London, where he exhibited 
 from the year 1777. His pictures pos- 
 sessed the merit of fidelity of resemblance, 
 and a good tone of colouring. He died 
 in 1800. 
 
 Thoknhill (Sir James). This eminent 
 painter was born in 1676, of an ancient 
 family in Dorsetshire; but the father's 
 imprudent conduct having reduced him 
 to sell his estate, the son was under the 
 necessity of adopting a profession for his 
 support. Accordingly he came to London, 
 where his uncle. Dr. Sydenham, supplied 
 him with the means for studying under 
 a middling painter. Such a master, how- 
 
 4 THO 
 
 ever, doing little for him, he was driveri 
 to trust to his own application; and, hav- 
 ing naturally a good genius, he made a 
 surprising progress. For his further im- 
 provement he travelled through Holland 
 and Flanders, to France, and there bought 
 several good pictures. Thornhill's merit 
 soon spread, and his reputation rose to 
 the greatest height. Queen Anne ap- 
 pointed him to paint, in the dome of St. 
 Paul's cathedral, the history of that saint, 
 which he executed in a noble manner, on 
 eight panels, in two colours, relieved with 
 gold ; her majesty also nominated him her 
 first history painter. He afterwards exe- 
 cuted several public works, particularly 
 at Hampton Court, where he painted an 
 apartment, in which the Queen and Prince 
 George of Denmark were represented 
 allegorically ; as also another piece, painted 
 entirely on the wall, where the same sub- 
 ject is treated in a different manner. He 
 painted also in the chapel at All Souls, 
 Oxford, the portrait of the founder, over 
 the altar; the ceiling and figures between 
 the windows; an altar-piece for Weymouth 
 church; the hall at Blenheim; the chapel 
 at Lord Oxford's, at Wimple, in Cam- 
 bridgeshire; and a Solomon for Mr. Sykes, 
 at More Park, in Hertfordshire: but his 
 masterpiece is the refectory and saloon of 
 the hospital at Greenwich, in which he 
 displayed a fine taste for allegorical com- 
 position. High, however, as his reputation 
 was, and laborious his works, he was far 
 from being liberally rewarded for them; 
 and in one instance he was obliged to seek 
 a remedy at law, in which he came off 
 with triumph. Notwithstanding these 
 difficulties, he acquired a considerable 
 fortune. He was also knighted by George 
 II. ; and yet, such was the injustice of the 
 government, that he was soon after de- 
 prived of his place, in company with the 
 great Sir Christopher Wren. He died 
 May 4, 1734; leaving a son, James, who 
 became sergeant-painter to the king, and 
 a daughter, who married Hogarth. Lady 
 Thornhill died at Chiswick in 1757. Sir 
 James was a well-made and pleasant man : 
 he sat in Parliament some years, and was 
 a Fellow of the Royal Society. He de- 
 signed a great deal from practice, and 
 with much facility of pencil. He had a 
 good genius for portrait, landscape, and 
 architecture, which last science he prac- 
 tised as a man of business, and built several 
 houses. By the favour of the Earl of 
 Halifax he was allowed to copy Raffaelle's 
 cartoons at Hampton Court, on which he 
 
TIA 5: 
 
 bestowed three years. He executed also 
 a smaller set, of one fourth part of the 
 dimensions. Having been \ery accurate 
 in noticing the defects, and the additions 
 by Cooke, who repaired them, and also 
 in examining the parts turned in to fit them 
 to the places ; and having made copious 
 studies of the heads, hands, and feet, he 
 intended to publish an exact account of 
 the vrhole, for the use of students; but 
 the work never appeared. At his sale, 
 the smaller set sold for seventy- five guineas, 
 the large for no more than two hundred 
 pounds. These were purchased by the 
 Duke of Bedford; and when the house of 
 that nobleman, in Bloomsbury-square, 
 was pulled down, some years ago, the 
 noble owner gave them to the lloyal 
 Academy. 
 
 Thukstox (John). This ingenious 
 artist was born at Scarborough in 1774. 
 It is not said by whom he was instructed, 
 but he became one of the most ingenious 
 and tasteful designers of the age. On 
 settling in London, he found much em- 
 ployment from the booksellers, in furnish- 
 ing ornaments for their works. He died 
 in 1822. 
 
 Thys (Gysbrecut). He was born at 
 Antwerp in 1625, and attained such emi- 
 nence as a portrait painter, that some of 
 his pictures have been ascribed to Vandyck. 
 He also painted landscapes with figures 
 and animals, in a spirited and natural 
 manner. He died in 1684. 
 
 Tiarini (Alessandro). He was born 
 at Bologna in 1577, and was at first the 
 disciple of Prospero Fontana, after whose 
 death he finished his studies in the school 
 of Passignano, who conceived so high an 
 opinion of his abilities, that he became 
 his associate in several paintings at Flo- 
 rence, Pisa, and Bologna. Ferdinand, 
 Duke of Mantua, took him into his favour, 
 and employed him for several years; sat 
 to him for his portrait, and appointed him 
 to paint all the princes of his family; 
 which pictures gained him such applause, 
 that all the nobility of Mantua were soli- 
 citous to be commemorated by his pencil. 
 Tiarini bad a strong and beautiful style 
 of colouring : he designed his subjects with 
 taste; his expression was usually just; and 
 he gave to his heads dignity and grace. 
 But this character agrees only with those 
 works which he executed in his prime and 
 middle age; for, in his latter years, his 
 colouring was weak, and the touch feeble. 
 In the church of St. Salvator, at Bologna, 
 is a Nativity, painted in his best style. 
 
 TIB 
 
 with figures larger than life. The design 
 is grand, and the colouring excellent; and 
 in tbe church of St. Agnes are the Marriage 
 of St. Catherine, and the Annunciation, 
 admirably designed, and the characters 
 marked with judgment and expression. 
 But his principal performance is a picture 
 of St. Domenico raising a Dead Person to 
 Life. This piece drew strong terms of 
 praise from Lodovico Caracci, who pro- 
 nounced it superior to most of the produc- 
 tions of the age. He died in 1668. 
 
 TiBALDi (Pellegrino). This great 
 artist was born in 1527 at Bologna; but 
 his family came from Milan. He studied 
 in the school of Bagnacavallo, and in 1547 
 went to Rome, where the works of Buon- 
 arroti were the principal objects of his 
 contemplation. Soon after his arrival in 
 that city, he painted a picture of St. Mi- 
 chael the Archangel, in the castle of St. 
 Angelo, which gained great applause. He 
 next painted aceiling in the French church 
 of St. Louis, representing a Battle, and 
 composed with remarkable spirit. These 
 performances procured him the patronage 
 of Cardinal Poggi, who employed him at 
 his seat, and afterwards sent him to Bo- 
 logna, to complete the building of his 
 palace there; for Tibaldi, among his other 
 accomplishments, was a good practical 
 architect, as well as painter. This edifice 
 he ornamented with classical embellish- 
 ments in fresco, the subjects of which 
 were, the Adventures of Ulysses; which 
 Vasari ranks among the best of his works, 
 and some parts of which may vie with the 
 powerful forms of Michel Angelo. Tibaldi 
 also constructed a chapel for his patron 
 in the church of St. Giacomo Maggiore, 
 and embellished it with pictures of St. 
 John preaching in the Wilderness, and 
 Christ sitting in Judgment. These per- 
 formances were long made models of study 
 by the Caracci and their scholars. From 
 Bologna, Tibaldi went to Loretto, where 
 he constructed in the cathedral a chapel, 
 with stuccoes and paintings. His next 
 removal was to Ancona, in which city he 
 exercised the professions of painter and 
 engineer, adorning the churches and the 
 Hall of Merchants with his pictures, and 
 superintending the construction of the 
 fortifications. In 1562 he went to Pavia, 
 and built there, for Cardinal Borromco, 
 tlie palace of the Sapienza; and from 
 thence he went to Milan, where he erected 
 the Temple of St. Fidele; after which, 
 he was appointed architect of the cathe- 
 dral. In 1586 he was invited to Spain, 
 
TID 
 
 536 
 
 TIL 
 
 for the purpose of superintending the 
 building of the Escurial, and also of 
 adorning that structure by his pencil. 
 His paintings there were, the Purification ; 
 the Flight into Egypt; the Slaughter at 
 Bethlehem; the Temptation of Christ; 
 the Calling of the Apostles; the Raising 
 of Lazarus; the Expulsion of the Traders 
 from the Temple; and the Resurrection; 
 all which compositions are in a grand 
 style; and the figures are not only anato- 
 mically correct, but vigorously expressive. 
 Tibaldi also painted some pictures for the 
 great church at Madrid, particularly the 
 Defeat of the Rebel Angels ; the Martyr- 
 dom of St. Lawrence; the Nativity; and 
 the Wise Men's Offering. But his greatest 
 performance in that country is the ceiling 
 of the royal library, which bears some 
 affinity to the School of Athens, by Raf- 
 faelle. Here he has represented the Arts 
 and Sciences; the Four great Doctors of 
 the Church; and the Four Philosophers, 
 Socrates, Plato, Aristotle, and Seneca. 
 At the end of nine years, Pellegrino re- 
 turned to Milan, loaded with honours and 
 riches, which he enjoyed without inter- 
 ruption till his death in 1600. He was 
 the greatest designer of the Lombard 
 School, and merited the title which the 
 Caracci bestowed upon him, of Michel 
 Angdo riformato. None of the imitators 
 of that wonderful genius ever came so 
 near him as Tibaldi, who joined energy 
 of form with sublimity of conception and 
 dignity of expression. He is less known 
 by his paintings in oil than his frescoes; 
 for there are but few of the former kind 
 to be met with, which is easily accounted 
 for, when we consider his incessant em- 
 ployment in public works on a grand 
 scale. In the Palace Borghese is an oil 
 picture by him, the subject of which is 
 the Nativity, painted in a sober style, and 
 with great softness of touch. Though so 
 much engaged in large representations, 
 ho occasionally painted pictures of a small 
 size, and finished them as delicately as if 
 they were miniatures, usually enriching 
 the backgrounds with pieces of architec- 
 ture, for which science he had a great 
 predilection. 
 
 Tibaldi (DoMENico Peixegrino). He 
 was the younger brother of the preceding, 
 and was born atBologna in 1540. Though 
 he sometimes practised painting, he was 
 more generally known as an architect and 
 engraver. In the latter capacity he had 
 the honour of teaching Agostino Caracci. 
 
 TiDEMAN (Philip). He was born at 
 
 Hamburgh in 1657, and received his first 
 instruction from Nicholas Raes, with 
 whom he continued eight years; after 
 which he went to Amsterdam, where he 
 made the most capital works of the great 
 masters the objects of his study. There 
 he became the disciple of Lairesse, who 
 employed him as his assistant in some of 
 the most important of his works, the 
 execution of which fully established his 
 reputation. In the composition of poeti- 
 cal and allegorical subjects, he closely 
 imitated Lairesse; and, having had a 
 classical education, he treated them with 
 such learning, judgment, and taste, that 
 his works became models to other artists. 
 His most capital performances are the 
 pictures painted in a saloon at Hoorn, re- 
 presenting the leading incidents in the 
 history of jEneas, taken from Virgil. He 
 died at Amsterdam in 1705. 
 
 TiEPOLo (Giovanni Battista). He 
 was born at Venice in 1697, and studied 
 under Gregorio Lazzarini. At first he 
 adopted the manner of Piazetta, which 
 he quitted for that of Paolo Veronese. 
 Being invited to Madrid, he there painted 
 several frescoes in the new palace, which 
 excited against him the spleen of Mengs. 
 Tiepolo died in that city in 1770. In the 
 church of St. Ambrose, at Milan, he 
 painted a picture of the Shipwreck of St. 
 Satiro. He also etched a number of plates 
 in a neat and spirited style. 
 
 Tiepolo (Giovanni Domenico). This 
 artist was the son of the preceding painter, 
 and was born at Venice about 1725. He 
 was instructed by his father, whom he 
 accompanied to Spain, and died there 
 about 1795. He is better known by his 
 engravings than his pictures, which are 
 mostly confined to Brescia and IVIadrid. 
 He had a younger brother, named Lorenzo 
 Tiepolo, who painted and engraved in the 
 style of his father. 
 
 TiLBOKGH, or Tilbubgh (Giles, or 
 Egidius, Van). This artist, who is, by 
 way of distinction, called the Elder Til- 
 hnrgh, was born at Antwerp in 1570. 
 He painted similar subjects with old Te- 
 niers ; as village amusements, peasants 
 regaling themselves, and conversations. 
 He died in 1632. 
 
 TiLBURGH, or TiLBORGH (Egidius, or 
 Giles, Van). He was the son of the 
 above, and was born at Brussels in 1625. 
 He was the scholarof the younger Teniers, 
 and painted the same subjects, such as the 
 assemblies of boors, fairs, feastings, corps- 
 de-garde, and taverns, as also conversa- 
 
TIN 
 
 537 
 
 TIN 
 
 tions. In his colouring he approached 
 near to the manner and tints of Brouwer ; 
 but in his pencil and in his touch he was 
 neither so spirited nor delicate. One of 
 his chief excellences consisted in the 
 variety observable in his compositions, as 
 it afifbrded a proof of the fruitfulness of 
 his imagination. He had a competent 
 knowledge of the chiaro-oscuro, by which 
 he gave roundness and relief to his ob- 
 jects; and though in some of his pictures 
 he is rather too dark, that imperfection is 
 not perceivable in all his paintings, several 
 of which are excellent. Though his works 
 are inferior to those of his master, it is a 
 curious fact that they were, in his life- 
 time, preferred by many before them ; and 
 they are still held in much estimation in 
 Flanders. He died in 1678. 
 
 TiLLEMANs (Simon Pkteb). He was 
 born at Bremen in 1602 ; but it is not 
 said by whom he was instructed. At an 
 early age he went to Italy, where he 
 spent many years, with great reputation, 
 as a landscape painter. He was also 
 eminent in portrait; and, being invited 
 to Vienna, had the honour of taking that of 
 the Emperor Ferdinand. He died in 1670. 
 
 TiLLEMANS (Peter). He was born at 
 Antwerp, and in 1708 came to England, 
 where he gained notice by his copies of 
 the pictures of Borgognone and Teniers. 
 He also painted landscapes, seaports, 
 views, and huntings; but his chief excel- 
 lence lay in representing horses. He 
 was patronised by the Duke of Devon- 
 shire and Lord Byron. For the former 
 he painted a fine view of Chatsworth, 
 and the latter he instructed in drawing. 
 He died in 1734. 
 
 TiLsoN (Henry). This artist was 
 a scholar of Sir Peter Lely, after whose 
 death he went to Italy, in company with 
 Dahl, and resided there seven years, 
 studying and copying the works of the 
 great masters. His principal talent lay 
 in painting portraits, as well in crayons 
 as in oil. He drew his own several 
 times, and gave one to his friend Dahl, 
 in 1686, with this inscription : Memoria 
 per mio caro amico; Enrico Tilsonfatta in 
 Roma. Soon after this, in a fit of insanity, 
 he shot himself at the age of thirty-six. { 
 
 TiNELLi (Cavaliebe Tiberio). He 
 was born at Venice in 1586, and was I 
 successively the disciple of Giovanni Con- ! 
 tarini and Leandro Bassano, whose style 
 he followed, and whose pictures he not 
 only copied, but at last imitated, with such 
 exactness of coLuring and similarity of 
 
 taste and ideas, that many of his own 
 original compositions have been esteemed 
 the work of that artist. He proved him- 
 self extremely well qualified for historical 
 designs, by several performances; par- 
 ticularly one of the Salutation ; another 
 of the Last Supper ; and a representation 
 of Paradise; in which last he introduced 
 a multitude of figures. But finding less 
 time requisite for painting portraits, 
 and observing, also, that the work was 
 easier, he followed it entirely, and brought 
 it to perfection. His manner was differ- 
 ent from other painters; for he repre- 
 sented those who sat to him under histo- 
 rical characters, and always expressed the 
 true resemblance of his models. Thus, 
 the portrait of David Spinelli he painted 
 as Marc Antony, and his wife as Cleo- 
 patra, preparing to drink the dissolved 
 pearls ; and beautiful young females he 
 described in the forms of Aurora, Hebe, 
 or other poetical deities and nymphs; 
 which rendered his portraits abundantly 
 more estimable. On receiving some of 
 Tinelli's pictures, Louis XIII. of France 
 sent him the order of St. Michael, He 
 lived highly respected, at Florence; but, 
 by some domestic misfortunes, his mind 
 was so depressed, that, in one of his dis- 
 tracted moments, he opened a vein, and 
 expired in 1638. 
 
 TiNTi (Lokenzo). This artist was born 
 at Bologna in 1634, and studied painting 
 under Giovanni Andrea Sirani, whose 
 style he adopted. There are some altar- 
 pieces of his at Bologna, particularly a 
 Scourging of Christ, in La Madonna del 
 Piombo; and the Virgin and Child, with 
 Saints, in St. Tecla. He also etched se- 
 veral plates. He died about 1700. 
 
 Tintoretto (Giacomo). The paternal 
 name of this celebrated painter was Ro- 
 busti ; but he was distinguished by the 
 appellation of Tintoretto.^ on account of his 
 being the son of a dyer. He was born at 
 Venice in 1512, and became the disciple 
 of Titian, who was so jealous of his extra- 
 ordinary powers, that he dismissed him 
 from his school. Tintoretto, however, 
 was at that time sufficiently qualified to 
 pursue his studies without any director, 
 and therefore applied himself to design 
 after the works of Buonarroti, and to 
 acquire elegance of taste by a more inti- 
 mate knowledge of the antique. While 
 with his master, he made accurate ob- 
 servations on the colouring of that great 
 genius, till he discovered the true princi- 
 ples by which he had arrived at such a 
 
TIN 
 
 TIN 
 
 degree of excellence. Hence, in his best 
 works one may discern a manner that 
 strongly resembles the colouring of Titian, 
 and a style of design similar to Buonar- 
 roti. Tintoretto now formed the plan of 
 establishing a new school of art, by uniting 
 the beauties of the Venetian harmony of 
 colours with the Florentine dignity of 
 design. The idea was noble; but though 
 he partly succeeded, he failed in carrying 
 his project to perfection, by the want of 
 patience in the exercise of his talent. No 
 less fertile in conception than prompt in 
 execution, his works rose with magical 
 illusion under his rapid pencil. He gave 
 a memorable proof of this expedition in 
 the picture painted by him for the con- 
 fraternity of St. Roche. The members of 
 that society having desired Paolo Vero- 
 nese, Tintoretto, Salviati, Zucchero, and 
 Schiavone, to make designs for a picture 
 of the apotheosis of their founder, that 
 they might choose the best, Tintoretto 
 finished his picture entirely, and fixed it 
 in the appointed place, before any of the 
 other artists had completed their sketches. 
 From this transaction he was called the 
 Furious Tintoretto, and the Lightning of 
 the Pencil. Sandrart says that he fre- 
 quently painted his pictures without any 
 preparatory outline, as if he only sported 
 with his pencil ; so that he seems to have 
 executed his ideas almost as quickly as he 
 conceived them. In short, he worked so 
 fast and at so low a price, that very few 
 of the other painters could get employ- 
 ment. His knowledge of the best principles 
 of the art was very extensive ; but he had 
 too much fire to be at all times discreetly 
 directed by his judgment. His applica- 
 tion was incessant ; and, by his general 
 conduct, he appeared rather ambitious of 
 acquiring glory than riches. Yet he often 
 injured his fame by proportioning his 
 work to the poorness of the payment, and 
 by not sufficiently considering that many 
 of his slight and ill-executed pictures 
 would subsist, to the discredit of the artist, 
 when the cause of his putting such indif- 
 ferent works out of hand might be forgot- 
 ten. This justified the remark of Anni- 
 bale Caracci, that " if Tintoretto, in some 
 of his performances, was equal to Titian, 
 he was in others inferior to himself." 
 His manner of painting was bold, with 
 strong lights, opposed by deep shadows; 
 his pencil wonderfully firm and free ; his 
 disposition good ; his execution easy ; 
 and his touch lively and full of spirit. 
 His local colours are true, and well under- 
 
 stood, and the carnations of his best 
 pictures approach near to those of Ti- 
 tian. De Piles esteems his colouring 
 as more true and sanguine than that of 
 Paolo Veronese ; and Fresnoy, who was 
 an incomparable judge, is no less lavish 
 in his praise. The government of Venice 
 appointed him to paint, in one of the state 
 apartments, the representation of the Vic- 
 tory gained over the Turks in 1571 : and 
 thongh the design was large, and a mul- 
 titude of figures were introduced, yet the 
 whole was completely finished in one 
 year. Equal, in several respects, to Ti- 
 tian or Veronese, he certainly wanted that 
 dignity of character observable in the 
 works of the former, and the grace and 
 richness of composition which distinguish 
 those of the latter. He had great variety 
 in his attitudes, some of which are ex- 
 cellent, but others are contrasted to 
 extravagance : though those of his women 
 are generally graceful, and the heads 
 are designed in a fine taste. Alga- 
 rotti observes, that Tintoretto is no way 
 inferior to any of the Venetian artists in 
 those pictures which he painted with an in- 
 tention to display his talents ; and this he 
 exemplifies in the Martyrdom, or Mira- 
 colo del Servo, now preserved in the 
 school of St. Mark, at Venice. In that 
 picture we see design, colouring, composi- 
 tion, life, expression, and the effects of 
 light and shadow, all carried to the high- 
 est pitch of perfection. That painting 
 had scarcely made its appearance in pub- 
 lic, when all persons seemed to be in 
 love with it ; and Aretine himself, though 
 so cordial a friend to Titian, wrote to 
 Tintoretto that this piece had extorted 
 the applause of all who saw it. "The 
 scene," says he, "appears rather true 
 than feigned; and happy would you 
 be, if, instead of being so expeditious, 
 you could prevail on yourself to be a 
 little more patient." A fine sketch of 
 this famous picture, and reputed to be 
 the original one, was brought into Ireland, 
 with many capital paintings, by the old 
 Duke of Ormond ; from whence, at the 
 sale of that nobleman's property, it came 
 into the possession of the author of this 
 book. The painting itself is in the 
 Louvre at Paris. Most of the grand per- 
 formances of Tintoretto are in the palaces, 
 churches, and convents at Venice; par- 
 ticularly the admired picture of the Cru- 
 cifixion, in the Seuola di St. Rocco ; the 
 Marriage of Cana, in the sacristy of St. 
 Maria della Salute; the Assumption, in 
 
TIN 51 
 
 the church of the Crucifixion ; and the 
 Resurrection, in St, Roche. At the 
 Escurial, in Spain, are two admirable 
 pictures, painted on canvass, with figures 
 as large as the life. The subject of 
 one is, Our Saviour washing the Feet 
 of the Apostles ; and t!ie other, Queen 
 Esther fainting in the Presence of 
 Ahasuerus. Several of his works are pre- 
 served in the collections of the English 
 nobility and gentry, and some are in the 
 royal collections of England and France. 
 Tintoretto modelled in wax and clay, and 
 studied anatomy, to make himself master 
 of the human body in all its varieties of 
 form and attitude. He painted portraits 
 also well, and etched one of the Doge 
 Pacali Ciconia. lie died in 1594. 
 
 Tintoretto (Marietta). She was 
 born at Venice in 1560, and was instructed 
 in the art of painting by her father, Gia- 
 como. She showed an early genius to 
 music as well as to painting, and performed 
 remarkably well on several instruments; 
 but her predominant inclination to the 
 art in which her father was so eminent 
 determined her to quit all other studies, 
 and apply herself entirely to it. By the 
 direction of Giacomo she studied design, 
 composition, and colouring; and drew 
 after the antiques and finest models, till 
 she liad obtained a good taste and great 
 readiness of hand. But though she was 
 well qualified to make a considerable ap- 
 pearance in history, she devoted her ta- 
 lents wholly to portrait painting. Her 
 father, who was accounted little inferior 
 to Titian, if not his eqvuil in that line, 
 took great pains to direct her judgment 
 and skill in that branch of the art, till she 
 gained an easy elegance in her manner of 
 design, and an admirable tint of colour. 
 Her pencil was free ; her touch light and 
 full of spirit ; and she received deserved 
 applause, not only for the beauty of her 
 work, but for the exactness of resemblance. 
 Most of the nobility at Venice sat to her; 
 and she was solicited by the Emperor 
 Maximilian, Philip II. King of Spain, 
 and by the Archduke Ferdinand, to visit 
 their courts ; but such was her affection- 
 ate attachment to her parent, that she 
 declined these honours, and continued at 
 Venice, where she married; but died 
 young in 1590. 
 
 Tintoretto (Domexico). lie was 
 the son and disciple of Giacomo, and was 
 born at Venice in 1562. Though in- 
 structed by his father, he was far inferior 
 to him in inveulion and style of compos- 
 
 ) TIT 
 
 ng historical subjects ; yet he distinguish- 
 ed himself as a painter of portraits, and 
 finished a number of pictures for person- 
 ages of high distinction. He died in 
 1637. 
 
 TisciiBEiN (John Henry). He was 
 born at Heyna, near Hesse-Cassel, in 
 1722 ; and was the scholar first of an ar- 
 tist named Vries, and afterwards of Carlo 
 Vanloo. On leaving that master he went 
 to Venice, where he greatly improved 
 himself under Piazetta. He painted his- 
 torical subjects with credit, and was pa- 
 tronised by the Landgrave of Hesse- 
 Cassel. Besides painting he also etched 
 with reputation. He died about 1782. 
 His son, John Henry Tischbein, called, by 
 way of distinction, the Younger, was born 
 at the Hague in 1751. He distinguished 
 himself in landscape, and also engraved 
 several plates after great masters. 
 
 Tisi, see Garofalo. 
 
 Titi (Santi di). He was born at 
 Citta di St. Sepolcro, near Florence, in 
 1538, and at first was the scholar of Bas- 
 tiano, a painter of no reputation ; but 
 afterwards, being placed with Agnolo 
 Bronzino, he soon gave proofs of his 
 noble talents, and showed himself superior 
 to all his companions. He next went to 
 Rome, in order to enrich his mind with 
 more elevated ideas, by studying the an- 
 tiques. While there, he was indefatigable 
 in his pursuits ; he acquired an admirable 
 taste of composition and correctness of 
 design, so that he was esteemed one of 
 the best painters of his time. His merit 
 became distinguished, and the works 
 which he executed for the cardinals and 
 nobility raised his reputation so high, that 
 he was requested to return to Florence, 
 where he painted a number of designs. 
 His genius was not limited to history ; 
 but he was equally excellent in portraits, 
 of which he finished many that were 
 much admired for their faithful resem- 
 blance, and beautiful colouring. He was 
 an honour to the Florentine School, and 
 was applauded for the lightness and free- 
 dom of his hand, his force of colour, and 
 the grandeur of his style. Among the 
 pictures painted by him. at Florence, there 
 is a capital design in the Palazzo Corsini, 
 representing the Baptism of St. John, in 
 the manner of Albano. It is exquisite in 
 taste, and exceedingly correct : the heads 
 are fine ; those of the female figures are 
 well dressed ; and the whole is finished 
 with extraordinary neatness. In the 
 church of St. Croce, at Florence, is a pic- 
 
TIT 
 
 TIT 
 
 ture of Christ with the Disciples at Em 
 maus ; and in the cathedral of Volterra is 
 the Resurrection of Lazarus. He died at 
 Florence in 1603. 
 
 TiTi (TiBERio). He was the son and 
 disciple of the preceding, and was born at 
 Florence in 1578. The branch of the 
 profession which he principally cultivated 
 was painting portraits, and he had also a 
 peculiar method of drawing small ones 
 with lead, which were much admired. A 
 collection of the last is in the Florentine 
 Gallery. But though his talent lay in 
 portraiture, yet, when desired to finish a 
 picture of the Last Supper, which his 
 father had begun, he imitated the manner, 
 touch, and tone of colouring so exactly, 
 that it gained him general applause. The 
 Prince de Medici employed him continu- 
 ally, and allowed him an honourable 
 pension. Tiberio is said to have died of , 
 grief for the loss of his brother, Orazi 
 who was also an excellent artist, in 1673. 
 Titian (Tiziano Vecelli), called Da 
 Cadore. The Chronological Tables, and 
 the authors of Abreg6 de la Vie des 
 Peintres, following Ridolfi, fix the birth 
 of this illustrious painter in 1477, thus 
 making him ninety-nine at his death; but 
 as Giorgione was certainly older than 
 Titian, and was born in 1478, it seems 
 clear that Vasari and Sandrart are to be 
 depended upon, who give 1480 as the 
 date of his birth. His native place was 
 the Castle of Cadore, in Friuli, but at the 
 age of ten he was removed to the care of 
 an uncle at Venice, who, perceiving his 
 genius for painting, placed him first under 
 Sebastlano Zuccati, and next with Gio- 
 vanni Bellini. By the instructions of 
 these masters, and more by his own ge- 
 nius, he made a surprising progress; and 
 in the school of Bellini adopted and imi- 
 tated his manner so exactly as to rouse 
 his jealousy. At the age of eighteen he 
 painted a portrait of a nobleman named 
 Barbarigo, which procured him great ap- 
 plause. Another extraordinary perfor- 
 mance of his was a picture of Christ 
 paying the Tribute Money, painted in 
 competition with Albert Durer, and fin- 
 ished in the minute manner of that artist. 
 Hitherto the style of Titian was laboured, 
 and characteristic of the school in which 
 he had been bred; but, on seeing the 
 works of Giorgione, he i-esolved to change 
 his own manner for one more free and 
 natural. He formed an acquaintance 
 with Giorgione, and they painted for some I 
 time in conjunction; but at last the friend- | 
 
 ship was dissolved through jealousy, and 
 was never after renewed. The first pictures 
 executed by Titian in his improved style, 
 were, one of the Angel Raphael conduct- 
 ing young Tobias ; and the other, a Pre- 
 sentation in the Temple. On the death 
 of Giorgione in 1511, Titian rose rapidly 
 in reputation, and soon after was invited 
 to Ferrara, where he painted for Duke 
 Alfonso his famous picture of Bacchus 
 and Ariadne, and while there formed an 
 intimacy witii Ariosto, whose portrait he 
 drew, and thepoet in return commemorated 
 him in his Orlando. In 1523, the senate 
 of Venice employed Titian to adorn the 
 hall of council, with a representation of 
 the Battle of Cadore, fought between the 
 Imperialists and Venetians. This picture 
 was afterwards destroyed by fire. The 
 next great work of Titian was the paint- 
 ing of St. Peter, in the church of St. 
 John and St. Paul, at Venice; which 
 masterly performance the French spolia- 
 tors carried off at an early period of the 
 Revolution. Considering how high Titian 
 stood at this time, and the numerous en- 
 gagements which he received, it is difficult 
 to believe that his circumstances could he 
 so narrow as we are told. Yet it is said, 
 that he was actually in a state of poverty 
 in 1530, when Peter Aretine recommended 
 him to the Emperor Charles V., who was 
 then at Bologna, to be crowned by Pope 
 Clement VII. Titian went thither, and 
 painted the portrait of the emperor, for 
 which he was liberally rewarded. From 
 thence he was invited to the court of the 
 Dukeof Mantua, whose portrait he paint- 
 ed, and also a set of the Twelve Caesars, 
 for the grand saloon of his palace. In 1 548 
 he went to Rome, where he was lodged 
 in the Belvidere, and painted the portrait 
 of Pope Paul V. sitting between the Car- 
 dinal Farnese and Prince Ottavio. Here 
 he likewise painted his picture of Danae, 
 which attracted the notice and applause 
 of Michel Angelo, who lamented that 
 Titian had not studied the antique as 
 accurately as he had nature, in which 
 case his works would have been inimit- 
 able, by uniting the perfection of colour- 
 ing with correctness of design. Having 
 completed his engagements at Rome, he 
 was invited to Madrid by Charles V., and 
 arrived there at the beginning of 1550. 
 There he continued three years, during 
 which period he painted a number of fine 
 pictures, for which he was handsomely 
 rewarded, and had the honour of being 
 created a knight of the order of St. Jago. 
 
TIT 
 
 541 
 
 TOC 
 
 The emperor distinguished him also b}' 
 his personal friendship, and frequently 
 visited him when at work. On one occa- 
 sion, the pencil fell out of his hand, and 
 Charles took it up, saying, as he presented 
 it to the astonished artist, " It becomes 
 Cajsar to serve Titian." Nor did Philip II., 
 though more austere than his father, show 
 less regard to Titian, who painted for 
 him several large pictures, one of the finest 
 of which was the Sleeping Venus. This 
 admirable piece was presented by Philip 
 IV. to Charles Prince of Wales, when he 
 visited Spain in 1628 ; but it was pur- 
 chased again by the Spanish ambassador, 
 at the sale of the royal collection in 
 England, and sent back to Madrid. Ve- 
 lasco says, that when the palace of the 
 Frado was burned, the king impatiently 
 asked if the Titian Venus had escaped ; 
 and being told that it was safe, he replied, 
 " Then every other loss may be sup- 
 ported." Titian left Spain in 1553, and 
 returned to Venice; from whence, how- 
 ever, he was soon called to Inspruck, to 
 paint the portraits of Ferdinand, King of 
 the Romans, his consort, and family, all 
 in one picture. Though he was now ad- 
 vanced in years, his powers continued 
 imabated, and this group was accounted 
 one of his best productions. Afterwards 
 he declined, and his works began to show 
 marks of age ; but his setting was that of 
 the sun, with dignified splendour. After 
 a life laboriously devoted to his profession, 
 and extended to the uncommon period of 
 ninety-six years at least, he died of the 
 plague in 1576. There were four varie- 
 ties in the style of Titian. His first pic- 
 tures were laboured and hard ; but he 
 soon acquired a bold and free style, which 
 he continued to improve by practice, till 
 he reached that elegance which gave him 
 the preference over his contemporaries, 
 and which he never entirely lost, even in 
 his old age; though the works he then 
 produced were of necessity very inferior 
 to those executed by him in the fulness of 
 his strength. " Raffaelle and Titian," 
 says Sir Joshua Reynolds, " seem to have 
 looked at nature for different purposes. 
 'J'hey both had the power of extending 
 their view to the whole ; but one looked 
 for the general effect produced by form, 
 the other as produced by colour. We 
 cannot refuse to Titian the merit of at- 
 tending to the general form of his object, 
 as well as colour; but his deficiency lay 
 (a deficiency at least when he is compared 
 with Raffaelle) in not possessing the 
 
 power, like him, of correcting the form 
 of his model, by any general idea of beauty 
 in his own mind." The excellence of 
 Titian was not so conspicuous in the 
 historical subjects which he painted, as 
 in his portraits and landscapes, in both 
 of which he was unrivalled. Yet if he 
 did not equal the great masters of the 
 Roman School in design, he took care to 
 dispose his figures in such attitudes as 
 sliowed their beauty. His masculine 
 forms are not equal to his females and 
 children ; for his talent lay in tender 
 and delicate expression. His landscapes 
 are universally allowed to be above all 
 praise; whether we consider the forms of 
 his trees, the grand ideas of nature which 
 appear in his scenery, the truth of his 
 distances, the mellowness of his pencil, 
 or the harmony of his colouring. It was 
 his custom to repeat the same subject, 
 sometimes with his own hand, but oftener 
 by his scholars ; yet he always retouched 
 their performances, and frequently added 
 the background, so as to make the pic- 
 tures painted by them have the look of 
 originals. It would be difficult to enu- 
 merate his works. In the Escurial is an 
 admirable picture of the Last Supper; 
 at Milan is one of Christ crowned with 
 Thorns, full of grace and dignity, admir- 
 ably coloured, and sweetly pencilled. In 
 the National Gallery are three of his 
 pieces, a Concert, a Ganymede, and Ve- 
 nus and Adonis. Titian, to his other 
 accomplishments, added that of engrav- 
 ing both on copper and on wood. 
 
 TiTiANo (GiROLAMO II). This artist, 
 whose family name was Dante^ was a dis- 
 ciple of Titian, in whose school he con- 
 tinued several years, and by his works 
 proved that he had thoroughly imbibed 
 the taste of his master. He copied and 
 imitated the works of Titian with such 
 accuracy, that the paintings of the one 
 were frequently taken for those of the 
 other ; and yet the poverty of Girolamo 
 was as remarkable as his reputation was 
 great. Among his original performances, 
 one of the finest is a picture of the two 
 Saints, Cosmo and Damiano,in the church 
 of St. Giovanni, at Venice. 
 
 TocQUB (Jean Louis). This artist 
 was born at Paris in 1696, and studied 
 successively under Bertin and Rigaud. 
 He practised portraiture, and obtained a 
 seat in the Academy of Paris, after which 
 he went to Petersburg, where he was 
 appointed painter to the empress. lie 
 died in 1772. 
 
542 
 
 TOP 
 
 ToEPUT (Loms). He was born at 
 Mechlin in 1550, and at an early age 
 went to Italy, where he obtained a great 
 reputation as a painter of landscapes, fairs, 
 and markets. He died about 1614. 
 
 ToL (DoMiMCK Van). This Dutch 
 artist is only known as a close copyist 
 and imitator of his uncle, Gerard Douw. 
 His works are inferior to those of his 
 preceptor ; yet some of his conversational 
 pieces and domestic subjects are neatly 
 executed and well coloured. He was 
 living in 1680. 
 
 Toledo (Juan de). This Spanish 
 painter was born at Lorca, in Murcia, in 
 1611. He was the son of an obscure 
 artist, from whom he learned the princi- 
 ples of painting, and then went to Naples, 
 where he had Aniello Falcone for his 
 preceptor. He afterwards removed to 
 Rome, and formed an acquaintance with 
 Cerquozzi, whose style he adopted, and 
 became eminent as a painter of battle 
 and sea pieces. He also distinguished 
 himself in history; and several of his 
 works are to be met with in the churches 
 of Madrid and Murcia. He died in 
 1665. 
 
 ToMBE (Nicholas la). This artist 
 was born at Amsterdam in 1616, but went 
 to Rome when very young, and studied 
 there many years. It was his constant 
 rule to observe nature; and to design 
 after those elegant remains of antiquity 
 which are in the villas about Rome, as 
 well as in the city. His usual subjects 
 were conversations, assemblies of both 
 sexes, habited in the mode of the country; 
 besides which he painted portraits. In 
 all his designs he was fond of introducing 
 caves, grottoes, ruins, or antique sepul- 
 chres, wherever his subject would admit 
 of them ; and he rendered his situations 
 agreeable by the beauty of his distances, 
 as also by a multitude of small figures, 
 which were touched with great spirit. 
 He died at Amsterdam in 1676. 
 
 ToMKiNs (William). This English 
 painter was born in London about 1 730. 
 In 1763 he gained the second prize given 
 by the Society for the Encouragement of 
 the Arts, Manufactures, and Commerce, 
 for a landscape ; and, on the institution 
 of the Royal Academy, he was elected an 
 associate. His patron was the Earl of 
 Fife, for whom he painted some views of 
 his estate in Scotland. He died in 1792, 
 leaving four sons, two of whom became 
 respectable artists. 
 
 Toms (Peteb). This artist was the 
 
 son of an engraver in London, and the 
 pupil of Hudson. Although he might be 
 considered as a portrait painter, his chief 
 excellence lay in drapery, and in that 
 department he was much employed by 
 Sir Joshua Reynolds. On the foundation 
 of the Royal Academy he was chosen one 
 of the members; and he had also a situa- 
 tion in the Herald's Office. When the 
 Duke of Northumberland went to Ireland, 
 Mr. Toms repaired to Dublin, in hopes 
 of being employed as a portrait painter, 
 but was disappointed. This mortifica- 
 tion, with other losses, preyed upon his 
 spirits, and he put an end to his life in 
 1776. 
 
 ToNi (Michel Axgelo). This artist 
 was born at Bologna in 1640. He painted 
 in miniature, and was very happy in his 
 imitations of the great masters. He died 
 at Bologna in 1708. 
 
 TOORNVLIKT, or ToKENFLIET (JaMEs). 
 
 He was born at Leyden in 1641, and was 
 instructed there in the elements of paint- 
 ing, but by whom is not mentioned. After 
 practising portraiture for some years, he 
 travelled to Rome with Nicholas Rosen- 
 daal, and there studied the works of 
 RafFaelle with such success, that his repu- 
 tation was soon established. From thence 
 he went to study tlie art of colouring at 
 Venice, where he continued three years, 
 enjoying the favour of the nobility, who 
 gave him free access to their collections. 
 He designed his subjects with ease, and 
 his composition was in the taste of the 
 Italian School. He generally painted 
 portraits in conversations, and was re- 
 markable for the judicious disposition of 
 the figures, the correctness of his design, 
 and the agreeable style of his colouring. 
 This improvement, however, did not 
 make him popular on his return to Hol- 
 land. It was thought that, by endeavouring 
 to imitate the great masters of Italy, 
 though his design might be correct, it 
 had the appearance of being more servile, 
 and less original. He died in 1719, 
 
 Topi>'o-Lebrun (Fbancis John Bap- 
 tist), a French historical painter, was 
 born at Marseilles in 176l, and studied 
 at Rome, where he became acquainted 
 with David, whose pupil he became, after 
 his return to France. Like David, he 
 took a prominent part in the French Re- 
 volution, and sullied his character by his 
 Jacobinical conduct. After having been 
 more than once in danger, he finally lost 
 his life on the scaffold in 1801, for having 
 been engaged in the conspiracy of Arena, 
 
TOR 
 
 TRA 
 
 Ceracchi, and Demerville, to assassinate 
 the First Consul. Among the best of 
 his pictures is the Death of Caius Grac- 
 chus. 
 
 ToBELLi (Cesabe). He was born at 
 Rome in 1502, and studied under Gio- 
 vanni de Vecchi. Pope Six t us V. patro- 
 nised him, and, by the order of that pontiff, 
 he executed several works in the Vatican, 
 in the Scala Santa, and St. John de 
 Lateran. In the church of La Madonna 
 del Orto he painted in fresco two Sibyls 
 of a large size. He also worked in 
 mosaic. 
 
 ToBELLi (Felice). This artist was 
 born at Verona in 1686. He painted 
 historical subjects in the manner of Baroe- 
 cio, with great vigour and correctness. 
 He died in 1717. 
 
 ToEN-ior.1 (NicoLo). He was a native 
 of Siena, and lived at Bologna about the 
 year 1650. His principal works are Cain 
 and Abel, and the Wrestling of Jacob, in 
 the church of St. Paul, at Bologna. 
 
 ToEBE (Flaminio). Hc was born at 
 Bologna in 1621, and learned the first 
 rudiments of the art from Cavedone; but 
 accomplished himself in the school of 
 Guido. His colouring was bold, but 
 mellow; the management of his tints 
 showed great judgment; and he had a 
 light, clean manner of pencilling. His 
 most remarkable excellence, however, lay 
 in his copying the works of the great 
 masters, so as to make it difficult to dis- 
 tinguish his paintings from the originals. 
 There are some of his own compositions 
 in the churches at Boiogna, particularly 
 a Descent from the Cross. Torre j ' 
 produced some etchings. He died in 
 1661. 
 
 ToBRENTius (John). He was born at 
 Haerlem in 1589, and was so well in- 
 structed, that without quitting his own 
 country he became an admirable painter. 
 At first setting out, his subjects were 
 generally objects of still life; tables fur- 
 nished with books, either open or closed 
 vases filled with flowers; tables covered 
 with carpets, on which were placed 
 standishes, pens, and hour-glasses, ex- 
 ceedingly high finished, and, on account 
 of their resemblance, valued at a great 
 price. Sometimes he painted conversa 
 tions ; which were admired for their tone 
 of colouring and charming execution. 
 While he continued to paint such subjects, 
 he lived in afiiuence, and was much re- 
 spected. But, unhappily, he not only 
 grew dissolute in his morals, but equally 
 
 so in his style of design ; his imagination 
 became infected by his debaucheries, and 
 he prostituted the most delicate pencil, 
 and the sweetest colouring, to the worst 
 and most depraved purposes. From that 
 time his favourite subjects were naked 
 figures, represented in attitudes offensive 
 to modesty, and often most infamously 
 obscene. His friends exerted every argu- 
 ment to reclaim him; but their expostu- 
 lations proved ineffectual. At last, by 
 instituting a private conventicle, as a 
 meeting for a society of Adamites, he 
 rendered himself obnoxious to the magis- 
 tracy, and being brought to trial, several 
 of his pictures were produced, and the 
 most satisfactory evidence given of his 
 presiding in that infamous assembly. As 
 lie peremptorily denied that he was either 
 the painter of the pictures or the contriver 
 of the meeting, he was condemned to the 
 torture; his lewd paintings were burned 
 by the executioner, and he was finally 
 sentenced to imprisonment in the house 
 of correction for twenty years. He en- 
 dured the torture with a firmness worthy 
 of a better cause, and, after a short con- 
 finement, was released, at the request of 
 the English ambassador; on which he 
 went to London, where he resided a few 
 years, till the profligacy of his manners 
 brought him into such disrepute, that he 
 returned to Amsterdam, where he died, in 
 obscurityand contempt, in 1640. Sandrart, 
 and, after him, Weyermans, affirm that he 
 died under the torture; but Houbraken, 
 who had carefully read the authentic 
 account of him at Haerlem, written by 
 Schrevelius, is certainly entitled to most 
 credit. 
 
 ToBTEBATE (Fbancis). This French 
 artist was born at Paris in 1616. He 
 was the scholar, and became the son-in- 
 law, of Simon Vouet. His talent lay in 
 portraiture, besides which he practised 
 engraving in a good style, He died at 
 Paris in 1690. His son, John Tortebate, 
 was born in 1652, and died in 1718. He 
 was also a good painter of portraits. 
 
 TouBNiEBEs (Robebt). This French 
 artist was born at Caen in 1676, and was 
 instructed at Paris by Bon BouUongne. 
 He became a good painter of history and 
 portrait; but quitted the large size, which 
 he followed some time, for small pictures, 
 in the manner of Schalken and Gerard 
 Douw. He becamedireetor of the academy 
 at Caen, and died there in 1752. 
 
 Tbaballesi (Fbancesco). He was 
 born at Florence about 1580, and studied 
 
at Rome, where he settled, and became 
 distinguished by his genius. In the 
 Chiesade Greei are two altar-pictures by 
 him; one of the Annunciation, and the 
 other, Christ disputing in the Temple, 
 
 Traini (Francesco). He was a native 
 of Florence, and the scholar of Andrea 
 Orcagna, who died in 1389. Traini was 
 the best artist of that school ; and there 
 was a picture in the church of St. Cathe- 
 rine, at Pisa, representing St. Thomas 
 Aquinas, which far surpassed the works 
 of his master. lie died about 1430. 
 
 Tkasi (Lodovico). He was born at 
 Ascoli in 1634, and had Andrea Sacchi 
 for his preceptor, at the same time that 
 Carlo Maratti was in the same school; 
 from whom Lodovico obtained much in- 
 formation. In his small pictures he 
 imitated Carlo, but his larger ones are 
 more in the style of Sacchi. There is a 
 fine oil painting by him of St. Nicholas, 
 in the church of St. Christopher, at 
 Ascoli; and in the cathedral are some of 
 his frescoes. He died about 1700. 
 
 Travi (Antonio). This artist was 
 born at Sestri, in the state of Genoa, in 
 1613. lie was at first a colour-grinder 
 to Bernardo Strozzi, who gave him some 
 lessons in design, and he afterwards 
 learned to paint landscape under Godfrey 
 de Wael. He gained credit in his depart' 
 ment, and his pictures are deemed worthy 
 of reception into the choicest collections. 
 On account of his deafness, he obtained 
 the name of II Sordo di Sestri. lie died 
 in 1668. 
 
 Trento (Antonio da). He was born 
 at Trent, in the territory of Venice, about 
 1508, and studied under Parmegiano, 
 who recommended him to quit painting 
 for engraving on wood, in the manner 
 called chiaro-oscuro. His pictures, there- 
 fore, are less known than his prints, which 
 are valuable. 
 
 Tremolliere (Peter Charles). He 
 was born at Cholet, in Poitou, in 1703, 
 and was the disciple of John Baptist 
 Vanloo the elder; under whom he studied 
 till he had gained several prizes in the 
 academy at Paris. He was then sent to 
 the French academy at Rome, where he 
 resided some years, and qualified himself 
 to return home with credit. By his coun- 
 trymen he is accounted a very eminent 
 artist: they say that he had an elevated 
 genius, a grand style of composition, and 
 a correct manner of designing ; that the 
 disposition of his figures was highly com- 
 mendable, and that he gave them an 
 
 agreeable and graceful turn, but that his 
 colouring was weak. He painted several 
 altar-pieces at Lyons, and other cities of 
 France, and, the year before his death, 
 he was employed to execute designs for 
 tapestry by order of the king; but he 
 died in the prime of life, and in the height 
 of his reputation, when he had sketched 
 only one subject, the description of the 
 Golden Age, and left it unfinished at his 
 death, in 1739. He was admitted into 
 the academy three years before his death, 
 on which occasion he presented a picture 
 of Ulysses in the Island of Calypso. At 
 Lyons, in the church of the Carmelites, 
 he painted three fine pictures ; the sub- 
 jects of which were, the Nativity: the 
 Wise Men's Offering; and the Present- 
 ation in the Temple. 
 
 Tresham (Henry). This excellent 
 artist was a native of Ireland, which 
 country he left at an early age, and went 
 to Italy, where he resided some years, 
 during \Thich he carefully studied the 
 antiques, and works of great masters. 
 From thence he came to London, and 
 was admitted into the Royal Academy. 
 He had much facility of composition, and 
 his fancy was well stored with materials ; 
 but his oil pictures are deficient in that 
 richness of colouring and spirit of ex- 
 pression for which the Venetian School is 
 so eminent. His drawings with pen and 
 ink, and in black chalk, however, evince 
 uncommon ability; the latter especially 
 being executed with a spirit, boldness, and 
 breadth, which are not often to be found 
 in such productions. Foi- the splendid 
 Shakspeare of Boydell he painted three 
 pictures; one for the large, and two for 
 the small edition; but all three were 
 illustrative of scenes in the same play, 
 that of Antony and Cleopatra. When 
 Messrs. Longman and Co. commenced 
 their splendid publication of engravings 
 from the works of great masters, the 
 superintendence of it was committed to 
 Mr. Tresham, who also obtained an 
 annuity of three hundred pounds for life 
 from the Earl of Carlisle, in return for a 
 collection of Etruscan vases, which he 
 bought for one hundred pounds only. 
 Mr. Tresham was the author of three 
 poems : one entitled, the Sea-sick Min- 
 strel; the second, Rome at the close of 
 the Eighteenth Century ; and the third, 
 Britannicus to Buonaparte. He died 
 June 17, 1814. 
 
 Trevisani (Cavalieke Francesco). 
 This painter was born at Trieste in 1656, 
 
TRE 
 
 545 
 
 TRI 
 
 and received his first instruction from his 
 father, Antonio Trevisani, an architect; 
 after which he was taught the principles 
 of design and colouring by a Flemish 
 painter, whose name is not recorded ; but 
 he is represented as an artist of merit, for 
 his excellence in pictures of a small size, 
 of which the subjects were spectres, in- 
 cantations, or enchantments. Though 
 Trevisani did not admire the ideas of his 
 master, he was so far benefited by his 
 lessons as to produce a design in the same 
 taste and style, which was accounted a 
 surprising effort of genius for a boy not 
 above ten years of age. He was next 
 placed with Antonio Zanchi, who had a 
 whimsical style of painting, peculiar to 
 himself, to which Trevisani soon adapted 
 himself, both in colouring and com- 
 position. But on obtaining more ex- 
 perience, his ideas were too elevated to be 
 confined to such a taste of design ; and 
 therefore he applied himself to study after 
 the best masters of the Venetian School ; 
 and by this means fixed his reputation on 
 a permanent basis. At tliis period a 
 Venetian lady of noble family fell in love 
 with and married him ; but, fearing the 
 consequences, the lovers thought it pru- 
 dent to retire to Rome^ Here Trevisani 
 found a patron and protector in Cardinal 
 Chigi, who employed him in several 
 works, and thus gave him an opportunity 
 of displaying his talents to advantage. 
 The Duke of Modena, who then resided 
 at Rome as ambassador from the King of 
 Spain, having purchased some of the 
 paintings of Trevisani, engaged him to 
 copy several capital pictures of Corregio, 
 Parmegiano, and Paolo Veronse ; which 
 he performed in so admirable a manner, 
 that it procured him the honour of knight- 
 hood. After the death of Cardinal Ohigi, 
 Trevisani met with another powerful 
 friend in Cardinal Ottobuoni, who em- j 
 ployed him to adorn his gallery, for which 
 he painted a celebrated picture, repre- 
 senting the Murder of the Innocents. 
 The number of commissions which he 
 received compelled him to work almost 
 without intermission ; nor did any per- 
 son of consequence pass through Rome, 
 without endeavouring to procure some 
 piece of his hand, either of portrait, his- 
 tory, architecture, landscape, animals, or 
 flowers, all which subjects he painted with 
 equal readiness and excellence. To un- 
 bend his mind from the fatigue of his pro- 
 fession, he associated with a few ingenious 
 frieads, and had a small elegant theatre 
 
 erected in his house, where comedies were 
 performed. While painting a picture of 
 St. Michael, for Naples, he was suddenly 
 attacked with a complaint in the throat, 
 which carried him off in 1746. Trevisani 
 had great freedom of hand, a lofty genius, 
 and a noble style of composition ; his 
 figures were generally correct and grace- 
 ful, and bis tints were uncommonly clear, 
 bright, and beautiful. Notwithstanding 
 his great age, he preserved the same 
 delicacy of colouring to the last period of 
 his life; nor was the elegance of his 
 design perceptibly impaired by his years. 
 Pope Clement XL appointed him to paint 
 one of the prophets in St. John de La- 
 teran ; and the Four Quarters of the 
 World, in the cupola of the cathedral at 
 Urbino. At Rome are his pictures of the 
 Death of Joseph ; and the Virgin weeping 
 over the Instruments of the Passion. 
 
 Trevisani (Angelo). He was a native 
 of Venice, and practised both portraiture 
 and history. In the latter department he 
 painted a fine altar-piece in the church of 
 La Carita, at Venice. He lived about 
 1760. 
 
 Trevisi, or Trevigi (Girolamo). This 
 artist was born at Trevigi in 1508. He 
 studied at Rome, where he chose the works 
 of Raffaelle for his model ; and if he did 
 not reach the grand style of that incom- 
 parable master, he at least acquired one 
 that was graceful and correct. After 
 residing some time at Bologna, where he 
 painted the history of St. Anthony of 
 Padua, in the church of St. Petronio; 
 and the Presentation of the Virgin, in 
 that of St. Salvatore ; he came to England, 
 and was pensioned by Henry VIIL, who 
 employed him in the threefold capacity 
 of painter, architect, and engineer. In 
 ' the latter character he accompanied the 
 I king to the siege of Boulogne, where he 
 was killed by a cannon shot in 1544. 
 
 Tristan (Luis). This Spanish artist 
 was born near Toledo in 1594, and became 
 the disciple of Domenico Greco, to whom 
 he proved superior in correctness of 
 drawing, and purity of taste. It does not 
 appear, however, that Domenico had any 
 jealousy on this account ; so far from it, 
 he took early notice of his talents, and 
 brought them into view with all the 
 advantages in his power, as the following 
 circumstance shows. The monks of La 
 Sista had applied to Domenico for a 
 picture of the Last Supper; but the pain- 
 ter, being unwell, declined the com- 
 mission, and recommended Tristan, who 
 2n 
 
TRO 
 
 546 
 
 TRO 
 
 accordingly was employed ; and when the 
 picture was delivered, no fault was found, 
 except in regard to the price, which was ! 
 two hundred ducats. The matter being '; 
 referred to Domenico, he was taken in a 
 coach to the convent, where, as soon as 
 he had deliberately surveyed the picture, 
 he turned to his disciple, and, lilting up 
 his crutch, exclaimed against him for dis- 
 gracing the art by demanding two hundred 
 ducats for such a picture. The triumph 
 of the fathers upon this decision was soon 
 reversed, when Domenico ordered his 
 disciple to roll up the picture, and take it 
 back to Toledo, for that he should not 
 leave it there for five hundred ducats. 
 Vexation now took possession of the 
 monks, and their complaints were changed 
 to intercessions; so, after a sufficient 
 atonement, the money was paid, and the 
 picture surrendered to the refectory and 
 oblivion. Some of the other woi-ks of this 
 painter are in the cathedral and church 
 of St. Clara, at Toledo, where Velasquez 
 was so much impressed by them, that he 
 immediately altered his style in imitation 
 of Tristan. He died at Toledo in 1649. 
 
 Triva (Antonio). He was born at 
 Reggio in 1626, and had Guercino for his 
 instructor. He became distinguished as 
 a painter of history, and his pictures in 
 the churches of Reggio and Piacenza were 
 celebrated in verse by Bpschini. It was 
 more fortunate for him, however, to have 
 obtained the patronage of the Duke of 
 Bavaria, at Munich, where he died in 
 1699. 
 
 Tboger (Paul). This German artist 
 was born at Zell in 1695, and studied 
 under Giuseppe Alberti, at Fiume, in the 
 Venetian territory. He then settled at 
 Vienna, where he obtained the director- 
 ship of the academy. Troger painted 
 history with distinction, and he also en- 
 graved some prints in a spirited style. 
 He died about 1760. 
 
 TaoosT (Cornelius). He was. born 
 at Amsterdam in 1697, and was the dis- 
 ciple of Arnold Boonen ; but he perfected 
 himself in the knowledge of his art by the 
 study of nature. He sometimes painted 
 historical subjects, scenes taken from 
 comedies, and also conversations, in a very 
 agreeable style. But his chief excellence 
 lay in portraiture, and he was engaged to 
 paint those of the directors of the college 
 of physicians at Amsterdam, as large as 
 life, and at full length, in one piece; 
 which picture established his reputation, 
 and procured him much employment. 
 
 His most capital performance, however, 
 is the picture in the Surgeons' Hall at 
 Amsterdam, representing the principal 
 persons of that profession sitting at a 
 table, on which is placed a subject pre- 
 pared for dissection ; while the professor 
 appears as if explaining the parts, previous 
 to the operation. The figures are well 
 designed, and have a good relief, the 
 habits are suitable to the fashion, and 
 the whole has great harmony. Troost 
 was also much applauded for the portrait 
 of Boerhaave, which is placed in the ana- 
 tomical hall. His conversations were in 
 some respects commendable, but he was 
 censured for indulging too great an in- 
 delicacy and licentiousness in his compo- 
 sitions. He also engraved prints, chiefly 
 in raezzotinto. He died in 1750. 
 
 Trotti (Cavaliere Giovanni Bat- 
 tista). He was born at Cremona in 
 1555, and received his professional edu- 
 cation in the academy of Bernardino 
 Campi. Being employed by the Duke of 
 Parma at the same time with Agostino 
 Caracci, a competition arose between the 
 two artists, but with such a near approach 
 to equality, that Agostino, on gaining the 
 victory, said he had found in Trotti a 
 hard bone to crack; whence our painter 
 obtained the name of II Melosso. He 
 studied the works of Corregio, and imi- 
 tated the lively manner of Bernardo Gatti, 
 yet he was too much of a mannerist. His 
 principal performances are the frescoes in 
 the cupola of St. Abbondio, and in the 
 Palazzo del Giordani, at Parma, for which 
 he was knighted. He died about 1612. 
 
 Troy (Francis de). He was born at 
 Toulouse in 1645, and received his first 
 instruction from his father, ISicholas de 
 Troy, a painter of little repute ; but at 
 the age of seventeen he became the disciple 
 of Nicholas Loir, at Paris, under whom 
 he made great improvement. He began 
 his career with historical subjects, which 
 gained him credit ; but his genius more 
 strongly inclined him to portraits, and in 
 that style he received great assistance 
 from Claude le Fevre. In 1674 he was 
 admitted into the academy, and having at 
 his introduction presented an historical 
 picture, representing Mercury and Argus, 
 it was received with such public approba- 
 tion, that he was immediately engaged 
 to paint a number of sacred as well as 
 profane subjects, and, in particular, one 
 noble composition, in the church of St. 
 Genevieve, representing the magistrates 
 of Paris invoking the aid of that saint. 
 
TRO 
 
 547 " -^ -TUL ' '^ 
 
 He also finished a picture of Dido and 
 iEneas for the Duke of Maine, designed 
 in a very elegant style, and containing 
 above fifty figures as large as life. It was 
 well composed and finely coloured. Louis 
 XIV. sent him to the court of Munich to 
 paint the portrait of Anna Maria Christina, 
 Dauphiness of France; and on his re- 
 turn he received the highest encomiums 
 for the beautiful colouring and exquisite 
 finishing of the picture. His own por- 
 trait is in the Florentine Gallery. He 
 died in 1730. 
 
 Tkoy (Chevalier John Francis de). 
 He was the son of the preceding, and was 
 born at Paris in 1676. Having received 
 instructions in design and colouring from 
 his father, he travelled to Italy to finish 
 his studies, and on his return to Paris was 
 elected into the academy. On the first 
 public exhibition of his works they were 
 generally admired, and the best judges of 
 the art commended his taste, colouring, 
 invention, neatness of finishing, and 
 happy union of simplicity and grandeur, 
 which appeared in his compositions. 
 Louis XIV. employed him to make a set 
 of cartoons for tapestry, the subject of 
 which was the history of Esther. This 
 work gave such satisfaction, that the king 
 honoured him with the order of St. 
 Michael, and afterwards appointed him 
 director of the academy at Rome ; which 
 Station he filled with dignity. He had a 
 fruitful invention, and an extraordinary 
 readiness in his manner of handling; his 
 touch was free and firm, his colouring 
 extremely pleasing, and in all his designs 
 he showed a natural and just expression, 
 as well of the motions of the limbs as of 
 the passions of the mind. He also painted 
 portraits ; and his own, by himself, is in 
 the Gallery at Florence. He died in 1752. 
 
 Troya (Felix). This artist was 
 born at St. Felipe, near Valentia, in 
 1660, and studied under Gaspar de la 
 Huerta. He painted historical pictures 
 with great credit in regard to colouring 
 and imposing effect, though the design is 
 in general defective. He died at Valencia 
 in 1731. 
 
 Troyen (Rombout Van). This artist 
 was born at Antwerp in 1600. Some 
 writers say that he was never out of his 
 own country; while the editor of the 
 Chronological Tables asserts as positively, 
 that he went to Italy, which seems to be 
 established by his works, for he usually 
 painted caves, grottoes, and the vestiges 
 of ancient edifices which are in the envi- 
 
 rons of Rome, unless ho took the ideas 
 from sketches made by other artists. Into 
 these pictures he always introduced some 
 historical subject, taken from sacred or 
 poetical history. In his small pictures, 
 which are his best, he had great neatness 
 in his touch, firmness in his pencil, and 
 transparence in, his colouring ; but he 
 was not correct in his figures, nor were 
 all his works of equal estimation. His 
 colouring is, in general, far from being 
 pleasing; some of his pieces have too 
 much yellow, and in others his browns 
 create obscurity; yet occasionally his 
 execution is remarkably good and his 
 perspective agreeable. He died in 1650. 
 
 TucARRi (Giovanni). This Sicilian 
 artist Avas born at Messina in 1667, and 
 learned the elements of painting from his 
 fiither, who was but indififerently qualified 
 for the office of teacher. The son, however, 
 by hisexertions, acquired aremarkable skill 
 in painting battles, and his facility in exe- 
 cution was wonderful. He died in 1743. 
 
 Tulden, or TiiuLBEN (Theodore 
 Van). He was born at Bois-le-Duc in 
 1607, and iwas the disciple of Rubens, 
 who soon discerned his talents, and em- 
 ployed him as one of his assistants in the 
 grand designs which he finished in the 
 Luxembourg Gallery. At first he was 
 fond of painting cheerful subjects, as fairs, 
 kermesses, conversations, and the diver- 
 sions of peasants, in themannerof Teniers; 
 but his greatest excellence appeared in 
 his historical compositions. These are 
 entirely in the style of Rubens, and are 
 extremely similar, as well in respect to 
 the ideas as the colouring, nor are they 
 much inferior to him. This painter was 
 remarkable for painting in small as well 
 as in large, his genius being happily 
 adapted to both: in the former he was 
 ingenious, and in the latter elevated. He 
 had a thorough knowledge of the chiaro- 
 oscuro, and by that means gave force to 
 his figures and life to his colour ; but in 
 his drawing he was less correct than his 
 master. He was frequently employed to 
 insert small figures in the works of Sten-. 
 wyck, Neefs, and other artists. While at 
 Paris he painted twenty-four pictures in 
 the church of the Maturins, illustrative 
 of the life of the founder. In his own 
 country, his principal works are St. 
 Sebastian, in the church of the Bernar- 
 dines, at Mechlin; and the Assumption of 
 the Virgin, in that of the Jesuits, at 
 Bruges. He died in 1676. His etchings 
 are numerous. 
 
TUR 
 
 TUS 
 
 TuR.v (CosiMO or Cosmo da Ferkara). 
 He was born at Ferrara in 1406, and 
 studied under Galasso Galassi. Some of 
 his paintings are yet preserved at Ferrara, 
 in the churches; besides which he was also 
 much employed in illuminating missals. 
 His oil pictures are much laboured. Of 
 his altar-pieces the principal are, the An- 
 nunciation and Nativity, in the cathedral; 
 and the Agony in the Garden, in the Ca- 
 puchin convent. He died in 1469. 
 
 TuRBiDO, or ToRBiDO (Frajjcesco), 
 called II Moro. The different accounts 
 relative to the birth and death of Fran- 
 cesco Turbido are very confused, and not 
 easily reconciled. They agree in general, 
 that he was eighty-one when he died; but 
 some affirm that his death was in 1521>, 
 and the Chronological Tables fix his 
 birth in 1430, and his death in 1521; 
 which makes him ninety-one when he 
 died. Vasari, who seems to be most 
 worthy of credit, though he does not 
 mention the precise year of the birth of 
 Turbido, nor that of his death, mentions 
 certain circumstances which may direct 
 us to the truth. That author says, Li- 
 berale died in 1536, and bequeathed his 
 house, &c., to Francesco Turbido his be- 
 loved disciple, who was at that time a young 
 man. Now, as that expression can scarcely 
 be justified, if we suppose Francesco to 
 have been above thirty-six years of age at 
 that time, it is probable that he was born 
 in 1500, and died in 1581; for, as to the 
 dates of the other authors, they are evi- 
 dently false, because he outlived Liberale 
 by many years ; and as that master died 
 in 1536, Francesco being appointed his 
 heir, could not possibly have died in 1521 
 fifteen years before Liberale ; and for the 
 same reason, he could not have died in 
 1521, at the age of ninety-one, according 
 to the Chronological Tables. He was a 
 native of Verona, and was successively 
 the disciple of Giorgione and Liberale 
 Veronese. He became an admirable 
 painter of history and portrait. In his 
 colouring he imitated Giorgione, and his 
 works were applauded for the sweetness. 
 union, and harmony of the. tints; but in 
 taste of composition and design, he always 
 retained the manner of Liberale. Vasari 
 observes, that though Turbido was but a 
 young man at the death of his master, 
 yet, by his personal merit, as well as by 
 the beauty and spirit of his -works, he so 
 won the esteem and affection of Liberale, 
 that he appointed him his heir ; which 
 acquisition of fortune enabled him to 
 
 follow his profession with greater ease 
 and satisfaction. He painted a vast num- 
 ber of pictures in fresco and in oil, at 
 Verona, Friuli, and Venice. In the 
 chapel of Santa Maria in Organo, at the 
 latter city, is a Transfiguration by him, 
 which is esteemed a capital performance. 
 His portraits were both beautifully and 
 naturally coloured, finished with remark- 
 able care and neatness, and exhibiting all 
 the look of real life, with a surprising 
 resemblance of the persons represented. 
 
 TuRCHi (Alessandro). This artist 
 was born at Verona in 1582, and obtained 
 the name oi L'Orbetfo from having been 
 employed when a boy to lead a blind 
 beggar about the streets. From this 
 wretched state he was rescued by Brusa- 
 sorci, who by chance discerned his talent 
 for drawing, and took him under his own 
 direction. In a short time he equalled 
 his master, and went to Venice, where he 
 became the scholar of Carlo Cagliari, and, 
 having there gained a good taste in co- 
 louring, removed to Rome. Here he 
 studied the works of the greatest masters 
 of that school, and afterwards endeavoured 
 to combine their taste of design with the 
 Venetian method of colouring. He ven- 
 tured also to rival Andrea Sacchi and 
 Pietro da Cortona in some pictures which 
 he painted for the church of La Concep- 
 zione. Several altar pieces were executed 
 by him at this period, particularly a Flight 
 into Egypt, in the church of St. Romual- 
 do ; a Holy Family, in St. Lorenzo ; and 
 St. Carlo Borromeo and St. Salvadore, in 
 St. Lauro. He painted likewise cabinet 
 pictures, some of which were on black 
 marble ; but his best works are at Verona, 
 as the Forty Martyrs, and a Pieta. He 
 died at Rome in 1648. 
 
 Tdkco (Cesare). He was born at 
 Naples in 1510, and studied successively 
 under Giovanni d'Amato and Andrea 
 Sabbatini. His principal works are an 
 altar-piece in the church of St. Maria delle 
 Grazie, representing theBaptism of Christ; 
 and another, in the Church del Gesii, the 
 subject of which is the Circumcision. He 
 died in 1560. 
 
 TuscHER (Marcus). This German 
 artist resided several years in England, 
 and painted portraits of a small size with 
 reputation. In the Royal Academy there 
 is a figure drawn by him, and signed with 
 his name, dated 1742. Afterwards he 
 went to Denmark. Lord Orford says, 
 that he was not only a painter, but an 
 architect and engraver. 
 
TYS i 
 
 Tyssens (Peter). He was born at 
 Antwerp in 1625, and though it is not 
 known who his preceptor was, he rose 
 high in the profession, and stood next to 
 Rubens and Vandyck in portrait and his- 
 tory, after whose death he became the 
 director of the academy at Antwerp. For 
 some time he devoted himself wholly to 
 portraiture ; but owing to some disgust he 
 laid it aside, and applied to history with 
 complete success. His manner of design- 
 ing was grand, his compositions are full 
 of spirit, his colouring is strong, and he 
 usually enriched his backgrounds with 
 architecture. His reputation was greatly 
 advanced by an altar-piece which he 
 painted for the church of St. James, at 
 Antwerp ; the subject of which was the 
 Assumption of the Virgin ; and the co- 
 louring and composition gained him 
 general approbation. Another fine piece 
 of his painting is the Death of St. Bene- 
 dict, in the church of the Capuchins, at 
 Brussels. He died in 1692. 
 
 Tyssens (Nicholas). He was born at 
 Antwerp in 1660, and was the elder son 
 of Peter Tyssens, from whom he learned 
 the art of painting; after which he went 
 to Rome, where he was constantly em- 
 ployed by a picture merchant. His sub- 
 jects were armour, helmets, swords, guns, 
 drums, sabres, and trophies, which he 
 composed and grouped with great in- 
 genuity, but without producing much 
 eifect ; whence, on his return to his own 
 country, he found no great demand for 
 his works, which induced him to visit 
 Dusseldorp, as the Elector Palatine was 
 an encourager of all artists. That prince 
 being anxious to have the best collection 
 of paintings in Europe, sent Tyssens to 
 purchase for him curious pictures in the 
 Low Countries; which commission he 
 executed to the satisfaction of his em- 
 ployer. Finding that his warlike subjects 
 did not please the public, he changed his 
 style, and painted flowers, but with no 
 better success ; upon which he took to the 
 representation of birds, in the manner of 
 Boel or Hondekoeter ; and here he gained 
 some reputation, by the correctness of his 
 drawing and the beauty of his colouring. 
 He died in 1719. 
 
 Tysseins (Augustixe). He was the 
 younger son of Peter Tyssens, and was 
 born at Antwerp in 1662. After receiv- 
 ing instruction from his father, he studied 
 the works of Berghem, and followed them 
 closely, painting landscapes, with ruins, 
 figures, and cattle, finely touched and 
 
 expressed. He became director of the 
 academy of Antwerp in 1691, and died 
 there in 1722. 
 
 u. 
 
 Ubertini (Francesco). This painter 
 was a native of Florence, and died about 
 1557. He excelled in history, grotesque 
 and ornamental painting. One of his 
 principal works is the Death of St. Arcadio, 
 in the church of St. Lorenzo, at Florence. 
 He was much employed by the grand 
 duke, and several of his pictures were in 
 the Florentine Gallery. 
 
 UccELLo (Paolo, or Mazzochi). This 
 artist was born at Florence in 1349, and 
 obtained the name of Uccello from his 
 predilection for the painting of birds. He 
 studied perspective, and reduced its scien- 
 tific principles to the practice of his art ; 
 for which purpose he applied diligently to 
 geometry, and made himself acquainted 
 with the Elements of Euclid, by the assis- 
 tance of Giovanni Maretti, a mathemati- 
 cian. His favourite subjects in history 
 were those which admitted of the intro- 
 duction of numerous animals, such as the 
 Garden of Eden, Noah entering or quitting 
 the Ark, and the Deluge. He also painted 
 the battles of lions and serpents, with 
 peasants flying from the scene of combat 
 in terror. The landscapes of his back- 
 grounds were also enriched with ruins, 
 and other appropriate objects. He painted 
 in distemper and fresco, but died poor in 
 1432. In the cathedral at Florence is a 
 gigantic figure by this artist. 
 
 Udina (Giovanni da). This painter 
 was born at Udina in 1494 ; but his family 
 name was Nanni. His father was a 
 gentleman who was much addicted to 
 field sports, and, observing the aptitude 
 of his son to the drawing of animals, 
 placed him under Giorgione, at Venice. 
 After some time, the youth, hearing of the 
 fame of Raffaelle and Michel Angelo, felt 
 an ardent desire to see Rome, in which 
 he was indulged, and, by an introduction 
 to Count Castiglione, obtained admission 
 into the school of Raffaelle. His favourite 
 subjects, however, were birds, beasts, fishes, 
 vases, flowers, landscapes, and buildings, 
 which he painted so well, that Raffaelle 
 employed him to insert those accessories 
 in his designs, particularly the organ, and 
 other musical instruments, in his famous 
 
ULF 
 
 550 
 
 VAA 
 
 picture of Cecilia. When the ruins of the 
 palace of Titus were discovered, Giovanni 
 devoted much time to an examination of 
 them, in the course of which he discovered 
 the composition of the true Roman stucco, 
 being a preparation of pulverized marble 
 and pure lime. Upon this Raifaelle em- 
 ployed him in ornamenting one of the 
 galleries of the papal palace with the 
 most beautiful stucco work, which he en- 
 riched with grotesque paintings, in the 
 manner of the antiques, exhibiting a great 
 variety of invention, and an agreeable 
 wildness of imagination. In all his designs 
 the ornaments were suited to the objects 
 represented ; for where he inserted birds, 
 he took care to place fruits. But though 
 superior to his contemporaries in this 
 department, he fell short of them in 
 historical composition. Pope Clement 
 VII. employed him and Pierino del Vaga 
 in the Vatican, where the latter painted 
 the seven planets and figures, while Nanni 
 executed the grotesque. In 1527, when 
 Rome was sacked, he fled to I'lorence, 
 where he resided some years ; but on 
 going to the celebration of the jubilee, 
 he was again induced to enter into the 
 service of the pope. He died in 1564, 
 and was buried, by his own request, near 
 his master. 
 
 Uggione, or Oggionb (Maneo). He 
 was born at Oggione, near Milan, about 
 1480, and had Leonardo da Vinci for his 
 master. He became a principal ornament 
 of the Milanese School, and painted in a 
 grand style both in fresco and in oil. In 
 the former manner, his chief works are a 
 Crucifixion, in the church of La Pace, at 
 Milan; and a copy of his preceptor's 
 picture of the Last Supper, executed for 
 the Carthusians, at Pavia. His best oil 
 pictures are in the churches of St. Eufe- 
 mia and St. Paolo, at Milan. He died in 
 1530. 
 
 Ui.FT (Jacob Vander). He was born 
 at Gorcum, in Holland, about 1627; but 
 the master by whom he was instructed is 
 not mentioned. His first occupation was 
 that of painting on glass, and there are 
 some of his works in this line in the 
 churches of his native placeand in Guelder- 
 land, which are not much inferior to those 
 of the two Crabeths. He afterwards ap- 
 plied to historical pictures, which he 
 painted in a small size, well composed, 
 and touched with spirit. But his prin- 
 cipal subjects were views of the ruins in 
 and about Rome, which he drew after 
 prints, and the designs of eminent masters. 
 
 He understood perspective and architec- 
 ture well; and though Mie introduced 
 numerous figures into his pieces, he 
 grouped them with judgment and taste. 
 Among other views of his painting was 
 one of London Bridge, with the adjacent 
 buildings, and the river crowded with 
 boats. Ulft was one of the burgomasters 
 of Gorcum, where he died in 1679. 
 
 Uliveli.i (Cosimo). This artist was 
 born at Florence in 1625, and studied 
 under Baldassare Franceschini, whose 
 style he followed so very closely, that the 
 works of the scholar have often been mis- 
 taken for those of the master. He died 
 about 1680. 
 
 Utkecht (Adkiax Van). He was born 
 at Antwerp in 1599. For some time he 
 painted peacocks, and other domestic 
 fowls, only for his amusement; but re- 
 ceivetl so much encouragement, that he 
 made the art his profession. His general 
 subjects were fruit, birds, flowers, dead 
 game, and still life, in the representation 
 of which he was equally correct and 
 spirited. Next to Snyders, he was es- 
 teemed the best painter in that style 
 among the Flemings; but as he painted 
 chiefly for the King of Spain, his pictures 
 are very scarce. He was sometimes em- 
 ployed by other painters to enrich their 
 works with accessories in his particular 
 style. He died at Antwerp in 1651. 
 
 Uytenwael (Joachim). This Dutch 
 artist was born at Utrecht in 1566. He 
 learned the elements of painting from his 
 ffvther, after which he became the scholar 
 of Joseph de Beer, and on leaving him 
 went to Italy. He adopted the manner 
 of Sprangher; so that, though his colour- 
 ing is good, and his design generally 
 correct, his figures are often unnatural in 
 their positions, and fantastical in their 
 draperies. He excelled in painting kitchens 
 and culinary vessels. He died at Utrecht 
 in 1624. 
 
 y. 
 
 Vaart (John Vam)er). This painter 
 was born at Ilaerlem in 1647, and had 
 Thomas Wyck for his instructor. He 
 came to England in 1674, and was em- 
 ployed by William Wissing in painting 
 his draperies, after which he became dis- 
 tinguished by his landscapes, objects of 
 still life, and dead game. He died in 
 
VAI 
 
 London in 1721. He also engraved some 
 portraits in mezzotinto, and was the in- 
 structor of John Smith. 
 
 Vaccaro (Andrea). He was born at 
 Naples in 1598, and studied under Stan 
 zione. After adopting the manner of 
 Michel Angelo Caravaggio, he altered liis 
 style for that of Guido, in which he ex- 
 celled, and on the death of his master was 
 considered as the head of the Neapolitan 
 School. He died in 1670. There was 
 another artist of the name of Vaccaro, 
 who was both a painter and engraver at 
 Bologna. In the former art he excelled 
 as a painter of perspective and architec- 
 ture. 
 
 Vadder (Louis de). He was born at 
 Brussels in li560, and became an excellent 
 painter of landscape. He understood per- 
 spective well, and disposed his grounds, 
 trees, views, and figures, so truly, by pro- 
 portioning every object to its distance, 
 that his pictures have a fine effect. He 
 studied nature with exactness; and fre- 
 quently went into the fields at sunrise, to 
 observe the gradual diifusion of light, and 
 its effect on the dispersion of the mists 
 and vapours, in unfolding the mountains 
 and hills. His pictures, though not de- 
 signed with the elegance of the Italian 
 School, have much truth and nature; and 
 he had the art of representing in his skies 
 the vapours which are gradually formed 
 into clouds. His distances are generally 
 blue; his trees designed in a good taste, 
 touched in a masterly manner; and the 
 reflections in the water clear, true, and 
 natural. Vadder executed some spirited 
 etchings. He died at Brussels in 1623. 
 
 Vaga (Piekixo del). The real name 
 of this painter was Pietro Buonacorsi, but 
 he obtained that by which he is known, 
 from his master. He was born at a village 
 near Florence in 1500, and, having the 
 misfortune to lose his parents in his in- 
 fancy, he was taken under the care of a 
 man named Andrea de Ceri, whose house 
 was the common resort of young artists. 
 At the age of eleven, he became the scholar 
 of Ridolfi Ghirlandaio; but in 1515, Del 
 Vaga, another painter, took him in his 
 company to Rome, where he studied the 
 works of Michel Angelo, and became 
 known to Giulio Romano, and Giovanni 
 Penni, the coadjutors of Raffaelle; and 
 these artists, perceiving his merit, gave 
 
 him employment in the Loggie of the Vati- 
 can . Here he assisted Udina in the stucco 
 and grotesque, as well as Polidoro in his 
 antique subjects; besides which, he exe- 
 
 cuted some of the scriptural pieces de- 
 signed by Raffaelle, particularly the 
 Taking of Jericho; the Passage of the 
 Jordan; Abraham's Offering; Jacob and 
 the Angel; and Joseph and his Brethren. 
 On the death of Raffaelle, he was employed 
 with Romano and Penni to complete the 
 works which that great master had left 
 unfinished. He also exhibited a fine 
 design of his own, the subject of which 
 was the Creation of Eve. When Rome 
 was taken, in 1527, he lost all his pro- 
 perty, and fled to Genoa, where he found 
 a patron in Prince Doria, who employed 
 him in decorating his new palace. In one 
 grand apartment he represented Jupiter 
 overwhelming the Titans; and in others he 
 painted the History of ^neas, and fabu- 
 lous subjects. He died at Rome in 1547. 
 Vaielajjt (Wallerant). He was 
 born at Lisle in 1623, and became the 
 scholar of Erasmus Quellinus, at Ant- 
 werp. Finding his genius best adapted 
 to portrait painting, he applied himself to 
 that branch, and succeeded. At Frank- 
 fort *be gained great honour by his por- 
 trait of the Emperor Leopold, which pro- 
 cured him abundant employment from the 
 princes and ambassadors who were then 
 resident there. He afterwards went to 
 the court of France, where he added to 
 his reputation, by painting the queen- 
 mother, and Duke of Orleans. He per- 
 formed equally well in oil and with 
 crayons; but as his brother painted only 
 in the latter, he relinquished it entirely, 
 to avoid competition with him. He is 
 said to have visited England with Prince 
 Rupert, who made him acquainted with 
 the method of scraping in mezzotinto. 
 Vaillant died at Amsterdam in 1677. 
 
 Vaillant (Bernard). He was the 
 brother and scholar of Wallarent, and was 
 born at Lisle in 1627. At first he prac- 
 tised in oil, but afterwards only with 
 crayons, in which he acquired considerable 
 reputation. His attitudes were easy, his 
 manner of handling excellent, and the 
 likeness remarkably striking. He ac- 
 mpanied his brother in most of his 
 journeys, and settled at Rotterdam. He 
 died in 1674. . 
 
 Vaillant (James). He was also the 
 brother and scholar of Wallerant Vaillant, 
 and was born at Lisle in 1622. For his 
 provement he went to Italy, where he 
 was much respected for his genius. On 
 his return home, he received an invitation 
 from the Elector of Brandenburg to settle 
 at Berlin, and there he practised historical 
 
VAL 
 
 painting. His patron sent him to Vienna 
 to take the portrait of the emperor, -who 
 presented him with a chain and medal of 
 gold. He died at Berlin in 1670. His 
 brother John was also taught the art of 
 painting, which he professed for some 
 time with credit, but at length quitted it 
 for commerce. 
 
 Vajano (Orazio). He was born at 
 Florence, but lived chiefly at Milan, where 
 he gained great credit by the pictures 
 which he painted for the churches. There 
 are also several of his works in the churches 
 and convents at Genoa. He lived about 
 the year 1620. 
 
 Valdez (Juan de). This artist was 
 born at Seville, in Spain, in 1631. We 
 are not told by whom he was instructed, 
 but it appears that he owed more to his 
 genius than to the lessons of a master. 
 His principal works are the History of 
 Elijah, in the church of the Carmelites ; i 
 the Death of St. Andrew, at Cordova; 
 and the triumph of the Cross, at Seville. 
 He was also a good sculptor and archi- 
 tect. He died at Seville in 1691. 
 
 Valentino, or Valentine (Peter). 
 He was born in 1600, at Coulomiers en 
 Brie, in Champagne, and became a dis- 
 cijile of Vouet; but soon quitted him and 
 went to Italy. At Rome he studied the 
 works of the first artists, but preferred 
 the style of Caravaggio to all others, as 
 the strong masses of light and shadow of 
 that master produced a bold effect and 
 great relief. His usual subjects are simi- 
 lar to those of Caravaggio and Manfredi, 
 as soldiers playing at cards or dice, taverns, 
 concerts of music, and fortune-tellers. 
 Though he rarely painted historical sub- 
 jects, he sometimes composed them for 
 churches and the nobility. One of these 
 was the Martyrdom of St. Martiniano, 
 painted by order of Cardinal Barberini 
 for the Basilica of St. Peter. Another 
 was the Decollation of St. John the Bap- 
 tist; and a still finer one was a picture of 
 the Denial of Peter. In the royal collec- 
 tion at Paris are Judith with the head 
 of Holofernes ; the Judgment of Solomon ; 
 and Susanna and the Elders. He made 
 nature his principal study, and disposed 
 his figures with considerable judgment; 
 his pencil is firm, and his colouring has 
 remarkable force; nor is it loaded with 
 such blackness in the shadows, as we see 
 in many of the paintings of Caravaggio. 
 But his figures are far from elegant, and 
 his design is neither grand nor correct. 
 He died in 1632. 
 
 Valeriano (Padre Giuseppe). He 
 was a native of Aquila, but neither the 
 year of his birth nor his death is recorded. 
 He was an imitator of the style of Sebas- 
 tiano del Piombo, but his colouring is of 
 a more sombre cast, and his general man- 
 ner is heavy. After professing his art 
 with reputation at Rome, he entered into 
 the society of the Jesuits, for whose 
 churches he executed several good pictures, 
 particularly one of the Annunciation. 
 
 Valesio (Giovanni Luigi). This artist 
 was born at Bologna, and received his 
 education in the academy of the Caracci. 
 His principal performances are, a Flagel- 
 lation, in the church of St. Pietro; the 
 Annunciation, at the Mendicants; and 
 St. Roche healing tlie Sick, in the church 
 of the same saint at Bologna. Valesio 
 was also an engraver. The time of his 
 death is unknown. 
 
 Valk (Peter). This Dutch painter 
 was born at Leuwarden in 1584. Who 
 his master was we are not told, but he 
 imitated Abraham Bloemaert ; after which 
 he went to Italy, and on his return paint- 
 ed history, portrait, and landscape. He 
 also engraved a few plates in the manner 
 of Philip Galle. He died at Leuwarden 
 in 1641. 
 
 Valkaert (Waernaert Vanden). 
 This Dutch artist was born at Amster- 
 dam in 1575. He studied under Henry 
 Goltzius, and became a good painter of 
 history and portrait, in the manner of his 
 master. He died in 1625. 
 
 Valkenburg (Luke de). This Flem- 
 ish artist was bom at Malines, in 1530. 
 He painted landscapes with figures, and 
 also portraits of a small size. The Duke 
 of Lintz, on passing through Malines, 
 was so pleased with his performances, 
 that he took the painter with him to his 
 court, where he executed several works, 
 for which he was liberally rewarded. On 
 his return he died on the road, in 1582. 
 
 Valkenburg (Martin de). He was 
 the brother of the preceding, and was 
 born at Malines in 1533. He also paint- 
 ed landscapes, and drew some very fine 
 ones from the scenery round Aix-la- 
 Chapelle and Liege, and along the Meuse. 
 He died at Frankfort in 1574. 
 
 Valkenburgh ( ). This German 
 
 artist is supposed to have been born at 
 Nuremberg about 1555. After learning 
 the principles of painting in his own 
 country, he went to Venice, where by 
 studying the works of Titian, Tintoretto, 
 and Veronese, he formed a style that was 
 
VAN 
 
 553 
 
 VAN 
 
 agreeable and elegant. Fairs, markets, 
 sports, and dead game, were his general 
 subjects; and sometimes views of cities 
 and buildings, which he executed with a 
 light clean pencil, a delicate touch, and 
 a lively tone of colouring. Into those 
 compositions that would admit them, he 
 usually introduced numerous figures, cor- 
 rectly designed, and spiritedly expressed. 
 He d'^ied in 1623. 
 
 Valkesuurgh (Dirk or Theodore). 
 He was born at Amsterdam in 1675, and 
 at first was the disciple of Kuilenburg; 
 from whom he soon removed to study un- 
 der Micliael Van Muscher, but left him 
 also, to become the pupil of John Wee- 
 ninx. In 1696 he left his native country, 
 to gain improvement at Rome; but being 
 detained at Baden, to paint some pictures 
 for the duke, he was persuaded to visit 
 Vienna, w^here he remained under the 
 patronage of the Prince of Lichtenstein, 
 and in a few years acquired a competent 
 fortune. After residing some time at 
 Vienna, he returned to Amsterdam, and 
 was employed by William HI. to adorn 
 his palace at Loo. In the midst of these 
 honours his life was rendered so unhappy 
 by domestic troubles, that in search of 
 tranquillity he went to Surinam, and con- 
 tinued there two years; hut the climate 
 disagreeing with his constitution, he re- 
 turned to Holland, and resumed his pencil, 
 though with less power than before. He 
 died of an apoplexy in 1721. After his 
 death, two of his pictures of dead game 
 were sold at Amsterdam for a thousand 
 florins. Valkenburgh excelled in those 
 subjects; but he also painted portraits 
 with considerable success. 
 
 Vaelai>oi.id (Don Antonio Pereda 
 be). He was born at Madrid in 1599, 
 and acquired the principles and practice 
 ofpaintingfrom his father, Anionio Pereda, 
 after which he went to Valladolid, where 
 he obtained considerable employment for 
 the churches and convents. He died 
 there in 1669. 
 
 Valpuesta (Pedro). This Spanish 
 artist was born at Osma, in Old Castile, 
 in 1614. He studied under Eugenio 
 Caxes, whose style he imitated very closely. 
 The most remarkable of his works are 
 the Life of the Virgin ; a Holy Family 
 and a set of pictures illustrating the his 
 tory of St. Clara. He died in 1668. 
 
 Van Balen, see Balen. 
 
 Vanderburgh (Adrian). He was 
 born at Dort in 1693, and was the scholar 
 of Arnold Iloubraken, but improved him- 
 
 self by studying the works of Mieris and 
 Metzu. Hissubjects were portraits, family 
 scenes, and conversations, painted in a 
 small size, neatly coloured, and highly 
 finished. His talents were good, but he 
 'mpaired them by extravagance, and his 
 Tregularities shortened his days. He 
 died in 1733. Two of his compositions 
 are particularly mentioned as excellent: 
 one is the representation of a Fishmonger's 
 Shop, in which a man appears toying 
 with a young woman ; the other is a female 
 overcome with liquor, which is well fin- 
 ished, but indelicate. 
 
 Vandergucht (Benjamin). He was 
 the thirty-second child of Gerard Van- 
 dergucht, the engraver, by his only wife, 
 who survived her husband some years. 
 Benjamin studied painting at the school 
 in St. Martin's-lane, and afterwards at 
 the Royal Academy. As a portrait pain- 
 ter, he distinguished himself by a half- 
 length picture of Woodward, thecomedian, 
 exhibited at the Royal Academy in 1774, 
 and now in the committee- room of the 
 Lock Hospital. He painted several other 
 portraits of actors, and among the rest of 
 Garrick, as Steward of the Stratford Ju- 
 bilee. Vandergucht, though he gave 
 such promise of talent, became a picture 
 dealer and cleaner, in preference to paint- 
 ing. He was unfortunately drowned in 
 crossing the Thames at Chiswick, Sep- 
 tember 21, 1794. 
 
 VANDERMINE,OrVANDERMYNE(FRANCK). 
 
 He was a native of Holland, but lived in 
 England, and practised as a portrait 
 painter both in London and the country. 
 He had considerable merit, but was of 
 mean address and vulgar manners. He 
 loved smoking and drinking; nor would 
 he leave his pipe, though he found it dis- 
 agreeable to his employers. He was wont 
 to boast that, after painting a portrait, 
 he retained so strong a remembrance of 
 the features, as to be able to draw it 
 again from memory alone. He died 
 miserably, in Moorfields, in 1783. There 
 were two other painters of this name, 
 one of whom worked for the shops. His 
 wife also practised flower and fruit paint- 
 ing, and exhibited at the Society's rooms 
 in 1762. Thereisamezzotinto of Franck, 
 from a picture of his own painting, in- 
 scribed The Smoker. 
 
 Vandervelde (Adrian). He was born 
 at Amsterdam, in 1639, and from his in- 
 fancy showed so strong a genius for 
 painting, that his father placed him under 
 John Wynants, with whom he continued 
 
VAN 
 
 several years, and acquired a perfect 
 knowledge of the best principles of the 
 art. His application was incessant, and 
 he made it his constant custom to study 
 every object after nature. The scenes 
 and situations of his landscapes, the trees, 
 clouds, and animals, were all sketched in 
 the fields, to which he daily resorted; nor 
 did he discontinue that practice as long 
 as he lived. Vandervelde did not confine 
 himself to landscape, but drew from the 
 model, and made the human figure his 
 particular study. Hereby he not only 
 had the advantage of embellishing his own 
 landscapes, but also those of many other 
 artists whose works were in the highest 
 estimation. He inserted the figures in the 
 pictures of Ruysdael, Hobbema, Mouche- 
 ron, Vander Heyden, and his master, 
 Wynants ; who, till he discovered the 
 ability of his disciple, had generally been 
 indebted to Wouvermans or Linglebach 
 for his figures. In the choice of his sub- 
 jects, and the agreeableness of his scenes, 
 s well as in the excellence of his colour- 
 
 was only thirty-three years of age. His 
 pictures are very rare, and consequently 
 sell high. He also etched some prints of 
 landscapes and cattle. 
 
 Vandekveldk (Esaias). This painter, 
 who does not appear to have been related 
 to the preceding, was born at Leyden 
 about 1590, and was instructed by an 
 obscure artist named Denyn. His prin- 
 cipal subjects were battles, skirmishes, 
 robberies, plundering of villages, or the 
 marchings of soldiers, in a small size, 
 which he designed with great spirit, and 
 finished with a light free pencil, and a 
 good tone of colouring, though sometimes 
 a little too green. His expertness in small 
 figures procured him almost perpetual 
 employment from other artists, who were 
 solicitous to have their landscapes or per- 
 spective views adorned by his pencil; and 
 it was remarked of this painter, that he 
 usually dressed his figures in the Spanish 
 mode. During his life, his works were 
 highly esteemed, and brought great prices; 
 but at present they are considerably sunk 
 
 ing, he had scarcely a superior; and as he in value. He etched several prints, con- 
 followed nature only, his compositions sisting of landscapes and views from his 
 
 are remarkable for their truth. His touch 
 is free and steady, his trees are natural 
 and well formed, and the leafing sharply 
 and accurately marked. His skies have 
 a peculiar brilliancy; and, as he was 
 exactly watchful to observe the effects of 
 light on every particular object, he has 
 most happily expressed its effects through 
 the branches of his trees, on the surface 
 of his waters, on his cattle, and every part 
 of his scenery. Though the general sub- 
 jects of Adrian were landscapes with 
 cattle, such was the versatility of his 
 talent, that he painted historical subjects 
 exceedingly well. In the Roman Catholic 
 church at Amsterdam is an excellent 
 painting by him of the Descent from the 
 Cross, with figures iialf as large as life; 
 and in the same edifice are several other 
 pictures, taken from the sufferings of 
 Christ, and executed with equal ability. 
 In all the paintings of this artist there 
 appears an uncommon warmth and ten- 
 derness; his figures are well designed, and 
 his cattle are remarkably correct, with 
 great life and spirit in their actions and 
 attitudes. When we consider how highly 
 his own pictures are finished, and also 
 how many figures he painted for others, 
 it will be evident that he must have been 
 indefatigable in his labours, as well as ex- 
 
 own designs. He died at Leyden in 1648. 
 
 Vandervelde (John). He was the 
 brother of the preceding, and born at 
 Leyden about 1595. His subjects were 
 landscapes and festive scenes; but he is 
 better known as an engraver than a pain- 
 ter. His prints of landscapes have a 
 pleasing effect; but the most curious of 
 his plates are his night-pieces. 
 
 Vandervelde, or Vandevelde (Wil- 
 liam,) called the Old. He was born at 
 Leyden in 1610, and was originally bred 
 to the sea; but afterwards he studied 
 painting, retaining enough of his former 
 profession to make it the source of his 
 future fame. In marine subjects he be- 
 came a most correct and admirable de- 
 signer, and made an incredible number 
 of drawings on paper, heightened with 
 Indian ink, which he sketched after nature 
 with uncommon elegance and fidelity. 
 Vandervelde, after having been employed 
 by the States of Holland in painting seve- 
 ral capital pictures of naval engagements, 
 accepted an invitation from Charles II. to 
 visit England. This was before 1675, for 
 in that year he and his son received a 
 grant of separate pensions from the crown, 
 as marine painters. The order of privy 
 seal is as follows: " Charles the Second, 
 by the grace of God, &c. to our dear cousin 
 
 ceedingly expeditious in his manner of Prince Rupert, and the rest of our com- 
 working, since he died in 1672, when he I missioners for executing the place of Lord 
 
VAN '5 
 
 High Admiral of England, greeting. 
 Whereas we have thoiight fit to allow the 
 salary of one hundred pounds per annum 
 unto William Vandervelde the elder, for 
 taking and making draughts of sea-fights; 
 and the like salary of one hundred pounds 
 per annum unto William Vandervelde the 
 younger, for putting the said draughts 
 into colours for our particular use; our 
 will and pleasure is, and wo do hereby 
 authorize and require you to issue your 
 orders for the present and future establish- 
 ment of the said salaries to the aforesaid 
 William Vandervelde the elder, and Wil- 
 liam Vandervelde the younger, to be paid 
 unto them, or either of them, during our 
 pleasure; and for so doing, these our 
 letters shall he your sufficient warrant 
 and discharge." Both father and son 
 enjoyed these salaries during the reign of 
 Charles, and that of his brother; but it 
 appears from the inscription on the tomb- 
 stone of old Vandervelde, in 8t. James's 
 church, that neither the one nor the other 
 continued in favour at court after the 
 Revolution. William the elder died in 
 1G93. He was such an enthusiast in his 
 art, that, in order more exactly to observe 
 the movements and various positions of 
 ships engaged in battle, he did not hesi- 
 tate to attend those engagements in a 
 small light vessel, and sail close to the 
 enemy, attentive only to his drawing, and 
 without the least apparent anxiety about 
 the danger to which he was every moment 
 exposed. In this way he took sketches 
 of the severe battle between the Duke of 
 York and Admiral Opdam, in which the 
 Dutch admiral and five hundred men were 
 blown up; and of the memorable engage- 
 ment, which continued three days, between 
 Monck and De Ruyter ; sailing alternately 
 between the fleets, so as to represent 
 minutely every movement of the ships, 
 and the most material circumstances of 
 the action, with incredible exactness and 
 truth. In the latter part of his life, he 
 commonly painted in black and white, on 
 a ground so prepared on canvass as to 
 make it have the appearance of paper. 
 
 Vandervelde, or Vandevelde (Wil- 
 liam), called the Young. He was born 
 at Amsterdam in 1633, and was the son 
 of the preceding, by whom he was care- 
 fully instructed in the art ; but afterwards 
 he was placed under the direction of 
 Simon de Vlieger, a very excellent marine 
 painter, who, however, was far surpassed 
 by his disciple. Vandervelde accompanied 
 his father to London; and some of his 
 
 >5 VAN 
 
 paintings being exhibited at the English 
 court, immediately procured him employ- 
 ment from the king and the principal 
 nobility. His subjects were the same as 
 those of his father, and he observed the 
 same method of sketching every object 
 after nature; but his pictures upon the 
 whole are not only superior to the works 
 of the elder Vandervelde, but to all other 
 artists in that style; and no age, since the 
 revival of the art, has produced his equal. 
 Whether we consider the beauty of his 
 design, the correctness of his drawing, 
 the graceful forms and positions of his 
 vessels, the elegance of his disposition, 
 the lightness of his clouds, the clearness 
 and variety of his serene skies, as well as 
 the gloomyhorrorof those that are stormy; 
 the liveliness and transparence of his col- 
 ouring; the look of genuine nature that 
 appears in agitated and still waters, and 
 the lovely gradation of his distances, as 
 well as their perspective truth ; they are 
 all executed with equal nature, judgment, 
 and genius. Houbraken and other writers 
 observe, that the pictures of the young 
 Vandervelde were so esteemed in England, 
 that those which were scattered through 
 the Low Countries were eagerly sought 
 after, and purchased at vast prices; so 
 that in Holland they rarely had the pleasure 
 of seeing any of them. Undoubtedly the 
 most capital of his works are in England, 
 in the royal collections, and in the cabi- 
 nets of the nobility and gentry, and there 
 are also some few in Ireland; particularly 
 a Calm, in the possession of Thomas Cobb, 
 Esq., and another picture of a large size 
 in the possession of Lord Kingsland, re- 
 presenting a man of war blown up by the 
 explosion of a fire-ship. He died April 6, 
 1707. 
 
 Vandervenne (Adrian). He was born 
 at Delft in 1589, and was successively the 
 disciple of Simon de Valck, and Jerom 
 Van Diest of Leyden, both of whom he 
 surpassed in expression. His subjects 
 were generally of the lowest kind, copied 
 from nature, without choice or variation, 
 either as to the dress, features, or forms of 
 his figures. His pictures show freedom 
 of hand, and a masterly pencil ; but his 
 ideas were gross, and his colouring un- 
 pleasant, by the tints of yellow and brown 
 being too predominant. His chief merit 
 w^as in those compositions whichj_he paint- 
 ed only in black and white; and as he 
 had a light spirited touch, his expression 
 is well adapted to his characters. He 
 appears to have been fond of describing 
 
VAN 
 
 556 
 
 jovial scenes, as dancing, drinking, or 
 sporting; and notwithstanding the un- 
 gracefulness of his figures, some of his 
 pictures have a lively and pleasant effect. 
 The King of Denmark and Prince of 
 Orange held his works in great esteem ; 
 and for the latter he painted several 
 hunting-pieces. He died at Delft in 
 1646. 
 
 Vanderwerf (Adrian), see Werf. 
 
 Van Diest, see Dibst. 
 
 Vandyck (Sir Anthony). This illus- 
 trious painter was born at Antwerp, 
 March 22, 1598-9. His father was a 
 merchant, and his mother, Cornelia Kers- 
 boom, distinguished herself by her genius 
 4n painting flowers. Anthony was first 
 placed with Henry Van Balen, but after- 
 wards with Rubens, under whom he 
 made such progress as to be able to assist 
 in the works from which he learned. While 
 at this excellent school, the following an- 
 ecdote is told of him : Rubens having left 
 a picture unfinished one night, and going 
 out, contrary to custom, his scholars took 
 the opportunity of sporting about the 
 room ; when one more unfortunate than 
 the rest, striking at his companion with a 
 maulstick, chanced to throw down the pic- 
 ture, which not being dry, received some 
 damage. Vandyck, being at work in the 
 next room, was prevailed on to repair the 
 mischief; and when Rubens came next 
 morning to his work, first going at a dis- 
 tance to view his picture, as is usual with 
 painters, and having contemplated it a 
 little, he cried out suddenly, that he liked 
 the piece far better than he did the night 
 before. Rubens discovering in his pupil 
 an amiable temper, joined ta the most pro- 
 mising talents, took a pleasure in cultivat- 
 ing both, by not concealing from him any 
 part of that knowledge which he had him- 
 self attained by long experience. Vandyck 
 was yet young, when he was capable of 
 executing pictures which astonished, as 
 much from the facility with which they 
 were painted, as the general knowledge 
 which reigned throughout the whole. 
 Rnbens at this time gave him two pieces 
 of advice ; the first was, to devote himself 
 to portraits, in which he foresaw he would 
 excel ; and the second, to make the tour 
 of Italy, where he would have an oppor- 
 tunity of extending his studies. Vandyck, 
 accordingly, after making Rubens pre- 
 sents of two or three historical paintings, 
 and painting his wife's portrait, esteemed 
 one of his best, set out for Italy, and, 
 stopping at Genoa, painted there many 
 
 excellent portraits. From thence he went 
 to Venice, where he so deeply imbibed 
 the tints of Titian, that he is allowed to 
 approach nearer to the carnations of that 
 master than even Rubens. He then pro- 
 ceeded to Rome, and lived there splendidly, 
 but avoided the low conversation of his 
 countrymen ; on which account he was 
 distinguished by the appellation of the 
 Pittore Cavalieresco. Soon after his arrival 
 at that capital, he had an opportunity of 
 exercising his abilities upon the portrait 
 of Cardinal Bentivoglio, which is justly 
 esteemed the most perfect of the kind 
 that ever came from his pencil. While at 
 Rome he received an invitation to visit 
 Palermo, and there he painted Prince 
 Philibert of Savoy, the viceroy ; and the 
 celebrated Sophonisba Angosciola, then at 
 the age of ninety-one. But the plague 
 soon drove him from Sicily, and he re- 
 turned to Genoa, where he had already 
 gained the highest reputation, and left 
 many considerable works in the Balbi, 
 Durazzo, and other palaces. He now 
 went back to Antwerp, and practised 
 both history and portrait. Of the former 
 kind were several much admired altar- 
 pieces; in the lattter were, particularly, 
 the heads ofhiscontemporary artists, drawn 
 in chiaro-oscuro on small panels, thirty- 
 five of which are mentioned by Walpole 
 as being in the possession of the Cardigan 
 family. Engravings of these have been 
 published thrice ; by Vanden Uden, con- 
 taining fourscore plates ; hj Giles Hen- 
 drix, containing one hundred ; and lastly, 
 by Verdussen, who effaced the names and 
 letters of the original engravers. Some 
 of the plates were etched by Vandyck 
 himself, in a free and masterly style. 
 But the advantages he reaped in his own 
 country were not proportioned to his 
 merits ; and as he loved to make a figure, 
 he resolved to augment his fortune by a 
 visit to England, where he had heard of 
 the favour King Charles I. showed to the 
 arts. On his arrival he lodged with Gel- 
 dorp, a painter, hoping to be introduced 
 to the king; but, owing to some means, 
 with which we are unacquainted, this 
 was not accomplished, and he went back 
 to Antwerp, greatly chagrined by "his 
 disappointment. The king, however, soon 
 learning what a treasure had been within 
 his reach, ordered Sir Kenelm Digby, 
 whohad sat to Vandyck, to invite him over. 
 He immediately complied, and was lodged 
 among the king's artists at Blackfriars. 
 Thither his majesty went often by water, 
 
VAN 
 
 557 
 
 VAN 
 
 and viewed his performances with singular 
 delight, frequently sitting to him himself, 
 and bespeaking pictures of the queen, his 
 children and courtiers. Charles was so 
 well pleased with this painter, that he 
 conferred the honour of knighthood 
 on him at St. James's, July 5, 1632, 
 and the following year he granted him a 
 pension of two hundred pounds a year, 
 with the title of Painter to his Majesty. 
 According to Lord Orford, Vandyck's 
 prices were forty pounds for a half, and 
 sixty for a whole length ; but from some 
 documents discovered by Mr. Malone it 
 appears that he painted, for the royal 
 family at least, at the rate of twenty-five 
 pounds each portrait, and sometimes less. 
 From the number of his works he must 
 have been indefatigable; for though he 
 was not above forty-two when he died, 
 they are not exceeded by those of llubens. 
 He lived sumptuously, kept a good table, 
 and often detained the persons who sat 
 to him to dinner, for an opportunity 
 of studying their countenances, and of 
 retouching their pictures again in the 
 afternoon. In summer he lived at Eltham, 
 in Kent. He was not only luxurious in 
 his living, but in his pleasures ; and this, 
 with a sedentary life, brought on the 
 gout, and injured his fortune, which he 
 sought to repair by the silly pursuit of 
 the philosopher's stone; induced no doubt 
 by the example, if not by the advice, of 
 his friend Sir Kenelm Digby, who was a 
 complete visionary. Towards the end of 
 his life, the king bestowed on him for 
 a wife, Mary, the daughter of the unfor- 
 tunate Lord Gowry, and soon after his 
 marriage he set out for Paris, in hopes of 
 being employed in the Louvre ; but being 
 disappointed in this, he returned to Eng- 
 land, and proposed to the king, by Sir 
 Kenelm Digby, to paint tlie walls of the 
 Banqueting-house at Whitehall, of which 
 the ceiling was already adorned by Ru- 
 bens ; and Vandyck's subject was to have 
 been the history and procession of the 
 order of the garter. The proposal struck 
 the king's taste, and in Walpole's opinion, 
 was accepted ; though he adds, that "some 
 say it was rejected on account of the extrava- 
 gant price demanded by Vandyck : I 
 would not specify the sum, it is so impro- 
 bable, if I did not find it repeated in 
 Fenton's notes on Waller: it was four- 
 score thousand pounds!" But the sum 
 being expressed in figures, this was, beyond 
 all question, a typographical error of 
 80,000 for 8000. the rebellion, how- 
 
 ever, prevented further thoughts of the 
 scheme; and if it had not, the death of 
 Vandyck would have interrupted the 
 execution, or at least the completion of it. 
 He died in Blackfriars, December 9, 
 1641, and was buried in St. Paul's Cathe- 
 dral, near the tomb of John of Gaunt. 
 By his wife, Maria Ruthven, Lord 
 Gowry's daughter, he left one daughter, 
 married to Mr. Stepney, whose grandson, 
 Walpole says, was George Stepney the 
 poet. Lady Vandyck, the widow, married 
 again Richard Pryse, son of Sir John 
 Pryse, of Newton-Averbecham, in Mont- 
 gomeryshire, Knight, by whom she had no 
 issue. Vandyck died rich, and was gener- 
 ous in his legacies; but, owing to the confu- 
 sion of the times, some of these were with 
 di fficulty recovered, and others were wholly 
 lost. Lord Orford has enumerated the best 
 of his pictures, but the entire number is 
 too great for our limits. Among those of 
 transcendent excellence, however, we 
 may notice the portrait of Charles I. on 
 horseback, in armour, at Blenheim; 
 another, a whole-length in his coronation 
 robes, engraved by Strange, and exhibit- 
 ing, in his opinion, one of the most perfect 
 characters of the unfortunate monarch; 
 George Villiers, the second Duke of Buck- 
 ingham, and Lord Francis his brother, 
 when children, at Kensington; Philip, 
 Earl of Pembroke, at Wilton; where, 
 Walpole says, Vandyck is on his throne, 
 the great saloon being entirely furnished 
 by his hand; and lastly, the Earl of Straf- 
 ford and his Secretary, at Wentworth 
 House. In the National Gallery are three 
 or four of Vandyck's pictures: one a por- 
 trait of Rubens; another of Gevartius; 
 and an historical piece, of the expulsion 
 of Theodosius from the church of Milan 
 by St. Ambrose. In the Orleans gallery 
 was a whole length of Mary de Medicis, 
 finished as highly as the art could reach, 
 and showing at once the strength of Ru- 
 bens, with almost the colouring of Titian. 
 One of the greatest of his performances 
 was the picture painted by him for the 
 church of the Recollets, at Mechlin, 
 representing the Crucifixion, with the 
 Virgin and St. John. In the opinion of 
 Sir Joshua Reynolds, " this, upon the 
 whole, may be considered as one of the 
 finest pictures in the world, and gives the 
 highest idea of Vandyck's powers: it 
 shows that he had truly a genius for 
 history painting, if he had not been taken 
 off by portraits." Another noble piece, 
 I painted for the church of the Recollets 
 
VAN 
 
 at Antwerp, was a Pieta, or the Dead 
 Christ on the Lap of the Virgin, with St. 
 John and two Angels; which has been 
 well engraved by Bolswert. A singular 
 occurrence befell Vandyck at Courtray; 
 where, being employed by the canons of 
 the cathedral to paint an altar-piece for 
 them, he chose for his subject the Eleva- 
 tion of the Cross, on the execution of 
 which he displayed all his skill. When 
 the picture was delivered, and placed over 
 the altar, the canons hurried to examine 
 it; but, to the vexation of the painter, 
 immediately declared with one voice that 
 it did not answer their expectation, and 
 that the artist was a wretched dauber. 
 In a short time the church became crowded 
 with visitors, who, being judges of the 
 art, pronounced the picture a masterpiece. 
 The canons now saw their error, and 
 would have employed Vandyck upon two 
 more pictures, but he spurned the com- 
 mission, and told them that they had 
 daubers enough of their own at Courtray. 
 But though Vandyck shone in historical 
 composition, his strength lay in portrait, 
 and no painter ever exceeded him in the 
 knowledge of the chiaro-oscuro. Ilis 
 choice of nature, when he painted por- 
 traits, was always the most agreeable; he 
 gave an inexpressible grace to his heads, 
 he showed abundant variety in the airs, 
 and in some of them the character was 
 even sublime; and, as to his expression, 
 it was inimitable, the very soul of the per- 
 son represented being, as it were, visible 
 in the picture. The extremities of his 
 figures are true, graceful, and exact ; and 
 the hands in particular arc designed in the 
 greatest perfection, beautiful in their form, 
 and delicately exact in their proportions. 
 His draperies, which were taken from the 
 mode of the times, are cast in a grand 
 style, broad and simple in the folds, easy 
 and natural in the disposition, and the 
 colouring lovely. In several parts of 
 painting, Vandyck has ever been acknow- 
 ledged to surpass his master ; his touch is 
 more delicate, his ideas are more graceful, 
 and his expression is more true. It is in- 
 deed allowed that he had less invention 
 and fire than Rubens ; yet, if it be con- 
 sidered that he devoted himself so much 
 to portrait painting as to allow himself 
 little opportunity to improve his taste for 
 liistorical compositions, it cannot seem 
 surprising that Kubens, who made that 
 department his principal object, should in 
 that respect claim a superiority. It ap- 
 pears, however, probable, that if Vandyck 
 
 had been as much employed in history as 
 he was in portrait, his ideas would 
 have been more enlivened, his genius 
 rendered more extensive, and his invention 
 more animated; so as to have equalled his 
 master in design, as he surpassed him in 
 the delicacy and sweetness of his tints. 
 And if Rubens deserves to be preferred to 
 Vandyck in history, yet the latter, in 
 many of the portraits of his earlier time, is 
 allowed to be equal even to Titian, and 
 superior to all others who have appeared 
 since the revival of the art of painting. 
 During the first six or seven years after 
 his arrival in London, his performances 
 are accounted most excellent and estim- 
 able; but some of his latter works are 
 painted in such a manner, as shows the 
 uncommon rapidity of his pencil, though 
 touched with wonderful spirit ; and others 
 are comparatively weak, and partake too 
 much of the lead colour, yet his pencilling 
 is always masterly, and even inimitable. 
 Vandyck sometimes amused himself with 
 engraving, and etched several plates, con- 
 sisting mostly of portraits, executed in a 
 spirited style. 
 
 Vandyck (Philip). He was born at 
 Amsterdam in 1680, and was the scholar 
 of Arnold Boonen, under whom, in a few 
 years, he made a great progress, and even 
 surpassed him ; but as he was desirous to 
 obtain the utmost improvement, he con- 
 tinued to study with him till his reputa- 
 tion was well established ; nor did he quit 
 Boonen before his works were in great 
 request, and readly purchased. As Am- 
 sterdam seemed sufficiently stocked with 
 painters, he removed first to Middleburgh, 
 and afterwards to the Hague, in both 
 which places he was employed in painting 
 portraits in a small as well as a large size, 
 with equal merit. Many of his pictures 
 were in the manner of Mieris and Gerard 
 Douw ; and although he was indefatigable 
 at his work, he found it scarcely possible 
 to complete the orders which he received. 
 In Holland, Flanders, and Germany, he 
 was considered not only as an artist of the 
 first rank, but as one of the most judicious 
 connoisseurs ; on which account he was 
 employed by the Prince of Hesse Cassel 
 who patronised him, and several others of 
 the same rank, to purchase collections of 
 paintings for their cabinets ; which com- 
 missions l<e always executed to the satis- 
 faction of his employers and his own 
 honour. The number of portraits, con- 
 versations, and historical subjects, which 
 he finished is almost incredible ; but two 
 
VAN 5; 
 
 of his performances are particularly men- 
 tioned with great commendation. One is 
 a picture, containing the portraits of the 
 Prince of Orange, his mother, and sister, 
 in one piece ; the other a ceiling, which 
 he painted for M. Schuylenburgh, re- 
 presenting the story of Iphigenia, in which 
 subject he introduced the portraits of the 
 whole family of his employer. His por- 
 traits, especially those in his small size, 
 have a strong resemblance, and such truth, 
 as evidently shows that he faithfully 
 copied nature. All his subjects are well 
 composed, neatly pencilled, and highly 
 finished, with an agreeable tone of colour ; 
 and although his pictures cannot be de- 
 servedly ranked with those of Douw, 
 Netscher, or Mieris, yet they have abund- 
 ance of merit, and are admitted into the 
 most select collections. He died at the 
 Hague in 1752. In the gallery of the 
 Louvre are two of his pictures ; one re- 
 presenting a young lady at her toilet, and 
 the other a lady playing on the guitar. 
 
 Vanghels (Nicholas). This French 
 artist was born at Paris in 1674. He was 
 a good painter of history ; his composi- 
 tions are ingenious, and his colouring 
 agreeable. On going to Rome, he became 
 director of the academy, and died there in 
 1737. 
 
 Vanloo (James). He was born at 
 Sluys, in Holland, in 1614, and was the 
 son of John Vanloo, a painter of some 
 distinction, by whom he was instructed in 
 painting, and became an excellent artist. 
 He followed his profession first at Amster- 
 dam, and afterwards at Paris, where he 
 became a member of the academy. He 
 particularly excelled in designing naked 
 figures, which he drew correctly, and fin- 
 ished with a neat pencil and an agreeable 
 colouring. Houbraken mentions a fine 
 picture by him, representing Diana in the 
 bath, and the Discovery of Calisto ; and 
 also another, of a Woman playing on the 
 Lute ; which, in the style and handling, 
 might be taken for the painting of Jan 
 Lys. Both pictures were marked as being 
 painted in the same year, 1657. He died 
 in 1670. He had a son, Louis Vanloo, 
 who became a good painter of j)ortrait and 
 history, and settled at Aix, in Provence. 
 
 Vanloo (John Baptist), the son of 
 Louis, was born at Aix in 1684. His 
 father, perceiving his promising genius, 
 cultivated his talents with diligence, and 
 care ; taught him the best principles of his 
 art ; communicated to him every useful 
 observation ; and caused him to copy the 
 
 9 VAN 
 
 finest compositions of the great masters, 
 till, by the studious application of a few 
 years,he appeared in the world with great 
 advantage. At first he settled at Toulon ; 
 but when that fortress was besieged in 1707, 
 he returned to Aix, where he painted several 
 historical pictures for the churches, con- 
 vents and houses of the nobility, as well 
 as portraits ; but after a continuance of 
 five years in his native city, he entered 
 into the service of the Prince of Carignan, 
 who enabled him to complete his studies 
 at Home. Vanloo made a proper use of 
 this happy opportunity; and, on his ar- 
 rival in Italy, devoted his whole attention 
 to establish his taste of design, and per- 
 fect his hand. He studied tlie antiques, 
 copied the most famous paintings, and 
 appropriated not only the day to his im- 
 provement, but the evening also, in draw- 
 ing and designing; and that he might 
 not omit any thing conducive to his ad- 
 vantage, he placed himself as a disciple 
 with Benedetto Luti, who was at that time 
 in high esteem. On leaving Rome he 
 went to Turin, where he found a generous 
 patron in the King of Sardinia, by which 
 means he realized a handsome fortune; but 
 on going to Paris he lost it all in the noted 
 Mississippi scheme. While in the latter 
 city, he became a member of the academy, 
 and painted for his reception Diana and 
 Endymion. For the church of St. Martin- 
 des-Champs he painted the entry of Christ 
 into Jerusalem; and in that of St. Ger- 
 main-des-Pres, St. Peter delivered from 
 Prison, In 1737 he came to London ; and 
 his first performances here were the por- 
 traits of CoUey Gibber, and Mac Swinney 
 the actor, which procured him great re- 
 putation, and the favour of Sir Robert 
 Walpole. He was also honoured with 
 the patronage of the Prince and Princess 
 of Wales, by which means he obtained 
 considerable employment, and certainly 
 introduced a much better taste than had 
 prevailed before his arrival. In 1742, the 
 state of his health compelled him to return 
 to Aix, where he died in 1746. Vanloo 
 had an uncommon quickness of invention ; 
 he designed with facility, and was so re- 
 markable for the readiness of his execution, 
 that in one day he completely finished 
 three portraits in a good style, and a free 
 manner. He had an excellent tone of 
 colouring, with a light and spirited touch ; 
 and gave his carnations a freshness and 
 warmth not much inferior to the tints of 
 Rubens. 
 Vanloo (Chakles Andeew), called 
 
the Chevalier Carlo. He was born at 
 Nice, in Provence, in 1705, and was the 
 younger brother of John Baptist Vanloo, 
 by whom he was instructed in the first 
 principles of painting ; but afterwards 
 became the scholar of Benedetto Luti, at 
 Rome. In 1723 he visited Paris, where 
 he gained the first prize for historical 
 composition, and was employed with his 
 brother in repairing the paintings of Pri- 
 maticcio, in the palace of Fontainebleau. 
 After this he returned to Rome, where he 
 applied himself incessantly to design after 
 the antiques, to copy the most capital 
 paintings of Raffaelle, Domenichino, Gui- 
 do, the Caracci, and Carlo Maratti ; and 
 his assiduity was rewarded with all the 
 success he could desire : his reputation at 
 Rome increased with every new perfor- 
 mance, and the pope conferred on him 
 the order of knighthood. He often varied 
 his style of painting, finishing some of 
 his pictures with a bold, free pencil, and 
 others with softness and delicacy; in some 
 imitating the touch and colouring of 
 Guido, and in others the manner of other 
 masters. His imagination was lively and 
 fertile; he invented with ease, and com- 
 posed his subjects with taste and judg- 
 ment; nor was he, like many artists, so 
 fond of his own productions as to over- 
 look their imperfections; for^ with an 
 accurate, impartial, and severe eye, he 
 examined every work he composed, and 
 altered whatever he disapproved, of which 
 he gave proof in a picture of the Graces 
 chained by Love, which he totally de- 
 stroyed, even after it had been publicly 
 exhibited at the Louvre. In 1734 he 
 returned to France, and was received into 
 the academy the next year ; his picture on 
 the occasion being Apollo flaying Marsyas. 
 In 1752 Louis XV. appointed him state 
 painter, and conferred on him the order 
 of St. Michael. Carlo Vanloo, while at 
 Rome, practised sculpture for some time, 
 and gained a prize by his proficiency in 
 that art. He died at Paris in 1765. One 
 of his principal works is the Marriage of 
 the Virgin, in the gallery of the Louvre. 
 His colouring is exceedingly natural, and 
 his power in pencilling enabled him to 
 produce a pleasing effect, as well when 
 his touch was strong and vigorous as 
 when it was tender and delicate. 
 
 Vanloo (Louis Michael). He was 
 the son of John Baptist Vanloo, and was 
 born at Toulon in 1707. After receiving 
 instruction from his father, he went to 
 Paris, where he became a member of the 
 
 !0 VAN 
 
 academy, and painted for his reception a 
 picture of Apollo and Daphne. Philip V. 
 of Spain invited him to Madrid ; but after 
 the death of that monarch he returned to 
 Paris, andin 1765 came toEngland, though 
 he did not remain long here. He died in 
 1771. 
 
 Vanmander (Charles). He was born 
 at Meulebeke, near Courtray, in 1548, 
 and was successively the disciple of Lucas 
 de Heere, and Peter Vlerick; but his prin- 
 cipal knowledge in the art of painting was 
 acquired at Rome, where he studied three 
 years. His greatest pleasure consisted in 
 designing after the antiques, and the re- 
 mains of Roman magnificence, the temples, 
 baths, ruinous theatres, sepulchral monu- 
 ments and their decorations ; and in short, 
 every elegant and noble object that invited 
 his attention. He also studied nature in 
 the environs of Rome, sketching every 
 scene that pleased his imagination, or 
 could afibrd him materials for his future 
 compositions ; and, having learned to 
 paint with equal freedom in fresco and in 
 oil, he executed several historical works, 
 as well as landscapes, for the cardinals and 
 nobility of Rome, with extraordinary ap- 
 probation. While in Italy, he contracted an 
 acquaintance with Bartholomew Sprang- 
 her, and they painted in conjunction for 
 some of the public buildings and private 
 collections. AtTerni, Vanmander painted 
 one of his best pictures, representing the 
 Martyrdom of St. Bartholomew. From 
 Italy he accompanied his friend Sprangher 
 to Vienna, where the emperor would have 
 retained him in his service, which honour 
 he declined, and returned to his native 
 place. There he painted a picture of 
 Paradise, which procured him great ho- 
 nour; the figures of Adam and Eve being 
 finely designed and well coloured, and the 
 landscape and animals executed with equal 
 merit. He painted likewise a picture of 
 the Deluge, which was highly applauded 
 for the composition and expression, as 
 describing all the passions in a sensible 
 and affecting manner. In general, he 
 was esteemed a good painter of landscape ; 
 the choice of his trees was judicious, his 
 figures were well designed, his colouring 
 was agreeable, and his composition full of 
 spirit; though in the advanced part of his 
 life he was somewhat of a mannerist. 
 Vanmander had many accomplishments, 
 and distinguished himself not only as a 
 painter but as a writer. He composed 
 tragedies and comedies, which were acted 
 with applause ; and at the same time he 
 
561 
 
 VAN 
 
 also painted the decorations of the theatre. 
 On the breaking out of the war, which 
 ravaged the Low Countries, he retired 
 to Haerlem, where, with Goltzius, he 
 established an academy, in which he in- 
 troduced the Italian style. In 1604 he 
 removed to Amsterdam, and died there 
 two years afterwards. His principal 
 works in Holland were St. John preach 
 ing in the Wilderness ; the Wise Men's 
 Offering ; and Christ carrying his Cross. 
 Vanmander is also well known by his 
 Lives of the Painters of Antiquity, and 
 those of the Italian and Flemish Schools, 
 from 1366 to his own time. 
 
 Vanni (Francesco Cavaliere). He 
 was born in Siena in 1563, and learned 
 the elements of the art from his father, a 
 painter of no reputation. His mother 
 took for her second husband Arcangelo 
 Salimbeni, from whom Francesco received 
 further instructions ; but left him, at the 
 age of twelve, to become a scholar of 
 Passarotti, at Bologna. According to 
 another account, he went, at sixteen, to 
 Rome, where he entered the school of 
 Giovanni de Vecchi, under whose direc- 
 tion he studied after the antique, and 
 made such a progress as excited the jea- 
 lousy of his fellow-pupil Arpino. While 
 in this academy, the works of Baroccio 
 attracted his chief attention, and he imi- 
 tated them with great success. On leav- 
 ing Rome, he travelled through Lombardy ; 
 and improved his taste considerably at 
 Parma, by studying and copying the works 
 of Corregio and Parmegiano. When he 
 returned to Siena, he obtained much 
 employment for the churches and con- 
 vents; acquiring thereby such celebrity, 
 that Pope Clement VIII. invited him to 
 Rome, and appointed him to paint a 
 picture of St. Peter rebuking Simon 
 Magus ; for which his holiness con- 
 ferred on him the order of Christ. He 
 painted other considerable works at Rome, 
 as, St. Michael defeating the Rebel An- 
 gels; aPieta; and thCiAssumption. His 
 principal performances, however, are at 
 Siena, Pisa, and Pistoia; and the chief 
 of them are, the Marriage of St. Cathe- 
 rine ; St. Raimond walking on the Sea ; 
 a Flight into Egypt ; a Crucifixion ; and 
 the Adoration of the Magi. This mas- 
 ter had an excellent genius ; his invention 
 was fruitful and ready; his style of com- 
 position truly fine; and his design correct. 
 His manner of colouring was bold, lively, 
 and beautiful; his pencilling tender and 
 delicate ; and the airs of his heads were 
 
 remarkably graceful. Vanni also etched 
 in a spirited style ; but his productions in 
 this line of art are few. He died in 1610. 
 
 Vanni (RAFrAELLE). He was the son 
 of the preceding, and was born at Siena 
 in 1596. He received his first instruction 
 from his father, and after his death became 
 a pupil of Antonio Caracci. He proved 
 an excellent designer, and had a perfect 
 management of the chiaro-oscuro. His 
 style partook much of that of Pietro Cor- 
 tona; and his best performance is the 
 Birtii of the Virgin, in the church of La 
 Pace, at Rome. He died about 1665. 
 
 Vanni (Giovanni Battista). He is 
 said to have been born at Florence, but 
 others say at Pisa, in 1599. His precep- 
 tor was Ohristoforo Allori, and he became, 
 by his instructions, a good painter of 
 history; but he is principally known as 
 an engraver. In the church of St. Simon, 
 at Florence, is a picture of St. Lorenzo 
 by him. 
 
 Vannini (Ottavio). He was born at 
 Florence in 1583, and at first was the 
 scholar of one Mercati, a painter of mean 
 abilities, with whom he continued four 
 years, with little advantage; but, on 
 going to Rome, he became the disciple of 
 AnastasioFontebuoni; and he also studied 
 the designs of Raffaelle, or Buonarroti, 
 and other eminent artists ; by which he 
 acquired considerable taste and know- 
 ledge. As soon, however, as he returned 
 to Florence, he entered the school of Pas- 
 signano, and lived with him many years, 
 employed in painting his own original 
 designs, and also others, in conjunction 
 with that master. His application was 
 greater than his judgment; and, by fre- 
 quently aiming at too great a degree of 
 delicacy, and at too nice and exact an 
 expression, he touched his pictures so 
 often as to give them an unpleasing hard- 
 ness and heaviness. He died in 1643. 
 
 Vannucchi, see Sakto. 
 
 Vansomeren, or Vansomer (Paui.). 
 He was born at Antwerp in 1576, and 
 excelled in painting portraits ; having been 
 perfected in that branch by Bernard Van- 
 somer, his elder brother, who had spent 
 several years in Italy, and was accounted 
 extremely eminent for painting conversa- 
 tions and portraits. For some years he 
 followed his profession with great success 
 at Amsterdam ; but afterwards went to 
 England, where he found encouragement 
 equal to his merit, as his portraits were 
 deservedly admired for elegance and ease 
 in the attitudes, and also for remarkable 
 2p 
 
VAN 
 
 VAR 
 
 resemblance. Here he painted two por- 
 traits of James I., and one of his queen. 
 In the palace of St. James's is a half- 
 length of the Earl of Pembroke, then lord 
 chamberlain, which is admirably executed; 
 the figure being finely relieved by a skil- 
 ful management of the chiaro-oscuro. 
 There is also a whole-length of the first 
 Earl of Devonshire, at Chatsworth, re- 
 puted to be by him, and accounted not 
 inferior to Vandyck. Several others are 
 to be seen at Hampton Court, and in the 
 collections of the English nobility and 
 gentry. Vansomer died in London, in 
 January, 1621, and was buried in St. 
 Martin's-in-the-Fields. 
 
 Vanuden (Lucas). He was born at 
 Antwerp in 1595, and learned the art of 
 painting from his father; but derived his 
 chief excellence from a diligent observa- 
 tion of nature. Every hour that was not 
 employed at his easel was spent abroad in 
 the fields, where he noticed with exactness 
 the variety of appearances perpetually 
 occurring, from the dawn to the evening, 
 over the face of nature. He watched the 
 effects of light on different objects, nor 
 suflFered any incident that might heighten 
 his ideas to escape his notice, not even 
 those instantaneous beauties perceptible 
 in the forms and colours of vapours and 
 clouds, which are lost almost the moment 
 they are beheld. These he sketched on 
 the spot, and had such a genius as enabled 
 him to apply his observations happily in 
 his works ; but he was frequently so in- 
 tent on his studies, as scarcely to allow 
 himself time to work for his maintenance. 
 He had a tender, soft, and delicate man- 
 ner of painting in small, with sufficient 
 power to adapt his touch to pieces of his 
 largest size; though it is allowed that the 
 exquisite pencil of Vanuden is principally 
 seen in his smallest performances. His 
 trees are so happily managed as to appear 
 almost in motion ; his skies are clear, and 
 beautifully adapted to his scenes ; and by 
 his distances he showed an immense ex- 
 tent of country, as often as his design 
 would admit of it. His composition is 
 always pleasing; his most minute figures 
 are correctly designed ; and his tints are 
 the colouring of nature. He was one of 
 the most delicate painters of landscape 
 that appeared in the Low Countries : and 
 Rubens not only approved, but admired 
 his style so much, as often to employ him 
 to insert the backgrounds of pictures ; 
 which Vanuden adapted with so much 
 judgment, that the whole seemed to be the 
 
 work of one artist. Rubens, in return, 
 used also to enrich the pictures of Vanu- 
 den with historical figures. In the chapels 
 belonging to the cathedral at Ghent are 
 several noble paintings of this master, 
 which are esteemed his most capital per- 
 formances, and in the possession of a 
 private person in that city is an excellent 
 picture, in which the figures were in- 
 serted by David Teniers. He died in 
 1660. Lucas Vanuden also executed 
 several masterly etchings. 
 
 Vanuden (James). He was the brother 
 and scholar of the preceding, and painted 
 entirely in his manner ; but he was very 
 inferior to Lucas; though some of his 
 paintings are often passed on the unskil- 
 ful for the genuine works of his brother. 
 
 Vanvitelli (Gaspar). This artist, 
 though Italianized in name, was a Dutch- 
 man, called Vanvitel, and was born at 
 Utrecht in 1647. His talent lay in archi- 
 tectural subjects, pieces of perspective, 
 and views of seaports, in the manner of 
 Canaletti. He died at Rome in 1736. 
 
 Vakco (Ai.onzo db). He was born 
 at Madrid in 1645, and studied under 
 Josef Antonilez. He painted landscapes 
 with considerable reputation in his native 
 city, where he died in 1680. 
 
 Varela (Francisco). This Spanish 
 artist was born at Seville in 1606, and 
 had Pablo de las Roellas for his preceptor. 
 He became a good painter of history; and 
 the best of his works are, the Death of 
 St. Vincent; and an altar-piece represent- 
 ing St. Michael at Seville, where he died 
 in 1656. 
 
 Vargas (Luis de). This celebrated 
 Spanish painter was born in Seville in 
 1528. Being endowed with a very happy 
 genius, and ambitious to obtain improve- 
 ment in the art of painting, he travelled 
 to Italy, and spent seven years at Rome, 
 particularly studying the works of Pierino 
 del Vaga. When he imagined himself 
 sufficiently qualified to commence artist, 
 having, by great application, acquired 
 somewhat of the elegance of taste and 
 composition of the Italian masters, he 
 returned to his own country, and began 
 to follow his profession at Seville. But 
 finding himself excelled in his art by 
 Antonio Florez and Pedro Campana, he 
 returned, without delay, to Rome ; and, 
 after serving another apprenticeship of 
 seven years, came back so complete a 
 master, that the famous Perez de Alesio, 
 on contemplating his picture of our First 
 Parents, in the cathedral of Seville, ex- 
 
VAR 
 
 VAS 
 
 claimed, in rapture at the performance, 
 that the limb of the Adam of de Vargas 
 was worth the whole composition of his 
 colossal Saint Christopher. De Vargas 
 was now continually employed in grand 
 works for the churches, the archiepiscopal 
 palace, and the convents. Besides the 
 picture already mentioned, there is, in the 
 cathedral of Seville, a fine picture of 
 Christ bearing the Cross ; and in the 
 church of the convent of Saint Pablo is 
 the Virgin holding a Rosary, He also 
 painted a great number of portraits ; and 
 though he did not appear so excellent in 
 that style as in historical subjects, yet he 
 is highly celebrated for the picture of 
 Donna Juana Cortez, Duchess of Alcala, 
 which was esteemed not much inferior to 
 the pencil of Raffaelle. In the Orleans 
 collection was a picture by this master, 
 representing John the Baptist, in a sitting 
 posture, with a cross in his hand, dressed 
 in his garment of camel's hair, and larger 
 than life. Luis de Vargas was not less 
 remarkable for his devotion than for his 
 talents ; and, following the example of the 
 great Emperor Charles v., he used, at his 
 private hours, to lay himself in a coffin, 
 which he kept in his closet, to prepare for 
 death by meditation. He died in 1590. 
 
 Vahley (John), who has been justly 
 called one of the patriarchs of our water- 
 colour painters, and was one of the ori- 
 ginal founders of the water-colour society, 
 was born in 1778, and died on the I7th 
 of November, 1842. It has, with justice, 
 been said of him, that " of all water- 
 colour painters, none preserved greater 
 freshness, purity and simplicity of colour- 
 ing ; surpassing, in this respect, even 
 Turner and Girtin." He is the author 
 of some manuals of his art. 
 
 Vahotari (Dario), called Paduanino. 
 He was born at Verona in 1539, and was 
 the disciple of Paolo Veronese. He paint- 
 ed in the manner of the Venetian School, 
 with extraordinary success, and was 
 allowed to have a lively and elevated 
 genius ; of which he afforded many in- 
 contestable proofs, in the noble designs 
 which he executed in his native city, and 
 in several churches and convents in Italy. 
 He resided chiefly at Padua, where he 
 founded an academy, and thence obtained 
 the name oi Paduanino. He was as much 
 distinguished for his piety as for his sin- 
 gular merit in painting ; and for both he 
 was universally esteemed. Most of his 
 works are in the churches of Padua and 
 Venice. He died in 1596. 
 
 Varotari (Alessasdro), called Padua- 
 nino. He was the son of the preceding, 
 and was born at Verona in 1590. When 
 he was only six years old he lost his 
 father, so that he could derive no benefit 
 in the art from his instructions. Who 
 his master was we are not told, but he 
 profited greatly by studying some of the 
 I works of Titian ; and the copies which he 
 made of them excited universal surprise. 
 He was but young when he went to Venice, 
 where he obtained the name of 7Z Padua- 
 nino. Here he continued to make the 
 paintings of Titian his model; but in 
 colouring he imitated the style of Paolo 
 Veronese. In the church of St. Maria 
 Maggiore, at Venice, is an excellent pic- 
 ture of this master's hand : it represents 
 some legendary miracle of the Virgin, and 
 i is well composed : the figures are judici- 
 ' ously grouped ; and it is ingeniously, 
 though not correctly, designed. The 
 heads are in a fine taste; the tone of 
 colour is, in general, very agreeable ; and 
 the broad masses of light and shadow 
 have a noble effect. In the Pembroke 
 collection is a picture painted by Ales- 
 sandro Varotari, of which the subject is, 
 Herodias dancing before Herod. He 
 died in 1650. 
 
 Varotari (Chiara). This lady was 
 born at Verona in 1582. She was the 
 daughter of Dario Varotari, by whom she 
 was instructed in the principles and prac- 
 tice of painting. She excelled in portrait ; 
 and in the Florentine gallery is her own, 
 painted by herself. She died at Verona 
 in 1639. 
 
 Vasari (Giorgio). This artist, who 
 is better known as the biographer of his 
 profession than for his skill in it, was 
 born at Arezzo in 1512. He was taught 
 the rudiments of drawing by his father, 
 and the first principles of painting by 
 William of Marseilles, a Frenchman, and 
 a painter on glass; but being taken to 
 Florence by Cardinal da Cortona, he im- 
 proved himself under Michel Angelo, 
 Andrea del Sarto, and other great mas- 
 ters. By the cardinal he was introduced 
 into the Medici family; but when they 
 were driven from Florence, he returned 
 to his native city. Finding, however, an 
 epidemic disease prevailing there, he spent 
 his time in the surrounding country, im- 
 proving himself by painting subjects of 
 devotion for the farmers. His father, un- 
 fortunately, died of the contagion, and 
 left a young family unprovided for ; on 
 which Vasari, to contribute more effectu- 
 
VAS 
 
 564 
 
 ally to their support, quitted the uncer- 
 tain profession of a painter, and applied 
 himself to the more lucrative trade of a 
 goldsmith. In 1529, the civil war, which 
 then prevailed at Florence, obliged the 
 Goldsmiths' Company to remove to Pisa ; 
 and there Vasari, on receiving commis- 
 sions to paint some pictures, both in oil 
 and in fresco, was induced to resume his 
 former profession ; and afterwards, through 
 life, he met with encouragement, that left 
 him neither motive nor desire to change. 
 The Dukes of Florence, and other distin- 
 guished persons, were his liberal patrons ; 
 and he was constantly employed in works 
 both profitable and honourable to himself. 
 In 1544, by the friendship of Paolo Gio- 
 vio, he was recommended to make designs 
 and paint a hall, for Cardinal Farnese, 
 at Rome. While he was executing this 
 work, he attended the cardinal's evening 
 parties, which were frequented by men of 
 genius. At one of these meetings, Gio- 
 vio, speaking of his own museum, ar- 
 ranged and embellished with inscriptions 
 and portraits of illustrious men, said, 
 "that it had always been his desire to add 
 to it, and make his book of eulogiums more 
 complete, by a treatise on the celebrated 
 artists from Cimabue down to his own 
 time :" and he enlarged upon the subject 
 with much general information. The 
 cardinal then turned to Vasari, and asked 
 him, " if he did not think that subject 
 would make a fine work ?" Vasari con- 
 curred with his eminence j but added, 
 that "it would require the assistance of 
 an artist to collect the materials, and 
 arrange them in their proper order : for 
 although Giovio displayed great know- 
 ledge in his observations, yet he had not 
 been equally accurate in the arrangement 
 of his facts." "You can then," replied 
 the cardinal, " give him assistance, which 
 will be doing an essential service to the 
 arts." To pay proper deference to so 
 flattering an opinion, he collected such 
 materials as he thought necessary to the 
 plan then suggested ; and the information 
 he contributed was drawn up so much to 
 Giovio's satisfaction, that he recommend- 
 ed him to enlarge upon it, and make a 
 more complete work; alleging his own 
 want of leisure and capacity to do justice j 
 to such an undertaking. Vasari reluc- , 
 tantly consented ; and, by his own Indus- ] 
 try, and with some assistance from others, 
 fulfilled his task ; and in 1550 published 
 his work, in 2 vols., entitled, Vite de' 
 piii eccellenti Pittori, Scultori, ed Archi- . 
 
 tetti. In 1571 he reprinted it, in 3 vols. 
 4to, with portraits cut in wood, and 
 with the addition of his own Life, to 
 the fifty-fifth year of his age. The 
 subsequent editions are that of Bottari, 
 Rome, 1752-60, 3 vols. 4to; and those 
 printed at Leghorn, 1767-72, 7 vols. 4to; 
 at Siena, 1791-8, 11 vols. 8vo ; and at 
 Milan, in 1807, 16 vols. 8vo. There is 
 likewise one printed at Bologna, in 1 647, 
 3 vols. 4to ; but it is not esteemed a good 
 one. Vasari died in 1576; and in 1588 
 his nephew published a work to com- 
 memorate and honour his uncle's abihties, 
 entitled Ragionamenti del Sig. Cavaliere 
 Giorgio Vasari, pittore ed architetto, so- 
 pra le invenzioni da lui depinta in Fir- 
 enze, nel palazzo di loro Altezze Serenis- 
 sime," &c. It is not therefore to his 
 talents for painting that Vasari is indebted 
 for his present fame, but to his biographi- 
 cal work ; which, though crude and in- 
 correct, is the most ample source of our 
 information concerning the painters of 
 Italy, before his time or contemporary 
 with himself. As an artist, he had little 
 originality; and the extravagances of ge- 
 nius mark the most predominant features 
 of his style. 
 
 Vasquez (Alonzo). This Spanish 
 artist was born at Ronda in 1589, and had 
 his education at Seville, under Luis de 
 Vargas. He became a respectable painter 
 of history, and was distinguished by his 
 skillinanatomy. Hedied at Seville in 1650. 
 
 Vassallo (Antonio Maria). He was 
 born at Genoa, and studied under Vin- 
 cenzio Malo, the disciple of Rubens, by 
 whose precepts he acquired agood manner 
 of design, and a charming tone of colour- 
 ing. He was an universal painter, and 
 equally successful in every branch of his 
 art ; in history, portrait, landscape, ani- 
 mals, birds, fruit, and flowers : all which 
 subjects he represented with extraordinary 
 sweetness in his colour and handling, and 
 with abundance of truth. His pictures 
 were in such esteem, that he was employ- 
 ed, without intermission, by foreigners as 
 well as his own countrymen. It is said 
 that he died in the bloom of life, and by 
 over exertion. But if, as other accounts 
 state, he was born in 1602, and died at 
 Genoa in 1661, this story is without foun- 
 dation. 
 
 Vassilachi (Antonio), called Aliense. 
 He was born in the island of Milo, in 
 1556, and, when young, was sent to Ven- 
 ice where he studied under Paolo Vero- 
 nese. As he had the double advantage of 
 
VEC 
 
 565 
 
 VEC 
 
 a good genius and an admirable instruc- 
 tor, his progress was rapid, and, in a few 
 years, he acquired as extensive a know- 
 ledge of the art as he could possibly derive 
 from his master, whose style he imitated 
 with general applause. Having, however, 
 some cause for resentment against Paolo, 
 he quitted his manner entirely, and as- 
 sumed that of Tintoretto. Another ac- 
 count is, that Paolo was jealous of him, 
 and dismissed him from his school : on 
 which he redoubled his exertions, and 
 became so excellent an artist, that the 
 doge and princi[)al nobility patronised 
 him as long as he lived. Philip II. 
 of Spain, and Sigismond, King of Poland 
 solicited him earnestly to enter into 
 their service ; but he declined the hon- 
 ours and emoluments proposed to him 
 by those monarchs, and continued at 
 Venice. He had a wonderful readiness in 
 designing; his colouring is excellent; 
 and he was remarkable for the freedom 
 and spirit of his pencil. In the Sala dello 
 Scrutinio, at Venice, is a capital painting 
 by Vassilachi, the subject of which is the 
 taking of Tyre ; and it has a noble effect, 
 being finely coloured, and very judiciously 
 disposed. In the church of St. John the 
 Evangelist, in the same city, is a picture 
 of St. James, which is admirably designed 
 and executed ; approaching very near to 
 the works of Paolo Veronese, in the air 
 and turn of the figures, as well as in the 
 colouring. Another picture in the same 
 style is a St. Sebastian, with a glory, in 
 the church of St. Maria delle Vergine. 
 His principal pictures in the manner of 
 Tintoretto are, Abraham's Offering ; Cain 
 and Abel ; and the Brazen Serpent in 
 the Wilderness : all in the church of the 
 Apostles. He died at Venice in 1629. 
 
 Vecchi (Giovanni de). He was born 
 at Borgo San Sepolcro in 1536; and 
 studied at Rome successively under Raffa- 
 elle delle Colle and Taddeo Zuccaro ; in 
 conjunction with whom he executed 
 several works in the palace of Caprarola, 
 belonging to the Cardinal Farnese. In 
 the church of St. Lorenzo, at Rome, is a 
 picture of the martyrdom of that saint ; in 
 the Cupola of the church del Gesu are the 
 Four Doctors of the Church ; and in St. 
 Maria de Ara Cceli are some pictures of 
 the life of St. Jerome. He died in 1614. 
 
 Vecchia (Pietro da). He was born 
 at Vicenza in 1605, and was the disciple 
 of Alessandro Varotari ; but he quitted 
 the manner of that master, and adhered 
 to the style of Giorgione, which he 
 
 preferred to all others. The figures in 
 his compositions are of a large size; 
 and he always painted with a strong 
 body of colour; so that his carnations 
 have a remarkable force; and, by his 
 skill in the chiaro-oscuro, every figure 
 apparently projects from the canvass. 
 No artist could imitate the work of 
 another with more precision than he did 
 the paintings of Giorgione. ,. The same 
 ideas, the same style of invention and 
 composition, the same strength of colour 
 and manner of pencilling, are observable 
 in both. So nicely and exactly similar to 
 the pictures of Giorgione are those of 
 Vecchia, that even the most expert con- 
 noisseurs have been puzzled to determine 
 between the performances of those masters ; 
 particularly as the pencil of Vecchia gave 
 such a look of originality to his imitations, 
 that nothing like a copy appears in any 
 part of them. Sandrart, who was a 
 great artist, and a good judge, confesses 
 that, when the Count Palatine of the 
 Rhine showed him the picture of a soldier, 
 boldly painted, and finely relieved, and 
 asked him by what master he thought it 
 to have been painted, after having sur- 
 veyed it with all possible attention, and 
 examined it critically, he was just going 
 to pronounce his opinion that it was the 
 work of Giorgione, when he took notice 
 of the canvass appearing more new than 
 it could have done if the picture had 
 really been painted by that master; by 
 which observation he had just time 
 enough to rescue himself from giving a 
 wrong judgment. Vecchia was no less 
 successful in imitating the works of 
 Pordenone. The genius of this painter 
 was, however, somewhat bold, and in the 
 draperies of his figures he was apt too 
 much to indulge his own fancy. He was 
 fond of inventing dresses, which had a 
 mixture of the ancient and modern ; and 
 frequently the draperies were of silk, satin, 
 and the richest materials. At Venice, 
 where he spent the greatest part of his life, 
 the Doge and Senate employed him to 
 paint in oil those historical designs which 
 were worked in mosaic in the church of 
 St. Mark. In that church, also, are two 
 capital paintings of Vecchia : the one is 
 a Crucifixion ; and the other, Christ 
 driving the Money-changers out of the 
 I Temple : both highly admired, and ac- 
 counted excellent performances. He died 
 in 1678. 
 
 I Vecelh (Francesco). He was the 
 younger brother of Titian, and was born 
 
VEC 
 
 566 
 
 VEL 
 
 at Cadore, in Friuli,* in 1483. After 
 receiving instructions from liis brother in 
 the art of painting, with every appearance 
 of success in the profession, he exchanged 
 the pencil for the sword, and engaged in 
 a military life, in which he continued till 
 the restoration of peace in Italy. He 
 then returned to Venice, where he resumed 
 the pencil, and was employed to paint 
 several altaf-pieces for the churches, and 
 also portraits, which gave so much alarm 
 to Titian that, dreading a powerful com- 
 petitor in Francesco, he contrived artfully 
 to turn his thoughts from painting in the 
 style which he himself pursued, and per- 
 suaded him to devote his talent to the 
 adorning of cabinets with small historical 
 subjects and pieces of architecture, for 
 which, at that time, there was a great 
 demand. Some of those cabinets have 
 reached our time, and, being miscalled 
 the work of Titian, have been often sold 
 for large sums, though the paintings are 
 certainly only by Francesco Vecelli, who, 
 in every respect, was inferior to his 
 brother. In 1531, he wholly relinquished 
 the art, and became a merchant, by the 
 persuasion of Titian. The principal 
 works of Francesco are, the Transfigura- 
 tion, in the church of St. Salvator, at 
 Venice, and a Nativity, in that of St. 
 Giuseppe, at Belluno. This last is com- 
 pletely Titianesque, and has been often 
 mistaken for the performance of the elder 
 brother. 
 
 Vecelli (Orazio). He was the son 
 and disciple of Titian, and was born at 
 Venice in 1540. He painted some por- 
 traits which might stand in competition 
 with those of his father. He likewise 
 painted history in conjunction with Paolo 
 Veronese and Tintoretto, in the palace of 
 the Doge, at Venice, particularly the 
 representation of a battle; which per- 
 formance for some time was ascribed to 
 the elder Titian. He travelled with his 
 father to Rome and Germany, and was 
 much esteemed for his extraordinary merit; 
 but after the death of Titian, finding him- 
 self in easy circumstances, he devoted 
 more of his hours to pleasure than to 
 painting. He also consumed a great part 
 of the wealth which had been left him, in 
 the ridiculous pursuit of the philosopher's 
 stone. He died in 1579. 
 
 Vecelli (IVIaeco), called likewise 
 Marco di Tiziano. He was the nephew 
 of Titian, and was born at Venice in 1545. 
 Marco was the favourite scholar of his 
 uncle, and accompanied him to Rome and 
 
 Germany. Several of his works are in the 
 palace of St. Mark, at Venice, particularly 
 an allegorical picture on the restoration 
 of peace to Italy, and one of the Doge 
 kneeling before the Virgin and Infant. 
 He also painted many altar-pieces for the 
 churches. He died in 1611. 
 
 Vecelli (Tiziano), called Tizianello. 
 He was the son of the last mentioned 
 artist; but though well instructed in the 
 art by his father, and having the example 
 of his other relatives to stimulate him, he 
 became careless and indifferent in his 
 design and execution. The best of his 
 works are his portraits. He died about 
 1640. 
 
 Vecelli (Cesake). He was the 
 younger brother of Titian, and lived about 
 the year 1590 ; but he is less known as a 
 painter than as an engraver, in which line 
 he published plates of ancient and modern 
 costume, with this title, Raccolta di figure 
 delineate dal gran Tiziano, e da Cesare 
 Vecellio suo fratello, diligentemente 
 intagliate. 
 
 Vecq (James la). This Dutch painter 
 was born at Dort in 1625, and studied 
 under Rembrandt, whose manner he im- 
 itated for some time -with success, but 
 afterwards adopted that of John de Baan. 
 He painted history and portrait. He 
 died at Dort in 1674. 
 
 Vela (Cristoval). This Spanish 
 artist was born at Jaen in 1598. He 
 studied successively under Pablo de 
 Cespedes and Vincenzio Carducci, after 
 which he settled at Cordova, where he 
 painted chiefly for the churches and con- 
 vents, in a grand style of design, but 
 feeble in colouring. He died at Cordova 
 in 1658. 
 
 Velasco (Don Antonio Palomino de 
 Castro). This Spanish painter and his- 
 torian of the art was born at Bujalance, 
 in Valencia, and received a liberal educa- 
 tion at Cordova. His instructor in paint- 
 ing was Don Juan de Valdes Leal, but in 
 1678 he went for farther improvement to 
 Madrid, in company with his friend Juan 
 de Alfaro. Here Velasco obtained an 
 order to ornament the gallery del Cierzo; 
 in which he gave such satisfaction as to 
 be appointed painter to the king. His 
 employment now was incessant; and 
 having more commissions than he could 
 execute, he left the finishing of many of 
 his designs to his scholar, Dionysius Vidal. 
 The style of Velasco was not equal to 
 that of the preceding age, and he was too 
 much of a mannerist, though perhaps less 
 
VEL 
 
 567 
 
 VEL 
 
 so than many of his contemporaries. As 
 a writer, Palomino is known by a work 
 in three parts, the two first of which bear 
 this title. El Museo Pictorlco y Escala 
 Optica; but the third is called El Parnasso 
 Espanol Pintoresco Laureado, 3 vols, 
 folio, 1715 1724. The third volume is 
 abiographicalaccountof Spanish painters. 
 The author died at Madrid in 1726. 
 
 Velasquez de Silva (Dost Diego). 
 This great painter was born of an an- 
 cient family at Seville, in 1594. Hav- 
 ing received a liberal education, he was 
 placed under Francesco Ilerrera, com- 
 monly called the Old^ who was a rigid 
 master, but of consummate ability in the 
 art which he taught. The manner and 
 temper of the preceptor, however, be- 
 came so insupportable to young Velas- 
 quez, that he left him, and entered the 
 school of Pacheco, a man of learning and 
 good- nature. Here his genius began to 
 display itself in several sketches from na- 
 ture, of peasants and ordinary people in 
 peculiar habits and occupations, as tWey 
 struck his fancy in the streets or public 
 places of the city. These sallies of his 
 youthful imagination give a striking repre- 
 sentation of the manners and characters 
 of the vulgar; and they exhibit also a 
 luxuriancy of still life. One of his first 
 productions is in the palace of the Buen- 
 Retiro, and represents an old aquador 
 (water-carrier), in a tattered garment, 
 giving water to drink out of his barrel to 
 a boy a piece of wonderful nature and 
 expression, with an uncommon degree of 
 science and precision in muscular ana- 
 tomy. In subjects of this rustic kind 
 young Velasquez sufifered his imagination 
 to disport itself in its first efibrts, replying 
 to those who advised him to assume a 
 higher style of painting, that the foun- 
 dation of his art must be strength ; 
 delicacy might follow after as the super- | 
 structure. In his first productions he 
 coloured in the style of Caravaggio, but ; 
 upon seeing some pictures of Guido, i 
 Pomerancio, Lanfranc, and Ribera, he 
 altered his manner. The artist, however, 
 upon whose model he chiefly formed 
 himself, was Luis Tristan, but not ser- 
 vilely, observing that what this master 
 did well, was the best of all good things ; 
 and that what he did ill, was bad in the 
 extreme. While Velasquez was thus en- 
 deavouring to improve in practice, he by 
 no means neglected the theory of his art, 
 but read every author of credit that 
 could form his judgment or enlarge his 
 
 science. After five years thus studiously 
 employed, he married the daughter of 
 his master Pacheco, with the consent of 
 that artist, who held him in the highest 
 estimation for his virtues as well as for 
 his talents. Velasquez after his marriage 
 went to Madrid, where so many treasures 
 of art were amassed. He arrived there 
 in 1622, but not finding any encourage- 
 ment at court, he returned in disgust to 
 Seville, and there he would probably 
 have remained for life, had not the mini- 
 ster Olivarez sent him an invitation to 
 come to his house. This call was not to 
 be refused, and in 1623 Velasquez again 
 visited Madrid. Soon after his arrival 
 he painted the portrait of the minister, 
 which gave so much pleasure to the king, 
 that he sat to Velasquez himself; and the 
 history of this picture was thought worthy 
 of a particular record. The portrait was 
 upon a large scale ; the king was drawn 
 in armour, mounted upon a superb horse, 
 and displayed with all the advantages of 
 a beautiful scenery in the background. 
 The artist succeeded to his wish, the court 
 rang with applause of his performance, 
 and all the cognoscenti joined in giving 
 the palm to Velasquez above his prede- 
 cessors. He was now declared painter to 
 the king, and he executed several fine 
 portraits of the rest of the family. Rubens 
 was at this time at Madrid, where he 
 formed an intimacy with Velasquez, which 
 ripened into friendship. A memorable 
 circumstance occurred this year, which 
 contributed still farther to bring into 
 public view the talents of this fortunate 
 artist. Charles Prince of "Wales, after- 
 wards King of England, came to the 
 Spanish court on a matrimonial visit, and 
 being himself a great lover of the fine arts, 
 paid Velasquez particular attention. He 
 did not indeed sit to him ; but Velasquez 
 took a sketch of him as he was accom- 
 panying the king in the chase. He now 
 received a salary of twenty ducats a month, 
 exclusively of what was paid him for his 
 pictures; and the royal munificence was 
 further extended to him in the grant of a 
 handsome house. Great rewards being 
 thus heaped upon him, great things were 
 expected ; and, among the rest, an his- 
 torical picture was called for from his 
 hand. His competitors, Caxes, Carduchio, 
 and Nardi, had each chosen the expulsion 
 of the Moors as the subject of a picture, 
 and now Velasquez did the same. It was 
 a hardy attempt ; but he succeeded in it 
 so completely, that Philip made him usher 
 
VEL 
 
 568 
 
 VEL 
 
 of the royal chamber, and increased his 
 stipend. This was in 1627, and the 
 same year Rubens came again to Spain, 
 in the capacity of ambassador, when the 
 intimacy which had before taken place 
 was renewed. Rubens, like a true friend, 
 advised Velasquez to visit Rome for the 
 advantage of studying after the antiques ; 
 and this counsel he followed in 1629, 
 receiring from the king and the minister 
 ample means to defray his expenses. 
 Velasquez went first to Venice, where he 
 remained just long enough to copy a 
 picture of Tintoretto, and then took his 
 route to Rome, by the way of Ferrara, 
 receiving flattering marks of distinction 
 at every place through which he passed. 
 At Rome he was lodged in the Vatican 
 by the favour of Cardinal Berberini, who 
 gave him access at all hours to the works 
 of RafFaelle and Michel Angelo, which he 
 studied so intensely that at length his 
 health was affected, and he was obliged 
 to remove to a more airy situation for his 
 recovery. On regaining his strength, he 
 applied with the same assiduity to the 
 study of the antiques, and occasionally 
 painted some pictures, among which were, 
 tlie history of Jacob recognising the coat 
 of Joseph ; and the discovery of Venus's 
 Infidelity; both which he sent to his 
 royal patron, who placed them in the 
 Buen-Retiro. After an absence of eigh- 
 teen months, Velasquez returned to Spain, 
 and was cordially welcomed by Philip, 
 who appointed him a painting room in his 
 palace, of which the king himself kept a 
 private key, resorting to him frequently, 
 as the Emperor Charles used to visit 
 Titian. In 1638, Velasquez painted the 
 famous picture of the Crucifixion, for the 
 convent of San Placido, at Madrid ; which 
 alone was sufficient to immortalize his 
 name. The figure is of the size of life, 
 upon a plain background disposed with 
 great simplicity, but with an expression 
 in the features, an air in the depression of 
 the head, and an harmonious tone of 
 colouring, at once so tender, and of such 
 effect as cannot be exceeded. In the same 
 year he finished a portrait of Adrian 
 Paresa, admiral of the fleet. This officer 
 was then under orders to repair to his 
 command in New Spain; and Philip, on 
 entering the chamber of Velasquez, mis- 
 taking the picture for the admiral himself, 
 suddenly exclaimed against him for 
 ing at Madrid beyond his time. In 
 painting this portrait, Velasquez used 
 pencils with very long handles, to produce 
 
 more effect by distance. In 1643, the 
 minister Olivarez was disgraced, and con- 
 fined in the town of Toro, where he died 
 two years afterwards, and his body was 
 buried in the Carmelite monastery, 
 founded by himself at Loeches. Before 
 his death, the statesman had the rare 
 satisfaction of finding that, amidst the 
 general ingratitude, there was one excep- 
 tion, for Velasquez alone visited him in 
 his confinement. Philip, instead of being 
 offended with his attachment, appeared 
 pleased with it, and soon after honoured 
 the painter with the golden key, as one 
 of his chamberlains, and took him in his 
 suite to Lerida. On this occasion Velas- 
 quez drew. another magnificent portrait of 
 the king on horseback. In 1648 he was 
 sent on a special mission to the pope, and 
 directed - at the same time to purchase 
 statues and pictures for the royal collec- 
 tion. At Venice he revived his acquaint- 
 ance with the works of Titian, Tintoretto, 
 and Paolo Veronese ; and here having 
 purchased some capital pictures, proceeded 
 to Florence, and thence to Parma, where 
 he contemplated the pain tings of Corregio. 
 On his arrival at Rome, he received many 
 marks of distinction from Innocent X., 
 who sat to him for his picture, and gave 
 him a magnificent medal of gold. The 
 academicians of St. Luke elected him a 
 member, and sent him his diploma into 
 Spain. Velasquez did not return to Spain 
 till 1651, when he arrived safe by sea, 
 freighted with a large cargo of antique 
 statues, busts, and pictures. The next 
 year, Philip appointed him aposentador- 
 mayor of his palace an office filled only 
 by persons of eminence. It was at this 
 time that Velasquez executed his famous 
 picture, in which he has represented him- 
 self at his easel, with his palette in one 
 hand and his pencil in the other, the pic- 
 ture on which he is working being the 
 portrait of Donna Margarita Maria of 
 Austria, Infanta of Spain, and afterwards 
 Empress of Germany. While engaged on 
 this picture, Philip, with his own hand, 
 put the order of Santiago on the portrait 
 of Velasquez, though he had not then been 
 invested. When Charles II. showed this 
 picture to Luca Giordano, that artist ex- 
 claimed, " Sir, this is the divinity of 
 painting." The military order of Santiago 
 was conferred upon Velasquez in 1658; 
 and when the president, according to 
 custom, was about to investigate his family 
 pretensions, the king said, smiling, "Give 
 I him the order, for I know his noble birth, 
 
VEN 
 
 and the right he has to it." As a further 
 testimony of the royal favour, the investi- 
 ture took place in a lull court, upon the feast 
 of San Prospero, amidst a scene of festivity j 
 and magnificence. In the summer ofj 
 1660, the painter, in his capacity of apo- | 
 sentador-mayor, attended the king to Irun, 
 to meet the King of France, and in all i 
 the splendid ceremonials he officiated, 
 adorned with the insignia of his order, and 
 other dignities. But amidst this blaze of 
 splendour, he was suddenly attacked by a 
 fever, which carried him off on the 6th of 
 August in the same year. His funeral 
 was solemn ; and a superb monument, with 
 a long Latin inscription, was erected to 
 his memory in the church of San Juan. 
 The pictures of Velasquez are rare in this 
 country ; but the National Gallery has one, 
 exhibiting the portraits of Philip IV. and 
 his queen. 
 
 Veli (Benedetto). This painter was 
 a native of Florence ; but nothing more 
 is known of him than that he lived in the 
 middle of the seventeenth century. In 
 the cathedral at Pistoia is an altar-piece 
 by him, representing the Ascension. 
 
 Venanzi (Francesco). He was born 
 at Pesaro, and had Guido for his instruc- 
 tor, but afterwards studied under Can- 
 tarini. Instead, however, of adhering to 
 the style of either of those masters, he 
 chose to adopt that of Guercino. In the 
 church of St. Gervas, at Bologna, is a fine 
 picture by him of the Descent of the Holy 
 Ghost ; and in that of St. Anthony, at St. 
 Pesaro, are some pieces illustrative of the 
 life of that saint. He lived about 1680. 
 Veneziano, see Piombo. 
 Veneziano (Antonio). He was born, 
 according to Vasari, at Venice, in 1310; 
 but Baldinucci makes him a native of 
 Florence, Avhere he studied under Agnolo 
 Gaddi; but surpassed him in many 
 spects, being accounted one of the best 
 painters of his time. At Florence, Pisa, 
 and Venice, he executed several works, 
 which were universally admired; and 
 rendered himself esteemed, not only for 
 his singular merit in his profession, but 
 on account of his other accomplishments. 
 He was correct in his design, and had a 
 lively imagination ; the attitudes of his 
 figures were natural and becoming ; the 
 airs of his heads were graceful and full of 
 variety; and his expression was well 
 adapted to the characters and actions of 
 his figures. His most celebrated painting 
 is at Florence, representing the Miracle 
 of the Loaves and Fishes, in which he has 
 
 given a divine expression to the air, coun- 
 tenance, and attitude of our Saviour. He 
 died in 1384. 
 
 Veneziano (Domenico). He was born 
 at Venice in 1420, and was the disciple of 
 Antonello da Messina, from whom he 
 learned the art of painting in oil. He 
 painted several pictures at Loretto and 
 Florence, that were exceedingly admired; 
 but in the latter city he connected him- 
 self unhappily with Andrea del Castagno, 
 who treacherously murdered him while he 
 was serenading his mistress, and accom- 
 panying the lute with his voice. This de- 
 testable action was committed by Andrea, 
 partly that he might secure the secret of 
 painting in oil from other artists, and also 
 out of envy, on observing the works of 
 Domenico more commended than his own. 
 This catastrophe happened in 1476. 
 
 Venius or Van Veen (Otho). He 
 was born at Leyden in 1556 ; and his 
 parents, who were persons of distinction, 
 gave him a liberal education ; after which 
 he was instructed in design by Isaac 
 Nicholas, and in painting by Jodocus Van 
 Winghen. Being compelled to leave his 
 own country on account of the civil wars, 
 he retired to Liege to pursue his studies, 
 and there gained the esteem of Cardinal 
 Grosbeck, who, observing his excellent 
 talents, advised him to go to Rome, fur- 
 nishing him with a letter of recommen- 
 dation to Cardinal Masuccio, by whom he 
 was well received and entertained in his 
 palace. Here he studied under Federigo 
 Zucchero, and at the same time paid a 
 particular attention to the antiques, and 
 the works of the great masters. Having 
 thus employed seven years in constant 
 attention to his improvement, he acquired 
 a delicate manner of pencilling, an agree- 
 able style of colouring, and such a know- 
 ledge of the chiaro-oscuro as distinguished 
 him above most of the painters of his time. 
 In his return from Italy he passed through 
 Vienna, where the emperor endeavoured 
 to detain him by very flattering promises; 
 but the desire of visiting his native place 
 so far prevailed, that he declined the offers 
 that were made him. At Munich and 
 Cologne he painted some pictures for the 
 Duke of Bavaria and the Elector. At 
 Brussels, Alexander Farnese, Prince of 
 Parma, appointed him his principal en- 
 gineer, and painter to his court. The 
 portrait which he painted of that prince 
 completely established his reputation; 
 besides which, he executed several other 
 works of equal credit. On the death of 
 
YEN 
 
 VER 
 
 his patron he settled at Antwerp, where 
 lie formed an academy, and had Rubens 
 for one of his pupils. When the Arch- 
 duke Albert entered Antwerp, Otho de- 
 signed the triumphal arches which were 
 erected on the occasion; and these gave 
 such pleasure to the prince, that he in- 
 vited him to Brussels, where he was ap- 
 pointed painter to the court, and master 
 of the mint. He died there in 1634. 
 Venius had a lively and fertile invention ; 
 his drawing was generally correct, parti- 
 cularly in the extremities of his figures. 
 The airs of his heads were not without 
 grace ; his draperies had an easy flow, and 
 they were so well cast as to give dignity 
 to his forms. The principal works of 
 this artist are in the churches of Flanders. 
 In the cathedral at Antwerp is preserved a 
 Last Supper, esteemed an excellent per- 
 formance ; in the church of St. Andrew 
 is an altar-piece, representing the Martyr- 
 dom of that apostle ; and in the refectory 
 of the abbey of St. Vinox is a picture of 
 Mary Magdalen anointing the feel of our 
 Saviour. In the cathedral at Bruges is a 
 picture of the Eastern Magi, and in the 
 Capuchin church at Brussels, a Marriage 
 of St. Catherine. Otho Venius also pub- 
 lished some literary works. 
 
 Venius, or Van Veen (Gertrude). 
 This lady was the daughter of the preced- 
 ing, and born at Brussels about 1600. She 
 was instructed by her father, and painted 
 portraits and history with very great 
 success; her colouring being clear and 
 lively, and her touch delicate. The por- 
 trait of her father, painted by her, has 
 been engraved. 
 
 Venius, or Van Veen (Roche). He 
 was the son of Otho Venius, and became a 
 good painter of birds, both living and dead, 
 which he designed exactly, and finished 
 with elegance. He died at Haerlem. 
 
 Venusti (Marcello), called Mantuano. 
 He was born at Mantua in 1515, and was 
 educated under Pierino del Vaga ; whom 
 he assisted in some of his grandest com- 
 positions at Rome and Florence. His 
 works were esteemed by Michel Aiigelo 
 Buonarroti, from whose designs he often 
 painted. Cardinal Farnese employed him 
 to copy the celebrated picture of the Last 
 Judgment, allowed to be the noblest pro- 
 duction of Buonarroti's genius ; and the 
 copy made by Venusti was greatly com- 
 mended, even by the painter of the original. 
 Few of the churches or chapels at Rome 
 were without some of the paintings of 
 Venusti, either in fresco or in oil; and he 
 
 was exceedingly admired for the elegant 
 taste of his design, the grandeur of his 
 compositions, the beauty of his colouring, 
 and the neatness of his finishing. In the 
 Palazzo Borghese is afine picture by him, 
 of Christ bearing his Cross, from a design 
 of Michel Angelo. He died in 1576. 
 
 Verbruggen or Terbruggen (Henry). 
 He was born at Overyssel in 1588, and 
 became a disciple of Abraham Bloemart ; 
 but being desirous of improvement, he 
 travelled through several parts of Italy, 
 and resided ten years at Rome. His 
 studies in that city were attended with 
 success, and he painted many altar-pieces 
 for the churches and convents, as well as 
 pictures for the nobility ; which are proofs 
 ofhis taste injthecomposition of his subjects, 
 and the freedom and firmness of his 
 execution. In the principal church at 
 Naples is a large altar-piece of theDescent 
 from the Cross; much admired for the 
 goodness of the design and also for the 
 colouring ; but, contrary to the rule of 
 the Flemish masters, he did not put his 
 name on the picture, concluding that his 
 style was at that time so generally known 
 as to render it unnecessary. At Middle- 
 burg is an extraordinarily fine picture by 
 him, representing an entertainment, with 
 figures as large as life. Rubens was much 
 struck with this piece, and the other works 
 of Verbruggen, and termed him one of the 
 best painters of his country. He died in 
 1640. 
 
 Verbruggen (J.) He was a native of 
 Holland, and on account of his great abili- 
 ties, was invited by Sir Joseph York to come 
 to England, where he was made master 
 founder at Woolwich Warren. Besides 
 his skill as a founder, he painted sea views 
 for his amusement. He died at Wool- 
 wich in 1780. 
 
 Verbruggen (GrASPAR Peter). He was 
 born at Antwerp in 1668, and, under the 
 direction of his father, Peter Verbruggen, 
 became a considerable artist. He settled 
 first at the Hague, where he associated 
 with Matthew Terwesten, who painted 
 the figures in several grand compositions, 
 while Verbruggen inserted the flowers, 
 and other decorations. This painter had 
 an uncommon readiness of hand, and an 
 expeditious manner of working, which 
 contributed to enrich him ; but when he 
 returned to Antwerp, he devoted most of 
 his time to company and amusements, 
 and painted chiefly at night; by which 
 means his latter pictures are not so good 
 as his earlier works, having nothing more 
 
VER 
 
 571 
 
 VER 
 
 to recommend them than the freedom of 
 pencilling, and a tone of colour that had 
 more of brilliancy than of truth and 
 nature. In his style he resembled Baptist 
 Monnoyer rather than Van Huysum. His 
 manner of painting flowers in ceilings and 
 saloons was truly grand ; his colouring 
 and grouping of the objects showed an 
 extraordinary art and judgment ; and his 
 touch was easy, free, and well adapted to 
 that kind of painting, as it showed a 
 lightness of hand without labour. He 
 became a member of the Academy of the 
 Hague, and director of that of Antwerp, 
 where he died in 1720. 
 
 Verdizotti (Giovanni Maria.) He 
 was born at Venice in 1525, and was the 
 disciple of Titian, who, observing his ge- 
 nius, and also discerning the amiable 
 qualities of his mind, loved him, and 
 treated him as if he had been his own son. 
 He explained to him every principle of the 
 art that might conduce to his advantage, 
 and took all possible pains to render him 
 eminent in his profession. Nor was Titian 
 disappointed in his expectations; for 
 Verdizotti showed him every mark of 
 respect and affection, as if he had been 
 really his parent ; and acted as his secre- 
 tary whenever he had occasion to corre- 
 spond with persons of high rank. His 
 favourite subjects were landscapes, which 
 he designed and painted in an admirable 
 style, very much in the manner of his 
 master. His pictures were usually of a 
 small size, but they were excellently col- 
 oured, and enriched with figures that 
 were delicately pencilled. He published 
 translations into Italian, of the jSneid, 
 and Ovid's Metamorphoses ; and on the 
 death of Titian wrote a Latin poem in 
 honour of his memory. He died at Ve- 
 nice in 1600. 
 
 Verdoel (Adrian). He was born at 
 a village on the Meuse, in Holland, about 
 1620, and became the scholar of Rem- 
 brandt, to whose style he adhered, but his 
 design was more correct, and his compo- 
 sitions of a more elevated description ; 
 while in colouring and the eifect of the 
 ehiaro-oscuro he fell short of his master. 
 Verdoel abandoned painting to pursue 
 commerce, so that his pictures are very 
 scarce. He died in 1681. 
 
 Verelst (Simon). He is said to have 
 been born at Antwerp in 1664, and became 
 eminent as a painter of flowers and fruit, 
 which he copied from nature. At a very 
 early age became to England, and his suc- 
 cess was almost incredible. His works soon 
 
 came into vogue, were exceedingly ad- 
 mired, and sold for greater prices than 
 had ever been given in London for any 
 compositions in that style. His vanity 
 was excessive, and he found it abundantly 
 gratified, not only by the esteem in which 
 his paintings were held, but by the com- 
 pliments of poets, particularly of Prior. 
 The witty and profligate Duke of Buck- 
 ingham patronised him, but, out of a 
 frolic, urged him to attempt portraiture. 
 To encourage Verclst, the duke sat to him 
 for his picture, which the painter drew, 
 but crowded it so with flowers that the 
 king laughed, and the whole composition 
 was ridiculed. Notwithstanding this, 
 such is the caprice of fashion, Verelst 
 soon became popular ; and people of the 
 first quality had their portraits surrounded 
 with fruit and flowers. Verelst, for one 
 of these whimsical productions, was paid 
 one hundred and ten pounds. His success 
 is said to have driven Lely out of business, 
 which is impossible ; for that painter died 
 in 1680, when, according to the date of 
 Verelst's birth, he was no more than six- 
 teen years old. The whole of Walpole's 
 narrative of this painter is strangely in- 
 consistent, yet he has been implicitly 
 followed by subsequent biographers, with 
 the exception of one, who says that Ver- 
 elst was born in 1604, and died in 1710, 
 at the age of forty-six, when on the con- 
 trary, his age, if these dates be correct, 
 must have been one hundred and six! 
 Contemptible as his portraits were, his ta- 
 lent for flower and fruit painting was cer- 
 tainly great ; he handled his subjects in a 
 charming manner, and gave them force 
 and relief by a judicious management of 
 the ehiaro-oscuro. 
 
 Verelst (Herman or Harman). He 
 was the elder brother of Simon Verelst, 
 and the subjects he chose were the same, 
 painted also in an agreeable manner, and 
 well coloured. He studied for some 
 years at Rome, and resided at the 
 imperial court at Vienna, till it was 
 besieged by the Turks in 1683, when he 
 came to England, where he spent the re- 
 mainder of his life. He died in 1700. He 
 had a son, named Cornelius^ who was 
 born at Vienna in 1667, and came to 
 England with his father. He painted 
 also in the same style, and met with 
 success. 
 
 Vereest (Maria). This lady was the 
 daughter of Herman Verelst, and was 
 taught the art of painting by her father; 
 but afterwards lived entirely with her 
 
VER 
 
 VER 
 
 uncle, who gave her the best instructions 
 for her improvement. She had an excel- 
 lent education ; was a fine performer on 
 several instruments of music ; and spoke 
 and wrote the German, Italian, Latin, 
 English, and French languages with flu- 
 ency and elegance. She painted portraits 
 and history with genius and spirit; and 
 was admiredfor the delicacy of her touch, 
 and the neat manner of her finishing. 
 Her portraits were generally of a small 
 size; and she designed her figures with 
 more correctness than any female artist of 
 her time. She gave her portraits a fine 
 expression, not only in the features, but 
 also in the mind of her models. 
 
 Vebendael (N.) He was born at 
 Antwerp in 1659, and there learned the 
 art of painting; but the master by whom 
 he was instructed is not ascertained. 
 He excelled in fruit and flowers, which he 
 studied after nature, though he exerted 
 himself also in observing the works of 
 those masters who were most eminent in 
 that style ; by which means his reputa- 
 tion was soon spread, not only through 
 the Netherlands, but over a great part of 
 Europe. He showed both genius and 
 judgment in his compositions, and execut- 
 ed every subject in a masterly and delicate 
 manner. Sometimes he introduced ob- 
 jects imitated from Mignon, but most 
 commonly only such as he copied from 
 nature; yet, wherever he collected his 
 models, they were delicately chosen, re- 
 presented with truth, and exquisitely fin- 
 ished. He was so curious, and so appre- 
 hensive of his paintings being injured by 
 dust, or other accidents, that whenever 
 he finished a flower he guarded it care- 
 fully by a cover of paper. Next to Mignon 
 and Van Huysum, his merit renders him 
 most worthy of commendation ; nor, in the 
 neatness and delicacy of his pictures, is he 
 surpassed by any of the Flemish masters. 
 His flower-pieces are preferred to his pic- 
 tures of fruit. 
 
 Vergazon (Henky). This Dutch pain- 
 ter of landscapes and ruins came to Eng- 
 land in the reign of William HI. He 
 painted also portraits of a small size, but 
 was chiefly employed by Kneller in paint- 
 ing his backgrounds. 
 
 Verhaecht (Tobias). He was born 
 at Antwerp in 1566, and distinguished 
 himself as an excellent painter of land- 
 scapes ; in which, though the style, taste 
 of design, and distribution of the parts 
 were very peculiar, yet were they exceed- 
 ingly natural and pleasing as well as ele- 
 
 gant ; insomuch that Rubens, who was a 
 most admirable painter of landscape, used 
 to say that Verhaecht was his first and 
 best instructor in that branch of his art. 
 His sites were generally well chosen, his 
 scenes agreeable, and, by a skilful method 
 of aerial perspective, he opened a large 
 extent of country, deluding the eye to a 
 very remote distance by interspersed hills, 
 rocks, mountains, and well broken grounds. 
 The forms of his trees were loose and na- 
 tural ; the ruins and pieces of architec- 
 ture which he always introduced were in 
 an elegant taste, and a general harmony 
 appeared through the whole composition. 
 Tiie Grand Duke of Tuscany patronised 
 him, and for that prince he painted several 
 noble landscapes. At Rome also he was 
 much admired particularly on account 
 of one picture, representing the Tower of 
 Babel, which was an immense composi- 
 tion. Not being very happy in painting 
 figures, he generally procured them to be 
 inserted by other artists, particularly 
 Franck. He died in 1631. 
 
 Verheyden (Francis Peter). He 
 was born at the Hague in 1657, and was 
 originally bred a statuary, in which pro- 
 fession he proved a good artist, and was 
 one of those who were employed to model 
 the figures and ornaments of the trium- 
 phal arch erected in 1691, for the public 
 entry of William HI. After this, by as- 
 sociating with some painters who were 
 employed with him at the king's palace 
 at Breda, and observing their manner of 
 working, he made some attempts to imi- 
 tate them, and did it so successfully, as 
 to occasion the surprise of all who saw 
 his first productions ; upon which he en- 
 tirely laid aside the profession of a statuary, 
 and devoted himself wholly to painting. 
 His friends, who disapproved of his con- 
 duct, endeavoured to dissuade him, by 
 representing how indiscreet it must appear 
 for an artist, who was eminent in one 
 profession, to exchange it, at the age of 
 fort}', for another, in which he could only 
 be a beginner; but their opinions could 
 not make him alter his resolution. He 
 began with copying animals of difi'erent 
 kinds after Snyders, and soon found him- 
 self capable of designing subjects in the 
 same stj'le, such as huntings of wild boars, 
 stags, and other animals, in which he in- 
 troduced a number of dogs in bold and 
 natural actions, full of peculiar spirit and 
 fire. He likewise painted fowls in the 
 manner of Hondekoeter, and touched the 
 plumage with a lightness and tenderness 
 
VER 
 
 573 
 
 VER 
 
 almost equal to that master. He had a 
 good manner of colouring, with a great 
 command of his pencil ; and marked even 
 the hairs of his animals with truth, and a 
 strong resemblance to nature. His works 
 in general had much harmony, and looked 
 more like the performances of an experi- 
 enced artist than the efforts of one who 
 began so late to study and practise paint- 
 ing. He died in 1711. 
 
 Verhoek (Peter Cornelius). He 
 was born at Bodegrave in 1642, and be- 
 came the disciple of Abraham Hondius, 
 whose manner he imitated while he con- 
 tinued in the Low Countries; and de- 
 signed animals with great spirit and good 
 action ; but when he travelled to Rome, 
 he was so affected by the sight of Bor- 
 gognone's works, that he studied them 
 incessantly. By a careful observation of 
 the excellences of that master, he became 
 a skilful painter of battles, with a lively 
 tint of colour, and a competent degree of 
 force, executing them in a large and 
 small size, with such approbation, that he 
 found constant employment at Rome, 
 Naples, and other cities of Italy through 
 which he travelled. His landscapes were 
 painted in a pleasing style, and ornamented 
 with small figures in the taste of Callot, 
 which were correctly designed, and touched 
 with spirit. 
 
 Verhoek (Gysbert). He was born 
 at Bodegrave in 1644, and studied under 
 his brother, Peter Verhoek ; but as soon 
 as he was well established in the rudiments 
 of the art, he became the disciple of Adam 
 Pynaker, some of whose works he copied 
 with success. As he had formed his taste, 
 however, by the paintings of his brother, 
 he endeavoured, like him, to imitate the 
 manner of Borgognone; and his usual 
 subjects were battles, encampments, or 
 skirmishes. He was remarkably studious 
 to improve himself, and took uncommon 
 pains to sketch the different motions, ac- 
 tions, and attitudes of men and horses, 
 that he might have them ready whenever 
 he had occasion to introduce them in his 
 compositions. He died in 1690. 
 
 Verkolie (Jan.) He was born at 
 Amsterdam in 1650, and was the son of 
 a locksmith, who bred him up to bis own 
 business; but when twelve years old, he 
 met with an accident, which, incapaci- 
 tating him for that employment, he 
 took to drawing. After his recovery he 
 became the scholar of Jan Lievens, with 
 whom, however, he continued little more 
 than six months. He now applied to 
 
 study the works of Gerard Pieters Van 
 Zyl, whose style he adopted with success, 
 and imitated so happily as to complete 
 some pictures which that artist had left 
 unfinished ; nor could any perceptible 
 difference be observed in the different parts 
 of the same pieces. Verkolie was chiefly 
 distinguished for his portraits, which were 
 excellent ; but he also painted historical 
 subjects and conversations. His colour- 
 ing was good, and his design, in many 
 respects, was correct, with a tender and 
 neat manner of pencilling ; but he cannot 
 be justly commended forgraceor elegance. 
 He was one of the first engravers of mez- 
 zotinto in Holland, where he died in 1693. 
 
 Verkolie (Nicholas). He was the 
 son of the preceding, and was born at 
 Delft in 1673. He was first instructed 
 by his father, at whose death he was so 
 far advanced in the knowledge of his art 
 that he needed no other preceptor. He 
 began with painting portraits, with reason- 
 able success ; but afterwards he applied 
 himself entirely to history, and, by his 
 taste of design and composition, gave such 
 satisfaction to those who were good judges 
 of merit, as to establish his reputation. 
 Besides his merit in oil paintings, he had 
 a peculiar excellence in drawing and de- 
 signing with Indian Ink; and he finished 
 these pieces with such neatness, that they 
 sold at a very high rate, and are now ex- 
 ceedingly rare. He was very correct in 
 his design; his colouring is good, and in 
 his easel pictures it api)ears beautifully 
 melting. His touch, though delicate, is 
 firm ; and his night-pieces, which have a 
 surprising effect, are esteemed worthy of 
 a place in the first collections. Among 
 his best works are three pictures, repre- 
 senting Moses in the Bulrushes ; David 
 and Bathsheba ; and the Fall of Peter. 
 He also distinguished himself as a mezzo- 
 tinto engraver. He died at Amsterdam 
 in 1746. 
 
 Vermeyen (John Cornelius). He 
 was born at Beverwyck, in Holland, in 
 1500, and became principal painter to the 
 emperor Charles V., who honoured him 
 with many marks of particular esteem. 
 He attended that monarch at his battles 
 and sieges, and designed on the spot views 
 of all the fortified places which were at- 
 tacked by the emperor ; as also the dif- 
 ferent encampments of his army, and 
 every memorable action of the whole war, 
 by sea and land, especially the most ma- 
 terial incidents of the siege of Tunis. 
 From these designs the tapestries were 
 
VER 5: 
 
 made which were intended to adorn the 
 Escurial. He was remarkable for having a 
 beard of such a length, that when he stood 
 upright he could tread on it ; from which 
 circumstance he was known in Grermany 
 by the name of Johannes Barbatus. He 
 resided during the latter part of his life 
 at Brussels, where he painted pictures for 
 the churches and other public buildings. 
 In the church of St. Gery are two pictures 
 by him; one of the Nativity, and the 
 other of the Resurrection. He also painted 
 portraits. He died in 1559. 
 
 Vekmiglio (Giuseppe). He was bom 
 at Turin, and painted history with great 
 reputation, about the year 1680. His 
 greatest work is a picture of Daniel in the 
 Den of Lions, in the library della Passione, 
 at Milan. Another capital performance 
 of his is a large picture, in the refec- 
 tory of the Olivetani, at Alexandria, re- 
 presenting Christ at the Well of Samaria; 
 in which is a beautiful landscape. 
 
 Vbrnet (Joseph). This celebrated 
 French marine painter was barn at Avi- 
 gnon in 1712, and received the early part 
 of his education at Rome. While there 
 he contracted an acquaintance with Mr. 
 Drake, of Shardeloes, in Buckingham- 
 shire, then on his travels. Mr. Drake 
 employed him to paint six pictures, and 
 left the subjects to his own choice. They 
 are very capital performances, in the 
 painter's best manner, and are now in the 
 drawing-room at Shardeloes. Having 
 staid a competent time, eagerly employed 
 in the contemplation of the finest models 
 of antiquity, he returned to France, and 
 his first designs were views of some of 
 the principal seaports on the coast. 
 These being shown to Louis XV., pro- 
 cured Vernet the appointment of marine 
 painter to the king, with a competent 
 salary, and every assistance that he re- 
 quested, to go through his plan of giving 
 a view of every seaport in the kingdom. 
 This he completed, and, under royal and 
 national patronage, the views have been 
 engraved; and the prints, which are in 
 general most exquisitely performed, have 
 been disseminated through all Europe. 
 Many of these engravings were by Bale- 
 chou ; one of them, well known to collectors 
 by the name of the Storm, was much ad- 
 mired for the fluidity of the water, and the 
 spirit of the figures. One hundred of the 
 prints were consigned to an engraver in 
 London, and part of them sold; but some 
 persons objecting to the clumsy style in 
 which a long dedication, inscribed under 
 
 4 VER 
 
 the print, was written, Balechou said he 
 would soon remedy that, and with his 
 graver drew a number of black lines upon 
 the copper, over the dedication, so as in a 
 degree to obliterate the words, and sent a 
 hundred impressions to England. These 
 our connoisseurs soon found to be the 
 second impression, and eagerly bought 
 up the first; but a print with the lines no 
 man of taste would look at. This mor- 
 tified the English printseller, who wrote 
 to the French engraver, and complained 
 that he could not sell the second set for 
 half price. " Morbleu ! " cried the French- 
 man, " how whimsical are these English 
 virtuosi ! They must be satisfied, how- 
 ever." To work he sets with his punch 
 and hammer, and, repairing the letters, 
 sends out the print, with the inscription 
 apparently in its first state. A few of 
 these were sold ; but the imposition was 
 soon discovered by the faintness of the 
 impressions; and then those who did not 
 possess the first impression, were glad to 
 have the plate in the second, rather than 
 the third state, so that nearly all the 
 third set lay upon the hands of the print- 
 seller. This produced a fresh complaint; 
 and the complaisant Frenchman, ever 
 eager to satisfy his English customers, 
 again punched out the lines, and brought 
 the inscription to its second state. This 
 Proteus of a print very frequently appears 
 in sales ; and the contests of the connois- 
 seurs about the superiority of those with- 
 out lines to those with, and vice versd, 
 have been innumerable. This little his- 
 tory may perhaps induce men to consult 
 their own eyes, in preference to black 
 lines. After a long and active life, in a 
 manner that did honour to himself and 
 his country, Vernet began to fear that 
 his well-earned pension would be stopped 
 by the troubles arising in France; and, 
 as the age of eighty-one is rather too late 
 a period for a man to take a very active 
 part in national disputes, he meditated a 
 retreat to England, which was put a stop 
 to by his death in 1789. His works will, 
 however, live as long as those of any artist 
 of hisday. In alightand airy management 
 of his landscape, in a deep and tender dimi- 
 nution of his perspective, in the clear 
 transparent hue of the sky, the liquid ap- 
 pearance of the water, and the buoyant 
 air of the vessels which he depicted on it, 
 he had few superiors. In small figures 
 employed in dragging of a boat, rigging 
 a ship, or carrying goods from the quay 
 to a warehouse, or any other employ which 
 
VER 
 
 575 
 
 VER 
 
 required action, he displayed most un- 
 common knowledge, and gave them with 
 such spirit (though sometimes a little in 
 the French fluttered style), as has never 
 been equalled by any man except our 
 Mortimer ; and, to be the inferior of Mor- 
 timer in that line is no dishonour. He 
 carried that branch of the art to its highest 
 degree of perfection. As a proof in what 
 estimation Vernet was held, it may be 
 mentioned, that two of his pictures, now 
 in the Luxembourg gallery, were pur- 
 chased by Madame du Barry for 50,000 
 livres. It was said of him, that his genius 
 neither knew infancy nor old age. Ver- 
 net had a brother, who was a bookseller 
 at Paris, but fond of the art of painting, 
 which he sometimes practised; and his 
 ])ietures have been mistaken for those of 
 Joseph. 
 
 Vebnici (Giovanni Battista). This 
 artist was born at Bologna, and received 
 his education in the school of the Caracci. 
 He painted history in an elegant man- 
 ner, and was appointed principal painter 
 to the Duke of Urbino, where most of 
 his works are to be seen. He died in 
 1617. 
 
 Verocchio (Axdkea). He was born 
 at Florence in 1432, and was at first a 
 sculptor of considerable eminence, having 
 executed a great number of curious works 
 in gold and other metals, as well as in 
 marble; but, being eager to add to his 
 reputation, he applied himself industri- 
 ously to the study and practice of paint- 
 ing. He became excellent in design, by 
 several admirable compositions which he 
 sketched, with an intention of finishing 
 them in colour; though, from some un- 
 known cause, he never completed them. 
 One of these was a battle, in which the 
 figures were naked ; and in others he re- 
 presented females, elegantly formed, with 
 an air of peculiar grace in the heads and 
 the disposition of the hair, which Leo- 
 nardo da Vinci always took pleasure to 
 imitate. But though Verocchio gained 
 great credit by his manner of designing, 
 his colouring was indifferent and unpleas- 
 ing, and his pencil was dry and hard. Of 
 this defect in his pictures he was effec- 
 tually convinced by a performance of one 
 of his pupils. For, being assisted by 
 
 The sight of it strongly affected Verocchio; 
 and being thoroughly mortified to see 
 himself far surpassed by his scholar, he 
 resolved to abandon the pencil for ever. 
 He was the master of Pietro Perugino, 
 as well as of Leonardo da Vinci; and 
 was the first who invented and practised 
 tlie method of taking off the features of a 
 face in a mould of plaster. He died in 
 1488. 
 
 Verona (Maffeo). This artist was 
 born at the city from whence he derived 
 his name, in 1576. He studied under 
 Luigi Benfatto, but improved himself by 
 copying the works of Paolo Veronese. 
 He was remarkable for his expedition, 
 and he excelled in fresco. In the church 
 of St. Mark, at Venice, are four pictures 
 by him, Christ bearing his Cross; a Cru- 
 cifixion ; a Deposition ; and the Resur- 
 rection. He died in 1618. 
 
 Veronese (Paolo), see Cagliabi. 
 Veronese (Alessandro), called Turchi 
 and // Orhetto. He was born at Verona 
 in 1600, and became the disciple of Felice 
 Riccio, though he did not adopt the style 
 of that master, but formed his ideas of 
 the beauty of colouring from the manner 
 of Corregio, and those of elegance and 
 grace in composition, from the taste of 
 Guido. He studied at Rome after the 
 nest of the ancient and modern produc- 
 tions, and accustomed himself also to 
 draw after nature; by which means he 
 acquired the habit of designing with ease 
 and freedom, and also with tolerable cor- 
 rectness of outline. It was generally 
 said, that the colouring of the Venetian 
 School, and the Roman gusto of design, 
 were combined in this artist. His wife 
 and his daughter were his models for the 
 figures in his compositions ; for, without 
 particularly attending to nature, he never 
 attempted to design any member of the 
 human body. The invention and imagi- 
 nation of this master were so ready, that 
 it was customary with him to proceed 
 directly in his painting, without having 
 prepared any previous sketch ; he disposed 
 his figures with propriety, and grouped 
 them in such a manner as to make them 
 set off each other, and contribute to the 
 good effect of the whole. Yet, although 
 his colouring had great force, and his 
 Leonardo da Vinci, in an altar-piece [ pictures were carefully finished, one could 
 representing St. John baptizing Christ, often wish that he had been more nice in 
 Leonardo designed and coloured an angel i the choice of his attitudes and draperies, 
 in one part of the picture, so finely, and as well as a little more accurate in his 
 so far superior to his master, that it made I compositions. He painted many delicate 
 the rest of the picture look contemptible. \ easel pictures, most of which are preserved 
 
VER 
 
 576 
 
 VER 
 
 at Rome, where he spent the greatest part 
 of his life; but his grand compositions 
 are in the churches and convents at Ve- 
 nice and Verona, as well as at Rome. In 
 the church of St. Maria in Organis, at 
 Verona, is a much admired picture by 
 this master, of which the subject is St. 
 Anthony and St. Francis with a glory 
 and angels above : it is well finished, and 
 the glory is sweetly coloured : and in the 
 church della Misericordia, in the same 
 city, is an altar-piece, representing the 
 Descent from the Cross, which is an ad 
 mirable performance, and finished with 
 abundance of care. The pencilling is 
 extremely soft, and tlie colouring beauti- 
 ful, being much in the taste of the Caracci 
 school. The figures of the Virgin and 
 Nicodemus are exceedingly fine, and the 
 expression of the Virgin's afflictive sorrow 
 is truly affecting; but the draperies and the 
 linen are not equal in merit to the other 
 parts of the picture. He died in 1670. 
 
 Vjsrrio (Antonio). He was born at 
 Naples in 1634, and having learned the 
 art of design in his own country, went to 
 France, wbere he was employed to paint 
 the high altar in the church of the Car- 
 melites, at Toulouse; but being invited by 
 Charles H. to enter into his service, he 
 came to England, and by the royal com- 
 mand was engaged at Windsor, where he 
 painted most of the ceilings, the chapel, 
 and one side of St. George's hall. In 
 one of these compositions he introduced 
 the portrait of Anthony Earl of Shaftes- 
 bury, in the character of Faction, and, 
 from a private pique to Mrs. Marriot, 
 the housekeeper, he borrowed her face 
 for one of the Furies. His invention was 
 but indifferent, though he had a free and 
 ready pencil, adapted to the particular 
 kind of works which he undertook and 
 understood, but he wanted elegance; and, 
 as to the propriety of his taste, it may 
 be easily estimated by the fact, that he 
 introduced himself and Sir Godfrey Knel- 
 ler, in long periwigs, as spectators of 
 Christ healing the Sick. His best per- 
 formance is the altar-piece in the chapel 
 at Chatsworth, representing the incredu- 
 lity of St. Thomas. On the accession of 
 James II. he was employed once more at 
 Windsor; but the Revolution produced 
 one in his affairs. He continued, how- 
 ever, to work for some of the nobility, 
 and at last painted the staircase at Hamp- 
 ton-court, which is as wretchedly done 
 as if he had acted from principle. He 
 died there in 1707. 
 
 Verschuring (Henry). He was born 
 at Gorcum, in Holland, in 1627, and was 
 successively the disciple of Dirk Goverts 
 and John Both, under whose direc- 
 tion he practised six years. Having 
 gained such a degree of knowledge as he 
 thought would enable him to pursue his 
 studies with advantage, he travelled to 
 Roaie, and attended regularly at the aca- 
 demy, to design after the naked ; he also 
 studied after the antiques, and the paint- 
 ings of the great ornaments of the Roman 
 School; besides which, he designed the 
 ruins and vestiges of superb architecture 
 in every part of Italy that he visited. His 
 landscapes were copied from nature, just 
 as the beautiful situations and scenes oc- 
 curred to him in his travels, and generally 
 show a judicious and agreeable choice. 
 He also introduced into them pieces of 
 architecture and ruins. But the peculiar 
 talent of Verschuring, lay in painting 
 battles and skirmishes of cavalry; and, to 
 enable him to represent these with exact- 
 ness, he was exceedingly curious in ob- 
 serving the actions, movements, and atti- 
 tudes of horses, and the engagements, 
 retreats, and encampments of armies; for 
 which purpose he made a campaign in 
 1672, to design his subjects on the spot. 
 His genius was fruitful and happy: there 
 appears great tire in his ideas; and as he 
 always studied after nature, he had no- 
 thing of the mannerist. His scenery is 
 beautiful, his figures are correctly designed, 
 and are touched with spirit. He finished 
 his pictures with extraordinary neatness of 
 pencil, and they are remarkably trans- 
 parent. One of his most capital perfor- 
 rnances is at Dort; and represents the 
 plundering of a country, particularly of a 
 castle. There is in it a view of the sea- 
 shore, to which a large herd of cattle are 
 driven as a prey: the owner of the castle 
 appears bound with cords, and his wife is 
 on her knees, as if supplicating her ene- 
 mies to accept of a ransom for herself and 
 her husband. This picture is exquisitely 
 finished, with a number of figures well 
 designed, correctly drawn, and with good 
 expression. The character of Verschuring 
 was such that he was chosen a burgomas- 
 ter of Dort, where he was unfortunately 
 drowned by the upsetting of a boat, in 1690. 
 
 Verschuring (William). He was the 
 son of Henry Verschuring, and was born 
 at Gorcum in 1657. Having learned the 
 principles of design from his father, he 
 afterwards studied for some time under 
 Jan Verkolie. The subjects of which he 
 
VER 
 
 VIA 
 
 seemed most fond, were conversations, 
 tliough he sometimes painted portraits; 
 and, by the works which he has left, it 
 appears probable, that, if he had continued 
 to practise this art witli the same assi- 
 duity that he had exerted at the beginning 
 of his studies, he would have arrived at 
 a high degree of eminence ; but he gradu- 
 ally discontinued painting to engage in 
 commerce. He died in 1715. 
 
 Vertaxgen (Daniel). He was born 
 at the Hague in 1598, and proved one of 
 the most eminent disciples in the school of 
 Poelemburg. He imitated that master, 
 not only in his handling and tone of colour, 
 but also in his taste and style of composi- 
 tion, so that the description of the man- 
 ner of Poelemburg would exactly suit 
 that of Vertangen. His subjects were 
 landscapes with nymphs bathing, caves, 
 and bacchanals, which he finished with 
 great delicacy and neatness of pencil; but 
 they are in general inferior to the paintings 
 of Poelemburg, and, if compared with the 
 genuine works of that master, they can- 
 not support a competition. However, the 
 truest description of the style of Vertan- 
 gen, as well as the best testimony of his 
 real merit, is to say, that many of his 
 paintings have been ascribed to his mas- 
 ter. He died at the Hague in 1657. 
 
 Verveer (Ary Hubertz). He was 
 born at Dort in 1646, and by many of his 
 countrymen was much esteemed for his- 
 torical compositions, which he usually 
 finished with naked figures. He was a 
 good designer, but painted in a rough 
 manner, so as to make it necessary to 
 view his pictures at a distance. The 
 greatest objection to his pieces is, that he 
 coloured the flesh of his figures of too 
 tawny a complexion ; and that the bluish 
 tint, always perceptible in fine carnations, 
 was not seen in any part of the naked 
 which he painted; but he seemed to be 
 fully satisfied if his pictures had a strong 
 and bold effect. It was remarked of him, 
 that though he designed, and painted 
 several subjects, he rarely found sufficient 
 resolution or application to finish any of 
 them as he ought to have done. 
 
 Verwilt (Francis). He was born at 
 Rotterdam in 1598, and at first was in- 
 structed in landscapepainting by Cornelius 
 de Bois, an artist of no great reputation, 
 but he afterwards became the scholar of 
 Poelemburg. His landscapes are painted 
 in an agreeable manner, generally clear, 
 and adorned with pieces of architecture 
 and ruins, which he designed in a good 
 
 taste. He constantly endeavoured to 
 imitate his master Poelemburg, and in 
 his figures very much resembled him ; but 
 though his figures are good, and his colour 
 clear, there is a great difference in the style 
 of their landscapes. He died in 1655. 
 
 Vespre (Victor and Francis Xavier). 
 These two foreign artists resided in Lon- 
 don, and, as they lodged together in St. 
 Martin's-lane, it is supposed they were 
 brothers. Victor painted fruit-pieces on 
 glass ; and Francis executed portraits in 
 oil, crayons, and miniature; he also en- 
 graved some plates in aquatinta. We 
 know no more of them than that Francis 
 exhibited in 1789. 
 
 ViANi (Giovanni). He was born at 
 Bologna in 1637, and was the disciple 
 of Flaminio Torre, but formed his taste of 
 design and composition from the works of 
 the most famous masters of the Lombard 
 School, as the Caracci and Guido. His 
 own performances were admired for the 
 airs of the heads, which were designed 
 much in the taste of Guido, for a tint of 
 colouring that was exceedingly pleasing, 
 and for correctness in his outlines. In 
 the church of the Servi, at Bologna, is a 
 picture by him, representing St. Filippo 
 Beninzi carried up to heaven by angels ; 
 which is extremely beautiful, as well 
 in respect of the design as of the 
 general effect. In the same church is a 
 piece of the crowning of the Virgin; and 
 in St. Giuseppe is an Annunciation, both 
 equal to the former productions of his 
 pencil. He died in 1700. 
 
 Viani (Domenico Maria). He was 
 the son and disciple of Giovanni Viani, 
 and was born at Bologna in 1670. From 
 the precepts of his father he learned 
 design, but perfected himself in the know- 
 ledge of colouring by his studies at Venice. 
 The manner of Domenico was bold, his 
 colouring agreeable, and he showed cor- 
 rectness and elegance in the contours of 
 his figures. The grandeur of his taste 
 may be seen in the celebrated picture 
 which he painted at Imola, composed in 
 honour of some particular saints, who 
 were supposed to have driven away the 
 pestilence from that city ; in which noble . 
 design fifty figures are represented as 
 large as life, extremely correct, and pleas- 
 ingly coloured ; though in general his 
 colouring is inferior to that of Giovanni, 
 having rather too much of one tint of co- 
 lour predominating through the whole; 
 yet he is bolder in his outline, and more 
 vigorous in his chiaro-oscuro. In a 
 2p 
 
VIE 578 
 
 chapel belonging to the church of the 
 Servi, at Bologna, is a grand altar-piece, 
 painted by Domenico Viani ; the subject 
 of which is a legendary story of the mira- 
 culous healing of a Pilgrim by Christ ; it 
 is in many of its parts very beautiful, 
 painted in a broad free manner, with a 
 bold pencil, and well designed, though too 
 much of one colour. In the church of the 
 Nativity, in the same city, are the Pro- 
 phets and Evangelists, painted by him; 
 and at Bergamo is a miracle of St. Antonio, 
 which is highly praised. He died at Pis- 
 toia in 1716. 
 
 VicENTixo (Andrea). He was born 
 at Venice in 1539, and received his in- 
 struction in the art from the elder Palma, 
 in whose style he painted history. He 
 was employed in some great works, repre- 
 senting subjects taken from the history of 
 the Venetian republic, in the palace of St. 
 Mark; but he also painted small pictures 
 for private collections, particularly on( 
 of the Coronation of Solomon, which ii 
 in the Florentine Gallery. He died in 
 1614. 
 
 VicENTiNO (Francesco Mattei). This 
 artist was a native of Vicenza and the 
 scholar of Santo Peranda, but improved 
 himself greatly by studying the works of 
 Paolo Veronese. He practised at Padua 
 with reputation, and died there in 1660. 
 
 VicENTiNO (Giovanni Nicolo), called 
 JRossigUani. This artist was bora at 
 Vicenza about 1510. He is better known 
 as an engraver on wood than a painter, 
 and his prints were executed by the junc- 
 tion of three blocks. 
 
 Victor, or Fictoor (Jan) . This Dutch 
 artist was born about 1600, but no parti- 
 culars of his life are recorded. It would 
 seem from his style, that he was bred in 
 the school of Rembrandt, to whom he was, 
 in many respects, equal. His subjects 
 were mostly taken from the sacred history 
 of the Old Testament. He died about 
 1670. 
 
 Victoria (Vicente). This Spanish 
 artist was born at Valencia in 1658, and 
 studied at Rome under Carlo Maratti, 
 after which he entered into the service of 
 the grand duke of Tuscany, who caused 
 his portrait to be placed in the Florentine 
 gallery. Victoria painted several good 
 pictures for the churches and convents at 
 Valencia, as well as for other places ; he 
 also etched some prints. He died at Rome 
 in 1712. 
 
 ViEN (Joseph Marie). This painter 
 was born at Montpellier in 1716. Ho 
 
 VIE 
 
 displayed a singular talent for drawing, 
 at the age of five years, and in his tenth 
 copied a fine picture of Le Brun's with 
 such exactness, that his parents suffered 
 him to follow his own inclination, though 
 their first intention was to bring him up 
 to the law. After receiving some in- 
 structions in his native place, he was sent 
 to Paris, where he became the pupil of 
 Natoire, and gained some prize medals 
 from the academy. He then went to 
 Rome, and studied, with incessant appli- 
 cation, the works of the first masters, as 
 well as the antiques, attaching himself 
 particularly to Guido, Guercino, and Do- 
 menichino. After executing some admir- 
 able performances there, among which 
 was one of a Sleeping Hermit, he returned 
 to France; but, having quitted his national 
 for the Roman manner, he was mortified 
 at being refused admittance into the aca- 
 demy, on the alleged ground of insuffici- 
 ency. He made a second attempt, but 
 with no better success, though Boucher, 
 an academician himself, reproached his 
 brethren for their injustice, and placed 
 his own son under the tuition of the re- 
 jected candidate. At length, in 1745, 
 prejudices died away, and Vien became a 
 member of the academy of Paris, of which 
 he was afterwards successively professor, 
 rector, and director. In 1775, he was 
 appointed director of the pensioners who 
 were sent to Rome, on which he went 
 thither, and remained there six years, 
 when he was recalled by the academy, 
 where he introduced some useful regula- 
 tions, particularly in the distribution of 
 the prizes ; but not without meeting with 
 much opposition from his associates. The 
 pictures which most completely established 
 the reputation of Vien, were those of St. 
 Martha ; the Centurion ; the Miraculous 
 Draught of Fishes ; the Preaching of St. 
 Denis ; and Venus rising from the Sea. 
 He also etched some spirited prints. He 
 lost his property in the Revolution, but 
 bore his misfortunes with patience, and 
 continued his profession with unabated 
 ardour till his death, in 1809. His wife, 
 who had been his pupil, was a distinguished 
 painter of objects of still life. She de- 
 picted birds, shells, and flowers, with 
 exquisite skill, and her productions are 
 eagerly sought for. Her domestic virtues 
 were equal to her talents. She died in 
 1805, at the age of seventy-seven. 
 
 ViERiA (F.) This artist was a native 
 of Portugal, and, after studying in Italy, 
 came to England about 1797. He chiefly 
 
VIL 
 
 painted history, and was several times an 
 exhibitor at the Royal Academy, parti- 
 cularly in 1798 and 1799. The subject 
 of the last piece he produced wasViriato, 
 chief of the Lusitanians, exhorting his 
 countrymen to take vengeance on the per- 
 fidy of Galba. During his residence in 
 England, he resided with Mr. Bartolozzi. 
 at Hammersmith, where he married; soon 
 after which he returned to Lisbon, and 
 died there in 1805. 
 
 ViGNALi (Jacopo). He was born at 
 Florence in 1592, and had Matteo Roselli 
 for his master; but his manner approaches 
 to that of Guercino. His principal oil 
 paintings are in the church of St. Simon, 
 at Florence ; but his frescoes are superior. 
 He died in 1664. 
 
 ViGNON (Claude). This French ar- 
 tist was born at Tours in 1593. He 
 studied at Rome, and adopted the style 
 of Michel Angelo Caravaggio with some 
 success. He also etched some prints. He 
 died at Paris in 1670. 
 
 ViGNON (Philip). He was the son of 
 the preceding, and was born at Paris in 
 1634. His father was his only instructor, 
 and under his direction he became a good 
 painter of history and portrait. He died 
 in 1701. 
 
 ViGNON (Claude Francis). He was 
 the brother of the last mentioned artist, 
 and was born at Paris in 1635. He also 
 studied under his father, Claude Vignon, 
 and confined himself to history. He died 
 at Paris in 1703. 
 
 ViGRi (Caterina). This lady was 
 born at Bologna in 1413, and was thought 
 so much of, on account of her piety as well 
 as talent, that the name of Santa Caterina 
 di Bologna was conferred upon her. She 
 seldom painted in oil, but was principally 
 employed in illuminating missals, and 
 executing religious subjects in miniature. 
 She died in 1463. 
 
 Vila (Senen). This Spanish artist 
 was born at Valencia, and studied under 
 Estevan Marc. He settled at Murcia, 
 where he was much employed in painting 
 for the churches and convents. As a 
 designer, particularly in his heads, he 
 was excellent, but he fell short in his 
 colouring. He died in 1708. 
 
 Vila (Lorenzo). He was the son and 
 pupil of the preceding, and was born at 
 Murcia in 1682. He painted in the style 
 of his father, and excelled in religious 
 subjects, being himself an ecclesiastic, 
 but died young, in 1713. 
 
 ViLADOMAT (Antonio). He was born 
 
 at Barcelona, in Spain, in 1678, but it is 
 not said who was his instructor. At the 
 age of twenty-one he was employed to 
 paint a series of pictures, representing the 
 principal events in the life of St. Bruno, 
 for the Carthusian monastery at Monte 
 Allegri. Afterwards he painted a similar 
 set of pictures, illustrative of the Life of 
 St. Francis, for the monastery of that or- 
 der at Barcelona. He died in 1755. 
 
 ViLLACis (Nicholas de). This Spanish 
 painter was born at Murcia, and educated 
 under Velasquez, at Madrid ; after which 
 he travelled to Rome, where he acquired 
 great improvement by studying the works 
 of the first masters. On his return to 
 Murcia, he obtaijled considerable distinc- 
 tion by his work$, the chief of which were 
 several pictures of the history of San Bias, 
 in the convent of Trinidad ; and the Mar- 
 tyrdom of St. Lorenzo, in the church of 
 the Dominicans. 
 
 Villavienczio (Pedro Nunez). He 
 was born at Seville in 1635, and studied 
 under Murillo, after which he went to 
 Malta, and there took lessons from Mat- 
 teo Preti, called Calabrese ; whose style, 
 however, he quitted for that of his former 
 master. Being a man of fortune, he only 
 painted for his amusement, and gave his 
 pictures either to his friends, or the con- 
 vents and churches at Seville. He died 
 in 1700. 
 
 Villebrune (Mary de). This lady 
 was an exhibitor at the Royal Academy 
 in the year 1770 and 1771. Her per- 
 formances were portraits, both in oil and 
 crayons; but her powers in that line were 
 not eminent. In the catalogue of the 
 exhibition in 1777, an addition is made 
 to her name of De Noblet, whence it is to 
 be supposed tliat she was then married. 
 In 1782 her original name appears, after 
 which time she ceased to exhibit. 
 
 ViLLEQuiN (Stephen). This French 
 artist was born at Ferriere in 1599, and, 
 though we are not told who was his in- 
 structor, he became a good painter of 
 history and portrait. He died at Paris 
 % 1668. 
 
 ViMERCATi (Carlo). This painter was 
 born at Milan in 1661, and had Camillo 
 Procaccini for his instructor, under whom 
 he became a distinguished artist in his- 
 torical composition. He died at Milan 
 in 1716. 
 
 Vinci (Leonardo da). This illustri- 
 
 s painter was the natural son of one 
 Piedro, a notary of Florence, and obtained 
 the name of Vinci from the place of hia 
 
VIN 
 
 580 
 
 VIN 
 
 nativity, a small castle or fortified town, 
 in the Valdarno di Solto. He was born 
 in 1445, and at a proper age was placed 
 under Andrea Verocchio, at the same 
 time that Pietro Perugino studied in that 
 school. From the excellence of his genius 
 he made so rapid a progress as soon to 
 surpass his master, who, having painted 
 a picture of St. John baptising our Saviour, 
 ordered Leonardo to insert an angel hold- 
 ing up some of the vestments. When 
 this was done, the figure appeared so 
 prominently superior to the rest, that 
 Verocchio felt ashamed of his own defici- 
 ency, and relinquished the pencil for ever. 
 Da Vinci now set up for himself, and 
 executed many pictures at Florence with 
 great applause ; and the universality of 
 his genius soon appeared. He had a per- 
 fect knowledge of the theory of his art. 
 He was by far the best physiologist of his 
 time, and certainly the first man who 
 introduced the practice of making anato- 
 mical drawings. According to Vasari, 
 his first attempt was a book of the anatomy 
 of a horse ; but he soon afterwards applied 
 with more diligence to the human anatomy, 
 in which study he reciprocally received 
 from, and communicated assistance to, 
 Marco Antonio della Torre, an excellent 
 philosopher, who then read lectures in 
 Pavia, and wrote upon that subject. For 
 him Da Vinci made a book of studies, 
 drawn with red chalk, and touched with 
 a pen, of such subjects as he had himself 
 dissected, wherein he represented the 
 bones, and, having joined to them, in 
 their order, all the nerves, covered them 
 with muscles. Concerning these, from 
 part to part, he wrote remarks, in letters 
 of an ugly form, which were written witli 
 the left hand, backwards, and not to be 
 understood but by those who could read 
 the characters, and were acquainted with 
 the method. These drawings are now in 
 her majesty's possession; and many years 
 ago, when Dr. William Hunter had the 
 inspection of them, he expressed his full 
 persuasion that Da Vinci was the best 
 anatomist of his age. Leonardo was also 
 well skilled in optics, geometry, and al 
 most every branch of science. He was a 
 good architect, an able carver, and ex- 
 tremely well versed in mechanics ; he had 
 a fine voice, and played music, as well as 
 sang with taste. Having, moreover, the 
 advantage of a well-formed person, he 
 excelled in many of the athletic exercises. 
 He understood the management of the 
 horse, and took great pleasure in appear- 
 
 ing well mounted ; besides which, he was 
 very dexterous in the use of arms. His 
 behaviour likewise was polite, his conver- 
 sation engaging, and no man ever left him 
 without admiration. His reputation soon 
 spread itself over Italy; and Lewis Sforza, 
 Duke of Milan, invited him to his court, 
 whither he went in 1494, and there painted 
 a Nativity, as an altar-picture, which was 
 presented to the emperor. At the desire 
 of the duke he became the director of the 
 academy for architecture, which was then 
 just established, and in that capacity 
 Leonardo restored the simplicity and purity 
 of the Grecian and Roman models. About 
 this period, the duke, having formed the 
 design of supplying the city of Milan with 
 water, by a new canal, intrusted the 
 execution of the design to Leonardo. In 
 order to accomplish this vast design, he 
 spent much time in the study of the ma- 
 thematics, applying with double ardour 
 to those parts which might give him light 
 into the work he had undertaken. To 
 these studies he joined antiquity and his- 
 tory, observing, as he went along, how 
 the Ptolemies had conducted the waters 
 of the Nile through the several parts of 
 Egypt, and how Trajan had opened a 
 commerce with Nicomedia, by rendering 
 navigable the lakes and rivers lying be- 
 tween that city and the sea. At length 
 he happily achieved what some thought 
 next to impossible, the rendering hills and 
 valleys navigable with security. The 
 canal which goes by the name of Monte- 
 sana, is above two hundred miles in length, 
 and passes through the Valteline, and the 
 valley of Chiavenna, conducting the river 
 Adda to the very walls of Milan. After 
 Leonardo had been labouring some years 
 for the service of Milan, in quality of en- 
 gineer and architect, he was desired by 
 the duke to adorn the city with his paint- 
 ings. He obeyed the injunction, and, 
 among other performances, produced his 
 masterpiece, the picture of the Last Sup- 
 per, in the church of the Dominicans. Of 
 thiswonderful effortof human art, Rubens, 
 in a Latin manuscript, part of which has 
 been translated by De Piles, observes, that 
 " nothing escaped Leonardo that related 
 to the expression of his subject ; and by 
 the warmth of his imagination, as well as 
 by the solidity of his judgment, he raised 
 divine things by human, and understood 
 how to give men those different degrees 
 that elevate them to the character of 
 heroes. The best of the examples that 
 Leonardo has left us is the Last Supper, 
 
VIN 
 
 in which he has represented the apostles 
 in places suitable to them ; but our 
 Saviour is in the midst of all, being 
 the most honourable, having no figure 
 near enough to press or incommode him, 
 His attitude is grave, his arms are in a 
 loose, free posture, to show the greater 
 grandeur; while the apostles appear in 
 agitation, by their vehement desire to 
 know which of them should betray their 
 master; in which agitation, however, not 
 any meanness, or indecent action, can be 
 observed. In short, by his profound spe- 
 culations, he arrived at such a degree of 
 perfection, that it seems impossible to 
 speak as highly of him as he deserves, and 
 much more impossible to imitate him." 
 This picture was left unfinished for some 
 time, in the head of Christ, and the face 
 of Judas : the former was purposely left 
 imperfect, as the painter could not express 
 that sublime idea which he had conceived 
 in his mind, of the Redeemer of the world 
 in a human form ; and he delayed the 
 latter, as he wanted to combine in the 
 features of one face, avarice, ingratitude, 
 malice, treachery, and every evil disposi- 
 tion of the human heart. The first he 
 never attempted to finish ; but he amply 
 answered his purpose in the head of Judas, 
 by giving the intended figure a striking 
 likeness of the prior of the convent. M. 
 Cochin, a French traveller, who visited 
 Italy in 1757, describing the picture of 
 the Last Supper, after giving a particular 
 description of the beauty of the design, 
 the fine airs of the heads, the noble cast 
 of the draperies, and observing that in 
 general it was extremely in the taste of 
 llafTaelle, concludes with noticing a very 
 singular impropriety in it, which is, that 
 the hand of St. John has six fingers. Of 
 this celebrated painting, three heads only 
 remain of Leonardo's own performance; 
 and the loss of the work is attributed to 
 its not having been executed in distemper 
 instead of oil. The consequence of this 
 injudicious choice was, that it began to 
 fade within fifty years after its first ap- 
 pearance, and in 1642 it was described as 
 being almost obliterated. It is, however, 
 well perpetuated by copies made for 
 Francis I., one of which, tlie work of his 
 disciple Oggione, was publicly exhibited 
 in London in 1817; and it is remarkable 
 of this fine picture, that the heads said to 
 have been left unfinished in the original 
 were here perfect. Leonardo was un- 
 com^monly slow in finishing his pictures. 
 
 quisite. He spent four years on the por- 
 trait of Mona Lisa, the wife of Francesco 
 di Giocondo, in which it is astonishing 
 to observe how closely he has imitated 
 nature. The eyes have all the lustre of 
 life, the hairs of the eyebrows and lids 
 seem real, and even the pores of the skin 
 are perceptible. In his composition he 
 was careful to avoid encumbering it with 
 a multitude of figures, and therefore never 
 admitted a greater number into his design 
 than what were absolutely necessary to 
 illustrate his subject; and he had sufficient 
 judgment and power of execution to give 
 every figure its proper character. The 
 disorders of Lombardy, and the misfor- 
 tunes of his patrons, obliging Leonardo 
 to quit Milan, he retired to Florence, 
 where he obtained a secure asylum and 
 constant employment under the Medici. 
 In 1503, the Florentines resolving to 
 have their council chamber painted, in- 
 trusted, by a public decree, the execution 
 of the work to Leonardo. He accepted 
 the charge, but desired to call in the as- 
 sistance of Michel Angelo, a distinction 
 which that great artist very ill requited 
 in his conduct to the Nestor of the art. 
 Michel Angelo, though then but a young 
 man, had yet acquired a reputation, and 
 was not afraid to cope with Leonardo; 
 but jealousy arose between them, and, 
 each having his partisans, open war was 
 the consequence. It was during the heat 
 of this contest that Raffaelle came to Flo- 
 rence, on purpose that he might behold the 
 works of Leonardo, which filled him with 
 such astonishment, that he immediately 
 altered his own style. Leonardo remained 
 at Florence till 1513, and then, as is said, 
 went, for the first time in his life, to Rome, 
 where Leo X. received him graciously, 
 and resolved to employ his talent upon a 
 great work. The painter, thus encouraged, 
 set himself to the distilling of oils and the 
 preparing of varnishes ; which, when Leo 
 heard, he said, " Nothing could be ex- 
 pected from a man who thought of finishing 
 his works before he had begun them." The 
 truth of this story, however, is doubted, 
 and it is a matter of uncertainty whether 
 Leonardo ever was at Rome during that 
 pontificate. Not long after this he accepted 
 an invitation from Francis I. who received 
 him at Fontainebleau with very flatter- 
 ing marks of distinction, and assigned 
 him apartments in the palace. But the 
 lamp of life was now sunk low, and the 
 fatigue of so long a journey produced a 
 
 but whenever he did so, they were ex- [ severe shock in a constitution which, 
 
VIN 
 
 582 
 
 VIN 
 
 however athletic it might have heen, was 
 much enfeebled by incessant labour and 
 vexation. Certain it is, that though 
 much was expected from his genius, he 
 never exercised his pencil in France. He 
 grew every day worse, and, during his 
 illness, the king came frequently to en- 
 quire after his health. On one of these 
 visits, as Da Vinci was raising himself 
 up in bed to thank the king for the honour 
 doi.6 him, he was seized with a fainting 
 fit, &nd the monarch stooping to support 
 him, Leonardo expired in his arms, in 
 1520. The professional history of Leonar- 
 do has been ingeniously, if not fancifully, 
 divided into four periods; the first of 
 which was that spent by him at Florence. 
 In this portion are included the Medusa, 
 and other works mentioned by Vasari, as 
 well as some others, in which there is 
 less power of shade and less complicated 
 drapery, than can be observed in his other 
 performances. The second is that space 
 of time spent by him at Milan, where, 
 being more employed in mechanics than 
 painting, it is not to be wondered that he 
 should have produced few pictures. Yet 
 to this period belongs his immortal paint- 
 ing of the Last Supper, in the refectory 
 of the Dominicans. The third period 
 commenced with the return of Leonardo 
 to Florence, after the downfal of his 
 great patron. At this time he accom- 
 plished some admirable pieces: among 
 which were the portrait of Mona Lisa, 
 already mentioned ; the cartoon of St. 
 Anna, prepared for the church of the 
 Serri; another cartoon of the battle of 
 Nicolo Priccino, drawn in competition 
 with Michel Angelo, but never coloured. 
 To this period must also be assigned his 
 own portrait, which is in the Florentine 
 gallery; the picture of Christ among the 
 Doctors; the portrait of Queen Johanna, 
 with architecture; Vertumnus and Po- 
 mona, generally known by the name of 
 Vanity and Modesty; and that which is 
 deemed the best of all, the Virgin begging 
 the Lily of the Infant. That which is 
 termed the fourth period of the life of 
 Leonardo is barren of incident, and exhi- 
 bits nothing but the melancholy picture 
 of an aged man, worn out by a variety of 
 extraordinary labours, which no other 
 man of his time could have performed, 
 quitting his native land to seek an asylum 
 among strangers, and there closing his 
 career in the arms of one of the greatest 
 sovereigns of Europe. Had the gigantic 
 powers of Leonardo been exclusively em- 
 
 ployed in the art of which he was so great 
 an ornament, he would have left little to 
 be done by the two luminaries who were 
 then just risen above the horizon; and it 
 was only owing to his negligence, versa- 
 tility, and want of perseverance, that 
 Michel Angelo and llaffaelle possessed 
 themselves of those honours which he 
 might have exclusively made his own. 
 Leonardo composed a great number of 
 discourses upon various subjects, among 
 which were, a Treatise of the Nature, 
 Equilibrium, and Motion of Water; a 
 Treatise on the Anatomy of the Human 
 Body; another of the Horse; a Treatise 
 of Perspective ; one of Light and Shadow ; 
 and a Treatise of Painting, which last is 
 the only one that has been printed. A 
 noble edition of it was published at Paris 
 by Du Fresne, in 1651, with figures by 
 Nicholas Poussin; and an English trans- 
 lation of it appeared in 1781, 8vo., and 
 again in 1796. 
 
 ViKCKENBOOMS, OrVlNJCOBOON (DaVID). 
 
 He was born at Mechlin in 1578, and was 
 instructed by his father, Philip Vinckcn- 
 booms, who painted only in distemper, 
 which his son also practised with success ; 
 though he afterwards carefully studied 
 the art of painting in oil, and all his sub- 
 sequent works were painted in that man- 
 ner. He excelled in landscapes in a small 
 size, which he usually crowded with figures, 
 cattle, carriages, houses, and trees, in all 
 which he showed a good taste of design. 
 His subjects were sometimes taken from 
 sacred history, conversations, rural feasts, 
 weddings, fairs, or festivals, which, for 
 the most part, he copied after nature; and 
 in several of his cheerful compositions 
 there appeared humour and strong ex- 
 pression, but without the least elegance 
 or grace. The peculiar genius and taste 
 of Vinckenbooms may be judged of by a 
 picture of his at Amsterdam, representing 
 Christ carrying his Cross; and by another 
 at Frankfort, of which the subject is 
 Blind Bartimeus i-estored to sight ; both 
 which, as well as some of his landscapes, 
 have been engraved. But one of the most 
 remarkable of his pictures is in the Hos- 
 pital of the Old Men at Amsterdam, and 
 represents a crowd of people viewing the 
 drawing of a lottery by torchlight. His 
 landscapes, in respect to the touch and 
 the colouring, have considerable merit, 
 though somewliat stifi" and hard. In 
 many of his pictures Rothenhamer in- 
 serted the figures ; and yet those of Vinck- 
 enbooms himself are executed with spirit, 
 
VIO 
 
 583 
 
 VIT 
 
 and very correctly drawn. lie died at 
 Amsterdam in 1629. 
 
 ViNNE (Vincent Vandeb). He was 
 born at Ilaerlem in 1629, and was the 
 scholar of Francis Hals, whose handling 
 and colouring he imitated very happily. 
 He painted almost all kinds of subjects 
 with equal readiness and ease, as well in 
 a large size as in a small; but he parti- 
 cularly excelled. in portraits, in the taste 
 and manner of his master, giving them 
 an agreeable likeness and character, and 
 touching them with a spirited pencil ; for 
 Hals laid it down as a maxim to his pupils, 
 to practise at first with boldness and free- 
 dom, observing that neatness and high 
 finishing would afterwards be easily ac- 
 quired. Vander Vinne proved less atten- 
 tive to his fame than his fortune, and 
 depreciated his talents so far as to under- 
 take every kind of subject from which an 
 immediate profit arose. He had a lively 
 imagination, and a fertile invention, as 
 evidently appears in the emblematical pic- 
 tures which he composed in the manner 
 of Goltzius and others; but as he always 
 made nature his study, he was remarkable 
 for the exactness of his imitations. On 
 leaving Hals, he travelled through Ger- 
 many, Switzerland, and France; and in 
 1657 returned to Haerlem, where he 
 -continued to reside the remainder of his 
 life, which terminated in 1702. Besides 
 history and portrait, he painted landscapes 
 and drolleries in an agreeable manner. 
 
 Vinne (Lawrence Vander). He was 
 the son of Vincent Vander Vinne, and 
 was born at Haerlem in 1658. After the 
 example of his father, who was his only 
 instructor, he painted a variety of subjects, 
 but chiefly flowers of the rarest kinds ; 
 and he worked as neatly in water colours 
 as in oil. A friend of his, who was ex- 
 tremely curious, having procured a num- 
 ber of uncommon exotics from the East 
 and West Indies, employed him to paint 
 them after nature, and he executed the 
 work with approbation. He was, how- 
 ever, in all respects far inferior to his 
 father. He died in 1724. Old Vander | 
 Vinne had two other sons, John and Isaac, 
 who were also painters, but lived and died 
 in obscurity. | 
 
 Viola (Giovanni Battista). He was 
 born at Bologna in 1572, and was the 
 disciple of Annibale Caracci, with whom 
 he studied several years, and became an 
 excellent artist. On leaving the school 
 of Caracci, he went to Rome with his 
 fellow student Albano, and became his 
 
 associate in several important works in 
 that city, Albano painting the figures, and 
 Viola the landscapes. Fresnoy, who un- 
 doubtedly was an able judge, allows the 
 works of Viola to be wonderfully fine and 
 well coloured. He painted a grand land- 
 scape for Cardinal Montalto, in conjunc- 
 tion with Paul Bril, whose manner, as 
 well as that of Brueghel, he studied to 
 imitate. He also executed several noble 
 compositions in the Villa Aldobrandini, 
 which rendered him famous through all 
 Italy. He died at Rome in 1622. 
 
 VissciiER (Cornelius de). This Dutch 
 artist was born in 1520. He excelled in 
 history and portrait, but was unfortu- 
 nately drowned in his passage from Ham- 
 burgh to Amsterdam in 1568. 
 
 VisscHER (Theodore or Dirk). He 
 was born at Haerlem in 1650, and had 
 Nicholas Berchem for his instructor ; 
 after which he went to Rome, where he 
 became a member of the Bentvogel So- 
 ciety. He painted landscapes and animals 
 in the style of his master; but his touch is 
 more negligent. He died at Rome in 1707. 
 
 ViTALi (Can dido). He was born at 
 Bologna in 1680, and had his education 
 in the school of Carlo Cignani, where he 
 applied chiefly to the painting of animals, 
 birds, flowers, and fruit ; in which sub- 
 jects he acquired an admirable taste for 
 delicacy of touch and beauty of colouring. 
 He died in 1753. 
 
 ViTALi (Giuseppe). He was also a 
 native of Bologna, and studied under 
 Giovanni Giuseppe dal Sole, by whose 
 instructions he became a good painter of 
 history. His works are mostly in the 
 churches of Bologna, where he lived about 
 the year 1720. 
 
 VlTE (TiMOTEO DELLA, DA UrBINo). 
 
 This artist, as his cognomen imports, was 
 a native of Urbino, and born in 1470. 
 He received his education at Bologna, 
 under Francesco Francia, and continued 
 in his school till he was twenty-six years 
 of age, when he returned to his native 
 place; but soon afterwards he went to 
 Rome, where his relation, Raffkelle, en- 
 gaged his assistance in painting the Sibyls, 
 in the church of La Pace, and gave him 
 the cartoons. He soon afterwards returned 
 to Urbino, where he painted several capital 
 pieces in thecathedral, and other churches. 
 He was also employed on similar works 
 at Siena, Forli, and other cities. The 
 first style of Timoteo was rather hard and 
 gothic; but after his connexion with Raf- 
 faelle, he improved greatly, and his design 
 
VI V 5 
 
 was not only correct, but full of grace, 
 though he was deficient in invention. 
 His best works are the Conception, in 
 the church of the Osservanti, at Urbino; 
 and Christ appearing to Mary Magdalen, 
 at Cagli. He died in 1524. 
 
 ViTE (PiETRo della). He Is sup- 
 posed to have been the brother of the pre- 
 ceding, and to have learned from him the 
 principles of painting. He appears also 
 to have been an ecclesiastic, and was one 
 of the heirs of Raifaelle. 
 
 ViTRiNGA (William). This Dutch 
 artist was the scholar of Louis Back- 
 huysen, to whose manner he adhered 
 with great credit in the representation of 
 sea pieces and ports. He was living in 
 1744. 
 
 VivARiNi (Babtolommeo and Antonio), 
 see p. xliii. 
 
 ViviANi (Ottavio, called Codazzo). 
 He was born at Brescia in 1599, and 
 was the disciple of Tomaso Sandrino, 
 an eminent painter of perspective in that 
 city; but afterwards he studied under 
 Agostino Tassi, who had been the dis- 
 ciple of Paul Bril, and was excellent in 
 painting architecture. Under these in- 
 structors he became an admirable painter 
 in their style, but surpassed them both 
 considerably. His subjects were the 
 ruins of magnificent edifices, porticoes, 
 convents, and churches, which, for the 
 truth of perspective, delicate handling, 
 and fine keeping, are unrivalled. No- 
 thing can be more true than the perspec- 
 tive paintings of Viviani; nothing more 
 elegant and grand in the disposition, nor 
 more beautiful than his choice of objects. 
 His figures are generally placed with 
 peculiar judgment, and so skilfully pro- 
 portioned to their situation, as by their 
 comparative height, to make the magni- 
 ficence of his buildings more striking, 
 even at the first view; and by his thorough 
 knowledge of the principles of the chiaro- 
 oscuro, as also by an excellent style of 
 colouring, he gave to every column and 
 elevation the look of real nature, and 
 every ornament and member of his archi- 
 tecture fills the eye and the imagination 
 with uncommon satisfaction. He died in 
 1674. 
 
 Vivien (Joseph). He was born at 
 Lyons, in France, in 1657, and was the 
 disciple of Charles le Brun, with whom 
 he was so indefatigable in his study and 
 practice, that while in his school he gained 
 considerable credit by some performances 
 which he painted in oil. The first finished 
 
 4 VLE 
 
 work which contributed to raise his repu- 
 tation was a family picture, twelve feet 
 long, and ten in height; but another 
 painting in crayons, which had all the 
 force, beauty, and harmony of oil paint- 
 ing, rendered him still more the object 
 of admiration. On observing that his 
 pictures began to be approved, he under- 
 took to paint portraits in the historical 
 style, adorned with agreeable vistas, or 
 embellished with fabulous and allegorical 
 figures. Some of these [)ieces were after- 
 wards engraved. From France he went 
 to Brussels and Bavaria, at which latter 
 court he painted the portrait of the 
 elector in crayons, so exquisitely, that, to 
 preserve it from dust or damp air, that 
 prince had it covered with a crystal forty- 
 eight inches high, which was the dimen- 
 sions of the picture: he also appointed 
 him state painter, and made him several 
 valuable presents. To show farther his 
 opinion of the merit of Vivien, he sent 
 his portrait to the grand Duke of Tuscany, 
 who placed it in the Florentine gallery of 
 artists. No painter in crayons had more 
 beauty in his tints than Vivien, nor more 
 grace or elegance in the airs of his heads 
 and his attitudes. He gave extraordinary 
 softness and relief to his carnations; for 
 which reason, he was called by some of 
 his countr3'men, the FrenchVandyck, his 
 crayon paintings being allowed to have 
 such a degree of force, as few of th^ 
 painters in oil have surpassed. He died 
 at Munich in 1735. 
 
 Vlekick (Petek). He was born at 
 Courtray in 1539, and at first was in- 
 structed by William Snellaert, an artist 
 who painted in distemper; but he after- 
 wards improved himself in correctness of 
 design, and in a better style of painting, 
 under Charles d'Ypres; whose temper, 
 however, was so capricious, that he was 
 constrained to quit him, and being in very 
 narrow circumstances, was forced to seek 
 his fortune out of his own country. After 
 contending with many difficulties, he 
 arrived at Venice, where he obtained the 
 friendship of Tintoretto; and by studying 
 the works of that excellent painter, and 
 observing his instructions, he acquired a 
 good style of colouring as well as of com- 
 position. To perfect himself still farther, 
 he went to Rome, where he designed after 
 the antiques, and sketched the beautiful 
 views on the banks of the Tiber with 
 great spirit and freedom of hand ; and in 
 the same manner he designed the pro- 
 spects about Naples and Puteoli. During 
 
VOE 5i 
 
 his residence at Rome, he finished several 
 historical pictures in oil, as well as in 
 distemper, which gained him considerable 
 reputation ; and on his return to his own 
 country, his compositions procured him 
 the approbation of all the artists of his 
 time. The subjects of some of these 
 compositions were, Judith with the head 
 of Holofernes; the Brazen Serpent; the 
 Four Evangelists ; and a Crucifixion. In 
 all his performances, the manner of Tin- 
 toretto was observed, and he retained it 
 to the last. He was skilled in perspective 
 and architecture, disposed his figures with 
 judgment, and had an agreeable style of 
 colouring. In his picture of the Cruci- 
 fixion, he represented the position,of Christ 
 on the Cross contrary to the general 
 practice of all other painters, and de- 
 scribed him hanging only by the hands 
 as they were nailed, without any other 
 support. He died in 1581. 
 
 Vlenghkls (Philip). This artist was 
 born at Antwerp in 1620, and became a 
 good painter of history. He died at 
 Paris in 1694. 
 
 ViiiEGER (Simon de). He was born 
 at Amsterdam about 1612, but his in- 
 structor is not known. He became, 
 however, an admirable painter of marine 
 pieces and landscapes; in which, though 
 his merit was eclipsed by his scholar, the 
 younger Vandervelde, he was superior to 
 most of the artists of his time. One of i 
 his finest performances is a picture of 
 Christ in the Storm. Vlieger produced 
 also some masterly etchings. He died 
 about 1670. 
 
 Vliet (William Van). He was born 
 at Delft, in Holland, in 1584; and though 
 his instructor is not known, he proved a 
 good artist in history and portrait. His 
 touch was firm and facile, and his colour- 
 ing excellent. He died in 1642. 
 
 Vliet (Hendrick Van). He was 
 born at Delft, in 1608, and learned the 
 principles of painting from his uncle, 
 William Van Vliet; but to establish him- 
 self in the best style of portrait painting, 
 he placed himself as a disciple with 
 Mirevelt. Though he had great merit in 
 that line, he -was most successful in 
 painting perspective views of the insides 
 of churches, Avhich were usually repre- 
 sented by candlelight, and he filled those 
 pictures with excellent figures of a small 
 size, always contriving to dispose his 
 lights in such a manner as to produce a 
 very pleasing effect. 
 
 VoET (Charles Bosschaert). He 
 
 5 VOL 
 
 was born at Zwolle in 1670, and was 
 instructed by his brother, a burgomaster 
 of that city, and an excellent painter of 
 plants and flowers. He also practised 
 under another flower painter for some 
 time; but his master, being jealous of his 
 talents, endeavoured rather to conceal 
 the secrets of the art of colouring from 
 him, than to acquaint him with its true 
 l)rinciples. Voet therefore quitted him, 
 and applied himself with the greatest 
 industry to study accurately after nature. 
 His proficiency soon manifested the good- 
 ness of his genius ; and when he was only 
 nineteen years of age, his merit recom- 
 mended him to William Bentinck, the 
 favourite of William III., who took him 
 in his train to London, settled on him a 
 considerable annuity, and bought all his 
 works as soon as they were finished. As 
 he painted entirely after nature, he had 
 those objects which he copied always 
 ready for use in his own garden, which 
 he took care to supply with the most 
 beautiful kinds of plants and flowers; 
 some of them exotics, and others natives 
 of his own climate. His colouring was 
 extremely natural, his pencil delicate, 
 and some of his birds have been esteemed 
 scarcely inferior to those of Hondekoeter. 
 He died in 1519. 
 
 VoLCKAERT (N.) This old Dutch 
 painter was born at Haerlem, in 1450. 
 He excelled in distemper, and designed 
 well for the time he lived, in the style of 
 the antique. He died in 1519. 
 
 Vollevens (John). This Dutch 
 painter was born at Gertruydenberg in 
 1649, and was successively the scholar of 
 Netscher, Nicholas Maas, and John de 
 Baan ; but his greatest improvement is 
 ascribed to his studies under the latter, to 
 whom he became almost equal before he 
 left his school. The Prince of Courland 
 was his first patron, and procured him the 
 advantage of painting the portraits of all 
 the officers of his own regiment. The 
 Prince of Nassau became his next friend, 
 and was painted by him at full length, aa 
 large as life, which effectually established 
 his reputation. The colouring of Vol- 
 levens was natural, and a remarkable 
 freshness, ease, and elegance of taste ap- 
 peared in his figures, which he always 
 disposed judiciously, and produced 'a 
 striking resemblance of the persons who 
 sat to him. The harmony observable in 
 all his performances is a sufficient proof 
 that he had profitably studied the great 
 masters. He died at the Hague in 1728. 
 
VOL 5i 
 
 . VOLTBRKA, or RiCCIABELLI (DaNIELE 
 
 da). His family name was liicciurelli, 
 but the appellation of Volterra was given 
 him from the place of his nativity, accord- 
 ing to a custom which at that time 
 generally prevailed through Europe. He 
 was born in 15.09, and learned the 
 principles of painting from Giovanni 
 Antonio Vercelli; but he improved him- 
 self more by the instructions of Bulthasar 
 Peruzzi, of Siena. Yet he made no con- 
 siderable progress ; for though he studied 
 with diligence, and was impelled by a 
 desire to succeed in his profession, his 
 genius appeared heavy, and his execution 
 v/as slow. His first works, therefore, in 
 his own country, showed much more of 
 the stiffness of labour than of any thing 
 grand in the design, or noble in the taste; 
 his ideas are without grace, and his in- 
 vention was devoid of elegance, contrary 
 to those great masters who seemed to be 
 born painters, and whose early produc- 
 tions afforded promising expectations of 
 their future perfections. What he wanted 
 in quickness of parts was, however, com- 
 pensated by his diligence and industry : 
 and as he found neither antique figures 
 nor any fine paintings in his native city, 
 which could inspire him with more ele- 
 vated ideas, and prove incentives to him 
 to aspire after a nobler manner, he deter- 
 mined to visit Rome, as the only place 
 that could furnish him with proper models 
 for his improvement. He there painted 
 a picture in oil, representing the Scour- 
 ging of Christ, with a number of figures, 
 which he designed after living models, 
 and the faces were also portraits. This 
 picture was finished with great care and 
 skill; and, when finished, presented to 
 Cardinal Trivulzi, who received it with 
 satisfaction, became his patron, and, what 
 was still more, conceived a particular 
 friendship for him; and thus, by his in- 
 terest, Volterra had soon after sufficient 
 employment. At Rome he no longer ad- 
 hered to the manner of his first master, 
 but studied and adopted the style of Michel 
 Angelo, and was not only much improved 
 by the works of that famous artist, but 
 promoted by his recommendation. For 
 some time he worked with Pierino del Vaga 
 in the chapel belonging to Agnolo de 
 Massimi, at Rome ; and after the death 
 of his associate, he succeeded him in his 
 pension and employment. But the work 
 which immortalized the fame of Volterra, 
 was the History of the Cross, painted in a 
 chapel belonging to the church of Trinita 
 
 6 VOO 
 
 del Monte, on which he spent seven years. 
 The finest piece of this series represents 
 Christ taken down from the cross by 
 Joseph, Nicodemus, and other disciples; 
 the Virgin is in a swoon, supported by the 
 two Maries. It is an admirable perform- 
 ance, disposed with great skill and judg- 
 ment, having a deal of grace, with good 
 expression. According to the opinion of 
 Nicolo Poussin, the Transfiguration, by 
 RaSaelle ; the Communion of St. Jerome, 
 by Domenichino; and the Descent from 
 the Cross, by Volterra, were the three 
 most capital pictures in the world. This 
 celebrated picture was destroyed by the 
 French in their attempt to detach it from 
 the wall, when it fell to pieces and per- 
 ished. The principal works of this master 
 are at Rome; but when he revisited his 
 native city, he left there, as a memorial of 
 his affection, the history of the Murder of 
 the Innocents, with figures of a small 
 size, which was placed in the church of 
 St. Peter, and is esteemed a masterpiece 
 of art. It afterwards came, by purchase, 
 into the Florentine Gallery. Not long 
 after. Pope Paul IV. having, through an 
 excess of zeal, determined to deface the 
 Last Judgment of Buonarroti, on account 
 of the nudities, was with great difficulty 
 prevailed on to alter his resolution by the 
 importunity of the cardinals, who were 
 better judges of the merit of that grand 
 composition than himself. Volterra was 
 therefore appointed to clothe the exception- 
 able figures with proper draperies, suitable 
 to the attitudes; and he executed that work 
 extremely to his own honour, although it 
 deprived the original of many of its real 
 beauties. He painted several grand com- 
 positions for Cardinal Farnese, and also in 
 the papal palace of Belvidere; but Julius 
 HI., who succeeded Paul, having divested 
 Volterra of his pension and employment, 
 he quitted painting entirely, and ever after 
 applied himself to sculpture. He died at 
 Rome in 1566. 
 
 VotTEKBANO, See Franceschini. 
 
 VooBHOWT (John). He was born at 
 Amsterdam in 1647, and at first was the 
 disciple of Constantine Verhout, of Gouda, 
 a good painter of conversations, with 
 whom he continued six years, and then 
 became the scholar of John Van Noort, a 
 painter of portrait and history, at Amster- 
 dam, with whom he spent five years in 
 completing his studies. When he began 
 to practise, he was very industrious to 
 improve himself by studying after nature, 
 and made so great a proficiency, that in a 
 
VOS 5i 
 
 few years his works rose into mncli esteem. 
 In 1672, the French army having entered 
 Holland, Voorhout went to Hamburgh, 
 where he met with great encouragement, 
 and was entreated to settle in that city. 
 On the restoration of peace, however, he 
 returned to Amsterdam, and continued 
 there in constant employment till his death 
 in 1710. One of his most capital pictures 
 is the Death of Sophonisba, which is well 
 designed, and with a strong expression. 
 The historical subjects which he chose to 
 paint were of a noble and elevated kind ; 
 and such as were sufficient to employ all 
 his powers of genius to represent with 
 dignity and propriety. 
 
 VooHT (CoRNEi.ius Vander). He was 
 born at Antwerp in 1580, and excelled in 
 portraiture, which he practised at Amster- 
 dam with great reputation. He died there 
 in 1632. 
 
 Vos (Martin de). He was born at 
 Antwerp, according to the most authentic 
 accounts, in 1520, and was instructed by 
 his father, Peter de Vos, a very able 
 artist; but afterwards he became the dis- 
 ciple of Francis Floris, from whom he 
 gained great knowledge of design and co- 
 louring. On quitting that school, he 
 travelled to Rome, where he continued 
 several years, and improved himself by 
 studying after the best models. From 
 thence he removed to Venice, and attached 
 himself particularly to Tintoretto, who 
 soon found him worthy of his esteem, and 
 employed him to paint the landscapes in 
 his pictures. He also explained to him 
 those principles and rules by which he 
 had formed his own taste ; and generously 
 disclosed to him every secret relative to 
 colouring, which he had either derived 
 from Titian, or acquired by his own skill 
 and experience. Under tlie direction of 
 this able instructor, De Vos became an 
 excellent painter; his reputation spread 
 through all Italy, and he was not only em- 
 ployed for historical compositions, but in 
 painting portraits of the family of the 
 Medici. After an absence of eight years, 
 he returned to Antwf>rp, where he finished 
 several grand altar-pieces, which attracted 
 general approbation, and he was received 
 into the academy of that city. De Vos 
 had a fruitful invention, and composed his 
 subjects with great readiness ; his manner 
 resembled that of Tintoretto, but his com- 
 position had less fire, and variety in the 
 contours of his figures. His design was 
 correct, and his large works were of an 
 elevated character. His colouring was 
 
 7 VOS 
 
 Venetian, and his pencil was free ; but his 
 draperies appear too much broken in the 
 folds, and he wanted grace and expression. 
 His principal works in the cathedral of 
 Antwerp are, the Marriage of Cana ; the 
 Incredulity of St. Thomas; the Miracle 
 of the Loaves and Fishes ; the Temptation 
 of St. Anthony; and the Resurrection; 
 and in the church of St. James is a fine 
 piece by him of the Last Supper. He died 
 in 1604. Martin de Vos had a brother, 
 named Peter, who was also a painter, but 
 of no repute. 
 
 Vos (William de). He was the nephew 
 and pupil of Martin de Vos, in whose style 
 he painted history with great credit. 
 Vandyck inserted his portrait in his col- 
 lection of distinguished artists, and from 
 it Bolswert executed an engraving. 
 
 Vos (Simon de). He was born at Ant- 
 werp in 1603, and educated in the school 
 of Rubens, under whom he became a good 
 painter of history and portrait. He occu- 
 pied himself continually in studying every 
 thing that might ])romote his knowledge; 
 and was one of the few who took pains to 
 make the deepest researches into the true 
 principles of the art they professed. He 
 painted equally well in large and in small ; 
 his pencil is free; his touch light and 
 firm; his colouring, in general lively, 
 agreeable, and producing a good effect. 
 His figures were well designed, though 
 sometimes a little too much constrained 
 in the attitudes; and he often wanted 
 elegance and dignity in his ideas, as well 
 as grace in the airs of his figures. In the 
 churches at Antwerp are some of his pic- 
 tures, which have been mistaken for the 
 works of his master. These are, the 
 Descent from the Cross ; the Resurrection ; 
 and St. Norbert receiving the Sacrament. 
 Sir Joshua Reynolds thought highly of 
 this last piece; and says of the painter: 
 " Simon de Vos was particularly excellent 
 in portraits. There is at Antwerp his 
 ow n portrait, painted by himself, in black, 
 leaning on the back of a chair, with a 
 scroll in his hand, so highly finished, in 
 the broad style of Corregio, that nothing 
 can exceed it." De Vos also showed extra- 
 I ordinary force and nature in his pictures 
 I of the chase; and one of his compositions 
 : in that style is in the cabinet of the Elector 
 j Palatine. He died after the year 1662. 
 j Vos (Paul de). He was born at Alost, 
 '' in Flanders, about 1600, and is supposed 
 to have been a scholar of Snyders. He 
 travelled through several parts of Italy 
 and Spiiia, and everv where met with 
 
vos 
 
 respect, on account of his merit, as well 
 in designing as colouring. He painted 
 battles and huntings of the wild boar and 
 other game, after nature; his animals of 
 every kind were correctly drawn, and 
 their actions and attitudes had great spirit 
 and fine expression. As he usually 
 painted in a large size, his pictures were 
 mostly the ornaments of magnificent 
 halls, in palaces of great personages. He 
 was much employed for the royal collec- 
 tions of the King of Spain and the Em- 
 peror of Germany; so that his pictures 
 are rarely to be seen. His animals, espe- 
 cially his dogs, are drawn with uncommon 
 spirit. He died in 1654. 
 
 Vos (Cornelius de). He was born at 
 Alostin 1690, and studied under his father, 
 who was the son of the preceding Paulde 
 Vos. Afterwards he went to Italy; and, on 
 his return to Flanders, settled at Antwerp, 
 where he painted history and portrait with 
 reputation. He died there in 1751. 
 
 VosMEKR (James Wonters). This 
 Dutch artist was born at Delft in 1584. 
 He painted landscape well, but quitted 
 that style for fruit and flowers, when he 
 went to Italy. He died at Delft in 1641. 
 
 VosTERMAN (John). This Dutch 
 painter was born at Bommel in 1643. He 
 learned the rudiments of the art from his 
 father, who was a portrait painter; after 
 which he studied at Utrecht, under Her- 
 man Sachtleven, to whom he became 
 superior in landscape. But great as his 
 merit was, it fell short of his vanity; and, 
 instead of following his profession, by 
 which he might have acquired real honour 
 and affluence, he assumed the rank of a 
 baron, at Paris, maintained a suite of 
 servants, and lived for some time in a 
 style of splendour. This extravagant 
 course, however, could not last long; and, 
 in 1 672, he was obliged to return to Utrecht; 
 from whence he removed to Nimeguen, 
 where the Marquis of Bethune employed 
 him in painting several views on the Rhine. 
 Soon after this he visited England; and 
 his talents being made known to Charles 
 II., that monarch engaged him to paint 
 several views, particularly a very fine one 
 of Windsor; for which Vosterman de- 
 manded two hundred pounds. This was 
 deemed exorbitant; and he did not receive 
 a moiety of the sum. The high prices 
 which he put upon his works, and the 
 bad use he made of his money, threw him 
 into difficulties; aud he was confined in 
 prison for debt. Some of the English ar- 
 tists, however, who admired his talents, 
 
 18 VOU 
 
 liberated him; and he resumed his pencil, 
 though with little advantage, on account 
 of the extravagant price which he de- 
 manded for his pictures. At the accession 
 of James II., Sir William Soames, being 
 appointed ambassador to the Ottoman 
 Porte, took Vosterman in his train, with 
 a view to employ him in sketching views 
 in the East; but that minister dying' in 
 the voyage, put an end to the design. 
 What became of Vosterman after this is 
 not known; but it is conjectured that he 
 went to Poland, whither he had been pre- 
 viously invited by his first patron, the 
 Marquis de Bethune. He died in 1699. 
 He surpassed, by many degrees, all the 
 landscape painters of his time in neatness 
 of touch and delicacy of finishing. His 
 taste was Flemish ; but he worked up his 
 pictures in an exquisite manner, and en- 
 riched them with small figures, which had 
 wonderful truth and exactness. His scenes 
 are always well chosen, and generally are 
 views of the Rhine, designed with all 
 possible accuracy. In these views he 
 constantly represents a large extent of 
 country, diversified with hills, lawns, 
 groves, and lovely windings of the river; 
 and he artfully comprises the most extensive 
 scenes in a small compass. His tone of 
 colouring is extremely pleasing, and like 
 nature; his touch is tender, yet full of 
 spirit; and the boats and vessels which 
 appear on the river are not only drawn 
 correctly, but they are so placed and pro- 
 portioned as to delude the eye agreeably 
 their perspective truth. 
 VouET (Simon) . He was born at Paris 
 in 1582, and was instructed by his father, 
 Laurence Vouet, a painter of very moderate 
 abiUties. Simon, however, by having a 
 good natural genius, and having also the 
 opportunities of seeing many capital pic- 
 tures of the best masters among the col- 
 lections at Paris, obtained a considerable 
 ilegree of improvement. He knew so 
 much of his art, and was in such repute, 
 at the age of twenty, that M. de Sancy, 
 who was going on an embassy to Con- 
 stantinople, took Vouet with him as his 
 painter. There he drew the picture of 
 the Grand Signior; and, though it was 
 impossible to do it any other way than by 
 memory, and from a view of him at the 
 audience, he produced an uncommon 
 likeness. From thence Vouet went to 
 Venice, and next to Rome, where he was 
 well received by Pope Urban VIII., who 
 enabled him to pursue his studies there, 
 and conferred on hira many marks of 
 
VOY 
 
 esteem. Thus situated, he studied indus- 
 triously after nature, and endeavoured to 
 imitate it with fidelity. He painted many 
 portraits and historical compositions du- 
 ring his residence at Rome, became pre- 
 sident of the Academy of St. Luke, and 
 had a pension from Louis XIIL, who, in 
 1627, recalled him to France, that he 
 might work in his palaces. He practised 
 both in portrait and history. His greatest 
 perfection lay in his colouring and in 
 the liveliness of his pencil, but in other 
 respects his merit was little. He had no 
 genius for grand composition; was poor 
 in his invention; ignorant of perspective; 
 and knew scarcely any thing of the har- 
 mony of colours, or of the doctrine of 
 lights and shadows. He first made Cara- 
 vaggio and Valentino his models, but 
 soon quitted their style for one peculiar 
 to himself, the characteristic of which is 
 glare and feebleness. Yet France was in- 
 debted to him for destroying the insipid 
 and barbarous manner wliich had reigned 
 till his time. The novelty of Vouet's 
 manner, and the excellence of his temper, 
 brought French artists to adopt his style, 
 and procured him a number of disciples ; 
 among whom were Le Brun, Perrier, 
 Mignard, Le Sueur, Dorigny, and Fresnoy . 
 He had the honour, also, to instruct the 
 king himself in the art of designing. He 
 died in 1641. Simon had a brother, 
 named Aubin Vouet, who painted after 
 his manner, and with tolerable success. 
 
 VoYS (Ary de). He was born at 
 Leyden in 1641, and at first was the dis- 
 ciple of Nicholas Knupfer, a good painter, 
 at Utrecht; but he studied afterwards in 
 the school of Abraham Vanden Tempel, 
 without adopting the manner of either; 
 for, on becoming acquainted with Peter 
 Van Slingelandt, he followed his style of 
 finishing with great success. He was 
 naturally studious, and applied himself 
 with diligence to his profession, till he 
 was diverted from it by marrying a rich 
 wife; and, being by that means enabled 
 to indulge himself, he led a life of idle- 
 ness, extravagance, and dissipation. After 
 three years spent in this manner, he re- 
 sumed his pencil, without the least per- 
 ceptible alteration to his disadvantage, 
 either in his handling or colouring. In 
 painting naked figures he particularly 
 excelled, and enlivened his landscapes 
 with them, choosing generally some sub- 
 ject from fabulous history. He also paint- 
 ed pieces selected from the Greek and 
 Roman histories with great success ; his 
 
 figures being well designed, and correctly 
 drawn. The pictures of De Voys sold 
 high, and yet there was such a call for 
 them, that his hand could hardly supply 
 the demand of the public. He was na- 
 turally of an indolent temper, and it is 
 much lamented that thereby few of his 
 works are now to be procured. Some- 
 times he imitated the manner of Poelem- 
 burg, sometimes that of Brouwer, and 
 frequently he painted in the style of 
 Teniers. The History of Dido and iEneas 
 hunting, and overtaken by a Storm, is 
 commended, as being an excellent per- 
 formance, both in respect of the design 
 and colouring ; as also is a picture of St. 
 Cecilia performing on a Musical In- 
 strument: and Houbraken mentions his 
 having seen a picture of a Soldier, painted 
 by De Voys, in a small size, which was 
 worthy of being placed among the best 
 works of the Flemish masters. His chief 
 productions, however, were portraits and 
 conversations. He died at Leyden in 1698. 
 
 Vkee (Nicholas de). This artist was 
 born at Utrecht in 1650. He was a good 
 painter of landscapes and flowers. His 
 colouring was lively and natural, and his 
 touch free and pleasant. He died at 
 Alkmaer in 1702. 
 
 Vries (Joiix Fredeman dk). He was 
 born at Leeuwaerden, in East Friesland, 
 in 1527, and for five years was the dis- 
 ciple of Renier Gueritsen, at Amsterdam ; 
 but afterwards he studied under another 
 master, with whom he practised perspec- 
 tive and architecture. In 1549 he went 
 to Antwerp, where, in concert with other 
 artists, he painted the triumphal arches 
 erected in that city for the entry of the 
 Emperor Charles V. From thence he 
 travelled to Mechlin, where he finished 
 several fine pictures in perspective ; and 
 likewise corrected and improved some 
 paintings in that style, which had been 
 begun by Cornelius de Vianen, but were 
 heavy and cold in the colouring. The 
 skill which De Vries displayed on this 
 occasion gained him very great applause. 
 A memorable painting by this master was 
 for Giles Hoffman, at Antwerp. He re- 
 presented on a wall, fronting the entrance, 
 a vista, through which appeared an ele- 
 gant garden, laid out in noble parterres. 
 This performance was so natural, and the 
 perspective so true, that many took it for 
 reality; and the deception was so strong 
 that it imposed even on the Prince of 
 Orange, who could scarcely be persuaded 
 that it was not what it appeared, till con- 
 
VRO 5! 
 
 vinced by a near approach. In this style De 
 Vrieswas excellent; his lights andshadows 
 were judiciously conducted ; and every 
 object which he introduced in the per- 
 spective views of the insides of rooms, 
 halls, or galleries, was represented with 
 all the truth of nature, finely coloured, 
 and with remarkable transparence. His 
 works which are dispersed through Ger- 
 many, the Low Countries, and in England, 
 preserve the estimation in which they 
 were originally held, and bring consider- 
 able prices. What frequently adds to the 
 value of his pictures is, that 'other cele- 
 brated masters painted the figures in his 
 compositions, which are always well adapt- 
 ed to the perspective scenes designed by 
 De Vries. The style of his architecture, 
 however, is heavj', and without elegance. 
 One of his best pictures, representing the 
 inside of a room, with figures delicately 
 painted, describing the Salutation of the 
 Virgin, was in the possession of Doctor 
 Robinson, late Archbishop of Armagh. 
 De Vries was also an engraver. He died 
 at Antwerp in 1588. 
 
 Vries (Paul de). This Flemish artist 
 was born at Antwerp in 1554, and studied 
 under his father, the preceding painter, 
 whose manner he followed with success. 
 He died in 1598. 
 
 Vries (Solomon de). He was also the 
 son and scholar of John de Vries, and was 
 born at Antwerp in 1556. He excelled 
 in landscapes with ruins, and painted 
 much in tlie manner of his father, with 
 the exception of his colouring, which was 
 too black. He died at the Hague in 
 lt)04. 
 
 Vkies (Peter de). He was the son of 
 the last-mentioned painter, and was born 
 at the Hague in 1587. He studied under 
 his father, and followed his manner com- 
 pletely. He died in 1642. 
 
 Vromans (Nicholas). This artist was 
 born in Holland in 1660. He obtained 
 the name of the " Painter of Serpents," 
 from the subjects which he chose to re- 
 present. 
 
 Vroom, or Vroon (Henrt Corneltos). 
 This Dutch painter was born at Haerlem 
 in 1566. His father was a statuary, but 
 dying when Cornelius was young, the 
 widow married a painter on china, named 
 Henricksen, who taught him theprinciples 
 of his art. At length, the ill usage 
 which he received from his father-in-law 
 induced him to leave Haerlem, and go to 
 Rotterdam ; whence he sailed for Spain ; 
 but the ship was cast away on the coast of 
 
 VYT 
 
 Portugal. Relating at Lisbon the danger 
 he had escaped, a portrait painter there 
 engaged him to paint the storm which he 
 had so happily described. He did so ; and 
 the picture was sold to a nobleman for a 
 considerable sum. Vroom continued to be 
 employed in Portugal for some time; and 
 then went to Seville, from which place he 
 returned to his own country ; but had not 
 long been there before he was engaged by 
 the Earl ofNottingham to make the designs 
 for the tapestry intended to commemo- 
 rate the Defeat of the Spanish Armada. 
 For this purpose he came to England, and 
 performed his task to the satisfaction of 
 his employer. In the time of the republic, 
 these hangings were placed in the House 
 of Lords. This great national subject is 
 treated in ten pictures, containing the 
 delineation of the particular incidents of 
 each day. The designs were, at that time, 
 much commended ; though, it must be 
 allowed that he disposed his vessels in- 
 judiciously in most of his compositions ; 
 for they are designed without grace or 
 elegance as to their forms; and, by his 
 wanting a competent knowledge of per- 
 spective, he placed the horizontal line so 
 high, that it destroyed the distance which 
 he wished to express ; because the more 
 that line is depressed, the more remote all 
 objects must necessarily appear. His 
 works are now in no great esteem. Vroon 
 died in 1619. 
 
 Vrye (Thierry de). This Dutch artist 
 was born at Gouda in 1530. He became 
 a good painter of history and portrait, 
 which he practised at Paris, where he 
 died in 1582. 
 
 VuER (Arnold de). This French pain- 
 ter was born at Oppenoir in 1642, and, 
 after studying in his native country, went 
 to Italy, where he acquired a tolerable 
 taste in history. He also painted per- 
 spective and architecture. He died at 
 Lisle in 1724. 
 
 Vyth, or Vteth( John Martin). This 
 Swiss artist was born at Schaffhausen in 
 1650. He studied at Rome and Venice; 
 after which he returned to his own 
 country, where he practised historical 
 painting, with great reputation, till his 
 death, in 1717. His principal works 
 are, the Death of Adonis ; the Rape of 
 the Sabines ; the Judgment of Paris ; 
 the Continence of Scipio ; the Death pf 
 Cleopatra; and the Woman taken in 
 Adultery. He had a great, but wild 
 genius ; and aff3cted to imitate Buonarroti 
 in grandeur and design. 
 
WAL 
 
 w. 
 
 Waal, or Weei. (John de). This 
 artist was born at Antwerp in 1557, and 
 studied under the elder Franck, in whose 
 style he painted history. He became a 
 member of the academy in his native city, 
 where he died in 1602. 
 
 Waal, or Weel (Lucas de). He was 
 born at Antwerp in 1591, and studied the 
 art of painting under his father, John de 
 Waal ; but afterwards he became the dis- 
 ciple of John Brueghel, whose manner he 
 followed with success, and his pictures 
 contained a greater variety than those of 
 his master. He spent several years in 
 Italy, and particularly at Genoa, where 
 he finished many noble designs in fresco 
 as well as in oil. He painted battles in 
 an excellent style, and designed his figures 
 with spirit and good expression. But his 
 particular merit lay in landscapes, in which 
 he introduced a great variety of precipices, 
 craggy rocks, waterfalls, torrents, and 
 other picturesque incidents, much in the 
 manner of Brueghel; each object bein; 
 very happily imitated, and extremely na 
 tural. Hedid in 1676. 
 
 Waal, or Weel (Corxelius de). He 
 was the younger brother of the preceding, 
 and was born in 1594, at Antwerp, where 
 he studied under his father. Afterwards 
 he accompanied Lucas to Italy, and, while 
 at Genoa, painted some pictures for the 
 churches ; but his principal subjects were 
 landscapes and battles. His landscapes 
 were highly esteemed for the choice of the 
 situations, the judgment shown in con- 
 ducting the distances, and for excellent 
 keeping. He appeared most eminent, 
 however, in his battles and sea-fights ; in 
 which the joy and exultation of the victors, 
 and the dejection and terror of the van- 
 quished, were strongly expressed. He 
 filled his designs with an abundance of 
 figures, which he grouped and disposed 
 with great skill. His invention was lively 
 and fruitful ; his pencil free and masterly; 
 and an agreeable manner of colouring 
 recommended his pictures to the best 
 judges; though his taste was entirely 
 Flemish in the airs and forms of his 
 figures, their habits, characters, and 
 countenances, and also in his cattle. The 
 Duke d'Arschot appointed him his prin- 
 cipal painter; and for Philip HI. King 
 of Spain, he finished several grand com- 
 positions of battles, extremely to the satis- 
 
 faction of that monarch. One picture of 
 De Waal has been much admired : the 
 subject is, the Storming of a Fortification; 
 it has a vast number of figures, well de- 
 signed, and with good expression. In the 
 front is a commanding-oflBcer, mounted 
 on a dappled gray horse; and at some 
 distance is a figure in black armour, rid- 
 ing among a throng of foot soldiers, which 
 he seems encouraging to rush on to the 
 attack ; and the whole has a good effect. 
 This painting, which was formerly at 
 Amsterdam, is supposed now to be in 
 Ireland, having been purchased by Dr. 
 Robinson. Cornelius de Waal executed 
 some spirited etchings from his own de- 
 signs. He died in 1662. 
 
 Wageman (Uenrt). This Swiss ar- 
 tist was born at Zurich in 1536. He was 
 both a painter and engraver, but is chiefly 
 known by his drawings, which possess 
 great merit, and are in the manner of 
 Paolo Farinato. 
 
 Wale (Samuel). He was born in Lon- 
 don, and served his apprenticeship to an 
 engraver on plate. Afterwards he studied 
 drawing and design at the academy in St. 
 Martin's-lane. He next ventured to paint 
 in oil, in the manner of Hayman, and 
 decorated several ceilings ; but his prin- 
 cipal employment was in designing for 
 the booksellers. He made himself ac- 
 quainted with perspective and architecture, 
 in which last he assisted Mr. Gwynn, by 
 making drawings for him ; among which 
 I were those of the Section of St. Pauls 
 ' Cathedral. Mr. Wale was one of the 
 successful candidates for the prizes given 
 I by the Society of Arts ; and, on the esta- 
 I blishment of the Royal Academy, he be- 
 ' came a member of it, and afterwards was 
 I appointed professor of perspective. On 
 j the death of Mr. Wilton he was made 
 librariarL and held both places till his 
 j death, iiri786. 
 
 I Walker (Robert). This artist is 
 , supposed to have been born in England. 
 j He flourished in the time of the civil wars, 
 I and so greatly improved himself by study- 
 ing the works of Vandyck, as to become 
 ' a popular painter of portraits. He was 
 j mostly employed by the chiefs of the re- 
 I publican party ; and he painted four por- 
 ; traits of Cromwell. One of these repre- 
 [ sented the usurper with a gold chain about 
 j his neck, to which were appended a gold 
 j medal, the arms of Sweden and a pearl, 
 j sent to the Protector by the Queen Chris- 
 tina. This picture was found at an inn 
 I in Cambridgeshire, and came afterwards 
 
WAS 5! 
 
 into the possession of Lord Montford : 
 another portrait of Cromwell is at Cashio- 
 bury, in Hertfordshire, the seat of the 
 Earl of Essex. Walker also painted 
 Oliver and Lambert together in one piece, 
 which was in the collection of Lord 
 Bradford. The history of the fourth por- 
 trait is singular. The agent of the Duke 
 of Tuscany having received orders from 
 his master to procure a portrait of Crom- 
 well, met with one in the hands of a lady, 
 who refused to part with it under five 
 hundred pounds ; which sum was paid, 
 and the piece sent to Florence, where it 
 remains. Walker's own portrait, by 
 himself, is in the Ashmolean Gallery at 
 Oxford. He died at Arundel-house, in 
 the Strand, London, about the year 1660. 
 Walmeslky (John). This ingenious 
 artist was born in Ireland in 1763. On 
 account of some dispute with his relations, 
 who were very respectable, he came to 
 London, and practised landscape painting 
 with great success. For some time he 
 was engaged as a scene painter at the 
 King's Theatre, and also at Coven t-garden; 
 but at length he retired to Bath, where 
 he confined himself to painting landscapes 
 in oil, of a small size, which are truly 
 excellent. He died there in 1805. 
 
 Ward (Captain). With the Christian 
 name of this gentleman we are not ac- 
 quainted ; but he held a military appoint- 
 ment in the East India Company's service, 
 and died in one of their settlements. In 
 the exhibitions of 1772 and 1773 he pro- 
 duced landscapes and pictures of Indian 
 views. He was, while in England, secre- 
 tary to the chartered Society of Artists. 
 
 Wassenberg (John Abel). He was 
 born at Groeningen in 1689; and, having 
 spent some time in designing, was placed 
 as a disciple with John Van Dieren ; but 
 his principal knowledge in the art of 
 painting was derived from the pfecepts of 
 Adrian Vander Werf, who taught him 
 the best manner of pencilUng and colour- 
 ing; and by a close application to his 
 profession, he soon qualified himself to 
 appear with great credit in the world. 
 Having completed his studies at Rotter- 
 dam, he returned to his native city, where 
 he was employed in several considerable 
 works, in saloons and grand apartments, 
 for which he composed historical designs, 
 and interspersed them with portraits 
 painted in a good style, well coloured, and 
 with a strong likeness. These works 
 procured him the patronage of the 
 Prince of Orange, who employed him to 
 
 2 WAS 
 
 paint the portraits of himself and his 
 princess, and the chief ladies of his court. 
 Besides the compositions which he finished 
 in a large size, he also painted easel pic- 
 tures, which he worked up with exquisite 
 neatness; and it seemed somewhat extra- 
 ordinary, that an artist who was so gene- 
 rally accustomed to large works, the 
 effect of which on the eye must be at a 
 distance from the painting, could adapt 
 his touch, tints, and handling, to such 
 small pieces as required the nearest view 
 to observe their beauties, and yet in each 
 style to show himself equally a master. 
 Among several of his cabinet pictures, a 
 Nativity is particularly mentioned, which 
 in every respect is charmingly executed. 
 He died in 1750. 
 
 Wasser (Anna). She was born at 
 Zurich, in Switzerland, in 1679; being 
 the daughter of Rodolph Wasser, a person 
 of considerable note in his own country, 
 and a member of the council of Zurich. 
 Anna had the advantage of a polite edu- 
 cation ; and as she showed a lively genius, 
 particularly in designing, she was placed 
 under the direction of Joseph Warner, at 
 Berne. At first he made her study after 
 good models, and copy the best paintings 
 he could procure, that he might form a 
 true judgment of her talents; but, after 
 having instructed her for some time, on 
 seeing a copy which she had finished of a 
 Flora, after a picture of his own painting, 
 it astonished him to find such correctness 
 and colouring in so young an artist, she 
 being then only thirteen years of age. 
 She painted at first in oil, with very pro- 
 mising appearances of success, but after- 
 wards applied herself entirely to minia- 
 ture, for which indeed nature seemed to 
 have furnished her with peculiar talents. 
 Her works in that style soon procured her 
 the favour of most of the princes of Ger- 
 many; and the Duke of Wirtemberg, in 
 particular, sent the portrait of himself 
 and that of his sister, in large, to be 
 copied in miniature by her hand, in which 
 performance she succeeded so happily, 
 that her reputation was effectually esta- 
 blished through all Germany. The Mar- 
 grave of Baden-Durlach was another of 
 her early patrons ; and she also received 
 many commissions from the first person- 
 ages in the Low Countries. Though, by 
 the influence of her father, she was pre- 
 vailed on to devote most of her time to 
 portrait painting, as such kind of pictures 
 produced a much greater and a more im- 
 mediate profit to his family, yet her 
 
WAT 
 
 593 
 
 favourite subjects were those of a pastoral 
 kind, in which she displayed the delicacy 
 of her taste in invention and composition, 
 in the elegance of her manner of design- 
 ing, and in giving so much harmony to 
 the vfhole, as invariably to afford pleasure 
 to the most judicious beliolders. In all 
 her subjects, indeed, she discovered a fine 
 genius, an exceeding good taste and agree- 
 able colouring. She died unmarried, in 
 1713. 
 
 Waterloo (Anthony). Houbraken 
 and Weyermans, the principal Dutch 
 authors who notice this admirable artist, 
 make no mention of the place or time of 
 his birth, nor of the master by whom he 
 was instructed in painting, but content 
 themselves with observing, that by some 
 it is said he was born at Amsterdam, 
 while others as positively affirm that he 
 was born, about 1618, at Utrecht, in 
 which city, or near it, he certainly spent 
 the greater part of his life. However, his 
 style sufficiently distinguishes him from 
 any of his contemporaries, and his merit 
 entitles him to a place among the best 
 painters of the Low Countries. His scenes 
 are agreeable representations of simple 
 nature, without any attempt at improve- 
 ment ; he imitated justly what he saw, 
 but wanted elegance in his choice of ob- 
 jects as well as of his situations ; yet ex- 
 actness is visible in all his performances. 
 There is generally a great degree of 
 clearness in his skies, and very good 
 keeping in his distances; he shows an 
 extraordinary variety in the verdure of the 
 trees and grounds which compose his 
 subjects, and he adapted very judiciously 
 to the different hours of the day, and also 
 to the different seasons of the year. The 
 trunks of his trees ai-e particularly labour- 
 ed, and the reflections of objects in the 
 water are wonderfully transparent. Se- 
 veral of the landscapes of Waterloo have 
 no figures, for he was conscious of his 
 want of ability to executetheminamanner 
 correspondent with the rest of his work ; 
 and therefore he sometimes procured Wee- 
 ninx to insert both these and cattle in hii 
 pieces, which adds considerably to theii 
 value. In his own time his pictures were 
 eagerly purchased, and at. large prices, 
 nor are they at this day held in less esti- 
 mation ; but his paintings are very rarely 
 to be met with, owing, as it is supposed, 
 partly to his irregular life, and more to his 
 devoting so much of his time to drawing 
 and etching from his own designs. He 
 left a vast number of engravings, land- 
 
 scapes, and views, executed in an admir- 
 able style. He died in 1679. 
 
 Watteau (Anthony). He was born 
 at Valenciennes in 1684, and received 
 some instructions from an indifferent 
 painter, who resided in that town. Wat- 
 teau, who neither wanted genius nor 
 application, soon obtained sufficient skill 
 to perceive the incapacity of his instruc- 
 tor, and therefore quitted him, to place 
 himself with another, whose principal 
 employment was designing theatrical deco- 
 rations ; and for a short time he assisted 
 his master in the ornaments of the opera- 
 house at Paris. But being afterwards 
 left destitute and unknown in that great 
 city, he laboured under such difficulties, 
 that to procure an immediate maintenance 
 he was compelled to work for the shops ; 
 yet, with all his industry, he could scarcely 
 get a subsistence. While in this situation, 
 he accidentally became intimate with 
 Claude Gillot, who was in good esteem 
 for his designs in the grotesque style, 
 though in other respects but an indiffer- 
 ent painter. Gillot conceived such a 
 friendship for Watteau, that he took him 
 into his house, communicated to him all 
 the observations he had made in the art, 
 and every precept by which he formed his 
 own taste, and in short, instructed him 
 to the utmost of his ability ; so that the 
 scholar not only equalled his master in 
 invention and readiness of execution, but 
 at last surpassed him. A short time after 
 this he had access to the Luxembourg 
 gallery, being employed under Audran ; 
 and there was strongly affected by viewing 
 the works of Rubens, which he studied 
 with incessant pleasure, and thereby ac- 
 quired new ideas of light and shadow, and 
 of the true beauty of colouring, to 
 which before he had been totally a 
 stranger. He therefore now quitted his 
 former taste of design, and assumed 
 another in its stead peculiar to himself, 
 more elegant and correct. From this 
 period the reputation of Watteau increas- 
 ed daily; though, as his manner of think- 
 ing, composing, and colouring was quite 
 new, his performances were not so much 
 admired while he lived as they were after 
 his death. He was now induced to turn 
 his attention to historic painting; but 
 though he gained the first prize in the 
 academy for one of his performances, he 
 found it expedient to strike into a new 
 path. Luckily for his fortune and fame, 
 he proved successful by painting balls, 
 masquerades, and pastoral subjects, in 
 2q 
 
WEB 
 
 594 
 
 WEE 
 
 which he led the fashion, and had a crowd 
 of imitators. Having injured his health 
 by excessive labour, he came to London 
 to consult the celebrated Dr. Mead, for 
 whom he painted one or two pictures ; 
 but, after spending a year in England, he 
 returned to Paris, where he died in 1731. 
 Watteau made the colouring of Rubens 
 and Vandyck always his models. He was 
 indefatigable in designing, never permit- 
 ting his pencil to be unemployed, as may 
 readily be conjectured from the great 
 quantity of works which he sketched and 
 finished. His subjects are generally 
 comic conversations, the marchings, bait- 
 ings, or encampments of armies, land- 
 scapes, and grotesques, all which hefinish- 
 ed with a free flowing pencil, a pleasing 
 tone of colour, a neat and spirited touch, 
 and they are also correctly designed. The 
 figures which he introduces in his compo- 
 sitions, in whatever character he designs 
 them, have a peculiar grace in the airs of 
 the heads, and somewhat becoming in 
 their attitudes ; their actions are easy and 
 natural, and they are always agreeably 
 and skilfully disposed. The colouring 
 of his landscapes is lively ; but though his 
 trees are touched with freedom, they have 
 a nearer resemblance to those of the 
 Tuileries than of natural scenery. He 
 left behind him a great number of draw- 
 ings in red and black chalk. Watteau 
 etched a few plates. 
 
 Watts (Jane). This highly gifted 
 lady, who was at once a votary of the arts 
 and of literature, was the daughter of 
 George Waldie, Esq., of Hendersyde Park, 
 Scotland. Even before she was five years 
 old, she manifested an extreme fondness 
 for drawing ; and she soon painted land- 
 scapes in oil, which were greatly admired. 
 She may be said to have been wholly self- 
 taught, having never received lessons for 
 more than three months, and those were 
 from an artist whose instructions she was 
 compelled to unlearn, as they injured her 
 natural style. Many of her pictures were 
 exhibited at the Royal Academy and the 
 British Institution with universal applause. 
 In literature she displayed equal talent. 
 This accomplished woman died in 1826, 
 at the age of thirty-seven. 
 
 Webb (Westfield). He was a pain- 
 ter of portraits, and lived in St. Martin's- 
 lane, London, which at one time appears 
 to have been the common residence of 
 artists. In the exhibition of 1762, there 
 was a whole length of Miss Brent, the 
 celebrated singer, painted by Webb, who 
 
 continued to exhibit till 1772, when he 
 died. He sometimes painted flowers, but 
 never rose above mediocrity. 
 
 Webber (John). This ingenious ar- 
 tist was born in London in 1571, but his 
 father, who was a sculptor, was a native of 
 Berne, in Switzerland. Part of his educa- 
 tion as an artist he received at Paris, but 
 completed it in the Royal Academy ; of 
 which institution he was elected an asso- 
 ciate in 1785, and a royal academician in 
 1791. In the last voyage made by Cap- 
 tain Cook round the world, Mr. Webber 
 was appointed draughtsman to the expe- 
 dition ; and when the two ships, the Dis- 
 covery and Resolution, arrived in the 
 harbour of St. Peter and St. Paul at 
 Kamtschatka, he was obliged to act as 
 interpreter between Captain Gore and 
 Major Bohm, being the only person on 
 board who could speak German. He re- 
 turned to England in 1780, when he was 
 employed by the Lords of the Admiralty 
 to superintend the prints engraved by 
 Bartolozzi, and other eminent artists, ex- 
 ecuted after the drawings which he had 
 made, representing the different objects 
 and scenes that occurred during the expe- 
 dition, and the accuracy of which has 
 been fully confirmed by subsequent navi- 
 gators. When tliis work was concluded, 
 he published on his own account a set of 
 the different places he had visited in the 
 voyage. They were etched and aqua- 
 tinted by himself, and afterwards coloured 
 in such a manner as to have a very pleas- 
 ing eflTect. This work was in part com- 
 pleted, when his health declined, and after 
 lingering for some months, he died April 
 22, 1793. The performances of Mr. 
 Webber consisted of paintings and draw- 
 ings ; the former were chiefly landscapes, 
 but he drew also some figures represent- 
 ing the inhabitants of the South Sea 
 Islands, though they were incorrect. His 
 landscapes were pleasing, and carefully 
 finished, yet with rather too much atten- 
 tion to the minutiaj, and the colouring is 
 frequently too gaudy. There is a picture 
 painted by him in the council chamber of 
 the Royal Academy, but the best produc- 
 tion of his pencil is a small view, in the 
 possession formerly of Mr. Farington, 
 the painter. 
 
 Weeling (Anselme). He was born at 
 Bois-le-Duc in 1675, and learned the art 
 of painting from one Delang, a portrait 
 painter of low rank, to whom, in a short 
 time, he showed himself superior; for it 
 may be often observed, that many excellent 
 
WEE 
 
 595 
 
 WEE 
 
 painters have been disciples of very indif- 
 ferent masters, and have owed their future 
 eminence to the powers of their own 
 genius, and their assiduity in studying 
 after nature. WeelingsoonquittedDelang, 
 not without feeling a conscious pride on 
 observing the superiority he had gained 
 over his instructor; but going to Middle- 
 burg, and seeing some fine original paint- 
 ings of different masters, in the possession 
 of a picture dealer, he was so mortified at 
 his own deficiency, that it almost reduced 
 him to a despair of ever succeeding in his 
 profession, and made him resolve to go to 
 the East Indies. The dealer gave him 
 encouragement, and recalled him from his 
 despondency, by offering him the oppor- 
 tunity of studying after the best paintings 
 in his collection. He also kept him in his 
 house for two years, copying the works 
 of thobe great artists, which were the best 
 models for the improvement of his taste 
 and colouring. His improvement was 
 equal to his industry, and at last he com- 
 posed and finished several pictures in the 
 style of Vander Werf and Schalcken, 
 whicli were highly commended, and 
 bought up at large prices. It was then 
 in his power to have established his for- 
 tune and his reputation; but, by some 
 unaccountable infatuation, he grew dis- 
 solute, and lost not only the esteem of 
 the public, but forfeited also the favour of 
 his best friends. His manner of life had 
 a great influence on his latter productions, 
 which are by no means equal to those of 
 his early time; and thus, by a neglect of 
 his practice, and a disregard to his moral 
 character, he was I'educed to the utmost 
 wretchedness and want before he died, 
 which was in 1749. His taste of design 
 and colouring was good, and his know- 
 ledge of the chiaro-oscuro extensive; for 
 which reason many of his subjects repre- 
 sent figures by candlelight. His first and 
 best works, after his studies at Middle- 
 burg, were as much commended and sought 
 for as his latter works were disliked and 
 contemned. 
 
 Weeninx (John Baptist), called the 
 Old. He was born at Amsterdam in 1621, 
 and became the disciple of Abraham 
 Bloemart, who gave him every neces- 
 sary instruction, and his pupil received 
 proportionable improvement. Weeninx 
 laboured incessantly, and showed a care- 
 ful attention to the precepts of his master; 
 but he also daily increased his knowledge 
 by studying nature, and designing every 
 object that appeared worthy of being 
 
 inserted in his future compositions. He 
 was particularly fond of making .sketches 
 after elegant buildings, either those which 
 were entire, or of castles in a ruinous and 
 decayed state; as also ships, and animals 
 of all kinds; by which practice he ren- 
 dered himself a universal painter. After 
 leaving the school o Bloemart, he spent 
 some time with Nicholas Moojaert, and 
 adopted his manner so completely, that 
 it was scarcely possible to distinguish the 
 works of the one from those of the other. 
 He then spent four years at Rome, where 
 he was patronised by Cardinal Pamphili, 
 who settled on him a pension, wished to 
 detain him in that city, and offered to 
 engage him in the service of the Pope; 
 but the importunity of his wife, and the 
 solicitation of his friends, induced him to 
 return to his native country. He excelled 
 equally in history, portrait, animals, sea- 
 ports, and landscapes; and every subject 
 he painted was agreeably executed, with 
 an excellent tone of colour; but his por- 
 traits, in particular, had force, freshness, 
 and great resemblance. His pictures of 
 the larger size are in general accounted 
 better than those in a small; for he found 
 it difficult to adapt his pencil to such dif- 
 ferent proportions with sufficient neatness 
 and exactness. Yet there are some small 
 pictures of his hand, which appear as 
 delicately finished as those of Gerard 
 Douw or Mieris; though, on a judicious 
 inspection, they are found less spirited 
 and exquisite than the works of either of 
 those masters; besides which, the figures 
 want correctness and elegance. He paint- 
 ed with a surprising and almost incredible 
 expedition, having very often not only 
 sketched, but finished, a picture, five or 
 six feet high, in tlie compass of one day; 
 particularly one representing a bull baited 
 by dogs, painted after nature. It is also 
 asserted, that one day in summer he began 
 and entirely completed three portraits on 
 canvass, of a three quarter size, and the 
 heads as large as life. Houbraken men- 
 tions a very capital picture of this master, 
 the subject of which was the Prodigal Son, 
 which he describes as being excellent in 
 the in vention and composition, and touched 
 with a mellow and charming pencil. 
 Weeninx died in 1660. 
 
 Weexinx (John), called the Young. 
 He was the son of John Baptist Weeninx, 
 and was born at Amsterdam in 1644. 
 He was taught the principles and practice 
 of painting by his father, after whose 
 death he devoted himself to the study of 
 
WEE 
 
 596 
 
 WER 
 
 nature. He painted, with great ability, 
 landscapes, animals, flowers, and fruits; 
 but excelled chiefly in the representation 
 of dead game and huntings. The pictures 
 of his first time can scarcely be distin- 
 guished from those of his father, nor is it 
 possible to find so strong a resemblance 
 in the works of any two painters as to 
 their manner or merit. The younger 
 Weeninx, however, avoided what was 
 most exceptionable in the works of the 
 elder, namely, the predominant gray or 
 brown colour observable in the paintings 
 of that master. He had a surprising 
 power of pencil, and finished with an 
 equal degree of excellence whatever he 
 painted, either in a large or a small size. 
 The Elector Palatine of the Rhine invited 
 Weeninx to his court, allowed him a con- 
 siderable pension, and employed him to 
 adorn the galleries at Bernsberg, which 
 he accomplished with very great applause, 
 having in one gallery represented the 
 hunting of the stag, and in the other the 
 chase of the wild boar. The figures, 
 landscapes, and animals, were all executed 
 by his own pencil, and were equally well 
 finished. Although the elder Weeninx 
 was justly much esteemed, and superior 
 to his son in landscape, he fell short of 
 him in his hunting pieces. The colour- 
 ing of the younger artist was true: he 
 had the skill to vary his touch according 
 to every different subject, without adher- 
 ing to the style of any particular master, 
 and his figures had as much merit in their 
 design and disposition as any other part 
 of his works. As a proof of the estimation 
 in which his performances were held, one 
 of his pictures was sold for three hundred 
 florins, though the subject was only a 
 pheasant and other game. He died in 
 1719. 
 
 Weerdt (Adriax de). He was born 
 at Brussels in lolO, and studied at Ant- 
 werp, where he had for his master, Chris- 
 tian Queburgh, a painter of landscape. 
 On leaving him, Adrian went to Italy, 
 where he resided some years, devoting 
 himself principally to the works of Par- 
 megiano. On his return to the Netherlands 
 he executed several fine pictures for the 
 churches, particularly a series of the 
 History of the Virgin, in the style of 
 Parmegiano. He died at Cologne in 1566. 
 
 Weesop (M.) This artist, who ap- 
 pears from his name to have been a 
 Dutchman, came to England a little before 
 the death of Vandyck, whose manner he 
 imitated so well that many of Weesop's 
 
 portraits have been mistaken for those of 
 that great master. When Charles I. was 
 murdered, Weesop quitted England, say- 
 ing that he would never live in a country 
 where such an action was not only com- 
 mitted, but made a matter of triumph. 
 
 Werdmuli.er (Rodolph). This artist 
 was born at Zurich, in Switzerland, in 
 1639, and had Conrad Meyer for his in- 
 structor. He became a good painter of 
 history and portraiture, and was rising in 
 eminence, when he was unfortunately 
 drowned, in 1668. 
 
 Were (Adrian Vander). This cele- 
 brated artist was born at Ambacht, near 
 Rotterdam, in 1659, and received his first 
 instruction from Picolet, a por trai t pain ter ; 
 but afterwards he became the scholar of 
 Eglon Vanderneer, with whom he con- 
 tinued four years. A picture, by Mieris, 
 being brought to Vanderneer to copy, he 
 intrusted it to his pupil, who performed 
 the task so admirably as to deceive the 
 best judges. At the age of eighteen he 
 entered upon his profession at Rotterdam, 
 and experienced much encouragement. 
 He took pains to improve himself, how- 
 ever, by designing after the best plaster 
 figures he could procure, which were 
 casts from the antique; and acquired a 
 much better taste of the delicate turn of 
 the limbs, and of the naked in general, 
 than he had hitherto possessed. At first 
 he painted portraits in the manner and 
 size of Netscher; but soon became dis- 
 gusted with that line, and applied himself 
 entirely to historical subjects in small. 
 In 1696, the Elector Palatine passed 
 through Rotterdam, and, on seeing some 
 of the works of Vander Werf, gave him a 
 commission to paint for him a picture of 
 the Judgment of Solomon, and his own 
 portrait, which he intended for the Grand 
 Duke of Tuscany. The next year Van- 
 der Werf took the pictures to Dusseldorf, 
 where he was well received by the 
 elector, who conferred on him the order 
 of knighthood, honoured him with a 
 present of a chain and medal of gold, 
 presented him with his portrait set with 
 diamonds, and allowed him a noble pen- 
 sion, besides paying him generously for 
 his work. The same prince, on being 
 complimented with a picture of Diana 
 and Calista, by the wife of Vander Werf, 
 gave her a magnificent toilet of silver; 
 and also presented her husband with six 
 thousand florins. The pencil of Vander 
 Werf is tender and sweet, his design cor- 
 rect, and t!ie roiindness and relief of his 
 
WER 
 
 WER 
 
 figures are truly admirable; but his car- 
 nations are not lively, having somewhat 
 of a yellowish tint ; and though in the 
 polish of his finishing he had no superior, 
 yet in most of his vi^orks his colouring is 
 cold, and has more the appearance of 
 ivory than of animated flesh. He spent 
 so much time on his pictures, to give 
 them the utmost transparence, that the 
 spirit of his works was thereby consider- 
 ably diminished. The pictures of Vander 
 Werf, however, are still purchased at 
 high prices, and are rarely to be met with, 
 though they do not excite so great a de- 
 gree of admiration as they seem to have 
 done in the lifetime of the artist. Vander 
 Werf died in 1727. Sir Joshua Reynolds 
 has given the following masterly critique 
 on the merits of this eminent artist. 
 Speaking of his visit to the gallery of 
 Dusseldorp, he says, " The most dis- 
 tinguished pictures in this room are the 
 Vander Werfs, which are twenty-four in 
 number. Thi'ee of them are as large as 
 life a Magdalen, whole-length, and two 
 portraits. The Magdalen was painted as 
 a companion to the St. John of Rafiaelle, 
 but it was not thought, even by his friends 
 and admirers, that he had succeeded ; how- 
 ever, he has certainly spared no pains; it 
 is as smooth, and as highly finished, as 
 his small pictures; but his defects are 
 here magnified, and consequently more 
 apparent. His pictures, whether great 
 or small, certainly afford but little plea- 
 sure. Of their want of effect it is worth 
 a painter's while to enquire the cause. 
 One of the principal causes appears to 
 me, his having entertained an opinion 
 that the light of a picture ought to be 
 thrown solely on the figures, and little or 
 none on the ground or sky. This gives 
 great coldness to the effect, and is so con- 
 trary to nature, and the practice of those 
 painters with whose works he was sur- 
 rounded, that we cannot help wondering 
 how he fell into this mistake. His naked 
 figures appear to be of a much harder 
 substance than flesh, though his outline 
 is far from cutting, or the light not united 
 with the shade, which are the most com- 
 mon cause of hardness ; but it appears to 
 me, that in the present instance the hard- 
 ness of manner proceeds from the softness 
 and union being too general ; the light 
 being every where equally lost in the 
 ground or its shadow. In describing 
 Vander Werfs manner, were I to say that 
 all the parts every where melt into each 
 other, it might naturally be supposed that 
 
 the effect would be a high degree of soft- 
 ness; but it is notoriously the contrary; 
 and I think, for the reason that has been 
 given, his flesh has the appearance of ivory 
 or plaster, or some other hard substance. 
 What contributes likewise to give this 
 hardness, is a Want of transparency in his 
 colouring, from his admitting little or no 
 reflections of light. He had also the de- 
 fect which is frequently found in Rem- 
 brandt, that of making his light only a 
 single spot. However, to do him justice, 
 his figures and his heads are generally 
 well drawn, and his drapery is excellent; 
 perhaps there are in his pictures as per- 
 fect examples of drapery as are to be found 
 in any other painter's works whatever." 
 
 Werf (Peter Vander). He was 
 born near Rotterdam in 1665, and was 
 the disciple of his brother, Adrian Vander 
 Werf, whose works he copied for some 
 time, with the same tone of colour, and 
 delicate manner of finishing ; but after- 
 wards he painted from his own designs, 
 which, being generally retouched by 
 Adrian, gave them additional value. He 
 painted portraits and conversations ex- 
 tremely well; and, though inferior to his 
 brother, yet he was a very able artist; 
 and a small picture by him was sold, in 
 the year 1713, at Rotterdam, for five 
 hundred and fifty guilders. This piece 
 represented three girls playing with flowers. 
 A copy, by him, after a painting of his 
 brother, of the Holy Family, was, in the 
 year 1731, sold for eight hundred guilders. 
 Another fine piece, by Peter Vander Werf, 
 is a picture of portraits, representing the 
 Directors of the Dutch East India Com- 
 pany in their hall of assembly. He died 
 in 1718. 
 
 Werner (Joseph). He was born at 
 Berne, in Switzerland, in 1637, and was 
 instructed in the principles of painting, 
 particularly in design, by his father, who 
 was an artist of little esteem ; but he 
 afterwards became the disciple of Matthew 
 Merian, at Frankfort, under whom he 
 discovered so apt a genius, and made so 
 quick a progress, that Merian, desirous 
 to have the talents of his pupil properly 
 cultivated, advised him to go to Italy for 
 improvement, at the same time recom- 
 mending him to the patronage of a gentle- 
 man who was about to visit that country. 
 At Rome, Werner applied himself indus- 
 triously to his studies, and not only ex- 
 amined every object by which he could 
 profit, but took pains to copy and design 
 the best productions of ancient and modern 
 
598 
 
 art; by which means he acquired such a 
 readiness of hand, -as enabled him to make 
 an incredible number of sketches and 
 valuable designs. He painted both in 
 fresco and in oil, but having a predomi- 
 nant inclination to miniature, he ever 
 after devoted his pencil entirely to it, and 
 arrived at a degree of excellence in that 
 line which has been rarely equalled, and 
 never surpassed. He painted historical 
 subjects in miniature with remarkable 
 neatness and elegance ; they were cor- 
 rectly designed and well coloured ; his 
 distances receded happily; his figures were 
 finely proportioned, with good expression, 
 and the whole had great harmony. But 
 his chief delight consisted in painting 
 portraits, which he finished in an exquisite 
 manner, and gave his pictures a most ex- 
 act resemblance of the originals. For 
 some years he was employed at the court 
 of France, where his performances pro- 
 cured him honour; and he afterwards 
 painted the portrait of the archduchess, 
 at Inspruck, for which he was liberally 
 recompensed, and received a chain and 
 medal of gold. Notwithstanding this en- 
 
 arts nor polite literature. At the age of 
 seven years, Benjamin gave the first spe- 
 cimen of his talent for drawing, by sketch- 
 ing, with a pen and ink, the likeness of 
 an infant asleep in the cradle. This led 
 to further exertions in the same way, when, 
 some Indians coming to the house of his 
 father, were much pleased with these 
 drawings, and gave him instructions how 
 to prepare the red and the yellow with 
 which they painted themselves and their 
 ornaments. His mother afterwards gave 
 him a piece of indigo, so that he was thus 
 furnished with three of the primary 
 colours. The use he made of these ma- 
 terials drew general notice, and one person 
 said it was a pity he had not pencils. 
 Benjamin enquired what they were, and 
 being told that pencils were composed of 
 camels' hair fastened into a quill, he began 
 to consider what could be substituted in 
 the room of these instruments. Camels 
 were not known, except by name, in 
 America, and of their hair he could not 
 avail himself; but the domestic cat, which 
 happened to be a favourite, presentingher- 
 self to his view, he thought it would do 
 
 couragement while he lived at Augsburg, no harm to borrow some of her fur. This 
 where he was incessantly employed by he did so often, that his father appre- 
 
 the princes and nobility of Germany, he 
 was anxious to revisit his native city; but 
 on his arrival there he found himself much 
 disappointed in his expectations ; on which 
 account he soon after accepted the situa- 
 tion of director of the academy of painting 
 at Berlin, to which he was appointed, by 
 a patent, by the king of Prussia, with a 
 salary of fourteen hundred rixdollars a 
 year. He died at Berlin in 1710. 
 
 Werrenfels (Rodolph). He was 
 born at Basle in 1629, but studied his art 
 at Amsterdam, after which he travelled 
 to Italy, where he improved himself con- 
 siderably. He was much employed as a 
 painter of portraits in several of the courts 
 of Germany; but though his likenesses 
 were good, his colouring was cold. He 
 died in 1673. 
 
 West (Benjamin). It has been ob 
 served by Dryden, and many others, that 
 a happy genius is the gift of nature ; but 
 then it might have been added, that with 
 out industry this gift would be nugatory 
 The subject of the present article is a full 
 evidence of this truth. Benjamin West 
 was born at Springfield, about ten miles 
 from Philadelphia, October 10, 1738. His 
 parents were quakers, but not rigid 
 though, according to the principles of 
 their sect, they neither countenanced the 
 
 bended the animal was suffering under 
 some disease, till his son made him ac- 
 quainted with the cause of this altered 
 appearance. About this time a mer- 
 chant named Pennington, of Philadelphia, 
 calling upon old Mr. West, was sur- 
 prised to see so many pictures in his 
 house, and more so on hearing by whom 
 they were executed. He was pleased 
 with the performances of the boy, and 
 promised to furnish him with more suit- 
 able implements. He did so, and soon 
 after young West was possessed of a box 
 of paints, pencils, and prepared canvass, 
 with some tolerable engravings. He now 
 proceeded to work with greater alacrity, 
 and painted a picture which he composed 
 by an examination of the engravings. 
 This piece, about sixty-seven years after- 
 wards, was sent to him from America by 
 his brother, and placed in the same room 
 with his Christ Rejected; and, while 
 exhibiting them together, Mr. West has 
 frequently declared that there were, in 
 that juvenile attempt, certain inventive 
 touches which, with all his subsequent 
 experience, he had never been able to 
 surpass. Pleased with the rapid progress 
 made by the young artist, Mr. Pennington 
 shortly afterwards took him to Philadel- 
 phia, where he was shown a picture painted 
 
WES 
 
 by Mr. Williams, who had been the 
 scholar of Richardson, and to whom he 
 was introduced. Mr. Williams finding 
 that he had never received any instruc- 
 tion, and that he was totally unacquainted 
 with such works as treated on the prin- 
 ciples and practice of the art, lent him 
 the works of Fresnoy and Richardson, 
 and exhibited to his view a number of his 
 own drawings and pictures. This cir- 
 cumstance decided his destination. He 
 returned home with a mind engrossed 
 wholly by paintings and drawings; and 
 bis parents perceiving that the bias was 
 too strong to be altered, wisely suffered 
 the bent of genius to take its course, 
 though not without holding a consultation 
 with the heads of the fraternity upon the 
 propriety of the measure. The judgment 
 of the congregation was in favour of the 
 young artist; because it appeared that 
 this was a gift of the Spirit bestowed 
 upon him in an extraordinary degree. 
 Having drawn several figures on some 
 boards which he procured of a neighbour- 
 ing cabinet-maker, they Avere seen and 
 purchased by two gentlemen, who thus 
 proved his first patrons. His fame spread- 
 ing, and his genius ripening, he became 
 the subject of general interest in the coun- 
 try. About a year after painting the 
 boards, for which he had received two 
 dollars, he was invited to the house of Mr. 
 Flower, one of the justices for the pro- 
 vince. While on a visit to this family, 
 he was introduced to an intelligent female, 
 who had the care, as governess, of Mr. 
 Flower's daughters. It was through this 
 lady that he became acquainted with the 
 histories which described the manners and 
 events of ancient times, and which had 
 become the subjects of pictorial repre- 
 sentation. This information awakened 
 in him new desires, and he began to be 
 anxious for intellectual knowledge. Dur- 
 ing this visit young West was introduced 
 to one Mr. Ross, whose portrait, and that 
 of his lady, he was prevailed upon to 
 paint; and he performed the task with 
 so much exactness, that the applications 
 made to him increased every day, and 
 thus compelled him, as it were, to enter 
 upon the profession. Among those who 
 cultivated his acquaintance, was a young 
 man, named Henry, who, having some 
 knowledge of history, urged him to paint 
 a picture of the Death of Socrates. West 
 was totally ignorant of the subject, and 
 therefore frankly confessed his incompe- 
 tence to undertake such a work. Upon 
 
 this his friend took down from the book- 
 case a volume of Plutarch's Lives, and 
 gave him the story to read. Another dif- 
 ficulty now occurred : West had hitherto 
 only drawn the human face, or bodies 
 clothed'; and therefore very naturally con- 
 cluded that he could not do justice to the 
 naked figure, such as that which presented 
 the poison to the philosopher. To sur- 
 mount this objection, Mr. Henry, without 
 making his friend acquainted with his 
 intention, directed a handsome young 
 slave to be brought into the room, with 
 all those parts of the body bare, which 
 might be thought necessary to represent 
 the catastrophe of the tragedy. The negro, 
 on entering the room, stood before them, 
 when Henry said, " There is the model 
 which you want." West, on perceiving 
 nature full in his view, found his objec- 
 tion vanish, and received at once a con- 
 viction that it was only from her school 
 that perfect models could be obtained. 
 The picture, when completed, procured 
 him many more friends, and also much 
 applause from several persons who were 
 capable of appreciating the merit which 
 he had displayed in the execution of his 
 work. Among others who were struck 
 by it, was Dr. William Smith, provost of 
 the college at Philadelphia. This gen- 
 tleman, upon conversing with West, and 
 finding that his education had been very 
 limited, with great liberality offered to 
 take him under his own tuition in the 
 college. The offer was readily accepted, 
 and there the studies of the young artist 
 were directed solely to his improvement 
 in the profession to which he was destined. 
 While in this situation, he met with and 
 purchased a picture of Ignatius Loyola, 
 that had been taken on board a Spanish 
 prize. The piece, if not by Murillo, was 
 one of the best productions of his school, 
 and therefore well worthy of imitation. 
 This West attempted, and with so much 
 success, that his work became the subject 
 of the most enthusiastic applause. These 
 praises induced him to take a bolder 
 flight, in an endeavour to accomplish 
 something beyond portraiture. Pursuant 
 to this resolution, he undertook a picture 
 from the history of Susanna, the Elders, 
 and Daniel, in which he introduced no 
 less than forty figures. The piece was 
 completed under the patronage of a Mr. 
 Cox, of Philadelphia; and, in Mr. West's 
 opinion, it was the best of his juvenile 
 performances. Unfortunately, however, 
 it has been long lost to the world by a 
 
WES 
 
 600 
 
 WES 
 
 fire. After continuing some time at Phil- 
 adelphia, Mr. West removed to New 
 York, where, happening to see a beautiful 
 Flemish picture of a hermit at his devo- 
 tions before a lamp, he conceived the idea 
 of painting a man reading by candlelight. 
 This also he accomplished with his wonted 
 facility, taking for his model a man with 
 a book placed before him, in a room en- 
 lightened only by a candle. His reputa- 
 tion as a portrait painter during these 
 years continued to increase, and his prices 
 advanced as his fame augmented. In 
 1754, his price was one guinea for a head ; 
 in 1755, two guineas; in 1756, three; in 
 1758, four; and in 1760, five; in which 
 last year he charged ten guineas for a 
 half-length. When Mr. West had nearly 
 completed his twenty-second year, a pro- 
 position was made by a mercantile friend 
 for his going to Italy, accompanied with 
 an offer of the necessary means. This 
 overture was too advantageous to be re- 
 jected; he, therefore, with the consent of 
 his father, his affectionate mother having 
 been dead for about three years, made 
 suitable preparations, and speedily em- 
 barked for the Mediterranean. On his 
 arrival at Rome he was introduced to 
 some eminent characters, who, wishing 
 to see what effect the works of art which 
 decorated the Vatican would produce on 
 him, appointed a day for the exhibition. 
 West was then placed where, on the sud- 
 den opening of tiie door, he might have a 
 full view of the Apollo. No sooner did 
 this interesting object burst upon his 
 view, than he exclaimed, " How much it 
 resembles a young Mohawk warrior !" 
 The company felt mortified, but imme- 
 diately enquired what a Mohawk was. 
 West explained, and described this tribe 
 of Indians, their education, the elasticity 
 of their limbi, their dexterity with the 
 bow and arrow, the expression which ac- 
 tive life gave to their chest, and the dilation 
 of the nostrils, which their quick breath- 
 ing, while engaged in the chase, always 
 produced. All these characteristics were 
 so nobly depicted in the Apollo, that West 
 was forcibly struck with the resemblance 
 at the first sight. " I have seen them 
 frequently," said he, " standing in that 
 very attitude, watching with an observant 
 eye the progress of the arrow which had 
 just quitted the bow." This explanation 
 was satisfactory, and the company de- 
 clared that a better criticism had never 
 been pronounced on this celebrated statue. 
 After surveying, with different degrees of 
 
 admiration, the works of the most eminent 
 artists, Mr. West found his health injured ; 
 therefore, taking medical advice, he re- 
 paired to Leghorn. On his recovery he 
 visited Florence, Bologna, Parma, and 
 Venice, studiously observing the works of 
 the great masters of the different schools. 
 During his stay at Parma he copied the 
 St. Jerome of Corregio, and was chosen 
 a member of the academy in that city, 
 having previously received from those of 
 Florence and Bologna a similar distinc- 
 tion. After an absence of fifteen months, 
 he returned to Rome, and there painted a 
 portrait which gained him so much honour, 
 that the fame of it spread to America, 
 and drew from his friends there letters 
 of unlimited credit. In August, 1763, 
 Mr. West first set foot in England, hav- 
 ing travelled from Italy, through France, 
 in the company of Dr. Patoun, a Scotch 
 physician, who took a lively interest in 
 his welfare, and earnestly dissuaded him 
 from returning to America, according to 
 his original intention. That gentleman 
 spoke so highly of his fellow traveller, as 
 to excite a general curiosity among the 
 admirers of the fine arts to behold his two 
 pictures of Cymon and Iphigenia, and 
 Angelica and Medora, painted at Rome. 
 Among others who visited him at this 
 time was Mr. Reynolds ; who, instead of 
 looking upon him as a rival, at once ac- 
 knowledged his merit, offered him his 
 friendship, and, as a proof of his sincerity, 
 urged him to exhibit the two pictures at 
 the Society's rooms in Spring Gardens. 
 There they accordingly appeared ; and 
 the praises which they elicited so far sur- 
 passed the most sanguine expectations of 
 our artist, that he now suspended the 
 resolution of returning to America, al- 
 though there was a powerful principle of 
 attraction to draw him thither. While 
 he resided at Philadelphia, he had formed 
 an acquaintance with Miss Stowell, the 
 daughter of a merchant. The intimacy 
 had ripened into affection ; but their in- 
 tended marriage had been hitherto delayed 
 from prudential motives. The sacred 
 engagement, however, was never forgotten 
 on either side; and, no sooner did Mr. 
 West form the resolution of settling in 
 England, than he wrote to his father, re- 
 questing him to accompany the young 
 lady to London, that their union might 
 take place. She accordingly sailed from 
 Philadelphia with old Mr. West, and soon 
 after their arrival the marriage took place. 
 In 1 765, the Society of Artists were in- 
 
WES 
 
 WES 
 
 corporated by royal charter, and Mr. AVest 
 became both a member and director. The 
 same year he exhibited two pictures from 
 fabulous history ; one of Jupiter and 
 Europa, and the other of Venus and Cu- 
 l)id. In the next display of art, he had 
 four pictures : the Continence of Scipio ; 
 Pylades and Orestes ; another of Cymoa 
 and Iphigenia ; and Diana and Endymion. 
 Of two of these performances a critic of 
 the day gave the following account : " In 
 the picture of the Continence of Scipio, 
 the most pleasing object is the figure of 
 the female captive; the expression fine, 
 great sweetness in the countenance, and 
 having modesty suitable to the story : the 
 other characters are not so well hard, 
 and the colouring indifferent. In the 
 Pylades and Orestes, the principal woman 
 is very clever, the rest of the females well 
 grouped; the characters are varied, the 
 figures of Pylades and Orestes are good, 
 those of the heads particularly so ; if the 
 colouring had not been so much of the 
 same hue, it would have been better. The 
 story is well told, the draperies are most 
 of them well disposed, and upon the whole 
 these pictures have a great deal of merit. 
 But in all his works this artist is apt to 
 be too glaring, hard, and edgy, especiallj' 
 in his heads ai>d hands. It is also a pity 
 that he should be so fond of glazing and 
 scumbling, which will make his pictures 
 change in time, and in the end grow 
 black." The merit of Mr. West now 
 became more extensively known, by the 
 encouragementof Archbishop Drummontl, 
 of York, who employed him to paint a 
 picture, the subject of which was, Agrip- 
 pina landing at Brundusium with the 
 Ashes of Germanicus. When completed, 
 the picture was shown to his majesty 
 George III., who was so delighted with 
 the performance, that he immediately gave 
 the artist a commission to paint for him 
 the Departure of Regulus from Rome. 
 The Incorporated Society, having become 
 the seat of contention, was soon after this 
 dissolved, and the institution of the Royal 
 Academy, in the establishment of which 
 Mr. West had a leading concern, took 
 place. From that period till his death he 
 was a regular contributor to its annual 
 exhibitions ; but it would exceed the limits 
 of this memoir to enumerate all the pic- 
 tures which, on these occasions, were 
 produced by his felicitous and rapid pencil. 
 The principal were, Venus lamenting the 
 Death of Adonis ; Hannibal swearing 
 eternal Hatred to the Romans ; the Death 
 
 of General Wolfe ; Hector and Andro- 
 mache; the Repentant Prodigal ; Penn's 
 Treaty with the Indians ; the Presenta- 
 tion in the Temple ; Una, from Spenser's 
 Fairy Queen ; the Death of Bayard ; the 
 Cave of Despair, from Spenser; Moses 
 receiving the Tables ; Anthony showing 
 the Robe and Will of Caesar to the People ; 
 Erasistratus discovering the Love of An- 
 tiochus ; Devout Men taking the Body of 
 Stephen, an altar-piece for Walbrook 
 church; Daniel interpreting the Hand- 
 writing on the Wall; Rinaldo and Armida; 
 St. Michael the Archangel, an altar-piece 
 for Trinity College chapel, Cambridge ; 
 William de Albanac and his three Daugh- 
 ters ; Alfred dividing his Loaf with the 
 Pilgrim ; the Battle of the Boyne ; the 
 Battle of La Hogue; the Raising of Laza- 
 rus, an altar-piece for Winchester cathe- 
 dral; the Curing of the Demoniacs, for 
 the King's chapel at Windsor; the As- 
 cension, for the same ; Cromwell dissolv- 
 ing the House of Commons ; the Landing 
 of Charles II. at Dover ; the x\potheosis 
 of the Princes Alfred and Octavius ; 
 Moses striking the Rock ; St. Peter 
 Preaching ; the Lord's Supper ; the Re- 
 surrection ; St. Paul in the Island of 
 Melita ; Queen Philippa suing for the 
 Burghers of Calais; King Lear; the 
 Brazen Serpent in the Wilderness; the 
 Expulsion of Adam and Eve from Para- 
 dise; the Conversion of St. Paul, for a 
 church at Birmingham ; the first Installa- 
 tion of the Knights of the Garter, for the 
 audience chamber, Windsor Castle; Ed- 
 ward III. passing the Saone ; thfe three 
 Maries at the Sepulchre; Edward HI. 
 embracing his Son after the Battle of 
 Cressy ; Philippa, the Queen of Edward 
 HI., at the Battle of Neville's Cross ; St. 
 Paul and Barnabas rejecting the Jews, 
 for the chapel at Windsor ; Macbeth and 
 the Witclies ; Edward the Black Prince 
 receiving John, King of France, Prisoner, 
 after the Battle of Poitiers ; Cordelia and 
 Lear ; Queen Elizabeth going in proces- 
 sion to St. Paul's, after the Defeat of the 
 Armada; the Grecian Daughter; the 
 Descent of the Holy Spirit upon our 
 Saviour, for the King's chapel. When 
 Sir Joshua Reynolds died, Mr. West was 
 appointed his successor till the ensuing 
 election, and then he was chosen to the 
 vacant chair without a dissenting voice ; 
 and, with little interruption, he retained 
 that situation till his death. He greatly 
 contributed to the improvement of that 
 institution, particularly by the appropria- 
 
:wEs 
 
 WES 
 
 tion of a part of its funds to the relief of 
 aged and distressed artists, as well as for 
 the support of their widows and children. 
 In 1802 Mr. West visited Paris, where he 
 was waited on by a deputation from the 
 National Institute, in the Gallery of Arts, 
 and invited to a sumptuous entertainment. 
 In 1 805 theBritish Institution was founded, 
 agreeably to the strong recommendation of 
 the president of the Royal Academy, whose 
 plan of arrangement was almost entirely 
 adopted in its formation. The year fol- 
 lowing he produced his picture of the 
 Death of Lord Nelson, in which were 
 introduced about fifty real portraits. In 
 1814, Mr. West exhibited, at a great room 
 in Pall Mall, a picture representing Christ- 
 rejected by the Jewish high-priest, the 
 elders, and the people. This piece evinced 
 that the powers of the painter were not 
 weakened by age; yet his next exhibition, 
 for his own benefit, three years afterwards, 
 when he was on the eve of eighty, ex- 
 ceeded even that great production of his 
 pencil. The picture to which we allude, 
 owed every thing to imagination, and there- 
 fore had a higher claim to wonder. The 
 subject was, Death on the Pale Horse, or 
 a graphic personification of the mystical 
 vision described by St. John in the Apo- 
 calypse. The ideal king of terrors is 
 terrifically grand, nor less so is the super- 
 natural courser that he bestrides, and 
 which, issuing from the womb of night, 
 seems to paw space, delighted at the deso- 
 lation that attends its steps. The right 
 arm of the spectral monarch is wreathed 
 with a serpent, the other is armed with 
 meteoric plagues. Beneath lies a dead 
 female, with her husband and motherless 
 child lamenting their loss, and awaiting 
 their own dissolution. On the right, 
 human desolation is depicted under a 
 variety of sanguinary forms ; while behind, 
 in a murky sky, are seen, through a dusky 
 veil, the ghastly shapes of infernals, that, 
 in the " palpable obscure," find out their 
 uncouth way. Before this group is the 
 representation of the black horse of the 
 third seal, with its rider, and the balances 
 in his hand. Approaching the foreground 
 are two figures of Pestilence and Famine, 
 vigorously conceived and most powerfully 
 expressed. Hence, to the right, the open- 
 ing of the first and second seals obtains 
 " a local habitation." The white horse, 
 and the Saviour of men, with a bow in 
 his hand, going forth conquering and 
 to conquer, is the finest figure of the 
 composition. The head of Christ is in 
 
 profile, and the eye directed to a beati- 
 fical vision in the heavens. Behind this 
 is the red horse, bestrode by a helmed 
 warrior, spreading around him, with un- 
 feeling sternness, misery and carnage. 
 In this sublime composition, less regard 
 is paid to colour than to expression ; and 
 it must be apparent at first sight, that the 
 object of the venerable artist was to pro- 
 duce a great moral eflect, without having 
 recourse to any meretricious tricks to 
 catch the eye and raise admiration. An- 
 other great work of Mr. West was a 
 picture painted as a gift to the Pennsyl- 
 vania hospital ; the subject being, very 
 appropriately, that of Our Saviour receiv- 
 ing the Lame and the Blind in the Temple, 
 to heal them. About the same time he 
 painted an altar-piece for the new church 
 of St. Mary-le-bone, the subject of which 
 is the Annunciation; but afterwards he 
 made a present to the parish of a smaller 
 and better picture of the Nativity. Thus 
 the final labours of this illustrious painter 
 were consecrated to charity and religion; 
 but he still continued, whenever age and 
 infirmity permitted, to cheer his declining 
 hours with sketching new designs, or 
 directing the studies of those who sought 
 his advice. He bad, for above half a 
 century, enjoyed the particular favour of 
 his sovereign ; and it is somewhat remark- 
 able, that as they were both born in the 
 same year, so they both died within two 
 months of each other the king on the 
 29th of January, and Mr. West on the 
 nth of March, 1820. Upon this event, 
 a council of the Royal Academy assembled, 
 for the purpose of arranging the ceremony 
 of the funeral of their late president, which 
 they desired might take place in St. Paul's 
 cathedral. This solemnity was performed 
 on the 29th of the same month, and very 
 numerously attended. Many of the pic- 
 tures of Mr. West have been engraved, 
 particularly the following: the Death of 
 General Wolfe; the Battle of the Boyne; 
 the Battle of La Hogue; and Cromwell 
 dismissing the Parliament, by Woollett; 
 Mr. West and his family, by Facius; the 
 Last Supper, by Ryder ; Agrippina land- 
 ing at Brundusium, by Earlom; the treaty 
 of William Penn with the Indians, by 
 Hall ; the Stoning of Stephen, by Dunkar- 
 ton; the Hovel, in King Lear; and the 
 King, Queen, and Laertes, in Hamlet, by 
 Legat. The two last were painted for 
 Boydell's Shakspeare. Mr. West lost his 
 lady in 1815, after a union of fifty years 
 and three months. By her he had two 
 
WEY 
 
 603 
 
 WHE 
 
 sons, who survive him. The last portrait of 
 Mr. West was painted by Sir 'J'homas Law- 
 rence, and is now in the National Gallery. 
 
 Westall (Richard), member of the ; 
 Royal Academy of London, and widely 
 known for his illustrations of British 
 poetry, died at an advanced age, on 4th 
 December, 1836. He first called attention 
 to his name by exhibiting a picture from 
 Chaucer's sarcastic poem of January and 
 May, in the year 1785; and, two years 
 afterwards, by one of ]\Iary Queen of 
 Scots taking leave of Andrew Melvil, on 
 her way to execution ; and, also, by a 
 picture of Esau seeking Isaac's blessing 
 after Jacob had obtained it; with a scene 
 from the Wife of Bath's Tale. These, 
 and other works, were of great promise; 
 and much was expected from one who 
 drew well, grouped well, and exhibited a 
 poetic taste not always at the command 
 of the English School. But though it is 
 true, that now and then Westall embodied 
 a verse in the spirit of the poet; now and 
 then gave us images of female loveliness 
 which still abide in our memories ; and 
 row and then reached the height of the 
 chivalrous and the romantic, after which 
 he aspired: it is also true that, though, 
 extremely popular with the world, and 
 producing pictures which claimed to be 
 historic, he was deficient in vigour of 
 outline, and wanted true beauty, and also 
 that grace of proportion which poetry 
 requires. His designs, or pictures, were 
 indeed abundant, and in this he resembled 
 Stothard; but he differed from that un- 
 equalled painter in the high matters of 
 woman's modesty, sweetness, and that 
 beauty which belongs but to the pure of 
 soul. He descended gradually, and bit by 
 bit, from the eminence which, at hi^. outset, 
 he obtained: his blemishes grew larger 
 and his beauties less; his women more 
 bloodless of body and longer of limb; his 
 men more spiritless and languid; and, for 
 some time before death interposed, he had 
 ceased to add his w-eight to our poetry. 
 
 Weyde (Roger Vander). He was 
 born at Brussels about the year 1480. It 
 is not known by whom he was instructed, 
 but he was one of the first of the Flemish 
 artists who improved the national taste, 
 and divested it of tlie gothic manner in 
 some small degree ; for he showed consider- 
 able grace in the airs of his heads, and 
 was correct in his design. He was very 
 attentive to the expression of his figures, 
 and in that respect was generally true. 
 Several princes, and many of the most 
 
 eminent persons of his time, had their 
 portraits painted by him, aud he obtained 
 both fame and fortune by the variety of 
 works in which he was employed. He 
 made himself memorable by some paint- 
 ings in the town-hall at Brussels, which 
 have been exceedingly commended. The 
 subject of one is the exemplary justice of 
 Trajan, in putting to death one of his 
 soldiers on the complaint of a mother, 
 whose son had been murdered by him; 
 that of the other is, Arcbambaut, Prince 
 of Brabant, then in a dying state, stabbing 
 his nephew and next heir, for having 
 ravished a maid of that country. In 
 both histories the painter has shown great 
 abilities and good expression, and the 
 countenance of the principal figure ex- 
 hibits a striking mixture of grief and 
 revenge. Vander Weyde also painted a 
 Descent from the Cross, in the church 
 of St. Gertrude, at Louvaine, which was 
 afterwards sent to the King of Spain, and a 
 copy placed in its room, executed by 
 Michael Coxis. Vander Weyde died in 
 1529. In other editions of this Dictionary, 
 Vander Weyde is said to have been the 
 same artist as Roger of Bruges, and 
 Descamps is censured for making them 
 distinct persons. There can be no doubt, 
 however, that Roger of Bruges was of an 
 earlier period, being born in 1.366. He 
 was the disciple of John Van Eyck, and 
 one of the first who practised oil painting 
 which he learned from his master. He 
 designed his figures well, and drew cor- 
 rectly. He died in 1418. 
 
 Weyer (Gabriee). This German 
 artist was both a painter and an engraver. 
 He resided at Nuremberg, where he 
 painted several pictures, and executed a 
 great number of prints in wood. He 
 flourished about the year 1620. 
 
 Weyer (Hans or John). He was a 
 native of Coburg, where he exercised the 
 two sister arts of painting and engraving, 
 with great reputation, about the year 1612. 
 
 Weyermans (James Campo). He was 
 born at Amsterdam in 1679, and studied 
 under Ferdinand Van Kessell. His talent, 
 which was but middling, lay in painting 
 flowers, fruit, and still life. Weyermans 
 is known by a biography of Dutch pain- 
 ters, badly compiled, and abridged from 
 Houbraken. He died in 1747. 
 
 Wheateey (Francis). This ingeni- 
 ous artist was born in London in 1747. 
 I With the exception of a few lessons in a 
 ! drawing school, he may be said to have 
 been self-taught, and in painting he was 
 
WIE 
 
 604 
 
 WIG 
 
 wholly so. But he availed himself of the 
 advantage arising from the friendship of 
 Mortimer, whom he assisted in painting 
 the ceiling at Brocket Hall, in Hertford- 
 shire, the seat of Lord Melbourne. He 
 also associated with some young men who 
 had been under the tuition of able artists. 
 His inclination led him both to figures and 
 landscape, but chiefly to the former, and 
 he had considerable employment as a por- 
 trait painter. After practising some years 
 in London, he went to Dublin, where he 
 painted a large picture, representing the 
 Irish House of Commons assembled, in 
 which were introduced portraits of the 
 most distinguished political characters of 
 that day. From Dublin he returned to 
 London, where he painted the picture of 
 the Riots in 1780, from which Mr. Heath 
 engraved an excellent print; but the 
 original was unfortunately burnt in the 
 fire which destroyed that artist's house, 
 in Lisle-street, Leicester-square. Mr. 
 Wheatley continued to paint portraits, but 
 he was principally engaged in rural and 
 domestic subjects, for which he had a 
 peculiar talent. He died of the gout. 
 June 28, 1801. He was elected an associ- 
 ate of the Royal Academy in 1790, and a 
 royal academician the folloAving year. 
 Ilis greatest productions were painted for 
 the Shakespeare gallery of Boydell, and 
 the historic gallery of Bowyer. 
 
 WiiooD (J.) It is not certain whethei 
 the orthography of this artist's name is 
 WhoodorWood. Ilewasaportrait painter, 
 and resided some years in Lincoln's-Inn 
 Fields, London. The late Mr. Sandby 
 had a whole-length picture of a young 
 lady by him, of a very superior character. 
 There are also some mezzotinto prints, 
 taken from portraits painted by this artist, 
 particularly one of Del Vaux the sculptor, 
 dated 1734. It was scraped by Van 
 Hacken. He died about 1769. 
 
 WicKSTEAD (PuiLip). Hc was bom 
 in London, and studied painting under 
 Zoffany. He distinguished himself by 
 his whole-length portraits in a small size; 
 and when Mr. William Beckford went to 
 Jamaica, he accompanied that gentleman 
 on his voyage. He settled there, and turned 
 planter; but the speculation proving un- 
 successful, he fell into habits of intem- 
 perance, and died in the island in 1790. 
 
 WiERiNGEN (Cornelius). This Dutch 
 painter was born at Ilaerlem about 1600. 
 lie excelled in marine subjects, chiefly 
 storms, which he painted with great 
 force and accuracy. He also etched 
 
 many prints of landscapes and sea views 
 in a good style. 
 
 WiGMANA (Gerard). He was born 
 at Worckum, in Friesland, in 1673. It 
 is not said by whom he was instructed; 
 but as soon as he was qualified to travel, 
 he went to Italy, where he studied the 
 paintings of Titian, Raffaelle, and Giulio 
 Romano. These he made use of as his 
 models, and for some time copied and 
 designed the works of those celebrated 
 artists with great attention and uncommon 
 labour; so that, when he returned to Hol- 
 land, he was enabled to compose his own 
 subjects, which he usually took from the 
 Roman, Grecian, or fabulous histories; 
 and he was so exceedingly diligent at his 
 work, that though his pictures were 
 finished extremely high, yet, by un- 
 wearied perseverance, he painted a great 
 number. He was not more remarkable 
 for the delicacy of his pencil, than for his 
 egregious vanity; he seemed so fond of 
 lavishing exorbitant praises on his own 
 productions, that he neither afforded an 
 opportunity to others to commend them, 
 nor left them even an inclination to it; 
 but, by his vain compliments to himself, 
 discredited his works and disgusted his 
 best friends, as well as the ablest judges. 
 As an instance of his pride and presump- 
 tion, he called himself the Raffaelle of 
 Friesland; and it is asserted, that he 
 demanded near three hundred pounds for 
 one picture, the subject of which was the 
 Death of Alexander. It had indeed great 
 merit in several parts, but was neither 
 correct in the drawing nor the design, 
 and it had, besides, many imperfections in 
 the disposition and expression; but the 
 price demanded appearing too exorbitant 
 for anyjudicious person to become a pur- 
 chaser, it was not sold till after his death. 
 He also painted the Parting of Hector 
 and Andromache, and many other histo- 
 rical subjects; but the prices he demanded 
 for them prevented their being sold. The 
 disappointments which he met with at 
 home induced him to visit London, in 
 hope of greater success; but here his 
 mortifications were increased, and he 
 returned to Amsterdam, where he died in 
 1741. His pictures are sometimes toler- 
 ably well composed, and his colouring, in 
 which consisted his chief excellence, is 
 remarkably brilliant and transparent, and 
 very highly finished, with a light, neat, 
 and delicate pencil. But his expression 
 is very indi0"erent, his figures are badly 
 rouped, the historical characters are 
 
WIL 
 
 605 
 
 never marked with sufficient precision, 
 and his drawing is incorrect. 
 
 WiLDENS (John). He was born at 
 Antwerp in 1584, but the master by whom 
 he was instructed is not mentioned. He 
 studied every object after nature, in the 
 fields and forests, and became an excel- 
 lent painter of landscape. His skies, 
 trees, grounds, and waters, are all true 
 imitations of what he had observed in his 
 walks through the country, and every 
 thing he painted was lightly and freely 
 executed. Wildens was in much estima- 
 tion, when Rubens, perceiving his merit, 
 employed him to ornament the back- 
 grounds of his grand compositions, where 
 landscape was necessary; and he com- 
 mended him extremely for adapting his 
 tone of colour to the rest of the design 
 and to the neighbouring tints, with such 
 accuracy and judgment, that the two 
 works harmonized as happily as if their 
 combined labours had only been executed 
 by one pencil. He had a good genius, 
 his choice of nature was exceedingly 
 agreeable, and in his execution he was 
 not only ready, but superior in that 
 respect to Van Uden. He had somewhat 
 pleasing and natural in his colouring, 
 and he designed and painted the figures 
 in a good style. Two of the most capital 
 paintings of Wildens are in the chapel of 
 8t. Joseph at Antwerp; the subject of 
 one is a Holy Family; and of the other, 
 the Repose in Egypt. The landscape in I 
 these pictures is superior to any of the j 
 other works of Wildens, and the figures, i 
 which were painted by Lang Jan, hav 
 all the beauty, delicacy, and grace of j 
 Vandyck. Wildens died in 1644. | 
 
 WiLKiE (Sir David). The son ofi 
 the Rev. David Wilkie, minister of Cults, \ 
 near Cupar, in Fifeshire, was born in 1785. I 
 His love of the arts was early displayed; \ 
 when a child at school, it was his delight [ 
 to sketch the heads of his school- fellows. : 
 At the age of fifteen, his father and , 
 friends sent him to Edinburgh to study j 
 in the Trustees' Academy, and there he 
 soon gained a prize. One of his first I 
 pictures was an "Inside of a Public- I 
 House." In 1804 he came to London, j 
 and the first picture which he exhibited j 
 at the Royal Academy was his Village 
 Politicians. He was then little more 
 than one and twenty. From that time 
 he continued to rise daily in public esti- 
 mation, and of course in fortune. On the 
 death of Sir Thomas Lawrence, Wilkie 
 was appointed principal painter to his 
 
 Majesty. He died at Gibraltar in 1842, 
 as he was on his return from a tour in 
 Turkey, Palestine, and Egypt. 
 
 Wilkin (Francis). The time and 
 place of this artist's birth we are unable 
 to ascertain. His death occurred in the 
 latter end of September 1842. "He 
 came before the public as a sort of pro- 
 digy," says a critic, "and was employed 
 as a miniature painter when a mere 
 boy. At fifteen, he was engaged by Mr. 
 Buchanan to maie water-colour drawings 
 or paintings from the most celebrated 
 pictures of the old masters, and the power, 
 truth, and effect of these copies, when 
 publicly exhibited, excited general asto- 
 nishment, and won for the young artist 
 the warm commendation of President 
 West, of Lawrence, and other great 
 artists, and the unanimous good word of 
 the critics. He was little more than of 
 age when he received a commission to 
 paint an immense picture of the Battle 
 of Hastings for the hall of Battle Abbey, 
 and received two thousand guineas. 
 Subsequently he devoted himself to por- 
 traiture in chalk, the size of life; and a 
 list of his works would, we believe, include 
 portraits of one half the nobility who lived 
 during the last quarter of a century, and of 
 many distinguished literary men. It was 
 our good fortune to have known him long 
 and intimately, and a more kind- hearted, 
 liberal, or benevolent man, never lived." 
 
 WiLLAERTS (Adam). He was born at 
 Antwerp in 1577, and was very mucli 
 esteemed for having a good knowledge of 
 perspective, a free light pencil, and an 
 agreeable manner of colouring, which, 
 however, was sometimes a little too'gray. 
 His usual subjects were sea-pieces, views 
 of ports, havens, and shores, with fish- 
 markets, processions, or vessels lading or 
 unlading; and in all his compositions 
 there are numerous small figures, which 
 he generally sketched after nature, and 
 gave them draperies suitable to the mode 
 and their occupations. Sometimes he 
 represented the burning of houses, ships, 
 and villages, in which subjects he was 
 allowed to have abundance of merit; but 
 at present his works are not so much 
 esteemed as they were formerly; for 
 though there is a competent share of 
 clearness and transparency in many of his 
 pictures, there is also somewhat dry and 
 stiff' in his manner. His figures are 
 deficient in grace and elegance ; and, 
 though his scenes and vessels were copied 
 from real objects, his choice was fre- 
 
WIL 
 
 quently indiflPerent. He died at Utrecht 
 in 1640. 
 
 WiLLAEBTS (Abraham). He was the 
 son of the preceding, and was born at 
 Utrecht in 1613. He successively be- 
 came the disciple of his father, John 
 Bylaert, and Simon Vouet, at Paris; on 
 leaving whom, he returned to Holland, 
 whei-e he was taken into the service of 
 Prince Maurice of Nassau. Afterwards 
 he went to Africa, and there took draw- 
 ings of the manners, dresses, and scenery of 
 the country. He died at Utrecht in 1671. 
 
 WiLLE (Peter Alex.andeb). He 
 was tlie son of George Alexander Wille, 
 the eminent engraver, and was born at 
 Paris in 1748. After being instructed 
 in drawing by his father, he became a 
 student of the academy at Paris, where 
 he was the scholar of Vienard Greuze, 
 under whom he made such a proficiency 
 in painting as to be elected a member of 
 the academy. He excelled in painting 
 domestic scenes and conversations, some 
 of which were engraved by his father. 
 
 Willebobts, see Bosschaebt. 
 
 WiLLEMANS (Michael). He was 
 born at Lubeck in 1630. Not finding an 
 able instructor at home, he travelled to 
 Holland, and for some time studied at 
 Amsterdam under Backer; but after- 
 wards he became the disciple of Rem- 
 brandt. Under the direction of that 
 great master, he laboured with uncommon 
 industry ; and having, by his practice, as 
 well as by the precepts and example of 
 Rembrandt, improved himself consider- 
 ably, he returned to his native city, and 
 gradually became very eminent in history. 
 One of his most celebrated pictures is 
 Vulcan forging the arms of Mars, which 
 he painted for the Elector of Branden- 
 burg at Breslau; and there are few of the 
 churches or palaces of the nobility in 
 Germany which are not adorned with some 
 of his productions. He died in 1697. 
 
 WiLLEMS (Mark). This Flemish 
 artist was born at Mechlin, about the 
 year 1527, and had Michael Coxis for 
 his instructor. He became an eminent 
 painter, composed well, and drew cor- 
 rectly. In the cathedral church of 
 Mechlin is a picture by him of the Death 
 of St. John the Baptist, which is excellent. 
 When Philip, king of Spain, made his entry 
 into Mechlin, Willems,thoughavery young 
 man, was employed to paint the triumphal 
 arch on that occasion. He died in 1561. 
 
 Williams (John). This artist is said 
 to have been a scholar of Richardson. 
 
 His naine stands in the first exhibition 
 catalogue to a half-length portrait of 
 John Beard the singer, from which there 
 is a mezzotinto print by M'Ardell. Wil- 
 liams also exhibited at the Society's 
 rooms in the Strand, London, in 1761, 
 a portrait, which was much and deser- 
 vedly admired. He lived in Scotland- 
 yard, and is supposed to have died in 1780. 
 
 WiLLiNGEN (Peter Vander). This 
 Dutch painter was born at Bergen-op- 
 Zoom in 1607. His subjects were em- 
 blems of mortality, surrounded with 
 vases of gold and silver, books, and 
 musical instruments, which were very 
 highly finished, and produced a natural 
 effect. He died in 1665. 
 
 WiLLisoN (George). He was a na- 
 tive of Scotland, and studied at Rome; 
 on his return from whence he settled in 
 Greek-street, Soho, London, where he 
 resided in 1771, when he began to exhibit 
 at the Royal Academy, and continued so 
 to do some years ; but, not meeting with 
 encouragement, he went to the East 
 Indies, and having realized a good for- 
 tune, came back to his native country, 
 and died at Edinburgh in 1795. He was 
 an indiflPerent artist, drawing badly, and 
 colouring worse, and rose to wealth by 
 his knowledge of physic, which availed 
 him very much in the East. His por- 
 traits are in the garret not in the gallery. 
 
 Wills (Rev. James). He was ori- 
 ginally a painter of history and portraits, 
 but, not meeting with encouragement, he 
 entered into the church, and became, first 
 curate, and afterwards rector, of Little 
 Stanmore, in Middlesex. He was also 
 chaplain to the chartered Society of Artists, 
 and in 1768 preached a sermon before 
 them in Covent-garden church, for which 
 he received thirty pounds. He translated 
 Fresnoy's Art of Painting into English 
 verse, and published it in a quarto volume, 
 in 1754. There is an academy figure 
 drawn by him, in the Royal Academy, but 
 it is incorrect. There is also a mezzotinto 
 portrait of the Rev. Mr. Sanders, scraped 
 after a painting by Mr. Wills; but his 
 principal performance is a picture of 
 Young Children brought to Christ. It 
 was given by the painter to the Foundling 
 Hospital. To the first exhibition of the 
 artists in Spring Gardens, London, he 
 sent an historical picture, entitled Libe- 
 rality and Modesty, but of its character 
 no report has been made; whence we may 
 conclude that it had little merit. Mr. Wills 
 was a respectable man, and died in 1777. 
 
WIL 
 
 WIL 
 
 Wilson (Benjamin). This artist was 
 born at Leeds, in Yorkshire, but it does 
 not appear that he ever had a regular pro- 
 fessional education. When young he was 
 sent to London, recommended to Dr. 
 Beardmore, master of the Charter-house, 
 who became his patron. By his natural 
 genius and indefatigable application, he 
 acquired considerable abilities as a portrait 
 painter, and may be said to have contri- 
 buted very much to the improvement of 
 the public taste in that department. lie 
 endeavoured to introduce a better style 
 of chiaro-oscuro into his pictures, and the 
 colouring of his heads had more of warmth 
 and nature than the general class of his 
 contemporary artists could infuse into 
 their works. In this improved manner he 
 executed a half-length portrait of Dr. 
 Maty, who was one of the librarians of 
 the Britisli Museum, where the picture is 
 still preserved. Wilson had a taste for 
 the drama, and performed some characters 
 at the private theatre instituted in Pimlico 
 by the late Duke of York, Lord Mexbo- 
 rough, and Sir Francis Blake Delaval, 
 under the management of Foote. Our 
 painter had also a considerable knowledge 
 of natural philosophy, which procured 
 him admission into the Royal Society ; 
 but, by endeavouring to substitute balls 
 instead of pointed conductors in electrical 
 apparatus, he rendered himself obnoxious 
 to the attack of Franklin, and other scien- 
 tific men. He obtained, however, the 
 royal patronage, and was appointed master 
 painter to the Board of Ordnance. He 
 died at his house in Great Russell-street, 
 Bloomsbury, in 1788. There are several 
 etchings by Wilson, particularly the 
 following: an old man's head, with a hat 
 and feather, in imitation of Rembrandt; 
 a small landscape, in imitation of the same 
 master; his own portrait, in a wig; and a 
 satirical print entitled The Repeal, in- 
 tended to ridicule the politicians who sup- 
 ported the cause of the Americans in the 
 afi'air of the Stamp Act. As a painter, Mr. 
 Wilson was respectable, and one of his 
 best pictures was a view of Tivoli, in the 
 possession of Mr. Udney. 'J'here are 
 several mezzotintos after his pictures, as 
 Garrick in Hamlet; the same performer 
 in Lear; and a portrait of Sir George 
 Saville. He likewise made some drawings 
 after pictures of the old masters, for the 
 late Alderman John Boydell. 
 
 Wilson (Richard). This great land- 
 scape painter was born in 1714, at Pinegas, 
 in Montgomeryshire, of which parish his 
 
 father was then rector, but who afterwards 
 obtained the living of Mold, in Flintshire. 
 Having received a liberal education, in 
 the course of which he discovered a strong 
 genius for painting, his father indulged 
 his inclination, and sent him to London, 
 where he was placed under the tuition of 
 an obscure artist, named Wright, who 
 professed portraiture. Wilson, therefore, 
 began his career as a portrait painter, but 
 with a mediocrity, as is said, that afforded 
 no great prospect of excellence; and yet 
 he must have acquired some distinction in 
 that department, since we find that, in 
 1745, he was employed in painting por- 
 traits of the members of the Royal Family. 
 Mr. Wilson, after practising some time in 
 London, went to Italy, and there conti- 
 nued portrait painting, until a small land- 
 scape of his, performed with a consider- 
 able share of freedom and spirit, casually 
 meeting the eye of Zuccarelli, so pleased 
 him, that he strenuously advised the artist 
 to follow that line only, as being most 
 congenial to his powers, and therefore 
 most likely to obtain for him fame as well 
 as profit. This flattering encomium from 
 a painter of established reputation had its 
 effect; and Wilson from that time ex- 
 changed portraiture for landscape, which 
 he pursued with vigour and success. To 
 this circumstance is owing the splendour 
 diffused by his genius, not only over his 
 native country, but even over Italy itself, 
 whose scenes have been the frequent sub- 
 jects of his pencil. His studies, indeed, 
 in this branch of the art must have been 
 rapid ; for he had some pupils in landscape 
 while at Rome, where his works were so 
 much esteemed, that Mengs painted his 
 ])ortrait, and Wilson, in return, presented 
 him with one of his most charming pieces. 
 In 1755 he returned to London, and took 
 apartments in Covent-garden, where he 
 gained great celebrity as a landscape pain- 
 ter. To the first exhibition of 1760, he 
 sent his famous picture of Niobe, which 
 is now in the possession of the Duke of 
 Gloucester. Sir Joshua Reynolds, in his 
 last lecture but one, has offered some 
 strictures on tlie manner in which the 
 fabulous figures are introduced into this 
 fine picture, in which censure Mr. Fuseli 
 seems to coincide, but which Edwards, 
 very feebly, labours to refute. This capital 
 performance is too well known by Wool- 
 lett's admirable engraving to need any 
 remarks in the present sketch. In 1765, 
 Wilson exhibited, with other pictures, a 
 view of Rome, from the villa of Modena. 
 
WIL 
 
 WIN 
 
 This noble performance is in the collec- 
 tion of the Duke of Bedford. On the 
 foundation of the Royal Academy, Wilson 
 was one of the first members, and after the 
 death of Hayman, in 1779, he accepted 
 the office of librarian of the institution ; a 
 situation which his circumstances rendered 
 convenient, but for which, in one respect, 
 he was ill qualified, being never at his ease 
 out of a tavern. At length his necessities 
 increased to such a degree, that he was 
 obliged to pawn some of his pictures that 
 he might be enabled to visit his native 
 place, where he died in May, 1782. Mr. 
 Edwards says, " that though he had ac- 
 quired great fame, yet he did not find that 
 constant employment which his abilities 
 deserved. This neglect might probably 
 result from his own conduct ; for it must 
 be confessed that he was not very pruden- 
 tially attentive to his own interest ; and, 
 though a man of strong sense, and supe- 
 rior education to most of the artists of his 
 time, he certainly did not possess that 
 suavity of manners which distinguished 
 many of his contemporaries. On this ac- 
 count his connexions and employment 
 insensibly diminished, and left him, in the 
 latter part of his life, in comfortless infir- 
 mity." Wilson's pictures cannot easily 
 be enumerated. Sir Joshua Reynolds 
 had a Storm, with the story of Niobe also 
 introduced, but with a different scene from 
 that already mentioned. This was be- 
 queathed to Sir George Beaumont. Sir 
 Watkin Williams Wynne has the Meet- 
 ing of Cicero with his Friends at the 
 Tusculum Villa; two large views in 
 Wales, and some other landscapes; and 
 Lord Thanet is in possession of Mecajnas's 
 Villa at Tivoli, with two smaller scenes in 
 Italy. Of the style of Wilson it might be 
 sufficient to observe, that it formed an 
 epoch in English landscape painting; being 
 equalled by none before, and perhaps not 
 surpassed by any who have followed in the 
 same line. His claims to praise are gran- 
 deur in the choice or invention of his 
 scenes, felicity in the distribution of his 
 lights and shadows, freshness and harmony 
 in his tints. Mr. Fuseli says, in his figu- 
 rative manner, that " Wilson's taste was 
 so exquisite, and his eye so chaste, that 
 whatever came from his easel bore the 
 stamp of elegance and truth. The sub- 
 jects he chose were such as did credit to 
 his judgment; they were the selections of 
 taste; and whether of the simple, the 
 elegant, or the sublime, they were treated 
 with an equal felicity. Indeed, he pos- 
 
 sessed that versatility of power, as to be 
 one minute an eagle sweeping the heavens, 
 and the next a wren twittering a simple 
 note on the humble thorn." His colour- 
 ing was in general vivid and natural ; his 
 touch spirited and free ; his composition 
 simple and elegant; his lights and shadows 
 broad and well distributed; his middle 
 tints in perfect harmony; while his forms 
 in general produced a pleasing impres- 
 sion. He has been called, but injudici- 
 ously, the English Claude ; a comparison 
 which cannot be maintained, as the style 
 of the two painters is totally dissimilar. 
 Wilson fell short of Claude in sublimity ; 
 but he exhibited nature more in her real 
 forms, and in the effects of dewy freshness 
 and silent evening lights, he rose above 
 that great master. In one respect they 
 agreed, but it was one that did credit to 
 neither, and that was in the preposterous- 
 ness or bad taste of their figures. 
 
 Wing HEN (Joseph Van), called the Old. 
 He was born at Brussels in 1542, and 
 went, while very young, to Rome, to 
 pursue his studies. Having spent there 
 four years in designing the greatest curio- 
 sities of that city, and receiving a pro- 
 portionable degree of improvement, he 
 returned to his native place, where his 
 remarkable talents procured him the pa- 
 tronage of the Prince of Parma, who took 
 him into his service, and appointed him 
 his principal painter. Among the best 
 pictures of this artist was a Last Supper, 
 of which Van Mander speaks in high 
 terms ; and there is in the cabinet of the 
 emperor, a fine design by Van Winghen, 
 representing Apelles falling in love with 
 Campaspe, while he painted her picture. 
 But the work which contributed most to 
 the advancement of his reputation was a 
 noble allegorical composition, in which 
 appeared a skilful union of invention and 
 art. He died in 1603. 
 
 Winghen (Jekemiah Van), called the 
 Young. He was the son and disciple of 
 Joseph Van Winghen, and was born at 
 Brussels in 1578, He showed an early 
 genius in painting, and, having been 
 thoroughly instructed in the principles 
 and practice of the art by his father, he 
 went to Italy, and obtained extraordinary 
 applause in every city where his works 
 were exhibited. Although he principally 
 studied historical composition while he 
 resided at Rome, yet, when he returned 
 to Frankfort, where he settled, he gave 
 himself up entirely to the painting of 
 portraits, in which he was truly excellent 
 
WIS 
 
 609 
 
 WIT 
 
 not only finishing his pictures with 
 great care, but giving them a striking 
 resemblance, and the look of natural life. 
 He died in 1648. 
 
 W1NSTAN1.EY (Hamlet), He was the 
 son of Henry Winstanley, the ingenious 
 projector and builder of the Eddystone 
 lighthouse, who perished with it in the 
 great storm of 1704. Hamlet having 
 discovered a genius for painting, was 
 placed with Kneller, on leaving whom he 
 went to Italy, where he resided several 
 years, and, on his return, finding little 
 encouragement given to the art which 
 he professed, he studied engraving, and 
 among other works executed a set of 
 prints from Thornhill's pictures in the j 
 cupola of St. Paul's. He also etched | 
 twenty plates from the works of great 
 masters in the possession of Lord Derby, ! 
 He is supposed to have died about 1760, I 
 
 Winter (Giles de). He was born at 
 Leuwarden in 1650, and was one of the 
 best disciples of Renier Brackenburg. 
 His subjects were the same with those of 
 his master the amusements and recrea- 
 tions of peasants, their feasts and dancings 
 which he represented in a lively and an 
 agreeable manner. He was remarkable 
 for the clearness of his colouring, and his 
 design was very correct. His imagination 
 was so strong, that he never gave himself 
 the trouble to sketch his designs after 
 nature, but composed them at once on 
 the canvass, and finished them from his 
 own ideas, with full as much truth as if 
 every object had been placed before his 
 view. He lived in the strictest intimacy 
 with the old and young Griffier, spending 
 several years of his life entirely with the 
 latter, by whom the compositions of De 
 Winter were exceedingly admired. He 
 died at Amsterdam in 1720, 
 
 WiBz (John), This Swiss artist was 
 born at Zurich in 1640, and had Conrad 
 Meyer for his preceptor. He practised 
 portrait painting with great success; but 
 is chiefly known as the engraver of several 
 plates, some from his own designs ayd 
 others after Holbein, He died about 1700, 
 WissiNG (William). He was born at 
 Amsterdam in 1656, and learned the art 
 of painting at the Hague, under William 
 Dodoens, or Doudyns, with whom he 
 studied historical design as well as por- 
 trait ; but his own genius directed him 
 to the latter. When he had spent some 
 years under that master, he visited Eng- 
 land, and improved himself considerably 
 by working with Sir Peter Lely, whose 
 
 style and colouring he imitated with such 
 success, that he soon rose into reputation; 
 and by painting the portrait of the Duke 
 of Monmouth, he obtained the favour of 
 Charles II., as well as several of the ladies 
 and nobility of that gay court. Though 
 he had a powerful competitor in Kneller, 
 who was unquestionably his superior, yet 
 the real merit of Wissing as an artist, 
 with the politeness of his manners, se- 
 cured to him the esteem of the great, and 
 kept him in employment as long as he 
 lived. Wissing was appointed principal 
 painter to James II., and was sent by that 
 monarch to the Hague, to take the por- 
 traits of William and Mary, Prince and 
 Princess of Orange; by which performance 
 he gained extraordinary reputation. He 
 died at Burleigh, the seat of the Earl of 
 Exeter, in 1687. 
 
 Wit (Peter de), or, as he is commonly 
 called, Pietro Candida. This Flemish 
 painter was born at Bruges in 1548. We 
 are not informed who was his master; but 
 when young he travelled into Italy, where 
 he contracted a friendship with Giorgia 
 Vasari, to whom he became a valuable 
 assistant in the works on which he was 
 employed in the Vatican. He painted 
 equally well in fresco and in oil, and was 
 much employed by the Grand Duke of 
 Tuscany in several considerable works at 
 Florence, Afterwards, on the invitation 
 of the Elector of Bavaria, he removed to 
 Munich, where he spent the remainder of 
 his life. He was the intimate friend of 
 John Sadeler, who engraved prints after 
 many of his pictures. Being a monk, 
 most of his subjects are of a religious 
 character. He died in 1599, 
 
 Wit (Emanuel de). He was born at 
 Alkmaer in 1607, and was the scholar of 
 Evert Van Aelst, a painter of still life. 
 De Wit himself, however, painted por- 
 traits with great success, and he sometimes 
 composed historical subjects ; but his 
 principal excellence consisted in perspec- 
 tive and architecture. The subjects by 
 which he gained the greatest credit were 
 the views of the insides of churches and 
 magnificent buildings; and in them he was 
 accounted equal to the best of his contem- 
 poraries, not only in the exactness with 
 which he designed every part of his pieces, 
 but in the happy choice of his lights, and 
 his judicious manner of introducing and 
 disposing them, so as to produce an ex- 
 cellent effect. His figures are well de- 
 signed, well coloured, and touched with 
 spirit ; and, as he spent the greatest 
 2 R 
 
WIT 
 
 610 
 
 WIT 
 
 part of his life at Amsterdam, most of his ' 
 pictures represented the churches in that 
 city, in which he described the organs, 
 monuments, pulpits, and seats crowded 
 with the audience. His style of compo- 
 sition is so peculiar, that the pictures of 
 his painting are easily known. In some 
 of them he represented the minister per- 
 forming divine service ; and in others the 
 congregation assembling to attend public 
 worship; in which he usually distinguished 
 the dift'erent orders of the people by their 
 dresses. In his best pictures he repre- 
 sented the sun shining through the win- 
 dows, which produced a fine effect. The 
 picture which was the most celebrated 
 work of De Wit was destroyed by him- 
 self in a sudden fit of indignation. 
 It was a View of the Choir in the New 
 Church at Amsterdam, where the monu- 
 ment of the famous Dutch admiral, De 
 Kuyter, is erected. The picture was be- 
 spoke by the admiral's son, who agreed 
 to pay a large sum for it ; but young De 
 Ruyter, dying before the painting was 
 finished, the gentleman who married his 
 sister offered De Wit a sura far below the 
 original stipulation ; which so exasperated 
 the painter, that he cut the canvass in 
 pieces, though, at that time, he had not one 
 shilling in his purse ! He was naturally of 
 a rough, ill-bred, and morose disposition, 
 and too apt to depreciate the works of 
 other artists; which procured him universal 
 hatred and contempt, and occasioned his 
 being reduced to extreme poverty. He was 
 found drowned, with a cord fastened round 
 his neck, in a canal at Haerlem, in 1692. 
 Wit (Gaspar de). He was born at 
 Antwerp in 1621; and, after learning the 
 principles of painting in his own country, 
 travelled to Italy, where he gained great 
 credit by his landscapes, which were 
 highly finished, and generally contained 
 the representation of ancient ruins. He 
 died at Amsterdam in 1673. 
 
 Wit (Jacob de). He was born at 
 Amsterdam in 1695, and was instructed 
 by Albert Van Spiers, with whom lie 
 continued three years: after which he 
 went to Antwerp, to contemplate the 
 works of Rubens and Vandyck. While 
 there, he studied, for some time, under 
 Jacob Van Halen, but derived less infor- 
 mation from him than from the paint- 
 ings of the great artists, whose productions 
 he admired, and to which he devoted his 
 principal attention. In 1712 he made 
 designs from the paintings by Rubens, 
 in the four ceilings of the church of the 
 
 Jesuits, and which consisted of thirty-six 
 compartments. As the originals were 
 destroyed by lightning in 1718, it was 
 fortunate that De Wit made these copies, 
 of which engravings were afterwards pub- 
 lished by John Punt. The principal em- 
 ployment of De Wit was in painting 
 ceilings, and the ornaments of grand 
 apartments, the subjects of which were 
 mostly historical, emblematical, and alle- 
 gorical. He also excelled in painting 
 children. In 1736 he decorated the great 
 council-chamber at Amsterdam, and like- 
 wise executed several altar-pieces. He 
 died in 1744. 
 
 WiTHoos (Matthew, or Matthias). 
 He was born at Amersfort in 1627, and 
 was the disciple of Jacques Van Campen, 
 with whom he continued six years, and 
 distinguished himself above most of his 
 contemporaries in those particular sub- 
 jects which he painted. When he quitted 
 Van Campen, he wanted no further im- 
 provement than what he was capable of 
 obtaining by a careful observation of na- 
 ture; and, therefore, apphed himself to 
 that study with equal curiosity and in- 
 dustry; but, to furnish himself with a 
 greater variety of objects, he travelled, 
 with Otho Massasus, to Rome, where he 
 studied for two years. His general sub- 
 jects were fruits, flowers, insects, land- 
 scapes, still life, and reptiles, particularly 
 serpents and venomous creatures, which he 
 painted with an uncommon degree of spirit. 
 He finished all his subjects of the latter 
 kind exquisitely, with great force, nature, 
 and relief. During his residence at Rome, 
 he was patronised by Cardinal de Medicis, 
 and was principally employed in his ser- 
 vice, for which he was amply rewarded. 
 He generally introduced into his pictures 
 thistles, and other plants, with snakes, 
 adders, or vipers among them, which he 
 always painted after nature, with an ex- 
 traordinary neatness of pencil. His pic- 
 tures, even in his lifetime, sold for five or 
 six hundred florins a-piece; and yet the 
 h.igh finishing of them, and their lively 
 imitation of nature, constitute their prin- 
 cipal merit. He died at Hoorn, in North 
 Holland, in 1703. 
 
 WiTHoos (John). He was the eldest 
 son of the preceding artist, and was born 
 at Amersfort in 1648. After receiving 
 instruction in painting from his father, 
 he completed his studies at Rome, where 
 he continued several years. Generally he 
 painted landscapes in water colours; and 
 as he sketched most of the beautiful views 
 
WOL 
 
 611 
 
 WOL 
 
 in the environs of Rome, having' always 
 accustomed himself to study after nature, 
 he brought with him, on his return home, 
 a great number of drawings of the most 
 pleasing scenes which occurred to him, as 
 materials for his landscapes, which were 
 finished highly, and received with uni- 
 versal approbation; the colouring being 
 extremely natural, and the drawing exhi- 
 biting an unusual force. He was retained 
 in the court of the Duke of Saxe-Lau wen- 
 burg, and died in his service in 1685. 
 
 WiTHoos (Petek). He was the second 
 son of Matthias Withoos, and was born 
 at Amersfort in 1654. He learned the 
 principles and practice of painting from 
 his father; and chose the same sub- 
 jects, as insects, flowers, plants, and rep- 
 tiles, which he painted in water colours 
 on vellum, in a neat and delicate manner, 
 after nature; so that his works were not 
 only highly applauded in his own time, 
 but are still valued as curiosities worthy 
 of a place in the choicest collections. He 
 died at Amsterdam in 1693. 
 
 Withoos (Francis). He was the 
 youngest son of Matthias Withoos, and 
 painted in the same style and manner as 
 his brothers; but he was in no degree 
 comparable to either. He was engaged, 
 by a Dutch commander, to undertake a 
 voyage to Batavia, in the island of Java, 
 to paint the plants and insects peculiar to 
 that climate and country ; but, on his return 
 to Holland, his performances were thought 
 far inferior to those of his earlier time. 
 He died at Hoorn, in the year 1705. 
 
 WiTTiG (Bartholomkw). This artist 
 was born at Oels, in Silesia, and excelled 
 in the representation of festivals and mu- 
 sical assemblies. There is in the Louvre a 
 capital picture by him, exhibiting a mag- 
 nificent entertainment. He died in 1684. 
 
 WoLcoT (Jouis). Though this person 
 is best known as a poet and satirist, he 
 has some claim to a place in this Dic- 
 tionary. He was born at Dodbrook, in 
 Devonshire, in 1738, and was bred an 
 apothecary under his uncle, at Fowey, 
 in Cornwall, where he indulged a taste 
 for drawing-, and produced several views 
 of romantic scenery in that neighbour- 
 hood. On leaving his uncle, he went to 
 Jamaica, and practised there some years 
 as a physician. After his return he set- 
 tled in the same capacity at Truro, where 
 he discovered the genius of Opie, and be- 
 came his first instructor. When Opie 
 was sufficiently qualified to paint a por- 
 trait, he and the doctor engaged in part- 
 
 nership, and settled at Exeter, , where 
 Wolcot exercised his pencil in landscape. 
 From thence the two friends came to 
 London; but a separation soon took place: 
 and while Opie rose rapidly in popularity 
 as a portrait painter, Wolcot gained no 
 less celebrity as a keen caricaturist in 
 verse. His lyric "Odes to the Royal 
 Academicians," caustic as they were, ex- 
 hibited acute powers of criticism. In 
 1798 he was employed to superintend a 
 new edition of this Dictionary, which, in-, 
 stead of improving, he spoiled, by intro- 
 ducing splenetic remarks and coarse ribal- 
 dry. After this he published a set of 
 viewsinaquatinta,from hisown paintings; 
 one of the best of which was a moonlight 
 piece. He died January 31, 1819, having 
 been deprived of his sight by a cataract 
 for some years previous to his death. 
 
 WoLFAEKTS (Aethur). He was born 
 at Antwerp in 1625. It is not known 
 who was his instructor, but he painted 
 historical subjects with reputation; also 
 architecture, landscapes, and merry-mak- 
 ings, in the style of Teniers. All his 
 compositions exhibit great genius, and a 
 tliorough knowledge of the true principles 
 of design and colouring. He died at 
 Antwerp in 1687. 
 
 WoLGEMUT (Michael). This old Ger- 
 man arlist was born at Nuremberg in 
 1434. Though he was both a painter 
 and an engraver, he is less known in the 
 former than in the latter capacity. There 
 is in the Louvre a picture by him, repre- 
 senting our Saviour brought before Pilate; 
 which is completely in the hard and un- 
 prepossessing manner which prevailed 
 before the time of Durer. His engravings 
 on wood and copper, however, are really 
 excellent, and show that the artist was a 
 man of very superior genius. He also 
 executed several of the cuts in the Nurem- 
 berg Chronicle, published in 1493. 
 
 WoLTERS (Henrietta). This lady 
 was born at Amsterdam in 1692. She 
 was at first instructed by her father, 
 Theodore Van Pee, and afterwards im- 
 proved herself by the directions of the 
 best artists in her native placed Lastly, 
 she applied to miniature, which she learn- 
 ed from James Christopher Le Blond, to 
 whom she soon proved superior. The 
 portraits ofVandyck were her favourite 
 models; and she copied some of them, 
 particularly a St. Sebastian, with asto- 
 nishing accuracy. There appeared the 
 same correctness of outline, the same tone 
 of colouring, and the same freedom of 
 
woo 
 
 612 
 
 WOO 
 
 touch, in every part of her small pictures, 
 as in the originals. These singular talents 
 made her an object of admiration, and she 
 was employed to paint the portraits of the 
 first families in Amsterdam. When Peter 
 the Great of Russia -was in Holland, he 
 paid her a visit, and made her large offers 
 to settle at his capital, which flattering 
 invitation she thought proper to decline. 
 However, the czar sat to her for his pic- 
 ture; but he had not patience to have it 
 finished, as she usually required twenty 
 sittings, of two hours each, for every por- 
 trait she painted. She was also honour- 
 ed with a visit from the King of Prussia, 
 who solicited her to reside at his court; 
 but this proposal was also politely re- 
 jected; and she spent the remainder of 
 her life in her own country, respected by 
 persons of the highest distinction, and 
 esteemed by all the lovers of the art. Her 
 works in miniature are exquisitely finish- 
 ed ; her design is correct; and her paint- 
 ings have all the force of pictures in oil. 
 She died at Amsterdam in 1741. 
 
 Woodcock (Robert). It is somewhat 
 extraordinary that, scanty as the notices 
 of foreign artists are, those of our own 
 country are still more meagre. Of this 
 painter, Lord Orford tells us only that he 
 excelled in marine pieces, after the man- 
 ner of Vandervelde, whose pictures he 
 copied, and that even when a child he cut 
 out a ship, with all its rigging, most ex- 
 actly. When he began to practise oil 
 painting, the Duke of Chandos gave him 
 thirty guineas for one of his first pictures. 
 He had a place under government, which 
 he gave up, to follow his favourite pursuit. 
 He died in 1728, being only thirty-seven 
 years old. 
 
 WooDFOKDE (Samuel). This eminent 
 artist was born of a respectable family, at 
 Castle Cary, in Somersetshire, in 1764. 
 While yet a schoolboy, he displayed a 
 predilection for drawing; and the merits 
 of his untutored essays being perceived by 
 Mr. Hoare of Stourhead, he became his 
 patron, and afforded him the means of 
 following the bent of his genius. In 
 March, 1782, he was admitted a student 
 of the Royal Academy, where his appli- 
 cation to drawing, from the casts and the 
 naked figure, was indefatigable. His 
 progress, though slow, was sure; and, 
 after a few years spent in that school of 
 instruction, he was deemed qualified to 
 seek for further improvement abroad. 
 Accordingly, in 1786 he set out for Italy, 
 being enabled to do so by the liberality of 
 
 his first friend, who granted him an 
 annuity, which Sir Richard Colt Hoare 
 continued. At Rome he studied the most 
 celebrated pictures, but chiefly those of 
 Raffaelle and Michel Angelo; besides 
 which, he spent much time in drawing 
 from the antique sculptures. Though he 
 had a strong attachment to historical 
 painting, young Woodforde was not sub- 
 ject to strong impressions or vehement 
 impulses ; and his ardour in study was 
 not attended by a confident presumption 
 in his native powers. In the capital of 
 the ancient world, surrounded by the 
 sublimest models, and impelled by the 
 emulation of numerous rivals from all 
 parts of Europe, he contemplated these 
 objects, and pursued his course with the 
 same laborious application as if he had 
 been just entered upon his studies. In 
 his anxious endeavour to acquire firmness 
 as a draughtsman, and to obtain a classic 
 taste of design, he appeared to neglect 
 colouring, chiaro-oscuro, and facility of 
 execution. At last, however, he strove to 
 make up for this deficiency ; and, as a 
 proof of it, he copied in an easel size the 
 large picture, by Paolo Veronese, of the 
 family of Darius, in the Pisani Palace. 
 After all, he did not devote so much at- 
 tention to the Venetian tone of colouring as 
 many other artists did ; and thereby he lost 
 much in effect, though he gained a know- 
 ledge of primary principles. This is 
 evinced in his copies of the School of 
 Athens, and the Parnassus of Raffaelle. 
 From the former, Egginton executed his 
 brilliant painting on glass for the library 
 window at Stourhead. Woodforde made 
 but a short stay at Venice; from whence 
 he proceeded to Florence; and in 1791 
 returned to England with his patron, Sir 
 Richard Colt Hoare, who had joined him 
 at Rome, and with whom he made a tour 
 over the greatest part of Italy. On his 
 arrival in England, Woodforde was 
 applied to by Alderman Boydell to paint 
 one of the pictures for his Shakspeare; 
 and the subject assigned him was the 
 forest scene in the play of Titus Andro- 
 nicus. In 1 800 he was elected an associ- 
 ate of the Royal Academy, and in 1807 
 he rose to the rank of royal academician ; 
 on which occasion he presented, for his 
 admission, a piece representing Dorinda 
 wounded by Silvio, from the Pastor Fido 
 of Guarini. It is of a small cabinet size, 
 well composed, but not clear in the co- 
 louring. Among his other pictures may 
 be mentioned, his Calypso lamenting the 
 
WOR 
 
 613 
 
 WOU 
 
 Departure of Ulysses; Diana, surrounded 
 by her Nymphs; a subject taken from Sir 
 Walter Scott's Lay of the Last Minstrel ; 
 and, the best of all, an affecting piece of 
 Charles I. taking Leave of his Children. 
 This last was purchased by Mr. Sharpe, 
 the engraver. Ilis best portraits are, the 
 Earl of Winchelsea ; a Spanish Shepherd 
 with his Dog; and some of the Family at 
 Stourhead. In 1815, Mr. Woodforde 
 married, and soon after quitted England 
 for Italy, where he died of a fever, after 
 five days' illness, at Bologna, July 27, 
 1817. 
 
 VVooLASTON (John). Of this artist, 
 Lord Orford barely says that he was born 
 in London about 1672, and that he painted 
 portraits at a very low rate, though they 
 had the merit of strong resemblance. 
 Among other remarkable persons who sat 
 to him was Thomas Britton, the " Sraall- 
 coal-man," with whom he was very inti- 
 mate, and used to play on the violin and 
 flute at his concerts. This portrait is 
 now in the British Museum. 
 
 WooTTON (John). This celebrated 
 English painter of horses and landscapes, 
 is said to have been a scholar of John 
 Wycke ; which could hardly be true, for 
 that artist died in 1702, when Wootton, if 
 then born, must have been a child. He ex- 
 celled chiefly in designing field-sports; and 
 his horses and dogs were drawn with such 
 uncommon spirit, that most of the gentle- 
 men of the turf were glad to employ his 
 talents in representing their favourite 
 coursers. He also attempted portraiture, 
 and, among others, painted a picture of 
 William, Duke of Cumberland, with a 
 view, in the distance, of the battle of Cul- 
 loden. In his landscapes he imitated 
 Claude Lorraine and Caspar Poussin, but 
 at an humble distance. lie died in 1765. 
 
 WoKLiDGE (Thomas). Of this artist 
 we know little or nothing, only that he 
 first practised miniature, and afterwards 
 painted portraits in oil; but, not meeting 
 with sufficient encouragement, he took to 
 engraving, in the manner of Rembrandt. 
 His prints are very numerous, and possess 
 considerable merit. He also engraved a 
 collection of antique gems correctly, and 
 with taste. His drawings on vellum, in 
 Indian ink, and black lead, are likewise 
 excellent. He died at Hammersmith in 
 1766. 
 
 WoRSDALE (James). This painter of 
 portraits was a scholar of Sir Godfrey 
 Kneller, who dismissed him for marrying 
 his wife's niece without his consent. 
 
 Worsdale never attained any distinction 
 in the art which he professed, though he 
 was appointed, by family interest, master 
 painter to the Board of Ordnance. He 
 wrote several songs, ballad operas, and 
 farces; in one of which last he performed 
 the leading part himself. He died at an 
 advanced age, in 1767. 
 
 WouTERs, or Wauter (Francis). He 
 was born at Liere, in Brabant, in 1614. 
 and learned the art of painting at Antwerp, 
 in the school of Rubens, where he princi- 
 pally studied landscape, though he also 
 painted historical subjects in large, and in 
 small, with great credit. The subjects of 
 his landscapes were usually woodland 
 scenes, with vistas, through which the eye 
 was agreeably deluded to an immense dis- 
 tance; and he frequently introduced some 
 fabulous histories, as of Pan and Syrinx ; 
 Venus and Adonis ; or Venus attended by 
 Cupids; his figures being generally naked, 
 and very delicately pencilled. His man- 
 ner of colouring is agreeable ; his nymphs 
 and satyrs are well designed; and the his- 
 torical pictures which he painted in small, 
 show a competent degree of taste and 
 spirit ; but his paintings in a larger size 
 are not so commendable, the colouring 
 being heavy, and too much of a yellowish 
 tint. The Emperor Ferdinand II. made 
 him his principal painter, and permitted 
 him, in 1637, to accompany his ambassa- 
 dor to London, where his works procured 
 him esteem. On the death of the empe- 
 ror, soon after, he was appointed painter 
 to Charles II., at that time Prince of 
 Wales; but when the civil wars broke out 
 he returned to Antwerp, and was appointed 
 director of the academy. He was acci- 
 dentally killed, by the discharge of a gun, 
 in 1659. Wouters occasionally painted 
 historical pictures for the churches in 
 Flanders, particularly Christ giving the 
 Keys, at St. Peter's at Louvaine; and the 
 Visitation of the Virgin, in the church of 
 the Augustines, at Antwerp. He also 
 etched some landscapes in a free and mas- 
 terly style. 
 
 WouvERMANs (Phiup). Hc was bom 
 at Haerlem in 1620, and was the son of 
 Paul Wouvermans, a painter of history, of 
 mean talents, who taught him the rudi- 
 ments of the art ; after which he became 
 the scholar of John Wynants, and arrived 
 at such a degree of perfection as to be es- 
 teemed superior to all his contemporaries. 
 By the instruction and example of his 
 master, the proficiency of Wouverman;s 
 was very remarkable ; but to the know- 
 
W O U 6 
 
 ledge of colouring and pencilling which 
 he acquired in that school, he added the 
 study of nature, in which he employed 
 himself with such critical attention, as 
 to excel his master in the choice of his 
 scenes, the excellence of his figures, and 
 the truth of his representations. The 
 subjects of which he seemed most parti- 
 cularly fond were huntings, hawkings, 
 encampments of armies, farriers' shops, 
 and all kinds of scenes that afforded him 
 a proper and natural opportunity of in- 
 troducing horses, which he painted in the 
 greatest perfection. In contemplating the 
 works of this inimitable artist we find 
 ourselves at a loss to determine what part 
 is most worthy of our applause and admira- 
 tion : whether the sweetness of the colour- 
 ing, the correctness of his design, his 
 cattle, or his figures; the charming variety 
 of attitudes in his horses, the free and yet 
 delicate touchings of his trees, the beau- 
 tiful choice of his scenery, the judicious 
 use he makes of the chiaro-oscuro, or the 
 spirit that animates the whole. His genius 
 and invention were so strong and lively, 
 that none of his pictures have either the 
 same grounds or the same distances, for 
 he varied them perpetually, with inexpres- 
 sible skill; in some representing simple, 
 unembellished nature, and in others, 
 scenes enriched with architecture, foun- 
 tains, or edifices of a beautiful construc- 
 tion. His figures are always finely drawn, 
 with expressions suitable to the subject; 
 and the attitudes he chose were such as 
 appeared unconstrained, natural, and per- 
 fectly agreeable. He had an amazing 
 command of his pencil, so that he instantly 
 and etfectually expressed every idea con- 
 ceived in his mind, and gave to his pictures 
 an astonishing force, by broad masses of 
 light and shadow, which he contrasted 
 with peculiar judgment, and gave an un- 
 common degree of transparence to the 
 colouring of the whole. The pencil of 
 Wouvermans was mellow, and his touch 
 was free; though his pictures were finished 
 most delicately, his distances recede with 
 true perspective beauty; and his skies, 
 air, trees, and plants, are all exact and 
 lovely imitations of nature. In his latter 
 time his pictures had too much of the 
 grayish and blue tint; but in his best 
 days he was not inferior, either in cor- 
 rectness, colouring, or force, to any of the 
 artists of Italy. Yet, notwithstanding his 
 uncommon merit, he had not the good 
 fortune during his life to meet with en- 
 couragement equal to his desert; for, 
 
 14 W O U 
 
 with all his assiduity and extreme industry, 
 he found it diificult to maintain himself 
 and his family. He seemed to be a stran- 
 ger to the artifices of the merchants, who, 
 therefore, imposed on him under the dis- 
 guise of zeal for his interest; and, while 
 they artfully enriched themselves by his 
 works, contrived to keep him depressed 
 andnarrowin his circumstances. Wouver- 
 mans could not help feeling the neglect 
 with which he was treated, and it affected 
 him so strongly, that, a few hours before 
 he died, he ordered a box filled with his 
 studies to be burned; saying, "I have 
 been so badly rewarded for all my labours, 
 that I would prevent my son from being 
 allured, by those designs, to embrace so 
 miserable and uncertain a profession as 
 mine." Some authors, however, ascribe 
 this sacrifice to other motives, and say, it 
 proceeded from his dislike to his brother 
 Peter, being unwilling that he should reap 
 the product of his labours: and some 
 again allege, that lie intended to compel 
 his son to seek the knowledge of nature 
 from his own industry, and not indolently 
 depend on copying those designs. Hou- 
 braken asserts, that the works of Wouver- 
 mans and Bamboccio were continually 
 placed in competition by the ablest judges 
 of the art; and that the latter having 
 painted a picture which was exceedingly 
 admired, John de Wit prevailed on Wou- 
 vermans to execute another of the same 
 subject, which he finished in his usual 
 elegant style. Those pictures being after- 
 wards exhibited together to the public, 
 while both artists were present, De Wit 
 said, " All our connoisseurs seem to prefer 
 the works of the painters who have studied 
 at Rome; now, therefore, observe how 
 much the work of Wouvermans, who 
 never saw Rome, surpasses that of him 
 who resided there several years!" This 
 observation, which was received with 
 general applause, was thought to have 
 had too violent an effect on the spirits of 
 Bamboccio, and many imagined that it 
 contributed to his death. Wouvermans 
 etched one plate, representing a horse 
 standing, and tied to a tree. It is beau- 
 tifully done, but uncommonly scarce. 
 He died in 1668. After the death of 
 Wouvermans, the value of his pictures 
 increased to an incredible degree: they 
 were universally coveted through every 
 part of Europe, particularly by the Dau- 
 phin of France and the Elector of Bavaria, 
 who bought all that could be procured, 
 at very large prices. 
 
WRI 
 
 615 
 
 WRI 
 
 WouvERMANs (Peter). IIc wss the 
 brother of Philip Wouvermans, and was 
 born at Haerlem about 1625. He also at 
 first was instructed by his father, but 
 afterwards by Roland Roghman. ' He 
 studied and imitated the same style of 
 composition and colouring' as his brother, 
 with great success; but, though a good 
 painter, he never could equal Philip. His 
 subjects in general were farriers' shops, or 
 figures on horseback going abroad to hunt 
 or to hawk; and he particularly excelled 
 in female figures, also in representing 
 rural recreations, in which, like Philip, he 
 was fond of introducing horses, which he 
 designed well. He had a neat pencil and 
 agreeable colouring, and imitated the 
 manner of his brother so happily in his 
 taste of design, his figures, and animals, 
 that some of his paintings have been mis- 
 taken for the work of his brother, by 
 several who, in their own opinion, were 
 competent judges. But the work of Peter 
 is easily distinguished from that of Philip, 
 by its being neither so clear, transparent, 
 sweetly and freely touched, nor so well 
 designed, nor are his figures drawn with 
 such correctness and expression. He died 
 in 1683. 
 
 Wouvermans (John). He was the 
 youngest brother of the two preceding, 
 and was born at Haerlem in 1629. He 
 painted landscapes in a very pleasing 
 style, with an agreeable tone of colouring 
 and an excellent touch ; but dying young, 
 in 1666, he left few pictures to attest his 
 merit. Houbraken mentions his having 
 seen a picture by this artist in the posses- 
 sion of L. Vander Vinne. It was a land- 
 scape, representing a rocky mountainous 
 country; the foreground was dark, with 
 rough bushes and trees; but the distant 
 prospect, which conveyed the eye through 
 a low valley, appeared clear, and pro- 
 duced a good effect. The foreground was 
 freely touched, with a deal of spirit, well 
 broken, and naturally coloured, resem- 
 bling the tints of Philip in his early time, 
 before he used that variety which is to be 
 observed in all his best works. 
 
 Wright (Joseph). This painter, who 
 is commonly called Wright of Derby, was 
 born in that town, where his father was 
 a respectable attorney, September 3, 1734. 
 In early life he gave indications of a taste 
 for mechanics, and those habits of attentive 
 observation which generally lead to per- 
 fection in the fine arts. In 1751 he came 
 to London, and was placed with Thomas 
 Hudson, the fashionable portrait painter 
 
 of the day, but who is now better known 
 by the celebrity of his scholars, than by 
 his own performances. Among the pupils 
 who came from the school of Hudson, 
 were Reynolds, Mortimer, and Wright, 
 which last used to lament that he could 
 not receive much instruction from his 
 master; and yet it is certain that at this 
 period he painted both portraits and his- 
 torical pieces in a good style, of which his 
 Blacksmith's Forge, the Air Pump, and 
 Gladiator, are proofs. In 1773 he married, 
 and soon after set out for Italy, where he 
 made a great advance in his profession. 
 In 1775 he returned to England, and 
 settled for two years at Bath, after which 
 his residence was entirely at Derby. His 
 attention was directed for some years to 
 portrait painting; and from the specimens 
 he has left, there can be no doubt that he 
 would have stood in the first rank of that 
 department, if he had chosen to pursue it; 
 but his genius was not to be circum- 
 scribed within such narrow limits, and 
 therefore his main design in visiting 
 Rome was to study the precious remains 
 of antiquity in that celebrated treasury of 
 art. His fine drawings after Michel An- 
 gelo, and the enthusiasm with which he 
 always spoke of that sublime genius, 
 evinced the estimation in which he held 
 the works contemplated by him in Italy. 
 I In 1782 he was elected an associate of 
 j the Royal Academy; but being offended 
 ! at Mr. Garvey's being chosen a royal 
 ! academician instead of himself, he resign- 
 ed his diploma in disgust, yet continued 
 to exhibit at intervals with the Society. 
 In 1785, however, he made an entire 
 exhibition of his own pictures, at an 
 auction room in the Great Piazza, Covent- 
 garden, the collection consisting of twenty- 
 1 four pictures. During the abode of Mr. 
 j Wright in Italy, he had the opportunity 
 ! of seeing a very memorable eruption of 
 ! Mount Vesuvius, which rekindled his 
 j inclination for painting extraordinary 
 effects of light; and his different pic- 
 j tures of that sublime spectacle stood de- 
 1 cidedly pre-eminent in that line of paint- 
 ing. His later pictures were chiefly 
 landscapes, in which we are at a loss 
 whether most to admire the elegance of 
 Ijis outline, his judicious management of 
 light and shade, or the truth and delicacy 
 of his colouring; but of those performances 
 the greatest part were never exhibited, 
 being always purchased from the easel by 
 persons who knew how to appreciate their 
 value. His last work, a view of the head 
 
WYC 
 
 of UUeswater, on a large scale, may rank 
 with the best productions of Wilson. In 
 the historical line, his abilities are attested 
 by his picture of the Dead Soldier, of 
 which there is a fine engraving by Heath; 
 the Destruction of the floating Batteries 
 at Gibraltar; Edwin at the Tomb of his 
 Ancestor; Belshazzar's Feast; Hero and 
 Leander; the Lady in Comus; and the 
 storm scene in the Winter's Tale, painted 
 for Boydell's Shakspeare. The attach- 
 ment of Mr. Wright to his native town, 
 his natural modesty, and habitual love of 
 seclusion, kept him from taking up his 
 abode in London, though often press 
 to bring forward his talents more con- 
 spicuously to public view. He died of 
 a decline, brought on by incessant labour, 
 and a too sedentary course of life, August 
 29, 1797. The character of Mr. Wright 
 was truly excellent, and all the historical 
 pictures which he painted are strictly 
 chaste, breathing the gentle feelings of 
 humanity, or conveying a fine moral senti- 
 ment. His paintings have been so much 
 in request, that there is scarcely an in- 
 stance of their ever having come into the 
 hands of the dealers; neither have his 
 best works been seen in London; which 
 is a strong proof of their intrinsic worth. 
 It is also with pleasure we have to record, 
 that though his pecuniary circumstances 
 were always affluent, he did not sink into 
 a state of indolence, or deviate into a life 
 of dissipation. 
 
 Wright (Richard). This artist was 
 a native of Liverpool, where he carried 
 on the busines of a house and ship painter. 
 In 1764, the Society for the Encourage- 
 ment of Arts, Manufactures, and Com- 
 merce having offered a premium for the 
 best sea view, Mr. Wright presented to 
 them a picture which gained the prize. 
 In 1766 he gained another for a picture, 
 in which he made an allusion to the en- 
 couragement given by the same Society 
 to the British fishery. From this painting 
 Mr. WooUett made an engraving, which 
 the French copied, and ascribed the origi- 
 nal to Vernet. Mr. Wright died in 1775. 
 His wife and daughters painted subjects 
 of still life, and fruit pieces. 
 
 Wright (John), a miniature painter 
 of considerable talent. He began his 
 career in Gerard street, Soho, whence he 
 removed to Burlington gardens. He put 
 an end to his existence in the early part 
 of the present century. His style was 
 pleasant, and his likenesses were correct. 
 
 WuLFKAAT (Matuys or Mattuias). 
 
 He was born at Arnheim in 1648, and 
 became the disciple of Diepraam; who, 
 having observed the eflForts of his genius, 
 even before he had any regular instruc- 
 tions, gave him some small assistance in 
 the knowledge of drawing; and when the 
 parents of the youth found that he would 
 not seriously apply himself to the profes- 
 sion of physic, for which he was designed, 
 they placed him entirely under the direc- 
 tion of that master. With Diepraam he 
 made a great proficiency, but improved 
 himself considerably by a diligent study 
 after nature. He painted historical sub- 
 jects with success; but his principal merit 
 lay in conversations, in which he intro- 
 duced characters of distinction, and always 
 persons above the common rank. He 
 also painted portraits in small, for which 
 he had a constant demand; his perform- 
 ances are very much esteemed through 
 Germany and the Low Countries. He 
 died at Amsterdam in 1727. 
 
 WuRSCH (M.) This artist was a 
 native of Stanz, in the canton of Under- 
 walden, in Switzerland, and became pro- 
 fessor of painting in the academy of 
 Besangon. Several of his pictures are in 
 the abbey of Engelberg, and ^re much 
 admired for the expression and colouring. 
 He painted historical subjects; but some 
 years before his death he lost his sight, 
 on which he retired to his native place, 
 where, as he was sitting at his door, on 
 the 9th of September, 1798, a body of 
 French troops attacked the place, pushed 
 the old man, then eighty years of age, 
 into his house, which was set fire to, and 
 he perished in the flames. 
 
 Wycke (Thomas), called the Old. He 
 was born at Haerlem in 1616, and became 
 one of the best painters of his time. He 
 spent several years in Italy, where he 
 sketched many of the harbours on the 
 borders of the Mediterranean, particularly 
 those from Leghorn to Naples, and repre- 
 sented them with abundance of truth and 
 nature. He also adorned his views with 
 figures, extremely well designed, habited 
 in the dresses of different nations, seldom 
 omitting the red habiliment and white 
 turban of the Turk. The usual subjects 
 of Wycke were seaports, vessels of various 
 forms, and a number of figures of a small 
 size; Italian markets, fairs, and mounte- 
 banks; and he showed extraordinary merit 
 in his pictures of chymists in their labora- 
 tories, in which he was so exact as to 
 represent all their utensils and furnaces. 
 He studied to imitate the stylo and man- 
 
WYN 
 
 617 
 
 YAN 
 
 ner of Bamboccio; and his paintings were 
 so highly esteemed, that even in his life- 
 time he sold them for great prices. Wycke 
 distinguished himself by the freedom and 
 delicacy of his pencilling, as well as by a 
 judicious manner of grouping his figures; 
 his colouring is natural and very transpa- 
 rent; and, by a proper distribution of his 
 masses of light and shadow, his distances 
 show a charming truth of perspective, and 
 the eye is agreeably deluded to a very remote 
 point of view. In all his compositions 
 may be observed a fine .understanding of 
 the chiaro-oscuro, abundance of exactness 
 in every scene and object he describes, 
 and great harmony in the whole. About 
 the time of the Restoration he came to 
 London, and obtained considerable em- 
 ployment. The Earl of Burlington had 
 a picture by him, of the Parade in St. 
 James's Park, with Charles II. and his 
 courtiers walking in the Mall. He also 
 painted a view of London before the fire. 
 He died in 1686. There are a few etch- 
 ings by him of landscapes and views, but 
 they are very scarce. 
 
 Wycke (John), called the Young. H( 
 was the son of Thomas Wycke, and was 
 born at Haerlem about 1640. He spent 
 the greatest part of his life in England, 
 and, under the direction of his father, 
 proved an excellent painter of battles, 
 with huntings of the deer and other ani- 
 mals. He seems to have made Philip 
 Wouvermans his model; and in his small 
 pictures the horses, figures, and landscape 
 are touched with a deal of fire, and the 
 colouring of his landscape is warm and 
 cheerful. He frequently painted battles, 
 sieges, and huntings, in a large size; but 
 in respect to pencilling, as well as colour- 
 ing, they were much inferior to those 
 which he painted in small. The most 
 remarkable works of this master are, the 
 representation of the Battle of the Boyne, 
 and the siege of Namur. In the celebrated 
 picture of the Duke of Schomberg on 
 horseback, painted by Kneller, the battle 
 in the background was the work of John 
 Wycke, who also drew many views in 
 Scotland and Jersey. He died at Mort- 
 lake, in Surrey, in 1702. 
 
 Wynants (John). He was born at 
 Haerlem in 1600; but it is not known by 
 whom he was instructed. He became, 
 however, an excellent painter oflandscapes, 
 and established an academy, in which were 
 brought up many excellent artists, particu- 
 larly Adrian Vandervelde and Philip 
 Wouvermans. The works of Wynants 
 
 are deservedly in great esteem for the 
 lightness and freedom of the touch, for 
 the clearness of the skies, and for the 
 transparence of the colouring. Tiie 
 choice of nature in his situations is ex- 
 tremely agreeable, having somewhat pecu- 
 liar in the breaking of the grounds, and 
 the whole has a very pleasing appearance. 
 The figures in his landscapes were not 
 painted by himself, but by Ostade, Wou- 
 vermans, Linglebach, Van Tulden, and 
 others, which now give an additional 
 value to the pictures of Wynants. The 
 works of this master are not common, as 
 he misapplied a great portion of his time 
 in parties of pleasure and dissipation; but 
 they are eagerly purcha.sed whenever they 
 are offered for sale, and bring large prices. 
 He died in 1670. 
 
 Wytman (Matthew). He was born 
 at Gorcum in 1650, and at first was a 
 disciple of Henry Verschuring, but after- 
 wards he completed his studies in the 
 school of John Bylaert. His subjects 
 were landscapes and conversations: the 
 former he designed in a very pleasing 
 style, and the latter he composed and fin- 
 ished in the manner of Netscher; though 
 he differs from that master, by introducing 
 very elegant landscapes in his backgrounds, 
 whicli he finished highly, and with a tone 
 of colour that appears exceedingly natural. 
 Towards the close of his life he employed 
 himself principally in painting fruit and 
 flowers, which he represented so admirably, 
 as to make it probable that, if he had not 
 died so young, he would have equalled the 
 bestartists of his time. His death occurred 
 in 1689. 
 
 X. 
 
 XiMENES (Don Francisco). This 
 Spanish painter was born at Madrid in 
 1604. He studied at Rome, where he be- 
 came a good artist in history. He died 
 in 1666, at his native place, which he 
 adorned by his works. 
 
 y. 
 
 Yanez (Fernando). This painter was 
 born at Medina in Spain. He is said to 
 have been a pupil of RafFaelle, at Rome, 
 after which he returned to his native 
 
ZAC 
 
 ZAM 
 
 country, where he painted several altar- 
 pieces, mostly at Cuen<ja ; the principal of 
 which are, the Wise Men's Offering ; and 
 a Dead Christ with the Virgin. He died 
 in 1541. 
 
 Yepes (Thomas de). This Spanish 
 artist was a native of Valencia. He 
 painted flowers, fruit, fish, and still life, at 
 Madrid, where his works are held in great 
 estimation. He died in 1674. 
 
 Ypbes (Ohaklks de). This Flemish 
 painter was born at Ypres in 1510, and 
 studied in Italy, where he acquired a style 
 of painting very much resembling that of 
 Tintoretto. He died at his native place 
 in 1563. 
 
 YvRART (Baudrin). He was born at 
 Boulogne, in Picardy, in 1610; but it is 
 not known who his instructor was. He 
 is said, however, to have been a good 
 painter of history. He died in 1690. 
 
 Yuso (Fray Matias Antonio Trala). 
 This Spanish painter was born at Valencia 
 in 1680. He was a monk of the order of 
 St. Francis, and was principally employed 
 in Madonnas and Holy Families, which 
 are said to have been well executed. He 
 died in 1753. 
 
 z. 
 
 Zaagmoolen (Martin). This Dutch 
 artist, though esteemed by several of his 
 countrymen, cannot be justly mentioned 
 with much honour, either to himself or to 
 the place of his nativity. He had indeed 
 a bold manner of colouring, and a free 
 pencil ; but his drawing and design were 
 extremely incorrect, and his expression was 
 worse than indifferent; yet he thought to 
 compensate for those capital defects by 
 strong oppositions of light and shadow, 
 very badly managed. Houbraken men- 
 tions a Last Judgment painted by Zaag- 
 moolen, in which the painter introduced 
 an abundance of figures ; but he observes, 
 that all of them were coloured so exceed- 
 ingly pale, that they had in reality the ap- 
 pearance of spirits. 
 
 Zacchetti (Bernardino). This pain- 
 ter was born at Reggio, and is supposed by 
 some to have been a scholar of Raffaelle, 
 an opinion which does not seem to be 
 well founded ; and some of his works in 
 the churches of his native place carry the 
 appearance of Garofalo. He flourished 
 about 1540. 
 
 Zacchia (Paolo, il Vecchio). He 
 
 was born at Lucca, and flourished about 
 the year 1530. He appears to have been 
 educated at Florence, and there are several 
 altar-pieces at Lucca, which show that he 
 was a considerable artist; particularly 
 two, an Assumption of the Virgin, and an 
 Ascension. The last is remarkable for its 
 foreshortening. 
 
 Zaccolini (Padre Matteo). He was 
 born at Cesena in 1590, and became a 
 very considerable artist in historical com- 
 positions; but his chief excellence appeared 
 in those paintings where he introduced 
 perspective, which he executed with the 
 utmost precision, and therefore was con- 
 stantly attentive to have some pieces of 
 that kind in all his designs. He is said 
 to have been the instructor of Domenichino 
 and Nicolo Poussin in that art. He was 
 a monk of the order of Theatines, and his 
 principal works are in their churches. He 
 wrote some treatises on perspective, which 
 remain in manuscript. He died in 1630. 
 
 Zachtleven, see Sachtleven. 
 
 Zago (Santo). He was a native of 
 Venice, and the scholar of Titian, whose 
 style he imitated very happily, as appeared 
 in some pictures which he painted for the 
 churches, particularly one in that of St. 
 Catherine, representing Tobit and the 
 Angel with the Fish. 
 
 Zais (Giuseppe). He was a native of 
 Venice, and had Francesco Zuccarelli for 
 his instructor. His subjects were land- 
 scapes, which he painted with spirit and 
 great originality of invention. He also 
 produced some good battle-pieces. He 
 died in 1784. 
 
 Zamboni (Matteo). This artist was 
 born at Bologna, and flourished about 
 the year 1710. He studied under Carlo 
 Cignani, and painted historical subjects 
 with credit. Two of his altar-pieces 
 are in the church of St. Nicolo, at Ri- 
 mini; one is taken from the history of 
 St. Pietro Celestini, and the other from 
 that of St. Benedetto. He died young. 
 
 Zambrano (Juan Luis). This Spa- 
 nish artist was born at Cordova in 1599, 
 and had Pablo de Cespedes for his pre- 
 ceptor, whose style he imitated with 
 great success. His chief performances 
 are at Cordova, in the cathedral, and the 
 convent of Los Martyros, consisting of 
 two altar-pieces : one of these is the 
 Stoning of Stephen; and the other, the 
 Martyrdom of St. Acislo and St. Victoria. 
 In the college of Santa Catalina are two 
 fine pictures by him of the Guardian 
 Angel, and St. Christopher. Zambrano 
 
ZAN 
 
 619 
 
 ZEL 
 
 latterly resided at Seville, where he 
 painted some pictures for the church of 
 St. Basil. He died there in 1639. 
 
 Zamoka (Juan de). He was a native 
 of Seville, and flourished about 1610. 
 He excelled in landscapes, the figures in 
 which being designed in the Flemish 
 taste, indicate that he had been instructed 
 by a master of that school. His principal 
 works are at the bishop's palace at Se- 
 ville, where he continued to reside till his 
 death, the year of which is not mentioned. 
 
 Zampazzo (Giovanni Battista). He 
 was born at Cittadella, in the Venetian 
 States, in 1620, and studied under 
 Jacopo Apollonio, whose style he followed 
 tenaciously in his paintings for the 
 churches at Bassano, where he died in 
 1700. 
 
 Zanardi (Gentile). This Ir.dy was 
 a native of Bologna, and was instructed 
 in the art of painting by Marc Antonio 
 Franceschini. She had an extraordinary 
 talent in copying the works of the great 
 masters, with a sweetness of colour and 
 delicacy of outline that surprised the 
 best judges. She also painted historical 
 subjects of her own designing, with equal 
 taste and delicacy. The time of her 
 death is not mentioned. 
 
 Zanchi (Antonio). This artist was 
 born at Venice in 1639, and had Fran- 
 cesco Rusca for his instructor in painting; 
 but he was more distinguished by his 
 fecundity than his genius. His works 
 are numerous, and the best of them is a 
 representation of the Plague which visited 
 Venice in 1630. In the church of St. 
 Girolamo are two pictures of the Good 
 Samaritan and the Prodigal Son. He 
 died in 1722. 
 
 Zanimberti (Filippo). He was born 
 at Brescia in 1585, and was a disciple of 
 Santo Peranda, under whose direction he 
 continued ten years, till, by the precepts 
 of so accomplished a master, he proved 
 very eminent in his profession. His 
 genius was fertile, and his imagination 
 lively, so that he composed his subjects 
 with ease and readiness. He generally 
 filled his designs with a number of small 
 figures, which he touched delicately, and 
 gave them a graceful air, with an abun- 
 dance of nature. He painted several 
 large pictures for the churches of Brescia 
 and Venice, particularly one of the 
 miracle of the Manna in the Wilderness. 
 He died in 1636. 
 
 Zanotti (Giovanni Pietro). This 
 artist was born of Italian parents, at 
 
 Paris, in 1674. He studied at Bologna 
 under Lorenzo Passinelli, by whose in- 
 structions he became a good colourist and 
 designer, to which he added a perfect 
 knowledge of the chiaro-oscuro. He 
 painted several altar-pieces for the 
 churches at Bologna; the principal of 
 which are the Incredulity of St. Thomas, 
 the Resurrection, and the Nativity. In 
 the public palace is a picture by him, 
 representing the Ambassadors of Rome 
 swearing Fidelity to the Bolognese. His 
 other works are at Cortona, where he 
 died in 1765. Zanotti was also a writer 
 on the art, and published a History of 
 the Academy of Bologna. 
 
 Zarinnena (Francisco). He was 
 born at Valencia, in Spain, about 1550, 
 and studied in the school of Titian. 
 His principal works, which are in the 
 churches and monasteries of Valencia, 
 are much in the manner of his master. 
 He died in 1624, leaving two sons, Chris- 
 tobal and Jwan, who painted in the same 
 style as their father. 
 
 Zeeman (Renibr). This Dutch artist 
 was born at Amsterdam in 1612. He 
 excelled in painting marine subjects, as 
 views of sea-shores, harbours, and ship- 
 ping ; which he designed correctly, and 
 composed in a good style, with spirit and 
 taste. He also etched several views and 
 plates of shipping. 
 
 Zeeman (Enoch). This painter was a 
 native of Holland, but resided most of his 
 life in London, where he painted portraits 
 in the laboured style of Balthasar Denner. 
 He died in 1744, leaving a son, Paul 
 Zeeman, who followed the same profes- 
 sion. Isaac Zeeman, the brother of 
 Enoch, was also a portrait painter, and 
 died in 1751, leaving a son, who pursued 
 the same line of art. 
 
 Zelotti (Battista). He was born at 
 Verona in 1532, and at first was the dis- 
 ciple of Antonio Badile; but afterwards 
 he studied under Titian, though he prin- 
 cipally adhered to the manner of his first 
 master. He was excellent in design, had 
 great readiness of invention, and freedom 
 of hand, and his tone of colouring was 
 beautiful. His merit in every branch of 
 his profession was universally allowed ; it 
 recommended him to the favour of the 
 most eminent persons of his time, and 
 procured him the honour of knighthood. 
 He became the associate, in several works, 
 with Paolo Veronese; and had the dis- 
 tinction of being his competitor at Venice, 
 where he was one of the six painters 
 
ZIN 
 
 620 
 
 ZOF 
 
 appointed by Titian to contend for a 
 cliain of gold. Though the prize was 
 deservedly given to Paolo, Zelotti's com- 
 position was extremely admired. Some 
 charming paintings by this artist are in 
 the grand hall of the Council of Ten, at 
 Venice, which are incontestable proofs of 
 the excellence of his colouring, the gran- 
 deur of his taste, and the liveliness of his 
 imagination. Most of the subjects of 
 these pictures are allegorical, and allude 
 to the dignity and importance of the 
 council. Zelotti succeeded better in fresco 
 than in oil, though some of his works in 
 the latter are much esteemed, particularly 
 the Conversion of St. Paul, and Christ 
 on the Lake of Gennesareth, both in the 
 cathedral of Vicenza. He died in 1592. 
 
 ZiFRONDi (Antonio). He was born 
 at Clusone, in the state of Bergamo, in 
 1657, and was instructed by Marc Anto- 
 nio Franceschini, under whom he became 
 a good painter of history. He had a 
 ready invention, and was remarkable for 
 the facility of his execution. One of his 
 best works is an Annunciation, in the 
 church of Santo Spirito, at Clusone, where 
 he died in 1730. 
 
 ZiLOTTI (DOMENICO BeRNABDo). Hb 
 
 was born at Borso, in the territory of 
 Venice, about the year 1730. He painted 
 landscapes in the manner of Francesco 
 Zuccarelli, with great spirit and correct- 
 ness. There are also several etchings of 
 landscapes and views by Zilotti, some 
 from his own designs, and others after 
 Semonini. 
 
 ZiNCKE (Christian Frederic). This 
 excellent enamel painter was born at 
 Dresden about the year 1684, and came to 
 England in 1706, where he studied under 
 Boit, and not only surpassed him, but 
 even rivalled Petitot. For a great num- 
 ber of years Zincke had as much business 
 as he could execute ; and when at last he 
 raised his price from twenty to thirty 
 guineas, it was only occasioned by the 
 desire of lessening his fatigue; for no 
 man, so superior in his profession as he 
 was, had less tincture of vanity. He was 
 particularly patronised by George II. and 
 Queen Caroline, and he was also ap- 
 pointed cabinet painter to Frederic Prince 
 of Wales. Her late Royal Highness the 
 Princess Amelia, daughter of George II., 
 had ten portraits of her illustrious family 
 painted by Zincke, which, in 1783, she 
 gave to the Prince of Wales, afterwards 
 George IV. William, the great Duke of 
 Cumberland, bought several of his best 
 
 works, particularly the beautiful copy of 
 Dr. Mead's Queen of Scots, painted by 
 Isaac Oliver. In 1737, Zincke paid a 
 visit to his own country, and, after his 
 return, finding his sight fail him, he re- 
 tired from business to South Lambeth, 
 with a second wife, by whom he had three 
 or four children. His first wife was a 
 handsome woman, of whom he had been 
 very fond, and there is a print of him 
 and her. He had a son by her, for 
 whom he bought a place in the Six 
 Clerks' Office ; and a daughter, who died 
 a little before he retired to Lambeth. 
 After Zincke quitted business, Madame 
 Pompadour prevailed upon him to copy 
 in enamel a picture of the King of France, 
 which she sent over on purpose. He 
 died in March, 1767. 
 
 ZoBOu (Jagopo). This artist was a 
 native of Modena. He studied first under 
 Francesco Stringa, after which he went 
 for improvement to Bologna, and next to 
 Rome, where he died in 1761. One of his 
 best works is a picture of Girolamo, in 
 the church of St. Eustace, at Rome. It 
 is a noble composition, and admirably 
 coloured. 
 
 ZoccHi (Giuseppe). He was born at 
 Florence in 1711, but it is not said by 
 whom he was instructed. His chief em- 
 ployment was the decorating of the man- 
 sions of noblemen with allegorical orna- 
 ments and landscapes, in which last he 
 excelled. He also published some views 
 of Italian scenery, the figures in which 
 were etched by himself. He died at 
 Florence in 1776. 
 
 ZoFFANY (Johan). This German 
 painter was born at Frankfort on the 
 Maine in 1735. Who was his instructor 
 we are not informed ; but about the year 
 1761 he came to England, where he met 
 with little patronage, and was reduced to 
 the greatest distress; when Sir Joshua 
 Reynolds took notice of him, relieved him 
 in his necessities, and recommended him 
 to the great. A portrait of the Earl of 
 Barrymore fixed his reputation, and he 
 also painted some of the principal thea- 
 trical performers with success, particular- 
 ly Garrick, in Abel Drugger; the same 
 actor in Sir John Brute; Foote and Weston 
 together, in Dr. Last; and Foote alone, as 
 Major Sturgeon. But the pictures which 
 did Zoftany most credit were the por- 
 traits of the royal family. On expressing 
 a wish to visit Italy, George III. liberally 
 enabled him to accomplish that object, and 
 gave him a recommendation to the Grand 
 
zuc 
 
 zuc 
 
 Duke of Tuscany, who permitted him to 
 study in his gallery, of which he drew a 
 picture, now in the royal collection. Soon 
 after his return, Zoffany, by the interest 
 of Sir Joshua Reynolds, went to India 
 (1783), where he was patronised by the 
 Nabob of Oude, for whom he painted a 
 great number of pictures, as he did also 
 for many of the native princes, as well as 
 for the European residents. He resided 
 a long time at Lucknow, and having 
 realized a good fortune, returned to 
 England about 1790. He was a royal 
 academician. Some of his conversation 
 pieces are clever; but his theatrical por- 
 traits, and the picture of the Royal 
 Academicians of 1772, have preserved 
 his fame. His latter pictures did not 
 equal those of his earlier days. He died 
 atKew, in December, 1810, and is buried 
 near Gainsborough. 
 
 Zola (Giuseppe). He was born at 
 Brescia in 1675, and became a distin- 
 guished painter of landscapes, which he 
 executed in a bold style, and generally 
 introduced into them sacred subjects; but 
 the figures were not equal to the scenery. 
 He died in 1743. 
 
 Zoppo (Marco). He was born at 
 Bologna in 1451, and was the disciple of 
 Francesco Squarcione at the same time 
 with Andrea Mantegna. He imitated the 
 style of his master with great success, and 
 excelled in portrait as well as in history. 
 He resided first at Venice, and next at 
 Pesaro, where he painted, in the church 
 of the Observant Monastery, a Madonna 
 and Child with several saints. There 
 are also many of his works in his native 
 city, where they are held in much esti- 
 mation. He died in 1517. 
 
 ZuccARELLi (Francesco). This artist 
 was born at Florence about the year 
 1710. At the outset of his career he 
 applied to historical painting ; but after- 
 wards confined his practice to landscape, 
 in which he attained a beautiful manner, 
 both of composition and execution. 
 Among the figures which he introduced, 
 he always took care to represent one with 
 a gourd or bottle at his waist, as is com- 
 monly seen in Italy. This he is said to 
 have done in allusion to his own name, 
 zucco being the Italian word for gourd. 
 He set out for England about 1752, but, 
 as it was tlie time of war, he was seized 
 at some town on the continent, and ac- 
 cused of being a spy. He told the soldiers 
 his name and profession, and offered to 
 confirm the truth by painting a picture, 
 
 which was agreed to: the materials were 
 procured, the piece painted, and Zucca- 
 relli was honourably dismissed. In Eng- 
 land he met with great encouragement, 
 and several of his pictures were engraved 
 by that excellent artist, Vivares. By the 
 advice of some of his friends, Zuccarelli 
 completed a collection of drawings, which 
 he disposed of by auction, and obtained for 
 them a considerable sum. On the institu- 
 tion of the Royal Academy, he was elected 
 one of the first members; but in 1773 he 
 returned to Florence, where, for some time, 
 he relinquished the pencil, and lived upon 
 his fortune. A sudden loss, however, 
 compelled him to resume his pencil ; and 
 it was observed that the works which he 
 now produced were better than those of 
 his earlier days, or even than his perfor- 
 mances in England. He died at Florence 
 in 1788. Zuccarelli made several etchings 
 from the originals of Andrea del Sarto. 
 
 Zucchero, orZuccARo(TADi)Eo). He 
 was born at San Agnolo, in Vado, in the 
 duchy of Urbino, in 1529, and received 
 his earliest instruction in painting from 
 his father, Ottaviano Zucchero, who was 
 but an indifferent artist. So ardent, how- 
 ever, was Taddeo for improvement, that at 
 the age of fourteen, without money or 
 friends, he ventured to take a journey to 
 Rome, where he was frequently destitute 
 of the common necessaries of life, and 
 reduced to the necessity of sleeping either 
 under ruins, or in the porticoes of some of 
 the palaces. He was compelled to support 
 himself by grinding colours for the shops, 
 at small wages, whenever he could procure 
 work of that kind; and his disengaged 
 hours he spent industriously in designing 
 after the antiques, or in studying the 
 work of Raffaelle ; till at last he appro- 
 priated one half of the week to labour for 
 his support, and the remainder to the 
 cultivation of his talents. At length he 
 was taken into the service of Pietro Cala- 
 brese, whose wife was so covetous that 
 she almost starved him. Amidst all 
 these trials, the perseverance of Taddeo 
 was astonishing, and his love of the art 
 bore him up under all the difficulties he 
 had to encounter. He had the good for- 
 tune to receive some instruction from 
 Daniello of Parma, who had resided with 
 Corregio, and painted with Parmegiano; 
 by which means he improved so consider- 
 ably, as to be qualified to appear in his 
 profession with credit. He soon dis- 
 tinguished himself at Rome, Urbino, 
 Verona, and other cities of Italy, by 
 
zuc 
 
 622 
 
 ZUC 
 
 many noble compositions in fresco as well 
 as in oil; and he equally excelled in 
 portrait and in history. The Popes Julius 
 III. and Paul IV. employed him in the 
 Vatican ; and Cardinal Farnese intrusted 
 him with the entire decoration of his 
 palace of Caprarola, for which he allowed 
 him a considerable pension. His style 
 of composition was grand, and he showed 
 great elevation in his ideas:; his disposition 
 was judicious, and his pencil mellow and 
 free ; and, by being competently skilled 
 in anatomy, he designed naked figures 
 sufficiently correct, and was particularly 
 excellent in the heads, the hair, and the 
 extremities; but yet he was accounted a 
 mannerist, and not equal to his brother 
 and disciple, Federigo Zucchero. His 
 real merit consisted in the manner of his 
 design and the elegance of his disposition ; 
 but his colouring was deficient, rather 
 resembling that of a marble statue than 
 the warmth of life. He died in 1566. 
 
 ZuccHEKo, or ZuccAEo (Federigo). 
 He was the brother of Taddeo Zucchero, 
 and was born about 1543. After re- 
 ceiving some instruction from his father, 
 he was taken to Rome in 1550, and 
 left under the care of his brother, who 
 was then at the height of his reputation. 
 Taddeo exerted himself to improve Fe- 
 derigo in design, and observed with plea- 
 sure that his genius readily enabled him to 
 make a happy use of every precept. In a 
 few years, Federigo was qualified to assist 
 his brother in several of his grand com- 
 positions, and to exhibit to the public some 
 of his own works, which even then showed 
 the beginning of that excellence at which 
 he afterwards arrived. While Taddeo 
 was engaged at Caprarola by the Cardinal 
 Farnese, Federigo was invited to Venice, 
 where he was employed by the patriarch 
 Grimaui, to finish a chapel which had 
 been left imperfect by Battista Franco. He 
 also executed several other works in fresco 
 as well as in oil, which procured him 
 extraordinary applause; but on the death 
 of Taddeo he was recalled, to complete 
 those works which had been left unfinished 
 by that unexpected event. After this he 
 was engaged at Florence in some consider- 
 able designs, till Gregory XIII. invited 
 himtoRome, to work in the Vatican, which 
 afforted him a noble opportunity to ad- 
 vance his reputation. But having received 
 some indignity from the principal officers 
 of the pope, he resolved to discontinue 
 the work, and leave Rome; previous to 
 which he painted a satirical picture of 
 
 Calumny, in which he introduced the 
 portraits of all those who had given him 
 offence, and represented them with asses' 
 ears. This picture he caused to be placed 
 over the gate of St. Luke's church, on 
 the festival of that saint, in order to make 
 it more public; but, fearful of the conse- 
 quences, he instantly withdrew from Rome, 
 and retired to France, where he was 
 employed by the Cardinal of Lorraine. 
 From thence he came to England in 1574, 
 and while here painted several fine por- 
 traits, particularly one of Queen Eliza- 
 beth. " His stay," writes Walpole, "was 
 not long; historic subjects were not in 
 fashion; and he was offended at our reli- 
 gion." He afterwards went to Spain, 
 where he was employed in the Escurial : 
 bnthis works there gave so little satisfaction 
 to Philip II. that they were obliterated, 
 to give place to the performances of another 
 artist. He next visited Venice, where he 
 resided some time, till at length the pope 
 recalled him to Rome, and gave him per- 
 mission to set up an academy there, of 
 which he became the first president. He 
 was superior to Taddeo in many respects; 
 possessing a more extensive genius, and 
 an invention surprisingly ready and lively. 
 His colouring had abundance of force, and 
 his drawing is generally good ; yet, like 
 his brother, he was a mannerist, and they 
 both wanted a more thorough study of 
 nature, and more grace in the airs of the 
 heads. Notwithstanding these defects, 
 the paintings of Federigo are exceedingly 
 valued, and his portraits will for ever 
 preserve to him the reputation of being a 
 very eminent master. At Venice is a pic- 
 ture by Federigo Zucchero, painted in oil, 
 representing the Adoratjon of the Magi, 
 which, for composition and colouring, 
 deserves great commendation. He work- 
 ed in conjunction with Paolo Veronese, 
 Tintoretto, Bassano, and Palma, in the 
 grand council-chamber at Venice; and 
 his performance gave so much satisfac- 
 tion, that the doge, as a public testimony 
 of his merit, conferred on him the honour 
 of knighthood. He died at Ancona in 1616. 
 Zuccui (Antonio). He was born in 
 Italy, and came to this country with 
 Mr. Adam, the architect, by whom and 
 his brother he was principally employed 
 in painting decorations for the mansions 
 which they built in different parts of the 
 kingdom. His subjects were mythologi- 
 cal, with ruins and ornaments, which he 
 painted in a light and pleasant manner, 
 but without learning or strength. At 
 
ZU R 
 
 Buckingham House was a ceiling painted 
 by him ; and much of his work is at 
 Osterly Park. He was an associate of 
 the Royal Academy. After continuing 
 here some years, he returned to Rome, 
 and died there in 1795. 
 
 Zucco (Francesco). This artist was 
 born at Bergamo, and studied successively 
 under Campi and Moroni. He painted 
 history and portraits in the manner of 
 Paolo Veronese, so successfully that some 
 of his works were mistaken for the pro- 
 ductions of that master ; particularly two 
 pieces of the Nativity, and the Wise 
 Men's Offering, in the church of St. 
 Gothard, at Bergamo. He died in 1727. 
 
 ZuGNi (Francesco). This artist was 
 born at Brescia in 1594, and studied under 
 Palma, whom he surpassed in his colour- 
 ing. He excelled in fresco, and frequently 
 introduced architectural pieces into his 
 pictures, with taste and judgment. His 
 works in oil are also well executed ; parti- 
 cularly an altar-piece, the subject of which 
 is the Circumcision, in the church of St. 
 Maria delle Grazie, at Venice. He died 
 there in 1636. 
 
 Zdpelli (Giovanni Battista). He 
 was a native of Cremona, and excelled in 
 landscape painting, which he commonly 
 embellished with figures, representing 
 sacred histories. In the church of the 
 Eremites, at Cremona, is a Holy Family 
 by him, which is deemed his masterpiece. 
 He died in 1536. 
 
 Zurbaran (Francesco). This Spa- 
 nish painter was born near Seville in 
 1596, and studied under Pablo Roelas; 
 but afterwards he chose to follow the style 
 of Michel Angelo Oaravaggio, without 
 
 !3 Z YL 
 
 adopting his extravagance. In the church 
 of La Merced Calzado, at Seville, is a re- 
 markable performance by him, represent- 
 ing the history of San Pedro Nolasco, in 
 which all the monks are clothed in white ; 
 yet the draperies, notwithstanding the 
 sameness of colour, are managed with 
 admirable art and elegance. In the year 
 1630 he was invited to Madrid, and made 
 painter to the king, who employed him 
 in the palace of Buen-Retiro, where he 
 executed a series of pictures, representing 
 the labours of Hercules. He died in 1662. 
 
 ZusTRtJS (Lambert). This painter was 
 a native of Germany, and had for his in- 
 structor Christopher Swartz, of Munich ; 
 but afterwards he went to Venice, where 
 he became the scholar of Titian, and 
 imitated his manner of colouring, and 
 also of design, though not without some 
 mixture of the gothic style of his country. 
 A very capital picture of this master's 
 hand was in the cabinet of the King of 
 France : it is a landscape, in which he has 
 introduced the history of Christ baptized 
 by St. John ; and in the Louvre is another 
 piece by Zustrus, representing Venus and 
 Cupid, with Mars in the background. 
 
 Ztl (Gerard Pibters Van). This 
 Dutch artist was born at Amsterdam in 
 1606. He was eminent in portraiture, 
 and in 1635 came to England, where he 
 formed an acquaintance with Vandyck, 
 who employed him in his draperies and 
 backgrounds. By this intercourse he 
 greatly improved his own style, and, after 
 residing some years in London, went back 
 to Amsterdam, where he obtained the 
 honourable appellation of the second 
 Vandyck. He died in 1 661 . 
 
SUPPLEMENT. 
 
 BKO 
 
 Allen (J. W.) This artist was born 
 in 1803, and died in 1852, at the age of 
 forty-nine years. He held the office of 
 secretary and trustee to the Society of 
 British Artists, and had contributed ten 
 paintings to the society's exhibition, and 
 one to the gallery of the British Institu- 
 tion, in the last year of his life. These 
 consisted of landsca])es, taken in Britain, 
 and chiefly in Wales. His style was re- 
 markable for a singular paleness of 
 colour, which sometimes approached a 
 degree of coldness. The most favour- 
 able specimens of his particular style, 
 are the views called " Craig of Dynas," 
 North Wales, and "Llwyn Cleodd," 
 Montgomeryshire. 
 
 BoNNAR (William, E. S. A.) This 
 portrait and historical painter was born 
 in Edinburgh in 1800, and died there in 
 1853, at the age of fifty-three years. His 
 father was a house -painter of consider- 
 able skill, and he himself was appren- 
 ticed to one of the leading decorative 
 painters of the time. His picture of" The 
 Tinkers," exhibited in Waterloo Place, 
 in 1824, established his fame, and, on 
 the formation of the Royal Scottish 
 Academy, he was elected an Academi- 
 cian. He left many fine pictures, of 
 which a number have been engraved, 
 
 Brockedon (William, F.RS.) This 
 landscape and portrait painter, and 
 traveller, was born at Tbtness, Devon- 
 shire, 13th October, 1787, and first 
 came to London as a student of the 
 Royal Academy in 1 809. He visited the 
 Louvre at Paris, in 1815, and after 
 his return, painted " The Acquittal of 
 Susannah," which he presented to his 
 native county ; the picture is now in 
 the Crown Court at Exeter. He next 
 painted "Christ raising the Widow's 
 Son," a picture for which he was 
 awarded one hundred guineas by the 
 directors of the British Institution. 
 During his stay at Rome, in 1822, he 
 painted " The Vision of the Chariots to 
 Zechariah," which, by the Pope's per- 
 mission, was exhibited in the Pantheon. 
 He afterwards published his illus- 
 trated works, " The Passes of the Alps," 
 " Illustrated Road-book from London to 
 Naples," " Excursions in the Alps," and 
 Murray's " Hand-bookfor Switzerland." 
 
 CLI 
 
 In 1836, he last exhibited his pictures 
 at the Royal Academy. He was an ex- 
 cellent landscape-painter, and excelled 
 in portraits, and in historical and do- 
 mestic scenes. He died much respected, 
 on the 29th of August, 1854, at his resi- 
 dence in Devonshire street, London, aged 
 67 years. 
 
 Chalon (.J. J., E. A.), figure and land- 
 scape painter, died on the 14th Novem- 
 ber, 1854. He was well known among 
 his contemporaries, and by them much 
 esteemed. Few painters had so great 
 a range of subject. In his figures, his 
 animals, his landscapes, and his marine 
 pictures, we recognize the hand of a mas- 
 ter. He published a series of " Sketches 
 of Parisian Manners," in 1820. He was 
 fond of the scenery of Switzerland, the 
 land of his father and mother, and some 
 of his finest landscapes are faithful 
 transcripts of its mountains and lakes. 
 Among these is the noble work " The 
 Castle of Chillon," in which the 
 lonely white walls of the castle are 
 strongly contrasted with the dark 
 mountains that rise behind them and 
 glitter in the ripple of the clear blue 
 lake. 
 
 Clint (George, A.E.A.) This dra- 
 matic and portrait painter was born in 
 London on the 12th April, 1770. His 
 father was a hairdresser, and no doubt 
 from the study of the heads and wiga 
 by which he was thus early surrounded, 
 he ultimately learned to excel in his 
 portraits of celebrated actors. He was 
 first apprenticed to a fishmonger, and 
 afterwai'ds became a house-painter. He 
 then took to miniature painting, and 
 next to mezzotint engraving. His exe- 
 cution of "The Death of Nelson," in 
 the latter style, brought upon him the 
 notice of Sir Thomas Lawrence and 
 other artists. His first attempt at oil- 
 painting was a portrait of his wife, which 
 she affectionately undertook to show to 
 Sir William Beechey, a known patron 
 of the fine arts. Arrived at his house 
 on foot, as a poor but honest woman, 
 with a child under the one arm, and her 
 husband's picture under the other, Sir 
 William Beechey received her most 
 kindly, ordered her refreshments, com- 
 plimented her on her zealous exertions, 
 
DEL 62 
 
 requested her to desire him to call, and 
 paid for her return home in a coach. The 
 friendship thus gained, terminated only 
 with his patron's death. 
 
 DAGUERRE,(M.)Thisartist,'whosename 
 will for ever be associated with one of 
 the most refined applications of science 
 to the arts, was born in 1 789, and died 
 suddenly in Paris in 1851, in the 62nd 
 year of his age. The celebrated process 
 denominated Daguerrotype from the 
 name of the inventor, was published by 
 him in 1839, specimens of the results 
 obtained by the new process having been 
 exhibited in Paris in the same year. The 
 whole of Europe was astonished at their 
 beauty, and every one applauded the 
 liberality of the French government, 
 in granting to the inventor a pension of 
 6000 francs for his discovery. 
 
 M. Daguerre was celebrated as a 
 dioramic painter, and he had, by inge 
 nious contrivances, succeeded in pro- 
 ducing many extraordinary effects in 
 his pictures. His system of opaque and 
 transparent painting was published by 
 the French government, along with the 
 processes of the new invention. 
 
 M. Daguerre merits much commenda- 
 tion for the beautiful process for which 
 his country rewarded him ; but his in- 
 vention only paved the way for others 
 now well known. When he published 
 his process, it required twenty minutes to 
 take a view. Other artists have made 
 the successive improvements : he him- 
 self added nothing to them. A portrait 
 can now be taken in five seconds. The 
 proper name for this process is that of 
 " Sun-painting ; " and of the results, 
 " Sun-pictures." This name, however, 
 is now found too narrow and exclusive 
 for modern invention ; for the same re- 
 sults are obtained from artificial light 
 Hence " Photography " is, after all, the 
 most appropriate name. 
 
 Delaroche (M. Paul), the greatest 
 modern French painter, was born in 1 797, 
 and studied under M. le Baron Gros. 
 During the first five-and-twenty years 
 of his life he was feeling his way steadily 
 and slowly, escaping from the classic 
 but frigid and sculptural style of the 
 Empii'e. His " Joas " and " a Descent 
 from the Cross " ware exhibited in 
 1822; these at once marked him as a 
 painter of great promise. The steps of 
 his progress may be traced in the fol- 
 lowing pictures : " The Death of Eliza- 
 
 5 DEL 
 
 beth of England," frightful but power- 
 ful, exhibited in 1826, and now in the 
 Luxembourg ; " The Death of Mazariti," 
 a well-known scene ; " The Sons of Ed- 
 ward the Fourth," and "Strafford;" 
 " The Murder of the Duke of Guise," 
 painted after his visit to Italy in 1834 ; 
 and " Napoleon at Fontainebleau," 
 executed for Herr Schlette of Leipsic. 
 During the period when he painted these 
 pictures, the progress in art made by 
 Delaroche was great and sure. He 
 grew more in earnest, more self-relying, 
 and more decided. His great picture 
 " The Hemicycle," at the Ecole des 
 Beaux Arts, is one of those imaginary 
 assemblages which might have surpassed 
 the powers of a greater artist, but which 
 exhibits a character of dignity, a grace 
 of intellectuality, and a simplicity of at- 
 titude, which will render it, so long as it 
 lasts, one of the attractions of Paris. 
 
 Delaroche improved as a colourist as 
 he advanced in his career. His work 
 became masterly in its finish. In this 
 sketch it is impossible to do complete 
 justice to his character as a painter and 
 original thinker. His works will live 
 not so much by their simjDlicity of com- 
 position, or by their excellent finish and 
 care in marking chai'acter, as by the 
 originality and poetry he has thrown 
 into his conceptions, without falling 
 into the exaggeration and violence of 
 the French romantic school, which broke 
 loose despite the example of the Prud- 
 hons, Davids and G6i'ards of the latter 
 days of the eighteenth century. These 
 qualities were observable in a scene of 
 "Martyrdom" from his hand, sent to 
 the exhibition at Ghent ; and in his 
 'Napoleon at Fontainebleau," difficult 
 to describe, but raised far above the 
 portrait of a hero in difficulties which 
 even a higher artist would have drawn. 
 These also gave its awfulness to the 
 picture of " Le Due de Guise," where 
 the assassins, slinking away to the door of 
 the chamber, leave betwixt them and 
 the body of their prostrate victim a 
 blank space on the floor, wide and 
 dreary as remorse, and more impres- 
 sive as a central object than the most 
 powerfully drawn figure with infuriate 
 eyes and clenched weapon. 
 
 -A this death, which happened suddenly 
 in November 1856, he left the following 
 pictures in store : " Marie Antoinette 
 before the Eevolutionary Tribunal ; " 
 the " Last Banquet of the Girondins ; " 
 and the " Descent from the Cross." 
 
FIE 65 
 
 Ettt (William, E.A.) This painter 
 was born at York, in 1 787. His father 
 was a miller. At the age of eleven, he 
 was apprenticed to a letterpress printer 
 at Hull. Having served his apprentice- 
 ship, he forsook the mechanical art of 
 printing for the more congenial profes- 
 sion of a painter. At the age of eighteen, 
 he commenced his new cai-eer by entering 
 himself as a student of the Eoyal Acade- 
 my. Through the liberality of an uncle, 
 he also became a private pupil of Sir 
 Thomas Lawrence for twelve months, 
 but he received very little attention from 
 his tutor. 
 
 For a long period his pictures were 
 rejected both at the Eoyal Academy, 
 and the British Gallery. Fifteen years' 
 toil passed away before his fortunes 
 were changed. After that period his 
 labours gradually attracted more of the 
 public attention. In consequence of 
 this agreeable change he was enabled to 
 visit Italy in ] 822. He returned in two 
 years to London, laden with studies in 
 his art. In 1825, he exhibited his pic- 
 ture of "Pandora;" for which he was 
 chosen an associate of the Academy, and, 
 in 1827, he was elected an Academician, 
 thus verifying the ancient saying, that 
 " in all labour there is profit :" his per- 
 severance was rewarded at last. He was 
 in every respect one of the most emi- 
 nent painters of the English school. He 
 especially excelled as a eolourist ; some 
 of his pictures, indeed, rival those of Ti- 
 tian, or any of the works of the great 
 Venetian School, for their gorgeous dis- 
 play of colour and tone. His great pow- 
 ers in this department of the art were well 
 brought to light in the extensive exhi- 
 bition of his works which took place at 
 the Society of Arts in 1849, during the 
 summer immediately before his death. 
 In this exhibition were to be seen many 
 admirable pictures of our artist, includ- 
 ing the nine great works which were 
 the triumph of his life, and the crown 
 of his ambition, according to his own 
 acknowledgments as stated in his auto- 
 biography, which was published in the 
 Art Journal for 1849. He died at his 
 native place on the 1 3th of November, 
 1 849, at the age of sixty-three, leaving a 
 considerable fortune. 
 
 Fielding (Coplet) . This water-colour 
 painter was born in 1787, and died at 
 his house at Worthing in 1855, at the 
 advanced age of sixty-eight years. His 
 subjects are chiefly confined to his own 
 
 6 MAR 
 
 county. The richly-wooded landscapes of 
 Yorkshire, or the wide and flock- covered 
 Downs of Sussex, were depicted by his 
 pencil. He frequently put to sea in 
 search of a storm or a wreck, which he 
 treated as successfully as he did the 
 peaceful haunts of the deer, or the sheep 
 walks of the "South Downs." 
 
 No artist knew better how to paint a 
 mile's breadth of distant scenery on an 
 inch of paper, or how to give light and 
 air to his pictures ; and the truth and 
 delicacy of his paintiug were universally 
 acknowledged. His oil-pictures were 
 not equal to his drawings ; and his 
 eminence in the latter raised him to the 
 rank of President of the Old Water- 
 Colour Society his worth in this respect 
 rendered the old adage true : " We 
 could have better spared a better man." 
 
 HoLLiNS (John, A.R. A.) This artist, 
 one of the senior associates of the Royal 
 Academy, was born at Birmingham in 
 1798. His father was a portrait- 
 painter, and his fame rested chiefly on 
 his ability in the same department. His 
 portraits exhibit more of freedom and 
 vigour of pencil than of grace and deli- 
 cacy. Perhaps, on this account, they are 
 more true to nature. In his earlier 
 practice he painted some historical sub- 
 jects, and illustrated parts of Shake- 
 speare and other English, Italian, and 
 German poets. Some of these illustra- 
 tions are the following : " Margaret at 
 her Spinning Wheel," scenes from the 
 life of Benvenuto Cellini, Gil Bias, Tasso, 
 Goldsmith, Sterne, &c. Latterly he 
 associated landscape with his figures, as 
 in "The Hay Field," "Deal Beach," 
 " Grouse Shooting in Inverness-shire," 
 " The Fish Market and Port of Dieppe," 
 " The Coast Guard," " A scene in Argyll- 
 shire," &c. All his pictures display very 
 considerable merit ; but the best of this 
 class of works was one exhibited by him 
 in 1854, in conjunction with F. R. Lee, 
 R. A. who undertook the landscape por- 
 tion ; the subject is " Salmon Fishing on 
 the Awe," in which a number of por- 
 traits of distinguished individuals are 
 introduced. Mr. Hollins was elected 
 associate of the Royal Academy in 1843, 
 along with Mr. Creswick and Mr. F. 
 Grant, both of whom have arrived at 
 full Academic honours. 
 
 Martin (John). This great scriptu- 
 ral and historical painter, was bom at 
 Hexham, near Newcastle-on Tyne, in 
 
MIA 
 
 627 
 
 NA8 
 
 1789. He was apprenticed, with a view 
 to his becoming a heraldic painter, to 
 a Goachmaker in Newcastle, After a 
 few years' trial, his indentures were 
 given up by his master, by the de- 
 cree of a local court, and he became 
 the pupil of Boniface Musso, an Italian 
 artist then resident at Newcastle, but 
 who afterwards settled in London, 
 taking young Martin with him, who 
 had now reached the age of seventeen. 
 Soon after, he left his new master, and 
 supported himself by teaching, and by 
 painting on glass and china. His first 
 picture, painted in 1812, was " Sadak in 
 search of the Waters of Oblivion," for 
 which he got fifty guineas a godsend 
 to an artist who had mai'ried at nine- 
 teen. His next picture, " Paradise," 
 sold for seventy guineas. His third, 
 " (Jlytie," was exhibited at the Eoyal 
 Academy in 1814. His succeeding 
 works, with their dates, are the follow- 
 ing : "The Fall of Babylon," in 1819 ; 
 "Macbeth," in 1820; " Belshazzar's 
 Feast," in 1821, which gained the prize 
 of ,200 at the British Institution ; 
 " The Destruction of Herculaneum," in 
 1822 ; "The Seventh Plague" and " The 
 Paphian Bower," in 1823 ; "The Crea- 
 tion," in 1824 ; "The Deluge," in 1826 ; 
 and " The Fall of Nineveh," in 1828. 
 These are the works by which he 
 is most extensively known ; but after 
 the last date, he continued to exhi- 
 bit pictures of a high class of merit. 
 He was also the author of various plans 
 for the improvement of the sanitary con- 
 dition of London. Ills illusti-ations of 
 Milton added greatly to his reputation. 
 His works evince genius of a high or- 
 der, but they are remote from the every- 
 day scenes of natuieo ; they have been 
 always more agreeable as engravings 
 than as pictures. Like Fuseli, he re- 
 lied entirely upon a highly charged ima- 
 gination, and forsook nature. His aim 
 was always grand, but the result was 
 transcendental. His works were a con- 
 trast to those of Turner ; .the latter 
 painted light, the former darkness ; the 
 one nature, the other imagination. He 
 has left unfinished three great woi-ks 
 " The Judgment," " The Day of Wrath," 
 and " The Plains of ileaven." On the 
 I2th November, 1853, while painting, he 
 was suddenly paralyzed ; he gradually 
 sank, and expired on the 17th February, 
 1854. 
 
 M'Ian (Robert Ronald), This ex- 
 
 cellent and estimable artist was born in 
 1802. He was a true Scottish High- 
 lander, and was at first engaged as an 
 actor, the profession of which he quitted, 
 about eighteen years ago, for one cer- 
 tainly nobler in its public estimate and 
 professional results. In his new pro- 
 fession, he applied himself with the in- 
 domitable energy of his race. The 
 effects were visible in his fine pictures 
 of " The Battle of Culloden," and " An 
 Encounter in Upper Canada." His pic- 
 ture of " The Coronach " is well known. 
 His pencil never seemed so much at 
 home as in painting scenes of savage life 
 or of violent conflict. There was no 
 posture-making or child's play in his 
 battle pieces. It was all genuine work. 
 You felt that every shot told, and every 
 stroke left its impression. Both as an 
 actor and a painter he was held in re- 
 spect by his brethren, for he pursued 
 both arts with enthusiasm and the 
 highest aims. He died at the age of 
 fifty-four, at his residence in Hampstead, 
 on the 13th December, 1856, leaving an 
 amiable and excellent wife to mourn his 
 loss, and one who, as Mistress of the 
 London School of Design, has contri- 
 buted to preserve alive that taste in art 
 for which he was distinguished, 
 
 Nash (Fuedebick), This celebrated 
 water-colour painter was born in Lam- 
 beth, London, in 1 782. His father was a 
 respectable builder. He early displayed 
 ataste for drawing, and" thought that to 
 be an artist was greater than to be a 
 king." Under Moreton, an eminent ar- 
 chitectural draughtsman, he acquired a 
 thorough knowledge of perspective, and 
 received a bias in favour of architectural 
 pursuits. He was occasionally em- 
 ployed by Sir R. Smirke and other emi- 
 nent architects. In 1 808, he was elected 
 a member of the Society of Painters 
 in Water-colours, at the same time 
 with Fielding and Dervint, and soon 
 after was appointed architectural 
 draughtsman to the Society of Anti- 
 quaries, One of the principal of his 
 works at this period was a series of 
 drawings of " The Ruins of St. Mary's 
 Abbey," York, In 1810, he commenced 
 his woi'k on St. George's Chapel, Wind- 
 sor, which obtained for him an intro- 
 duction to King George III. In 1819, 
 he executed the drawings for the work 
 well known as " Nash's Paris," for which 
 he received five hundred guineas ; these 
 drawings were afterwards purchased by 
 
NAS 
 
 628 
 
 RIC 
 
 Sir Thomas Lawrence. lu 1824, hQ 
 visited France, in order to execute a 
 series of views of the " Environs of 
 Paris," for a gentleman of fortune, for 
 which he received three hundred 
 guineas ; and, in 1825, at the urgent re- 
 quest of Sir Thomas Lawrence, he went 
 again to Paris, in order to paint the 
 Portraits of the French King and the 
 lloyal Family, and to assist the court 
 painter in the accessories of his work. 
 
 In 1837, he narrowly escaped death, 
 while engaged in his picture of " Arun- 
 del." He successively visited Switzer- 
 land, Normandy, the Moselle and the 
 Rhine, on sketching tours, accompanied 
 by his amiable wife who assisted him 
 and cheered him in his labour. He rose 
 early in the morning, and was always at 
 work between five and six o'clock when 
 the season and weather permitted. His 
 practice was to make three studies of 
 the same subject, under the difFei-ent 
 effects of " early moi-ning," " mid-day," 
 anfl " evening," a practice that might be 
 followed by landscape-painters with 
 very great advantage. It is on his 
 architectural subjects, however, that his 
 reputation will chiefly rest ; and the es- 
 timation in which his works of this class 
 were held may be judged by the high 
 prices that were paid for them. ! 
 early as 1811, Mi-. Wheeler paid a hun- 
 dred and fifty gtaineas for the drawing 
 of " The Inside of "Westminster Abbey 
 with a Funeral Procession." A few 
 years later. Mi-. Allnutt pui-chased 
 another drawing of the " Interior of the 
 Abbey with Monks," for a hundred and 
 twenty-five pounds ; and Sir Thomas 
 Lawrence purchased a third " Interior " 
 of the same edifice for a hundred and 
 fifty pounds. Such sums as these were 
 rarely realized by water-colour painters 
 at that period. Turner is said to have 
 pronounced Mr. Nash as the finest 
 architectural painter of his day, a high 
 compliment from an artist who had 
 given no little time to the examination 
 of the monastic remains of this country. 
 The later works of Mr. Nash give but a 
 faint estimate of his talents. His in- 
 dustry was unrivalled ; this will be con- 
 ceded, indeed, when we consider the 
 fact that, from 1810 to 1856, he executed 
 no less than four hundred and seventy- 
 two drawings in the Water-colour 
 Society's exhibitions alone. He died 
 with the brush in his hand, fatigued 
 with painting upon a picture all night, 
 as he imagined : exhausted with the 
 
 effort he gradually sank, and calmly ex- 
 pired on the 5th December, 1856, at his 
 residence at Brighton, in the seventy- 
 fourth year of his age, a brilliant exam- 
 ple of genius, industry, and worth, to the 
 noble profession to which he belonged. 
 
 Prout (Samuel). This admirable 
 water-colour painter was born at Ply- 
 mouth in 1784, He came to London in 
 1805, and made his first drawings for 
 print-dealers. In this employment he 
 continued for eight years ; and his draw- 
 ings at this period showed very little 
 evidence of that peculiar manner which 
 he afterwards made his own. Rustic 
 scenery, landscapes and sea-pieces, occur 
 among his earlier attempts. In 1818 
 he commenced his foreign tours, and the 
 works entitled, " The Rhine," " France 
 and Italy," and " Flanders and Ger- 
 many," were the result of his labours. 
 These are considered the finest of his 
 works, each containing twenty-four 
 plates. In these, he gradually acquired 
 that broad and conventional mode of 
 representing distant architectural fea- 
 tures, which, though bold, was felt to be 
 so true, and so new and gratifying to the 
 public eye. The demand for this new 
 style of illustration was so great that 
 his powers of production were unequal 
 to the task of supplying them. His 
 success, however, was confined to this 
 particular branch of art. His trees were 
 never successful, and his most beautiful 
 effects are generally produced by light 
 thrown upon a tower or high building 
 in the middle distance, as contrasted 
 with the sky beyond it. The groups in 
 front of these architectural designs were 
 always bright and well arranged. Some 
 of his large works have reached very 
 high prices ; but his progress was often 
 greatly hiniiered by severe and danger- 
 ous ailments. His death, which took 
 place at the age of sixty-eight, on the 
 9th of Febi-uary, 1852, was unexpected 
 and sudden. He was an F.S.A., and 
 member of the Old Society of Painters in 
 Water-colours. He left a character dis- 
 tinguished for integrity and liberality, 
 and his name must be ranked high 
 among artists in his own peculiar walk. 
 
 RicHTEH (Henry). This historical 
 painter was born in 1772, of German 
 extraction, and died in 1857,in London,at 
 the advanced age of eighty-five years. He 
 was a member of the Old Society of 
 Painters in Water-colours. He occa- 
 
SHE 6 
 
 sionally painted in oil. He first ex- 
 hibited at the ninth exhibition of the 
 Old Water-colour Society, in 1813, upon 
 which occasion only one picture by him 
 appeared, entitled " The Rod." In 1820, 
 he exhibited one of the works which 
 were the most admired, and which, 
 having been engraved, is the best known 
 of his productions " The Tight Shoe." 
 In 1823, appeared a composition entitled 
 " A Picture of Youth, or the School in 
 an Uproar." To this he added a com- 
 panion picture, representing a similar 
 scene in a girls' school where the mis- 
 tress has fallen asleep. The two former 
 pictures have been always much ad- 
 mired. His style of painting was ex- 
 hibited chiefly in figures. His highest 
 attempts appear to have been scenes 
 from the plays of Shakspeare. He 
 was always a sparing exhibitor. In 
 the year 1852 we find only a single sub- 
 ject, " Devotion." In 1853, " Laviuia ; " 
 in 1854, "A Girl's Head;" in 1855, a 
 scene representing " The Fool and 
 Audrey, from "As You Like It ;" and 
 in 1856, "The Head of a Child." 
 
 Shee (Sir Martin Archer). This emi- 
 nent portrait-painter and poet second 
 only to Sir Thomas Lawrence as an 
 artist, was born at Dublin in 1769. On 
 his first arrival in London he was in- 
 troduced to the notice of Sir Joshua 
 Eeynolds, then president of the Eoyal 
 Academy, and to some other distin- 
 guished persons, by his illustrious coun- 
 tryman, Mr. Edmund Burke, the orator, 
 statesman, and philosopher. Mr. Shee 
 became an exhibitor at the Royal Aca- 
 demy in 1789, by sending his two pic- 
 tures, one the " Portrait of an Old Man," 
 and the other the " Portrait of a Gentle- 
 man." The following year he sent no 
 contribution to the exhibition ; wisely 
 husbanding his strength and fame, by 
 working hard at his art, and giving his 
 days and nights to Sir Joshua Reynolds. 
 In 1791, he took handsome apartments 
 for his studio, in Jermyn street, and 
 sent four portraits to the exhibition of 
 the Academy. One of these was a por- 
 trait of his brother, and another of a 
 gentleman called Irish Johnstone; it 
 being the case in the early days of the 
 Academy, that the members were ex- 
 tremely cautious of calling a nobleman 
 or a gentleman by his proper name, in 
 print. Next year he sent other three 
 portraits to the exhibition, making seven 
 pictures in all, which he had submitted 
 
 !9. SHE 
 
 to the notice of the public. Of these 
 three portraits, one was a portrait of 
 Lewis the actor, as the marquis in " The 
 Midnight Hour ;" and another a por- 
 trait of the then celebrated Anthony 
 Pasquin. In 1793, he reached what is 
 now the full number of Academical por- 
 traits ; one being that of Mrs. S. Kemble 
 in the character of Cowslip, in " The 
 Agreeable Surprise." The following 
 year he exhibited a portrait of a young 
 lady as Miranda in " The Tempest," and 
 another as " Jephtha's Daughter." In 
 1795, he exhibited a portrait of himself, 
 and one of Mr. Addington, afterwai'ds 
 Lord Sidmouth. In 1 797, he removed to 
 Golden square, and exhibited in all ten 
 portraits, including those of Pope and 
 Fawcett, actors the latter as Touch- 
 stone. He continued equally industrious 
 for many successive years, and acquired 
 so much favour among his fellow-artists 
 as to be elected an associate of the Royal 
 Academy in 1798, immediately after 
 the election of the great Flaxman to the 
 same honourable rank. In the same 
 year, on Ronmey's withdrawal from 
 London, he removed to the house which 
 that artist had built for himself in 
 Cavendish square ; and here he con- 
 tinued to reside as Romney's successor, 
 until age and growing infirmities com- 
 pelled him to withdraw to Brighton, 
 and abandon the use of his pencil. A 
 portrait of Romney one of the produc- 
 tions of his art at this period, was con- 
 sidered a clever and striking likeness. 
 In 1800, Mr. Shee was elected one of 
 the Royal Academicians; and of his 
 thirty-nine brother artists by whom he 
 was chosen, he was the last survivor. 
 
 Greatly to the surprise of his friends, 
 and to the wonder of his Academical bre- 
 thren, he published in 1805, "Rhymes 
 on Art, or the Remonstrance of a 
 Painter," with notes and a preface, con- 
 taining " strictures on the state of the 
 arts, criticism, patronage, and public 
 taste." In 1809, he published a second 
 poem, in six cantos, entitled " Elements 
 of Art." Byron alludes to these poems 
 in his " English Bards and Scotch Re- 
 viewers," thus :-^ 
 
 "And here let Slice and genius find a plnce, 
 Whose pen and pencil yield an equal grace ; 
 To guide whose nand, the sister arts combine. 
 And trace the poet's or the painter's line ; 
 Whose magic touch can bid the canvas glow, 
 Or pour the eas^ rhyme's harmonious flow ; 
 
 On the death of Sir Thomas Lawrence 
 in 1830, Mr. Shee was elected president 
 
TUR 
 
 630 
 
 TUR 
 
 of the Royal Academy, aud he was imme- 
 diately knighted on the occasion. His 
 election took place with a large majority, 
 although Wilkie was a candidate ; the 
 members, it is said, being more influ- 
 enced by the advantages of their an- 
 nual dinner than by their sense of Shee 
 as a painter. Sir Martin Shee excelled 
 in short, well-timed, and well-delivered 
 speeches. He was seldom at a loss ; 
 and so highly was his eloquence ap- 
 preciated within the walls of the Aca- 
 demy, th-at it was common among the 
 Royal Academicians to remark, when- 
 ever a great speaker was mentioned, 
 " Did you ever hear our president ?" or 
 " You should hear our president ! " Sir 
 Martin Archer Shee died at Brighton 
 on the 13th of August, 1850, in his 
 eighty-first year, after a very long and 
 severe illness. 
 
 Turner (Joseph Mallord William). 
 This celebrated painter was born iu 
 London on the 14th May, 1775. His 
 father then carried on a small business 
 in Maiden Lane, Covent Garden, as a 
 hairdresser ; and it was above his 
 father's shop where he produced most of 
 his early efforts in the art of painting. 
 On one occasion he visited a gentle- 
 man's residence with his father ; and 
 seeing an emblazoned coat-of-arms on the 
 table, the impression which it made on 
 his mind was so great, that when he 
 went home he made a spirited sketch of 
 a lion which formed part of the design. 
 His abilities appear to have been rap- 
 idly developed ; for, although he was 
 vinassisted by instructions from any 
 master of the art, he obtained admission 
 as a student ipto the Royal Academy iu 
 1789, when only in his fifteenth year ; 
 and he became an exhibitor in the 
 academy in the following year. 
 
 In his early youth, Girtin, the water- 
 colour painter, appears to have been 
 Turner's chief adviser ; and he always 
 expressed a high Teneration for his 
 friend's abilities. Turner had also the 
 great advantage of freely copying in the 
 gallery, or drawing from Dr. Munro's 
 collection in the Adelphi. His elabo- 
 rate drawings soon procured a public 
 recognition of his talents ; and, in 1800, 
 he was elected an associate of the Royal 
 Academy. Two years afterwards he 
 was chosen a Royal Academician. Du- 
 ring the period of fifty years, he was one 
 of the most distinguished members of 
 that institution ; and after a life of in- 
 
 domitable industry, and of almost un- 
 rivalled success, as a landscape-painter, 
 he died unmarried, under an assumed 
 name, iu obscure lodgings at Chelsea, 
 on the 19th of December, 1851. He was 
 buried with artistichonours by the side of 
 Sir Joshua Reynolds, in the crypt of St. 
 Paul's Cathedral, the Royal Academici- 
 ans, with numerous friends aud amateurs 
 in art, being present at the solemnity. 
 
 The life of Turner was in every sense 
 remarkable ; its origin was humble, its 
 results were splendid. His habits 
 which were reserved and retired, pre- 
 sent a powerful contrast to the splendour 
 of his fame among his contemporaries ; 
 and the great national character which 
 he has acquired both by his professional 
 reputation and by the generous dispo- 
 sition of his property, is truly striking, 
 when compared with the singular hu- 
 mility of his closing career. He be- 
 queathed his large fortune, both iu 
 pictures and in funded property, to the 
 nation. To the bequest of his pictures 
 he attached the condition, that govern- 
 ment was to pi'ovide for theiu a suitable 
 dweUing within ten years ; and to that 
 of his funded property, that it should 
 form the nucleus of an institution for 
 the benefit of decayed artists. 
 
 As a landscape-painter Turner, in the 
 course of his cai-eer, manifested three 
 diflerent styles of execution. In early 
 life he was chiefly awater-colour painter. 
 The contrast between his earliest and 
 latest works is great, the latter being 
 distinguished for its excessive looseness 
 of execution ; the former, for its elabo- 
 rate finish, and, as compared with his 
 ordinary works, for a certain coldness 
 of colour. He manifested this peculiar 
 coldness both in his oil and his water- 
 colour pictures ; and in some of hia 
 early works there is a decided imita- 
 tion of Wilson. As he advanced in life, 
 however, he adopted a much freer mode 
 of execution, and a much richer style of 
 colouring. Indeed, his finest works 
 belong to this second period* Of these 
 works, the two pictures which he be- 
 queathed to the National Gallery, to be 
 hung between two of Claude's pictures, 
 are fine examples ; namely, " The Sun 
 rising iu a great .Mist," a picture ex- 
 hibited in 1807, and " Dido building 
 Carthage," exhibited in 1815. Turner's 
 style may be judged by these two pic- 
 tures, inasmuch as he himself considered 
 them his masterpieces ; and the cir- 
 cumstance of his insisting upon their 
 
TUR 
 
 G31 
 
 WAE 
 
 being exhibited by the side of the pic- 
 tures of Claude, shows that he courted 
 criticism, and believed that his works 
 could stand this ordeal. 
 
 Compared with Claude's, however, 
 his execution is loose, even in his second 
 period ; but these two pictures as well 
 as those of Claude suffer by the com- 
 parison, for both are injured by it in 
 consequence of their execution being in 
 nearly opposite extremes of taste. The 
 pictures of Turner require that some of 
 his own later works should be placed 
 near them as a foil : were this done, 
 the former might then exhibit the happy 
 medium of execution. 
 
 The majority of Tui'ner's works of 
 the second or middle period, are cer- 
 tainly masterly and brilliant in colour, 
 But in the last twenty years of his 
 career, that is, principally in his third 
 period, he was extravagant in the ex- 
 treme. He amused himself in playing 
 both with form and with colour ; and 
 although no such effects could be seen 
 in nature as those which he latterly re- 
 presented in his works, yet he main- 
 tained that they could be seen. Light, 
 with all its prismatic varieties, seems to 
 have been the chief object of his studies 
 to individuality of form or character 
 he was wholly indifferent. 
 
 The wild looseness of execution of his 
 latest works, has not the defence that 
 they were attempted on scientific prin- 
 ciples. He does not work up a particu- 
 lar point of the picture as a focus, to 
 concentrate it and leave the rest obscure, 
 as a foil to enhance its effect ; but he 
 makes all equally obscure and equally 
 wild. Were his execution of a different 
 character, however, its philosophy would 
 be questionable. The infinite advantage 
 of the human eye over optical instru- 
 ments arises from this, that it can in- 
 stantly adapt its focus to a particular 
 object, as -to a point, and can thus dis- 
 tinguish, within a limited range, the 
 distant or the near equally well. It is 
 this power* of the eye that renders the 
 natural landscape so charming to the 
 sight ; the artificial landscape, therefore, 
 which professes to be the transcript 
 of the former, should be finished in all 
 its parts, so that the eye may be en- 
 abled to exercise its wonderful functions 
 on the picture as it does in the case of a 
 natural scene. 
 
 Turner's works are very numerous in 
 all his modes of execution. He exhibited 
 about three hundred pictures at the 
 Royal Academy; and these constituted 
 but a very small portion of his works. 
 In 1808 he published a work called Li- 
 ber Studiorum^ or Book of Sketches, in 
 imitation of one published by Claude 
 called Liber Veritatis, or Book of Truth. 
 He left by will a thousand pounds for a 
 monument to his memory in St. Paul's, 
 with the condition that the competition 
 for its execution was to be confined to 
 Eoyal Academicians. In 1857 six 
 years after his death, the commission 
 for executing this monument was con- 
 ferred on Mr. M'Dowall, E.A., who 
 was the successful competitor. 
 
 We may conclude this notice of the 
 life and works of Turner in the words 
 of a critic able to appreciate his merit. 
 " If the oil-paintings which Turner has 
 bequeathed, are to be considered as the 
 summit and result of his long-practised 
 powers, these fragments, often complete- 
 ly beautiful in themselves, are the foot- 
 prints in the path of his fame, marking, 
 with unerring accuracy, the steady pro- 
 gress of his ascent. The analytical 
 student of the art-faculty will find 
 here abundant material for his specula- 
 tions ; the pure lover of pictures for 
 their own sake, fastidious as he may be, 
 will examine the majority of these 
 drawings (particularly those in sepia) 
 with the keenest relish ; and in the eyea 
 of every countryman of Turner, they 
 stand as a mute appeal of the great 
 painter to posterity. We need not at- 
 tempt to anticipate the verdict ; re- 
 membering at the same time, that the 
 whole of the materials for forming the 
 final decision are not yet produced, and 
 that we must look to a new National 
 Galleiy for a worthy exhibition of the 
 artist in his full dimensions." 
 
 Waechter (Everard Von). This 
 painter belonged to the Eoyal Institute 
 of Fine Arts, Stuttgart, was born in 
 1 762,. and died in 1852, aged ninety years. 
 He was the Nestor of German art. His 
 paintings, which are very numerous, are 
 to be found in most of the principal 
 churches, museums, and galleries in Ger- 
 many ; they consist chiefly of scriptural, 
 mythological or histoi'ical subjects ; and 
 some of them are of lasting merit. 
 
 M'COKQUODAiE AND C 
 
 ITERS, LCiXnoN W( 
 
 .x7l 
 

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