PAINTERS, SCULPTORS, ARCHITECTS AND ENGRAVERS . CLEME REESE LIBRARY UNIVERSITY OF CALIFORNIA Received Accessions No.\<^4~< 18 TRANSFIGURATION OF CHRIST. BY RAPHAEL. Vatican. PAINTERS, SCULPTORS, ARCHITECTS, ENGRAVERS, AND THEIR WORKS. 91 BY CLARA ERSKINE CLEMENT, AUTHOR OF "A HANDBOOK OF LEGENDARY AND MYTHOLOGICAL ART." TOitfj Ellustrations ant JHonograms. ELEVENTH EDITION. BOSTON AND NEW YORK : HOUGHTON, MIFFLIN AND COMPANY. (C&e lltoerei&e press, "Cimabue (Giovanni Gaultieri) . . . ? 1240 1302? (iiotto (di Bondone) 1276 1336 BuflTalmacco (Buonanico di Cristofano) painted about 1302-1351 'Taddeo Gaddi, last date 1366 1300 Jacopo di Casentino 1310 1390 Giottino (Tommaso) 1324 Agnolo Gaddi 1325 1396 Andrea di Cione (Orcagna) painted about 1340-75 ... 1389 Masolino 1383 1440 ^ra Angelico (Giovanni Guido) 1387 1455 Paolo Uccello 1396 1479 /Masaccio 1402 1429 ^ Fra Filippo Lippi . . , . 1412 1469 xxvii/ TABLE OF PRINCIPAL PAINTERS. Birth. Death. Benozzo Gozzoli 1424 1485 Antonio Pollajuolo 1433 1498 Andrea Verrocchio 1432 1488? Cosimo Rosselli 1439 1506 Piero di Cosimo 1441 1521 Luca Signorelli 1441 1521 Sandro Botticelli 1447 1515 Domenico Ghirlandajo 1449 1498 Lorenzo di Credi , 1459 1537 Filippino Lippi 1460 1505 Raffaellino del Garbo 1466 1524 Fra Bartolommeo (Baccio della Porta) 1469 1517 Guiliano Bugiardini 1471 1554 Mariotto Albertinelli 1474 1515 Michael Angelo (Buonarotti) 1475 1564 Francesco Granacci 1477 1543 Andrea del Sarto (Vammcchi) 1488 1530 Jacopo Pontormo 1494 1556 Bronzino 1502 1572 Daniele da Volterra 1509 1566 Giorgio Vasari 1512 1574 Alessandro Allori 1535 1607 Ludovico Cardi da Cigoli 1559 1613 Francesco Vanni 1563 1609 Cristofano Allori 1577 1621 Matteo Rosselli 1578 1650 Domenico Feti . . 1689 1624 Carlo Dolci . 1616 1686 Roman School. Pietro Cavallini 1259? 1344 Raphael Sanzio 1483 1520 Giovanni Francesco Penni 1488 1528 Francesco Primaticcio 1490 1670 Innocenzio da Imola 1490 1549 Giulio Romano (Pippi), about 1492 1556 Federigo Barocci, or Baroccio 1528 1612 Cesare d'Arpino 1567 1640 Bartolommeo Schedone 1580 1615 Giovanni Lanfranco 1581 1647 Pietro da Cortona 1696 1669 Andrea Sacchi 1598 1661 Pietro Francesco Mola 1612 1668 Carlo Maratta . 1625 1713 TABLE OF PRINCIPAL PAINTERS. xxix Bolognese School. Birth. Death. Vitale da Bologna, painted 1320-1345 Siraone Crocefissi " 1370 *. Jacopo Avanzi " 1370-1380 Marco Zoppo " 1471-1498 Francesco Francia 1450 1517 Lorenzo Costa 1460 1535 Ludovico Caracci 1556 1619 Agostino Caracci 1558 1601 Annibale Caracci 1560 1609 , Guido Reni : 1575 1642 J Lionello Spada 1576 1622 Alessandro Tiarini 1577 1668 Francesco Albani 1578 1660 Domenico Zampieri (Domenichino) 1581 1641 Giovanni da San Giovanni 1590 1636 Francisco Barbieri (Guercino) 1590 1666 Guido Cagnacci 1601 1681 Giovanni Battista Salvi (Sassoferrato) 1C05 1685 Simone Cantarini (II Pesarese) 1612 1648 Elisabetta Sirani 1638 1665 Paduan School. Justus of Padua 1400 Francisco Squarcione 1394 1474 Andrea Mantegna 1430 1506 Venetian School. Gentile da Fabriano, about 1370 1450 Jacobello del Fiore painted 1400-1439 Jacopo Bellini 1395 1470 Gentile Bellini 1421 1507 Giovanni Vivarini (da Murano) painted 1440-1447 . . Antonio Vivarini painted 1440-1470 Bartolorameo Vivarini painted 1450-1500 Giovanni Bellini 1426 1516 Luigi Vivarini, painted 1464-1503 Antonello da Messina, painted 1465-1495? Vittore Carpaccio, about 1460 1520 Cima da Conegliano, painted 1489-1517 Carlo Crivelli, about 1468 1537 Jacopo Palma (II Vecchio) 1475 1628 -Tiziano Vicellio (Titian) 1477 1676 xxx TABLE OF PRINCIPAL PAINTERS. Birth. Death. Giorgio Barberelli (Giorgione) 1477 1511 Giovanni Antonio Licinio (Pordenone) 1483 1539 Sebastiano del Piombo 1485 1547 Bonifazio Veneziano 1494 1563 Paris Bordone 1500 1576 Jacopo da Ponte (II Bassano) 1510 1592 Marco Belli, painted 1511 Jacopo Robusti (II Tintoretto) . . . 1512 1594 Bernardino da Pordenone 1620 1570 Andrea Schiavone 1522 1582 Paolo Cagliari, or Caliari (Veronese) 1528 1588 Jacopo Palma (II Giovane) 1544 1628 Alessandro Varotari (II Padovanino) 1590 1650 Sebastiano Ricci 1662 1734 Giovanni Battista Tiepolo 1692 1769 Antonio Canale (Canaletto) . . 1697 1768 Francesco Zuccherelli 1702 1788 Francesco Guardi 1712 1793 Bernardo Bellotto 1720 1780 Modenese School. Tommaso of Modena, painted 1350-1360 Barnaba of Modena, " 1367-1380 Neapolitan School. Antonio Solario (II Zingaro) 1382 1455 Michael Angelo Araerighi (Caravaggio) 1569 1609 Aniello Falcone 1594 1665 Salvator Rosa 1615 1673 Luca Giordano (Fa Presto) 1632 1705 Umbrian School. Piero della Francesca, about 1415 1509 Benedetto Bonfigli, about 1420 1496 Giovanni Santi 1435 1495 Melozzo da Forli, about 1438 1494 Niccolo Alunno (di Foligno) painted 1458-1499 .... Perugino (Pietro di Vannucci) 1446 1524 Pinturricchio (Bernardino di Betto) ........ 1454 1513 L'Ingegno (Andrea Luigi) 1470 1566 Lo Spagna'( Giovanni di Pietro), first record 1507 ; last record 1528 . TABLE OF PRINCIPAL PAINTERS. xxxi r Ferrarese School. Birth. Death. Cosimo Tura 1430 1496 Dosso Dossi, about 1474 1558 Benvenuto Tisio (II Garofalo) 1481 1559 Veronese School. Domenico Morone of Verona, last record 1503 .... 1442 Liberate da Verona 1461 1536 Giovanni Carotto 1470 1546 Francesco Morone 1473 1529 Girolamo dai Libri 1474 1556 Paolo Morandi (Cavazzola) 1486 1522 Lombard School. -Leonardo da Vinci 1452 1519 Ambrogio Borgognone, about 1455 1525 Andrea da Salario, about 1458 1530 Bernardino Luini, about 1460 1530 Giovanni Antonio Beltraffio 1467 1616 Cesare da Sesto 1480 1621 Gaudenzio Ferrari 1484 1649 Bernardino Lanini 1508 1578 Ercole Procaccini 1520 1690 Camillo Procaccini 1646 1626 Giulio Cesare Procaccini ... 1548 1626 Giovanni Battista Crespi 1657 1633 TABLE OF THE PRINCIPAL PAINTERS OF THE FLEMISH SCHOOL, Birth. Death. Jean van der Asselt painted 1364 Melchior Broederlain painted 1382-1401 Jean Malwel, or Melhuel painted 1392 1416 School of Bruges. Hubert van Eyck 1366 1426 Jan van Eyck, about 1386 1440 Petrus Christus painted 1444-1471 Hans Memling 1430? 1495 Gherardt, David, painted 1487 1523 Jacques van Oost (elder) 1600 1671 Jacques van Oost (younger) 1639 1713 Tournai. Rogier van der Weyden, or Van Brigge 1400 1464 Louvain. Dierick Stuerbout, or Bouts, earliest date 1450 .... 1475 School of Ghent. Hugo van der Goes 1468 1482 Justus of Ghent 1468 Gerard van der Meire, dates 1447-1474 School of Antwerp. Quintin Metsys 1466 1529 Jan Gossaert Mabuse , . . . 1470 1532 Frans Floris ... ,...'. 1520 1570 TABLE OF PRINCIPAL PAINTERS, xxxiii Birth. Death. Martin deVos . . . 1531 1603 Frans Pourbus (elder) . 1540 1580 PaulBril 1556 1626 Otho van Veen, or Vaenius . , 1558 1629 Frans Pourbus (younger) 1570 1622 Pieter Neefs (elder), about 1570 1651 /x-;Peter Paul Rubens . . . . v 1577 1640 Frans Snyders * 1579 1657 David Teniers (elder) 1582 1649 Gaspard de Grayer 1582 1669 Cornells de Vos 1585? 1661 Daniel Seghers 1590 1661 Jacob Jordaens 1593 1678 Justus Sustermans 1597 1681 astien Bourdon 1616 1671 Eustache Le Sueur 1617 1655 Charles Le Brun 1619 1690 J. Courtois Bourguignon 1621 1676 Noel Coypel 1628 1707 Jean Baptiste Monnoyer 1634 1699 J. B. Santerre 1650 1717 Nicolas de Largilliere , . : . 1656 1746 Hyacinth Rigaud 1659 1743 Antoine Coypel 1661 1722 Francois Desportes 1661 1743 JeanJouvenet 1664 1717 J. Fran 9 ois de Troy 1680 1752 Antoine Watteau 1684 1721 J. B. Vanloo 1684 1745 Jean Baptiste Oudry 1686 1755 Francois Lemoine 1688 1737 Nicolas Lancret , , 1690 1743 xlii TABLE OF PRINCIPAL PAINTERS. Birth. Death. L. Tocque 1696 1772 J. B. Joseph Pater 1696 1736 Pierre Subleyras 1699 1749 Simeon Chardin 1699 1779 Francois Boucher 1704 1768 Charles Vanloo 1705 1765 Joseph Marie Vien 1710 1809 Claude Joseph Vernet 1714 1789 Jean Baptiste Greuze 1725 1805 Jean Honore' Fragonard 1732 1806 Jacques Louis David 1748 1825 TABLE OF THE PRINCIPAL PAINTERS OF THE ENGLISH SCHOOL. Birth. Death. Nicholas Hilliard 1547 1619 Isaac Oliver 1555 1617 George Jamesone 1586 1644 Samuel Cooper 1609 1672 William Dobson 1610 1646 Henry Anderton 1665 Sir Peter Lely 1618 1680 John Riley 1646 1691 Sir Godfrey Kneller 1646 1723 Charles Jervas 1675 1739 Sir James Thornhill 1676 1734 William Hogarth 1697 1764 Thomas Hudson 1701 1779 Francis Hayman 1708 1766 Richard Wilson 1713 1782 Allan Ramsay 1713 1784 Sir Joshua Reynolds 1723 1792 Francis Cotes 1725 1770 Thomas Gainsborough 1727 1788 Sir Nathaniel Dance 1734 1811 George Romney 1734 1802 P. J. de Loutherbourg 1740 1812 James Barry 1741 1806 Henry Fuseli 1741 1825 David Allan 1744 1796 John Cozens 1752 1799 John Hoppner 1753 1810 Sir Francis Bourgeois 1756 1811 Henry Raebura 1756 1823 William Blake 1767 1828 JohnOpie 1761 1807 George Morland 1763 1804 Thomas Girtin . . . 1773 1802 PAINTERS, SCULPTORS, ARCHITECTS ENGRAVERS, AND THEIR WORKS. A. Aalst or Aelst, Evert or Everhard Van, born at Delft (1602- 1658). Painted dead birds, game, instruments of the chase, armor, vases, etc., with great exactness in detail. He sometimes used a clear or white ground, which is very effective. His characteristics were truthfulness and heaviness of tone. Dresden Gall., Nos. 1126, 1127; Berlin Mus., 921, 936. Aalst or Aelst, Wilhelm or William Van, born at Delft, 1620; died at Amsterdam, 1679. The nephew and pupil of Everhard, whom he much excelled. He also painted still life, dead birds, oys- ters, herrings, etc. His favorite subjects were fruit and other eat- ables, with accessories of glass and rich vessels of gold and silver. He spent some years in France and Italy. Was employed by the Grand Duke of Tuscany, who presented him with a gold medal and chain. He returned to Holland in 1656, where his works were in great demand. They are of exquisite polish and finish. Dresden Gall., Nos. 1128, 1129, 1130 ; Berlin Mus., 975. Abate, Andrea, called Belvedere. Said to have died in 1732; but there are reasons for believing that he died several years earlier than that time. He was a Neapolitan, and excelled in painting (lowers, fruit, etc. He was employed by Charles II. of Spain, and together with Luca Giordano, who painted figures, executed a part of the ornamentation of the Escurial. Abbate, or dell' Abate, Niccolo. Called also Niccolo da Modena. Born at Modena, 1509 ; died at Paris, 1571. He was a pupil of Bega- relli, and, it is supposed, of Correggio, which opinion is confirmed 1\ his knowledge of foreshortening. Algarotti enumerated him " among the first that had adorned the world." His frescoes in Bo- logna were models for the Caracci ; and Agostino Caracci said in a sonnet, that in Niccolo were united the symmetry of Raphael, the terror of Michael Angelo, the truth of Titian, the dignity of Cor- reggio, the composition of Tibaldi, and the grace of Parmigianino. 1 2 ABBATE ABSHO VEN. At the Castle of Scandiano he executed twelve scenes from the ^Eneid, which are now in the Florence Gallery. He painted his fres- coes so correctly that he seldom retouched them ; this was the secret of his beautiful coloring. At Bologna he painted a beautiful " Na- tivity " in the portico of the Lions, and in a frieze in the hall of the Institute his celebrated " Conversazione," of ladies and youths. In 1552 he accompanied Primaticcio to Fontainebleau, and painted thirty-eight scenes from the history of Ulysses, from the designs of that master. After Primaticcio died, Niccolo was employed by the French court during his life. His "Beheading of S. Paul" is at Dresden ; and " The Rape of Proserpine," with a "rich, fantastically lighted landscape," is at Stafford House Gall. Abbiati, Filippo, born at Milan (1640-1715). Pupil of " il Pan- filo." A man of great talent and powers of invention ; well fitted for colossal labors. He competed with Federigo Bianchi, at Milan, in painting the ceiling of S. Alessandro Martire. One of his best works was the " Preaching of S. John the Baptist," at Sarono. Abbot, Lemuel, born at Leicestershire, England ; died 1803. Pupil of Francis Hayman. Truthfulness was his characteristic, and por- traits of men his best works. Those of " Cowper " and "Lord Nelson " were especially fine. Abel de Pujol, Alexander Denis, born at Valenciennes (1787- 1861). Succeeded Gros, and became a member of the Institute in 1835. He painted " The History of Joseph " on the ceiling of the Antique Museum of the Louvre. In Notre Dame an altar-piece, " The Burial of the Virgin," and "The Preaching of S. Stephen," in S. Hitienne du Mont, are by this master. Abel, Joseph, died at Vienna (1768-1818). Pupil of Fuger. He was employed by the Czartorysky family. He passed six years in Rome, and gained a reputation by his pictures illustrative of ancient history and Greek poetry. At Vienna he painted large historical subjects and decorated the theatre. Abildgaard, Nikolai, born at Copenhagen (1 744-1809). He has been called the best painter of Denmark. His principal pictures were subjects taken from the ancient poets. When the palace of Christianborg was burned in 1 794, some of his best works were de- stroyed. Fiissli relates that this so affected his mind that he painted but little afterwards. Abshoven, or Apshoven (1648-1690). Kugler calls him Mi- chael ; he is also called Theodore van Abshoven, and F. van Ap- shoven. He was a favorite scholar and successful imitator of David Teniers the younger. His pictures, like those of his master, repre- sent village festivals, scenes from peasant life, etc. They are fre- quently seen in Flanders, where they are placed in the best collec- tions. Dealers in pictures have been in the habit of taking hia name from his works and substituting that of Teniers. ACEVEDO ADRIANO. 3 Acevedo, Cristobal, born at Murcia. Pupil of Bartolome Cardu- clio at Madrid in 1585. He painted at Murcia for the chapel of the college of S. Fulgencio a picture of that saint adoring the Virgin, and some other works for convents, which prove him to have been a good artist. Achen or Ach, Hans Van, born at Cologne 1552; died at Prague 1615. A pupilr of Jer- righ, afterwards an imitator of Bartholomew Spranger. He passed some time in Italy, and after his return was employed by the courts of Cologne and Prague. Specimens of his ecclesiastical pictures are to be seen in the ch. of Our Lady, and in the Jesuit ch. at Munich, where he painted the "Resurrection of Christ," and the " Finding of the True Cross by S. Helena." Three of his pictures are in the Vienna Gall.: " Bathsheba Bathing," after the style of Tintoretto ; ' ' Bacchus with Venus ; " and ' ' Jupiter and Antiope." Achtschelling, Lucas, born at Brussels (about 1570-1631). Pupil of Louis de Vadder. Painted landscapes, which are highly esteemed in the Low Countries. Three large works of his are in the collegiate ch. of S. Gudula at Brussels. Acosta, Cayetano, born in Portugal (1 710-1 780). It is not known under what master he studied, if at all, but he settled in Seville, calling himself a sculptor. He made a high altar for the collegi- ;ile ch. of San Salvador, in which he disregarded all architectural rules. Here, as in other places, a more beautiful structure was re- moved to make way for his. The barefooted friars of Mercy em- ployed him to carve lliree figures to replace those of Montanes ; and Cean Bermude/ asserts thai even the inestimable works of Alonso Cano were put aside to l>e ivp laced by the deformities of Acosta. He left a son and nephew, also wood-carvers, and no better than himself. Adda, Conte Francesco d', born at Milan, died 1550. An ama- teur painter of small pictures on panels and slate, for private cabinets, lie imitated Leonardo da, Vinci. An altar-piece in the ch. of S. Maria delle (Ira/ie at Milan, is attributed to him. Adolfi, Giacomo, horn at, IJergamo (1682-1741). In the ch. of the, monastery Del I'aradiso, at, Bergamo, is his picture of the ''Crowning of the Virgin," which is considered one of his best; that of the " Adoration of the Magi " is in the ch. of S. Alessandro dclla. Grace. Adolfi, Giro, born at liergamo (1 083-1 758). Brother of Giacomo. Distinguished himself in fresco painting in the edifices of Bergamo. The --Four Kvangelists" in the ch. of S. Alessandro della Croce, and the "Deposition from the Cross" in S. Maria delle Grazie, are his principal works. The ' Decollation of S. John," by this master, in the church at Colognola i< also admired. Adriano. A barefooted Carmelite of Cordova. Pupil of Paul 4 ADRIANO AETION. de Cespedes. His convent had for a long time a Magdelene by Adriano, which was considered a Titian. He was in the habit of destroying his works because they seemed to him so inferior. But his brethren have preserved a few by interceding in the names of souls in purgatory, a fraud easily forgiven by the lover of art. He left a great name ; " great in art, and still greater in piety." Adrianssen, Alexander, born at Antwerp (1625-1685). An ex- cellent painter of still-life. He painted fish remarkably well. Berlin Mus., Nos. 922, 952, and 240. Aelst, Everhard Van. See Aalst. Aelst, Wilhelm Van. See Aalst. Aerts, Richard, born at Wyck 1482; died at Antwerp 1577. Son of a poor fisherman. When a boy his leg was so badly burned, as to necessitate amputation. During his confinement he manifested such a talent for sketching, that he was placed with an artist to study, John Moestaert, the elder, of Haerlem. He became one of the ablest artists of his time. His first works after leaving school, were two scenes from the life of Joseph, painted on the folding panels of an altar-piece in the great ch. at Haerlem. He removed to Antwerp, and was admitted to the Academy there in 1520. Aertszen, Pieter, called Lange Peer, born at Amsterdam. Writers differ as to the year of his birth, 1507-17, and 19, are all given. Died at Amsterdam in 1573. He was a pupil of Allard Claessen. When quite young he painted genre pictures, which were spirited and well colored. He then applied himself to Scriptural subjects. He painted numerous large altar-pieces in Amsterdam, Delft, Louvain, etc. These were destroyed by the Iconoclasts in 1566. One of his most celebrated works was an altar-piece for the ch. of Our Lady at Amsterdam. It was a triptych, the centre compartment represented the " Death of the Virgin Mary," with the Nativity and the Adoration of the Magi upon the folding panels. For this he is said to have received two thousand crowns. Michael Coxie of Mechlin, a great artist, was asked to paint an altar-piece for a new church in Amsterdam, but when he saw the works of Aertszen he refused, saying that they had no need of him while they had such an artist in their own city. He sometimes painted market scenes, one of which is in the Vienna Gall., Antwerp Mus., No. 159 ; Berlin Mus., No. 726. His three sons, Peter, Arnold, and Theodore, were all painters. Action. A Greek painter, sometimes said to have lived in the time of Alexander ; but Lucian, in his account of him, distinctly says that he did not live in ancient times, and it is generally believed that he was of the time of Hadrian and the Anton'mcs. His great work described by Lucian, represented the " Nuptials of Alexander and Roxane," with Erotes busy about them, and the armor of the king. This picture excited so much admiration when exhibited at the AETION AGASIAS. 5 Olympic games, that Proxenidas, one of tlie judges, exclaimed, " I reserve crowns for the heads of the Athletae, but I give my daughter in marriage to the painter Action, as a recompense for his inimitable picture." This painting was carried to Home, where Lucian saw it. Action seems to have excelled in the art of mixing and laying on his colors. Afesa, Pietro. Flourished about 1650. Was called della Basili- cata, because a native oi the province of that name, a part of the kingdom of Naples. His works are in many churches and convents of Naples. One much esteemed is in the chapel of the monastery at Marsico Nuovo, and represents the " Assumption of the Virgin Mary." Dominici mentions Afesa very favorably. Agabiti, Pietro Paolo, born at Sassoferrato. Some of his works are in that place, in the ch. of S. Agostino, and are dated 1514. Agaptos. Spooner says that " According to Pausanias, Agaptos, a Grecian architect, invented the porticoes around the square attached to the Greek stadii, or racecourses of the gymnasiums, which gained him so much reputation, that they were called the Porticoes of Agap- tos, and were adopted in every stadium." Agar, Jacques d', born at Paris 1040; died at Copenhagen 1716. He was a scholar of Simon Vouet, but became a portrait painter. He went to England and painted many of the nobility of the reign of Queen Anne. He was afterwards invitetl to the Danish court, where he was much patronized. His portrait, painted by himself, is in the Florentine Gall, of Artists. Agasias. Sculptor of Ephesus. Three Kphesians of this name are mentioned. Agasias, son of Dositheus, whose name is on the Borghese "Gladiator;" Abasias, sou of Menophihis. a sculptor in the island of Delos when it was under Koinan sway, about 100 B. C.; and Agasias, father of Heraclides, on a statue in the Louvre, 411. This was probably the name of an Ephesian family of artists, or had been made famous by one great master. The Borghese " Gladiator," Louvre, 304, and the " Apollo Belvedere" were discovered among the ruins of a palace of the Roman Kniperors at Antium. From the attitude of the so-e;illed " Gladiator," it is plain that it represents a warrior contend- ing with a horseman. Miiller thinks it mav have been taken from a large battle group, in order to finish it with greater refinement of art. Thierseh thinks it may be Achilles contending with Penthesilea. This Agasias probably lived about 400 B. c. The sculptor of the Apollo Belvedere is not known. Until recently it has been thought that the god held a bow ; but the discovery of a statuette, which agrees with it in all essential points, has afforded a much more satisfactory explanation of the action represented. It is that he held the JEgiswith the ( Jorgoneia, which had a paralyzing cfl'ect, and was lent to Apollo by Jupiter, according to Homer (" Iliad," xv. 318, et seq.). Ludwig Preller believes that this statue represents Apollo in AGASIAS AGATHAKCUS. the battles with the Gauls before Delphi. Liibke says : " Not till now have we understood the Apollo Belvedere Ardently ex- cited, and filled with divine anger, with which is mingled a touch of triumphant scorn, the intellectual head is turned sidewards " (see figure), "while the figure with elastic step is hastening forwards. The eye seems to shoot forth lightning ; there is an expression of con- tempt in the corners of the mouth ; and the distended nostrils seem to breathe forth divine an^er." APOLLO BELVEDERE. Vatican. Agatharcus, an Athenian painter. Vitruvius says he was the in- ventor of scene-painting, and painted a scene for a tragedy which ^Eschylus exhibited. This contradicts Aristotle, who says that Sophocles introduced this art. Dr. Smith thinks that probably scene-painting was introduced towards the close of the career of ^Eschylus, but was not in general use until the time of Sophocles. There was another Greek painter named Agatharcus, of the time of Alcibiadcs, who had no great merit, and prided himself chiefly on the rapidity with which he worked. AGELADAS AGESANDER. 7 Ageladas, native of Argos. Distinguished as a sculptor, and the instructor of the three great masters, Phidias, Myron, and Poly- cletus. The contradictory statements of the writers who mention this name, have given rise to much discussion as to when he lived, all of which has resulted in the opinion that there were two sculptors of this name. The instructor of Phidias, the Argive, was most eminent, and was born about 540 B. C. The other a native of Sicyon, who flourished in the 87th Ol. as mentioned by Pliny, or. about 432 B. c. Agesander, native of die island of Rhodes. Pliny is the only writer who speaks of him, and but one work of his is known, the 4 ' Laocob'n " of the Vatican. In this lie was asnMed by 1'olydortis and Athcnodorus. Another statue, found at Antium, shows that Atheno- dorus was the son of Agesander. It is thought not unlikely that Polydorus was also his sou. and that the figure of Laocoon was exe- cuted by the father, and the remaining figures by the sons. This group was found near the baths of Titus, on the Ksquiline Hill, in 150G. It is considered a most perfect work by all competent judges, and is very wonderful from the fact, that, while it portrays the most intense suffering in every feature, limb, and muscle, it still has the sublime n-pose of true (.Jreeian art. Luucob'u was a priest of Apollo, AGESANDEK AGNOLO. and liad committed some crime against that god, who sent two im- mense serpents from the island Tenedos to kill him just as he was offering a sacrifice, assisted by his two sons. Laocobn had opposed the reception into Troy of the horse left by the Greeks ; and his death was believed by the Trojans to be a divine punishment for this ; therefore a breach was made in the walls and the horse admit- ted ; thus the death of the priest decided the ruin of Troy. Agi, Andrea Cardelle. The Berlin Museum has a marriage of S. Catherine which is attributed to this painter. The expression is good. A small " Madonna " by him which was in the Beckford Coll., was remarkable for its fused execution. Aglaophon. Greek artist, native of the island of Thasos. The father and teacher of Polygnotus. He had another son, Aristophon. He probably lived about Ol. 70 (B. c. 500). Quintilian praised his coloring. Pliny speaks of a younger Aglaophon, contempora- neous with Alcibiades. He was probably the son of Aristophon, as the Greeks bore the name of the grandfather rather than the father. In one picture this artist represented the presiding geniuses of the Olympic and Pythian games, Olympias and Pythia, as crowning Alcibiades, and in another, the genius of the Nemean games held Alcibiades in her lap. Alcibiades could not have won any victories which merited these honors before Ol. 91 (B. c. 416). It is said that this Aglaophon is the first artist who represented Victory with wings. Aglio, Andrea-Salvatore di Antonio di Arzo, born at Lugano (1736-1786). Said to have discovered the method of fixing colors on marble. Agnolo, Sienese sculptor. See Agostino and Agnolo. Agiiolo, Baccio d' (1460-1543). In his youth he was an ex- cellent artist in inlaid works. He executed some fine things in wood for the churches of S. Maria Novella, and the Nunziata at Flor- ence. These last were removed when the Nunziata was re-adorned. After studying zealously at Rome, he returned to Florence, where he became a great architect. He erected several arches of triumph when Pope Leo visited that city. His work-shop, which he seldom left, became the rendezvous of artists and the young men of Florence, as well as strangers there, and in it many discussions were held. At length after he had proved his ability, the most magnificent buildings were committed to his care. He assisted with other architects to construct the Great Hall of the Palace, and carved with his own hand the frame-work for the large picture sketched by Fra Bartolonieo. He also took part in the erection of the steps leading to the Hall now called that of the Dugento, and also the marble doors to the same. On the Piazza di Santa Trinita he constructed a palace for Gio. Bartolini. This was ridiculed in sonnets, and every way, be- cause of its unusual style, and festoons of foliage hung on it as on AGNOLO AGORACRITUS. 9 a church during a festival. This drove Baccio almost insane, but he knew the work was good, and he had his revenge by carving this inscription above the door, Carpere promptius quam imitari. He then built many other beautiful palaces ; and for Giovan-Maria Benintendi made a frame-work for certain pictures which was esteemed ex- traordinarily beautiful. He made the model for the ch. of S. Giu- seppe at S. Onofrio, and erected its portal. This was his last work. He directed the work of the Campanile of Santo Spirito of Florence, but he did not finish it. He also built the bell-tower of S. Miniato-in-Monte. He was at length appointed architect of S. Maria del Fiore, and made a model for the gallery encircling the cupola, but Michael Angelo so criticised it, that a discussion was held before competent judges, and in the end neither plan was adopted. Baccio then attended to the pavement of S. Maria del Fiore and to the care of many other buildings that were trusted to him. He was eighty-two years old when he died. He was buried in S. Lorenzo. His three sons, Giuliano, Filippo, and Domenico were all artists. Agnolo, Giuliano, son of the preceding, gave much of his atten- tion to architecture, and by the favor of the Duke Cosimo he suc- ceeded to his father's office at S. Maria del Fiore, and finished what he had there commenced, as well as in many other buildings which Baccio had left unfinished. He made at Pescia a beautiful tomb, which was surrounded by a chapel, for Messer Baldassare, and also restored his house and furnished it. He built a house at Montughi, a short distance from Florence, for Messer Francisco Campana, and at Colle another house for the same Campana, and a most magnifi- cent palace al Tedesco for Me-ser Ugolino Grivoni, Signer of Alto- paseio. But space would not allow the enumeration of all his works. He was associated al>o with liaccio I>aiio painted a picture on cloth of silver for the eli. of the Theatines in Forli. Agricola, Christopher Ludwig, born at Regensburg (1667-1719). Portrait and landscape painter, lie studied principally from nature when travelling, and his pictures resemlile those, of Poussin. He lived some time at Naples, ami some of the pictures he painted there were carried to England. In the Droden (Jail, there are two works of his, Xos. 17S1 and 1 7s;>. The Vienna (Jail, has one of his fmot landscapes, representing the ruins of a monument and the pillars of a leinple, si-en between the trees. Agua, Bernardino del, a Venetian painter. lie executed frescoes in the cloister of the court of the Evangelists at the Ksciirial. These he did under the direction of Tibaldi. and after the sketches of that master, who attributed the defects in them to the haste with which Philip II. would have them done, rather than to any fault of Agua. Agiiero, Benito Manuel de, born at Madrid (1026-1670), pupil of Marline/. When Philip I V. visited the studio of that master he was attracted by Aguero's wit as much as by his artistic powers. He painted a " S. Ildefonso" for the nuns of S. Isabel, which was like Titian in color. His usual subjects and those in which he ex- celled were battle-scenes and views of cities. Aguiar, Tomas de, a gentleman of Madrid, flourished about H!(i<). He acquired considerable reputation for small pictures in oil. lie painted the portrait of Antonio de Solis, who in return wrote an extravagant sonnet in praise of Aguiar. Aguirre, Francisco de, a pupil of Caxes. He was a portrait- painter and restorer of pictures, to which last profession he espe- 1 2 AGTJIRRE AKERS. cially devoted himself. He commenced at Toledo in 1646, and was employed to restore the pictures in the Cathedral. Like many others who have done like work, he did not adhere to the original, but introduced his own ideas, thus destroying the true value of the paintings. Ainemolo, Vincenzo, born at Palermo, died 1540. The most important Sicilian artist of the sixteenth century. It is believed that he went to Naples, where he studied the style of Perugino. He went at length to Home, and became famous as an imitator of Raphael. His works are mostly in Palermo, and the best one represents the "Virgin and Child" between four saints. It is in the ch. of S. Pietro Martire. At S. Domenico there is a " Descent from the Cross," which is, in some of its figures, almost a copy of Raphael's " Spasimo di Sicilia." In several other churches of Palermo, and in its gallery, there are works of this artist. Aikman, William, born in Aberdeenshire (1682-1731). He studied law, but in 1707 left Scotland, and travelled extensively on the Continent, and in the East. He next spent some years in Rome, and studied painting under Sir John Medina, and then established himself as a portrait-painter in Edinburgh, He had no success, and in 1723 removed to London, where he became the friend of Sir God- frey Kneller, whom he imitated. His career was short. There is a head of Gay by Aikman, which is good. He had good literary parts, and was the friend of Allan Ramsay, and of Thomson, who wrote his elegy. He was taken to Scotland for burial. Aken, Joseph van, died in London 1 749. A Flemish artist, he passed most of his life in England, and painted on velvet and satin with great success. He was often employed by other artists to paint figures in landscapes, in which he was very skilful. Akerboom. Dutch painter of interiors, who flourished about the middle of the seventeenth century. His pictures are very highly finished. Akers, Benjamin, called also Paul, born at Saccarappa, Maine, 1825, died at Philadelphia, 1861. His father owned a saw-mill, in which as a boy he spent much time. His most striking characteris- tics were intense attachments to persons and places, and extreme love of adventure and travel. When at work in the saw-mill, by means of a turning lathe, he made beautiful toys, and specimens of ornamental wood-work, from original designs. He invented a shin- gle machine, which is now in use. He went to Portland and tried to be a printer. He also attempted to paint, but it was not until his attention was attracted to a plaster cast that his true vocation was revealed to him. He went in 1849 to Boston and was instructed in plaster-casting by Joseph Carew. He returned home, and after a few attempts at moulding, in a good degree successful, he opened a studio in Portland with Tilton, the landscape-painter. During the THE VOW. BY TITIAN. (Belvedere, Vienna.) See p. 571. AKERS ALBANI. 13 two following years he made several portrait busts, so excellent as to establish his reputation. In 1852 he went to Florence, where he passed a year in study and labor. Returning home he made his " Benjamin in Egypt," which was burned in the Portland Ex- change. He passed a winter in Washington, where he made models for portrait busts of many eminent men. Some medallions also, which were much admired, especially that of Samuel Houston. He modelled a head of "Peace," and visited Providence, R. I., to execute commissions in portrait busts. In 1854 he went to Rome, and finished in marble the heads modelled in America. He copied works in the Vatican to fill American commissions, and also executed several original designs ; " Una and the Lion," "Diana and En- dymion," "Girl pressing Grapes," "Isaiah," "Schiller's Diver," and the u Reindeer," being those most admired. He then went to Venice, Switzerland, Paris, and England, and again to Rome, where he made a colossal head of Milton, the "Lost Pearl Diver," and " Saint Elizabeth of Hungary," which last was often repeated for his American admirers and patrons. He was never strong, and his health now failed. He came to .America, but was obliged soon to seek a milder climate. He returned to Rome, and the last work he did there was a medallion likeness of his wife. In 1860 he came again to America, and went to pass the winter in Philadelphia. He devoted himself to his loved art as much as his failing strength would allow, and left the head of a cherub still unfinished when lu: died. His religious and sensitive character acquired for him from his young companions the nickname of S. Paul. By this name he " became endeared to his friends and known to fame." His love of Nature and of children was intense. " It makes no difference," he would say, " what happens to me, so long as I can hear sparrows sing and see children roll on the grass." His literary attainments were fine, as is proved by his paper on " Art-expression " and " The Artist Prisoner." Many of his writings have never been given to the public. Alba, Macrino d' or Giaiigiacomo Fava. Lived mostly at Turin, and flourished about 1500. In the Stiidel Institute at Frank- fort, there is a picture of the " Madonna/' with the histories of Joachim and Anna on folding side panels, by this master. It is " dignified and full of character." Albani, Francisco, born at Bologna (1578-1660). Son of a silk merchant. His father desired to bring him up to his own profession, but his decided art-genius so asserted itself that he was placed in the academy of Denys Calvert, where Guido Reni was a pupil. Albani and Guido became friends, and when the latter went to Rome and entered the school of the Caracci, Albani quickly followed. Here his talent soon brought him to notice, and there are many of his works in Rome. When Annibale Caracci was employed on the 14 ALBANI. frescoes of S. Giacomo degli Spagnuoli, he fell sick, and by his recommendation Albani was selected to finish them. He also painted the mythological frescoes in the Verospi (now Torlonia), palace. In the Borghese Gall., and at Turin, are his famous pictures of the "Four Elements." He also painted for the Duke of Mantua the stories of " Diana and Actseon," and " Venus and Cupid." Returning to Rome, he painted the large pictures in the Tribune of the Ma- donna della Pace and the "Martyrdom of S. Sebastian" in the church of the same name. His best religious works at Bologna are the " Baptism of Christ " in S. Giorgio, the " Annunciation " in S. Barto- lomeo, and the " Resurrection "in S. Maria de Galeria. But his best pictures are those of mythological and fanciful subjects, in which both figures and landscapes were well done. Beauty was his characteristic rather than power. Lanzi calls him the Anacreon of painting, and says, " Like that poet with his short odes, so Albani from his small pictures acquired great reputation, and as the one sings of Venus and the Loves, and maids and boys, so does the artist hold up to the eye the same delicate and graceful subjects." He had every advan- tage in his own home for the perfection of such pictures. His villa was well situated, and afforded him lovely views of nature. His wife was beautiful, and bore him twelve children, so lovely that not only he, but the sculptors Algardi and Fiammingo are said to have used them as models. The works of Albani are in almost every large gal- CUPIDS. BY ALBANI. lery, for he either painted duplicates, or caused his s-liolars to paint those to which he put the finishing touches. The " Toilet of Venus," ALBANI. 15 at the Louvre, and the " Landing of Venus at Cytherea," in the Chigi Palace at Home, are among his finest works. One of his oft- repeated and pleasing subjects is the " Infant Christ " asleep on the cross. ENGRAVINGS AFTER THE WORKS OF ALBANI. Engraver, AGUILA, Francisco Faraone. The Last Supper. Engraver, AUDRAN, John. Infant Saviour regarding the Cross presented by Angels. Engraver, AVELINE, Peter. The Wrath of Neptune. Inscribed, Quos ego. Engraver, AVRIL, Jean Jacques. Diana and Actaeon ; The Bath- ers surprised. Engraver, BARTOLI, Pietro Santi. The Birth of the Virgin. Engraver, BAUDKT, Stephen. The Virgin teaching the Infant Jesus to read ; The Woman of Samaria ; Four plates of the Loves of Venus and Adonis ; Four circular prints of the Four Elements. Enyracer, BONAVKRA, Domenico Maria. The Baptism of our Saviour by S. John. Engraver, CANALE, Giuseppe. Adam and Eve driven from Par- adise. Engraver, CHATEAU or CHASTEAU, William. The Baptism of Christ by S. John. Engraver, CREPY or CHKSI-Y, John and Louis. The Nativity. Engraver, DAULLE, John. A Charily with Three Children. Engraver, DUKI.OS. Claude. The . \uuuneiation. Engraver, FARIAT or FARJAT, Benoit. The Holy Family with S. John. Engraver, FUEY, James. A Charity with Three Children ; The Rape of Kuropa. Engraver, FRE//A, Giovanni Girolamo. The Gallery of the Vorospi Palace. Seventeen plates. Engraver, HAINZELMANN, Elias. Christ appearing to Magda- lene. Ent/rarcr, I.AXDiiY, Peter. Christ and the Woman of Samaria. Einjroi'ir. LASNK, Miehael. Tin- Virgin in the Clouds, with a crescent; oval. KiHjmvcr, MOLA, Pietro Francisco. Holy Family with Angels presenting Flowers to the Infant Jesus. Kngr serve as a cover and protection to it. Aliense. Sec Vassilacchi. Allan, David, born at Alloa, Scotland (1744-1796). After studying in the Academy at Glasgow, he went to Italy, and took the pri/e medal at the Acad. of S. Luke, for the best historical com- position. It is difficult to understand how he could have excelled, judging from his etchings, or the engravings from his pictures. Allan, Sir William, born at Edinburgh (1782-1850). Studied 2 ALLAN ALLEGRI. at the same time as Wilkie in the Trustees' Acad. in his native city. He went to London, where he met with no success, and in 1805 went to St. Petersburg, where he made a good name, as a portrait painter. He visited the interior of Russia, Tartary, and Turkey. He afterwards painted pictures illustrative of the scenes of those countries, such as the " Circassian Captives," " Prisoners conveyed by Cossacks to Siberia," etc. He returned to England in 1814. In 1830 visited the continent; in 1834 went to Spain; in 1838 became president of the Royal Academy of Scotland, was the successor of Sir David Wilkie, as Limner to the Queen in Scotland, and was knighted in 1842. In 1843 he exhibited the " Battle of Waterloo," now in the Coll. of the Duke of Wellington. In 1844 he went again to Russia, and after his return, painted the picture now in the winter palace of the Emperor, representing " Peter the Great teach- ing the Art of Ship-building to his Subjects." He died in his studio at Edinburgh, before an unfinished picture of the " Battle of Ban- nockburn." Allegri, Antonio da Correggio, or Antonio Lieto da Correggio. Allegri and Lieto are synonymous, and have the same meaning as the Latin Leatus (joyful). Born at Correggio (1494-1534). His father, Pellegrino Allegri, was a respectable merchant. Very little^ is known of the early life of Correggio, but it is thought that he was* a pupil of Tonino Bartoletto of his native city. He probably studied the works of Leonardo da Vinci, and the painters of Mantua and Modena, for he fled to Mantua in 1511 on account of the plague at Correggio. He appears, however, to have been largely the founder of his own style. He is the greatest master of light and dark, or chiaro-scuro, whether effected by color or shades. His management of light was wonderful ; he gave the most brilliant effect without dazzling, and his deepest shades were not dull. In all his subjects there is life and motion. He loved to depict the joyousness of child- hood, while his representation of earthly love was blissful, and that of heavenly love fervent. If sorrow was represented, it was deep- ened by the contrast with his usual joyousness. His passion seems to have been foreshortening and violent perspective. For his cupola paintings, this was a necessity, but he used it often apparently for the mere love of it, as in one instance he painted a " Madonna" sit- ting on her throne as if seen from below, and her knees appear almost to touch her breast. He was the first modern artist who excelled in chiaro-scuro, and is allowed to be still unequalled. When twenty-five years old, he was at Parma, and had an established reputation. In 1520 he contracted to paint the dome of S. Giovanni Evangelista, the payments for which extended through four years. He had pre- viously painted in Parma, some mythological designs for the convent of S. Paolo. We are amazed that these designs were chosen for a cloister; but Lanzi says, u Our wonder will cease, when we reflect, ALLEGRI. 25 that the same place was once the residence of a lady abbess, at a time when the nuns of S. Paolo lived unguarded by grates, in which every abbess sought to enjoy herself, held jurisdiction over lands and castles, and independent of the bishop, lived altogether as a secular personage." At Correggio, before this time, Allegri had painted altar-pieces. The Madonna at Dresden, called " The Madonna del S. Francesco," is claimed to have been painted when he was but twenty-one, and. the " S. George," also at Dresden, is another early work. At S. Giovanni he painted " The Ascension of Christ," who is represented as suspended in air, in the centre, while the Apos- tles are seated on the clouds below. In the pendentives are the Evan- gelist s and four fathers of the church. This was the first instance of remarkably foreshortened figures, and was grand in arrangement and detail. But Correggio brought his style to perfection, in the cupola of the cathedral, at Parma. This was done between 1526 and 1530. Here he represented " The Assumption of the Virgin." In the centre, high up, is Christ, who Si-ems to precipitate Himself to meet his mother. The principal group, of the Virgin borne in triumph by angels, is much lower down, while between that and Christ are several saints, both male and female, which are wonderfully foreshortened. All the light pro- ceeds from the glory around Christ. This occupies but the upper half of the, dome. Below are the Apostles between the oblong win- dows, which are in this part of the dome ; above the windows are genii; the whole is avast throng of angels, saints, etc., for in the four pendentives beneath tlie cupola, an- the patron saints of Parma, seated on clouds, and sun-minded by angels. A pious rapture set-ins to be diffused through all, and the richness and boundlessness of the effect can scarcely be conveyed in language. Of course these figures are all much foreshortened, and the artist was told, " Ci avete fatto un guazzetto di rane " (you have given us a hash of frogs). Piesidcs these wonderful frescoes, there are many altar-pieces and easel pictures by Correggio. One of the most beautiful is the S. Jerome, at Parma, called l 'Il diorno," the day, in contrast with " La Notte," or " The Adoration of the Shepherds," at Dresden. " The Marriage of S. Catherine " is one of the most beautiful and ol'tenest. repeated of his small pictures, and the best example is in the Louvre. In Kugler's " Handbook," the editor remarks in a foot- note (page 423), when speaking of this picture : " This subject \\as comparatively late; S. Catherine of Siena died in the fourteenth century, and was not canonized till 1461. The painters appear to have improved on the legend." Here is a mistake. The picture illustrates the legend of S. Catherine of Alexandria, who died in the fourth century, and has no reference to S. Catherine of Siena. " La 7/mgarella" (the Gypsy), so called from the turban worn by the Virgin, is a picture of " The Repose during the Flight to Egypt," 26 ALLEGRI. and is very beautiful. Other important pictures in the Gall, at Parma are " The Madonna della Scodella," so called from the cup in the hand of the Virgin ; " The Deposition from the Cross," and " The Martyrdom of SS. Placida and Flavia." At Dresden, besides those already mentioned, there are " The S. Sebastian," which has sometimes been called the most beautiful of all the figures of Correg- gio ; " The Reading Magdalene," and a portrait, said to be that of MAGDALENE. BY CORREGGIO. Dresden Gall. the physician to this master. The National Gall., London, has the " Ecce Homo," " Venus and Mercury teaching Cupid his Letters," and the " Vierge au Panier." In the Coll. of the Duke of Wellington is " The Agony of Christ upon the Mount of Olives," a remarkable cabinet picture ; it was presented by Ferdinand VII. of Spain to the first duke. The " Christ in the Garden with the Magdalene," is in the Madrid Gall. There are other works of this master of an entirely different character. At the Stafford House Gall, is one with a horse and mule, both laden, with their drivers, in the midst of a glowing landscape. This is said to have been painted for a sign to sin inn. In the Berlin Mus. are "Leda and the Swan," and " lo embraced by Jupiter." These show the triumph of earthly love, as intensely as the religious pictures present that of the heavenly. The latter picture was once in the Orleans Gall, and the son of the duke cut out the head of lo because it was too voluptuous in expression ! ALLEGRI. 27 The present head was the work of Prud'hon. There is a copy of this picture in the Vienna Gall., which is universally believed to be also by Correggio. At the Borghese Gall, at Rome, is the pic- ture of Danae. At the Paris Museum, " Jupiter and Antiope." It is said that when Correggio saw the pictures of Raphael, his eyes brightened, and he exclaimed, " I also am a painter." When Titian saw the works of Correggio at Parina, he said, " Were I not Titian, I should desire to be Correggio." Annibale Carracci wrote from Parma in 1580, " Tibaldi, Niccolini, Raphael himself, are nothing to Correggio." The monks were very fond of Correggio, and in 1520 he was made a member of the Congregation Cassinensi, in the monastery of S. John the Evangelist at Parma. Tasso was also a member of this fraternity. This membership conveyed a participation in tin; masses, prayers, and alms of the community, and was accompanied with a promise- to perform the same oflices for the repose of his soul, and those of his family, that they would per- form for their own number. In 1520 he married Girolama Merlini, a lady of good family, very gentle and lovely. She wa,s probably ]i\^ model foi- La Zingarella '' after the birth of his first child. She bore him one son and three daughters, and died in 152!). He did not marry again, and died suddenly in l.~>:;i. The story of the great poverty of ( 'orn-g'/io, set, forth by Vasari, seems to have been unfounded; it is certainly contradicted by the quantity and quality of the colors he lavished on his pictures. The prices which he received such as 1,000 ducats, or 150/. sterling for the Cath. of Parma, 71. 10s. for "La Nolle." etc., M-IMII to u> \er\ small, but we must consider the value of money in those days, and these sums are not inconsiderable. It is not known whether (.'orreggio ever visiicd Home or not, and various arguments arc brought to bear on both sides of the question; but Ortensio Landi, in a work published in 1552, says, "he died young, without being able to see Rome." ENGRAVINGS AFTER CORREGGIO. fin (/raver, AtfDEBLONI, Pictro. Magdalene. JliKjrarcr, AUDOUIN, Pierre. Jupiter and Antiope. II i HJ racer, BAZIN, Nicholas. The Virgin Mary suckling the Infant. /-'////racer, BEAUVAIS, Nicholas Dauphin de. The Virgin with (lie Infant Jesus upon a pedestal, and several saints below. /-'/////a/vr, BF.ttci.it. Daniel. The Virgin and Child. fiin/rurcr. I>I:K.N AI:I>. Samuel. Mezzotinto, The Repose ; called La ZiiK/arella. Engraver, BERTELLT, Cristofano. The Virgin and Infant, with SS. Sebastian. Francis, and Roch. KiHjraver, BONAVKRA, Domenico Maria. The Cupola at Parma ; the Assumption. Dnminico Bonavcra, sc. 1697. 28 ALLEGBI. Engraver, BRIZZIO or BRICCIO, Francesco. The Holy Family. Engraver, CAPITELLI, Bernardo. The Marriage of S. Catherine. Engraver, CARACCI, Agostino. The Virgin and Infant with Mag- dalene; S. Jerome and an Angel ; 1586. Engraver, CHATEAU or CIIASTEAU, William. The Repose in Egypt. Engraver, CORT, Cornelius. The Marriage of S. Catherine; S. Jerome. Engraver, CUNEGO, Domenico. The Virgin and Infant. Engraver, DUCHANGE, Gaspar. Jupiter and lo; Jupiter and Danae ; Jupiter and Leda. Engraver, EARLOM, Richard. The Repose, called la Zingara. Engraver, EDELINCK, Nicholas. The Virgin and Infant. Engraver, FESSARD, Stephen. S. John Baptist, with other saints. Engraver, FREZZA, Gio. Girolamo. The Repose, called la Zin- gam. Engraver, JODE, Arnold de. Mercury educating Cupid. Engraver, LORENZINI, Fra Antonio. S. John surrounded with angels. Engraver, MENAGEOT, Robert. Friendship ; a circular print. Engraver, MERCATI, Gio. Batista. The Marriage of S. Cath- erine. Engraver, MITELLI, Giuseppe Maria. The Adoration of the Shep- herds, called La Notte. Engraver, MOGALLI, Como. The Holy Family. Engraver, PICART, IStienne. The Marriage of S. Catherine. Virtue triumphant over Vice ; The Sensualist. Engraver, PORPORATI. Jupiter and Leda ; The Madonna with the Rabbit ; Leda and the Swan, and Leda bathing ; La Zingarella. Engraver, Rossi, Girolamo. The Virgin and Infant Jesus. Engraver, SANUTO or SANUTUS, Giulio. Apollo and Marsyas. Engraver, SMITH, John. Venus standing in a Shell. Engraver, SORNIQUE, Dominique. Diana and her Nymphs. Engraver, SPIERRE, Francis. The Virgin suckling the infant Christ. Engraver, STEEN, Francis Vander. Cupid shaping his Bow ; Ju- piter and lo ; Ganymede. - Engraver, STRANGE, Sir Robert. The Magdalene. Engraver, SURRUGUE, Peter Louis. The Adoration, called u La Notte." Engraver, TROYEN, John Van. Magdalene Penitent. Engraver, VOLPATO, Gio. Christ praying on the Mount. Engraver, WATSON, Thomas. The Virgin with the infant Jesus and S. John. Allegri, Pomponio Quirino, son of Antonio, born at Correggio 1521. He was but thirteen when his father died, therefore he could ALLEGRI ALLOHI. 29 derive but small benefit from him, except in the study of his works. He had fair abilities, and was established at Parma, where he was constantly employed until 1593. In the Cath. of Parma there is a IV<-sco by him representing Moses just after he received the Tables of the Law, and is showing them to the Israelites. Allegriui, Francesco, born at Florence; 1729. A designer and engraver. In 1762 he published one hundred portraits of the Medici family with a frontispiece, all engraved by himself. He made a print of S. Francesco d'Assisi, which is much esteemed in Florence. He also engraved other eminent poets, painters, and men of Florence. Allegrini, Francesco, called da Gubbio (1587-1663). A disciple of Giuseppe Cesari, called II Cavalicre d'Arpino. He painted in oil and fresco, but mostly in the latter. At Gubbio he painted the cupola of the Sacrament in the Cath., and another at the Madonna de' Bianchi. He lived at Rome and worked in the Casa Pjuifili. Small pictures by this master are often seen in Rome and Gubbio, which merit praise. He also painted figures in the land- scapes of Claude; two of these were in the Colonna Pal. He painted in the Cath. and Casa Gavotti at Savona, and in the Casa Durazzo at Genoa. His two sons, Flaminio and Augelo were histori- cal painters. Allet, Jean Charles, born at Paris 1668; died at Rome 1732. Designer and engraver. lie marked his plates sometimes Charles, and sometimes Jean Charles, which led to the opinion that there were two engravers of the name of Allet, but they are now believed to have been one person. His engravings are portraits and subjects from sacred history. Alloisi. See Galanino. Allori, Alessaiidro, born at Florence (1535-1607). A nephew of Bronzino, he was called by his name, which he sometimes allixed to his pictures. Vasari speaks of him as living most lovingly, even as a son, with his uncle. Before he was seventeen he had painted from his own design, an altar-piece representing the Crucifixion. At nineteen lie went to Rome 1 and remained two years. There he studied principally the works of Michael Angela Returning to Florence he was constantly occupied on public edifices, but painted Home portraits. He wrote a book upon anatomy for the use of pain- ters, and was so much devoted to this, that he neglected some other branches of art. He was a great mannerist, and his portraits were his best pictures, though some of the horses which he painted in Rome were fine ; but on the whole he was little if any above medi- ocrity. Allori, Cristoforo, born at Florence (1577-1621). Son of Ales- sandro, and called also Bronzino. He was a pupil of his father, whom lie afterwards called "a heretic in painting," and followed Cigoli and Pagani, whose works he admired. By some his execution 3U ALLORI ALLSTON. was considered better than that of any other artist of his time ; in- deed, he was so fastidious that he finished few pictures. He excelled in portraits, and in landscape painting surpassed the Florentines of his day. His best work is the " S. Julian," in the Pitti Gall., but his " Judith " is more generally known. It is said that the head of " Holofernes " is his own portrait, " Judith " that of his mistress, and " Abra," that of her mother. He made copies of the " Magdalen " of Correggio which passed for duplicates by the great master. Allston, Washington, born at Waccamaw, South Carolina, 1779; died at Cambridge, Mass., 1843. He graduated from Harvard Col- lege in 1800, and went to London and studied in the Royal Acad. After three years of assiduous labor he went to Paris, and proceeded to Italy, where he remained four years, mostly in Rome. There he associated intimately with Coleridge and Thorwaldsen. In 1809 he came to America and married Miss Channing, and subsequently fixed his residence in London. He there exhibited ' ' The Dead Man re- vived," which took the prize of two hundred guineas at the British Institution. He next painted " S. Peter liberated by an Angel," t Ilolofernes. Adam and Eve in Paradise. Solomon's Idolatry. Samson and Delilah. Pyramus and Thishe. A naked Woman with wings, seated on a star, with a torch in one hand and an esciitelieon in the other, called Lascivia. S. George and the Dragon. Mucius Scaevola. Amphion saved from the Sea by a Dolphin. 1825. The Death of Lucrctia. Etching. The Virgin and Child, dressed in the costume of Ratfcbon, with a palm-tree. A Man and Woman dancing. Engraved rm Wood. Forty cuts of the Fall and Redemption of Man. Very fine. Paris dying on Mt. Ida with the three Goddesses. 1511. The beautiful Virgin of Ratisbon after the picture in the Cath. ic of his best works. S. Christopher, stooping to take up Jesus. 1513. The Purification. 36 ALTDORFER ALUNNO. The Murder of the Innocents. 1511. The Resurrection of Christ. 1512. The Annunciation. 1513. S. Jerome before a Crucifix in a Grotto. Abraham's Sacrifice. Altham , flourished about 1660. A German painter of marine subjects and landscapes. Altissimo, Cristofano dell', flourished about 1568. Pupil of Bronzino. A good portrait painter. The Duke Cosmo dei Medici I., employed him to copy the portraits of illustrious persons in the Gall, of Count Giovio. Vasari says he finished more than 280 of these, which were hung around the Guardaroba of the Duke. Many more were finished later, and they were placed in the corridor of the Uffizi. His family name was Papi. Alunno, Niccolo, born at Foligno about the middle of the fifteenth century. He painted in distemper, but his colors still endure. His principal works are, the " Annunciation" in S. Maria Nuova at Perugia, 1466 ; a " Crucifixion " in the Art Hall at Carls- ruhe, 1468 ; an enthroned "Madonna" in the Brera at Milan, 1465 ; portions of pictures originally at Assisi, which represented a " Pietk," much praised by Vasari ; portions of an altar-piece in the ch. of S. Niccolo, at Foligno, 1492 ; a "Madonna " in the Berlin Mus., etc., etc. Numbers of his works are dispersed in the March of Ancona. Many of them were in several pieces, although that manner of painting had almost passed away in his time. Alunno may be called the founder of a new style in the Umbrian school. Hitherto the Art of those quiet valleys had expressed the character of their inhabitants, and breathed forth the deep religious enthusi- asm of a people li ving in retirement, unfamiliar with classic studies, and filled with fervent spiritual longings ; in short, a people who regarded Assisi with its Basilica as a holy place, and the lovely S. Francis as the most perfect earthly model that could be represented in Art, or imitated in life. But the tendency to represent mere beauty, the realistic mode, began now to be felt, even in Umbrin, and it was first remarkable in the works of this painter. The blend- ing of the two styles resulted in that wonderful beauty which we find in the works of Raphael, where the richness of Italian painting is made perfect by the expression of tender feeling, purity of soul, and spiritual and devotional sentiment. It is the union of beauty in form and expression that imparts the charm to the works of i. class of painters, who, without great power or scope of thought, agreeably portray pure spiritual feeling with grave and quiet dignity. To this class Niccolo Alunno belonged, and his mission seems to have been to prepare the way for others who possessed more genius than himself. In addition to the works already mentioned there are at Gualdo, Duomo, several saints, a Crucifixion, etc. ; a S. Paul ALUNNO AMAYA. 37 here is one of his best figures. At Nocera, Sacristy of Duomo, a " Nativity " and a " Coronation of the Virgin," with saints, doctors of the church, and half lengths of the Apostles. At Aquila, convent of S. Chiara, a " Crucifixion ' ' surrounded by four scenes from the life of Christ. At La Bastia, in the ch. of the place, an altar-piece dated 1499. In the Bologna Gall, a standard. On one face is an u Annunciation," on the other an enthroned " Madonna." At the Louvre, Musee Napoleon III. Ex. Campana Gall. No. 111., a standard; No. 88 the " Annunciation." London, National Gall. No. 24 7, bust of Christ. No trace of this master has been found later than 1499. Amalteo, Pomponio, born at S. Vito 1505 ; died 1588. Son- in-law of Pordenone, and his successor in his school at Friuli. He painted historical subjects for the public edifices near Friuli. At Belluno in the Hall of the Notaries he painted scenes from Roman History. His chefs-d'oeuvre were the three Judgments of Solomon, Daniel, and Trajan, painted in a Gall, where causes were decided at Ceneda, and a " S. Francis receiving the Stigmata," in the ch. of that saint at Udine. The moment chosen was that of the sun's rising, and from its centre bright rays fell on the hands and feet of the saint. He not only colored in the splendid manner of the Vene- tians, but also designed with accuracy. Amalteo, Girolamo, brother and pupil of Pomponio. He died young. Gra/iano, in the poem of Orlando, calls Mm, " Girolamo Aiiutlteo de' vita w////o." Amato, Gio. Antonio d', called also II Veccliio, born at Na- ples 117"), where he lived until his death 1555. Said to have been a pupil of Silvestro Buono. He afterwards studied the style of Perugiuo, and seems to have largely educated himself. He painted in oil and fresco. He had many pupils. His favorite study was theology, and he gave expositions of the Scriptures, for which he was quite celebrated. His paintings may be >een in the churches of Naples. In S. Dominico Maggiore, there is a " Holy Family " in the chapel of the Caraffa. Amato, Gio. Antonia d', born at Naples (1535-1597). A nephew of the preceding. In the ch. of the Banco de Poveri at Naples, is his best work the altar-piece, a representation of the infant Christ. Amato, Francesco, an engraver and painter. His pictures are little known, but his etchings are spirited and in the style of Bis- caino. Amatrice, Cola dell'. Flourished in 1533. Lived at Ascoli del Piceno. Distinguished there as an architect and painter. He painted a picture of the " Saviour dispensing the Eucharist to his Disciples," which is highly extolled in the Guida di Ascoli. Amaya . Flourished 1082. Pupil of Vincenzio Carducho, and painted in Segovia, with correctness of design, and good color- iii-r. 38 AMBERES AMERIGHI. Amberes, Francisco de, flourished in the early part of the six- teenth century. A painter and sculptor. Jn 1502 he ornamented the Cath. of Toledo ; in 1508-10 together with Jean de Bourgogne and Villoldo he painted the arabesque chapel, which is still an inter- esting object. Amberes, Miguel di, flourished about 1640. His pictures are seen in the religious houses of Spain. He was originally of Antwerp, and somewhat resembled Vandyck in his style of portrait painting. Amberger, Christopher, born at Nuremberg 1490(?); died at Augs- burg, 1563 (?). Pupil of the elder Holbein, he imitated the younger. He painted in distemper and oil, and is said to have ornamented the exteriors of houses in Augsburg in the former method. His pictures are chiefly small portraits. They are not equal to those of Holbein in execution, but have been mistaken for his. In 1532, when Charles V. visited Augsburg, Amberger painted his portrait, with which he was so much pleased that he paid him thirty-six rix dollars, the price being but twelve, and presented him with a medal on a gold chain. Charles is said to have declared the picture as good as one for which he had paid Titian one hundred rix dollars. It is probably now in the Berlin Gall. Amberger' s best works are in the Franciscan ch. and convent of S. Martin at Amberg. There is also a fine portrait of Sebastian Miinster at Berlin, and one of Henry VIII. at Augs- burg, attributed to Amberger. Ambrogi, Domenico degli, middle of 1 7th century. Native of Bologna. Called Menichino del Brizio from having studied with Francesco Brizio. He painted in oil and distemper. He excelled in perspective, landscapes, and architectural views, and painted also historical subjects. He was employed in many churches and palaces of Bologna. In S. Giacomo Maggiore there is a " Guardian Angel," and in the Nunziata a " S. Fraricis " by this artist. He was the instruc- tor of Fumiani and Pierantonio Cerva. In 1653 he published some wood-cuts from his own designs, printed in chiaro-scuro. Amelsfoort, Quirinus Van, born at Bois-le-duc (1760-1820). A painter of allegories, history, and portraits, which last were remark- able as likenesses. Amerighi, Michelangelo da Caravaggio (1569-1609), called Caravaggio from the place of his birth. He was the chief master of the school called Naturalistic, from its direct representation of com- mon life. Kugler says its style may be called " the poetry of the re- pulsive." When confined to scenes of common occurrence, and a somewhat low life, these pictures are often powerful and have their own peculiar charm ; but when this style is used to depict sacred sub- jects, although, in a sense, powerful, it becomes painful and offensive. Caravaggio was wild in his nature and life. He lived much in Rome, but went also to Naples, Malta, and Sicily. The contrasts of vivid and subdued lights ; his remarkably effective draperies, and his car- AMEKIGHI AMES. 39 nation tints, give great effect to his pictures. Some of his sacred pictures were taken away from the altars where they were placed, on account of their coarseness. One of his best works is the " Behead- ing of S. John," in the Cath. of Malta. In Rome, there is at the Vatican, the "Entombing of Christ; " this is his most celebrated picture. It is impressive in its solemnity, but devoid of sacredness or sublimity. In S. Luigi de' Francesci there is a chapel painted by Caravaggio ; in the Borghese Gall, an immense "Holy Family;'* in the Sciarra Pal., the " Cheating Gamester; " in the Spada Pal., " Geometry," as a ragged girl, playing with compasses ; and in the Gall, of the Capitol, a " Fortune-teller, " which is a chef-d'oeuvre. THE FALSE PLAYERS. BY CARAVAGGIO. These last are such subjects as he best represents. In the Berlin JVlus. is " Karthly Love " and a portrait. At the Louvre is the por- trait of Yiiriiacourt," Grand Master of Malta. Ames, Joseph, born in Roxbury, New Hampshire (1816-1872). This painter studied in America and Italy and finally settled in New York. His best fancy subjects are the " Old Stone Pitcher " and "Maud Muller." But his success was in portraits, of which he sometimes executed seventy-five in a year. Of course they could not be very carefully finished, but they were true to nature and his colors were fresh and bright. His picture of " Pope Pius IX." was much admired at Rome ; his portraits of Webster, Choate, Felton, Rachel, 40 AMES AMMAN. and Gazzaniga are well known. His "Death of Webster "has been engraved. Amici, Francesco. A modern Italian engraver. Amiconi or Amigoni, Jacopo, born at Venice in 1675; died at Madrid, 1752. After painting in Venice he went to Rome and thence to Munich, where he acquired considerable fame. Going thence to England in 1729 his pictures were much in vogue, and he was employed by many noblemen in the decoration of staircases and similar works in the style of Ricci. He returned to Venice with 5,000. He was afterwards called to Spain and made painter to the king, Ferdinand VI. Two large pictures by him are in the vestibule of the Queen of Spain's Gall., " The Finding of the Cup in Benja- min's sack " and " Joseph in the Palace of Pharaoh." Amiconi or Amigoni, Ottavio, born at Brescia (1605-1661). Pupil of Antonio Gandini. He excelled in frescoes executed after the manner of Paul Veronese. The scenes from the life of S. Al- bert, in the Carmelite ch. of Brescia, were partly his work. Amidano, Pomponeo, born at Parma. Flourished about 1595. He has been called a pupil of Parmigianino ; of this there is no proof, but he was a close imitator of that master. The altar-piece in the ch. of Madonna del Quartiere is his best work, and has been attrib- uted, even by good artists, to Parmigianino. Orlandi says that many of his pictures were sold to foreigners, but they have probably been assigned to Parmigianino, as the name of Amidano is not found in catalogues. Amigazzi, Gio. Batista, a scholar of Claudio Ridolfi. He excelled as a copyist. In S. Carlo at Verona is a copy of a " Supper," by Paul Veronese, finely drawn and of good color even now. Amling, Carl Gustavus, born at Nuremberg (1651-1710). A designer and engraver. The Elector of Bavaria sent him to Paris for instruction, and he studied with F. de Poilly. He was a respectable, but not eminent artist. He made many plates, and was more success- ful in portraits than in other subjects. He engraved some for the Acad. of Sandrart and also made prints after tapestry, the plates of which belonged to the Elector of Bavaria. Amman, Justus, born at Zurich (1539-1591). Went to Nurem- berg in 1560, where he lived until he died. One of the " little art- ists," who excelled in wood-cuts. It is said that he made more than a thousand, comprising almost every imaginable subject. His " Uavoirxia " is a remarkable work ; it contains a description of the artist's time, and has one hundred and fifteen wood-cuts of mechan- ics and tradesmen in their proper costumes. Amman himself is pre- sented as the engraver. The cuts from this book were used in that of Hans Sachs, " Eigentliche Beschreibung aller Stiinde auf Erden." He also made illustrations of Livy's Roman History. Nearly all his cuts were for books. Amman was also an author and wrote a book on "Poetry, Painting, and Sculpture." AMMAN AMSTEL. 41 Amman, John. An engraver who lived at Hanau in 1640. Ammanati, Bartolommeo, born at Florence (1511-1589?). Stud- ied under Bandinelli at Florence, and afterwards at Venice with San- sovino, sculptor and architect. He was much employed in Padua, Ur- bino, Naples, Venice, Rome, and Florence. The principal buildings upon which he was employed as an architect were the Pal. of Bena- vides at Padua, the Pitti Pal. at Florence, the Pal. Rucellai and the fa9ade of the Collegio Romano at Rome. He also rebuilt the Ponte S. Trinita at Florence in 15G9. This is his best work, a great ornament to the city, and one of the most graceful and beauti- ful bridges in the world. His most important work in sculpture was the fountain for the Piazza della Signoria. It consists flf a colossal Neptune, in a car, surrounded by other figures, and is open to much criticism. He also erected a monument for Pope Julius III. which may still be seen at the ch. of San Pietro in Montorio. He married Laura Battiferri of Urbino, who was a poetess, and a member of the Society of the Intronati at Siena. She was a lady of wealth, and they lived at the Villa Caserotta, near Florence. His wife died throe years sooner than himself. Ammanati was buried in the ch. of S. Giovanni, upon which he had lavished both time and money. His biographer says, ' l his friends wept at his death for the loss of a dear friend, the poor for a constant helper, the priests for a zealous pro- moter of the divine worship, the art ists for a great master, and all the city of Florence for a distinguished architect. ' ' Before his death he wrote a letter to the Florentine Acad. of Design, regretting that he had sculptured undraped figures, and that their evil influence must survive him ; warns other artists against the same sin, especially that of placing inappropriate ligmvs in churches. Ammanati also wrote a large work called "La Citta." It con- tained designs for all the edifices necessary to a city. When Mich- ael Angelo died he was one of the four chosen to superintend the obsequies of the great master. Anuuoii, Clement. Son-in-law of Theodore de Bry, the en- graver. Aminon added two volumes to the Coll. of portraits pub- lished by De Bry in six quarto vols. entitled " Bibliotheca Calco- graphica." Those of Ammon were published in 1650-1652. He was much superior to De Bry. Ammon, Johann, born at SchafHiausen. An engraver of por- traits. Flourished in 1700. Amorosi, Antonio, born at Communanza. Flourished about 1736. He painted some pictures for churches, one of which may be seen in S. Rocco at Rome, but he excelled in caricatures (bambocci- ule), and subjects from common life. Amstel, Cornelius Ploos Van, born at Amsterdam, 1732. An amateur engraver who executed an interesting set of plates in imita- tion of the best musters. 42 ANCHILUS ANDREA. Anchilus, N., born at Antwerp, 1688; died at Lyons, 1733. A painter of conversations in the manner of Teniers. He went to London and copied the pictures of Snyders for Sir R. Walpole. Aiicona, Andrea Lilio d', called also Andrea Anconitano, died 1610. This painter was employed by Sixtus V. in the ornamenta- tion of the library of the Vatican, and in the Pal. of S. John of Lateran. In the Scala Santa he painted, in fresco, " Moses striking the Rock ; " in S. Maria Maggiore, " Our Saviour washing the feet of the Disciples ; " and in the Chiesa Nuova, "The Archangel Michael driving the Evil Spirits from Heaven." Ancona possessed some works of Lilio' s, both in oil and fresco. Anderliifi, Domenico, born at Pesaro, flourished about 1720. A landscape painter of some merit. Anderloiii, Faustino, born at Brescia. Flourished about 1 786- 1794. An engraver. He illustrated several scientific works and made portraits of Schiller, Herder, and Carlo Porta. He also en- graved " The Dying Magdalene," after Correggio ; " The Repose in Egypt," after N. Poussin ; and the "Mater Amabilis," after Sasso Ferrato. Anderloni, Pietro, brother of Faustino, born 1784. He studied with P. Palazzi and Faustino, and was undecided between painting and engraving, but after deciding upon the latter, at the age of twenty he entered the school of Longhi, where he remained nine years. Under that master he became excellent in his art, and was allowed to put his name upon some plates in acknowledgment of his share in their execution. He went twice to Rome to make drawings O after Raphael, and in 1831 he succeeded Longhi as superintendent of the Acad. of Engravers at Milan. He became a member of several academies and distinguished in his art. Anderson, . An English painter of small marine pictures. Aiiderton, Henry, flourished about 1660, died 1665. After studying under Streater he went to Italy. He painted some histori- cal pictures, but principally portraits; one of the latter which he made of Mrs. Stuart (later Duchess of Richmond) , so pleased Charles II. that he gave Anderton his patronage. Andre, Jean, born in Paris (1662-1753). He was a Dominican and went to Rome, where he studied the works of Michael Angelo and Raphael, and was a pupil of Carlo Maratti. He painted histori- cal subjects and portraits. Andrea, Alessandro. An artist who flourished about 1578, when he engraved a portrait of the Abbe* de S. Arnaud, the French ambas- sador at the court of Constantinople. Andrea da Firenze. This artist was employed in painting the story of the Beato Raineri, at the Campo Santo at Pisa, as is shown by his receipt for payment made the 13th of October, 1377/1378 (Pisan style). It is not possible exactly to trace this artist, as at that ANDREA ANGELI. 43 time there were seven Andreas on the roll of Florentine artists, either one of whom may have been the one employed at Pisa. There has also been a question as to whether he did not paint the Cap- pellone dei Spagnuoli, which Vasari ascribed to Simone. Andrea da Firenze, who painted an altar-piece in a chapel of S. Margaret at Cortona, and a picture of the " Conversion of Constan- tine," flourished in 1437. Andrea del Sarto. See Sarto. i Andreani, Andrea, born at Mantua, y/""\\ 7WY yjfnt 1540 or 1560; died, 1623. His paintings JJ \Y/* \. t lJ i. are little known, but he was a very cel- ebrated engraver. Early in life he established himself in Rome, and devoted himself to wood-cuts, which were printed in chiaro-scuro. He excelled all who had preceded him. It is said that he procured the blocks of other engravers, retouched them and called them his own. The number of prints attributed to him is very large, and they arc prized by good judges. From the similarity of his monogram to that of Albert Altdorfer, their works are sometimes confounded. Andreasi, Ippolito, a native of Mantua. A pupil of Giulio Ro- mano, whom he assisted in his cartoons. Andreasi painted pic- tures of merit, in S. Barbara and other places. Andriesseii, Jurriaan, born at Amsterdam (1742-1819). Pupil of A. Elliger and J. M. Quinkhart. He excelled in decorative paint- ing, and the new theatre at Amsterdam was decorated by this artist ami Xmiian. lie had several pupils who are distinguished. Andriesseii, Antony, born at Amsterdam (1746-1813). Painted landscapes and figures with his brother, Jurriaan. Andriessen or Adrienses, Hendricks, called Mankenhein, born at Antwerp, 1600; died at, Zealand. 1655. A painter of still life. Andrioli, Girolamo. A Veronese painter. His name, with the date 1606, is found on an altar-piece and other pictures in the ch. of S. Catcrina di Siena, at Verona. Aiidriot or Handeriot, Franz or Frangois, born at Paris about 1655. An engraver who worked in Koine and Paris. He followed the style of Poilly, and although he did not equal that artist his plates are pri/.ed for their subjects and the masters after whom he engraved. Aneda, Juan de, born at Burgos, where he painted, in 1565, sev- eral pictures, which arc still in the Cath. He was associated in this work with Juan de Cea. Anesi, Paolo. A native of Florence. Several of his works are in the palaces and private galleries of that city and at Rome. He ] tainted ruins in the manner of P. Panini, as well as landscapes. Francesco Zuccherclli was one of his pupils. Angeli or Angelis. There were many artists of this name, but the facts recorded of them scarcely serve to distinguish them from each other. 44 ANGELI ANGUIER. Angeli, Giulio Cesare, born about 1570 ; died 1630. A pupil of the Caracci. There is a large picture by him in the ch. of S. Agos- tino at Perugia. Angeli, Giuseppe, born about 1615. Pupil of Piazzetta. He painted some altar-pieces, but principally cabinet pictures. Angeli, Niccolo. An engraver who flourished about 1635. Angelis, Peter, born at Dunkirk, 1685; died at Rennes, 1734. He went to Flanders, and passed some time there and at Dusseldorf. In 1712 he went to England, and met with such success that he re- mained sixteen years. In 1728 he went to Rome and remained three years. His pictures were much admired there, but his retiring dispo- sition and his devotion to his art prevented his pushing his fortune. He left Italy with the intention of returning to England, but stopped at Rennes, in Bretagne, where he found so much employment that he spent the remainder of his life there. He painted landscapes with small figures and conversations. He was fond of introducing fruit and fish into his pictures. His designs are graceful and natural, but his colors sometimes faint and wanting character. Angelico, Fra Giovanni, da Fiesole. See Fiesole. Aiigelini, Scipione, born at Perugia or Ascoli (1661-1729). A very skilful painter of flowers. Many of his works were exported from Rome, where he worked, to France, Holland, and England. Angelo Pedro. Stirling calls him the first good engraver of Spain. He engraved several fine portraits for books, among which were those of Card. Ximenes de Cisneros and Pedro Gonzalez de Mendoza, the great cardinal of Spain. Angelo, called Angeluccio. Flourished about 1680. A promis- ing pupil of Claude Lorraine who died young. Angelo, Michael. See Buonarotti. Angiers, Paul. An engraver of whom little is known. He re- sided in London. He was employed mostly by booksellers, but his best print is a " View of Tivoli," after Moucheron, and there is one of ,a " View of Roman Ruins," after Panini, dated 1749. Angioletto, of Gubbio, was a mosaist who flourished about 1325. He worked at Orvieto and at Assisi, where he assisted in the win- dows of the lower church. Anguier, Francois, born at Eu, in Normandy, 1604; died in Paris, 1669. A son of a carpenter who early taught him to carve in wood. He went afterwards to Paris to study sculpture, and later to Rome. He was one of the first artists of his time in France, and Louis XIII. made him keeper of the Gall, of Antiquities, and gave him apartments in the Louvre. At one time he was employed in England. One of his best works is a " Crucifix," in the ch. of the Sorbonne. His sculptures may also be seen in the ch. de L'Ora- toire ; the ch. S. Andre-des-Arcs ; and at Moulins. He also exe- cuted four figures for the tomb of the Duke of Rohan, in the ch. of the Celestines, at Paris. His copies after the antique were fine. ANGUIER ANGUISCIOLA. 45 Anguier, Michel, born at Eu (1612-1686). Brother of the preceding, with whom he studied until they went to Rome. Michel became the pupil of Algardi and worked with him at S. Peter's and in several palaces. He remained ten years in Rome and was the friend of Algardi, Poussin, and Du Quesnoy. In 1651 he returned to Paris and assisted Fra^ois in his greatest work, the tomb of the Duke de Montmorenci at Moulins. He made a statue of Louis XIH. which was cast in bronze. For Queen Anne of Austria he executed the principal sculptures in the ch. of Val de Grace, and adorned her own apartments in the Louvre. His " Nativity " in the last named ch. is considered his master-piece. He also executed sculptures for the high altar of S. Denis de la Chartre ; bas-reliefs for the Porte S. Denis ; the monument of the Duchess de Longueville ; the brazen vase in the garden of Versailles ; and the statues of Pluto, Ceres, Neptune, and Amphitrite. This artist was professor in the Acad. of Arts at Paris, and wrote lectures on Sculpture. Anguisciola or Angosciola, Sophonisba, born at Cremona, 1530 or 1533 ; died about 1620. She was of a good family and one of six sisters. She was first taught by Bernardino Campi, then Bernardo Gatti, called Sojaro. She came to be considered one of the best por- trait painters of her age. She instructed her sisters also, four of whom, besides herself, were artists. Vasari praises her picture of three of her sisters playing chess with an old woman, and another group of family portraits, in which her father is introduced. Her fame was so great that Philip II. invited her to Spain as court painter, whither she went in 1559. She was received with great honor and first painted the portrait of the king, with which he was so much pleased, that he gave her a diamond worth fifteen hundred ducats and a pension of two hundred ducats. She then painted the Queen Isabella, and a copy of this picture was sent by her to Pope Pius IV. with a letter written by her, which Vasari gives, together with the pope's reply. She painted various princes and persons of rank, and the whole court, in fact, desired to have her pictures. She at length married Don Fabrizzio di Moncada, a Sicilian nobleman, and resided at Palermo, while he lived. The king allowed her ;i handsome pension, and at her husband's death desired her to return to court, but she preferred to visit her native Italy and on her pas- sage to Genoa she fell in love with, and it is said, offered herself to Orazio Lomellino, the captain of the galley in which she sailed, and of a fine Genoese family. She continued to practice her art in Genoa, but late in life became blind. In 1620 Vandyck was often with her in Genoa, where her house was a favorite resort of all artists, and he was heard to say that he had been more enlightened in painting by a blind woman than by his own master. When we consider that this master was Rubens, and Vandyck his favorite pupil, this is great Draise. She painted two portraits of herself which were much ad- 46 ANGUISCIOLA ANSELMI. mired, and Lanzi says one of them was in the ducal Gall, of Florence, and the other in the possession of the Lomellini family at Genoa. At Althorpe, in Northamptonshire, is a portrait of herself playing on a harpsichord. The picture of her sisters playing chess was in the Coll. of Lucien Bonaparte, and is somewhere in England ; and the Earl of Pembroke, at Wilton, had the " Marriage of S. Catherine " by her. Her sisters Lucia, Europa, and Anna Maria all painted, but none of them equalled Sophonisba. Angus, William. Flourished 1786-1820. An English designer and engraver of public buildings and landscapes. He made plates of many gentlemen's country seats, and was employed on various topo- graphical works. He also made engravings from the designs of others. Anichini, Luigi, a Ferrarese engraver praised by Vasari. Anichini, Pietro. An engraver of whom little is known. Some of his plates are dated 1655. Anjou, Rene d', King of the Two Sicilies, Duke of Lorraine, and Count of Provence, was a painter. His life belongs, however, to history rather than art. He painted his own portrait, which was in the chapel of the Carmelites at Aix. There is a print from it in Montfau9on. He painted missals and miniatures on glass, and it is said that he also did a portrait of Charles VII. of France. Anna, Baldassare d', Flemish by birth, but of the Venetian school, and a pupil of Corona of Murano. After his master's death in 1605, Anna completed several of his works. He also painted orig- inal pictures for the Servi, which surpass those of Corona in softness and the power of chiaro-scuro, but are inferior in design. Ansaldo, Gio. Andrea, born at Voltre (1584-1638). Pupil of Orazio Cambiasi ; he also studied the works of Paul Veronese. He was an excellent colorist both in oil and fresco, especially in the lat- ter. His works are numerous in the churches and palaces of Genoa ; his chef-d'oeuvre was the cupola of the Nunziata in that city. Ansaloni, Vincenzio, born at Bologna. Flourished about 1615, and died young. A scholar of Ludovico Caracci, he became a painter of some merit. He left two altar-pieces in Bologna. One at S. Stefano, representing the death of S. Sebastian ; the other a Ma- donna, in the ch. of the Celestine monks, which is much admired. Anselin, Jean Louis, born at Paris (1754-1823). An engraver. His chief works were from the pictures of French masters represent- ing historical and poetical subjects. Anselmi, Giorgio, born at Verona (1722-1797). Pupil of Bales- tra. Painted the cupola of S. Andrea at Mantua. Anselmi, Michael Angelo, called Michelangelo da Siena, born at Lucca and studied at Siena, but his family were of Parma (1491- 1554). Bazzi was his master, lie became ;i follower and imitator of Correggio. When the, latter painted the Cath. of Parma, Anselmi ANSELMI ANTONELLO. 47 was one of the artists to whom the chapels were given. He painted much in Parma. There is a " Madonna ' ' by him in the Louvre. His designs were weak ; his heads studied, and his colors gay. He died at Parma. Ansiaux, Jean Joseph Eleonora Antoine, born at Liege (1764 -1840). Pupil of Vincent. He painted historical and poetical sub- jects, and large numbers of portraits. He ranks among the first art- ists of his time. There are three pictures by him in the ch. of S. Paul at Liege. He painted portraits of many eminent statesmen and generals. Antelami or Aiitelmi, Benedetto, born at Parma. Flourished about 1185. A basso-relievo of the " Crucifixion " by this sculptor is in the Cath. of Parma, and though rude when compared with an- cient or more modern sculpture, it is excellent for its time. Anthemius, born at Tralles in Lydia. An eminent architect and mathematician. In 532 he was employed by Justinian in the build- ing of the ch. of S. Sophia at Constantinople. In 1777 a fragment of one of his mathematical works was published at Paris. Antiquus, Jan, born at Groningen (1702-1750). He commenced his artistic career as a glass painter ; he next studied with Jan Abel Wassenberg, after which he went to France and painted portraits. At length he went to Florence, where he was six years in the service of the Grand Duke of Tuscany. After his return to Holland he painted various large pictures in the Pal. of Loo, one of which was "Mars disarmed by the Graces." His design and color were good. Aiitoliiiez, Don Josef, born at Seville (1639-1676). Pupil of Don Francesco Rizi. His historical pictures were admired for their fine landscape backgrounds. He was a man of haughty temper and siin-astic humqr. In the Queen of Spain's Gall, is his " Mngdalene in Ecstasy upborne by angels." The design ami mioring are good, but the saint is too sad for her triumphant position. In the ch. of La Magdalena at Madrid are the " Miraculous Conception " and the " Good Shepherd," by Antolinez. Antolinez de Sarabia, Francisco, died 1 700. Nephew of Josef and pupil of Murillo. Although he made himself a good reputation as an historical painter, he gave up the profession to practice law, for which he had been educated at Seville. But not succeeding, he was obliged again to paint as a means of living. At this time he made a series of small pictures from the Bible and the life of the Virgin, which have been very greatly admired. After the death of his wife he determined to be a priest, but did not live long enough to take orders. Palomino says, " in spite of his strange temper and unsettled habits, a man of large erudition and great powers of mem- ory, and had an apposite quotation on his tongue for every incident that could occur." Autonello da Messina. Soe Messina. 48 ANTONIO APOLLODORUS. Antonio, Marc. See Raimondi. Antonio, Pedro, born at Cordova (1614-1675). Pupil of Antonio del Castillo. A good colorist. Antonisze, Cornelius, born at Amsterdam about 1500. He ex- celled in painting views of streets and towns. In the treasury of Amsterdam is liis picture of that city in 1536 ; he also painted twelve views of its public buildings and engraved them on as many blocks of wood. These prints are now rare. Apelles. The most celebrated Grecian painter. He studied under Ephorus at Ephesus, under Pamphilus at Amphipolis, and later in the school of Melanthius at Sicyon. He combined the ele- gance of the Ionic, with the accurate science of the Sicyonic school. The best part of his life was spent at the courts of Philip and Alex- ander the Great, and he was the only master whom the latter would allow to paint his portrait. His most famous work was the " Venus Anadyomene." This was painted for the temple of Asclepius at Cos. It was taken to Rome by Augustus and placed in the temple of Caesar, and when it had been injured no artist would attempt its res- toration. He painted Alexander with a thunderbolt in his hand, for the temple of Artemis at Ephesus, and the monarch is said to have declared that there were two Alexanders ; the son of Philip who was unconquerable, and the work of Apelles, which was inimitable. There are many anecdotes of Apelles, and he is said to have seen and admitted the excellences of other artists, but he claimed that he excelled all in grace. In order to test the accuracy of his works he was accustomed to expose them in some public place and conceal himself where he could hear the remarks of those who passed by. On one occasion a cobbler criticised a shoe ; Apelles corrected the fault; but when the same man found fault with the leg, the master rushed out and commanded him to stick to the shoes. Apelles went to Rhodes, and to the studio of Protogenes when that master was absent. A panel was there ready for use. Apelles took a pencil and drew a thin colored line in such a way that when Protogenes saw it he knew who must have done it ; he then drew a thinner line of a different color upon that of Apelles. When the latter saw this he drew still another line which divided that of Protogenes as he had divided the first. This panel was carried to Rome, where it was con- sidered the niqst wonderful work of art in the Pal. of the Ca3sars. It was burned with that building. No work of Apelles' remains. Apollodorus. 1. An Athenian painter who flourished about 408 ii. c. He was the discoverer of chiaro-scuro. Pliny says he was the first artist whose pictures riveted the eyes. 2. A sculptor. He made bronze statues and then destroyed them, because they did not satisfy him. He was called the " mad-man," and was represented in that character by the sculptor Silanion. 3. An architect of Damas- cus. Trajan employed him to build the Forum, Odeum, and Gym- APOLLODORUS APPELMAN. 49 nasiurn at Rome. Hadrian, who took offence at some words of Apol- lodorus', first banished him, and afterwards put him to death. Apollonio, Agostino, born at S. Angelo in Vado. Nephew of Luzio Dolci, whom he assisted in the latter part of his life. Apollo- nio removed to Castel Durante and worked both in stucco and oils. He was the heir of Luzio. Apollonio, Jacopo, born at Bassano (1584-1654). Grandson of Jacopc da Ponte, called Bassano, by whom he was instructed. He was the best imitator of his master among all his disciples. His finest work is the " Martyrdom of S. Sebastian " in the ch. of that saint at Bassano. In the dome of Bassano there is a " Magdalen," and at the Riforniati a picture of " S. Francis," by Apollonio. Apollonius. 1. Born at Tralles and a brother of Tauriscus. These brothers were the sculptors of the group called the " Farnese Bull," which represents the punishment of Dirce. This group, now at Naples, was taken from Rhodes to Rome by Asinus Pollio ; it was found in the excavation of the Baths of Caracalla in the 16th century, and placed in the Far- nese Pal. Battista Bianca, of Mi- lan, undertook its restoration, but his work is very unlike the orig- inal. It was originally made of a single block of marble. It is be- lieved that these sculptors lived in the first century of the Chris- tian era. 2. An Athenian sculp- tor, son of Nestor, and the author of the " Torso of Hercules " in the Belvedere, one of the most splendid remains of Grecian art. There is also a statue of ^Esculapius at Rome by this master. 3. Another Athenian sculptor, son of Archias. He executed the bronze head of a young hero, found at Herculaneum. 4. A sculptor, whose name is on a beautiful statue of a young satyr in the Coll. of the Earl of Egre- mont at Petworth, Sussex, England. Appelius, Jean, born at Middlebourg. Flourished about 1778. Painted history, portraits, and landscapes. His pictures are mostly large. He had more than ordinary talent. Appelman, Bernard or Barent, born at the Hague (1640-1686). It is not known where he studied, but the fact that many of his pic- tures are of Italian scenery indicates that he visited Italy. The Prince of Orange employed him a long time. The landscapes which he painted in the Pal. at Soesdyk are good in style and color. He DIRCE. (NAPLES.) 50 APPELMAN ARALDf. painted landscape backgrounds to the portraits of other artists, and also painted portraits himself. Appiani, Andrea (1754-1818). An Italian, who painted in oil and fresco, in an original and graceful style. His frescoes in the imperial pal. at Milan are simple and grand. The portrait which he made of Napoleon, who had appointed him his painter, is in Eng- land. He was made a knight of the Iron Crown and a member of the Legion of Honor, but when the Bourbons were restored his pen- sion was taken away. In 1813 he had a stroke of apoplexy, and be- came so poor that he was forced to sell his drawings, and everything of value that he possessed. Appiani, Francesco, born at Ancona, 1 702. Pupil of Magatta. In S. Sisto Yecchio at Rome, he painted in fresco, for Benedict XIII., a picture of the " Death of S. Benedict." The pope gave him a gold medal. He settled in Perugia, was presented with the freedom of the city, and labored until he was ninety years old with a vigor equalled only by that of Titian. Perugia is full of his pictures, and there are many of them in England. Aquila, Francesco Faraone, born at Palermo, 1676. A designer and engraver. A brother of the celebrated Pietro Aquila. In 1 700 he established himself in Rome. Some of his engravings are highly esteemed. Besides detached pieces, he made twenty-two plates, called " Picturae Raphaelis Urbinatis ex aula et conclavibus Palatii Vaticani, etc., Franc. Aquilo, del. et incid. 1722." Aquila, Giorgio, called Maestro Giorgio da Firenzi, flourished from 1314 to 1325. Said to have been the first Italian artist who used nut oil. Aquila, Fietro, born at Marzalla. The early part of his life was passed in a seminary preparing for the priesthood. He went to Rome in 1700 with his brother Francesco, and became a monk, but in his seclusion he was devoted to art. He painted only tolerably, but excelled as an engraver. His best prints are after the Caracci, and these are highly esteemed. The number of his works is very large, and some of them are after his own designs. His drawing i* correct and his etching bold and free. The " Farnese Gallery " with the statues and ornaments, is one of his best works. Aquila, Pompeo dell'. Flourished in the last part of the 16th century. A painter of history in oil and fresco. Several of his frescoes are in his native city, Aquila. At Rome, in the ch. of S. Spirito in Sassia, there is a fine " Deposition from the Cross " by this master. Araldi, Alessandro, born at Parma (1465-1528). Painted his- tory. Lanzi says, " was indisputably a good artist in the mixed manner, that is now called antico moderno." His pictures are con- fined to Parma. He had little originality. The following is a list of his works: Duorao, fresco, on the wall to the right as you ARALDI ARDELL. 51 enter; " Virgin and Child " with S. Joseph and a kneeling man; Parma Gall., an "Annunciation" on wood, painted in oil; ch. of S. Paolo, a room painted in various designs ; ch. of S. Sepolcro, pic- ture of " S. Ubaldus, between the archangels Michael and Ra- phael ; " with an " Annunciation" and "Pieta" in the pediment. Arbasia, Cesare, born at Saluzzo. Flourished 1583-1614. A pupil of Federigo Zucchero. Painted in oil and fresco, but excelled in the latter. He went to Spain and worked in Cordova and Ma- laga. In 1583 he painted the " Martyrs " of the former city in the Cath. For a picture of the "Incarnation," in the Cath. of Malaga, he received three thousand ducats. About 1588 he went to Rome with his former master. He was one of the founders o the Acad. of S. Luke, of which Federigo was the first president. Arce, Josef de. A pupil of Martinez Montanes. He executed eight colossal stone statues, representing the four Evangelists and four doctors of the Church, which were placed on the balustrades of the Sagrario of the Cath. of Seville. He also carved in wood the saints which adorned the high altar of the Carthusians at Xeres. Archer, Wykeham, born at Newcastle-upon-Tyne (1806-1864). He studied engraving with John Scott of London. He made etch- ings of places of interest at Newcastle and Hexham. At Edinburgh, he made drawings of the streets and edifices of the town, and re- turned to London to perfect himself in etching upon steel. He was a member of the new society of painters in water-colors. Mr. Ar- cher was author of "Vestiges of Old London," illustrated by etch- ings ; and a contributor to different journals. He claimed to have revived the practice of engraving in monumental brass, and executed works of that description. He also painted a little in oil. Aicimboldi, Giuseppe, born at Milan, 1533; died at Prague, 1593. He was court painter to Maximilian II. and the Emperor Rodolph. He excelled in painting interiors, kitchens, fruits, vege- tables, utensils, etc. He also painted capricci, or pictures which looked like figures in the distance, but fell into heaps of flowers and leaves as one approached them. Arco, Alonso del, born at Madrid (1625-1700). Called El Sor- dillo de Pereda, and a disciple of Antonio de Pereda. He was deaf a'id dumb from his birth. Palomino praises him. Stirling says his pictures were mostly painted for public occasions, such as triumphal processions, etc. Many of his works were in the public buildings of Madrid and throughout Spain. Ardell, James Me, born about 1710. A native of Ireland, or the son of Irish parents. One of the best mezzotinto engravers. The number of his plates is large. Many of them are portraits of dis- tinguished men of his time. He left a few plates of historical sub- ject s after Vandyck, Murillo, Rembrandt, etc., some of which are extremely fine. 52 ARDEMANS ARETUSI. Ardemans, Teodoro, born at Madrid, 1664. An eminent archi- tect, sculptor, and painter. He studied in the school of Coello. His attention was so given to his other pursuits that his pictures were few. That in the vault of the sacristy of S. Francis at Madrid is a chef-d'oeuvre. In 1689 he was master of works to the Cath. of Gra- nada, where he distinguished himself as a civil engineer. In 1691 he went to Madrid, and filled the place of master of works to the muni- cipality while that functionary was sick. In 1694 he was appointed to the same post at Toledo, and in 1700 at Madrid. In 1702 Philip V. made him superintendent of works at the Alcazar. In 1 704 he was made painter-in-ordinary, and received a key as deputy- Aposen- tador. He made designs for various public occasions, funerals, etc. ; the plans for the collegiate church and high altar ; for a large part of the Pal. and gardens of S. Ildefonso; and for the ch. of S. Millan at Madrid. It is said he also made some engravings. He wrote and published works on engineering and architecture, and a eulogy upon Palomino. Ardente, Alessandro. Flourished 1565-1595. He was a Pied- montese, but the exact place of his birth is not known. Many of his works are at Lucca. At Turin, at the Monte della Pieta, there is a picture of the " Conversion of S. Paul," which indicates by its style that he studied at Rome. At the time of his death he was painter to the court of France. Aregio, Pablo de. Flourished 1506. He is classed among Span- ish painters, but it is probable that he was an Italian, and of the school of Leonardo da Vinci. He painted, together with F. Neapoli, the doors of the great altar in the Cath. of Valencia. Long afterwards Philip IV. said of them, " the altar was silver, but its doors were gold." Arellano, Juan de, born at Santorcaz (1614-1676). A pupil of Juan de Solis. He did not succeed at first, and began to copy the pictures of Mario dei Fiori. He studied nature closely, and at length excelled in flowers and fruits. His pictures are seen in most Spanish collections and are highly esteemed. Aretino, Spinello, born at Arezzo (1328-1400). He painted at Arezzo, Florence, Siena, and in the Campo Santo at Pisa. In S. Angelo at Arezzo he painted the " Fall of the Angels," in which Lucifer was so terrible that the remembrance of it affected the mind of Spinello, haunted his dreams, and, in truth, hastened his death. In general Spinello was sketchy and unequal in execution, but showed great talent in the vehemence of his conceptions. He painted the history of S. Benedict in the Sacristy of S. Miniato at Florence. These pictures are well preserved, and some of them are among the most spirited conceptions of all the pictures of the school of Giotto. Aretusi, or Munari degli Aretusi, Cesare. Called by some Mo- denese, because born at Modena, by others Bolognese, since he lived AEETUSI AKIAS. 53 and took up his citizenship at Bologna ; died at Parma about 1612. He formed his style after Bagnacavallo. He was the intimate friend of Gio. Batista Fiorini, and they painted much together. Aretusi excelled in color and Fiorini was full of fine conceptions. Lanzi be- lieved that in every work attributed to Aretusi we should look for assistance from some other artist. But he excelled in portraits with- out the aid of any one, and surpassed in imitation. He could assume the style of almost any artist with wonderful exactness. He made a copy of the " Notte " of Correggio for the ch. of S. Gio. di Parma, which Mengs declared would be a good substitute for the original. The excellence of this performance obtained for Aretusi the honor of restoring the picture which Correggio had painted for the tribune of the same church, and this last work was so well done that many believed it to be the original of Allegri. Arevalo, Juan Cano de, born at Valdemoro (1656-1696). Scholar of Francisco Camilo. He excelled in designing small figures, and at length painted most exquisite fans. But the Spanish ladies thought the French fans exceeded all others, and would not buy those made at home. Arevalo shut himself up and finished a great many very beautiful ones, and then displayed them, pretending that they were French. Before his deceit was detected his fans were so much ad- mired that he was appointed dbaniquero or fan-painter to the queen. He did some pictures in distemper in the ch. of Valdemoro. When the queen, Maria Louisa, died, he designed a strange allegorical pic- ture which represented her as a glorious spirit within a halo of rays, each ray containing a text which alluded to one of her many virtues. He went to Alcala to assist in painting some altar-pieces for the Jesuit college and the ch. of S. Maria. While there he died of a wound received in a duel. His fans were his best works, and so fine that they were preserved in cabinets after they were no longer used. Arfian, Antonio de. Flourished 1551. He studied with Murillo and L. de Vargas. He did several important works, and together with Antonio Ruiz painted the great altar-piece of the Cath. of Se- ville. This artist first introduced at Seville the painting of landscape and perspective backgrounds for bas-reliefs. He added to them painted figures which appeared to be carved like the rest. He also introduced improvements in the coloring of draperies on statues. Arias, Fernandez Antonio, born at Madrid; died 1680 or 1684. Studied with Pedro de las Cuevas. When but fourteen he painted the large altar-piece of the Carmelites at Toledo. This was much admired, and he was incited to greater application to his studies by the praises he received. At twenty-five he was one of the best painters at Madrid. The Duke d'Olivarez employed him to paint the portraits of the kings of Spain. After all his success, and his favors at court, he died in a hospital, although his life had been be- yond reproach. His daughter, who survived him, was a painter of 54 ARIAS ARTEAGA. some merit. In the Queen of Spain's Gall, there is a picture by Arias of " The Pharisees asking Christ concerning the Tribute Money." Aristeides. 1. Lived about 360 B. c. One of the most celebrated Greek painters. A native of Thebes, son of Aristodemus, and pupil of Euxenidas and Nicomachus. He excelled in depicting the passions and feelings which are observed in common life. It is said that the first foreign painting ever displayed in Rome was by this artist, and represented " Bacchus." It was brought to Rome byMummius, and placed in the temple of Ceres. 2. A sculptor celebrated for his statues of two and four-horsed chariots. Arlaud, James Anthony, born at Geneva (1668-1743). He first painted small miniatures for the jewellers, but at length did some portraits, which were so successful as to induce him to go to Paris. Here he was patronized by the Duke of Orleans, who gave him apartments at St. Cloud, and took lessons in painting from him. He devoted himself to his profession, in order to merit his good fortune, and became a favorite of the Princess Palatine. She gave him her portrait set with diamonds, and when he would go to England, she gave him a letter recommending him to the Princess of Wales, afterwards Queen Catherine. Arlaud painted her portrait, and was patronized by many of the nobility. He returned to Paris, and a few years after, having acquired an ample fortune, he settled in his native city, in which he remained until his death. Armanno, Vincenzio (1598-1649). A Fleming by birth. He painted landscapes and lived at Rome. His pictures are praised for their truthfulness, color, and shading. His figures are good and his invention copious. It is said that he was imprisoned in Rome for eating meat on fast days, and that on his liberation he left the city in disgust and went to Venice, where he died. Arnolfo, erroneously called di Lapo, was the son of Cambio of Colle de Val d'Elsa (1232-1310). A disciple of Niccola, under whom he worked at Sienna. When he died he held the office of chief architect and sculptor of S. Reparata at Florence. Many archi- tectural monuments were assigned to him, but most of them have perished. The tomb of Card, de Braye, in S. Domenico at Orvieto, was executed by him in 1280. This is a mixture of mosaic, sculp- ture, and architecture, and affords but small opportunity for judging of his merits. Arpino, il Cavaliere d'. See Cesari. Arredondo, Don Isidoro, born at Colemar de Oreja (1653-1702). A pupil of Josef Garcia, and later of Francesco Rizi. He painted history with great success, and at the death of Rizi was appointed court painter by Charles II. Palomino mentions a large and very grand picture of the " Incarnation " by Arredondo. Arteaga y Alfaro, Matias, born at Seville; died, 1794. Pupil AKTEAGA ASPERTINI. 55 of Juan de Valdes. An eminent painter and engraver. He painted many perspective views, into which he introduced the stories illustra- tive of the legends of the Virgin. He was secretary of the Acad. of Seville, at the time of his death. Artois, Jacob van, born at Brussels (1613-1665). Probably studied with Lodewyck de Vadder. Many of his pictures are very large. He painted only landscapes, and the figures in his pictures were done by Teniers, Van Herp, Gerard Zegers, and Gaspard de Craeyer. They sometimes represented Scripture stories, and are seen in the churches of Belgium. The pictures of Artois faithfully rep- resent the scenery of his native country. His pencil was light and free; some of his works are grandly poetic, and his foliage so per- fect that it seems to be in motion. His coloring is not of the best. His pictures are numerous, and very unequal in merit and value. The Dresden Gall, has a fine small picture by this master, No. 956. The Gall, at Brussels has four; Nos. 37, 1, and 4 are the best. The figures in the first are by Van Herp. In No. 4, they are by Gaspard de Craeyer and Peter Snayers, and represent " S. Hubert adoring the Crucifix." In the Vienna Gall, are two large pictures with fig- ures by Gerard Zegers. In private galleries in England there are good pictures by Artois. Asper, Hans, born at Zurich (1499-1571). He painted portraits in the style of Holbein, and gained a reputation which has been in- jured by his pictures being sold for those of Holbein. The portraits of Zuinglius and his wife, in the library at Zurich, are by Asper. His drawings of game, flowers, and birds, were much esteemed. A medal was given him to record his merit, and yet he lived and died in poverty. Aspertini, Amico, born at Bologna (1475-1532). Scholar of Francis Francia. Very peculiar in character all his life, and insane before his death, according to Vasari, who says that he studied art by going through all Italy and making copies of all that pleased him. He could paint with both hands at the same time, and was called Amico da due Penelli. His earliest works are in S. Cecilia at Bo- logna, and are much injured. At S. Frediano in Lucca, there are nine pictures by this master, in the chapel of S. Agostino. They are much injured. His other works are, Berlin Mus., No. 119, "Nativity;" Bologna Gall., No. 297, "Virgin and Child," with several saints and the portraits of two patrons ; Madrid Mus., No. 885, " Rape of the Sabines ;" Bologna, ch. of S. Martino Maggiore, " Virgin and Child " with saints, among which is S. Nicholas giv- ing their dowry to three young girls. At Ferrara, in the Strozzi Pal., a " Predella " with four scenes from the life of Mary. Aspertiiii, Guido, born at Bologna, about 1460. Scholar of Er- rolc
  • | \ "*> [BJP brated as an engraver. Pupil of Albert Diirer. He gave so much promise of excellence that Duke Wilhelm of Bavaria sent him to study in Italy. His early pictures were much in the style of Diirer, realistic, broad and crude in color. A " Christ bearing his Cross," in the chapel of S. Maurice, and " Christ on the Mt. of Olives " in the Berlin Gall, are of this time. When in Italy he attempted to change his manner, but without much success. No. 2, Munich Gall., representing ' ' A Woman raised from the Dead by the True Cross," is a remarkable picture. No. 98, same Gall., represents " Marcus Curtius leaping into the Gulf," and is injured by too much antique architecture. In the Gall, at Schleissheim, a number of portraits show his excellence in that department of painting. He studied engraving under Marc Antonio Raimondi, and was one of the most successful imitators of that artist. His drawing was that of a master, and his heads are fine in expression. Many of his plates have no mark, and this has occasioned some difficulty in designating them. His signature was BB, and the prints that have it are dated from 1520 BEHAM. 87 to 1533. His portraits of the Emperors Charles V. and Ferdinand I. are well known for their masterly conception and execution. The following are a part of his prints : Portrait of William, Duke of Bavaria. Bust of Erasmus Balderman. 1535. Bust of Leonard Van Eck. Adam, Eve, and Death before a Tree. Judith sitting on the body of Holofernes. 1525. The Virgin suckling the Child; very fine. A Sibyl reading and a Boy holding a Torch. BB. Susanna before the Elders ; after Giulio Romano. Lucretia. Cleopatra. 1520. The Judgment of Paris. The following prints are marked with a B. on a die, thus; and have sometimes been attributed to N. Beatrici, but are [ B | now called those of Beham. Apollo causing Marsyas to be flayed ; after Raphael. Christ giving his charge to S. Peter; after the same. A Naval Combat. A Landscape, with animals about a tree, at the top of which a Phoenix is burning her nest. Four Friezes, with Boys playing and Festoons of Flowers; RAPH. V R B. IN. Ant. Laferiiformis. The two following have the die without the letter B. Apollo and the Python. Apollo and Da pi inc. Beham, Hans Sebald, born at Nurem- berg, 1500 ; died at Frankfort, 1550. Nephew O f the preceding, from whom he received his earliest instruction. He afterwards studied with Albert Diirer. His bad habits compelled him to leave Nuremberg in 1540, when he settled in Frankfort. He often painted humorous subjects, and sometimes those that were vulgar and indecorous. He was a good draughtsman, had singular powers of invention, and was not wanting in feeling for beauty and grace. His only oil picture now known is in the Louvre. It represents scenes from the life of David, and was executed for Albrecht, Archbishop of Mayence, in the form of a table, in 1534. He also executed five miniatures in a prayer-book for the same ecclesiastic. These are in the royal library at Aschaff'en- burg, and prove his skill in this line of art. He was more important as an engraver than painter, and belonged to what are called " the little masters." We have no better examples of the manners and mslonis of his time than his " Triumphal Entry of Charles V. into Munich," and two processions of soldiers by him. His wood-cuts were free and spirited. His copper-plates are executed entirely 88 BEHAM BEICH. with the graver, and are neatly done. From 1519 to 1530 he marked his plates with the letters H. S. P. From 1531 to 1549 he used H. S. B. His copper-plates are very numerous. The follow- ing are a few of them: Plates with the first cipher which were engraved at Nuremberg from 1510 to 1530: Portraits of Hans Sebald and his wife; the cipher with a wreath of laurel in the middle ; engraved also by Hollar. Adam and Eve in Paradise ; two small plates. 1519. S. Jerome with a cardinal's hat, and a Lion. 1519. The Virgin suckling the Child. 1520. The Virgin with a Glory, standing, holding the Child. 1520. The death of Dido; Regince Didonis imago. 1520. S. Anthony, Hermit, writing. 1521. Plates with the second cipher which were engraved at Frankfort. 1531 to 1549: Adam and Eve, a Stag behind them. 1536. Adam and Eve in Paradise; the Serpent presenting the Apple; very fine. The Emperor Trajan listening to the Mother's complaint against his Son. 1537. Melancholy; inscribed, Melancolia 1539; after Albert Dtirer. Fortuna; a woman holding a Wheel. 1541. A Man trying to pull up a Tree; inscribed, Impossible. 1549. Twelve small plates of the labors of Hercules; inscribed, JErumnce Herculis. 1542 to 1548. The Judgment of Paris; Judicium Paridis ; 1546; fine. Death seizing a young Woman; Omnem in homine, etc.; 1547; fine. Wood-cuts, marked sometimes with one, and again with the other of his two ciphers : Portrait of Beham with a Cap. Eight prints of the Passion of Christ. S. Jerome with a Book and Crucifix. A Village Fair, with a Steeple and Clock; large frieze; very scarce. A March of Soldiers, large frieze, in four sheets; very scarce. Biblicse Historic, 848 prints; most of them with figures on both sides. The Baptism of the Anabaptists ; circular, scarce. The same subject; large, four sheets; very scarce. Behnes, William (1801-1864). An English sculptor, distin- guished particularly for his busts. In 1820 he gained the silver medal for the best model from life. Beich or Beisch, Franz Joachim, born at Munich (1663-1748). He was first a pupil of his father, Wilhelm Beich, then went to Italy, where he became an imitator of Gaspar Poussin. But he is not BEICH BELLINI. 89 an imitator merely, for he was himself inspired by nature. Kugler says: "He takes the first place among the painters of ideal ten- dency." He was court painter to the Elector of Bavaria, and his best works are in the electoral palaces. He excelled in landscapes and battle scenes. While some of his pictures have the darkness and heaviness of color, which was the fault of his time, others are transparent and warm in tone. Two landscapes in the Vienna Gall., which are excellent in many ways, fail in color ; but in the Munich Gall, the opposite is true of Nos. 138, 162, and 171. We have also four sets of plates, twenty-six in all, etched by Beich. They are of landscapes, with figures and buildings, and are executed with facility and spirit. Beinaschi. See Benaschi. Belcamp or Belkamp, Jan Van. A Dutch painter who was much employed in England in copying the pictures in the royal college. Bella, Stefano Delia, born at Florence, (1610-1664). Son of a goldsmith, and in- tended for his father's profession, he showed snrli a talent Inr drawing, that he was placed with Cesare Dandini to learn painting. But he had so great a preference for engraving that he was allowed to study with Canta Gallina, master of Callot. Per- haps no one has handled the point with more facility than Bella. The number of his prints exceeded 1,400, so it is not strange that some of them are slightly etched; but he designed with great taste, and his plates are brilliant in effect. In 1642 he went to Paris. Card. Richelieu employed him to make plates of the siege and taking of Arras. He also made some plates for Henrich, the uncle of Israel Silvestre. When he returned to Florence he was appointed to in- struct the son of the Grand Duke in drawing, and received a pension. Belle, Clement-Louis-Marie-Anne, born at Paris (1722-1806). Studied under Lemoyne, and later in Italy. His subjects were religious and poetical. He was an academician, and inspector of the royal manufactories at the Gobelins. Belle, Augustine-Louis, born at Paris (1757-1831). Son of the preceding, and his assistant at the Gobelins. He painted many pictures of subjects from sacred and profane history, and the ancient poets. Belle, Nicholas-Simon-Alexis (1674-1734). Scholar of F. de Troy. An eminent portrait painter. Bellevois, died at Hamburg, 1684. A painter of marine subjects. His works are in many collections in Flanders, and have considerable merit. Bellini, Jacopo, born at Venice (about 1405-1470). A pupil of (ientilc Fabriano, with whom he went to Florence in 1422. At that time all strangers who settled in Florence were observed jealously and regarded as intruders. One day a company surrounded the 90 BELLINI. shop of Fabriano and threw in stones. Jacopo was sent out to drive them off, and came to blows with one Bernardo di ser Silvestri, a son of a notary. This young man was determined on revenge, and Jacopo, fearing trouble, left Fabriano, and " took service on board of the galleys of the Florentine States." Bernardo went before a judge and preferred charges against Jacopo, and he was summoned to appear, which failing to do, he was sentenced to a fine. After a year he returned to Florence, ignorant of what had been done. In a few days he was seized for contempt of the court, and sent to the Stinche. While there he compromised with Bernardo, and promised to pay him twenty-five small florins, and to submit to an act of pen- ance. This was performed on the 8th of April, 1425, when he marched bareheaded, surrounded by a guard, to the Baptistery of San Giovanni, where it was proclaimed by sound of trumpet, that Jacopo had come to do penance, for having shown contempt of Florentine law. This ceremony ended, he was set at liberty. From this time there is much uncertainty respecting Jacopo. His master gave him no assistance in the time of his trial. We know that Jacopo painted the portrait of Fabriano, and that Fabriano held the first child of Jacopo at the font ; but the dates of these occurrences are not known. The only certain thing is, that Jacopo was in Venice in 1430, as is proved by his sketch-book. This book, after passing through many hands, is now in the British Mus. It has 99 pages, 17 by 13 inches. The drawings are done in pencil, tinted with green earth in water-colors, and sometimes retouched with pen and ink. Many of the sketches are very imperfect. In this book we are intro- duced to the very innermost artistic life of Jacopo. It has sketches of almost everything. Still and animal life, nature, ancient sculp- ture, buildings, and human figures are all there. Nothing seemed too small for his study. Some subjects are several times repainted, rear- ranged, and brought to the perfection of his manner. The stories of Judith and Holofernes, of David and Goliath, many New Testament histories, the wonders of the hagiology and those of mythology all find a place. In contrast with these are studies of apes, eagles, dogs, cats, village scenes, hawking parties, etc., etc. The student of art delights" in this book, and understands the feeling which led Gentile Bellini to leave it an heir-loom in his family, in order to perpetuate, as noth- ing else could, the remembrance of his father. In his time artists were not masters of anatomy and motion, and for that reason the drawing of Bellini is the more admirable. He attained a middle place between the conventionalism of art which preceded him, and the naturalistic art which followed him. He worthily commenced what his son Giovanni, and Titian perfected. It is scarcely possible to judge of Jacopo Bellini as a colorist, for the two panel pictures which remain to us are greatly injured. One of these is a small half-leno-th of the " Madonna and Child," at Lovere, in the Coll. BELLINI. 91 of the Counts Tadini. The other, No. 443, Acad. of Venice, repre- sents the same subject. These are injured by scaling and blackened by time. Of his wall pictures, it is believed that some remain at Venice, but those of Verona are better known. That of the " Cru- cifixion," in the Arch-episcopal Pal., fully illustrates the style of this master. A copy of another " Crucifixion," in the Cath. of Verona, is in the Casa Albrizzi at Venice. The arrangement is little changed from that in his sketch-book, and these works served as models to the artists who followed him, especially Antonello of Messina, Carpaccio, and Mantegna. Of his other works, there is a small ** Christ in Limbus," in the Communal Gall, of Padua, much in- jured ; at S. Zaccaria, Venice, some frescoes in the dome of the Chapel of S. Terasio, much abraded and blackened ; and a picture of a " Dominican Friar, preaching in a Square," in the Oxford Mus. This last was probably the work of some one in his atelier, and is a panel on gold ground. It is known that Jacopo dwelt for a time in Padua, and there had a work-shop in which his sons assisted him ; that his daughter Nicolosia married Andrea Mantegna, and that he painted pictures and frescoes in that city, one of which was done in 1459. It is believed that he induced Mantegna to study Donatello and Uccelli, and thus greatly influenced the style of the gifted Paduan, and that he himself was affected by contact with that of Donatello. Jacopo also painted portraits, one of which Ridolfi noticed especially, that of the King of Cyprus, who was beheaded at Venice. Although Jacopo was greatly surpassed by his sons, he was a re- markable man for his time, and deserves to be remembered for pre- paring the way, and making it easier to those who followed. Bellini, Gentile, eldest son of the preceding, born at Venice (1421 V-1507). After laboring with his brother Giovanni in the atelier of their father, at his death they declared their perfect inde- pendence of each other, but continued to labor together, and shared the respect of their countrymen and the laurels which they won. The study of Jacopo and of his master, Fabriano, was of great value to them, out they progressed far beyond both, and, together, laid the foundation for the perfect style of Titian and his followers. Giovanni was the most excellent, and Gentile was called " clumsy " by later Venetians. But he did a noble work in teaching them the value of a thoughtful imitation of nature. In 1464 Gentile painted the doors of the great organ of S. Marco. He represented four gigantic saints. These are now in a Gall, leading from S. Mark's to the Ducal Pal. Gentile was often employed as a portrait painter. Of his works of this kind I shall only mention No. 136, Gall, of the Capitol, Rome; one in the University Gall., Oxford, of two boys in profile; Correr Mus., Venice, No. 14, and one of Lorenzo Giustiniani, now in the lumber room of the Acad. of Venice. In 1474 he was appointed to restore the old, and paint new pictures in the great council-chamber of 92 BELLINI. Venice. His works there gained him much reputation. In 1479 Sul- tan Mehemet, the conqueror of Constantinople, sent to the Signo- ria of Venice for a good painter. The Doge decided to send Gentile Bellini, and he was dispatched with two journeymen, in galleys belonging to the state. In Con- stantinople Gentile was treated with great consideration, and made many portraits of notable person- ages. At one time he presented the Sultan with a picture of the head of John the Baptist in a charger. The Sultan criticised the painting of the neck, and when he saw that Gentile did not under- stand his mistake, he called in a slave, and had his head instantly struck off, to prove to the artist what was the true action of the muscles under such circumstances. Such an act did not tend to make Bellini enjoy his residence in the domains of Mehemet II. He re- mained there a year, was made a knight, and received many pres- ents at parting. The Sultan of- (Venice. S. Maria dell Orta. Gentile fered ^ ^ ^ he WQuld nam6j but he only demanded a letter of praise to the Signoria of Venice. He carried to Venice many sketches, and a portrait of Mehemet. He also brought a picture, Louvre No. 68, which represents the reception of a Venetian embassy by the grand vizier and other officers. When Gentile left Venice, Giovanni was appointed to his place in the council- chamber, and when he returned, they continued the work in com- pany. The pictures painted there were partly legendary, and partly historical, and represented events in the Venetian wars in 1177 ; the combats on the Adriatic ; and the reconciliation of the Emperor with Pope Alexander III. These were done in fourteen compartments. They were almost destroyed by fire in 1577, but enough remains to make their loss a subject of regret. The other great work in which this artist was engaged was the decoration of the school of S. Giovanni Evangelista, at Venice. Two of these pictures, one representing a miracle by means of a relic of the holy cross, the other a procession in which the same relic is borne, are in the Venetian Acad. Of his S. LORENZO GIUSTINIANI. BELLINI. 93 other works I shall only mention No. 90, in the Brera, at Milan, representing " S. Mark preaching at Alexandria; " and a portrait of Mehemet, said to be in England. In the former of these he intro- duced the costumes he had seen in the East. The picture was not finished at his death, and in his will, he provided that his brother, Giovanni, should not receive the sketch-book of his father until he had finished the picture of S. Mark. This painting, in spite of the injuries it has received, has a brilliant effect, and is valuable as the last work of the elder, combined with the mature perfection of the younger brother. There are other pictures ascribed to Gentile which lack proof of having been painted by him. Such are No. 69, Louvre; No. 13, Correr Mus. ; and No. 12, Berlin Mus. He was also a mosaist, and left a " Virgin and Child " to the company of S. Marco. It is believed that he had a school, and that Titian became his pupil in 1486, when but nine years of age. His time was constantly occu- pied, and in 1506 he refused an order from the Marquis of Mantua, asserting that he was engaged for a long time in advance. He was married, but had no children, and worked until the day of his death, at which time he was more than eighty years old. Bellini, Giovanni, the younger brother of Gentile, was born at Venice (1422-1512). The most excellent of this celebrated family. His works may be divided into two periods ; those which he executed before he learned to paint in oil, and those done afterwards. The first have sweetness and elegance, but are also dry and timid; the last are a rich foretaste of the Venetian coloring which was perfected later, while they lose nothing of the charms of the former. His chefs-d'oeuvre, which can still be seen in the Acad., and churches of Venice, were painted after he was sixty-five years old. We cannot appreciate this man unless we take into account the state of Venetian art in his day. It had been greatly influenced by Mantegna, the Paduan, but Gio. Bellini must stand as the founder of true Venetian painting. Even earlier than this its coloring had been softer, and more richly blended than that of other schools. The very atmos- phere resulting from its situation must have produced this, for it habituated the artist to wonderful effects of color. Then the spirit of the life there, the pomp, the cheerfulness, the oft-recurring fetes, engendered a love of the rich and deep tones of color which so enhance beauty. Then, too, about the time when Giovanni could be said to be an artist, Van Eyck was introducing oil colors into Flanders, and Antonello da Messina brought them to Italy. There is a story that Giovanni went to the studio of Antonello in disguise, and thus learned the secret of the new color mixing, but this is not verified, and does not accord with his character. But, however he may have learned, it is true that he employed oils with great success and j udgment. His compositions are not especially varied or poetical. His powers were not versatile, but there is a moral beauty in his 94 BELLINI. figures, rather than a spiritual one, and he seems to stop just on the line which separates the highest earthly type from the heavenly. Kugler says: "His Madonnas are amiable beings, imbued with a lofty grace ; his saints are powerful and noble forms; his angels cheerful boys in the full bloom of youth." His representations of Christ are full of moral power, such as has rarely been equalled. His draperies are peculiar in the crystal-like clearness of their deep, rich colors. His authentic works do not belong to his youth. We have seen how he labored with Gentile in the great council-chamber, in which place he continued to paint, at times, dur- ing all his life. His earliest dated work is of 1487, and represents a " Madonna and Child " standing on a parapet. It is in the Acad. of Venice, and there is a similar one in the Berlin Mus. It is interesting to see previous works of this master, and study the changes through which his style has passed. In this way one can comprehend, in a measure, the struggles through which he reached his later style, and his grop- ing after the proper handling of the new oil mediums, which was an art in itself. To 1488 belongs a large altar-piece in the Sacristy of S. Maria de' Frari ; two angels in this are especially beautiful. The whole picture is a fine piece of color, and nicely finished. There is also a large altar-piece in SS. Giovanni e Paolo, which is one of his earlier pictures ; and another, very similar, in the Acad. In the ch. of S. Zaccaria is a " Madonna" with saints and an angel, dated 1505, and at S. Salvatore, "Christ at Emmaus," belonging to the same period. This last is especially fine. A similar picture, but not as good, is in the Manfrini Gall. Perhaps his latest work of this kind is in S. Gio. Crisostomo, dated 1515. In this he painted SS. Jerome, Augustine, and Christopher. The shades of moral contrasts are finely and powerfully drawn. It is a picture that compels one to study it. Other works of his are in the ch. del Eedentore, the Man- frini Gall., and the Acad. Some of them are allegorical represen- tations, full of naivete and cheerfulness. One of his latest works was a " Bacchanalian," with a landscape by Titian. He often painted the single figure of the Redeemer. Liibke says of these representations: " By grand nobleness of expression, solemn bearing, and the excellent arrangement of the drapery, he reached a dignity which has been CHRIST. BY GIO. BELLINI. BELLINI - BELLOTTI. 95 rarely surpassed." The pictures of Giovanni are very numerous in Venice, and found in all large collections elsewhere. Space will not allow description. The following are some of the more important ones : National Gall., Nos. 726 and 280 ; No. 27, Correr Gall. ; No. 4, Lochis Carrara Gall., Bergamo; a "Pieta," No. 188, in the Brera ; " Pieta" in the Cath. of Toledo; Stuttgart Mus., No. 4-; Berlin Mus., Nos. 4, 6, and 36; Padua Gall., No. 48 ; Uffizi, No. 581 ; Castle Howard, No. 125 , Leuchtenberg Gall., No. 68; Mus. of Rovigo, No. 80 ; Doria Gall., Rome, No. 5-; Belvedere, Room 2, Nos. 63 and 65; Naples Mus., No. 378; Stadel Gall., Frankfort, No. 17; Madrid Mus., No. 665 ^ Brera, No. 209; Louvre, No. 69 bis; and many, many others. His very last work was a " Madonna " in S. Giustina, Padua, dated 1516. It is a singular truth that some of his latest pictures are much more like those of a youthful artist than were his earlier ones. For in 1514, almost at the close of his life, he painted a feast of the gods, which represents the gay and sensual with the happiness of the bright days of Titian. This picture is now at Alnwick Castle. In 1515 he painted the " Venus of the Belvedere," Room 2, No. 43. His last works were thus in marked contrast with his first. He is believed to have instructed Giorgione and Titian. It is said that Albert Diirer visited him in the last year of his life, and pro- nounced him the best artist of that time. His death occurred on the 29th of November, and he was buried in SS. Giovanni e Paolo, by the side of his brother Gentile, Bellini, Filippo, born at Urbino, 1594. A good painter, and an imitator of Federigo Baroccio. One of his most important works is a series of fourteen representations of the Works of Charity, in the Chiesa dulla Carita at Fabriano. In the Basilica of Loretto there is a " Circumcision," and in the dome at Ancona a "Marriage of the Virgin," by this master. Bellini, Giacinto, Cavaliere, born at Bologna, was living in 1660. Pupil of Francesco Albano. Later he studied with Francesco Caracci in Rome. There he attracted the attention of Card. Tonti, who employed him a long time, and procured him the knighthood of the Order of Loretto. His pictures possess much of the gracefulness of Albano. Belliniano, Vittore, born at Venice. Flourished about 1526. A painter of history. Several of his works are in the Confraternity of 5. Mark's, and the neighboring churches of Venice. Bellotti, Bernardo, born at Venice, 1724; died at Warsaw, 1780. A painter and engraver. Nephew and pupil of Antonio Canal, called Canaletto. Bellotti painted perspective and architectural views in a pleasing manner. He lived much in Germany, and etched, from his own designs, views of Vienna, Dresden, and Warsaw. He was a member of the Acad. of Dresden, and many of his pictures are in the Gall, of that city. They are called by the name of Canaletto, 96 BELLOTTI BENASCHI. which he assumed. He signed some of his works Bernardo Belotto detto Canaletto. The fine views of Dresden were ordered by Count Briihl, at 200 thalers each. The figures were the work of Stefano Torelli of Bologna. Beltraffio, Gio. Antonio (1467-1516). A Milanese gentleman, and a pupil of Leonardo da Vinci. His characteristic is gentleness. In the Louvre is an altar-piece painted for a ch. in Bologna. It represents the " Madonna and Child " with John the Baptist and S. Sebastian; the donors are kneeling. It was painted in 1500. In the Berlin Mus. there is a " S. Barbara" by Beltraffio. " A figure of peculiarly grand, statue-like dignity." In the National Gall, there is a " Madonna and Child " ascribed to him ; his works are scarce. Bellucci, Antonio, born at Pieve di Soligo (1654-1726). A painter who excelled in small figures. He painted these in many of the landscapes of Tempesta. In color he belonged to the Tenebrosi, but used shadow so judiciously as not to spoil his color. He is said to have painted altar-pieces in Venice and Verona. There are pictures of his in the Dusseldorf Gall., and a u Nativity " in the ch. of the Ascension at Venice. Beltrano, Agostino, and his wife, Aniella. Neapolitan painters who flourished about the middle of the 1 7th century. They were the pupils of Massimo, and Aniella was his niece. Beltrano was a good fresco painter, and more than ordinary in his coloring in oil. This is proved by numerous cabinet pictures, and a few large fres- coes. Aniella painted in the same style, and worked with her husband. She had talent and beauty. The pictures which are called hers are praised, especially that of the " Birth and Death of the Virgin," in the Chiesa della Pietk de' Turchini. But it is not unlikely that she was assisted by Massimo. In 1649, when thirty-six years old, she was murdered by her husband, in a fit of jealousy. She survived her wounds long .enough to pardon Beltrano. He fled to France, and wandered, an outcast, till 1659, when he returned to Naples and resumed his work. He lived, tormented by remorse, till 1665. Bemmell, William van, born at Utrecht (1630-1703). Pupil of Herman Sachtleeven, and, like him, an excellent landscape painter. He went to Italy and made many studies of scenery about Rome. He settled, at length, in Nuremberg. His pictures were much admired, and are mostly in German collections. Bemmell, Peter Van, born at Nuremberg (1689-1723). Grand- son of the preceding, and a landscape painter. His pictures are scarcely known outside his native city. Benaschi or Beinaschi, Gio. Batista, Cavaliere (1636-1688). An imitator, and probably a pupil of Lanfranco. Most of his works are in Naples, where he painted ceilings and other frescoes. BENASCHI BENCOVICH. 97 Benaschi, Angela. Daughter cf the preceding, and a good portrait painter. Benazech (Benasech, Benezech, Benezeck, Benazec), Charles. English engraver and painter. Studied at Paris under Greuze. Went to Rome in 1782. Returned to Paris, and, at the time of the French Revolution, revisited London, where he died. He especially devoted himself to historical painting, and his best works are a series of four pictures of the last days of Louis XVI. He also left a few engravings. Bencovich, Federigo, called also Federighetto di Dalmazia. Flourished about 1753. A native of Dalmatia, but educated in Bologna. He studied the style of Carlo Cignani. His works were good, and he painted pictures of merit in Milan, Venice, and BBUBT, iiv P.KNKDKTTO DA MA.IANO, FI:OM TIIK MAIM-.I.K PULPIT IN STA. FJ,OUKN( K. 7 98 BENCOV1CH BENEFIAL. Bologna. In the latter city, in the ch. of La Madonna del Piombo, is an altar-piece by this master, representing the " Crucifixion of S. Andrew." Many of his easel pictures are in Germany, where he resided for a time. Benedetto, da Majano, born at Florence (1442-1498). An eminent architect and sculptor. He commenced life as a worker in wooden mosaic or intarsiatore. His brother, Giuliano, was also a celebrated artist, and a younger one, Giovanni, was of less impor- tance. Together they executed the " Madonna dell Ulivo," in terra cotta, and a " Pieta " in bas-relief. They stand at a wayside shrine, a mile outside the gate of Prato, towards Florence. We have only to compare the relief of the brothers with the " Madonna " of Benedetto, to perceive his excellence. His greatest work as an architect was the Palazzo Strozzi, which was commenced in 1489. After the death of Filippo Strozzi the work was suspended, and the building was finished under the direction of Cronaca. In 1490 he made busts of Giotto and Squarcilupo in the Duomo at Florence. In the same year he went to Naples, where he remained two years, and was constantly occupied by the Duke of Calabria. He also executed the bas-reliefs of the " Annunciation " in the ch. of Monte Oliveto, and, in 1491, the monument to Filippo Strozzi was erected in Santa Maria Novella, which he had commissioned Benedetto to make before his death. It is the chef-d'oeuvre of Majano, and one of the finest works of the 15th century. He also made the beautiful altar of S. Savino for the Cath. at Faenza; a marble pulpit at Santa Croce, Florence ; and some works at S. Simignano. The pulpit at Santa Croce was very fine ; he supported it against a column, through which he carried the staircase ; the reliefs repre- sent scenes from the life of S. Francis. In the Uffizi there is a bust of Pietro Mellini, who commissioned Benedetto to execute the pulpit, and in the same Gall, a figure of S. John. Benedetto. See Castiglione. Benedicto, Roque, died at Valencia, 1735. His pictures are sometimes taken for those of his master, Gaspar de la Huerta. His best work represents S. Francis de Paula feeding three thousand people with a little bread. Benfatto, Luigi, born at Verona (1551-1611). Nephew and pupil of Paul Veronese. He was distinguished for his works in the public places in Venice. In the Chiesa di S. Marta are several of his pictures illustrating the life of the saint, and in the ch. of S. Nicholas a grand composition representing the Ascension of that saint. Benefial, Cavaliere Marco, born at Rome (1684-1764). In the Palazzo Spada, Rome, there is a saloon painted entirely by this artist ; in the Acad. of S. Luke a picture of " Christ and the Samar- itan Woman," and in the Stimmate a "Flagellation." His merits BENEFTAL BERCHEM. 99 have been much discussed, and his admirers give him unqualified approbation, while others call him feeble in all points. His monu- ment is in the Pantheon. Benso, Giulio, born at Genoa (1601-1668). Pupil of Gio. Batista Paggi. Soprani calls him an architect also. He painted history and perspective. He was a protege of the house of Doria, and some of his works were in their Palace. Several of his oil pic- tures are in the churches of Genoa. That of " S. Domenico " is much admired, and the " Crowning of the Virgin," in the Nunziata, is a fine production. Bent, John van der, born at Amsterdam (1650-1 690). Land- scape painter. Scholar of Peter Wouvermans and Adrian van de Velde. While he is not equal to his masters, his works are deserv- ing of esteem. Many of them are in England. They bear a strong resemblance to those of Nicholas Berghem. Benvenuto, Gio. Batista, called L'Ortolano, or market gardener, from the occupation of his father, born at Ferrara (about 1490- 1525). A contemporary of Garofalo, the prince of Ferrarese paint- ers. L'Ortolano studied in Bologna under II Bagnacavallo. His style was severe, and his pictures curiously finished. His heads are weak, but his landscapes and backgrounds good, and his figures well brought out. His works are in S. Niccolo, S. Maria de Servi, and S- Lorenzo at Ferrara. Berchem, Nicholas, born at Haerlem 1624-1683). Son of Pieter Klaasze. The rea:-oii. for his being called Berchem, or Berghem, is not known, but he usually signed his works with that name. He studied with his father, Van Goyen, J. B. Weenix, and Jan Wils, and married the daughter of the latter. It is evident from his works that he went to Italy, although no ac- count of his having done so is given. lie painted genre, battles, land- scapes, cattle, and portraits. His best works are his small landscapes with figures and cattle. lie painted with great facility, and his wife was so avaricious that she constantly excited him to work. She also saw to it that his money was saved, as he liked to spend it for Italian drawings. Berchem is the most celebrated of the group of painters to which he belongs. Smith describes 417 of his works, and he left besides more than 50 etchings, some of which show a better feeling for nature than is found in his oil pictures. By their dates it is seen that he handled the point when but ten years of age. The galleries of Munich, Dresden, Vienna, Berlin, St. Petersburg!!, and the Louvre contain the largest number of his works. Some are also in England, in the National Gall, and at Dulwich ; and Lord Ashbur- ton has one of his best productions, called " Le Fagot," from a bundle of wood carried by a man in the foreground. He seldom made large pictures, but in 1648 he painted an Italian landscape, now 100 BERCHEM. at the Hague, in which the figures are life-size. It was sold in 1827 for 500, but it is cold and unsatisfactory, though well drawn and lighted. In additio often painted figures and animals in the landscapes of other artists, such as Ruysdael, Hobbema, Jan Wils, Abraham Verboom, and Isaac Moucheron. BERCHEM BERCHET. 101 ENGRAVINGS AFTER THE WORKS OF BERCHEM. Engraver, ALIAMET, Jacques. Landscape, with Figures and Cattle. The Port of Genoa. Landscape with a Stag Hunt. The Female Villagers. Village Pleasures. Em/raver, AMSTEL, Cornelius Ploos Van. A Landscape with a Woman riding on an Ass, with Cattle by the side of a Canal ; N. Bert/hem, fecit, 1764; P. Van Amstel, fecit, 1769. Engraver, AVELIXE, Peter. A Landscape; fine. Engraver, AVRIL, Jean Jacques. The Passage of the Rhine. Engraver, BAS, James Philippe le. Four Plates of the Times of the Day. The Embarkation. Engraver, CANOT, Peter Charles. Returning from Market. Engraver, CHARPENTIER, Pierre Fra^ois. The Shepherdess. The Shepherd reposing. Engraver, COULET, Amne Philibert. The " Rendezvous & la Colonne." En graver, DANCKEKT or DANCKERS, Dancker. Four plates of Landscapes and Figures, in one of which a man is passing a Bridge. The best prints of Danckert. Engraver, DAUDET, John Baptist. Two Landscapes, with Figures and Cattle. Engraver, DEQUEVAUVILLER, Francois. Noon; a Landscape with Figures. Evening; the etching by Weisbrod. Engraver, GROKNSVELT, John. A Set of Six Landscapes. A Set of Four Landscapes; Hcrglicin, del. Groensvelt, fee. Cle.de Jonghe, exc.; fine. Engraver, KOBELL, William. Two Landscapes, with Figures and Cattle. Engraver, LAURENT, Peter. The Passage of the Ferry Boat. The Shepherdess. The Fortune Teller. Engraver, MAJOR, Thomas. The Travellers. Two Landscapes; morning and evening. Engraver, MAUTKNASIE, Peter. The Watering Place. Engraver, NON, Richard Abbe de St. A Landscape with a Figure. /;/ / graver, PELLETIER, Jean. The Watering Place. Ruins and Figures. Engraver, SCIILICIIT, Abel. A Landscape, with Figures and Animals. Engraver, VEAU, Jean Le. The Village Blacksmith. Engraver, VISSCIIER, Cornelius. Two Sets of Landscapes; four plates each. Several Peasants dancing in a Cottage, called Berg- hem's Ball. His finest plate. A Set of four Landscapes, the four times of the Day. Several sets of Landscapes, with Figures and Animals. Berchet, Peter, French school (1659-1720). Pupil of Charles 102 BERCHET BERGMULLER. de la Fosse. Went to England in 1681. His best work is the ceiling of the chapel at Trinity College, Oxford, representing the " Ascension." Berg, Mathias Van den, born at Ypres (1615-1647). It is said that his father had the care of the estates of Rubens, and that master took the son into his Academy. He is known only by his excellent copies of the works of his master. Bergen, Dirk Van, born at Haerlem (1645-1689). Pupil of Adrian Van de Velde, and one of his most successful imitators. His earliest works are the best, and are warm and sunny in color; in his later ones the cattle become crude in tone, and hard in execution. Nos. 15 and 16, Louvre, areamong his best pictures, as are also Nos. 28 and 29, Amsterdam Mus. He established himself in Lon- don in 1673. Berger, Daniel, born at Berlin, 1744. Pupil of his father. He became a good engraver, made a number of portraits of the royal family and many plates after different artists, principally those of his own country. In 178 7 he was appointed Rector and Professor of Engraving at the Acad. of Berlin. Bergeret, Pierre-Nolasque, born at Bordeaux (1780-1828?). A pupil of David, and a distinguished painter of history and land- scapes. He was happy in the choice of interesting subjects. Many of his works were placed in the Gall, of the Luxembourg, and other royal collections. He also painted four portraits for the Hall of the Chancellors. He designed bas-reliefs, among which may be men- tioned those on the column of the Place Vendome. Many of his pictures have been engraved and some of them used as illustrations of splendid editions of " La Fontaine," " Boileau," etc., etc. Bergler, Joseph, born at Salzberg, 1753; died at Prague, 1829. When twenty years old he had made himself so good a name that Prince Firmian of Passau sent him to Italy, with a pension. He went first to Milan, where he was the pupil of Martin Knollcr. He remained five years in Milan, copying works of the masters, and executing frescoes with his teacher. From Milan he went to Rome, and in 1784 gained the prize of the Acad. in Parma. From this time he received as many commissions as he could execute. He remained in Rome until 1786-, when he returned to Passau. In 1800 he went to Prague to assume the place of director of the Acad. ; the number of his oil pictures is very large. They are almost without exception representations of religious subjects, and may be seen in the churches of his own country. Bergmuller, John George, born at Dirkheim in Bavaria (1688- 1762). Pupil of Andrew Wolff. Painter of history and portraits, but best known by his engravings, which were from his own designs. Some of his pictures are in the churches of Augsburg, where he resided. BERINGEROTH BETtNA. 103 Beringeroth, Martin, born at Ramelsbourg, 1670; died in Leipsic, 1733. An engraver who executed a great number of portraits. Beringeroth, John Martin, born at Leipsic (1713-1767). Son of the preceding, and an engraver of portraits. Berkheiden, Job, born at Haerlem (1628-1698). He is not known to have had any teacher, but when young, made sketches which were so much praised that he determined to become an artist. His pictures are landscapes with small figures, and sometimes represent village fetes, etc., with some success. He travelled with his younger brother Gerit, and, when he returned to > Holland, was well patronized. He was employed by the Elector Palatine, when in Germany, and re- ceived from him a gold medal and chain. Entire pictures by him are rare. He painted some portraits. No. 845, Berlin Mus., a landscape, has his signature. He was drowned in a canal at Amsterdam. Berkheiden, Gerit, born at Haerlem (1645-1693). His pictures chiefly represent the exteriors of buildings in his own country, and 1 1 :il v. They are good, but not equal to those of Van der Heyden. His works are rare in public galleries. There is a fine series in the Hope Coll.; Amsterdam Mus., No. 26 is one of his best. The same is true of Dresden Gall., No. 1470. Louvre No. 28, is a view of Tra- jan's Column. Mr. Baring has an excellent view of a Dutch town, with numerous figures. Berkmaiis, Henry, born at Clunder, 1629; died at Middlebourg, 1690. His last instructor was J. Jordaens. At first he painted his- tory, but his portraits were so good, and in such demand, that he could not fulfil his commissions. He painted many of the most distin- guished men of his time. His best work is a large picture of the Company of Archers, in the Town Hall of Middlebourg. Berliiighieri, Marco, Barone, and Boiiaventura. These are three artists of this name mentioned as signing a treaty of peace with 1'isa, iu 1228. The works of Bmiavi-ntura alone remain. They con- sist of a series illustrative of the Life of S. Francis, in the ch. of that saint at Pescia; and No. 28, a " Crucifixion," in the Acad. of b'i ne Arts at Florence. These pictures are characterized by childish simplicity. The angels are merely motionless half-figures, with embroidered dresses, and the resoluteness with which the different occurrences in the life of the saint are crudely indicated, is ludicrous in the extreme. The sparrows to which he talks are huge birds, perched on trees rising from a conical hill; and those persons whom he treed from evil spirits have little devils flying out of their mouths. Berliiighieri, Camillo, called II Ferraresino, born at Ferrara (about 1596-1635). Pupil of Carlo Bononi. Painter of history. His works are chiefly at Ferrara and Venice. A picture of the " Miracle of the Manna," in the ch. of S. Niccolo at Ferrara, is a line work, also that of the " Annunciation " in S. Antonio Abate. Berna or Bariia. True name thought to have been Barna Bertini. 104 BERN A BERNINI. Sienese painter (died 1381 ?). In the capitular ch. of S. Girnignano, in the Valdelsa, there still may be seen some remains of the frescoes of this old artist. They represent stories from the New Testament, and have been injured by retouching. As far as can be judged, Barna combined the peculiarities of Simone and Ugolino minute drawing, abundant ornament, muscular limbs, stiffened action, close-fitting draperies, and a general flatness in effect. Vasari claimed praise for Barna on account of his having been the first to depict animals well. In the Berlin Mus. are three pictures, Nos. 1067, 1072, and 1142, which may be the works of Barna; the latter especially has his char- acteristics, and in the Chapel del Rosario at S. Dominico in Siena, there is a " Virgin and Child " attributed to him. He was killed by a fall from his scaffold. Bernabei, Pier Antonio, called della Casa, born at Parma. Flourished 1550. An imitator of Correggio. The Cupola of La Ma- donna del Quartiere proves him to have been a good fresco painter. Lanzi says, equal to any of that time in Lombardy, and perhaps in Italy. There are also considerable works of his at the Carmelites, and in other places in Parma. Bernaerts, Nicaise, born at Antwerp (1608-1678). Pupil of Francis Snyders. His pictures so nearly resemble those of his master that they have been sold as genuine Snyders. Bernard, Jan (1765-1833). A copyist of Paul Potter and Berghem. A member of the Institute, and of the Acad. of Fine Arts at Amsterdam. Bernard of Brussels. See Van Orley. Bernard, Solomon, or Little Bernard. An engraver, born at Lyons, 1512. His best prints are those for a Bible published at Lyons from 1550 to 1580. Bernard, Samuel, born at Paris, 1615. A miniature painter and engraver. Pupil of Simon Vouet. He attempted frescoes, but failed. He succeeded better in miniatures, but at last became an engraver. Bernini, Gio. Lorenzo, born at Naples, 1598; died at Rome, 1680. As early as his tenth year he had become known as a prodigy in art. At this time his father took him to Rome. Pope Paul V. became interested in him, and also Card. Barberini, who assisted him in his studies. Good fortune ever attended his steps, and, although he lived during nine pontificates, the favor of the reigning Pope was always his. His fame extended to other countries, and he was invited to France, to which country he went when sixty-eight years old, accompanied by one of his sons and a numerous retinue. He was loaded with favors, and received large sums of money and valuable presents. He held several benefices at Rome, and his son was Canon of Santa Maria Maggiore. He was buried with great magnificence in the last named ch., and left the immense fortune of BERNINI. 105 400,000 Roman crowns. He had versatility of talent, remarkable imagination and perceptive power, and marvellous facility of execu- tion. It has been said that marble was like clay, or wax, beneath his hand. He believed and constantly said that one must be above rules in order to excel. There is a fascination in the sound of this maxim, but Bernini's own works prove that its practical application is hurtful, and his extraordinary executive ability often failed to atone for the bad taste in which he treated his subjects. In short, his desire for picturesque and unusual effect made him an injury rather than a benefit to the art he practised. Westmacott says it would have been better for sculpture had Bernini never lived. His " Apollo and Daphne " was executed when he was but eighteen years old ; yet he himself declared, near the close of his life, that he had made little progress since it was produced. Some of his most important works were exe- cuted in the time of Urban VIII. , among which are the great altar of S. Peter's, in bronze and gilt, bi-nratli the centre of the dome ; the pulpit and canopy of S. Peter's ; colossal statues of the Four Doctors of the Church supporting the chair of S. Peter; the Campanile; the circular piazza before the Basilica, and the Pal. Barberini. The beautiful colonnade of S. Peter's was executed according to his plans, and under his direc- tion. He also built the Chapel of S. Teresa, in the ch. of Santa Maria della Vittoria; the ch. and high altar of S. Bibiano; a large part of the ch. of S. Anas- tasia; the celebrated Chigi I 'a I.; the Collegio Urbano di Propaganda Fide, besidi-s 4. - , i , APOLLO AND DAPHNE. BY BERNINI. portions of other churches and palaces. For Charles In the Villa Borghese, Koine. I. of England he executed a statue. For this purpose the king sent him three portraits by Vandyck, and the likeness was so satisfactory that, in addition to the 6,000 crowns paid for the statue, Charles sent him a ring worth as much more. The colossal equestrian statue of 106 BERNINI - BERTHELEMY. Louis XIV., executed by Bernini, was afterwards converted into Marcus Curtius, and was sent to Versailles. Bernini also executed the monuments of Urban VIII. and Alexander VII. in S. Peter's, and the decorations of the Bridge of S. Angelo. Among his charac- teristic and exaggerated works are the fountain in the Piazza Navona ; the " Ecstasy of S. Teresa," and the " Apollo and Daphne " before mentioned. Berre, Jean Baptiste, born at Antwerp, 1777; died in Paris, about 1830. A painter of subjects in the manner of Weenix. His pictures were highly finished, are much sought for by amateurs, and bring large prices. He lived mostly in Paris. His works are in several rich collections. Berreguette, Alonso, born at Parades de Nava, in Castile, about 1480. The most eminent Spanish artist of his time. He is called the Michael Angelo of Spain, for he was painter, sculptor, and architect. He studied with his father Pedro, and was painter to Philip I. He was in Florence in 1503, and went with Michael Angelo to Rome in 1505. He devoted many years to study in Italy, returning to Spain in 1520. He was appointed painter and sculptor to Charles V. He received 4400 ducats for the high altar of the ch. of S. Benito el Real, in Valladolid, where he settled. When almost eighty years old he went to Toledo, to construct a monument to Card. Tavera in the Hospital of S. John Baptist. He was lodged in the hospital, and there died in 1561. He left a large fortune, and was buried with magnificent ceremonies at the expense of the emperor. Berrestyn, C. V., flourished about 1650. A German engraver. There is one plate of a woody landscape, signed with his name and the above date, which is very scarce. Berretoni, Pietro. See Cortona. Berretoni, Niccolo, born at Montefeltro, 1627. He was the best scholar of Carlo Maratti. In the ch. of Montesanto, at Rome, there is an altar-piece representing a scene in the life of S. Francis, which is his best work. He became a member of the Acad. at Rome in 1675, and died in 1682. Bertaud, Marie Rosalie, born at Paris, about 1700. An en- graver, whose best works are after the pictures of Vernet. She was instructed by S. Aubin and Choffard. Bertelli, Cristofano, born at Rimini, 1525. We have a few plates by him, stiffly executed with the graver. Bertelli, Ferrando, born at Venice, 1525. He engraved mostly after the Venetian painters. Bertelli, Lucas. A relative of the preceding, who engraved after the Italian masters. Some of his prints are very scarce. Berthelemy, Jean Simon, born at Laon, 1743; died in Paris, 1811. Pupil of N. Halle. His subjects were historical and poetical. BERTHELEMY BETTELINI. 107 He painted ceilings in the Pal. of Fontainebleau, the Luxembourg, and at the Museum. He was a member of the Acad. and Director of the School of Design. Bertin, Nicholas, born at Paris (1667-1736). Son of a sculptor, who died while he was a boy. He studied with John Jouvenet, and later with the elder Boulogne. So much talent had he, that he gained the first prize at the Acad. when eighteen years old, and was sent to Rome with a pension from the king. He remained three years. Returning to Paris, he so distinguished himself, that he was made a Royal Academician in 1 703. He was employed by Louis XIV. at the Trianon. He painted in Normandy, and in the Abbey of S. Germain des Pres is a representation of the " Baptism of the Eunuch of Queen Candace," which is fine. Bertucci, Jacopo, called Jacopone da Faenza, flourished about 1530. Was best known as a copyist of Raphael, and also executed some good pictures at Faenza. Bertucci or Bertusio, Gio. Batista, born at Faenza, died 1644. Studied under Denys Calvart, and afterwards in the school of the Caracci. He painted history and imitated Guido. His drawing was good, but his color chalky and cold. Many of his works are in the churches of Bologna. Bervic, Charles Clement, born at Paris (1756-1822). A pupil of J. G. Wille. A fine engraver. A plate of the " Laocoon," made by him for the Muse'e Frai^ais, Bryan calls the best representation of that group ever engraved. It has been sold as high as 30. Beschey, Balthasar, born at Antwerp (1708-1776). A weak painter of history and portraits. Antwerp Mus. Nos. 496 and 497 are his, and seem to imitate Gaspard de Craeyer. They represent scenes in the life of Joseph. His own portrait is No. 498 Antwerp Gall. Beschey, J. F., born at Antwerp (1739-1799). A copyist of Dutch and Flemish painters. Besenzi, Paolo Emilio, born at Reggio (1624-1666). An imitator of Albano. His best pictures arc in the ch. of S. Pietro, at Reggio, and are worthy of commendation. Bestard. A Spanish artist who lived at Palma at the end of the 17th century. He ornamented several public buildings there, and painted a picture for the convent of Monte Sion, which was 24 palms wide, and 15 palms high. It represents " Christ in the Desert attended by Angels," and is the wonder of Palma. He had good knowledge of drawing, color, and chiaro-scuro. Bettelini, Pietro, born at Lugano, 1763. A very eminent en- graver. Thorwaldsen so esteemed him that he employed him to engrave his finest works. His plate of the " Entombment," after Andrea del Sarto, is called his clief-d' 1\ t rhampton, 1762; died at Bristol, 1819. Son of a carpenter, he was apprenticed to a tin and japan- ware maker. When he became his own master he removed to Bristol, where lie was first a drawing teacher and at length an artist. He succeeded in gaining a reputation rapidly, and his pictures had a ready sale. In 1814 he was appointed painter to the Princess Charlotte, and the next year was made a member of the Royal Acad. His genre pictures were the best, and he made a mistake in attempt- ing historical representations. Although not equal to Wilkie, he painted in his style. His best works are, the " Results of. the Battle of Chevy Chace," and the * Surrender of Calais." He was much respected, and was buried with honors in the Bristol Cath. Biscaino, Bartolommeo, born at Genoa (1632-1657). Studied first with his father, Gio. Andrea Biscaino, and later with Valeric Castelli. His early works showed great genius, and his future was full of promise. Although but twenty-five, he had painted several important pictures when the plague devastated Genoa, to which both Bartolommeo and his father were victims. There are three ' UNIVERSITY 1 1 BISCAINO BLACHERNITA. pictures by this artist in the Dresden Gall. He also etched some plates in a free, bold manner, with good drawing and high finish. Biset, Charles Emanuel, born at Antwerp, 1633. This artist went to Paris, where his pictures, which were conversations, or representations of gallant assemblies, were much in vogue. He met with good success, but his love of Antwerp caused him to return there, and he was made director of the Acad. in 1674. In the hall of the Society of Archers there is a picture of " Tell compelled to shoot the Apple from his Son's Head," which is the work of this artist. Bisi, Michael. A celebrated engraver of Milan. He gained his first reputation by the ' ' Pinacoteca del Palazzo lieale, della Scienze 'delle Arti," etc., which he published. He commenced a set of engravings after the works of Andrea Appiani in 1819, in which he was assisted by the best pupils of Longhi. Later he made plates after various masters, all of which were good. He also painted land- scapes with some success. Bissolo, Pier Francesco. A Venetian artist, who painted from 1500 to 1528. He was brought up in the school of the Bellini. His heads are beautiful and full of expression. His characteristics are gentleness, and delicacy of execution. In the Berlin Mus. there is a fine work of his, representing the " Resurrection of Christ ; " in the Manfrini Gall., an "Annunciation," and in the Venetian Acad. " S. Catherine of Siena, exchanging the crown of thorns for a crown of gold ; " signed Franciscus Bissolo. Bissuccio, Leonardo di. But one work of this artist is known to remain. It is the decoration of the monumental chapel to Sergiani Carracciolo, in the ch. of S. Giovanni a Carbonara, at Naples. It was built in 1433. The style of the pictures is Giottesque, but the heads are more like those of Fiesole. Carracciolo was the lover and seneschal of the younger Queen Johanna, and one of these pictures represents him naked, as he was found after his murder. There are also scenes from the " Life of the Virgin," and pictures of several members of the Carracciolo family. There is an inscription which clearly tells the name and origin of the painter. Blaceo, Bernardino. An artist of Udine, in the Frioul, who flourished about 1 550. His works are in several churches in Udine. Blachernita, Michael and Simeon. These artists were painters of miniature, or the illuminations of MSS. Their names are upon the miniatures in the celebrated Menologium or Calendar of the Emperor Basilius II. It was executed about 1000 A. D., and is now in the Vatican, No. 1613, Vaticana. It is supposed that Ludovico Sforza, Duke of Milan, procured it from Constantinople. There remain at present but five months, but these contain 430 miniatures on gold grounds, representing scenes in the " Life of Christ," and in the lives of those saints whose days occur in these months. This BLACHERNITA BLANSERI. ] 1 1 MS. was presented to Paul V. who placed it in the Vatican in 1615. Blackmore, John. An English mezzotinto engraver, who has left some well-scrflped plates of portraits. Flourished 1770. Blake, William, born in London (1757-1828). Poet and painter, a man of wonderful, rather than practical genius. He was appren- ticed to an engraver. He lived in a sort of dream-land, and took what he called portraits of Moses, Homer, Milton, etc. He said of himself, that his business was " not to gather gold, but to make glorious shapes, expressing godlike sentiments." He painted but little. He married Catherine Boutcher, who was a devoted wife. He also possessed the strong friendship of the sculptor Flaxman. He loved the antique, and the works of Raphael and Michael Angelo. His illustrations of the Book of Job, Young's " Night Thoughts," Blair's " Grave," etc., are astonishing conceptions, but his published works are too well known to need description or criticism. Blanchard, Jacques, born at Paris (1600-1638). When twenty- four he went to Italy, and lived two years in Rome and two in Venice. He perfected himself in the coloring of the Venetian masters, for which he was much admired after his return to Paris. He has been called the French Titian. His pictures are agreeable, and his flesh tints are very good. In the ch. of Notre Dame are two pictures by this master, representing the "Descent of the Holy Ghost," and u S. Andrew kneeling before the Cross." Several of his works are in the Louvre. He also etched plates from his own designs and those of other masters. Blanchet, Thomas, born at Paris, 1617; died at Lyons, 1689. At first he studied sculpture under Sarrazin, but abandoned it on ac- count of his delicate health. He went to Rome and studied under Andrea Sacchi. He was a friend of Algardi and Nicholas Poussin, both of whom advised and encouraged him. Returning to Paris, he painted the " Vision of S. Philip," and the "Baptism of the Eu- nuch," for the Cath. of Notre Dame, and was then employed to execute various works for the Hotel de Ville at Lyons. These last earned him a reputation as an historical painter. When admitted to the Ac ad. at Paris, he painted for his picture of reception, " Cadmus killing the Dragon." Blankhof, John Teunisz, born at Alkmaer (1628-1670). Pupil of Caesar van Everdingen. He spent some time in Italy. He ex- celled in marine views, and some of his best pictures represent storms on the Mediterranean coast, in which he imitated the scenery of Italy with Dutch truthfulness. Blanseri, Vittorio, born in Venice (1735-1775). Educated in the school of Cavaliere Beaumont, he was his best scholar, and his successor in the office of painter at the court of Turin. His principal works are in that city, one of which, representing " S. Luigi faint- ing," is in the ch. of S. Pelagic, and is much admired. 112 BLECK BLOEMEN. Bleck or Bleeck, Peter Van. A Flemish engraver, who went to England about 1730. He engraved in naezzotinto, and his plates have considerable merit. Bles, Henri de, born at Bouvignes, 1480 ; died probably 1550 at Liege. A painter of landscapes who belonged to one of the last branches of the Van Eyck school. He adopted an owl for his monogram, and was called Civetta in Italy. His manner was stiff and dry, resembling that of Jacob Patinier in color. He often introduced a Scripture subject in a landscape. No. 624, Berlin Mus., is one of his earlier works, and is a male portrait with a landscape background. No. 91, Munich Gall. Cabinets, represents the "Adoration of the Kings." In the Coll. of the Prince Consort at Kensington there is a " Crucifixion " by this master. His works are rarely for sale, and are much esteemed. Bloemaert, Abraham, born at Gorcum about 1564; died at Utrecht, 1647. Painter and en- graver, a contemporary of Ru- bens, and the son of Cornelius Bloemaert, an eminent architect. He painted history, landscape, and animals. His drawing was very bad. "The Wise Men's Offering," in the Jesuit ch. at Brussels; a " Nativity " at Leliendael; also Nos. 745 and 722, Berlin Gall.; No. 193, Munich Gall.; the " Feast of the Gods," in the Hague Gall., and a " Madonna " in the Mechlin Cath. are by Bloemaert. He de- serves the most attention as an engraver, for his etchings are good, his plates in chiaro-scuro are spirited and effective, and the outlines are not cut on blocks of wood, as is customary, but etched on copper. Bloemaert, Cornelius, son of the preceding. Born at Utrecht, 1603; died at Rome, 1680. A very distinguished engraver. He studied first under his father, then with Crispin de Passe. In 1 630 he went to Paris, where he distinguished himself . He went to Rome where he passed the remainder of his life. His engravings were fine, but he effected a change in his art, which added to his fame more than his works. Before his time there was an inattention to har- mony, and the lights were left indiscriminately clear, which had an incongruous and spotted effect. Bloemaert effected a gradual or insensible gradation from light to shade, and made a variety of tints in the distances. Thus he may be called the originator of the style followed by Poilly, Audran, Picart, and the great French engravers. His works are much prized, and several of them have become scarce. He marked his plates C. BL. or CORN. BLO. or C. BLO. Bloemen, John Francis Van, called Orizonti, bom at Antwerp, 1656; died at Rome, 1740. He painted like an Italian, for he went BLOEMEN BLONDEEL. 1 13 to Italy when very young, and there passed his life. His works are in the Colonna, Doria, and Rospigliosi palaces in Rome, and also in the pontifical Pal. at Monte Cavallo. He painted landscapes and received his sobriquet from the Soc. of Flemings at Rome, on account of the delicate beauty with which he painted his distances. His pictures are very unequal. He made choice of good subjects, and some of his best are almost equal to those of Gaspar Poussin, and although inferior to the latter he merits a rank among the best land- scape painters. His works are well known in England, and there are six in the Louvre, Nos. 33 to 38, also three landscapes in the Vienna Gall. Bloemen, Peter Van, called Standard, born at Antwerp (1649- 1719). Brother of the preceding. He went also to Rome, but re- turned to Flanders, with numerous studies made in Italy. He painted attacks of cavalry, from which he received the name of Standard; also battles, fairs, caravans, etc. His figures and animals were drawn with great freedom and spirit, and his landscapes were adorned with ruins of statues, and architectural ruins. In 1699 he was appointed director of the Acad. of Antwerp. In the Dresden Gall, there are six pictures by this artist. No. 993, " The Vagrant Family," is the best; next to it is one of Fishermen and an old gray .Horse, and Travellers with Horses before an Inn. Blond or Blon, James Christopher Le, born at Frankfort, 1670; died at Paris, 1741. He went early to Italy, where he studied under Carlo Maratti. He next went to Amsterdam with B. van Overbeck. There he painted miniature portraits which were much esteemed. He went at length to England, and attempted the printing of mezzotinto plates in colors, so as to represent perfectly the pictures from which they were made. He disposed of the prints which he made by a kind of lottery, and published a book upon the Harmony of Coloring in Painting. He also conceived the idea of making tapestries from the cartoons of Raphael. Houses were purchased, drawings made, and much money expended, but the scheme failed, and Le Blon went to Paris, and, it is said, died in a hospital. His prints, aside from their novelty, have some merit. Blondeel, Lancelot. Flourished at Bruges about 1520 to 1574. His pictures have rich architectural backgrounds, often in Renais- sance style; executed on a gold ground. The effect is brilliant. His figures are in the Italian style. His flesh tones are cold, and his whole execution mannered. In the ch. of S. Jacques, Bruges, is a picture representing SS. Cosmo and Damian, dated 1523; his earliest known work ; in the Cath. a "Madonna" with Saints, dated 1545 ; and the Berlin Mus. has two of his works, Nos. 641 and 656. The mantelpiece in the council-hall of Bruges was designed by Blondeel, and is adorned with stutues of Charles V. and other princes. He was originally a mason, hence his monogram of a trowel. 114 BLOOT BOCCACCINO. Bloot, Peter. A painter of Holland. Flourished about 1650, died 1667. He represented scenes from low life; drunken frolics, quarrels, etc. His characters are uncomely, grotesque, and even disgusting. Unlike some other artists, such as Ostade and Teniers, he has not attempted to reconcile us to vulgarity by ingenious arrangement or beautiful colors. His works are very rare and highly prized in Holland. Blooteling or Bloteling, Abraham, born at Amsterdam, 1634. His style indicates that he studied under the Visschers. He became a very eminent designer and en- graver, and produced a large number of etchings; some plates in mezzotinto, and some executed with the graver. He went to Eng- land in 1672, and remained two years. He etched plates of the Coll.. of gems of Leonardo Augostini, and published them in 1685. Blot, Maurice, born at Paris (1754-1818). Pupil of Aug. S. Aubin. He engraved in a neat style, and has left some plates of portraits and fancy subjects. Bobadilla, Geronimo, born at Antequerra ; died, 1680. Pupil of Zurbaran at Seville. He thoroughly understood perspective, and arranged the figures in his pictures well, but his designs were not good. His color was better. Murillo compared the varnish he used to crystal. He was one of the founders of the Acad. at Seville. He made a large Coll. of drawings, models, sketches after celebrated artists, etc. Bocanegra, Don Pedro Atanasio, born at Granada (1638-1688). A pupil of Alonso Cano, he also studied color from the works of Pedro de Moya and Vandyck. He was a boaster, vain and arro- gant, disliked by all who knew him, -and when he was challenged to prove his skill he stole away from Madrid to avoid the test. But his works were much esteemed, and no Coll. was thought complete without them. At the college of the Jesuits, Granada, is the " Con- version of S. Paul," one of his finest works ; and in the Cloister of Nuestra Senora de Gracia a " Conception." Boccaccino, Boccaccio, born at Cremona (1460-1518). Few facts are known in the life of this old painter. In 1497 he had painted a series of frescoes in S. Agostino, and had a school at Cremona, from which Garofalo ran away in 1499. His compositions are scattered ; his perspective bad ; but there is a certain grace and spirit in his figures. His remaining works are frescoes in the Cath. of Cremona ; at S. Quirico in Cremona, a panel much in the Vene- tian style of painting ; an early tempera on canvas in the Bishop's Pal. at Cremona; No. 132, Venice Acad., and an altar-piece at S. Giuliano at Venice. There are others that are supposed to be his in various collections, which are attributed to Perugino, Pinturicchio, etc. Boccaccino, Camillo, born at Cremona (1511-1546). Son of BOCCACCINO BOEYERMANNS. 115 the preceding. At the time of his early death he was the most promising artist of the Cremonese school. The " Raising of Laz- arus," and the "Adulteress before Christ," at Cremona, are well esteemed, and he painted the " Four Evangelists," in S. Sigismondi, in a style which showed great knowledge of perspective and fore- shortening. Bocciardo, Clemen te, called Clementone, born at Genoa (1620- 1658). His principal works are at Pisa, and a "Martyrdom of S. Sebastian," in the ch. of the Carthusians, is one of the best. Bocciardo, Domenico, born at Genoa, 1686. In the ch. of S. Paolo, Genoa, there is a picture by him of S. John baptizing several persons. Bockhorst, John Van, called Langen Jan, born at Munster, 1610. His family removed to Antwerp, and he became a pupil of Jacob Jordaens. He painted much in the style of Vandyck. His portraits were excellent, and his historical pictures rank among the best productions of the Flemish school. They are in many Flemish churches. In the ch. of S. James, at Ghendt, there is an altar-piece representing the Martyrdom of the Saint, and in the ch. of the Beguines, at Antwerp, a "Resurrection;" both fine works by this master. Boedas. Third son of Lysippus, the great sculptor of Sicyon. Nothing is known of Boedas but that he made a statue of a praying figure. Many believe the " Praying Boy " in bronze, in the Mus. of Berlin, to be his work. Of course there is no way of proving this, but the whole style points to the school of Lysippus. Boece, C. F. See Boetius. Boehm. See Beham. Boel, Pieter, born at Antwerp (1625-1680). He studied under Francis Snyders, but completed his education under his uncle, Cor- nelius de Wael, at Genoa. He was very nearly allied to the manner and excellence of Snyders, and considered a fine painter. His pictures are rare. At Antwerp then' is a series called the "Four Elements. " Munich Gall., No. 327, represents two sporting do^s guarding dead game ; very fine. His etchings were also fine, and :.ike place among the rarest works of the kind. A series of six plates of Birds, and a " Wild Boar Hunt," merit special notice. Boethus of Chalcedon. We have an account of three statues of boys by this sculptor. The "Boy with a Goose," in the Louvre, is copied from one of them. Boetiua or Boece, Christian Frederick, born at Leipsic, 1706. Lived chiefly in Dresden, and was made professor of the Electoral Acad. in 1764. He engraved several plates from the pictures in the Dresden Gall., for the volumes published in 1753 and 1757. He also engraved some portraits, and other subjects. Boeyermamis, Theodor, born at Antwerp (1620-1678.) An 116 BOEYERMANNS BOL. excellent painter, and imitator of Vandyck. Was made a member of the Antwerp Guild in 1654. His pictures are scarce. Either he did not put his name on them, or it has been removed in order to pass them as Vandyck's. The Antwerp Mus. has two of his pictures : No. 403, called " L'Ambassadeur," and No. 404, " The Pool of Bethesda," a large composition dated 1675. His works are also in the ch. of S. James, and the Convent of the Jacobins at Antwerp, but his chef-d' ceuvre is a representation of " S. Francis Xavier con- verting an. Indian prince ' ' in the Jesuit ch. at Ipres. Boissieu, Jean Jacques de (1736-1810). An tJ7o eminent engraver, who has left about sixty charm- i n o plates. They are of landscapes and other subjects, both from his own designs and those of other artists. He marked his plates D. B., with the date. He also painted some por- traits, and a few pictures of subjects similar to those of Ostade. Boizot, Louis Simon (1743-1809). French sculptor. His father was a designer, and at the age of nineteen Louis had gained the grand prize of the Royal Acad., and was sent to Rome by the king. The group of allegorical figures in the Place du Chatelet is his best work. There are two busts executed by him in the Gall, of Fontaine- bleau. Boizot, Marie Louise Adelaide, born at Paris, 1748. She was instructed by J. J. Flipart, and engraved with neatness both por- traits and other subjects. Bol, Ferdinand, born at Dortrecht, 1609 ; died at Amsterdam, 1681. A pupil of Rembrandt, whose style he followed but for a time. His historical subjects are not skilful in composition, and his heads have a tiresome sameness, while his color was too yellow. The force of his pictures is astonishing, and yet they lack refine- ment. His portraits were his best efforts; they were painted in full lights, and his flesh tones were truthful, while the expression was animated and life-like. One of his fine early works is a portrait painted in 1632, Berlin Mus., No. 810. His best work is probably that in the " Leprosenhuys," at Amsterdam, in which a doctor is recommending an infected boy to the Regents. The heads are masterly, and the hands are finely painted. In the " Huyssitten- Imvs " there is a picture of the same kind. Mr. Baring has a scene from Guarini's " Pastor Fido," and a couple of fine portraits. No. 42, Louvre, is also a portrait. In the town-house at Leyden there is an allegory of " Peace," and in the Dresden Gall., No. 1203 repre- sents " Joseph presenting Jacob to Pharaoh," and No. 1205, "David's Letter concerning Uriah." These last are of the best of his later works. Bol was also an engraver, and his etchings, though not equal to those of his master, are highly esteemed. His lights and shadows are good, and his style with the point is bold and free, rather than light and tasteful, like that of Rembrandt. BOL BOLOGNINI. 117 , Bol, Hans, born at Mechlin, 1535; died at Amsterdam, l-i /< 1593. An engraver and painter. At first he attempted ^ large pictures in size colors, but afterwards confined him- self to miniatures. His execution was good, as was his drawing also, and his animals, flowers, etc., are truthfully represented, as well as his portraits. He used his pictures for the decoration of books, an example of which may be seen in the Imperial Library at Paris, No. 708. His pictures are also in the cabinet of engravings at Berlin, and the cabinet of miniatures at Munich. He etched some plates too, from his own designs, which have considerable merit. Boldrini, Joseph Nicolas. A wood engraver. *t There is much difference in the accounts of this artist, but his plates are mostly after Titian, and it is thought that he studied under that great master. His plates are rare. Bologna, Gio. or Giaii, born at Douai (1530?-1G08). Called II Fiammingo. His father wished him to be a notary, but his taste for sculpture was early so decided, that he placed him with an artist named Beuch, who had studied in Italy. From this master he went to Rome, and at length settled in Florence. He founded his style upon the study of Michael Angelo, and was undoubtedly the best sculptor of his time ; but his works show the decline of art, when compared with those of the fifteenth century. He most excelled in the representation of abstract ideas, which gave an opportunity for the display of his great technical skill. In the treatment of religious subjects, which he rarely attempted, he was less successful. Among his best works may be mentioned the group of the " Rape of the Sabincs;" the equestrian statue of Cosmo I., in the Piazza della Siunoria; and a Mercury, in the Uffizi. A group of "Hercules mid Nessus," which stands near that of the Sabiues, in the Loggia df' Lanzi, is good, but not equal to the latter. A fountain in the l>ololi irardcns; ;i Venus, at the Villa of Petraca; a S. Luke, at Or S. Miclu'le, and a representation of Victory in the Palazzo Vecchio, ;uv all works of more than ordinary merit. These are but a small portion of the works of Bologna. The "Rape of the Sabines " is considered his cJtef-d'ceuiT<\ and copies of the Mercury are to be seen in many galleries and museums of art. Flaxman says that his " Venus coming from the Bath," both standing and kneeling, " are remarkable for delicacy and grace." Bolognese, H. See Griinaldi. Bolognini, Gio. Batista, born at Bologna (1612-1689). One of the best pupils of Guido Reni. His works are in several churches of Bologna. He also etched some plates after the works of Guido, \vliich an- done in a slight and spirited manner. Bolognini, Giacomo, born at Bologna (1664-1734). A nephew and pupil of the preceding, he became a painter of history. His pictures are in some Bolognese churches, and have considerable merit. 118 BOLSWERT BONCUORE. Bolswert or Bolsuerd, Boetius Adam, born at Bolswert in Friesland, 1580. Where he studied -engraving is not known, but he became eminent in that branch of Art. He followed the manner of Cornelius Bloemaert. He settled with his brother Scheltius in Antwerp, as a print-seller and engraver. He used the graver only. His finest plates are after Rubens, and have more color and finish than his others. Bolswert or Bolsuerd, Scheltius A., born at Bolswert, 1586. A very eminent engraver; in truth, one of the most so of his country. His plates embrace all classes of subjects, but he was especially happy in representing the finest works of Rubens and Vandyck. It is said that Rubens often re- touched his proofs with chalk, and he made the corrections with the graver. He never used the point. Some of these proofs are in the portfolios of lovers of the curious. Bombelli, Sebastian, born at Udina (1635-1685). Pupil of Guer- cino. Especially distinguished as a portrait painter and a copyist of Paul Veronese. Boschini says that in his imitation of Veronese, he could not be excelled. In early life he painted some historical pictures which gave promise of excellence, but portrait painting promised him greater rewards, and he confined himself largely to that branch of painting. He travelled through Germany and painted portraits of many eminent persons at different courts. Bonacina, Gio. Batista, born at Milan, 1620. An engraver who imitated Cornelius Bloemaert, without equalling him. His style is neat, but dry and stiff. .- Bonasoni, Giulio, born at Bologna about 1498. A T\D P a ^ nter an d ver 7 emiment engraver. Some of his J \fj pictures are in the churches of Bologna, but it is as an engraver that he demands attention. He was instructed by Marc Antonio, and although he did not equal him, he executed plates after the works of some of the best masters with great facility and elegance. He used the graver almost entirely. The distribution of lights and shadows, and breadth in the masses are especial points of excellence in his plates. He engraved after M. Angelo, Raphael, Giulio Romano, Parmegiano, etc., and also several plates from his own designs. Bonatti, Gio., born at Ferrara, 1635; died at Rome, 1681. Pupil of Guercino, and a protege of Card. Carlo Pio. Later, in Rome, he studied with P. Francesco Mola. In the Gall, at the Capitol there are works of his, and in the churches of Santa Croce in Gerusa- lemme, and Chiesa Nuova. Boncuore, Gio. Batista, born at Abruzzo (1643-1699). Pupil of Francesco Albano. His best characteristic is force and vigor of effect One of his best works is in the Chiesa degli Orfanelli at Rome. BONE BONIFAZIO. 119 Bone, Henry, born at Truro in Cornwall (1755-1834). He was a manufacturer of china, but became an eminent enameller. He was first distinguished by his copies of the " Sleeping Girl " by Sir Joshua Reynolds, but his greatest work was the ' * Portraits of the Illustrious Men and Women of England," which he reproduced in enamel. Since his death they have been bought by collectors of the beautiful. He was a member of the Royal Acad. Bonesi, Gio. Girolamo, born at Bologna (1653-1725). Scholar of Gio. Viani. He imitated Carlo Cignani. His works may be seen in the churches of S. Marino, S. Biagio, the Certosa, and other public edifices of Bologna. Bonfanti, Antonio. An artist of Ferrara, called II Torricella. His pictures are in the public edifices of that city. The most esteemed are the " Holy Family," in the ch. of La Santissima Trinita, and " Christ in the Temple," at S. Francesco. Bonfigli, or di Buonfiglio, Benedetto, born at Perugia (1420 ?- 1496?). He was superior to all the Umbrians of his time, except Piero della Francesca, and must have been acquainted with the classic art of Florence. His works were considered the greatest ornament of Perugia. His largest work was the Hall of the Palazzo Comunale, which he decorated with scenes from the lives of S. Louis of Toulouse and S. Ercolano. They were commenced in 1454, and were not finished in 1496. The progress of painting in his time is well illustrated in the works of Bonfigli, and they prepare the way for the excellence of Perugino. Besides the Hall already mentioned he undertook the chapel of the " Magistrate," and a Brutus in the refectory of the Priori in the Palazzo Comunale. For S. Domenico he painted an " Adoration of the Magi," now No. 18, Perugia Gall. ; for the company of S. Bernardino, a banner, 1465 ; a " Virgin of Mercy," 1478, and many works which testify to his great industry. Vasari says that Pinturicchio was the assistant and friend of Bonfigli, and Lanzi says that Perugino was his pupil. Whether tin-so artists were associated with him or not, they undoubtedly profited by his example, and were indebted to him for giving a consideration to Perugian art, which had not before belonged to it. Boni, Giacomo, born at Bologna (1688-1766). Pupil and as- sistant of Marc Antonio Franceschini. Said also to have studied under Carlo Cignani, whose style is imitated in some of his frescoes, such as the ceilings of S. Pietro Celestini at Bologna, and* S. Maria della Costa at S. Remo. A picture of the " Infant Jupiter," and a saloon at the Palazzo Pallavicino, by this master, are much admired. Bonifaccio, Francesco, born at Viterbo, 1637. Pupil of Pietro da Cortona. His works were in the public edifices of Viterbo, and possessed considerable merit. In the Palazzo Braschi is his picture of the, '' Woman taken in Adultery." Bonifazio, Veiieziuno (1494-1563). A pupil of the elder 1 20 BONIFAZIO BONVICINO. Palma, and an imitator of Titian. In color lie approaches the last- named master, and is altogether an eminent example of what patient application can do even when great talent is wanting. There are many works of his in Venice. His most pleasing pictures are those of simple arrangement, such as Saints and Holy Families. " The Rich Man's Supper," in the Acad. at Venice, is one of his best works. His latest pictures are weak and mannered. Bonington, Richard Parkes, born at Arnold, Nottingham (1801- 1828). A fine landscape and marine painter. He copied in the Louvre, was a student in the cole des Beaux Arts, and occasionally attended the studio of Baron Gros. He visited Italy, and painted some pictures in Venice. He exhibited a few pictures at the Eoyal Acad. before his death, but since the International Exhibition of 1862, he has been more appreciated in England. Bonone, Carlo, born at Ferrara (1569-1632). Pupil of Giuseppe Mazzuoli. He visited Bologna, and so admired the works of the Caracci, that he copied some of their principal pictures; he went to Venice, and to Parma, where he studied the excellences of Paul Veronese and Correggio. His small pictures are in the style of the Caracci, but his larger works are more akin to those of Paul Veronese. Many of his works are in the public edifices of Ferrara, and some of the best Ferrarese painters were his pupils. Bonsignori, Francesco, born at Verona (1455-1519). Little is positively known of this old master, although many of his works remain in Verona and Mantua, and specimens are to be seen in many of the large galleries of Europe. Vasari calls him a pupil of Man- tegna, but this seems improbable, upon a careful examination of his works, as a change in his manner about 1484 indicates that he came under the influence of Mantegna at that time. He was patronized by the Marquis Francesco Gonzaga, who gave him a salary and a house in 1487. Bonvicino, Alessandro, called II Moretto di Brescia, born at Brescia (1500-1547). At first he imitated Titian, but afterwards studied the Roman school, and produced a manner full of grace, stateliness, and simple dignity. His oil pictures were better than his frescoes, and his best works were quiet altar-pieces, for he did not succeed in the action necessary to historical painting. He has left fine works in his native city, and his pictures are to be seen in Vienna, Frankfort, Berlin, the Louvre, etc. A large altar-piece, representing " The Virgin between SS. Anthony and Sebastian," in the St'adel Institute, Frankfort, is worthy of notice. A colossal u Adoration of the Shepherds," Berlin Mus., is excellent. In the Imp. Gall., Vienna, there is a fine picture of S. Justina, with the Duke of Ferrara (called a Pordenone) kneeling beside her, which has been engraved by Rahl. His portraits have been likened to those of Titian, and he was the master of Moroni. The National BON VICING BOONEN. 121 A GLORIFIED MADONNA. BY IL MORETTO. Berlin Mus. Gall, has a portrait, and a picture of S. Bernardino and other saints, which is very fine. His works arc numerous. Booneii, Arnold Van, born at Dortrecht (1669-1729). Pupil of Schalken. He painted portraits and genre pictures. He is not equal to his master, whom he closely imitated. His pictures are taken frequently by candle-light. In the Dresden Gall. No. 1579, two young men, one smoking, is truthful and full of feeling. Nos. 1570 to 1582 are also by Boonen. He executed some large pictures for the different companies of Dort and Amsterdam, and the portraits of many distinguished personages. 122 BORDONE. 8. JUSTINA AND ALPHONSO I. OF FERRAKA. BY IL MORETTO. Belvedere, Vienna. Bordone, Paris, born at Trevigi (1500-1570). His portraits were his best works, and for them he is distinguished. He was of noble family, and well educated before he entered the school of Titian. Many of his female portraits are in the Uffizi; the Manfrini Coll., Venice; the Belvedere and Esterhazy galleries, Vienna; and in other places. All his heads are fine, and some of them closely resemble Titian. Two of his larger works are in the Berlin Mus., but the best of this class is in the Acad. of Venice, and represents the fisherman presenting the ring of S. Mark to the Doge; it is BORDONE BORGIANI. 123 splendidly executed. Bordone was invited to France by Francis I., and painted the portraits of the king and many of the nobility. Borgani, Francesco, born at Mantua. Flourished in the middle of the 17th century. Scholar of Domenico Feti. Lanzi says this artist merits more attention than he receives. His works are in the churches of Mantua. Borgiani, Orazio, born at Rome (1577-1615). Studied with his brother called Scalzo. Copied the works of the masters of Rome. A man of violent temper. Riding one day in a coach, at Rome, he saw some artists, among whom was Caravaggio, laughing at him; he sprang from the carriage, seized a bottle of varnish from the shop of a druggist, and threw it at the heads of the offenders. He passed some years in Spain, where he was well received and patronized, and on his return to Rome was employed by the Spanish ambassador. CORONATION <>! I 111: VIKGIN. BY BORGOGNONE. Iu S. Siiupliciano, Milan. 124 BORGIANI BOKZONE. His works may be seen in some churches of his native city, and he also left a few plates etched in a free, bold manner. Borgognone, Ambrogio. Flourished about 1500, born at Milan. His pictures are by no means excellent, but his heads arc gentle and meek in expression ; and sometimes they have a peculiarly austere and mournful look. His works may be see in Milan, especially in the ch. of S. Ambrogio; in Pavia the frescoes in the Carthusian Convent, formerly ascribed to Bramante, are by Borgognone. In the Berlin Mus. there are two works by this artist, one of which, an " Enthroned Madonna," has a high reputation. Borras, Nicholas, born at Cocentayna, 1530; died at Gandia, 1610. A priest, monk, and painter. He studied with Joanes at Valencia, and was his most ^eminent disciple. He took orders and lived as a priest in his native town, continuing to paint meanwhile. At length he went to the convent of the Jeronymites at Gandia, to paint some pictures for their high-altar. When his work was ended Ife refused all payment, and desired that the habit of their order should be given him. This was done and he remained in the convent three years, but hoping to find a stricter discipline, he went to a Franciscan monastery near Valencia. He did not remain long, and returning to Gandia, passed the rest of his life there. His industry was wonder- ful, and the number of his works immense. He not only gave his time and skill to his convent, but also devoted goodly sums of money for the comfort and elegance of its appointments. He hired sculptors and decorators at his own expense, and came to be considered a benefactor to his community. While he lived fifty masses were said yearly for his soul. The Mus. of Valencia has more of the pictures of Borras than of any other artist. There are about fifty of them, mostly on panel. His style is similar to that of his master; his heads are often striking, and his accessories finished with great care and minuteness. His coloring is colder than that of Joanes. Borrekens, John Peter Francis, born at Antwerp (1747-1827). A painter of landscapes, which were often ornamented with figures and cattle by other masters. Borrekens, Matthew, born at Antwerp, 1615. An engraver, who was chiefly employed in copying the plates of eminent engravers for print-sellers. He worked entirely with the graver, and imitated Pontius without equalling him. Borsum, Abraham van. A painter of landscapes, birds, animals, etc. His pictures resemble Rembrandt's in color. His drawings are highly esteemed in Holland, and sell for large sums. Borsum, Adam van. Flourished 1666. A painter of animals who imitated A. Vandermeer and Paul Potter. His color is good, and his drawing free and spirited. Borzone, Luciano, born at Genoa (1590-1645). Pupil of his uncle, Filippo Bertolotti. Painted history, but excelled most in por- BORZONE BOSCH. 125 traits. In the ch. of S. Spirito, Genoa, there is a "Baptism of Christ," and in S. Domenico a "Presentation in the Temple," by this master. He fell from his scaffolding in the Chiesa della Nunzi- ata, and was killed. Soprani says his house was the resort of culti- vated people, and he himself a man of great attainments. He left a few plates etched from his own designs. His three sons, Gio. Ba- tista, Carlo and Francesco Maria, were all painters, and the latter excelled in landscapes. Bos or Bosche, Jerome, born at Bois le Due, 1470. A painter and engraver. He represented very singular and grotesque sub- jects, such as devils, spectres, etc. These are treated with wonderful ingenuity. He sometimes painted more serious subjects, such as the " Flight into Egypt," and " Christ bearing his Cross." A very singular picture of his represents " Christ delivering the ancient Patriarchs from Hell." Judas attempts to escape also, and is seized by devils, who suspend him in the air. There arc so many works by this artist in Spain, that it has been thought he must have gone there. At the Royal Gall., Madrid, there are the ' ' Fall of Lucifer and the Angels ; " " Adam and Eve driven from Eden; " and the " Triumphs of Death," which is a very singu- lar picture. Death, scythe in hand, gallops on his white horse, driv- ing multitudes to the land of shades. Tin- entrance is fortified by coffins, and guarded by skeletons. Behind Death follows a sort of dead-cart, to take up the slain. In the foreground there is a com- pany of revellers, and ;i king falls dead. The plates of this artist represent the same fantastic subjects. They are in the stiff Gothic style, and are much prized by collectors. His manner of represent- ing his bizarre conceptions was almost demoniacal. He founded u style which other artists adopted. His execution was careful and sharp. Among his works are, Berlin Mus., No. 563, " The Last Judgment;" Antwerp Mus., No. 41, "Temptation of St. An- thony." The family name of Bosch was Agnen; he was called Bosch from Herzogenbusch, the German name for his birthplace. Bos, Lewis Janssen or John, born at Bois le Due (1450-1507). A painter of small portraits, flowers, fruits, etc. He finished with extreme nicety, and the insects on his plants were painted with surprising truth. Bos, Gaspar van den, born at Hoorn (1G34-1666). A painter of marine subjects. His storms and calms, with ships, have consider- able merit in color and finish. ' Bosch or Bossche, Balthasar van den, born at Antwerp (1681- 1715). Painted interiors with great success. His pictures were very popular. He also succeeded in small portraits. The Duke of Marlboruugh was attracted by his fame, and sat to him for his 126 BOSCH BOSIO. picture. He was represented on horseback, and the horse was done by Peter van Bloemen. His pictures were well arranged, his heads had life and expression, and his color was warm. Antwerp Mus., No. 448, " Reception of a Burgomaster of Antwerp in the younger Guild of Cross-bow Shooters." Boschaert, Nicholas, born at Antwerp, 1696. A fine painter of flowers and fruits. Boschi, Fabrizio, born at Florence (1570-1642). A pupil of Domenico Passignani. At nineteen he surprised the artists of his day by his excellence. The " Martyrdom of SS. Peter and Paul," painted for the Certosa at Florence, and an " Assumption of the Virgin " in the ch. of the Convent of S. Lucia, are among his best works. Boschi, Francesco, born at Florence (1619-1675). An excellent portrait painter. Boschiiii, Marco, born at Florence, 1613. Pupil of Palma, and an imitator of II Tintoretto. His ' ' Last Supper, ' ' in the Sacristy of S. Girolamo, at Venice, is one of his best works. He was a dis- tinguished engraver, and wrote a book called ' ' La Carta del Navegar Pittoresco." He signed his plates Marcus Boscliinius. Boscoli, Andrea, born in Florence (1550V-1606). Scholar of Santo de Titi. Painted history with some merit, also portraits with good success ; that of himself is in the Florentine Gall. Boselli, Antonio, flourished about 1500. Little is known of his life. He was a sculptor and painter. At Bergamo, believed to have been his native place, in the ch. of S. Cristoforo, there is a picture of " SS. Peter, Paul, and Luke," inscribed, Hoc opus Antonium scito pinxisse Bosellum, die 23 Februarii, 1509. In the ch. of the Augus- tines there are other works of his. Boselli, Felice, born at Piacenza (1650-1732). He copied the old masters to perfection, and his copies are numerous, but are seldom attributed to him, as they pass for originals. He attempted historical painting, but afterwards painted birds, animals, etc. These pictures are much esteemed in Piacenza, and are in the best collections. Bosio, Francis Joseph, born at Monaco (1769-1845). Pupil of Pajou, but he formed his style by the study of the antique. He was chief sculptor of the King of France, and his most beautiful works are in Paris. He executed many busts of the royal family and men of note. The bas-reliefs of the column in the Place Venddme were from his designs. 1 Hercules struggling with Achelous transformed into a serpent, in the Garden of the Tuileries (bronze) ; the eques- trian statue in the Place des Victoires; the statues of France and' Truth, at the grave of Malesherbes; the figure of the King of Rome; and the triumphal chariot of the arch in the Place du Carrousel; the nymph Salmacis, and a Hyacinth, in the Gall, of the Luxembourg, 1 A portion by Busio ; others by Bergeret. BOSIO BOTTICELLI. 127 are some of his best works. In 1830 Bosio completed the monument of the Countess Demidoff. He was also engaged on the monument of Louis XVI. Bosio was a Knight of the Legion of Honor, and the Order of S. Michael ; and a member of the French Institute and Royal Acad. of Fine Arts at Berlin. Bosschaert, Thomas Willeborts, born at Bergen-op-Zoom, 1613; died at Antwerp, 1656. Pupil of Gerard Segers. He went to Italy and remained four years. His pictures were fine and bear comparison with those of the firstf masters of his country. His picture of the " Martyrdom of S. Basil " is in the ch. of the Capu- chins at Brussels; the " Martyrdom of S. James " in the ch. of that saint at Bruges; and in the House in the Wood at the Hague is his emblematical picture of " Peace and War." He was a member of the Antwerp Acad. Bosse, Abraham, born at Tours, 1610. He wrote a treatise callen " La Maniere de Graver a 1'eau forte, et au Burin." He left a good number of plates, principally from his own designs. They are bold and masterly, etched with unusual spirit and freedom. Both, Jail and Andries. These brothers were so united in life that no separate story can be told of them. They were born at Utrecht about 1609-1610. Their father painted glass; they were pupils of Abraham Bloemaert, and went to Italy, where Jan, cluinncd by the scenery, gave himself to landscape painting, while Andries ornamented his pictures by figures, and painted some other subjects by himself. Of these last, No. 1214, Dresden Gall., is a good example. He also left etchings (ten), which are especially good. Jan succeeded in both large and small pictures ; the most apparent fault in them is their sameness. So much in harmony did the brothers paint, that one would not imagine their works not done by one hand. The National Gall., No. 71; the Louvre, No. 43; Amsterdam Mus., Nos. 37 and 38; and Nos. 17 and 18 at the Hague, are all good examples of their style. The ten landscapes etched by Jan are equally as good as his pictures. He also well engraved the " Five Senses," designed by Andries. Andries was drowned in a canal in Venice in 1645 ; and Jan returned to Utrecht, but did not survive his brother more than five years. Bottala, Gio. Maria, born at Savona, 1613; died at Milan, 1644. Went to Rome and studied under Pietro da Cortona, whom he always imitated, although he was called Kailuellino, from his love for the works of the great master. His works are principally in the churches of Naples and Genoa. One of his best pictures, the " Meeting of Jacob and Esau," was placed in the capitol by Bene- dict XIV. Card. Sachetti was the friend and patron of Bottala. Botticelli, Saudro. Real name Alessandro Filipepi, called Botticelli from his first master, a goldsmith. Born in Florence (1447-1515). Scholar of Fra Filippo Lippi, and twenty-two years 1 28 BOTTICELLI BOUCHER. old at the death of that master. Vasari says that at that time Botticelli was the best artist in Florence. His religious pictures are wanting in deep feeling, but have a certain sweetness and warmth which appeal to the heart more than the colder works of other artists, and even those of Ghirlandaio may be included in the list. In historical works he displayed his fanciful conception of his sub- ject, united with the impetuous energy of Filippo. He endeavored to raise his subjects above the ordinary mode, and also represented myths and allegories. About 1474 he was employed in the Sistine Chapel, and painted three large pictures, besides twenty-eight figures of Popes between the windows. The large works are full of action, the figures are expressive, and the landscapes beautiful. Of his allegories, that of " Calumny," at the Uffizi, is most remarkable. The " Birth of Venus," in same Gall., is naively sweet. These works prove him to have been a student of ancient architecture, and antique, classical statuary. His later works were finer than his earlier ones, and he received many honorable commissions. Lorenzo de' Medici was his employer ; he was of the number consulted re- garding the placing of Michael Angelo's " David," and his name is frequently met in Florentine papers of his time. During the very last of his life he degenerated, and his pictures of that period are poor and weak. He died in comparative poverty. His works are very numerous. There are many in Florence, some in Rome and other Italian cities, and they are to be seen in the Louvre, the Rational Gall., the galleries of Berlin, Dresden, Vienna, Munich, etc., and in private collections. Botticelli also engraved a number of plates. Bouchardon, Edme, born at Chaumont, 1698 ; died at Paris, 1762. Studied first with his father, and then at Paris, under Cous* ton. He obtained the first prize of the Acad. and went to Rome, where he diligently copied from the antique and executed a bust of Pope Clement XIL He made a copy of the " Barberini Faun," now in the Gall, at Munich. His most celebrated works were the " Fouri^ tain of Grenelle," and the equestrian statue of Louis XV. in the 1 Garden of the Tuileries, upon which Bouchardon labored for twelve" years, and which was destroyed in 1792. Some of his works may be seen in the gardens of Versailles and Choisy, and in the choir of the ch. of S. Sulpice. We have also a few etchings by this artist* Boucher, Francois, born at Paris (1704-1770). One of the most mannered of French painters. Wornum says he appeared " to have discovered a new race of human beings." He went to Italy, was a member and director of the French Acad., and ap- pointed principal painter to Louis XV. in 1765. He was also super- intendent of the tapestry manufactory at Beauvais. His pictures are of a decorative type. He painted all subjects in one manner. In his own style he could scarcely be equalled, not to say surpassed, and BOUCHER BOURDON. 1 29 his influence was bad, on account of the numbers who became his imitators. His form and color were at fault, and yet, for decoration on tapestry, his works have much beauty. His pastoral subjects were his best, and he thoroughly mastered the mechanism of art. He left several slight etchings. Boucquet, Victor, born at Furnes (1619-1677). His works are found in many Flemish towns. He painted history, and his pictures are well composed and well colored. The best altar-piece in the ch. at Ostend represents the " Descent from the Cross," and is by Boucquet; and in the great ch. and Town H#ll of Newport are some of his best works. Boulanger, John, born at Troyes, 1613. An engraver who adopted and improved upon the manner of John Morin, in finishing flesh with dots, which gave a very soft appearance. The draperies and background were harsh in contrast with the other parts, but his plates are well esteemed and have a good degree of merit. Boullongne, Louis, the Elder, born at Paris (1609-1674). A painter of history, professor of the Acad., and painter to the king. His best works are in the Cath. of Notre Dame, at Paris. He etched three plates: the "Miracle of S. Paul at Ephesus; " the " Martyrdom of S. Paul ;" and the " Rape of Helen," after Guido. Boullongne, Bon, born at Paris (16407-1717). Son of the preceding. He gained a prize at the Paris Acad., and received a pension from the king with which to go to Rome, where he re- mained five years, and then visited other parts of Italy. Louis XIV. employed him at Versailles, where he worked under Le Brim. He also painted in several churches in Paris. He excelled in Pastici, or the imitation of other artists, without being actually a copyist. He left several etch ings. Boullongne, Louis, the Younger, born at Paris; died 1734. Son of Louis the Elder. Having taken a prize, was sent to Rome. On his return was made painter to Louis XIV., and was employed at Fontaineldeaii and in the Chateau of Meudon. Some of his best works are in Notre Dame. His pictures are correct in drawing, vigorous in color, and his heads have character and expression. He used the point also, and left eight etchings of religious subjects. Bouman, P., born at Dort, about 1 764. A painter of landscapes and similar subjects whose works are much esteemed. Bourdon, Sebastian, born at Montpelier (1616-1671). After studying in Italy, he established his reputation by a picture of the " Crucifixion of S. Peter," now in the Louvre; he was one of the original twelve anciens of the Acad.; he went to Sweden for several years, but returned to Paris, and was Rector of the Acad. of Painting when he died. His landscapes were his best works, and resembled those of Salvator Rosa. He also painted a few genre pictures, and two portraits of himself, which are in the Louvre, in one of which 9 130 BOURDON BOYDELL. he was assisted by Rigaud. The National Gall, has a fine picture by Bourdon. He was skilful in handling the point, and his plates are valued by collectors. Bourgeois, Sir Francis, born in London (1756-1811). His family were Swiss. Pupil of De Loutherbourg, whom he did not perfectly imitate. He was a close student of nature, and painted very exactly from his subjects. This is especially seen in his half- dead trees and gnarled roots. His cottages are very good, similar to those of Barker, and his pastoral scenes well arranged. His gypsies, cattle, etc., are grouped in the manner of Gainsborough. He was invited to ^Poland, and although he did not accept the invitation, was appointed painter to the king, and made a knight of the Order of Merit. He was a friend of Mr. Desenfans, who bequeathed him valuable paintings, which he gave at his death to Dulwich College. Bousseau, Jacques, born at Chavaignes-en-Poitou, 1671; died at Madrid, 1 740. Pupil of Nicolas Couston. He rapidly rose to the rank of professor of sculpture in the Royal Acad. There are several statues by him in the Cath. of Notre Dame; and he executed the grand altar of the Cath. at Rouen, and the Tomb of Cardinal Dtibois in S. Honore. He was invited to Spain and appointed principal sculptor to the king. He lived many years at Madrid, and executed several fine works. Bout, Pieter and Nicholas, or Anton Frans Boudewyns. Natives of Brussels who flourished about 1700. They executed to- gether a great number of pictures which are midway between land- scapes and genre subjects. Boudewyns painted the landscapes, and Bout the figures, which were generally about an inch and a half high, dressed in gay colors, and full of character. Their compo- sitions were small, the skies bright, and the colors, which were doubt- less brilliant at first, are now dark and brown, especially in the landscapes. Bout also painted alone, and chose fairs, Flemish wakes, merry-makings on the ice, etc., for his subjects. In the Dresden Gall, there are six pictures by these artists, and at Vienna, two. Boy dell, John, called Alderman Boydell, born at Darrington (1719-1804). An engraver, and pupil of Toms. He deserves especial praise for what he did for art. He not only so raised the works of British engravers that they were sought by all Europe, but he undertook the illustration of Shakespeare, by plates from pictures painted by English artists. In his efforts he spent 350,000, and in 1789 his Shakespeare Gall, was opened to the public. There were 170 pictures, all by English painters. In 1805 it was necessary to dispose of these, on account of the pecuniary embarrassment which had resulted from his endeavors to relieve the artists of his own country, from the rivalry of others. They were sold by lottery. By the plates which he published, he also gave much employment to engravers. Boydell was, hi addition to all this, a designer and painter BOYDELL BRAMANTE. 131 in water-colors, and made a good sketch of the interior of his Gall., which is now known as the British Institution. In 1774 he was elected alderman, and in 1791 held the high office of lord mayor. In 1789 at the dinner of the Royal Acad., Sir Joshua Reynolds pro- posed his health as " The commercial Maecenas of England." The company, including the Prince of Wales, joined heartily in the toast. Braccioli, Gio. Francesco, born at Ferrara (1698-1762). His works were done for the churches and convents of his native city. Brakenburg, Regnier, born at Haerlem (1650-1702). Pupil of Hendrik Mommers. He represented scenes from low life, usually in the open air. He resembles Adrian van Ostade in color. His greatest fault is his incorrect drawing of the figure. He had great facility in execution, and understood chiaro-scuro; his pictures appear to be highly finished. At Windsor Castle there are two pictures of the Studios of Artists, by Brakeuburg. His works are in the galleries of Berlin and Vienna. Bramante d'Urbino. The real name of this great architect was Donato Lomazzo. The place and time of his birth are disputed, but his family were of Castel Durante in the Duchy of Urbino, and he died in 1514, about seventy years old. He first studied painting, and executed portraits and other subject's in a style resembling that of Andrea Mantegna. A few of his frescoes remain in Milan and Pavia. But it is as an architect that he was important. He was MBpk>yed on the following works in Rome.: the cloister of the monks dclla Face: the fountain of Trastevere; a large portion of the. Palazzo della Caneellaria; the arrangement of the space between the Vatican and the Belvedere: and the Basilica of S. Peter. He was appointed pontifical architect by Alexander VI. and Julius II. After his death the plan of S. 1'eter's was changed and the only remnants of his workmanship are the four great arches, supporting the tower of the dome. At first his style was mid and still', but it became majestic and elegant. He had great fertility of invention and undoubted genius. The work on S. Peter's advanced with wonderful rapidity under his Superintendence. He had little regard for the works of antiquity, and his destruction of some such at Rome w;is notorious. He was a bitter opponent of Michael Angelo, both for himself and on account of Raphael, who was his nephew, and for whom he was jealous of Buonarotti as a painter, as hi- was for him- self as an architect. The dislike of Michael Angelo for Bramante was also most cordial, and at one time they had a violent scene in the presence of the Pope. Julius appreciated them all, and retained all in his service. In a letter written long after Bramante's death, Michael Angelo used the following words, which are valuable .when we know the feeling which existed between them: " Bramante was, if any one deserves the name, one of the most able architects since the 132 BRAMANTE BRAUWER. days of the ancients. And, as it is evident now, whatever the stand- ard of beauty, whoever departs from his idea, as San Gallo did, de- parts from the very rules of art." Bramante was interred in S. Peter's with great honors. In 1756 his writings in prose and verse were discovered, and published in the coll. of Opusculi, at Milan. Bramantino. See Suardi. Brambilla, Gio. Batista. A Piedmontese painter who flourished about 1770. He acquired a good reputation. Some of his best works are in the churches of Turin. Bramer, Leonhard, born at Delft, it is said, in 1596. Kugler says he has reason to believe that he was born much later. His works are poor imitations of those of Rembrandt, although, as they are very unequal in their excellence, some are well esteemed. Nos. 1067, 1068, and 1069, Dresden Gall., are by Bramer. Bryan praises this artist, and says that his works were much esteemed at Florence and Venice. Brauwer or Brower, Adrian, born at Haerlem, 1608; died at Antwerp, 1640. Pupil of Frank Hals, of whom we are reminded in his laughing or grinning pictures, such as those of " Avaritia " and " Invidia." Most of his pictures were small interiors, although he painted some landscapes. It is said that Rubens praised Brower, and his works are excellent enough to warrant the fact. He espe- cially excelled in painting hideous faces. Like Hals he was dissi- pated, and in consequence died young. His pictures are scarce and valuable. The Munich Gall, has nine, six of which are among his best. No. 1147, Dresden Gall., is by him. He also left a few etch- ings, full of spirit and character. There are various anecdotes con- nected with this artist. He was the son of a woman who sold bonnets and handkerchiefs to the peasants, and it was the designs he drew for these, which brought him to the notice of Hals, who offered to employ him. When the master knew the full power of the pupil, he locked him up by himself, made him work hard, and sold his paintings for good prices. Adrian van Ostade, another pupil of Hals, advised Brower to run away. He did so, but the large price he received in Amsterdam for his first picture was a mis- fortune, for he immediately plunged into dissipation and only worked when necessity required it. When the States-General were at war with Spain he attempted to go to Antwerp without a passport. He was seized and imprisoned in the citadel where the Duke of Arem- berg was a captive. Through his interference Brower was furnished with colors, etc., and made a picture which was shown to Rubens. He recognized it as the work of Brower, whose fame had preceded him, and succeeded in getting him liberated. Rubens took him to his own house, but its order did not please Brower. He went away, fell into his disorderly habits, and died in a hospital and was ob- scurely buried. Rubens had him removed to the ch. of the Carmelites, and interred with respect and solemnity. BREA BREENBERG. 133 Brea, Ludovico, born at Nice. Flourished from 1485 to 1513. Is considered one of the founders of the Genoese school. Some of his works remain in the churches of Genoa, and are remarkable for their freshness. He painted small pictures principally. Brebiette, Peter, born at Mante, 1596. A painter and engraver, but best known as the latter. He engraved, in a spirited and masterly manner, some plates from his own designs, and some after Italian masters. Breda, John Van, born at Antwerp (1683-1750). Son of Alex- ander Van Breda, also an artist, and student of the works of Philip Wouverinans, which he copied industriously. His pictures became the fashion ; but he never apppoached the excellence of the master he imitated. Pie visited England with Rysbrack, the sculptor. When Louis XV. visited Antwerp in 1746, he bought four of Breda's pictures, and his courtiers engaged all he could finish, at good prices. Bredael, Jan Peters, born at Antwerp, 1630. Painted landscapes with figures in the manner of Jan Breughel. He introduced Italian architecture in his backgrounds. His color is heavy and dark, but his composition and execution are good. Bredael, Jan Frans Van, born at Antwerp (1683-1750). An inferior imitator of Wouvermans. Nos. 1707 and 1681, Dresden Gall., are by Bredael. Bree, Matthew Ignatius Van, born at Antwerp (1773-1839). Pupil of W. Schalken. He painted large historical subjects, and acquired a high reputation in Flanders. He was first professor at the Acad. of Fine Arts in Antwerp, and was teacher of some of the most eminent Flemish pa inters of his time. Bree, Philippe Jacques Van, born at Antwerp (1786-1840). Brother and pupil of Matthew, he also studied at Paris and Rome. The government of Belgium purchased his view of the interior of S. Peter's at Rome, and in addition to the price gave him a gold medal. Breenberg, Bartholomaeus, born at Utrecht (1620-1663?). Lived for some years in Italy. His pictures are mostly small, and he was fond of painting on copper. Some of his works will bear to be examined with the glass, and the figures are finished with delicate dots or touches. He succeeded in his historical subjects. That of " Joseph selling Bread during the Famine in Egypt," No. 1326, Dresden Gall., is a specimen, and the same subject is repeated life-size in the Emmaus ch. at Prague. He often enlivened his land- scapes with groups of figures illustrative of Scripture, mythology, or Boccaccio. The greatness of this artist was lessened by the cold- ness of his tones; his drawing, perspective, and execution were good. His works are in the National Gall., No. 208; Louvre, Nos. 50-55; 134 BREENBERG BREYDEL. Munich Gall. Cabinets, No. 508, and in the Vienna Gall. His etchings were even better than his paintings, and he left thirty-one, most of which represent Roman ruins in landscapes. These plates are much esteemed, and good impressions of them are scarce. Brekelenkamp or Breckeleiicamp, Quirin Van. Flourished about 1650. A good painter of home scenes. His best works are finished with great delicacy. He was a pupil of Gerard Douw, but his style is a mixture of Rembrandt's with that of his master. His works are much esteemed in Holland, where they are found in the best collections. Bresang, Hans. A German engraver who flourished about 1504- 1519. A contemporary of Hans Baldung, and believed by Zaui to be the same artist. His works are mostly wood-cuts ; he left but few copper-plates. The following are attributed to Bresang : Christ bound to the Pillar, with the cipher, 1504. The Dead Christ, with the Maries. The Dead Christ, stretched on a linen, supported by Angels. Christ and the Apostles, 1519. The Three Fates; 1513; very scarce. Breughel, Pieter, the Elder, called Peasant Breughel, born at Breughel, 1520 (?). Visited Rome, 1553; and died at Antwerp, 1569 (?). He represented scenes from peasant life, and was the first to apply himself especially to those subjects. His mode was coarse, and sometimes vulgar. He also painted Scriptural scenes, and some- times incantations and ghosts, like Jerome Bosch. He made skilful sketches when travelling. He also etched, and there are some wood-cuts from his designs. The Gall, at Vienna has a fine Coll. of his pictures. Breughel, Pieter, the Younger, called Hell Breughel, from the nature of his subjects. Very inferior to his father. Antwerp Mus., No. 255. Berlin Mus., No. 721. Breughel, Jan, called Velvet Breughel, born at Antwerp (1568- 1625). The most gifted of his family. He had versatility of talent, and painted landscapes, peasants, Scriptural scenes, and hellish or demoniacal subjects. His coloring was clear and strong, his finish good, and his effects of light well arranged. There are numbers of his works in the galleries of Dresden, Munich, and Berlin. We have four small etchings of his, marked, J. Sadeler, exc. Breukelaar, Henri, Junior, born at Amsterdam (1809-1839). His works are few, but were of great excellence for his age. His picture of ' ' Van Spyck at the Tomb of De Ruiter " is much admired by his countrymen. Breydel, Karel, born at Antwerp 1677 (?) ; died at Ghent, 1744 (?). Pupil of Peter Rysbrack. Painted views on the Rhine, and military subjects. One of his pictures is in the Gall, of the Duke of Aremberg at Brussels. BRIDELL BRONKIIORST. 135 Bridell, Frederick Lee, born at Southampton (1831-1863). A painter of landscapes of great excellence. He painted much in the style of Turner's second period. He failed most in his skies. Four of his pictures were sold at Christie's at prices ranging from 200 to 670 guineas. Briggs, Henry Ferronet, R. A., born at Norfolk, 1792; died at London, 1844. He painted historical subjects, but at length devoted himself to portrait painting, in which he had great success. His chief excellence was in color. Bril, Matthew, born at Antwerp, 1554; died at Rome, 1580. He was employed in the Vatican in the time of Gregory XIII., and had a pension. His early death prevented the perfection of his talents. Bril, Paul, born at Antwerp, 1556 ; died at Rome, 1626. Brother of Matthew, whom he joined in Rome, and with whom he studied. A new era in his branch of art may be dated from the time of this artist, and he influenced beneficially Rubens, Annibale Caracci, and Claude Lorraine. He left many works in oil and fresco. After the death of Matthew, Paul was continued in the Vatican with his brother's pension. He was much patronized by Clement VIII. , and painted in several Roman churches. For Sixtus V. , too, he had done many works, in the Sistine Chapel, in the Scala Santa, and S. Maria Maggiore. His "Building of the Tower of Babel," Berlin Mus., No. 731, displays his power to represent the fantastic. No. 744, same Mus., is a fine landscape of his later style. The Louvre has some of his best works, especially Nos. 67, 71, and 73. Briiickmaii, Philip Jerome, born at Spires, 1709. Pupil of J. G. Datluin. Painter lo the court, and keeper of the Gall, at Mentz. He painted landscapes, history, and portraits ; in some of the latter he imitated Rembrandt. He also left some plates etched in a pleas- ing style, with spirit. Briosco. See Riccio. Broederlain, Melchior. An old Flemish painter who flourished about 1400. There are some very curious works of his in the Mns. of Dijon. The pictures were on the wings of an altar-chest, and painted at the command of Philip the Bold. This work combined painting, sculpture, and architecture. The carving was done by Jacques de la Baerse. A description of it would require too much space, but it is very interesting in its relation to the art of its time, of which we have comparatively few such examples. Brompton, Richard, died 1790. Pupil of Raphael Mengs and Benjamin Wilson. The Earl of Northampton was his patron, and took him to Venice when ambassador to that republic. After his return to England, Brompton did not receive the encouragement which he desired, and went to St. Petersburgh, where he was well received and fully employed as long as he lived. Bronkhorst, John Van, born at Utrecht (1603-1680?). He was 136 BRONKHORST BRUN. first a painter on glass, and studied under John Verburg. He exe- cuted the fine windows in the new ch. at Amsterdam. When thirty- six years old he became acquainted with Cornelius Poelemberg, and abandoned glass painting. He did some pictures in imitation of Poelemberg, which were much admired, and also etched landscapes from his own designs and those of Poelemberg. Bronkhorst, Peter Van, born at Delft (1588-1661). Excelled in painting interiors, into which he was accustomed to introduce groups of small figures illustrating historical subjects. In the town-house at Delft there are two of these works, large, and representing the " Judgment of Solomon," and " Christ driving the Money-changers from the Temple." Bronzino, Angiolo, born at Monticelli, 1502; died at Florence, 1572. Pupil of Pontormo, friend of Vasari, and the devoted ad- mirer of Michael Angelo. His works were very unequal, and some- times almost disgusting from their bad taste, but he had remarkable ability hi drawing and painting. He was employed in many impor- tant works, and after the death of Pontormo, finished the Chapel of S. Lorenzo at Florence. His frescoes which remain are much in- jured, but he was most important as a portrait painter, and painted many illustrious persons of his time. His portraits have green back- grounds, and in style might be called Italian Holbeins. He was fond of rich garments, furs, etc., but managed them so as not to interfere with the dignity of the portrait. He was much in the habit of throwing a strong light and a golden tone on the face, while he kept the rest dark. In the Berlin Mus. is his portrait of Bianca Capella, and others. In the National Gall, are " Sensual Love," and a "Knight of S. Stephen." His most celebrated oil picture is the " Limbo," in the Uifizi. The larger part of his works are in Florence and Pisa, although there are a few of his pictures in most large collections in Europe. Brown, Mather, died 1810. A portrait painter who was well patronized by English families of distinction. His works are not above mediocrity. He sometimes painted historical subjects; one of these, the " Marriage of Henry VII.," was sold in 1828 for 21. Browne, John, born at Oxford, 1719. An eminent engraver of landscapes. He copied the works of great masters, and his plates were executed in a masterly manner. Bruges, John of. An old painter of 1371. He was patronized by Charles V. of France, for whom he decorated a translation of the Vulgate, now in the Westrenen Mus. at the Hague. He is designated as " Pic tor," which would indicate that he executed larger works, as " Illuminator " was the title used for the miniature painters. Brun, Charles Le, born at Paris (1619-1690). Son of a sculptor BRUN BRUNELLESCHI. 137 who was employed by Chancellor Seguier, he attracted the attention of that nobleman, who placed him under the instruction of Simon Vouet. When only fifteen he painted his picture of " Hercules destroying the Horses of Diomedes." When he was twenty-two his patron sent him to Italy and recommended him to Nicolas Poussin. He spent six years in Italy and returned to Paris with but one com- petitor to fear, Le Sueur. Le Brun, from the favor of the chancellor, became the favorite of the court, and was employed in large and important public works. He was made painter to the king and received the Order of S. Michael. He used his opportunities for a good purpose; no less a one than that of persuading his patrons and the king to the founding of the Royal Acad. at Paris in 1648. His pictures of the battles, etc., of Alexander rendered him very famous in his own country. He was especially successful in his pictures of the Holy Family. He could paint a round arm, a bit of delicate lace, or express a dimple wonderfully well. He succeeded as a portrait painter. In the Louvre there are twenty-six pic- tures by Le Brun, including the battles of Alexander. In Notre Dame, his " Stoning of S. Stephen," and "Martyrdom of S. An- drew." Brunelleschi, Filippo, born at Florence (1377-1446). A great architect. He may be called the father of the Renaissance. His father, Filippo Lapi, intended him for a lawyer or physician, but his love for mechanical pursuits was so great that he was placed with a goldsmith. He gradually came to be an architect, and was the first Florentine who applied geometrical rules to that branch of art, according to the usage of the ancient Greeks. Masaccio and Bene- detto da Majano profited by his example in the application of the rules of perspective to their pictures and mosaics. It is said that Brunelleschi spent much time in Rome studying the remains of ancient architecture and making drawings from them. In 1420 the Signoria of Florence called together the architects of all coun- tries, to consider the completion of the dome of the Cathedral. Bru- nelleschi presented himself, armed with well-digested plans, and, although sneered at, and opposed, the work was at length committed to him. He completed it, and, in spite of great trials and hindrances of every possible kind, he produced one of the greatest and boldest masterpieces of the world in any age. The ch. of S. Lorenzo (1425) is a specimen of his designs, where he commenced from the begin- ning; and the Capella Pazzi, in the courts of Santa Croce, is a proof of his ability to design the graceful and elegant. The Badia of Fiesole, and the Hospital of the Innocenti, are also fine. In secular archi- tecture he excelled, as may be seen in the Palazzo Pitti, which has not been surpassed, but has served as a model to the present day. Grimm says : u As an architect, he was not exactly the originator of the new style which supplanted the Gothic; but he was certainly the 138 BRUNELLESCHI BRUYN. master who, by his great power, stamped its superiority as a fact." Brunelleschi was also a sculptor and a worker in bronze. It is said that at one time Donatello had made a crucifix for the ch. of Santa Crocc with great care, and yet, when he showed it to Brunelleschi, the latter did not express his admiration. Donatello begged him to tell him his real thought of it. Brunelleschi replied that the figure on the cross was like a day-laborer, whereas Christ was of the greatest possible beauty. Donatello answered : " It is easier to criticise than to execute; do you take a piece of wood and make a better crucifix." Brunelleschi proceeded to the work, and when it was done invited Donatello to dine with him. He had placed the crucifix in a con- spicuous place in his house, and after buying various eatables he gave them to Donatello, and asked him to go on to his house, where he would soon join him. When Donatello entered he saw the carving, and was so overcome with admiration that he allowed the parcels of eggs, cheese, etc., to fall on the floor. When Brunelleschi came and found him still standing before it he said : " You have spoiled everything; on what are we now to dine ? " "I," answered Donatello, "have had quite dinner enough for this day. You, per- haps, may dine with better appetite. To you, I confess, belongs the power of carving the figure of Christ; to me, that of representing day-laborers." This crucifix is now on the altar in the Chapel of the Gondi. Brussel, Paul Theodore Van, born at Zuid, Polsbrock ; died early in the present century. One of the best fruit and flower painters of his time. He studied under Jean Augustine and H. Meyer, and was first employed in a tapestry manufactory. His latest works ape much the best, and are found in the finest collec- tions. Bruyn or Bruin, Abraham, born at Antwerp, 1540. An engraver, / A ^ \J} and one of the little masters. His portraits and small friezes of hunting and hawking are his best works, and are esteemed for their neatness. He worked with the graver only. Bruyn or Bruin, Nicholas, born at Ant- A C* O\ werp, 1570. Son of the preceding, under Y\X> \JS t whom he studied. He is an imitator of Lucas von Leyden. His plates possess con- siderable merit for the times in which he worked. Bruyn, Bartholomew de, flourished at Cologne from 1520 to 1560. He executed the wings of the large shrine on the high-altar of the ch. at Xanten in 1534. His portraits, No. 588, Berlin Mus., and one in the Cologne Mus., painted 1535, so much resemble those of Holbein as to be generally attributed to him. Nos. 112, 113, and 114, Munich Gall., representing the " Descent from the Cross," BRUYN BUGIARDINI. 139 with wings, is a good work. Berlin Mus., No. 639, is a work of his later time, in which he deteriorated; it is a " Madonna and Child," adored by the Duke of Cleves. He attempted in his last works to adopt an Italian style, greatly to his disadvantage. Some of these pictures are in the Cologne and Munich galleries, and are often attributed to Martin Van Hemskerk. Bry or Brie, Theodore de, born at Liege, 1528 ; died at Frank- fort, 1598. An eminent engraver. He imitated Sebald Beham. He worked almost entirely with the graver. His style was neat and free, and especially suited to subjects in which there are many figures, such as he frequently chose. He gave great spirit and ex- pression to his heads. He engraved the plates for the first four volumes of Boissard's "Roman Antiquities;" the two others were finished by his sons, John Theodore and John Israel. In Frankfort Bry was a print and book seller. Bucklaer, Joachim, flourished 1550-1570. Pupil of Pieter Aerts- zen, whom he imitated closely. His kitchen and market scenes were very popular. " Christ before Pilate," No. 78, Munich Gall., is by Bucklaer. Buffalmacco, real name Buonamico Christofani. Vasari says lu> was born in 1262 and died in 1340; that he was a pupil of Andrea Tafi : and Ghiberti bears out his statement that he was an excellent painter and able to outdo all others when he set his mind to it. Vasari' s account of him is very interesting. He seems to have been the wit and practical joker among the artists of his day. His fame has outlasted his works, for it is a matter of great doubt if any of these remain. Kugler says his existence is doubtful, and his life by A":is;iri a mere tissue of whimsical stories. Lord Lindsay, in his * Sketches of the History of Christian Art," says: u A merry wag, a careless spendthrift, living for the day without a thought of the morrow, and (as the phrase is) ' nobody's enemy but his own,' he drained the cup of pleasure to the lees and found misery at the bot- tom, dying, at the age of seventy-eight, a beggar, in the Misericordia, without a paul in his pocket to buy a coffin for his corpse or a mass for his soul, the type and mirror of a whole class of artists, whose follies and vagaries throw discredit on genius, while a certain kindliness of heart renders it impossible not to pity while we blame them." Bugiardini, Giuliano, born near Florence (1471-1554). Pupil of Mariotto Albertinelli. Michael Angelo formed a friendship for him in the gardens of S. Marco, and he is one of those whom (he great master attempted to employ as assistants in the Sistine Chapel. Bugiardini worked so long in an humble capacity, copying the drawings of others on panels, that when he came to work indepen- dently his powers of composition were dwarfed, and he could only toaster the simplest subjects. He sometimes seemed to imitate 1 40 BUGIARDINI BUONAROTTI. Leonardo. His portraits were as good as any of his works, and it is said Michael Angelo once sat to him. The Portrait is supposed to be in the Louvre, No. 526. Many of his works remain. The fol- lowing are some of them: Uffizi, No. 220; Leipzig Mus., No. 143; Bologna Pinacoteca, No. 26; Berlin Mus., Nos. 248 and 285, etc. There are many of his panels in Bologna; in the Colonna Pal., Rome, there are some, and a few in England, besides many in Italy not mentioned. Buister, Philip, born at Brussels (1595-1688). After studying in his native city he went to Paris, where he was somewhat distin- guished. He executed several sculptures for the park at Versailles, and the tomb of Cardinal De Rochefoucauld. This last was his principal work, and has been placed in the Musee des Monuments Bullinger, John Balthasar, born at Zurich (1713-1793). Pupil of John Simler, and later at Venice he studied with Tiepolo. He became an eminent landscape painter. He spent some time in Am- sterdam, and studied the best works there. He also executed several plates of considerable merit. Bunel, Jacques, born at Blois, 1558. Studied under Federigo Zucchero at Rome. One of the best French painters of his time. Some of his best works were for the churches of Paris. Buonacorsi. See Vaga. Buonamici. See Tassi. Buonarotti, Michael Angelo, born in the castle of Caprese, March 6, 1475. His father was Ludovico Buonarotti, and his home was in Florence, but at the time of the birth of this son he held the office of podesta or governor of the towns of Caprese and Chiusi. His mother, also of good family, was called Francesca; and his grandmother, so well known as Madonna Alessandra, was still living at the time of his birth. When Ludovico Buonarotti returned to Florence, the child, Michael Angelo, was left at Settignano, upon an estate belonging to his family. His nurse was the wife of a stone- mason, and, for many years, pictures were shown on the walls of the house in which he had grown up which he had drawn as soon as he could use his hands. At the proper age he was placed in a grammar-school at Florence, where he became acquainted with Francesco Granacci, a noble youth, five years older than himself, and a pupil of Ghirlandajo. Granacci became his most intimate friend. Ludovico had desired this son to be a scholar, and, to- gether with his uncles, harshly opposed his inclination to become an artist. But Michael Angelo was so determined that he carried his point, and, in 1488, was engaged to the Ghirlandaji for three years. At this time Domenico Ghirlandajo, who was one of the best mas- ters of Florence, was engaged in the restoration of the Choir of S. Maria Novella. Michael Angelo came, therefore, at the first, into BUONAROTTI. 141 the midst of great work. One day at the dinner hour Michael Angelo drew a picture of the scaffolding and all that belonged to it, with the painters at work on it. When Domenico saw the paper he was so astonished that he exclaimed, " He understands more than I do myself." His rapid progress soon excited the jealousy, not only of his fellow-pupils, but of Ghirlandajo himself. Michael Angelo' s first picture was an enlarged copy of Schongauer's plate of the " Temptation of S. Anthony." This plate is well known. In order to perfect himself in the representation of the fishy parts he constantly visited the fish-market, and made drawings there. He produced an excellent work, of which Ghirlandajo claimed the merit, as it was painted in his atelier. This picture is said to still exist in the Gall, of the Bianconi family at Bologna. Others believe that it is in the possession of M. de Triqueti, at Paris. The scholar soon proved that he knew more than his master, for it was the cus- tom for the pupils to copy the jdrawings which Ghirlandajo had made. Michael Angelo, one day, took one of these from the hands of a ^fellow-pupil, and with thick strokes corrected the lines of the master, in a manner which could not be objected to; after this he was refused the plates when he asked for them. About this time Michael Angelo made the acquaintance of Lorenzo dei Medici, then at the head of the government in Florence, and admittance was soon obtained for himself and Granacci to the gardens of S. Marco. In these gardens the art-treasures of the Medici were placed. There works of sculpture were arranged, and cartoons and pictures were hung, in buildings erected for the purpose. Numbers of young people were instructed there, and the old sculptor Bertoldo was their master. Michael Angelo's attention was now diverted from painting, and, making friends with the stone-masons, he obtained a piece of marble and some instruments. He first copied the mask of a Faun, but did not adhere closely to the original, for he opened its mouth so much, that the teeth could be seen. When Lorenzo visited the garden lie praised Michael Angelo, but he also said, " You have made your Faun so old, and yet you have left him all his teeth ; you should have known that, at such an advanced age, there are generally some wanting." The next time- he came, he found a gap in the teeth of the Faun, so well done that he was delighted with the work. (Now in the Uffizi Gall.) He sent immediately for the father of Michael Angelo. Ludovico, who had felt it a sufficient trial that his son would be a painter, was in despair at the thought that he might become a stone-mason. He refused to see the Duke. Granacci at length prevailed upon him to go to Lorenzo, but it was with the determination to agree to nothing. The manner of Lorenzo soon overcame him, and he returned home declaring that not only his son, but he himself, and all that he had, was at the service of the Duke. Michael Angelo was at once taken into the palace ; he was 142 BUONAROTTI. properly clothed, and had an allowance of five ducats a month for pocket-money. It was the custom of the Duke to give each day an entertainment. He himself took the head of the table. Whoever came first sat next him, and it often happened that Michael Angelo had this place. He was beloved by all the household, and Lorenzo often sent for him to show him stones, coins, and other valuable tilings, and to talk with him of his own studies. Poliziano also advised him, and gave him the marble for his bas-relief of the 4 ' Battle of Hercules with the Centaurs." This work surprised every one, and is still to be seen in the palace of the Buonarotti family. Bertoldo, for his part, instructed him in casting in bronze. He executed a "Madonna" in the style of Donatello, and made drawings in the Brancacci chapel after the works of Filippo Lippi. Life in Florence, at this time, was almost the perfection of life. " Whatever great things happened in the world were known, dis- cussed, and estimated there. What was indifferent was crushed under the abundance of what was excellent. Excellence itself was not blindly accepted according to outward signs, but it was tested by understanding before it was admired* Stirring social life mingled uninterruptedly with the most serious tasks, and, as a wholesome contrast to the sweetness of this existence, came the keen, critical judgment of the Florentine public, who allowed themselves neither to be deceived nor bribed in matters of culture. This state of society was only to be met with in Florence, and chained the Florentines to their native city, where alone they found the true, healthful recog- nition of their own refined minds." Lorenzo was the head of Florence, and Florence the head of art, poetry, philosophy, and religious movements. Thus, in the house of the Medici, Michael Angelo, when his mind was pliant, and his character still to be formed, received an education than which, for an artist, none could have been better; and, at that time, among the Romanic nations, young people were free from the embarrassment which often attends that age, and were accustomed to conduct themselves with ease under all circumstances, knowing nothing of the awkward, silent manner of the youth of more northern nations. The morals of Florentine society were as low as its cultivation was high, and in the same year in which Michael Angelo was admitted to the palace, Savonarola came to preach his crusade against the crimes of this wonderful city, and in the Lent of 1492 Lorenzo became suddenly ill. It was at this time that the effect of the preaching of Savonarola had reached its height, and even the great Duke felt that he could not die until he had seen this mighty preacher. It is probable that Michael Angelo was one of those who surrounded the bed of Lorenzo in his last hours. He was astounded by the death of his patron. Hi- U-ft the palace and arranged an atelier for himself in his father's house. At this time he executed a " Hercules " which is now lost. BUONAROTTL 1 43 After a time he was taken again by Piero Medici into the palace, his old rooms were assigned to him, and he was received at his table. But Florence was no longer what it had been, and before long Michael Angelo, in the midst of political troubles, made his escape to Venice. There he met Gianfrancesco Aldovrandi, the head of a noble house of Bologna, who, when he heard that Michael Angelo was a sculptor, invited him to that city. He remained there nearly a year, during which time he executed the figures on a sarcophagus which contains the bones of S. Domenico in the ch. of S. Petronio. This commission, given to a foreign artist, but twenty years of age, so aroused the hatred of the Bolognese artists, that they threatened vengeance on him. Michael Angelo returned to Florence. Dur- ing his absence everything had been changed. The name of the Medici was only heard coupled with curses. The pictures and statues of the garden of S. Marco had been scattered over the world. Many artists had left, and those who remained were struggling to decide whether their exquisite works were the results of a God-given genius or of the power of the Devil. Michael Angelo was depressed by all this, but Florence was his home. He prepared to remain there, and again found a Medici, called Lorenzo also, who became his patron. He was one who, having been persecuted by Piero, had fled to France, and returned in the train of Charles VIII. Condivi savs that at this time Michael Angelo worked upon some statues for Lorenzo, and also executed for himself a Cupid in marble. This statue led him in an unexpected manner to Home, for, when it Avas finished, Lorenzo advised him to give it the appearance of an antique, and said he would himself send it to Rome, and obtain a large price for it. Michael Angelo did this and received thirty ducats. The secret of its origin, however, was not kept. The Cardinal Avho had purchased it sent a nobleman of his household to Florence, to investigate the matter. This man pretended to be in need of a sculptor, and invited Michael Angelo, among others, to visit him. He came, and when asked Avhat Avork he had done, enumerated among others a " Sleeping Cupid." It was now ex- plained to him that in place of the thirty ducats which he had received, the Cardinal had paid tAVO hundred for the work. Finding himself deceived, as Avcll as a deceiver, he went Avith the nobleman to Rome. The latter promised to receive him into his own house, and assured him that he Avoiild find a large field for his lal>or, and one in Avhich much money could be obtained. The oldest writing in the hand of Michael Angelo is the letter which he wrote to inform Lorenzo dei Medici of his arrival in Rome. At this time he was twenty-one years old. In this letter he speaks of the beau- tiful things he has seen, but what these were we can scarcely tell, for the Rome of that day Avas not the city which we know. The first important work which he executed in Rome was the statue of 144 BUONAKOTTt the " Drunken Bacchus, " now in the Uffizi Gall. It was executed for Jacopo Galli, for whom he also made, the Cupid now in the Kensington Mus. But the work by which he passed from the standing of a good artist, to that of the most famous sculptor in Italy, was " La Pieta." It is almost impossible to judge of this where it now stands, in a chapel of S. Peter's. It is placed so high, and the light is so bad, that no satisfactory judgment of it can be formed. But Condivi says that from the time it was finished he was the first master in the world. This was done when he was twenty-four years old. In the same year, or the following one, he returned to Florence. During his absence other great changes had taken place. Florence had joined with Venice, and matters seemed to be prosperous. Michael Angelo's first work after his return was a " Madonna," now in the ch. of Notre Dame at Bruges. It is life size, and one of his finest works. Another work of this period is a painting now in the Tribune at Florence, representing the ' ' Holy Family." There was in Florence, at this time, an immense block of marble, which had been intended for a statue of a Prophet, to be placed outside the dome of S. Maria del Fiore. It had lain many years in the court-yard of the work-shops of the Cathedral. It had been offered to Donatello, but neither he nor any other sculptor had wished to undertake to make anything of it. Now Sansovino, lately returned from Portugal to Florence, desired to have this marble, and intended to join other pieces to it. The consuls would not consent until they had asked Michael Angelo if he would not make something good out of the block. He had just undertaken to execute fifteen marble statues for the funeral vault of the Piccolomini family in Siena. But when he saw the magnifi- cent block at Florence he left the work for Siena, and declared him- self ready to undertake it without any addition. Accordingly the order was issued on the 16th of August, 1501. He was allowed two years for his work, and was to receive six gold florins a month, while the additional sum to be paid was left to the decision of those who had ordered the statue when it should be finished. On Mon- day the 13th of September, furnished with a little wax model which he had moulded, now in the Uffizi, very early in the morning, he commenced his work. From first to last he executed the entire work, and in February, 1503, it was half completed. In the mean time another important political movement had taken place, which had thrown another work in the hands of Michael Angelo^ for the Republic had received additional favors from France, on account of which they felt obliged to comply with the request of the Duke de Nemours, to have a bronze copy of the " David," by Donatello, which stood in the court of the Palace of the Government, and in the summer of 1502, Michael Angelo undertook the work. One hindrance after another prevented its completion for years, and BUONAEOTTL 145 when it was finished it was presented to another French noble, and at the present day nothing is known of it. In the spring of 1503 he also contracted with the consuls of the wool-weavers guild for twelve Apostles, each eight and a half feet high. It had been found by this time that the master was not to be depended on, in regard to the time when his work should be finished. Therefore it was stipu- lated that one Apostle should be finished every year; that he should go himself to Carrara and choose the blocks, at the expense of the consuls; and that the price to be paid for the statue should be settled by arbitration. They also completed an atelier especially for him ; and on the completion of each statue he was to receive a twelfth part of this house; so that, when the whole were done, it should fall entirely into his possession. Although no contract could have been more promising, nothing was ever accomplished but the coarse sketch of Matthias, now in the court of the Acad. in Florence. With regard to the " David," he was enthusiastic, and so devoted to his work, that at the beginning of 1504 it was done. A meeting was called of the first artists of Florence, to consider where it should be placed. They met in the atelier before the statue, un- veiled for the first time. After much discussion, it was decided that the statue should stand wherever Michael Angelo himself desired. He chose the place next the gate of the palaee, where the " Judith " of Donatella then stood. The statue weighed 18,000 pounds. The scaffolding to remove it was devised by Cronaca, and consisted of a wooden frame-work within which the statue was suspended. The whole thing was laid upon oiled beams and drawn along by pulleys. On the 14th of May, at evening, the wall of the atelier was broken down, and the statue drawn into the open air. It took three days to move it, and during the night a watch was required, because stones were thrown at it, and there seemed to be a determination to destroy the work. Even the watch was attacked, and eight persons were arrested and thrown into prison. On the 18th of May it was successfully lodged in its place. The question of its removal lias sometimes arisen because it has been thought that it should be pre- served by having a roof over it. But the Florentines consider it a good genius of their city, and would regard its removal as an evil omen. Grimm says, " The erection of this David was like an occur- rence in nature from which people are accustomed to reckon. We find events dated so many years after the erection of the Giant. It was mentioned in records in which there was not a line besides respect- ing art." At this time the rivalry between Michael Angelo and Leo- nardo da Vinci commenced. Nothing could be more dissimilar than these two men. Michael Angelo was so temperate that he truly said of himself in his old age, " Rich as I am, I have always lived like a poor man." Leonardo loved to surround himself with lux- ury. Michael Angelo was bitter, ironical, and inclined to solitude. 10 146 BUONAROTTI. Although unwilling to injure the feelings of others, and even gentle in some aspects of his character, he was determined to be acknowl- edged as the first where he felt it to be due to him, and in matters of art would allow none to interfere with his rights. Leonardo loved admiration, and kept a retinue of flatterers about him. He was not less self- willed, but seemed to play with his talents, and to seek for something which would entice him to exert his powers. In personal appearance Leonardo was very handsome. His fine and expressive eyes and magnificent beard gave him an imposing presence. The head of Michael Angelo was broad, with projecting forehead, while the lower part of his face seemed too small for the upper portion. His eyes were small and light, and his nose, which had been crushed by Torrigiano in the gardens of the Medici, seriously disfigured him. It has been said concerning this occurrence that Michael Angelo provoked him, but others regarded it as the result of mere envy. Torrigiano fled from Florence, for Michael Angelo was carried home for dead. In February, 1504, Leonardo had. received the order to paint one wall of the hall of the Consiglio Grande. In spite of the fact that he had painted almost nothing, Michael Angelo deter- mined to compete with Leonardo, and secure the commission for the second wall. It was in this year that Raphael, attracted, it is said, by what he had heard of Leonardo and Michael Angelo, came to Florence. Thus the three greatest artists of modern times were met together. Rooms were assigned to Michael Angelo and Leo- nardo in which to prepare their cartoons, but in the midst of his work, the former was summoned by Julius II. to Rome. This was probably at the beginning of 1505. The Pope's attention had been called to Michael Angelo by Giuliano di Sangallo. But although he had commanded him with haste, it was some time before Julius gave him his first commission. This was for a colossal mausoleum to be built for himself. Michael Angelo sketched a design. Julius ap- proved it, and the Pope commanded him to select a place for its erection in the Basilica of S. Peter. A new Tribune had been com- menced, and he advised that it should be finished and the monument placed within it. The order was given to Sangallo, and Michael Angelo sent to Carrara to secure the marble for his great work. After many difficulties the marble was brought to the square and the whole city was amazed at the blocks. The Pope was delighted, and had a passage made by which he could pass from the palace to the atelier of the sculptor without being seen. Just at this time, in 1506, the "Laocoon " was found and occupied the minds of all Rome. Michael Angelo was now considered the first sculptor in Rome, and other artists began to be jealous of him. During his second absence in Carrara, Bramante influenced the Pope against him, and declared it to be an evil omen for him to build his tomb while living. It had been the custom for Michael Angelo to be admitted, unannounced, BUONAROTTI. 147 to the Pope at any time. He now found a change. His new marble had arrived, also the workmen whom he had hired in Florence. The Pope urged him no longer, neither would he give him money which he greatly needed. The master determined to understand matters, and to enter the palace. He was refused admission, and told by the servant that he had express commands that he should not come in. He went home, and wrote thus to the Pope: " Most Holy Father, I was this morning driven from the palace by the order of your Holi- ness. If you require me in future, you can seek me elsewhere than in Rome." He gave this letter to the cup-bearer of the Pope. He commanded one of his workmen to find a Jew to sell all he possessed, and to follow him with the money to Florence, while he mounted his horse, and rode without stopping until he was on Florentine ground. The Pope sent quickly for him, and commanded that he should be brought back by force. But he was a Florentine citizen, and he threatened to have the messengers slaughtered if they touched him. They used every means to induce him to return, but he replied that he would neither return then, nor ever; that he had not deserved to be treated as a criminal; that he considered himself released from his former engagements with his Holiness, and that he would make no others. When he reached Florence he returned to his work upon the cartoon. The Pope immediately wrote to the Signiory, urging the return of Michael Angelo, and promising that he should be received into full favor. But the master doubted the truth of the Pope, and waited until another letter came. Then the gonfalonier sent for him and insisted that he should return to Rome, saying, " You have treated the Pope in a manner such as the King of France would not have done," and declaring that they would not risk a war, and the safety of the state, on his account. Michael Angelo, mean- time, had received offers from the Sultan to go to Constantinople, ami was inclined to accept. A third letter came from Julius, and at last it was arranged that he should go in the capacity of an am- bassador, for then he would lie protected by the Florentine Republic. Just at this time, however, Julius left Rome to begin a war, during which Michael Angelo completed his cartoon in Florence. It was the well-known representation of the " Bathing Soldiers," and fur- nished studios for a generation of ar'ists, although it was never painted. There is, at the present day, but a small copy; and an engraving, by Marc Anton, giving a group of the figures; and another, by Agostino Veneziano, representing a still larger part of the whole. As for Leonardo's painting, it had perished before it was finished, for he had used oils, instead of painting alfresco. He had disagreed regarding the price that should be paid him, and had entered the service of the King of France. Michael Angelo remained victor in this conflict. In November, 1506, upon the taking of Bologna, there ame a letter requesting that Michael Angelo sliould be sent at once 148 BUONAKOTTI. to the Pope. Arriving at Bologna, he went first to the ch. of S. Petronio, to hear mass. A servant of the Pope recognized him and took him immediately to his Holiness. Julius was at table, but ordered that he should be admitted. When he saw him he could not entirely control his anger, and said, harshly, " You have waited thus long, it seems, till we should ourselves come to seek you." Michael Angelo kneeled down and begged his pardon, but added that he had remained away from no evil intention, but because he had been offended. Julius looked doubtful, and one of the ecclesiastics, fear- ing the result, interposed. He said the Pope must not judge the artist too severely, for that he was, like all of his profession, a man of no education, and ignorant of everything excepting art. The Pope now turned furiously upon him, exclaiming, " Do you venture to say things to this man which I would not have said to him myself? You are yourself a man of no education, a miserable fellow, and this he is not; out of my sight with your awkwardness." The poor man was so stunned that the servants were obliged to carry him from the hall, and the anger of the Pope being satisfied, he beckoned gra- ciously to Michael Angelo, and commanded him not to leave Bologna without his instructions. He soon gave him an order for a colossal statue in bronze to be erected in Bologna. Some of the letters which he wrote at this time, now in the British Mus., give much informa- tion regarding his life. He seems to be the centre of his family, to be depended upon for advice, and the upholder of all the others. He said his dwelling was mean, and had but a single bed in it, in which four people slept. In February, 1507, the Pope saw the model and approved it. It was at this time that he left Bologna for Rome. The first cast of the statue failed, and it was not ready to be placed in its position, before the portal of S. Petronio, until the 21st of February, 1508. The Pope was represented in a sitting attitude three times as large as life ; the right hand was raised, and in the left were the keys of S. Peter. The work being finished, Michael Angelo returned to Florence. In considering his more private life, he seems to have been especially alone. Other artists shunned him, not only from jealousy, but because they disliked his reproofs. He asked the son of Francia, a beautiful boy, to tell his father that his living figures succeeded better than those he put in his pictures. One reason for this severity was, that he so exalted the mission of an artist, and so faithfully adhered to his idea of duty, that he despised those who accepted an order for what they could not worthily fulfil. He assisted most cordially those who claimed his help, and it is possible that he wounded, without intending it, those whom he considered unfaithful in their art. At Florence he had much to do : the cartoon should be painted, the bronze " David," and the " Apostles " finished, and it was desired that he should make a colossal statue for the square before the Palace of the Government. BUONAROTTL 1 49 But Julius summoned him to Rome in March, 1508, and insisted that he should paint the ceiling of the Sistine Chapel. The task did not please him. He said he had painted nothing in colors, and must have other work. But the Pope only became more obstinate, and the master undertook the work. The first difficulty to be overcome was the arrangement of a scaffolding. This was done by Michael Angelo himself, and then came another obstacle, in the choice of assistants. After some time he selected a half dozen, and commenced his work. He soon found that he could not employ them. He had not the heart to tell them so, and so he went suddenly away, and when they came to work they found the chapel closed. They understood what he meant, and returned to Florence. He destroyed all they had done, and for the future arranged that no one but his color-grinder and the Pope should come upon the scaffolding. Julius soon became impatient, and tormented him with his haste. Between the spring and autumn of 1509, half the ceiling was completed. The Pope insisted that the scaffolding should come down, and what was done should be shown to the Romans. In order to ascend the scaffolding, the Pope was obliged to climb on ladders, and to take the hand of the artist for the last step. He came one day and said, ' ' When will you come to an end?" " When I can," replied the ma.-u T. "You seem indeed desirous," thundered the Pope, "that I should have you thrown down from this scaffolding." The master took the hint, and consented that his work should be shown. Even in the dust which filled the chapel, when the beams were removed, the Pope remained, admiring the work; and on All Saint's Day the whole of Rome crowded there to gaze upon the painting which had grown like magic. The ceiling of this chapel may be called the lie-inning of modern painting. Before this, arched ceilings had been divided into different compartments, but Michael Angelo ig- nored the dome; arranged his pictures as if the space were open above, and built an architecture out into the air, all by means of perspective delusion; and united the imaginary walls, to which he had given a magnificent cornice, by airy arches, extending from one marble breastwork to another. The spaces between the arches were filled with paintings drawn in perspective. The figures, which only serve to decorate the architectural part of the painting, are almost endless. Colossal slaves are seated by the arches at the edge of the cornice; bronze medallions appear inserted in the marble; figures like caryatides seem to support the edge of the cornice, etc. There is not a spot left unpainted. To describe the paintings, or even to enumerate their subjects, would require more space than we can allow ourselves. The Creation of the World, of Adam and Eve, the Expulsion from Paradise, the Sacrifices of Cain and Abel, the l)eluge, Sibyls and Prophets, the Death of Haman, the Serpent in the Wilderness, the Death of Goliath, and Judith and Holofernes, 150 BUONAKOTTI. are but a part of the subjects represented. At this time Michael Angelo stood alone in Rome. Raphael was also painting in the Vatican, and they appeared as the heads of parties. The Pope was on the side of Michael Angelo; the artists flocked around Raphael. The differ- ence between these two masters was as great as that between Leonardo and Michael Angelo. We can only think of Raphael as young, beau- tiful, and happy, with an inexhaustible power enabling him to work always; a power ap- parently unaffected by change of time or cir- cumstance. Michael An- gelo, on the other hand, was animated or re- tarded by the course of events. He could not forget the interests of his family or those of his country; and if his life is considered in its whole, he seems involved in everything of importance that occurred about him; while the life of Raphael can be told as a separate tale, scarcely including any but himself, and the mistress whom he loved. Yet we know that the works which Raphael produced in Rome are wonderfully above his former ones. May not the fact that here he was opposed to Michael Angelo have developed his strength to the utmost ? Bramante, too, now appeared as an opponent of Michael Angelo, and there were many attempts made to dislodge the great master from his favor with the Pope, and his employment in the Sistine Chapel. He now began the paintings of the second half, which were the most magnificent of his works. When the Pope had insisted upon removing the scaffolding, the pic- tures lacked retouching and gold. Julius now wished these wants to be supplied, but Michael Angelo dissuaded him from this, from his anxiety to commence his new works at once. " But it looks so poor," objected Julius. " They arc only poor people," replied Michael THE PKOPHET JEREMIAH. BY M. ANGELO. From the Sistine Chapel. BUONAROTTI. 151 Angelo, a whom I have painted there, and did not wear gold on their garments." This satisfied the Pope, who urged him on as of old, and would not allow him to go to Florence, although his presence was necessary there. His bronze " David " was finished by another sculp- tor, and many other affairs required his attention. At midsummer, 1510, he insisted upon leave of absence. The Pope demanded when he could be ready, in that case, with his chapel. " When I can," replied he. "When I can! When I can!" repeated the Pope angrily, and struck the artist with his stick. Michael Angelo went home, and the Pope sent his favorite page after him with money. His stay in Florence was short, and after his return the painting went rapidly on ; and the second half of the chapel was finished in the same time that the first had required, only twenty months being given to the whole work. Grimm says, " It needed the meet- ing of these two men ; in the one such perseverance in requiring, and in the other such power of fulfilling, to produce this monument of human art." In 1512, another revolution took place by which Flor- ence came again under the dominion of the Medici. Michael Angelo was in Koine, but his letters show how much he and his family suf- fered ; and bis father writes him that be is thought to be opposed to the Medici. His position in Rome was not a happy one. He could not obtain the money which the Pope owed him, and Raphael's influ- ence was increased, while his own was lessened. A separation seemed to have come between himself and the Pope, and be went for a time to Florence. On the 21st of February, 1513, Julius died. Almost immediately Michael Angelo resumed his work upon the mau- soleum. The Pope had mentioned this in bis will, and his heirs wen- anxious that it should be completed. A new plan and contract were made. It was at this time that he worked upon the "Moses," and probably, also, upon the two chained youths now in the Mus. of the Louvre. For three years he worked continually at the mausoleum. He resided a part of this time in Florence, but he had been released from all his engagements there. The twelve Apostles had been dis- tributed among younger sculptors, and his cartoon had been mali- ciously destroy ed in 1. ">!:>. Leo X. bad succeeded Julius, and the first matter in which he employed Michael Angelo was in the erection of a facade to the ch. of S. Lorenzo in Florence. This was a great work, and he raised many objections against undertaking it; the principal one being that he was bound by contract to work upon the mausoleum, and bad already received money for it. But the Pope, overcame all difficulties, promised to satisfy his employers, and also to allow him to go on with the mausoleum ; and, for this purpose, promised that the marble should be conveyed to Florence at his own expense, which promise was not fulfilled. During the winter of 151 7- 18, while Michael Angelo was breaking up his home in Rome, in order to remove to Florence, he executed a painting. It is not positively 152 BUONAROTTI. known what this work was, but there is good reason for believing it to have been one from which Sebastian del Piombo painted the " Scourging of Christ," in a chapel of S. Pietro, in Montorio. On the 25th of February, 1518, Michael Angelo was again in Carrara for the purpose of obtaining marble, which he needed in Florence. Upon his arrival he found that the contracts which he had made had not been carried out. He had much trouble, and at length, in order to show the people of Carrara that he could do without them, he opened quarries at Seravezza and Pietrasanta, situated on the Flor- entine territory. But these things involved him in great difficulty, and several months after, he writes that he is tempted to leave every- thing and return to Carrara, for they had called him back with as many entreaties as if he were Christ himself. At length he went and ordered his blocks sent to Florence, and afterward divided his time between Carrara, the new quarries, and Florence, where they were laying the foundation for the f a9ade. In August he bought the land on which to build a house. All this year he had nothing but trouble. In the new quarries there was much sickness, and the men were idle and unfaithful in every way. In October he was himself ill ; but at last, during the winter, he succeeded in conveying a num- ber of pillars and blocks to the sea-shore, to be shipped to Florence, when, in the spring, a command came from Rome to leave every- thing. The building was postponed, and no payment ! Although Michael Angelo complained to the Medici in this matter, the circum- stances by which they were surrounded compelled them to this course of action. For a time Michael Angelo was much disheartened. At last he commenced again upon the mausoleum. Card. Medici now wished to erect a monument to his family in the form of a chapel, in the ch. of S. Lorenzo. This was commenced in 1520. In 1520 also, Raphael died ; Leonardo had died in France a year before; and soon after came the sudden death of the Pope. The Medici had little money, and their work progressed slowly ; and Michael Angelo was left free for the mausoleum and some incidental labors. Adrian, who had succeeded Leo, did not live a year in the Vatican. His simplicity, and his mode of life, had not suited the people, and he died unlamented. Card. Medici now became Pope, and the building of the Sacristy was resumed, besides which it was resolved to erect a library of S. Lorenzo. Michael Angelo received fifty ducats monthly, and commenced his work upon the statues of the Dukes of Nemours and Urbino, two of the noblest monuments that sculpture has produced. In the spring of 1524, the Card, of Cortona made his entrance into Florence as regent, and two months later Ippolito and Alessandro, in whose name he reigned, followed him. In 1525, Clement VII. summoned Michael Angelo to Rome. The heirs of Julius II. complained of the delay in the completion of the mausoleum, but it was agreed that the matter BUONAROTTI. 153 should be left to the Pope, and he decided that, on account of his own need of Michael Angelo, the other work should be given up. Bandinelli was at this time the favorite of Clement VH. He hated Michael Angelo, and desired to obtain the commission for a statue to be placed at the gate of the Palace, opposite the " David." With the new Pope he succeeded, and the marble for the statue arrived at Florence in 1525. The citizens felt that Michael Angelo had been unjustly treated; and when the marble fell from the vessel into the Arno, a lampoon, written in rhyme, was circulated, in which it was said that the marble, sorry to have been taken from Michael Angelo, would have drowned itself in order to escape Bandinelli. The dis- grace was all the greater when we consider that Bandinelli was nothing. Had he been a great master, the trial would have been lessened, both for the citizens and their sculptor. The cupola of the new Sacristy was completed in 1525. This year and the two following ones were times of great political agitation, both in Florence and Rome; and, at length, on the 17th of May, 1527, the Medici had departed from Florence, and the Consiglio Grande was to assemble on the following day. Michael Angelo was in Florence. Little progress had been made in the Sacristy, which was now, of course, given up. There is no doubt but Michael Angelo sat in the Consig- lio. Capponi was elected gonfalonier. At this time Clement was imprisoned in the Castle of S. Angelo. In December he obtained his freedom, and went to Orvieto, where he opened negotiations with Capponi. Little is known of Michael Angelo at this time ; but in August, 1527, the new government transferred the block of marble to him. With the year 1529, a fierce strife of parties began in Flor- ence. Capponi was forbidden by the state to communicate with the Medici. It was discovered that he did so, and his office was iimnr- diately taken from him. Carducci was appointed in his place. In 1529, Michael Angelo was appointed superintendent of the fortifi- cations of Florence and the Florentine territory, and the govern- ment of Carducci demanded an activity that his power for labor could scarcely satisfy. He first turned his attention to the fortifica- tion of S. Miniato, and the works went on with wonderful rapiditv. Pisa, Livorno, Cortona, and Arezzo were to be made defensible, and in the early part of 1529 Michael Angelo was sometimes in Florence, and sometimes in these other cities. Ferrara was at this time the real military state in Italy, and its duke was regarded as the best soldier and politician .of the time. Michael Angelo was sent by the government to confer with him, and to see the fortifications, and arrived at Ferrara the 2d of August. He remained more than a week, and was awaited at Florence with great anxiety. During his absence tidings arrived of the peace at Cambray, and it was plain that Florence must now depend upon herself alone. On the 8th of September Michael Angelo had been required to give his advice at 154 BUONAROTTL Arezzo. He soon after this became suspicious of Malatesta, to whom the height of S. Miniato had been assigned. He went to the palace to express his apprehensions. He was sure that Malatesta was a traitor. At the palace they listened with scorn, and were offended. Leaving it in great agitation he met a friend, Rinaldo Corsini, who assured him that the following day the Medici would be in the city. They decided to fly. They tried one gate after another which they found closed. At length they came to the Porta di Prato. Michael Angelo gave his name as superintendent of fortifica- tions, and they were allowed to pass. Nothing can free him from reproach in this matter; but justice requires that the motives by which he was influenced should be considered. He saw plainly what must occur. He was unable to arouse those in authority to the truth. He would not witness the destruction of Florence. His aged father and his family depended upon him, and he must preserve his life. After many adventures he arrived in Venice, Corsini having been separated from him. It was thirty years since he had seen that city, and during that time its art had been perfected. The nobles wished to take advantage of this opportunity to retain Michael Angelo in Venice, but he declined. He contemplated going to France. While he remained, he lived quietly in a hired house. The 30th of September, 1529, a proclamation of proscription was pub- lished in Florence against thirteen citizens, who were declared to be rebels unless they returned before the 6th of October. The name of Michael Angelo was the eighth upon the list. The great master had always admired Dante, and it was natural that at this time he should think of him. For he, too, had gone into exile, on account of politi- cal views. Grimm thinks that his sonnets on Dante must have been written at this time. I give a single quotation : " I speak of Dante, him whose mighty mind Was ill-conceived by that ungrateful race With whom the great no recognition find. Oh ! were I he, then the same fate were mine, His exile and his power alike to share; Happiest of all that earth could me assign." Soon letters began to come which showed him how much they wanted him in Florence. At length he was summoned to Ferrara, to meet the Florentine ambassador there, and after much negotiation, in the middle of November he returned once more to his native city. It was on this journey that, in Modena, he met Begarelli. Tliis artist knew not how to use marble ; but his statues in clay were won- derful, and Michael Angelo is said to have exclaimed, " Alas for the statues of the ancients, if this clay were changed into marble ! " The winter which followed his return was one of fearful suffering in Florence. In January the supreme command was given to Malatesta Baglioni. The imperialists kept up a close siege, and between the BUONAROTTI. 155 15th of March and the 15th of April, 5,800 persons perished. Great scarcity prevailed. Meat almost disappeared, and sickness was in- creasing. Hope and fear alternately swayed the city. The history of the city must be the history of Michael Angelo. He was much occupied upon the fortifications, especially those of S. Miniato. There were, however, days when the danger seemed less, which he spent in quiet among his marbles. He took up his brush, neglected for nearly twenty years, and commenced the " Leda with the Swan," for the Duke of Ferrara. This picture has disappeared, but engrav- ings and copies remain. That in the Dresden Gall, gives a good idea of the design and painting. At length a gleam of hope passed over the city. Francesco Ferrucci appeared without the walls. He demanded reinforcements^ from Florence. They went to him, and from the 24th of March until the 3d of August he was engaged in brave attempts to deliver the city. On that day he was killed. Hope and courage seemed dead, and on the 8th of August, 1530, the freedom of Florence was ended, and the followers of the Medici ruled. Many of the citizens fled, others were concealed. Michael Angelo was among the latter. But his name was too great for any harm to come to him; and at length, freedom, and the continuance of his old commissions were offered him, if he would come forward. He did so, and resinned his labors in the Sacristy. He seemed to endeavor to kill himself with work, and within a few months, the four colossal figures, which lie on the coffins at the foot of the stat- ues of Lorenzo and Giuliano, were placed in niches. They repre- sent Morning, Evening, Day, and Night ; and, although none are fin- ished, they have excited wonder and admiration, and are considered by many as the greatest works of this great man. These statues and those of the two Dukes seem to have been carried on equally. The artist was treated with consideration, and money was paid when- ever it was required. This expressed to him that his political past was to be forgotten. But he never denied his views. When the statue of Night was first exhibited, verses were aflixed to it ac- cording to the custom of the time. Among these was the following : " Night, whom you see slumbering hen- so charmingly, has been carved by mi angel, in marble. She sleeps, she lives; waken her, if you will not believe it, and she will speak." The word angel, here, referred to the Angelo of the sculptor's name. He made the statue reply thus: " Sleep is dear to me. and still more that 1 am stone, so long as dishonor and shame last among us; the happiest fate is to see, to heai- nothing; for this reason waken me not I pray you speak gently.'' The anger expressed in these lines is as great as the courage, which dared thus publicly to utter them. This was probably written in the spring of 1531. In September, 1531, the first notice of Michael Angelo after the conquest of the city occurs. It is ii letter addressed to Uaccio Vulori, in Rome, written by an uncle 156 BUONAROTTI. of Antonio Mini, who was in Michael Angelo's service. His friends had become alarmed, and they desired that the Pope should know of his situation. He was now almost sixty, and the letter pictures him sick and sorrowful, unable to sleep, having no appetite, and wilfully working in a cold, damp place. And in the midst of all this wretchedness he had produced his wonderful "Aurora," His mind was tormented, too, about the mausoleum of Julius. He had received money, but had not completed the work. He feared that he should die, and that his heirs would be entangled in a lawsuit ; and he begged the Pope, as well as the Duke of Urbino, that a set- tlement should be made. His friends and the Pope undertook to assist him, and he went to Rome where the matter was satisfactorily arranged. On the 30th of April, 1532, he* returned to Florence to continue his work at the Sacristy ; and now, for the first time, he employed assistants. He worked steadily until September, when he went again to Rome, and made the drawing, according to which the mausoleum was at length finished. We have no information of him from this time until September, 1534, when Clement VII. died. Michael Angelo then left his work at S. Lorenzo, never to resume it. He had incurred the displeasure of Alessandro, who reigned in Florence ; but the protection of the Pope had sufficed to preserve him from insult. Now Clement was dead he would return to Florence upon no condition. Other things in Florence had pained him. A citadel had been built by Antonio di San Gallo, and Bandinelli's group had been placed opposite the "David." Just thirty years elapsed be- tween the erection of the two statues, and those years may be said to have witnessed the rise, progress, and early decline of Italian art. The world had almost ceased to reckon Michael Angelo among its painters, when he again entered the Sistine Chapel, and commenced his " Last Judgment." When first this task was proposed to him he declined it. After this a discussion arose between himself and Se- bastian del Piombo as to whether oil or fresco painting should be used. Michael Angelo declared oil painting was for women, and men should paint in fresco. Paul III., the new Pope, thoroughly appreciated Michael Angelo, and in his intercourse with that master his character appears in its best light. In 1513, when Card. Far- nese, the master had made for him the designs for two candelabra which still remain in the Sacristy of S. Peter's. When he first sent for the sculptor, and requested him to enter his service, he was told that it was impossible, on account of his engagement with the Duke of Urbino. The Pope answered angrily, " It is now thirty years that I have had this desire ; and, now that 1 am Pope, shall I not be able to effect it V Where is the contract, that I may tear it ! " But Michael Angelo remained firm, and even contemplated removing into the territory of Genoa, in order to escape the Pope. One day, Paul appeared in his atelier with eight cardinals, and desired to see BUONAROTTI. 157 his sketches of the " Last Judgment." The sculptor was at work on the " Moses," and they declared that that one statue was sufficient STATUE OF MOSES. BY M. ANGELO. S. Pietro in Vincoli, Rome. 158 BUONAROTTL for a monument to Pope Julius. The end of all was, that the Pope satisfied the Duke of Urbino, and Michael Angelo began to paint the chapel. He worked at this six years without assistance. Of all the frescoes of the sixteenth century, perhaps none has suffered more from the ravages of time, and at the hands of men, than this paint- ing. Copies and engravings make it possible to imagine what was once there. But the overpowering effect which its first sight should produce is lost. The sentiments of the world, too, are so changed that such a representation cannot appeal to us as it must have done to those to whom Michael Angelo preached with his brush. In this work he gave form, and presented to the sight what Dante had pictured to the imagination. Like everything else which is symbolic, it is meaningless if we cannot supply its meaning from our own souls. " As we look, however, at the ' Last Judgment,' on the wall of the Sistine Chapel, it is no longer a similitude to us, but a monument to the imaginative spirit of a past age, and a strange people, whose ideas are no longer ours." Much of importance to the world occurred during the painting of this picture. The Flor- entines in Rome endeavored to regain their old liberty. The Refor- mation was at work in Germany, and a circle of distinguished men surrounded the Pope, and conferred unusual lustre upon the society of the Vatican. Among these men was Michael Angelo; not that he mingled constantly with them, for he gave himself no rest, but he knew their thoughts and hopes, and sympathized with those who would have brought about a reconciliation between the Lutherans and the Church. In 1537 or 1538, the old Ludovic died, and Mi- chael Angelo was shaken in his very soul by this sorrow. It was on this occasion that he wrote his beautiful sonnet commencing, "Already had I wept and sighed so much I thought all grief forever at an end, Exhaled in sighs, shed forth in bitter tears." This poem gives us an insight into the religious belief of Michael Angelo. He makes no reference to purgatory, but urges the grace of God (la grazia Divina), and speaks of the certainty of the perfect happiness of his father. This involved the question which was agitating the Christian world, yet in his thought he seems not to recognize the possibility of a doubt. Before this, when his brother had died, he wrote, " Although all those sacraments which the Church enjoins were not administered to him, yet if he showed true repent- ance and resignation to the will of God, that is sufficient for his eternal blessedness." At another time he wrote to his brother to inquire out some case where he could do good secretly; for he wished to do something for the welfare of his own soul, but desired that it should be known to no one. From all this the healthiness of his nature appears. There was no sentimentality or overstraining, but a trustful and obedient dependence upon God. The Sistine Chapel BUONAROTTL 159 was opened and the " Last Judgment" exposed to the view of the people at the Christmas festival of 1541. During the summer before the Inquisition had been established in Rome, and a panic had spread throughout Italy. Michael Angelo had given the face of the master- of-ceremonies to the infernal judge, Minos. The Pope jestingly said that he could do nothing, as even Popes could not release others from eternal suffering. It had been proposed to represent the Fall of the Angels upon the opposite wall. This was now spoken of no more, and soon the ' ' Last Judgment ' ' was abused from the pulpits. During the time between 1536 and 1541, Michael Angelo had been especially happy in the friendship of Vittoria Colonna. All his life he had loved children, and his poems show that he had loved women. But he had kept himself so much alone that he had seemed as if he had wished for no friends. He was more than sixty years old when he met Vittoria. Descended from Fabrizio Colonna, and the widow of Pescara, she was equal to the first nobles in Europe. She was received by the Pope with great honors, and the Emperor visited her. Her most intimate friends were the Cardinals Pole and Contarina. It is not known how Michael Angelo made her acquaint- ance. Francesco d'Ollanda, a miniature painter, sent by the King of Portugal to Italy, describes two Sundays which he passed with Vittoria and Michael Angelo. The meeting was in the little church of S. Silvestro, opposite the Quirinal, on Monte Cavallo. The description of these meetings is of extreme interest, and presents the friendship of the sculptor and the lady in a charming light. Vittoria, though no longer young, was beautiful, cheerful, and en- dowed with the highest intelligence. She exercised over Michael Angelo a gentle authority. For the first tune he experienced the happiness of yielding to love and respect for a woman, and there is little doubt that these years were the happiest of his life. But even she fell under the suspicion of the Inquisition, and left Rome in 1541. To the two following years belong the letters and poems which passed between herself and Michael Angelo. It is said that he wrote her so often that she asked him to restrict himself a little. She feared that he could not go to his work at a proper time in the morning if he- wrote so much at night, and she was pre vented by his letters from passing her evenings with the nuns in whose convent she lived. But one letter of hers is known, which was written to thank him for the design for a crucifix. He had sent it for her approbation, intending to execute it if it pleased her. This it did so perfectly that she de- clined to return it, saying that nothing more perfect had ever pre- sented itself to her, and with graceful tact declares " I would rather that he who did this drawing should execute something else for me." The poems written by Michael Angelo to Vittoria contain most beautiful testimony to her influence over him. The sonnets of Vit- toria were at this time read by all Italy, and she was accustomed to 160 BUONAKOTTI. send them, when written, to Michael Angelo. In the autumn of 1542 they again met. She had been ill, her family was ruined, and not one remained in Rome. She withdrew to a convent where she spent her few remaining years. To this time her portrait by Marcello Venusti probably belongs. Many believe this to have been sketched by Michael Angelo. In 1547, she died. He was with her to the last, and years afterward declared, that he repented nothing so much, as that he had only kissed her hand, and not her forehead and cheeks in that last hour. The loss which he sustained can scarcely be conceived. He was seventy years old, his own strength was failing, and he anticipated no joy but that of death. When the " Last Judg- ment " was completed he had desired to return to the mausoleum. But Paul III. would not yield him. He had added a new chapel to the Vatican which was named for himself, and he was determined that Michael Angelo should adorn it with frescoes. The Duke of Urbino hated the Pope, and insisted upon his rights. But it was at length decided that the painting should be done. It consisted of two large pictures representing the " Crucifixion of Peter " and the " Conver- sion of Paul." They were finished within eight or nine years. In the cleaning and restoration they have undergone, most of the original work has disappeared, and their first appearance can be best imag- ined from old engravings. These were his last paintings. The affair of the mausoleum caused him great suffering, for reports were circu- lated against him, and Aretino, a powerful writer of that time, ac- cused him of ingratitude to Pope Julius, and represented him as a thief and a foe to Christianity. Great as Michael Angelo was, and insignificant as was Aretino in comparison, this had cast a stain upon him of which he could not rid himself. In the year which followed the death of Vittoria, the hope which he had always cherished for the freedom of Florence was crushed. Cosmo, secure in his power, endeavored to induce Michael Angelo to return to Florence, and even offered to make him one of the forty-eight, the highest honor for a Florentine. He declined this with courtesy, for he remembered his relatives in Florence, and did not wish to injure them with the Duke. His health continually failed, his sadness increased, and his poems show how the thought of Vittoria was ever with him. It would seem that he had done enough to render his fame above rivalry; but there were nearly twenty years, and much work before him, when at the end of 1546, he was made director of the building of S. Peter's, the only condition of his acceptance being, that he should receive no salary. S. Peter's had been commenced in 1506, by Bramante, who had been followed by Raphael, Fra Giocondo, Giuliano di San Gallo, Peruzzi, and Antonio di San Gallo ; and yet when Michael Angelo undertook the work, he was able to construct it as he pleased, and his plans were so far carried out that he may be considered as the real architect of the church. San Gallo's model, and Michael Angelo'a BUONAROTTI. 161 plan may now be compared, for they remain almost side by side. Although he was its architect, he saw nothing of the S. Peter's of our day, for the fa9ade, the colonnades, the obelisk and fountains have been added by subsequent architects. And yet he had before his mental eye a S. Peter's more mighty than we have seen, and one that was never completed. He also superintended the erection of the statue of Marcus Aurelius, and completed the Farnese Pal. He had in mind many improvements which he wished to make in Rome, but it would seem, as we review his life, that it had been decreed that he should finish nothing. He acquired the name even among his con- temporaries, of "II gran Michel Angelo," but when his unfinished works are compared with his original designs, how insignificant they appear in comparison with what he might have done. We have a single instance of the restoration of an antique statue by Michael Angelo, and it is not positively known that this was his work. It is credited to him only because no other could have done it. It is the right arm of the " Dying Gladiator. " In his old age Michael Angelo came to be authority in Rome. He had rivals no longer. If any- thing important was to be undertaken his advice was sought, and his decision respected. He sat like a Pope, and to him the artists came as for a blessing. His household was small and simple. His servant Urbino, and a maid, served him. He dined alone, and at noon. Anatomy was his passion. He dissected animals of every kind, and was happy when a human subject could be obtained. He always had young men working in his house. Condivi was one of these. In his old age, like a child, he formed many friendships, and Tommaso dei Cavalieri was especially dear to him. To him he addressed a flattering sonnet. Although his great works had ceased he still amused himself with brush and chisel. He drew a life-sized portrait of his young friend, and had in his atelier a marble group of Christ lying dead on his mother's lap, and Joseph of Arimathea standing by, upon which he continued to work. But he wished no one to see this, and when Vasari once came to him in the evening he let fall his lantern so that he should not see the work, and said, "lam so old that death often pulls me by the coat to come to him, and some day I shall fall down like this lantern, and my last spark of life will be extin- guished." When he could not sleep he would work on this statue, and had a pasteboard cap in which a candle was fixed, that he might have a good light. But he discovered a flaw in the marble, and intended to break it in pieces. He gave it, instead, to one of his young men, and it is now under the dome of S. Maria del Fiore in Florence. After his appointment to the control of S. Peter's his authority there was supreme. From his age his death was constantly expected, and there were some who anticipated succeeding him in his office. While Paul III. lived, the rights of Michael Angelo were unquestioned. The Pope died in the autumn of 1549. In the sprin" 1 11 162 BUONAROTTI. of the same year Michael Angelo had been very ill, and after his re- covery had devoted himself with eagerness to his office. Julius III., the new Pope, projected many new works. Artists of every kind had full employment, Michael Angelo was wanted everywhere. He undertook no commission, but he drew designs, and was consulted on every plan. A new trouble arose in regard to S. Peter's. Under the other architects this building had been a source of wealth to many. Michael Angelo dismissed some and reduced the wages of others. He could do this the more easily because he received no pay himself. Paul III. once sent him a sum of money, which was imme- diately returned. Complaints were made against him, and at length Julius HI. called a council and required the sculptor to defend him- self. Many accusations were brought, and a special one was that in a certain part there would be too little light. Michael Angelo de- manded that those who originated the reproof should come forward. Two Cardinals presented themselves, to whom he said, " I intend plac- ing three other windows above those already there." " You never gave a hint of that," answered the Cardinals. " Nor was I bound to do so," replied the sculptor, u nor will I bind myself to give your lordships or any one else information of my intentions. Your office is to furnish money, and to take care that it is not stolen ; as regards the building plan, that concerns me alone." He then said to the Pope, " Holy Father, you know what I get for my money, and that if my work does not tend to the saving of my soul, I shall have expended time and trouble in vain upon it." Julius placed his hand on his shoulder and said, "Your eternal and temporal welfare shall not suffer from it; there is no fear of that." Thus the matter was ended, and while Julius lived the sculptor was not again disturbed. From time to time Michael Angelo was urged to return to Florence, and when Julius III. died, in 1555, the request was again repeated. One of the Cardinals whom he had so severely reproved now ascended the Papal chair. He at once deprived Michael Angelo of his pension, and sent him each month a salary, which he each month returned. There were plots against him, and it was reported that he had become childish, old, and weak. At this time the Florentine offers became more honorable and urgent, but he would not go. Paul IV. appears monstrous in history. He cared nothing for art, but he wished S. Peter's church to be finished. He therefore continued Michael Angelo in office. When the Spaniards approached Rome, his faith- ful Urbino had just died. It would have seemed the time for him to go to Florence, but instead, he went to the mountains of Spoleto. It was almost tbe first time that he had thoroughly enjoyed nature, and he afterwards wrote, " I have left more than half my soul there, for truly there is no peace but in the woods. " From this time he answered the urgent requests from Florence by saying that it would be a sin for him to go, that he must persevere in the work which he had begun in BUONAROTTI. 163 God's name. At length they ceased to urge him, and in the last year of his life the Duke visited him in Rome and showed his reverence for him. In 1558 the Pope died, and Pius IV., his successor, was be- sieged by new attacks upon Michael Angelo. But he listened to noth- ing, and restored his pension to him. He knew he should not live to see the dome completed, and he made a model in clay, so accurate in its proportions, that when the dome was commenced many years later it was only necessary to copy it on a colossal scale. Pius IV. was a friend to the arts and to Michael Angelo. Paul IV. had wished to destroy the " Last Judgment," and had employed Daniele da Volterra to cover the figures with drapery. It seems that Michael Angelo was asked to d6 the work, and had answered ironically, " That is soon done. The Pope has to put the world in order ; it is but a small trouble as regards pictures, for they keep still. " When in his eighty- sixth year he wrote a letter to Cardinal di Carpi which proves how little his mind had failed. Soon after, the committee appointed to inspect the building dismissed a young man whom he had employed. Upon this he declared that he would visit the building no more. That was just what his enemies desired. Nanni Bigio had long wanted his position, and it was given him. At first Michael Angelo took the matter easily, but when they began to change his plans, he roused himself. The Pope was on the square of the Capitol. Michael Angelo went to him and made so much noise that they were obliged to take him into the palace, and the end of all was that the Pope issued a brief decreeing that for the future they should not depart from the plans of Michael Angelo in the smallest particular. This does not seem like the act of a dying man. At this time, too, he made plans and was consulted respecting important works in Florence. His last work in Rome was to make a church from an immense hall in the baths of Diocletian. A year before his death Michael Angelo was appointed to the honorary directorship of the Acad. of Arts in Florence. In the beginning of 1564 it was apparent that his end was near, and on the 18th of February he died, in the ninetieth year of his age. He had desired that his body should be carried to Florence. Opposition from the Romans was feared. Funeral services were held in the ch. of S. Apostoli, and afterwards the coffin was con- veyed as merchandise out of the gates. It arrived in Florence on the llth of March, and was earned privately to S. Piero Maggiore. The following day was Sunday. The Duke seems to have desired that he should be buried silently. Towards evening the artists as- sembled in the church, the body was covered with a black velvet pall, embroidered with gold, and a gold crucifix placed upon it. A pro- cession was formed. The older artists carried torches, and the younger ones took the bier upon their shoulders, and proceeded to Santa Croce. A rumor had spread through Florence of what was occurring, and a great multitude quietly followed the procession. In 164 BUONAROTTI. the Sacristy the coffin was opened, and though he had been dead three weeks he appeared as if he had just died. The crowd became so great that it was impossible to close the tomb. But it was night and at length they were dispersed. The Duke evidently feared that a public funeral might create a political commotion ; but it was thirty years since he had left Florence, and those who stood around him scarcely remembered his connection with their city. In July magnifi- cent funeral ceremonies were held. The ch. of S. Lorenzo was splendidly decorated, and Varchi delivered the oration. His nephew Leonardo had a monument erected in Santa Croce, and the Duke gave the marble. In the same church are the monuments of Dante, Alfieri, and Macchiavelli. In the court of the Uffizi his statue stands with those of other great Florentines, with no especial prominence. His house in the Ghibelline Street still remains, but his paintings and other works are not there ; they are in the possession of his family. " All Italians feel that he occupies the third place by the side of Dante and Raphael, and forms with them a triumvirate of the greatest men produced by their country, a poet, a painter, and one who was great in all arts. Who would place a general or a statesman by their side as equal to them ? It is art alone which marks the prime of nations." ENGRAVINGS AFTER THE WORKS OF MICHAEL ANGELO. Engraver, ALBERTI, Cherubino. The Crucifixion. S. Jerome meditating on the Crucifix; 1575. S. Andrew bearing his Cross; 1580. Two Figures from the Last Judgment ; 1591. Charon, with two other Figures; 1575. Prometheus devoured by the Vulture; 1580. The famous Pieta. Engraver, BARTOLOZZI, Francesco. Prometheus devoured by the Vulture. Engraver, BEATRICI, Niccolo. The Annunciation, with the names of Michael Angelo and Beatrici. The Good Samaritan ; Michele Angelo, inv. The Mater Dolorosa, N. B.; Romas; 1547. The Conversion of S. Paul; M. Angelo, pinx., etc. ; N. B. The Prophet Jeremiah, with names of painter and engraver. The Last Judgment; 1562 ; in nine sheets. Ganymede, inscribed, Ganimedes fuvenis, etc. The Fall of Phaethon. Titius devoured by a Vulture; Ant. Salamancha, ex. Silenus carried by Children ; N, Beatrice, fee. Engraver, BONASONI, Giulio. The Creation of Eve. The Last Judgment; inscribed, Julius Bonasonius Bonone proprid Michcelis Angeli, etc. Solomon, David, and Jesse, from Sistine Chapel; Julio Bonasone imitando, etc. The Fall of Phaethon. Three Female Figures with Veils. Engraver, CAPELLANI, Antonio. The Creation of Eve; from Sistine Chapel. Adam and Eve driven from Paradise. BUONAROTTI BUONI. 1 65 Engraver, CARACCI, Agostino. The Pieta, after the sculpture of M. Angelo. Engraver, CAKAGLIO or CARALIUS, Gio. Giacomo. The Carry- ing up of Ganymede. Engraver, CAVALLERIIS, Gio. Batista. The Virgin, called u The Silence." The Dead Christ in the Lap of the Virgin. The Con- version of S. Paul. The Martyrdom of S. Peter. Engraver, CORT, Cornelius. The two Tombs of the Medici. Engraver, CUNEGO, Domenico. Three Subjects from the Crea- tion; Sistine Chapel, engraved for the Schola Italica of G. Ham- ilton. Engraver, FULCARUS or FURCK, Sebastian. The Last Judgment. Engraver, GHISI, Giorgio. The Prophets and Sibyls of the Sis- tine Chapel; six large plates. The Last Judgment; ten large plates. Engraver, GHISI, Adamo. Dead Christ in the Lap of the Virgin ; after celebrated sculpture of M. Angelo; 1566. Engraver, JODE, Gerard de. The Crucifixion; a large print in three sheets, marked, G. de Jode. Engraver, KARTARIUS, Marius. The Last Judgment. Engraver, KILIAN, Lucas. The Pieta. Engraver, Musis, Agostino de, called Agostino Veneziano. Hercules strangling Antaeus. Engraver, PERAC, ^tienne du. The Last Judgment. The Capitol. Engraver, POTRELLE, Jean Louis. Portrait of Michael Angelo. Engraver, RAIMONDI, Marc Antonio. The Holy Family, in the Sistine Chapel. Adam and Eve driven from Paradise, from the Sistine Chapel. Hercules strangling Antaeus. Engraver, SCHIAVONETTI, Luigi. The Cartoon representing the Surprise of Soldiers on the banks of the Arno. Engraver, SERICCUS, So YE or SYTIUS, Philip. The Virgin with the infant Christ sleeping; 1566. Philippus Sericcus. The Cruci- fixion. A Pieta. Engraver, STEEN, Francis van der. Michael Angelo's Dream. Engraver, Vico, Vicus or VIGHI, Enea. Jupiter and Leda. A Bacchanalian subject. Kiif/raver, ZUCCHERELLI or ZUCCARELLI, Francesco. Etching of the Statue of Victory, after the Sculpture. Buoni, Buono de, born at Naples; died 1465. One of the best painters of his time. Some of his works are still in the churches of Naples. Buoni, Silvestro de', born at Naples (1420-1480). Son and pupil of the preceding. He afterwards studied under Solario, called Zingaro. Buoni was an attractive painter. His pictures are in the Mus. and churches of Naples. The best, which is a very interesting work, is in the old basilica of S. Restituta. It represents that saint 166 BUONI - CABEZALERO. with the Virgin and the Archangel Michael. A warm, beautiful tone pervades the whole; the figures are dignified and not mannered; it seems to unite the style of the Umbrian with the animated cheer- fulness of the Venetian school. Burghers, Michael. A Dutch engraver who settled at Oxford after the takin g of Utrecht by Louis XIV. Al- though his plates were not especially good, he is esteemed for having preserved many remains of antiquity which would other- wise have been lost. Burgkmair, Thoman. Kugler says the family of this name are next important to the Holbeins in the history of art in Augs- burg, where some of Burgkmair 's works still remain in the Cath. and Gall. The former were presented in 1480. He is inferior to the Holbeins. Burgkmair, Hans, born at Augsburg (1473-1559). Son of the preceding, and in his day the most im- P or tant artist of Augsburg. He was realistic, and succeeded in actual representations of common life and portraits, and yet was not without feeling for beauty. He had great versatility of talent; he painted religious subjects, and knightly or courtly representations in addition to the subjects before men- tioned. He also made many designs for wood-cuts, which are full of spirit. He imitated no one master, but rather formed a style of his own. Many of his works remain and are in Augsburg, Dresden Gall., Nuremburg, Munich, Vienna, etc. He had two distinct periods; the first extended to 1508, and in it he was German en- tirely ; later, his tendency is to the Italian order, and is characterized by fuller forms, changed draperies, and more delicacy of treatment. That he painted landscapes well may be seen in No. 65, Munich Gall, a " S. John at Patmos." Byzes of Naxos, invented the cutting of marble tiles about the 50th Olympiad, or 580 B. c. c. Cabel or Kabel, Adrian van der, born at Ryswick, 1631 ; died at Lyons, 1695. Pupil of Van Goyen, whom he left with the intention of visiting Italy. When he reached Lyons his works were so much admired, that it is said he remained there until his death. But we are also told that the associated painters at Rome called him Corydon and Geestiykeit, which would prove that he studied there. He painted landscapes with cattle and figures, and seaports. Some of these were fine, but his habits were irregular, and his pictures consequently very unequal. Cabezalero, Juan Martin de, born near Cordova (1633-1673). Pupil of Don Juan Carreno. He had great reputation as a painter of history. His principal works are in the churches of Madrid. CACCIA CAGLIARL 1 67 Caccia, Guglielmo, born at Montabone (1568-1625). Called H Moncalvo, from his long residence in that place. He painted in fresco and oil. His coloring was gay, his style of form taken from Raphael; he especially studied his landscape backgrounds. The Chiesa de' Conventuali, at Moncalvo, has a full coll. of his works. They were also known and prized in Milan, Pavia, Turin, Novara, and other cities. He had five daughters, two of whom were painters, Ursula and Francesca. The works of the latter were mistaken for those of her father. He or the daughter Ursula founded a convent, into which the sisters retired. In this convent there are many pictures by Ursula, who died in 1678. Francesca died when fifty- seven, but the year is not known. Caccinoli, Gio. Batista, born at Castle Budrio (16357-1675). Pupil of Domcnico Maria Canuti. A painter of history of good reputation. Many of his works were for the churches of Bologna. Caffa, Melchiore, born at Malta, 1631; died at Rome, 1687. Studied under Bernini, and is said by some to have equalled his master. He executed various works for the Roman churches. The most esteemed is a marble group of " S. Thomas distributing Alms," in the Chapel of S. Agostino. Caffieri, Filippo, born at Rome (1634-1716). His family were from Naples, and were allied with many noble houses of Italy. Caffieri went to Paris, at the request of Card. Mazarin, in 1660. He was employed in works for the royal palaces, and Colbert gave him apartments at the Gobelins. He was afterwards made sculptor and naval-architect to the king, and inspector of the marine at Dun- kirk. Caffieri, Jacques (1678-1755). Son of the preceding. His best works were busts in bronze. Caffieri, Jean Jacques (1723-1792). Son of the preceding, whom he much excelled. He executed many fine works. Among his larger ones may be mentioned a group of "Melpomene and Thalia," and a S. Silvia at the Invalides. His busts were better than his statues. Those of Corneille and Piron, at the Theatre Fra^ais, are by him. Cagliari or Caliari, Paolo, called Paul Veronese, born at Verona (1528-1588). Son of a sculptor, and pupil of Antonio Badile, his uncle, and a reputable painter. He lived mostly in Venice, and imitated Titian in color. He did not equal the latter in the perfection of his flesh tones, but that which particularly dis- tinguished him was the vitality and poetic feeling which he infused into his works. His gorgeous draperies, grand architecture, splendid vases and ornaments, varied costumes, and the representation of imposing scones rendered his works most effective and masterly. Even his religious pictures have all these features, and are admirable scenes of earthly pageantry. Some of his more serious subjects, 168 CAGLIARI. however, are thrilling in their deep feeling and expression. Magnifi- cent effect seems to have been his chief aim, and this was attained by representing crowds of figures gorgeously attired, apparently in full enjoyment of happy prosperity. His pictures appeal to the senses more than the spirit, and his costumes are often indecent. Few of his early works are known. The ch. of S. Sebastiano, in Venice, where the master is buried, is rich in his works; there are almost innumerable pictures by him on its walls and altars; of these three are very large and represent scenes connected with the Mar- tyrdom of S. Sebastian. In the Louvre is the colossal " Marriage at Cana." This is 30x20 feet in size, and among its many faces are the portraits of the artist and other prominent persons. Another large work in the Louvre is the " Magdalen washing the Feet of CAaLIARI. 169 Christ." The " Feast of the Levite," in the Acad. at Venice, is also large and rich in color, but less excellent than the others. In the Gall, at Dresden is the " Adoration of the Kings," which is extremely beautiful. The Holy Family are arranged on one side, while on the other, the kings, arrayed with purple and gold, adoringly worship the Divine Child. The harmonious coloring, the noble life, and dignity of the figures, and the whole arrangement of the compo- sition, render it a masterpiece. Veronese decorated the Pal. of the Doge with many mythological and allegorical designs. He left a great number of works. Many of them are in the Louvre, Brera, Dresden, and other European galleries, and the National Gall, has four of his pictures. His portraits were of high merit. He left two etch- ings ; they are slight, but masterly, and represent, The Adoration of the Magi : Paolo Veronese, fee. Two Saints sleeping ; no mark. Liibke says, " He entered, indeed, upon Titian's heritage, and by his grand creative power and noble beauty upheld the banner of Ve- netian art, until the end of the century." Wornum remarks, " Paolo Veronese was the real master of Rubens. His works, however, have their defects: he was, as Algarotti observes, careless in design, and in costume extremely licentious ; but these faults are completely con- cealed by the absorbing magnificence of his coloring, which, added to his noble fancy and inexhaustible invention, render his defects as a grain of sand in the balance." His son Carlo was his pupil, and seemed to have inherited his talents, but died when twenty-six years old, in 1596. ENGRAVINGS AFTER PAOLO VERONESE. Engraver, AUBIN, Augustin de St. Jupiter and Leda. Engraver, AUDI: AN, Px-noii. the younger. Pilgrims of Emmaus. Emjraver, BARTOLOZZI, Francesco. The Judgment of Solomon ; after a drawing. Engraver, BEAUVARLET, Jacques Firmin. Venus lamenting Adonis. Engraver, BLOEMAERT, Cornelius. The Resurrection. Engraver, BREBIETTE, Pierre. The Martyrdom of S. George. Engraver, CARACCI, Agostino. Holy Family with SS. Anthony and Catherine. The Virgin taking two Monks under her protection. The Marriage of S. Catharine. The Crucifixion. Christ's Body, supported by the Virgin and an Angel. Martyrdom of S. Justina ; two sheets. Engraver, COLEMANS, Jacob. A Poet conjuring up Fortune. Portrait of P. Veronese. Engraver, DESPLACKS, Louis. La Sagesse Compagne d'Hercule. Engraver, DUCHANGE, Gaspar. The Entombment ; fine. 170 CAGLIARI. Engraver, DUFLOS, Claude. Christ and the Disciples at Emmaus, Engraver, DUPUIS, Nicholas Gabriel. Adoration of the Magi. Engraver, GOLTZ or GOLTZIUS, Heinrich. The Last Supper, 1585. Engraver, GROENSVELT, John. Adoration of the Magi; J. Groens- vdt, fee. Engraver, HANSFTANGL, Franz. Susanna. Adoration of the Magi. Marriage at Cana. Christ bearing the Cross. The Concina Family before the Madonna. Engraver, HENRIQUEZ, Benoit Louis. Finding of Moses. Engraver, HONECK. The Presentation in the Temple. Engraver, HOUBRAKEN, Jacob. Portrait of Daniello Barbaro. Engraver, JACKSON, John Baptist. The Presentation in the Tem- ple. Marriage of S. Catherine. Engraver, JACOB, Louis. Rebecca and Eliezer. Engraver, JEAURAT, Edme. Finding of Moses; fine. Engraver, JOUILLON, Francois. Apollo and Marsyas. Mercury turning Aglauros to stone. Engraver, KILIAN, Lucas. The Resurrection. Engraver, KILIAN, Wolfgang. Baptism of Christ. Engraver, KILIAN, Philip Andrew. Adoration of the Magi. Engraver, LASNE, Michel. Christ in Glory, with SS. Peter and Paul. Engraver, LORENZINI, Fra Antonio. The Annunciation. Bap- tism of Christ. Raising of Lazarus. Engraver, MANNL or MAENNL, Jacob. Judith leaving the Tent of Ilolofernes. Child holding a Dog. Engraver, MATHAM, James. Visitation of the Virgin. Engraver, MATHAM, Theodorus. Marriage of S. Catherine, S. John presenting the Ring. Engraver, MITELLI, Giuseppe Maria. The Rich Man and Lazarus. Engraver, MOYREAU, Jean. Rebecca and Eliezer. Engraver, PIZZI, Luigi. The Feast at the House of Simon. Engraver, PREISLER, Johann Martin. Christ bearing his Cross. Engraver, PREVOST, Zacharias. Marriage at Cana. The Feast in the House of Simon. Engraver, RAINALDI, Francesco. The Rape of Europa. Engraver, RAVENET, Simon Frai^ois. Venus and Adonis. Engraver, SAENREDAM, Jan. The Feast at the House of Simon. Engraver, SAITER, Gottfried. Marriage at Cana. Engraver, SCOTTO, GIROLAMO. Feast at the House of Simon. Engraver, TERWESTEN, Augustin, the Elder. Finding of Moses. Engraver, THOMASSIN, Henry Simon. Christ and the Disciples at Emmaus. Engraver, VANNI, Gio. Battista. Marriage at Cana. Engraver, VENDRAMINI, Gio. Vision of S. Catherine. CAGLIARI CALDARA. 171 Engraver, VILLAMENA, Francesco. Presentation in the Temple ; tfiis plate was commenced by Agostino Carracci ; it is rare. Engraver, VISSCHER, Cornelius. The Ascension. Engraver, VOLPATO, Gio. The Feast in the House of Simon. Engraver, VORSTERMAN, Lucas. S. Helena seeing the Cross. Engraver, WAGNER, Joseph. Enthroned Madonna with infant S. John and other saints. Engraver, ZUCCHI, Andrea. S. John the Baptist. Cagnacci, Guido, born at Castel Durante (1600-1680). Pupil of Guido Reni. He merits honorable mention among Bolognese artists. He avoided all hardness, and so blended his tints as to soften and round the limbs of his figures. The Emperor Leopold T. was his patron, and he spent much time at Vienna. His works arc better known in Germany than in Italy. Cairo, Cavaliere Francesco (1598-1674). Pupil of Morazzone, he became enamored of Venetian coloring, and studied the works of Titian and Paul Veronese. The result was an admirable style. One of his best Avorks is the S. Theresa in S. Carlo in Venice. His pic- tures are also at Milan and Turin. Calabrese. See Preti. Calabrese. See Cardisco. Calaiidra, Gio. Batista. One of the first mosaists who wrought in the Vatican. On account of the injury to oil paintings in S. Peter's, resulting from dampness, it was determined during the reign of Urban VIII. to replace them by copies in mosaic. The first altar- piece was a S. Michael after Cesare d'Arpino, executed l>\ Calandra. Calcar, Hans Von. Heal name, Hans Stephanus (1510-1546). Of the Italian School of painting. In 1536-37 he resided in Ven- ice, and studied under Titian, whom he so imitated that it is sometimes difficult to distinguish their respective works. No histori- cal work known to be his remains. His portraits are fine and ran-. Berlin Mus. No. 190; a man with a letter in his hand, at Vienna; and one in the Louvre, which has been ascribed to both Paris Bor- donc and Tintoretto. Caldara, Polidoro, called Caravaggio from his birthplace (1495- 1543). This painter began life as a mason and was employed at the Vatican, where, in 1512, lie became acquainted with Matturino, of Florence, who instructed him in drawing and made him his assistant in the decorative works in which he was employed. Together they executed fresco chiaro-scuri which were much praised, even by Ra- phael. These are known now only by the engravings from them by Cherubino Alberti, Galestruzzi, and others. In 1527, the sack of Rome interrupted their work, and the two painters were separated. Polidoro went to Naples, and from there to Messina, where he es- tablished a good reputation as an artist. In 1543, having made a comfortable fortune, he prepared to return to Rome, but was mur- 172 CALDARA CALLET. dered by his servant for his money. His body was placed on the steps of the house of a lady he had often visited. The servant was suspected and made to confess by means of the torture. His princi- pal work was done at Messina, and represented " Christ bearing his Cross." This with several small pictures of sacred subjects is now in the Studj Gall., at Naples. His works have power, life, and passion, and he may be said to have originated the style which in later time formed the basis of the Neapolitan school. Calendario, Filippo. Flourished at Venice about 1334. His prin- cipal work was executed for the Republic, and consists of the Por- ticos surrounding the Square of S. Mark. He was largely rewarded by the state, and the Doge gave him one of his daughters in marriage. He did other good works in Venice, but was at last executed as a conspirator. Calense, Cesare. Flourished about 1590. He attained a reputa- ble rank as a painter. His knowledge of chiaro-scuro was good, and his style graceful. In the ch. of S. John Baptist, at Naples, is a " De- scent from the Cross " by this artist, which is fine. Caletti, Giuseppe, called Cremonese, born at Ferrara (1600 ?- 1660). An imitator of Titian. He spoiled his pictures by inappro- priate arrangements of design. Lanzi says, ' ' He placed wild boars in the sea, and dolphins in the forests." Two of his best works are in the ch. of S. Benedetto at Ferrara. Call, John Van, born at Nimeguen (1655-1703). After copying the works of some of the best artists of his own country, he went to Rome, where he made a large collection of drawings of all the most picturesque views of the country surrounding that city. He settled at length at the Hague, where he died. His drawings are more prized than his pictures, and bring large prices in Holland, where they are placed in the best collections. Callcott, Sir Augustus Wall, born at Kensington (1779-1844). A pupil of Hoppner, he at first practised portrait painting, but later devoted himself to landscapes. He has been called the English Claude. In 1837 he exhibited a picture of " Raphael and the Forna- rina," which was quite out of his usual style. "Milton and his Daughters" followed in 1840. The Queen conferred knighthood upon him in 1837, and in 1844 he was appointed Conservator of the Royal Pictures. Calleja, Andres de la, born at Rioja (1705-1782). A Spanish painter of good reputation. His best works are in the churches of S. Philippe le Royal, S. Croix, the Treasury chapel, and the convent of S. Francis. Callet, Antoine Francois (1741-1823). One of the best French painters of his time. In the Louvre, there is a large repre- sentation of the "Four Seasons" executed by him for Louis XVI., and intended to be worked in Gobelin tapestry. Part of the ceiling CALLET CALVART. 17'6 of the Gall, of Apollo in the Louvre, and that of the Luxembourg, were by him. He also painted portraits of Louis XVI., Louis XVIII. and Count d'Artois. Callimachus. A Greek sculptor said to have invented the Corinthian capital. The story is that about 550 B. c. a virgin died at Corinth, and her nurse, according to custom, placed a basket on her grave containing the viands that she loved best. It happened that the basket was placed upon an acanthus, the leaves of which grew up about it with so much grace as to attract the attention of Callimachus, and suggest to him that design which has been for cen- turies a prominent beauty in architecture. Pausanias describes a golden lamp which he made for the service of Athens, which would burn exactly a year without going out. He is also called the inventor of the art of boring marble, but it is believed that he perfected it only, as it must have been known before his time. His fault was that he could never be satisfied with his works, and elaborated them until he spoiled them. On account of this he was called Kanc&Texvoc. T Callot, Jacques, born at Nancy (1593-1635). 1 muC^lt- fee. An eminent designer and engraver. He was of a " noble family from which he met great opposition in his pursuit of art. Twice he ran away in order to study. At length he was allowed to go to Rome in the suite of the envoy sent to the Pope by the Duke of Lorraine. He speedily arrived at eminence in his profession. He did not succeed with the graver, and confined himself to the use of the point. Louis XIII. employed Callot to engrave the principal battles and sieges of the French. Richelieu desired him to engrave the siege of Nancy, but Callot declared he would sooner cut off his right hand, than thus to record the calam- ity and disgrace of his prince and country. His prints number more than 1500. His drawings are much prized. His plates with small figures are the best. He often made several drawings of the same subject before he satisfied himself. Watelet had seen four different sketches for his celebrated " Temptation of S. Anthony." A com- plete list of his works is given in M. Heineken's " Dictionnaire des Artistes." Calvart, Denis, born at Antwerp (1555-1619). From the as- sociations of his life he may be considered as an Italian painter. He was one of those who, at Bologna, turned the attention of artists to landscape painting. He founded in that city the celebrated school in which Albano, Domenichino, and Guido studied. His excellence was such that he may be regarded as the restorer of the Bolognese school, especially in color. His designs had many faults, were mannered, and his figures sometimes indecorous. He was of a turbu- lent and fiery disposition and temperament. He was, however, a most earnest and devoted teacher. His pictures may be seen in the churches of Bologna. He inscribed his name sometimes as DIONISIO CALVAERT, DE ANTVERSA. 174 CAMASSEI CAMPAGNOLA. Camassei, Andrea (1601-1648). Pupil of Domenichino and Andrea Sacchi. His works may be seen in many public edifices at Rome: "Triumph of Constantine," Baptistery of the Lateran ; " Assumption of the Virgin " in the Rotonda, and a " Pieta " at the Cappucini. Cambiaso, Luca, called also Luchetto da Genova, born near Genoa (1527-1585). Pupil of his father, Giovanni, whom he soon surpassed. He painted both in oil and fresco, and it is said that his impetuosity was so great that he sometimes executed his works with- out cartoon or sketch of any kind. His drawings are much esteemed. He was fruitful in invention and there is novelty in his designs. His Cupids and infant angels are boldly outlined, and suggest the study of Michael Angelo. His color is sometimes brilliant, but too fre- quently brown and dull. Some of his best works are in Genoa and that vicinity. His fame reached Spain, and Philip II. invited him to Madrid, where he went with his son Orazio in 1583. He was employed in the Escorial and received 12,000 ducats for his fresco of " Paradise " on the ceiling of the choir of S. Lorenzo. Probably this was the largest sum that had then been paid for any modern work of art. After the death of Luca, Philip continued to employ Orazio, and settled a liberal pension on him. Cambio. See Arnolfo. Camerata, Giuseppe, born at Venice (17247-1803). An en- graver and painter in miniature who was invited to Dresden, where he assisted in engraving the plates for the Gall., and was made en- graver to the court. Camilo, Francisco, born at Madrid, of an Italian family ; died 1671. Palomino praises him immoderately. He was the scholar of Pedro de las Cuevas. His works may be seen in various Spanish cities. His most celebrated one is his " Nuestra Senora de Belen " in the ch. of S. Juan de Dios at Madrid. Campagnola, Giulo. A Paduan who flourished about 1500. He is most entitled to notice as an engraver, and there has been much discussion concerning him. Some of his plates are peculiarly done. The background is expressed by dots, and the figures, strongly out- lined, are finished by dots within. These plates prove this style not modern, as it is generally supposed to be. Campagnola, Domenico. Son of the preceding. A -* Vp pupil of Titian, he aroused the jealousy of that mas- GA * ter. His frescoes in the Scuola del Santo, and his oil pictures in S. M. del Parto established his right to good consideration. His more important works are at Padua; there are four Prophets, half figures, in the Acad. at Venice. He holds high rank as an en- graver, and his etchings and wood-cuts, mostly from his own designs, are executed with a spirit and style which show the power of a master hand. CAMPALASTRO CANAL. 175 Campalastro, Ludovico, born at Ferrara. His best works are in the churches of that city. Campanna, Pedro, born at Brussels (1503-1570). Went when very young to Italy, where he gained a good reputation, and in 1530 was invited to Spain by Charles V. His principal works are at Seville. Camphuysen, Theodore Raphael, born at Gorcum (1586- 1626?). Pupil of Dietric Govertze. An imitator of Paul Potter. The facts of his life are not known, and are variously stated by differ- ent authors. According to Smith, No. 527, Cassel Gall., represent- ing cattle life size, is by Camphuysen. Campi, Galeazzo. A Cremonese of little reputation, who flourished in the early part of the 16th century, and whose best work is his own portrait in the Florence Gall. Campi, Giulio, born at Cremona (1500-1572). Son of the pre- ceding. Head of the Eclectic school at Cremona. He attempted to unite the excellences of the Roman and more northern schools, and has been called the Ludovico Caracci of Cremona, although his reform must have preceded that of Ludovico. He admired Raphael, Titian, and Giorgione. His best works are in Cremona, Milan, and Mantua. Campi, Antonio, born at Cremona. Flourished about 1586. Brother and pupil of Giulio. He excelled most as an architect. His pictures were mannered. His best one is that of " S. Paul resusci- tating Eutychus," which was engraved by Agostino Caracci. Campi, Vincenzo, died 1591. Also brother of Giulio, and in- structed by him. His best pictures were those of still-life, but he was much inferior to his brothers. Campi, Bernardino, born at Cremona (1522-1592). Also brother of Giulio, and the greatest of the Campi. After studying under Giulio, and at Mantua, he went to Parma and Modena to study the manner of Correggio. Returning to Cremona he executed im- portant works, the best of which are in the ch. of S. Gismondi. In the cupola he painted an immense representation of the " Blessed of the Old and New Testaments." The figures are seven braccia high and are very numerous, each one being distinguished by an appropriate symbol. He completed this great work in seven months. The Campi were the best Cremonese artists of their time, but they were extremely mechanical in their style. Canachus. A sculptor of Sicyon. Lived probably at the begin- ning of the 5th century B. c. He excelled more in technicalities and in the excellence of the separate parts of his works than in the grace and beauty of the whole. One of his most important works was a colossal brazen " Apollo " at Miletus. Of this we have copies in a statuette in the British Mus., and on Milesian coins. Canal or Canale, Antonio, called Canaletto, born in Venice, 176 CANAL CANO. (1697-1768). A pupil of his father, who was a scene painter. He went early to Rome, where he assiduously studied the ruins of the ancient city. Returning to Venice, he astonished his countrymen by his magnificent views of the palaces and edifices of their city, and by his representations of festivals and carnival scenes, in some of which there are at least 200 figures. He went twice to England, where he was much patronized. His interior views were fine. His coloring in the latter was not brilliant, and in his Venetian pictures it is the gondolas with their gold and gay decorations which give the glare to the scene, his figures being often in neutral tints. He acquired a fortune. His works are very numerous and are in almost every collection. Some of his followers imitated him so closely that their works are sometimes mistaken for .his own, and, indeed, there are large numbers of pictures similar to those of Canaletto. Candido. See Witte. Caiio, Alonso, born at Granada (1601-1667). Architect, sculptor, and painter. He studied painting under Pacheco, Castillo, and the elder Herrera ; and sculpture with Martinez Montanes. His talents and versatile genius secured him a high place among artists ; and his temper was such as led him to defend his rights against all new- comers. In 1637 he fought a duel, and escaped Madrid; and in 1644 his wife was found murdered in her bed. Cano was suspected of the crime, and, although he fled, was at length apprehended and put to the torture. He made no confession, and was released, judicially in- nocent. He still retained his place as painter of the king, and draw- ing-master to Don Carlos; and was, from time to time, employed on important works. He determined to remove to Granada and take priest's orders. Philip IV. appointed him to a canonry. He was still employed as painter and sculptor by private persons and religious bodies, and even went to Malaga to superintend improvements in the Cathedral. On account of his fierce temper he was deprived of his office by the chapter, and was obliged to repair to the king in order to be reinstated. This occurred in 1659, and so offended him that he would no more use his pencil or chisel in the service of the Cath. at Granada. He devoted the remainder of his life to religious and charitable works, and gave away his money as soon as received. His purse being often empty, he was accustomed to go into a shop and beg a pen and paper. He would then sketch a head, or an architect- ural design, and mark the price upon it. This he would give to a beggar with directions for finding a purchaser. Large numbers of these eleemosynary works were collected after his death. One of his strong characteristics was hatred of the Jews. He would cross the street in order to avoid them, and throw away a garment that had touched one of them. Entering his house, one day, he found his housekeeper bargaining with one of the despised race. He chased him out with great fury, sent, his housekeeper away to perform quar- CANO CANOVA. 177 anting, purified his house by re-paving the spot where the Israelite had stood, and gave the shoes, in which he had himself followed his tracks, to his servant. In his last sickness, he refused to receive the sacrament from his attendant priest, because he had communicated with Jews; and, when they gave him a rudely sculptured crucifix, pushed it away. Being reproved, he answered, " Vex me not with this thing, but give me a simple cross, that I may adore it, both as it is in itself, and as I can figure it in my mind." " This being done," Palomino says, " he died in a manner highly exemplary, and edify- ing to those about him." Cano's architectural works were chiefly retablos, which were executed according to the taste of the day, loaded with heavy ornamentation. Very few of these remain; but the Louvre has a few architectural drawings, simple and elegant in style. He loved his chisel better than his brush, and the little of his work which remains, proves him to have been excelled by no carver of Spain. When weary of painting he carved for refreshment. A pupil once remarked upon this strange method, when he replied, " Blockhead, don't you perceive that to create form and relief, on a flat surface, is a greater service than to fashion one shape into another ? " The masterpiece of his chisel, now remaining, is a Virgin, about a foot high, in the Sacristy of the Cath. of Granada. In painting he was a ready draughtsman, yet was accustomed to borrow largely from the ideas of others, and defended the practice. His works are the finest produced by any Spaniard without study in Italy. The Queen of Spain's Gall, has eight of his pictures. The ch. of Getafe, two leagues from Madrid towards Toledo, has six large pictures by Cano, adorning the retablo of the high altar. The Cath. of Granada was cruelly robbed by the French, but still retains some good altar-pieces by its artist-canon. The Cath. of Malaga boasts the " Virgin of the Rosary," in which the hands and feet are peculiarly beautiful. This picture is fast decaying. The Mus. of Valencia has two pictures by this master. One of his most beautiful, and latest works, representing " Our Lady of Bethlehem," painted at Malaga for Don Andres Cascantes, was presented to the Cath. of Seville, where it still hangs in a small chapel, lighted only by votive tapers. It is finished with exceeding care, and is a worthy crown to his labors. The portraits by Cano, which remain, are few, but ex- cellent. The Louvre, the National Mus. at Madrid, and the Royal Mas., each possess one of these works. Canova, Antonio, born in Possagno (1757-1822). His father and grandfather were stone-cutters. The former died young, and Antonio was left to the care and instruction of the latter. Works executed by Canova in his ninth year still remain. Not far from his home lived the, Signor Gio. Faliero, who was accustomed to employ the old Pasino Canova, for whom he entertained so great a regard that he sometimes invited him to spend a few days at his villa. Antonio ac- 12 178 CANOVA. companied his grandfather, -became the friend of the young Giuseppe Faliero, and the favorite of the entire family. On one occasion when Canova and his grandfather attended a festival in the Villa Faliero, the ornament for the dessert was forgotten. The mistake being dis- covered almost the moment it was required, the servants applied to Pasino to assist them, for they feared the displeasure of the master. The old man could do nothing, but the young Tonin, as he was called, asked for some butter, and presently carved a lion. This being sent to the table attracted the attention of all, and Tonin was sent for. He received the praises of the whole company, and from this time the Senator Faliero became his patron. This anecdote is very pleasing, but it is probable that the talents of Canova were well known to Faliero before this occurrence. He placed the boy under the tuition of Giuseppe Bernard!, called Toretto, a Venetian sculptor, who had settled at Pagnano. Canova was at this time twelve years of age. He remained two years with this master, and during that time made many statues and models which are still preserved in the Faliero family, and in various collections. During an absence of his master he made the models, in clay, of two angels, which were his first really original work. He placed them in a conspicuous situation, and awaited the master's return with hope and fear. Toretto remained astonished before them, and exclaimed that it was truly a marvellous work. From these models the grandfather executed in pietra dura the two angels on the high-altar at Monfumo. About this time Canova executed his first representation of the human form in marble. He made small statues and used them as gifts for his friends. When he was fifteen his patron sent for him to go to Venice, and received him kindly into his own house. Canova desired to do something for himself, and engaged to work the latter half of the day for Giuseppe Ferrari, nephew of Toretto. In a private letter Canova afterwards wrote, " I labored for a mere pittance, but it was sufficient. It was the fruit of my own resolution, and, as I then flattered myself, the foretaste of more honorable rewards." This fact places his genius before us in a strong light, for it is unusual that a youth of fifteen should receive money, instead of paying it for instruction. In Venice a new field was open to his observation. He systematically divided his time; passed his mornings in the Acad. or in some Gall., his afternoons in the workshop, and the evenings in studies which had been neglected in his youth. The first commission which Canova received was from the Commendatore Farsetti, and consisted of two baskets filled with fruits and flowers, sculptured in marble, and placed on the balustrade of the staircase which led to the picture- gallery, in the Pal. Farsetti, where Canova had spent much time in study. These works had no especial excellence, and prove that the powers of Canova were not extraordinary at that time. At the end of a year he went with the Faliero family to their summer home at CANOVA. 17i> Asolo. Some time previous to this, his -patron, desiring to possess a good work of his, had given him as a subject, a group of Orpheus and Eurydice, and wished him to represent the moment when the lover beholds her torn from his arms forever. He had worked upon this in his leisure hours, and took everything necessary for the work with him to Asolo, where he finished, in his sixteenth year, " Euryd- ice," his first original statue. It was executed in pietra di Costosa, and was the size of life. From this time Canova perceived a great deficiency in the models then used, for it was customary to make them many times smaller than the statue when finished. He deter- mined to make all his models, even those of colossal figures, of the exact size in which they were to be finished. After this time he oc- cupied a cell in the monastery of the Augustine friars attached to the ch. of S. Stefano. During the next three years, in addition to his studies, he was employed on the " Orpheus," and in executing a bust of the Doge Renier. He was accustomed, at this time, to study entirely from nature. He also gave much time to anatomy, and in later years made dissections with his own hand, in order to sketch, and frequently to model from important parts, or well-defined conforma- tions in particular instances. In 1776 his " Orpheus " was exhibited at the annual festival of the Ascension. It happened that at the same time the opera of " Orpheus " was brought out in Venice. The praise which he then received was always remembered by Canova " as that which made him a sculptor," to use his own words; and his gratitude for it caused him, when created Marquis of Ischia, to choose the serpent and lyre, the mythological symbols of Orpheus and Euryd- ice, for his armorial ensigns. He soon received an order from the Senator Grimani for a copy of the " Orpheus," which was the first statue he executed in Carrara marble. Finding his workshop too small, he removed to one in the street of S. Maurizio, where he con- tinued until his final departure from his native country. His next work was a statue of " ^Jsculapius," larger than life; and it is said that but a short time before his death, he saw this work for the first time after it had left his atelier, and declared himself sorrowful that " his progress had by no means corresponded with the indications of excel- lence exhibited in this performance of his youth." He also executed a group of " Apollo and Daphne," never entirely finished. When twenty-two years old, he completed the group of "Daedalus and Ica- rus, " for the Senator Pisani. This was intended as an outward decora- tion of his palace, but when finished, it was considered too valuable, and was placed in the Gall, already made famous by the " Family of Darius " of Paul Veronese, and other excellent works. This may be considered his last work executed in Venice, as he went to Rome soon after his twenty-third birthday. He had been recommended by let- ters to the Cavaliere Zuliani, who then represented the Republic of Venice at Rome, and was the intimate friend of Faliero. He was an 180 CANOVA. enlightened and generous protector of the arts, and received Canova with great kindness. He soon arranged to have the model of " Daeda- lus and Icarus " displayed before the best artists and connoisseurs in Rome. The trepidation with which Canova went to this exhibition, can easily be imagined. The praise which he received, and the acknowledgment of his merit, established his reputation. He had long desired to undertake a group on some heroic subject, and Zuli- ani procured him the marble, and promised that if no other purchaser appeared, he would give him the full value of the group when finished. The subject chosen was that of " Theseus vanquishing the Minotaur," the figures to be of heroic size. His workshop was in a part of the Venetian Pal. to which no one had access. He worked with untiring industry, studied in the museums and collections at Rome, and at daylight was often seen with his sketch-book or modelling ap- paratus before the statues in front of the capitol, or the colossal figures on Monte Cavallo. In the mean time his friends in Venice succeeded in obtaining for him a pension of 300 ducats from the government. While at work upon the " Theseus " he also finished a statue of "Apollo," which last was first exhibited at the same time with the " Minerva Pacifica " of Angelini, and in spite of the formidable com- petition, the " Apollo" received high praise. At length the " The- seus ' ' was finished. Its existence was unknown to all save the ambas- sador. In order to give full effect to the first exhibition of this work, Zuliani gave an entertainment and invited all the most distinguished men of Rome. A model of the head of Theseus had been prepared by the artist, and attracted the attention of the guests. Various opin- ions were expressed regarding its form, its expression, and subject, and all agreed that it was an antique of great merit. In the midst of the talk, the ambassador said, " Come, let us end these disputes by see- ing the original," and the statue was unveiled before them. Every- thing was forgotten in their surprise and admiration, and even the ar- tists, who afterwards pursued him with envious malice, praised him in that moment. Canova was often heard to say that death itself could not have been more terrible than his emotions during these oc- currences. With the completion of this work terminated the novitiate of Canova. From this time his fame was established. He was soon selected by Volpato to erect a monument to Clement XIV., "the suppressor of the Jesuits, the collector of the Clementine Mus., and the author of those elegant letters by which his family name, Gan- ganelli, has been rendered famous over Europe." Canova hesitated in accepting this, feeling that his time should be controlled by those who had bestowed his pension. He went therefore to Venice, and laid the matter before the senate, who directed him to employ his time as was most profitable to himself. He now gave up his studio in Venice, and, as Zuliani left Rome at this time, he established him- self in the Strada Babbuino, and opened that studio which is still the CANOVA. 181 resort of the lovers of art, of all nations. He now commenced to practise upon his long meditated design of making his original models of the dimensions of the projected work. In 1787, the monument of Ganganelli was first exhibited. It was much praised, even by Mili- zia, a bitter critic. This was followed by a monument to Clement XIII., erected by his nephews in S. Peter's; and the mourning genius in this monument is one of the loveliest works of Canova. These two monuments employed the best part of ten years of the most vigorous time in his life. An engraving of the first monument had been dedi- cated to Zuliani, but Canova desired to give him some more substan- tial proof of his gratitude, and made for him a statue of Psyche; but Zuliani hesitated to accept it, and was only persuaded to do so with the understanding that the artist should receive from him a number of gold and silver medals, with Psyche on one side, and the head of Canova on the other, to distribute among his friends. In the midst of these arrangements, the ambassador died, and the heirs of Zuliani, displeased at his having given his works of art to the public library, refused to carry out his plans. Subsequently the "Psyche " was pur- chased by Napoleon and presented to the Queen of Bavaria. The fame of Canova extended to Russia, and most advantageous offers were made him to go to St. Petersburgh. He did not wish to do so, and excused himself on account of a commission from the Venetian senate. This was a monument to the Admiral Emo. Canova suc- ceeded so well in this that a gold medal was made by order of the senate and presented to him; while, at the same tune, an annuity for life was voted him. In 1798, unable to endure the revolutionary frenzy at Rome, he retired to his native Possagno. Here he re- mained more than a year and employed his time in painting. Al- though we are not accustomed to associate his name with this branch of art, he was by no means a despicable painter, and his pictures, which Cicognara states as twenty-two, were more numerous than that. In May, 1800, his masterpiece, representing the Saviour just taken from the cross, surrounded by the Maries, S. John, Joseph of Arima- thea, ami Xirodemns, was placed in the parish ch. of Possagno. This was the first of his many munificent gifts which made this hum- ble church a splendid temple. After his return to Rome, his health being affected by continual application, he determined to leave the many orders which awaited him, and, in company with Prince Rezzo- nieo, he visited Vienna and Berlin. He returned with restored health, and from this time enjoyed the reputation he had so well earned, and was constantly employed in the most important labors. His " Per- seus " was placed, by a public decree, in one of the Stanze of the Vatican, an asylum hitherto denied to modern art. This was a proud triumph for Canova. In 1802-03, he went to Paris at the request of Napoleon, to model the bust for a colossal statue, finished six years after. In 1810 he was ealled again to Paris to prepare a model for 182 CANOVA. the statue of Maria Louisa. In 1805, he went the second time to Vienna, where he modelled the bust of the emperor. With the ex- ception of these journeys, from 1800 to 1815, he never quitted Rome, and, in truth, scarcely left his workshop. In the last named year he was sent, in an official capacity, to Paris, for the purpose of re- claiming the works of art which had been taken from Italy, and be- longed to the patrimony of the Church. His exertions, and the suc- cess attendant upon them, should ever be remembered by Romans with gratitude. When his commission was happily accomplished he went to London. Here he was received with great distinction. The king honored him with several conferences, gave him a commission for a beautiful group, presented him with rich gifts, and made him the bearer of private letters to the Pope. The joy in Rome when her works of art were restored, was increased when Canova himself arrived. His entry there may be called a triumphal one, and took place on the 5th of January, 1816. He had been president of S. Luke's before; he was now made president of the commission for the purchase of objects of art, and of the Acad. of Archeology. In full consistory, the Pope ordered his name to be inscribed in the " golden volume of the Capitol," with the title of Marquis of Ischia, and a pen- sion of 3000 crowns a year was given him. Canova now designed to execute a colossal statue of " Religion," to commemorate the return from banishment of the Pope. He only waited for the proper au- thorities to determine where it should be placed ; but this they would not do, and, through mutual jealousies, Rome was deprived of the magnificent gift. Canova was filled with sorrow and regret at this circumstance, but he determined that not only one statue, but his re- maining life and fortune, should be consecrated to religion; and he re- solved to erect a church at Possagno, adorned with many works of art, and that there his ashes should repose. In the summer of 1819, after many preparations, Canova arrived at his native town. On the 8th of July, he assembled his workmen and gave them a sumptuous entertainment. Many young shepherdesses and peasant girls had joined in the festivities, and assisted in the preliminary excavations. At the close of the day, each one received a present from Canova as she passed his seat to bid him farewell. On the eleventh of the month the religious ceremony of laying the foundation stone of the future church took place. An immense concourse, not only from the surrounding country, but from Venice, was present. Canova, habited in his robes as a Knight of Christ, and bearing the insignia of various other orders, led the procession. The occasion must have been most impressive, for all could not have passed away, who had seen this famous man, when, a poor boy, he attended the steps of his grand- father, the stone-cutter, now raised by the noblest distinctions. He consecrated his life and fortune to the service of God, and the bene- fit of his birthplace. Every autumn, Canova visited Possagno, en- CANOVA. 183 couraged and regarded the workmen, and changed from time to time 1 , as seemed best to him, the details of the previous plan. The expenditure he thus incurred necessitated great exertion, and he con- stantly undertook new commissions. One work of this time, the statue of Washington, is especially interesting " as the first piece of sculpture executed in the Old, and publicly commissioned in the New World; thus uniting, by the fame of one individual, the art of both hemispheres." (Memes.) In his last winter he was more than or- dinarily diligent, engaged upon an equestrian statue of Ferdinand of Naples. On account of this work, in May, he went to that city, and there became ill. He returned to Rome where, for a time, he seemed to revive, and was able to resume his work. He arrived in Possagno on the 1 7th of September, and in October went to the Villa Faliero. A half century had passed since he had here indulged the dreams of youth, and he lingered lovingly on every favorite spot. Though con- stantly growing weaker he went to Venice, to the house of his friend Francesconi, where, on the. 13th of October, he died. Solemn ser- vices were held in Venice when his bier was borne to the cathedral by the professors of the academy, attended by the most distinguished men in art, letters, or rank. His remains were then consigned to a deputation of priests from Possagno, and borne in a barge to Pos- tioma. From here they were taken to his temple, and on the 25th, the last honors were paid them. On this occasion, the crowd was so vast that they were obliged to deliver the oration in the open air. The Venetian Acad. obtained the heart of Canova, to contain which, an elegant little monument was erected in the hall of the Pal. of the Arts. The Venetian artists made arrangements to erect a cenotaph to him. and selected for it his own model of the tomb of Titian. In Rome a statue was decreed to him, and he was pro- claimed perpetual president of her chief academy. In personal ap- pearance Canova was not especially attractive. His hair was black and luxuriant, and his forehead of noble dimensions, but the outline of his features was neither grand nor extraordinary. His head was remarkably well set upon his shoulders, and his loose manner of dressing his neck permitted this to be seen. His whole air, manner, and dress was that of modesty, benevolence, and simplicity. There is a story that when he first arrived in Venice, he fell in love with a beautiful girl, somewhat older than himself, who came to draw in the Farsctti Gall. Day by day he watched her, until at last she came no more. At length her attendant appeared, and when he inquired for the loved one, she burst into tears and exclaimed, " La Signora Julia is dead." He said no more. Who Julia was he never knew, but, through all his life, whenever he endeavored to unite the purity of the angel with the representation of earthly beauty, the lovely Julia was in his mind. The habits of his life were very unostentatious. He arose early and worked late. He went little into public society, 184 CANOVA-CANTAGALLINA. but almost always surrounded himself with a few friends at dinner. He entertained them cordially, but without display. He was very abstemious, and required rest even after his frugal meals. He joined in cheerful and light conversation, but avoided any subject connected with the arts, or anything that required mental activity. He re- tired to his chamber at eleven, and amused himself with a book or pencil before sleeping. Some of his finest sketches were made at this time, a part of which have been published under the title of " Pen- sieri." To describe one day, is to describe his whole life. His re- ligious character and generosity have been sufficiently portrayed. In professional intercourse, he was governed by the same rules that regu- lated his life. The progress of art through the achievements of others afforded him pleasure; envy and jealousy were unknown to him. At the same time he was severely just in the estimation of his own merits. He would not receive pupils, and no one could boast of being taught by him; but he never refused to leave his own work to give his advice or assistance, or to visit the work of any other artist. To art he was a willing and powerful patron, and he had executed, at his own order and expense, the numerous busts of distinguished per- sons in the Mus. of the Capitol. The following is a list of a por- tion of his works, with the dates of their execution : 1772. Two baskets of fruits and flowers in marble, Farsetti Pal. 1773. Statue of Eurydice; soft stone of Costosa. 1776. Orpheus ; soft stone of Costosa. 1779. Dsedalus and Icarus ; Carrara marble, Pasini Pal., Venice. 1782. Theseus and the Minotaur. 1787. Tomb of Clement XIV., Rome, ch. of the Holy Apostles. 1792. Tomb of Clement XIII., Rome, S. Peter's. 1793. Second statue of Psyche. 1794. Cenotaph of Admiral Emo. 1800. Perseus, with the Head of Medusa; Vatican. 1803. Colossal statue of Napoleon. 1805. Venus victorious ; head of Pauline Bonaparte; Villa Bor- ghese, Rome. 1811. Statue of Maria Louisa. 1817. Monument of Cardinal York. 1818. Sitting statue of Washington. 1822. Pieta in model. 1822. Seven reliefs for the Metopes of the temple at Pqssagno. These are but a small portion of his works. Cupid, Psyche, Venus, Adonis, Nymphs, etc., etc., were his favorite subjects and often repeated. Cantagallina, Remigio, born at Florence (1582-1630). An eminent designer and engraver, said to have instructed Callot and Stefano della Bella. His pen-drawings are much prized. The following are his principal plates: CANTAGALLINA CARAGLIO. 185 The Immaculate Conception; after Callot. Set of four Landscapes. 1609. Set of six Landscapes. Set of twelve Landscapes; octagon; marked with cipher. Set of six Landscapes ; with cipher. 1624. Set of plates of the scenes of an Opera; after designs by Giulio Parigii. Set of plates called the Palazzo della Fama. 1608. Cantarini, Simone, called II Pesarese, born at Orpezza, 1612; died at Verona, 1648. After studying with other masters he became the pupil of Guido Reni. lie came to be one of the very best Italian portrait painters. A head of Guido by Cantarini in the Acad. of Bologna can scarcely be surpassed in the world. He was vain, and so disagreeable in disposition that he was obliged to leave Bologna, and went to Rome. His imitation of Guido is very apparent, and even more so in his etchings than in his paintings. He is very highly esteemed as an engraver. Cantofoli, Ginevra, born at Bologna (1618-1672). Pupil of Elisabetta Sirani. Her pictures were historical and may be seen in several churches in Bologna. Canuti, Domenico Maria, born at Bologna (1620-1684). One of the most excellent pupils of Guido. He was employed in the public edifices of Rome, Bologna, and Padua. He also etched several plates in the manner of Gnido. Capella, Jan Van de. A Dutch painter of marine views, born at Amsterdam, and granted the freedom of the city in 1653. Further than this his history is unknown. His pictures are much admired in England, and a large part of them are in that country. No. 10, Gall, of the Duke of Arcinhfr^ ;it Brussels, is by him, and represents the mouth of the Scheldt, with numerous vessels. His pictures are signed J. V. Capelle, but are not dated. He liked smooth seas best, with objects clearly ivflr<-tr C! T m 17 194 CARHACCI. subjects, and in some cases the attention is much divided between his figures and the background. His pictures are very numerous and are in almost all good collections. It is said that he painted very little during the last five years of his life. He died at Rome, and was bur- ied in the Pantheon, near Raphael. Annibale excelled in small com- positions of the Madonna and Holy Families. His " Three Ma- ries " is very fine, and full of deep pathos in its expression of sor- row. But his Farnese pictures are generally considered his greatest works, and are a good example of the school of the Carracci. i BBiin/r VENUS &ND MARS. BY ANNIBALE CAKKACCI. In the Farnese Pal., Rome. ENGRAVINGS AFTER THE WORKS OF ANNIBALE CARRACCI. Engraver, AUDENAERDE or OUDENAERDE, Robert Van. The Birth of the Virgin. Engraver, AUDRAN, Charles. The Baptism of Christ; small oval. Engraver, AUDRAN, Gerard. The Death of S. Francis. Martyr- dom of S. Sebastian. Achilles at the court of Lycomedes. Tempta- tion of S. Anthony. Engraver, AUDRAN, John. The Good Samaritan; arched. Engraver, BARTOLI, Pietro Sante. The Family of Coriolanus at his Feet. S. Charles Borromeo led by an Angel. Engraver, BARTOLOZZI, Francesco. Portrait of Annibale Carracci. Engraver, BAUDET, Stephen. The Dead Christ on the Lap of the Virgin; The Stoning of Stephen; 1677. Engraver, BRIZZIO or BRICCIO, Francesco. A Blind Man led a Dog. by CARRACCI. 195 His own Plates. The Virgin suckling the Child; oval. The Virgin supporting the Head of the Child sleeping. The Virgin and Child, and S. John presenting a Bird. The Virgin seated, the Child standing. Adoration of the Shepherds. The Virgin of the Porringer giving Drink to S. John. 1606. A Dead Christ, called the Christ of the Caprarole. 1597. Christ crowned with Thorns; A. C. inv. etfec. 1606. S. Jerome with Spectacles. S. Francis with the Crucifix and Skull. S. Francis kneeling at the foot of a Rock. S. Petronius kneeling. Apollo playing the Lyre, with Pan. An Old Man with two other Figures. Venus sleeping, with Cupid and a Satyr. Venus sleeping, contemplated by a Satyr, menaced by Cupid. Silenus, a Faun, and Satyr, called the Cup of Annibale. The Triumph of Bacchus, a Salver to the Cup ; both very scarce. Acis and Galatea, with a Satyr. Susanna and the Elders ; very scarce. Engraver, CESI or CESIO, Carlo. Forty-one plates from the Far- nese Gall. Engraver, CHATEAU or CHASTEAU, William. The Stoning of Stephen. Assumption of the Virgin. Christ appearing to S. Peter. Engraver, CORNEILLE, Michel the Younger. Jacob wrestling with the Angel. S. John preaching in the Desert. S. Jerome. S. Francis receiving the Stigmata. Silenus, a Satyr, and Faun. Abraham send- ing away Hagar. Engraver, CORNEILLE, Michel the Younger. S. John in the Wil- derness. Christ with the Samaritan Woman. Engraver, CUNEGO, Domenico. Apollo and Silenus. Engraver, DUPUIS, Nicholas Gabriel. The Virgin and Child, with Saints. Engraver, EARLOM, Richard. Christ curing the Blind. Engraver, FANTETTI, Cesare. Charity, with three Children. Eiujraver, FARIAT or FARJAT, Benoit. The Virgin and Child, with S. John presenting Fruit. Engraver, GALESTRUZZI, Gio. Batista. Mercury giving the Golden Apple to Paris. Engraver, GRIMALDI, Gio. Francesco. Two upright Landscapes. A set of four Landscapes. Engraver, HAINZELMANN, Elias. The Virgin and S. John, with the Child sleeping, called " The Silence." 196 CARRACCI CARRENO. Engraver, HAINZELMANN, John. The Child embracing the Virgin. Engraver, LANGLOIS, John. Tobit and the Angel. Engraver, LASNE, Michael. The Virgin, called "The Silence." Engraver, LOMBARD or LOMBART, Peter. The Virgin and Child. Engraver, MANNL or MAENNL, Jacob. Susanna and the Elders. Engraver, MATTIOLI, Ludovico. Christ and the Woman of Sa- maria. Engraver, MICHEL, John Baptist. Clytie; circular. Engraver, MITELLI, Giuseppe Maria. The Cries of Bologna; 41 prints. Engraver, PASQUILINI, Gio. Batista. S. Diego working a Miracle. Engraver, PICCHIANTI, Gio. Domenico. The Virgin and Child with S. John. Engraver, Po, Pietro del. S. John in the Wilderness. The Woman of Canaan before -Christ. The Dead Christ on the Lap of the Virgin. Engraver, POILLY, Francis the Elder. The Repose in Egypt, in which the Virgin is sleeping, with two Angels kneeling. Engraver, RENI, Guido. Holy Family, with S. Clara. The Vir- gin suckling the Child. The Charity of S. Roch ; 1610. Engraver, Rossi, Girolamo, called De Rubeis the Elder. S. Charles Borromeo kneeling before a Crucifix. Engraver, ROULLET, John Louis. The three Maries with the Dead Christ; very fine. The Virgin and Child. Engraver, ROUSSEAU, James. The Repose in Egypt. S. John baptizing the people of Israel. Engraver, SCARAMUCCIA, Luigi. Venus and Adonis. The Virgin. Engraver, SCHMIDT, George Frederick. Alexander and his Phy- sician. Timocleus justified by Alexander. Engraver, SHARP, William. The three Maries and Dead Christ; plate left unfinished. Engraver, SIMONEAU, Charles. The Adoration of the Shepherds. Christ and the Woman of Samaria. Engraver, VORSTERMAN, Lucas the Elder. Christ praying in the Garden. Engraver, WOOLLETT, William. A Landscape with figures and a waterfall. Carre* or Carrey, Michael, born at Amsterdam (1666-1728?). A landscape and cattle painter. His works resemble those of Van der Leeuw more than those of Nicholas Berghem, with whom he is said to have studied. He was employed by the King of Prussia, and ap- pointed one of his principal painters. His easel pictures are seen in many collections, and are very good. Carreno, as he is commonly known, was a native of Aviles (1614- 1685). His whole name was Juan Carrciio de Miranda. His parents CARRENO CARSTENS. 197 were of noble families, and the Carrenos had been eminent among the knights of Spain for nearly three centuries before his time. Juan learned to draw in the school of Pedro de las Cuevas, and to use colors in that of Bartolome Roman. Before the death of Philip IV., he was appointed one of his court painters ; and when the king asked Colonna whom he considered the first painter of Madrid, the Bo- lognese replied in favor of Carreno. Before he was called to court, he had painted many pictures for the churches and convents of Madrid, and had acquired a good reputation in the city. In 1665 he was em- ployed in the Cath. of Toledo; and in 1671 had so advanced in the favor of Charles, the young king, that he made him painter in ordi- nary and deputy Aposentador, and gave him the cross of Santiago. He would allow no other artist to paint his likeness without the con- sent of Carreno; and the portraits of this artist were so well considered, that most of the eminent men of his time desired to possess them. He deserved all his good fortune. His drawing was correct, his color harmonious, his portraits easy and truthful, and his religious compositions were highly esteemed. He was good-tempered and affable, and much regretted by all who knew him. Some anec- dotes are told of him, and it is said, that being one day in a house where a copy of Titian's u S. Margaret " hung upon the wall, a discus- sion arose as to who had painted it. Every one declared it abom- inable. Carreno said, " It at least has the merit of showing that no man need despair of improving in art, for I painted it myself when I was a beginner." It happened at one time that Grcgorio Utande, a poor artist, had painted a " Martyrdom of S. Andrew " for the Car- melite nuns of Alcala, for which he demanded 100 ducats. The nuns refused to pay it, and desired to have the picture valued by Cunvfio. Accordingly Utande proceeded to the capital, and first presented Carreno with a jar of honey, and then begged him to re- touch his S. Andrew. Carreno consented, and, in fact, repainted the picture. A short time after, he was astonished at being asked to value the same ; he declined, and it was left to Herrera-Barnuevo, who called it worth 200 ducats. Utande, after receiving his money, told of his trick, and the work was known as la Cantarilla de MieL Tin- Queen of Spain's Gall, has several portraits by Carreno, among which is that of Bishop Potemkin, the ambassador of the Czar of Muscovy, who, with his long beard and red robes, was a subject to please an artist. There is also a curious study of a female dwarf, with an apple in each hand, and a gaudy, flowered robe. Camera. Sec Rosalba. Cars, Laurence, born at Lyons (1702 ?-1771). One of the best French designers and engravers of the 18th century. His best works are after Le Moine; and that of " Hercules and Omphale " is his chcf-d' 'ceuvre. He left many plates. Carsteiis, Asmus Jacob, bom in Schleswig (1754-1798). A 198 CARSTENS CASSANA. great lover of Michael Angelo and classic art. He gave a new im- pulse to German artists, and his fine paintings and drawings did much in their noble simplicity to cast off mechanical drowsiness, and arouse his countrymen to the poetic sentiment which now distin- guishes them. Carucci, Jacopo, called Pontormo, f rom his birthplace (1493-1558). After studying under other masters he entered the school of Andrea del Sarto, who, from jealousy of his fine powers, expelled him from his academy. In his large works he disappointed the expectations founded on his youthful promise, but he excelled as a portrait painter. There are good portraits of him in the Berlin Mus. , and in the Uffizi one of Cosmo dei Medici, which is vivid in color. In the National Gall, there is a portrait by him of a young Italian nobleman, which is very fine. Casalina, Lucia, born at Bologna (1677-1 762). A very successful portrait painter. Her own likeness painted by herself is in the Flor- entine Gall. Casanova, Francesco, born in London (1732-1805). Son of Ve- netian parents, he was early placed under the instruction of Guardi. He painted battles, landscapes, and animal subjects. He was ad- mitted to the French Acad., and settled in Vienna. Two of his large battle pieces are in the Louvre. Casentino, Jacopo di, born at Prato Vecchio (1310 7-1390 ?). A relative of the family of Messer Christoforo Landino. He acompa- nied Taddeo Gaddi to Florence. He painted many frescoes, of which few remain, and was an architect as well as a painter. He is worthy of notice as one of the founders of the Florentine Acad. of S. Luke. In the National Gall, there is an altar-piece by him, formerly in the ch of S. Giovanni Evangelista at Prato Vecchio. It has 22 compart- ments, and represents the old legend of the lifting of the Evangelist to heaven. It was probably the chef-d'oeuvre of Casentino. No. 1 29 2, Uffizi, is also his work, and is a predella, representing a religious cere* mony in the centre, with side pictures from the life of S. Peter. It is better painted than the National Gall, picture. Casolani, Alessandro, born at Siena (1552-1606). A reputable painter of history, whose works may be seen in the churches of Siena, and also at Naples and Genoa. Casolani, Ilario, son of the preceding. Several of his works are in the churches of Rome, where he died in middle life. Cassana, Gio. Francesco, born at Genoa (1611-1691). A painter of history and portraits ; in the latter he excelled. He was the father of a family of artists who were all of good reputation. Niccolo was an excellent portrait painter, and went to England in Queen Anne's time. He painted her portrait, and those of many nobles. He died in London, in 1713. Abate Gio. Agostino painted animals, and his works are in the collections of Genoa, Venice, and CASSANA CASTIGLIONE. 199 Florence; died 1720. Gio. Batista painted fruit, flowers, and still life. Maria Vittoria executed small devotional subjects for private collections, and her works were much esteemed; died 1711. Cassteels, Peter, born at Antwerp (1684-1749). A successful painter of flowers, birds, fruit, etc. He also engraved some plates which are not without merit. Castagno, Andrea del, born at Castagno (1390-1457). The name of this painter has been loaded with infamy as the murderer of Domenico Veneziano, from whom it is said he had learned the secret of oil-painting, and killed him that he might be the sole possessor of this knowledge. But of this crime he could scarcely have been guilty, since, according to Signor Gaetano Milanesi, he died three years before Domenico ! (See Giornale Stor. ub. sup. pp. 6,7). As a painter he is a coarse and exact imitator of nature, rather than the follower of any school. Some of his works show the study of the antique; his colors were used with a dash, but his flesh tints were not good; his figures are bold in outline and full of action. He painted for the Cath. of S. M. del Fiore at Florence a picture of S. Niccolo di Tolentino, intended to represent an equestrian statue. It was a remarkable work. It has been transferred to canvas, and hangs in the cathedral. Besides his pictures in various places in Flor- ence, there are two in the Berlin Mus. Castelli, or Castello, Bernardo, born at Genoa (1557-1629). In his desire to acquire facility of execution, he fell into many faults. His works may be seen in Genoese churches, and at S. Peter's at Rome there is one representing " S. Peter walking on the Sea." He lived in intimacy with the cultivated and literary men of his time. He excelled as a miniaturist, and was praised for his manner of paint- ing insects. Castelli, Valeric, born at Genoa (1625-1659). Son of the pre- ceding. He was a good painter. His sacred subjects are in the churches of Genoa, and his battle pieces in the palaces of that city. Castelli, Gio. Battista, called II Bergamasco, born at Gandino (1500-1570). In his youth he attracted the attention of one of the Pallavicini at Genoa, who sent him to Rome, where he became pro- ficient in architecture and sculpture, as well as painting. After his return to Genoa, he painted in rivalry with Luca Cambiaso. Castelli was the more successful one. In 1567 he was invited to Spain by Charles V., and received a salary of 300 crowns, besides payment for his work. He designed the grand staircase in the Escorial, and executed several ceilings in the Palace of Madrid, in which city he died. Castello. There are several other artists of this name, whose works are occasionally seen in churches and galleries. Castiglione, Gio. Benedetto, born at Genoa (1616-1670). Painted landscapes in which he intro- duced animals, and sometimes figures. He met Van- 20.0 CASTIGLIONE CATLIN. dyck in Genoa and received some instructions from him, the influence of which may be traced in his works. Sometimes he painted re- ligious subjects with great tenderness. There are a few studies of animals on paper by this artist, which are surprisingly good. As an engraver, he deserves notice, having left more than seventy plates etched with power, and in light and shade resembling Rembrandt and Delia Bella. He used the graver but little. His son Francesco, and his brother Salvatore, were his pupils and imitators, but never equalled him. Castillo Juan del, born at Seville (1584-1640). Pupil of Luis Fernandez and teacher of Murillo, Alonso Cano, and Pedro de Moya. He was a distinguished painter of historical subjects. Castillo y Saavedra, Antonio del, born at Cordova (1626-1667). Studied first with his father, and then at the school of Zurbaran at Seville. He painted portraits, sketched from nature, made archi- tectural drawings, and executed models for the silversmiths at Cor- dova. After his return from Seville, he became the fashionable painter of his city, and his portraits were sought by all persons of pretension. Flattered by this homage, he desired to win reputation in a wider field, and went again to Seville. He was kindly received by the artists there, but foolishly praised his own works, at the ex- pense of theirs. When, however, he was led to the cathedral to see the works of Murillo, he was overpowered by their splendor, and ex- claimed, " Castillo is dead." He returned to Cordova and attempted to imitate his rival, but soon sickened and died, a victim to his con- viction of inferiority; in the same way as Francesco Francia, a cen- tury and a half before, is said to have died of the S. Cecilia of Ra- phael. Castillo was a man of cultivation and wit. His pupil, Juan de Alfaro, visited Madrid, and returned puffed up with his knowledge of art. He signed his pictures conspicuously, " Alfaro pinxit; " whereupon Castillo inscribed his "Baptism of S. Francis," " NOD pinxit Alfaro." Most of his works are in the churches and convents of Cordova. The Royal Gall, at Madrid has but one the " Adora- tion of the Shepherds ' ' which has strong lights and shadows, effec- tive heads, is well drawn, but dry and disagreeable in color. Catena, Vinceiizo, born in the Venetian States (1495 ?-1531). Real name Vincenzo di Biagio. He was a most industrious artist, but had no great talent. One of the school of the Bellini, of whom he was a close, if not a servile imitator. His best works were his portraits, some of which are fine. Many of his pictures are in Venice, and they are also found in nearly all large collections in Europe. He left several wills and codicils, and considerable property. Catlin, George, born in Wyoming Valley, Pennsylvania (1794- 1872). He first studied law, but afterwards devoted himself to painting. He spent eight years, 1832-1839, among the American Indians, and made the acquaintance of forty-eight different tribes. CATLIN CAXES. 201 He made many drawings illustrative of their manners and mode of life, and painted two hundred portraits of the most prominent chiefs and warriors. His gallery was exhibited in this country and in Eu- rope, and attracted much attention. His letters concerning this tour were published in 1841 ; he published also the " North American Portfolio of Hunting Scenes," 1844; " Notes of Eight Years' Travel and Residence in Europe," 1848; "Life among the Indians," and " Okeepah," 1867. His first book had over 300 steel-plate engrav- ings from his own designs. His books remain the most authentic, as well as the most entertaining account we have of the wild tribes which he visited. Cavallini, Pietro. Very little is positively known, and much has been conjected of this artist. It is certain that in 1308 he was em- ployed by Robert of Naples, but his works of that time do not exist, or are unknown. He was a pupil or follower of Giotto, and had prob- ably been instructed by the Cosneati. At S. Grisogono, at Rome, there is a mosaic, undoubtedly his, which represents the Virgin en- throned, with the Child giving the benediction; SS. James and Chry- sogonus are also in the same work. In S. Maria, in Trastevere, there are some wall mosaics, much damaged, probably by the same hand as the above. He was an architect, as well as a painter and worker in mosaics. There is a u Crucifixion " in the ch. of Assisi at- tributed to him, but of this there is still some doubt. Cavallino, Bernardo, born at Naples (1622-1654?). An artist who painted easel pictures of historical subjects, which may be seen in the collections of Naples. He gave promise of great excellence, and indeed his works have much merit, but he became intemperate and died young. Cavallucci, Antonio, born at Sermoneta (1752-1795). A good painter of the modern Roman school. His most celebrated work is "Venus with Ascanius," Palazzo Cesarini, Rome. Cavarazzi, Bartolomeo, called Crescenzi, born at Viterbo (1590 ?-1625). Studied under Pomerancio. When he left his mas- ter he was taken under the protection of the family Crescenzi. He painted many pictures for his patron, and was much employed in the public edifices at Rome. In the ch. of S. Ursula he represented the legend of that saint. In S. Andrea della Valle is his picture of S. Carlo kneeling with a choir of angels ; and in the convent of S. Anna, a "Holy Family." Cavedone, Giacomo. A Modenese (1577-1660). A pupil of Annibale Carracci, whom he bid fair to rival, for some of his pictures painted in middle life were mistaken for those of his master. But through family misfortune he became depressed, relinquished his art, and died a beggar in the streets of Bologna. His best works are in the public edifices and Gall, of that city. Gazes, Patricio. An Italian painter who spent many years in 202 c AXES CELLINI. Spain. Few of his works remain, for many of them were burned in the Pardo. In the Queen of Spain's Gall., there is a large Madonna with the Child asleep on her lap, surrounded by adoring angels. Caxes, Eugenic. Son of. the preceding, born at Madrid (1577- 1642). Court painter to Philip III. and Philip IV. Much employed in the churches, convents, and edifices of Madrid ; many of his works perished in the Pardo and the Convent of S. Philippi. Queen of Spain's Gall., " Repulse of the English under Leicester, at Cadiz, in 1625." Caylus, Anne Claude Philippe, Comte de (1692-1765). An amateur engraver. He was a zealous lover of art, and did so much for its advancement, and for the service of artists, that his name de- serves honorable mention in any work referring to the fine arts. Celesti, Andrea, born at Venice (1637-1706). One of the best painters of the Venetian decline. He imitated Paul Veronese. His lights and shadows are better than his middle tints, but this may arise from his backgrounds not having been properly prepared. His works can be well judged in the Dresden Gall. He painted views of Venice and other Italian cities, which are rare and of much value. Cellini, Benvenuto, born at Florence (1500-15 70). The life of this great sculptor was so full of change and incident, that his story is one of the most interesting books of its class. Very early in life he de- sired to be a sculptor, but his father was determined he should be a musician ; and his first fifteen years were divided between the two pur- suits. Then, against the will of his father, the son established him- self with a goldsmith. His temper constantly led him into difficul- ties. On account of an affray he went to Siena, then to Rome, and then returned to Florence. Again, for the same reason, he went to Rome, and Pope Clement VII. employed him both as sculptor and musician. He tells us that he was a good soldier, and claims to have killed the Constable Duke of Bourbon and the Prince of Orange while fighting in defence of Rome. He returned after a time to Florence, and from there went to Mantua, which he was soon obliged to flee on account of some indiscretion. He became known to Michael Angelo in Florence. By invitation of the Pope he went again to Rome, and was appointed engraver of the mint ; but Pompeo of Milan, who was his enemy, obtained his dismission from office. About this time his mistress, Angelica, deserted him, and he spent much time with a necromancer, who told him she had gone to Naples. He was engaged in another quarrel, and this, united to the influence of Pompeo, determined the Pope to arrest him and have him imme- diately executed. He was informed of this design, and fled to Na- ples, where he met Angelica as had been foretold. She again de- ceived him ; and although the Viceroy desired his services, he would not remain. He obtained the pardon of the Pope, and again went to Rome. In 1534 the Pope died, and as Cellini was returning from S. CELLINI CERACCHi. 203 Peter's, where he had been to kiss the feet 'of his dead patron, he met Pompeo and killed him. Paul III. desired his services, so he pardoned him and again made him engraver of the mint. Pier Luigi, the natural son of the Pope, hated him and determined to have him assassinated. He learned this and fled again to Florence, where he was received with much honor. But soon the Pope summoned him to Rome ; and after going there and again returning to Florence, and again to Rome, he determined to visit France. Francis I. made him great offers if he would remain ; but he was ill, and attributed it to the climate. So again he went to Rome only to meet misfortune, for his servant accused him of having stolen vast treasures from the Castle of S. Angelo during the war. This was utterly false, but he was imprisoned, and made his escape. Again he was apprehended and treated with great severity. While in prison his release was foretold to him in a vision. His friend, the Card, of Ferrara, ob- tained his pardon, and they went together to Paris. The salary pro- posed to him did not please him, and he set out on a pilgrimage to Jerusalem. Francis I. sent in pursuit of him and he was brought back. The king would have been his friend but for the influence of the favorite, Mme. d'Estampes, who disliked Cellini. He obtained permission to return to Florence, and Cosmo de' Medici gave him a studio where he commenced his celebrated "Perseus." He then went to Venice where he became acquainted with many distinguished artists. Returning to Florence he finished the "Perseus." This obtained such great honors for him that he made a pilgrimage to Vallombrosa and Camaldoli in order to express his gratitude. He was then employed on various important works, and contended with Bandinellj for the commission of a statue of Neptune. Catherine de' Medici wished him to go to France to erect a monument to her hus- band, but the Grand Duke required his services, and he left Italy no more. His " Perseus," in the Piazza del Gran Duca, Florence, dis- plays his merit as a sculptor of large works. He executed many portraits, and large numbers of dagger-hilts, medals, coins, clasps, etc. His works are not as numerous now as might be expected. One great reason for this is the fact that he often worked in the precious metals, and they have been destroyed for the sake of their intrinsic value, regardless of their merits as works of art. He wrote a treatise on his ;irt, which is praised by Vasari. He died at Florence and was buried in the Anmmziata with great pomp. Cephisodotus, the Elder. A sculptor of Athens. Probably the father of Praxiteles. In the Glyptothek at Munich there is a copy of a statue by this master which represents Irene with Plutus in her arms. The forms are grand, the drapery admirable, and the whole expression noble. This artist represents the transition period between the severe, and sublime art of Phidias and the grace of Praxiteles. Ceracchi, Joseph (1760-1800). He had an eventful life. In 204 CERACCHI CESPEDES. 1782 he was in London, and made some excellent busts of distin- guished men. But not finding sufficient employment, he went in 1 790 to Vienna. Soon after this he met Napoleon, and executed his bust so well that he was invited to Paris, where he was guillotined, in 1800, on account of the part which he had taken in the invention of the Hell-machine. The bust of Napoleon is in the Glyptothek at Munich; that of Metastasio is in the Pantheon at Rome. One of his best works was the bust of Prince Weuzel von Kaunitz, which he executed at Vienna. Cerano, II. See Crespi. Cerezo, Matteo, born at Burgos (1635-1675). An excellent pupil of Carreno. He was called the Vandyckof Spain. Queen of Spain's Gall., " Marriage of S. Catherine ; " " S. Jerome ; " " Assumption of the Virgin." Cerquozzi, Michael Angelo, called Michael Angelo delle Bat- taglie; born at Rome (1600-1660). A distinguished painter of battle scenes. The works of Peter de Laer were so in vogue in Rome, that Cerquozzi gave himself to the same style of painting, and represented fairs, and festive scenes in low life. He heeded not the prettinessof peasant life, but chose the lazzaroni, etc., as his subjects. He could rival many of the be^t masters of the Netherlands in color, finish, completeness, and naivete. In the Spada Pal, Rome, there is a very touching representation of a Dead Ass, with the family to whom it belonged grouped around it; Berlin Mus., a fine representa- tion of the entrance of one of the Popes into Rome. Cesare, Giuseppe, il Cavaliere d'Arpino, born at Rome (1568- 1640). Pupil of Roncalli. He had great facility of handling, and finding himself able to please, he did not study thoroughness. His influence upon art was bad, although he acquired great reputation, and was much employed. He had also many scholars, and opposed himself to other schools, especially that of the Carracci. His fres- coes on the ceiling of the choir of S. Silvestro a Monte Cavallo are his best works. His pictures of " Diana and Actaeon," and "Bath- ing Nymphs " are also among his finer pictures. Cesi, Bartolommeo, born at Bologna (1556-1629). A contempo- rary of the Carracci, and often employed with them. He deserves honorable mention among the artists of his time. His frescoes were superior to his oil pictures. Many of his works are in Bologna. Cespedes, Pablo de, born at Cordova (1538-1608). Painter, architect, sculptor, divine, poet, and scholar. He studied at the University of Alcala, and excelled in the languages of the Orient. He went to Rome and studied. He was an intimate friend, some say the pupil, of Federigo Zuccaro. While in Rome, Cespedes painted in several churches, and made a head of Seneca in marble, which he fitted to an antique trunk. This gained for him the title of " Victor il Spagnuolo." When Zuccaro was asked to paint a pic- CESPEDES CHAMBERS. 205 ture for the Cath. of Cordova he declined, and said that while Ces- pedes was in Spain they had no need of Italian artists. He left many writings, among which were an essay on the antiquity of the Cath. of Cordova, a discourse on ancient and modern painting and sculpture, and a poem on painting. His works which remain scarcely support the fame which he enjoyed as a painter. His " Last Sup- per," in the Cath. of Cordova, is too faded to be judged fairly. In the foreground are some jars and vases which it is said were so well painted, that some visitors complimented them, to the neglect of the rest of the picture. Cespedes angrily commanded his servant to rub them out, and only the most judicious entreaty and admiration saved them from destruction. In the Cath. there is also a Virgin, Infant, and S. Anne. In the counting-room of the Cath. of Seville there is a picture of " Abraham offering up his Son." It is good in color. Isaac is modelled after one of the boys of the " Laocoon." In the Louvre there is a portrait of Cespedes, said to have been painted by himself. His biographer likened his coloring to that of Correggio. Cespedes was as modest as he was learned. He was also much be- loved, and when made a canon in the Cath. of Cordova, he was re- ceived with " full approbation of the Cordobese bishop and chapter." Chabry, Mark, born at Lyons (16GO-1727). Painter and sculp- tor. He did many works in his native city. He sent a statue of Hercules and one of the Virgin to the King, who appointed him sculptor of the city of Lyons. The Marechal de Villeroy paid him 6,000 livres for a statue of " Winter." The bas-relief over the en- trance to the Hotel de Ville, at Lyons, representing Louis XIV. on horseback; the paintings and bas-reliefs of the great altar in the ch. of S. Antoine, and several works in the ch. de la Trinite were by him. His son, Mark, also attained considerable distinction as a sculptor. Challe, Charles Michael Angelo, born at Paris (1718-1778). When elected to the Acad. he executed a picture of ' ' Painting and Sculpture united by the Genius of Design." One of his most impor- tant pictures represented S. Ilippolyte congratulated by the priests upon his conversion. It was in the ch. of that saint. He also wrote treatises upon architecture. He was made professor of per- spective in the Royal Acad., designer for the Royal Cabinet, and Chevalier of the Order of S. Michael. Chambers, George, born at Whitby. Son of 'a seaman, he be- came a sailor, although from childhood he desired to be a painter. After various ups and downs in life, he met with Horner, who em- ployed him seven years on his panorama. He then became scene painter at the Pavilion Theatre, and at last by Vice- Admiral Lord Kerr was introduced to William IV. His pictures of naval battles, three of which are in Greenwich Hospital, are good. His smaller works are also deserving notice; he is coming to be generally ap- preciated. 206 CHAMP AIGNE CHAUDET. Champaigne, Philippe de, born at Brussels (1602-1674). When quite young he went to Paris and worked with Nicholas Duchesne upon the decorations of the Luxembourg. In 1627, he returned to Brussels, but soon hearing of the death of Duchesne, he returned to Paris, married the daughter of that painter, and succeeded to his work at the Luxembourg. Champaigne excelled as a portrait painter. His best works of this kind are in the Louvre. Some of his pictures are finished with great attention to effect in matters of laces, jewels, etc. One of his finest pictures represents " Adam and Eve mourning for Abel," and is in the Belvedere Gall., at Vienna. Chantrey, Sir Francis, born at Norton, in Derbyshire (1782- 1841). From his early youth, he desired to be an artist, and attracted the attention of a lady named Stanley, by some pastry figures which he modelled for her table. She placed him with a carver in Sheffield. Here he made models in clay, and received instruction in painting from John Raphael Smith. He visited Edinburgh and Dublin, but at length went to London and studied in the Royal Acad., where he ex- hibited a portrait in oil, in 1804. He returned, however, to his true vocation, and next exhibited three busts which displayed great talent. In 1809, the architect Alexander gave him an order for four colossal busts. He also made the bust of Pitt, and, in 1811, the works which he exhibited so pleased the sculptor Nollekens that he ordered one of his own busts to be removed, that one by Chantrey might take its place. For the city of London, he executed his statue of George III. This greatly increased his fame. In 1817, he was made an associate of the Royal Acad. He made many statues and monuments. One of the finest represented two children, lying asleep in each other's arms, which is in Litchfield Chapel. This obtained him an election to the Royal Acad. In 1819, he went to Italy, and was elected member of the Academies at Rome and Florence. In 1835, he received the honor of knighthood. An especially beauti- ful work is his statue of Lady Luisa Russell. At the time of his death, he was engaged upon the colossal equestrian statue of the Duke of Wellington. He possessed a choice cabinet of medals, antiques, etc. His large fortune was bequeathed to his wife for life, and then to the Royal Acad. for the encouragement of English art. Chardin, Jean Baptiste Simon, born at Paris (1699-1779). A painter of conversations, still-life, etc. His best works are those with two or three small figures together. He paid great attention to acces- sories. Some of his kitchen pieces are excellent. There is a light- ness and grace in his female figures, and he gave a richness of effect to his works by a variety of colors. Chaudet, Antoine Denis, born at Paris (1763-1810). At the age of fourteen, he had shown so much talent for modelling and de- signing, that he was admitted to the Royal Acad. In 1784, he car- ried off the grand prize, and went to Rome with the royal pension, CHAUDET CHRISTOPHSEN. 207 where he remained five years. He soon came to be ranked among the first modern sculptors. He also acquired a reputation as a painter and designer. He was appointed professor of sculpture, and made valuable contributions to the " Dictionary of Fine Arts." Some of his works in sculpture are : the silver statue of " Peace," in the Tui- leries; statue of " Cincinnatus," in the senate chamber; a statue of "CEdipus;" a bas-relief, representing "Painting, Sculpture, and Architecture," in the Musee Napoleon, and many busts, etc. He painted " JEneas and Anchises in the Conflagration of Troy," and designed many of the illustrations for the fine edition of Racine, published by P. Didot, and a great number of medals. Cheney, Seth, born at Manchester, Conn.; died 1856. Brother of John Cheney, one of the best engravers of heads in America. Seth was a crayon limner, and his best works are exquisite female heads. He was enthusiastic and of an extremely sensitive tempera- ment ; so much so, that if a sitter came to him to whom he found him- self antagonistic, he was forced to relinquish the picture. He visited Europe four times, and ended his life in a weary decline in his native town, where he was buried with an impressive service by moonlight, singularly in keeping with his poetical nature. There is no depart- ment of art, in which true genius can be more strikingly displayed, than in that of drawing where few lines are used, and no color and little shadow to conceal defects. The most scrupulous exactness in design can alone be termed excellent. Chodowiecki, Daniel Nicolas, born at Dantzic, 1726; died at Berlin, 1801. The poverty of his youth compelled him to follow mer- cantile pursuits, but he practised miniature painting during leisure hours, and learned the process of enamel painting. At last he gave himself up to the profession of an artist and engraver, and succeeded well. He painted few oil pictures, and they had no special merit. His etchings amounted to more than 1300, and he made them as illus- trations for various kinds of books. Those for the " Sorrows of Werther," were very fine, lie published a plate called " Les Adieux de Galas," of which but 100 impressions were taken. It is now rare, and prized by collectors. At the time of his death he was director of the Acad. of Arts and Sciences at Berlin. Christoph. The history of this artist is unknown. He flourished in Cologne, early in the 16th century. His first known work, exe- cuted about 1501, was formerly in the Chartreuse, at Cologne, now the possession of Herr Haan of that city. His most remarkable work is a " Descent from the Cross," No. 280, Louvre. There are others in the Munich Gall., Cabinets, and in the City Gall, at Mayence. Christophsen, Pieter. This painter is known by this name, but should properly be Christus. He was of the Van Eyck School. He bought citizen's rights as a painter in Bruges, in 1444. His earliest known work is dated 1447, is in the Stadel Mus., at Frankfort, and 208 CHRISTOPHSEN CIGOLI. represents the Virgin and Child with SS. Francis and Jerome. In 1452, he painted a "Nativity," an " Annunciation," and a "Last Judgment," now in the Berlin Gall. They are wonderfully fine in color. He painted a picture of S. Eligius, as a goldsmith selling a ring to a bridal couple. This is dated 1449, and is in the possession of Mr. Oppenheini, the banker, at Cologne. Churriguera, Josef de, born in Salamanca; died, 1725. His works were so peculiar, that since his time, everything bizarre or extravagant has been called Churriguresque. He removed to Madrid in 1688. In the next year he made the design for a catafalque for Maria Louisa, which was very singular. He was appointed assistant draughtsman for royal works, built a portal, church, and palace, and executed many sculptures. Soon after his death, the dome of the ch. of S. Tomas, upon which he was employed, fell down and killed num- bers of workmen and worshippers. Ciampelli, Agostino, born at Florence (1578-1640). Pupil of Santo di Titi. He painted some angels with offerings, on the walls of the apsis of S. Maria in Trastevere, which merit attention. Two good works of his, representing the Burial of Martyrs by Pious Women, are in S. Pudenziana. He was also an architect, and super- intended some works at S. Peter's. Gibber, Caius Gabriel, born at Holstein. Flourished about 1670. He went to England, where he received much encouragement. He is best known by his statues of " Raging " and " Melancholy Madness," at New Bethlehem Hospital, St. George's Fields. Cigiiani, Carlo, born at Bologna (1628-1719). This artist was of a noble family. He has been called the last of the Bolognese. He was of the school of Albano, and produced correct and pleasing pic- tures, quite academic in character, but wanting in depth of senti- ment. He attempted principally graceful postures and display of beautiful limbs. He was much admired in his time, and even called the Apelles of his age. " Joseph and Potiphar's Wife," one of his pictures, is in the Dresden Gall., and an " Assumption " of great size is in the Gall, at Munich. He painted the cupola of the ch. of the Madonna del Fuoco at Forli. This occupied him nearly twenty years, and he died in that city. Cignaroli, Giambettino, born at Verona (1706-1770). One of the best painters of his time. He painted in the manner of Carlo Maratti, and his pictures are full of sweet beauty and grace. His subjects were mostly religious. He introduced architectural back- grounds with good effect, and his angels and cherubs were well painted. It is said that in 1769, the Emperor Joseph II. visited Cignaroli in his studio at Verona, and afterwards said that in that city he had seen two rare things, the first painter in Europe, and an ancient amphitheatre. Cigoli. See Cardi. CIMA CIMABUE. 209 Cima. See Conegliano. Cimabue, Giovanni. Of the noble family of the Cimabui (1240- 1302 ?). Few facts are known with certainty concerning the life of this artist, and so much has been said and contradicted, that the search for what is true is most puzzling and unsatisfactory. But the important truth connected with him is, that he gave a new impulse to art, and infused new life into dying and worn-out forms and rules. From his time the revival of painting may be confidently dated, and this result is much more important to us, than the matter of where and with whom he studied, whether or no a certain quarter of a city was named for him, etc., etc. In Florence there are two large Madonnas ascribed to him. The oldest one, formerly in S. Trinitk, now in the Acad., is Byzantine in style, and although very powerful in some features, as in the energy and expression of the prophets in the centre niche, it does not show the peculiar characteristics of Cimabue with the same clearness as does the " Madonna Enthroned," in S. Maria Novella. At the time when this last was completed, it was the largest altar-piece that had been seen, and it is said to have been borne to the church by a rejoicing procession of Florentines, with trumpeters, and expressions of pride and praise. In it the Virgin sits in a chair held by six kneeling angels. The infant is on her lap, and both their heads are encircled by the nimbus, delicately wrought. The frame of the picture (which is a gabled parallelogram in form) is richly carved, and in it are thirty medallions representing half CunoWe ST. JOHN THE EVANGELIST. BY CIMABUE. From a Madonna picture in S. Maria Novella, Florence. 14 210 CIMABUE CIVETTA. figures of saints on gold ground. The old features are still here, but the eye is softened by a change in the form of the iris, and by closer curving of the lids than had been customary. The hands are very striking for their thinness, and the separation of the fingers. The head of Mary is disproportionate to the slenderness of her form, and it is a wonder now that angels could have been so painted, and yet, from this very picture went out an influence, but for which such names as those of Giotto, Ghirlandaio, Michael Angelo, Leonardo, and Ra- phael might never have been heard. In color, Cimabue made great advance. He softened the old hardness of outline; he made new and better flesh tints; he rounded the form, and he used for his draperies gay, transparent colors. He used much ornament, it is true, but he made it a subordinate part of his work, and executed it in better taste than his predecessors had shown. Cimabue painted in the ch. of As- sisi, but which are his pictures is not known. The careful observer of that church must be convinced that the works were done by several different hands, and I can but believe that careful study and criticism reveals the brush of Cimabue. A large Virgin and Child above the altar of the Conception in the lower church, surrounded by the works of Giotto, and an enthroned Saviour and some angels in the northern transept of the upper church, seem to be the work of the same master who painted the Madonnas of Florence, especially that in the Acad. of Arts. The last known work of Cimabue was done in the Duomo of Pisa, where he was appointed capo maestro of the mosaics. He executed a large part of the mosaic in the chief tribune, representing the Saviour with the Virgin and John the Bap- tist. This work has suffered so much injury as to afford little satis- faction from examination. A Madonna somewhat like those in Flor- ence, once in S. Francesco at Pisa, is now in the Louvre. A Madonna in the National Gall, was in the ch. of Santa Croce. Cimaroli, Giambattista, da Salb, born at Venice. Flourished 1718-1733. A painter of seaports, landscapes, and classical ruins. His works are not uncommon in England. Cioli, or Ciolli, Valeric. This old sculptor studied under Tri- bolo and Raphael de Monte Lupo. He was employed by the Grand Duke of Tuscany to restore antique statues. He executed the statue of Michael Angelo, on his grave at Santa Croce in Florence. Cipriani, Gio. Battista, born at Florence, 1727; died in London, 1 785. An elegant designer, as well as a painter. After studying in Florence and Rome he went to England, where he designed many plates which were engraved by Bartolozzi in his excellent manner. He painted but few large pictures, but he left many beautiful draw- ings, which, together with Bartolozzi's engravings, have a wide repu- tation. In his oil pictures his female figures are beautiful in the dis- tance, but are too coarse and unfinished to bear examination. Civetta. See Bles. CIVITALI CLEVENGER. 211 Civitali, Matteo, born at Lucca (1435-1501). One of the most distinguished sculptors of his time. Studied in Florence. His " S. Sebastian," in the Duomo at Lucca, so delighted Perugino that he re- peated the figure in his picture of " The Entombment. ' ' His most im- portant work was the tomb of Pietro da Noceto, Secretary to Pope Nicholas V., which ranks high among the monuments of the 15th century. At Genoa he executed six statues and five bas-reliefs for the chapel of S. John the Baptist. In the Uffizi there is a seated figure of " Faith," full of earnestness and religious feeling. Although best known as a sculptor, he was an accomplished architect, and did much to improve the style of building in Lucca; and the beautiful temple of the Volto Santo in the Duomo was designed by him. Claessens, Anthony. A painter of Bruges, whose works are in the Acad. and Town Hall of that city. Cleef, John Van, born at Venloo, 1646; died at Ghent, 1716. Pu- pil of Gaspard de Craeyer. His works are numerous in Flanders and Brabant, and some of the best are at Ghent. Cleomenes. 1. The sculptor of the " Venus de Medici " in the Uf- fizi Gall. Pliny alone mentions this master, and he does not appear to have been very celebrated among the ancients. From various known facts it is decided that he lived between 363 and 146 B.C. 2. Another sculptor, the author of the statue in the Louvre called u Germanicus," and which, in truth, represents a Roman orator with the right hand Uf ted and in the habit of Mercury, as is seen from the turtle at his feet. There is also at Florence a bas-relief representing the story of Alceste, which is inscribed with the name of Cleomenes, but to which one it should be attributed is not known. Clerisseau, or Clarisseau, Charles Louis, born at Paris. Died 1820. An architect and a designer in water-colors. Principally known for his much-esteemed water-color drawings of the remains of ancient architecture. Cleve, Joas Van, born at Antwerp. Flourished from 1530 to 1550. Little is known of him. It is said he went to Spain. It is certain he painted in England. His pictures are sometimes mistaken for those of Holbein. Two of his best works are his portraits of his \vitV and himself, at Windsor Castle. Clevely, John, born in London (1743-1786). His best works are water-color marine views. His perspective was fine and his execu- tion neat and delicate. Clevenger, Shobal Vail, born in Middletown, Ohio, 1812. Died at sea, 1843. He was first encouraged to attempt sculpture by the execution of an angel upon a tomb-stone, when employed as a stone- cutter in Cincinnati. He confined himself to making busts, and found much employment in Boston and New York. His works are well known, and some of them have been widely circulated in plas- ter casts. His bust of Webster is perhaps the most striking of all. 212 CLEVENGER CLOVIO. It does not represent Webster, the intellectual giant, but the Web- ster known by the mass of the people. Webster, Clay, Everett, Allston, Van Buren, Chief Justice Shaw, and other eminent men were perpetuated in his marble portraits. Thorwaldsen greatly praised some of his works. The early education of Clevenger was deficient, but his association with refined and cultivated people had its fullest legitimate effect upon him. He frankly confessed his need of knowledge, and never hesitated to ask what he did not know. There was a genuine truthfulness and a sincere directness about him that endeared him to all with whom he came in contact. When in Florence, with his young family, with every opportunity and motive to work about him, he was prostrated by disease. His intense long- ing for his home led him to attempt to reach it. This he was not permitted to do, and from the midst of the broad ocean his spirit found free course to his eternal home. Cleyii, Franz, born at Rostock; died 1658. He was employed by Christian IV. of Denmark, went next to Rome, and acquired the art of painting grotesques. James I. of England employed him at his tapestry manufactory at Mortlake. Some of his best works are in Holland House. He left a few etchings which resemble those of Hollar. Clint, George, born at Hexham (1770-1854). Son of a hair- dresser. After repeated trials of other pursuits, he gave himself up to miniature painting and mezzotinto engraving. About 1816 he commenced his valuable portraits of the principal dramatists of his time. These embrace Kean, Charles Kemble, Young, Listen, Mat- thews, Macready, etc., in character. Many of these are at the Gar- rick Club. He also painted numerous other portraits. Clouet, or Cloet. Three artists of this name have been con- founded into one. Jehan the father went from Brussels and settled in Tours, in 1480. Jehan the son went with his father to France, and became painter to Francis I. in 1518, and the portraits often credited to Fran9ois belong to him. He painted the equestrian por- trait of Francis I. in the Florence Gall., attributed to Holbein. He did not write his name on his works. Clouet, Francois, son of Jehan the younger, and called by his name, on account of his celebrity, was born at Tours (1510-1574). He succeeded his father as painter to the king, and was continued in that office under Henry II. He painted many portraits of the royal family, nobility, and persons of celebrity. Clouet, Peter, born at Antwerp (1606-1668). An engraver, who studied with Spierre and Bloemaert, at Rome. After his return to Antwerp he engraved several plates after Rubens, which are much esteemed. Clovio, Giulio, born in Croatia (1498-1578). A pupil of Giulio Romano. He was a miniaturist or illuminator. His designs were CLOVIO COELLO. 213 bad, but tne finish of his works wonderful. The "Farnese Brevi- ary," now in the library at Naples, is said to have occupied him nine years in the execution of its twenty-six miniatures. Codagora, Viviano. Flourished about the middle of the 1 7th cen- tury. Painted architectural ruins. Some of his works are in Eng- land, and many are in the collections of Naples. The figures in his pictures were done by other artists. Coello, Alonso Sanchez, born at Benifayro, early in the 16th century; died 1590. The first great portrait painter of Spain. Painter-in-ordinary to Philip II., and a great favorite of that king, who was accustomed to address him in his letters as his "beloved son." At Madrid, Coello lived in apartments to which Philip could go by a private door, to which he kept the key. He was in the habit of surprising him in his studio, or even when dining with his family. But Coello never abused this confidence, and remained a favorite, not only of the king, but of the court also. Gregory XIII., Sixtus V., Card. Alexander Farnese, and the Dukes of Florence and Savoy, were also his admirers and friends, and many royal and noble persons were accustomed to visit him and to accept his hospi- talities. Large as the expense must have been of maintaining a proper style of living under these circumstances, it is said that when he died he left a fortune of 55,000 ducats. He endowed a hospital at Valladolid. Philip often called Coello his " Portuguese Titian," because he had lived at Lisbon, and his portraits, of which com- paratively few exist, are fine in color and graceful in design. He knew how to represent the repose and refinement which belong u to gentle blood and delicate nurture." He also painted sacred subjects, and there is a "Marriage of S. Catherine," by him, in the Royal Gall, at Madrid. Many of his pictures were burned in the Palace of the Prado. Lope de Vega wrote his epitaph, and called his pictures " Eternal scenes of history divine, Wherein for aye his memory shall shine." His pictures in the Escorial were painted at the command of Philip, in 1582, and represent different saints at their altars, but a "Martyrdom of S. Sebastian," painted for the ch. of S. Jerome, at Madrid, is considered by many to be his chef-d'oeuvre^ and was praised by Cumberland for its " majesty of design, bold relief, and strong, masterly expression." Coello, Claudio, born at Madrid between 1630 and 1640; died 1693. His father was a Portuguese sculptor in bronze, and intended to train his son in his own profession. He placed him in the school of Ilizi, to study drawing, where he showed so much talent, that his master persuaded his father to allow him to be a painter. He was never weary of his pencil, and soon outstripped his fellow-pupils. While still under liizi, he was employed to paint for churches and 214 COELLO COLE. convents. He became the friend of Carrefio, who obtained admis- sion for him to the Royal galleries, where he studied color by copy- ing Rubens, Vandyck, and Titian. He became the partner of Ximenez Donoso, and together they executed many frescoes. When Queen Maria Louisa made her public entry into Madrid^these two painters superintended the artistic arrangements of the great cere- monial. In 1683, Coello was called to Zaragoza, by the Archbishop, to paint in the collegiate ch. of the Augus tines, and upon his return, in 1684, was made painter to the king, and afterwards became painter-in-ordinary and deputy-aposentador. After the death of Rizi, in 1685, he painted the altar-piece for the Santa Forma. This was his masterpiece, and still hangs in the Escorial. It represents Charles II. and his court receiving the sacerdotal benediction at the dedication of the altar. (For legend of the Santa Forma, see Fran- cisco Rizi.) This picture occupied him more than two years, and at its completion was received with great applause. During a few suc- ceeding years, Coello reigned supreme artist of Madrid. He painted portraits of the royal family and many notable persons ; he was ap- pointed painter to the Cath. of Toledo, and keeper of the Royal gal- leries. He felt, with reason, that he merited the honor of painting the walls of the Escorial; and so great was his sorrow and mortifi- cation when Luca Giordano was preferred to that work, that he threw aside his brushes and pencils, grew sad, and at length ill, and died a year later. The frescoes of Coello were not his best works, because too hastily done, but his oil pictures were finished with care, and are effective, graceful, and rich in tone. The picture at the Escorial is the best. The Royal Gall., Madrid, has two large compositions, Nos. 224 and 306, both representing the Virgin, with several saints. The sketches of Coello, a few of which are in the Louvre, are highly esteemed. Cole, Thomas, born in Lancashire, England, 1801. His father was a woollen manufacturer, who came to America while Thomas was a child, and manufactured paper-hangings in Ohio. In mixing pig- ments, the son took his first lessons in art. He was of an extremely sensitive temperament, had much taste for music, and fully appre- ciated beautiful scenery. A portrait painter strayed into the village where he lived, and gave him some instruction. At length, with his palette and other materials, his flute, and a little clothing, he started off, supported himself by playing his flute, and took his frugal meals by the roadside. After varied experiences, he made his way to New York. Here Durand and Trumbull were his friends. His views of the Hudson brought him good prices. During his life he made two visits to Europe, but he followed his art with unceasing devotion. Some of his autumnal scenes were exhibited in England, where they were considered as the invention of an extravagant Yankee. His allegorical pictures are most celebrated, but it is in the landscape COLE COLOGNE. 215 rather than in the figure that he excelled. He painted landscapes in England, Italy, and Sicily, but he loved best to represent the beauties of the New World. It has been well said that his brush performed the same service to our scenery, as Bryant's pen. He wrote from Italy, " Neither the Alps, nor the Apennines, nor even Etna itself have dimmed in my eyes the beauty of our own Catskills." His religious sensibility was shown in his pictures of the " Voyage of Life." He died at his home among the Catskills when forty-seven years old. There is a singular coincidence connected with his serial pictures. " The Course of Empire "was painted for Luman Reed, who died just before its completion. His " Voyage of Life " was for Samuel Ward, whose own life was ended before the work was done. " The Cross and the World," he painted for himself, and the " Pil- grim entering Heaven " was scarcely finished when his own spirit was taken to that other world he had so recently contemplated. He painted but few portraits. His descriptions of scenery were charm- ing and full of artistic feeling. His " Mount Etna," and view of the "White Mountains" are in the Wadsworth Gall., Hartford; his " Course of Empire " in the Gall, of the New York Historical Soci- ety; the " Mountain Ford," " Kenilworth Castle," and the " Voyage of Life " are in the Gall, of John Taylor Johnston, New York city; the " Angel appearing to the Shepherds," in the Boston Athenaeum, and many of his pictures are owned by our most appreciative men, as will be understood from the fact that after his death sixty-three pic- tures were exhibited in New York, by the kindness of the owners. Colin, Alexander, born at Malines (1520-1612). His principal works are at Innsbriick, where he settled and received the appoint/ ment of sculptor to the Archduke Ferdinand. In 1577, he exe- cuted the embellishments for a fountain at Vienna. Collantes, Francisco, born at Madrid (1599-1656). A painter of history and landscapes, which last were rich in color, and bold and masterly in style. Queen of Spain's Gall., very striking picture of "Ezekiel in the Valley of Bones," signed, Fran. Collantes, ft. 1630; sumr Gall., a landscape; Louvre, the " Burning Bush in Horeb." Collins, William, born in London (1788-1847). A very charm- ing painter of landscapes, rustic children, etc. His pictures are highly prized. They are excellent, whether considered as landscapes with figures, or as figures in a landscape. He was fond of such sub- jects as " The Sale of the Pet Lamb," " Shrimp Boys at Cromer," " Skittle Players," etc. He painted many subjects connected with fishermen and sea views, especially those of Cromer Sands. He visited France, Italy, Holland, Belgium, Germany, and the Shetland Isles. Towards the end of his life he painted some religious sub- jt-cts. Cologne, Meister Wilhelm, of. Little is known of this old muster, who is said by some to be the same as Wilhelmus de Herle, 216 COLOGNE CONINCK. and to have settled in Cologne in 1370. The Limburg Chronicle of 1380 says, " In this time there was a painter in Cologne of the name of Wilhelm; he was considered the best master of all German Land; he paints every man, of whatever form, as if he were alive." All the best old pictures of Cologne and vicinity have, on the strength of this, been credited to Meister Wilhelm. The oldest one is probably that at S. Castor, at Coblentz. It is a wall painting, commemorative of an Archbishop of Treves who died in 1386. Its original appearance cannot be even surmised, owing to the restorations (?) it has suffered. The altar-piece and wings which once adorned the ch. of S. Clara, and are now in the Cath. of Cologne, are far more satisfactorily asso- ciated with the great fame of Meister Wilhelm. It is probable that the centre portion only was his work. This represents the " Life and Passion of Christ. " The pictures arc on gold ground, the drawing feeble and incorrect, but the tints better. At S. Severin, there is a "Crucifixion" on the wall of the Sacristy, probably by the same hand. There are works attributed to him in the Museums of Cologne, Berlin, and Munich; in the National Gall., the Frankfort Library, etc. Colonna, Michael Angelo. See Mitelli. Compe, Jan Ten, born at Amsterdam (1713-1761). Pupil of Dirk Dalens. He painted landscapes and views of cities. One of the New Market at Amsterdam sold for 2000 Dutch florins, at public sale. Conca, Sebastiano, born at Gaeta (1676-1764). A pupil of Francesco Solimena, he strove only to acquire the prettiness of art. He was employed in Rome by Clement XI. Mengs says that by the introduction of his style at Rome, " he put the finishing stroke to the ruin of painting." Condivi, Ascanio. A pupil of Michael Angelo. Without suffi- cient talent to be known as a painter, his reputation is world-wide as the author of the life of the great master, published in 1553. Conegliano, Giambatista Cima da. His latest date on any known work is 1508; but he is said to have lived much later. He was one of the best of the Bellinesque painters. His coloring of some works is such that Kugler says it "glistens like jewels." His chef- cVceuvre is in the ch. del Carmine, at Venice, and represents the Vir- gin kneeling before the sleeping Child. He often introduced into the landscapes of his backgrounds the rocky height and castle of Coneg- liano. As a painter of sacred subjects he merits a worthy place in his age. He was very industrious, and his pictures are in most Euro- pean collections, and many are in Venice in churches, and in the Acad. Coninck, David de (1636-1687). Pupil of Jan Fyt. His pic- tures arc animated and powerful in color. They are rare. There are two of great merit in the Amsterdam Mus., representing a Stag- hunt and a Bear-hunt. CONSTABLE COPLEY. 217 Constable, John, born at East Bergholt in Suffolk (1776-1837). A landscape painter. His favorite subjects were country lanes, stiles, and fields. He was passionately fond of quiet nature, and one con- spicuous characteristic of his works is their simplicity. He was ac- customed to give the effect of dew, and this, sometimes carried to an excess, gave a spotted appearance which is much criticised. The " Corn-field " and "Valley-farm," in the National Gall., are fine specimens of his pictures. Contariiii, Cavaliere Gio., born at Venice (1549-1605). An exact imitator of Titian. He painted many mythological pictures. His principal work, formerly in the Ducal Pal. of Venice, now in the Louvre, represents the Virgin with the Child; she is on a throne, sur- rounded by SS. Mark and Sebastian, and the Doge Marino Grimani kneeling. He was also an eminent portrait painter. Conte, Jacopo del, born at Florence (1510-1598). He lived much at Rome, and a few of his historical pictures are to be seen in churches there; but he especially excelled in portraiture, a branch of art much patronized in his time in Venice, Rome, and Florence. Conti, Bernardino di. In the Berlin Mus., there is a fine por- trait of a Cardinal by this old artist, and in the Gall, of the Capitol, Rome, a picture of a boy, 1496. Cooninxloo, Giles, born at Antwerp (1544-1609). A landscape painter, who was well considered in his time. His pictures are spirited and his color is agreeable. Cooper, Samuel, born in London (1609-1672). An eminent miniaturist. His works were much admired during his life, and now have an honorable place in fine collections. His reputation extended to the continent. He has been called " the Vandyck in little." But his impasto and fine fresh color remind one of Lely, more than Van- dyck, and there is a breadth in his works unusual in miniature. He painted many eminent persons. His wife was aunt to Alexander Pope, and was promised a pension (which she never received) for the pictures her husband had painted for the court. He was buried in Old S. Pancras. ^ Coopse, Pieter. Little is known of this artist. He painted in the style of Backhuysen, and it is believed that many of his pictures are attributed to the latter. No 230, Munich Gall., is called a Back- huysen, although the name of Coopse is on it. Copley, John Singleton, R. A., born in Boston (1737-1815). The father and mother of this artist emigrated from Limerick, Ire- land, to Boston. The father was descended from the Copleys of Yorkshire, and the mother from the Singletons of County Clare, both families of importance. When the subject of our sketch was eleven years old, his mother was married to Peter Pelhain, a portrait painter, and mezzotint engraver. Whitmore calls Pelham " the founder of these arts in New England. " This marriage was an ad- 218 COPLEY. vantage to young Copley, since he not only received the instruction and advice of Pelham, but was surrounded by those who sympathized with him in his choice of a profession. He was studious and quiet, and advanced rapidly. He attained eminence as a portrait painter in America, and lived in easy elegance, having married in 1769 Miss Susan Clarke, the daughter of a distinguished merchant of Boston. A little later Copley sent to Benjamin West, in London, his picture of the "Boy with a Squirrel " now owned by Mrs. James S. Amory, for exhibition at Somerset House. He sent no letter or name with it ; the rule of the exhibition excluded anonymous pictures, but West knew it to be an American work by the wood upon which it was stretched, and from the fact of the squirrel being such as belong to New England. The rule was set aside, and the picture so favorably received, that Copley was advised to go to England. He sailed in 1774, never to return. He went from England to the Continent, studied at Rome and Parma, travelled as far as Naples, returned to France, Germany, and Holland, studying constantly, and finally settled in London, where his wife and children joined him. He soon rose to distinction, was made an Associate of the Royal Acad. in 1 7 7 7, and an Academician six years later. Many distinguished persons were among his sitters, and a portrait of three of the children of George HI., now at Buckingham Pal., is a fine example of his por- traits. He painted several large pictures, illustrative of events in English history, and some religious subjects. His portraits are full of dignity, and there is that in them which seems to assure us that they were truthful likenesses; his rich, subdued coloring is very effective. His life was most successful ; he had friends among the most eminent men on both sides of the Atlantic ; his family were cul- tivated, and his son became eminently distinguished as the great Lord Lyndhurst. He was a man of strong religious sentiments, and of quick and earnest sympathy. The following anecdote shows us his American feeling. In 1782, Elkanah Watson was in London, and Copley made a full length portrait of him. In his journal, Mr. Watson says, " The painting was finished in most exquisite style in every part except the background, which Copley and I designed to represent a ship, bearing to America the acknowledgments of our in- dependence. The sun was just rising upon the stripes of the Union streaming from her gaff. All was complete save the flag, which Copley did not deem proper to hoist under the present circumstances, as his gallery was the constant resort of the Royal family and of the nobility. I dined with the artist on the glorious 5th of December, 1 782. After listening with him to the speech of the King, formally recognizing the United States of America as in the rank of nations, previous to dinner, and immediately after our return from the House of Lords, he invited me into his studio; and there, with a bold hand, a master's touch, and I believe an American heart, he attached to the COPLEY COQUES. 219 ship the stars and stripes. This was, I imagine, the first American flag hoisted in Old England." Copley was buried in Croydon ch., near London. Many of his pictures are scattered over America, belonging to the descendants of those for whom they were painted. A number are of easy access to the public in the Boston Athenaeum, where some are owned, and where from time to time they are put on exhibition by private indi- viduals. Heretofore there has been no satisfactory account of his works, but a book is about being published which will supply this de- ficiency. It is known that 269 oil paintings, 35 crayons, and 14 miniatures by him are still in existence in this country ; a list of these will be given with a sketch of his life, and other interesting facts. The title of the book is " A Sketch of the Life, and a List of some of the Works, of John Singleton Copley." It is written by Augustus Thorndike Perkins, to whom I am indebted for the facts contained in this article. LIST OF ENGRAVINGS AFTER THE WORKS OF COPLEY, AS GIVEN BY MR. PERKINS. Engraver, DUNKARTON, Robert. The Children of George III. Abraham's Sacrifice. Engraver, EARLOM, Richard. Portrait of Admiral Viscount Dun- can. Portrait of Lord Spenser. Engraver, GREEN, N. Portrait of Henry Laurens of South Caro- lina. Engraver, GREEN, Valentine. Samuel and Eli. A boy rescued from a Shark. Engraver, THEW, Robert. Picture of the Copley Family. Engravers not given. Portrait of President John Adams. Portrait of Lord Howe. Portrait of Admiral Bonington. Portrait of Lord Mansfield. Portrait of George IV. at a Review. A Head of Cop- ley; by himself. The Nativity. The Tribute Money. The Death of Earl Chatham.i The Death of Major Pierson. The Surrender of Admiral De Winter. The Siege of Gibraltar. Copley also made an engraving from one of his portraits. It bore the following inscription : " Rev. William Welsteed, of Boston, New England, cet. 58, 1753, J. S. Copley, pinxit et fecit. Coques, Gonzales, born at Antwerp (1618-1684). Pupil of David Ryckaert, the Elder. His best works are groups of ladies, gentlemen, and children, with accessories, in the open air. These were probably portraits. They are admirably colored; his white draperies are exquisite, and he excelled in painting beautiful hands. He often introduced dogs, and so well were they done that the ad- miration of the beholder is divided between them and the children playing with them. His backgrounds were also well done, but in 1 Engraved by Francesco Bartolozzi. C. E. C. 220 COQUES CORNELISSER. these he was often assisted by other artists. " The Verhelst Family,'' his chef-d'oeuvre, is in the Queen's Coll. at Buckingham Palace. Dresden Gall., No. 964, is said to represent his own family. His sin- gle portraits are, as a rule, inferior to his groups. He sometimes painted genre pictures, such as "La Le9on de Musique," in Lord Hertford's coll. He was a true lover of art, and being rich, painted for pleasure rather than gain. His works are not numerous, and arc very valuable. Cordieri, or Cordier, Nicholas (1567-161 2) . Educated in Rome as an engraver on copper. He preferred sculpture, and became dis- tinguished in that art. Clement VHI. and Paul V. often visited his atelier. His works are in the Paulina, S. John in Lateran, and S. Gregorio in Monte Celio. Corenzio, Belisario. A Greek (1558-1643). He studied at Venice, under Tintoretto. Settled at Naples, where he gained great influence and a large fortune, and lived in elegant luxury. His works in that city are numerous. His style was the same as that of Tin- toretto, and large frescoes were his best efforts. His pictures are also in some churches in Venice. He formed a cabal with Caracciolo and Ribera (called Lo Spagnoletto) for the purpose of excluding other Italian artists from Naples. They committed many outrages, and, it is said, the crime of poisoning those whom they could not be rid of otherwise. D'Arpino, Guido, Annibale Carracci, and, it is said, Domenichino, all suffered at the hands of these men. Coriolano. The name of a family of artists, mostly engravers, who flourished in the last half of the 16th and the early part of the 17th centuries. Cristofano was the most important, and engraved the portraits for Vasari's " Lives of the Painters," published in 1568. Corueille, Michel, the Younger, born at Paris (1642-1708). More noticeable as an engraver than as a painter. His etchings are the admiration of collectors. They are correct in drawing, grand in composition, and masterly in execution. His S. Francis kneeling before the Cross is fine. The four following plates came into the hands of a Roman print-seller, Rossi, who put the name of Raphael on them ; they are now scarce. The Deity appearing to Abraham. Abraham journeying with Lot. Abraham discomfiting the Army of the Confederate Kings. Abraham with his son Isaac setting out for the Sacrifice. Cornelisser, Cornells, called Cornelis van Haarlem, from his birthplace (1562-1638). One of his best works is that by which he became known, and was executed for the Guild of Marksmen of Haar- lem. Berlin Gall., No. 734, " Bathsheba Bathing," is one of his chefs-d'ceuvre. In the Gall, at the Hague his " Murder of the Inno- cents " is most unpleasant. At Dresden there are mythological sub- jects by him, but although carefully finished, good in color, and full CORNELISSER CORT. 221 of force, it is easy to see that the only talent he had was for the realistic, and portrait painting was his vocation. Corona, Leonardo, born at Murano (1565-1605). An artist no- ticeable for his copies of Titian, of which picture-buyers should beware, since they are sold as originals. Correggio. See Allegri. j~ Marc Antonio. Set of seventeen plates of the Life of the Virgin ; copied from the wood-cuts of Diirer, with his monogram ; on the last plate the cipher of Marc Antonio. Set of thirty-six plates of the Life and Passion of Christ; copied in imita- tion of the wood-cuts of Diirer, without his mark. Engraver, SADELER, Giles. The Virgin and Child. Christ bear- ing his Cross. Engraver, STEEN, Francis Van der. The Martyrdom of the 11,000 Virgins; from a drawing by Van Hoy, after the picture by Diirer. Engraver, WIERIX or WIERINX, John. The Little Satyr. Adam receiving the Apple from Eve; upon a tablet is inscribed Albert Durer inventor, Johanes Wierix fac., cet. 16. S. Hubert Kneeling before the Stag; reversed from the print by Albert Diirer, marked with the cipher of that artist. S. Jerome in meditation. Dusart, Cornelius, born at Haerlem (16657-1704). Pupil of Adrian Van Ostade. He represented subjects of vulgar merriment. His positions are extravagant, and his heads almost or quite carica- tures. His color was warm and powerful, and his chiaro-scuro well managed, but he wanted the Rembrandtish effect, and the more truthful spiritedness of Ostade. He used more colors in his inte- riors than others who painted his class of subjects. One of his best pictures is " A Fish-Market," and is in the Amsterdam Mus. Du- sart also executed a number of excellent etchings, and thirty-five plates in mezzotint. Dyce, William, born at Aberdeen (1806-1864). Director of the Government School of Design at Somerset House, from 1837 to 1844. He was a severe painter, a learned and precise man. His talents 262 DYCE EDMONDS. were versatile. He painted in oil and fresco, and while most of his subjects were religious and historical, he also executed some fine landscapes. His works are in the House of Lords, in the Queen's Robing Room, and in All-Saints ch., Margaret Street. E. Earlom, Richard (1740-1822). An accomplished English mez- zotirit engraver. His " Bathsheba leading Abishag to David," has been called the chef-d' ceuvre of mezzotint engraving. His fruit and flowers after Van Huysum are also much admired. Boydell pub- lished the " Liber Veritatis," containing 200 plates by Earlom. Eckhout, or Eeckhout, Gerbrandt Van der, born at Amsterdam (1621-1674). Pupil of Rembrandt. He composed his pictures, es- pecially his Biblical subjects, very much in the style of his master. In color, too, he approached the same excellence, although his whole effect is cooler than that of Rembrandt. His works are well consid- ered. Among the best are the " Raising of Jairus' Daughter," Ber- lin Mus. ; " Woman taken in Adultery," Amsterdam Gall.; "David and Abigail," Schleissheim Gall.; " Christ Teaching in the Tem- ple," Cabinet, Munich Gall.; and "Hannah giving Samuel to be dedicated to the Lord," in the Louvre. Edelinck, Gerard, born at Antwerp (1627-1707). An eminent engraver. Pupil of Cornelius Galle. It is difficult to select the best of the numerous works of this artist. He interpreted Raphael with great truth, and his engravings after Le Brun and other French artists are very superior. He used the graver only. His plates are highly finished, and yet they are spirited and bold. "The Holy Family," after Raphael, and the " Tent of Darius," after Le Brun, are among his best works. Some of his portraits are also very fine. Edema, Gerard, born at Friesland (1652-1700). Pupil of Ever- dingen ; like him he painted wild, rocky landscapes with waterfalls, etc. They were often Norwegian views, and he also went to New- foundland for the study of scenery. He did not equal Everdingen, and his chief excellence was in the representation of falling water. Edmonds, John W., born at Hudson, New York (1806). He was known as a business man as well as an artist, for from his early years he was a clerk, and afterwards the cashier of a bank. He re- moved to New York city in 1834. When he first began to exhibit his pictures he used an assumed name, fearing that the reputation of being a painter would injure him in business circles. He was accus- tomed to paint both morning and evening, and this continued appli- cation weakened his health so much that in 1840 he went to Europe for rest. His pictures may be called genre, and are such as appeal yery strongly to all classes and ages. His " Gil Bias and the Arch- EDMONDS ELMAR. 263 bishop ' ' belongs to J. Taylor Johnston of New York ; " Dame in the Kitchen," to J. L. Claghorn; "Boy Stealing Milk," and "Bashful Cousin," to Jonathan Sturges; and "Bargaining," the " Wind- mill," and the "Image-Peddler" to R. L. Stuart. "The Penny Paper " was one of his most successful attempts, and some of his other subjects are "Sparking," engraved by the Art-Union; "Comforts of Old Age;" " Dominie Sampson; " " Sam Weller," etc. Egg, Augustus Leopold (1816-1863). His subjects may be called high genre. His best pictures are " Catherine seen by Peter the Great for the first time ; " " The Life and Death of Bucking- ham ; " " Past and Present ; " " The Night before Naseby ; " and his last work, " Catherine and Petruchio." He is noticeable for the spirit of his pictures in both serious and comic subjects. He died at Algiers, when travelling for his health. Egmont, Justus Van, born at Leyden (1 602-1 6 74) . Pupil and as- sistant of Rubens. He worked with his master on the pictures for the churches of Mechlin, on those illustrating the life of Marie de' Medicis, and others. Egmont was appointed painter to Louis XIH., and Louis XIV. He also painted in conjunction with Simon Vouet. In the Vienna Gall, there are two portraits of Philip IV. of Spain, by Egmont alone. They are too smooth in execution, but good in color and expression, and prove him to have been a good painter. Eimbeck, Johann Raphon Von. In the choir of Halberstadt Cath. there is a triptych by this painter, dated 1508. The centre is a picture of the Crucifixion, and the wings represent the Annun- ciation, the Adoration of the Magi and that of the Shepherds, and the Presentation. There is life and variety of expression, but the color is .not good, and the whole effect is somewhat coarse. Elliger or Elger, Ottomar, the Younger, born at Hamburg (1666- 1732). After some other instruction he became the pupil of Gerard Lairesse, whose style he imitated. He was, like Lairesse, very mind- ful of details in costume, etc., and his architectural representations were good. He painted historical subjects, such as the " Death of Alexander," which he did for the Elector of Mentz. His principal works are in Amsterdam. Elliot, Charles Loring, born at Scipio, New York (1812-1868). One of the very best of American portrait painters. His pictures are all that one can desire a portrait to be. Full of expression and char- acter, life-like in effect, and well colored. He executed an immense number, and among his sitters were many men eminent in different departments of life; clergymen, authors, artists, statesmen, and mili- tary men. His portrait of Fletcher Harper is considered a master- piece. Some of his pictures may be seen in the City Hall of New York, in the State Library at Albany, and in the Mercantile Li- brary of Baltimore. Elmar or Elmer, Stephen, lived principally in Farnham. hi Surrey, 264 ELMAR ENGELBRECHTSEN. where he died about 1795. He painted still-life, such as dead game, fruit, and flowers. His pictures are seen in old-fashioned collections and are executed with spirited fidelity. Elstracke, Reginald, or Renold. An English engraver of about 1620. He engraved some portraits which are prized for their con- nection with history, more than for their merits as engravings. When he did not sign his plates with his full name, he used his initials, RE. Elzheimer, Adam, born at Frankfort (1574-1620). He studied first under Philip Uffenbach, then went to Rome, where he was called II Tedesco. His pictures were often painted on copper, which was a disadvantage in regard to the "quality" (as artists say) of his color. He had an intense love of nature, and after studying a view, would go away and paint it with marvellous exactness, even to the shadows at the time of day he chose to represent, and all without a sketch. His pictures were always small, and exquisite in finish. He loved to introduce figures, and many times repeated the " Holy Fam- ily" and " Tobit and the Angel." He was fond, too, of effective lights, and sometimes gave moon and torch light in the same work. He married an Italian, and had a numerous family, and though well paid for his pictures, he spent so much time on them that he became involved in debt and was thrown into prison. He died there, or very soon after his liberation. Rubens and the Chevalier Goudt assisted him, but in vain. His works became very valuable after his death, and the works of other painters were often called by his name. There are about 60 engravings after the works of Elzheimer. Some of these are by Hollar, and seven by Count Goudt, who was also his pupil. He is said to have etched several plates himself, but that of "Tobit leading his Father " is the only authentic one. His " Flight into Egypt," in the Louvre, has been called his masterpiece. Other important works are, " The Good Samaritan," Louvre; "Paul and Barnabas, at Lystra;" and "Christ at Emmaus," Stadel Institute, Frankfort; " Flight into Egypt," Munich Gall; " Repose in Egypt," and another " Flight into Egypt," Vienna Gall.; and the " Triumph of Psyche, "Uffizi Gall. Empoli, Jacopo Chimenti da (1554-1640). An imitator of An- drea del Sarto. His Madonnas were much admired. A picture of S. Ivo, Florence Gall., is one of his best works. He was so injured by falling from a scaffolding, that he could not paint in fresco. He was so fond of good eating that he was called UEmpilo, which is to say, a stew-pan. Engelbrechtsen, Cornells, born at Leyden (1468-1533). Very little is known of this old painter. The only picture known to be his is an altar-piece in the Town Hall at Leyden. The centre has a pic- ture of the " Crucifixion," the wings those of the " Sacrifice of Abra- ham " and the " Lifting of the Brazen Serpent ; " tke predella has the ENGELBBECHTSEN EUTYCHIDES. 265 44 Restoration of Mankind by the Atonement of Christ." It is very different from the works of the masters who had preceded him, but is hard and crude. The flesh tones are brown, and the heads very monotonous. Es, or Essen, Jacob van, born at Antwerp. He painted flowers, birds, fish, lobsters, etc. He excelled in representing shell-fish. In the Antwerp Mus. there is a picture of fruit, dead game, vessels, etc., which is good. In the Vienna Gall., two large pictures of fish-mar- kets are excellent; the figures in them are by Jordaens. Escalante, Juan Antonio, born at Cordova (1630-1670). Pu- pil of Francesco Rici. He was an imitator of Tintoretto, and a painter of good reputation. In the churches of Madrid some of his pictures are seen, and in the Royal Gall, there are two: the "In- fants Christ and S. John," and the " Holy Family." Espagnondel, Mathieu, born at Paris (1610-1689). A sculptor of some merit. Several of his works are in the gardens at Ver- sailles, and he also executed many statues for churches. Espinosa, Jacinto Jeronimo de, born at Cocentayna, 1600; died at Valencia, 1680. He studied under Francisco Ribalta, and also in Italy. He was pious, industrious, and popular. Some of his works are little inferior to the works of the Ribaltas, to which they bear a strong resemblance. In 1647 the plague appeared in Valencia, and it is said that this artist placed himself and his household under the protection of S. Luis Beltran, who not only preserved them from con- tagion, but also cured the master of water on the brain. For these benefits Espinosa painted a series of pictures, and placed them in the chapel of the Saint, in the convent of S. Domingo. The Mus. and churches of Valencia contain many of his pictures. Etty, William, born ajt York (1787-1849). This artist especially excelled in color, and when judged by that alone was one of the most highly distinguished English painters. His works were numerous, and embraced a large variety of subjects. In the year of his death 130 of his pictures were exhibited in the room of the Society of Arts, at the Adclphi. He declared that his aim had been in all his large works to paint some great moral on the heart; par exemple, by three "Judith " pictures he would represent patriotism and self-sacrifice to one's country and God; by " Benaiah," David's great captain, he would picture valor, etc. Eusebio di San Giorgio. A pupil of Perugino. He was never above mediocrity. His pictures are dated 1505 and later. Most of his remaining works are in Perugia. Eutychides. A sculptor of Sicyon. He was a disciple of Lysip- pus and lived B. c. 300. One of his most famous works was a bronze statue of the Eurotas, " in quo artem ipso amne liquidiorem piurimi dixere." Several of his statues are known to us in the writ- ings of the ancients, and that of " Fortune " for the Syrians on the Orontes, is represented by a copy in the Vatican. 266 EVEKDINGEN EYCK. Everdingen, Aldert van, born at Alkmaar (1621-1675). A fine landscape painter. His Norwegian views are admirable. They are poetic, with clear skies, rocky masses, and tumbling waterfalls, and dark, lofty fir-tre'es. He painted storms at sea, but rarely. His col- oring is occasionally too heavy a brown. His pictures are in the Louvre, Berlin Mus., and Munich Gall., and in many private collec- tions. He was also a master in his handling of the etching point. He left 106 etchings, which are known, besides 57 plates, which illus- trate the poem of " Reineke Fuchs." The original drawings for these last are in the British Mus. , as are also some landscapes done in In- dia ink, bistre, and sepia. Eyck, Hubert Van, born at the small market town of Maaseyck (about 1366-1426). Little is known of his history beyond the facts that he spent, probably, his middle life at Bruges, and his later years at Ghent. That he effected a revolution in painting, is beyond a doubt. By his strong intellectual power he breathed life into the symbolic art which had preceded him. He represented Scriptural scenes and characters, but he did it through the medium of such peo- ple as he had seen in actual life. He gave his figures the appearance of men about him. He represented nature as he saw it, and did not hesitate to use architectural backgrounds, or even to make well-fur- nished rooms the scenes of his " Annunciations" and other sacred incidents. For all the requirements of his brain, the mediums here- tofore used were inadequate, and as ever, necessity being the mother of invention, he made great improvements in the preparation and use of colors. He used oil as a cement, and a new varnish, which from its brilliant freshness, gave a reality of effect, never seen by his con- temporaries. His greatest work was an " Adoration of the Lamb," executed for Judocus Vyts, and Lisbetta, his wife, for the decoration of their funeral chapel in the ch. of S. Bavo, at Ghent. This was arranged with a centre piece and wings which could be closed. The inside was divided into twelve different pictures, and the outside of the wings was also painted. It is not known exactly how much of this great work Hubert did, for it was finished by John Van Eyck after his death ; but the principal figures must have been by the elder, for they show a power which no work of John's approaches. Liibke says, " Hubert is confirmed as an inventor, by contemporary records. To no other was such a depth of thought imputed, combined with such abundance of ideas, and with such grand power of characteriza- tion." The donors are represented on the outer wings in a masterly manner. The larger panels remain in their original place, the figures of Adam and Eve are in the Mus. at Brussels and six others are in the Berlin Mus. There are but two other works attributed to Hu- bert. One of these is in the Mus. in S. Trinidad, at Madrid, and represents the u Triumph of the Christian Church over the Jewish Synagogue." This is in the form of the front of a Gothic building EYCK. 267 with arches and towers, and the whole picture is made up of several different designs. The other represents " S. Jerome extracting a Thorn from the Paw of the Lion," and is in the Gall, at Naples. THE ANCHORITES. BY HUBERT VAN EYCK. From the Ghent Painting. Eyck, John Van (1390-1440). Brother and pupil of Hubert. He lacked the power of his brother in conception and design, and preferred smaller works. But he finished with greater minuteness and nicety than Hubert, and was the founder of that school among his countrymen, remarkable for delicacy in detail and finish of exe- EYCK. ANNUNCIATION. BY J. VAN EYCK. cution. There are a good number of the works of this artist remain- ing. The following is a list of the more important ones in chronologi- cal order. The " Consecration of Thomas k Becket," dated 1421, is in the coll. of the Duke of Devonshire, at Chatsworth; " S. Francis receiving the Stigmata," 1428-29, is at the seat of Lord Heytesbury, in Wilt- shire; the wings of the " Adoration of the Lamb," executed by Jan Van Eyck, Berlin Mus.; the "Virgin and Child," at Ince Hall, near Liverpool, inscribed, " Completum anno domini MCCCCXXXII, per Johannem de Eyck, Brugis" with the motto, " Als ich chan," or, " As well as I can; " the " Virgin suckling the Child," Stadel In- stitute, Frankfort, called the " Madonna di Lucca; " portrait of a man, National Gall, with the above motto, and inscribed " Jolies de Eyck me fecit ano MCCCC33, Oct. 21 ; " also in National Gall., por- traits of himself and wife, signed, " Johannes de Eyckfuit hie 1434 ; " this is one of the very best, and perhaps the best, of his works. Van Mander says that the sister of Charles V., the Governess of the Netherlands bestowed a post of 100 guldens yearly upon a barber to whom this picture belonged. The Virgin and Child, with S. Barbara, Burleigh House; another Virgin and Child, with the donor, Louvre; a Madonna and Child, with several saints and the donor, signed EYCK FABRIANO. 269 1436, Acad. of Bruges; portrait of Jan de Leeuw, same date 5 Belve- dere, Vienna; another portrait, same Gall.; picture of S. Ursula, Antwerp Mus., 1437; Head of Christ as Salvator Mundi, 1438, Berlin Mus.; portrait of his wife, 1439, Acad. of Bruges; and a small highly finished altar-piece, Dresden Gall. There are embroidered ecclesiastical robes in the Imperial Treasury, at Vienna, that were probably executed from the cartoons of Jan van Eyck. Eyck, Lambert van. It is but recently that this third brother has been discovered, but the records of Lille declare him to have been a painter, and it is now thought that he must have executed the copy of the great Bruges picture, which is in the Antwerp Mus., No. 11. There is also a triptych in Louvain, now attributed to him. Eyck, Margaretha van. Sister of the foregoing artists; is said to have been a skilful painter, but no picture is known which can positively be ascribed to her. She was buried in the Cath. of Ghent, where Hubert rested before her. F. Fabris or Fabre. A painter of views in the vicinity of Naples. Some of his best works resemble those of Canaletto, and are perspec- tive or architectural views, with figures, etc. The sombreness of his color is his greatest fault. He also visited Malta, and his works are in the collections of Valetta. Fabriano, Gentile da. This is the name by which this painter is known, but his true name was Gentile di Niccolo di Giovanni Massi, of Fabriano. Born between 1360 and 1370. Pupil of Allegretto Nuzi. It has been said that he was associated with Fra Angelico, either as master or pupil, but while in point of careful preparation of materials and in finish, they might be compared, in result they were totally at variance. He painted in Brescia, Venice, and Rome, and died in the latter city, and was buried in S. Francesca Romana. He also lived some time at Florence, and from existing records, probably went there about 1422. Jacopo Bellini, his pupil, went to Florence with him, and there seems to have been a strong friendship between them. It is not possible to tell when he went to Rome. Vasari says that Michael Angelo praised him and said that his manner corre- sponded to his name of Gentile. Van der Weyden thought him to have excelled all other masters of Italy. It is scarcely possible to believe that the first opinion could have been other than a sarcasm, for his style was characterized by bright contrasts in color, fusion of tone, with no shadow, and great minuteness in detail and finish, which would have found a response in the Fleming, without doubt. His re- maining works are portions of a " Coronation of the Virgin " at the Brera, Milan, the predella of which is at Fabriano ; a " Virgin and 270 FABRIANO FAGE. Child " in the Acad. of Venice ; " Adoration of the Magi," Acad. of Arts, Florence; some side panels of a picture in the ch. of S. Niccolo di la d'Arno, Florence; another panel in the same church represent- ing the Father sending the dove or Holy Ghost down to the Virgin and Saviour'; a " Virgin and Child" purchased by Mr. James Jack- son Jarves ; a mutilated remnant of a " Madonna " in the Cath. of Florence ; in the Casa Morichi, Fabriano, the " Coronation of the Virgin" and " S. Francis receiving the Stigmata," formerly making the two sides of a standard; a Virgin seated on a cushion with the Child on her lap, Pia Casa della Misericordia, Pisa ; an enthroned Madonna with saints, Berlin Mus. ; and a few others, some of which are in private collections. Fabullus, called also Amulius, was a Roman painter, distinguished fo his decorations of the " Golden House of Nero." One of his works there was a picture of Minerva, which was always looking at the beholder, from whatever point observed. Pliny says he painted but a few hours a day, and so valued his dignity, that he would not lay aside his toga even when employed upon scaffoldings, or among machinery, and calls him " gravis et severus, idemque floridus." Fachetti, Fietro, born at Mantua (1535-1613). He went to Rome during the time of Gregory XIII., where his portraits were so much admired that every person of distinction desired to be painted by him. He was also an engraver. Bartsch mentions two prints by . him, which have been claimed by Niccolo van Aelst. One is a " Holy Family," after Raphael, and the other " Christ bearing his Cross." Facini, Pietro, born at Bologna (1560-1602). Pupil of Annibale Carracci, of whom it is said that the master became jealous. Facini later established an Acad. of his own. But he had little real merit beyond that of color. In this he was truly admirable, and resembled Tintoretto. Some of his works are in the churches of Bologna. There are also some prints attributed to Facini. Faenza, Gio. da. In Faenza there is a Madonna and Child with Angels and Saints, executed by this painter in 1506. It is in the Gymnasium (convent of the Serviti), and is a worthy specimen of that Umbrian school which preceded Raphael. Faes, Peter van der. See Lely. Fage, Raymond de la, born at Toulouse (1648-1690). Cele- brated for his drawings with the pen. They are little more than out- lines, but are admirable for their grace and spirit. It is said that he visited Carlo Maratti in his studio, and was offered a palette and brushes. De la Faga declined them, saying he did not paint. Ma- ratti declared himself pleased at that, and said that if he could paint as well as he could draw, he should himself abandon the brush. He also etched some designs of his own, and others have been engraved by Audran, Vermeulen, etc. FAITHORNE FANTUZZI. 271 ^ ^ * Paithorne, William, the Elder, born in London ; ST fff died 1691. An eminent engraver. His best works ' were his portraits. These are executed with the graver almost entirely, and are admirable. His plates are numerous, and some which are scarce are very valuable. Falcone, Aniello, born at Naples (1600-1665). Pupil of Ribera, called Spagnoletto. The first painter noted for battle pieces. The school which arose from the influence of this master was connected with history, for under Masaniello it was organized as the " Com- l>f tempera. His portrait figures were not the actors in the scene represented, but he placed them, generally, in detached groups. Kugler says this gave a solemn effect, and compares them, in their 298 t GHIRLANDAIO. relation to the picture, to the chorus in a Greek tragedy. He laid his scenes in the streets of cities known to us, his architecture and costumes were familiar, but he did not run into the fantastic, and his works are never unpicturesque. His study of the antique is espe- cially apparent in his draperies. In the technicalities of fresco-paint- ing he excelled, and his works were highly finished. His remaining frescoes are those in the ch. and refectory of Ognissanti, Florence, dated 1480 ; in the Palazzo Vecchio, and Palazzo Pubblico, Flor- ence, 1481-85; in the Sixtine Chapel, Rome, only the " Calling of Peter and Andrew " remains ; in the Chapel of S. Fina, at S. Gi- mignano; in the Sassetti Chapel, in S. Trinita, Florence, and the choir of S. M. Novella (1490), same city. His smaller works are an !< Adoration of the Magi," in the Uffizi ; two pictures in the Acad. of Florence, in one of which, an " Adoration of the Shepherds," an an- tique sarcophagus serves as the manger; a " Visitation," in the Louvre; six pictures in the Berlin Mus., and others in the Dresden, Munich, and National galleries ; while a few more are in other public and in some private collections. Ghirlandaio was the master of Mi- chael Angelo. Very little is known of the mosaics which he exe- cuted, although he called mosaic work ' ' painting for eternity. ' ' Ghirlandaio, Ridolfo, born at Florence (1483-1560). Son of Domenico. The works of this master may be classed in three divis- ions : those of his early time, his middle and best works, and his later and more mechanical manner. The first are characterized by thin, stiff figures, hard enamel, and thick substance of color, which may be seen in an " Annunciation," in the Abbey of the Montoliveto, outside Florence. His middle and best manner was largely influ- enced by his association with other artists, and the study of their works. It has been said that he studied with Fra Bartolommeo and was the intimate friend of Raphael. It is true that the latter desired Ridolfo to go to Rome to work with him in 1508, and about this time Ridolfo excelled all Florentine artists in oil-painting, as his father in his day had excelled in mural decorations. To this time belong his "Nativity," Berlin Mus., and another in the Esterhazy Coll., at Vienna; a female portrait in the Pitti; the Miracle and the Burial of S. Zanobius, Uffizi; and various others in churches and galleries, in some of which he employed the assistance of his pupil Michele di Ridolfo. There was an old precept among shopkeepers, that an artist, if he kept a shop, should execute all orders brought him, no matter how small. Domenico believed this, and his son prac- tised it. He did much merely mechanical work from 1515 to 1541 for the public occasions, both of joy and sorrow, in which the Medici were the principal actors. This had a tendency to injure his man- ner, for he hastily executed scenes for plays, banners to be carried in processions, and gaudy triumphal arches. Then, too, he had a good fortune, fifteen children, and was growing old, indeed, he suffered GHIRLANDAIO GIBSON. 299 so much from gout that he was wheeled about in a chair for some time before his death; still he did not resign his profession, but re- mained a silent partner, as it were, in his own business, and as late as 1543 undertook a series of frescoes for the monastery of the An- geli, where his brother Bartolommeo was in orders. Ridolfo sur- vived most of his contemporaries except Michael Angelo. Gliisi. This is the name of a Mantuan family of engravers. Gio. Battista Ghisi, called Mantuano, was the eldest, and flourished about the middle of the 16th century. He was a painter, sculptor, architect, and engraver, in which latter profession, he is best known. He is said to have been a pupil of Marc- Antonio Rai- mondi, but his drawing is incorrect and his prints wanting in harmony. G-m 7 j Giorgio Ghisi, born 1524, son of the preceding, was V M a much more eminent engraver, and his works are much esteemed by collectors. Fine impressions of his prints are scarce. / - \ Adamo and Diana Ghisi were the brother Yf\ /S\ an( * s * ster ^ Giorgio, and were instructed by * / J- * him. Diana was the best artist, and executed some plates of great merit. They were all called Mantuano. Ghisolfi, Gio., born at Milan (1623-1683). He studied under several masters, the best of them being Salvator Rosa. His pic- tures abound in Milan, Geneva, Naples, Rome, and are well repre- sented in England. He painted some historical subjects, but is best known by dark pictures of ruins, corridors in perspective, and court- yards paved with marbles. His works are in the choicest collections. Ghezzi, Cavalier"e Pier Leone. Chiefly known by his etchings and his caricatures, which are numerous in Roman collections. Giamberti. See San Gallo. Giambono, Michele. An old painter and mosaist of the middle of the 15th century. An altar-piece in the Acad. of Venice, signed by him, represents Christ with S. Bernardino and other saints. At S. Marco, in the wagon roof of the Madonna de' Mascoli, there is a mosaic with his name, and at Padua, in the Coll. of Conte Riva, an exquisitely finished " Virgin and Child," inscribed " Michael Jo- in nines Bono, vcnctus pinxit. " The Berlin Mus. Catalogue calls No. 1154 a Giambono. It is the " Assumption of S. Magdalen." Gibbon, Griiidling. A sculptor of the reign of Charles H. Some of his remaining monumental works are seen in the churches of England, but his wood-carving is most worthy of notice. His birds, flowers, foliage, and imitations of lace are remarkable for fine and elaborate execution. Some of the best of these are at Hampton Court, Windsor Castle, Chatsworth, S. Paul's Cath., and S. James' ch., Piccadilly. He died in 1721. Gibson, Richard (1615-1690), usually called the Dwarf, was only three feet ten inches in height, and was married in the presence 300 GIBSON. of Charles I., whose page he was, to Anne Shepherd, who was ex- actly his own height. They had nine children, who lived and were of a proper size. Vandyck painted the portraits of this remarkable couple. The King observed the talents of Gibson, and placed him with Cleyn for instruction. He made a reputation in water-color painting. He painted a miniature of the " Parable of the Lost Sheep," which the King valued and gave to his medallist Vander- doort for safe keeping. When Charles desired to have it, Vander- doort had forgotten where he had put it, and became so nervous about it, that he hanged himself; after his death it was found. A drawing of Queen Henrietta, by Gibson, is at Hampton Court. He was sent to Holland to instruct the Princess Mary in drawing, and also was honored by being the teacher of Queen Anne. Gibson, John, born near Conway, North Wales, 1 790 ; died at Rome, 1866. When nine years old, his parents went to Liverpool with the intention of emigrating to the United States, but this plan was abandoned, and Gibson sent to school in Liverpool. Before this he had been in the habit of drawing whatever he saw that pleased him. He now began to study the prints in the shop windows, and sold his little drawings to his fellow-pupils. He attracted the atten- tion of a print-seller, who lent him some studies and casts from the antique. At fourteen he was apprenticed to a cabinet maker, but at the end of a year, he persuaded his employer to change his indent- ures, and was bound to a wood-carver. He soon made the ac- quaintance of Messrs. Francis, who had marble works, and after much trouble and negotiation with his master, he was again apprenticed to the occupation which he had determined to follow. In modelling, drawing, and working in marble, he was truly happy, and made most rapid improvement. After a few months he fell under the notice of William Roscoe, who became his friend and patron. From this time until he was twenty-seven years old, he remained in Liverpool and executed many busts, bas-reliefs, etc. He had improved his oppor- tunities, but they were small, and he greatly desired to travel. In 1817 he went to London with a few letters of introduction, and ob- tained several commissions. In September of the same year he left England for Rome, where he arrived in October. By means of a letter, he was presented to Canova, who took him under his protec- tion and introduced him into his Acad., where he had an opportunity to draw from life. He had also the advantage of associating with artists, and listening to conversations on art, in which the most talented sculptors, such as Canova and Thorwaldsen, were engaged. In 1819 he received his first commission from the Duke of Devon- shire, which was for a group of Mars and Cupid. From this time, he advanced steadily in his profession, and was fully employed. He lived twenty-seven years in Rome, spending his summers principally at Innsbruck. In 1844 he went to Liverpool to superintend the plac- PORTRAIT OF MRS. CALEB LORING. BY GILBERT STUART. See p. 557. GIBSON. 301 Ing of his statue of Mr. Huskisson. He was received there with great enthusiasm. He had also executed a statue of Mr. Finlay for the Merchants Hall of Glasgow, to which city he was invited, to wit- ness its erection. The compliments here paid him were more flatter- ing than those of Liverpool, on account of the absence of all ties of association or residence. During this visit, he was invited to Wind- sor to make a statue of her Majesty. This was completed in Rome. The Queen was represented in a classical costume, and the diadem, sandals, and borders of the drapery were colored. This created much controversy; but Gibson always answered, " Whatever the Greeks did, was right." The Queen and Prince Albert were much pleased with the statue. In 1853 he received Miss Harriet Hosmer as his pupil. She is the only one he ever professed to teach, and they became devoted to each other, not only as teacher and pupil, but as friends. In 1862 he modelled a sacred subject, a bas-relief of " Christ blessing Little Children." In 1851 Gibson sustained a great loss in the death of his brother Ben. to whom he was greatly attached, and who had resided with him in Rome for fourteen years. On the 9th of January, 1866, when seventy-six years of age, and ap- parently in perfect health, he was seized with paralysis, and died on the 27th of the same month. He was buried in the English cemetery at Rome; and as he had been decorated with the cross of the Legion of Honor, a company of French soldiers joined the funeral procession and fired a salute above his grave. The inscription upon his monu- ment, written by Lord Lytton, gives a concise and truthful account of him as an artist, and as a man : " His native genius strengthened by careful study, he infused the spirit of Grecian art into master- pieces all his own. His character as a man was in unison with his attributes as an artist, beautiful in its simplicity and truthfulness, noble in its dignity and elevation." A monument was also raised to Gibson in the ch. at Conway. He left the models of all his works, and the greater part of his fortune, to the Royal Acad. Many amus- ing stories are told of his absent-mindedness, and he was scarcely fit to go outside his studio alone. He could never master the ins and outs of railroad travelling, and when started in the right train at the right time, was sure to get out at the wrong place at the wrong time. Miss Hosmer said of him, " He is a god in his studio, but God help him when he is out of it." On one of his journeys, having arrived, as he supposed, at the right place, he desired a porter to show him the way to the Cathedral. In his own account he said, " But the scoundrel would have it that there was no cathedral in the place, and at last had the impudence to ask me if I knew where I was. Then I discovered that instead of being in Chichester, where I had a par- ticular appointment with the Dean and Chapter, I was safe in Ports- mouth, where there was no cathedral at all." He found his entire happiness in art, and worked on, to use his own words, " happily, 302 GIBSON GIMIGNANI. and with ever new pleasure, avoiding evil, and, with a calm soul, making images, not for worship, but for the love of the beautiful. The beautiful elevates us above the crowd in this world; the ideal, higher, yes higher still, to celestial beauty, the fountain of all. Soc- rates said that outward beauty was the sign of inward ; in the life of a man, as in an image, every part should be beautiful." The tributes of respect which were shown him, he thoroughly enjoyed; and those of which any man might be proud, he received with a simplicity of self-respect which added a higher worth to them. The following are a portion of his works : Mars and Cupid; Chatsworth. Psyche borne by Zephyrs; Palazzo Torlonia, Rome, and S. Petersburgh. Hylas surprised by Nymphs; National Gall. Sleeping Shepherd Boy; Mr. Lennox, New York. Cupid disguised as a Shepherd; often repeated; Mr. Appleton, Boston. Narcissus; Royal Acad. Portraits of the Queen ; Buckingham Pal. and Osborne. Sir Robert Peel; Westminster Abbey. George Stephenson ; S. George's Hall, Liverpool. Eighteen portrait-busts, among which are those of Mrs. Jameson and Sir Charles L. Eastlake. Sixteen bassi-relievi, mostly of mythological subjects, and sixteen monumental relievi; a large part of the last are in Liverpool Ceme- tery Chapel. Gillray, James, born at Lanark (1757-1815). This celebrated caricaturist began life as a goldsmith, then ran away with a strolling company of players, and at last went through a course of study at the Royal Acad. His first caricatures were done about 1779, and he worked diligently in this department of art until 1811. He left more than 1200 of these prints. He seized upon every circumstance of politics and manners which could be turned to ridicule, and in this art has had no rival. His intemperate habits undermined his health, and induced an insanity several years previous to his death. There are a few engravings of Gillray's of subjects not caricatured, of which the impressions are rare. Gilpin, Sawrey, born at Carlisle (1733-1807). An animal and landscape painter, who painted whole pictures by himself, but was also accustomed to work in conjunction with Barret, who painted the landscapes for Gilpin' s animals, which the latter repaid by painting animals in the pictures of Barret. Gimignani, Giacinto, born at Pistoja (1611-1680). A disciple of Pietro da Cortona. He assisted Carlo Maratti, at the Lateran, in Rome. A picture of his in the Ducal Gall., at Florence, has been attributed to Guercino. His works are also at the Palazzo Nic- GIMIGNANI GIORDANO. 303 colini, Florence ; in S. Giovanni at Pistoja, and in other churches of Italy. Giordano, Luca, born at Naples (1632-1705). Pupil of Ribera, called II Spagnoletto. He went to Rome while still young, and was employed by Pietro da Cortona. His facility of execution was mar- vellous. He made copies from various masters, and his style became a mixture of all. This was greatly to his disadvantage. His father, who had always been very poor, followed him to Rome, urged him to haste for the sake of money, and was accustomed to repeat to him "Luca, fa presto," by which appellation he is known. In 1690 he was in- vited to Spain, where he executed a vast amount of work for Charles H., in the Escorial and elsewhere. He returned to Naples with much wealth and a great reputation. His works are very numerous, and varied in style. They are in all large galleries. Perhaps his masterpiece is the " Expulsion of the Fallen Angels," in the Belve- dere, Vienna, signed Jordanus, F. 1666. Giordano painted equally well in oil and fresco, and is at times remarkable for beauty, glow of color, and dramatic effect, but sacrificed so much to hasty finish that it is painful to see what he has done and feel how much less it is than what he might have done. He also left some very spirited etchings, executed with free and masterly touch. ENGRAVINGS AFTER LUCA GIORDANO. Engraver, AVELINE, Peter. The Death of Seneca. Engraver, BEAUVARLET, James Firmin. Lot and his Daughters. Susanna and the Elders. Perseus combating Phineus. Acis and Galatea. Judgment of Paris. Rape of Europa. Rape of the Sa- bines. Engraver, DENNEL, Louis. Triumph of Galatea. Engraver, EARLOM, Richard. Galatea. Judgment of Paris. Engraver, EREDI, Benedetto. Death of Lucretia. From his own designs, engraved ly himself. Elijah calling down Fire on the Priests of Baal. Virgin and Child. SS. Joseph and John. Penitent Magdalene. The Woman taken in Adultery. Christ in the Temple with the Doctors. S. Anne received into Heaven by the Virgin. Engraver, MANNL or MAENNL, Jacob. Martyrdom of S. Bartholo- mew. Philosopher meditating on a Skull. A Geometrician. Engraver, RAVENET, Simon Francis. Sophonisba receiving the Nuptial Present. Engraver, SOUNIQUE, Dominick. The Rape of the Sabines. Engraver, VASSEUR, John Charles Le. Apollo and Daphne. 304 GIORDANO GIORGIONE. Engraver, WAGNER, Joseph. Meeting of Jacob and RacheL Rebecca receiving the presents from Eliezer. Engraver, ZUCCHI, Lorenzo. David with the Head of Goliath. Giorgione, real name Giorgio Barbarelli, born at Castelfranco (1477-1511). The first Venetian who cast off the Bellinesque rule and handled brush and colors freely. Grimm says, " His outlines disappear into something almost unessential. As when living beings approach us, we only see colors and movement, so in his pictures;, there is none of the fixed, statue-like appearance; the living, moving character alone seems produced by magic." This artist had great personal beauty, and a dignified deportment. Giorgione means George the Great, and he acquired this name on account of his tall, noble figure. He had also an intense love of beauty; he was a good lute player, and composed songs which he sung; in short, his nature was full of harmony and sentiment. This shows itself plainly in his works, and Mrs. Jameson says, " If Raphael be the Shakespeare, then Giorgione may be styled the Byron of painting." Very little is known of his life. The Venetian traditions give the following: He was fond of pleasure, but never profligate, and his love of his art would not allow him long to neglect it. Pietro Luzzo, a painter known as Morto da Feltri, lived in the same house with Giorgione, where was also a girl whom he passionately loved. He made Morto his confi- dant, of which he took advantage to seduce and carry off the girl. Giorgione never recovered from the double grief caused by the faith- lessness of his mistress and his friend, and sank into a despondent state of mind, in which he died. Morto fled from Venice, entered the army, and was killed at the battle of Zara, 1519. Giorgione was much employed in decorative painting, and worked with Titian on the Fondacho dei Tedeschi, at Venice. He had great influence upon Titian. If any of the frescoes of Giorgione remain in Venice, they are but parts of pictures. The dampness of the climate, fires, and the effect of time have effaced them. His pictures are rare, and it is difficult to give a list of them, for there have been so many differ- ences of opinion among the best judges, concerning the genuineness of those assigned to him, that few remain upon which no doubt has been thrown. He painted but few historical subjects. Among the works acknowledged as his, the first place should be given to an altar-piece in the ch. at Castelfranco. It represents the Virgin and Child between SS. Francis and Liberate. A study in oil for the figure of S. Liberale is in the National Gall. This altar-piece was executed before 1504. In the Belvedere Gall, at Vienna, there is a picture called the " Chaldean Sages," in which a company of as- tronomers study the heavens. In the Manfrini Pal., Venice, is the so-called " Family of Giorgione." Be the subject what it may, it is an exquisite picture in which the painter succeeded in throwing great interest into a simple and natural arrangement of common objects. GIORGIONE. 305 At Kingston-Lacy, there is an unfinished picture of the * ' Judgment of Solomon." " The Concert," at the Pitti Pal., is one of his most beautiful and famous works. There are many portraits, sibyls, and other pictures in various galleries, attributed to Giorgione, but the THE CONCERT. BY GIORGIOHE Pitti Gall. above are almost, if not quite all, which are universally acknowledged to be genuine, although it may be quite true that others are so. Among those very generally admired, as the works of this master, are the portrait of a lady with a lute, Manfrini Pal.; his own portrait, Munich Gall.; the " Daughter of Herodias," the portrait of Gaston de Foix, and a " Holy Family," in the Louvre; " Jacob meeting Rachel,'* Dresden; the "Finding of Moses," Brera, Milan; the Sea-storm, with the patron saints of Venice in a boat, demons and monsters all about, and a city in the distance, Acad. of Venice; etc., etc. ENGRAVINGS AFTER GIORGIONE. Engraver, DUPUIS, Nicholas Gabriel. Amusement of Pastoral Life. Engraver, KESSEL, Theodore. A Riposo. Magdalen at the feet of Christ. Engraver, MANNL or MAENNL, Jacob. A Warrior giving his Hand to a Man. Engraver, PETHER, William. A Warrior; half length. 20 306 GIOTTINO GIOTTO. Giottino. Vasari calls the name of this painter Tommaso di Stefano called Giottino, and says he was born in 1324. The only work remaining of those assigned to him is the chapel of S. Sil- vestro in Santa Croce in Florence, in which is a series of pictures illustrating the legend of S. Sylvester. These are well composed, the drawing is firm, the movement animated, the heads individual, and the color warm and clear. There are other pictures at Assisi and in Florence, in the same manner as these, but not known to be by the same master. Giotto di Bordone, born at Vespignano (1276-1336). It is a custom to call Cimabue the father of modern painting, and it is true in the sense that he discovered the genius of Giotto and placed him where it could benefit the world. Cimabue' s pictures are in the Byzantine manner, but Giotto drew his inspiration from nature, and seems almost an opposite to Cimabue rather than a follower of his. When tending his flock, Giotto was accustomed to draw on the large, flat stones, and while thus employed, Cimabue came upon him, was filled with admiration of his work, and obtained the consent of his father to his taking him to be his pupil. Giotto became a painter, sculptor, and architect. His principal works were his fresco paint- ings, which were in most of the large cities of Italy. The Bell- tower of Santa Maria del Fiore is his most famous architectural monument. He did not live to see it finished, but he left a perfect model for it, which was largely, though not entirely followed in its construction; for before it was completed the Gothic pyramidal spire which he had used was no longer admired, and had, in fact, come to be regarded with contempt. But the main construction, the stories, the windows, the sculptured ornaments are his plan, and "form a matchless whole." Giotto was the friend of Dante, and it is most reasonable to believe that much of what appears original in the con- ception and treatment of his subjects was derived from his intercourse with the great poet, and the ideas he received from him. Dante's portrait, which he painted on the wall of the palace of the Podesta at Florence, and which has been restored to the world, is one of his most famous works, and in spite of its destruction and restoration it is full of wondrous power. Of his small pictures there are twenty in the Florentine Acad., two in Berlin, and four others in private col- lections, which originally formed a series of twenty-six, illustrative of the lives of Christ and S. Francis in reference to each other; or representing circumstances in the two lives which seem to have a cer- tain likeness in them. Par exemple, opposite to the " Incredulity of S. Thomas," in the Life of Christ, he places a picture of S. Francis on a bier, while a pious disciple examines the marks of the Stigmata. A divided altar-piece is in the Brera of Milan and the Gall, of Bo- logna. Some pictures on wood are in the Sacristy of S. Peter's at Rome, and in the vestibule of that basilica is his mosaic, called the GIOTTO. 307 u Navicella." This has been changed from its original place, and has been often injured and restored, until it is probable that no part of the original work remains, but the design is that of Giotto. His large frescoes were in series. Those in the Carmine at Florence were destroyed by fire in 1771, but there are engravings of them. In the ch. of Santa Croce, a " Coronation of the Virgin," and the " Last Supper," in the refectory, still remain. In Padua, in the chapel of the Madonna dell' Arena, he painted the Life of the Virgin in forty- two different pictures. In the lower ch. at Assisi, he represented scenes from the Life of S. Francis. In the Incoronata at Naples he painted the "Seven Sacraments," which are very well preserved. His sculptures and reliefs, both upon the bell-tower, and in the facade of the Duomo, were also arranged in cycles. In order to form \ FIGURE OF JOHN ABOUT TO THROW HIMSELF ON THE BODY OF CHRIST. l.V (ilOTTO. From the painting in S. Maria dell' Arena, Padua. a correct judgment of the works of Giotto, one must always keep in mind the time in which he lived, and the opportunities he had for study. Then it will be felt that he was eminent in his composi- tion, design, and color, and that he uavr a wonderful impetus to art in various directions. Some of his followers devoted themselves to form, some to color, some to relief, and thus each branch progressed, until in Raphael the different parts were again united in a compar- atively perfect manner. The works of Giotto were so numerous that it would be impossible in such an account as this to even mention all of them, but it should not be forgotten that one of his most original conceptions was that of the crucifix. Before him there had been two representations. In one Christ was erect and alive on the cross, held by the nails. In the other every effort was made to de- pict simple physical agony, the effect being that of vulgar realism only. Giotto made more perfect anatomical proportions, and gave up 308 GIOTTO GIRARDON. the dreadful contortions while he still indicated pain ; he gave the expression of suffering to the head, and to the face tenderness, abne- gation, and heavenly resignation. In truth it would be a difficult task to paint a better type of crucifix than that of this master. Two of his crucifixes are in S. Marco, and in the Gondi Dini chapel, in Ognissanti, at Florence; another at S. Felicita is also ascribed to him, but with less certainty. At the time of his death, Giotto had been architect and master of S. Maria del Fiore two years. He was buried there, and afterwards a monument was erected to him upon which his portrait was carved by Benedetto da Maiano. There is much of interest in the life of Giotto, and it is to be regretted that no more is known of it. He lived in stormy times, when Guelf and Ghibelline hated and persecuted each other, times in which Dante made enemies; but Giotto, though free from mental slavery, inde- pendent, and judging for himself, seems to have been so poised towards all humanity as to have impressed himself upon his sur- roundings, rather than to have stirred up any bitterness. His con- temporaries acquiesced in his success and fame, and his successors have enlarged it. Giotto was personally so ugly that his friends all joked about it, but he was charming in conversation, witty, and withal modest. He would not accept even the title of " Magister," although in his day such honors were much coveted. There are various jokes and witticisms attributed to him, such as the following. The king of Naples asked him to paint his kingdom, and he drew a saddled ass smelling at another pack-saddle at his feet. When the king asked him to explain, he said, " Simply that the ass, your kingdom, not satisfied with one royal saddle, is always snuffing around for another." There has been a story oft repeated, that in order to paint his crucifixes so well, he persuaded a man to be bound to a cross for an hour for him to study, and that when he had him there he stabbed him, and thus succeeded in making his fine representation of the subject. His picture pleased the Pope so well, that he would have it for his own chapel, but when Giotto told him all the truth, and showed him the dead man, the Pope threatened him with death. Then Giotto brushed the picture over so that it seemed to be erased, which the Pope so regretted that he promised forgiveness if it were done again. Giotto exacted the promise in writing, and then removed the wash with a wet sponge, and the crucifix was as perfect as before, and, according to tradition, is that from which all -famous crucifixes were afterwards drawn. Giotto had a wife and eight children, of whom nothing is known but that Francesco became a painter. Girardon, Francois, born at Troyes (1630-1715). A reputable sculptor who was assisted in his studies by Chancellor Seguier. Louis XIV. gave him a pension while he studied in Rome, and many commissions after his return. He was finally advanced in office GIRARDON - GLOVER. 309 until he became director and chancellor in the Acad. A portion of his works were destroyed by the revolutionists, but many still exist in France. Girodet, Anne Louis (1767-1824). He adopted the name of Trioson in 1812. The favorite pupil of David. The only excellence he possessed was that of drawing the figure correctly. For this rea- son, his drawings are better than his paintings. His principal works are in the Louvre. Girtin, Thomas (1775-1802). Pupil of Dayes. A good water- colorist. His manner of treatment is simple and pleasing. He made sketches of twenty views in Paris, and etched the outlines of the plates, which were finished by other artists. Glass, James W., born at Cadiz. His mother was an American, and he commenced his studies as an artist in the studio of Hunting- ton, in New York. He chose to paint horses and such subjects as required them. He was very successful and gained a good reputa- tion in London, where he lived for some time. It has been said that his picture of the Duke of Wellington was the best portrait ever made of him. It was sold to Lord Ellesmere. His pictures are all well esteemed, but they are not numerous, for he did not live to fulfil the promise of excellence lie hud ^iven. He died in New York in 1856. " The Battle of Naseby," " Safe," " Royal Standard," " Puritan and Cavalier," and " Edge Hill," are some of the subjects he painted. Glauber, Jan, born at Utrecht (1646-1726). Pupil of Berghem. He studied in Italy, and became an imitator of Poussiu. He settled in Amsterdam, and was the friend of (Jeranl Lairesse, who often painted figures in the landscapes of Glauber. His compositions are poetical, and his drawing excellent. His color is also admirable. His pictures are seen in the Louvre, Dresden, Berlin, and Munich galleries. He also executed a number of etchings from his own de- signs and those of other artists. Glaucus, an artist of Chios, who worked in bronze, and is dis- tinguished as the inventor of the art of soldering metals. Eusebius says he lived about 69 B. c. V-fc J Sj' ^y Glockenton, Albert, born at Nuremberg A\ CO ./\_ vD :i ' )(lllt ' l;{ ~* The plates of this engraver are stilt and neat, and executed with the graver alone. The following are his : Twelve plates of the Passion of Christ; after Martin Schoen; fine and scarce. Ten plates of the Wise and Foolish Virgins ; after the same. Christ bearing his Cross ; after the same ; scarce. Death of the Virgin ; after the same. The Virgin and Child seated on an Altar. Glover, John (1767-1849). An English landscape painter. His 310 GLOVER GOMEZ. pictures are highly finished, and become tedious if large, but his small works are pleasing, especially those cool in color. His rocky scenery is pretty, and his views well selected. Glycon. The Athenian who executed the " Farnese Hercules " in the Mus. at Naples. It represents Hercules resting on his club after one of his labors. The right hand is modern. It is believed to be a copy of the " Heracles " of Lysippus, of which there are several imitations, but none so fine as this. It was found in the Baths of Caracalla. Gobbo, Pietro Paolo Bonzi, called II (1580-1640). The hunch- back of Cortona, and known as II Gobbo da' Frutti on account of his pictures of fruit, in which he excelled. His works are in the finest collections. He ornamented several Roman palaces in fresco. Goebouw or Gobau, Anthony, born at Antwerp (1625-1677). His best pictures are merry-makings, and subjects like those of Te- niers. He also painted landscapes, sea-ports, and battle-fields after the conflict; the latter with such truth as to reach the horrible. His pictures are much admired in his own country. Goes, Hugo Van der, born at Bruges (1405 7-1480 ?) It is said that he was a scholar of Jan Van Eyck, and a distinguished painter. Many of his works perished by the hands of the Dutch and Flemish Iconoclasts. About fifty pictures are now attributed to him, but there is little certainty about many of them. A large altar-piece in the choir of S. Maria Nuova, at Florence, is undoubtedly his work, and a portrait of his is in the Pitti Pal. The Munich Gall, has a " S. John in the Wilderness," signed H. V. D. Goes, 1472. It is delicately finished. There are no others that can be positively given to him. He retired, late in life, to the convent of Rooden, near Brussels, where he died. Goltzius, Heinrich (1558-1617). A distinguished en- graver. He left a great many plates more than 500. Those which imitated Albert Diirer and Lucas Van Leyden are the most successful. His own portrait is a master- piece of engraving. He visited Italy and became enamored of the works of Michael Angelo, and in his attempts to imitate him, he made some very distorted pictures. Late in life he commenced to paint, but his works were few and much inferior to his plates. His u Circumcision," in the manner of Diirer, and his " Adoration of the Kings," in that of Lucas Van Leyden, are very celebrated engravings, and indeed, all his plates are much esteemed by intelligent collectors. Some of his paintings are in the Imperial Gall, at Vienna. Gomez, Sebastian, was the mulatto slave of Murillo, and prac- tised painting secretly, until at length he so perfected himself, that he ventured one day, to paint the head of a Virgin which his master had sketched and left on his easel. Murillo promoted Gomez, and was happy in the thought that he had made him a painter. His GOMEZ GOYA. 311 pictures were full of faults, but his color was much like that of his master. In the Mus. of Seville, there are two pictures by Gomez, representing SS. Anne and Joseph, and the Virgin appearing to S. Dominic. He died soon after his master, in 1682. Gondolach, Matthaus. This painter settled in Augsburg, and died in 1653. He married the widow of Joseph Heinz, and suc- ceeded that artist in the favor of Rudolph II. He painted small pic- tures on copper in the manner of Heinz, some of which are in the Gall, of Vienna. Good, T. S. Painted very pretty small interiors with figures, and other similar subjects. Gool, John Van, born at the Hague (1685-1763). He painted landscapes and animals indifferently well, and was a writer on art. Gortzius, Gualdorp, called Geldorp, born at Louvain (1553- 1618?) Pupil of Frans Franck, the Elder, and Frans Pourbus, the Elder. He settled in Cologne, and a few of his works are preserved there. His portraits are better than his historical pictures. Gossaert. See Mabuse. Goudt, Henry, Count de, born at Utrecht, 1585. This amateur engraver was a Count of the Palatinate, and the benefactor of Adam Elsheimer. He bought some of the works of the latter, and engraved them in a manner quite his own. They are powerful in effect, cor- rect in drawing, and some of them are very beautiful. Some of his prints are scarce. Goujou, Jean. French sculptor. He was much employed in the time of Francis I. He was also an architect and medal engraver. He made a medal for Catherine de' Medici which is curious and rare. He perished in the massacre of S. Bartholomew, being shot while on a scaffold carving a rilievo at the Louvre. Many of his works are preserved in different parts of France. In the Musee des Monuments Francais, there are some bas-reliefs, which are good specimens of his style. Goya y Lucientes, Francisco, born at Fuente de Todos, 1 746 ; died at Bordeaux, 1828. Studied some years in Rome and returned to Madrid, where he attracted the attention of Mengs. He became a favorite in fashionable society, and lived in good style at a fine villa near Madrid. Charles IV. appointed him painter in ordinary, in 1789. He painted pictures of religious subjects, and portraits; and found continual employment among the nobility. But his chief ex- cellence was that of a satirist with the pencil. He may be called the Hogarth of Spain. He parodied the religious pictures, and painted priests in the form of asses or apes, and was never weary of making the Jeronymite and Franciscan friars ridiculous. He painted with dashing boldness, and as often used a sponge or stick as the brush. I Ir sometimes executed an entire piece with his palette-l^nife, and put in the delicate touches of sentiment with his thumb. He was 312 GOYA - GKAFF. skilful in the use of the graver, and published eighty prints which he called Caprickos. These attained great celebrity. They were satirical representations of the Spanish customs of law, physic, the pulpit, the cloister, etc. He was also the author of a series of sketches of the French Invasion, in which he represented in the most exaggerated manner the hanging of citizens, the shooting of prisoners, and sacking of convents. Besides these, he published thirty-three prints of scenes in the Bull-Ring; and etchings of some of the works of Velasquez. In the Gall, of the Queen of Spain are the portraits of Charles IV. and his Queen, by Goya. The National Mus. has a picture of two dark-eyed Spanish ladies, with fans and mantillas ; and the Louvre a full length portrait of the Duchess of Alba. Goyen, Jan Van, born at Leyden (1596-1656). The works of this landscape painter are not of great merit, but he is worthy of notice as having introduced a new manner of treating nature among the artists of his country, which was afterwards very generally adopted. His characteristics were truthfulness and a light and easy pencilling. Gozzoli, Benozzo. Real name Benozzo di Lese di Sandro. A pupil and assistant of Fra Angelico (1424-1496 ?). Remarkable for the great amount of work he did, and the number of his pictures re- maining, rather than for wonderful talents. He had an influence upon Urnbrian art which adds to his importance. His industry was marvellous, and he excelled in a sort of aptitude which enabled him to seize and apply different ideas and elements collected from the works of various masters. He also possessed a somewhat extravagant fancy. He painted for churches in various cities of Italy, and many of his works remain, but the most important are those in the Campo Santo at Pisa. These were twenty-four in number, and are in good preser- vation, with the exception of two or three. He was occupied sixteen years in this work. The Pisans presented him with a tomb directly under these pictures, where his own works were an appropriate mon- ument. He seems to have had an overpowering sense of beauty. He was the first to represent backgrounds rich with cities, rivers, trees, bold rocks, and cultivated fields. He introduced all kinds of animals wherever he had room. If his scene is interior or architectural, it is of the richest kind, and his color added to the richness, as did also the gilding and embroidery which often exceeded good taste. His smaller works are rare. In the Louvre is a picture of S. Thomas Aquinas; it is the most valuable of his panel paintings. The Acad. of Pisa has two of his works, and the National Gall, two, an en- throned Virgin and Child," and the " Rape of Helen." It was a custom with this artist to introduce the portraits of his friends into his pictures, and some of them are excellent. Graff,A.nton (1 736-1803). He resided at Augsburg and Dresden, and was one of the best portrait painters of his time. He had an ap- GRAFF GRAMMATICA. 313 pointment at court in Dresden, and also worked in Berlin and Leip- sic. He painted many notable persons. Some of his pictures are in the Dresden Gall. Graat or Grait, Barent or Bernard, born at Amsterdam (1628- 1709). He painted landscapes and garden scenes with family groups. His pictures are pleasing and well-finished. He also painted a few historical pieces. Grammatica, Antiveduto (1570-1626). A distinguished por- trait painter. He was honored by being elected president of the Acad. of S. Luke, but was afterwards accused of substituting a copy he had made after Raphael for the original work, which he attempted to sell. He was removed from his chair by sanction of the Pope, and did not long survive the disgrace. His copy is now in the ch. of S. Luca, and the original is in the Acad. 314 GRANACCI GREBBEE. Granacci, Francesco, born at Florence (1469-1543). A fellow- pupil with Michael Angelo in the atelier of the Ghirlandai. His fondness for Michael Angelo was great and endured for many years. In 1489 Lorenzo de' Medici desired to have some pupils trained for sculptors, and consulted Domenico Ghirlandaio upon the subject. Granacci and Michael Angelo were selected by the latter as his best pupils, and placed under instruction. Granacci soon proved himself better fitted for a draughtsman, and was constantly employed by Lorenzo in the festivities with which he was accustomed to amuse the Florentines. He was a good-tempered, congenial man, and always ready to acknowledge and admire superiority in others. He was associated with the best masters of his age. For many years his style showed his devotion to Michael Angelo, and an attempt to imi- tate him; later he studied and imitated Raphael, and sometimes seems also to have Fra Bartolommeo for his model. In 1508, when Michael Angelo sent to Florence for artists to assist him in the Sixtine chapel, Granacci was prominent among those who went to Rome. But the experiment failed, and when the great master was convinced that he could not employ assistants, he locked the doors of the chapel and his house against them, and they returned to Florence. This was severe treatment for an old friend like Granacci, and from that time he ceased to show in his works his allegiance to Michael Angelo. His remaining pictures are seen in the various Florentine collections, at Berlin, Munich, and in a few English galleries. Grandi, Ercole, called Ercole da Ferrara, born at Ferrara (1491- 1531). Pupil of Lorenzo Costa, and an unimportant painter. Grandi, Ercole Robert!. According to Crowe and Cavalcaselle, this Grandi was a pupil of Mantegna, and the painter of the Gar- ganelli frescoes at Bologna, which Vasari says were much praised by Michael Angelo. There are works attributed to him in the Dresden Gall., the Liverpool Institution, and the Gall, of Modena. Granet, Francois Maurice, born at Aix (1775-1849). A fine architectural painter. He lived much at Rome. He was a member of the Institute. This is the highest honor for men of culture in France, and but fourteen painters are admitted in the division of the Beaux Arts. His interiors are remarkable for their effects of light and shade. He left his large fortune to found an Art Mus. in his native town. One of his pictures is in the Royal Coll. of England, and cost 800 sterling. The " Interior of the ch. of S. Francis, at Assisi," is a fine specimen of his style, and is in the Louvre. Graziani, Ercole, born at Bologna (1688-1 7G5). A reputable artist, whose assiduity was such that the number of his works was simply prodigious. Many of them remain in the churches and public edifices of Bologna and Piacenza. Grebber, Pieter de, born at Haerlcm (1590-1656?). Pupil of Henry Goltzius. He -~as older than Rembrandt, but he adopted his GREBBEE GREENOUGH. 315 style. His works are in the collections of Holland, especially at Haerlem. He left several engravings. An etching of " Christ and the Woman of Samaria " is very spirited. Greff, Jerome. An engraver of Frankfort who flour- ished about 1520. He copied the wood-cuts of Albert Diirer, and his set after those of that artist of the " Apocalypse of S. John," are very finely executed, and the same size of the originals. He was also called Jerome von Franckfort. Green, Valentine, born in Warwickshire (1739-1813). An eminent mezzotint engraver. In his line he has rarely been equalled. The number of his works is large, nearly 400. They embrace sub- jects of almost every kind. Greenough, Horatio, born in Boston, U. S. A. (1805-1852). His taste for the life of a sculptor was apparent while he was still a mere child. He had a fine, intellect, and entered Harvard Univer- sity at sixteen. During his college life he was constantly in familiar intercourse with Washington Allston. He went to Italy just before the end of his collegiate course. Before this he had made the plan for the exterior of Bunker Hill Monument which was accepted. He rose rapidly to his place among sculptors. He was the first Ameri- can who executed a group in marble. This was done for our nov- elist, Cooper, and was exhibited in America. It was called the " Chanting Cherubs," and was, no doubt, the means of his receiv- ing the commission for the statue of Washington for the Capitol ; his group called " The Rescue " is also at the Capitol, and is intended to illustrate the struggle between the Anglo-Saxon races and the Aborigines. His fdeal subjects were very beautiful, and speak more fully of the quality of the mind which conceived them than words could possibly do. His " Medora," illustrating Byron's description of the Corsair's bride, is one of his most charming works. He had a favorite greyhound, and a representation of it was for years in the library of Edward Everett, who was his faithful friend and admirer. He lived many years at Florence. In 1851 he returned to America. Enthusiastic for art, a consistent republican politically, a cultured scholar and writer, a large-hearted man and friend, he anticipated a happy life here. But his health soon failed. It was then that he wrote, " I am arrived at that mezzo del cammin, that half-way house, where a man sees, or thinks he sees, both ways. If my head is not white, it is whitening. I begin to love to sit alone to look upon the skies, the water, and the soft green the face of the mighty mother ! I feel that she thus sweetly smiles on me, more sweetly than formerly, because she means to call me home to her own bosom. I would not pass away and not leave a sign that I, for one, born by the grace of God in this land, found life a cheerful thing, and not that sad and dreadful task with whose prospect they 316 GREENOUGH GRIMOTJ. scared my youth." His last summer was spent at Newport, in de- lightful social intercourse with his family and friends, and there he died, December 18, 1852. Greuze, Jean-Baptiste, born at Tournus, near Macon (1725- 1805). Pupil of Gromdon. A portrait and genre painter. He especially excelled in painting beautiful women and lovely children. His works now command enormous prices. A " Young Mother and her Children " at Buckingham Pal. is a fine work of his, and the Louvre has several of his most noted pictures. In some respects he was a very able artist, but he was also mannered ; and his most beautiful female heads are affected and sometimes extravagant. His most pleasing subjects are his single heads of young girls and chil- dren. His color is very agreeable, and while he never painted thinly, but with considerable impasto, his works are sometimes as delicately finished as if done on ivory. He painted some male portraits which possess considerable merit. Grien or Grim. See Baldung. Griffier, Jean, born at Amsterdam (1656-1720?). Pupil of Roland Rogman, and it is believed also of Philip Wouvermans. He was, however, an imitator of Hermann Saftleven. His works are attractive, picturesque in design, tender in execution, and delicate in. finish. They may be seen in the Amsterdam Mus., the Dresden Gall., and Berlin Mus. His son, Robert Griffier, was born in Lon- don, where his father resided for some years (1688-1750). His pictures are chiefly Rhine views, and are much esteemed in Holland. Grimaldi, Gio. Francesco, called II Bolognese, born at Bologna (1606-1680). A disciple of the Carracci. His landscapes are grand and imposing, and sometimes very finely colored; but they are not equal in excellence, nor uniform in style, for some of his works are more like Poussin than like the Carracci; and his figures are some- times classical, and again in the homely style of the Dutch painters. He was of a generous disposition, and the following story is told of him. A Sicilian nobleman, who had been exiled from his country, lived with his daughter, in great poverty, directly opposite to Gri- maldi in Rome. He pitied them and desired to assist them without mortifying their pride. He went therefore after dark and knocked at their door, and when it was opened threw in a well filled purse, and ran away. This he repeated until the nobleman caught him in the act, and overwhelmed him with thanks. Grimaldi then took the exiles to his own house and cared for them many years. A series of Grimaldi's works is in the Borghese Gall., at Rome, and a good picture by him is in the Berlin Mus. Grimaldi was an en- graver, and left some good etchings, and also many pen drawings, some of which Bartolozzi has engraved. Grixnou, Grimoux, or Grim on d, Alexis, born in the Swiss canton of Friburg (1680-17403. He is said to have instructed himself by GKIMOU GUARDI. 317 making copies after Vandyck and Rembrandt. His own portrait and several other pictures of his are in the Louvre. He excelled in por- traits, and his best pictures are half-lengths of ladies in picturesque costumes. He received much honor in Paris and became very proud of himself. His habits of life were dissolute, and it is said that as he was returning one night from a drunken frolic, he heard a sudden roaring noise and screamed out, " Je suis Grimoux," as if his great name could avert all danger. Gros, Pierre le, born at Paris (1656-1719). This eminent sculp- tor was first instructed by his father, and gained the grand prize at the Acad. when but twenty years old. He then went to Rome where he soon became so distinguished as to receive important commissions for S. Peter's and other churches. With the exception of two years spent in Paris, Le Gros resided at Rome for life. His statue of " Si- lence," executed for the gardens of the Tuileries, was much admired; he also executed works for the Hotel Crozat. He was constantly employed at Rome until his death. Gros, Antoine Jean, born at Paris (1771-1835). A painter of historical subjects. He had great power, but was coarse in exe- cution and design. His picture of " Napoleon visiting the Sick at Jaffa," is disgusting. Some of his works were more delicate, and some of his portrait figures were fine. He was also a successful decorator, and was made a baron by Charles X., as a reward for his painting of the cupola of S. Genevieve. He was so overcome by the criticisms of his works exhibited in 1835 that he drowned himself in the Seine. Griinewald, Matthew. Nothing is known of this artist, except that he lived at Aschaifenburg, and was much employed by Arch- bishop Albrecht of Mayence. He died about 1530. As a painter he ranks next to Diirer and Holbein among the Germans of his time. The only work positively known to be his is an altar-piece, having six panels, now in the Munich Gall. The figures are colossal, masterly in drawing, dignified, and individual. His color is harmo- nious and pleasing. There are various other works existing of which parts were executed by this master. One is an altar-piece in the ch. of Our Lady, at Halle; another is a Rosary picture in the Cath. of Bamberg; and in the Coll. of the Prince Consort at Kensington there is an altar-piece with the Virgin and Child in Glory, adored by SS. Catherine and Barbara. Gryeff or Griff, Anthony. Flourished about the middle of the 1 7th century. Painter of landscapes with dead game, dogs, etc. Many of his pictures are small, and his works are unequal in excellence, some being very good and others quite inferior. Guardi, Francesco, born at Venice (1712-1793). Pupil of Ca- naletto. He painted the same class of subjects as his master, and the works of the two are sometimes confounded; but those of Guardi are more sketchy than Canaletto's. They are spirited and life-like, 315 GUARDI GUERCINO. have countless figures, gondolas, etc., all of which show a certain raggedness of execution, while his sharp touches of light and bright colors give spirit and sparkling effect. Many of his skies are too sombre to be agreeable. Guercino. So called from having a squint; real name Gio. Fran- cesco Barbieri. Born at Cento, near Bologna (1590-1666). He may be said to have been largely self-taught. He was faithful to nature, and his works are life-like and brilliant in color, but some- times very heavy in the shadows of the flesh. His earlier works have a power which he afterwards lost, and his later style is effeminate and shallow. In the Villa Ludovisi at Rome, there is an " Aurora " by him; in the Spada Pal., a picture of the " Last Moments of Dido; " and in the Capitol the famous " S. Petronilla," in which the Saint is being raised from her tomb to be shown to Flaccus, her be- trothed. In Bologna Gall., a " S. William of Aquitaine," and the " Virgin appearing to S. Bruno," are remarkable; his works are seen in almost all large European galleries. A small " Dead Christ," in the National Gall. , is a specimen of his better style. His works are very numerous, are much esteemed, and command good prices. He also left an immense number of drawings, many of which were engraved by Bartolozzi. He painted 250 large pictures besides his frescoes and numerous smaller works, many of which are in private collections. ENGRAVINGS AFTER GUERCINO. Engraver, BLOEMAERT, Cornelius. S. Peter raising Tabitha from the Dead; best plate of this master. Engraver, CARMONA, Emanuel Salvador. Angels appearing to Magdalene. Engraver, CUNEGO, Domenico. The Prodigal Son. Rinaldo and Armida. Engraver, DORIGNY, Sir Nicholas. S. Petronilla. Engraver, DUNKARTON, Robert. Christ at Emmaus. Four sub- jects from the Life of Joseph. Engraver, EARLOM, Richard. Holy Family. Virgin and Child. Engraver, FALCK, Jeremiah. Concert of Music. Engraver, TREY, James. Death of S. Petronilla. From his own Designs. S. Anthony of Padua; half length. Joan Fr. Cent. S. John; same mark. S. Peter; Joan F. Barbieri,/. S. Jerome with a Crucifix; same mark. Bust of a Man with a Cap and Beard Bust of a Woman. Bust of a Man in Oriental Dress. 8. PETRONILLA. BY GUERCINO. la the Capitol, Rome. GUERCINO HAANSBERGEN. 321 Engraver, LORENZINI, Fra Antonio. David with the Head of Goliath. Christ at Emmaus. S. Peter delivered from Prison. Engraver, OTTAVIANI, Gio. S. Jerome with a Crucifix. S. Ce- cilia. Angelica and Medora. Mars and Venus. Three Women bathing, surprised by a Young Man. Diana and Actaeon. Engraver, PASQUILINI or PASCALINI, Gio. Battista. Christ dictat- ing the Gospel to S. John. Resurrection of Lazarus. Christ giving the Keys to S. Peter. Christ taken in the Garden. Angels showing the Instruments of the Passion to the Magdalene. Christ at Em- maus. Incredulity of S. Thomas. The Virgin and Child, with an Angel presenting Fruit. Virgin and Child, with S. John present- ing an Apple. S. Charles Borromeus. S. Felix restoring a Dead Child to Life. Tancred and Erminia. Tithonus and Aurora. Engraver, PESNE, Jean. A set of Landscapes; fine. Engraver, PITAU, Nicholas. The Virgin holding the Child, and Reading. The Dead Christ, with Angels weeping. Engraver, POOL, Matthew. Cupid taken in a Net by Time. Engraver, Pozzr, Francesco. The Aurora; F.Pozzi. 1780. Engraver, RAVEN ET, Simon Francis. Return of the Prodigal. Engraver, Rossi, Girolamo. Two Cupids playing. Another Cupid. Guerin, Pierre Narcisse, born at Paris (1774-1833). A painter whose style is a literal representation of Greek sculpture in color. His works are devoid of life or motion. " -3Sneas telling Dido of the fate of Troy," in the Louvre, is a fine specimen of his pictures. He was distinguished by Napoleon I. and Louis XVHL, and made a baron by Charles X. Guido. See Reni. Guillain, Simon (1581-1658). This sculptor executed the statue of Louis XIV. as a boy of ten, now in the Louvre, and those of his parents, also there. Originally they decorated the Pont au Change. Other works by Guillain are in the same Mus. Gyssens or Ghysells, Peter. There is some uncertainty as to the name and personality of this painter. Some of his works are mis- taken for those of Jan Breughel. It is not improbable that two painters of this name existed, and the younger was a pupil of Breu- ghel. His subjects are dead game, dogs, etc., and often represented on terraces. They are highly finished and bear the closest examina- tion. There are fairs and views on the Rhine attributed to the elder Ghysells, which have numerous figures, and are better painted than the pictures of Breughel. H. Haansbergen, Jan Van, born at Utrecht (1642-1705). A painter whose works are rarely seen out of Holland. He painted 21 322 HAANSBERGEN HALLER. portraits principally; his other works were small cabinet pictures in the style of Poelemburg. Haarlem, Cornells Van. See Cornelisser. Haarlem, Deerick Van. See Stuerbout. Hackaert, Jan, born at Amsterdam about 1636. The landscapes of this artist are very highly esteemed. He excelled in his effect of sunshine, and the representation of it shining through trees was his forte. He failed in figures, and other artists supplied them for him. His mountain views are attractive, but his Dutch views are the best. His works are in the Berlin, Dresden, Munich, and Amsterdam gal- leries, and a few good specimens are in England. He also left six etchings, which are much inferior to his paintings in execution and excellence. Hackert, Jacob Philip, born at Prenzlow (1737-1807). This ar- tist resided many years at the court of Naples under most fortunate circumstances. He painted many beautiful views of Italian scenery, which are well considered. He used both oil and water colors. His finish is extreme and careful, almost as if his pictures were on ivory. His outlines are very sharp and precise, and his colors brilliant. His foregrounds have many small objects finished with great labor. These detract from the force of his work. He left a great number of drawings in bistre and sepia. Hagen, Jan Van der, born at the Hague (1635-1679). The landscapes by this artist have suffered from deterioration of color, caused by his use of " Haarlem blue," which was in vogue in his day. They are well composed. He frequently represented a river in which the houses and trees on the bank were reflected, and men and animals gave animation to the scene. In the new Town Hall of Amsterdam, there is one of his best works, and another is in the Mus. of the same city. Nos. 188 and 189 in the Louvre are also his. Hainzelmann, Elias, born at Augsburg (1640-1693). An en- graver who studied with Francis Poilly and followed his manner. His portraits are his best plates, and have much merit. Haldenwang, Christian, born at Durlach (1779-1831). An emi- nent landscape engraver. Haller, John, born at Innsbruck (1792-1826). After limited study he entered the Royal Acad. at Munich, where he soon attracted the attention of the Crown Prince Louis to his skill in modelling. In 1817 he received the commission for the colossal statues in the niches on the front of the Glyptothek. He executed also a " Child on a Dolphin " in sandstone, and the caryatides for the Royal box in the Royal Court and National Theatre. He then received the commission for the statuary for the gable end of the Glyptothek. This was to be done in Rome. He went there and first finished two of the figures for the front, made several busts and HALLER HAMILTON. 323 a small model for the gable end, but his health compelled him to re- turn home. The theatre had been burned, and he again made the caryatides, several busts of notable men, and three of the figures for the gable, when his health entirely failed, and he died in his thirty- fifth year. He was a sculptor of great promise, and the works which he executed do him much honor. Hals, Frans, born at Mechlin (1584-1666). Very little is known of the life of this artist, except that it was a merry one, and that he was fond of drinking and good living. It is said that Carl van Mander, the Elder, was his master. His pictures are very unequal. He is really of great importance in the Dutch school, for he was the first to introduce the free, bold treatment which later artists more fully developed. His facility of execution was wonderful. He was much accustomed to paint laughing or grinning faces. These are pleasing in his fancy subjects, but quite the contrary in portraits. His mode of life often exhausted his means, and he painted hurriedly to replenish his purse. He painted large pictures of archers and civic guards. The best of these may be seen at Haerlem, in the Hotel de Ville; and are spirited, energetic, warm in color, and happy in in- dividualism. In an apartment of the u Oude Man Huys," a be- nevolent institution, there are two other fine works of this class. The Munich Gall, has an excellent specimen of his family groups. His single portraits are rare (life-size), and his small, genre like works still more so. The Berlin Mus. has two small portraits. For anecdote of Hals, see Vandyck. Hamilton, Philip Ferdinand Von, born at Brussels (1664-1750). A descendant of James Hamilton, who, in Cromwell's time, went from Scotland to Germany. Philip Ferdinand was the best painter of the many artists of this name. His subjects were those of the chase. His pictures may be best observed in the Vienna Gall. There is one also in the Gall, of Munich. Johann Georg Von Hamilton, born at Brussels (1666-1740). Brother of the preceding. A painter of animals of no great excellence. His pictures are also at Munich and Vienna. Hamilton, Gavin, died 1797. Of Scotch descent, he resided many years in Italy, and is more noticeable for his collections of an- tiquities and his interest in the progress of art, than as a painter. He was a finished scholar. His subjects were classical, and by good attention to costume and proprieties of detail, he attained a respecta- ble place among the artists of his day. He published a very interest- ing work, with the purpose of showing the advancement of art, from the days of Da Vinci to those of the Carracci, with the title of the " Schola Italica Picturae." Hamilton, William, born in London, of Scotch parentage (1751- 1801). He resided some years in Rome. After his return to Eng- land, he was engaged largely in the illustration of books. Hii colored drawings were very fine. 324 HANNEMAN HEAD. Hanneman, Adrian, born at the Hague (1611-1680). He went to England during the reign of Charles I. , and became an imitator of Vandyck. There is a portrait of Charles in the Vienna Gall., painted by Hanneman. Harding, Chester (1792-1866). Born in New England; his family removed to Pennsylvania while he was still a boy. He commenced his artistic career as a sign painter, but rose to the profession of por- trait painting with wonderful rapidity. He went to England, where he received much kindness from Leslie and Lawrence, and painted the portraits of several men of note. His portrait of Daniel Web- ster is much esteemed, as well as other works of his. His life was full of adventure, and he wrote a sketch of it for his children under the title of "My Egotistography. " It has been printed but not published. Harlow, George Henry, born in London (1787-1819). A good portrait painter. Pupil of Lawrence. He painted some historical subjects of which the most celebrated is the " Trial of Queen Cath- erine," the principal figures being portraits of the Kemble family. When in Rome he made a copy of Raphael's " Transfiguration," in eighteen days. Through the influence of Canova he was made a member of the Acad. of S. Luke. Hartmann, Johann Jacob, born in Bohemia. Flourished about 1716. In the Vienna Gall, are four landscapes by him, which repre- sent the Four Seasons. Haydon, Benjamin Robert, born at Plymouth, England (1786- 1846). This painter had an ambition to be considered the source of progress to the art of his country. He had inordinate vanity, and became disaffected with people and things, so that his life had much of unhappiness. On the other hand he found some appreciative and faithful friends, and from them received great kindness and assist- ance, His principal works were " Dentatus," the "Judgment of Solomon," " Christ's Entry into Jerusalem," the " Raising of Laz- arus," " Nero watching the Burning of Rome," the " Banishment of Aristides," etc. Towards the close of his life he was overcome with pecuniary difficulties, and greatly disappointed in not obtaining an order to paint a fresco in the new House of Parliament, and at length, losing aU hope, he took his own life in his studio, where he was painting a large picture of " Alfred the Great and the first Eng- lish Jury." Haymann, Francis, born at Exeter, England (1708-1776). The best works of this artist are his small portraits in genre style. The dress of his period and the antique furniture harmonized and ren- dered his interiors very picturesque. His coloring was clear, not bright, and his finish careful and correct in every part. His per- spective was good and the accessories well managed. Head, Guy. An English painter whose chief works were copies HEAD HEERE. 325 of Italian and German masters. His copies from Rubens are in the Royal Acad. He died in 1801. Heaphy, Thomas, died 1835. This artist was so versatile in his talents that he scarcely did his best at anything. He first painted fislvmarkets and scenes from vulgar life, then portraits, and made many excellent copies of celebrated works of art. He was one of the first members of the old Water-color Society, and active in the Society of British Artists, but gave up his connection with both. Hearne, Thomas (1744-1817). Educated as an engraver under Woollett, he became an excellent draughtsman, and may be called the originator of English water-color landscapes. He was also much employed in the illustration of " The Antiquities of Great Britain." His works are not numerous, and are in private collections. Heath, James, born 1765. An eminent English engraver, whose works are much esteemed. Heck, Nicholas van der, born at the Hague (1580-1638). His best works are in the Town House at Alkmaer, in which place he as- sisted to found an Acad. His pictures have a fine effect of chiaro- scuro. Heda, Willem Klaasz, born at Haarlem (1594-1678?). A good painter of still-life. One of his works is in the Landauer Briiderhaus at Nuremberg. Heem, Jan David de, born at Utrecht (1600-1674). The best painter of flowers, fruit, etc., of the school to which he belonged. He also excelled in representing glass or crystal. His works are very valuable. The two finest are in the Berlin and Vienna gal- leries. Others are at the Hague and Amsterdam museums, and in the Louvre. The Dresden and Cassel galleries also have fine pic- tures by De Heem. Heem, Cornells de, born 1630. Son of the preceding, he painted the same subjects with almost equal merit. His works are in the Munich, Vienna, and Dresden galleries. Heere, Lucas de, born at Ghent (1534-1584). His father was a sculptor and architect, and his mother painted miniatures. Lucas was placed under the instruction of Frans Floris and became profi- cient in making designs for tapestry, glass painting, etc. He was employed by the Queen of France to make designs for the tapestry at Fontainebleau. He visited England, and there is a very curious picture of his at Kensington, which represents Queen Elizabeth richly dressed, with crown, sceptre, and globe, coming out of a palace accompanied by two female attendants. Juno, Venus, and Minerva fly before her. Juno drops her sceptre, Venus her roses, while Cupid throws away his bow and arrows and clings to his mother. De Heere was a poet as well as artist, and it is probable that the following lines, which are upon the frame, were written by him: 326 HEERE HELMONT. Juno potens sceptris, et mentis acumine Pallas, Et roseo Veneris f ulget in ore decor ; Adfuit Elisabeth; Juno perculsa refugit; Obstupuit Pallas, erubuitque Venus. His small portraits and miniatures were delicate and well painted. Heil, Daniel van, born at Brussels (1604-1662). He painted landscapes, but changed to the representation of conflagrations, towns on fire, and kindred subjects, in which the brilliancy of effect was surprising. He also painted winter scenes very well. John Baptist Heil was brother to the preceding. Born 1609. He painted history and portraits, and was much employed in the churches of his native Brussels. His portraits were good and many of them re- main in the Low Countries. Leo van Heil, the younger brother of the foregoing, was more of an architect than painter. He etched a plate after Rubens for his own amusement. Heins, Heinsius, or Ens, Gioseffo, Flourished about 1660 and worked in Venice. He painted capricci which were so admired as to obtain for him the appointment of chevalier of the Order of the Cross from Urban VHI. Some of his works which were brought to England are very curious. He executed a few more serious pictures. An altar-piece by him in the Ognissanti is very beautiful. Heintsch, Johann Georg. Lived in Prague, died 1713. His heads of women and children are especially beautiful, full of grace, and expressive of purity and sweetness. There are three remarkable works of his in Prague, namely : " Christ Disputing in the Temple," in the Estates Gall. ; a standing figure of the Virgin, painted in 1696 for the ch. of the Karlshof ; and " Christ after the Temptation, with Angels ministering to Him," in the Strahow Convent. Heinz, Joseph (about 1565-1609). Pupil of Van Achen. He was a favorite of the Emperor Rodolph II., who sent him to Rome to study. He thus modified his manner formed under Van Achen, and painted several mythological subjects for the Emperor. Some of his smaller works are better than his larger ones. His pictures are seen to the best advantage in the Vienna Gall. Helmbrecker, Theodore, born at Haarlem (1624-1694). Pupil of Peter Grebber. He studied in Rome, and only returned to Hol- land for a short time, preferring to live in Rome. His best works are his easel pictures of markets, fairs, and Roman views with groups of poor people, monks distributing food, alms, etc. He was much employed by the Jesuits in Rome, and painted some of his best pic- tures for them. Helmont, Matthew van, born at Brussels (1653-1719). Pupil of David Teniers. His subjects were like his master's, fairs, markets, and scenes from peasant life. In the Aremberg Gall, there is a large Fair scene by him, with numerous figures. Louis XIV. admired him very much, and some of his best works were executed for that king. HELMONT HERNANDEZ. 327 flis son, Segres James van Helmont (1683-1726), painted history. His works are well considered, and are seen in several churches in Brussels. Heist, Bartholomew Van der, born at Amsterdam (1613-1670). One of the most renowned Dutch portrait painters. Sir Joshua Reynolds said of his picture painted to celebrate the peace of West- phalia, and representing an Archery Festival, " This is perhaps the first picture of portraits in the world, comprehending more of those qualities which make a perfect portrait than any other I have ever seen." His principal works are in the Gall., and the new Hotel de Ville, of Amsterdam. No. 197, Louvre, is a small replica of one of his finest works, and is considered superior to the large picture, which is in Amsterdam. Hemessen, Jan Van (about 1500-1566). A pupil or imitator of Quentin Massys. His pictures have little merit, are vulgar and dis- agreeable in expression, hard in outline, and ugly in color. They may be seen in the Munich and Vienna galleries. Hemling, Hans. See Memling. TV JT Hemskerk, Martin. Real name Martin van Veen. > [ Vh Born at Hemskerk (1498-1574). The remaining works of this painter are not numerous, neither are they such as to cause regret of this fact. He attempted to imitate Michael Angelo, but his manner is repulsive, hard, and mannered. At one time his pictures were very popular in Holland, and some still remain at Delft and Haarlem. There is one of his works in the Berlin Mus., and another in the Vienna Gall. Hemskerk, Egbert. There were two painters by this name, father and son. They painted the same subjects, drunken scenes and drolls, interiors of Dutch ale-houses with boors and the usual accom- paniments. There is some merit in their works, but they have been so much surpassed by Teniers and others, that they are held in small esteem. These artists flourished in the middle of the 1 7th century. Hendreks, Wybrand, born at Amsterdam (1744-1830). He painted a variety of subjects, but his best works are flower pieces and dead game, resembling those of Weenix. All his pictures have con- siderable merit, and are seen in fine collections. In the Amsterdam Mus. there is a view of Haarlem, by Hendriks. Herleii, Frederick, died 1491. This artist is important from the fact that he carried the art of the Van Eyck school into upper Ger- many. He was an imitator, and his works so much resemble those of Rogier van der Weyden, that it is probable the latter was his master. His chief works are in the churches of Nb'rdlingen and Rothenburg (on the Tauber). Hernandez, Gregorio, born at Pontevedra, 1566; died at Valla- dolid, 1636. An eminent sculptor in the reign of Philip HI. He never quitted Valladolid after he went there to study, except when 328 HERNANDEZ HERRERA. he went to Vittoria to execute a high-altar in the ch. of S. Miguel, and to Plascencia for the same purpose. Bosarte called him the " sculptor of religion." Stirling calls his style tender and graceful, and his works full of devotional feeling, and says, " They seem to have been executed under the influence of the same pious inspiration which warmed the fancy of Juni, and guided the pencil of Factor." Many of his works are in the Mus. of Valladolid, where, of course, they lose much of the effect which they had when in the chapels for which they were designed. Hernandez was devout in character, and accustomed to works of charity, and often provided decent burial for the poor. A large bas-relief of the " Baptism of Christ," now in the Mus., is one of the finest specimens of Spanish sculpture. The last twenty years of his life he passed in the house where Juni had lived. At his death his body was embalmed and buried, according to his will, in the monastery of the Carmen, where, in the principal ohapel, his portrait hung many years. Herp, Gerard van, 1604. Pupil of R-ubens, he painted moderate sized genre subjects. He was a good draughtsman and colorist. A picture of " Monks distributing Bread," by Van Herp, is in the National Gall., and other works of his are in the Berlin Mus. and Aremberg Gall. Herrera, Francisco de, the Elder, born at Seville (1576-1656). Pupil of Luis Fernandez, but he adopted not the style of any other painter; he was original, and probably the most remarkable artist who studied in Andalusia only. He had no timidity, used large brushes, laid on color in masses, and produced vigorous and effective results. His violent temper drove away his children and pupils. He could engrave on bronze, and made false coins. When his forg- eries were detected, he took refuge with the Jesuits. While in their convent he painted the story of S. Hermengild, one of the patron saints of Seville. When Philip IV. saw it he gave him his liberty. His picture of S. Basil is in the Mus. of Seville, and his " Last Judgment " hangs in its original place in the ch. of S. Ber- nard. In 1650 Herrera went to Madrid and found Velasquez, one of his runaway pupils, in great favor there. Herrera, Francisco de, the Younger, born at Seville (1622- 1685). Son and pupil of the preceding. He passed six years in Italy and became a very fine painter. He was as ill-tempered as his father, and very jealous. He sometimes painted his name on his pictures on a representation of a piece of paper torn by rats. These were intended to represent other artists. At Seville he was appointed director of the Acad. of which Murillo was president. This did not please him, and he went to Madrid. Stirling says he was made Superintendent of Royal Works, but died of chagrin because he was not made painter to Charles II. , as he had been to Philip IV. Some of his best works are in the churches and convents of Madrid. HERRERA HILTON. 329 He painted flowers, fish, and still-life, and on account of his fondness for reproducing the finny tribes, the Italians called him " II Spagnolo degliPesci." Hersent, Louis, born at Paris, 1777. His portraits of eminent persons are numerous, and these, as well as his historical and poetical subjects, are seen in the richest French collections. He was a mem- ber of the Institute, of the Royal Acad. of Berlin, and an officer of the Legion of Honor. His wife, whose maiden name was Manduit, was also a good artist. Some of her works are in the galleries of the Luxembourg and at Fontainebleau. Heusch, Willem de, born at Utrecht. Died 1712 (?). Pupil of Jan Both, he imitated him almost perfectly. The small figures in his landscapes were usually supplied by other artists. His works are rare in public collections. There is one in the Louvre, one in the Vienna, and one in the Cassel Gall. He also executed thirteen etch- ings, which resemble the works of Both as much as his paintings do. Heusch, Jacob de, born at Utrecht (1657-1701). Nephew and pupil of the preceding, he was not his equal. One of his works is in the Vienna Gall. Hey den, Jan van der, born at Govinchem (1637-1712). His pictures are architectural, and represent well-known Dutch build- ings, palaces, churches, etc., or the canals of Dutch towns with houses on their borders. He finished his works with exquisite care. The figures were supplied by Van der Velde and other painters. Smith gives a list of 158 pictures by Van der Heyden, which is a large number when we consider his manner of finish. Many of his works are in England, but most large European collections have spec- imens of his painting, and all his views are well selected, warm in color, and admirable in arrangement. Highmore, Joseph, born in London (1692-1780). He was a man of large acquirements, and wrote an excellent work on Perspec- tive. He was more successful in portraits than in historical pictures. His picture of the poet Young is at All Souls College, Oxford. Hilliard, Nicholas, born at Exeter (1547-1619). He distinguished himself as a miniature painter during the reign of Queen Elizabeth, and was also a favorite of King James I., who gave him an appoint- ment as drawer of small portraits and embosser of medals. Hilton, William, born at Lincoln (1786-1839). An English his- torical painter. Unfortunately he used some method of mixing his colors which is fast destroying his works. He gave much time to the study of anatomy, and represented such subjects as gave good oppor- tunity for the display of the human figure, such as the rapes of Proser- pine, Europa, Ganymede, etc. He had much taste in design, and his color was brilliant and harmonious. He became a member of the Royal Acad. in 1819, and keeper of the same in 1827. One of his best works is " Edith discovering the Body of Harold." It is in the Vernon Coll., and is perishing rapidly. 330 HIRE HOEFNAGEL. Hire, Laurent de la, born at Paris (1606-1656). Painter of his- torical subjects. His works are in the Louvre, and (some of the best) in the ch. of the Carmelites at Paris. His pictures are star- tling in the brilliancy of their coloring, and he introduced fragments of fine architectural remains, large plants, and other objects, which added to their effect. His drawing of the figure was correct, and often graceful. Hobbema, Mindert. Of the life of this celebrated painter scarcely more can be said than that he was living in 1669. He divides with Ruysdael the honor of being the best Dutch landscape painter. His works long remained unappreciated, but now sell for enormous sums, one having brought 4000. Many of his best works are in England and in private collections. The specimens seen in Continental gal- leries are ordinary, and he cannot be judged by them. One of the best is in the Berlin Mus. The National and Dulwich galleries have each one of his works. The figures in his pictures were often ex- ecuted by Adrian Van de Velde, Philip Wouvermans, and other distinguished artists. His color is warmer and more golden than Ruysdael' s, and he is more fond of sunshine. His impasto is solid. His foliage is exquisite, and the representation of a variety of trees gives variety of tone. His single trees are less lofty and grand than Ruysdael's, but more individual. He often painted villages sur- rounded with trees, and water-mills sometimes make a prominent feature. He represented ruined castles rarely; wheat fields, mead- ows, and small pools more frequently. His foregrounds are very fine, and he was able to finish in detail without sacrificing general effect. Hodges, William, born in London (1 744-1 797). Pupil of Wilson. He accompanied Captain Cook around the world, and lived some time in India. His pictures embrace views in many different coun- tries, and are well selected and picturesque. Hoeck, Jan van, born at Antwerp (1598-1651). After studying with Rubens he went to Rome ; he then painted much for Ferdinand II. at Vienna, and on his return to Antwerp was principal painter to the Archduke Leopold. His " Christ on the Cross," in the Cath. at Bruges, is one of the best pictures in Belgium. He painted both history and portraits, and was a good colorist and correct draughts- man. Hoecke, Robert van, born at Antwerp, 1609. He painted bat- tles, camps, troops, and military scenes. His pictures are in the Ber- lin and Vienna galleries. He drew well, understood perspective, and had a spirited touch. He also etched a set of plates. These are slightly done, but are skilful and pleasing. Hoefnagel, Jooris, born at Antwerp (1545-1600). Pupil of Hans Bol, whom he much excelled. He travelled much, and made very numerous drawings in different countries. These comprise every possible variety of subject. He decorated manuscripts in the old HOEFNAGEL HOGARTH. 331 manner. A Roman missal illuminated by him is in the Imperial Li- brary at Vienna; he labored on it eight years. He also illustrated a book with all kinds of animals, birds, and fishes. One of his single pieces is in the Library at Brussels. His works are in the spirit of his time, and void of interest in their design, but their execution and finish are wonderfully painstaking and skilful. Hoekgeest, G. or C. Nothing is known of the history of this artist. Two fine pictures of the interior of the new ch. at Delft, painted by him, are in the Mus. at the Hague. They are equal to the best art of his country. Hoet, Gerard, born at Bommel (1648-1733). He first assisted his father, who was a glass painter, then studied with Warnar Van Rysen. After various ups and downs, he settled in Utrecht, where he founded an academy of design, of which he was director. His pictures are very well esteemed, especially the cabinet sizes. His design is correct and his color agreeable. Hofland, Thomas Christopher, born in Nottinghamshire (1777- 1843). An excellent landscape painter. He excelled in depicting stormy skies and seas. It is to be regretted that so few of his works remain. Hogarth, William, born in London (1697-17G4). The name of this painter is first in the history of British art, and he ranks with the eminent masters of his class in all countries. He was as eminent as a satirist, as he was as an artist, for he presented the lessons to be drawn from the follies of his time, more powerfully with his brush than any writer could do with his pen, or any preacher with his ser- mons, even had he a thousand voices. In 1712 Hogarth was ap- prenticed to a silversmith, and in engraving armorial bearings, the grotesque creatures he copied assisted to strengthen liis natural love and aptness for the ridiculous. After 1718 he was much occupied in engraving for the booksellers. In 1730 he married the daughter of Sir James Tliornhill, without that painter's consent. At that time lie painted small genre subjects and portraits. In the latter depart- ment, he was quite successful, but his patrons discovered what he well knew, that he was better fitted for something else. Soon after liis marriage, he commenced his famous series of the " Harlot's Prog- ress." When some of these were shown to his father-in-law, he de- clared that a man who could paint such pictures, could maintain a wife who had no portion. They were soon fully reconciled to each other. The Harlot's Progress," the " Rake's Progress," and " Mar- riage & la Mode " were painted from 1 734 to 1 744. The satire of these works is immense; the costumes are excellent, and the painting good. He managed his interiors well; he gave them breadth, and the furni- ture and other accessories were exactly and strikingly rendered with- out becoming too prominent. His works of this kind are almost numberless. No place in society, no phase of life escaped his brush. 332 HOGARTH. Lord Orford says, " It would be suppressing the merits of his heart to consider him only as a promoter of laughter. I think I have shown that his views were more generous and extensive. Mirth colored his pictures, but benevolence designed them. He smiled like Socrates, that men might not be offended at his lectures, and might learn to laugh at their own follies." In 1753 he published a book called " The Analysis of Beauty." It is a matter for congratulation, that many of his works are in public galleries where all the world may see them, and that so many of his own plates exist, by means of which the lover of art can enjoy what the best engravings of his works by MARRIAGE A LA MODE. BY HOGARTH. In the National Gall. other artists can never give. The following list comprises the largest part of his own engravings: Portrait of himself, with two figures and two Cupids. 1720. A print emblematical of the South Sea Bubble ; W. Hogarth, inv. et sculp. 1721. Thirteen plates for Aubrey de la Motraye's Travels in 1723. Seven small prints for Apuleius' " Golden Ass." 1724. Fifteen Head-pieces for Beaver's "Military Punishments of the Ancients." Burlesque on Kent's Altar-piece in S. Clement's. 1725. A Masquerade invented for the use of ladies and gentlemen, by the ingenious Mr. Heidegger. 1725. HOGARTH. 333 A just view of the British Stage. 1725. Twelve prints for " Hudibras; " large set. 1726. The small set (17) with Butler's head; this head is that of J. B. Monnoyer, the flower painter. Mary Tofts, the rabbit woman of Godalmin. 1726. Rich's triumphant entry into Covent Garden. 1728. Sarah Malcolm, executed in 1732 for murder; W. Hogarth, ad vivum pinxit et sculpsit. This portrait was painted two days before her execution. A Midnight Modern Conversation. 1 733. Southwark Fair. 1734. The Harlot's Progress; six plates. 1733 and 1734. The Rake's Progress; eight plates. 1735. The Sleepy Congregation. 1736. The Distressed Poet. 1736. The Lecture ; datur vacuum. 1736. The four Times of the Day. 1 738. Strolling Actresses in a Barn. 1 738. The Enraged Musician. 1741. Marriage & la Mode; engraved under the direction of Hogarth, by Scotin, Ravenet, and Baron. 1 745. Portrait of Martin Folkes, Esq. 1 745. Simon, Lord Lovat; an etching. 1746. Garrick in the character of Richard III. ; engraved by Hogarth and Grignion. 1746. The Stage-coach, an Election Procession in the yard. 1747. Effects of Industry and Idleness; twelve plates. 1747. The Gate of Calais; " Oh the Roast Beef of Old England ! " By Hogarth and Mosely. The March to Finchley; L. Sulivan, sc., W. Hogarth, dir. 1748. Portrait of Hogarth with a pug dog. 1 749. The Stages of Cruelty; four prints. 1751. Paul before Felix; scratched in manner of Rembrandt. 1751. Moses brought to Pharaoh's Daughter ; Hogarth and Sulivan. Columbus breaking the Egg. 1 755. Four prints of an Election; 1755; Hogarth, Grignion, La Cave* and Aveline. Portrait of Hogarth painting the Comic Muse. 1 758. The Cockpit. 1759. The Five Orders of Periwigs. 1761. Credulity, Superstition, and Fanaticism. 1762. The Times ; two plates. 1762. John Wilkes, Esq.; drawn from life, and etched by Hogarth. 1763. The Bruiser; C. Churchill in the character of a Russian Hercules. 1763. The Good Samaritan. 334 HOGARTH HOLBEIN. The Pool of Bethesda. Sigismonda. The Analysis of Beauty ; two plates. Hogenberg. This is the name of several engravers who flourished .luring the last half of the 16th century. It is believed that one of them executed the first portrait that was engraved in England; but the honor is a matter of dispute between Remigius and Francis Hogenberg. They all engraved portraits and illustrations for books. The other names were John and Abraham. Holbein, Hans, called Old Holbein. There is very little known of this painter. In the Mus. at Augsburg, there is a picture dated 1459, inscribed Hans Holben, C. A.; attributed to a painter who was probably the grandfather of Hans Holbein, the Younger. This pic- ture has little interest as a work of art, and represents the Virgin, life-size, seated on a bank, holding the Child. Another work by this same master is dated 1499, and has some interesting facts con- nected with it. In 1484 Pope Innocent VIII. granted certain indul- gences to the nuns of S. Catherine, at Augsburg, providing that they should pay their devotions at the altars of the seven ancient basilicas of Rome. But he allowed that pictures of these churches should an- swer the same purpose as the churches themselves. The nuns there- fore, when they rebuilt their convent in 1496, ordered a series of these pictures which were to be so beneficial to them. Old Hans Holbein represented that of S. Maria Maggiore. The picture is of the average excellence of the German artists of the 15th cen- tury. The signature and date are on two bells ; on the first is Hans Holba, the name being finished with in on the second, and the date 1499. In the picture is a tomb- stone, on which is an H. Nothing whatever of circumstance or fact can be related with any certainty of this artist, and many authors have even doubted his existence. Holbein, Hans, the Father, born about 1459, and probably the son of Michael Holbein, a leather dresser. There is a panel painting at Hampton Court, dated 1512, called " Holbein's Father and Mother," believed to represent this Hans Holbein the father, and his wife. In the register of taxes for Augsburg, the name of Hans Holbein, Maler, occurs eleven times between 1494 and 1516. The earliest known work by him is a " Madonna and Child with Angels," in the Moritz Capelle, at Niirnberg. There are three of his pictures in the Augsburg Gall., representing the " Basilica of the Vatican," the " Trinity," and a large picture in three parts containing the " Transfiguration," with the " Feeding of the Four Thousand " on one side, and the " Casting out a Devil " on the other. His pictures are numerous in many churches and galleries, such as Munich, Frank- fort, Basle, and Schleissheim. But in the Cath. of Augsburg, his ability is displayed at its best in the four works painted in 1493, for the old Abbey of Weingarten, in Wiirtemberg. These have been HOLBEIN. 335 restored and fitted up with rich, gilt Gothic carvings, and placed over four altars in the body of the Cath. He executed an immense number of pictures for churches and religious houses. When these houses were suppressed, his pictures were scattered, and his serial works are now separated. In one saloon of the Munich Pinakothek, there are sixteen works on panels, by this Holbein. The date of his death is not known. He was living in 1521, and in 1524 his name was registered among the deceased artists. Holbein, Sigmand, brother of the preceding, and also an artist. But one painting with his signature is known, although others are assigned to him. He was a bachelor, and Hans Holbein, the Younger, with his sisters, inherited his property. His will was dated in 1540. The time of his death is not known. Holbein, Ambrose. This artist was either the brother or half- brother of Hans Holbein, the Younger. He was admitted a member of the guild of painters at Basle in 1517, and it is supposed died soon after. Four pictures attributed to him are in the Mus. at Basle. A picture in the Belvedere Gall, is also ascribed to him, and upon some wood-cuts and drawings the monogram of an A. H. is believed to be his. TT-\ TVT Holbein, Hans, the Younger, I'jj I j I born in Augsburg, 1494 or 1495; died in London, 1543. A drawing of the year 1509 is the earliest known work of this painter. He was instructed by his father and his reputed uncle, Hans Burgk- mair. By the time he was fifteen he received independent com- missions. The Augsburg Gall, has four compositions which are his earliest known works, about 1510. In the same (Jail, are pictures extending to 1516 in which his advance is remarkable. The precious picture of his father and mother, dated 1512, has already been referred to. The " Martyrdom of Sebastian," in the Pinakothek at Munich, a very interesting early production, could not have been painted later than 1516. It is a triptych five feet in height and seven in width. The " Execution of S. Sebastian" is the centre picture. The right wing represents " S. Barbara," and the left " S. Elizabeth of Hungary giving Drink to the Sick." This last is a fine picture and much superior to any work of Hans Holbein, the Father. In the Imhof Coll., in the Mus. at Berlin, are three volumes of the early drawings of this painter, executed from 1509 to 1516. For his early years they are just such an illustration as the Windsor portfolios are of his later time. About 1516 he removed to Basle. The works which have been ascribed to him in that city are innumerable. In truth, almost everything which was painted there has been, first or last, credited to him, and it is only at a comparatively recent time that his works have been separated from the mass. In England, too, for u time, nearly every portrait of the reign of Henry VIII. was 336 HOLBEIN. attributed to Holbein. In 1517 he was called to Lucerne to decorate a house which was still in existence in 1824. The library of Lucerne has sketches of all the compositions painted there. He also executed works for the Augustines of Lucerne and for the parish church in Altorf. He entered the guild of painters and took up the rights of citizenship at Basle, in 1519. It was in this year that Charles V. became Emperor of Germany, and that Hol- bein formed his friendship with Boniface Amerbach. Holbein's portrait of the latter, dated this year, is one of his very best ; and his very remarkable picture, now at Lisbon in the Pal. of the King of Portugal, called the " Fountain of Life," was also painted in 1519. In 1521 Hans Holbein was commissioned by a council of Basle to decorate the new Rath-house or Town Hall. These works, which represented historical and Scriptural scenes, have been de- stroyed, and the Mus. of Basle possesses very insignificant fragments. The easel pictures which he painted at Basle are rare, and it is a reasonable supposition that at this time he was often employed as a house-decorator and a designer for stained glass and silver work ; indeed, designs for these various styles of work are preserved in the museum. His more prominent pictures of this time are Jacob Meier and his wife, 1516; " Adam and Eve," 1517; portrait of Dr. Amerbach, 1519; one of John Froben, the printer; one of the cele- brated Erasmus; a life-size picture of " Christ lying in the Tomb," 1521 ; the very remarkable portraits of his wife and two children, 1525 or 1526; and an exquisite portrait of himself, a drawing in body-color, painted when he was twenty-one. The years 1523 and 1524 are not accounted for. He probably made many drawings for stained glass, and prepared drawings for wood-cuts. In the hall of designs, at Basle, there are ten sets of drawings for the " Passion of our Lord." His preparation for the " Dance of Death " must also have occupied much time. Among his friends at Basle, Froben, the printer, and the celebrated Erasmus deserve especial mention. The former employed him somewhat for book illustrations, and he made various portraits of both. That of Erasmus writing, at Hampton Court, was a fine work. The one of most reputation is at Longford Castle in Wiltshire. One at Windsor was painted in 1537, and it is said that in 1525, the year in which Luther married the nun, Cather- ine Bohra, Holbein painted both these remarkable characters. But this needs confirmation. The character of Holbein has been repre- sented in a most unfavorable light. That he was a drunkard, the number and quality of his works seem sufficiently to contradict. The prominent remaining charge against him is his separation from his wife. He married Elizabeth Schmid, a widow, with one son named Franz. The picture called " Holbein's Wife and Children," already mentioned, probably represents Franz, and Philip, the son of Holbein. The mother is a coarse-looking, unattractive, middle-aged HOLBEIN. 337 woman. It is said that Holbein was driven from Basle by his wife's temper. He occasionally visited her, and probably contributed to THE BURGOMASTER MEIEK MADONNA. BY HOLBEIN. Dresden Gall. her support at all times. The Meier Madonna, in the Dresden Gall., commonly considered the masterpiece of Holbein, is believed to 338 HOLBEIN. have been painted a short time before he went to England. Hol- bein has been considered as the painter of the " Dance of Death," both at Basle and Berne. The true authors of these pictures are now known to have been Kluber and Nicholas Manuel, but it is believed that Holbein made a set of designs for engravings of this subject, which appear to have been first published at Lyons in 1538, although they must have been prepared much earlier. There were forty-one cuts in all. His Old Testament cuts appeared at the same time with the " Dance of Death." These are all assigned to the time when he was in Basle, on account of the leisure he is known to have had. Want of employment is the only reason Erasmus gave for his going to England. He arrived thereat the close of 1526, bearing a letter of introduction from Erasmus to Sir Thomas More, who at once received him with kindness. The principal painter in England at that time was Luke Hornebolt, who persuaded Holbein to take up miniature painting. 1527 was the year in which Henry "VTLI. fell in love with Anne Boleyn. This was the first year of Holbein's occupation in England, but he does not appear to have entered the King's service until after 1530. In the mean time he painted Sir Thomas More's family and friends, among whom were Archbishop Warham and Sir Henry Gilford, both fine and important pictures. In 1528 he painted Sir Thomas and John Godsalve, on the same panel, now at Dresden; and the astronomer Kratzer, sur- rounded by his instruments, now in the Louvre. It is not probable that Holbein ever painted Queen Catherine or Cardinal Wolsey. The pictures of More and his family are very numerous. The most imposing one of Sir Thomas is that formerly owned by Mr. Farrer. There is a story connected with one of these portraits of More which relates that on the day of the death of the ex-chancellor, after Henry VIII. had reproached Anne Boleyn, who had never for- given More for refusing to be present at her wedding, she looked at this picture and exclaimed, " Oh, me! the man seems to be still alive ! " and, seizing it, threw it into the street. Eventually it was taken to Rome and was in the Palazzo de' Crescenzi. Wornum says of this, "Though it may not be true, it is not a bad story." Hol- bein returned to Basle in 1530, and completed the frescoes in the Town House. This being done he returned to England. When or how he was first introduced to the King is not exactly known. The superb portrait of George Gyzen, at Berlin, was painted in 1532. In Ruskin's description of this picture he calls it inexhaustible. For the merchants of the steel-yard Holbein executed two pictures called " Riches " and " Poverty." These were probably painted in 1532, and perished at Whitehall in 1698; but in the British Mus. there is a drawing, considered the original of the "Riches," and both pictures are known by plates. In 1532 Holbein was summoned to Basle by a council of the city. He received this communication, HOLBEIN. 339 it is believed, when at Calais with the court on the occasion of the celebrated meeting called the Field of the Cloth of Gold. After 1533 Holbein rarely dated his pictures, and there is no authentic portrait by him of Anne Boleyn or her daughter, the Princess Eliza- beth. To this year belongs the picture called the " Two Ambassa- dors," supposed to represent Sir Thomas Wyatt and some learned friend. They are standing by the side of a double table, one in a magnificent dress, the other in a doctor's cap and morning-gown. It is not his most refined picture, but the largest, and that on which he labored most. In 1536 the fine portrait of Sir Richard Southwell, in the Uffizi Gall., was painted. The portrait called Jane Seymour, in the Belvedere Gall, at Vienna, is one of the fine, small half- lengths that Holbein often executed. The picture of Mr. Morett, in the Dresden Gall., has until lately been attributed to Leonardo da Vinci. It is, in truth, one of the finest of Holbein's works. It is not known whom it represents. Thomas Morett was a distinguished jeweller who served Henry VIH., and was a friend of Holbein, who often worked con amore. The original drawing of this picture was discovered in 1860, and is now hung beside the picture. The first payment made to Holbein as in the service of the King occurred in 1538. After this time Holbein painted many portraits of the Royal family. In the same year he was sent to Brussels for the purpose of painting a portrait of the Duchess of Milan, whom the King had been recommended to make his fourth wife. Her ladyship allowed him a sitting of three hours, in which he made a sketch which has been thought to be a small panel, with the head and hands of the Duchess, now at Windsor. According to the laws of Basle a citizen could not enter the service of a foreign sovereign without the con- sent of the council. In the autumn of 1538 he visited his home and obtained permission for two years longer residence in England. Great exertions were made in Basle to retain him there, but at length a document was made out permitting him to remain two years longer in England, upon the condition that at the end of that time he should settle in Basle, and should receive a pension for life of fifty florins a year. Just as the two years expired his uncle Sig- mund died and left him property in Berne, and this was taken pos- session of by Franz Sclimid in behalf of his mother. After this time there was no motive for Holbein to return to Basle ; but the official document prepared and addressed by the council of that city to Henry VIII. , is most complimentary to the artist, and such an one as could scarcely have been written for a man of immoral char- acter. The King became very fond of Holbein and treated him with much generosity. After 1537 he had a painting-room in the Pal. at Whitehall. In 1539 he was sent to the Duchy of Cleves to paint a portrait of Anne, daughter of the Duke, who was married to the King in 1540. It is believed that Holbein flattered this picture, for 340 HOLBEIN. when the King came to see the lady he liked the picture much better than the original, from whom he was divorced immediately after marriage. Walpole went so far as to say that " Holbein, by practising the common flattery of his profession, was the immediate cause of the destruction of that great subject (meaning Cromwell), and of the disgrace that fell on the Princess herself. ' ' The half- length picture of Anne, in the Louvre, is a homely face, but an agreeable one ; and the fact of its being on parchment has induced many to believe that it is the original picture, taken by Holbein during the marriage negotiation. Among the other important pic- tures painted by Holbein are the portraits of the Duke of Nor- folk; Sir Anthony Denny ; and numerous pictures of Henry VHL, and his family in groups, portraits, and miniatures. There also remain various drawings of ornamental designs, among which that for the Jane Seymour cut is important. One of his last works was the portraits of the barber-surgeons, which represents the King granting a new charter to that society. On the 7th of October, 1543, Holbein hastily prepared his will, on account of the plague which was raging. He died between the 7th of October and the 29th of November of the same year, but of the circumstances of his death or burial noth- ing is known. There is an anecdote that at one time, when Holbein passed through Strasburg, he visited a distinguished painter without making himself known. He went next day when the artist was out, and painted a fly upon the picture on the easel. When the master returned he noticed the fly, and attempted to drive it away. He found he could not do so, and when, on inquiry, he learned who had been there, he sought Holbein all through the city ; but he had already left for England. When he was painting at Whitehall there came to his studio one day a nobleman who forced himself into the room, although the artist told him that he was engaged in painting the portrait of a lady for the King. Holbein was so angry that he seized the man and threw him down-stairs. Without waiting to see what had happened, he rushed to the King and confessed what he had done. The King bade him wait in his apartment until he learned more of the matter. Almost immediately the nobleman was brought in on a chair, much injured in body and temper. He com- plained bitterly to the King, who made light of the matter, when the nobleman lost his temper and threatened to take the law into his own hands. This roused the anger of the King, who exclaimed, "Now you have no longer to deal with Holbein, but with me, the King. Do you think this man is of so little consideration with us ? I tell you, my lord, that out of seven peasants I can, if I please, any day make seven earls ; but out of seven earls I could not make one such artist as Hans Holbein." The Earl besought his pardon, and the King warned him that if he attempted any violence on the painter, either himself or through others, he would treat it as an HOLBEIN HOLLAR. 341 offence against his own royal person. As an engraver on wood Holbein deserves especial notice. Before leaving Switzerland he was employed by the most celebrated publishers of his time in Basle, Zurich, Leyden, and Lyons. His wood-cuts of the " Dance of Death " are his most important works. When complete, there are fifty- three prints ; but it is rare to find more than forty- six. They are small, upright pictures, surrounded by a border. His Old Tes- tament prints numbered ninety, and the best impression of them was published in 1539 at Lyons, by the brothers Treschel. These two series have been often reproduced. That engraved by Hollar in 1789 is finely executed. That by Dance, in 1833, is also excellent. Holbein also made wood-cuts for a catechism executed in 1548. This work is extraordinary and rare. It was republished at London in 1829. The " Pastime of the People, or the Chronicles of Divers Realms, and most especially of the Realm of England," printed first in 1529, was republished by Dibden in 1811. Very few copies exist. In an illus- tration of the Revelation of St. John, published by T. Wolff in 1523, twenty-one wood-cuts of the Apocalypse are attributed to Holbein. A celebrated wood-cut of an upright figure, under a decorated gate, called Erasmus of Rotterdam, has been more recently printed ; for the copper still exists. In the first and second impressions there were Latin inscriptions which have been omitted more recently. His u Moriae Encomium " has been frequently printed. It consists of plates after his humorous drawings, and is by no means among his best produc- tions. There are also many title-pages, symbolical alphabets, etc. ; and the following portraits : Prince Henry Frederick ; full length. Thomas Egerton, Viscount Brackley, Lord Chancellor. Sir John Hay ward, Kt., LL. D. Martin Billingsley, writing master. Giovanni Floris, Italian master to Anne of Denmark. Michael Drayton ; prefixed to his works. Holland. See Dance. Hollar, Wenceslaus, born at Prague (1607- 1677 )- This eminent engraver was the pupil sSS of Matthew Merian. In 1636 the Earl of Arundel met Hollar in Cologne, and considered his talents so re- markable that he engaged his services, and took him to England, where he made many plates, a large number being from the pictures in the Arundel Coll. On the breaking out of the civil war of 1645, the Earl removed to Antwerp, and thither Hollar also went and con- tinued to engrave from the pictures of his patron. The Earl went to Italy, and Hollar worked for the booksellers, but his pay was so small that he ventured to return to England in 1652. Charles II. was restored at length, and he hoped for better days, but the plague broke out, and he was reduced to great misery. He was afterwards BBSITIl 342 HOLLAR HONTHORST. sent by the king to make drawings of Tangier, but his pay was only 100. He died in the depths of poverty; the bailiffs even went to take his bed, but he begged them to leave it until he could die, which was not long. His prints number nearly 2400. They are very much sought by collectors and are very dear, especially some which are scarce. The prices given for these are enormous. His portraits and landscapes are very fine, as are also his costumes of women, furs, shells, insects, etc. Hollo-way, Thomas (1748-1827). An English engraver, princi- pally known for his engravings after the cartoons of Raphael. Their execution is very elaborate, but connoisseurs prefer the freer manner of Dorigny. He engraved much for books and magazines. Hondekoeter, Melchior, born at Utrecht (1636-1695). He was descended from a noble family, his great-grandfather being Marquis of Waterloo. Giles Hondekoeter, his grandfather, and Gisbert, his father, were both artists. Melchior received his first instruction from his father, after whose death he studied with Jan Weenix, his uncle. He painted birds and animals, alive and dead. His live birds are his best works, and are very excellent. His drawing is good, and he is true to life. It is said that he had a fine cock so well trained that he would keep any position his master wished, long enough to be painted. His pictures are in the Louvre, and all the large German galleries. The Amsterdam Mus. has nine, and that of the Hague has four. Hondius, Abraham, born at Rotterdam (1638-1695). He lived many years in England. His favorite subjects were dogs. He ac- quired a good reputation, but his pictures are open to grave criti- cism. His drawing is incorrect and his color not pleasing. His very rare etchings do him more honor as an artist than his pictures. There are ten of these. Honthorst, Gerard, born at Utrecht (1592-1662). Pupil of Abraham Bloemaert. He went to Rome, and acquired the manner of Caravaggio. His pictures found favor in Rome and on account of his fondness for painting night scenes he was called Gherardo dalle Notti. After his return to Holland he opened a school which was well attended, and his reputation having reached Charles I., that king invited him to England. He only remained six months, but during that time painted several historical pictures. He was also hon- orably employed by the King of Denmark and the Prince of Orange. In his later years he painted many portraits. His wonderful facility in the use of the brush enabled him to execute a large number of works, and these are seen at the Louvre, in Munich Gall., at the new Hotel de Ville of Amsterdam, Berlin Mus., etc. They embrace sub- jects from sacred and profane history, mythology, allegory, and genre designs. Honthorst, Willem. Flourished in the middle of the 1 7th cen- HONTHORST HORREMANS. 343 tury. Brother of Gerard. Many of his portraits are in the Prussian royal residences, and resemble the works of his brother. Hoogh, Peter de. Nothing is known of the history of this painter. His works are dated from 1658 to 1670. He painted interiors and conversations, and was remarkable for his effects of sunshine; in fact, he may be considered the painter of full, clear sunlight. He often represented two rooms, the figures being in the first, and the second full of sun; even the dust in the air can almost be seen. In this no other master approaches him. His impasto is excellent, and his touch very delicate. His out-of-door scenes are usually in a court-yard or garden, and are very picturesque. About 100 pictures are known by this master, and many of these are in private collections in England. The Louvre, Amsterdam, and Munich galleries have specimens, as have also the Van der Hoop Coll., at Amsterdam, and the Landauer Briiderhaus at Nuremberg. Hooghe, Romeyn de, born at the Hague about 1638. An en- graver of some merit. He left a considerable nwmber of works, some of which are in good estimation. Hoogstraeten. There were three painters of this name. The father, Theodore or Dirk, painted landscapes and still-life. The sons, Samuel and John, painted a variety of subjects. Samuel was the most noted, and was born at Dort (1627-1678). He painted genre subjects, marine views, animals, and still-life. His touch was deli- cate, his color clear and agreeable, and he painted with great care- fulness. The Vienna and Hague galleries have attractive works by this master. Hopfer, David, Jerome, and Lambert. Three engravers of Nuremberg who flourished about the middle of the 1 6th century. They signed their plates with a hop-blossom between the initials (for their name means hop-plant), and this was mistaken for a candle- stick by some, and they were called the Masters of the Candlestick. Their plates are stiff and of no great merit, but some of them are prized on account of their rarity. Hoppner, John, born in London (1759-1810). A fine colorist and portrait painter. lie also painted a few fancy subjects, of which the " Sleeping Nymph " was one of the best. His state portraits were especially good, as he gave great richness to the robes, and man- aged them well. He loved to represent his lady sitters in rustic cos- tunics. His landscape backgrounds arc fine, and he was accustomed to employ his leisure in making chalk sketches, which were very beautiful. Horremans, John. There were two artists by this name, father and son. Both died in 1759. They painted similar subjects, con- versation pieces. The characters in the pictures of the father were usually peasants, while those of the son were from the higher walks of life. Their works sometimes suggest n thought of Hogarth. They 344 HORREMANS HOUBRAKEN. are not uncommon in England, and are in the Antwerp Mus., and the Cassel and Dresden galleries. Hoskins, John. The name of a father and son, both miniaturists of the reign of Charles I. The works of the father are very ex- quisite, those of the son not as fine. The father used a monogram, the son the simple initials J. H. The father died 1664. Houbraken, Arnold, born at Dort, 1660. He painted portraits and small historical subjects, and wrote a biographical account of the Dutch artists. He also made some etchings, but is more celebrated as the father of the succeeding artist, than for his pictures. Houbraken, Jacob, born at Dort, 1698. This eminent engraver especially excelled in portraits, of which he made a great number. HOUBRAKEN HUCHTENBURGH. 345 His plates are not all of the same excellence, but some of them have not been surpassed. His drawing is correct, and his execution deli- cate, while his stroke is bold, and his color brilliant. Houdon, Jean Antoine, born at Versailles (1741-1828). At the age of eighteen, he gained the grand prize for sculpture, in the French Acad., and went to Rome, where he remained ten years. He was invited to America by Franklin, and executed the statue of Washington and the bust of Lafayette, for the Capitol at Richmond, Virginia. His statues of young girls were very much admired. For the use of the French Acad., he made two representations of the human frame without the skin, which showed great knowledge of anatomy. His principal works were a statue of "Morpheus;" a " Diana," for the Empress of Russia; statue of Voltaire, for the peristyle of the French theatre; busts of Rousseau, D'Alembert, Marshal Ney, Napoleon, Josephine, and others, and a statue of Cicero. Houston, Richard. This engraver excelled in mezzotint, and in the chalk manner. He executed a large number of portraits and various other subjects, many of which are much esteemed. Howard, Henry, born in London (1769-1847). A painter of portraits and fancy or historical subjects, which were all highly poetic. After studying in Italy, and visiting Vienna and Dresden, he settled in London. He became Professor of the Royal Acad. in 1833, and delivered very excellent lectures there. Most of his fancy subjects are in private collections. Huber, John Rodolph, born at Basle (1668-1748). He studied in Italy, and became a painter of considerable merit. In 1696 he re- ceived the appointment of court painter to the Duke of Wiirtemberg. He painted some historical subjects and some ornamental pictures for the palace, but was chiefly employed on portraits, of which he painted so many that he was called the Tintoretto of Switzerland. Huchtenburgh, Joon Van, born at Haarlem (1646-1733). He studied under Jan Wyck, then went to Rome, and re- turning, stopped in Paris and received instructions from Van der Meulen. He painted landscapes, hunts, and battle-pieces. The latter were his best works. About 1708 he received commissions from Prince Eugene, and an excellent picture of that Prince on horseback is in the Hague Gall. Others are in the Louvre and Amsterdam Mus. His chef-d' 'ceuvre, the " Siege of Naumr," is in the Vienna Gall. He had good inventive powers, drew correctly, and had facility of execution, but his color was not equal to his other qualities. He also etched a great number of plates from his own de- signs, and those of Van der Meulen, which have considerable merit. He scraped a few plates in mezzotint, of which it is now difficult to obtain a good impression. 346 HUDSON IMOLA. Hudson, Thomas, born in Devonshire (1701-1779). A pupil of Richardson, and the master of Sir Joshua Reynolds, who so much eclipsed him, as to almost make us forget that Hudson was, after all, a very good portrait painter, and in some respects invented the style which Reynolds and Gainsborough perfected. Huysmans, Cornells, born at Antwerp (1648-1727). Pupil of Artois, and sometimes called Huysmans of Mechlin, because he settled there. His landscapes are very excellent, and are prized in the large European galleries, where they may be seen. Huysmans, James, born at Antwerp (1656-1696). A good por- trait painter. He went to England in the reign of Charles H., and was much patronized. His portraits resemble those of Lely. Huysum, Van. There were five painters of this name, a father and four sons; but of these, one alone merits special notice: Jan Van Huysum, born at Amsterdam (1682-1749). He excelled as a flower and fruit painter. In these pictures he introduced antique vases, ornamented with nymphs, amorini, etc., exquisitely finished. Sometimes also birds' nests with insects and dew-drops, all equally well done. His works are in many public and private collections, and are very valuable. He also left a large coll. of fine drawings. Ibbetson, Julius Caesar, born in Yorkshire; died 1817. A painter of landscapes. Some of his mountain views are his best works. His farm-house scenes are also good, and he succeeded par- ticularly well in painting pigs ; and by some is thought to excel Mor- land in these animals. Ibbetson also painted a few small full-length portraits. Most of his works are of moderate size. Ictinus. This Grecian architect designed the temple of Athene, called the Parthenon, built upon the Acropolis of Athens, and the temple of Apollo Epicurius, near Phigalia, in Arcadia. He was a contemporary of Pericles, and the Parthenon was finished 438 B. c. Ictinus was also the architect of the shrine at Eleusis, within which the mysteries were celebrated. All these buildings were of Doric architecture, and the latter was so planned as to accommodate a vast number of persons. Imbert, Joseph Gabriel, born at Marseilles (1666-1749). Pupil of Charles le Brun and Van der Meulen. At the age of thirty-four he became a Carthusian monk, and his best works were painted for his order; especially for his own monastery at Villeneuve d' Avignon. In the Carthusian ch., at Marseilles, there is an altar-piece by him, which has been much admired, and is esteemed his chef-d'oeuvre. Imola, Innocenzo Francucci da, born at Imola (1494-1549 ?). Pupil of Francia. He became an admirer and imitator of Raphael; indeed, he copied whole figures from the works of that master into IMOLA JAMESONE. 347 his own. His works are in many galleries. The most important are at Bologna, and in the Cath. of Faenza. Ingham, C. C., born at Dublin, 1796. Before coming to America, at the age of twenty-one, he had gained a prize from the Dublin Acad. His pictures were finished with exquisite care, which some- times lessened their spirit and truthfulness. He was very industrious, and scarcely lost an hour of daylight. He was one of the founders of the present National Acad. of Design. Inman, Henry, born at Utica, N. Y. (1801-1846). Pupil of Jar- vis. He possessed a fine mind, and refined and scholarly tastes. As a friend he was much beloved, and as a man much admired. In his pictures he was somewhat unequal, and when we regard his genre subjects, we feel that he never did the best of which he was capa- ble, and can but regret that he did not devote himself to that class of pictures. His portraits were very much admired at one time, and his income was good; but his health failed, he met with some reverses, was absent in England for a time, and returned to find himself out of fashion, and his place filled by others. He painted portraits of various notable persons, some of which are in the Boston Athenaeum, Independence Hall, Philadelphia, City Hall, New York, and the Capitol at Albany. His genre pictures are in private collections and embrace a variety of subjects, such as the " Boyhood of Washington," the "Newsboy," the "Awaking of Rip Van Winkle," "Mumble- the-Peg," etc., etc. Iriarte, Ignacio de, born at Azcoitia, 1620; died at Seville, 1685. Pupil of the Elder Herrera, and the friend of Murillo. He became the most celebrated landscape painter of Andalusia. Murillo was ac- customed to say that he painted by inspiration, and they sometimes engaged in joint works, Iriarte painting the background, and Mu- rillo the figures. At length they disagreed about a series of pictures of the Life of David. Each insisted that he should do his work last, and Murillo finally decided to paint all himself. The works of Iriarte are rare, and much esteemed. He has been called the Spanish Claude Lorraine, but his subjects were more akin to those of Salvator Rosa. He loved to paint the wilderness, wild glens, and tumbling mountain streams. The Royal Gall, at Madrid has three, and the National Mus. one of his pictures. The Louvre has two flower pieces, and a picture of " Jacob's Dream." At S. Petersburg, in the Hermitage, there is a landscape. J. Jamesoiie, George, born at Aberdeen (1586-1644). He was a fellow-pupil with Vandyck under Rubens, and has been called the Vandyek of Scotland. In 1633 Charles I. visited Edinburgh, and sat for his portrait to Jamesone, with whom he was so much pleased, 348 JAMESONE JARENUS. that he presented him with a ring from his own finger. His best pictures are highly esteemed, and are executed with much delicacy. Janet, Francois. See Clouet. Jansen, Cornelius. Some writers say he was born at Amsterdam, but according to Sandrart, London was his birthplace, and his par- ents were Flemish (1590-1665). He lived in England many years, and was very successful as a portrait painter. His feeling for nature was refined, his color warm and tender, and his composition graceful. Many of his works are in the galleries of England. In 1648 he went to Holland, where he was constantly employed until his death. Many of his pictures are painted on board. Jansens, Abraham, born at Antwerp (1567-1631?). Pupil of Jan Snellinck; he also visited Italy. He somewhat resembled Ru- bens in style, but it has been proved that there is no foundation for the accounts which have been given of the enmity between these two masters, or of the dissipation of Jansens. The latter excelled in rep- resenting artificial lights, and some of his torchlight subjects are very fine. His works are seen in the churches of Flanders, and there are fine specimens in the Antwerp and Vienna galleries. Jansseiis, Victor Honorius, born at Brussels (1664-1739). This artist painted a variety of subjects, but is best known by his conver- sations, or collections of gallants and ladies, in the peculiar costumes of his time. He was a good colorist, and his rich dresses and dra- peries are very effective. It is a peculiarity of his works that his figures have the appearance of being very tall. He also executed several altar-pieces for the churches of Brussels and other cities. Jardin, Karel du, born at Amsterdam (1625-1678). The best pupil of Berchem, but more nearly resembling Paul Potter in style. He went when quite young to Rome, and became so fond of Italy that with the exception of eight years, he spent the remainder of his life there. His portraits are better than those of his master; his Scriptural and mythological subjects cannot be admired; but his land- scapes with animals and figures are excellent. Many of his works are very highly finished, and worked up in the smallest details. He represented a summer sky after a storm with remarkable skill, and indeed, the skies of his pictures form one of his chief points of ex- cellence. The number of his works is not large; 145 are mentioned by Smith. He lost much time in his devotion to pleasure. His works are best seen at the Louvre, the Hague, and in Amsterdam. There are also excellent specimens at Dresden, Munich, and Cassel, and England is rich in his paintings. Very large prices are paid for the pictures of Du Jardin. He also executed 52 etchings, which show the hand of a master. These are not very rare, and represent landscapes and animals. Jarenus. This painter flourished late in the 15th century, at Soest in Westphalia. There is a picture of his in the Coll. of the JARENUS JOANES. 349 Earl of Pembroke at Wilton House, and a large altar-piece by him is in the Berlin Mus. The centre of this is very confused, and rep- resents scenes from the Passion; each of the wings contains four scenes from the Life of Christ; those in the left wing are much the best, and resemble the works of Van Eyck. Jarvis, John Wesley, born at South Shields on the Tyne (1 780- 1840). This artist was at one time a very prominent portrait painter in America, to which country he came when five years old. He was of a convivial disposition, witty, and an especially good story- teller. He did not study or apply himself to his profession with any system, and the pictures he left are very unequal in merit. He painted a great number, and they may be seen in all parts of the country. There are portraits by him in the City Hall in New York, and in the rooms of the New York Historical Society. He was an in- imitable story-teller, and the life of the circle in which he moved. Jeaurat, Edme, born at Paris about 1680. This eminent engraver especially excelled in representing the peculiar characteristics of the different painters whose works he engraved. C-r Jegher, Christopher, born about 1590. Rubens em- 1 ployed him to make wood-cuts . from some designs which Qv-^-xr^*- he intended to publish. After the death of the painter, Jegher purchased the blocks and published them himself. Jervas, Charles, born in Ireland. Died 1739. Pupil of Sir God- frey Kneller and teacher of Pope, who flattered him in an essay. He was a portrait painter of no great merit, but was much employed. He also copied the works of the Italian masters. Joanes, Vicente de, called also Juan Bautista de Juanes. Born at Fuente de Higuera, 1523; died at Bocairente, 1579. This artist is scarcely known out of Spain, and there his works are in churches and convents. As recently as 1782 it was doubtful if any of his pic- tures were in the possession of laymen. His subjects were entirely religious, and he commenced his pictures with prayer and fasting. It is more than probable that he studied in Rome. He was a success- ful imitator of Raphael. He established a school of painting at Valencia, where he chiefly resided. It is related that the Virgin ap- peared to a Jesuit of Valencia and commanded him to have a pic- ture painted of her in the dress in which she appeared, which was a white robe and blue mantle. She was to be standing on a crescent; the mystic dove to float above her; her Son to crown her, while the Father was seen to lean from the clouds above all. Joanes was chosen to execute this miraculous commission, and although he fasted and prayed much, he could not succeed in realizing the ideal of the pious Jesuit; but at last his zeal and piety overcame all diffi- culties, and his picture was placed above the altar of the Immaculate Conception in the convent of the Jesuits. Artists praised it, and the monks believed in its miraculous powers. It was known as " LaPu- 350 JOANES JORDAENS. risima." He was inventive, and his coloring was splendid, but his style was severe and stiff, like his character. Joanes especially ex- celled in painting the Saviour. He seemed to have conceived the very Christ of Scripture, the realization of the visions of S. John, or the poetry of Solomon. In these pictures majesty and grace, strength and love, were united. His best pictures of Christ represent Him as dispensing the types of his body and blood. He frequently introduced a cup, which was believed to have been that used by our Lord at his Last Supper. It was of agate, and adorned with gold and gems. This cup is known as the Holy Chalice of Valencia, where it is treas- ured in the Cath. A picture of this kind in the Mus. of Valencia is perhaps his best. This Mus. has other works of his, and others are in the Cath. of the same city, and in the Royal Gall, of Madrid. In the Queen of Spain's Gall, there is a series of six pictures by this master, illustrating the life of S. Stephen, and a u Last Supper." Another picture of the latter subject was painted for the ch. of S. Nicholas in Valencia, where it remains. It is one of his finest works and more round and harmonious in design and color than most of his pictures are. In portraits, Joanes excelled. Perhaps his finest one remaining is that of Don Luis de Castelvy, in the Royal Gall, of Madrid. Stirling says, " It might pass for a work of Raphael him- self." In the Mus. of Valencia is his S. Francis de Paula, and in the Cath. one of S. Thomas of Villanueva, and one of Archbishop Juan de Ribera; the former expressive of mildness, the latter of gravity and thought, and both of dignified superiority. Jode. This was the name of a family of Flemish engravers who flourished for a century from 1560. Arnold de Jode was the latest, and was in London in 1666. Peter de Jode, the Younger, was the best engraver of them all, but the works of his father, Peter the Elder, are well esteemed, and some of them are scarce. Jongh, Lieve de, born near Rotterdam (1616-1697). His prin- cipal work was a " Company of Archers," for the Salle des Princes at Rotterdam. It is an excellent work, and may be compared with those of Van der Heist. Jordaens, Jacob, born at Antwerp (1593-1678). Pupil of Adam Van Noort at the same time with Rubens, he became the follower and half assistant of the latter. He married early in life the daughter of Van Noort, and never visited Italy. He was a master of great power. He painted a variety of subjects. Many of his sacred pictures are in the churches of Flanders and Brabant, but they are not his best works. His best historical work is in the House of the Wood near the Hague, and represents scenes from the life of Prince Frederick Henry of Orange. His best works are popular subjects, which represent the customs of the common people. These are full of humor, and sometimes degenerate into vulgarity, but are well and powerfully painted. His pictures vary very much according JORDAENS JUSTUS. 351 as he was interested or not in his subject. His color was fine, his impasto somewhat unequal, but he excelled in depth of chiaro-scuro, and a " certain golden glow " in which he sometimes surpassed even Rubens. His pictures are numerous and are seen in all large Euro- pean galleries. Jouvenet, Jean, born at Rouen (1644-1717). One of the best French academic painters. He never visited Italy. His greatest work was a " Deposition from the Cross," now in the Louvre. He painted in oil and fresco. He executed many works for the princi- pal churches of Paris. At the time of his death, he had held the office of Rector of the Acad. of Painting, during ten years. He lost the use of his right hand in 1713, and his latest works were done with the left. His drawing was correct, and he had great facility of exe- cution, but his color cannot be praised. Julien, Pierre (1731-1804). French sculptor, and pupil of Guil- laume Couston. He spent four years in Rome, where he was much admired and constantly employed. He was not admitted to the Royal Acad. until 1779. His statue of La Fontaine is considered his chef- d'oeuvre in that department of sculpture. His last work was a statue of Nicolas Poussin, executed for the Hall of the Institute. He made some very fine bas-reliefs for the castle of Rambouillet, and a statue of a woman bathing, which ranks very high among modern sculp- tures. Juni, Juan de. Flourished from the middle to the last of the 16th century. Was the best sculptor in Spain at that time. Has some- times been thought a Fleming, but Bermudez believes him to have been a native of Castile. His style seems to prove that he studied in Italy. He hesitated at no difficulty of attitude, and represented power, energy, and strong emotions, which made his works a per- fect contrast to those of Berreguete. His works remind one of Michael Angelo, perhaps more than those of any other modern sculptor. His sculptures which represent the Life of our Lord, still exist in the Cath. of Osma. They were done by the order of the Bishop of Acosta, who is buried at Aranda de Duero, beneath a monument, also the work of Juni. The Mus. of Valladolid has the " Entombment of Christ," made in clay. It formerly adorned the chapel of the Franciscan convent. There is no mention of the name of Juni, later than 1586. Justus of Padua, as he is frequently called, was named Giusto di Gio. Menabuoi, and was born in Florence. He was made a citizen of Padua, where he had settled, in 1375, and died in 1400. Several different works are attributed to him, some of which are in a very imperfect state. The National Gall, has a fine triptych signed by him, and dated 1367. The chief subject is the " Coronation of the Virgin; " it is exquisitely finished in parts, especially the hands, and the figure of the Virgin is very graceful. He was not a pupil of Giotto, but may be ranked among the best of the Giotteschi. 352 JUSTUS KALF. Justus of Ghent. There are several works attributed to this old painter, but the only one positively known to be his, is a representa- tion of the " Last Supper " in S. Agatha, at Urbino. This was exe- cuted in 1468-1474. Full accounts are preserved concerning this work in the registers of the convent. It is probable that Justus was employed on account of his knowledge of the use of oils, and not be- cause of superiority over such men as were living in Italy in his day. His manner was, however, good; his composition was well arranged, his hands and feet accurately drawn and fairly proportioned, and the figures of the Apostles are more refined than was usual in his time. The state of the picture scarcely warrants a judgment of his color, but altogether it may be safely said, that he well maintained the reputation of Flemish art. Juvara, Filippo, born at Messina, 1685. Studied at Rome under Fontana. He was employed at Turin by the King of Sardinia, and at Lisbon by the King of Portugal. He also travelled in France and England. Philip V. invited him to Spain and employed him first at S. Ildefonso, and afterwards appointed him to rebuild the Alcazar, which had been burned in 1734. Juvara was engaged in construct- ing a colossal model of this edifice, when he died, in 1736. The model was finished by Sachetti, whom Juvara had recommended on his death-bed. This model may still be seen at Buenretiro, and is composed of enough timber to build an ordinary house. It was, in the end, rejected, and another plan made by Sachetti for the new palace, which is now the chief object to the eye of the stranger ap- proaching Madrid. Juvenel, Paul (1580-1643). A painter of interiors. He was em- ployed at Nuremburg, Vienna, and Presburg. Kabel. See Cabel. Kager, Johann Mathias, born at Munich (1566-1634). He studied in Rome, and became an eminent painter. He was much employed by the Duke of Bavaria, and some of his works are in the churches of Munich. He removed to Augsburg, where he painted his principal work, the " Last Judgment," in the Hall of the Senate. His pictures are known from engravings by the Sadelers, Kilians, and other engravers. Kager also etched some plates from his own de- signs. Kalcar. See Calcar. Kalf, Willem, born at Amsterdam (1630-1693). A painter of still-life. He especially excelled in the representation of elegant vases and porcelain vessels. He sometimes painted kitchen pieces, with vegetables and cooking utensils as prominent features. The Louvre and the Amsterdam Mus. have one picture each by this master. KAUFFMAN KESSEL. 353 Kauffman, Maria Angelica, born at Chur, in the Grisons (1742- 1808). Daughter of Joseph Kauffman, also a painter; she received her first instruction from him. She was taken to Rome while still young, and had good opportunities for study there. She was very much admired for her beauty and musical talents, as well as for her pictures, and these last were in great demand. She went to England, where she had a most flattering reception and constant employment, STILL-LIFE. BY KALF. and was made a member of the Royal Acad. She returned to Rome, where she died. Her husband was named Zucchi, and her marriage was unhappy. She first painted portraits, and later in life, historical subjects. Her pictures possess no striking merit, though many of them are very agreeable ; neither have they glaring faults ; therefore she should have a middle rank, not meriting fully the extreme praise, or severe criticism, which have been bestowed on her. Her works are seen in many English collections, and in some of the large Conti- nental galleries. She also made etchings from her own designs, and after the works of other artists. They were executed with spirit and grace. Kerkhove, Joseph Van der, born at Bruges (1669-1 724). Pupil of the younger Qucllinus. He resided some years in France, and on his return to Bruges received more commissions than he could exe- cute. His pictures may be seen in the churches of his native city, and at Ostrnd he painted the ceiling of the Town Hall. Kessel, Van. There were several artists of this name. One Jan 23 354 KESSEL KING. (born 1626) painted his backgrounds very bright like Paul Brill, and his son Ferdinand (1660-1696) followed his style, but did not equal his father. Another Jan (died 1 708) painted in the manner of Jacob Ruysdael with much power, but his works are scarce. There was also Nicholas (born 1684), who painted in the style of Teniers, and Theodore (born 1620), an engraver whose plates are etched with freedom and spirit. Ketel, Cornells, born at Gouda (1548-1602). A reputable por- trait painter. He went to England and painted Queen Elizabeth, and many other persons. He also painted the Company of Marks- men of Amsterdam, and other groups. Keulen or Ceulen, Jansous Van. Said to have been born in England of Dutch parents. He was a good portrait painter of the time of Charles I., and it is probable that many portraits now in Eng- land, and attributed to Vandyck, were by Van Keulen. Keux, John Le, born in London (1783-1846). An eminent archi- tectural engraver. He executed plates for many fine works, among which are Neale's Westminster Abbey; Britton's Architectural An- tiquities, Cathedrals, etc.; and the first volume of Neale's Churches. Keyser, Theodor de. Flourished 1625-1660. Very little is known of him, but he left some good portraits, large and small. One of the latter is in the National Gall. An Archery Company is in the new Hotel de Ville at Amsterdam, and at the Hague there is a fine work' representing the " Burgomasters of Amsterdam Deliber- ating upon the Reception of Mary deMedicis," in 1638. Keyzer, Henry de. A portrait painter whose works are in the Amsterdam Mus. Kierings or Cierincx, James, born at Utrecht (1580-1646). A painter of landscapes in which Poelemburgh was accustomed to paint the figures. He went to England, and was employed by Charles I. to make views of his country houses. Kilian. Zani mentions twenty engravers of this name. Lucas Kilian was the first of a family of them who flourished from 1600 to 1750. He was the pupil of Dominic Gustos, and also studied in Italy. His son Wolfgang, and his grandsons Philip and Bartholomew, were also engravers; and another, named Wolfgang Philip, and still another, Philip Andrew, were of the same family. Lucas and Bar- tholomew were eminentj and their works are much admired. King, Charles B., born at Newport, Rhode Island (1786-1862). This artist lived at Washington in the winter, and his studio con- tained many portraits which are valuable as likenesses rather than as works of art. This is especially true of some portraits of Indians. He was a lover of art, and donated several thousand dollars and some pictures to Redwood Library, Newport, and left a sum of money, the interest of which is expended for musical instruction in the public schools of his native city. KISS KOBELL. 355 Kiss, Augustus, born at Pless (1802-1865). Educated at Berlin. This sculptor executed a great number of busts, groups, figures, and bas-reliefs in stone, bronze, and plaster. He also copied the works of antiquity, and those of the sculptor Schinkel, after whose designs he made the reliefs for the gable cuds of the ch. of S. Nicholas, in Potsdam. His first great work was the " Amazon Struggling with a Panther," now in the Berlin Mus. This established his reputation everywhere. His otheV important statues are those of Frederick the Great, Frederick William HI., and the group of " S. Michael and the Dragon." His works are much admired, but he sometimes sacrifices good taste to energy of action. Klerck, Henry de, born at Brussels, 1570. Pupil of Martin de Vos. His pictures arc seen in some of the churches of Brussels, and throughout the Low Countries. They have considerable merit. Klomp, Albert. Flourished 1602-1622. His landscapes are sometimes mistaken for those of Paul Potter. One of these is in the Brussels Gall. Kneller, Sir Godfrey, born at Lubeck (1646-1723). A rival of Lely in portraiture. He had the honor of painting eight crowned heads, and an almost innumerable number of other persons. He studied under Rembrandt, Bol, Carlo Maratti, and Bernini. His pictures are full of mannerism. There are two very distinct opinions of his excellence, some admiring him very much, and others criticis- ing him with great severity. He painted very rapidly and often prostrated his talent for the sake of gain, but his carefully finished works show what he might have done, had he regarded fame more and money less. His design Avas correct, and he was especially skil- ful in painting the hair. His groups of children are, perhaps, his best works, and some pictures in which he has represented his female sitters as Madonnas, have considerable merit. A monument to his memory was executed by Rysbrach, and placed in Westminster Abbey. Knoller, Martin, born at Steinach in the Tyrol; died 1804. Pupil of Troger in Vienna, and Raphael Mengs at Rome. He be- came one of the best German historical painters. He worked in both oil and fresco. He excelled in depicting violent action. His color is best in his frescoes. His works are in the convent of Ettal and in that of Gries in the Tyrol; in the Town Hall of Munich and in the Gall, of that city; and in the Vienna Gall, there is a portrait of Jos.-ph Rosa, a former director of that gallery. Kobell, Ferdinand, born at Manheim (1 740-1 799). A good land- scape painter and engraver. His etchings number more than 230. Kobell, William, born at Manheim (1766-1834 ?). Son of the preceding. He also painted landscapes, and engraved. His etchings and aqua-tint, engravings are much esteemed. Kobell, Franz, born at Manheim (1749-1822). Said to have ex- 356 KOBELL KRAFFT. ecuted more than 10,000 pen sketches and drawings of landscapes and buildings. Kobell, Hendrik, born at Rotterdam (1751-1782). A painter of marine subjects which were well esteemed. Kobell, Jan, born at Utrecht (1782-1814). A son of the preced- ing, and a good painter of animals. His pictures are much esteemed. He also left a few etchings and drawings. The latter are very valu- able. Kobell, Jan, Jr., born at Rotterdam (1800 7-1838). Cousin of the preceding. A cattle and landscape painter. His paintings and drawings are very valuable. Koninck, or Coninck, David de, born at Antwerp (1636-1687). Pupil of Jan Fyt, and also a painter of hunts, animals, and kindred subjects. He was powerful in color, animated in conception, and masterly in touch. His works are rare. There are two excellent ones in the Amsterdam Mus. Koning, Salomon, born at Amsterdam (1609-1674?). An imi- tator of the manner of Rembrandt. He so closely followed that mas- ter that his pictures were often mistaken for his, though there is an inferiority manifest to one experienced in judgment. Koning painted a variety of subjects, and his works are seen in some English gal- leries, and the Berlin Mus. He also etched some plates which are decidedly Rembrandtish in effect, and are executed with a very light point. Koningh, Philip de, born at Amsterdam (1619-1689). One of the best scholars of Rembrandt. He painted portraits and land- scapes. The latter are especially fine, and very valuable from their rarity and excellence. His finish and impasto are admirable; his color warm and clear, and the sense of distance which he gives is very fine. His works were adorned with figures by Lingelbach, and with animals by Dirk van Bergen. Some of his finest works are in private English collections. The Amsterdam, Hague, and Arem- berg galleries have specimens; the latter is a chef-d'oeuvre. In the Painters' Gall, at Florence there is a fine portrait of himself. Krafft, Adam. An old sculptor of Nuremberg, believed to have been born there about 1430; he died at the Hospital of Schwabach in 1507. His early history is unknown. His first works in Nurem- berg are the gable over the entrance hall of the Frauenkirche, 1642, and the Seven Stages (at which Christ fainted under the cross), on the way to the Johannis Cemetery. The first gives no promise of his later excellence, but the latter are full of strong expression. The city of Nuremberg (especially the ch. of S. Sebald) is rich in the sculp- tures of Krafft. He had great power of conception, and while there was a certain stoutness to his figures which was coarse, he gave a touching expression to the face, and sometimes reached a depth of feeling amounting to inspiration. That he could well represent the KRAFFT KUPETZKY. 357 ordinary events of life is seen in the relief of the " Public Scales," in which the weigher stands observing the beam. Beneath it is written, " To thyself as to others." Another man adds a weight to one scale, and the merchant who is to be taxed puts his hand reluctantly into his money bag. A " Burial of Christ," in a chapel of the above- named cemetery, is said to have been his latest work, and executed in 1507. From 1496 to 1500 he was employed upon the Stone Sacra- mentsgehause for the ch. of S. Lawrence. This is one of his most artistic works, and is 62 feet in height. The lower structure is sup- ported by the kneeling figures of Krafft and two of his associates. A slender Gothic pyramid rises from this, adorned with bas-reliefs and ONE OF THE SEVEN STAGES OF THE PASSION OF CHRIST. BY ADAM KRAFFT. statuettes. He was very industrious, and used his left hand as readily as his right. He was accustomed to spend his holidays in drawing with Peter Vischcr, whose works, together with his own, render Nu- remberg a place of great interest. Krug or Krugen, Lucas, called the " master of the pitcher " from his mark of the letters L. K. with a pitcher between them. His plates are very rare, and very good for the time in which he worked? / 5 ' 6 about 1516. Kupetzky, Johann, born in Upper Hungary (1666-1740). He studied with the Swiss painter Klaus, but a long residence in Italy had threat effect on his style. He painted historical subjects and portraits, and the latter became very popular in Vienna; they are, 358 KUPETZKY LAGUERRE. however, somewhat affected in design. Few of his works are seen in public galleries. There are specimens in those of Vienna and Berlin. He was painter to the Emperor Joseph I., and was invited to England by George II., but declined to go on account of his health. L. Laer, Pieter van, born at Laaren (1613-1675). He went to Rome while still young, and was called there Bamboccio, on account of his singular form. He remained sixteen years in Rome, and was the friend of Claude and the Poussins. He painted all sorts of sub- jects, but more especially peasants with their cattle. He also repre- sented peculiar effects of light and shade, such as moonlight on one side, and a torch -light on the other. His drawing was good, and the hands and feet sometimes finished with great delicacy. His color is at times clear, but many of his pictures are dark and smoky. His works are rare. They may be seen in the Louvre, Dresden, Vienna, and Cassel galleries. Those in the latter collection are fine speci- mens. Van Laer also etched twenty plates, mostly of animals; they are well executed, but his horses are badly drawn. Lafoiid, Charles Nicholas Raphael, born at Paris, 1727. Pupil of Regnault. He is well considered among modern French artists. His works are numerous, and are seen in both public and private collections. His subjects are various; poetical, Scriptural, and his- torical. Lafosse, Charles dela, born at Paris (1636-1716). Pupil of Le Brun. He distinguished himself by his works at the " Invalides." He went to England, where he was well received and employed. His easel pictures are superior to his decorative works. He was Chancel- lor of the French Acad. at the time of his death. Lagrene*e, Louis Jean Francois, born at Paris (1724-1805). Pu- pil of Carl Vanloo. He obtained a prize and was sent to Rome with a pension, when quite young. After his return to Paris his reputa- tion caused him to be appointed director of the Acad. of S. Peters- burg. In 1781 he was made director of the French school at Rome, and there executed his best works, most of which have been en- graved. His subjects are from sacred and profane history, and from the ancient poets. Napoleon gave him the cross of the Legion of Honor, and at the time of his death he was Professor-Rector of the School of Fine Arts, and honorary conservator and administrator of the Museum. Laguerre, Louis, born in Paris (1663-1721). Pupil of Le Brun. He went to England and assisted Verrio. They painted many halls and staircases. Pope mentions both these artists thus : " Where sprawl the saints of Verrio and Laguerre." LAIRESSE LANINI. 359 Lairesse, Gerard de, born at Liege (1640-1711). He has been called the Poussin of Belgium, and he was indeed an imitator of Niccolo Poussin, but he imitated him from a distance. His pictures arc frequently cold in color, and when warm they are heavy. His execution is careful; his heads are in imitation of the antique profile, and somewhat monotonous; his figures are affected and frequently too short. He was most unsuccessful in Biblical subjects. His works may be seen in the Louvre, Berlin, and Cassel galleries. He etched a large number of plates from his own designs, with spirit and free- dom, and his lights are so arranged that the eye is immediately fixed on the principal figure. Lambert, George (1710-1775). An English landscape painter. Some of his pictures were painted in conjunction with Hogarth. Some of his landscapes are small, brilliant in color, and the trees are agitated by x thc wind. Lana, Ludovico, born at Modena (1597-1646). He painted many religious subjects. His female figures are fine, and his landscape backgrounds very good. His works are best studied in his native city. Lancret, Nicholas, born at Paris (1690-1743). An imitator of Watteau in his choice of subjects. His peasants courting, his women and children, are all well done, and his landscapes are pleasing. His interiors are well managed, and the accessories not too prominent. His handling is more broad and free than that of most painters of this class of pictures. Landini, Taddeo. The sculptor of the Fontana della Tartarughe, in Rome, executed in 1585. Lanfranco, Gio., born at Parma (1581-1647). One of the latest noticeable pupils of the Carracci. His best works were cupola paint- ings, and of these those of S. Andrea della Valle in Rome and the Tesoro in Naples are the best. His greatest merit is in his color; he is a mere machinist, introducing abrupt lights and shades, unnec- essary foreshortenings, faces without expression, and groups arranged entirely according to precepts rat her than nature. And yet he was one of the best of the painters of this class. When his subject al- lowed a merely naturalistic conception, he succeeded best. Among his finest works are " S. Louis feeding the Poor," in the Acad. of Venice, and the " Liberation of S. IVter." in the Colonna Pal. at Rome. His " S. Cecilia," in the l>arl>erini Pal., is one of his worst productions. He also executed a number of etchings in a masterly manner. Lanini, Bernardino, born at Vercelli (about 1508-1578). Pupil of Gaudenzio Ferrari and an imitator of Correggio. His chief excellence was in his delicate chiaro-scuro. His best works were his frescoes, and of these may be mentioned the Sibyls and other works in the Catli. of Novara. One of his pictures is in the National Gall., London. He was much employed at Milan. 360 LAPO LAWRENCE. Lapo, Arnolfo (1232-1300). A Florentine architect. His re- maining works attest his skill. Among them are the Cath. of S. Ma- ria del Fiore at Florence ; the marble tribune in S. Paolo at Rome, and the tomb of Card. Bruges in S. Domenico at Orvieto. Largilliere, Nicholas, born in Paris (1656-1746). Pupil of An- toine Goubeau. He painted a variety of subjects. He was received into the French Acad. on account of his portrait of Charles le Brun, which was engraved by Edelinck. He went twice to England, and was for some time the assistant of Sir Peter Lely. He often painted landscapes, animals, and still-life, and used these subjects as acesso- ries to his figure pictures. Lasiiiio, II Conte Cavaliere Carlo, born at Trevigi, 1757. An excellent modern engraver. He made many engravings for books, illustrating the works of the old painters, such as " L'Etruria Pittrice," the " Remains of the Campo Santo at Pisa," and the " Storia della Pittura Italiana. " Lasne, Michael (1595-1667). This engraver was one of the first of his country (France), who distinguished themselves as engravers. His works are numerous. Lastman, Pieter, born at Haerlem (1562-1649). He studied in Rome, became famous, and was summoned to Copenhagen to deco- rate a church. His best points were vigorous color and great knowl- edge of chiaro-scuro. Rembrandt was once his pupil. He executed some etchings from his own designs, which are now rare. Launitz, Edward von der (1 797-1869). Disciple of Thorwald- sen. He was an earnest student of the antique, which conduced to the formation of his noble style. The Guttenburg monument at Frankfort is his most important work, and is one of the most valu- able of all the public monuments of Germany. The theatre of Frank- fort was decorated by him, and there are other statues of his in that city. Lauri, Filippo, born at Rome (1623-1694). He painted a variety of subjects, and many of his works have been engraved by English engravers. His bacchanals are his best pictures. He was on the whole a pleasing painter, and the figures which he added to the land- scapes of other artists were much admired. Lawrence, Sir Thomas, born at Bristol (1769-1830). This re- markable portrait painter commenced his career as an artist by mak- ing sketches in chalk when little more than a baby, and when ten years old was really a painter in crayons at Oxford. He used oil colors at seventeen, and in 1791, though younger than the age re- quired by law, he was made an associate of the Acad. After the death of Sir Joshua Reynolds he was appointed painter to the King, and was but twenty-two when he painted portraits of the King and Queen. He was elected a Royal Academician in 1794, was knighted in 1815, and became the President of the Acad. in 1820. He was LAWRENCE LELY. 361 also a member of many foreign academies, and a Chevalier of the Legion d'Honneur. The Waterloo Gall, at Windsor is a splendid monument to his memory. There are very opposite opinions of his merits as a painter. By many he is admired, and by many he is ac- cused of having founded an ' ' evil style," and encouraged all sorts of mannerisms and faults. As usual, there is truth on both sides. His early works are the most satisfactory ; they are rich in color and well arranged. His sketches of heads, with the canvas about them un- touched, are very fine, and seem to have been done almost instantly, and never to have been retouched. He was so much the fashion that he was forced to found a school, and many of the pictures called his were mostly executed by others. His portraits of women and chil- dren are far better than those of men. Lazzarini, Gregorio, born at Venice (1655-1730). At first a barber's apprentice, he became a distinguished painter, and has been called the " Raphael of the Venetian School." His works may be seen in his native city. Leal, Don Simon de Leon, born at Madrid (1610-1687). Pupil of Pedro de las Cuevas. He was distinguished for his historical sub- jects and portraits, and was appointed court painter. His works are still seen in Madrid. Lebrun, Jean-Baptiste Topino. This artist was condemned to death in 1801 on account of a conspiracy against the First Consul. His picture of the " Death of Gains Gracchus " was purchased for the Mus. of Marseilles, his native city. Lebrun, Madame E. L. Pupil of Joseph Vernet and Greuze, and a good portrait painter. She was a member of eight academies be- sides that of France. She also painted some half allegorical subjects. Lecomte, Felix, born at Paris (1737-1817.) A sculptor who gained the grand prize, visited Rome with the royal pension, and returned to Paris to make a good reputation. He was Professor in the Acad. of Sculpture, before his death. His statue of Fene"lon in the Hall of the Institute, is considered his masterpiece. Leeuw. Bryan gives an account of five painters and engravers of this name, none of whom were very celebrated. They all flourished in the last half of the 1 7th century. Peter van der Leeuw imitated Adrian van de Velde with good success. Lefevre or Fevre, Claude, born at Fontainebleau (1633-1675). Portrait painter. Lefevre, Robert, born at Bayeux (1 756-1831). Painted portraits and fancy pictures. One of his works in the Louvre is signed, Robert le Fevre jnvt. et pxit. Lelie, Adrien de, born at Tilbourg (1755-1820). He painted portraits and cabinet pictures, which are much prized in Germany and Holland, and are seen in the best collections. Lely, Sir Peter. Real name Peter van der Faes, born at Soest, 362 LELY LENAIN. in Westphalia (1618-1680). He went to England and became the most celebrated portrait painter after Vandyck. His " Beauties at Hampton Court" are too well known to require mention. He has been accused of mannerism in the treatment of the eye, but the ladies of his time affected the appearance which he gives : " The sleepy eye that spoke the melting soul." His pictures of men are not equal to those of women. The backgrounds of many of his works were painted by others. He was knighted by Charles II., and became very rich. He painted a portrait of 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 remark all these rough- nesses, pimples, warts, and everything as you see me, otherwise I will never pay you a farthing for it." There are a few historical pic- tures by Lely in private collections in England. He also etched a plate of a " Shepherd and Shepherdess." He was buried in Covent Garden, where there is a monument to his memory, with his bust by Gibbon. Lembke, Johann Philip, born at Nuremberg (1631-1713). A painter of military subjects. His color was clear and vigorous, his conception spirited, and his execution free. His principal works are in Stockholm, where he was summoned as court painter, but there is a fine " Skirmish " in the Gall, at Vienna. Lemoine, Francois, born at Paris (1688-1737). One of the finest decorative painters of France. He advanced rapidly in his youth, and became a professor of the Acad. in 1733. He had visited Italy in 1724 for the first time, and on his return, painted his " Apotheosis of Hercules." This work is in oil upon canvas, 64 by 54 feet in size. The clouds which form the base or ground of the picture cost, it is said, 10,000 francs for ultramarine. There are 142 figures in it, and it is probably the most magnificent pittura di mac- china of the decorative period in which it was executed. It was fixed to the ceiling of the Salon d'Hercule, at Versailles. On account of it, Louis XV. appointed Lemoine painter to the King, but did nofc give him all the ancient honors of that office. This fact, together with adverse criticisms of other artists, and the death of his wife, brought on an insanity, in which he took his own life about ten months after the completion of this great picture. Lempereur. This the name of several French engravers, of whom Louis Simon (1725) was the most eminent. He was a mem- ber of the Acad. , and his plates are excellent in their execution. His wife, Catherine Elizabeth, was also a good engraver. Lenain, Louis, Antoine, and Mathieu. These three brothers are scarcely distinguishable in their works, for the simple name of Lenain is common to all. They painted genre subjects and were good portrait painters, especially in miniature. They were all mem- bers of the Acad. Louis and Antoine died 1648, and Mathieu in 1677, at a great age. Their works are in the Louvre. LENS LEPRINCE. 363 Lens, Andries Cornelia, born at Antwerp (1739-1822). A painter of little merit, as may be seen by his pictures in the Antwerp and Brussels museums. But he may be remembered as having scorned to be a member of S. Luke's Guild of Painters in Antwerp, and on his recommendation, this ancient society, to which Rubens and Quentin Massys had belonged, was dissolved. Leochares, sculptor of Athens. Flourished about B.C. 372-338. His masterpiece was the " Rape of Ganymede." Pliny says he made the eagle appear sensible of the value of the treasure he was bearing and to whom he bore it, so that he was careful not to wound the boy with his talons. The original was in bronze, but has been copied on gems and in marble frequently. The best existing one is half life-size, of marble, in the Museo Pio-Clementino. The one in the library of S. Marco, in Venice, is less well preserved. These are all imperfect, but give an idea of the refined sensuality and grace which characterized Grecian art of this period. He also made a statue of Autolycus, probably on account of his great beauty. There are several other mythological subjects and some celebrated portrait statues mentioned among the works of Leochares. Leonardo, Juseppe (1616-1656). A Spanish painter of historical subjects. He was poisoned, it is supposed by his rivals. Some of his finest works are in the Queen of Spain's Gall. Leonbruno, Lorenzo, born at Mantua, 1489. An important ar- tist in his time. Most of his works are lost, but three remain at Mantua, and are praised by Codde. Leoni or Lioni, Cavaliere Ottavio, born at Rome (about 1575- 1628). A very distinguished portrait painter, and president of the Acad. of S. Luke. He also painted altar-pieces for several churches of Rome. He etched about twenty plates in a style peculiar to him- self, but very pleasing. The faces are dotted ; the shadows are as- sisted with strokes, and the draperies and hair are of strokes. Leoni was also called Padovinano, and U Cav. Padovano, on account of his family, which was of Padua. Leopardo, Alessaiidro. Venetian sculptor. Flourished about 1490. After the death of Verocchio, Leopardo finished the statue of Bartolommeo Calleoni, in front of the ch. of S. Giovanni e Paolo, Ven- ice. The monument in the choir of the same church, to the memory of the Doge Andrea Vendramin, is also the work of Leopardo, who was employed with the Lombard! to decorate the chapel of Card. Zeno in S. Marco. He executed, lastly, the three bronze standard-bearers in the square of S. Mark. He was at the head of a large atelier, and together with his pupils did many works. Leprince, Jean Baptiste, born at Metz (1733-1781). Pupil of Boucher. Spent some years in Russia. Painted landscapes and in- teriors. He was also an engraver in aqua-tinta, and published the " Traite de la Gravure au Lavis." 364 LEPEINCE LEUTZE. Leprince, A. Xavier, died 1826. Painted fairs., festivals, etc., so well that they have been placed in the best collections. Leslie, Charles Robert. Son of American parents, born in Clerkenwell (1794-1859). He was early taken to Philadelphia, and when old enough was apprenticed to a bookseller. In 1811 he re- turned to England and entered the Royal Acad. He had some in- structions from Allston and West. His first works were portraits, but later he painted a high class of genre subjects. His first impor- tant picture was " Sir Roger de Coverley going to Church," which was well received, and repeated for the Marquis of Lansdowne. There is a repetition of his " Sancho Panza and the Duchess," in the National Gall. In 1826 he was elected to the Acad., and seven years later was appointed Professor of Drawing at West Point. He remained there but a short time, and returned to England. After this he did many works excellent in everything but color. He was made professor at the Royal Acad. , and his lectures were published and called " A Hand-book for young Painters." He also wrote the " Life of Constable." His works are best seen in the Sheep- shanks Coll. Lethiere, Guillaume Guillen (1760-1831 ?). This artist had a cultivated mind, and made rapid advance in art until he became President of the Acad. at Rome. He chose such historical subjects as were associated with the overthrow of tyranny, and the establish- ment of liberty. The " Judgment of Brutus " was much admired in France and England, where it was also exhibited. Lucien Bona- parte was his friend, and took some of his works to England, but most of them remain in France. Leu, Thomas de, born at Paris about 1562. An excellent en- graver. Leutze, Emmanuel, born at Wiirtemberg (1816-1868). His father came to America and settled in Philadelphia. Emmanuel de- veloped his artistic talents early, and in 1841 had orders sufficient to warrant his going to Europe. He became a pupil of Lessing at Dus- seldorf, and soon acquired a name as a painter of history. He travelled extensively in Europe, and married a German lady. In his works we find the result of his admiration for Kaulbach. He has been severely criticised, and has afforded much opportunity for just criticism; at the same time there is great room for admiration in the boldness of his manner, his dramatic effects, and his technical skill. His industry was great, and his pictures are numerous. The most important are: " Western Emigration," in the Capitol at Washing- ton; "Columbus at the Council of Salamanca;" "Columbus in Chains; " " Columbus before the Queen," and another of his recep- tion at Barcelona; " Landing of the Norsemen in America; " " Crom- well and his Daughter;" the " Inconoclast ; " "Henry VIII. and Anne Boleyn; " the " Court of Queen Elizabeth; " " Godiva; " and LEUTZE LEYDEN. 365 others of like nature. His works are in most private galleries in New York, some in Washington, Baltimore, etc. " Columbus before the Council of Salamanca " was purchased by the Art- Union of Dusseldorf . His admirers are very fond of him, and his enemies very severe. The character of Leutze was worked out in his pictures with wonderful exactness. He was a hero- worshipper; he was fond of adventure and of wild, gleeful fun; he was more given to vivid sen- sation than to sentiment or refinement; he acted out Emerson's words, " There is hope in extravagance, there is none in routine; " he was brave and cordial, and swept on to his end with a rush, like a spring waterfall, happy in freedom and in haste for the end of its course. All this is in his pictures, and while we love the works of others more, we may glean much pleasure from his. Leyden, Lucas Van. Real name Luc Jacobez (1494-1533). Pupil of Engelbrechtsen, and one of the most remarkable of artists, He was most important as an engraver, and had made himself a reputation at twelve years of age. He also painted pictures and carved in wood. He was the friend of Albert Diirer and the asso- ciate of Mabuse. He "ed a gay life with the latter, and undermined his health by his excesses. They made a journey in a sloop fitted up at Leyden's expense, and went through Zealand, Flanders, and Brabant. They gave entertainments to the artists in various cities, and it is to one of these that Diirer referred when he wrote in his journal, in 1521, " I was invited to dinner by Master Lucas, who en- graves on copper: he is a little man, and is a native of Leyden." They exchanged prints with each other, and it is said that Diirer ac- quired from Lucas his knowledge of perspective, but in this particu- lar only could Lucas assist him; in every other point Diirer was the superior. The pictures of Lucas are rare. In the Town Plouse at Leyden there is a " Last Judgment," which is one of the most impor- tant; at Wilton House a " Card-party; " in the Munich Gall, of Cabi- nets, a Virgin and Child with Mary Magdalen, and a man praying; and in the Belvedere at Vienna a portrait of the Emperor Maximil- ian. His engravings are very scarce and valuable. His "Eulen- spii'.gul " is the rarest of all prints. Not more than six original im- pressions are in existence, though there are many copies. This represents a famous clown of the 14th century, and is also called u The Peasants Travelling." Lucas had a great influence on the artists who followed him, and this print, and others of homely scenes, doubtless did much to decide Teniers, the Ostades, and others, in their choice of subjects. There was an originality which character- ized all his works from first to last. His style was his own, and he did not hesitate to dress all his figures in the costume of his time, regardless of what he was representing. Thus he made his works a record of manners and customs. His " Ecce Homo " is, artistically speaking, one of his chefs-d'oeuvre, and yet it is the principal square 366 LEYDEN. of a Flemish town, and the people seen there in the early part of the 16th century. Bartsch gives a list of 174 of his prints; the follow- ing are the principal ones. TEMPTATION OF CHRIST. BY LUCAS VAN LEYDEN. A set of six of the Creation and Fall of Adam and Eve. 1529. Adam and Eve driven from Eden. 1510. Cain and Abel. 1524. Abraham and the Angels. Abraham sending Hagar away; an early work; very rare. The same subject, called " The Little Hagar. Lot and his Daughters; fine. 1530. Set of five of the History of Joseph. 1512. Jephtha and his Daughter. Samson and Delilah. Triumph of David. LEYDEN. 367 David praying, with an Angel appearing to him. 1520. David playing the Harp before Saul. Solomon worshipping Idols. 1514. Esther before Ahasuerus. 1516. Susanna and the Elders; a very early work. SS. Joachim and Anne. 1520. The Annunciation. The Visitation. Adoration of the Magi; very fine. 1513. Repose in Egypt ; an early work. The Baptism of Christ; many figures. Temptation of Christ. 1518. Resurrection of Lazarus ; an early work. Set of fourteen of the Passion of Christ. Set of nine of same subject; circular. Ecce Homo; very fine. 1510. The Crucifixion; one of the best. 1517. Christ appearing to Magdalene. 1519. The Prodigal Son; fine. Virgin and Child with S. Anne. 1516. Virgin and Child with Glory of Angels. Virgin and Child seated at the Foot of a Tree. Virgin and Child in a Landscape, with two Angels; verv fine. 1523. Holy Family, with S. John presenting an Apple. Set of thirteen of Christ and the Disciples. Set of four; the Evangelists. 1518. SS. Peter and Paul; half length. 1517. Conversion of Saul. 1509. SS. Peter and Paul in a Landscape. 1527. S. Christopher bearing the Infant Christ; very fine. 1521. S. John Baptist in the Desert. 1513. Decollation o S. John. S. Jerome, with a Book, Skull, and Lion. 1521. Martyrdom of S. Sebastian. S. Anthony Hermit. Temptation of S. Anthony ; very fine. 1509. S. Francis receiving the Stigmata. S. George and the Dragon. S. Mary Magdalene in the Pleasures of the World ; called Mag- dalene's Dance; very fine and extremely rare. Mary Magdalene in the Desert. S. Catherine; half length. 1520. The Monk Sergius, who is sleeping, killed by Mahomet; very fine. 1508. Set of seven; the Cardinal Virtues. 1530. 368 LEYDEN LIBRI. Death of Lucretia, sometimes called " The Death of Dido." Pyramus and Thisbe. 1514. Mars and Venus. 1530. Minerva seated ; said to be his last plate, which he did not quite finish. The Standard-bearer. A Young Man leading an Armed Company, listening to a Man who is speaking, with his Hat in his Hand; fine. An Old Man putting the Wedding Ring on the Finger of a Young Woman ; very fine etching ; rare. An Old Woman with a Bunch of Grapes. The Musicians. 1524. A Surgeon performing an Operation. 1524. The Quack Doctor. 1523. The Eulenspiegel; very celebrated. 1520. Portrait of Emperor Maximilian I.; very fine and scarce. 1520. Portraits of Lucas Van Leyden, inscribed Effigies Lucce Leidensis propria manu incidere. A Young Man, half-length, with Cap and Feathers, holding a Skull; this is called his own portrait, but does not resemble the others. Wood-Cuts. The Kings of Israel ; in chiaro-scuro ; scarce. illustrious Women of the Old Testament; scarce. Four Large Tournaments; scarce. Liberate, da Verona, born at Verona (1451-1536). He was first a miniaturist, and the effect of this occupation was always visible in his manner of finish. He was an imitator of Jacopo Bellini. A number of his works remain and are in Verona, Milan, Padua, the Berlin Mus., and Florence Gall. They have no especial merit. His miniatures are his best productions. Some of these are at Chiusi. Liberi, Pietro, born at Padua (1605-1687). Called Libertino, from his love of painting nude Venuses. He is considered by some as the best draughtsman of the Venetian school. He painted some- times with a free and unlabored manner, which he said was for the intelligent; and sometimes with great labor and exactness, for the ignorant, as he declared. He was the first President of the Acad, at Venice, where some of his great works are still preserved. Libri, Girolamo dai, born at Verona (1474-1556). In the " His- tory of Painting in North Italy," it is said of this artist, " Beginning as a miniaturist, emulating in succession the Mantegnesque of Caroto and Morone, and the modern Veronese of Morando, he ascends to a high place amongst the professors of painting in the north; and throughout his long career he never incurs the reproach of being a plagiarist or a servile copyist." His works are best seen i'n Verona; there are also specimens at the Berlin Mus. and the National Gall. LICINIO LIPPI. 369 Licinio. See Pordenone. Liemakere, Nicholas de, called Roose, born at Ghent (1575- 1646). Pupil of Otto Vaenius. He was excellent in composition and skilful in treatment, but his color was not good, and his heads were insignificant in expression. His works are very numerous throughout the Low Countries. Lilieiibergh, C. Nothing is known of this artist, but this signature on his pictures. He painted dead game, with the addition sometimes of fruit and vegetables. The Berlin and Dresden galleries have each one of his works. He was living in 1663. Limborch, Hendrik van, born at the Hague (1680-1758). Pupil of Adrian van der Werflf. He painted historical subjects, portraits, and landscapes. He was inferior to his master. Two of his works are in the Louvre. Lingelbach, Johann, born at Frankfort-on-the-Maine (1625- 1687). He spent a long time in Italy, where he made many studies which greatly assisted him after his return to Amsterdam, where he settled. He loved to represent scenes in which he could introduce many figures, such as fairs, markets, etc. He so excelled as a figure painter, that he was sought by other artists, especially Wynants and Wouvermans, to add the figures to their landscapes. In composition, drawing, and careful execution, he excelled, but his color was a weak point. His flesh tones were often cold and inharmonious, while in clearness and impasto he falls far below the artists named above. His works are seen to advantage in the Louvre, Hague, and Amster- dam galleries. He also left a few slight and spirited etchings after his own designs. Lint, Peter van, born at Antwerp (1609-1675?) He passed several years in Italy, where he was well employed. Returning to Antwerp, he executed altar-pieces and smaller works. He also painted many portraits, which arc well esteemed in the Low Coun- tries. Lint, Henry van, called Studio, on account of his industry. Son of the preceding. His Italian landscapes are well considered. Some of his pictures are on water-color grounds, and have so little oil with the pigments, that the color is not at all durable. His works are su- perior to those of Oct'hiali in finish. He etched a few plates, some of which are dated 1680. Linthorst, J., born at Amsterdam (1755-1815). Painter of fruit and flowers. He painted large flowers and leaves, nuts, and grapes well, and his works are placed in the best collections. Two fine ones are in the Amsterdam Mus. Lippi, Fra Filippo (about 1412-1469). This artist is one who has been considered as disgracing his profession by his private life, but there are many and grave doubts as to whether the usual account of him be true, and of those doubts he should have the full 24 370 LIPPI. benefit. The story is this : He was an orphan at an early age, and his aunt, upon whom it devolved to care for him, being poor, he was placed in the monastery of the Carmine in Florence in 1420. Here he studied painting and formed his style after that of Masaccio. But as the story goes, he could not endure restraints, broke away from the convent, and while on an excursion at sea was captured by pirates and taken to Barbary as a slave. He at last obtained his freedom on account of a likeness he made of his master, and was returned to Italy with rich presents. He landed, it is said, at Naples, and at length returned to Florence. Later in life, while employed at the convent of S. Margherita at Prato, he seduced and carried off Lucre- zia Buti, a novice, who became the mother of Filippino Lippi, and eleven years later he died from poison, administered according to one account by the relatives of Lucrezia, and according to another by those of a woman who had succeeded her in his affections. Were this story wholly true it would be best to speak only of his works, forgetting himself entirely, but while it is not possible to totally con- tradict it, there are some circumstances now known which mitigate censure, at least. The name of Castagno has been freed from the stigma of murder which Vasari attached to it, and it is Vasari who accuses Fra Filippo of all his faults. From 1430 to 1432 his name is mentioned with the title of painter in the records of the convent, and it was probably during that time that he executed there the works which are spoken of as very excellent, but of which none remain. The capture by the pirates cannot be supported by any proof of his having been either at Ancona, from which he is said to have sailed, or at Naples, to which he returned. Again, it is not true that he for- feited his title of " Frater," for all his works which are signed bear it, and Domenico Veniziano mentions him in a letter of 1438 as " Fra Filippo." But more direct than all is the proof of a note written by himself to Piero de' Medici in 1439, when he says, " I am one of the poorest friars of Florence," and goes on to relate that he has charge of six marriageable nieces who depend upon him. He begs Piero to let him have corn and wine on account, so that his nieces may not starve while he is absent from them. We know that in 1452 he was chaplain to the nuns of S. Giovannino at Florence, and in 1457 rec- tor of S. Quirico at Legnaia. It would not seem that the seducer of one nun would thus have been associated with others. All these doubts one must have in reading the story of Vasari, in whom our faith has been so justly shaken, and it is to be hoped that further re- searches may bring to light proofs which shall establish his innocence. As an artist he was the best master of technicalities, and the best colorist of his time, and his mode of color was original. With a full brush he created a deep impasto; he then shaded or fused the various parts into soft, rich fulness, and still preserved clear tones behind. He was much inferior to Masaccio in composition, and his LIPPI LIVINS. 371 works were marred by a certain sort of bas-relief flatness, but he gave much life and feeling to his heads, which, united to his color, made his pictures very attractive. He did not advance perspective, he never foreshortened, and his architectural knowledge was compar- atively small; on the other hand, his atmosphere supplied in part his deficiencies ; he was a good draughtsman and understood how to pre- sent the nude without the vulgarity of too great realism. His dra- peries were loaded with ornaments in gilt relief, and his love for elaborate friezes, cornices, and pilasters was remarkable. His most important frescoes were done in the Cath. of Prato, and illustrated the history of S. Stephen, and that of S. John Baptist, besides single figures of saints. His works in the Cath. of Spoleto are less impor- tant. The pictures of Fra Filippo are in all the large European gal- leries, but there are more in Florence than in any other city. Fra Filippo was buried in the Cath. of Spoleto, and a monument was there erected to his memory by his son, at the expense of Lorenzo de* Medici. Lippi, Filippino. It is not positively known when this artist was born, or who were his parents. He has been called the natural son of Fra Filippo Lippi and Lucrezia Buti, and said to have been born at Florence in 1460. He died in 1505. He formed his style from that of Fra Filippo and from Sandro Botticelli. He executed a great number of works, and was entrusted with those of much importance. One peculiarity of his style was his love for ornamentation of every kind, which he used in all parts of his works. He much excelled Fra Filippo in execution, and was, in truth, one of the greatest artists of his century. His women are elegant and graceful, his men dignified, and all his figures full of life, emotion, and action. His finest frescoes are in the Brancacci chapel of the Carmelite ch. in Florence. His finest easel picture is a " Vision of S. Bernard," in the Badia at Florence. His works are seen in all large galleries of Europe, but Florence is richer than any other city, both in the num- ber and quality of his pictures. Liverseege, Henry, born at Manchester (1803-1832). This painter was weak and deformed in body, and unable to support his active imagination, so that his life was one of suffering, and termi- nated suddenly. He at first painted portraits, but soon devoted himself to representing various characters from the novels of Scott, and other subjects of a genre nature. He was especially happy in his picture of Adam Woodcock, and became a favorite artist. Most of his works have been engraved, and are familiar to the public. Livins, Jan, born at Ley den (1607-1663). Pupil of Peter Last- man at the same time as Rembrandt. They were always friends. Livins is more important as an engraver than as a painter, and the influence of Rembrandt is most apparent in his etchings. He excelled his fellow-pupil as a draughtsman, but fell below him. in every other 372 LIVINS LOMBARDO. particular. His portraits were very fine. Few of his works are in public galleries. An important one represents " Jacob receiving the Blessing of Isaac," and is in the Berlin Mus. The Louvre, the Am- sterdam, and Munich galleries also have specimens of his works. Bartsch gives fifty-six etchings by him, and they are very excellent. Lombard, Lambert. Real name Lambert Sustermann. Born at Liege (1506-1560). Pupil of Mabuse, he adopted the Italian style BS. PETER A1CD PAUL BEFORE THE PROCONSUL FELIX. BY FIUPPINO LEPPI. Brancacci Chapel. of painting, which was confirmed by a visit to Italy, where he was in- structed by Andrea del Sarto. He returned to Liege and opened a school, and in addition to painting, professed architecture, numis- matics, engraving, archaeology, and poetry. His works had consider- able merit, and are now rare. There is one in the Berlin Mus. Lombardo, Alfonso (1488-1537). Sculptor of Bologna, where his most important works remain, in the churches of S. Pietro, S. LOMBAKDO LONSING. 373 Petronio, S. Domenico, and S. Maria della Vita. In the latter, a life- size clay group representing the "Death of the Virgin " is an ex- cellent composition. Lombardo, Pietro, and his sons Tullio and Antonio. Pietro was an architect and sculptor. In 1481 he constructed the Palazzo Vendramin Calergi at Venice. This was a chef-d'oeuvre of the time. A large number of sculptures are assigned to the three conjointly. Among the most important of these is the tomb of the Doge Mo- cenigo, in S. Giovanni e Paolo, and the reliefs on the fa9ade of the Scuola di S. Marco. Tullio was the more important. The great altar relief in S. Giovanni Crisostomo, representing the " Coronation of the Virgin," is ascribed to him. Lomi. See Gentileschi. Londonio, Francesco, born at Milan (1723-1783). Best known for his etchings of landscapes and animals. He also painted, and his pastoral subjects are seen in fine collections in Milan, Genoa, and Naples. Loiighi, Luca, born at Ravenna. Flourished about 1580. His principal work was a " Marriage at Cana," in the refectory of the Camaldolese at Ravenna. Some of the heads are fine, but his whole manner was somewhat affected. His pictures are in the churches of Ravenna, Mantua, and Ferrara. He inclined to the manner of Francia; his finish is excellent and his color agreeable. Longhi, Francesco. Son and pupil of the preceding, to whom he was inferior as an artist. Longhi, Giuseppe, born at Monza (1766-1831). A distinguished engraver. He studied under Vanirelisti, professor of engraving at Milan, whom he afterwards succeeded. He also studied in Rome, where he was acquainted with Raphael Morgheu. His chief object in his work was to represent the style of the original artist. He excelled in light and shade. He engraved some of the choicest works of the best Italian masters, and executed some superb por- traits. His skill in handling the graver was wonderful. In 1827 he commenced to engrave the " Last Judgment," after Michael Angelo; it was well advanced at his death, and finished by one of his scholars. Lonsdale, James, born in Lancashire; died 1839. A portrait painter of no especial merit, who painted some men so distinguished as to render the pictures valuable. He was successful in represent- ing the characteristics of his sitters. Lonsing, Fra^ois Joseph, born at Brussels (1743-1799). He entered a regiment of cadets, and while in garrison at Antwerp attracted the attention of Prince Charles de Lorraine to his love of art. Under the patronage of the Prince he studied in the Acad. he had organi/ed, and obtained a prize. The Prince and the Count Cobentzel then sent him to Rome, where he entered the school of Raphael Mengs. He engraved several prints for Sir W. Hamilton 374 LONSING LORENZETTI. in 1772, and went from Rome to Paris, Lyons, and Bordeaux, and died in the latter city, where most of his works remained. His por- traits have been engraved. His easel pictures are rare and are well esteemed. There is a mixture of the Flemish and Italian in his works, which gives them a peculiar appearance. Loo, Peter Van, born at Haarlem (1731-1784). A painter of flower pieces. He commenced by painting choice flowers for the florists, and thus acquired the habit of exactness in his representa- tions. He is sometimes confounded with artists by the name of Vanloo. Looten, Jan, died in London, 1681. A Dutch painter of land- scapes. His composition was good, but his coloring was heavy and inky. The Berlin Gall, has a landscape with a stag hunt, signed Jan Looten, 1659. Lorenzetti, Pietro, flourished about 1340. A contemporary of Simone of Siena. He was chiefly noticeable for the spirited action of his figures, but his pictures as a whole are so conformed to the art conventionalities of his time that they seem tasteless to us. Vasari calls his pictures in the Cath. of Arezzo, now destroyed, the best that had then been done in Italy. His " Fathers and Hermits in the Wil- derness," painted in the Campo Santo at Pisa, are still preserved there. In the Uffizi there is a "Madonna and Child with Angels," signed by him, and dated 1340. His later pictures are his best, and show an attempt to free himself from the prejudices of his time. In 1342 he painted a " Nativity " for the Cath. of Siena, now preserved in the sacristy ; another altar-piece is in the Pieve of Arezzo ; he also painted at Assisi, and fragments of his large works are in the Acad. of Siena, in the Vatican, and other places, one of them being in England. He excelled in imparting strong expression to his faces, such as that of pain, fear, etc., and was, all in all, an artist of great talent, a close student of nature, and remarkable in his power to render movement and expression. Lorenzetti, Ambrogio. Brother of Pietro. Lorenzo Ghiberti praised this artist very highly. His earliest works were frescoes in S. Francesco of Siena, of which but two fragments remain. In the Acad. of Arts at Florence are two small predella panels by Am- brogio, and a " Presentation in the Temple," dated 1342. In the Palazzo Pubblico of Siena he executed three immense allegorical pictures, intended to present the benefits of good, and the evils of bad government. These works are very curious and interesting in design, and although much injured, enough remains to prove Ghiberti to have been wise when he placed Ambrogio before Simone. Pietro ought to receive the same praise. These brothers worked together, seem to have been of nearly the same age, and their names appear and disappear from records at the same time. They approached more nearly to Giotto than any others of Siena. Besides the works LORENZETTI LORRAINE. 375 of Ambrogio already mentioned, there are those attributed to him which are not dated, and may have been done by his pupils. Some of these are in the Berlin Gall. There is, however, another gen- uine Ambrogio in the Acad. of Siena, finished in 1344, representing the " Annunciation." There were a number of Sienese artists by the name of Lorenzetti, who flourished in the 15th century. Lorenzo, Fiorenzo di. An artist of Perugia who flourished about 1487. His works are rare; there are four specimens in the churches and Palazzo del Consiglio of Perugia, and one in the Berlin Gail. His composition was good, and his conception more refined than that of the Perugian artists of his time. Certain characteristics indicate his acquaintance with Paduan art, especially the "Madonna" at Berlin, which is hard in expression. Lorenzo da S. Severino. There were two Umbrian painters by this name who flourished in the 15th century. The first one was the best artist, and was twenty-six years old in 1400, as is shown by his inscription on a picture now almost destroyed, belonging to the Cistercians of S. Severino. Some of his works also remain in S. Gio. Battista, at Urbino. He was an average Umbrian painter for his time. Lorenzo " the Second " flourished about 1483. One of his pictures, a "Marriage of S. Catherine," is in the National Gall.; others are at Pansola and Sarnano. Little can be said in their praise. Lorme or De L'Ornie, A. A painter of the interiors of Dutch churches, who flourished late in the 1 7th century. His works are rare, and in some respects fine; his color, being always the same, gives a monotony to his pictures, but his perspective and his light and shade are excellent. His best works have figures by Terburg and other artists. Lorraine, Robert le, born at Paris (1666-1743). A sculptor who entered the school of Girardon at eighteen, and was employed by him on very important works. In 1690 he went to Rome, and afterwards completed some works at Marseilles, which Puget had left unfinished at his death. In 1717 he was chosen Professor of Sculpture, and in 1 73 7, Director of the Acad. His " Galatea " is much admired, as are also his works in the Episcopal Pal. of Saverne. He made statues for the gardens of Versailles and Marly. Lorraine, Claude, real name Claude Gelee, born at Champagne in Lorraine (1600-1682). This artist is the prince and poet of land- scape painters. The following extract from Liibke is comprehensive and full of truth : " Far more profoundly than these and all other masters, did Claude Gel^e penetrate into the secrets of nature, and by the enchanting play of sunlight, the freshness of his dewy fore- grounds, and the charm of his atmospheric distances, he obtained a tone of feeling which influences the mind like an eternal Sabbath rest. In his works there is all the splendor, light, untroubled brightness, and harmony of the first morning of creation in Paradise. His 376 LORRAINE. masses of foliage have a glorious richness and freshness, and even in the deepest shadows, are interwoven with a golden glimmer of light. But they serve only as a mighty framework, for, more freely than with other masters, the eye wanders through a rich foreground into the far distance, the utmost limits of which fade away in golden mist." One of the striking excellences of the works of this artist is the immense space he represents; another is his color; he seems to have first used much silvery gray, over which he painted, and this foundation color gives a peculiarly atmospheric effect. His architec- tural representations are unexceptionable, but he never succeeded in animals and figures, and was wont to say that he sold the landscape, but gave away the figures. Even before his death, his pictures were so much admired, that other artists attempted to imitate him and to dispose of their works as his. In order to prevent this, he kept a book of drawings by which to identify his pictures. This he called, " Liber Veritatis." At his death there were six of these, one of which, containing 200 drawings, is at Chatsworth, and has been re- produced by Earlom. All the principal European galleries have pictures by Claude, but England is especially rich in his works, which are not only in public, but in numerous private collections. 1 Enormous prices are now paid for them, whenever they are sold. The life of Claude began in poverty. His parents were very poor, and died while he was still young. He was apprenticed to a pastry cook, and travelled to Rome as valet to some young artists. Soon after he ar- rived there, he entered the service of Agostino Tassi, for whom he cooked and prepared colors. He at length began to paint, and was a most assiduous student of nature. He was accustomed to sit whole days watching a scene and studying the effects of light at the differ- ent times of day, and so faithful was his memory, that he could repro- duce them exactly upon his canvas. But few of his works are an exact picture of any one scene ; they are rather composed of pictur- esque materials gathered from different points, united with consummate taste and skill, and poetized or idealized by his exquisite imagination. There is another account of his early life, which says that he journeyed to Rome with a relative, and says nothing of his having been a pastry cook; but the fact that Sandrart was his personal friend, and published the first account, while Claude still lived, is strong proof in favor of its truth. It is also said that he studied in Naples with Godfrey Waal before he became the pupil of Agostino Tassi. His reputation, which was already good, was fully established by some works executed for Urban VIH. soon after 1627. From this time, he received commissions from the most appreciative patrons of art in all parts of Europe. In character, he was unimpeachable, amiable in disposition, and tender in feeling. His personal appear- 1 An original Claude Lorraine, belonging to Mr. William Philips, was burned in Boston, November 9, 1872. LORRAINE LOTTO. 377 ance was attractive, though his expression was grave. He suffered much from gout, and was often unable to paint. It would seem that he should have left a goodly fortune, but it was 10,000 scudi only. It is believed that his charities to his needy relatives had made it thus small. Smith's Catalogue Raisonne gives a descriptive list of more than 400 works by this master. ENGRAVINGS AFTER THE WORKS OF CLAUDE LORRAINE. Engraver, BAS, James Philip le. The Port of Messina; fine. An Italian Landscape; fine. Engraver, BROWNE, John. A Landscape, with Procris and Ceph alus. Engraver, BYRNE, William. Evening; a fine landscape. Engraver, CANOT, Peter Charles. A Landscape. Sunrise; a ma- rine view. Engraver, GODFROY, Fran9ois. A Landscape. Engraver, LERPINIERE, Daniel de. Landscape, with the Flight into Egypt. Landscape, with S. George and the Dragon. Grand Landscape, with the Israelites worshipping the Golden Calf. Engraver, MORIN, John. Landscape, with Ruins. Engraver, VIVARES, Francis. Landscape, Morning. Landscape, Evening. The Enchanted Castle. View near Naples. Engraver, WOOD, John. Two Italian Landscapes. Engraver, WOOLLETT, William. The Enchanted Castle. The Temple of Apollo. Roman Ruins. Landscape, with the Meeting of Jacob and Laban. Lothener, Stephan. An old artist of Constance, who belongs to the school of Cologne, where he owned a house. He flourished most from 1442 to 1451. He was the painter of the well-known triptych in a chapel of the choir of Cologne Cath. This represents (when open) in the centre, the " Adoration of the Magi; " on the insides of the wings, u S. Gereon and his Warriors," and " S. Ursula and her Maidens; " the outsides of the wings, the " Annunciation." This is a most interesting work ; it is characterized by an ideal grace and beauty, solemn and simple dignity, force and depth of tone, and has a remarkably good color for a tempera of its age. In the Darmstadt Mus., there is a " Presentation in the Temple," dated 1447, by Meis- ter Stephan, and in the Coll. at Kensington, a picture of SS. Cather- ine, Matthew, and John the Evangelist. In the Mus. of Cologne, there is a Madonna, and another colossal " Virgin and Child," in the Coll. of the Archbishof) of Cologne. Stephan may have been the pupil of Meister Wilhelm; it is plain that he formed his style after that master. There are other works executed by him and under his direction, in the chapel of S. Maurice, at Nuremberg, and in the Cologne, Munich, and Berlin galleries. Lotto, Lorenzo, was probably born at Bergamo, although he is 378 LOTTO LUIGI. sometimes called a Venetian (1480 7-1558 ?). Tassi says he studied under Andrea Previtali and Gio. Bellini. He was one of the most important second-rate artists of his day, and to be called but second- rate in that era is high praise. He was not original, but followed whatever artist he admired most at the time, and as his standard changed, so changed his manner; the result being that at different times his works resemble Bellini, Giorgione, and Titian. He executed an immense amount of work in oil and fresco. His pictures are in the churches and galleries of numerous Italian cities and towns, and in almost ah 1 European collections from St. Petersburg to Madrid. He resided for a time in Venice, Treviso, Kecanati, Bergamo, Trescorrc (where he first painted in fresco), Ancona, and Loretto, where he died. Besides his Scriptural and historical series and single subjects, he painted many very excellent portraits, some of which have been at times (as probably others still are), attributed to Titian, Giorgione, Leonardo, and Pordenone. That they could be thus assigned is suf- ficient praise, and tells how excellent they must be. These portraits are in the Borghese Pal. , in the Brera, the Vienna Gall., the National Gall., etc. His principal large works are at Venice, Bergamo, and Recanati. During the later years of his life he was the friend of Titian, and assimilated his style more and more to his. Aretino writes of him that he became very religious, and as he was employed at Loretto and dwelt in the sanctuary, it is probable that the hours not given to art were spent in devotion. Loutherbourg, Philip James, born at Strasburg (1740-1812). Settled in England in 1771. He painted landscapes, marine and battle scenes, and was also employed as a scene-painter. He con- tributed largely to the Royal Acad. exhibitions. The " Fire of Lon- don," the" Destruction of the Spanish Armada," and " Lord Howe's Victory," are among his principal works. His battle subjects have an historical interest, and his naval pictures are finished with great care, but his color was neither fine nor natural. His cabinet land- scapes are. his most pleasing works, and some of them arc excellent. Lowry, Wilson, died 1824. An English engraver who excelled in mechanical and architectural subjects. He engraved many plates for books, such as Crabbe's Technological Dictionary, Nicholson's Architecture, etc. Lucatelli or Locatelli, Andrea. A Roman landscape painter who flourished late in the 1 7th century. Many of his pictures are in England. His river water is better painted than his seas. Some of his works are highly and delicately finished, and are pleasing in effect. Lucchesino. See Testa. Luigi, Andrea, called I/Ingegno. Probably a pupil of Niccolo Alunno. Very little is known of his history. He was established as an artist as early as 1484. He was a native of Assisi, and there are various pictures on the walls of houses there ascribed to Luigi. PICTURE OF 8. URSULA, IN THE CATH. OF COLOGNE. BY STEl'IIAN LOTHENER. LUIGI LUTMA. 381 A Madonna with saints and angels, in the Louvre, is called his, also a beautiful Madonna, dated 1505, in S. Spirito at Florence, but there are grave doubts about the latter. He relinquished painting and gave himself to civil affairs. Luini or Lovini, Bernardino, born at Luino on Lake Maggiore (about 1460-1530). If not the pupil, he was the most successful fol- lower of Leonardo da Vinci; indeed, many of his works have been attributed to Leonardo. But his pencil was less masculine than that of his master. His coloring was clear and warm, his figures beau- tiful, and his conceptions full of grace and tender feeling. His best works arc elaborately finished. He is not as great as Leonardo, but he has scarcely received the attention and admiration he merits. The " Herodias," in the Tribune of the Uffizi, and the half-length of the " Infant Baptist playing with the Lamb," in the Ambrosian Gall, at Milan, were long credited to Leonardo; a Madonna between SS. Catherine and Barbara, in the Esterhazy Gall. , is still inscribed with his name, but competent judges ascribe not only these, but also " Christ disputing with the Doctors," and " Vanity and Modesty," to Luini. He executed many frescoes. The Brera is rich in those which have been removed from the walls where they were painted ; it has also many of his easel pictures. The Ambrosian Library, the Casa Silva, and the Monastero Maggiore (S. Maurizio), all at Milan, have fine works by Luini. His frescoes in the ch. of Saronno, exe- cuted about 1530, are well preserved and very fine. His works at the Cath. of Como contain some figures of surprising beauty. Luiideiis, Gerrit or Gerard. A Dutch painter who flourished prob- ably late in the 17th century. Nothing is known of his life. He painted interiors and merry-makings. His works were formerly only seen in Holland, but of late a few have been brought to England. Luti, Cavaliere Benedetto, born at Florence (1666-1724). It is to be regretted that this artist spent much time in working with cray- ons, which are so perishable. The Grand Duke gave him the means to visit Rome, where he attracted the attention of Pope Clement XL, from whom he received commissions and the Order of the Cross. His works are in several churches of Rome, but the " Vest of S. Ra- nieri," in the Cath. of Pisa, is considered his chef-d'oeuvre. He also left the two following etchings, which are now scarce : The Crucifixion, with S. John and the Magdalene at the foot of the Cross. A Landscape; after Guercino. Lutma, Janus or John, born at Amsterdam. An engraver and goldsmith. There are a few plates by Lutma which are scarce and much esteemed. They are as follows : Portrait of his Father; Janus Luima, Posterifati; opus mallei per Janune, fee. His own Portrait; Janus Lutma Batavus, per se opere mallei 1681. 382 LUTMA LYSIPPUS. J. Vondelius ; Olor Batavus ; opus mallei, per J. Lutma. P. C. Hooft; Alter Tacitus ; opus mallei, per J. Lutma. The above were executed in a peculiar manner, with a chisel or punch and a mallet. This he called opus mallei. The two following are engraved in the manner of Rembrandt, and are much admired : Joannes Lutma, Aurifex. It is a likeness of his father in a furred robe ; he has his spectacles in one hand, and a porte-crayon in the other; signed, Joannes Lutma, Junior, fecit Ao. 1656. Joannes Lutma, Junior ; seated at a table drawing, with a large hat which overshadows his face ; very scarce. Lutzelburger, Hans, called also Hans Franck. An old wood-en- graver who engraved principally the works of Hans Holbein. He Jived early in the 16th century. His initials, H. L., are on some of his plates. Zani called him the " prince of wood-engravers." Luyken, John, born at Amsterdam (1649-1712). This artist was first a painter, but became at length an eminent engraver. His facility of execution and his powers of invention obtained for him the title of the Callot of Holland. Bohn's new catalogue mentions more than 900 engravings by Luyken. Luzzo,Pietro, called also Morto da Feltri. Born 1474. Little is positively known of this artist, and but few of his works remain. The most important of these is an altar-piece in the ch. of Villabruna, which represents the Virgin seated on a cloud, holding the Child, who gives the benediction. SS. George and Victor are below. There are also portions of ornamented houses in Feltre, believed to be his work, and a few fragments in other churches near Feltre. Several galleries have works ascribed to him, but it is impossible to say with how much justice. This is the same artist who is said to have been in the employ of Giorgione at Venice, to have seduced the mistress and broken the heart of his master, and to have fallen in battle at Zara. Lysippus. A native of Sicyon. He was a famous sculptor who worked chiefly, if not entirely, in bronze. He was the head of the Argive-Sicyonic school. Pliny says he executed as many as 610 statues, and that they were remarkable for what he calls symmetria. He made many statues of Hercules, and one in the British Mus. may possibly be his, which represents the god holding the apples of the Hesperides. His statue of Jupiter at Tarentum was sixty feet high, and he also made a colossal Hercules for the same city. His Apoxyomenes was highly celebrated, and represented an athlete scraping himself from the dust of Palaestra with an iron. A copy of it in marble was found at Trastevere in 1846, and is now in the Vatican. This shows that Lysippus aimed to give the body a more elegant and slender shape than had been the manner of representa- tion; he also made the head smaller in proportion to the body than had before been the custom. This statue is full of elastic grace. He LYSIPPUS MABUSE. 383 made many portrait statues of Alexander the Great, who was unwill- ing that any other should model him. He also represented a famous lion hunt of Alexander's, and his rescue from danger by Craterus; and a group of the King with twenty-five horse and nine foot soldiers in the battle on the Granicus. Another characteristic of this artist was his excellent_execution of the hair. M. Maas or Maes. There have been so many artists of this name that it would be impossible to give them all a place here. The most important is Nicholas Maas, born at Dortrecht (1632-1693). Said to have been a pupil of Rembrandt. He painted genre subjects and portraits. The former are highly esteemed; they have but few figures; the lighting is admirable, and his sunlight effects very pleas- ing; his perspective is fine, his color brilliant and warm. His por- traits are excellent also; the backgrounds and accessories aro picturesque and highly finished, and often have the effect of fancy pictures rather than the stiff awkwardness of many portraits. Three of his works are in the National Gall., one of which, the " Idle Servant Maid," is a masterpiece. The Amsterdam and Berlin galleries, the Van der Hoop Coll., and the Uffizi have each one of his pictures, but most of them are in private collections, and many are in England. Smith only mentions forty-five of his works in all. Maas, Theodore or Dirk, born at Haerlem (1656-1715). Pupil of Henry Mommers and Nicholas Berghem. His pictures are not important, but he left a few etchings which are fine and rare. One of these represents a " Cavalier on Horseback." He especially ex- celled in drawing horses. Mabuse, Jan Van, real name Jan Gossaert, bora at Maubeuge (about 1470-1532). He went to Italy about 1513, and before this time had made himself one of the best painters of the later Van Eyck school; his best works were executed there. Like many of his countrymen, he forsook in Italy that manner of painting and choice of subjects which his nature and training fitted him to excel in, and attempted what may perhaps be best termed ideal art. From this time his portraits are his finest pictures. His nude figures and mythological subjects are simply repulsive, as may be seen in a " Neptune and Amphitrite," in the Berlin Gall., and a "Danae and the Golden Shower," in the Munich Gall. The redeeming feature of his later works is his masterly treatment, and some small repre- sentations of religious subjects are remarkable. The " Ecce Homo " in the Antwerp Mus. is one of these. Two of his finest early pic- tures are the " Adoration of the Kings," at Castle Howard, and an illustration of the legend of the Count of Toulouse, who went as a pilgrim to Jerusalem, at the seat of Sir John Nelthorpe, in Lincoln- 384 MABUSE MALBONE. * shire. There are several of his works at Hampton .Court. Writers disagree about his having been in England, but it is probably true that he was there in the reign of Henry VII. Mabuse was a friend of Lucas von Leyden, and accompanied him on his famous pleasure trip. (See Von Leyden.) He was always wanting money, and the following anecdote shows one of his modes of obtaining it. When he was in the service of the Marquis de Veere, that nobleman, ex- pecting a visit from the Emperor Charles V., gave all his retainers splendid white silk damask for suits in which to receive his Majesty. Mabuse requested to be allowed to superintend the making of his clothes, and sold the damask and substituted for it a suit of paper, which he painted to represent the damask so perfectly as to deceive all who saw it. This joke was told to the Marquis, who called the at- tention of the Emperor to the suits, and asked which one he preferred. His Majesty selected that of Mabuse, and would not believe, until he touched it, that it was not real damask. Besides the above-named pictures, there are others in many of the large European galleries, in Lubeck and at Althorpe. Machuca, Pedro, painter and sculptor. None of his pictures remain, but near the Alhambra gate there is a marble fountain, now much dilapidated, which was one of his best works. At Seville, over the door of the ch. of the Hospital de la Sangre, there are three alto-relievos of Faith, Hope, and Charity, which are better pre- served. His fame, however, rests on the architecture of the palace which he commenced for Charles V., near the Alhambra. Machuca first introduced Italian architecture into Spain, and although this palace was never roofed in, and has been a ruin for centuries, enough remains to demand admiration. Maeda, Asensio de. Son of Juan de Maeda, a sculptor and architect. Asensio is supposed to have executed the marble statues iu the antechamber of the chapter-room of the Cath. of Seville. Maganza, Alessandro, born at Vicenza (1556-1640). An imi- tator of Paul Veronese. There are many of his works in his native city. He had three sons who were artists, and his father was a por- trait painter, and also pubh'shed some poetry under the name of Magagno. Mahselkircher, Gabriel. Flourished about 1470. In the Gall, at Schleissheim there are two large pictures by this artist, repre- senting " Christ bearing his Cross," and the " Crucifixion." They are fantastic and wild. Majaiio. See Benedetto. Malbone, Edward G, born at Newport, Rhode Island (1777- 1807). A fine miniaturist; his works are in many American houses. He was a friend of Allston, who said of him, ' ' He had the happy talent of elevating the character without impairing the likeness ; this was remarkable in his male heads ; no woman ever lost any beauty MALBONE MANNL. 385 from his hand; the fair would become still fairer under his pencil. To this he added a grace of execution all his own. He was amiable and generous, and wholly free from any taint of professional jeal- ousy." Manfredi, Bartolommeo, born at Mantua (1580-1617). An imitator of Michael Angelo Caravaggio. His subjects were bandits, gamesters, etc. His works are rare, and it is believed that many of them have been attributed to Caravaggio. The Louvre possesses a few good examples of his style. Manni, Giannicola di Paolo, born at Citta della Pieve; died 1544. Pupil of Perugino, and an artist of no great excellence. The best of his works are in Perugia, in the Acad. and ch. of S. Tommaso. Mannl or Maennl, Jacob, born at Vienna, about 1695. He was an engraver in mezzotinto. In 1720 he undertook to engrave all the pictures of the Imperial Gall., but died when but thirty-one plates were finished. These prints are now very rare. The following is 8 list of them : The Portrait of the Emperor Charles VI. The Dead Christ, supported by an Angel; after Palma. The Virgin, and Child, who caresses S. John; after Vandyck. Mary Magdalene, penitent, with an Angel; after Correggio. S. Francis praying ; after Bassano. S. Clara kneeling ; after Bassano. Repentance of S. Peter; after Spagnoletto. Martyrdom of S. Bartholomew; after L. Giordano. Christ praying in the Garden; after M. A. Caravaggio. Venus with Cupid holding a Mirror ; after Titian. Judith leaving the Tent of Holofernes ; afler P. Veronese. Christ disputing in the Temple ; after Spagnoletto. Samson delivered to the Philistines; after Vandyck. Ecce Homo ; half length ; after Titian. Mater Dolorosa; after Titian. A Philosopher meditating on a Skull; after L. Giordano. A Geometrician ; after L. Giordano. S. Margaret and the Dragon; after Raphael. Tobit restoring his father's Sight; after M. A. Caravaggio, Christ taken in the Garden; after E. Manfredi. Susanna at the Bath; after Tintoretto. Susanna and the Elders ; after Ann. Carraccl Jupiter and Mercury, with Baucis and Philemon; after Carlo Loti Diana and her Nymphs ; after Willeborts Boschaert and Jan Fyt. The Virgin and Child; after Titian. A Warrior giving his hand to a Man ; after Giorgione. A Dying Magdalene; after the younger Palma. Christ bearing his Cross; after Bassano. Judith with the Head of Holofernes; after A. Varotari. 386 MANNL MANTEGNA. Judith; after Carlo Vemziano. A Child holding a Dog ; after Paul Veronese. Mansueti, Gio., born at Venice. Very little is known of this painter, but in an inscription on a picture dated 1494, he declares himself a pupil of Bellini, and adds that he believes the miracle of the cross which he represented. This picture is now in the Acad. of Venice. There are about a dozen works of this master, most of which have genuine inscriptions. His manner was stiff and conven- tional, and his color dull and inharmonious. He sometimes intro- duces numbers of birds and animals, as in a nativity at Verona. Several of his pictures are in the Acad. of Venice; others are at Berlin, the Brera, the Uffizi, Verona, and Lochis Carrara galleries. Mantegna, Andrea, born at Padua (1431-1506). He was adopted by Squarcione, and registered as his fos- ter-child in 1441. When but seventeen years old he painted a Ma- donna for the ch. of S. Sophia, which was much admired. It is evident from the early efforts of Mantegna that he studied the works of other masters than Squarcione, his instructor. The earliest picture of his which is so preserved as to show his manner, is an altar-piece in the Brera, representing S. Luke and other saints. This was executed in 1454, and is excellent in modelling and light and shade ; it has a northern realism, but is far superior to most Squarcionesques, and equal in color to any tempera painting of Venice of the same time. After 1448 he worked on the chapel of SS. Jacobo and Cristoforo in the ch. of the Eremitani at Padua. The whole left side, with the " Life of S. Jacobo," and the "Martyrdom of S. Cristoforo," is his work. For his age and the state of Paduan art they are wonderful, although the criticism of Squarcione, namely, that his figures were statuesque and lifeless, is valid. Mantegna had become disaffected towards his foster-father, had married the daughter of Jacopo Bellini, and fully sympathized with the faction opposed to Squarcione. He had no doubt been much affected by the influence of Donatello at Padua; he had studied the antique as much as possible, and imitated it in his architecture and figures. But the " Martyrdom of S. Cristoforo " shows that he had discovered his mistake, and strangely displays his attempt to remedy his greatest fault. These works made him famous, and the Marquis of Mantua used every inducement to per- suade him to leave Padua. But he was occupied with some pictures for S. Zeno at Verona, a part of which are now hung in the choir of that ch., while other parts are in the Museums of Tours and Paris. The Marquis persistently followed Mantegna, and at length about 1460 he entered his service, in which he continued until his death. The works which he did in Mantua are scattered through all the large collections of Europe. The sack of the city in 1630 left few works of art there. The Marquis required all kinds of work of him, MANTEGNA. 387 from the most sacred subjects to that of a turkey and turkey cock to be copied in arras. In the old castle two rooms remain decorated by Mantegna. An inscription in one gives the date of 1474. Some of these pictures are well preserved, and the Marquis and his family are represented. It was impossible that such pictures should be at- tractive, for the people and their costumes were ugly ; but in the cor- nices and other parts of the ceiling he paints very differently, with a free fancy and great ease. There he overcomes the difficulties of perspective, light, shade, etc., and does himself credit. The subjects are full of grace and life. The achievements of Hercules, busts of Roman emperors, and a strutting peacock, with beautiful heads of women and children regarding it, are a part of them; and in the centre he represented a great aperture through which, apparently, the blue sky is seen. From time to time the Marquis made him presents of land, but the records of his life show that he was always needing money, and lived extravagantly. He was of a quarrelsome temper, too, and in peace with few of those about him. In 1478 he made great complaints to the Marquis Ludovico of the way in which he had been treated, and of his poverty; and indeed, he had a right to do this, for he would have been employed by other princes gladly, if he would have broken his engagements at Mantua. In this same year the Marquis died, and his son, Federico, who succeeded him, paid all that had been promised, and treated Mantegna with much con- sideration. Requests were constantly made for his services, but these were refused, and in 1483 he was hastening to complete a camera for Federico, who suddenly died, and the government passed to Francesco H. This was unfortunate for the artist, for his new master was only a boy ; but he soon found a patron in the Duchess of Este, who was betrothed to the young Marquis. At length in 1488 he was sent to Rome to paint a chapel in the Vatican for In- nocent VIII., whose request the Marquis could not refuse, Here he labored unceasingly for two years. He then resumed the " Tri- umphs of Caesar," in which he had been interrupted, and in 1491 the Marquis made him new presents of land as a reward for these ex- cellent works. They are at Hampton Court, much injured; they are nine in number, and represent all the different parts of a Roman tri- umphal procession. It is not known for what they were intended, and they have been so daubed by restorers (?) that no good judgment can be formed of their merit. From this time his works all show the presence of his assistants. It was not, however, until 1495 that he produced his famous " Madonna della Vittoria," now in the Louvre. He painted until his death, but he suffered sorrow and loss. His wife died ; he became the father of an illegitimate son ; he was obliged to sell his house and to live in lodgings, and his eldest son so displeased the Marquis that he was banished from Mantua. At the last he was obliged to part with his collection of antiquities, which MANTEGNA. were more precious to him than anything else, and from the day that Isabella bought his bust of Faustina, he was broken-hearted. His great wish in his last days was to see the Marquis, but he was absent at Perugia, and so the master died in the midst of his troubles, sep- arated from both his son and his patron. There are letters from his children begging Francesco to allow the sale of his works, especially in order to satisfy the Bishop of Mantua for the chapel which Man- tegna had undertaken to arrange and adorn for a burial-place for CHRIST MOURNED BY ANGELS. BY MANTEGNA. Berlin Mus. himself and family. Mantegna was doubtless the greatest painter ot Northern Italy in his day, and his influence was felt in all Italy. His works are full of meaning ; his inventive powers were large ; his foreshortening, perspective, chiaro-scuro, and color were excellent, and the one great objection, before mentioned, that his figures were portrait-like, must be excused by the consideration that such a man- ner as his was a legitimate step in advance, from the art which had preceded to that which followed him. The Madonna, in the Louvre, and the works at S. Zeno, Verona, already mentioned, are among MANTEGNA MARATTI. 389 his most important easel pictures. An " Entombment," in the Vati- can, should also be mentioned; his pictures are in all large collections. He also painted what may be called reliefs, or pictures in chiaro- scuro, and was besides a good engraver. He was early in the prac- tice of this art, and his knowledge of design greatly assisted him to excel. Bartsch mentions twenty-three plates of his, besides which there is a " S. George and the Dragon," in the British Mus., and another called " The Chalice." The following are his principal plates : The Virgin and Child. The Scourging of Christ. The Entombment of Christ, inscribed, Humani generis redemptore. Christ descending into Hell. Christ holding the Standard of the Cross between two Saints. Judith with the head of Holofernes. Battle of Sea Monsters, with the figures of two warriors. Battle of Sea Gods, with the figure of Neptune. Hercules between Virtue and Vice; sometimes attributed to Marc Antonio. Hercules strangling Antaeus, inscribed, Divo HercuLi invicto. Four female figures dancing. Bacchus supported by Fauns and Satyrs. Triumph of Julius Ca3sar; nine plates; perfect sets of these are rare. Ludovico and Francesco, sons of Andrea Mantegna, completed the unfinished works of their father. They died in 1511 and 1517. Manuel, Nicolas, born at Berne (1484-1531). Called Deutsch. This painter was a partisan of the Information. He made many satirical sketches which proved him a good artist, and fruitful in in- vention, though stiff and mannered in execution. He painted the " Todtentanz " in a convent of Berne, now known only by cuts, the frescoes being destroyed. He was also a poet, soldier, statesman, and reformer. His pictures are very unequal in merit. His landscape backgrounds show the influence of Titian and Venice, which city he visited. Several of his works are in the Mus. of Basle. He also painted portraits; his own is in the Civic Library, at Berne, where are many of his drawings. He left some wood-cuts executed in a free, easy style, from his own designs. Maratti, Carlo, born at Camurano (1625-1713). Pupil of Andrea Sacchi. He was an academic painter, feeble in design, and affected in manner, and yet some of his works have a pleasing dignity of sen- timent. His portraits were very good. He was a great admirer of Raphael, and was so constantly engaged upon Holy Families and Madonnas, that he was called Carluccio delle Madonne. Sacchi ob- tained for him a commission for a picture for the Baptistery of S. John of Lateran. He chose " Constantino destroying the Idols," for 390 MARATTI MARCH. his subject, and painted it in such a manner as to secure the favor of Alexander VII. He became the most popular artist of Rome, and has been called the "Last of the Romans." In 1689 Giro Ferri, who was his principal rival, died, and from this time, he was rapidly advanced. He was made inspector of the stanze in the Vatican, by Innocent XI. Innocent XII. continued the appointment and made him superintendent of all the paintings of the Vatican, and Clement XI. entrusted to him the complete restoration of the frescoes of Ra- phael, and gave him the insignia of the " Order of Christ," for his labor upon them. He was President of the Acad. of S. Luke at the time of his death. His works are numerous in both public and private galleries. There are many of them in England. Bartsch mentions fourteen etchings by Maratti. These are well executed, and are partly from his own designs. Marc Antonio. See Raimondi. Marcellis (Marsceus, Masseus, or Snuffelaer), Otho. This ar- tist was known by all the above names. Born in Amsterdam (1613- 1673). A painter of reptiles, insects, and curious plants. His works are in the best collections of Holland. March, Esteban, born at Valencia; died 1660. A pupil of Or- rente, and a man of singular genius and violent tempers. His life and manner of painting were Quixotic, not to say disorderly. He succeeded best in battle scenes. He kept his atelier hung with pikes, cuirasses, javelins, etc., and would arm himself, and rave about in a manner most severe on the surroundings, and frightful to his scholars. When thus lashed up to the point, he dashed off wonderful Pharaohs, and fiery Christians fighting for the cross against the armies of the Crescent. He painted religious subjects also, but not with the en- joyment or success which attended his other efforts. He was often idle, worked only from necessity, and but poorly provided for his family. His wife complained of him to her confessor, and begged his advice. He told her to try what patience and tenderness would effect, but they seemed of little use, and the result was sometimes amusing. He came home late one night, with the determination that a few fish, which he brought, should be instantly cooked. There was no oil in the house, and when he sent his pupil, Conchillos, to buy some, the shops were all closed. March then declared that linseed- oil should be used. This was done, and when they began to eat, it operated as an emetic on all the party, "for indeed," quaintly re- flects Palomino, " linseed-oil, at all times of a villainous flavor, when hot, is the very devil." March then seized fish and frying-pan, and threw them out of the window. Conchillos sent the charcoal and chafing dish to keep them company. This so pleased March that he embraced him, and lifted the youth in such a manner that he feared that he too was to be thrown out with the rest. The poor wife quietly went supperless to bed, and March followed in surprisingly MARCH MARMOLEJO. 391 good humor. In the Queen of Spain's Gall., there is a " Pharaoh and his Host in the Waters; " an "Encampment of Turks ; " a couple of old Drunkards; a Man with a Cup, and a Woman with a Bottle; and a S. Jerome. Most of his works are at Valencia and Madrid. The brilliancy of his tones, and his skill in representing the dust and smoke of the combat, are points of merit, and in some re- spects he was an artist of high excellence; but few can echo the words of Palomino, who says that his works are " stupendous, and worthy of eternal remembrance." Marches!. See Cotignola. Marconi, Rocco, born at Trevigi. Flourished early in the 16th century. His chief excellence is his color, and this is sometimes almost gaudy. Several of his pictures are in Venice. Margaritone of Arezzo (1236-1313). This old artist seems to have been the last of the decaying mediaeval painters, and from his time improvement begins. There are several existing works of his, and some are inscribed with his name. One of these is in the Na- tional Gall.; one is in Santa Croce, Florence; one in the Acad. of Arts, Siena; and another in the Museo Cristiauo of the Vatican. Others are in more out of the way places. All are ugly in every par- ticular, but curious as illustrations of the art of his time. He is said to have been a good sculptor and architect, and to have executed the tomb of Gregory X., at Arezzo. Marinus, Ignatius. Flourished about 1630. This engraver re- sided principally at Antwerp. Good impressions of his plates are well esteemed. The following are among the best : The Flight into Egypt ; night scene ; after Rubens. S. Ignatius healing the Sick ; after the same. S. Francis Xavier restoring a dead Person to Life; after the same. Adoration of the Shepherds; after Jordaens. Christ before Caiaphas ; after the same. Martyrdom of S. Apollonia; after the same. Village Children forming a Concert; after C. Sachtleeven. 1633. Marlow, William (1740-1800). Pupil of Scott, and a painter of English landscapes. He painted many scenes on the Thames, and nc.tr Richmond and Twickenham. His pictures are pleasing, well colored, and finely finished. He also painted and etched some Italian views. Marmolejo, Pedro de Villegas, born at Seville (1520-1599). Bermudez calls him one of the greatest artists of Andalusia. Is be- lieved to have studied at Rome. The few of his works which re- main are in the Cath. of Seville, and in the Hospital of S. Lazarus, lii the Cath., the altar of the chapel of the Visitation is adorned by a picture of flie Virgin visiting Elizabeth, and several smaller works. These are good in design, color, and expression. The hospital has a S. Lazarus in pontifical robes. Marmolejo was a friend of Arias 392 MARMOLEJO MARTINEZ. Montano, who wrote his epitaph, and in the ch. of S. Lorenzo, near the tomb of the painter, there are two of his pictures representing the " Annunciation," and the " Virgin and Child." Marquez, Esteban, born at Estremadura ; died 1720. This ar- tist, by patient study and application, became a good imitator of Mu- rillo. The Hospital de la Sangre, at Seville, has a series of his paint- ings of the Apostles, and the Mus. of Seville, a," S. Joseph and Infant Saviour," which are surprisingly like the works of the great master he followed. Martin, John, born near Hexham (1789-1854). A painter of the most terrible, brilliant, and incomprehensible imaginations. He has been called the painter of "architectural dreams," but his archi- tecture was no more that of dreams than his landscapes were those of fancy. Nothing could be thought of too sublime or impossible for him to attempt. The names of his works show this; namely, "Joshua commanding the Sun to standstill; " the " Seventh Plague; " " Sadak seeking the Waters of Oblivion; " the " Fall of Nineveh," etc. He constantly exhibited at the British Institution, and twice obtained a premium. He had worked so much on glass that his color always reminded one of stained windows ; the human figures of his pictures were ill-proportioned and ugly, but his conceptions were so poetic that there was a peculiar fascination in his works. He was also an engraver, and thus made his works well known; his engraving was peculiarly suited to his pictures, and brought out their wonderful light and shade as no other engraver could do. Martinez, Josef. Valladolid, end of 16th century. Painted so much like the Florentine masters, that it is probable he studied in Italy. An " Annunciation" by this artist is in the Mus. of Valla- dolid. The " drawing is good, the draperies finely managed, and the coloring rich and effective." Martinez, Ambrosio, born at Granada (1630-1674). Pupil of Alonso Cano. A reputable historical painter. Principal works are at the Monastery of S. Geronimo, and at the Carmelites in Granada. Martinez, Sebastian, born at Jaen (1602-1667). After the death of Velasquez he was painter to Philip IV. An excellent painter of cabinet pictures, most of which are in private galleries in Jaen, Cordova, Seville, Cadiz, and Madrid. Martinez, Juan Bautista del Mazo. A pupil of Velasquez. He first employed himself in copying the best works of his master and other painters. He acquired great skill in portrait painting, and attracted attention by a picture of Queen Mariana. His best works were landscapes and hunting scenes. In the Royal Gall, at Madrid are views of Pamplona and Saragossa, a Seaport and a River view, a view of the Escorial, and a fine portrait of a military commander, by this artist. He married the daughter of Velasquez, and at the death of that master was appointed painter in ordinary to the King. MARTINEZ MARTINI. 393 He died in 1687. His portrait, painted by Esteban March, is in the Koyal Gall. Martini, Simone, called also Simone Memmi, born at Siena (1283-1344). He married the sister of Lippo Memmi, hence Vasari's mistake of calling him Memmi. He was probably ac- quainted with Giotto, and was, in a sense, his rival, but never his pupil. Kugler says: "It is worthy of remark, and seems more than mere accident, that the reputation of Giotto is preserved by the epic-didactic Dante, and that of Simone by the great lyric poet of mediaeval Italy Petrarch in two of his s/mnets." The earliest of his frescoes eminently displays the truth that he was purely Sienese in manner. It is in the hall of the Palazzo Pubblico of Siena, and is enclosed in a kind of border of shields and medallions, with the arms of the Commune and people. It represents an enthroned Madonna with angels, archangels, saints, apostles, evangelists, patriarchs, etc. Its size is vast, and the whole work is of great interest. It appears from the records that it was necessary to repair it soon after it was painted, and this was done by Simone himself. An altar-piece in seven compartments, painted in 1320 for the Dominicans of Pisa, is still preserved. Nothing more graceful than the female saints in this can be attributed to Simone. The S. Cath- erine and the Magdalene are especially admirable for noble grace and beauty. No after work by this master was better, and yet this very picture painfully reminds one of his inability to express relief. Another small altar-piece of the same date (1320) is in the Fabbri- cieria of the Cath. of Orvieto, without pediment or pinnacles. This also has a sense of flatness, but its drawing and color are good. His action and attitude are better in his smaller works than in his larger ones. Another altar-piece equally good is in the same place. The Chapel of S. Martin at Assisi was entirely decorated by Simone, and its frescoes are among the very best of his remaining works. There arc frescoes in S. Maria Novella of Florence, evidently from the hand of a Sienese artist, which have been ascribed to Simone, but this lacks confirmation, and it is more than probable that he painted no great work at Florence ; he probably sent there from Siena the altar-piece for the Gondi Chapel, of which Vasari speaks, and some other works. Simone travelled much. He was universally admired and welcomed. The works he did at Avignon, and his portrait of Laura, which Petrarch admired, have perished. A few remaining in a hall and the chapels of the Papal Pal. are too much injured to warrant consideration. Besides the works already mentioned, there is an " Annunciation " in the Uffizi, dated -1333, and painted by Simone and Lippo Memmi together; a beautiful small picture in the Liverpool Institution, illustrating the text, " Behold, thy father and I have sought Thee, sorrowing," and a " Madonna and Child " in the Berlin Mus. A few other works are attributed to him, but these are 394 MARTINI MASACCIO. the most authoritative. From the sonnets of Petrarch it would seem that he was a miniaturist. If this be so, a Virgil in the Ambro- siana at Milan is in all probability his work, and the last twelve illuminations in a Bible in the Royal Library of Paris were probably executed by him at Avignon. He had saved money and bought him a house in Siena, but in 1338 went to reside with his wife and brother Donato at the Papal Court at Avignon. Here he became the friend of Petrarch and Laura, and here he died. He was child- less, and gave much of his property to the children of Donato. Simone was second only to Giotto, to whom he was a positive con- trast; Giotto has been called an epic and Simone a lyric painter, and perhaps these words give the difference between them as well as any comprehensive generality (for which alone we have space) could do. Simone was full of joy, tender sentiment, graceful and beautiful conceptions, and at the same time sympathetic with nature; all this enabled him to paint such pictures as are irresistibly attractive, and have made his name one of those never to be forgotten. Martos, Ivan Petrovitch, born at Ichtnia (1755-1835). An eminent Russian sculptor, whose works are numerous in the cities of Russia, and are noble in conception and expression; his execution was free and finished. His bas-reliefs are excellent. He was Councillor of State and Director of the Acad. of Fine Arts at S. Petersburgh. Marziale, Marco. Flourished 1499-1507. A painter of small excellence. Some of his works remain in the Acad. of Venice, ch. of S. Giobbe, Berlin Mus., etc. Masaccio. Son of Ser Gio. di Simone Guidi, of the family of Scheggia. Born at Castel S. Giovanni, in the Val d'Arno (1402- 1429). -According to tradition, this great master early manifested his inclination for painting. In 1421 he was enrolled in the guild of the Speziali at Florence, and in 1424 was registered in the guild of painters as " Maso di Ser Giovanni di Chastello Sangiovanni. " His name was Tommaso Guidi. The name of Masaccio signified his want of neatness. The only authentic accounts relating to his private life are in the Florentine registers of the income returns for the years 1427 and 1430. These show that he was in debt, and had disappeared previous to the last, and was " said to have died at Rome." No other positive facts have been discovered concerning him. There is a fresco which was uncovered a few years ago in the ch. of S. Maria Novella, in Florence, which, if we credit Vasari, is the earliest known work of Masaccio, for he says it was executed before those of S. Clemente in Rome. It represents the Trinity between the Virgin and S. John the Evangelist, with two kneeling figures. The restor- ers have so injured it that it is difficult to judge of its primitive merit. Signer Cavalcaselle believes it to be a later work than Vasari makes it, and yet it is inferior to his latest works. The frescoes at S. Cle- MASACCIO. 395 mente were probably done about 1423 or 1424. They cover the walls, arch, and vault of a chapel, and represent the Evangelists, Apostles, Doctors of the Church, several Saints, the Crucifixion, and scenes from the lives of SS. Catherine and Clement. The " Cruci- fixion "is in advance of what had preceded this master, but the PETER BAPTIZING. BY MASACCIO. From the frescoes in S. Maria del Carmine, Florence. scenes from the history of S. Catherine prove his power and original- ity. The finest of these is that in which the Saint discourses before Maxentius and the Doctors, but they all display his knowledge of form, and are characterized by natural and graceful action and ex- pression. When Masaccio returned to Florence he first executed, it is said, some pictures to prove his ability, and then received the com- 396 MASACCIO MASSAKD. mission to adorn the Brancacci chapel. These frescoes represent the Fall of Adam and Eve and their Expulsion from Eden, and various events in the life of S. Peter. Hitherto some of these works have been attributed to Masolino, but Signor Cavalcaselle, who has made a critical examination of them and everything connected with them, decides that they belong to Masaccio, and that if Masolino painted there, his works were upon the vault and lunettes, and are either de- stroyed or covered by the more modern decorations of the chapel. We cannot afford space for a description of these important and beau- tiful works. Masaccio was a very great influence in the progress of art. Some one has said that he seemed to hold Giotto by one hand and to reach forward to Raphael with the other. The Brancacci frescoes were studied by the artists who followed him, great and small, and even Leonardo, Raphael,, and Buonarotti were among the number. Masaccio not only imitated the forms of nature, but he sought to represent her subtle shades of expression of feeling and passion. He carefully studied his modelling; he grouped his figures well ; his draperies were graceful and in massive folds, and yet did not conceal the forms beneath; his coloring was rich and harmonious, and he selected fine types of the subjects which he represented. In a word, he showed himself thoughtful, appreciative of the ideal, and in a good degree a poet as well as painter; and these qualifications united are those which have distinguished the artists whose influence has been enduring. Considering the art which preceded him, the works of Masaccio are as wonderful as the works of later artists are beautiful. In the cloister of the Carmine at Florence, within a few years, a fresco has been uncovered which is apparently by him. It is a fine relic, uninjured by restorers, and affords a good study of his manner. In the Acad. of Arts in Florence there is a " Conception," painted by Masaccio for the ch. of S. Ambrogio. The Uffizi has two portraits attributed to him, but there is doubt of their genuineness, which is also true of several other works ascribed to him in different European galleries. Masolino. See Panicale. Mason, James (1710-1780). This eminent English engraver produced some landscapes after Claude, Poussin, and various other artists, which are much esteemed. His " Landing of .ZEneas in Italy," after Claude, and " Venus at the Bath," after Andrea Sacchi, are especially fine. Massard, Jean, born at Paris (1740-1822). An engraver whose works are well esteemed. He engraved after the best masters. His " Death of Socrates," after David, and " La plus belle des Meres," after Vandyck, are among the best. Jean Baptiste Raphael Urbain Massard, son and pupil of Jean, has also left excellent plates. His " S. Cecilia," after Raphael, and " Apollo and the Muses," after Giulio Romano, are fine, as well as many other works of his. MASSON MASSYS. 397 Masson, Anthony, born near Orleans (1636-1700). A very cel- ebrated engraver. He used only the graver, and handled it with great delicacy and firmness. His portraits are very fine, and some of them are rare. His print of " Christ at Emmaus," called u The Tablecloth," is a chef-d'oeuvre of engraving. Massys, Messys, or Metsys, Quintin, born at Antwerp (1460- 1530). Early in life he was a blacksmith, and it is said became a painter for the sake of an artist's daugh- ter whom he loved, and whose father was determined she should marry none but a painter. There are speci- mens of his iron work (or those said to be his), pre- served in Antwerp. He became a great painter. His relig- ious works show much feeling for beauty, and a ten- d e r earnestness which reminds one of the religious sen- timent of earlier painters. In the common episodes of life which he rep- resented, he suc- ceeded wonder- fully. Lovers, frightful old women, money-changers, misers, etc., grew under his brush with great truthfulness. His most important work was an altar-piece in three parts, now in the Mus. of Antwerp. The figures are nearly life-size, as are those of many of his later works, which was not usual with artists of his country. " The Misers," at Windsor Castle, is one of his most celebrated works. He painted many half-lengths of Christ and Mary, which are very attractive. His pictures are seen in all large European galleries. Bryan gives a list of sixty-nine of his works, and these are not all. He painted some portraits. His own and that of his second wife are in the Uffizi. In the wall of the Cath. of Antwerp there is a slab vhich tells his story, one sentence THE MISERS. BY Q. MASSYS. At Windsor Castle. 398 MASSYS MAZZUOLI. of which reads, " Connubialis amor de Mulcibre fecit Apellem." He is buried in front of the Cath., and the immediate spot is marked with the simple inscription, M. Q, M. obiit 1529. His son Jan was also an artist, and it is believed that some of the genre subjects attrib- uted to the father are the work of the son. Matham. This is the name of a family of Ay e/yv//,<) Dutch engravers of whom Jacob alone merits ' especial praise. He was born at Haerlem (1571- 1631). He was a son-irv-jaw of Henry Goltzius, under whose direc- tion he worked after having visited Italy. He engraved after the works of the best masters of the Low Countries, and many of his plates are much esteemed. His son Theodore, and Adrian, a rela- tive, were also engravers, but not equal to him. Mattoni. See Pietro della Vecchia. m>. ^ Maurer, Christoph, born at Zurich (1558- jS/VC 1614 )' A P u P n of Tobias Stimmer. He is only known by a few plates and wood-cuts etched by himself and from his designs. These are now rare. Mayno, Juan Bautista, born at Toledo (1569-1649). Pupil of Teotocopoli, and a fine painter. Early in life, he became a Domini- can monk, but did not resign his occupation as an artist. He in- structed Philip IV. in painting, and assisted Alonso Cano and other artists. He painted for Philip his celebrated battle-piece, in the Bueno Retire. His principal works are in the ch. and convent of S. Peter Martyr, at Toledo. Mazzolini, Ludovico, called Mazzolini di Ferrara, born at Fer- rara (about 1481-1530). Pupil of Lorenzo Costa. An eminent ar- tist in the Ferrarese school of his time. His conceptions have some- thing singular and romantic in them ; his style is vigorous ; his color brilliant ; he had a firm and solid touch ; his hands and feet were beautifully finished, and his groups can be examined in detail with .pleasure. There are a number of his pictures in private collections in England, for which large prices have been paid. His most im- portant work is in the Berlin Mus. where are also a large number of his other pictures. It is dated 1524, and represents " Christ in the Temple with the Doctors." The National Gall, has two of his works, and others are in the Doria Pal., and the Gall, of the Capitol at Rome. Mazzuoli, Filippo, born at Parma; died 1505. Principally im- portant as the father of Parmigiano. Some of his works are in the Gall., and the Episcopal Pal. of Parma, in the Museums of Naples and Berlin, and in some private collections. Mazzuoli, Francesco Maria, called II Parmigiano or Parmigia- nino, born at Parma (1503-1540). He was probably never a pupil of Correggio, but he formed his style after that master, and, like all who did so, became grossly mannered. Perhaps the best that can be MAZZUOLI - MEDINA. 399 said of him is, that he was the most excellent of the imitators of Correggio. His religious subjects are not enjoyable. His portraits, in which he followed nature, are fine. One, said to be that of his mistress, and another called Columbus, in the Mus. of Naples, are splendid. The " Vision of S. Jerome," in the National Gall., is one of his celebrated works, and is open to much criticism. The Virgin and Child are its best features. It is said that he was so absorbed by this work, during the sack of Rome in 1527, that the invaders penetrated to his studio before he realized what was taking place, and they, on their side, were so moved by the picture, that they left him unmolested. His Madonna with the "long neck," in the Pitti Gall. , and a S. Margaret, in the Bologna Gall., are well-known pic- tures. His most important frescoes are in S. Giovanni and Delia Stec- cata in Parma. For some time, Parmigiano was considered the in- ventor of etching, but this art was practised in Germany before his time. Bartsch mentions fifteen etchings by him, and there are a few others which are probably his. A number of wood-cuts from his designs, which have been attributed to him, are now known to have been exe- cuted by other artists, under his superintendence. Mazzuoli, Giuseppe, called D Bastaruolo, from the occupation of his father, who was a corn-chandler. Born at Ferrara (about 1525- 1589). Pupil of Dosso Dossi. His principal works are in his native city. Mecherino. See Beccafumi. Meckenen or Mecheln, Israel von, born at Meckenen (1440- 1503). Very little can be positively affirmed of this old artist. He was certainly an engraver, and for a long time there were a number of paintings attributed to him, but it is not known that he ever painted at all. The chief picture called his was a representation of the u Passion," on eight panels, at Cologne. The unknown master who produced it, is now often termed the " Master of the Passion," and the work the " Lyversberg Passion," on account of its having been owned by Herr Lyversberg. There are several other pictures some- times called by his name, most of them being at Cologne and Munich. The engravings of this master are very numerous. M. Heineken es- timates them at 250. All the pictures which were celebrated in his time, were copied by him. He had little artistic power, but suc- ceeded better with genre subjects, than with the works of great mas- UTS. " The Concert " is one of those well known. His works are valuable as showing the costumes and customs of his time. He en- graved the pictures of Martin Schongauer and Albert Diirer. Medina, Sir John Baptist, born at Brussels (1660-1711). Son of a captain in the Spanish service. He went to England, and then to Scotland, where he was knighted. He painted an immense num- ber of portraits. He was accustomed to use lay figures, which he arranged in the requisite position, and draped as desired, and having 400 MEDINA MELDOLLA. copied these, he painted the heads of his subjects on them. Many of his pictures are in Edinburgh, and his own portrait is in the Florentine Gall. Meer, Jan van der, de Jonge, born at Haerlem (1665-1688). Pupil of his father and Nicolas Berghem. He usually painted land- scapes with sheep. His works are not often seen. There are three in the Berlin Mus., which show a free handling and careful execu- tion. He left some masterly etchings, and some of them are now rare. Meer, Jan van der, called " the Van der Meer of Delft " from his birthplace, born 1632. This artist has left but few pictures, per- haps not more than six. They are single figures and views of streets. His chef-d'oeuvre is in the Six Gall., at Amsterdam, and represents a servant maid pouring out milk; she stands in full sunlight, and the color is beautiful. The Dresden Gall., Van der Hoop Coll., Bruns- wick Gall., Hague Mus., and Aremberg Gall., all have specimens of his works, and all are exquisite in modelling, color, and execution. Meert, Pieter, born at Brussels (1618-1669). A portrait painter who imitated Vandyck. The Mus. at Brussels has pictures of the magistracy of the city, by Meert, and the Berlin Mus. has portraits of a naval captain and his wife. Meire, Gerard van der, born at Ghent. Flourished 1450- 1472. Very little can be told of this painter. He was free-master of the Guild of S. Luke at Ghent, in 1452, and junior of the corpo- ration in 1472. His works were praised by Van Mander. The best picture now attributed to him is a " Crucifixion " in a chapel of S. Bavon at Ghent, and is very inferior to the works of the Van Eycks, with whom he is said to have studied. The galleries of Antwerp and Berlin have pictures attributed to him, which are not equal to that already mentioned. Gerard van der Meire is also believed to have executed some of the miniatures of the famous Grimani Breviary, at Venice. Jan van der Meire was his brother, and there were several artists of Ghent of their name. Melaiio, Gio. da. Flourished about 1365. His works are grace- ful and sweet and earnest in expression. The principal ones are in the ch. of S. Francesco, at Assisi. Others are in the Ognissanti at Florence, and in the Florentine Acad. . * Meldolla or Meldola, Andrea. An engraver who A /T/l flourished about 1540. About 120 prints are known " " * to be his. Many of them are after the works of Parmigiano, and until the end of the 18th century they were attributed to that artist and to Schiavone, called Medula. Zani claimed to have made the discovery that Meldolla was a different artist. He worked side by side with Parmigiano, and probably under his direction; so it is not strange that he should have the same manner, which he certainly had, even when engraving the works of MELDOLLA MEMLING. 401 Raphael Some of his plates have his name very distinctly inscribed, but on others it is carelessly etched. A part of his prints are ex- tremely rare. Mellan, Claude, born at Abbeville (1601-1688). An eminent designer and engraver. He first studied under Simon Vouet, but went early to Rome. He was engaged to engrave the busts and statues of the Justinian Coll. He first engraved in the usual method, but afterwards adopted a manner of his own, namely, instead of crossing his lines in order to shade his prints, he made them parallel, and shaded by making them heavier or nearer together. This new mode obtained celebrity for him, and its effect is soft and pleasing. The number of his prints is large, and many are from his own de- signs. One of his finest works is " Rebecca meeting the Servant of Abraham," after Tintoretto. Melzi, Francesco. A noble of Milan who was an intimate friend of Leonardo da Vinci, and an amateur painter. His works are rare. In the Castle of Vaprio, which belongs to the Melzi, there is an immense fresco attributed to him, and at Berlin a " Vertumnus and Pomona,'' formerly ascribed to Leonardo, is now given to Francesco. Melzi inherited the studies and manuscripts of Da Vinci, and fur- nished Vasari and Lomazzo with notices of his life. Memling, Hans. The birthplace of this very important master is not known. He was of the Van Eyck school, or the school of Bruges, was a pupil of Roger van der Weyden, and sometimes worked conjointly with him. He seems to have spent his youth at Brussels. Different records mention him from 1450 to 1499, at which time he probably died. Memling did not advance beyond his predecessors in the linear portion of painting, but his works were characterized by grace and poetry; his drapery was more flowing than that of his master, and his groups were symmetrical; his color and aerial perspective were truer than those of Van der Weyden ; his men were just good portraits of men, and not at all idealized, but his Madonnas had a lofty mien and a soft, meek beauty, with an expression of dignity and religion; his pictures of the infant Saviour were more natural in color, and more youthful and beautiful in expression than those which he had seen from the hands of the great masters about him. 'His color was good, but often so thin that the drawing could be seen through it. There are many works of his remaining, and it is difficult to select any one as the very best. The shrine of S. Ursula, in the Hospital of Bruges, is of great interest and importance. This has eight pictures and six medallions, and rep- resents scenes from the legend of that saint and her eleven thousand virgins. The whole shrine resembles the nave of a Gothic cathe- dral. There are on each side three windows (so to speak), each in a recess, where an episode is painted; two other pictures adorn the ends, and on each side of the roof are three medallions. These 402 MEMLING. pictures are all chefs-d'oeuvre of the Flemish school, but the me- dallions do not equal the others. The drawing is better in these small works than in his larger ; the movement is free, the expression excellent, and the color and execution are soft and powerful. The S. URSULA LANDING AT COLOGNE. BY HANS MEMLING. From the Shrine of S. Ursula. hospital has also his " Marriage of S. Catherine," two small triptych altar-pieces, and a " Virgin and Child," with a portrait of Neven- hoven, the donor. A large altar-piece in the ch. of Dantzic is an important work of Memling's. His pictures are also in the Munich Gall., the Palais de Justice, Paris, Stuttgart Gall, Vienna Gall., MEMLING MENELAUS. 403 Acad. of Bruges, Cath. of Liibeck, and Antwerp, Strasburg, Uffizi, Turin, and Kensington galleries. There are others in private collec- tions. His portraits were excellent, as is seen in the votive pictures at Bruges and in the Uffizi. Memling was an excellent miniaturist, as is proved by his works in the exquisite Grimani Breviary, in the Library of S. Mark's, at Venice, executed probably for Mary of Burgundy, daughter of Charles the Bold. This Breviary belonged to Antonello da Messina, who sold it to Card. Grimani for 500 ducats. It is now considered a great treasure. There is a legend that Memling accompanied this Charles to war, and, returning sick and wounded, was cared for at the Hospital of Bruges, in return for which he painted the pictures, now so rich a treasure to that institu- tion. It has also been affirmed that Hans Memling and Juan Fla- menco are one and the same, but these questions cannot be settled by positive knowledge, and afford an unlimited battle-ground for disputes. This much, however, seems impossible, that the hand that painted his pictures could have wielded a sword, or that one life could have given time for aught but the study of which these are the fruit. Memmi, Lippo, born at Siena; died 1356. This artist is impor- tant principally for having painted conjointly with Simone Martini, his brother-in-law, to whom Lippo was very inferior. In the Hall of Justice at S. Gimignano, in the ch. of Monte Oliveto, near by, in the chapel of the Santissimo Corporale at Orvieto, and in a few galleries, there are works attributed to Lippo. At Siena a fresco over the door leading into the convent of the Servi is signed by him, and is much finer than any other called his, as is also a small Madonna in the Berlin Mus. Perhaps this excellence is explained by saying that he painted much better when under the immediate eye and influence of Simone. Mena y Medrano, Pedro de. Pupil of Alonso Cano. A colossal statue of Santiago on horseback, by this master, still fills its original retablo in the Cath. of Granada. He did much work for the cathe- drals of Malaga and Toledo, and was at length invited to Madrid by Don Juan of Austria, to execute a group of our Lady of the Pillar for the queen-mother. This work so attracted a prince of the house of Doria, that he ordered a crucifix of him, which was much ad- mired in Genoa. He spent the last part of his life at Malaga, in order to be near his daughters, who were nuns in that city. He died in 1693. He was one of the best pupils of Cano. Meiielaus. The sculptor of a marble group in the Villa Ludovisi at Rome, representing a male and female figure. It has been called by various names, such as " Papirius and his Mother," " Octavia and Marcellis," etc. Otto Jahn calls it " Merope and .ZEpytus," at the moment when the mother recognizes her long absent son. It is very brautiful, but a certain impression arises from the exact arrangement of the drapery, which lessens its power. 404 MENGS MERIAN. Mengs, Anton Raphael, born at Anssig in Bohemia (1728-1774). His father was a miniature and enamel painter, in which art the son was most severely trained. He copied from antiques and the works of the best masters, until he had acquired ideas of color from Titian, of chiaro-scuro from Correggio, composition from Raphael, etc. But the fire of genius was wanting; power of invention and feeling were not his, and though he had, and still has, warm admirers, his works are cold and uninspiring perfect in technicalities, but void of soul. He lived much in Rome, where he was first sent by the King of Poland, who had appointed him court painter when but seventeen years old. In Rome he received much patronage, and painted a ceil- ing in the Villa Albani, the ceiling of the Camera de' Papini in the Vatican, etc. He was invited to Spain, where he was much admired, and did many fine works. Twelve of his easel pictures are in the Madrid Gall., and a " Nativity," lighted from the Child, like the u Notte " of Correggio, is much praised. His frescoes in Madrid, especially the " Apotheosis of Trajan," gained him great reputation. His portraits are his best works. These are seen in the Uffizi, Mu- nich, and Berlin .galleries. A " Cupid," in the Dresden Gall., done in pastils, is a good specimen of his work in that manner. He also wrote upon art subjects, and his observations upon notable pictures are excellent. The standing of this artist has been a matter of much difference and dispute. By some, as by Winkelman, he is exalted to the very pinnacle of fame, by others severely criticised; but one thing is certain, that if he had not great virtues he had no glaring faults, and gave a careful and learned attention to the proprieties of his art. His " Mount Parnassus " has been- engraved by Raphael Morghen; and " James dictating to History," and a " Holy Family," by Domenico Cunego. Merian, Matthew the Elder, born at Basle (1593-1651). This eminent designer and engraver married a daughter of Theodor de Bry, by whom he was instructed and advised. It is said that Merian instructed Hollar. His best plates are views of the environs of Heidelberg, Stuttgart, Schwal- bach, etc. He also engraved portraits and some other subjects from his own designs. A large plate of the " Last Supper," inscribed, Accepit Jesus panem, is very scarce, as is also another of " Human Life," inscribed, Tabula Cebetis, continens totius vitce humance dis- criptionem. Merian, Matthew, the Younger, born at Basle, 1621. Son of the preceding, and pupil of Sandrart, Rubens, and Vandyck. A reputa- ble painter of portraits and historical subjects. Merian, Maria Sybilla, daughter of Matthew, the Elder, born at Frankfort (1647-1717). Her father died when she was but four MERIAN - MESSINA. 405 years old. Jacob Murel, her step-father, taught her to paint flowers and fruit, and at length placed her under the instruction of Abraham Mignon. She became an excellent artist, and excelled in represent- ing insects, butterflies, etc., in various stages of development. She married an artist, John Andrew Graff' of Nuremberg, and in 1679 published a book illustrated by herself, giving a history of the insects of Europe. In 1698 she went to Surinam, and in 1705 published her second book describing the insects of Surinam. Her daughter, Dorothea Graff, was also an engraver, and made twelve plates for a later edition of the latter book. The British Mus. possesses two large books of the drawings of Maria Sybilla. Messina, Antonello da, born at Messina (about 1414-1493). There have been great discrepancies in the accounts of this impor- tant old painter, but the following, culled from all, is as nearly correct as possible. His family were painters for generations under the name of the Antouii. His grandfather and uncle are men- tioned in the " Memorie de' Pittori Messinesi," and his father, Sal- vadore d' Antonio, was an architect and painter. The latter was his first instructor, and sent him when young to Rome to complete his studies. From Rome he went to Palermo, whence he went to Mes- sina, and painted (as is believed) at this time the " Virgin and Child," in tempera, on panel, now in the Museo Peloritano of that city. He next went to Naples, probably about 1438, and became the pupil of Colantonio del Fiore. This master and other painters of his school had some knowledge of the use of oils, but did not understand the method of Van Eyck. Antonello saw somewhere a picture by John Van Eyck, and immediately determined to go to Bruges and learn his great secret if possible, which he did. His visit to Flanders is fully proved by an old MS. which says, " Antonello Van Sicilien would not leave Flanders without bequeathing to it an example of the mode of coloring in oil which he learnt frojn John Van Eyck. It is said that he presented a picture to the ch. of S. John (S. Bavon of Ghent), for this reason." After Van Eyck died, Antonello returned to Messina, and soon went to Venice. Here he was much employed, and painted many portraits. He seems to have acquired Flemish finish and execution, but his tints were more harmonious and beauti- ful. From this time his Italian tendencies seemed to strengthen as his later works show. It has been said that he taught Domenico Veniziano to paint in his manner, and that he was murdered by An- drea Castagno for possessing the secret, but this is now known to be false as regards the murder, and no works in oil done by Veniziano exist. In 1465 Antonello returned to Messina, where he received pupils, the best of whom was his son or nephew, Salvo d' Antonio. About this time he executed his most important works. In 1473 he went again to Venice and received important commissions. He was at one time in Milan, but when is not precisely known. He was also 406 MESSINA METSU. in Treviso in 1490, but returned to Venice, where he died, and was buried with great pomp by the artists who honored his memory for having brought to Italy the oil painting of John Van Eyck. There is a story, hardly creditable, that Gio. Bellini went to Antonello dis- guised as a nobleman, and desired him to paint his portrait, and thus became possessed of his secret. His most important works are at Berlin; namely, a male portrait of 1445; a " S. Sebastian," 1478; and a "Madonna and Child," which especially illustrates the Ve- netian coloring. Other works of his are a fine male portrait, in the Louvre; a " Crucifixion," in the Acad. of Antwerp; a half figure of Christ, in the National Gall., 1465; a reading Madonna, in the Acad. of Venice; a " Dead Christ mourned by Angels," at Vienna; a male head, in the Uffizi; a weeping Nun, in the Acad. of Venice; and a " Christ bound to a Pillar," in the Manfrini Gall, of the same city. Metsu or Metzu, Gabriel, born in Leyden, 1615; still alive in 1667. One of the most charming painters of genre subjects. It is certain that he formed his style after Terburg. It is not known with whom he studied. He was the intimate friend of Jan Steen. Most of his works are small a few por- traits are almost the only exceptions and are excellent, a matter of surprise in a little master. His whole manner is ele- gant, almost unex- ceptionable. His color is best in his earlier and middle time, later it is cold. He did not finish so extremely as some artists, and thus has more freedom and expression. He loved to paint people in high life, but also represented fairs, markets, maid - ser- vants, etc. Smith gives a list of 1 60 pictures by Metsu. Many of these are in private galleries, especially in England, where very high prices have been paid for them. They are also seen in the Louvre, Hague, Dresden, Van der Hoop, Munich, and Berlin galleries. The A SPORTSMAN. BY METSU. At the Hague. METSU MIERIS. 407 " Woman taken in Adultery," in the Louvre, and "Justice," at the Hague, are inferior works for Metsu, and show that historical or allegorical subjects were not his forte. But these galleries have other fine works of his. Meulen, Anton Frans van der, born at Brussels (1634-1690). Pupil of Peter Snayers. He was made painter to Louis XIV., and accompanied that king in his campaigns for the purpose of represent- ing his battles, victories, etc., with perfect truth. Considering the sameness and want of grace of his subjects, his pictures are remark- ably fine. They are numerous, and contain many portraits of Louis and other notable men. His color was good, and his execution mas- terly. Many of his works are in the Louvre, some fine ones at Mu- nich, Buckingham Pal., and Petworth. Meyer. Bryan's Dictionary gives an account of eleven painters and engravers of this name. Of these the most important was Felix, born at Winterthur (1653-1713). Pupil of Ermels, of Nuremburg. He travelled in Italy and on his return made himself a reputation for decorating apartments. He was employed by several princes of the empire for this purpose. He also etched some plates from his own designs. Meyering, Albert, born at Amsterdam (1645-1714). A reputa- ble painter whose works are not often seen in galleries. The Berlin Mus. has two landscapes with bathing nymphs and dancing children. He also left twenty-eight etchings of considerable merit. Michau, Theobald, born at Tournay (1676-1755). A painter of landscapes with numerous figures, small, and well composed, but poorly colored. Two of these, a summer and a winter scene, are in the Vienna Gall. Miel, Jan, born near Antwerp (1599-1664). He went to Italy and was associated with Andrea Sacchi. His tastes led him to the gro- tesque, and he introduced something of this in a religious subject he was painting with that artist. This caused them to separate, and Miel studied the pictures at Parma and Bologna. After he returned to Rome, he executed religious and historical works with good suc- cess, but his scenes from low life must be admitted to be his best pic- tures. His works are not numerous. They are in the Louvre, Dresden, Berlin, Vienna, Florence, and Madrid galleries. He also executed some etchings with masterly execution and charming effect. Mierevelt, Michael Janse, born at Delft (1567-1651). A good portrait painter. His works are said to have numbered 5000. His groups are not equal to his single heads, some of which are very fine. His pictures are in the Hotel de Ville at Delft, the Dresden, Mu- nich, and other galleries. His son Pieter was also a portrait painter. Mieris, Frans van, born at Leyden (1635-1681). Gerard Dow called him the " prince of his scholars." He is very little inferior to his master, and some writers prefer his works to those of Dow. 408 MIERIS MIGNON. His pictures are very small, and their subjects are often from the higher classes of life. Smith names 140 pictures of his. The Munich Gall, is richest in his works, and Dresden, Vienna, Florence, and St. Petersburgh have good examples, but the Louvre and English col- lections are less fortunate. The Hague has a beautiful " Boy blowing Bubbles." The Tinker," of the Dresden Gall., and " The Charla" tan," at the Uffizi, are masterpieces. His portraits of himself and family are fine. Indeed, all his works are full of artistic merit and charming effect. He was fond of Jan Steen, though not so dissipated as he ; still, he often passed his evenings with his friend, and upon one occasion, when going home, fell into the sewer, which some workmen had left uncovered. Here he must have perished but for the timely aid of a cobbler and his wife, who took him out and kindly cared for him. Not long after he carried the good couple a picture of his best manner, saying that the person they rescued had sent it. He recommended them to sell it to Cornelius Plaats. The woman went, expecting a small sum of money, and was surprised to find herself possessor of 800 florins ! Mieris, Willem van, born at Leyden (1662-1747). Son of the preceding, to whom he was much inferior. His best efforts are copies of his father's subjects. The Dresden Gall, has twelve of his works, and they are seen in various collections. Mieris, Frans van, the Younger. Son of Willem (1689-1763). A painter of the same subjects as the above, but far weaker in draw- ing, coloring, etc. Mignard, Nicolas, born at Troyes (1605-1668). He was called D' Avignon on account of a long residence there. He was invited to Paris through the influence of Card. Mazarin, and employed at the Tuileries. He also painted many portraits, and executed several etchings in a spirited manner. Mignard, Pierre, born at Troyes (1610-1695). Brother of Nico- las, and called " the Roman," from having lived twenty-two years in Rome, where he was patronized by the Popes Urban VIIL, Innocent X., and Alexander VII. He was an imitator of Annibale Carracci. His portraits were excellent, but his larger works were characterized by a false, theatrical effect, which destroyed all his influence as a true artist, and helped to hasten the decline of painting which fol- lowed in the next century. Louis XIV. invited him to return to France. He frequently painted the portrait of the King and many noble persons. The cupola of Val-de-Grace was his chief fresco in France. He painted twelve frescoes at S. Cloud. In 1664 he was made President of the Acad. of S. Luke at Rome. In 1690 he suc- ceeded Le Brun as court painter, and was elected Chancellor of the Acad. His portrait of Mme. de Maintenon is in the Louvre. Mignon, Abraham, born at Frankfort (1639-1697). A second- rate painter of flowers, fruit, insects, etc. His works are in many MIGNON MOLA. 409 galleries, public and private. He approaches in style to Jan D. de Heem, who was one of his instructors. He failed entirely when he attempted dead animals life-size, but some of his small pictures at Munich and Dresden are excellent. Mind, Gottfried, born at Berne (1768-1814). A celebrated painter who excelled in representing cats and bears. Most of his works are in water-colors, and are wonderful in their imitation of the soft, velvety skins of cats, etc. When a boy he carved animals in wood, which were as much sought after as his drawings. His works have been lithographed with great delicacy and nicety. His original pictures are rare, especially in this country. I only know of one, which belongs to W. E. Doggett of Chicago. Minderhout, Hendrik, born at Antwerp (1637-1696). A painter of seaports and marine subjects. His works are seen in the princi- pal collections of Flanders. jvy. Mitelli, Agostino, born at Bologna (1609- 1660). He painted many years with M. A. Colonna. Their principal works were fres- coes in Bologna, Parma, Modena, Genoa, and Madrid, where they were invited by Philip IV. Colonna executed the figures, and at Madrid painted his celebrated ' ' Pandora. ' ' Mocetto, Girolamo. A disciple of ^* Bellini, w ^ flourished from 1490 to 1514. He is best known as an en- graver, but there are glass windows painted by him in S. Giovanni e Paolo at Venice, and pictures at San Bia- gio, at Verona; at the Vicenza Gall., and the Modena Mus. His plates are very rare, and this constitutes their worth. Bartsch de- scribes eight, and does not include several which other judges attrib- ute to him. j^jy TVT'^r' ^TtT Modena, Nicoletto da, born at LN IN* t?"xL Modena about 146 - li is known that he painted perspective and architecture, but he is famous as one of the earliest engravers of Lombardy. His manner proves that he was not instructed, but studied out his own method. Bartsch describes more than sixty of his prints, and Bryan twenty-six not included in Bartsch or any writer previous to him. Moine. See Lemoine. Mol, Peter van, born at Antwerp (1599-1650). An imitator of Rubens. His works, though inferior, are sometimes ascribed to that master. His pictures are in the Louvre and Antwerp Mus. Mola, Pier Francesco, born at Coldra (1609-1665). A good ar- tist of the Bolognese school. His historical subjects are excellent, and his single figures fine, especially in color. Some of his large landscapes are grand in composition, and he excelled in glowing 410 MOLA MONAMY. evening lights. His light and shade are always fine. His works are seen in public galleries, and are in many private collections in Eng- land. We have a few spirited etchings by him. Mola, Jean Baptists, born about 1616-1661. Pupil of Simon Vouet and Francesco Albano. His landscapes are very pretty and his portraits good. He also executed a few etchings. Molenaer, Jan. Flourished 1625-1660. Dutch painter of scenes from peasant-life. His works are full of humor and anima- tion. The Berlin Mus. has one of his best pictures, a ballad singer with a group in the open air. Bartsch mentions an engraving of his which is very rare; another is in the British Mus. Molyn, Pieter, born at Haerlem, about 1600. One of the early landscape painters. His works are rare in public galleries. A good picture by him, of two cottages with rich woods, is in the Berlin Mus. He also left four good etchings of landscapes with figures. Molyn, Peter, called Tempesta, from his pictures of sea-storms, and Peter de Mulieribus from his many mistresses, born at Haerlem (1637-1701). Son of the preceding. He painted wild animals re- markably well, the result, perhaps, of a nature sympathetic with theirs. He became a Papist and went to Rome and married there. He went later to Genoa where he loved a Genoese lady, and hired assassins to murder his wife. His crime was discovered, and he was imprisoned many years; after his escape, he deserted his second wife, and became a fashionable painter at Milan. Some of his best works were done in prison. His pictures are in the Dresden and Vienna galleries. Mommers, Hendrik born at Haerlem (1623-1697). The works of this painter are rare in public galleries. That of Berlin has one not at all pleasing, representing a bare landscape with several figures. Momper or Mompert, Josse de, born probably at Antwerp (about 1559-1635). A fantastic landscape painter. His color is not always truthful, and his treatment is slight. His works are numerous in public galleries. He was skilful with the etching point. The figures in his foregrounds were often the work of other artists. Monaco, Don Lorenzo. A Camaldolese monk, who was an ex- cellent artist about 1413. He resided at Florence. Several of his works remain. One bearing his name is in the Abbey at Ceretto. It is very large, 15 by 12 feet, with three pinnacles, pilasters, etc. The central subject is a " Coronation of the Virgin," and there are numerous other figures and subjects. One of his best preserved works is in Santa Trinita, Florence, in the Bartolini chapel; others are in the Acad. of Florence, the ch. of Monte Oliveto, and in the National Gall. His works display the characteristics of art in his time. Monamy, Peter, born at Jersey (1670-1749). An indifferent painter of marine pictures. MONCALVO MONTELUPO. 411 Moncalvo. See Caccia. Moni, Louis de, born at Breda (1698-1771). A painter of kitch- ens and kindred subjects. His works are seen in choice collections, and have considerable merit. Monnicks or Monnix, born at Bois-le-Duc (1606-1686). The works of this master are pleasing. He painted landscapes, market scenes, etc. He introduced ruins, elegant arches, etc., with good taste. Houbraken says that Urban VIII. admired him so much that he retained him thirteen years in his service. Monnoyer, Jean Baptiste, called Baptiste. Born at Lille (1634- 1699). A flower painter, who was the fashion in his day. Le Brun employed him at Versailles; he was a member of the Acad., and was invited to England where he spent nineteen years and died. Many of his pictures are at Hampton Court, and though not of the best, are still good. Mont, Del. See Delmont. Montagna, Bartolommeo, born at Brescia or of Brescian parents. Flourished from 1480 to 1523. He lived at Vicenza, and in 1491 was called its best painter; and he was, indeed, a fine master. Many of his works remain, and his progress can be traced in them; the first show the formality of the artists about him; then come changes re- sulting probably from the effect of the Bellini ; then at length he visited Padua, where, under the influence of the works and followers . of Mantegna, he brought out his full power. Many of his works are in the Gall, of Vicenza, and there this progress is illustrated. His pictures are also in the Lochis-Carrara Gall., at Bergamo; in the churches of Padua; in the Brera, Venice Acad., Louvre, etc. Montagna, Benedetto, born at Vicenza. Flourished about 1500. Son of the preceding, whom he did not equal as a painter. He is noticeable as an engraver, and his prints are valued for their age and rarity, more than for excellence. They are weak and imperfect, but are almost the first engravings from the Venetian states. There are about fifty prints attributed to him, many of which bear his name. Moiitaiies, Juan Martinez, born at Alcald la Real ; died at Se- ville, 1650. Having studied sculpture under Pablo de Roxas, he re- moved to Seville. He was one of the best sculptors of Spain. He usually colored his own statues, and they were well done. He ex- celled especially in carving cherubs and children. The ch. of S. Lorenzo has the hi^h-ultar and patron saint which Montanes exe- cuted, and the ch. of S. Juan de la Palma, the draped figure of S. John* The Mus. of Seville has a kneeling figure of " S. Dominick scourging himself," and a " Crucifixion," which is a fine specimen of the work and style of Montanes. Stirling thinks if it were of Carrara marble, it would rival the u Crucifix " of Cellini. Montelupo, Raffaelle da (1503-1570). This sculptor left an un- finished autobiography, which is of great interest; if it could have 412 MONTELUPO MORALES. been completed, it would have been of much value on account of his association with the men and events of his day. He was a pupil and assistant of Michael Angelo, and worked in the Medici chapel and on the monument to Julius II. Together with Nanni Bigio, he executed the seated Popes in the choir of S. M. Sopra Minerva, at Rome. He was architect of the Castle of S. Angelo. Montorfano, Gio. Donate, born at Milan. Flourished 1495. The principal reason that this rather inferior Milanese master is known to us is, that he painted a " Crucifixion " on the wall opposite to that on which Leonardo painted his " Last Supper, "in the refectory of S. Maria delle Grazie ; and those who go there can but notice this work of Montorfano. There are many figures, and a formal line of saints is a great fault in its composition ; the figures are correctly drawn but are not beautiful in expression, and the whole effect is stiff and unar- tistic. Montorsoli, Fra Gio. Angelo (1500-1563). Pupil of Michael Angelo. He led a wandering and restless life, and imitated his mas- ter in sculpture as closely as a weaker mind- can follow a stronger one. He became a monk and a member of the Servi, at Florence. He executed portions of many works, ornamented the ch. of the Do- rias at Genoa, executed two handsome fountains at Messina, etc. He had no great excellence. Moor, Karel van, born at Leyden (1656-1738). Pupil of Gerard Dow, Abraham van den Tempel, and Franz van Mieris. He painted sacred and profane history in large and small pictures, but his portraits were his best works. He imitated Gerard Dow in his small pictures, and etched a few portraits from his own designs, among which were those of Dow and Mieris. Morales, Luis, called " the Divine," born at Badajoz (1509-1586). School of Estremadura. The first Spaniard who had a place among the masters of painting in Europe. Little is known of his life. About 1564 Philip II. sent for him. He appeared in a dress so magnificent as to displease the King, who ordered that he should be paid a sum of money and dismissed. But Morales declared that he had spent all he had, with the object of coming before Philip in a dress befitting the dignity of the King. This reconciled the monarch. His pictures were all of sorrowful, religious subjects. Few of them have left his native country. The Louvre has one of " Christ bear- ing his Cross," which resembles " Christ crowned with Thorns," in the Queen of Spain's Gall., which last is, perhaps, his chef-d'oeuvre. Some of his works are at Cordova and Seville, and they are found in the churches and convents of Estremadura, but they are now rare- He always painted on panels. He finished with great care, but his drawing was often incorrect, and his colors sombre and sometimes cold. He excelled his Spanish contemporaries. When the King visited Badajoz in 1581, he saw the artist in a very different garb MORALES - MORGHEN. 413 from that in which he had appeared at court. " Morales, you are very old," said Philip. " Yes, sire, and very poor," he answered. Philip commanded that he should have 200 ducats of the crown rents of Badajoz for his dinner. Morales exclaimed, " And for supper, sire? " This aptness pleased the King, and he added 100 ducats more. Badajoz has named for him the street in which he lived. Morando, Paolo, born at Verona (1486-1622?). One of the best painters of Verona before the time of Paul Veronese. He was a disciple of the Moroni, as his works show. Fine specimens of this master's manner are in the National Gall., but most of his works are in Verona. More orMoro, Sir Anthony, born at Utrecht (1519-1576). This excellent portrait painter was a pupil, in early life, of Jan Schoreel. He went to Rome, but after his return became an imitator of Hol- bein. He went to Spain and was sent to Portugal to make portraits of the King and Queen, and afterwards to England to paint a picture of the Princess Mary for Philip. He returned to Spain with Philip after the death of 'Mary, but on account of a personal freedom which he took with the King (he daubed his hand with carmine), he was warned to leave the country, and he went to the Netherlands. Many of his works were burned in the Pardo. His own portrait is in the Painters' Gall, at Florence. His works may be best studied at Vienna, but are seen in other public collections. Morel, Bartolome. A Spanish artist of the reign of Philip II. He made the bronze statue of Faith which is a weather-vane upon the great belfry of Seville. He also made the lectern of the choir of the Cath. of Seville, and the beautiful candlestick called the Tenebrario, in the same cathedral. This is of bronze, and modelled like that of Solomon's Temple. Morelli, Gio. Battista, died 1665. Pupil of Algardi at Rome. He was summoned to Spain to assist with his talents at the palaces of Aranjuez and Madrid, at which latter place he died. Moreelzee, Paul, born at Utrecht (1571-1638?). 8 Painter, architect, and engraver. His portraits were his best works. Some of his wood-cuts are now scarce. They are executed in chiaro-scuro, and are pleasing in effect. One of his pictures is in the Berlin Mus. Moretto. See Bonvicino. Morgenstern, Ludwig Ernst, born at Rudolstadt (1737-1819). Painter of the interiors of churches. His works are rare. Two are in the Stadel Institute, Frankfort. Morghen, Raphael, born at Florence (1758-1833). This most celebrated engraver of modern times was the son of an engraver, and commenced the practice of his art very early in life. His first important works, seven plates from the Masks of the Carnival of 1778, were completed when he was twenty years old, and he was 414 MORGHEN MORONI. then placed under the instruction of Volpato at Rome, whose daughter he afterwards married. He worked for a time in con- junction with Volpato, and assisted him in engraving the " Parnassus " of Raphael and other important works. His best known plates are the "Aurora," after Guido; the "Last Supper," after Da Vinci; the "Transfiguration," and the "Madonna della Seggiola," after Raphael; and many portraits which are very fine. Palmerini, one of his pupils, published an account of all his works. Raphael Morghen was accustomed to give Palmerini an impression from his plates in all their different stages of advancement, and this collection was purchased for 1200 by the late Duke of Buckingham, and is one of the most valuable and complete in the world. Morin, John, born at Paris (1612-1666). This fine engraver left many valuable plates, among which the portraits are especially fine. They are etched in a masterly manner, with freedom and taste, and are much esteemed. Morland, George, born in London (1763-1804). Son of an artist, he early showed his talent for painting. It is said that his father, from mercenary motives, forced him to work continually, and rewarded him by the indulgence of his appetite for rich food and drink. His character was pitiful, and there are no alleviating points in it; he was literally as much a brute as those he painted. His subjects were those of rustic life, and his pictures contain many animals wonderfully well painted, but his pigs surpass all. The latter part of his life he became careless and slovenly in his manner, but the pictures of his best time are masterpieces in their way, and are sold at large prices. Moro, n. See Torbido. Moro, Gio. Battista d'Angeli, born at Verona (1512-1568?). Pupil of Torbido, whose daughter he married. He was a rival of Paul Veronese, and they painted together in the Cath. of Mantua. His best works are in the churches of Venice and Verona. Morone, Domenico. An old painter of whom no authentic ac- count can be given. He was born at Verona, in 1442, and his name is mentioned a few times in the records of the city, but he is espe- cially interesting on account of his son. Morone, Francesco, born at Verona (1473-1529). A fine painter who executed many works. He was the pupil and assistant of his father, but seems to have studied the works of others. In drawing he resembles Mantegna, in color Montagna, and he imitated the softness of the Umbro-Ferrarese school. His works are too numerous for any attempt at a description of them. His master- pieces are in Verona in S. Maria in Organo, and pictures of his are seen in the Brera, Lochis-Carrara Gall., Bergamo, Berlin Mus., National Gall., etc. Moroni, Gio. Battista, born at Albino, near Bergamo (1510- MORONI MOYA. 415 1578). Pupil of II Moretto, and as a portrait painter second only to Titian. It is said that when the Berganiese applied to the latter for their portraits he was wont to tell them to go to Moroni if they would have good pictures. His historical works are unimportant, but his portraits are in many galleries. His own likeness is in the Berlin Mus. Mortimer, John Hamilton, born in Sussex (1739-1779). An artist of great talent and power, but his paintings are few, and he is better known for his etchings than for other works. He lived too fast to live long. He was the pupil of Hudson, and the teacher and friend of Reynolds. His picture of u S. Paul preaching to the Britons," at High Wycombe, is well known. The " Battle of Agin- court," and the " Meeting of Vortigern and Rowena " are the sub- jects of pictures exhibited in 1779. He was elected a member of the Acad. just before his death. His etchings are well esteemed. Morto da Feltri. See Luzzo and Giorgione. Mostaert, Jan, born at Haerlem (1474-1555). A good painter whose works are in the Mus. at Antwerp, the ch. of Notre Dame at Bruges, and in some private collections. His portraits were excel- lent, and all his figures are portrait-like in effect. Moucheron, Frederik, born at Embden (1633-1686). Pupil of Jan Asselyn. He lived some time in Paris and settled at length in Amsterdam. He painted landscapes indifferently well. Some of his later works have figures executed by A. van de Velde and Lingel- bach. His works are seen in public galleries. Moucheron, Isaac, born at Amsterdam (1670-1744). Son of the preceding, whom he imitated but did not equal. Seven of his works are in the Dresden Gall. He left a number of good etchings from his own designs. Mount, William S. He may be called the comic painter of our country. His subjects are rustic genre, and in them he has done full justice to the humorous side of the negro's character. The names of some of his pictures are sufficient to indicate his manner : " Bargaining for a Horse; " " Turning the Grindstone; " " Raffling for a Goose; " " Farmer's Nooning; " " Dance of the Haymakers," etc. Moya, Pedro de, born at Granada (1610-1666). A pupil of Juan de Castillo. A desire to travel induced him to enlist as a foot-soldier in the Flemish army. Amidst the bustle of soldier-life he copied the pictures of the Low Countries. The works of Vandyck fascinated him, and, in 1641, Moya went to London to become the scholar of Sir Anthony. The Spaniard was kindly received, but to his great sorrow, his instructor died within six months. His improvement had been such as to astonish Murillo when he returned to Seville. His works are very rare. In the Louvre there is a large u Adoration of the Shepherds." It is spirited and pleasing, and has something 416 MOYA MUNOZ. of the softness and grace which Murillo perfected. Mr. Ford has a remarkable picture by Moya, formerly at Seville. It represents a girl caressing a dusky swan, and, without doubt, illustrated the fable of Leda, and was originally a nude figure, but probably for fear of the Holy Office, the painter threw over her a saffron-colored robe, and added a cat, a pigeon, and a spaniel, thus converting the heathen myth into a Christian maiden surrounded by her pets. Mudo. See Navarrete. Mulinari or Molinari, Stefano. Flourished 1775. An engraver of many plates after the best Italian masters. Miiller. This is the name of a number of German engravers who lived between 1550 and the present time. John, born at Amsterdam about 1570, was a pupil of Henry Goltzius, and an eminent artist. His plates are numerous. John Gottfried, born at Bernhausen (1 747-1830). He only engraved thirty-three plates. His " Madonna di Seggiola " is considered by some superior to that of Raphael Morghen. A " S. Catherine," after Da Vinci, -and a " S. Cecilia," after Domenichino, are among his best prints. Christian Friederich von, born at Stuttgart (1783-1816). Son of the preceding. He left but few plates, for after he had executed but a small number he was commissioned to engrave the " Madonna di San Sisto," and to this work devoted his life. He labored so constantly as to destroy his health, and did not live to see a finished print from it. The proof arrived a few days after his death, and was suspended above his body on the day of his burial, as the ' ' Transfiguration " had been placed near that of Raphael. Several others of the same name are less important. Miiller, William John, born at Bristol (1812-1845). A land- scape painter, principally remarkable for his numerous fine sketches made during a journey in Egypt, up the Nile, and in Lycia. After his death these were sold for 4360. Mulready, William, born at Ennis, County Clare, Ireland (1 786- 1863). He showed his inclination for art very early, and when thirteen years old had the good fortune to meet with the sculptor Banks, who took him into his studio and befriended him. From this time his improvement and advance kept pace with his years, and he became an eminent artist of genre subjects. " The Sonnet," " First Love," " The Wedding Gown," " The Fight Interrupted," " The Wolf and the Lamb," and " The Barber's Shop," are titles of a part of his pictures, and suggest his style of art, in which he ranks next Wilkie among British painters. Mufioz, Sebastian, born at Navalcarnero (1654-1690). He stud- ied first under Claudio Coello, and then passed some time in Rome. In 1684 he painted with his former master in the Cath. of Zaragoza. When he went to Madrid his works became popular, and he was employed in the Alcazar. In 1688 he was made one of the painters MUNOZ MURILLO. 417 to the King. He deserves especial notice as the last good painter of Castile. He fell from his scaffolding, and died, in 1690. His picture of S. Sebastian was taken to Paris, but is now " the pride of the National Mus. of Madrid." A portrait of Munoz by himself is in the Queen of Spam's Gall., No. 312. Murand, Emanuel, born at Amsterdam (1622-1700). Pupil of Philip Wouvermans. He painted Dutch farm-houses with great perfection. His works are rare in public galleries. The Amsterdam Mus. has one. Murano, Andrea, Giovanni, and Antonio da. Three old painters of the Venetian school of the 15th century. Pictures by all of them are in the Acad. of Venice. Murillo, Bartolome Estevan, born at Seville (1617-1682). As soon as he had learned to read and write he was placed under the care of Juan de Castillo. By him he was taught not only the use of the pencil and brush, but also how to grind the colors, prepare the canvas, and perform all the mechanical parts of his calling. He improved so rapidly that in a short time he painted as well as Castillo himself. When he was twenty-two years of age his master removed to Cadiz. His parents were either dead or too poor to assist him, and he was compelled to support himself by painting for the Feria, or market. This was held on Thursdays, and it was customary for artists to go there with their pictures, carrying also their brushes and colors, and making alterations to suit the taste of the purchasers. A few of the pictures supposed to belong to this early time of Murillo are in striking contrast with his later works, as they hang side by side in the Mus. of Seville. In 1642 Murillo's desire to travel was aroused by observing the improvement of Moya, who had studied in Flanders and England. By means of painting and selling a large number of pictures, which were bought by American traders for ex- portation, he obtained money to go to Rome. When he reached Madrid he went to Velasquez, then painter to the King, and begged for advice and letters of introduction. Velasquez, pleased with the answers to his many questions, invited him to his house, and pro- cured him admission to the Royal galleries. Here he passed two years in copying the works of Ribera, Vandyck, and Velasquez. At the end of that time his patron considered him ready for Rome, and offered to assist him in the journey. But Murillo determined not to leave his beloved Spain, and returned to Seville early in 1645. In considering the merits of this master it should be remembered that he had never seen the antique models which the artists of Italy were wont to study. All that is comprehended in the word antique was unknown to him, for he left Madrid before the purchases of Velas- quez had been placed in the Alcazar, and the only glimpse of classic art which he obtained was through the Italian pictures in the Gall, of Madrid. His ideas, his models, and his mode of expression were 27 418 MURILLO. purely Spanish. About the time of his return to Seville he was em- ployed by the Franciscans to paint eleven large pictures for their convent. The price they paid him was small, but they gave him an opportunity to make his name, and their house, famous throughout Spain; and from the time that these pictures were displayed to the throngs who came to see and criticise, the name of Murillo was placed first among the painters of religious subjects in Spain. In 1648 he S. JOHN. BY MURILLO. Madrid Mus. was married to a rich and noble wife, and was enabled to become the social leader and patron of his order. From this time his works were sought by all the religious houses of Seville. He painted scries for the Cath., for the ch. of S. Maria la Blanca, and, at length, his won- derful works for the Hospital de la Caridad. He also painted for the Capuchins without the walls, and, at the time of his death, was engaged in a convent at Cadiz, where he fell from a scaffold and re- ceived the injuries which proved fatal, while painting the upper part MURILLO. 419 of the large picture of the " Marriage of S. Catherine." The princi- pal group remains as it was left by him, and may still be seen in the convent, now a hospital, at Cadiz. He lived long enough to reach Seville, to arrange his worldly affairs, and died in the midst of his friends. He was buried in the ch. of Santa Cruz, beneath a picture of the " Descent from the Cross," before which he was accustomed to perform his devotions. This was in accordance with his own de- sire. His grave was covered with a slab, on which was carved, by his direction, his name, a skeleton, and two words, VIVE MORITV- RVS. The French destroyed this church, and its site is now covered with weeds and debris. Murillo's pictures may be divided into three classes : his first or earlier manner may be styled cold (/no) ; his second, warm (ca/tWo); and his latest, vapory (yaporoso). To the first period belong his pictures of beggar-boys, peasants, and subjects from common life. Both his later periods were especially devoted to religious subjects. In the first his outlines became softer, and the figures rounder, than in his early works ; but to the last, or vapory period, belongs that beautiful atmospheric effect in which the dis- tinctness of the outline is lost, or shaded off, as in nature. Murillo excelled in the management of drapery, in light clouds, flowers, and transparent waters; and, while he must yield to some Italian painters in knowledge of the accurate rules of art, he was endowed with the power to touch the heart, to awaken tender emotions and religious sympathies. He has justly been called " the painter of the Concep- tion," and has represented this subject with unrivalled grace and tenderness. He has varied the age, the style of beauty, and the sur- roundings of the Virgin, in almost numberless pictures; but all breathe the same purity and spotless innocence; all are the fitting representation of that Mother of Christ who holds so high a place in the religion of the South. It was such pictures as those of Murillo that inspired the cloistered devotees, as they gazed upon them, day by day, to do their penitential work, and to suffer even death itself, with the hope that in the future they should be received with appro- bation by this sweet Mother of their God. He also painted a few portraits, which are of great beauty and value; and in the front of the church of the Hospital of Charity there are five large designs, wrought in glazed tiles, for which he is said to have made the draw- ings. He found time in 1658 to prepare for the establishment of an academy of art at Seville. There was much 'labor involved in this, but he was at last successful, and the first meeting for the purpose of instruction was held in 1660. In character Mnrillo, like Velasquez, was the favorite of his patrons, and found his friends among his fel- low-artists. He had much good sense, was moderate in temper, and wholly wanting in Andalusian egotism. Towards the poor he prac- tised the charity which his pencil taught ; and his epitaph is by no means untruthful, when it says that he lived as one about to die- 420 MURILLO. The following is a list of a portion of his principal works, and the places where they now are : Moses striking the Rock in Ho- reb. The Miracle of the Loaves and Fishes. S. Juan de Dios, carrying a Sick Man. The Guardian Angel. The Saviour in his Youth. The Baptism of Christ. Eight Saints; busts; life-size. S. Ferdinand, armed; full length. The Annunciation. Three pictures of the Immaculate Conception. La Virgen de la Servilleta. S. John the Baptist in the Des- ert. Adoration of the Shepherds. S. Bonaventura and S. Leander. S. Thomas of Villanueva giving Alms at the Door of his Ca- thedral. SS. Justa and Rufina. Portrait of a Bare-footed Friar. Two Landscapes. The Last Supper. The Annunciation. Three pictures of the Immaculate Conception. Our Lady of the Rosary. The Holy Family. S. John Baptist, as a Child, with a Lamb. Adoration of the Shepherds. Christ crowned with Thorns. Two pictures of the Crucifixion. Conversion of S. Paul. 8. Jerome reading. S. Jerome in the Desert. The Porciuncula. S. Francis de Paula. Old Woman spinning. Gypsy Girl. The Annunciation. Seville, Hospital of Charity. Seville, Cathedral. Seville, Public Mus. Seville, Ch. of S. Maria la Blanca Madrid, Queen of Spain's Gall. Paris, Louvre. MURILLO. 421 Joseph interpreting the Dreams. Paris, Louvre< Our Lady of the Immaculate Con- ception; painted for the ch. of S. Maria la Blanca. " Our Lady of the Rosary. " " Three pictures of S. Joseph and the Infant Saviour. " ** Four Sketches of the Prodigal Son. " " S. Augustine, with a Child, on the Seashore. u S. Augustine washing the Feet of Our Lord. " * S. Thomas of Villanueva; two pictures. a Beggar Boy hunting Vermin on his Person. '* ** Portrait of Don Andres de An- drade. tt * Murillo in his Youth. " " A large coll. of drawings executed on paper. Jacob's Dream. The Assumption of Our Lady. S. Joseph leading the Infant Sav- iour. S. Joseph holding the Infant Sav- iour. The Flight of the Holy Family; two pictures. The Nativity of Our Lord. Adoration of the Shepherds. S. Florian. Martyrdom of S. Peter the Do- minican. A Girl in a Green and Red Dress. A Gentleman dressed in Black; called the Brother of Murillo. A Landscape with a Ruined Cas- tle on a Wooded Hill. The Annunciation of Our Lady. Our Lady of the Immaculate Con- ception. The Madonna, with the Child on her Knee. S. John de la Cruz. St. Petersburg, Hermitage. Amsterdam, Public Mus. The Hague, Gall, of the King. 422 MURILLO MUTINA. Our Lady, with the Infant Sav- iour; two pictures. The Virgin, with the Saviour on her Lap. Girl, with a Basket of Fruit. S. John Baptist as a Child. S. Joseph and the Infant Saviour. The Holy Family. A Girl. Our Lady with the Infant on her Lap. Two Boys seated on the Ground. Two Boys throwing Dice, with a Dog eating Bread. Two Boys eating Bread and Fruit, with a Dog by their side. The Holy Family. S. John Baptist as a Child, with a Lamb. Four drawings on Paper. S. Anthony of Padua, kneeling, with the Saviour in his Arms; life-size. Florence, Pitti Pal, Dresden, Royal Gall. n u tt Vienna, Imperial Gall. Vienna, Esterhazy Gall. Munich, Leuchtenberg Gall. Munich, Pinakothek Gall.