TKANsHUl'ltvnoN <>K CHIilST. Ur KAI'HAM.. Vatican. PAINTERS, SCULPTORS, ARCHITECTS, ENGRAVERS, AND THEIR WORKS. BY CLARA ERSKINE CLEMENT, AUTHOR OF "A HANDBOOK OF LEGESDAKY AND MYTHOLOGICAL AKT. WITH ILLUSTRATIONS AND MONOGRAMS NEW YORK: PUBLISHED BY KURD AND HOUGHTON. Cambridge: 1874. KnN-rwi according to Act of C-mgrew, In the year 1873, bj 'HRA ERSKINE CLKME.VT, in the Office of the Librarian of Congress, at Washington. RIVERSIDE, EtECTROTTPEh A MD P R I K T E D BT H. O. HOI1GHTON AXD OOMPAST. To J. MARION SIMS, MY FAITHFUL FKIEND AND PHYSICIAN', I Srfctcate tljtsf Boatt, AS A TOKEN OF KF^PECT, GRATITUUK, AND AFFKCTION. CLARA ERSKINE CLEMENT. 2040227 PREFACE. WHEN I regard a favorite shelf in my library, and consider how exhaustively the subjects of this volume have been treated, I feel inclined to hide it away ; but when I think how many there are in our land who are as much interested in art and artists as I am, and have not the means to furnish such a shelf, I hope that this book may do something for them. I have also endeavored to make it a book of reference which can be easily consulted and used to advantage in connection with more exten- sive works. Much time and study have been given to its prep- aration, and I have aimed to be conscientiously correct as well as unprejudiced in my decisions between conflicting authorities. The books consulted are too numerous to be named except in part, which will be done at the end of this preface. The book is not necessarily connected with my work on " Legendary and Mythological Art," but the two are so related to each other as to be profitably used together. The arrangement of engraving lists is, so far as I know, unique, and will render it a useful handbook for connoisseurs and buyers. The illustrations are representations of standard works of art, most of which are seen in European galleries and churches. A good number of monograms of painters and engravers are also given. I have endeavored in a small space to speak not only of artists as such, but by various facts and anecdotes to convey an idea of what they were in character and life. Three comprehensive indexes are added, which will increase the convenience and usefulness of the book, and in short, in its entire plan I have adopted the motto of Jan van Eyck, " Als ich chan." CLARA EKSKINE CLEMENT. BOSTON, October 14, 1873. AUTHORITIES CONSULTED. D'ARGENVILLE. " Abre'ge de la Vic de plus fameux Pcintres." D'AGINCOURT. " Histoire de 1'Art par les Monuments." " ANONIMO DI MORELLI." BKRMUDEZ. "Diccionario Historico dc los mas Illustrcs Profesorcs de las Bellas Artes en Espana." BLANC, CHARLES. The Works of. CARPENTER. " Memoir of Sir Anthony Vandyck." CUNNINGHAM. " Lives of the most Eminent British Painters." CROWE AND CAVALCASELLE. " Early Flemish Painters," etc., etc. CARTON, L'ABBE. " Lcs Trois Freres Van Eyck." EASTLAKE. "Materials for a History of Oil Painting." DIDRON. " Manuel d'Iconographie Chre'tienne." DAVIES. " Life of Muril'.o." FORD. " Handbook of Spain." FELIBIEN. " Entrctiens sur les Vies et sur les Ouvrages de plus excel- lens Peintres." GAYE. " Carteggio Incdits d'Artisti." GRIMM. "Life of Michael Angelo." HELLER. "Das Leben nnd die Werkc Albrecht Diirers." JA.MESON, MRS. " Italian Painters." KUGLER. Handbooks of Italian, German, Dutch, and Flemish Paint- ing. LANZI. " Storia Pittorica dell' Italia." " LEGEND v AUREA," THE. LUBKE. Histories of Painting and Sculpture. MICHIEL. " Rubens et 1'Ecole d'Anvcrs." MICHIEL. " La Pcintro Flamande." MASCHINI " Guida di Venczia." MILANESI. " Documcnti per la Storia dell 'Artc Scncse." MERRIFIELD, MRS. Translation of "Ccnnino Cennini's Treatise on Painting." NORTHCOTE. " Life of Sir Joshua Reynolds " PASSAVANT. " Rafael von Urbino," etc. RACZYNSKF. " Lcs Arts en Portugal." RUMOUR. "Italienische Forschungcn." RAMBOUX. " Umrisse ztir veranschaulichung alt Christlichen Kunst in Italien." SCIIAFER. Translation, " Das Handbuch der Malerei vom Borgc Athos." x AUTHORITIES CONSULTED. SHAW. " Illuminated Omaments sketched from MSS., etc." STIRLING. " Annals of the Artists of Spain." VOSMAER. " Rembrandt Harmens van Rijn." VILLOT. " Notice des Tableaux du Louvre." VASARI. " Lives of Painters, Sculptors, Architects," etc. VERMIGLIOLI. Memoir, etc., of Pinturicchio and Perugino. WALPOLE. " Anecdotes of Painting." WORNUM. " Epochs of Painting." Dictionaries and Catalogues : Bartsch, Bryan, Elmes, Heineken, Nag- ler, Pilkington, Rigollot, Seguicr, Smith, etc. ABBREVIATIONS USED. Card. Cardinal. Cath. Cathedral. Ch. Church. Coll. Collection. Gall. Gallery. Gio. Giovanni. A/MS. Museum. S. Saint. LIST OF ILLUSTEATIONS. TRANSFIGURATION OF CHRIST. Raphael. Vatican . Frontispiece. APOLLO BELVEDERE. Vatican 6 LAOCOON. Vatican 7 CUPIDS. Francisco Albani 14 MAGDALENE. Correggio. Dresden Gall 26 SPALATRO. Washington Allston 31 THE FALSE PLAYERS. Caravaggio 39 DIRCE. Naples 49 HEAD OF ROXANA. Farncsina, Rome ....... 81 S. LORENZO GIUSTINIANI. Venice . .92 CHRIST. Gio. Bellini 94 RELIEF. From Pulpit, in Sta. Croce, Florence 97 MILKING A GOAT. Nicolas Berchem 100 APOLLO AND DAPHNE. Villa Borghese, Rome 105 A GLORIFIED MADONNA. Berlin Mus. 121 S. JUSTINA AND ALPHONSO I. OF FERRARA. Belvedere, Vienna . . 122 CORONATION OF THE VIRGIN. S. Simpliciano, Milan .... 123 ISAIAH. M. Angelo. Sistine Chapel, Rome 150 MOSES. M. Angelo. S. Pietro in Vincoli, Rome 157 ADORATION OK THE MAGI. Paul Veronese. Dresden Gall. . . . 168 VENUS AND MARS. A. Carracci. Farnese Pal., Rome .... 194 S. JOHN. Cimabue. S. Maria Novella, Florence 209 DEATH OF S. MARY OF EGYPT. Pietro da Cortona 225 GROUP. From a painting by Lucas Cranach ...... 230 S. LUCIA. Crivdli 234 COMMUNION OF S. JEROME. Domenichino. Vatican .... 247 PICTURE BY G. Dow. Vienna Gall 252 THE WOMEN GOING TO THE SEPULCHRE OF CHRIST. Duccio. Cathof Siena 255 S. CHRISTOPHER. Albert Diirer 258 THE ANCHORITES. Hubert van Eyck. From the Ghent Painting . . 267 ANNUNCIATION. J. van Eyck 268 THE ECSTASY OF S. CATHERINE. Gaudenzio Ferrari .... 273 CORONATION OF THE VIRGIN. Fra Angelico. Acad. of Florence . 276 MADONNA. Fr. Francia. Dresden 284 RELIEF. From Ghiberti's Gate to the Baptistery at Florence . . 296 ZACHARIAS WRITING THE NAME OF JOHN. Domenico Ghirlandaio. S. Maria Novella, Florence 29V THE CONCERT. Giorgione. Pitti Gall 305 FIGURE OF S. JOHN. Giotto. From Painting in S. Maria dell' Arena, Padua . 307 FROM THE HISTORY OF NOAH. Benozzo Gozzoli. Campo Santo, Pisa 313 S. PETRONILLA. Guercino. Capitol, Rome 319 *U LIST OF ILLUSTRATIONS. P.MJK MARRIAGE A LA MODE. Hogarth. National Gall. .... :}:;-2 THE HURGOMASTEU MEIER MADONNA. Holbein. Dresden Gall. . 3:i7 CATHEDRAL OK S. MARK. Venice. Byzantine Architecture . . :!44 STILL LIFE. Kalf 35.3 ONE OK THE SEVEN STAGES OF THE PASSION 01 CHRIST. Adam Krafft 357 TEMPTATION OF CHRIST. Lucas van Leyden .... .366 SS. PETER AND PAUL BEFORE THE PROCONSUL FELIX. Filippino Lippi. Brancacci Chapel :j~2 S. URSULA. Cath. of Cologne. Stephan Lothener 379 CHRISTMOUKNEDBYA.M.II.-. Mantegiia. Berlin Mus. . . . 388 PETER BAPTIZING. Masaccio. S. Maria del Carmine, Florence . . i'.i'i THE MISERS. Q. Massys. Windsor Castle :i!t7 S. URSULA LANDING AT COLOGNE. Hans Memling. Shrine of S. Ursula 40:2 A SPORTSMAN. Metsu. At the Hague 4ter-N T euber^ 4-JS BEGGARS BESEECHING THE ANGEL OF DEATH TO TAKE THEM. Attrib- uted to Orcagna. Campo Santo, Pisa 432 CORONATION OF THE VIRGIN. Imhoff Altar-piece, Nuremberg . . 4-18 THE THREE GRACES. Palma Vecchio, Dresden Gall. . . . 441 RELIEF ON A BAPTISMAL BASIN. Lambert Patras. S. Bartln'-K-my, Liege "440 MADONNA. Perugino. Pitti Gall., Florence 4.".0 RAISING OF LAZARUS. Sebastian del Piombo. National Gall. . . 4:>7 A DONATION OF THE KINGS. Nicoolo Pisano. Pulpit in Baptistery ;it Pisa 4.")!) HKAD OF JUNO. Ludovisi Villa. Rome 463 THE DESCENT FROM THE CROSS. Fra Bartolommeo. Pitti Gall. . . 41;:, MOSES AT THE SPUING. N. Poussin 467 A SATYR. After Praxiteles. Capitol, Rome 40!) RAPE OF GANYMEDE, Rembrandt. Dresden Gall 489 THE AURORA. Guido Reni. Rospigliosi Pal., Rome .... 497 LEAR, A STUDY. Sir Joshua Reynolds 502 MADONNA IN TmtRA-OoTTA. Luca della Robbia 510 CHILDREN. Rubens. Berlin Gall. -VJ4 PIRONZE GROUP OF THE BAPTISM OF CHRIST. Andrea Sansavino THK F.XTOMBMENT OF CHRIST. Jacopo Sansavino. From the Bronze Gate of the Sacristy of S. Mark, Venice .Vi.S MADONNA. Andrea del Sarto Mo FROM THK L\ST .Irix.MKvr. Siirnorelli. Cath. of On-ieto . . "'M' PHTI-I:E. By TVniers. Madrid Gall. . . .... AI.I.E(.OI:U AI, PICTI KK. Tintoretto. Dop>'s Pal., Venice . . . :<'> 8. SEBASTIAN. Titian. Vatican THE CHILDIJES OF CHARLES I. Vandyck. Dresden Gall. - . 587 Por.ritAiT Velasquez -v.is JOHN. Pi. in:. AM> JUDAS. Da Vinci. Milan 608 TOMB OK S. SKIIALD. P. Vischer. Nuremberg 613 I'.Ki.n r i KOM THE To MH OF S. SKI-.AI.D. P. Vischcr. Nurcnibi TLT . 014 THE SIBYL AND THK EMPEROR AUGUSTUS. R. van dcr Weydrn. Merlin Mu?. . 020 SHED WITH HORSES. Philip Wonvennaus 02- r > 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 Mas., 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. lie 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 1 732 ; 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 by his knowledge of foreshortening. Algarotti enumerated him " among the first that had adorned the world." His frescoes in Bo- logna were models for the Cai'acci ; 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 ABBATK ABSIIOVEN. 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 \v;is 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 l.Wj he accompanied Primaticcio to Fontaineblean, 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 "Ik-heading of S. Paul " i- at Dresden ; and ' The Rape of Proserpine," with a "rich, fantastically lighted landscape," is at Stafford House Gall. Abbiati, Filippo, born at Milan (16-10-1715). 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 do 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. Hhienne du Mont, are by this master. Abel, Joseph, died at Vienna (17G8-1818). Pupil of Fiiger. He was employed by the Czartorysky family. II- 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 (1744-1800). He has been called the best painter of Denmark. His principal pictures were subjects taken from the ancient poets. When the palace of Christianliori: was burned in 1794. some of his best works were de- stroyed. Fiissli relates that this so affect cd his mind that he painted but little afterwards. Abshoven, or Apshoven (1648-1690). Kugler calls him Mi- chael; he i-: 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 his name from his works and substituting that of Teniers. ACEVEDO ADRIANO. 3 Acevedo, Cristobal, born at Murcia. Pupil of Bartolome Cardu- cho at Madrid in 1 585. 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 y\ 1552; died at Prague 1615. A pupil 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 (1710-1 780). 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- ate 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 three figures to replace those of Montanes ; and CVan Bermudez asserts that even the inestimable works of Alonso Cano were put aside to be replaced 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. He imitated Leonardo da Vinci. An altar-piece in the ch. of S. Maria delle Gra/ie at Milan, is attributed to him. Adolfi, Giacomo, born at Bergamo (1682-1741). In the ch. of the monastery Del Paradiso, 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 della Croce. Adolfi, Giro, born at Bergamo (1683-1758). Brother of Giacomo. Distinguished himself in fresco painting in the edifices of Bergamo. The "Four Evangelists" 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 ch irch at Colognola is a'so admired. Adriano. A barefooted Carmelite of Cordova. Pupil of Paul 4 ADRIAXO AETK >N. de Cespedes. His convent had for a long time a Mairdelene by Adriano, which was considered a Titian. He was in tin- haliit of destroying his works because they seemed to him so interior. But his brethren have preserved a few by interceding in the name- i 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 1.177. 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 l.~>2<>. Aertszen, Pieter, called Lange Peer, born at Amsterdam. Writers differ as to the year of his birth, 1.107-17, and 19, are all given. Died at Amsterdam in 1573. He was a pupil of Allard Claessen. When quite young he painted genre pictures, whieh 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 Iconocla>ts 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 arti.-t in their own city. He sometimes painted market M't-ncs, one of which is in the Vienna Gall., Antwerp Mus.. No. l.V.t; 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 savs that he did not live in ancient times, and it is generally believed that he was of the time of Hadrian and the Antonines. ll\< great work described by Lucian, reproented the " Nuptials of Alexander and Roxane," with Erotes busy about them, and the armor of the kin-j. This picture excited so much admiration when exhibited at the AKTION AGASIAS. 5 Olympic games, that Proxenidas, one of the judges, exclaimed, " I reserve crowns for the heads of the Athletic, but I give my daughter in marriage to the painter Action, as a recompense for his inimitable picture." This painting was carried to Rome, where Lucian saw it. Aetion 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 of 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 Xuovo, and represents the " Assumption of the Virgin Mary." Domiuici 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 1640; 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 invited 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 Ephesians of this name are mentioned. Agasias, son of Dositheus, whose name is on the Borghese " Gladiator ; " Agasias, son of Menophilus, a sculptor in the island of Delos when it was tinder Roman 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 Emperors at Antium. From the attitude of the so-called " Gladiator," it is plain that it represents a warrior contend- ing with a horseman. Miiller thinks it may have been taken from a large battle group, in order to finish it with greater refinement of art. Thiersch 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 JEgis with the Gorgoneia, which had a paralyzing effect, and was lent to Apollo by Jupiter, according to Homer (" Iliad," xv. 318, el seq,). Ludwig Preller believes that this statue represents Apollo in 6 AGASIAS AGATHARCUS. the battles with the Gauls before Delphi. Liihke says : " Not till now have we understood the Apollo Belvedere Ardently ex- cited, and filled with divine anger, with which is mingled a touch <>t triumphant scorn, the intellectual head is turned sidewards " (sec 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 seern to breathe forth divine anger." APOLLO BELVEDERE. Vatican. Agatharcus, an Athenian painter. Vitruvius says he was the in- vent.or of scene-painting, and painted a scene for a tragedy which /Ksehylus exhibited. This contradicts Aristotle, who says that Sophocles introduced this art. Dr. Smith thinks that pnihably scene-painting was introduced towards the close of the career of .I'^ehvlus, but was not in general use until the time of Sophocles. There wa< another Greek painter named Agatharcus, of the time ot 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 u. 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 the island of Rhodes. Pliny is the only writer who speaks of him, and but one work of his is known, the ' Laocob'n " of the Vatican. In this he was assisted by Polydorus and Athenodorus. Another statue, found at Antium, shows that Atheno- dorus was the son of Agesander. It is thought not unlikely that Polydorus was also his son, 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 Esquiline Hill, in 1506. 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 repose of true Grecian art. Laocoon was a priest of Apollo, AGESAXDKR AGNOLO. and had committed some crime against that god. who sent two im- mense serpents from the island Tenedos to kill him just as he was ottering a sacrifice, assisted by his two sons. Laocob'n 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 breac.li 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 expre.->ion 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 prai.-ed his coloring. Pliny speaks of a younger Aglaophon, contemjMira- neous with Alcibiades. He was probably the son of Aristophon, .-is 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 Xemean games held Alcibiades in her lap. Alcibiades could not have won am 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, l>orn at Lugano (173G-1786). Said to have discovered the method of fixing colors on marble. Agnolo, Sienese sculptor. See Agostino and Agnolo. Agnolo, Baccio d 1 (1460-1543). In his youth he was an ex- cellent artist in inlaid works. lie executed some fine things in wood for the churches of S. Maria Novella, and the Xunziata at Flor- ence. These last were removed when the Xunziata was re-adorned. After studying zealously at Home, 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 discus>ions were held. At length after he had proved his ability, the most magnificent buildings were committed to his care. lie 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 Bartolomeo. lie also took part in the erection of the steps leading to the Hall now called that of the D.igento. and also the marble doors to the same. On the Piazza di Santa Trinitii 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 prompdus 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. lie was at length appointed architect of S. Maria del Fiore, and made a model for the gallery encirclino- 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 Messer Ugolino Grivoni, Signer of Alto- pascio. But space would not allow the enumeration of all his works. He was associated also with Baccio Bandinelli in various affairs, one of which was the reconstruction of the great hall in the ducal palace. which was a failure, according to Vasari ; another was the choir in S. Maria del Fiore, etc., etc. He also made couches, picture-frames, and various wood carvings Died 1555. Agnolo, Domenico. He excelled Giuliano in wood-carving, and was a reputable architect. He completed the terrace for the house of the Xasi family, which his father had commenced, and executed several good architectural works. He promised to excel both his father and brother, but died before he reached his prime. Agoracritus, born in the island of Faros. Scholar of Phidias. Brass-caster and sculptor. He was so much the favorite of Phidias, that the master is even said to have put the name of this disciple upon some of his own works. Four of the works of Agoracritus are mentioned by different authors : namely a statue of Zeus ; a statue of the Ionian Athene, in the temple dedicated to her at Athens ; a statue in the temple of the great goddess at Athens, probably a Cybele ; 10 AGORACMTUS AGOSTINO. and the Rhamnusian Nemesis. It is said of this last that it was originally a Venus, for Agoraeritus and Alcamenes contended with each other in making a statue of that goddess, and when the Athe- nians gave the preference to the statue of Alcamenes, Agoraeritus changed his to a Nemesis, and sold it to the people of Rhamnus. making the condition that it should not be set up in Athens. Al- though this story is often repeated, it is not known to he true, and Pausanias says that this same Nemesis was the work of Phidias ; hut be that as it may, there is no doubt that Agoraeritus was a great sculptor from 440 to 428 u. C. and the other works attributed to him were undoubtedly his own. Agostino and Agnolo, Sienese sculptors, died l.'US and 1350. In 1284 Giovanni Pisano visited Siena to prepare designs for the Cathedral. Agostino, said to have been at this time about fifteen years old, became his pupil. So great was his talent, and his appli- cation to study, that he soon surpassed his co-diseiples. Meantime his young brother, Agnolo, had made some secret attempts at sculp- ture, and from constant intercourse with Agostino and other artists had acquired a love for their art. At length Agostino prevailed upon Giovanni to employ Agnolo, together with himself, in executing a marble altar for Arezzo. Agnolo so acquitted himself, that Gio- vanni continued to employ the two at Pistoja. Pisa. etc. They ;dso studied architecture, and in 1308 were employed by the Nine, who ruled Siena, to make designs for a palace. When Giovanni died they were appointed architects to the State, and in 1317 directed the building of the north front of the Cathedral. After desi'_riiini_ r the Porta Romana and other ^ales, a church, convent, etc.. they were invited to Orvieto by the Tolomei family, and there executed sculp- tures for the ch. of S. Maria. In 132G Giotto visited Orvieto, and pronouncing the Sienese brothers the best sculptors who had worked there, recommended them to Piero Saccone da Pietramala, :\s the best persons he could employ to construct the tomb of Guido, bishop and lord of Arezzo. This work they did after the plan of Giotto, which occupied them three years. The tomb was very beau- tiful, and was adorned with sixteen relievi. representing the principal events in the life of Guido. They then executed an altar for the ch. of S. Francisco at P>olo_rna. and when '.he I 'ope promi-ed to remove to that city, tlioe >culp;ors were employed to make designs for the eastle fortress to be built for his reception. AYhile they were at Bolo_nia the Po burst its banks and caused great destruction of life and property. Tins,' brothers found means to rccondnet it to its channel, and for this were honorably rewarded by the lords of Mantua, and the house of Kste. In 1338 they returned to Siena. where a new church wa- erected after their designs, and they were employed to construct a fountain on the principal piazza of the city. This was successfully done, and the water let on June 1, 1343, greatly AGOSTINO AGUIKRE. 1 1 to the joy of the Sienese, and the glory of the artists. After several other works in Siena, Agnolo went to Assisi to build a tomb, while Agostino remained at Siena in the service of the state, where he soon after died. It is not known where Agnolo died. Agresti, Livio, called also Livio da Forli, from the place of his birth, the date of which is not known, died about 1585. He was a fellow-student with Luca da Ravenna under Pierino del Vaga at Rome. Vasari calls him the rival of Luca. There are works of Agresti in many churches and public buildings at Rome. In S. Caterina de Funari he painted an " Annunciation" and " SS. Peter and Paul." In a chapel of S. Spirito in Sassia, the " Assumption of the Virgin." Pope Gregory XIII. employed him to assist in the great works at the Vatican, where he painted a fresco in the grand stair- case, representing the submission of Philip of Arragon to Pope Eugenius III. But his best works arc in Forli. In a chapel of the Cathedral he painted the " Last Supper," and in the vault some fine figures of the prophets. He also painted seven pictures on cloth of silver, to be used as hangings for the Card, of Augusta, who sent them as a present to the King of Spain, in which country they were thought, very beautiful. lie also painted a picture on cloth of silver for the ch. of the Theatines in Forli. Agricola, Christopher Ludwig, born at Regensburg (1GG7-1 719). Portrait and landscape painter. He studied principally from nature when travelling, and his pictures resemble those of Poussin. He lived some time at Naples, and some of the pictures he painted there were carried to England. In the Dresden Gall, there are two works of his, Nos. 1784 and 1785. The Vienna Gall, has one of his finest landscapes, representing the ruins of a monument and the pillars of a temple, seen between the trees. Agua, Bernardino del, a Venetian painter. He executed frescoes in the cloister of the court of the Evangelists at the Escurial. 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 (1G26-1670), pupil of Martinez. When Philip IV. 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 1660. He acquired considerable reputation for small pictures in oil. He 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 AGUIIiRE AKERS. cially devoted himself. He commenced at Toledo in 1641], and was employed to restore the pictures in the Cathedral. Like manv 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 Koine, 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 8. 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 Siciiia." In several other churches of Palermo, and in its gallery, there are works of this artist. Aikman, William, born in Aberdeenshire (1682-1731). lie 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. lie had no success. ;;nd in 1723 removed to London, where he became the friend of Sir (', 1- frey Kneller, whom he imitated. His career was short. There is a head of Gay by Aikman, which is good. lie bad <_ r ood 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 1749. A Flemish artist, he ]>a--ril 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, 18ol. 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 i-f ornamental wo. id-work, from original designs, lit- invented a -liiu- 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 1o Palma, the younger, with whom he painted thirty-four years. Several pictures by Alberelli are in his native city, the most esteemed being the "Baptism of Christ " in the ch. of the OgnissantL Alberici, Enrico, born at Vilminore in Bergamo (1 714-1 77;>). Pupil of Ferdinando Cairo of Brescia. He had a good reputation. and painted his principal pictures for the ch. Dei Miracoli. at Brescia. Albertinelli, Mariotto, born at Florence (1474-1515). His father placed him with a goldsmith, but he determined to be a painter, and entered the school of Cosimo Rosselli, where he was the intimate friend of Baccio della Porta, called Fra Bartolommeo. Mariotto imitate:! Baccio so closely as to render it difficult to distin- guish between the two, especially in some works which they did in company, and he was called a second Bartolommeo. After they left Rosselli they dwelt together. Mariotto became the protege of the wife of Pietro dei Mediei, and painted for her several pictures, besides her own portrait. When Pietro was banished, Mariotto returned to the house of Baccio. When the latter became a monk, Mariotto was almost insane with grief, and could interest himself in nothing. Baccio had left unfinished the " Last Judgment " for the Cemetery of S. .Maria Xuova, and as he had received p ; irt pay- ment for it he desired Mariotto to complete it. He did this with great care. He could not equal Baccio, because not ecjnallv uifted by nature; but the pictures of both had the same life in action, elegance in proportion, and sharpness and careful minutenos in finish. His earlier works were lost. One of the oldest known is No. 25 Louvre, " Christ appearing to the Magdalene." In 1503 he executed " The Salutation," now in the Uffizi, and generallv consid- ered his master-piece, lie next painted the fine "Nativity." No. 365 Pitti Gall. Soon after this Fra Bartolommeo resumed his brush and became the head of the work-shop of S. Marco. Mariotto painted "The Crucifixion," No. -24 Louvre, and received many pupils, lie spent much time attempting to improve oil mediums. hcin espe- cially dissatisfied with the white, but his experiments amounted to little. He could not endure criticism, and became so disgusted with it that he forsook painting and kept a tavern. lie declared himself then "where there was no embarrassment with perspective, fore- shortenings, or muscles, and no criticism or censure to dread ; " and that his former calling "was to imitate flesh and blood, whereas that lie had adopted made both llesh and blood." But he soon hated this more than painting, which he resumed. Late in life lie went to Rome, where he became ill. He was taken to Florence on a litter, ALBERTINELLI ALBERTI. 1 7 and died. The following are some of his works not yet mentioned : A "Trinity," No. 73. Florence Acad. of Arts; an "Annunciation" at Munich, Pinacothek, Saal. No. 545 ; "Marriage of S.Catherine," on wood. Hermitage, St. Petersburg, No. 21; an " Assumption " in Berlin Mus., painted by Mariotto and Baccio ; National Gall., London, No. 645, and many others in the Prince Gortschakoff' Gall.. St. Petersburg ; the Ex-Pourtales Gall., Paris, etc. Alberti, Leon Battista, born at Venice (1404-1472). The name of Alberti is distinguished in all branches of Art. Leon was :;n architect and of a noble family of Florence ; at the time of his birth his parents were in Venice, in order to escape persecution at home. He was a man of superior literary talents and cultivation, a fine mathematician and geometrician. He wrote ten books upon architecture in Latin, three books on painting, and other smaller works. Under Nicholas V. and in connection with Bernardo Ros- sellino, he superintended numerous public works at Rome. At Rimini, for Sigismondo Malatesta, he made a model for the ch. of S. Francisco. He was next employed by Gio. di Paolo Rueellai, who had determined to adorn the principal facade of S. Maria Novel- la at his own cost. This work was completed in 1477, and was much admired. For the Rueellai family he also designed palaces, and a chapel in the ch. of S Pancrazio. For Ludovico Gonzaga, Mar- quis of Mantua, he modelled the chapel which he built in the Nun- ziata at Florence. He went afterwards to Mantua in the service of the same nobleman, and made designs for the ch. of S. An- drea, and other works. Leon painted a few pictures, which have been destroyed ; they had no great merit, but served to show that he could express himself with brush or pencil. All writers who men- tion him agree that as a refined, elegant, and scholarly gentleman he had few equals. Alberti, Michele, born at Borgo S. Sepolcro, 1527. Pupil of Daniello Ricciarelli, called da Volterra. His principal work was a picture of the " Murder of the Innocents " in the church of Trinita- di-Monti at Rome. G Q Alberti, Cherubino, born at Borgo S. Sepolcro / 13 '/V, (1552-1615). Son of the preceding, by whom JL J_) / _/ V3 he was instructed in painting. His principal pictures were in the church of S. Maria in Via at Rome. He is chiefly distinguished as an engraver. It is not known with whom he studied this art, but his plates are remarkable for his time. They seem to have been executed entirely with the graver, the point not being used. His figures were better than his draperies. His prints have preserved some of the friezes of Polidoro da Caravagiiutij>i>'<>i- . The Flight into Kgypt, 1574. Another Holy Family : S. Joseph seated, with a Book. The 1 Body of Christ supported in the Clouds by an Anirel. in- M-ribed, Maynum jiictatlx opus, etc. The Virgin Mary and Infant in the. Clouds; inscribed. Hfyiiiu ccell. Mi-.ry Magdalene Penitent, 1582. S. Catherine receiving the Stigmata. l.~>74. S. Christian drawn out of the Sea. S. Francis receiving the Stigmata, 1599. S. Charles of Borromeo, kneeling before the Virgin and Infant, 1612. Six of Children, for ceilings ; dedicated to Card. Viseonti, KiuT. Albert!, Giovanni, born at Bov_o S. Sepolcro (1558-1601). Brother of Cherubtno, an I instructe.l by their father. He excelled in landscapes and perspective, and the figures in his pictures were often done by Cherubiuo. Po]ie (Jregory XIII. employed him in the Vatican, and Clement VIII. in the Lateran. His portrait is in S. Luke's Acad. Alberti, Durante, born at Borgo S. Sepolero 1538. died at Rome 1613. Went to Rome when very young, (ire-ory XIII. was then Pope. He soon distinguished himself, and his pictures are in scMTal places in Rome. He was buried with great distinction in the Chi sa del Popolo. and his portrait is in ihe Acad. of S. Luke. In the eh. of S. Maria de Monti he painted " The Annunciation." and in S. Girolamo della Carita. an enthv chapel in fresco, and the altar- piece in oil, which last represented the Virgin and infant Saviour with SS. Barfolomeo and Alessandro. Alberti. There were other artists of this name, whose works are not well denned. Antonio of Ferrara lived in M'-o. and had a son of the same name. Pietro Franei>co ( l.~>M-li;;>*) was a son of Durante. and was a painter and enirraver. Albertoni, Paolo, died about 1695. This artist was a follower of Carlo Maratti. and painted in his style. Sonic of bis pictures are in the churches of S. Carlo. S. Marin. and other churches in Rome. Albertus, H. C., born in Saxony: died Itiso. Hi< portrait of John SeckendorfF, rector and professor of Xwickau. is a fine work of art. Albini, Alessandro. Zani says be was born in 1")^6 and died in 1C46. Malvasia calls him a Bolognese, and a disciple of the school ALBINI ALDEGREVER. 19 of the Caracci. He made designs for the funeral ceremonies of Agostino Caracci, which greatly added to his reputation. At Bo- logna there is a picture by this master in the ch. of S. Michele in Bosco, representing the " Sepulture of SS. Valerian and Tiburtius," and another in S. Pietro Martire, representing SS. Peter, Cather- ine, and Cecilia. Alcamenes, born at Athens, scholar of Phidias, perhaps of Critias also. Brass-caster, sculptor, toreutes, and cleruchos in Lem- nos. He flourished from 444 to 400 B. c. His chief productions were images of the gods. Among these were two statues of Athene, one of which, after the expulsion of the thirty tyrants by Thrasybu- lus, was placed in the temple of Hercules at Thebes, together with a colossal statue of Hercules by the same sculptor (403 B. c.) ; a three-formed Hecate (the first of its kind), and a Procne in the Acropolis at Athens ; a statue of Mars in the temple of that god at Athens ; the Battle of the Centaurs and Lapithae upon the western pediment of the temple at Olympia ; an JEsculapius at Mantineia ; a bronze statue of the victor in the Pentathlon ; and a statue of Hephaestus which represented his lame-ness without making it a deformity. But the most renowned of all his works was his " Venus," called from where it was set up, 'HtV K^TTOH 'A^poSir-rj. The breasts, hands, and cheeks were particularly admired ; and it was said that Phidias put the finishing touches to this work. Some suppose that this was the statue which took the prize from that of Agoracritus. There is also a story that Alcamenes and Phidias contended in mak- ing a statue of Athene, and that before they were set up that of the pupil was most admired for its beautiful finish, but when they were in place the strong lines of that of the master were so effective that the Athenians gave him the preference. / f Aldegrever, Heinrich, born at Soest in Westphalia, ff\ (1502-1562). As a painter he is less important than as an ** ' engraver. His style so closely resembles that of Albert Durer that he has been called Albert of Westphalia. His works show untiring labor, but his figures are often deformed and even hideous. In the Berlin Gall., a picture by him of the "Last Judgment" is very peculiar, especially in the upper part where Christ, the Virgin, and John the Baptist, are represented ; the trumpet-angels and the demons among the damned are worthy of notice, and in fact the whole picture is very striking. In the National GalK, London, there is a " Crucifixion " by Aldegrever. In the Berlin Mus. there is a por- trait of an old man, and in the Lichtenstein Gall, at Vienna one of a youth, which is clever. His prints are numerous. Among the por- traits, those of Luther, Melanchthon, John of Leyden, and Bernard Knipperdolling, deserve notice. Of historical and religious subjects there are no less than one hundred and thirty-nine well-known plates. In one of Titus Manlius, ordering the execution of his son, 20 ALDEGREVER ALDROVANDIM. the instrument of death resembles the French guillotine ; this is dated 1533. Thirteen plates of the " Labors of Hercules " are fine and rare. and the etching of " Orpheus and Eurydice," the only one of this master, is very rare. Aldighiero, 01 Altichiero da Zevio, a native of Zevio, near Verona, was a painter of the early Paduan School. He decorated the chapel of S. Felice in S. Antonio at Padua with wall paintings. about 1370. Liibke says he displayed in his works a lively concep- tion and richly finished coloring. The pictures in this chapel repre- sent scenes from the legend of S. James Major. That of the land- ing of the body of the saint on the coast of Spain, is especially fine. He was associated with D'Avanzo Veronese, who was one of the worthiest of the followers of Giotto, and their pictures wen 1 equal to anv of the school of that master. Aldighiero was so much asso- ciated with other artists that there have arisen never-ending disputes as to what he did or did not do, but the records show that he painted the chapel of S. Felice. In the work of Crowe and Caval- caselle, it is said to be no exaggeration to call this chape! the noblest monument of the pictorial art of the fourteenth century, and that none but the greatest Florentines had done better. " Aldobrandini Marriage." This is one of the most valuable relics of ancient painting. It was discovered on the Ksquilinc Hill, near the arch of Gallienus, in the early part of the seventeenth cen- tury, during the time of Clement VIII. It was taken from the wall, and became the. possession of Cardinal Aldobrandini, who after hav- ing it restored by Domenico del Frate. placed it in his villa on the Quirinal ; hence its name. It is a composition of ten figures, and rcprc>cnts three scenes arranged like an ordinary bas-relief. In tin- centre the bride is seated on a bed, while another female speaks to her; the bridegroom is crowned with ivy, and seated on a stool at the end of the bed with his face turned to the bride. On one side the attendants make ready a bath; on the other musicians sing the " Epithalainium " or wedding song. In 1818 Pius VII. paid 10,000 8cudi, or about 2,000 guineas for this fresco, and placed it in the col- lection of the Vatican. Aldrovandini, Mauro, born at Bologna (1G49-1680). An eminent architect. As a painter he belonged to the School of Cignani, with whom he painted in the Pala/./o Publico at Forli. Aldrovandini, Tommaso, l>orn at Bologna (1653-1736). Nephew of Mauro, by whom he was instructed. He excelled in perspective and architectural views, and worked much with Carlo Cignani and Antonio Franceschini, who executed figures. In conjunction with the latter. Tommaso painted the ' Council Chamber of Genoa," his greatest work. Aldrovandini, Pompeo Agostino (1677-1739). Cousin and pupil of Tommaso. One of the most celebrated Italian painters of ALDROVANDINI ALFANI. 21 his time. He worked in oil, fresco, and distemper, and was much employed on the public buildings of Vienna, Dresden, and Prague. Aleman, Cristobal, introduced the art of glass-painting in Se- ville and painted a window for the Cath. in 1504. Alen or Olen, Jan van, born at Amsterdam (1G51-1698). A painter of landscapes and still-life. A good imitator of Melchior Iloudekoetor. Aleni, Tommaso, born at Cremona (1500-1560). Scholar of Galeazzo Campi. His works were so much like those of his master as to be distinguished with difficulty, as may be seen in the ch. of S. Domenico at Cremona. Alesio, Mateo Perez de, born at Rome. Flourished about 1585 ; died 1600. He went to Spain, attracted by the generous love of art of King Philip IT. His chief works were fresco-paintings in the churches of Seville. Grandeur of design was his chief characteris- tic. In the Cath. of Seville he painted a S. Christopher, which is still preserved. The figure of the saint is thirty-three feet high, and his leg is three feet across the calf. This was done in 1584. He also painted in the ch. of S. Miguel, and other public edifices. Ale- sio was almost the first to acknowledge the superiority of Luis de Vargas, but it is said that he returned to Rome, because the pictures of Vargas were preferred to his own. Alexander, Francis, born in Windham County, Conn., in 1800. At eighteen he was a school-teacher. He commenced his painting by attempting to reproduce in water-colors the beauties of some fish he had caught. His success was a surprise, both to himself and his mother, who encouraged his further use of the brush. In spite of scanty means he went to New York, and studied with the Scotchman, Alexander Robertson. He made friends, and received some com- missions in Providence. From there he went to Boston, and soon made a good reputation as a portrait painter. In 1831 he went to Italy, where he resided for many years. In 1833, together with Harding, Fisher, and others, he exhibited a number of his pictures in Boston. Alfani, Domenico di Paris, born at Perugia 1483, living, 1553 ; time of death not known. Scholar of Perugino. He was an ardent admirer of Raphael, whose style he imitated ; had little originality. In middle life he caused his family of natural children to be legiti- mized and made his son Orazio his partner. He was a registered master in Perugia in 1510. The earliest known picture of his is a '' Madonna and Child with SS. Gregory and Nicholas " in the Collegio Gregoriano at Perugia. It is on wood, in oil, figures life-size, dated 1518. A fine picture, full of the beauties of Raphael. In the ch. of S. Francisco at IJettona is ? fine fresco of the " Virgin and Child " with four saints, which reminds one of the " Madonna di Foligno." At Diruta in the ch. of S. Antonio Abbate, there rre 22 ALFAXI ALFARO. four pictures representing scones in the life of S. Anthony ; much injured.' In the Cath. of ('ink della Pieve is an altar-piece V>\ Doraenico : wood, oil, figures life size, dated 1521. In the gallery at Perugia a " Virgin and Child " with saints and angels : wood, oil. O figures life size. In 1527 Rosso was at Perugia with Alfani, and fron: that time his style seems changed, which may lie seen in the pictures at S. Giuliana at Perugia. In 1553 the father and son together painted a ' Crucifixion " for S. Francesco at Perugia, and as tlie\ painted much in conjunction, there are various pictures which cannot be assigned to either one. One of these is a graceful ' Holy Family '' in the tribune of the Uffizi. In 1525 he painted frescoes at the villa of Prepo near Perugia. In 1527 he was commissioned to paint an altar-piece for Castel Rigone. In 1535 he painted the arms of Paul III. on the Pal. of Perugia; in 1536 a " S. Louis " in S. Fran- cesco, and in this same year married the mother of his children. His will was made in 1549, and as before said, he was living in 1553. Alfani, Orazio di Paris, born at Perugia 1510, died at Rome 1583. Also a pupil of Perugino and an admiring imitator of Ra- phael. His reputation more than equalled that of his father. In the transept of S. Francesco at Perugia is a " Nativity " by this an 1st. singular for the introduction of " S. Anna " who has a basin of water: said to have been dated 15:>till whin be was banished Alfaro forsook him. and yet did not hesitate to solicit his patronage when recalled. The rebuff' he received is said to have brought on melancholy and caused his death. In the ch. of the Carmelites is his " Incarnation," and at Madrid, in the ch. of the Imperial College his celebrat.-l Guardian Angel." ALFON ALLAN. 23 Alfon, Juan, born at Toledo. In 1418 he painted several reliqua- ries lor the Cathedral which are still preserved. Algardi, Alessandro, born at Bologna 1598. He was an architect, sculptor, and engraver. A pupil of Giulio Cesare Convent!. His plates which remain are few ; they are executed with a graver, in the free bold manner of Agostino Caracci, and are as follows : A large, upright plate of The Crucifixion. The Souls delivered from Purgatory ; oval. The Blind Beggar and his Dog ; after Caracci. Eighty plates of the Cries of Bologna ; after Caracci. These were executed in conjunction with Simon Guillain. He is best known as a sculptor by a large rilievo in marble, over an altar in S. Peter's at Rome. It represents the appearance of SS. Peter and Paul to Attila and his hosts. While this work has some merit, it has great faults, especially those of confusion and want of breadth. Aliamet, Jacques, born at Abbeville 1728, died in Paris 1788. An engraver who excelled in landscapes and sea-pieces. Aliamet, Francois Germain, younger brother of Jacques. Born at Abbeville 1 734. After studying engraving in Paris, he went to London, where he was under Sir Robert Strange. His works were inferior to his brother's, and consisted of portraits and historical subjects. Aliberti, G-io. Carlo, born at Asti (1680-1740). His prin- cipal works were frescoes in his native city. He painted the cupola of S. Agostino, and other pictures for the same church. Bryan says, " His style consists of a mixture of Maratta, of Gio. da S. Giovanni, and of Correggio ; heads and feet that might be attrib- uted to Guido or Domenichino ; forms peculiar to the Caracci ; dra- pery of Paolo, and colors of Guercino." Alibrandi, Girolamo, born at Messina (1470-1524). Pupil of Gio. Bellini, and a friend of Giorgione at Venice, where he spent many years. He then entered the school of Leonardo at Milan, lie has been called the Raphael of Messina. The chef-rV (Kucre of Messinian pictures is his " Purification " in the ch. of Candelora. It has perspective, grace, and pleasing color. Polidoro admired it so much that he painted a " Deposition from the Cross " in distemper, to serve as a cover and protection to it. Aliense. See Vassilacchi. Allan, David, born at Alloa, Scotland (1744-1796). After studying in the Academy at Glasgow, he went to Italy, and took the prize 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," M Prisoners conveved 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 wns 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 lueto 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. A'ery 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 pla_nu at Correggio. He appears, however, to have been largely the founder of his own style. He is the greatest master of li^lit and dark, or chiaro-scuro, whether effected by color or shades. His management of li'.dit 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-live 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. ^ lie 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, " Our wonder will cease, when we reflect, ALLEGRL 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 hut 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- gelists 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 sterns 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 ^enii ; the whole is a vast throng of angels, saints, etc., for in the four pendentives beneath the cupola, are the- patron saints of Parma, seated on clouds, and surrounded by angels. A pious rapture seems to be diffused through all, and the richness and boundlessness of the i ffect can scarcely be conveyed in language. Of course these figures are all much foreshortened, and the artist was told, " Ci avctc fatto un guazzetto di rane " (you have given us a hash of frogs). Besides 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 " II Giorno," 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 oftenest 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 was 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 Ziogarella" (the Gypsy), so called from the turban worn by the Virgin, is a picture of " The Repose during the Flight to Egypt," 20 ALLEGUI. and is very beautiful. Other important pictures in the Gill, at Parma are " The Madonna della Scodella," so culled from the cup in the hand of the Virgin ; " The Deposition from tin- Cross," and >- Tin- Martyrdom of SS. Plaeida 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. Prr-dm (Jail. 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 AUOIIV of Christ upon the Mount of Olives," a remarkable eabinct picture; it was presented by Ferdinand VII. of Spain to the first duke. The " Christ in the Garden with the Magdalqne," 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 siirn to an 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 (Jail, and the son of the duke cut out the head of To 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 (Jorreggio. At the Borghese Gall, at Home, 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 Parma, he said, " Were I not Titian, I should desire to be Correggio." Annibale Carracci wrote from Parma in 1580, " Tibaldi, Niccolini, Raphael himself, arc- 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 the masses, prayers, and alms of the community, and was accompanied with a promise to perform the same offices 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 was probably his model for " La Zingarella " after the birth of his first child. She bore him one son and three daughters, and died in 1529. He did not marry again, and died suddenly in 1534. The story of the great poverty of Correggio, 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. ui Parma, 11- 10s. for " La Notte," etc., seem to us very small, but we must consider the value of money in those days, and these sums arc not inconsiderable. It is not known whether Correggio ever visited Rome or not, and various arguments are 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. Engraver, AXDERLOXI, Pietro. Magdalene. Engraver, AUDOUIN, Pierre. Jupiter and Antiope. Engraver, BAZIN, Nicholas. The Virgin Mary suckling th:' Infant. Engraver, BEAUVAIS, Nicholas Dauphin de. The Virgin with the Infant Jesus upon a pedestal, and several saints below. Engraver, BERGKR, Daniel. The A r irgin and Child. Engraver, BERNARD, Samuel. Mezzotinto, The Repose ; called La ZingareUa. Engraver, BERTELLI, Cristofano. The Virgin and Infant, with SS. Sebastian, Francis, and Roch. Engraver, BONAVKRA, Domenico Maria. The Cupola at Parma : the Assumption. Dmninico Bo\avera, s-. 1(597. 28 ALLEGRI. Engraver, BRIZXIO or BKICCIO, Francesco. The Il.ily Family. Engraver, CAPITKM.I, Bernardo. Tli.- Marriage of S. Catherine. Kiii/raver, CARACCI, Agostino. The Virgin and Infant with Mag- dalene; S. Jerome and an Angel ; 1586. Engraver, CHATEAU or CHASTKAU, William. The Repose in Egypt. Engraver, CORT, Cornelius. The Marriage of S. Catherine; S. Jerome. Engraver, CUNEGO, Domenico. The Virgin and Infant. Engraver, DUCHASGE, Gaspar. Jupiter and lo; Jupiter and Danae; Jupiter and Lola. Engraver, EARLOM, Richard. The Repose, called la Zingara. Engraver, EDELIXCK, Nicholas. The Virgin and Infant. Engraver, FKSSARD, Stephen. S. John Baptist, with other saints. Engraver, FREZZA, Gio. Girolamo. Tlie Repose, called la Zin- .7 "'" Engraver, JODK, Arnold de. Mercury educating Cupid. Engraver, LORENZINI, Fra Antonio. S. John surrounded with angels. Engraver, MEXAGEOT, 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, l^tienne. The Marriage of S. Catherine. Virtue triumphant over Vice ; The Sensualist. Engraver, PoRPORATr. 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 SAXUTUS, Giulio. Apollo and Marsyas. Engraver, SMITH, John. Venus standing in a Shell. Engraver, SORNIQUE, Dominique. Diana and her Nymphs. Engraver, SPIKRRE, Francis. The Virgin suckling the infant Christ. Engraver, STEEN, Francis Vander. Cupid shaping his Bow ; Ju- piter and lo ; Ganymede. Engraver, STRANGE, Sir Robert. Tlie Magdalene. Engraver, SURRUGUE, Peter Louis. Tlie Adoration, called " La Notte." ' Engraver, TROYEX. 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. lie was but thirteen when his father died, therefore he could ALLKGRI ALL011I. 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 fresco by him representing Moses just after he received the Tables of the Law, and is showing them to the Israelites. Allegrini, Francesco, born at Florence 1729. A designer and engraver. Jn 1 762 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 Cavaliere 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 Panfili. 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, Flarninio and Angelo were histori- cal painters. Allet, Jean Charles, born at Paris 1668; died at Rome 1732. Designer and engraver. He 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, Alessandro, born at Florence (1535-1607). A nephew of Bronzino, he was called by his name, which he sometimes affixed 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 he went to Rome and remained two years. There he studied principally the works of Michael Angelo. Returning to Florence he was constantly occupied on public edifices, but painted some 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 he afterwards called "a heretic in painting," and followed Cigoli and Pagani, whose works he admired. By some his execution 30 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 (.all., but his " Judith " is more generally known. It is said that the bead of " Ilolofernes " 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. Allstoii, Washington, lioru at Waceamaw, South Carolina. 1779; died at Cambridge. Mass., isi:;. 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 pmreedcd to Italy, when- he remained four years, mostly in Rome. There he a>sociated intimately with Coleridge and Tborwaldscu. In ISOIt he came to America and married Miss Chaimiii'i, and subsequently fixed his residence in London. lie 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." now in the eh. of Ashby-de-la-Xouch ; " I riel iu the Sun," also a prize, picture/ now belonging to the Duke of Sutherland; "Jacob's Dream, 7 ' now at Pet worth ; and between these larger works, several smaller ones. He returned to America in 1*1*, and settled in Boston. He was elected to the Royal Acad. in Kngland, where his works were much esteemed. The only one be brought to America. Elijah in the Wilderness," was sold to the lion. Mr. Laboucherc, and taken to England. His next pictures were The Prophet. Jeremiah." now at Yale College; ''Saul and the Witch of Endor," which belonged to the late Colonel T. II. Perkins, of ISostou : Miriam >ingiug the Song of Triumph," also owned in Boston, by the late lion. David Sears; and the small pictures of "Dante's Beatrice " and ''The Valentine." In 1830 he married Miss Dana, and removed to Cam- l>nd'_ r e. where he passed the remainder of his life in seclusion. He theiv painted " Spalatro "' or the " Vision of the Bloody Hand." and l!<>-alie" which belonged to the Hon. Nathan Appleton. " The Spalatro " is in the Coll. of John Taylor Johnston, New York. Mr. William Pane. Proident of the National Acad. of Design, New York, said in a recent lecture, that when he praised this work to Allston. he replied. ' I think, perhaps, it is on the whole the best picture I ever painted." Mr. Pa'jv said. " In color it is not as good as the best of Titian's, yet few pictures of Titian's, of that .-i/e, are so good in color. In composition and cliiaro-scuro it is one of the great pictures. It is the best picture in a gallery which contains the best pictures to be seen in America." Allstoii also painted some por- traits. Among them were that of Benjamin West, in the. Boston Athenasum, and one of Coleridge, in the National Portrait Gall, of England. Of the last, Wordsworth said, " It is the only likeness H 3 P 5. ALLSTON. 3:3 which ever gave me pleasure." In 1836, he was invited by Congress to paint a large picture for the Capitol, but his mind was fixed upon painting " Belshazzar's Feast," for which he had made a sketch in 1817. This was unfinished when he died, and is in the Boston Athe- naeum. Allston was remarkable for the versatility of his concep- tions. The beauty of Beatrice and Rosalie, the prophetic sternness of Jeremiah, the grace of Miriam, the moonlight effects, the forests and mountains of his landscapes, the horror of Spalatro, and the im- pressive mysteriousness of the reviving Dead Man, display a won- derful scope of thought and a surprising power of execution. His literary talents were good. In 1813 he published a poem, "The Sylphs of the Season," and later, "The Two Painters" and "The Paint King." In 1821, " Monaldi " was written, but not published until much later. This story gives his own life in Home, mingled with a story of passion, the whole gracefully adorned with observations upon art, and descriptions of nature. A course of lec- tures which he wrote upon Art, but did not deliver, were published after his death. Tuckerman has well said, " Indeed, the writings and paintings of Allston exquisitely illustrate each other. By their mutual contemplation we perceive the individuality of the artist and the pure spirit of the man ; and realize that unity whereby genius harmonizes all expression to a common and universal principle, mak- ing form and color, words and rhyme, express vividly and truly what exists in the artist's nature. ' Rosalie,' for instance, the poem, is the reflection of ' Rosalie,' the picture; and his letter describing a view among the Alps, breathes the identical feeling that pervades the landscape depicting the scene." Allston often related the follow- ing incident in his life. Not long after he went to Europe after his first marriage, his pecuniary wants became very pressing. One day while in his studio the thought came to him, that he merited his trials as a punishment for his want of gratitude in the past, when he had been more prosperous. Suddenly he felt a strong hope that God would answer his prayer ; he locked his door, threw himself on his knees, and prayed for a loaf of bread for his wife and himself. There was a knock at the door ; he opened it with a feeling of shame, and a fear that he had been observed. A stranger asked for Mr. Allston, and inquired if his picture of "Uriel" had been sold. When an- swered in the negative he asked where it could be found. " Here, in this very room," replied Allston, and he brushed the dust from the picture and brought it forward. When the price was demanded, All- ston said he had done fixing a sum, for his price had, so far, exceeded his offers. "Will -100 bo an adequate recompense?" asked the stranger. " It is more than I have ever asked," said All- ston. " Then it is mine," replied the Marquis of Stafford, for he it was. From this hour they were the warmest friends. By him All- ston was introduced into society, and soon became a favored guest in a circle which embraced manv est painters of his time. His subjects were historical and architectural. Altdorfer, Albrecht, born at Altdorf in Bavaria, 1488, died at Ratisbon, or Regensburg, 1538. He is said to have been a pupil of Albert Durer's, but this lacks confirmation. He was a painter. and an engraver on cop'per and wood. Kugler says, He seized the fantastic tendency of the time with a poetic feeling at once rich and pleasing, and he developed it so as to attain a perfection in this sort of romantic painting, such as no other artist has ever realized." He is one of the best of the "little painters " of Ger- many. The latter portion of his life was given to painting, as his last prints were dated 1525. Some of his works display wonderful patience when we compare their sixe and the number of figures. That of the " Victory of Alexander at Arbela." is purely Gothic in dc>ign. and the costumes such as were worn in 1529 when it was painted. It has been said to contain more figures than any other picture. Srhlegd sivs, It is, in truth, a little world on a few square feet of canvas ; tin- hosts of combatants, who advance on all sides against each other, are innumerable, and the view into the background appears interminable. In the distance is the ocean, with high rocks, and a rugged island between them ; ships of war appear in the offing, and a whole fleet of vessels ; on the left, the moon is setting , on the ri'jjht, the sun rising ; both shining through the opening clouds, a clear and strik- ing imago of the events represented The armies arc arranged in rank and column, without the strange attitudes, contrasts, and dis- tortions generally exhibited in so-called battle-pieces. How indeed would this have been ]x>ssihlc with such a vast multitude of figures ? The whole is in the plain and severe, or it may be, the stiff manner nf the old style. At the same time, the character and execution of these little figures is most masterly and profound. And what variety, what expression there is, not merely in the character of the single warriors and knights, but in the hosts themselves! Here crowds of black archers rush down, troop after troop, from the mountain, with the rage of a foaming torrent ; on the other side, high upon the rocks in the far distance, a scattered crowd of flying men are turning round in a defile. The point of the greatest, in- terest stands out brilliantly from the centre of the whole ; Alexan- der and Darius, both in armor of burnished gold : Alexander, on Bucephalus, with his lance in rest, advances far before his men, and ALTDORFER. 35 presses on the flying Darius, whose charioteer has already fallen on his white horses, and who looks back upon his conqueror with all the despair of a vanquished monarch." This picture was in the Gall, of Schleissheim, and was taken to Paris. Napoleon liked it so much, that he had it at S. Cloud, in his bath-room. It was returned to Bavaria in 1815, and is now in the Pinacothek, Munich, Cabinets, 169. In the same place, Cabinets, 138, is the " History of Susanna" by Altdorfer. In the Augsburg Gall, there is an altar- piece with wings ; very fine. At Nuremburg, there is in the Lan- dauer Bruderhaus, No. 179, a Crucifixion, and in the chapel of S. Maurice a picture by this master, of S. Quirinus being drawn from the water. In the Coll. of the Historical Society at Ratisbon, there is an " Adoration of the Shepherds." The Rev. J. Fuller Rus- sell has a picture of " Christ parting from the Virgin," which is un- doubtedly by Altdorfer, although it is sometimes attributed to Durer. I find mention of no other picture by Altdorfer, in England. His en- gravings were not inferior to his paintings, and he executed, on copper and wood, more than one hundred and seventy prints. The following is a list of a small portion of them. Engraved on Copper. Portrait of himself with his cipher. Portrait of Luther, with an oval of foliage. S. Jerome with the Lion. One of the best. Judith with the head of Holofernes. Adam and Eve in Paradise. Solomon's Idolatry. Samson and Delilah. Pyramus and Thisbe. A naked Woman with wings, seated on a star, with a torch in one hand and an escutcheon in the other, called Lascivia. S. George and the Dragon. Mucius Scaevola. Amphion saved from the Sea by a Dolphin. 1825. The Death of Lucretia. Etching. The Virgin and Child, dressed in the costume of Ratisbon, with a palm-tree. A Man and Woman dancing. Engraved on 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. One 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. Altharn , flourished about 1660. A German painter of marine subjects and landscapes. Altissimo, Cristofano dell', flourished about 15G8. 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, 14G8 ; an enthroned "Madonna" in the Brera at Milan, 1465 ; portions of pictures originally at Assisi, which represented a " Pieta," 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 living 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 Umbria, 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 a 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 sure 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 Aqnila, 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 " Annunciation," on the other an enthroned ' Madonna." At the Louvre, Musee Napoleon 111. Ex. Campana Gall. No. 111., a standard; No. 88 the " Annunciation." London, National Gall. No. 247, bust of Christ. No trace of this master has been found later than 1499. Axnalteo, 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 Ihe public edifices near Friuli. At Belluno in the Hall of the Notaries he painted scenes from Roman History. His chefs-deceit ire 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 O' 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. Graziano, in the poem of Orlando, calls him, " Girolamo Amalteo de' vita san!o." Amato, Gio. Antonio d', called also II Vecehio, born at Na- ples 1475, where he lived until his death 1555. Said to have been a pupil of Silvestro Buono. He afterwards studied the style of Perugino, 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 seen 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. A may a . Flourished 1G82. Pupil of Vincenzio Carduoho, and painted in Segovia, with correctness of design, and good color- 38 AMBERES AMERIGHI. Amberes, Francisco de, flourished in the early part of the six- teenth century. A painter and sculptor. In 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 eh. and convent of S. Martin at Amberg. There is also a fine portrait of Sebastian Munster at Berlin, and one of Henry VIII. at Augs- bur"\ attributed to Amberger. O * ~ Ambrogi, Domenico degli, middle of 17th century. Native of Bologna. Called Menichino del Brizio from havin"- studied with O O Francesco Brizio. He painted in oil and distemper. lie 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 vl (Juardian Angel," and in the Nunziata a " S. Francis " by this artist. He was the instruc- tor of Fumiani and Pierantonio Ccrva. In 1 (!;>;! 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 maybe 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 ; lint 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- AMKRIGHI - 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 Caravagdo ; 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 TLAYEKS. BY CARAVAOGIO. These last are such subjects as he best represents. In the Berlin Mus. is " Earthly Love " and a portrait. At tin; Louvre is the por- trait of " Vignacourt," 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 " lias been engraved. Amici, Francesco. A modern Italian engraver. Amiconi or Amigoni, Jacopo, born at Venice in 1C 75; died at Madrid, 1 752. After painting in Venice he went to Home and thence to Munich, where he acquired considerable fame. Going thence to England in 1729 his pictures were much in vogue, and lie was employed by many noblemen in the decoration of staircases and similar works in the style of llicci. He returned to Venice with 5,000. He was afterwards called to Spain and made painter to the king, Ferdinand VI. Two largo 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 (1 605-1 GC!). Pupil of Antonio Gandini. lie 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 Quartierc 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. lie 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 Oustavus, born at Nuremberg (1G51-1710). A designer and engraver. The Elector of Bavaria sent him to Paris for instruction, and he studied with F. de Poilly. lie 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 ( l.">;i!)-1591). Went to Nurem- berf in 1560, where he lived until he died. One of the " little art- o ' ists," who excelled in wood-cuts. It is said that he made more than a thousand, comprising almost every imaginable subject. His " Huvoir\ta " 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- x-nted as the engraver. The cuts from this book were used in that of Hans Sachs, " Kigentlichf Pu-schreibimg aller Stande auf Erden." He also made illustrations of Livy's Rom in 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, Bartolomeo, born at Florence {1511-1589 V). Stud- ied under Bandinelli at Florence, and afterwards at Venice with San- sovino, sculptor *an' I 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 facade of the Collegio Romano at Rome. He also rebuilt the Ponte S. Trinita at Florence in 1569. 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 of 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 eh. 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 three 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, " 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 ariists 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 figures in churches. Ammanati also wrote a large work called " La Citta. " It con- tained designs for all the e.liuces necessary to a city. When Mich- ael Angelo died he was one of the four chosen to superintend the obsequies of the great master. Ammon, Clement. Son-in-law of Theodore de Bry, the en- graver. Ammon 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 1650-1G52. He was much superior to De Bry. Ammon, Johann, born at Schaffhausen. An engraver of por- traits. Flourished in 1 700. 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- ate), 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 masters. 42 ANC11ILUS AXD1SKA. Anchilus, N., born at Antwerp, 1688; died .it Lyons, 1733. A painter of conversations in the manner of Teniers. lie went to London and copied the pictures of Snyders for Sir K. Walpole. Ancona, 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, " MOM-S striking tin- Kock ;" in S. Maria Maggiore, " Oar Saviour washing the feet of the Disciples;" and in the Chiesa Xuova, "The Archangel Michael driving the Evil Spirits from Heaven." Ancoiia pli painter of small marine pictures. Auderton, Henry, flourished about 1CCO, died 1G(J5. After studying under Streater he went to Italy. lie painted some histori- cd 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 Andcrton his patrona^-'- Andre, Jean, born in Paris (\M\-2-l 7 :>:>). He was a Dominican and went to Rome, where he studied the works of Michael Air_cel<> and Raphael, and was a pupil of Carlo Marat li. lie painted histori- cal subjects and portraits. Andrea, Alessandro. An artist who flourished alxiut 1.">7S, when he engraved a portrait of the Abl.e de S. Arnaud, the French ::ml>i~ sador at the court of Constantinople. Andrea da Firenze. This artist was employed in painting the story of the Bcato Rimicri, at the Campo Santo at Pisa, as is shown by his receipt for payment made tlu 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 dci SpagnOoli, 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. Andreani, Andrea, born at Mantua, 1540 or 1560; died, 1623. His paintings are- little known, but he was a very cel- ebrated engraver. Early in life he established himself in Rome, and ddvoted 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. Andriessen, Jnrriaan, 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 and Xuvnan. He had several pupils who are distinguished. Andriessen, Antony, born at Amsterdam (1746-1813). Painted landscapes and figures with his brother, Jurriaan. Andriessen or Adrienses, Hendricks, called Mankenhein, corn at Antwerp, 1GOO ; 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. Caterina di Siena, at Verona. Andriot or Ilanderiot, Franz or Francois, born at Paris about 1655. An engraver who worked in Rome and Paris. He followed the style of Poilly, and although he did not equal that artist his plates are prized 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 are 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 painted ruins in the manner of P. Panini, as well as landscapes. Francesco Zuccherelli 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 AXGUIER. 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. lie 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, 173-1. 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 10- 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. Angelini, Scipione, born at Perugia or Ascoli (1C61-1729). 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 Gon/ale/ do Mendozn, the great cardinal of Spain. Augelo, 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 1 741). Angioletto, of Gubbio, was a mosaist who flourished about 1325. He worked at Orvieto and at As>i-i. where he assisted in the win- dows of the lower church. Anguier, Francois, born at Eu, in Normandy, K504; 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 XHI. 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 Sorljonne. His sculptures may also be seen in the ch. de L'Or;.- toire : the ch. S. Andre-ties- Arcs ; and at Moulins. He also exe- cuted four figures for the tomb of the Duke of Rohan, in the ch. of the. Celt's; ines, at Paris. His copies after the antique were fine. ANGUIER ANGUISCIOLA. 45 Anguier, Michel, born at Eu (1612-1C86). Brother of the preceding, with whom he studied until they went to Rome. Michel became the pupil of Algardi and worked with him at 8. 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 Francois in his greatest work, the tomb of the Duke de Montmorenci at Moulins. He made a statue of Louis XIII. 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 <;h. 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 Duchi ss de Longueville ; the brazen vase in the garden of Versailles ; and the statues of Pluto, Ceres, Neptune, and Amphitritc. This artist was professor in the Acad. of Arts at Paris, and wrote lectures on Sculpture. Aiiguisciola 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 a 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 praise. She painted two portraits of herself which were much ad- 46 ANuUISCIOLA 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 Sophoni&ba. 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. Anichmi, 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 Montfaufon. He painted missals and miniatures on glass, and it is said that he also did a portrait of Charles VII. of France. Anna, Baldassarc d 1 , 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 Scrvi, which surpass those of Corona in softness and the power of chiaro-scuro, but are inferior in design. Ansaldo, Gio. Andrea, born at Volt re (1584-1638). Pupil of Orazio Cambiasi ; he also studied the works of Paul Veronese. I It- 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 chcf-tV atuvre was the cupola of the Xunziata in that city. Ansaloni, Vincenzio, born at Bologna. Flourished about 1615, and died young. A scholar of Ludovico Caracci. be 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 subj< 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- 15")4). Bazzi was his master. lie l>ecame a follower and imitator of Cjrreggio. 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. Ausiaux, Jean Joseph Eleonora Antoine, born at Liege (17G4 -18-10). 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 ai d generals. Antelami or Antelmi, 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 Grbningen (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. Antoliiiez, 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 sarcastic humor. In the Queen of Spain's Gall, is his " Magdalene in Ecstasy upborne by angels." The design and coloring 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 1700. 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, lie 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." Antonello da Messina. See Messina. 48 ANTONIO APOLLODORUS. Antonio, Marc. See Raimondi. Antonio, Pedro, born at Cordova (1614-107/j). Pupil of Antonio del Castillo. A good colorist. An'onisze, Cornelius, born at Amsterdam about 1500. He ex- celleil in painting views of streets and towns. In the treasury of Amsterdam is his picture of that city in 153C ; he. also painted twelve views of its public buildings and engraved them on as many blocks of wood. These prints are now rare. Apellea. The most celebrated Grecian painter. He studied und.r 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 Avho 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 Protogencs 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 lie, 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 most wonderful work of art in the Pal. of the Caesars. It was burned with that building. No work of Apelles' remains. Apollodorus. 1. An Athenian painter who flourished about 408 . 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 ami 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 nasium at Rome. Hadrian, who took offence at some words of Apol- lodorns', 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 Jacopo 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 Riformati 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 nn-1528). Painted his- tory. Lanzi says, " was indisputably a good artist in the mixed manner, that is now called tinlico tnodcrno." His pictures arc con- fined to Parma. He had little originality. The following is a list of his works: Duomo, fresco, on the wall to the right as you ARALDI AHDELL. 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 1&83-1614. 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 of the Acad. of S. Luke, of which Federigo was the first president. Arce, Josef de. A pupil of Martinez Montanes. He executed ein'ht 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. Arcimboldi, Giuseppe, born at Milan, 1533; died at Prague, 1593. H.- was court painter to Mixi nilian II. and the Emperor Rodolph. lie 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, horn at Madrid (1625-1700). Called El Sor- dillo de Pereda, and a disciple of Antonio de Pereda. He was deaf and dumb from his birth. Palomino praises him. Stirling pays 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 1 710. 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- jects after Vandyck, Murillo, Rembrandt, etc., some of which are extremelv fine. 52 ARDEMANS ARETUSI. Ardemana, Teodoro, born at Madrid, 1G64. 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-craeuvre. In 1689 he was master of works to the C'ath. 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 1 7u2 Philip V. made him superintendent of works at the Alcazar. In 17:i( 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 ami high altar; for a lanre 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 dclla Pieta. there is a picture of the " Conversion of S. Paul," which indicates by its >t\le 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. Lonir 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 mo-t Spani>h collections and are highly esteemed. Aretino, Spinello, born at Arezzo (1328-1400). He painted at Are/xo, 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 hi-tory of S. Benedict in the Sacristy of S. Miniato at Florence. These pictures are well preserved, ami some of them are among the most spirited conceptions of all the pictures of the school of (Jiotto. Aretusi, or Munari degli Aretusi, Cesare. Called by some Mo- denese, because born at Modena, by others Bolognese, since he lived ARETUSI ARIAS. 53 and took tip 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 " Xotte " 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 abaniquero 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 tirst foreign painting ever displayed in Rome was by this artist, and represented " Bacchus." It was brought to Rome by Muinmius, and placed in the temple of Ceres. 2. A sculptor celebrated for his statues of two and four-horsed chariots. Aiiaiid. James Anthony, born at Geneva (1668-1743). lie 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. Arland painted her portrait, and was patronized by many of the nobility. Me 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 ollice 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 Hraye, in S. Domenieo at Orvieto, was executed by him in 1280. This is a mixture of mosaic, sculp- ture, and architecture, and affords but small opjxjrtunity for judging of his merits. Arpino, il Cavaliere d'. See Cesari. Arredondo, Don Isidore, born at C'olemar de Oreja (1653-1702). A pupil of Josef Garcia, and later of Francesco Ri/.t. IK; painted history with great success, and at the death of Ri/,i 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, 1701. Pupil ARTEAGA ASPERTINI. 55 of Juan de Vakles. 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 Vaddcr. 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 p.-r- 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; Xos. 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 lie 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 .ire much injured. His other works are, Berlin Mus., Xo. 119, "Nativity;" Bologna Gall., Xo. 297, "Virgin and Child," with several saints and the portraits of two patrons ; Madrid Mus., Xo. 885, " Rape of the Sabines ;" Bologna, ch. of S. Martino Maggiore, " Virgin and Child " with saints, among which is S. Xicholas giv- ing their dowry to three young girls. At Ferrara, in the Strozzi Pal., a " Predella " with four scenes from the life of Mary. Aspertini, Guido, born at Bologna, about 1460. Scholar of Er- cole di Ferrara. Died young. His principal work was an " Adora- tion of the Magi," now in the Gall, of Bologna (Xo. 9). It is some- what fantastic, but a pleasing picture. 56 ASSCIIE ATHANASIO. Assche, Henri van, born at Brussels (1775-1841). Studied first with his father, and then with De Roi of Brussels. His pictures, which arc landscapes, may be seen at Ghent, Lille, Haerlem, and Brussels. In some there are figures and animals by Ommeganek. Asselyn, Jan, born at Dicsseu. near Amsterdam. Scholar of Esaias van de Velde, and Jan Miel. He went to Italv in 1630, and remained fifteen years. He painted landscapes which are remarkable for tender coloring, good drawing, and poetic concep- tion. His works are highly esteemed. In the Louvre there are four. In the Van der Hoop Coll. at Amsterdam, a fine one, with a massive ruin in the foreground and blue mountains in the distance. In the Munich Gall. Cabinets, No. 445 has a fine effect of chiaro-s<-i-.m. It represents a ruined castle on a rock. In the Coll. of T. Baring, Esq., England, a picture of a Woman and Cattle reflected in the water, at the entrance of a cave, is one of the best works of Asselvn. Assen, Jan Walther van. Said to have , , l been born in Holland, about 1490. One of the A /A>V ./T K\ earliest engravers on wood. His cuts are highly prized by collectors. A contemporary of Lu- cas von Leyden, he seems to have had the same rank in wood en- graving that Lucas held in engraving on copper. Little is known of his life. He was living in Amsterdam in 1517. His works are as follows : A set of six prints, circular, representing the Passion of Christ, marked with his cipher, and dated 1513 and 1514. A set of six large prints of different subjects in architectural com- partments. In tlie middle of each the words : 1. Supcibia; 2. Lnx- uria ; 3. Invidia ; 4. Ira; 5. Gula ; 6. Avaricia ; and their opposite virtues. A small print of an armed Figure on Horseback; inscribed S/. Hadrianus Ainstelwlamus in ^Edibus Donanli I'l-li'l, etc. Asserreto, Giovacchino, born at Genoa (1GOO-1649) Studied under Borzone and Ansaldo. When but sixteen he painted a " Temptation of S. Anthony." There are altar-pieces painted by Asserreto in several convents and churches at Genoa. Asta, Andrea dell', born at Naples (1G73-1721). Scholar of Francesco Solimene. He went to Rome, where he studied the works of Raphael. His best pictures are the ' Nativity," and the * Ado- ration of the Magi," painted, after his return to Naples, for the eh. of S. Agostino. Astley, John, born at Wemm, Shropshire, England. A portrait painter, who studied under Hudson. He visited Italy. His portraits were fine, and he was rapidly acquiring great reputation, when a wealthy lady, whose portrait he had painted, offered him her hand. After his marriage he relinquished his profession. Died 1787. Athanasio, Don Pedro. See Boccanegra. ATHEXODORUS AUBIN. 57 Athenodorus. See Agesander. Attavante or Vante. Living in 1487. This artist was a celebrated illuminator of MSS. Lanzi says, the excellence of this artist ought to confer on him " greater celebrity than he enjoys." He orna- mented many books for Matthias Corvinus, king of Hungary. These afterwards remained in the Medicean and Esteusean libraries. A magnificent Missal which Attavante illuminated for Matthias is now in the Library at Brussels. It was probably brought to Brussels by Maria, sister of Charles V., and wife of Ludwig II. of Hungary. After the death of her husband she obtained the government of the Netherlands. The regents of Belgium formerly took their oaths upon this volume. The first to do so were Archduke Albert and Isabella, in 1599 ; the last was the Prince of Saxen-Teschen, in the name of Joseph II., in 1781. Attiret, Jeau Denis, called Frere Attiret, born at Dole, 1 702 ; died at Pekin, 1768. After studying at Rome, and distinguishing himself by his pictures at Lyons, he became a Jesuit at Avignon. About this time the Jesuit missionary at Pekin sent to France for a painter. Attiret was chosen to make this journey, and left France in 1737. A picture which he presented the emperor, soon after his arrival, so pleased his majesty, that he wished to employ Attiret con- tinually, lie wished him to work in water-colors, for he did not like the gloss of oil. His commissions were so numerous that he was obliged to employ Chinese assistants, who had at first been jealous of him, but at length became reconciled to his supremacy. He became a great favorite, even among the painters, and was able to establish a drawing-school. About 1 760 the emperor obtained victories over Tartar tribes with whom he was at war. Attiret was ordered to pro- ceed to the northwest part of the empire, where he made accurate sketches of triumphal processions, festivals, etc. From these he painted pictures which so pleased the emperor that he desired to make him a mandarin, which honor Attiret declined. All -the princi- pal men of the empire sat to him for their portraits some of them travelling eight hundred leagues for the purpose. Sixteen of these portraits were sent to Paris to be engraved at the expense of the em- peror. Very few impressions cf these plates were reserved in France, and they are extremely rare. They were of immense size. When the artist died the emperor ordered two hundred ounces of silver to be given towards the expense of his funeral. Aubert, Augustine, born at Marseilles, 1781. Painted history and landscapes. The latter are principally from scenery about Marseilles, and the former represent sacred subjects, and are often very large. Aubert, Michel, born at Paris (1 700-1757). An engraver of por- traits and historical subjects. He seems to have imitated Gerard Audran. but with small success. Aubin, Augustine de St., born at Paris (1736-1807). A skilful 58 AUB1X AUDUAN. engraver. He engraved the works of several French and Italian masters. Aubiii, Augustine de St., born at Paris. 1720. An engraver of merit. Scholar of Laurent Cars. lie engraved the coll. of nearlv three thousand medals belonging to M. Pellerin, and the gems of the Duke of Orleans, besides an immense number of portraits, historical subjects, vignettes, ornaments for bocks, etc. Aubin, Charles Germain de St., born at Paris, 1721. Brother of the preceding, and an engraver. Aubin, Gabriel Jaques de St., born at Paris. 1721. Brother of the preceding. He painted historical subjects, and also engraved a few plates from his own designs. Aubriet, Claude, born at Chalons-sur-Man.e (HJ/il-l 7 13). A pupil of Joubert. He distinguished himself first as a miniature painter. He was appointed to make drawings of objects of natural history at the Jardin des Plantes. He accompanied Tournet'ort to the Levant, and the plates which afterwards illustrated the Klc- ments dc Botanique " were after the designs of Anbriet. At tin- death of Joubert he was appointed painter to the king in the Jardin des Plantes, and many of his drawings arc now in the library of the Jardin. There are also five folio volumes of his designs in the Ko\al Library at Paris. He was a botanist, and the plates in ' Tourne- fort's Voyage to the Levant " wen; after his designs. Audenaerde or Oudenaerde, Robert van ' lj(>rn at < ; hcut (lUtt-174:J). A good painter, and celebrated engraver. A scholar of Francis van Mierhop and John van Cleef. At twenty-two years of age he went to Rome, and there studied under Carlo Maratti. He became, a reputable painter of historical pictures. In leisure moments he amused himself by making plates, and when these were seen by Maratti he advised his pupil to devote himself to engraving. The plates in which he used the point are much finer than those done entirely with the graver. The principal part of his prints were after the pictures of his Italian master. His drawing is very correct and shows perfect knowledge of the human figure. His paintings are (mite in the style of Maratti. His chef-tFceuvre is the altar-piece in the ch. of the Carthusians at Ghent. It repre>ent> the appearance of S. Peter to a number of monks. In the ch. of S. James is his picture of S. Cath- erine refusing to worship the False (Jods." Other churches and convents of his native city po>sess works of this artist. Audouin, Pierre, born at Paris (17(38-1822). An eminent en- graver and a [nijiil of Beauvarlet. He engraved several of the finest paintings of the Italian and Dutch masters for the coll. of the Mus. published by Laurent. Audran, Benoit, born at Lyons (1661-1721). Sou of Germain AUDHAX. 59 Audran, -with whom he first studied, but later he became the pupil of the celebrated Gerard, his uncle. Although he did not equal the latter, he was an excellent artist. He was a member of the Acad. and engraver to the king. He engraved many portraits and his- torical subjects. His style was, like his uncle's, clear and bold, his drawing correct, and his heads full of expression. Audran, Charles, born at Paris (1594-1674). This name was eminent among French engravers for more than a century. Charles was the first to make it so. His disposition for the art was shown very early, and he was still quite young when his plates attracted atten- tion in Rome, where he had gone to study. He imitated the style of Cornelius Bloemaert, and used only the graver. His works were finished with great care. His earlier plates were marked with a ('., but when his brother Claude used the same letter, he changed to K., the initial of Karl. Audran, Claude, born at Lyons (1639-1684). After studying drawing at Paris under his uncle, he went to Rome. He drew well and had great facility in execution. He returned to Paris, and was engaged as an assistant by Le Brim. Under the direction of the latter he painted the grand staircase at Versailles, the Gall, of the Tuileries, and the Chapel of Colbert's Chateau de Sceaux, all in fresco. He became an imitator of Le Brim, whom he also assisted in his " Battles of Alexander," and many other works. Audran, Gerard, born at Lyons (1640-1703). Son of Claude and nephew of Charles. This artist may be said to have reached perfec- tion in engraving. He studied first with his father, then with his uncle, and finally at Rome, it is believed under Maratti. He was in Rome three years, and made a portrait of Clement IX. and other plates, which gave him such a reputation that he was recalled to Paris by Colbert. He was soon appointed engraver to the king, with a generous pension and apartments at the Gobelins. He became in- timate with Le Brim, and some of his finest plates are after the paintings of that master. The ' Battles of Alexander" cannot be too highly praised. His plates were very numerous. Audran, Germain, born at Lyons (1631-1710). Nephew of Charles and Claude, and inferior to some members of his family in artistic merit. He engraved portraits, ceilings, ornaments, vases, etc. Audran, John, born at Lyons (1667-1756). Son of Germain, and brother of Benoit. After studying with his father, he too was placed under the famous Gerard, and became a celebrated artist. He was made engraver to the king, and had a pension and apartments at the Gobelins, in 1707. His prints are numerous, and he continued to labor after he was eighty years old. Audran, Louis, born at Lyons (1670-1712). Youngest son of Germain. He also studied under Gerard. He assisted his brothers in then- plates, and did not execute many of his own. He also en- graved copies of the large historical plates of his relatives. CO AUDUBON AVELINE. Andubon, John James, born in Louisiana (1782-1851). artist, distinguished for his drawings of the ''Birds of America." He studied painting in Paris under the celebrated David. His plates are very perfect, of the size and color of life, and the beaks, talons, and legs are of accurate dimensions. The book was thirteen years in preparation and was published in Edinburgh; this time does not include the making of a large portion of Audubon's pictures. Jt has 435 plates, containing 1,065 figures. Cuvier pronounced it the most gigantic and most magnificent monument that had ever been erected to Nature." Audubon was also the author of ' Ornithol.._r- ical Biography," and at the time of his death was at work upon the " Quadrupeds of America," Augur, Hezekiah, son of a carpenter, born in New Hampshire (1791-1858). He was first a shoemaker's apprentice, then a trades- man in New Haven, where he failed. He partly paid his debts by carving ornamental furniture, and invented a machine for weaving worsted lace. Gradually he turned his attention to sculpture. lie copied a "Head of Apollo," and in 1827 executed a Washing- ton" and a " Sappho," which established his local fame. His be>t work was the group of " Jephtha and his Daughter." still preserved in Yale College Gall. This obtained for him several commissions lor busts and monuments. Austin, "William, born in London about 1740. An engraver an 1 a pupil of George Bickham. He engraved some landscapes after Ruysdael and other artists, but his principal work was a set of plates, of views of Palmyra and its Ruins, and of Ancient Rome. Auzon, Madame, born in Paris, 1775. She studied under Reg- nault. Painted portraits and familiar subjects. Several of her pic- tures have been engraved. Avanzii or Avanzi, Jacopo degli. An ancient painter of Bo- logna, of whom little is known. He flourished about the middle of tin- Mih century. In the Colonna Gall, at Rome, there is a " Cruci- fixion " by this master, and Nos. 159, 160, 161, of the Bologna Acad. are also his. In the ch. of Mczxarata he painted pictures which Malvasia asserts were praised by Michael Aiinvlu and the Ca- racci. These have been whitewashed, and restored, and are verv imperfect. Avanzi, Giuseppe, born at Ferrara (1655-1718). School of Co- stanzio Cattanio. He is noted for the numbers of his works, rather than for excellence. Most of them were for the convents and churches of his native city. Aved, Jacques Antoine Joseph, born at Douay (1 702-1766). Pupil of Picard and a portrait painter of merit Aveline, Anthony, born at Paris, 16C2. Designer and engraver. His principal works were views of the palaces and chateaux of Eu- rope. AVELINE AZZOLINI. 61 Aveline, Pierre, born at Paris, 1710. Designer and engraver. Scholar of John Baptist Poilly. His subjects were often trifling and insignificant, his drawing stiff, though not incorrect. Aveline, Francis Anthony, born at Paris, 1718. Cousin of the preceding. An engraver of small reputation, and worked mostly for booksellers. Avellino, Giulio, called II Messinese, born at Messina (1645- 1700). A landscape painter, said to have studied with Salvator Rosa. He settled at Ferrara, and was much' employed by the nobil- ity of Ferrara and Cremona. He painted in the grand style of Rosa, and introduced ruins, architecture, and figures into his pictures. His pictures are valued, and are in many collections. Avellino, Onofrio, born at Naples (1674-1741). Said to have been a pupil of .Francesco Solimene. In Rome he painted an altar- piece in the ch. of S. Maria di Montesanto, and the vault of the ch. of S. Francesco di Paola, which last is considered his best work. Avibxis, Gaspar Ab or Patavinus, born at Padua, 1530. An en"raver whose principal work was a large volume containing the portraits of the Royal House of Austria, full-lengths, signed Caspar Patavinus, incisor. 1569. Avogadro, Pietro, called Bresciano, born at Brescia. Flourished about 1730. A scholar of Pompeo Ghiti. His coloring was Venetian, especially in the carnations. The whole style of his composition and painting is pleasing. By some he is said to rank as the fourth among the artists of Brescia, that is, after Bonvicino, Gambara, and Savoldo. His "Martyrdom of SS. Crispino and Crispiano," is his principal work, and is in the ch. of S. Joseph at Brescia. Avont, Peter van der, born at Antwerp /L ~\J CX about 1619 A fine landscape painter, and an eminent engraver. He often painted figures in the landscapes of Vinckenboom. Avril, Jean Jacques, born at Paris (1744-1832). An engraver whose works are much admired. Scholar of J. G. Wille. He left about 540 plates, some of them large. Avril, Jean Jacques, born at Paris (1771-1831). Son of the pre- ceding. One of the engravers employed by Laurent. His plates of many of the pictures and statues of the Louvre are excellent. Axtmann, Leopold, born at Fulneck ; died at Prague (1700- 1748). An animal painter. He rivalled his master, John George Hamilton, in reputation. His pictures are in Bohemia. He painted dogs and horses excellently. Ayala, Barnabi de. Painter of history at Seville. Scholar of Zurbaran. He so well imitated his master that it is believed that the pictures of Ayala are sold as those of Zurbaran. He was one of the founders of the Acad. of Seville. Azzolini or Mazzolini, Gio. Bernardino, born at Naples. 62 AZZOLINI I5A( -IIKLIKR. Flourished 1510. He resided chiefly at Genoa, and his pictures arc in the chnrehes and convents of that city. lie excelled in wax-work, and formed heads with a wonderful expression of life. B. Baader, Amalie, born in Erding, Bavaria, 1763. An amateur en- graver. She studied under J. Dorner. Her mark is an A and 15 interlaced, and is founcl on copies after Rembrandt, Schmidt, and some Italian masters. Baak, Hattigh Jan. An artist of Utrecht about the middle of the 17th century. In the hospital of S. Job of Utrecht there is a work of his dated 1642. It is a landscape, with figures, and from its style he was probably a pupil of Poelcmburg. Baan, John de, born at Haerlem, 1633 ; died at the Hague, 1 702. An eminent portrait painter. Instructed first by an uncle named Piemans, he then studied under Jacob de Backer. He succeeded M> well in portrait painting, that he confined himself almost entirely to that branch of art. He was an admirer and worthy imitator of Van- dyck. Charles H. of England was anxious to be painted by J)e Iiaan. and invited him to his court for that purpose, where he also painted many of the nobility. When Louis XIV. had conquered a part of Holland, he sent to Utrecht for this artist to come and paint his portrait. But he received a refusal, the excuse beiii'_ r . that when his country was in the midst of mourning, he could not trace tin- features of her conqueror. One of the best works of De Baan is his portrait of Prince Maurice of Xassau-Ziegen. Baccarini, Jacopo, born at Reggio (1630-1682). Painter of his- tory and a pupil of Orazio Talami. Two of his best works are in the ch. of S. Filippo at Reggio, and represent the "Death of S. Alessio " and the " Repose in Kgypt." Baccicio. See Gaulli. Baccio. See Delia Porta. Bacheley, Jacques, born at Pont 1'Evdquc in Normandy (1712- 1781). An engraver and designer. Member of the Acad. of lumen. We have prints of landscapes after Dutch masters by this artist. Bachelier, Jean Jacques, born at Paris (1 724-1S05). As an ar- tist he is unimportant, but he gained a fortune of 60,000 francs, which he devoted to the establishment of a free school of drawing for artists. He was director of the porcelain manufactory at Sevres, and greatly improved its taste. Bachelier assisted Count de Caylus in his attempt > to discover the ancient method of en- caustic painting, and invented a kind of encaustic varnish to pre- serve marbles from the action of the weather. He also wrote two books entitled " Le Conseil de Fauiille," and a " Me'moire sur 1'Education dee Filles." BACHELIER BAERSE. 63 Bachelier, Nicholas, born at Toulouse (1496-1554). An unim- portant sculptor and architect. Bachiaca. See Ubertino. Backereel, Giles. An artist who adorned many of the churches of the Low Countries. A contemporary of Rubens, and like him in style. One of the best artists of his country, when art was at its best. An altar-piece of his in the Cath. of Bruges, represents " S. Charles Borromeo administering the Sacrament to those stricken with the Plague.'' A grand and striking composition, with fine coloring. In the ch. of the Augustincs at Antwerp, there is a fine " Crucifixion " lw Backereel, and at the Franciscan ch. at Brussels, a picture of the Virgin and Child." with S. Beatrice and other saints. Backhuysen, Ludolf, born at Einbden, 1631 ; died at Amsterdam, 1 709. Until he was eighteen years old, he was employed in mercan- tile pursuits; but constantly sought the company of painters, and at that age became the pupil of Aldert van Everdingen. He went con- stantly amongst the shipping, and made sketches in Indian ink and bistre, which were purchased by collectors, at large prices. He at length began to paint with good success, and became, in time, the most noted painter of rou^h seas. He often exposed himself and his boatmen to great danger, by going out in storms, to study the waves and clouds, when in their wildest state. In coloring he cannot com- pare with Willem van der Velde, but the pictures of the latter rep- resent mostly smooth waters. The pictures of Backhuysen were in great demand, not only in his own country, but in others. Smith enumerates one hundred and eighty-four of his works, and many of them of considerable size. It is not possible to give a full list of them and the places they are in, but the following are some of the best. One in the Van der Hoop Coll. at Amsterdam, a coast scene, sea and sky agitated with coloring or lighting, of great beauty. No. 5, Amsterdam Mus., dated 1673, view of the River Y; clear and brilliant. No. 6, same place, stormy scene. Louvre, No. 7, rough sea at the mouth of the Maas; a fishing boat is trying to run in. No. 5 of the Louvre gives ten men-of-war at the mouth of the Texel. A view of the last river in the Bridge-water Gail.. No. 1 22, with seven vessels, and dated 1670, is very fine. In the Mus. at the Hague, No. 6 is fine in the sunshine and shadow upon the water, but No. 7 is heavy and hard. Many of his pictures are in England, in the Na- tional Gall., colls, of Lord Ashburton, Mr. Baring, and others. Peter the Great was a pupil of Backhuysen, who made for the Czar numerous drawings for the construction of vessels. Backhuysen, Ludolf, grandson of the preceding, born at Amster- dam (1 717-1782). Good painter of horses and battles. Baerse, Jacques de la. A sculptor of Dendermonde, who la- bored ; n 1391. He did the carving of the remarkable shrines, de- signed and painted by Melchior Broederlain, for the Cath. of Dijon, which are now preserved in the Mus. of that city. 6 4 BAGLIONI BAILLIE. Baglioni, Cesare, born at Bologna. A contemporary of the Ca- raeci, he profited by their style, though not of their school. II was an artist of considerable merit, and painted landscapes, history, ani- mals, fruit, etc. His principal works are at Bologna and Parma, and are much esteemed. In the ch. of the Madonna del' Soeeoi>o at Bo- logna there is an " Ascension," and in the eh. of S. Gicrgio. an altar- piece, representing " S. Anthony and S. Martha," by this master. He was living in 1610. Baglioni, Cavaliere Gio., born at Rome. A pupil of Francesco Morelli. He was much employed during the time of Clement VIII. and Paul V. In S. Niccolo in Carcere, there is a fine picture of his of the " Last Supper." In S. Peter's there is a picture of 'that saint raising Tabitha from the dead, for which he was made a Knight of the Order of Christ, by Paul V. This artist was the author of the " Lives of the Painters, Sculptors, and Architects who flourished at Rome from 1572 to 1642." Bagnacavallo, H. The real name of this artist was Bartolommco Ramenghi. He was called II Bagnacavallo from his birthplace. Born 1484; died at Bologna, 1542. lie studied under Francia at Bologna, before he went to Rome, where he was a pupil in the school of Raphael, and afterwards assisted that great master in some impor- tant works. Bagnacavallo worshipped Raphael, and felt that to imi- itate him, was an aim worthy of his ambition. Upon his return to Bologna he brought the Roman style of painting to that city. The works of this artist are not common in galleries. It is said that his pictures were admired by the Caracci. He distinguished himself at Bologna by a " Crucifixion " which he painted for the ch. of S. Pietro. It is dated 1522. In the Dresden Gall, there is a ' Madonna and Child" in a glory, with four male saints, which is, by some, considered his masterpiece. It is " a picture of great and energetic expression." A " Holy Family : ' with saints, in the (Jail. at Bologna is pleasing, but not powerful. In S. Maria della Pace at Rome, there are frescoes of a Saint and a Prophet in armor, colossal in size. There are also works of his in the Berlin Mns.. the Colonna Pal., and in the Solly Coll. There are others in different churches of Bologna. Bagnacavallo, Gio. Batista. Son of Bartolommeo Rameiiiihi. lie went to France as an assistant to Primaticcio, when he undertook his work at Fontainebleau. When he returned to Bologna, he was made chief of the Acad. of that city. Baillie, Captain William. An amateur engraver. Born in Ireland about 1736. His early life was passed in the army, from which he retired with the rank of captain of cavalry. He devoted the remainder of his life to art. He was one of the most intelligent connoisseurs of his time. We have about a hundred plates of his, engraved in different manners. BAILLIE BALDOVINETTI. Go His copies after Rembrandt, and his plates after the style of that master, are his choicest works. The following are a few of his plates . Christ Healing the Sick, called the Hundred Guilder Print. Orig- inal plate by Rembrandt, and admirably retouched by Baillie. Beggars at the Door of a House ; after Rembrandt** print. The Gold- weigher; finely copied from Rembrandt's print. Three Trees ; landscape ; after same. Old Man, half-length, with a Cap and Beard; 1765; after Rem- bnnxlt. Landscape, with a Horse; after Rembrandt's print. The Pen-cutter; afler Ger. Douiv. Interior of an Ale-house, with figures regaling; after Teniers , fine. Another Interior with Peasants Smoking and Drinking ; after A. Osta.de. 1765. Bailii, David, born at Leyden (1584-1638). Painter of portraits and perspective church interiors. The latter works of his are much admired. Baillu or Bailliu, born at Antwerp, 1614. An engraver, whose principal plates are after Rubens and Vandyck. Although not the best, his prints are well esteemed. Baillu or Bailliu or Baleau, Bernhard, born in the Netherlands about 1625. An engraver of portraits and a few historical subjects. He executed entirely with the graver. Bajardo, Gio. Batista, born at Genoa (1620-1657). A painter of history whose pictures are esteemed in Genoa. The best are in the portico of S. Pietro and the cloister of S. Agostino. Bakker, Jacob, born at Harlingen (1608-1641). Lived chiefly at Amsterdam, and painted history and portraits with great rapidity. Ills works arc praised by the poet Vondel. Many of them are in Spain. An altar-piece in a chapel of the Antwerp Cath. represent- ing the " Last Judgment " is by Bakker, and is a fine picture. Another of his works is a large archery piece, No. 34, in the new Hotel de Ville at Amsterdam. Bakker, Adrian, born at Amsterdam (1G43-1686). Nephew of Jacob. Studied at Rome. Excelled most of his countrymen in cor- rectness of design. His chef-d'oeuvre is a picture of the " Judgment of Solomon," in the Hotel de Ville at Amsterdam. Baldi, Lazzaro, born at Pistoja (1623-1703). A scholar of Pietro da Cortona, in Rome. He became an eminent painter of his time. In the Pontifical Pal. at Monte Cavallo, there is an esteemed work of his representing "David and Goliath." The "Martyrdom of S. Lazzaro " is in the ch. of S. Luke. Baldovinetti, Alessio, born at Florence (1422-1499). He is believed to have been a pupil of Paolo Uccelli. His works are few, 5 66 BALDOVINETTI BALDUNG. and are distinguished for minuteness in detail. lie is said to have painted straws so that their stems and joints could be- seen. He ex- ecuted portraits and historical subjects, both in oils and fresco. His remaining works are much injured by scaling or the abrasion of tin- colors. Those best known are a fresco in the cloister of the Annun- ziata at Florence; No. 24, Uffizi Gall.; and a "Trinity" with Saints. painted for a chapel in S. Trinita at Florence. He wa> interested in mosaic work, and studied much to learn the best manner in which it could be done. In 1481 he repaired the mosaic over the portal at S. Miniato al Monte. He was a chemist, as well as an artist. He claims to have been the teacher of Ghirlandaio. He was buried in S. Lorenzo at Florence. Baldrighi, Giuseppe, born at Pavia (1722-1802). A pupil of Vincenzio Meucci. He was invited to the court of Parma, and ap- pointed painter to the Duke. He painted portraits of the ducal family, which were much admired. One of his finest pictures is in the saloon of the Acad. of Parma, and represents " Prometheus." Balducci, Oio., called Cosci, died 1600. Said to have been a native of Florence and a pupil of Batista Naldini. He was employed at Rome by Leo XI., when Card. I)--' Medici. His works may In- seen at Rome, at Florence, and at Naples, which he visited towards the close of his life. Baldung, Hans, called Griin. Born at Gemund, 1470; died at Strasbourg, 1552. A contemporary, and perhaps a pupil of Albert Diirer, but inferior to him in beauty of design and color. A number of his pictures may he seen in the Cath. of Freiburg. An altar-piece dated 1516 is considered his chef-d'oeuvre. One of his best portraits is in the Vienna Gall. No. 14s, Munich Gull. Cabinets, is a por- trait of the Margrave of Baden. Berlin Mus., Nos. t!<>3 and 623 are his works. He was an engraver, and worked chiefly on wood. Bartsch assigns to him two engravings on copper, and mentions fifty- nine wood-cuts. His drawing was sometimes incorrect; but the expression of the heads was good. The following are some of his prints : Adam and Eve plucking the apple. The Fall of Adam ; inscribed on a tablet, "Lapsus humanis gen- eris. 1511. Christ and the Apostles. 1514. Thirteen plates. The Crucifixion, with S. John, the Virgin, and Mary Magdalene; in chiaro-scuro; fine. Two landscapes; very scarce. Four small upright prints : Solomon's Idolatry, Samson and Deli- lah, David and Bathsheba, and Aristotle and Phryne; very fine. An Incantation ; in chiaro-scuro. 1510. The Holy Family, with SS. Elizabeth and Catherine ; half-length. 1512. BALDUNG BAXDIXELLI. 67 Two prints of Horses in a Forest; marked " BALDUXG. 1534." A Man with a Horse ; large upright ; no date. Balechou, Jean Jacques, born at Aries, 1715 ; died at Avignon, 17G4. Very celebrated engraver. He excelled all French engravers who preceded him in the clearness of his strokes and brilliancy of color. In neatness of execution he has rarely been surpassed. There is, however, a deficiency in his drawing, especially in portraits, which detracts from the effect of his works. His three plates after Yernet, representing the " Storm," the " Calm," and the " Bathers," are among his finest plates. Balen, Heiurich van, born at Antwerp (1560-1632). Pupil of Adam van Oort. He went to Italy, and returned to Antwerp, where the demand for his pictures was greater than he could supply. In purity of color he excelled the older Flemish artists, but was cold in feeling, and mannered in design. The backgrounds of his pictures were often painted by Jan Breughel, and sometimes by Kierings. These works were found in the best collections. His nude figures were the most pleasing, and exquisite in finish. In the Antwerp Cath. are two altar-pieces, and in the ch. of S. Jacques an " Ascen- sion " by Balen. He was the first instructor of Yandyck. Balestra, Antonio, born at Yerona (1666-1740). Pupil of Carlo Maratti at Rome, where he was employed to paint in several churches and palaces. He gained the prize at the Acad. of S. Luke in 1694. He was not a great master, but his works are held in good estima- tion. One of his finest pictures is in the ch. of S. Ignatius at Bo- logna. He was also an engraver, and his plates from his own designs are etched in a free and masterly manner. Baltz, J. Georges, born at Strasbourg, 1 760. Painted miniature portraits and landscapes on porcelain, many of which are seen in the cabinets of Europe. Bambini, Giacomo, born at Ferrara ; died 1622. Pupil of Do- menico Mona. There are many of his works in the churches and public edifices of Ferrara. Bambini, Niccolo, born at Yenice (1651-1736). Pupil of Giulio Mazzoni and Carlo Maratti. He imitated Liberi, and like him was distinguished for his beautiful women. He was a reformer in Vene- tian art. Many of his works are in the churches of Yenice. Bam- bini was the master of Zanetti. Bamboccio. See Peter de Laer. Banck, Peter van der, of Flemish extraction, but born at Paris (1649-1697). Pupil of Francis de Poilly, and an eminent engraver. In 1674 he went to England with Henry Gascar. He painted por- traits of many eminent persons of his time, which are much esteemed for their historical value, as well as for their merit as engravings. Bandinelli, Baccio, born at Florence (1487-1559). Sculptor and painter. Scholar of Rustici, and friend of Leonardo da Vinci. 68 BANDINELLI BARBARIS. His designs were powerful, and his treatment bold, but he had much mannerism. He hated Michael Angelo, whom he never could equal. He was envious, fals, and calumnious, full of silly vanity, his only virtue being that of industry. But all that has passed away, and his works remain to claim for him his due distinction. The best of these are a bas-relief on the screen of the choir (or the high altar) of the Florence Cath., which represents the Prophets, the Apostles, the Virtues, etc. ; a bas-relief on a pedestal in the Piazza of S. Lorenzo, at Florence ; and a group representing " Xicodemus supporting Christ," which he intended for his own monument. This last is in the ch. of the Annunziata, at Florence, and the Nicodeonu is a portrait of Bandinelli himself. Banks, Thomas, born at Lambeth (1738-1805). He served his apprenticeship to a wood carver. He obtained several premiums from the Society for the Encouragement of the Arts, for models in sculpture. He then entered himself a student of the Royal Aead.. and obtained their gold medal. This entitled him to study in Home three years. He applied himself closely to the study of the antique, and there executed two of his best works in marble : " Cupid catch- ing a Butterfly," purchased by Catherine II. of Russia ; and " Ca- ractacus brought Prisoner to Rome." He returned to England, and attempted to indulge his fancy in works of a lofty and heroic style, but he was compelled to adopt the more lucrative employment of monumental sculpture. He was invited to Russia by the Kni]>iv>s, and remained two years. Monuments executed by him are in several churches in England; and in the Hall of the British Institution is the model of " Achilles mourning the Loss of Briseis," never executed in marble. His life was one of disappointment. His poetic groups were received with coldness, and he lacked that encouragement which stimulates to the highest attainment. Baptists. See Monnoyer. Barabbino, Simone, born near Genoa about 1585. Pupil of Ber- nardo Castello, who became jealous of his talent, and expelled him from his Acad. He then painted a picture for the Annunziata del Guastato, representing S. Diego, which has been much praised. He removed to Milan, where he received the honor due to his ability. One of his finest works is a "Madonna," with the dead Christ, and Saints, in the ch. of S. Girolamo. Lanzi says he became a mer- chant, and died in jail. Barbalunga. See Ricci. Barbarelli. See Giorgione. Barbaris, Jacopo de (1504). Little can be told of this painter; indeed, it is doubtful by what name he should be called, for lie is thought to be identical with Jacomo Barberino Vencziano, and with Jacob Walch, an artist alluded to by Diirer in his correspondence. His signature and emblem (a wand of Mercury), are on a panel in BARBATUS BARBIANL 69 the Gall, of Augsburg, dated 1504, and on a head of Christ in the Mus. of Weimar. There are also pictures of his in Paris, Ratisbon, and in Dresden Mus. If he be the same as Jacomo Barberino Vene- ziano, he went, according to the Anonimo, to Burgundy and Ger- many, and adopted the style cf those countries. He was in the ser- vice of John of Burgundy, Bishop of Utrecht, at the same time with Alabuse, and excelled in painting and engraving. fBarbary, Jacob da. An engraver, and the true " Master of the Caduceus," j l-i who has been called until recently Franci? *~* de Baby lone. The reason of the name is found in the fact that he marked his plates with a caducous. One of his plates mentioned by Brulliot is dated 1504. His nationality is a matter of doubt. Different authors enumerate, altogether, twenty-nine plates by this artist, They are highly esteemed for their rarity. The following are among those known to be his : Apollo and Diana ; small upright plate. A Holy Family, with the Virgin resting on the stump of a tree, and S. Joseph leaning his head on his hand ; square plate ; half- length figures. A Holy Family with S. Elizabeth, and an Angel playing a musical instrument. The Offering of the Wise Men ; small upright plate. S. Jerome writing, with a Crucifix before him. Two small upright plates ; in one a woman carries a child in her arms, and in the. other a man carries a boat. A Sacrifice to Priapus ; a free subject; after Marc Antonio. Barbatelli, Bernardino, better known as Poccetti, and also called Bernardino (Idle facceati, or delle grotesche. Born at Florence (1548-1612). Pupil of Miehele di Ridolfo del Ghirlandaio. At first he painted only grotesques and the fronts of buildings, and was little known, but later he went to Rome, where he studied the works of Raphael, and also made a reputation as an architect. Few of his pictures on wood or canvas remain, but many of his frescoes are still in Florence, and compare well with those of many Italian masters. Mengs always studied him when in Florence, and Pietro da Cortona admired his works. He sometimes painted hastily, and again would prepare his drawings with the greatest care, but his pencil was always firm, and his works displayed facility and freedom. He adorned his historical pictures with fine landscapes, sea-views, fruits and flowers, and his draperies were admirable. Barbello, Gio. Giacomo, born at Cremona (1590-1656). Best known by his pictures in the churches of Bergamo. Barbiani, Andrea, born at Ravenna (1680-1754). Believed to have studied under P. Cesare Pronti, whose style he imitated in his- 70 BARBIANI BAROCCIO. torical paintings. The churches and public buildings of Ravenna and Rimini are adorned with his works, one of the best being in the vault of the Cath. of Ravenna, and representing the " Four Evange- lists. " He was an artist of considerable merit. Barbiani, Gio. Batista, born at Ravenna. Flourished about 1635. Probably studied under Bartolommeo Cesi. His best fresco is the " Assumption of the Virgin," in the dome of the chapel of N. Signora del Sudore, in the Cathedral. Some of his best pictures were at Bologna. Barbier-Walbonne, Jacques Luc, born at Nisines, 17G9. Pupil of David. He painted historical pictures, and portraits of the dis- tinguished generals of France. Barbiere, Domenico del, born at Florence about 1506. A pupil of II Rosso, whom he accompanied to France, when he came by in- vitation of Francis I. to ornament the palaces of Fontainebleau and Meudon. After the death of Primaticcio, Barbiere executed some frescoes after the designs of that master. He was also an engraver, but his works possess little merit. They are valued, however, on account of their scarcity, and arc found in curious collections. Barbieri, Gio. Francesco. See Guercino. Barbieri, Paolo Antonio, brother of Gio. Francesco, called Guer- cino, born at Cento (1596-1640). A painter of still-life. lie es- pecially excelled in pictures of fish. Barda, Don Vicente Calderon do la, born at Guadalaxara (1762-1794). Pupil of Don Francisco Goya. Painted history and portraits, and excelled in the latter. His finest historical work is in a college at Avila, and represents the " Birth of S. Xorbert." Bardin, Jean, born at Montbar (1732-1809). Pupil of the elder Lagrenee. Studied also at Rome. He was a popular artist in France and was admitted to the Acad. in 1795. His subjects were religious, poetical, and historical. David and Regnault were instructed in the elements of painting by Bardin. Barker, Robert (1739-1806). Inventor of panoramic painting. His first picture of this kind was a view of Edinburgh, which was exhibited in that city in 1788, and in London a year later. At first this kind of exhibition attracted but little attention, but soon its use- fulness was appreciated, and it became popular. Barnuevo, Don Sebastian de Herrera, born at Madrid (1G11- 1671). Architect, sculptor, and painter. Studied first with his father who was a sculptor, then became a pupil in painting under Alonso Cano. He gained reputation in the three branches of art to which he gave his attention. Many of his works are in Madrid. The " Nativity," in the eh. of S. Geronimo, and the " Beatification of S. Augustine," in the great chapel of the Augustine Recollets, were his principal pictures. Baroccio, Federigo, born at Urbino (1528-1G12). Studied de- BAROCCIO. 71 sign with his father, who was an engraver. Became the pupil of Battista Franco of Venice. Went to Pesaro, where he saw the art- treasures of the Dukes of Urbino, and when twenty years old, to Rome. He was hindered by his modesty, but Michael Angelo chanced to see some of his drawings, which he praised, and Gio. da Udine became his friend. He also became known to Card. Giulio della Rovere, who gave him his patronage. He returned, after four years, to Urbino, and executed some church paintings whkh gained him great reputation, and when, in 1560, he returned to Rome, Pius IV. employed him in the Vatican, with Federigo Zucchero. Here he was poisoned by some rival, and although the potion was not fatal, it induced a stomachic disorder, which prevented him from working more than two hours a day during the fifty-two remaining years of his life, which year?, with the exception of three at Perugia, and a visit to Florence, were passed at Urbino. Some of his best works were, the " Pardon of S. Francis of Assisi," for the Franciscans of Urbino, on which he spent six years; a " Deposition from the Cross," for tin Cath. of Perugia, three years, now in the Vatican; the "Calling of S. Andrew;" the ''Annunciation," now in the Vatican; " Santa Michclina," the " Presentation of the Madonna," and the "Visitation," in the Clik-sa Nuova, at Rome; the "Insti- tution of the Sacrament," according to the Romish rite, in the ch. of the Minerva, at Rome; the " Cenacolo," and a " S. Sebastian," in the Cath. of Urbino; a portrait of Duke Francesco Maria, in rich armor, in the Tribune at Florence; and a " Madonna del Gatto," in the National Gall. This is by no means a list of his pictures, for the amount of work which he accomplished was wonderful, when we consider his sufferings!. Baroccio lived when the art of Italy was declining, and although he avoided, very considerably, the prevalent mannerism in form, his coloring was imperfect. He admired Michael Angelo, but he imitated Correggio in color. Mengs finds his pictures wanting in yellow; Reynolds criticises his flesh colors; and Bellori, his biographer, thought he used vermilion and ultramarine too freely. His design was correct. Bellori says he always made two cartoons, and two colored sketches; made all his drawings from life, and dressed models in the required costumes. In spite of his faults he acquired a great name in his day, and merits the reputation of intro- ducing harmonious application of light and shade into Lower Italy in which management of light, added to variety and novelty of conception, his merit consists. Excepting his health, his life was fortunate. For he was in good circumstances, happy in his temper, had many pupils, and more orders than he could execute. Duke Francesco Maria often visited him in his house in Urbino, and on the 1st of October, 1612, made this entry in his uiary : " Federigo Ba- roccio of Urbino died, aged 77; an excellent painter, whose eye and hand served him as well as in his youth," He was, in truth, eighty- 72 BAROCCIO BARRET. four years old, and painted without spectacles, but not as well ;.s earlier in life. He was buried in S. Francesco, where, in the corridor. the tablet to his memory remains. At his funeral a standard painted by himself, representing the Crucifixion, was placed at the foot of his bier. Baroccio was also an engraver, and left several plates, cor- rect in design and good in expression, though not especially delicate in their execution. Baron, Bernard, born at Paris, 1700; died in London, 171! -2. An eminent engraver, and a pupil of Nicholas Henry Tardieu. lie en- graved several plates for the Crozat Coll. He resided in England some years before his death. His works have considerable, merit, although coarse in their execution. Baron, John, or Barouius, called Tolosano, born at Toulouse 1631. Passed most of his life at Rome. An engraver of portraits and historical subjects. Barozzo, Jacopo, called Vignola, from his birthplace, in the ter- ritory of Modena (1507-1575). An illustrious architect. He com- menced to study painting in the school of Passarotti at I5ol<>_ r na, but became so enamored of the study of perspective, that by that means (as he himself said) he was led to devote himself to architecture. He became a law-giver in that art in Italy. He was employed in Rome by a society of nobles and gentlemen to make accurate meas- urements of the greater part of the Roman antiquities. These meas- ures or moulds were sent to France to be cast in bronze. Vignola then accompanied Primaticcio to France, where he was employed in architectural works as well as in the casting of the above named statues. In 1550 Julius HI. was made Pope, and Vignola. bv the recommendation of friends, was appointed architect to His Holiness. Soon he became known to Card. Farnese, who employed him to de- sign his magnificent Pal. of Caprarola, and would have even thinir about it done according to his decision. In this palace some pictures by Vignola were seen. After the death of Michael Angelo Pius V. employed Vignola to superintend the work at S. Peter's. Tins ma>- ter also published valuable works on architecture, in one of which he gave definite rules for the increase or decrease of every part in all the five orders of architecture. This was illustrated by i-n^ravinirs and proved a very useful book. Milizia called it "L'Abbieci dell' Architettura." Barret, George, born at Dublin, 1728; died at Paddington. 1784. First studied in the drawing Acad. of his native city under Mr. West. The Earl of Powerscourt became his patron, and lie painted many views around Powerscourt Park. In the Dublin Society he took tin- premium for the finest landscape. In 1 762 he went to England, and there took prizes also. He greatly assisted in the establi>bineiit of the Royal Acad. He was a good painter of English landscape. His works are in the possession of the nobility, the prim ipal ones belong- BARRET BARTHOLOMEW. 73 ing to the Dukes of Portland and Buccleugh. He also left several spirited etchings. Barry, James, born at Cork (1741-1806). Son of a coasting trader. Commenced to paint as a boy. His picture of " S. Patrick baptizing the King of Ca>hel," obtained for him the notice of Burke, who gave him the means to go to London, and later, defrayed his expenses in Rome. He returned to London in 1771. In the great room of the Society of Arts, at the Adelphi, he painted six large pic- tures, illustrating the i4 Civilization and Regeneration of Man." In 17 renewed his friendship with Church, and the citizens of Hartford complimented him by a public dinner. He returned to Italy with fresh zeal and aspirations, but it was only to die. In a tew months, on account of his health, he went from Rome to Naples, where he lived but a short time. Bartoli, Pietro Sante, sometimes called II Perugino, born at Pe- rugia, lG3o. He first practised painting, but gave it up for engrav- ing, in which he became eminent. He left a great variety and num- ber of plates, which are chielly etched in a free and masterly manner. He sometimes marked his plates with his initials, and added an F. for fecit : thus, P. B. F., but more frequently he used the following : Pelt: Ss. Bart. sc. Romce. Bartolin of Piacenza. Little is known of this ol>l painter. In the Baptistery of Parma, and in the ch. of S. Antonio at Piacen/a there are several pictures attributed to him. They are believed to belong to the close of the 14th, and rise of the 15th century, and are, very rude. Bartolini, Gioseffo Maria, born at Imola, 1G57. Pupil of Lorenzo Pasinelli. at Bologna. His pictures were historical, and sonic which still remain in the public edifices at Imola are much estecmc.i cially one in the ch. of S. Domenico, representing a miracle by S. Biagio. This artist was living in 17 IS. Bartolini, Lorenzo, born in Florence (1777-1850). He studied first in Paris : visited Koine, and settled in Florence. lie left, many works some of considerable merit, but others bear the impv French affectation. lie executed many statues and monuments, and was considered a leading master of his time. At the Kstcrhazy -Mus. in Vienna are three (Jenii '' by this master, remarkable for their elegance and truthfulness. Bartolo, Taddeo di. A Sienese painter of the early part of the 15th century. His earliest pictures are at Perugia. There is an altar-piece dated 1403. It represents the ' Virgin and Child,'' with two angels and S. Bernard. This is now in the Acad.. where there are two other works of this master. In the ch. of S. Agostino. Pe- rugia, a " Descent of the Holy (ihost," by Taddeo, is admirable. The Acad. of Siena has an " Annunciation," and the L< uvre at Paris several pictures not important in considering Taddeo. but thost- of the " Life of the Virgin," on the walls of the chapel of the Palazzo della Signoria at Siena, are worthy of note. They were done in 1407, and are peculiarly improsive from their refinement and true feeling. In 1414 he painted a hall joining the chapel which is much inferior, and represents ancient orators, poets, and statesmen. BARTOLO BASAITI. 75 Bartolo, Domenico di. Flourished 1440. The brother or nephew of Taddeo, but much inferior to him. An " Assumption " in the Berlin Mus. is somewhat effective in arrangement, but coarse in the manner of execution. In 1440 he represented the " Works of Mercy " in the Hospital della Scala at Siena, but they are pictures of no merit. Bartolommeo, Fra. See Porta, Baccio della. Bartolozzi, Francesco, born at Florence (1730-1813). This eminent designer and engraver studied drawing under Hugfort Fer- retti at Florence, and engraving with Joseph Wagner at Venice. He went to England in 1 764 and became eminently distinguished. He practised every kind of engraving. The number of his plates is enormous and .their finish exquisite. His etchings are remarkable for the truthfulness with which he reproduced the spirit and expression of the woi-ks he copied. Bartsch, Adam, born at Vienna (1757-1820). Engraver and author. He was principal keeper of the Imperial and Royal Gall, at Vienna, and published " Le Peintre Graveur," which is the best account of prints yet published. Besides this he published a " Cata- logue of the Etchings of Rembrandt and his Pupils," which like the former book is wonderful for its accuracy. For the first he made fac- similes of rare etchings, in which the spirit of the originals is per- fectly reproduced. In 1818, his son Frederic published a "Cata- logue llaisonne " of the works of the father, which numbered 505. Bas, Jacques Philippe Le, born at Paris (1708-1782). Cele- brated engraver. Studied with N. Tardieu. The number of plates which he left is very large. He had many pupils, was an ingenious artist, and Bryan says, il availed himself much of the freedom and facility of etching, which he harmonized in an admirable manner with the graver and dry point." He made more than one hundred prints after Teniers, and copied that master most successfully. Basaiti, Marco. It is not known whether this artist was born at Friuli or Venice. He was of Greek parentage. Flourished from 1470 to 1520. He is believed to have been the assistant of Luigi Vivarini, and Gio. Bellini. He acquired much of the manner of both these masters, and imitated besides, at different periods, Palma, Lotto, and Carpaccio. He probably survived Raphael, but a wider difference could scarcely be imagined than exists between the pic- tures of the two. Basaiti' s colors are brilliant, and his pictures fin- ished with the greatest care, even in the most minute details, which results in a dry realism. His figures have character, and a peculiar dignity, but his draperies are stiff and his heads have a tiresome sameness. His works are almost numberless, and there are few col- lections without them. The following are some of the more impor- tant : National Gall., S. Jerome reading, and the Virgin seated in a meadow with the Child asleep on her lap; Munich Gall., " DC- 76 BASAITI BASSANO. position from the Cross; " Venetian Acad.. Christ with the Disci- ples in the Garden," and the " Calling of SS. Peter and Andrew." 1511 ; Vienna, Belvedere Gall., " Calling of James and John," with fine landscape, signed, 1515, Marcus Baxaitj, F. Basili, Pier Angiolo, born at Gubbio (1550-1604). Studied first under Felice Damiani, and then with Christofano Roncalli. His style resembled that of the latter master, but was more delicate. In the ch. of S. Mazziale is a picture of " Christ Preaching,." with a great number of figures. His frescoes in the cloister ot' S. Ubaldo are much esteemed. Bassauo, Francisco da Ponte, born at Vicenza, 1475 ; died at Bassano, 1530. This was the founder of the family of Bassauo. six of whom were painters. Francisco, the elder, probably studied under Gio. Bellini, and imitated that master in his youth, but later in life he worked with more freedom and spirit. Ills ' S. Bartholomew " in the Cath. of Bassano, shows his early manner ; and the i; Descent of the Holy Spirit," at the village of Oliero, is grand iu composition, good in color and expression, and displays his later excellence. Bassano, Jacopo da Ponte, born at Bassano (1510-1592). Son of the preceding. He studied with his father, and afterwards with Bonifazio Veneziano. But he gained much of his knowledge from studying the works of Titian, and copying the designs of rarmigiano. He excelled in painting landscape and animals, and introduced the latter into almost every picture, sometimes with marked impropriety. He was, perhaps, the earliest Italian r/i arc painter. His coloring was good, and also his use of light and shade. He distinguished himself as a portrait painter, and painted many eminent persons, among them the Doge of Venice, Ariosto, and Tasso. He had four sons, who all painted with him, and many other scholars, so the amount of work completed in his atelier was very large. His latest pictures are by far the best. lie had the habit of concealing tin- hands and feet, which injured his pictures very much. His works are to be seen almost everywhere. " The Entombing of Christ," in the ch. of S. Maria in Vanzo, at Padua : " A Family Concert." in the Uffizi ; portrait of an old man, Berlin Mus.: portrait of a richly dressed woman, in Studj Gall., at Naples ; "The Mourning Maries." at Chiswick. and a %k Nativity," at the Louvre, are some of his larger works. His cabinet pictures are very numerous. Bassano, Francisco da Ponte, the younger, son of the preceding, born at IJassano (1548-1591). Trained in the. school of his father. lie established himself in Venice. Was employed to paint a series of pictures representing the hi-tory of the Republic, on the walls of the public palace, and one of his best works is on a ceiling there. He also painted for the churches of Venice. lie became melancholy, and this trouble was increased by his over application. He at last jumped from a window, and killed himself. BASSAXO BASSI. 77 Bassano, Gio. Batista da Ponte, born at Bassano (1553-1613). Second son of Jacopo. Spent most of his time in copying the works of his father, which he did with surprising skill. Bassano, Leaiidro da Ponte, born at Bassano (1558-1623). Third son of Jacopo. Excelled in portrait painting, to which he confined himself during his later years. He painted, among other distinguished men, the Doge Grimani, who made him a knight. The " Raising of Lazarus," in the Louvre, and the " Birth of the Virgin," in the ch. of S. Sophia, at Venice, are his best historical works. Bassano, Girolamo da Ponte, fourth son of Jacopo, born at Bassano (1560-1622). He spent much of his life in copying the pictures of his father, which he did so well that the copies passed at the time, and since then, as the originals. In the ch. of S. Giovanni, at Bassano, there is an original picture by Girolamo, of *'S. Barbara kneeling before the Virgin." Bassen, Bartholomew van. A Flemish artist who flourished from 1610 to 1630. He painted interiors of churches, and other pub- lic buildings. The figures in his pictures were done by other artists, and he in turn painted the architectural portions of their works. When called by his name they attract little notice, but are sometimes attributed to the painter of the figures. He was exact in perspective, and good in coloring. There are pictures of his in the Berlin Mus. Basseporte, Frances Magdalene, died about 1780. She painted subjects from natural history, in water colors. She did three hooks of flowers, which were engraved by Avril. She also engraved some plates for the Crozat Coll., and others, among which are, The Martyrdom of S. Fidelio de Sigmaringa; after P. A. Robert. Diana and Endymion ; after a design by Sebastiano Conca. Bassetti, Marc Antonio, born at Verona (1588-1630). There were but few pictures left by this master, for he believed that much time should be given to each one. Those he finished were highly prized. He was a scholar of Felice Riccio, called Brusasorci. He also studied the works of the masters in Venice and Rome. After his return to Verona he painted for the churches and public edifices of the city, but was cut off suddenly by the plague. Bassi, Antonio. The name of this painter occurs in the history of art in Ferrara, and some of his works may still be seen in the churches of that city. Bassi, Francesco, the elder, born at Cremona (1642-1700). From his landscape painting he was called " II Cremonese da Paesi." Many of his works are in the private collections of Venice. Bassi, Francesco, the younger, born at Bologna (1664-1693). Scholar of Lorenzo Pasinelli. He left pictures of merit in the churches of Bologna. One of " S. Antonio taken to Heaven by An- gels," in the ch. of that saint, is much admired. He was distin- guished for his copies after Guercino. 78 BAST BAUR. Bast, Dominic de, born at Ghent, 1782. An amateur painter of landscapes, cattle, and marine subjects, in the last of which he was said to excel. His works are mostly in the private collections of Ghent, but one was purchased in 1822 by the Commissioners for the Encouragement of Fine Arts, in that city. Bastaro, Giuseppe del, born at Rome. Flourished in the time of Urban VIII. His pictures may be seen in several Roman churches. In S. Maria Maggkm is his "Assumption of the Virgin,'' and in S. Girolamo, a " Descent from the Cross," and The Death of S. Jerome." Bastaruolo, H. See Mazzuoli Filippo, or Giuseppe. Batoni, or Battoni, Fompeo, born at Lucca, 1 7o-_> ; died at Rome, 1787. Pupil of Francesco Fernandi. He was a contemporary of Raphael Men<_rs, who painted mostly in Spain. Batoni excelled most in portrait painting. He bestowed much labor upon the hands, and finished cravats, laces, etc., etc., with exquisite care. lie lived after the decline of Italian art, and showed a doire for severer study than was usual with artists of his time. Of his historical pictures, the " Fall of Simon Mairus." in the eh. of S. Maria dccrli Angeli, at Rome, deserves to be mentioned. In the eh. of S. Maria M;i'_"_ r iorc there is an altar-piece representing the " Annunciation; " in the ch. of S. Girolamo, a " Madonna," with saints and angels ; in the pa- vilion at Monte Cavallo there are five pictures by this artist, one of which represents " Christ giving Peter the Key>." and is sometimes called his best work. Being the best artist of his day in Rome, he was constantly employed, and his works were well esteemed all over Europe. At Hampton Court there is a portrait of Gregory XIV. by Batoni, and in the Dresden (Jail, a "Magdalene." and a " S. John in the Wilderness." These last are good specimens of his works, and display pure academic art, as if they were painted but to show color and design. Baudet, Stephen, born at Blois, 1G20; died at Paris, 1691. An eminent engraver. After studying in Paris he went to Rome. He used only the graver, at this time, and seems to have imitated Corne- lius Bloemart. Upon his return to Paris he ureatly improved his style by using the point also. He was a member of the Royal Acad. His choice of pictures from which to make plates was excellent, and were those of some of the best painters of Italy. Bauduins, Anthony Francis, born at Dixmude, in Flanders, 1640 ; died at Paris, 1:00. He first studied painting under F. A. Vandermeulen, but afterwards became an engraver. Most of his plates were from the designs of Vandermeuleii. and were etched in a bold and effective style. Baur, John William born at Strasbourg (1600-1640). I \A/J Pupil of Frederick Brentel, whom he soon surpaed. He went to Rome, where his views of the environs of the city were much admired. In 10:i7 he went to Venice, and then to BAUR BAZZI. 79 Vienna, where he was employed by Ferdinand III. His color was superior to his design. lie acquired some celebrity as an engraver. Baur, Nicholas, born at Harlingen (1767-1820). One of the best modern Dutch painters of marine views. He also painted landscapes and views of cities, and frequently represented winter and moonlight scenes. Many of his works are in private houses in Holland, and the King of Holland purchased two of his marine views for the Mus. at the Hague. Bausa, Gregorio, born at Mallorca, near Valencia (1596-1656). Pupil of Francisco Ribalta. His pictures had considerable merit. At Valencia, in the eh. of S. Philippe of the Carmelites, there is an altar-piece representing the Martyrdom of the Saint, and in the monastery of Los Trinitarios Calzados there are several works of his. Bayeu y Subias, Don Francisco, born at Saragossa (1 734-1 795). He first studied and gained the prize at the Acad. in his native city. Then, a pension being granted him. he was able to go to Madrid, where he studied with Antonio Gonzales Velasquez. He painted for the churches, and was employed by Charles III. in the Prado, and the palaces at Aranjuez, and Madrid. He became a member of the Acad. in 1765, and three years later was made painter to the king. Some pictures of the life of S. Bruno, at the Carthusians, are among his best works. Bayeu, Don Raymon, born at Saragossa (1746-1793). Brother and assistant of the preceding. Bazin, Nicholas, born at Troves, 1636. Pupil of Claude Mellan. He executed plates of historical subjects and portraits in a stiff, dry manner. Bazzani, Giuseppe, born at Reggio (1701-1769). Pupil of Gio. Canti, whom he surpassed. Many works of his are in the churches and convents of Mantua and vicinity, and have considerable merit. At the time of his death he was director of the Acad. at Mantua. Bazziacaluve or Bezziacaluva, Ercole. An eminent engraver of Pisa or Florence, who flourished about 1640. Bazzi or Razzi, Giauantonio, called II Soddoma (1474-1549). Born at Vercelli, he seems rather to belong to Siena, for he settled there and became one of the best painters of the Sienese school. His mode of life was free and easy. He was fond of animals, and had a collection of them always about him. Queer birds, magpies, monkeys, etc., were always in his house. A raven who imitated him perfectly in voice, and manner of speech, was his especial pet. His dress and whole appearance was such that he attracted all sorts of odd people about him, and was not over fastidious about their character. He was married to a young wife, who left him soon after the birth of a daughter. When we consider his peculiarities it is a surprise that he could have painted such women as he did, for they are often of a remarkably pure and noble type. His conception of beauty was ex- traordinary, and his expression of deep enthusiastic feeling not less 80 BAZZI BEATRICI. so. His women resemble those of Leonardo, under whose influence, he probably came in youth; he was also familiar with the Florentine art, and studied the works of Raphael in Home. He became vain and careless after attaining a good degree of fame, and painted only from the force of whims, or need; and yet, in spite of his careless life, and unequal temperament, his genius made him great. In lf) Karlv in life lu> W( ' nt to Koine-. nn(1 llis plates show that he was there from 1 ").'! - J to 15G2. He is supposed to have studied under Agostino Veiiexiauo, called De Musis. The works of Beatrici are not equal to those of the master. HEAD OF ROXANA, FROM THE FRESCO OF " ALEXANDER'S MARRIAGE," BY IL SODDOMA. IN THE FAKNESINA, ROME. 6 BEATRICI BECCAFUMI. 83 His subjects, however, were excellent, and his plates have been valued on that account. His prints are somewhat numerous. Beaumont, Claudio, born at Turin (1694-1766). After studying at Turin he went to Rome and spent some time in copying the works of Raphael, the Caracci and Guido. He admired Trevisani and imitated him in execution and color. Returning to Turin, he became distinguished, was employed by the King of Sardinia, and by him knighted. He decorated several apartments in the royal palace. A fine " Descent from the Cross," by Beaumont, is in the Chiesa della Croce. His pictures should be judged in comparison with others of his own time. Many other eminent foreign artists were employed by the court in competition with Beaumont. He re- modelled the Turin Acad. and extended it to all branches of art, under the name of the Royal Acad. , and from that time the cultiva- tion of the fine arts increased. The name of Beaumont is deservedly respected in his native city. Beaumont, George Howland (1 753-1827). An English baronet, an amateur painter and a pupil of Wilson. He painted landscapes respectably. He liked richly glazed foregrounds, but light and silvery skies. His wood scenes resemble those of Ruysdael. Beaumont was a liberal patron of artists, and was much associated with them. Beauvais, Nicholas Dauphin de, born at Paris about 1G87. Pupil of John Audran. His engravings are held in good estimation. Beauvarlet, James Firmin, born at Abbeville, 1733. Cele- brated engraver. Pupil of Charles Dupuis and Lawrence Cars at Paris. His earlier plates are bold and free, while the later ones are finished with great neatness and delicacy. Beccafumi, Domenico, called Meccherino, born at i I { < Siena (1484-1549). He was a shepherd boy, and \ J accustomed to sketch upon stones while watching his flock. This attracted the attention of one Meccherino, who obtained his father's consent that he should study under a master in Siena. Capanna was his instructor. He copied the de- signs of various masters, and, at first, adopted the manner of Perugino. He afterwards went to Rome, and studied antiques, as well as the works of Michael Angelo and Raphael. Returning to Siena, he competed with Razzi, next to whom he was ranked by the Sienese. His earlier works had more beauty and grace than those of his later years. His color was cheerful and pleasing, and of such a body that his pictures have endured the test of time better than many others. He used to say that he could not paint out of Siena, and his works are numerous there both in public and private collec- tions. He painted better in distemper than in oils. His frescoes in the oratory of S. Bernardino were fine. In the Acad. of Siena there is a picture by him of " S. Catherine receiving the Stigmata," which is one of his best easel pictures. He also did some works in sculpture and engraving, and we have a number of prints by him. One of his 84 BECCAFUMI BEECHEY. most interesting later works was the pavement of the Cath. of Siena executed in mosaic. This has been engraved by Andrea Andreani. One of his points of excellence was the power to suit his composi- tions well to the style of the areliitecture by which they were sur- rounded, and to ornament them with grotesque designs, so that they required no gilt stucco, etc., etc. He loved the retleetions of fires. and other lights, and was more learned in the principles of art than most artists of his time. He also understood foreshortening, espe- cially on ceilings. He sought strength and dignity in his figures, ami even his small pictures appear larger than they are for this reason. He was an upright man of solitary habits. Ilis memory was cher- ished by tlie Sienesc, and honored by their poets. Beccaruzzi, Francesco, born at Conigliano in the Frioiil. Scholar of Pordenonc. He painted reputably both in oil and fresco. Many of his pictures are in the churches and convents of Trevigi. One of his best works was a " S. Francis receiving the Stigmata." painted for the Franciscans of Conigliano. Becerra, Gaspar, born at Bai/.a in Andalusia, 1520 ; died at Madrid, 1570. One of the great fresco painters of Spain; also an architect and sculptor. It is difficult to say whether he was most celebrated for his pictures or his figures. lie was a close student of anatomy and made plates for a work on that subject, and also de- signed anatomical figures for the use of artists lie studied in Home. and returning to Spain, was made sculptor and painter in ordinary to Philip II. Perhaps his most celebrated production was an image of the Virgin made for Queen Isabel do la Pax. lie had already made two which did not please the Queen, when, as he >at one night over his work, befell asleep, and was awakened suddenly by a voice. saying, " Awake, and ari-c. and out of that log of wood blaziui: on the hearth, shape the thought within thee. and thou shall obtain the desired ima'_re." He did so. and having quenched tly.' burning stick, bewail at dawn to work. The statue grew rapidly, and became a miraculous image, and, draped in widow's weeds, was placed 'in a chapel devoted to her by the Minim Fathers at their convent in Madrid, to whom she brought much gain. This ima'_ r e is known as " Nuestra Senora de la Soledad." It disappeared during the war of independence. The most important work of this master was the high altar in the Cath. of Astoria, which was composed of many lias-reliefs and figures. It cost :{o.noo ducats. 11,000 of which made the share of Becerra. Many works of this master are in the public edifices of Madrid. Astorga. and Zamora. Beechey, Sir William, born at Kurford in Oxfordshire, 1772; died at Hampstead, 1839. Portrait painter to the Queen, appointed in 1793. lie was made a knight by (Jeorge III. for his picture, now at Hampton Court, which represents the king reviewing troops. In sixty-four years he .-xhihited 362 portraits at the exhibitions of the Royal Acad. BEECK BEGA. 85 Beeck, Jan, born at Looz ; died, 1516. A monk who became abbot of the convent of S. Lawrence near Liege. He painted the largest part of the pictures of his convent, and is considered next to the brothers Van Eyck, among the old painters of Liege. Beek, David, born at Arnheim (1621-1656). One of the ablest pupils of Vandyck, whom he assisted until his death, painting an im- portant part in some pictures, and the whole of others, after the designs of the master. He went to England, where he was patron- ized by Charles I. , and instructed the Prince of Wales and Duke of York in drawing. After some years in England he went to Sweden, and was appointed principal painter and chamberlain to Queen Christina. In spite of his honors he longed for Holland, and, at length obtained permission to go there under promise to return to Sweden ; but his love for his home prevented his keeping this prom- ise, and he died at the Hague. Beeldemaker, John, born at the Hague, 1636. A painter of hunting scenes. Many of his pictures are in England. lie handled his subjects with much spirit. Beeldemaker, Francis, born at the Hague (1669-1717). Son of the preceding, with whom he first studied. He next painted with William Doudyns, and at length went to Rome. After some years spent in Italy he returned to Holland, and painted portraits and his- torical pieces which were much admired. He was a member of the Acad. at the Hague. Beerstraaten, Alexander. This artist lived in the 17th century, hut there is nothing known of his life. One of his pictures is in the New York Metropolitan Mus. of Art, and represents " De Schreyer- storen " at Amsterdam. Bega, Cornelius, born at Haerlem (1620-1664). A pupil of Adrian Ostade. He painted the same class of pictures as his mas- ter, though in a different manner. He excelled Ostade in drawing, but fell below him in feeling for color, and management of light. No. 1 7, Amsterdam Mus., is one of his best works, and represents a village fete, with music and drinking. No. 13, Louvre, representing a peasant and wife at table, is cooler in color than the former, and more in his usual manner. His pictures are found in the choicest collections. He also left more than thirty etchings, executed with much ingenuity and spirit, with a coarse, but firm, graver. His real name is said to have been Begeyn, but in youth he so displeased his father by his reckless mode of life, that he was disowned, and as- sumed the name by which he is now known. At the time of his death he was about to marry a young girl to whom he was devotedly attached. She was seized with the plague which visited Holland in 1664. Every one abandoned her, fearing infection, but Bega would not leave her, and gave her the most devoted attention to the last, when, having taken the disease, he also died. 86 BEGARELLI BEII AM. Begarelli, Antonio, called Antonio da Modena, iKirn at Modena (1499-1565). A modeller in clay. A pupil of Gio. Abati. He was associated with Correg'jjio in the decoration of the cupola at Farina, and made many models from which that artist painted his floating figures. These artists were the best of friends, and resembled each other in their conceptions of the grand and beautiful. In l.V_>!i Michael Angelo met Begarelli in Modena. and saw bis works. It is said that he exclaimed, " Alas for the statues of the ancients, if this clay were changed into marble! " Begarelli was an instructor in design and modelling, and greatly influenced the painting of the Lombard school. To him may be traced in a measure its excellence in design, especially its art of foreshortening, and its relief and grace, which often approaches that of Raphael. The works of Be- garelli are in the Berlin Mus. Eegas, Charles, born at Hcinsberg (1794-1854). While at the University of Bonn he received eome instruction in painting. He went to Paris and studied under Gros. He attracted the attention of the King of Prussia in 1815, and received an allowance with which to visit Italy. In 1825 he went to Berlin and became a professor in the Acad. of Arts. He painted portraits of Sehelling, Humboldr, etc.; and various religions subjects, among which are the "Descent of the Holy Spirit ;*' the "Transfiguration ;" " Christ bearing his Cross," etc. Begyn, Abraham, Dutch painter, born in 1650. Painted land- scapes and cattle in the style of Nicholas Berghem. His pictures are justly admired. He painted in a light, free manner, and his coloring is agreeable. Beham, Bartel, born at Nuremberg, 1496 ; ~T~\ |^ iB died in Italy- 1 ">'<>. A painter, but more ci-le- h \ \ * ULr or:ltl>( l as an engraver. Pupil of Albert Diirer. lie gave so much promise of excellence that I hike 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 (Jail, 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 l),"ul by the True Cross." is a remarkable picture. Xo. 98. same Gall., represents " Marcus Curtius leaping into the Gulf." and is injured by too much antique architecture. In the (Jail, at SeUeiMheim, a number of portraits show his excellence in that department of painting. He studied engraving under Mare Antonio Kaimondi, and was one of the most successful imitators of that artist. His drawing was that of a master, and his heads are line in expression. Many of his plates have no mark, and this has occasioned some dillieulty in designating them. His signature was BB, and the prints that have it are dated from 1520 BE1IAM. 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 Baldcrman. 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 X. Beatrici, but are [Jj | now called tho.se of Beham. Apollo causing Marsyas to be flayed ; af'er 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. Laferii fonnis. The two following have the die without the letter B. Apollo and the Python. Apollo and Daphne. Beham, Hans Sebald, born at Nurem- berg, 1500; died at Frankfort, 1550. Nephew I ** -"- of the preceding, from whom he received his earliest instruction. He afterwards studied with Albert Dlirer. 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 customs of his time than his " Triumphal Entry of Charles V. into Munich," and two pi'ocessions 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 Ifo/lur. 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. 15'20. The death of Dido; Regince Ditlonis imayo. 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, Mdancolia ; 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, JErumnrr. Herculis. 1542 to 1548. The Judgment of Paris ; Judicium Parldis ; 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. Biblica? Historian, 348 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 (1K01-1864). 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. Willie! m Beich, then went to Italy, where he became an imitator of Caspar 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 intone. 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. Beiiiaschi. 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 such a talent for 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 Gentile 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. .Taoopo was sent out to drive them off, and came to blows with one Bernardo
  • { his works Bernardo Belotto detto Canaletto. Tho fine views of Dresden were ordered by Count Briihl, at 200 thalers each. The figures were the work of Stct'ano Torelli of Bologna. Beltraffio, Gio. Antonio (1467-1516). A Milanese gentleman. and a pupil of Leonardo da Vinci. His characterise 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 (Jail. 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 nt the landscapes of Tempesta. In color he belonged to the Tctirhnmi. 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 " Nativity " in the cli. of the Ascension at Venice. Beltrano, Agostino, and his wife. Amelia. Neapolitan painters who flourished about the middle of the 17th 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 arc praised, e-pecially that of the " Birth and JK-ath of the Virgin," in the Chiesa della Pieta de' Turchini. But it is not unlikely that she was assisted by Massimo. In Ki-l!>, 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. lie lied to France, and wandered, an outcast, till 1 <)."!. 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 Rune. lie settled, at, length, in Nuremberg. His pictures were much admired, and are mostly in German collections. Bemmell, Peter Van, born at Nuremberg (1 - 1 723). 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 ;:re in Naples, where lie painted ceilings and other frescoes. BENASCHI BENCOVICH. 97 Benaschi, Angela. Daughter of the preceding, and a good portrait painter. Benazech (Benasech, Benezech, Benezeck, Benazec), Charles. English engraver and painter. Studied at Paris under Greuzc. Went to Rome in 1782. Returned to Paris, and, at the time of the French Revolution, revisited London, where he died. lie 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 1 753. 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 KEUEK, BY BENEDETTO DA MAJANO, FIJOM TIIK MAKBLE I'ULI'IT IX STA. CHOCK, FI.OKENCE. 7 98 BEXCOVJCII BEXEFIAL. 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 (14 1'2- 1498). An eminent architect and sculptor. He commenced life as a worker in wooden mosaic or intarsiatore. His brother, Giuliano. was al><> a celebrated artist, and a younger one, Giovanni, was of less inqxjr- 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 a< an architect was the Palazzo Strozzi, which was commenced in 1489. After the death of Filippo Strozzi the work was su>pciided. 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 Strox/i was erected in Santa Maria Novella, which he had commiaooned Benedetto to make before his death. It is the r/i> f'-ii'u ur/v 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 Faen/.a ; a marble pulpit at Santa Croce, Florence ; and some works at S. Simiirmum. The pulpit at Santa Croce was very fine ; he supported it against a column, through which he carried the staircase ; the reliefs repre- sent M-enes from the life of S. Francis. In the I'tli/i 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 CastL'Hone. Beuedicto, Roque, died at Valencia, 1735. His pictures are sometimes taken for those of his master, Gaspar de la Iluerta. His he~t work represents S. Francis de Paula feeding three thousand people with a little bread. Benfatto, Luigi, born at Verona (15.") 1-1 61 1). Nephew and pupil of Paul Veronese. He was distinguMicd for his works in the public places in Venice. In the Chiesa i!i S. Marta are several of lii.-. 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 Stimulate a - Flagellation." His merits BENEFIAL 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 u 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 (1G50-1690). 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 1C 24-1 683). Son of Pieter Klaasze. The if /1/W reason 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. He painted genre, battles, land- scapes, cattle, and portraits. His best works are his small landscapes with figures and cattle. He 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. Petersburgh, 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 BEKCHF.M. at the Hague, in which the figures are life-si/e. It was s>!d in 1*27 for 600, but it is cold and unsatisfactory, though well drawn and lighted. In addition to his other work lie often painted figures and animals in the landscapes of other artists, such as Iluysdael. Hohbeinn. Jan Wils, Abraham Verboom, and Isaac Moucheron. BERCHEM BERCHET. 101 ENGRAVIXGS AFTER THE WORKS OF BERCHKM. Enqrnrer, AMAMKT, Jacques. Landscape, with Figures and Cattle. The Port of Genoa. Landscape with a Stag Hunt. The Female Villagers. Village Pleasures. Engraver, AMSTEL, Cornelius Ploos Van. A Landscape with a Woman riding on an Ass, with Cattle by the side of a Canal ; N. lierghnn, fecit, 17C4; /'. 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. En (/raver, CAXOT, Peter Charles. Returning from Market. Engraver, CHARPENTIER, Pierre Franqois. The Shepherdess. The Shepherd reposing. Engraver, COULET, Amne Philibert. The " Rendezvous k la Colonne." Engraver, DANCKEHT 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 Figurss and Cattle. Engraver, DEQUEVACVILT.KR, Franpois. Noon; a Landscape with Figures. Evening; the etching by Weisbrod. Engraver, GHOEXSVELT, John. A Set of Six Landscapes. A Set of Four Landscapes; Berghem, del. Groenspclt, fee. Cle. de Jonghe, exc. : fine. Engraver, KOBKLL, 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, MARTKXASIK, Peter. The Watering Place. Engraver, Nox, Richard Abbe de St. A Landscape with a Figure. Engraver, PELI.ETIKR, Jean. The Watering Place. Ruins and Figures. Engraver, SCIILICHT, Abel. A Landscape, with Figures and Animals. Engraver, VKAU, Jean Le. The Village Blacksmith. Engraver, VISSCTIER, 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 1(581. His host work is the ceiling of the chapel at Trinity College, Oxford, repre.-cntiug the " Ascension." Berg, Mathias Van den, born at Ypres (161S-1647). It is said that his father had the care of the estates of Kul>ens. 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). Piq il of Adrian Van de Velde, and one of his most successful imi.ators. 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, are among his best pictures, as aie ;I!M> 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 1787 he was appointed Hector and Pr of Engraving at the Acad. of Berlin. Bergeret, Pierre-Nolasque, born at Bordeaux (1 7SO-1828 ?). A pnpil 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 (Jail, of the Luxembourg, and other royal collections. He also painted four portraits for the Hall of the Chancellors. He designed bas-reliefs, amonir 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 illustration* of splendid editions of "La Fontaine." Boileau."' etc.. etc. Bergler, Joseph, born at Sal/.ber_ r . 17.".::: died at Prague. IS-.'!'. When twenty years old lie had made himself so good : name that Prince Firmian of Passaii sent him to Italy, with a pension. lie went first to Milan, where lie was the pupil of Martin Knoller. He remained five years in Milan, copying works of the masters, and executing frescoes with his teacher. From Milan he went to Koine, and in 1784 gained the prize of the Acad. in Parma. From this time he received as many commisMons ;:s he could execute. He remained in Rome until 1786, when he retnrr.e 1 to I'a>-au. In IM>O lie 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 r-ecn in the churches of his own country. Bergmuller, John George, born at Dirkheim in Bavaria < 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 In- resided. BERINGEBOTH BERNA. 103 Beringeroth, Martin, born at Ramelsbourg, 1670; died in Leipsic, 1 738. 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. IJis 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. lit- 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. Repainted some portraits. No. 845, Berlin Mus., a landscape, has his signature. Ho 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 Italy. 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. Berkmans, 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. Berlinghieri, Marco, Barone, and Bonaventura. These arc three artists of this name mentioned as signing a treaty of peace with Pisa, in 1228. The works of Bonaventura 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 Fine Arts at Florence. These pictures are characterized by childish simplicity. The angels are merely motionless half-fignres, with embroidered dresses, and the resoluteness with which the different (recurrences 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 lie freed from evil spirits have little devils flying out of their mouths. Berlinghieri, 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 fine work, also that of the " Annunciation " in S. Antonio Abate. Berna or Barna. True name thought to have been Barna Bertini. 104 BERNA BERNINI. Sienesc painter (died 1381 ?). In the capitular ch. of S. Gimignano, in the Vnldelsa, there still may bo 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, Barnrv combined the peculiarities of Simonc and Ugolino minute drawing, abundant ornament, muscular limbs, stiffened action, close-lit ting 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 h::s 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 dclla Casa, born at Parma. Flourished 1 550. 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 i'ii'_ r raver. 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 rei'_ r niii'_ r 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. lie held several benefices at Rome, and his son was Canon of Santa Maria Mag^iore. He was bin led with great magnificence i:i the last named ch., and left the immense fortune of BERNINI. 105 400,000 Roman crowns. Tie 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, beneath 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 Pal. ; the Collegio Urbano di Propaganda Fide, besides .. , APOLLO AND DAPHNE. BY BERNINI. portions of other churches and palaces. For Charles 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 BEKTHELEMY. 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 an- tin- fountain in the Piazza Navona ; the "Ecstasy of S. Teresa," and the "Apollo and Daphne " before mentioned. Berre, Jean Baptiste, horn 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 arc in several rich collections. Berreguette, Alonso, born at Parades de Nava, in Castile, alxnit 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. lie 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 1501. He left a large fortune, and was buried with magnificent ceremonies at the expense of the emperor. Berrestyn, C. V., flourished about 1050. A German engraver. There is one plate of a woody landscape, signed with his name and the above date, which is very seaive. Berretoni, Pietro. See Cortona. . Berretoni, Niccolo, born at Montefeltro, 1627. He was the best scholar of Carlo Maratti. In the eh. of Montesanto, at Rome, there is an altar-piece representing a scene in the life of S. Franci*. 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 1 7oo. An en- graver, whose best works an- after the pictures of Vernet. She was instructed by 8. Aubin and Choffard. Bertelli, Cristofano, born at Rimini, \'>~i:>. We have a few plates bv him, stiffly executed with the graver. Bertelli, Ferrando, born at A'enice, 1.VJ5. lie engraved mostly after the Venetian painters. Bertelli, Lucas. A relative of the prcerdin-_ r , 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 poetie;d. 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 Avas 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 Jacoponc da Faenza, flourished about 1530. Was best known as a copyist of Raphael, and also executed SOUK- 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 Musce 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 are in the ch. of S. Pietro, at Reggio, r.nd are worthy of commendation. Bestard. A Sparish 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 chef-d'oeuvre, and is a magnificent work of art. 108 BETTI BIGARI. Betti, Padre Biagio, born at Pistoja (1545-1615). Pupil of Danicle da Yolterra. After the death of his master Bctti became a monk of the Theatine order. His works are principally in the. monastery of his order at Rome. Betto, Bernardino di. See Pinturicehio. Bewick, Thomas, born at Cherry Burn, 1753; died at Gateshead. 1828. This artist is distinguished as the reviver of wood-ent I.. and there are four "Annunciations" by him in the Ac-ad, of Arts in Florence. These artists were among the last of the weak imita- tors of Giotto. Bigari, Vittorio, burn at Bologna. His works may be seen in BIGARI BISCAINO. 109 almost every church in Bologna, and are well spoken of. In the ch. of the Madonna del Soccorso, there is a " Madonna and Child," with S. Petronio and other saints, which is much admired. Biliverti, Gio., born at Florence (1576-1644). Pupil of Cigoli. He united, in a degree, certain elements of his master, of S. di Tito, and of P. Veronese. A picture of the "Chastity of Joseph" by him is in the Florence Gall. It is much admired, and has been so often copied, that amateurs should be on their guard concerning it. Several of his works are in S. Gaetano and S. Marco. Biltius, Francis. An artist of the Netherlands, who flourished about 1650. He painted dead game, hunting-horns, pouches, nets, etc., in such a manner that they were often mistaken for the real articles. He used white backgrounds. IT -T-V Binck, James, born at Cologne, about 1504. A dis- [) tiniiiiished old engraver whose plates are highly prized. He is believed to have studied first with Albert Du'rer, and some of his plates resemble those of that master. He went to Rome, and, it is said, studied with Marc Antonio, and engraved after the works of Raphael under his guidance. From the size of his plates he is called a little master. His drawing is correct, his style neat, and he had facility of execution. He usually marked his plates I. B., or with those letters with C. between, forming a cipher. Birch, Thomas. An Englishman who settled in Philadelphia, where he died in 1851. He painted marine views. His pictures of the engagements between the U. S. Frigate Constitution and the British Frigate Guerriere, and between the United States and the Macedonian, have much historical value, and are in the Gall, of Joseph Harrison in Philadelphia. Bird, Edward, born at Wolverhampton, 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 he 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 Ac;nl. 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 Valerio 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 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. lie met with good success, but his love of Antwerp caused him to return there, and he was made director of the Aead. in 1C 74. 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 Palazxo Keale, della Scienze delle Arti," etc., which he published. He commenced u set of engravings after the works of Andrea Appiani in 1819, in which he was assisted by the best pupils of Loughi. 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 arc beautiful and full of expression. His characteristics are gentleness, and delicacy of execution. In the Berlin Mus. then- is a fine work of his, representing the " Resurrection of Christ : in the Manfrini Gall., an "Annunciation," and in the Venetian Acad. kk S. Catherine of Siena, exchanging the crown of thorns for a crown of gold; " signed Franciscus Biwilo. 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 Carlxmara, at Napl- 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 llourished about 1 5.~>0. 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 Bar-ilius II. It was executed al>out 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, represent in _ f scenes in the "Life of Christ," and in the lives of those saints whose days occur in these months. This BLACHERXITA BLANSERI. 1 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- scraped 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. Fie 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 " 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. Blanche!:, 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 Acad. 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 Raly. 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. Pelagio, and is much admired. _XP<7 C o^n^e^ :><>. died 16G7. 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 lii^lilv 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, 1080. 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 (1638-1 (!**). 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. Hut 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 (14GO-1518). Few facts are known in the life of this old painter. In 141)7 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 (1511-154$). 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, Clemente, 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 there is a series called the "Four Elements." Munich Gall., No. 327, represents two sporting dogs guarding dead game ; very fine. His etchings were also fine, and take 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. Boetius or Boece, Christian Frederick, born at Leipsic, 1706. Lived chiefly in "Dresden, and was made professor of the Electoral Acad. in 1 764. 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. Boeyermanns, 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 iJ7o eminent engraver, who has left about sixty charm- ing 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 sained 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 las 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 expresMon 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 " Leprosenlmys,"' 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 ' Iluyssittcn- huys " there is a picture of the same kind. Mr. Barin<_j 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 tin-re is an allegory of " Peace," and in the Dresden Gall., No. 1203 repre- sents "Joseph presenting Jacoti to Pharaoh," and No. 120.">, "David's Letter concerning 1'riah." The>e la>t an- 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, I t IJ 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. tf 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 Gian, born at Douai (1530 7-1608). 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 Sabines;" the equestrian statue of Cosmo I., in the Piazza della Signoria ; and a Mercury, in the Uffizi. A group of "Hercules and Nessus," which stands near that of the Sabines, in the Loo^ia oO de' Lanzi, is good, but not equal to the latter. A fountain in the Boboli gardens; a Venus, at the Villa of Petraca; a S. Luke, at Or S. Michele, and a representation of Victory in the Palazzo Vecchio, are 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 chef-d'ceuvre, 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, n. See Grimaldi. 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, which are 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. 1 18 BOLS WERT BONCUORE. Bolswert or Bolsuerd, Boetins Adam, born at Bolswert in Friesland. 15SO. Where he studied engraving is not known, but he became eminent in th:it branch of Art. He followed the manner of Cornelius Bloemacrt. He settled with his brother Scheltius in Antwerp, as a print-seller and engraver. He used the graver only. His finest plates arc- 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 tin- 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, 1G20. 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 j 1 n painter and very cmiment engraver. Some of his / \J 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 pi ites after the works of some of the best masters with great facility an 1 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 Fcrrara, 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- lemnie, and Chiesa Xuova. Boncuore, Gio. Batista, born at Abruzzo (1643-1699). Pupil of Francesco Albano. His l>c>t characteristic is force and vigor of effect. One of his best works is in the Chiesa dc^li Orfa-u-lli at Ilo:ne. BONK BOXIFAZIO. 1 19 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 othir public edifices of Bologna. Bonfanti, Antonio. An artist of Ferrara, called II Torrieella. His pictures are in the public edifices of that city. The most esteemed are the " Holy Family," in the ch. of La Santis; ima 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 wei'e 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 these 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 Francesehini. 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, Veneziano (1491-1563). A pupil of the elder 120 BONIFAZIO BON VIC1XO. Palma, and an imitator of Titian. In color lie approaches tin; last- named master, and is altogether an eminent example of what patient application can do even when pi-eat 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. Boningtoii, Richard Parkes, born at Arnold, Nottingham (1801- 1828). A fine landscape and marine painter. He copied in the Louvre, was a student in the jficole des Beaux Arts, and occasionally attended the studio of Baron Gros. He visited Italy, and painted tome pictures in Venice. He exhibited a few pictures at the Hoval Acad. before his death, but since the International Exhibition of 1862, he has been more appreciated in England. Bonone, Carlo, born at Ferrara (15G9-1G32). Pupil of Giuseppe MftCKUoli. 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 lie 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 1-J.si 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 liis frescoes, and his best works were quiet altar-pieces, for he did not succeed in the action necessary to historical painting. lie 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 Stadel Institute, Frankfort, is worthy of notice. A colossal " Adoration of the Shepherds," Berlin Mus., is excellent. In the Imp. Gall., Vienna, there is a line picture of S. Justina, with the Duke of Ferrara (called a Pordenone) kneeling beside her, which has been engraved by Uahl. His portraits have, been likened to those of Titian, and he was the matter of Moroni. Tim National BONVICINO BOONEN. 121 A GLORIFIED MADONNA. BY IL MORETTO. Ruili Mus. Gall, has a portrait, and a picture of S. Bernardino and other saints, which is very fine. His works are numerous. Boonen, Arnold Van, born at Dortrecht (1669-1729). Pupil ot Schalken. He painted portraits and yenre 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. JTTSTINA AND ALPHON3O I. OF FEKKAltA. BY IL MOKETTO. Beivedere, Vienna. Bordone, Paris, born at Trevigi (1500-1570). His portraits were his best works, and for them lie is distinguished. lie was of noble family, and well educated before he entered the school of Titian. Many of his female portraits are in the I'ilixi: the Manfrini Coll., Venice; the Belvedere and Kstcrha/y 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 Herlin Mils., 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 (1 57 7-1 G 15). 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. COUOXATIOX OF THE VIHGIX. BY BORGOGNONE. In S. Simpliciauo, Milan. 124 BORGIANI - BORZONE. 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 are 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 cli. 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, torn at Cocentayna, 1530; died at Gandia, 1G10. A priest, monk, and painter. He studied with Joancs 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 he refused all payment, and desired that the habit of their order should be uiven 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 fini>hed with great care and minuteness. His coloring is colder than that of Joancs. 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-x'llers. lie 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 lari_ r e sums. Borsum, Adam van. Flourished 1066. 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, arid was killed. Soprani says his house was the resort of culti- vated people, and he himself a man of great attainments. lie 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 ^- > ^ r y at Bois le Due, 1470. A painter -> Li O 5* an< ^ 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 are 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. The 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 a king falls dead. The plates of this artist represent the same fantastic subjects. They are in the stiff Gothic style, and arc much prized by collectors. 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 (1634-1GGG). A painter of marine subjects. His storms and calms, with ships, have consider- able merit in color and finish. Bosch, Hieronymus. His real name was Agnen, but he was called Bosch, from his birthplace, Herzogenbusch. Died 1518. He represented fantastic ideas with a demoniacal manner. He founded a style which was followed by others. His execution was careful and sharp. Berlin Mus., No. 563, " The Last Judgment; " Antwerp Mus., No. 41, " Temptation of S. Anthony." 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 Marlborough 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 arraiitred. his heads had life and expression, and his color was warm. Antwerp Mus., No. 448, u 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 (1570-164-2). 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. Boschini, 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 Nave-jar Pittoresco." He signed his plates Marc UK lliixrliintn*. Boscoli, Andrea, born in Florence (1550 Y-l 606). 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. Ifor ojm* Anioniuiii *<:!/<> }>inzi 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 Vciidome were from his designs. 1 Hercules stru-jglin-j 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 Basio; others by Bcrgeret. BOSIO BOTTICELLI. 127 are some of his best works. In 1830 Bosio completed tlie 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 tin- 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 Gerai'd Segers. He went to Italy and remained four years. His pictures were fine and bear comparison with those of the first 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, Jau 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, charmed 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 Raffaellmo, 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, Sandro. 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 religion* pictures are wanting in deep feeling, but have a certain sweetings 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 Sjstine 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 Ufh'zi, 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," ami 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, tin- Nat ional 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 Koine. \\here he diligently copied from the antique and executed a bust of Pope Clement XII. He made a copy of the " Barberim Faun," now ' in the Gall, at Munich. His most celebrated works were the " Foun- tain of Grenelle," and the equestrian statue of Louis XV. in the Garden of the Tuileries, upon which Bouchardon labored for twelve years, and which was destroyed in 1 7!)2. Some of his works may be seen in the gardens of Versailles and Choi-y. and in the choir of the eh. of S. Snlpice. We have also a few etchings by this artist. Boucher, Francois, born at Paris (1701-1770). One of the most mannered of French painters. Wornum says he appeared " to have discovered a new race of human beings." lie went to Italy, was a member and director of the French Acad.,. and ap- pointed principal painter to Louis XV. in 1 705. 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 arc 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 Hall of Newport are somo of his best works. Boulanger, John, born at Troves, 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 11 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 Brun. 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 etchings. 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 Fontainebleau 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 familv were Swiss. Pupil of De Loutherbourg, whom he did not perfectly imitate. He was a close student of nature, ami 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, 1740. 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 Dubois 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. Boydell, John, called Alderman Boydell, born at Darrington (1719-1*01). An engraver, and pupil of Toms. lie deser\es especial praise for what he did for art. He not only so raised tin- 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 1 SM,~> 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, in 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 Brakenburg. 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, anil he died in 1514, about seventy years old. He first studied painting, and executed portraits and other subjects 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 employed on the following works in Rome: the cloister of the monks delta Pace; the fountain of Trastevcre; a large portion of the Palazzo della Cancellaria; 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. Peter'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 cold and stiff, 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 was 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 he 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, us Sun 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 Lilian. Bramaiitiiio. Sec Suardi. Brambilla, Gio. Batista. A Piedmontese painter who flouri-hed 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. Kuix at 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 deMirns he drew for these, which brought him to the notice of Hals, who offered to employ him. When the muster 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 lart_ r e 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- hei"_ r was a captive. Through his interference Brower was furni>hcd 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 awav. fell into his disorderly habits, and died in a hospital and was ob- scurely buried. Rubens hud him removed to the eh. of the Carmelites, and interred with resju-ct uiwl solemnity. BREA BREEXBERG. 1 33 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 Wouvermans, which he copied industriously. His pictures became the fashion ; but he never apppoached the excellence of the master he imitated. He 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 Fraus 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 Avas first professor at the Acad. of Fine Arts in Antwerp, and was teacher of some of the most eminent Flemish painters 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 BBEBNBERG BUE YDBI* Munich Gall. Cabinets, No. 508, and in the Vicuna 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 an- 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 ma.-ter. Hi^ 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 Zani 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. ].V>:: 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 sci-no. and >ome- 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 line Coll. of his pictures. Breughel, Pieter, the Younger, called Hell Breughel, from the nature of his subjects. Verv inferior to his father. Antwerp Mns.. No. 255. Berlin Mus., No. '721. Breughel, Jan, called Velvet Breughel, born at Antwerp (1568- Ui2.'))- The most gifted of his family. He had versatility of talent. and painted land>capf>. peasants, Scriptural scenes, and hellish or demoniacal subjects. His coloring was clear and strong, his finish .rood, and his c fleets of ILdit well arranged. There are number* of his works in the galleries of Dresden. Munich, and Berlin. We have four small etchings () f his, marked. ,/. Sm/i-!i-r. exc. Breukelaar, Henri, Junior, born at Amsterdam (1809-1830). His work.- are few. but were of great excellence for his a _'(. His picture of " Van Spyck at the Tomb of De Ruiter" is much admired by his countrymen. Breydel, Karel, born at Antwerp KJ77 (?) : died at Ghent. 1744(?). Pupil of Peter Ry>hrack. Painted views on the Rhine, and military Mibjects. One of his pictures is in the Gall, of the Duke of Aremberg at Brus.-els. B1UDELL BUOXKHOUST. 135 Bridell, Frederick Lee, born at Southampton (1831-1863). A painter of landscapes of great excellence. He painted much in (he 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 Perronet, 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 Mas., 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. Brinckman, Philip Jerome, born at Spires, 1 709. Pupil of J. G. Dathan. Painter to 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 Mus. 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 Bnerse. 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 1 790. 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 BROXKHORST BRUN. first a painter on glass, and studied under John Verburg. He exe- cuted the fine windows in the new ch. at Amsterdam. AVhen thirtv- 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. Bronkhorat, Peter Van, born at Delft (1588-1661). Excelled in painting interiors, into which he was accustomed to introduce Croups of small figures illustrating historical subjects. In the town-hon-e at Delft there are two of these works, large, and representing the " Judgment of Solomon," and " Christ driving the lloney-changen 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 in 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 hack- 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 Uffizi. 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 1S28 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. lie was patronized by Charles V. of France, for whom he decorated a translation of the Vulgate, now in the \Vestrenen Mus. at the Ha^ue. He is I<>. An engraver, I 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- |\.t< /\ [ L/\ werp, l.">7(). Son of the preceding, under 1 XlX 1 W> \JJ whom lie 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 l.VJo to 1 .')<;<>. Hi' executed the wings of the lar^e shrine on the hi^h-altar of the ch. at Xanten in !.">:! I. His portraits, No. .~>ss, Berlin Mns.. and one in the Cologne Mils., painted I."). 1 ;."), so much resemble those of Holbein as to be. generally attributed to him. Xos. 1 1_>, I l.'l, and 114, Munich Gall., representing the "Descent from the Cross,' 3 BRUYN BUGIAKDINI. 13<) 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 Hemskcrk. 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 he 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 rlu- 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 Vasari a mere tissue of whimsical stories. Lord Lindsay, in his ' Sketches of the History of Christian Art," says: " 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 the groat master attempted to employ as assistants in the Sistinc Chapel. Bogiardini worked so long in an humble capacity, copying the drawings of others on panels, that Avhen he came to work indepen- dently his powers of composition were dwarfed, and he could only master 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 Mas.. Xo. 143; Bologna Pinacoteca, No. 26; Berlin Mus., Nos. 248 and 28.3, etc. There are many of his panels in Bologna; in the Colonna Pal., Rome, there arc some, and a few in England, besides many in Italy not mentioned. Bolster, 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 Francais. 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 homo 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 Alexandra, was still living at the time of his birth. When Ludovico Buonarotti returned to Florence, the child, Michael Angelo, was left at Sctiignano, 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. (Iranacci 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 lie carried his point, and, in 1488, was engaged to the Ghirlandaji for three years. At this time Domenico Ghirlandajo, who was one of the liest 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 1 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 drawings 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 del 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 he 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 ;;n entertainment. lie 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 things, and to talk with him of his own studies. Poliziano also advised him, and gave him the marble for his bas-relief of the '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 societv 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.'' Loren/o 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 In- 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 1 192 Loren/o became suddenly ill. It was at this time that the eflect of the preaching of Savonarola had reached its height, and even the great Duke felt that lie 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 Loren/o in his last hours. lie was astounded by the death of his patron. He left the palace and arranged an atelier for himself in his father's house. At this time he executed a " Hercules " which is now lost. BUONAKOTTI. 1 1-3 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, lie 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. Tliis 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 says 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 Rome, for, when it was 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 who 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 what work 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 two hundred for the work. Finding himself deceived, as well as a deceiver, he went with the nobleman to Rome. The latter promised to receive him into his own house, and assured him that he would find a large field for his labor, and one in which much money could be obtained. The oldest writing in the hand of Michael Angelo is the letter which he wrote to inform Lorenzo del 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 was not the city which we know. The first important work which he executed in Rome was the statue of 144 BUONAROTTI. 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 Pietk. " 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 In- formed. But Condivi says that from the time it was fini.-hed lie 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, lie 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 Kepublie 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 BUONAROTTI. 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 palace, where the " Judith " of Donatello 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 has 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 hail been crushed bv Torriaid, 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 Avas 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 bad 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 bein^ seen. Just at this time, in 1506, the "Laocoon" was found and occupied the minds of all Home. Michael Angelo was now considered the first sculptor in Home, and other artists be^an to be jealous of him. During his second absence in Carrara. Bramante influenced the I 'ope 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, BUONAKOTTI. 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, urginn- 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, and was inclined to accept. A third letter came from Julius, and at last it was arranged that lie should go in the capacity of an am- bassador, for then he would be 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. Tt was the well-known representation of the "Bathing Soldiers," and fur- nished studies for a generation of artists, 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 came a letter requesting that Michael Angelo should be sent at once 148 BUONAROTTr. 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 \v;is at table. I nit, 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 hern offended. Julius looked doubtful, and one of tluj ecclesiastics, fear- ing the result, interposed. He said the Pope must not jud^e the artist too severely, for that he was, like all of his profession, a man of no education, and ignorant of everything excepting art. 'Ilie 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, 1~><>7, the Pope saw the. model and approved it. It was at this time that he left Bologna for Home. The first cast of the Mat ne 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 rii />/>/;KI), 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 recoi_'ni/e the pos>ibility of a doubt. Before this, when his brother had died, be wrote, " Although all those sacraments which the Church enjoins were not administered to him, yet if lie 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 ibis the healthiness of his nature appears. There was no sentimentality or overstraining, but a -.rustful and obedient dependence upon God. The Sistine Cli;r-l BUONAROTTI. 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 ho 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 time 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 prevented 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 BUOXAROTTI. 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 when- .-lie 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, liis 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. Ilis 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 bein^j, that he should receive no salary. S. Peter's had been commenced in 1500, 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 Augelo's 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 facade, 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. lie 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 younor 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 FO 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 younir 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 spring 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 even where. 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 want's 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 III. 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 Anirelo 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, " 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 8. Peter's church to be finished. He therefore continued Michael Angelo in office. When the Spaniards approached Home, 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 the first time that he had thoroughly enjoyed nature, and he afterwards wrote, " I have left more than half my soul there, tor 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 i-ee 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 do 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 eight v- 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 iu 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 Magiiiore. 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 ha 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 ni^ht 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 magnili- 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 UfHzi his statue stands with those of other great Florentines, with no especial prominence. His house in the GUibelline 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, Chertibino. 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 name* of Michael Angelo and Beatrici. The Good Samaritan ; Hfirhele Angela, inv. The Mater Dolorosa. N. B.; Roma?; 1547. The Conversion of S. Paul: M. Angelo, pinx., etc. ; N. B. Tbe Prophet Jeremiah, with names of painter and engraver. The Last Judgment; 1562; in nine sheets. Ganymede, inscribed, Ganimedes jucenis, etc. The Fall of Phaethon. Titius devoured by a Vulture; Ant. Salamancha, ex. Silenus carried by Children; 2V. Beatrice, fee. Eiujruwr, BOXASOXI, Giulio. The Creation of E\e. The Last Judgment; inscribed. .Julin.t Jiniiaxoniu* Hi/none propria Michcelis Anfjf/1, etc. Solomon, David, and Jesse, from Sistine Chapel; Julio Bonasone imitando, etc. The Fall of Phaethon. Three Female Figures with Veils. C.xi'KM.Axr, Antonio. The Creation of Eve; from Chapel. Adam and Eve driven from Paradise. BUOXAROTTI BUOXI. 1 05 Engraver, CARACCI, Agostino. The Pieta, after the sculpture of M. Angelo. Engraver, CAUAGLIO or CARALIUS, Gio. Giacomo. The Carry- ing up of Ganymede. Engraver, CAVALLERIIS, Gio. Batista. The Virgin, called " 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, CuxKGO, Domenico. Three Subjects from the Crea- tion; Sistine Chapel, engraved for the Schola Italica of G. Ham- ilton. J-lngraver, FULCARUS or FURCK, Sebastian. The Last Judgment. J^i/graver, 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 Jade. Engraver, KARTARITS, Marius. The Last Judgment. Engracer, KILIAX, Lucas. The Pie: a. Engraver, Musis, Agostino de, called Agostino Veneziano. Hercules strangling Antaeus. Engraver, PEKAC, E\ienne du. The Last Judgment. The Capitol. Engraver, POTRELLE, Jean Louis. Portrait of Michael Angelo. Engraver, RAIMOXDI, Marc Antonio. The Holy Family, in the Sistine Chapel. Adam and Eve driven from Paradise, from the Sistine Chapel. Hercules strangling Antaeus. Engracer, SCHIAVOXKTTI, Luigi. The Cartoon representing the Surprise of Soldiers on the banks of the Arno. Engraver, SERICCUS, SOYE or SYTIUS, Philip. The Virgin with the infant Christ sleeping; 1566. Philippua Sericcus. The Cruci- fixion. A Pieta. Engraver, STEEX, Francis van der. Michael Angelo's Dream. Engraver, Vico, Vicus or VlGHl, Enea. Jupiter and Leda. A Bacchanalian subject. Engraver, ZUCCHERELLI or ZCCCARELM, 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', lx>rn 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 o* Naples. The best, which is a very interesting work, is in the old basilica of S. Restituta. It represents that saint 166 BUONI CABKZALERO. with the Virgin and the Archangel Michael. A warm, beautiful tune 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 Oxfor(1 aftcr thc taking 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 Catli. and Gall. The former were presented in 1480. lie is inferior to the Holbeins. -, Burgkmair, Hans, born at Augsburg (1473-1559). 1/\ Son of the preceding, and in his day the most im- TJ A portant artist of Augsburg. He was realistic, and TT 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., Nuremberg, Munich, Vienna, etc. He had two distinct periods; the first extended to 15<>8, and in it he was German en- tirely; later, his tendency is to the Italian order, and is charactcrixed 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 Corydnn and Geestigkeit, which would prove that he studied there. He painted landscapes with cattle and figures. :uid seaports. Sonic of these were fine, but his habits wen- irregular, and his pictures consequently very unequal. Cabezalero, Juan Martin de, born near Cordova (1688-1678). Pupil of Don Juan Carreno. He had great reputation as a painter of history. His principal works are in the churches of Madrid. CACCIA CAGLIARI. 1 67 Caccia, Guglielmo, born at Montabone (1568-1625). Called II 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 (1G35 ?-1675). Pupil of Domenico 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. Cafileri, 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 one's 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 Francais, 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 scenes 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 CAGLIARL 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 eh. 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 i'.t Cana." This is 30x20 feet in size, and among its many faces air the portraits of the artist and cither prominent pel-sous. Another lanre work in the Louvre is the " Magdalen washing the Feet of CAGLIARI. 1 69 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, Au^ustin de St. Jupiter and Leda. Enyracer, AURRAX, Benoit, the younger. Pilgrims of Emmaus. Ef/rarer, BARTOLOZZI, Francesco. The Judgment of Solomon; after a dratcinr/. Engraver, BEAUVARLET, Jacques Firmin. Venus lamenting Adonis. Engraver. BLOKMAERT, Cornelius. The Resurrection. Engraver, BRKBIETTE, Pierre. The Martyrdom of S. George. Em/raver, 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. Knyraofr, COLEMANS, Jacob. A Poet conjuring up Fortune. Portrait of P. Veronese. Enyracer, DESPLACES, Louis. La Sagesse Compagne d'Hercule. Engraver, DUCHANGE, Gaspar. The Entombment ; fine. 170 CAGLIARI. Engraver, DCJFLOS, Claude. Christ and the Disciples at Emmnus. Engraver, DUPUIS, Nicholas Gabriel. Adoration of the Magi. Engraver, GOLTZ or GOI.T/II*S, Ileinrich. The Last Supper. 1585. Engracer, GROEXSVKLT, John. Adoration of the Magi; J. (iroenx- nelt, fee. Engraver, HAXSKTANGL, Franz. Susanna. Adoration of the Magi. Marriage at Cana. Christ bearing the Cross. The Concilia Family before the Madonna. Engraver, HEXRIQUKZ, Benoit Louis. Finding of Moses. Engracer, HOXECK. The Presentation in the Temple. Engraver, HOUBKAKKN, Jacob. Portrait of Daniello Barbaro. Engracer, JACKSON, John Baptist. The Presentation in the Tem- ple. Marriage of S. Catherine. Engraver, JACOB, Louis. Rebecca and Eliezer. Engrarer, JEAURAT, Edme. Finding of Moses; fine. Engraver, JOUILLOX, Francois. Apollo and Marsyas. Mercury turning Aglauros to stone. Engraver, KII.IAX, Lucas. The Resurrection. Engraver, KILIAX, Wolfgang. Baptism of Christ. Engrarer, KILIAX, Philip Andrew. Adoration of the Magi. Engraver, LASNK, Michel. Christ in Glorv, with SS. Pe.ter and Paul. Engraver, LOREXXIXI, Fra Antonio. The Annunciation. Bap- tism of Christ. Raising of Lazarus. Engracer, MAXXL or MAKXXL, Jacob. Judith leaving the Tent of Ilolofernes. Child holding a Dog. Engraver, MATIIAM, James. Visitation of the Virgin. Engraver, MATIIAM, Theodorus. Marriage of S. Catherine, S. John presenting the Ring. Engraver, MITELI.I, Giuseppe Maria. The Rich Man and La/.ar::s. Engraver. MOYRKAU, Jean. Rebecca and EUezer. Kngrdver, l'r/.7.i, Luigi. The Feast at the House of Simon. Engraver, PKKISI.KU, Johaun Martin. Christ bearing his Cross. Engraver, PIJEVOST, Zacharias. Marriage, at Cana. The Feast in the House of Simon. Engrarer, RAIXALDI, Francesco. The Rape of Europa. Engraver, RAVKXET, Simon Francois. Venus and Adonis. Engraver, SAEXRKDAM, Jan. The Feast at the House of Simon. Engracer, SAITER, Gottfried. Marriage at Cana. /Engraver, SCOTTO, GIROI.AMO. Feast at the House of Simon. Engraver, TKKWKS n \, Angustin. the Elder. Finding of Moses. Engraver, TIIOMASSIX. Henry Simon. Christ and the Disciples :' Kminaus. Engraver, VAXXI, Gio. Battistn. Marriaire at Cana. Engraver, VKXDRAMINI, Gio. Vision of S. Catherine. CAGLIARI CALDARA. 171 Engraver. TILLAMKXA, Francesco. Presentation in the Temple ; this 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, VORSTERMAX, Lucas. S. Helena seeing the Cross. Enf/raci.-r. WAGNEK, Joseph. Enthroned Madonna with infant S. John and other saints. Engraver, Zuccm, Andrea. S. John the Baptist. Cagnacci, Guido, born ait Castel Durante (1 600-1 C80). 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 I. 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 works is the S. Theresa in S. Carlo iu Venice. His pic- tures are also at Milan and Turin. Calabrese. See Preti. Calabrese. See Cardisco. Calandra, 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 by Calandra. Calcar, Hans Von. Real 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 rare. 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- done 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, he 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 wore 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 i- 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 tiin, 1 formed the basis of the Neapolitan school. Calendario, Pilippo. 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. Caleiise. Ceaare. Flourished about 1690. lie 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, " lie 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 Ximeguen (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 pri/ed than his pictures, and bring large prices in Holland, Avhere they arc placed in the best collections. Callcott, Sir Augustus Wall, born at Kensingtcn (1 77!>-i sj.j). 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 1*40. The Queen conferred knighthood upon him in !S.'i7, an I iu 1.S14 he was appointed Conservator of the Royal Pictures. Calleja, Andrea de la, l>orn at Rioja (1 7o. r )-i ;*_>). A Spanish painter of good reputation. Mis l>etudy 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 Arnulfo. 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 " Xuestra Senora de Helen " in the ch. of S. Juan de Dios at Madrid. Campagnola, Giulo. A Paduan who flourished about 1500. lie. is most entitled to notice as an engraver, and there has been much discussion concerning him. Some of his plates are peculiarly iie. 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 he. _. _^ Campagnola. Domenico. Son of the preceding. A -o pupil of Titian, he aroused the jealousy of that ma>- ^*<* ' ter. His frescoes in the Scuola del Santo, and l.is oil pictures in S. M. del Parto established his right to good consideration. His more important works are at Padua; there are lour 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 ol 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 voting 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, G-aleazzo. A Cremonesc 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 hi_ r h and are very numerous, each one being distinguished by an appropriate symbol. He completed this great work in seven months. The Campi were the test 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 u. 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 C A NO. (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 .ire very numerous and are in almost cverv collection. Some of his followers imitated him so closely that their works arc sometimes mistaken for his own, and, indeed, there are large numbers of pictures similar to those of Canaletto. Candido. See Witte. Cano, Alonso, born at Granada (1601-1667). Architect, sculptor, and painter. He studied painting under Pacheco, Castillo, and tin- elder Herrera ; and sculpture with Martinez Montaiics. 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 Hi44 liis 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 lie 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. In- was accustomed to go into a shop and beg a pen and paper. lie 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 tin- 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 antine, 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, pu>luMl 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. Ilis 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 Mus.. each possess one of these works. Canova, Antonio, born in Possa^no (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 muster. 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, bvit it is probable that the talents of Canova were well known to Faliero before this occurrence. He placed the boy under tin- 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, tin- 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. lie 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. P^arsetti, 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. 179 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. lie 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 Ilenier. 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 " JSsculapius," 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 " Dasdalus 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 CAXOVA. 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 Avas 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 Home. and at daylight was often seen with his sketch-book or modelling ap- paratus before the statues in front of the capitol, or the mlo-sil figures on Monte Cavallo. In the mean time his friends in Venice O 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. lie w. selected by Volpato to erect a monument to Clement XIV.. tin- suppressor of the Jesuits, the collector of the Clementine Mns.. and the author of those elegant letters by which his family name. (Jan- 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 ^ave up his studio in Venice, and, as Znliani left Rome at this time, he established him- self in the Strada Bahhuino. 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 time, 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, and Nicodemus, 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- nico, 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 called 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 Archaeology. 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 rewarded the workmen, and changed from time to time, 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 17th 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 lie 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, Farsetti 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 anv subject conueetcd 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 " IVn- sieri." To describe one day, is to describe his whole life. IIi> 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 artL-t. 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 Cost\< -lie. Venus, Adonis, Nymphs, etc., etc., were his favorite subjects and often repeated. Cantagallina, Remigio, born at Florence (1582-1 fi.30). An eminent designer and engraver, said to have instructed Cailot and Stefano della Bella. IIi> pen-drawings are much prized. The following are his principal plate-: 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. He 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 Guido. 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 Aremberg at Brussels, is by him, and represents the mouth of the Scheldt, with numerous vessels. His pictures arc signed J. V. Capelle, but are not dated. He liked smooth seas best, Avith objects clearly reflected, and his skies are often red. He was a good colorist. Some of his works are winter landscapes with skaters on lake or river. Caracciolo, Giambattista, born at Naples (15807-1641). Al- though in the main a follower of the Carracci, he was somewhat influenced by the NaluraUsti. He is said to have been one of a cabal formed to exclude all masters from other parts of Italy from Naples. This association is said to have committed many crimes. Caracciolo went to Rome and studied the works of Annibale Carracci in the Farnese Pal. to so good a purpose, that some of his works done afterwards in Naples closely resemble those of Annibale. Some of his pictures are seen in the churches of Naples. Caraglio or Caralius, Gio. Giacomo, born at Verona, /'p v (15127-1570 ?). An eminent Italian designer and engraver Vi/ who was celebrated for his copper-plates from 1526 to 1551. From his style he is believed to have been a pupil of Marc 186 CARAGLIO CARDUCCI. Anton. He executed some medals at the court of Poland which gained him much reputation, and he. was often employed to engrave gems. Caravaggio, Michael Angelo. See Amerighi. . Cardi, Ludovico, called Q* f*\ f-e j- -r-\ T -it T -T -j Cigoli from the place of his T A V^IV. I* . 1 IN V birth (1559-1613). One of those artists distinguished more by the absence of any glaring faults than by the presence of any striking excellences. His color was warm and pleasing, but his expression was often exaggerated. He was a follower of Ban>< - cio, and well understood chiaro-scuro. His designs were sometimes grand. S. Francis was one of the favorite subjects of this artist, and one of the best of these pictures is in the Pitti Pal., where there is also a " Christ walking on the Sea with Peter " and an " Ecee Homo," which last merits much praise. In the Louvre there is a beau- tiful " Flight into Egypt." Several of his works are in the churches of Rome and Florence. He engraved the two following plates : Mary Magdalene washing the feet of Christ : The Conversion of S. Paul. Cardisco, Marco, called II Calabrese. A Calabrian who flour- ished from 1508 to 1542. Some of his works may be seen in tilt- churches of Naples. Carducci or Carducho, Bartolomeo, born at Florence, 15GO; died at Madrid, 1608. A pupil of Zucearo, he went with him to Spain. Carducho had also studied sculpture and architecture under Barto- lomeo Ammanati at Florence, lie was employed by both Philip II. and his successor. Henry IV. invited him to the court of France, but he preferred to stay in Spain. Among his works at the Escorial, the frescoes in the spaces between the bookcases aud the cornice of the library are especially fine. The work which most established his reputation was the " Descent from the Cross," painted for the ch. of S. Felipe el Real. He was engaged in painting a gallery at tin- Pal, of the Pardo at the time of his death. He was an imitator of the antique. His drawing and coloring were good, and he was fastidious to a fault, in his own ideas of excellence. He never felt as if a picture was finished, and he declared that it was not the people that he wished to please, but those who could judge of art. Carducci or Carducho, Vincenzo, born at Florence, 15GSS; died at Alcala de Ilenares, 1C38. Brother of Bartolomeo, who brought him to Madrid in 1585. Vincenxo was accustomed to declare himself more a Spaniard than an Italian. lie was instructed in painting by his brother, and at his death was appointed to succeed him as painter to the king. He had an inventive genius, and was not confined to any one class of subjects. He had studied anatomy to good advan- tage, and his pictures are vigorous in action, his draperies grand, and CARDUCCI CAFvOTTO. 187 his coloring rich. In the National Mus. of Madrid are the pictures which he painted for the Chartreuse of Paular. They number 54, and he agreed to paint them in four years. Twenty-six of these illustrate the life of S. Bruno; an equal number represent events in the history of the order, and two are a combination of the arms of the Royal House and those of the Carthusians. These works are a wonderful monument to his industry and inventive powers. They lose much of their effect from being seen in a museum. They Avere intended for the lonely silence and gloomy shadows of a cloister, and to speak to the hearts of those who lived in perpetual silence, to whom the figures of these pictures became friends, and were to them the only reminder of the mothers and sisters they had left, or, in fact, of the existence of woman in the world. What is absurd to us now, was venerable and lovely to them. The pictures of Carducho are seen in most of the Castilian cities. In the Gall, of the Queen of Spain, there are three pictures of a different order of subjects: " The Taking of Rheinfelt," " The Relief of Constance," and " The Victory at Florus." There is also a colossal study of a man's head, which is very effective if viewed from a favorable position. Collec- tors of sketches formerly esteemed those of Carducho very highly. He also wrote a book of "Dialogues on Fainting," published in 1633. This book is very curious and rare. His portrait at the Louvre, Gall. Espagn., No. 454, represents him as turning the leaves of this book with one hand, and holding a pen in the other. Cariano, Gio., born at Bergamo. Flourished early in the 16th century. His chef-d'oeuvre was a " Madonna and Saints " painted for the ch. of S. Gottardo in Bergamo, which was removed to the Gall, of Milan, No. 113, during the French domination. He made a fine reputation as a portrait painter. Several of his works remain in Bergamo; Palazzo Borghese, Rome, Room IX., No. 32 ; Hermitage, St. Petersburg!!, No. 116; Dresden Mus., No. 218 ; Berlin Mus., No. 188. Carlevariis, Luca, born at Udina, 1665; died at Venice, 1729. His pictures are little known out of Venice, and represent views of that city and other sea-ports. His figures have spirit, but his color is not good. He made 100 good etchings of views in Venice. Carloni, Gio., born at Genoa (1590-1 6 3u). He studied under Passignano at Florence, and became a good fresco painter, especially remarkable for his fine coloring. Carloni, Giambattista (1594-1680). Younger brother of the preceding, with whom he studied under Passignano, and painted with him afterwards. He was remarkable for his large family, having had 24 children by his wife Nicoletta Scorza. Three of his sons were painters. The Cath. of Guastato at Genoa was the place where the Carloni executed their best and most extensive works. Carotto, Giaufrancesco, born at Verona (1470-1546). Out of 188 CAROTTO - CARRACCL Verona his works are rare ; there they are in the churches and the Palazzo del Consiglio. Mantegna was his teacher, but his works more nearly imitate the manner of Leonardo. His drawing was severe, his color warm and well blended. The " History of Tobias " in S. Eufemia is an excellent series of pictures. Carpaccio, Vittore. Flourished early in the IGth century. Kug- ler calls him " the historical painter of the elder Venetian school." His pictures represent daily life in Venice. The backgrounds have landscape, architecture, etc., and his figures are numerous and full of spirit, his color deep and powerful. Many of his works are in the Acad. of Venice, among which are eight representing S. Ursula and her 11,000 virgins. His pictures are also in the Venetian churches, in the Brera, the Louvre, and the Berlin Gall. Carpi, Ugo da. Flourished about 1510. Born at Rome. Painter and engraver, but chiefly important on account of having invented (as it is believed) that kind of wood-engraving which imi- tates drawings, and is called chiaro-scuro. Bartsch gives o2 plates by Carpi; they are mostly after the works of Raphael and Parmigi- anino, and are spirited and masterly. Carpi, Oirolamo, born at Ferrara (1501-1556 V). Pupil of Garo- falo. Painted both in fresco and oil, and succeeded in portrait-. He was also an architect and a decorative painter. Julius III. desired tn have him superintend the Vatican buildings, but his rivals in Rome so disturbed him that he returned to Ferrara. Carpioni, Giulio, born at Venice (1611-1674). Pupil of Ales- sandro Varotari, called Paduanino. He painted bacchanals and history, and small sacred subjects, many of which are in the churches of the Venetian states. Some of his works are close imitations of Paolo Veronese, and some remind one of Niccolo Poussin. though upon examination the figures are not as highly finished as those of Poussin, and the color is more opaque. His pictures are in private galleries in England. Carracci, Ludovico, born at Bologna (1555-1619). The founder of what is called the School of the Carracci. This was the nut im- portant of the eclectic schools of Bologna. Ludovico was a pupil of Prospero Fontana, and afterwards of Tintoretto. He studied with more system and devotion to the principles of art than was the cus- tom of his time. He thus incurred much criticism, and by it be be- came convinced of the need of a reform in the study and practice of painting. In the formation and conducting of his school he was as- sisted by bis two nephews, Agostino and Annibale. The former composed a sonnet in which the principles of their theory v. forth. He advocated the selection of the chief points of excellence from various masters, pnr exemple, the color of Lombard v. the truth and nature of Titian, the design of Rome, etc.. etc. : and all these were to be united to the study of Nature. But although this doctrine CARRACCI. r89 was the foundation of the school of the Carraeci, they soon went be- yond it, and became independent artists, guided by their own genius. Their school, however, was most prosperous; so much so that all other schools in Bologna were closed. They furnished casts, models, and drawings, as well as living subjects for study, and were most attentive to their pupils. They also gave theoretic instruction in anatomy, perspective, etc. Ludovico excelled more as a teacher than as a painter, and in his works the greatest ability is found in their examination in single parts, rather than as a whole. The larger number of his works are in Bologna, and in the Gall, there is a fine Madonna surrounded with a glory of angels, with SS. Francis and Jerome ; she is standing on the moon. Same coll. , ' ' Birth of S. John the Baptist " has some most attractive features. Several of his pic- tures are in the Louvre, and in the Doria and Corsini galleries in Rome. He seems to have been the first to depict the pathos of sor- row, and his example resulted in the almost numberless sorrowing Maries and Ecce Homos of the Bolognese artists. There is a higher o O feeling in his works which raises him above his own school. Sir Joshua Reynolds gives Ludovico unbounded praise. It is said that when the scaffoldings were removed in the Cath. of Bologna, he dis- covered some errors in the " Annunciation," which could not be rem- edied then, and that this disappointment hastened his death. We have a few plates engraved by Ludovico from his own designs, in a masterly style. They are first etched and then finished with the graver. ENGRAVINGS AFTER THE WORKS OF LUDOVICO CARRACCI. E fir/racer, ALGARDI, Alessandro. A Blind Beggar and his Dog. The Cries of Bologna, in 80 plates, engraved by Algardi in conjunc- tion with Simon Guillain. Engraver, ALIAMET, Fran9ois Germain. The Adoration of the Shepherds. Engraver, AQUILA, Francesco Faraonc. The Dead Christ in the Lap of the Virgin, with Mary Magdalene and S. Francis. AUBERT, Michel. Pan instructed by Cupid; half-length figures. AUDRAX, Charles. The Annunciation; inscribed Spiritus Sanclus, etc., incorrectly attributed on the plate to Annibale. The picture is in the Bologna Cath.; very fine. Engraver, AUDRAX, John. S. John administering the Sacrament to the Virgin. Engraver, BAILLU. The Dead Christ on the Lap of the Virgin. Engraver, BARTOLI, Pietro Sante. The Virgin and Child in the Clouds, with Saints. Engraver, BLAXCHARD, James. S. Agnes adoring the Child in the arms of the Virgin. Engraver, BOULAXGER, John. The Holy Family, with S. Joseph giving the Infant some Cherries. 190 CARRACCI. Engraver, BRIZZIO, or BKICCIO, Francesco. The Return out of Egypt. Portrait of Cinthio Aldrobrandini. A Frontispiece inscribed Explicatione del Sacro, lenzuolo ; 1599; scarce. Another Frontispiece inscribed Tempio at Cardinale Cinthio Aldrobramlini ; 1579. Another Frontispiece with the Arms of the Duke of Modcna, with children in the middle; 1594: very scarce. S. Francis holding the Infant Jesus, with the Virgin in the Clouds. The Virgin crowned, with the Infant and two Angels. Engraver, CAMERATA, Giuseppe. S. Roch. The Assumption of the Virgin. Engraver, CANTARINI, Simone. S. Benedict curing a Demoniac. Plates by himself, from his own Designs. Samson overcoming the Lion; L. C. G. The Virgin and Child with four Angels ; half length. The Virgin suckling the Infant ; half length ; Lori. Car. inv.f. The Holy Family, with the Virgin washing Linen ; L. C.f. Another Holy Family ; 1604; Ludnvlco Carracci fee. Another Holy Family under an Arch. The Frontispiece to the Poems of Cesare Rimaldi. A Thesis with the arms of Bonfigliovoli, with Mercury and Her- cules. Engraver, ClAUBKRLAKO, Luca. Christ appearing to S. Then-a : 1615. Engraver, CoRiOLANO, Gio. Batista. Christ crowned with Thorns: fine. Engraver, CORNEILLK, Michel the Elder. The Virgin suckling the Child. Engraver, CORNEILLK, Michael the Younger. Marriage of S. Catherine. Engraver, CORT, Cornelius. The Cord of S. Francis. Engraver. CTXKGO, Domenico. The birth of S. John Baptist. Engraver, DARET, Peter. The Virgin suckling the Child. Engraver, DUPUIS, Nicholas Gabriel. S. Sebastian. Engraver, FANTETTI, Cesare. Christ in the Garden. Engraver, FREY, James. Crowning of the Virgin. Engraver, FREZZA, Gio. Girolamo. The Virgin suckling the Child. Engraver, GAXTREL, Stephen. S. Francis supported by an Angel. Engraver, GATTI, Oliviero. An emblematical subject repre^ent- ing an armorial bearing supported by two river gods, surrounded by several mythological personages. Engraver, GIOVANNIXI, Giacomo Maria. S. Sebastian. Engraver, GRKEX, Valentine. The Entombing of Chris*-. Engraver, KESSEL, Theodore. Christ and the Woman of Samaria. The Woman taken in Adultery. CARRACCI. 191 Engraver, LASXK, Michael. The Visitation of the Virgin. Engraver, LOREXZIXI, Fra Antonio. The Ascension. Engraver, MATTIOLI, Ludovico. The Annunciation ; scarce. The Circumcision. Engraver, MORIX. John. The Virgin, with the Dead Christ. Engraver, PASQUILIXI, Gio. Batista. S. Felix kneeling before the Virgin and Child. Engraver, PITAU, Nicholas. The Entombing of Christ. Engraver, PODESTA, Andrea. Two Subjects from the Life of S. Diego. Engraver, POILLY, Francis the Elder. The Dead Christ on the Lap of the Virgin at the foot of the Cross. Engraver, Rossi, Girolamo, called DE RUBEIS THE ELDER. The Virgin and Child, with SS. Jerome and Francis, inscribed Hieroni- mus tie Rubeis piclor, delineartt incidit. Engraver, SCARAMUCCIA, Luigi. S. Benedict praying. Engraver, SCHULZE, John Gotfried. The Head of Christ. Engraver, SIMOXEAU, Charles. The Stoning of Stephen. Engracer, TOKRE, Flaminio. The Virgin and Child with SS. Francis and Jerome ; very fine. Engraver, TRABALLESI, Giulio. Conversion of S. Paul. Carracci, Agostino, born at Bologna (1558-1602). A man of poetic temperament and superior education. In the school he super- intended the theoretical instruction. His pictures are rare, and the most important one is the " Communion of S. Jerome," now in the Gall, of Bologna. The " Infant Hercules " in the Louvre has been at- tributed to Annibale, but belongs to Agostino Carracci. There is no doubt that the advice and suggestion of Agostino had much to do with the works of Annibale, especially in his mythological pictures, for the latter had not sufficient knowledge to have guided him in these undertakings. But Agostino is chiefly famous as an engraver. and is one of the most celebrated Italians in that art. His plates are very numerous. The heads are admirable, and the extremities are worked with the greatest care. His instructor was Cornelius Cort, and his manner is bold and free like that of his master. He seems to have used the graver entirely. EXGRAVIXGS AFTER THE WORKS OK AGOSTIXO CARRACCF. Engraver, BARTOLOZZI, Francesco. The Adulteress before Christ. Engraver, BRIZZIO or BRICCIO, Francesco. The great S. Jerome; the plate left imperfect by Carracci, and finished by Brizzio. Christ and the Samaritan Woman; 1610. Principal Plates by himself, after his own Designs, Portraits and other Subjects. Agostino Carracci. Antonio Carracci, his father; very scarce. 192 CAHRACCI. Medallion of the Emperor Augustus; C. A. Bust of Cosmos I., with ornamental figures. The Head of a Woman; fine. Portrait of a Lady, with a collar of pearls. Giovanni Tommaso Costanzo. Princess Christina of Lorraine. Ulysses Aldrovandus. Mure Antonio Raimondi. Titiano Vecelli. 1587. Antonio Carracci as S. Joseph. Eve giving the Apple to Adam. 1581. The Virgin and Child. The Virgin suckling the Child. The Repose in Egypt. The Virgin in the Clouds giving the Scapulary to a Saint. The Virgin Seated on a Step with the Child; SS. Joseph and John and an Angel; scarce. Good Samaritan. Proofs before the letter are very rare. The impressions with the name of Bertelli are retouched. The Crucifixion, with two Females representing Christianity and Paganism. The Resurrection. Le Nome di Dio. The Pope and the Senate of Venice kneeling before the Virgin; Luc. Bartelli, formis. 1582. S. Francis of Assisi receiving the Stigmata; Agos. Car. 1586. The Cord of S. Francis; S. Francis distributing cords to persons of different orders. 1586. S. Jerome kneeling at the entrance of a cave. There are impres- sions of this plate which are very scarce, where it is three parts fin- ished, and the rest slightly sketched. The plate was finished by Villamena. Seventeen plates of free subjects, called Le Lascivie dei Carracci. Two other indecent subjects. A Landscape with naked figures. A Landscape with the same; a dance in the distance. Cupid conquering Pan; Omnia vincit Amor. 1599. Perseus corn bat in-.: the Monster. Frontispiece for the book " Cremona Fidelissima," which contains 35 portraits engraved by Agostino; very scarce. Subjects after Various Masters not Mentioned Elsewhere. A Child blowing Bubbles, (ioltzius. Very scarce. Jacob watering the Flocks of Raehael. D. Calcart. 1581. Judith; half length. Lorenzo Sabbat ini. Tobit conducted by the Angel; improperly marked liaffaelle d'Urbino. It is after Raffaelle da Reygio. CARRACCI. 193 The Presentation in the Temple. Orazio Samacchini. The Virgin and Child giving the Keys to S. Peter. The same. Adoration of the Magi. 1579. Balth. Peruzzi pinx. Adoration of the Magi. Marco del Moro. Mocking of Christ. Vesp. Strada, pinx. The Dead Christ supported by an Angel. The same. Nativity of the Virgin. And. del Sarlo. The Virgin crowned by the Trinity. A. Mostaert. The Holy Family. Fed. Baroccio. /Eneas carrying his Father. The same. Holy Family with S. Michael. L. Sabbatini. The Virgin with a crescent, and the Child giving the Benediction. The same. The Virgin and Child, with several Saints. Giulio Campi. S. Paul resuscitating Eutychus. Antonio Campi. The Holy Family. B. Passeri. The Virgin ; half length. Giacomo Francia. S. Sebastian. Francesco Francia. The Virgin suckling the Child. Gio. LigozzL S. Jerome; half length. Vanni. Engraver, CORXEILLE, Michel the lounger. The Virgin and Child. Engraver, CUXEGO, Domenico. Galatea, from the Farnese Gall. Engraver, FAKIAT or FAKJAT, Benoit. The Marriage, or the Crowning of S. Catherine. Engraver, GALLK, Cornelius the Elder. Venus bound to a Tree, and Minerva chastising Cupid. Engraver, GATTI, Oliviero. S. Jerome with a Crucifix. Engraver, GRKEN, Valentine. Venus and Cupid. Engraver, LOKEXZIXI, Fra Antonio. The Virgin and Child. Engraver, MATTIOLI, Ludovico. The Nativity. Engraver, PERUIEU, Francois. Communion of S Jerome. Flight into Egypt, Engraver, RAVENET, Simon Francis. Tobit anointing his father's eyes. Engracer, TORRE, Flaminio. Pan conquered by Cupid; very fine. Engraver, THABALLESI, Giulio. Communion of S. Jerome. Engraver, VANGELISTI, Vincenzio. Venus chastising Cupid. _^ Carracci, Annibale, born at Bologna (15GO-1609). Z\ I The most distinguished of his family. His earlier works ^"^ evidence his study of Correggio and Paul Veronese; but after he went to Rome he developed new power under the influence of the antique, and of Michael Angelo and Raphael. Although his pictures often fail to please, it is impossible not to recognize in them the genius of a great master. Those in the Farnese Pal. were his last important works. He painted landscapes as well as historical 13 194 CARRACCL 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 C'arracci. r VENUS AXI) MAI.'S. BY AXMBAIJi CAKKACCI. In the Farnese Pal., Rome. ENGRAVINGS AFT Kit TI1K WORKS OF ANNIBALK CARRACCI. Engraver, AUDKXAERDE or OUDENAERDE, Robert Van. The Birth of the Virgin. Engraver, AUDRAN, Charles. The Baptism of Christ; small oval. Engrarer, ArnRAN, Gerard. The Death of S. Francis. Martyr- dom of S. Sebastian. Achilles at the court of Lycomedes. Tempta- tion of S. Anthony. Engrarer, AUDRAN, John. The Good Samaritan: arrlu-d. 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 by a Dorr. 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. Silemis, 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, COIIXKILLE, 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, CORXEILLE, Michel the Younger. S. John in the Wil- derness. Christ with the Samaritan Woman. Engraver, CUXEGO, Domenico. Apollo and Silenus. Engraver, Dupris, Nicholas Gabriel. The Virgin and Child, with Saints. Engraver, EARLOM, Richard. Christ curing the Blind. Engraver, FAXTETTI, Cesare. Charity, with three Children. Engraver, 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. Enqra>-er, HAIXZELMAXN, Elias. The Virgin and S. John, with the Child sleeping, called " The Silence." 196 CARRACCI CARRENO. Engraver, HAIXZELMAXN, John. The Child embracing the Virgin. Engraver, LAXGLOIS, John. Tobit and the Angel. Enyracer, LASNE, Michael. The Virgin, called " Tlie Silence." Engraver, LOMBARD or LOMBART, Peter. The Virgin and Child. Engraver, MAXXL or MAENXL, 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, PASQUILIXI, Gio. Batista. S. Diego working a Miracle. Engraver, PiccHiAXTi, Gio. Douieuico. The Virgin and Child with S. John. Engraver, Po, Pietro del. S. John in the Wilderness. The AVoman 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, RouLLKT, John Louis. The three Maries Avith the Dead Christ; very fine. The Virgin and Child. Engraver, ROUSSEAU, James. The Repose in Egypt. S. John baptizing the people of Israel. Engraver, SCARAMCCCIA, Lnigi. 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, SIMOXEATJ, Charles. The Adoration of the Shepherds. Christ and the Woman of Samaria. Engraver, VORSTEUMAX, 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 (1GGG-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 arc M-CH in many collections, and are very good. Carreno, as he is commonly known, was a native of Aviles (1614 1G85). His whole name was Juan Carreno de Miranda. His parents CARRENO CARSTEXS. 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- lognesc 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 " 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 Gregorio 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 Carreno. 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 Canfarilla de Miel. The 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. Carriera. See Rosalba. Cars, Laurence, born at Lyons (1702 7-1771). 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 citff-d'ceuvre. He left many plates. Carstens, Asmus Jacob, born in Schleswig (1754-1798). A 198 CARSTENS CASSANA. groat 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 drowsiners, 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 t'lli/i 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 (1677-1762). 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 Vecohio (1310 7-1390 ?). A relative of the family of Messer Christoforo Landino. lie acompa- nied Taddeo Gaddi to Florence. He painted many frescoes, of which few remain, and was an architect as well as a painter. lie 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 Kvangeli-t to heaven. It was probably the clief-d* ceuere of Casentino. No. 1 292, 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. whos<- works may be seen in the churches of Siena, and also at Naples and Genoa. Casolani, Hario, son of the preceding. Several of his works are in the churches of Rome, where lie 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 wen- all of good reputation. Niecolo 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 A r ittoria 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. Castiglioiie, Gio. Benedetto, born at Genoa ( 1616 - 1G70 )- Painted landscapes in which he intro- duced animals, and sometimes figures. He met Van- 200 CASTIGLIOXE 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 dc 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," ' Xon 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, etlec- tive heads; is well drawn, but dry and disagreeable in color. Catena, Vincenzo, born in the Venetian States (1495 7-1531). Real name Vincenzo di Biagio. He was a most industrious ar'ist, 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 line. 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. Catliii, 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 " Crucifixion" in the ch. of Assisi at- tributed to him, but of this there is still some doubt. Cavallino, Bernardo, born at Naples ( 1 622-1 G54 ?). 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 ?-l(J25). Studied under Pomerancio. When he left his mas- ter he was taken tinder 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 Vallc 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 Annibalc 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. Caxes, Patricio. An Italian painter who spent many years in 202 CAXES 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 an^eR Caxes, Eugenio. Son of the preceding, born at Madrid (1577- 1642). Court painter to Philip III. anil Philip IV. Much employe.! 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 Claudo Philippe, Comte de (1G92-1765). 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 (1500-1570). 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, Avhich 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 weYit again to Rome, and was appointed engraver of the mint ; but Pomjx'o 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 CEKACCHI. 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 determinsd to have him assassinated. He learned this and fled again to Florence, where ho was received with much honor. But soon the Pope summoned him to Home ; 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 7 O on his art, which is praised by Vasari. He died at Florence and was buried in the Annunziata 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, lie went in 1790 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 (ilyptothek 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, H. See Crespi. Cerezo, Matteo, born at Burgos (1635-1675). An excellent pupil of Carreno. He was called the Vandyck of Spain. Queen of Spain's Gall., " Marriage of S. Catherine ;" " S. Jerome ; " " Assumption of the Virgin." Cerquozzi, Michael Angelo, called Michael Angclo dellc Iat- taglie; born at Rome (I600-16fi0). 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 best 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 Home. 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 ' Hath- 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 \\vre superior to his oil pictures. Many of his works arc in Bologna. Cespedes, Pablo de, born at Cordova (1538-1608). Painter, architect, sculptor, divine, poet, and scholar. He studied at the University of Alcalh, and excelled in the language* of the Orient. He went to Rome and studied. He was an intimate friend, some say the pupil, of Federigo Zuccaro. AVhile 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 Spaynuolo." 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 " Laocob'u." 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 (1660-1727). Painter and sculp- tor. He diil 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 eh. 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. Hippolyte 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 tips and downs in life, he met with Ilorner, 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 CHAMPAIGNE 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 1G27, 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 exi-cuted his statue of George III. This greatly increased his fame, hi 1817, he was made an associate of the Royal At-ad. 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 Baptistc 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 bv a variety of colors. Chaudet, Antoiue 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 " (Edipus ; " a bas-relief, representing "Painting, Sculpture, and Architecture," in the Musee Napoleon, and many busts, etc. lie painted " .ZEneas 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, 172G; 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. He published a plate called " Les Adieux de Calas," 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 firet 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 CIIRISTOPHSEN CIGOLI. represents the Virgin and Child with SS. Francis and Jerome. In 14,r>, he painted a "Nativity," an " Annunciation," and a "Last Judgment," now in the Berlin Gall. They are wonderfully fine iu eolor. He painted a picture of S. Eligius, as a goldsmith selling a rins to a bridal couple. This is dated 1449, and is in the possession of Mr. Oppenheim, 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, Agostiuo, 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. Pudenziaua. He was also an architect, and super- intended some works at S. Peter's. Gibber, Cains Gabriel, born at Holstein. Flourished about 1C 70. 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. Ciguani, Carlo, born at Bologna (1628-1719). This artist was of a noble family. He has been called the last of the Bolognesc. 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 si/c 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. lie 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. 200 Cima. See Conegliano. Cimabue, Giovanni. Of the noble family of the Cimabui (1240- 1302 ?). Few facts arc 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 Madonna* ascribed to him. The oldest one, formerly in S. Trinita, 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, arid in it are thirty medallions representing half ST. JOHN THE EVANGELIST. 11Y 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 lingers. 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 belter taste than his predecessors had shown. Cimabue painted in the eh. 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 nxitttrn 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. Tliis 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 eh. of Santa Croce. Cimaroli, Giambattista, da Salb, born at Venice. Flourished 1718-1733. A painter of seaports, landscapes, and classical ruins. Jlis 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 Croee in Florence. Cipriani, Gio. Battista, born at Florence. 17'27; died in London, 1 785. An elegant designer, as well as a painter. After studying hi 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 an- beautiful in the dis- tance, but arc too coarse and unfinished to bear examination. Civetta. See Bles. CI VITALI CLE VENGER. 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 Perugiuo 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 loth century. At Genoa he executed six statues and five bas-reliefs for the chapel of S. John the Baptist. In the Umzi 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 " Germanicus," and which, in truth, represents a Roman orator with the right hand lifted 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 woi'ks are his portraits of his wife 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 an^el 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 Wei >, ster known by the mass of the people. Webster, Clay, Everett, Allston, Van Burcn, Chief Justice Shaw, and other eminent men were perpetuated in his marble portraits. Thorwaldsen greatly praised some of his works. The early education of Cleveager was deficient, but his association with refined and cultivated people, had its fullest legitimate effect upon him. He frankly conl'e.-M'd 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 iu 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. Cleyn, Franz, born at Rostock; died 1G58. He was employed by Christian IV. of Denmark, went next to Home, and acquired the art of painting grotesques. James I. of England employed him at bis 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, Liston, 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 1840. Jehan the son went with his father to France, and became painter to Francis I. in 151S, and the portraits often credited to Francois 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 hifl celebrity, was born at Tours (1510-1. ">7 1). 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 (1498-15J8). A pupil of Giulio Romano. He was a miniaturist or illuminator. His designs were CLOVIO - COELLO. 213 b.-ul, but the 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 arc hitectural ruins. Some of his works are in Eng- land, and many are in the collections of Xaples. The figures in his pictures were done by other artists. Coello, Alonso Sanchez, born at Benifayro, early in the ICth 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. lie 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 "to gentle blood and delicate nurture." He also painted sacred subjects, and there is a "Marriage of S. Catherine," by him, in the lioyal 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'oem-re, and was praised by Cumberland for its " majesty of design, bold relief, and strong, masterly expression." Coello, Claudio, bora 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 Rizi, 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 Ilizi, he was employed to paint for churches and 214 COELLO COLE. convents. He became the friend of Carreiio, 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 Augustines, and upon his return, in 1684. wa.- 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 w;is ap- pointed painter to the Cath. of Toledo, and keeper of the Royal gal- lerfefl. 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 lar^e 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, torn 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 senMtive 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, lie started ofl', 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 Triimbull 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. Ho 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 Wardsworth 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 arc 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 Innsbruck, 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. Collantex , ft . 1630; same 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- jects. Cologne, Meister Wilhelm, of. Little is known of this old master, 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 1 380 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 we're 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 Trcves 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 arc now in the Cath. of Cologne, arc 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 0:1 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- tVozufre 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 an; in most Euro- pean collections, and many arc in Venice in churches, and in the Acad. Coninck, David do (1636-1687). Pupil of Jan Fyt. His pic- tures arc animated and powerful in color. They arc 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. Coiitarini, 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. Cooniuxloo, 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 Pelham, 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 Pclham, but was surrounded by those who sympathized with him in his choice of a profession. He Avas studious and quiet, and advanced rapidly. He attained eminence as a portrait painter in America, and lived in easy elegance, having married in 176'J 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. Amorv. 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, lie 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 1777, and an Academician six years later. Many distinguished persons were among his sitters, and a portrait of three of the children of George III., 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 Lyndburst. 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 repn->ent a ship, tearing 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 Hag, 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, 1782. 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 Hou-r of Lords, he invited me into his studio; and then-, 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 rnven with a sketch of his life, and other interesting facts. O W 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, THF.W, 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.' 1 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 insci'iption : " Rev. William Welsteed, of Boston, New England, cet. 58, 1753, J. S. Copley, jnnxit et fecit. Coques, Goiizales, born at Antwerp (1618-1684). Pupil of David Ryckacrt, 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 CORXKLISSER. these he was often assisted by other artists. " The Vcrhelst 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 Lecon 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 art- very valuable. Cordieri, or Cordier, Nicholas (1567-1612). Educated in Rome as an engraver on copper. He preferred sculpture, and became dis- tin, j^ x. Cort, Cornelius, born at Hoorn, in Holland, 1536, \. \, T died at Rome, 1578. His first instructor was prob- ably Jerome Cock, for whom he engraved some plates published under the name of that master. lie first engraved after Dutch and Flemish masters; then went to Venice and resided in the house of Titian, and engraved some of his finest works. He next, went to Rome, where he established a school. Before his time there had been few large engravings. He greatly advanced his branch of art, and his plates are much valued by collectors. He worked with the graver only. His execution was masterly and bold, his drawing correct, and his landscapes especially fine. Agostino Carracci was his pupil. The following is a list of his best prints, not given in con- nection with the masters from whom he copied. PORTRAITS. Cornelius Cort. Henricus II., Gallorum Rex; oval. Catherine de' Medici. Don Juan of Austria; oval, with ornaments. 1578. Marcus Antonius Moretus; oval. Andrea Alciati: oval, with ornaments. Roger of Brussels, painter. Theodore van Haarlem, painter. Joachim Dionatensis, painter. SUBJKCTS AFTER HIS OWN DESIGNS. The Birth of the Virgin. 1568. Conception of the Virgin. 1567. Presentation in the Temple. Repose in Egypt. 1568. Holy Family, S. Joseph presenting a Pear to the Child. The Last Supper. 1568. He engraved this subject twice. A Crucifix held above a globe by Angels. The Resurrection. 1569. S. Theodore overcoming a Drasjon. S. Catherine crowned by two Angels. S. Veredina kneeling before an Altar. Two Landscapes with Shipwrecks. SUBJECTS AFTER FLEMISH ARTISTS REFORE HE WENT TO ITALY. Adam and Eve with the Serpent ; after Michael Coxcic. The Resurrection; after the mine. 15GS. 222 CORT. The Descent of the Holy Ghost; after the same. Christ Triumphant, with SS. Peter and Paul; after the same. Four plates of the Rich Man and Lazarus; after Hemskerk. The Parable of the Vineyard ; after the same. Four plates of the Parable of the Talents; after the same. Six plates of the history of Noah and the Deluge; after F. Floris. Six plates of the history of Abraham ; after (he same. Six plates of the history of Jacob and Rachel; after (lie same. Ten plates of the labors of Hercules; after the same. Four plates of the history of Pluto and Proserpine; after th< : faint'. Bacchus and Venus; 156C; after the same. The Immortality of Virtue, emblematical; 1564; after the same. The Descent from the Cross; after Roger van der Weyde. S. Roch; after J. Speckart. 1567. S. Lawrence ; after the same. S. Dominic reading; after Bart. Spranger. Holy Family with Angels ; after the name. Crowning of the Virgin ; after Giles Moestaert. 1565. The Acad. of Painting; after Stradan ; fine. SUBJECTS KNGUAVED IN ITALY. After Girolamo Muliatio. S. Peter walking on the Water. 1568. Christ crowned with Thorns. Christ bearing his Cross. The Descent from the Cross, with two ladders. The Descent from the Cross, with four ladders. Christ appearing to the Maries. S. Jerome meditating. A set of seven landscapes with figures, called " The Seven Peni- tents:" S. John Baptist, Magdalene, S. Jerome, S. Onophrius, S. Hubert, S. Francis with the Stigmata, and S. Francis in devotion. After Clovio. The Annunciation. Adoration of the Magi, in the form of an Altar. Virgin and Child; half length. Christ preaching in the Temple. Baptism of Christ. The Crucifixion between the two Thieves. Another Crucifixion; a grand composition. 1568. The Dead Christ, with the. Maries. Entombment of Christ. Christ appearing to Magdalene. Conversion of S. Paul. S. George and the Drajjon. CORT. 223 Afar Taddeo Zuccliero. Creation of Adam and Eve. Presentation in the Temple, Nativity: a rich composition. Holy Family, with S. John and a Lamb. Miracle of the Loaves. Entombment of Christ. Descent of the Holy Ghost. Martyrdom of S. Agatha. After Federigo Zucchero. Moses and Aaron before Pharoah. Birth of the Virgin. 1578. Conception of the Virgin. The Annunciation. 1571. The Nativity. 1568. Adoration of the Magi. Holy Family. Flight into Egypt. Woman taken in Adultery. Temptation of Christ. The Money Changers driven from the Temple. Resurrection of Lazarus. The Woman of Samaria. Christ on the Mount of Olives. Christ taken in the Garden. Death of the Virgin. Coronation of the Virgin. SUBJECTS AFTER VARIOUS MASTERS. Parnassus; after Palid-tro da Caravaf/glo. Adoration of the Shepherds; after the same. Repose in Egypt; after B. Bassaro, Visitation of the Virgin to S. Elizabeth ; after Marco da Siena. The Nativity; after the fame. Adoration of the Shepherds ; after Paris Romano. Holy Family; after F. Buroccio. Baptism of Christ; after F. Salviati. The Marriage at Cana : after Lorenzo SabbatinL The Last Supper; after hivio Agresti. Stoning of Stephen ; after Marcelln Venusti. S. Jerome penitent; after Riccio da Siena. S. Jerome in the Desert, with two Angels; after J. Parmensis. S. Margaret of Cortona: after Tempesta. A dance of Dryads; after II Roxso. The Three Fates; after Giulio Romano. 224 CORT COSSA. Cort, Henri de, born at Antwerp, 1742; died in London, 1810. Pupil of Antonissen and G. Herreyns. Many of his pictures, which are landscapes, are in collections in England, in which country he lived many years. They are well finished, and have- rich foliage, with cool, silvery skies. lie was fond of openings in heavy foliage, with bright light or sunshine between, which discloses buildings and other objects in the distance. Corte, Juan de la, born at Madrid (1587-1GGO). Painter to both Philip III. and Philip IV. He excelled m battle pieces and per- spective views. Several of his works may be seen in Madrid. Cortese, Jacopo, called II Borgognone, born in Franche 0<>ntc (1621-1676). One of the most celebrated battle painters. Pupil of Cerquozzi. Many pictures are attributed to Borgognone which are the work of his imitators. In the Borghesc Pal. there, are two of his original works. Others are in the Pitti Gall. When in the. height of his career, his wife died. He had not lived amicably with her, and was suspected of her murder. The sadness which this accusation induced led him to become a Jesuit. Besides bis pictures he left a few etchings of battles, which are uncommonly effective in light and shade, and full of spirit. Cortona, Fietro Berrettini da, born at Cortona (1596-1 C69). One of the most prominent among that 'class of painters called machinist*. His works prove that, he had great talent, in spite of their incorrectness and superficiality. He attempted to dazzle by great effect rather than to satisfy judgment or good taste. He acquired a passing reputation by his inventive powers and ready execution, but is now more justly valued. lie painted a ceiling in the Palazzo Barberini at Rome, and frescoes in the Pitti Pal. in Florence. Some of his smaller pictures, good specimens of which may be seen in Paris, are pleasing in their bright, cheerful tints. Cortot, Jean Pierro (1787-1843). This sculptor excelled in design, but we find a want of deep feeling in expression. In the Chapelle Expiatore the group representing Marie Antoinette, sup- ported hy Religion, is his work. He also executed a group in the. pediment of the Palais des Deputes, symbolical of the glory of France, and the relief of " Napoleon crowned by Victory" on the Arc dc 1'fitoile. Cosimo, Piero di (1441-1521). Pupil of Cosimo Rossclli. Said to have rivalled Leonardo in his early Florentine days. He was of a gloomy temperament, which is shown in his works, especially in the " History of Perseus," in the Tlli/i. Ills chiaro-scuro is good, but depth of feeling is wanting in his pictures. His principal works are. in Florence, but there are specimens in the Louvre, Berlin Mus., etc. Cossa, Francesco. Little is known of the history of this painter. His name first appears in the history of Ferrara in 1450. He went, later to Bologna; where there are two works of his, justly celebrated. COSSA. 225 DEATH OF 8. MARY OF EGYPT. BY PIETRO DA CORTONA. One is an altar-piece in the Gall, of Bologna, representing the Madonna holding the Child on her lap, with a saint on each side, and one of the donors of the picture kneeling. It was painted in 1474. There is much dignity in his figures; his faces are of a noble type, his outlines clear, his extremities well drawn, and his draperies broad ; but there is a fixedness in all that suggests statues as models, rather than living and moving beings. His wall painting in the Barracano is only uncovered on days of high festival. It represents an enthroned Virgin within a highly ornamented arch. On each side of the throne angels hold candelabra, and lower down are figures of a male and female who look up to Mary. It is said that they were portraits of Gio. Bentivoglio and Maria Vinziguerra, and the picture was painted at the request of Bentivoglio. The Madonna was a miraculous one which Cossa restored, and added the portraits. It has been restored, so that portions only of Cossa's work remain. These are the female in profile, the angels, the frame of the Virgin, and Child, and the architecture. Both are remarkable works for their time. 15 226 COSTA COUSIN. Costa, Lorenzo, born at Ferrara (1460-1536). There is doubt as to who were the teachers of Costa, but it is easy to tell his earlier from his later works by the change and improvement in them. He painted much in Bologna, and his works may be seen in the churches and gallery of that city. In Ferrara, too, in the Constabili and other collections, there are pictures of his, and in most large collec- tions in Europe. A "Dead Christ," at Berlin, is a good specimen of his manner. Among Bolognese artists he ranks next to Francia. He was his contemporary and co-worker. His color is less harmo- nious and delicate than that of Francia, but it is more powerful. In gome of his works the architectural parts are overdone, as was the rule in Ferrarese art. After the fall of the Bentivoglio, who had been his patrons in Bologna, Costa entered the service, of the Gonzagas of Mantua, where he passed the remainder of his life, and executed as many more works as he had before done in Bologn.i and Ferrara. Cosway, Richard, born in Devonshire (1740-1821). An emi- nent miniaturist. He did not confine himself to that branch of painting, but nothing that he did outside of it compared in excel- lence with his miniatures, or added to his reputation. Small pictures of Venus, Cupid, etc., were his best subjects. There is a charming refinement in his miniature portraits of ladies, which are rather pale or delicate in color, and often in white dresses with li'iht backgrounds. Cotan, Juan Sanchez, born at Alcazar de S. Juan, 15'51 ; died at Granada, 1627. A painter monk. A pupil of Bias del Prado. His finest pictures were for the Chartreuse of Granada. He was also a mechanic, and in the habit of repairing the water-pipes and clocks of the convent, making alarums, etc. The Mus. of Madrid has a fine botleyon, or kitchen piece, by Cotan, in which is a huge garden thistle, lying on a table surrounded by vegetables, while birds and fruits hang above. Cotes, Francis, born in London (1725-1770). A portrait painter who is justly celebrated for his pictures in crayon, in which he excelled. His painted portraits cannot be praised. Cotignola, Girolamo Marches! da. Real name Marches! ; called Cotignola from his birthplace (147f)-1550). Pupil of Francesco Francia. His pictures prove him to have been a great artist, lie had two distinct styles. The first was that of his master ; the other showed the effect of Roman study, the works of Raphael, etc. To the first belongs a " Coronation " in the Berlin Mus. There is much sweetness in the heads, but the arran^c-iiK-nt of the picture is stilf and void of grace. A "Madonna" with kneeling Monks, in same Gall, shows his later manner. Courtois, Jacques. See Cortese. Cousin, Jean, born at Soucy, 1501. A painter, sculptor., architect, and writer. Little is positively known concerning him. He was origi- COUSIN COYPEL. 227 nally a glass painter, and executed works of this kind at Sens. He is celebrated for his picture of the "Last Judgment," in the Louvre. It is in minute, hard style. P. de Jode engraved it in twelve plates. He was the author of a book of portraiture, pub- lished in 1G03, in Paris. The monument of Louis de Breze, in the Cath. of Kouen, has been attributed to Cousin. It is a beautiful work of the Renaissance style, and is more probably that of Jean Goujon. rather than Cousin. Couston, Nicholas, born at Lyons, 1658; died at Paris, 1733. He studied at Paris under his uncle (Coysevox), and took the gram! prize at the Royal Acad. at twenty-three. He went to Rome, where he studied principally the works of Michael Angelo and Algardi. He made a copy of the " Hercules," which is now at Versailles. After his return to France, he was much employed. His works, though executed with spirit, are wanting in the purity of the antique. His most important production was a colossal representation of the " Junction of the Seine and Marne." He also executed a bronze statue, representing the river Saone, for the city of Lyons. Some of his works are in the Cath. of Notre Dame. Couston, Guillaume, born at Lyons (1678-1746). Brother of the preceding. He gained the grand prize of the Acad. and went to Rome. Returning to Paris, his reputation rapidly increased. Some of his best works were for the garden at Marly ; the bronze statue of the Rhone, at Lyons; a bas-relief of "Christ with the Doctors," at Versailles ; and statues of Louis XIV. and Cardinal Dubois, in the Musee des Monuments Francais. Couston, Guillaume, born at Paris (1716-1777). A son and pupil of the preceding. He took the grand prize and went to Rome, and. in 1746, was appointed Professor of Sculpture, and Keeper of the Sculptures in the Louvre. He executed the sepulchre of the father of Louis XVI. ; a bronze of the " Visitation " in the chapel of Versailles, in bas-relief ; and a statue of St. Roch in the church of that saint. For the King of Prussia he made statues of Mars and Venus ; and a fine marble group for the Jesuits of Bordeaux, repre- senting the " Apotheosis of St. Francis Xavier. " Coypel, Noel, born at Paris (1628-1707). He was, when quite young, employed at the Louvre, and became an Academician in 1659. He was appointed director of the French Acad. at Rome, whither he went in 1672, and presided for three years with great honor. He painted the four easel pictures representing scenes in Roman history, now in the Louvre ; they were displayed in the Rotunda and much admired. After he returned to Paris he was employed at the Tuileries, and when seventy-eight years old painted the Vault of the eh. des Invalides, which was one of his best works. He also left the following etchings: The Virgin caressing the Child; two sizes. The Holy Family. 228 COYPEL CRAESBECKE. Coypel, .Antoine, born at Paris (1661-1722). Son of the pre- ceding. This artist has been much admired by some, and severely criticised by others. Mis grace has been called that of the dancing- master, and his effects too theatrical. But he was very popular, was much employed in the royal palaces, and made painter to the King. He also left a considerable number of etchings, some of which are very fine, and all are executed in a masterly and fini>hed style. Coxcien or Van Coxcyen, Michael, born at Mechlin (lli>!)- 1592). Pupil of Van Orley. He studied also in Hume, and became an imitator of Raphael; indeed, he has been called the Flemish Raphael. In the Antwerp Gall, there is a " S. Sebastian." and a Triumph of Christ " by this master; in the Mechlin Cath. a "S. Sebastian." His frescoes in the ch. dell' Aniina at Home are unim- portant. His chef-\ medical skill, and he retained his mind until his last moment. His remains were brought to New York and interred at Greenwood. As we consider his life, it would almost seem from the intensity of his application and the results of his labor, that the time of his early death had been revealed to him and urged him on to work while his day lasted. Credi, Lorenzo di, died \~>X7. A fellow-pupil with Leonardo da Vinci under Andrea Verocchio. He surpassed his teacher, but not Leonardo. His favorite subjects, and those in which he best sue- CREDI CRIVELLI. 233 ceeded, were Madonnas and Holy Families. His best pictures are in Florence, at the Uflizi, and an " Adoration of the Shepherds." formerly in S. Chiara, now in the Acad., is one of his happiest efforts. There is a Madonna and Child with Saints, in the Louvre, which Vasari called his capo d" opera. The Berlin Mus. has fine specimens of the pictures of Credi, and there are two small, but characteristic ones in the National Gall. Credi copied the works of Leonardo most successfully. Cresilas. A sculptor of Athens who competed with Phidias, Poly- cletus, and Phradmon in making the statue of an Amazon for the Ephesian temple of Diana. A " Wounded Amazon " in the Capitol at Rome, is believed to be a copy of that by Cresilas, who took, as we are told, the third rank in the contest. He also made a beautiful bust of Pericles, and there are three now existing which have some claims to being copies of it; they are in the Vatican, the British Mus., and the Glyptothek at Munich. Crespi, Gio. Battista, called II Cerano from his birthplace (1557- 1633). One of the most eminent pupils of the Procaccini school of Milan. He was mannered, but he was also powerful. The Brera has some excellent works of his, and there is a fine one in the Berlin Mus. He was also a sculptor and architect, and executed the colos- sal statue of S. Charles Borromeus, in the Lago Maggiore, for his patron, Card. Borromeo. Crespi. Daniele (1590-1630). Son of the preceding. Also dis- tinguished among Milanese painters. Crespi, Giuseppe Maria called Lo Spagnolo di Bologna (1665- 1747). Pupil of Cignani. He had a capricious fancy, and was tempted to caricature, even in religious subjects. His manner of working was as coarse as that of his master was fine. His execution was free, but in some cases so slight, that parts have disappeared. His figures sometimes appear to be thrown upon the canvas. Of his works at Dresden, that of the " Seven Sacraments " is remarkable. The " Cumasan Sibyl," at Vienna, is a good specimen of his style. He was a good copyist of the old masters. He left several etchings from his own designs. Cristofori, Fabio, and his son. Pietro Paolo. Two fine mosaists. They executed for S. Peter's the " Communion of S. Jerome," after Domenichino; the " S. Petronilla," after Guercino, and the "Bap- tism of Christ," after Carlo Maratti. Crivelli, Carlo, born at Venice. His earliest known work is dated 1468, and his latest, 1495. lie. was one of the best of the tempera painters of Venice. His pictures are well executed, and not badly colored, but they are hard and ugly in expression. He was fond of painting jrarlands of flowers, or fruit on gold grounds, as ornaments to his pictures; these were excessively rigid in effect. When his works are chronologically studied, there is much interest in tracing 234 CRIVELLI CROMK. the changes and improvements in his manner. The honor of knight- hood was conferred on Crivelli in 1490, by Prince Ferdinand, of Capua. Some of the best works of this master in any Gall, are in that of London. The Brera, Berlin Mus., Borghese Pal., Vatican BY CRIVELLI. Gall., and Kensington Mus., all have his pictures. A " Pieta " of 1493, now in the Oggioni Coll. at Milan, was his best and probably last work. He had much talent, but his pictures arc not pleasant. They are very numerous, and are in many private collections and in the churches of Massa and other places. Crome, John, born at Norwich (1769-1821). A good landscape CROME CUYP. 235 painter. His sun effects and moonlight scenes are especially excel- lent. Sandy or pebbly beaches he also painted well, and his water views were made effective by bright lights thrown on the water in the distance. His color is sometimes very rich. He also left some etchings, which are good. Cross, John, born at Tiverton (1819-1861). Studied in Paris. In 1847 he gained a prize of 300 for his picture of " Richard Coeur de Lion forgiving Bertrand de Gourdon," which was purchased by the English government, and is now at Westminster Pal. For several years he sent pictures to the Exhibition, but in the end his " Storm Scene on the Cliffs " was rejected by the Acad. He died in great poverty, and broken-hearted at his want of success in the art he loved. Curia, Francesco, born at Naples (1538-1610). This artist painted several imposing altar-pieces for churches in Naples. That in S. M.iria della Pieta has been a model to Neapolitan painters. Curradi or Currado, Francesco, born in Florence (3570-1661). Pupil of Battista Naldini. His best works were historical subjects, easel size. Two of his finest ones are in the Florence Gall. Cuyp, Jacob Gerritze, called Old Cuyp, born at Dort (1580?- 1642?). Although much eclipsed by his son, this artist merits hon- orable mention. A pupil of Abraham Bloemaert. He painted land- scapes and battle pieces, but excelled most in portraits. He was skilful in the arrangement of family groups. His color was fine, and may be described as sunny. Berlin Mus., No. 743; Amsterdam Gall., No. 60. Cuyp, Albert, born at Dort (1606-1672). Son and pupil of the preceding. Little is known of the life of this great painter. His favorite subjects were landscapes, with cattle and other animals. Frequently they were lying beside a river. He also painted winter scenes with good effect; still-life, fowls, hens, ducks, etc., were all painted by him. He was remarkable for his atmospheric effects, and as we look at his pictures we can almost feel the chill of the damp morning, or the heat of the high noon which he has painted, tlis colors, too, are managed with great skill; and the contrasts of light and shade, of dull and bright, were perfectly understood by him. But there is a certain monotony in the heads of his cattle; and his pictures were never very carefully finished. He was not appreciated for a long time, and his paintings had no large sale even at moderate prices. The English first gave them their proper value, and many of them are in England, both in public and private collections. Smith's Catalogue numbers 336 of his pictures. No. 53, National (rail., is called his masterpiece, and represents a morning landscape with two cows reposing in the foreground, and a woman talking with a horseman. Some of his works are in the Munich Gall, and the Louvre, but are wanting in most Continental collections. 236 DADDI DAMER. D. Daddi, Bernardo, born at Arezzo. Flourished about 1355. Pupil of Spinello Aretino. Sonic of his works remain in Florence, and his name is among those who approved the original statutes for the founding of the Compagni of Florence. The object of this so- ciety was the meeting together of artists to afford each other a.-sixt- ance, and to thank God for the prospered state of art at that time. It seems to have been largely a religious institution, and assem- bled in a chapel of S. Maria Nuova. Daelliker, John Rudolph (1G94-1769). A Prussian portrait painter who lived at Zurich and Berne several years, and then studied in Paris, after which he returned to his own country. His drawing was correct, his color beautiful, and his execution masterly. Dahl. Michael, born at Stockholm, 1G5G ; died in London, 174:5. After visiting France and Italy he settled in England, where he made a fine reputation as a portrait painter. Dahl, John Christian (1788-1857). A Norwegian landscape painter. He was intended for the Church, but he loved art too well to devote himself to anything else. In 1811 he went to Copenhagen and found friends who enabled him to study at the Acad. Before this he had received but little instruction. He went afterwards to Dresden, and later, in the suite of Prince Christian of Denmark, he visited the Tyrol and Italy. He was an acute observer, and an accurate imitator of nature, and represented her well in various forms ; but his best works were representations of stormy northern s-eas. although his Italian skies and sultry atmospheric effects, and his Tyrolese passes, are well painted His works are to be seen in all parts of Europe; some are in America, but the larger number are in the galleries of Copenhagen and in Berghen. his native city, and other places in Norway. Dalmasio, Lippo di, born at Bologna. Flourished towards the end of the 14th century. Called " dalle Madoune,'' on account of the beauty of his Madonnas. It is said that bis works were done in oil colors, which is interesting in connection with the much -discussed question of the time when these were first used. Darner, Hon. Anne Seymour (1 7 ts-is-_>x). A distinguished sculptor. Daughter of Field-Marslm! Conway. While still young. in conversation with Hume, Miss Conway criticised some planter casts they had seen. Hume told her it was more easy to criticise than to do better. She immediately obtained some wax and mod- elled a head which she showed him. It had merit enough to surprise him, but he suggested that it was much more difficult to chisel than to model. She then proceeded to execute a bust in stone, which, though rude, demanded his admiration. From this time she devoted DAMER DANIELL. 237 herself to art. She studied under Ceracchi, and in the studio of Ba- ron acquired the technicalities, and learned the elements of anatomy from Mr. Cruikshank. She visited Italy in order to better study Grecian art, and endeavored always to imitate its pure and simple style. She married the Hon. John Darner in 1767, hut the marriage was an unhappy one, and he committed suicide in 1776. She had travelled considerably and had written some things which she at one time intended to publish, but in her will she commanded all her papers to be destroyed, and among them were not only her MSS. but many interesting and valuable letters. She declared that the distinction of being an artist was all that she desired, and requested that her working apron and her tools should be placed beside her in her coffin. She executed a large number of works, among which are the following : A marble statue eight feet high, in the Registry Office, Edinburgh ; two colossal heads in Portland stone, which orna- ment the key-stone of the bridge at Henley-upon-Thames; a bust of Fox, which she presented to Napoleon Bonaparte in person in 1815, and in return for which she received a snuff-box with the portrait of the emperor set in diamonds; a bust of Lord Nelson, who was her friend, and sat for this bust immediately after his return from the Battle of the Nile; this she presented to the city of London, and it is in the Common Council Chamber at Guildhall ; busts of her father, of Sir Humphry Davy, of her mother, and of herself One of the latter is in the Royal Gall, at Florence, and another is in the British Museum. Daiiby, Francis, born in Wexford County, Ireland (1793-1861). He was most successful as a painter of calm evenings at sea ; gen- erallv sunset scenes, with which he frequently connected some poetic incident or sentiment. Dance, Sir Nathaniel, born in London (1734-1811). Pupil of Francis Hay man, and travelled in Italy for improvement during sev- eral years. He painted in various styles. Some of his portraits are likened to those of Sir Joshua Reynolds. Some of his works remind one of Ilayman or of Hogarth, and again they ;MV more like Italian paintings. Dance married a fortune, had a seat in Parliament, was made a baronet, and took the name of Holland. He did not abandon painting entirely, but sometimes sent works to the Exhibition as an amateur. Dandini. The family of artists by this name were quite important in their time. The most distinguished was Vincenzo, a pupil of Pietro da Cortona, whose style he imitated. Some of his works remain in Florence. He died 1675. Daniell, Thomas, born at Kingston-on-Thames (1749-1840). Dis- tinguished for pictures of Oriental scenery. Together with his nephew, William Daniell, he passed ten years in India, and made illustrations for a work descriptive of that country, which ~>vas pub- 238 DANIELL DAVID. lished in six volumes, in 1808. Their works are so united that they must be considered as almost one artist. Dannecker, Johann Heinrich, horn at Stuttgart (1758-1841). He gained the prize in the Acad. founded by the Duke Charles Eugene. His statue was that of Milo. This entitled him to the royal pension, with which he went to Paris, from there to Rome, where he remained seven years, and then returned to Wurtemburg to be appointed Director of the Acad. with 15,000 fr. a year. For fifteen years he was considered a fine sculptor, but his health failed, and others of his country surpassed him. There was a delicate feeling for nature, and noble expression in the heads of Dannecker, and his figures were light and graceful. The " Ariadne " in the coll. of .M. Bethmann of Frankfort is one of his best known and most admirable works. He also executed a Cupid, a statue of Alexander, and the monument of Count Zeppelin. His figure of Christ, upon which he labored eight years, belongs to the Emperor of Russia. His statues and portrait-busts are numerous. The " Maiden lamenting the Dead Bird " is fine; in Stuttgart, on a fountain in Neckar Street, there is a Nymph pouring out water, and on a reservoir in the palace gardens two reposing Nymphs, which display the fine architectural taste of this master. Dante, Girolamo, celebrated for his copies of his master, Titian. Sometimes, it is said, Titian finished his works with a lew strokes. and then it was impossible to see that they were copies. His own designs were meritorious. There is a good work attributed to him in S. Giovanni in Olio. Dario da Treviso. Flourished about the middle of the l.">th century. Disciple of Squarcione. But one of his pictures remains, and that is a " Virgin of Mercy " in the Bassano (Jail. It was the custom, in his time, to paint the outsides of houses, and many deco- rated by him are seen at Serravalle, Conegliano, and Trc\isn. Daufle, Jean, born at Abbeville (1 703-1 7G3). One of the most eminent and excellent engravers of his time. Daven, Leon, called also Daris and Danet, an engraver whose birthplace is not known. He distinguished himself in Florence and Rome about 1540. When Primaticcio went to France. Daven ac- companied him, and engraved plates after his works. His pi:. esteemed by collectors. They are frequently marked with his ini- tials, L. D. David, Gerhard, born at Onde water. Settled at Bruges 1487, and died theiv 152.3. In the Acad. of Bruges there are two of his pic- tures illustrating the judgment of Cambyses upon the unjust judge, Sisamnes. The first represents his seizure, and the second his Hav- ing. Herodotus says that the son of Sisamnes succeeded his father in office, and that his judgment-seat was covered with his father's sluri. The pictures of David have the figures three quarters life sixe. DAVID DBAS. 239 They are well colored, and the heads are expressive, but the subject of the second is too horrible. In the same Gall, there are also two miniatures on vellum by this artist. David, Jacques-Louis, born at Paris (1748-1825). He was con- sidered the first master in modern, art, at the close of the 18th cen- tury. He had great power, but his taste and judgment may well be questioned. So great was his admiration for the antique that his pictures are repetitions of the ideal Greek physical proportions, and his costumes might be called heroic Greek. Some of his works are merely groups of statues the flesh is as hard as marble. He was active in the revolution, but returned to the practice of his art. Napoleon honored him, and he painted the " Passage of S. Bernard," and other scenes i'rom the life of the Emperor. After the return of the Bourbons, David was banished, and lived in Brussels, where he executed many of his best works. His family were not allowed to bury him in France. David, Pierre Jean, born at Angers (17897-1856). He went when young to Paris to study sculpture. He was in very poor cir- cumstances until he by some means made the acquaintance of David the painter, who instructed him gratuitously, and otherwise assisted him. In 1811 he obtained a prize which secured to him a pension, and enabled him to go to Rome, lie studied closely, and upoo his return to Paris was constantly employed. He executed many colos- sal works, large numbers of busts, and more than 90 medallions. Among his works may be mentioned the statue of Mme. de Stael; that of Talma, for the Theatre Francais; colossal statue of King Rene at Aix ; Fenelon's monument at Cambray ; statues of Cuvier; one of Jefferson in Philadelphia, etc , etc. He executed busts of Goethe. Sdielling, Dannecker, and many others. He was a Knight of the Legion of Honor, a member of the Institute, and a Profes- sor in the Acad. of Painters, besides belonging to other academies. He is called David of Angers to distinguish him from David the painter. Dawe, George, died 1829. An English portrait painter who went to Russia, and is said to have painted 400 portraits of the leaders of the Russian army which fought against Napoleon I. Deas, Charles, born in Philadelphia (1818- - ). From his ear- liest youth his inclination for art was plainly manifested. lie was of a nervous temperament and strangely sensible to color. He had executed several pictures when he saw Catlin's Indian Gallery. From this time he desired to represent scenes from Indian life, and as his brother was stationed at Fort Crawford, every opportunity was his for the study of their wild habits and customs. He at- tended their councils, feasts, dances, etc. He established himself at St. Louis, and there found patronage and appreciation. He was deranged in his later life, and died in an asylum where he had been 240 DBAS DELACROIX. for a long time. The following arc the subjects of some of his pic- tures: " Long Jake; " "The Trapper: " The Wounded Pawnee; " two scenes from the history of Wenona ; "The Last Shot;" ' Hunters on the Prairie," etc. Decamps, Alexander Gabriel, born at Paris (1803-1860). A painter of landscapes, animals, and yp.nre pictures. He often repre- sented Eastern scenes with striking lights and effective contour. At the Paris International Exhibition of 1855, there were forty-fou. paintings besides drawings by thi> arti-t. His subjects were always popular, because illustrative of the life about him. He was thrown from his horse against a tree, and killed, while hunting in the forest of Fontainebleau. Decker or Dekker. There are nine artists of this name men- tioned by different writers, and the confusion concerning them is so great, that it is quite impossible to give a clear account of any one. The Decker lived in the 17th century, and painted pictures closely resembling those of Ruysdael, and like the latter excelled in reprcscnt- in-_ r river scenery and running water. His works are well finished, his perspective correct, his cottages well done, and though his tone of color is sometimes dark, he relieves it by silvery skies. His works are placed in the most important collections. The figures in some of his pictures were painted by Adrian Van Ostade and A. Van de Velde. Deelen, Dirk Van, born at Heusden. Flourished from 1640 to 1670. He painted architectural subjects, both exterior and interior. His perspective was good, his color clear and pleasing, and his exe- cution finished. His indication of separate forms is somewhat too prononce, and reminds us of older artists. The figures in his pictures were done by others. His works are not numerous in public galleries. The Vienna Gall, has two of the finest, both representing grand buildings with columns. At the Mas. of the Hague, there is a view of the Binnenhof with the last great meeting of the States General, which took place in 1651; Berlin Gall., a view of antique buildings, dated 1647, clear and delicate in tone. One of his best pictures in England is a church interior in the coll. of Mr. H. T. Hope. Delacroix, Eugene, born at C'harenton. S. Maurice (1 799-1 s<;:j). Under the Directory, his father had been Minister of Foreign Affairs, and held other offices of honor. The son had the pnxpeet of some, fortune, but all was lost, and he was obliged to struggle hard for the barest necessities of existence. He entered the studio of Guerin when eighteen years old. and there became the friend of Gericauli. He first exhibited in 1822, and his subject, was that passage t'mm Dante's " Inferno " in which the poet recognizes some of his old townspeople among the condemned who float upon the lake which surrounds the infernal city. This work made a great impression. It was purchased for the Luxembourg Gall. Baron Gros was so DELACROIX DELFT. 241 much pleased with it, that he invited Delacroix to his studio, and assured him he could obtain the " prix de Rome." But Delacroix was not anxious to follow in the accepted path, and so offended those in power, that he received no large commissions, and after painting the " Massacre of Scio " (Luxembourg Gall), and " Sardanapalus," he was compelled to execute small works for private collections as a means of support. He also designed illustrations for " Faust " and " Hamlet." The former were approved by Goethe himself. In 1830, he went to Spain, Algiers, and Morocco, and on his return painted a picture of three Algerine ladies smoking the narghile. He now found a patron in M. Thiers, Minister of the Interior under the new order of things, and received orders for the decoration of the Throne-room in the Chamber of Deputies. He was severely criticised by other artists, but his work when finished was magnificent in effect. He was prosperous from this time, and some of his large pictures were placed at Versailles; others are in many of the churches of Paris, and another important commission was given him in the library of the Chamber of Peers. His works, when considered as a whole, are powerful in the extreme, but lose their effect when examined in portions. His color was rich and bold, his design free and spirited, and his expression well suited to his subject. His works are nu- merous and varied in character. He became a member of the Insti- tute in 1857. Delaroche, Paul, born at Paris (1797-1856). Pupil of Baron Gros. A great painter. His best works are illustrative of subjects of much interest, such as the " Death of the Duke de Guise," 1835; Napoleon at Fontainebleau," 1847; " Cromwell contemplating the Remains of Charles I. ; " " Condemnation of Marie Antoinette," etc. His largest work is the " Hemicycky' in the theatre of L'ficole des Beaux Arts, at Paris. It contains seventy-five life-size figures, and employed him three years. It represents the arts of different coun- tries and times, by groups of portraits of the artists of those times and nations. Delaroche married the daughter of Horace Vernet, and it is said that the figure which symbolizes Gothic architecture is her portrait. The pictures of Delaroche appeal forcibly to the heart. His design was in a good degree academical, or uniform, but many of his works are free from conventionalities. His color has rarely been excelled, and in some of his small religious pictures, there is sentiment of a high character. He was a member of the Institute, a professor in L'ficole des Beaux Arts, and received the Cross of an officer of the Legion of Honor. His principal works have been well engraved by S. AY. Reynolds, Desclaux, Hcnriquel-Dupont, Martinet, A. and J. Fran9ois, and other fine engravers. Delft, Jacob. A Dutch portrait painter of the 16th century. There is a very remarkable female portrait by him in the Stadel In- stitute, at Frankfort. 16 242 DELFT DESPOUTES. Delft, Johann William, born at Delft. Son of the pre- ceding. There is in the Hotel de Ville, at Delft, an archerv piece dated 1592, by this artist. But he was a better en- graver than painter, and at length gave all his lime to that art. He engraved many portraits, especially ai'ter Mirevelt, whose daughter he married. His heads are finely drawn. Delli, Dello, born about 1404. He was about twenty years old, when his father, who was keeper of the fortress of Monteccrro. sur- rendered to the Duke of Milan. For this he was sentenced to death, and fled to Sienna, From here they went to Venice, ami at last Dello emigrated to Spain, and lived in Seville many years. He gained a fortune and the title of " Cavaliere,'' which was recognized in Florence upon his return to Italy. In the ch. of S. M. Novella, at Florence, there are twenty-four pictures representing episodes from the Genesis, said to be the work of Dello. These are very weak and imperfect, and it does not appear that one who painted them could have gained reputation for excellence in any country. Dello was the friend of Paolo Uccelli, and it is said that the latter painted the portrait of Dello, in the figure of Shem, in his picture of the " Drunkenness of Noah." Delmont, real name Deodat van der Mont, born near Antwerp (1581-1644). The earliest scholar of Rubens. His works an- very rare. No. 300, Antwerp Mus., is a representation of the " Trans- figuration " by him, and has no great merit. Denis or Denys, Simon, born at Antwerp (1750-1815). He painted landscapes and cattle. He resided many years in Italy, and died in Naples. His botanical representations are fine and very accu- rate. His works are much valued. Denner, Balthasar, born at Hamburg (1685-1749). If the exact and toilsome imitation of nature would make a great artist, Denner would be at the head of the first rank. His best works are bust j>ortraits of old people, with not a freckle, a hair, a wrinkle, or a speck left out. Two very striking pictures of this kind are at Vienna; another, No. 1014, Berlin Mus. But he sometimes painted family groups and other likenesses, and many of his portraits remain at Schwerin, where he was much employed by the Duke of Mecklen- burg-Schwerin. His miniatures executed late in life, l>oth in oil and water-colors, are very fine. In the city library of Hamburg, then is a series of the>e in water-colors. Desplaces, Louis, born at Paris, 16*2. An eminent engraver. His best plates ;;re after Jouvcnet. IL- used both point, and graver. Desportes, Francois, born at C'hampigneul (1661-1743). An eminent painter of animals, especially dogs. He was a great favorite with Louis XIV., who employed him in the palaces of Versailles, Fon- talnebfean, and Meudon, and gave him the office of painter to the king. Hi.- own portrait, as a sportsman with dead game and a dog, DESPORTES DIEPENBECK. 243 painted by himself, is in the Louvre. Desportes was without doubt in England, and painted some pictures there. Detroy, Jean-Francois, born at Paris (1679-1752). This artist passed many years in Italy, was Director of the French Acad. at Koine, and President of the Acad. of S. Luke. He painted a variety of subjects; large altar-pieces, genre subjects, and myths and stories for the Gobelins' tapestries. His execution was very careless, but his designs exhibit great ability. In the Louvre is one of his best works, dated 1732, and representing the first Chapter of the Order of S. Esprit, held by Henri IV. in the convent of the Grands-Au- gustins. Deutsch. See Manuel. Devis, Arthur, born at Preston, Lancashire (1708-1787). He could not be termed a miniaturist, and yet his portraits were small, often full lengths 15 or 18 inches high. He gave them the appear- ance of fancy sketches by putting them in a room or in a landscape, and paying great attention to all the details of finish. His color was cool, but his heads are very expressive, even when thinly painted. Devis, Arthur William (1762-1822). Son of the preceding. He painted life-size portraits in a somewhat theatrical style. When but twenty years old he Avas appointed draughtsman to the East India Company, and started for a voyage round the world. He suffered shipwreck and many hardships, but at length reached Bengal, where he painted for a time. Returning to England he executed historical subjects, one of the best of which is the " Death of Nelson," at Greenwich Hospital. He grouped his figures well, and his portraits were full of character; he made good use of light and shade, but his color was brown and thin. Many of his portraits are excellent. Diaz, Diego Valentine. A Spanish painter of architecture and history. He founded a hospital for orphans at Valladolid, and his most creditable work was done there. In the Mus. at Valladolid there is a " Holy Family " by Diaz. Diepenbeck, Abraham van, born at Bois-le-Duc (1607-1675). This artist was originally a painter on glass, and the windows of a chapel in the Cath. of Antwerp were his work. He spent a long time in Italy, and went also to England. His whole manner shows that he was the pupil of Rubens; but he used more impasto than his master, his colors are more blended, and the whole work smoother. He was a figure painter, decidedly, but his backgrounds were well done and very varied, embracing lake and river scenery, houses and terraces, landscape and sea. He also painted animals well, and loved to represent horses. Antwerp Mus., "Ecstasy of S. Bonaven- tura; " Vienna Gall., " Vanity of all Earthly Things ; " Berlin Mus. and Louvre, " Clcelia fleeing from Porsenna." His chef-sin^ the Wounds of S. Sfbasthn." Skidd Institute, Frankfort: and the " Mar- trydom of S. Ague-." Bologna Gall. His most important work at Naples was a series of subjects from the life of S. Januarius, in the chapel Tesoro of the Cath. It is believed that he was poisoned In- Neapolitan artists. He left Rome on account of the persecutions of CUilJIUMON OF S. JKROMK. BY Vatican. DOMENICHINO. 249 rivals, only to meet death at Naples. The landscapes of Domenichino are deserving of attention, whether they are the full subject, or merely the background for figures. They are grand and solemn; frequently towers and classical buildings are introduced, and his coloring is warm and rich. ENGRAVINGS AFTEH THE WORKS OF DOMENICHINO. Engraver, AXDRIOT or HANDERIOT, Franz. Christ crowned with Thorns. Engraver, AUDRAX, Charles. The Assumption of the Virgin; very fine. Engraver, AUDRAN, Gerard. JEneas saving Anchises. The Mys- tery of the Rosary. Temptation of S. Jerome. Martyrdom of S. Agnes. Four sheets of the four angles in the ch. of S. Carlo de Catenari, representing Justice, Temperance, Prudence and Fortitude ; Rome; 1675. Engraver, AUDRAN, John. Our Saviour on the Mount of Olives. Engraver, BARRIERE, Dominique. Several plates of the History of Apollo. Engraver, BAUDET, Stephen. Adam and Eve ; very fine. Engracer, BLOND or BLON, James Christopher le. S. Agnes. Engraver, CAN ALE, Giuseppe. The Glory. Engraver, CHAVEAU, Francis. A Concert; engraved also by Pic art. Engraver, CUNEGO, Domenico. S Cecilia receiving the Palm of Martyrdom. Six plates : the Annunciation, the Visitation, the Xa- tivity, the Circumcision, the Adoration of the Magi, and the Presen- tation in the Temple. Engraver, DUFLOS, Claude. A Concert. The Triumph of Gal- atea. Cupid stung by a Bee. The same subject, smaller and circu- lar. Bacchus and Ariadne. Engraver, EARLOM, Richard. The infant Jesus sleeping. Engraver, FARIAT or FARJAT, BENOIT. Communion of S. Jerome. Engraver, FREY, James. Martyrdom of S. Sebastian. Commun- ion of S. Jerome. Justice, Temperance, Prudence, and Fortitude, from S. Carlo de Catenari, at Rome. Engraver, GKEEN, Valentine. The Virgin and Child. Engraver, GREUTER. John Frederick. The Death of S. Cecilia. Engraver, HAINZELMANN, Elias. S. Francis praying before a Crucifix. Engracer, MAUIETTE, John. S. Peter delivered from Prison. Engraver, MORGHEX. Raphael. Diana and her Nymphs. Engraver, PAVON, Ignatius. Communion of S. Jerome. S. John writing. Engraver, Pic ART, Stephen. S. Cecilia. A Concert. 250 DOMENICIIINO DONATELLO. Engraver, POILLY, John Baptist. Martyrdom of S. Cecilia. Engraver, RorssKi.i.iyr, (Jiles. David playing on the Harp. Engraver, SHARP, William. S. Cecilia. Engraver, SIMOXEAU, Charles. Christ with Martha and Marv. Engraver, STRANGE, Sir Robert. The Martyrdom of S. Allies ; 1759. S. Agnes; 1759 (?) Engraver, TARDIEU, Nicholas Henry. Adam and Eve. Engraver, TARDIEU, Peter Alexander. Communion of S. Jerome. Engraver, TESTA, Gio. Cesare. Communion of S. Jerome. Donatello, real name Donate di Betto Bardi (1386-1 1\v. Vienna Gall. DOW DROST. 253 of his minute execution he finished more than 200 pictures. They are never large, and rarely contain more than three figures. Even in his own time his works were so much esteemed that President Van Spiring offered him 1 000 florins a year for the right to choose from his works; they now bring very large prices. There are specimens in all the large European galleries. The ' Woman sick of the Dropsy," in the Louvre, is often called his chef-d'oeuvre. This was ex- ecuted when he was sixty-five years old. It has a sunny, transparent lighting, and a marvellous execution. The " Evening School, " in the Amsterdam Mus., is his best candle-lighted picture. It is ex- tremely picturesque, and the lights are admirable. His best por- traits are in the same Mus., and represent a Burgomaster of Leyden and his wife, full length, in one frame. He excelled in the combi- nation of domestic, peaceful happiness, with masterly lighting, warm, beautiful color, and tender execution. ENGRAVINGS AFTER THE WORKS OF GERARD DOW. Engraver, AMSTEL, Cornelius Ploos Van. A Lady seated at a Harpsichord; Ger. Douw, del., 1660; P. v. Amslel, fecit, 1767. Engraver, BAILLIE, Capt. William. The Pen Cutter. The Lace Maker. The Mother of G. Douw. Engraver, BAUSE, John Frederic. The Good Housewife. Engraver, BEAUVAKLET, James Firmin. The Double Surprise. Engraver, KAUPKRZ, John Vitus. The Flute Player. Engraver, MOITTE,' Peter Stephen. The Dutch Cook. The Fish- woman. Engraver, VALK, or VALCK, Gerard. A Girl holding a Lamp. Enf/mver, VOYEZ, Nicholas Joseph. The Astrologer. An Old Man in Meditation. Engraver, WILLE. John George. A Lady Reading. The Housewife. Drevet, Pierre, the Elder, born at Lyons (1664-1739). An emi- nent engraver. He used only the graver, of which he was a perfect master. Drevet, Pierre, the Younger, born at Paris (1697-1 739). Son of the preceding, and a celebrated engraver also. His portrait of Bos- suet gained him a world-wide reputation. That of Samuel Bernard is almost as fine, and all his works are excellent. Drolling, Michel Martin, born at Oberbergheim (1786-1861). Pupil of David. Two decorated ceilings in the Louvre were by this master. His subjects were poetical and classical as well as religious, and lie painted some good portraits. He was a good academic painter. Drost (1638-1690). A pupil of Rembrandt, and one of his most faithful imitators as far as his talents would allow. There is a " Christ with the Magdalene after his Resurrection," by Drost, in the Cassel Gall., and the " Daughter of Herodias with the Head of the Baptist," in the Mus. at Amsterdam. 254 DROUAIS DUCCIO. Drouais, Jean Germain, born at Paris (17G3-1788). An artist who gave great promise of excellence, hut whose early death pre- vented the execution of many works. His masterpiece was Ma- rius at Mintnrnae." This picture is illustrative of the imitation of the antique in the modern French school. Diummond, Samuel (1770-1844). An English landscape and portrait painter. His portraits were his best works. Dubbels. There have been at least three artists of this name, and all painted sea and river views. But few facts are known of them. Jan has been called both the scholar and master of Backhuysen, to whom, it is said, many of his pictures have been attributed. But his known works would indicate him to have been the instructor rather than the pupil, for the Dutch school can scarcely show a finer sea view than one of Dubbels, which is signed and in the Van der Hoop Coll. at Amsterdam. It represents an agitated sea breaking on the coa-t. It is almost equalled by another similar subject, also signed, in the Pitti Pal. In this a single figure is seen emerging from the breakers. The lighting is exquisite. The general tone of color is a silver gray, with gleams of sunshine on waves, sands, and horizon. One of this artist's rare works is in the Coll. of the Duke of Bedford, London. Hendrik and Thierry are the names of the other Dubbels. Due, A. In the Gall, at Dresden there is a picture of a peasant kneeling and begging his life of a soldier, and in the Vienna Gall, one of a lady and gentleman imploring the mercy of an infantry offi- cer, and both are signed A. Due. Otherwise he is unknown. These works show him to have been a good imitator of the style of 1'ala- medes. Ducq, Jan le, born at the Hague (1633-1695). He is believed to have been the pupil of Paul Potter, but his pictures resemble those iif the Palamedes, whom he also surpassed. He had much delicacy of touch, and his heads are very truthful. His portraits were excel- lent, as may be seen in two small, delicately painted ones in the Dresden Gall. The Berlin and Munich galleries have good speci- mens of his scenes from soldier life. Le Ducq also executed a number of very skilful etchings, representing dogs and other animals. Duccio di Boninsegna, was to the Sienese school what Cimabue and Giotto were to that of Florence. He was a reformer who re- tained indeed much of the manner of those who had preceded him. but he added to it, and elevated it by creations all his own. The time of his birth is unknown. He was in Florence in 1285. He commenced his great altar-piece for the Cath. of Siena in 1308. and in June, 1310, it was borne, like the Madonna " of Cimabue, from his studio to the Duomo by a solemn procession, headed by the Archbishop, followed by clergy, monks, government and communal officers, women, and children. Music and the ringing of bells added merry inspiration, and Duccio was the "bright, particular star" DUCCIO DUCHAXGE. 255 to the Sienese of that day. His work remained nearly 200 years in its place, and is now well preserved in the transept and sacristy of the Cath. It is probable that at the time of the procession it was not all completed, for in the end it was painted on both sides, and from some records it Avould appear that a portion, at least, of the back part was done afterwards. The front was a representation of the "Majesty" of the A r irgin. Seated on avast throne, and hold- ing the Child, she was surrounded by angels and worshipped by saints. There was much gold, tapestry, and orna- mentation ; the group was characterized by grace more than solemnity or dignity. His drawing was careful ; his color soft and powerful ; his execution was patient and highly finished, and even his superabundant ornament was tasteful. A marked difference was made be- tween the treatment of the male and female fig- ures, but color was the best feature of Duccio and his school, who re- tained much of the old exaggeration of design, form, and action. On the other side of the work, he depicted the Passion of Christ, in 28 panels. The subjects commenced with the entrance into Jerusalem, and proceeded to the meeting at Em- maus. The whole has been divided into many pieces. In the Acad. of Siena there are other works of this master, and in the National (iall. a Virgin with saints and prophets. One of his finest works is in the Coll. of the late Royal Consort, Prince Albert. This ranks next the great altar-piece. In the Ramboux Coll. at Cologne there are two pictures of his. The successors of Duccio in the 14th cen- tury did nothing which exceeded him. Duchange, Gaspar, born at Paris, 1662. An eminent engraver. THE WOMEN GOING TO THE SEPULCHRE OF CHRIST. BY DUCCIO. Cath. of Siena. 256 DUCIIAXGE DUPATY. His plates are remarkable, for the effect which he produced by the combined use of the etching-point and tin- graver. He reproduced the works of Correggio with peculiar skill. Duchatel,' Frans, l>orn at Brussels, 1625. Pupil of Teniers, his works so nearly resemble those of his great master that they have been mistaken for his. He had however been brought under the influence of Van der Meulen in France, and was. all in all, more independent in style than Teniers. His chief work is in the Mus. at Ghent, and represents " Charles II. of Spain receiving homage as Count of Flanders from the Estates of Ghent, in the person of his Stadtholder the Marquis of Castel Rodrigo." This picture is signed and dated 1668. It contains several most excellent portraits, and is good in general effect and keeping. In the Antwerp Mus. the pano- rama of Valenciennes has been called a Teniers, but good authorities now assign it to Duchatel. Dufresnoy, Charles Alphonse, born at Paris (1611-16G5). A very learned painter. lit- was classical in his taste, and after his death his friends published his Latin poem, ' De Arte Graphic;!,'' which was translated into English by William Mason, and enriched with notes by Sir Joshua Reynolds. Dufresnoy went when quite young to Rome, and became learned in antiquities, anatomy, and perspective, as well as in classical literature. His works are scarce. His subjects were landscapes, history, and architecture. They are correct in drawing and carefully executed, but are too studied to be pleasing. Dunlap, William, born at Perth Amboy, New Jersey (17'!t'>- 1839). The versatility of his talents and the circumstances of his life led him into so many different pursuits that it is difficult to know whether to call him a painter, an annalist, or a theatrical manager. He did however devote several years entirely to portrait painting, and his pictures are numerous. The sketch of his life is full of adventures and interesting stories. He should be mentioned as one of the active men in establishing the New York Acad. of Fine Arts, and indeed it is due him to say that he did much for artistic and literary enterprise at a time when little thought or >\ m- pathy was given to such matters. Dunwegge, Victor and Heinrich. Two painters of the West- phalian school. In the parish ch. of Dortmund there is what the Germans term a "Holy Kith-and-Kin picture," by these artists. It was painted in 1523, but seems about a century older in style and excellence, proving the school of Westphalia to have been behind others in Germany. Dupaty, Charles Mercier, born at Bordeaux (1771-1825). His father designed to make him a lawyer, but after his death in 1788, Dupaty studied painting. He was, however, compelled to enter a regiment of dragoons, and did not resume his studies until 1795. DUPATY DURER. 257 At length he devoted himself to sculpture under the teaching of Lemont. As early as 1799 he obtained the grand prize, but did not go to Rome until 1801. His first works were executed in the man- ner of his time and country, but when he went to Italy he adopted the antique, and made models for some mythological and historical statues, which were put in marble later. His chef-d'oeuvre was " Ajax pursued by Neptune," which gained him, deservedly, a great reputation. He executed various commissions for the government, among which was the principal group of the monument to the Duke de Berri. He also made the statue of the Virgin for the ch. of S. Germain des Pres. Duquesnoy, Francois, called "II Fiammingo," on account of his nationality, born at Brussels (1594-1646). The Archduke Albert sent him to Rome, but at the death of his benefactor he was forced to carve ivory figures to support himself. He made the ac- quaintance of Poussin, and they pursued their studies together. Duquesnoy soon gained a reputation for his beautiful statues of children, 1 and was commissioned to model the groups which adorn the columns of the grand altar of S. Peter's. He also made a colossal statue of S. Andrew for the same basilica, which is one of the best works of modern art, and occupied him five years. His S. Susanna for the ch. of S. Maria di Loretto has been much admired. It is said he was poisoned by his brother when on his way to France. Diirer, Albert, born at Nu- remberg (1471-1528). This artist, if not really the founder of the German school, perfected the art which already existed in his country. He was a sculptor, architect, and painter. He also wrote various theoretical works. He was capable of the severest study, and full of earnest and truthful feeling in art. His drawing was rich in life and expression; his coloring very unequal; his nude figures ugly and vulgar; and his love for the fantastic prevented him from be- coming what he might otherwise have been. His father was a gold- smith, and intended to have placed him with Martin Schoen, but the death of that artist caused him to become the disciple of Michael Wolgemuth, in whose atelier he remained three years. In 1490, he set out on his travels, and in 1494 returned to Nuremberg and settled himself as a painter. He remained there ten years, and did many important works in engraving. In 1505, he went to Venice, Padua, and Bologna. The following year he returned to Nuremberg, where he remained till 1520, and executed an immense number of paintings, drawings, engravings, and some carved works in box-wood and steatite. He then made a journey into the Netherlands, was absent about a year, and returned to his native city, never to leave it again, 1 His figures of children are full of genuine nalvet^; he executed the foun- tain of the Manneken-Pis at Brussels. 17 2.VS DURER. although Venice and Antwerp made him attractive proposals to re- main in those cities, and his own p-ople. within thirty years, paid him but 500 guilders. The only favor he asked was that the city should pay him five per cent, upon a capital of 1000 guilders, which he had obtained by un- ceasing toil. In rep- resentin^ ecclesiastical subjects, Diirer disre- garded all fixed forms, and portrayed them with great power, but with perfectly human feeling. In 1498, he illustrated the book of Revelation by wood- cuts. In these the fan- tastic element forms the groundwork, but they are conceived in a singularly poetic spirit. In them, the marvel- lous and the monstrous are strangely united. In the Ufiizi, at Flor- ence, is a splendid " Adoration of the Kings," painted in 1504; in the Monastery Strahoff, at Prague, the " Feast of Roses : '' in the Belvedere Gall., at Vienna, the Martyrdom of 10,000 Saints," full of terrible truth; 1508: in the same Gall., the " Trinity;" 1511; color clear, light, and fresh. From 1511 to 1515, he published many wood-cuts of religious subjects. The Madonnas are especially pleasing. In 1518, he represented the death of the Virgin, giving her the features of the deceased wife of the Emperor Maximilian. and making the other characters portraits of living personages. This picture is in England. Although his pictures are scarce, the large German galleries have -pecimen.s of his work. In 15 2(5, he painted on two panels, SS. John and Peter, and SS. Paul and Mark, and presented them to the council of Nuremberg. They have been called "The Four Temperaments," and are now in the Pinacothek, at Munich. Tin- (iall. has also five large pictures of the life of Christ. The portrait of his father, dated 1497, is in the Munich Gall. Cabi- S. clIIilsTOrilKK. BY ALBK1IT DURER. 259 not*. No. 128; and his own portrait in the same Gall. Cabinets, No. 124. One of his most celebrated pictures, the " Adoration of the Trinity," painted for a chapel in Nuremberg, in 1511, and a Virgin holding the Naked Child in her Arms, are now in the Belvedere, at Vienna. One of his most singular pictures is the " Knight, Death, and the Devil," in the Munich Gall. These are but a small part of the important works of Diirer. He also published, during the latter portion of his life, scientific works upon Geometry, the Art of Forti- fication, and the Proportions of the Human Body. He was one of the first artists in Germany who practised and taught the rules of perspective, which he is said to have learned from Lucas von Ley- den. He lived in the most frugal and unostentatious manner, apply- ing himself unceasingly to his profession, and receiving the honors which were paid him with quiet modesty. He had married (it is said, to please his father) the daughter of Hans Fritz, who proved a Xantippe, and rendered his life one of discomfort. She survived him, and he left her 6000 florins. He had joined the Reformers, but Pirkheimer states that he died a member of the Romish Church. ENGRAVINGS AFTER THE WORKS OF ALBERT DURER. Engraver, BRUYX or BRUIN, Nicholas de. The Knight, Death, and the Devil. 1618. His own Plates. Portraits on Copper : Albert Diirer represented at two different dates, 1509 and 1517, on each side of a piece of architecture, with a Latin inscription. Albert, Elector of Mcntz. 1523. Frederick, Elector of Saxony. 1524. B. Pirkheimer. 1524. Melanchthon. 1525. Erasmus, from statue at Rotterdam; 1526; scarce. Subjects on Copper : Adam and Eve with the Serpent ; 1504; fine. Adam and Eve after the Fall. The Nativity; 1504: called ' The Little Nativity." The Holy Family, S. Joseph resting on a Stone. 1500. The Holy Family, called " The Virgin with the Monkey." The Virgin and Child, called '' The Virgin with the Pear." The Virgin and Child, called " The Virgin with the Apple." The Passion of Christ; sixteen plates including frontispiece. 1507- 1512; difficult to find complete. The Apostles. The Crucifixion, with the Maries and S. John at the foot of the Cross; small, circular; very scarce. Christ in the Garden; 1515; said to be engraved on iron: very scarce. 260 DttRER. Angels with the Instruments of the Passion. 1516. The great Ecce Homo; 1512; Latin inscription; very scarce. Prodigal Son ; best impressions before the date. 1513. S. Hubert kneeling before a Stag with a Cross on its Forehead ; one of his finest works. S. Jerome in the Desert. S. Jerome seated in a Room, writing; 1514; very fine. A Woman with Wings, standing on a Globe, holding a Cup, im- properly called "Pandora's Box;" sometimes called "The Great Fortune." A Naked Woman on a Globe, holding a Stick with a Thistle at the end, called " The Little Fortune." Melancholy; a Woman resting her Head on her Hand, holding a Compass; very fine. Three Women or Witches, with a Globe over their Heads, with the letters O. G. H., and an appearance of Hell in the background ; copied after Israel Van Mecheln; 1497; very scarce. An Armed Man on Horseback pursued by Death, called " Death's Horse:" best impressions before the date 1513. A Coat of Arms with a Skull, a Satyr, and a Young Woman; 1503 ; called " The Death's Head." A coat of Arms, with a Lion and a Cock. A Horse, with an Armed Man with an Halberd following. A Man mounted on a Unicorn, carrying off' a Woman ; called ' The I v.i pi- of Proserpine ; " very scarce. Etchings : Christ seated, leaning his Head on his Hand, with a figure in front pointing towards Him. One of the Fathers of the Church, in a Cell, with two Books. 1515. The Virgin and Child asleep, with a Young Female kneeling. 1519. Moses receiving the Tables of the Law. 1524. The Cannon, with figures, at the Entrance of a Village; 1518; said to be etched on iron ; very scarce. Wood-Cuts (Portraits) : Albert Diirer, at the age of fifty-six, inscribed Albrecht Durer Con- terfeyt, etc. Albert Dureri Effigies, erfila ex linea tabula, etc. Bust of the Emperor Maximilian I. 1519. Ulrichus Varnbuler ; 1522; scarce. Wood-Cuts (Various Subjects) : The Life and Passion of Christ, in thirty-six cuts. The Life of the Virgin, in twenty cuts. S. Anne, with the Infant on her Knee, and the Virgin kneeling with two Saints; in ehiaro-scuro ; very scarce. The Holy Family in a Landscape, with two Angels crowning the DURER DYCE. 261 Virgin, and three Rabbits; in the lower part of the print, S. Chris- topher carrying the Infant Jesus; scarce. The Emperor Maximilian, with the Virgin and several Saints wor- shipping the Saviour. The Siege of Vienna, in two sheets; 1527 ; scarce. The Triumphal Car of Maximilian I., in eight sheets. The Rhinoceros, with a German inscription; scarce. Six cuts of Ornaments for Tapestry and Embroidery. Engracer, HOPFEU, Jerome. S. Hubert. S. Jerome; smaller than the original. The Great Cannon. Enyracer, UOPFER, Lambert. The Life and Passion of Christ; fifteen small plates. Engraver, KARTARIUS, Marius. Christ in the Garden; Romae; 1567. S. Jerome, seated in a Chamber. Engraver, MOXTAGNA, Benedetto. The Nativity, with Joseph at the Well; B. M. on a Tablet hung from the upper part of the house. The Sorceress; B. M. at bottom on the left. The Virgin suckling the Child; marked B. M. Engraver, PRESTEL, John Gottlieb. The Holy Family. Engraver, JLlAiMOXDi, 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. Engracer, SADELER, Giles. The Virgin and Child. Christ bear- ing his Cross. Engraver, STEEX, Francis Van der. The Martyrdom of the 11,000 Viro-ins; from a drawing by Van Hoy, after the picture by Diirer. Engraver, WIERIX or WlB&lNX, John. The Little Satyr. Adam receiving the Apple from Eve; upon a tablet is inscribed Albert Durer inventor, Johanes Wierix fac., cut. 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 (16637-1704). 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 versa ilo. He painted in oil and fresco, and while most of his subjects were religious and historical, he also executed some line 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 me/- zotint engraver. His " Uathsheba leading Abishag to David," h;;s lieen called the chtcrdam 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. Edeliuck, Gerard, born at Antwerp (1627-1707). An eminent engraver. Pupil of Cornelius Galle. It is diflicult to select the best of the numerous works of this artist. He interpreted Raphael with great truth, and his engravings after Le Brim 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 Brim, are among his best works. Some of his portraits are al^o very fine. Edema, Gerard, born at Friesland (1U52-1700). 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 Kverdingen, and his chief excellence was in the representation of falling water. Edmonds, John W., born at Hudson. New York (l.SU(i). He was known as a bu-inc>s man as well as an artist, for from his early years he was a clerk, and afterwards the cashier of a bank. lie re- moved to New York city in 1834. AYhen 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 re>t. Hi.- pictures may be called ted 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 CO 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," Sta'del Institute, Frankfort; " Flight into Egypt,'' Munich Gall: Repose in Kirypt," and another " Flight into Egypt," Vienna Gall.; and the Triumph of Phyche," Oi/i 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. lie 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 L'Emjiilo, 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," tin- wings those of the " Sacrifice of Abra- ham " and the "Lifting of the Bra/en Serpent;" the predella has the ENGELBRECHTSEN BUT Y CHIDES. 265 " 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. la 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 woi'ks 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 a.t York (1 787-1849). 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 Adelphi. 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. Euty chides. A sculptor of Sicyon. He was a disciple of Lysip- pus and lived u. c. 300. One of his most famous works was a bronze statue of the Eurotas, " in quo artem ipso amne liquidiorem plurimi 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 Oi'ontes, is represented by a copy in the Vatican. 266 EVERDINGEN EYCK. Everdingen, Aldert van, bora at Alkmaar (1621-1675). A fine landscape painter. His Norwegian views are admirable. They are poetic, with clear skies, roeky masses, aud tumbling waterfalls, and dark, lofty fir-trees. 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 :>7 plates, which illus- trate the poem of " Reineke Fuchs." The original drawings fur these last arc 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 Maascyek (about 13G6-1426). 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 riot 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 eon- temporaries. His greatest work was an " Adoration of the Lamb,' 1 executed for Judocus Vyts, and Lishetta. 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 Kyck 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. Liibkc 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 " 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 design*. 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 VAX 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- 268 EYCK. ANNUNCIATION. BT 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 h Becket," dated 1421, is in the coll. of the Duke of Devonshire, at Chats worth; " S. Francis receiving the Stigmata," 1428-29, is at the seat of Lord Heytesbtiry, in Wilt- shire; the wings of the " Adoration of the. Lamb," executed by dan Van Eyck, Berlin Mus.: the. "Virgin and Child," at Jnce Hall, near Liverpool, inscribed, " Completum nnno domini MCCCCXXXII, per Johannem da Eyck, Bruf/i.-i," with the motto, " A Is ich c]tn," or, " As well as I can; " the " Virgin suckling the Child," Suidel In- stitute. Frankfort, called the ''Madonna di Lucca;" portrait of a man, National Gall, with the above motto, and inscribed " Johea i_nied, ./uliome side panels of a picture in the rh. of S. Xiceo'.o di Ik d'Arno, Florence; another panel in the same church repivseni- 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 mutilate* 1 remnant of a "Madonna" in the Cath. of Florence; in the ("asa 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 cu-hion with the Child on her lap. Pia Casa della Miserieordia, 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 for 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 hut 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 ' gracix et sevens, i 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 i- a " Holy Family," alter Raphael, and the other " Christ bearing his Cross." Facini, Pietro, born at Bologna (1560-1602). Pupil of Annihale 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 Facnza 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 (1 648-1090). 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, anil said that if he could paint as well as he could draw, he should himself abandon the brush. He also etched some T \\4 have been born at Viterbo about 1520. There / V XV? is much disagreement among the highest au- thorities regarding this engraver. Some say that he and Antonio da Trento are the same artist. His plates are chiefly after Primaticcio, and are scarce. The following are the principal ones : Silenus supported by two Bacchante and surrounded by Satyrs; after II Rosso. 1543. Dispute of the Muses with the Pierides; after Primaticcio. Alexander and Roxana; after the fame. ; circular. Festival given to Thalestris by Alexander ; after the name. 1543. 272 FANTUZZI FERNANDEZ. Jupiter dim-tin;: Minerva, to dismiss Venus, Cupid, and Psyche; after the same ; oval. 1543. Titan reposing on the Bosom of the Ocean ; Bologna inventor. 1544. The four Cardinal Virtues. Farinato, Paolo (1526-1606). A great ornamental painter. Kug- ler calls him the worthiest predecessor of Paul Veronese, whom hi- re- sembled. His "Pagan Sacrifice " at Vienna is a fine picture ; his masterpiece is in the ch. of S. Giorgio at Verona, and was executed in his seventy-ninth year. Jt represents the " Miracle of the Lna\es and Fishes;" there are many figures introduced, and ainon'j, them are portraits of his own family. It is inscribed, MDCIV. Paulus Farinatus de Uberto fecit ce/atis sua; LXXIX. There is no doubt that some of the works of this painter are called those of Veronese. Fari- nato and his wife died the same day. Farrington, Joseph (1742-1821). An English painter, pupil of II. Wilson. He was a good painter of park scenery. Fassolo, Bernardino, born at Pavia. A picture of the " Virgin and Child " in the Louvre, is inscribed " Bernard inus Faxolus de Papia faciebat anno 1518." It is so much in the style of Leonardo da Vinci that it is believed that Fassolo must have been his pupil. Fattore, H. See Penni. Feke, Robert. An early colonial painter. One of his remaining works is dated 1746. It is said that " he was taken prisoner and carried to Spain," and there learned to paint. Upon his return he settled at Newport, R. I., as a portrait painter. A portrait of the wife of Governor Wanton, painted by him, is in the Redwood Library. Ferg, Paul Francis, born at Vienna (1689-1740). Painter of landscapes with architectural adornments and figures. His works are often seen in England, where he lived about twenty year? before his death. Most of his small pictures are on copper. His skies are silvery ; his figures are generally engaged in merry-making, and his horses and donkeys are well done. He occasionally painted sea pieces, but his landscapes are his best works. He was much accus- tomed to introduce an obelisk into his pictures; frequently with no apparent meaning. Fernandez, Antonio, de Arias, born at Madrid; died 1684. Pupil of Pedro de las Cuevas. He was an excellent colorist and ex- ecuted with great rapidity. He was one of the most noted Spanish artists of his time. In the Queen of Spain's Gall, there is a picture by him of the " Pharisees questioning Christ concerning the Tribute Money." Fernandez, Vasco, born at Viseu, 1552. But little is known of this Portuguese artist. He is popularly known as Gran-Vascot. Count Raczynski, in his " Dictionnaire Historico-Artistique du FERNANDEZ FERRARI. 273 Portugal," gives two illustrations of the work of this artist. The " Calvary," in the Cath. of Viseu was his chef-d'ceurre. It resembles the. works of Albert Du'rer so closely that it has been attributed to him. The other illustration is " S. Peter as a Pope." Mantegna. There are many They are peculiarly fantastic, Ferrara, Stefa.no da. Pupil of works of his in the Brera at Milan, but have considerable merit. Ferrara, Ercolc da. See Grandi. Ferraresino. See Berlinghieri. Ferrari, Gaudenzio, born at Valdugga (1484-1549). An artist of the Milanese school ; he greatly improved by the study of the THE ECSTASY OF S. CATHERINE. BY GAUDENZIO FEERARI. works of Leonardo, and later in life he worked under Raphael at Rome. In his style all the different influences under which he had formed himself may be traced, and in addition there is a large fan- tastic element all his own. His design is correct, his execution fin- 18 274 FERRARI FIESOLE. ished, and his coloring brilliant but wanting in harmony. He is. however, after Da Vinci, one of the very best Milanese painters. His works are very numerous, both in fresco and oils. An early work of i:rcat merit is a Group lamenting over the Dead Christ, Royal Gall.. Turin. A "Martyrdom of S. Catherine," in the Bivra, Milan, together with a " Visitation " in the Solly Coll.. and a " Madonna " in the Cath. of Vercelli, are among hi- best easel-pictures. In the Brera there are several frescoes formerly in S Maria della Pace. His most extensive and best works are at Varallo. which was the pilgrim shrine of Piedmont. He also painted in the convent of the Minorites; in S. Maria di Loreto, near Varallo; in S. Paolo, at Ver- celli; in S. Christoforo; in the ch. of Saronno, near Milan: and his la.-t work was a " Scourging of Christ," in S. Maria delle Gra/ic at Milan. This is dated 1542, and is powerful and spirited. Ferri, Giro, born at Rome (1634-1689). Pupil of Pietro da Cor- tona. and one of his best imitators. He excelled most in his studies of children, infant angels, or amorini. His color was very agreeable. Among his finest works are his frescoes in the Pitti Pal., at Florence, and at S. Maria Maggiore, at Bergamo. His works are in some of the churches at Rome. Ferucci, Andrea di Piero, born 1465. He was an architect and sculptor whose first works were done in Naples, from which city la- went to Fiesolc and executed the high-altar in the Duomo. Another similar work, made for S. Girolamo of Fiesole, is now in the South Kensington Mus. Some of his sculptures are in the Cath. of Flor- ence, and in the ch. of S. Felicita. His works are somewhat pleas- ing, but he was not above mediocrity. His chef-d'atwr* was the baptismal niche in the Cath. of Pistoja. in which the figure of Christ is fine, and the adoring angels beaurtful. Fesele, Martin. An imitator of Albert Altdorfer. There are pic- tures of his at Nuremberg, and in the Schleissheim and Munich nai- leries. That in the latter represents the siege of Rome under Por- senna, and was painted about 1530. Feti, Domenico, born at Rome (1589-1624). Pupil of Ludo\icn Cardi. He painted small pictures, and many of these illustrated the New Testament parables. His coloring is powerful, and his heads full of expression. A mourning figure which is called a k Magdalen " in the Louvre, and " Melancholy," in the Acad. of Venice are ex- cellent. His works are not at all numerous. There are a number in Florence, and several in the Dresden Gall. Fiammingo, II. Sec Duquesnoy. Fiammingo. It is very difficult to distinguish the artists called by this name in Italian writings. Zani mentions 64 such, and there are undoubtedly more. Fiesole, Fra Oio. da, called AnirehVo and II Beato; born at Vic- chio, in the province of Mugello (1387-1455). In 1407, with his FIESOLE. 275 brother Benedetto, he became a novice in the Dominican convent of Fiesole. He had been christened Guido, but now took the name of Giovanni. At this time the convent at Fiesole had no novitiate, and the brothers were sent to Cortona to the care of the master of nov- ices. This explains the fact that the earliest works of Angelico are at Cortona. It is believed that he returned to Fiesole in 1418, where he spent eighteen years. In 1436 his order received the monastery of S. Marco, in Florence, where Angelico executed many works; here he remained until called to Rome by the Pope, in 1446. With the exception of a few months in Orvieto, he remained in Rome until his death, and was buried in the ch. of the Minerva. The title of the Angelic could scarcely be more fittingly applied than in the case of this holy man. His life was one of simple piety. He would paint only saintly subjects, and would receive no pay. He commenced a work with earnest prayer, and would never change his design, be- lieving that he was divinely assisted, and any change would thus be sacrilegious. He excelled all others in depicting religious sentiment. His works were finished with exquisite care, and there is a harmony both in composition and color in all he did. His draperies gave dig- nity and character to his figures, and, in short, "every part con- tributed to that unity of tenderness, inspiration, and religious feeling, which mark his pictures, and which are such as no one man had ever succeeded in accomplishing." Of human anxieties and struggles he was so entirely ignorant, that he failed to depict them well, and the hatred of Christ in his enemies is but feebly expressed when attempted by Angelico. This is noticeable in his representations of the Cruci- fixion, of the persecutions and martyrdoms of saints, etc. The " An- nunciation," and the " Crowning of the Virgin " were favorite and oft-repeated subjects of his, as was also the " Last Judgment." He painted a great number of small panel pictures. The best ones are in the Acad. of Florence. Those which were formerly upon the presses for the silver of the SS. Annunziata at Florence are very line. At S. Domenico in Perugia, there are many of his works, and another collection of his small pictures is in the Uffizi, where a " Cor- onation of the Virgin " deserves especial attention. In the Vatican there is a predella illustrating the life of S. Nicholas of Bari, which well displays his power of representing what might be called semi- f/"nre subjects. At the Stadel Institute, Frankfort, there is a fine en- throned Madonna, and in truth, these small works are seen in many European collections. Of his larger works I will mention those at his own convent in Florence : a " Deposition from the Cross," in the Acad. of Florence; the doors of a large tabernacle in the Uffizi; a " Coronation of the Virgin," in the Louvre; frescoes in the chapel of the Madonna di S. Brizio in the Cath. of Orvieto; and lastly, two chapels in the Vatican which are greatly restored. The pictures in the monastery of S. Marco are in better preservation. While in 276 FIESOLE FILOCAMO. CORONATION OF THE VIRGIN. BY FRA ANGELICO. In the Acad. of Florence. Rome the Pope desired to make Angelico Archbishop of Florence, but he refused the honor, and recommended Fra Antonio of his order for the office. The Pope acted upon his suggestion, and the good qualities of Antonio proved the wisdom of Angelico. Fiesole, Mino da (1400-1486). A sculptor whoso works arc in Florence and Rome, and are remarkable for their ornamental decora- tions rather than for the figures. Figino, Ambrogio, born at Milan, 1590. A pupil of Gio. Paolo Lomazzo, and a successful imitator of Michael Angclo. His works 'arc more remarkable for the elegance and correct drawing of a few figures than for the numbers represented. Some of his best works are in the churches of Milan. Filippi, Sebastiano, called also Gratella. born at Ferrara (l.j:>:>- 1602). After studying under Camillo Filippi, his father, he entered i In- -rhool of Michael Aniiclo. at Rome, and became one of his best disciples. He was called Grntolla on account of his squaring lame works when reducing them to a smaller size. This he learned of Michael Angelo. His best works are in the churches of his native city. Filocamo, Antonio and Paolo. Natives of Messina, who ;:ftcr attending the school of Carlo Maratti at Home, established an Acad. at Messina. They worked together both in oil and fresco. ;uid both died of the plague in 1713. Their principal works are in the churches of Messina. FIN1GUERRA FIORENT1NO. 277 Finiguerra, Maso. Flourished about the middle of the 15th cen- tury. He was a goldsmith and niello-worker, and is very generally acknowledged to be the inventor of engraving on metal. Before his discovery, metal workers had been accustomed to make sulphur casts of their works, and to engrave from them, but Finiguerra being em- ployed to make a Pax, and wishing to see the effect of his work, filled the lines made by his graver with a preparation of oil and lamp-black, and the plate being laid by chance on a pile of damp linen, he found his design reproduced upon it. From this time it was customary to use damp paper, and a roller to take off the designs wished for. The " Coronation of the Virgin," the subject of the Finiguerra Pax, was engraved in 1452. The original plate is in the Uffizi Gall., and the only known impression from it is in the Bibliotheque de Paris. Fink, Frederick, born at Little Falls, N. Y. (1817-1849). He went to Europe in 1840, and was employed in making copies after Murillo and Titian. He manifested good talent for genre subjects, but died before reaching the excellence he had reason to anticipate. His original works are, " The Young Thieves; " " A Negro Wood- lawyer; " " The Shipwrecked Mariner ; " and " An Artist's Studio." Finoglia, Paolo Domenico, born at Orta, in the kingdom of Naples; died 1656. One of the best pupils of Stanzioni. His prin- cipal works are in the Certosa of S. Martino, which towers above Naples on the steep rock of St. Elmo. In this convent the best specimens of Neapolitan art are gathered together. Fiore, Colantinio del. Much has been written and said of this artist. He has been called the disciple of Francesco Simone, and certain works have been attributed to him, but tha more recent re- searches of art writers and students have failed to establish what has been related of him, and some even doubt if he ever existed He is usually said to have lived from 1354 to 1444, and a " S. Jerome ex- tracting a Thorn from the Lion's foot," in the Gall, at Naples, was called his best work. This picture is in tempera, although it has been affirmed that he painted in oil. Fiore, Jacobello del. A Venetian painter, who flourished in the first half of the 15th century. About his time a change took place in Venetian art, which seemed to foretell the excellence or coloring reached there later. As an example of this progress his " Madonna," in the Manfrini Gall., dated 1434, is a work of interest. He had a good reputation in his day, but the extreme ornamentation of his fig- ures and draperies is not admired in more modern times. Florentine, Stefano. The usual account of this old painter is that he was born aj; Florence, and was the grandson and pupil of Giotto (1301-1350). Vasari says that he surpassed Giotto in everyway; that he established the rules of perspective, and prac- tised foreshortening. A " Virgin and Child," in the Campo Santo at Pisa, are claimed to have been painted by him. But there is 278 FIORENTINO FLEMAEL. nothing really known of him or his works, and all that is said of him must be taken as a pleasant tale which lacks evidence of truthfulness. Fieri, Mario di. See Nuzzi. Fisher, Alvan, born at Needham, Mass.; died l.s(!;3. A portrait painter. His likeness of Spurzheim is a valuable picture. He had good success in painting children with dogs, rabbits, etc. Flaxman, John, born at York (1755-1826). His father kept a plaster-cast shop in London, and the son went to that city early in life. He commenced drawing and modelling very young, and gained his first prize for a model, when eleven years and five months old. At thirteen he received a second prize, and was admitted to the Royal Acad., at fourteen. In his youth, he painted a few pictures in oil. In 1 782 he married Miss Denmau, and five years later went to Italy. He remained there seven years, and was a close student of the antique, and an incessant worker. While there, he executed a large group for Lord Bristol, representing the " Fury of Athamas," from the Metamorphoses of Ovid, and a smaller one of " Cephalus and Aurora," for Mr. Hope. It was also in Rome that he made the designs from Homer, JEschyhu, and Dante, which have now a world-wide reputa- tion. In 1794 he returned to England, where he was constantly em- ployed on important works until his death. It is not possible to give an entire list of his works in the space allotted him here, but many of his sepulchral monuments are seen in the cathedrals and churches of England. In Glasgow are his statues of Mr. Pitt and Sir John Moore, in bronze, and in Edinburgh that of Robert Burns. He exe- cuted many works for the East Indies, one of which was not qui'e completed when he died. One of his best, perhaps the best of his works in England, is the group of the '' Archangel Michael and Satan." This was one of his latest works, and was made, for the Earl of Egremont, who had also a life-size " Apollo,'' which is veiy beauti- ful. He was elected Associate of the Royal Acad., in 17!) 7, Acad- emician in 1800, and Professor of Sculpture in 1810. His lectures in the Acad. have been published. He was singularly pure in heart and life, and characterized by a cheerful and attractive manner, which made him the beloved friend of old and young. The very last work he did, was to make designs for the exterior embellishments of Buckingham Pal., which would have been executed partly by him, and entirely under his direction, had he lived. The friezes on the front of Covent Garden Theatre were all designed by Flaxman. and one of them, and the figure of " Comedy." were executed by him. His wife possessed an intelligence of mind and love for art, which enabled her to appreciate and assist the studies and labors of her husband, and her death, in 1820, was a grief from which he never recovered. Flemael, Bertholet, born at Liege (1C 14-1 t:7. r >). Pupil of Ge- rard Douffet. He visited Italy, and on his return was much em- FLEMAEL FLORIS. 279 ployed, and gained a good reputation in Paris. The Chancellor Seguier employed him at Versailles, and he painted in the Carmelite and Augustin churches. He went to Liege, but was invited again to Paris, where he was employed in the Tuileries. He was made a professor in the Royal Acad. and every inducement was offered him to remain in France. But he returned to his beloved Liege, and was employed in embellishing its churches. His works show the influence of the French school. He loved to make the foreground figures especially fine, and finished them with great care, but his color was feeble, and there is little feeling in his works. One of his pictures, representing " Pelopidas arming against the Lacedaemonians," is in the Dresden Gall. Flinck, Govaert, born in Cleves (1615-1660). He was, after Eckhout, the scholar, most like their great master, Rembrandt. His chief occupation was portrait painting, but he succeeded well in genre subjects, and sometimes painted historical pictures. He was also a successful imitator of Murillo. He settled in Amsterdam, and re- ceived the freedom of the city in 1652. He made a fine collection of drawings and engravings from the best masters, and casts from an- tique sculpture. It was sold for about 12,000 florins. In the new Hotel de Ville of Amsterdam is his picture of the " Regents," dated 1642; in the Amsterdam Gall., his picture of the " Archers " is re- markable for its fine portraits; in the same Gall, is " Isaac blessing Jacob," one of his few historical pictures; in the Berlin Mus., the " Expulsion of Hagar ; " and in the Munich Gall., a genre picture of the " Guard Room." At the time of his death, he had finished the sketches for twelve large pictures, which the Burgomasters of Am- sterdam had commissioned him to paint. Florigerio, Sebastiano, born at Udine. Flourished about 1533. Pupil of Gio. Bellini, and an imitator of Giorgione. His frescoes at Udine have perished, but some of his oil-pictures remain in the churches there, and two Madonnas with Saints, in the Venice Acad., are his works. His color was pale and cold, but his figures are well drawn, and the composition is arranged after the antique manner. Floris, Frans, born at Antwerp, real name Frans de Vriendt (1520-1570). Pupil of Lambert Lombard. He opened a school in Antwerp, which was much frequented. He had great facility of exe- cution and power of invention, but there is much want of grace and sentiment in his pictures, and he knew too little of drawing to be a fine painter. His life was very wild, and his intemperate habits prevented his attaining the fame and fortune which the patronage and favor of his friends placed before him. His chef-d'oeuvre is in the Ant- werp Mus., and represents the " Fall of the Angels." Other works of his are in the same place, and a picture of Vulcan showing Venus and Mars, whom he has in a net, to the Gods, is in the Berlin Mus. While this displays the mastery of his hand, it is very tasteless; it is dated 1547. 280 FOGOLINO - FONTANA. Fogolino, Marcello. A Friulan who flourished about 1525. He spent his youth at Vicen/.a, where some of his works remain. Hig pictures are more intere.^ting as illustrations of the style of his time and country, than for any merit of their own. In the Berlin Mus.. there is a " Virgin and Saints " by him, and in the Acad. of Venice, a " Madonna and Saints " which has been attributed to Bernardino Licinio. He also painted in the churches of Pordenone and Trent, where his pictures may still be seen. Folo, Giovanni, born at Bassano (17G4-1836). An eminent en- graver. He studied in the school of Volpato, but later he made Raphael Morghen his model. His ' S. Andrew," after Domenicliino, is very highly esteemed, and is considered his chef-d'oeuvre by many. The " Madonna de' Candelabri " of Raphael ami the ' Mater Dolo- rosa " of Sassoferato were engraved by Folo. His style was best suited to large subjects, and his plates are after the works of the best masters, namely, Raphael, M. Angelo, Guido, Titian, Poussin, Thor- waldsen, Canova, etc. Fontana, Domenico. A famous architect, whose life was writ- ten by Milizia, and who is especially interesting to all who visit Rome, on account of his having removed the Egyptian obelisk from its an- cient position to the Square of S.Peter's. This was done in 1586, and was a memorable occasion in Rome. After great preparations, the morning came when the obelisk was to be raised. Fontana. re- ceived the blessing of the Pope, who also told him that failure would cost him his head. The workmen received the Holy Eucharist. The concourse of spectators was immense, the priests, soldiers, and people, high and low, were crowded in the streets and on the housetops. When the obelisk was raised, the guns of S. Angelo were all dis- charged, and joy was universal, and when, a few months later, the removal was completed, and the obelisk was placed on its pedestal, the people carried Fontana on their shoulders in a triumphal proces- sion, with drums and trumpets. Fontana was made a nobleman and a Knight of the Golden Spur; he had a pension of 2000 crowns, which descended to his heirs; ten knighthoods; 5000 crowns ready money, and all the materials he had used, which were valued ;U 20,000 crowns. Two bronze medals of him were struck, and on the ba.-e of the obelisk, a Latin inscription was cut to perpetuate his name and honor. Fontana, Prospero, born at Bologna (1512-1597). He had a fine mind, good invention, and many requisites for a good artist, but he often painted so hastily and carelessly, that his works were very imperfect. His pictures are still seen in Bologna. He also painted portraits, and was distinguished in that branch of art at Rome in the time of Julius III., and later. Fontana, Lavinia, born at Bologna (1552-1614). Daughter of the preceding, whom she excelled. Her portraits were excellent, FONTANA TORMENT. 281 and in her historical subjects, her manner is clever and spirited. Some of her works are in the churches of Bologna. Foppa, Vincenzo, born at Foppa, territory of Milan. Nothing positive is known of him until 1456 ; died 1492. It is said that he was a pupil of Squarcione, and some of his works would confirm this. He was an artist of more than usual merit, and his later pictures are much better than his earlier ones. His outlines were well drawn, his faces expressive, and his color good and well blended. He lived at Brescia in his youth and returned there in his old age, and was buried in the ch. of S. Barnaba. He also resided at Pavia, and painted at Milan and Savona. In the Brera there is a S. Sebastian, taken from the ch. of S. Maria di Brera, and the only one remaining of a whole cycle which he painted in that church. It is called his chef- iVceuvre. His works are also in the Carrara Acad. , Bergamo; in S. Maria di Castello, Savona; in the National Gall.; and in different places in Brescia. Foppa, Vincenzo, the Younger. Very little is known of him. He was a subordinate Brescian artist of the 16th century. Son arid probably pupil of the preceding. The works attributed to him are in several churches of Brescia, in the Scuola Elementaria, and in the Tosi Gall. Forli, Melozzo da, born at Forli; died 1494. Count Girolamo Riario, nephew of Pope Sixtus IV., governed Forli, and through his influence Melozzo went to Rome, where he was appointed painter to the Pope, and received the honor of knighthood. Only small por- tions of his works remain, but they prove him to have been a won- derful painter. His principal work was the " Ascension of Christ," in the ch. S. Apostoli. Portions of this have been removed, and are preserved in the sacristy of S. Peter's, the Quirinal Pal., and in the Lateran. Grimm says, " I can place nothing of the same date by the side of these figures as regards boldness of composition. For an im- agination, before which human forms hovered in such bold foreshorten- ing, and a hand such as the painter possessed who could sketch so freely and firmly what his mind perceived, I find combined in no painter hitherto." The foreshortening or painting of figures in per- spective, on vaults and ceilings, was his invention and was perfected a half century later by Correggio. His draperies were somewhat form- less; his principal figures grand; and his cherubs and angels, graceful and beautiful. In the Vatican there is a picture by him of Sixtus IV. , surrounded by his nephews. Melozzo da Forli was a very important artist, but his place in the history of art is small, on account of the paucity of his existing works. Forment, Damian, born at Valencia; died 1533. He went to Italy to study, and it is supposed that he formed his style after the works of Donatello. In 1511 he executed a work at Zaragoza, which is considered one of the finest monuments in Arasron. It is an 282 FORMEXT FRAXCESCA. altar-piece of alabaster, for the Cath. " of the Pillar." This work occupied Forment nearly nine years. It represents the Assump- tion of the Virgin, the Nativity, and the Purification. In 1520 he be< r an a retablo for the high-altar of the Cath. of Huesea. This oc- o o cupied thirteen years. It is of alabaster, and represents the " Death and Passion of Christ." The Emperor, Charles V., invited him to enter his service, but he died soon after. He left a large estate. His school never numbered less than twelve scholars. Fosse, Charles de la, born at Paris (1640-1 71G). He was ad- mired for his coloring, which he acquired from the study of Venetian art. He was much employed on the churches and palaces of Paris, Vrrsiillcs, etc. He visited England, and ornamented the mansions of some of the nobles. His design was incorrect and inelegant, and his color, which was good, was much inferior to that of Titian or Vandyck. Foucquet, Jean. Flourished 1461-1485. He was a miniaturist, illuminator, and painter to Louis XI. A Boccaccio which he illumi- nated, is at Munich, and portions of a Book of Hours, also by him, belong to the coll. of M. Brentano Laroche, at Frankfort. There is a " Virgin and Child " in the Gall, at Antwerp, attributed to him. The Virgin is said to be a portrait of Agnes Sorel, the beautiful mis- tress of Charles VII. This picture is pale and flat. Fouquieres, Focquier, or Foucquier, James, born at Antwerp (1580-1659). Pupil of Mompert and Jan Breughel. He was a fine landscape painter, and was employed in the Louvre by Louis XIII. That king made him a knight, and this, with other flattering attentions, rendered him so vain that he became unendurable. Nicholas Poussin, who was employed at the Louvre at the same time with Fouquieres, left Paris on account of his insolence and overbear- ing conduct. His drawing was good and his pencil free. His color was somewhat cold, though fresh and clear. He chose picturesque scenes, and bis wagons, figures, etc., were well put in. Fragonard, Jean-Honor^, born at Grasse (1732-1806). He painted historical subjects, conversations, and bacchanals with con- siderable success. 1 Some rather stiff portraits are attributed to him, and he also executed several etchings from his own designs, and those of other masters. Francesca, Pietro della, born at Borgo S. Sepolero. He is dis- tinguished for having advanced the study of perspective. Sonic of hi- frescoes remain in his native place; in S. Francesco, at Rimini, and in S. Francesco, at Arezzo. In the National Gall, there is a profile portrait in tempera, attributed to him. In the Uffizi there are portraits of Federigo di Montefeltro and his wife, by bis hand. He is said to have been the teacher of Signorelli and Pietro Perugino. He was living in 1494. 1 Four fine pictures, by Fragonard, belonging to Mr. Henry Lee, were burned in the great fire in Bo-ton, November 9, 1*7-'. FRANCESCIIINI FRANCIA. 283 Franceschini, Baldassare, called II Volterrano, born at Volterra (1611-1CS9). He was most distinguished as a fresco painter, but his oil pictures were very commendable. His correctness of design was remarkable; his knowledge of foreshortening perfect; his color harmonious ; and his figures spirited. His works both in fresco and oil may be seen in Florence and Volterra. Franceschini, Marcantouio, born at Bologna (1648-1729). Carlo Cignani was his chief teacher, and so fond of him that he gave him attentions and privileges beyond all his other pupils. He ex- celled as a machinist. His compositions were copious but without confusion. His inventive powers were large, and he had facility of execution. Many of his works are at Bologna. His easel pictures were good; his angels were especially beautiful. Franciabigio or Francia Bigio, real name, Francesco di Cristofano (1482-1525). Pupil of Mariotto Albertinelli. He was a friend of Andrea del Sarto, and resembled him in his manner of painting. In 1513, Francia Bigio was employed at the Servi in Florence, and it is said was associated with Del Sarto. He painted, in the court of the Servi, a picture of the " Marriage of the Virgin." Just before it was finished, a day observed with especial solemnity by the Servites came round, and the monks removed the screens which were before the pic- ture. Francia Bigio was so angry at this that he took a hammer and did much injury to the Virgin's head, and to other portions of his work, and moreover, he could never be persuaded to restore it, neither would other artists do so, and the injuries remain to this day. In 1518-19, he worked at the Scalzo, and in 1521, together with Del Sarto, at the Medici Pal. in Poggio a Cajano. He was always a reputable painter, but he was not a man of great genius, and there- fore could not equal many others. During the later years of his life, he painted with great rapidity, and took every order that was offered him. Several of his frescoes remain, and a number of portraits by his hand, are in various collections in Europe. The " Bath cf Bath- sheba," at Dresden, was painted but two years before his death One of his portraits is at Windsor Castle, and another at Stanstead House. Francia, Francesco, real name Francesco di Marco Raibolini, born at Bologna (1450-1518). As a goldsmith, he was first dis- tinguished, and was steward of goldsmiths in 1483. He was also master of the mint to the Bentivoglio, and to Julius II. at Bologna. It is impossible to say exactly when lie began to paint, but his earliest known work is a Madonna surrounded by six saints, dated 1490 or 1494. This is one of the treasures of the Bologna Pinacothek. His first pictures are Umbrian in style, and much resemble those of Perugino, which is easily accounted for by the fact that the works of that master were taken to Bologna near the close of the 15th century. Later in life, Francia became Raphaelesquc in manner, and his pic- FRANCIA. tures have been attributed to both these masters whom he imitated. His most striking characteristic is a tender and agreeable expression of deep religious feeling. His figures express calmness more than ac- tion; his color is warm, and his finish delicate and careful. His only remaining frescoes are in the oratory of S. Cecilia, at Bologna, and represent the marriage and entombment of that saint. An altar- piece in the Bentivoglio chapel in S. Giacomo Maggiore, representing the enthroned Madonna, with saints and angels, is very beautiful. The color is especially fine. Various other works of his are in Bo- MADONNA. BY FR. FRANCIA. Dresden. logna; in Munich is a " Virgin adoring the Infant Jesus." which is very attractive; in the Brera, another enthroned Madonna; many portrait*, half length Madonnas, and Holy Families arc seen in various European galleries. All have the same oval faces, and soft, dark eyes; the same calm and thoughtful expression, and are always pleating. He retained his full powers : ,t the time of his death. When the S. Cecilia of Raphael was finished, he sent it to Francia and requested him to care for it and see it properly hum: in its place. He did so, and soon after died, it has been said, because of his dis- FRANCIA FRANCO. 285 covery of his great inferiority to Raphael. It is well known that these two masters were friends, and corresponded, but it is not known that they met. There are few, perhaps no other specimens of the antico-moderno style, equal to the works of Francia. His por- traits were excellent, and in some of his groups he introduced the likeness of the donor with good effect. He had more than 200 scholars. Franck or Francken. There are at least eleven painters and en- gravers by this name, and probably more. There is some difficulty in distinguishing between them. The most important are Hans Franck, who was one of the earliest engravers on wood, and is be- lieved to be the same as Jan Franck, who worked for Albert Durer at Nuremburg ; Frans Francken, the Elder (1544-1616), Ambro- sius Francken, the Elder (1545-1618), and Jerome Francken, the Elder (1542 ?-1620) were pupils of Franz Floris, and painted in his style. The Antwerp Mus. has a number of pictures by Ambrose. There were three younger Franckens having the same names as the elder ones. Of these Frans, the Younger, was the most important. Born at Antwerp (1581 ?-1642). His works are characterized by fine keeping and a spirited touch, with much feeling for graceful action. His drawing was good, and he had fine inventive talents. No picture better displays his powers of imagination than that of the " Witch's Sabbath," in the Vienna Gall., dated 1607. His color was often heavy. He sometimes painted the figures in the pictures of Pieter Neefs, Van Bassen, and Jesse Momper. He was one of the best f/cnre painters of his time. Jean Baptiste Francken was the son of Sebastian, and was instructed by him. Born at Antwerp, 1600, sometimes called Old Francks. He improved by the study of the works of Rubens. His best pictures are the interiors of museums and galleries, and he so well imitated the manner of different artists, that however small his representations are, the style and color of the painter can be distinguished. He painted vases, suits of armor, and objects of natural history with wonderful exactness and finish. Many of the figures which he introduced were portraits. He some- times painted figures in the pictures of Neefs, and sometimes the figures which he painted were encircled with flowers by Daniel Segers. Franco, Battista, called II Semolei, born at Venice or Udine (1498-1566?). He went to Rome where he diligently studied the works of Michael Angelo. A few of his works remain in Venice. The finest of these are small decorations upon ceilings, such as those in the chapel of S. Francesco della Vigna, and in the Scala d'Oro of the Doge's Palace. His most important large- works are also in the above-named chapel. A good portrait of Sanswino, by Franco, is in the Berlin Mus. This artist merits honorable mention as an en- graver. He is believed by some to have been the pupil of Marc An- 286 FRANCO FREDI. tonio. Bartsch mentions more than 100 plates by him. His drawing is often incorrect, but he showed great love for the antique, and re- spect for the traditions of the past, in the choice of his subjects. He worked entirely with the graver, and marked his plates B. F. V. F., for Batista Franco Venetux fecit. Fraii9ois. There are three painters by this name, Lucas, Peter, and Simon. The first two were father and son, and born at Mechlin; the latter was a native of Tours. They are of no especial importance. Francois, Jean Charles, born at Nancy (1717-1786 ?) The in- ventor of the engraving called the Chalk style, which represents crayon drawings. He received a pension of 600 livres, for this in- vention. He also executed some portraits with the graver. Fraser, Charles, born at Charleston, S. C. (1782-1860.) A very successful portrait painter. In 1857 his works were exhibited in Charleston, and numbered 313 miniatures and 139 landscapes and other compositions. Fratellini, Giovanna, born at Florence (1666-1 731). Her talents attracted the attention of the Grand Duchess Victoria, who provided her with masters. She painted in oil, miniature, and crayons, and excelled in the latter. Her reputation spread all over Italy, and she painted the portraits of many nobles and eminent persons. In the Ducal Gall., Florence, there is a portrait of herself engaged in paint- ing that of her son, which is one of her best works. Frazee, John, born in Rahway, N. J., 1 790. A sculptor in spite of many hindrances, for in his youth there was no brightness but that of his mother's love; and it was not until 1824 that he was able to execute his first bust. This was a portrait of .John Wells, and was placed in Grace Church, New York city, and is, according to Dun- lap, the first marble portrait from a native hand. At this time he had opened a marble-yard on Broadway, with Launitz, and it was there that Crawford first practised in statuary. After this Fra/ee made busts of several notable men, and in 1831 that of John Jay, for which Congress made an appropriation. Fredi, Bartolo di, born at Siena about 1330. He was associated with Andrea Vanni, in 1353. In 1361 he was employed by the government of Siena, and in 1362 went to S. Gimignano, where he remained several years. After his return to Siena he was honored with some public offices. He was the founder of the noble house of the Bartoli Battilori. Had his reputation depended alone on his real artistic merit, he would not have occupied a leading position. His color was hard, and his picture* very flat; and he was excelled by many artists of his day in Pisa and Siena, while he could not be mentioned beside those of Florence. His remaining works are some pictures in S. Francesco of Montalcino; an ' Adoration of the Magi," in the Acad. of Siena, and another in the liamhoux Coll. at Co- logne ; and a " Virgin giving the Girdle to S. Thomas," in the ch. FREDI FUNGAL 287 of S. Maria, at Bettona, near Assisi. His " Descent from the Cross," in the ch. of S. Francesco, is dated 1382. Freminet, Martin, born in Paris (1567-1619). He studied some time in Italy, and on his return was made painter to Henri IV., and also to his successor, Louis XIII. He was much employed at Fon- tainebleau. A picture in the Louvre, representing " Mercury admon- ishing ./Eneas," is a good example of his work. Frey, James, born at Lucerne (1681-1752). An eminent en- graver, and better known by his Italian name of Giacomo Frey. He studied in the school of Carlo Maratti, at Rome. He left a large number of fine plates after the works of some of the best Italian masters. Frey, Jchn Peter de, born at Amsterdam, 1770. He became a distinguished engraver, though he could only use his left hand. His prints after Rembrandt, Flink, and G. Dow are much esteemed, es- pecially the " Anatomical Lecture," the " Family of Tobias," the " Presentation in the Temple," and the " Ship-builder and his Wife." Frisius, Simon, born at Leuwarde, in Friesland, about 1590. An eminent engraver, and the first who brought etching to perfection. His prints are scarce and much valued. He sometimes marked his plates S. Y. fecit, and frequently fecit only. Fruitiers Philip, born at Antwerp (1625-1677). He first painted historical subjects in oil, but changed to distemper and miniature. He was very celebrated for his water-color portraits, and so much admired by Rubens that he employed him to paint himself and fam- ily. He also made some etchings, among which the portrait of Queen Hedwig Eleanor, of Sweden, is distinguished for its excel- lence. Fuessli, John Caspar, born at Zurich (1706-1781). A good por- trait painter, and the author of the " Lives of the Swiss Painters," for which work he designed and engraved the portraits and vignettes. Fiiger, Henri, born at Heilbronn (1751-1818). He was appointed Director of the Imperial Gall, at Vienna, in 1806. His works in that Coll. are not his best. German writers considered him one of the most eminent artists of his time. Fulton, Robert, born in Lancaster County, Penn. (1765-1815). It is well known that this great mechanician was also an artist. But very few of his works remain. There is in Philadelphia a portrait by him of Mr. Plumst cad's sister; it belongs to her family. Fulton executed the first panorama ever exhibited in Paris. His love for art was very great, and he wrote from London to urge the people of Philadelphia to buy West's pictures as the nucleus of a Gall., an I bought himself the " Lear" and " Ophelia," and gave them to the New York association of artists. There is a print from one of his pictures representing Louis XVI. in prison, with his family. Fuugai, Bernardino, born at Siena. Flourished about 1512. 2SS FUNGAI FUSELI. There arc numerous works attributed to this artist in guide-books and catalogues. They are all lifeless, badly drawn, and confused in arrangement. Several of these are in the churches and Acad. of Siena. They an- also seen in various European galleries. Furini, Francesco, born at Florence (1604-1646). Pupil of his father, and afterwards of Passignano and Roselli. He became a priest in 1G40, but continued to paint until his death. He has been called the Guido and Albano of Florence. His heads are sometimes very powerful: his face shadows are deep brown. His pastoral sub- jects are half Spanish iu appearance. His best works are easel pic- tures, and are much esteemed. His women and children are elegant and delicate, and he excelled in the representation of nymphs and kindred subjects. Furness, William Henry, Jr., born at Philadelphia (1827-1807). A su<-ces>ful painter of portraits. He studied at Diisseldorf, and after his return to America established himself in Boston. His pic- tures are in the possession of the families for whom they were painted, and are much esteemed. Fuseli or Fu'ssli, Henry, born at Zurich (1 741-1825). He was ed- ucated for the church, and took holy orders, but in 1763, having u difficulty with a magistrate of Zurich, he went to England, where he lived until his death, with the exception of eight years passed in Italy. He intended to devote himself to literature, but by advice of Sir Joshua Reynolds, who had seen his drawings, he became an artist. As a painter he was entirely original, and remarkable for his wonderful imaginations and fantastic conceptions of his subjects. He had a good knowledge of anatomy, which is fully shown in his pic- tures. His best works are his Milton Gall., and eight pictures painted for Roydell's Shakespeare Gall. These are all extravagant and incorrect, but extraordinary in design. As a writer and critic of art, he ranks hi-jh, but is not free from the same extravagance in his intellectual efforts which characteri/es his paintings. lie. held the offices of Professor of Painting, and Keeper of the Royal Acad. He delivered twelve lectures in all. He was very witty and sarcas- tic, and spared none who came in his way: still he was liked by the students, for they knew that he endeavored to build up the best in- terests of the Acad. He had a passionate temper, and was sometimes overcome by depression of spirits, when his wife was accustomed to make him angry, as a fit of passion restored his cheerfulness. He was very learned, and could speak eight Lin^uai-vs. When not em- ployed in painting, he took up the pen; and when eighty years old declared himself to have been happy in the fact that he had al\\ ay< been occupied in something that he liked. There are many sharp and witty sayings of his recorded, and his life, published by his executor, John Knowles, is very interest ing. From his choice of strange subjects, his fellow-artists called him " painter-in-ordinary to FUSELI GADDI. '^89 the devil;" he laughed at this, and said, " Aye, he has sat to 11:0 many times." A student once showed him a drawing, saying, " I finished it without using a crumb of bread." " All the worse for you," answered Fuseli; "buy a two-penny loaf and rub it out." Fiiterer, Ulrich. In the Gall, of Schleissheim there is a large ''Crucifixion" by this artist, who flourished about 1480. It is painted in compartments of Gothic architecture to in:itate sculpture. Fyoll, Conrad. Flourished from 1461 to 14 76. There are pic- tures by this artist in the St'adel Institute, at Frankfort, and in the Berlin Mus. Kugler says, " He has something tender and mild in his heads, and a delicate, silvery, and, upon the whole, cool tone in his flesh." Fyt, Jan, born at Antwerp (1609-1661). After Snyders, he is the greatest Flemish animal painter. His greyhounds cannot be equalled by any master. His live dogs are excellent, but he was most successful in representing dead animals. The fur of animals and the plumage of birds was rendered by him with more detail of finish than by Snyders, and with wonderful truth. His composition was good, and he had much animation; in drawing, he is not always accurate, but his effects of light are fine. He may be well studied in the Munich and ^ 7 ienna Galleries, which have fine pictures by him. There is a work of his in the British Mus., and others are in private collections in England. He sometimes painted in conjunction with Jordaens and Willeborts. Jan Fyt also executed the folowing etchings, which are much esteemed : Eight plates of Dogs and other animals; marked Jo. Fyt. 1640. Seven plates of different kinds of Dogs with landscape back- grounds; 1642; inscribed Johannes Fyt pinx. et fecit. A set of eight small plates comprising a Horse, a Cart, a Dog, Goats, Foxes, and three of Cows; very scarce. G. Gaal or Gall, Barent, born at Haerlem (1650-1703). Pupil of Philip Wouvermans. His village scenes are good pictures of their class. His figures have no special merit, but his effects of light and shade are fine, particularly when, like Ruysdael, he paints heavy clouds with the sun shining on distant fields. Gabbiani, Antonio Domenico, born at Florence (1652-1726). The works of this artist occupy an honorable position in the Floren- tine galleries and palaces. His landscapes with mythological subjects resemble those of Domenichino. His distant scenery is grand. His Cupids are. as a rule, his best figures, and his greatest deficiency is in drapery. lie was a pupil of Giro Ferri. Gaddi, Gaddo, born at Florence (1239-1312). A friend of Cimabue, whom he survived twelve years. The friend also of Andrea 19 290 GADDI GAINSBOROUGH. Tafi, and a worker in mosaics. He nuule a fortune which was the foundation of the. position his family occupied later. Vasari speaks of many of his works, both paintings and mosaics, but the oaly remaining ones that can be attributed to him are some mosaics in the portico of S. M iria Ma-zgiorc, at Rome, executed in 1308, and possibly others in the cathedrals of Florence and Pisa, and in the Baptistery at Florence. Gaddi, Taddeo, born at Florence (1300-1366?). Son of the preceding. He was held at the baptismal font by Giotto, and became the favorite disciple of that great master. His pictures are, in general, in the style of Giotto. Vasari, who saw many of his works which are now destroyed, thought he excelled his instructor. His works still remaining are frescoes from the life of the Virgin, on the walls of the Giugni (formerly the Baroncelli) chapel in Santa Croce, at Florence, and some smaller panel pictures in the Florentine Acad. and the Berlin Mus. There is much truth and feeling in the frescoes, and the small pictures are beautifully executed. His countenances are less characteristic than those of Giotto, and his entire manner more mechanical, the almost unavoidable result of having been the assistant of his master, for more than twenty-four years. When he was asked to name the greatest painter in Italy, he replied, " Art has fallen very low since the death of Giotto," and it was the misfortune of Taddeo and others who followed Giotto, to study liis works and practise his rules, rather than to draw their inspiration from nature, and reproduce her more perfect models. Taddeo was also an archi- tect, and made the plans for the Ponte Vecchio and Ponte a Santa Trinita, in 1336, and was employed at Orsanmichele and the Cam- panile. Gaddi, Agnolo. Son of the preceding. Time of birth not known. Died 1396. The pictures of Agnolo are sometimes imposing at a distance, but do not bear close examination. A finely drawn head is often spoiled by disregard to the details of the features; his hands and feet are bad, and the folds of the flesh are indicated by linos. His color is clear and transparent, and his relief better than Taddoo's. The best preserved works of this master are in the chapel of the Holy Girdle in the Cath. of Prato, and in the choir of Santa Croce, at Florence. The latter are a series illustrating the history of the Holy Cross, and are full of allegorical allusions. Gaeta, Scipione da. See Pulzone. Gainsborough, Thomas, born at Sudbury. in Suffolk (1727-1788). Pupil of Francis Hayman. He became very eminent as a portrait painter, and his landscapes are much esteemed, while his fancy pic- tures are also excellent. He settled in London in 1774. It is said that he never put his name on any picture. When he died, he had 56 paintings and 148 drawings. The latter are much valued by con- noisseurs and collectors. Several of his fine landscapes are in the GAINSBOROUGH GALLL 291 National Gall., and the excellent portraits of Mrs. Siddons and Dr. Ralph Shomberg are, also there. In the Edinburgh Gall, there is a fine likeness of the Hon. Mrs. Graham. Some of his best pictures of genre subjects are, the " Shepherd Boy in a Shower; " the " Wood- man and Dog in a Storm; " the " Cottage Door; " and the" Cottage Girl with Dog and Pitcher." His pictures command high prices, one having been sold in 1867 for 1800. Many of his works have been engraved. Galanino, called Baldassare Alloisi, born at Bologna (1578- 1G38). Pupil of the Carracci, and one of the ablest artists of their school. lie was very busy in Rome in painting portraits of the most illustrious men of the time of Urban VIII. His larger works were for the churches of Bologna, and the great altar-piece for the ch. of Gesu e Maria, at Rome. Galassi, Galasso, born at Fcrrara, 1380. But few of his works remain, and these are in the churches of Bologna. It has been said that he learned the use of oil colors from Van der Weyden, but all his known paintings are frescoes. Galaton. A Greek painter who probably lived under the earlier Ptolemies. lie executed a picture probably intended to ridicule the Alexandrian epic poets. It represented Homer vomiting, and other poets gathering up what fell from him. Galestruzzi, Gio. Batista. Of his paintings little is known, but he was the friend of Delia Bella, whose manner he imitated in engraving, and acquired a good reputation. His plates are numerous, and some of them are rare. He flourished about the middle of the 17th century. F-p^ Galle : Philip, born at Haerlem, 1537. The first Jc~ of a family of engravers consisting of Theodore, / Cur 1560, and Cornelius the Elder, 1570 (sons of Philip), and Cornelius the Younger, 1600. Cornelius the Elder excelled the others, and after studying in Rome established himself in Antwerp as an engraver and print-seller. He left a con- siderable number of plates, which are well esteemed. Gallegos, Fernando, born at Salamanca, probably about 1475. He followed the manner of Van der Weyden and Memling. He has been called a pupil of Albert Diirer, and his works are said to resem- ble those of that master. His best picture is a Madonna, in the chapel of S. Clement, in Salamanca. Galli, Gio. Maria, called Bibiena from his birthplace (1625-1665). The first of a family who distinguished themselves in art. He was a pupil of Albano, whose gracefulness he successfully imitated. Some of his finest works are in the churches of Bologna. Galli, Ferdinando, called Bibiena, born at Bologna (1657-1 743). Son of the preceding, he was very eminent as an ornamental and 292 GALLI GARZI. decorative painter, and was sought by all the sovereigns of Europe, lit- served the dukes of Parma and Milan, and went to Vienna \>y invitation of the Emperor Charles VI. He arranged public festivals with inueh magnificence, and made great improvements in the dec- orations and illusive effect of scenic decorations. He also painted many architectural and perspective views, which are in the galleries of Italy and are well esteemed. He published a work on architect- ure. He had three sons, Alessandro, Antonio, and Giuseppe, who became distinguished as decorative artists at several European courts. Galli, Francesco, called Bibiena, born at Bologna (1659-1739). Brother of the preceding, to whom he was inferior. He painted the same class of subjects, and was invited to Spain and appointed prin- cipal architect to Philip V. Garbo, Raffaellino del, born at Florence (1476-1524). Pupil of Filippino Lippi. His earlier works are characterized by amiability, and an elegant tenderness of feeling. His works in the Berlin Mas. especially display this. His " Resurrection," in the Florentine Acad., shows the same dramatic power which his master had. Later in life, when he attempted to follow M. Angelo and Raphael, he was less admirable, as may be seen in his ceiling pictures in the chapel of S. Thomas Aquinas in S. Maria Sopra Minerva at Rome. His works are also seen in the Louvre, Dresden Gall., Uffizi, Acad. of Venice. Mus. of Naples, and in some private collections. Gargiuoli, Domeiiico, called Micco Spadaro, born at Naples (1612-1679). Pupil of Salvator Rosa, and painted landscapes and small figures. His works in the Studj Gall, at Naples are very in- teresting as historical representations of the events of his time. One series delineates the whole tragedy of Masaniello, and the horrors of the plague of 1656 form the subjects of others. Gaiofalo was called by this name from his custom of painting a gilliflower in the corner of his pictures, but his real name was Ben- venuto Tisio. Born at Ferrara (1481-1559). He executed some fres- coes in Ferrara which caused him to be considered the head of the Ferrarese school, but he is best known by his easel pictures, which are in various galleries, especially in Rome. An " Entombment," at the Borghese Pal., is his most celebrated large work, and another, very similar, is in the Studj Gall, at Naples. The Doria Gall., the Acad. of Venice, and the English National Gall., have fine specimen> of his works. His pictures at Ferrara were painted after his return from Rome, and show the effect of his study there. His color was good, and his pure, positive tints have not faded, and equal in this respect the works of the early Venetian artists. He was blind nine years before his death. Garzi, Ludovico, born at Pistoja (1638 ?-l 721). A favorite pupil of Andrea Sacchi, and a rival of Carlo Maratti. He was em- GAHZI GELDER. 293 ployed in Naples in churches and palaces, and in Pescia; his prim-i- pal works at Rome are the cupola of the Capclla Cibo in S. Maria del Popolo, and his celebrated " Prophet Joel," in the Lateran. Gassel, Lucas. Flourished middle of IGth century. His style is fantastic, his color cool and monotonous. Vienna Gall., a landscape, with Judali and Thamar, 1548. Gasser, Hans (1817-1868). This Austrian sculptor was remark- able for his portrait busts, among which are those of Jenny Lind. Marko, Rahl, and S/echenyi. His ideal figures were also worthy of praise. This may be seen in the new opera-house at Vienna, the Karl Theatre, and the arsenals at Vienna and Trieste. Gatti, Bernardino, called II Soiaro or Sogliaro, from the occupa- tion of his father. There is much doubt about the facts of this painter's life, and it is not known whether he was a pupil or an imi- tator of Correggio. His works were in the manner of that master, and the most important were executed at Parma, Cremona, and Piacenza. Died 1575. Gervasio Gatti, his nephew, was also his pupil, and called II Soiaro. Bryan names five painters and one en- graver of the name of Gatti. Gaulli, Gio. Battista, called Bacicio, born at Genoa (1639-1709). He had great celerity of invention and execution, and became dis- tinguished as a machinist. One of his most important works is the great vault of the Gesu, at Rome. He painted in several Roman churches, and is said to have succeeded in portraiture, especially in making good likenesses of those who were dead. For the latter he was accustomed to draw an ideal face, which he would change ac- cording to the suggestions of those who had known the subject, until he made a satisfactory picture. Gault de St. Germain, Pierre Marie, born at Paris, 1754. A painter of large historical subjects and portraits. He also wrote several books relative to painting. Gaywood, Robert. Flourished about 1660. The plates of this eminent English engraver are much esteemed by collectors. He was a pupil of Wenceslaus Hollar, and his most interesting works are his portraits. Geddes, Andrew, born at Edinburgh (1789-1844). He painted landscapes and portraits. He was most successful in the latter, although many of his small landscapes are pretty, particularly his canal views. He also painted one large altar-piece, and a picture of" Christ and the Woman of Samaria." His picture of the " Dis- covery of the Regalia of Scotland " includes a portrait of Walter Scott, and several distinguished men of Edinburgh. Gelder, Aart de, born at Dort (1645-1727). Pupil of Rembrandt, and a good imitator of his style, though not equal to him in impasto and transparency of color. Many of his pictures pass for those of his master, and 294 GELDER GERARD. his works are not numerous in public galleries. The Amsterdam Mus. has a portrait of Peter the Great, and the Dresden (Jail, a man's portrait and an Eeee Homo, by De Gelder. Gelee, Claude. See Lorraine. Genga, Girolamo, born at Urbino (1476-1551). Pupil of Luea Signorelli and Pietro Perugino, and fellow-pupil of Raphael. Few of his works are known, as he painted much in conjunction with other masters, and was also employed as an architect, rather than painter, by the Duke of Urbino. Gennari, Benedetto, born at Cento (1633-1715). Nephew and pupil of Guercino, whose style he imitated so perfectly, that the copies which he made from the master's works could scarcely be distinguished from the originals. He painted some historical pictures for the churches of Bologna, Padua, and Cento, and in the reign of Charles II. went to England and was appointed painter to the King, in which office he was confirmed by James II. His principal works in England, were portraits. Cesare Gennari, brother of Benedetto, and Lorenzo, probably of the same family, were also painters. _^^ Genoels, Abraham, born at Antwerp (1G40-1 723). One r/\ of the best landscape painters of his country. In France, JL V. he was employed by Le Brun, to paint the backgrounds to his " Battles of Alexander the Great." His drawing is cor- rect, his touch spirited, his color clear, and his figures in the antique style. His works are rare. The Amsterdam Gall, has one, and there is another in the Brunswick Gall. He is also distinguished for his etchings. Bartsch enumerates seventy-three, and Wei^d gives thirty-one more. In Rome, he was called Archimedes, on ac- count of his mathematical knowledge, and he sometimes signs his etchings with that name. Gentileschi, real name Orazio Lomi, born at Pisa (1563-1047). He painted in several Roman palaces in conjunction with A-jcostino TasM. He also painted historical subjects at Turin and (ieno'i. He was invited to England by Charles I. Several of his pictures are now at Marlborough House. Vandyck painted his portrait, which was engraved by Vorsterman. Gentileschi, Artemisia (1590-Ki !:>), was the daughter of the above, and accompanied him to England, where she painted both portraits and other pictures, but she passed most of her life in Bologna and Naples. She was the friend of Guido, and was much admired. She excelled her father in portraits. In the Florence Gall, there is a "Judith," painted by her. Gentileschi, Francesco, brother of the precedini:, was also an artist, and resided chiefly at Genoa, where he painted for several churches. Gerard, Francois, born at Rome (1770-1837). The best French portrait painter of his time, and distinguished also for his lar-_ r e his- torical pictures. His chff-il' ceuvre of this kind is the " Entrance of GERARD GHIBERTI. 295 Henry IV. into Paris," at Versailles. He was a great favorite with Napoleon, and painted portraits of the Emperor, his wives, and the King of Rome. He was also principal painter to Louis XVIII., who made him a baron. Gerard, Mark, born at Bruges. Painter, designer for glass-paint- ing, and architect. He was not an eminent artist, but some por- traits he painted in England are interesting. Those of Queen Eliza- beth, Lord Burleigh, and Lord Essex are at Burleigh House. Gerard of S. John. Van Mander says he was thus called from the monastery of S. John, at Haerlem, where he resided. Two panels attributed to him are in the Belvedere Gall., at Vienna, and three, pictures which form a triptych in the Pinakothek of Munich, are also called his. These works are far from excellent, and seem to belong to the 16th century. Gerard of Ghent is one of the painters said to have executed the celebrated Grimani Breviary, in the library of S. Mark, at Venice; 1 25 of the illuminations are attributed to him. It has been said that he was identical with Gerard Van der Meire. Ge'ricault, Jean Louis, born at Rouen (1791-1824). The chef- d'cRuvre of this artist is his immense picture of the " Wreck of the Medusa," in the Gall, of the Louvre. Gessi, Francesco, born at Bologna (1588-1649). A pupil and successful imitator of Guido lleni. His early works are the best, for in later years he became a cold and languid mannerist. His pictures are in several churches of Bologna. Gessner, Solomon, born at Zurich (1734-1788). A poet and artist. He was an amateur painter, until he was thirty years old, when he began to study landscape painting. He is known by his etchings, some of which he executed for his literary works, and some for separate publication. They are all well finished and pleasing. o Ghein or Gheyn, James, the * Tylrv * Elder, born at Antwerp (1565- B 1C15). Pupil of Henry Goltzius. ^ e became a skilful engraver, and his plates are much esteemed. Some of them are scarce. Ghent, Justus Van. This old painter must have been born about 1400, as he was a pupil of Hubert Van Eyck. The only re- maining work known to be his, is in the ch. of the Fraternity of Corpus Cbristi, at Urbino. It represents " Christ giving the Chalice to the kneeling Apostles." and has many points of merit. The por- traits it contains are excellent. Ghiberti. Lorenzo, born at Florence (1378-1455). A goldsmith and sculptor, he also painted some pictures at Rimini, whither he fled from the plague in 1398. He is best known by his bronze gates 296 GHIBKRTI. to the Baptistery of Florence, which Michael An-clo thought " wor- thy to IK- the gates of Paradise," and which have never been sur- passed in some respects. There was much controversy as to who should obtain the honor of making these Ljates, and after (ihiberti re- ceived it, he spent twenty years upon the first, and as much more time upon the last. It b easy to see in them the marks of the gold- smith's minute and finished manner; but Ghiberti introduced a new feature in bas-relief when he attempted to represent distance in background. In this he of course failed, but in beautiful ornamenta- tion, and perfect form and finish of all minor parts, he has never been surpassed. Ghiberti also made three statues for the eh. of Or- saniniclielc: t wo bas-reliefs for the Cath. of Siena, and the Sarcoph- agus of S. Zcimhius. in S. Maria del Fiore, of Florence. All these works still remain, but the sarcophagus and the gates are the most GHIBERTI GHIRLANDAIO. 297 excellent, and, indeed, are today among the finest works of art in Italy. Ghilierti had been a student of the antique as far as was possible for him. and in his records of art describes the ancient works lie had seen. The earliest known work of this master is in the Uffizi, and is a bronze relief of the " Sacrifice of Isaac," which he made when contending for the commission for the Baptistery gates. G-hirlandaio. Real name, Domenico di Tommaso Curradi di Doffo I5i'_ r ordi. Born at Florence (1449-1494). It is said that his father was a goldsmith, who made such exquisite garlands for the hair that he was called Ghirlandaio (the garland-twiner), which name de- scended to his children. There are certain characteristics of Dome- nico's pictures which might result from a knowledge of the gold- ZACHARIAS WRITING THE IS Ainu, UK JOHN. BY nOMENIOO GHIRLAXDAIO. S. Maria Novella, Florence. smith's art, such as precision in drawing, the modelling of figures, and the arrangement of drapery. Ghirlandaio was a pupil of Alessio Baldovinetti, and became a mosaist and celebrated painter. There is much of interest in the works of this master. They plainly show the advance from his earlier to his best manner : he introduced in his pictures the portraits of celebrated and important personages of his time, and was original in many ways. His life is a landmark in the history of Florentine art. His especial greatness is that of a composer. He preferred large spaces, and worked in the old system of 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 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 fivsf-i.i-s are those in the eh. and refectory of ()<_ r nissanti. Florence, dated 1-180; in the Palazzo Vccehio, and Palaz/.o Pubblico, Flor- ence. 1481-85; in the Sixtine Chapel. Rome, only the " Calling of Peter and Andrew" remains; in the Chapel of S. Fiua, at S. Gi- mignauo; 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 Dn.-ilen. 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 doircd Uidolfo 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 Ksterha/y Coll., at Vienna; a female portrait in the Pitti; the Miracle and the Burial of S. Zanobius, Ullix.i; 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. lie did much merely mechanical work from 151") 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 p a much more eminent engraver, and his works are much esteemed by collectors. Fine impressions of his prints are scarce. f.,\ Adamo and Diana Ghisi were the brother / C*\ /S\ an( ^ s * ster f 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 (1G23-1683). 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, Cavaliere 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- hannes Bono, venetus pinxit. " The Berlin Mus. Catalogue calls No. 1154 a Giambono. It is the " Assumption of S. Magdalen." Gibbon, Grindling. A sculptor of the reign of Charles II. 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 (1615-1G90), 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. 'I hey had nine children, who lived and were of a proper si/.e. Vandyck painted the portraits of this remarkahle 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 alwut 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, 1790; died at Rome, 18G6. When nine years old, his parents went to Liverpool with the intention of emigrating to the United States, lint this plan was abandoned, and Gibson sent to school in Liverpool. Before tins 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 t 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 Ivondon 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- 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 asxiriation 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 Hosiner 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 18G2 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, 186G, 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 riirht time, was sure to get out at the wrong place at the wrong time. Miss Ilosmer 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 GIMIGXAXI. 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 anv 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. Petersburg!!. 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 181 1. 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. Gilpiii, 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 land-capes for Gilpin's animals, which the latter repaid by painting animals in the pictures of Barret. Gimignani, Giacinto, born at Pistoja (I Gl 1-1 680). A disciple of Pietro da Cortona. He assisted Carlo Maratti, at the Lateral). 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 (1G32-1705). 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 II., 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. 16C6. Giordc.no 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 GIORPANO. Engraver, AVELINE, Peter. The Death of Seneca. Engraver, BEAUVARLKT, James Firmin. Lot and his Daughters. Susanna and the Elders. Perseus combating Phincus. 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. Engrarer, EREDI, Benedetto. Death of Lucretia. From 7iw own designs, engraved by him'sclf. 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, MAXNL or MAENNL, Jacob. Martyrdom of S. Bartholo- mew. Philosopher meditating on a Skull. A Geometrician. Engraver, RAVENF.T, Simon Francis. Sophonisba receiving the Nuptial Present. hnijravc.r, SORXIQUE, Dominick. The Rape of the Sabines. Engraver, VASSEUR, John Charles Le. Apollo and Daphne. 304 GIORDANO GIORGIONE. Engraver, WAOXF.R, Joseph. Meeting of Jacol) and Rachel Rebecca receiving the presents from Kliezer. Enyraver, Zrrrm, Lorenxo. David with the Head of Goliath. Giorgione, real name Giorgio Harbarelli. horn at Castelfranco (1477-1511). The first Venetian who cast off the Beliineaque nilc 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 Lux/o. a painter known as Morto da Feltri, lived in the same house with (Jiorgione, 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 -_ r irl. 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 h:is 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 eh. at Castelfranco. It represents the Virgin and Child between SS. Francis and Liberate. A study in oil for the figure of S. Liberate 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 Manfrmi 1'al.. Venice, is Hu- so-called " Family of Giorgione." He 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. 30.3 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 GIORGIONE 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 MAENNI,, Jacob. A Warrior giving his Hand to a Man. Enr/raver, PETIIEK, William. A Warrior; half length. 20 306 GIOTTINO GIOTTO. Oiottino. Yasari calls the name of this painter Tommaso di Stefano called Giottino, and says hi- was born in 11524. Tin- 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, tin- 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 Ycspi<_niano (1276-133t!). 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 exfiti/ilc. 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. IVter's at Rome, and in the vestibule of that basilica is his mosaic, called the GIOTTO. 307 "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, ha 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 THKOW HIMSELF ON THE BODY OF CHHIST. BY GIOTTO. 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 gave 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 dill'ienlt task to paint a hetter 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 u 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 (ihibelline 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 kin.: asked him to explain, he said, " Simply that the ass, your kingdom, not satisfied with one royal saddle, is always sunning 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 airain. 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 Segnier. 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. 3G9 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 he had given. 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 Bcrghem. He studied in Italy, and became an imitator of Poussin. He settled in Amsterdam, and was the friend of Gerard Lairesse, who often painted figures in the landscapes of Glauber. His compositions are poetical, and his drawing excellent. His color is al^o 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 u. c. Glockenton, Albert, born at Nuremberg about 1432. The plates of this engraver are stiff and neat, and executed with the graver alone. The following are his : Twelve plates of the Passion of Christ; after Martin Schnen; 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 (he same. The Virgin and Child seated on an Altar. Glover, John (1767-1849). An English landscape painter. His 310 GLOVER GOMEZ. pictures ;ire highly finished, and become tedious if large, but bis small works an- pleasing, especially those cool in color. His rocky seenerv is pretty, and his views well selected. Olycon. The Athenian who executed the " Farnese Hercules " in the Mus. at Naples. It represents Hercules resting on his club after one of bis lal>ors. The right hand is modern. It is believed to l>e 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. Oobbo, Pietro Paolo Boiizi, 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 (1G25-1G77). 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, bat 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 II. 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. T /IV Goltzius, Heinrich (1558-1617). A distinguished en- iTI graver. He left a great many plates more than 500. AM/ 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 tin- 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 " Circumcision,'' in the manner of Diirer, and his " Adoration of the Kiit'_ r s." 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. lie died soon after his master, in 1682. Gondolach, Matthaus. This painter settled in Augsburg, and died in 1G53. IIu 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 (1 685-1 7G3). 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 Malmse. 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. Goujon, 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 ri/ievo 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, 1746; 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. He sometimes executed an entire piece with his palette-knife, and put in the delicate touches of sentiment with his thumb. He was 312 GOYA GRAFF. skilful in the use of the graver, and published eighty prints which he called Caprichos. These attained great celebrity. They were Kitirieal representations of the Spanish customs of law, physic, the pulpit, the cloister, etc. lie w,as 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 (1424-1 49G ?). 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 Umbrian art which adds to his importance. His industry was marvellous, and he excelled in a sort of aptitude which enabled him to sci/e and applv different Liens 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, an 1 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 tjie exception of two or three. He was occupied sixteen vears 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. lie 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, Anton (1736-1803). He resided at Augsburg and Dresden, and was one of the best portrait painters of his time. He had an ap- GRAFF GRAMMATICA. 3 IX 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 arc 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 GREBBER. 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 us his host 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 Fcrrara, 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 cultuie in France, and but fourteen painters are admitted in the division ci the Beaux Arts. His interiors are remarkable for their effects of ;i-_'ht 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 ILierlem (l.'j!)0-1656?). Pupil of Henry Goltzius. He was older than Rembrandt, but he adopted his GREBBER GREENOUGH. 315 style. His works are in the collections of Holland, especially at Hacrlem. 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. lie 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 ideal 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 carnmin, 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 si- 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 sonic respects he \\a- 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 arc Mnnetimes as delicate! v finished as if done on ivory. He painted some male portraits which possess considerable merit. Grien or Griin. 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 Griflicr, 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 (1COG-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, fin- 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 purs", and ran away. This he repeated until the nobleman caught him in the act, and overwhelmed him witli 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 (Jail., 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. Grimou, Grimoux, orGrimoud, Alexis, born in the Swiss canton of Friburg (1680-1740). He is said to have instructed himself by GRIMOU GUARDI. 3 1 7 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 tlis 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 Aschaffenburg, 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 bv 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 (1712-1 793). 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 Caualetto's. They are spirited and life-like, 318 GUARDI GUKRCINO. 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 (1 590-1 666). 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 shadow sot' the llesh. His earlier works have a power which he afterwards lost, and -his later style is ctleminate and shallow. In the Villa Ludovisi at Rome, then- 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 Aijiiitaine," 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. ENGKAVIXGS AFTEU GUKUCIXO. Engraver, BLOEMAKRT, Cornelius. S. Peter raising Tabitha from the Dead; best plate of this master. Engraver, CAKMOXA, Emanuel Salvador. Angels appearing to Magdalene. Engracer, CUXKGO, Domenico. The Prodigal Sen. Rinaldo and Armida. l-'.iKjraver, DORIGXY, Sir Nicholas. S. Petronilla. Engraver, DI-NKAI: K.\. Robert. Christ at Emmaus. Four snli- j -ets from the Life of Joseph. Kngrarer, EAIU.OM. Richard. Holy Family. Virgin and Chill. Kiujrnrrr, F.M.CK. Jeremiah. Concert of Sfusic. Engraver, THEY, James. Death of S. Petronilla. From his own Dcsif/na. S. Anthony of Padua; half length. Juan Fr. Cent. S. John; same mark. S. IVter; Jonn /'. llnrltipri, f. S. Jerome with a Crucifix; same mark. Bust of a Man with ;; Cap and Beard. Bust of a Woman. Bust of a Man in Oriental Dress. 8. PETBOXILLA. 1!Y CfKHCUiO. In the Capitol, Home. GUERCINO HAAXSBKRGEN. oil Engrave>; LOHEXZIXI, Fra Antonio. David with the Head of Goliath. Christ at Emmaus. 8. Peter delivered from Prison. Engraver, OTTAVIAXI, 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 Aetseon. 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, PESXK, 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, RAVENKT, 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. " .ZEneas telling Dido of the fate of Troy," in the Louvre, is a fine specimen of his pictures. He was distinguished r by Napoleon I. and Louis XVIIL, and made a Laron 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 HAANSBKKGEN HALLEB. portraits principally; his other works were small cabinet pictures in the style of Poelemburg. Haarlem, Cornelia 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 Prcnzlow (1 737-1807). 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 ami sepia. Hagen, Jan Van der, born at the Hague ( 1 635-1 G 79). 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 bis. Ilainzelmann, 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 sunn attracted the attention of the Crown Prince Louis to his skill in modelling. In 1817 he received the commission for the colo>sal 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 tin- (inures 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 (1584-1C66). 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 Yille; and are spirited, energetic, warm in color, and happy in in- dividualism. In an apartment of the " 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. His Colored drawings wore verv fine. 324 HANNEMAN HEAD. Hanneman, Adrian, born at the Hague (101 1-1C80). He went to Kii'_ r lanries 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 fish-markets 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 Bruderhaus 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 ro^t-s, 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 seeptris, et mentis acumine Pallas, Et rosco Vcneris fulj^et in ore decor; Adfuit Klisiiliftli: .luno |>fivulsa rofugit; Obsttipuit 1'allas, erub i quo Venus. His small portraits and miniatures were delicate and well painted. Heil, Daniel van, born at Brussels (1604-1662). lie painted landseapes, but changed to the representation of conflagrations, towns on fire, and kindred subjects, in which the brilliancy of efi'cct was surprising. He also painted winter scenes very well. John Baptist Ileil 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 VIII. 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. Heiiitsch, 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 arc 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 I(i96 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. Ilelmbrecker, 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 An-inlier^ (Jail, there is a large Fair scene by him, with numerous figures. Louis XIV. admired him vsry much, and some of his best works were executed for that king. HELMOXT HERNANDEZ. 327 His son, Segres James van Helmont (1683-1 72C), 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. If) 7, 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 Ti- Hemskerk, Martin. Real name Martin van Veen. M V M Born at Ilemskerk (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. Herlen, 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 Tauter). Hernandez, Gregorio, born at Pontevedra, 15GG; died at Vulla- dolid, 1G36. An eminent sculptor in the reign of Philip III. He never quitted Valladolid after he went there to study, except when 828 HERNANDEZ HEKRERA. he went to Vittoria to execute a high-altar in the ch. of S. Miguel, and to Plascencia for the same purpose. Bosarte called liiiu the " sculptor of religion." Stirling calls his style tender and graceful, and his works full of devotional feeling, and says, "They seem to have bern executed under the influence of the same pirns inspiration which wanned the fancy of Juni, and guided the pencil of Factor." Many of his works are in the Alus. 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 Alus., 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 chapel, his portrait hung many years. Herp, Gerard van, 1604. Pupil of Rubens, he painted moderate sized genre subjects. He Avas 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 Alus. and Aremberg Gall. Herrera, Francisco de, the Elder, born at Seville (lo7G-lG"j(>). 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. lie 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. Ilennengild, 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 Aladrid and found Velasquez, one of his runaway pupils, in great favor there. Herrera, Francisco de, the Younger, born at Seville (1622- 1085). Son and pupil of the preceding. lie 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 Aladrid. Stirling says he was made Superintendent of Royal Works, but died of chairrin because he was not made painter to Charles II., as he had beeu to Philip IV. Some of his best works are in thci 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 Spaynolo de f/li Pesci." 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 i.re in the galleries of the Luxembourg and at Fontaine bleau. Heusch, Willem de, bor,n at Utrecht. Died 1712 (?). Pupil of Jan Both, he imitated him almost perfectly. The small figures in his landscape 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. Heyden, 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 distingiii>lK-d 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 i? perishing rapidly. 830 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 eh. 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 etl'cct. 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 IIOEFNAGEL 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. Ono 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 eh. 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 (1697-1764). 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 his 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 o o O Sir James Thornhill, without that painter's consent. At that time he painted small yenre 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 his 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 a 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 woyjd l>e suppressing the niorits of his heart to coupler 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 Soerates. that men might not be offended at his lectures, and might learn to laii'j;h at their own follies." In 1753 he published a hook 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 In the National Gall. other artists can never give. The following list comprises the largest part of his own eiiirravin^s : Portrait of himself, with two figures and two Cupids. 1 720. A print emblematical of the South Sea Bubble; IF. Hoijnrth, inv. et sculp. 17-_'l. Thirteen plates for Auhrc\ de la Motraye's Travels in 1723. Seven small prints for Apuleius* ' (Jolden .W." 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, bv the ingenious Mr. IIeide<'. HOGARTH. 333 A just view of the British Stage. 1 725. Twelve prints for " Hudibras; " large set. 1 72f>. 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 vtcuin pinxit et sculpsii. 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. 1738. Strolling Actresses in a Barn. 1 738. The Enraged Musician. 1741. Marriage a la Mode; engraved under the direction of Hogarth, by Scotin, Ravenet, and Baron. 1 745. Portrait of Martin Folkes, Esq. 1745. 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. 1749. 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> an:l 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 v.-ho flourished during the last half of the 16th century. Jt is l>elieve:l that one of them executed the first portrait that was engraved in England; but the honor is a matter of dispute between Remij;iiis and Francis Hogenberg. They all engrave 1 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 14S9, 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 faets 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 l.'nh 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 II. 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 14.59, and probably the son of Michael Holbein, a leather dresser. There is a panel paintinir 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 If) Hi. The earliest known work by him is a "Madonna and Child with Angels." in the Moritz Capelle, at Xiirnberg. There are three of his pictures in the Augsburg Gall., representing the ' Basilica of the Vatican,' 1 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 Sehleissheim. But in the Cath. of Augsburg, his ability is displayed at its best in the four works painted in 149;?, for the old Abbey of WeingarU-n, 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. y j-k ~r\ T Holbein, Hans, the Younger, I r~S |j| 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 Gall, 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 thre that his works have been separated from the mass. In England, too, for a time, nearly every portrait of the reign of Henry VIII. ws 336 HOLBEIN. attribute! to Holbein. In 1517 he was called to Lucerne to deeorate 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 loll*. 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. Amerbaeh. 1519; one of John Froben, the printer; one of the cele- brated Erasmus; a life-size picture of i4 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 l.V.':! 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 \.~ his separation from his wife. He married Elizabeth Schmid. a widow, with one son named Franz. The picture called " Holbein's Wife and Childr -11." already mentioned, probably represents Franz, and Philip, the son of Holbein. The mother is a coarse-looking, unattractive, middl> 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 MKIKR 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 23 338 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 apjH-ar to have been first published at Lyons in 1538, although they must have been prepared much earlier. There were forty-one euts in all. His Old Testament euts appeared at the same time with the u Dance of Death." These are all assigned to the time when he was in Basle, on aecount 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 I."JL':!:>. In Ruskin's description of this picture he calls it inexhaustible. For the merchants of the steel-yard Hollx-in executed two pictures called " Riches " and " Poverty." These were probably painted in 1532, and pcrUhcd at Whitehall in 1G98: but in the British Mus. there is a drawing, considered the original of the kl Riches," and lx)th pictures are known by plates. In 1532 Holbein was summoned to Hasle 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 VIII., 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 Schmid 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. Walj>ole went so far ;is 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 beinir 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 VIII. , and his family in groups, portraits, and miniatures. 'I here. 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, \:> t:>, 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 ho bad 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 enua'jvi] in painting the portrait of a lady for the King. Holbein was so aii'_ r rv that he seized the man and threw him down-stairs. Without waiting to see what had happened, he rushed to the Kin? 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 Kin?, 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 tho Kin?, 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 Hollx-in." The Karl besought his pardon, and the King warned him that if he attempted anv violence on the painter, cither himself or throu"h 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 Lycns. 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 " 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. fc*rj}l Hollar, Wenceslaus, born at Prague (1607- -rVT) / Vv si 1677). This eminent engraver was the pupil VY7 , I_J6^J of Matthew Merian. In 1G36 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 reduce.! to great miserv. He was afterwards 342 HOLLAR IIONTIIORST. 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 eould die, which was not long. His prints number nearly 2400. They arc very much sought by eollectors 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. Holloway, 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 beiii'j; Marquis of Waterloo. Giles Hondekoeter, his grandfather, and (lisbert, his father, were both artists. Melchior received his first instruction from his father, after whose death he studied with Jan 'Wee nix, 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 coek so well trained that he would keep any position his master wished, lonir enough to be painted. His pictures are in the Louvre, and all the lar_re 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. Ilis very rare etchings do him more honor as an artist than his pictures. There are ten of thc>e. 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 1.. 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 Kin 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 loth century, at Soest in Westphalia. There is a picture of his hi the Coll. of the JARENUS - JOAKES. 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 Qo*=xf^. j ie intended to publish. After the death of the painter, J".i-her purchased the blocks and published them himself. Jervas, Charles, born in Ireland. Died 1739. Pupil of Sir God- trey 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. Joaues, 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 ' ' La Pu- 350 JOANES JOKDAENS. 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 dispi-nsiiiii 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 " 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 15GO. 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 (161G-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, lie 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 Coustou. 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 1 6th centurv. Was the best sculptor in Spain at that time. Has some- times been thought a Fleming, but Benmidez believes him to have been a native of Castile. His style seems to prove that he studied in Italy. He hesitated at no dilh'culty 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 arc in a very imperfect state. The National Gall, has a fine triptych signed by him, and dated 13C7. 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 mav be ranked among the best of the Giotteschi. ;),VJ JUSTUS KALF. Justus of Ghent. There are several works attributed to this old painter, but the only one positively known to be his, is ;i reproenta- tion of the " Last Supper ;> in S. Agatha, at Urbino. This was exe- cuted in 14G8-1474. 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, bis bands 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, Aleaxar, which had been burned in 1734. Juvara was engaged in construct- ing a colossal model of this edifice, when he died, in 173>. 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. K. KabeL See Cabel. Kager, Johann Mathiaa, born at Munich (1566-1031). He studied in Rome, and became an eminent painter. lie 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 bis principal work, the u Last Judgment," in the Hall of the Senate. His pictures are known from enuraviugs by the Sadelers, Kilians, and other engravers. Kager also etched some plates from bis own de- signs. Kalcar. See Calcar. Kalf, Willem, born at Amsterdam (1630-1603). 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. BT HALF. 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 arc 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 (1GG9-1724). Pupil of the younger Quellinus. 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 Ostend 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 Ruysdacl 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 arc etched with freedom and spirit. Ketel, Cornelia, born at Gouda (1548-1602). A reputable por- trait painter. He went to England and painted Queen Eli/.abeth, and many other persons. He also painted the Company of Marks- men of Amsterdam, and other groups. Keuleii or Ceulen, Jansons Van. Said to have been born in England of Dutch parents. He was a good portrait painter of the time of Charles L, 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; Britten'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 IIagiu< there is a fine work representing the " Burgomasters of Amsterdam Deliber- ating upon the Reception of Mary ilcMedieis," 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 Custos, 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 eminent, and their works are much admired. King, Charles B, born at Newport, Rhode Wand (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 M-veral 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 Boss, 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 ends 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 other 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. KLlerck, 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 Liibeck (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 was 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 Joseph 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, horn 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 ?-1838). Cousin of the preceding. A eattle 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 ( 1 609-1 G 74 V). 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 nonie 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 Lingellmch, 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'ceucre. 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 Sclnvabach in 1507. His early history is unknown. His first works in Nurem- berg art; 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 arc full of strong expression. The city of Nuremberg (especially the eh. 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, lie gave a touching expression to the tare, 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 OK THE SEVEN STAGES OF THE PASSION OF CHRIST. BT ADAM KKAFFT. 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 Vischer, whose works, together with his own, render Xu- 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? about 1516. Kupetzky, Johann, born in Upper Hungary (1666-1740). He studied with the Swiss painter Klaus, but a long residence in Italy- had great effect on his style. He painted historical subjects and portraits, and the latter became very popular in Vienna; they are, 858 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 M as 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. lie 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, lie also repre- sented peculiar effects of light and shade, such as moonlight on one si ]. 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. Lafond, Charles Nicholas Raphael, born at Paris, 1 727. 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 (1636-1 71G). Pupil of Le Brun. .He distinguished himself by his works at the Invalides." He went to England, where he was well received ami employed. His easel pictures arc superior to his decorative works. lie was Chancel- lor of the French Acad. at the time of his death. Lagre'nee, 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 Home, and there executed his best works, most of which have been en- graved. His subjects arc 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 the wind. Lana, Ludovico, born at Modena (1597-1G46). 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 arc 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 rather 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. Peter," in the Colonna Pal. at Rome. His " S. Cecilia," in the Barberini 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 Cath. of Novara. One of his pictures is in the National Gall., London. He was much employed at Milan. 860 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, ami the tomb of Card. Bruges in S. Doraenico 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 ac ivo- ries to his figure pictures. Lasinio, H 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." Lasiie, 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 (1797-1869). Disciple of Thorwald- sen. He was an earnest student of the antique, which conduced t 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 arc 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 Kn^lish 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 nil 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 1 794, was knighted in 1815, and became the President of the Acad. in 1820. He was LAWKENCE 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 arc the most, sati.-factory ; 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 arc 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 (1610-1 G87). 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 Fenelon 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 nourished in the last half of the 1 7th century. Peter van der Leeuw imitated Adrian van de \elde with good success. Lefevre or Fevrc, Claude, born at Fontainebleau (1633-1675). Portrait painter. Lefevre, Robert, lx>rn at Bayeux (1 756-1831). Painted portraits and fancy pictures. One of his works in the Louvre is signed, Robert le Fecre 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, k '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 1 733. 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 not give him all the ancient honors of that office. This fact, together jwith 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. Thi>st> 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 LEPRIXCE. 363 Lens, Andries Cornells, born at Antwerp (1730-1822). 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 (1616-165G). 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 II Cav. Padovano, on account of his family, which was of Padua. Leopardo, Alessaudro. Venetian sculptor. Flourished about 1490. After the death of Verocchio, Leopardo finished the statue of Bartolommeo Calleoni, in front of thech. 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 LEPRINCE 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 182G he was elected to the Acad., and M'ven 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 arc best seen in the Sheep- shanks Coll. Lethiere, Guillaumc Guillon (1760-1831 ?). This artist had a cultivated mind, and made rapid advance in art until he became President of the Acad. at Rome. He choso 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 15C2. An excellent en- graver. Leutze, Emmanuel, born at Wurtemberg (1816-1868). His father came to America and settled in Philadelphia. Emmanuel de- veloped his artistic talents early, and in 1841 had orders suilicient 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. lie 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 LEYDEX. 365 others of like nature. His works arc in most private galleries in Xew 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. Leydea, 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 arc rare. In the Town House 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 arc very scarce and valuable. His " Eulen- spiegel " 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 " 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 chefa-cTwuvre. 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 VAX LEYDEX. 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; nn early work; very rare. The same subject, called " The Little llagar. 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; very 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 of 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 Lucretii, sometimes called " The Death of Dido." Pyramus and ThUbe. 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, in>cribed fyfiyiea Lucce Lei/leu*!* 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 tin- others. Wood-Cuts. The Kings of Israel; in chiaro-scuro; scarce. Illustrious Women of the Old Testament; scarce. Four Large Tournaments; scarce. Liberals, da Verona, born at Verona (1451-1536). lie was first a miniaturist, and the effect of this occupation was always visible in his manner of finish. He was an imitator of Jacopo Uellini. 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 arc his best productions. Some of these are at Chiusi. Liberi, Pietro, born at Padua (1605-1(>87). Called Libert ino, from his love of painting nude Venuses. He is considered by some as the best draughtsman of the Venetian school. lie painted some- times with a free and unlabored manner, which he said was for the intelligent; and sometimes with great labor and exact m-.-s, for tin- ignorant, as he declared. lie was the first President of the Acad. at Venice, where some of his great works are still preserved. Libri, Girolamo dai, born at Verona (147-1-1. 'if)*!). In the " His- tory of Painting in North Italy," it is saiil of this arti>t. ' Pieginning as a miniaturist, emulating in succe^ion the Mantegncsquc of Caroto and Moroiie, and the modern Veronese of Morando. he ascends to a high place amongst the professors of painting in the north: and throughout his lout: career he never incurs the reproach of being a plagiarist or a servile copyist." His works :m- best seen in 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. Lilienbergh, 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 havo each one of his works. He was living in 1663. Iiimborch, Hendrik van, born at the Hague (1680-1758). Pupil of Adrian van der Werft'. 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-Maino (1625- 1G87). He spent a long time in Italy, where he made many studies which greatly assisted him after his return to Amsterdam, where he settled. lie 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 Wonvermans, 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 arc 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 Occhiali in finish. He etched a few plates, some of which are dated 1680. Liuthorst, 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 Me, 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, lie wa< placed in the monastery of the Carmine in Florence in 1420. Ik-re be 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 Barhary as a slave. He at last obtained bis 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 Lucre/ia, 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 arc some circumstances now known which mitigate censure, at least. The name of Castagno has been freed from UK- stigma of murder which Vasari attached to it, and it is Vasari who accuses Fra Filippo of all his faults. From 1430 to 1 132 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 arc 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 143s a* Fra Filippo." But more direct than all is the proof of a note written by himself to Piero de' Medici in 1439. when be sa\>, 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 ll~>7 rec- tor of 8. Quirico at Leirnaia. 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 liriii'_ r to li'_dit proofs which shall establish his innocence. As an artist he was the best master of technicalities, and the l>est colorist of his time, and his mode of color was original. With a full brush he created a deep impasto; he then shaded o- fused tin- 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 14Gn. 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 eh. 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 r.ctivc 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 r/enre 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 Leyden (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 spscimens of his works. Bartsoh gives fifty-six etchings by him, and they arc very excellent. Lombard, Lambert Real name Lambert Sustcrmann. Born at Lifege (1506-1560). Pupil of Mabuse, he adopted the Italian style SS. PETER AND PAUL BEFORE THE PROCONSUL FELIX. Brancacci Chapel. BY FILIPPINO LIPP1. 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 arc- 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. LOME AR DO 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 facade 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, 1 ' 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. Longhi, 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 w*as inferior as an artist. Longhi, Giuseppe, born at Monza (1766-1831). A distinguished engraver. He studied under Vangelisti, professor of engraving at Milan, whom he afterwards succeeded. He also studied in Rome, where he was acquainted with Raphael Morghen. 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. Lousing, Francois 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 organized, and obtained a prize. The Prince and the Count Cobentzel then sent him to Rome, where he entered the school of Raphael Menjs. 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 arc 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. lie commenced by painting choice (lowers for tin- florists, and thus acquired the habit of exactness in his representa- tions. He is sometimes confounded with artists by the name (if Vanloo. Looten, Jan, died in London, 1681. A Dutch painter of land- scapes. His composition was good, but his coloring was heavv and inky. The Berlin Gall, has a landscape with a stag hunt, signed Jan Loolen, 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. Yasari 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 pre>er\cd there. In the Uffizi there is a ''Madonna and Child with An 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 Arcxzo; 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 trreat talent, a close student of nature, and remarkable in his power to render movement and expression. Lorenzetti, Ambrogio. Brother of Pietro. Lorenzo Cihibcrti praised this artist very hijjhly. 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 1:342. 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 (lliiberti to have been wise when he placed Ambroirio before Simone. Pietro ou^bt 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 work? 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 Gall. 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 TJmbrian painters by this name who flourished in the loth 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. Lornie or De L'Orrne, 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 (1G66-1743). 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 1737, 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 Chamagne 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 Gelee 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 LOKHAIM-:. 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, fur 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 aru 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 savs that he journeyed to Rome with a relative, and says nothing of his having l>een 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 Xaples with Godfrey Waal l>eforc he became the pupil of Agostino Tassi. His reputation, which was already good, was fuily established by some works executed for Urban VIII. 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 unim|>eachahlc, amiable in disposition, and tender in feeling. His personal ap|>ear- 1 An original Claude Ixirraine, belonging to Mr. William P'.ii!ijx j . was burned in Boston, November U, 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 AFTEU 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, Avhere 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, " 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 Archbishop 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 Colojne, Munich, and Berlin galleries. Lotto, Lorenzo, was probably born at Bergamo, although he is 378 LOTTO LUIGL sometimes called a Venetian (1480?-lu3S ?). 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 IK- 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 change* 1 his manner; the result being that at different times his works resemble Bellini, Giorgione, and Titian. lie executed an immense amount of work in oil and fresco. His pictures an- in the churches and galleries of numerous Italian cities and towns, and in almost all European collections from St. Petersburg to Madrid. He resided for a time in Venice, Trcviso. Kecanati. Bergamo, Tresconv (where he first painted in fresco), Ancoua. and Loretto. where In- died. Besides his Scriptural and historical series and single subjects. he painted many very excellent portraits, some of which ha\e bem at times (as probably others still are), attributed to Titian, (Jiorgione, Leonardo, and Pordenone. That they could be thus assigned i> suf- ficient praise, and tells how excellent they must be. These portraits are in die Borghese Pal., in the Brera, the Vienna Gall., the National Gall., etc. I!is 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 (1 7 lo-isii>). 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. lli< 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 arc his most pleasing works, and some of them are excellent. Lowry, Wilson, died 1824. An English engraver who excelled in mechanical and architectural subjects. He engraved many plates tor books, such as Crabbe's Technological Dictionary. Xii-holson's Architecture, etc. Lucatelli or Locatelli, Andrea. A Roman landscape painter who flourished late in the 17th 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 etVect. Lucchesino. See Testa. Luigi, Andrea, called LTngegno. Probably a pupil of Xicn.lo 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 S. URSULA, IN THE CATH. OF COLOGNE. IJY STEl'HAX 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 woiks 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. Lundens, Gerrit or Gerard. A Dutch painter who flourished prob- ably late in the 1 7th 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, Cavaliero Benedetto, born at Florence (1666-1724). It is to be regretted that this artist spent much time in working with cray- ons, which arc so perishable. The Grand Duke gave him the means to visit Rome, where he attracted the attention of Pope Clement XI , 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 Lu'ma, Posteri fati ; opus mallei per Janune, fee. His own Portrait; 'Janus Lutma Batavus, per se opere mallei. 1681. .N_> LUTMA LYSIPIMS. J. Vondelius; Olor Batavus ; opus mallei, per J. Ln/mn. P. C. Hooft; Alter Tacitus . opus mallei, per J. Lutrna. The above were executed in a peculiar manner, with a chisel or punch and a mallet. This he called opu* mallei. The two following are engraved in the manner of Rembrandt, and are much admired : Joannes Lutnia, Aurifex. It is a likeness of his lather in a furred robe; he has his spectacles in one hand, and a porte-crayon in tin- other, signed, Joannes LuDna, Junior, fecit Ao. 1656. Joannes Lutma, Junior; seated at a table drawing, with a large hat which overshadows his face; very scarce. Lutzelbarger, Hans, called also Hans Franck. An old wood-en- graver who engraved principally the works of Hans Holbein. He lived earlv in the 16th century. His initials, II. 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.Fietro, 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 Felt re, 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 'si/mmetria. 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 Pahestra with an iron. A copy of it in marble was found at Traste.vere in 18lti. and is now in the Vatican. This shows that Lysippus aimed to give the l>ody a more, elegant and slender shape than had been the manner of representa- tion; he also made the head smaller in proportion to the bodv 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 (1G32-1693). 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. Threes 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 (1G5G-1715). Pupil of Henry Mommers and Nicholas Berghem. His pictures are not important, but he left a few etchings which are fine and rare. Ono of these represents a " Cavalier on Horseback." He especially ex- celled in drawing horses. Mabuse, Jan Van, real name Jan Gossaert, born 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 " Eece Homo " in the Antwerp Mus. is one of these. Tv.-o of hL 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- 884 MABUSE MALI', >\K. 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 Vet-re, 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. Xone 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 arc 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 dc 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 Viccnza (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 published some poetry under the name of Magagno. Mahselkircher, Gabriel. Flourished about 1470. In the Gall, at Schleittheim there are two large pictures by this artist, repre- senting "Christ bearing his Cross," and the ' Crucifixion." They are fantastic and wild. Majano. See Benedetto. Malbone, Edward Or., 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 happv talent of elevating the character without impairing the likeness: this was remarkable in his male heads; no woman ever lost any beauty MALBONE MANNL. 885 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. Maiini, Giannicola di Paolo, born at Cittk 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. Maiiiil or Maennl, Jacob, born at Vienna, about 1695. He was an engraver in mezzotinto. In 1 720 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 a 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 Correc/gio. S. Francis praying ; after Bassano. S. Clara kneeling ; after Bassano. Repentance of S. leter; 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 ; after 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 L. Manfredi. Susanna at the Bath; after Tintoretto. Susanna and the Elders; after Ann. CarraccL Jupiter and Mercury, with Baucis and Philemon;' after Carlo Left. Diana and her Nymphs ; after Willeborts Boscliaert 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. 25 386 MANNL MANTEGNA. Judith; after Carlo Veneziano. A Child holding a Dog ; after Paul Veronese. Mansueti, Gio., born at Venice. Very little is known of tins painter, but in an inscription on a picture dated 144, 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 ~|V 71, y te_. T 1^1 (1431-1500). He was adopted by 1 J_ i * 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 Squareione. lie 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 1G30 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 arc 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 II. 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 ] 488 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 Czesar," 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 lie 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 388 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, s.-p- arated from both his son and his patron. There arc letters from his children beting Francesco to allow the sale of his works, especially in order to satisfy the Bishop of Mantua for the ehapcl which Man- tegna had undertaken to arrange and adorn for a burial-place for CHRIST MOURNED BY ANGELS. Berlin Mus. BY MANTEGXA. himself and family. Mantegna was doubtless the greatest painter of 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 MAHATTI. 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 w-as 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 Antseus, inscribed, Divo Herculi invicto. Four female figures dancing. Bacchus supported by Fauns and Satyrs. Triumph of Julius Caesar; 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 arc 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, feeblo 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 Marianne. 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 890 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 1G89 Ciru Fcrri, \vho was his principal rival, died, and from this time, he was rapidly advanced. lie was made inspector of the stanze in tin- 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. MarcelUs (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, Estebaii, 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 sei/ed 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 i 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 cf 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 medieval 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 Art?, Siena; and another in the Museo Cristiano 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: af,er 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 mme. Village Children forming a Concert; after C. Sachtlecven. 1633. Marlow, William (1740-1800). Pupil of Scott, and a painter of English landscapes. He painted many scenes on the Thames, and near Richmond and Twickenham. His pictures arc 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. In 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 (1 789-1854). A painter of the most terrible, brilliant, and incomprehensible imaginations. lie has been called the painter of "architectural dreams," but his archi- tecture was no more that of dreams than his tandBCapei 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. Ho had worked so much on glass that his color always reminded one of stained windows ; the human ficrures 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 (1602-1007). 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 Royal 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 sonnets." 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 are 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 LibraVy 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 earlv manifested his inclination for painting. In 1421 he was enrolled in the jruild 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 a_ r o 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. Clcmente 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. Signor Cavalcaselle believes it to be a later work than Vasari makes it, and yet it ia inferior to his latest works. The frescoes at S. Cle- MASACCIO. 395 mente were probably done about 4423 or 1424. They cover the wall*, 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 MASSARD. 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 Cavaleaselle, 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 lie 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 adonis 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 Ulli/i 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 JEneas 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 " 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- c e e d e d 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 which teils his story, one sentence THE MISERS. BY Q. MASST8. At Windsor Castle. 398 MASSYS MAZZUOLI. of which reads, " Connubialis amor do Mulcibre fecit Apellem." He is buried in front of the Cath., and the immediate spot is marked with the simple inscription, ^f. 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 A/f ^ Dutch engravers of whom Jacob alone merits ' ' especial praise. He was born at Haerlem (1571- 1631). He was a son-in-law of Henry Goltzius, under whose direc- tion he worked after having visited Italy. He engraved after tin- 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 (l;V>s- fy( 1G14). A pupil 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 Retiro. 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 Ferraret-e 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 rolid 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 coUectionfl 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 d;.:ed 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 arc in the Gall., and tin- K|iisc->pal Pal. of Parma, in the Musi-urns of Naples. and Berlin, and in some private collections. Mazzuoli, Francesco Maria, called II Parmigiano or Panni<_i:> nino, born at Parma (1503-1540). lie 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 II 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 (14 10- 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 " 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 Ilerr 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- ters. " 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 Iluerlem (1665-1688). Pupil of his father and Nicolas Berghem. He usually painted land- scapes with sheep. His works are not often seen. There arc 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'!)). 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 Mande.r. 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. Melano, 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. // // Meld Ua <>r Meldola, Andrea. An engraver who A n/l flourishc<1 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 Schiavonc, called Afafefo. Zani claimed to have made the discovery that, Meldolla was a different artist. He worked side by side with Parmitriano, and probably under his direction; so it is not strange that he should have the same manner, which he certainly had, even when eiih >o extremely as some artisis, and thus lias 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 160 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 se'-n i.i the Louvre, Hague, Dresden, Van der Hoop, Munich, and Berlin galleries. The A 8POKTSMAN. 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 kin:* 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 cf 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 MIGrfON. His pictures arc very small, and their subjects are often from the higher classes of life. Smith names 140 pictures of his. The Munich (Jail, is richest in his works, and Dresden. Vienna, Florence, and St. Petersburg have o-ood examples, but the Louvre and Kii"-Iish eol- O O * ' O lections arc 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 \ears in Rome, where he was patronized by the Popes Urban VIII., 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-Graee was his chief fresco in France. He painted twelve frescoes at S. Cloud. In 16(>4 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 Mine, 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. /~* /~* SA Mitelli, Agostino, born at Bologna (1609- (.. r-r-i C_K x 1660). He painted many years with M. A. J\\f c/ 1 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 Gio. Bellini, who 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. Barts=ch de- scribes eight, and does not include several which other judges attrib- ute to him. _ *-%? Modena, Nicoletto da, born at Modena about 1460. It is known that he painted perspective, and architecture, but he is famous as one of the earliest engravers of Lombardv. 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 N A7\ y \ ~TT f?Sj 410 MOLA MUXAMY. eveniw lights. His hVht and shade are ahvavs (inc. His \vnrks arc O ~ O * seen in public galleries, and are in many private collections in Eng- land. We have a few spirited etchings by him. Mola, Jean Baptiste, born about 1616-1661. Pupil of Pinion Vouet and Francesco Albano. His landscapes an- very pretty anil his portraits good. He also executed a few etching. Moleuaer, Jan. Flourished 1625-1660. Dutch painter of scenes from peasant-life. His works arc 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. Molyu, Pieter, born at Haerlem, about 1600. One of the early landscape painters. His works arc 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 Tcmpcsta, 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 Home and married there. Hi- 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 ocape. 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 i* i.oi. 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 Trinitk, Florence, in the Bartolini chapel: others are in the Acad. of Florence, the eh. of Monte Oliveto, and in the National Gall. His works display the characteristies of art in his time. Monamy, Peter, l>orn at Jersey (1670-1749). An indifferent painter of marine pictures. MCXXCALVO - MONTELUPO. 411 Moncalvo. Sec 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 (1606-1 G86). The works of this master are pleasing. He painted landscapes, market scenes, etc. He introduced ruins, elegant arches, etc., with good taste. Iloubraken says that Urban VIII. admired him so much that he retained him thirteen years in his service. Monuoyer, Jean Baptiste, called Baptiste. Born at Lille (1634- 1699). A llower painter, who was the fashion in his day. Le Brim 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 no'.iceable 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. Montanes, Juan Martinez, born at Alcala la Real ; died at Se- ville, 1650. Havincr 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 eh. of S. Lorenzo has the high-altar 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. Domiuick 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 " Crucifix " of Cellini. Montelupo, Rafiaelle 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, lit' 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. Ik- had no great excellence. Moor, Kaiel 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 picture-, 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 dr. 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 Kin?. This reconciled the monarch. His pictures were all of sorrowful, reli-rious subjects. Few of them have left his native country. The Louvre has one of ' Christ hear- ing his Cross," which resembles " Christ crowned with Thorn-." in the Queen of Spain's GalU which last is. perhaps, his , //-,/' ceuvre. 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 KinMi- " of Raphael and other important works. His best known plates are the "Aurora," after Guido; the "Last Supper/' alter 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 Mor^hen was accustomed to give Palmerini an impression from liis plates in ah 1 their different stages of advancement. an:l 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 (KJ12-16GG). 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 (17G3-1804). 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 pins surpass all. The latter part of his lite 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 (1512-15C8 ?). 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. lie was born at Verona, in 1-142. and his name is mentioned a few times in the records of the city, but he is espe- cially interest inr on account of his son. Morone, Francesco, born at Verona (1473-1529). A fine painter who executed many works. He was the pupil and as>istant if hi* father, but seems to have studied the works of others. In drawing he resembles Manteirna. in color Montagna, and he imitated the softness of the Umbro-Ferrareae M-hool. His works arc too numerous for any attempt at a description of them. His master- pieces an- in Verona in S. Maria in <)i"_ r ano. anil 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 sacond only to Titian. It is said that when the Bergamese 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, hut 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 knoAvn fur 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 " 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 arc 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 Ernbden (1 633-1 G8G). 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 f/enre, 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 afoot-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 " Adoration of the Shepherds." It is spirited and pleasing, and has something 416 MOYA 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 Navarretc. Mulinari or Molinari, Stefano. Flourished 1775. An engraver of many plates after the best Italian masters. Muller. This is the name of a nnmber 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 74 7-1830). 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. lie 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 (1786- 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 hu became an eminent artist of genre subjects. '' The Sonnet," " First Jx>ve," "The Wedding Gown," " The Fi^ht Interrupted," '-The Wolf and the Lamb," and ' The Barber's Shop," are titles a of part of his pictures, and suggest his style of art, in which he ranks next Wilkie among British painters. Mufioz, Sebastian, born at Navalcarnero (1654-1 GOO). 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 Zara_ r nxa. 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. 41 V 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 Mufioz by himself is in the Queen of Spain'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 an'l 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 Ms 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 MUBILLO. purely Spanish. About the time of his if turn 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 1G48 he 8. JOHN. BY MUKIL.LO. 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 series 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 u.'aLred in a convent at Cadiz, when' 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 (/Ho) ; his second, warm (calido) ; and his latest, vapory (vaporoso). 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 lie 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 wkh 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 Murillo, 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 dc 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. Bonavcntura 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. A loration of the Shepherd.-*. < hrist crowned with Thorns. Two pictures of the Crucifixion. Conversion of S. Paul. S. 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 Mug. Seville, Ch. of S. Maria la Blanca. Madrid, Queen of Spain's Gall. I'.iris, Louvre. MURILLO. 421 Joseph interpreting the Dro::ms. 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. S. Augustine washing the Feet of Our Lord. S. Thomas of Villanueva; two pictures. Beggar Boy hunting Vermin on his Person. Portrait of Don Andres de An- drade. 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. Paris. Louvre. St. Petersburg, Hermitage. Amsterdam, Public Mus. The Hague, Gall, of the King. 422 MUHILLO 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. u u u Vienna, Imperial Gall. Vienna, Esterha/y Gall. Munich, Leuchtenberg Gall. Munich, Pinakothek Gall. London, National Gall. ii a u Print Room, British Mus. Berlin, Royal Mus. ENGRAVINGS AKTF.U THK WORKS OF MTUILLO. Engraver, ARDEI.L, James Me. The Virgin, with a Glory of An- gels ; fine. S. Jerome kneeling before a Crucifix; fine. S.Francis de Paula. Engraver, CARMONA, Immanuel Salvador. Virgin and Child; half-length. Engraver, DEAN, John. S. Anthony of Padua. Engraver, HALDOU, John Louis. La Toilette du Savoyard. Engraver, MAJOR, Thomas. The Good Shepherd. Engraver, SPILSBURY, Inigo. Flight into Egypt. Engraver, STRANGE, Sir Robert. The Infant Jesus plaiting a Crown of Thorns. 1787(?) Muscher, Michiel van, born at Rotterdam (1G45-1 705). A pupil of Van Temple, Metsu, and Van Ostade. lie painted small conversations and portraits which are excellent. They are seen in some public galleries. Musis, Agostino de, called Agostino Veneziano. Born A at Venice (about 1490-1540 ?). An eminent engraver and a pupil of Marc Antonio, whom he followed with snceess without being his equal. He engraved many plates after Raphael. Fine impressions of his plates are very rare. Mutina or Modena, Thomas of. In 13.")", the Emperor Charles MUTIXA MYRON. 423 IV. employed this painter at the castle of Carlstein. In the chapel of the castle, two of his pictures still remain. Another work in the altar recess of S. Catherine's chapel, at Carlstein, is doubtlessly his. It represents a Madonna between an Emperor and Empress, and is a picture of great sweetness. A Vera Icon in the Cath. of Prague, is attributed to him, and a Virgin and Child with two warrior saints in the Belvedere, Vienna, is inscribed with his name. Muziano, Girolamo (1528-1592). A Brescian artist, who studied under Romanino. He became one of the best imitators of Michael Angelo. His chief work was " S. John preaching to the Monks in the Desert," in S. Maria degli Angeli, at Rome. Myn, Herman van der, born at Amsterdam (1684-1741). He first painted flowers and fruit, and afterwards portraits. lie resided some years in London. Many English families have his pictures, which are rare in public gal- leries. He had one daughter ;ind five sons who practised painting in London; of these Gerhart and Frans were the most successful. Mytens, Daniel, the Elder, born at the Hague (about 1590-1656?) An excellent portrait painter, who preceded Vandyck in England. Some of his works are at Hampton Court, and in other English galleries. Vandyck painted his por- trait, and it is one of the " Centum Icones" published at Antwerp in 1645. Myron. This celebrated Greek sculptor was a native of Boeotia, and born about K. c. 430. He was remark- able for his difficult attitudes and his power to represent a variety of forms. Most of his statues were in bronze. The two most wonderful works which he did were the " Discobolus," and a Cow, of which many writers speak. MAKBLE COPY OF MYRON'S BRONZE DISK- THKOWEK. Massimi Pal., Rome. It was at Athens, and carried to Rome, it was placed in the temple of Peace. The praise awarded it proves it to have been perfect in its 424 MYRON NARDI. way. Of the quoit-thrower, we have several copies; that in the Massimi Villa, at Rome, is undoubtedly the best, ami was found on the Esquiline, in 1782; others are in the British Mus., Hadrian's Tiburtine Villa, the Vatican, and the Capitoline Mus. In this work. he had full scope for the exercise of his power to portray manly vigor and strength. This is true of another statue in the A T atican repre- senting Marsyas regarding the flutes which the goddess rejected. The representation of a momentary action renders the Discobo- lus " wonderfully effective, and we feel as if we must see the throw made, and the tense muscles relaxed, before we can leave it. It is an example of the highest Greek art, in the representation of the phys- ical frame and difficult action, but it has no intellectual depth or thought. N. Nahl, John Augustine, born at Berlin (1710-1785). A sculptor who received commissions for the gardens of Potsdam and Chariot - tenburg. He is well known by his monument to Mine, de Langhaus in Hindelbanck, Switzerland. This beautiful work is mentioned by the poets Haller and Wieland. At Cassel, where he lived from 1 7.").".. he did many good works, among which the statue of the Landgrave William may be mentioned for excellence. At Cassel he was made Professor of Sculpture. Nain, Louis, Autoine, and Matthieu Le. Brothers, born at Laon, about 1583, 1585, and 1593. Their works are not separated, but are usually marked Le Nain. Their subjects were genre and largely from rustic life. They are carefully painted, and the faces are varied in expression and often beautiful. Naiwinck or Naiwyncx, H., born at Utrecht about 1620. Very little is known of the landscapes of this painter outside his own country, but he left two sets of landscape etchings, numbering eight each, that are esteemed by collectors. Balkema calls his name Naenwincx. His baptismal name is not known. Nanteuil, Robert, born at Rheims (1G30-1G78). A very eminent engraver. He also executed portraits in crayons. His engravings of portraits, both after his own designs and those of oilier masters, are held in high esteem. His manner was peculiar; he carefully modelled every shade of the face, and for the rest of the engraving employed a different kind of work. Nanteuil obtained from Louis XIV., in 1660, the edict which declared engraving to be distinct and free from the mechanical arts, and gave engravers the privileges ,tf other artists. Nardi, Angelo. An Italian painter who passed a large portion of his life in Spain and was painter to Philip IV. He is said to have been a pupil of Paul Veronese, in whose style he painted. His works are seen in the churches of Madrid. NASMYTH NAVARRETE. 425 Nasmyth, Alexander, born at Edinburgh (1758-1840). A land- scape painter whose works are numerous, but of no extraordinary merit. He painted a portrait of Robert Burns. Much of his life was devoted to teaching, in which he was very successful. Nasmyth, Patrick, born in Edinburgh (1786-1831). Son of the preceding, to whom he was superior. He was compelled by an injury to his right hand to paint with his left. He settled in London, and has been called the " English Hobbema." His works are now much esteemed by collectors. Many of them represent Scotch landscapes. Nason, Pieter. Flourished about 1670. A painter of portraits which are admirable. His still-life pictures are most esteemed, and are seen in the finest German collections. Two of his pictures are in the Berlin Mus. Naucydes. An Argive sculptor. He was the teacher of Poly- cleitus II. His gold and ivory Hebe, a statue of Hecate, one of Erinna the poetess, a Discobolus, and others, are praised by ancient writers. There is a statue in the Vatican believed to be a copy of the last-mentioned. Navarrete, Juan Fernandez, called El Mudo, because deaf and dumb, born at Logrono, 1526; died at Toledo, 1579. There were two other Spanish painters, Diego Lopez, called also El Mudo, and Pedro el Mudo, who were mutes, but who must not be con- founded with Navarrete. He was not born a mute, but at three years of age became deaf, and so could not learn to speak. He was in Italy several years, and a pupil in the school of Titian. Tibaldi was known to say that he did nothing of much worth while in Italy, but he was appointed painter to Philip II. in 1568. He painted eight pictures for the Escorial, which were his principal works. Three of these were burned. His picture of the '' Nativity " is remarkable for its lights, of which there are three. One is from the Divine Infant, like that in the " Xotte " of Correggio; another is from the glory above, and the third from a torch in the hand of Joseph. When Tibaldi saw this picture he exclaimed, " O! gli belli pastori!" and the picture has since been called " The Beautiful Shepherds," for the group of shepherds is the best part of the painting. The others represent the "Martyrdom of S. James the Great," " S. Jerome," " Christ at the Pillar," and the " Holy Family." In 1576 he painted " Abraham and the three Angels." This was placed in the entrance hall where the monks received strangers. He after- wards contracted for thirty-two large pictures, but his health pre- vented his finishing them. The contract stipulated, among other things, that he should not represent any cat, or dog, or any immodest figure. This doubtless arose from his having painted a dog and cat contending for a bone in the foreground of his " Holy Family.'' His pictures are little known outside of the Escorial. The King of 426 NAVARRETE NEEFS. Holland has a "Holy Family," and the Coll. of Lord Lansdowne contains a portrait by El Mudo which is a gem. Lope dr Ve^i wrote a lament for his death, and said, " Ningun rostro pinto que fuese mudo." 1 When the " Last Supper," painted by Titian, arrived at the K>-o- rial, it was found to be too large for the panel in the refectory for which it was designed, and the King ordered it to be cut. El Mudo was iu great distress at this, and offered to copy it in a re- duced size in six months, and to forfeit his head if he failed to do so. He also intimated that he should expect to be made a knight if he ropied in six months what Titian had been seven years in painting. But Philip persisted in cutting the painting, to the intense grief of Navarrete. While he lived Philip did not reuli/e his worth, but after his death he often eulogized him, and declared that his Italian artists could not equal his mute Spaniard. Neagle, John, born in Boston (1799-1865). He began to paint coaches, but became a portrait painter in Philadelphia. He made a good reputation, and married the daughter of the artist Sully. His picture of Patrick Lyon, the blacksmith at his forge, now in the Boston Athenaeum, gained him much fame. His portraits are in Indepen- dence Hall, in the Philadelphia Acad., and in the Union League Club of that city. Neale, John Preston (1770-1848). This eminent English en- graver is best known by his admirable plates for the following works : ' History and Antiquities of Westminster Abbey," " The Seats of Noblemen and Gentlemen of England, Wales, Scotland, and Ire- land.'' and " Views of the most interesting Collegiate and Parochial Churches of Great Britain, including Screens, Fonts, Monuments, etc." Necker or Negker, Josse de. An engraver on wood, of the IGth century. He executed a part of the prints of the 1- Triumph of Maximilian," by Hans Burgmair. He usually signed his plates with his whole name. Neefs, Pieter, the Elder, born at Antwerp (1570-1651). Pupil of Hendrik van Steenwyck, the Elder. He painted the same (lass of subjects, namely, church interiors, and excelled his master in tone and effects of light and shade. His torchlight effects are excellent. He did not fancy the picturesque, evidently, for his churches are always in good preservation and order. But he enlivened them with figures well arranged. Jn this he was often assisted by Francken the Younger, Teniers the Elder, and Jan Breughel. Pieter Xeefs, the Younger, painted the same subjects as his father, but in an inferior manner. Neefs, James, born at Antwerp, 1680. An engraver of the works * "No countenance he painted that was dumb." NKKKS NEWTON. 427 of Rubens, Vandyck, anr" Titian. He also published a book of Fables, original and selected, illustrated by wood-cuts from his <>\vn de-i^ns. Nuyen, Wynand Jan Joseph, born at the Hague (1813-1839). Although he died so young, he had made himself an enviable reputa- tion as a marine painter. His works are only seen in rich collections. " Le Coup de Canon " is one of his chefi-tFosmre, and represents a view on the Y off Amsterdam, with a yacht from which a gun is fired. It was sold in 1850 for 375. Nuzzi, Mario della Penna, called Mario da' Fiori, born at Penna (1603-1673). A fine flower painter. He often painted garlands ti>r the decoration of the figures of the Virgin, saints, etc. He also painted festoons and wreaths around the figures of Carlo Maratti. o. Obregon, Pedro de, born at Madrid (1597-1659). A good painter of history, whose works still remain in some churches and convents of Madrid, and also in the private collections of the same city. Ochtervelt, J. Flourished about 1670. His pictures represent familiar subjects and are very excellent, though not equal to those of Metsu, whom he resembles in manner. His works are somewhat rare. Hi* color and lighting recall the manner of Peter de Hoogh. Two of his best pictures are in the Ila^ue and Aremberg galleries. Oggione or Uggione, Marco d' (about 1470-1530). A scholar of Leonardo da Vinci. Some of his works are preserved in the Brera, but he is especially worthy of notice for having made copies of the "Last Supper" of his master. One of these in oil. the size of the original, is in the Acad. of London; another is in the Convent of Castellazzo, near Milan. These were painted from the original for people acquainted with it, and by a'pupil of its author; it would seem that they should be entitled to much consideration, making allowance, of course, for the dilTerent capabilities of the master and pupil. Ohmacht, Landolin, born at Dunningen in "Wiirtcmherg (17C<>- 1834). A celebrated sculptor. After his early studies under Melchior, and a residence of two years in Home, he settled in Stra- burg. He executed many important monumental works, some of which are in the cathedrals of Liihcek. Speyer, and Strashurg. The sculptor David is said to have called Ohmacht " the ( 'orre'_ r 'lio of sculpture." He was an intimate friend of Klopstock. of whom he made several busts. He executed some classical subjects. Hi- "Judgment of Paris" is at Xymphenbiir^. Oliver, Isaac (1556-1617). This English miniaturist wa- OLIVER ORCAGNA. 431 ond only to Cooper in his department of art. His finish of details, such as lace, jewels, etc., was wonderful. He sometimes copied the pictures of other artists, such as Correggio and Titian. He painted a few small portraits in oil, and very rarely designed historical sub- jects. His works are much esteemed by curious collectors. His son Peter (1G01-1660) was instructed by his father, and painted in the same manner. His works are fine, and sometimes equal, but never surpass those of his father. Ommeganck, Balthasar Paul, born at Antwerp (1 755-1 82(5). Pupil of Antonissen. An admirable painter of landscapes and animals, especially sheep and goats. His works were much sought during his life, and are since increased in value. His color is not as warm as we could wish, but he depicts nature with great truthful- ness, and it is often easy to tell the season of year, and even the hour of day which he represents in his works, from the manner in which he reproduces the smallest characteristics of the scene he paints. Many of his works are in private galleries, but they are also seen in the Louvre, Brussels and Cassel galleries, the Chateau of Wilhelmshohe, etc. Omodeo or Amadeo, Gio. Antonio (1447-1520). One of the best of the Lombard sculptors. His works ?n the Capella Colleoni, at Bergamo, rank with the most splendid sculptures of Upper Italy; his other important labors were done at the Certosa of Pavia. Oost, Jacob van, the Elder, born at Bruges (1600-1674). An excellent historical and portrait painter. He acquired in Italy something of the manner of Annibale Carraeci, but in color and realism he remained always true to his nationality. Many of his works are in the churches of Bruges. The number of his altar-pieces was very large. He did not crowd his figures; he introduced archi- tectural backgrounds with good effect, and gave fine expression to his heads. His son, Jacob van, the Younger (1637-1713), estab- lished himself in Lille, and painted in the same good style as his father. His portraits were 'very fine and have even been compared to those of Vandyck. Oosterwyck, Maria van, born at Nootdorp near Delft (1630- 1693). This celebrated flower painter was instructed by John David de Heem. She was famous in her lifetime, and princes and sovereigns sent to her for her pictures. She grouped her flowers and fruit with grace; her color was admirable, and her finish delicate and excellent. Her works are rare and much esteemed. Orbetto, L. See Turchi. Orcagna, Andrea, real name Andrea Arcagnuolo di Cione. Ar- cagnuolo, meaning Archangel, has been corrupted into Orcagna. Born at Florence (1329-1376 ?). Son of Maestro Cione, a gold- smith. Orcagna was an architect, goldsmith, sculptor, painter, mo- saist, and poet. He first studied his father's craft, was next instructed 432 ORCAGNA. in painting, by his brother Bernardo, and then entered the studio of Andrea Pisano. He painted, with his brother, the Life of the Ma- donna in S. Maria Novella (now repainted); the great frescoes of " Hell and Paradise," in the Strozzi chapel of the same church; frescoes in the Servi (now destroyed); the facade of S. Apollinare ; the " Coronation of the Virgin," now in tin- National Gall.; and then, as has always been said, the great frescoes of the " Triumph of Death " and the " Last Judgment," in the Campo Santo of Pisa. Signor Cavalcasolle doubts the truth of these being the work of Orcagna; but if this author is ri^ht, enough remains to show that he was the greatest painter who had snccecde I Giotto. He united tin- dramatic force of composition of the Florentine, with the tender- ness f color of the Sienese school. He, practised a kind of fore- shortening. His perspective could not be tested by scientific rules, ORCAGNA ORLEANS. 4o3 but it was all that could be done without them. He attained to more relief and roundness of form than Giotto had done; his color was well fused, transparent, and soft, while yet brilliant, and his atmos- pheric effects were advanced for his time. All this fully entitles him to the fame of having been a great representative of progress in painting. As an architect, he was summoned from Orvieto (where he was employed), to change the loggia which Arnolfo del Cam bio had built into a church, and to erect a tabernacle in it for the shrine of the famous Virgin, which Ugolino da Siena had painted upon one of the pilasters of the loggia. The commission was given him by the brotherhood of Or San Michele. This tabernacle is a wonderful ex- pression of the spirit of mediaeval art. Perkins thus speaks of it : " Built of white marble in the Gothic style, enriched with every kind of ornament, and storied with bas-reliefs, illustrative of the Madonna's history from her birth to her death, it rises in stately beauty towards the roof of the church, and whether considered from an architectural, sculptural, or symbolic point of view, must excite the warmest admi- ration in all who can appreciate the perfect unity of conception through which its bas-reliefs, statuettes, busts, intaglios, mosaics, and incrustations of pietre dure, gilded glass, and enamels are welded into a unique ' ensemble.' ' His next great work was the " Loggia de' Lanzi," which was constructed for a place of public assembly and discussion in rainy weather. It was named from its nearness to the guard-house of the German Landsknechts or Lanzi. This was probably unfinished at the time of his death. His brother Bernardo succeeded him as architect of the Commune. Orcagna was employed as a mo- saist in the Cath of Orvieto. He was an admirer of Dante, and made sonnets, called clever by the judges of his time. Viewed in any light, he stands forth honorably ; as a great genius, a noble artist, a man of profound thought, and in his life, according to Vasari, " pleasant, courteous, and amiable." Orizonte. See Bloemen. Orleans, Marie, Princess of, born at Palermo (1813-1839). Daughter of Louis Philippe, and Avife of Duke Alexander of Wiir- temberg. She had great artistic talents, and, though she died so young, left works behind her which insure her unending fame. At Versailles is her celebrated statue of Joan of Arc, in which she has represented the maiden warrior as having, for the first time, killed a man with her battle-axe ; she is moved with contending and powerful emotions; she believes that God has strengthened her arm, and will help her to deliver France, and this imparts a noble pride to her fea- tures; at the same time, the young maiden trembles, and gazes upon blood and death with consternation. It is full of spirit and anima- tion. She modelled a dying Bayard, which was never executed in large size. A beautiful angel in white marble adorns the sarcopha- gus of her brother, in the chapel of Sablonville, and seems like a work 23 434 ORLEANS OSTADE. of inspiration. She also made some designs for glass painting. In a chapel at Fontainebleau, there, is a glass painting of S. Amalia, the patroness of her mother, made from her design, and much admired by connoisseurs. She was as beautiful in her life, as in her art. When she proceeded to Wiirtemberg, she was received with great enthusiasm. Then she suffered misfortune; their castle was burned; her health failed, and she went to Pisa, in hopes of restoration; here, a few days before her death, she asked for more light in her apart- ment, and spent an hour in drawing. Orley, Bernhard van, born at Brussels (1471-1541). When quite young, this painter entered the school of Raphael, at Rome. After his return, he was court painter to Margaret of Austria and her successor, Mary of Hungary. He painted a large number of altar- pieces, and was also much employed with cartoons for tapestry for the court. Although he adopted much of the Italian manner, his execution is always careful, and his color cool in tone. His pictures are seen in the Mus. of Brussels; ch. of Our Lady, at Liiheck ; Vienna Gall.; chapel " des Orphelins," at Antwerp; Liverpool In- stitution, etc. The shrine with double wings, at Lubeck, is his most considerable work; it represents the "Annunciation;" the ' ; Latin Fathers; " the " Sibyl showing the Vision to the Emperor Augus- tus; " the "Vision of the Apocalypse to S. John;" and the " Trinity." In many respects, this is an excellent work. The Gall, of the King of Holland has several pictures by Van Orley. Orreiite, Pedro, born at Montealegre, Murcia (1560-1 G44). He visited Italy, and upon his return became a favorite of the Duke of Olivarez. He was employed at Bueno Retiro, and his works are now seen in all large Spanish cities. They are also in the Royal Gall. Ortolano, L'. See Benvenuto. Os, Jan van, born at Middelharnis (1744-1808). A distinguished painter of fruit and flowers. His works are in great request, and rank next those of Van Huysum. They are rare in public galleries. His son, George Jacob Jan van Os, also excelled in the same style of painting as his father's; but another son, Pieter Gerhard (1776- 1839), became a distinguished animal painter. He imitated Paul Potter and Karel Du Jardin. His works are in the choicest collec- tions, and his etchings from his own designs and those of other artists are much esteemed. Osorio, Francesco Meneses, born at Seville. Flourished about 1725. A pupil of Murillo, whose works he copied perfectly, excelling particularly in those of children. After the death of his master he partly finished the " S. Catherine " upon which Murillo was engaged when he died. The works of Osorio are in the ch. of S. Martin at Seville, the Hospital of Cadiz, and other public places. A T^\ t t Ostade, Adrian van, born at Lubeck (1610- 2\ C/ Jv 1(;85 )- One of the most excellent among the Dutch genre painters, for though born at Lubeck OSTADE OVERBECK. 435 he went when young to Ilaerlcm, was a pupil of Frank Hals, and settled at last in Amsterdam. His color resembles that of Rembrandt, and his chiaro-scuro also recalls that master. He had little eye for beauty of form, or grace of motion; his children are rarely pretty, and his subjects are never more elevated than the scenes of common peasant life. But of these he chooses the best; his works illustrate contentment and humble happiness, rather than drunken brawls and disgusting orgies. Kugler well says that his pictures " afford a striking proof that works of art, in spite of great deficiencies, may yet, if only possessing excellences of one class, offer high attraction to the cultivated eye; the excellences of Ostade consisting, namely, in genuine feeling for nature, picturesqueness of arrangement, harmony of color and chiaro-scuro, and extraordinary technical mastery." Smith mentions about 385 of his works. Many of the best are in England, but they are seen in all large European galleries. It is wonderful how their value has increased; for instance, one sold in 1802 for 340 brought 1386 in 1844. He also made numerous drawings in semi-opaque color, which are now very valuable, and about fifty-four etchings from his own designs, which are esteemed highly. He married the daughter of Van Goyen, and had a large family ; he left Haerlem intending to return to Liibeck, where he hoped better to support his household, but his pictures were so much appreciated in Amsterdam that about 1662 he settled there for life, made the neighboring villages the scenes of his study, and gave him- self quietly to the work of picturing " the short and simple annals of the poor." Ostade, Isaac van, born at Liibeck (161 7 7-1671 ?). Brother and pupil of Adrian. He adopted a little different class of subjects, and represented travellers halting at inns, village scenes with animated figures, etc. He attempted in many ways to imitate Adrian, espe- cially in the vines hanging from porches and other portions of cottages. Adrian excelled especially in this feature of his works, and Isaac im- itated him well. He was earliest appreciated in England, and his works are somewhat rare in Continental galleries, where pictures of a much poorer master are sometimes called by his name. His pic- tures are also of value, and are eagerly sought by collectors. His best works were executed from 1644 to 1650. Oudenarde. See Audenarde. Oudry, Jean Baptiste, born at Paris (1680-1755). He espe- cially excelled in painting hunting pieces and animals, and many of his works are seen in the royal palaces of France. Overbeck, Frederich, born at Lubeck (1789-1869). In 1810 he fixed his residence in Rome, where he died. He endeavored to teach and practise upon the principle that art exists not alone for beauty, but should be consecrated to the service of religion. He attempted to reestablish the ascetic art of past centuries, and gathered about 436 OVERBECK - PACCHIAHOTTI. him in Rome other artists who were fascinated with his doctrine. The "History of Joseph " in La Salic Bartoldi, and -'Jerusalem Delivered " at the Villa Massimi, are grand frescoes executed under his direction. Among his oil paintings are the " Entrance of Christ into Jerusalem," ch. of Notre-Dame at Liibeck; " Christ on tin: Mount of Olives," at Hamburg; the " Marriage of the Virgin; " va- rious Holy Families; the " Influence of Art upon Religion," etc. Ovens, Jurian, born at Amsterdam (about 1G20-1675?). Pupil of Rembrandt. He excelled in portraits and the representation of night scenes. The " Conspiracy of Claudius Civilis," in the Town Hall of Amsterdam, is a chef-d'oeuvre. In the Huyssittenhuys at Amsterdam there is a picture of seven Regents sitting round a table, which is excellent for its animation and powerful treatment. P. Pacchia, Girolamo del, born at Siena (1477-1535 ?). Son of a Hungarian who made himself famous as a founder of cannon. Noth- ing is known of the teachers of Del Pacchia. In 1500 he was iu Rome, and from 1508 to 1511 he painted pictures which are known only by the accounts of them. The earliest of his remr.i.iing works are in the churches of S. Christoforo and S. Spirito at Siena. Those are in advance of the Sienese pictures of his time in drawing and ex- pression, and the color is excellent. He was in Siena in 1515, but no works of that year remain. In 1518 he competed with Bazzi and Beccafumi for the frescoes for S. Bernardino. In these he appears to have adopted some of the traits of Pinturiechio, but is still original. In 1533 he became entangled with the dangerous Bardotti dub, and two years later disappeared from Siena, and nothing more is known of him. Many of the pictures which have been ascribed to Pacchi- arotti doubtless belong to Del Pacchia, who was the superior artist. Of these may be mentioned a " Holy Family " in the Siena Acad.. a " S. Bernard" in the Pinakothek of Munich, and a " Madonna " in the National Gall. Pacchiarotti, Jacopo, born at Siena (1474-1540). This artist led a troubled life. He was involved in a political conspiracy, and is said to have fled to France in 1535. He had returned to Siena in 1539, when he was banished and declared an outlaw by the govern- ment; through the influence of his wife he was restored to bis family in 1540, after which time nothing positive is known concerning him. Vasari did not mention Pacchiarotti, and although he executed some great works, he has been comparatively neglected by posterity. lie was not equal to Perngino in color, but in other respects he surpassed him, and there is no proof of his having studied under that master, as has sometimes been stated. His best remaining works are in the churches and the Aead. of Siena. In the ch. of S. Catherine there PACCHIAROTTI PAJOU. 437 is a representation of that saint visiting the body of S. Agnes, which is full of tenderness, grace, and beauty. Pacheco, Francesco, born at Seville (1571-1654). More cele- brated as a writer upon art and as the teacher of Alonso Cano and Velasquez, than for his own pictures. He studied only at Seville, and did not visit Madrid or see the works of any great masters until 1611. He then returned to his native city and established a school where younger men than himself could have a thorough and system- atic education in art. We are led to believe that he improved much himself, fro:n his own and other descriptions of his picture of the " Last Judgment," but the work no longer exists. Pacheco suc- ceeded best in small portraits, and among the famous men who sat to him was the author of ' ' Don Quixote," Miguel De Cervantes Saavedra. Pacheco was the first to properly paint and gild statues and relievi, and some specimens of his work of this sort still remain in Seville. His treatise on the art of painting obtained him much reputation in Spain. In the Gall, of the Queen of Spain there is a picture of S. Inez by Pacheco. Padouanino. See Varotari. Paelinck, Joseph, born at Oostacker near Ghent (1781-1839). An historical painter whoso works entitle him to eminence among modern Belgian artists. He spent several years in Paris and Rome, and while in the latter city painted his chef-d'oeuvre, representing the " Invention of the Cross," now in the ch. of S. Michel in Ghent. Other works of his are in Antwerp, Malines, Oudenardc, and other cities of Belgium. His religious subjects are his best works, because more free from academic affectation than his mythological and other pictures. Paggi or Pagi, Gio. Battista, born at Genoa (1554-1627 ?). Pupil of Luca Cambiaso. He killed an antagonist in a quarrel, and fled to Florence, where he lived twenty years and was much patronized by the court. In 1600 he was invited to return to Genoa, and was con- stantly employed, both for public and private collections, until his death. His works are seen in Florence, Pavia, and Genoa. Pajou, Augustin, born at Paris (1730-1809). At the age of eighteen this sculptor gained the grand prize at Paris, and went by means of the King's pension to Rome. He remained there twelve years, and after his return to France became famous and was much employed. He executed the sculptures for the fasade of the Palais Royal, and the figures of Prudence and Liberality, Mars and Apollo, for the garden of the same Pal. ; the sculptures for the opera house at Versailles; a Psyche Abandoned in the Luxembourg; statues of Descartes and Bossuet; the ornaments of the Cath. of Orleans, and many other works. He gained admittance to the French Acad. by his group of " Pluto holding Cerberus in Chains," and was made pro- fessor of sculpture in that institution. During the time of Napoleon 438 PAJOU PALAMEDES. he was a member of the Institute. His style was masterly and at the same time natural, not exaggerated. He surpassed the French sculp- tors who preceded him. CORONATION OF THE VIRGIN. SUPPOSED TO HAVE BEEN EXECUTED AIJOfT 1880. From the Imhoff Altar-piece, at Nuremberg. Palamedes. Real name Anton G. Stevens, called also Staevaerts or Stevers; bora at Delft (1604-1680). Ho painted interiors which are highly finished and warm in color. His pictures are rare in pub- lic galleries. The only ones of which I know are in the Berlin Mus., Frankfort Gall, and Brussels Mus. He was fond of representing fashionable people, and pencilled his figures with great precision. His brother, whose name was Palamedes Stacvaerts or Stevers, was a painter of small battle pieces, and not equal to Anton, though re- PALAMEDES PALISSY. 439 sembling him in color and drawing. The Duke of Northumberland has a collection of his works at Sion House. Palissy, Bernard de, born near Agen (1510 ?-1589). This cele- brated man was a potter, glass painter, chemist, author, and scientific discoverer. He was first, as he says, employed in " portraiture and vitrification." He was a fine geometrician, and occasionally surveyed and made maps. He saw, when still young, some beautiful Italian pottery, and spent sixteen years in ascertaining the method of enamel painting, the making of colors, etc. He endured privation and nu- merous disappointments, and spent all he could get, so that he and his family were in deep poverty. When at length he succeeded he soon rose to such fame as to be much employed by the Constable de Mont- morency, to have rooms allotted to him in the Tuileries, and to be called " maker of the King's rustic potteries." His garden vases and out-of-door ornaments were very fashionable, and his small work?, such as salvers, ewers, jugs, etc., were eagerly sought, for. He was a Huguenot, and was imprisoned in Bordeaux in the time of Henri II., when he was set free at the entreaty of the great Constable and various nobles. In the time of the S. Bartholomew massacre he was saved by Catherine de' Medici, but he was at last thrown into the Bastille, where he died. His scientific discoveries were very impor- tant, and he anticipated the results of modern discoveries. He gave the theory of artesian wells and stratifications, and a method of tak- ing soundings. He lectured on his discoveries in 15 75, and invited criticism and objections to them. Many scientists accepted his chal- lenc'e. It has been said that Palissy "was to chemistry what Lord Bacon was to philosophy." The following account of the medallion which adorned the front of his house is interesting: "The house where Bernard de Palissy lived for so many years is situated No. 24 Rue Dragon, but in fact the famous enarneller never lived in this O house, which was built during the last years of the reign of Louis XV., but in the house formerly occupying the site, which was demol- ished toward the end of the reign of Henri III., shortly after the death of Palissy. The present building is a very common structure, and has for many years been occupied as a lodging-house. Nothing is remarkable beyond the wooden staircase, which certainly belonged to the former house. Upon the front, one reads this inscription in rude letters, ' Ancienne demeure de Bernard de Palissy.' Under- neath was imbedded the medallion in question, a marvellous work of art in terra cotta, enamelled and varnished, of which the subject was Hercules with the Nemean lion, with this legend : ' Pauvrete em- peche souvent les bons esprits de reussir.' This last inscription was visible until about 1820, when the front was painted and it disap- peared. No one has since thought of restoring it. The medallion alone was carefully respected, having been there since the rebuilding of the house, that is to say, more than a hundred years. Lately a 440 PALISSY PALMA. curiosity-dealer looked upon it with curious eyes. Tin.: dealer, who is a connoisseur in object a of this kind, saw the owner of the house, and after some bargaining carried away the medallion, leaving in ex- change the Mini of 'J^tm francs. The spiicc left upon the front by the absence of this enamel, was quickly filled by a plaster bust worth fifteen francs, and supposed to represent the celebrated potter. Ap- pearances were kept up, and the ghost of Palissy lias nothing to say. The medallion has already changed hands, and the present, owner asks 15,000 francs. Fifteen thousand francs! The artist, during his life, had trouble to sell the same for five or six francs." Palma, Giacomo, called " II Vecchio." Born at Se- rina, near Bergamo (about 1480-1528). He was Berga- mesque by birth and name, but Venetian in his manner of painting. He was original, and if an imitator at all, it was of Gio. Bellini and Cima ; he did his part with Giorgione and Titian to regenerate Venetian art. He was not great, but in the compass in which he worked, he was a fine designer, a good colorist, melo- dious in tone, and skilful in the management of light and shade. He was fond of natural backgrounds, and represented in them eter- nal summer. His female figures arc his bot works, and are not ex- celled in soft, richly blended tones, elegant bearing, and tasteful dress. We have no account of his having studied with any great master, or of his being employed by the state; but he was much pat- ronized by the families of noble Venetians of Cornaro and Friuli, and dwelt much in their palaces. At the time of his death, he had no family but nephews and a niece, and was a member of the brother- hood of S. Spirito, in whose vaults, at S. Gregorio, at Venice, he desired to be buried. His pictures are numerous, and yet he left forty-four unfinished when he died. There are no large galleries in which they are not seen, and space for a general description of them cannot be given here ; his altar-piece at S. Maria Formosa in Venice is in his best manner, and is generally called his master- piece. The centre figure of S. Barbara can scarcely be too highly praised, and many of the surrounding figures are wonderfully excel- lent. This is especially true of the figure of the Virgin (in the pin- nacle), bending over the dead Christ. This whole work displays his happy power of combining a bold touch with vigorous tint, and yet attaining to harmony and finished blending. The " Three Graces " at Dresden, said to represent his daughters, is too well known to re- quire mention. It is said that Violante was his favorite, and the model for the celebrated S. Barbara ; but there is a marked simi- larity in all his female figures. Vienna is rich in such as may be called portraits ; there are also two beautiful ones at the Barberini and Sciarra palaces in Rome. Besides the large number of pictures assigned to Palma with good reason, there are many in European churches and galleries, catalogued as his. which are of doubtful origin. PALMA PALMEZZANO. 441 Palma, Giacomo, called " Giovine " (1544-1628). This painter was mechanical in manner, but had some fine points. There are many works of his in the Acad. and churches of Venice, and some of the best are in the Pal. of the Doge. He loved to represent nude, or half nude mythological figures in the midst of pleasing landscapes. Bartsch describes twenty-seven etchings by this master. Palmaroli, Pietro. The picture restorer who, in 1811, transferred the celebrated " Descent from the Cross," by Daniele da Volterra, from the wall to canvas. He also transferred and restored many other pictures, a list of which is given by Nagler. Palme zzano, Marco, born at Forli (1456 ?-1537 ?). A disciple of Melozzo of Forli. His pictures may be called geometrical. He illustrated the system which came to perfection under Corregsio, the Carracci, and other barocchi. His drawing was correct and sculptural; H2 PALMEZZANO PAPA there is no flow of drapery, no atmosphere-, no feeling for color. In ornamentation, such as tracery of stems and leaves on pilasters, fig- ures supporting vases, etc., he was skilful and tasteful, but generally speaking, his pictures are lifeless and angular, with little charm of color. Many of his works are seen in European galleries. Forli is especially rich in his pictures, and among the most important of his labors are the frescoes in S. Girolamo. Forli, and the altar-piece in Orfanotrofio delle Michelline at Faenza. All his works have been attributed to his master, but it is now proved that great mistakes have been made in this way. Palomino. See Velasco. Panetti, Domenico, born at Ferrara (14GO-1511 ?) His pictures are precise and rigid. Garofalo was his pupil, but after he visited Rome, Panetti studied his works with attention, and much improved his manner. The " Maries weeping over the Dead Christ," in the Berlin Mus , is the only work of his in any European Gall., of which I know. Panicale, Masolino da, born at Florence (1403-1440). This painter is well known by his frescoes in the Carmine, and is reputed to have been the teacher of the great Masaccio. Masolino was a pu- pil of Ghiberti and Stamina. His own fame seems to have been lost in that of Masaccio, although his frescoes referred to above have been attributed to the more distinguished pupil, which proves a <_Teat resemblance of general effect and execution. Other works by Maso- lino have been brought to light in the college ch. of Castiglione d'Olona, near Milan. Fannels, Willem, born at Antwerp about 1600. A painter and engraver, who is best known by his clever etchings, which are prin- cipally after Rubens, and his own designs. His drawing is often in- correct, but he had much vigor and spirit in execution. Fannini, Gio. Paolo, born at Piacenza (1 691-1764). An eminent painter of architectural subjects. His perspective was fine, and his works characterized by correctness and precision. He also introduced figures into his compositions. As a colorist, he cannot be especially commended. His works are numerous in the private collections of England, and are also seen in some palaces at Rome. They have been engraved by a number of excellent engravers, such as Lem- pereur, Le Bas, Bartolozzi, and others. Panto j a, Juan de la Cruz, born at Madrid (1551-1610). This artist may be called the portrait painter of kings, for he was much employed by Philip II. and III. in painting numerous pictures <>f themselves and their families. Many of these are still seen in the galleries of Spain. Papa, Simone, il Vecchio, born at Naples (14307-1488). Said to have been a pupil of 11 Zingaro. Worthy of notice on account of his imitation of the style of the Van Eycks. S. Michael, with PAPA PARROCEL. 443 other saints and the donors of the picture, is perhaps his best work; it is in the Museo Borbonico. Papa, Simone, il G-iovine, born at Naples (1506-1569). Notice- able for the simplicity of his style among the Neapolitan mannerists of his day. His best works are in the ch. of Monte Oliveto at Naples. Pape, Adrien de. This artist is almost unknown, but his two pictures in the Hague and Berlin museums prove him to have been one of the best genre painters of his time. He has been called a scholar of Gerard Dow. Fapias. A sculptor of Cyprus who, together with Aristeas, made the two statues of centaurs in the Capitoline Mus. They are of dark gray marble, and were found in the villa of Hadrian at Tivoli in 1746. They are supposed to be of the time of Hadrian, and as better statues than these have been found representing the same subject, it may be that they are not original works, but copies. They are inscribed, APICTEAC KAI nAHIAC A*POAICIEIC, and are of a good style of execution. Papillon. The name of a family of wood-engravers who flour- ished from 1680 to 1775. The younger, Jean Baptiste Michel, was the more important. He attempted a revival of wood-engraving and wrote a history of that art, but it is comparatively worthless since the publication of better books on the same subject. Parcellis, Jan, born at Leyden (about 1597-1641). A mediocre painter of marine views. Parcellis, Julius, born at Leyderdorf, 1628. Pupil of the fore- going but a much better artist ; indeed, his pictures are sometimes compared favorably with those of Willem van der Velde. His works are rare; there is one in the Berlin Gall. Both father and son signed their pictures with the initials, J. P. Pareja, Juan de, born in Spanish America (1610-1670). The slave and color-grinder of Velasquez, he became secretly an artist, and on one occasion, when King Philip visited the studio of his master, he displayed a picture he had painted, and threw himself at the feet of his Majesty, begging pardon for his audacity. Both the King and Velasquez treated him most kindly, and it is said that he served his master until his death, although he was emancipated from slavery. He succeeded best in portraits. His works are not numerous; the most important are the " Calling of S. Matthew," in the Royal Gall, of Spain ; the portrait of a Provincial of a religious order, in the Imperial Gall, of Russia; and a few others, at Madrid and Toledo. A portrait of Pareja painted by Velasquez was in the Gall, of Lord Radnor. Parrocel, Joseph. The most important member of a family of painters and engravers who flourished in France from 1670 to about 1 750. There are two battle scenes by Joseph Parrocel in the old Coll. of the I.ouvre. Chiirles, Ignatius, Pierre, and Stephen were of the same familv, but all mediocre artists. 444 PASS PASSEROTTI. Pass or Passe, Crispin de, the Elder. This eminent engraver was the head of a family of artists, for he had three sons and a daughter who received their instruction from him and practised the art of engrav- ing. The father and the son William were the most skilful artists, and their prints are much esteemed. The accounts of the life of the father are very unsatisfactory. The only thing upon which all agree is that he was instructed by Coornhaert. lie went to England, but it is not known at what time. William resided in that country tin- greater part of his life. The portraits of these engravers are their most valuable prints. Crispin (the Younger), Simon, and Magdalene are the names of those not yet mentioned. Crispin left very few plates; those of the others are reputable, but not equal to the works of the father and the elder brother. Passeri, Giambattista, born at Rome (1610-1679). He was a fond lover of Domenichino, with whom he lived at Frascati. He also painted the portrait of the great master (now in the Ullizi), and pronounced his funeral oration. Passeri was more a genre than an historical painter. He was president of the Acad. of S. Luke at Rome, and wrote upon art with great correctness. His chief work was called " Vite de Pittori, Scultori, e Architetti, che hanno lavo- rato in Roma, e che son morti dal, 1641, al 1673." Passerotti, Bartolomeo, born at Bologna (1520-1595). Pupil of Jacopo Vignola, with whom he visited Rome. After his return to Bologna he established an Acad., and Agostino Carracci was one of the pupils there. He excelled most in portraits, and by some has been esteemed second only to Titian in this department of painting. He was much employed for the Bolognese churches, and in them his altar-pieces are still seen. He studied anatomy very thoroughly, and left materials for a treatise on that subject. He had four sons who were artists. We have an account of a remarkable picture painted by Passerotti for Gio. Battista Deti. It represented Homer on the seashore with a gypsy, a dog, and some shells, while a large number of sailors in a l>oat are propounding a riddle to the great Greek. Homer wa painted with Passerotti's own features. There are now two portraits of Passerotti in Europe, one being in the Florence Gall. and the other in a family picture in the Dresden Gall. Not long since a third one was found in an auction room in Boston. It has this inscription : BABTO^O PASSEKOTTI FECI DI 8UA MANO SUA EFTIGE, DICTA D'AXI 51 IN BOLOONA. DON A TO DA ES8O A MI'.SKK Gio. BATTA. DETI, ADI 9, A.D. 1571. PASSEROTTI PATRAS. 445 Which translated reads, " Bartolomeo Passerotti painted with his hand his likeness at the age of 51 years, in Bologna. Presented by him to Mr. Giovanni Battista Deti on the ninth day of the year 1571 ; " and if genuine (which I have not heard doubted), it is a dis- covery of a real treasure. The inscription decides the time of his hirth, which was not before known. So few of his portraits remain that it is difficult to do him justice, for we know not whether they are of his best style. The other works of his in Bologna have no espe- cial merit, but the mannerists of his time were more excellent in por- trait than in historical painting, for the reason that they were obliged to adhere to nature and lay aside their affectations in a good degree. It is seen by the inscription that this picture was painted for the same Deti for whom the Homer was done, and was probably a gift made in gratitude for his patronage. Passerotti was also a good en- graver, and left a number of etchings. Bartsch describes fifteen of these and mentions others, and does not claim to give a complete catalogue. He says these prints have been much esteemed and have become very rare; more than two are seldom found in any one Coll., however rich. Patavinus. See Avibus. PateL The name of two landscape painters who flourished in the latter part of the 17th century. They were father and son, and the former was the superior artist, although it is sometimes difficult to decide between them, as many of the pictures are not signed. The works of Patel are not uncommon in England, and are seen in the Louvre. The elder seems to have imitated Claude with good success. There are pictures of the " Four Seasons " in the Louvre, attributed to the son. Pater, JeanBaptiste Joseph, born at Valenciennes (1696-1736). The works of this painter are too rare to be very well known. He chose the same class of subjects as Watteau, namely, fetes champe- tres and other merry scenes. His figures are especially pretty, and many of his heads are so nicely finished that they may be called fine miniatures. His landscapes are well arranged, but their color is not always pleasing; still the whole effect of his pictures is extremely satisfactory. Patinier, Joachim, born at Dinant (1490-1545). This painter may be called the founder of the landscape painting of the Nether- lands. He first made the representation of nature the principal part, and figures the accessories of his works. His earlier pictures are very defective in perspective, overloaded with details, and altogether unsatisfactory; his later ones are more truthful, and have a better feeling for effect. He was a man of dissolute habits and low tastes, and yet Albert Diirer was very fond of him and painted his portrait. His pictures are in the Antwerp, Brussels, and Vienna galleries. Patras, Lambert. A bronze caster of Dinant who flourished 446 PATRAS PEALE. about 1112. The font at Liege from which the illustration is taken is a very important work of its kind. The bronze worker.-i of Dinunt were so skilful that in adjacent provinces all workmen in that art were known as Dinandiers. Pauditz, Christopher. A native of Lower Saxony. Died 1666. Hi- was an imitator and perhaps a pupil of Rembrandt. He was much patronized by Albrecht Sigismuod, Duke of Bavaria, and Bishop of Freising. "Christ driving the Money-changers from the Temple " in the Cath. of Freising is the most important work by Pauditz. In the Gall, of Munich are two pictures of a " Wolf de- stroying a Lamb," one of which was painted by this artist in compe- tition with an artist of Nurnberg. Neither one of them is excellent; that of Pauditz is the better of the two, but the judges did not so de- CGOVOSBAPTIZOIN AdVA-VENIeiAVTE RELIEF ON A BAPTISMAL, BASIN. J!Y LAMHEKT PATRAS, AFTER A. D. 1112. In S. BarthcUemy, Li^gc. cidc, and it is said that he died in consequence of his disappointment and mortification. Pautre, Jean le, born at Paris (1617-1682). This engraver left an immense number of plates, probably 1500. They represent archi- tectural designs, ornaments, altars, tombs, fountains, etc., and are executed with extraordinary facility. Peale, Charles Wilson, born in Chesterton, Maryland (1741- 1826). The life of this painter was quite remarkable, and full of interesting experiences. He possessed an unusual mechanical genius, and could work in leather, wood, or metal. The museum which he established in Philadelphia illustrated his enterprise and his desire to do good to all. But his decided taste w^is artistic, and he made pic- ti;r<-s which proved hie talent, before he received any instruction. He PEALE PENCZ. 447 studied under a German in Philadelphia, and with Copley in Boston. He then went to London and was instructed by West. During the Revolution he commanded a corps of volunteers, but at odd times in camp he painted portraits, and that of Washington as a Colonel of Virginia troops is the first authentic likeness of that great man, and was executed in 1772. This picture is well known from the numer- ous copies and engravings of it. He painted fourteen different pic- tures of Washington, the last one in 1783. For some time he was the only well-known portrait painter of America, and sitters came to him from all parts of the country, Canada, and the West Indies. He was versatile in his talents, and " sawed his own ivory for his minia- tures, moulded the glasses, and made the shagreen cases." His son Rembrandt says of him, " His likenesses were strong, but never flat- tered; his execution spirited and natural." His last work was a full- length portrait of himself at the age of eighty-three years. His most interesting works are in Independence Hall, Philadelphia, and number 117 in all. Other valuable works of his are in the Acad. cf Philadelphia; in the Coll. of Joseph Harrison of that city, and in the Gall, of the New York Historical Society. Peale, Rembrandt, born in Bucks County, Pennsylvania (1787- 1860). While young he was associated with his father, then studied with West in London, and spent a long time in Paris engaged in making portraits of eminent persons for his father's museum. He painted two historical subjects Avhich were exhibited, " The Roman Daughter" and the " Court of Death," but devoted himself to por- trait painting. When but eighteen, Washington paid him the com- pliment to sit to him, which so overcame him that he was forced to seek the assistance of the presence of his father. Later in life he made a portrait of Washington which is considered by many the best one ever painted, and of which Chief Justice Marshall said, " It is more Washington himself than any portrait I have ever seen." For a long time he was the only artist who had seen Washington. He made this picture from Houdon's bust and his recollections of his great subject. There have been many copies of it by himself and others. Some of his works are in the Philadelphia Acad. and the Gall, of the New York Historical Society. Pellegrini, Gio. Antonio (1675-1741). His father was a glover of Padua who lived in Venice. The artist is claimed by both cities. He was distinguished in France for frescoes executed in a hall of the Hotel de Mazarin (now the Library). His principal work is in San Mose at Venice. Pencz, George, born at Nuremberg (1500-1550). One of the best scholars of Albert Diirer; indeed, in engraving he is first among them. He went to Italy, where, in the study of the works of Raphael, he modi- fied his manner, but still remained original and Netherlandish. His T) (,- 448 I'KXCZ PENNI. historical works are very rare; there is a " S. Jerome " in the Chapel of S. Maurice, at Nuremberg, which is an excellent picture; a " Venus and CupiJ " in the Munich Gall., is graceful and pleasing. His por- traits are more numerous, and some of them are masterly. Among the best are three in the Berlin Mus., one in the Landauer Briidcr- haus at Nuremberg, and that of Erasmus of Rotterdam at Windsor Castle. He studied engraving under Marc Antonio, and closely attained to the excellence of that master, as may be seen in his plate of the " Taking of Carthage." after Giulio Romano, the only engrav- inw he made after any composition not his own. His plates of por- traits were very fine; a series illustrative of the story of Tobit are tender and beautiful, a German conception, treated with Italian grace. Bartsch describes 126 prints by Pencz, and Nagler adds three to the list. Pennacchi, Pietro Maria, born at Treviso (1464-1528). The earlier works of this painter are really remarkable for their German type, and some of them have been marked with the monogram of Diirer. He went to Venice, and his manner so changed that it is difficult to believe the later works of his life to be by the same hand. Most of his pictures are in Treviso and Venice. One of his early style is in the Berlin Mus., and represents the Saviour supported in the tomb by two angels. It is remarkable for its patient finish and its ugliness. Pennacchi, Girolamo di Pier* Maria (1497-1545). Son and pupil of the preceding, whom he surpassed. His pictures are principally in Treviso, Venice, and Bologna, in which last city lit; painted much for the churches. His works are rare in public galleries; the National Gall, and the Hermitage have pictures by him. After his early studies in Venice, he modified his manner bv familiarity with works of Raphael and other painters, but he always remained essentially Venetian. He was a friend of Sansovino, Titian, and Aretino, and some particulars concerning him are con- tained in letters of the latter. During his last stay in Venice, 1535- 1538, he painted many palaces; in 1542 he was appointed architect to Henry VIII. of England, and made plans for a residence for that King. In 1544 he was made an engineer, and commanded the works in the siege of Boulogne. He was throwing a portable bridge over one of the ditches before that place when he was killed bv a cannon- ball. Peniii, Gianfrancesco, born at Florence (1488-1528). A favorite pupil of Raphael's and one of the heirs to his e>tatc; he also acted as his steward, and on this account was called II Fattorc. He assisted Raphael in many important works, such as the Cartoons, the pictures in the Loggie of the Vatican, the story of Cupid and Psyche at the Farnesina, and others. He left very few original works, but he executed fine copies of the works of his master. With PEXNI PEREYRA. 449 Giulio Romano he was employed to finish the " History of Constan- tine," commenced by Raphael. The " Baptism of Constantino " and the " Donation of Rome to Pope Sylvester " were by Penni. The Marquis del Vasto invited him to Naples, where he died from the effect of the climate. Penni, Luca. Brother of the preceding. He studied a short time under Raphael and then with Perino del Vaga. He went to Eng- land in the reign of Henry VIII., and then to France, where he painted with II Rosso. After his return to Italy he applied himself to engraving, chiefly after II Rosso and Primaticcio. Penny, Edward, born at Knutsford in Cheshire (1714-1791). Pupil of Hudson and Benefiali. His best works were small portraits, which were much admired. He was one of the original members, and the first professor of painting in the Royal Acad. He read an annual course of lectures there until 1783, when he resigned on account of his health. Some of his historical subjects were en- graved, and the print of the " Death of General Wolfe " had a large sale. Pepyn, Martin, born at Antwerp (1575-1647). He was but a second-rate artist, as may be seen by his works in the Antwerp Mus. Some of his heads, however, are elevated in expression, animated, and life-like. A female portrait in the Aremberg Gall, is one of his best pictures. Pereda, Antonio, born at Valladolid (1599-1669). Pupil of Pedro de las Cuevas, and a great historical painter in his day. His drawing was correct, his color Venetian, and he painted with a beau- tiful impasto. There are now but few pictures which can be posi- tively called his ; two in the Madrid Gall., one in the Esterhazy Coll. at Vienna, and three or four at Munich, are nearly all that can be named with assurance. It is said of him that having married a lady of rank, who insisted upon having her duena always with her, and not being able to afford such an appendage, he painted an old lady with spectacles, sitting and sewing; all visitors saluted her as they passed, and believed her too deaf or too discreet to notice their move- ments. Perelle, Gabriel, born at Paris (1610-1675 ?). An eminent en- graver. He was assisted by his sons, Adam and Nicholas. Perelle used both the point and graver, and executed with much taste. His best plates were landscapes. He composed in a pleasing manner, and made a variety in his pictures by the introduction of ruins and various accessories. Pereyra, Manuel (1614-1667). A Portuguese sculptor who set- tled at Madrid, and became so distinguished as to be considered one of the most talented artists of his nation. His works were numerous. One of the best is a statue of Christ in the ch. of the Rosary at Madrid. He became blind, but continued to model, and it is said 23 450 1'EKEYKA 1'EUUGIXO. that a statue of S. John, which was executed from his model, made without sight, was one of his finest works. Perugino, Pietro, born at Citta della Pieve (144G-1524). His father's 11:11110 was C'hristoforo Vannucci. who was of respectable family, but had a number of children to provide for. The little Pietro was apprenticed to a master in Perugia before he was nine years old, and took his name from that city. He became the asso- ciate of Pirro di-lla Franccsca, and at length in Florence probably studied under Vcrrocchio together with Leonardo, whose friend he was. IVrugiuo is considered the founder of that style of painting MADONNA. BY PERUGINO. In the Pitti Gall., Florence. which Raphael perfected. He brought his figures out from the back- ground, rounded them and threw them into bold relief by means of strong shadows. He did not huddle numerous figures together, as had been the custom in Florence, but produced well arranged and more complete groups. Considering his advance upon what had preceded him, it is scarcely possible to say too much in his praise: and yet his works leave so much to be desired. The truth is, that by nature he was rough ; by some he is accused of being intensely mercenary, of atheism, and the most unlovely traits ; but it is not necessary to be- lieve all this in order to account for the want we feel in his pictures; it can all be explained in the fact that he did not conceive in hi< soul PERUGINO PERUZZI. .451 (he spiritual, or even the most tender view of his subjects. How then could he do more than he has done ? In technicalities he ex- celled, and did much to make ready for that great master who, in the thirty-seven years he had to live, had no time to work up to the ex- cellence which Perugino, as his teacher, was able to impart to him. The works of his middle life are the best, for in his later years his pictures are unceasing repetitions of the same subject, and have no charm of sufficient depth to awake the best and truest emotions of the heart. The Umbrians were all characterized by simplicity and devoutness in their pictures, and were noticeable beyond their con- temporaries for their brilliancy of color; in all these points, Peru- gino maintained the reputation of his school. The wall painting in the Sistine- chapel, representing the " Delivery of the Keys to S. Peter;" the Madonna and four saints in the Vatican Gall.; the "Descent from the Cross," in the Pitti Gall. ; the " Adoration of the Magi," in S. Francesco del Monte at Perugia; and the " Virgin adoring the Child," in the National Gall., are among his best works, but there is no public collection of any importance in Europe without the pictures of Perugino, and many are in private galleries. Peruzzi, Baldassare, born at Siena (1481-1537). In 1501 he was employed to paint in the cathedral, which proves his early ability. In 1504 he went to Rome, where he eventually became a famous ar- chitect and painter. His life was eventful and full of interest, and deserves to be studied at greater length than it is possible to give it here. The building of the Villa Farnesina for the Siena banker, Chigi, has perhaps done more than any other work of his to give him a great and lasting reputation. He was its architect, and also exe- cuted many of its decorations. Time has so destroyed or defaced them, that now we can scarcely judge of their merit, but the high praise they gained for him in his own art-favored time is well known to us. He was a man of great compass; an architect, mathematician, thorough master of perspective, a sculptor, and a painter. We can- not say that he was classic, and yet he approaches being so, just as Etruscan art is related to that of Greece. He does not stand on a level with Leonardo, Michael Angelo, and Raphael, but he presses hard upon them. He did much work in Rome; adorned the fronts of palaces, painted frescoes, etc., etc., but he can be best studied by us in S. Maria della Pace, where he labored about 1517. Here he painted numerous scenes from the Old Testament, and the Virgin with SS. Catherine and Brigitta. Those show the hand of a great master, and in painting, he seemed to have reached his utmost height, for he never excelled them. In 1520 he succeeded Raphael as archi- tect of S. Peter's. In the next year, he visited Bologna, where he made designs for various architectural works. During the sack of Rome, 1527, Peruzzi was seized, and plundered of all he possessed. At length he made his way to Siena, and was engaged by the gov- 452 . PERUZZI PHIDIAS. eminent at a salary of five scudi per month. While tin-re, he was chiefly employed in revising old fortresses, or planning new ones. In 1535 he returned to Rome and devoted himself e\cln>'vcly to archi- tecture until his death, two years later. The few pictures he painted while in Siena only show his decline from the height he attained in S. Maria della Pace. His paintings an: rare in galleries ; there arc some attributed to him that are of doubtful origin. IVru/zi was the last great Sienese painter. He was buried near Raphael in the Ro- tunda at Rome. Pesaro, or II Fesarese. See Cantarini. Pesello. There were two artists of this name. There are very conflicting accounts of the elder, concerning his name and time of birth. By some he is called Francesco, and by others (iiuliano. Several authorities agree that he lived from 1380 to 14,"7. lie painted animals mostly, and is said to have kept numbers of them in his house even wild beasts for the purpose of painting from nature. Francesco Pesello, called Pesellino, born at Florence (14^0-1457), was a son of the preceding and a pupil of Fra Filippo Lippi. His works are very rare, but may be seen in the Florentine Acad., the Louvre, and the Liverpool Institution. There is al.-o a gradino in the Casa Buonarotti, at Florence, representing stories in the life of S. Niccolo. He had variety of invention, animation, and force, and a highly -finished execution. Pesne, Jean, born at Rouen (1G23-1700). An engraver who is more remarkable for the exactness with which he imitated the different masters after whom he engraved, than for anv agreeable traits of his own. He left a large number of plates, many of them after the works of Niccolo Poussin. Peters, Bonaventura, born at Antwerp (1614-1653). A painter of marine views. His works have a poetic character, but are not always true to nature. They are very rare in galleries, although Vienna is an exception in this, and has five of his pictures. Peters, Jan, born at Antwerp (1625-1677). Brother of Bona- ventura and a painter of similar subjects. Petitot, John, the Elder, born at Geneva (1607-1691). A cele- brated enamel painter. Some of his miniature copies of the portraits of Vandyck were very beautiful. He was a favorite of Charles I. and Louis XIV. Many of his miniatures are in the Mus. at Paris. He requested permission of Louis to return to Switzerland, which was granted him, after an absence of thirty-six years or more. IJordier, a brother-in-law of Petitot's, was his assistant, but his fame is lost in that of Petitot, who may be called the inventor of enamel painting, as he first brought it to perfection. John Petitot, the Younger, was very inferior to his father, by whom he was instructed. Phidias, born at Athens about 500 B. c. Son of C'harmidcs. He first turned his attention to painting, but afterwards to sculpture, PHIDIAS PIGALLE. 453 and became the greatest artist (in this department) that the world has ever seen. He was a favorite with Pericles, and in the works which he had executed for the adornment of Athens Phidias found full scope for his powers. Many of his statues were chryselephantine, and the two most wonderful ones were the " Minerva " of the Par- thenon, and the " Olympian Jupiter" at Elis. His adornment of the Parthenon was wonderful in beauty of design and execution, and if any work of his hand still remains, it must be seen in some of the statues and relievi which ornamented the exterior of this temple. These are wonderfully beautiful and truthful ; they display a perfect knowledge of anatomy, a skilful management of drapery, and a grand simplicity of style. They are also worthy of notice for the perfect management of relief shown in them, both of alto as seen in the metopes, and of basso in the frieze. The crowds of figures, both walking and riding, with animals for sacrifice, etc., etc., cannot be too much commended in their arrangement. He was accused of various crimes by the enemies of Pericles, was imprisoned, and died, it is said, of poison. Phillips, Thomas, born at Dudley in Warwickshire (1770-1845). An eminent portrait painter. Some of the most noted men of his time sat to him, such as Lord Byron, Lord Brougham, Tom Moore, Southey, Coleridge, and many others. In 1824 he succeeded Fuseli as Professor of Painting in the Acad., which office he held eight years. His portraits have been called " the Vandycks of England." Piazza. The name of a family of artists of Lodi who flourished from 1490 to 1556. Albertino and Martino were the elder ones, and never rose above mediocrity. Some of their works are still seen in Lodi. Calisto, son of Albertino, was the most excellent artist of his name. He was a pupil of llomanino of Brescia. Some of his earlier pictures are in this city, but his best works are in Lodi in the ch. "dell' Incoronata." They represent scenes in the life of S. John Baptist, and are characterized by great purity and depth of senti- ment. Ficart, Etienne, born at Paris (1631-1721). This engraver was called " the Roman." He has left a great number of plates. He was employed to engrave (together with other artists) the pictures in the King of France's Coll. His plates are not without grave faults. Pigalle, Jean Baptiste, born at Paris (1714-1785). This cele- brated sculptor first established his reputation by his statue of Mercury, but his chef-d'oeuvre is the tomb of Marechal Moritz of Saxony, in the ch. of S. Thomas at Strasburg. The soldier is represented in his own costume, about to enter a tomb, on one side of which stands Death as a skeleton, and on the other side Hercules mourning. An impersonation of France endeavors to hold him back from the tomb, and a Genius attends with an inverted torch. There are also many emblems and military trophies as accessories. This 454 PIGALLE PINTURICCHIO. sculpture has been engraved several times. Pigalle was much em- ployed by Mme. de Pompadour, of whom he made a statue. His finest work in Paris is the tomb of Comtc d'Harcourt, in Notre D;une. Pilgrim, Hans Ulrica, or Hana TJlrich Vaechtlein. Known as " the Master of the crossed Staves," was a skilful engraver. The time of his birth is unknown. It is believed that he lived principally in Strasburg. In Germany he is considered the inventor of engrav- ing en camuieu. Eleven of his plates arc known, and are exact in de- sign and well executed. Pilon, Germain, died 1590. A French sculptor whose works are seen at the Louvre, the ch of S. Denis, etc. Pineda, Bernardo Simon, is principally known as the architect of the Hospital of Charity at the time of its rebuilding. He employed the chisel of Roldan in sculptural decoration, and defrauded him in his division of the payments. Pineda was also mm h employed in tho Cath. of Seville, when it was prepared for the reception of S. Ferdi- nand. Pinelli, Bartolommeo, died 1835. An engraver who resided chiefly at Rome. His etchings of Roman history, Italian costumes, manners, etc., arc numerous and well known. lie also etched views in the neighborhood of Rome, with groups of banditti, to the number of 200. His drawings in chalk and water-colors are much esteemed and are very spirited in execution. Finturicchio, Bernardino, born at Perugia (1 454-1 51 3). He was often called Sordicchio, from his deafness and insignificant appear- ance, but Pinturicchio was his usual name. lie was a partner of Perugino. His earlier works no longer exist. He never perfected himself in the use of oil mediums, but was confined almost entirely to tempera. He went to Rome and probably labored with Perugino in the Sixtine chapel. He afterwards executed almost numberless fres- coes in the churches and palaces of that city. lie was first patronized by the Rovere, and then by the Piccolomini. For Alexander VI. he, decorated the Apartamento Borgia in the Vatican ; five of these rooms still remain in their original state. His pictures in the Castle of S. Angelo have been completely destroyed. During his engagements in Rome he went twice to Orvieto for the execution of commissions there. The amount of his labors was surprising, but is explained by his great facility of execution and the employment of many assistants. He was not original in his compositions ; he loved landscapes, but he cumbered them with too much detail; his figures of virgins, infants, and angels have a certain coarseness; he used too much gilt and ornamentation; his draperies were full, but often badly east; his works are either too gaudy or very sombre, no pleasing medium seem- ing to suggest itself to him; his flesh has the red outlines of the earliest tempera; and yet with all these faults he painted at a time when the great precepts of art were well known, and his works are PINTURICCHIO PIOMBO. 455 good exponents of skilled labor in art without any striking or excep- tional power in the artist. It is scarcely possible here to give more than a list of the churches in which he painted; in Rome they were the Araccli, S. Cecilia in Trastevere, Santa Croce in Gcrusalemme, and S. Onofrio. In 1496 he returned to Perugia and undertook an altar-piece for S. Maria de' Fossi (now S. Anna), to be completed in two years. This is the most finished of his works, and more full of feeling than any other. He next adorned the collegiate ch. of Spello; these works are fast disappearing from the effects of damp- ness. He was next called to Siena by Card. Francesco Piccolomini, to decorate the Library of the Duomo. Here he painted the ceiling in a variety of designs, with the shield and arms of the Piccolomini in the centre; and the walls with ten scenes from the life of ^Eneas Sylvius or Pius II. This work was commenced in 1503, but was in- terrupted by deaths in the family of his patron, and was not com- pleted until 1507, he having filled various other commissions in the mean time. It is said with great probability that he was assisted in the Library by the young Raphael, and some critics have been wont to attribute the best features of all Pintnricchio's pictures to aid from the same source. But this should not be so. They were associated more or less, without doubt, and it is not improbable that Raphael was one of the many assistants whom the master hired in Perugia for his work in Siena: but there are many reasons why the credit of the test of Pinturicchio should not be given to Sanzio, who certainly does not need any such praise. There are many circumstances connected with certain cartoons, many similarities of figures in the works of the two masters, which make us feel sure of their association, but these Siena frescoes are conceived in the system of Pinturicchio. This library is one of the few Italian halls that retain their original charac- ter. The frescoes are discolored and injured in parts, but are, on the whole, fairly preserved. It is probable that after the completion of these works the master went to Rome, and returned to Siena in 1509 with StgnoreBi, who stood as godfather to the son born to Pinturicchio in the beginning of that year. He then probably entered the service of Pandolfo Petrucci. His last authentic picture is now in the Palazzo Borromeo at Milan, and is a cabinet size of" Christ bearing his Cross." It was painted in 1513, the year of his death. Dreadful stories have been told of the manner in which his wife Grania treated him. It is said that when very sick she left him to die of starvation, but this lacks confirmation. His works are seen in all large, and in some smaller collections of Europe. Piornbo, Fra Sebastiano del, real name Luciani. Born at Ven- ice (1485-1547). In early life he was destined by his father to be a musician, but he decided for himself to be a painter, and gained his knowledge of his art from Gio. Bellini and Giorgione. He excelled in coloring and in breadth of chiaro-scuro. From, the very first it 456 PIOMBO. was evident that he lacked the gift of composition, and though he struwled manfullv, this want and that of elevation seemed to define ^O / ' tin-, position he must hold as a painter. Thin inability to design great subjects did not affect his power to paint portraits; his works in this department were magnificent. That of Andrea Doriu in the Doria Pal., is by some considered the finest portrait in tin- world. I believe it is no longer to be seen by travellers. A cardinal in the Studj Gall, fit Naples, a female portrait in the Uflizi, one in the National Gall., and one in the Sta'del Mus. at Frankfort should be mentioned. The last two are claimed to represent Giulia Gonza'j;a. the most Ixjautiful woman in Italy. In 1533 Ippolito de' Medici, who was madly in love with her, sent Sebastian with an armed force to Fondi to paint her portrait; it was completed in a month, and was sometimes called the best that he had painted. The picture was sent to Francis I. at Paris, but its present place is not positively known. The fame of his portraits is all his own, but this is not true of his other works, for it ia said that after he went to Rome. Michael Angelo assisted him with designs which he magnificently colored. They were certainly ardent friends, and there were some good rea- sons for it. They were alike in temperament, impulsive, at:d real- istic; they loved nature alike; they hated Raphael together; they equally detested monks and friars; they both loved out-door sketch- ing for a recreation ; they were alike in their muscular forms, and both were left-handed. Sebastian went to Rome by invitation ot' Agostino Chigi; he first painted in the, Farnesina, which Peruzzi had designed, and, together with Raphael, had adorned for the luxurious banker. Here the inferiority of Sebastian was apparent, and he en- deavored to improve by study under Buonarotti. It is said that on account of the growing fame of Raphael, Buonarotti determined to assist Sebastian, and so designed for him to color. Card. Giulio de' Medici gave orders to Raphael and Sebastian for pictures of the same size; they were the " Transfiguration " and the " Besnrrecdon of Lazarus." When completed they were exhibited, and even by the side, of the transcendent beauty of Raphael's work, the -'Lazarus'' was much admired. It is certainly in the very spirit of Michael Angelo. It was one of the important works of the Kith century. It was sent to Narbonnc by the Cardinal, and is now in the National Gall. After the death of Raphael, Sebastian was called the first painter in Rome. His works were numerous: some fine ones are in Madrid and St. Petersburg; many are in Venice, and they are seen in several Continental galleries. When he was made jnntnbatore it was necessary for him to be an ecclesiastic, and his name of Luciano was given up for that by which he is best known, Fra Sebn-stiano del Piomho. He wrote to Michael Angelo, "If you were to see me as an honorable lord, you would laugh at me. I am tae finest ecclesiastic in all Rome. Such a thing had never come into my mind. B PIOMBO PIRANESI. 457 be praised in eternity ! He seemed especially to have thus decreed it. And, therefore, so be it." It is not strange that he should have been thus resigned to a high office with the salary of 800 scudi a year ! It is said that Sebastian and Michael Angelo disagreed con- KAISIXG OF LAZARUS. BY SEBASTIAN DEL P.IOMBO. In the National Gall. cerning the painting of the " Last Judgment," which caused a con- tinued coldness between them, but this needs confirmation, and may well be doubted, since Vasari did not mention it. Piranesi, Gio. Battista, born at Venice (1721-1779). An emi- 458 PIRAXESI PISANO. nent designer and engraver of rains, architectural subjects, etc. He has been called the " Rembrandt of Architecture," on account of his admirable management of light and sha.de, which gave force and vigor to his works. His pictures of ancient ruins are not always exact, as his imagination was indulged to some extent, even in rep- resenting what was before him. He was of a fiery temper, and dis- agreed seriously with Lord Charlemont, so that he cut out the arms of that nobleman where he had engraved them in his plates, and sub- stituted other designs in their places. II-j was a member of the London Society of Antiquaries. His son took his father's plates to Paris, where he went as minister for the Roman Republic. After the son's death in 1810, they were purchased by Didot, but now bit- long to the government of Rome, and are in the Vatican. They number nearly 2000. His son Francesco and his daughter Laura also engraved the, same class of subjects as did the father. Pisaiiello. Real name Vittore Pisano. Born at Verona. Then- is much uncertainty concerning the birth, education, etc., of tliis painter. It is said that he painted with Gentile da Fabriano in the Lateran, and that he died in 1451. Many of his works are pre- served in Verona, his native city, and show him to have been a graceful and attractive painter. Pisano, Niccola, born at Pisa (about 1206-1 _!7K). According to the custom of his time he was both architect and sculptor. At the. early age of fifteen he was appointed architect to Frederic II , with whom he went to Naples. In the service of this sovereign he passed ten years, and then went to Padua, where he made the design for ihe Basilica di S. Antonio. The first known attempt which he made as a sculptor resulted in his alto-rilievo of the kl Deposition from the Cross," which now fills a lunette over a door of the C'atb of S. Mar- tino at Lucca. This is most excellent as the work of an untutored artist, as he was at that time, and it shines by comparison with works of his contemporaries which are near it. The statuettes of the .Mis- ericordia Vecchia at Florence are of about the same merit as this bas-relief. In 1248 Niccola went to Florence to a-i>t the (iliibel- lines in their work of destruction; he was commissioned to overturn the tower called Guardamorto, in such a way as to destroy the Bap- tistery; he overturned the tower, but it did not fall in the anticipated direction, and we may believe that this was in accordance with his intention, although it was attributed to a special miracle, by Villani. During the twelve succeeding years he was employed in making de- signs for the building and remodelling of many churches and palaces. The ch. of Santa TrinitA at Florence is one of the best known of his works of this period. In 1 2CO Niccola established his fame as a sculptor by the magnificent pulpit which he executed for the Baptis- tery at Pisa. Of course marks of his comparative inexperience can be found in this work, but taken all in all it almost challenges criti- PISANO. 459 eism. His next work was the " Area di S. Domcnico," at Bologna, which is now surrounded with a maze of beautiful sculptures of which the " Area " is the centre, and is of great interest as illustrating the art of the 13th century. In 1266 Niccola went to Siena to make the pulpit for the Duomo. This is similar to that of Pisa in many ways, but not as effective, because surrounded by other objects of interest, and in a larger space, while at Pisa the pulpit seems almost the only thing to attract the attention. In 1 269 he was commissioned to build the Abbey and Convent of La Scorgola, which are now in ruins. In 1274 he commenced the fountain of Perugia, which was his last work. The authorities of the city made severe laws for its preservation, and it was considered the most precious possession of the city. In 1278 Niccola died, after a life of great usefulness, for his influence had been felt through all Italy. His services could 460 PISANO. never lie. estimated; he had founded a new school of sculpture. ; had put behind him the standards of barbarism; in architecture, too, the same mav be said, and in the words of Mr. Perkins, He was truly a do Yill"i:as, who is represented as adoring the Virgin, who regards him kindly. Pratt, Matthew, born in Philadelphia ( 1 7:! 4-1805). He painted si ( j;n8 in a manner which won for him much praise, and also made- good portraits of the leaders of American life in his day, which pos- 1'RATT PREVITALI. 469 sess much historical interest rather than great merit, when artisti- cally considered. He escorted the bride of Benjamin West (to whom he was related) to London, and gave her away at the altar. He then studied four years with West, and painted portraits of several emi- nent persons. After his return he occupied an honorable position in his native city, and assisted Peale in establishing his museum. He made portraits of many prominent members of the Philadelphia Con- vention of 1788. Praxiteles. Probably born about 392 B. C. He was a celebrated sculptor in brpnze and marble, but his most famous works were of the latter. He loved to repre- sent beauty, youth, and dreamy happiness. His representations of Venus and Cupid are most praised by those who write of him. Of the first we can judge only by Cnidian coins. It was considered worth a journey to Cnidus to see his Venus, and when King Nicomedes of Bithy- ni;i offered to pay all their debts for this one statue, the Cnidians refused. There are existing copies of his works which make us fully realize, what the origi- nals must have been. Among these are the Cupid in the Vat- ican; a Satyr in the Capitol, Rome; an Apollo in the Louvre, and another in Florence, Trib- une of Ufilzi; and a statue at Naples called Narcissus, Pan, and Bacchus, by different crit- ics. Freti, Cavalier Mattia. Called II Calabrese. Born at Taverna (1613-1699). One of the less important Nnturalitti. Pupil of Giiercino. He chose gloomy subjects; his composi- tion was copious, his design bold, and his use of heavy shad- ows very effective. Previtali, Andrea, born at Bergamo. Flourished from A SATYR. AFTER PRAXITELES. 1506 to 1528. A pupil of Gio. Capitol, Rome. 470 PREVITALI - 1'ULIGO. Bellini, and a follower of his manner. His works are quite numer- ous. The most important are in Bergamo; an alt-ir-picce in S. Spirito is one of the best. TheManfrini Gall, at Venire, the Berlin Mus.. and the National Gall, have his works. Primaticcio, Francesco, born at Bologna (1490-1570). Ilk- studied with Innocenzio da Imola and II Ba<_rnacavallo, and was the assistant of Giulio Romano six years. His principal works wen- frescoes at Fontainebleau, many of which arc now destroyed. These were an enormous labor; Primaticcio made the designs entirely, and much of the painting was done by Niceolo dell' Abate. Francis I. gave Primaticcio the large revenues of the Abbey S. Martin in Troyes, Champagne. This artist was retained in the service of Henry II., Francis II., and Charles IX. It has been said that the taste and standard in art was improved in France by Primaticcio, Abate, and II Rosso, but this is doubtful. Their design and compo- sition, though brilliant, were not true; they had far more science than feeling, and sacrificed everything to freedom and ease of design. The works of Primaticcio are rare out of France. Procaccini, Ercole, born at Bologna (1520-1591). A patient and careful painter of no great power. lie held up to his pupils the best masters, and stoutly opposed the mannerisms of his time. He was the founder of the eclectic school at Milan established by his sons. Correggio was their model. Procacc:'.ni, Camillo (1546-1 G2G). A mere machinist who turned out pictures in the most extraordinarily short time. Some of his works were, however, worthy of a better master. " S. Roch admin- istering to the Sick of the Plague," at Dresden, is one of his best pictures. Procaccini, Giulio Cesare (1548-1618) The best painter of his family. He imitated Correggio with success, and some of his cabi- net pictures have been passed for the works of that master. There. are many works of his in the churches and galleries of Milan. Prud'hon, Pierre, born at Cluny (1758-182:}). lie studied in Rome, where he became the friend of Canova. He returned to Paris in 1789. He was not as fond of the imitation of the antique as was then the fashion to be, and it was some time before his talents were recognized. He was the teacher of the Empress Maria Louisa, and a member of the Institute of France. His picture of " Crime pur- sued by Justice and Vengeance," in the Louvre, is one of his most admired works. Constance Mayer was his pupil and friend. She committed suicide in 1821, and from that time Prud'hon was afflicted with a fixed melancholy. Puget, Pierre (102-2-1694). A follower of Bernini, whose sculp- tures arc sc.-n at the Louvre and at Versailles. Puligo, Domenico, born at Florence (1475-1527). This artist was older than Andrea del Sarto, and had studied under other PULIGO QUERCIA. 471 masters, but he seems in the end to have attempted to imitate him, and so well succeeded that his pictures are sometimes mistaken for those of that master. He is not a pleasing painter, and shows no deep love of art; he painted for money, and was a sensual man. He is said to have died of the plague, contracted in a low place which he visited. Pulzone, Scipione, called Gaetano, born at Gaeta (1550-1588 ?). A portrait painter of such excellence that he has been called the " Vandyck of the Roman school." He also painted some historical pictures, the best of which are in Rome. Pynacker, Adam (1G21-1G73). This painter went when young to Italy. His pictures are landscapes, but many of them are enli- vened with figures and animals. His remaining works are few. probably because he spent much time in adorning the rooms in Dutch houses, which was then the fashion. Many of the large European galleries have specimens of his works. He usually adopted a cool tone, for which reason he excelled in morning scenes. Smith estimates the number of his pictures at sixty-nine. Q. Quaglio, Dominik, born at Munich (1787-1837).. This artist commenced as a scene-painter, but afterwards devoted himself to architectural painting, in which he became eminent. His pictures of cathedrals, and his architectural views in South Germany, are admirable. Quellinus, Arthur, born at Antwerp, 1607. Pupil of Duquesnoy. He executed the sculptures which decorate the magnificent Town Hall built in Amsterdam in 1648. The interior figures are simple and noble in style, and those of the exterior are vigorous and natural. He was one of the most able and imaginative sculptors of his time. Quellinus, Erasmus, born at Antwerp (1607-1678). An educated man and the friend of Rubens and Gevartitis. It is said that he was at one time professor of philosophy, but his love for painting induced him to vacate his chair. His pictures were very unequal in excel- lence. They are seen in the churches of Antwerp, and some of the best are in the Mus. of that city. Quellinus, John Erasmus. Son of preceding, born at Antwerp (1629-1715?). He visited Italy, and became an imitator of Paul Veronese. He used immense canvases. The " Coronation of Charles V. as King of Rome," in the Vienna Gall., and the ''Pool of Be- thesda," in the Antwerp Mus., are two of his best works; the former is much the best. Quercia, Jacopo della (1374-1438). Son of a goldsmith, in whose art he was educated. He possessed an inventive mind and 472 QUERCIA RAIMONDI. independent spirit, and when he devoted himself to sculpture, he threw off many of the old traditions, and embodied his own lifelike conceptions of nature. He labored in Ferrara, Siena, Lucca, and Bologna; in the latter city he made the sculptures for the portico of S. Petronio. They are in his best manner, and among the most attractive works of his time; they were done in 1425. Jacopo was one of the applicants for the gates of the Baptistery of Florence, which were given to Lorenzo Ghiberti. Querfurt, Augustus (1G96-17C1). Born at Wolfenbiittel. Pupil of his father and of Rugendas. He imitated Wouvermans. His works may be seen in the Vienna, Dresden, and Berlin galleries. He was the inferior of Rugendas in composition, but superior to him in impasto, transparency of color, and carefulness of execution. R. Raeburn, Sir Henry, born near Edinburgh (1756-1823). A por- trait painter of good reputation. Some of his best works are in the National Gall, of Scotland. Raibolini. See Francia. Raimbach, Abraham, born in London (177G-1843). An en- graver whose best plates are after the works of David AVilkie. They are well suited to their subjects, and are boldly engraved. M-. AF, AY&M-, -;vf Raimondi, Marc Antonio, born at Bologna (14.s7-lf>:!!>). This very eminent engraver studied the art of niello under Francesco Francia, and commenced engraving by copying the works of that painter; he also copied after Mantegna and Diirer, but perfected his drawing under Raphael, who favored him greatly, and allowed him to engrave his drawings. Together, Raphael and Raimondi exerted great influence upon the art of engraving, and the works of that time have never been excelled in drawing and clearness of outline, though much surpassed in gradation of tone and delicacy of model- ling. It should be remembered that it was from the drawings, and not the finished pictures, of Raphael that Marc Antonio worked. He was especially remarkable for the exactness with which he copied; he seems to have been willing to lose himself entirely in the master he reproduced. His life may be said to have been devoted to multiplying the works of Raphael. He also executed a few plates after Michael Angelo, Mantegna, Bandinelli, and Giulio Romano. He was imprisoned on account of some plates after the designs of the latter, which were so indecent as to enrage Clement VII., and it was with difficulty that his release was obtained by some of the cardinals and Man dim- Hi. In 1527 he was in full favor in Rome, when he RAPHAEL. 473 was driven away by the sacking of the Spaniards. He was plundered and fled to Bologna. His last work was done in 1539, and he is said to have been killed by a nobleman of Rome because he had engraved a second plate of the " Murder of the Innocents," contrary to his agreement. His works are numerous, and in selecting them great attention should be paid to the different impressions, for some of the plates have been retouched by those who have had them, until they are greatly changed. The best impressions have no publisher's name. Heineken gives a complete catalogue of his prints. Ramenghi. See Bagnacavallo. Raphael Santi, born at Urbino, on Good Friday, 1483. Son of Gio. Santi, a good painter, who executed many pictures for the churches in the March of Ancona, in Urbino, and the surroundin" 1 O country, and also Avrote a biography in rhyme of his patron, the Lord of Urbino, which is now preserved among the MSS. in the Vatican. The mother of Raphael died in 1491, and his father in 1494, leaving him with a step-mother, to whose care, together with that of his uncle, Don Bartolommeo Santi, the boy was consigned. It cannot be doubted that he received his first instruction in painting from his father, who took him to Cagli, between 1492 and 1494, where he was painting a chapel with frescoes. Luca Signorelli and Timoteo Viti were his first teachers in painting, and the latter is said to have painted the portrait of Raphael at twelve years old, in the Borghese Gall. It was probably in that year of his age that he was placed in the school of Perugino, at Perugia. Rumohr says this master was characterized by " stainless purity of soul, by the highest aspirations, and by feelings sweetly sad and enthusiastically tender. He was now at the zenith of his fame and surrounded by many distinguished pu- pils." Raphael soon proved himself the best of all. His sketch-book of this time is in the Acad. of Venice, and a little picture of the " In- fant Christ with S. John," on a gold ground, is preserved at S. Pietro Maggiore at Perugia, as a relic of his pupil days. He soon began to assist Perugino in important works, and his hand may be traced in many pictures of that master. In 1499, a quarrel having arisen be- tween his step-mother and guardian, he returned to Urbino and suc- ceeded in establishing a family peace which was lasting. In 1500 he received his first independent order, which consisted of a banner for a procession, and a " Crucifixion," with four saints in adoration. Both of these remain. The latter is in England. lie also executed other works before he returned to Perugia. In this latter city he now began to work entirely in the style of Perugino. To these days belong a Madonna, and the " Adoration of the Magi," in the Berlin Mus.; a " Sleeping Knight," in the National Gall.; the " Adoration of the Kings," at Copenhagen ; and about twenty other small paint- ings. In 1504 he went to Citth di Castello, where he painted the Sposalizio, now the ornament of the Brera. In the same year he re- 474 RAPHAEL. turned to Urbino and painted, for the Duke, Guidobaldo, " Christ on the Mount of Olives," now in England; and " S. George and the Dragon," and " S. Michael overcoming the Monster," in the Louvre. About this time Raphael assisted Pinturicchio by making cartoons for his paintings in the Library of the Cath. at Siena. The fame of the cartoons of Michael Angelo and Leonardo da Vinci reached his ears and drew him irresistibly to Florence. Here a new world was open to him, and he studied not only the works of Leonardo and Michael Angelo, but also those of Masaccio. We now find ourselves at the commencement of Raphael's second period, in which he attempted to throw aside the influence of Perugino. This master was absorbed in reflecting upon the glories of the next world, and in his works attempted to represent the perfectness of fervent feeling. Raphael now attempted to represent human life in its variety, and character in its individuality. To this time in Florence we may attribute the " Madonna del Granduca " now in the Pitti Gall. ; the Madonna sur- rounded by three Children, in the Berlin Mus. ; and a portrait of a youth of eighteen or twenty, one of the ancestors of King Louis of Bavaria. In 1505 Raphael was compelled to return to Perugia to execute the commissions which he had there, one of which was the altar-piece now at Blenheim. In these days at Florence many dis- tinguished artists, young and old, were accustomed to assemble in the evening in the studio of Baccio d'Agnolo. There many things re- lating to art were discussed. For these meetings and all the advan- tages of Florence he pined. Perugia seemed so small and narrow, that he soon left it again. At the house of Agnolo he expressed him- self freely, and he made many friends there, among citizens as well as artists. He received commissions from them, and to this time be- long the " Madonna del Cardellino " or Goldfinch, in the I'fli/i: the. Holy Family with the Fan Palm, and the portraits in the Pitti Pal. of Angelo Doni and his wife. From Florence he went to Bologna to make the acquaintance of Francesco Francia, and to execute, a com- mission for the governor of that city. At this time Duke Guidobaldo had gathered about him, at Urbino, a circle of the most brilliant and intellectual people of Italy. Thither Raphael now went, ami made friends there, most of whom were true to him while he lived. Among them were Pietro Bembo, Andrea Doria, Giuliano dei Medici, Bernardo da Bibbiena, and Count. Castiglione. lie painted for the Duke " S. George, on Horseback, killing the Dragon," now at St. Petersburg; the portraits of the Duke and his wife, also, and other pictures. In 1507 he completed, at Perugia, the. " Entombment of Christ," now in the Borghese Pal. at Rome. In this picture may be seen distinctly the influence of the study he had made of Michael Angelo, Leonardo, and other artists. Tin; Christ, in truth, might almost have been painted by Michael Angelo himself. Again he went to Florence, and soon after painted the " S. Catherine of Alexandria." RAPHAEL. 475 now in the National Gall. ; also the Madonna of the Tempi family, now at Munich, for which Louis of Bavaria paid 16,000 scudi. Several other pictures soon followed, among which are " La Vierge au Linir," at Paris ; " La Belle Jardiniere," in the Louvre; and the Madonna with two Children, in the Esterhazy Gall. He became ac- quainted at this time with Fra Bartolomineo. He was strongly attracted by him, and studied much with him. He learned to ar- range hi* drapery better, to lay color more broadly, and to use car- mine with skill. He had commenced the " Madonna del Baldac- chino," now in the Pitti Pal., when he was summoned by the Pope to Rome. This was in 1508. Goethe says, in speaking of Raphael at this time, " Preceding masters had only conducted youth to the threshold; he alone needed to but raise his foot to enter within the temple." At Florence he was the greatest painter of his time. He needed only the patronage of such a man as Julius to become the ar- tist that he afterwards was. Julius desired that the Vatican should be a kind of city, and every branch of art was put in requisition for its adornment. In the state apartments Raphael executed the " Parnassus," the " Disputa del S. Sacramento," the " School of Athens," and fifteen small pictures representing Poetry, Philosophy, Theology, etc., which obtained for him the title of " the philosophical painter." These wonderful works are too well known, and have been too often described, for a word to be added. No one can see them and consider the age of the artist, who in these for the first time attempted large pictures, without wonder and admiration. Many stories have teen told of the disagreement between Raphael and Michael Angelo, but we cannot doubt that they must have honored and appreciated each other, although they may have appeared like enemies. Certain it is that Raphael was full of what Vasari calls " the might of his noble nature." He made friends everywhere, and at his appearance, even among painters, ill-humor was banished. Vasari also said, " Nature, having been conquered by art through the hand of Michael Angelo, was in Raphael conquered by art and man- ners together.'' The influence of such a man is well known. Even the Pope and the most noble men in Rome sought his friendship. He lived, as no artist had lived before, in the luxury of wealth, and Michael Angelo alone avoided him. The never-ending dispute re- garding the merits of these two men is well disposed of by Goethe- He says, " Such disputes have not perplexed me, because I have always let them alone, and occupied myself with more immediate examination of all that is valuable and estimable." Not long after Raphael went to Rome, there is reason to believe that he formed an attachment which endured through life. A small house, No. 20 Con- trada Santa Dorotea, is shown as the birthplace of his beloved one, said to have been the daughter of a turf-burner. Passavant says that she was called Margarita. Without knowing why, she is gen- 476 RAPHAEL. erally called the Fornarina. It is pleasant to believe her to have been the same maiden who was in his house r.t the time of his death, and for whom he provided in his will. We can l>e certain of nothing regarding this story, but we do know that the same female figure ap- pears in many of his pictures, and may reasonably be thought the portrait of one he loved, if not of her whom we call the Fornarina. Her picture is in the Barbarini Pal. at Rome. It represents her sit- ting in a grove, partly dressed, as if just coming from her bath; her right hand presses a transparent garment to her bosom ; her left hand rests on her lap, and on the arm is a gold bracelet with the name of Raphael inscribed upon it. Can it be that by this he indicated that the beautiful girl was all his own ? It is said that at one time she drew him so completely away from his work that his friend Chigi at last devised the plan of bringing her to his scaffold, where she sat the whole day by his side. On the back of some of his sketches for the painting of the " Disputa," which aro still preserved, four sonnets are written. Three of these are at Oxford. They are full of ardent affection, but the last one ends with the expression of the desire, to regain his peace and resume his labors. He was never married, although he did not refuse the hand of Maria di Bibbiena, who was proposed to him. The marriage was constantly postponed, as some say because he hoped to become a cardinal, while others maintain that the maiden died, which is not positively known. According to liis will her remains were to be placed beside his own as his betrothed, and the inscription proves that this was done. To the year 1511 be- longs the " Madonna di Foligno ; " to 1512 the " Prophet Isaiah," on a pillar in the ch. of S. Augustine ; and many other smaller works were done while he proceeded with the decoration of the second hall in the Vatican. This hall is called La Stanza d'Eliodoro. The pic- tures in it are intended to illustrate the divine protection of the church. The subjects are the " Expulsion of Heliodorus from the Temple," the ''Miracle of Bolsena," the "March of Attila," the " Deliverance of Peter from Prison," " God appearing to Noah." ' Abraham's Sacrifice," " Jacob's Dream," and " Moses at the Burn- ing Bush; " also various small allegorical figures. IIenna>, Caryatidae, which serve as socle pictures under the frescoes. He also executed pictures in the window recesses, which are defaced or have been now repainted. For his work here Raphael received 335. Only the first two of these pictures were finished during the life of Julius II. The " Mass of Bolsena" is, without doubt, the most celebrated of these works. It is a representation of the legend that a priest who had doubted the miracle of transubstantiation was brought back to the, faith by the flowing of blood from the host, while he himself was celebrating the mass at Bolsena. These pictures might also be con- sidered as having a secular as well as religious meaning, for the Pope in tlis picture of the " March of Attila " was a likeness of Leo. X., RAPHAEL. 477 who in 1513 had succeeded in expelling the French from Italy. The socle pictures, too, representing Protection, Peace, Commerce, Plenty, etc., conveyed a delicate compliment to the rule of Leo X. To Julius II. the praise may be given of having developed the genius of both Michael Angelo and Raphael, by giving them the opportunity of executing such extensive works as they alone were able to do. And yet much of the glory has been given to Leo X. , in whose reign the plans of Julius were perfected. Raphael painted more and greater works in five years for Julius II., than he did in seven years for Leo. In 1815-16 Raphael was employed upon the colored car- toons for ten tapestries representing events in the history of the Apostles, to be executed at Arras. These were intended for the lower hall of the Sistine chapel ; but seven of them remain, and are in the Mus. at South Kensington. The year before his death Francis I. ordered of Raphael the cartoons for twelve other tapestries which were completed by Giulio Romano and others. From 1514 until the time of his death the principal paintings of Raphael were the follow- ing : The remainder of his paintings in the Vatican, not before mentioned; the Gate leading from the Stanza della Segnatnra to the Stanza di Torre Borgia; portraits of many eminent persons, among which were several members of the Medicean family ; a portrait of a violin player, 1518, in the Pal. Sciarra Colonna is most attractive, and represents a favorite companion of the Pope ; the Prophets and Sibyls, in a Chapel of S. Maria della Pace; " Galatea," now in the Villa Farnesina; " S. Cecilia," now at Bologna; " Vision of Eze- kiel," Pitti Pal.; " Marriage of Alexander Avith Roxana," Borghese Gall.; " Lo Spasimo di Sicilia; " the Sistine Madonna; the " Trans- figuration of Christ; '" and a large variety of Holy Families, Madon- nas, and various other religious subjects, many of which are known by names derived from their distinguishing traits, such as " The Ma- donna with the Candelabra," "The Perla," "La Sacra Famiglia della Lacerta," etc. The more important of these pictures are well known by fine engravings, especially those of Marc Anton, for some of which, according to tradition, Raphael assisted with graver and file in the preparation of the plates. The " Lo Spasimo " was painted for a church in Palermo. The ship which was carrying it was wrecked, and all on board perished. The case containing this pic- ture alone floated into the port of Genoa, and was recovered before the water had penetrated it. There was great joy in the whole city, and when the monks of Palermo claimed their treasure, the Genoese would not give it up until the Pope commanded them to do so. It is now in the Mus. of Madrid. The Sistine Madonna, so called from the representation of S. Sixtus with S. Barbara in the lower part of the picture, it is said was originally painted for the monks in Piacenza. to be used for a drappellone, that is, a procession standard, but it was the chief altar-piece in the church until, in 1753, it was purchased for 478 RAPHAEL. the Dresden Gall, for 40,000 Roman scudi. It is almost universally acknowledged that in this work the wondei-ful genius of Raphael is most directly exhibited. It is full of spirituality, and marvellous in its sublimity, and yet a more simple arrangement could scarcely be conceived. It is pyramidal in form, and while perfect in symmetrical grace, corresponds exactly to the mathematical division known by the ancients as the sectio aurta. This picture was painted entirely by Raphael, which was a rare occurrence in the latter years of his life. His last work, the " Transfiguration of Christ," was unfinished at the time of his death. The figure of the Saviour, the demoniac boy, the father, the figure of S. Andrew, and the kneeling female in the foreground, are the only portions of this work in which the brush of Raphael can be recognized with certainty. Raphael died on Good Friday, which was also his birthday, 1520. All Rome was filled with sorrow for his death, and crowds surrounded his house, where the body was laid out on a catafalque, encircled with torches, while the " Transfiguration " stood behind it. The ceremonies at his burial were magnificent. He was buried, as he himself had chosen, in the Pantheon of Agrippa. He had also arranged that a statin: of the Virgin should be executed by Lorenzetto and placed over his sepul- chre. The epitaph, written by Bembo, concludes with these words : " This is that Raphael by whom nature feared to be conquered while he lived, and to die when he died." By his will he L r a\e all his works of art to Giulio Romano and Francesco Penni. He provided gen- erously for the Fornarina. His house in Rome was given to Bib- biena. He ordered that a house should be purchased with 1000 scudi, the revenue of which should pay for twelve masses to be said monthly on the altar of his burial chapel. These have been discon- tinued since 1 705, on account of the insufficiency of the rent of the house. The rest of his property was inherited by his relatives. One hundred and thirteen years after the death of Raphael, Pope Gregory XVI. permitted his grave to be opened. His body was found in a tolerable state of preservation, and entire. A second funeral ceremony was celebrated, which was attended bv eminent artists and men of rank, who moved about the church in a procession. bearing torches, while beautiful music was chanted by an invi>ible choir, and his body was again con>i_ r ned to its resting-place. KN<}RAVIXGS AFTKIl TIIK WO1JKS OF UAPHAKI,. Engraver, ALBKRTI, Cherubino. The Presentation. The Resur- rection. The Holy Family; 15S2. Jupiter and Ganymede; 1580. The Graces and Venus leaving Juno and Ceres. Engraver, ALIX, John. The Holy Family. Knr/rauer, AXDERLOXI, Pietro. The Holy Family. Ihe Incendio di Borgo. The Heliodorus. The Flight of Attila. Engraver, AuDOUiN, Pierre. La Belle Jardiniere. RAPHAEL. 479 Engraver, AUDRAN, Gerard. Thirteen Hieroglyphical Figures, in the Vatican. Fifteen plates called Emblems or Cupid and Psyche, in a Loggia in the Farnese Garden. Moses in the Burning Bush. S. Paul and Barnabas at Lystra. The Death of Ananias. The Descent of the Saracens in the Port of Ostia. Engraver, AUDRAX, John. Our Saviour in the Bark, preaching. Engraver, BADALOCCHIO, Sisto. Fifty-one plates after Biblical subjects, painted in the Vatican. Engraver, BAILLU. Heliodorus driven from the Temple. Engraver, BARTOLI, Pietro Sante. Three sets of friezes, forty- two plates in all. A set of ornaments in figures, forty-three plates, inscribed, Parerga atque ornamenta in Vaticani, etc. The Adoration of the Magi. Engraver, BKATRICI, Niccolo. Joseph explaining the Dream, marked with cipher and his name; one of his best plates. Christ de- livering the Souls from Purgatory, with the names of Raphael and Beatrici. The Ascension, with cipher; 1541. S. Michael over- coming the Evil Spirit; marked N. B. L. The Temple of Fortune; marked with cipher. Engraver, BKHAM, Bartel. Apollo causing Marsyas to be flayed; marked with a B. on a die. Christ giving his Charge to S. Peter; same mark. Engraver, BERGER, Daniel. The Virgin Mary. Engraver, BLOKMAERT, Cornelius. S. Luke painting the Virgin and Infant. The Adoration of the Shepherds. Engraver, BLOOTELIXG, Abraham. The Marriage of S. Catherine. Engraver, BOXASOXI, Giulio. Xoah coming out of the Ark. Joseph sold by his Brethren. The Cup t found in Benjamin's Sack; with the names of Raffaelle and Bonasone. Christ meeting S. Peter. S. Cecilia. The Rape of Europa. Venus, attended by the Graces. Engraver, BOUGHT, Henry van der. The Dead Christ, supported by Joseph of Arimathea, from a drawing by Parmigiano, after Raffaelle; 1645. Enf/rarf.r, BOULAXGER, John. The Virgin of the Pinks. A Bust of the Virgin, inscribed, Mater amI/ilix. Engraver. BREBIETTE. Peter. The Holy Family, with S. John. Ent/rarer. BRUYX or BKUIX. Nicholas de. S. Cecilia. Engraver, Bos or VAXDEX BOSCH, Cornelius. Moses breaking the Tables of the Law; 1550. Moses Presenting the Law to the People; 1551. Engravtr, CARRACCI, Agostino. The Holy Family, with S. John. Engraver, CARAGLIO or CARALIUS, Gio. Giacomo. Holy Family. Another Holy Family, with S. Elizabeth. 'Engraver, CARPI, Ugo da. Jacob's Ladder. David with the Head of Goliath. The Murder of the Innocents. Christ preaching on the Steps of the Temple. Elymas struck with Blindness. The 480 RAPHAEL. Death of Ananias The Descent from the Cross. The Dead Christ in the Lap of the Virgin. S. John in the Wilderness. ./Eneas carrying Anchiscs. A Sibyl muling, with ;i Child holding a Torch. Hercules strangling Antaeus. llailaelle and his Mistress. Engraver, CAYALLEKIIS, Gio. Battista. The Animals coming out of the Ark. Moses showing the Tables of the Law. The Miracle of the Loaves. Christ appearing to S. Peter. Battle of Constan- tino and Maxentius. The Murder of the Innocents. Engraver, CHAMBERS, Thomas. Ilaff'aelle's Mistress. Engraver, CHATKAU or CHASTEAU, William. The Miraculous Draught of Fishes. Engraver, CHEREAU, Jacques. The Holy Family. La Belle Jardiniere. The Transfiguration. Engraver, Cocmx, Charles Nicholas, the Elder. Alexander a:id Roxana; after a drawing by Raphael, in the Crozat Coll. Engraver, COLIGNON, Francis. The Flight of Attila. Engraver, COKNEILLK. Michel, the Elder. The Holy Family, with S. Elixabcth. The Murder of the Innocents. Christ appearing to Magdalene. Engrarcr, CORT, Cornelius. The Transfiguration. The Battle of the Elephants. The Battle of Constantino and Maxentius. Engraver, Cossix, Louis. The School of Athens; large plate. Engraver, COUVAY, John. The Virgin and Infant; Dileclus meus, etc. S. John in the Desert. Engraver, CUNEGO, Domenico. La Fornarina. Galatea; from the Barberini Pal. The Entombing of Christ. Engraoer, DORIGXY, Sir Nicholas. Nine plates of the seven planets, and the creation of the sun and moon; after the paintings in the Chigi Chapel in La Madonna del Popolo. The Cartoons in eight plates, including the title. Twelve of the history of Cupid and Psyche, and the Triumph of Galatea, including the title: after the paintings in the little Farnc.ian Gall. The Transfiguration. Engraver, DUFLOS, Claude. The Entombing of Christ. S. Michael discomforting the Evil Spirit; for the Crozat Coll. Engraver, EDELIXCK, Gerard. The Holy Family, with S. John. S. Elizabeth, and two angels: after the picture by Raphael which is in the Coll. of the King of France: very fine. The first impressions are before the arms of Colbert, the second are with the arm-;, and in the third the arms have been effaced, but the frame in which they were inserted remains. Engraver, EDELINCK, Nicholas. Portrait of Card. Julius de' Medici. Portrait of Count Balthasar ('asti^lione. Engraver, EREDI, Benedetto. The Transfiguration. Engraver, FIDAXZA, Paolo. Mount Parnassus. The Mass of Bolsena. Enr/raver, FLIPAKT, Jean Charles. The Virgin and Infant; for the Crozat Coll. Christ on the Mount of Olives; for the Crozat Coll. RAPHAEL. 481 Engraver, FRANCO, Batista, called II Semelei. The Donation made to the Church by the Emperor Constantine. Engraver, GALLE, Cornelius, the Elder. The Virgin caressing the Child. The Entombment of Christ. Engraver, GAULTIER, Leonard. Thirty-two plates of the history of Cupid and Psyche. Engraver, Ginsi, Giorgio. Portrait of Julius II. The Holy Family; half-length. School of Athens; two sheets. The Dispute of the Sacrament. An emblematical subject, sometimes called " Raphael's Dream," and sometimes " The Melancholy of Michael Angelo; " 1561. Engraver, GIIISI, Diana. The Holy Family, with S. John pre- senting a billet. Engraver, GREGORI, Carlo. The Maries at the Sepulchre. Engraver, GRIBELIN, Simon. The Cartoon; seven small plates. Engraver, JACOBONJ, Gio. Batista. The Holy Family. Engraver, KIRKALI., Edward. The Cartoons of Raphael, in eight plates. The Bust of the Saviour. Engraver, LANFRAXCO, Cavaliere Gio. A part of the plates en- graved conjointly with Sisto Badalocchio, from the paintings in the Vatican called " Raphael's Bible; " fifty-one prints besides the titles. Engracer, LANGLOIS, John. S. Luke painting the Virgin. Engraver, LARMESSIN, Nicholas de, the Younger. Portraits for the Crozat Coll. : Raphael and Jacopo Pontormo (half-lengths) ; Federigo Carondeletto; Cardinal Pole. Subjects for the Crozat Coll.: S.Michael vanquishing the Evil Spirit; S.George and the Dragon; S. John the Evangelist; The Holy Family; Madonna and Child; Vision of Ezekiel; Christ Bearing his Cross. Engraver, LOMBARD or LOMBART, Peter. S. Michael subduing the Demon. Engraver, MANNL or MAENNL, Jacob. S. Margaret treading on the Dragon. Engraver, MARATTI, Carlo. Heliodorus driven from the Temple; in two sheets. Engraver, MATHAM, James. The Holy Family, with S. Ann. Mount Parnassus, with Apollo and the Muses. Engraver, MAZZUOLI, Francesco, called II Parmigiano. S. Peter and S. Paul healing the Lame Man; fine. Engraver, MOKC.IIEN, Raphael. The Mass of Bolsena. The Transfiguration. The Madonna della Seggiola. Engraver, MORIN, John. The Virgin with the Child on her knee, holding a bouquet of flowers, inscribed, Dilec/us meus milii. Jtngraver, Mono, Gio. Batista d'Angeli. The Holy Family, with S. Elizabeth and S. John. Another Holy Family. Engraver, Musis, Agostino de, called Agostino Veneziano. The Creation, engraved in conjunction with Marco da Ravenna. The 31 482 RAPHAEL. Sacrifice of Isaac. The Benediction of Isaac, dated 1522; very scarce. Same subject dated 1524. The Israelites passing the Dead Sea. The Israelites gathering the Manna. The Archangel Michael. S. Jerome with the Lion. Tarquin and Lucretia. The Death of Lucretia. Vulcan giving Cupid's arrows to Venus; 1530. Venus riding on a Dolphin, with Cupid holding a Torch. Apollo and Daphne. The Triumph of Silenus, marked A V, on a tablet. Hercules destroying the Nemean Lion. Engraver, NATALIS, Michael. Holy Family. Engraver, OTTAVIANI, Gio. Four plates from the pictures in La Farnesina. Jupiter and Ganymede. Juno on her Car. Neptune on the Ocean. Pluto and Proserpine. Engraver, PA VON, Ignatius. La Madonna del Trono. La Ma- donna di Foligno. La Vierge au Papillon. La Vierge au L'Oiseau. The Transfiguration. Engraver, PAZZI. Pietro Antonio. The Assumption of the Virgin. Engraver, PEIKOLKRI, Pietro. Portrait of the Fornarina. Engraver, PKRAC, Stephen. The Judgment of Paris. Engraver, PERRIKR, Francis. Ten plates of the angels in the Farnesina. Two plates of the Assembly of the Gods, and the Mar- riage of Cupid and Psyche; from paintings in the Farnesina. Engraver, PESNE, John. Holy Family. Engraver, PICCIONI, Matteo. S. Luke painting the Virgin. Engraver, PITAU, Nicholas. Holy Family, with S. Elizabeth and S. John; very fine. Engraver, POILLY, Francis, the Elder. The Vision of Ezekiel. The Holy Family, with Christ standing upon a Cradle. The Virgin lifting up a Veil to show the Sleeping Christ to S. John. Engraver, PREISLEU, John Martin. The Madonna della Segiria. Engraver, PRESTEL, John Gotleib. The Descent from the Cross. Engraver, RAIMONDI, Marc Antonio. Adam and Eve. Noah sacrificing after leaving the Ark. God appearing to Noah. God appearing to Isaac. Joseph and Potiphar's Wife. David cutting off the Head of Goliath. DaVid taking up the Head of Goliath; very scarce. The Murder of the Innocents. The Holy Family: usually called " The Virgin with the Long Thigh." The Virgin seated, with a palm-tree in the background; called " The Virgin of the Palm." The Virgin seated near a cradle, presenting the Child to S. Anne; called "The Virgin of the Cradle." The Virgin seated on a Chair, embracing the Infant. The Virgin hnltl'mir tin- Infant, and reading. The Virgin and Child; to whom Tobit, ac- companied by an Angel, is presenting 'A Fish. The Virgin in tin- Clouds, holding the Infant Jesus. Christ seated between two Col- umns, upon the Steps, with the Virgin and Mary Magdalene; called " The Virgin with the Steps." Mary Magdalene at the Feet of Christ in the House of Simon the Pharisee. The Last Supper; RAPHAEL. 483 called " La Piece des Pieds." The Taking down from the Cross. The dead Christ laid on the Sepulchre, with the Virgin with her arms extended. The same composition, in which the Virgin appears younger, and has one of her arms naked; called " The Virgin with the Naked Arm.'' The Dead Christ with his Head on the Knees of the Virgin, with the Holy Women, two of the Disciples, and Nicodemus. Christ with a Glory, between the Virgin and S. John, and, below, S. Paul and S. Catherine; called " The Five Saints." The Death of Ananias. Elymas struck blind. S. Paul preaching at Athens. S. Cecilia with Mary Magdalene, S. Paul, and two other Saints ; there is a shadow on the neck of S. Cecilia, from which it is called " The S. Cecilia with the Necklace." The Martyrdom of S. Felicita. A set of thirteen plates of Christ and the Apostles. The Books of the Sibyls put into the Tomb of Numa Pompilius. The Rape of Helen, ^neas saving Anchises from the Burning of Troy. Venus appearing to . go, his strength continually failed until he passed beyond all journeys. His friends are in all lands, and he was dearly loved for his sweet disposition and cordial manners, as he was much admired for his intellectual gifts and attainments. The society he graced in Rome will feel his loss deeply, and his American friends cherish his mem- ory with true affection. Regillo. See Pordenone. Reinagle, Philip (1749-1833). A landscape and animal painter of some merit. He spent considerable time in painting the " Sports- man's Cabinet," a collection of dogs. These were engraved by John Scott. Richard Ramsay Reinagle, son of Philip, was a succes-l'id landscape painter (1775-1862). He resided several years in Italy, and brought to England a great number of sketches, from which he composed his pictures. George P. Reinagle (1802-1835), son of R. R. Reinagle, was a painter of sea pieces, but is best remembered for 1 Mr. Claghorn of Philadelphia (a generous friend and patron of Mr. Road) has in his Coll. several pictures by this artist, executed during his successive visits to Italy, and showing his progress from time to time. REINAGLE REMBRANDT. 487 his drawings of ships, sea-fights, etc., on stone. He was present at the battle of Navarino, and painted several works representing that engagement. Rembrandt van Ryn, born at Leyden (1607-1G69). This great painter was not intended by his parents for the profession which he chose. He was placed in a good school at Leyden, but very early manifested such a talent for drawing and such a love for it, as ex- cluded everything else from his thoughts. He was therefore placed under the instruction of J. J. van Swanenburg, of Leyden. It is also said that he was taught by Pieter Lastmann and Jacob Pinas. If the influence of any master can be seen in the works of Rembrandt, it would be that of Lastmann, but he so entirely originated his own. manner, that we scarcely realize that he was ever taught at all. At the early age of twenty-two he established himself in Amsterdam, where he lived until his death. He had already attracted much attention, and received numerous commissions. In 1G34 he married Saskia Nilcnburg, a wealthy young lady of very respectable con- nections. She lived but eight years after her marriage, and bore two children, but one of whom, Titus, survived her. The years of this marriage were undoubtedly the happiest portion of Rembrandt's life. Saskia left her entire fortune to her husband, stipulating only that her son should be well educated, and should receive a marriage por- tion. Rembrandt married again, and had two other children born to him, as is proved by the records of Amsterdam, but the name or position of his second wife is not known. There is very little material for a biographical sketch of this master. It has been by some supposed that he knew nothing of antique or Italian art, but we now know that his strongest passion was that of collecting works of art and curiosities; indeed, his pursuit of these things, and his willingness to pay large sums for them, was the cause of his ultimate poverty. In the Court of Insolvency at Amsterdam is the catalogue of his collection, and this simple and hastily written paper throws much light on the history of Rembrandt. Besides a rich collection of weapons, armor, costumes, and utensils of different nations, he had a number of antique sculptures, such as the " Laocoon," a " Cupid," and busts of Homer and Socrates ; of pictures, he had those of the Dutch and Netherlandish schools from the earliest dates, and a small number by such Italian masters as Giorgione, Palma Vecchio, Raphael, and Michael Angelo. His engravings were numerous and from the works of Titian, Andrea Mantegna, Vanni, Baroccio, Tempesta, the Carracci, Guido, Spagnoletto, and others. The list also mentions " a parcel of ancient rags of various colors." With this knowledge, we can no longer feel that Rembrandt did not choose his subjects and their treatment from a decided preference and love for them, and with sufficient knowledge of what had been done by other artists, in other nations and times, to be able to decide under- 488 REMBRANDT. standingly for himself. He wished only to represent what he saw; and of what he saw it was ever the most striking and unusual feature which seemed to remain with him. We are too apt to say of an unusual thing that it is not natural; but if we were more acute in our observations, we should soon find that nothing can be too strange to be natural, and especially when, as in the case of Rembrandt, the great effects are those of light and shade. Have we not all seen a landscape on a dull day, with no sun and no shadow, that seemed tame and featureless ? And have we not seen the same place again when the sun threw out that clump of trees, and shimmered on that brook until it was rippling silver, and left all else dark and cold, so col.l and FO dark that the great rock is blacker than black, and the gir.ss beyond the sunshine brown in place of green, and we wonder why we did not see that there was character and "points " here before? Now, this is just what Rembrandt did. He put such effects of light and shade as he had seen, and nothing else. He gave in every work " points " to fix our eye, and though all else was finished wiih ex- quisite skill, and would bear examination just as the flowers and grass in the shade of our real landscape would do if we went to them, still we do not care to search them out. The one great interest holds us and is enough. His technical powers were marvellous; his freedom, spirit, and breadth of manner had no example before him. In spite of all these advantages, he painted ugly and even vulgar heads; he disregarded all rules of art in costume and acces- sories ; he parodied ideal and mythological subjects, and painted the coarse and common men about him to represent the personages of Scripture story ; but with all there is a simplicity, truthfulness, and earnestness that holds and satisfies us. At different periods he used different lighting and handling; e. g., before 1C33 he used such clear daylight as is seen in the " Anatomical Lecture," now at the Hague: the flesh tints are warm and clear, and there is a certain fusion in spite of the free and careful touch. Ever after this period he pre- ferred the light of which we have spoken, enclosed light, so to speak; that which leaves great masses in shadow, and breaks over certain objects; his touch, too, became very spirited and more dis- tinct; his flesh tones were more golden, and therefore less natural. It was in 1G56 that his money matters became so involved that, his house and his precious collection were sold. We can imagine the grief this must have been to him, and yet his works do not show it. The large picture of "Jacob blessing the Sons of Joseph," in the Cassel Gall., was painted in this year. The etchings are no less wonderful than the paintings of this great master. He has been called the " Prince of Etchers. " He did not use; the etching needle alone, but the dry point also, and sometimes finished with the graver. He established a new school of engraving, and by his own genius alone invented a process of which the charm is indescribable. His REMBRANDT. 489 consummate management of light and shadow, together with his free handling of his point, produces wonderful results; he makes a con- fusion, but brings a surprising and perfect effect out of it. Both as a painter and engraver his portraits are of the very highest excel- lence. His domestic scenes are full of spirit, and have an irresistible RAPE OF GANYMEDE. BY REMBRANDT. Dresden Gall. power, and his compositions of a higher order seem TO have been executed by a magic needle. Such are the plates of " Christ heal- ing the Sick," and the " Raising of Lazarus." The first of these is known as the " Hundred Guilders Print," that being the price set upon it by the master. A good impression of it is now worth about nine times that sum. Of his portraits in etching, those of Jan Lutma, 490 REMBRANDT. Burgomaster Six (his great patron), and of himself are the most remarkable. It is very hard to select, in the spare, we have, the pictures or engravings of which to speak, for he left about 600 of the first and 400 of the latter, and they embrace all possible conceptions of such subjects as he represented. His works are in all large galleries. The following is a partial list of the more important ones : The " Night Watch " (his largest picture) and the " Trustees of the Staalhof," in the Amsterdam Gall. ; the ' Anatomical Lecture" ami the " Presentation in the Temple," in the Hague Gall.; the " De-rent from the Cross," cabinet, Munich Gall. ; the " Woman taken in Adultery," a " Descent from the Cross," and a fine portrait of a Rabbi, in the National Gall.; a " Holy Family," the " Family of Tobit ador- in a * KENI. 499 ENGRAVINGS AFTER THK WORKS OF GUIDO RENI. Engraver, ALIAMET, Fran9ois Germain. The Circumcision; oval. Engraver, ANDRIOT or HANDERIOT, Franz. A Magdalene. Madonna and Bambino. Engraver, AUBEUT, Michel. S. Francis; arched. Engraver, AUDRAN, Gerard. The Magdalene ; half-length. Engraver, AUDRAN, Benoit. The Rape of Dejanira. Engraver, AUDRAN, John. S. Andrew led to Crucifixion. The Martyrdom of S. Peter. Engravtr, BAILLU. S. Michael vanquishing Satan. Engraver, BAUSE, John Frederick. Artemisa. The Head of Christ. Engraver, BKLLA, Stefano della. Three Children carrying a Pla- teau. Engraver, BERNARD, Samuel. The Flight into Egypt. Engraver, BOLOGNINI, Gio. Batista. The Murder of the Inno- cents. S. Peter made Pope. The Crucifixion, after the picture of the Capuchins at Bologna. Bacchus and Ariadne; in three sheets. Engraver, BOULANGEK, John. The Virgin, with the Child asleep. The Virgin and Child, with S. John kissing his Foot. Engracer, BOULLONGNE, Louis. The Rape of Helen. Engraver, CANTARINI, Simone. Fortune with her Foot on a Globe; G. Renus in. $ fee. Engraver, CANUTI, Domenico Maria. S. Francis praying; Dom. Ma. Canuti,fec. Engraver, CESI or CESIO, Carlo. S. Andrew led to Martyrdom, prostrating himself before the Cross. . Engraver, CHKREAU, Fran9ois. The Crucifixion. Engraver, CORIOLANO, Bartolommeo. S. Jerome meditating before a Crucifix. Herodias with the Head of S. John. The Virgin, with the Child asleep. The same subject in chiaro-scuro; very fine. Engraver, CORIOLANO, Gio. Batista. The miraculous Image of the Virgin, painted by S. Luke, held by three Angels. Cupid sleep- ing; in chiaro-scuro. Engracer, CUNEGO, Domenico. A Head of Magdalene. Engraver, DAVID, Jerome. The Virgin of the Rosary, 1633. Engraver, DUFLOS, Claude. Bust of the Virgin. Engraver, DUPUIS, Nicholas Gabriel. The Death of Lucretia. Engraver, EARLOM, Richard. Cupid bound. Simeon receiving the Infant Jesus. Engraver, EDKLIXCK, Gerard. The Virgin sewing, with the Child asleep in a Cradle surrounded by Angels, called " La Couseuse; " fine. Engraver, FAUCCI, Carlo. Cupid. 500 RENL Engraver, FREY, James. The Archangel Michael. The Four Fathers of the Church. Aurora ; in two sheets. Bacchus consoling Ariadne, after the departure of Tlu-sriis. Engraver, FRKZZA, Gio. Girolamo. The Descent of the Holy Ghost; scarce. Engraver, GREGOKI, Ferdinando. Venus sleeping. S. Sebastian: half-length. Engraver, KASSEL, Theodore. Susanna and the Elders. Engraver, LOUENZI, Fra Antonio. S. Domenic taken up to Heaven. En'-raver, MICHEL, John Baptist. Adoration of the Shepherds. Engraver, MORGHKN, Raphael. S. John in the Wilderness. The Aurora. Engraver, NICOLET, Benedict Alphonsius. S. Apollonia, Engraver, PASQUALINI, Gio. Batista. The Aurora. Engraver, PICART, Stephen. The Birth of the Virgin. Engraver, POILLY, Francis the Elder. Flight into Egypt. The. Adoration of the Shepherds; in an octagonal border. Christ in Gethsemane. Engraver, PRKISLER, John Martin. David and Abigail. Semir- amis putting the Crown of Ninus on her Head. Engraver, RAVENET, Simon Francis. Painting and Design. His own Plates. The Bust of Pope Paul V. ; Paulu* V. Pont. opt. max. The Holy Family, the Virgin seated with her Face toward the Child. The Virgin with the Child asleep on her Breast; engraved in three different manners. The Virgin embracing the Child, and holding a Book in her Hand. The Virgin with the Child giving his Hand to S. John. The Holy Family, with two Angels scattering Flowers; engraved in four different manners. S. Christopher bearing Christ on his Shoulders. S. Jerome praying in u Cave, with a Book and Crucifix. The Virgin seated in the Clouds with SS. George, Francis, Law- rence, and others. Bartsch describes sixty etchings by Guido. Engraver, ROUSSF.I.I.KT. Guido. The Annunciation. Four plates representing three of the Labors of Hercules, and his Death. Kngracer, ScilULZK. John Gottfried. The Ecce Homo. Engraver, SHARP, William. The Doctors of the Church. Ecce Homo. Engraver, SIRAXI. Gio. Andrea. A Sibyl. Engraver, STRAXGK, Sir Robert. Penitent Magdalene ; 1762 and RENI - REYNOLDS. 501 1773. The Death of Cleopatra; 1777. Fortune flying over a Globe; 1778. Venus attired by the Graces; 1759. The Chastity of Joseph ; 1 769. The Holy Virgin ; 1756 (?). The Angel of the Annnuciation; 17.56(7). The Annunciation; 1787 (?). The Offspring of Love; from the Coll. of the Marquis of Westminster; 1766 (?). The Mag- dalene; 1753. Death of Cleopatra; 1753. Cupid sleeping ; 1766 (?). Liberality and Modesty; 1755. Enynwer, TORRE, Flaminio. The Patron Saints of Bologna. The Virgin and Patron Saints of Bologna ; very rare. Samson. Engraver, TRABALLESI, Giulio. The Circumcision. Engraver, VAILLAXT, Wallerant. Judith. Engraver, VALET, William. The Holy Family. Engraver, VAL.K or VALCK. Gerard. Cupid asleep. Engraver, VISSCHER, Cornelius. Susanna and the Elders. Retzsch, Friedrich August Moritz, born at Dresden (1779- 185!)). This artist is best known for his engravings illustrative of the works of Goethe, Schiller, and Shakespeare. He was a true lover of nature, and would much sooner roam the woods with dog and gun, than be employed in any ordinary pursuit. His friends urged him to enter the Acad. of Dresden, and after he had acquired the mechanical knowledge necessary, the wild, poetic word-pictures of the above-named writers seemed to be the inspiration he required to bring out all his powers. He was an original and poetic artist. Reynolds, Sir Joshua, born at Plympton in Devonshire, 1723; died in 1792. When quite young he displayed such a talent for drawing, and made likenesses of his relatives and friends with such success,, that, in 1740, his father sent him to London to study with Mr. Hudson, a portrait-painter. He remained with him three years, in which time his ability had so excited the jealousy of his teacher as to render his situation unpleasant. He returned to Devonshire, and, after a time, established himself at Plymouth Dock. In 1 749, by invitation of Captain Keppel, he sailed for Leghorn, and from there proceeded to Rome. He was three years in Florence, Venice, etc. All this time he studied carefully the works of the great masters. Soon after his return to England, he was acknowledged to be the best painter in that country since the days of Vandyck. In 1768 he was made President of the Royal Acad., and soon after the King bestowed on him the honor of knighthood. Although it was not a part of his duty to read lectures to the academy, he continued to do so until 1790, when he took his leave. During these years he also sent 244 pictures to the various exhibitions. In 1781 and in 1783 he made excursions to the Netherlands and Holland. In 1 784 he exhibited his celebrated portrait of Mrs. Siddons. In ' 786 he was commissioned to paint a picture for the Empress of Russia, the subject, size, and price being left to his own decision. He painted the "Infant Hercules strangling the Serpent." When Alderman 502 REYNOLDS. Boydcll undertook to establish his Shakespeare Gall., Sir Joshua ehose three subjects for himself, the " Death of Cardinal Beaufort." "Macbeth with the Witches," and " Puck," which last is one of his happiest efforts. In 1782 he experienced a slight, shock of paralysis. hut was afterwards quite well until 1789, when his si-lit was so defective that he feared he might become blind, and from this time relinquished the use of the brush. He was sick about three months before his death, and died on the 23d of February, 17!r>. His remains, after lying in state at the Royal Acad.. were buried at St. Paul's, near the tomb of Sir Christopher Wren. As a portrait painter, and particularly as a painter of children, he is almost mi- equalled, but in historical or poetical compositions he falls far below the standard of excellence. It was his custom to receive six sitters daily. He kept a list of those who were sitting, and of those who were waiting for an opportunity to be painted. He kept prints engraved from his portraits and sketches in a large portfolio, and submitted it to his sitters. When they had chosen the position which they wished, he copied it on the canvas, and painted the likeness to correspond. At the height of his success he was accustomed to paint a portrait in four hours. His sitters' chairs moved on casters, and were raised a foot and a half above the floor. He worked standing, with great rapidity, and used brushes with handles eighteen inches long. His sister pre- sided over his house- hold, and he lived gen- erously, receiving com- pany to dinner almost daily, and among his visitors were the best men of the time. His friendship for Dr. John- son continued through life. Percy, Goldsmith, Garrick.and the Burkes were frequently bis guests. The day lie- fore Johnson died be said, "I have three requests to make, and I beg that you will attend to them, Sir- Joshua : forgive me i'.'tO which I borrowed of you, read the Scrip- tures, and abstain from using your pencil on the Sabbath Day." Sir Joshua made and remembered these promises, lieynolds was LXAR, A STUDY. BY SIR JOSHUA REYNOLDS, REYNOLDS. 503 very skilful in compliments. He painted his name on the oorder of Mrs. Siddons' garment, in her picture as " The Tragic Muse." The actress went near to examine it, and, seeing the n:une, smiled. Sir Joshua bowed and said, " I could not lose the opportunity of sending my name to posterity on the hem of your garment." He placed great value upon old pictures, and said of Titian, " To possess a really fine picture by that great master, I would sell all my gallery, I would willingly ruin myself." In his eulogy on Reynolds, Burke says, u In full affluence of foreign and domestic fame, admired by the expert in art and by the learned in science, courted by the great, caressed by sovereign powers, and celebrated by distinguished poets, his native humility, modesty, and candor never forsook him, even on surprise or provocation ; nor was the least degree of arrogance or assumption visible to the most scrutinizing eye in any part of his conduct or dis- course." Good prints of the pictures of Sir Joshua Reynolds were made by many contemporary engravers, but fine impressions, and especially proofs, are becoming rare. Among the best are the follow- ing : ENGRAVINGS AFTER THK WORKS OF REYNOLDS. Engraver, ARDKLL, James Me. Earl of Bath. Admiral Boscawen. Mrs. Bastard. Duchess of Buccleugh. Lady E. Montague. Horace Wai pole. Em/raver, DOUGHTY, William. Dr. Johnson. Engraver, DICKKNSON, W. Sir Joseph Banks. Lady Crosby. Mrs. Mathew. Mrs. Pelham feeding Chickens. Bishop Percy. Engraver, DIXON, John. Mrs. Blake as Juno. Duke of Leinster; 1775. Dr. Robertson. Ugolino. Engraver, FISHKR, Edward. Lady Sarah Bunbury; full length, very fine. Garrick between Tragedy and Comedy. Admiral Keppel. Lord Ligonier. Miss Palmer as Hope nursing Love. Marquis of Rockingham. Engracer, GREEN, Valentine. Duke of Bedford, with his Brothers and Miss Vernon. Sir W. Chambers. Sir J. Reynolds, as President of the Royal Acad. Marchioness of Salisbury. Three Ladies Wal- degrave. Enyrai-er, HA WARD. Mrs. Siddons. Prince of Wales, leaning on his Horse. Engraver, HOUSTON, Richard. Marquis of Granby. Duchess of Ancaster. Francis Charteris. Engraver, JONES, J. Boswell. Erskine. Fox. Sir Abraham Hume. Engraver, MARCHI, G. Goldsmith. Mrs. Crewe and Mrs. Bou- verie. Engraver, SIIARP, William. John Hunter. The Holy Family; two plates, one large and one small. Engraver, SHKRWIN, John Keyse. The Fortune Teller. 004 REYNOLDS RIBERA. Engraver, SMITH, John Raphael. Lord R. Cavendish. Mr. Dun- das. Mrs. Musters. Duke of Orleans. Archbishop of Armagh. Banished Lord. Engraver, WATSON, Thomas. Lady Bampfylde. Mr?. Oewe. Lord Errol. Lady Melbourne and her Son. Bishop Newton. Resignation. Engraver, WATSON, James. Jjord Amherst. Mrs. Abington. Dr. Beattie. Edmund Burke. Dr. Hawkesworth. Dr. Johnson. Duchess of Marlborough and her Daughter. Countess of Walde- grarc. Reynolds, Samuel William (1774-1835). This celebrated mezzotinto engraver executed no less than 300 plates after the works of Sir Joshua Reynolds, besides numerous portraits and historical subjects after other masters, almost entirely modern painters. He was skilful as a designer of landscapes, and made some sketches in oil. Ribalta, Francisco, born at Castellon de la Plana (1551-1628). This artist is the head of the school of Valencia, and one of the best historical painters of Spain. He first studied in the city of Valencia, where he fell in love with the daughter of his master; her hand was refused him by the father, but the young couple parted with mutual voWs of constancy. He spent several years in Italy, and when he. again went to Valencia had no difficulty in obtaining his bride. He has been compared as an artist with Doinenichino. The Spanish painters were given to the representations of extremes; either ex- cruciating agonies or transporting ecstasies were most frequently their subjects; they seem not to have had as much middle ground as other nations. Ribalta is no exception to this rule. Valencia is richer than any other place in his works; many of them are in the Colegio Patriarca, in a chapel, where his " Last Supper " plays an important part in the ceremonies of Corpus Christi. His " Nailing to the Cross " shows plainly its superiority to its surroundings in the Musco. Another famous work of his, also in the Colegio, is S. Vicente de Ferrer on his sick-bed visited by the Saviour and several saints. There is a picture by Ribalta in the chapel <>f Magdalene College, Oxford. He painted many fine portraits of the prominent persons of Valencia. Out of Spain his works are very scarce. Ribalta, Juan de, born at Valencia (1597-1628). Son of Fran- cisco. They died the same year. Juan gave proof of his powers at eighteen, when he painted the " Crucifixion " now in the Mns. of his native city. There is confusion concerning the separation of tin; works of the father and son. Juan painted more than thirty pur- traits of the notables of Valencia for Don Diego de Vich, who gave them to the convent of S. Jerome. There is a work of his in the Dresden Gall, representing Pope Gregory XV. surrounded by Car- dinals. Ribera, Josef de, called II Spagnoletto, born at Xativa, 1588; RIBERA. 505 died at Naples, 1656. His parents placed him at the University of Valencia to study a profession, but he, following his inclination, entered the school of Francisco Ribalta. It is said that his earliest works were noticed for their excellence. He was at Rome when very young, living in extreme poverty. Clothed in rags, he lived on crusts, and spent his time in copying the frescoes he could see in the streets. He arrested the attention of a Cardinal who took him home and provided for his comfort. But Ribera found himself less inclined to work than before, and soon returned to his life in the street. The Cardinal, angry at this, called him an ungrateful little Spaniard, and invited hiin to return to his house. When Ribera declared that he needed the spur of poverty to make him a good artist, the Cardi- nal admired his resolution, and the story being repeated attracted the attention of other artists to him. and he was called II Spagnoletto. He imitated the works of Caravaggio, and carefully studied those of Raphael and the Carracci. He likewise visited Parma and Modena, and some of his works show the effect of the study of Correggio, for which he there had an opportunity. He quarrelled with Domenichino at Rome, and at length removed to Naples. Here, for a time, he studied with Caravaggio. A rich picture dealer, who employed him, so admired his genius that he offered him his daughter in marriage. Ribera accepted, but ease and prosperity seemed now to stimulate, rather than hinder, his exertions. He chose the most painful sub- jects, and depicted them with a horrible reality. His ' ; Flaying of S. Bartholomew " attracted the attention of the Viceroy Don Pedro Giron, who appointed Ribera court painter. The Neapolitan artists were much chagrined at the advance of the Spaniard, and began to court his favor as much as they had before derided him. He entered into a conspiracy with Belisario Corenzio and Gianbattista Caracciolo, by which they prevented the employment of other artists to paint the chape) of S. Januarius. They used fraud, violence, and even murder, and drove away the Cavaliere D'Arpino, Guido, Gessi, and, finally, Domenichino. After all this Ribera painted but a single altar-piece. His two companions died, and the chapel was finished by Lanfranco. The Neapolitans have a tradition that Don Juan of Austria, when in Naples in 1648, met the daughter of Ribera, admired her beauty, and carried her to Sicily. He afterwards forsook her, and she entered a convent at Palermo. Ribera and his wife, not able to survive this disgrace, disappeared from Naples, and his end was unknown. But Cean Bermudez declares that in 1630 he was made a member of the Acad. of S. Luke, that in 1644 Innocent X. sent him the cross of the Order of Christ, and he lived in elegance and respectability at Naples, and died in the midst of riches and honor. Few Italian ar- tists were better known in their own country, and his pictures were very popular. He painted immense numbers, many of which were sent to Spain. His works are now familiar to all Europe, from 506 RIBEHA HICCIO. Madrid to St. Petersburg. His best point was in the delineation of anatomy. His pictures now in the Queen of Spain's Gall, arc S. Bartholomew," before mentioned; " Ixion on the Wheel;" "Jacob's Dream," etc. At the Escorial there is a picture of " Jacob watering the Flock of Laban; " in the Cath. of Valencia, an ' Adoration of the Shepherds; " and at the Louvre, a frightful representation of Cato of Utica. He painted many portraits, which are scattered through the collections of Europe. Ik- also left about twenty etch- ings which Bartsch reckons among the most remarkable engravings in aqua-fortis. The following are his principal plates : The Martyrdom of S. Bartholomew. The Penitence of S. Peter. The Dead Christ extended on a Linen Cloth. S. Jerome, with an Angel blowing a Trumpet. S. Jerome reading, with a Skull on the Ground. Bacchus made drunk by Satyrs. Portrait of Don John of Austria on Horseback. ENGRAVINGS AFTER THE WORKS OF SPAGNOLETTO (llIBERA). Engraver, AMETM.E'K, Bias. S. Gregory performing a Miracle. Engraver, BALESTRA, Gio. Archimedes. Engraver, DAULLE"E, Jean. Diogenes with the Lantern. Engraver, FISCHER, Joseph. Christ with the Doc-tors. Engraver, FORKE, Simon. Jacob tending Laban's Flock. Engraver, INGOUF, Fra^ois Robert. Adoration of the Shepherds. Engraver, Louis, Aristide. Mater Dolorosa. Engraver, PITTERI, Gio. Marco. S. Peter delivered from Prison. Ricci, Antonio, called Barbalunga, born at Messina (1600-1649). A pupil of Domenichino. He is one of the best painters of Sicily, and founded a school at Messina after he returned from Rome. Ricci, Sebastiano, born at Belluno (1659-1734). A decorative painter who executed many works in England in the days of Queen Anne. He was a feeble imitator of Paul Veronese. Ricci, Marco, born at Belluno (1680-1730). Nephew of the pre- ceding. He painted landscapes in the manner of Titian, and also etched several plates from his own designs. Ricciarelli. See Volterra. Riccio, Andrea, real name Briosco, called Riccio from hi? curly hair (1480-1532). His manner of sculpture was grotesque and ex- travagant. His works were overloaded with ornament and detail until the design was lost in the mass. His chief works were two re- liefs from the life of David, in the choir screen of S. Antonio of Padua; the famous candelabrum, eleven feet hi'jh, in the same church ; a monument to two physicians of the Delia Torre family of Padua, and four bronze reliefs in the Acad. of Venice, which seem to belong to his early period. RICCIO RIETSCHEL. 507 Riccio, Pomenico, called Brusasorci. Born at. Verona (1494- 1567). He has been called the Titian of Verona, but he was no more than a mediocre painter. His best works are in his native city, where they are much valued. His son, Felice (1540-1605), was fond of painting on marble, which he did with great skill. His pictures on oriental alabaster were especially pleasing. Ridolfi, Cavaliere Carlo, born at Vicenza (1602-1660?). This artist is better known for his writings than his pictures. He has been called the " Venetian Vasari," and was the principal authority concerning Venetian artists down to his own time. He was less mannered in his painting than most of his contemporaries. The " Visitation," in the ch. of the Ognissanti, in Venice, is his chef- d'oeuvre. He also painted many portraits. Riemenschneider, Tilman, born at Osterode in the Harz Moun- tains, probably about 1460. He went to Wiirzburg, where he rose to the rank of head Burgomaster in 1520. In 1525, after the Peasant's War, he was deprived of his office, and until his death in 1531, he lived in retirement. His works in sculpture are numerous, and the major part of them are in Wiirzburg and its immediate vicinity. The monument of the Knight Eberhard von Grumbach, in the ch. at Rimpar, was probably his earliest work. In 1495 he was commis- sioned to execute for Bamberg Cath. a magnificent monument to the Emperor Heinrich II. and his consort Kunigunde. This was not completed until 1513, and is one of his principal works. The figures of the Emperor and Empress lie on a large sarcophagus; they are more than life-size, are good portraits, and furnish an excellent rep- resentation of the fantastic 15th century costume. Upon the sarcoph- agus five scenes from the lives of the imperial pair are depicted with great attention to technical execution ; the figures are also graceful, but there is a lack of dramatic life and free action. We have not space for a list of his works, which embrace many monuments and religious subjects. A haut-relief representing the " Lamentation over the Dead Christ," in the ch. at Maidbrunn, is probably his latest work. It is executed in sandstone. The Nicodemus is believed to be his own portrait. Rietschel, Ernst (1804-1860). A pupil of Ranch. He went to Rome, and settled in Dresden after his return. He executed the statue of King Friedrich August of Saxony for the Zwingerhof at Dresden, when but twenty-seven years old. His chief excellence was (like his master) that of the delineation of character in portrait statues. Those of Lessins;, at Brunswick, Luther, at Worms, and Goethe and Schiller, at Weimar, are of the highest type of this branch of sculpture; that of Weber, at Dresden, is also admirable in its delicate simplicity. The group of the " Virgin and Dead Christ." which he executed for the Friedenskirche at Sans Souci, is a beau- tiful expression of the deep religious feeling of this master. His 508 , METSCHEL RIZI. smaller representations of mythical subjects, and his reliefs, are full of charming grace. Of his statues of Luther and Lessing, Lilbke says, he " has produced with imperishable power, in monumental form, the intellectual and moral ideals of the nation, in the persons of their noblest representatives. 1 ' Rietschoof, Jan Claasze, born at Hoorn (1652-1719). A pupil of Backhuysen, whose style he imitated with success. Though infe- rior to his master he ranks high among the second class of painters of the Dutch school. Two of his pictures, one a calm, and one a stormy sea, are in the Amsterdam Mus. Rigaud, Hyacinthe, born at Perpignan (1659-1743). The most distinguished French portrait painter of his time. He often portrayed the King, Louis XIV., and had many of the illustrious personages of Europe for hu sitters. In his day the French Acad. did not recog- nize portrait painters, and Rigaud was admitted as a special honor, submitting only a sketch of the Crucifixion. His pictures are too uniformly finished, and lack freedom of handling. He was unfortu- nate in the costume of his time; if he could have painted nature in- stead of perukes, his works would certainly be more pleasing now. They are numbered by hundreds. Riley, John, born in London (1646-1691). A good portrait painter, and one of the best in England at the time of his death. He was very modest; "Walpole says he might have made a great name, had he possessed one quarter 'as much vanity as Kncller. His por- traits of the Lord Keeper North at Wroxton Abbey, of Bishop Bur- net, and of Dr. Busby, were among his best works. Rincoii, Antonio del, born at Guadalaxara (about 1446-1500). The first Spanish painter of distinction. It is believed that he studied in Italy. He painted the portraits of Ferdinand and Isabella the Catholic, but these works are now known only by copies. His prin- cipal remaining pictures are seventeen compositions of the Life of the Virgin; these are in the ch. of Robledo de Chavela, near the Esco- rial, as one goes from Madrid to Avila. Rizi, Fray Juan, born at Madrid, 1595; died at Rome, 1(57"). Son of Antonio Rizi of Bologna. His mother was a Spanish woman. Pupil of Mayno. He was early distinguished, and painted six pic- tures of the Passion of Christ, and Martyrdoms of Saints, for the convent of Mercy. In 1626 he took the cowl of S. Benedict at the monastery of Monserrate. The next year he went to study theology at the College of San Vicente, at Salamanca. One hundred ducats were required yearly from each student. The Abbot refused to re- ceive Rizi for want of the money, but at length allowed him two days in which to obtain it. In that time he painted a " Crucifixion," which relieved him of his difficulty, and he continued to pay for his education by means of his brush. He returned to his convent, where he held several offices, and was at last made Abbot of Medina del RIZI ROBBIA. 509 Campo. His fame was so great that all the houses of his order wished for him as an inmate. For his brethren at Burgos he did some of his best works. He painted there a picture of " S. Scolastica reading." It was a portrait of a young girl whose dower as a nuu Rizi paid with the price of his labors. His fame reached even to Rome, in which city he entered the famous convent of Monte Cas- sino. The Pope wished to see him, and made him a Bishop, but he died before taking possession of his crozier. In the Queen of Spain's Gall, is a picture by Itizi of ' S. Francis receiving the Stigmata." Rizi, Francisco, born at Madrid (1608-1685). Pupil of Vincenzo Carducho. AVe have no account of his early works. On account of a picture he had painted of the Cath. of Toledo, he was appointed to the office of its painter in 1653. In 1656 he was appointed one of the painters of Philip IV., and Charles H. gave him the key of deputy- aposentador as a reward for the " Fable of Pandora," which he had painted in the Hall of Mirrors in the Alcazar. In 1684 Charles II. employed him to make a design for a new -Itar, to be dedicated to the relic at the Escorial, known, as the Santa Forma. This was a sacramental wafer which, according to its legend, was dashed by heretics from the high-altar of the Cath. of Gorcum, and trodden under foot. By this means three rents were produced, from which drops of blood issued. One of the hen-tics was converted by the sight, and, together with the Dean of Gorcum, he carried it to a convent at Mechlin. It was afterwards taken to Vienna and Prague, and in 1592 sent as a present to Philip II. Since that time, on fes- tival days, it has been shown, stained with the blood, " to the com- fort of Catholic believers, and to the confusion of their adversaries." Rizi designed the altar, which was finished under his superintend- ence, and was making a sketch for a picture to be placed above it Avhen he died; it was finished by his pupil, Claudio Coello. Many of his pictures exist in the churches of Madrid. The Royal Gall, has but one, a portrait of an unknown Knight. Many of his works are also in the National Mus. Rizzo, Antonio. This artist is first made known to us by the monument to the Doge Francesco Foscari, in the ch. of S. M. de' Frari, at Venice. He labored here in 1457 with Pietro Rizzo, sup- posed to be his father. A new manner is foreshadowed in this, which is perfected into the full Renaissance style in a second monument to Doge Niccolo Trou in the same church. This is the work of Anto- nio, and is an enormous labor in the abundance of plastic work. There are nineteen colossal statues, besides medallions and other re- liefs. The portrait statues are true to life, though hard and angular in outline. Antonio also executed marble statues of Adam and Eve for the- Doge's Pal. about 1471. Robbia, Luca della, born at Florence (1400-1481). This cele- brated sculptor was apprenticed at an early age to the best goldsmith 510 ROBBIA. of Florence ; but he soon began to model in wax with an ardor so unusual that it is surprising to find so little remaining of the work done before he was forty-five years old. The only memorials of that time arc the bas-reliefs in the side of the Campanile towards the Duomo, and two unfinished reliefs in the Uffizi. The first represent. Music, Philosophy, Geometry, Grammar, and Astronomy; Plato and Aristotle; Ptolemy and Euclid; and a man playing the lute. The unfinished ones are the Imprisonment and Crucifixion of S. Peter. In the Uffizi are also the reliefs made for the balustrade of an organ in the Duomo. These were undertaken in 1445, and most decidedly establish his claim to high rank among Italian sculptors. They suf- MADONNA IN TKHKA-COTTA. BY LUCA OELLA KORKIA. fer nothing from their present position, which gives an opportunity for minute examination of them. They represent youths daneing. singing, and playing on musical instruments. It has been said that Luca studied with Ghiberti, but this needs confirmation; he how- ever learned bronze casting from some one, as he made the doors of the sacristy of the Duomo. He executed one of the finest of the many cinque-cento tombs for the Bishop Benozzo Fcderighi of Fie- sole. A portion of the decorations of this tomb were enamelled tiles painted with fruits and flowers in their natural colors. In this en- amel painting Luca excelled, and he made it so prominent that it has been known as Robbia ware, but he did not by any means invent it, ROBBIA RODE. 511 as Vasari says, for it had been used by the ancient nations, and from time to time by the Italians also. Luca made some changes by color- ing his enamel for certain portions of the backgrounds, such as the plants, draperies, etc. He left many of these works, which are beau- tiful, but we cannot afford room to give a list of them. There are twelve medallions representing the Months, in Kensington Mus., sup- posed to have been executed by Luca for the decoration of a writing cabinet for Piero di Cosimo ue' Medici. One of the most beautiful of all these works of his is the " Coronation of the Virgin " in the altar-piece in the ch. of the Osservanza near Siena. Andrea, t he- nephew of Luca, had worked much with him, and by his will shared his property with another nephew, Simone, who was a shoemaker. After his death his secret of enamelling was carefully guarded by his family, and was a fortune to them. They made a system of poly- chromatic architecture. Andrea and his son, Luca II., were em- ployed eleven years in decorating the Ceppo Hospital, at Pistoja, with a frieze which represents the Seven Acts of Mercy. The effect of this enamel painting is brilliant. Pope Leo X. employed Luca II. to pave the Loggie of the Vatican with colored tiles. Gio- vanni and Girolamo, brothers of Luca II. , also worked in Robbia ware, and the latter went to France and was much employed by Francis I. in decorating his chateau de Madrid, in the Bois de Bou- logne. Robert, Louis Leopold, born at Neufchatel (1794-1835). This artist excelled in depicting genre or real life scenes. His especial want was excellence of color. The sentiment and action of his pic- tures is good. He is best known by three pictures representing the life of Italy at the different seasons : that of spring is the " Fete of the Madonna del Arco; " summer is the " Reapers of the Pontine Marshes ; " winter at Venice, the " Departure of the Fishermen of the Adriatic; " the fourth was not finished, when he died by his own hand, sitting before his easel, in Venice. The spring and summer scenes are in the Louvre. Robetta, born at Florence and flourished about 1520. By some critics he is considered merely a goldsmith, but his prints certainly entitle him to a place among the early engravers of Italy, of which he may be called the last. He was a member of the club of artists called La Compagnia del Pajuola. About thirty prints remaining now are attributed to him, and are more valuable for their rarity than any other quality. Robusti. See Tintoretto. Rode, Christian Bernard, born at Berlin (1725-1 797). The most noted native historical painter of the time of Frederick the Great, He was much employed in decorative works, by that monarch. His ceilings at Sans Souci are among the best of them. He also left 150 etchings of little value. UOELAS ROLDAN. Roelas, Juan de las, born at Seville (15GO-1G25). Palomino called Roelas a doctor, for he took a degree in medicine before he determined to become a painter and went to Venice to study. After his return to Seville he was constantly employed, and many works of his remain in that city. His coloring was excellent, his knowledge of anatomy perfect, and his composition good. The Royal (Jail, ot Madrid has but one picture by him a small one, representing Moses striking the Rock ; it is called " The Calabash," from a woman drinking eagerly from a gourd. In the ch. of S. Isidore at Se- ville is the picture of the death of that saint, which is considered his greatest work. The S. lago in the Mus. of Seville represents the saint as riding over the Moors, and is full of fiery spirit; it is a <-li<-f- d'ceuvre ; several other fine pictures of his are in the same collection, but some critics think the " Conception," in the Acad., better than these. Roepel, Conrad, born at the Hague (167!)-1748). Pupil of Con- stantin Netscher. He painted portraits for a time, but at last de- voted himself to fruit and flower pieces. He imitated the manner of Jan van Huysum very successfully. His pictures are in the Dre-ilen and Cassel galleries. Rogman, Roland, born at Amsterdam (1597-1685). The rare landscapes of this master are much like those of Rembrandt , and are mistaken for the works of the latter. Two of his pictures are in the: Cassel Gall. He also left thirty-three plates etched carelessly with a slight hand. Rokes, Hendrik Martenz, called Zorg. Born at Rotterdam (1621-1682). It is not known with whom this painter studied, but his subjects are like those of Brower. His composition, drawing, and execution are good; better than his color. A " Fish-market," in the Van der Hoop Coll. at Amsterdam is one of his best works. There are also excellent kitchen scenes and similar subjects in the Louvre, Munich, and Dresden galleries. Roldan, Pedro, born at Seville (1624-1700). A member of a distinguished family, and the last of the great carvers of Spain. Among the first of his celebrated works was the high-altar in the chapel of the Biscayans in the Franciscan convent, which was exe- cuted in oak or cedar. At the time of the restoration of the Hospi- tal of Charity, Roldan executed an immense piece of sculpture for the centre of the retablo of the high-altar of the church. The ' En- tombment of Our Lord" is the subject represented, and it has a peculiar interest as being the last fine work of painted sculpture in Spain, that can be compared with the works of Jnni and Hernandez. Roldan also executed bas-reliefs in stone at Jaen for the exterior of the cathedral. His native city abounded with his works. His devo- tion to his art was such that he considered every moment lost that was spent on other pursuits. He married a la;ly of good birth, and 110 LD AX RO MANX). 513 lived in the country. When obliged to go to Seville, he carried a lump of clay in his hand and modelled as he rode along. Although not the best of Spanish sculptors, he had great skill in the arrange- ment of his compositions, and his figures and draperies were well studied. His daughter, Dona Luisa, became a good artist under his instruction, and was accustomed to superintend his studio and pupils. She often made valuable suggestions to her father, and upon one oc- casion, when he had made a statue which was rejected, she sug- gested to him certain anatomical differences which so altered the effect of the work that it was thought to be new, and was peaceably installed in the place for which it was intended. Her own works were principally small figures of the Virgin, the " Adoration of the Shepherds," and kindred subjects. Several of them were presented to the King, Charles II., and he so admired them that he ordered a life-size statue of S. Michael for the ch. of the Escorial. She exe- cuted this to his satisfaction, and he appointed her sculptress in or- dinary to the King. She died at Madrid in 1704, leaving works in various churches and convents. Romanino, Girolamo, born at Rumano on the Serio (about 1485- 1566). It is said that he first studied under Stefano Rizzi. Before 1 5 1 he was free of the guild of Brescia, and began to be an im- portant painter. He belonged essentially to the Venetian school, but had his marked individual modifications and characteristics. His imagination was fertile and fantastic, his pathos is sometimes wonder- ful, his details are slightly treated, so that whatever sentiment he would express is the more effective. A grand work of his is in the Manfrini Pal. at Venice, a "Dead Christ," painted in 1510; an altar-piece with several saints is in the Berlin Mus.; a " Descent from the Cross," at Dresden, is a work of great power, and though somewhat coarse, is called his cJief-d'oRuvie. His pictures are very numerous, and are seen in Brescia, Padua, and Cremona. A " Na- tivity," in the National Gall., ranks high among the works of Ro- manino. Romano, Giulio. real name Giulio Pippi, born at Rome (1492- 1546). A favorite pupil of Raphael. While his master lived he did but few original works. He was co-heir to Raphael's estate with Gio. Francesco Penni. When left entirely to himself, he displayed a wildness which ended in a coarseness hard to be attributed to one educated as he had been. He was also an architect, and was invited to Mantua, where he erected many palaces and churches. In that city he attracted much attention, and was surrounded with pupils who executed many rich decorations under his direction. After the death of Sangallo he was appointed architect of S. Peter's, but died at Mantua while preparing to go to Rome to assume his office. Among other works of his at Mantua, the famous Palazzo del Te gained him much reputation, but it is only wonderful as regards the 33 514 ROMANO - ROMNEY. immensity of labor performed ; when considered in detail it is want- ing in power, and in many respects emphatically coarse. The fres- coes of scenes from the history of Rome in the Villa Lanti, and a frieze in an upper saloon of the Farnesina, executed before he left Rome, are his best works of this kind. A fine altar-piece, painted originally for the Fugger family of Augsburg, is above the high-altar of S. Maria dell' Anima at Rome; another altar-piece, in S. JStefauo at Genoa, represents the martyrdom of the saint, and is an impor- tant work; it was painted very soon after Raphael's death; these are the best of his large religious pictures. The easel pictures of Giulio Romano are not numerous, neither can any be spoken of as very excellent. A few are in private collections in England, and the Louvre and Manfrini galleries have several. Professor T. Phillips speaks thus of his style : " Day and night are commixed in his effects; lights and darks are arranged at will, and often in total violation of the principles of nature. Colors are heaped together of the most vivid hues, such as sunshine or the prism only can produce, accompanied by shades of deeper color, or of the blackest niirht: while the lights and shadows are frequently interrupted in their course without any possibility of assigning a reasonable cause. Its brilliancy and vigor have acquired for it too much applause from that portion of the world which has given its attention to pictures. Its great defects have been overlooked because of the beauties and the power of imagination united with them, but which in reality they obscure or deform." He also calls it "an evil art founded on art, and at variance with nature." It is a regret that some prints still exist which were engraved by Marc Antonio after the designs of Giulio, and are of so vile a character as to be revolting to every sense of decency. They are accompanied by sonnets from the pen of Aretino, which are, if possible, more disgusting than the prints. Rombouts, Theodore, born at Antwerp (1597-1637). Said to have studied under Abraham Jansens. In 1G17 he went to Italy, where he painted historical works successfully. Houbrakeu gives an account of his attempted rivalry of Rubens, but this lacks confirma- tion. He had many excellences, and fine feeling for composition and beauty. His execution was finished, but his flesh colors were too brown and heavy. His pictures are few. His chef-d'auirre is a " Descent from the Cross," in the Ghent Cath. The Antwerp Mus. has an interesting work of his which represents S. Augustine enter- taining Christ in the garb of a pilgrim. Romeyn, Willem. Flourished 16GO-1680. A painter of land- scapes with animals, who imitated Du Jardin successfully. His love of nature was pure, his drawing good, and his composition picturesque. His works are in the Munich, Dresden, Berlin, and Amsterdam galleries. Romney, George, born in Kendal, Lancashire (1734-1802). ROMNEY ROSA. 515 The private life of this painter was peculiar. He married before going to London, and left his family in Kendal, visiting them hut twice in thirty-seven years. In 1799 he returned to them for the remainder of his days. In London he rapidly rose to fame and fortune, and in 1773 went to Italy, where he remained two years. His best points as a painter were vigorous drawing and expressive form. He divided the honors of portraiture with Sir Joshua Rey- nolds, whose color surpassed that of Romney. Flaxman praised him in hielf, especially for the servants of the church. He had asked Rosellino to make him a plan for all this, but death ended his schemes, and although the artist found another patron in the famous Piccoloinini, Pius II., he was intent only upon the improvement of Pien/a. his na- tive place. Rosellino there built a cathedral, a palace, a canonica, and a municipal palace. This architect also built the Piccoloinini Pal. at Siena, and various other architectural works in that city. Bernardo found some time to devote to sculpture, and executed several elabo- rate monuments; but two of his choicest works in this way are a bust of the young S. John, and a portrait bust of Battista Sforza, both in the Uffizi Gall. Rosellino, Antonio (1427-1490). Called Antonio del Procon- solo from the quarter of Florence in which he was born. He was a fine sculptor and is said to have studied under Donatello, but his style resembles Ghiberti. The expression of his faces was full of sweetness and grace ; he had also dignity of treatment combined with delicacy. Some of his best works were the monument to Card. Portogallo at S. Miniato, near Florence ; that of Mary of Aragon in Monte Olive to at Naples ; a relief of the " Nativity," over an altar in the same ch., and a relief of the "Adoring Madonna.'' in the Uffizi. There are smaller works by Antonio in the ch. of Santa Croce at Florence, in the Cath. of Prato, and in the Ufli/i. Rosselli, Cosimo, born at Florence (1439-1506). This artist exe- cuted large frescoes which are still preserved. lie is not by any means an incomparable painter, for his compositions are crowded and wanting in effective unity. Here and there his (igurcs have dig- nity and grandeur, and he has some skill in details. His best work is in the ch. of S. Ambrogio at Florence, and represents the " Mira- cle of the Sacrament." Sixtus VI. employed him in the decoration of the Sixtine chapel, where his best effort was the " Sermon on the Mount." It is said that Cosimo realized his incompcteney when compared with the other painters employed there, and used much gold and ornamentation in order to please the untrained eyes of the Pope. He succeeded in his wi>h for the time, but his reputation gains nothing by the ruse. Rosselli, Matteo, born at Florence (1578-1650). There am many good works by this painter in his native eity. and he became a very popular teacher of painting. The " Triumph of David," in the Pitti Gall., is one of his best picture-. Rossi, Properzia de', born at Bologna (1490-1530). The one Italian sculptress. She was born about a year after the return of ROSSI. 519 her father from the galleys, where he had passed eighteen years, having been condemned for manslaughter. She seems to have in- herited a violent temper, and was twice arraigned in court for dis- playing it. Antonio Galeazzo Malvasia de' Bottigari was her de- voted lover, and did not marry until long after her death. She w?.s very beautiful. When Pope Clement VII. visited Bologna in 1530, he desired to see her, but she had died a few days before. She was instructed in drawing by Marc Antonio Raimondi, and first devoted herself to intaglios so minute as to require great delicacy of handling and vast patience. She carved a glory of saints on a cherry-stone, upon which sixty heads may be counted. This is in the cabinet of gems at the Uffizi. Other microscopic works executed for Count Cainillo Grassi are preserved by his descendants in the Palazzo Manili. She next turned to arabesques, marble ornaments, lions, griffins, vases, eagles, heads, etc. She modelled the bust of Count Guido Pepoli now in the sacristy of the basilica of S. Petronius. She was employed to assist in finishing the reliefs about the portal which Giacomo della Quercia had left unfinished. She also executed two bas-reliefs now in the sacristy, which represent " Joseph and Potiphar's Wife," and " Solomon receiving the Queen of Sheba." Her later works seem to have been much influenced by her contact with II Tribolo, but are still interesting. Rossi, Francesco. See Salviati. Rossi, Rosso de', called by the French Maitre Roux, born in Florence (1496-1541). This painter was an imitator of Michael Angelo and Andrea del Sarto. After painting in several cities of Italy he went to France, and was employed at Fontainebleau by Francis I. He was an agreeable and handsome man, and became a great favorite with the King. He was well versed in poetry, music, and general literature, and was in the full tide of popularity when he was robbed of a considerable sum of money. By some means his suspicions were fixed upon his assistant, another Florentine painter, Francesco Pellegrini; the latter was put to the torture, but nothing could be proved against him, and the judges declared him innocent. Rossi suffered such acute remorse for having thus wronged an un- offending man, that he at last took his own life. His works are not numerous in Italy. There is a large Madonna and saints by him in the Pitti Pal., and a fresco in the court of the SS. Annunziata, rep- resenting the " Assumption of the Virgin." But few of his pictures remain at Fontainebleau. In the Louvre there is one of his few easel pictures. "The Rival Songs of the Muses and the Pierides; " it is one of his best. Rossi, John Charles Felix, born at Nottingham (1762-1839). Principally known by his sculptures in S. Paul's Cath. The most noted are the monuments of Lords Cornwallis, Heathfield, and Rod- ney. He was appointed sculptor to the Prince Regent, and em- 520 ROSSI ROVKZZAXO. ployed in Buckingham Pal. He was also sculptor to Kin^ William IV. _^ Rota, Martino, born in a town of Dalmutiu \*y (1532V-1586 V) An eminent engraver whose works in good impressions are now rare. The " Last Judgment," after Michael Angelo, is considered his chef-d'oeuvre. After this, some of his portraits are most excellent. His li Battle of Lepanto," a strange composition of his own, is extremely rare. There have been very exact copies made of his " Last Judgment " by other engravers. Rothenhammer, Johami, born at Munich (1564-1622). At the end of the 16th century the northern painters had lost many of their distinctive characteristics from constant study of Italian art. Roth- enhammer had made the works of Tintoretto his models, and while he imitated them, he still preserved some traits of the German taste and style. He painted some large pictures, but his best works, and those by which he is generally known, are easel pictures, in which the figures are his, and the landscape executed by Jan Breughel or Paul Bril. His earlier works are his best. He married in Venice, and was extravagant in his habits, so that he often painted hastily, for money, pictures inferior to his best efforts. His works are in all large galleries. Many of them are tenderly fused in execution, but his later pictures have brick-red flesh tones, and greenish shadows, which are displeasing. Roubilliac, Louis Fraiiqois, died 1762. This sculptor, although a Frenchman, is best known by his works in England, to which country he early went. At first Sir Edward Walpole was his friend. and assisted him until his works established his reputation and he was constantly employed. His monuments and statues are numerous in England. Roullet, Jean Louis, born at Aries (1645-1669). This excellent engraver studied under Jean Lenfant and Francis Poilly. His print of " The Maries with the Dead Christ," after Annibale Carracci, is an admirable specimen of his skill. He remained ten years in Italy, and acquired much readiness in representing the works of Italian masters. Roux, Maitre. See Rosso dtf" Rossi. Rovezzano, Benedetto da, real name Guarlotti, born at Rovez- zano, late in the 15th century. lie did not succeed as a sculptor of statues, but as a worker of small figures and ornaments he was remark- able. A very beautiful chimney-piece in the Casa Roselli, and the decorations of the tomb of Piero Sodcrini, in t\w Carmine at Flor- ence, are some of the best examples of his style. His greatest work was a tomb for the founder of the Convent of Vallombrosa; but this was destroyed in the siege of 1530, and only some portions of it are preserved in the Gall, of Tuscan sculptors at the Uffizi. In 1524 Itovezzano went to England, and was commissioned by ROVEZZANO RUBENS. 521 Card. Wolsey to erect his tomb. He had worked on it five years, when Wolsey was disgraced, and Henry VIII. ordered it to be com- pleted for himself; but the King died before it was finished, and at length the Parliament ordered the copper figures to be melted down, but reserved the sarcophagus, in which, finally, the body of Lord Nelson was enclosed. Thus the two works which should have made a great name for Rovezzano perished, and he became blind, an afflic- tion which he bore with much patience. He died in Florence, in 1550. Rubens, Peter Paul, born at Siegen in the county of NUS^HU (1577-1640). This remarkable man, scholar, painter, and diploma- tist, was descended from two good families. His father, John Ru- bens, was one of two principal magistrates of Antwerp, and his mother, Mary Pypeling, belonged to a distinguished family of the same city About 1570 John Rubens was forced to leave Antwerp by the civil war then raging, so that the birth of our artist occurred when his family were in a sort of exile. His birthday was the feast of SS. Peter and Paul, from which circumstance he was named. He early made rapid advancement in scholarship; his talent for drawing soon led him to decide upon painting as a profession. He entered the school of Adam van Noort, fitted by education as few young art- ists were to appreciate the beauties and difficulties of the career be- fore him. He remained four years with this master, and laid the foun- dation of his success in gaining a thorough knowledge of the technical part of his art. Another four years was passed in the studio of Otto Vrenius, whose cultivation of mind and taste were of more advantage to Rubens than his instructions in painting. In 1598 he was admitted to the guild of painters in Antwerp; his father had died, and his mother had returned to that city. In 1600 he went to Venice and studied the works of Titian and Paul Veronese. The Archduke Albert, governor of the Netherlands, had given him letters of rec- ommendation to Vincenzio Gonzaga, Duke of Mantua, and when he proceeded to that city he was received honorably and appointed a gentleman of the bedchamber. He remained two years and studied the works of Giulio Romano at the Palazzo del Te, as well as other works within his reach. He then a.sked permission to go again to Venice, which was granted; when he returned to Mantua he executed three large pictures for the Jesuits, in which he proved how much he had gained from his opportunities. The Duke soon sent him to Rome to copy some of the most celebrated pictures there; he exe- cuted this commission, and painted by command of the Archduke Albert three pictures for the ch. of Santa Croce in Gerusalemme. In 1G05 the Duke of Mantua wished to dispatch an envoy to Spain, and recalled Rubens from Rome that he might undertake the mission. In this embassy he proved that he had political abilities of no com- mon kind; but we must take into account that his personal charms 522 RUBENS. and cultivated mind contributed to acquire favor wherever he went. When in Rome he had been commissioned to paint the tribune of S. Maria in Vallicella, and after his return from Spain he proceeded to do so. He then went to Genoa, whither his fame had preceded him, and was immediately employed. He had now been se\en years ab- sent from his home, when he was recalled on account of the illness of his mother, who did not live until he reached her. He then settled in Antwerp, built himself a house with a charming studio, and in 1609 married his first wife, Isabella Brant, who died in 1G2G. leaving two sons, to whom Gevartius was tutor. During these years he led a very regular and industrious life. He had many scholars and did an immense amount of work. It was then that he executed a large portion of the chefs-d'oeuvre which have immortali/ed his name and enriched the world. He was accustomed to have some one read to him while he painted, and his choice fell on history or poetry. which served to enrich bis mind with the learning he so loved. lie could read and speak seven languages, so that ancient and modern writers were alike known to him. He has been accused of allowing his pupils to paint pictures during these years which he appro- priated to himself, but he refuted these accusations and proved how universal was his genius, by completing with his own hands pictures of almost every kind. In 1620 he was invited to France by Marie de' Medicis, for whom he executed many great works. In lt!-_'s he was sent again to Spain by the Infanta Isabella. His mis-ion was a delicate one, but he fulfilled it to the satisfaction of Philip IV. and the Duke of Olivares. While in Spain he painted many '_n-and and important pictures, some of which are splendid examples of his gor- geous coloring. Upon his return to Flanders he was sent to Eng- land to try to effect a peace with that country. He was successful, and was knighted by King Charles in 1630. He also received thi: honor from the King of Spain. It was in IG.'JO that lie married the young Helen Fourment, a niece of his first wife. She was but six- teen years old. She bore him five children, survived him. and mar- ried again. Both his wives so often served him for models that their forms and faces are familiar to the world. After his return from England he was treated with much consideration in Flanders. He soon was forced by gout to confine himself to easel pictures. He lived luxuriously, and was a collector of beautiful things of various kinds. After his death a portion of his collection was sold for more than 20,000 sterling at private sale. He died in 1040 and was buried in his private chapel in the ch. of S. James, which is dec-orated with a magnificent work of his own. His family erected a monument to him upon which is inscribed an epitaph written by Gevartius. As a painter there seems to be but one adjective descriptive of Rubens : ina<_rnificent alone expresses the effect of his color: his system of lev- elling his subject to his style was magnificent ; his faults were mag- RUBENS. 523 nificent; and if you sometimes feel him to be gross or rulgar, he is so magnificently. In painting he was certainly an universal genius. The works ascribed to him are about 1800 in number ; of course much of the actual labor was performed by his pupils, but there is something of himself in them all. They embrace historical, Scriptu- ral, and mythological subjects, portraits, animals, genre, and land- scapes. In his style he is a strange and delightful combination of Southern and Northern art ; his technicalities and arrangement are Italian; his figures, even when they represent our Saviour and the most holy men, are in reality German peasants, Spanish kings, or somebody else whom he has seen. How bizarre is the way in which he mingles earthly princes, antique, mythical personages, ancient gods, and the members of the family of Marie de' Medicis ! and he dresses them all in the latest fashion of his time, and in the most be- coming colors ! and is not this very mixture magnificently strange ? But in order to enjoy a large portion of his works it is best to forget his subjects, forget the names by which they are called, and observe each figure as a separate portrait then you feel his power; par ex- emple, in the picture which hangs above his tomb, forget that it is a representation of any subject, and look only for the portraits of his two wives. How charming they are ! the one so brilliant and ener- getic, the other so shy and thoughtful, both in their way magnificent. But if you look at it as an " Adoration of the Virgin," it will seem as if the spirit of Fra Angelico and other holy painters stood beside you, and helped you not to forget how the spiritual can be communi- cated by the brush when it is guided by faith and prayer, and to distinguish between this work and those of a purer type. Rubens suggests so much that I could go on and on, selecting virtues here, and criticising faults there ; and it would be a pleasure to do it ; but my mission is only suggestive, and my space will only allow me to give a list of a few of his pictures in the various departments in which he worked. In his ecclesiastical pictures the " Descent from the Cross," in the Antwerp Cath., stands first; indeed it may be considered the chef-d'oeuvre of all his works. Rubens received the order for this picture from the Company of Archers in 1G11, and it was completed and in its place three years later. The masterly composition and elevated expression of the heads, joined to its breadth of execution and excellence of finish, render it a marvellous production. The wings, which represent the " Visitation," and the " Presentation in the Temple," are also fine examples of the master's best manner. The " Elevation of the Cross," in the same Cath., is very different in effect. It is overwhelming in its portrayal of vio- lent and agitated emotions, and could only have been done by a great master, but it is almost frightful in its dramatic force. His altar- pieces were so numerous that it is difficult to select those of which to gpeak. The Antwerp Mus. has the " Communion of S. Francis," 524 RUBENS. the " Incredulity of S. Thomas," a " S. Theresa " which is delicate in feeling; a charming " Holy Family," a splendid "Adoration of the Kings," and others of great excellence. The "Miracle of the Brazen Serpent," in the Madrid Gall., is one of his most powerful F CHILDREN. BY KUBKNS. Berlin Gall. conceptions. The Belvedere Gall, at Vienna is rich in his works of this class, and others are in the Pinakothek of Munich. The " Cru- cifixion of S. Peter," in the ch. of that saint at Cologne, is masterly beyond description, but repulsive in its naked truthfulness. Among RUBENS. 525 his representations from profane history are six pictures of the His- tory of Decius, in the Lichtenstein Gall., in which he appears far more grand than in the twenty-one scenes from the Life of Marie de' Medici in the Louvre. That one in which the Consul is dedicated to death by the High Priest is most wonderful. His mythological subjects are full of sensual power. The " Rape of Proserpine " at Blenheim; the " Battle of the Amazons " at Munich; the " Garden of Love " at Madrid (copy in Dresden) ; and the " Rape of the Daughters of I eucippus," at Munich, are some of the more important of this clasc. His genre pictures were delightful. A " Tournament near an old Castle," in the Louvre, and a Fair, in the same Gall , are examples of this phase of the talent of this inexhaustible genius. His pictures of children are simply charming, and convey the idea that he painted them from pure love of it. Four children in the Berlin Gall. , and seven others carrying a festoon of fruit, in the Munich Gall., are beautiful examples. His portraits are his most perfect works to some minds; certainly they are admirable, and very numerous. I can give space to mention but a few. That of Helen Fourment walking with a page, at Blenheim; the famous " Chapeau de Paille," in the Coll. of the late Sir Robert Peel ; that of the two sons of Rubens, in the Lichtenstein Gall., and the so-called " Four Philosophers," in the Pitti, are among the most celebrated. The last is extremely fine in color, and represents the artist and his brother, with Justus Lipsius and Hugo Grotius. The representation of animals was by no means a lesser power with Rubens. lie preferred to paint them in conflict and action; fine examples are in the Munich, Dresden, and Vienna galleries. His landscapes, when only intended as backgrounds for his figures, were often fine, and it is said that he painted a larger number than Titian of landscapes proper. Many of these are in pri- vate collections in England. The " Deluge in Phrygia," in the Vienna Gall., combines a most effective lighting with masterly com- position and handling. ENGRAVINGS AFTER THE WORKS OF RUBENS. Engraver, ARDELL, James Me. Rubens, his Wife, and Child. Engraver, AUDRAN, Benoit. Two prints for the Luxembourg Gall., representing the Accouchement of Marie de' Medici. Engraver, BAILI/U. The Reconciliation of Jacob and Esau. Christ in the Garden. Dying Magdalene, supported by Angels. Combat of the Lapithae. Engraver, BARBE. The Holy Family, with the Infant Jesus em- bracing S. John; fine and scarce. Engraver, BARTSCH. The Obsequies of Publius Decius Mus; large plate. Engraver, BLOOTELIXG or BLOTELING, Abraham. Two Heads of Children; rare. The study of the Head of a Man; A. Blotellng, fee. ei exc. ; rare. 526 RUBENS. Four studies of Lions; inscribed, Varie, Leonum L~ones, a P. P. Engraver, BOETIUS, Christian Frederick. A Woman holding a Pot of Coals, and a Boy blowing. Engraver, BOLSWKRT, Boetius Adam. Judgment of Solomon. Resurrection of Lazarus; very fine. The Last Supper, /'. P. Rubens, pinx. : Boet. A, Bolficert, tc. : very fine. Engraver, BOLSWEKT, Scheltius A. The Brazen Serpent: the best impressions have the word Anfirerpice at the ri<_dit hand corner. without the name of G. Hendrix. The Marriage of the Virgin : the best im[)ressions have the name of Hendrix, without the word Anlwer/iUe. The Annunciation; the best impressions have the address of M. Vanden Enden. The Nativity; best impressions >ame address. The Adoration of the Magi; the same. Return of the Holy Family from Egypt; the same. The Feast of Herod, with Herodias presenting the Head of S. John to her Mother. The Miraculous Draught of Fishes; in three plates. Christ crucified between the Thieves; G. Hendrix, exc. The Crucifixion; a Soldier on Horseback piercing the Side of the Saviour; 1631; extremely fine. The Crucifixion, with Jerusalem in the distance; M. Vanden Enden, exc. The Dead Christ in the Lap of the Virgin, with S. Francis. The Resurreetion ; M. Vanden Enden, excudit. The As- cension; the same. The Four Evangelists. The Fathers of the Church; Nic. Lowers, exc. The Destruction of Idolatry; in two sheets; the same. The Triumph of the Church; in two sheets: the same. The Immaculate Conception; Ant. Boncnf